Wounds Collection (page 3)

The Attack on the British Ligation in Japan, a Captive Loonin having his Wounds dressed (engraving)
2773629 The Attack on the British Ligation in Japan, a Captive Loonin having his Wounds dressed (engraving) by English School

A giant eagle against two hunters (colour litho)
2809270 A giant eagle against two hunters (colour litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info.: A giant eagle against two hunters)

Brutus and the Ghost of Julius Caesar (colour litho)
2817220 Brutus and the Ghost of Julius Caesar (colour litho) by Abbey, Edwin Austin (1852-1911) (after); Private Collection; (add.info.: Brutus and the Ghost of Julius Caesar)

Collapsing Floors (Colour Litho)
2777994 Collapsing Floors (Colour Litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info.: The collapsing floors)

A tragic accident has devastated the womens automotive elegance contest at the Bois de Boulogne (Paris) (colour litho)
2783608 A tragic accident has devastated the womens automotive elegance contest at the Bois de Boulogne (Paris) (colour litho) by Beltrame

The Fortune of War (b / w photo)
1599345 The Fortune of War (b/w photo) by English Photographer, (20th century); Private Collection; (add.info.: The Fortune of War. Illustration for The Illustrated London News, 3 March 1900)

Dance of the whirling Dervishes of Mawlawi Tawagozi. Sufi Dervishes in tall hats dance in a circle to accompaniment by musicians on drums, psaltery and sistrum. Ballo dei Dervisch Mewlewi

After the Cup Tie (colour litho)
NFM315222 After the Cup Tie (colour litho) by English School, (19th century); National Football Museum, Manchester, UK; eNational Football Museum; English, out of copyright

The Dead Christ, c. 1432 (pen & ink with wash on paper)
FIT282804 The Dead Christ, c.1432 (pen & ink with wash on paper) by Angelico, Fra (Guido di Pietro/Giovanni da Fiesole) (c.1387-1455); 35.5x27.4 cm; Fitzwilliam Museum, University of Cambridge

Lamentation of the Dead Christ, detail from the Sant Emidio polyptych
BAT76639 Lamentation of the Dead Christ, detail from the Sant Emidio polyptych, 1473 (tempera on panel) (detail of 76636) by Crivelli, Carlo (c.1430/35-1495); Sant Emidio, Ascoli Picena

The Ruins (Inner Voices) 1885 (oil on canvas)
BOO185072 The Ruins (Inner Voices) 1885 (oil on canvas) by Tissot, James Jacques Joseph (1836-1902); 214x124 cm; State Hermitage Museum, St. Petersburg, Russia; French, out of copyright

Historiated initial A depicting The Incredulity of St. Thomas, c. 1370 (vellum)
MMT215628 Historiated initial A depicting The Incredulity of St. Thomas, c.1370 (vellum) by Niccolo di Giacomo (14th century); Musee Marmottan Monet, Paris

The Incredulity of St. Thomas (tempera on panel)
AII58352 The Incredulity of St. Thomas (tempera on panel) by Toscani, Giovanni Francesco (1370-1430); Galleria dell Accademia & Museo degli Strumenti Musicali, Florence, Tuscany, Italy; Italian

Plaies et contusions de la face, a la suite d une rixe (colour litho)
5210353 Plaies et contusions de la face, a la suite d une rixe (colour litho) by French School, (19th century); Private Collection; (add.info.: Plaies et contusions de la face, a la suite d une rixe)

Ablation complete de la machoire inferieure par un eclat d obus, Ablation partielle de la machoire par un coup de
5210352 Ablation complete de la machoire inferieure par un eclat d obus, Ablation partielle de la machoire par un coup de pistolet tire sous le menton

The words of a talebearer are as wounds, Proverbs XXVI, 22 (engraving)
5218606 The words of a talebearer are as wounds, Proverbs XXVI, 22 (engraving) by English School, (19th century); Private Collection; (add.info.: The words of a talebearer are as wounds)

Christ on the Cross with Saints Mary, John the Evangelist and Catherine of Siena, c
5242279 Christ on the Cross with Saints Mary, John the Evangelist and Catherine of Siena, c.1570 (oil on panel) by Pino, Marco (c. 1520-79); 181.6x120.7 cm; J

The Crucifixion, c. 1473-74 (tempera on poplar panel)
5895272 The Crucifixion, c.1473-74 (tempera on poplar panel) by Cossa, Francesco del (1435/6-c.1477); 60x63.2 cm; National Gallery of Art, Washington DC

The Man of Sorrows, from Kassa, c. 1470-80 (tempera on panel)
BAL49152 The Man of Sorrows, from Kassa, c.1470-80 (tempera on panel) by Hungarian School, (15th century); 63x52 cm; Hungarian National Gallery, Budapest, Hungary; (add.info.: From Kassa)

The Late Major-General Sir E. R. P. Woodgate. Died from Wounds received on Spion Kop
LLM459652 The Late Major-General Sir E. R. P. Woodgate. Died from Wounds received on Spion Kop by English Photographer; Private Collection; (add.info.: The Late Major-General Sir E. R. P. Woodgate)

Galen assisting a gladiator, wounded in the circus of Bergamo
LLM459597 Galen assisting a gladiator, wounded in the circus of Bergamo by Planella Coromina, Josep or Jose (1804-90); Private Collection; (add.info.: Galen assisting a gladiator)

The Isenheim Altarpiece, closed (detail of the left hand of Christ), c. 1512-16 (oil on panel)
898678 The Isenheim Altarpiece, closed (detail of the left hand of Christ), c.1512-16 (oil on panel) by Grunewald, Matthias (Mathis Nithart Gothart) (c.1480-1528); Musee d Unterlinden, Colmar

Procession of Flagellants, 1815-19 (oil on canvas) (detail of 541)
BBC193309 Procession of Flagellants, 1815-19 (oil on canvas) (detail of 541) by Goya y Lucientes, Francisco Jose de (1746-1828); total = 46x73 cm; Real Academia de Bellas Artes de San Fernando

St. Roch Curing the Plague, c. 1560 (oil on canvas)
FTB60616 St. Roch Curing the Plague, c.1560 (oil on canvas) by Tintoretto, Jacopo Robusti (1518-94); Scuola Grande di San Rocco, Venice, Italy; Italian, out of copyright

The Incredulity of St. Thomas
AII80654 The Incredulity of St. Thomas by Strozzi, Bernardo (1581-1644); 110x87.5 cm; Museo de Arte de Ponce, Puerto Rico; Italian, out of copyright

Christ suffering, c. 1330 (tempera on wood)
BFM286711 Christ suffering, c.1330 (tempera on wood) by Lorenzetti, Pietro (c.1284-after 1345); 29.2x19.9 cm; Lindenau Museum, Altenburg

The Crucifixion from the Isenheim Altarpiece, detail of Christs body, c. 1512-16 (oil on panel) (detail)
XIR230167 The Crucifixion from the Isenheim Altarpiece, detail of Christs body, c.1512-16 (oil on panel) (detail) by Grunewald, Matthias (Mathis Nithart Gothart) (c.1480-1528); Musee d Unterlinden

Decorative plate from Desvres, Artois, France, showing the crucifixion by Francois Caus, 1785. Angels catching blood spurting from his wounds

Emblems and heraldic shields
An angel holding a shield with chalice and wafer M, the five wounds of Christ N, and various heraldic shields. Paintings on the south wall of the Chancel

The Crucifixion, with SS. Dominic and Jerome, 1442 (fresco)
BEN29035 The Crucifixion, with SS. Dominic and Jerome, 1442 (fresco) by Angelico, Fra (Guido di Pietro/Giovanni da Fiesole) (c.1387-1455); 179x151 cm; Museo di San Marco, Florence

Antipater kneeling before Juilus Caesar from the Heilspiegel Altarpiece, c
3597168 Antipater kneeling before Juilus Caesar from the Heilspiegel Altarpiece, c.1435 (mixed media on oak panel) by Witz, Konrad (1400/10-44/6); 85.5x69.5 cm; Kunstmuseum, Basel

Calvary, 1649 (oil on oak wood)
3597122 Calvary, 1649 (oil on oak wood) by Flinck, Govaert (1615-60); 119x90 cm; Kunstmuseum, Basel, Switzerland; Dutch, out of copyright

The Last Judgement Window, detail, Christ In Majesty, 1897 (stained glass)
3474883 The Last Judgement Window, detail, Christ In Majesty, 1897 (stained glass) by Burne-Jones, Edward Coley (1833-98); St.Phillips Cathedral, Birmingham, West Midlands

Ecce Homo
3496861 Ecce Homo by Baschenis, Pietro (c.1590-1630); Complesso Monastico di Santa Maria Incoronata, Martinengo, Bergamo, Lombardy

Le Docteur Junker En Afrique (engraving)
2789217 Le Docteur Junker En Afrique (engraving) by French School, (19th century); Private Collection; (add.info.: Le Docteur Junker En Afrique. Illustration for Journal Des Voyages, 7 August 1887)

Methods of arresting bleeding (engraving)
3639328 Methods of arresting bleeding (engraving) by English School, (19th century); Private Collection; (add.info.: Methods of arresting bleeding.); Look and Learn / Valerie Jackson Harris Collection

The new uses of the airplane (colour litho)
2809160 The new uses of the airplane (colour litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info.: The new uses of the airplane)

The indomitable Finnish resistance (Colour Litho)
2783988 The indomitable Finnish resistance (Colour Litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info.: The indomitable Finnish resistance)

Exhibition of the Royal Academy (engraving)
1612134 Exhibition of the Royal Academy (engraving) by Uwins, Thomas (1782-1857) (after); Private Collection; (add.info.: Exhibition of the Royal Academy)

Doubting St. Thomas (marble)
991662 Doubting St. Thomas (marble) by Italian School, (14th century); Palazzo Venezia, Rome, Italy; Italian, out of copyright

The Late M Stamboloff, the Bulgarian Statesman (engraving)
1100069 The Late M Stamboloff, the Bulgarian Statesman (engraving) by English School, (19th century); Private Collection; (add.info.: The Late M Stamboloff, the Bulgarian Statesman)

Major J J Kennedy (engraving)
1046253 Major J J Kennedy (engraving) by English School, (19th century); Private Collection; (add.info.: Major J J Kennedy, Second Infantry Regiment of the Hyderabad Contingent)

The Risen Christ, 1862 (stained glass)
3474792 The Risen Christ, 1862 (stained glass) by Clayton, John Richard (1827-1913); Peterborough Cathedral, Cambridgeshire

Christ Crucified between the Two Thieves: The Three Crosses
3614057 Christ Crucified between the Two Thieves: The Three Crosses, 1653 (drypoint printed on vellum) by Rembrandt Harmensz

Saved by a Dog (Colour Litho)
2778341 Saved by a Dog (Colour Litho) by Beltrame, Achille (1871-1945); Private Collection; (add.info.: Saved by a dog. A young climber, forced to immobility by breaking his leg during an ascension)

St. Sebastian (detail), c. 1459 (tempera on panel)
3928695 St. Sebastian (detail), c.1459 (tempera on panel) by Mantegna, Andrea (1431-1506); Kunsthistorisches Museum, Vienna, Austria; (add.info.: Mantegnas signature in Greek)

A bull Elk / Moose stands in his paddock and reaches down towards the grass, London Zoo
3424921 A bull Elk/Moose stands in his paddock and reaches down towards the grass, London Zoo, January 1926 (b/w photo) by Bond

Supper at Emmaus, c. 1665-68 (oil on canvas, h 134cm -- w 104
3709961 Supper at Emmaus, c.1665-68 (oil on canvas, h 134cm A-- w 104 by Steen, Jan Havicksz. (1625/26-79); 134x104 cm; Rijksmuseum, Amsterdam, The Netherlands; (add.info.: On their way to Emmaus)

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"Wounds: A Tapestry of Pain, Resilience, and Redemption" In the depths of history's canvas, they have left an indelible mark on humanity. From the tragic tale of "The Death of Ellen Bright at Wombwells Menagerie, 1850, " where innocence was shattered amidst a menagerie's chaos; to the ethereal spirituality embodied by Saint Teresa of Avila, whose wounds became symbols of divine connection. Even in portraits like "A portrait of John Cornwell (8th January 1900-2nd June 1915), " we witness the haunting scars borne by those who sacrificed their youth in the trenches during WW1. The aerial battlegrounds over Courtrai in 1915 witnessed brave souls soaring through skies tainted with blood and tears. Throughout time, even legendary figures were not immune to wounds. Richard I met his fate on foreign soil as his lionheart succumbed to fatal blows. Diomedes' clash with Mars under Minerva's guidance showcased how even gods could be wounded. Yet it is within vulnerability that true strength emerges. Gothic art reveals The Savior showing his sores, reminding us that salvation lies not in perfection but in embracing our own brokenness. Il Precursore's evocative brushstrokes capture both physical and emotional wounds that shape our existence. "Wept o'er his wounds or tales of sorrow done" echoes through generations as we bear witness to stories etched upon crutches and battlefields alike - reminders that fields were won through pain endured. In Saturn's mutilation of Uranus depicted on frescoed walls, we confront the darker side where inflicted harm becomes a weapon wielded against kin. Elizabeth Brownrigg stands as a chilling testament to human cruelty while Pieta portrays Mary cradling her son Jesus after crucifixion – an image immortalizing maternal anguish over profound spiritual wounding. Within these diverse narratives, wounds become more than mere physical scars.