Historical Figures in Urban Contexts

A collection of classic drawings depicting groups of historical figures in urban scenes. The works explore themes of loyalty, movement, and social dynamics.

Umbria Terni Terni S. Maria dell'Oro, Convent church0. Hutzel, Max 1960-1990 One exterior view of this 15th-century convent church rebuilt in the 17th century. Interior views focus on the coffered ceiling; a saint or friar is painted on each coffer. Also views of paintings and a crucifix. Negatives show immured relief sculpture, perhaps Roman spolia. Object Notes: Hutzel photo campaign date: 9/29/82 General Notes: This monument is discussed in Hutzel's notes "Terni - Konvent di S. Maria dell'Oro" but does not appear in TCI. 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

Study of a group of people, Johannes Jacobus Bertelman, 1831 - 1899 drawing paper. pencil

Urban Scene with Draped Figure, Putti, and Woman Carrying Basket, Fortunato Duranti, Italian, 1787 - 1863, Pen and ink, brush and wash on paper, Urban Scene with Draped Figure, Putti, and Woman Carrying Basket. Additional figures in sunken midground and background., Rome, Italy, 1820-1850, Drawing, Drawing

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

A pencil and sepia drawing by Cecil van Haanen depicting the third scene of the 'Dance of the Esmeralda,' showing figures in movement.

Etching and aquatint by Francisco Goya titled 'Pobre,' part of Los Proverbios series, created around 1810-1815, depicting scenes representing poverty and human folly.

Tobias shows Tobit de murdered Israelite. Tobias has taken his father Tobit at the banquet to show him the body of a strangled Israelite that lies outside. This print is part of an album.

Night Fish Market at the portal of St. Bavos, Haarlem. Artist: Harmen Terborch, Dutch, 1638-before 1677

Umbria Terni Terni S. Maria dell'Oro, Convent church0. Hutzel, Max 1960-1990 One exterior view of this 15th-century convent church rebuilt in the 17th century. Interior views focus on the coffered ceiling; a saint or friar is painted on each coffer. Also views of paintings and a crucifix. Negatives show immured relief sculpture, perhaps Roman spolia. Object Notes: Hutzel photo campaign date: 9/29/82 General Notes: This monument is discussed in Hutzel's notes "Terni - Konvent di S. Maria dell'Oro" but does not appear in TCI. 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

Viriathus (d. 139 BC). Leader of the Lusitanian people who fought against Roman expansion in Hispania in the mid-2nd century BC. Death of Viriathus. Engraving by Vallejo. Historia General de España by Father Mariana. Madrid, 1852. Author: Spanish artist. José Vallejo (1821-1882).

Thomas Rowlandson, 1756-1827, British, Banditti, undated. Pen and brown, black and gray ink on moderately thick, moderately textured, blued white, laid paper.

Depicts 'The Triumph of Mordechai' by Rembrandt van Rijn, created as an etching with a pinion around 1641, showing figures, composition, and historical scene.

Les Pillards Engraver Léopold Flameng French 1853 View more. Les Pillards. 1853. Etching. Léopold Flameng (French (born Belgium), Brussels 1831-1911 Paris). Prints

Richard Earlom after Joseph Wright, The Blacksmith's Shop, 1771 The Blacksmith's Shop

The Return of theNative. Artist: Edwin Austin Abbey, American, 1852-1911, M.A. (HON.) 1897

Return home of the lost son, Pietro Testa, c. 1621 - 1650 print The lost son kneels for his father and is embraced by him. On the left two watching men and a group of figures on a staircase. Rome paper etching the prodigal son returns home, where his father awaits him

Carl Peter Theodor Rothweiler (1821-1881); Lorenz Froelich (1820-1908) How Uglsplay Fixed the Pious Bisp (1848)

Lazio Roma Rome Palazzo del Commendatore4. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, sculpture, fresco painting. Object Notes: The palazzo is the seat of the president of the hospital of Borgo S. Spirito; built inbetween 1567-71 after design of Nanni di Baccio Bigio; linear facade; fantastic clock of 1827. Hospital was founded in 1198 by Pope Inncenzo III. Frescoes in salons, c. 1,000 square meters. 53 negatives have already been filed away. 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.

Bliżej Kultury Redlich, Henryk (Ca 1840 1884)

A 1680-1690 etching by Matthys Pool depicting allegorical figures with symbolic gestures and detailed compositional elements.

Lazio Roma Rome Episcopal Complex (S. Giovanni in Laterano, Baptistery, Cathedral, Cloister)95. Hutzel, Max 1960-1990 Exterior views of 5th c. baptistery, restored in the 17th c. Interior views of baptismal urn (16th c.), carved walls, ceiling and wall painting; of mosaics and bronze doors in Cappella del Battista; of altar and mosaics in Cappella di S. Venanzio; of mosaic and statue in Cappella di S. Giovanni Evangelista. Architecture, architectural sculpture, sculpture, sculptural fragments, fresco painting, painting, coffering, tiling, stucco. Views 756-886 are of the cathedral. Medieval: Architecture, architectural sculpture, sculptural fragments, architectural fragments, tombstones, mosaics, sculpture, fresco painting, sculptural relief. Object Notes: Hutzel includes guidebook in German on the site. prints matched to negs General Notes: Views 756 thru 886 are of the Baptistery. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s u

Night scene in which a man designates a place on the ground for the Gendarmerie, Adrien Aubry, 1872 print Brussels paper etching windmill in landscape. policeman, constable

Pl. 1. An election entertainment , Banquets, Intoxication, Crowds, Political elections. William Hogarth (1697-1764). Prints

Group of people including a convicted person and the Beul descends a stairs to the scaffold, Henri Leys (Baron), 1840 print paper etching / drypoint death penalty, execution. executioner, hangman

The Death of Ananias. Negretti & Zambra (British, active 1850 - 1899)

Francisco de Goya y Lucientes / 'Loyalty'. 1815 - 1819. Etching, Aquatint, Burnisher, Retroussage on ivory paper. Museum: Museo del Prado, Madrid, España.

Interior of a cottage , Dwellings, Interiors. Thomas Rowlandson (1756-1827). Prints and Drawings

Lazio Roma Rome S. Stefano Rotondo8. Hutzel, Max 1960-1990 Medieval: Architecture, architectural sculpture, fresco painting, sculpture, architectural fragments, sculptural fragments. Post-medieval: Sculpture, fresco painting, painting, architectural sculpture Antiquities: Sculpture Object Notes: Called the "second Pantheon of Rome", this church dates from the 5th century A.D. Alberti worked on the restoration in the 15th century. These photographs date from March, 1984. 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.

Feather drawing by Theodor Petter from 1844 depicting a historical scene possibly of Esther von Ahasver, using brown feather, laved technique, deck white, and blue paper, showing figures and gestures.

Print made by Richard Earlom, 1743-1822, British, A Blacksmith's Shop, 1771. Mezzotint.

Reproduction of a painting: Henryk Siemiradzki (1843-1902), Rzeź niewiniątek Slaughter of Innocents; from: `Tygodnik Ilustrowany` 1875, no. 371 (January 25th/ February 6th), p. 84. Drzeworytnia Warszawska (Warszawa ; zakład graficzny ; 1871-?), printing house, Tygodnik Ilustrowany (Warszawa ; czasopismo ; 1859-1939), publisher, Bojarski, Władysław (1843-1912), woodcutter

Station-House Lodgers (from "Harper's Weekly," Vol. XVIII) February 7, 1874 After Winslow Homer American. Station-House Lodgers (from "Harper's Weekly," Vol. XVIII). After Winslow Homer (American, Boston, Massachusetts 1836-1910 Prouts Neck, Maine). February 7, 1874. Wood engraving. Harper's Weekly (American, 1857-1916). Prints

Honoré Daumier, Les bains a quatre sous, 19th century Les bains a quatre sous

Photo production of a drawing of the walk of Faust and Wagner, from the first part of the tragedy Faust by Johann Wolfgang von Goethe, Friedrich Bruckmann (Possible), after August von Kreling, c. 1872 - in or before c. 1877 photograph photographic support albumen print (scenes from) specific works of literature: Goethe, Faust. strolling

Fair in the area of Antwerp, Paulus Lauters, after Eugène François de Block, 1836 print paper etching pleasure fair and circus Antwerp

The loyalty; La Lealtad; Solve disparates (the follies); Los Proverbios (the proverbs). A man sitting on a chair, is mocked by a group of men. One has a large syringe in his hands. From a series of eighteen prints.

Lazio Roma Rome S. Croce in Gerusalemme34. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms 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.

Rijn, Rembrandt van, The Triumph of Mordecai, top right, print, prints, verso bottom right, height 175 mm, width 215 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1639 - 1643, second quarter 17th century, paper, etching, etchings, drypoint, dry needle, Work conception, after own design by

Y son fieras /And they are IIke wild beasts; board No. 5 from: Los Desastres de la Guerra The Disasters of War, ed. II, 1892 Goya, Francisco de (1746 1828)

Tarpeia killed by Sabijnse Soldiers, Bartolomeo Pinelli, 1818 print After Tarpeia has entered the Sabijnse soldiers into the city, she is killed by the soldiers. Rome paper etching death of Tarpeia: she is crushed under the shields of the Sabines, as punishment for betraying her country

Georg Pecham black-gray and gray-blue ink drawing from 1602 depicting the recovery of the youth to Naim, showing figures, gestures, and narrative scene.

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

City sign academy in Amsterdam, 1764-1767, Reinier Vinkeles (I), 1768 print The city sign academy (sign academy) above the De Garde Corps in the Leidsepoort in Amsterdam in the year 1764. The drawing academy moved to the Town Hall on Dam Square on December 4, 1767. A group of male drawing pupils in a fairly dark interior in the case of lamb obligation to be drawn to a male nude model, seen the model standing from the front. Amsterdam paper counterproof / etching / engraving drawing-lesson. place or institution of education and training of the artist, e.g.: academy of art Leidsepoort

The destruction of the Mariahilfer line on March , Anton Ziegler -, drawer

Giovanni Domenico Tiepolo/ Punchinello's Farewell to Venice, 1798/1802. Series TitleDivertimento per li regazzi. Pen and brown ink with brown wash over charcoal on laid paper. Overall: 35.1 × 46.7 cm (13 13/16 × 18 3/8 in.). Museum: NATIONAL GALLERY WASHINGTON USA.

Winter-Quarters in Camp--The Inside of a Hut. Winslow Homer (American, 1836-1910); published by Harper's Weekly (American, 1857-1916). Date: 1863. Dimensions: 233 x 353 mm (image); 273 x 396 mm (sheet). Wood engraving on paper. Origin: United States. Museum: The Chicago Art Institute, USA.

Thomas Bewick, The Boasting Traveler, 1818 The Boasting Traveler

Annual fair, Jan van Goyen, 1651, draughtsman: Jan van Goyen, 1651, paper, brush, h 102 mm × w 205 mm

King Richard the Second, Act V, Scene II (The Entrance of King Richard & Bolingbroke into London), Print made by Robert Thew, 1758-1802, British, after James Northcote, 1746-1831, British, Published by John Boydell, 1720-1804, British, 1801, Stipple engraving and line engraving on medium, slightly textured, cream wove paper, Sheet: 20 1/8 × 29 1/2 inches (51.1 × 74.9 cm), Plate: 19 1/2 × 25 inches (49.5 × 63.5 cm), and Image: 17 1/2 × 23 5/8 inches (44.5 × 60 cm), animal art, armor, crown, dog (animal), garlands, horses (animals), literary theme, soldiers, women

Philippe Sauvans drawing of a holy scene, executed in chalk with white heightening and pen in brown and gray tones.

Frattelini Circus. Dated: 1923. Dimensions: plate: 25.2 x 33.4 cm (9 15/16 x 13 1/8 in.). Medium: etching with drypoint in black on vellum. Museum: National Gallery of Art, Washington DC. Author: Auguste Brouet.

Wedding reception in Britain, France, illustration by Goodall from L'Illustration, Journal Universel, No 426, Volume XVII, April 24-May 1, 1851.

Crowd Leaving a Theatre ? 19th century Pierre-Numa Bassaget, called Numa French. Crowd Leaving a Theatre ? 349103

Guardroom Scene ca.1700 Pieter Bout This charming and beautifully executed drawing is the work of the late 17th-century Brussels painter and draftsman, Pieter Bout. He painted views of towns, villages, ports and beaches in the tradition of Jan Brueghel. With a wealth of detail, he depicted here a scene in a guardroom. A group of well-dressed soldiers in the center plays cards. Behind them another, less elegant group, sits near the fireplace talking and drinking. Two figures on the left are sleeping, another in the foreground is putting on or removing his boots. Another bedraggled figure in the bottom right is dressing. Bouts continues the Dutch and Flemish tradition of guardroom scenes set by such artists as Anthonie Palamedesz and David Teniers earlier in the century.. Guardroom Scene. Pieter Bout (Flemish, Brussels, 1658-1719). ca.1700. Gray brush, pen and various shades of gray ink and washes on paper laid down to card; also with framing lines in black ink. Drawings

Our Watering Places - Horse Racing at Saratoga, Winslow Homer, American, 1836-1910, Harper's Weekly, Wood engraving in black ink on paper, Crowd in the grandstand at the races, with horses at lower right., USA, August 26, 1865, furniture, Print, Print

Kochanowski playing with Urszulka. Gerson, Wojciech (1831-1901), draughtsman, cartoonist

C, Wurzinger, Emperor Ferdinand II refuses to sign the religious freedom Kais, Painting Gallery, Vienna, After, Karl Wurzinger -, Drawer, Löwy Court Art Standstalt, producer

EL MERCADILLO - SIGLO XX - AGUAFUERTE, AGUATINTA - 24,5x38. Author: ANDRES BARAJAS. Location: COMUNIDAD DE MADRID-COLECCION DE ARTE. MADRID. SPAIN.

El sueño de Fausto. Grabado de R. Seitz para la novela Fausto, de Johann Wolfgang Goethe (Frankfurt, 1749-Weimar, 1832). Año 1882.

Extraña devocion! (Strange Devotion!), Plate 66 from Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

LA Danse (Hutter's 26) Bega, Cornelis Pietersz. The dance (Hollstein 26). Etching.

Lazio Roma Rome S. Maria in Vallicella7. Hutzel, Max 1960-1990 Views of 16th church's facade by Fausto Rughesi(1605). Views of interior nave, altars, sacristy, and collection in private rooms. Extensive coverage of frescoes and paintings. Three views of an embroidery with a depiction of the Assumption of the Virgin. General Notes: Views of Oratorio dei Filippini are filed separately, but retain H-numbers within this monument's numerical sequence. 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.

A brown ink drawing of a poultry market by Jan van de Velde II showing vendors, poultry, market stalls, and buyers, lavated over black chalk on brownish tinted paper, dated around 1616-1622.

James Pattison Cockburn, 1778-1847, British, Medieval Figures in a Crypt, undated. Pen and brown ink and brown wash on moderately thick, moderately textured, brown wove paper.

Visitation, anonymous, 1700 - 1800, draughtsman: anonymous, 1700 - 1800, paper, pen, brush, h 127 mm × w 186 mm

Francisco de Goya y Lucientes, Strange devotion!, 1810-1820, etching and aquatint.

drawing by F. Barrias: Virgil scene from the Georg Icon, slaughter of a cow, Anonymous, 1858.

Alexander the Great is presented by Lysippos, Leonaert Bramer, c. 1655 - c. 1665 Following the Battle of Granicus, Alexander had the great copper images of soldiers manufactured by the sculptor Lysippos, in memory of the soldiers who had died in the fight. To the right of the middle is Alexander the Great, in the foreground one of the copper statues is presented to him. The other images are in the background. Numbered at the top right: 20. Drawing is part of an album. paper. ink pen / brush Following the Battle of Granicus, Alexander had the great copper images of soldiers manufactured by the sculptor Lysippos, in memory of the soldiers who had died in the fight. To the right of the middle is Alexander the Great, in the foreground one of the copper statues is presented to him. The other images are in the background. Numbered at the top right: 20. Drawing is part of an album. paper. ink pen / brush

Comforts of Bath: The Pump Room, Thomas Rowlandson, 1756-1827, British, 1798, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Mount: 5 5/8 x 8 3/8 inches (14.3 x 21.3 cm) and Sheet: 4 3/4 x 7 7/16 inches (12.1 x 18.9 cm), clock, grandfather, counter, crutches, doorway, drinking, food, genre subject, hats, interior, men, notices, pump room, sculpture, steeple, wall hangings, wheelchair, windows, women, Bath, Bath and Northeast Somerset, England, Europe, Somerset, United Kingdom

Cameliers, Morning at Bridge Marie, 1897 (dummy title)

Christian martyrs in the Colosseum (chart from the series `Chudożestviennyj Listok`). Brese, N., graphic artist, Borell, P. (18..-1901), draughtsman, cartoonist, Henkel, W. E. (Petersburg ; wydawnictwo ; ca 1850-1870), publisher, Flavickij, Konstantin Dmitrijewitsch (1830-1866), painter

Francisco de Goya (Spanish, 1746-1828). One Can't Look (No Se Puede Mirar), 1810-1815, printed 1863. From The Disasters of War (Los Desastres de la Guerra). Etching and aquatint.

Rijn, Rembrandt van, Christ driving the money changers from the Temple, verso lower left - stamped, print, prints, Rembrandt f. 1635, lower right, height 136 mm, width 168 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1635 - 1635, second quarter 17th century, paper, etching, etchings, Work conception, after own design by

Parade in the streets of a city with camels, Marius Bauer, 1915 print People go aside for a large procession of people on foot and on horseback. Camels behind it. On the right a drum player and a dancing figure with raised arms. paper etching hoofed animals: camel. crowd, mob. riding a horse, ass, or mule; rider, horseman

Sailors at a drunken orgy. Mezzotint by W. Ward, 1807, after J.C. Ibbetson, 1802.

Interior with a family with children, around a crib, Interior with a family with children, draughtsman: Jan Josef Horemans (II), (possibly), 1692 - 1759, paper, pen, brush, h 263 mm × w 349 mm

Interior of a Smederij, Willem Linnig (II), 1862 print paper etching smith, blacksmith

The Railway: The Sunday Excursion. Honoré Daumier (French, 1808-1879). Wood engraving;

The angel of death striking a door during the plague of Rome. Engraving by J.G. Levasseur after J. Delaunay.

John Thomas Smith, 1766-1833, British, The Eleventh Hour, 1817. Pen and black ink, gray wash over graphite on moderately thick, moderately textured, beige, wove paper.

Macbeth: There’s blood upon Thy face”, Act III, Scene iv, Macbeth. Artist: Edwin Austin Abbey, American, 1852-1911, M.A. (HON.) 1897

Rijn, Rembrandt van, Christ Shown to the People: recumbent plate, bottom - pencil, print, engraving, prints, Rembrandt f. 1655, middle right, verso lower left - stamped, 2359, lower right - pen in brown, f 12 - guilder --, verso lower middle - red chalk, 6th edition extra rare not described by Barch, height 360 mm, width 450 mm, Noord-Nederlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1655 - 1655, third quarter 17th century, Oriental paper, ink, drypoint, dry needle, plate tone, pen, Work conception, after own design by

Sanan cuchilladas mas no malas palabras (Wounds Heal Quicker than Hasty Words). Dated: in or after 1816. Medium: etching and burnished aquatint trial proof printed posthumously circa 1854-1863. Museum: National Gallery of Art, Washington DC. Author: FRANCISCO DE GOYA.

Group of Artists in Jean-Baptiste Isabey's Studio ca. 1798 Louis Léopold Boilly French This sheet is a study for one of Boillys most famous paintings depicting a gathering of artists in the studio of Jean-Baptiste Isabey (French, 1767-1855). The finished canvas, exhibited at the Salon of 1798, is a group portrait of thirty-one prominent artistic figures, each one a closely observed portrait that was studied in an individual oil sketch. Executed earlier in the preparatory process, this quickly worked study focuses on the arrangement of a group of figures around a table on the right side of the composition.. Group of Artists in Jean-Baptiste Isabey's Studio 387521

The Slave Market recto. Dimensions: overall (approximate): 24.7 x 29.7 cm (9 3/4 x 11 11/16 in.). Medium: pen and black ink with charcoal, gray wash, and white chalk on gray paper. Museum: National Gallery of Art, Washington DC. Author: Alexandre-Gabriel Decamps.

United Kingdom. London. A river side Street. Engraving by Dore, 19th c. Author: GUSTAVE DORÉ.

After Winslow Homer, Station-House Lodgers, 7 Feb. 1874, wood engraving on newsprint.

The Coopers. Artist: Jean Jacques de Boissieu (French, Lyons 1736-1810 Lyons). Dimensions: Sheet: 12 13/16 x 17 7/8 in. (32.5 x 45.4 cm)Plate: 11 5/8 × 16 5/8 in. (29.5 × 42.2 cm). Date: 1790. Museum: Metropolitan Museum of Art, New York, USA.

The Adoration of the Shepherds. Dated: 1805. Dimensions: image: 23 x 32.8 cm (9 1/16 x 12 15/16 in.) sheet: 34.8 x 44.6 cm (13 11/16 x 17 9/16 in.). Medium: pen and brown ink with brown wash and blue gouache heightened with white. Museum: National Gallery of Art, Washington DC. Author: Benjamin West.

The cheerful householder; Soo de Ouden Song, blow the boy.

Cirque Ambulant, before 1925. Auguste Brouet (French, 1872-1941). Etching;

Hamlet fait jouer aux comédiens la scène de lempoisonnement de son père (Act. III Sc. II) (Hamlet Has the Actors Play the Scene of the Poisoning of His Father), from Shakespeares Hamlet. Artist: Eugène Delacroix, French, 1798-1863

Fragment (France); cotton

College dons : Epicures , Teachers. Thomas Rowlandson (1756-1827). Prints and Drawings

Both and more. .

Campania Napoli Naples S. Lorenzo Maggiore15. Hutzel, Max 1960-1990 Medieval: Sculpture, architecture, architectural sculpture (including Roman spolia) 13-14th century Chapter house; sarcophagi, gravestones; wall painting. Fragment of mosaic; sculptural fragments in the Sala Capitolare. Post-medieval: Architecture, architectural sculpture, ceiling painting fresco cycle; prints depicting Venice c. 1845 (4), sculpture; life-size creche figures dressed in original Neapolitan costume Church restored in 1882, 1926, 1944; excavations under the transept undertaken between 1958-1962, and in the cloister in 1976, have revealed remains of a Roman macellum (market), street, and the paleochristian basilica of the 6th c. AD. Antiquities: Pottery: black-glazed, archaic banded, domestic wares, bucchero; architectural terracottas, statuettes, lamps, sculpture fragments Object Notes: 3 color negatives with no prints at the end. General Notes: Most objects/paintings/frescoes unidentified. Three batches

Salon of 1902. - Last morning of Marie-Antoinette, by L. Baader. (IT)

Le matin du premier jour de l'an.. 1865 - 1866. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Holidays, New Year

Scene from the play Truth and Lie, Charles Rochussen, 1859 - 1864 print Truth with Spiegel points to the personification of the lie on the ground. On the left is an old man with hat in his hand, on the right a young couple in love. In the background, Roman gods are surrounded by nymphs with flowerguirlandes. Amsterdam paper Truth; 'TRAPE (RIPA). Light; 'Lie' (Ripa). Theater, Theatrical Performance Stadsschouwburg

Islamic Galace slaves get soup while a sheep is boned, Cornelis de Wael (workshop of), Cornelis de Wael, 1647 print A cook hand out soup to Islamic Galace slaves, he is also a Galacelave himself. In the middle are two of them at a tub. On the right a sheep is boned, a dog eats the remains. These men made as a slave can be recognized as Muslims by the typical haircut (head except for a bare shaved) that they were obliged to have. Knee paper etching / engraving seaman. slavery; serfs and the enslaved. kitchen-utensils: cauldron. butcher, slaughterman. dog

Hopeless financial situation of France, 1848, 1848 Cartoon on hopeless financial situation of France. A automatic transmission is purchased from a Jew to make money (a coils pooping devil), centrally an empty money box in which a devil is located. On the right a cupboard filled with bundles of worthless couch paper. Illustration in a book with six cartoons and accompanying texts Nav the revolution in France in 1848. Mostly adaptations of cartoons in the series of Hollandia Regenerata from 1795. print maker: Netherlandsprinter: The Haguepublisher: AmsterdamNetherlands paper France Cartoon on hopeless financial situation of France. A automatic transmission is purchased from a Jew to make money (a coils pooping devil), centrally an empty money box in which a devil is located. On the right a cupboard filled with bundles of worthless couch paper. Illustration in a book with six cartoons and accompanying texts Nav the revolution in France in 1848. Mostly adaptations of cartoons in the seri

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