Images at Librifly

The Consecration of the Site of a Church in Rome by a Pope ('The Miracle of Saint Mary of the Snows'?)., n.d., Pen and brown ink, over red chalk, some black chalk, and ruled construction; patches of paper with corrections pasted by the artist,

Narsingue, 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

Saint Antoninus Kneeling before the Crucifix in Orsanmichele, Florence, 1600–1605, Charcoal and pale brown wash on beige paper. Partially squared off in red chalk, 6-7/8 x 10-15/16 in. (17.4 x 27.8 cm), Drawings, Bernardino Poccetti (Italian,

Palazzo Spada (Capodiferro), right half, elevation; details profiles (recto) Wall, interior, elevation; ceiling, interior, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 5/8 x 17 5/16

Designs for Costumes, 1875–80, Pen and brown ink, brush and brown, black and gray wash, watercolor, sheet: 6 1/4 x 6 1/4 in. (15.9 x 15.9 cm), Drawings, Anonymous, French, 19th century

The Goldsmith, 1655, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Andirons, late 18th century, Pen and black ink, brush and gray, yellow and green wash over graphite underdrawing; on two joined pieces of paper, 11 x 15 1/2 in. (27.9 x 39.4 cm), Drawings, Jean Louis Prieur le Jeune (French, Paris

Prophet Seated in Profile on a Cloudbank, Praying: decoration for a spandrel, 1600–1800, Red chalk on cream paper, 10-1/4 x 7-5/8 in. (26.0 x 19.35 cm), Drawings, André Lebrun (French, Paris 1737–1811 Wilna

Saint Luke Holding a Painting of the Virgin and Child., 1648–1729, Pen and brown ink, brush and brown wash, 8 15/16 x 4 1/8in. (22.7 x 10.5cm), Drawings, Marcantonio Franceschini (Italian, Bologna 1648–1729 Bologna

Half Figure of a Woman Wearing a Cap, in Profile to Right, 1770, Graphite, heightened with white, framing lines in pen and brown ink., 6 5/16 x 4 7/8 in. (17.6 x 12.4 cm), Drawings, Augustin de Saint-Aubin (French, Paris 1736–1807 Paris

Plate 6: three ships in a storm, from 'Various Embarkations' (Divers embarquements), ca. 1646–47, Etching, Plate: 2 7/8 × 6 5/8 in. (7.3 × 16.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 9: Two goats resting to right, turned towards the left, four men and a horse in a river in the background, from 'Various Figures' (Agréable diversité de figures), 1642, Etching; state unknown (clipped impression), Sheet: 2 7/8 × 4 1/8

Design for Stage Set with Double Storey of Torqued Columns and Balustrades., 1659–1739, Pen and brown ink, brush and gray wash over traces of graphite, sheet: 10 3/16 x 7 5/8 in. (25.8 x 19.4 cm), Francesco Galli Bibiena (Italian, Bologna

River in the Woods, Etching, sheet: 3 1/8 x 4 3/4 in. (8 x 12 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Arabesque Cartouche with Dancing Figure, 18th century, Pen and black ink, graphite, and red crayon, 2 1/4 x 2 7/8 in. (5.7 x 7.3 cm), Drawings, Anonymous, French, 18th century

Lagoon: Noon, Etching and drypoint; third state of three (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 4 15/16 × 7 15/16 in. (12.5 × 20.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Melchizadek Offering Bread and Wine to Abraham, ca. 1547, Etching and engraving, second state, sheet: 10 5/8 x 16 1/4 in. (27 x 41.2 cm) trimmed just within platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design for a Chair, 19th century, Pen and black ink, brush and gray and brown wash; framing lines in graphite, 5 1/2 x 4 13/16 in. (14 x 12.2 cm), Drawings, Anonymous, French, 19th century

Side Chair with Lattice-Style Back (Perspective), 20th century, Black ink over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Man with Trumpet, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 15 15/16 x 15 3/8 in. (40.5 x 39.1 cm), Drawings, Anonymous, French, 19th century

The Little Lagoon, 1879–80, Etching and drypoint; third state of four (Glasgow); printed in black ink on fine antique white laid paper, Plate: 8 15/16 in. × 6 in. (22.7 × 15.2 cm), Prints, James McNeill Whistler (American, Lowell,

Half Figure of a Female Saint, 1728–81, Pen and brown ink, brush and gray-brown wash, 5 9/16 x 4 3/16in. (14.2 x 10.7cm), Drawings, Ubaldo Gandolfi (Italian, San Matteo della Decima 1728–1781 Ravenna

Allegorical Composition with a Young Man Kneeling before a Tree, 1615–66, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on brown-washed paper, 9-7/16 x 6-5/8 in. (24.0 x 16.9 cm), Drawings, Giovanni

A Crouching Man Defecating and a Standing Man Urinating, 1612–75, Pen and brown ink, masking 'corrections' in lighter brown ink, 6 x 7-1/4 in. (15.2 x 18.4 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675

Mourir C'est Renaitre (Death and Immortality), 19th century, Wood engraving, plate: 8 7/8 x 5 5/8 in. (22.5 x 14.3 cm), Prints, After William Blake (British, London 1757–1827 London

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and brown wash, and gouache, Irregular sheet: 7 1/16 x 5 3/16 in. (17.9 x 13.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Fountain at a Street Corner Decorated with Putti Heads, a Coat of Arm and a Gargoyle Head on the Top, 1735–1817, Pen and brown ink, brush and brown and gray wash over traces of red chalk, Image: 6 x 7 3/8 in. (15.2 x 18.7 cm),

Samuel P. Avery Transporting His Treasures Across the Sea, ca. 1875–80, Graphite, ink and gouache on gray paper, sheet: 16 1/8 x 10 1/2 in. (40.9 x 26.7 cm), Drawings, Theodore Wust (American, Frankfurt 1853?–1915 Alsace

Design for a ceiling decoration, 19th century, Watercolor and graphite, sheet: 16 1/2 x 15 3/16 in. (41.9 x 38.6 cm), Drawings, Anonymous, French, 19th century

The Resurrection, from The Small Passion, ca. 1510, Woodcut, sheet: 5 1/16 x 3 13/16 in. (12.8 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint Bernardino of Siena, ca. 1465, Woodcut, hand-colored, 10-3/8 x 7-3/8 in., Prints, Anonymous, German, Upper Germany, 15th century

Adam and Eve, 1504, Engraving, Sheet: 9 13/16 × 7 5/8 in. (24.9 × 19.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Three Vases, ca. 1770–85, Pen and brown ink, and black chalk, 14 7/8 x 9 3/16 in. (37.8 x 23.3 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set at the Opéra, Paris: Church Interior, 1830–90, Graphite, sheet: 10 1/4 x 19 1/2 in. (26 x 49.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Le Calendrier des Vieillards, 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, published in 1795, Etching and engraving; second state of three (Cohen), Sheet: 13

M. Vitruvius per Iocundum solito castigatior factus cum figuris et tabula ut iam legi et intelligi possit, 1511, Printed book with woodcut illustrations, Overall: 12 5/16 x 8 9/16 x 15/16 in. (31.2 x 21.7 x 2.4 cm), Books

Ramona Incana, 1909–14, Watercolor and brown ink over graphite with details in 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 York

Bust of Man Facing Left, late 18th Century, Graphite, 4 x 3 3/8 in. (10.2 x 8.6 cm), Drawings, Anonymous, French, 18th century

Young Satyr About to Bathe in a River, from 'Landscapes and seaports' (Paysages et ports de mer, dans des ronds), 1656, Etching; second state of two, Plate: 5 5/8 × 5 5/16 in. (14.3 × 13.5 cm), Prints, Stefano della Bella (Italian, Florence

Christ in Limbo, from The Large Passion, n.d., Woodcut, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 10: two heads of old soldiers wearing helmets, both facing left and looking downwards, from 'The principles of design' (I principii del disegno), ca. 1641, Etching, Plate: 4 3/4 × 6 1/16 in. (12.1 × 15.4 cm), Prints, Stefano della

Man Wearing a Small Turban Ornamented with Plumes and a Ribbon, Facing Right, from Series of Small Heads in Oriental Headdress, etching, sheet: 4 5/16 x 3 1/8 in. (11 x 8 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian,

Acteon, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 1/4 in. (4.6 × 5.7 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean

Head of an Apostle Surrounded by a Tongue of Fire and a Nimbus: Fragment of a Cartoon for a Descent of the Holy Spirit, 1500–1550, Brush, yellow, orange, brown, cream, and white gouache, 10-1/4 x 10-7/8 in. (26.0 x 27.7 cm), Drawings,

Vitré: The Canal, 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed on black ink on ivory laid paper, Image: 9 5/16 in. × 6 in. (23.6 × 15.3 cm), Prints, James McNeill Whistler

Savoy Pigeons, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; only state (Chicago), from the published edition printed from a supplementary stone; printed in black ink on heavy cream laid paper, Image: 7

Cat and Flowers. Illustration to The Cats by Champfleury, 1869, Etching and aquatint in brown ink on tan wove paper, final state of three, third edition (Mégnin), plate: 6 11/16 x 5 1/8in. (17 x 13cm), Prints, Édouard Manet (French, Paris

Man Sheathing a Sword, 17th century, Red chalk, 11 1/8 x 7 1/8in. (28.3 x 18.1cm), Drawings, attributed to Francesco Montelatici ('Cecco Bravo') (Italian, Florence 1601–1661 Innsbruck

Unknown, Corinthian capital, elevation (recto) Unknown, Corinthian capital, plan diagram and detail (verso), ca. 1540–60, Dark brown ink, black chalk, and incised lines

The Entrance of Christ into Jerusalem, 16th century, Pen and brown ink, brown wash over traces of black chalk, 8 1/2 x 8 1/2in. (21.6 x 21.6cm), Drawings, Attributed to Ercole Setti (Italian, documented Modena, late 16th century

Potiphar's Wife Accuses Joseph (copy), 17th century, Engraving, sheet: 5 x 6 3/4 in. (12.7 x 17.1 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Revelation of Saint John the Evangelist, from the Apocalypse, n.d., Engraving, plate: 11 5/8 x 8 3/8 in. (29.5 x 21.2 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Saint Peter's, apse, exterior elevation (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 13 3/8 x 22 13/16 in. (34 x 58 cm), Drawings

Eros Escaping by Sea; Cupid using his bow to propel a boat made from his quiver with an arrow as the mast and his blindfold as the sail, a banderole above, ca. 1515–27, Engraving, Sheet: 5 1/16 × 6 13/16 in. (12.9 × 17.3 cm), Prints, Marco

a. Study for Clovis (middle register); b. Study for Clovis (middle register); c. St. Dominic and another Friar, after Fra Angelico; (studies for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, a, b.

The Amateur, 1843–1925, Watercolor, 13 15/16 x 9 15/16in. (35.4 x 25.3cm), Drawings, Attilio Simonetti (Italian, Rome 1843–1925 Rome

St. Matthew, from the series The Four Evangelists, 1518, Engraving, sheet: 4 1/4 x 2 7/8 in. (10.8 x 7.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Cupid Flying, 1527–85, Brush and brown ink, 12 5/8 x 8 1/2in. (32.1 x 21.6cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Plate 6: lion, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 3/8 × 4 1/8 in. (8.5 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Designs for Two Porcelain Vases, ca. 1770–85, Pen and brown ink, watercolor, and graphite, 14 7/8 x 9 3/16 in. (37.8 x 23.3 cm), Drawings, Anonymous, French, 18th century

The Assumption and Coronation of the Virgin, from The Life of the Virgin, 1510, Woodcut, sheet: 11 1/2 x 8 1/8 in. (29.2 x 20.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Fringed, Pelmeted Curtains Hanging at Three Widows, early 19th century, Graphite, sheet: 8 9/16 x 12 5/16 in. (21.8 x 31.2 cm), Anonymous, British, 19th century

Classical Frieze with Head of Demosthenes, 18th century, Graphite, brush and brown and gray wash, sheet: 3 3/4 x 9 3/4 in. (9.6 x 24.7 cm), Drawings, Anonymous, French, 18th century

Design for Ceiling, 18th century, Graphite, Overall: 9 5/16 x 6 3/8 in. (23.7 x 16.2 cm), Drawings, Anonymous, French, 18th century

Head of a Bearded Man, ca. 1750, Black and red chalk, heightened with white on beige paper. Squared for transfer in graphite., 13 5/16 x 11 1/16 in. (33.8 x 28.1 cm), Drawings, Jean Restout le jeune (French, Rouen 1692–1768 Paris

Design for a Chair and Three Designs for Ceiling Molding, 19th century, Pen and brown ink, a: 8 9/16 x 10 11/16 in. (21.8 x 27.2 cm) top, Drawings, Anonymous, French, 19th century

Design for Chaise Lounge, 19th century, Graphite, brush and rose wash, with framing lines in graphite, 6 5/8 x 10 in. (16.9 x 25.4 cm), Anonymous, French, 19th century

Buck's Beauty and Rowlandson's Connoisseur, January 1, 1800, Hand-colored etching with stipple engraving, plate: 12 7/16 x 8 13/16 in. (31.6 x 22.4 cm), Prints, Piercy Roberts (British, active 1794–1828

The Sisters, 1894, Transfer lithograph with scraping, drawn on thin transparent transfer paper; second state of two (Chicago); printed in black ink on cream laid paper, Image: 5 7/8 × 9 5/16 in. (15 × 23.6 cm), Prints, James McNeill Whistler

Christ before Annas, 15th century, Engraving, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Drawing of a Decorated Coat of Arms surrounded by Books, Owl, Leaves, Vase and a Snake, 1732–1802, Pen and dark brown ink, 4 1/2 x 4 13/16 in. (11.5 x 12.2 cm), Drawings, Attributed to Carlo Bianconi (Italian, Bologna 1732–1802 Milan

Top and Tail, 1777, Hand-colored etching with stipple, plate: 12 11/16 x 7 13/16 in. (32.3 x 19.9 cm), Prints, Anonymous, British, 18th century, Ascribed to Miss Heel (British, 18th century), After Mr. Perwig (British, 18th century), To

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

Two designs for decorative borders in strapwork and rinceaux, 1830–97, pen and ink, wash and watercolor on tracing paper; mounted on wove paper, Overall: 13 3/8 x 19 3/8 in. (34 x 49.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Diana, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/8 in. (4.6 × 6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets

Job's Sacrifice, 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

Design for Ceiling at Fontainebleau, second half 19th century, Graphite, 10 15/16 x 10 1/4 in. (27.8 x 26.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for Half Cartouche with Mask, 18th century, Pen and ink, wash, Drawings, Fortunato Tesi (Italian, 18th century

The Virgin on the Crescent, ca. 1499, Engraving, Sheet: 4 3/16 in. × 3 in. (10.7 × 7.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

David Roentgen and Company in Saint Petersburg, ca. 1784–86, Cut paper with ink wash and watercolor, Sheet: 17 13/16 x 23 7/8 in. (45.3 x 60.6 cm), Cut Paper, Johann Friedrich Anthing (German, Gotha 1753–1805 St. Petersburg), David

Plate 8: the Colosseum, two herds being directed towards the amphitheater in the foreground, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca. 1646, Etching; second state of six, Plate: 4 15/16 × 5 1/4

Saint Christopher, 1511, Engraving, sheet: 8 5/16 x 8 5/16 in. (21.1 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Funerary Monument, 1510–63, Brush and brown wash, over black chalk, sheet: 7 x 11 11/16 in. (17.8 x 29.7 cm), Drawings, Francesco Salviati (Francesco de' Rossi) (Italian, Florence 1510–1563 Rome

Plate 62 from 'The Disasters of War' (Los Desastres de la Guerra): 'The beds of death' (Las camas de la muerte.), 1811–12 (published 1863), Etching, lavis, drypoint, burin and burnisher, Plate: 6 7/8 × 8 9/16 in. (17.4 × 21.8 cm), Prints,

The Piazetta (The Piazzetta), 1879–80, Etching and drypoint; fourth state of nine (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 9 15/16 × 7 1/16 in. (25.3 × 17.9 cm), Prints, James McNeill Whistler (American,

Gentleman Seen from the Back Indicating a Landscape, 1629, Etching (reverse copy), Sheet (trimmed): 5 1/4 × 3 11/16 in. (13.3 × 9.3 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Artémise, ca. 1639–40, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 x 8 3/8 in. (35.5 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676

The Virgin Appearing at Mass, 1692–1758, Red chalk, pen and brown ink. Squared in red chalk. Framing lines in pen and brown ink, 13 11/16 x 9 15/16in. (34.7 x 25.2cm), Drawings, Agostino Masucci (Italian, Rome 1692–1768 Rome

Floral Swags Framing an Empty Oval, n.d., Pen and brown ink, brush and brown wash, 11 7/16 x 14 1/8 in. (29 x 35.8 cm), Drawings, Attributed to Jean Pillement (French, Lyons 1728–1808 Lyons

Zephyr, 1864, Stipple engraving with line engraving and etching; third state of four, image: 16 7/16 x 12 5/16 in. (41.7 x 31.3 cm), Prints, After Pierre Paul Prud'hon (French, Cluny 1758–1823 Paris), Jean Nicolas Laugier (French, Toulon

Dieppe, La Rue de la Halle au Blé, 1893, Etching; only state, plate: 4 7/16 x 3 3/8 in. (11.3 x 8.6 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

The Market Place, Vitré, 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed on black ink on ivory laid paper, Image: 8 in. × 6 3/8 in. (20.3 × 16.2 cm), Prints, James McNeill

Reclining Nude, Back View, before 1922, Graphite on laid paper, 9 5/8 x 12 1/2 in. (24.4 x 31.8 cm), Drawings, Aristide Maillol (French, Banyuls-sur-Mer 1861–1944 Perpignan

Seated Girl in a Landscape, 1702–88, Pen and brown ink, brush with brown and gray wash, highlighted with white gouache, over graphite. Framing lines in pen and brown ink, 3 7/16 x 6 13/16in. (8.7 x 17.3cm), Drawings, Francesco Zuccarelli

Standing Man with His Right Hand on His Chest, ca. 1787, Pen and brown ink, brush and brown wash, over red chalk on tan paper. Traces of squaring in graphite and red chalk., 14 15/16 x 9 5/8 in. (38 x 24.4 cm), Drawings, François André

Standing Female Figure and Ornamental Framework., ca. 1547–53, Pen and brown ink, brush and brown wash, over traces of black chalk; squared in black chalk, Sheet: 10 1/4 x 4 1/8 in. (26 x 10.5 cm), Drawings, Girolamo Mazzola Bedoli (Italian,

The Virgin with the Swaddled Child, 1520, Engraving, Sheet: 8 1/8 × 5 15/16 in. (20.7 × 15.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Young Man Seated, Bent over a Reclining Figure, ca. 1845–50, Red chalk with stumping on laid paper, sheet: 7 3/8 x 10 3/16 in. (18.8 x 25.9 cm) (trimmed at top to form an arch), Drawings, Jean-François Millet (French, Gruchy 1814–1875

Solomon's Idolatry, 1514, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden