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Hercules Killing the Nemean Lion, From the Labors of Hercules, 1548, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a

Hercules Slaying the Hydra, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal

Hercules Carrying the Columns of Gaza, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus

Hercules Killing Cacus, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal

Hercules Killing Antaeus, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal

Hercules Capturing Cerberus, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a

Hercules Killing Nessus, From the Labors of Hercules, 1542, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal

Hercules Abducting Iole, From the Labors of Hercules, 1544, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal

Lichas Bringing the Garment of Nessus to Hercules, From the Labors of Hercules, 1542-1548, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born

Death of Hercules, From the Labors of Hercules, 1548, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal named

Hercules Fighting the Trojans, From the Labors of Hercules, 1545, Sebald Beham, German, 1500–1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a

Della Trasportatione dell' Obelisco Vaticano, 1590, Domenico Fontana; Engraver: Natale Bonifacio, Italian, (born in Switzerland), 1543–1607, 16 1/4 × 11 × 1 in. (41.28 × 27.94 × 2.54 cm) (closed), Engraving, etching and letterpress;

Cloelia Crossing the Tiber on Horseback, c. 1545, Giulio Bonasone; Artist: Probably after Polidoro da Caravaggio, Italian, (Bologna), c. 1510–after 1576, 11 5/8 × 16 15/16 in. (29.53 × 43.02 cm) (image)11 7/8 × 17 1/4 in. (30.16 × 43.82

Frontispiece to 'Il Nino Figlio', 1655, Stefano della Bella, Italian (Florence), Italian (Florence), 1610–1664, H.7-1/8 x W.5-3/16 in. (image, trimmed within platemark), Engraving, Italy, 17th century

The Dioscuri of the Quirinale in Rome, 1546, Antonio Lafreri, French (active Rome), French (active Rome), 1512–1577, 14 1/2 × 20 1/4 in. (36.83 × 51.44 cm) (sheet), Engraving, Italy, 16th century, The monumental sculptures of ancient

Without Baachus and Ceres, Venus Freezes, c. 1600, Jan Saenredam; Designer: Abraham Bloemaert; Publisher: Jacques Razet, Dutch, 1566–1651, 9 × 7 15/16 in. (22.86 × 20.16 cm) (image)10 5/8 × 8 in. (26.99 × 20.32 cm) (sheet), Engraving,

Two Shields Supported by a Wild Man, 15th century, Martin Schongauer, German, c. 1440/53–1491, 3 × 3 1/16 in. (7.62 × 7.78 cm) (sheet, diameter)10 5/8 × 8 1/4 in. (26.99 × 20.96 cm) (mat), Engraving, Germany, 15th century, This furry

Vase Design, 1766-1785, Possibly Pierre-François Hugues, French, 1719–1805, 6 1/2 × 20 3/4 in. (16.51 × 52.71 cm) (image), Hand-colored engraving, 19th century

Judgement of Paris, 1546, Sebald Beham, German, 1500–1550, 2 3/4 × 1 7/8 in. (6.99 × 4.76 cm) (image, sheet), Engraving, 16th century, Writers in ancient Greece told various versions of the mythical story of the Judgment of Paris. Paris,

Der Tod des Germanicus (The Death of Germanicus), 1797, Johann Joseph Freidhoff; Artist: after Nicolas Poussin, French, 1594–1665, 21 1/16 × 26 7/8 in. (53.5 × 68.26 cm) (image)22 3/4 × 26 7/8 in. (57.79 × 68.26 cm) (plate)23 1/8 × 27

Parnassus Profaned, 1530-1540, Master HFE, Italian or German, active Italy, 1525-1540, 13 7/8 × 19 3/4 in. (35.24 × 50.17 cm) (sheet)15 × 21 3/8 in. (38.1 × 54.29 cm) (sheet, mount), Engraving, Italy, 16th century, Greece’s Mount

The Virgin and Child with Saint Anne, c. 1500, Albrecht Dürer, German, 1471–1528, 4 9/16 × 2 13/16 in. (11.59 × 7.14 cm) (image)5 13/16 × 4 1/16 in. (14.76 × 10.32 cm) (mount), Engraving, Germany, 16th century, Saint Anne, the mother

Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 1/8 in. (52.4 × 38.4 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red

Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 1/4 × 15 1/4 in. (51.4 × 38.7 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red

Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 3/16 in. (52.4 × 38.6 cm) (sheet)29 9/16 × 24 7/16 × 1 3/4 in. (75.1 × 62.1 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache,

Salver, c. 1740-1750, Jacob Hurd, American, 1703-1758, 1 x 6 3/8 in. (2.5 x 16.19 cm), Silver, United States, 18th century, Jacob Hurd was one of five of the most prominent Boston goldsmiths between the 1720s and 1750 and was one of the most

Study for Raising of Lazarus, c. 1677, François Verdier, French, 1651 - 1730, 12 3/8 x 10 in. (31.43 x 25.4 cm) (image, sheet), Red chalk heightened with white, France, 17th century, Verdier was a prize-winning student at the Royal Academy

1840-1852, Jeremiah Gurney, American, 1812 - 1895, 3 1/8 x 7 1/8 in. (7.94 x 18.1 cm) (image), Engraving, United States, 19th century

Plate, one of twelve, c. 1807, William Sumner; Artist: Attributed to Mary Sumner, English, ?-1807, Silver, England, 19th century, It is impossible to be certain if Mary Sumner had a hand in making or engraving this set of plates. They could

Friendship tumbler, c. 1825, Attributed to Bakewell, Page and Bakewell, Pittsburgh, Pennsylvania, 1808-1882, 3 3/8 x 3 1/8 in. (8.6 x 7.94 cm), Cut, etched and engraved glass, United States, 19th Century, The Bakewell firm in Pittsburgh

Plate, mid 18th century, 1 x 9 x 9 in. (2.54 x 22.86 x 22.86 cm), Porcelain with enamel decoration, China, 18th century, Copied from a European engraving, the mythological scene on this plate depicts Apollo and Diana

Nativity' plate, c. 1745, After Jan Luyken, Dutch, 1649-1712, 1 x 9 1/16 x 9 1/16 in. (2.54 x 23.02 x 23.02 cm), Porcelain, China, 18th century, This scene of Christ's birth comes from a New Testament illustration by Dutch artist Jan Luyken.

Saint Eustace, c. 1501, Albrecht Dürer, German, 1471–1528, 14 x 10 1/4 in. (35.56 x 26.04 cm) (image), Engraving, Germany, 15th-16th century

The Sewing Circle, 1804, Henry Moses; Engraver: Henry Moses; Publisher: W. & J. Munn, English, 1782-1870, 10 3/4 x 14 1/2 in. (27.31 x 36.83 cm) (plate)15 1/8 x 19 1/2 in. (38.42 x 49.53 cm) (sheet), Engraving and soft-ground etching, tinted

The Destruction of the Children of Niobe, 1761, William Woollett; Artist: After Richard Wilson, British, 1735 - 1785, 16 15/16 x 22 3/4 in. (43.02 x 57.79 cm) (sheet)23 3/4 × 29 3/4 × 1 1/8 in. (60.33 × 75.57 × 2.86 cm) (outer frame),

View of the Chateau of Versailles from the Orangery, 1716, Pierre Menant, French, 14 x 23 3/8 in. (35.56 x 59.37 cm) (plate)16 7/8 x 25 5/8 in. (42.86 x 65.09 cm) (sheet), Hand-colored etching and engraving, France, 18th century, One of Louis

Festivals of the God Pan, 18th century, Michel Aubert (?); Artist: after Antoine Watteau, French, 1684-1721, 14 1/8 x 18 1/4 in. (35.88 x 46.36 cm) (image)16 1/8 x 19 1/4 in. (40.96 x 48.9 cm) (sheet), Etching and engraving, France, 18th

The Planisphere of Tycho Brahe, plate 6 from Harmonia Macrocosmica, 1660, Andreas Cellarius; Publisher: Johannes Janssonius, German (active in the Netherlands), German (active in the Netherlands), c. 1596 - 1665, 17 3/8 x 20 7/8 in. (44.13 x

The Planisphere of Aratus, plate 8 from Harmonia Macrocosmica, 1647, Andreas Cellarius, German (active in the Netherlands), German (active in the Netherlands), c. 1596 - 1665, 16 5/8 x 20 3/8 in. (42.23 x 51.75 cm) (image, cut), Hand-colored

Veduta degli Uffizi, o sia Curia Fiorentina presa dalla Loggia presso Arno, 1735, Giuseppe Vasi; Artist: After Guiseppe Zocchi, Italian, 1710 - 1782, 20 1/8 x 26 5/8 in. (51.12 x 67.63 cm) (plate), Hand-colored engraving, Italy, 18th

The Artificial or Oblique Armillary Sphere, 1740, Nicolas de Fer (after); Engraver: P. Starckmann, Dutch, 15 7/8 x 16 5/8 in. (40.32 x 42.23 cm) (plate)20 7/8 x 21 7/8 in. (53.02 x 55.56 cm) (sheet), Hand-colored engraving, The Netherlands,

Departure of the Warrior Kusunoki at the Sakurai Station, c. 1880-1899, Kobayashi Kiyochika; Publisher: Daikokuya Heikichi, Japanese, 1847 - 1915, 11 5/8 x 16 15/16 in. (29.5 x 43 cm) (sheet), Woodblock print; ink and color on paper, Japan,

Perseus and Andromeda, 1762, François-Philippe Charpentier; Artist: after Carle Vanloo, French, 1734 - 1817, 14 1/4 x 19 3/8 in. (36.2 x 49.21 cm) (sheet, trimmed within platemark), Etching and aquatint printed in brown (from two plates),

Bellona, 16th century, Étienne Delaune, French, about 1518/19-1583, 3 3/16 x 2 11/16 in. (8.1 x 6.83 cm) (image)4 7/8 x 3 7/8 in. (12.38 x 9.84 cm) (sheet), Engraving, France, 16th century, Étienne Delaune worked in the tradition of the

Amaryllis lutea, 1806 (1807), After Pierre-Joseph Redouté; Engraver: de Gouy, French, Flemish (active France), 1759–1840, 21 1/8 x 13 7/8 in. (53.66 x 35.24 cm) (sheet, trimmed within platemark), Color stipple engraving, finished by hand,

Ground Plan, Base, and Capital of a Corinthian Column, 1543, Sebald Beham, German, 1500–1550, 4 x 5 3/4 in. (10.16 x 14.61 cm) (image, sheet), Engraving, Germany, 16th century, Corinthian columns gave Renaissance architecture an

L'Academie des Sciences et des Beaux Arts, c. 1706, Sébastien Le Clerc, French, 1637 - 1714, 9 3/4 x 15 5/16 in. (24.77 x 38.89 cm) (plate)10 x 15 5/16 in. (25.4 x 38.89 cm) (sheet), Etching and engraving, France, 18th century

Design for an Altar with Canopy, 1693-1704, After Andreas Pozzo, Italian, 1642 - 1709, 13 1/4 x 8 15/16 in. (33.66 x 22.7 cm) (plate)15 3/4 x 10 3/16 in. (40.01 x 25.88 cm) (sheet), Engraving, Italy, 17th-18th century

Design for an Altar with Canopy, 1693-1704, After Andreas Pozzo, Italian, 1642 - 1709, 13 1/4 x 8 5/8 in. (33.66 x 21.91 cm) (plate)15 3/4 x 10 1/8 in. (40.01 x 25.72 cm) (sheet), Engraving, Italy, 17th-18th century

View of the Chateau of Versailles Showing the Chapel, c. 1730, Jacques Rigaud, French, c. 1681 - c. 1753, 9 7/8 x 18 15/16 in. (25.08 x 48.1 cm) (plate)14 x 21 3/4 in. (35.56 x 55.25 cm) (sheet), Etching and engraving, France, 18th century,

Portail de la Sorbonne, 17th-18th century, 13 7/8 x 8 5/16 in. (35.24 x 21.11 cm) (plate)16 1/4 x 10 7/8 in. (41.28 x 27.62 cm) (sheet), Etching anbd engraving, France, 17th-18th century

Portrait of Pietro Aretino, c. 1541-1560, Enea Vico, Italian, 1523 - 1567, 4 3/4 x 2 7/8 in. (12.07 x 7.3 cm) (plate)6 x 4 in. (15.24 x 10.16 cm) (sheet), Engraving and etching, Italy, 16th century, Italian author Pietro Aretino (1492-1556)

Contest for the Prize for a Study of the Head and Expression, 1763, Jean-Jacques Flipart; Artist: After Charles-Nicolas Cochin II, French, 1715-1790, 9 1/8 x 11 1/8 in. (23.18 x 28.26 cm) (plate)11 3/8 x 12 7/8 in. (28.89 x 32.7 cm) (sheet),

Four Naked Women, 1497, Albrecht Dürer, German, 1471–1528, 7 1/2 x 5 3/16 in. (19.05 x 13.18 cm) (image, trimmed to platemark)19 3/4 × 15 3/4 × 1 1/8 in. (50.17 × 40.01 × 2.86 cm) (outer frame), Engraving, Germany, 15th century, As

The Pier with a Lamp, plate 15 from Carceri d'Invenzione, 1749, Giovanni Battista Piranesi, Italian (Rome), Italian, 1720–1778, 16-1/8 x 21-1/2 in. (41.0 x 54.6 cm), Etching, engraving, sulphur tint or open bite, and burnishing, Italy,

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Abenteure von den Niebelungen, 1817, After Peter von Cornelius, German, 1783–1867, 24-1/2 x 36-1/2 in. (62.2 x 92.7 cm), Engraving, Germany, 19th century

Last Judgement, 19th century, After Peter von Cornelius, German, 1783–1867, 33 x 22-1/4 in. (83.8 x 56.5 cm), Engraving on chine appliqué, Germany, 19th century

Lincoln, April 29, 1865, after Thomas Nast, American, 1840 - 1902, 13 3/4 x 20 3/4 in. (34.93 x 52.71 cm) (image)16 x 22 in. (40.64 x 55.88 cm) (sheet), Wood engraving, United States, 19th century

And smote Job with sore Boils from the sole of his foot to the crown of his head, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 11/16 in. (21.59 x 16.99 cm) (sheet), Engraving, England, 19th century, The boils signify a spiritual

Thou hast fulfilled the Judgment of the Wicked, 1825, William Blake, British, 1757–1827, 7 3/4 x 6 7/16 in. (19.69 x 16.35 cm) (sheet), Engraving, England, 19th century, Satan the Accuser is cast out of Job's heaven, and with him fall the

With Dreams upon my bed thou scarest me & affrightest me with Visions, 1825, William Blake, British, 1757–1827, 8 3/8 x 6 5/8 in. (21.27 x 16.83 cm) (sheet), Engraving, England, 19th century, Job's God is identical with the God of Eliphaz,

And I only am escaped alone to tell thee., 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, Two messengers arrive left feet first to announce the disasters. For Blake,

Then the Lord answered Job out of the Whirlwind, 1825, William Blake, British, 1757–1827, 8 7/16 x 6 5/8 in. (21.43 x 16.83 cm) (sheet), Engraving, England, 19th century, Finally, in the Whirlwind of the mystical ecstasy, the true God is

Behold now Behemoth which I made with thee, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet, mount), Engraving, England, 19th century, Here, God explains the mystery of the incessant warfare in the

When the Almighty was yet with me, When my Children were about me, 1825, William Blake, British, 1757–1827, 8 3/4 x 6 5/8 in. (22.23 x 16.83 cm) (sheet), Engraving, England, 19th century, God is Job's own ideal and bears a resemblance to

Title page from Illustrations of the Book of Job, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 7/16 in. (21.59 x 16.35 cm) (sheet), Engraving, England, 19th century, A flight of seven angels descends, then rises again corresponding

Let the Day perish wherein I was Born, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, The seven days of silent mourning are now over and a new cycle begins. Now Job

The Just Upright Man is laughed to scorn, 1825, William Blake, British, 1757–1827, 8 7/16 x 6 5/8 in. (21.43 x 16.83 cm) (sheet), Engraving, England, 19th century, Job's first error was admitting Satan the Accuser into his mind. Now that

Thus did Job continually, 1825, William Blake, British, 1757–1827, 7 3/4 x 6 1/2 in. (19.69 x 16.51 cm) (sheet), Engraving, England, 19th century, In plate one, Job and his family are still in the pastoral state of Innocence and shown at

Then a Spirit passed before my face the hair of my flesh stood up, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, The long arguments of Job's friends are condensed

I have heard thee with the hearing of the Ear but now my Eye seeth thee, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, In the whirlwind, God descends below the

I am Young & ye are very Old wherefore I was afraid, 1825, William Blake, British, 1757–1827, 8 7/16 x 6 5/8 in. (21.27 x 16.83 cm) (sheet), Engraving, England, 19th century, Both Job and his friends are silenced because neither has

When the morning Stars sang together, & all the Sons of God shouted for joy, 1825, William Blake, British, 1757–1827, 8 x 6 7/16 in. (20.32 x 16.35 cm) (sheet), Engraving, England, 19th century, Mystical ecstasy is a state of knowledge as

So the Lord blessed the latter end of Job more than the beginning, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, In the last segment of the Job saga, the long

There were not found Women fair as the Daughters of Job in all the Land & their Father gave them Inheritance among their Brethren, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England,

Every one also gave him a piece of Money, 1825, William Blake, British, 1757–1827, 8 7/16 x 6 5/8 in. (21.43 x 16.83 cm) (sheet), Engraving, England, 19th century, As Job lost virtue by giving to a beggar, he now gains it by receiving

Then went Satan forth from the presence of the Lord, 1825, William Blake, British, 1757–1827, 8 7/16 x 6 5/8 in. (21.43 x 16.83 cm) (sheet), Engraving, England, 19th century, Plate V is not based on the biblical text. Here Job shares his

And when they lifted up their eyes afar off…, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, Job's three friends arrive, left feet first, to console him. But

Thy Sons & thy Daughters were eating & drinking Wine…, 1825, William Blake, British, 1757–1827, 8 1/2 x 6 5/8 in. (21.59 x 16.83 cm) (sheet), Engraving, England, 19th century, The debauchery of Job's children can no longer be ignored.

The Turkish Family, c. 1497, Albrecht Dürer, German, 1471–1528, 4 3/16 x 3 in. (10.64 x 7.62 cm) (image)19 3/4 × 15 3/4 × 1 1/8 in. (50.17 × 40.01 × 2.86 cm) (outer frame), Engraving, Germany, 15th-16th century, At this time Turks

The Penance of St. John Chrysostom, c. 1497, Albrecht Dürer, German, 1471–1528, 7 1/16 x 4 11/16 in. (17.94 x 11.91 cm) (image), Engraving, Germany, 15th-16th century

The Dream, c. 1500, Albrecht Dürer, German, 1471–1528, 7 3/8 x 4 5/8 in. (18.73 x 11.75 cm) (image), Engraving, Germany, 15th-16th century, As a man snoozes in downy comfort beside a warm ceramic oven, a demon blows wicked thoughts into

St. Jerome in Penitence, c. 1497, Albrecht Dürer, German, 1471–1528, 12 7/16 x 8 3/4 in. (31.59 x 22.23 cm) (image), Engraving, Germany, 15th-16th century

The Prodigal Son, 1496, Albrecht Dürer, German, 1471–1528, 9 11/16 x 7 7/16 in. (24.61 x 18.89 cm) (image), Engraving, Germany, 15th century

The Little Courier, c. 1496, Albrecht Dürer, German, 1471–1528, 4 3/16 x 3 in. (10.64 x 7.62 cm) (image), Engraving, Germany, 15th-16th century

The Little Courier, c. 1496, Albrecht Dürer, German, 1471–1528, 4 1/4 x 3 in. (10.8 x 7.62 cm) (image), Engraving, Germany, 15th-16th century, This tiny engraving treats a theme related to the large woodcut, Knight on Horseback and the

Saint Jerome in Penitence, c. 1496-1497, Albrecht Dürer, German, 1471–1528, 12 3/16 x 8 13/16 in. (30.96 x 22.38 cm) (sheet, cut close), Engraving, Germany, 15th-16th century

Three Market Peasants, 1497-1498, Albrecht Dürer, German, 1471–1528, 4 3/16 x 3 in. (10.64 x 7.62 cm) (image), Engraving, Germany, 15th-16th century

Lady on Horseback and Lansquenet, c. 1497, Albrecht Dürer, German, 1471–1528, 4 1/4 x 3 in. (10.8 x 7.62 cm) (image), Engraving, Germany, 15th-16th century

The Prodigal Son, c. 1496, Albrecht Dürer, German, 1471–1528, 9 5/8 x 7 3/8 in. (24.45 x 18.73 cm) (image), Engraving, Germany, 15th-16th century

The Man of Sorrows Standing, c. 1500, Albrecht Dürer, German, 1471–1528, 4 x 2 3/4 in. (10.16 x 6.99 cm) (sheet), Engraving, Germany, 15th-16th century

Coat-of-Arms with a Skull, c. 1503, Albrecht Dürer, German, 1471–1528, 8 3/4 x 6 1/4 in. (22.23 x 15.88 cm) (image), Engraving, Germany, 15th-16th century, The woman is dressed as well-to-do bride in the traditional garb of Nuremberg,

The Virgin with the Pear, c. 1511, Albrecht Dürer, German, 1471–1528, 6 3/16 x 4 3/16 in. (15.72 x 10.64 cm) (image), Engraving, Germany, 16th century

Christ before Pilate, c. 1512, Albrecht Dürer, German, 1471–1528, 4 9/16 x 2 7/8 in. (11.59 x 7.3 cm) (image), Engraving, Germany, 16th century

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