Images at Librifly

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The Drawing Class, 1810/13, Unknown Artist, American, 19th century, United States, Watercolor over graphite on cream wove paper, laid down on cream board, 372 x 609 mm

The Madame B Album, 1870s, Marie-Blanche-Hennelle Fournier, French, 1831–1906, France, Watercolor drawing (in album), 29.2 × 41.9 cm

Thresher, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on off-white wove paper (chine collé),

Double House for Mr. Straus, Perspective View, 1883, Adler & Sullivan, Architects (American, fl. 1883–1895), Louis H. Sullivan (American, 1856–1924), Dankmar Adler (American, 1844–1900), United States, Ink on drawing paper, 47.3 ×

Contest for the Prize for the Study of Heads and Expression, 1763, based on a drawing from 1761, Jean-Jacques Flipart (French, 1719-1782), after Charles-Nicholas Cochin (French, 1715-1790), France, Etching and engraving on off-white laid

The Drawing Lesson, 1749, Jacques Philippe Le Bas (French, 1707-1783), after Jean Baptiste Siméon Chardin (French, 1699-1779), France, Engraving in black on cream laid paper, 251 × 309 mm (image), 294 × 329 mm (plate), 455 × 624 mm

Botanical Specimen, c. 1835, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing, 14 × 11.5 cm (image/paper

Two Plant Specimens, 1839, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing, 22.1 × 18 cm (8 11/16 × 7 1/8 in., image/paper), 29 × 21.5 cm (mount

Drawing for Standing Nude, c. 1879, Mary Cassatt, American, 1844-1926, United States, Graphite on buff wove paper, traced over for soft-ground etching with offset of soft-ground on verso, showing through, 282 x 183 mm

January, Twelfth Night Drawing Characters from George Cruikshank’s Steel Etchings to The Comic Almanacks: 1835-1853 (top left), 1841, printed c. 1880, George Cruikshank (English, 1792-1878), published by Pickering & Chatto (English, 19th

Handkerchief, 1819, Possibly printed by Charles Gray (Scottish, active c. 1819) or Colin Gillespie (Scottish, active c. 1819), Engraved by Cornelius Tiebout (American, 1777–1832) after a drawing by Charles Buxton (American, 1768–1833) and

On the Backdrop of Our Nights God with His Knowing Finger Traces a Multiform Implacable Nightmare, plate 6 of 9, 1890, Odilon Redon, French, 1840-1916, France, Photogravure made from an original drawing, in black on ivory wove paper, 241 ×

Sketches, Fragment: Peasant Seated at the Foot of a Tree, after 1863, Jean François Millet, French, 1814-1875, France, Woodcut fragment from a partially inked block and drawing in charcoal on tan wove China paper and fragment of woodcut in

Table Set For Tea, c. 1840, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing print from photogenic drawing negative, stabilized (fixed) in potassium iodide or potassium bromide, 7.7 × 16.1 cm (image), 11.1 × 18.7

Portrait of Carle Vernet, Standing and Drawing, 1818, Horace Vernet, French, 1789-1863, France, Lithograph in black on tan wove paper, 223 × 248 mm (image), 466 × 315 mm (sheet

The Grand Châtelet, Paris, c. 1780, after an earlier drawing, 1861, Charles Meryon, French, 1821-1868, France, Etching and drypoint on ivory laid paper, 175 × 249 mm (image), 234 × 300 mm (plate), 341 × 450 mm (sheet

Child Drawing (Jean Buhot), 1892, Félix Hilaire Buhot, French, 1847-1898, France, Lithograph in black on ivory laid paper, 313 × 256 mm (image/stone), 329 × 258 mm (sheet

Falls of St. Anthony on the Mississippi, plate seven of the first number of Picturesque Views of American Scenery, 1819/21, John Hill (American, 1770-1850), after Joshua Shaw (American, born England, c. 1777-1860), after a drawing by Captain

Woman Shearing Sheep, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on ivory wove paper (chine

Tower at Lacock, 1837, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing, using silver chloride paper, printed-out in camera, stabilized (fixed) in ammonia, 10.7 × 10.2 cm (image/paper

Woman Pulling Flax, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on ivory wove paper (chine

Woman Crushing Flax, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on off-white wove paper

Insertion from a Table Cloth, 1601/25, England, Linen, plain weave, ink drawing, embroidered with silk and linen in chain and running stitches, cut and drawn work embroidered with linen in buttonhole, overcast, and Russian overcast stitches,

Johann Wolfert van Brederode, 1644, Cornelis Visscher, the Elder (Netherlandish, c. 1520-86), after a drawing by Pieter Claesz. Soutman (Dutch, c. 1580–1657), after a painting by Gerrit van Dutch Honthorst (Dutch, 1590-1656), Holland,

The Actors Sawamura Sojuro II as the Chinese Sage Huangshi Gong (on horseback), and Ichikawa Danzo III as the Chinese Warrior Zhang Liang (mounted on a dragon), in the Finale of the Play Otokoyama Yunzei Kurabe (At Mt. Otoko, a Trial of Strength

A Herb Market, from The Houghton Gallery, 1779, Richard Earlom (English, 1743–1822), after Frans Snyders (Flemish, 1579–1657), intermediary drawing by Joseph Farington (English, 1747–1821), published by John Boydell (English,

Stem of Leaves and Flowers, c. 1835/37, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing, stabilized (fixed) in potassium iodide, potassium bromide or ammonia water, 11.3 × 8.5 cm (image/paper

Man Drawing from a Cast, c. 1641, Rembrandt van Rijn, Dutch, 1606-1669, Holland, Etching on ivory laid paper, 95 x 64 mm (plate/image), 98 x 68 mm (sheet

National Park Bank, New York City, New York, Competition Design Drawing, c. 1866, Peter Bonnett Wight, American, 1838–1925, New York City, Ink and watercolor on paper, 40 × 24 cm (15 3/4 × 9 1/2 in

Amphiprion percula, Print, The orange clownfish (Amphiprion percula) also known as percula clownfish and clown anemonefish, is widely known as a popular aquarium fish. Like other clownfishes (also known as anemonefishes), it often lives in

The Artist Drawing from the Model, c. 1639, Rembrandt van Rijn, Dutch, 1606-1669, Holland, Etching and drypoint on buff laid paper, 233 x 183 mm (plate), 241 x 186 mm (sheet

Terpsichore (recto), and Dancing Female Figure (verso), Mural Studies for Drawing Room Ceiling, Residence of Collis P. Huntington, now Yale University Art Gallery, c. 1894, Edwin Howland Blashfield, American, 1848-1936, United States,

Reclining Male Nude, n.d., Louis-Joseph-César Ducornet, French, 1806-1856, France, Charcoal drawing with white heightening, and pen and ink on tan laid paper, 454 × 606 mm

Boy’s Baijia Pao (One Hundred Household Robe), Qing dynasty (1644–1911), 1850/1900, Han-Chinese, China, Silk, warp-float faced 3:1 'Z' twill weaves self-patterned by areas of plain weave, pieced, medallions with under drawing in black

Le Combat des Horaces et des Curiaces (Furnishing Fabric), c. 1820, Designed by Francois Pieters (French, active c. 1820) after engravings by Antoine Alexandre Morel (French, 1740-1822) and others after painting by Jacques Louis David (French,

Abraham Drawing the Children of Israel to His Breast, and Christ with Kneeling Monks, from an Antiphonary, 1330/40, Flemish (Tournai) or Southern England, Flanders, Manuscript cutting with tempera and gold leaf decorations, and gothic

Dance Hall, 1898, Théophile-Alexandre Steinlen, French, born Switzerland, 1859-1923, France, Photo lithograph (from a drawing) in black on gray wove chine, 213 × 347 mm (image), 316 × 450 mm (sheet

Woman Spinning, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), printed by Jules Claye (French, 1806-1886), France, Wood engraving in black on gray China

Insertion from a Table Cloth, 1601/25, England, Linen, plain weave, ink drawing, embroidered with silk and linen in chain and running stitches, cut and drawn work embroidered with linen in buttonhole, overcast, and Russian overcast stitches,

Two Scraps of Lace, c. 1838/42, William Henry Fox Talbot, English, 1800–1877, England, Photogenic drawing, 18.4 × 11.1 cm (image/paper

Insertion from a Table Cloth, 1601/25, England, Linen, plain weave, ink drawing, embroidered with silk and linen in chain and running stitches, cut and drawn work embroidered with linen in buttonhole, overcast, and Russian overcast stitches,

Ceaselessly by my side the demon stirs, plate 7 from Charles Baudelaire’s Flowers of Evil, 1890, Odilon Redon, French, 1840-1916, France, Photogravure made from an original drawing (Evely process), in black on ivory wove paper, 256 × 207

Frontispiece from Cipriani’s Rudiments of Drawing, 1792, Francesco Bartolozzi, Italian, 1727-1815, Italy, Color engraving and stipple engraving, on paper, 202 x 298 mm (plate), 271 x 382 mm (sheet

Specimen of Calotype of Talbotype, Photogenic Drawing [label], c. 1840/41, William Henry Fox Talbot, English, 1800–1877, England, Calotype negative, 3 × 7.4 cm (image), 4.6 × 14.6 cm (paper

Insertion from a Table Cloth, 1601/25, England, Linen, plain weave, ink drawing, embroidered with silk and linen in chain and running stitches, cut and drawn work embroidered with linen in buttonhole, overcast, and Russian overcast stitches,

Portrait of Julie Manet, 1890, Berthe Morisot, French, 1841–1895, France, Transfer drawing in charcoal and red chalk, on light tan tracing paper, laid down on white wove paper, wrapped around millboard, 538 × 430 mm

Drawing: Expressions of Emotion (Laughter, Weeping, Compassion, Sadness), from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), after Charles le Brun (French, active 17th century-1765), published by André le Breton

Letter with Drawing of Whistler Menacing Du Maurier, 1894, George Du Maurier, English, 1834-1896, France, Pen and brown ink on blue wove paper, with embossed printing, 162 × 192 mm (sheet

Reaper, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on ivory wove paper (chine collé), 135

Kosode Made into a Tobari or Fukusa Composed of Six Panels, mid–Edo period (1716–1789), early 18th century, Japan, Silk, plain weave with creped wefts, drawing with India ink, stenciled and resist dyed, embroidered with silk and

Photogenic drawing of a fragment of lace., William Henry Fox Talbot (English, 1800 - 1877), 1839, Photogenic drawing, 22.7 × 18.3 cm (8 15/16 × 7 3/16 in

The Drawing Room, Alvin Langdon Coburn (British, born America, 1882 - 1966), London, England, 1915, Mezzogravure, 9.5 × 12.1 cm (3 3/4 × 4 3/4 in

St. John the Baptist with the Lamb. From an original drawing by Murillo., Nikolaas Henneman (British, 1813 - 1893), 1845 - 1846, Salted paper print from a Calotype negative, 6.4 x 7.3 cm (2 1/2 x 2 7/8 in

Maud Muller. copy of a drawing, Williams & Everett, 1861, Albumen silver print

The Drawing Lesson, Jan Steen (Dutch, 1626 - 1679), about 1665, Oil on panel, 49.2 × 41.2 cm (19 3/8 × 16 1/4 in

Lacock Abbey Self-Represented in the Camera Obscura., William Henry Fox Talbot (English, 1800 - 1877), May 1839, Salted paper print from a photogenic drawing negative, 17.1 × 18.1 cm (6 3/4 × 7 1/8 in

Linen, William Henry Fox Talbot (English, 1800 - 1877), England, about 1835, Photogenic drawing negative, 11.1 × 4.8 cm (4 3/8 × 1 7/8 in

Taddeo in the Sistine Chapel Drawing Michelangelo's 'Last Judgement', Federico Zuccaro (Italian, about 1541 - 1609), about 1595, Pen and brown ink, brush with brown wash, over black chalk and touches of red chalk, 41.9 x 17.7 cm (16 1/2 x 6

Triumph of the Cross, Eugenio Cajés (Caxés) (Spanish, 1574 - 1634), about 1613 - 1634, Brush drawing in brown wash over red and black chalk, 23.3 x 22.2 cm (9 3/16 x 8 3/4 in

Leaves of a Plant, William Henry Fox Talbot (English, 1800 - 1877), 1842, Salted paper print possibly from a photogenic drawing negative, 18.9 × 23 cm (7 7/16 × 9 1/16 in

Drawing for the Militia, by J. Philip sic, Robert Howlett (British, 1831 - 1858), London, England, 1858, Albumen silver print, 19.9 × 30 cm (7 13/16 × 11 13/16 in

Breakfast Table, William Henry Fox Talbot (English, 1800 - 1877), 1839, Salted paper print from a photogenic drawing negative, 13.3 × 20.2 cm (5 1/4 × 7 15/16 in

Warwick Castle - Green and Gold Drawing Room. Warwickshire, England, Francis Bedford (English, 1815/1816 - 1894), about 1867–1868, Albumen silver print

The Entombment, Niccolo Ricciolini (Italian, 1687 - 1772), Netherlands, about 1760, Brush drawing in light brown wash over black chalk, heightened with white and some pink gouache, with occasional touches of pen and brown ink, some framing

The Drawing Room./La Grand Salon. Osborne, André Adolphe-Eugène Disdéri (French, 1819 - 1889), 1860–1870, Albumen silver print

Lace, William Henry Fox Talbot (English, 1800 - 1877), before December 1845, Photogenic drawing, 17.1 × 22.1 cm (6 3/4 × 8 11/16 in

(Lace), William Henry Fox Talbot (English, 1800 - 1877), Lacock Abbey, England, 1841–1846, Salted paper print from a photogenic drawing negative, 22.7 × 18.7 cm (8 15/16 × 7 3/8 in

Bust of a Young British Woman, William Henry Fox Talbot (English, 1800 - 1877), 1840, Salted paper print from a photogenic drawing negative, 8.4 × 6.2 cm (3 5/16 × 2 7/16 in

Bonneville near Geneva on Road to Chamonix, Sir John Frederick William Herschel (British, 1792 - 1871), August 13, 1821, Graphite drawing made with the aid of a camera lucida, 19.4 × 29 cm (7 5/8 × 11 7/16 in

The Head of Christ from a Painting on Glass, William Henry Fox Talbot (English, 1800 - 1877), July 30, 1839, Salted paper print from a photogenic drawing negative, 20.5 × 16.5 cm (8 1/16 × 6 1/2 in

Roofline of Margam Castle, the Home of C.R.M. Talbot, William Henry Fox Talbot (English, 1800 - 1877), December 1839?, Salted paper print from a photogenic drawing negative fixed with iodide, 10 × 11 cm (3 15/16 × 4 5/16 in

Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), 1835–1839, Photogenic drawing negative, 7.5 × 9.4 cm (2 15/16 × 3 11/16 in

Bowood., William Henry Fox Talbot (English, 1800 - 1877), April 14, 1840, Salted paper print from a photogenic drawing negative, 16.3 × 21.6 cm (6 7/16 × 8 1/2 in

Hagar in the Desert, William Henry Fox Talbot (English, 1800 - 1877), April 1846, Salted paper print from a photogenic drawing negative, 18.4 × 22.1 cm (7 1/4 × 8 11/16 in

Amateur keepsake album including the earliest known photographs of India, Unknown maker, British, active India about 1843, Attributed to James G. Jones (active 1860s), J. Kenny Meadows, Henry Thomas Ryall, John William Wright (British, 1802 -

Copy of an Engraving, William Henry Fox Talbot (English, 1800 - 1877), 1839, Salted paper print from a photogenic drawing negative, 15.1 × 19.7 cm (5 15/16 × 7 3/4 in

Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), 1835, Photogenic drawing negative, iodide fixed, 6.8 × 7.9 cm (2 11/16 × 3 1/8 in

The Head of Christ from a Painting on Glass, William Henry Fox Talbot (English, 1800 - 1877), England, 1839, Photogenic drawing negative, iodide fixed, 20.8 × 17.6 cm (8 3/16 × 6 15/16 in

Lacock Abbey Roofline, William Henry Fox Talbot (English, 1800 - 1877), 1839, Photogenic drawing negative, possibly bromide fixed, 9.5 × 14.6 cm (3 3/4 × 5 3/4 in

Canton. Interior of a Chinese Drawing Room, With a Mandarin Family and Attendants., Pierre Joseph Rossier (Swiss, 1829 - about 1883), Negretti & Zambra (British, active 1850 - 1899), 1858–1859, Albumen silver print

Drawing of a Seated Turkish Woman by Gentile Bellini, Roger Fenton (English, 1819 - 1869), London, England, about 1856, Salted paper print, 21.1 × 17 cm (8 5/16 × 6 11/16 in

The Roofline of Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), Lacock, Wiltshire, England, probably 1835–1839, Salt-fixed photogenic drawing negative, 11.1 × 11.7 cm (4 3/8 × 4 5/8 in

Interior View. Palace of the Conde de Santovenia. The Drawing Room., George N. Barnard (American, 1819 - 1902), Edward and Henry T. Anthony & Co. (American, 1862 - 1902), Negative printed by Kuhns, about 1860–1862, Albumen silver print

The Drawing Lesson. - Sketching from Nature., F.H. Briggs (American, born 1858), about 1865, Albumen silver print

Leaf of a Plant, William Henry Fox Talbot (English, 1800 - 1877), before February 14, 1844, Salted paper print from a photogenic drawing negative, 21.9 × 18.1 cm (8 5/8 × 7 1/8 in

Amelina's Harp in the Library, Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), October 16, 1840, Salted paper print from a photogenic drawing negative, 13.2 × 12.5 cm (5 3/16 × 4 15/16 in

Lace, Made Within the Circle of Talbot - Most Likely by Calvert R. Jones, William Henry Fox Talbot (English, 1800 - 1877), probably 1843–1846, Salted paper print from a photogenic drawing negative, 18.1 × 22.1 cm (7 1/8 × 8 11/16 in

Statuette of The Rape of the Sabines(Brewster's copy of a Talbot print), William Henry Fox Talbot (English, 1800 - 1877), probably 1841 - 1843, Salted paper print from a photogenic drawing negative, 15.2 × 9.5 cm (6 × 3 3/4 in

Cloisters, an ivy bush, 3' bright/Detail of the Cloisters at Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), October 8, 1840, Salted paper print probably from a photogenic drawing negative, 12.1 × 12.9 cm (4 3/4 × 5 1/16 in

The Head of Christ from a Painting on Glass, William Henry Fox Talbot (English, 1800 - 1877), 1839, Photogenic drawing negative, iodide fixed, 21 x 17.1 cm (8 1/4 x 6 3/4 in

Asplenium Halleri, Grande Chartreuse 1821 - Cardamine Pratensis., William Henry Fox Talbot (English, 1800 - 1877), April 1839, Photogenic drawing, 20.6 × 17.1 cm (8 1/8 × 6 3/4 in

Leaves, William Henry Fox Talbot (English, 1800 - 1877), 1842 or later, Salted paper print from a photogenic drawing negative, 21.9 × 18.3 cm (8 5/8 × 7 3/16 in

Drawing of a Man's Head by Leonardo da Vinci, Roger Fenton (English, 1819 - 1869), London, England, 1857, Salted paper print, 11.6 × 7.9 cm (4 9/16 × 3 1/8 in

Taddeo Returns to Rome Escorted by Drawing and Spirit Towards the Three Graces, Federico Zuccaro (Italian, about 1541 - 1609), about 1595, Pen and brown ink, brush with brown wash, over black chalk and touches of red chalk, 42.6 x 18 cm (16

Copy of an Engraving, William Henry Fox Talbot (English, 1800 - 1877), 1839, Salted paper print from a photogenic drawing negative, 13 × 19.2 cm (5 1/8 × 7 9/16 in

Warwick Castle - Green and Gold Drawing Room. Warwickshire, England, Francis Bedford (English, 1815/1816 - 1894), about 1867–1868, Albumen silver print

Lacock Abbey, William Henry Fox Talbot (English, 1800 - 1877), England, November 4, 1839, Photogenic drawing negative, 5.6 × 6.8 cm (2 3/16 × 2 11/16 in

Photographic Copy of a Drawing by Charles Wirgman With the Title, 3 Itchiboos to the Dollar or Death! The Motto of the Brave, Felice Beato (English, born Italy, 1832 - 1909), Japan, 1864 - 1866, Albumen silver print, 19.7 × 27.5 cm (7 3/4 ×

Latest car brake for cable cars with engine operation 1, Fig. 43, 44, 47, 48: Technical drawing of a carriage brake, Fig. 15, p. 55, E. Strub: Bergbahnen der Schweiz bis 1900. Bd. 1. Wiesbaden: Verlag von J F. Bergmann, 1900

Aubrey Vincent Beardsley, English, 1872-1898, Chapter Heading for Le morte d'Arthur, ca. between 1893 and 1894, pen and ink with preliminary drawing in graphite, Sheet: 4 × 3 1/4 inches (10.2 × 8.3 cm

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