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The Metropolitan Museum of Art

33,774 works

Engraving of a dense bouquet of tulips, carnations and peonies in a decorated footed urn on a stone ledge.

[Flowers Arranged in a Glass Vase]

Jean-Baptiste Monnoyer, [about 1659]

Engraving of the Annunciation: the Virgin kneels at a lectern as an angel descends in clouds, a dove and rays of light above.

The Annunciation

Mario Cartaro, 1571

Engraving of the grieving Virgin seated beside Christ's body beneath a large cross, with a town and trees behind.

The Lamentation of the Virgin Beneath the Cross

Mario Cartaro, 1566

Engraving of the nude muscular Farnese Hercules statue with lion skin and club in an arched niche.

Farnese Hercules

Mario Cartaro, 1552-88

Etching of intertwined struggling figures and fallen bodies against dark hatched background, from Goya's Disasters of War.

Plate10 from "The Disasters of War" (Los Desastres de la Guerra): Nor [do these] either (Tampoco)

Francisco Goya, 1810 (published 1863)

Etching of armed men struggling over a prone figure, with a child on the ground and a small building behind.

Plate 11 from "The Disasters of War" (Los Desastres de la Guerra): Not even in that way (Ni por esas)

Francisco Goya, ca. 1810 (published 1863)

Etching of a kneeling man with outstretched arms under a dark, hatched sky, captioned Tristes presentimientos de lo que ha de

Plate1 from "The Disasters of War" (Los Desastres de la Guerra): 'Sad foreboding of what is going to happen' (Tristes…

Francisco Goya, ca. 1815 (published 1863)

Etching of a couple embracing as an older woman lunges at them with a raised arm, from Goya's Disasters of War.

Plate 9 from "The Disasters of War" (Los Desastres de la Guerra): 'They don't like to' (No quieren)

Francisco Goya, 1810 (published 1863)

Engraving of Saint Catherine kneeling by a broken wheel as an angel descends with a sword and a crowned ruler watches.

Martyrdom of Saint Catherine of Alexandria

Mario Cartaro, 1567

Etching of women with a sword tending a wounded man on the ground, with the Spanish caption Las mugeres dan valor below.

Plate 4 from "The Disasters of War" (Los Desastres de la Guerra): 'The women give courage' (Las mugeres dan valor)

Francisco Goya, 1810 (published 1863)

Etching of a woman in white standing by a cannon above fallen soldiers on a battlefield.

Plate 7 from "The Disasters of War" (Los Desastres de la Guerra): 'What courage!' (Que valor!)

Francisco Goya, 1810 (published 1863)

Etching of struggling figures on a dark hillside beneath a stormy sky, with a fallen body in the foreground.

Plate 6 from "The Disasters of War" (Los Desastres de la Guerra): 'It serves you right' (Bien te se está)

Francisco Goya, 1810 (published 1863)

Etching of a fallen horse and a rider on a battlefield, with figures and a horse in the background, captioned 'Siempre sucede

Plate 8 from "The Disasters of War" (Los Desastres de la Guerra): 'It always happens' (Siempre sucede)

Francisco Goya, 1810 (published 1863)

Engraving of a crowned rider on a white horse in a forest hunt, with a stag, hunting dogs and attendants around him.

The Deer Hunt of Emperor Frederick I Barbarossa and Ubaldino Ubaldini

called Stradanus Jan van der Straet, 1589

Engraved interior of a formal 1645 ceremony with courtiers, chandeliers and a clergyman reading a contract at a balustrade.

Ceremony of the Contract of Marriage between Władysław IV, King of Poland, and Marie Louise Gonzaga, Princess of Mant…

Abraham Bosse, 1645

Lithograph of two women and two top-hatted men talking on a Paris street, with handwritten caption text below the image.

Les Etrangers dévisagés par eux mêmes, from "Les Étrangers à Paris"

Honoré Daumier, 1844

Satirical lithograph of a bearded man in a top hat marked FAILLITE seated on a carriage, with a crowd and caption below.

Un soi disant Négociant... (A so-called Merchant...), from Émotions Parisiennes, published in "Le Charivari"

Honoré Daumier, 1840

Lithograph of a top-hatted man holding up Le Charivari newspaper bearing a subscription notice, by Honoré Daumier, 1840.

Advice to Subscribers, published in Le Charivari, April 1, 1840

Honoré Daumier, April 1, 1840

Engraving of the Descent from the Cross: men on ladders lower Christ while mourners kneel below, with a city and mountains be

The Descent from the Cross

Mario Cartaro, 1570

Engraving of Christ descending into Limbo, with a cross, winged demons blowing horns, and nude figures among broken gates and

Christ descending into Limbo

Mario Cartaro, 1566

Etching of a harbor shore with men loading barrels and crates, a rowboat, distant sailing ships, and a hillside.

Seaport Scene

Reinier Nooms, 17th century

Etching of a seaport with a village on white cliffs, sailing ships with flags, and rowing boats in the foreground.

Seaport with Village on a Cliff

Reinier Nooms, 17th century

Etching of a bay with large sailing ships, workers loading barrels on a shore, and rocky cliffs on the left.

Bay with Sailing Vessels

Reinier Nooms, 17th century

Etching of Amsterdam's Appelmarckt canal with moored sailing ships, a church tower, and figures on the quay.

De Appelmarckt (The Apple Market), from Views in Amsterdam, plate 6

Reinier Nooms, ca. 1659/62 (?)

De Salemander een Oostindis Vaerder

Reinier Nooms, mid-17th century

Etched landscape of a hilltop church, trees, and a herder with cattle in the foreground.

Veüe de Conflans

Reinier Nooms, mid-17th century

Etching of a French château and church beside trees, with a wall, figures on a dirt road, and a cloudy sky.

View of Conflans

Reinier Nooms, 17th century

Etching of a riverside palace with a round tower, a wooden bridge, and rowing boats with figures on the river.

View of the Louvre and the Tuileries, from Views of Paris and Neighborhoods, plate 1

Reinier Nooms, 17th century

Etching of a dirt road entering a walled town, with chimneys, travelers on horseback, and pack animals under clouds.

Entrance to the Suburb of Saint Marceau near Paris

Reinier Nooms, 17th century

Etching of a hillside town with a stone bridge, walking figures, a city wall and a large tree in the foreground.

View of Chaillot in Paris

Reinier Nooms, 17th century

Etched river landscape with moored boats, rowing figures, a tower, houses and dense trees along the bank.

The River Seine at the Bend of the Mall

Reinier Nooms, 17th century

Etching of a fortified city gate beside a river, with boats, horsemen, figures on the quay and a bridge in the distance.

The Entrance Gate of St. Bernard in Paris

Reinier Nooms, 17th century

Etching of a water mill and stone arched bridge beside a river, with trees, cattle, figures and a hillside under clouds.

A Water Mill near St. Denis

Reinier Nooms, 17th century

Etching of a walled garden by a canal with stone arches, tall trees, and small figures and a horse on the path.

The Garden of M. de Nue Outside of the Suburb of S. Marceau near Paris

Reinier Nooms, 17th century

Etching of a naval battle with sailing ships in the foreground, gunsmoke rising over the fleet, and choppy sea below.

Naval Battle Scene

Reinier Nooms, 17th century

Etching of armed figures and fallen bodies in a street by a ruined wall, with the caption Ya no hay tiempo below.

Plate 19 from "The Disasters of War" (Los Desastres de la Guerra): There isn't time now (Ya no hay tiempo)

Francisco Goya, ca. 1810 (published 1863)

Etching of three figures in shadow, one hooded figure leaning toward a bowl, with caption El Vergonzoso below.

Plate 54 from "Los Caprichos": The shamefaced one (El Vergonzoso)

Francisco Goya, 1799

Etching of an owl on a pedestal above a group of cloaked old men with grotesque faces gazing upward.

Plate 53 from "Los Caprichos": What a golden beak! (Que pico de Oro!)

Francisco Goya, 1799

Etching of a kneeling woman gazing up at a tall robed figure with raised arms, surrounded by floating grotesque figures and o

Plate 52 from "Los Caprichos": What a tailor can do! (Lo que puede un Sastre!)

Francisco Goya, 1799

Etching of hybrid human-animal creatures with bird and donkey heads in a grotesque scene, with a crowd behind them.

Plate 63 from "Los Caprichos": Look how solemn they are! (Miren que grabes!)

Francisco Goya, 1799

Etching of figures in an interior, a woman reading an open book beside a seated woman, a man in a feathered hat with a monocl

Plate 57 from "Los Caprichos": The filiation (La filiacion)

Francisco Goya, 1799

Etching of a kneeling man with clasped hands, surrounded by laughing grotesque faces and a hooded shadowy figure.

Plate 58 from "Los Caprichos": Swallow it, dog (Tragala perro)

Francisco Goya, 1799

Etching of two nude figures, a horned goat, two cats, a skull and a jug, from Goya's Los Caprichos plate 60.

Pllate 60 from "Los Caprichos": Trials (Ensayos)

Francisco Goya, 1799

Etching of a gaunt old woman holding a nude figure aloft while shadowy faces and an old man watch from below.

Plate 69 from "Los Caprichos": Blow (Sopla)

Francisco Goya, 1799

Etching of nude grotesque figures under a starry night sky, one man pointing upward, with the caption Si amanece; nos vamos.

Plate 71 from "Los Caprichos": When day breaks we will be off (Si amanece; nos Vamos)

Francisco Goya, 1799

Etching of three men drinking wine around a barrel, with caricatured faces and a shadowy figure behind them.

Plate 79 from "Los Caprichos": No one has seen us (Nadie nos ha visto)

Francisco Goya, 1799

Etching of screaming, cloaked figures, one with arms raised, crowding around a bent man in a dark setting.

Plate 80 from "Los Caprichos": It is time (Ya es hora)

Francisco Goya, 1799

Etching of gaunt, aged figures tangled together, one carrying a bundled body, with walking sticks and a scroll, in brown tone

Plate 77 from "Los Caprichos": What one does to another (Unos á otros)

Francisco Goya, 1799

Etching of three men, one in a sash holding a cane, with a hat-wearing figure and another behind, numbered plate 76.

Plate 76 from "Los Caprichos": You understand?... well, as I say... eh! Look out! otherwise... (¿Està Umd...pues, Com…

Francisco Goya, 1799

Etching of two withered witch-like figures with a bowl of ointment and a leaping goat-like creature above them.

Plate 67 from "Los Caprichos": Wait till you've been anointed (Aguarda que te unten)

Francisco Goya, 1799

Etching of three hunched old women in a dim room, one holding a broom beside a wooden table, with the caption Despacha, que d

Plate 78 from "Los Caprichos": Be quick, they are waking up (Despacha, que dispiertan)

Francisco Goya, 1881-86

Etching of stacked corpses on a mound with two standing men above them, under an open, bleak sky.

Plate 18 from "The Disasters of War" (Los Desastres de la Guerra): 'Bury them and keep quiet' (Enterrar y callar)

Francisco Goya, 1810 (published 1863)

Hand-coloured plan of a formal public garden with tree-lined avenues, parterres, and pavilion elevations above.

Jardin Public, Champs Elysées

Gabriel Thouin, n.d.

Engraved street scene of Fulton Street and its market hall, with horse carts, barrels and pedestrians on cobblestones.

Fulton Street & Market, New York (The Bennett View of Fulton Street)

William James Bennett, 1834

Hazy brown-toned view of a New York harbour town and ships seen from a grassy hill with a large tree and grazing cows.

View of the City and Harbour of New York taken from Mount Pitt, the Seat of John R. Livingston, Esq.

Charles Balthazar Julien Févret de Saint-Mémin, 1796

Engraved perspective view of New York City Hall from Wall Street, with a church spire, tree, carriage and pedestrians.

A Perspective View of the City Hall in New York, Taken from Wall Street

Cornelius Tiebout, 1791-93

Hand-coloured lithograph of Broadway in New York in 1855, showing shop fronts, carriages, omnibuses and pedestrians under a c

View of Broadway, New-York, from Exchange Alley to Morris Street, West Side

Frederick Heppenheimer, 1855

Hand-colored 1817 map of New York City with inset architectural views, a 1729 plan, and an alphabetical street guide.

The City of New York: Longworth's Explanatory Map and Plan

David Longworth, 1817

Black and white lithograph of a classical two-story bank facade with Ionic columns, a pediment, and entrance steps under clou

View of New York from the North, 1679

George Hayward, 1867

Red chalk drawing of a muscular male nude seen from behind with raised arms, plus studies of a head, hands and feet.

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)

Michelangelo, 1510

Engraved trade card of Thomas Ash's chair shop in New York, with a man and horse cart beside a sailing ship at the wharf.

Fancy & Windsor Chair Manufactory, Wholesale & Retail, Thomas Ash, No. 33 John Street, New York

Asher Brown Durand, 1817

Lithograph of the Church of the Pilgrims in Brooklyn with a tall spire, arched windows, and pedestrians on a cobbled street.

Church of the Pilgrims, Brooklyn, New York

Frances Flora Bond Palmer, 1844

Hand-colored caricature of a fantastical parade with exaggerated mounted soldiers and satirical banners on a cobbled street.

Grand Fantastical Parade, New-York, December 2, 1833

David Claypoole Johnston, 1833

Print of a proposed colossal statue of George Washington on a tall pedestal, with strollers in a tree-lined park.

Proposed Colossal Statue of George Washington for the City of New York

G. Thomas, 1845