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Portici della piazza di S. Pietro di Roma. Plate 44 from the Album 'Basilica di S. Pietro in Vaticano', ca. 1656–67, Engraving, Sheet: 21 5/16 x 33 3/16 in. (54.2 x 84.3 cm), Giovanni Battista Bonacina (Italian, Milan 1620–ca. 1670), After

Marriage of Joseph and Mary, 1873, Etching and engraving; remark proof, one of the flowers white, Plate: 33 3/8 x 22 in. (84.8 x 55.9 cm), Prints, Rudolf Stang (German, 1831–1927), After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino

Jacob Blessed by Isaac, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 3/4 in., 8 oz. 16 dwt. (1.6 x 19.7 cm, 0.2735kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes from the Old

Expressions des passions de l'Ame, 1732, Illustrations: engraving, 15 3/8 x 9 3/4 in. (39.1 x 24.8 cm), Books, Charles Le Brun (French, Paris 1619–1690 Paris

Engraving of Firearms Parts, ca. 1750, Strasbourg, French, Strasbourg, Ink on paper, 18 3/4 x 25 1/4 in. (47.5 x 64 cm), Works on Paper-Prints, Made by a little-known engraver named Perrier, this rare and informative print illustrates and

Bather Stepping into a Tub, ca. 1890, Pastel and charcoal on blue laid paper, mounted at perimeter on backing board, 22 x 18 3/4 in. (55.9 x 47.6 cm), Drawings, Edgar Degas (French, Paris 1834–1917 Paris), Degas’s interest in the motif of

Madonna and Child, Engraving, Prints, Engraved by Battista Angolo del Moro (Italian, Verona ca. 1515–ca. 1573 Murano), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), In Mariette Album,

Study for an Engraving of 'Songs of the Opera of Flora', ca. 1737, Black chalk, graphite, pen and blue ink, with slight traces of red chalk, 2 13/16 x 4 in. (7.2 x 10.1 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773

Asia from The Four Continents, 16th century, Engraving, Sheet: 8 5/8 x 11 1/16 in. (21.9 x 28.1 cm), Prints, After Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp

Study for an Engraving of 'Songs in the Opera of Flora', ca. 1737, Pen and black and blue ink, black chalk, and graphite, 2 13/16 x 3 15/16 in. (7.2 x 10 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

Rebecca at the Well, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 3/4 in., 8 oz. 12 dwt. (1.6 x 19.7 cm, 0.2675kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes from the Old

Roland Furieux, Poëme Héroique de l'Arioste, 1775–76, Engraving, Overall: 10 1/4 x 8 3/8 x 1 7/16 in. (26 x 21.2 x 3.7 cm), Books

Venus and Mars Embracing as Vulcan Works at His Forge (right half only), 1543, Engraving, 1st state, Prints, Engraved by Enea Vico (Italian, Parma 1523–1567 Ferrara), Designed by Parmigianino (Girolamo Francesco Maria Mazzola) (Italian,

Teatro delle Nobili et Virtuose Donne..., 1616, Woodcut, engraving, Overall: 7 1/2 x 10 7/16 in. (19 x 26.5 cm), Written by Isabella Catanea Parasole, Italian, ca. 1575-ca. 1625, published by Mauritio Bona, Rome. Engraved illustrated title

The Sistine Madonna, n.d., Etching and engraving; fourth state of seven, plate: 30 1/4 x 22 in. (76.8 x 55.9 cm), Prints, Johann Friedrich Wilhelm Müller (German, 1782–1816), After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino

Spring, Drawing for Engraving of the Same Subject, ca. 1594, Pen, brown ink, and red-brown wash, with traces of oxidized white lights, Overall: 7 5/8 x 5 11/16in. (19.4 x 14.5cm), Drawings, Hendrick Goltzius (Netherlandish, Mühlbracht

Amorosa Inebriatio from The Life of Saint John of the Cross, 1622–24, Engraving, sheet: 4 5/16 x 2 5/8 in. (10.9 x 6.7 cm), Prints, Antonius Wierix III (Dutch, 1596–1624

Luna, from Planets, plate 7, 1530–70, Engraving, Sheet: 6 1/8 × 3 3/4 in. (15.5 × 9.5 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), Formerly attributed to Georges Reverdy (French, active Lyon,

The Crucifixion, from The Passion, 1511, Engraving, sheet: 4 9/16 x 2 15/16 in. (11.6 x 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Madonna and Child with St. Bernardino of Sienna and St. Jerome, Engraving, Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540

De Florum Cultura. Rome, 1633, 1633, Engraving, woodcut, Overall: 9 13/16 x 6 11/16 x 1 13/16 in. (25 x 17 x 4.6 cm), Books, Giovanni Battista Ferrari (Italian, Siena 1584–1655 Siena

Autumn, Etching, engraving and drypoint, sheet: 7 15/16 x 10 1/8 in. (20.1 x 25.7 cm), Prints, Louis Félix de La Rue (French, Paris 1731–1765 Paris), After François Boucher (French, Paris 1703–1770 Paris

Belisarius, 1806, Engraving with etching, Plate: 21 3/4 x 15 7/8 in. (55.2 x 40.4 cm), Prints, Auguste Gaspard Louis Boucher Desnoyers (French, Paris 1779–1857 Paris), After baron François Gérard (French, Rome 1770–1837 Paris

The Prince's Progress, and Other Poems, 1866, Illustrations: wood engraving, 7 x 4 1/2 in. (17.8 x 11.4 cm), Books, Binding and illustrations by Dante Gabriel Rossetti (British, London 1828–1882 Birchington-on-Sea), Following the

Recueil Des Plans, Élévations et Coupes Tant Géométrales qu'en Perspective Des Châteaux, Jardins, et Dépendances, Que Le Roy De Pologne Occupe en Lorraine..., 1753, Engraving, Overall: 25 3/16 x 19 5/16 x 2 3/16 in. (64 x 49 x 5.5 cm),

Les Petits Buveurs de lait (The Little Milk Drinkers), from Suite d'estampes gravées par madame la marquise de Pompadour d'après les pierres gravées de Guay, graveur du Roi, 1751, Etching and engraving, Sheet: 7 5/16 × 5 13/16 in. (18.6 ×

Europa from The Four Continents, 16th century, Engraving, Sheet: 8 13/16 x 11 in. (22.4 x 27.9 cm), Prints, Julius Goltzius (Netherlandish, died ca. 1595), After Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp

The Worship of Cupid, ca. 1775–90, French, probably Aubusson, Wool, silk (22 warps per inch, 9-10 per cm.), 29 × 23 in. (73.7 × 58.4 cm), Textiles-Tapestries, After an engraving by C. L. Jubier (active 1760–70) based on a painting by

Hermes and Athena (?), 1750–1850, Engraving, Prints, Anonymous, German, 19th century

Belisarius, 1806, Engraving with etching, image: 19 5/16 x 14 7/8 in. (49 x 37.8 cm), Prints, Auguste Gaspard Louis Boucher Desnoyers (French, Paris 1779–1857 Paris), After baron François Gérard (French, Rome 1770–1837 Paris

The holy trinity with Saint Michael vanquishing a six-headed dragon, frontispiece to 'Missale Romanum ex decreto sacrosancti Concilii tridentini restitutum', ca. 1662, Engraving, Sheet: 13 3/4 x 9 9/16 in. (35 x 24.3 cm), Prints, After Pietro

Spring, Etching, engraving and drypoint, sheet: 7 15/16 x 10 1/8 in. (20.2 x 25.7 cm), Prints, Louis Félix de La Rue (French, Paris 1731–1765 Paris), After François Boucher (French, Paris 1703–1770 Paris

Cathedram S. Petri in interiore templi fronte...Plate 41 from the Album 'Basilica di S. Pietro in Vaticano', 1666 (or after), Engraving (two plates), Plate: 31 5/16 x 20 9/16 in. (79.5 x 52.3 cm), François Spierre (French, Nancy 1639–1681

James Hyatt Inhaling Chlorine Gas, 1850–55, Daguerreotype, Image: 2 11/16 × 2 3/16 in. (6.9 × 5.6 cm); visible, Photographs, Peter Welling (American, active c. 1850s), Between 1850 and 1859 Welling operated a daguerreotype portrait studio

Reproductive Print of the Miracles of St. Francis Xavier Altarpiece, 1615–39, Engraving, Sheet: 22 1/2 x 17 9/16 in. (57.2 x 44.6 cm), Prints, Ignatius Cornelis Marinus, Flemish London 1599–1639 Antwerp, After Peter Paul Rubens (Flemish,

Athena, 1510–50, Engraving, Sheet: 8 13/16 in. × 6 in. (22.4 × 15.2 cm), Prints, Anonymous, Italian, 16th century, In Mariette Album, folio 71, lower left

Lucretia Preparing to Kill Herself, ca. 1542–43, Engraving, 1st state (before address of Salamanca), Prints, Engraved by Enea Vico (Italian, Parma 1523–1567 Ferrara), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma

Sloth (Acedia), from The Seven Vices, before 1612, Engraving; second state of two, Sheet: 7 5/16 x 5 1/4 in. (18.5 x 13.3 cm), Prints, Hieronymus (Jerome) Wierix (Netherlandish, ca. 1553–1619 Antwerp), After Philips Galle (Netherlandish,

Autumn; Study for an Engraving, n.d., Pen and brown ink, red-brown wash, over black chalk, heightened with a little white gouache, 7 5/8 x 5 11/16 in. (19.4 x 14.4 cm), Drawings, Hendrick Goltzius (Netherlandish, Mühlbracht 1558–1617

Speculum Romanae Magnificentiae: The Pantheon, 1649, Engraving; second state of two (Robert-Dumesnil), Plate: 18 3/16 x 18 5/16 in. (46.2 x 46.5 cm), Prints, Nicolas Beatrizet (French, Lunéville 1515–ca. 1566 Rome

Study for an Engraving of 'Songs in the Opera of Flora', ca. 1737, Black chalk with graphite underdrawing, 2 13/16 x 4 in. (7.2 x 10.1 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

Amorini Celebrate the Rape of Proserpina, 1805–12, Engraving and etching, Plate: 25 9/16 x 30 5/16 in. (65 x 77 cm), Prints, Francesco Rosaspina (Italian, Montescudo 1762–1841 Bologna), After Francesco Albani (Italian, Bologna 1578–1660

Portrait of Martin Luther, late 17th–18th century, Engraving, Sheet: 3 3/4 × 2 5/8 in. (9.5 × 6.7 cm), Prints, Johann Michael Püchler (German, born Schwäbisch-Gmünd, active ca. 1680–1702), Coming from a family of engravers and

Study for an Engraving of 'Songs in the Opera of Flora', ca. 1737, Pen and blue ink and black, with slight traces of red chalk, 2 13/16 x 4 in. (7.2 x 10.1 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

America from The Four Continents, 16th century, Engraving, Sheet: 8 11/16 x 10 15/16 in. (22.1 x 27.8 cm), Prints, Julius Goltzius (Netherlandish, died ca. 1595), After Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp

Ornament Designs Invented by J. Berain, late 17th–early 18th century, Engraving, Overall: 20 5/16 x 16 x 1 3/4 in. (51.6 x 40.6 x 4.5 cm), Portrait of J. Berain designed by Joseph Vivien (French, Lyon before 1657–1734 Bonn), These designs

Apollo and the Muses on Parnassus, 1784, Engraving, Sheet: 24 15/16 × 35 1/16 in. (63.4 × 89 cm), Prints, Raphael Morghen (Italian, Naples 1758–1833 Florence), After Anton Raphael Mengs (German, Ústi nad Labem (Aussig) 1728–1779 Rome),

The Hundred Guilder Print, ca. 1649, Etching, engraving, and drypoint; second state of two, plate: 11 x 15 1/2 in. (28 x 39.3 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Essay on Physiognomy (Essai sur la Physiognomie Destiné à Faire Connoître l'Homme & à le faire Aimer, par Jean Gaspard Lavater, Citoyen de Zurich et Ministre du St. Evangile), ?1781–1803, Etching and engraving, 13 11/16 x 11 in. (34.8 x 28

Tankard, 1649, Swiss, Zurich, Silver gilt, verre églomisé, H. 7 1/8 in. (18.1 cm.); W. with handle 6 5/8 in. (16.8 cm); Diam. 5 1/2 in. (14 cm), Metalwork-Silver In Combination, The arms on the lid (Rahn impaling Escher) are those of Hans

St. Mary Magdalen Penitent, before 1636, Engraving, sheet: 6 7/8 x 5 1/16 in. (17.5 x 12.8 cm), Prints, Anonymous, After Hendrick Goltzius (Netherlandish, Mühlbracht 1558–1617 Haarlem), This is a copy in reverse of an engraving by Goltzius

Diploma for the Freemasons of Bordeaux, after François Boucher, 1766, Etching and engraving; fourth state of four (Jean-Richard), 16 3/16 x 11 5/16 in. (41.1 x 28.7 cm), Prints, Pierre Philippe Choffard (French, Paris 1730–1809 Paris

Lot Seduced by his Daughters, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 5/8 in., 7 oz. 12 dwt. (1.6 x 19.4 cm, 0.2365kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes from the

Joseph Lowered into the Pit, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 3/4 in., 7 oz. 17 dwt. (1.6 x 19.7 cm, 0.2435kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes from the

Study for an Engraving of 'Songs in the Opera of Flora', ca. 1737, Pen and blue and brown ink, black chalk, and slight traces of red chalk, 2 13/16 x 4 in. (7.2 x 10.1 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773

Mankind Awaiting the Last Judgement, 1568–1600, Engraving, Sheet: 13 11/16 x 17 7/8 in. (34.8 x 45.4 cm), Prints, Johann Sadeler I (Netherlandish, Brussels 1550–1600/1601 Venice), After Dirck Barendsz. (Netherlandish, Amsterdam

Madonna of the Rose, 16th–17th century, Engraving, Prints, Anonymous, Italian, 16th to 17th century, After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), In Mariette Album, folio 58

St. Nicholas of Bari, 16th century, Engraving, Prints, Master with the Name of Jesus (Italian, 16th century), Mariette Album, folio 20

Day, from the series The Times of the Day, 1807, Engraving, second state of two, sheet: 31 5/16 x 21 1/4 in. (79.5 x 53.9 cm), Prints, After Philipp Otto Runge (German, Wolgast 1777–1810 Hamburg), Johann Adolph Darnstedt (German, Auma

The Sack of Troy–Pyrrhus Killing Priam, before 1654, Engraving, sheet: 10 3/8 x 7 11/16 in. (26.4 x 19.5 cm), Prints, Engraved by Pierre Lombart (French, 1612/13–1682 Paris (active Britain)), Designed by Franz Cleyn (German, Rostock

Two Flayed Men and Their Skeletons, ca. 1540–45, Engraving, sheet: 9 1/2 x 13 1/4 in. (24.1 x 33.6 cm), Prints, Domenico del Barbiere (Italian, Florence (?) 1506–1565 Paris), Domenico del Barbiere (ca. 1506–ca. 1570), a noted sculptor

The First Book of Architecture by Andrea Palladio, 1716, Illustrations: etching and engraving, 8 × 6 5/16 × 1 in. (20.3 × 16.1 × 2.5 cm

Oeuvres du Sr. D. Marot, published 1703 or 1712, Engraving, etching, woodcut title page of collection, Overall: 14 7/16 x 9 3/4 x 3/16 in. (36.6 x 24.8 x 0.4 cm), Books, Daniel Marot the Elder (French, Paris 1661–1752 The Hague), First

Playing Card, with Wild Woman and Unicorn, 15th century, Engraving; second state, Sheet: 4 1/8 x 2 7/8 in. (10.5 x 7.3 cm), Prints, Master ES (German, active ca. 1450–67

The Betrothal of Saint Catherine, Engraving, plate: 7 1/16 x 9 7/16 in. (18 x 24 cm), Prints, Nicolas Perrey (French, 17th century), After Hendrick Goltzius (Netherlandish, Mühlbracht 1558–1617 Haarlem

De Vocis Auditusque, 1601, Engraving, Overall: 15 3/8 x 10 5/8 x 1 1/2 in. (39.1 x 27 x 3.8 cm), Books

Plate twelve from Nouveavx Desseins D'Arquebvseries, dated 1736, Paris, French, Paris, Engraving, 7 1/2 x 9 3/8 in. (19 x 23.8 cm), Works on Paper, This print is a prime example of French designs for the decoration of firearms in the late

Marriage of the Virgin, ca. 1525–26, Engraving, sheet: 17 15/16 x 9 1/8 in. (45.6 x 23.2 cm), Prints, Engraved by Giovanni Jacopo Caraglio (Italian, Parma or Verona ca. 1500/1505–1565 Krakow (?)), Designed by Parmigianino (Girolamo

Dialectica from Seven Liberal Arts, 16th century, Engraving, 5 3/4 x 4 1/4 in. (14.6 x 10.8 cm), Prints, Johann Sadeler I (Netherlandish, Brussels 1550–1600/1601 Venice), After Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp

Saint Jerome kneeling before a crucifix, with a skull and lion, ca. 1550–60, Etching and engraving, Sheet (Trimmed): 34 5/8 × 19 1/16 in. (88 × 48.4 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), Counterproofs of

Nueva Arte a Escrivir, 1615–31, plates: engraving, woodcut, Overall: 8 1/2 x 11 in. (21.6 x 27.9 cm) (pages are separated), Books

Abraham Refreshed by Melchisedek, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 3/4 in., 8 oz. 11 dwt. (1.6 x 19.7 cm, 0.266kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes from

Annibale Carracci Introduces Painting to Apollo and Minerva, 1674, Etching and engraving, Sheet: 18 1/8 x 25 1/4 in. (46 x 64.1 cm), Prints, Pietro Aquila (Italian, Marsala, Sicily 1650–1692/1700 Rome), After a drawing by Carlo Maratti

Madonna of the Rose, Engraving, Prints, Engraved by Johann Christian Teucher (German, 1716–1750), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), In Mariette Album, folio 57

Pallas Athena, n.d., Engraving, Plate: 7 1/2 x 4 13/16 in. (19 x 12.2 cm), Prints, René Boyvin (French, Angers ca. 1525–ca. 1625 Angers (?)), After Luca Penni (Italian, Florence 1500/1504–1557 Paris

Anmerckungen Der Fürtrefflichsten Mahler unserer zeit über die Zeichen-und Mahlerey-Kunst zusammen getragen, Und in Sechs Tablellen, von der Delineation, Proportion, Expression, Leicht und Schatten Ordonanz..., 1699, Illustrations:

The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics, 1st series, vol. 2, July–December 1809, Illustrations: hand-colored etching, engraving, woodcut, and textile samples, 9 7/16 in. × 6 in. × 1 3/4 in.

Design for Two Knife Handles, 1553–1615, Engraving, plate: 10 x 4 5/8 in. (25.4 x 11.8 cm), Prints, Cherubino Alberti (Zaccaria Mattia) (Italian, Borgo Sansepolcro 1553–1615 Rome), After Francesco Salviati (Francesco de' Rossi) (Italian,

Christ in Emmaus, late 16th century, Engraving, sheet: 7 13/16 x 6 in. (19.9 x 15.3 cm), Prints, Johann Sadeler I (Netherlandish, Brussels 1550–1600/1601 Venice), After Peter Candid (Pieter de Witte, Pietro Candido) (Netherlandish, Bruges

Isolated View of Bernini's Baldacchino. Plate 39 from the Album 'Basilica di S. Pietro in Vaticano', 1653–91, Engraving, Plate: 26 1/2 x 14 7/16 in. (67.3 x 36.6 cm), After Gian Lorenzo Bernini (Italian, Naples 1598–1680 Rome), Isolated

A Forest with a Rabbit Hunt, n.d., Engraving, sheet: 8 1/4 x 10 7/8 in. (21 x 27.6 cm), Prints, Aegidius Sadeler II (Netherlandish, Antwerp 1568–1629 Prague), After Roelandt Savery (Flemish, Kortrijk 1576–1639 Utrecht

Manufacturer's Catalogue of Hardware, 18th century, Illustrations: engraving, 7 3/16 x 10 3/8 x 1 1/16 in. (18.3 x 26.4 x 2.7 cm), Anonymous, British, 18th century

Château de Versailles seen from the forecourt, from Chalcographie du Louvre, Vol. 22, 1682, Etching, Plate: 14 15/16 x 19 13/16 in. (38 x 50.4 cm), Israel Silvestre (French, Nancy 1621–1691 Paris), This engraving, showing the facade of

Battle of the naked men, ca. 1470–90, Engraving, sheet: 15 1/8 x 23 3/16 in. (38.4 x 58.9 cm), Prints, Antonio Pollaiuolo (Italian, Florence ca. 1432–1498 Rome), One of the earliest and most influential Italian engravings, this print is

The Mystic Marriage of St. Catherine, Engraving, Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), In Mariette

Intartenimento che demo ogni giorno li Ciarlatani from Habiti d'huomeni et donne Venetiane, ca. 1610, Engraving, Plate: 10 9/16 x 6 3/4 in. (26.8 x 17.1 cm), Prints

Architectur oder Bawmeisterschaft..., 1628, Illustrations: etching and engraving, 12 3/16 × 8 5/16 × 1 7/8 in. (30.9 × 21.1 × 4.7 cm), After Hans Vredeman de Vries (Netherlandish, Leeuwarden 1527–1606 (?) Antwerp (?)), Hendrick Hondius I

Cabinet, ca. 1640–50, Dutch, Amsterdam, Oak veneered with ebony, snakewood, rosewood, kingwood, cedar and other woods; mother-of-pearl, ivory, green stained bone, Overall: 27 9/16 × 32 5/16 × 15 3/4 in. (70 × 82.1 × 40 cm),

Fire Dogs which belonged to King Henry VIII, formerly found at Leeds Castle, second half 19th century, Wood engraving, sheet: 4 7/16 x 2 15/16 in. (11.3 x 7.4 cm), Anonymous, British, 19th century

The Return of the Prodigal Son, Engraving, Prints, Georges Reverdy (French, active Lyon, 1529–57), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), In Mariette Album, folio 13, bottom

Lady in Elizabethan Costume, late 17th century, Country of Origin India, probably Lucknow, Opaque watercolor, gold, and silver on paper, H. 7 in. (17.8 cm), Codices, This image is probably based on a European engraving following a popular

Diploma of the Freemasons of Bordeaux, after François Boucher, 1766, Etching and engraving; third state of four (Jean-Richard), 15 3/4 x 10 5/16 in. (40 x 26.2 cm), Prints, Pierre Philippe Choffard (French, Paris 1730–1809 Paris

Naval Battle Between Greeks and Trojans, 1538, Engraving, Sheet: 16 x 23 1/16 in. (40.6 x 58.5 cm), Prints, Giovanni Battista Scultori (Italian, 1503–1575), The presence of the chariot of Poseidon (known to the Romans as Neptune) abandoned

Joseph Interpreting Pharaoh's Dream, ca. 1567, probably British, Silver, parcel gilt, Overall (confirmed): 5/8 x 7 3/4 in., 7 oz. 19 dwt. (1.6 x 19.7 cm, 0.2475kg), Metalwork-Silver, The fine engraving on this set of plates depicts scenes

The Martyrdom of St. Peter and St. Paul, ca. 1527, Engraving, Prints, Engraved by Giovanni Jacopo Caraglio (Italian, Parma or Verona ca. 1500/1505–1565 Krakow (?)), Designed by Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma

The Music Master, 1855, Illustrations: wood engraving, 6 7/8 x 4 1/2 in. (17.5 x 11.5 cm), Books, Rossetti’s first published illustration was made for this volume to accompany the poem The Maids of Elfin-mere. Characteristically, the image

Study for an Engraving of 'Songs in the Opera of Flora', ca. 1737, Pen and blue ink with black chalk and graphite, 2 13/16 x 3 15/16 in. (7.2 x 10 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

'Winter' Needlework Picture, 1819, Made in Upper Providence, Pennsylvania, United States, American, Silk and chenille embroidery threads on silk, 17 3/4 × 19 1/4 in. (45.1 × 50.2 cm), Textiles, Hannah Robinson (American, 1795–1870),

Africa, from the Four Continents, n.d., Engraving; first state, 8 1/4 x 10 1/8 in. (21 x 25.7 cm), Prints, Adriaen Collaert (Netherlandish, Antwerp ca. 1560–1618 Antwerp), After Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp

The Adoration of the Shepherds, n.d., Engraving, Prints, Engraved by Giovanni Jacopo Caraglio (Italian, Parma or Verona ca. 1500/1505–1565 Krakow (?)), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540

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