Classical Figure Studies

A collection of drawings depicting male and female figures, including nymphs and angels, showcasing anatomical forms with a focus on grace and emotion.

Hercules en deïanira, Giovanni Jacopo Caraglio, after Perino del Vaga, 1515 - 1565 print The naked deïanira is on Hercules on their lap. On the right is the Dead Centaur Nessus. In the Italian fresh fresh in two columns. Italy paper engraving

Ornament Design with Three Nymphs 19th century Anonymous, French, 19th century French. Ornament Design with Three Nymphs 350704

Male nude. Crespi, Daniele (1597/1600-1630), draughtsman, cartoonist, Proccacini, Ercole II (1596-ca 1676), draughtsman, cartoonist

Bernardino India / 'Dead Christ supported by angels'. XVI century. Wash, Pencil, Pencil ground, Grey-brown ink on brown paper. Museum: Museo del Prado, Madrid, España.

Drawing, Slave from Hero and Leander in the Galleria Farnese, after Annibale Carraci; After Annibale Carracci (Italian, 1560-1609); Italy; red chalk on paper

Drawing by Jacopo Palma depicting a grave with four figures and a founder, executed in feather, laved, yellowed, on brown paper with cut corners.

Three Studies of Seated Nude Male with Raised Arm, Seen from Below. Artist: Anonymous, Italian, Bolognese, 17th century. Dimensions: 10-3/8 x 7-3/4 in. (26.4 x 19.7 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Pluto and Proserpina; The loves of the gods; Gods loved ones. Pluto grabs the naked Proserpina with her leg and tries to kiss her. Cerberus lies under them. In underwear Italian verse in two columns.

Venus and Mars discovered by Apollo from 'The Loves of the Gods' ca. 1531-76 Giulio Bonasone Italian. Venus and Mars discovered by Apollo from 'The Loves of the Gods' 392856

Angel by the leg of St. Rochus, Simon Vouet, 1600 - 1659 drawing paper. chalk male saints (with NAME)

Hercules en deïanira, Giovanni Jacopo Caraglio, after Perino del Vaga, 1515 - 1565 print The naked deïanira is on Hercules on their lap. On the right is the Dead Centaur Nessus. In the Italian fresh fresh in two columns. Italy paper engraving

Feather drawing by Andrea Boscoli titled The Fall, executed with wash on blue-gray paper that has a white ground.

South German Master red chalk and feather laved drawing on brownish paper depicting the dead Christ supported by two angels, standing oval format, 17th century.

Pallas Athena. Pallas Athena is naked and wears a helmet and lance. She leans against a tree against which her shield is with the head of the Medusa. Leaf 9 Recto from a sketchbook with 91 sheets.

Study for the Figure of Aeolus 1549-51 Pellegrino Tibaldi Italian This is a study for the figure of Aeolus, ruler of the winds, who aided the ancient Greek hero Ulysses on his journey. About 1549-1551 Tibaldi painted Aeolus on the ceiling of the Sala di Ulisse in the Palazzo Poggi in Bologna. Tibaldi, a painter and an architect, undertook the decorative campaign at the behest of Cardinal Giovanni Poggi (1493-1556) , for whom he had worked in Rome. Together with a drawing in the Musée du Louvre (inv. 10847), this preliminary design relates closely to the fresco, with only minor differences -- for example, the grip of the staff in Aeolus's right hand -- and therefore represents a relatively late stage in the design process. The muscular figure, with his stern gaze and flowing tendrils of beard, reflects the formative impact of Roman art, especially Michelangelo, on Tibaldi. Nevertheless, the delicacy with which Tibaldi described his subject, carefully hatching and crosshatching in red ch

Allegory on the power of women; Four allegories about the competition under Darius' three young bodyguards about who is the strongest. Allegory on the power of women. Naked personification of the power of women. Two children, fruits of the country and arms to her feet. She sprays milk from her chest in the mouth of one of the children. The caption refers to the competition under the bodyguards of the Persian King Darius on who is the most powerful (3 sdras 4: 13-33). Part of a series of four allegories.

Giovanni Battista Lama drawing of an allegory of spring, featuring Flora and Zephyr, executed in chalk with gray brush and whitewashed highlights.

Pen and ink drawing by an anonymous artist depicting the Grablegung (Entombment of Christ), executed with wash.

Brown ink drawing by Josef Winterhalder the Elder depicting angels holding the body of Christ, with lead patterning.

Five putti with flowers and garlands near Vaas, Leendert Brasser, After Jacob de Wit, 1770 print paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

Henry Fuseli, The Rape of Ganymede, 1804 The Rape of Ganymede

Red chalk and lead pencil drawing by Francesco Mazzola after 1535 depicting Bacchus drinking with a putto, showing figure interaction and composition.

A feather drawing by Biagio Pupini depicting Diogenes on gray wash and yellow primed paper with white highlights.

"Ink and feather drawing by Giulio Benso depicting the punishment of Amor, focusing on figure and gesture."

Bacchantes, a satyr in a group, at the light of torches. Two children, a money in the right foreground. Date: ca. 1750. Black chalk, pen and ink, brush and white wash on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Head of down -looking wife, Bernard Picart, 1683 - 1733 drawing paper. chalk counterproof

The Golden Age. Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Dimensions: 18 7/16 x 12 in. (46.8 x 30.4 cm). Date: 1871-1878.Although Rodin rarely made drawings with this level of finish in preparation for his sculptural projects, the staging of the figural group on a pedestal-like platform suggests a close relationship with sculpture. It is similar in style to the decorative sculptures he made in the 1870s while working in the Paris and Brussels studios of Albert-Ernest Carrier-Belleuse. The title refers to the first of the successive ages of humanity according to Greek mythology--a time of youthfulness and harmony in contrast to the violent Age of Bronze, the subject of Rodin's first important full-length sculpture. Museum: Metropolitan Museum of Art, New York, USA.

Rys.Ob.d.701; Spranger, Bartholomaeus (1546-1611) (rysownik); Niderlandy; Grzech pierworodny; 1590-1611; lawowanie, pióro, pêdzel, tusz (w tonie br¹zowym), gwasz; papier; 26,3 x 15,2

Seated Sibyl. Dated: c. 1690. Dimensions: overall: 39.2 x 26.8 cm (15 7/16 x 10 9/16 in.). Medium: brush and brown, blue, and gray ink over black chalk and graphite, heightened with white on laid paper. Museum: National Gallery of Art, Washington DC. Author: BARTOLOMEO GUIDOBONO.

Drawing, Figures from Last Judgment; Jean-Robert Ango (French, active in Rome 1759 -1770, d. 1773); After Michelangelo Buonarroti (Italian, 1475-1564); France; red chalk on paper; 1977-110-1-13

Two Studies for a Holy Family; Parmigianino (Francesco Mazzola), Italian, 1503 - 1540; Italy, Europe; 1526; Pen and brown ink, brush with brown wash, over red chalk, heightened with white gouache; incised line separating the two studies at the center of the sheet; 14.9 x 13.5 cm (5 7/8 x 5 5/16 in.)

Satan, Sin, and Death: 'Death and Sin met by Satan on his Return from Earth'. Artist: James Barry (Irish, Cork 1741-1806 London). Dimensions: Sheet: 23 1/4 × 16 3/8 in. (59 × 41.6 cm). Subject: Relates to John Milton (British, London 1608-1674 London). Date: 1792-95.Barry made this drawing between 1792 and 1795 as he planned a series of large etchings inspired by Milton's "Paradise Lost." Although the ambitious scheme was never fully realized, this composition was published as an etching, and demonstrates Barry's deep engagement with the sublime. The subject comes from Book II, 630-814 of the poem, lines that describe Satan's arrival at the Gates of Hell, after being cast from Heaven. Finding the entrance guarded by Death, he aims his spear at the skeletal figure, as the kneeling, bare-breasted figure of Sin attempts to intercede--Satan does not yet recognize his ghastly opponent to be his son, conceived in an incestuous liason with his daughter Sin. Barry's obsession with the the sub

Virtue Crowned by Honor 1670-76 Carlo Maratti Italian During the pontificate of Clement X Altieri (1670-1676), his family palace on the Piazza del Gesù in Rome was enlarged and redecorated. Carlo Maratti was commissioned to paint the main room between 1674 and 1677, but only the fresco that fills the long, narrow central section of the vault was executed. The undecorated portions of the vault were to contain allegorical figures representing Religion, Faith, Divine Wisdom, and Evangelical Truth. A document for this never-completed project, this sheet, boldly executed in red chalk, is a preparatory study for one of these allegorical figures, namely Virtue crowned by Honor. The same pair is represented in a slightly different arrangement in Maratti's study for the Allegory of the Divine Wisdom also in the Museum's collection (inv. 66.137). Here, Virtue no longer wears the animal pelt on her head but carries it over her extended left arm, and Honor lacks the cornucopia seen in the pen-and-

Old woman brings a message to a young woman sitting at a bath, draughtsman: anonymous, Low Countries, 1540 - 1560, paper, pen, brush, h 254 mm × w 185 mm

Study for a Standing Young Man, Raising a Curtain and Looking at Left. Artist: Baccio Bandinelli (Italian, Gaiole in Chianti 1493-1560 Florence). Dimensions: 15 x 10-5/16 in. (38.1 x 26.2 cm). Date: 1518-19.This large-scale life study was drawn from a male assistant ('garzone') posing in the artist's workshop, in order to design the female attendant figure holding the curtain on the right in Bandinelli's marble relief of the 'Birth of the Virgin' (Shrine of Santa Casa, Loreto), from 1518-1519. The sheet is typical of Bandinelli's early drawings in red chalk, which he worked up with a variety of mark, from sharp outlines to broad areas of soft modelling, in a manner that is reminiscent of the draughtsmanship of Andrea del Sarto (Italian, 1486-1530). Another life study in red chalk for the same figure, and based on the same workshop assistant, is in the British Museum, London (inv. 1885,0593.5). The British Museum study portrays the figure in less detail and with his head turned in a thr

. Ceres and Bacchus walking hand in hand. Ceres holds a sickle in hand and wears corners in her hair. Bacchus holds a grape food.

Fragment from Jupiter sends the three goddesses to Paris, Antonio Fantuzzi (attributed to), 1543 print Fontainebleau paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

"Study sheet by Bernardino Cesari showing a faun taking from a nymph, an individual study of the nymph in another pose, and two caricatured heads of elderly men. Executed in red chalk before 1616."

Ascension of Maria Magdalena, Lucas Cranach (I), 1506 print Mary is being led to heaven by angels. Germany paper. ink pen the assumption of St. Mary Magdalene: she is lifted up to heaven by angels; sometimes a hermit looks up at her

The Dream of Aeneas. Salvator Rosa (Italian, 1615 - 1673)

Ceres a Bacchus, Anonymous, After Jan Harmensz. Muller, After Bartholomeus Springs, 1595 - 1678 print Ceres and Bacchus walk hand in hand. Ceres holds a sickle in his hand and carries corners in her hair. Bacchus holds a grape vock in his hand. Netherlands paper engraving (story of) Ceres (Demeter). (story of) Bacchus (Dionysus), Liber

Two angels standing by a pedestal with putti floating above it. Bartolozzi, Francesco (1727-1815), graphic artist, nieokreślony rysownik, draughtsman, cartoonist, Guercino (1591-1666), painter

Sketches for a Lamentation and a Pietà, and of Various Figures, Heads, and an Arm (recto); Sketches of the Dead Christ, and of Various Figures and Heads (verso). Jacopo Negretti, called Palma il Giovane; Italian, c. 1548-1628. Date: 1575-1585. Dimensions: 275 x 195 mm. Pen and brown ink with brush and brown wash (recto and verso), on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Design for a tomb with a gisant on it, above it flies Chronos, Design for a tomb with a gisant, draughtsman: Pieter Verbruggen (I), , 1619 - 1686, paper, pen, brush, h 267 mm × w 195 mm

Studies of Saint James the Greater. Dated: c. 1686. Dimensions: sheet: 42 x 25.4 cm (16 9/16 x 10 in.). Medium: red chalk heighted with white chalk on blue laid paper. Museum: National Gallery of Art, Washington DC. Author: CARLO MARATTA.

Wijngaerde, Frans van den, Rubens, Peter Paul, Frankfurt am Main, Panneels, Willem, Jupiter and Juno, verso lower left - stamped, Jupiter and Juno as a couple in love, as an allegory of love. Next to them the eagle with a lightning bolt in its claws. The image is set in an oval frame with a square border., print, prints, height 180 mm, width 147 mm, South Netherlands, 1600 - 1632, print maker, printmaker, 1631 - 1631, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1577-06-28 - 1640-05-30, after a design by, Publication (Event), Publication, 1614-07-08 - 1679-03-17, publisher

Study for a Prometheus Bound (recto); slight sketch of head and shoulders of man in lead pencil (verso). Artist: Salvator Rosa (Italian, Arenella (Naples) 1615-1673 Rome). Dimensions: 10 x 7 1/16 in. (25.4 x 17.9 cm). Date: 1615-73. Museum: Metropolitan Museum of Art, New York, USA.

Statue of two putti with a torch.

Father Time reveals the truth, Louis Fabritius Dubourg, 1726 print The personification of the truth lies on the floor and leans against a tree. Father Time pulls a cloth that covers her body aside. Two putti with a scythe and an hourglass help him. Amsterdam paper etching agricultural implements: scythe. Time revealing Truth; Time carrying Truth aloft

Job punished by the Devil, Jacopo Palma (Il Giovane), 1554 - 1628 drawing paper. chalk. ink pen / brush Job on the dunghill with Satan (or devils) abusing and tormenting him; Job's wife may be present

Artist: Domenico Beccafumi, Italian, Siena, 1486-1551, KneelingMan, ca.1544, Red chalk, with a few stylus indentations. Original sheet trimmed to the edge of the figure and laid down., sheet: 25.4 × 17.5 cm (10 × 6 7/8 in.), Made in Italy, Italian, 16thcentury, Works on Paper - Drawings andWatercolors

Drawing by Heinrich Friedrich Füger in bister and feather with white highlights depicting a young man asleep on a riverbank while Melida is shown to him.

The Sower, George Richmond, 1809-1896, British, 1830, Watercolor, pen and black ink, pen and brown ink, and graphite on medium, moderately textured, cream wove paper, Sheet: 13 7/8 x 7 1/4 inches (35.2 x 18.4 cm), cape, figure study, male, mountains, nude

Illustration to the Tempest: Caliban, Ferdinand and Ariel. Artist: Henry Courtney Selous (British, Deptford 1811-1890 Beaworthy). Dimensions: Sheet: 5 11/16 × 3 9/16 in. (14.5 × 9 cm). Subject: William Shakespeare (British, Stratford-upon-Avon 1564-1616 Stratford-upon-Avon). Date: 1836. Museum: Metropolitan Museum of Art, New York, USA.

Anonymous drawing depicting Venus and Amor, executed with feather technique, washed and whitewashed.

Love. A female personification of love (Caritas), with three children whose chest they gives.

Vignette with two putti holding garlands of laurel leaves under a fleur-de-lys. Copperplate engraving by Marcantonio Canini from Giovanni Angelo Canini's Iconografia, cioe disegni d'imagini de famosissimi monarchi, regi, filososi, poeti ed oratori dell' Antichita, Drawings of images of famous monarchs, kings, philosophers, poets and orators of Antiquity, Ignatio deLazari, Rome, 1699.

Venus and Psyche, Raphael, Raffaello S.

The Virgin Walking to the Right Carrying the Christ Child 1503-40 Parmigianino (Girolamo Francesco Maria Mazzola) Italian. The Virgin Walking to the Right Carrying the Christ Child 338717

Male Nude. Artist: Giovanni Battista Lombardi (Italian, 1823-1880); After Anton Raphael Mengs (German, Ústi nad Labem (Aussig) 1728-1779 Rome). Dimensions: sheet: 11 1/4 x 16 3/4 in. (28.6 x 42.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Judith Beheading Holofernes. Date/Period: 1609/1610. Width: 160 mm. Height: 206 mm (Complete). Author: PETER PAUL RUBENS.

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

Heilige Andreas, Hendrick de Graauw, After François du Quesnoy, c. 1637 - 1693 print The holy Andreas, with X-shaped cross. To the statue of François Duquesnoy. paper etching the apostle Andrew; possible attributes: book, X-shaped cross, fish, fishing-net, rope, scroll

Neptune; Giulio Campi (Italian, about 1508 - 1573); Italy; 1541; Black chalk, the principle lines indented (recto); Rubbed with black chalk for transfer (verso); 42.7 × 27.6 cm (16 13,16 × 10 7,8 in.)

Studies of draped female and male figures; verso: Studies of draped female figures 18th-early 19th century Bartholomaeus Ignaz Weiss German. Studies of draped female and male figures; verso: Studies of draped female figures 383903

The Fatal Bellman 1827 England. Etching in black on cream vellum . George Richmond

Dead Christ, Angelo Solimena, Italian, ca. 1630-1716, Red chalk on blue paper, Drawing of the head, upper arm, and torso of dead Christ. Above the study there are sketches of hands., Italy, 17th-early 18th century, figures, Drawing, Drawing

Sketch for LastJudgement. Artist, copy after: Federico Zuccaro, Italian, ca. 1541-1609

Rafael Ximeno y Planes / 'Cain Killing Abel'. XVIII century. Grey-brown wash, Black chalk on laid paper. Museum: Museo del Prado, Madrid, España.

Amor wears bundle arrows to his sleeve; Scenes with venus and amor; Scherzi d'Amore.venus and Amor in a Landscape. Amor Wears a Bundle of Arrows to His Sleeve, Which Lies at Venus's Feet. Italian fresh in undermarge.

Drawing (Italy)

Woman (Caritas) With three children, Anonymous, 1700 - 1800 drawing paper. ink. chalk pen / brush Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues. mother-love

Sitting naked; Paintings in the Sixtin Chapel. Seated naked man, turned to the right, with a cloth over his head and a garland of fucks. One of the 'Ignudi' (naked men) from Michelangelo's ceiling painting. Numbered at the bottom right: 18.

Woman with a large tablet or shield, flaminio torri (attributed to), 1631 - 1661 drawing paper standing figure - AA - female human figure

Academy study on plaster of Laocon, draughtsman: Johannes Tavenraat, anonymous, 1819 - 1881, paper, h 565 mm × w 337 mm

Leda and the swan. Leda is depicted half-leaving, with the swan (Jupiter) between her legs. They kiss each other. On the right, Castor and Pollux, the children who originate from this commitment. An egg is still on the ground. According to Latin verse in the undermaster, the girl is Helena in this egg. This is Helena van Troje as a daughter of Leda and Jupiter.

There it goes. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching, aquatint and drypoint

Proserpina, Jacob Binck, After Giovanni Jacopo Caraglio, Florentine Red After, 1510 - 1569 print The goddess Proserpina, partly seen on the back, stands in a niche with a flower wreath on her head. paper engraving (story of) Proserpina (Persephone, Core), Libera

Drawing, Cupid raising bunches of flowers with both arms; Paolo de Mattheis (Italian, 1662 - 1728); Italy; red chalk, graphite on paper; 13 x 9.5 cm (5 1/8 x 3 3/4 in.)

Artist: Federico Zuccaro, Italian, ca. 1541-1609, The Dead Christ Supported byAngels, ca.1563, Red chalk, 34.7 × 26.5 cm (13 11/16 × 10 7/16in.), Italian, 16thcentury, Works on Paper - Drawings andWatercolors

Man Grappling with Winged Horse. Artist: Engraved by Anonymous, Italian, 16th century; After Battista Franco (Italian, Venice ca. 1510-1561 Venice). Dedicatee: Dedicated to Francesco Angeloni (Terni 1559 or 1587-1652 Rome). Dimensions: plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm). Former Attribution: Formerly attributed to Enea Vico (Italian, Parma 1523-1567 Ferrara). Published in: Rome. Publisher: Published by Philippe Thomassin (French, Troyes 1562-1622 Rome). Series/Portfolio: Ex Antiquis Cameorum .... Date: published ca. 1599-1622. Museum: Metropolitan Museum of Art, New York, USA.

. Design for a door frame with two naked genii that stop a cartouche and pull a drapery above a door with the other hand.

On a bow leaning naked woman and two children. Draughtsman: Pirro Ligorio. Dating: 1535 - 1545. Measurements: h 218 mm × w 193 mm. Museum: Rijksmuseum, Amsterdam.

Lamentation of Christ, draughtsman: Luca Giordano, draughtsman: anonymous, Giulio Borgiani, (possibly), 1600 - 1699, paper, brush, h 235 mm × w 350 mm

. Design for a painting.

Alessandro Allori, A Pearl Diver, Italian, 1535-1607, c. 1570, black chalk on laid paper

In. Sebastian I W. Katarzyna; Morazzone (1573-1626); XVI/XVII century (1591-00-00-1626-00-00);Katarzyna Aleksandryjska (Saint), Bonoli Code, Sebastian (Saint--280), Tyszkiewicz, Benedykt (1904-1956), Tyszkiewicz, Benedykt (1904-1956)-collections, angels (iconogr.), Dar (provenance (provenance ), projects, images of paintings, Italian drawings, saints

Venus and Amor ca. 1585 Bartholomeus Spranger Netherlandish. Venus and Amor 459286

Night: Winged female figure, whom floats a child on every arm, Bertel Thorvaldsen, 1800 - 1815 drawing Design for a relief. paper. chalk night

Naked rider on a rearing horse. Artist: anonymous. Draughtsman: anonymous. Dating: 1600 - 1699. Measurements: h 287 mm × w 194 mm. Museum: Rijksmuseum, Amsterdam.

. The personal envisaged envy; An old woman figure with snakes like her, gnawing on a heart and with a snake in her hand. In addition to her a dog.

The Holy Family. Cantarini, Simone, 1612-1648. 1701 - 1800. Caccioli, Giuseppe Antonio, 1672-1740. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Redel and white-groped artwork by Francesco Primaticcio depicting Proserpina with Amor and Cerberus, showing three figures in mythological composition.

The Sacrifice of Isaac. Dated: c. 1500. Dimensions: overall: 24 x 18 cm (9 7/16 x 7 1/16 in.). Medium: red chalk with white heightening on laid paper. Museum: National Gallery of Art, Washington DC. Author: Workshop of Luca Signorelli.

Apollo and Diana ca. 1503-5 Jacopo de' Barbari Italian In this print Apollo is shown in his role as a solar deity, standing on top of a celestial sphere firing arrows that signify the rays of the sun. The image shows the moment when night, symbolized by Apollo's sister Diana, goddess of the moon, gives way to day. Devoted to the hunt, the chaste Diana (the Greek Artemis) is accompanied by a deer.It was through engravings like this, with its idealized nude figures, that Barbari influenced artists throughout Europe, including the German Albrecht Dürer.. Apollo and Diana 360380

Hendrick Goltzius (1558-1617), Dutch school) Proserpine engraving-chiaroscuro The State Hermitage Museum, St Petersburg

Recueil de morceaux d'architecture et de divers fragmens de monumens antiques fait en Italie par Marie Joseph Peyre architecte du Roy ancien pensionnaire de Sa Majesté à Rome, Peyre, Marie-Joseph, 1730-1785, pencil, ink, pen, wash, black and red chalk, watercolor, 1786, Album of architectural drawings with sketches and some fully realized drawings includes drawings of architectural fragments and details (some with measurements), two views, ancient and Baroque sculpture, urns and coffers, and designs for fountains and buildings.

Study sheet by Giuseppe Bartolomeo Chiari showing an angel playing loudly, with studies for his head and left leg, executed in red chalk.

'Mars and Venus'. Flanders, 1622. Dimensions: 45,8x31,4 cm. Museum: State Hermitage, St. Petersburg. Author: Anthony Van Dyck.

Touch 1730-65 Etched by Anne Claude Philippe de Tubières, comte de Caylus. Touch. The Five Senses(Les Cinq Sens). Etched by Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692-1765 Paris). 1730-65. Etching and engraving. François Joullain (French, Paris 1697-1778 Paris). Prints

Sin, Adam and Eve, draughtsman: Pieter Coecke van Aelst (I), draughtsman: Peter Paul Rubens, after 1540 - 1549, paper, pen, brush, h 200 mm × w 265 mm

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