Saint Radegonde Exorcising a Demon – Burgkmair Circle, c.1516 Woodcut

Saint Francis of Paola, engraving by Antonio Gramignani, Rome, circa 1670–1690 Description: This devotional engraving by Antonio Gramignani (active Rome, late 17th century) depicts ...

Title: Rare 16th Century Biblical Woodcut of Aaron the High Priest, c.1560–1580 Description: A striking and historically important 16th-century German Renaissance woodcut depicting Aaron, the biblical High Priest, richly dressed in ceremonial vestments and standing within an elaborate architectural setting. The print is titled Der Hohe-Priester Aaron (“The High Priest Aaron”) in bold Gothic script above the composition. Rendered with strong linear detail and remarkable decorative richness, the image presents Aaron wearing the sacred garments described in the Old Testament, including an ornate breastplate, ceremonial robe, and priestly headdress. The figure stands beneath a vaulted architectural canopy framed by richly ornamented Renaissance columns and decorative motifs, while angelic figures appear above within the elaborate border architecture. The composition reflects the visual culture of the German Reformation and Renaissance biblical publishing tradition, where woodcuts were used extensively to illustrate scriptural narratives and sacred figures for devotional and educational purposes. The dramatic architectural framing and dense linear engraving style are highly characteristic of mid-to-late 16th-century German woodcut production. Aaron, brother of Moses, held enormous symbolic importance within both Jewish and Christian traditions as the first High Priest of Israel. Images such as this were often included in illustrated Bibles, theological works, or devotional publications and were intended to emphasize the sacred authority and ritual splendor of the priesthood described in the Old Testament. The print possesses exceptional decorative appeal due to its bold black-and-white contrast, highly detailed costume rendering, and richly ornamented Renaissance architecture. The combination of biblical symbolism and graphic strength makes it particularly attractive for collectors of early religious imagery, Reformation prints, Renaissance woodcuts, and antique ecclesiastical art. The primitive yet sophisticated visual language of early German woodcuts...

The refuse scene from "The Life and Death of Saint Genoveva" is an original etching artwork on Ivory-colored paper, realized in the 1830s by Joseph Ritter von Führic also known as Josef Ritter von Führich (February 9, 1800 – March 13, 1876), was a Bohemian-Austrian painter of religious themes (Nazarenes) and historian. This series of etchings were based on " Ludwig Tieck’s play The Life and Death of Saint Genoveva". Good conditions except for minor decoloration stain. Joseph Ritter von Führich was a well-known fresco painter and draftsman, he was active in Rome with the Brotherhood of the Nazarene, the preference was a style of drawing that employed expressive outlines and clarity of detail reminiscent of Albrecht Dürer and Raphael. Führich illustrated many religious-themed books, such as an edition of Ludwig Tieck's play The Life and Death of Saint Genoveva (1799/1800), based on a medieval legend about betrayed innocence. The play in which Genoveva is unfairly accused of being unfaithful by her husband, a character likely based on the 13th-century Duke Ludwig II of Bavaria. Robert Schumann...

The tragic observation from "The Life and Death of Saint Genoveva" is an original etching artwork on ivory-colored paper, realized in the 1830s by Joseph Ritter von Führic also known...