Works of Art (113)
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Abraham and Isaac, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and burin; only state (29.107.26) |
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Amorini Celebrate the Rape of Proserpina, 1805–12, Francesco Rosaspina (Italian), after an oil painting by Francesco Albani (Italian), Engraving and etching (45.78.123) |
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An Analysis of the Structure of the Mausoleum of Cecilia Metella: From Antichità Romane, 1756, Giovanni Battista Piranesi (Italian), Etching, plate 49 of Antichità Romane, vol. 3, first edition (41.71.1.3.49) |
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And There's Nothing to Be Done (Y no hai remedio), 1810–23,
Francisco de Goya y Lucientes (Spanish),
Etching, drypoint, burin, and burnisher (32.62.17) |
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Annibale Carracci Introduces Painting to Apollo and Minerva, Pietro Aquila (Italian), after a drawing by Carlo Maratta (Italian), Etching (51.501.2593) |
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Apollo and Daphne, ca. 1538–40, Andrea Schiavone (Andrea Medulich or Meldolla) (Italian, Venetian), Etching (26.70.3[195]) |
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Apollo, Pegasus, and the Hippocrene Spring, mid-16th century, Angiolo Falconetto (Italian), after Giulio Romano (Italian, Roman, ca. 1499–1546), Etching (49.95.286) |
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The Artist's Mother: Head and Bust, Three-Quarters Right, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching (18.72) |
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Bacchanal: The Satyr's Family, 1763, Jean-Honoré Fragonard (French), Etching (1996.328.2) |
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Beggar Leaning on a Stick, Facing Left, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching (26.72.156) |
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The Blind Guitarist (El ciego de la guitarra), 18th century, Francisco de Goya y Lucientes (Spanish), Etching; working proof (22.63.29) |
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The Boy with a Sword, 1862,
Édouard Manet (French),
Etching and aquatint, third state (1980.1077) |
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The British Architect; or, The Builder's Treasury of Staircases…, 1775, Written by Abraham Swan (British); etching by John Norman (American); published by Robert Bell, Philadelphia, American, Etching (43.26.1) |
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Cadmus Fighting the Dragon Who Had Killed His Men, Léon Davent (French), after Francesco Primaticcio (Italian, Bolognese), Etching; sheet, trimmed within platemark (49.97.570) |
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Cinq Personnages, 1946, Stanley William Hayter (British), Engraving and soft-ground etching (1980.117.1) |
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Contest between Athena and Poseidon, ca. 1543, Antonio Fantuzzi (Italian, Bolognese), after Rosso Fiorentino (Italian, Florentine), Etching; sheet, trimmed to platemark (49.97.589) |
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Death Carrying a Child, ca. 1648, Stefano della Bella (Italian, Florentine), Etching (59.570.379.3) |
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A Design for a Chimney Piece in a Lower Story: Plate 51 of The British Architect; or, The Builder's Treasury of Staircases…, 1745, By Abraham Swan (British); engraving by Edward Rooker (British), British, Etching and engraving (41.100.30) |
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Design for a "Corinthian Hall" by G. Leoni: From The Architecture of A. Palladio in Four Books (vol. 1, book 2, plate XXVIII), 1715,
Author: Andrea Palladio (Andrea di Pietro della Gondola) (Italian, 1508–1580)
Engraver: Bernard Picart (French),
Editor: James (Giacomo) Leoni; Translator: Nicholas Dubois,
London: Printed by John Watts for the author Giacomo Leoni, 1715,
(41.100.169.28) |
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Design for a fan, 18th century, Anonymous (Austrian), Etching (49.95.65) |
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Dream and Lie of Franco,
Pablo Picasso (Spanish),
Etching and aquatint (1986.1224.1[2]) |
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The Dream of Aeneas, ca. 1663–64), Salvator Rosa (Italian, Neapolitan), Etching with drypoint (17.50.17.85) |
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The Drunken Silenus, 1628, Jusepe de Ribera (Spanish), Etching with drypoint, engraving, and burnishing (22.67.14) |
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Egyptian Fireplace: From the Diverse maniere …, 1769, Giovanni Battista Piranesi (Italian), Etching (1973.509.8)
Painted Decoration of the Caffé Inglese, Rome: From the Diverse maniere …, 1769, Giovanni Battista Piranesi (Italian), Etching (41.71.1.20.46) |
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The Entombment, ca. 1654, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching printed on Chinese paper; first state of four (20.46.17) |
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The Entombment, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching, drypoint, and engraving; second state of four (23.51.7) |
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Fall of the Giants, 1663, Salvator Rosa (Italian), Etching with drypoint (24.63.1829) |
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Fountain in Front of the Villa Aldobrandini (Villa Belvedere): From Le fontane di Roma, part 2, Le fontane delle ville di Frascati (plate 5), 1691,
Artist: Giovanni Battista Falda (Italian),
Rome: Giovanni Giacomo de' Rossi, 1691,
Etching (1991.1073.145.5) |
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The Fountain of Mercury in the Garden of the Villa Medici: From Le fontane di Roma, part 3, Le fontane ne' palazzi e ne' giardini di Roma (plate 9), 1691,
Artist: Giovanni Franceso Venturini (Italian),
Rome: Giovanni Giacomo de' Rossi, 1691,
Etching (1991.1073.145.9) |
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The Garden of Venus, ca. 1631–37, Pietro Testa (Italian, Roman), Etching (26.70.3[44]) |
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The Garrotted Man (El agarrotado), 1778–80, Francisco de Goya y Lucientes (Spanish), Etching printed in blue ink (20.22) |
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The Genius of Castiglione, ca. 1645–47, Giovanni Benedetto Castiglione ("Il Grechetto") (Italian); published in 1648 by Giovanni Giacomo de' Rossi (Italian); dedicated to Matthys van de Merwede, lord of Clootwyck (Dutch), Italian Etching (17.50.17-36) |
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The Girandola at the Castel Sant'Angelo, ca. 1783, Francesco Piranesi (Italian) and Louis-Jean Desprez (French), Etching with colored washes (69.510) |
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The Good Samaritan, 1633, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and drypoint; first state of four (41.1.53) |
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Henry II Between France and Fame, ca. 1548, Jean Duvet (French), Etching (25.2.93) |
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Hesperides, sive, De Malorum Aureorum cultura et usu Libri Quatuor (opposite page 342), 1646, Written by Giovanni Battista Ferrari (Italian), Published by Sumptibus Hermanni Scheus, Designed by Guido Reni (Italian), Printed by Johann Friedrich Greuter (German, active Rome), Etching and engraving (67.828) |
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Hieronymus in Deserto (Saint Jerome in the Wilderness), ca. 1555–56, Jan and Lucas van Doetecum after Pieter Bruegel the Elder (Netherlandish), Etching and engraving; only state (26.72.13) |
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Hortus Palatinus (plate 32), bound with Les raisons des forces mouvants, 1620, Salomon de Caus (Flemish, active in Germany), Jan Norton, Frankfurt, Etching (49.122) |
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Imaginary View of Venice (undivided plate), 1741
Canaletto (Giovanni Antonio Canal) (Italian, Venetian), Italian, Etching (1973.634) |
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The Iron Forge between Dolgelli and Barmouth in Merioneth Shire: Plate 6 of XII Views in North Wales, 1776, Paul Sandby (British), London, Etching and aquatint printed in brown ink (36.8.30) |
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Jan Lutma, 1656, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching and drypoint printed on Japan paper; first state of three (20.46.18) |
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L'Autonne, ca. 1715–16, Faissar, after Antoine Watteau (French, Etching and engraving (28.113 (2), pl.52) |
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La Petite Reposée, 1756, François Boucher (French), Etching (1998.524) |
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Landscape with a Double Spruce in the Foreground, ca. 1520–22, Albrecht Altdorfer (German), Etching printed from iron (1993.1097) |
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Las Meninas, after Velázquez, ca. 1778, Francisco de Goya y Lucientes (Spanish), Etching, drypoint, burin, roulette, and aquatint; working proof of the third state, Promised Gift of Derald H. and Janet Ruttenberg |
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Le Bassin d'Apollon (The Fountain of Apollo, Versailles): From the series Veues des plus Beaux Lieux de France et d'Italie . . ., 1680s, Adam Perelle (French), Nicolas Langlois, Paris, Etching (52.519.84.88) |
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Little Venice, 1880
James Abbott McNeill Whistler (American),
Etching (17.3.85) |
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Lovers, ca. 1525–30, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma), Etching, first state; sheet, trimmed to platemark (26.70.3 [102]) |
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Madonna in the Clouds, ca. 1581 (no later than 1582), Federico Barocci (Italian), Etching and engraving; sheet (17.50.18.147) |
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Magdalena Poenitens (Penitent Magdalene), ca. 1555–56, Joannes and Lucas van Doetecum after Pieter Bruegel the Elder (Netherlandish), Etching with engraving; first state of two (26.72.14) |
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Mary Cassatt at the Louvre: The Etruscan Gallery, 1879–80,
Hilaire-Germain-Edgar Degas (French),
Softground etching, drypoint, aquatint, and etching, third state of nine (19.29.2) |
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A Masked Gentleman at a Coffee House: From Divers Portraits, 1775, Giovanni David (Italian), Etching and aquatint printed in brown ink (1979.525.1) |
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Maternal Caress, 1891,
Mary Cassatt (American),
Drypoint and soft-ground etching, third state, printed in color (16.2.5) |
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Milites Requiescentes (Soldiers at Rest), ca. 1555–56, Jan and Lucas van Doetecum after Pieter Bruegel the Elder (Netherlandish), Etching and engraving; only state (26.72.56) |
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Minerva and the Muses, mid-16th century, Emilian (?) school, Etching and drypoint (27.78.2[99]) |
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Modo col quale furono alzati i grossi Travertini, e gli altri Marmi nel fabbricare il gran Sepolcro di Cecilia Metella, oggi detto Capo di Bove (The means by which the large travertine blocks and other marbles were lifted in the construction of the Great Tomb of Cecilia Metella, today called Capo di Bove): From Antichità Romane, 1756, Giovanni Battista Piranesi (Italian), Etching, plate 53 of Antichità Romane, vol. 3, first edition (41.71.1.3.53) |
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The Muses on Mount Parnassus, 1542–43, Antonio Fantuzzi (Italian, Bolognese, active at Fontainebleau), Etching (49.97.585) |
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"Negress" Lying Down, 1658, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching, drypoint, engraving; 3 3/16 x 6 1/4 in. (8.1 x 15.8 cm) (29.107.28) |
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Newdigate Candelabrum: From Vasi, Candelabri, Cippi, Sarcofagi …, 1778, Giovanni Battista Piranesi (Italian), Etching (41.71.1.13.14) |
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Nouveau theatre de la Grande Bretagne, ou, Description exacte des Palais de La Reine, et des Maisons les plus considerables . . . de la Grande Bretagne (plate 6), 1708, Leonard Knyff (Netherlandish), Johannes Kip (Netherlandish), David Mortier, London, Etching (52.519.69) |
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Nymph of Fontainebleau, ca. 1545–54, Pierre Milan (French), and René Boyvin (French), after Rosso Fiorentino (Italian, Florentine), Etching (32.105) |
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One Can't Look (No se puede mirar), 1863, Francisco de Goya y Lucientes (Spanish), Etching, burnished lavis, drypoint, and burin (22.60.25.26) |
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One Hunting for Teeth: Plate 12 of Los Caprichos, first edition, 1799, Francisco de Goya y Lucientes (Spanish), Etching, burnished aquatint, and burin (18.64.12) |
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Pan Reclining before a Large Vase, published 1648, Giovanni Benedetto Castiglione ("Il Grechetto") (Italian), Etching (17.50.17[464]) |
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Parlour Chair: Plate 9 of The Cabinet and Chair-Maker's Real Friend and Companion, 1765, By Robert Manwaring (British); engraved by Robert Pranker (British); published by Henry Webley, London, 1765, British, Etching and engraving (32.9.6) |
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Parte di ampio magnifico Porto all'uso degli antichi Romani (Part of a spacious magnificent harbor in the manner of the ancient Romans), ca. 1749–50, Giovanni Battista Piranesi (Italian), Etching, first state before caption plate (37.45.3.41) |
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Perseus Saving Andromeda, ca. 1775, Giovanni David (Italian), Etching (2001.741) |
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Piazza del Popolo, ca. 1750, Giovanni Battista Piranesi (Italian), Etching (37.45.3.49) |
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The Poet, Jusepe de Ribera (Spanish), Etching, only state (30.54.69) |
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The Portico of Octavia: From Vedute di Roma (Views of Rome), 1760, Giovanni Battista Piranesi (Italian), Etching (64.521.2) |
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Psiche Curieuse, mid-1770s, Giovanni David (Italian), Etching and aquatint (1976.629) |
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The Public Promenade, 1792, Philibert-Louis Debucourt (French), Etching, engraving, and aquatint printed in color (61.531) |
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Rabbit Hunt, 1560, Pieter Bruegel the Elder (Netherlandish), Etching (25.2.11) |
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The Rape of Proserpina, ca. 1760–95, Gaetano Gandolfi (Italian, Bolognese), Etching (60.611.66) |
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Recruits Going to Join the Regiment, 1716–17,
Jean Antoine Watteau (French),
Etching with drypoint, first state of three (2006.43) |
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The "Room of the Winds" with Mount Parnassus: From Le fontane di Roma, part 2, Le fontane delle ville di Frascati (plate 7), 1691,
Artist: Giovanni Battista Falda (Italian),
Rome: Giovanni Giacomo de' Rossi, 1691,
Etching (1991.1073.145.7) |
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The Round Tower: Plate 3 of Carceri, ca. 1749–60, Giovanni Battista Piranesi (Italian), Italian, Etching, engraving, sulphur tint or open bite, burnishing (37.45.3(27)) |
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The Russian Dance, 1769, Jean-Baptiste Le Prince (French), Etching and aquatint printed in brown ink (22.64.1) |
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The Sacrifice of Iphigenia, ca. 1640–42, Pietro Testa (Italian, Roman), Etching with drypoint (26.70.3[43]) |
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Saint Jerome Hearing the Trumpet of the Last Judgment, Jusepe de Ribera (Spanish), Etching with drypoint and engraving, only state (52.312.5) |
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Saint Jerome in the Wilderness, ca. 1591, Annibale Carracci (Italian, Bolognese), Etching and engraving, third state of four6 (26.70.4.20) |
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Saint William of Maleval, 1661, Salvator Rosa (Italian, Neapolitan), Etching and drypoint (17.50.17.90) |
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Satire on Popery, 1555, German, Etching (53.677.5) |
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A Satyr Family: From the series Scherzi di Fantasia, ca. 1743–57, Giovanni Battista Tiepolo (Italian, Venetian), Etching (1976.537[19]) |
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The Seasons (Summer), 1987, Jasper Johns (American), Etching with aquatint (1999.407b) |
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Secondo prospetto per fianco del palazzo con diversa veduta del giardino del Bel respiro . . . Pamphilio (View of the side facade of the Palazzo Pamphilj and its garden): Plate 20 of Li Giardini di Roma, 1670 and 1683, Giovanni Battista Falda (Italian), Giovanni Giacomo de' Rossi (Italian), Etching (61.532.26.20) |
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Self-Portrait, ca. 1630, Anthony van Dyck (Flemish), Etching (50.583.4) |
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Self-Study Book of Drawing, Painting, and Embroidery for Ladies, 1798, Designed by Johann Friedrich Netto, Published by Voss und Compagnie, Leipzig, Etching, silk and metal thread embroidery on silk, on one page (32.121.3) |
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The Semicircular Water Theater of the Villa Mondragone: From Le fontane di Roma, part 2, Le fontane delle ville di Frascati (plate 18), 1691,
Artist: Giovanni Battista Falda (Italian),
Rome: Giovanni Giacomo de' Rossi, 1691,
Etching; (1991.1073.145.18) |
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Sheet with Two Studies: A Tree and the Upper Part of a Head of Rembrandt Wearing a Velvet Cap, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching; only state (1970.705) |
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The Skeletons: From the Grotteschi, ca. 1748, Giovanni Battista Piranesi (Italian), Etching with engraving, drypoint, and burnishing, second state (37.45.3.38) |
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The Sleep of Reason Produces Monsters: Plate 43 of The Caprices (Los Caprichos), 1799, Francisco de Goya y Lucientes (Spanish), Etching, aquatint, drypoint, and burin (18.64) |
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The Three Trees, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching with drypoint and engraving (29.107.31) |
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Traité du jardinage selon les raisons de la nature et de l'art (plate following page 87), 1638, Jacques Boyceau de la Baraudière (French), Michel van Lochom, Paris, Etching (26.104.2) |
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Ulysses at the Table of Circe: Plate 16 of The Odyssey of Homer Engraved from the Compositions of John Flaxman R.A., 1805, John Flaxman (British), Printmaker: James Parker (British), London, England, Etching (1977.595.53) |
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Untitled: From 15 etchings portfolio, 1996,
Anish Kapoor (British, born India),
Etching (1999.305d) |
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Vari disegni di Merletti,
Bartolomeo Danieli (Italian),
Published by Agostino Parisini and Giovanni Battista Negroponte, Bologna, 1639,
Etching (37.47.2) |
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Veduta del Mausoleo d'Elio Adraiano, ora chiamato Castello S. Angelo (View of the Mausoleum of Hadrian, now called the Castel S. Angelo): From Vedute di Roma (Views of Rome), ca. 1756, Giovanni Battista Piranesi (Italian), Etching, undescribed first state with address of Bouchard (55.567.6) |
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Veduta dell'Anfiteatro Flavio detto il Colosseo (View of the Flavian Amphitheater known as the Colosseum): From Vedute di Roma (Views of Rome), 1776, Giovanni Battista Piranesi (Italian), Etching, first state (59.570.426) |
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Venus Entrusting an Infant to Time, ca. 1758, Giovanni Domenico Tiepolo (Italian, Venetian), after Giovanni Battista Tiepolo (Italian, Venetian), Etching (57.619.5) |
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Veue du chasteau de Versailles (View of Versailles, garden facade): From the series Veues des plus Beaux Lieux de France et d'Italie . . ., 1680s, Adam Perelle (French), Israël Silvestre (French), Nicolas Langlois, Paris, Etching (20.41.126) |
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View of Paris from Notre Dame to the Tournelle Bridge (Autre vue Particuliere de Paris depuis Notre Dame jusques au Pont de la Tournelle), 1720–54, Jacques Rigaud (French), Etching (53.600.1175) |
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View of the Grand Facade of the Louvre (Vue de la Grande Façade du Vieux Louvre), 1752, Jacques Rigaud (French), Etching (53.600.1191) |
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View of the Palazzo Mancini, Rome, 1752, Giovanni Battista Piranesi (Italian), Etching (41.71.1.16.29) |
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View of the Villa La Petraia: From Vedute delle ville, e d'altri luoghi della Toscana (plate 33), 1744,
Artist: Filippo Morghen, after a drawing by Giuseppe Zocchi (Italian),
Florence: Giuseppe Allegrini, 1744,
Etching (36.31.10.33) |
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Villa Borghese: From Li giardini di Roma (plate 15), after 1677,
Artist: Simone Felice (Italian),
Rome: Giovanni Giacomo de' Rossi, after 1677,
Etching (61.532.26[15]) |
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Villa d'Este, Tivoli, View of the Palace from the Lower Level Garden: From Le fontane di Roma, part 4, Le fontane del giardino Estense in Tivoli (plate 3 [foldout]), 1691,
Artist: Giovanni Franceso Venturini (Italian),
Rome: Giovanni Giacomo de' Rossi, 1691,
Etching (1991.1073.145.3) |
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Villa Medici: From Li giardini di Roma (plate 7), after 1677,
Artist: Giovanni Battista Falda (Italian),
Rome: Giovanni Giacomo de' Rossi, after 1677,
Etching (61.532.26[7]) |
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Villa Rotonda: From The Architecture of A. Palladio in Four Books (vol. 1, book 2, plate XV), 1715,
Author: Andrea Palladio (Andrea di Pietro della Gondola) (Italian, 1508–1580),
Engraver: Bernard Picart (French),
Editor: James (Giacomo) Leoni; Translator: Nicholas Dubois,
London: Printed by John Watts for the author Giacomo Leoni, 1715,
Engraving (41.100.169.15) |
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The Visit to the Gobelins by Colbert de Villacerf, ca. 1691–99, Sébastien Leclerc (French), Etching (53.600.2612) |
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Wilton Garden (plate 1), ca. 1640, Written and designed by Isaac de Caus (French), Peter Stent (British), Thomas Rowlett, London, Etching (27.66.2) |
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The Windmill, 1641, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Etching (41.1.12) |
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Wooded Landscape at L'Hermitage, Pontoise, 1879,
Camille Pissarro (French),
Softground etching, drypoint, and aquatint on china paper, sixth state (21.46.1) |
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Thematic Essays (25)
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