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Prints


Etchings, Woodcuts,...



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Concert with ancient instruments.
#330108 3

Concert with ancient instruments.

The Battle of the Naked Men, around 1470. This large engraving of ten fighting men was the most influential print produced in Renaissance Florence. Most scholars suggest that the nudes were intended to be models for artists to copy, however it could illustrate the Greek myth of Jason who sowed a field with dragon's teeth,from wich sprang fully armed men. See 33-01-04/42,Louvre. PD,V.1-33
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The Battle of the Naked Men, around 1470. This large engraving of ten fighting m...

Goldsmith's Workshop, 1576.Craftsmen sit at a worktable; they have leather aprons tucked into their belts to catch the filings of precious metal. On the right a youth holds a pair of tongs, with a bellows and anvil by his side. The boy on the left is drawing wire. Delaune worked as a goldsmith in Paris in 1546. PD, 1951-11-20-5
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Goldsmith's Workshop, 1576.Craftsmen sit at a worktable; they have leather apron...

Portrait of William Shakespeare, 1623. This frontispiece to the First Folio edition of Shakespeare's works is one of the earliest portraits of the poet. Droeshout must have worked from a painting or drawing of Shakespeare as a young man, as he himself was only fifteen when Shakespeare died. PD, 1852-6-12-441
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Portrait of William Shakespeare, 1623. This frontispiece to the First Folio edit...

Michelangelo before the Roman Colosseum, 1801. In the 1780ies Blake developed a friendship with Johann Heinrich Fuessli who was Professor of Painting at the Royal Academy of Arts. This engraving is the tailpiece to the third and last lecture delivered in 1801; Fuessli used to give his pupils preliminary drawings from which to engrave. PD,1864-5-14
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Michelangelo before the Roman Colosseum, 1801. In the 1780ies Blake developed a...

"Carceri", plate IX, 1761 Copperplate engraving. PD, 1910-12-14-26
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"Carceri", plate IX, 1761 Copperplate engraving. PD, 1910-12-14-26

Egyptian mural decoration for the Caffee degli Inglesi, Piazza di Spagna, Rome, 1769. From "Diverse manieri di adornare i cammini". ID: 744.f.7
#33010943

Egyptian mural decoration for the Caffee degli Inglesi, Piazza di Spagna, Rome,...

'The Entombment', 1530. This later version of the plate shows the crown of thorns held over Christ's head like a victor's wreath. The graceful movements of the women turning towards or away from the light, and the virtuoso draughtsmanship of the artist, confer on the work a self-conscious style, or maniera, much admired in the Italian courts. This work represents Parmigianino's greatest success. The image is as much an exercise in virtuoso etching as it is a religious image. PD, 1835-7-11-28 (Bartsch XVI, 8.5)
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'The Entombment', 1530. This later version of the plate shows the crown of thorn...

'Rest on the Flight to Egypt', 1565 - 1570. The Holy Family are resting on their flight from Bethlehem to Egypt. The Virgin Mary is seated, preparing to feed the twisting Christ Child in her arms. To the right is the standing figure of St Joseph and to the left the horse feeding on hay. Behind are the branches of a palm tree and a rocky outcrop. PD, 1854-6-28-4
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'Rest on the Flight to Egypt', 1565 - 1570. The Holy Family are resting on their...

'View in Alkmaar with the Grote Kerk', 1628-1682. View of the street behind the church of St Lawrence (the Grote Kerk or Great Church) at Alkmaar in north-west Holland. It is a local, everyday scene without any particular historical, narrative or dramatic purpose.PD, 1895-9-15-1296 (Hind 5)
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'View in Alkmaar with the Grote Kerk', 1628-1682. View of the street behind the...

'The Shell', 1650. The shell is a Conus marmoreus, which is native to south-east Africa, Polynesia and Hawaii. The shell's striking pattern, with the tight spiral of its base, has been captured in great detail. PD, 1868-8-22-672 (Hind 248, Bartsch 159)
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'The Shell', 1650. The shell is a Conus marmoreus, which is native to south-east...

'The Entombment', c1654. One of a series of prints that depict episodes from the life of Christ. The bearded old man standing on the left may be Joseph of Arimathaea, who gave up his tomb for Christ. Below him, Mary's slumped frame carries the curve of the design towards the limp body of her son, supported by five men. One of them has jumped into the grave to lift the body from below, while the bearded figure must be holding the lamp that illuminates the scene. In the opposite corner, a group of mourning women look away from this painful sight. PD, 1910-2-12-360 (state I);PD, 1843-5-13-249 (sta
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'The Entombment', c1654. One of a series of prints that depict episodes from the...