Historic Scenes and Narratives

Drawings depicting dramatic historical or biblical events with dynamic compositions, showcasing figures interacting within rich landscapes.

The Skeletons, from Grotteschi(Grotesques). Artist: Giovanni Battista Piranesi, Italian, 1720-1778

Drawing, Peace Burning Attributes of War; After Francesco Salviati (Italian, 1510 - 1563); Italy; pen and brown ink, brush and white gouache, black chalk on blue paper, varnished and lined; 22.9 x 38.7 cm (9 x 15 1/4 in. ), sheet 27.9 x 44.5 cm (11 x 17 1/2 in.), mount

Loved ones at a cemetery, c. 1660 - c. 1664 drawing Beloved at a cemetery where death leads an old man to his grave. The small Cupido at the top is re -elaborated on a separate leaf that was later attached to the leaf. Zwolle paper. pencil. chalk

Clair-obscur woodcut in three plates depicting Cloelia fleeing, showing figures and action in a historical context, created by Giuseppe Nicola Vicentino around 1539-1545.

Peasants' Dance Outdoors. Artist: Karl Friedrich Wilhelm Richard (German, Hannover ca. 1725-ca. 1770 Hamburg). Dimensions: 6 x 8 7/16 in. (15.3 x 21.5 cm). Date: 1745-70. Museum: Metropolitan Museum of Art, New York, USA.

Men and women at work in a vineyard, Jean Pesne, After Domenico Campagnola, 1666 - 1695 print paper etching vineyard. Aries (zodical sign of March)

The Miraculous Draught of Fishes 1540-50 (republished 1609) Niccolò Vicentino Italian For the attribution of this print to Vicentino, see Naoko Takahatake, 'Niccolò Vicentino's "Miraculous Draught of Fishes"', Print QuarterlyVol. 28, No. 3 (SEPTEMBER 2011), pp. 256-260.. The Miraculous Draught of Fishes. Niccolò Vicentino (Italian, active ca. 1510-ca. 1550). 1540-50 (republished 1609). Chiaroscuro woodcut from three blocks in pale green (state iii/iii). Andrea Andreani (Italian, Mantua 1558/1559-1629). Prints

The Mysteries of the Passion: The Carrying of the Cross, 1631. Jacques Callot (French, 1592-1635). Etching;

The Resurrection. Martin Johann Schmidt (Austrian, 1718-1801). Pen and brush and gray ink;

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

The Baptism of Christ (with Three Angels Attending Him) ca. 1770-90 Giovanni Domenico Tiepolo Italian. The Baptism of Christ (with Three Angels Attending Him). Giovanni Domenico Tiepolo (Italian, Venice 1727-1804 Venice). ca. 1770-90. Pen and brown-gray ink, brown-gray wash. Drawings

The Murder of Archbishop Sharpe. Dated: 1820/1821. Dimensions: sheet: 11.3 x 20.1 cm (4 7/16 x 7 15/16 in.). Medium: pen and brown ink with brown wash over graphite on laid paper. Museum: National Gallery of Art, Washington DC. Author: WILLIAM ALLAN.

Gods watch from the heavens as the Flood engulfs the terrified people. Etching.

Beggar. A man dressed in a jacket with cracks, and walking with the help of stools, stops at a man and two women. In his one hand he has a hat and with his other hand he cites. In the background some houses in a wide landscape.

Adoration of the Magi, ca. 1740. Giovanni Battista Tiepolo (Italian, 1696-1770). Etching;

Collection of Simson by the Philistines, Adam von Bartsch, After Raymond de Lafage, 1782 print paper etching Samson wakes up and finds his hair and strength gone; he is taken prisoner

'Descent from the Cross'. Flanders, Circa 1611. Dimensions: 43,5x38 cm. Museum: State Hermitage, St. Petersburg. Author: PETER PAUL RUBENS.

Putti at play. Artist: Jules-Edmond-Charles Lachaise (French, died 1897); Eugène-Pierre Gourdet (French, born Paris, 1820-1889). Dimensions: image: 5 1/16 x 9 5/16 in. (12.9 x 23.7 cm). Date: second half 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Italy, Fiorentino, Rosso, Bandinelli, Baccio, Veneziano, Agostino, Skeletons, on loose sheet - stamped, A group of starving and emaciated people have gathered around two skeletons. A skeleton lies on the ground. The skull of this skeleton is held and mourned by mourning people. The other skeleton has wings and is holding a book., print, prints, verso - stamped, height 312 mm, width 509 mm, Italian, 1490 - 1536, print maker, printmaker, 1518 - 1518, paper, papier, engraving, engraving (printing process), etching, 1493 - 1560-02-07, intermediary draughtsman, after a drawing by, 1494-03-08 - 1541-11-14

Moses and De Koperen Snake, François Roëttiers (I), 1695 - 1742 print France paper etching the brazen serpent (Numbers 21:4-9)

Drawing by an anonymous artist depicting a mythological scene, executed with reddish and black laved tones.

Langendijk, Dirk, Josi, Christiaan, Fleeing horsemen, verso cardboard - stamped, Various fleeing horsemen. In the foreground an officer with a broken banner on a lance and a tripped horse., calque, prints, engravings, height 168 mm, width 213 mm, Dutch, 1768 - 1828-11, draughtsman, draftsman, 1795 - 1821, tracing paper, chalk, crayon, Northern Netherlands, 1748-03-08 - 1805-12-15, intermediary draughtsman

The Naval Battle of Meloria. Artist: Giovanni David (Italian, Cabella Ligure 1749-1790 Genoa). Dimensions: 13-7/16 x 20-15/16 in. (34.2 x 53.2 cm). Date: 1743-90. Museum: Metropolitan Museum of Art, New York, USA.

The birth of Adonis from the Myrrha altered in a tree.

Pencil drawing by August Xaver Karl von Pettenkofen depicting a farmer with a cart.

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Satyrs Carrying Baskets of Provision for Their Families. Artist: Giovanni Domenico Tiepolo (Italian, Venice 1727-1804 Venice). Dimensions: 7 5/8 x 10 7/8 in. (19.4 x 27.6 cm). Date: ca. 1771-91. Museum: Metropolitan Museum of Art, New York, USA.

A pen and ink drawing by an anonymous artist depicting a battle with riders in a bay, with a sailing ship on the right, emphasizing figures, horses, and maritime setting.

John Hamilton Mortimer, 1740-1779, British, Two Men Fighting Before a Woman, 1771. Pen and black ink; verso: graphite on medium, slightly textured, cream laid paper.

Fighting Horsemen, c. 1565-1566, Luca Cambiaso or his workshop, Italian (Genoa), Italian (Genoa), 1527 - 1585, 9 1/2 x 13 7/8 in. (24.13 x 35.24 cm) (sheet)19 3/4 × 23 3/4 in. (50.17 × 60.33 cm) (outer frame), Pen and brown ink and brown wash over black chalk, Italy, 16th century, The virtuoso draftsman Luca Cambiaso was the leading artist of 16th-century Genoa. He was so prolific that his wife and his servant reportedly stoked the fire with his drawings. Even so, thousands of studies by his hand survive, more than by any other Renaissance artist.

French 19th Century, Circe and Ulysses Circe and Ulysses

The Rest on the Flight into Egypt (with a Truncated Pyramid on the Right) ca. 1770 Giovanni Domenico Tiepolo Italian Jesus turned to the palm and said, "This privilege I give you, O palm tree, that one of your branches be carried away by angels, and planted in the paradise of my Father.. And while he was speaking, behold, an angel of the Lord appeared, and stood upon the palm tree and, taking off one of its branches, flew to heaven with the branch in his hand. Liber de Infantia Salvatoris, 21 Amid winged angels and a characteristic donkey, the Virgin Mary, Joseph, and the Christ Child rest on the flight into Egypt. Escaping persecution and the infanticide decreed by King Herod, the Holy Family pauses briefly between the celebrated palm tree and a truncated pyramid. Giovanni Domenico Tiepolo builds his moving, magisterial drawing using a graded range of tonal washes in combination with areas of untouched paper that suggest volume and illumination.. The Rest on the Flight into Egypt (wi

Reading The Declaration of Independence, 1850., 1850 (Questionable). Engravings

Attributed to Donato Creti, Magdalene Washing the Feet of Christ with Eight Disciples Looking On (recto) Magdalene Washing the Feet of Christ with Eight Disciples Looking On recto

Plate 14 from the 'Disparates': Carnival Folly. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm)Sheet: 13 1/16 × 18 5/8 in. (33.2 × 47.3 cm). Series/Portfolio: Los Disparates (Los Proverbios). Date: ca. 1816-23 (published 1864).From the posthumous first edition published by the Academia de San Fernando in Madrid in 1864 under the title 'Los Proverbios'. Museum: Metropolitan Museum of Art, New York, USA. Author: Goya (Francisco de Goya y Lucientes).

Amsterdam, Schenk, Leonard, Lairesse, Gerard de, unknown, Glauber, Johannes, Biblical, mythological and allegorical representations, Supplication of Saint Roch, verso center bottom - stamped, During an outbreak of the plague, Saint Roch (top right) begs the Virgin Mary for help. In the foreground a group of plague sufferers. The print is part of a series with biblical, mythological and allegorical representations., print, prints, height 341 mm, width 295 mm, 1646 - 1726, print maker, printmaker, 1656 - 1726, paper, etching, Northern Netherlands, 1641 - 1711, intermediary draughtsman, after a drawing by, Publication (Event), Publication, 1696-02-26 - 1767-06-11, publisher

L'Hospice (The Almshouse), from Les Caprices Series A, The Florence Set 1617 Jacques Callot French. L'Hospice (The Almshouse), from Les Caprices Series A, The Florence Set. Les Caprices Series A. Jacques Callot (French, Nancy 1592-1635 Nancy). 1617. Etching. Prints

Death of the Virgin. Rembrandt Harmensz. van Rijn (Netherlands, Leiden, 1606-1669). Holland, 1639 (later printing). Prints; etchings. Etching and drypoint

Charles-Nicolas Cochin (1715-1790). "The jug, illustration for the tales of La Fontaine, around 1743". Drawing. Museum of Fine Arts of the City of Paris, Petit Palais. Cased jug, drawing, fountain, tale illustration, character, hold dagger, couple, scene

The Horse of Somme (Dutuit 49) Karel Dujardin (1622-78). The Horse of Somme (Dutuit 49). Forte, 1652-1660.

Achilles Dragging the Body of Hector (recto); Male Nude (verso). Joseph Parrocel (France, Brignoles, 1646-1704). France, 1700 - 1799. Drawings. Red chalk, brush and black ink, and wash heightened with white (recto); black chalk (verso)

Offering of Abigail. Draughtsman: Rembrandt van Rijn (rejected attribution). Draughtsman: Jan Victors (attributed to). Dating: c. 1635 - c. 1640. Place: Amsterdam. Measurements: h 339 mm × w 288 mm. Museum: Rijksmuseum, Amsterdam.

Battle between the wind trade and the upcoming poverty, 1720, 1720 Cartoon with the battle between Vastennond and Vasten placed in the context of the wind trade of 1720. Battle between two people on chariots pulled by children. Left fasting evening, dressed with kitchen instruments, game and poultry, drinking glasses and jugs. She and her supporters carry references to the action trade. Right fasting, dressed with fish and pretends, refers to the upcoming poverty. In the caption a verse in five columns, printed from a separate plate. Print in the bound first edition (304 B 10) of the great scene of foolishness with cartoons on the wind trade or action trade of 1720. Northern Netherlands paper engraving Cartoon with the battle between Vastennond and Vasten placed in the context of the wind trade of 1720. Battle between two people on chariots pulled by children. Left fasting evening, dressed with kitchen instruments, game and poultry, drinking glasses and jugs. She and her supporters car

The Stag Hunt, 1790s. Giovanni Domenico Tiepolo (Italian, 1727-1804). Pen and brown ink and brush and brown wash, with black chalk; framing lines in brown ink and graphite; sheet: 35.7 x 47.1 cm (14 1/16 x 18 9/16 in.); image: 29.7 x 41.4 cm (11 11/16 x 16 5/16 in.).

Piranesi Giovanni Battista, Groteschi (approx. 1900): View of ancient ruins from the series of »Groteschi«, Pl. 72. Printing on paper, 31.8 x 44.5 cm (including scan edges) Piranesi Giovanni Battista : Groteschi

Brown pen drawing by Pieter Bruegel the Elder from 1565 depicting a spring landscape with trees, water, and natural features.

Charon and the Souls of the Dead, c. 1858. Jean-Baptiste Carpeaux (French, 1827-1875). Pen and brown ink and graphite on antique laid paper (recto), black chalk on antique laid paper (verso); sheet: 16.1 x 22.4 cm (6 5/16 x 8 13/16 in.). This drawing was likely created during time that Jean-Baptiste Carpeaux spent in Rome, where he studied the work of Renaissance masters. Carpeaux was particularly influenced by Michelangelo, especially the Italian sculptors compositions featuring twisted bodies and stacked forms. This drawing is one of several that were created in preparation for a painting—which was never completed—of Charon, responsible for ferrying deceased souls to the world of the dead.

'Fishing in the Rain', c1513-1553. Artist: Augustin Hirschvogel

The conquest of St. Quentin, by Emmanuel Philibert of Savoy, for the Spaniards, Conquest of St. Quentin, draughtsman: Jacopo Palma (il Giovane), 1575 - 1585, prepared paper, pen, brush, h 238 mm × w 180 mm

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

The Submersion of Pharaoh's Army in the Red Sea 1510-1520 Italy. The grand scale of Titianís twelve-sheet woodcut (see 1957.12.1ñ12) mimics history paintings and large wall hangings. The assembled composition would fit only on a massive wall, a use confirmed by the total lack of early impressions. Only this 1549 state is known, printed from woodblocks studded with wormholes, which appear in the image as tiny white dots. The inscription at lower center of The Submersion describes the Israelitesí persecution under the Egyptian pharaoh and his armyís fate when they followed Moses into the Red Sea. The publisher opportunistically refers to the ìgreat and immortal handî of Titian in this legend, though the artist was still very much alive.. Woodcut in black on ivory laid paper . Titian

Drawing, Crocodile Hunt in Egypt; Jan van der Straet, called Stradanus (Flemish, 1523-1605); Netherlands; black chalk, pen and ink, brush and brown wash on laid paper; 10.3 × 13.8 cm (4 1/16 × 5 7/16 in.)

The Descent from the Cross ca. 1720 Gian Antonio Burrini Italian The signature blue and gold mount of this drawing indicates it was owned by the French collector and connoisseur Pierre-Jean Mariette (1694-1774), who also attributed this composition to Burrini in the elegant inscription on the cartouche. According to Mariette's Abécédario Pittorico (Paris, 1851-1853, vol. 1, p. 236), the Metropolitan Museum of Art's drawing was part of a series of twelve studies for paintings on copper executed by Burrini for the "Count C.P.A.," later identified as Pirro (or Pietro) Capacelli Albergati (Bologna 1663-1735 Bologna). In addition to the present drawing, Mariette's group of four included a Birth of the Virgin, now in the Musée du Louvre, Paris (inv. 7067), an Adoration of the Shepherds, and a Presentation in the Temple, both now in the Hessisches Landesmuseum, Darmstadt (AE 1252 and AE 1253, respectively).(Furio Rinaldi). The Descent from the Cross 338253

The Monumental Tablet, from Grotteschi(Grotesques). Artist: Giovanni Battista Piranesi, Italian, 1720-1778

Anonymous / 'Christ among the Doctors'. Early XVIII century. Grey-brown wash, Pencil, Red chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Birth of Adonis, Anonymous, c. 1540 - c. 1580 print France paper etching birth of Adonis: the tree splits open to release the baby; the Naiads take care of him

Farmers are bruun the bear; Reinaert de Vos; Illustrations for Reijntje de Vos. Farmers hit sticks, spears and axes on the briefed bruun de Beer. On the back of the print a German text fragment from the story of Reinaert de Vos.

Five Drunken Villagers and a Woman on a Sleigh, Cornelis Dusart, 1680 - 1695, draughtsman: Cornelis Dusart, 1680 - 1695, paper, pen, brush, h 160 mm × w 186 mm

A workshop drawing attributed to Bernard van Orley depicting Emperor Maximilian concealing a boar in a landscape with trees, executed in brown pen, wash, red-brown design, and black chalk on assembled paper before 1530.

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

Elisha Kirkall, ca. 1682-1742, British, The Death of Adonis, 1723. Mezzotint.

The dance of death: Death, seen on top of a barricade, reveals his true identity to the people. Woodcut after Alfred Rethel, 1848.

Allegory of Fishery: Neptune and Amphitrite. Artist: Gabriel François Doyen (French, Paris 1726-1806 St. Petersburg). Dimensions: 11 5/16 x 8 9/16 in. (28.8 x 21.7 cm). Date: 1768. Museum: Metropolitan Museum of Art, New York, USA. Author: Gabriel Francois Doyen.

Venice, Carpioni, Giulio (I), The four elements, Naiad with water jug and tritons, Water, verso - stamped, A Naiad, a daughter of a river god, sits with a water jug before a tree. In the background on the left, tritons swim in the sea. The representation represents the element water., print, prints, CW, height 107 mm, width 159 mm, Italian, 1613 - 1679, print maker, printmaker, 1623 - 1679, paper, etching

The Stephen, Rembrandt van Rijn, 1635 print paper etching life and acts of Stephen (Acts 6:8 - 8:2)

A Group of Roman Bandits with Their Families and Companions after a Robbery. Artist: Dietrich Wilhelm Lindau (German, Dresden 1799-1862 Rome). Dimensions: Sheet: 8 7/8 × 10 7/16 in. (22.5 × 26.5 cm). Date: 1824. Museum: Metropolitan Museum of Art, New York, USA.

Dike breach at Coevorden, 1673. Dike breach at Coevorden, October 1, 1673. Enemy riders and guns are washed away by the water, in the distance the city of Coevorden. At the top of the plate the title on a hanging cloth, left a legend 1-11, on the right a verse of 6 lines 'on cozodens miraculous redemption'. The whole in a frame with windkopes and skulls.

Part of the Entrance of the Polish Legation (G and H) 1633 Etched by Stefano della Bella Italian. Part of the Entrance of the Polish Legation (G and H). Etched by Stefano della Bella (Italian, Florence 1610-1664 Florence). 1633. Etching, state i. Prints

James Sayer, 1748-1823, British, Concerto Coalitionale, 1785. Etching.

Atrocities in a farmhouse, 1672, Anonymous, After Romeyn de Hooghe, 1673 - 1674 print Presentation of the atrocities committed by the French troops in Woerden in the winter of 1672. The print has been copied to the Ets of Romeyn de Hooghe from 1673 (FM 2439/3). The show shows the interior of a home with a fireplace on the right and a box bed in the background. Northern Netherlands paper etching / engraving violent death, being killed; being mishandled and maltreated; seeking death. massacre ~ war Woerden. Bodegraven. Zwammerdam

Anonymous drawing of the Pope on New Year's Eve sitting before a book, surrounded by putti, with Fortitudo and a lion, created with gray ink washes and feather.

An Itinerant Peddler in a Village. Artist: Cornelis Dusart (Dutch, Haarlem 1660-1704 Haarlem). Dimensions: sheet: 7 15/16 x 12 5/16 in. (20.2 x 31.2 cm). Date: 1693. Museum: Metropolitan Museum of Art, New York, USA.

Raffaello Sanzio and Giulio Romano: The Battle of the Milvian Bridge, Sala di Costantino, Vatican Palace, Rome. .

Quay of an Oriental Harbour, Johannes Lingelbach, 1644 - 1674, Harbour with classical buildings and a statue of Neptune., draughtsman: Johannes Lingelbach, 1644 - 1674, paper, brush, h 209 mm × w 337 mm

Jacques Callot, The Float of Thetis, 1616 The Float of Thetis

Woodcutter: Andrea Andreani, Italian, 1558/59-1629, After: Alessandro Casolani, Italian, 1552-1607, Christ bearing theCross, Chiaroscuro woodcut from 3 blocks, block: 31.2 × 23.2 cm (12 5/16 × 9 1/8in.), Italian, 16thcentury, Works on Paper -Prints

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The Captivity. Dated: 1509. Dimensions: sheet (trimmed to plate mark): 29.4 diameter. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: LUCAS VAN LEYDEN.

Chalk and feather drawing by an anonymous artist depicting a gladiatorial combat scene, using wash techniques.

Punchinello Chopping Logs 1780-1804 Italy. Pen and brown ink and brush and brown wash, with charcoal, on off-white laid paper . Giovanni Domenico Tiepolo

Bacchanal with Dante and Beatrice, by Giani Felice, 1791, 18th Century, pen, watercolored ink. Private collection. Whole artwork. Thicket/grove young women men statue Bacchus/ Dionysus drunk/inebriated Silenus vases/pots dishes/plates monochrome

Jacob fled Laban in the Land Kanaan. Possible design for a glass window.

Saint Jerome Reading in an Italian Landscape. Rembrandt Harmensz. van Rijn (Netherlands, Leiden, 1606-1669). Holland, circa 1653. Prints; etchings. Etching and drypoint

Diana and Four Nymphs Receiving Gifts from a Satyr, c. 1630, pen and black ink with gray wash over black chalk, heightened with white gouache, on brown laid paper, sheet: 25 × 38.2 cm (9 13/16 × 15 1/16 in.), Gerrit van Honthorst (artist) Dutch, 1592 - 1656

Luigi Sabatelli I (Italian, 1772 - 1850). The Four Horsemen of the Apocalypse, ca. 1809. Etching on wove paper. Plate: 620 mm x 455 mm (24.41 in. x 17.91 in.). Only state known.

The spies Joshua and Caleb return from Eskol with a vine of grapes. Design for a glass window, Spies Joshua and Caleb Conquest of the Promised Land (series title)., intermediary draughtsman: Dirck Pietersz. Crabeth, draughtsman: anonymous, 1545, paper, pen, h 291 mm × w 191 mm

Rijn, Rembrandt van, The Canticle of Simeon, The Presentation in the Temple, verso bottom center, print, prints, height 213 mm, width 288 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1637 - 1641, second quarter 17th century, paper, etching, etchings, drypoint, dry needle, Work conception, after own design by

The Stag-Hunt. Cranach, Lucas (1472-1553 ; st.), graphic artist

Draft by Martin Knoller depicting the glorification of the Holy Trinity for a ceiling image. Executed in brown ink, gray-laved, centered composition.

Bohemian 18th Century, Return of the Prodigal Son, c 1720 Return of the Prodigal Son

A Peasant Scene. Unknown maker, Haarlem School, active mid-1600s

Red chalk and ink drawing by Jakob Gauermann from 1798 depicting Diogenes and Alexander the Great, based on a copper engraving by Salvator Rosa, emphasizing figures and posture.

Young man with a horse at a monument. A young man with a horse to the leads and two dogs at an obelisk in a landscape.

Moses and Rehuel's daughters at the well, Constantine à Renesse, 1648 - 1649, draughtsman: Constantijn à Renesse, draughtsman: Samuel van Hoogstraten, 1648 - 1649, paper, pen, brush, h 200 mm × w 319 mm

Anonymous (Italian). Divine Comedy: Dante Lost in the Wood, Escaping and Meeting Virgil, 1481. Engraving; fine manner on laid paper. Plate: 92 mm x 169 mm (3.62 in. x 6.65 in.). Only state.

Alinari, Fratelli, illegible PISA, Fresco The fight of St. Ephysius against the pagans of Sardinia by Spinello Aretino in the Campo Santo in Pisa, PISA - Camposanto. Il Combattimento di S. Efeso contro i pagani di Sardegna. (Spinello Aretino), photograph, photo, photos, height 187 mm, width 260 mm, Italian, photographer, 1850 - 1890, third quarter 19th century, fourth quarter 19th century, paper, photographic paper, photo paper, cardboard, albumen print, Publication (Event), Publication, publisher

Photo production of a drawing by Rafaël, study for the dispute about the holy sacrament, Charles Thurston Thompson, after Rafaël, c. 1852 - in or before 1857 photograph Windsor Castle paper albumen print 'Dispute'

Wounded Soldiers in a Courtyard on Town Square. Cornelis de Wael; Flemish, 1592-1667. Date: 1612-1667. Dimensions: 205 × 260 mm. Graphite and pen and brown ink on tan laid paper, laid down on card. Origin: Flanders. Museum: The Chicago Art Institute, Chicago, USA.

Anonymous feather drawing depicts Psyche taking the vessel with the water of the Styx from the eagle's claws, using laved ink and whitewashing to emphasize figures and narrative.

Ceres Instructing in the Art of Husbandry 19th century Doccia Porcelain Manufactory Italian. Ceres Instructing in the Art of Husbandry 187474

The Descent from the Cross. Artist: Gian Antonio Burrini (Italian, Bologna 1656-1727 Bologna). Dimensions: 16 7/16 x 11in. (41.8 x 27.9cm). Date: ca. 1720.The signature blue and gold mount of this drawing indicates it was owned by the French collector and connoisseur Pierre-Jean Mariette (1694-1774), who also attributed this composition to Burrini in the elegant inscription on the cartouche. According to Mariette's Abécédario Pittorico (Paris, 1851-1853, vol. 1, p . 236), the Metropolitan Museum of Art's drawing was part of a series of twelve studies for paintings on copper executed by Burrini for the "Count C.P.A.," later identified as Pirro (or Pietro) Capacelli Albergati (Bologna 1663-1735 Bologna). In addition to the present drawing, Mariette's group of four included a Birth of the Virgin, now in the Musée du Louvre, Paris (inv. 7067), an Adoration of the Shepherds, and a Presentation in the Temple, both now in the Hessisches Landesmuseum, Darmstadt (AE 1252 and AE 1253, respectiv

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