Old Masters Collection (page 9)

Recto: The Infant Christ and other Studies, WA1855. 91 (pen & brown ink over leadpoint
3959911 Recto: The Infant Christ and other Studies, WA1855.91 (pen & brown ink over leadpoint, on white paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum

The Miraculous Mass at Bolsena, WA1846. 273 (pen & brown ink with grey wash heightened
3959905 The Miraculous Mass at Bolsena, WA1846.273 (pen & brown ink with grey wash heightened with bodycolour) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum

Verso: Study for a Figure of the Almighty, WA1846. 207 (red chalk over blind stylus)
3959894 Verso: Study for a Figure of the Almighty, WA1846.207 (red chalk over blind stylus) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Verso: Studies for two kneeling Women, WA1846. 198 (black chalk)
3959881 Verso: Studies for two kneeling Women, WA1846.198 (black chalk) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

The Head of a Horse, WA1846. 197 (black chalk or charcoal
3959879 The Head of a Horse, WA1846.197 (black chalk or charcoal, the outlines pricked for transfer, on brown discoloured paper made up of posssibly six joined sheets)

Recto: The Judgement of Solomon, WA1846. 196 (metalpoint on pale green prepared paper)
3959877 Recto: The Judgement of Solomon, WA1846.196 (metalpoint on pale green prepared paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Recto: Studies of a Head and a Hand. Verso: Rough draft of the sonnets
3959865 Recto: Studies of a Head and a Hand. Verso: Rough draft of the sonnets Come non podde dir and Amor tu m envesscati

Verso: Figure Studies and a draft sonnet, WA1846. 186 (black chalk and pen & black ink)
3959864 Verso: Figure Studies and a draft sonnet, WA1846.186 (black chalk and pen & black ink) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Recto: Study for the Drapery of a Man in back view (Study for the Disputa), WA1846
3959863 Recto: Study for the Drapery of a Man in back view (Study for the Disputa), WA1846.186 (black chalk and charcoal with some white heightening (possibly white chalk)

Verso: Adam tempted, WA1846. 180 (pen & brown ink over some leadpoint)
3959854 Verso: Adam tempted, WA1846.180 (pen & brown ink over some leadpoint) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Verso: Rough Sketches of kneeling Figures, WA1846. 174 (black chalk)
3959845 Verso: Rough Sketches of kneeling Figures, WA1846.174 (black chalk) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Verso: Study of the Body of Christ in a Pieta, WA1846. 171 (pen & brown ink)
3959841 Verso: Study of the Body of Christ in a PietA, WA1846.171 (pen & brown ink) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Verso: Two Female Heads and a Sketch of a Woman squatting, WA1846. 168 (black chalk)
3959836 Verso: Two Female Heads and a Sketch of a Woman squatting, WA1846.168 (black chalk) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Recto: Study for St Catherine, WA1846. 168 (pen & brown ink on white paper)
3959835 Recto: Study for St Catherine, WA1846.168 (pen & brown ink on white paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Recto: A Man writing in a Book, WA1846. 167 (pen & brown ink on white paper)
3959833 Recto: A Man writing in a Book, WA1846.167 (pen & brown ink on white paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Recto: Four standing soldiers;, WA1846. 164 (pen & brown ink
3959828 Recto: Four standing soldiers;, WA1846.164 (pen & brown ink, possibly with some later reworking, on paper discoloured by pouncing) by Raphael (Raffaello Sanzio of Urbino) (1483-1520)

Recto: The Virgin and Child and St John, WA1846. 162 (pen & brown ink on buff paper)
3959824 Recto: The Virgin and Child and St John, WA1846.162 (pen & brown ink on buff paper) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Verso: Architectural detail of a niche, WA1846. 159 (pen & brown ink over some blind
3959820 Verso: Architectural detail of a niche, WA1846.159 (pen & brown ink over some blind stylus) by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Un salon de la galerie Borghese (engraving)
3644410 Un salon de la galerie Borghese (engraving) by French School, (19th century); Private Collection; (add.info.: Un salon de la galerie Borghese. Illustration for Le Magasin Pittoresque (1847)

Moses receiving the Commandments, Exodus XX, 19 (engraving)
6005749 Moses receiving the Commandments, Exodus XX, 19 (engraving) by West, Benjamin (1738-1820) (after); Private Collection; (add.info.: Moses receiving the Commandments, Exodus XX, 19)

Christ foretelling the Fall of Jerusalem, Lamentations I, 8 (engraving)
6005745 Christ foretelling the Fall of Jerusalem, Lamentations I, 8 (engraving) by Begas, Karl Joseph (1794-1854) (after); Private Collection; (add.info.: Christ foretelling the Fall of Jerusalem)

The Marys at the Sepulchre, Mark XVI, 6 (engraving)
6005742 The Marys at the Sepulchre, Mark XVI, 6 (engraving) by Veit, Philipp (1793-1877) (after); Private Collection; (add.info.: The Marys at the Sepulchre, Mark XVI, 6)

The Triumph of David, I Samuel XVII, 54 (engraving)
6005739 The Triumph of David, I Samuel XVII, 54 (engraving) by Poussin, Nicolas (1594-1665) (after); Private Collection; (add.info.: The Triumph of David, I Samuel XVII, 54)

Belshazzars Vision, Daniel V, 26 (engraving)
6005736 Belshazzars Vision, Daniel V, 26 (engraving) by West, Benjamin (1738-1820) (after); Private Collection; (add.info.: Belshazzars Vision, Daniel V, 26)

Joseph interpreting Pharaohs Dream, Genesis XLI, 25 (engraving)
6005717 Joseph interpreting Pharaohs Dream, Genesis XLI, 25 (engraving) by Guercino (Giovanni Francesco Barbieri) (1591-1666) (after); Private Collection; (add.info)

The Palsied Man cured, Matthew IX, 6 (engraving)
6005715 The Palsied Man cured, Matthew IX, 6 (engraving) by Jouvenet, Jean-Baptiste (1644-1717) (after); Private Collection; (add.info.: The Palsied Man cured, Matthew IX, 6)

Christs Agony, Mark XIV, 36 (engraving)
6005712 Christs Agony, Mark XIV, 36 (engraving) by European School, (19th century); Private Collection; (add.info.: Christs Agony, Mark XIV, 36)

Isaac blessing Jacob, Genesis XXVII, 22 (engraving)
6005706 Isaac blessing Jacob, Genesis XXVII, 22 (engraving) by English School, (19th century); Private Collection; (add.info.: Isaac blessing Jacob, Genesis XXVII, 22)

Samson and Delilah, Judges XVI, 21 (engraving)
6005699 Samson and Delilah, Judges XVI, 21 (engraving) by Singleton, Henry (1766-1839) (after); Private Collection; (add.info.: Samson and Delilah, Judges XVI, 21)

Laban searching for his Images, Genesis XXXI, 35 (engraving)
6005690 Laban searching for his Images, Genesis XXXI, 35 (engraving) by European School, (19th century); Private Collection; (add.info.: Laban searching for his Images, Genesis XXXI, 35)

Samson betrayed by Delilah, Judges XVI, 20 (engraving)
6005681 Samson betrayed by Delilah, Judges XVI, 20 (engraving) by Rubens, Peter Paul (1577-1640) (after); Private Collection; (add.info.: Samson betrayed by Delilah, Judges XVI, 20)

Rebekah at the Well, Genesis XXIV, 22 (engraving)
6005669 Rebekah at the Well, Genesis XXIV, 22 (engraving) by English School, (19th century); Private Collection; (add.info.: Rebekah at the Well, Genesis XXIV, 22)

The Death of Sapphira, Acts V, 10 (engraving)
6005668 The Death of Sapphira, Acts V, 10 (engraving) by Poussin, Nicolas (1594-1665) (after); Private Collection; (add.info.: The Death of Sapphira, Acts V, 10)

Christ raises the Widows Son to life, Luke VII, 15 (engraving)
6005660 Christ raises the Widows Son to life, Luke VII, 15 (engraving) by Gilbert, John (1817-97) (after); Private Collection; (add.info.: Christ raises the Widows Son to life, Luke VII, 15)

The Lame Man healed by Peter and John, Acts III, 6 (engraving)
6005659 The Lame Man healed by Peter and John, Acts III, 6 (engraving) by Poussin, Nicolas (1594-1665) (after); Private Collection; (add.info.: The Lame Man healed by Peter and John, Acts III, 6)

"Cast out this Bondswoman and her Son, "Genesis XXI, 10-14 (engraving)
6005657 " Cast out this Bondswoman and her Son, " Genesis XXI, 10-14 (engraving) by Guercino (Giovanni Francesco Barbieri) (1591-1666) (after); Private Collection; (add.info)

Transmitted light photograph of the verso of Group of Vintagers, c. 1505-07
5940995 Transmitted light photograph of the verso of Group of Vintagers, c.1505-07 by Raphael (Raffaello Sanzio of Urbino) (1483-1520); Ashmolean Museum, University of Oxford

Italian Picture Dealers Humbuging My Lord Anglaise, pub. 1812 (hand coloured engraving)
2962517 Italian Picture Dealers Humbuging My Lord Anglaise, pub. 1812 (hand coloured engraving) by Rowlandson, Thomas (1756-1827); Private Collection; The Stapleton Collection; English

Pages at a Banquet in a Palatial Interior with a Still Life of Fruit
1766809 Pages at a Banquet in a Palatial Interior with a Still Life of Fruit and Game in the Foreground - A Fragment, 1620 by Flemish School

Pygmies at a Fair, Drawing Water from a Well in the Foreground
1766796 Pygmies at a Fair, Drawing Water from a Well in the Foreground and Watching Theatrical Performances Beyond (oil on canvas) by Bocchi or Boccasi

The Portico and Facade of an Elaborate Neo-Classical Building (pen and brown ink)
1766782 The Portico and Facade of an Elaborate Neo-Classical Building (pen and brown ink) by Piranesi, Giovanni Battista (1720-78); 24.6x29.1 cm; Private Collection; (add.info)

A Bedouin Arab (oil on canvas)
1764671 A Bedouin Arab (oil on canvas) by Sargent, John Singer (1856-1925); Private Collection; (add.info.: A Bedouin Arab. John Singer Sargent (1856-1925)

Gypaetus barbatus Sonnini (Bearded vulture), 1805-1821 (hand-coloured engraving)
986425 Gypaetus barbatus Sonnini (Bearded vulture), 1805-1821 (hand-coloured engraving) by German School, (19th century); 50x40 cm; Private Collection; (add.info)

Three Types of Peonies, 1613 (colour engraving)
986367 Three Types of Peonies, 1613 (colour engraving) by Mytens, Martin I (1648-1736); 55.5x42.3 cm; Private Collection; (add.info.: Three Types of Peonies)

Four Types of Roses, 1613 (colour engaving)
986366 Four Types of Roses, 1613 (colour engaving) by Pesne, Antoine (1683-1747); 55.5x42.3 cm; Private Collection; (add.info.: Four Types of Roses)

Flos Solis Maior, 1613 (colour engraving)
986363 Flos Solis Maior, 1613 (colour engraving) by Rentsch, Johann Ernst (fl.early 18th century); 55.5x42.3 cm; Private Collection; (add.info.: Flos Solis Maior)

Corona Imperialis Florum, 1613 (colour engraving)
986361 Corona Imperialis Florum, 1613 (colour engraving) by German School, (17th century); 55.5x42.3 cm; Private Collection; (add.info.: Corona Imperialis Florum)

Birds and Snakes, Plate 62, from Locupletissimi Rerum Naturalium Thesauri Accurata
986229 Birds and Snakes, Plate 62, from Locupletissimi Rerum Naturalium Thesauri Accurata Descriptio, 1734-1765 (hand-coloured engraving) by Dutch School

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"Journey through the Old Masters: A Glimpse into Artistic Brilliance" Step back in time and immerse yourself in the captivating world of the Old Masters. From exquisite portraits to enchanting allegories, their works continue to mesmerize us even centuries later. One such masterpiece is "Portrait of an unknown youth, possibly a self-portrait, WA1846. " This enigmatic painting leaves us pondering over the identity of this mysterious figure, forever frozen in time. In contrast, "April, from Twelve Months of Flowers, 1730" transports us to a blooming garden with its vibrant colors and delicate details. This color engraving captures nature's beauty with unparalleled finesse. Indulge your senses with "Cup of Chocolate; La Tasse du Chocolat, " an oil on canvas that depicts a momentary pause for indulgence. The rich hues and meticulous brushwork evoke a sense of warmth and comfort. Giuseppe Cesari, an Italian Mannerist painter renowned for his dramatic compositions, takes center stage alongside Guercino, an Italian Baroque painter known for his emotional intensity. Their masterpieces transcend time as they explore human emotions and spirituality. Prepare to be captivated by "Allegories of Love - Cupid with a Torch and Arrow. " This oil on canvas piece beautifully encapsulates love's complexities through symbolism and graceful execution. Venturing further into history brings us face-to-face with epic tales like "A Scene from the Trojan Wars. " Painted on canvas, it immerses viewers in ancient mythology while showcasing remarkable artistic skill. "The Death of Saint Peter Martyr" draws our attention with its striking red chalk medium. Through delicate strokes and intricate details, we witness the solemnity surrounding this religious event unfold before our eyes. The artistry extends beyond traditional mediums as seen in sketches like "Hercules Turned to the Left.