Dynamic Bullfighting Scenes

Intense etchings capturing the drama of bullfighting and related historical scenes, showcasing the artistry of Goya and others.

Wildtöter läst den sterbenden Indianer trinken, S.23, Lederstrumpf Erzählungen, 1.Teil: Wildtöter, J.F.Cooper/ Harry Hurrys Kampf mit den Indianern auf dem Kastell, S.35 (siehe oben). Slevogt, Max (1868-1932), graphic artist

Plate 3 of the 'Tauromaquia':The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 9 5/8 x 13 3/4 in. (24.5 x 35 cm)Sheet: 12 in. × 17 1/4 in. (30.5 × 43.8 cm). Date: 1816. Museum: Metropolitan Museum of Art, New York, USA.

Seated Woman, Young Soldier, and Magus, from the Vari Capricci, Giovanni Battista Tiepolo, Italian, 1692 - 1770, Etching on laid paper, Only state, Italy, 1750-1760, Print, Print

Disparate general (General Folly), pl. 9 from the series Losproverbios. Artist: Francisco Goya, Spanish, 1746-1828

Lo mismo (The Same), pl. 3 from Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Francisco de Goya (1746-1828), Mercy (27), 1810-1820

Achill Schreckt Die Troer, PL.3, Gesang XVIII, Vers 225, Achill; Slevogt, Max (1868-1932), Langen, Albert (1869-1909), Albert Langen-Verlag (Munich; Publisher; 1894-1932); 1905 (composition); Print (1907) (1907-00-00-1907-00-00);Achilles (Mitol.), Homer (fl. Ca 850 a.c.). Iliada, Royal Prussian Academy of Arts and Mechanical Sciences (Berlin - 1696-1949). Library - Kolekcja, Partage Plus, Troja (Mitol.), Trojanie (Iliada), Voss, Johann Heinrich (1751-1826). Ilias, Literatura, Modernizm (Styl), Trojańska Wojna

Al cementerio. (To the Cemetery.), pl. 56 from the series Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Wildtöter läst den sterbenden Indianer trinken, S.23, Lederstrumpf Erzählungen, 1.Teil: Wildtöter, J.F.Cooper/ Harry Hurrys Kampf mit den Indianern auf dem Kastell, S.35 (siehe oben). Slevogt, Max (1868-1932), graphic artist

Disparate general (General Folly), also known as Unas de Gato y Habito de Beato (The Claws of a Cat and the Dress of a Devotee), from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Francisco de Goya y Lucientes / 'They do not know the way'. 1814 - 1815. Etching, Burnisher, Burin, Drypoint on ivory paper. Museum: Museo del Prado, Madrid, España.

Worker who binds a rope around a pole, Johannes Josephus Aarts, 1901 print A sitting man in work clothes and with a hat binds a rope around a pole. Left in the background a river with a bridge over it. On the right in the background a wooden fence. paper engraving working class, labourers. tools, aids, implements ~ crafts and industries: rope

Francisco de Goya, Y son fieras (And They Are Like Wild Beasts), Spanish, 1746 - 1828, published 1863, etching, burnished aquatint, and drypoint

A Peasant Calling Out: "T is vinnich kout" 1634 Rembrandt (Rembrandt van Rijn) Dutch. A Peasant Calling Out: "T is vinnich kout" 391547

Mugeres give value /The Women Give Courage; Board No. 4 from: The disasters of war The Disasters of War, ed. II, 1892 Goya, Francisco de (1746 1828)

Francisco de Goya y Lucientes / 'Everything is topsy-turvy'. 1810 - 1814. Etching, Burin on ivory paper. Museum: Museo del Prado, Madrid, España.

Miraculous draught of fishes, after Raphael Niccolò Vicentino Italian After Raphael (Raffaello Sanzio or Santi) Italian Publisher Andrea Andreani Italian 1540-50 (republished 1609) For the attribution of this print to Vicentino, see Naoko Takahatake, 'Niccolò Vicentino's "Miraculous Draught of Fishes"', Print QuarterlyVol. 28, No. 3 (SEPTEMBER 2011), pp. 256-260. View more. Miraculous draught of fishes, after Raphael. Niccolò Vicentino (Italian, active ca. 1510-ca. 1550). 1540-50 (republished 1609). Chiaroscuro woodcut from three blocks in tan brown. Andrea Andreani (Italian, Mantua 1558/1559-1629). Prints

Disparate general (General Folly), also known as Unas de gato y habito de beato (The Claws of a Cat and the Dress of a Devotee), from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Francisco de Goya y Lucientes, What is the hubbub, 1810-1820, etching and aquatint.

The Moors had settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open, plate three from The Art of Bullfighting Made 1814-1816 Spain. Etching, burnished aquatint, drypoint and burin on ivory laid paper . Francisco José de Goya y Lucientes

Y no hai remedio (And Theres No Help For It), pl. 15 from the series Los desastres de la guerra (The Disasters of War). Artist: Francisco Goya, Spanish, 1746-1828

Annual, Bernhard Schreuder, after Cornelis Dusart, 1776 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

The Caprices, plate 65. 'Where is mommy going (Dónde va mamá)', 1799, Etching, burnished aquatint and burin on laid paper, 21 x 16,2 cm. Author: FRANCISCO DE GOYA (1746-1828). Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN.

Two performances with human figures, Johannes Josephus Aarts, 1881 - 1934 print Leaf with two performances. Above four men who wear a pole together. Under a bending woman in a grass -overgrown field. paper etching carrying something. working class, labourers. bending figure

Fairy Tale, Marius Bauer, 1897 print A woman is in a portal and holds a piece of meat in the air. She is surrounded by lions, leopards and other cats. paper etching beasts of prey, predatory animals: lion. beasts of prey, predatory animals: leopard. tales and fairy tales

El Cid Campeador lanceando otro toro (The Cid Campeador Spearing Another Bull), Plate 11 from Latauromaquia. Artist: Francisco Goya, Spanish, 1746-1828

Francisco de Goya (Spanish, 1746-1828). What More Can Be Done (Qué Hai Que Hacer Mas), 1810-1815, printed 1863. From The Disasters of War (Los Desastres de la Guerra). Etching and aquatint.

Artist: Jacques Bellange, French, active 1595-1616, The Beggar and the Street Musician (or Two TrampsFighting), ca.1614, Etching and engraving, 31.2 × 21.4 cm (12 5/16 × 8 7/16in.), French, 17thcentury, Works on Paper -Prints

A woman giving a mug to an old man; folio 93 from the Images of Spain Album 'F'. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Sheet: 8 1/8 × 5 5/8 in. (20.6 × 14.3 cm). Date: ca. 1812-20. Museum: Metropolitan Museum of Art, New York, USA.

Richard and Wamba see the men of Jan without country. Richard and Wamba see the men of Jan without country, who hide in the forest (scene from 'Ivanhoe' by Sir Walter Scott). Design for a print.

Spanish knight kills a bull; UN Caballero Español Mata Un Toro Despues De Haber Perdido El Caballo; Bullfighting; La taureaumachie; La Tauromaquia. A Spanish knight in armor sticks a sword in the neck of a bull falling on the ground. Behind it lies his horse on the ground. Numbered at the top right: 9.

Plate 12 from "The Disasters of War' (Los Desastres de la Guerra): 'This is what you were born for.' (Para eso habeis nacido.) 1810 Goya (Francisco de Goya y Lucientes) Spanish. Plate 12 from "The Disasters of War' (Los Desastres de la Guerra): 'This is what you were born for.' (Para eso habeis nacido.). Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). 1810. Etching, drypoint, burin (working proof). Prints

Francisco de Goya, Los caprichos Subir y bajar, published 1799 Los caprichos: Subir y bajar

That soldier!, Francisco de Goya, 1877 print Two decorated wooden figures, seen on the back, standing opposite a group of people. The front boy shows his bottom to the two figures, another makes the Corna gesture with his hand. One of the four extra plates made for the series. print maker: Spainprinter: Paris paper etching proverbs, sayings, etc.. scarecrow. morphology of human expression (+ laughing at a person)

'You'll See Later'; a man drinking, a woman trying to stop him; page 24 from the Black Border Album (E) ca.1816-20 Goya (Francisco de Goya y Lucientes) Spanish Drinking appears throughout Goyas work, as a lubricant for social exchange, a metaphor for losing control, and a prelude to violence. In this drawing, a woman grabs at an inebriated man who, feet firmly planted and back arched, squirts wine into his mouth from a large skin. The caption complicates the subject. Referring to a future moment, it alludes to the outcome of the mans uncontrolled drinking, but what might that outcome be? The womans alarm, expressed through her gesture, raised eyebrows, and open mouth, suggests it could be more than a mere hangover—perhaps something more insidious fueled by habitual activity that she is powerless to control.. 'You'll See Later'; a man drinking, a woman trying to stop him; page 24 from the Black Border Album (E). Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bor

Ferdinand-Victor-Eugène Delacroix, Lionness Tearing the Breast of an Arab (Lionne déchirant la poitrine d'un arabe), 1849, etching on cream chine collé laid down on ivory wove paper.

Two boys, Cornelis Bloemaert (II), After Abraham Bloemaert, 1700 - 1800 print A boy looks at the view, another lies next to him on the floor. Utrecht paper engraving Pastoral, Arcadian Scenes

A bad night, Francisco de Goya, 1797 - 1799 print Two women, prostitutes, are outside in a storm. Thirty -sixth print from the Los Caprichos series. Spain paper etching whore, prostitute. storm

Plate 2 from 'The Disasters of War' (Los Desastres de la Guerra): 'Rightly or wrongly.' (Con razon ó sin ella.). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 6 in. × 8 1/16 in. (15.3 × 20.5 cm)Sheet: 9 15/16 × 13 1/2 in. (25.2 × 34.3 cm). Series/Portfolio: The Disasters of War. Date: 1810 (published 1863). Museum: Metropolitan Museum of Art, New York, USA.

Honoré Daumier, Traquenards politiques, 19th century Traquenards politiques

Rise and fall; Subir y bajar; Los Caprichos. A man in a military costume rises and is held by his legs by a Sater. From his head and hands comes smoke. Two other men fall down. Twenty-sixth print from the Los Caprichos series.

Fearful 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

The Betrayal of Christ (copy in roundel) ca. 1435-1491 After Martin Schongauer German. The Betrayal of Christ (copy in roundel) 366992

Francisco de Goya (1746-1828) and they are still there, 1797-1798

Wizard and other figures look at snake; Scherzi di Fantasia.

Plate 1 from 'The Tauromaquia': The way in which the ancient Spaniards hunted bulls on horseback in the open country 1816 Goya (Francisco de Goya y Lucientes) Spanish This print belongs to the group of thirteen scenes surveying the history of Spanish bullfighting that opens Tauromaquia. Goya attempted to evoke its origins in this print, showing an early Spaniard dressed in animal skins on horseback, riding in a mountainous setting. The awkward way the figure holds the lance underscores the rudimentary beginnings of bullfighting; it was thought to have been introduced to Spain when the Iberian Peninsula was under the rule of the Romans or the Moors.. Plate 1 from 'The Tauromaquia': The way in which the ancient Spaniards hunted bulls on horseback in the open country 397858

Etching by Rudolf Jettmar from the Austria Secession collection showing a scene titled 'Girl Robbery', depicting a figure in an act of theft, created in 1901.

Francisco de Goya y Lucientes / 'This is what you were born for (Disasters of War, 12)'. 1810 - 1820. Etching, Burin, Drypoint, Wash on wove paper. Museum: Museo del Prado, Madrid, España.

Brown ink study by Giovanni Francesco Barbieri (il Guercino) depicting the murder of Amnon in Absalom's house, emphasizing figures, gesture, and interior composition.

Hekabe makes Polymestor Blind, Marie Danse, After Giuseppe Maria Crespi, 1877 - 1909 print paper etching Hecuba tears out Polymnestor's eyes and kills his two sons

Hiëronymus and De Leeuw, Jean Jacques II Lagrenée, 1749 - 1821 print Sint-Petersburg paper etching / engraving St. Jerome as hermit in a landscape, reading. beasts of prey, predatory animals: lion

Street fight between four men ca. 1880-1910 José Guadalupe Posada. Street fight between four men. José Guadalupe Posada (Mexican, 1851-1913). ca. 1880-1910. Etching on zinc. Prints

Drawing (Italy); Designed by Felice Giani (Italian, 1758-1823); pen and brown ink, brush and brown wash over traces of graphite on cream laid paper

A man stabbing another; folio 53 from the Images of Spain Album 'F' ca. 1812-1820 Goya (Francisco de Goya y Lucientes) Spanish. A man stabbing another; folio 53 from the Images of Spain Album 'F' 334033

Three river gods with urns, Salvator Rosa, c. 1660 - c. 1661 print Three sitting river gods with urns. Two river gods left in the background. Italy paper etching / drypoint river-gods

James McNeill Whistler (American, 1834-1903), A Child on a Couch, No.2, c. 1873-1875, drypoint

17th century Dutch drinking scene with men and women carousing around a table. A man pours ale from a jug, another embraces a woman on a bench. A man sits defecating on a chamberpot. Copperplate engraving by David Deuchar after an original by Adriaen van Ostade from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

Greed Breaks the Bag ("La codicia rompe el saco"). Artist: Leonardo Alenza y Nieto (Spanish, Madrid 1807-1845 Madrid). Dimensions: 7-5/16 x 5-1/8 in. (18.6 x 13.0 cm). Date: 1807-45. Museum: Metropolitan Museum of Art, New York, USA.

Daniël is liberated from the Leeuwenkuil, Philips Galle, After Maarten van Heemskerck, 1565 - 1678 print The king finds Daniël after seven days alive in the Lion Puk and lets him raise with ropes. Haarlem paper engraving Daniel is liberated from the lion's den ~ King Cyrus

Antonio Castillos drawing of the beheading of John the Baptist, executed in brown pen.

Plate 70 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not know the way.' (No saben el camino.) 1814-15 (published 1863) Goya (Francisco de Goya y Lucientes) Spanish. Plate 70 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not know the way.' (No saben el camino.) 381414 Artist: Goya (Francisco de Goya y Lucientes), Spanish, Fuendetodos 17461828 Bordeaux, Plate 70 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not know the way.' (No saben el camino.), after 181415 (published 1863), Etching, drypoint, burin and burnisher, Plate: 6 7/8 8 1/2 in. (17.5 21.6 cm) Sheet: 9 3/4 13 9/16 in. (24.8 34.4 cm). The Metropolitan Museum of Art, New York. Purchase, Rogers Fund and Jacob H. Schiff Bequest, 1922 (22.60.25(70))

Etching 'The Rider' by Rembrandt van Rijn, around 1629, depicting a mounted figure riding through landscape with detailed clothing and posture.

Por qué (Why), pl. 32 from the series Los desastres de la guerra (The Disasters of War). Artist: Francisco Goya, Spanish, 1746-1828

David and Goliath, Rembrandt van Rijn, 1655 print paper etching / drypoint story of David and Goliath (1 Samuel 17)

The Good Samaritan (Le bon samaritain). Medium: etching and drypoint. Museum: National Gallery of Art, Washington DC. Author: Alphonse Legros.

Drawing, The Infant Hercules Strangling the Serpent; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink over traces of black chalk on light blue paper; 17.5 x 19.9 cm (6 7/8 x 7 13/16 in.)

Princess Reiza sees a knight in a vision, Henri Fantin-Latour, 1895 print Paris paper. vision. opera. knight

Gustave Doré (1832-1883), designer and Michel (XVII-XVIIIth century), engraver. "La Disffense." Illustration for Honoré de Balzac, "Les Contes Drolatiques", Paris: Société Générale de Librairie, 1855 ". Wood engraving. Paris, Maison de Balzac. 101788-20 Wood engraving, illustration of literary work, 19th 19th 19th 19th 19th 19th century, engraving

Rijn, Rembrandt van, Baillie, William, Hundred Guilder print, Group of people, A man in a cloak, seen from the back. Among others a woman with a baby in her arms, a child and a dog. Fragment of cut plate of the Hundred Guilder print. The print is part of an album., print, album sheet, prints, height 151 mm, width 111 mm, Irish, 1723-06-05 - 1810-12-22, print maker, printmaker, 1753 - 1810, paper, papier, pasting, etching, etchings, drypoint, dry needle, Work conception, Northern Netherlands, 1606-07-15 - 1669-10-08

Esta no lo es menos. (This Is Not Less So), pl. 67 from the series Los desastres de la guerra (The Disasters ofWar). Artist: Francisco Goya, Spanish, 1746-1828

Dwarves andDogs. Artist: Giovanni Domenico Tiepolo, Italian, Venice, 1727-1804 After: Giovanni Battista Tiepolo, Italian, Venice, 1696-1770

Plate 39 from 'The Disasters of War' (Los Desastres de La Guerra): 'An heroic feat! With dead men!' (Grande hazaña! Con muertos!) 1810 (published 1863) Goya (Francisco de Goya y Lucientes) Spanish. Plate 39 from 'The Disasters of War' (Los Desastres de La Guerra): 'An heroic feat! With dead men!' (Grande hazaña! Con muertos!) 381365 Artist: Goya (Francisco de Goya y Lucientes), Spanish, Fuendetodos 17461828 Bordeaux, Plate 39 from 'The Disasters of War' (Los Desastres de La Guerra): 'An heroic feat! With dead men! '(Grande hazaa! Con muertos!), 1810 (published 1863), Etching, lavis and drypoint, Plate: 6 1/8 8 1/16 in. (15.5 20.5 cm) Sheet: 9 7/8 13 1/2 in. (25.1 34.3 cm). The Metropolitan Museum of Art, New York. Purchase, Rogers Fund and Jacob H. Schiff Bequest, 1922 (22.60.25(39))

The Martyrdom of Saint Peter late 1650s School of Rembrandt van Rijn. The Martyrdom of Saint Peter 459323

Caprichos: Trials. Francisco de Goya (Spanish, 1746-1828). Etching and aquatint;

Bestattung des Patroklos, pl.15, Gesang XXIII Vers 180, Achill; Slevogt, Max (1868-1932), Langen, Albert (1869-1909), Albert Langen-Verlag (Munich; Publisher; 1894-1932); 1907 (1907-00-00-1907-00-00);Achilles (Mitol.), Grecja, Homer (fl. Ca 850 a.c.). Iliada, Royal Prussian Academy of Arts and Mechanical Sciences (Berlin - 1696-1949). Library - Kolekcja, Partage Plus, Patroklos (Mitol.), Voss, Johann Heinrich (1751-1826). Ilias, Literatura, Modernizm (Styl), Pogrzeby, Stosy Pogrzebowe, Trojańska Wojna

David and Goliath 1655 Rembrandt (Rembrandt van Rijn) Dutch. David and Goliath 392004

Chained Woman and Other Figures Regarding a Pyre of Bones, from the Capricci. Artist: Giovanni Battista Tiepolo (Italian, Venice 1696-1770 Madrid). Dimensions: sheet: 5 1/2 x 7 in. (14 x 17.8 cm). Series/Portfolio: Capricci. Date: 1743. Museum: Metropolitan Museum of Art, New York, USA.

The Accident (L'accident). Dated: 1900. Dimensions: plate: 14 x 10.8 cm (5 1/2 x 4 1/4 in.) sheet: 45 x 31.7 cm (17 11/16 x 12 1/2 in.). Medium: etching in black on Van Gelder Zonen wove paper. Museum: National Gallery of Art, Washington DC. Author: Albert Besnard.

This too, plate 43 from The Disasters of War 1815-1820 Spain. Etching and burnished aquatint on ivory wove paper with gilt edges . Francisco José de Goya y Lucientes

Three men in conversation, Anonymous, After David Teniers (II), 1700 - 1799 print Three men in conversation in the open air. One of them sits on the floor with his walking stick next to them. Low Countries paper etching walking-stick, staff. conversation, dialogue; conversation piece

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. paper. pencil. chalk engraving working class, labourers. plank, board ~ building material. tools, aids, implements ~ crafts and industries: rope

Lioness Tearing at the Chest of an Arab. Eugène Delacroix; French, 1798-1863. Date: 1849. Dimensions: 212 × 281 mm (plate); 350 × 490 mm (sheet). Soft ground etching and roulette on cream chine, laid down on white wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Fordable place in the river, Claude Lorrain, 1634 print A shepherd and shepherdin with cattle cross the river at the wed. There is a woman with a laundry basket on the bank. France paper etching crossing a river. herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Judit with the head of Holofernes, Giacomo Piccini, After Titian, 1658 print Woman with sword, a soldier and the severed head of a man under her foot. Possibly judit with the severed head of Holofernes; Possibly justice (Justitia). Venice paper engraving the soldier; the soldier's life. Judith with Holofernes' head and the sword. Justitia (justice) as Roman personification

Painting by Giuseppe Cesari depicting Perseus rescuing Andromeda. Perseus is mounted on a winged horse approaching from the left. Andromeda is bound to rocks, facing left. A monster is positioned between them. Chalk and feather techniques are used.

Design for a print, Telemachus kills the lion, draughtsman: Bernard Picart, 1683 - 1733, paper, pen, brush, h 109 mm × w 121 mm

Disparate claro (Clear Folly), also known as Sin recomendarse a Dios ni al diablo (Without Commending Himself Either to God or the Devil), from the series Los disparates (Losproverbios). Artist: Francisco Goya, Spanish, 1746-1828

Bullfighter standing on a table in an arena, Francisco de Goya, 1815 print The Torero (bullfighter) Martincho in the Arena, standing on a table with chained feet. A bull, with the head down, is about to ram the table. There are a number of men in the Arena and the stands are full of spectators. Spain paper etching / drypoint bullfight. bull-fighter, toreador

The Circumcision in the Stable 1654 Rembrandt (Rembrandt van Rijn) Dutch. The Circumcision in the Stable 391984

Giovanni Battista Tiepolo, Soldier with Horse and Attendant, published 1785 Soldier with Horse and Attendant

Francisco de Goya (1746-1828), the origin of the Harpuns or Bandilla, 1815-1816

Thomas Rowlandson, 1756-1827, British, Album Drawing, undated. Graphite and pen and ink on medium, slightly textured, cream wove paper.

Don Quixote and Sancho Panza, Louis Anquetin (Étrépagny, France, 1861 - 1932)

Two children are in the grass, Henri de Graer, 1884 print paper etching leaning sideways - AA - female human figure. lying on the back with hands under the head

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

Le triomphe de la Mort: Les bouches inutiles , Victims, Alphonse Legros (1837-1911)

. The lost son is deported by two men the inn and the brothel, because his money is up. Next to him a dog.

Cimon in But, Anonymous, After Peter Paul Rubens, 1809 - c. 1899 print The daughter gives her father who is fascinated in prison. On the right two soldiers in front of a tralid window. paper But Suckling Cimon ('Roman Caritas')

Six beggars at a fountain.

Testions; Ensayos; Los Caprichos. A naked woman, floating above the ground, lifts a man to his ear with magic. Behind them is a Ernome Bok, the devil. In the foreground two cats at a skull and a pot. Sixiest print from the Los Caprichos series.

Hekabe makes Polymestor Blind, Marie Danse, After Giuseppe Maria Crespi, 1889 - 1909 print paper etching / drypoint Hecuba tears out Polymnestor's eyes and kills his two sons

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