Images at Librifly

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Model of a River Boat, wood, paint, Boat (a) with upward curving bow and stern, and flat-bottomed center. Eight pairs of oarsmen, dressed in white loin cloths, seated on square blocks. Pilot standing in bow. Helmsman and mast missing. Separate,

Doily, Medium: linen, silk Technique: plain weave embroidered in stem, running, satin, knot, detached chain, looping and speckling stitches, Doily embroidered in a circular, floral Art Nouveau pattern with multi-colored silk thread., USA,

Doily, Medium: linen, silk Technique: plain weave embroidered in stem, running, satin, knot, detached chain, looping and speckling stitches, Doily embroidered in a circular, floral Art Nouveau pattern with multi-colored silk thread., USA,

Waiting for a Bite, from Harper's Weekly, August 22, 1874, p. 693, Winslow Homer, American, 1836–1910, Edward Lagarde, American, 19th century, Wood engraving on off-white wove paper, Three boys are seated on a tree trunk which has

Doily, Medium: linen, silk Technique: plain weave embroidered in stem, running, satin, knot, detached chain, looping and speckling stitches, Doily embroidered in a circular, floral Art Nouveau pattern with multi-colored silk thread., USA,

Frieze, Machine-printed paper, Mission/art nouveau styleStylized tulips, alternating betwen group of three and a single larger tulip. The flowers all shade from light to dark red. They are printed on a strie-like background, with burgundy fills

Baltimore Skyline, Griffith Baily Coale, American, 1890–1950, Graphite on paper, Sketch looking through an upper window. The Washington Monument is in the left foreground, with the Walters Art Gallery (at the corner of Center and Charles

Frieze, Machine-printed paper, liquid mica, Art Nouveau / Mission Style. Alternating large and medium stylized foliate medallions connected by vining scrolls and two lines of square beading with stylized fleur-de-lis. Bottom has striping and

Frieze, York Wall Paper Company, 1895, Machine-printed paper, Borders printed two across (mirror). Three stylized tulips alternating with a single, larger tulip. Flowers are shaded by stripes of differing shades of pink. Top is decorated with

Frieze, Janeway & Carpender, New Brunswick, New Jersey, est. ca. 1872, Machine-printed on paper, Art nouveau style with poppy flowers in various states of bloom. Bands of stylized floral motifs along top and bottom edges. Printed in green and

Frieze, Robert S. Hobbs & Co., Brooklyn, New York, Machine-printed paper, liquid mica, Art nouveau. Spiraling and scrolling medallions connected by vining with large flowers. Bottom band of waving scrolls/spirals. Printed on light beige ground

L'Agreable lecon ou L'Art d'Amier, Petitpierre Freres, Medium: cotton Technique: printed by engraved copper plate on plain weave, Scenes of love: a shepherd teaching a shepherdess to play a pipe next to t lion topped plinth inscribed 'L'AGREABLE

Sidewall, Machine-printed paper, Art Nouveau inspired design with stylized roses and trees. Printed in red, greens, yellow and blue on dark blue background., Hoboken, New Jersey, USA, 1907–1908, Wallcoverings, Sidewall

Flounce, Medium: linen Technique: needle and bobbin lace motifs appliquéd to machine made net, Part of a narrow flounce in an Art Nouveau pattern of floral sprays., Belgium, late 19th century, lace, Flounce

Frieze, Liberty Wall Paper Company, Schuylerville, New York, Machine-printed paper, Art nouveau/mission style. Floral wreaths with fleur-de-lis insets connected by floral swags suspended from top band of palmette-like ornaments. The bottom third

Frieze, Maxwell & Co., S.A., Chicago, Illinois, USA, Machine-printed paper, liquid mica, Art nouveau / mission style. Border printed two across (mirror). Alternating large and medium stylized floral bouquets between which are stylized

Frieze, Robert Graves Co., New York, New York, Machine-printed paper, Art nouveau style. Alternating large and small stylized green scroll medallions. Inside the large medallions are large bouquets of yellow flowers. There is a singular flower

Ornament, John Edwards, Aquatint, #7 of a set. A circular medallion with an urn is surrounded by floral motifs. Flower baskets are suspended from brackets on top and at the bottom, and flower branches from agricultural tools laterally. Right top

Fragment, Medium: cotton, wool Technique: machine woven, Upholstery fabric in two shades of green. Pattern is an ogival frame enclosing stiff tree form with three pointed leaves. Suggest Art Nouveau style., USA, late 19th century, woven

Sampler, Medium: silk and mercerized cotton embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation, Maltese cross followed by alphabet; floral band; field of isolated motifs, all contained within a curving

Sidewall, Block-printed paper, Printed in art deco style of decoration for Nancy McClelland of New York City. A stylized rose and leaf design in imitation of a textile. Rose petals are black and gold strie with black leaves. Printed in gold and

View of the Non-Catholic Cemetery in Rome, Wilhelm Friedrich Gmelin, 1760-1820, 1809 - 1811, Graphic Art, Etching, Copper Engraving, The Protestant Cemetery in Rome was the final resting place for especially Germans, British, Russians and

fol. 308. [S]ANCIVS AVILA, ARCIS ANTVERPIANÆ PRÆ ECTVS? MOKESIS EXPEDITIONIS DVX. ALoemans Sculp. Literature reference: Johannes IMMERZEEL : The lives and works of Dutch and Flemish art painters, sculptors, engravers and master builders, from

The Acts of the Apostles The Epistle of PAULUS Aen de ROMEYNEN. WILLEM NOORDENHOUT, Born in Amsterdam on October 17, 1732. Appointed teacher in the congregation professed the unchanged Augsburg Creed at Amersfoort 1755, at Zwol, 1756. at

PEACE. BLESSED ARE, WHO MAKE PEACE. E. Maaskamp inventeon. at PARIS. CONGRESS at WEENEN. W. van Senus. Sculpit. WILHELMINA FREDERIKA LOUIZA MARIANNA Princes of Orange Nassau. etc. Print Art and Card Warehouse of E Maaskamp, Amsterdam. Literature

I.J. Rz Omnis fec. I: JELGERHUIS, RZ. Painter; Since 25 Years Actor at the Amsterdamschen Schouwburg. 1830. After the original Painting, in the custody of the art lover Mr. J.W. Willekes, in Haarlem

IAQUES V. My duty and my blood attached me to the Englishman, But I turned my heart to France. It cost me my life, from the Ecoffe to the chosen ones, Without the help of Heaven and . Adr.n van der Werff pinx. P. to Gunst sculps. Literature

print is attributed to Pieter van Gunst. S.P.Q.A. THE E[D]ELE GR DART ER Mr. JAN TRIP HEER VAN BERKEN ROD[E] BURGERMEESTER AD DER STAD AMSTERDAM MITS GARS BEWINDHEBBER R OSTINDIC COMPAGNIE &&&. Art, anxious once to give to Amstels burgery Her

IACQUE DE STE. BEUVE DOCTOR OF SORBONNE AND PROFESR. RL. Died on December 15, 1677, aged 64. Engraved by E. Desrochers and sold at his place in Paris rue St. Jacque au Mecenas. In the art to decide the Cases of Conscience This doctor acquired an

Boiteau Pinx. Langlois Sculp. If Art could have put outside the Soul; as it did the Body, Of late Cahterine Fontaine. Paris would have seen that in its Breast, It possesses an aussy great good, That Gennes, Boulogne, & Sienne

A. Legros 1903. THE DECORATIVE ART

N. de Keyser pinx. K. Fuhri excudit. Joh. de Mare sculps. Her Royal Highness Lady Sophia Frederika Mathilda, Princess of Orange, b. Princess of Wurtemberg. Literature reference: Christian KRAMM : The lives and works of Dutch and Flemish art

Philip the King pinx. C. Hamburger del. J.P. Lange sculps. On myne Imagee painted by FILIPS KONING. Omnia longaevi Similis. I counted vyfenseventigh, When KONING brought me, thus lively, In front on his panel. Who speaks of art with knowledge,

Edelinck sculp. CPR. Claude Melan Graueur ordinaire du Roy. PETIT sc. 26th Year ART FOR ALL N° 661. XVIIth CENTURY - FRENCH ENGRAVING (LOUIS XIV). PORTRAIT IN BURIN Claude Mellan, engraved by ÉDELINCK. Les Français illustres (N°. 9). 5781.

Ferdinandus Voet Pinxit. Edelinck Sculp. C.P.R. Messire Michel Le Tellier Chancellor of France. SMALL SC. 27th Year ART FOR ALL N° 680. XVIIth CENTURY - FRENCH ENGRAVING (LOUIS XIV). PORTRAIT WITH BURIN BY EDELINCK. The illustrious French (N°. 12).

Mignard Pinxit. Edelinck Sculp. C.P.R. Jean Baptiste Colbert Marquis de Seignelay Minister and Secretary of State. 26th Year ART FOR ALL N° 648. XVIIth CENTURY - FRENCH ENGRAVING (LOUIS XIV). PORTRAIT TO THE BURIN BY EDELINCK. The illustrious French

le febure pinxit. Edelinck Sculp. C.P.R. Messire Michel Le Tellier Chancellor of France. SMALL SC. 27th Year ART FOR ALL N° 668. XVIIth CENTURY - FRENCH SCHOOL (LOUIS XIV). PORTRAIT OF FRANCOIS CHAUVEAU BY EDELINCK. The illustrious French (N°. 10).

Jac. Lubin Sculp. PETIT SC. Claude Ballin Orfeure. 27th Year ART FOR ALL N° 674. XVIIth CENTURY - FRENCH ENGRAVING (LOUIS XIV). PORTRAIT IN BURIN Claude Ballin, Goldsmith by JACQUES LUBIN. Les Français illustres (N°. 11). 5911. [biography Claude

Edelinck Sculp. Maximilien de Bethune Duke of Sully. PETIT SC. 26th Year ART FOR ALL N° 640. XVIIth CENTURY - FRENCH ENGRAVING (LOUIS XIV). PORTRAIT OF SULLY BY EDELINCK. Les Français illustres (N°. 7). 5520 [biography Maximilien de Bethune

J H Kronké [signature]. IMP. F.BORDT, LIÉGE. LITHOGRAPHED BY JOS. KRONKÈ ART.PEINTRE A LIÈGE. Homage of deep Esteem and Recognition to ALPHONSE DE MARBAIX Professor at the Agronomic Institute of the Catholic University of LOUVAIN His students,

J H Kronké [signature]. IMP. F.BORDT, LIÉGE. LITHOGRAPHED BY JOS. KRONKÈ ART.PEINTRE A LIÈGE. TO MR. JOSEPH MICHA Professor at the Catholic University of Louvain WITNESS OF ESTIMATE AND RECOGNITION His students, his former students and his

J H Kronké [signature]. IMP. F.BORDT, LIÉGE. LITHOGRAPHED BY JOS. KRONKÈ ART.PEINTRE A LIÈGE. Hommage of deep Esteem and Recognition TO MR. ALPHONSE PROOST Professor at the Agronomic Institute of the Catholic University of Louvain INSPECTOR

Jh Kronké [signature]. Lith. F. Bordt, Liège. Lithographed by J. Kronké, art, painter in Liege. Tribute of deep esteem and gratitude TO MR. AUGUSTE THEUNIS Professor at the Higher Schools of Agriculture and Brewing of the CATHOLIC UNIVERSITY OF

Rud. Hoffmann 1856. Druck v. J. Haller. Nach einer Photographie v. Fr. Hanfstängel in Munich. Ro Bunsen. [signature]. Eigenthum u. Verlag v. George André Lenoir. Be[?]zer de [?]brik und Hand[?]ng chemischer, physikalischer & pharmaceutischer

Zealous ambassador, Prelate, Historian I served with dignity the Queen and the Country And fulfilled the duties during all my life Of faithful servant and good Citizen. LESLEY BISHOP OF ROSSE. Adr.n van der Werff pinx. P. to Gunst sculps.

to my friend Falguière Ln Bonnat. 1887. Léon Bonnat pinx. A. lurat sc. ALEXANDRE FALGUIÈRE. The Art. Imp. A. Clèment_Paris

the portrait is set within an architectural altarpiece surmounted by a female figure holding a billowing sail-like piece of material; she has long hair that falls down, locks of which are held by Hercules and an allegorical figure holding an easel

ANNO 1649 ÆTATIS 26. G. Calcar pinx. E. Bocourt, del. & sc. ANDRÉ VÉSALE OF BRUSSELS (Louvre Museum). Art. Imp. A. Salmon

J H Kronké [signature] 1890. Lith. F. Bordt, Liège. Lithographed by J. Kronké, art. painter in Liege. A tribute of deep esteem and gratitude TO MR. JULES MARCHAND Professor at the Higher Schools of Agriculture and Brewing of the CATHOLIC

Glass slides in art history. between 1839 and 1939. Style: Greek art. Archaeology. Antiquity. Architecture. Building. EuroPhot. Archaeology. Ancient. Architecture. Building

Recumbent lion, Bertel Thorvaldsen, 1770-1844, No earlier than May 1825, Sculpture, Statue, Throughout the ages, the lion has often been used in art as a symbolical guardian of one thing or another. This lion was originally created in order to

Giovanni Battista Sommariva, Bertel Thorvaldsen, 1770-1844, Presumably 1817 - 1818, Sculpture, Herm, Sculpture, Bust, Portrait Bust, It was the Italian count, politician and art collector, Sommariva, Cast, Height 49 cm, Sculpture,

Vincenzo Camuccini, Bertel Thorvaldsen, 1770-1844, No earlier than April 1810, Sculpture, Bust, Portrait Bust, Although a later age has not attributed the greatest artistic importance to Camuccini’s (1771-1844) historical paintings, he was

Clio. Muse of History, Bertel Thorvaldsen, 1770-1844, No earlier than June 1836 - No later than August 1836, Sculpture, Relief, Clio, Muse of History, can be recognised by the laurel wreath on her head together with the scroll and the stylus.

Euterpe. Muse of Music, Bertel Thorvaldsen, 1770-1844, No earlier than June 1836 - No later than August 1836, Sculpture, Relief, Euterpe, Muse of Music, is recognised by the characteristic double flageolet. According to Greek mythology, the

Urania. Muse of Astronomy, Bertel Thorvaldsen, 1770-1844, No earlier than June 1836 - No later than August 1836, Sculpture, Relief, Urania, Muse of Astronomy, is recognised by the globe and dividers and by the way in which she is looking

Christian (VIII) Frederik, Bertel Thorvaldsen, 1770-1844, Presumably January 7, 1821 - Presumably January 13, 1821, Sculpture, Bust, Portrait Bust, The bust of Crown Prince Christian Frederik (1786-1848) was modelled when the prince and his

The Entombment of Christ, Peter von Cornelius, 1783-1867, 1816 - 1825, Painting, Historical Painting, The picture is a recreation of, Raphael’s The Deposition, from 1507 in, the Galleria Borghese, at Rome. Raphael was considered the

Apollo Among the Thessalian Shepherds, Joseph Anton Koch, 1768-1839, 1834 - 1835, Painting, Historical Painting, In the left of the picture, Apollo sits playing to the small group of shepherds in ancient dress. He had killed the Cyclops,

Terpsichore. Muse of Dancing, Bertel Thorvaldsen, 1770-1844, No earlier than June 1836 - No later than August 1836, Sculpture, Relief, Terpischore, Muse of Dancing, is recognised from the lyre and the palm wreath around her head. According to

Frederike Dorothea Hammer, Bertel Thorvaldsen, 1770-1844, No later than March 15, 1796, Drawing, While still studying at the Royal Academy of Fine Art in Copenhagen, Thorvaldsen created the occasional small portrait. This was usually drawn in

Bookcover, Ludwig Lindenschmitt, Book, Binding, Paper, Color, Ink, Color, Graphite, Drawn, Height 106 mm, Width 128 mm, lederne Einschnitte, blos mit Erhohungen, Riemen, Riemen, Erz, in Kla [overstreget], Printing, Book Art,

A Genio Lumen (Art and the Genius of Light), Ferdinando Mori, 1782-1852, 1808 - 1811, Drawing, Paper, Color, Graphite, Drawn, Height 222 mm, Width 282 mm, Draftsmanship, Drawing, European, Modernity (1800 - 1914

A Genio Lumen (Art and the Genius of Light), Drawing, Paper, Color, Graphite, Drawn, Height 324 mm, Width 433 mm, Draftsmanship, Drawing, European

The Birth of Light, Asmus Jacob Carstens, 1754-1798, 1794, Drawing, Asmus Jacob Carstens’ The Birth of Light, can be seen as the ultimate picture of a happy family: father, mother and child – emblematic, removed from surroundings of any

Perseus and Andromeda among the Ethiopians, Joseph Anton Koch, 1768-1839, Drawing, Watercolor, Perseus, the son of Zeus and Danaë, is sitting in the foreground, leaning back and looking at the Ethiopian princess Andromeda. He has just freed

The Last Supper, Ferdinand Ruscheweyh, 1785-1846, 1821, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 340 mm, Height (paper size) 350 mm, Width (plate size) 470 mm, Width (paper size) 485 mm,

The Last Supper, Ferdinand Ruscheweyh, 1785-1846, 1821, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 340 mm, Height (paper size) 350 mm, Width (plate size) 470 mm, Width (paper size) 485 mm,

The Last Supper, Ferdinand Ruscheweyh, 1785-1846, 1821, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 340 mm, Height (paper size) 350 mm, Width (plate size) 470 mm, Width (paper size) 485 mm,

Stigmata Received by Saint Francis of Assisi, Ferdinand Ruscheweyh, 1785-1846, 1806, Graphic Art, Aquatint, Paper, Color, Printer's ink, Aquatint, Printet, Height (plate size) 300 mm, Height (paper size) 316 mm, Width (plate size) 208

Scene from Genesis (?), Ferdinand Ruscheweyh, 1785-1846, 1805, Graphic Art, Aquatint, Paper, Color, Printer's ink, Aquatint, Printet, Height (plate size) 305 mm, Height (paper size) 326 mm, Width (plate size) 203 mm, Width (paper size)

Parnassus, Ferdinand Ruscheweyh, 1785-1846, 1830, Graphic Art, Copper Engraving, It might seem surprising that there are small cupids flying among the trees in this copperplate engraving but none in Raphael’s (1483-1520) fresco The,

Saint Nilus' Miracle, Ferdinand Ruscheweyh, 1785-1846, 1813, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 505 mm, Height (paper size) 520 mm, Width (plate size) 540 mm, Width

Perseus and Andromeda among the Ethiopians, Ferdinand Ruscheweyh, 1785-1846, No earlier than 1829, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 320 mm, Height (paper size) 340

Jesus as a Child in the Temple, Ferdinand Ruscheweyh, 1785-1846, 1835, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 392 mm, Height (paper size) 335 mm, Width (plate size) 323

Elisas' Miracle with the Floating Ax, Ferdinand Ruscheweyh, 1785-1846, No earlier than 1827, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 311 mm, Height (paper size) 341 mm,

Barthold Georg Niebuhr, Ferdinand Ruscheweyh, 1785-1846, 1831, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 318 mm, Height (paper size) 375 mm, Width (plate size) 245 mm,

The Plague in Florence as described by Boccaccio, Luigi Sabatelli, 1772-1850, No later than 1850, Graphic Art, Etching, Giovanni Boccaccio (1313-1375) opens, The Decameron, by describing the plague in Florence. He relates how in 1348 the

Praying Hermit, Jacques-Henri Sablet, 1786, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 280 mm, Height (paper size) 353 mm, Width (plate size) 200 mm, Width (paper size) 260 mm, F. Sablet

Farmers Wife Seated with her Daughter, Jacques-Henri Sablet, 1786, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 280 mm, Height (paper size) 353 mm, Width (plate size) 202 mm, Width (paper size)

Beatrice Cenci, Vincenzo Salandri, No later than February 9, 1838, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 350 mm, Height (paper size) 360 mm, Width (plate size) 230 mm,

Funeral Procession. Ornament, Karl Sandhaas, No later than 1859, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 238 mm, Height (paper size) 238 mm, Width (plate size) 1, 115 mm, Width (paper

Interior of the church of S. Maria ad Martyres, Antonio Sarti, 1829, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 538 mm, Height (paper size) 572 mm, Width (plate size) 700 mm, Width (paper

Interior of the church of S. Sabina, Antonio Sarti, 1828, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 541 mm, Height (paper size) 572 mm, Width (plate size) 702 mm, Width (paper size) 810 mm,

Interior of the church of S. Pietro in Vincoli, Antonio Sarti, 1828, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 536 mm, Height (paper size) 572 mm, Width (plate size) 695 mm, Width (paper

Orpheus at Pluto's and Proserpina's Throne, Eugen Eduard Schäffer, No later than 1871, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 485 mm, Height (paper size) 605 mm, Width

Dante and Beatrice in Paradise standing in front of Peter, James and John and Adam, Saint Stephane, Paul and Moses, Eugen Eduard Schäffer, No later than 1871, Graphic Art, Copper Engraving, The apostles Peter, Jacob, and John examined

Grocer, Eugen Eduard Schäffer, No later than 1871, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (paper size) 322 mm, Width (paper size) 270 mm, Overbeck pinx, Eugen Ed. Schäffer sc. 1ste

Wolfgang Menzel, Ch. L. Schüler, No later than 1900, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 240 mm, Height (paper size) 280 mm, Width (plate size) 165 mm, Width (paper

Johann Wolfgang von Goethe, Carl August Schwerdgeburth, 1832, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 420 mm, Height (paper size) 450 mm, Width (plate size) 315 mm, Width

The Lamentation, Franz Anton Erich Moritz Steinla, 1830, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 368 mm, Height (paper size) 497 mm, Width (plate size) 430 mm, Width

Mary enthroned with the Christ Child between Saint Stephane and John the Baptist, Franz Anton Erich Moritz Steinla, 1834, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 715 mm,

Luigi Bardi, Franz Anton Erich Moritz Steinla, 1828, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 170 mm, Height (paper size) 240 mm, Width (plate size) 120 mm, Width (paper

David, Angelo Testa, Ca. 1775-No earlier than 1830, 1813, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 440 mm, Height (paper size) 482 mm, Width (plate size) 598 mm, Width

View of Rome from Capitol, Supplementary Page with Specification of the Locations, Joseph Thürmer, 1789-1830, 1824, Graphic Art, Etching, Paper, Color, Printer's ink, Etching, Printet, Height (plate size) 175 mm, Height (paper size) 240

Cardinal Giuseppe Albani, Pietro Trasmondi, 1799-No earlier than 1842, 1830, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 318 mm, Height (paper size) 390 mm, Width (plate

Galileo Galilei, Luigi Travalloni, 1814-1884, Presumably no earlier than 1841 - Presumably no later than 1842, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 333 mm, Height

School of Athens, Giovanni Volpato, 1740-1803, No later than 1803, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (sight size) 585 mm, Height (plate size) 570 mm, Height (paper size) 620 mm,

Disputation over the Most Holy Sacrament, Giovanni Volpato, 1740-1803, No later than 1803, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (plate size) 565 mm, Height (paper size) 625 mm,

Expulsion of Helidoros, Supplementary Page with Specification of Persons, Giovanni Volpato, 1740-1803, No later than 1803, Graphic Art, Copper Engraving, Paper, Color, Printer's ink, Copper engraving, Printet, Height (sight size) 272 mm,

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