Images at Librifly

Leaving the Bath, 1879–80, Drypoint and aquatint on wove paper; fifteenth state of twenty-two or more states, sheet: 9 1/4 x 7 1/8 in. (23.5 x 18.1 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Hum-Bug (P. T. Barnum), from the Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 13 1/2 x 8 13/16 in. (34.3 x 22.4 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania

The Chimera (La Chimère de Monsieur Desprez), ca. 1777–84, Etching, sheet: 11 5/16 x 14 7/16 in. (28.8 x 36.6 cm), Prints, Louis Jean Desprez (French, Auxerre 1743–1804 Stockholm), Trained as an architect, Desprez won the Prix de Rome

Unidentified, ceiling plan (recto) Palazzo Farnese, ceiling plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 5/16 x 11 7/16 in. (43.9 x 29.1 cm), Drawings

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

The Martyrdom of Saint Barbara, 18th century, Brush and black ink with white heightening, 12 x 7-1/2 in. (30.5 x 19.1 cm), Drawings, Martin Johann Schmidt (Austrian, Grafenwörth 1718–1801 Stein

Christ on the cross, Saint John to the right looking toward him, to the left is the fainting Virgin Mary supported by two women, 1582, Engraving, Sheet: 12 3/16 × 8 9/16 in. (30.9 × 21.8 cm), Prints, Agostino Carracci (Italian, Bologna

Design for a Stage Set at the Opéra, Paris: Tent and Overturned Wagon, 1830–90, Graphite, heightened with white, Irregular sheet: 9 7/8 x 9 3/16 in. (25.1 x 23.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Fat Kitchen, 1563, Engraving; first state, plate: 8 3/4 x 11 5/8 in. (22.2 x 29.5 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish, ca. 1525–1569

An Ecclesiastic (Pope?) Blessing a Book before the Sacred College., 1580–90, Pen and brown ink, brush and brown wash, over black chalk; traces of framing outlines in pen and brown ink, sheet: 8 7/16 x 11 5/16 in. (21.5 x 28.7 cm) maximum;

Bust of Jupiter, ca 1531–76, Engraving, sheet: 6 1/8 x 4 5/16 in. (15.5 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Garden Porch, 1894, Transfer lithograph, drawn on fine-grained transfer paper; only state (Chicago); printed on cream laid Japan, Image: 8 7/16 × 6 3/8 in. (21.5 × 16.2 cm), Prints, James McNeill Whistler (American, Lowell,

The Feast of Belshazzar, 1697–1732, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on brownish paper, 11-1/4 x 14-15/16 in. (28.5 x 38.0 cm), Drawings, Antonio Gionima (Italian, Venice 1697–1732

The historian John Besly, after Jaspar Isaac, 1861, Etching on laid paper; fourth state of four, plate: 5 3/4 x 4 3/4 in. (14.6 x 12.1 cm), Prints, Charles Meryon (French, 1821–1868), After Jasper Isaac (Dutch, active 1654

Design for Art Nouveau Loveseat with Caning, 19th century, Watercolor over graphite with touches of gouache, framing lines in graphite, sheet: 12 5/8 x 16 7/16 in. (32 x 41.7 cm), Anonymous, French, 19th century

Medieval Chimneypiece Design, 19th century, Graphite, Anonymous, British, 19th century

Design for a Stage Set, 19th century, Graphite, brush and gray wash, heightened with white on blue paper, sheet: 7 1/2 x 9 3/16 in. (19.1 x 23.4 cm), Drawings, Anonymous, French, 19th century

Landscape with the Horse (Landscape with Horses), 1859, Etching and drypoint; second state of two (Glasgow); black ink on medium weight ivory laid paper, Plate: 4 15/16 x 7 15/16 in. (12.5 x 20.2 cm), Prints, James McNeill Whistler (American,

St Peter's, entablature profile; reflected ceiling details of the cornice, and profiles of column bases and pedestals (recto), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 23 x 17 5/16 in. (58.4 x 44 cm),

Seated Boy, 1535–92, Red chalk, highlighted with white chalk, on off-white paper washed with pale ochre; framing outlines in pen and brown ink, Overall: 6 3/4 x 5 3/8 in. (17.2 x 13.7 cm), Drawings, Girolamo Macchietti (Italian, Florence

Songs of Innocence and of Experience: A Little Boy Lost, 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

Demolition of the Old Vestibule of the Palais-Royal, Paris, ca. 1767, Gouache over traces of graphite, 9 5/8 x 11 1/4 in. (24.4 x 28.6 cm), Drawings, Pierre Antoine Demachy (French, Paris 1723–1807 Paris

Saint Veronica with the Sudarium, 16th century, Sheet: 4 15/16 × 4 1/8 in. (12.6 × 10.5 cm), Prints, After Sebald Beham (German, Nuremberg 1500–1550 Frankfurt

R.R.P. Doctissimi Bassinae, 1773, Etching, sheet: 4 1/4 x 5 1/4 in. (10.8 x 13.3 cm), Prints, Joseph François Foulquier (French, Toulouse 1744/45–1789 Martinique

One Half of a Design for a Frame of a Stage Proscenium, with a Figure of Justice at the Right, and the Barberini Arms in a Cartouche at the Top, 18th century, Graphite or black chalk on cream laid paper, 10-1/16 x 14 in. (25.6 x 35.6 cm),

Study for the Fall of Simon Maqus, S. Paolo Maggiare, Naples, 1690, 1690, Pen and brown ink, gray, green, and rose washes over graphite, Drawings, Francesco Solimena (Italian, Canale di Serino 1657–1747 Barra

The Good Samaritan, 1633, Etching, engraving and drypoint; fourth state of four, Sheet: 10 1/16 × 8 1/16 in. (25.6 × 20.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), This etching depicts the final

The Great Exhibition 'Wot is to Be', Probable Results of The Industry of All Nations in The Year '51, Showing What is to be Exhibited, Who is To Exhibit, in Short How Its All Going to Be Done, 1850, Wood engraving, sheet: 5 1/16 x 9 5/16 in.

Jan Cornelis Sylvius, 1633, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Angels Supporting a Frame, 1674–1755, Pen and brown ink, brush and gray wash, over traces of graphite or lead, 4 15/16 x 6 9/16in. (12.6 x 16.7cm), Drawings, Pier Leone Ghezzi (Italian, Comunanza near Ascoli Piceno 1674–1755 Rome

An Old House, or The Musician's House, Bourges, 1860, Etching with drypoint; fifth state of five, plate: 9 1/2 x 5 1/2 in. (24.1 x 14 cm), Prints, Charles Meryon (French, 1821–1868

Pea Shellers, 1737, Etching with some engraving, image: 8 15/16 x 7 1/16 in. (22.7 x 17.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Rustic Landscape, 1772, Etching, sheet: 4 9/16 x 7 5/8 in. (11.6 x 19.3 cm), Prints, Nicolas Pérignon the Elder (French, Nancy 1726–1782 Paris

The Mock Visit of Ceremony, 1659–1742, Pen and brown ink, brush and brown and gray wash, over black chalk. Squared in black chalk, 11 7/16 x 11 7/16in. (29.1 x 29.1cm), Drawings, Faustino Bocchi (Italian, Brescia 1659–1741 Brescia

Design for a Stage Set at the Opéra, Paris, 1828–90, Watercolor over graphite, Irregular sheet: 13 1/8 x 16 9/16 in. (33.3 x 42 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Wisdom and Truth Leading the Infant Arts to America, after 1796, Pen and ink and brush and wash, sheet: 7 9/16 x 9 7/16 in. (19.2 x 24 cm), Drawings, John James Barralet (Irish, Dublin ca. 1747–1815 Philadelphia, Pennsylvania), This design

Design for Export Furniture, ca. 1800, Watercolor over graphite, sheet approx.: 11 x 16 in. (27.9 x 40.6 cm), Drawings, Anonymous, Chinese, 19th century

Mercury Appearing to a Marine Deity and a Nymph, 1696–1770, Pen and brown ink, brush and pale and dark brown wash, over black chalk and leadpoint?, 10 3/16 x 8 3/8in. (25.9 x 21.3cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Virgin and Child seated beneath a tree, ca. 1560, Engraving, sheet: 11 7/16 x 8 3/8 in. (29.1 x 21.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Giulio Romano (Italian, Rome 1499?–1546 Mantua

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 10 3/4 x 7 3/8 in. (27.3 x 18.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Jupiter, Neptune, and Pluto offering their crowns to the arms of Cardinal Borghese, ca2–1643, Etching, Sheet (Trimmed): 12 3/8 × 17 5/16 in. (31.5 × 44 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

The Little Girl, 1861–62, etching and drypoint on blue laid paper; final state (II), from the Strölin edition of 1905, plate: 8 1/8 x 4 9/16in. (20.6 x 11.6cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Design for a Column and Pedestal, 19th century, Pen and black ink, brush and brown wash, and graphite, sheet: 19 7/16 x 8 1/4 in. (49.3 x 21 cm), Anonymous, French, 19th century

The Virgin and Child with Saint Martina, 1596–1669, Pen and brown ink, brush and brown wash, over black chalk., 9 5/8 x 12 3/8in. (24.5 x 31.5cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596–1669 Rome

Illustration for Jérôme Paturot à la recherche d'une position sociale (Jérôme Patruot in Search of a Social Position), by Louis Reybaud, Paris, 1846, ca. 1846, Pen and brown ink, brush and wash, and white heightening., sheet: 7 1/2 x 4

The Birth of the Virgin, from The Life of the Virgin, ca. 1503, Woodcut, sheet: 11 11/16 x 8 1/8 in. (29.7 x 20.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Eros escaping by sea 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 (Trimmed): 4 3/4 × 6 7/16 in. (12.1 × 16.4 cm), Prints, Marco

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

The Wager Won, 1778, Pen and brown ink, brown wash, over traces of graphite, 10 1/2 x 8 11/16 in. (26.7 x 22 cm), Drawings, Jean Michel Moreau the Younger (French, Paris 1741–1814 Paris

Design for a Clock with a Classical Female Figure, ca. 1800, Graphite, pen and brown ink, brush and brown wash, 5 5/16 x 7 3/8 in. (13.5 x 18.7 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set, 1830–90, Watercolor and black chalk, sheet: 9 3/16 x 4 13/16 in. (23.4 x 12.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study of a Figure, 1837–1911, Red chalk, 13 15/16 x 9 3/8 in. (35.4 x 23.8 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Design for Curvilinear Side Table with Mirror, early 19th century, Ink, watercolor and wash, sheet: 9 7/16 x 11 15/16 in. (24 x 30.4 cm), Anonymous, British, 19th century

Plate 15: doe, from 'Various animals' (Diversi animali), after 1641, Etching; reverse copy, Sheet (trimmed): 3 3/16 in. × 4 in. (8.1 × 10.1 cm), Prints, After Stefano della Bella (Italian, Florence 1610–1664 Florence

Un Coup de Vent non Prédit par Mathieu (de la Drôme), Plate 1 of Croquis d'Hiver, published in le Petit Journal pour rire, December 3, 1864, Lithograph, sheet: approx. 8 1/8 x 11 3/4 in. (20.7 x 29.9 cm), Prints, Honoré Daumier (French,

Plate 74 from 'The Disasters of War' (Los Desastres de la Guerra): 'That is the worst of it!' (Esto es lo peor!), after 1814–15 (published 1863), Etching and burnisher, Plate: 6 15/16 × 8 1/2 in. (17.6 × 21.6 cm), Prints, Goya (Francisco de

The Beggars, ca. 1509, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Fumette, 1858, Etching; fifth state of five (Glasgow); printed in black ink on fine ivory laid paper, Plate: 6 7/16 × 4 5/16 in. (16.4 × 11 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Apollo tending the flocks of Admetus, Apollo seated holding a lyre and flanked by a cow and a dog, a serpent winding around a dead tree at right, ca. 1515–27, Engraving, Sheet (Trimmed): 4 1/2 × 7 3/16 in. (11.4 × 18.2 cm), Prints, Marco

Circumcision, Etching, sheet: 12 5/8 x 8 11/16 in. (32 x 22 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

The Fall of the Damned, 1642, Etching and engraving; first state of two, sheet: 22 1/2 x 16 1/4 in. (57.1 x 41.2 cm), Prints, Pieter Soutman (Dutch, ca. 1580–1657), after Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp

Antique Armor, 19th century, Pen and brown ink on wove paper, sheet: 2 3/4 x 3 1/8 in. (7 x 8 cm), Drawings, Anonymous, French, 19th century

Two Designs for Vases (recto); Design for Candle Stick (?) (verso), 1652–1725, Pen and brown ink, brush and brown and gray wash, over traces of black chalk. Traces of a vertical black chalk line through the center of the design. Verso:

Design for a ceiling painted with grotesque motifs, 19th century, graphite, pen and ink, watercolor, and gold paint on tracing paper, mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Design for a Frieze, 18th century, Black chalk, sheet: 4 5/8 x 11 in. (11.7 x 28 cm), Drawings, Anonymous, French, 18th century

Tight Lacing or Hold Fast Behind, March 1, 1777, Hand-colored etching and engraving, plate: 13 3/4 x 9 11/16 in. (35 x 24.6 cm), Prints

Landscape (Wooded Approach to a Town), ca. 1508, Pen and brown ink, 8 7/16 x 11 1/2 in. (21.4 x 29.2 cm), Drawings, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence 1473–1517 Florence), Dated about 1508, this drawing

The Ball, ca. 1634, Etching; first state of two, Sheet: 11 9/16 × 14 13/16 in. (29.3 × 37.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Holy Family in an Enclosed Garden, 1512, Pen and reddish brown ink., 10 9/16 x 7 7/8 in. (26.8 x 19.8 cm), Drawings, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), This drawing is a variation on a popular fifteenth-century

Study for a Stage Set, 18th century, Pen and gray ink, brush and gray and colored wash over traces of black chalk and graphite, 10 1/16 x 16 1/16 in. (25.6 x 40.8 cm), Drawings, Jacques de Lajoüe (French, Paris 1686–1761 Paris

Whistler in White Ducks (Whistler: Five Faces), 1909–11, Etching on chine collé, plate: 6 3/4 x 5 13/16 in. (17.2 x 14.8 cm), Prints, Mortimer Menpes (Australian, Port Adelaide 1855–1938 Pangbourne, England

Melencolia I (copy), 1602, Engraving, Sheet: 9 5/16 × 3 5/8 in. (23.6 × 9.2 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Designs for a Clock and Two Candelabras, 19th century, Pen and brown ink, sheet: 6 1/8 x 9 3/4 in. (15.5 x 24.8 cm), Drawings, Anonymous, French, 19th century

Design for a room with double doors decorated with garlands of fruit and flowers, scrolls, and lattice work, 1830–97, pen and ink and watercolor on tracing paper; mounted on heavy wove paper, Overall: 9 1/2 x 12 5/16 in. (24.2 x 31.2 cm),

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, sheet: 10 9/16 x 2 5/8 in. (26.9 x 6.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Expulsion of Adam and Eve from Paradise (recto); Studies for the Same Composition (verso), 1624–63, Pen and brown ink, over red chalk, 2-5/8 x 5-11/16 in. (6.7 x 14.4 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano

Saint Anthony of Padua adoring the Christ Child in Glory, ca. 1640, Etching, Sheet: 10 7/16 × 6 15/16 in. (26.5 × 17.7 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Design for Festival Architecture for an Entry into Paris for the King of Sweden, Frederick I of Hesse, 18th century, Pen and brown ink, brush and colored washes, heightened with white, 8 3/4 x 9 1/4 in. (22.2 x 23.5 cm), Drawings, Guillaume

Denise Holding Her Child by Both Hands, 1923, Drypoint; second state, restrike, plate: 16 x 11 1/4 in. (40.6 x 28.5 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Fall of Man, 1530, Engraving; second state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Trophy with Two Vases and a Cuirass, 1600–1800, Pen and black ink, brush and reddish-brown wash, over traces of graphite, sheet: 5 7/8 x 7 3/4 in. (15 x 19.7 cm), After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Design for the painted decoration of a wall pierced by an arched window, second half 19th century, Pen and ink and watercolor on wove paper, plate: 19 7/16 x 13 1/2 in. (49.4 x 34.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

The Relief of Candia, 17th century, Black chalk, brush and gray and blue wash over black chalk. Paper outside oval washed in rose., 11 3/4 x 8 11/16 in. (29.8 x 22.1 cm), Drawings, Charles Le Brun (French, Paris 1619–1690 Paris

Ceiling Design for Bedroom of Duchesse de Newcastle, Hôtel of Madame Hope, ca. 1867, Pen and gray ink, brush and gray wash, watercolor, gilt, gouache., 13 1/2 x 19 7/16 in. (34.3 x 49.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Scene with Four Figures of Monks Discoursing, 1666–1724, Brush and brown wash, highlighted with white, over charcoal, on blue-gray paper, 5 1/16 x 5 7/8in. (12.8 x 14.9cm), Drawings, Paolo Gerolamo Piola (Italian, Genoa 1666–1724 Genoa),

Drawings for Portrait Engraving of a Man, Late 18th century, Graphite and red pencil on vellum, 3 5/8 in. diameter and 3 1/4 in. diameter, Drawings, Anonymous, French, 18th century

Design for a reliquary, late 17th–early 18th century, Pen and brown ink, brown and grey wash, red chalk, over black chalk, sheet: 8 3/16 x 6 5/16 in. (20.8 x 16.1 cm), Drawings, Attributed to Pieter Verbruggen the Younger (Flemish, Antwerp

The Forum of Trajan, Rome, late 18th–mid-19th century, Drawing in pen and ink and gray wash, 3 1/16 x 4 3/16in. (7.8 x 10.6cm), Drawings, Giovanni Battista Cipriani (Italian, Siena 1766–1839 Rome

Design for a Cartouche, 1652–1725, Black chalk, sheet: 2 1/2 x 5 11/16 in. (6.4 x 14.5 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

The Little Pool, 1861, Etching and drypoint; ninth state of nine (Glasgow); printed in black ink on very fine cream laid paper, Plate: 3 15/16 × 4 7/8 in. (10 × 12.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

An 'Académie': Man Pulling a Cord, 1742–43, Etching, sheet: 15 1/16 x 10 15/16 in. (38.3 x 27.8 cm), Prints, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Chimney Sweep, 1737, Etching with some engraving, Sheet: 9 5/16 × 7 5/16 in. (23.6 × 18.6 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Henri II, King of France, Between France and Fame, ca. 1548, Engraving, sheet: 11 3/4 x 8 7/16 in. (29.8 x 21.5 cm), Prints, Jean Duvet (French, ca. 1485–after 1561), Until Jean Duvet began dating prints at Dijon in 1520, we know of no

Seated Draped Figure, early 18th century, Black chalk, heightened with white, on blue paper., 12 x 9 11/16 in. (30.5 x 24.6 cm), Drawings, François Le Moyne (French, Paris 1688–1737 Paris

Christ Crowned with Thorns, from The Passion, 1512, Engraving, Sheet: 4 3/4 × 3 1/16 in. (12 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cliff Rose, Cowania Stansburiana, May 8, 1912, 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

The Visitation, from The Life of the Virgin (copy), n.d., Woodcut, sheet: 11 9/16 x 8 in. (29.4 x 20.3 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint Bartholomew (recto); Study of Drapery and Two Hands (verso), 1569–1632, Black chalk, highlighted with white, on brown washed paper (recto); black chalk (verso), 15 3/4 x 10 9/16in. (40 x 26.8cm), Drawings, Carlo Bononi (Bonone)

An Exquisite, ca. 1817, Hand-colored etching, 11 5/8 x 8 3/8 in. (29.5 x 21.3 cm) trimmed to plate line on left, Prints, George Cruikshank (British, London 1792–1878 London

Portrait of Baroness Gudin, née Margareth Louis Hay, 1842, Graphite., sheet: ca. 15 3/4 x 11 7/16 in. (40 x 29 cm), Drawings, Franz Xaver Winterhalter (German, Menzenschwand 1805–1873 Frankfurt