Artistic Depictions of People and Pets

Sketches featuring a man with a dog and a scene of individuals in a domestic setting, showcasing a blend of historical styles and muted tones.

A sculpture depicting a seated monkey. In the foreground a peacock feather. On the right a Chinese vase, Sculpture depicting a sitting monkey, print maker: Louis Stracké, (signed by artist), 1866 - 1934, paper, etching, h 298 mm × w 238 mm

Ängste, Opus VI, Ein Handschuh, Bl. 7. Felsing, Friedrich Kupferstich-Druckerei (Monachium, Berlin ; zakład graficzny ; fl. ca 1865-1880), printing house, Klinger, Max (1857-1920), graphic artist

A man with a dog, draughtsman: Adam Elsheimer, (possibly), Antonio Tempesta, 1588 - 1700, paper, pen, h 108 mm × w 71 mm

The Cigarette from the WarSeries. Artist: George Wesley Bellows, American, 1882-1925

Ah! Pont-a-Mousson est une bien petite ville, mais les hommes ny sont pas ennuyeux comme ca!. Artist: Paul Gavarni, French, 1804-1866

Jean-Baptiste Carpeaux (1827-1875). Study for a statue of pain. Black stone and white chalk enhancement on blue paper. Museum of Fine Arts of the City of Paris, Petit Palais. Pain, study, man, pain, black stone, curl up, soufrance, statue, 19th 19th 19th 19th 19th 19th century

Le Vice suprème: Frontispiece. Dated: 1884. Dimensions: plate: 23.5 x 34.2 cm (9 1/4 x 13 7/16 in.) sheet: 15.8 x 26.9 cm (6 1/4 x 10 9/16 in.). Medium: etching on wove paper. Museum: National Gallery of Art, Washington DC. Author: Félicien Rops.

Dreaming woman, Lawrence Alma Tadema, 1875.

Correccion.. Goya, Francisco (1746-1828). Avery, Samuel Putnam, 1822-1904. Prints. 1799. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Satires (Visual works)

Etching by Francisco Goya from 'The Disasters of War', titled 'Even if It Does Not Die', created 1810-1815 and first published 1863, showing wartime situations.

A sculpture depicting a seated monkey. In the foreground a peacock feather. On the right a Chinese vase, Sculpture depicting a sitting monkey, print maker: Louis Stracké, (signed by artist), 1866 - 1934, paper, etching, h 298 mm × w 238 mm

Harmensz van Rijn Rembrandt (1606-1669). "The tomb (B86 - 4th state), around 1654". Museum of Fine Arts of the City of Paris, Petit Palais. 26996-1 Bible, corpse, Catholic, Christian Christian, Christ, Death, New Testament, Passion, Biblical Scene, Tomb

This etching and aquatint by Francisco José de Goya, created between 1815 and 1824, depicts the proverb illustrating loyalty, showing figures demonstrating fidelity or devotion.

They carried her off!. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching and aquatint

Print made by Giuseppe Maria Mitelli, 1634-1718, Italian, Mssier Lilon, undated. Mezzotint on medium, moderately textured, cream laid paper.

Het Ledikant; The French bed.

The Last Song ("El aria final") 1807-45 Leonardo Alenza y Nieto Spanish. The Last Song ("El aria final") 335154

At the Cafe des Ambassadeurs (Aux Ambassadeurs). Dated: c. 1877. Medium: etching, aquatint, and drypoint. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Licht, Odilon Redon, 1893 print Two figures, seen on the back, standing in front of a large window. Behind it on a much goter dish, a face of a man with eyes closed. print maker: Franceprinter: Paris paper view through a window from the inside. adult man

Anxieties (Ängste). Dated: 1878/1880. Dimensions: plate: 14.3 x 26.9 cm (5 5/8 x 10 9/16 in.) sheet: 34.5 x 52.6 cm (13 9/16 x 20 11/16 in.). Medium: etching in black on chine coll. Museum: National Gallery of Art, Washington DC. Author: Max Klinger.

Rijn, Rembrandt van, The schoolmaster, Woman in a doorway, talking to a man and children, verso lower left - stamped, print, prints, Rembrandt f 1641, top center, height 93 mm, width 61 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1641 - 1641, second quarter 17th century, Oriental paper, etching, etchings, Work conception, after own design by

Abruzzo L'Aquila L'Aquila Convent of the Clarisse0. Hutzel, Max 1960-1990 Exterior views of convent and portals, interior views of church with emphasis on choir fresco, and views of cloister. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Francisco Goya (1746-1828). "Los disparate - disparate Furioso - cruel disparate". Museum of Fine Arts of the City of Paris, Petit Palais. The nonsense - furious nonsense - cruel nonsense Body, body, crual, crualty, cruel, cruel, embraces, fury, fury, face, run through, head, trainer, victim, victim, head

He Leaves Them in Good Shape ("Buenos los deja") 1807-45 Leonardo Alenza y Nieto Spanish. He Leaves Them in Good Shape ("Buenos los deja") 335146

The Lamas. From: Ladaki plates. prints, etchings, works on paper

Disparate furioso (Furious Folly), also known as Hizonos dios y maravillamos nos (It Is Amazing and We Were Made by God, from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Fire, 3rd plate (L'incendie). Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Alphonse Legros.

Cupid, armed with a bow and arrow, flies in through the window to a room where two naked lovers lie asleep on a couch. Etching.

Blaas, Francisco de Goya, 1797 - 1799 print An old man with a child, held on to arms and legs. Air blows from the child's bottom. On the ground a number of figures, two devils with two babies in the air. Nine -nasty print from the Los Caprichos series. Spain paper etching / drypoint witchcraft, sorcery

George Bellows, Preliminaries, 1916 Preliminaries

Honoré Daumier, Et pendant ce temps là ils continuent à affirmer qu'elle ne s'est jamais mieux portée!, September 24, 1872 Et pendant ce temps-là ils continuent à affirmer qu'elle ne s'est jamais mieux portée!

Old Italian Masters: The Expulsion from Paradise, 1888. Timothy Cole (American, 1852-1931). Wood engraving;

The last victim , Victims, Soldiers, Punishment & torture. George Bellows (1882-1925). Prints and Drawings

Saint Jerome in a Dark Chamber, 1642, Rembrandt Harmensz. van Rijn, Dutch, 1606-1669, 5 7/8 x 6 11/16 in. (15 x 17 cm) (plate), Etching, drypoint, and engraving, The Netherlands, 17th century, Jerome, the 4th-century scholar who translated the Bible into Latin, described his experience in Rome's catacombs as 'walking in darkness like that of Hell, pierced by rare beams of light.' This description resonates with Rembrandt's meditations at this juncture of his life. One enters the print as if it were a darkened room. If we concentrate, the details begin to emerge as our eyes adjust. By controlling entry into the image, Rembrandt allowed the print to work on the viewer, gradually revealing its interior mood.

Sunday in Paris. Paul Signac; French, 1863-1935. Date: 1887. Dimensions: 174 × 120 mm. Lithograph in black, with scraping on stone, on cream wove paper. Origin: France. Museum: The Chicago Art Institute, USA.

La mort des pauvres-Baudelaire. Dated: 1894. Dimensions: image: 41 x 31.5 cm (16 1/8 x 12 3/8 in.) sheet: 49 x 35.9 cm (19 5/16 x 14 1/8 in.). Medium: black and colored crayon. Museum: National Gallery of Art, Washington DC. Author: TEOPHILE STEINLEN.

Two girls , Nudes. George Bellows (1882-1925). Prints and Drawings

Edgar Degas, Woman by a Fireplace, 1880 1890 Woman by a Fireplace

Goya, Francisco, What does one cup help (De qué Sirve una taza), 1892, line etching, graphics, plate width 20 cm, plate height 15.1 cm

Sanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words), in or after 1816, Los Proverbios (Disparates) plate 16, etching and burnished aquatint trial proof printed posthumously circa 1854-1863, Harris 1964, no. 263, State II (trial proof/posthumous), Francisco Goya (artist) Spanish, 1746 - 1828

Francisco de Goya (1746-1828), yet another crazy action (by Martincho) in the same Arena (in Saragossa), 1815-1816

The Hanged Man. Henri de Toulouse-Lautrec; French, 1864-1901. Date: 1892. Dimensions: 701 × 473 mm. Lithograph on cream wove paper. Origin: France. Museum: The Chicago Art Institute, USA.

Old Woman with a Brazier, after Rubens 18th century Pierre François Basan. Old Woman with a Brazier, after Rubens. Pierre François Basan (French, Paris 1723-1797 Paris ()). 18th century. Engraving. Prints

On a Raft, c. 1900-1923. George Bellows (American, 1882-1925). Pen and ink and brush and conté crayon; image: 33.1 x 46.7 cm (13 1/16 x 18 3/8 in.); sheet: 41 x 53.7 cm (16 1/8 x 21 1/8 in.).

Jean Louis Forain, Evidence at the Hearing (second plate), 1908 Evidence at the Hearing (second plate)

A Blacksmith 1833 or earlier Eugène Delacroix French. A Blacksmith 336629

Joris Van Vliet (born in 1610). "The sculptor" (B 32 - 1st state). Etching. Museum of Fine Arts of the City of Paris, Petit Palais. 27020-13 Workshop, etching, model, sculpt, sculptor

Dead Kabyle (Kabyle mort). Dated: 1867. Dimensions: plate: 21.6 × 41.1 cm (8 1/2 × 16 3/16 in.) sheet: 41.7 × 55.8 cm (16 7/16 × 21 15/16 in.). Medium: etching and aquatint on buff laid paper. Museum: National Gallery of Art, Washington DC. Author: Mariano Fortuny Y Carbo.

White Dancer in a Small Nightclub, 1914. Ernst Ludwig Kirchner (German, 1880-1938). Lithograph; image: 59 x 50 cm (23 1/4 x 19 11/16 in.); sheet: 65 x 50 cm (25 9/16 x 19 11/16 in.). Ernst Ludwig Kirchner was fascinated by the tawdry underworld of cabarets and nightclubs near where he lived in Berlin. He printed this nightclub scene from his largest lithographic stone. A high-kicking dancer is both leered at and ignored by a cadre of cigar-smoking men, one of whom, with his face toward the viewer, is Kirchner himself. The cramped space and smoky atmosphere, emphasized by the artists rapid, free marks, undermine the token optimism of the bubbles that surround the stage.

Rembrandt van Rijn, Saint Jerome in a Dark Chamber, 1642 Saint Jerome in a Dark Chamber

Cartoon in Leiden student almanak, 1844; Night before the exam. Sleeping student in the night before the exam felled by figures from a nightmare. Professor c.J. From Assen shines with a light in the face of the student, behind him the pedel and smiling devils. Cartoon in the student almanac of the University of Leiden of the year 1844.

Whim - Woman in jail. Capricho - Mujer en prision. 1797-1798. Drawing - Inset engraving. 18,5x12,5. Madrid, Prado museum. Author: FRANCISCO DE GOYA. Location: MUSEO DEL PRADO-DIBUJOS. MADRID. SPAIN.

'Dancing Giant' from the 'Disparates' (Follies / Irrationalities) ca. 1815-19 (private printing ca.1854) Goya (Francisco de Goya y Lucientes) Spanish From the private printing c. 1854 before the plates were cleaned. 'Dancing Giant' from the 'Disparates' (Follies / Irrationalities) 397761

Madrid, Real Academia de Nobles Artes de San Fernando, Goya, Francisco de, Spain, Los Proverbios (The proverbs), Los Disparates (The follies), Disparate funebre, Funeral folly, verso lower right - stamped, The spirit of a dead man rises from the lifeless body and is surrounded by shadows and monsters. From a series of eighteen prints., print, prints, height 243 mm, width 355 mm, Spaans, 1746-03-30 - 1828-04-16, print maker, printmaker, 1815 - 1820, first quarter 19th century, third quarter 19th century, paper, etching, etchings, aquatint, burin, Work conception, after own design by, Publication (Event), Publication, publisher

Ahasuerus on his Throne. Draughtsman: Rembrandt van Rijn. Dating: c. 1635 - c. 1640. Place: Amsterdam. Measurements: h 177 mm × w 131 mm. Museum: Rijksmuseum, Amsterdam.

The Lost Piece of Silver (The Parables of Our Lord and Saviour Jesus Christ) 1864 After Sir John Everett Millais British It took Millais seven years to design twenty images inspired by New Testament Parables for the Dalziel Brothers, and the resulting prints are considered pinnacles of wood engraved illustration. The artist wrote to his publishers, "I can do ordinary drawings as quickly as most men, but these designs can scarcely be regarded in the same lighteach Parable I illustrate perhaps a dozen times before I fix [the image." After completing a design, Millais transferred it to a woodblock coated with Chinese white for skilled engravers to carve. Finally, he reviewed proofs and final adjustments were made before the final printing.The Parable of the Lost Piece of Sliver (Luke:15:8-10), tells of a woman with ten coins who loses one, then diligently searches for it. Pre-Raphaelite ideals shaped the combination of detailed naturalism and down-to-earth imagery to produce a work dist

Etching by Francisco Goya from 'The Disasters of War', titled 'To the Cemetery!', produced 1812-1815, first edition 1863, showing a scene of wartime death and burial.

A man holding an umbrella is walking up a road in the rain. Lithograph by G. Gorra, 18--.

Fingal Mourning Over the Body of Malvina, from Ossian's Berrathon 1810 France. The dazzling, otherworldly, glow-in-the-dark effect Girodet achieved in this drawing is a testament to his extraordinary skill as a draftsman and painter, and to his all-consuming desire to be original.Girodet illustrates a scene from a poem purportedly written by the ancient Scottish bard, Ossian, whose work was ìdiscoveredî and published in the 1760s. A famous literary hoax, the poems took Europe by storm. Here, Ossianís father Fingal stands before the body of the dead Malvina, while her spirit ascends from the moonlit water behind him. Above Malvinaís body, spirits sparkle like stars.. Black chalk with brush and black ink and brown wash, heightened with white gouache, on ivory laid paper prepared with a gray wash . Anne-Louis Girodet de Roussy-Trioson

An old man sitting cross-legged on the ground next to his crutches. Etching by C. Jacque.

Le Tombeau du Diable (The Devil's Tomb). Dated: 1879/1880. Dimensions: plate: 17.4 x 11.5 cm (6 7/8 x 4 1/2 in.) sheet: 23.6 x 16.5 cm (9 5/16 x 6 1/2 in.). Medium: etching, drypoint, aquatint (spirit ground) and roulette (lower right margin, above the girl's head) in black on Japanese paper. Museum: National Gallery of Art, Washington DC. Author: Félix-Hilaire Buhot.

François Bonvin, Fileuse Bretonne (Breton Spinner), 1861 Fileuse Bretonne (Breton Spinner)

Francisco de Goya (Spanish, 1746-1828). El Vergonzoso. (The shamefaced one.), 1796-1797. From Los Caprichos, no. 54. Etching and aquatint on cream laidpaper. Plate: 215 mm x 150 mm (8.46 in. x 5.91 in.).

The Late Provision 1771 Philippe Trière French. The Late Provision 394638

Village Massacre or Massacre at Dinant, from the WARseries. Artist: George Wesley Bellows, American, 1882-1925

Honoré Daumier, Au nom du ciel, Théodore ne regarde pas , 19th century Au nom du ciel, Théodore ne regarde pas ...

Souvenirs. Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

He Falls Head Foremost Into the Abyss, plate 17 of 24. Odilon Redon; French, 1840-1916. Date: 1896. Dimensions: 279 × 214 mm (image); 315 × 250 mm (sheet). Lithograph in black on light gray loose chine. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Rijn, Rembrandt van, Vliet, Jan Georg van, H. Hieronymus in prayer, verso - stamped, print, prints, height 358 mm, width 288 mm, Northern Netherlands, 1610 - 1668, print maker, printmaker, 1631 - 1631, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1606-07-15 - 1669-10-08

ILUSTRACION DEL QUIJOTE - SIGLO XIX - AGUADA. Author: JOSÉ JIMÉNEZ ARANDA. Location: PRIVATE COLLECTION. DON QUIJOTE.

Etching and aquatint by Francisco Goya from 'The Disasters of War', titled 'It Will Be Myself', created 1810-1812, first edition 1863, showing personal suffering in war.

The Tares (The Parables of Our Lord and Saviour Jesus Christ) 1864 After Sir John Everett Millais British It took Millais seven years to design twenty images inspired by New Testament Parables for the Dalziel Brothers, and the resulting prints are considered pinnacles of wood engraved illustration. The artist wrote to his publishers, "I can do ordinary drawings as quickly as most men, but these designs can scarcely be regarded in the same lighteach Parable I illustrate perhaps a dozen times before I fix [the image." After completing a design, Millais transferred it to a woodblock coated with "Chinese" white for skilled engravers to carve. Finally, he reviewed proofs, and final adjustments were made before the final printing.The Parable of the Wheat and the Tares (Matthew 13: 24-30) records how "The kingdom of heaven is like a man who sowed good seed in his field; but...his enemy came and sowed tares (weeds) among the wheat." Pre-Raphaelite ideals shaped Millais's combination of detai

'Well-Known Folly' from the 'Disparates' (Follies / Irrationalities, Plate A) ca. 1815-19 (published before 1877) Goya (Francisco de Goya y Lucientes) Spanish One of the four additonal plates prepared for the set but not included in the posthumous first edition published by the Academia de San Fernando in Madrid in 1864 under the title 'Los Proverbios',. 'Well-Known Folly' from the 'Disparates' (Follies / Irrationalities, Plate A) 333843

Francisco Goya (1746-1828). Caprices. Plaque 48. Big gusts. Prado Museum. Madrid.

Lazio Rieti Rieti S. Agostino3. Hutzel, Max 1960-1990 Medieval: Architecture, sculpture, painting. The church dates from the 13th century, and still possesses two gothic portals. The main portal, of the 14th century, contains a semicircular tympanum within which is a fresco of the Madonna and Child with S. Augustine and S. Nicholas of Bari, a work of the Sienese school from 1354. Above the lunette in the gable is a relief of the Lamb of God. The other medieval portal on one of the transept arms is less elaborate than the main portal, consisting of double-arcaded windows and a central round window above. Post-medieval: Architecture, sculpture, painting. The interior of the structure dates from the Baroque period (end 17th century). In a left side chapel is a cycle of frescoes dating from the 16th century, depicting Christ blessing. In a right side chapel is a cycle of scenes from the life of S. Augustine, dating from the 17th century. Above the altar of the left transept arm, is a paint

You can't look at /One Cant Look; Board No. 26 from: The disasters of war The Disasters of War, ed. II, 1892 Goya, Francisco de (1746 1828)

Prospettiva della scala della conserva d'acqua de' già detti alloggiamenti, accennati in pianta nella Tav. XIII con la lett. G. , Archaeological sites, Amphitheaters, Reservoirs, Stairways. The Antonio Cardinal Tosti Collection

Sunday in Paris Made 1887 France. Lithograph in black, with scraping on stone, on cream wove paper . Paul Signac

Correction (Correccion) Francisco de Goya y Lucientes (Spanish, 1746-1828). Correction (Correccion), 1797-1798. Etching and aquatint on laid paper, Sheet: 11 7/8 x 7 15/16 in. (30.2 x 20.2 cm). European Art 1797-1798

Rijn, Rembrandt van, The Descent from the Cross by Torchlight, verso lower left - stamped, print, prints, Rembrandt. f 1654, lower left, height 205 mm, width 162 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1654 - 1654, third quarter 17th century, Oriental paper, etching, drypoint, dry needle, plate tone, Work conception, after own design by

Francisco de Goya (Spanish, 1746-1828). Cruel Tale of Woe! (Cruel Lástima!), 1810-1815, printed 1863. From The Disasters of War (Los Desastres de la Guerra). Etching and aquatint.

IMAGE ACCOMPANYING THE LAW AND THE LADY

Lazio Roma Rome S. Bernardino4. Hutzel, Max 1960-1990 Post-medieval: 17th century architecture (1625), paintings on canvas, fresco paintings, church furnishings German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Odilon Redon, Et l'homme parut, interrogeant le sol d'ou il sort et qui l'attire, il se fraya la voie vers, 1883 Et l'homme parut, interrogeant le sol d'ou il sort et qui l'attire, il se fraya la voie vers (And Man appeared; questioning theearth from which he emerged and which attracts hi m, he made his way toward somber brightness)

'Funereal Folly' from the 'Disparates' (Follies / Irrationalities) ca. 1815-19 (private printing ca.1854) Goya (Francisco de Goya y Lucientes) Spanish From the private printing c. 1854 before the plates were cleaned. 'Funereal Folly' from the 'Disparates' (Follies / Irrationalities) 333961

Umbria Terni Narni S. Giovenale, Cathedral46. Hutzel, Max 1960-1990 Medieval: Architectural sculpture, cosmati pavement, wall painting, mosaic (12th century). Post-medieval: 1982 & 1986 photos Architecture, architectural sculpture (17th century); painting, frescoes (17-18th century); sculpture, tombstones (16-18th century); metalwork, processional cross, candlestick, reliquary, chalice (16-17th century) General Notes: Site comprises two separate photo campaigns. Bibliographic material sent, now in Center Library German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province,

Bobyshov, Mikhail Pavlovich (1885-1964) State Museum of History, Architecture and Art, Rybinsk 1917 26x22,7 Pen, brush, ink, white colour on paper Russian End of 19th - Early 20th cen. Russia History

The Fugitives. Dated: 1916/1917. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: Ernst Barlach.

Albert Besnard, The Dancer of Tanjore (La bayadère de Tanjore), 1914 The Dancer of Tanjore (La bayadère de Tanjore)

Le Blon, Jacob Christof, Admiral, Jan l', Anatomical study of a human heart, verso - stamped, print, prints, height 203 mm, width 220 mm, Noord-Nederlands, 1699-01-10 - 1773-06-02, print maker, printmaker, 1700 - 1750, paper, papier, mezzotint, etching, etchings, 1667 - 1741-05-16, prentmaker

Zeuthen, Ernst, work, Birth of Christ, according to Giotto, woodcut, graphics, 40.5 cm x 39, 5 cm

Eyre Expedition of 1840-1841 to explore South West Australia. Discovery of one of expediton murdered by Aborigines.

Aquatint by Francisco Goya from La Tauromáquia, showing Martincho's recklessness in Zaragoza Square during a bullfight, created before 1816.

Lazio Roma Sasso S. Croce. Hutzel, Max 1960-1990 Post-medieval: Architecture, sculpture, painting, fresoes. The interior of the church is decorated with trompe-l'oeil architectural niches in which are placed frescoes deicting the Virgin and various saints. Object Notes: 3 prints have extra negatives. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Forge with the White Horse. Donald Shaw MacLaughlan; American, born Canada, 1876-1938. Date: 1900. Dimensions: 150 x 182 mm (image); 155 x 184 mm (sheet). Etching in black on cream laid paper. Origin: United States. Museum: The Chicago Art Institute, USA.

Lazio Viterbo Sutri S. Maria Assunta, Duomo4. Hutzel, Max 1960-1990 Exterior views, views of crypt columns and capitals, and sacristy sculpture (Medieval core collection). Interior views of entry hall, nave, ceiling frescoes, corridor leading to sacristy, sacristy paintings, crypt paintings, and paintings in Cappella di S. Francesco. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Gragrow that the people leads, the sewer is braining his misery. Growds that the people leads: large figure, turned to the right, a small (citizen) figure with a hand televincine (with a hand finely pinching ) wall in the background on which three Standing figures.

Still life with dead hare.

Lazio Viterbo Viterbo Museo Civico58. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Messenger, Charles Haslewood Shannon (Quarrington, Lincolnshire, England, 1863 - 1937)

Les Promesses d'un ténor. Honoré Daumier (France, Marseilles, 1808-1879). France, 1842. Prints; lithographs. Lithograph

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