Images at Librifly

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Textile, Medium: cotton warp and linen weft Technique: printed, Textile printed in red, white, blue, buff, grey, etc. commemorating French and American friendship groups in oval medallions, with Statue of Liberty in center., USA, 1917–18,

Jeanne d'Arc, Medium: cotton (cotton confirmed by microscope) Technique: printed by roller on plain weave; printing machine had both engraved and relief rollers, A statue of Joan of Arc within a wreath of leaves and flowers on a striped background

Le Bassin d'Encelade (The Fountain of Enceladus), Versailles, Joseph Mulder, Dutch, 1659/60 – 1710, Etching, Pool with a statue of Enceladus amidst pile of rocks and churning water at the center of a bosquet defined by a trellis with arched

The Roman Emperor Caligula (37-41), Étienne Charpentier, French, 1707 – after 1792, Engraving with etching on paper, Shown in profile, galloping toward left. In the middle ground are represented on a small scale two sisters of Caligula

Project for a Painted Ceiling, Cesare Sermei, Italian, about 1590? - 1668, Graphite, pen and ink, brush and watercolor on paper, Horizontal rectangle. Embedded columns are supporting the oblong entablature, framing the view into the sky,

Study of Sculpture of Reclining Male Nude, Kenyon Cox, American, 1856–1919, Charcoal on pale blue-grey paper, Study of statue or cast of reclining male nude. Torso and upper legs are shown., USA, 1880–84, figures, Drawing, Drawing

Textile, Medium: cotton Technique: copperplate printed, Copperplate print in brown on white. Statue of Shakespeare, on base of which is a medallion of Garrick (1717–1779). A flying muse places crown of stars on Shakespeare's head. Putti carry

Textile, Medium: cotton Technique: copperplate printed, Copperplate print in brown on white. Statue of Shakespeare, on base of which is a medallion of Garrick (1717-1779). A flying muse places crown of stars on Shakespeare's head. Putti carry

Timepiece, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Below is a pedestal with the dial at the front, framed above and laterally by a festoon. Above is a circular pavilion,

Monument of King Louis XVI of France, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, Above at left: a variation of 1938-88-1298 at right below. In front of the pedestal and of the

Design for a Main Altar, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The plan of the retable is like the half of an octagon. At the front is a representation of the ascension of

Design for a Sepulchral Monument for Three Brothers, Graphite, pen and ink, brush and watercolor on paper, Intended to be executed with white marble and marbles of many colors. Below is a base. One sarcophagus stands in the central panel of the

Design for the Decoration of a Panel, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash, Vertical rectangle. Below is a pedestal with steps, between crouching lions leading to it. Upon it stand four high gaines

Design for the Decorations of Pilaster Strips, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Left row: A trellis candelabrum rising from a base between two birds. In the center is

Fountain; elevation of a church, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Top row: fountains. Water pouts from lions and the dado upon which they crouch; column with a

Fountains, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, A circular pavilion stands in the center of the basin into which water pours from the mouths of two lions upon pedestals. The

Elevation of a Chapel, with Alternative Suggestions, Black chalk, pen and ink, brush and bistre on paper, The door is in a high niche which is flanked by embedded fluted Ionic columns. At the corners of the façade stand similar ones with parts

Design for a Main Altar, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, In the center of the retable is a picture, probably of the ascending Virgin. On top of it and in front of

Main altar, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The retable is a kind of pavilion, with two columns supporting on either side the circular part of the entablature, and

Elevation of a church, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The main part of the facade is the portico, consisting of two columns and two pillars, with a triangular

Cavalry officers at a bridge in a town, Graphite and brush and watercolors on paper, Three mounted cavalry officers are seen on a bridge in an Austrian town. On the bridge is a statue of St. Wolfgang, and beyond, a church. Before the church are

Two Vestals at an Altar, Pen and black ink, brush and grey wash on paper, Two Vestals or Vestal Virgins stand before an altar set in a circular columned chamber. One of the women holds a book in front of her, while the other holds a book

Candlestick, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The statue of a woman in heavy clothes with a flower basket upon her head stands upon a piece of column which is

Royal Exchange, from 'Ackermann's Repository', Thomas Rowlandson, British, 1756–1827, Augustus Charles Pugin, French, active Great Britain, ca. 1762–1832, John Hill, British, active in the United States, 1770 - 1850, Aquatint, brush

Design for Overmirror Decoration, Blank Roundel with Grotesques, for the Noble Cabinet of the Palazzo Altieri, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, The scheme of

Design for the Decoration of Four Pilaster Strips, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, One beside the other, separated by empty strips. Each decoration follows the

A Painter in His Studio, Black chalk, pen and ink, brush and bistre wash on paper, mounted, A seated painter paints the portrait of a boy who is seated and holds a book at left. The head of an apprentice and a statue are shown in the right rear,

Sepulchral monument, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on paper, Probably for the young Pretender Charles Edward Stuart, who died in 1788. Steps lead to a platform upon whose corners are oblong

Six tombs, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, In the center is a round pedestal, with the statue of a woman standing, who carries in her left hand a cross and leans

Timepiece, Pen and brown ink, brush and brown wash, graphite, on off-white laid paper, The overall shape of the clock mimics that of a Greek temple. The dial plate is at the bottom, as a pedestal supporting a circular temple-like structure

Four Designs for Sepulchral Monuments, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Above: Elevation of a wall with a great niche in the center. In its stands a sarcophagus

Design for Stuart Monument, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Intended to be erected in the intercolumniation between two embedded columns, which support an

Design for a Pavilion, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash, graphite on off-white laid paper; Verso: black chalk, brush and bistre wash on paper, Right half: the elevation. Left half: the section.

Design for a Tabernacle, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Below are the moldings of the altar furniture. The tabernacle has the shape of a building. Seen from its

The Drawing Academy, William Pether, English, ca. 1738 - 1821, Joseph Wright of Derby, English, 1734 - 1797, Mezzotint on paper, Six students are gatehred around the statue, under a vaulted ceiling., England, 1772, Print, Print

St. Paul Preaching upon the Areopagus in Athens, Pen and brown ink, brush and brown wash, St. Paul stands on a platform listening to the surrounding robed men. A soldier stands behind him. Part of a carved architectural structure and statue of

Monument of King Louis XVI of France, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The architectural setting is the same as in 1938-88-1295, but a niche in the wall is

Scene in a Temple Dedicated to Athena, Fortunato Duranti, Italian, 1787 - 1863, Bistre pen and ink, brush and wash on paper, At the center of the composition the statue of Athena is shown on a high pedestal, facing the spectator. Group of

Design for an Alter, Leonardo Scaglia, French, active Italy, 1640 – 1650, Leonardo Scaglia, French, active Italy, 1640 – 1650, Pen and bistre, brush and wash on paper, Elevation of an alter. The left half is shown. The Crucifixion is

Plate LI from Theatrum instrumentorum et machinarum, Julio Paschale, Woodcut on paper, Fountain inside a round wind tower; the mechanical system not shown. A lobster and dolphins below, a squid above the bowl. Oval windows in the wall, and a

Design for a Fountain in a Pavilion, Giuseppe Barberi, Italian, 1746–1809, Brush and brown, gray, and black wash, graphite on white laid paper, laid down, The elevation is shown. Groups of four Corinthian columns carry arches. Ovoidal

Gateway of a villa, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The gateway is a convex semi-circle consisting of an entablature and five railed gates supported by four gaines

Wall Elevation, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Shaped like an apsis. The main part is decorated with a kind of temple front with a female statue in each of the

Pillory, Charing Cross, from 'Ackermann's Repository', Thomas Rowlandson, British, 1756–1827, Augustus Charles Pugin, French, active Great Britain, ca. 1762–1832, John Bluck, British, 1791–1832, Aquatint, brush and watercolor on

Project: a fountain in honor of Emperor Napoleon, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Horizontal rectangle. Shown like 1938-88-1774. The design is a variation of that

Elevation of a Kaffeehaus, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, From a domed circular central section project diagonally two wings with three windows in each of two

Interior of the Place Dauphin, Plate 79 from 'Vues Pittoresques des Principaux Édifices de Paris', Les Campion Frères, Paris, France, J. A. Campion, French, active 1750 - 1800, Antoine-Louis-François Sergent-Marceau, French, 1751 - 1847,

Stage Design: Temple of Ingratitude, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Circular subterranean vaulted hall, huge supporting column in the middle in the centre of which

Design for a Mantelpiece with Alternative Suggestions, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At left, the lower right side is shown. The fireplace is flanked by a

Somerset House, Strand, from 'Ackermann's Repository', Thomas Rowlandson, British, 1756–1827, Augustus Charles Pugin, French, active Great Britain, ca. 1762–1832, John Bluck, British, 1791–1832, Aquatint, brush and watercolor on

The Elevation of a Niche with Statue of a Man, Filippo Marchionni, Italian, 1732–1805, Carlo Marchionni, Italian, 1702–1786, Graphite, brush and gray wash on paper, The aedicule frame is supported by two brackets, between and beneath

Design for a Snuff Box Cover (verso); Trophy of Hunting (recto), Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750, Jean-Baptiste Oudry, French, 1686 – 1755, Graphite, pen and black ink, black chalk on paper; verso: black chalk,

Design for a Surtout de Table (Centerpiece), Pen and black ink, brush and grey wash on paper; Verso: graphite, pen and ink, Design for a centerpiece or surtout de table showing the left side. The central piece represents a pavilion with the

Les Portiques d'Athenes, Dufour et Leroy, Block-printed on machine made paper, applied border, One of series: 'Les Portiques d'Athenes Bay' with volcanic mountain in background. On shore in foreground three figures and a column supporting statue

Design for a Fountain with the Labors of Hercules, Vincenzo di Raffaello de' Rossi, Italian, 1527–1587, Black chalk on off-white laid paper, An octagonal basin upon a square platform from which a shaft rises at center supporting a circular

Le Jardin d'Armide [The Garden of Armida], Desfossé et Karth, French, 1863, Edouard Müller, French, 1823 - 1876, Block-printed paper, Grisaille statue of woman in classical robes, carrying a jar, around which twist morning glory vines and

Robe for a statue, Medium: silk, metallic Technique: plain weave with discontinuous wefts (slit tapestry) Label: silk and metallic slit tapestry (kesi), Small robe, possibly for a statue, with a tiny rounded neckline and asymmetrical closure,

Decor galerie de Flore, Jules Desfossé, French, active 1851 - 1863, Block-printed paper, Statue of an infant supporting a basket of flowers with burgundy and lavendar cameo in base. Putti is facing left, standing on a vine-covered pedestal.

Niche with a Statue of a Female Saint, Filippo Marchionni, Italian, 1732–1805, Graphite, brush and gray watercolor on cream laid paper, Sculptural female figure in a niche. Scale in lower right., Italy, ca. 1780, architecture, Drawing,

Fountain, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Water pours over the edge of a basin into a lower one. In the center rises a circular pedestal with bowls, into which

Designs for Wall Panels Flanking a Doorway, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The oblong panel over the door is not decorated. The wall panels show dados and

Design for an Alter, Leonardo Scaglia, French, active Italy, 1640 – 1650, Leonardo Scaglia, French, active Italy, 1640 – 1650, Pen and bistre, brush and wash on paper, Right half of alter shown. In the center is a sculptural

Fountain in a Park, Unknown, Giuseppe Bernardino Bison, Italian, 1762 - 1844, Pen and brown ink, brush and brown wash, traces of black chalk, on paper, Amid trees, a fountain stands. Below a statue of Poseidon, between curved low walls

Design for a Painted Panel, Jean-Guillaume Moitte, French, 1746–1810, Pen and Chinese ink, brush and sepia on paper, The candelabrum schemes have details with different alternative suggestions. Main motifs include a statue in a pavillion, a

Detail of the Call to Arms Statue on the Dewey Arch, Photographic print on paper, A photographic detail of the sculpture Call to Arms on the Dewey arch. The sculpture shows men brandishing arms being led by an angel with a shield., USA, 1899,

Design for a Candlestick, Luigi Righetti, Italian, 1780 - 1819, Pen and ink, brush and sepia wash, watercolor, graphite on light blue paper, Vertical rectangle. Design for a candlestick intended to be executed in gilded and green bronze and

Frame for a town gate with alternate suggestions, Filippo Marchionni, Italian, 1732–1805, Graphite, charcoal, brush and watercolor on paper, Architectural detail of archway, two superficial Corinthian columns at left and right of open arch.

The Festival of Pan, Giovanni Benedetto Castiglione, Italian, 1609–1664, Etching on paper, Figural scene in a garden or forest clearing. At center, the Greek God Pan reclines at the base of a monument topped with a statue, a flute in his

Sketch for a cartoon for cotton printing:The Arts [Les Arts], Hartmann et Fils, (Munster, France), Pen and ink on cream-colored paper, Joined horizontally with 1898-21-26A. Two parallel panels, separated by strips indicated to bear fantastic

Cheminée Dans L'epaisseur du Mur, Plate 4 from 'Livre Nouveau de Cheminées', Jean Baptiste Nolin, French, 1648–1708, Pierre Bullet, French, 1639 - 1716, Etching with engraving on paper, Above the fireplace is a frieze with putti carrying

Design for Wall Panel on Theme of Diana, Gabriel Huquier, French, 1695–1772, Antoine Watteau, (French, 1684–1721), Black chalk, brush and gray wash, traces of stylus on cream laid paper, A statue of Diana in pursuit, accompanied by a

Four Studies of a Foot, Red crayon on paper, Horizontal rectangle. A flexing foot shown from four different perspectives in various poses; the upper-right foot is shown walking., Verso: part of the head of a young man, shown in profile; part of a

French Gardens, Abraham Genoels, Flemish, 1640 - 1723, Adam Frans van der Meulen, Flemish, 1631 - 1690, Engraving on white laid paper, Left foreground, a tree. Center, a rectangular pool fed by a fountain, walled in to flow into another

Classical Figures, Girolamo da Carpi, Italian, ca. 1501 - 1556, Pen and brown ink on laid paper., Recto:three sculptural figures (a herm, the statue of Athena Giustiniani, a standing male nude); Verso: a standing senator on left, a losely

Study after an Antique Statue of a Seated Woman, Felice Giani, Italian, 1758–1823, Pen and brown ink, brush and brown wash over traces of graphite on cream laid paper, Female figure seated on bench, left hand holds dry bough of tree.,

The Statute Law, Study for Right Panel of 'The Reign of Law, ' Frieze for Appellate Court, New York, Kenyon Cox, American, 1856–1919, Brush and oil, pen and red ink on canvas, The central alleogrical figure represents The State, robed and

Garden Wall and Terrace, Pen and black ink, brush and green, red, pink, brown and yellow watercolor, slight traces of black chalk on paper, Design for a garden wall and terrace. A parallel colonnades supporting an open roof of cross rafters.

Stage Design: Open Temple in a Garden, Pen and brown ink, brush and black and brown wash, white gouache, charcoal on paper, Design for a stage design. A flight of stairs leads to a platform upon which three female figures are decorating a statue

Sketches for an Altar, Pen and brown ink, brush and brown wash, graphite, gray ink, on off-white laid paper, Upon a classical pediment stands a temple-like domed structure. Below a cupola supported by columns and crowned with a trident, is a

Design for a Salon, with Statues of Apollo and Venus, Gilles Paul Cauvet, French, 1731–1788, Pen and Chinese ink, brush and watercolor, graphite on laid paper, Two design options are presented for this gallery and second story with

Stage Design: Staircase with Sculptures, Graphite, pen and bistre, brush and sepia wash on paper, Vertical rectangle showing an arched doorway, the top of which is sketched in graphite but not inked. In the middle ground, sculptures and terms

Decorative Motifs, Romolo Achille Liverani, Italian, 1809 - 1872, Pen and ink, brush and gray watercolor, graphite on paper, Horizontal rectangle. Left row: above, the right side of the statue of a displayed eagle supporting a bust with the

Project for a Holy Water Font, Pen and gray ink, brush and gray wash, on off-white laid paper, The bowl is in the form of a shell. A statue of Saint John the Baptist with lamb. Above the bowl is a cross with a glory of rays., Italy,

Design for a Triton Fountain after Giambologna, Black chalk, slate-gray wash on laid paper, View (as though from ground level) of the right side of a male nude (Triton) figure (statue) with right arm upraised to support a large horn; the Triton's

Equestrian Statue of Marcus Aurelius, Marco Dente, Italian, 1486 - 1527, Engraving on paper, Equestrian statue of Marcus Aurelius in side view on a pedestal. The figures face left. In background, wall of Rome, ruins of the mausoleum of

Aeneas Saving Anchises, Master of the Die, Italian or German, 1530 - 1560, Raphael, (Italian, 1483–1520), Engraving on paper, Anchises, holding a statue of Athena, flees from the burning city on the back of Aeneas, attended by a child.

Designs for a Mechanical desk and Sewing Table, Pen and ink, brush and watercolor on paper, At left, a desk with cabinets and fitted drawer, seen in isometric projection. A statue of Cupid crowns the central bay. At right, a sewing table with

Design for a Monument, Pen and brown ink, graphite on off-white laid paper, Columns with Fortunes on top rise at the corners of a dado. Two sections of round bases stand upon the dado. Over these is another round section with flights of stairs.

Architectural Fantasy with Tomb and Ruins, Plate from 'Rovine Inventione de Giovan. Loren, Legeay Architet. Intagliate da lui stesso in Luce 1768', Etching, Architectural fantasy. A number of architectural elements scattered across a hilly

Sketch of an Allegorical Statue, Melchiorre de Gregorio, Italian, 1777 - 1840, Pen and sepia on paper, Vertical rectangle. A female figure holding the tablets of the law with both hands., Recto: two sketches with black crayon above the upper

Sketch for a Round Panel or Window, Francis Augustus Lathrop, American, 1849 - 1909, Graphite on paper, Two classical figures, with female figure seated at right and male figure standing at left. Center, a statue of Mercury on a pedestal.

Garment for religious statue, Medium: silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocade), Small tunic of yellow silk satin brocaded in silver metallic threads and polychrome silks. Neck, sleeve

Dress for an ecclesiastical figurine, Medium: silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocade); bobbin lace, Dress for the figure of the Christ child. Made from the same material as the dress

Dress for an ecclesiastical figurine, Medium: silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocade), bobbin lace, Garment for religious statue. Polychrome silk brocade showing scrolling florals,

Pleated fan, Gilded paper leaf with hand-colored lithograph, pierced ivory sticks with spangles and mother-of-pearl plaques, Pleated fan. Gilded paper leaf with hand-colored lithograph. Obverse: a finely dressed man and woman meeting two rustic

Pleated fan, Painted paper leaf, pierced bone sticks with steel piqués, mother-of-pearl washer, Pleated fan with double leaf. Both leaves are hand-colored paper with an equestrian statue of Portugual’s John I in the center, having at each

Sidewall, Block-printed, Grisaille paper, white and black pattern on gray. Full repeat not included in fragment. Ruins, fragments of walls, pedestals topped by classical urns and draped statue, in background (not complete) bridge (?) support by

Door of a Tabernacle Intended To Be Executed In Bronze, Pencil, pen, brush, sepia, and grey water color., Work in the shape of a vertical rectangle. The statue of an angel supporting a tabernacle in the shape of a circular building with a

Baptismal Font, Pen and brown ink, brush and brown wash, red ink on cream laid paper, The bowl is supported by two plinths. The central part is shaped like a tablet, framed laterally by two gaines, and bearing an inscription in a wreath,

Design for a Half-tone Engraving: How to Obtain a Patent, Copp & Co. Patent Attorneys, Washington, D.C., James Henry Moser, Canadian, 1854–1913, Pen and black ink, brush and gouache, graphite on paper, laid down on brown board, At top,

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