Dramatic Historical Scenes

Dynamic sketches illustrating intense historical moments featuring figures in classic attire, rendered in pen and wash with expressive details.

The death of Ananias, draughtsman: Alessandro Turchi, 1588 - 1649, paper, pen, brush, h 176 mm × w 231 mm

Finding of Moses Artist's working dates 1685-1727 Italy. Pen and brown ink, over red chalk, on ivory laid paper . Antonio Molinari

A drawing by Baldassare Franceschini depicting a demon lifting the soul of a deceased, executed in red chalk and avoided technique, dated 1611-1698.

Europe and the bull; Title Print for: figure of the preliminary cities in Europe. Europe drives to the beach on the bull. Her duties are busy decorating the bull with flower gluy sands.

André Jacques Victor Orsel / 'Moses rescued from the Waters'. 1821 - 1830. Wash, Charcoal, Pencil on brown paper. Museum: Museo del Prado, Madrid, España.

Study', by Jean-Antoine Watteau, 1716-1718. From the collection of the British Museum, London, United Kingdom.

Christ Carrying the Cross. Juan de Juanes (Juan Maçip) (Spanish, about 1510 - 1579)

Motifs, Marcantonio Raimondi, draughtsman: anonymous, Low Countries, 1500 - 1599, paper, pen, h 201 mm × w 299 mm

Allegory of Asia, from the Four Continents 17th century Godfried Maes Flemish. Allegory of Asia, from the Four Continents 347419

Roman scene with an emperor and a general. Draughtsman: Mattheus Ignatius van Bree. Dating: 1783 - 1839. Measurements: h 276 mm × w 364 mm. Museum: Rijksmuseum, Amsterdam.

The Circumcision 1601 Netherlands. In this dynamic drawing, Utrecht-based Abraham Bloemaert created a thoughtful compositional study for this scene from the early life of Christ. Bloemaert described the Virgin and the attendant figures in the foreground with expressive gesturesófingers spread and arms outstretched into space as if in an attempt to stop the circumcision taking place before them. A mass of faintly sketched figures in the background suggests how Bloemaert might have realized the composition in his next phase of execution.. Pen and brown ink and brush and brown wash, heightened with white opaque watercolor, over black chalk, on buff laid paper, laid down on buff laid card . Abraham Bloemaert

Josef von Führichs 1818 illustration to 'Messiade' is executed with black pen, white heightening, gray wash on brown paper with pencil raster.

Dance of Salome; Verso, above: Daniel's interpretation of the second dream of King Nebuchadnezzar, preliminary design for 'Spiritus Consilii' (The Spirit of Counsel), plate 3 in 'The Seven Gifts of the Holy Spirit' print series ; Verso, below: Two ovals, one containing a Lamentation and the other a praying male saint, Jan van der Straet, called Stradanus, Flemish, 1523-1605, Pen and brown ink, brush and wash on paper, Vertical rectangle. Verso, upper section: Interior of large hall. Salome dances near center of composition, with standing onlookers, at right. Banquet table seen in perspective, at left, with guests and King reclining on couches. Lower section: Interior of large hall. Salome dances in foreground, the banquet table parallel to picture plane, behind her. King reclines on couch, right. Recto, upper section: A large hall. The King is seated at left, facing right. Daniel stands before him. Inscription below: 'DANIEL CONSILIJ.' Lower section: Pietà in oval, left; Christ praying

Drawing, Cartoon for Cotton Printing: "Les Quatre Saisons"; Bonaventure M. Lebert (1759-1836), J. L. Lebert (French, early 19th century); Designed by Unknown; Manufactured by Hartmann et Fils (France); pen and brown ink, brush and grey wash, on cream paper, pieced; squared in graphite for transfer; 106 × 94.3 cm (41 3/4 × 37 1/8 in.)

Sir Peter Paul Rubens over Anonymous Italian after Parmigianino after Raphael, The Miracle of the Lame Man Healed by Saint Peter and Saint John, c 1606 1608 The Miracle of the Lame Man Healed by Saint Peter and Saint John

The Drunkenness of Noah, Genesis 9:21-23 17th-early 18th century Daniel Seiter Austrian. The Drunkenness of Noah, Genesis 9:21-23 381435 Artist: Daniel Seiter, Austrian, Vienna 16471705 Turin, The Drunkenness of Noah, Genesis 9:21-23, 17thearly 18th century, Black chalk, heightened with white gouache, sheet: 7 11/16 x 10 11/16 in. (19.5 x 27.2 cm). The Metropolitan Museum of Art, New York. Mary Oenslager Fund, 2007 (2007.403)

The Adoration of the Shepherds. Dimensions: overall: 17.2 x 24.1 cm (6 3/4 x 9 1/2 in.). Medium: pen and brown ink with brown wash over red chalk, heightened with white on laid paper, squared for transfer. Museum: National Gallery of Art, Washington DC. Author: GIUSEPPE PASSERI.

A Family of Shepherds; Giovanni Benedetto Castiglione (Italian, 1609 - 1664); late 1640s; Brush and colored oil paint, over traces of black chalk; 35.2 × 48.7 cm (13 7,8 × 19 3,16 in.)

Anonymous / 'Christ before Pilate'. First half of the XVIII century. Grey-brown wash, Black chalk, Pencil on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Allegory of the Choleric Temperament. Date/Period: 1583. Pen and ink with wash and white watercolor. Width: 9.9 in. Height: 6.9 in. Author: Maerten de Vos.

Assumption of the Virgin. Domenico Piola; Italian, 1627-1703. Date: 1648-1703. Dimensions: 298 x 193 mm. Pen and brown ink, with brush and brown wash, over black chalk on ivory laid paper, laid down on cream wove board. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Musicians in a Loggia, Leonaert Bramer, 1606 - 1674 drawing A lady plays the cello, a young man, sitting at a table, plays the lute. On the right a lady standing on a spinet. There are a lute and violin on the table. prepared paper brush dog. loggia, verandah, porch. one person playing string instrument (plucked). lute, and special forms of lute, e.g.: theorbo. one person playing string instrument (bowed). viola, violoncello; double bass. small group of musicians, chamber orchestra, jazz band

Heinrich Friedrich Füger's drawing depicts Zeuxis and his models, showing figures, gestures, and artistic study in redel and white chalk with pen markings.

Stigmatization of Francis of Assisi, draughtsman: Cristoforo Pomarancio, 1600 - 1626, paper, h 417 mm × w 233 mm

The Cumaean Sibyl (after Michelangelo) 1767 Jean Robert Ango French Little is known about Ango, who was a French draftsman active in Rome in the 1760s. He befriended many young French art students at the French Academy in Rome, although he was not himself a pensionnaire. He most likely supported himself by making red-chalk copies of works by his friends and of paintings in local collections and churches. On this sheet, he copied not a whole composition, but two separate motifs from the Sistine Chapel ceiling. The larger motif on the upper part of the sheet shows the pendentive featuring the Cumaean sibyl, one of the five female prophets depicted on the ceiling. The sketch below is of one of the triangular spandrels, which contain family groups of the ancestors of Christ.. The Cumaean Sibyl (after Michelangelo) 418346

An anonymous drawing depicts nine apostles standing together in a farewell scene, executed in pen, ink, and wash.

Genre Scene of Young Men Playing a Game. Attributed to Frederico Zuccaro (Italian, 1540/1-1609). Pen and brown ink and brush and brown wash over graphite; sheet: 13.7 x 20.1 cm (5 3/8 x 7 15/16 in.).

Gaius Marcius Coriolanus discovered among theVolscians. Artist: Giulio Pippi, called Giulio Romano, Italian, ca. 1499-1546

A pencil drawing by Rudolf Weyr depicting a decorative frieze with putti, showing figure arrangement and ornamental detail.

Illustration for a Book: Two Scenes of Coronation. Artist: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid). Dimensions: 2-15/16 x 6-1/8 in. (7.5 x 15.5 cm). Series/Portfolio: See Metropolitan Museum of Art acc. nos. 59.600.176 - 59.600.212. Date: 1696-1770. Museum: Metropolitan Museum of Art, New York, USA.

Luca Cambiaso / 'Justice, Fortitude and Temperance'. 1550 - 1560. Wash, Pencil, Grey-brown ink on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Saint Francis of Assisi Adoring the Virgin and Child. Denys Calvaert; Flemish, c. 1540-1619. Date: 1607. Dimensions: 521 × 312 mm. Black chalk on blue laid paper. Origin: Flanders. Museum: The Chicago Art Institute, Chicago, USA.

Alphonse Legros, Summer (L'ete) Summer (L'ete)

Penitent Woman Anointing the Feet of Christ at the Table of Simon the Pharisee (Luke 7:36-50). Artist: Biagio Pupini (Italian, born Bologna, active 1511-51). Dimensions: 9 3/16 x 15 1/16in. (23.3 x 38.3cm). Date: 1511-51. Museum: Metropolitan Museum of Art, New York, USA.

A drawing by Adriaen van Ostade from circa 1635 depicting a village school, executed with bister and feather with reddish and gray lavated shading, emphasizing figures and architecture.

Meeting of David and Abigaïl, Anonymous, c. 1515 - c. 1525 drawing Southern Netherlands paper. ink. chalk pen meeting of David and Abigail, who kneels before him

The Madonna and Child with Saints Francis and Anthony Abbot and a Donor. Dated: 1515/1519. Dimensions: overall: 20.3 × 18.6 cm (8 × 7 5/16 in.). Medium: red chalk (wetted for counterproofing) on laid paper; laid down. Museum: National Gallery of Art, Washington DC. Author: Girolamo Romanino.

Studies of Figures and Architecture (recto); Figure Studies (verso); Perino del Vaga (Piero Buonaccorsi) (Italian, 1501 - 1547); Italy; about 1542-1545; Pen and brown ink, brush with brown and gray wash, traces of black chalk; partly incised for transfer (recto); pen and brown ink and brown wash (verso); 32.7 × 22.2 cm (12 7,8 × 8 3,4 in.)

David Declines King Saul's Weapons. Date/Period: 1684. Pen and brown ink, grey-brown wash, over traces of graphite. Feder in Braun, graubraun laviert, über Spuren von Graphitstift. Height: 291 mm (11.45 in); Width: 172 mm (6.77 in). Author: SEBASTIANO RICCI.

Hans Stutte, The Beheading of Saint John the Baptist, 1617 The Beheading of Saint John the Baptist

A red chalk drawing by Cornelis Joseph d' Heur depicting the biblical scene of the violation of Hagar.

Anonymous (Circle of Parmigianino. Girolamo Francesco Maria Mazzola) / 'Studies of Heads'. Early XVI century. Pencil, Grey ink on brown paper. Museum: Museo del Prado, Madrid, España.

Left, the Virgin is seated beside the youthful Christ, who has His back turned toward the spectator. Right, a seated man embraces a nude woman, who attempts to repulse him. Verso: similar composition, with placement of figures reversed. Pen and bistre ink, brush and wash on paper. Date: 1820-1850. Museum: Cooper Hewitt, Smithsonian Design Museum.

A black pen, feather, and white-washed drawing by Giovanni Francesco Penni from around 1525 depicting a mythological wedding scene, showing figures, gestures, and composition.

Sarcophagus. Artist: Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550-1580). Dimensions: 8-5/8 x 3-5/8 in. (21.9 x 9.2 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Illustration for the Decamerone of Boccaccio, Romeyn de Hooghe, 1697 print Illustration for the Decamerone of Boccaccio, History XLIX. Pieter from Vinciolo comes home and caught his wife and her lover. Netherlands paper etching (scenes from) specific works of literature: Boccaccio, Decamerone

The Lost Son dices in bad company, Design for a print., the parable of the prodigal son (Luke 15: 11-32), Abraham Bosse, 1612 - 1676, paper, chalk, h 272 mm × w 373 mm

Sepia and black pen and lead drawing by Johann Bernhard Fischer von Erlach showing a draft for the group of figures representing Minerva, Envy, and Ignorance on the Attica of the Hofbibliothek courtyard side, Hofburg, Vienna, around 1723.

A drawing by Charles François Hutin depicting Moses striking water from a rock, executed in black chalk with brush, brown wash, and white heightening, 1775.

Lodovico Carracci, The Virgin and Child Appearing to Saints George and William The Virgin and Child Appearing to Saints George and William

George Romney, 1734-1802, British, Lear Awakened by Cordelia, between 1774 and 1775. Brown ink over graphite on moderately thick, slightly textured, cream laid paper.

A red chalk and red-brown washed drawing on gray paper depicting the Redeemer seated on clouds with spread arms, three angels, and four cherub heads floating beneath.

Agostino Masucci, Italian (1691-1758), The Adoration of the Shepherds, black chalk with brown ink and wash on laid paper

Marriage of Bacchus, Gerard Melder, 1725 print In the middle Bacchus and his bride Ariadne in a burning altar. Above that in the clouds Juno and Jupiter. On the clouds on the left the muses and on the right the three graces. Left front Minerva and Mercury, front right Pluto with a tweetand. Amsterdam paper etching wedding of Bacchus and Ariadne. two-pronged fork ~ attribute of Pluto

Study for a Pieta. Artist: School of Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606-1669 Amsterdam). Dimensions: sheet: 4 3/4 x 6 11/16 in. (12.1 x 17 cm). Date: 1606-69. Museum: Metropolitan Museum of Art, New York, USA.

Presentation of Children 1801-1900 Italy. Pen and brown ink, over traces of graphite, on cream laid paper .

A brown pen and pencil drawing by Josef von Führich from 1828 depicting Rinaldo and Armida in battle, with grid lines, as a draft for the Casino Massimo.

Youths. Artist: Unknown After: Parmigianino, Italian, 1503-1540

Daniel's Prophecy of the Seventy Weeks. Dated: 1797. Dimensions: sheet: 23.2 × 38 cm (9 1/8 × 14 15/16 in.). Medium: pen and brown ink with brown wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: Lukas Stipperger.

The Resurrection of Christ, draughtsman: Nicolaas Hogenberg, (attributed to), c. 1510 - before 1539, prepared paper, pen, brush, d 334 mm

A drawing by an anonymous artist depicting the Adoration of the Shepherds, executed with feather and lavated on brown paper, emphasizing figures and composition; paper shows damage.

Illustration for a Book: Pope Handing a Banner to a Crusader, with Ships in the Background 1696-1770 Giovanni Battista Tiepolo Italian. Illustration for a Book: Pope Handing a Banner to a Crusader, with Ships in the Background 339310

Rinaldo and Armida ()., Angelica and Medoro carve their names in a tree, draughtsman: Federico Panza, 1653 - 1703, paper, brush, h 255 mm × w 218 mm

Bearded Man Filling a Glass: Youth Running; Giorgio Vasari (Italian, 1511 - 1574); about 1544 - 1545; Pen and brown ink and brown wash over black chalk, heightened with white gouache;

This drawing by Lucas Stipperger depicts an ancient scene, executed in coal with white chalk highlights over pencil on gray paper before 1800, emphasizing figures, architecture, and compositional arrangement.

Rijn, Rembrandt van, The flight into Egypt: small plate, The flight into Egypt: small, verso - stamped, print, prints, height 86 mm, width 62 mm, print maker, printmaker, 1633 - 1633, paper, papier, etching, etchings, color printing, Work conception, Northern Netherlands, 1606-07-15 - 1669-10-08

Anonymous drawing of Salome presenting the head of John the Baptist to her parents, executed in metal pen with red chalk, with trimmed edges.

Sophronia Enters the Palace of Aladin Made 1604-1606 Italy. This is one of a number of drawings the artist made to illustrate scenes from Torquato Tassoís epic poem Jerusalem Delivered (Gerusalemme liberata), first published in 1581. In order to avert a massacre, Sophronia (seen at left) enters the palace of the Muslim ruler of Jerusalem to plead her Christian peopleís innocence.Andrea Boscoliís style is characterized by a heavy use of wash, with a calligraphic line that delineates form with great subtlety. He juxtaposes a plunging perspective at left with the up-close palace colonnade at right to create a sense of negative-positive visual tension.. Pen and brown ink, and brush and brown wash, over touches of red chalk, on cream laid paper, laid down on blue laid laminated card . Andrea Boscoli

Noah's Sacrifice, plate IX from The Creation and Early History of Man. Jan Wierix; Flemish, 1549-c. 1620. Date: 1606. Dimensions: 94 × 123 mm. Pen and brown ink on parchment. Origin: Flanders. Museum: The Chicago Art Institute, USA.

A Venetian Family Portrait Group. Artist: Pietro Antonio Novelli (Italian, Venice 1729-1804 Venice). Dimensions: 11 11/16 x 14 3/4 in. (29.7 x 37.5 cm). Date: after 1750. Museum: Metropolitan Museum of Art, New York, USA.

Group of Nine Standing Figures 1524-1527 Italy. This drawing exemplifies the style Parmigianino developed after his stay in Rome (1524ñ27), where he would have been exposed to Raphaelís frescoes in the Vatican. It may be a preparatory drawing for a painting of a religious subject; the composition has been linked to the Marriage of the Virgin and a representation of six apostles. Parmigianinoís image has been copied many times by other artists, including Count Antonio Maria Zanetti, who bought this and other drawings by Parmigianino from the Earl of Arundel.. Pen and brown ink and brush and brown wash, on tan laid paper, laid down on tan laid card . Parmigianino

A red chalk drawing by an anonymous artist from 1700-1800 showing Bacchus as a boy with putti, emphasizing figures, gesture, and composition.

Brown pen and wash drawing by an anonymous artist showing a lion hunt, executed in brown and gray washes with white highlights on light brown tinted paper.

Funeral procession (left part), Karl Sandhaas, 1825 print paper etching cortege, funeral procession. symbols of Death. angels

Camels and groups of waiting and gesticulating people. Draughtsman: Paolo Veronese (manner of). Dating: 1550 - 1620. Measurements: h 280 mm × w 196 mm. Museum: Rijksmuseum, Amsterdam.

Sarcophagus 16th century Anonymous, Italian, 16th century Italian. Sarcophagus 342250

Hubert François Gravelot, Je suis vengé de toi l'on te hait, et l'on m'aime Je suis vengé de toi: l'on te hait, et l'on m'aime

St. Gregory Distributing His Worldly Goods to the Poor. Artist: Carle (Charles André) Vanloo (French, Nice 1705-1765 Paris). Dimensions: 8 9/16 x 5 1/16 in. (21.7 x 12.9 cm). Date: 18th century.According to his long-time friend and biographer, Michel-François Dandré-Bardon (1700 - 1783), Carle Vanloo received the prestigious commission for the vault of the church of Saint-Louis des Invalides in 1762. The chapel was initially decorated by Michel Corneille (1642 - 1708) with paintings of the same subject; however, by the mid- eighteenth century the panels were heavily damaged by humidity and needed to be replaced. Vanloo was the logical choice, having been named Premier peintre du roi this same year and having already proved himself worthy of monumental religious painting in his series of canvases for the choir of Notre-Dame-des-Victoires in Paris (executed 1746 - 1755). Vanloo borrowed nothing from Corneille and even changed the subjects, giving them a more fluid, narrative style. Vanlo

Simson lets the temple collapse, Gaudenzio Ferrari, 1481 - 1546 drawing prepared paper. ink pen / brush

Philosophers arguing about the relocation of souls, draughtsman: Zacharias Blijhooft, 1669, paper, pen, brush, h 277 mm × w 403 mm

Mythological subject. Artist: After Gerard de Lairesse (Dutch, Liège 1641-1711 Amsterdam). Dimensions: sheet: 11 1/2 x 15 in. (29.2 x 38.1 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

The Presentation in the Temple: Oblong Plate Rembrandt (Rembrandt van Rijn) Dutch. The Presentation in the Temple: Oblong Plate 391635

Design for a scenographic Easter altar, draughtsman: Baldassare Franceschini, 1645 - 1649, paper, pen, brush, h 412 mm × w 394 mm

An ink and redel drawing by Giovanni Battista Gaulli, also known as Bacciccio, from 1680-1685 depicting Armida leading the rinale adorned with flower garlands to her palace on the Happy Islands, inspired by Tasso's Gerusalemme Liberata.

Allegory of Fame, Pen and ink on paper, Probable Allegory of Fame with spoils of war., Italy, ca. 1799, Drawing, Drawing

Deposition, preparatory study in pen, by Raphael Sanzio (1483-1520), drawing.

Reclining Nudes.

Fabriano (Italia; Marche, provincia di Ancona), Oratorio della Carità, ciclo di affreschi di Filippo Bellini (raffigurazione di Opere di Carità Spirituale e Carità Materiale). PECCATORES CORRIGERE Ammonire i peccatori, lato sinistro

The Departure of Saint Paula and Saint Eustochium for the Holy Land 1740 Giuseppe Bottani Italian The drawing is a squared study with minor variations for Bottani's monumental altarpiece now in the Pinacoteca di Brera, Milan, signed and dated 1745 ( 410 x 231 cm; inv. 410). The painting, generally considered the artist's early masterpiece, was executed in Rome and commissioned by the Hieronymites for their now-destroyed Milanese church of Santi Cosma e Damiano. To the right of the Roman widow Paula stands her daughter Eustochium, who accompanied her to the Holy Land to join Saint Jerome. Paula's daughter Rufina kisses her mother's hand in farewell, and Paula's son Toxotius kneels at the right. In preparation of his large canvas, Bottani realized an highly finished oil sketch, also part of the collection of the Metropolitan Museum of Art (acc. no. 1991.445). Like many of Bottani's drawings, at his death the sheet was collected and annotated on the bottom by the artist's brother Giovanni

A man being given a bath by three attendants surrounded by other figures. Reproduction of a red chalk drawing by J. Carucci, il Pontormo.

Anonymous (Circle of Villamena, Francesco) / 'Half-lenght Composition, with Male Figures'. Early Finales del siglo XVI - XVII century. Pencil, Grey-brown ink on yellow paper. Museum: Museo del Prado, Madrid, España.

Performances of sarcophagi and antique images. Album "Maarten de Vos Sketchbook", Leaf 5V (12)

The Nativity with Saints Francis and Agnes. Dated: c. 1605. Dimensions: overall: 20.2 x 29.5 cm (7 15/16 x 11 5/8 in.). Medium: pen and brown ink and brown wash with white heightening over black chalk; traces of incising. Museum: National Gallery of Art, Washington DC. Author: LODOVICO CARRACCI.

Banquet of Ceres, Bacchus, Venus, andNeptune. Artist, attributed to: Peiter van Balen, Flemish, 1580-1656

Christ is seated at the table, left, the wine casks beside Him. The married couple is seated under a canopy, center. Other figures are seated around the table. Mounted. Pen and ink, brush and brown and gray wash on paper, over black chalk on laid paper. Date: ca. 1589. Museum: Cooper Hewitt, Smithsonian Design Museum.

Marriage of Bacchus, Gerard Melder, 1725.

Contours of Scipio's generosity. Draughtsman: Benedetto Caliari. Dating: 1550 - 1598. Measurements: h 342 mm × w 259 mm. Museum: Rijksmuseum, Amsterdam.

Allegorical Figure of Charity 1688-89 Marcantonio Franceschini Italian. Allegorical Figure of Charity 338797

Chalk drawing depicting three angels with large wings gathered together, connected by a draped cloth, showing figures, wings, and arrangement.

Study for the 'Adoration of the Magi', c1481 (1954).Artist: Leonardo da Vinci

Satire on the abuse of power of the Roman Catholic clergy, draughtsman: Bernard van Orley, 1527 - 1541, paper, pen, brush, h 417 mm × w 777 mm

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