Images at Librifly

Allegory of Spring, after Sébastien Leclerc, 18th century, Gray wash, over red chalk; squared in graphite. Framing lines in pen and brown ink. Vertical crease just left of center., 4 1/2 x 7 7/16 in. (11.4 x 18.9 cm.), Drawings, Anonymous,

Design for an Armchair, 19th century, Graphite, pen and black ink, watercolor and gouache; framing lines in graphite, 6 9/16 x 5 7/16 in. (16.7 x 13.8 cm), Drawings, Anonymous, French, 19th century

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

The Virgin Immaculate, ca. 1656, Pen and brown ink, brush and light brown wash; framing outlines in pen and brown ink, sheet: 10 1/4 x 4 13/16 in. (26.1 x 12.3 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666

Life Drawing, mid-18th century, Red chalk, 17 5/16 x 11 7/8 in. (43.9 x 30.1 cm), Drawings, Attributed to Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

The Madonna on a Grassy Bank, 1526, Woodcut, sheet: 5 3/4 x 4 3/8 in. (14.6 x 11.1 cm), Prints, Possibly Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Gentleman Holding a Sword, 1629, Etching; reverse copy, Sheet (trimmed): 5 5/8 × 3 11/16 in. (14.3 × 9.3 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris

Woman Bathing Her Feet at a Brook, 1658, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Silhouette Portrait of John Marshall, 1844, Lithograph with tint stone, image: 13 1/2 x 9 15/16 in. (34.3 x 25.3 cm), Prints, William Henry Brown (American, Charleston, South Carolina 1808–1883 Charleston, South Carolina

Procession of figures, 1510–85, Pen and brown ink, brush and pale brown wash, over red chalk, 4 1/2 x 8 11/16in. (11.4 x 22.1cm), Drawings, Carlo Urbino (Italian, Crema ca. 1510/20–after 1585 Crema

Drawing for the Street Elevation of a Town House, 1729, Pen and black ink, and watercolor. Framing lines in black ink., 19 3/16 x 12 11/16 in. (48.7 x 32.2 cm), Drawings, Andreas Schneidmann (German, 1698–1759

Partial design for ceiling decorated in chinese motifs, 1830–97, pen and ink, wash, watercolor, and gouache on wove paper; mounted on blue wove paper, Overall: 9 7/8 x 8 in. (25.1 x 20.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

The Martydrom of St. Andrew, 1630–60, Pen and brown ink, brown wash, over black chalk, 8 7/16 x 13 7/16in. (21.5 x 34.2cm), Drawings, Giovanni Battista Spinelli (Italian, documented Naples ca. 1630–ca. 1660 Naples

L'Estropié a la Béquille et a La Jambe de Bois (The Cripple with a Crutch and a Wooden Leg), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The

Zénobie, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 3/8 x 8 3/8 in. (34 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Minerva and the Arms of François Sublet de Noyers Painted by the Genius of Painting, mid to late 17th century, Etching; first state of two, Sheet (trimmed): 2 13/16 × 6 7/16 in. (7.2 × 16.3 cm), Prints, Abraham Bosse (French, Tours

Two Standing Male Figures, 1501–47, Pen and dark brown ink, brush and brown wash, highlighted with white gouache, over traces of black chalk, on brownish paper, 8 3/16 × 7 5/16 in. (20.8 × 18.6 cm), Drawings, Perino del Vaga (Pietro

Design for a Stage Set at the Opéra, Paris, 1840–90, Graphite, sheet: 5 7/8 x 9 13/16 in. (14.9 x 24.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Ceiling design for a house on the rue Velezai, second half 19th century, Pen and ink, watercolor, and gouache, sheet: 5 5/8 x 12 in. (14.3 x 30.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

St. Martin, 15th century, Metalcut, sheet: 8 7/16 x 6 1/4 in. (21.5 x 15.8 cm), Prints, Anonymous, German, 15th century

The Discovery of the True Cross, 1581–1644, Pen and brown ink, over traces of leadpoint or black chalk, on off-white laid paper; framing outlines in pen and darker brown ink, 7 1/2 x 11 3/16in. (19.1 x 28.4cm), Drawings, Bernardo Strozzi

Dinners Drest in the Neatest Manner, October 1811, Hand-colored etching, plate: 9 3/4 x 13 11/16 in. (24.7 x 34.8 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

The Resurrection, ca. 1465, White tempera, brush and brown wash, over black chalk, on paper washed light-brown, 14-3/8 x 27-3/8 in. (36.5 x 69.6 cm), Drawings, Marco Zoppo (Marco Ruggeri known as Lo Zoppo) (Italian, Cento 1431/32 – ca.

Gaius Mucius Scaevola Thrusting His Right Hand into Fire, 1740–93, Pen and black ink, brush and gray-brown wash, 11 x 16 in. (28.0 x 40.6 cm), Drawings, Marco Marcola (Italian, Verona ca. 1740–1793 Verona

Afternoon Tea Party, 1890–91, Drypoint and aquatint, printed in color from three plates; fifth state of five (Mathews & Shapiro), plate: 13 5/8 x 10 1/2 in. (34.6 x 26.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania

Embroidery; The Artist's Mother, 1882–83, Conté crayon on Michallet paper, 12 5/16 x 9 7/16 in. (31.2 x 24.1 cm), Drawings, Georges Seurat (French, Paris 1859–1891 Paris), This tranquil portrait of the artist’s mother, Ernestine

Three putti holding aloft a garland, second half 19th century, graphite on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Shepherd Chases Away a Wolf, from Thornton's Pastorals of Virgil, 1821, Wood engraving; second state, block: 1 7/16 x 2 15/16 in. (3.7 x 7.5 cm), Prints, William Blake (British, London 1757–1827 London

Landscape with Saint Jerome at left looking towards lion and bear (?) fighting at center; figure walking uphill at upper left; two figures with mule in the background, ca. 1530–35, Woodcut, Sheet (Trimmed): 11 1/4 × 16 5/8 in. (28.6 × 42.2

Design for a Vase, 19th century, Pen and gray ink, watercolor. Design is pasted onto mounting paper., sheet: 16 5/16 x 10 7/8 in. (41.4 x 27.6 cm), Drawings, Anonymous, French, 19th century

Draped Figure Reclining, 1892, Transfer lithograph, drawn on thin, transparent transfer paper; second state of two (Chicago); printed in bluish-green, olive green, yellowish-green, purple-brown, pale ochre and orange-red (it is likely that

Profile Head of a Youth Looking to Upper Left, and Study of Clasped Hands, 1577–1660, Charcoal, highlighted with white, on brownish paper, 16 7/16 x 10 3/4in. (41.8 x 27.3cm), Drawings, attributed to Giacomo Cavedone (Italian, Sassuolo

Purgatory, 1835–98, Graphite, heightened with white, on beige paper, 19 1/8 x 12 1/2 in. (48.6 x 31.7 cm), Drawings, Jules-Eugène Lenepveu (French, Angers 1819–1898 Paris

Centaur Holding Up a Quiver, 1727–1804, Pen and dark brown ink, brush and gray-brown wash, over black chalk; framing lines in pen and brown ink, 7-5/8 x 10-13/16 in. (19.3 x 27.4 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice

The Raising of Lazarus, 1615–73, Pen and brown ink, brush and brown wash, over a little black chalk, 7 15/16 x 10 13/16in. (20.1 x 27.5cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

The Consecration of Decius Mus, ca. 1620–50, Monotype, sheet: 7 5/16 x 7 7/16 in. (18.5 x 18.9 cm), Prints, Antoine Sallaert (Flemish, Brussels ca. 1580/85–1650 Brussels), After Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp

Design for a Gothic Style Corner Book Cabinet: Elevation and Plan, early 19th century, Ink and wash, sheet: 9 1/16 x 11 3/4 in. (23 x 29.8 cm), Anonymous, British, 19th century

Design for Vase, mid-18th century, Pen and black ink, brush and gray wash, brush and sanguine wash, 6 7/16 x 4 3/16 in. (16.4 x 10.7 cm), After Jacques François Joseph Saly (French, Valenciennes 1717–1776 Paris

The Urchin, second half 19th century, FACSIMILE reproduction of etching, on laid paper, plate: 7 13/16 x 5 9/16 in. (19.8 x 14.2 cm), Prints, After Édouard Manet (French, Paris 1832–1883 Paris) (facsimile reproduction

Nymphs and Satyrs bathing, 1531–76, Engraving, sheet: 7 7/8 x 11 3/16 in. (20 x 28.4 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, Irregular sheet: 12 7/16 x 10 7/16 in. (31.6 x 26.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for an Alcove with a Coat of Arms Flanked by Putti Bearing a Crown, Supported by Pilasters with Human Heads in Capitals., 1652–1725, Pen and brown ink, brush and gray, brown-pink and yellow wash over traces of graphite; framing outlines

Turbaned Soldier on Horseback, ca. 1629, Etching; New Holl.'s second state of two, Sheet: 3 3/16 × 2 5/16 in. (8.1 × 5.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Youth Gazing Upwards in Profile., 1607–61, Red and black chalk, 7 11/16 x 7 7/8in. (19.5 x 20cm), Drawings, Francesco Montelatici ('Cecco Bravo') (Italian, Florence 1601–1661 Innsbruck

Design for a Double Hump-backed Sofa with Turned Legs and Arms, with Red Tufted Upholstery, early 19th century, Ink, watercolor and wash, sheet: 9 1/16 x 11 15/16 in. (23 x 30.4 cm), Anonymous, British, 19th century

The Flight into Egypt: Crossing a Brook, 1654, Etching and drypoint, plate: 3 3/4 x 5 11/16 in. (9.5 x 14.4 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Nude Female Riding on a Triton's Back, 1612–75, Pen and brown ink, brush and brown wash, on brownish paper, 6 x 8-15/16 in. (15.2 x 22.7 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

Virgin and Child with an angel, 1752, Etching, Sheet: 8 3/8 x 10 7/8 in. (21.2 x 27.7 cm), Prints, Matthias Oesterreich (German, 1716–1778), After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Polish Groom Bathing Horses, ca. 1662, Etching, Sheet: 3 1/16 × 4 15/16 in. (7.7 × 12.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Upturned Head of a Young Boy in Profile, Black chalk, heightened with white on gray paper, 4 x 5 in. (10.2 x 12.7 cm), Drawings, Attributed to Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Design for Ceiling with Plant and Arabesque Decoration, 19th century, Watercolor and gilt, 12 x 10 1/2in. (30.5 x 26.7cm), Drawings, Charles Monblond (French, 19th century

Design for Fringed Curtains Surrounding Three Windows, early 19th century, Graphite, sheet: 10 13/16 x 14 15/16 in. (27.4 x 38 cm), Anonymous, British, 19th century

Illustration for the House of York, 1796, Pen and brown and black ink with brush and brown and gray wash over graphite underdrawing, 12 x 9 5/8 in. (30.5 x 24.4 cm.), Drawings, Philippe Jacques de Loutherbourg (French, Strasbourg 1740–1812

Joachim and the Angel, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 11 11/16 x 8 5/16 in. (29.7 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 2: A cannon to the left, a town in the background, 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 cm), Prints, Stefano della

The Ecstasy of Saint Mary Magdalen, n.d., Woodcut, sheet: 8 7/16 x 5 11/16 in. (21.4 x 14.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Wallpaper design featuring bouquets of roses, strapwork, and rinceaux, 1830–97, gouache on wove paper, image: 7 7/8 x 9 1/2 in. (20 x 24.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

The Pilgrimage, 1877, Pen and black ink over traces of graphite, 6 15/16 x 9 5/16 in. (17.7 x 23.7 cm), Drawings, Léon-Augustin Lhermitte (French, Mont Saint-Père 1844–1925 Paris

The Entombment, ca. 1654, Etching, drypoint, and engraving; second state of four, Sheet: 8 1/4 x 6 5/16 in. (21 x 16 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), The startling difference between this

The Virgin Immaculate with the Christ Child in Glory (recto); Rinaldo and Armida (verso), 1654–1714, Pen and brown ink, red chalk, brush and red wash, highlighted with white (recto); pen and brown ink, over red chalk (verso), 8 15/16 x 7

Plate 7: two horses ascending the bank of a river at right, following a procession of horses and one horseman to the left, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 3/8 × 3 7/8 in. (8.5 × 9.9

Village Market Place (Le Marché de village), 18th century, Etching, sheet: 5 x 7 in. (12.7 x 17.8 cm), Prints, Jean-Baptiste Marie Pierre (French, Paris 1714–1789 Paris

Nouvelle France, 1644, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin (French, 1595–1676

Six Heads, Three Feet, Two Ears, Six Eyes, Four Lips, Engraving and etching, sheet: 6 13/16 x 9 1/16 in. (17.3 x 23 cm) trimmed to platemark, Prints, Attributed to Battista Franco (Italian, Venice ca. 1510–1561 Venice

Nude Woman Standing, [1873–75], Drypoint; only state (Glasgow); printed in brown ink on ivory laid paper, Plate: 8 3/8 × 4 15/16 in. (21.3 × 12.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a ceiling with four medallions and sky motif in center, second half 19th century, Graphite and watercolor, Overall: 13 7/16 x 19 1/2 in. (34.2 x 49.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Design for a Bookcabinet and Two Pedestals, early 19th century, Ink and wash and graphite, sheet: 9 1/2 x 11 15/16 in. (24.2 x 30.4 cm), Anonymous, British, 19th century

Plate 48 from' Los Caprichos': Tale-Bearers--Blasts of Wind (Soplones.), 1799, Etching and burnished aquatint, Plate: 8 1/16 x 5 7/8 in. (20.4 x 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Hercules Conquering the Molionide Twins, n.d., Woodcut, sheet: 154 5/16 x 112 3/16 in. (392 x 285 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Part of a Decorated Cornice, 17th century, Pen and brown ink, brush and brown wash, 3 1/8 x 4 15/16 in. (7.9 x 12.6 cm), Anonymous, French, 17th century

Christ before Caiaphas, from The Passion, 1512, Engraving, Sheet: 4 3/4 × 3 1/16 in. (12 × 7.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Four designs for painted borders to decorate a room, 19th century, pen and ink, watercolor, and gouache on four individual strips of paper; mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

The Foolish Virgins Conversing, mid to late 17th century, Etching and engraving, Sheet: 11 3/16 x 13 3/4 in. (28.4 x 35 cm), Prints, Abraham Aubry (French, died 1682), After Abraham Bosse (French, Tours 1602/1604–1676 Paris

Head of a Man plunged in Shadow, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Psyche, ca. 1542, Engraving, Sheet (trimmed): 9 15/16 × 7 11/16 in. (25.3 × 19.5 cm), Prints, Léon Davent (French, active 1540–56), After Giulio Romano (Italian, Rome 1499?–1546 Mantua

The Matthew-orama for 1827–or Cockney Gleanings, –Aint that a good un now?, March 26, 1827, Etching and aquatint, Plate: 11 3/16 x 15 7/8 in. (28.4 x 40.3 cm), Prints, Thomas Howell Jones (British, active 1824–48

Design for Four Uphostered Chairs on Casters, One with Arms, early 19th century, Graphite, sheet: 10 13/16 x 14 15/16 in. (27.4 x 38 cm), Anonymous, British, 19th century

The People Delivered to the Vampire Taxes, May 1833, Lithograph on wove paper, sheet: 10 1/2 x 14 3/4 in. (26.7 x 37.4 cm), Prints, J. J. Grandville (French, Nancy 1803–1847 Vanves), Auguste Raffet (French, Paris 1804–1860 Gênes

Elevation of West Façade of a Church, 18th century, Pen and black ink, brush and gray wash; scale in pieds at bottom, 11 13/16 x 10 3/4 in. (30 x 27.3 cm), Drawings, Anonymous, French, 18th century

Rotherhithe (Wapping), 1860, Etching and drypoint; sixth state of six, from the cancelled plate, printed in black ink on thick ivory laid paper, Plate: 10 3/4 × 7 7/8 in. (27.3 × 20 cm), Prints, James McNeill Whistler (American, Lowell,

Design for Dining Room Ceiling, Neudeck, second half 19th century, Pen and brown ink, watercolor, gouache, and gilt, 10 1/4 x 11 7/8 in. (26.1 x 30.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Virgin and Child with Saint Martina, Another Study of Saint Martina, Studies of a Head, and of an Arcade (recto); Figure Studies (verso), 1596–1669, Pen and brown ink, over black chalk, 6 7/16 x 7 5/16in. (16.3 x 18.6cm), Drawings,

Repose in Egypt, Mary nursing the infant Christ while an angel pulls at tree branches, ca. 1639, Etching, Sheet (Trimmed): 8 7/16 × 6 7/8 in. (21.5 × 17.5 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Lamp, Hellenistic or Early Imperial, 1st century B.C.–1st century A.D., Greek or Roman, Terracotta, Overall: 1 5/16 x 3 3/4 in. (3.3 x 9.5 cm), Terracottas

Eunuches, from The Comedie of Terence, 19th century reprint, n.d., Woodcut, sheet: 3 1/2 x 5 5/8 in. (8.9 x 14.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Portrait of Morose Man in Half-Length, 1591–1666, Pen and brown ink, sheet: 8 3/16 x 3 11/16 in. (20.8 x 9.4 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

The Crucifixion (Round) (reverse copy), n.d., Engraving, Sheet: 2 1/16 × 1 9/16 in. (5.2 × 3.9 cm), Prints, Hieronymus (Jerome) Wierix (Netherlandish, ca. 1553–1619 Antwerp), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 15/16 x 12 13/16 in. (30.4 x 32.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Landscape, Vichy, ca. 1866–67, Pen and brown ink over graphite. Blue, black and green chalk on laid paper (watermark: bunch of grapes), Overall: 8 9/16 x 11 1/4in. (21.7 x 28.5cm), Drawings, Jean-François Millet (French, Gruchy 1814–1875

Green-gold Orchid, April 5, 1911, Watercolor and brown ink over graphite, with detail ink 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

Christ Before Annas, 1521, Engraving; first state, sheet: 4 1/2 x 3 in. (11.4 x 7.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Perspective of Living Room with Fitted, Built-in Units, 1944, Colored crayon-pencil over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Vignette pour une adresse, 1752, Etching, second state, sheet: 5 5/16 x 7 3/16 in. (13.5 x 18.2 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

The Presentation of the Virgin Mary in the Temple, 1728–81, Pen and brown ink, brush and pale brown wash, over black chalk, 11 1/8 x 8in. (28.2 x 20.3cm), Drawings, Ubaldo Gandolfi (Italian, San Matteo della Decima 1728–1781 Ravenna

Windows, Bourges, 1888, Etching; first state of two (Glasgow); printed in black ink on medium weight buff laid paper, Plate: 5 3/4 × 3 1/8 in. (14.6 × 7.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Design for a Stage Set at the Opéra, Paris, 1828–90, Watercolor over graphite, Irregular sheet: 9 15/16 x 10 9/16 in. (25.2 x 26.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Venus Leaving the Bath, and Cupid, 17th century, Pen and brown ink, brush and brown wash, on cream paper, 5-1/4 x 5-11/16 in. (13.3 x 14.45 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

The Artist's Mother with Her Hand on Her Chest, 18th century, Etching, Sheet (trimmed): 3 3/8 × 2 11/16 in. (8.6 × 6.8 cm), Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Low Table with Vases, 19th century, Pen and ink and gouache, Overall: 14 1/8 x 18 3/8 in. (35.9 x 46.7 cm), Drawings, Anonymous, Chinese, 19th century

Two alternative designs for the painted decoration of a ceiling, 1830–97, Graphite and watercolor on tracing paper; mounted on wove paper, Overall: 8 7/8 x 11 15/16 in. (22.6 x 30.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died