Images at Librifly

Design for a Clock, 19th century, Graphite, pen and brown ink, watercolor, and gouache, sheet: 9 5/8 x 7 13/16 in. (24.4 x 19.8 cm), Drawings, Anonymous, French, 19th century

Philosophy, n.d., Woodcut, sheet: 8 1/2 x 5 13/16 in. (21.7 x 14.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cartouche with Skeletons, 1647, Etching, touched proof with blue-gray wash in the shroud, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Head of a Man, 1837–1911, Red chalk on light buff paper, 11 3/4 x 9 1/4 in. (29.9 x 23.5 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Winter (or Wolf in the Snow), 1864, Etching; fourth state of four, Sheet: 12 13/16 x 19 7/8 in. (32.5 x 50.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Coast Scene with an Artist, ca. 1638–41, Etching; fifth state of five (Mannocci), sheet: 5 1/4 x 7 5/16 in. (13.4 x 18.5 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Victoria Club, 1879, Transfer lithograph with scraping; second state of two (Chicago); printed in black ink on Japanese paper mounted on ivory plate paper, Image: 8 1/8 × 5 1/4 in. (20.6 × 13.4 cm), Prints, James McNeill Whistler (American,

The Long Balcony (Paris Windows, The Long Balcony), 1894, Transfer lithograph, drawn on fine-grained transfer paper; second state of two (Chicago): printed in black ink on heavyweight cream wove Japanese vellum, Image: 8 1/16 × 6 1/4 in. (20.4

The Pancake Woman, 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Sheet with Two Studies: A Tree and the Upper Part of a Head of Rembrandt Wearing a Velvet Cap, ca. 1642, Etching; only state, Sheet: 3 1/16 x 2 9/16 in. (7.8 x 6.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669

Design for a Tabernacle Surmounted by Christ on the Cross and Praying Figures (the Virgin and Saint John?)., 1512–72, Pen and brown ink over traces of preliminary constructions in graphite, brush and light brown wash, Sheet: 14 3/16 x 11 1/8

Plate 1: seaport with ships, from 'Seascapes' (Paysages maritimes), ca. 1644, Etching, Sheet (trimmed to plate): 2 15/16 × 5 1/8 in. (7.5 × 13 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 1: The Entrance of the Polish Ambassador into Rome, the Medici coat of arms at left, 1633, Etching; first state of three, Sheet: 6 1/8 × 16 7/8 in. (15.5 × 42.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Cartouche in the Form of a Horned Monster's Head in Near Profile View., 1604–87, Pen and brown ink, over traces of graphite, sheet: 6 3/4 x 4 1/8 in. (17.1 x 10.5 cm), Attributed to Michelangelo Colonna (Italian, Ravenna/Como 1604–1687

Four Horsemen in Battle, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink on mount, 4 x 5-1/4 in. (10.1 x 13.3 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679

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

Design for Red Curtains with Gold Fringes and a Gold Gothic Pediment, early 19th century, Ink, watercolor and wash, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Anonymous, British, 19th century

Whistler as Butterfly, 19th–20th century, Commercial relief process, sheet: 9 x 5 15/16 in. (22.9 x 15.1 cm), Prints

Nude Female Figure, n.d., Red chalk, 19 1/16 x 14 in. (48.4 x 35.5 cm), Drawings, Marie-Auguste-Émile-René Ménard (French, Paris 1862–1930 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 10 1/2 x 13 13/16 in. (26.7 x 35.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study of a Male Nude, 1568–1640, Red chalk, 7 x 4 5/16in. (17.8 x 11cm), Drawings, Cavaliere d'Arpino (Giuseppe Cesari) (Italian, Arpino 1568–1640 Rome

Journal, publié par l'artiste, 1850–1914, Etching; fourth state, sheet: 13 x 9 13/16 in. (33 x 25 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for a Gothic Style Mirrored Cabinet, early 19th century, Graphite, sheet: 9 1/2 x 11 15/16 in. (24.1 x 30.4 cm), Anonymous, British, 19th century

Design for mural decoration surrounding a door: landscape with classical ruins, 1830–97, black chalk, heightened with white on beige wove paper; mounted on blue wove paper, 14 3/4 x 10 3/8 in. (37.5 x 26.4 cm), Drawings, Jules-Edmond-Charles

Old Man with Beard, Fur Cap, and Velvet Cloak, ca. 1631, Etching; third state, Sheet: 5 13/16 × 5 1/8 in. (14.8 × 13 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Address-card of the printseller, Rochoux, 1855, Etching from two plates on laid paper, plate: 3 5/8 x 4 11/16in. (9.2 x 11.9 cm), Prints, Charles Meryon (French, 1821–1868

Death of the Strong Wicked Man, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 8 3/16 x 10 3/16 in. (20.8 x 25.9 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa 1765–1810 London), After William Blake

Plate 67 from 'Los Caprichos': Wait till you've been anointed (Aguarda que te unten.), 1799, Etching, burnished aquatint, and drypoint on laid paper, Plate: 8 7/16 x 5 7/8 in. (21.4 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes)

The Presentation of the Virgin, 17th century, Black chalk, pen and brown ink, brush and gray wash, sheet: 10 1/2 x 16 5/16 in. (26.7 x 41.4 cm), Drawings, Philippe de Champaigne (French, Brussels 1602–1674 Paris

Plate 6 from 'The Disasters of War' (Los Desastres de la Guerra): It serves you right (Bien te se està.), 1810 (published 1863), Etching, lavis and burin, Plate: 5 9/16 × 8 1/4 in. (14.1 × 21 cm), Prints, Goya (Francisco de Goya y Lucientes)

Architectural Design for Exterior of City House, 19th century, Graphite, pen and black ink; framing lines in pen and black ink, 7 1/16 x 9 5/8 in. (17.9 x 24.4 cm), Drawings, Anonymous, French, 19th century

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

A Lion in Profile Facing to the Left ('Leo'), n.d., Pen and brown ink, brush and brown wash, over black chalk, sheet: 5 1/4 x 6 1/4 in. (13.3 x 15.8 cm) maximum; silhouetted, Drawings, Giulio Romano (Italian, Rome 1499?–1546 Mantua

Design for a Triumphal Bridge, 19th century, Pen and black and gray ink, 4 9/16 x 5 11/16 in. (11.6 x 14.4 cm), Drawings, Joseph Lemercier (French, 1803–1887

Bust of a Bearded Old Man, Profile to Right, 1567–96, Black and red chalk, highlighted with traces of white, on blue paper, 10 9/16 x 7 13/16in. (26.8 x 19.8cm), Drawings, Carletto Caliari (Italian, Venice 1567/70–1592/96 Venice

Plate 14 from 'The Disasters of War' (Los Desastres de la Guerra):It's a hard step! (Duro es el paso!), 1810 (published 1863), Etching, burnished lavis, drypoint and burin, Plate: 5 9/16 × 6 9/16 in. (14.1 × 16.7 cm), Prints, Goya (Francisco

Portsmouth Children (Children, Portsmouth), 1887, Etching; only state (Glasgow); printed in black ink on ivory laid paper, Plate: 2 5/8 × 3 7/8 in. (6.6 × 9.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

New Society Dinner Card, 1923, Lithograph, image: 7 3/8 x 5 3/4 in. (18.7 x 14.6 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Fontaine Desaix, Pen and black ink on tracing paper, 9 13/16 x 7 1/16 in. (25 x 17.9 cm.), Drawings, Charles Percier (French, Paris 1764–1838 Paris), Pierre François Léonard Fontaine (French, Pontoise 1762–1853 Paris

Standing Male Figure with Cloak and Staff, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-1/16 x 2-1/4 in. (7.8 x 5.7 cm), Drawings, Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Scene in the Tuileries: The Chairs, 1760, Etching, second state, sheet: 4 7/16 x 7 7/8 in. (11.3 x 20 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

A Seated Shepherd with His Dog and Sheep, 1830–75, Conté crayon on wove paper, 7 5/16 x 12 in. (18.6 x 30.5 cm), Drawings, Jean-François Millet (French, Gruchy 1814–1875 Barbizon

The Water Drinker, 1870–74, etching and drypoint, from 1905 Strölin edition, plate: 9 1/4 x 6 1/8in. (23.5 x 15.6cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Plate 19 from 'The Disasters of War' (Los Desastres de la Guerra): 'There isn't time now.' (Ya no hay tiempo.), 1810 (published 1863), Etching, lavis, drypoint, burin and burnisher, Plate: 6 1/2 × 9 1/4 in. (16.5 × 23.5 cm), Prints, Goya

Rembrandt's Wife and Five Other Heads, 1636, Etching, Sheet: 5 7/8 x 4 15/16 in. (15 x 12.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Jack Ashore (The Small Plate), 1923, Etching; second state of two, plate: 7 1/8 x 5 1/4 in. (18.1 x 13.3 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Designs for Two Urns, Pen and black ink with brush and brown wash over graphite underdrawing, 7 15/16 x 13 3/8 in. (20.1 x 34 cm.), Drawings, Attributed to Étienne de Lavallée-Poussin (French, Rouen 1733–1793 Paris

Plate 68 from 'The Disasters of War' (Los Desastres de la Guerra): 'What madness!.' (Que locura!), after 1814–15 (published 1863), Etching, lavis and burin, Plate: 8 7/16 x 6 3/8 in. (21.4 x 16.2 cm), Prints, Goya (Francisco de Goya y

Two Pilaster with White Putti on Tan Ground, 1575–1640, Pen and brown ink, brush and brown wash, highlighted with white, over traces of black chalk, on beige paper, sheet: 15 1/2 x 2 3/4 in. (39.4 x 7 cm), Drawings, Giovanni Mauro della

Frontispiece for Il Cosmo, 1650, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Half-Figure of a Youth with His Right Arm Raised, 1612–48, Red chalk, a few white highlights, on beige paper, 13 5/16 x 10 1/2in. (33.8 x 26.7cm), Drawings, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Caspar, after Three Magi series by Jacques Bellange, ca. 1615, Etching, Sheet (trimmed): 11 7/16 × 7 3/8 in. (29 × 18.8 cm), Prints, Probably Matthäus Merian the Elder (Swiss, Basel 1593–1650 Schwalbach), After Jacques Bellange (French,

Et Delator Es, 1915, Etching; third state of three, plate: 5 5/8 x 3 3/4 in. (14.3 x 9.5 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Nocturne: Palaces, 1879–80, Etching and drypoint; fourth state of twelve (Glasgow); printed in dark brownish-black ink on medium weight ivory laid paper, Sheet: 11 3/4 x 7 7/8 in. (29.8 x 20 cm), Prints, James McNeill Whistler (American,

Design for Five Vases, ca. 1770–85, Black chalk, pen and brown ink, 9 3/16 x 14 7/8 in. (23.4 x 37.8 cm), Drawings, Anonymous, French, 18th century

Place des Pyramides, Paris, ca. 1883, Pen and black ink over graphite, sheet: 5 1/2 x 4 3/8 in. (13.9 x 11.1 cm), Drawings, Giuseppe de Nittis (Italian, Barletta 1846–1884 Saint-Germain-en-Laye

Cross-Section of the Temple of Jupiter, Pompeii, after 1825, Pen and black ink, watercolor, 9 3/8 x 15 7/8 in. (23.8 x 40.4 cm), Drawings, Anonymous, French, 19th century

ornamental Frieze with two Putti and a Monster, 16th century, Engraving, sheet: 6 9/16 x 11 5/8 in. (16.6 x 29.5 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Studies for a Figure Lifted from a Grave or Pit by Cords. V e r s o: Further Study of the Same Figure, 1615–73, Pen and brown ink (recto and verso), 6 3/16 x 4 7/8in. (15.7 x 12.4cm), Drawings, Salvator Rosa (Italian, Arenella (Naples)

Mother Holding Her Nude Baby, 1923, Drypoint; second state, restrike, plate: 8 1/8 x 5 11/16 in. (20.6 x 14.4 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Group of Artists in Jean-Baptiste Isabey's Studio, n.d., Conté crayon, stumping, heightened with white chalk, sheet: 15 3/8 x 21 3/8 in. (39 x 54.3 cm), Drawings, Louis Léopold Boilly (French, La Bassée 1761–1845 Paris), This recently

Study of a Figure, 1837–1911, Metalpoint on blue washed paper, 14 3/4 x 8 in. (37.4 x 20.3 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Opuntia Basilaris, May 1912, 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 1867–1944 New York

Departure of a galley at the Port of Livorno, from from 'Views of the port of Livorno' (Vues du port de Livourne), 1654–55, Etching; second state of two, Sheet: 9 3/16 × 13 11/16 in. (23.3 × 34.7 cm), Prints, Stefano della Bella (Italian,

The Holy Trinity (reduced copy), n.d., Engraving, Sheet: 5 3/4 × 4 11/16 in. (14.6 × 11.9 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Jupiter and Callisto, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/16 in. (4.6 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed

Street at Saverne, 1858, Etching; third state of four (Glasgow); printed in black ink on heavy pale gray textured paper with (faded) blue fibers, Plate: 8 1/8 × 6 1/8 in. (20.6 × 15.6 cm), Prints, James McNeill Whistler (American, Lowell,

St. Peter's, apse, exterior niche details (recto) St Peter's, apse, exterior niche elevation and profile of scrolled console, elevation of column shaft (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines,

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 4 3/4 x 2 15/16 in. (12 x 7.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Painter, ca. 1642, Etching; first state of two, Sheet: 11 9/16 × 14 5/8 in. (29.3 × 37.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Agony in the Garden, 1515, Etching, Sheet: 8 3/4 × 6 1/8 in. (22.3 × 15.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ on the Cross (Schr. 2789a), 15th century, Pasteprint, sheet: 12 1/16 x 8 7/16 in. (30.6 x 21.5 cm), Prints, Anonymous, German, 15th century

Ugolino, 1860, Etching, Sheet: 10 7/8 × 8 7/16 in. (27.7 × 21.4 cm), Prints, Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie

Figure and Drapery studies (recto); Three Studies of a Male Torso for the 'Coronation of Marcantonio Pasqualini' (verso), 1641, red and white chalk (recto), red chalk (verso) on paper, Sheet: 10 7/8 x 15 11/16 in. (27.7 x 39.8 cm), Drawings,

Indian Pink, Silene laciniata, 1912, 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 1867–1944 New

Plate 3: a gale in the forest, two horsemen wrapped in their cloaks, the wind is blowing from the left side, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca. 1646, Etching; second state of six (De Vesme),

The Man of Sorrows between Two Angels (Schr. 900), 15th century, Woodcut, hand-colored, sheet: 3 9/16 x 2 1/2 in. (9 x 6.4 cm), Prints, Anonymous, German, 15th century

Still Life: Armor, Sword, Snare Drum, 1765–1810, Red chalk, sheet: 22 7/8 x 17 in. (58.1 x 43.2 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

The Angel shows Saint John the New Jerusalem, from the Apocalypse, n.d., Engraving, plate: 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Exit, or Lord the Gob (Sortie, ou Milord-la Gob), 1820–22, Lithograph, image: 7 1/2 x 5 5/8 in. (19.1 x 14.3 cm), Prints, Nicolas-Toussaint Charlet (French, Paris 1792–1845 Paris

Tea, ca. 1890, Drypoint; fifth state of five, plate: 7 x 6 1/8 in. (17.8 x 15.6 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Unidentified, cornice, projection; architrave, projection (recto) Unidentified, ceiling, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/4 x 11 3/8 in. (43.8 x 28.9 cm

Rue des Mauvais Garçons, Paris, 1854, Etching on heavy wove paper; third (final) state, plate: 4 15/16 x 3 7/8 in. (12.6 x 9.8 cm), Prints, Charles Meryon (French, 1821–1868

Saint Michael and the Dragon, from The Apocalypse, ca. 1498, Woodcut, sheet: 15 1/2 x 11 5/16 in. (39.3 x 28.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Seated Triton, 1545–47, Pen and brown ink, brush and brown wash, over traces of black chalk; outlines partly incised., 8 5/8 x 4 1/4in. (21.9 x 10.8cm), Drawings, Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501–1547 Rome

The Circumcision: Small Plate, ca. 1630, Etching and touches of drypoint, Sheet: 3 13/16 × 2 13/16 in. (9.7 × 7.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Sideboard with Mirrors and Turned Legs, early 19th century, Ink and wash, sheet: 8 3/4 x 12 3/16 in. (22.2 x 31 cm), Anonymous, British, 19th century

Design for a Wall Decoration, 16th century, Pen and brown ink, brush and gray wash, 11 5/16 x 7 11/16 in. (28.8 x 19.6 cm), Attributed to Rosso Fiorentino (Italian, Florence 1494–1540 Fontainebleau), Formerly attributed to Anonymous,

Landscape after Claude, ca. 1811, Lithograph, Prints, Johan Baptist Stuntz (Swiss, Arlesheim 1753–1836 Munich), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 5/16 x 17 5/8 in. (28.7 x 44.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Pilate Washing His Hands, from The Passion, 1512, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.8 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Virgin and Child with the Pear, 1511, Engraving, Sheet: 6 1/4 × 4 1/4 in. (15.8 × 10.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Liverdun, 1858, Etching; third state of three (Glasgow); printed in black ink on tan chine on off-white wove paper (chine collé), Plate: 4 3/16 × 6 1/16 in. (10.6 × 15.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Christ in Limbo, from The Small Passion, ca. 1509, Woodcut, sheet: 5 x 3 13/16 in. (12.7 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Dogtooth Violet, Erythromium grandiflorum, July 14, 1909, 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

Landscape with an Obelisk, ca. 1650, Etching and drypoint; second state of two, plate: 3 5/16 x 6 5/16 in. (8.4 x 16.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Designs for the Top and Bottom of a Small Rectangular Box, Pen and dark brown ink, brush and light brown wash, over black chalk, with framing lines around each design, 7 1/16 x 4 7/16 in. (17.9 x 11.3 cm), Louis Félix de La Rue (French, Paris

Anatomical Studies of Legs, 1810–63, Counterproof of a drawing in red and black chalk, with black chalk additions, sheet: 15 9/16 x 10 1/2 in. (39.5 x 26.6 cm), Drawings, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris

Allegorical Composition: Music and Justice with the Spinola Arms, 1639–1709, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on rose-washed paper, 7-13/16 x 5-5/16 in. (19.9 x 13.5 cm), Drawings, Giovanni

Design for a Cabinet, early 19th century, Ink and wash, sheet: 9 5/8 x 11 15/16 in. (24.4 x 30.3 cm), Anonymous, British, 19th century