Italian]]> Ailsa Mellon Bruce Fund
https://www.nga.gov/collection/art-object-page.54056.html]]> Vesme, Alexandre de (Baudi di Vesme, Alessandro). Le peintre-graveur italien; ouvrage faisant suite au peintre-graveur de Bartsch. Milan: Ulrico Hoepli, 1906.
1971
Rizzi, Aldo. The Etchings of the Tiepolos. Complete edition. London: Phaidon, 1971.]]>
Characteristic are the pronounced drawing style with strange bulging broken folds and the hair treatment ending in the finest curls. The ubiquitous Leonardesque influence in Milan is particularly noticeable in the faces.

The initial D, formed from horns with colored leaves and a blue leaf mask on the stem, depicts the martyrdom of St. Agatha shown. Because she did not want to renounce her faith, both her breasts were cut off (legenda aurea) after a number of tortures at the behest of Prefect Quintinian, who is enthroned with the judge's staff on the left. Her tormentors have tied her to an 'ancient' pillar (which may have been the support of a pagan idol) with her arms raised, and a henchman is setting the knife. In the background, the crenellated wall of Catania delimits the place of execution."
16,2 x 16,8 cm]]> https://id.smb.museum/object/1051992/initiale-d-mit-martyrium-der-hl--agathe
]]> Dimensions: Sheet: 13 1/2 x 8 3/4 inches (34.3 x 22.3 cm)]]> https://philamuseum.org/collection/object/27436
The Muriel and Philip Berman Gift, acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Langston, Samuel S. White 3rd and Vera White, with additional funds contributed by John Howard McFadden, Jr., Thomas Skelton Harrison, and the Philip H. and A.S.W. Rosenbach Foundation, 1985]]> https://wellcomecollection.org/works/duurhum4]]> The Hospital choirbooks, written and decorated between 1456 and 1476/77, represent one of the largest and most prestigious manuscript commissions in fifteenth-century Siena. Sano di Pietro, who by the mid-fifteenth century was one of the principal painters and illuminators in Siena, was entrusted with the decoration of at least five of the twenty volumes in the series. The Lehman Saint Agatha is one of many initials and full leaves painted by his hand that were removed from these books and sold to collectors sometime during the nineteenth century, before transfer of the choirbooks to the Museo dell'Opera del Duomo."

Dimensions: 10 3/8 x 10 1/8 in. (26.3 x 25.7cm)
Initial: 8 11/16 x 9 1/4 in. (22.1 x 23.5cm)
Medium: Tempera and gold on parchment]]> https://www.metmuseum.org/art/collection/search/461122
Credit Line: Robert Lehman Collection, 1975
1975.1.2488

Santa Maria della Scala, Siena; [M. Drey, Munich (1914)]; Luigi Grassi, Florence; Marczell de Nemes (sale, Frederick Muller et Cie., November 13-14, 1928, lot 103, ill. [as Sano di Pietro]); Anton W. M. Mensing, Amsterdam (Mensing sale, November 23-25, 1937, lot 8, ill. [as attributed to Sano di Pietro]). Acquired by Robert Lehman through Harold Beenhouwer on 23 November 1937.]]> Brown ink, brown and gray wash, and black chalk over graphite on cream antique laid paper (?), partial framing line in brown ink, mounted overall to cream antique laid paper with gold leaf remnants from a previous mount; verso: red chalk and black chalk or graphite
Dimensions
27.3 x 17 cm (10 3/4 x 6 11/16 in.)
Inscriptions and Marks
inscription: lower left, brown ink: L. 2461 (Thomas Thane)
collector's mark: lower right, black ink, stamp: L. 2170 (Jonathan Richardson, Jr.)
inscription: mount, verso, center, graphite: B. 821 [encircled]
inscription: mount, verso, lower right, graphite, erased: 5 [encircled]
inscription: verso, right center, ink: 116 [? as visible throught mount]
watermark: in mount: VILLEDARY
inscription: verso, lower right, ink: 4
inscription: verso, brown ink: Arpino [? as visible through mount]]]> https://hvrd.art/o/312475]]>
The instrument used by the operator is the "tenaculum helvetianum" (tenette helvétienne), as described by Jean-Adrien Helvetius in Traité des pertes de sang .. accompagné de sa lettre sur la nature et guérison du cancer, Paris 1697, pp. 153-155 and folding plate f.p. 153; L. Heister, Institutiones chirurgicae, Amsterdam 1739, vol. 2, pp. 740-741 and tab. XXIII fig. 1. A similar instrument is used by Saint Agatha's torturer in an earlier (ca. 1600?) engraving by Philips Galle]]>
Kamata Keishu, a pupil of the renowned surgeon Hanaoka Seishu (1760 - 1835), published a treatise in 1851 called 'Geka kihai'. In it, he made public the surgical techniques pioneered by his teacher and provided illustrations demonstrating his technique. These illustrations were empirically based on European examples. The use of colour in them functions mainly to distinguish flesh from clothing and to demonstrate the flow of blood. This image shows an operation which Hanaoka Seishu first carried out in 1804 using general anaesthetic.]]> https://wellcomecollection.org/works/ngg2kxv7]]> ]]>
One is an operation separating 'conjoined twins']]> 1 print : 41 x 26 cm.
Provenance:
Purchase; 1967.
Technique:
lithograph, color]]> Seymour, Robert, 1798-1836, artist]]> http://resource.nlm.nih.gov/101393374]]> Les médications anti-goutteuses]]>
La torture est-elle bonne pour les goutteux?... Page 5. de Losques. Éditée par la "Pipérazine Midy"]]> https://wellcomecollection.org/works/kbvyc8aw]]>