80/internal/media/dispatcher/7091/fullArchitectural Drawing of "Monument f'ġieħ il-Ħaddiema mejtin u lit-Tarzna"1986J. M. AzzopardiMMM 005111489018248A drawing in plan elevation and frontal elevation with handwritten notes for the monument "Il-Ħaddiem li bix-xogħol jibni ma jmut qatt" at the entrance of the Dockyard which was erected as a memorial for deceased workers. It is signed by J.M Azzopardi Clock No: 177951 C.221./internal/media/dispatcher/6539/fullDraped male figure seen from behind1481-1482Pietro PeruginoFAS/D/5489087149This is a study after a figure of an apostle seen on the right in the fresco 'La Consegna delle Chiavi' or 'Delivery of the Keys' by Pietro Perugino in the Sistine Chapel, Vatican, Rome, dated 1481-2. It is possibly a training exercise executed by one of Perugino's pupils copying from the master's fresco./internal/media/dispatcher/1790/fullSheer Drawing of a FrigateE. ZarbMMM 000656489217178/internal/media/dispatcher/1791/fullInk drawing of the Laying off of fore body of the ship 'Ister'A. SalvaticoMMM 000726489218180/internal/media/dispatcher/6110/fullBrich il Corriere entrando in Malta 18531853Nicolas CamilleriMMM 004791489232230/internal/media/dispatcher/6111/fullBregantino, il cavallo marino, Cap.no Ant.io Cachia, Sor.do da Malta 18481848Nicolas CamilleriMMM 004792489233231/internal/media/dispatcher/1777/fullBark Tertius, sortendo da Malta 18531853Nicolas CamilleriMMM 004793489234232/internal/media/dispatcher/1761/fullBatteria di S. Rocco nel blocco delle citta di Malta nel 1797Agostino ScolaroMMM 004803489235233Signed./internal/media/dispatcher/1762/fullTrinciera Garghar del Blocco di Malta nel 1799Agostino ScolaroMMM 004804489236234Signed./internal/media/dispatcher/1763/fullBatteria Gesuiti nel blocco di Malta nel 1799Agostino ScolaroMMM 004805489237235Signed./internal/media/dispatcher/1764/fullSortita de' Francesi nel Corradino nel 1798Agostino ScolaroMMM 004806489238236Signed./internal/media/dispatcher/1765/fullTrinciera Ta' Samra nel blocco di Malta nel 1798Agostino ScolaroMMM 004807489239237Signed./internal/media/dispatcher/1766/fullTrinciera Tal Borc nel blocco di Malta nel 1798Agostino ScolaroMMM 004808489240238Signed./internal/media/dispatcher/6108/fullRemphaan Commander A. de Monye 18281828Nicolas CamilleriMMM 004753489264295Signed./internal/media/dispatcher/41116/fullDrawing of a horizontal watertight door5 September 1886E. ZarbMMM 000651489278475Signed "E. Zarb appce 5-9-86"./internal/media/dispatcher/7158/fullA man-of-war in full sail in Marsamxett Harbour, Malta, with the Valletta Bastions in the backgroundAnton SchranzMMM 005120489280477/internal/media/dispatcher/7160/fullA view of the Grand Harbour taken from Marsa, showing Fort St. Angelo, Senglea Point, and Spencer's Monument on Corradino Heights, at sunriseAndrew NichollMMM 005121489281478/internal/media/dispatcher/6028/fullDrawing of a marine view with sailing Ships1720AnonymousMMM 000043489284528A framed drawing of a marine view with sailing Ships. This drawing is part of a set of four./internal/media/dispatcher/6032/fullDrawing of a marine view with sailing ShipsAnonymousMMM 000044489285529A framed drawing of a marine view with sailing Ships, including the vessel "Leo" in the foreground. This drawing is part of a set of four./internal/media/dispatcher/6030/fullDrawing of a marine view with sailing Ships1720AnonymousMMM 000045489286530A framed drawing of a marine view with sailing Ships. This drawing is part of a set of four./internal/media/dispatcher/6038/fullThe embarkation of the body of Angelo Emo 17921792AnonymousMMM 000567489287531/internal/media/dispatcher/6036/fullFuneral cortege of Admiral Angelo Emo coming out of Sarria Church, Floriana 17921792AnonymousMMM 000568489288532The drawing shows Sarria Church on the foreground of the picture plane, on the left hand side of the composition. The artist directs the viewer's attention from Sarria Church towards Floriana's Parish Church and the Graneries through the flow of rows of people carrying the coffin of Admiral Angelo Emo. Angelo Emo (1731-1792) was a Venetian noble and the last admiral of the Republic of Venice to lead the Venetian navy in battle. During the ruling of Doge Paolo Renier (1779-1789), he was engaged in the fight against the Barbary pirates who were being of damage to Venice's trades and maritime business. He devised floating mortar platfroms to bombard Sfax, Tunis and Bizerte, bringing their raids to an end. Emo died in Malta on 1 March 1792 apparently from a bilious attack after learning that a peace agreement was concluded with Tunis, which was to a disadvantage to Venice. The Museo Storico Navale di Venezia holds the bust made in honour of Admiral Emo by Antonio Canova (1757-1822) in 1795, which was commissioned by the Venetian Senate./internal/media/dispatcher/6029/fullVeduta dell'Ingresso nel Porto GrandeGiacomo del MoroMMM 004785489294538/internal/media/dispatcher/6034/fullVeduta della citta' Valletta dalla parte di terraGiacomo del MoroMMM 004786489295539/internal/media/dispatcher/6035/fullVeduta della citta' Valletta presa da Palazzo BichiGiacomo del MoroMMM 004787489296540/internal/media/dispatcher/6026/fullVeduta dell'Ingresso nel Porto GrandeGiacomo del MoroMMM 004788489297541/internal/media/dispatcher/6027/fullVeduta del Castello Ricasoli e S. Angiolo dalla ScagliaGiacomo del MoroMMM 004789489298542/internal/media/dispatcher/6033/fullVeduta della citta' Valletta dalla parte del porto di MarsamusciettoGiacomo del MoroMMM 004790489299543/internal/media/dispatcher/6039/fullIl Primo Stendardo IngleseAnonymousMMM 004797489300544/internal/media/dispatcher/6041/fullView of Bighi Naval Hospital1849AnonymousMMM 005012489308552/internal/media/dispatcher/6013/full"Cutthroat Island" Set at Vittoriosa16 December 1994John Martin BorgMMM 000710489309554Set at Vittoriosa./internal/media/dispatcher/6015/fullH.R.H. Princess Elizabeth BadgeMalta Dry DocksMMM 001529489312557/internal/media/dispatcher/7138/fullHMS Revenge in the Grand Harbour1863AnonymousMMM 000038489332578A watercoloured drawing of HMS Revenge in the Grand Harbour. Apart from confirming the date of creation, the accompanying inscription confirms that the vessel is the HMS Revenge launched in 1859, which served as the flagShip to Rear Admiral Sir Hastings Yelverton from his promotion to Rear Admiral and Second in Command of the Mediterranean Station in 1863 until May 1865./internal/media/dispatcher/5984/fullTartana Cagliari5 May 1991Giuseppe CassarMMM 000154489354600This signed painting was presented by Giuseppe Cassar, the artist of this work, to the Maritime Museum on the occasion of the 'Maltafest Watercolour Exhibition' on August 1991. It is based on a photograph by the author taken in 1945. The painting depicts a fishing boat and a warship probably situated between Senglea and Vittoriosa in the Grand Harbour, and another warship in the background, sometime after the war. This information is provided by two labels at the back of the painting./internal/media/dispatcher/5956/fullFramed picture of pencil drawing 'Endavour II'Nikki ArnettMMM 000424489357603One of a set of four pencil drawings by Nikki Arnett of Sailing yachts. Nikki Arnett was born in United Kingdom in 1964 and he comes from the family line of J.M.W Turner. The drawing depicting Endeavour II shows the yacht on the foreground of the picture plane, taking most of the space, while the background is the paper itself. The drawing is signed. /internal/media/dispatcher/5959/fullFramed picture of pencil drawing 'Westuard'Nikki ArnettMMM 000425489358604One of a set of four pencil drawings by Nikki Arnett of Sailing yachts. Nikki Arnett was born in United Kingdom in 1964 and he comes from the family line of J.M.W Turner. The drawing depicting Westward shows the yacht on the foreground of the picture plane, taking most of the space, while the background is the paper itself. The drawing is signed. /internal/media/dispatcher/5957/fullFramed picture of pencil drawing 'Rainbow'Nikki ArnettMMM 000426489359605One of a set of four pencil drawings by Nikki Arnett of Sailing yachts. Nikki Arnett was born in United Kingdom in 1964 and he comes from the family line of J.M.W Turner. The drawing depicting Rainbow shows the yacht on the foreground of the picture plane on waves, taking most of the space, while the background is the paper itself. The drawing is signed. /internal/media/dispatcher/5960/fullFramed picture of pencil drawing 'Meteor'Nikki ArnettMMM 000427489360606One of a set of four pencil drawings by Nikki Arnett of Sailing yachts. Nikki Arnett was born in United Kingdom in 1964 and he comes from the family line of J.M.W Turner. The drawing depicting Meteor shows the yacht on the foreground of the picture plane, taking most of the space, while the background is the paper itself. The drawing is signed. /internal/media/dispatcher/5967/fullView of the Perellos Stores from the Valletta Marina1790-1810Giorgio PullicinoMMM 004754489374620This drawing by Giorgio Pullicino (1779-1851) serves as a good historic document in itself due to the detail it goes into. During the first half of the 19th century the splendid Neptune fountain built by Grand Master Alof de Wignacourt (1601-1622) still dominated the Valletta Marina. The Perellos Stores were erected by Grand Master Ramon Perellos y Rocaful (1697-1720) to enhance trading facilities at Valletta. The positive interventions of Grand Masters Wignacourt and Perellos constituted an admirable example of efficient commercial viability and refined elegant urban development. The composition follows a structure typical of Pullicino's works: the horizon is placed at the centreline, dividing the composition in two. Most of the activity is concentrated on the lower half of the drawing, contrasting with the void of the sky, apart from some outline drawings of clouds. In this drawing one is able to appreciate the draughtsman interpretation of the view with its linear simplicity./internal/media/dispatcher/5968/fullView of Cottonera from the Valletta Marina1790-1810Giorgio PullicinoMMM 004755489375621A drawing by Giorgio Pullicino (1779-1851). This drawing serves as a good historic document in itself due to the detail it goes into. At the foreground, the hustle and bustle of port activities along the Valletta Waterfront occupy the majority of the space. A myriad of ships and boats, including two speronara, punctuate the harbour. In the background, on the right-hand side of the drawing there is the fountain of Wignacourt with the statue of Neptune. Pullicino executed this seascape drawing more than once. The composition follows a structure typical of Pullicino's works: the horizon is placed at the centreline, dividing the composition in two. Most of the activity is concentrated on the lower half of the drawing, contrasting with the void of the sky, apart from some outline drawings of clouds. In this drawing one is able to appreciate the draughtsman interpretation of the view with its linear simplicity./internal/media/dispatcher/5970/fullView of Floriana and Valletta from Ħamrun1790-1810Giorgio PullicinoMMM 004756489376622A drawing by Giorgio Pullicino (1779-1851). This drawing serves as a good historic document in itself. The heights at Tas-Samra commanded a spectacular view of Floriana and Valletta land fronts and the Cottonera cities. Large country houses and estates then punctuated the suburb of Ħamrun spread along Strada San Giuseppe, the main road leading from Valletta to Mdina. Elements of rural life occupy the foreground of the drawing. One is able to discern important landmarks including Porte des Bombes and Sarria Church in Floriana, the Upper Barrakka Gardens and St. John’s Co-Cathedral at Valletta to name a few. The composition follows a typical structure of Pullicino's works: the horizon is placed at the centreline, dividing the composition in two. The lower half of the drawing contrasts with the void of the sky, apart from some outline drawings of clouds. In this drawing one is able to appreciate the draughtsman interpretation of the view with its linear simplicity./internal/media/dispatcher/5971/fullView of Manoel Island and Valletta from Tigné PointBefore 1844Giorgio PullicinoMMM 004757489377623A drawing by Giorgio Pullicino (1779-1851). This drawing serves as a good historic document in itself due to the detail it goes into. At the foreground, people riding horses or donkeys pulling carriages at Tigné Point. On the right, British officials escorting a carriage. In the middle ground, a view of Fort Manoel, and beyond it, a view of Valletta from the side of Marsamxett. The drawing predates 1844 because of the absence of the Anglican St Paul's Pro-Cathedral. The composition follows a typical structure of Pullicino's works: the horizon is placed at the centreline, dividing the composition in two. Most of the activity is concentrated on the lower half of the drawing, contrasting with the void of the sky, apart from some outline drawings of clouds. In this drawing one is able to appreciate the draughtsman interpretation of the view with its linear simplicity. This drawing matches Pullicino's painting "View of Manoel Island" which is found at the National Museum of Fine Arts, which was purchased in London in 1912 (Buhagiar, 1987: 160)./internal/media/dispatcher/7155/fullSperonara leaving Grand Harbour1858Giovanni SchranzMMM 004322489387633/internal/media/dispatcher/7147/fullHMS Hibernia in Grand Harbour1903Tristam EllisMMM 000761489390636Signed by Tristam Ellis 1903./internal/media/dispatcher/6097/fullMarinaro di Speronara MalteseMaltese SchoolMMM 004782489398644/internal/media/dispatcher/6098/fullUnits of the surrendered Italian Fleet in Marsaxlokk, September 19431943Rowland LangmaidMMM 005009489400646/internal/media/dispatcher/6084/fullR.M.S.S. Parramatta, Bombay, 1884AnonymousMMM 000814489408654The Parramatta was a passenger liner belonging to the P&O (Peninsular & Oriental) line, designated to carry mail hence RMSS (Royal Mail Steam Ship). She operated on the UK-Australia-Far Eastern service. Built by the firm Caird and Co. of Greenock she was launched in 1884. She was 420 feet long and carried 160 first class and 48 second class passengers. The vessel was sold in 1903. The Parramatta regularly called at Malta on her way to and from Australia and the Far East. This watercolour depicts the handsome ship at her moorings in Bombay, India in 1884. Possibly this is the work of either a British traveller or resident artist in India. "Parramatta" is a city in New South Wales, Australia./internal/media/dispatcher/6085/fullInner Court of Our House in Sliema1842Lt. Joseph Sparkhall Rundell R. N.MMM 004979489409655/internal/media/dispatcher/6064/fullView of Marsamxett Harbour1950Joseph GaleaMMM 000161489410656Signed by artist./internal/media/dispatcher/6058/fullView of Mount Etna from Fort St.ElmoAnonymousMMM 000563489414660/internal/media/dispatcher/6066/fullDockyard Creek, Malta20 November 1842Lt. Joseph Sparkhall Rundell R. N.MMM 001937489418664/internal/media/dispatcher/6057/fullSubmariners resting at Lazzaretto, MaltaLeslie ColeMMM 003185489419665A drawing sketch by British artist and teacher Leslie Cole (11 August 1910 – 1976) portraying submariners resting at the Lazarreto during World War II, during which time the Lazaretto served as a base for the submarines of the 10th Submarine Flotilla . Cole served as war artist from 1942 to 1946 during which he recorded events in several theatres of war and also the aftermath./internal/media/dispatcher/6080/fullLes Trois Soeurs prize of Captain Kimber of the Hornet from St Domingo1782AnonymousMMM 004141489423669/internal/media/dispatcher/6076/fullSailing Ship at Sa Maison1938Dorothy DaviesMMM 004975489429675Portrait of a green and red sailing ship, probably anchored at Sa Maison. Signed by the artist, Dorothy Davies, at bottom left corner./internal/media/dispatcher/6074/fullThe BoatmanCharles Frederick de BrockdorffMMM 005011489433679/internal/media/dispatcher/6054/fullBritish Men-of-War in HarbourAndrew NichollMMM 005097489434680Signed A. Nicholl./internal/media/dispatcher/7140/fullThe Barque 'Regina Maris' in Malta in 1976April 1976Edwin GaleaMMM 000580489438684/internal/media/dispatcher/6103/fullPlan Particulier de la Citte' Vallette, et du Front de Florianes, avec les nouveaux ouvraces proposes.FAS/D/79489440686/internal/media/dispatcher/6606/fullStudy of a Young Man Standing1494Vittore CarpaccioFAS/D/4489569820A preparatory study for the figure dressed in red in the centre-left of Carpaccio's opening panel 'Arrival of the Ambassadors' from the Life of St Ursula Cycle, now in the Gallerie dell'Accademia in Venice./internal/media/dispatcher/13758/fullSt Catherine of Alexandria disputing with the Fifty Philosophersc. 1580-1630Giovanni BalducciFAS/D/2354898761194The scene depicted shows St Catherine of Alexandria, in the centre, a highly intelligent and devout Christian woman, disputing with fifty pagan philosophers, featured behind her, at the request of Emperor Maxentius, who is the second figure on the left, seated on a throne. The emperor hoped to convince her to renounce her faith, but Catherine's eloquent arguments and conversion of the philosophers instead led to her own martyrdom. /internal/media/dispatcher/20290/fullA knight of the Order of St John and three other male figures1755-1761Antoine FavrayFAS/D/144898771222Studies showing four full-length male figures. The figure on top right wearing the tabbard of the Order of St John is a study for a painting by Antoine Favray showing the interior of St John's Co-Cathedral in Valletta, which is at the State Hermitage Museum in St Petersburg./internal/media/dispatcher/20293/fullA veiled lady seen in profile facing left (R) / Drapery studies (V)1744-1798Antoine FavrayFAS/D/24898781225(R) A half-figure of a lady in profile looking towards the left. / (V) Drapery studies of two sleeves./internal/media/dispatcher/20301/fullA kneeling woman (R.) / A male figure (V.)1755-1761Antoine FavrayFAS/D/2024898791228(R.) A study of a woman kneeling facing left in profile view with her hands resting on a stool. She wears a mantle and a veil. This is a preparatory figure study for a painting by Antoine Favray showing the interior of St John's Co-Cathedral in Valletta, which is at the State Hermitage Museum in St Petersburg. (V.) A study of a half length male figure wearing a coat./internal/media/dispatcher/13959/fullVirgin and Child with Young St John the Baptist1650-1695Andrea AndreaniFAS/D/7714898801246This drawing is a 17th-century copy after a chiaroscuro woodcut by Andrea Andreani after Alessandro Casolani which was made in 1591. It appears to be a training exercise as it is almost a traced copy of the woodcut with black pen lines matching the line block, but freehand brown washes that reproduce the effect of the two tone blocks, and chalk to mimic the blank paper used by Casolani to create highlights. It may have been made as a study in creating tonal effects using ink washes and white chalk, by copying the light-dark (chiaroscuro) effects in the print. /internal/media/dispatcher/14051/fullMale nude seen from the back1763Ubaldo GandolfiFAS/D/8104898811285An academic study of a male nude seen from the back, with the figure's left knee and hand on a boulder and the right hand leaning on a stick. Drawn from a live model by Bolognese artist Ubaldo Gandolfi in oiled chalk and white chalk heightening. Gandolfi masterfully used the varying thickness of the oiled black chalk outline, the black chalk shading, and the white chalk to accurately depict how the bright light coming from the left falls on the figure. /internal/media/dispatcher/28230/fullA kneeling male figure seen from the rearJacopo da EmpoliFAS/D/294898821304This is a preparatory figure drawing for a bigger composition. Depicting a young man on one knee in traditional florentine clothing as seen from the back lifting his right arm. /internal/media/dispatcher/27736/fullAllegorical figure of Piety (Pietas) (R); Veiled female figure and draped figure holding a book (V)1650-1700Lorenzo PasinelliFAS/D/344898831310This drawing of a standing crowned female figure, attributed to Lorenzo Pasinelli, may represent an Allegorical Personification of Piety (Pietas), sometimes identified by a flaming altar as seen on the left of the figure. On the verso are two drawings on either side of the folding line; a female figure wearing a veil, and a study of the drapery of a figure holding a book./internal/media/dispatcher/13857/fullA draped kneeling male figure in profile facing right with additional studies of drapery and a hand holding an urnlate 16th-early 17th CenturyCristoforo RoncalliFAS/D/314898841312The drawing shows a kneeling male figure in profile, facing right, with right arm raised. Two separate studies on the recto show details of the hand offering a vessel at top left, and a drapery study at the bottom. It is a preparatory figure study for an unknown painting, possibly an Adoration of the Magi. Roncalli used this drawing to study the fall of light on the drapery folds of the figure, while the face is rendered masterfully through a few light strokes, without details and minimal shading./internal/media/dispatcher/13805/fullCrowning with thorns1570-1590Bartolomeo PassarottiFAS/D/254898851322This drawing by the mannerist Bolognese artist Bartolomeo Passarotti depicts Christ being crowned with thorns and mocked. The composition is structured around six figures which fill up the drawing space, without any details suggesting the setting, making this scene reminiscent of a theatrical stage, specifically the Passion plays performed as part of religious processions during Holy Week. Christ is seated in the centre flanked by two figures, one on either side, affixing the crown of thorns on his head. To the right a kneeling figure mocks Christ, whilst to the far left two standing figures in oriental garments discuss the event. The composition is rendered quite energetically with quick pen strokes defining the bold gestural action of the figures, their bodies and faces bordering on the grottesque and denoting the influence of Northern mannerism./internal/media/dispatcher/28228/fullTempio di Vesta detto della Sibilla in Tivoli1810-1825Filippo Maria GiuntotardiFAS/D/21044900551932This drawing by Giuntotardi of the Temple of Vesta, known as della Sibilla, in Tivoli seems to be in preparation for the etching published in 1825 by him and Antonio Testa as a series of prints after Giuntotardi’s drawings of Tivoli and its nearby locations. The etching, although larger in size, reproduces the lines and shading in this drawing faithfully, while other versions of this drawing show variations in the depiction of clouds and foliage, as well as the number of figures./internal/media/dispatcher/34673/fullView of the Grand Harbour1830J. M. W. Turner001-015040683686On permanent loan from HSBC, this view of the Grand Harbour captured from Fort Ricasoli is by J. M. W. Turner, the most important British Romantic artist of the 19th century. As Turner never stepped foot on Malta, his only source for this particular scene could have only been drawings by artists who had visited the island. Yet speculation on whose work he ultimately relied on prevails. This view steers away from strict topographical conventions to one imbued with Turner’s characteristic poetic eloquence. In true Romantic spirit, the emphasis on capturing constantly changing light and weather conditions is revealed by the restless brushwork and the preference for an overall sketchiness rather than a meticulous approach to detail. The tall masts and inflated sails of the ships, and the stronger colours of the passage and fishing boats in the bustling Grand Harbour become the main protagonists against the Valletta promontory backdrop. Insignificant in size but not in importance, the two fishermen in the immediate foreground act as the visual stepping stone for the spectator’s interaction with this view./internal/media/dispatcher/34697/fullVeiled Oriental woman with parasol1880Amadeo PreziosiFAS/P/12025040693688“Veiled Oriented lady with parasol (signed & dated 1880)”, Amadeo Preziosi (1816-1882), watercolours on brownish paper./internal/media/dispatcher/6644/fullJuno with the peacockLuca CambiasoFAS/D/40505824825The drawing depicts the Roman goddess Juno reclined on clouds. The peacock to the left represents the moment when, jealous of the nightingale, the peacock protested to Juno as it did not have a beautiful voice, to which Juno replied that the nightingale may have a beautiful voice, but the peacock had beauty and size. This episode was widely popularised in Aesop’s Fables./internal/media/dispatcher/41847/fullRocky landscape with three seated figuresJean-Antoine ConstantinFAS/D/2435058251252In this landscape, three seated figures, possibly friars, are resting along a path next to a high rocky wall surrounded by forest. In the distance, a fourth figure is crossing a suspended pathway bridging a waterfall. /internal/media/dispatcher/14003/fullLandscape with wooden dwellingsAdriaen van de VeldeFAS/D/7925058261272A landscape framed by a tree on the left, with wooden dwellings and shrubbery. /internal/media/dispatcher/6641/fullA monk offering alms in a church (R.) / Various sketches (V.)Giovanni BalducciFAS/D/27505904824(R.) A monk offering alms in a church in front of an altar. / (V.) Various studies which include: a banquet scene with figures around a table, a scene with four figures around a font, an arm holding an ewer, and two hands holding goblets./internal/media/dispatcher/20267/fullStudy for the Knight of Malta Fra Alerano Parpaglia (R.) / St John the Baptist Beheaded (V.)1661-1666Mattia PretiFAS/D/95059051199(R.) Study for a portrait of the knight Fra Alerano Parpaglia on the ceiling of St John's Co-Cathedral, Valletta. The Knight wears a tabard of the Order. (V.) The beheaded corpse of St John the Baptist, still holding the cross-staff lies on the ground. This work is a study of the painting entitled 'Saint John the Baptist Beheaded' at the Archbishop's Palace in Seville, Spain. /internal/media/dispatcher/6634/fullThe Shipwreck1752-1753Adrien ManglardFAS/D/245505910823Seascape depicting a shipwreck, with survivors struggling to reach the shore. Ruins of an arch frame the composition on the left, balanced by a tower on the right. This drawing was probably made by Adrien Manglard as a 'ricordo' of one of his paintings. He would have made other versions of this drawing in preparation for an etching he published in 1753-4. This drawing was not used directly for transfer and there are additional figures and details in the drawing that do not appear in the final print. /internal/media/dispatcher/20353/fullStudy of a young man's faceAnonymousFAS/D/7915059111283Counterproof of a study of a young male head with eyes looking upwards in red chalk. Possibly by a French artist, late 18th century. /internal/media/dispatcher/20389/fullStudy of a reclining male nudeAndrea SacchiFAS/D/165059121319Red chalk academic drawing of a reclined male nude. It is possibly the work of a student in Rome during the second half of the 17th century, working in a baroque classicist tradition.