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Saint Valentine’s Day—The Old Story in All Lands, published February 22, 1868, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 345 x 229 mm (image), 420

Opening Day in New York, published March 21, 1868, Winslow Homer (American, 1836-1910), published by Harper’s Bazar (American, founded 1867), United States, Wood engraving on paper, 346 x 511 mm (image), 409 x 552 mm (sheet

Madonna on a Grassy Bank, 1503, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 114 x 72 mm (image/plate/sheet

Christ of Caprarola, 1597, Annibale Carracci, Italian, 1560-1609, Italy, Etching, with engraving and drypoint, on ivory laid paper, 124 × 160 mm

View of Part of the Pathway of the Giants of Vals in Vivarais, c. 1778, Arnault Éloi Gautier D’Agoty, French, 1741-1780 or 1783, France, Etching and stipple engraving in black on ivory wove paper, 323 × 458 mm (plate), 349 × 483 mm

Perfect Harmony, 1777, Isidor-Stanislas Helman (French, 1743-c. 1806), after Jean Michel Moreau (French, 1741-1814), France, Engraving on paper

Frieze with Tritons and Nymphs, 1515/20, Girolamo Mocetto, Italian, c.1470-after 1531, Italy, Engraving on paper

Psyche Served in Her Bath by Nymphs She Cannot See, 1530/40, Agostino dei Musi (Italian, c. 1490-after 1536), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy,

Lord Rich, October 1, 1794, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory wove paper, 325 x 264 mm (image), 395 x 331 mm (plate), 540 x 396 mm (sheet

Chime of Thirteen Bells for Christ Church, Cambridge, Massachusetts, published May 26, 1860, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 278 x 234 mm

Winchelsea, Sussex, plate 42 from Liber Studiorum, published April 23, 1812, Joseph Mallord William Turner (English, 1775-1851), Engraved by I. C. Easling, England, Etching and engraving in brown on ivory wove paper, 180 × 262 mm (image),

Moïse, 1699, Gérard Edelinck (French, born Flanders, 1640-1707), after Robert Nanteuil (French, 1623-1678), after Philippe de Champaigne (French, 1602-1674), France, Engraving on paper, 555 × 415 mm (plate), 590 × 445 mm (sheet

Landscape with a Bridge and a Dovecote, 18th century, Pierre François Laurent (French, 1739-1809), after François Boucher (French, 1703-1770), France, Engraving and etching on paper, The Chamber Idyl, n.d., Edward Calvert, English,

Saint George and the Dragon, 1542, Enea Vico (Italian, 1523-1567), after Giulio Clovio (Croatian, active Italy, 1498–1578), published by Antonio Salamanca (Italian, 1478-1562), Italy, Engraving in black on buff laid paper, 256 x 362 mm

The Entombment, c. 1655, Cornelis Visscher, Dutch, c. 1629-1658, Holland, Engraving on ivory laid paper, 369 x 282 mm (image), 415 x 293 mm (plate), 490 x 372 mm (sheet

Judith with the Head of Holofernes, 1528, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 80 x 55 mm (plate), 86 x 62 mm (sheet

Holy Island Cathedral, plate 11 from Liber Studiorum, published February 20, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid

Letter L, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 223 x 174 mm

Queen Christine of Sweden, n.d., Adriaen Pietersz van de Venne, Dutch, 1589-1662, Holland, Engraving in black on ivory wove paper

Virgin and Child, 1485/91, Andrea Mantegna, Italian, 1431-1506, Italy, Engraving in black on buff laid paper, 228 x 235 mm (image before remargining), 265 x 250 mm (sheet

Lord Wentworth, July 1, 1793, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory laid paper, 322 x 280 mm (image), 393 x 329 mm (plate), 541 x 411 mm (sheet

Polyhymnia, plate fifteen from Apollo and the Muses, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving on paper, 179 x 100 mm (plate), 184 x 106 mm (sheet

Madonna and Child, n.d., Cornelis Visscher (Dutch, c. 1629-1658), after Titian (Italian, c. 1488-1576), Holland, Engraving on paper

Presidents Buchanan and Lincoln Entering the Senate Chamber Before the Inauguration, published March 16, 1861, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper,

The Light of the World, 1860, William Henry Simmons (English, 1811-1882), after William Holman Hunt (English, 1827-1910), United Kingdom, Line and stipple engraving on ivory chine mounted on off-white plate paper, 901 x 512 mm (chine), 1020

Nativity, 1504, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 184 x 119 mm (image), 186 x 120 mm (sheet

Thenot Remonstrates with Colinet, from The Pastorals of Virgil, 1821, William Blake, English, 1757-1827, England, Wood engraving on off-white wove paper, 37 × 74 mm (image/block), 40 × 77 mm (sheet

François de Vendôme, Duc de Beaufort, c. 1648, Robert Nanteuil (French, 1623-1678), after Jean Nocroit (French, 1615-1672), France, Engraving on paper, 309 × 250 mm (image), 434 × 340 mm (plate), 466 × 369 mm (sheet

The Thames, or The Triumph of Navigation, 1791, published 1792, James Barry, Irish, 1741-1806, Ireland, Etching with engraving on cream laid paper, 147 x 505 mm

Paul and Virginie, 1795, Charles-Melchior Descourtis (French, 1753-1820), Jean Schall (French, 1752-1825), France, Etching and engraving, from four plates, in yellow, blue, red and black, on paper, 373 × 410 mm (image), 415 × 470 mm

Sir Nicholas Poines, April 6, 1795, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on buff wove paper, 302 x 178 mm (image), 355 x 215 mm (plate), 425 x 281 mm

Joost van den Vondel, 1644/50, Jan Lievens, Dutch, 1607-1674, Holland, Etching and engraving in black on ivory laid paper, 323 x 233 mm (image/plate), 328 x 243 mm (sheet

Study for the Engraving Thalkirchen, from series Views of, c. 1818, Wilhelm Alexander Wolfgang von Kobell, German, 1766-1855, Germany, Pen and black ink over graphite on ivory laid paper, 107 x 177 mm

Landscape with Sheep, from The Small Landscapes, c. 1638, Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586–1659), after Peter Paul Rubens (Flemish, c. 1577-1640), Flanders, Engraving on ivory laid paper, 305 × 455 mm (image),

Courage, 1516/20, Marco Dente da Ravenna (Italian, c. 1486–1527), after Giulio Pippi, called Giulio Romano (Italian, c. 1499-1546), Italy, Engraving in black ink on paper, 261.5 x 187 mm

Aesacus and Hesperie, plate 66 from Liber Studiorum, published January 1, 1819, Joseph Mallord William Turner, English, 1775-1851, England, Etching and engraving in brown on ivory laid paper, 177 × 259 mm (image), 208 × 289 mm (plate),

Dunstanborough Castle, plate 14 from Liber Studiorum, published June 10, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid paper,

The Ewe with Two Lambs, 1850, Charles Meryon (French, 1821-1868), after Adriaen van de Velde (Dutch, 1636-1672), France, Etching and engraving on ivory wove paper, 61.5 × 93 mm (image), 80 × 103 mm (plate), 321 × 240 mm (sheet

Illustrations from Schön Neues Modelbuch, plate 95 from Woodcuts from Books of the XVI Century, 1597, assembled into portfolio 1937, Attributed to Johann Hans Sibmacher (German, died 1611), assembled by Max Geisberg (Swiss, 1875-1943),

The Delights of Motherhood, from Monument du Costume Physique et Moral de la fin du Dix-huitième siècle, 1777, Isidor-Stanislas Helman (French, 1743-1806 or 1809), after Jean Michel Moreau (French, 1741-1814), published by Laurent-François

Job Conversing with His Friends, 1547, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 69 x 104 (image/plate), 70 x 105 mm (sheet

St. Etienne du Mont, Facade, c. 1853/58, William Henry Fox Talbot, English, 1800–1877, England, Photoglyphic engraving employing resin ground, 9.5 × 8.2 cm (image), 10.6 × 9.1 cm (paper

Ely Cathedral: Presbytery, from an Engraving, c. 1891, Frederick H. Evans, English, 1853–1943, England, Lantern slide, 8.2 × 8.2 cm

The Fifth Plague of Egypt, plate 16 from LIber Studiorum, published June 10, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid

Design: Facial Anatomy from Encyclopédie, 1762/77, Benoît-Louis Prévost (French, c. 1735-1809), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c. 1707-1769), Laurent Durand (French, 1712-1763), and

The Man with the Pink, 1869, Claude Ferdinand Gaillard (French, 1834-1887), after Jan van Eyck (Netherlandish, c. 1390-1441), France, Engraving on ivory wove paper, 201 × 163 mm

Battle of Cavaliers and Infantrymen, 1550/1572, Etienne Delaune, French, c. 1519-1583, France, Engraving on paper, 66 × 220 mm (image/sheet, cut within platemark

Genius with the Alphabet, 1542, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 42 x 77 mm (image/plate), 43 x 78 mm (sheet

Shepherd Chases Away Wolf, from The Pastorals of Virgil, 1821, William Blake, English, 1757-1827, England, Wood engraving on off-white wove paper, 34 × 73 mm (image/block), 48 × 77 (sheet

Le Lever de la Mariée, 1781, Philippe Trière (French, 1756-c. 1815), after Jean Démosthène Dugourc (French, 1749-1825), France, Etching and engraving in black on ivory wove paper, 475 × 340 mm

Scaramucia, Fricasso, from Balli di Sfessania, c. 1622, Jacques Callot, French, 1592-1635, France, Etching and engraving on paper, 70 × 92 mm

Scene in the Compagna, plate 38 from Liber Studiorum, published February 1, 1812, Joseph Mallord William Turner, English, 1775-1851, England, Etching and engraving in brown on ivory wove paper, 183 × 265 mm (image), 210 × 290 mm (plate),

Maria Magdalena of Austria, 1666, published 1761, Adriaen Haelwegh (Dutch, born 1637), published by Giuseppe Allegrini, Florence, 1761, Holland, Engraving on ivory laid paper, 352 x 249 mm (plate), 427 x 323 mm (sheet

East Gate, Winchelsea, plate 67 from Liber Studiorum, published January 1, 1819, Joseph Mallord William Turner (English, 1775-1851), Engraved by S.W. Reynolds, England, Etching and engraving in brown on ivory paper laid down on off-white

A Winter Morning Shovelling Out, published January 14, 1871, Winslow Homer (American, 1836-1910), published by Every Saturday (American, 1866-1874), United States, Wood engraving on paper, 232 x 307 mm (image), 295 x 380 mm (sheet

Shield of Hercules, 1756, Louis Joseph le Lorrain, French, 1715-1759, France, Etching and engraving on cream laid paper, Diam. 256 mm, 305 × 266 mm (plate

The Circle of the Falsifiers: Dante and Virgil Covering their Noses Because of the Stench. Inferno, canto XXIX, 1827, printed c. 1892, William Blake, English, 1757-1827, England, Hand-colored engraving on India paper, laid down on wove paper

Frontispiece, plate one from Hudibras, February 1725/26, William Hogarth, English, 1697-1764, England, Etching and engraving in black on cream paper edge mounted on cream wove paper, 240 × 347 mm (image), 264 × 353 mm (plate), 269 × 356

Psyche’s Father Consulting the Oracle, 1530/40, Agostino dei Musi (Italian, c. 1490-after 1536), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), printed by Antonio

Genius of Time, plate 32 from Genii and Virtues, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving on paper, 178 x 100 mm (plate), 183 x 105 mm (sheet

Cinerary Urn of Plautia Hesperis, 1st century AD, Roman, Italy, Marble, a (urn): 18.7 × 33.3 ×31.4cm (7 3/8 × 13 1/8 × 13 3/8 in), Head of an Old Woman, n.d., Cornelis Visscher, Dutch, c. 1629-1658, Holland, Engraving on ivory paper,

Plate five, from A Harlot’s Progress, 1732, William Hogarth, English, 1697-1764, England, Engraving in black on ivory laid paper, 303 × 375 mm (image), 324 × 392 mm (plate), 434 × 527 mm (sheet

Nicolas Potier de Novion, 1657, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 363 × 266 mm

Jason, plate 6 from Liber Studiorum, published 1807, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory paper, 182 × 257 mm (image), 206.5

Portrait of Adrienne Le Couvreur, 1730, Pierre-Imbert Drevet (French, 1697-1739), after Charles-Antoine Coypel (French, 1694-1752), France, Engraving on ivory laid paper, 411 × 292 mm (plate), 435 × 321 mm (sheet

Copperplate Engraving, from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), after Benoît-Louis Prévost (French, c. 1735-1809), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c.

The Servant, plate two from The Ranks and Conditions of Men, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving on ivory laid paper, 179 x 101 mm (plate), 182 x 104 mm (sheet

Portrait of Pieter Cornelisz. Hooft, 1669/81, Janus Lutma, II, Dutch, 1624-1689, Netherlands, Punched engraving with etching in black on cream laid paper, 250 x 185 mm (image), 285 x 212 mm (plate), 304 x 217 mm (sheet

Ten Landscapes: Walled River Town to the Left of a River, 1615/16, Esaias van de Velde I, Dutch, c. 1587-1630, Holland, Engraving in black on ivory laid paper, 87 x 177 mm (image/plate), 97 x 187 mm (sheet

Lime-Kiln, from Cabinet Reynst, 1655–59, Cornelis Visscher (Dutch, c. 1629-1658), after Pieter van Laer (Netherlandish, 1592-1642), Holland, Engraving and etching in black on ivory laid paper, The Topers, n.d., Cornelis Visscher (Dutch,

The Farnese Bull with Dirce, Zethus and Amphion, 1581, Diana Scultori, Italian, c. 1536–c. 1590, Italy, Engraving in black on ivory laid paper, 369 x 272 mm (image), 398 x 272 (sheet, timed within plate mark

Sebastiaan Vrancx, 1630/45, Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586–1659), after Anthony van Dyck (Flemish, 1599-1641), Flanders, Engraving in black on ivory laid paper, 220 × 161 mm (image), 242 × 166 mm (sheet,

The Painter, 1616, Jan Saenredam (Netherlandish, 1565-1607), after Hendrick Goltzius (Dutch, 1558-1617), Netherlands, Engraving on paper, 245 x 185 mm

Hind Head Hill, plate 25 from Liber Studiorum, published January 1, 1811, Joseph Mallord William Turner (English, 1775-1851), Engraved by Dunkarton, England, Etching and engraving on ivory paper, 179 × 260 mm (image), 209 × 290 mm

Title Page, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 247 x 160 mm

Judith Holding the Head of Holofernes, c. 1498, Jacopo de’ Barbari, Italian, 1460/70-before July 1516, Italy, Engraving in black on ivory laid paper, 182 x 120 mm (image/sheet, trimmed within plate mark

The People Rendering Divine Honors to Psyche, 1530/40, Master of the Die (Italian, active c. 1530-1560), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy,

Cap. Esgangarato, Cap. Cocodrillo, from Balli di Sfessania, c. 1622, Jacques Callot, French, 1592-1635, France, Etching and engraving on paper, 70 × 92 mm

The Exhibition at the Salon du Louvre in 1787, 1787, Pietro Antoni Martini, Italian, 1738-1797, Italy, Etching and engraving on ivory laid paper, 154 x 485 mm (image), 382 x 522 mm (plate), 400 x 558 mm (sheet

Pembury Mill, Kent, plate 12 from Liber Studiorum, published June 10, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Engraving in black ink on ivory laid paper, 180 ×

Saint Michael, n.d., Florence, 15th/16th centuries, Italy, Engraving (niello) in black on tan laid paper, 45 x 45 mm

Christ and Nicodemus: A Night Piece, 1626/74, Peeter de Jode the younger (Flemish, 1606-1674), after Gerard Seghers (Flemish, 1591-1651), Holland, Engraving on ivory laid paper, 248 x 317 mm (image), 386 x 326 mm (plate), 327 x 426 mm

Crew of the United States Steam Sloop Colorado Shipped at Boston, June, 1861, published July 13, 1861, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 234 x

The Fall of Troy and the Escape of Aeneas, 1540/50, Giorgio Ghisi (Italian, 1520-1582), after Giovanni Battista Scultori (Italian, 1503-1575), Italy, Engraving in black on ivory laid paper, 383 x 496 mm (image/plate), 388 x 500 mm (sheet

Penance of St. John Chrysostomus, n.d., Sebald Beham (German, 1500-1550), after Barthel Beham (German, 1502-1540), Germany, Engraving in black on ivory laid paper, 54 x 77 mm (image/plate), 60 x 82 mm (sheet

Sign of the Ram, c. 1509, Marcantonio Raimondi, Italian, c. 1480-1534, Italy, Engraving printed in black on paper, 175.5 x 130 mm

Haarlem Boats in Amsterdam, 1850, Charles Meryon (French, 1821-1868), after Reinier Nooms (Dutch, c. 1623-c. 1664), France, Etching, engraving and roulette on tan laid chine, hinged to ivory laid paper, 68 × 124 mm (image), 68 × 124 mm

Boy’s Head (turned to right), n.d., Anne Claude Philippe Caylus, French, 1692-1765, France, Etching and engraving on paper, 179 × 130 mm (image), 188 × 136 mm (plate), 217 × 158 mm (sheet

Sir Thomas Strange, March 1, 1793, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 237 x 205 mm (image), 305 x 226 mm (plate), 442 x 338 mm

Entrance to an Inn, with Stable Boy, 1850, Charles Émile Jacque, French, 1813-1894, France, Etching and engraving on light gray China paper, laid down on ivory wove paper, 80 × 134 mm (image/chine), 185 × 240 mm (sheet

Portrait of D. Hieronymous van Beverningk, n.d., Abraham Blooteling (Dutch, 1640-1690), after Everard Quirijnsz. van der Maes (Dutch, 1577-1656), Netherlands, Mezzotint and engraving on paper, 420 × 312 mm (sheet trimmed within plate mark

Frédéric-Maurice de la Tour d’Auvergne, Duc de Bouillon, 1656, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 385 × 287 mm (sheet, trimmed within platemark

Cover for Collection of Different Bouquets of Flowers, Invented and Drawn by Jean Pillement and Engraved by P. C. Canot, published July 4, 1760, Pierre-Charles Canot (French, 1710-1777), after Jean-Baptiste Pillement (French, 1728-1808),

The Great Sumter Meeting in the Union Square, New York, April 11, 1863, published April 25, 1863, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 232 x 350

Head of a New Holland Dog, 1860, Charles Meryon, French, 1821-1868, France, Etching with engraving on grayish ivory chine, laid down on ivory laid paper, 53 × 78 mm (image), 53 × 78 mm (plate), 59 × 80 mm (primary support), 179 × 247

Paternal Curse, 1777–78, Jean Michel Moreau (French, 1741-1814), after Jean-Baptiste Greuze (French, 1725-1805), France, Etching with engraving on paper, 95 × 104 mm (image), 370 × 270 mm (sheet

The Garden of French Nobility (The King’s Officer), 1629, Abraham Bosse, French, 1602-1676, France, Etching and engraving on ivory laid paper, 142 × 97 mm

Marcellus Provenzalis, 1623, Ottavio Mario Leoni, Italian, 1578-1630, Italy, Engraving on ivory laid paper, 144 x 112 mm (plate), 168 x 137 mm (sheet

Virgil the Magician Hanging in the Basket, 1541/42, Georg Pencz, German, c. 1500-1550, Germany, Engraving in black on ivory laid paper, 57 x 82 mm (image/sheet

Ornamental Panel: Victoria Augusta, c. 1507, Nicoletto da Modena, Italian, active c. 1500–c. 1520, Italy, Engraving in black on ivory paper, 261 x 130 mm

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