Images at Librifly

Glass mosaic inlay fragment, Early Imperial, late 1st century B.C.–early 1st century A.D., Roman, Glass; cast, Other: 3/4 x 1 7/16 in. (1.9 x 3.7 cm), Glass, Deep purple, appearing reddish brown, and opaque white., Flat, roughly

Glass perfume bottle, Mid Imperial, 2nd–3rd century A.D., Roman, Glass; blown, H.: 7 7/8 in. (20 cm), Glass, Colorless with yellowish tinge. Rim folded out, round, and in, with top pressed down around mouth; tall cylindrical neck,

Seated limestone kourotrophos, Archaic, 2nd half of the 6th century B.C., Cypriot, Limestone, Overall:H.: 7 3/8 x W.:4 15/16 x D.:1 7/8 in. (18.7 x 12.5 x 4.8 cm), Stone Sculpture, Statue of 'nursing mother' seated on a high-backed throne

Rolls of Cloth, Cotton and Yarn, Edo period (1615–1868), 19th century, Japan, Polychrome woodblock print (surimono); ink and color on paper, 5 5/16 x 7 3/8 in. (13.5 x 18.7 cm), Prints, Ryūryūkyo Shinsai (Japanese, active ca.

Woman Dancer in Daimyo's Palace, Edo period (1615–1868), Japan, Polychrome woodblock print; ink and color on paper, H. 7 1/4 in. (18.4 cm); W. 12 3/8 in. (31.4 cm), Prints, Suzuki Harunobu (Japanese, 1725–1770

Bronze statuette of a rooster, Archaic, 6th century B.C., Cypriot, Bronze, H. 1 5/8 in (4.1 cm), Bronzes, Stands on small rectangular plate with feet close together; incised details

Limestone statuette of Artemis with a fawn, Hellenistic ?, 310–30 B.C., Cypriot, Limestone, Overall: 25 1/4 x 11 1/8 x 6 5/8 in. (64.1 x 28.3 x 16.8 cm), Stone Sculpture

Krishna Accepts an Offering from the Hunchbacked Woman Trivakra: Page from a Bhagavata Purana Series, ca. 1650, India (Madhya Pradesh, Malwa), Ink and opaque watercolor on paper, 6 3/4 x 8 3/16 in. (17.1 x 20.8 cm), Paintings, While traveling,

Ejiri in Suruga Province (Sunshū Ejiri), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), 冨嶽三十六景　駿州江尻, Edo period (1615–1868), ca. 1830–32, Japan, Polychrome woodblock print; ink and color on

隋 彩繪石雕觀音菩薩像（石灰岩）, Bodhisattva, probably Avalokiteshvara (Guanyin), Sui dynasty (581–618), late 6th century, China, Limestone with traces of pigment, H. 73 in. (185.4 cm), Sculpture

Limestone statuette of a beardless male votary in Greek dress, Archaic, mid 6th century B.C., Cypriot, Limestone, Overall: 20 x 5 5/8 x 3 1/4 in. (50.8 x 14.3 x 8.3 cm), Stone Sculpture, Male votary with frontlet and cloak falling from left

Terracotta zoomorphic askos (vessel), Middle Cypriot, 1900–1600 B.C., Cypriot, Terracotta; White painted ware, H. 3 1/16 in. (7.8 cm), Vases, Spout and ring-handle

Vase fragment, Early Minoan III, Minoan, Terracotta, 1 7/16 × 3 1/4 × 1/4 in. (3.7 × 8.2 × 0.7 cm), Vases

Glass mosaic fragment, Early Imperial, late 1st century B.C.–early 1st century A.D., Roman, Glass; cast, Other: 9/16 x 1 7/16 in. (1.5 x 3.7 cm), Glass, Body fragment., Translucent deep purple appearing black, turquoise blue, light blue,

Shist whetstone or polisher, Late Bronze Age or earlier, ca0–1050 B.C. or earlier, Cypriot, Schist, Overall: 1 x 3 x 5/8 in. (2.5 x 7.6 x 1.6 cm), Miscellaneous-Stone, Polisher

Landscape with a Cottage, 1629, Oil on wood, 14 3/4 x 21 3/4 in. (37.5 x 55.2 cm), Paintings, Pieter de Molijn (Dutch, London 1595–1661 Haarlem), Born in London, Molijn joined the painter's guild at Haarlem in 1616. Together with his

A Scene in a Library, before March 22, 1844, Salted paper print from paper negative, Photographs, William Henry Fox Talbot (British, Dorset 1800–1877 Lacock

Terracotta jug, Middle Cypriot III, ca. 1725–1600 B.C., Cypriot, Terracotta; Black Slip Ware, H. 5 3/16 in. (13.2 cm), Vases, This type of vase, with a long narrow neck and funnel spout, may have contained perfumed oils. The shape and

Glass perfume bottle, Mid Imperial, 2nd–3rd century A.D., Roman, Glass; blown, Overall: 4 5/8in. (11.8cm), Glass, Colorless with light blue tinge. Lop-sided rim, folded out, over, and in, slightly flattened on top; tall cylindrical neck;

Standing Bodhisattva, probably Maitryeya (Buddha of the Future), ca. 3rd century, Pakistan (ancient region of Gandhara), Schist, H. 23 1/4 in. (59.1 cm); W. 9 1/4 in. (23.5 cm); D. 4 7/8 in. (12.4 cm), Sculpture, On the base, small donors

Seaweed, Edo period (1615–1868), Japan, Album leaf; lacquer on paper, 4 1/2 x 3 1/2 in. (11.4 x 8.9 cm), Paintings, Shibata Zeshin (Japanese, 1807–1891

Lute Player, ca. 1625–26, Oil on canvas, 50 1/2 x 39 in. (128.3 x 99.1 cm), Paintings, Valentin de Boulogne (French, Coulommiers-en-Brie 1591–1632 Rome), The greatest French follower of Caravaggio, Valentin was one of the outstanding

Distribution of the American Art Union Prizes, at the Tabernacle, Broadway, December 24, 1847, 1847, Lithograph with tint stone, image: 15 3/4 x 21 5/8 in. (40 x 54.9 cm), Prints, Davignon (American, 19th century), After Tompkins Harrison

Glass mosaic bowl fragment, Early Imperial, late 1st century B.C.–early 1st century A.D., Roman, Glass; cast, Other: 1 7/16 x 1 15/16 in. (3.7 x 5 cm); estimated diam. of rim: 7 1/16 in. (18 cm), Glass, Rim fragment., Translucent purple and

Porringer, 1785–1805, Made in Poughkeepsie, New York, United States, American, Silver, Overall: 1 15/16 x 6 11/16 in. (4.9 x 17 cm); 7 oz. 16 dwt. (242.7 g), Silver, Andrew Billings (1743–1808

Saint John the Baptist, last quarter 15th century, Italian, Florence, Bust: stucco, polychromed; base: gilt wood, Overall: 19 1/2 × 15 3/4 × 7 1/4 in. (49.5 × 40 × 18.4 cm), Sculpture, Follower of Mino da Fiesole (Mino di Giovanni)

Ile de Fîleh (Philæ), Vue Génèrale Prise du Point I, Sur La Plateforme du Pylône, 1851–52, printed 1853–54, Salted paper print from paper negative, 23.8 x 30.7 cm. (9 3/8 x 12 1/16 in.), Photographs, Félix Teynard (French,

Bronze spoon, 1st century A.D., Roman, Bronze, Other: 5 1/16 in. (12.9 cm), Bronzes, With round bowl and plain, pointed handle

Linen sheet or shawl, Wah, Middle Kingdom, Dynasty 12, ca. 1981–1975 B.C., From Egypt, Upper Egypt, Thebes, Southern Asasif, Tomb of Wah, 1920, Linen, l. 20.71 m (815 3/8 in) plus 15 cm (5 7/8 in) fringe; w. 1.98 m (77 15/16 in) plus 8

Dish with Peaches and Bats, Qing dynasty (1644–1911), Yongzheng period (1723–35), 18th century, China, Porcelain with overglaze enamels, H. 1 1/2 in. (3.8 cm); Diam. 8 1/8 in. (20.7 cm); Diam. of foot 5 1/4 in. (20.6 cm), Ceramics, This

The Last Supper, from The Large Passion, n.d., Woodcut, sheet: 17 5/16 x 12 1/16 in. (43.9 x 30.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Le Chiffre d'Amour, n.d., Etching, third state, sheet: 22 3/16 x 16 9/16 in. (56.3 x 42 cm), Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Nicolas de Launay (French, Paris, 1739–1792

Christ Nailed to the Cross, from The Small Passion, ca. 1509, Woodcut, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 7 from 'Los Caprichos' : Even thus he cannot make her out (Ni asi la distingue.), 1799, Etching, aquatint and drypoint, Plate: 7 11/16 x 5 13/16 in. (19.6 x 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Wooded Landscape with Herdsmen and Cows, August 1, 1797, Aquatint with soft-ground etching, printed in gray ink; third state of three, sheet: 10 7/8 x 13 9/16 in. (27.6 x 34.5 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788

The Two Landscapes (Left Tree), ca. 1630, Etching, sheet: 2 7/16 x 1 7/8 in. (6.2 x 4.8 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Abduction of Proserpine, 1516, Etching, Sheet: 12 in. × 8 3/8 in. (30.5 × 21.3 cm), Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Virgin Appearing to Saint Jerome (recto); Head of a Young Woman with Braided Hair, 1621–61, Red chalk on brownish paper, 15 11/16 x 5 1/2 in. (39.9 x 14 cm), Drawings, Flaminio Torre (Torri) (Italian, Bologna 1620–1661 Modena

Design for Pink, White and Blue Curtains with Blue Fringes, and Gold and Blue Pediments, ca. 1820, Ink, watercolor and wash, sheet: 10 13/16 x 15 in. (27.5 x 38.1 cm), Anonymous, British, 19th century

The Country Dance (Small Plate), ca. 1637, Etching; third state of seven (Mannocci), sheet: 5 3/8 x 7 11/16 in. (13.6 x 19.6 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Regent's Quadrant, 1880–81, Etching and drypoint; first state of seven (Glasgow); printed in black ink on fine ivory laid paper, Plate: 6 7/16 × 4 3/4 in. (16.3 × 12 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Design for a Stage Set at the Opéra, Paris, 1830–90, Brush and brown and green wash, over graphite, sheet: 9 3/16 x 2 13/16 in. (23.3 x 7.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The ancestors of Christ flanking an inscribed tablet, an arched top composition, 1531–76, Engraving, sheet: 8 7/16 x 12 7/16 in. (21.4 x 31.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After

Three Musicians and Harlequin in an Ornamental Frame, 1720–74, Pen and brown ink, blue-grey wash. Framing line in pen and brown ink, sheet: 13 1/16 x 8 3/4 in. (33.2 x 22.3 cm), Drawings, Georg Philipp Rugendas II (German, Augsburg

Young Man Seated on the ground with his left hand at his chest, 18th century, Black chalk, heightened with white chalk on blue paper, 14 5/16 x 9 3/16 in. (36.3 x 23.4 cm), Drawings, Anonymous, French, 18th century

The Gallic Cock -- Long Live the Czar! (Le Coq gaulois -- Vive le Tsar!), 1893, Etching, plate: 13 3/8 x 9 7/16 in. (34 x 24 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for a Bookstand, early 19th century, Ink and watercolor, sheet: 8 7/8 x 11 15/16 in. (22.6 x 30.3 cm), Anonymous, British, 19th century

Design for Plumed Oil Lamp, ca. 1770–90, Graphite, 6 7/16 x 9 11/16 in. (16.4 x 24.6 cm), Drawings, Anonymous, French, 18th century

Design for an Oil Lamp, 19th century, Graphite, brush and gray wash, watercolor, and gouache, sheet: 17 1/8 x 9 15/16 in. (43.5 x 25.2 cm), Drawings, Anonymous, French, 19th century

Melchizadek Offering Bread and Wine to Abraham, ca. 1547, Etching and engraving, third state, sheet: 10 3/4 x 16 9/16 in. (27.3 x 42 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Christ at Emmaus: The Smaller Plate, 1634, Etching with touches of drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Saint Peter Enthroned, 1700–1773, Pen and brown ink, over graphite underdrawing and compass and ruled construction lines in pen and brown ink and graphite, 14 7/16 x 10 1/8in. (36.6 x 25.7cm), Drawings, Luigi Vanvitelli (Italian, Naples

Saint Sebastian Bound to the Column, ca. 1499, Engraving, Sheet: 4 3/16 in. × 3 in. (10.7 × 7.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Cartouche, 19th century, Black chalk heightened with white chalk on blue paper. Framing lines in white chalk., sheet: 10 9/16 x 7 7/16 in. (26.8 x 18.9 cm), Drawings, Anonymous, French, 19th century

A Grotesque Couple: Old Woman with an Elaborate Headdress and, 1491/93–1570, Pen and brown ink, 2-1/8 x 3-7/8 in. (5.4 x 9.9 cm), Drawings, attributed to Giovanni Francesco Melzi (Italian, Milan 1491/93–ca. 1570 Vaprio d'Adda), after

Satyr family, from 'Landscapes and seaports' (Paysages et ports de mer, dans des ronds), 1656, Etching; second state of two, Sheet (trimmed to plate): 5 3/8 × 5 1/4 in. (13.6 × 13.3 cm), Prints, Stefano della Bella (Italian, Florence

Return from the Christening, 1633, Etching; first state of two, Sheet: 11 5/8 × 14 15/16 in. (29.5 × 37.9 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Architectural Capriccio: Garden Entrance to a Palace (recto); Three Masked and Costumed Figures and Other Figure Studies (verso), 1712–93, Pen and brown ink, brush and brown wash, over black chalk. Framing lines in pen and brown ink (recto);

A woman seated to left holding a child, facing right in profile, conversing with a standing woman in center, carrying one child on her back and another in her arms, a church to left in background and boats to right in background, from 'Various

St. Peter's, view from the southeast; Unidentified, blank, papal escutcheons (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 16 3/4 x 10 13/16 in. (42.5 x 27.4 cm), Drawings

“The Fourth Knot”. Interlaced Roundel with a Round Medallion in its Center, after 1528, Woodcut, sheet: 10 3/4 x 8 7/16 in. (27.3 x 21.4 cm), Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), After Leonardo da Vinci (Italian,

Trophy with Two Ewers, 1600–1800, Pen and black ink, brush and grayish-brown wash, over traces of graphite, sheet: 5 3/4 x 7 3/8 in. (14.6 x 18.7 cm), After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Christ and the Disciples on the Way to Emmaus, 1571, Etching and engraving; second state of two, sheet: 9 11/16 x 7 11/16 in. (24.6 x 19.5 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips

Ceiling and Cove Designs for Stairway, Hôtel Rothschild, Vienna, second half 19th century, Pen and gray ink, watercolor, 8 3/16 x 11 7/16 in. (20.8 x 29 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Cover design for 'Klassischer Skulpurenschatz', late 19th century, Black chalk, sheet: 25 13/16 x 17 11/16 in. (65.5 x 44.9 cm), Drawings, Otto Greiner (German, Leipzig 1869–1916 Munich

Humility Versus Pride, 1796–97, Brush and gray wash on laid Netherlandish paper, Sheet: 9-1/4 x 5-3/4 in. (23.5 x 14.61cm), Drawings, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 12 1/16 x 18 11/16 in. (30.6 x 47.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Sketch for War, ca. 1861, Black chalk touched with white and red chalk, 16 7/8 x 12 1/2 in. (42.9 x 31.8 cm.) (irregular), Drawings, Pierre Puvis de Chavannes (French, Lyons 1824–1898 Paris

Battle scene in a landscape with soldiers on horseback and several fallen men, another group of riders in the background, ca. 1520, Engraving, Sheet (Trimmed): 9 1/16 × 14 1/4 in. (23 × 36.2 cm), Prints, Marco Dente (Italian, Ravenna,

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 9/16 x 4 5/16 in. (24.3 x 10.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Square House, Amsterdam, 1889, Etching and drypoint; third state of seven (Glasgow); printed in dark brown ink on fine ivory Japan tissue, Plate: 9 × 6 13/16 in. (22.9 × 17.3 cm), Prints, James McNeill Whistler (American, Lowell,

Design for the painted decoration of a ceiling with the monogram: AS, 1830–97, graphite, pen and ink, watercolor on wove paper, sheet: 10 3/8 x 7 1/16 in. (26.4 x 18 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Design for an Altar for Easter Week Celebrations Decorated with Putti and Chandeliers, 1783, Pen and brown ink, brush and brown wash, over graphite; done freehand and with ruled construction. Framing outlines in pen and brown ink, Sheet: 10 1/8

Hiding of Moses, 1825, Engraving, plate: 2 3/4 x 3 3/4 in. (7 x 9.5 cm), Prints, William Blake (British, London 1757–1827 London

A Bacchanal, 1530–61, Engraving with etching, sheet: 7 5/8 x 8 7/8 in. (19.4 x 22.5 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), After Giulio Romano (Italian, Rome 1499?–1546 Mantua

U.S. Coast Survey...Sketch of Anapaca Island in Santa Barbara Channel, 1854–57, Transfer lithograph, sheet: 8 x 11 7/16 in. (20.3 x 29.1 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London), John Young

The Prodigal Son Changes Clothes, ca. 1636, Etching, Sheet: 10 1/4 × 12 7/8 in. (26 × 32.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Estimate for repair work and explanatory note, 18th century, Pen and brown ink, Sheet: 12 13/16 x 16 3/16 in. (32.5 x 41.1 cm), Miscellaneous, Anonymous, French, 18th century, This work is part of a collection of drawings for furniture,

Two Alternate Designs for Triumphal Arch, 18th century, Pen and brown ink; on verso, pen and brown ink., Overall: 11 9/16 x 7 9/16 in. (29.3 x 19.2 cm), Drawings, Anonymous, French, 18th century

Design for a Porcelain Platter, 1777, Watercolor heightened with white, sheet: 9 1/8 x 12 3/16 in. (23.2 x 31 cm), Leroux (French, 18th century

Design for a Coat of Arms, 18th century, Pen and black ink, sheet: 2 15/16 x 3 1/8 in. (7.5 x 7.9 cm), Drawings, Anonymous, French, 18th century

Charioteer, 1609/10–?1675, Pen and brown ink, 5-13/16 x 5-7/16 in. (14.7 x 13.8 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

Design for a Chest of Drawers, early 19th century, Graphite, sheet: 8 11/16 x 12 5/16 in. (22.1 x 31.2 cm), Anonymous, British, 19th century

The Duet, No. 2, 1894, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on grayish laid China paper, Image: 8 5/8 in. × 7 in. (21.9 × 17.8 cm), Prints, James McNeill Whistler

Drawing of a Mounted Arquebusier (Soldier on Horseback), late 16th century, Austrian, Water color, paper, 12 7/8 x 9 1/2 in. (32.7 x 24.1 cm), Works on Paper-Drawings

Neptune calming the Tempest Aeolus raised against the Fleet of Aeneas, 1531–76, Engraving, sheet: 9 15/16 x 17 5/16 in. (25.3 x 44 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for Sideboard with Inset Landscape, early 19th century, Ink and watercolor, sheet: 5 5/16 x 8 15/16 in. (13.5 x 22.7 cm), Anonymous, British, 19th century

Two Turkish Merchants in a Port, from 'Landscapes and seaports' (Paysages et ports de mer, dans des ronds), 1656, Etching; second state of two, Sheet (trimmed): 5 1/2 × 5 9/16 in. (14 × 14.1 cm), Prints, Stefano della Bella (Italian,

Plate 49 from 'The Disasters of War' (Los Desastres de la Guerra): 'A woman's charity.' (Caridad de una muger.), 1811–12 (published 1863), Etching, lavis, burin and burnisher, Plate: 6 1/16 × 8 3/16 in. (15.4 × 20.8 cm), Prints, Goya

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 a fragment cut from the upper portion of 'Sketches on the Coast Survey Plate' (Kennedy no.

Plate 12: a seated draughtsman to left, a standing shepherd next to him to right, ruins and animals to the right, a tower in ruins to left in the background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two,

Landscape with a Path between Trees, ca. 1886, Watercolor with touches of white gouache on wove paper, sheet: 10 13/16 x 13 13/16 in. (27.4 x 35.1 cm), Drawings, Auguste Renoir (French, Limoges 1841–1919 Cagnes-sur-Mer

Songs of Innocence and of Experience: The Little Boy Found, ca. 1825, Relief etching printed in orange-brown ink and hand-colored with watercolor and gold, sheet: 6 3/16 x 5 9/16 in. (15.7 x 14.1 cm), Prints, William Blake (British, London

Butter Balls, Eriogonum orthocaulon, May 26, 1914, Watercolor and brown ink over graphite, with page design indicated in graphite, sheet: 13 11/16 x 9 15/16 in. (34.8 x 25.2 cm), Drawings, Margaret Neilson Armstrong (American, New York

Design for an Altar with a Painting of the Adoration of the Shepherds and God the Father Above, 1652–1725, Pen and brown ink, brush and gray wash over traces of graphite, sheet: 9 3/4 x 5 7/8 in. (24.7 x 15 cm), Giovanni Battista Foggini

Architectural Capriccio: A Vaulted Passageway (recto); Ruined Loggia (verso), 18th century, Pen and brown ink, brush and brown wash (recto). Framing lines in pen and brown ink. Pen and brown ink (verso), 6 3/8 x 5in. (16.2 x 12.7cm), Drawings,

Wooded Landscape with Cows beside a Pool, Figures and Cottage, 1775–80, Soft-ground etching with aquatint, printed in gray ink, sheet: 10 1/4 x 13 1/16 in. (26 x 33.2 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788 London

Jo's Bent Head, 1861, Drypoint; third state of three (Glasgow); printed in black ink on, plate: 8 7/8 x 5 7/8 in. (22.5 x 14.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Mademoiselle Marie-Jeanne Fesch Chevallier, Black chalk and watercolor, 14 x 18 3/8 in. (35.5 x 46.7 cm), Louis René Boquet (French, 1717–1814), Mlle. Marie-Jeanne Fesch Chevallier (Paris 1722 - after 1789 Paris) was a famous French opera

Winter (L'Hiver), from 'The Four Seasons', ca. 1641, Etching, Sheet: 3 15/16 × 2 5/16 in. (10 × 5.8 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Ornament etched by Abraham Bosse (French, Tours