Dramatic Scenes of Conflict

Engravings showcasing intense moments of conflict and dramatic narrative scenes, portrayed through expressive lines and emotional depth, reflecting historical or fictional events.

Rome, Pinelli, Bartolomeo, New collection of costume prints from Rome and its environs, Costume prints with figures from Rome and its environs, Frascatana, rapita dai Briganti, Woman attacked by bandits, A woman from Frascati is attacked by three bandits. The print is part of an album., print, prent, albumblad, prints, prenten, height 202 mm, width 275 mm, Italian, 1781-11-20 - 1835-04-01, print maker, printmaker, 1819 - 1823, paper, papier, etching, etchings, intermediary draughtsman

The Bear is Attacked by the Peasants from Hendrick van Alcmar's Renard The Fox 1650-75 Allart van Everdingen Dutch. The Bear is Attacked by the Peasants from Hendrick van Alcmar's Renard The Fox 429565

Men, women and children at a tree, Johannes Josephus Aarts, 1881 - 1934 print A group of men, women and children, possibly Roma, arrives at a tree. A man with two crutches runs right in the foreground. Behind the group an open landscape that is bordered by hills paper etching wandering communities. crutches. wandering communities: Romani or Roma

Balzer Dahl (1825-1893); Lorenz Froelich (1820-1908), King Svend is caught by Jomsvikings, 1853

God creates them and they join up together, plate 18 from Los Proverbios. Francisco José de Goya y Lucientes; Spanish, 1746-1828. Date: 1815-1824. Dimensions: 210 x 320 mm (image); 246 x 356 mm (plate); 355 x 484 mm (sheet). Etching, burnished aquatint and burin printed in sepia ink on ivory wove paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Rome, Pinelli, Bartolomeo, New collection of costume prints from Rome and its environs, Costume prints with figures from Rome and its environs, Frascatana, rapita dai Briganti, Woman attacked by bandits, A woman from Frascati is attacked by three bandits. The print is part of an album., print, prent, albumblad, prints, prenten, height 202 mm, width 275 mm, Italian, 1781-11-20 - 1835-04-01, print maker, printmaker, 1819 - 1823, paper, papier, etching, etchings, intermediary draughtsman

Disparate de carnabal (Carnival Folly), pl. 14 from the series Losproverbios. Artist: Francisco Goya, Spanish, 1746-1828

Philosopher with book and soldier and man by statue, Giovanni Battista Tiepolo, in or Before c. 1735 print paper etching scholar, philosopher

Paul was dragged outside the city walls; Scenes from the actions of the apostles ..

Estragos de la guerra (Ravages of War), Plate 30 from Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Francisco de Goya (Spanish, 1746-1828). Mala noche. (A bad night.), 1796-1797. From Los Caprichos, no. 36. Etching and burnished aquatint. Plate: 215 mm x 151 mm (8.46 in. x 5.94 in.).

Disparate de carnabal (Carnival Folly), also known as Alegrias antruejo, que mañana seras ceniza (Rejoice, Carnival, for Tomorrow Thou Will Be Ashes), from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Francisco Goya (1746-1828). Caprices. Plaque 20. There they go plucked. Prado Museum. Madrid.

Mars, Venus and Cupid enjoy the sunshine.

Sketch for a monument to be fastened to a wall, Domenico Mondo, Italian, 1723 - 1806, Pen with bistre washes and black chalk with washes on paper, Vertical composition of a seated woman who writes on a tablet topped by a musical trophy. A swan and what apparently is the head of an elephant are beside the woman's legs. There are bordering lines laterally and at the bottom., Italy, ca. 1800, architecture, Drawing, Drawing

Fighting Monsters, Johannes Josephus Aarts, 1881 - 1934 print A group of samples tackle each other. Two of them are in possession of a weapon. They use a bat, dagger and scythe. Japanese paper (handmade paper) etching mis-shapen animals; monsters. fighting. weapons

Etching and aquatint by Francisco José de Goya from 1815-1824, fourth edition 1902, depicting 'Carnival Nonsense' from 'The Proverbs (The Nonsense)', showing figures, masks, and festive elements.

Two workers with rope and shelves, Johannes Josephus Aarts, 1881 - 1934 print Two workers with hats, one sitting and the other standing. The sitting man binds a rope around a tree trunk. The standing man holds a stack of demolition wood. In the background, two workers pry with a rod under a rectangular object. Japanese paper (handmade paper) engraving working class, labourers. plank, board ~ building material. tools, aids, implements ~ crafts and industries: rope

Can nobody loosen us, Francisco de Goya, 1797 - 1799 print A man and woman, with the backs against each other and tied with a rope. A large owl above them. Seventy -five print from the Los Caprichos series. Spain paper etching marriage, married couple, 'matrimonium'. owls

LA SEPULTURE - B 3 Andrea mantegna (1431-1506). The burial - B3. Engraving.

Consciousness vote vote (IT)

Lorenz Froelich (1820-1908), illustration for Adam Oehlenschl�ger's poem "The two Kirketaarne", (1844)

Stedemaards for Neptunus or a power god, Romeyn de Hooghe, 1669 - 1671 drawing Allegory with a group of urban layers for a water -spying Neptune or electricity god. Design for a print. paper. chalk. ink pen / brush (story of) Neptune (Poseidon). river personified, 'Fiumi' (Ripa). personification of a city, town-patron(ess) IJ

Wiertz, Antoine Joseph, Fierlants, Edmond, Photo reproduction of The dispositions according to Christ by Antoine Wiertz, recto - embossed, photograph, photo, reproduction, page, photos, photographically illustrated books, SOCIÉTÉ ROYALE BELGE DE PHOTOGRAPHIE, 69, RUE KEYENVELD, BRUXELLES, height 167 mm, width 116 mm, Belgian, 1819-06-20 - 1869-12-21, photographer, 1863 - 1868, photographic paper, photo paper, albumen print, albumine print, 1806-02-22 - 1865-06-18

More often get on friends .... / 2 (title registered (letter)) | The people of Paris. (Title of all)

Illustration for Hamlet: The Death of Hamlet (V,2), Eugène Delacroix, French, 1798 - 1863, Lithograph on paper, The Death of Hamlet (V,2), France, 1843, Print, Print

It's time /it's time; Board No. 80 from: Los Caprichos Caprices, ed. II, Madrid CA. 1855 Goya, Francisco de (1746 1828)

July Artist's working dates 1680-1704 Holland. Dusartís July doubles as both a depiction of one of the summer months and as an earthy invitation for a literal roll in the hay. This softly textured mezzotint belies the crackling, scratchy surface of the haystack that these potential lovers would enjoy. The foreground farmer lovingly threatens to toss a bale of hay at his ladylove, who reclines, arms wide open, as if to take him immediately in her embrace. The wine jug to the right suggests that this jovial encounter is heightened by drink.. Mezzotint on paper . Cornelis Dusart

Lazio Latina Valvisciolo SS. Pietro e Paolo6. 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.

The Moors Settled in Spain, Giving Up the Superstitions of the Qur'an, Adopted this Art of Hunting, and Spear a Bull in the Open, 1815-1816. Francisco de Goya (Spanish, 1746-1828). Etching, aquatint, drypoint and engraving;

Brémond, Jean-François (n.1807-09-09-D.1868-03-02), drawing for the Saint-Jacques-Saint-Christophe de la Villette church. Graphite pencil, feather, black ink, brown ink wash, on paper glued on paper. Petit Palais, Museum of Fine Arts of the City of Paris.

Print (France); Designed by François Boucher (French, 1703-1770)

Bárbaros! (Barbarians!), pl. 38 from the series Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Combien as-tu fait de passions malheureuses O Helene!…. Artist: Paul Gavarni, French, 1804-1866

Le fantome sur la terrasse (Act. I. Sc. V), from Shakespeares Hamlet. Artist: Eugène Delacroix, French, 1798-1863

Death Giving Audience, from Vari capricci (VariousCapriccios). Artist: Giovanni Battista Tiepolo, Italian, Venice, 1696-1770

Finding the corpse of Charles the Bold in a swamp, frozen to the ice, January 5, 1477. Draughtsman: Jacobus Buys (signed by artist). Dating: 1787 - 1789. Measurements: h 149 mm × w 90 mm. Museum: Rijksmuseum, Amsterdam.

They Have Flown (Volaverunt) Francisco de Goya y Lucientes (Spanish, 1746-1828). , 1797-1798. Etching, aquatint, and drypoint on laid paper, Sheet: 11 7/8 x 8 in. (30.2 x 20.3 cm). European Art 1797-1798

His Excellency is Not at Home ("No recibe in Excel.ª") 1807-45 Leonardo Alenza y Nieto Spanish. His Excellency is Not at Home ("No recibe in Excel.ª") 334956

Figures with lice comb, Cornelis A. Hellemans, 1650 - 1699 print Two sitting figures in an interior, the one combing the other with a lice comb. Northern Netherlands paper etching / engraving farmers. comb, brush and other tools (care of the hair). stool. bag (+ men's clothes)

TAUROMAQUIA 16 - EL MISMO VUELCA UN TORO EN LA PLAZA DE MADRID 1815-1816 - AGUAFUERTE, AGUATINTA BRUÑIDA PUNTA SECA Y BURIL - 357x250 mm. Author: FRANCISCO DE GOYA. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. MARTINCHO BASSON FRANCISCO. BASSON FRANCISCO ANTONIO.

A peasant without shoes removing a thorn () from his foot, a dog accompanies him. Etching by J. Miel.

There is plenty to suck out, Francisco de Goya, 1797 - 1799 print Three witches or monstrous figures, one has a box in hand. Two bats come from behind, in the foreground a basket is filled with babies. Forty -fifth print from the Los Caprichos series. Spain paper etching witch, sorceress. infant, baby ~ the ages of man. flying mammals: bat

De Jonge Dief, Frederick Bloemaert, After Abraham Bloemaert, After 1635 - 1669 print A woman sleeps over her basket bent along the road. Two boys are standing next to her. The older fish with his hand something from her money pouch. paper engraving thief

Depicts a scene from Goya's 'The Whims' series, created in 1799 as an etching and aquatint. Shows figures interacting, illustrating social behavior and gestures.

Mercy views caricature on Alexander von Soiron, Heinrich von Gagern, Carl Möhring, Eduard von Simson, Friedrich von Herrmann, Rahwandl , MP of the National Assembly in Frankfurt , Eduard Gustav May -, publisher

The Pancake Woman, Rembrandt van Rijn, 1635 print paper etching pancakes

The Caprices, plate 21. '(How they pluck her! (¡Qual la descañonan!)', 1799, Etching, burnished aquatint and burin on laid paper, 21,8 x 14,9 cm. Author: FRANCISCO DE GOYA (1746-1828). Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Statio IX. Tiepolo, Giovanni Domenico, 1726-1804. 1723 - 1797. Leonardis, Jacopo, 1723-1797. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Faust - Faust in Marguerite-Delteil-Strauber Prison 74 Eug�ne Delacroix (1798-1863). Faust in Marguerite Prison. Lithograph on vellum.

Etching by Sisto Badalocchio depicting Isaac and Esau, showing father and son figures, gestures, and narrative moment from the biblical story of inheritance.

When opening a door to the Lekelhuis, Don Diego meets a man with a lantern. The man presents himself as the knight of the miracles. A scene from work 'De Nachtloper' by Francisco de Quevedo.

Noon. Jacques Adrien Lavieille (French, 1818-1862); after Jean François Millet (French, 1814-1875); printed by Jules Claye (French, 1806-1886). Date: 1860. Dimensions: 149 × 220 mm (image); 185 × 260 mm (chine); 239 × 340 mm (sheet). Wood engraving on light gray China paper on ivory wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

A copper engraving by Paulus Pontius from 1620-1658 showing the Bean Festival with the king drinking in a ceremonial scene.

Netherlands, Everdingen, Allaert van, Reinaert the fox, Peasants attack Bruun the bear, Peasants beat the captured Bruun the bear with sticks, spears and axes., print, prints, height 98 mm, width 116 mm, Northern Netherlands, 1621-06-18 - 1675-11-08, print maker, printmaker, 1631 - 1675, paper, papier, etching, etchings, mezzotint

Mameluk de la garde impériale défendant un trompette blessé contre un Cosaque (An Egyptian Mameluk Defending a Wounded French Trumpeter atWaterloo). Artist: Théodore Géricault, French, 1791-1824

A drawing by Philipp Jakob Loutherbourg the Younger depicting quacks, executed with brush and ink with white highlights on blue paper.

Cruel Folly (from the series Los Disparates (Follies) by Goya, Francisco, de (1746-1828) / Museo Lazaro Galdiano, Madrid / 1815-1819 / Spain / Etching / Genre,Mythology, Allegory and Literature / 24,6x35,7

Aguarda que te unten /Wait till youve been anointed; board No. 67 from: “Los Caprichos” Caprices, ed. II, Madrid ca. 1855 Goya, Francisco de (1746 1828)

Italy, Titian, Mitelli, Giuseppe Maria, Cain Smiting Abel, verso - stamped, Cain is about to kill Abel with a club. In the background a plume of smoke., print, prints, height 331 mm, width 300 mm, Italian, 1634 - 1718-02-08, print maker, printmaker, 1669 - 1669, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1488 - 1576-08-27

Le triomphe de la Mort: Les bouches inutiles , Death, Victims, Horses, Hills, Cities & towns, Alphonse Legros (1837-1911)

James Gillray, 1757-1815, British, Duke William's Ghost, 1799. Engraving.

Devota Profesion Francisco de Goya y Lucientes (Spanish, 1746-1828). Devota Profesion, 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

Peasants Fighting in a Tavern. Dated: c. 1640 (with additions after 1685 by Dusart). Dimensions: overall: 14.9 x 26 cm (5 7/8 x 10 1/4 in.). Medium: pen and dark brown ink over graphite (by Ostade) and pen and light brown ink with gray-brown wash (by Dusart) on laid paper. Museum: National Gallery of Art, Washington DC. Author: Adriaen van Ostade and Cornelis Dusart.

Lithography by Otto Hettner titled 'Shakespeare Visions; The Comedy,' created on Japanese paper in 1918, depicting scenes from Shakespearean comedy plays.

Giovanni Battista Piranesi, Two Workmen at Tables (recto), early 1770s Two Workmen at Tables (recto)

Dood as People's Menner, Gustav Richard Steinbrecher, Alfred Rethel, 1848 - 1849 print Allegory of the revolution in the German countries of 1848: "Ein Totentanz aus dem Jahre 1848", Volks edition of Augustus. paper dance of Death; Death together with one or more human beings. revolution, revolt

Another madness of his in the same ring (Otra locura suya en la misma plaza). Ríos, Ricardo de los (1847-1929), merchant employer, Goya, Francisco de (1746-1828), graphic artist, Calcograf'ia Nacional (Madryt ; 1789- ), publishing house, Agua, Perez (fl. ca 1905), printer

GOYA Y LUCIENTES, Francisco de (1746-1828). The Moors use donkeys as a barrier to defend themselves against the bull, whose horns have been tipped with balls. 1816. Plate 17 of 'The Art of Bullfighting'. Etching. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Library.

Chinese Talking Politics. Thanks to antiquity and the stability of the Constitution of China, this country is extremely unified... it counts only little more than 63 political parties. Quite often one finds Chinese citizens discussing vehemently on public places, using arguments they had prior seen in their favourite journal. Quite often the journal itself will replace the argument, being used as such, plate 20 from Voyage En Chine. Honoré Victorin Daumier; French, 1808-1879. Date: 1844. Dimensions: 184 × 262 mm (image); 264 × 377 mm (sheet). Lithograph, with scraping on stone on cream wove paper, with text below and letterpress verso. Origin: France. Museum: The Chicago Art Institute, USA.

José Camarón / 'Sancho Panza Drinking with the Pilgrims and Ricote'. 1797 - 1798. Grey-brown wash, Pencil on laid paper. Museum: Museo del Prado, Madrid, España.

Jaël Doodt Sisera, Giovanni Battista Coriolano, After Guercino, 1599 - 1649 print Jaël kills the sleeping sisera who sought refuge in her tent. With a hammer she hits a pin through his head. Italy paper Jael kills the sleeping Sisera by hitting the nail through his temples

Christ driving the money changers from the Temple., Rembrandt van Rijn, artist, 1635, Netherlands, etching, During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands, and it also explains why, three centuries later, they were affordable for Wellington collector and philanthropist Sir John Ilott, who presented 37 Rembrandt prints - including this one, to the National Art Gallery between 1952 and 1969.

Etching and aquatint with ledge needle by Francisco José de Goya y Lucientes from 1810-1812 titled 'There Is No Time', depicting war scenes and figures.

Italy, Gandolfi, Gaetano, The brawl, verso - stamped, A brawl in an inn, in which four men are at each other's throats. In the background on the right two drinking people., print, prints, height 118 mm, width 150 mm, Italian, 1734-08-30 - 1802-06-30, print maker, printmaker, 1744 - 1802, fourth quarter 18th century, first quarter 19th century, second quarter 19th century, paper, etching, etchings, Work conception, after own design by

Chez les passants. Félicien Victor Joseph Rops (Belgium, Namur, 1833-1898). Belgium, 1890. Prints; etchings. Soft-ground etching

Francisco de Goya (1746-1828), also this (43), 1810-1820

Male and Woman Fight at a Bed, Reinier Vinkeles (I), 1779 print In a bedroom, a man grabs the arm of a woman from his bed. She has a gun in both hands. The man has a sleeping cap. Amsterdam paper etching / engraving bedroom. firearms. aggressive relationships, enmity, animosity

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

The Good Samaritan (The Parables of Our Lord and Saviour Jesus Christ). Artist: After Sir John Everett Millais (British, Southampton 1829-1896 London). Dimensions: Image: 5 3/8 × 4 3/16 in. (13.7 × 10.7 cm)Sheet: 7 5/16 × 6 3/16 in. (18.6 × 15.7 cm). Engraver: Engraved and printed by Dalziel Brothers (British, active 1839-1893). Date: 1864.It took Millais seven years to design twenty images inspired by New Testament Parables for the Dalziel Brothers, and the resulting prints are considered pinnacles of wood engraved illustration. The artist wrote to his publishers, "I can do ordinary drawings as quickly as most men, but these designs can scarcely be regarded in the same light--each Parable I illustrate perhaps a dozen times before I fix the image." After completing a design, Millais transferred it to a woodblock coated with "Chinese" white for skilled engravers to carve. Finally, he reviewed proofs, and final adjustments were made before the final printing.The Parable of the Good

Disparate matrimonial' by Francisco Goya (1746-1828). Created between 1815 and 1824 and issued in 1864 in Madrid. The artwork is a first edition etching featuring techniques such as aquatint, drypoint, and possibly engraving, noted with a standard reference number

During the Zenith hot-air balloon's descent, after reaching an altitude of 8600 meters, two of the three passengers die of pulmonary hemorrhage, illustration from the magazine L'Illustrazione Universale, year 2, nos 33-34, May 2, 1875.

Two smokers and drinker in inn, Adriaen van Ostade, 1797 - 1820 print Haarlem paper etching inn, coffee-house, public house, etc.. pipe ~ tobacco. drinking

Six beggars at a fountain, Jan van Ossenbeeck, 1647 - 1674 print unknown paper etching beggar. ornamental fountain

Battle between the Horatii and the Curatii, Bartolomeo Pinelli, 1817 print Duel between the Horatii and Curiatii, two triplets of Roman and Albeaning respectively. Here, Publius Horace kills the wounded curiats one by one. Romans encourage him. Rome paper etching two Horatii being killed, the surviving brother defeats the three Curiatii one by one

The Peasant War - The Peasants, roused by Luther's Revolt, burst into hideous extravagances

Que locura! (What Madness!), Plate 68 from Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Les Caniches et les rentiers allant féliciter l'Assemblée... Dated: 1850. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HONORÉ DAUMIER.

Copper engraving by Meister von 1515 illustrating astrological symbols and figures, produced in the first third of the 16th century.

. Jael offered the fleeing Captain Sisera shelter in her tent, and then drove a tent pin through his head while he slept. Already before Rembrandts time, this biblical story was depicted as a warning against ‘the wiles of women. Rembrandt was fascinated by what drives a woman to commit such a deed. He regularly portrayed narratives in which the conflict of seduction and betrayal of women is central.

Eugène Delacroix (French, 1798-1863), The Ghost on the Terrace (Act I, Scene V), 1843, lithograph

Jean Louis Forain, Christ Stripped of His Clothes, 1909 Christ Stripped of His Clothes

Scenes from ancient history: an old man swears revenge at the corpse of a fallen man, draughtsman: Pieter de Josselin de Jong, 1871 - 1906, paper, h 403 mm × w 284 mm

Annual, Bernhard Schreuder, After Cornelis Dusart, 1776 - 1777 print A city announcer with percussion at a tree. People listen in the background. The print is loose in an album, see page 29. Amsterdam paper etching oral spreading of news, town crier

Bister and feather drawing by Karl Agricola depicting a scene from 'Hamleth' showing figures, gestures, and interior elements.

Henri Fantin-Latour (French, 1836 - 1904). Benvenuto Cellini: Acte III, La Fonte du Persée. Lithograph.

May Mayus (title on object) The twelve months of the year, 'Les XII Mois de l'Année' (series title), In a dovecote stands a man with a child on his arm to watching chicks that scratch on the ground. A second man walks bent towards a birdhouse. In the background a woman with a flower pot and a wheelbarrow full of flowers. The print is part of a series of twelve prints with the twelve months of the year, infant, baby, birds, May and its 'labor', Cornelis Dusart (mentioned on object), 1679 - 1704, paper, engraving, h 216 mm × w 154 mm

Bernard, Michel and Alvin-Beaumont, Rijn, Rembrandt van, Christ driving the money changers from the Temple, verso center bottom - pencil, print, engraving, prints, engravings, Rembrandt f. 1635, lower right, Coppier, height 136 mm, width 166 mm, Noord-Nederlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1635 - 1635, second quarter 17th century, third quarter 19th century, fourth quarter 19th century, first quarter 20st century, first quarter 20th century, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, publisher

Le beau bras: C'est comme l'antique!. Nicolas Toussaint Charlet (French, 1792-1845). Lithograph;

GOYA Y LUCIENTES, Francisco de (1746-1828). Tantalus. 1799. Plate 9 of 'Los Caprichos', etching and burnished aquatint. Romanticism. Engraving. SPAIN. MADRID (AUTONOMOUS COMMUNITY). Madrid. National Library.

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