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The Metropolitan Museum of Art

33,907 works

Sepia print of a hill under a stormy sky, with sheep and a reclining figure in the foreground and a winding road.

Hind Head Hill, On the Portsmouth Road, part V, plate 25 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1811

Sepia engraving of a windmill beside a canal lock with a donkey, cattle, figures and a cloudy sky.

Windmill and Lock, part VI, plate 27 from "Liber Studiorum"

Joseph Mallord William Turner, June 1, 1811

Sepia etching of a river valley with a winding river, ruined tower, large trees on the right, and a reclining figure in the f

Junction of Severn and Wye, part VI, plate 28 from "Liber Studiorum"

Joseph Mallord William Turner, June 1811

Sepia print of three boys fishing by a river with willow trees and pale buildings across the water.

Young Anglers, part VII from "Liber Studiorum"

Joseph Mallord William Turner, June 1, 1811

Sepia engraving of a vaulted Gothic crypt with cows resting in light from an archway, by J.M.W. Turner, 1812.

Crypt of Kirkstall Abbey, part VIII, plate 39 from "Liber Studiorum"

Joseph Mallord William Turner, February 11, 1812

Sepia print of a sunset over choppy sea with two sailing boats, figures on a sandy beach, and wreckage in the foreground.

The Mildmay Sea-Piece, part VIII, plate 40 from "Liber Studiorum"

Joseph Mallord William Turner, February 11, 1812

Sepia print of a dense forest with tall trees, where two figures and a dog rest on a path in the foreground.

Procris and Cephalus, part VIII, plate 41 from "Liber Studiorum"

Joseph Mallord William Turner, February 14, 1812

Sepia etching of a ruined tower on a wooded hill with travelers in the foreground and a distant coast under clouds.

Winchelsea Sussex, part VIII, plate 42 from "Liber Studiorum"

Joseph Mallord William Turner, April 23, 1812

Sepia etching of an arched aqueduct, goats and a shepherd on a road, tall trees and a full moon over a distant valley.

The Bridge and Goats, part IX, plate 43 from "Liber Studiorum"

Joseph Mallord William Turner, April 23, 1812

Sepia print of sailing boats on calm water under a hazy sky, with seagulls and a rowing boat with figures in the foreground.

Calm, part IX, plate 44 from "Liber Studiorum"

Joseph Mallord William Turner, April 23, 1812

Sepia print of Alpine peaks over a valley town, with vineyards and resting figures in the foreground under sunbeams.

Chain of Alps from Grenoble to Chamberi, part X, plate 49 from "Liber Studiorum"

Joseph Mallord William Turner, May 23, 1812

Sepia etching of a glacier winding between jagged mountain peaks, with broken ice and boulders in the foreground under a clou

Mêr de Glace, Valley of Chamouni-Savoy, part X, plate 50 from "Liber Studiorum"

Joseph Mallord William Turner, May 23, 1812

Sepia print of a storm over a marshy plain, with a herdsman leading cattle near water beneath dark clouds and distant hills.

Solway Moss, part XI, plate 52 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia print of a mill and wooden bridge above a rushing rocky stream, framed by tall trees and steep mountain slopes.

Mill Near the Grand Chartreuse, Dauphiny, part XI, plate 54 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia engraving of sailing boats in rough waves at a harbour entrance, with a large ship and distant church spires.

Entrance of Calais Harbour, part XI, plate 55 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia etching of ruined Dumblain Abbey on a wooded hill, with women washing clothes by a river in the foreground.

Dumblain Abbey, Scotland, part XI, plate 56 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia print of a ruined castle on a hill above a river, with cattle wading in the water and a boat on the left.

Norham Castle on the Tweed, part XII, plate 57 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia etching of a riverside wood with a wooden footbridge and a ruined castle on the right under cloudy skies.

Berry Pomeroy Castle, part XII, plate 58 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia etching of a hilltop castle above a lakeside town, with trees on the left, a rowing boat and figures on the shore.

Ville de Thun, Switzerland, part XII, plate 59 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia engraving of jagged Alpine peaks above a valley, with tall pine trees and rocks in the foreground under dramatic clouds

The Source of the Arvaron in the Valley of Chamouni, Savoy, part XII, plate 60 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia print of a stormy sky with lightning over an Egyptian-style city, with mourning figures in the foreground.

The Tenth Plague of Egypt, part XII, plate 61 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia print of water cress gatherers by a stone bridge beside a river under a dramatic storm sky, by J.M.W. Turner.

Water Cress Gatherers, Rails Head Ferry Bridge, Twickenham, part XIII, plate 62 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia engraving of a mountain valley with a stone bridge, a church, trees, and two seated figures on rocks.

Bonneville, Savoy, part XIII, plate 64 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia print of men unloading boats on a rough Scottish shore, with a sailing ship and distant castle under stormy clouds.

Inverary Castle and Town, Scotland, part XIII, plate 65 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1816

Sepia engraving of a shaded forest stream with arching trees, a seated woman by the water and a kneeling figure among ferns.

Aesacus and Hesperie, Vide Ovid Metamorphosis, Book XI, part XIII, plate 66 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia print of a ruined tower, stone arch bridge, sheep flock and shepherd among trees beneath a cloudy sky.

East Gate, Winchelsea, Sussex, part XIV, plate 67 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia engraving of a river landscape with a willow, classical column, stone bridge, hills, and a reclining figure in the fore

Isis, part XIV, plate 68 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia engraving of a Gothic church interior with pointed arches, pews filled with worshippers, and a carved monument at right

Interior of a Church, part XIV, plate 70 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Sepia print of a wooded landscape with ruined arches, fallen tombs, and figures near a well, by J. M. W. Turner.

Christ and the Woman of Samaria, part XIV, plate 71 from "Liber Studiorum"

Joseph Mallord William Turner, January 1, 1819

Circular engraving of the Nativity with the Virgin kneeling before the infant Christ among ruined columns, an ox, and angels.

The Nativity

Master JG, ca. 1520s/1530s

Sepia etching of beached sailing boats, horse carts and figures on a tidal shore with a distant castle under clouds.

Scene on the French Coast (Liber Studiorum, part I, plate 4)

Joseph Mallord William Turner, June 11, 1807

Etched landscape of a dirt road between trees, with cattle resting and a ruined castle on a hill in the distance.

The Castle above the Meadows, plate 8 from "Liber Studiorum, part II"

Joseph Mallord William Turner, 1808

Sepia print of a castle on a rocky hill with cattle on a path and trees framing the scene.

The Castle above the Meadows, part II, plate 8 from "Liber Studiorum"

Joseph Mallord William Turner, 1808

Sepia etching of Pembury Mill in Kent with a water wheel, a worker among grain sacks, a sleeping dog and a horse and cart.

Pembury Mill, Kent (Liber Studiorum, part III, plate 12)

Joseph Mallord William Turner, June 10, 1808

Sepia etching of a stormy mountain lake with lightning, sailboats, and figures struggling with a cart on the shore.

Lake of Thun, Swiss (Liber Studiorum, part III, plate 15)

Joseph Mallord William Turner, June 10, 1808

Etching of an Egyptian landscape with pyramids, a stone building, a waterway, palms, fallen trees and two robed figures.

Fifth Plague of Egypt (Liber Studiorum, part III, plate 16)

Joseph Mallord William Turner, 1808

Sepia print of pyramids and a city under a lightning-streaked storm, with a dead animal and figures in the foreground.

The Fifth Plague of Egypt (Liber Studiorum, part III, plate 16)

Joseph Mallord William Turner, June 10, 1808

Sepia print of a farmyard with a rooster, pigs, chickens, a wooden cart, and two men leaning on a fence.

The Farm-Yard with the Cock (Liber Studiorum, part IV, plate 17)

Joseph Mallord William Turner, March 29, 1809

Sepia etching of a stone arch bridge over a rocky gorge, with pine trees and a dead tree in the foreground.

Little Devil's Bridge over the Russ, above Altdorft, Switzerland (Liber Studiorum, part IV, plate 19)

Joseph Mallord William Turner, March 29, 1809

Sepia print of a waterfall cascading through a wooded gorge, with seated figures on rocks in the foreground.

Drawing of the Clyde (Liber Studiorum, part IV, plate 18)

Joseph Mallord William Turner, March 29, 1809

Sepia print of figures gathered by a wooden trough in a wooded landscape with tall trees and distant buildings.

Juvenile Tricks (Liber Studiorum, part V, plate 22)

Joseph Mallord William Turner, January 1, 1811

Sepia engraving of a stormy Yorkshire coast with cliffs, a lighthouse, a wrecked ship and figures on rocks.

Coast of Yorkshire, Near Whitby (Liber Studiorum, part V, plate 24)

Joseph Mallord William Turner, January 1, 1811

Sepia etching of sheep resting on a hillside below a steep ridge under a dramatic cloudy sky.

Hind Head Hill, on the Portsmouth Road (Liber Studiorum, part V, plate 25)

Joseph Mallord William Turner, January 1, 1811

Sepia print of three boys fishing on a riverbank beside willow trees, with a white house and another angler in the distance.

Young Anglers (Liber Studiorum, part VII, plate 32)

Joseph Mallord William Turner, June 1, 1811

Sepia etching of a country road with trees, cattle, horses, and a ruined abbey on a hill under a cloudy sky.

St. Catharine's Hill near Guilford (Liber Studiorum, part VII, plate 33)

Joseph Mallord William Turner, June 1811

Etching of Martello towers along a coast, with beached boats, figures on the shore, and steep cliffs on the right.

Martello Towers near Bexhill, Sussex (Liber Studiorum, part VII, plate 34)

Joseph Mallord William Turner, 1811

Sepia print of a rocky valley with a dead tree, a seated armored knight, cliffs, and birds under a dramatic sky.

From Spenser's Fairy Queen (Liber Studiorum, part VII, plate 36)

Joseph Mallord William Turner, June 1811

Sepia print of a vaulted stone crypt with cattle resting on the floor beside columns and light from an arched opening.

Crypt of Kirkstall Abbey (Liber Studiorum, part VIII, plate 39)

Joseph Mallord William Turner, February 11, 1812

Sepia print of a sunset seascape with sailing boats, figures on a beach, an anchor and wooden barrels in the foreground.

The Mildmay Sea-Piece (Liber Studiorum, part XIII, plate 40)

Joseph Mallord William Turner, February 11, 1812

Sepia etching of a Scottish peat bog with figures, a horse and cart, under a stormy sky with a rainbow over mountains.

Peat Bog, Scotland (Liber Studiorum, part IX, plate 45)

Joseph Mallord William Turner, April 23, 1812

Sepia print of a woman holding a torch on rocky ground at night, with trees, a crescent moon, and a figure lying nearby.

Rispah, 2nd Book of Samuel, Chapter 21 (Liber Studiorum, part IX, plate 46)

Joseph Mallord William Turner, May 23, 1812

Sepia etching of a river with a ruined castle, resting cattle on the bank, bathers in the water and a small boat.

River Wye (Liber Studiorum, part X, plate 48)

Joseph Mallord William Turner, May 23, 1812

Sepia etching of a glacier winding between jagged mountain peaks under a cloudy sky, by J. M. W. Turner, 1812.

Mêr de Glace, Valley of Chamouni-Savoy (Liber Studiorum, part X, plate 50)

Joseph Mallord William Turner, May 23, 1812

Sepia etching of cattle driven across a flat moor under a stormy sky with falling rain and distant hills.

Solway Moss (Liber Studiorum, part XI, plate 52)

Joseph Mallord William Turner, January 1, 1816

Sepia landscape print of trees, a waterfall, a reclining figure, a grazing animal, and a distant tower under a moon.

Solitude, or The Reading Magdalen (Liber Studiorum, part XI, plate 53)

Joseph Mallord William Turner, May 12, 1814

Sepia etching of a castle on a hill above a lakeside town, with trees, figures on a pier, and rowing boats on the water.

Ville de Thun, Switzerland (Liber Studiorum, part XII, plate 59)

Joseph Mallord William Turner, January 1, 1816

Etching of a river scene with a stone bridge, women and a child, a figure wading in water, a rowboat, and a cart.

Water Cress Gatherers ( (Liber Studiorum, part XIII)

Joseph Mallord William Turner, 1819

Sepia print of a riverside scene with tall trees, a columned rotunda, distant buildings and reflections in still water.

Isleworth (Liber Studiorum, part XIII, plate 63)

Joseph Mallord William Turner, January 1, 1819

Brown ink print of boats and figures on a shore with trees at left and a sailing ship on the right horizon.

Inverary Castle and Town, Scotland (Liber Studiorum, part XIII)

Joseph Mallord William Turner, 1816

Sepia engraving of a rugged Scottish mountain valley with a stream, boulders, pine trees and dramatic clouds.

Ben Arthur, Scotland (Liber Studiorum, part XIV, plate 69)

Joseph Mallord William Turner, January 1, 1819

Sepia print of a river landscape with a stone bridge, large tree, classical ruins, and dancing women on the bank.

Apuleia in Search of Apuleius, unpublished plate from "Liber Studiorum"

Joseph Mallord William Turner, 1813-23

Brown ink landscape print of robed figures and sheep beneath large trees, with an aqueduct and domed temple in the distance.

Apuleia in Search of Apuleius (unpublished plate, Liber Studiorum)

Joseph Mallord William Turner, 1813-23

Engraving of a crowded banquet with seated guests, a table of food and a goblet, and gesturing figures behind, under draped c

The Spanish Banquet

Jan Cornelisz. Vermeyen, 1545

Etching of clergy and secular figures at a table above flames and demons, with Dutch verse text below.

Den Grooten Raad van Romen

Romeyn de Hooghe, 1665-1708

Engraving of a large Dutch hulk sailing through rough waves beside a smaller boeier, with a city skyline and clouds behind.

A Dutch Hulk and a Boeier from The Sailing Vessels

Pieter Bruegel the Elder, 1565

Engraving of an armed three-masted ship with billowing sails beside a galley on rough open sea.

Armed Three-Master on the Open Sea Accompanied by a Galley from The Sailing Vessels

Pieter Bruegel the Elder, 1561-65

Engraving of an armed four-masted sailing ship on choppy sea, with clouds above and a coastal town on the distant horizon.

Armed Four-Master Sailing Towards a Port from The Sailing Vessels

Pieter Bruegel the Elder, 1561-65

Engraving of an armed three-masted ship with billowing sails beside a smaller galley on rough open sea.

Armed Three-Master on the Open Sea Accompanied by a Galley, from the series Sailing Vessels

Pieter Bruegel the Elder, 1561-65

Engraving of an armed four-masted ship putting out to sea past a fortified city, with a small sailboat on rough waves.

Armed Four-Master Putting Out to Sea from The Sailing Vessels

Frans Huys, ca. 1555-56

Engraving of galleys and a three-masted ship at sea beneath clouds with a sun chariot and Jupiter figure.

Two Galleys Sailing Behind an Armed Three-Master with Phaeton and Jupiter in the Sky, from the series of Ships

Pieter Bruegel the Elder, 1561-65

Engraving of a bearded shepherd carrying a lamb in a doorway, with thieves and wolves attacking sheep around the shed.

The Parable of the Good Shepherd

Pieter Bruegel the Elder, 1565

Engraving of Christ in a central oval among angels, with naked souls emerging from a monstrous mouth amid grotesque demons.

The Descent of Christ Into Limbo

Pieter Bruegel the Elder, 1551

Engraving of Christ in an oval halo among angels, with naked souls emerging from a monstrous mouth and grotesque demons aroun

The Descent of Christ Into Limbo

Pieter Bruegel the Elder, ca. 1561

Engraving of the Last Judgment with Christ enthroned above angels and trumpets, and damned figures, demons and a sea monster

The Last Judgment

Pieter Bruegel the Elder, 1558

Engraving of Christ with a halo walking between two pilgrims carrying staffs, with hills and sunrise behind them.

Christ and the Disciples on the Way to Emmaus

Pieter Bruegel the Elder, 1571

Engraving of an armed three-masted ship anchored near a walled city, with smaller boats and rowers in the water.

Armed Three-Master Anchored Near a City from The Sailing Vessels

Frans Huys, ca. 1555-56

Engraving of St. Anthony tempted by demons, with a giant fish-monster, boats on a river and a village in the distance.

The Temptation of St. Anthony

Pieter Bruegel the Elder, 1556

Engraving of men struggling over a cow with a coat of arms, with ships and a town skyline in the distance.

Struggle over the Flemish Milch-Cow

Crispijn de Passe the Younger, 1646

Engraving of St. James confronting a magician amid demons, witches, a cauldron and flying figures in a crowded scene.

St. James and the Magician Hermogenes from The Story of the Magician Hermogenes

Pieter Bruegel the Elder, 1565

Engraving of three sailing ships anchored near a fortified island with a tower, rowboats and billowing clouds.

Four-Master (Left) and Two Three-Masters Anchored near a Fortified Island with a Lighthouse from The Sailing Vessels

Pieter Bruegel the Elder, 1561-65

Engraving of a haloed saint surrounded by demons, witches and grotesque creatures in a cluttered magician's workshop and sky.

St. James and the Magician Hermogenes

Pieter Bruegel the Elder, 1565

Engraving of the parable of the wise and foolish virgins with an angel in clouds, a Gothic hall, and dancing figures.

The Parable of the Wise and Foolish Virgins

Pieter Bruegel the Elder, ca. 1560-63

Engraving of a Gothic church with kneeling worshippers around an allegorical figure of Faith beside a ladder and crucifix.

Faith (Fides), from "The Virtues"

Pieter Bruegel the Elder, ca. 1559-60

Engraving of an allegorical figure labeled Spes amid a flood, with people fleeing on rooftops and boats in rough water.

Hope (Spes), from "The Virtues"

Pieter Bruegel the Elder, 1559-60

Engraving of Pride with a woman holding a mirror beside a peacock, surrounded by grotesque creatures and fantastical building

Pride (Superbia) from The Seven Deadly Sins

Pieter Bruegel the Elder, 1558

Engraving of Avarice showing a woman counting coins by a chest, greedy figures, scales, and a fiery demon-filled landscape.

Avarice (Avaritia) from The Seven Deadly Sins

Pieter Bruegel the Elder, 1558

Engraving of grotesque armored figures fighting in a crowd, with a tall hooded figure and a burning town behind them.

Anger (Ira), from the series The Seven Deadly Sins

Pieter van der Heyden, 1558

Engraving of nude figures and grotesque creatures in a fantastical landscape, illustrating Lust from The Seven Deadly Sins.

Lust (Luxuria) from The Seven Deadly Sins

Pieter van der Heyden, 1558

Engraving of Anger from The Seven Deadly Sins showing a witch with a flask, brawling soldiers, grotesque beasts and a burning

Anger (Ira) from The Seven Deadly Sins

Pieter van der Heyden, 1558

Engraving of Avarice showing a woman counting coins amid demons, greedy figures, and a burning town under smoky skies.

Avarice (Avaritia), from the series The Seven Deadly Sins

Pieter Bruegel the Elder, 1558

Pen and ink drawing of a standing soldier with a plumed helmet, billowing cape, sword and long pike, on an arched sheet.

A Standing Soldier

Michel Kirmer, 1561

Pen and ink drawing of fortified city walls with crenellated towers, angled bastions, and an arcaded building behind them.

Recto: "Libro Primo, Chapo Quarto..." (Vitruvius, Book 1, Chapter 4); Verso: The Fortification of City Walls (Vitruvi…

Sangallo family, 1530-45

Ink drawing of a columned temple elevation, a floor plan, and a background with a round building and arched bridge, with hand

Recto: Temple Types: in Antis and Prostyle (Vitruvius, Book 3, Chapter 2, nos. 2, 3); Verso: Temple Types: Peripteral…

Sangallo family, 1530-45

Pen and brown ink drawing of a walled city by a river with obelisks, a fortress and hills, framed by trees and rocks.

The Port City of Alexandria (? Allusion to Dinocrates's Building of Alexandria, Vitruvius, Book 2, introduction, no.…

Sangallo family, 1530-45

Pen and ink drawing of labeled trees in a landscape with hills, a pond and ducks.

Recto: On Timber, the Species of Trees (Vitruvius, Book 2, Chapter 9, no. 4); Verso: On Timber, the Battle of Larigni…

Sangallo family, 1530-45

Pen and brown ink drawing of a hilly ancient city with amphitheaters, obelisks, and cave openings, with a floor plan below.

Recto: The Houses of the Barbarians (Vitruvius, Book 2, Chapter 1, nos. 3, 4); Verso: The Aeropagus in Athens with Ca…

Sangallo family, 1530-45