Images at Librifly

The Art Connoisseurs, 1823–28, Lithograph with hand-coloring, Sheet: 12 3/8 x 10 1/16 in. (31.4 x 25.5 cm), Prints, Louis Léopold Boilly (French, La Bassée 1761–1845 Paris), With great intensity, brows furrowed and mouths open, a

Design for Bathroom Ceiling, Hôtel Cahen d'Anvers, second half 19th century, Pen and black and brown ink, watercolor, 9 x 8 1/2 in. (22.9 x 21.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Domus Aurea, unidentified, grotteschi, details (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 8 5/16 x 2 7/16 in. (21.1 x 6.2 cm

Les Danseurs a la Flute et au Tambourin (Two Dancers Playing the Flute and the Tambourine), from Les Caprices Series B, The Nancy Set, 1617–20, Etching; first state of two (Lieure), Sheet: 7 5/16 x 10 3/8 in. (18.5 x 26.3 cm), Prints,

Two Tables with a Purple Finish, One with a Red Vase, the Other with Three Vases, 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 an Altar, 18th century, Pen and black ink, brush and gray wash. Scale in pieds at left., sheet: 11 9/16 x 8 13/16 in. (29.4 x 22.4 cm), Anonymous, French, 18th century

The Great Exhibition 'Wot is to Be', Probable Results of The Industry of All Nations in The Year '51, Showing What is to be Exhibited, Who is To Exhibit, in Short How Its All Going to Be Done, 1850, Wood engraving, sheet: 5 1/16 x 9 5/16 in.

Drawing of Capital from the Vatican, 18th century, Pen and black ink, brush and gray wash, 7 13/16 x 6 7/8 in. (19.9 x 17.5 cm), Drawings, Anonymous, French, 18th century

In the Zoological Garden, 1850–1914, Etching; first state of two, sheet: 11 3/8 x 14 15/16 in. (28.9 x 38 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

The Holy Trinity (recto); Studies of Seated Female Figures (the Virgin and another Saint?) (verso), 1634–1705, Red chalk (recto); faint red chalk (verso), 10 1/2 x 15 1/8in. (26.6 x 38.4cm), Drawings, Luca Giordano (Italian, Naples

Winged Putto Holding the Base of a Cross, 1477–1510, Red chalk, highlighted with white, on blue-gray paper, 7 1/16 x 5 13/16in. (17.9 x 14.8cm), Drawings, Circle of Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 5/16 x 8 5/8 in. (28.7 x 21.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Les Jocrisses de L'Amour, 1897, Pen and black ink, brush and black and blue wash, blue crayon, graphite, corrected with white on tracing paper, 16 5/16 x 12 1/8in. (41.5 x 30.8cm), Drawings, Luc Leguey (French, born Paris, 1876

The Temptation of St. Anthony, 1509, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Dead Christ Mourned by Saint Mary Magdalen (recto); The Holy Family with an Attendant (verso), 1778–87, Pen and brown ink, on beige paper (recto); black chalk (verso), 5 3/16 x 6 5/16in. (13.2 x 16cm), Drawings, Giuseppe Cades (Italian,

Harbour with a Large Tower, ca. 1641, Etching; third state of six (Mannocci), sheet: 5 1/16 x 7 11/16 in. (12.8 x 19.5 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Nocturne: Shipping, 1879–80, Drypoint; first state of five (Glasgow); printed in black ink on pale buff laid paper, Plate: 6 × 8 9/16 in. (15.3 × 21.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Elevation of a wall design, possibly for a chapel, second half 19th century, graphite and pen and ink on wove paper, sheet: 13 x 11 9/16 in. (33 x 29.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Study for Ex-voto Picture, 1597–1646, Pen and brown ink, brush and brown wash with faint lavender, 8 1/8 x 12 1/8in. (20.6 x 30.8cm), Drawings, attributed to Ludovico Lana (Italian, Codigoro near Ferrara 1597–1646 Modena

Head of a Man, 1837–1911, Red chalk, 16 7/8 x 12 7/8 in. (42.9 x 32.7 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Charity, 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

Three designs for painted decorative motifs featuring griffins and scrollwork, 1830–97, pen and ink, wash and watercolor over graphite on wove paper, Overall: 19 3/8 x 13 3/8 in. (49.2 x 34 cm), Drawings, Jules-Edmond-Charles Lachaise

Holy Family with Christ Child Stepping on Serpent, 1639, Etching; second state of two (Robert-Dumesnil), sheet: 12 1/16 x 16 3/8 in. (30.6 x 41.6 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Triumphal Scene, 1511–87, Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of black chalk, 5 5/16 x 12 1/16in. (13.5 x 30.6cm), Drawings, Lelio Orsi (called Lelio da Novellara) (Italian, Novellara

Illustrations for an Allegorical Pattern Book, late 18th–early 19th century, Pen and gray ink, red chalk, 19 3/16 x 12 13/16 in. (48.8 x 32.6 cm), Drawings, Antoine Borel (French, Paris 1743–after 1810

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, black chalk, watercolor, sheet: 9 3/4 x 12 1/2 in. (24.7 x 31.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Reading of Lottery Winners, 1746, Etching with some engraving, Sheet: 9 1/2 x 7 3/8 in. (24.1 x 18.8 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French,

Frontispiece for Catalogue of the second portion of the important collection of modern etchings, engravings, and lithographs, to property of Monsieur Philippe Burty, of Paris (London, June 1878), 1878, Etching on laid paper, sheet: 12 5/16 x

Studies of Standing Men, ca. 1891–92, Graphite, sheet: 10 5/8 x 8 1/4 in. (27 x 21 cm), Drawings, Mihály Munkácsy (Hungarian, Mukachevo (Munkács) 1844–1900 Endenich

Arch of Septimius Severus, pilaster capital, elevation; impost and arch elevation; detail (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 5/8 x 11 3/8 in. (44.7 x 28.9 cm

Public Characters, April 1, 1801, Etching, hand colored, sheet: 17 5/8 x 13 1/8 in. (44.8 x 33.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard Woodward (British, ca. 1760–1809 London

Floral Design, n.d., Pastel on gray paper, 11 5/8 x 9 in. (29.5 x 22.9 cm), Drawings, Jean François Bony (French, Givors 1760–1825 Paris

Frederick the Wise, Elector of Saxony, 1524, Engraving, Sheet: 7 1/2 × 4 15/16 in. (19.1 × 12.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Chair, ca. 1820, Ink, watercolor and wash, sheet: 7 5/16 x 4 7/16 in. (18.5 x 11.3 cm), Attributed to Gillows (British, 19th century

Study for the modeling stand of the Ugolino group, 19th century, Pen and brown ink, 6 3/4 x 4 7/8 in. (17.1 x 12.4 cm), Drawings, Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie), Carpeaux drew this in preparation for a

Design for a Stage Set at the Opéra, Paris: Balustrade, 1830–90, Graphite, Irregular sheet: 1 5/8 x 7 13/16 in. (4.2 x 19.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Winged Putto Crowning a Seated Woman Who Looks to the Left, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, 8 7/8 x 6 7/8in. (22.5 x 17.4cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Jupiter, Pluto and Neptune Offering their Riches to Fortune, 1624, Etching, 9 15/16 x 6 1/8 in. (25.2 x 15.6 cm) (clipped impression), Prints, Pierre Brebiette (French, Mantes-sur-Seine ca. 1598–1642 Paris), After Claude Vignon (French,

Mask, Etching, Prints, Attributed to Stefano della Bella (Italian, Florence 1610–1664 Florence

Framed Design for an Altar, ca. 1710–20, Pen and brown ink, brush and brown and gray wash over traces of leadpoint, on cream laid paper. A vertical line in leadpoint trough the center to create the symmetry of the design, 1-3 1/4 x 8- 3/4 in.

Drawing of an Interior: Salon, 1850, Graphite, pen and brown ink, watercolor. Framing lines in graphite., sheet: 4 3/4 x 8 1/8 in. (12 x 20.7 cm), Drawings, Anonymous, French, 19th century

Plate 12: a cow drinking from a stone trough, other cows to left in background, from 'Diversi capricci', ca. 1644–47, Etching; third state of four, Sheet: 3 1/4 × 4 1/8 in. (8.3 × 10.4 cm), Prints, Stefano della Bella (Italian, Florence

The Sacrifice of Noah, 1765, Etching, Sheet: 10 3/4 × 16 1/4 in. (27.3 × 41.3 cm) (clipped to picture), Prints, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon), After Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa

The Nativity, Black and white chalk on paper, 6 1/2 x 9 3/4 in. (16.5 x 24.8 cm.), Drawings, Louis Licherie de Beurie (French, Houdan 1629–1687 Paris

Design for a Stage Set at the Opéra, Paris: 'Trattoria di Parigi', 1830–90, Graphite, pen and red ink, sheet: 10 3/4 x 4 1/16 in. (27.3 x 10.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study of Drapery, ca. 1813, Black and white chalk with stumping on blue paper, 10 1/16 x 10 1/4 in. (25.5 x 26 cm), Drawings, Pierre Paul Prud'hon (French, Cluny 1758–1823 Paris

The Petit Pont, Paris, 1850 and later, Etching and engraving on green laid paper; fourth state (of nine), plate: 10 7/16 x 7 5/16 in. (26.5 x 18.5 cm), Prints, Charles Meryon (French, 1821–1868

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, Irregular sheet: 10 13/16 x 10 in. (27.4 x 25.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Last Papal Assembly (La dernière assemblée papale), June 1796, Hand-colored etching, sheet: 10 3/8 x 14 5/8 in. (26.3 x 37.2 cm), Prints, Anonymous, French, 18th century

In the Omnibus, 1890–91, Drypoint and aquatint, printed in color from three plates; seventh state of seven (Mathews & Shapiro), plate: 14 5/16 x 10 1/2 in. (36.4 x 26.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania

The Wedding Night, May 20, 1797, Hand-colored etching, plate: 12 3/4 x 18 11/16 in. (32.4 x 47.5 cm), Prints, Isaac Cruikshank (British, Edinburgh, Scotland 1764–1811 London

Lapwings and Teals, 1862, Etching, Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for the decoration of aceiling with painted clouds and a pierced border, 1830–97, graphite, pen and ink, wash, and watercolor on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Saint Thomas holding a square rule, his head turned to the right, ca. 1515–27, Engraving, Sheet (Trimmed): 8 5/16 × 4 15/16 in. (21.1 × 12.6 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), After Marcantonio

Portrait of a Man, Charcoal, stumped, black and red chalk, a little black crayon, 11 1/2 x 8 9/16 in. (29.2 x 21.8 cm), Drawings, Anonymous, French, 16th century, Circle of Nicolas Lagneau (French, 16th–17th century

Project for Decoration, 1553–1615, Pen and brown ink, brush and brown wash, 11 x 5 1/2in. (28 x 14cm), Drawings

The Circumcision, ca. 1520, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Ennui (The Small Plate), 1914–15, Etching and engraving; only state, plate: 8 5/16 x 6 7/16 in. (21.1 x 16.4 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Songs of Innocence and of Experience: The Little Girl Found (second plate), 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

Design for a Bucket-Like Vessel with a Handle of Strapwork, on a Body Adorned with Dancing and Music-Making Antique-Style Figures., 1540–50, Pen and brown ink, brush and gray-brown wash, over black chalk; traces of framing outline in pen and

The Holy Family with Two Angels in a Vaulted Hall, ca. 1503, Woodcut, sheet: 8 5/8 x 6 in. (21.9 x 15.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 23 from the 'Tauromaquia':Mariano Ceballos, alias the Indian, kills the bull from his horse., 1816, Etching and burnished aquatint, Plate: 9 13/16 × 13 7/8 in. (25 × 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Study of a Figure, 1888, Metalpoint, 10 7/8 x 8 1/4 in. (27.7 x 20.9 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Elevation of a Pulpit, Side View, R. Edmundson & Sons, early 19th century, Ink and watercolor, sheet: 9 1/2 x 11 7/8 in. (24.1 x 30.2 cm), Anonymous, British, 19th century

Design for Three Gothic Hat and Umbrella Stands, early 19th century, Graphite, sheet: 10 13/16 x 14 15/16 in. (27.5 x 38 cm), Anonymous, British, 19th century

The Last Trumpet (recto); Two studies of a right eye, a profile of an open-mouthed young man, the head of an eagle, and the head of a lion (verso), ca. 1780–85, Pen and gummed carbon black ink and layered gray ink washes with graphite

The Supper at Emmaus, 1654, Etching, burin and drypoint; second state of two, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Presentation of the Virgin in the Temple, from The Life of the Virgin, ca. 1503, Woodcut, sheet: 17 5/16 x 12 in. (44 x 30.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Robert Holding a Cat, ca. 1882, Drypoint; only state, plate: 6 5/8 x 5 in. (16.8 x 12.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

The Genius of Castiglione, ca. 1645–47 (published 1648), Etching, sheet: 17 13/16 x 14 3/4 in. (45.2 x 37.5 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua), In Castiglione’s most famous

Dugler, from Indian Trades and Castes, ca. 1840, Watercolor and gouache, sheet: 14 3/8 x 10 3/8 in. (36.5 x 26.4 cm), Drawings, Anonymous, Indian, 19th century

Plate 16 from 'Los Caprichos':For heaven's sake: and it was her mother (Dios la Perdone: Y era su madre), 1799, Etching, aquatint and drypoint, Plate: 7 3/4 × 5 7/8 in. (19.7 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Peasant on a Donkey, ca. 1783–87, Watercolor, over graphite., 13-7/16 x 17-1/8 in. (34.1 x 43.5 cm), Drawings, Giovanni Battista ('Titta') Lusieri (Italian, Rome 1754–1821 Athens

The Presentation of The Virgin in the Temple, from The Life of The Virgin, ca. 1503, Woodcut, sheet: 11 3/4 x 8 5/16 in. (29.9 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Fitting, 1890–91, Drypoint and soft-ground, printed in black ink; second state of seven (Mathews & Shapiro), plate: 14 7/8 x 10 1/16 in. (37.8 x 25.6 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le

Plate 13: Two pikemen walking towards the right, each with their pikes in their right hands, from 'Various Figures' (Agréable diversité de figures), 1642, Engraving; undescribed state between second and third of five, Sheet: 2 5/8 × 3 15/16

The Ascension, n.d., Woodcut, sheet: 2 1/2 x 2 in. (6.4 x 5.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Fame, 1649–50, Etching; proof for figure of Fame, Sheet: 4 1/8 × 7 1/16 in. (10.5 × 18 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Palazzo dei Conservatori, Ionic capital, elevation (recto) Palazzo dei Conservatori, Ionic capital, plan and projection (verso), early to mid-16th century , Pen and brown ink, sheet: 8 7/8 x 11 1/8 in. (22.5 x 28.3 cm), Drawings

Scarlet Gilia, Gilila aggregata, May 18, 1913, 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

The Annunciation, from the Small Passion, copy, n.d., Woodcut, Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Johann Mommard

Frontispiece for Dialogo di Galileo Galilei, 1632, Etching; fourth state of four, Sheet: 8 in. × 5 9/16 in. (20.3 × 14.2 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Mars, Venus, and Cupid, ca7–1639, Etching, Plate: 10 1/2 × 7 11/16 in. (26.7 × 19.5 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona), After Paolo Veronese (Paolo Caliari) (Italian, Verona 1528–1588 Venice

Saint Sebastian, 1620–49, Pen and brown ink, brown wash, red chalk, squared and numbered in black chalk., sheet: 10 11/16 x 6 7/8 in. (27.2 x 17.4 cm), Drawings, Hans Friedrich Schorer (German, ca. 1609–1649, (active Augsburg)), After

Young Hunter with His Dogs in a Landscape, 1641–1710, Pen and brown ink, brush and watercolor, 8 5/16 x 12 1/16in. (21.1 x 30.6cm), Drawings, Giovanni Francesco Castiglione (Italian, Genoa 1641–1710 Genoa), The graphic oeuvre of the

Studies for a Circular Composition of Diana and Her Nymphs Bathing (recto); Studies for the Same Composition (verso), 1529–66, Pen and brown ink, brush and brown wash, sheet: 10 3/4 x 8 1/8 in. (27.3 x 20.7 cm), Drawings, Taddeo Zuccaro

Three studies on a man on a saddle, late 18th–early 19th century, Black chalk (or graphite?) and white chalk, on blue paper, sheet: 7 1/16 x 10 5/8 in. (18 x 27 cm), Drawings, Wilhelm von Kobell (German, Mannheim 1766–1853 Munich

The Martyrdom of St. Lawrence, ca. 1627, Etching, second state of three (Pacht Bassani), sheet: 7 3/16 x 12 1/16 in. (18.3 x 30.6 cm), Prints, Claude Vignon (French, Tours 1593–1670 Paris

Design for a Stage Set, 1830–90, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Old Woman With Grapes, ca. 1523, Engraving, sheet: 4 7/8 x 3 5/8 in. (12.4 x 9.2 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

House with a Turret, rue de la Tixéranderie, Paris, 1852, Etching on laid paper; third state of five, plate: 9 11/16 x 5 3/16 in. (24.6 x 13.1 cm), Prints, Charles Meryon (French, 1821–1868

Portraits of Jean-Baptiste-Joseph Gobel (1727-1794), Bishop of Paris in 1792-93, and Pierre-Gaspard Chaumette (1763-1794), Procurator of the Commune in 1792, sketched on the way to the guillotine, April 12, 1794., 1794, Black chalk, 6 7/16 x

Allegorical Figures of Religion and Venice Flanking an Empty Cartouche, 1709–87, Graphite. Framing lines in graphite, 3-3/4 x 7-1/4 in. (9.5 x 18.4 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

The Weavers, late 19th–mid-20th century, Pen and black ink, brush and gray wash, over some black chalk, with a touch of white chalk, Whole sheet 13 1/4 x10 1/2 in. (33.7 x 26.7 cm), Drawings, Käthe Kollwitz (German, Kaliningrad

Les Demoiselles de village, after Courbet, 1850–1914, Etching on laid paper; third and final state, sheet: 11 7/16 x 14 3/4 in. (29 x 37.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Gustave Courbet (French,

Partial design for a circular ceiling decoration, 1830–97, graphite and watercolor on tracing paper; mounted on cardboard, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Frieze with a Censer, Sphinxes and Acanthus Scrolls, ca. 1760–80, Pen and brown and gray ink, with colored wash, heightened with white, 1 11/16 x 11 13/16 in. (4.3 x 30. cm), Gilles Paul Cauvet (French, Aix 1731–1788 Paris

Christ Crowned with Thorns, from The Passion, 1512, Engraving, Sheet: 4 9/16 × 2 15/16 in. (11.6 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Elevation of a salon decorated in Louis XV style, 19th century, graphite, watercolor, wash, and gold paint on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Two Partially Draped Male Figures in a Pendentive, 1603–84, Pen and brown ink, brush and pale gray wash, over black chalk, 11 5/16 x 8 7/8in. (28.7 x 22.5cm), Drawings, attributed to Giovanni Battista Carlone (Italian, Genoa 1603–1684