Images at Librifly

Old Shad & Young, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 7 3/16 x 11 in. (18.2 x 28 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882

Perspectival Sketch for a Palace Interior., 1696–1756, Pen and brown ink, brush and gray wash, over traces of graphite; framing outlines in pen and black ink, brush and light pink wash, sheet: 5 7/16 x 3 11/16 in. (13.8 x 9.4 cm), Giuseppe

Palazzo Massimo alle Colonne, portico, elevation; portal, cornice, section; portal bracket, detail; fireplace, detail (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 23 1/8 x 17 1/4

Classical Scene with a Tomb and Flaming Brazier, ca. 1700–1710 , Pen and black and gray ink, brush and black and gray wash, over traces of graphite underdrawing, with framing lines in pen and black ink, 12 15/16 x 15 5/16 in. (32.9 x 38.9

Design for a Round Porcelain Table with Polished Bronze, 19th century, Graphite, watercolor, and gouache, sheet: 14 15/16 x 10 11/16 in. (37.9 x 27.2 cm), Drawings, Anonymous, French, 19th century

Odd Characters, February 16, 1801, Hand-colored etching, sheet: 18 1/4 x 13 5/8 in. (46.4 x 34.6 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), Probably after George Moutard Woodward (British, ca. 1760–1809 London

Elevation for the Court Front of the Hotel de Duval Dumanoir on Blvd. Montmartre, Paris, n.d., Pen and black ink, brush and gray and green wash, and graphite, 11 x 15 11/16 in. (27.9 x 39.8 cm), Pierre-Jean-Baptiste Chaussard (French,

Plate 78 from 'The Disasters of War' (Los Desastres de la Guerra): 'He defends himself well' ' (Se defiende bien.), after 1814–15 (published 1863), Etching, drypoint, burin and burnisher, Plate: 6 3/4 × 8 11/16 in. (17.2 × 22 cm), Prints,

Design for a Candlestick, 19th century, Pen and brown ink, sheet: 11 x 6 in. (27.9 x 15.3 cm), Drawings, Anonymous, French, 19th century

Seated Nude Leaning on Her Left Hand, before 1922, Black chalk on gray laid paper, mounted on paper, 8 x 9 1/4 in. (20.3 x 23.5 cm), Drawings, Aristide Maillol (French, Banyuls-sur-Mer 1861–1944 Perpignan

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite; squaring lines in pen and red ink, sheet: 8 13/16 x 6 3/8 in. (22.4 x 16.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Pierre-Charles Jombert, 1774, Pen and brown ink, 6 1/16 x 5 1/4 in. (15.4 x 13.3 cm), Drawings, François André Vincent (French, Paris 1746–1816 Paris

Saint Bartholomew, 1523, Engraving, Sheet: 4 13/16 × 3 1/16 in. (12.3 × 7.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Madonna and Child (recto); Head and Bust of Saint John the Evangelist (verso), 1503–40, Brush and gray wash, highlighted with white gouache, over black chalk on brownish prepared paper (recto); black chalk, highlighted with white gouache

A Gentleman Mounts a Step, 1629, Etching; reverse copy, Sheet (trimmed): 5 3/8 × 3 9/16 in. (13.7 × 9.1 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Body of Saint Catherine of Siena carried in Procession, after Francesco Vanni, 18th century, Pen and brown ink, brush and red-brown and gray wash, over black chalk. Framing line in pen and brown ink., 12 11/16 x 9 9/16 in. (32.3 x 24.3 cm),

Mantlepiece Design with Mirror, 19th century, Pen and ink on blue paper, Anonymous, British, 19th century

Lace Design, 19th century, Pen and ink with wash, sheet: 3 1/16 x 7 1/2 in. (7.8 x 19 cm), Drawings, Anonymous, French, 19th century

Il Miracolo delle Acque Amare Mutate in Dolci, 18th century, Etching, image: 12 3/16 x 18 7/8 in. (31 x 48 cm), Prints, Pietro Monaco (Italian, 1707–1772), After Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664

S. Giovanni Laterno, Oratorio della Santa Croce, section, perspective (recto) blank (verso), ca. 1540–60, Dark brown ink, black chalk, and incised lines, sheet: 11 1/4 x 8 7/8 in. (28.5 x 22.5 cm

A Butcher, January 1, 1790, Etching and aquatint, Sheet: 14 3/4 × 10 11/16 in. (37.5 × 27.2 cm), Prints

Study for the Allegory of Religion, 1629–39, Red chalk, 4 13/16 x 7 1/16in. (12.2 x 18cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596–1669 Rome

The Drunkards, after Velázquez, 1778, Etching, Plate: 12 1/2 × 16 15/16 in. (31.7 × 43.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), After Velázquez (Diego Rodríguez de Silva y

Four Boats, 1602–60, Pen and brown ink, brush and brown wash, over traces of black chalk, 7 9/16 x 10 5/8in. (19.2 x 27cm), Drawings, attributed to Michelangelo Cerquozzi (Michelangelo delle Battaglie) (Italian, Rome 1602–1660 Rome

Samson Rending the Lion, ca. 1497–98, Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Embrace, 1880–1910, Graphite and wash of watercolor and gouache on cream paper, 12 13/16 x 9 7/8 in. (32.5 x 25.1 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

Design for Three Armchairs with Pictorial Upholstery, ca. 1830–40 , Ink, watercolor and wash, sheet: 8 11/16 x 12 1/4 in. (22.1 x 31.1 cm), Anonymous, British, 19th century, The firm Gillows was established in Lancaster by Robert Gillow

Mexican Sacrifice to the God of Hunting, 1722, Pen and gray ink, brush and gray wash, over traces of graphite and red chalk, heightened with white. Contours incised. Verso reddened for transfer., 5 7/8 x 8 1/4 in. (14.9 x 20.9 cm), Drawings,

Travelers at the Rock Arch in the Limestone Mountains of the River Elbe, 1804, Brush and brown ink on wove paper, sheet: 13 1/4 x 15 15/16 in. (33.7 x 40.5 cm), Drawings, Johann Moritz Gottfried Jentzsch (German, Hinterjessen 1759–1826

Spring (Printemps), from 'The Four Seasons', ca. 1641, Etching, Sheet: 3 15/16 × 2 5/16 in. (10 × 5.8 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Ornament etched by Abraham Bosse (French, Tours

Songs of Innocence and of Experience: Night (second plate): When wolves and tygers howl for prey, 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,

A Potter in Balabar Cast, from Indian Trades and Castes, ca. 1840, Watercolor and gouache, sheet: 14 3/8 x 10 3/8 in. (36.5 x 26.4 cm), Drawings, Anonymous, Indian, 19th century

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

Christ on a Goldsmith's Cross, 15th century, Woodcut, hand-colored, 15-7/32 x 9-5/8 in., Prints, Anonymous, German, Upper Germany, 15th century

Rest on the flight into Egypt, Mary holding the infant Christ while St. Joseph hands him a fruit, ca. 1639, Etching, Sheet: 12 3/16 × 8 1/16 in. (31 × 20.5 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Ornamental design with Orpheus and Eurydice, 17th century, Pen and red ink, brush and red wash, oval, sheet: 2 1/2 x 3 5/16 in. (6.3 x 8.4 cm), Drawings, Anonymous, Dutch, 17th century (c), Anonymous, Flemish, 17th century

Standing Dominican or Servite Holding a Book and Staff (recto); Study of two warriors (verso), 1548–1612, Red chalk (recto); black chalk (verso), 11 3/16 x 6 15/16in. (28.4 x 17.6cm), Drawings, Bernardino Poccetti (Italian, San Marino di

Fields with a Village Road with Post Mill, from the series The Small Landscapes (Multifariarum Casularum), 1559–61, Etching; first state of four, Plate (width given; full plate line not visible): 8 in. (20.3 cm), Prints, Johannes van Doetecum

Christ before Annas, from the Circular Passion, 1509, Engraving, Diameter: 11 9/16 in. (29.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Speculum Romanae Magnificentiae: Subjects after Antique Cameos and Gems, executed ca. 1550–77, printed after 1577, Engraving. State ii, Prints, Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561

Bearded, bare-chested male figure, study for 'The Horse Fair', 1852–53, Black chalk and graphite, heightened with white, 18 3/4 x 11 7/8 in. (47.6 x 30.2 cm), Drawings, Marie-Rosalie Bonheur (French, Bordeaux 1822–1899 Melun

Portrait of Giovanni Battista Rossa, 1610–30, Black chalk, with traces of red and white chalk, on faded blue paper, 9 9/16 x 6 7/16in. (24.3 x 16.3cm), Drawings, Ottavio Leoni (Il Padovano) (Italian, Rome 1578–1630 Rome

Allegory of Sleep, ca. 1570, Pen and brown ink, brush and brown wash, over traces of red chalk, Diameter: 3-11/16 in. (9.4 cm), Drawings, Giorgio Vasari (Italian, Arezzo 1511–1574 Florence), The two rapid sketches with the Allegory of

Design for a Gothic Paneling, early 19th century, Ink and watercolor, sheet: 9 9/16 x 11 15/16 in. (24.3 x 30.3 cm), Anonymous, British, 19th century

Design for a Statue of Justice with Sketches at Left and Above., n.d., Pen and brown ink, brush and gray wash over traces of black chalk or graphite, sheet: 5 1/4 x 2 7/8 in. (13.4 x 7.3 cm), Drawings, Designed by Giuseppe Bernardino Bison

Two satyrs placing Silenus on a braying mule and a third satyr at right, ca. 1515–27, Engraving, Sheet (Trimmed): 4 5/16 × 6 7/8 in. (10.9 × 17.5 cm), Prints, Attributed to Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome

Anger (Ira), from the series The Seven Deadly Sins, 1558, Engraving, sheet: 8 7/8 x 11 11/16 in. (22.5 x 29.7 cm), Prints, Pieter van der Heyden (Netherlandish, ca. 1525–1569), After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

Designs for Ceiling, 19th century, Graphite, 11 1/8 x 8in. (28.3 x 20.3cm), Drawings, Charles Monblond (French, 19th century

The Tyresmith, 1890, Transfer lithograph, drawn on medium-grained transfer paper; only state (Chicago); black ink on grayish chine mounted on white wove paper, Image: 7 in. × 7 7/16 in. (17.8 × 18.9 cm), Prints, James McNeill Whistler

Designs for Ceiling, 19th century, Graphite, 12 1/2 x 12 5/16in. (31.8 x 31.2cm), Drawings, Charles Monblond (French, 19th century

Design for One-Quarter of a Ceiling-elaborate Architectural Ornament in Perspective, 1657–1743, Pen and brown ink over traces of leadpoint, 10- 3/8 x 7- 1/2 in. (26.4 x 19.1 cm), Ferdinando Galli Bibiena (Italian, Bologna 1657–1743 Bologna

Maternal Caress, 1890–91, Drypoint, aquatint and softground etching, printed in color from three plates; sixth state of six (Mathews & Shapiro), plate: 14 3/8 x 10 9/16 in. (36.5 x 26.8 cm), Prints, Mary Cassatt (American, Pittsburgh,

Very Cold at Paris, March 1, 1806, Hand-colored etching, sheet: 11 13/16 x 8 7/8 in. (30 x 22.5 cm), Prints, Anonymous, British, 19th century

Copy in Reverse Design Orientation: Based on the Group of Reclining Figures at Left in Domenico Beccafumi's Scene of Moses Striking the Rock in the Pavement of Siena Cathedral, October 15, 1596, Pen and brown ink, brush and brown wash, over

Section of the Interior of a Court Theater (of Mannheim)., 1687–1769, Pen and black ink, brush and gray wash over traces of graphite, sheet: 10 1/16 x 11 5/8 in. (25.5 x 29.5 cm), Drawings, Alexander Galli Bibiena (Italian, 1687– before

Chelsea Shops, 1888, Transfer lithograph, drawn on coarse-grained transfer paper; second state of two (Chicago); printed in black ink on ivory laid paper, Image: 3 3/4 × 7 11/16 in. (9.5 × 19.5 cm), Prints, James McNeill Whistler (American,

Repairer of Seals and Bellows, 1738, Etching with some engraving, Sheet: 9 5/16 x 7 3/8 in. (23.6 x 18.7 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French,

Le Guide de L'Étranger, Lithograph, image: 18 1/16 x 14 in. (45.8 x 35.6 cm), Prints, Morlon (French, active ca. 1858

Design for the Corner of a Decorated Ceiling, mid-17th century, Pen and brown ink, black and red chalk, sheet: 5 1/2 x 3 3/4 in. (13.9 x 9.5 cm) (irregular borders), Circle of (?) Agostino (Stanzani) Mitelli (Italian, Battidizzo (Bologna)

Architectural Capriccio: Courtyard of a Palace (recto); Saint Aloysius Gonzaga Holding a Crucifix (verso), 1712–93, Pen and brown ink, brush and brown wash, over black chalk (recto); graphite (verso), 11 x 8 in. (27.9 x 20.3 cm), Drawings,

Plate 63 from 'Los Caprichos': Look how solemn they are! (Miren que grabes!), 1799, Etching, aquatint and drypoint, Plate: 8 5/16 x 6 5/16 in. (21.1 x 16.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

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

La Fruitière de la Rue de Grenelle, 1894, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on white machine made wove paper, Image: 9 1/16 × 6 1/8 in. (23 × 15.6 cm), Prints, James

Pompeiian Design for Wall and Doorway, second half 19th century, Pen and black ink, watercolor, gouache, and gilt, 7 7/8 x 8 1/2 in. (20.0 x 21.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

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

Landscape with Classical Architecture by a Lake, 17th century, Pen and brown ink, brush and brown wash and a little gray wash, traces of graphite, with white gouache., 9 3/4 x 12 7/8 in. (24.8 x 32.7 cm), Drawings, Anonymous, French, 17th

Antoinette's Caress (No. 1), 1923, Drypoint; second state, restrike, plate: 8 1/8 x 5 1/2 in. (20.6 x 14 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

The Annunciation, Visitation, and Nativity (Schr. 2865), 15th century, Metalcut, sheet: 10 11/16 x 7 1/2 in. (27.1 x 19 cm), Prints, Anonymous, German, 15th century

A Nun on Her Deathbed, the Holy Spirit Above, 1532–87, Pen and brown ink, brush and brown wash, over red chalk., 4 3/4 x 4 1/2in. (12.1 x 11.4cm), Drawings, Giovanni Battista Lombardelli (Giovanni Battista della Marca, 'Il Montano')

The Pope's Rear Guard or the Fright of the Reverend Father Corporal (Arrière garde du pape, ou la frayeur du reverend pere caporal), late 18th century, Hand-colored etching, sheet: 8 9/16 x 13 1/4 in. (21.8 x 33.7 cm), Prints, Anonymous,

Frontispiece for a Suite of Vase Designs, mid-18th century, Pen and gray ink, brush and brown wash, 7 9/16 x 5 1/16 in. (19.2 x 12.9 cm.), Louis Joseph Le Lorrain (French, Paris 1715–1759 Saint Petersburg

St. Mary Magdalene on the Clouds (reverse copy), n.d., sheet: 4 9/16 x 2 7/8 in. (11.6 x 7.3 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 10 1/4 x 7 15/16 in. (26.1 x 20.1 cm), Drawings, Anonymous, French, 19th century

An 'Académie': Standing Man, 1742–43, Etching, sheet: 15 1/4 x 10 13/16 in. (38.8 x 27.4 cm), Prints, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Monastic Saint Presented to the Holy Trinity by the Virgin, Study for a Circular Ceiling Decoration, 1622–1703, Brush and brown wash, highlighted with white, over black chalk, on brown-washed paper. Lined, 9-15/16 x 9-15/16 in. (25.2 x 25.2

The Assumption of the Virgin (recto); Architectural Notations (verso), 1680–1744, Black chalk, a little pen and brown ink (recto); architectural notations in black chalk (verso), 11-1/8 x 8 in. (28.2 x 20.3 cm), Drawings, Lorenzo de' Ferrari

Honorine de Grimberghe, comtesse du Bossu, Etching, image: 11 3/4 x 9 7/16 in. (29.8 x 24 cm), trimmed to image, Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Abraham Sending Away Hagar, 1516, Engraving, sheet: 5 3/4 x 4 7/8 in. (14.6 x 12.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Two Vases, ca. 1770–85, Pen and brown ink, black chalk, and watercolor, 14 13/16 x 9 3/16 in. (37.7 x 23.3 cm), Drawings, Anonymous, French, 18th century

Canal with an Angler and Two Swans, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Circe and the Companions of Ulysses, 16th century, Etching with engraving, sheet: 7 11/16 x 6 1/8 in. (19.5 x 15.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Parmigianino (Girolamo Francesco

Arch of Septimius Severus, entablature, elevation; attic, base, elevation (recto) Arch of Septimius Severus, archivolt, elevation; impost, elevation; entablature, elevation; column base, elevation; column, plan (verso), early to mid-16th

Portrait of the Artist's Wife, 18th century, Red chalk, sheet: 19 11/16 x 14 3/4 in. (50 x 37.5 cm), Drawings, Daniel Nikolaus Chodowiecki (German, Danzig 1726–1801 Berlin

Stag at bay, from 'Animal hunts' (Chasses à différents animaux), ca. 1654, Etching, Plate: 5 7/8 × 9 7/8 in. (15 × 25.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Juno, Ceres, and Psyche in the clouds conversing, Juno seated with a peacock at her feet, Ceres wearing a garland of wheat and Psyche partially naked and holding a cloth, ca. 1515–27, Engraving, Sheet: 12 1/4 × 7 13/16 in. (31.1 × 19.9

Man Seated Beneath a Statue of Bacchus, Receiving an Audience, Etching and engraving, sheet: 14 3/16 x 19 1/2 in. (36 x 49.6 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design for a Stage Set?:Interior of a Stateroom with Four Tables Displaying Urns and Tabernacles., n.d., Pen and brown ink, brush and gray wash., sheet: 9 3/8 x 12 1/2 in. (23.8 x 31.8 cm), Drawings, Alessandro Sanquirico (Italian,

St. George Liberating the Princess, ca. 1508, Engraving, sheet: 16 7/16 x 4 9/16 in. (41.7 x 11.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

An Islamic Prophet Appearing in the Courtyard of a Prison in Alexandria, 1706 or shortly before, Pen and black ink, gray wash, over a sketch in red chalk, incised for transfer; double framing line in pen and brown ink, probably by the artist,

Design for a Fireplace Grate, 19th century, Ink and watercolor on tracing paper, Anonymous, British, 19th century

Design for Eight Gothic Footstools, early 19th century, Graphite, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Anonymous, British, 19th century

The Picture Book, 1923, Drypoint; second state of two, restrike, plate: 8 11/16 x 5 7/8 in. (22 x 15 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Walking Sticks and Round-A-Bouts for the Year 1801, May 8, 1801, Hand-colored etching, Sheet: 11 5/16 × 13 7/8 in. (28.7 × 35.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard Woodward (British,

Design for a ceiling with putti, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 9 9/16 x 12 1/2 in. (24.3 x 31.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

The Sojourn of The Holy Family in Egypt, from The Life of the Virgin, Latin Edition, 1511, 1511, Woodcut, sheet: 16 1/2 x 11 3/4 in. (41.9 x 29.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

verso: Design for an urn; recto: Designs for two urns, 19th century, Black chalk on laid paper, sheet: 9 13/16 x 7 13/16 in. (25 x 19.8 cm), Drawings, Anonymous, French, 19th century

Sacrifice of Iphigenia, n.d., Red, black, and white chalk, on gray-brown paper., 13 1/2 x 11 5/8 in. (34.3 x 29.6 cm), Drawings, Charles de la Fosse (French, Paris 1636–1716 Paris

One of the Seven Falls of Christ (Schr. 683), 15th century, Woodcut, hand-colored, sheet: 4 1/8 x 3 11/16 in. (10.5 x 9.3 cm), Prints, Anonymous, German, 15th century

Adolescence, n.d., Etching, image: 9 1/4 x 6 1/4 in. (23.5 x 15.8 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jean Audran (French, Lyons 1667–1756 Paris

Study for Clovis (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858); verso: Head of a Soldier (unrelated to Sainte-Clotilde decorations), 19th century, Black chalk, stumped, heightened with