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Drawing of Capital from the Vatican, 18th century, Pen and black ink, brush and gray wash, 7 13/16 x 6 7/8 in. (19.9 x 17.5 cm), Drawings, Anonymous, French, 18th century

Drawing of an Interior: Salon, 1850, Graphite, pen and brown ink, watercolor. Framing lines in graphite., sheet: 4 3/4 x 8 1/8 in. (12 x 20.7 cm), Drawings, Anonymous, French, 19th century

The Last Trumpet (recto); Two studies of a right eye, a profile of an open-mouthed young man, the head of an eagle, and the head of a lion (verso), ca. 1780–85, Pen and gummed carbon black ink and layered gray ink washes with graphite

Juno, Ceres, and Psyche in the clouds conversing, Juno seated with a peacock at her feet, Ceres wearing a garland of wheat and Psyche partially naked and holding a cloth, ca. 1515–27, Engraving, Sheet (Trimmed): 10 7/16 in. × 8 in. (26.5 ×

Ornamental Drawing, with St. John the Evangelist Seated in a Columned Niche, with Two Putti, 1550–1600, Pen and brown ink, brush and brown wash., sheet: 10 13/16 x 8 1/16 in. (27.5 x 20.4 cm), Drawings, Attributed to Anonymous, Italian,

Design for a Casket with the Gonzaga Eagle, ca. 1527–46, Pen and brown ink, brush and brown wash, highlighted with traces of white gouache, over black chalk, Overall: 4 9/16 x 6 15/16in. (11.6 x 17.7cm), Giulio Romano (Italian, Rome

Drawing of an Interior: Atelier, 1857, Graphite, pen and blue ink, watercolor, sheet: 8 3/8 x 12 11/16 in. (21.3 x 32.3 cm), Drawings, Anonymous, French, 19th century

A Standing Angel and two Cherubs, ca. 1566, Pen and brown ink, brush with brown ink, highlighted with white gouache, 9 1/2 x 4 3/4in. (24.1 x 12.1cm), Drawings, Ascribed to Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado

Plate II, from Rules for Drawing Caricaturas, February 26, 1788, Etching, sheet: 5 5/16 x 8 1/2 in. (13.5 x 21.6 cm), Prints

Measured Drawing of a Horse Facing Left (recto)., ca. 1480–88, Pen and dark brown ink, over traces of black chalk, Overall: 9 13/16 x 11 11/16 in. (24.9 x 29.7 cm) maximum, Drawings, Andrea del Verrocchio (Italian, Florence 1435–1488

Study for Allegorical Figure of Prudence, 1501–47, Pen and brown ink, brush and gray wash, over traces of black chalk, 10 1/16 x 5 9/16in. (25.6 x 14.1cm), Drawings, Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501–1547 Rome),

Plate I, from Rules for Drawing Caricaturas, February 26, 1788, Etching, Sheet: 5 1/4 x 8 9/16 in. (13.4 x 21.8 cm), Prints

Drawing of Design for Sword Hilt and Tip of Scabbard (Dolphin-Head Grip), second half 16th century, German, Ink on paper, 16 7/16 x 11 3/8 in. (41.7 x 28.8 cm), Works on Paper-Drawings

Young Father Distressed by His Growing Family, 18th century, Pen and brownish-gray ink, brush and brown wash over black chalk. A horizontal strip 1.5 cm in height has been added at lower margin and the drawing continued in the same hand., 14 3/8

Seated River God, Nymph with an Oar, and Putto, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 9 5/16 x 12 5/16in. (23.7 x 31.3cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Saint John the Baptist standing in landscape, figures and buildings in the backgroud, ca. 1505–10, Engraving, Sheet (Trimmed to plate): 13 9/16 × 9 7/16 in. (34.5 × 24 cm), Prints, Giulio Campagnola (Italian, Padua ca. 1482–ca. 1515/18

St. John the Baptist Drawing Water from a Spring, ca. 1649, Etching with engraving; second state of four, Sheet: 3 5/8 × 3 3/8 in. (9.2 × 8.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Drawing of Female Statue with Sword and Scale, 18th century, Graphite, pen and black ink, 6 9/16 x 4 3/16 in. (16.7 x 10.6 cm), Drawings, Anonymous, French, 18th century

Le Grand Châtelet (Grand Châtelet, Paris circa 1780, after an earlier drawing), 1861, Etching and drypoint, plate: 9 3/16 x 11 3/4 in. (23.3 x 29.8 cm), Prints, Charles Meryon (French, 1821–1868), After Victor Jean Nicolle (French,

Hooded Male Head (from Sketches on the Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is a fragment cut from the upper portion of 'Sketches on the Coast Survey Plate' (Kennedy no. 1) by Whistler and

Drawing for an Illustration in 'Voyages du Flandre', n.d., Graphite and brush and wash, 5 1/2 x 5 1/2 in. (14.0 x 14.0 cm), Drawings, Albert-Charles Tissandier (French, Anglure, 1839–1906

Long Thomas and Mad-le G-d Going to the Pantheon in Their Natural Masks, May 1, 1773, Hand-colored etching, plate: 11 3/4 x 14 3/4 in. (29.8 x 37.4 cm), Prints, William Austin (British, London 1721/33–1820 Brighton), In 1773 drawing-master

Anatomical Studies of Legs, 1810–63, Counterproof of a drawing in red and black chalk, with black chalk additions, sheet: 15 9/16 x 10 1/2 in. (39.5 x 26.6 cm), Drawings, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris

Allegorical Composition: Music and Justice with the Spinola Arms, 1639–1709, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on rose-washed paper, 7-13/16 x 5-5/16 in. (19.9 x 13.5 cm), Drawings, Giovanni

Drawing of an Interior: Atelier, 1857, Graphite, pen and blue ink, watercolor, sheet: 7 5/16 x 10 11/16 in. (18.5 x 27.2 cm), Drawings, Anonymous, French, 19th century

Drawing after Male Statue Leaning on Tree Trunk, 18th century, Graphite, pen and black ink, brush and gray wash, 5 15/16 x 3 11/16 in. (15.1 x 9.4 cm), Drawings, Anonymous, French, 18th century

Design for a Lion's Head flanked by Satyrs, 1652–1725, Pen and brown ink, over a preliminary drawing in black chalk, sheet: 1 15/16 x 4 5/16 in. (5 x 10.9 cm), Attributed to Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Studies for an Angel in Glory, 1575–1633, Red chalk on off-white laid paper washed pale ochre; main study squared for transfer, 14 x 9 15/16in. (35.6 x 25.2cm), Drawings, Antonio d'Enrico Tanzio (Tanzio da Varallo) (Italian, Riale d'Alagna

Bearded Man in Soldier's Cap (from Sketches on the Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is a fragment cut from the upper portion of 'Sketches on the Coast Survey Plate' (Kennedy no. 1) by

Plate 1: the genius of drawing, a child with wings, seated on a rock in center turned towards the right, holding a drawing pad and pen, ruins including a triumphal arch to right in the background, the title page from 'The Principles of Design'

Drawing of Design for Sword Hilt and Tip of Scabbard (Lion-Head Grip), second half 16th century, German, Ink on paper, 16 x 11 3/8 in. (40.6 x 28.8 cm), Works on Paper-Drawings

Letter to Samuel P. Avery with a drawing of a military figure, 1880, Pen and ink with washed in gray, black and brown, with gouache, Sheet: 6 15/16 × 4 5/8 in. (17.7 × 11.7 cm), Ernest Meissonier (French, Lyons 1815–1891 Paris), Written

Diana Bathing, 1578–1660, Pen and brown ink, brush and brown wash, 8 x 6 7/8in. (20.3 x 17.5cm), Drawings, Francesco Albani (Italian, Bologna 1578–1660 Bologna), This drawing was reproduced in reverse by the French engraver Bernard Picart

Drawing for Engraving in Raccolta di Vari Schizzi, Venice, 1747, After Angelo Rosis., ca. 1747, Pen and light and dark brown ink, over faint traces of graphite underdrawing; framing outline in graphite, sheet: 13 1/2 x 9 9/16 in. (34.3 x 24.3

Two Muses, 17th century, Red chalk, heightened with white, on beige paper, 14 3/16 x 9 13/16 in. (36 x 25 cm.), Drawings, Charles Le Brun (French, Paris 1619–1690 Paris), This drawing is a preparatory composition for a ceiling painting in

Sketches of Figures of the Virgin Kneeling, Saint Peter Standing, Seated Allegorical Figures of Faith and Charity, and Child Standing on a Corbel (?) (recto); Sketches of Figures of Saint Sebastian Standing and the Virgin and Child with Angels

Landscape with a Goat, 1500–1511, Pen and brown ink, 3 13/16 x 6in. (9.7 x 15.3cm), Drawings, Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice), Drawings by Titian are exceedingly rare, and this splendid study

Saint Benedict Orders the Destruction of Idols at Montecassino, 1694–1759, Pen and brown ink, brush and brown wash, highlighted with yellow and white gouache, over black chalk or leadpoint, on beige paper, 8 7/16 x 4 3/4in. (21.4 x 12cm),

Studies of the Head of an Infant (after a three-dimensional model), 1572–74, Black chalk on blue paper, 6 1/4 x 7 in. (15.9 x 17.8 cm), Drawings, Poppi (Francesco Morandini) (Italian, Poppi 1544–1597 Florence), During the Italian

Architectural Drawing, 18th century, Pen and brown ink, brush and gray wash, sheet: 10 5/16 x 5 1/2 in. (26.2 x 13.9 cm), Anonymous, French, 18th century

Drawing After an Architectural Fragment, 19th century, Pen and black ink over graphite on laid paper, sheet: 8 x 8 3/4 in. (20.3 x 22.2 cm), Drawings, Anonymous, French, 19th century

Ruins of the Imperial Palaces in Rome, 1810, Pen and black ink over graphite, squared in graphite, framing line in brown ink, sheet: 14 15/16 x 19 3/8 in. (38 x 49.2 cm), Drawings, Joseph Anton Koch (Austrian, Obergibeln bei Elbigenalp

Group of Caricatured Figures with an Artist Drawing, 1612–66, Pen and brown ink, brush and gray wash, 7 11/16 x 10 3/8in. (19.6 x 26.4cm), Drawings, Circle of Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

Design for Vase with Eagles, 1652–1725, Pen and brown ink, brush and gray wash, over traces of black chalk. A vertical line in leadpoint through the center to create the symmetry of the drawing, sheet: 10 11/16 x 10 7/8 in. (27.1 x 27.6 cm),

Two Female Heads and Standing Figure (from Sketches on the Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is an irregular fragment cut from the upper portion of 'Sketches on the Coast Survey Plate'

Saint Antoninus Kneeling before the Crucifix in Orsanmichele, Florence, 1600–1605, Charcoal and pale brown wash on beige paper. Partially squared off in red chalk, 6-7/8 x 10-15/16 in. (17.4 x 27.8 cm), Drawings, Bernardino Poccetti (Italian,

Drawing of a Decorated Coat of Arms surrounded by Books, Owl, Leaves, Vase and a Snake, 1732–1802, Pen and dark brown ink, 4 1/2 x 4 13/16 in. (11.5 x 12.2 cm), Drawings, Attributed to Carlo Bianconi (Italian, Bologna 1732–1802 Milan

Standing Female Figure and Ornamental Framework., ca. 1547–53, Pen and brown ink, brush and brown wash, over traces of black chalk; squared in black chalk, Sheet: 10 1/4 x 4 1/8 in. (26 x 10.5 cm), Drawings, Girolamo Mazzola Bedoli (Italian,

Design for a Sepulchral Monument of a Youth, 1524-27, Pen and brown ink, brush with brown and traces of yellow wash, over black chalk, 10 9/16 x 8 3/16in. (26.9 x 20.8cm), Drawings, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian,

Nobility Presenting an Infant to Venice, 1709–87, Graphite, drawing in form of tondo, 5-3/4 x 5-9/16 in. (14.6 x 14.2 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

Drawing of an Interior: Cabinet du Salon, 1855, Graphite, pen and brown ink, watercolor, sheet: 8 7/16 x 11 7/16 in. (21.4 x 29.1 cm), Drawings, Anonymous, French, 19th century

Two Studies of a Man, ca. 1575, Black chalk (recto); rulings in red chalk and black chalk by early collector (verso), sheet: 13 3/4 x 6 7/8 in. (35 x 17.5 cm), Drawings, Santi di Tito (Italian, Sansepolcro 1536–1603 Florence), A pupil of

Life Drawing, mid-18th century, Red chalk, 17 5/16 x 11 7/8 in. (43.9 x 30.1 cm), Drawings, Attributed to Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Drawing for the Street Elevation of a Town House, 1729, Pen and black ink, and watercolor. Framing lines in black ink., 19 3/16 x 12 11/16 in. (48.7 x 32.2 cm), Drawings, Andreas Schneidmann (German, 1698–1759

The Discovery of the True Cross, 1581–1644, Pen and brown ink, over traces of leadpoint or black chalk, on off-white laid paper; framing outlines in pen and darker brown ink, 7 1/2 x 11 3/16in. (19.1 x 28.4cm), Drawings, Bernardo Strozzi

The Resurrection, ca. 1465, White tempera, brush and brown wash, over black chalk, on paper washed light-brown, 14-3/8 x 27-3/8 in. (36.5 x 69.6 cm), Drawings, Marco Zoppo (Marco Ruggeri known as Lo Zoppo) (Italian, Cento 1431/32 – ca.

The Feast of Belshazzar, 1697–1732, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on brownish paper, 11-1/4 x 14-15/16 in. (28.5 x 38.0 cm), Drawings, Antonio Gionima (Italian, Venice 1697–1732

Landscape (Wooded Approach to a Town), ca. 1508, Pen and brown ink, 8 7/16 x 11 1/2 in. (21.4 x 29.2 cm), Drawings, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence 1473–1517 Florence), Dated about 1508, this drawing

The Holy Family in an Enclosed Garden, 1512, Pen and reddish brown ink., 10 9/16 x 7 7/8 in. (26.8 x 19.8 cm), Drawings, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), This drawing is a variation on a popular fifteenth-century

Scene with Four Figures of Monks Discoursing, 1666–1724, Brush and brown wash, highlighted with white, over charcoal, on blue-gray paper, 5 1/16 x 5 7/8in. (12.8 x 14.9cm), Drawings, Paolo Gerolamo Piola (Italian, Genoa 1666–1724 Genoa),

The Forum of Trajan, Rome, late 18th–mid-19th century, Drawing in pen and ink and gray wash, 3 1/16 x 4 3/16in. (7.8 x 10.6cm), Drawings, Giovanni Battista Cipriani (Italian, Siena 1766–1839 Rome

Drawing of an Urn, 18th century, Graphite, pen and black ink, brush and gray wash, 9 7/16 x 5 1/8 in. (23.9 x 13 cm), Drawings, Anonymous, French, 18th century

Drawing of Female Statue with Cornucopia, 18th century, Graphite, pen and black ink, 7 3/4 x 3 1/8 in. (19.7 x 7.9 cm), Drawings, Anonymous, French, 18th century

Pieta (recto); Madonna and two Cherubs in pen and brown ink; copy of a drawing in the Louvre which is attributed to Raphael (verso), 16th century, Brush and brown ink highlighted with white, 10 1/4 x 8 in. (26 x 20.3 cm), Drawings, After Raphael

Two Seated Male Figures Within Spandrels., 16th century, Pen and brown ink, brush and brown wash, highlighted with white gouache, reworked with red chalk, on paper washed pale mauve, sheet: 9 3/4 x 6 9/16 in. (24.8 x 16.7 cm), Drawings,

Artists Drawing and Painting in a Studio, 1612–66, Pen and brown ink, brush and brown wash, 2-7/8 x 7-7/8 in. (7.3 x 20 cm), Drawings, Pier Francesco Mola (Italian, Coldrerio 1612–1666 Rome

Drawing of an Interior: Cabinet du Salon, 1857, Graphite, pen and blue ink, watercolor, heightened with white, sheet: 8 3/16 x 11 5/16 in. (20.8 x 28.8 cm), Drawings, Anonymous, French, 19th century

Copy in Reverse Design Orientation: Based on the Group of Reclining Figures at Left in Domenico Beccafumi's Scene of Moses Striking the Rock in the Pavement of Siena Cathedral, October 15, 1596, Pen and brown ink, brush and brown wash, over

Plate III, from Rules for Drawing Caricaturas, February 26, 1788, Etching, sheet: 5 1/8 x 8 7/16 in. (13 x 21.4 cm), Prints

Studies of Arms, Shoulders and Hands, 1548–1628, Pen and brown ink, brush and brown wash, over red chalk, 10 1/16 x 6 5/8in. (25.5 x 16.8cm), Drawings, Giacomo Franco (Italian, Venice 1550–1620 Venice), previously attributed to Jacopo

Ornament Drawing with Cartouche, Putti, and Monkeys, n.d., Red chalk and red chalk wash over graphite underdrawing, 7 1/4 x 18 in. (18.4 x 45.7 cm), Drawings, Attributed to Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

The death of Saint Alexis Falconieri at Monte Senario, 1548–1612, Pen and brown ink, brush and brown wash, highlighted with white, over red chalk and some charcoal, 6-3/8 x 11-1/16 in. (16.2 x 28.1 cm), Drawings, Bernardino Poccetti

Anatomical drawing, 18th century, Pen and ink, brush and gray wash on blue paper, sheet: 8 7/16 x 13 1/8 in. (21.4 x 33.4 cm), Drawings, Anonymous, French, 18th century

Seated Figure: Study for “A Vision of Antiquity”, 1883–85, Fabricated black crayon, squared, 14 5/8 x 10 1/4 in. (37.2 x 26 cm), Drawings, Pierre Puvis de Chavannes (French, Lyons 1824–1898 Paris), The flattening and simplification of

Studies of a Seated Youth in Armor, ca. 1505, Point of brush and gray wash, highlighted with white gouache, on blue paper, 7 1/2 x 7 1/16in. (19 x 18cm), Drawings, Vittore Carpaccio (Italian, Venice 1460/66?–1525/26 Venice), This

The Fenice Theater in Venice (recto); Fragment of a Larger Drawing Representing Part of a Column and a Cornice (verso), 1712–1835, Pen and brown ink, brush with brown and gray wash over traces of black chalk (recto); pen and brown ink, brush

Angelo Maria Querini Created Cardinal by Benedict XIII, 1709–87, Graphite, drawing in form of tondo, 5-13/16 x 5-5/16 in. (14.7 x 13.5 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

Christ Preaching, 16th century, Pen and brown ink, brush and brown wash, on brownish paper, 9-1/8 x 13-7/8 in. (23.2 x 35.2 cm), Drawings, After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42–1609 Ancona), The present

Drawing for a Frontispiece, 1704–39, sheet: 12 1/2 x 8 in. (31.8 x 20.3 cm), Drawings, Mauro Soderini (Italian, Florence, 1704–after 1739

The Adoration of the Magi, ca. 1500, Pen and brown ink, over traces of black chalk, 10-15/16 x 9-7/16 in. (27.8 x 24.0 cm), Drawings, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence 1473–1517 Florence) (?), In this

The Birth of Saint Francis of Assisi, 1555–1629, Pen and brown ink, brush and pale brown wash, on beige paper. Squared in charcoal, 6 1/8 × 5 3/16 in. (15.6 × 13.1 cm), Drawings, Camillo Procaccini (Italian, Bologna 1555–1629 Milan),

A Caricature of L'Abbate Folinghi, 1674–1755, Graphite or lead, part of drawing executed in pen and brown ink and brush and gray wash, Sheet: 7 1/2 x 4 5/16 in. (19.1 x 11 cm), Drawings, attributed to Pier Leone Ghezzi (Italian, Comunanza

Drawing for an Etching: Cavaliers in a Landscape, 1893, Pen and black ink on wax paper, 12 1/8 x 18 11/16 in. (30.8 x 47.5 cm), Drawings, Evert Louis van Muyden (Swiss, Albano Laziale 1853–1922 Orsay

The Vision of Saint Eustace, 1542–1609, Point of brush with brown, gray, green, yellow, and red wash, highlighted with white, over traces of red and black chalk. Lightly squared in black chalk, 13 7/16 x 7 15/16in. (34.1 x 20.2cm),

Three Designs for Helmets, 16th century, Pen and brown ink, brush and brown wash, over leadpoint; glued onto secondary paper support, Drawing is silhouetted; dimensions of secondary support: 6-9/16 x 11-3/16 in. (16.7 x 28.4 cm), After Polidoro

Three Male Heads, 1493–1560, Pen and brown ink over traces of black chalk, 12-5/8 x 8-1/8 in. (32.1 x 20.6 cm), Drawings, Baccio Bandinelli (Italian, Gaiole in Chianti 1493–1560 Florence), The subject of this powerful drawing with the head

Portrait of John Churchill, 1st Duke of Marlborough, early 18th century, Pen and ink on vellum, diameter: 4 1/8 in. (10.5 cm), Drawings, John Faber, the Elder (British (born Holland), The Hague (?) ca. 1660–1721 Bristol), Faber the Elder

Two Male Heads in Profile to Right, 1765–1810, Offprint made from red chalk drawing, sheet: 23 1/4 x 17 15/16 in. (59 x 45.6 cm), Drawings, Attributed to Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

Drapery Study for a Standing Male Figure in Profile Facing Left., 1512–17, Black chalk, highlighted with white chalk, on tan paper, sheet: 11 x 5 15/16 in. (28 x 15.1 cm), Drawings, Workshop of Fra Bartolomeo (Bartolomeo di Paolo del

Corra Linn, the Falls of the Clyde, 1788, Graphite, pen and ink and wash, sheet: 14 1/8 x 20 7/8 in. (35.9 x 53 cm), Drawings, Joseph Farington (British, Lancashire 1747–1821 Lancashire), This expressive working drawing by Farington

The Battle about Money, after 1570, Engraving; second state of four, Sheet: 9 5/16 x 11 15/16 in. (23.6 x 30.4 cm), Prints, Pieter van der Heyden (Netherlandish, ca. 1525–1569), After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

Saint Martin and the Beggar, 1493–1500, Pen and gray ink, brush and gray wash, over faint traces of black chalk, 7 x 4 1/2 in. (17.8 x 11.4 cm) maximum; borders cropped irregularly, Drawings, Attributed to Vittore Carpaccio (Italian, Venice

Drawing for a Book Illustration, 18th century, 3 1/4 x 4 3/4 in. (8.3 x 12.1 cm), Drawings, Anonymous, French, 18th century

Nero, 1840–1917, Graphite with wash of watercolor and gouache on cream paper, Overall: 12 13/16 x 9 13/16 in. (32.5 x 25 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon), Nero, or, as it is titled in French on the lower

Allegory of the Old and New Dispensations, 1700–1708, Pen and brown ink, over black and red chalk, highlighted with white gouache, on light brown paper, 11 7/8 x 8 5/16in. (30.2 x 21.1cm), Drawings, Carlo Maratti (Italian, Camerano

Palazzo Salviati-Adimari elevations (recto) Villa Farnesina stables, plan and section; drawing of a screw (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 9 11/16 x 13 3/8 in. (24.6 x 34 cm),

Designs for an Altar in a Niche, 1735–1817, Pen and brown ink, brush and brown, gray, purple-gray and green wash, over traces of leadpoint; vertical line in leadpoint and pen and brown ink through the center of the drawing to create the

Fashion Drawing with a Woman Seated in a Chair with a Boy and Girl, 19th century, Graphite and watercolor, 6 5/8 x 5 1/4 in. (16.8 x 13.3 cm), Drawings, Pierre-Numa Bassaget, called Numa (French, active 1830–54

Manet Seated, Turned to the Left, ca. 1866–68, Etching, first state (one of four known impressions), plate: 6 3/4 x 4 3/4 in. (17.1 x 12 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris), During the 1860s, when Degas was very

Gene Speicher Drawing on a Stone, 1921, Lithograph, image: 11 3/8 x 8 5/8 in. (28.9 x 21.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

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