Historical Illustrations and Designs

Elegant drawings capturing historical narratives and mythical themes. The collection features designs that blend architecture and allegorical figures.

Three youngsters are thrown into a fiery furnace, Maarten van Heemskerck, 1564, In the foreground on the right, one of the youngsters, whose feet and hands are bound; another is thrown into the furnace and the third stands in the flames with an angel beside him. The flames overpower the servants; in the background, Nebuchadnezzar on horseback next to the idol. Design for a print., draughtsman: Maarten van Heemskerck, 1564, paper, pen, brush, h 199 mm × w 251 mm

A feather draft by Daniel Gran created between 1700 and 1750 showing a ceiling design with oval compartments and ornamental elements.

Endymion 1671-1749 Circle of Donato Creti Italian. Endymion 338577

The Large Lion Hunt, 1641. Rembrandt van Rijn (Dutch, 1606-1669). Etching and drypoint; sheet: 22.5 x 29.9 cm (8 7/8 x 11 3/4 in.).

Neptune and Minerva Discussing the Foundation of Athens Artist's working dates 1632-1661 France. Pen and brown ink, with brush, brown wash and red chalk, on cream laid paper . Charles Le Brun

Baptism of Christ. Artist: Maerten de Vos (Netherlandish, Antwerp 1532-1603 Antwerp). Dimensions: 12 5/16 x 16 3/8 in. (31.3 x 41.6 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Three youngsters are thrown into a fiery furnace, Maarten van Heemskerck, 1564, In the foreground on the right, one of the youngsters, whose feet and hands are bound; another is thrown into the furnace and the third stands in the flames with an angel beside him. The flames overpower the servants; in the background, Nebuchadnezzar on horseback next to the idol. Design for a print., draughtsman: Maarten van Heemskerck, 1564, paper, pen, brush, h 199 mm × w 251 mm

Study for The Revolt of Cairo, 1810. Anne-Louis Girodet de Roucy-Trioson (French, 1767-1824). Pen and brown ink, with framing lines in brown ink; sheet: 28.1 x 43 cm (11 1/16 x 16 15/16 in.); secondary support: 29.8 x 44.4 cm (11 3/4 x 17 1/2 in.).

Antoine Bouzonnet Stella ink and brush drawing depicting shepherds discovering Romulus and Remus on the Tiber riverbanks being suckled by a wolf, executed with Bister wash and deck white highlights.

Italy, Raphael, Master of the Dice, Venus with Cupid and Jupiter with Ganymede, verso set-up sheet - stamped, In the foreground sits Venus with the sleeping Cupid between her legs. On the left the three Graces, one of whom holds a flute in her hands. In the sky on the left Mercury, in the middle Jupiter in the form of an eagle with Ganymede on his back and on the right Phaeton who is thrown from his chariot by Jupiter's lightning bolt., print, prent, prints, height 163 mm, width 223 mm, Italian, German, print maker, printmaker, 1530 - 1560, paper, papier, engraving, engraving (printing process), plate tone, Work conception, 1483-04-07 - 1520-04-07

Study for Saint Michael Casting Out Lucifer. Francesco Vanni; Italian, 1563-1610. Date: 1581-1583. Dimensions: 194 x 153 mm (max.). Black chalk on cream laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Anonymous drawing depicting the mythological transformation of Myrrha and the birth of Adonis, executed with pen, ink, brush, and washes around 1600-1620.

The Judgment of Paris ca. 1543-46 () Andrea Schiavone (Andrea Meldola) Italian. The Judgment of Paris 365149

Red chalk drawing depicting Aeneas with gods, showing figures, gestures, and drapery in a mythological scene.

Christ in Glory with Angels and a Saint Kneeling in Adoration, c. 1650/1660, red chalk on light tan laid paper (artists correction for the figure of Christ, redrawn on an attached piece of laid paper), sheet: 36.9 × 49.8 cm (14 1/2 × 19 5/8 in.), Francesco Allegrini (artist) Italian, c. 1615/1620 - after 1679

Depicts an allegory of divine wisdom with humanity pointing to Minerva holding a sealed book and lamb, symbolizing wisdom, drawn in red chalk on brownish paper.

The Death of the Children of Niobe. School of Marcantonio Raimondi; Italian, c. 1480-1534. Date: 1541. Dimensions: 332 x 445 mm (sheet). Engraving in black on paper. Origin: Italy. Museum: The Chicago Art Institute, USA. Author: School of Marcantonio Raimondi.

Italy, Possenti, Giovanni Pietro, A satyr captured by putti and Venus, verso - stamped, Landscape with on the left Venus and putti on a stone. Venus kissing a putto. On the right three putti with a captured satyr., print, engraving, prints, engravings, height 154 mm, width 220 mm, Italian, 1618 - 1659, print maker, printmaker, 1628 - 1659, paper, papier, etching, etchings, plaattoon

Bacchanal mid-18th century Louis Félix de La Rue French. Bacchanal 386046

Battle Scene with Horses and Men. Domenico Campagnola; Italian, c. 1500-1564. Date: 1515-1519. Dimensions: 212 x 318 mm. Pen and brown ink on cream laid paper, laid down on ivory card. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Artist, attributed to: Carlo Maratti, Italian, 1625-1713, A Vision of St. Philip ofNeri, late 17thcentury, Pen and brown ink over brush and brown wash over graphite or black chalk, sheet: 39.6 × 29.6 cm (15 9/16 × 11 5/8in.), Italian, 17thcentury, Works on Paper - Drawings andWatercolors

Fragment from Jupiter sends the three goddesses into the judgment of Paris; Part of a frame with lying soldier, seen on the back, and a putto lying on a garland ..

Apotheosis of a poet. Apotheosis of a poet (center) surrounded by allegorical figures and antique gods (above).

The time. Draughtsman: anonymous. Dating: 1700 - 1800. Measurements: h 151 mm × w 186 mm. Museum: Rijksmuseum, Amsterdam.

Depiction of Neptune commanding a storm, showing figure, waves, and gesture, drawn in black chalk with gray brush and brown accents.

Battle between Lapithen and Centaurs. Hercules frees Deïanira from the hands of Nessus / Hippodamea frees off her abductor Eurytion.

Pellegrino Tibaldi (Attributed to) / 'Way to Calvary'. Second half of the XVI century. Wash, White lead, Pencil, Pencil ground, Grey-brown ink on blue paper. Museum: Museo del Prado, Madrid, España.

Design for a title page, Design for a title page with an allegorical representation, draughtsman: Gerard de Lairesse, 1650 - 1711, paper, h 351 mm × w 261 mm

vitamin and night - allegorical compositions; Quillard, Pierre-Antoine (1701-1733); 1. PO. 18th century (1700-00-00-1749-00-00);Apollo (Mitol.), Artemis (Mitol.), Aurora (Mitol.), Day (Personification), Night (Personification), Smolikowski, Seweryn (1850-1920), Smolikowski, Seweryn (1850-1920)-collection, allegories, gift (provenance), time of day, French drawings

Feather drawing by an anonymous artist depicting the Bethlehemitic child murder.

Giuseppe Nicolo Vicentino, after Giovanni Antonio Pordenone, Saturn, 1525 1530 Saturn

Triumph of Galatea. Galatea is sitting together with a sea-centaur in her vessel drawn by dolphins. Sea creatures swim around the pair, while putti point their arrows on her. On the left, Europe is shown on the bull, at the top right Neptune.

Venus Lamenting the Death of Adonis, draughtsman: Giuseppe Cades, Rome, 1780, paper, pen, brush, h 207 mm × w 402 mm

Chalk drawing by an anonymous artist illustrating St. Antonius Pierozzi (1389-1459) on gray-blue paper with white highlights, showing figure and gesture.

Christ Washing the Disciples' Feet. Artist: attributed to Francesco Vanni (Italian, Siena 1563-1610 Siena). Dimensions: 6-7/16 x 8-1/16 in. (16.3 x 20.4 cm). Date: 1563-1610. Museum: Metropolitan Museum of Art, New York, USA.

Chalk and feather drawing by an anonymous artist depicting angels playing the lute and harp on clouds, mid to late 17th century.

Allegory of Religion: God the Father above, Faith, Hope, and Charity below. Artist: attributed to Ludovico Lana (Italian, Codigoro near Ferrara 1597-1646 Modena). Dimensions: 16-15/16 x 11-3/8 in. (43.0 x 28.9 cm). Date: 1597-1646. Museum: Metropolitan Museum of Art, New York, USA.

Battle between Lapiths and Centaurs, Peter Paul Rubens, 1608 - 1610, Hercules frees Deïanira from the hands of Nessus / Hippodamea frees from her captor Eurytion., draughtsman: Peter Paul Rubens, draughtsman: Anthony van Dyck, (rejected attribution), 1608 - 1610, paper, pen, brush, h 159 mm × w 182 mm

A drawing showing three apostles seated within a landscape, executed with pen and gray wash.

Anonymous depicts a rider train in a forest landscape to the right, executed in ink and feather, 16th century.

Anonymous drawing around 1780-1785 depicting allegories of Time and Art, a young man, objects in hands, and an amphiptern above, executed in lead handle with light brown ink and red lavings.

Rest on the Flight into Egypt, Hans Horions, 1634 - 1672 print The Holy Family, sitting, surrounded by putti. A palm tree in the background. Utrecht paper etching rest on the flight into Egypt

Judas returns the pieces of silver, Leonaert Bramer, 1606 - 1674, draughtsman: Leonaert Bramer, 1606 - 1674, prepared paper, pen, brush, h 190 mm × w 250 mm

Landscape with The Temptation ofChrist. Artist: Agostino Carracci, Italian, 1557-1602

Design for a Ceiling with the Ascension of the Virgin, Francesco Trevisani, Italian, 1656 - 1746, Pen and ink, brush and bistre, white heightening on paper, Seated on clouds and attended by angels, the Virgin is raised to heaven., Italy, 1700-1730, interiors, Drawing, Drawing

Jacques Callot, Christ Crowned with Thorns, c 1618 Christ Crowned with Thorns

Study from a Statue of a River God 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Study from a Statue of a River God 340017

Graphite and ink drawing by Vincenzo Camuccini showing Mercury bringing the Bacchus boy to nymphs, executed with brown ink and feather on whitewashed paper.

Anonymous (Workshop of Bandinelli, Baccio) / 'Group of five nude men'. First half of the XVI century. Pencil, Grey-brown ink on paper. Museum: Museo del Prado, Madrid, España.

The stoning of Stephen, draughtsman: Jan van Scorel, (workshop of), Master of the Good Samaritan, (possibly copy after), 1525 - 1600, paper, pen, h 282 mm × w 373 mm

Chalk drawing by Franz Xaver Wagenschön showing Rinaldo and Armida, focusing on figures, posture, and mythological narrative.

Francesco Solimena drew a chalk illustration of Phaeton asking Apollo to steer the sun chariot around 1719.

Camillus Attacking Brennus. after Francesco de'Rossi, called Salviati; Italian, 1510-1563. Date: 1548-1553. Dimensions: 207 x 249 mm. Pen and brown ink with brush and brown wash, over traces of graphite, on ivory laid paper, laid down on cream wove paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Saterbeeld with garlands decorated, Gerard Melder, 1725 print A sater image is decorated by nymphs with flowerguirles. To reach the head, the nymphs are on the shoulders of Bacchants. A bacchanal with wine and music takes place around the image. On the left, a bacchant pisses a saat in the mouth. Amsterdam paper etching bacchanal: Bacchus with his wine-flushed train (thiasos). male bacchant(es). thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus

Mythological Scene 17th century Anonymous, Italian, Bolognese, 17th century Italian. Mythological Scene 339998

Battle of the Lapiths and Centaurs 1580-1599 Italy. Pen and brown ink, with brush and brown wash and gray gouache, on tan laid paper, laid down on ivory laid paper, laid down on blue wove paper . Enea Vico

Depiction of a fight between bare-chested men, showing dynamic gestures and physical interaction, created with ink and feather techniques.

Pietà 17th century Anonymous, Italian, Bolognese, 17th century Italian. Pietà 340004

Fall of the Giants. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 8-1/8 x 10-3/16 in. (20.6 x 25.8 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Drawing (Italy)

Triumph ofLust. Artist, copy after: Pieter Coecke van Aelst, Flemish, 1502-1550

Anonymous drawing shows nine men in standing and kneeling positions, with one lying on the ground, drawn in feather on brownish paper, noting damage in upper and lower corners.

An ink and feather drawing by Luca Cambiaso depicting the Visitation, showing Elisabeth welcoming Maria and Joseph, women with children on stairs, and additional figures in the corridors.

Combat des Huns. Hunnenschlacht (Bitwa na polach Katalaunijskich). Schulgen-Bettendorff, C.S. (Düsseldorf ; zakład graficzny ; fl. 1822-1900), printing house, Thaeter, Julius Cäsar (1804-1870), graphic artist, Klenze, Leon von (1784-1864), draughtsman, cartoonist, Kaulbach, Wilhelm von (1805-1874), painter

The Sabine virgin robbery, draughtsman: Johannes Voorhout (I), 1657 - 1723, paper, brush, h 292 mm × w 249 mm

Italy, Rosa, Salvator, The Crucifixion of Polycrates, The dead body of Polycrates tied to a cross in a landscape with a large group of spectators., print, prints, height 477 mm, width 736 mm, Italian, 1615-06-20 - 1673-03-15, print maker, printmaker, 1625 - 1673, paper, etching, etchings, drypoint, dry needle, Work conception, after own design by

Catalogue raisonne et figure de ses tableaux, La Galerie Électorale de Düsseldorf, Pigage, Nicolas de, 1723-1796, Red crayon, or pen, ink and watercolor, 1770-1778

Drawing with lead, brush, bister, and white highlights by Lucas Stipperger depicting the farewell of Louis XVI from his family, showing figures, gestures, and arrangement.

A pen and brush drawing by Nikolaus Gottfried Stuber depicting the vision of Saint Theresa with white heightening, emphasizing figures, gestures, and composition, early 18th century.

Gaetano Gandolfi / 'The martyrdom of Saint Eusebius'. Ca. 1784. Red chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Death of Absalom, Antonio Maria Viani, 1570 - 1629 drawing paper. ink. chalk pen / brush

The Death of Decius Mus..

Hans Speckaert, Allegory of Minerva as the Head of the Muses, in or before 1575 Allegory of Minerva as the Head of the Muses

Design for a Figural Relief ca. 1825-50 Anonymous, French, 19th century French. Design for a Figural Relief 362202

Francesco Primaticcio depicted Odysseus and Telemachos killing Penelope's suitors, using red chalk with white heightening on reddish paper, outlining figures with metalpoint contours.

Rape of Europa, 1731. Charles Joseph Natoire (French, 1700-1777). Pen and black and brown ink, gray and brown wash, and black chalk;

The Annunciation 1675-1741 attributed to Giovanni Antonio Pellegrini Italian. The Annunciation. attributed to Giovanni Antonio Pellegrini (Italian, Venice 1675-1741 Venice). 1675-1741. Pen and brown ink, brush and brown wash, over graphite or lead. Framing lines with scalloped top border in brush and brown wash. Drawings

Jusepe Martínez / 'Apparition of the Virgin to a Sick Person'. XVII century. Wash, Pencil on yellow paper. Museum: Museo del Prado, Madrid, España.

Scene of Martyrdom, after Giovanni Angelo Canini Jean Robert Ango French. Scene of Martyrdom, after Giovanni Angelo Canini 334765

Fight between satyrs driving on hippocampuses and old woman as personification of envy standing on the back of dragon, Andrea Mantegna, 1473 - 1477 print Fight between satyrs driving on hippocampuses and old woman as personification of envy standing on the back of dragon. The woman holds a sign with the text invid (envy). Neptunus with a dolphin and trident is on a pedestal. Italy paper engraving dragon (large fabulous serpent, sometimes with wings and legs). bony fishes: hippocampus - FF - fabulous animals (sometimes wrongly called 'grotesques'); 'Mostri' (Ripa). Envy; 'Invidia' (Ripa) ~ personification of one of the Seven Deadly Sins

Europa and the Bull with Tritons andNereids. Artist: Karl Gottlieb Rolle, German, 1814-1862

Suzanna and the elders, Baldassare Fransschini (attributed to), 1650 - 1659 drawing paper. chalk brush the elders making advances towards Susanna

Saint Michael the Archangel and Another Figure Recommending a Soul to the Virgin and Child in Heaven 1629-57 Bartolomeo Biscaino Italian. Saint Michael the Archangel and Another Figure Recommending a Soul to the Virgin and Child in Heaven. Bartolomeo Biscaino (Italian, Genoa 1629-1657 Genoa). 1629-57. Red chalk, brush and brown wash. Drawings

Schut, Cornelis (I), Circumcision of Christ, verso top right - handwritten in brown ink, The Christ Child lies on Mary's lap. A priest sits on a stool in front of her and picks up a knife from a bowl held out to him by an angel. A second angel next to him looks on. On either side are spectators. On the right lie the ox and the donkey. In the air an angel with a jug. Putti hold the instruments of the passion. Below the image twenty lines of verse., print, engraving, prints, engravings, verso bottom left - stamped, No. 506, height 345 mm, width 494 mm, Southern Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, counterproof, tegendruk

Maarten van Heemskkk (1498-1574), The angel leaves Tobias, 1555

Filippo Abbiati created a depiction of the acceptance of the cross using chalk, feather, and brush with lavated technique, showing figures and religious symbolism.

Battle Scene (Samson Slaying the Philistines ). Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 4-15/16 x 7-1/2 in. (12.6 x 19 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Feather drawing by Girolamo Genga depicting a battle between naked riders and foot soldiers, created between 1520 and 1525.

Netherlandish 16th Century, Saint Jerome (), 16th century Saint Jerome ()

Anonymous drawing depicting Venus presenting Aeneas with weapons forged by a volcano, executed in pencil and sepia brush wash, late 18th century.

Images, Anonymous, After Perino del Vaga, 1550 - 1570 drawing Album "Maarten de Vos sketchbook", page 6v (12) Low Countries paper. chalk. ink pen / brush

Allegory with a personification and minerva that overcome the envy and deception.

Anonymous drawing depicting a leopard hunt, executed in red chalk.

The Siege of Fiesole by the Goths. Artist: Friedrich Sustris (Netherlandish (possibly born Italy), Venice () ca. 1540-1599 Munich). Dimensions: sheet: 10 1/4 x 15 in. (26 x 38.1 cm). Date: 1550-99. Museum: Metropolitan Museum of Art, New York, USA.

Putti in a landscape with a vase, Willem Bilderdijk, 1766 - 1831, draughtsman: Willem Bilderdijk, 1766 - 1831, paper, h 120 mm × w 166 mm

Drawing, Women doing washing near a cow-herd; After Jean-Baptiste Huët (1745 - 1811); France; red chalk on white paper; (irregular): 16.4 x 27.9 cm (6 7/16 in. x 11 in.)

Baptism of Christ. Artist: Circle of Hans Rottenhammer, I (German, Munich, 1564-1625, Augsburg). Dimensions: sheet: 9 11/16 x 9 1/2 in. (24.6 x 24.2 cm). Date: late 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Martyrdom of a Female Saint. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 15 x 11-1/8 in. (38.1 x 28.2 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Group Saints from Michelangelo's Last Judgment, Domenico del Barbiere, After Michelangelo, 1541 - 1565 print A group of saints from Michelangelo's final judgment. In the middle of Bartolomeüs with a knife in his hands and his poached skin. Peter on the left with keys. Print Maker: FloraEtee Painting by: Vatican City paper engraving Last Judgement. saints

Studies for The Allegories of Love. Artist: Paolo Veronese (Paolo Caliari) (Italian, Verona 1528-1588 Venice). Dimensions: 12 5/8 x 8 3/4in. (32 x 22.2cm). Date: 1570-75.Drawn with awesome rapidity and a dazzling economy of means, this sheet of sketches attests to Veronese's extraordinary powers of invention as a storyteller. Here, he explored a variety of solutions to motifs that he later used in four canvases of the "Allegories of Love" painted around 1575 (National Gallery, London). Veronese may have studied the figures from sketchy clay models, as suggested by the frequency with which he drew the same figures from different angles. To judge from the final paintings, it is clear that he shuffled figures, poses, and points of view from scene to scene but made use of all the design elements in this sheet.On the right, immediately below the studies for "Happy Union", appear two sketches of an open keyboard instrument; above, it is seen from the front, below, it is seen from the side, p

Michel Corneille the Younger drawing of the Triumph of Amphitrite, executed with gray and brown pen, brown wash, and traces of black chalk with architectural elements.

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