Images at Librifly

Christ and the Woman of Samaria (Schr. 2215), ca. 1460–70, Metalcut with dot punch; hand-colored; mounted on fifteenth-century (?) type-printed page, 6-15/16 x 4-5/8 in., Prints, Master with the Cologne Arms (German, late 15th century

The Death of Seneca, ca. 1773, Pen and brown ink, brush and brown wash, 6 x 8 5/8 in. (15.3 x 21.9 cm.), Drawings, Pierre Peyron (French, Aix-en-Provence 1744–1814 Paris

Christ Blessing, 1681–1767, Black chalk, highlighted with white, on grayish brown paper (recto); faint black chalk study of the same figure and three studies for a left hand (verso), 16-13/16 x 10-13/16 in. (42.7 x 27.5 cm), Drawings,

The Scourging of Christ, n.d., Woodcut, sheet: 15 1/4 x 10 7/8 in. (38.7 x 27.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Drury Lane Rags, 1888, Transfer lithograph, drawn on medium-grain transfer paper; only state (Chicago), Image: 5 13/16 × 6 5/16 in. (14.7 × 16 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Rag Gatherers (Rag Pickers, Quartier Mouffetard, Paris), 1858, Etching and drypoint; fifth state of five (Glasgow); black ink on extremely fine Japan paper, Plate: 5 7/8 x 3 1/2 in. (14.9 x 8.9 cm), Prints, James McNeill Whistler

Perspective of a Three-Seat Sofa with 2-Color Upholstery, for Agnelli, 1934, Watercolor, over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Plate 1: a man sings and plays the hurdy gurdy, accompanied by a boy playing the triangle to right, a group of peasants dancing in a ring to left in background, title page for 'Diversi capricci', ca. 1644–47, Etching; third state of four (De

Alexander in His Tent (?), 1602–30, Pen and brown ink, brush and brown wash, 7-3/4 x 5-3/4 in. (19.7 x 14.6 cm), Drawings, attributed to Antonio Gandini (Italian, documented Trento 1602–1630 Ronchi

The Resurrection, from The Little Passion, ca. 1510, Woodcut, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Upright Decorative Panels, 18th century, Pen and gray ink, brush and gray wash with background in brush and blue wash. Cut at the bottom., 7 5/16 x 6 3/16 in. (18.6 x 15.7 cm), Drawings, Anonymous, French, 18th century

Juno at left asks Jupiter to help the Greeks, set within an elaborate frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 5/16 x 4 1/8 in. (13.5 x 10.5 cm), Prints, Giulio Bonasone (Italian, active Rome and

A man kneeling next to a basket of fish and taking one with both hands, two men at right in the background, ca. 1515–27, Engraving, Sheet (Trimmed): 2 1/2 × 3 7/16 in. (6.3 × 8.8 cm), Prints, Marco Dente (Italian, Ravenna, active by

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor and gouache, over graphite, Irregular sheet: 6 7/16 x 10 7/8 in. (16.4 x 27.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Stage Set: Interior of a Ballroom or Theater with Torqued Columns and Large Volutes Above., 1676–1736, Pen and brown ink, brush and gray wash over traces of graphite, sheet: 8 5/8 x 7 7/16 in. (21.9 x 18.9 cm), Francesco Galli

Seating Arrangement of the Chevaliers of the Order of the Holy Spirit, 1634, Etching, Sheet (trimmed): 10 13/16 × 13 9/16 in. (27.5 × 34.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Songs of Innocence and of Experience: The Shepherd, 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 1757–1827

The Romp, January 3, 1786, Hand-colored etching, sheet: 10 11/16 x 16 1/8 in. (27.2 x 41 cm), Prints, R. Rushworth (British, active 1785–86

Equestrian Statue of Marcus Aurelius, between 1515–27, Engraving, 13 3/8 x 9 1/8 in. (33.9 x 23.1 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome

Saint John Swallowing the Book, from The Apocalypse, Latin Edition, 1511, 1511, Woodcut, sheet: 15 1/4 x 11 in. (38.8 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Tornado–Zeus Battling Typhon (Erasmus Darwin, The Botanic Garden), August 1, 1795, Engraving, image: 8 5/16 x 6 11/16 in. (21.1 x 17 cm), Prints, William Blake (British, London 1757–1827 London), After Henry Fuseli (Swiss, Zürich

The Arms of the German Empire and the City of Nuremberg, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 1: A horse drawn cart carrying people and goods, dead horse in the foreground, from 'Various Military Caprices' (Varii capricci militari), ca. 1641, Etching; second state of four, Sheet (trimmed to plate): 3 9/16 × 5 5/8 in. (9.1 × 14.3

Abraham Entertaining the Angels, 1656, Etching with drypoint; only state, sheet: 6 1/2 x 5 7/16 in. (16.5 x 13.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Studies for a Seated Figure of a Man with a Shovel, ca. 1603, Black and red chalk., sheet: 7 15/16 x 14 3/16 in. (20.1 x 36.1 cm), Drawings, Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612 Florence

Allegorical Figure of Faith, 1648–1729, Pen and brown ink, brush and gray wash, highlighted with white, on brown washed paper, 15 11/16 x 11 3/4in. (39.8 x 29.8cm), Drawings, Marcantonio Franceschini (Italian, Bologna 1648–1729 Bologna

Christ and the Woman of Samaria among Ruins (reverse copy), 1824–26, Etching, Prints, William James Smith (British, active London 1824–26), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Kneeling Woman (lower register); verso: Kneeling Woman (lower register); (studies for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Red chalk (recto and verso), 18 3/8 x 11 15/16 in. (46.7 x 30.3 cm),

The Rest on the Flight into Egypt, 1762–1844, Pen and brown ink, brush and brown wash, over graphite, 6 7/16 x 5 1/8 in. (16.3 x 13 cm), Drawings, Giuseppe Bernardino Bison (Italian, Palmanova 1762–1844 Milan

Designs for two panels painted in rinceaux, 1830–97, Pen and ink and watercolor on laid paper; mounted on blue wove paper, Overall: 10 13/16 x 8 1/4 in. (27.4 x 21 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Saint Eustace, ca. 1501, Engraving, Sheet: 13 3/4 × 10 3/16 in. (35 × 25.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Dürer's largest engraving depicts the moment of conversion of a Roman general named Placidus.

Foolish Virgins Sleeping (Les Vierges folles sommolent en attendant l'arrivée de l'époux), ca. 1635, Etching, sheet: 8 3/4 x 12 5/8 in. (22.2 x 32.1 cm) verses trimmed, Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Lydia and Her Mother at Tea, 1882, Soft-ground and aquatint; fifth state of five, plate: 7 x 10 7/8 in. (17.8 x 27.6 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

A Massacre by the Triumvirate, ca. 1624, Etching, sheet: 10 x 14in. (25.4 x 35.6cm), Prints, Claude Vignon (French, Tours 1593–1670 Paris

Sunset on the East River, 1879, Etching, plate: 4 15/16 x 7 11/16 in. (12.5 x 19.5 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Elevation of the Cross, n.d., Etching, image: 7 3/4 x 4 13/16 in. (19.7 x 12.2 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris 1730–1805 Shrewsbury

The Passion for War, n.d., Etching, second state, sheet: 9 15/16 x 16 1/8 in. (25.3 x 40.9 cm), Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jean Audran (French, Lyons 1667–1756 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and brown wash, and gouache, Irregular sheet: 10 1/2 x 6 9/16 in. (26.7 x 16.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Rape of the Sabines, 1624–63, Pen and brown ink, over a little black chalk. Framing lines in pen and brown ink on mount, 3-1/8 x 7-1/16 in. (8.0 x 17.9 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Fireplace Design, 19th century, Graphite, Anonymous, British, 19th century

Groupe de deux angelots (regardant vers la droite), Etching, sheet: 9 13/16 x 8 1/16 in. (25 x 20.4 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

St. Nicolas of Myra (Schr. 1633c), 15th century, Woodcut, hand-colored, sheet: 7 1/2 x 4 13/16 in. (19.1 x 12.3 cm), Prints, Anonymous, German, 15th century

Design for a Worktable with Two Suspended Containers (Verso: Sketch for desk), early 19th century, Graphite, sheet: 8 13/16 x 12 3/16 in. (22.4 x 31 cm), Anonymous, British, 19th century

Caricatured Head of a Spaniard, 1880, Pen and brown ink, 6 15/16 x 4 1/2 in. (17.6 x 11.4 cm), Drawings, Jules Worms (French, Paris, 1832–1914

Design for Cabinet Ornamented with Carved Knights and Ladies, and Two Chairs, early 19th century, Ink and watercolor and wash, sheet: 8 7/8 x 11 7/8 in. (22.5 x 30.2 cm), Anonymous, British, 19th century

A Fragment of Piccadilly (Piccadilly), [1884–86], Etching; only state (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 4 1/4 × 2 5/8 in. (10.8 × 6.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Design for an Altar Chapel, Farnborough, England, 1880–86, Graphite, watercolor, gouache, and gilt on tissue paper, 14 3/8 x 12 5/8 in. (36.5 x 32.1 cm) - Irregular, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Muses Euterpe, Polyhymnia, Calliope, Clio, and Terpsichore (recto); Sketch of a Sleeping Child (verso), 1811, Black chalk, squared in red chalk. Verse: black chalk sketch of a sleeping child., 18-13/16 x 13-5/16 in. (47.8 x 33.8 cm),

Ceiling Design for the 'Salle des Cerfs', Fontainebleau, second half 19th century, Graphite, 12 11/16 x 11 5/16 in. (32.2 x 28.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Title Page: Le Brun Travested, or Caricatures of the Passions, January 21, 1800, Etching, printed in brown ink, hand-colored, sheet: 6 13/16 x 8 7/16 in. (17.3 x 21.5 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809

Two Nudes Seen from Below (recto); Male Figure with Upraised Arm (verso), 1580–1582, Red chalk (recto and verso), squared in red chalk (recto), 11 9/16 × 8 3/8 in. (29.4 × 21.3 cm), Drawings, Pomarancio (Cristoforo Roncalli) (Italian,

The Windmill (reverse copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Circle of Corrupt Officials: The Devils Tormenting Ciampolo, from Dante's Inferno, Canto XXII, ca. 1825–27, Engraving, plate: 9 3/8 x 13 1/4 in. (23.8 x 33.7 cm), Prints, William Blake (British, London 1757–1827 London

Le Pate d'Anguilles, 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: 13 3/4 × 10 3/16 in.

The Visitation, from The Life of The Virgin, 1503–4, Woodcut, sheet: 11 7/8 x 8 5/16 in. (30.1 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ Crowned with Thorns, 1519, Engraving; second state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

An angel appearing to Hagar, ca0–1772, Etching, Sheet: 13 11/16 × 19 1/8 in. (34.7 × 48.5 cm), Prints, Pietro Monaco (Italian, 1707–1772), After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Courtyard, Brussels, 1887, Etching; only state (Glasgow); printed in black ink on fine ivory laid paper, Plate: 8 7/16 × 4 15/16 in. (21.4 × 12.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

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

Nine Miscellaneous Designs for the de la Rochejaqulein Family, second half 19th century, Graphite, pen and black and brown ink, watercolor, 12 1/4 x 18 3/4 in. (31.1 x 47.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Diana and Orion, etching, sheet: 20 5/16 x 10 11/16 in. (51.6 x 27.2 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Regulus Condemned to the Most Horrible Torture, 18th century, Etching and engraving, 4th state (out of 5), sheet: 11 13/16 x 9 1/16 in. (30 x 23 cm), Prints, After Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris), Pierre Chenu

Summer (L'Été), ca. 1637, Etching, sheet: 10 1/16 x 12 11/16 in. (25.5 x 32.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Studies of Two Flying Putti and of Drapery (recto); Seated Virgin and Child, and Kneeling Child (verso), 1609–85, Black chalk on blue paper. Recto partially squared in black chalk, 7-1/16 x 9-3/8 in. (18 x 23.8 cm), Drawings, Sassoferrato

Design for Vase with Eagles, 1652–1725, Pen and brown ink, brush and gray wash, over traces of black chalk. A vertical line in leadpoint through the center to create the symmetry of the drawing, sheet: 10 11/16 x 10 7/8 in. (27.1 x 27.6 cm),

Laces Peddler, 1738, Etching with some engraving, Sheet: 9 1/4 x 7 1/8 in. (23.5 x 18.1 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Design for a Cup or Reliquary Composed of a Shell and S-Volute., 1652–1725, Pen and brown ink, brush and gray wash, over traces of graphite, sheet: 11 1/8 x 5 13/16 in. (28.3 x 14.7 cm), Attributed to Giovanni Battista Foggini (Italian,

Design for One Half of an Ornamental Border, ca. 1540–60, Pen and brown ink, brush and lavender and brown wash, over black chalk, 6 3/8 x 4 7/16 in. (16.2 x 11.2 cm), Anonymous, French, School of Fontainebleau, 16th century, Previously

The Arcade of the Libreria, Looking Toward San Giorgio Maggiore, 1712–93, Pen and brown ink, brush and brown wash, 5 13/16 x 4 3/8in. (14.8 x 11.1cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

Head of a Bearded Man Looking to Upper Left (Saint Ambrose), 1625–1713, Red chalk on blue paper, 7 15/16 x 6 7/16in. (20.2 x 16.3cm), Drawings, Carlo Maratti (Italian, Camerano 1625–1713 Rome), Study for the head of Saint Ambrose in an

A Goose and a Gander with their Goslings Honking in Alarm as Two Foxes with their Cubs Emerge from the Rushes, mid-18th–early 19th century, Pen and brown ink, brown and gray wash over black chalk, watercolor and bodycolor, sheet: 18 13/16 x 14

Coffee Vendor, 1746, Etching with some engraving, image: 9 x 7 1/8 in. (22.8 x 18.1 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), Etienne Fessard (French, Paris 1714–1777 Paris), After

Eighteen Scenes of Courtship (recto), Study of Two Men Meeting Before a Portico, 18th century, Pen and brown ink (recto), pen and black ink (verso) on laid paper, sheet: 13 11/16 x 10 1/16 in. (34.7 x 25.5 cm), Drawings, Attributed to

Design for Stage Set, 1698–1765, Pen and brown ink, brush and brown wash, on yellow-brown paper, sheet: 3 15/16 x 5 7/16 in. (10 x 13.8 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765

Plate 3: seated monkey, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 3/16 × 4 1/8 in. (8.1 × 10.4 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Nocturne: Dance House, 1889, Etching and drypoint; fourth state of six; printed in dark brown ink on medium weight ivory laid paper, Plate: 10 1/2 × 6 9/16 in. (26.7 × 16.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Title Page, The Caricature Magazine, or Mirror of Mirth, November 1808, Etching; proof before letters, Sheet: 13 1/16 x 9 3/16 in. (33.2 x 23.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Coat of Arms of Albrecht Dürer, 1523, Woodcut, sheet: 13 13/16 x 10 1/4 in. (35.1 x 26.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Susanna and the Two Elders, ca. 1508, Engraving, sheet: 7 11/16 x 5 5/8 in. (19.5 x 14.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Oddities, January 1794, Hand-colored etching, Sheet: 8 7/8 × 12 15/16 in. (22.5 × 32.9 cm), Prints, After Henry Wigstead (British, 1745?–1800 Margate

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 3/16 x 13 5/16 in. (23.4 x 33.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Frontispiece: Six Figures Académiques, 1742–43, Etching, sheet: 14 7/8 x 10 11/16 in. (37.8 x 27.2 cm), Prints, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Saint Matthew Seated in a Niche, 1572–1642, Black chalk, Sheet: 10 x 5 1/16 in. (25.4 x 12.9 cm), Drawings, attributed to Fabrizio Boschi (Italian, Florence 1572–1642 Florence

Portrait of Charles Leland, 1871, Etching, sheet: 11 3/4 x 8 in. (29.8 x 20.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for a Chair, ca. 1820, Ink and gouache, sheet: 4 1/2 x 3 11/16 in. (11.4 x 9.4 cm), Attributed to Gillows (British, 19th century

A Peep at St. Peter or The Poet in a Pickle, July 23, 1789, Hand-colored etching, sheet: 9 1/16 x 12 15/16 in. (23 x 32.8 cm), Prints, Anonymous, British, 18th century

Street at Saverne, 1858, Etching and open bite or sandpaper ground; fourth state of four (Glasgow); printed in black ink on buff colored Japan paper, Plate: 8 1/8 × 6 1/4 in. (20.7 × 15.9 cm), Prints, James McNeill Whistler (American, Lowell,

Bust-Length Study of a Child, 1708–87, Black chalk, hightlighted with white chalk, on blue-gray paper, 6 3/16 x 7 7/16in. (15.7 x 18.9cm), Drawings, Pompeo Batoni (Italian, Lucca 1708–1787 Rome), Drawn after life, this delicate study

Samson Rending the Lion, ca. 1497–98, Woodcut, sheet: 14 3/4 x 10 13/16 in. (37.4 x 27.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

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 5/8 in. (14.2 × 16.8 cm), Prints, Goya (Francisco

Two Doorways, 1879–80, Etching and drypoint; sixth state of thirteen (Glasgow); printed in dark brown ink on medium weight ivory laid paper, Plate: 7 7/8 × 11 9/16 in. (20 × 29.3 cm), Prints, James McNeill Whistler (American, Lowell,

Plate 9 from 'Los Caprichos': Tantalus (Tantalo.), 1799, Etching and burnished aquatint, Plate: 8 3/16 × 5 7/8 in. (20.8 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Saint John sees the Four Horsemen, from the Apocalyspe, n.d., Engraving, plate: 11 7/8 x 8 11/16 in. (30.2 x 22.1 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Plate 57 from 'Los Caprichos':The filiation (La filiacion.), 1799, Etching and aquatint, Plate: 8 7/16 x 5 7/8 in. (21.5 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Harlé Père, published in La Caricature no. 136, June 5, 1833, June 5, 1833, Lithograph, Sheet: 13 1/16 × 9 11/16 in. (33.2 × 24.6 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

L'Escalier (The Curving Stair), 1778–79, Black chalk, pen and black and brown ink, watercolor, and touches of gouache, on off-white laid paper, Sheet: 7 3/8 x 4 7/8 in. (18.7 x 12.4 cm), Drawings, Gabriel de Saint-Aubin (French, Paris

Knight, Death, and the Devil (copy), n.d., Engraving, Sheet: 9 9/16 × 7 1/2 in. (24.3 × 19 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Two Female Heads and Standing Figure (from Sketches on the Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is an irregular fragment cut from the upper portion of 'Sketches on the Coast Survey Plate'

The soprano Karoline Hetzenecker in the role of Sesto in La Clemenza di Tito by W.A. Mozart, ca. 1848, Graphite and watercolour, sheet: 14 5/8 x 10 1/4 in. (37.2 x 26.1 cm), Drawings, Moritz von Schwind (Austrian, Vienna 1804–1871 Munich

The Apotheosis of Saint Mark (recto and verso), 1700–1771, Pen and brown ink, over traces of black chalk (recto); pen and brown ink (verso), 9-1/2 x 5 in. (24.2 x 12.7 cm), Drawings, Pietro Roselli (Italian, Venice (?) 1700–1771 Venice