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Alex Katz (American, b. 1927), Jessica (1994)published by the Print Club of New York, Inc. 3-color woodcut on Hosho paper, edition 79/200, signed in pencil, Gift of Jacqueline Koldin Levine (Class of 1946) and Howard H. Levine, 2012.27.508.
After Paul Delaroche (French, 1797-1856), Napoleon Bonaparte (1870-75), after 1838 painting. Engraving; Gift of Abby A. K. Turner Van Pelt Grimscom, Class of 1952, Katherine Drexel Van Pelt Beaver, and Charles B. P. Van Pelt, VP.786. Dressed in military costume and with a sword at his hip, Napoleon poses confidently in the comfort of his study. Napoleon was known for his choleric nature, yet like Suyderhoef’s peasant above right, he also rests his right hand inside the opening of his jacket. This detail may appear odd, but it can be explained by the subject's social class. In depictions of peasants, this phlegmatic gesture was used to signify laziness. However, in depictions of the ruling class, the same gesture adopts the positive associations of temperance, leisure, and calm. Used in a depiction of Napoleon, the gesture may also be an ironic allusion to the subject's relatively low birth.
After Lucas van Leyden (Netherlandish, 1494-1533) The Musicians (1524). Engraving, monogram in plate, New Hollstein 155, copy c, X.415
Albrecht Dürer (German, 1471-1528), The Men's Bath House (late 16th century?) restrike of 1496-1497 original block. Woodcut on laid paper; monogram in plate; Gift of Howard L. Gray, Professor of History, 1915-1940; 1946.26
Albrecht Dürer (German, 1471-1528), St. Christopher Facing Left (1521). Engraving; monogram in plate; Gift of Eleanor May Morris, Class of 1941, MA 1970, in honor of Carol Biba, Head of Public Relations, Bryn Mawr College, 1950-1972; 2007.9.3.
Albert Alexander Paul Rouffio (French, 1855-1911), Hérodias (c. 1878), after 1875 painting. Etching; signed in plate; Gift of Abby A. K. Turner Van Pelt Grimscom, Class of 1952, Katherine Drexel Van Pelt Beaver, and Charles B. P. Van Pelt; VP.346 While Symbolist artists of this period tend to focus on Salomé’s role in the death of John the Baptist, it was her mother Hérodias who ordered his beheading after he criticized her marriage to Herod. These artists, including Odilon Redon, Gustave Moreau, and Aubrey Beardsley, prefer to romanticize the dangerous but feminine allure of Salomé’s dance, rather than her mother’s more masculine, murderous rage as characteristic of the femme fatale. Rouffio, however, like Gustave Flaubert (1821–1880) in his novella Hérodias (1877), shifts attention from the youthful daughter to Hérodias herself. His Hérodias reclines seductively, clutching her marital pillow and stroking the hair of the beheaded victim—an unnervingly calm, yet vengeful choleric. He discovers room for Hérodias to retain her femininity and depicts her as the femme fatale of this story.
After Albrecht Dürer (German 1471-1528), St. Christopher Facing Left (1521). Engraving, monogram and date in plate, copy in reverse, X.402
Albrecht Dürer (German, 1471-1528), The Four Horsemen of the Apocalypse (1511). Woodcut, published as plate 3/16 in Apocalypsis cum figuris (Latin edition, 1511, of The Apocalypse, 1497/1498), initialed in plate, Gift of Marcus Stanley, 2012.15.1

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Charles Amand-Durand (French, 1831-1905), after Rembrandt Harmensz. van Rijn (Dutch, 1606-1669); Jan Cornelis Sylvius (1882, after 1646 print). Heliogravure from newly engraved copper plate, X.332. This posthumous portrait of the Dutch preacher Jan Cornelius Sylvius (1564-1638) employs a trompe l’oeil (or trick the eye) effect in the subject's right hand, which appears to penetrate the picture plane. His oratory gesture beckons to the viewer—perhaps with a choleric exhortation or sanguine moral guidance. The Latin inscription encircling and below the subject describes his exemplary Christian life. This eulogy is not merely a moralizing device, but perhaps another gesture inviting the viewer’s emulation of the deceased figure.
Ernst Barlach (German, 1870-1938), Barmherziger Samariter (1919). Woodcut; monogram in plate; Gift of Jacqueline Koldin Levine, Class of 1946, and Howard H. Levine, 2012.27.141
Francisco Amighetti (Costa Rican, 1907-1998). El niño y la nube (1969). Color lithograph of woodblock print; edition 7/12, signed in pencil below image; Gift of Jacqueline Koldin Levine, Class of 1946, and Howard H. Levine; 2012.27.444.
Jost Amman (German, 1539-1591), Adam and Eve in Paradise (1580). Woodcut; monogram in plate; Gift of Howard L. Gray, Professor of History, 1915-1940; 1946.27