Historical Religious Illustrations

Intricate drawings depicting biblical themes, including martyrdom and divine figures, utilizing warm tones and dynamic compositions.

Woodcutter: Ludwig Büsinck, German, 1590-1650, After: Georges Lallemand, French, ca. 1580-1636, The Holy Family with the Infant St.John, Chiaroscuro woodcut, sheet: 30.9 × 21.6 cm (12 3/16 × 8 1/2in.), Made in Germany, German, 17thcentury, Works on Paper -Prints

The Crossing of the Red Sea. Nicolas Poussin (French, 1594 - 1665)

Woodcutter: Ludwig Büsinck, German, 1590-1650, After: Georges Lallemand, French, ca. 1580-1636, The Holy Family with the Infant St.John, Chiaroscuro woodcut, sheet: 30.9 × 21.6 cm (12 3/16 × 8 1/2in.), Made in Germany, German, 17thcentury, Works on Paper -Prints

Brown ink and stone chalk drawing by Paul Troger depicting the martyrdom of St. Stephan with gray-blue washes and white chalk highlights on gray-green paper.

Imprisonment of Christ, draughtsman: Domenico Passignano, 1570 - 1636, paper, pen, brush, h 192 mm × w 233 mm

Lead and chalk drawing by Franz Xaver Wagenschön depicting Archangel Michael defeating the devil, showing figures, wings, and a dramatic battle scene.

Neptune Kalmeert de Golven ('whom I'), Giulio Bonasone (attributed to), after Perino del Vaga, 1531 - 1570 print Neptunus is pulled on a shell by sea creatures (half horse half fish). He tries to calm down a storm that destroys the fleet of Aeneas. In the foreground on the left several naked drowning people who cling to a rock. Italy paper engraving Neptune Quieting the Storm, whom I '(Virgil, Aeneid 1 135)

Neptune and Minerva Discussing the Foundation of Athens. Attributed to or a follower of Charles Le Brun; French, 1619-1690. Date: 1632-1661. Dimensions: 450 × 532 mm. Pen and brown ink, with brush, brown wash and red chalk, on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Three tritons in battle on the water; Tritons and river gods ..

A black chalk drawing depicting Ulysses escape from Polyphemus cave, with bright brownish dirt in sheet corners.

Italy, Possenti, Giovanni Pietro, Archangel Michael fighting the devil, verso - handwritten in brown ink and pencil, print, engraving, prints, engravings, verso - stamped, These prints, recto - handwritten in brown ink, f - 1 - 10 - stver, height 204 mm, width 159 mm, Italian, 1618 - 1659, print maker, printmaker, 1628 - 1659, paper, papier, etching, etchings, plaattoon

Triumph of the Eucharist mid-17th century Anonymous, Flemish, 17th century Flemish. Triumph of the Eucharist 395393

Copper engraving by Monogrammist MV depicting the martyrdom of Saint Peter.

Judgment of Paris, Zacharias Dolendo (attributed to), 1580 - 1596 print In a forest landscape, Pallas, Juno and Venus are opposed to Paris with shepherd's staff and a ram next to him. Above them, Amor floats with a bow and arch on Paris. Mercury is hidden in a tree on the right. In the lower margin a four -line Latin text. Amsterdam paper engraving the Judgement of Paris (Mercury present)

Drawing, Sketches for a Ceiling Painting: The Triumphant Church; Designed by Domenico Antonio Vaccaro (Italian, 1678-1745); Italy; pen and brown ink, brush and gray wash on laid paper; verso: black chalk; 42.6 x 28.4 cm (16 3/4 x 11 3/16 in.)

Pieter Claesz Soutman and Sir Peter Paul Rubens, Lion Hunt, c 1615 1618 Lion Hunt

Drawing (Italy)

Anonymous / 'Diana and Endymion / Light Sketch'. XVII century. Black chalk on laid paper. Museum: Museo del Prado, Madrid, España.

Pyramus and Thisbe early 17th-mid 17th century Cornelis Schut Flemish. Pyramus and Thisbe 394804

Paolo Farinato's drawing depicts the biblical scene of the Pharaoh falling into the Red Sea, executed with pen, laved technique, and whitewashed highlights.

The Martyrdom of St. Laurentius, 17th century, attributed to Jean Baptiste Corneille, French, 1649 - 1695, 7 1/4 x 4 5/8 in. (18.42 x 11.75 cm), Pen, brown ink and wash on buff paper, France, 17th century

The Sabijn's virgin 'senior.

Gaspare Diziani, Diana and Endymion Diana and Endymion

Atilla for the city of Rome, Giuseppe Maria Mitelli, After Alessandro Algardi, 1644 - 1718 print Pope Leo the Great and his entourage meet Attila theirs and his soldiers outside the walls of Rome. The pope points atilla on the two apostles Peter and Paul in the air, which protect Rome. Fresh in Latin in STANDMARE. Print Maker: ItalyaFter Sculpture by: Vatican City paper etching pope Leo the Great meets Attila outside the walls of Rome, and points out to him the two apostles St. Peter and St. Paul, appearing in the sky as protectors of Rome

Garden of Venus, Pietro Testa, c. 1632 print Venus lying in a garden and surrounded by a large number of putti. Behind Venus a Herme of Pan is decorated by putti. Italy paper etching 'Erotes', Venus' feast (Philostratus, Imagines I 6): cupids play with apples in an orchard in which there is a shrine of Venus; they shoot arrows, dance, wrestle together and try to catch hares. Pan-herm

Reconciliation of Jakob and Esau, Zacharias Dolendo (Attributed to), after Karel van Mander (I), 1580 - 1596 print The Esau and Jakob brothers hug each other. Right behind Esau is his army. On the left the cattle and the kneeling women and children of Jakob. Under the show the title and four four -line verses in Latin. Reconstructed from two fragments. Northern Netherlands paper engraving the meeting between Esau and Jacob

17th-century red chalk drawing depicting Christ on clouds with Peter, Paul, two putti holding Passion instruments, and four kneeling monks praying.

Prophesie Joseph von Führich Austrian ca. 1839-40 View more. Prophesie. Joseph von Führich (Austrian, Kratzau 1800-1876 Vienna). ca. 1839-40. Graphite on off-white machine-made wove paper; framing line in graphite. Drawings

Etching by Bernhard Rode from 1783 depicting Burggrave Friedrich IV, showing his figure, attire, and heraldic symbols.

The Conversion of Saint Paul; Adam and Eve. Dated: 1590/1595. Dimensions: overall: 35.2 x 26.1 cm (13 7/8 x 10 1/4 in.). Medium: pen and brown ink with brown wash. Museum: National Gallery of Art, Washington DC. Author: Jacopo Palma il Giovane.

Kidnapping of Deanira by Nessus. Artist: anonymous. Draughtsman: anonymous. Dating: 1540. Measurements: h 173 mm × w 289 mm. Museum: Rijksmuseum, Amsterdam.

The Trinity Surrounded by Angels. Dated: c. 1770. Dimensions: overall: 29.4 x 20.2 cm (11 9/16 x 7 15/16 in.). Medium: pen and brown ink and brown and gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: Bartholomäus Ignaz Weiss.

Hercules Defeating Cacus, 1588 print paper Cacus, the fire-breathing monster is killed in his cave by Hercules

Lazarus in Abrahams bosom. Aldegrever, Heinrich (1502-1555/1561), graphic artist

Drawing, The Martyrdom of Saint Barbara; Jan van der Straet, called Stradanus (Flemish, 1523-1605); Netherlands; pen and ink, brush and brown wash on laid paper

Apollo and Marsyas. Apollo and Marsyas: Apollo with his left arm leaning on a tree trunk, under his right arm his winch. He watches how Marsyas is being skinned.

A chalk and brush drawing by Antonio Gionima depicting Circe transforming Odysseus's companions into animals, with brown and gray brushwork and white highlights, showing narrative action and detailed forms.

Le repos du berger , Shepherds, Hills, Buildings, Alphonse Legros (1837-1911)

Ceiling Design with Mars Driving His Chariot 1565-1569 Italy. Pen and brown ink, with traces of black chalk, heightened with lead white (partially oxidized), on tan laid paper . Lattanzio Gambara

Christ in Gethsemane, Crispijn van den Broeck, 1576, draughtsman: Crispijn van den Broeck, 1576, paper, pen, brush, h 245 mm × w 198 mm

Cimone and Ifigenia. The Boerse Cimone watches how IFigenia and her family are sleeping at the fountain. Ifigenia awakens through his gaze. (Boccaccio, decamerone, 5: 1).

The Penance of St. John Chrysostom, c. 1497, Albrecht Dürer, German, 1471-1528, 7 1/16 x 4 11/16 in. (17.94 x 11.91 cm) (image), Engraving, Germany, 15th-16th century

Venus andMercury. Artist: Bartholomaeus Spranger, Flemish, 1546-1611

Animals and human figures manifesting life, death and fancy. Etching by R.C. Lucas, 1838.

Pen and pencil drawing by Daniel Gran depicting Saint Nicholas and Saint Paul in the clouds, emphasizing figure, posture, and composition.

Anthonis van Dyck brown ink and brush drawing depicting Perseus turning enemies into stone with the Medusa head, showing figures, gestures, and mythological composition.

Sketchbook Folio, Madonna in Glory, Study after Bartolomeo Passeroti Bologna; Architectural Details; Italy; pen and brown ink, brush and brown wash over black chalk on white laid paper; 21.9 x 15.3 cm (8 5/8 x 6 in.)

Five putti floating between the clouds, Paolo Farinati, 1534 - 1606 print Italy paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

Franz Anton Maulbertschs 1747 drawing shows the Presentation in the Temple, using coal and chalk on blue-gray paper with a detailed grid network.

Drawing, The Assumption of Mary; Italy; pen and ink, brush and wash on paper

Angel Prevents Abraham from Sacrificing Isaac Artist Unknown Engraving

Giovanni Battista Paggi (Attributed to) / 'Christ triumphing over death'. Second half of the XVI century. Wash, Pencil, Pencil ground, Grey-brown ink on yellow paper. Museum: Museo del Prado, Madrid, España.

Zeger Jacob van Helmont drawing of Jacob's reconciliation with Laban, created in red chalk with brown wash over black chalk, showing minor surface marks.

Giovanni Battista Piranesi, The Skeletons, published 1750 1759 The Skeletons

Nicola Malinconico, Italian (1663-1721), The Transport of the Ark of the Covenant, late 1680s, pen and brown ink with gray wash over graphite, with both corners at bottom and small pieces along bottom and right margins replaced

Madonna in Glory, Study after Bartolomeo Passeroti Bologna; Architectural Details, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash over black chalk on white laid paper, At upper section, Madonna and Child supported by numerous putti, float on clouds. At lower section, three friezes, two with acanthus and one with scrolls; part of capital, and scroll decoration with vase., Italy, Italy, 1810-20, figures, Sketchbook folio, Sketchbook folio

Sir James Thornhill (English, 1675 - 1734), Birth of Venus, c. 1710, pen and brown ink with gray wash on laid paper

Frieze, from 'Ornament I Di Fregi', Stefano della Bella, Italian, 1610-1664, Etching on paper, Plate 9, Italy, ca. 1648, Print, Print

Christ after temptation receives a meal from Angels; verso: woman with a basket. Brandl, Petr (1660-1735), draughtsman, cartoonist

Allegory of the Jubilee of Dutch Freedom, 1648-1748, Simon Fokke, 1748, Allegory of the 100th anniversary of Dutch Freedom, 1648-1748. The personification of Dutch Freedom with lance, hat and banner with Prince William IV receiving the Century descending from the clouds. On the throne canopy busts of William I, Maurice and Frederick Henry, at the feet of Liberty the enemies defeated during the Revolt: king, Catholics and the Duke of Alva. Design for a print., draughtsman: Simon Fokke, Northern Netherlands, 1748, paper, h 256 mm × w 182 mm

Sheet of Studies for "The Martyrdom of Saint George" (recto); Studies of a House, Tree, Heads, Artist's Tools, Decorative Motifs, and Computations (verso). Paolo Veronese (Paolo Caliari) (Italian, 1528 - 1588)

Bacchus, Cornelis Holsteyn, 1628 - 1658 drawing paper. chalk children's bacchanal

The resurrection of Christ, Gerard ter Borch (I), 1613 - 1615, draughtsman: Gerard ter Borch (I), Zwolle, 1613 - 1615, paper, brush, h 198 mm × w 138 mm

Nymphs and Saters for a Temple of Bacchus, Anthonie de Winter, After Raymond de Lafage, 1668 - 1707 print For a temple with an image of bacchus, nymphs and saters caress each other. At the front is a pan flute on the floor. At the front left is a young sater on the ground and the front right is a helped infant in a cradle. Print Maker: Northern Netherlands Publisher: Rome paper etching thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus. temple, shrine ~ Roman religion

Tombe Van Nero, Giovanni Battista Piranesi, in Ont After 1747 print Decorative fantasy with the remains of Nero's tomb, remains of construction works and snakes. Rome paper etching / engraving / drypoint / scoring landscape with ruins. ruin of a building ~ architecture. sarcophagus. snakes. grave, tomb

The last judgment, leaf G. a detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel. Marked bottom left: G.

Study for an illustration in Tacitus Tibère, ou Les Six Premiers Livres des Annales , Book IV, Vol 2, 1st Study 1758-1773 France. Pen and black ink, with graphite, on gray laid paper, incised for transfer and perimeter mounted on ivory laid paper . Hubert François Gravelot

Saint Joseph Presented by the Virgin to the Holy Trinity ca. 1735 Corrado Giaquinto Italian In 1965, Anthony M. Clark identified this drawing as a study for Giaquinto's fresco, executed around 1735-39 on the vault of a chapel dedicated to Saint Joseph in the church of Santa Teresa, Turin. The chapel, designed by Filippo Juvarra, was comissioned by Carlo Emanuele III, the "Re di Sardegna" mentioned in the annotation on the verso of the sheet. Giaquinto also supplied lateral canvases for the chapel, a "Rest on the Flight into Egypt" and the "Death of Saint Joseph". Thirteen further drawings by Giaquinto that may relate to the vault fresco of Saint Joseph in Glory are in the Museo Nazionale di San Martino, Naples. Some of these are closer in design than the Museum's drawing to the fresco as executed, in which both Christ and God the Father are seated on a cloud bank and the Virgin stands to the left behind Saint Joseph. A related drawing is in the Museo di San Martino, Naples (inv. 20759)

François Nicolas Chifflart, The Silver Devil, 1865 The Silver Devil

Ascension of Maria (center part), Giovanni Battista Vanni, After Correggio, 1642 print Ascension of Mary, surrounded by saints and putti between clouds. print maker: Italyafter painting by: Parmapublisher: RomeVaticaanstadFlorence paper etching the assumption of Mary ('assumptio corporis'): she is borne into heaven by angels. cupids: 'amores', 'amoretti', 'putti'

Rome, Rossi, Giovanni Giacomo de', Italy, Testa, Pietro, The four seasons, Allegory of Winter, verso - stamped, Allegorical representation of the season winter. Luna on a cloud on the left, symbolizing the long nights in winter. On the left a group of figures by a fire. The personification of the sea leans on a large fish and puts his other arm around a river god. In the background on the left Apollo on his sun chariot. On the right figures and putti in a tree who together represent the struggles of an artist. On the background a tower of monkeys trying to get a bottle hanging in a trophy pole., print, prints, height 497 mm, width 723 mm, Italian, 1612 - 1650, print maker, printmaker, 1621 - 1650, paper, papier, etching, etchings, Work conception, after own design by, 1627 - 1691, printer, drukker

Augsburg, Wolf, Jeremias, Steudner, Marc Christoph, Loves of the Gods, Jupiter and Semele, verso - stamped, print, prints, height 99 mm, width 156 mm, German, 1660 - 1704-09-09, print maker, printmaker, 1686 - 1704, paper, papier, etching, etchings, Publication (Event), Publication, 1673 - 1724, publisher

Cheerful company, Richard de Saint-Non, after Jean Honoré Fragonard, After Peter Paul Rubens, 1771 print In the background two figures that are chased away by a man with a spear. paper etching private festivities, merry company - AA - in the open air, 'fíªte champíªtre'

Triumph of a goddess, in the presence of other gods ..

Hans Rottenhammers drawing depicts Diana denying the pregnancy of Callisto, executed in blond-brown feather, reddish and black chalk, with laved shading and a retouched top-left edge.

A pen drawing in brown with chalk traces depicting the triumph of Saint Peter over heresy, circa 1684.

Iphigenia sacrifice.

A 17th-century painting depicting the murder of Peter Martyr with figures in action and dramatic composition.

Marches Urbino Palazzo Ducale, Galleria Nazionale delle Marche7. Hutzel, Max 1960-1990 Post-medieval: First floor: Polyptychs, triptychs, crucifixes, panel paintings, sculpture, frescoes now housed in Museo; stucco decoration in private chapels Object Notes: See also Urbino, Museo Albani. With both sites the negs arrived separately from the prints, yet all negs were labelled as Urbino, Palazzo Ducale, making it difficult to match some negatives to their prints. 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.

Judgment of Paris. In a forest landscape, Pallas, Juno and Venus are opposite Paris with a shepherd's staff and a RAM next to itself. Above them, Amor floats that with Arrow and Arch focused on Paris. On the right, Mercury is hiding in a tree. In the undermaster a four-line Latin text.

Judgment of Paris. In a forest landscape, Pallas, Juno and Venus are opposite Paris with a shepherd's staff and a RAM next to itself. Above them, Amor floats that with Arrow and Arch focused on Paris. On the right, Mercury is hiding in a tree. In the undermaster a four-line Latin text.

The sacrifice of Iphigenia, Moses ter Borch, after Pietro Testa, 1659, draughtsman: Moses ter Borch, (mentioned on object), Pietro Testa, Zwolle, 1659, paper, brush, h 367 mm × w 475 mm

Putti before a statue of Venus; after Titian 1636 Giovanni Andrea Podestà. Putti before a statue of Venus; after Titian. Giovanni Andrea Podestà (Italian, Genoa 1608-ca. 1674). 1636. Etching. Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Prints

Battle Scene with Horses and Men 1512-1522 Italy. Pen and brown ink on cream laid paper, laid down on ivory card . Domenico Campagnola

Aurora drives away the night (left part). Spreading with flowers drives aurora on her car drawn by two horses. Every morning aurora drives the night and brings it to the morning. For her from the Horae, the goddesses of the seasons. On the right Aurora's husband watching Tithonus her. Order a coat of arms in the undermarge and middle.

Frisian with playing putti ..

Depicts Juno and Argus, drawn in chalk and feather with gray wash, showing figures, gestures, and mythological attributes.

Man cycling on a tricycle, Isaac Weissenbruch, 1836 - 1912 print Netherlands paper adult man. tricycle

Het laatste oordeel, blad L.A detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel. Marked at the bottom right: L.

Christ in front of his judges, draughtsman: Maerten de Vos, , 1542 - 1603, paper, pen, brush, h 302 mm × w 458 mm

Marcus Curtius Leaping into the Chasm. Artist: Gaetano Gandolfi (Italian, San Matteo della Decima 1734-1802 Bologna). Dimensions: 10 7/16 x 8in. (26.5 x 20.3cm). Date: 1734-1802. Museum: Metropolitan Museum of Art, New York, USA.

Allegory of the Course of Human Life (Choosing Virtue) 1570 or before Jan van der Straet, called Stradanus Netherlandish This drawing is the only surviving of Stradanuss designs for the six-part print series The Course of Human Life, engraved by Petrus Jalhea Furnius and published by Hieronymous Cock in Antwerp in 1570 (see 17.3.3424, 17.3.3425, 17.3.3428, 17.3.885-18, 17.3.885-19, and 49.95.872[6). These works relate to a tapestry cycle for which Stradanus produced cartoons eleven years earlier, in 1559. Known as the Life of Man, this cycle was one of numerous tapestry projects executed for the Florentine duke Cosimo I deMedici in which the artist played a significant role. Born and trained in Flanders, Stradanus was working in Florence and producing cartoons and other works for the Medici court most likely as early as the 1540s.[1 Some of his earlier tapestry designs and paintings were engraved, but it was only in the later 1560s that he began actively to produce designs for prin

Design Depicting a Vision of the Crucifixion. Date/Period: Ca. 1730. Drawing. Black chalk, brush and gray wash, white gouache, squared in black chalk. Author: Sebastiano Conca.

Apollo en Daphne, Marc Christoph Steudner, 1686 - 1704 print Augsburg paper etching Daphne changed into a laurel-tree: while fleeing from Apollo, Daphne is changed into a laurel-tree by her father Peneus (Ovid, Metamorphoses I 548)

The Embarkation of Aeneas from the Ceraunian Headland. Dimensions: sheet: 57.8 x 33.1 cm (22 3/4 x 13 1/16 in.). Medium: pen and brown ink and brown wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: after Luca Cambiaso Giulio Benso.

The Last Judgment, Leaf F. a detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel.

Jupiter and Ganymede 1645-98 Johan Carl Loth German. Jupiter and Ganymede 362760

Frontispiece Design Sketch for Frederick Hendrick van Nassauw, Pieter Jansz, c. 1651 drawing First design for the triumph of Frederik Hendrik paper. graphite (mineral) Triumph of Mars; 'Carro di Marte' (Ripa). Historical Persons. Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa). 'Historia'; 'Historia' (Ripa). Symbolic Triumphs of Individual Persons

A pen and ink drawing by Luca Cambiaso showing a godfather between angels on clouds, with two lower angels carrying a crown and martyr palm, emphasizing figures and composition.

The Gods Discovering Venus and Mars 1650-1750 Italy. Red chalk on ivory laid paper, laid down on blue wove paper . Pietro Antonio di Pietri

And I have.

of 3