Dramatic Renaissance Scenes

Engravings depicting scenes from classic literature and religious themes featuring figures in intense moments, rich contrasts, and detailed historical settings.

This illustration shows the sleeping Barbarossa in the Kyffhauser mountains. Frederick Barbarossa, also known asFrederick I, was theHoly Roman Emperorfrom 2 January 1155 until his death 35 years later. According to legend, the emperor Barbarossa remains sleeping under the Kyffhäuser Mountain and will someday rise again when Germany needs his leadership. The Kyffhäuser Monument, also known asBarbarossa Monument, is anEmperor William monumentwithin theKyffhäusermountain range in theGermanstate ofThuringia.

Print made by Peter Simon, 1750-1810, Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets), 1791. Stipple engraving, etching, and aquatint on medium, slightly textured, cream laid paper.

The Backgammon Players. Dated: c. 1630. Dimensions: plate: 15 x 13.2 cm (5 7/8 x 5 3/16 in.) sheet: 16.5 x 15 cm (6 1/2 x 5 7/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Johannes van Vliet.

Saint Jerome in hisCell. Artist: Albrecht Dürer, German, 1471-1528

Rijn, Rembrandt van, Joseph and Potiphar's wife, verso lower left - stamped, print, prints, Rembrandt f. 1634, lower left, height 92 mm, width 114 mm, Northern Netherlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1634 - 1634, second quarter 17th century, paper, etching, etchings, Work conception, after own design by

De Shamebolent, Francisco de Goya, 1797 - 1799 print A man with a big nose, his coat pulled over his head and a spoon in his hand. Behind him two men, one of whom holds a bowl. Fifty -four print from the Los Caprichos series. Spain paper etching Shame

CINDERELLA'S PUMPKIN. GUSTAVE DOR. Cinderella, or The Little Glass Slipper, Cendrillon, ou La petite Pantoufle de Verre,Cenerentola,Aschenputtel, is a folk tale embodying a myth-element of unjust oppression/triumphant reward.

A 1655 etching by Rembrandt van Rijn illustrating Jakob leader from Benasse Ben Israel's 'Piedra Gloriosa', showing figure, posture, and architectural pinnacle details.

The shameful; El Vergonzoso; Los Caprichos. A man with a big nose, his jacket pulled over his head and a spoon in hand. Behind him two men, one of which holds a bowl. Fifty-fifth print from the Los Caprichos series.

Francisco de Goya (Spanish, 1746-1828). Tantalo. (Tantalus.), 1796-1797. From Los Caprichos, no. 9. Etching and burnished aquatint. Plate: 205 mm x 150 mm (8.07 in. x 5.91 in.).

This illustration shows the sleeping Barbarossa in the Kyffhauser mountains. Frederick Barbarossa, also known asFrederick I, was theHoly Roman Emperorfrom 2 January 1155 until his death 35 years later. According to legend, the emperor Barbarossa remains sleeping under the Kyffhäuser Mountain and will someday rise again when Germany needs his leadership. The Kyffhäuser Monument, also known asBarbarossa Monument, is anEmperor William monumentwithin theKyffhäusermountain range in theGermanstate ofThuringia.

Lauwers, Conrad, Rubens, Peter Paul, Antwerp, Nicolaes, Lamentation of Christ, verso - stamped, Mary sits with the body of Christ on her lap in front of the tomb and has raised her eyes to heaven. Behind her John the Evangelist. Mary Magdalene kisses weeping the hand of Christ. An angel with a nail from the cross in his hand stands at her feet and wipes tears from his face. In the margin a text in Latin., print, prent, prints, prenten, height 340 mm, width 232 mm, Zuid-Nederlands, 1600-04-27 - 1652-04-11, print maker, printmaker, 1642 - 1652, paper, papier, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, Publication (Event), Publication, Nederlands, 1632, publisher

Lithograph by Honoré Daumier titled 'Rue Transnonain, April 15, 1834,' depicting the aftermath of a massacre, showing a figure lying on the floor in a narrow street, dated 1834.

Exposition de peinture de 1868 - Le Dernier coup de pinceau. Dated: 1868. Medium: wood engraving. Museum: National Gallery of Art, Washington DC. Author: Etienne after Honoré Daumier.

French satirical Illustration, depicting a work in a bakery. 1907

Hope and Despair II, 1931. Ernst Barlach (German, 1870-1938). Lithograph; In both his sculpture and prints, Barlach expressed the suffering and anguish of World War I (1914-18) and the difficult years that followed. The artist, whose work depicts ordinary workers, wrote: "Truly, not beauty and loveliness is our strength, our power, but rather the opposite, ugliness, daemonic passion and the grotesque genius of greatness..."

Le Sabotier. Celestin François Nanteuil-Leboeuf (Italy, Rome, active France, 1813-1873). France, 1857. Prints; lithographs. Lithograph

They Carried Her Off! (Que se la llevaron!) Francisco de Goya y Lucientes (Spanish, 1746-1828). They Carried Her Off! (Que se la llevaron!), 1797-1798. Etching and aquatint on laid paper, Plate: 8 9/16 x 6 in. (21.7 x 15.2 cm). The Caprices (Los Caprichos) is a set of eighty etchings created between 1797 and 1798. On view are thirteen examples of the Brooklyn Museums rare “trial proof” set, which is composed of early impressions of a print made by the artist prior to the published edition. In the first part of the series, Goya critiques the characters, institutions, and values of early modern Spanish society; the second focuses on bizarre and macabre imagery. The most famous image, The Sleep of Reason Produces Monsters (El sueño de la razon produce monstruos), conveys a purposeful ambiguity regarding the conflict between Spanish religiosity and Enlightenment thought: sueño may refer both to the sleep or absence of reason, and to the dream of reason (reason unchecked) that produces mo

Sleep after the ball according to the drawing of Hermann Schmhen. Appendix to Wiener Tagblatt Unknown, Schmiechen, Hermann (1855 1925)

Illustration to the Maids of Elfen-Mere, Dante Gabriel Rossetti, 1828-1882, British, 1854, Graphite with pen and black ink and pen and brown ink; verso: graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/8 x 3 1/4 inches (13 x 8.3 cm), chain mail, dresses, literary theme, men, spinning (textile process), women

Be quick, they are already waking up, Francisco de Goya, 1797 - 1799 print Three little men dressed in a monk. One with a bladder ball, one with a broom and one with a plate in your hands. Seventy -eight print from the Los Caprichos series. Spain paper etching monk(s), friar(s)

Mr Charles reve que sa maitresse estinfidele…. Artist: Paul Gavarni, French, 1804-1866

Little Dorrit, The Night

The poet P.J. Béranger at the age of twenty sits on the bed in his garret while his girfriend Lisette covers the window with a shawl in the lack of a curtain. Engraving by C.L.V. Mauduit, 1847, after H. Pauquet.

La princesse. Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Francisco de Goya, Tal para qual (Two of a Kind), in or before 1799 Tal para qual (Two of a Kind)

Gustave Doré (1832-1883), designer and Aristide Louis (1815-1852), engraver. "Prayer on dead man." Illustration for Honoré de Balzac, "Les Contes Drolatiques", Paris: Société Générale de Librairie, 1855 ". Wood engraving. Paris, Maison de Balzac. 101790-12 Wood engraving, illustration of literary work, 19th 19th 19th 19th 19th 19th century, engraving

Francisco de Goya (Spanish, 1746-1828). This Is How It Happened (Así Sucedió), 1810-1815, printed 1863. From The Disasters of War (Los Desastres de la Guerra). Etching and aquatint.

drawing reproduction:Grottger, Artur (1837-1867)-reproduction, Grottger, Artur (1837-1867). Polonia, Carte de Visite, Painting, Polish painting, January Uprising (1863-1864)

The Merchant of Venice, Act II. Scene V. Before Shylock´s House. Shylock, Jessica and Launcelot. From The Boydell Shakespeare Gallery published late 19th century. After a painting by Robert Smirke.

VALENTINE'S MORNING: OPENING THE POST-BAG, ENGRAVING 1876, UK, britain, british, europe, united kingdom, great britain, european

Oedipe. Honoré Daumier (France, Marseilles, 1808-1879). France, 1851. Prints; lithographs. Lithograph

Vous votez pour le Danemarck Dépechons nous! vous n'avez plus que deux minutes! plus qu'une minute! Trop tard! Sapristi! Ce n'est pas faute de vous avoir pressé!. Cham (Count Amédée-Charles-Henry de Noé) (France, Paris, 1819-1879). France, 1865. Prints; lithographs. Lithograph

Calcografía Nacional (Printer); José Vallejo y Galeazo (Engraver and drawer) (Author of the original work: Carducho, Bartolomé); Luis Tristán The original work, according to inscriptions, attributed to; Printing Of Manuel Tello (Printer) / 'The Penitent Saint Jerome'. Ca. 1865. Etching on wove paper. Museum: Museo del Prado, Madrid, España.

No One Has Seen Us (Nadie nos ha visto) Francisco de Goya y Lucientes (Spanish, 1746-1828). No One Has Seen Us (Nadie nos ha visto), 1797-1798. Etching and aquatint on laid paper, Sheet: 11 7/8 x 8 in. (30.2 x 20.3 cm). European Art 1797-1798

'In its leaves that day we read no more', c1890. Creator: Gustave Doré.

Les envies de madame. Honoré Daumier (1808-1879). Lithographs

En vla des msieurs agreab en societe!. Artist: Paul Gavarni, French, 1804-1866

Scene in a Private Room (vertical plate). Dated: c. 1905. Medium: transfer lithograph. Museum: National Gallery of Art, Washington DC. Author: JEAN LOUIS FORAIN.

Honoré Daumier, On dit qu'on commence déja a la voir , 19th century On dit qu'on commence déja a la voir ...

Théodore Chassériau, Othello Suite, No. 13 (Act 5, Scene 2), 1900, etching and drypoint on chine.

Until her deathpreparatory drawing for 'Good Words'. Date/Period: Ca. 1862. Drawing. Pen & ink on paper. Height: 10.10 mm (0.39 in); Width: 12.70 mm (0.50 in). Author: Frederick A. SANDYS.

Francisco de Goya y Lucientes / 'Cruel tale of woe'. 1812 - 1814. Etching, Burnisher, Burin, Wash on ivory paper. Museum: Museo del Prado, Madrid, España.

French 18th Century, La gageure des trois commeres Le fil La gageure des trois commeres: Le fil

Venetian warrior 16th century.

SHAKESPEARE, William (1564-1616). English poet and playwright. Scene with The Doctor, from William Shakespeare's work 'Macbeth' (1606). Illustration from 1881. Engraving.

The French Bed, Rembrandt van Rijn, 1646 print paper etching / drypoint / engraving

Tchinn-Tchinn..., tu m'apportes une bonne nouvelle! .... je t'accorde l'insigne honeur de honneur de baiser l'auguste poussière de mes augustes souliers!...., from En Chine, published in Le Charivari, December 7, 1859 December 7, 1859 Honoré Daumier. Tchinn-Tchinn..., tu m'apportes une bonne nouvelle! .... je t'accorde l'insigne honeur de honneur de baiser l'auguste poussière de mes augustes souliers!...., from En Chine, published in Le Charivari, December 7, 1859. En Chine. Honoré Daumier (French, Marseilles 1808-1879 Valmondois). December 7, 1859. Lithograph on newsprint; second state of three (Delteil). Aaron Martinet (French, 1762-1841). Prints

'Brighten the long evenings with wireless...' Date: 1926

The 1906 caption for this illustration from Anthony Trollopes Barchester Towers reads: It was a sight to see, a deed to record - Mr Slope and Signora. Anthony Trollope (1815 - 1882) was an English novelist and civil servant of the Victorian era. Barchester Towers, published in 1857 by Trollope, is the second novel in his series known as the "Chronicles of Barsetshire." Among other things it satirizes the antipathy in the Church of England between High Church and Evangelical adherents. Trollope began writing this book in 1855. Among his best-known works is a series of novels collectively known

Unknown, Sunday at Sea, 1868, wood engraving on paper.

Sleeping Beauty. After a 19th century work by Gustave Dore. The handsome prince finds Sleeping Beauty and will awaken her with a kiss.

L'Interieur d'un appartement trop garni... Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Flier with satirical scene from the life of Armenians. unknown, graphic artist

Rahab and the Spies (Dalziels' Bible Gallery). Artist: After Frederick Richard Pickersgill (British, London 1820-1900 Yarmouth, Isle of Wight). Dimensions: Image: 8 7/16 × 6 15/16 in. (21.4 × 17.7 cm)India sheet:10 9/16 × 8 15/16 in. (26.8 × 22.7 cm)Mount: 16 7/16 in. × 12 15/16 in. (41.8 × 32.8 cm). Engraver: Dalziel Brothers (British, active 1839-1893). Printer: Camden Press (British, London). Publisher: Scribner and Welford (New York, NY). Date: 1865-81. Museum: Metropolitan Museum of Art, New York, USA.

They Say Yes and Give Their Hand to the First Comer (El si pronuncian y la mano alargan al primero que llega) Francisco de Goya y Lucientes (Spanish, 1746-1828). , 1797-1798. Etching and aquatint on laid paper, Sheet: 11 7/8 x 7 7/8 in. (30.2 x 20 cm). European Art 1797-1798

Honoré Daumier (French, 1808 - 1879), Un Monsieur qui veut se donner la satisfaction, 1846, lithograph

A group of women drinking; folio 67 (recto) from the Madrid Album 'B'. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Sheet: 9 1/4 × 5 3/4 in. (23.5 × 14.6 cm). Date: 1796-97. Museum: Metropolitan Museum of Art, New York, USA.

In 1812, the Grimm brothers, Jacob and Wilhelm, published Children and Household Tales, a collection German fairy tales. This illustration accompanied the tale Strong Hans. This image is from Grimms Eventyr (Grimm's Fairy Tales) by Carl Ewald, published in 1922. The frontispiece has the illustrations by Philip Grot Johann and R. Leinweber. Johann was a well-known German illustrator and did pieces for Goethe, but he considered his pieces for Grimm's tales very important. He died young and Leinweber succeeded him as illustrator for later editions of the tales. This tale: Robbers steal a mother a

George Romney, 1734-1802, British, Major Thomas Pearson and the Brahman, undated. Gray wash over graphite on medium slightly textured cream laid paper.

Peasant Woman of Boulogne (Paysanne des environs de Boulogne dite La femme au panier). Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Alphonse Legros.

Auto-de-fe. Engraving after a painting by F. Reiff. La ilustración. Revista hispano-americana, 1884.

Albano. Artist: Paul Gavarni, French, 1804-1866

Galileo Galilei. Wood engraving by F.L. Meyer, 1878, after C.T. von Piloty.

Andreas Flinch (1813-1872); Johan Thomas Lundbye (1818-1848), back of title sheet for "ABC", (1842)

Le mari lisant: nous étions mollement étendus... Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Palmistry, New Parisian Pastime, from 'News of the Day,' published in Le Charivari, February 1, 1860. Artist: Honoré Daumier (French, Marseilles 1808-1879 Valmondois). Dimensions: Image: 8 7/16 × 10 7/16 in. (21.5 × 26.5 cm)Sheet: 11 9/16 × 11 9/16 in. (29.3 × 29.4 cm). Printer: Destouches (Paris). Publisher: Aaron Martinet (French, 1762-1841). Series/Portfolio: 'News of the day' (Actualités). Date: February 1, 1860.- Adelaide... no matter how intensely I am searching, I simply cannot find the line for long life.... oh my God, must I die in the prime of my days!. Museum: Metropolitan Museum of Art, New York, USA.

Honoré Daumier, Brigand de propriétaire, 1847 Brigand de propriétaire...

Odilon Redon (French, 1840 - 1916). And I saw in the right hand of him that sat upon the throne a book written within and on the backside, sealed with seven seals (Puis je vis, dans la main droite de celui qui etait assis sur le trone, un livre ecrit dedans et dehors, scelle de sept sceaux), 1899. From Apocalypse de Saint- Jean par Odilon Redon. Lithograph on thin grey wove chine collé on heavy wove paper. Image: 320 mm x 239 mm (12.6 in. x 9.41 in.).

My Lord, - If the Jesicht gets longer, then there is an extension of the fee, Cartoon, Unknown

Ein Schritt (A Step). Dated: 1883. Dimensions: image: 41.5 x 23.8 cm (16 5/16 x 9 3/8 in.) plate: 45.4 x 27.9 cm (17 7/8 x 11 in.). Medium: etching on wove paper. Museum: National Gallery of Art, Washington DC. Author: Max Klinger.

Etching and aquatint by Francisco José de Goya from 1799 depicting a dog swallowing a figure, showing figures, gestures, and composition in satirical context.

A young man laments the death of a young woman. Engraving by J. Brown after T. J. Barker, c.1834.

L'Épouse indiscrète 1771 After Pierre Antoine Baudouin. L'Épouse indiscrète. After Pierre Antoine Baudouin (French, Paris 1723-1769 Paris). 1771. Etching and engraving. Prints

This illustration shows a Valkyrie before the goddess Freya. In Norse mythology, the Valkyries came to battlefield, chose those who would die, and carried them back to Valhalla. In Norse mythology, Freya, also spelled Freyja, was the goddess of fertility, love and marriage, and light and peace. Her brother was Freyr.

Francisco Goya (1746-1828). Caprices. Plaque 32. Because she was susceptible. Prado Museum. Madrid.

Le désespoir des bouchers. Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Francisco de Goya (Spanish, 1746-1828). ¿Está Umd. ...pues, Como digo...eh! Cuidado! si no! (You understand...well, as I say...eh! Look out! otherwise...), 1796-1797. From Los Caprichos, no. 76. Etching and burnished aquatint on cream laid paper. Plate: 215 mm x 150 mm (8.46 in. x 5.91 in.).

Le mère de la débutante. Dated: 19th century. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

A cartoon commenting on the growing popularity of bottle feeding babies. Illustrated by George du Maurier. George du Maurier (1834-1896) a Franco-British cartoonist and author. Dated 19th century

Paul Gavarni (1804-1866). Lithographs and Other Works

Tantalas', 1799 Artist: Francisco Goya. Plate 9 of 'Los Caprichos'. Los Caprichos are a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799.

The answer, Supplement to the March Scripture of the Social Democrats, Allegory The answer, Ernst Stöhr -, artist

Joan of Arc in Prison

Plate 54 from 'Los Caprichos': The shamefaced one (El Vergonzoso.) 1799 Goya (Francisco de Goya y Lucientes) Spanish. Plate 54 from 'Los Caprichos': The shamefaced one (El Vergonzoso.). Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). 1799. Etching, aquatint. Prints

Le feu follet,' an etching created by Octave Penguilly LHaridon in 1857. The artwork features dancers from the 19th century. The print measures 20 x 29 cm, with a plate mark of 20 x 26 cm, and is mounted on a board measuring 28 x 38 cm. The piece was published in Paris by L'Artiste

Print of the painting 'Paolo and Francesca' taken from Dante Alighieri's (1265-1321) Inferno, Canto V. Painted by Alexandre Cabanel (1823-1889) a French painter of historical, classical and religious subjects. Dated 19th Century

Standing girl with poultry basket Five etching proofs (series title), print maker: Pierre Louis Dubourcq, (mentioned on object), Netherlands, 1838, paper, etching, drypoint, h 260 mm × w 207 mm

There they go, plucked', 1799 Artist: Francisco Goya. Plate 20 of 'Los Caprichos'. Los Caprichos are a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799.

people women 19th century ""philosophical bluestocking"" lithograph ""the bluestocking"" series by Honore Daumier (1808 - 1879) from ""Le Charivari"" Paris 1848 private collection,

Two hunters with hounds have entered a bedroom to summon another hunter whose wife does not want him to leave. Mezzotint, 17--

The Painters: The Painters and the Bourgeois, 1862. Charles Maurand (French, 1824-1904), after Honoré Daumier (French, 1808-1879). Wood engraving;

'Beginning to reign', c1860, (c1860). Artist: John Leech.

Satané piallard d'enfant va!... Dated: 1844. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Honoré Daumier, Un soir de première représentation, 19th century Un soir de première représentation

Paris, Gihaut frères, Villain, Jean-François, Delacroix, Eugène, Hamlet, Truly this advice is still very silent, Hamlet at the corpse of Polonius, verso - stamped, Print is part of a cover with fourteen prints., print, prints, height 547 mm, width 358 mm, 1798 - 1863-08-13, print maker, printmaker, 1835 - 1835, paper, papier, lithografie (techniek), French, 1790, printer, drukker, Publication (Event), Publication, publisher

Yet She Must Die, plate eleven from Othello. Théodore Chassériau; French, 1819-1856. Date: 1844. Dimensions: 312 × 231 mm (image); 318 × 250 mm (chine); 365 × 264 mm (plate); 394 × 284 mm (sheet). Etching, engraving, roulette and drypoint on off-white China paper, laid down on cream laid paper. Origin: France. Museum: The Chicago Art Institute, USA.

Mining couple and Death, Anonymous, After Hans Sebald Beham, 1540 - 1567 print Copy in mirror image. Printed from two blocks on two sheets of paper, attached to each other. Death surprises a man and woman. Woman is still naked in bed, man lies dead on the floor. Text in Dutch in four columns under image. print maker: Low Countriespublisher: Kampen paper Death as skeleton. couple of lovers. hourglass

Joan of Arc examined by the Bishop of Winchester, 1431. Artist: Unknown

Francisco de Goya y Lucientes (Fuendetodos, 1746-Burdeos, 1828). Grabado. Serie "Los Proverbios o los Disparates" (aguafuerte). Plancha 18ª: Ánima en pena. Lámina publicada por la Real Academia de Nobles Artes de San Fernando. Primera edición. Madrid, 1864.

A man in a workshop with a hand over his eyes in anguish while dropping a sharp tool with the other hand; two details of eyes appear in the top corners. Line engraving.

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