Schelte Adamsz Bolswert (c. 1586-1659)

Stormy Landscape with Philemon and Baucis Antwerp, after 1630 Engraving Paper: 502 x 665 mm; mount: 620 x 805 mm Mythological Gods are notorious for their vengeful behaviour. When a disguised Jupiter and Mercury visited Heart, only Philemon and Baucis welcomed them. Shocked by the hostility of other inhabitants, the gods flooded the landscape. Here … Read more

Schelte Adamsz Bolswert (1586-1659)

A Flat Flemish Landscape with Clouds The Netherlands Engraving Plate: 330 x 405 mm, mount: 515 x 625 mm One of two engravings after Rubens bought by the Barber Institute. This one distinguishable as without figures. Purchased (No. 99.2a)

Bartolommeo Biscaino (1632-1657)

Holy Family Italy, Genoa Etching Plate: 180 x 180 mm, mount: 557 x 404 mm Mary lovingly clutches the young Christ, who stands upright in her lap as he turns his head to look at his father, Joseph. Biscaino’s delicate handling of the medium of etching is particularly evident in his use of chiaroscuro, the … Read more

Fra Bartolommeo (1472-1517)

An Italian Town (recto), A Farm Among Trees (verso) Italy Pen, brown and black ink 288 x 217 mm On the recto of this sheet, a well-balanced composition depicting an unidentified Italian landscape is one of many sketches from nature by Bartolommeo. It shows a fortified town surrounded by trees and a valley stretching towards … Read more

Hieronymus Cock (around 1510-1570)

Mercury and Argus The Netherlands, around 1558 Etching 227 x 324 mm In this print, the narrative of Mercury and Argus (from Ovid’s Metamorphoses) is dwarfed by the fantastic landscape. In keeping with Flemish tradition, Cock depicts all elements of nature: woodland, mountain ranges, river, fields and animals. This print features Mercury attempting to lull the … Read more

Marcantonio Raimondi (c.1480-1527/34)

The Massacre of the Innocents Rome, 1513-15 Engraving Paper: 278 x 430 mm Mount: 562 x 690 mm This harrowing scene depicts a key episode from the New Testament. Following the Magi’s prediction of the birth of the King of Jews, King Herod ordered the assassination of all male infants in Bethlehem. The idealised classical … Read more

Giulio Bonasone (c. 1498 – c. 1580)

The chastising of Cupid Bologna, 1563 Engraving Plate: 226 x 357 mm; mount: 405 x 556 mm Occasionally, mythological Gods got their comeuppance for their misbehaviour. Cupid’s arrows had the power to change the amorous feelings on the unsuspecting: leaden ones fostered indifference, whilst golden arrows inflamed love. Here, Cupid is tied to a tree … Read more

Albrecht Dürer (1471-1528)

The Death of the Virgin Nuremberg, 1510 Woodcut In contrast to the highly-wrought drama of his Apocalypse series, Dürer’s Life of the Virgin cycle incorporates more naturalistic settings, intended to appeal to a broader public. This sorrowful scene shows the Virgin Mary on her death bed surrounded by her apostles. Dürer’s ability to create movement and his … Read more

Jan (Johan) Sadeler I, after Paul Bril (about 1554-1626)

Landscape with Rabbit Hunt Rome, after 1595 Etching and engraving 270 x 343 mm Multiple groups of hunters and dogs bound through the landscape in pursuit of birds and beasts. The rickety fences, meandering paths and natural disarray of the forest contrast with the neat town in the background. Sadeler uses strong contrast in tone … Read more

Giorgio Ghisi (1520/4-1582)

An allegory of life (‘The dream of Raphael’) Paris, 1561 Engraving 380 x 540 mm Believed to have been inspired by Virgil’s Aeneid (19 B.C.), this work remains elusive in meaning. Ghisi’s frenetic attention to detail creates an intense, dream-like atmosphere of confusion. The splintered boat stranded amid the swirling water, jagged rocks and snarling … Read more

Albrecht Dürer (1471-1528)

A Man with an Oar Netherlands, about 1520/21 Pen and brown ink 16 x 10.4 cm  This fine drawing is one of a number of works believed to have been made during Dürer’s trip to the Netherlands in around 1520-21. It was among those taken from the museum of the Lubomirski family, established in the … Read more

Agostino Carracci (1557-1602)

Ecce Homo Bologna, 1587 Etching Paper: 45 x 34.4 cm; mount: 63 x 51.5 cm  Depicting a standard cycle of the Passion of Christ, the words ‘Ecce Homo’ (‘Behold the Man’) were used by Pontius Pilate to present Christ to the jeering crowds before his crucifixion. Mary swoons in the foreground, an unusual addition to … Read more

Hans Holbein the Younger (1497/8 – 1543)

Design for stained glass About 1520 Pen and grey wash with traces of black chalk 375 x 295 mm Hans Holbein the Younger, later court painter of Henry VIII, made several designs for stained glass windows in his early career. The inclusion of a mitre and crozier suggests that the design was probably made for a … Read more