Mythological Illustrations

Drawings featuring mythological themes, including gods, heroes, and allegorical figures in dramatic and emotional scenes.

An Artist's Studio recto, pen and brown ink with brown wash over black chalk on laid paper, overall: 20.4 x 31.7 cm (8 1/16 x 12 1/2 in.), Frans Francken the Younger (artist) Flemish, 1581 - 1642

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 conversion of Saulus, Jan van der Banck, 1727 drawing paper. graphite (mineral) brush

Bachus and Ariadna on Naksos; Moeyaert, Claes (1591-1655); 1624-1626 (1624-00-00-1626-00-00);Ariadna (Mitol.), Bachus (Mitol.), Bloch, Jan Gottlib (1836-1902), Bloch, Jan Gottlib (1836-1902)-collections, satir (mitol.), Society of encouragement of Fine Arts (Warsaw-1860-1940 ), In the workshop of the Dutch master (National Museum in Warsaw - exhibition - 18.05.2017-20.08.2017), mountain landscapes, Dutch drawings, mythological scenes

Venus Disguised as a Huntress Appears to Aeneas (Aeneid I: 305 ff.) 1699-1768 Stefano Pozzi Italian. Venus Disguised as a Huntress Appears to Aeneas (Aeneid I: 305 ff.) 340545

The conversion of Saulus, draughtsman: Jan van der Banck, (mentioned on object), 1727, paper, brush, h 365 mm × w 429 mm

drawing by F. Barrias, Virgil scene from the Bucolica, find drunken man cave, Anonymous, 1858.

The Virgin Mother and Joseph Travelling. Pen and ink, brush and sepia wash on paper. Date: 1820-1850. Museum: Cooper Hewitt, Smithsonian Design Museum.

Allégorie pour la Commémoration d'un Mariage (Allegory for the Commemoration of a Marriage) mid-18th century Gilles Demarteau French. Allégorie pour la Commémoration d'un Mariage (Allegory for the Commemoration of a Marriage) 413620

An Artist's Studio recto, pen and brown ink with brown wash over black chalk on laid paper, overall: 20.4 x 31.7 cm (8 1/16 x 12 1/2 in.), Frans Francken the Younger (artist) Flemish, 1581 - 1642

David and Bathseba (in box with 43 drawings), David, from the roof (or balcony) or his palace, sees Bathsheba bathing, Louis Fabritius Dubourg, 1743, paper, ink, pencil, brush, h 113 mm × w 158 mm

Photo production of drawing by F. Barrias: Virgilius scene from the Bucolica, two men in landscape.

A brown pen and gray-wash drawing by Bartolomeo Altomonte around 1720 depicting a mythological narrative, including multiple figures and expressive gestures.

Leblond, Jean (II), Jean (I), France, Cortona, Pietro da, Lepautre, Jean, Ceilings with the wanderings of Aeneas in the Palazzo Doria Pamphili, Arrival of Aeneas in Italy, verso - stamped, Two boats drawn by dolphins come ashore. Aeneas jumps from the front boat towards three women and a river god on the bank on the left., print, engraving, ornament print, prints, engravings, ornament prints, height 219 mm, width 302 mm, French, 1618-06-28 - 1682-02-02, print maker, printmaker, 1628 - 1682, paper, papier, etching, etchings, Work conception, Italian, 1596 - 1669-05-16, after a design by, Publication (Event), Publication, 1594 - 1666, publisher, uitgever, 1635 - 1709

An Irish Howl. Artist: Attributed to Thomas Rowlandson (British, London 1757-1827 London). Dimensions: sheet: 9 3/4 x 12 in. (24.8 x 30.5 cm). Date: ca. 1799. Museum: Metropolitan Museum of Art, New York, USA.

Photo production of a painting of Melibuus and Tityrus, scene from Virgilius' Bucolica, Anonymous, c. 1853 - in or before 1858 photograph paper albumen print herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Classical Scene with Seated Leader and Figure Fleeing on Foot, Fortunato Duranti, Italian, 1787 - 1863, Pen and ink, brush and sepia wash on paper, Seated ruler or leader at left, with upraised left hand and foot on block inscribed 'LETA / RIPOSO' while draped figure with crook flees rightward and right. Additional figures in audience and on stairs in background. Classical architecture., Rome, Italy, 1820-1850, Drawing, Drawing

Francisco de Goya y Lucientes / 'Shameful Profit'. 1810 - 1814. Black chalk, Red chalk on dark yellow laid paper. Museum: Museo del Prado, Madrid, España.

Vertumnus andPomona. Artist, probably by: Charles Le Brun, French, 1619-1690

Departing for the Hunt. Attributed to Jan Verkolje, I; Dutch, 1650-1693. Date: 1669-1693. Dimensions: 217 x 258 mm. Pen and brown ink, with brush and gray wash, over traces of graphite, on buff laid paper, pieced and tipped onto card. Origin: Holland. Museum: The Chicago Art Institute, Chicago, USA.

Queen Charlotte, 1744-1818, British, A Kneeling Knight with a Female Figure and Child, undated. Brown wash, pen and black ink, and graphite on thick, slightly textured, cream card.

Drawing by Étienne Parrocel of the biblical meeting between Jacob and Esau, executed with pen, brush, ink, bister wash, and chalk traces.

Drawing, Design for a Wall Monument or Fountain; France; pen and chinese ink, charcoal on black paper; 24.7 × 42.7 cm (9 3/4 × 16 13/16 in.)

Heemskerck, Maarten van, Antwerp, Bos, Cornelis, Plague of poisonous snakes and the bronze snake, recto lower right - stamped, The Israelites are on their way to the Red Sea when God punishes their impatience with a plague of poisonous snakes. Many people are bitten and die. Moses has a bronze snake made and hung on a pole. Anyone who is bitten and looks at the brazen serpent will live., print, prints, height 218 mm, width 335 mm, Dutch, 1510 - 1566, print maker, printmaker, 1539 - 1539, paper, papier, engraving, engraving (printing process), etching, Northern Netherlands, 1498 - 1574, intermediary draughtsman

La Musique champêtre; Louis-Émile Durandelle (French, 1839 - 1917); Paris, France; about 1875; Albumen silver print

Tuscany Grosseto Massa Marittima S. Agostino03. Hutzel, Max 1960-1990 Post-medieval: Includes views of neighboring Cappella di S. Lucia (1348) Architecture, architectural sculpture (14th century, restored 1958), sculpture, stained glass, frescoes, painting, Object Notes: Bibliographic material included and housed in the Center Library 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.

Depiction of the Tower of Babel and the confusion of languages, drawn with pen, brush, ink, and chalk on brownish paper by Étienne Parrocel.

Attributed to Domenico Mondo, 1723- c.1808, Italian, Study for Ceiling: Apollo and other Figures, undated. Watercolor, gouache, and red chalk on medium, slightly textured, cream laid paper.

The Coronation of the Allegories of Painting, Sculpture, and Architecture, 18th century, Louis Gauffier, French, 1762 - 1801, 11 7/16 x 14 3/8 in. (29.05 x 36.51 cm) (sight)11 3/4 x 14 7/8 in. (29.85 x 37.78 cm) (sheet)19 3/4 x 23 7/16 in. (50.17 x 59.53 cm) (outer frame), Pen and brown ink and wash with white heightening on laid paper, France, 18th century

Hunt of the Calydonian Boar late 17th-early 18th century Circle of Bernard Picart French. Hunt of the Calydonian Boar 348084

A chalk drawing by Antonio Domenico Gabbiani depicting the mythological scene of Diana chasing Actaeon, shown transformed into a deer.

A drawing by Heinrich Friedrich Füger depicting Apollo with the nine muses, executed in brown ink with gray wash and light brown highlights, showing mythological figures.

Drawing (Italy)

Gala bridge over the Golden Horn in Constantinople, Marius Bauer, 1890 print Different figures on a bridge, including two men with a carrying carriage, men with load animals and some veiled women. Left in the background a mosque with two minarets. Japanese paper (handmade paper) etching pontoon bridge. temple, shrine ~ Islam, Mohammedanism. (carrying a person on a) litter, stretcher Constantinople

Four women and Christ with the Samaritan, Girolamo da Carpi (Follower of), After Michelangelo, 1530 - 1600 drawing Study sheet with four standing women at the top; At the bottom of Christ with the Samaritan. paper. ink pen

Livio Retti, The Triumph of Virtue and Divine Wisdom, 1736 The Triumph of Virtue and Divine Wisdom

Junius, Hadrianus, Heemskerck, Maarten van, Haarlem, Galle, Philips, Geschiedenis van Job, Satan daagt God uit Job niet langer de hand above the head, God is enthroned on a cloud with a globe next to him. The other inhabitants of heaven are standing and sitting around him. On the right Satan with wings and an animal tail. Satan challenges God to test Job. Below the representation an explanatory text in Latin. This print is part of an album., print, album sheet, prints, height 208 mm, width 250 mm, Southern Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1563 - 1563, paper, engraving, engraving (printing process), Northern Netherlands, 1498 - 1574, intermediary draughtsman, after a drawing by, 1511-07-01 - 1576-06-16, writer

Drawing by Paolo Farinato depicting Saint Sebastians torture in an open pillar yard, executed with feather, laved washes, and whitewashed highlights.

Watteau, Jean Antoine, France, Caylus, Anne Claude Philippe, Sick man trying to escape from a group of doctors, verso - stamped, print, prints, enten, height 306 mm, width 376 mm, 1692 - 1765-09-05, print maker, printmaker, 1727 - 1727, paper, etching, French, 1684-10-10 - 1721-07-18

Soldiers Going into Battle. Artist: Vincenzo Camuccini (Italian, Rome 1771-1844 Rome). Dimensions: 7 1/8 x 10 1/8 in. (18.1 x 25.7 cm). Date: 1771-1844. Museum: Metropolitan Museum of Art, New York, USA.

Joseph's Cup discovered in Benjamin's grain bag, Giulio Bonasone, After Rafaël, 1501 - 1580 print Joseph's cup is discovered in Benjamin's grain bag. On the left are three mules, one of which is packed with grain. On the right the brothers of Joseph. paper etching / engraving the cup is found in Benjamin's sack

Francisco de Goya, Los moros establecidos en Espana, prescindiendo de las supersticiones de su Alcoran, adoptaron esta caza y arte, y lancean un toro en el campo, in or before 1816 Los moros establecidos en Espana, prescindiendo de las supersticiones de su Alcoran, adoptaron esta caza y arte, y lancean un toro en el campo (The Moors Settled in Spain, Giving up the Superstitions of the Koran, Adopted This Art of Hunting, and Spear a Bull in the Open)

Dido and Aeneas Sheltering in a Cave, Francis Cleyn, 1582-1658, German, undated, Gray wash and red chalk on medium, slightly textured, cream laid paper, Sheet: 10 1/4 x 7 3/4 inches (26 x 19.7 cm), allegory, caves, clouds, dogs (animals), eyes, figures, horses (animals), religious and mythological subject, shelter, storm, studies (visual works), wings

Study of three women's heads, Anonymous, 1700 - 1800 drawing paper. chalk brush period of adolescence. symbolic representations, allegories and emblems ~ education; 'Ammaestramento', Dottrina', 'Educatione', 'Istitutione' (Ripa). study; 'studiolo'; library. handwriting, writing as activity

Abruzzo, L'Aquila, L'Aquila, Collegiate complex (S. Bernardino), Italy, 20th century, photo, photography, Europe

Don Quixote. Spanish novel by Miguel de Cervantes Saavedra (1547-1616). Engraving by Gustave Dore, 19th century.

Della Bella, Stefano (known as Étienne de la Belle) (n.1610-05-18-D.1664-08-22), various shipments, several people whose clothes are agitated by the wind, on the shore. Fourth issue of a sequence of 7 pieces (A. de Vesme 806. Dutuit 94) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

Moses and the Brazen Serpent. Dated: 18th century. Dimensions: overall (approximate): 51.4 x 39.2 cm (20 1/4 x 15 7/16 in.). Medium: pen and brown ink, brush and brown ink, and brown wash, heightened with white, on prepared laid paper. Museum: National Gallery of Art, Washington DC. Author: Follower of Francesco Fontebasso.

Sheet of Male Figure Studies. Artist: Anonymous, French, 18th century. Dimensions: 6 11/16 x 9 3/16 in. (17 x 23.3 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Feder drawing with gray wash by Daniel Gran from 1744 illustrating a triumphal church composition with architectural elements.

Venetian Scene 18th century Anonymous, Italian, Venetian, 18th century Italian. Venetian Scene 342287

The Raising of Lazarus. Dated: 18th century. Dimensions: overall (approximate): 52.7 x 39.1 cm (20 3/4 x 15 3/8 in.). Medium: pen and brown ink, brush and brown ink, and brown wash, heightened with white, on prepared laid paper. Museum: National Gallery of Art, Washington DC. Author: Follower of Francesco Fontebasso.

Martyrdom of Saint Barbara, Hans Springinklee, 1505 - 1540 print Round representation of the Holy Barbara who kneels in the open air for a miscarriage from which a hostie appears. Her father stands behind her with pulled sword. Print is part of an album. Nuremberg paper St. Barbara is beheaded by her father Dioscuros, who usually wears a turban and brandishes a scimitar (sword); sometimes Dioscuros is struck by lightning

Depicts the crossing of the Red Sea, drawn in black chalk with reddish brush and brown tones, showing figures, water, and landscape elements.

Mantua, Andreani, Andrea, Parmigianino, Italy, Vicentino, Niccolò, Christ healing the lepers, verso - stamped, Christ with the apostles and a group of supplicating lepers., print, prent, prints, height 299 mm, width 420 mm, Italian, print maker, printmaker, 1608 - 1608, first quarter 16th century, first quarter 17th century, paper, chiaroscuro woodcut, Work conception, 1503-01-11 - 1540-08-24, after a design by, Publication (Event), Publication, 1559 - 1629, publisher

The Tomb of Nero, from Grotteschi(Grotesques). Artist: Giovanni Battista Piranesi, Italian, 1720-1778

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Mantua. A satyr boy playing flute, a girl with cymbols, a woman with a book, shown from below behind a hedge. Framed by a garland. Date: ca. 1781. Black chalk, brush and brown gray watercolors on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783-1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Two kneeled figures and two head studies, Anonymous, 1600 - 1699 drawing France paper. deck paint. ink. chalk pen / brush

Combat at the foot of a tower 1635-60 Jacques Courtois. Combat at the foot of a tower. Combats et batailles (Combats and battles). Jacques Courtois (French, Saint-Hippolyte 1621-1676 Rome). 1635-60. Etching. Prints

Mournful condition of seven sailors from the ship De Karseboom, crashed near Halmstad, 1678, print maker: Jan Luyken, publisher: Pieter van der Aa (I), print maker: Amsterdam, publisher: Leiden, 1698, paper, etching, letterpress printing, h 110 mm × w 154 mm

Diana, Gerard van Honthorst (possibly), 1600 - 1656 drawing paper. pencil. chalk brush Diana (Luna) allured by Pan with a fleece or a bundle of wool (Virgil, 'Georg.' III 391-393). Diana hunting

Copper engraving by Jacques Firmin Beauvarlet around 1764 depicting Claire Clairon as Medea, showing figure, posture, and scene composition.

Charlatan and peep show. Boucher, François (French, 1703-1770) (author of design, 1734-46) painter Besnier, Nicolas (French, b.1686-d.1754) (workshop) weaver Charron, André-Charlemagne (French, fl.1754-1780) (workshop) weaver c. 1736-1760 Tapestry Dimensions: H 2.35 x W 5 m Tapestry Materials/Techniques: wool (warp); wool & silk (weft) Culture: French Weaving Center: Beauvais Ownership History: San Donato sale, Rome, 3/15/1880, no. 36. French & Co. . Italy, Lazio, Roma, Rome, Palazzo Venezia (). Inscriptions: Woven signature on building building stone on left: BOVCHER Charlatan wearing turban & standing on platform beneath canopy holds flask in 1 hand & places other on cupboard, next to him is seated young woman assistant holding wand & accompanied by monkey, & male assistant blowing trumpet; 6 spectators stand on L; below charlatan 4 figures around cylinder with clocklike top gamble for oublies or plaisirs; 3 spectators to R of platform; to R of groups young man operates peep show wit

drawing by F. Barrias, Virgil scene from the Bucolica, crying man, Anonymous, 1858.

Martyrdom of a Female Saint. Dated: 18th century. Dimensions: overall (approximate): 51.4 x 39.2 cm (20 1/4 x 15 7/16 in.). Medium: pen and brown ink, brush and brown ink, and brown wash, heightened with white, on prepared laid paper. Museum: National Gallery of Art, Washington DC. Author: Follower of Francesco Fontebasso.

Tableau with a dignitary receiving a supplicant, sketches of a head and a lying body, dignitary and supplicant, a head and a body, draughtsman: Federico Zuccaro, 1564, paper, pen, h 227 mm × w 384 mm

Diana and her companions, draughtsman: anonymous, 1600 - 1699, paper, pen, brush, h 200 mm × w 297 mm

Study for Miracle of Saint Bernardino of Siena 1588-1613 Italy. Pen and brown ink with brush and brown wash, over red chalk, on buff laid paper . Ventura Salimbeni

Lazio Viterbo Caprarola Palazzo Farnese5. Hutzel, Max 1960-1990 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.

Drawing, Alexander the Great Taming Bucephalus; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink over traces of graphite on cream laid paper; 18.4 x 24.5 cm (7 1/4 x 9 5/8 in.)

Les QuatresChevres. Artist: Claude Gellée, called Claude Lorrain, French, active Rome, 1604-1682

Drawing, The Worship of Amor Vincitor; Felice Giani (Italian, 1758-1823); Italy; pen and black ink, brush and brown wash, graphite on cream laid paper; Mat: 71.2 x 91.6 cm (28 1/16 x 36 1/16 in.) 51.3 x 77.8 cm (20 3/16 x 30 5/8 in.)

A Clair-obscur woodcut by Giuseppe Nicola Vicentino (Rossigliani) from around 1527-1529 depicting Christ healing lepers, illustrated across three plates.

Benjamin Green, ca. 1736-ca. 1800, British, The Lion and Stag, 1770. Mezzotint, second state.

Drawing, Olympus; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and ink, brush and watercolor on textured laid paper; 24.9 x 43.4 cm (9 13/16 x 17 1/16 in.)

Study for "The Ascension" 1774 John Singleton Copley American As an ambitious young painter in the colonies, Copley had little opportunity for artistic training or access to works of art by established artists. He sought advice from Benjamin West and Joshua Reynolds in England, who both counseled him to study in Europe. In 1774, on the eve of the American Revolution, he sailed for London before heading to Italy for almost a year. He spent six months in Rome, where he was inspired by the works of the great Renaissance painter Raphael (1483-1520) to paint the Ascension of Christ. Before creating his interpretation of the scene, Copley carefully studied Raphaels Transfiguration (ca.　1516-20) in the Vatican and called him "the greatest of the modern painters." This preparatory drawing is squared for transfer to the canvas for the final composition.. Study for "The Ascension" 10543

Watercolor and lead drawing by Bartolomeo Altomonte depicting an allegorical ceiling painting for the Kaisersaal in St. Florian.

Sitting, knitting old woman at a table, draughtsman: Alexander Hugo Bakker Korff, c. 1834 - c. 1882, paper, pen, brush, h 174 mm × w 125 mm

Album Drawing, Thomas Rowlandson, 1756-1827, British, undated, Graphite and pen and ink on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 6 1/2 inches (22.2 × 16.5 cm) and Binding: 8 3/4 inches (22.2 cm)

Feather ink sketch by an anonymous artist depicting the evangelists John and Luke as figures seated on clouds, with white highlights on gray paper.

Thomas Rowlandson, 1756-1827, British, Time and Death and Goody Barton, undated. Watercolor with pen and red-brown and gray brown ink, over graphite on medium, moderately textured, blued white, wove paper.

Amsterdam, Founder, heirs of widow Cornelis, Netherlands, Robyn, J., A., Consider here, children! the sensible qualities, or senses, all five depicted according to rank and steps, And caress your senses themselves by the pleasant ornament, That can be found further in this picture-scene, Staircase with on each step a pair that represents one of the five senses. From left to right: touch, taste, smell, hearing and sight. On the staircase also three medallions with portraits. Below the image a verse in two columns. Numbered top right: No. 99., print, popular print, prints, popular prints, height 410 mm, width 327 mm, print maker, printmaker, 1715 - 1813, paper, woodcut, colors, letterpress printing, letterpress, Dutch, Publication (Event), Publication, publisher

Gavin Hamilton, 1723-1798, British, active in Italy (1744-48 and 1756 on), Classical Composition, undated. Pen and brown ink, brown wash and graphite on medium, slightly textured, beige wove paper.

Bacchus, Venus, andCeres. Artist: Hendrick van Balen I, Flemish, 1575-1632

Time and Death and Goody Barton, Thomas Rowlandson, 1756-1827, British, undated, Watercolor with pen and red-brown and gray brown ink, over graphite on medium, moderately textured, blued white, wove paper, Sheet: 5 3/16 x 8 3/8 inches (13.2 x 21.3 cm), allegory, allegory of Time and Eternity, bones (material), children, cottage, death, dogs (animals), dying, elderly, genre subject, men, sickle, skeletons, sky, wagon, women, youth

A brown ink drawing of a court scene possibly showing Daniel proving Susannas innocence, executed in brown ink.

A brown ink drawing by Nicolaes Pietersz. Berchem depicting a southern port scene with multiple figures and a fountain, with red ink accents.

The Idolatry of Solomon, 1622-23. Pietro da Cortona (Italian, 1596-1669). Pen and brown ink, point of brush and black ink, brush and brown wash, and white and blue gouache, framing lines in brown ink; sheet: 24.8 x 43.3 cm (9 3/4 x 17 1/16 in.); secondary support: 25.5 x 44.1 cm (10 1/16 x 17 3/8 in.).

Anonymous / 'Fallen Christ with the Virgin, Veronica and the Cyrenean / Sketches for a crucifixion'. XVIII century. Black chalk, Touches of white chalk on grey paper. Museum: Museo del Prado, Madrid, España.

Punchinello's Mistress Faints 1790-1801 Italy. Pen and brown ink and brush and brown wash, with touches of brush and orange watercolor, over black chalk, on ivory laid paper, prepared with a white gouache ground, laid down on grayish-ivory laid card . Giovanni Domenico Tiepolo

Richter, Ludwig, Views in the vicinity of Rome, Castel Gandolfo, View of Castel Gandolfo, recto bottom left - embossed, print, prints, verso - stamped, height 154 mm, width 202 mm, German, 1803-09-28 - 1884-06-19, print maker, printmaker, 1831 - 1831, paper, etching, plate tone

Venus Pointing out Psyche to Cupid 1700-1799 Italy. Pen and brown ink, with brush and brown wash, over traces of black chalk, on ivory laid paper, tipped onto cream laid paper . Workshop of Raphael

Figure Studies: Warrior on Horseback, and Groups of Standing Female Figures. Artist: Francesco Curia (Italian, documented Naples 1565/70-1608 Naples). Dimensions: 7 15/16 x 10 13/16in. (20.2 x 27.5cm). Date: 1565-1608.Francesco Curia can be rightly considered the most relevant artist active in Southern Italy during the Sixteenth century. The present sheet is one of eight pen sketches (Metropolitan Museum of Art, inv. nos.1970.101.4-11) figured in an album containing "97 pezzi di Francesco Curia" (97 pieces by Francesco Curia:) once in the collection of Nicodemus Tessin the Younger (1654-1728), and then inherited by his son Carl Gustav Tessin (1695-1770), the greatest Swedish collector of drawings of the Eighteenth century. It seems to have been broken up in the latter's lifetime. Eighty-two of these sheets are now in the Nationalmuseum in Stockholm; those in the Metropolitan Museum came to New York by way of a Swedish collector who acquired them from a collateral descendant of Tessin.

The Little Preacher. Dated: late 1770s. Dimensions: overall: 34.9 x 46.7 cm (13 3/4 x 18 3/8 in.). Medium: brown wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: JEAN-HONORE FRAGONARD.

Christ Preaching in the Temple; Guercino (Giovanni Francesco Barbieri), Italian (Bolognese), 1591 - 1666; Italy, Europe; about 1625 - 1627; Pen and brown ink, brush with brown wash; 26.8 x 42.4 cm (10 9/16 x 16 3/4 in.)

Giovanni Domenico Tiepolo, Punchinellos Hunting Waterfowl, c 1800 Punchinellos Hunting Waterfowl

Window with saulus struck by blindness and led away by two martial boys, anonymous, 1600 - 1699 Oval stained glass in Grisaille on which "Saulus was blinded with blindness and loved by two martial servants". glass. lead (metal). Oval stained glass in Grisaille on which "Saulus was blinded with blindness and loved by two martial servants". glass. lead (metal).

John Massey Wright, 1777-1866, British, The Rustics Perform from "A Midsummer Night's Dream", undated. Watercolor with brown ink over graphite on moderately thick, slightly textured, beige laid paper.

Attributed to Thomas Barker, 1769-1847, British, The Cottage Door, undated. Brown wash, gray wash, black chalk, brown chalk, and graphite on medium, slightly textured, cream, wove paper, mounted on, very thick, slightly textured, blue, wove, card paper.

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