Images at Librifly

Crucifixion with Two Angels, ca. 1540, Engraving and etching, sheet: 12 1/16 x 7 11/16 in. (30.6 x 19.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Michelangelo Buonarroti (Italian, Caprese

Landscape with Figures (After The Marriage of Isaac and Rebecca, 1648), published 1830, Etching, sheet: 9 11/16 x 12 3/4 in. (24.6 x 32.4 cm), Prints, Anonymous, After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Design for Three Sets of Shelves, early 19th century, Ink and wash, sheet: 8 11/16 x 12 5/16 in. (22 x 31.2 cm), Anonymous, British, 19th century

Head of a Man with a feathered Cap (Bernini?), Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Saint Eustace, ca. 1501, Engraving, Sheet: 13 7/8 × 10 1/4 in. (35.3 × 26 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Firescreen, early 19th century, Ink and gouache, sheet: 7 x 4 1/2 in. (17.8 x 11.4 cm), Attributed to Gillows (British, 19th century

Saint Paul Preaching, an oval composition, 1547, Engraving, Sheet: 10 in. × 6 13/16 in. (25.4 × 17.3 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Perino del Vaga (Pietro Buonaccorsi) (Italian,

Naval combat, a ship at center, seen from behind, firing at four enemy ships, another ship entering from the right, a rowboat with nine people to left, from 'Peace and War' (Divers desseins tant pour la paix que pour la guerre), ca. 1641,

Rembrandt in a Cap, Open Mouthed and Staring: Bust in Outline (copy), 17th century, Etching, Plate: 1 15/16 x 1 3/4 in. (5 x 4.5 cm), Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Bacchus and Ceres Attended by Putti and a Marine Deity, 1676–1741/46, Pen and black ink, brush and gray wash, on beige paper, 9 9/16 x 15 9/16in. (24.3 x 39.5cm), Drawings, Sebastiano Galeotti (Italian, Florence 1676–1741/46 Mondov

Coat of Arms of Maximilian I as King of the Romans from Reuelationes sancte Birgitte, 1500, Woodcut; a double-sided sheet, the recto in the first state of two, from the German edition of 1502, sheet: 9 15/16 x 6 1/4 in. (25.2 x 15.8 cm),

Allegory of the Arts (Music?), second half 19th century, Graphite, gouache, and watercolor, Overall: 8 3/8 x 10 3/4 in. (21.2 x 27.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Fortune Favoring France (La Fortune de la France), ca. 1635–37, Etching; second state of two (Join-Lambert and Préaud), sheet: 10 1/4 x 12 5/16 in. (26 x 31.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Millbank, 1861, Etching and drypoint; fifth state of five; printed in black ink on ivory laid Japan, Plate: 3 7/8 × 4 15/16 in. (9.8 × 12.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London), Sharply

Design for a Crest with Drapery (the Upper Part of a Canopy or Window Treatment), 1698–1765, Pen and brown ink, brush with blue-gray and brown wash, over traces of graphite or black chalk, sheet: 7 5/16 x 10 7/8 in. (18.6 x 27.6 cm),

Frontispiece to The Theological and Cardinal Virtues, 1636, Etching, Sheet (trimmed): 2 7/8 × 1 7/8 in. (7.3 × 4.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Designs for Buttons, 18th century, Brush and gray wash on laid paper, sheet: 7 1/16 x 4 7/16 in. (17.9 x 11.3 cm), Drawings, Attributed to Anonymous, French, 18th century

Drapery Study for Sainte-Clotilde (upper register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 1830–75, Red chalk, stumped, with traces of black chalk. Scattered stains., 18 5/16 x 11 13/16 in. (46.7

Head of a Bearded Man Looking to Upper Right (recto); Head of an Old Man and a Drapery Study (verso), 1577–1660, Black chalk (recto and verso), 6 1/4 x 6 7/16in. (15.8 x 16.4cm), Drawings, Giacomo Cavedone (Italian, Sassuolo 1577–1660

The Tiber at the Outskirts of Rome, n.d., Pen and brown ink, brush and gray wash over red chalk, 8 7/16 x 12 1/4 in. (21.4 x 31.1 cm), Drawings, Victor Jean Nicolle (French, Paris 1754–1826 Paris

Allegory in Honor of Pope Benedict XIV, ca. 1745, Red chalk, highlighted with white, on beige paper, 14 3/16 x 9 13/16in. (36 x 24.9cm), Drawings, Pompeo Batoni (Italian, Lucca 1708–1787 Rome

Saint Jerome in Penitence and as a Scholar Removing a Thorn from a Lion's Paw, ca. 1470–85, Metalcut, hand-colored, with circle, fleur-de-lis, star, and dot punches; second state, 13-3/4 x 9-7/8 in.; 15-7/8 x 11-3/16 in., Prints, Master

Plate 38 from 'Los Caprichos': Bravo! (Brabisimo!), 1799, etching, burnished aquatint & drypoint, Plate: 8 7/16 x 5 7/8 in. (21.4 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Design for Ceiling of the Duchess of Newcastle's Petit Salon, Hôtel Hope, 1867, Pen and black ink, gouache and watercolor, sheet: 7 5/16 x 8 1/8 in. (18.6 x 20.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Representative of the French People in Office, 1794, Etching, sheet: 13 11/16 x 9 7/16 in. (34.8 x 23.9 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825

Design for a Panel or a Tablet with an Alternate Design, 16th century, Pen and brown ink, brush and brown and gray wash, sheet: 7 3/4 x 5 11/16 in. (19.7 x 14.5 cm), Drawings, Anonymous, French, 16th century

Centaur Holding Up a Youthful Satyr, 1727–1804, Pen and brown ink, brush and brown wash, over graphite or lead, 7-9/16 x 10-13/16 in. (19.2 x 27.4 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Seated Woman and Other Sketches, ca. 1630–33, Etching; first and only state (Mannocci), sheet: 4 7/16 x 7 in. (11.2 x 17.8 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Alms House Bird, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 10 13/16 x 7 1/16 in. (27.4 x 18 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882

The Flagellation, from The Passion, 1512, Engraving, Sheet: 4 1/2 × 2 15/16 in. (11.5 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Paltrona e tavolo [Perspective of lounge chair and a U-shape table], 1937, Red-brown pencil and black ink, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Elevation of a paneled wall with a mural or tapestry and a double doors surmounted by a painting of ducks, 19th century, pen and ink and watercolor on laid paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died

Christ Taking Leave of His Mother, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 11 3/4 x 8 1/4 in. (29.8 x 21 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for an Overdoor with a Bust, 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 1 7/8 x 2 3/16 in. (4.7 x 5.5 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Table with Ornamental Objects, 19th century, Pen and ink and gouache, Overall: 14 1/8 x 18 3/8 in. (35.9 x 46.7 cm), Drawings, Anonymous, Chinese, 19th century

Design for a Painted Ceiling with Strapwork and Foliage on a Rose Background, second half 19th century, Pen and black ink, watercolor, and gouache, 7 3/4 x 11 5/8 in. (19.7 x 29.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

The Coronation of Esther, 1510–85, Pen and brown ink, over red chalk. Squared in red chalk, 8 1/4 x 12 1/4in. (20.9 x 31.1cm), Drawings, Carlo Urbino (Italian, Crema ca. 1510/20–after 1585 Crema

Design for Three Chairs with Arms or Devices on Backs, early 19th century, Graphite, sheet: 10 13/16 x 14 15/16 in. (27.5 x 37.9 cm), Anonymous, British, 19th century

The Model Resting (Draped Model), 1870, Drypoint; ninth state of eleven (Glasgow); Printed in black ink on ivory laid paper with watermark: Arms of Ansterdam, image: 8 1/8 x 5 1/8 in. (20.7 x 13 cm), Prints, James McNeill Whistler (American,

Madonna and Child with a bird, copy in reverse after Cantarini, ca. 1635–1636 or after, Etching, Sheet: 8 7/16 in. × 6 in. (21.5 × 15.3 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

The Soul Hovering over the Body, Reluctantly Parting with Life, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 6 3/8 x 8 15/16 in. (16.2 x 22.7 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa

Plate 2 from 'Los Caprichos' : They say yes and give their hand to the first comer (El si pronuncian y la mano alargen al primero que llega), 1799, Etching and burnished aquatint, Plate: 8 7/16 × 5 15/16 in. (21.4 × 15.1 cm), Prints, Goya

Christ appearing to Mary Magdelen, n.d., Etching, image: 7 11/16 x 4 13/16 in. (19.5 x 12.3 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris 1730–1805

Street at Saverne, 1858, Etching; fourth state of four (Glasgow), printed in black ink on machine-made cream laid paper, Plate: 8 3/16 × 6 5/16 in. (20.8 × 16 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Thenot and Colinet Lead Their Flocks Together, from Thornton's Pastorals of Virgil, 1821, Wood engraving, block: 1 7/16 x 3 1/16 in. (3.7 x 7.8 cm), Prints, William Blake (British, London 1757–1827 London

Plate 6: a peasant on horseback in profile facing the right, holding a basket and talking to another man standing behind the horse, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 1/8 × 3 7/8 in. (7.9

Atabalipa, Roi du Pérou, ca. 1634–37, Engraving, sheet: 8 11/16 x 7 in. (22 x 17.8 cm), Prints, Jerôme David (1605–after 1670), After Claude Vignon (French, Tours 1593–1670 Paris

Venus and Cupid in Vulcan's Forge, 1627–1703, Pen and brown ink, brush and brown wash, highlighted with white, over charcoal, 7 1/4 x 10 13/16in. (18.4 x 27.4cm), Drawings, Domenico Piola (Italian, Genoa 1627–1703 Genoa

Design for Gothic Tracery and Paneling, early 19th century, Ink and watercolor and wash, sheet: 9 7/16 x 11 7/8 in. (24 x 30.2 cm), Anonymous, British, 19th century

Plate 22: a beggar woman with three children, one child on her shoulders, one child in her arms, and one child who walks in front of her to left, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 1/8 ×

Première au Rendez-vous, Lithograph, Sheet: 21 7/8 x 15 9/16 in. (55.6 x 39.6 cm), Prints, Anonymous, French, 19th century

Study for Title-Page, 18th century, Black chalk, brush and gray wash., sheet: 7 5/16 x 4 15/16 in. (18.5 x 12.5 cm), Drawings, Attributed to Anonymous, French, 18th century

Virgin on the Crescent with Scepter and Starry Crown, 1516, Engraving, plate: 4 9/16 x 2 15/16 in. (11.6 x 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a ceiling with trompe l'oeil balustrade and sky, 1869, Graphite, pen and black ink, and watercolor, Overall: 14 11/16 x 10 9/16 in. (37.3 x 26.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Château de Verneuil, Touraine, 1888, Etching and drypoint; only state (Glasgow); printed in black ink on heavy ivory colored laid paper, Plate: 6 15/16 × 5 in. (17.6 × 12.7 cm), Prints, James McNeill Whistler (American, Lowell,

Curlews and Ducks, 17th century, Red chalk, 8 15/16 x 7 5/16 in. (22.7 x 18.6 cm), Drawings, Nicolas Robert (French, Langres 1614–1685 Paris

Knight, Death, and the Devil, 1513, Engraving, sheet: 9 5/8 x 7 1/2 in. (24.5 x 19 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Putto Bending a Bow, 1477/78–1510, Red chalk. Original sheet, 15.7 x 6.6 cm.; this has been made up (almost certainly by Pierre-Jean Mariette) to a sheet 23.7 x 15.2 cm. on which a base and a surrounding niche for the putto have been indicated

Plate 34 from 'The Disasters of War' (Los Desastres de La Guerra):'On account of a knife' (Por una navaja.), 1810 (published 1863), Etching, drypoint, burin and burnisher, Plate: 6 1/8 × 8 1/16 in. (15.5 × 20.5 cm), Prints, Goya (Francisco

Plate 12 from 'Los Caprichos': Out hunting for teeth (A caza des dientes.), 1799, Etching, burnished aquatint and burin, Plate: 8 9/16 x 5 7/8 in. (21.8 x 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Architectural Motifs: Four Rinceaux, ca. 1875, Black chalk, 12 1/2 x 19 3/16 in. (31.7 x 48.7 cm), Drawings, Georges Seurat (French, Paris 1859–1891 Paris

Design for Two Armchairs with Red and Green Upholstery, early 19th century, Ink, watercolor and wash, sheet: 8 11/16 x 12 1/4 in. (22 x 31.1 cm), Anonymous, British, 19th century

David With the Head of Goliath (recto); Study of Lower Leg and Right Foot (verso), 1682–1754, Charcoal, highlighted with white, on gray-blue paper faded to gray-brown (recto); black chalk (verso), 7 1/2 x 10 3/16in. (19.1 x 25.9cm), Drawings,

Actors at the Hotel de Bourgogne, ca. 1633–34, Etching, Sheet: 11 9/16 × 14 3/4 in. (29.4 × 37.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), This print depicts six actors from a troupe of comedians led by Robert

The Triumph of Mordecai, n.d., Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Giving Drink to the Thirsty (Donner à boire à ceux qui ont soif), Etching; first state of two (Join-Lambert and Préaud), sheet: 10 1/16 x 12 13/16 in. (25.6 x 32.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Nativity, 1654–1714, Pen and brown ink, brush and red wash, highlighted with white, over red chalk, 7 7/16 × 5 1/2 in. (18.9 × 14 cm), Drawings, Giuseppe Passeri (Passari) (Italian, Rome 1654–1714 Rome

Designs for a Picture Frame, ca. 1730–40, Pen and brown ink over traces of black chalk, 15 x 11 9/16 in. (38.1 x 29.4 cm), Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Two Women Seated on a Cloud, and Two Putti, 1696–1770, Pen and brown ink, brush with pale (yellow) brown wash, over leadpoint or black chalk, 9-7/16 x 9-5/8 in. (23.9 x 24.4 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Adam and Eve (copy), n.d., Engraving, Sheet: 9 9/16 × 7 3/8 in. (24.3 × 18.7 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

View of Amsterdam from the Northwest, ca. 1640, Etching, Plate: 4 7/16 x 6 in. (11.2 x 15.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Plate 4: two pilgrims observing ruins to right, one pointing towards the right, a shepherd and a herd of cattle in center background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two, Sheet (trimmed): 4 15/16

Design for an Over-Mantle Mirror Frame, 19th century, Graphite, sheet: 13 7/8 x 11 in. (35.3 x 27.9 cm), Drawings, Anonymous, French, 19th century

An Old Turk Seated on a Stone, ca. 1662, Etching, Sheet (trimmed to plate): 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Nude Woman Standing, Drying Herself, 1891–92, Lithograph, transfer from monotype, crayon, tusche, and scraping; fifth of six states, image: 13 x 9 5/8 in. (33 x 24.5 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Christ in the Garden of Gethsemane, 1848, Black fabricated crayon (possibly early conté crayon) with touches of brown fabricated crayon and thin brown watercolor wash; framing line in black fabricated crayon, 18 1/16 x 22 3/4 in. (45.9 x 57.8

Edouard Manet, Bust-Length Portrait, 1864–65, Etching, drypoint, and aquatint on laid paper; third state of four, Plate: 5 1/8 x 4 1/8 in. (13 x 10.5 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 10 7/16 x 15 13/16 in. (26.5 x 40.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Forge, Passage du Dragon, 1894, Transfer lithograph with stumping, drawn on thin, transparent transfer paper; , image: 8 3/4 x 6 5/16 in. (22.2 x 16 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Peasant Couple Dancing, 1514, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.8 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a ceiling with two putti and symbols for the arts, second half 19th century, Graphite, gilt, gouache, and watercolor, Overall: 8 3/4 x 10 5/8 in. (22.2 x 27 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Walter Sickert, 1895, printed 1903, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed on black ink on fine cream laid Japan, Image: 7 1/2 × 5 1/2 in. (19 × 14 cm), Prints, James McNeill Whistler

Design for Red Fringed and Tasseled Curtains with a Gold Pelmet, early 19th century, Ink, watercolor and wash, sheet: 9 7/16 x 11 15/16 in. (24 x 30.3 cm), Anonymous, British, 19th century

Study for a Festival Machine, 18th century, Black and red chalk, rubbed at top, and watermark traced in graphite on verso, 12 9/16 x 17 9/16 in. (31.9 x 44.6 cm), Drawings, Attributed to Laurent Hubert (French, died ca. 1780

Design for a Cabinet with Classical Ornament and Bookshelves, early 19th century, Ink and wash and graphite, sheet: 8 9/16 x 12 5/16 in. (21.8 x 31.2 cm), Anonymous, British, 19th century

Design for the Corner of a Decoration (recto); Sketch of Monumental Building with Four Temple-Front Entrances (verso), ca. 1730, Pen and dark gray ink, brush and gray wash, with parallel diagonal lines and scale in black chalk, and with incised

Head of a Young Woman, 1522, Black chalk highlighted with white chalk (abraded) on green prepared paper., 7 7/8 x 5 15/16 in. (20 x 15.1 cm), Drawings, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), A supremely gifted and versatile

Standing Male Draped Figure With His Hands Raised., 1565–71, Black chalk, brush and brown wash, highlighted with white gouache, on blue-green paper, sheet: 10 x 6 5/16 in. (25.4 x 16.1 cm), Drawings, Giovanni Paolo Lomazzo (Italian, Milan

Comme ils en étaient là, arrive l'oncle, ca. 1778, Pen and black ink, brush and gray wash, heightened with white gouache, 11 5/8 x 8 3/4 in. (29.6 x 22.3 cm), Drawings, Jean Michel Moreau the Younger (French, Paris 1741–1814 Paris

Barbarous Entertainment (Barbara dibersion), 1800–1804, Etching, aquatint and drypoint printed in black ink on medium weight, laid paper, Plate: 6 15/16 × 8 5/8 in. (17.7 × 21.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Well Cleaner, 1746, Etching with some engraving, Sheet: 9 7/16 x 7 5/16 in. (24 x 18.5 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Nine Studies of the Moses in Santa Maria della Steccata, Parma (recto); Nine Studies for the Eve in Santa Maria della Steccata, Parma (verso), 1503–40, Pen and brown ink, brush and brown wash, over traces of black chalk, on beige paper

Moorish horseman in profile facing right, a black slave holding a fur at right, another horseman to left in the background, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching, Plate: 7 1/2 × 7 1/16 in.

The Bench, 1758–64, Etching and engraving; fifth state of five, sheet: 12 3/4 x 8 9/16 in. (32.4 x 21.7 cm), Prints, William Hogarth (British, London 1697–1764 London

Bust of Hercules and Dejanira, ca. 1531–76, Engraving, sheet: 6 1/16 x 4 7/16 in. (15.4 x 11.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Horses, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-5/8 x 2- 7/8 in. (6.7 x 7.3 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

The Thin Kitchen, 1563, Engraving; first state, plate: 8 3/4 x 11 1/2 in. (22.2 x 29.2 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish, ca. 1525–1569

Jason, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 3/4 × 2 3/16 in. (4.5 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets

Soupe à trois sous, 1859, Etching; only state (Glasgow); printed in black ink on medium weight ivory laid paper, plate: 5 15/16 x 8 15/16 in. (15.1 x 22.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

The State Cerberus, A Leaf Out of the Ænead, Freely Translated, December 11, 1834, Lithograph, sheet: 11 1/2 x 16 3/16 in. (29.2 x 41.1 cm), Prints, John Doyle (Irish, Dublin 1797–1868 London