Dramatic Biblical Scenes

Dramatic illustrations of religious narratives featuring figures in intense emotional states, with a focus on light and shadow nuances.

Lazio Roma Rome S. Croce in Gerusalemme12. 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.

Christ in the Olive Garden 1590-1600 Italy. Pen and black ink, with brown and black ink, brush and gray wash, and touches of pen and brown ink, over black chalk, heightened with white and pale yellow gouache, on light brown paper . Tintoretto

H.C. Henberg (1826-1893); Lorenz Froelich (1820-1908), Amled's Precious and H�n, (1852)

Lazio Roma Rome S. Croce in Gerusalemme12. 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.

Silvie. Artist: Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); After Jean-Baptiste Marie Pierre (French, Paris 1714-1789 Paris). Etcher: Illustrations by Claude Henri Watelet (French, Paris 1718-1786 Paris). Date: London 1743. Museum: Metropolitan Museum of Art, New York, USA.

Vrede (Pax), Domenico Tibaldi, After Pellegrino Tibaldi, 1551 - 1583 print The peace (pax) as a woman, sitting with an olive branch in one hand and a chain in the other. The chain binds the hands of a naked man who is in the foreground. Around the woman four putti, one of which an olive crown holds. print maker: Bolognaafter drawing by: Italy paper engraving symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). tools, aids, implements ~ crafts and industries: chain. cupids: 'amores', 'amoretti', 'putti'

Adoration of the Shepherds ca. 1620-30 Claude Vignon French. Adoration of the Shepherds 343452

Job on the dunghill, Jan Lauwryn Krafft (I), 1704 - 1765

Allegorical Presentation of Family, Gottfried Arnold Lehman, 1791 print Amsterdam paper engraving Abstract Ideas and Concepts (+ allegorical scene, i.e. two or more personifications involved in an action). family life. collapsing building

Charles-Joseph Natoire drawing of the Adoration of the Kings, executed in black chalk with brown brushwork, white heightening, and blue paper, intended as an altar draft, 1748-1749.

Copper engraving by an unknown engraver from the 17th century depicting Zinsprozen, likely showing financial or numerical figures in an illustrative format.

The Resurrection, plate twelve from The Passion of Christ 1596 Netherlands. Engraving in black on cream laid paper . Hendrick Goltzius

Lot and his daughters, Jan Gillisz. van Vliet, after Rembrandt van Rijn, 1631 print Leiden paper etching / engraving Lot's daughters make their father drunk

Fouquet, Nicolas.

The Madonna of the Santa Casa of Loreto, worshiped by three saints. Draughtsman: Girolamo Brusaferro. Draughtsman: Sebastiano Ricci (rejected attribution). Dating: 1710 - 1760. Measurements: h 309 mm × w 171 mm. Museum: Rijksmuseum, Amsterdam.

Umbria Terni Narni Santuario Madonna del Ponte7. Hutzel, Max 1960-1990 Medieval: Frescoes (12th century). Post-medieval: Architecture (c. 1724), painting (18th century), frescoes (14th century), sculpture 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.

Singing, Johann Esaias Nilson, 1731 - 1788 print In a landscape a woman sits on a chair with an open music book on her lap. To the left of hers a man plays on a flute, he is standing next to a bass violin. To the right of the woman is a boy. Around the show a rocaille frame with water -brushing putto. Twice a four -line French and German text in the lower margin. Augsburg paper engraving / etching making music; musician with instrument

Allegorical engraving; 1896-1897 (1896-00-00-1897-00-00);

Panurge sortant de chez Raminagrobis 185455 Félix Bracquemond French. Panurge sortant de chez Raminagrobis 384619

Print, The Entombment, after Jacopo Bassano; Print Maker: John Jackson; England; chiaroscuro woodcut from four blocks, in buff, light reddish tan, gray, dark brown inks; Plate: 53.9 × 38 cm (21 1/4 × 14 15/16 in.) Paper: 57.2 × 39.4 cm (22 1/2 × 15 1/2 in.); Bequest of George Campbell Cooper; 1896-3-229

Democritus and Protagoras. William Pether (English, 1738-1821); after Salvator Rosa (Italian, 1615-1673); published by John Boydell (English, 1719-1804). Date: 1778. Dimensions: 504 × 352 mm (image). Mezzotint in black on paper. Origin: England. Museum: The Chicago Art Institute, USA.

Sleeping man startled by allegorical figures, Jan de Lairesse, 1707 - 1740 print A sleeping man is startled by an allegorical figure with snakesharen who pulls the sheets off him. On the left a veiled woman has appeared surrounded by a wreath of light. In her hands she holds a bowl of burning fire. A killed third figure, seen on the back, moves with a dagger in the direction of the bed. Print at the top right marked: p. 153. paper etching / engraving sleeping in bed

Abraham Bosse after Claude Vignon, Illustration to Jean Desmarets' L'Ariane, published 1639 Illustration to Jean Desmarets' L'Ariane

Giorgio Ghisi (Italian, 1520 - 1582). The Adoration of the Shepherds, ca. 1582. Engraving.

Tuscany Grosseto Massa Marittima S. Agostino7. Hutzel, Max 1960-1990 Post-medieval: Includes views of neighboring Cappella di S. Lucia (1348) Architecture, architectural sculpture (14th century, restored 1958), sculpture, stained glass, frescoes, painting, Object Notes: Bibliographic material included and housed in the Center Library 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.

The Raising of Lazarus: The Larger Plate, Rembrandt van Rijn, c. 1632 print paper. ink etching / pen the raising of Lazarus ('Lazarus, come out')

The Resurrection, from The Passion of Christ 1596 Hendrick Goltzius Netherlandish Between 1596 and 1598 Goltzius engraved this series of twelve prints illustrating the Passion of Christ. They reflect the influence of the Netherlandish artist Lucas van Leyden, in both the figure types and the actual engraving technique. In contrast to his normal graphic style, which was characterized by a dramatic line that swells and tapers around the figures and background, here Goltzius uses thin even lines crossed with long straight hatching lines that are typically found in Lucass prints. In Northern Europe at the end of the sixteenth century there was a revival of interest in the works of Lucas and this series can be seen within that larger context. So, too, can Goltziuss famous Pietà modeled after Albrecht Dürer and the Circumcision and the Adoration of the Magi from his series the Life of the Virgin.The Passion of Christ was extremely popular during Goltziuss own lifetime and well beyond. Thi

unknown, Soutman, Pieter Claesz., Rubens, Peter Paul, Wild Boar Hunt (right plate), verso middle - handwritten in pencil, Men with spears stab a wild boar in the mouth. A fallen man lies on the ground in front of the boar. Another man with a spear climbs onto a tree stump. A rustic man blows a hunting horn. Right plate of a large representation consisting of two parts. At the bottom in the margin half of a verse in Latin about hunting., print, prints, fl. 2, 10, height 458 mm, width 410 mm, Northern Netherlands, 1601 - 1657-08-16, print maker, printmaker, 1642 - 1642, paper, papier, etching, etchings, engraving, engraving (printing process), Southern Netherlands, 1577-06-28 - 1640-05-30, after, after painting by, Work conception, after design by, granter of privilege

Vatican City, Clement VIII, Italy, Barocci, Federico, Villamena, Francesco, Saint Francis Receiving the Stigmata, verso - stamped, Saint Francis of Assisi kneeling before a cave on Mount Alverna. He is receiving the wounds of the cross from a crucifix in the sky. On the left in the foreground a Franciscan looks on. Dedication and Latin text in the lower margin., print, prent, prints, engravings, height 519 mm, width 357 mm, Italian, 1566 - 1624-07-07, print maker, printmaker, 1597 - 1597, paper, papier, engraving, engraving (printing process), Work conception, 1528 - 1612-09-30, after a design by, 1536 - 1605, granter of privilege

Umbria Terni Amelia S. Monica. Hutzel, Max 1960-1990 Post-medieval: Original church 14th century, rebuilt 17th century after an earthquake. Architecture; Baroque interior; painting; fresco fragments; organ loft 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.

Amsterdam, Hagedoorn, JC, Oosterhuis, Haatje Pieters, Sluyter, Dirk, Symbolic Representation in Commemoration of the Second Centenary of the Athenaeum Illustre in Amsterdam; solemnly celebrated on 10, 11 and 12 January 1832, Allegory on the second centenary of the Athenaeum Illustre in Amsterdam, 1832, verso - stamped, Allegory on the second centenary (1632-1832) of the Athenaeum Illustre in Amsterdam, celebrated 10-12 January 1832. Needle with opening through which a view of the gate to the Agnietenkapel on the Oudezijds Voorburgwal in Amsterdam where the Athenaeum Illustre is located. On the right the city maiden of Amsterdam, on the left two geniuses with a list of the names of the curators and professors. On the ground books and scientific instruments. In the clouds Minerva and Father Time with medallions with portraits of Caspar van Baerle, HG van de Poll, Vossius, PC Hooft and Joost van den Vondel. A separate explanation belongs to the print., print, prent, prints, prenten, Frede

Sancta Euphrolyna, from the series Female Hermits 1600-1633 Abraham Bloemaert Netherlandish. Sancta Euphrolyna, from the series Female Hermits 386173

Etching by Monogrammist AC, first half of the 16th century, depicting Death confronting a soldier, showing figure, gesture, and interaction in detail.

In front of an inn, a quack dentist is treating a man The patient has clenched his fists A group of bystanders stand around the scene, Dentist, print maker: anonymous, Jan van Somer, after: Jan Both, 1665 - 1750, paper, h 271 mm × w 199 mm

"Copper engraving and etching by Gaspard Duchange depicting the biblical story of Jephthah's daughter, emphasizing human figures and dramatic composition from 1680 to 1757."

The Holy Family Busy at Home Joseph Teaches the Boy Jesus to Read Mary Feeds the Pigeons Elizabeth Enters the Room with John Made 1809 Austria. Etching and aquatint in black on cream wove paper, laid down on ivory wove paper (chine collË) . Carl Russ

Rest on the Flight into Egypt. Dated: 1758. Dimensions: plate: 39.4 × 36.1 cm (15 1/2 × 14 3/16 in.) sheet: 46.2 × 41.8 cm (18 3/16 × 16 7/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jean-Baptiste-Marie Pierre.

Etching by Rembrandt portraying John the Baptist's beheading, created in 1640, highlighting dramatic composition, figures, and architectural background in a biblical context.

H.C. Henneberg (1826-1893); Lorenz Froelich (1820-1908), Rolfs Doy, 1852

Drawing, Ceiling Design for the Consecration of Numa, Sala di Numa Pompilius, Palazzo Milzetti, Faenza; Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and brown wash over black chalk on white laid paper; 17.5 x 14.3 cm (6 7/8 x 5 5/8 in.) matted w/-3450,-3460 Mat: 55.9 x 40.6 cm (22 x 16 in.)

Rijn, Rembrandt van, Hieronymus in prayer: plate with curved upper edge, verso lower left, print, prints, Rembrandt f. 1632, lower right, height 110 mm, width 81 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1632 - 1632, second quarter 17th century, paper, etching, etchings, burin, Work conception, after own design by

In a frame within a frame a monkey, a guenon and a peacock are shown underneath an image of a skeleton of a guenon. Etching.

Paul is bitten by an adder, Elias van Nijmegen, 1677 - 1755 drawing Design for a painting. paper. ink. watercolor (paint). pencil brush / pen Paul bitten by a viper (when throwing wood on the fire)

Watteau, Antoine.

Alexander's Confidence with his Physician Philip. Benjamin West; American, 1738-1820. Date: 1769-1771. Dimensions: 218 x 300 mm (primary support); 301 x 369 mm (secondary support). Brush and brown and black wash, with tan gouache, heightened with white gouache, with incising, on ivory laid paper, laid down on ivory laid card. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

A stone chalk and feather drawing by Martin Johann Schmidt around 1780 depicting the glory of St. John Nepomuk, showing figures, gestures, and celestial setting with lavated and heighted details.

Abraham freed Lot and his wives, Gilliam van der Gouwen, after Gerard Hoet (I), 1728 print Lot and his family, captured by the enemies of the king of Sodom, is liberated by his uncle Abraham (Gen. 14: 14-16). O Pde background the army of Abraham. The print has a Hebrew, Latin, French, English, German and Dutch caption. print maker: Amsterdampublisher: The Hague paper engraving / etching Abraham liberates Lot, recovers the stolen goods and returns in triumph

The ship of fortune., 1633, Netherlands, by Rembrandt van Rijn. Gift of Sir John Ilott, 1967.

Catalunya. Siglo XV. Reunión secreta en un bosque de la remensa , pago que en concepto de rescate habían de dar los payeses a su señor para abandonar la tierra. Grabado de 1881.

Peter liberated by an angel from prison, 1661 - 1662 drawing Zwolle paper. ink. deck paint. gouache (paint) brush

Apostel Jakobus de Merere, Parmigianino, 1524 - 1540 print The apostle James seen the superior on the back. paper etching / engraving / drypoint the apostle James the Great; possible attributes: book, pilgrim's cloak, hat, shell, staff, and wallet, scroll, sword

. .

Albrecht Dürer, The Man of Sorrows Mocked by a Soldier, probably 1511 The Man of Sorrows Mocked by a Soldier

Iris Encourages Priam to Beg the Body of Hector from Achilles, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash, graphite on thick white wove paper, Iris flies besides the walking Priam; a view into a room with sleeping Trojans is at left; the camp of the Greeks is shown in the right middle plane; Thetis approaches Achilles who sits behind the body of Hector who is fastened to his chariot., Italy, 1810-20, figures, Drawing, Drawing

Allart van Everdingen, The Cat Trapped and Beaten, probably c 1645 1656 The Cat Trapped and Beaten

Shakspeare. Tempest, act I, scene I : the inchanted island, before the cell of Prospero : Prospero & Miranda , Shipwrecks, Shakespeare, William, 1564-1616, Characters, Shakespeare, William, 1564-1616. Tempest. Thomas Pennant Barton Collection

Symbolic representation of the Allied arrival in Paris, March 31, 1814. Draughtsman: Jurriaan Andriessen. Dating: 1814. Measurements: h 200 mm × w 154 mm. Museum: Rijksmuseum, Amsterdam.

La Chûte d'Icare. Honoré Daumier (France, Marseilles, 1808-1879). France, 1842. Prints; lithographs. Lithograph

John Hamilton Mortimer, 1740-1779, British, Comedy (no.12 from Fifteen Etchings dedicated to Sir Joshua Reynolds), 1778. Etching.

Memorial Print for Hendrik Hooft Daniëlsz .. The Amsterdam city mourns with the grave of the Amsterdam civilmaster Hendrik Hooft Daniëlsz. An angel supports her in sadness and points her to the immortality of the deceased. There is a portrait-bust of Hooft Daniëlsz on the graftombe. In antique style.

Comedy (no.12 from Fifteen Etchings dedicated to Sir Joshua Reynolds), John Hamilton Mortimer, 1740-1779, British, 1778, Etching, Sheet: 16 5/16 x 10 11/16in. (41.4 x 27.1cm)

Lazarus revival: large plate. Copy to the Print of the same name by Rembrandt.

A drawing by Erasmus Quellinus showing a military leader receiving his coat of arms from the emperor, using brown ink, gray brush, white and cream highlights over black chalk on gray-blue paper.

Shakspeare. Tempest, act I, scene II : the inchanted island, before the cell of Prospero : Prospero, Miranda, Caliban, & Ariel , Shakespeare, William, 1564-1616, Characters, Shakespeare, William, 1564-1616. Tempest. Thomas Pennant Barton Collection

Assiagers. The bottom of a house of the Faubourg St Antoine. The satellite viles of tyranny aneantis by a magnantime population (July 28, 1830) Villain and Bodem. "The asseigants. The bottom of a house of the Faubourg Saint-Antoine. The satellite vils of Tyrannia annihilated by a magnantime population (July 28, 1830)". Lithography. 1830.

Armed telemachus on a boat; Télémaque va aux ENFERS; Adventures of Telemachus. Telemachus stands with shield and outstretched sword on a boat. A naked man with beard rows the boat. In the background, Devilish animals fly, left a figure on the left. Print at the top left of marked: Page 311.

Silk trade and allegorical figures. Four women engaged in the purchase and sale of silk substances. A woman has a scales in her hand. Two other women look at fabrics. In the foreground even more fabrics, baskets with bobbins and spin skirts. Behind them, Father takes time open a curtain that makes a cupboard with rolls to see and some silky traders. Behind them is Minerva. On the third plan a sea with Neptune, sailing in his car drawn by hippocampuses. In the air Mercurius as a personification of the commerce.

I Fight Asleep D.quijote with Some Leathers of Wine Clean for the first volume of the miniature edition: The Ingenious Hidalgo Don Quijote de la Mancha Stalker, E. (fl. 1801 1833)

Paul is bitten by a viper, print maker: Jan Luyken, (mentioned on object), publisher: weduwe Pieter Arentsz & Cornelis van der Sys (II), Amsterdam, 1712, paper, etching, h 138 mm × w 79 mm

Francisco de Goya (Spanish, 1746-1828). Soplones. (Tale-bearers-Blasts of wind), 1796-1797. From Los Caprichos, no. 48. Etching and burnished aquatint on cream laid paper. Plate: 205 mm x 150 mm (8.07 in. x 5.91 in.).

Design for a painting., Juda and Thamar, draughtsman: Elias van Nijmegen, 1677 - 1755, paper, pen, brush, h 294 mm × w 146 mm

Death of Albrecht Beiling, 1426; Death of Albrecht Beiling. Albrecht Beiling, commander in Schoonhoven, judged by Jacoba van Bavaria to be buried alive, is getting ready to die, January 1426.

Shakspeare. Tempest, act I, scene II : the inchanted island, before the cell of Prospero : Prospero, Miranda, Caliban, & Ariel , Shakespeare, William, 1564-1616, Characters, Shakespeare, William, 1564-1616. Tempest. Thomas Pennant Barton Collection

Etching by Rembrandt Harmensz. van Rijn titled 'The Cross Acceptance with a Torchlight', executed in 1654, showing figures, cross, and torchlight with detailed line work.

Caractacus before Claudius, Print made by unknown artist, nineteenth century, after unknown artist, nineteenth century, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on thin, slightly textured, cream laid paper, Sheet: 14 × 8 7/8 inches (35.6 × 22.5 cm), Plate: 12 × 7 1/4 inches (30.5 × 18.4 cm), and Image: 10 1/4 × 6 1/4 inches (26 × 15.9 cm), column (architectural element), frame (furnishing), historical subject, laurel crown, manacles, smoke

Hercules Vecht Met de Cerberus, Giovanni Jacopo Caraglio, Florentine Red After, 1515 - 1565 print Hercules is about to attack the Cerberus in front of the gate of the underworld with raised club. Italy paper engraving (story of) Hercules (Heracles). attributes of Hercules. Cerberus, the three- or many-headed dog; 'Cerbero' (Ripa)

Crespi, Giuseppe Maria, Italy, Mattioli, Lodovico, Historie van Bertoldo, Bertoldino and Cacasenno, Bertoldo in a sack, verso lower right - stamped, Bertoldo in a large sack, talking to the policeman. Below the image a three-line rhyme in Italian. Print from a series of six with the adventures of Bertoldo, part of a series of twenty prints., print, prints, height 225 mm, width 152 mm, 1665 - 1747-07-16, print maker, printmaker, 1710 - 1715, first quarter 18th century, paper, etching, etchings, Italian, 1662-01-02 - 1747-10-20, Work conception, after own design by

After the battle of Clontarf, Brian Boru is killed by Brodar, a Dane

Edward Calvert, The Chamber Idyll, 1831 The Chamber Idyll

Ascension of Elia; Les Plat-Fonds Ou Les Tableaux des Galleries / ceilings or gallery pieces. Elijah in a car drawn by a horse in the clouds.

Lazio Viterbo Caprarola Palazzo Farnese62. 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.

Design for a painting, Helena reads a love letter from Paris., draughtsman: Elias van Nijmegen, 1677 - 1755, paper, brush, pen, h 208 mm × w 160 mm

Heinrich Friedrich Füger made a preliminary study of 'The Dying Germanicus' using gray brush and lavis techniques.

The Vision of Hell. Illustration by Gustave Dore for Dante Alighieri's Inferno, the first part of the epic narrative poem trilogy The Divine Comedy.

Crossing: second plate, Rembrandt van Rijn, 1807 - 1808 The print is part of an album. Paris paper etching / engraving The print is part of an album. Paris paper etching / engraving

Cartouches with man and widow, Johann Esaias Nilson, 1731 - 1788 print Between two rocaille cartouches in the form of grave monuments, a man follows a black -clad widow. In the lower margin two columns with two -line German text. Publishing number VIII. Augsburg paper etching / engraving ornament ~ cartouche. grave, tomb. widow

Salome with the Head of John the Baptist, c. 1650. Nicolaus Knupfer (Dutch, 1603-1655). Pen and brown ink, brown washes and white heightening (oxidized), over black chalk on antique laid paper, framing line in brown ink; sheet: 33.4 x 27.9 cm (13 1/8 x 11 in.). The Utrecht artist Nicolaes Knupfer was known for depicting powerful women who outsmarted or overpowered men. This drawing, probably a study for a painting, depicts the New Testament story of Salome, who was granted a wish by King Herod after dancing for him. Encouraged by her mother, Herodias, Salome asked for the head of John the Baptist, against whom Herodias bore a grudge for objecting to her marriage to the king. The scene shows the theatrical moment after the beheading, when a stoic Salome holds a salver to receive the head.

Wszyscy Święci w MNK Norblin, Jan Piotr (1745 1830)

. Minerva stands for an open cell door. In the cell the captured personification discord. The print is part of a series with biblical, mythological and allegorical representations.

The Witches' Cauldron or Incantation. John Dixon (English, born Ireland, 1720/30-1804); after John Hamilton Mortimer (English, 1740-1779). Date: 1772. Dimensions: 610 × 485 mm (image/plate); 669 × 515 mm (sheet). Mezzotint with touches of engraving in black on ivory laid paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Riddle of fear, plate 2 of 'Proverbs' - 1815/23 - 24,5x35,7 cm - etching, burnished aquatint and drypoint. Author: FRANCISCO DE GOYA (1746-1828). Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Print made by Richard Earlom, 1743-1822, British, The Enchantress, 1786. Mezzotint and etching on medium, slightly textured, cream laid paper.

Queen Semiramide is helped at her toilet, Henri Fantin -Latour, 1894 - 1895 print Paris paper (story of) queen Semiramis. opera. making toilet - AA - (for) women

. .

Allegorische voorstelling met de stichting van Utrecht; Placaatboek 's lands van Utrecht; Titelpagina voor: Johan van de Water, Placaatboek vervattende alle de placaten, ordonnantien en edicten der (...) Staten 'slands van Utrecht, 1729.The Dutch virgin, with a lion at her feet, and Emperor Charles V, with its imperial attributes, hand the personification of Utrecht a stack of placards. Behind them a monument on which the title in Dutch, awarded justice. In the foreground the river god of the Rhine and two putti at a book. On the right in the background four allegorical women's figures that symbolize the agriculture and arable, livestock hats.

Chalk drawing by Moritz von Schwind, 1865, depicting Valentine and Raoul from Meyerbeers 'The Huguenots' for the Vienna Hofoper, with white heightening and laved cardboard.

Print, Christ Crucified Between the Two Thieves: An Oval Plate, ca. 1641; Rembrandt Harmensz van Rijn (Dutch, 1606-1669); Netherlands; etching on paper; 13.9 × 10.5 cm (5 1/2 × 4 1/8 in.); Bequest of George Campbell Cooper; 1896-3-157

In a garden, a girl has an arm wrapped around a dog. She raises her left hand warningly toward the chicken and rooster standing next to her on a rise., Girl with a dog and poultry, print maker: Willem Frederik Wehmeyer, (mentioned on object), intermediary draughtsman: Charles Rochussen, (mentioned on object), publisher: Gebroeders Kraay, (mentioned on object), Amsterdam, 1834 - 1854, paper, etching, engraving, h 157 mm × w 95 mm

A white and black ink drawing by Wolfgang Huber from around 1508/1510 depicting the stigmatization of St. Francis, showing figures, gestures, and compositional elements.

Lazio Roma Rome Maddelena4. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, sculpture, painting, fresco, stucco Object Notes: Rococo church of 18th century, facade by Sardi in 1735. 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.

The woman with a fire arrow; Peace makes me going; The general joy to the intake of names by Stadholder Willem III, king of England, September 1695. A woman puts a flared arrow with a lunch, in the background more bonfires. Part of a series of eight prints produced following the conquest of names by the Allies under King Willem III on September 5, 1695.

of 3