Classical Art and Engravings

Detailed engravings and sketches representing classical themes, featuring deities, allegorical figures, and intricate designs from renowned artists.

Venus and Mars Surprised by Apollo, Jeremias van Schaak, after Willem Doudijns, 1690 - 1727 print Mythological representation possible to interpret as 'Venus and Mars surprised by Apollo'. Mars and Venus are in bed together. A few swans and a hunting dog at the foot end. Apollo - although not usually dressed here in a harness - looks down on the pair from a cloud. A rooster next to him. This print may depict a story from Ovidius' metamorphoses. Northern Netherlands paper Mars and Venus making love, Apollo (Sol) appearing

Domenico del Barbiere after Rosso Fiorentino, Gloria, 1540 1545 Gloria

Albrecht Dürer, Nemesis (The Great Fortune), 1501-1502, engraving on paper.

Lazio Roma Rome S. Maria in Vallicella41. 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.

Albrecht Dürer's 'Nemesis' (c. 1501) is a copper engraving depicting the goddess Nemesis holding a sword and a globe, symbolizing retribution and fate, rendered with detailed textures and intricate composition.

Chalk drawing by Antonio Maria Zanetti depicting Mercury descending, highlighting figure, posture, and drapery details.

Allegory on painting. A male, winged allegorical figure on the clouds. The flame of inspiration burns above his head. It is surrounded by various painting attributes. In his hand a sheet on which: "Motion fruits".

There they go, Francisco de Goya, 1797 - 1799 print A witch and a devil in the air, hanging on a stick and a snake. There is a cat on the tail of the snake. Sixty -six print from the Los Caprichos series. Spain paper etching / drypoint human-shaped devil. witch, sorceress. flying

This colored copper engraving by Meister E.S., from the second third of the 15th century, depicts St. Michael, showing the archangel with detailed armor, wings, and religious symbolism.

Print, Nemesis; Albrecht Dürer (German, 1471-1528); Germany; engraving on white laid paper; Overall: 33.5 x 23.3cm (13 3/16 x 9 3/16in.) Platemark: 33.2 x 22.9 cm (13 1/16 x 9 in.) Mat: 45.7 x 35.6 cm (18 x 14 in.)

Venus and Mars Surprised by Apollo, Jeremias van Schaak, after Willem Doudijns, 1690 - 1727 print Mythological representation possible to interpret as 'Venus and Mars surprised by Apollo'. Mars and Venus are in bed together. A few swans and a hunting dog at the foot end. Apollo - although not usually dressed here in a harness - looks down on the pair from a cloud. A rooster next to him. This print may depict a story from Ovidius' metamorphoses. Northern Netherlands paper Mars and Venus making love, Apollo (Sol) appearing

Italy, Albani, Francesco, Pietri, Pietro Antonio de, Rome, Frezza, Giovanni Girolamo, Apollo framed by the zodiac, verso - stamped, Apollo, the sun god, floating in the air with his lyre, framed by the zodiac. On the right Bacchus and Vulcan and on the left Flora and Ceres in a landscape., print, prent, prints, prenten, height 302 mm, width 640 mm, Italian, 1659 - 1748, print maker, prentmaker, 1704 - 1704, paper, papier, engraving, engraving (printing process), 1663-02-20 - 1716-12-20, intermediary draughtsman, after a drawing by, 1578 - 1660-10-04

French crown, France, Heince, Zacharie, Bignon, François, Mythological figures at the water, Mythological representation with gods in worship around a altar in the water, verso - stamped, print, prints, height 130 mm, width 362 mm, 1620, print maker, printmaker, 1630 - 1720, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1611 - 1669-06-22, after a design by, after, after a painting by, granter of privilege

Francisco de Goya (Spanish, 1746-1828). Allá vá eso. (There it goes.), 1796-1797. From Los Caprichos, no. 66. Etching, aquatint, and drypoint on cream laid paper. Plate: 205 mm x 165 mm (8.07 in. x 6.5 in.).

Design for a glass pane, Shield holder in Roman costume, draughtsman: Joachim Wtewael, (circle of), 1576, prepared paper, brush, h 398 mm × w 300 mm

Drawing, Decorative Design; Walter Shirlaw (American, b. Scotland, 1838-1909); USA; black and red crayon on grey paper; 48.2 × 30.5 cm (19 × 12 in.)

Time cuts the wings of Amor, Pieter Schenk (I), After Anthony Van Dyck, 1670 - 1713 print Father Time cuts the wings of Amor. On the ground the scythe of father Time and the arrow cooker of Amor. The performance is an imagination of the theme: the time cuts the wings of love. Amsterdam paper engraving Father Time, man with wings and scythe. fettered Cupid, 'Amor Cruciatus'

Winter, Cherubino Alberti, After Polidoro da Caravaggio, 1563 - 1615 print Zwik with the personification of the winter: a man with beard and folded arms. Italy paper engraving Winter, 'Hyems'; "INVERNO" (RIPE)

Saint John the Evangelist. Dated: 1782. Medium: chiaroscuro woodcut. Museum: National Gallery of Art, Washington DC. Author: John Skippe after Parmigianino.

Louis XV (king of France), Paris, Huquier, Gabriel, Meissonnier, Juste Aurèle, Audran, Benoît (II), Oeuvre de Juste Aurele Meissonnier, Livre d'orfeverie d'eglise, treisieme livre des oeuvres de JA Meissonnier, Soleil executé en argent pour les religiouses Carmelites de Poitier en 1727, Design for a monstrance, This print is part of an album., print, ornament print, album page, prints, height 477 mm, width 219 mm, 1698 - 1772-01-09, print maker, printmaker, 1738 - 1749, paper, etching, Work conception, 1693 - 1750-07-31, after a design by, Publication (Event), Publication, French, 1695 - 1772-06-11, publisher, 1710-02-15 - 1774-05-10, granter of privilege

Putto pointing, Pieter Romans, 1825 - 1835 print Amsterdam paper engraving Cupids: 'Amores', 'Amoretti', 'Putti'

Lazio Viterbo Caprarola Palazzo Farnese83. Hutzel, Max 1960-1990 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.

Photo production of a painting by Guido Reni, representing the archangel Michaël and Satan, Anonymous, After Guido Reni, c. 1890 - In or Before 1910 photograph Part of photo album of a trip through Southern Europe and the Middle East. photographic support gelatin silver print the Archangel Michael fighting the dragon (devil, Satan)

Workshop of Andrea Mantegna, Faun Battling a Snake, c. 1500, engraving

Allegory in the power of truth; Four allegories about the competition under Darius' three young bodyguards about who is the strongest. Allegory in the power of truth. A bare winged female personification of truth, standing on a triangle points to the sun with her right hand. In her left hand she holds an open book with seven stamps and bridle with reins. She is crowned with a laurel wreath by two angels. The caption refers to the competition under the bodyguards of the Persian King Darius on who is the most powerful (3 sdras 4: 13-33). Part of a series of four allegories.

Personification of nature; Nature; One-and-fourteigh pieces, shyded sinne images. A woman's figure as a nature personification with a putto with his hands full of flowers next to her. Under her arm a vase that acts as a watering can. In the background a man with a child with a sacrifice column and a herme. Print from a series of 41 symbols.

Lazio Roma Rome S. Andrea della Valle4. Hutzel, Max 1960-1990 Post-medieval: Architecture, frescoes, stucco, painting, sculpture, architectural sculpture, sculptural relief Object Notes: Exhibiting the passage from Counter-Reformation to Baroque, it is one of the most vast churches in Rome (the most vast with one nave), and its cupola, which measures 80 meters in heighth is the heighest after that of S. Peter's. Construction was initiated in 1591 by Olivieri, the cupola was completed in 1625 by Maderno. 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, si

Drawing, St. Paul in the Clouds with Angels and Palms; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and ink, brush and brown wash, on paper; 21.8 x 15.4 cm (8 9/16 x 6 1/16 in.)

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Fotoreproductie van de gravure 'Jupiter en eros' door Marcantonio Raimondi Naar Raphael, Benjamin Desir, after Marcantonio Raimondi, 1853 - 1854 photograph publisher: Paris (possibly)publisher: London paper salted paper print (story of) Jupiter (Zeus)

Print, The Letter Z; Designed by Giovanni Battista Betti (Italian, active 1754 - 1777); Italy; Mat: 23.3 x 32.6 cm (9 3/16 x 12 13/16 in.); 1918-17-25

Allegorically female figure with wings, Albrecht Altdorfer, c. 1506 - 1538 print Allegorical figure of a naked woman with wings and with a burning torch and a banner. She stands on a radiant star in the clouds, at the top of the landscape. Germany paper engraving monsters of mixed human and animal shape; 'Mostri' (Ripa) (+ legs, wings, etc.). torch

St. Jerome Hearing the Trumpet of the Last Judgment. Antonio Castillo y Saavedra (Spanish, 1616 - 1668)

OORORBLAZERS, FRANCISCO DE GOYA, 1797 - 1799 print A devilish figure with wings blows to three monks. These cover their ears. Forty -eight prints in the Los Caprichos series. Spain paper etching devil(s) and demons. monk(s), friar(s)

April allegory. Projects for the "eternal calendar in paintings", part I, 1881-1901 (Immerwährender Bilderkalender); Thoma, Hans (1839-1924); 1881-1901 (1911-00-00-1911-00-00);Schlesisches Museum der Bildenen Künste (Wrocław - 1880-1945) - collection, spring (personification), allegories, astrology, illustrations, name days, calendars, personifications (iconogr.), Seasons, spring, zodiac signs

Philippe Thomassin, The Fall of the Rebellious Angels, 1618 The Fall of the Rebellious Angels

Hercules and the Hydra. Engraving by Master I. F. T. Italian, about 1500. The Metropolitan Museum of Art. MM4152 , Engravings, Supernatural beings, Hydra Greek mythology, Heracles Greek mythological character. Nicholas Catsimpoolas Collection

Third Creation Day: Divorce of Land and Water, Jan Harmensz. Muller, after Hendrick Goltzius, 1589 print The third day of creation: an angel separates the land from the water from the sea. The country is presented as a naked man with a root in his hand and with a headdress of plants, trees and flowers. The sea is personalized by a woman with a shell in hand and shells in her hair. To the Bible text in Gen. 1: 9-13. Amsterdam paper engraving gathering of the waters below the firmament; dry land appears and produces all kinds of plants

William Blake, The Fall of Satan, 1825, engraving on chine collé on cream wove paper.

Venus in Love, Anonymous, 1688 - 1698 print Venus and the Flying Amor. He keeps a pigeon on a line. Netherlands paper engraving Venus and Cupid (Cupid not being mere attribute)

Chalk, feather, and brush drawing by Charles-Joseph Natoire depicting Pauli's conversion, showing figure, gesture, clothing, and posture on blue natural paper with white highlights, circa 1755-1760.

Tornado-Zeus Battling Typhon, from Erasmus Darwin's "Botanic Garden" August 1, 1795 William Blake British. Tornado-Zeus Battling Typhon, from Erasmus Darwin's "Botanic Garden" 375909

Death of Leonora. Maclise, Daniel, 1806-1870. Bürger, Gottfried August, 1747-1794. Prints. 1847. General Research Division

Flying Faam, Frédéric Théodore Faber, 1810 - 1817 print The winged fame, blowing on her trumpet, scatters floral wreaths. Brussels paper etching Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa) (+ Clothed with wings)

Italy, Romano, Giulio, Veneziano, Agostino, The four evangelists (copies), Matthew the evangelist, recto lower left - handwritten in brown ink, The evangelist Matthew, sitting on a cloud with a pen and inkwell in his hands. On the right the angel or winged man with a banderole with a text in Latin., print, prent, prints, verso - stamped, R, height 242 mm, width 180 mm, print maker, printmaker, 1500 - 1536, paper, papier, engraving, engraving (printing process), Work conception, Italian, 1490 - 1536, after print by, 1499 - 1546-01-11

The Resurrection ca.1580 Santi di Tito. The Resurrection. Santi di Tito (Italian, Sansepolcro 1536-1603 Florence). ca.1580. Pen and brown ink and wash over black chalk, heightened with white, on blue paper. Drawings

Italy, Parmigianino, Bonasone, Giulio, Vision of Saint Jerome, verso - stamped, Mary and the Christ Child are floating in the air. John the Baptist is kneeling on the ground, pointing upwards. On the right, Saint Jerome is sleeping with a crucifix in his hand., print, prent, prints, height 360 mm, width 240 mm, Italian, 1510 - 1576, print maker, printmaker, 1501 - 1580, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1503-01-11 - 1540-08-24

Writing Angel, Anonymous, 1770 - 1799 drawing A writing angel in an oval frame. Design for a grave monument. France paper. ink pen / brush

St. Michael Slaying the Dragon. 1401 - 1500. Schongauer, Martin, 15th cent.. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Juno and Iris, Print made by William Faithorne, 1656-ca. 1701, British, after Francesco Albani, 1578-1660, Italian, Published by Edward Cooper, active 1682 -died 1725, British, between 1695 and 1703, Mezzotint on medium, slightly textured, beige laid paper, Sheet: 9 1/4 x 13 inches (23.5 x 33 cm), Plate: 9 x 12 11/16 inches (22.8 x 32.2 cm), and Image: 8 13/16 x 12 11/16 inches (22.4 x 32.2 cm), chariot, cloak, clouds, crown, flying, goddesses, messenger, nymphs, peacocks (birds), pearls, putti, rainbow, religious and mythological subject, robes, scepter, wings, women

Lazio Viterbo Caprarola Palazzo Farnese11. Hutzel, Max 1960-1990 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.

Table of the Museum Temple: Atlas (Dutuit 36, White 131) Cornelis II Bloemaert, said the young person (1603-1692). Table of Museum Temple: Atlas (Dutuit 36, White 131). Burin, 1655. Museum of Fine Arts in the city of Paris, small palace.

The Vision of Eliphaz 1825-26 William Blake British. The Vision of Eliphaz 383455 Artist: William Blake, British, London 17571827 London, Publisher: Published by William Blake, British, London 17571827 London No. 3 Fountain Court, Strand, The Vision of Eliphaz, from Illustrations of the Book of Job, 182526, Engraving, plate: 8 1/2 x 6 5/8 in. (21.6 x 16.8 cm) sheet: 16 5/16 x 10 7/8 in. (41.4 x 27.6 cm). The Metropolitan Museum of Art, New York. Gift of Edward Bement, 1917 (17.17.19)

Vatican City, Clement XI, Italy, Albani, Francesco, Pietri, Pietro Antonio de, Rome, Frezza, Giovanni Girolamo, Paintings by Francesco Albani, Mercury, verso - stamped, The god Mercury with winged helmet, winged sandals and his mercury staff. Decoration of a pendentive., print, prints, height 356 mm, width 280 mm, Italian, 1659 - 1748, print maker, printmaker, 1704 - 1704, paper, engraving, engraving (printing process), 1663-02-20 - 1716-12-20, intermediary draughtsman, after a drawing by, 1578 - 1660-10-04, after, after a painting by, Work conception, after a design by, 1649-07-22 - 1721-03-19, granter of privilege

Three Naked Nornen, Huib Luns, 1891 - 1931 print paper Fate, Doom

Design for a statue: Victory, Bartholomew Ziesenis, 1799, draughtsman: Bartholomeus Ziesenis, (mentioned on object), Netherlands, 1799, paper, pen, brush, h 442 mm × w 318 mm

Lazio Roma Rome S. Ignazio di Loyola42. Hutzel, Max 1960-1990 Church was built 1625-50, based on a project by Maderno. Exterior photos of facade, rooftops and portal, with details of capitals. Interior views of the nave; however, the majority of the photos are of the paintings in the vaults and chapels. Frescoes include the Entry of S. Ignatius into Heaven and the Four Parts of the World. There are also frescoes of Samson, David, Judith and Joel. In the transept are frescoes relating to St. Louis and to the Glory of S. Ignatius. Other, unidentified rooms in the complex are also photographed. Object Notes: Hutzel photo campaign notes are undated. See also Marburger Index, no. 395. 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 Etrusc

Print made by William Blake, 1757-1827, British, The First Book of Urizen, Plate 14 (Bentley 14), 1794. Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper.

Picart, Bernard, Amsterdam, Faam shows a book and blows the trumpet, verso - stamped, print, prints, height 45 mm, width 72 mm, Northern Netherlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1716 - 1716, first quarter 18th century, paper, papier, etching, etchings, engraving, engraving (printing process), intermediary draughtsman

Christian Josi, ca. 1765-1828, Dutch, Peace, c. 1802. Stipple.

Putto, Edouard Taurel, After Rafaël, 1834 - 1892 print Amsterdam paper engraving Cupids: 'Amores', 'Amoretti', 'Putti'

Boy with Wings +Cornucopia. Artist: Elihu Vedder, American, 1836-1923

Female figure with wings and coat of arms, Anonymous, Claude Mellan, 1608 - 1688 print paper engraving armorial bearing, heraldry

This circa 1511 woodcut by Albrecht Dürer depicts Mary on the Monsichel from the Marienleben title page, showing figure, attire, gestures, and early 16th-century composition.

Italy, Scolari, Giuseppe, Saint George and the Dragon, verso - stamped, Saint George on horseback with a broken lance in his hand. The broken part of the lance is stuck in the throat of the dragon lying on the ground., print, prent, prints, height 536 mm, width 369 mm, Italian, print maker, printmaker, 1550 - 1600, third quarter 16th century, fourth quarter 16th century, paper, papier, ink, inkt, houtsnede, pen

. Cloud cover with Venus and Amor. Amor wants to shoot an arrow. In addition to them a putto that has come through an arrow and two pigeons. The show is caught in a round frame. Second print from a series of three with goddesses.

Jupiter en Ganymedes, anonymous, 1600 - 1699 print France paper. ink etching / pen the rape of Ganymede: he is carried off through the air by Jupiter in the form of an eagle, or by the eagle of Jupiter

Design for Sculpture, Angel in Adoration, Leonardo Scaglia, French, active Italy, 1640 - 1650, Leonardo Scaglia, French, active Italy, 1640 - 1650, Pen and brown ink, brush and gray wash, black chalk on white laid paper laid down on white laid paper, Vertical rectangle. Design for a sculpture of a female angel shown from the front, standing upon a base, hands clasped together at left shoulder., Italy, mid- 17th-late 17th century, sculpture, Drawing, Drawing

Gaspar Sensi y Baldachi (Lithographer) (After Rubens, Peter Paul); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Birth of the Milky Way'. 1829 - 1832. Lithographic aquatint, Crayon lithography, Scraper on wove paper; 1829 - 1832. Lithographic aquatint, Crayon lithography, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Filosoof, anonymous, after Domenico Beccafumi, in or after 1496 print A standing man with a beard in a niche, possibly a philosopher with his fingers. Italy paper counting off arguments, calculating on fingers. standing figure. scholar, philosopher

Medal Project - The Genie of France Crown by Victory Augustin Dupr� (1748-1833). Medal project: the genius of France crowned by victory.

Schaepkens, Theodoor, Two standing angels, verso - stamped, print, prints, height 167 mm, width 121 mm, Dutch, 1810-01-27 - 1883-12-18, print maker, printmaker, 1825 - 1883, paper, papier, etching, etchings, print in brown

Thy Kingdom Come (Monument to Sir Thomas Barting). Dated: published 1810. Medium: stipple engraving. Museum: National Gallery of Art, Washington DC. Author: William Bond after Henry Corbould after John Flaxman.

Modo de Volar (A Way of Flying), plate 13 in Disparates (Proverbs), Francisco de Goya y Lucientes, Spanish, 1746 - 1828, Aquatint and etching on white wove paper, Multiple views of a man attached to a winged flying apparatus with the head of a bird. Each view shows the user and apparatus from a different angle and type of flying motion., Spain, 1865-66, models and prototypes, Print, Print

Martin Schongauer (German, c. 1450 - 1491), Saint Michael Slaying the Dragon, c. 1480-1490, engraving

Sketchbook Folio, Venus and Cupid; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and brown wash, over traces of black chalk white wove paper; 21.8 x 15.4 cm (8 9/16 x 6 1/16 in.)

Wisdom and truth fall down on earth, Adrien Didier, After Pierre Prud'Hon, 1853 - 1895 print Paris paper. etching / engraving (story of) Minerva (Pallas, Athena). Truth; 'Verití' (Ripa). Wisdom; 'Sapienza', 'Sapienza humana', 'Sapienza vera' (Ripa)

La guerre de 1870, grande allégorie.. 1871. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Nudes, Eagles, National emblems, Franco-Prussian War, 1870-1871

Adam and Eve after the fall; Our First Parents After The Fall. In the foreground Eva, sitting, with the hands in the hair. Left Adam, standing, with raised, folded arms. Their buttocks are covered with leaves.

The figure pictured here, according to Greek mythology, is Zephyrus was the god of the west wind. Zephyrus was the gentlest of the winds and considered a harbinger of springtime. He was pictured with flowers that indicated a mild light breeze. The Greeks honored eight wind gods. The others are: Lips, or Livos, the god of the southwest wind. Usually he was shown holding a ship's sternpost because when the wind blew form the southwest into Athens' port harbor of Piraeus, ships could not sail. Eurus, or Euros, was the god of the east wind. The folds of his clothes suggested heavy clouds. Apeliote

Lazio Viterbo Vitorchiano Madonna di S. Nicola4. Hutzel, Max 1960-1990 Three exterior views of 16th c. church; comprehensive coverage of church interior, including altars, nave and numerous frescoes of the viterbese school. General Notes: Two sets of prints integrated into single numerical sequence that comprises all views of Vitorchiano. 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.

Angel and Child, Giovanni Vitalba, Italian, 1783 - 1792, Giovanni Francesco Barbieri (called Guercino), Italian, 1591 - 1666, Engraving in brown ink on white paper, The angel faces frontally, with one hand on the hands of the child, with the other pointing to the sky. The Child is facing the angel, with his hands pressed together for prayer., Italy, ca. 1765-1785, Print, Print

Edgar Degas 1858 drawing depicts a floating angel near Luca Signorelli, executed in black chalk, pencil, brown wash, brush, and reddish traces.

Drawing, Two Angels with Lance and Holy Sponge; Italy; graphite, pen and ink, brush and watercolor on paper

Escape on Pegasus, illustration to the fairy tale of Walery Przyborowski; Gerson, Wojciech (1831-1901); 1880 (1831-00-00-1901-00-00);

Francisco de Goya, Modo de volar (A Way of Flying), published 1864 Modo de volar (A Way of Flying)

Writing Angel, Anonymous, 1770 - 1799 drawing A writing angel in an oval frame. Design for a grave monument. France paper. ink pen / brush

Wall Fragment with Winged Female (Nike) on Black Ground. Unknown

A Clair-obscur woodcut by Ugo da Carpi from circa 1526-1527 depicting Olympos, printed in three plates, illustrating early 16th-century Italian engraving techniques.

Hans Burgkmair I (German, 1473 - 1531), Veronica, probably 1511, woodcut

One of eighteen designs for a series of plates illustrating Venus and Adonis, Hablot Knight Browne, 1815-1882, British, undated, Graphite, red chalk, watercolor and white gouache on medium, slighlty textured, gray wove paper, Sheet: 6 5/8 × 6 5/8 inches (16.8 × 16.8 cm), dog (animal), holding, horse (animal), hunting dogs, lovers, religious and mythological subject

Roof van Proserpina, Jan van Somer, 1655 - 1700 print Pluto, king of the underworld, kidnaps Proserpina, the daughter of Ceres. The Pluto car is controlled by Amor. paper the rape of Proserpina (by Pluto in his chariot); possibly with Diana and Minerva trying to rescue her

Love brings virtue; Numismata virorum illustrium ex Barbadica Gente. A console with an angel. In his hands he has two laurel wreaths. The print is part of an album.

Jupiter in love..

William Blake, 1757-1827, British, Plate 31 (page 65): Night the Fourth 'THE/ CHRISTIAN/ TRIUMPH', 1797. Engraving.

William Blake, The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo, 1827 The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo

Strijder on horseback drives over a man, Jean Baptist Leprince (attributed to), 1744 - 1781 print paper etching riding a horse, ass, or mule; rider, horseman. warfare; military affairs (+ cavalry, horsemen)

Francisco de Goya y Lucientes / 'The kidnapping horse'. 1815 - 1819. Etching, Aquatint, Burnisher, Drypoint on wove paper. Museum: Museo del Prado, Madrid, España.

Léon Bonnat, French (1833-1922), La Lutte de Jacob (Jacob Wrestling with the Angel), 1876, drypoint in black on laid paper

Angel Holding a Banderole. Artist: Antonio Franchi (Il Lucchese) (Italian, Villa Basilica near Lucca 1638-1709 Florence). Dimensions: 6 7/8 x 7 13/16in. (17.4 x 19.9cm). Date: 1706.This drawing and a second one (1987.288) were associated by Marco Chiarini and Lawrence Turcic with frescoed pendentives by Antonio Franchi in the second chapel on the left in the church of San Frediano at Cestello, near Florence. Franchi's decorations in this chapel, which is dedicated to St. John the Baptist, are signed and dated 1706. The putto and angel in these drawings appear in the pendentives above the altar. The Metropolitan Museum possesses a drawing by Antonio Puglieschi (1660-1732) for the decoration of another chapel of San Frediano in Cestello (Exaltation of the Holy Cross, 1985.101). Museum: Metropolitan Museum of Art, New York, USA.

Drawing of Madonna and child. Schiavone, Andrea, approximately 1500-1563. Drawings, Illustrations. 1900. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

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