Images at Librifly

Standing Figure of Saint Stephen and the Head of Another Figure Within the Framing Outlines of a Rectangle, Crude Sketch of the Head of Another Figure, Undecipherable Sketch of a Polygonal or Circular Object with Small Projections, 1492–94, Pen

Saint Peter, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Unidentified subject: Standing Figure Placing a Scapular (?) on a Kneeling Figure, 1579–1665, Pen and brown ink, brush and brown wash, 12 5/16 x 8 3/4in. (31.3 x 22.2cm), Drawings, Astolfo Petrazzi (Italian, Siena 1580–1653 Siena

Back View of a Centaur Abducting a Satyress, 1727–1804, Pen and brown ink, brush and brown wash, over black chalk. Framing lines in pen and brown ink, 7 11/16 x 10 13/16in. (19.5 x 27.5cm), Drawings, Giovanni Domenico Tiepolo (Italian,

A satyr discovering a sleeping woman; two crabs hanging from a rope which is strung between a term and a tree, ca. 1515–27, Engraving, Sheet (Trimmed): 4 7/16 × 7 1/16 in. (11.3 × 17.9 cm), Prints, Marco Dente (Italian, Ravenna, active by

Ecclesia Christi (Faith), from the series of Sibyls, ca. 1530, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Illustration for a Book: Keys of a City Offered to a Procession of Cardinals Headed by a Riderless Horse, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-15/16 x 6-1/8 in. (7.5 x 15.5 cm), Drawings,

Plate 20: wolf, from 'Various animals' (Diversi animali), after 1641, Etching; reverse copy, Sheet (trimmed): 3 3/8 × 4 1/16 in. (8.6 × 10.3 cm), Prints, After Stefano della Bella (Italian, Florence 1610–1664 Florence

View of Rome, 1724, Red chalk, 9 11/16 x 14 3/4 in. (24.6 x 37.5 cm), Drawings, François Le Moyne (French, Paris 1688–1737 Paris

Presumed Portrait of Alexander the Great, 1719, Red chalk. Framing lines in black chalk., 8 1/8 x 5 7/8 in. (20.6 x 14.9 cm), Drawings, Bernard Picart (French, Paris 1673–1733 Amsterdam

The Betrayal of Christ, n.d., Woodcut, sheet: 15 9/16 x 10 7/8 in. (39.5 x 27.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Four Vases, ca. 1770–85, Pen and brown ink, and black chalk, 14 7/8 x 9 1/8 in. (37.8 x 23.2 cm), Drawings, Anonymous, French, 18th century

The Temple of Vespasian and the Roman Forum, from 'Six large views, four of Rome, and two of the Roman countryside' (Six grandes vues, dont quatre de Rome et deux de la Campagne romaine), 1656, Etching; second state of two, Sheet: 11 3/8 × 10

Cows in a Landscape, mid-19th century, Black, white, and red chalk, on blue-green paper, sheet: 7 13/16 x 11 3/8 in. (19.8 x 28.9 cm), Drawings, Constant Troyon (French, Sèvres 1810–1865 Paris

The Little Park, ca. 1763, Etching, Sheet: 5 3/4 x 8 3/16 in. (14.6 x 20.8 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Print, 1816, Etching and aquatint, Plate: 9 5/8 × 13 7/8 in. (24.5 × 35.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), 16.4.2 ; 16.4.3; 16.4.4; are all on paper with No. 1 watermark

Songs of Innocence and of Experience: The Little Girl Lost, 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

Autumn's Grey and Melancholy, 1884, Etching, sheet: 3 7/8 x 6 in. (9.8 x 15.2 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Seated River God, Nymph with an Oar, and Putto, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 9 5/16 x 12 5/16in. (23.7 x 31.3cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Holy Trinity, 1511, Woodcut, sheet: 15 11/16 x 11 5/16 in. (39.8 x 28.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Basil the Great, Engraving, Prints, Conrad Lauwers (Flemish, Antwerp, 1632–ca. 1685), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Nude Study, early 19th century, Pen and brown ink, 11 1/2 x 16 3/4in. (29.2 x 42.5cm), Drawings, Anonymous, Italian, early 19th century

Scherzo di Fantasia: Seated Warrior Holding a Serpent, and Standing Youth, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, 13-3/4 x 10-13/16 in. (34.9 x 27.5 cm), Drawings, Giovanni Battista Tiepolo

Study for Les Printemps, n.d., Pen and light and dark brown inks on buff-colored paper, 9 15/16 x 6 13/16 in. (25.3 x 17.3 cm), Drawings, Ernest Durig (French, 1894–1962

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 16 1/8 x 10 in. (41 x 25.4 cm), Drawings, Anonymous, French, 19th century

Old House, Corner of Peck Slip and Water Street (from Scenes of Old New York), 1870, Etching, plate: 5 3/8 x 6 3/8 in. (13.7 x 16.2 cm), Prints, Henry Farrer (American, London 1844–1903 New York

The Marriage of Adam and Eve, n.d., Engraving, sheet: 11 9/16 x 8 1/4 in. (29.4 x 21 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

The Urchin, 1861–62, Etching, final state (II) in brown ink on laid white paper, from the Strölin edition of 1905, plate: 8 1/4 x 5 3/4in. (21 x 14.6cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Twenty-four Cavaliers Form a Double S, 1652, Etching, Sheet: 9 1/8 × 12 5/16 in. (23.1 × 31.2 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Abduction of Helen, 1634–1705, Pen and brown ink, 7 13/16 x 10 1/2in. (19.9 x 26.7cm), Drawings, Luca Giordano (Italian, Naples 1634–1705 Naples

Sibylle Phrygienne, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 1/8 x 8 7/16 in. (35.8 x 21.5 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Christ Carrying the Cross, ca. 1552, Etching and engraving, state ii, sheet: 9 15/16 x 13 1/8 in. (25.2 x 33.3 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

George F. Miller, Catcher, Pittsburgh, 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

Palazzo Massimo alle Colonne, fireplace, details; Unknown, cornice, profile (recto) Palazzo Massimo alle Colonne, door and window, details (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 7/16

Design for a Decorated Ceiling with Putti and Garlands and a Forshortening of a Balustrade Around an Oculus., 17th century, Pen and black ink, brush with pink, yellow, blue and gray wash, over traces of graphite, sheet: 5 1/2 x 7 1/2 in. (14 x

The Sudarium Carried by Two Angels, copy, n.d., Engraving, Sheet: 4 in. × 5 3/8 in. (10.1 × 13.7 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Hieronymus (Jerome) Wierix (Netherlandish, ca. 1553–1619

Bullbaiting in a Venetian Piazza, 1712–93, Pen and brown ink, 5 7/16 x 13 1/8in. (13.8 x 33.4cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

Sheet of Sketches, 1753, Etching, image: 5 9/16 x 8 1/16 in. (14.1 x 20.4 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

A Letter to Eugène Maus, Decorated with Two Plums, August 2, 1880, Watercolor, pen and ink on wove paper, sheet: 7 15/16 x 9 3/4 in. (20.1 x 24.8 cm); folded once to form four pages, Drawings, Édouard Manet (French, Paris 1832–1883

Gentleman with a Glove, 1629, Etching (reverse copy), Sheet (trimmed): 5 3/8 × 3 11/16 in. (13.7 × 9.4 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean de Saint-Igny

Saint John the Baptist standing in landscape, figures and buildings in the backgroud, ca. 1505–10, Engraving, Sheet (Trimmed to plate): 13 9/16 × 9 7/16 in. (34.5 × 24 cm), Prints, Giulio Campagnola (Italian, Padua ca. 1482–ca. 1515/18

St. John the Baptist Drawing Water from a Spring, ca. 1649, Etching with engraving; second state of four, Sheet: 3 5/8 × 3 3/8 in. (9.2 × 8.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Faust, ca. 1652, Etching; first state of three, sheet: 8 1/8 x 9 3/8 in. (20.6 x 23.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Christ standing at left addressing the Woman of Samaria at right who is standing by a well, lagoon in the background, ca. 1510–12, Engraving, Sheet: 4 3/4 × 6 11/16 in. (12 × 17 cm), Prints, Giulio Campagnola (Italian, Padua ca. 1482–ca.

The Adoration of the Magi, 15th century, Engraving, sheet: 10 1/16 x 6 9/16 in. (25.6 x 16.7 cm), Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Two Kneeling and Two Standing Figures, 1690–1758, Pen, brown ink, gray wash, over black chalk. Scribbled figure studies in pen and black chalk on verso, including a young man and a bishop in a mitre, 6-5/8 x 9-3/8 in. (16.8 x 23.8 cm),

Flower Study, 1866, Watercolor, sheet: 11 1/2 x 15 in. (29.2 x 38.1 cm), Drawings, John Jessop Hardwick (British, London 1831–1917), Petunias, wild roses, thistles and red berries are here displayed as though growing amongst moss and

Robe à la Circassienne Garnie à la Chartres: la Coëffure de meme, Avec le Tableau des Evenements, 1770s, Hand-colored etching, sheet: 12 5/8 x 7 5/8 in. (32 x 19.4 cm), Prints, Anonymous, French, 18th century

Heads of a Stag and Two Boars in Rinceaux of Oak Branches, ca. 1653, Etching, Prints

Cloister of the Certosa di San Martino, Naples, n.d., Pen and gray ink, watercolor over traces of black chalk, 8 7/8 x 13 1/4 in. (22.5 x 33.7 cm), Drawings, Jean Augustin Renard (French, 1744–1807

Entrance of the Polish Legation into Rome, 1633, Etching, state i, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Large Grotesque Head With an Open Mouth Looking to the Left Within a Frame, 1727, Pen and brown ink, sheet: 12 7/8 x 8 1/2 in. (32.7 x 21.6 cm), Drawings, Gaetano Piccini (Italian, active Rome, 1710–30

Design for a Fountain, 18th century, Black crayon, heightened with white on blue paper., 10 3/8 x 12 3/4 in. (26.4 x 32.4 cm), Drawings, Anonymous, French, 18th century

The Old Revenue Office, Whitehall (from Scenes of Old New York), 1870, Etching, trial proof, plate: 7 7/16 x 5 3/8 in. (18.9 x 13.7 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Standing Male Figure Holding a Sword (King Otto of Hungary; recto); Sketch of Standing Male Figure (verso)., n.d., Pen and brown ink, brush and brown wash, over black chalk; squared in pen and brown ink; accidental white paint stains (recto); pen

Drawing of Female Statue with Sword and Scale, 18th century, Graphite, pen and black ink, 6 9/16 x 4 3/16 in. (16.7 x 10.6 cm), Drawings, Anonymous, French, 18th century

Bibi Lalouette, 1859, Etching and drypoint; second state of two, with the scratch removed (Glasgow), Plate: 8 7/8 in. × 6 in. (22.5 × 15.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a ceiling decorated with trellis work and a trompe l'oeil balustrade, second half 19th century, graphite on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Franconi, Twirling Flaming Cones, 1768-1810, Pen and brown ink, watercolor, and white gouache, 19 x 12 3/4 in. (48.3 x 32.4 cm), Drawings, Abraham Louis Rodolphe Ducros (Swiss, Yverdon 1748–1810 Lausanne

Design for a Compote Dish, 19th century, Pen and brown ink, image: 10 3/8 x 6 5/8 in. (26.3 x 16.8 cm), Drawings, Anonymous, French, 19th century

The Island of Burano, 1764–1835, Pen and brown ink, brush and gray wash, 4 9/16 x 7 3/8in. (11.6 x 18.7cm), Drawings, Giacomo Guardi (Italian, Venice (?) 1764–1835 Venice

Street at Saverne, 1858, Etching and open bite or sandpaper ground; third state of four (Glasgow); printed in black ink on ivory chine on off-white wove paper (chine collé), Plate: 8 3/16 x 6 1/4 in. (20.8 x 15.8 cm), Prints, James McNeill

Head of a young Man facing Right, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

David Playing the Harp Before Saul, ca. 1508, Engraving; first state, sheet: 10 x 7 1/4 in. (25.4 x 18.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Project for a Temple Dedicated to the Trinity, Elevation and Plan, ca. 1783, Elevation: pen and black ink with watercolor over black chalk underdrawing , Elevation sheet: 3 1/8 x 9 11/16 in. (7.9 x 24.6 cm), Drawings, Jean Nicolas Sobre

Le Grand Châtelet (Grand Châtelet, Paris circa 1780, after an earlier drawing), 1861, Etching and drypoint, plate: 9 3/16 x 11 3/4 in. (23.3 x 29.8 cm), Prints, Charles Meryon (French, 1821–1868), After Victor Jean Nicolle (French,

Fountain with a Rock Arch in a Park, 17th century, Pen and brown ink, brush and gray wash, 10 x 16 3/4 in. (25.4 x 42.6 cm), Drawings, Israel Silvestre (French, Nancy 1621–1691 Paris

A child and a satyr child playing with a goat, ca. 1657, Etching; second state of two, Plate: 8 11/16 × 9 5/16 in. (22 × 23.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Raven, 1850–1914, Etching; fourth state of five, sheet: 12 5/8 x 9 3/4 in. (32 x 24.7 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Theseus and Ariadne, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 5/16 in. (4.6 × 5.8 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed

Design for Ceiling, Château de St. Aubin, second half 19th century, Graphite, pen and black ink, watercolor, and gouache, 9 1/8 x 9 7/8 in. (23.2 x 25.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

View of the fortifications, two men lifting a plank at right, several ships and boats the background and a galley at left, from 'Views of the port of Livorno' (Vues du port de Livourne), 1655, Etching; first state of two, Sheet (trimmed): 9 1/4

Designs for Drapery, Window Treatements, and Bed Canopy, 19th century, Graphite and pen and brown ink., sheet: 13 15/16 x 19 5/16 in. (35.4 x 49.1 cm), Drawings, Anonymous, French, 19th century

Caricature of a Seated Man Reading, 1612–66, Pen and brown ink, brush and brown wash, 9 11/16 x 7 3/8in. (24.6 x 18.7cm), Drawings, Pier Francesco Mola (Italian, Coldrerio 1612–1666 Rome

Studies for a Kneeling Figure of Christ and Altar Fronts., 1652–1725, Pen and brown ink, brush and gray wash over traces of black chalk; the secondary paper support is outlined with brush and pink wash on the verso, sheet: 8 1/8 x 5 7/8 in.

God the Father, mid-17th century, Black and white chalk on brown paper. Framing lines in pen and brown ink., 10 x 15 1/8 in. (25.4 x 38.4 cm), Drawings, Eustache Le Sueur (French, Paris 1616–1655 Paris

Brandy Seller, 1737, Etching with some engraving, Sheet: 9 5/16 x 7 1/4 in. (23.7 x 18.4 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Reclining Male Nude, 1765–1810, Red chalk, sheet: 23 3/8 x 18 5/16 in. (59.4 x 46.5 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

Dedicatory verses by Meryon to Reiner Nooms, called Zeeman, 1854, Etching on laid paper; only state, plate: 6 15/16 x 2 11/16 in. (17.6 x 6.8 cm), Prints, Charles Meryon (French, 1821–1868

Lagoon Capriccio with a Tower, 1712–93, Pen and brown ink, brush and brown wash, over black chalk, 7 1/2 x 10 9/16in. (19.1 x 26.9cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

Hooded Male Head (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. 1) by Whistler and

Juno sending famine against Crasiton, set within an elaborate frame, from 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 1/4 x 3 15/16 in. (13.4 x 10 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna,

Europe, 1644, Etching, state iii, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin (French, 1595–1676

Fertilization of Egypt (Erasmus Darwin, The Botanic Garden), 1791, Engraving, image: 7 5/8 x 6 in. (19.4 x 15.2 cm), Prints, William Blake (British, London 1757–1827 London), After Henry Fuseli (Swiss, Zürich 1741–1825 London

Nemesis (The Great Fortune), ca. 1501, Engraving, Sheet: 14 in. × 10 1/16 in. (35.6 × 25.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The artist Jean Duvet in the guise of St. John the Evangelist, sitting at a desk, ca. 1546–55, Engraving, plate: 12 x 8 1/2 in. (30.4 x 21.6 cm), Prints, Jean Duvet (French, ca. 1485–after 1561), Jean Duvet was a French goldsmith,

Ground Plan for a Palace, n.d., Pen and black ink, brush and gray wash over graphite, 9 13/16 x 16 7/8 in. (24.9 x 42.8 cm), Degana

Bearded Old Man Seated with Left Arm Extented, 1522–91, Black chalk, highlighted with white, on blue-gray paper. Squared in black chalk, 5 13/16 x 4 1/2in. (14.8 x 11.4cm), Drawings, Bernardino Campi (Italian, Cremona 1522–1591 Reggio

Design for the painted decoration of a ceiling, 1830–97, graphite, watercolor, and gold paint on wove paper; mounted on laid paper, Overall: 10 11/16 x 8 1/4 in. (27.1 x 21 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 7 1/2 x 5 1/16 in. (19.1 x 12.9 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

The Convex Petitioner: The Taste of the Day, no. 34 (Le Solliciteur Convèxe: Le Goût du Jour, No. 34), 1817, Etching, hand-colored, Plate: 10 13/16 x 8 7/16 in. (27.4 x 21.4 cm), Prints, Anonymous, French, 19th century

Rest on the Flight into Egypt, 15th century, Engraving, 9-15/16 x 6-5/8 in, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Design for a Fountain, 19th century, Graphite, brush and brown ink, pen and red ink, sheet: 14 7/8 x 9 5/8 in. (37.8 x 24.5 cm), Drawings, Anonymous, French, 19th century

The Dead Christ Mourned by the Magdalen Who Venerates His Side Wound., 1787–1863, Pen and brown ink, brush and gray-brown wash, highlighted with white gouache on cream paper, sheet: 8 1/2 x 12 1/4 in. (21.6 x 31.1 cm), Drawings, Fortunato

Design for Title-Page, 18th century, Pen and black ink, brush and brown wash with brown ink framing lines and traces of black chalk, image: 6 9/16 x 4 5/16 in. (16.7 x 10.9 cm), Drawings, Anonymous, German, 18th century (?), Anonymous,

Peter and John Healing the Cripple at the Gate of the Temple, 1659, Etching; second state, 7 1/16 x 8 5/8 in. (17.9 x 21.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

One of the Seven Falls of Christ (Schr. 645), 15th century, Woodcut, hand-colored, sheet: 4 5/16 x 2 1/4 in. (11 x 5.7 cm), Prints, Anonymous, German, 15th century

Cartouche with Moses Striking the Rock, 18th century, Pen and black ink, brush and gray wash, heightened with white, sheet: 3 7/16 x 5 13/16 in. (8.7 x 14.8 cm), Drawings, Anonymous, French, 18th century

St. Giles-in-the-Fields, 1896, Transfer lithograph with stumping, drawn on white transfer paper with a grained-stone texture; only state (Chicago); printed in black ink on cream laid paper removed from an old ledger, Image: 8 9/16 × 5 9/16 in.

Saint Michael Fighting the Dragon, from The Apocalypse, 1511, Woodcut, image: 15 7/16 x 11 1/8 in. (39.2 x 28.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg