Depictions of Everyday Life

Prints illustrating scenes of human figures engaged in daily activities, highlighting interactions, labor, and intimate moments in a vintage style.

Francisco de Goya (Spanish, 1746-1828). Mucho hay que chupar. (There is plenty to suck.), 1796-1797. From Los Caprichos, no. 45. Etching and burnished aquatint. Plate: 201 mm x 150 mm (7.91 in. x 5.91 in.).

Man with children for a woman in a window, sauveur legros (attributed to), 1764 - 1834 print paper etching human figure at (open) window, seen from outside

Two drunk men in a window opening, Cornelis Dusart, 1685 print paper etching drinking

Dijkwerker, Johannes Josephus Aarts, 1881 - 1934 print A man in work clothes puts an elongated tool under a square object. In the background water, a dike and a man with a hat. paper dikes, levee. working class, labourers

Andreas Flinch (1813-1872); Johan Thomas Lundbye (1818-1848), Nissen in Tirup feeds the white mare, (1842)

Michał Elwiro Andriolli, `Złotowłosa dziewica` Gold-Haired Virgin, from the story by K. W. Wójcicki `Trzej Bracia` 1880; from: `Kłosy` 1881 no. 820, p. 169. Gorazdowski, Edward (1843-1901), engraver, Andriolli, Michał Elwiro (1836-1893), painter

Sacred Olympias van Constantinople, Anonymous, After Boëtius Adamsz. Bolswert, after Abraham Bloemaert, 1590 - 1662 print paper engraving female saints. anchorite, hermit

. In a departure of a prison, a cipier sticks a key in the door lock for him, while he points his gaze on the spectator. The cipier has a jug in his left hand and a bread under his arm, next door is a lanter.

Rutgers, Johannes, Elsheimer, Adam, Rome, Goudt, Hendrick, Mocking of Ceres, verso lower left - stamped, The goddess Ceres, looking for her daughter Proserpina, rests at a hut. She drinks from a jar, given to her by an old woman. A small naked boy next to the old woman points at Ceres and laughs at her. The print has a Latin caption. After a painting by Adam Elsheimer., print, prent, prints, prenten, width 246 mm, height, 320 mm, 1585 - 1648, print maker, printmaker, 1610 - 1610, paper, papier, engraving, engraving (printing process), 1578-03-18 - 1610-12-11, after, after painting by, 1589 - 1625, writer

Francisco de Goya (Spanish, 1746-1828). Mucho hay que chupar. (There is plenty to suck.), 1796-1797. From Los Caprichos, no. 45. Etching and burnished aquatint. Plate: 201 mm x 150 mm (7.91 in. x 5.91 in.).

Two men and a monster in an office, Johannes Josephus Aarts, 1881 - 1934 print A bearded man in a cloak leans back against a work table. To his right another man kneels. They both look to the left, where a monster with hollow eyes and the body of a snake stops. There are a fallen stool and an open book on the ground. Japanese paper (handmade paper) etching mis-shapen animals; monsters. surrealia, surrealistic representations

- Infamy! Europe does not look more than that to my coffee with milk! / 233 (registered title) | The seat of Paris (title of all)

Qual la descanonan /How they pluck her; board. 21 from: Los Caprichos” Caprices, ed. II, Madrid ca. In 1855. Goya, Francisco de (1746 1828)

Rijn, Rembrandt van, Joseph's coat is shown to Jacob, Joseph's coat brought to Jacob, verso - stamped, print, prints, height 102 mm, width 81 mm, print maker, printmaker, 1633 - 1633, paper, papier, etching, etchings, Work conception, Noord-Nederlands, 1606-07-15 - 1669-10-08

Honoré Daumier, En train de confectionner quelques, 19th century En train de ...confectionner quelques

Alphonse Legros, Fire, 3rd plate (L'incendie) Fire, 3rd plate (L'incendie)

A law clerk has his wig powdered by a hairdresser in a garret. He protect his face with a conical mask and holds a sheet over his shoulders. Lithograph after Carle Vernet from Paul Lacroix' The Eighteenth Century: Its Institutions, Customs, and Costumes, London, 1876.

Design for the title page of the farce The Cheated Cheater. Farce game., draughtsman: Bernard Picart, 1683 - 1733, paper, pen, brush, h 143 mm × w 83 mm

De Wijn is a spotter, Jan van der Bruggen, after Frans van Mieris (I), 1690 - 1693 print A dar-like figure is about to put a piss pot on the head to put a sleeping woman. He sticks out his tongue. There is a fallen wine glass on the table, where the woman has put her head on. There is an owl on the door of the window. Amsterdam (possibly) paper chamber-pot. drunkenness. candle. 'wine is a mocker ...' ~ drunken brawl. proverbs, sayings, etc.

Musicing company, Jan Gillisz. van Vliet, 1634 print In an interior there is a man with a musician group. A man on the back plays a lute, a man plays a flute and a man sings, around a table on which songbooks. Leiden paper etching / engraving hearing, listening (one of the five senses). notation of music. musician(s) accompanying singer(s). musical instruments; group of musical instruments (+ artist at work)

Poems by Alfred Tennyson, D.C.L., Poet Laureate (the 'Moxon Tennyson'), 1857. After: Gabriel Dante Rossetti.. Volume of Tennyson's poems published by Edward Moxon (London, 1857) with wood-engraved illustrations after designs by Hunt, Millais, Rossetti and others.

Honoré Daumier, Le Nouveau polichinelle napolitain, 1855 Le Nouveau polichinelle napolitain

The Dream of Sir Lancelot at the Chapel of the San Graal, 1900 After: Sir Edward Burne-Jones (d.1898) Publisher: Berlin Photographic Company, 19th Century, Paper, Religion, AngelPre-Raphaelite, Animal, Horse, Photographic print, Photogravure, Knight, Male

Untitled Salvator Rosa (Italian, 1615-1673). Untitled. Etching, Sheet: 11 7/8 x 17 9/16 in. (30.2 x 44.6 cm). European Art

Strang, William, 'What shame and pity is it then that such a river...'. Illustration from The Compleat Agler by Izaak Walton and Charles Cotton, 1902, Line Etching, Major Category: Printmaking, 15cm x 11cm

Untitled Salvator Rosa (Italian, 1615-1673). Untitled. Etching, Sheet: 11 7/8 x 17 9/16 in. (30.2 x 44.6 cm). European Art

Heilige Willem van Aquitanië, Jean Couvay, after Claude Vignon, 1632 - 1657 print publisher: ParisFrance paper engraving the Benedictine monk and duke of Aquitaine, William (of Gellone); possible attributes: armour, banner, helmet

To Rise and Fall (Subir y bajar) Francisco de Goya y Lucientes (Spanish, 1746-1828). To Rise and Fall (Subir y bajar), 1797-1798. Etching and aquatint on laid paper, Sheet: 11 7/8 x 8 in. (30.2 x 20.3 cm). The Caprices (Los Caprichos) is a set of eighty etchings created between 1797 and 1798. On view are thirteen examples of the Brooklyn Museums rare “trial proof” set, which is composed of early impressions of a print made by the artist prior to the published edition. In the first part of the series, Goya critiques the characters, institutions, and values of early modern Spanish society; the second focuses on bizarre and macabre imagery. The most famous image, The Sleep of Reason Produces Monsters (El sueño de la razon produce monstruos), conveys a purposeful ambiguity regarding the conflict between Spanish religiosity and Enlightenment thought: sueño may refer both to the sleep or absence of reason, and to the dream of reason (reason unchecked) that produces monsters. This idea reap

Scene from the old history: an old man swears revenge in the corpse of a fallen, Pieter de Josselin de Jong, 1871 - 1906 drawing paper. chalk

Leiden, Vliet, Jan Georg van, Passion of Christ, Resurrection of Christ, verso lower left - stamped, print, prints, height 222 mm, width 169 mm, Northern Netherlands, 1610 - 1668, print maker, printmaker, 1628 - 1637, paper, papier, etching, etchings, engraving, engraving (printing process)

Netherlands, Everdingen, Allaert van, Reinaert the fox, Reinaert the fox steals a capon, with the stolen rooster next to him, runs away from the pastor who gets up from the table with a knife and a candle in his hands. Isengrijn the wolf is hidden in the cupboard., print, prints, height 98 mm, width 122 mm, Noord-Nederlands, 1621-06-18 - 1675-11-08, print maker, printmaker, 1631 - 1675, paper, papier, etching, etsen

Nuremberg, Dürer, Albrecht, Saint Jerome in his study, verso lower right - stamped, Saint Jerome sits in a study writing at a lectern near a curtain. In the foreground lies a lion., print, prints, verso lower left - stamped, height 236 mm, width 161 mm, German, 1471-05-24 - 1528-04-05, print maker, printmaker, 1511 - 1511, first quarter 16th century, paper, woodcut

Francisco de Goya (1746-1828), here they are picked for all feathers, 1797-1798

Reverse copy of the Frontispiece: Gaigne Petit, from Le Cris de Paris (The Cries of Paris), plate 1 18th century Simon Francis Ravenet, the elder French. Reverse copy of the Frontispiece: Gaigne Petit, from Le Cris de Paris (The Cries of Paris), plate 1 413907

Woman Shearing Sheep. Jacques Adrien Lavieille (French, 1818-1862); after Jean François Millet (French, 1814-1875). Date: 1853. Dimensions: 130 × 73 mm (image); 180 × 131 mm (primary support); 257 × 213 mm (secondary support). Wood engraving in black on gray China paper, laid down on ivory wove paper (chine collé). Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Jacques Adrien Lavieille.

GOYA Y LUCIENTES, Francisco de (1746-1828). Bitter to be present. 1810-1812. Plate 13 of 'The Disasters of War'. Etching. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Library.

Study of a Seated Man. Dated: 1895. Dimensions: plate: 29.53 × 21.91 cm (11 5/8 × 8 5/8 in.) sheet: 41.59 × 26.67 cm (16 3/8 × 10 1/2 in.). Medium: transfer lithograph in black on laid paper. Museum: National Gallery of Art, Washington DC. Author: John Singer Sargent.

Lazio Roma Subiaco Monastery of S. Scolastica Monastic church9. Hutzel, Max 1960-1990 Exterior views (in Medieval core collection). Views of 18th c. renovated interior, including nave, altar, ceiling, organ, chapels, paintings, choir, sacristy, refectory. Detail views of 15th c. frescoes in the Grotte di S. Scolastica. 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.

Design illustration for Alexander Cohen's From Anarchy to Monarchy: Two men on the street in the dark. Draughtsman: Leo Gestel. Dating: 1891 - 1941. Measurements: h 189 mm × w 131 mm. Museum: Rijksmuseum, Amsterdam.

Haarlem, Galle, Philips, Six famous women from the Old Testament, Judith and Holofernes, verso - stamped, Judith beheads Holofernes with his own sword. Her servant keeps watch at the tent entrance. Holofernes was sleeping in his bed. His armor lies on the floor in front of the bed., print, prints, diameter 240 mm, Southern Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1569 - 1569, paper, engraving, engraving (printing process), Publication (Event), Publication, publisher

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

The corn cutter, ca. 1700, 1690 - 1700 print The corn cutter. A dancing and singing man with a tamboo stick walled with brushes, in a house looks over a man laughing. In the caption the four -line song that the man sings. Northern Netherlands paper unprofessional or illegal practice, popular medicine

Gaspard de la Nuit. Dated: 1868. Dimensions: image: 5 9/16 x 3 7/16 in. (14.2 x 8.7 cm). Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Félicien Rops.

Sir David Baird discovering the body of Tipu Sultan, John Burnet, 1784-1868, British, after Sir David Wilkie, 1785-1841, British, 1843, Mezzotint, published state, Sheet: 32 x 21in. (81.3 x 53.3cm)

Reverse copy of Chaudronier Chaudronier (Boilermaker Boilermaker), from Le Cris de Paris (The Cries of Paris), plate 2. Artist: After François Boucher (French, Paris 1703-1770 Paris); Simon Francis Ravenet, the elder (French, 1706-1774). Dimensions: Sheet: 10 13/16 x 7 1/2 in. (27.5 x 19 cm) trimmed. Series/Portfolio: Le Cris de Paris. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

In Charne, November 1870, casting shells Auguste Lan�on (1836-1885). A Charonne, November 1870, Casting Shells. Engraving.

St. Jerome inPenitence. Artist: Jan Lievens, Dutch, 1607-1674

Kurdish dances, illustration for the short story In Kurdistan" by Karol Brzozowski. Piotrowski, Antoni (1853-1924), draughtsman, cartoonist

Attila the Hun, Anonymous

Woman to left walking, from behind, 1651 drawing Zwolle prepared paper. ink brush

Ceres and Stellio. Night scene with Ceres and Stellio. Ceres drinks from a bowl and is laughed at by the boy Stellio because she does this too eager. Behind them there is an old woman with a torch and in the doorway a man who decreases his hat.

Saint John Nepomuk is drowned in River Moldau, Giovanni Domenico Tiepolo, 1748 - 1752 print paper etching St. John Nepomuk is thrown into the river Moldau from a bridge

The Sleep of Reason Produces Monsters (El sueño de la razon produce monstruos) Francisco de Goya y Lucientes (Spanish, 1746-1828). The Sleep of Reason Produces Monsters (El sueño de la razon produce monstruos), 1797-1798. Etching and aquatint on laid paper, Sheet: 11 7/8 x 8 in. (30.2 x 20.3 cm). The Caprices (Los Caprichos) is a set of eighty etchings created between 1797 and 1798. On view are thirteen examples of the Brooklyn Museums rare “trial proof” set, which is composed of early impressions of a print made by the artist prior to the published edition. In the first part of the series, Goya critiques the characters, institutions, and values of early modern Spanish society; the second focuses on bizarre and macabre imagery. The most famous image, The Sleep of Reason Produces Monsters (El sueño de la razon produce monstruos), conveys a purposeful ambiguity regarding the conflict between Spanish religiosity and Enlightenment thought: sueño may refer both to the sleep or absence of

Que viene el loco. (Here Comes the Bogey-Man.), pl. 3 from the series Loscaprichos. Artist: Francisco Goya, Spanish, 1746-1828

The Banquet, illustration for Act III, Scene iii, TheTempest. Artist: Edwin Austin Abbey, American, 1852-1911, M.A. (HON.) 1897

Lazio Rieti Rieti Museo Civico8. Hutzel, Max 1960-1990 Some wooden statues, mostly of the Madonna & Child. In most part, paintings, including the Madonna & Child with SS. Domenico. Peter, Paul and Peter Martyr by Lucca di Tomme. There is also a tryptich of the Resurrection, with predella scenes of the Passion, and other Renaissance and Baroque paintings. Owner: Palazzo Comunale Antiquities: Antique statues and busts. Object Notes: Two Hutzel photo campaign dates, one December 22, 1982, the other date is not legible. There are two sets of prints, one with numbers and an "A" set with its own numbers. At this time, the "A" set matches to the negatives we have; however, the negatives are missing for the numbered set. Since the two sets are virtually identical, it would in most cases be possible to find an image in the "A" set that would have a negative. Numbered set: 72 prints; "A" set: 94 prints. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the ea

Pygmalion. Honoré Daumier (France, Marseilles, 1808-1879). France, 1842. Prints; lithographs. Lithograph

The shamefaced one. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching and aquatint

Keying Up: The Court Jester. Dated: c. 1875. Dimensions: image: 152 x 92 mm primary sheet: 235 x 162 mm secondary sheet: 291 x 245 mm. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: William Merritt Chase.

Plate 11: Bertoldino falling into the fish pond, from "Bertoldo, Bertoldino, and Cacasenno" 1705-15 Giuseppe Maria Crespi. Plate 11: Bertoldino falling into the fish pond, from "Bertoldo, Bertoldino, and Cacasenno". Giuseppe Maria Crespi (Italian, Bologna 1665-1747 Bologna). 1705-15. Etching. Prints

Sitting beggar; Beggars; By t Geeve Bestaet our Leeve. A seated beggar with a high back and a walking stick, to the left.

Honoré Daumier, Plaisanterie que se permettent , 19th century Plaisanterie que se permettent ...

17th century English barber-surgeon operating on a man's head with a lancet. Feeling. Feeling of e'ry sense the best is thus indeed the most distrest. No! man 'tis hell it self to feel instead of girl, the surgeons steel. Possibly from an original print in The merry conceited five senses, Robert Walton, 1661. Copperplate engraving by David Deuchar from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

A girl lies sick and dying in a bedstead. Her husband holds her hand and buries his head in the covers. A dog lies still beside the bed. A crucifix hangs on the wall of the bed., Deathbed of a Loved One, print maker: Karel Frederik Bombled, (mentioned on object), Netherlands, 1832 - 1902, paper, etching, h 223 mm × w 163 mm

Honoré Daumier (French, 1808 - 1879). La chute d'Icare, 1842. From Histoire Ancienne. Lithograph on white wove paper. Image: 256 mm x 206 mm (10.08 in. x 8.11 in.). Third of four states.

The Flight Into Egypt: A Night Piece, Rembrandt van Rijn, 1651 print paper etching / drypoint the flight into Egypt: Mary, Joseph, the child (and sometimes others) on their way; Mary usually riding on an ass

Savery, Salomon, Rijn, Rembrandt van, De barmhartige Samaritaan, The Good Samaritan, verso - stamped, print, prints, height 245 mm, width 201 mm, Noord-Nederlands, 1594 - 1683-10-16, print maker, printmaker, 1633 - 1683, paper, papier, etching, etchings, Work conception, 1606-07-15 - 1669-10-08, after a design by, Publication (Event), Publication, publisher

Achropout / virtue (IT)

Umbria Perugia Spello S. Girolamo2. Hutzel, Max 1960-1990 Exterior views of this church (1474) focus on its cloister and a Renaissance portico of the Ionic order. In the portico are frescoes of S. Girolamo and also of the Stigmatization of St. Francis. The baroque interior (17th century) is overflowing with statues and paintings. The ceiling is frescoed with illusional architecture, wreaths, and a central oval with putti and S. Girolamo. Views focus on Pinturicchio's Marriage of the Virgin and a fresco by Mezzastris of the Madonna and Child with St. Sebastian and St. Roch. Object Notes: Hutzel photo campaign date: September 1983 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, Roman

Marches Macerata Castelsantangelo sul Nera S. Stefano1. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, sculpture Post-medieval: Architecture, architectural sculpture, sculpture, painting, fresco painting 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.

Bruin in the trap

Plate 56 from 'Los Caprichos':To rise and to fall (Subir y bajar.) 1799 Goya (Francisco de Goya y Lucientes) Spanish. Plate 56 from 'Los Caprichos':To rise and to fall (Subir y bajar.) 334183

Alberto Pasini, Abbrutimento (Ricordo di Constantinopoli) (Brutalization (Souvenir of Constantinople)), before 1870 Abbrutimento (Ricordo di Constantinopoli) Brutalization (Souvenir of Constantinople)

Annual, Cornelis Ploos van Amstel, After Cornelis Dusart, 1776 - 1777 print A city announcer with percussion at a tree. People listen in the background. paper etching oral spreading of news, town crier

Séguin, F., Chez Fradin, end of the century hotel, rue Saint Denis. A cellar, 1898 (dummy title), 1898. Pierre Noire Rehaut de Gouache. Carnavalet museum, history of Paris. Men in a cellar

Faust ca. 1652 Rembrandt (Rembrandt van Rijn) Dutch. Faust 359924

Altdorfer, Albrecht, Germany, Hercules kills the Nemean lion, verso bottom center - handwritten, Hercules, sitting on the Nemean lion, pulls open the animal's mouth with his hands., print, prent, prints, prenten, 21, height 44 mm, width 36 mm, 1480 - 1538, print maker, prentmaker, 1506 - 1538, first quarter 16th century, second quarter 16th century, paper, papier, engraving, engraving (printing process), Work conception, after own design by

Bliżej Kultury unknown

Lot and his daughters. .

Fantaisie. Artist: Ker-Xavier Roussel, French, 1867-1944

Emilia-Romagna Ferrara Ferrara S. Antonio in Polsine15. Hutzel, Max 1960-1990 Medieval: Architecture (15th century). Post-medieval: Frescoes (15th century); Baroque interior, choir loft, sculpture (15th century) 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.

And his house is on fire. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching and burnished aquatint

Old Beggar Woman with a Gourd. Rembrandt Harmensz. van Rijn (Netherlands, Leiden, 1606-1669). Holland, c. 1629 (later printing). Prints; etchings. Etching

Paris in the 15th century, illustration for Hunchback of Notre-Dame by Victor Hugo, from L'Illustration, Journal Universel, No 1191, Volume XLVI, December 23, 1865.

Print, Descent from the Cross by Torchlight; Rembrandt Harmensz van Rijn (Dutch, 1606-1669); etching and drypoint on off-white laid paper

Education at Kaarslicht.from Triptych with Allegory on Art Education: Education in Candlelight.

Lazio Latina Fossanova S. Stefano. Hutzel, Max 1960-1990 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.

Hans Nikolaj Hansen (1853-1923), Kirsten Piil, 1902

Interior, Peasant House in Haute-Garonne. Rodolphe Bresdin; French, 1825-1885. Date: 1858. Dimensions: 150 × 111 mm (image); 197 × 128 mm (plate); 344 × 273 mm (sheet). Etching on cream machine-made Japanese paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Jean Valjean and CARIATIDE Emile-Antoine Bayard (1837-1891). "Jean Valjean and the Cariatide". Charcoal, ink and rehaught of white gouache on paper. 1878. Paris, Victor Hugo House.

The Brawl Copy after Adriaen Brouwer Flemish. The Brawl 435808

Alphonse Legros, Egg-sellers, 2nd plate (Les marchandes d'oeufs), French, 1837-1911, etching and drypoint

BURYING THE PET BIRD. AFTER MISS M.E. EDWARDS

Odilon Redon (French, 1840 - 1916). Old Knight (Vieux chevalier), 1896. From L'Album des peintres-gravures. Lithograph on thin grey wove chine collé on heavy wove paper. Image: 298 mm x 233 mm (11.73 in. x 9.17 in.).

Faust. Artist: Rembrandt (Rembrandt van Rijn), Dutch, 1606-1669

Bookplate: Olga könyve. Gara, Arnold (1882-1929), graphic artist

Voila le Moment de te Chantes "Wacht am Rhein". Dated: 1914/1919. Medium: collotype. Museum: National Gallery of Art, Washington DC. Author: JEAN LOUIS FORAIN.

Al Conde Palatino, 1797-1798, Francisco José de Goya y Lucientes, Spanish, 1746-1828, 8 1/2 x 6 in. (21.59 x 15.24 cm) (plate), Etching and aquatint, 18th century

Lazio Latina Cori S. Oliva27. Hutzel, Max 1960-1990 Extensive coverage of exterior and interior including many views of Roman columns; many views of the renaissance frescoes and of the Renaissance cloister. General Notes: There were two sets of prints for this location; they have now been integrated into a single numerical sequence. There 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.

Plate Four from Misery Made 1851 France. The text on this print translates as, ìMisery shows the man who is hungry, those who abuse everything. This ugly contrast puts hatred and envy in his heart, and will make him guilty.î. Lithograph in black on cream China paper, laid down on ivory wove paper (chine collÈ) . Charles Rambert

Mary explores the gardens of Misselthwaite Manor. Date: First published: 1911

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