Dramatic Religious Scenes

Black and white artworks depicting biblical or mythological themes. Features expressive figures in poignant poses, conveying deep emotional and spiritual narratives.

Dream of Aeneas; Salvator Rosa (Italian, 1615 - 1673); Italy; about 1663; Black and white chalk; 30 x 22.4 cm (11 13,16 x 8 13,16 in.)

Wszyscy Święci w MNK John, Friedrich (1769 1843), signed by Fugger and engraved by John, Füger, Heinrich (1751 1818)

Dream of Aeneas; Salvator Rosa (Italian, 1615 - 1673); Italy; about 1663; Black and white chalk; 30 x 22.4 cm (11 13,16 x 8 13,16 in.)

Engel points Hagar de Waterbron, Jean Honoré Fragonard, After Giovanni Benedetto Castiglione, 1763 - 1764 print Hagar sitting on the floor, next to her is Ismael. She looks up at an angel who will show her a water source. paper etching an angel appears and reveals a well of water to Hagar

Hermit Saint in the Desert 1752-1806 France. The sole Boucher composition to be etched by Fragonard, this work is known to survive in only seven proofs. Possibly depicting St. Onuphrius of Egypt, a hermit who lived around 400 A.D., Boucherís original drawing is now in the National Gallery of Canada, Ottawa. Since Fragonard made most of his twenty-four etchings during his voyages in Italy (1756-61 and 1773-74), this work is unusual for its early date and French inspiration.. Etching on ivory laid paper . Jean Honoré Fragonard

Quien lo creyera!/Who would have thought it!; board No. 62 from: Los Caprichos” Caprices, ed.II, Madrid ca. 1855 Goya, Francisco de (1746 1828)

Pandora; Lipinsky, Sigmund (1873-1940); 1911 (1911-00-00-1911-00-00);Art Nouveau (style), Episcopo, Umbaldo and Donatella - collection, Lipinsky, Sigmund (1873-1940), Lipinsky, Sigmund (1873-1940) - collections, Pandora, Pandora (mitol.), Partage plus, acts, female acts, gift ( Protency), German graphics, Italian graphics, mythology, modernism (style), German (culture), landscapes, symbolism (style), Italian (culture)

Sater at a naked sleeping nymph. .

Jupiter in Callisto, Jacob Lois, 1643 print Callisto is almost completely naked in a forest against a hill with a bow and arrow case next to her. In the background, Jupiter, seated on his eagle, is approaching. paper etching Jupiter, in the guise of Diana, and Callisto. homosexual love - CC - homosexual love between women: lesbianism

Fighting tritons on the water, Salvator Rosa, c. 1660 - c. 1661 print Italy paper etching triton(s). fighting

Le triomphe de la Mort: Les bouches inutiles , Death, Victims, Crying, Alphonse Legros (1837-1911)

Feder and laved ink drawing with white highlights on brown paper by Agostino Ciampelli depicting the Baptism of Christ.

Netherlands, Corinth, Lovis, Germany, Die Hexen, Group of women, one naked and the other holding up a cloth, verso lower left - stamped, print, prints, height 248 mm, width 347 mm, 1858 - 1925, print maker, printmaker, 1920 - 1920, paper, papier, drypoint, dry needle

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), game of fables. Pan and Syrinx. Thirty-first number of a suite of 52 pieces. (A. de Vesme 523; Dutuit 116) (Main title), 1644. Etch. Petit Palais, Museum of Fine Arts of the City of Paris.

There It Goes (Allá vá eso) Francisco de Goya y Lucientes (Spanish, 1746-1828). There It Goes (Allá vá eso), 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

Annunciatie, Parmigianino, 1524 - 1540 print Mary, kneeling at a table, looks up her shoulder up at the Holy Spirit. paper etching Mary conceiving Christ (the angel not present)

Umbria Terni Terni S. Lorenzo. Hutzel, Max 1960-1990 Exterior views of a restored romanesque church include details of the apse and renaissance portal. In the Hutzel collection are views of two paintings, the Martyrdom of St. Blaise and the Baptism of Christ, as well as a fresco fragment of the Nativity by Ottaviano Nelli. Interior views can be seen in the negatives (under NNP); they include a view of a cippus and a stone of some relevance. Object Notes: Hutzel photo campaign date: October 5, 1982 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 com

Vesper, or The Evening Star. From the portfolio: The Work of E. Burne-Jones., 1871, Great Britain, by Edward Burne-Jones, The Berlin Photographic Company.

Adoration by the shepherds, Biblical scenes (series title), Historia del Testamento Vecchio / Dipinta in Roma nel Vaticano da Raffaelle di Urbin (...) (series title), Giovanni Lanfranco (mentioned on object), Italy, 1607, paper, etching, h 130 mm × w 176 mm

Honoré Daumier (French, 1808 - 1879), La Femme a barbe, 1867, lithograph

Fight between Tritons with Nereids on their backs, Andrea Mantegna, 1473 - 1477 print paper engraving triton(s). Nereids, daughters of Nereus; sea-nymphs. non-combatants on the battle-scene

Etching by Pierre Etienne Moitte, created in 1740, depicting the judgment of Paris with figures including Paris and the three goddesses from classical mythology.

Perseus and Andromeda. Dated: 1865. Dimensions: overall: 31.9 x 23.9 cm (12 9/16 x 9 7/16 in.). Medium: etching with drypoint on laid paper. Museum: National Gallery of Art, Washington DC. Author: François-Nicolas Chifflart.

Le triomphe de la Mort: Les bouches inutiles , Victims, Alphonse Legros (1837-1911)

Le génie de l'air , Fictitious characters, Schumann, Robert, 1810-1856. Manfred. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Danses , Dancers. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

The despair of Venus over the dead body of Adonis West, Benjamin, 1738-1820. 1803 - 1811. still image. Reproductive prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Venus (Roman deity), Cupids, Nudes, Grief, Mythology, Greek, Aphrodite (Greek deity), Animals in art, Mythology, Roman, Adonis (Greek deity)

Flame in the form of a woman, surrounded by men with wings burning and crashing, Marcel Roux, 1909 print paper etching / drypoint flame. insects: moth (+ dying animal; death of animal; dead animal). violent death ~ fire

Liberation of Petrus from prison, Giovanni Marco Pitteri, After Jusepe de Ribera, 1712 - 1786 print The sleeping Peter is awakened by an angel who comes to free him from prison. Venice paper engraving an angel appears, summoning Peter to wake up ~ Peter in prison

Le triomphe de la Mort: Les bouches inutiles , Victims, Alphonse Legros (1837-1911)

Moses in the bullrushes, 1799, by Sir Robert Porter. Gift of Archdeacon F.H.D. Smythe, 1957.

Nymphs and Satyrs.

Witches, after a painting by Hans Baldung, ca 1510, Historical, digitally restored reproduction from an 18th or 19th century original.

Entombment, Peter Paul Rubens, 1615 - 1617, draughtsman: Peter Paul Rubens, draughtsman: Anthony van Dyck, (rejected attribution), 1615 - 1617, paper, pen, brush, h 222 mm × w 153 mm

The Reunion of the Soul & the Body, from "The Grave," a Poem by Robert Blair March 1, 1813 After William Blake British. The Reunion of the Soul & the Body, from "The Grave," a Poem by Robert Blair 383678 Artist: Luigi Schiavonetti, Italian, Bassano del Grappa 17651810 London, Artist: After William Blake, British, London 17571827 London, Publisher: Rudolph Ackermann, London, The Reunion of the Soul & the Body, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 9 3/8 x 6 15/16 in. (23.8 x 17.6 cm) sheet: 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm). The Metropolitan Museum of Art, New York. Harris Brisbane Dick Fund, 1917 (17.3.2400)

Pan and Cupid Flaminio Torre (Torri) Italian After Agostino Carracci Italian 1640-60 View more. Pan and Cupid. Flaminio Torre (Torri) (Italian, Bologna 1620-1661 Modena). 1640-60. Etching. Prints

Design for a Decorated Console with Two Slaves on Top of an Eagle 1762-1844 Giuseppe Bernardino Bison Italian. Design for a Decorated Console with Two Slaves on Top of an Eagle 344547

Etching by Rudolf Jettmar from 1903 titled 'Sunrise', using roulette, aquatint, pointier manner, and cold needle techniques, illustrating a sunrise scene with tonal variation and textured lines.

Night, Battista Franco (attributed to), after Michelangelo, c. 1550 - c. 1570 print Sculpture of the night, a lying sleeping naked woman, with the right leg raised under which there is an owl. A mask under the arm. A sleeping child at her feet. To the image of Michelangelo of ca. 1526-1531 for the Giuliano burial monument de 'Medici in the San Lorenzo (Sint-Laurensbasiliek) in Florence. paper engraving piece of sculpture, reproduction of a piece of sculpture. personification of the night, 'Nox'; 'Notte', 'Carro della notte', 'Serenití della notte' (Ripa). sleeping; unconsciousness. owls Sint-Lower Basilica

Lazio Viterbo Viterbo S. Lorenzo, Cathedral4. Hutzel, Max 1960-1990 Views of 16th c. facade, with detail views of portal, windows, campanile (attached). Interior views of cupola, baptistery, sculpture, chapels, tabernacle. Many views of paintings and apse frescoes. Nave views in negatives only. Object Notes: A composite view of the exterior in found in the Italy Oversize box in the Medieval Core Collection. Hutzel views (H-230) MED and (H-231) MED General Notes: Views 118 to 184, processed by previous cataloguer, have no matching prints, though negative jackets indicate they should. All prints have been renumbered. 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,

Venice, Vittoria, Alessandro, Italy, Scolari, Giuseppe, Saint Jerome in the Wilderness, verso - stamped, Saint Jerome holding a crucifix, a book and a stone. Beside him lie a lion, an hourglass and a skull., print, engraving, prints, engravings, height 536 mm, width 372 mm, Italian, print maker, printmaker, 1550 - 1600, third quarter 16th century, fourth quarter 16th century, paper, papier, woodcut, 1525 - 1608-05-27, after an image by

Dante and Virgil Descending intoHell. Engraver: Aegidius Sadeler II, Flemish, 1570-1629 After: Jacopo Ligozzi, Italian, 1547-1627

Jonah spewed by De Vis, Wallerant Vaillant, after Pieter Lastman, 1658 - 1677 print After surviving three days and nights in the belly of the fish, the fish spits Jonah on the land. paper after a three-day sojourn in the belly of the monster Jonah is cast on dry land; Jonah may be shown nude and bald-headed

First Scene of The Rhinegold Made 1876 France. The Rhinegold is the first of four operas that form Richard Wagnerís operatic cycle Ring of the Nibelung. In this interpretation of the operaís first scene, three Rhine maidens gracefully dive through the waterís currents as they protect their treasure, the gold of the River Rhine. The figure of Alberich, who greedily schemes to steal the Rhine gold, appears ominously in the lower-left corner of the composition.. Lithograph in black with scraping on stone on greyish-ivory china paper laid down on thick cream wove paper . Henri Fantin-Latour

A 1907 lithograph by Max Slevogt depicting Achill intimidating the Trojans, showing figure gestures, expressions, and spatial composition.

Diana on Hunting, Pierre Brebiette, 1608 - 1650 print paper etching Diana hunting with her nymphs. shooting with bow and arrow, archery (~ games of skill)

Umbria Terni Foce Church2. Hutzel, Max 1960-1990 Medieval: Architecture & architectural sculpture. Facade, nave, portals, portico, Evangelist symbols, capitals. Post-medieval: Architecture & architectural sculpture. Interior views, 17th century restoration. Includes cabinets, 17th century paintings, 13th century frescoes, 15th century holy water font 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.

Venice, Carpioni, Giulio (I), The four elements, Cybele with Cupid and animals, Earth, verso - stamped, Cybele, mistress of all nature, sits under a tree and looks at Cupid who arrives with a burning torch. On the left are a dog and a deer. The representation represents the element earth., print, prent, prints, prenten, height 105 mm, width 161 mm, Italian, 1613 - 1679, print maker, prentmaker, 1623 - 1679, paper, papier, etching, etsen

"Ink and feather drawing by Franz Rumpler showing an allegorical representation, focusing on symbolic figures, gestures, and composition."

Francisco de Goya (Spanish, 1746-1828). Si amanece; nos Vamos. (When day breaks we will be off.), 1796-1797. From Los Caprichos, no. 71. Etching, burnished aquatint, and burin on cream laid paper. Plate: 200 mm x 150 mm (7.87 in. x 5.91 in.).

William Blake, The Circle of the Thieves; Agnolo Brunelleschi Attacked by a Six Footed Serpent, 1827 The Circle of the Thieves; Agnolo Brunelleschi Attacked by a Six-Footed Serpent

Men and women in a cave, Johannes Josephus Aarts, 1881 - 1934 print A woman kneels with a standing man with beard and crown. Two more kneeling men on the left, one of whom bends over the other. Three standing figures in the background, two of which are with a spear. paper crown (symbol of sovereignty). cave, grotto. kneeling figure

Battle of the Sea Gods (right portion of frieze) before 1481 Andrea Mantegna Italian An artist who was profoundly interested in the world of classical antiquity, Mantegna was also one of the first Italian painters to use engraving as a medium for his original designs. In this engraving, the right half of a two-part frieze, the artist's point of departure is a sarcophagus like the one etched by Mercati at left. From such a source, Mantegna took the sea centaurs with Nereids on their backs and the Triton blowing his horn. Yet Mantegna added to the mix the violence of ancient battle sarcophagi and the muscular physique of the famous Horse Tamer statues on the Quirinal Hill in Rome to create a work of great originality and power. Among the many artists who admired this engraving was Albrecht Dürer, who in 1494 produced a drawing of this print that was one of the starting points for his marvelous Sea Monster.. Battle of the Sea Gods (right portion of frieze) 350965

Prudentia, Pietro del Po, After Domenichino, 1620 - 1692 print A pendentive with the personification of the Cardinal Virtue Prudentia (caution) with a mirror, a winged figure with a passer and hourglass and putti with a hose. print maker: Italyafter drawing by: Italyafter painting by: Romepublisher: RomeVaticaanstadItaly paper etching / engraving Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues

Albrecht Dürer (German, 1471-1528), The Sudarium Held by One Angel, 1516, etching

L'Education d'Achille. Honoré Daumier (France, Marseilles, 1808-1879). France, 1842. Prints; lithographs. Lithograph

Lazio Viterbo Viterbo S. Lorenzo, Cathedral33. Hutzel, Max 1960-1990 Views of 16th c. facade, with detail views of portal, windows, campanile (attached). Interior views of cupola, baptistery, sculpture, chapels, tabernacle. Many views of paintings and apse frescoes. Nave views in negatives only. Object Notes: A composite view of the exterior in found in the Italy Oversize box in the Medieval Core Collection. Hutzel views (H-230) MED and (H-231) MED General Notes: Views 118 to 184, processed by previous cataloguer, have no matching prints, though negative jackets indicate they should. All prints have been renumbered. 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

Copper engraving by Jan Witdoeck depicting the grave of Christ, produced between 1635 and 1650, showing Christ in a tomb with surrounding figures.

Le triomphe de la Mort: Les bouches inutiles , Victims, Alphonse Legros (1837-1911)

Cover for Eaux Fortes Nouvelles 1879 François-Nicolas Chifflart. Cover for Eaux Fortes Nouvelles. Eaux Fortes Nouvelles. François-Nicolas Chifflart (French, Saint-Omer 1825-1901 Paris). 1879. Etching. Prints

The Virgin sits beside a table, supporting her right arm the child, who stands in her lap, looking at the bowl from which the Virgin takes the food. The child wears a bracelet of beads on his left wrist. Two cherubim look on. Date: 1820-1850. Brush and dark brown watercolor on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Parsifal, Act II: The Evocation of Kundry, Fantin-Latour, Henri (1836-1904)

The sky blue life. Sterner, Albert, 1863-1946. 1934. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The Dream of Aeneas. Salvator Rosa (Italy, Naples, 1615-1673). Italy, circa 1663-1664. Prints; etchings. Etching

Isabella at the table at Karel VI, Jacob Joseph Eeckhout, 1803 - 1861 print Isabella is sitting at Karel VI at the table. Behind the table is a figure that symbolizes madness. paper. etching / drypoint king. queen

Emile Bernard (1868-1941). Following original etchings, in 1st state on Japan, for "the end of Satan. First state of etchings. N ° 16." While we loved him, the eunuch his minister sang in a voice Sweet at the bottom of the sinister wood ". Eau-tie and aquatinte. 1935. Paris, house of Victor Hugo. 101108-27 Annies thirty 1930 30, aquatinte, drawing, etching, eunuch, man, illustration, male nude, nudite, litterian work, character

Hero a Leander, Frederick Bloemaert, After Abraham Bloemaert, after 1635 - 1670 print Leander swims every night to the other side of the Hellespont to meet his beloved Hero. In a storm night he drowns and is carried away here by Neria. The torch inflamed by Hero can be seen in the background. paper etching (story of) Hero and Leander

Holy Syncletics of Alexandria as a recluse, Anonymous, After Boëtius Adamsz. Bolswert, after Abraham Bloemaert, 1590 - 1662 print paper engraving female saints. anchorite, hermit

"Integer Vitae...", from the series Vom Tode Zweiter Teil 1878, later edition Max Klinger German. "Integer Vitae...", from the series Vom Tode Zweiter Teil 384480

The Great War: the effort and ideal of Great Britain represented in a series of lithographs. The Renaissance of Arts Charles Haslewood Shannon (1863-1937). "The Great War: the effort and ideal of Great Britain represented in a series of lithographs - the Renaissance of Arts". Lithograph in color, 1914-1917. Museum of Fine Arts of the city of Paris, small palace.

Karl Agricola pencil design from around 1800 showing the tomb of Marie Christine with a trusting genius figure accompanied by a lion in the Augustinian Church of Canova.

Manfred and Astarté, 1892. Henri Fantin-Latour (French, 1836-1904). Lithograph;

Saint Francis visited by the Angel, from 'Recueil d'estampes d'après les plus célèbres tableaux de la Galerie Royale de Dresde'. Artist: Jusepe de Ribera (called Lo Spagnoletto) (Spanish, Játiva 1591-1652 Naples); Intermediary draughtsman Pierre Hutin (French, Paris 1720-1763 Moscow); Marco Alvise Pitteri (Italian, Venice 1702-1786 Venice). Dimensions: Sheet: 14 × 16 in. (35.5 × 40.7 cm). Date: 1730-1786. Museum: Metropolitan Museum of Art, New York, USA.

Roman warrior carrying a woman. Draughtsman: Dionys van Nijmegen (possibly). Dating: 1715 - 1798. Measurements: h 317 mm × w 204 mm. Museum: Rijksmuseum, Amsterdam.

John the Baptist preaches in the desert, draughtsman: Mattia Preti, 1661 - 1666, paper, h 258 mm × w 199 mm

Judit with the head of Holofernes, Cornelis Bos, c. 1537 - c. 1555 print Judit is on the left with a sword in one hand and the head of Holofernes in the other, on the right her maid who keeps a bag open. unknown paper engraving Judith and her maidservant put Holofernes' head in a sack

Bacchus, Hans Rottenhammer (I), 1592, Drinking Bacchus, draughtsman: Hans Rottenhammer (I), 1592, prepared paper, brush, h 129 mm × w 88 mm

The Vision of God 1825-26 William Blake British. The Vision of God 383507 Artist: William Blake, British, London 17571827 London, Publisher: Published by William Blake, British, London 17571827 London No. 3 Fountain Court, Strand, The Vision of God, from Illustrations of the Book of Job, 182526, Engraving, plate: 8 9/16 x 6 5/8 in. (21.7 x 16.8 cm) sheet: 16 3/16 x 10 7/8 in. (41.1 x 27.6 cm). The Metropolitan Museum of Art, New York. Gift of Edward Bement, 1917 (17.17.117)

Francisco de Goya (1746-1828). Spanish painter and printmaker. Los Caprichos. Linda Maestra (Cute teacher). Number 68. Aquatint. 1799. Reproduction by M. Segui i Riera.

Jean-Emile BULAND (1857-1938). Two fairies fighting after Picard. Black pencil blurred on paper. Museum of Fine Arts of the City of Paris, Petit Palais.

An etching by Rudolf Jettmar from 1919-1920 titled 'Fields are locked up to paradise', showing symbolic figures and landscape in detailed line work.

Johann Heinrich F�sli (1741-1825); Georg Romney (1734-1802); Perino del Vaga (1501-1547), figure scene in a cave. In the foreground a desperate man by a grave, 1770s

La Gloire , Poets, Fictitious characters. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Jupiter and Callisto, Jacob Lois, 1643.

Letter J in a frame with a representation of the chastity of Joseph as he flight for the woman of Potifar. .

The Proverbs: The Horse-Abductor, 1864. Francisco de Goya (Spanish, 1746-1828). Etching and aquatint;

Maléfice , Magicians, Supernatural practices. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Triumph of Galatea, Felice Giani, Italian, 1758-1823, Pen and brown ink, traces of black chalk on white laid paper; framing lines in black chalk, Galatea, riding a pair of dolphins and accompanied by sea gods, emerges from the water. Neptune is beside her upon the waves as she sprays milk from her breast., Italy, 1780-90, figures, Drawing, Drawing

Tale-Bearers - Blasts of Wind, plate 48 from Los Caprichos. Francisco José de Goya y Lucientes; Spanish, 1746-1828. Date: 1797-1799. Dimensions: 190 × 129 mm (image); 206 × 151 mm (plate); 301 × 207 mm (sheet). Etching and aquatint on ivory laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Natuurhistorisch kabinet; Frontispice pour l'almanach.Historico-physique.A cabinet with stuffed animals in showcases and hanging on the ceiling. There are shells on a table in the middle and is an image of a veiled woman. Two angels on the right.

River God with Child 1784-88 Thomas Rowlandson British. River God with Child 407367

The Greek Dance. Artist: Childe Hassam (American, Dorchester, Massachusetts 1859-1935 East Hampton, New York). Dimensions: Plate: 8 3/16 x 9 15/16 in. (20.8 x 25.3 cm)Sheet: 9 7/8 x 12 3/16 in. (25.1 x 30.9 cm). Date: 1916. Museum: Metropolitan Museum of Art, New York, USA.

The Dance, 1893. Jules Chéret (French, 1836-1932), L'Estampe Originale, Album IV. Lithograph printed in colors; sheet: 59.7 x 42.8 cm (23 1/2 x 16 7/8 in.); image: 37 x 22.9 cm (14 9/16 x 9 in.).

Honoré Daumier (French, 1808 - 1879). La FranceProméthée et l'aigle- vautour, 1871. From Actualités. Lithograph on newsprint paper. Image: 227 mm x 189 mm (8.94 in. x 7.44 in.). Second of two states.

Portrait of a woman in thought sunken along the waterfront. Photo-reproduction of a print of C.E. Taurel to the painting by Jozef Israëls

El caballo raptor (The Horse-Abductor), also known as La mujer y el potro, que los dome otro (A Woman and a Horse, Let Someone Else Master Them), from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Program for a Matinée at the Trocadéro. Théophile-Alexandre Steinlen; French, born Switzerland, 1859-1923. Date: 1903. Dimensions: 298 × 217 mm (image); 322 × 241 mm (sheet). Lithograph in black on cream wove paper with program text, verso, in brown-red. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Au Pied du Sinaï, Rejected Cover. Henri de Toulouse-Lautrec; French, 1864-1901. Date: 1897. Dimensions: 261 × 418 mm (image); 291 × 526 mm (sheet). Lithograph on thick gray-tan Japan wove paper. Origin: France. Museum: The Chicago Art Institute, USA.

A Nightmare. Melchior Bocksberger; German, c. 1530/35-1587. Date: 1550-1587. Dimensions: 209 × 364 mm. Brush and white gouache on cream laid paper prepared with a black wash, laid down onto a partial ivory laid paper mount. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

Tale-Bearers - Blasts of Wind, plate 48 from Los Caprichos 1797-1799 Spain. Published in book form in 1799, Goyaís Los caprichos (caprices) presents a dark commentary on the moral, social, and religious ills that plagued late 18th-century Spain. One of Goyaís best-known publications, the series of 80 etchings considers themes of sexuality, violence, superstition, and the fantastical nature of dreams and nightmares. Many of the prints in Los caprichos feature hordes of monstrous demons, ranging from winged owl-like creates to demonic cats and bats, as depicted in Tale-Bearers. This prints shows a bybrid bat-like figure riding a flying cat, tormenting the three monks below. The Spanish word soplÛn in the printís title can mean both ìgust of windî and ìtattletaleî or ìgossip.î. Etching and aquatint on ivory laid paper . Francisco José de Goya y Lucientes

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