Historical Figures and Scenes

Drawings depicting religious and historical scenes, including a Virgin and Child and prisoners of war, showcasing a blend of intricate lines and dramatic narratives.

Handcuffed women, Leonaert Bramer, 1606 - 1674, Some women prisoners of war are followed to the left by helmeted horsemen., draughtsman: Leonaert Bramer, 1606 - 1674, paper, pen, brush, h 208 mm × w 188 mm

Virgin and Child with Five Saints. Dimensions: overall (approximate): 29.4 x 18.5 cm (11 9/16 x 7 5/16 in.). Medium: pen and brown ink on laid paper. Museum: National Gallery of Art, Washington DC. Author: Attributed to Donato Creti.

Handcuffed women, Leonaert Bramer, 1606 - 1674, Some women prisoners of war are followed to the left by helmeted horsemen., draughtsman: Leonaert Bramer, 1606 - 1674, paper, pen, brush, h 208 mm × w 188 mm

The Death of Saint Joseph 1739 Niccolò Ricciolini Italian. The Death of Saint Joseph. Niccolò Ricciolini (Italian, Rome 1687-1772 Rome). 1739. Pen and brown ink, brush and brown wash, over traces of charcoal (or black chalk), lightly squared in charcoal. Drawings

Finding Moses.

Study Vignette-Frontispiece for Lucain's La Pharsale 1756-1773 France. Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on cream laid paper . Hubert François Gravelot

Chalk drawing on blue-green paper by Guido Reni showing Maria with the Christ child, John the Baptist as a boy, and musician angels.

Mercury and Argus. Artist: Januarius Zick (German, Munich before 1730-1797 Ehrenbreitstein). Dimensions: sheet: 8 1/16 x 10 1/4 in. (20.5 x 26 cm). Date: mid-18th-late 18th century. Museum: Metropolitan Museum of Art, New York, USA.

A red chalk drawing by Federico Panza depicting Venus restraining Adonis, with a putto seated on Adoniss hunting dog, highlighting figures and gestures.

Scherzi di Fantasia: The Happy Satyr and his Family, 1750-60. Giovanni Battista Tiepolo (Italian, 1696-1770). Etching;

Animals and Figures before the Ark 1660-64 Circle of Giovanni Benedetto Castiglione (Il Grechetto) Italian. Animals and Figures before the Ark 338428

Andrea Lilio, The Adoration of the Shepherds, c 1600 1610 The Adoration of the Shepherds

A drawing by Baldassare Franceschini depicting Saint Lukas painting the Madonna, executed in chalk and ink with gray wash on brownish paper.

Group of Five Allegorical Figures. Artist: attributed to Francesco Allegrini (Italian, Cantiano () 1615/20-after 1679 Gubbio ()). Dimensions: 6 x 5-1/4 in. (15.3 x 13.3 cm). Date: 1624-63. Museum: Metropolitan Museum of Art, New York, USA.

Red chalk drawing by Edme Bouchardon showing the Adoration of the Magi.

Sketches of Four Draped Female Figures (for Pendentives) 1700-1799 France. Pen and brown ink, with brush and brown wash, over graphite, on tan laid paper, laid down on ivory laid paper . Pierre Hubert Subleyras

Pencil drawing by Lucas Stipperger depicting the Judgment of Midas, showing figures, gestures, and composition.

The Holy Family with Roses Netherlandic Angels. .

The Triumph of Genius over Envy ca. 1849-51 Eugène Delacroix French. The Triumph of Genius over Envy 334755

Chalk and lavated drawing by Carlo Alberto Baratta depicting an unidentified figurative scene.

Apollo and Galatea in a Landscape with Neptune and Three Nymphs. Artist: Emilian artist near Orazio Samacchini (Italian, Bologna 1532-1577 Bologna). Dimensions: 7 1/16 × 8 1/16 in. (18 × 20.5 cm). Date: 1550-60.Formerly considered as a work by Niccolò dell'Abate (Cleveland 1981, no. 83), Jacob Bean published this drawing in 1982, more generally as by an anonymous 16th century Emilian artist (Bean 1982, no. 290). Though somewhat timid in execution, this drawing seems closest to the style of the Bolognese painter Orazio Samacchini, as suggested by the notes on the modern mount written by Mario di Giampaolo, Marzia Faietti, and Timothy Clifford. While endorsed by Carmen C. Bambach, the attribution to Samacchini was rejected by Babette Bohnn and Jak Katalan, who also thought more generally of an artist active at Fontainebleau (notes on the mount). In 1979, Philip Pouncey recognized that a drawing in the Musée du Louvre, Paris (inv. 10494) attributed to Samacchini features the same composi

Solomon. Artist: Johan Carl Loth (German, Munich 1632-1698 Venice). Dimensions: 5-1/8 x 7-3/8 in. (13.0 x 18.7 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Maarten van Heemskkk (1498-1574), Holofernes' Lig is found by Bagoas, 1564

A vision of S. Filippo Neri.

The Crossing of the Red Sea; Nicolas Poussin (French, 1594 - 1665); about 1634; Red chalk; 15.6 x 22.5 cm (6 1,8 x 8 7,8 in.)

Genoveva's Murderers Take Pity. Joseph Ritter von Führich; Bohemian, 1800-1876. Date: 1825-1835. Dimensions: 234 × 307 mm. Pen and black ink, over traces of graphite, on ivory wove paper, partially laid down on ivory wove paper. Origin: Bohemia. Museum: The Chicago Art Institute, Chicago, USA.

Allegorical Composition with Figures of Painting and Fame 1663-1716 Pietro Antonio de' Pietri Italian. Allegorical Composition with Figures of Painting and Fame 340477

The Martyrdom of Saint Hippolytus Simon Julien French 18th century Originally from Toulon, Simon Julien studied first with Michel-François Dandré-Bardon in Marseille before traveling to Paris and winning a first place at the Royal Academy, allowing him to enroll in the affiliated school directed by Carle Vanloo. At this very early stage of his career, before he had studied in Rome, Julien received an important commission from Jean de Jullienne to paint the Martyrdom of Saint Hippolyte. This sheet appears to be an early study for that painting, intended for the Church of Saint Hippolyte in Paris. Completed in 1762, the painting was later removed from the church in 1791 and is today in the cathedral Saint-Jean-Baptiste in Lyon. The drawing differs from the final composition in format and many details, although the rarity of the subject as well as the stylistic debt of the draftsmanship to the style of Juliens teacher at the time, Carle Vanloo, support the attribution. View more. The Mart

Photo production of a drawing by Rafaël, Abraham Offert Isaak, Charles Thurston Thompson, After Rafaël, c. 1852 - in or before 1857 photograph Windsor Castle paper albumen print the sacrifice of Isaac (Genesis 22)

Brawl in an Inn. Dated: c. 1635. Dimensions: overall: 17.4 x 24.7 cm (6 7/8 x 9 3/4 in.). Medium: pen and brown ink with brown wash and touches of black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: Style of Adriaen van Ostade.

Maarten van Heemskkk (1498-1574), Christ's capture, About 1548

The Virgin Protectress of the City of Siena. Artist: Francesco Vanni (Italian, Siena 1563-1610 Siena). Dimensions: 8 3/16 x 10 3/4in. (20.8 x 27.3cm). Date: 1588.Vanni studied painting briefly in Rome, but, before his twentieth birthday, he was back home in Siena, where he pursued a long career as a painter of altarpieces and decorations for public buildings. In this brisk and luminous sketch, the Virgin appears in glory, her right hand raised in benediction, while Saint Bernardino and Saint Catherine of Siena intercede for their fellow citizens. Toward the lower border of the composition appears a view of the skyline of Siena, easily identified by the silhouettes of the Torre del Mangia, the dome and bell tower of the Cathedral. The right border of the nearly square composition is indicated by a vertical framing line, at the right of which are sketches for heraldic devices. A squared study in pen and brown ink with wash for this same composition was in the collection of Sir John Pop

A lead pencil drawing by Franz Xaver Wagenschön depicting a volcanic forge, showing figures at work and geological features.

Agostino Masucci drawing of the Madonna with the seven founders of the Servite Order, executed in chalk with white highlights on blue paper around 1727.

Black pencil drawing by Franz Xaver Wagenschön depicting Mercury bidding farewell in Antwerp, emphasizing figure, gesture, and composition.

The Siege of Fiesole by the Goths 1550-99 Friedrich Sustris Central European. The Siege of Fiesole by the Goths 364220

The burial of Christ in a ruin with rocaille ornaments and garlands. On top of the ruin are putti, they are watching, Tomb of Christ, draughtsman: anonymous, , 1600 - 1800, paper, pen, brush, h 383 mm × w 251 mm

Giovanni Battista Tiepolo, The Meeting of Antony and Cleopatra, mid 1740s The Meeting of Antony and Cleopatra

A sketch by Francesco la Marra depicting the Holy Family with John the boy and two angels, executed in feather with lavation, emphasizing figures and composition.

Classical Female Figure (Diana or Venus) with Two Infants ca. 1539-42 Francesco Primaticcio Italian The Italian artist Primaticcio went to France early in his career to work for the French king, Francis I. Although most of Primaticcio's energies went into decorating the great palace of Fontainebleau, the present drawing was probably executed for Anet, the chteau built for Henry II's mistress, Diane de Poitiers (1499-1566). The main figure in the drawing may be Diana: although she lacks her attribute of the crescent crown on her head, she points at the crescent moon at upper left. Diane de Poitiers, was frequently alluded to through the portrayals of Diana, goddess of the hunt, and her attributes. Alternatively, the subject of the drawing was tentatively identified as Venus with Eros and Anteros, when published in 1986Three other drawings by Primaticcio relating to his work at Anet survive; they are the same size and are executed in the same delicate manner with light brown ink and was

Jacques-Philippe Le Bas drawing depicting a social scene with fruit sellers, executed in red chalk with wash.

Feather and laved sketch by Jacopo Palma depicting Madonna with Child, Saint Sebastian, Saint Roch, and four design studies for figures on yellowed paper.

Amphion Building the Walls of Thebes. Artist: Giovanni Luigi Valesio (Italian, 1583-1633). Dimensions: sheet: 9 1/2 x 7 3/16 in. (24.2 x 18.2 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

Mucius Scaevola Before King Porsenna. Artist: circle of François Boucher (French, Paris 1703-1770 Paris). Dimensions: sheet: 16 3/16 x 18 15/16 in. (41.1 x 48.1 cm). Former Attribution: Formerly attributed to Anonymous, French, 17th century. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

BACCHANAAL, MONOGRAMMIST FD (GRAVEUR), 1700 - 1799 print paper etching thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus

The Abduction ofContento. Artist: Nikolaus Knüpfer, Dutch, 1603-1655/60

A chalk drawing by Ciro Ferri depicting the Assumption of Mary, showing the Virgin Mary ascending to heaven.

A graphitic pencil and brown ink drawing by Franz Anton Maulbertsch from around 1745-1749 showing the Adoration of the Three Kings, focusing on figures, gifts, and composition.

This 17th-century red chalk drawing depicts an allegorical scene in which Virtue ascends to Jupiter in Olympus, symbolizing protection from temporal attacks, using wash techniques.

Two Apostles and ThreeAngels. Artist: Giovanni Battista Vanni, Italian, 1599-1660

Last Supper, 1600s(). France, 17th century. Pen and brown ink and brush and brown wash; sheet: 19.9 x 31 cm (7 13/16 x 12 3/16 in.); secondary support: 20.4 x 31.5 cm (8 1/16 x 12 3/8 in.).

The Chastisement of Luxury. Artist: Eugenio Lucas (Spanish, Madrid 1817-1870 Madrid). Dimensions: 10-1/8 x 15-1/4 in. (25.7 x 38.7 cm). Date: 1817-70. Museum: Metropolitan Museum of Art, New York, USA.

Drawing by Heinrich Friedrich Füger showing a figure using a pole to reach the opposite bank, executed in brown ink with white highlights.

Allegory in Honor of Pope Benedict XIV. Artist: Pompeo Batoni (Italian, Lucca 1708-1787 Rome). Dimensions: 14 3/16 x 9 13/16in. (36 x 24.9cm). Date: ca. 1745. Museum: Metropolitan Museum of Art, New York, USA.

Martyrdom of Saint Lawrence 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Martyrdom of Saint Lawrence 340000

Drawing of the biblical scene where God reveals to Abimelech that Sara is Abrahams wife, executed with pen, ink, bister, and chalk on brownish paper.

The Nativity with Angels 1650-57 Bartolomeo Biscaino Italian This is one of Biscainos most ambitious etchings. Its composition was inspired by Giovanni Benedetto Castigliones 1645 painting of the Nativity in the church of Saint Luca in Genoa. Biscaino worked in Genoa and his later prints show the influence of Castiglione. His etching style, however, is more restrained; the artist excelled at modeling forms to convey subtle variations of light and dark. During his short life (he died of the plague at twenty-eight), he is known to have made around forty etchings.. The Nativity with Angels. Bartolomeo Biscaino (Italian, Genoa 1629-1657 Genoa). 1650-57. Etching; first state of eight (TIB). Prints

Martyrdom of Saints Processus and Martinian. Jean Bernard Restout (French, 1732-1797); after Valentin de Boulogne (French, 1594-1632). Date: 1752-1797. Dimensions: 377 × 276 mm. Black crayon, on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

A drawing by Bartolomeo Altomonte depicts the baptism of Christ, executed using preparatory techniques such as start, Laug, and raster.

St. Peter Delivered from Prison 1499-1543 After Polidoro da Caravaggio Italian. St. Peter Delivered from Prison 340516

Consolation of SaintFrancis. Artist, attributed to: Palma Giovane (Jacopo Negretti), Italian, ca. 1548-1628 Artist, formerly attributed to: Lodovico Carracci, Italian, 1555-1619

Mary and child crowning a saint, Mary and child, Guido Reni, draughtsman: anonymous, 1600 - 1699, paper, pen, h 264 mm × w 252 mm

The Mystic Marriage of St. Catherine 16th century Marco Angolo del Moro Italian. The Mystic Marriage of St. Catherine 625575

Ascension of Saint Jerome, 1600s. Karel Skréta (Czech, 1610-1674). Pen and brown ink, graphite and brush and brown wash; framing lines in black ink; sheet: 27.9 x 16.7 cm (11 x 6 9/16 in.).

Diana visits Endymion.

Corpent of a young woman by Minerva, monogrammist C.G., 1600 - 1699 print paper etching more than one musician with instrument - CC - 'concert champíªtre'. crown (symbol of sovereignty). (story of) Minerva (Pallas, Athena)

A graphite and black chalk drawing by Josef Winterhalder the Younger dated 1777 depicting Maria Immaculata and Archangel Michael, with gray-brown washes emphasizing figures and composition.

The time. A man kneeling for time, upstairs a angel floats with a bazuin

Drawing, The Trinity and the Apostles, St. Peter and St. Paul; Gaetano Gandolfi (Italian, 1734-1802); Italy; black chalk, pen and ink, brush and bistre wash on paper; 28.1 x 18.7 cm (11 1/16 x 7 3/8 in.)

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), the works of Scarron. Frontispiece of Scarron's works. (A. de Vesme 951; Dutuit 144) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

The Baptism of The Eunuch 1641 Rembrandt (Rembrandt van Rijn) Dutch. The Baptism of The Eunuch 359971

Diana en De Sleeping Endymion, Tako Hajo Jelgersma (Attribute to), 1721 - 1779 drawing paper. ink pen / brush Diana (Luna) visiting the sleeping Endymion

Three performances with human figures, Johannes Josephus Aarts, 1881 - 1934 print Leaf with three performances. At the top right a bearded man who walks in rags who walks with a staff. Below a standing woman in a dress with her hands in her side. At the top left a sitting woman who embraces a child. paper clothed in rags. walking-stick, staff. child

Triumph of a goddess, in the presence of other gods, Artus Quellinus (I) (Possible), 1619 - 1668 drawing paper. ink pen assemblies of the gods (outdoors). triumph of Venus; 'Carro di Venere' (Ripa)

The adoration of the shepherds, Hendrik de Clerck, 1575 - 1630, The adoration of the shepherds, draughtsman: Hendrik de Clerck, 1575 - 1630, paper, pen, brush, h 261 mm × w 213 mm

Death of Saint Francis Xavier ca. 1729 After Giacinto Gimignani. Death of Saint Francis Xavier. After Giacinto Gimignani (Italian, Pistoia 1606-1681 Rome). ca. 1729. Etching and aquatint printed in brown. Prints

Three muses and a putto with a winch; Ceiling paintings in the d'ulysse gallery in Fontainebleau. Three muses are bent over a book. Above a putto floats with a winch.

Kneeling, Seated and Standing Figures (recto); Seated, Kneeling and Reclining Figures (verso). Artist: Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501-1547 Rome). Dimensions: 6 3/8 x 8 7/8in. (16.2 x 22.5cm). Date: 1501-47.Many of Perino's most appealing drawings exhibit thefluid, energetic, and scribbly style seen here. The mannerin which the entire sheet is filled with quick, unrelatedsketches reveals the artist's creative imagination at work.Although none of the figures or vignettes has been connectedwith a specific painting or other finished composition, atleast some appear to represent ideas for an Adoration of theChrist Child. Venus and Cupid are recognizable amongthe sketches on the verso, while some of the reclining figureswith upraised arms may be preliminary ideas for Jupiterand Juno in the monumental design for a tapestry of thatsubject exhibited nearby. Museum: Metropolitan Museum of Art, New York, USA.

Barbara's manner; Thulden, Theodor Van (1606-1669); 1631-1633 (1631-00-00-1633-00-00);Barbara (Saint - -306), Library of the church of St. Mary Magdalene (Wrocław - Ante 1865) - collections, Hubrig, Ernst Wilhelm von (1712-1787), Hubrig, Ernst Wilhelm von (1712-1787) - collections, Magdalenaea (collection), Schlesisches Museum der Bildenn Künste (Wrocław - 1880- 1945) - collection, Sebisch, Albrecht von (1685-1748), Sebisch, Albrecht von (1685-1748) - collections, Stadtbibliothek (Wrocław - 1865-1945) - collections, in the Dutch Master's workshop (National Museum in Warsaw - exhibition - exhibition - exhibition - exhibition - exhibition - exhibition 18.05.2017-20.08.2017), albums "Desseins Originaux", pagan, image designs, Flemish drawings, towers (archite.)

Entombment. Michael Kock (Austrian, 1760-1825); or after Annibale Carracci (Italian, 1560-1609). Date: 1792. Dimensions: 214 × 287 mm. Black chalk on ivory laid paper, tipped onto ivory laid paper. Origin: Austria. Museum: The Chicago Art Institute, Chicago, USA.

Drawing by Joachim von Sandrart the Elder depicting Polykrates of Samos on a cross, executed in gray with white highlights on gray-yellow paper.

Julien de Parme drawing depicting an outdoor concert, executed with black pen, brown brush, laved, and white highlights, showing musicians and audience.

Monarch Receiving an Emissary. Date/Period: 1560/1609. Author: FEDERICO ZUCCARO.

A 1570 drawing by Ippolito Andreasi in feather and lead handle showing Jupiter above an altar, with five kneeling figures, a priest with crook, and a servant lying behind, depicting religious scene composition and figure arrangements.

Sitting and standing boy, draughtsman: Abraham Bloemaert, 1625 - 1629, paper, pen, h 166 mm × w 220 mm

Drawing (Italy)

Joseph's cup discovered in Benjamin's sack of grain. 1501 - 1600. Bonasone, Giulio, approximately 1498-approximately 1580. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Two figures studies of a sitting and a standing male nude.

Drawing, The Apothesis of Hercules, Palazzo Gessi, Faenza; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and ink, graphite on light blue paper.; 36.2 x 32.2 cm (14 1/4 x 12 11/16 in.)

Sir James Thornhill, 1675-1734, British, The Birth of Venus, undated. Pen, brown ink, gray wash over graphite on moderately thick, smooth, cream laid paper.

Figures 1624-63 attributed to Francesco Allegrini Italian. Figures 338037

A brown ink draft by Balthasar Augustin Albrecht depicting Apollo and Aurora, intended for a ceiling decoration in Munich.

Decorative Group 16th century After Federico Zuccaro (Zuccari) Italian. Decorative Group 341699

Drawing by Nicolas Guibal depicting Mars stopping Minerva to present the portrait of Austrian Field Marshal Franz Moritz Graf von Lacy, executed with pen, brush, ink, reddish and black chalk, wash, and white highlights on beige paper, dated 1779.

Maria with child, Johannes the Baptist and an angel who plays the violin, Bartholomeus Spranger (School of), 1556 drawing paper. paint (coating). ink pen / brush Holy Family with John the Baptist (as child) (+ angel(s))

Adoration of the Magi 1550-1559 Italy. Pen and brown ink with brush and brown wash, with graphite, on ivory laid paper . Unknown Northern Italian

The Abduction of Ganymede 1511-74 Giorgio Vasari Italian. The Abduction of Ganymede 340940

The death of Julius Cesar (in box with 43 drawings), death of Caesar, ie the murder of Caesar: he is slain in the Senate at the foot of Pompey's statue, exclaiming 'et tu Brute ', Louis Fabritius Dubourg, 1703 - 1775, paper, ink, pencil, brush, h 129 mm × w 130 mm

Moses Striking the Rock. Attributed to Luca Giordano (Italian, 1632-1705); or Corrado Giaquinto (Italian, 1693/99-1765). Date: 1652-1705. Dimensions: 265 x 419 mm. Pen and brown ink with brush and brown wash over black chalk on ivory laid paper, laid down on cream wove paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Giovanni David after Giovanni Benedetto Castiglione, Landscape with a Satyr Family and Classical Sculpture, 1775 1776 Landscape with a Satyr Family and Classical Sculpture

Seated Apostles and Putti. Artist: Giovanni Lanfranco (Italian, Parma 1582-1647 Rome). Dimensions: 5 3/16 x 9 5/8in. (13.1 x 24.5cm). Date: 1637-38.One of Lanfranco's major commissions in Naples were the frescoes painted in 1637-38 on the rib-vault of the nave in the church of the Certosa di San Martino. In the circular compartments along the center of the vault, Lanfranco painted Christ appearing in a glory of angels, and in the triangular compartments above the windows groups of apostles, prophets, sibyls, and putti. Walter Vitzthum identified in this drawing a scheme for one of these triangular compartments. The broad-based triangular composition takes into consideration the whole area to be painted, while the faint red chalk indications of a narrower triangle suggest the area of the steeply rising vault that would be visible to the viewer standing directly below. Not only are Lanfranco's cloud-seated figures in this drawing, as in the fresco, strikingly Correggesque, but the handl

of 4