Images at Librifly

Reclining Nude Figure (recto); unidentifiable sketches (verso), n.d., Red, black, and white chalks, 5 5/16 x 8 11/16 in. (13.5 x 22.0 cm), Drawings, Attributed to Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne

Allegory of Abundance, 17th century, Pen and brown ink, brush and gray wash., 10 9/16 x 8 3/16 in. (26.9 x 20.8 cm), Drawings, Anonymous, French, 17th century

Nicolas Chrystin, bourgeois d'Anvers, Etching, sheet: 12 5/8 x 9 3/4 in. (32 x 24.7 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Anthony van Dyck (Flemish, Antwerp 1599–1641 London

Saint John the Baptist in a Landscape, 1600–1625, Pen and brown ink, over a sketch in red chalk., sheet: 7 5/16 x 5 3/16 in. (18.5 x 13.2 cm), Drawings, Hans Stutte (German, active Lübeck, died before 1625

Design for a Cartouche with garlands and antique vase, 18th century, Graphite or leadpoint with ruled and compass construction, 10 3/8 x 5 11/16 in. (26.4 x 14.4 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca.

Faust, ca. 1652, Etching, drypoint, and burin, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor and gouache over graphite, Irregular sheet: 11 x 21 in. (27.9 x 53.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Virgin Standing on Clouds Holding a Scapular in Her Left Hand, 1675–1741, Pen and brown ink, brush and gray wash, over black chalk, 9 3/8 x 6 5/16in. (23.8 x 16.1cm), Drawings, attributed to Giovanni Antonio Pellegrini (Italian, Venice

Medea: or The Marriage of Jason and Creusa, 1648, Etching with touches of drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Title to the French Set, 1858, Etching; only state (Glasgow); black ink on gray chine on off-white wove paper (chine collé), Plate: 4 3/8 × 5 3/4 in. (11.1 × 14.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The Mast (The Venetian Mast), 1879–80, Etching and drypoint; sixth state of twelve (Glasgow); printed in black ink on , Plate: 13 3/8 × 6 in. (34 × 15.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Grossmonger, in Low Cast of Malabar, 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

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, brush and brown wash, Irregular sheet: 9 3/16 x 6 1/16 in. (23.4 x 15.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Apotheosis of a Saint, Project for a Ceiling, 18th century, Pen and black ink, brush and grey ink, over black chalk, on greyish prepared paper, sheet: 16 9/16 x 11 3/4 in. (42.1 x 29.9 cm), Drawings, Johann Anwander (German,

Saint Sebastian pierced with arrows and tied to a tree, ca. 1639, Etching, Sheet: 7 3/4 × 5 3/16 in. (19.7 × 13.1 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Design for Ceiling, 18th century, Brush with brown, yellow, and red watercolor over leadpoint or graphite, with ruled and compass construction, 8 3/8 x 7 15/16 in. (21.3 x 20.1 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese

Little Court, [1880–81], Etching and drypoint; first state of two (Glasgow); printed in black ink on ivory laid paper, Plate: 4 15/16 × 6 7/8 in. (12.5 × 17.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

The Adoration of the Lamb, from The Apocalypse, n.d., Woodcut, sheet: 17 3/8 x 12 in. (44.1 x 30.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

La Loi Solaire, 19th century, Etching, Prints, Charles Meryon (French, 1821–1868

Young Lady's Reply to the Captain's Letter, ca. 1636, Etching; second state of two, Sheet: 18 3/8 × 12 3/8 in. (46.7 × 31.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Festival Display of Fireworks (recto); Small Figures by a different hand (verso), 18th century, Black chalk with touches of red chalk (recto); red chalk and graphite (verso), 11 x 18 1/2 in. (28 x 47 cm) (irregular), Drawings,

Joseph Telling His Dream to Jacob, 1512, Engraving; first state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Console Table, 19th century, Graphite, with framing lines in graphite, 8 11/16 x 7 3/16 in. (22 x 18.2 cm), Anonymous, French, 19th century

Beggar with a Wooden Leg, ca. 1630, Etching; New Holl. first state of four, Sheet: 4 1/2 × 2 5/8 in. (11.4 × 6.7 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Toilettes de Mme. L. Massieu, from La Mode Illustrée, 1881, Steel engraving with hand coloring, Sheet: 13 11/16 x 9 13/16 in. (34.8 x 25 cm), Prints, Adèle-Anaïs Toudouze (French, Paris 1822–1899 Paris), J. Bonnard (French, active 19th

A Peasant Yawning, Engraving, sheet: 7 11/16 x 8 1/16 in. (19.5 x 20.4 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Anonymous, Flemish, 17th century

Docking the Macaroni–or the Butcher's Revenge, ca. 1773, Etching and engraving, sheet: 20 1/4 x 14 3/16 in. (51.4 x 36 cm), Prints, Anonymous, British, 18th century

Design for a Renaissance Style Carved Cabinet, early 19th century, Ink and wash, sheet: 10 11/16 x 14 15/16 in. (27.2 x 37.9 cm), Anonymous, British, 19th century

The Circle of the Lustful: Paolo and Francesca, from Dante's Inferno, Canto V, ca. 1825–27, Engraving, plate: 9 7/16 x 13 1/4 in. (24 x 33.7 cm), Prints, William Blake (British, London 1757–1827 London

Old woman on a swing (Vieja columpiándose), 1824–28, Etching and burnisher (?), Plate: 7 5/16 × 4 3/4 in. (18.5 × 12 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The entombment of Christ, the crosses on Calvary visble in left background, 1563, Etching and engraving, sheet: 11 7/16 x 7 in. (29.1 x 17.8 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Titian

The three graces, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 2 1/8 × 2 3/16 in. (5.4 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by

Group of Horsemen, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-1/8 x 4-1/2 in. (7.9 x 11.4 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

The Sojourn of the Holy Family in Egypt, from The Life of the Virgin, after 1511, Woodcut, sheet: 11 7/8 x 8 3/8 in. (30.2 x 21.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 5/16 x 5 5/8 in. (23.6 x 14.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Medea Kills her Two Children, 1563, Engraving; second state of three, sheet: 7 5/8 x 11 1/2 in. (19.3 x 29.2 cm), Prints, René Boyvin (French, Angers ca. 1525–ca. 1625 Angers (?)), After Leonard Thiry (French, died Antwerp, 1550

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite and gouache, Irregular sheet: 9 13/16 x 13 5/16 in. (24.9 x 33.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Doorway, 1879–80, Etching, drypoint and roulette; fourteenth state of twenty (Glasgow); printed in brownish-black ink on ivory laid paper, Plate: 11 1/2 x 7 7/8 in. (29.2 x 20 cm), Prints, James McNeill Whistler (American, Lowell,

Saint John the Baptist and Saint Bernardo degli Uberti (after Andrea del Sarto's Vallombrosa Altarpiece), 1540/41–1609, Black and red chalk, 7-7/8 x 4-1/4 in. (20 x 10.8 cm), Drawings, After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in

Touch, 1635–38, Etching, Sheet: 10 9/16 × 13 5/16 in. (26.8 × 33.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The 'Adam and Eve, ' Old Chelsea, 1878–79, Etching and drypoint; third state of three (Glasgow); printed in black ink on cream Japan, Plate: 6 7/8 × 11 3/4 in. (17.4 × 29.9 cm), Prints, James McNeill Whistler (American, Lowell,

Designs for Top and Four Sides of a Snuffbox with Scenes depicting the Ascent of a Hot Air Balloon, ca. 1784–89, Gouache, 1: 1 x 3 5/16 in. (2.5 x 8.4 cm), Anonymous, French, 18th century

A View of Brussels from the South, with the Halle Gate at Center; verso: Landscape Sketch, mid 17th century, Black chalk, grey wash, white chalk, on blue paper, sheet: 8 3/4 x 14 13/16 in. (22.3 x 37.7 cm), Drawings, Daniël Schellinks

Woodmonger in Culla Caste, 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

Design for Ceiling, 19th century, Graphite, 18 3/4 x 13 11/16in. (47.6 x 34.7cm), Drawings, Charles Monblond (French, 19th century

Saint Paul Speaking before King Agrippa (Acts 26), 1573, Pen and brown ink, brush and brown wash, over a little black chalk, 12-5/8 x 8-3/8 in. (32 x 21.3 cm), Drawings, Giorgio Vasari (Italian, Arezzo 1511–1574 Florence

Design for a Pulpit, n.d., Pen and black ink, black chalk with pink and yellow wash, over graphite underdrawing, 12 1/4 x 11 1/2 in. (31.1 x 29.2 cm), Drawings, Attributed to Augustin Pajou (French, Paris 1730–1809 Paris), Attributed to

Design for a Covered Vase with the Arms of the Aldobrandini and Pamphilj Families, ca. 1647, Pen and brown ink, brush and brown wash., 12-5/16 x 7-7/8 in. (31.3 x 20.0 cm), Alessandro Algardi (Italian, Bologna 1598–1654 Rome

Landscape with a shepherd and a dog, ca. 1653, Etching and drypoint; second state of two, sheet: 5 7/16 x 6 9/16 in. (13.8 x 16.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Plate 47 from 'Los Caprichos':A gift for the master (Obsequio á el maestro), 1799, Etching, burnished aquatint and burin, Plate: 8 3/8 × 5 13/16 in. (21.3 × 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Mother's Kiss, ca. 1891, Drypoint and soft-ground, printed in color; fifth state of five (Mathews & Shapiro), plate: 13 5/8 x 8 15/16 in. (34.6 x 22.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le

View of Berlin with the Dome and Castle, 1824, Pen and gray ink, watercolor, sheet: 12 1/16 x 18 1/4 in. (30.6 x 46.4 cm), Drawings, Ludwig Eduard Lütke (German, Berlin 1801–1850 Berlin

Scene from the Life of Alexander I, 19th century, Watercolor, pen and black ink, brush and brown wash., 26 1/2 x 19 1/2 in. (67.3 x 49.5 cm), Drawings, Franz von Hauslab the Younger (Austrian, Vienna 1798–1883

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 5 7/8 x 4 11/16 in. (15 x 11.9 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

La Fuite a Dessein, Etching and engraving; second state of three (Portalis), Sheet: 15 11/16 x 11 7/8 in. (39.8 x 30.2 cm), Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Charles François Adrien Macret

Design for a Hanging Chandelier, 19th century, Pen and brown ink, sheet: 10 1/4 x 6 13/16 in. (26 x 17.3 cm), Drawings, Anonymous, French, 19th century

Design for Ceiling with Putti, Hôtel of Doctor Cranchi, 1872, Watercolor and gouache, 14 1/2 x 6 3/8 in. (36.8 x 16.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Man Crying Out, Three-Quarters Left: Bust, ca. 1629, Etching; New Holl.'s seventh state of seven, Sheet: 1 5/8 × 1 7/16 in. (4.1 × 3.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Tyresmith, 1890, Transfer lithograph, drawn on medium-grained transfer paper; printed in black ink on smooth ivory wove paper, Image: 6 11/16 × 6 7/8 in. (17 × 17.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

La sainte Face couronnee d'epines, (petit format), early to mid 17th century, Etching, sheet: 7 9/16 x 5 5/16 in. (19.2 x 13.5 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Mon Bon Dodo, 1915, Etching; only state, plate: 3 3/4 x 4 5/8 in. (9.6 x 11.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Enthroned Warrior Distributing Crowns, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink on mount, 3-9/16 x 5-1/16 in. (9.0 x 12.8 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Laughing Man in a Gorget, 1625–40, Etching; first state of two, sheet: 9 3/16 x 7 11/16 in. (23.3 x 19.6 cm), Prints, Jan Georg (Joris) van Vliet (Dutch, Deft ca. 1610–ca. 1635), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden

Beggars Receiving Alms at the Door of a House, 1648, Etching, sheet: 6 1/2 x 5 1/16 in. (16.5 x 12.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

View of Naples: Place Royale, 19th century, Pen and black ink, brush and gray wash. Framing lines in pen and brown ink, brush and brown wash., sheet: 10 x 14 1/8 in. (25.4 x 35.9 cm), Drawings, Anonymous, French, 19th century

Emperor Maximilian I (copy), n.d., Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Elevation of Ceiling and Wall, Château de Deepdene, 1875–79, Watercolor and gouache, 10 1/4 x 12 1/4 in. (26.0 x 31.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Illustration for a Book: Saint Luke with a Female Allegorical Figure, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 4-1/2 x 6-15/16 in. (11.4 x 17.6 cm), Drawings, Giovanni Battista Tiepolo

Two Male Figures, one holding a basket, 18th century, Graphite, pen and black ink, brush and gray wash. Framing lines in brush and gray wash and pen and brown ink., sheet: 7 13/16 x 7 9/16 in. (19.8 x 19.2 cm), Drawings, Anonymous, French,

Allegory of the Arts, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 8 5/16 x 10 13/16 in. (21.1 x 27.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Unidentified Corinthian capital, elevation, section, and ceiling plan (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 7/16 x 8 11/16 in. (29 x 22 cm

Standing Nude Seen from the Back, ca. 1920, Red chalk on Montral paper, 13 1/8 x 9 3/8 in. (33.4 x 23.8 cm), Drawings, Aristide Maillol (French, Banyuls-sur-Mer 1861–1944 Perpignan

Ornamental design of Bacchanalia, 17th century, Pen and red ink, brush and red wash, oval., sheet: 2 1/2 x 3 5/16 in. (6.3 x 8.4 cm), Drawings, Attributed to Anonymous, Dutch, 17th century

Christ and the Woman Taken in Adultery, Black and white pastel, with stumping, 10 1/2 x 17 3/16 in. (26.7 x 43.6 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris

Illustration for a Book: Soldiers Surrendering to an Emperor, with a City in the Background, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3 x 6-1/16 in. (7.6 x 15.4 cm), Drawings, Giovanni

Two Women, One Holding an Anchor, and a Putto on Clouds, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 7-1/2 x 8-11/16 in. (19 x 22 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Little Courier, n.d., Engraving, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Head of an Angel, ca. 1833, Black chalk, stumped, heightened with white, 16 15/16 x 13 7/8 in. (43 x 35.2 cm), Drawings, Alphonse-Henri Périn (French, Paris 1798–1874 Paris

Design for the painted decoration of a coffered ceiling incorporating initials (G and H) for a house on the rue de Clichy, 1830–97, Watercolor, gouache, pen and black ink, and gilt, sheet: 10 11/16 x 9 1/8 in. (27.1 x 23.1 cm), Drawings,

Ornamental Design with Caryatid Figure Standing on Stool and Holding a Bowl; Puttis on the Sides Hold Drapery and Support Base with an Eagle; on the Right Side Decorative Figures with Acanthus surmounted by Flowing., 1762–1844, Pen and brown ink,

A Peasant Replying: 'Dats niet', 1634, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Chinese Style Bed, 19th century, Pen and black ink, brush and blue, brown and gray wash, and graphite, 15 7/8 x 22 1/8 in. (40.3 x 56.2 cm), Drawings, Anonymous, French, 19th century

The Assumption of the Virgin, n.d., Black chalk, heightened with white, 10 3/8 x 8 in. (26.3 x 20.3 cm), Drawings, Nicolas de Plattemontagne (French, Paris 1631–1706 Paris

View of the Palazza Madama, Rome (?), mid-18th century, Black chalk, stumped, with white chalk on gray paper, 11 x 16 1/8 in. (28.0 x 40.9 cm), Drawings, Attributed to Charles Michel Ange Challe (French, Paris 1718–1778 Paris

United States Military Academy: Song of the Graduates, 1852, Lithograph printed in black ink on cream wove paper, sheet: 13 1/16 x 10 1/16 in. (33.2 x 25.6 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Mars and Rhea Silvia: in the centre Mars holds a shield and sword, Rhea Silvia sleeping, Apollo in his chariot upper left, 1520–50, Engraving, sheet: 11 1/4 x 16 7/8 in. (28.6 x 42.8 cm), Prints, Attributed to Giulio Bonasone (Italian,

Plate 5: four ears, from 'The Book for Learning to Draw' (Livre pour apprendre à dessiner), ca. 1649, Etching, Plate: 3 3/8 × 2 5/8 in. (8.6 × 6.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Modes de Mme. Antonie Lalanne, No. 791, from Le Moniteur de la Mode, 1848, Steel engraving with hand coloring, Sheet: 12 3/8 x 7 3/8 in. (31.5 x 18.7 cm), Prints, Jules David (French, 1808–1892), Paul Deferneville (French, active 19th

Historical Scene, 1499–1543, Pen and brown ink, brush and brown wash, 8-3/8 x 11 in. (21.3 x 27.9 cm), Drawings, After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

'La Colere de Neptune, ' fontaine, 1767, Etching, before first state, sheet: 4 5/16 x 3 7/16 in. (11 x 8.7 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Port of Livorno with Statue of Ferdinand I, from 'Views of the port of Livorno' (Vues du port de Livourne), 1655, Etching; first state of two, Sheet: 10 1/8 × 14 5/8 in. (25.7 × 37.2 cm), Prints, Stefano della Bella (Italian, Florence

Don Quixote, after Goya, 1860, Etching; second and final state, sheet: 13 x 9 15/16 in. (33 x 25.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Courtier Following Edict Against Superfluity in Dress (Le Courtisan suivant le dernier édit), mid-17th century, Etching, sheet: 9 13/16 x 7 13/16 in. (24.9 x 19.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

La Belle Jardinière, 1894, Transfer lithograph with stumping and scraping, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on medium weight cream laid paper, Image: 8 3/4 × 6 1/4 in. (22.3 × 15.8 cm),

Four Designs for Tiered Serving Dishes, 19th century, Graphite, brush and gray and green wash, and gouache, sheet: 11 1/4 x 16 5/8 in. (28.5 x 42.2 cm), Drawings, Anonymous, French, 19th century

Red House, Paimpol, 1893, Transfer lithograph with scraping, drawn on fine-grained transfer paper (keystone) and thin, transparent transfer paper (color stones);listed as third state of three (Chicago), actually an unrecorded fifth state;

Diogenes searching for a honest man, ca. 1645–47, Etching, sheet: 11 3/4 x 8 1/4 in. (29.8 x 20.9 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Caricature Showing Marie Antoinette as a Dragon, 18th century, Etching, sheet: 4 5/8 x 3 7/8 in. (11.7 x 9.8 cm), Prints, Anonymous, French, 18th century

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

The Head of Pompey Presented to Caesar, Pen and gray ink, brush and pale gray wash. Framing line in dark green wash., Diameter: 13.6 cm., Drawings, Anonymous, French, 16th century