Images at Librifly

Sketch for a Stage Set: Foreshortened View of a Palace with a Figure on the Stairs., 1700–1774, Pen and brown ink, sheet: 7 5/16 x 5 1/16 in. (18.5 x 12.9 cm), Antonio Galli Bibiena (Italian, Parma 1700–1774 Mantua (?)), Francesco Galli

Songs of Innocence and of Experience: Spring, 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

Caricature: An Elderly Couple, 1696–1770, Pen and dark brown ink, brush and brown wash, over leadpoint or black chalk, 8-1/4 x 6-1/8 in. (20.9 x 15.6 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Plate 4 from the 'Disparates': Simpleton, ca. 1816–23 (published between 1854–63), Etching, burnished aquatint burin and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for a Mirrored Sideboard with Pointed Legs and Foliate Ornament, early 19th century, Ink and wash, sheet: 8 9/16 x 12 5/16 in. (21.7 x 31.3 cm), Anonymous, British, 19th century

Hurlingham, 1879, Etching and drypoint; fourth state of four (Glasgow); printed in black ink on ivory laid paper, Plate: 5 3/8 x 7 7/8 in. (13.6 x 20 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Arch of Camigliano, cornice, elevation in profile, ornamental detailing (recto) Unidentified, Doric capital; Arch of Camigliano, cornice, profile, sketch (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines,

Design for the decoration of a ceiling with strapwork and rinceaux, 1830–97, pen and ink, watercolor, and gouache on laid paper; mounted on blue wove paper, Overall: 10 1/2 x 14 11/16 in. (26.7 x 37.3 cm), Drawings, Jules-Edmond-Charles

Design for an Urn, ca. 1770–90, Pen and brown ink, graphite, 14 1/2 x 9 1/2 in. (36.9 x 24.1 cm), Drawings, Anonymous, French, 18th century

Polish hussar in profile facing right with wings attached to his back, a circular composition, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching, Plate: 6 7/8 x 6 15/16 in. (17.5 x 17.6 cm), Prints,

Red Currant, late 18th–early 19th century, Silhouette, sheet: 13 9/16 x 11 5/8 in. (34.5 x 29.5 cm), Cut Paper, Philipp Otto Runge (German, Wolgast 1777–1810 Hamburg

Group of Figures Copied from Michelangelo's Last Judgment, 1624–63, Pen and brown ink, over traces of black chalk. Framing lines in pen and brown ink on mount, 3-3/4 x 5-5/16 in. (9.5 x 13.5 cm), Drawings, attributed to Francesco Allegrini

Swan and Iris (Sketch after Cecil Lawson's 'Swan and Iris'), [1883], Etching and drypoint; sixth state of six (Glasgow); printed in black ink on medium weight ivory laid paper, plate: 5 1/4 x 3 1/4 in. (13.4 x 8.2 cm), Prints, James McNeill

Alderney Street, [1880–81], Electrotype copy of etching, Plate: 7 × 4 7/16 in. (17.8 × 11.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 2 1/2 x 2 15/16 in. (6.4 x 7.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Military Figures outside a City, 1595–1616, Etching, Sheet (trimmed): 11 in. × 8 9/16 in. (27.9 × 21.8 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

The puny Cryptogamia, 1860, Etching on wove paper, plate: 2 3/4 x 2 1/4 in. (7 x 5.7 cm), Prints, Charles Meryon (French, 1821–1868

Polish horseman facing right, a circular composition, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching, Plate: 7 3/8 × 7 1/8 in. (18.8 × 18.1 cm), Prints, Stefano della Bella (Italian, Florence

Coast Scene, 17th century, Pen and brown ink, 5 1/16 x 8 1/4 in. (12.9 x 21.0 cm), Drawings, Anonymous, French, 17th century

Alderney Street, [1880–81], Etching; first state of three (Glasgow); printed in black ink on ivory laid paper, Plate: 7 1/16 × 4 7/16 in. (18 × 11.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Return of the Prodigal Son, ca. 1636, Etching, Sheet: 10 1/4 × 12 15/16 in. (26 × 32.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Balthasar, from Three Magi series, 1595–1616, Etching and engraving, Sheet: 12 1/16 × 7 5/16 in. (30.7 × 18.6 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Design for a Pen and Ink Stand, 19th century, Pen and gray ink, brush and gray, yellow, brown, and black wash. Framing lines in pen and black ink., sheet: 11 1/16 x 17 5/8 in. (28.1 x 44.8 cm), Anonymous, French, 19th century

The Virgin and Child Crowned by Two Angels above a Landscape (landscape trimmed out), ca. 1504, Woodcut, sheet: 3 3/8 in. (8.6 cm) diameter, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Woman Sitting Half-Dressed beside a Stove, 1658, Etching, burring, and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Muséum Dantorama, 1835, Lithograph, sheet: 9 3/8 x 12 15/16 in. (23.8 x 32.8 cm), Prints, J. J. Grandville (French, Nancy 1803–1847 Vanves

Annunciation, n.d., Etching, second state, image: 7 11/16 x 4 13/16 in. (19.6 x 12.3 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris 1730–1805

Design for Upper Wall Decoration, Farnborough, England, 1880–86, Watercolor and gilt, 9 7/16 x 18 7/8 in. (24 x 47.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Shoeblack, 1737, Etching with some engraving, Sheet (trimmed): 9 3/16 × 6 15/16 in. (23.3 × 17.6 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Design for a Court Theatre, 18th century, Pen and black ink, brush and gray, pink and yellow washes, 7 7/16 x 10 9/16 in. (18.9 x 26.8 cm), Anonymous, French, 18th century

Nude Man Seated and Another Standing, with a Woman and a Baby Lightly Etched in Background, ca. 1646, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Harvest of Silenus, ca. 1759, Red, white and touches of black chalk, pen and brown ink, brush and brown wash, heightened with white, on beige paper, 7 3/16 x 10 1/16 in. (18.3 x 25.5 cm), Drawings, Charles Joseph Natoire (French,

Taste, 1635–38, Etching, Sheet: 10 3/8 × 13 1/16 in. (26.3 × 33.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Billingsgate, [1859] republished 1880–82, Etching and drypoint; nineth state of nine (Glasgow); printed in black ink on cream laid paper, Plate: 5 15/16 x 8 13/16 in. (15.1 x 22.4 cm), Prints, James McNeill Whistler (American, Lowell,

The Flight Into Egypt, 1758, Etching, sheet: 15 1/2 x 14 1/8 in. (39.3 x 35.9 cm), Prints, Jean-Baptiste Marie Pierre (French, Paris 1714–1789 Paris

Design for a Sepulchral Monument of a Youth, 1524-27, Pen and brown ink, brush with brown and traces of yellow wash, over black chalk, 10 9/16 x 8 3/16in. (26.9 x 20.8cm), Drawings, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian,

Male Head in a Hood, ca. 1794, Pen, brown ink over black chalk, 5 3/16 x 4 7/16 in. (13.1 x 11.2 cm.), Drawings, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

The Adoration of the Magi (Schr. 100), 15th century, Woodcut, sheet: 9 9/16 x 6 11/16 in. (24.3 x 17 cm), Prints, Anonymous, German, 15th century

Plate 32 from 'Los Caprichos':Because she was susceptible (Por que fue sensible.), 1799, Aquatint, Plate: 8 7/16 x 5 15/16 in. (21.5 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Design for Two Tabletop Mirrors with Military Ornament, early 19th century, Pen and ink, sheet: 10 13/16 x 14 15/16 in. (27.4 x 37.9 cm), Anonymous, British, 19th century

The Whitesmiths: Impasse de Carmélites, 1894, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on cream wove paper, Image: 8 5/8 × 6 7/16 in. (21.9 × 16.3 cm), Prints, James

Design for a Lobed Pedestal Table, ca. 1830, Ink on green paper, sheet: 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm), Anonymous, British, 19th century

The Flagellation of Christ, 17th century, Red chalk, Sheet: 7 1/2 x 10 1/4 in. (19 x 26 cm), Drawings, Bernardo Cavallino (Italian, Naples 1616–1656 Naples

The Fan, 1879, Transfer lithograph drawn on coarse-grained transfer paper, only state (Chicago), Image: 8 1/16 × 6 5/16 in. (20.5 × 16 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Plate 39 from 'Los Caprichos': And so was his grandfather. (Asta su Abuelo.), 1799, Aquatint, Plate: 8 7/16 in. × 6 in. (21.4 × 15.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Abduction of Dejanira, Etching and engraving, state ii, sheet: 9 5/8 x 15 1/4 in. (24.5 x 38.7 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

The Bonnet, ca. 1891, Drypoint; third state of three, plate: 7 3/16 x 5 3/8 in. (18.3 x 13.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Design for Red Curtains with a Gold Pelmet, 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

The Cobbler (Le Savetier), ca. 1632–33, Etching, sheet: 10 1/8 x 13 1/4 in. (25.7 x 33.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Saint James Major, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cleric with Raised Arms (lower register?; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk, heightened with white chalk, on gray paper, 18 11/16 x 12 in. (47.4 x 30.5 cm),

View of Bad Schandau at the River Elbe with the Winterberg, 18th–early 19th century, Pen and black ink, brush and gray wash, sheet: 19 3/16 x 25 1/8 in. (48.8 x 63.8 cm), Drawings, Adrian Zingg (Swiss, St. Gallen 1734–1816 Leipzig

Saint Wolfgang (Sch.*1733a), 15th century, Woodcut, hand-colored, 9-3/4 x 6-1/4 in.; 10-3/4 x 7-13/16 in., Prints

Palazzo Capodiferro (Spada), partial elevation, details; Santa Trinita dei Monti, Orsini Chapel, frame, elevation; various details, perspective (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised

Design for Hall Lamp No.9, ca. 1845, Watercolor, sheet: 12 5/8 x 15 1/4 in. (32.1 x 38.7 cm), Lamqua (Chinese, 19th century

Boy Balancing a Tall Weed on His Nose, n.d., 7 x 4 1/4 in. (17.8 x 10.8 cm), Drawings, Jean-Georges Vibert (French, Paris 1840–1902 Paris

Plate 1 from 'Los Caprichos': Self-portrait of Goya (Franco. Goya e Lucientes, Pintor), 1799, Etching, aquatint, drypoint and burin, Plate: 8 9/16 × 5 15/16 in. (21.8 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Asia, 18th century, Red chalk on paper, 6 15/16 x 6 5/8 in. (17.7 x 16.9 cm), Drawings, Anonymous, French, 18th century

Fabric Design with Flowers, Circles, and Dots, ca. 1918–25, Gouache and stencil over graphite, 5 7/16 x 4 3/8 in. (13.8 x 11.1 cm), Drawings, Attributed to Paul Poiret (French, Paris 1879–1944 Paris

Design for Two Chairs, ca. 1820, Ink, watercolor and wash, sheet: 7 1/4 x 8 3/4 in. (18.4 x 22.3 cm), Attributed to Gillows (British, 19th century

A garden pavilion in a forested landscape, 1830–97, oil on canvas; mounted on blue paper, Overall: 14 13/16 x 10 7/16 in. (37.7 x 26.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Ornamental Design for a Wall Monument Surmounted by a Balustrade with Human Figures, Angels Holding Garlands and Draperies (recto and verso)., 1647–1726, Brush and white gouache over black chalk on gray prepared paper (recto and verso), sheet:

Study for Nude Male Figures Supporting a Frame and Plan of the Ceiling Decoration of Palazzo Altieri, Rome, 1625–1713, Pen and brown ink, some brush and brown wash, over black chalk, 7 7/16 x 10 1/8in. (18.9 x 25.7cm), Drawings, Carlo

House at Dusk (La Cité), 1881–82, Conté crayon, 12 1/6 x 9 3/8 in. (30.6 x 23.7 cm), Drawings, Georges Seurat (French, Paris 1859–1891 Paris

White Flowers on a Vine, March 22, 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 York

Margot Resting Arms on Back of Armchair, 1923, Drypoint; second state, restrike, Plate: 8 7/16 x 5 7/8 in. (21.5 x 15 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Elevation of a Main Altar with an Alternate Design, 16th century, Graphite, pen and brown ink, brush and brown wash, sheet: 10 15/16 x 6 5/8 in. (27.8 x 16.9 cm), Drawings, Anonymous, French, 16th century

Plate 37 from 'The Disasters of War' (Los Desastres de La Guerra):'This is worse' (Esto es peor.), 1810 (published 1863), Etching, lavis and drypoint, Plate: 6 in. × 7 15/16 in. (15.3 × 20.2 cm), Prints, Goya (Francisco de Goya y Lucientes)

Study for a Vase in a Suite of Vase Designs, Pen and gray ink, brush and brown wash over graphite underdrawing, 7 13/16 x 4 3/4 in. (19.8 x 12.1 cm.), Louis Joseph Le Lorrain (French, Paris 1715–1759 Saint Petersburg

Palazzo Caffarrelli-Vidoni, elevation; details (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 13 x 18 7/8 in. (33 x 48 cm), Drawings

Artémise, 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),

Two Nude Male Figures, One Seated and One Reclining, 1609/10–?1675, Pen and brown ink, 5-1/8 x 7-7/16 in. (13.0 x 18.9 cm)-Irregular, Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

Jupiter suckled by the goat Amalthea, 1531–76, Engraving, sheet: 10 9/16 x 16 3/8 in. (26.8 x 41.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Giulio Romano (Italian, Rome 1499?–1546 Mantua

The Four Angels Holding the Winds, from The Apocalypse, German Edition, 1498, ca. 1498, Woodcut, sheet: 15 7/16 x 11 1/4 in. (39.2 x 28.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Virgin Adoring the Christ Child with Saint John the Baptist (recto); The Holy Family with Saint John the Baptist (verso)., ca. 1500–1515, Pen and brown ink, brush and brown wash, over traces of black chalk, on off-white paper washed pale

Le Comédien Masqué Jouant de la Guitare (The Masked Comedian Playing the Guitar), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The

Details of the Coffered and Beamed Ceiling in Santa Maria Maggiore, Rome, 19th century, Pen and black ink, brush and brown and gray wash, and watercolor; framing lines in pen and black ink, 15 1/2 x 9 7/8 in. (39.3 x 25.1 cm), Drawings,

The Temple of Vespasian and the Roman Forum, from 'Six large views, four of Rome, and two of the Roman countryside' (Six grandes vues, dont quatre de Rome et deux de la Campagne romaine), 1656, Etching; second state of two, Sheet: 12 x 10

Design for a ceiling, second half 19th century, Graphite, gouache, and watercolor, Overall: 10 1/2 x 14 3/4 in. (26.6 x 37.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

River scene: Rouen, April, 1924, Watercolor, black chalk, and graphite, 13 3/8 x 18 7/8 in. (34 x 47.9 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Christ standing facing forward, holding a cross with a banner and raising his left hand, ca. 1515–27, Engraving, Sheet (Trimmed): 8 7/16 × 5 1/2 in. (21.5 × 13.9 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527

St. Peter's, cornice and architrave, profile; key, elevation; triglyph and guttae, elevation and section (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x 13 1/16 in. (43.5 x

Christ in Emmaus, from The Small 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

Study of the Left Arm and the Left Side of a Male Nude, 1875–1928, Black chalk on blue paper, 21-3/8 x 11 in. (54.3 x 27.9 cm), Drawings, Franz von Stuck (German, Tettenweis 1863–1928 Munich

Constantine Presenting the City of Rome to the Holy See, Etching and engraving, sheet: 16 x 22 1/4 in. (40.7 x 56.5 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), After Raphael (Raffaello Sanzio or

Nobility Presenting an Infant to Venice, 1709–87, Graphite, drawing in form of tondo, 5-3/4 x 5-9/16 in. (14.6 x 14.2 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

Plate 26 from ' Los Caprichos':They've already got a seat (Ya tienen asiento.), 1799, Etching and burnished aquatint, Plate: 8 3/8 × 5 7/8 in. (21.2 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Pigs Possessed:–or–the Broad Bottom'd Litter Running Headlong into Ye Sea of Perdition, April 18, 1807, Hand-colored etching, plate (trimmed at bottom): 16 1/8 x 11 7/8 in. (41 x 30.2 cm), Prints, James Gillray (British, Chelsea

Portrait of a Man, Black and red chalk, heightened with white., 9 7/8 x 7 7/8 in. (25.2 x 20.1 cm), Drawings, Anonymous, French, 16th century

Tobias and the Angel, 1662–1728, Pen and brown ink, brush and wash over traces of black chalk, 9-7/8 x 8-1/4 in. (25.1 x 20.9 cm), Drawings, attributed to Paolo De Matteis (Italian, Piano del Cilento 1662–1728 Naples

Design for Three Gothic Style Wooden Chairs, early 19th century, Ink and yellow wash, sheet: 8 11/16 x 12 5/16 in. (22.1 x 31.2 cm), Anonymous, British, 19th century

Plate 8 from 'The Disasters of War' (Los Desastres de la Guerra):It always happens (Siempre sucede), 1810 (published 1863), Etching and drypoint, Plate: 6 7/8 × 8 11/16 in. (17.5 × 22 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for Festival Architecture for an Entry into Paris for the King of Sweden, Fredrerick I of Hesse, 18th century, Pen and brown ink, brush and gray wash, 12 7/8 x 9 1/16 in. (32.7 x 23 cm), Drawings, Guillaume Thomas Raphaël Taraval

Nymph Supported by Two Satyrs, 1763, Etching, first state of two, sheet: 5 7/8 x 8 3/8 in. (15 x 21.3 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Drawing of an Interior: Cabinet du Salon, 1855, Graphite, pen and brown ink, watercolor, sheet: 8 7/16 x 11 7/16 in. (21.4 x 29.1 cm), Drawings, Anonymous, French, 19th century

Two Studies of a Man, ca. 1575, Black chalk (recto); rulings in red chalk and black chalk by early collector (verso), sheet: 13 3/4 x 6 7/8 in. (35 x 17.5 cm), Drawings, Santi di Tito (Italian, Sansepolcro 1536–1603 Florence), A pupil of

Design for a Fountain, 18th century, Pen and black ink, brush and gray wash, graphite, sheet: 10 1/4 x 8 7/8 in. (26 x 22.5 cm), Drawings, Anonymous, French, 18th century

Rest on the flight into Egypt, Mary holding the infant Christ while St. Joseph points into the distance, ca. 1637–1639, Etching, Plate: 6 1/4 × 7 3/4 in. (15.8 × 19.7 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Title Page for Six Published Etchings, 1887, Lithograph, sheet: 22 3/8 x 15 1/16 in. (56.8 x 38.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Portrait of a Man: Francesco Albani ?, 1599–1661, Red and black chalk, 3 3/4 x 2 3/4in. (9.5 x 7cm), Drawings, Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome