Images at Librifly

Figure Studies: The Arrest of Christ?, Christ and the Canaanite Woman, Seated Male Figures, and Head of a Child (recto); Studies of an Arm, and of the Heads of an Old Man and Young Woman (verso), 1548–1628, Pen and brown ink, red chalk for

Two eagles, one devouring a lamb, from 'Eagles' (Les aigles), ca. 1651, Etching, Plate: 4 5/8 × 6 in. (11.8 × 15.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

View of Naples: Musée Borbonio, 19th century, Pen and black ink, graphite. Framing lines in pen and brown ink, brush and brown wash., sheet: 10 3/16 x 14 1/4 in. (25.8 x 36.2 cm), Drawings, Anonymous, French, 19th century

The Post Office, Middle Dutch Church (from Scenes of Old New York), 1870, Etching, plate: 8 3/4 x 5 3/8 in. (22.3 x 13.7 cm), Prints, Henry Farrer (American, London 1844–1903 New York

One Half Design for a Ceiling with Floral and Strapwork Motifs (recto); Slight Scribbles (verso)., 1709–30, Pen and brown ink over leadpoint or graphite (recto); leadpoint or graphite (verso), 8 9/16 x 4 13/16in. (21.7 x 12.3cm), Drawings,

Seated Woman in Profile after Antique Bas Relief, ca. 1660, Etching, Plate: 6 1/16 × 5 3/16 in. (15.4 × 13.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Apollo and Clytie, 1606, Etching; second state of two (Robert-Dumesnil), sheet: 6 9/16 x 9 7/16 in. (16.6 x 24 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Two Women and a Winged Boy on Clouds, 1696–1770, Pen and brown ink, brush and yellow and dark brown wash, over black chalk, 8-1/16 x 11-1/16 in. (20.5 x 28.1 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

A design for the painted decoration of a ceiling or walls, 1830–97, graphite, pen and ink, watercolor, and gold paint on laid paper mounted on blue wove paper, Overall: 10 3/8 x 14 13/16 in. (26.4 x 37.6 cm), Drawings, Jules-Edmond-Charles

War Scene (A Female Casualty), ca. 1870–72, Pen and black ink, brush and gray wash, with touches of red ink; heavy off-white wove paper, 7 13/16 x 13 3/4 in. (19.8 x 35cm), Drawings, Théodule-Augustin Ribot (French, Saint-Nicolas-d'Attez

Head of a Woman in Three Quarter View, from 'Various heads and figures' (Diverses tétes et figures), 1650, Etching, Sheet (trimmed): 3 5/16 × 2 5/8 in. (8.4 × 6.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

John Morrell, 1st Baseman, Boston, from World's Champions, Second Series (N43) for Allen & Ginter Cigarettes, 1888, Commercial lithograph, Sheet: 2 15/16 x 3 1/4 in. (7.4 x 8.3 cm), Trade cards from 'World's Champions, ' Second Series (N43),

Design for a Ewer with Alternative Ideas for Fluted Decoration, a Handle in the Form of a Swan Attacking a Serpent, and a Spout in the Form of a Swan, 17th century, Pen and brown ink, blue wash, over black chalk, Sheet: 6 7/8 x 4 3/4 in. (17.5

The Copernican System, ca. 1639, Engraving, Sheet: 13 7/16 × 17 1/16 in. (34.2 × 43.4 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence), J. Girardin

Venus Disguised as a Huntress Appears to Aeneas (Aeneid I: 305 ff.), 1699–1768, Black chalk, highlighted with white chalk, on blue paper, overall: 12-3/8 x 16-9/16 in. (31.5 x 42.1 cm), Drawings, Stefano Pozzi (Italian, Rome 1699–1768

Jael Killing Sisera, ornamental frame, ca. 1517, Woodcut; second state, sheet: 13 1/2 x 9 1/8 in. (34.3 x 23.2 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

La Belle Dame Endormie, 1894, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on machine made off-white smooth wove paper, Image: 7 15/16 × 6 1/8 in. (20.2 × 15.6 cm), Prints, James

Ostrich hunt, from 'Animal hunts' (Chasses à différents animaux), ca. 1654, Etching, Sheet (trimmed to plate): 6 5/16 × 8 5/8 in. (16.1 × 21.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Four decorative motifs, 1830–97, graphite and pen and ink on various papers; mounted on cardboard, Overall: 11 3/8 x 7 3/16 in. (28.9 x 18.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

One of the Seven Falls of Christ (Schr. 655), 15th century, Woodcut, hand-colored, sheet: 4 x 3 7/16 in. (10.2 x 8.7 cm), Prints, Anonymous, German, 15th century

Bust of a Gentleman in an Oval Field, n.d., Black and white chalk, stumped, brush and gray wash, white gouache, on gray-green paper. Squared in black chalk., 12 1/4 x 9 13/16 in. (31.1 x 24.9 cm), Drawings, Hyacinthe Rigaud (French,

Reseller, 1737, Etching with some engraving, Sheet: 9 3/16 x 7 1/16 in. (23.3 x 17.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Young Man in a Velvet Cap (Ferdinand Bol), 1637, Etching, sheet: 3 3/4 x 3 1/16 in. (9.5 x 7.7 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Admiralty, Paris, 1865, Etching on laid paper, Plate: 6 5/8 x 5 3/4 in. (16.8 x 14.6 cm), Prints, Charles Meryon (French, 1821–1868

Saint Anthony of Padua Healing a Sick Man (recto); Partial Figural Studies Based on the Composition on the Recto (verso), 1590–1600, Pen and light brown ink, over black chalk; some reworking of contours in black chalk(?) (recto); black chalk

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor over graphite, Irregular sheet: 11 5/8 x 18 7/8 in. (29.6 x 48 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Christ Receiving the Virgin into Heaven, 1554–1627, Pen and brown ink, brush and brown wash, highlighted with white and light pink, over black chalk, on blue-green paper, 12 5/16 x 9 1/16in. (31.3 x 23cm), Drawings, Giovanni Battista Paggi

Simone Resting Her Head on the Back of a Chair, 1923, Drypoint; second state, restrike, plate: 5 11/16 x 6 15/16 in. (14.4 x 17.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

The Patron Saints of Austria, 1515–17, Woodcut, sheet: 7 1/8 x 14 5/16 in. (18 x 36.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Reader, ca. 1870, Etching on wove paper, sheet: 12 1/2 x 9 1/4 in. (31.7 x 23.5 cm), Prints, Henri Jean Augustin de Braekeleer (Belgian, Antwerp 1840–1888 Antwerp

Head of a young man in profile, from 'Various portraits' (Recueil de Diverses Piéces Servant à l'Art de Portraiture), ca. 1647, Etching, Plate: 3 3/8 × 2 9/16 in. (8.5 × 6.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence

La Vieille aux Loques, 1858, Etching and drypoint; fourth state of four (Glasgow); a late impression printed in black ink on cream wove paper, Plate: 8 3/16 × 5 13/16 in. (20.8 × 14.8 cm), Prints, James McNeill Whistler (American, Lowell,

Death's Door, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 9 1/2 x 5 7/16 in. (24.1 x 13.8 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa 1765–1810 London), After William Blake (British, London

Head of a Man plunged in Shadow, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out' (Ho hay que dar voces.), 1811–12, Etching, burnished aquatint, burin and burnisher, Plate: 6 in. × 8 1/16 in. (15.2 × 20.5 cm), Prints, Goya

Wiliam Henry Cavendish Bentinck, 3rd Duke of Portland, 1764–1802, Black and red chalk, varnished, on thin laid paper. Oval., 7-1/16 x 5-9/16 in. (17.9 x 14.1 cm), Drawings, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon

Plate 13 from the 'Disparates':Clear Folly, ca. 1816–23 (published 1864), Etching, burnished aquatint and lavis, Plate: 9 5/8 x 13 7/8 in. (24.5 x 35.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Sabrina's Silvery Flood, from Thornton's Pastorals of Virgil, 1821, Wood engraving; second state, block: 1 1/4 x 2 7/8 in. (3.2 x 7.3 cm), Prints, William Blake (British, London 1757–1827 London

Design for the Collège de France, Paris: Elevation of Court Front with Traverse Sections Through Side Court Wings, ca. 1772, Pen and black ink, gray, pink, blue and brown wash, 12 13/16 x 19 3/16 in. (32.5 x 48.8 cm), Jean François Chalgrin

A female figure seated beside a flower vase, 1775, Etching, sheet: 8 3/16 x 6 1/16 in. (20.8 x 15.4 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Hercules in the Garden of the Hesperides, 1612–56, Red chalk, 10 5/8 x 6 3/4in. (27 x 17.1cm), Drawings, Baldassarre Franceschini (il Volterrano) (Italian, Volterra 1611–1690 Florence

Portrait of Vigée-Lebrun, Etching, image: 3 1/4 x 2 13/16 in. (8.2 x 7.2 cm), oval, Prints, Jean Philippe Guy Le Gentil, comte de Paroy (French, 1750–1824), After Élisabeth Louise Vigée Le Brun (French, Paris 1755–1842 Paris

Whistler's 'Portrait of Himself', 1888, Roulette, aquatint and etching printed in brown ink; seventh state of seven, plate: 12 7/8 x 8 7/8 in. (32.7 x 22.6 cm), Prints, Henri-Charles Guérard (French, Paris 1846–1897 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, Irregular sheet: 11 x 6 7/16 in. (28 x 16.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Stage Set at the Opéra, Paris: a Greenhouse, 1828–90, Graphite, Irregular sheet: 11 7/8 x 17 5/16 in. (30.2 x 43.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

A Domestic Scene: Woman Warming Clothes and Children in Front of a Fire, 1738? or 1744–98, Mixed method engraving and etching, 14 1/8 x 9 7/8in. (35.9 x 25.1cm), Prints, Vincenzio Vangelisti (Italian, 1738/44?–1798), After Annibale

Armed Three-master with Daedalus and Icarus in the Sky from The Sailing Vessels, 1561–65, Engraving; first state of three, Sheet: 8 3/4 x 11 5/16 in. (22.2 x 28.7 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

The Persian, 1632, Etching; New Holl.'s second state of three, Sheet: 4 7/16 × 7 1/8 in. (11.2 × 18.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Jupiter and Ganymede, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 7/8 × 2 3/16 in. (4.8 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by

Two Designs for Iron Balconies, 19th century, Pen and brown ink, sheet: 8 5/16 x 11 3/8 in. (21.1 x 28.9 cm), Anonymous, French, 19th century

Design for a Ceiling Decoration (recto); Daphne Pursued by Apollo (verso), 1680–1744, Pen and brown ink, over black chalk (recto); black chalk (verso), 12-3/8 x 8-9/16 in. (31.5 x 21.8 cm), Drawings, Lorenzo de' Ferrari (Italian, Genoa

Design for a ceiling decoration, 19th century, Graphite, pen, and ink with watercolor and gouache on peach wove paper, sheet: 16 1/4 x 14 1/4 in. (41.3 x 36.2 cm), Drawings, Anonymous, French, 19th century

Christ Crucified Between the Two Thieves (The Three Crosses), 1653, Drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Danse de satyres, n.d., Etching, first state, sheet: 6 3/16 x 8 3/4 in. (15.7 x 22.3 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Gentleman with a Sword Before Some Buildings, 1629, Etching; reverse copy, Sheet (trimmed): 5 1/2 × 3 3/4 in. (13.9 × 9.5 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris

Truth Removing the Blinders from the Eyes of Ignorance (recto); Designs for Frames (verso), 1625–1704, Red chalk and red wash, traces of white highlighting and black chalk on light brown paper, 10 1/4 x 9in. (26 x 22.9cm), Drawings, Cosimo

Study for the Astor Library, New York, 1843, Watercolor, ink and graphite, Sheet: 20 3/4 x 14 1/2 in. (52.7 x 36.8 cm), Alexander Jackson Davis (American, New York 1803–1892 West Orange, New Jersey), This striking design for the Astor

Rocky Landscape with Eight Figures, 1750–80, Pen and dark brown ink, brush and dark brown ink., sheet: 9 11/16 x 16 5/8 in. (24.6 x 42.3 cm), Drawings, Imitator of Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

S. Maria in Domnica, portico, plan; details, profile (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/4 x 22 13/16 in. (43.8 x 58 cm), Drawings

A Woman and Man Sacrificing in the Presence of Cupid, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Engraved by Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice

Erasmus of Rotterdam (copy), n.d., Engraving, Sheet: 9 3/16 × 7 5/16 in. (23.3 × 18.6 cm), Prints, Anonymous, German, 16th century, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set (recto); Fragmentary Sketch of a Plan (verso), 1698–1765, Pen and brown ink, brush with brown and gray wash (recto); pen and brown ink (verso), 5 5/16 x 4 in. (13.5 x 10.2 cm), Drawings, Giovanni Battista Natali III

Design for a Compote Dish, a Server and an Urn, 19th century, Pen and brown ink, image: 6 5/8 x 8 7/8 in. (16.9 x 22.6 cm), Drawings, Anonymous, French, 19th century

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

Ornamental Design for Niche, 18th century, Leadpoint or graphite, 10 11/16 x 15 7/16 in. (27.1 x 39.2 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 16 5/16 x 10 1/4 in. (41.5 x 26.1 cm), Drawings, Anonymous, French, 19th century

Gardener, from Hortulanae series, Etching, image: 13 9/16 x 7 13/16 in. (34.4 x 19.8 cm), trimmed to image, Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Design for Fringed Curtains, early 19th century, Ink and wash, sheet: 8 5/8 x 12 3/16 in. (21.9 x 31 cm), Anonymous, British, 19th century

Winged Infant Riding a Crouching Horse, n.d., Pen and brown ink, sheet: 4 13/16 x 6 3/8 in. (12.2 x 16.2 cm), Drawings, Giulio Romano (Italian, Rome 1499?–1546 Mantua

Juno, Ceres, and Psyche in the clouds conversing, Juno seated with a peacock at her feet, Ceres wearing a garland of wheat and Psyche partially naked and holding a cloth, ca. 1515–27, Engraving, Sheet (Trimmed): 10 7/16 in. × 8 in. (26.5 ×

Design for a Funerary Monument, 18th century, Pen and brown ink over graphite on laid paper, sheet: 5 5/8 x 5 3/8 in. (14.3 x 13.7 cm), Drawings, Attributed to Anonymous, French, 18th century

Long, Low Purple Lacquer Table with 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

Amphion, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 3/4 × 2 3/16 in. (4.5 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean

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

Hélène of Septeuil, ca. 1890, Drypoint; second state of three, plate: 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Pieta under the Cross of Golgatha, 1547, Engraving, sheet: 10 7/8 x 7 3/16 in. (27.6 x 18.3 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome

Two lovers on a bed, from 'The Loves of the Gods', ca. 1531–76, Engraving, sheet: 6 1/8 x 4 5/16 in. (15.6 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Wife-Beater, ca. 1633, Etching with engraving, Sheet (trimmed): 10 1/16 in. × 13 in. (25.6 × 33 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Frame or Epitaph (recto); Caryatid Supporting a Frame (verso), 1652–1725, Pen and light brown ink, brush and brown wash over traces of black chalk (recto); Black chalk (verso), sheet: 9 3/4 x 6 in. (24.7 x 15.2 cm), Attributed to

Standing Draped Female Figure, 1612–75, Pen and brown ink, 7-1/2 x 4-1/8 in. (19.0 x 10.4 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

Landscape with a Haybarn and a Flock of Sheep, 1652, Etching and drypoint on japan paper, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Seaport with Sailors Loading Merchandise, 1774, Mezzotint, sheet: 10 7/8 x 13 11/16 in. (27.6 x 34.8 cm), Prints, Richard Earlom (British, London 1743–1822 London), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682

Arrivée en Alsace du commissaire extraordinaire Coco Romieu, published in Le Charivari, February 28, 1850, Lithograph, sheet: 10 x 12 15/16 in. (25.4 x 32.8 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

Harvest Trophy, 19th century, Pen and brown ink, brush and brown wash, black chalk, heightened with white. Pricked for transfer., 13 1/16 x 11 5/8in. (33.2 x 29.6cm), Drawings, Charles Monblond (French, 19th century

Pont-neuf, Paris, 1853, Etching and drypoint on laid paper (Hudelist); tenth state of eleven, plate: 7 1/4 x 7 3/16 in. (18.4 x 18.3 cm), Prints, Charles Meryon (French, 1821–1868

Design for Choir Stalls Showing the Entrance to the Choir through the Rood Screen, 16th century, Pen and brown ink, brush and brown wash, sheet: 10 7/8 x 7 5/8 in. (27.6 x 19.4 cm), Drawings, Anonymous, French, 16th century

Virgin and Child Seated by the Wall, 1514, Engraving, Sheet: 6 in. × 4 1/8 in. (15.2 × 10.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Adoration of the Lamb, from the Apocalypse series, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Alternative designs for the painted decoration of a ceiling, 19th century, pen and ink, watercolor, and gold paint on laid paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Design for a sepulchral monument with an allegory of Time; verso: Design for a sepulchral monument, late 17th–early 18th century, Pen and brown ink, over red chalk and black chalk or graphite, red and brown brownish grey wash; verso: pen and

Kneeling, Seated and Standing Figures (recto); Seated, Kneeling and Reclining Figures (verso), 1501–47, Pen and brown ink, reworked with black ink (recto); pen and brown and black ink (verso), 6 3/8 x 8 7/8in. (16.2 x 22.5cm), Drawings,

Allegorical Figure of Religion (recto); Study of a Griffon and of a Seated Figure (verso), 1553–1615, Red chalk with some black chalk, 7-13/16 x 5-1/8 in. (19.8 x 13.0 cm), Drawings, attributed to Cherubino Alberti (Zaccaria Mattia) (Italian,

Portrait of Tommaso Salini (ca. 1578-1630), 1620, Black chalk and charcoal, red chalk, white chalk on brown paper (faded from blue?). Framing lines in pen and brown ink, 8 7/8 x 6 7/16 in. (22.6 x 16.4 cm), Drawings, Ottavio Leoni (Il

Designs for Three Candelabras, Two Fruit Dishes and a Server, 19th century, Pen and brown ink, image: 14 7/16 x 11 in. (36.6 x 27.9 cm), Drawings, Anonymous, French, 19th century

Satyr Leading a Centauress Who Holds a Satyr Child, 1727–1804, Pen and dark brown ink, brush and dark brown wash, 7 1/2 x 10 3/4in. (19 x 27.3cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

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

The Clown: M. Joret, 1885, Pen and black ink (faded to brown), 5 x 4 in. (12.7 x 10.21cm), Drawings, Henri de Toulouse-Lautrec (French, Albi 1864–1901 Saint-André-du-Bois

Design for a Ceiling Decoration., 1709–20, Pen and brown ink, brush and gray-brown wash, over graphite or leadpoint with ruled and compass construction, Sheet: 8 5/16 x 11 9/16 in. (21.1 x 29.4 cm), Drawings, Donato Giuseppe Frisoni

Ram, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Engraved by Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561 Venice

Virgin and Child with Angels, 1639, Etching; second state (?) of three (Robert-Dumesnil), sheet: 10 13/16 x 8 1/2 in. (27.5 x 21.6 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris