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Kate Ganz Ltd.

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A nearly nude man and woman look up at a bearded man floating in front of a billowing red drapery in midair, accompanied by five chubby children in this horizontal painting. All the people have pale or peachy skin. The man and woman on the ground, Adam and Eve, take up the left half of the composition and are shown near a grove of trees. Adam, to our right in the pair, stands with knees bent, his body facing us. He holds both open hands, palm up, toward Eve, to our left. His head tips to our right and he looks up at the bearded man, God, with dark eyes under raised brows. Adam has a brown beard and curly hair. He wears a ring of leaves across his hips but is otherwise nude. His cheek and nose, hands, knees, and toes are pink, and muscles stand out on his torso, arms, and legs. To our left, Eve kneels on one knee and braces her other leg on her splayed toes. Her body is angled to our left, and she turns back to look up at Adam. She has long blond hair, and her skin is more pale than the others. She also wears leaves around her hips, and her torso and legs are bare. Her left hand, closer to Adam, rests on her thigh. With her other hand, she points to a striped snake on the ground. The trees behind them have dark green leaves and yellow fruit. The dirt ground beneath them has some scrubby green growth. Close to Adam, God and his attendants float above a lion and a lamb on the ground, all taking up the right half of the composition. God’s gray beard and hair blow back as if in a wind. He wears a topaz-blue, knee-length toga. His body faces us, and he leans to our left, almost horizontally, toes pointed off to our right. He reaches his right arm, to our left, toward Adam. His other arm stretches out and rests on a black orb, about the size of a basketball. He is supported to our left by two child-like angels, wearing brick red or golden yellow robes. Three smaller children, like toddlers, gather around the black orb. The red cloth billowing around God and the angels creates a shell-like form that surrounds them. The white lamb lies below and looks at Adam and Eve, and the lion crouches and looks off to our left. Trees and grassy knolls lead back to distant, blue hills. A horse and bear stand, tiny in scale, in the distant landscape. The horizon comes about halfway up the painting, and the vivid blue sky above is clear. In the lower right corner, the inventory number “F.7” is painted in yellow.
Domenichino, The Rebuke of Adam and Eve, 1626, oil on canvas, Patrons' Permanent Fund, 2000.3.1

The Rebuke of Adam and Eve

Domenichino · 1626 · oil on canvas ·  Accession ID  2000.3.1

The image is a detailed pencil drawing of a man's head and neck in profile view. The man is facing left with finely drawn facial features, curly hair, and a slightly closed mouth. He is dressed in a high-collared garment with intricate details, and the drawing features a circular frame with concentric circles in the background. Text below the portrait likely includes the person's name and the artist's details.
Charles-Nicolas Cochin II, P.J. Marco, 1784, black chalk, Ailsa Mellon Bruce Fund, 1986.49.2

P.J. Marco

Charles-Nicolas Cochin II · 1784 · black chalk ·  Accession ID  1986.49.2

This drawing depicts a natural setting with a family scene. The detailed engraving shows a lush landscape with foliage around a central scene. In the foreground, a woman holds a child. To the right, an older man observes with a gesture, and a donkey stands nearby. A Latin text is inscribed in the branches of a tree. The drawing is done in a classical engraving style with dynamic lines and cross-hatching for texture.
Camillo Procaccini, The Rest on the Flight into Egypt, 1587/1590, etching on laid paper, Ailsa Mellon Bruce Fund, 1987.39.1

The Rest on the Flight into Egypt

Camillo Procaccini · 1587/1590 · etching on laid paper ·  Accession ID  1987.39.1

This is a drawing of a group of figures engaged in a classical scene. The image portrays numerous figures gathered around a central platform with a decorated pedestal or altar and flames. The figures are in various poses, some standing, others seated or reclining, with a sense of movement throughout the composition. Details such as helmets, draped garments, and classical architecture suggest a historical or mythological theme. Objects like shields and vessels can be seen, creating an atmosphere of ritual or ceremony. The drawing has a strong chiaroscuro effect and detailed line work, reminiscent of Renaissance or Baroque art movements.
Antonio Fantuzzi, Sacrifice to Priapus, 1542, etching in brown on laid paper, Ailsa Mellon Bruce Fund, 1985.25.1

Sacrifice to Priapus

Antonio Fantuzzi · 1542 · etching in brown on laid paper ·  Accession ID  1985.25.1

The image is a portrait of a person shown in profile, facing to the right. The view captures the upper body from the shoulders upward. The person has styled hair swept back and tied with a ribbon, portraying 18th-century fashion. Their facial features include a high forehead, aquiline nose, and a firm chin, with a clean-shaven face. The person wears formal attire with a high collar and cravat. There is no visible jewelry or objects being held. The background consists of a circular frame with multiple concentric borders. The name "J.B. CARDON" and a date "1782" are displayed at the bottom.
Charles-Nicolas Cochin II, J.B. Cardon, 1782, black chalk, Ailsa Mellon Bruce Fund, 1986.49.1

J.B. Cardon

Charles-Nicolas Cochin II · 1782 · black chalk ·  Accession ID  1986.49.1

This is a drawing of a scene with a large gathering of people and animals. The image shows many figures gathered in what appears to be a historical setting. Many individuals are carrying spears and flags. There are depictions of horses being ridden, and a figure in the foreground playing a drum. The background features classical architecture with columns, and a distant hilly landscape is visible on the left. The sky has light clouds and a few birds in flight. The scene is rendered in a monochrome palette with sepia tones.
Giovanni Domenico Tiepolo, The Parting of Saints Peter and Paul, 1785/1795, pen and brown ink with brown wash over charcoal on laid paper, Woodner Collection, 1993.51.5

The Parting of Saints Peter and Paul

Giovanni Domenico Tiepolo · 1785/1795 · pen and brown ink with brown wash over charcoal on laid paper ·  Accession ID  1993.51.5

This is a drawing of an architectural scene with various figures and elements. The scene depicts a complex layout with architectural structures, including columns, archways, and detailed facades. There are figures throughout the scene, some engaged in conversation, while others are reclined or in motion. Additionally, there is a horse and rider captured in motion towards the left. The drawing is sketch-like, with delicate lines emphasizing movement and structure over detail. The composition suggests a lively scene against a backdrop of classical architecture and landscape elements.
Pirro Ligorio, A Party in a Roman Villa [recto], pen and brown ink on laid paper, Ailsa Mellon Bruce Fund, 1986.38.1.a

A Party in a Roman Villa [recto]

Pirro Ligorio · · pen and brown ink on laid paper ·  Accession ID  1986.38.1.a

This is a drawing of figures in dynamic poses. The description includes several human forms, primarily male, sketched in various muscular and dynamic postures. The drawing style suggests a study of human anatomy and motion, with figures depicted both standing and seated, some interacting with each other, capturing a sense of action and energy. The contours and musculature are emphasized by the detailed and fluidity of the line work. The drawing is done in a monochrome palette, focusing on form and movement rather than color.
Pirro Ligorio, Studies for the Rape of the Sabine Women [verso], pen and brown ink on laid paper, Ailsa Mellon Bruce Fund, 1986.38.1.b

Studies for the Rape of the Sabine Women [verso]

Pirro Ligorio · · pen and brown ink on laid paper ·  Accession ID  1986.38.1.b

This is an image of a crucifixion scene. The central figure is on a cross flanked by two others. A crowd with details of helmets and spears is in the background. The drawing uses fine linework and shading in a monochrome palette, capturing the somber atmosphere. There are hints of architectural forms and a soft horizon line, suggesting a distant cityscape.
Netherlandish 16th Century, The Crucifixion, c. 1520, pen and brown ink over black chalk on laid paper, Print Purchase Fund (Samuel H. Kress Collection) and Edward E. MacCrone Fund, 1988.24.1

The Crucifixion

Netherlandish 16th Century · c. 1520 · pen and brown ink over black chalk on laid paper ·  Accession ID  1988.24.1

The image depicts a portrait of a person from the waist up. The individual is in a half-profile with the head turned slightly to the person's left. The facial features are sharply captured, with a pronounced nose and lips gently parted. The person's hair is mostly covered by a large turban or headwrap with subtle folds. They are dressed in a garment with a textured fur collar over a striped fabric. A prominent bracelet is visible on one wrist, with a hand raised elegantly near the chest. The background is a plain, dark surface.
Thomas Frye, A Man with a Turban and Striped Shirt, 1760, mezzotint with some engraving on laid paper, Ailsa Mellon Bruce Fund, 1986.49.3

A Man with a Turban and Striped Shirt

Thomas Frye · 1760 · mezzotint with some engraving on laid paper ·  Accession ID  1986.49.3