Images at Librifly

Ganymede as a young boy riding a large eagle (Zeus) in flight above a landscape, ca. 1500–1505, Engraving, Sheet: 6 7/8 × 5 1/16 in. (17.5 × 12.8 cm), Prints, Giulio Campagnola (Italian, Padua ca. 1482–ca. 1515/18 Venice), ?After Andrea

Faith (Fides) from The Virtues, ca. 1559–60, Engraving; second state of two, 8 1/8 x 11 7/16 in. (20.6 x 29 cm), Prints, Philips Galle (Netherlandish, Haarlem 1537–1612 Antwerp), After Pieter Bruegel the Elder (Netherlandish, Breda (?)

The Passion for Wealth, n.d., Etching, second state, sheet: 10 1/16 x 15 7/8 in. (25.5 x 40.3 cm), Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jean Audran (French, Lyons 1667–1756 Paris

The Company of Undertakers, 1736, Etching and engraving; second state of two, sheet: 10 9/16 x 7 3/8 in. (26.9 x 18.7 cm), Prints, William Hogarth (British, London 1697–1764 London

Virgin and Child with an Angel, 1612–16, Etching with stippling and engraving, Sheet (trimmed): 10 in. × 7 5/16 in. (25.4 × 18.6 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

The Crucifixion, n.d., Woodcut, sheet: 15 7/16 x 11 in. (39.2 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Gentleman Seen from the Back Indicating a Landscape, 1629, Etching, Sheet (trimmed): 5 9/16 × 3 5/8 in. (14.1 × 9.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean de Saint-Igny (French, Rouen ca.

Drawing After an Architectural Fragment, 19th century, Pen and black ink over graphite on laid paper, sheet: 8 x 8 3/4 in. (20.3 x 22.2 cm), Drawings, Anonymous, French, 19th century

Holy Family with Saint John the Baptist who kneels at the right, 1531–76, Engraving and etching, sheet: 9 1/4 x 7 9/16 in. (23.5 x 19.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Raphael

Study of a Figure, 1837–1911, Graphite on white paper, 14 7/16 x 9 in. (36.7 x 22.8 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

It is Not Going Well For Us: A Member of Parliament Reading the News of the French Republic (Ça ne va pas bien pour nous: Membre du parlement lisant les nouvelles de la Rep[ublique] française), February 1798, Hand-colored etching, plate: 13 7/8

Design for the Decoration of a Wall and Ceiling of a 'Gabinetto' related to Virgil's Fourth Canto, 1758–1823, Pen and brown ink, brush and pink, yellow, orange and blue-green wash, over traces of leadpoint, 11 11/16 x 8 1/16 in. (29.7 x 20.5

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 5/16 x 5 1/8 in. (23.6 x 13 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Sixth scene, the heavens, from 'The marriage of the gods' (Le nozze degli Dei), 1637, Etching, Sheet: 8 9/16 × 11 7/8 in. (21.7 × 30.2 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence), After set by Alfonso Parigi

Jacques Tuboeuf, intendant des finances, Etching, sheet: 13 3/16 x 10 1/2 in. (33.5 x 26.6 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Olympia, 1923, color woodcut, printed in black and ochre ink on thin parchment paper, sheet: 7 7/8 x 10 in. (20 x 25.4 cm), Prints, After Édouard Manet (French, Paris 1832–1883 Paris

Le Paysan et son chien, Etching, sheet: 7 11/16 x 7 5/16 in. (19.5 x 18.5 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Pilate Washing His Hands, from The Passion, 1512, Engraving, Sheet: 4 11/16 × 3 1/16 in. (11.9 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Picnic Party, 1716, Pen and gray ink, brush and gray wash, heightened with white, over traces of graphite, contours incised., 2 15/16 x 4 3/8 in. (7.5 x 11.1 cm), Drawings, Claude Simpol (French, Clamecy 1666–1716 Paris

The Cowherd, 1636, Etching; second state of six (Mannocci), sheet: 5 3/16 x 7 15/16 in. (13.1 x 20.1 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Mountain Phacelia, Phacelia sericea, July 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 York

Decapitation of Saint James the Greater, 1728–81, Pen and brown ink, brush and brown wash, over slight traces of black chalk, 11 9/16 x 7 1/8in. (29.3 x 18.1cm), Drawings, Attributed to Ubaldo Gandolfi (Italian, San Matteo della Decima

Asia, mid to late 17th century, Etching, Sheet (trimmed): 8 1/2 × 5 11/16 in. (21.6 × 14.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Curtained Four Poster Bed with Brown, Pink and White Striped Curtains, early 19th century, Ink, watercolor and wash, sheet: 9 5/8 x 11 15/16 in. (24.4 x 30.4 cm), Anonymous, British, 19th century

Design for decorative border, 1830–97, graphite, pen and ink, and watercolor on wove paper; mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Pentecost, from The Small Passion, ca. 1510, Woodcut, sheet: 5 1/16 x 3 3/4 in. (12.8 x 9.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Adam and Eve after Their Expulsion with the Infants Cain and Abel, 1639–97, Pen and brown ink, brush and pale brown wash, highlighted with white, over black chalk. Squared in black chalk., 8 1/4 x 11 3/8in. (21 x 28.9cm), Drawings, Giovanni

Plate 22 from 'The Disasters of War' (Los Desastres de la Guerra): 'Even worse.' (Tanto y mas), 1810 (published 1863), Etching, lavis and burin, Plate: 6 5/16 × 9 15/16 in. (16 × 25.3 cm), Prints, Goya (Francisco de Goya y Lucientes)

Project for the Riding-School of the Horse Guards in Saint Petersburg - Elevation of the Side Entrance, 1744–1817, Pen and black ink, brush with black-gray, brown, pink, blue, and ochre wash, over ruled construction lines in graphite.

Design for a Vase, 1499–1543, Pen and brown ink, brush and brown wash, 12-5/8 x 8-1/8 in. (32.1 x 20.6 cm), Drawings, After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

The Triumph of Bacchus, 18th–19th century, Pen and brown ink, black chalk underdrawing, sheet: 11 x 7 1/16 in. (28 x 18 cm), Drawings, Joseph Anton Koch (Austrian, Obergibeln bei Elbigenalp 1768–1839 Rome

Goddess Inciting a Warrior, 1578–1660, Pen and brown ink, over black chalk, 13 1/8 x 10 3/8in. (33.3 x 26.4cm), Drawings, Francesco Albani (Italian, Bologna 1578–1660 Bologna

Design for a Wall Tomb, ca. 1630, Pen and brown ink, brush and black, gray and pink wash, 14 x 8 9/16 in. (35.6 x 21.8 cm), Anonymous, French, 17th century

Cavalry Engagement, 1646–1712, Pen and brown ink, blue-gray wash, 13 5/16 x 10 1/16in. (33.8 x 25.6cm), Drawings, Francesco Monti ('Il Brescianino delle Battaglie') (Italian, Bologna 1685–1768 Brescia) - Il Brescianino delle Battaglie

Le Chiffre d'Amour, 18th century, Etching and engraving; first state of three (Portalis), Sheet: 12 7/8 × 10 1/16 in. (32.7 × 25.5 cm), Prints, Nicolas de Launay (French, Paris, 1739–1792), After Jean Honoré Fragonard (French, Grasse

Design for a Small Gothic Pedestal Table and Two Brackets, early 19th century, Graphite, sheet: 9 9/16 x 11 7/8 in. (24.3 x 30.2 cm), Anonymous, British, 19th century

Landscape with the Horse (Landscape with Horses), 1859, Etching; second state of two (Glasgow); black ink on dark ivory wove paper, plate: 4 15/16 x 7 15/16 in. (12.5 x 20.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The Deposition from the Cross, ca. 1500, Pen and brown ink, 14 3/4 x 9 5/16 in. (37.4 x 23.7 cm), Drawings, Domenico Campagnola (Italian, Venice (?) 1500–1564 Padua), This intense scene of grief portrays the body of the dead Christ (just

River God with an Oar, Woman Holding a Serpent, and a Standing Nude Boy, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 10 1/16 x 9 5/16in. (25.6 x 23.7cm), Drawings, Giovanni Battista Tiepolo

Study of a nude female figure (Satyress), 1905–8, Graphite and watercolor on paper, Sheet: 9 13/16 x 12 3/4 in. (25 x 32.4 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

Two Plans and Elevations for Fountains, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 14 1/2 x 11 1/16 in. (36.9 x 28.1 cm), Drawings, Anonymous, French, 16th century

Jahel, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 5/16 x 8 3/8 in. (33.8 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Liverdun, 1858, Etching; third state of three (Glasgow); printed in black ink on fine antique gray laid paper, Plate: 4 3/16 × 6 in. (10.7 × 15.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Self-Portrait, turned slightly to the left, ca. 1893, Pen and different shades of gray-black ink, sheet: 6 9/16 x 11 7/16 in. (16.7 x 29 cm), Drawings, Käthe Kollwitz (German, Kaliningrad (Königsberg) 1867–1945 Moritzburg), Throughout her

Dropsy Courting Consumption, October 25, 1810, Hand-colored etching, sheet: 13 3/8 x 9 1/16 in. (33.9 x 23 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Judith, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), plate: 13 5/16 x 8 5/16 in. (33.8 x 21.1 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Chief Justice John Marshall, 1833, Engraving on chine collé, printed in red, brown and black ink; fourth state of five, plate: 9 5/16 x 6 9/16 in. (23.7 x 16.7 cm), Asher Brown Durand (American, Jefferson, New Jersey 1796–1886 Maplewood,

View of the Saints-Pères Bridge, 1877, Etching on laid paper; fourth and final state, sheet: 12 11/16 x 17 1/2 in. (32.2 x 44.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for a Ewer with Neptune on his Chariot, 1652–1725, Pen and brown ink, brush and brown and gray wash, over traces of black chalk (recto); pen and brown ink (verso), sheet: 10 11/16 x 6 15/16 in. (27.2 x 17.6 cm), Giovanni Battista

Christ before Pilate, from The Passion, 1512, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.7 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Holy Family with St. John the Baptist, ca. 1640–1642, Etching, Sheet: 5 7/8 × 3 7/8 in. (15 × 9.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Ruins of the Imperial Palaces in Rome, 1810, Pen and black ink over graphite, squared in graphite, framing line in brown ink, sheet: 14 15/16 x 19 3/8 in. (38 x 49.2 cm), Drawings, Joseph Anton Koch (Austrian, Obergibeln bei Elbigenalp

Plate 18 from the 'Disparates':Birds of a feather flock together, ca. 1816–23 (published 1864), Etching and burnished aquatint, sheet: 13 3/16 x 18 7/8 in. (33.5 x 48 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Saint Veronica between Saints Peter and Paul, from The Small Passion, 1510, Woodcut, sheet: 5 x 3 7/8 in. (12.8 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Feminine Gender, February 2, 1787, Etching with touches of watercolor, sheet: 10 11/16 x 8 1/4 in. (27.1 x 21 cm), Prints, Attributed to Henry Kingsbury (British, active ca. 1775–98

River God and Another Male Figure, 18th century, Black chalk (stumped) with touches of red chalk, heightened with white; squared in black chalk, framing lines in pen and brown ink, 14 7/16 x 10 11/16 in. (36.7 x 27.1 cm), Drawings, Charles

Design for a Pendentive: Youthful Musicians with Stringed Instruments, 1505–88, Pen and brown ink, brush and brown wash, highlighted with white, over red chalk, on blue paper, 2-5/16 x 2-13/16 in. (5.8 x 7.1 cm), Drawings, Pomponio Amalteo

Design for Part of a Wall Elevation with a Balcony flanking an Arch, Pen and brown ink, brush and wash, with watercolor, 11 3/4 x 5 1/16 in. (29.8 x 12.9 cm), Attributed to Faustino Trebbi (Italian, Budrio [Bologna] 1761–1836 Bologna

The Fat Kitchen, from the series Monkeys, Etching; second state, sheet: 8 5/8 x 10 3/4 in. (21.9 x 27.3 cm), Prints, Peeter van der Borcht (Netherlandish, Mechelen ca. 1545–1608 Antwerp

Self Portrait (with Cows), 1796, Etching; seventh state of eight (Perez), Sheet (trimmed): 14 3/4 in. × 11 in. (37.4 × 27.9 cm), Prints, Jean Jacques de Boissieu (French, Lyons 1736–1810 Lyons

Nocturne (Nocturne: The Thames at Battersea), 1878, Lithotint with scraping, on a prepared half-tint ground, second state of two (Chicago), printed in soft gray-black ink on pale blue laid chine mounted on ivory wove plate paper, Image: 6 3/4

L'Heureuse Fecondite, n.d., Etching, second state, sheet: 15 1/2 x 21 1/4 in. (39.3 x 54 cm), Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Nicolas de Launay (French, Paris, 1739–1792

Design for Three Chairs with Slanted Backs, Green, Yellow and Blue Upholstery, early 19th century, Ink, watercolor and wash, sheet: 8 5/8 x 12 5/16 in. (21.9 x 31.2 cm), Anonymous, British, 19th century

Plus que ça d'ballon...excusez!, from Actualités, published in Le Charivari, June 13, 1855, June 13, 1855, Lithograph; second state of two (Delteil), Sheet: 9 15/16 × 14 3/4 in. (25.2 × 37.5 cm), Prints, Honoré Daumier (French,

Plate 1 from 'The Tauromaquia': The way in which the ancient Spaniards hunted bulls on horseback in the open country, 1816, Etching, burnished aquatint, and drypoint, Plate: 9 3/4 x 13 3/4 in. (24.8 x 35 cm), Prints, Goya (Francisco de Goya y

Design for a Crystal Chandelier, 19th century, Pen and brown ink, image: 18 1/8 x 13 7/8 in. (46 x 35.2 cm), Drawings, Anonymous, French, 19th century

Plate 9: a cow ascending a bank, a peasant woman leading two cows across a bridge in background, from 'Diversi capricci', ca. 1644–47, Etching; third state of four, Sheet: 3 5/16 × 3 7/8 in. (8.4 × 9.8 cm), Prints, Stefano della Bella

Design for Trompe L'Oeil Ceiling for Dining Room, Hôtel de Trévise, 1850–1910, Pen and black ink, brush and brown and gray washes, 17 1/4 x 11 3/4 in. (43.8 x 29.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Little London Model, 1896, Transfer lithograph with stumping, drawn on white transfer paper with a grained-stone texture; only state (Chicago); printed in black ink on ivory wove paper, Image: 6 3/4 in. × 5 in. (17.2 × 12.7 cm), Prints, James

Design for a Stage Set at the Opéra, Paris, 1840–90, Graphite, sheet: 13 9/16 x 4 3/16 in. (34.4 x 10.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Cover: The Voyage to New Zealand (1842 - 46), 1866, Etching on laid paper, plate: 9 x 6 3/8 in. (15.2 x 23.8 cm), Prints, Charles Meryon (French, 1821–1868

The Last Judgment, 1558, Engraving; first state of two, sheet: 8 15/16 x 11 11/16 in. (22.7 x 29.7 cm), Prints, Pieter van der Heyden (Netherlandish, ca. 1525–1569), After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569

Perseus Beheading Medusa (recto); Studies of a Child and Ornament Sketches (verso), 1560–1609, Pen and brown ink, brush and brown wash, over black chalk or charcoal, scribbles in a darker brown ink at upper right (recto); pen and brown ink,

Saint Mathew and the Angel, 1536–1614, Red chalk, highlighted with white. The circular field of the image is incised with a compass, 7 1/16 x 7 5/16in. (17.9 x 18.5cm), Drawings, Cesare Nebbia (Italian, Orvieto ca. 1536–1614 Orvieto

Caricature of Joseph-Benoît Suvée, mid-18th–early 19th century, Black chalk, counterproof, 16 3/4 x 9 5/16 in. (42.6 x 23.7 cm), Drawings, François André Vincent (French, Paris 1746–1816 Paris

The Church of São Martinho in Sintra, Portugal, n.d., Pen and brown ink, brush and brown and gray wash, over traces of graphite, 10 9/16 x 15 9/16 in. (26.8 x 39.5 cm), Drawings, Pierre Lélu (French, Paris 1741–1810 Paris

Saint Hyacinth Receiving the Dominican Habit, 1556–1622, Pen and brown ink, brush and brown wash. Squared in black chalk, 14 5/16 x 8 7/8in. (36.3 x 22.5cm), Drawings, Aurelio Lomi (Italian, Pisa 1556–1622 Genoa

Portrait of Lieven Willemsz van Coppenol, Writing Master (the larger plate), 1658, Etching and drypoint; fourth state, 13 3/8 x 11 in. (34 x 27.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design with putti, second half 19th century, Oil paint, Overall: 14 9/16 x 18 3/4 in. (37 x 47.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for the decoration of a ceiling with a border of strapwork and a central filagree medallion, 1830–97, watercolor, gouache, and gold paint on wove paper; mounted on blue wove paper, Overall: 10 3/8 x 14 13/16 in. (26.4 x 37.6 cm),

Portrait of Rabelais, 1868, Etching; later state, plate reduced, sheet: 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Landscape, ca. 1811, Lithograph, sheet: 7 5/16 x 10 1/4 in. (18.6 x 26 cm), Prints, Johann Nepomuk Strixner (German, Altötting 1782–1855 Munich), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Design for a Lady's Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 1/16 x 11 7/16 in. (43.4 x 29 cm), Drawings, Anonymous, French, 16th century

Two Roman Busts, 1771–1844, Lead graphite, 8 1/2 x 9 7/8in. (21.6 x 25.1cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Halte des Troupes (Soldiers and Women in an Encampment), 18th century, Etching, sheet: 6 7/8 x 8 3/4 in. (17.5 x 22.2 cm), Prints, Attributed to Jean-Baptiste Joseph Pater (French, Valenciennes 1695–1736 Paris

Design for Three Low Gothic or Renaissance Style Arm Chairs, early 19th century, Pen and ink, sheet: 8 3/16 x 12 15/16 in. (20.8 x 32.9 cm), Anonymous, British, 19th century

View of the Château de Chillon on Lake Geneva, 19th century, Graphite, sheet: 8 1/4 x 6 5/8 in. (21 x 16.8 cm), Drawings, Anonymous, French, 19th century

The Visitation, from The Life of the Virgin, 1503–4, Woodcut, sheet: 11 15/16 x 8 5/16in. (30.3 x 21.1cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Jerome Reading, 1634, Etching, Sheet: 4 5/16 x 3 9/16 in. (11 x 9.1cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Portrait of Charles Baudelaire, in profile, 1862, Etching on laid paper, plate: 5 1/4 x 3 in. (13.3 x 7.6 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

San Lorenzo, north portal, elevation (recto) San Lorenzo, north portal, cornice, profile (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/8 x 11 13/16 in. (44.1 x 30 cm), Drawings

Portrait of Stephen Manuel, ca. 1885, Etching and drypoint; second state, plate: 2 9/16 x 2 1/2 in. (6.5 x 6.3 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Le Faucon, La Coupe Enchantee, from Contes et nouvelles en vers par Jean de La Fontaine. A Paris, de l'imprimerie de P. Didot, l'an III de la République, 1795, 1795, Etching and engraving; second state of three (Cohen), Sheet: 14 1/16 × 10

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 10 13/16 x 5 1/4 in. (27.4 x 13.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Day of Judgment, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 10 7/8 x 8 3/4 in. (27.6 x 22.2 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa 1765–1810 London), After William Blake (British,

Design for Grotesque Wall Decoration, early 16th century, Pen and brown ink, Drawings, Attributed to Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501–1547 Rome

Design for Two Marble-topped Pier Tables, early 19th century, Graphite, sheet: 8 5/8 x 12 5/16 in. (21.9 x 31.2 cm), Anonymous, British, 19th century

Pilate Washing His Hands, 15th century, Engraving, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Architectural Capriccio: Vaulted Colonnade of a Palace, 1712–93, Pen and brown ink, over red chalk, 7 1/16 x 9 15/16in. (18 x 25.3cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

Ritratti di alcuni Ostrogotti, 1768, Etching, plate: 8 7/8 x 4 1/2 in. (22.6 x 11.5 cm), Prints, Joseph François Foulquier (French, Toulouse 1744/45–1789 Martinique