Religious and Historical Scenes

Dramatic depictions of biblical stories and historical figures rendered in ink and chalk with a focus on narrative and emotional impact.

The church father Origenes shows an angel a portrait medallion. Origenes stands on a pedestal where his martyrdom is depicted on the obverse. Print marked top center: II. Volume Pag. 254., Church Father Origenes Origenes, Elder and Catechist t'Alexandria. Is cruelly punished in Tyre , print maker: Jan Luyken, (mentioned on object), print maker: Zacharias Chatelain (II), (mentioned on object), intermediary draughtsman: Jan Goeree, (mentioned on object), Amsterdam, 1698, paper, etching, engraving, h 276 mm × w 171 mm

Anonymous / 'Interior with the Virgin and Child, St. Mark and an Allegory of Venice'. XVI century. Wash, Pencil, Pencil ground, Grey-brown ink on yellow paper. Museum: Museo del Prado, Madrid, España.

Agostino Carracci after Veronese, The Madonna Protecting Two Members of a Confraternity, 1582 The Madonna Protecting Two Members of a Confraternity

Love; Charitas; Three Divine virtues. The female personification of love, one of the three divine virtues, sucked a child and embraces two children standing next to her. Putti fly above her head with a laurel wreath and flowers.

Sacchi, Andrea, Rome, Frey, Jacob (der Ältere), Deathbed of Anna, verso - stamped, print, prints, height 638 mm, width 353 mm, 1681 - 1752-01-11, print maker, printmaker, 1726 - 1726, paper, etching, engraving, engraving (printing process), intermediary draughtsman, after a drawing by, Italian, 1599-11-30 - 1661-06-21, after, after a painting by, Work conception

Italy, Carracci, Annibale, Adoration of the Shepherds, verso - stamped, The shepherds, angels and Mary adore the Christ Child lying in a manger. On the right is Joseph by the donkey., print, prent, prints, height 108 mm, width 132 mm, Work conception, Italian, 1560-11-03 - 1609-07-15, after a print by, 1606 - 1606, paper, papier, etching, etchings, engraving, engraving (printing process), print maker, printmaker

Allegory in Honor of AntonioVaini. Artist: Unknown

Lucas van Leyden, Christ Crowned with Thorns, 1519 Christ Crowned with Thorns

Allegory about learning. A philosopher leaned against a pillar to sleep. A young man with a book under his arm and an older man who points to the philosopher, walk to the philosopher. Two muses look down from heaven.

Specklin, Veit Rudolf, Holbein, Hans (II), Abishag kneels before David, The young woman Abishag kneels before the old and sick King David who sits on his throne. In the margin above the image is the text III Regvm I 1 Kings 1., print, book illustration, prints, height 60 mm, width 85 mm, height 87mm, width 100 mm, German, 1498 - 1543-11-29, print maker, printmaker, 1538 - 1538, second quarter 16th century, paper, woodcut, French - 1550, block cutter

Prince Eugenius of Savoye. .

Albrecht Dürer (1471-1528). "The" Véronique "carried by two angels, B 25". Chisel and wood. Museum of Fine Arts of the City of Paris, Petit Palais. 33396-3 Angel, chisel, Catholic, Christian Christian, two, carry, face Christ, wood

Master with the shuttle. "Jesus Christ on the cross between the two thieves. Bartsch 5, volume VI, page 93". Chisel. Museum of Fine Arts of the City of Paris, Petit Palais. 123056-30 Chisel, 15th xve XV 15th 15th 15 CENTURY

Barbarigo, Giovanni Francesco, Audenaerd, Robert van, Rome, Numismata virorum illustrium ex Barbadica gente, Portrait of Jacopo Barbarigo with a kneeling woman as a personification of Venice, verso - stamped, Pedestal in the form of a cartouche. On it a medallion with the portrait of Jacopo Barbarigo on the front. He wears a cross around his neck. On the back a grave monument or altar with the motto: Conservatoribus Venetae Libertatis. The pedestal is surrounded by a kneeling woman, possibly the personification of Venice (as a dogana with a doge's hat). She is looking at a book that a bishop is holding out to her. Two saints are standing next to her. The man with a palm branch and laurel wreath died as a martyr. The boy on the right is holding a model of St. Mark's Square in his hands. The print is part of an album., print, prent, albumblad, prints, prenten, height 218 mm, width 236 mm, 1663 - 1743, print maker, prentmaker, 1673 - 1743, paper, papier, engraving, engraving (printing pro

The lost son wastes his legacy; Et veneere et baccho bona decoquit ommia natus; Story of the lost son. The lost son wastes his legacy at the whores. He can be entertained with music and benevolent ladies sitting at a table in a garden.

. Paul, with a book on his lap, and Petrus, with key, discuss with each other in a landscape.

The lost son wastes his legacy; Et veneere et baccho bona decoquit ommia natus; Story of the lost son. The lost son wastes his legacy at the whores. He can be entertained with music and benevolent ladies sitting at a table in a garden.

The Luit player and the Harpspeelster, Israhel van Meckenem, 1475 - 1503 print In a room a lady and a gentleman are facing each other: the lady plays a Gothic harp, the Lord a lute. An open lute box is on the floor. On the ceiling a chandelier with candles. Both musicians are dressed according to the fashion of approx. 1475-1485 with toot shoes or poulaines. This print is part of a series of twelve prints of a man and a woman with scenes from daily life, 6 indoors and 6 outdoors. Bocholt (Germany) paper engraving head-gear (with NAME). head-gear: cap (+ men's clothes). harp. lute, and special forms of lute, e.g.: theorbo. shoes, sandals. couple of lovers

The Eritrean Sibyl; from the series of Prophets and Sibyls in the Sistine Chapel 1570-75 Giorgio Ghisi Italian As explained by Boorsch (in Boorsch, Lewis and Lewis 1985, p. 164) the dates of 1540 and 1549 engraved on some of the plates from the series is false. The plates should rather be dated to the early 1570s.. The Eritrean Sibyl; from the series of Prophets and Sibyls in the Sistine Chapel 367700

The Group from Raphael's School of Athens dated 1523 Agostino Veneziano (Agostino dei Musi) Italian. The Group from Raphael's School of Athens. Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). dated 1523. Engraving. Prints

Copper engraving 'The Caution' by Albrecht Dürer, 1507, from the Copperplate Passion series, depicting figures in a scene conveying warning and narrative detail.

Jael shows the killed Sisera. The dead body of Sisera, the Cananite army leader, lies on the ground. Jael is in her hand with a hammer. She points to the body with her other hand. On the left Barak, the army leader of the Israelites.

Blumauer's 'Aeneide'. Daniel Nikolaus Chodowiecki (Germany, Danzig, 1726-1801). Germany, 1789. Prints; etchings. Etching

Rome, Pinelli, Bartolomeo, New collection of costume prints from Rome, Costume prints with figures from Rome and its surroundings, Ciociare, vicino a Subiaco; passato Tivoli, Washing women, Three women from the Ciociaria area are washing fabrics at a well. The print is part of an album., print, prent, albumblad, prints, prenten, height 205 mm, width 282 mm, Italian, 1781-11-20 - 1835-04-01, print maker, printmaker, 1820 - 1820, paper, papier, etching, etchings, intermediary draughtsman

The Annunciation. Artist: Lucas Cranach the Elder (German, Kronach 1472-1553 Weimar). Dimensions: Image: 5 7/16 × 3 11/16 in. (13.8 × 9.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Design for a glass panel, Saint Bruno leaves for Rome Life of Saint Bruno (series title), draughtsman: Dirck Vellert, (circle of), 1500, paper, pen, brush, h 262 mm × w 204 mm

A red chalk drawing by Francesco Mazzola around 1521 depicting a sacred conversation, illustrating religious figures in a composed arrangement.

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

Print made by John Smith, 1652-1743, British, Daniel in the Lyons Denn, undated. Mezzotint on moderately thick, moderately textured, cream, laid paper.

unknown, Antwerp, Hendricx, Gilles, Rubens, Peter Paul, Southern Netherlands, Bolswert, Schelte Adamsz., Ascension from Maria, print, prent, prints, prenten, height 636 mm, width 436 mm, Zuid-Nederlands, 1586 - 1659-12-12, print maker, printmaker, 1596 - 1659, paper, papier, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, Publication (Event), Publication, publisher, granter of privilege

unknown, Rubens, Peter Paul, Antwerp, Galle, Cornelis (I), The four church fathers, verso - stamped, The four Latin church fathers sit together in heaven and discuss a Bible text. On the right Hieronymus with the lion. Next to him Augustine with the burning heart, in the middle left Pope Gregory and on the far left Ambrose, recognizable by his attribute the beehive., print, prent, prints, engravings, height 368 mm, width 475 mm, South Netherlands, 1576 - 1650-03-29, print maker, printmaker, 1630 - 1642, paper, papier, engraving, engraving (printing process), Work conception, 1577-06-28 - 1640-05-30, after a design by, granter of privilege

Amsterdam, Jansz., Broer (Amsterdam), Leiden, Swanenburg, Willem Isaacsz. van, Paralyzed man lowered through the roof to Christ, verso lower left - stamped, Christ stands before a group of people. A paralyzed man is lowered from the roof onto his mattress on ropes. Below the scene is a six-line Latin text describing the scene., print, prints, recto lower right - stamped, height 312 mm, width 231 mm, Noord-Nederlands, 1580-01-29 - 1612-05-31, print maker, printmaker, 1603 - 1652, paper, papier, engraving, engraving (printing process), Publication (Event), Publicatie, - 1653, publisher

Woman with a comb looks in a mirror, Alexander Voet (II), After Jacques Jordaens, 1661 - 1695 print Allegorical representation with a woman sitting in a chair, many pearls around her wrists and neck, which combs her hair while looking into the mirror that is held by a man with a fool. A second man warns of vanity to a skull. Southern Netherlands paper engraving (woman) looking in a mirror ~ scene symbolizing 'Vanitas'. comb, brush and other tools (care of the hair) - AA - ~ women. skull as symbol of 'Vanitas'. necklace (+ women's clothes). fool's cap

Christ Giving the Host to a Holy Abbess. Artist: Giovanni Battista Gaulli (Il Baciccio) (Italian, Genoa 1639-1709 Rome). Dimensions: 15-11/16 x 9-3/16 in. (39.9 x 23.3 cm). Date: 1690. Museum: Metropolitan Museum of Art, New York, USA.

Le Christ aux Anges (Dead Christ withAngels). Artist: Édouard Manet, French, 1832-1883

The Ill-Assorted Couple Made 1491-1501 Germany. The intersection of commerce with the seamy side of love inspired this secular D¸rer engraving. The title refers to the difference in age between two would-be lovers, here seated outside in an intentionally isolated spot. In this popular Renaissance genre, lascivious elderly men attempt to grope beautiful courtesans who hold out for a second purse or steal the rest of their conquestís belongings. Alternately, toothless crones stroke young men who hope to inherit everything on becoming widowers. Love is on offer to the highest bidder in a mercenary transaction that is anything but courtly.. Engraving in black on ivory laid paper . Albrecht Dürer

Science: the engraved titlepage to the Encyclopedie of Diderot and d'Alembert. Engraving by B.L. Prevost, 1772, after C.N. Cochin, the younger, 1765.

Annunciatie, print maker: Jan Luyken, publisher: Pieter Mortier (I), print maker: Haarlem, publisher: Amsterdam, 1703 - 1762, paper, etching, letterpress printing, h 105 mm × w 151 mm

Sacred Conversation, 1540s. Léon Davent (French), after Parmigianino (Italian, 1503-1540). Etching; sheet: 24.4 x 18.5 cm (9 5/8 x 7 5/16 in.).

Dancing Couple, from the cycle Wedding Dancers II. Aldegrever, Heinrich (1502-1555/1561), graphic artist

Allegory of a thesis, two women hold inscribed tablets 1640 Bartolomeo Coriolano Italian This graphically powerful woodcut is the product of Reni and Coriolanos collaborative explorations of chiaroscuro printing in Bologna in the 1630s. The prints largely indecipherable iconography illustrates how enigmatic thesis print images can be when separated from their original accompanying texts. Two women surrounded by books hold inscribed tablets that together make the phrase "All is the same that harms the innocent.". Allegory of a thesis, two women hold inscribed tablets. Bartolomeo Coriolano (Italian, Bologna ca. 1599-ca. 1676 Bologna (?)). 1640. Chiaroscuro woodcut from two blocks printed and green (only state). Prints

Jupiter tells Juno of his love, set within a frame, from the 'Loves, Rages and Jealousies of Juno'. Artist: Giulio Bonasone (Italian, active Rome and Bologna, 1531-after 1576). Dimensions: sheet: 5 5/16 x 4 1/8 in. (13.5 x 10.4 cm). Series/Portfolio: Amori sdegni et gielosie di Giunone (Loves, Rages and Jealousies of Juno). Date: 1531-76. Museum: Metropolitan Museum of Art, New York, USA.

Achilles mourns the death of PatroUlus, Bernard Picart (workshop or), After Bernard Picart, 1710 print Achilles mourns the death of his beloved friend PatroUlus. He is comforted by his mother Thetis, who promises him new weapons. In the margin a caption in French. Amsterdam paper etching / engraving Thetis tries to comfort her son Achilles. homosexual love

Vellert, Dirck, Saint Luke painting Madonna and Child, verso lower left - stamped, Room with Mary and Child and Luke behind easel. Luke is depicted as a contemporary master with palette, brush and painting stick. An ox lies to his left. In the adjoining room a servant is rubbing paint., print, prints, height 172 mm, width 123 mm, South Netherlands, 1485 - 1547, print maker, printmaker, 1526-07-28 - 1526-07-28, second quarter 16th century, paper, engraving, engraving (printing process)

Bliżej Kultury Bertin, C., Martinet, L. (18 .. 18 ..) Printer, Rubens, Peter Paul (1577 1640)

The Fort Manaar on Ceylon, seen from the river, Cornelis Steiger, c. 1710 drawing Sri Lanka paper. deck paint brush fortress. river Fort Manaar (Ceylon). Ceylon. Sri Lanka

Sitting man with cup and can turn away from a thirsty walker, Jan Luyken, 1711 print Amsterdam paper etching thirst. 'en route', traveller under way

The Genius of Franklin by Marguerite Gerard; After Jean Honore Fragonard; Etching; 1778

Bliżej Kultury Will, Johann Martin (1727 1806)

In a garden, four women contemplate a burning heart, symbol of divine love. The two women in the foreground trample a globe together. From a cloud in the sky, a group of cherubs look on, Women contemplate a burning heart, print maker: Jan Luyken, publisher: weduwe Pieter Arentsz (II), (mentioned on object), publisher: Cornelis van der Sys, (mentioned on object), Amsterdam, 1704, paper, etching, h 137 mm × w 87 mm

Sardanapalus and the moderation (temperantia), Hans Collaert (I), after Chrispijn van den Broeck, 1576 print Allegory on moderation and lust. The personification of moderation (temperantia) is on a landing of a palace. She pours water from a jug in a cup. Next to her on a stone table are different jugs and her name can be read. On the right King Sardanapalus with spider skirts. In the background the fire of the Sardanapalus palace. The print has a Latin, French and Dutch caption and is part of a series about the seven virtues. paper engraving Temperance, 'Temperantia'; 'Temperanza' (Ripa) ~ one of the Four Cardinal Virtues. male persons from classical history (SARDANAPOLUS). voluptuousness, pleasure, 'Voluptas' ~ one of the seven gifts of the body

Daughters of Anius changed in Duiven; Maeonides Pyrenei Vim Effugientes in Aves; Metamorphoseon Sive Transformationum; Metamorphoses from Ovid. The daughters of Anius are changed in pigeons so that they can escape Agamemnon. Title in Latin in undermarge.

The Unjust Judge and the Importunate Widow (The Parables of Our Lord and Saviour Jesus Christ). Artist: After Sir John Everett Millais (British, Southampton 1829-1896 London). Dimensions: image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm)sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm). Engraver: Engraved and printed by Dalziel Brothers (British, active 1839-1893). Date: 1864.It took Millais seven years to design twenty images inspired by New Testament Parables for the Dalziel Brothers, and the resulting prints are considered pinnacles of wood engraved illustration. The artist wrote to his publishers, "I can do ordinary drawings as quickly as most men, but these designs can scarcely be regarded in the same light--each Parable I illustrate perhaps a dozen times before I fix the image." After completing a design, Millais transferred it to a woodblock coated with Chinese white for skilled engravers to carve. Finally, he reviewed proofs and final adjustments were made before the final printing.The Para

Bernhard Rode's drawing shows Aristides recording his consumption during exile, using leading handle, spring, and brown brush with lavated shading.

Vicente Carducho / 'Tobit and the Archangel Raphael'. First third of the XVII century. White lead, Brush, Pencil ground, Squared-up on laid paper. Museum: Museo del Prado, Madrid, España.

Portrait of Louis de la Vergne de Tressan, Count of Lyon, Archbishop of Rouen Artist's working dates 1717-1739 France. Engraving on ivory laid paper . Pierre-Imbert Drevet

David Playing the Harp Before Saul. Lucas van Leyden; Netherlandish, 1494-1533. Date: 1503-1513. Dimensions: 255 mm x 185 mm (image/sheet, trimmd within plate mark). Engraving in black on cream laid paper. Origin: Netherlands. Museum: The Chicago Art Institute, Chicago, USA.

Triumph of Amor. A group of women, partly touched by arrows, looks up to Amor floating on a horse through the sky.

Italy, Reni, Guido, Holy Family, verso - stamped, The Holy Family resting before a building with pilasters., print, prints, height 231 mm, width 149 mm, Italian, 1575-11-04 - 1642-08-18, print maker, printmaker, 1585 - 1642, paper, papier, etching, etchings, Expression creation

The Birth of Jesus, from The Life of the Virgin. Jacques Callot; French, 1592-1635. Date: 1612-1635. Dimensions: 62 × 45 mm (image); 67.5 × 45.5 mm (plate); 70.5 × 49 mm (sheet). Etching on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Anonymous / 'The Adoration of the Shepherds'. Ca. 1650. Grey-brown wash, White lead on brown paper. Museum: Museo del Prado, Madrid, España.

DELIMBIC SIBILLE; Paintings in the Lunetten above the windows in the Sistine Chapel. A lunet with the Delfic Sibille with a text stream and bare figures.

Holy Luke paints Madonna with child, Dirck Vellert, 1526 print Room with Maria with child and Lucas behind easel. Lucas is displayed as a contemporary master with palette, brush and painting stick. There is an OS on his left hand. A servant of paint is rubbed in the adjacent departure. paper engraving St. Luke as patron of painters. painter at work with assistants or pupils

. Cephalus puts his spouse procris to the test and tries to seduce her in disguise. It almost succeeds because ProCris has already bare its breasts. At that moment Cephalus takes his mask and shows who he really is.

Susanna attacks by the elders, Louis Fabritius Dubourg, 1742 print Susanna is in the garden, with her bath and is attacked by two elders who want to seduce her. Susanna is half naked, an elder is behind her, the other for her. paper etching Susanna bathing, usually in or near a fountain and sometimes accompanied by two female servants

Heroines of the New Testament: Heroines of the New Testament: The Crippled Woman Healed by Christ, c. 1595. Jan Saenredam (Dutch, 1565-1607), after Hendrick Goltzius (Dutch, 1558-1617). Engraving;

Daughters of Anius changed in Duiven; Maeonides Pyrenei Vim Effugientes in Aves; Metamorphoseon Sive Transformationum; Metamorphoses from Ovid. The daughters of Anius are changed in pigeons so that they can escape Agamemnon. Title in Latin in undermarge.

Albrecht Dürer, The Passion: Ecce Homo, 1512, engraving on paper.

The foot wash.

Chalk and feather drawing by Benvenuto Tisi showing elderly figures sitting to the left conversing with a standing young man in early 16th-century fashion.

Jacques Callot (1592-1635). "The life of the Blessed Virgin, death of the Virgin Mary: eleventh number of a series of 14 pieces" (Lieure 1367, Meaume 86). Etching. 1631. Museum of Fine Arts of the City of Paris, Petit Palais. 99591-15 Etching, engraving

Winter, Jan Saenredam, Cornelius Schonaeus, 1601

Young Christ among the Doctors. Artist: Jacob Männl (German, Carlsbad 1654-1712 Vienna); After Jusepe de Ribera (called Lo Spagnoletto) (Spanish, Játiva 1591-1652 Naples). Dimensions: Sheet: 12 1/2 × 16 1/4 in. (31.7 × 41.2 cm). Date: ca. 1690-1712. Museum: Metropolitan Museum of Art, New York, USA.

Midas gets donkey ears, Antonio Tempesta, 1606 print King Midas, who acted as a jury member at the music competition between Apollo and the Sater Marsyas (or Pan), gets a few donkey ears from Apollo. Title in Latin in STUDMARGE. print maker: Italypublisher: Antwerp paper etching Midas given ass's ears: Apollo gives Midas ass's ears as punishment for preferring Pan in the musical contest between Apollo and Pan (Ovid, Metamorphoses XI 174)

Beggar sitting on his knees for a seated woman. Draughtsman: anonymous. Draughtsman: Pieter Lastman (rejected attribution). Dating: 1600 - 1699. Place: Northern Netherlands. Measurements: h 114 mm × w 127 mm. Museum: Rijksmuseum, Amsterdam.

Jacques Bellange's early 17th-century etching and copper engraving depicts three women at the grave, highlighting gesture, posture, and narrative details.

Domenichino, Rome, Frey, Jacob (der Ältere), Solomon and Bathsheba on the throne, verso - stamped, With caption in Latin., print, prent, prints, prenten, height 387 mm, width 311 mm, 1681 - 1752-01-11, print maker, printmaker, 1718 - 1719, paper, engraving, engraving (printing process), Italian, 1581-10-21 - 1641-04-06

Bolswert, Boëtius Adamsz., Rubens, Peter Paul, Lazare, veni foras, Raising of Lazarus, verso middle - stamped, a miracle performed by Christ (John 11)., print, prints, height 643 mm, width 501 mm, Southern Netherlands, 1580 - 1633-03-25, print maker, printmaker, 1590 - 1633, paper, papier, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, Publication (Event), Publication, publisher

Maarten van Heemskerck (1498-1574), Pavings, 1550s

H. Gregorius, François Voyez, After Carle Van Loo, 1769 print Numbered bottom left: No. 36. publisher: ParisFrance paper etching / engraving pope Gregory the Great; possible attributes: dove, emperor Trajan

The Annunciation. Artist: Jean Cousin the Elder (French, Souci () ca. 1490-ca. 1560 Paris ()). Dimensions: sheet: 5 3/16 x 7 3/4 in. (13.2 x 19.7 cm). Date: ca. 1544. Museum: Metropolitan Museum of Art, New York, USA.

Christ and Mary Magdalene / Noli meTangere. Artist: Alessandro Allori, Italian, Florence, 1535-1607

Moses with the Tables of the Law Artist's working dates 1605-1648 Germany. Chiaroscuro woodcut from three blocks in black on paper . Ludolph Büsinck

Silenus with flora and zephyrus. Silenus stands with a basket with grapes between flora with a flower wreath on her head and her partner Zephyrus blowing on a horn.

Winter, from The Four Seasons. Jan Saenredam; Netherlandish, 1565-1607. Date: 1601. Dimensions: 220 x 158 mm. Engraving on cream laid paper. Origin: Netherlands. Museum: The Chicago Art Institute, Chicago, USA.

Simson a Samuel, Hans Collaert (I) (attributed to), after Jan Snellinck (I), 1585 print The judges Simson and Samuel. Samson keeps the skin of the lion in one hand and the jawbone of a donkey in his other hand. In the background in the landscape you can see how Simson kills a lion with his bare hands and carries the gates of Gaza above his head. Next to him is the prophet Samuel. Samuel Saul is king in the background. Under the show explaining texts in Latin. Antwerp paper engraving the time of Samson ~ the book of Judges. Samson kills the lion with his bare hands. the anointment of Saul by Samuel

Meal at the house of Simon de Leviet. .

Statues of Two Ancient Romans. Polidoro, da Caravaggio, approximately 1495-approximately 1543. 1660. Galestruzzi, Giovanni Battista, 1615 or 1618-approximately 1669. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

A reddish chalk drawing by an anonymous artist depicting the awarding of a decramation, showing figures and composition details.

Hieronymus Wierix, Protector Noster Aspice Protector Noster Aspice ...

unknown, Schut, Cornelis (I), Christ at the flogging post, verso lower left - stamped, Christ sits slumped on the ground after the flogging, his hands still tied to the flogging post; on the ground lie his clothes and a rod of twigs., print, prints, height 95 mm, width 76 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etchings, Work conception, after a design by, granter of privilege

The Angel Appearing to the Centurion Cornelius. Dated: late 1590s. Dimensions: Overall (approximate): 16.7 x 15 cm (6 9/16 x 5 7/8 in.) support: 31 x 24.8 cm (12 3/16 x 9 3/4 in.). Medium: pen and black ink with gray wash and white heightening on paper prepared with diluted red chalk. Museum: National Gallery of Art, Washington DC. Author: CORNELIS CORNELISZ VAN HAARLEM.

The apostles to the empty tomb of Mary. Draughtsman: Pordenone. Dating: 1528 - 1539. Measurements: h 97 mm × w 81 mm. Museum: Rijksmuseum, Amsterdam.

Vatican City, Papal Court, Rome, Guercino, Italy, Pasqualini, Giovanni Battista, Incredulity of Thomas, recto lower right - handwritten in red pencil, The apostle Thomas touches Christ's wound with his finger. Other apostles stand around and look on in amazement. Dedication in the lower margin., print, engraving, prints, verso - stamped, 6., height 261 mm, width 293 mm, Italian, 1585 - 1634, print maker, printmaker, 1621 - 1621, paper, papier, engraving (printing process), plaattoon, 1591-02-08 - 1666-12-22, after, after painting by, granter of privilege

The Sacrifice of Aaron. Guglielmo Cortese, Il Borgognone (1628-1679). Black chalk, pen and brown ink, grey wash heightened with white (partly oxidized), squared twice in places in pen and brown ink, on light brown paper, 362 x 274mm.

Workshop of Andrea Mantegna, The Adoration of the Magi (Virgin in the Grotto), c 1475 1480 The Adoration of the Magi (Virgin in the Grotto)

Antwerpen, Cock, Hieronymus, Heemskerck, Maarten van, Cort, Cornelis, Nederlanden, Verhaal van Tobias, Tobit en Anna met de geit, Antwerp, recto top right - handwritten in brown ink, Anna stands with the goat in front of the blind Tobit, who thinks that Anna has stolen the animal. On the left he prays to God. At the bottom in the margin a one-line caption in Latin from Tobit 2., print, prints, verso bottom center - stamped, 22, height 200 mm, width 245 mm, print maker, printmaker, 1556 - 1556, paper, engraving, engraving (printing process), Northern Netherlands, 1533 - 1578, Work conception, 1498 - 1574, after a design by, Publication (Event), Publication, Southern Netherlands, 1518 - 1570-03-10, publisher

Joseph Fratrel the Elder drawing of an allegorical scene featuring Justitia, executed in red chalk.

Woodcut by Albrecht Dürer from 1496-1510 depicting a soldier and a pained figure, from the Big Passion series, illustrating suffering and devotion.

Thesis. Dated: 1640. Medium: chiaroscuro woodcut in green and black. Museum: National Gallery of Art, Washington DC. Author: Bartolomeo Coriolano after Guido Reni.

Saint Francis of Assisi Resuscitating a Dead Youth. Artist: Camillo Procaccini (Italian, Bologna 1555-1629 Milan). Dimensions: 5 11/16 x 4 7/8in. (14.5 x 12.4cm). Date: 1555-1629.Nancy Ward Neilson has suggested that the present design may be a preparatory study for one of the now-destroyed scenes from the life of Saint Francis painted during the late 1580's by or under the supervision of Camillo in the second cloister adjacent to the church of Sant'Angelo in Milan. Like the 'Annunciation' (acc. no. 80.3.181), this drawing was attributed to Camillo by Philip Pouncey in 1965. Museum: Metropolitan Museum of Art, New York, USA.

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