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  • Half-clothed Tilottama flying in the sky playing with a red ball. Chromolithograph by R. Varma.
  • A drunken wet-nurse about to give the Prince of Wales (later Edward VII) a drop of alcohol as a horrified Queen Victoria and Prince Albert burst in on the scene. Lithograph.
  • A poor London street strewn with hopeless drunkards and lined with gin shops and a flourishing pawnbroker. Engraving, c. 1751, after W. Hogarth.
  • The good Samaritan tending to a wounded man while a priest and a Levite walk on by. Line engraving by T. Cook, 1809, after W. Hogarth.
  • A young woman with a broken pillar; representing fortitude. Etching, 16--.
  • A tree bearing fruit labelled with virtues; representing the life of the Christian. Coloured etching by J. Couse, c. 1780, after J. Bakewell.
  • Christ winnowing evil from the human heart; a penitent bathing in the blood and water from Christ's side; an angel locking a dragon in hell. Engraving by H. Goltzius, 1578.
  • God and his angels sit in judgment; they divide humanity into the elect and the damned. Mezzotint by J. Stephenson after J. Martin.
  • A busy street corner with traders stopping for a tankard of beer and an artist painting a pub sign. Engraving, c. 1751, after W. Hogarth.
  • Worthy pastimes of olden times contrasted with vices of the present day. Engraving, c. 1627, after S. Ward.
  • A family doctor, an obstetrician, a sensationalist author-doctor and a hypnotist; all pruriently satirised under the guise of moralism, as promoted by James Morison and his pharmaceutical company. Lithograph, 1852.
  • Six vignettes on a design for a fan illustrating how to lead a moral and happy life. Stipple engraving, 1797.
  • The good Samaritan tending to a wounded man while a priest and Levite walk away. Line engraving by L. Masson after G. Freman.
  • Innocence attacked from four corners by "Iudex", "Persequutiō", "Avaritia" and "Invidia"; Justice looks down from above. Etching by C. Murer after himself, c. 1600-1614.
  • Moses, with his rod and the table of the ten commandments; with scenes from the Passion and the Last Judgement to come. Mezzotint after S.W. Reynolds.
  • A man harrassed by personifications of greed, guilt, credulity, jealousy, sadness and pride. Engraving by P. Galle, ca 1563.
  • A busy street corner with traders stopping for a tankard of beer and an artist painting a pub sign. Engraving, c. 1751, after W. Hogarth.
  • A woman with two serpents holding her finger to her lips; representing prudence. Etching, 16--.
  • The Roman emperor Valens pours money into a coffer; an officer is arrested and led to prison. Etching by C. Murer after himself, c. 1600-1614.
  • Five tombs containing skeletons of historical exemplars of wisdom, war, beauty, strength and riches; an allegory of change, decay and death. Engraving after A.P. van de Venne, ca. 1655.
  • A busy street corner with traders stopping for a tankard of beer and an artist painting a pub sign. Engraving by T. Cook, c. 1800, after W. Hogarth.
  • A woman pouring wine from a jug into a goblet; representing the virtue of temperance. Etching, 16--.
  • Men worship an ass bearing a religious image; alluding to both Aesop's fable of the ass and idol worship in Arianism and contemporary Catholicism. Etching by C. Murer after himself, c. 1600-1614.
  • A busy street corner with traders stopping for a tankard of beer and an artist painting a pub sign. Engraving, c. 1751, after W. Hogarth.
  • A bear overturns a barrel and is stung by bees; representing Aesop's fable. Etching by C. Murer after himself, c. 1600-1614.
  • Birds attacking an owl resting upon a staff held by a naked woman; representing patience. Etching by C. Murer after himself, c. 1600-1614.
  • A busy street corner with traders stopping for a tankard of beer and an artist painting a pub sign. Engraving, c. 1751, after W. Hogarth.
  • The tree of intemperance, showing diseases and vices caused by alcohol. Coloured lithograph, 18--.
  • The good Samaritan seeing to a man's wounds while a priest and Levite walk into the distance. Etching by W. Unger after F.G. Bassano the younger.
  • Allegorical figures hold up two scrolls, separated by a spider's web: one shows a straight line between "Charitas" and "Iustitia"; the other a crooked line between "Invidia" and "Avaritia". Etching by C. Murer after himself, c. 1600-1614.