Figurative Drawings in Chalk

Various sketches offering insights into human figures and interactions, focusing on gestures and architectural backdrops through fine chalk work.

Drawing, Adoration of the Shepherds; Antonio de' Dominici (Italian, ca. 1730-after 1800); Italy; reddish-brown chalk on cream laid paper; 27.8 x 20.5 cm (10 15/16 x 8 1/16 in.)

Chalk drawing by Lucas Stipperger depicting groups of prisoners in a temple, emphasizing figure arrangement and architectural context.

A drawing by Lucas Stipperger from around 1775-1780 showing love pairs on a fountain, executed in graphite pencil and black chalk, highlighting figures and setting.

A graphite pencil drawing by Lucas Stipperger from 1788 depicting a harbor scene.

Polidoro Caldara da Caravaggio's drawing depicts two women and a child, with one woman stretching her arm, executed in feather and chalk, emphasizing gesture, posture, and interaction.

Drawing, Adoration of the Shepherds; Antonio de' Dominici (Italian, ca. 1730-after 1800); Italy; reddish-brown chalk on cream laid paper; 27.8 x 20.5 cm (10 15/16 x 8 1/16 in.)

Chalk and feather drawing by an anonymous artist depicting 'Der Edelmut des Scipio', using lavated technique to render figures and composition.

Esther before Aswerus; Coecke van aelst, Pieter (1502-1550; st.); 1545-1550 (1545-00-00-1550-00-00);Aswerus (Bible), Bible, Library of the church of St. Mary Magdalene (Wrocław - Ante 1865) - collections, Estera (Bible), Hubrig, Ernst Wilhelm von (1712-1787), Hubrig, Ernst Wilhelm von (1712-1787) - collections, Magdalenaea (collection), Schlesisches Museum der Bilden Künste (Wrocław - 1880-1945) - collection, Sebisch, Albrecht von (1685-1748), Sebisch, Albrecht von (1685-1748) - collections, Stadtbibliothek (Wrocław - 1865-1945) - collections, albums "Desseins Originaux", Petit Patron, tapiserie designs, Flemish drawings, biblical scenes, tapiseries

Noël Cochin the Younger drawing of Christ before Pilate, executed with black chalk traces and gray-brown wash on elliptical tailored paper with multiple black borders.

The Continence of Scipio. Artist: Pieter Crijnse Volmarijn (Dutch, 1626-1679). Dimensions: sheet: 12 13/16 x 11 1/4 in. (32.5 x 28.5 cm). Date: 1646-79. Museum: Metropolitan Museum of Art, New York, USA.

The Husband-Confessor. Artist: Jean Honoré Fragonard (French, Grasse 1732-1806 Paris). Dimensions: 8 1/8 x 5 9/16 in. (20.6 x 14.1 cm). Date: ca. 1770.The salacious Tales of Jean de La Fontaine enjoyed great popularity in eighteenth-century France. Fragonard illustrated them in various series and versions over many years. While a few were eventually engraved, his drawings, which perfectly capture the gallantry and humor of the well-known stories, also appealed to collectors. This delicate drawing illustrates one of the famous Tales of Jean de La Fontaine. In a careful technique, emphasizing legibility over spontaneity, Fragonard describes an elegant salon. The knight Artus returns from war to find his wife surrounded by admirers, his expression far from pleased. Museum: Metropolitan Museum of Art, New York, USA.

Matthias and Barnabas in prayer. Draughtsman: anonymous. Intermediary draughtsman: Federico Zuccaro. Dating: 1560 - 1640. Measurements: h 240 mm × w 401 mm. Museum: Rijksmuseum, Amsterdam.

Chalk and lead handle drawing by Franz Xaver Wagenschön showing Diana and Actaeon, emphasizing figures, posture, and mythological narrative.

Adoration of the Shepherds 1699-1783 Francisco Vieira de Mattos (Il Lusitano) Portuguese. Adoration of the Shepherds 337013

The torture of Saint Laurentius, Cristofano Allori (attributed to), after 1616 - 1621 drawing paper. chalk martyrdom, suffering, misfortune, death of St. Laurence

Les Laveuses ou Les Lavandières Souvenirs de Barbizon. Félicien Victor Joseph Rops (Belgium, Namur, 1833-1898). Belgium, 1889. Prints; etchings. Etching

Panthea before Cyrus (verso), 1655-1660. Michel Dorigny (French, 1617-1665). Black chalk; sheet: 20 x 25.7 cm (7 7/8 x 10 1/8 in.).

A drawing by Francesco la Marra depicting the biblical scene of the resolution of Lazarus, composed of seven parts using money and feather.

The Adoration of the Magi ca. 1500 Jacopo de' Barbari Italian. The Adoration of the Magi 372227

A brown ink drawing by an anonymous artist depicting the adjoining of the kings, executed with wash and raster lines, dated around 1600.

Christ Walking on the Water, Peter Following. Domenico Campagnola; Italian, c. 1500-1564. Date: 1545-1552. Dimensions: 218 x 176 mm. Pen and black ink on blue laid paper, laid down on cream laid card, laid down in album. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Oedipus at Colonus, Cursing his Son Polynices 1777 Henry Fuseli Swiss Working as a draftsman in Rome during the 1770s, Fuseli developed a distinctive, Romantic style and became the leader of a forward-looking circle of British and Scandinavian artists and sculptors. Near the end of an eight-year stay, he imagined this archetypal father-son confrontation, taking his subject from Sophocles Oedipus at Colonus-a play that he likely read in the original Greek. The artist presents the blind, dying king, guided by his daughters into the sacred grove of the Temple of Poseidon, near Athens. Meeting Polynices, a son who had earlier exiled his father from Thebes, Oedipus curses him. The frieze-like arrangement demonstrates Fuselis study of classical marbles while the dynamic poses figures betray his admiration for Michelangelo and the Italian Mannerists. The artist returned to this subject three times as a draftsman, and once as a painter, but this recently discovered work appears to be his ear

Gravelot (Hubert-François Bourguignon, dit) (n.1699-03-26-D.1773-03-19), Monsters! This is his reward! Second thought for the illustration of Chapter VI of Bélisaire by Jean-François Marmontel (main title), 1767. Sanguine, pen and black ink on paper. Petit Palais, Museum of Fine Arts of the City of Paris.

Study for the Rape of the Sabines. Circle of Jacopo Zanguidi, called Bertoia; Italian, 1544-1573/74. Date: 1544-1575. Dimensions: 203 x 140 mm (max.). Pen and brown ink over traces of black chalk, on ivory laid paper, edge mounted to ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA. Author: Circle of Jacopo Zanguidi Bertoja.

A pencil sheet by Peter Fendi depicting the Captain of Capharnaum, from the Liechtensteinalbum (Fendi album).

Portion of the Martyrdom of Saint Cecilia 1581-1641 After Domenichino (Domenico Zampieri) Italian. Portion of the Martyrdom of Saint Cecilia 338612

A circa 1520 drawing by an anonymous artist depicting the Adjoining of the Kings with redel traces, spring in brown and gray, and lavished shading on paper.

. Pen and black ink, over graphite, on gray laid paper, incised for transfer, and perimeter mounted on cream laid paper . Hubert François Gravelot

Luigi Quaini (Attributed to) / 'The Virgin and Child with Saints'. XVII century. Black chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Pen drawing by Daniel Gran on lead-handled support depicting a detailed study of the biblical Review of Lazarus scene.

L'Adoration des Bergers (The Adoration of the Shepherds) 1762-63 Jean Jacques Lagrenée French. L'Adoration des Bergers (The Adoration of the Shepherds) 424311

Attributed to Donato Creti, Virgin and Child with Five Saints Virgin and Child with Five Saints

Red chalk drawing of Ulysses disguised as a beggar at Eumaios, with reddish wash, gray and brown spots, depicting the classical scene.

Red chalk drawing by Giulio Carpioni depicting the transformation of the helicases, with white highlights on gray paper.

Albrecht Dürer, The Entombment, 1504 The Entombment

Bust of Diana with Putti and Hunting Attributes, first half 18th century. Jacob de Wit (Dutch, 1695-1754). Pen and brown ink and brush and brown wash over black chalk, heightened with white; framing lines in black and brown ink over graphite; sheet: 29.2 x 15.3 cm (11 1/2 x 6 in.).

Interior with cheerful company around a table, Willem van Herp (I), 1624 - 1677 drawing paper. ink pen / brush prostitution. celebration meal, feast, banquet. private festivities, merry company

Jacob Wilhelm Mechau depicts an allegorical scene featuring Athena and two young figures, drawn with brown brush over pencil, lavated, around 1775.

Zeger Jacob van Helmont drawing of Jacob and Rachel at a fountain, created in red chalk with wash, white highlights, and black chalk on brownish paper in 1723.

Drawing by Sébastien Bourdon depicting the investiture of Petrus Nolascus, executed with pen and brush in brown wash with white highlights, emphasizing figures and ceremonial details.

Catalogue raisonne et figure de ses tableaux, La Galerie Électorale de Düsseldorf, Pigage, Nicolas de, 1723-1796, Red crayon, or pen, ink and watercolor, 1770-1778

Study for a Picture. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 10 x 7-1/8 in. (25.5 x 18.1 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Design for an Overdoor, Piat Joseph Sauvage, French, 1744 - 1818, Pen and ink, brush and bistre wash on paper, Allegory of architecture includes three putti measuring and rendering a capital of a ruined temple., Netherlands, 1785-1790, drawing, drawing

Fire. Artist: François Boucher (French, Paris 1703-1770 Paris). Dimensions: 13 3/4 x 11 5/16 in. (35 x 28.8 cm). Date: ca. 1740. Museum: Metropolitan Museum of Art, New York, USA. Author: Francois Boucher.

The Adoration of the Shepherds mid-17th century Sébastien Bourdon French. The Adoration of the Shepherds 336407

Artist: Leonard Bramer, Dutch, 1596-1674, EcceHomo, Brush and grey ink and grey wash, heightened with white, sheet: 20.9 × 15.5 cm (8 1/4 × 6 1/8in.), Made in The Netherlands, Dutch, 17thcentury, Works on Paper - Drawings andWatercolors

Drawing, Martyrdom of St. Andrew; Francesco Coghetti (Italian, 1804 - 1875); Italy; pen and brown ink, black chalk on cream laid paper, lined; 30.1 x 23.6 cm (11 7/8 x 9 5/16 in.)

Drawing, Zeuxis painting Helen; Jan van der Straet, called Stradanus (Flemish, 1523-1605); Subject: Dante Alighieri (Italian, 1265 - 1321); Netherlands; pen and brown ink, brush and wash on laid paper; 10.4 × 7.9 cm (4 1/8 × 3 1/8 in.)

Tapestry Design with Venus seeking help from Juno, Ceres and Jupiter 1555-65 Giovanni Battista Castello, called Il Bergamasco Italian. Tapestry Design with Venus seeking help from Juno, Ceres and Jupiter 428750

Deposition 1570-1575 Italy. Pen and brown ink with brush and light brown wash, over black chalk, on ivory laid paper, laid down on cream laid board . Luca Cambiaso

Part of The Truimph and Exploits of Furius Camillus Artist's working dates 1530-1563 Italy. Pen and brown ink, with brush and brown wash, over traces of black chalk, on tan laid paper, laid down on ivory laid paper, edge mounted to blue card . Francesco Salviati

Drawing by Antoine Caron depicting the calm during the Flight into Egypt, using stone chalk, coal, and brush with brown laved and white grown on brownish paper.

The Genius of Painting Artist's working dates 1744-1780 France. Charcoal with stumping, erasing, and incising on ivory laid paper . Gabriel Jacques de Saint-Aubin

Ecce Homo. Attributed to Jan Boeckhorst (German, about 1604 - 1668) 1650-1660 In this dramatic biblical scene, the elegantly dressed Pontius Pilate presents the partially nude Jesus to a crowd gathered below. Holding the instruments of the crucifixion, the chaotic mob pushes for Jesuss death sentence. The serene Jesus, shown with his bound hands and downcast head, appears resigned to his fate. Yet the bright halo emanating from his head marks his holy status. Tightly packed figures crammed into the immediate foreground heighten the sense of tension. Painted loosely with the brush, the brown washes are brightened by the white highlights. The generic faces, elongated bodies, dramatic gestures, and strong contrasts of light and dark are typical of Jan Boeckhorsts late style. So too is the use of blue paper and loose application of the brush that may be reflective of the time he spent in Venice. Recto, lower right: "A. Van illeg."

The Raising of the Cross, Leonaert Bramer, 1606 - 1674, draughtsman: Leonaert Bramer, 1606 - 1674, paper, pen, brush, h 347 mm × w 315 mm

Anonymous (Circle of Boscoli, Andrea) / 'Virgin and Child, with the Infant St. John the Baptist, accompanied by three standing saints and a kneeling donor'. Second half of the XVI century. Wash, Pencil, Pencil ground, Grey-brown ink on paper. Museum: Museo del Prado, Madrid, España.

Hubert François Gravelot depicted another scene from Heinrich IV using black pen and brown wash around 1740-1744.

Barbiers, Pieter Bartholomeusz., Netherlands, Veelwaard, Daniël (I), Capture of Pieter Hasselaer, 1573, Interior with the capture of Pieter Dirksz. Hasselaer by Spanish soldiers in his mother's house, August 1573. On the left Kenau Simonsdochter Hasselaer. The moment when Pieter Dirksz. Hasselaer made himself known, when the Spaniards wanted to arrest his younger brother Claes Dirksz. in his place. Representation in contours., print, picture, historical print, prints, pictures, Frederik Muller Historical plates, height 175 mm, width 228 mm, Northern Netherlands, 1766-08-14 - 1851-02-28, print maker, printmaker, 1809 - 1811, first quarter 19th century, paper, etching, etchings, 1772-01-23 - 1837-09-10, intermediary draughtsman

A chalk and feather drawing with lavation depicting the Madonna enthroned with Saints Peter and Paul, mounted flat with colored upper corners.

The ink drawing shows four men unloading bars from a boat while a king and attendants observe, with a city wall visible in the background, executed in feathered lines.

A feather drawing by an anonymous artist depicting Jesus among the scribes, composed from multiple pieces of paper, emphasizing figures and interaction despite damage.

The Lamentation. Artist: circle of Jan de Beer (Netherlandish, Antwerp ca. 1475-1528 Antwerp). Dimensions: 6 x 9 in. (15.3 x 22.9 cm). Date: ca. 1505.This exceptionally fine work exemplifies the early sixteenth-century Antwerp Mannerist drawing style. Possibly by Jan de Beer, one of the greatest practitioners of this school, the drawing depicts the Lamentation, with Christ's body laid out on a linen cloth in the foreground and figures around him expressing various stages of mourning and despair. The Virgin Mary kneels above her son's body in the center of the composition, Saint John the Evangelist stands directly behind her, and Mary Magdalene, with a vase of ointment, kneels at Christ's feet. Characteristic of Antwerp Mannerism are the dramatic gestures and postures, the fluttering draperies, the exotic costumes, and the heightened emotional atmosphere of the scene. Adding to the vibrancy of the composition are the drawing technique-the short, energetic strokes in the hatching, in pa

Depiction of an ancient scene before a ruler, showing figures, gestures, and decorative border, drawn with ink using laved technique.

Drinkers in a Tavern. Artist: Attributed to Adriaen van Ostade (Dutch, Haarlem 1610-1685 Haarlem). Dimensions: sheet: 7 1/2 x 7 3/8 in. (19.1 x 18.7 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Anonymous (Copy Raphael (Raffaello Sanzio)) / 'Group of Elders from St. Paul Preaching at Athens / Caryatid and Studies of a Bull and a Lion'. Early XIX century. Pencil, Grey-brown ink on yellow paper. Museum: Museo del Prado, Madrid, España.

A pencil sketch sheet by Rudolf Weyr showing a variety of figure and object studies, highlighting line, form, and spatial arrangement.

Reproduction of a drawing by Raphaël. Charles Marville (French, 1813 - 1879)

The Mystic Marriage of Saint Catherine and other studies. Date/Period: Ca. 1568 - 1569. Drawing. Pen and brown, brown wash. Height: 306 mm (12.04 in); Width: 199 mm (7.83 in). Author: PAOLO VERONESE.

Jacob Blessing Ephraim and Manasseh, the Sons of Joseph, draughtsman: Jan Victors, (attributed to), draughtsman: Rembrandt van Rijn, (rejected attribution), Amsterdam, c. 1635 - c. 1640, paper, pen, h 107 mm × w 113 mm

Dancing woman for a company. Probably Salome that dances at the feast of Herod. Leaf 33 Recto from a sketchbook with 33 sheets.

The Adoration of the Holy Trinity in the Old Covenant. Artist: Karl Sandtner (German, active Mantua, ca. 1601); After Friedrich Sustris (Netherlandish (possibly born Italy), Venice () ca. 1540-1599 Munich). Dimensions: Sheet: 18 1/4 × 12 3/16 in. (46.4 × 31 cm). Date: 1601. Museum: Metropolitan Museum of Art, New York, USA.

Francisco de Goya y Lucientes / 'Appeals are in vain'. 1812 - 1814. Red chalk on grey laid paper. Museum: Museo del Prado, Madrid, España.

The Departure by Coach 1770-1789 France. Black chalk, and brush and brown wash, with touches of gray wash, on cream laid paper, laid down on cream laid card . Jean Honoré Fragonard

Five putti by a vase with grape vend, Bernhard Schreuder, After Jacob de Wit, 1767 - 1780 print Netherlands paper etching Cupids: 'Amores', 'Amoretti', 'Putti'. Children's Bacchanal

January (one of a series representing the labors of the months). Artist: Jonas Umbach (German, Augsburg 1624-1693 Augsburg). Dimensions: 3 5/16 x 4 3/4 in. (8.3 x 12.1 cm). Date: 1690 or slightly earlier. Museum: Metropolitan Museum of Art, New York, USA.

Sketch for Wall Decoration. Artist: Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550-1580). Dimensions: 9-5/8 x 7-3/8 in. (24.4 x 18.7 cm). Date: ca. 1540-80. Museum: Metropolitan Museum of Art, New York, USA.

A chalk and feather study sheet by Alessandro Maganza showing a saint on a sheepfold and a design of a scourge bound to a stake.

A drawing by Jan Victors showing Lot and his family led by an angel from Sodom, executed with brown pen and brush washes, highlighting figures, gesture, and narrative context.

Drawing, Palazzo Milzetti, Faenza;; Italy; pen and brown ink, brown wash, over black chalk on white laid paper; 18.9 x 13.6 cm (7 7/16 x 5 3/8 in.) matted w/-3454,55,57 Mat: 55.9 x 40.6 cm (22 x 16 in.)

Drawing, Design for a Plate or a Tondo: Soldiers supplicant before a Roman General; Attributed to Taddeo Zuccaro (Italian, 1529 - 1566); Italy; pen and brown ink, brush and brown wash over black chalk on cream-colored laid paper; 14.9 x 15.2 cm (5 7/8 x 6 in. ) irregular

David Teniers the Younger depicts a Roma family in front of a house using graphite pencil on brownish paper, highlighting figures, architecture, and composition, with damage and folding.

Peter Paul Rubens black chalk drawing depicting the Pope with his retinue, including figures and gestures, with white lavations.

Maarten of Heemskerck (1498-1574), Ahasverus Faar, to Han Ikke can Seve, Laest on Men Koeniken, 1563

Four Figures Studies, One of a Standing Archer 1624-63 attributed to Francesco Allegrini Italian. Four Figures Studies, One of a Standing Archer. attributed to Francesco Allegrini (Italian, Cantiano () 1615/20-after 1679 Gubbio ()). 1624-63. Pen and brown ink. Framing lines in pen and brown ink on mount. Drawings

The Finding ofMoses. Artist: Unknown

. .

Rest on the Flight into Egypt n.d. Jean Jacques Lagrenée French. Rest on the Flight into Egypt 337513

The Incredulity of Saint Thomas (recto); Sketches of Figures (verso) Artist's working dates 1614-1665 France. Pen and brown ink, with brush and brown wash, over graphite and traces of red chalk (recto), and graphite (verso), on cream laid paper . Style of Nicolas Poussin

Trompettes, Pages, Esclaves, et Vases que l'on portait pour présent à Mahomet, from Caravanne du Sultan à la Mecque. Joseph Marie Vien; French, 1716-1809. Date: 1748. Dimensions: 198 × 132 mm (image); 207 × 137 mm (plate); 261 × 207 mm (sheet). Etching on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Joseph Marie Vien, I.

A reddish feather drawing by Baldassare Franceschini depicting John the Baptist, Johannes Evangelista, and St. Filippo Neri on clouds within an octagonal border, created before 1639/40.

Rinaldo gets new weapons, Elias van Nijmegen, 1677 - 1755 drawing Design for a painting. paper. ink. watercolor (paint) pen / brush Rinaldo

Study for "Greek Girl Dancing". Dated: c. 1867. Dimensions: overall: 15.6 x 18.8 cm (6 1/8 x 7 3/8 in.). Medium: black chalk heightened with white on blue wove paper. Museum: National Gallery of Art, Washington DC. Author: Lord Leighton Frederic.

The Degradation of Haman before Ahasuerus and Esther. School of Rembrandt van Rijn; Dutch, 1606-1669. Date: 1665-1727. Dimensions: 196 x 168 mm. Pen and brown ink with brush and brown wash on cream laid paper with a watermark. Origin: Holland. Museum: The Chicago Art Institute, Chicago, USA. Author: School of Rembrandt Harmenszoon van Rijn.

The Feast of Belshazzar. Artist: Antonio Gionima (Italian, Venice 1697-1732 Bologna). Dimensions: 11-1/4 x 14-15/16 in. (28.5 x 38.0 cm). Date: 1697-1732.The attribution of this highly modelled drawing to Antonio Gionima was made by Philip Pouncey in 1958. The subject is based on the Book of Daniel (5:1-29), which tells that Belshazzar, the king of Babylon in the 6th century B.C., held a lavish banquet, attended by his courtiers, wives, and concubines. They used the sacred vessels from the Temple of Solomon in Jerusalem to drink and toast pagan gods. Amidst the profanation, a hand appeared writing on the wall mysterious words that the prophet Daniel interpreted for the king to foretell his death and the Fall of Babylon. Inspired by Paolo Veronese's mode of composition, the artist here focused on the theatricality of the banquet scene, omitting the actual portent of the hand writing. The obscure words appear already inscribed at upper right on a building, and with a slight error in spel

Drawing by Antoine Coypel illustrating the Judgment of Solomon, created with reddish and black chalk, with white chalk highlights, around 1699.

Cartoon at Louis XIV and the prosecution of the Protestants in France, 1689. La Belle Constance (the French Protestants) the Court is made by Louis XIV, Jesuits and soldiers. At the group right with King Jacobus II and the queen with the poor child, she cannot find safety. Design for a print.

The Degradation of Haman before Ahasuerus and Esther 1630-1639 Holland. Although many attributions are based on visual observation, technical methods in use since the early 1900s provide material evidence that can supplement what the unassisted eye can register. In other words, investigating a workís material composition and physical structure allows experts to base an attribution on how a work was made in addition to what it looks like. Current forms of analysis include technical imaging like beta radiography, X-ray fluorescence spectroscopy, and hyperspectral photography, as well as examination under strong magnification. Technical analysis of this drawing has found that two distinct campaigns of execution took place at different times and that two different types of ink were used. These findings support a hypothesis that the drawing was started by a member of Rembrandtís workshop and then corrected by Rembrandt or one of the more advanced students under his supervision.. Pen and bro

Early compositional Study for the Figure of Milton and two Designs for Tombstones, 1845 (Recto, Front: Chaucer at the Court of Edward III, Study, 1845) Ford Madox Brown, Verso: On the left is a full length figure of Milton standing with a staff in his right hand and a laurel wreath on his head. On the right two designs for tombstones. Recto: Geoffrey Chaucer stands at the top, on the left, reading from a lectern. On the left John of Gaunt, in armour and being teased by a young boy, stands behind him. Seated on the right with a beard is King Edward III and below him reclining is The Black Prince. At the bottom are various other figures in medieval dress, five in a row on the right with a bishop and a faint figure just below them and seven on the left. The scene is encapsulated by a trefoil arch in brown ink., Art Movement, Pre-Raphaelite, Drawing, Pencil, Sketch, Design, Male, Death, Study

Maria met Kind, anonymous, 1550 - 1649 print Maria sits against a tree and feeds the Christ child. On the right a stable. Italy paper etching Christ-child suckling, or beginning to suckle, e.g. Mary uncovering her breast ~ Madonna-representations. city-view, and landscape with man-made constructions

Herodias at the times of Herod.

of 3