Images at Librifly

Pyramus et Thisbe, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 7/8 × 2 3/16 in. (4.7 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by

A Muse, n.d., Red chalk; faintly squared in red chalk. Framing lines in black chalk., 8 1/8 x 5 7/8 in. (20.7 x 14.9 cm), Drawings, Bernard Picart (French, Paris 1673–1733 Amsterdam

The Infanta Margarita, after Velázquez, 1862–64, Etching and drypoint on wove paper; second (final state); only known impression, plate: 6 11/16 x 4 3/4 in. (17 x 12 cm), Prints, Etched by Edgar Degas (French, Paris 1834–1917 Paris),

Plate 29 from 'Los Caprichos': That certainly is being able to read (Esto si que es leer.), 1799, Etching, burnished aquatint and drypoint, Plate: 8 3/8 × 5 13/16 in. (21.3 × 14.7 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

The Map, 1890, Drypoint; second state of three, plate: 6 1/4 x 9 3/16 in. (15.9 x 23.3 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Judgment of Paris, 19th century, Engraving, Diameter: 1 3/8 in. (3.5 cm), Prints, Alois Petrak (Czech, 1811–1888), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Genevieve, n.d., Engraving, sheet: 14 15/16 x 9 3/8 in. (38 x 23.8 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Portrait of a Man Wearing a Wig, 1699–1758, Black chalk, stumped, highlighted with white, on gray-green paper, 11-3/4 x 8-13/16 in. (29.8 x 22.4 cm), Drawings, Bartolommeo Nazari (Nazzari) (Italian, Clusone near Bergamo 1699–1758 Milan

Plate 20 from 'The Disasters of War' (Los Desastres de la Guerra): 'Get them well, and on to the next.' (Curarlos y á otra.), 1810, Etching, lavis, burin, and burnisher, Plate: 6 5/16 × 9 1/4 in. (16 × 23.5 cm), Prints, Goya (Francisco de

The Angel Departing from the Family of Tobias, 1641, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Putti, 1577–1640, Earth red wash highlighted with white, Drawings, Pietro Tacca (Italian, Carrara 1577–1640 Florence

The School Master, ca. 1638, Etching, Sheet (trimmed): 10 1/16 × 12 3/4 in. (25.5 × 32.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plan and Elevations of a Room, early 19th century, Ink, graphite and watercolor, sheet: 11 3/4 x 16 1/16 in. (29.8 x 40.8 cm), Anonymous, British, 19th century

Christ on the Cross with the Virgin and St. John (Schr. 427a), 15th century, Woodcut, sheet: 4 7/16 x 6 1/16 in. (11.2 x 15.4 cm), Prints, Anonymous, German, 15th century

Ornamental Panel with Flaming Lamps and Sheet Music, 19th century, Watercolor on vellum, sheet: 4 x 14 in. (10.2 x 35.6 cm), Drawings, Anonymous, French, 19th century

Design for a Bucket-Like Vessel with a Handle of Two Interlaced Captives, on a Body Adorned with a Scroll, Garland, and a Spout with a Satyr's Head., 1540–50, Pen and brown ink, over black chalk; traces of framing outlines in pen and brown

Christ and the Centurion (recto); Figure Waving to Departing Ship (verso)., n.d., Pen and brown ink, brush and brown wash, highlighted with white gouache, sheet: 9 x 11 3/4 in. (22.9 x 29.9 cm), Drawings, Giuseppe Passeri (Passari) (Italian,

A Man Millener, February 16, 1787, Hand-colored etching, sheet: 10 9/16 x 7 7/8 in. (26.9 x 20 cm), Prints, Attributed to Henry Kingsbury (British, active ca. 1775–98

Barbarie, 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

The Virgin with the Swaddled Child, 1520, Engraving, Sheet: 5 1/2 × 3 3/4 in. (14 × 9.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Le Progrès, for the Bulletin of Fashion, New York, No. 110, from Modes de Paris, February 1859, Steel engraving with hand coloring, Sheet: 11 11/16 x 15 3/4 in. (29.7 x 40 cm), Prints, Anonymous, French, 19th century

Svevus, from the series Peplus, sive Gothorum, Heruolorum..., 1650, Engraving and etching, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.4 cm), Prints, Engraved by Cornelis Visscher (Dutch, Haarlem (?) 1629–1658 Amsterdam

Plate 30 from 'The Disasters of War' (Los Desastres de la Guerra): ' Ravages of War' (Estragos de la guerra), 1810, Etching, drypoint, burin, and burnisher, Plate: 5 1/2 × 6 11/16 in. (14 × 17 cm), Prints, Goya (Francisco de Goya y

The Opening of the Seventh Seal, from the Apocalypse, n.d., Engraving, plate: 12 1/16 x 8 3/4 in. (30.7 x 22.2 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Christ Crowned with Thorns, 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

The Virgin and Child Enthroned with Saint Sebastian and a Franciscan Saint, 1696–1770, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk, on beige paper. Framing lines in pen and brown ink, 12-1/8 x

Moorish horseman in profile facing right, in the background a pyramid at left, many figures and an elephant, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching; second state of two, Sheet (trimmed to

The Lord Answering Job out of the Whirlwind, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 1/2 x 6 5/8 in. (21.6 x 16.8 cm), Prints, William Blake (British, London 1757–1827 London

The Glorification of the Virgin, from The Life of The Virgin, ca. 1502, Woodcut, sheet: 12 11/16 x 9 5/16 in. (32.2 x 23.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Five Miscellaneous Designs for the de la Rochejaquelein Family, second half 19th century, Graphite and black chalk, 12 1/4 x 18 3/4 in. (31.1 x 47.6 cm), Drawings, Eugène-Pierre Gourdet (French, born Paris, 1820), Jules-Edmond-Charles

Joshua, David, and Judas Maccabee, from The Nine Heroes, ca. 1520, Woodcut, image: 12 1/4 x 20 1/16 in. (31.1 x 51 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Achille Fould, December 20, 1849, Lithograph; second state, sheet: 14 x 9 15/16 in. (35.6 x 25.3 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

The London Shoreditch, ca. 1920, Etching; first state of three, plate: 6 x 6 3/4 in. (15.3 x 17.2 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Mars, Venus and Cupid, ca7–1639, Etching, Sheet (Trimmed): 10 3/8 × 7 3/4 in. (26.3 × 19.7 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona), After Paolo Veronese (Paolo Caliari) (Italian, Verona 1528–1588 Venice

Castrica Passerina, Watercolor, sheet: 5 11/16 x 6 1/8 in. (14.4 x 15.6 cm), Drawings, Vincenzo Leonardi (Italian, Rome ca. 1590–ca. 1646 Rome

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 12 1/16 x 6 9/16 in. (30.7 x 16.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Yellow Trumpet-like Flowers on a Vine, March 7, 1911, Watercolor and brown ink over graphite with details in brown ink, 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 8 from 'Los Caprichos': They carried her off! (Que se la llevaron!), 1799, Etching and aquatint, Plate: 8 7/16 × 5 7/8 in. (21.4 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Plate 3: An officer giving orders to a solider in centre foreground, cannon at left, from 'Various Military Caprices' (Varii capricci militari), ca. 1641, Etching; second state of four, Sheet (trimmed to plate): 3 3/8 × 5 9/16 in. (8.6 × 14.1

Husband-Beater, ca. 1633, Etching with engraving, Sheet (trimmed): 10 1/16 × 12 15/16 in. (25.6 × 32.9 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Seated Female Figure Surrounded by Nude Infants, 1612–50, Pen and brown ink, some black ink, brush and gray wash, on brownish paper, 7 5/16 x 10 1/8in. (18.5 x 25.7cm), Drawings, Pietro Testa (Italian, Lucca 1612–1650 Rome

Thames Police (Wapping Wharf), 1859, Etching; fifth state of five (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 5 7/8 × 8 7/8 in. (15 × 22.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Summer (L'Eté), from 'The Four Seasons', ca. 1641, Etching, Sheet: 3 7/8 × 2 5/16 in. (9.8 × 5.9 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Ornament etched by Abraham Bosse (French, Tours

Three Designs for Architectural Trophies, Pen and black ink, brush and gray wash, over graphite underdrawing, 7 5/16 x 13 1/8 in. (18.6 x 33.3 cm.) (irregular), Drawings, Style of Jean Charles Delafosse (French, Paris 1734–1789 Paris

King Midas, 1611–74, Brush and grey ink, heightened with white bodycolor. Framing line in brush and grey ink with white bodycolor, sheet: 8 1/4 x 11 13/16 in. (21 x 30 cm), Drawings, Leonaert Bramer (Dutch, Delft 1596–1674 Delft

Six Women Outdoors, No. 676, from La Elegancia, 1865–66, Etching, Sheet: 11 x 15 9/16 in. (27.9 x 39.5 cm), Prints, Hélöise Leloir (French, 1820–1873

The Anointing of Louis XVI at His Coronation in Reims Cathedral, June 11, 1775, 1814, Pen and black ink, with brush and gray wash, over light indications made with a stylus. Framing lines in pen and brown ink., 8 3/8 x 11 15/16 in. (21.3 x

Lamp Design, 19th century, Watercolor, Drawings, Anonymous, Chinese, 19th century

Nude Model, Reclining (Nude Model Resting), 1893, Transfer lithograph with stumping, drawn on fine -grained transfer paper; third state of three (Chicago); printed in grayish-black ink on medium weight laid paper, Image: 4 1/2 × 8 7/16 in.

The Assumption of the Virgin, 1727–1804, Pen and black ink, brush and gray wash, over red chalk, 14-7/8 x 10-3/4 in. (37.8 x 27.3 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Standing Woman Holding a Spindle, and Head of a Woman in Profile to Right, early 18th century, Two shades of red chalk, 6 7/16 x 4 13/16 in. (16.4 x 12.2 cm), Drawings, Antoine Watteau (French, Valenciennes 1684–1721 Nogent-sur-Marne

La Belle Dame Paresseuse, 1894, Transfer lithograph, drawn on thin, transparent wove paper; only state (Chicago); printed in black ink on cream Japanese paper, Image: 9 5/16 × 6 7/8 in. (23.6 × 17.5 cm), Prints, James McNeill Whistler

Old Putney Bridge, 1879, Etching and drypoint; seventh state of seven (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 7 7/8 x 11 5/8 in. (20 x 29.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Christ Summoning Peter and Andrew, 1776, Mezzotint with etching, sheet: 10 5/8 x 16 1/4 in. (27 x 41.2 cm), Prints, Richard Earlom (British, London 1743–1822 London), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682

Studies of Horsewomen, late 18th–mid-19th century, Graphite, heightened with white chalk, on blue paper, 7 7/8 x 12 5/8 in. (20 x 32.1 cm), Drawings, Wilhelm von Kobell (German, Mannheim 1766–1853 Munich

Songs of Innocence and of Experience: A 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

Plate 3 from 'Los Caprichos': Here comes the bogey-man (Que viene el Coco.), 1799, Etching and burnished aquatint, Plate: 8 3/8 × 5 15/16 in. (21.3 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Angel Holding a Palm and a Crown, ca. 1764, Etching, first state of two, Sheet: 9 3/16 x 7 7/8 in. (23.4 x 20 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Annibale Carracci (Italian, Bologna 1560–1609 Rome

Allegorical Homage to an Architect (?), 1655–1723, Pen and brown ink, brush and brown wash, over black chalk. Squared in black chalk, 10 5/8 x 7 1/2in. (27 x 19cm), Drawings, Alessandro Gherardini (Italian, Florence 1655–1723 Livorno

Designs featuring the allegories of the arts, second half 19th century, Graphite and watercolor, Overall: 14 1/8 x 14 3/4 in. (35.9 x 37.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Two Designs for a Vase, 19th century, Pen and brown ink, watercolor, over graphite., sheet: 9 15/16 x 6 7/8 in. (25.3 x 17.5 cm), Drawings, Anonymous, French, 19th century

The Angel Staying the Arm of Abraham, Engraving and etching, sheet: 16 7/16 x 11 1/2 in. (41.8 x 29.2 cm) trimmed to platemark, Prints, Attributed to Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design for a Theatre, 18th century, Pen and black ink, brush and rose wash over graphite, plate: 11 1/4 x 7 in. (28.6 x 17.8 cm), Drawings, Anonymous, French, 18th century

Design for a Vase, Black chalk, stumped, 7 1/2 x 5 1/8 in. (19.1 x 13 cm), Attributed to Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Scene from Ancient History (recto); Leg and Arm of a Nude Male Figure (verso), 1738–70, Red chalk, highlighted with white, on beige paper (recto); red chalk, stumped (verso), 9 15/16 x 15 3/8in. (25.2 x 39.1cm), Drawings, Nicola Marcola

St Peter's, dome, model, half elevation (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/8 x 11 5/8 in. (44.2 x 29.5 cm), Drawings, Circle of Etienne DuPérac (French, ca.

A bearded man wearing a cap looking down to the right, from the series 'Heads in Oriental Headdress', ca. 1648–50, Etching, sheet: 7 1/16 x 5 13/16 in. (18 x 14.8 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa

Apple Seller, 1746, Etching with some engraving, Sheet: 9 1/8 x 7 in. (23.2 x 17.8 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762 Paris

Design for Purple Curtains with Gold Fringes and a Gold and White Pediment, early 19th century, Ink, watercolor and wash, sheet: 8 7/8 x 15 1/8 in. (22.5 x 38.4 cm), Anonymous, British, 19th century

Plate 39 from 'The Disasters of War' (Los Desastres de La Guerra): 'An heroic feat! With dead men! '(Grande hazaña! Con muertos!), 1810 (published 1863), Etching, lavis and drypoint, Plate: 6 1/8 × 8 1/16 in. (15.5 × 20.5 cm), Prints, Goya

Gardens of the Villa d'Este at Tivoli, 1760, Pen and brown ink, brush and brown and gray wash, watercolor, heightened with white, over black and red chalk, 12 5/16 x 18 11/16 in. (31.3 x 47.5 cm), Drawings, Charles Joseph Natoire (French,

La fourberie, 17th century, Pen and brown ink, brush and gray wash, graphite., 5 9/16 x 2 3/4 in. (14.2 x 7 cm), Drawings, Anonymous, French, 17th century

Architectural Drawing, 18th century, Pen and brown ink, brush and gray wash, sheet: 10 5/16 x 5 1/2 in. (26.2 x 13.9 cm), Anonymous, French, 18th century

Study for 'Types de races algériennes', 1830–86, Graphite on wove paper, sheet: 10 5/16 x 13 9/16 in. (26.2 x 34.4 cm), Drawings, Henri-Félix-Emmanuel Philippoteaux (French, Paris 1815–1884 Paris

Cheerio, 1928–29, Etching; only state, plate: 7 5/16 x 5 9/16 in. (18.5 x 14.2 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

The Dyer, 1879–80, Etching and drypoint; eighth state of nine (Glasgow); printed in brown ink on fine ivory laid paper, Plate: 11 13/16 × 9 1/8 in. (30 × 23.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Little Doorway, Lyme Regis, 1895, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on cream wove proofing paper, Image: 9 3/16 × 6 3/16 in. (23.4 × 15.7 cm), Prints, James McNeill

The Allied Bakers or the Corsican Toad in the Hole, April 1, 1814, Hand-colored etching, plate: 10 x 14 1/8 in. (25.4 x 35.8 cm), Prints, George Cruikshank (British, London 1792–1878 London), After George Humphrey (British, 1773?–?1831),

Sts. Peter and Paul With the Vernicle, 1517, Engraving, sheet: 2 7/8 x 4 5/8 in. (7.3 x 11.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 73 from 'Los Caprichos': It is better to be lazy (Mejor es holgar.), 1799, Etching, burnished aquatint and burin, Plate: 8 3/8 × 5 7/8 in. (21.3 × 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Pardon Refused (from Sir Walter Scott's 'Kenilworth'), ca. 1826–29, Watercolor heightened with lead white, on stiff wove paper, 9-5/8 x 7-1/2 in. (24.4 x 19.1 cm), Drawings, Camille-Joseph-Étienne Roqueplan (French, Mallemort

View of a Swiss Villa, 1896, Pen and ink with watercolor over graphite. Framing line in graphite., sheet: 23 1/8 x 16 15/16 in. (58.7 x 43 cm), Drawings, Rudolf von Alt (Austrian, Vienna 1812–1905 Vienna

The Winged Hat, 1890, Transfer lithograph, drawn on medium-grained transfer paper; second state of two (Chicago); printed in black ink on off-white medium weight laid paper, Image: 7 1/16 × 6 7/8 in. (17.9 × 17.4 cm), Prints, James McNeill

Plate 9 from 'The Disasters of War' (Los Desastres de la Guerra):They don't like it (No quieren.), 1810 (published 1863), Etching, burnished aquatint, drypoint, burin and burnisher, Plate: 6 1/8 × 8 3/16 in. (15.5 × 20.8 cm), Prints, Goya

Holy Family with Saint John the Baptist, ca0–1660, Etching, Sheet (Trimmed): 9 3/4 × 7 5/16 in. (24.8 × 18.6 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Plate 22: cart horse, from 'Various animals' (Diversi animali), ca. 1641, Etching; second state of three (De Vesme), Plate: 3 7/16 × 4 3/8 in. (8.7 × 11.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Two Plans and Elevations for Fountains, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 11 9/16 x 17 1/8 in. (29.3 x 43.5 cm), Drawings, Anonymous, French, 16th century

The Penance of Saint John Chrysostom, ca. 1496, Engraving, Sheet: 7 1/16 × 4 5/8 in. (17.9 × 11.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for the Decoration of a Ceiling Cove in the Hôtel de Pless, Berlin, second half 19th century, Watercolor and gouache on wove paper, sheet: 7 1/2 x 16 1/4 in. (19 x 41.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Mercury presenting a panpipe to Minerva who stands at left, an oval composition, 1531–76, Engraving, sheet: 9 13/16 x 7 1/16 in. (25 x 18 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After

Design for a Set of Candlesticks and a Clock, 19th century, Pen and brown ink, sheet: 5 1/2 x 9 1/8 in. (14 x 23.2 cm), Drawings, Anonymous, French, 19th century

The Marriage Contract, 1633, Etching; first state of two, Sheet (trimmed): 10 1/4 in. × 13 in. (26 × 33 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Veduta del Boschetto d'Arcadia dalla parte del Tempio, n.d., Pen and brown ink, sheet: 11 1/4 x 16 3/8 in. (28.6 x 41.6 cm), Drawings, Ennemond Alexandre Petitot (French, Lyons 1727–1801 Parma

Au Jardin d'Acclimation, n.d., Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Giraffe (John E. Owens as Jakey), from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 11 1/16 x 7 3/16 in. (28.1 x 18.2 cm), Prints, Henry Louis Stephens (American, Philadelphia,

Burying the Dead (Enseveliir les morts), Etching with engraving, sheet: 10 1/8 x 12 1/8 in. (25.7 x 30.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Death of Lazarus, 1620–76, Etching with engraving, Sheet (trimmed): 10 1/16 × 12 11/16 in. (25.6 × 32.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Allegorical Figure of Melancholy, 1763, Pen and brown ink, brush and brown wash, over black chalk, 12 x 7 15/16 in. (30.5 x 20.1 cm), Drawings, Charles de La Traverse (French, Paris 1726–ca. 1787 Paris

Satan bound for a Thousand Years, from the Apocalypse, n.d., Engraving, plate: 11 13/16 x 12 3/16 in. (30 x 31 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Knight, Death and the Devil, 1513, Engraving, sheet: 9 5/8 x 7 7/16 in. (24.4 x 18.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg