The Last Supper, Francesco Bartolozzi

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Credit
Yale Center for British Art, Paul Mellon Collection
Licence
PDM-1.0
Evidence
manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 1754cfe2-4829-4c16-a6bb-35a8f580eb73 (https://manifests.collections.yale.edu/v2/ycba/obj/38340); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
Record
https://collections.britishart.yale.edu/catalog/tms:38340
IIIF
manifest
The Last Supper, Francesco Bartolozzi
The Last Supper — Francesco Bartolozziundated

Also by Francesco Bartolozzi

6
The Adoration of the Shepherds, Francesco Bartolozzi
The Adoration of the ShepherdsFrancesco Bartolozzi1765Yale Center for British Art
The Adoration of the Shepherds, Francesco Bartolozzi
The Adoration of the ShepherdsFrancesco Bartolozzi1765Yale Center for British Art
The Annunciation, Francesco Bartolozzi
The AnnunciationFrancesco Bartolozzi1794Yale Center for British Art
The Infant Jesus Asleep, Francesco Bartolozzi
The Infant Jesus AsleepFrancesco BartolozziYale Center for British Art
The Adoration of the Shepherds, Francesco Bartolozzi
The Adoration of the ShepherdsFrancesco BartolozziYale Center for British Art
The Annunciation, Francesco Bartolozzi
The AnnunciationFrancesco BartolozziYale Center for British Art

Within fifty years of undated

2393
La  lumière sortant par soi-mesme des ténèbres ou veritable théorie de la pierre des philosophes, écrite en vers italiens, avec un commentaire ..., Tachenius, Otto
La lumière sortant par soi-mesme des ténèbres ou veritable théorie de la pierre des philosophes, écrite en vers italiens, avec un commentaire ...Tachenius, Otto1693Stiftung der Werke von C.G.Jung, Zürich, online
Partisan of the Polish Noble Guard of Friedrich August I of Saxony, who twice ruled as king of Poland (1697–1704 and 1709–1733), Unknown
Partisan of the Polish Noble Guard of Friedrich August I of Saxony, who twice ruled as king of Poland (1697–1704 and 1709–1733)Unknownca. 1720Metropolitan Museum of Art, New York, NY
Design for Illuminated Initial "F", Gilles-Marie Oppenord, French, 1672–1742
Design for Illuminated Initial "F"Gilles-Marie Oppenord, French, 1672–1742ca. 1695Cooper Hewitt, Smithsonian Design Museum
Ornamental Panel, plate 33, from Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier), Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750
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Praxis exercitiorum spiritualium P.N.S. Ignatii, Izquierdo, Sebastián
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Title Page, François II de Poilly, French, 1666 – 1741
Title PageFrançois II de Poilly, French, 1666 – 17411696–1740Cooper Hewitt, Smithsonian Design Museum
Youth, Sage, and Attendant with Horse, Giovanni Battista Tiepolo
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Antonii van Dale ... Dissertationes de origine ac progressu idololatriae et superstitionum: de vera ac falsa prophetia; uti et de divinationibus idololatricis Judaeorum, Dale, Antonius van
Antonii van Dale ... Dissertationes de origine ac progressu idololatriae et superstitionum: de vera ac falsa prophetia; uti et de divinationibus idololatricis JudaeorumDale, Antonius van1696Stiftung der Werke von C.G.Jung, Zürich

Also at Yale Center for British Art

17
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors, Sir James Thornhill
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoorsSir James ThornhillundatedYale Center for British Art
'Behold him, when past by; what then is seen' (Page 25), William Blake
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"To the Christians..." (Plate 77), William Blake
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"The Feminine separates from the Masculine..." (Plate 90), William Blake
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"They saw their Wheels rising up poisonous..." (Plate 43), William Blake
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Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed, Joseph Mallord William Turner
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Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

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Made in the eighteenth century, like The Last Supper.

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