Mythological Figures and Themes

Dramatic scenes featuring mythological figures, such as Jupiter, Apollo, and Moses. Soft tones and ornate details evoke classical artistry.

Finding Moses, draughtsman: François Boucher, 1713 - 1770, paper, h 245 mm × w 360 mm

Roof of Europe. Jupiter, in the form of a bull, Europe carries through the sea on his back. Putti float in the air. The employment of Europe are on the coast.

The Age of Iron. Artist: Attributed to Alonso Berruguete (Spanish, Paredes de Nava (Palencia) 1486-1561 Toledo). Dimensions: sheet: 8 x 12 3/8 in. (20.3 x 31.5 cm). Date: 1520s-30s. Museum: Metropolitan Museum of Art, New York, USA.

Apollo sits on a throne in the background. Several Gods are sitting and standing in the foreground. Between them Phaeton kneels. On the verso, two studies of a standing boy, Phaton asks Apollo for the solar car., draughtsman: Hendrick Goltzius, (school of), 1558, paper, pen, brush, h 217 mm × w 280 mm

Finding Moses, draughtsman: François Boucher, 1713 - 1770, paper, h 245 mm × w 360 mm

Aurora and Cephalus mid-18th century After François Boucher French This drawing was made after François Bouchers painting in the Hôtel de Soubise, Paris, presumably by a printmaker planning to engrave it.Alastair Laing has pointed out the counterproof of this drawing, offered for sale at Hôtel des Ventes Giraudeau,Tours, February 13, 2021 (lot 6).. Aurora and Cephalus 336374

A feather drawing by Marco Marchetti (Marco da Faenza) on brownish paper depicting a fight between tritons and water nymphs, executed with laved technique.

Group Duivels, Cornelis Saftleven, 1617 - 1681 drawing paper. chalk human-shaped devil. human-shaped devil

Allegorical Figures on Mount Parnassus: Study for the etching Triumph of Painting. Artist: Pietro Testa (Italian, Lucca 1612-1650 Rome). Dimensions: 13-1/4 x 9-7/16 in. (33.7 x 24 cm). Date: 1612-50. Museum: Metropolitan Museum of Art, New York, USA.

Chalk drawing by Giovanni Battista Benaschi depicting Christ entering Jerusalem, assembled from two sheets, with breaks, defects, and a cross fold.

The Adoration of the Shepherds. Artist: Anonymous, French, 17th century. Dimensions: 7 1/2 x 10 9/16 in. (19.1 x 26.8 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

The Martydrom of St. Andrew. Artist: Giovanni Battista Spinelli (Italian, documented Naples ca. 1630-ca. 1660 Naples ()). Dimensions: 8 7/16 x 13 7/16in. (21.5 x 34.2cm). Date: 1630-60. Museum: Metropolitan Museum of Art, New York, USA.

Siege of the house of Lot, draughtsman: Giovanni Andrea Donducci, draughtsman: anonymous, 1680 - 1720, prepared paper, h 269 mm × w 396 mm

Glorificazione di San Filippo Neri. Date/Period: 1624-1706. Drawing. Pen and brown ink, black chalk, on cream laid paper. Author: Giacomo Farelli.

The Massacre of the Innocents 1665-1747 Giuseppe Maria Crespi Italian. The Massacre of the Innocents 338573

A feather drawing with lavation depicting Scipio pardoning prisoners, with a strip cut on the top right of the sheet.

Entombment of Christ. Date/Period: 1640-60. Drawing. Brush and bistre wash, red watercolor, red chalk, white gouache (oxidized) on paper. Author: Aniello Falcone.

Scene from Ancient History (recto); Leg and Arm of a Nude Male Figure (verso) 1738-70 Nicola Marcola Italian. Scene from Ancient History (recto); Leg and Arm of a Nude Male Figure (verso) 340902

Meal of the gods, left down the Seven Deadly Sins in hell, Meal of the gods, draughtsman: Jacob Isaacsz. van Swanenburg, 1581 - 1638, paper, pen, brush, h 207 mm × w 323 mm

Brown feder sketch by Crispin van den Broeck on a skizzenblatt, laved for detail and refinement.

Drawing, Birth of Christ; Designed by Antonio Cavallucci; Italy; pen and ink, brush and wash, on paper

Lord talking with a lady, next to it a maid and a dog, 1660 - 1669 drawing Zwolle paper. chalk

Saint Francis Adoring Virgin and Child 1500-1800 Italy. Pen and brown ink, with brush and brown wash, over black chalk, on tan laid paper . Luigi Garzi

Red chalk and feather drawing by Luca Giordano depicting the birth of Mary, lavated around 1665, showing figures and architectural elements.

The Virgin with Female Attendant Appearing to Four Male Saints 1680-95 Attributed to Carlo Maratti Italian The precise connection of the Museum's drawing to Maratti's paintings is not clear. A closely contemporary account of the altarpiece of the Cybo Chapel in Santa Maria del Popolo, Rome, with which the present drawing is traditionally associated appears in Giovanni Pietro Bellori's "Ritratti di alcuni celebri pittori del secolo XVII" (Rome, 1731, pp. 186-87): "Succedendo appresso l'anno 1686 restò terminata la cappella del Cardinale Alderano Cibo dedicata all' Immacolata Concezione nella Chiesa di Santa Maria del Popolo, dalla pietà di questo Signore edificata con sontuosa struttura di pietre illustri, e colonne, che la girano intorno. Fu eletto Carlo al quadro di mezzo, perche la bellezza della pittura elasse compimento alla magnificenza dell' apparato. A si degno foggetto della Vergine Concetta si accompagnano tre Santi Dottori, Gregorio, Agostino, Grisostomo, con San Giovanni Eva

Drawing by Sébastien Bourdon depicting the martyrdom of St. Peter, executed with pen, brush, and brown wash.

A study sheet by Jacopo Zanguidi Bertoja showing variations of a seated female figure with a child, drawn with red chalk, coal, and feather on brownish paper around 1572-1574.

Abraham van Diepenbeeck depicts the Phaeacians carrying sleeping Ulysses to a ship using black chalk, showing figures, gestures, and landscape on paper with corner damage, brown stains, and glue marks.

The vocation of a Christian Knight, draughtsman: Simone Cantarini, 1622 - 1648, paper, h 226 mm × w 312 mm

Diana and her nymphs after the hunt, draughtsman: anonymous, Southern Netherlands, after 1600 - before 1699, paper, h 400 mm × w 500 mm

Allegory of Religion: God the Father above, Faith, Hope, and Charity below 1597-1646 attributed to Ludovico Lana Italian. Allegory of Religion: God the Father above, Faith, Hope, and Charity below 339093

Design for a Ceiling Painting on Theme of Olympus, Brush and black and gray gouche, pen and black ink, black chalk, white gouache on paper, Inscribed in a square. Upper center, the seated Diana converses with Jupiter; Apollo stands between the two. Lower center, the flyng Hermes puts his right hand on the left leg of the seated Venus. A putto carriesthe broken bow of Cupid away., Sicily, Italy, 1780-90, figures, Drawing, Drawing

Ascension of Maria, Francesco II Bassano, 1570 - 1590 drawing paper. chalk the assumption of Mary ('assumptio corporis'): she is borne into heaven by angels

Groep heiligen uit Michelangelo's Laatste Oordeel.A group of saints from Michelangelo's last judgment. In the middle of Bartolomeüs with a knife and his stripped skin in his hands. Left Petrus with keys.

Coal and chalk drawing by Luca Giordano depicting the Madonna with the child, surrounded by saints, a godfather figure, and a pigeon, with laved shading.

The Resurrection. Dated: early 1640s. Dimensions: overall (lunette): 46.8 x 34 cm (18 7/16 x 13 3/8 in.). Medium: pen and brown ink over black chalk. Museum: National Gallery of Art, Washington DC. Author: Pietro Testa.

Anonymous / 'Rest on the flight into Egypt'. Late XVIII century. Grey wash, Black chalk, Pencil on dark yellow paper. Museum: Museo del Prado, Madrid, España.

The Holy Family with the Infant St.John. Woodcutter: Ludwig Büsinck, German, 1590-1650 After: Georges Lallemand, French, ca. 1580-1636

French 17th Century, Harpocrates, first quarter 17th century Harpocrates

Europe abducted by Jupiter in the form of a bull () ..

Italy, Testa, Pietro, Venus presents Aeneas with his armour, verso - stamped, Venus presents Aeneas with the armour that Vulcan has made for him. A suit of armour hangs in a tree on the right and a shield, helmet and sword are presented to Aeneas by putti. On the left a river god., print, prent, prints, prenten, height 357 mm, width 401 mm, Italian, 1612 - 1650, print maker, prentmaker, 1640 - 1640, paper, papier, etching, etchings, counterproof, tegendruk, plaattoon, Work conception, after own design by

Maarten van Heemskerck (1498-1574), Dommedag, 1563

Music-Making Angels Seated on Clouds ca. 1616 Andrea Commodi Italian. Music-Making Angels Seated on Clouds 338527

A drawing by Girolamo Sellari showing Neptune accompanied by seaweed, executed using feather technique.

The big lion hunt Harmensz van Rijn Rembrandt (1606-1669). The great lion hunt, 1st state, 1641.

The Virgin with Female Attendant Appearing to Four Male Saints. Artist: Attributed to Carlo Maratti (Italian, Camerano 1625-1713 Rome). Dimensions: 9 13/16 x 5 7/8in. (25 x 15cm). Date: 1680-95.The precise connection of the Museum's drawing to Maratti's paintings is not clear. A closely contemporary account of the altarpiece of the Cybo Chapel in Santa Maria del Popolo, Rome, with which the present drawing is traditionally associated appears in Giovanni Pietro Bellori's "Ritratti di alcuni celebri pittori del secolo XVII" (Rome, 1731, pp. 186-87): "Succedendo appresso l'anno 1686 restò terminata la cappella del Cardinale Alderano Cibo dedicata all' Immacolata Concezione nella Chiesa di Santa Maria del Popolo, dalla pietà di questo Signore edificata con sontuosa struttura di pietre illustri, e colonne, che la girano intorno. Fu eletto Carlo al quadro di mezzo, perche la bellezza della pittura elasse compimento alla magnificenza dell' apparato. A si degno foggetto della Vergine Concetta

Drawing by Donato Creti depicting a couple in a landscape, executed in pen and ink.

Samson after beating the Philistines, Gerrit Pietersz. Sweelink, 1576 - 1656 drawing paper. ink pen / brush with an ass's jaw-bone Samson slays a thousand Philistines

Painting and sculpture seek refuge in Apollo, Antoine Rivalz, c. 1725 print The naked, female personifications of painting and sculpture are literally put in the cold and seek refuge on the Olympus at Apollo and the muses that they lovingly cover with covers. paper etching the Muses acting together (as group). Apollo and the Muses, Apollo Musagetes. 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). 'Sculptura', symbolic representations, allegories and emblems ~ sculpture; 'Scoltura' (Ripa)

Luca Cambiaso / 'Battle between Hercules and the Amazons'. 1544 - 1550. Pencil, Grey-brown ink on brown paper. Museum: Museo del Prado, Madrid, España.

Anonymous artwork 'Holy Clan' created using feder with lead handle and ink, depicting a religious family group with detailed line work and compositional focus.

Anonymous / 'The Rape of Europa'. Second half of the XVIII century. Grey-brown wash, Pencil on dark yellow paper. Museum: Museo del Prado, Madrid, España.

A pen drawing in brown showing Emperor Nero standing before the body of his mother Agrippina.

The Lamentation ca. 1500-20 Circle of Jan de Beer Netherlandish This exceptionally fine work exemplifies the early sixteenth-century Antwerp Mannerist drawing style. Possibly by Jan de Beer, one of the greatest practitioners of this school, the drawing depicts the Lamentation, with Christ's body laid out on a linen cloth in the foreground and figures around him expressing various stages of mourning and despair. The Virgin Mary kneels above her son's body in the center of the composition, Saint John the Evangelist stands directly behind her, and Mary Magdalene, with a vase of ointment, kneels at Christ's feet. Characteristic of Antwerp Mannerism are the dramatic gestures and postures, the fluttering draperies, the exotic costumes, and the heightened emotional atmosphere of the scene. Adding to the vibrancy of the composition are the drawing technique-the short, energetic strokes in the hatching, in particular-and the tightly packed arrangement of figures. Both of these traits are found

Saint Jerome in the Desert Listening to the Angels. Dated: c. 1732. Dimensions: overall: 42.5 x 27.8 cm (16 3/4 x 10 15/16 in.). Medium: pen and brown ink with brown wash over black chalk, heightened with thick white gouache; ruled black chalk borders, on laid paper. Museum: National Gallery of Art, Washington DC. Author: Giovanni Battista Tiepolo.

Black chalk and gray wash drawing by Willem van Mieris depicting a bas-relief of the Priapos sacrifice festival on white primed parchment.

Chalk drawing by Giovanni Francesco Romanelli illustrating the myth of Pygmalion pleading to Jupiter for life for his statue, with Venus on clouds and Juno beside Jupiter.

Study for a second edition, never published, of Colle's La Partie de Chasse de Henri IV , Act II, Scene 11 1699-1766 France. Black chalk, heightened with white chalk, on oval-shaped gray laid paper, incised for transfer and perimeter mounted on ivory laid paper . Hubert François Gravelot

Detail Study for The Assumption of St Agnes 1670-1690 Italy. Gaulli executed his first major commission, of four large frescoes for the Pamphili family, between 1666 and 1672 in the church of SantíAgnese in the Piazza Navona, Rome. When the original artist chosen for the project died, Gaulli was one of several invited to take over the work, and this appears to be one of his early studies for the project. It depicts saints and angels seated among the clouds, an illusionistic scene intended to connect the heavenly realm with the world of the faithful.. Pen and brown ink, with brush and brown wash, heightened with white gouache, over black chalk, on tan laid paper . Giovanni Battista Gaulli

Francesco Solimena drew a wedding scene with Hymenaios, Hercules, and marital virtues using chalk, feather, and gray lavis; corners are cut.

Raffaello Santi silver pencil study of Pythagoras with students for the 'School of Athens', Stanza della Segnatura, Vatican, on gray primed paper with white heightening, showing figures, posture, and arrangement.

Putti at play second half 19th century Jules-Edmond-Charles Lachaise French. Putti at play 388302

Diana and Actaeon ca. 1580-85 Bartholomeus Spranger Netherlandish This drawing represents the story of Diana and Actaeon, as told in Ovid's Metamorphoses (Book III: 138-253). Perched atop a rocky outcropping at upper left, Actaeon looks down upon Diana, who is bathing in the company of nymphs in an enclosed wooded setting. As the bathers attempt to cover themselves, Diana splashes water at the intruder, who is being transformed into a stag as punishment. Although the function served by the drawing is not known for certain, it is likely to have been made as a study for a cabinet painting. The conception of this subject in vertical format is unusual and would be well suited for this purpose.Born in Antwerp, Spranger was summoned to Prague in 1580 by Emperor Rudolf II to serve as one of his most important court artists, assuming a role that may be described as that of chief painter. He had a workshop located within the imperial palace, and developed a close relationship with the emperor,

Maarten van Heemskerck (1498-1574), Filip DOEBER AETIOPERDRONNINGEN Kandake's Tamerter, 1572

The Annunciation. Artist: attributed to Giovanni Antonio Pellegrini (Italian, Venice 1675-1741 Venice). Dimensions: 11 x 7 13/16in. (28 x 19.9cm). Date: 1675-1741. Museum: Metropolitan Museum of Art, New York, USA.

The Martyrdom of Saint Lawrence. Artist: Leandro Bassano (Italian, Bassano del Grappa 1557-1622 Venice). Dimensions: 16 x 11-3/8 in. (40.6 x 28.9 cm). Date: 1557-1622. Museum: Metropolitan Museum of Art, New York, USA.

Souls inPurgatory. Artist: Jan Pieter Ykens, Flemish, 1673-1701

Cambiaso, Luca, Prestel, Johann Gottlieb, Venus kisses the dead Adonis, verso - stamped, print, drawings, height 275 mm, width 412 mm, German, 1739-11-18 - 1808-10-05, print maker, 1783 - 1783, paper, print drawing, color print, etching, Work conception, Italian, 1527-10 - 1585

Reconciliation between the Romans and the Sabines, Bartolomeo Pinelli, 1818 print The Sabijnse virgins throw themselves between the two fighting armies of Sabines and Romans. They make a call for peace. Rome paper etching reconciliation of the Sabines and the Romans: the women, some holding their babies, others with their hair loose, and possibly encouraged by Hersilia call for peace in the midst of the two fighting armies

Maarten van Heemskkkk (1498-1574), Josias commands that the grave with the man of God who came from Judah must be Skaanes, 1569

A drawing by Joseph Heintz the Elder, circa 1595-1600, using black and white chalk with coal on light blue paper depicting an allegorical scene of the birth of a prince.

Adoration of theShepherds. Artist: Leonard Bramer, Dutch, 1596-1674

Carlo Maratta, Judith with the Head of Holofernes Judith with the Head of Holofernes

Battle of Horsemen and Foot Soldiers mid-16th century Attributed to Guglielmo della Porta Italian In this dynamic study of a battle scene, the dense fabric of overlapping figures and the energetic penwork contribute to the chaotic action. The complex interweaving of soldiers and animals recalls classical reliefs, which were a significant source of inspiration for Renaissance artists. The style of the drawing suggests an artist in the circle of Perino del Vaga (Italian, Florence 1501-1547). A likely candidate is the sculptor and stucco designer, Guglielmo della Porta, who worked as Perinos assistant in Genoa and Rome, and whose sculpted reliefs depicting mythological subjects are on view in the Museum (gallery 536).. Battle of Horsemen and Foot Soldiers. Attributed to Guglielmo della Porta (Italian, Porlezza, near Lake Lugano ca. 1500-1577 Rome). mid-16th century. Pen and dark and light brown ink.. Drawings

Crucifixion. Artist: Johann Wolfgang Baumgartner (German, Kufstein 1712-1761 Augsburg). Dimensions: 5 9/16 x 2 15/16 in. (14.2 x 9.5 cm) (uneven margins). Date: early to mid-18th century. Museum: Metropolitan Museum of Art, New York, USA.

Fight between Lapithen and Centauren, Parmigianino (Manner of), 1513 - 1620 drawing prepared paper. ink. chalk pen / brush

Birth of Bacchus. Giulio Romano (Giulio Pippi) (Italian, before 1499 - 1546)

Triumph of Bacchus.Prent consisting of three plates. Procession in honor of the God Bacchus. Bacchus is on a triumphy. In the procession that runs by car to a temple, Saters put putti and others to party and dancing. Some play on flute or tambourine, others carry sticks or jugs with grape fees and vines.

Pieta ..

The Martyrdom of Saint Anastasia 1721 Michelangelo Cerruti ("Il Candelottaro") Italian Robert Dance identified this drawing as a study by Cerruti for a ceiling painting in the nave of Santa Anastasia, Rome. The outlines of the elaborately shaped field of the canvas are clearly established in the drawing. However, there are significant differences in the placement of all of the principal figures in the complex composition. The Portuguese Cardinal Nuno da Cunha e Ataide (1664-1750; created 1712) was named protector of Santa Anastasia on June 16, 1721. At that time the church was apparently in a very dilapidated state, and he immediately ordered a new roof and a sumptuous wood ceiling at an initial cost of 4,000 scudi. This was followed by the commission given to Cerruti for the large ceiling canvas that he painted in twenty-eight days and which was in place by April 25, 1722 (see N. Mallory in Bolletino d'Arte, no. 61, 1976, p. 103).Saint Anastasia was said to have been burned alive, tie

A chalk, feather, and ink drawing by Ubaldo Gandolfi depicting the robbery of Deianira, emphasizing figures, action, and composition.

A drawing by Raymond Lafage depicting the Godfather figure carried by angels, executed in brown ink.

Neptune Calming the Tempest Raised by Aeolus against Aeneas ("Quos Ego"). Italian; Second half of the 16th Century. Date: 1550-1599. Dimensions: 253 × 368 mm. Pen and brown ink with brush and gray wash, over black chalk, with touches of white gouache, on tan laid paper, laid down on tan laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Design for a Corner of a Ceiling 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Design for a Corner of a Ceiling 340533

Lord pratend with a lady, next to it a maid and a dog ..

The Miracle of the Ticino River. Camillo Procaccini; Italian, 1555-1629. Date: 1610-1619. Dimensions: 162 x 126 mm. Red chalk on beige laid paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Ink and brown wash drawing by François Verdier depicting the battle between Centaurs and Lapiths, with black chalk for details and white highlights.

The Resurrection; Santi di Tito, Italian, 1536 - 1603; about 1568; Pen and brown ink over black chalk on blue paper; 37.5 x 25.4 cm (14 3/4 x 10 in.)

Suzanna and the Elders, draughtsman: Baldassare Franceschini, (attributed to), 1650 - 1659, paper, brush, h 142 mm × w 185 mm

A mythological drawing by François Boucher depicting Apollo and Daphne, created with pen in brown ink and heightened with white chalk.

Lead pencil drawing by Franz Xaver Wagenschön showing a proclamation scene, with figures, gestures, and compositional arrangement on paper.

Four naked children's figures at a garden vase (winter), Jacob de Wit, 1705 - 1754 print Four naked children's figures in a landscape, with garlands. One of them has grape bunches and leaves around the head and another warms up to a grid. Amsterdam paper etching garden vase. child (+ nude human being). warming oneself at a fire (or hearth, stove, fire-pan, brazier). winter, 'Hyems'; 'Inverno' (Ripa) (+ allegorical or symbolical representation of seasons and months)

The Triumph of Truth Over Heresy. Attributed to François Boitard (French, c. 1670-1720); or Louis Philippe Boitard, the elder (French, active 1738-1763, died 1770). Date: 1705-1715. Dimensions: 371 × 264 mm. Pen and black ink, with brush and pale brown wash, over touches of graphite, on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Laban searching for idols among Jacob's possessions ca. 1635-40 Giovanni Benedetto Castiglione (Il Grechetto) Italian. Laban searching for idols among Jacob's possessions 335666

Angel Musicians. Follower of Francesco Monti (Italian, 1646-1712); or the School of Parmigianino (Italian, 1503-1540). Date: 1650-1750. Dimensions: 258 x 237 mm. Graphite, heightened with white chalk, on reddish- brown laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Heads. Heads, including one of a violin angel, excellent above a cloud edge.

Martyrdom of St. Ursula. Date/Period: From 1600 until 1630. Drawing. Brush and brown wash, white gouache, pen and brown ink, black chalk on brown paper. Author: LUIGI RODRIGUEZ.

Pride, Heinrich Aldegrever, 1550 - 1552, The Pride; first version (not executed). Design for a print., draughtsman: Heinrich Aldegrever, 1550 - 1552, paper, pen, brush, h 104 mm × w 62 mm

Offer Aan Pan, Francesco Bartolozzi, After Giovanni Benedetto Castiglione, 1738 - 1815 print A Sater and a group of a man, two women and four children make a sacrifice to a picture of Pan. Italy paper etching Pan-herm. Sacrifice

Martyrdom of a Female Saint 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Martyrdom of a Female Saint 340062

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