Images at Librifly

Unidentified, Composite base, elevation; Unidentified, Composite base, elevation; Unidentified, Composite base, elevation (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x 11

William III from the series Counts and Countesses of Holland, Zeeland, and West-Frisia, 1650, Engraving and etching; second state of three, sheet: 20 1/2 x 15 1/16 in. (52 x 38.2 cm), Prints, Cornelis Visscher (Dutch, Haarlem (?) 1629–1658

Plate 7: cow, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three, Sheet (trimmed to plate): 3 1/4 × 4 1/8 in. (8.3 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Two Landscapes, ca. 1630, Etching; first state of three (Mannocci), sheet: 5 1/8 x 7 7/8 in. (13 x 20 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Old House in Rector Street (from Scenes of Old New York), 1870, Etching, sheet: 6 x 5 1/2 in. (15.2 x 14 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Figures on a Country Road, n.d., Gouache, over traces of graphite, on vellum, 7 5/16 x 9 9/16 in. (18.6 x 24.3 cm), Drawings, Louis Gabriel Moreau (French, Paris 1740–1806 Paris

Ceiling Design, 18th century, Leadpoint or graphite with ruled and compass construction, 9 1/8 x 11 1/4 in. (23.1 x 28.5 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

Study of a Head, 1837–1911, Red chalk, 17 1/8 x 12 5/16 in. (43.5 x 31.3 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

The Terrace of the Villa Brancas, 1876, Etching; first state of eight, sheet: 13 9/16 x 19 1/2 in. (34.4 x 49.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for the decoration of a hexagonal ceiling with rinceaux, 1830–97, pen and ink and watercolor on wove paper; mounted on wove paper, Overall: 13 3/16 x 19 3/4 in. (33.5 x 50.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

Andria, 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

Centaur Abducting a Satyress, 1727–1804, Pen and dark brown ink, brush and gray-brown wash, over black chalk, 7 5/8 x 10 13/16in. (19.4 x 27.4cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Plate III, from Rules for Drawing Caricaturas, February 26, 1788, Etching, sheet: 5 1/8 x 8 7/16 in. (13 x 21.4 cm), Prints

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor, gouache, over graphite, Irregular sheet: 9 x 7 1/2 in. (22.8 x 19 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Woman Holding a Fan, 1629, Etching; first state of two, Sheet (trimmed): 5 1/2 × 3 13/16 in. (14 × 9.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Venetian fishing boat, n.d., Watercolor on paper, 8 x 11 1/4 in. (20.3 x 28.6 cm), Drawings, Félix-François-Georges-Philibert Ziem (French, Beaune 1821–1911 Paris

Emperor greeted by a warrior, 16th century, Pen and brown ink on paper washed light-brown, 8 3/4 x 7 3/8 in. (22.2 x 18.7 cm), Drawings, School of Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna

The Angel Appearing to the Shepherds, 1634, Etching and drypoint; third state of three, sheet: 14 1/4 x 11 3/8 in. (36.2 x 28.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Vision of Eliphaz, 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

The Holy Family with Attendant Putti, 1560–1630, Pen and brown ink, brush and brown wash, over red chalk, 4 3/8 x 8in. (11.1 x 20.3cm), Drawings, Cesare Pollino (Cesare dal Francia or Franchi) (Italian, Perugia ca. 1560–1598 Rome

Lace Design, 19th century, Pen and ink with wash, sheet: 3 x 7 7/8 in. (7.6 x 20 cm), Drawings, Anonymous, French, 19th century

Design for a Mantle Clock, 19th century, Pen and brown ink, image: 10 3/8 x 9 1/16 in. (26.3 x 23 cm), Drawings, Anonymous, French, 19th century

Saint Thomas, 1514, Engraving, Sheet: 4 3/4 in. × 3 in. (12 × 7.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Songs of Innocence: Introduction, 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 London

Man and Woman Sacrificing a Goat, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Engraved by Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561

Paté d'Anguille, n.d., red chalk, over traces of black chalk underdrawing, squared in black chalk, 10 11/16 x 13 15/16 in. (27.1 x 35.4 cm), Drawings, circle of Nicolas Lancret (French, Paris 1690–1743 Paris

The Flagellation, from The Large Passion, n.d., Woodcut, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Architectural Study: The Measured Profiles of the Cornice and Entablature of the 'Colonnacce' from the Forum Transitorium (the 'Palace of Nerva')., 1500–1520, Pen and brown ink, over leadpoint, stylus ruling, and compass construction, 11 1/8

Design for the Exterior of a Theater, ca. 1800, Pen and black ink, watercolor, sheet: 5 1/4 x 6 9/16 in. (13.3 x 16.6 cm), Anonymous, French, 19th century

The Virgin Immaculate in Glory (recto); Sketch of a Part of a Leg and a Hand (verso), 1723–1806, Point of brush and dark brown ink, brush and brown wash, highlighted with white gouache, over black chalk, on beige paper (recto); black chalk

The Deposition, from The Small Passion, ca. 1509, Woodcut, sheet: 5 x 3 13/16 in. (12.7 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 5: reclining lion, from 'Various animals' (Diversi animali), 1641, Etching; second state of three (De Vesme), Plate: 3 3/8 × 4 3/16 in. (8.5 × 10.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Studies of Arms, Shoulders and Hands, 1548–1628, Pen and brown ink, brush and brown wash, over red chalk, 10 1/16 x 6 5/8in. (25.5 x 16.8cm), Drawings, Giacomo Franco (Italian, Venice 1550–1620 Venice), previously attributed to Jacopo

Design for a Funeral Ticket, 18th century, Pen and gray ink, brush and gray wash, with framing lines in pen and gray ink, 6 1/8 x 7 15/16 in. (15.6 x 20.2 cm), Hubert François Gravelot (French, Paris 1699–1773 Paris

Portrait of Cardinal Antonio Barberini the Younger, 1599–1661, Red chalk, 5 1/16 x 4in. (12.9 x 10.2cm), Drawings, attributed to Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome

The abduction of Helen; battle scene on a shore with two men pulling Helen into a boat at center and another man pulling on her drapery in the opposite direction, ca. 1515–27, published by Rossi in 1649, Engraving, Sheet: 12 1/4 × 17 3/8 in.

The Apostles at the Tomb of the Virgin, and Studies for Two Pendentives, 1691–1758, Pen and brown ink, brush and brown and gray wash, over black chalk. The perimeter of the lunette incised with a compass. An embossed parochial stamp affixed

Carlo Cantu called Buffetto, 1646, Etching with engraving by Jean Couvay added over etching of main figure, Sheet: 9 11/16 × 7 5/16 in. (24.6 × 18.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Bearded Male Term with a Raised Left Arm, ca. 1545–65, Pen and black ink with grey wash, heightened with white, each: 11 7/16 x 3 15/16 in. (29 x 10 cm), Anonymous, French, 16th century

A Woman From Savoy, 1737, Etching with some engraving, image: 8 7/8 x 6 15/16 in. (22.5 x 17.7 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Venus removing a thorn from her left foot while seated on a cloth next to trees, a hare lower right, ca. 1515–27, Engraving, Sheet (Trimmed): 10 7/16 × 6 7/8 in. (26.5 × 17.4 cm), Prints, Marco Dente (Italian, Ravenna, active by

Actresses in Their Dressing Rooms, 1879–80, Etching and aquatint; fourth state of five, sheet: 8 7/8 x 12 5/16 in. (22.5 x 31.2 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Sketch of a Palace Interior., 1700–1774, Pen and brown ink over traces of black chalk or graphite, sheet: 10 1/16 x 7 13/16 in. (25.5 x 19.9 cm), Antonio Galli Bibiena (Italian, Parma 1700–1774 Mantua (?)), Ferdinando Galli Bibiena

Two Studies of Reclining Youth, early 18th century, Red chalk, heightened with a little white, on beige paper, 7 3/4 x 6 1/4 in. (19.7 x 15.9 cm), Drawings, Nicolas Lancret (French, Paris 1690–1743 Paris

Mary, Infant Christ and Saint John, 1527–85, Pen and ink, 14 1/16 x 10 3/4in. (35.7 x 27.3cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

The Resurrection, n.d., Woodcut, sheet: 15 1/2 x 10 7/8 in. (39.4 x 27.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Joseph and Potiphar's Wife (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

Departure of David the Shepherd from the House of His Father, 18th century, Etching, image: 12 5/8 x 19 5/16 in. (32 x 49 cm), Prints, Pietro Monaco (Italian, 1707–1772), After Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa

The Lord's Prayer and the Four Ages of the World (Schr. 1862), 15th century, Woodcut, sheet: 13 7/8 x 11 1/8 in. (35.2 x 28.2 cm), Prints, Anonymous, German, 15th century

Bacchanal, ca. 1635–36, Pen and brown ink, brush and brown wash, over faint black chalk underdrawing, 5 1/4 x 8 1/8 in. (13.3 x 20.6 cm.), Drawings, Nicolas Poussin (French, Les Andelys 1594–1665 Rome), Although he spent most of his

Unidentified Subject: Two Falling Figures and Two Standing Women in a Landscape, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-1/8 x 4-3/8 in. (7.9 x 11.1 cm), Drawings, attributed to Francesco Allegrini (Italian,

Bacchus at left giving grapes to women, from 'The Loves of the Gods', 1531–60, Engraving, sheet: 6 5/16 x 4 5/16 in. (16 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Bearing of the Cross, from The Large Passion, n.d., Woodcut, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Mirrored Sideboard with Diminishing Columnar Legs and Classical Ornament, early 19th century, Graphite, sheet: 8 9/16 x 12 1/4 in. (21.7 x 31.1 cm), Anonymous, British, 19th century

Coat-of-Arms Symbolizing the City of Paris; Bookplate of Bella C. Landauer, 19th century, Etching on laid paper, sheet: 5 3/8 x 4 7/16 in. (13.6 x 11.2 cm), Prints, Charles Meryon (French, 1821–1868

Design for a cup, 19th century, Pen and ink and watercolor, sheet (irregular): 2 5/8 x 4 1/2 in. (6.7 x 11.5 cm), Drawings, Anonymous, French, 19th century

A Brace of Public Guardians, July 10, 1800, Hand-colored etching, sheet: 14 9/16 x 19 13/16 in. (37 x 50.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Virgin and Child, 1520, Engraving, Sheet: 6 9/16 × 4 3/4 in. (16.7 × 12 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Annunciation, ca. 1516, Engraving, sheet: 3 1/2 x 4 3/8 in. (8.9 x 11.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Songs of Innocence and of Experience: My Pretty Rose Tree, Ah! Sun-Flower, The Lily, 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

Designs for Ornamental Motifs with Figures, Real and Imaginary Animals, and Coats of Arms of the Medici Grand Dukes, n.d., Pen and brown ink over black chalk or leadpoint(?), 7 11/16 x 11 1/8 in. (19.6 x 28.3 cm), Drawings, After Stefano della

Sibylle Lybique, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 1/8 x 8 3/8 in. (35.8 x 21.3 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Illustration for a Book: Soldiers Storming a City, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-7/8 x 5-15/16 in. (7.3 x 15.1 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Design for a Tabernacle, 18th century, Pen and black ink, pen and gray ink, brush and black wash, brush and gray wash, image: 11 11/16 x 16 9/16 in. (29.7 x 42.1 cm), Drawings, Anonymous, French, 18th century

Old Man with Beard, Fur Cap, and Velvet Cloak, ca. 1631, Etching; second state, Sheet: 6 in. × 5 5/16 in. (15.2 × 13.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

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

Design for Gold Curtains with Gold Fringes and a Gold and White Pediment, early 19th century, Ink, watercolor and wash, sheet: 10 13/16 x 14 15/16 in. (27.4 x 38 cm), Anonymous, British, 19th century

Plate 1 from 'Los Caprichos': Self-portrait of Goya ( Franco. Goya e Lucientes, Pintor), 1799, Etching, aquatint, drypoint and burin, Plate: 8 9/16 in. × 6 in. (21.8 × 15.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for Green and White Curtains with Green Fringes and a Green and Gold Pediment, early 19th century, Ink, watercolor and wash, sheet: 8 5/8 x 12 5/16 in. (21.9 x 31.2 cm), Anonymous, British, 19th century

Design for a Ewer with Bull's Heads under the Handels and Spout, 1652–1725, Pen and brown ink, brush and gray wash, over traces of black chalk; glued onto secondary paper support, sheet: 7 3/8 x 4 in. (18.7 x 10.1 cm), Giovanni Battista

Funeral of Francesco de' Medici, 1634, Etching; second state of three, Sheet (trimmed): 11 5/8 × 8 1/4 in. (29.5 × 21 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 60 from 'The Disasters of War' (Los Desastres de la Guerra):'There is no one to help them' (No hay quien los soccara.), 1811–12 (published 1863), Etching, burnished aquatint, burin and burnisher, Plate: 5 7/8 × 8 1/16 in. (14.9 × 20.5

Two Designs for Plate Borders, 19th century, Graphite, watercolor, gouache, and gold gilt. Framing lines in graphite., sheet: 9 5/8 x 13 9/16 in. (24.4 x 34.4 cm), Drawings, Anonymous, French, 19th century

Design for Octagonal Ceiling in the Pless House, Berlin, second half 19th century, Gouache on laid paper, mount: 19 1/2 x 13 7/16 in. (49.5 x 34.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Sheet of Sketches, ca. 1735, Etching, image: 5 9/16 x 8 1/4 in. (14.2 x 20.9 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Study with Brigands (Lower Section), ca. 1633, Etching; only state, sheet: 1 9/16 x 3 1/16 in. (4 x 7.7 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Head of Old Man, Etching, Prints, Attributed to Stefano della Bella (Italian, Florence 1610–1664 Florence

Furniture Shop, 1887, Etching; second state of two (Glasgow); printed in black ink on ivory laid paper, Plate: 3 3/4 × 6 7/16 in. (9.6 × 16.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Repose in Egypt, Mary holding and looking at the infant Christ while St. Joseph sleeps, ca. 1637–1639, Etching, Sheet: 3 15/16 × 5 1/2 in. (10 × 14 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

The Virgin and Child with the Infant Christ and Saint Anne, ca. 1500, Engraving, Sheet: 4 7/16 × 2 13/16 in. (11.3 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Portrait of a Woman, 19th century, Pencil, 4 5/8 x 3 in., Drawings, Anonymous, French, 19th century

A Domestic Scene, 1513–83, Black chalk point of brush and gray wash, highlighted with white, on red prepared paper, 9 13/16 x 14 7/8in. (25 x 37.8cm), Drawings, Pirro Ligorio (Italian, Naples ca. 1512/13–1583 Ferrara

Hungarian horseman riding towards the right, other horsemen in the background, a circular composition from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching, Plate: 7 3/8 × 7 3/16 in. (18.8 × 18.2 cm),

Aeneas and Siblyl, 1703–66, Pen and brown ink, with brush and gray wash, over traces of black chalk, 7 3/4 x 5 3/8in. (19.7 x 13.6cm), Drawings, After Corrado Giaquinto (Italian, Molfetta 1703–1766 Naples

Saint George Slaying the Dragon, ca. 1504, Woodcut, sheet: 8 5/16 x 5 9/16 in. (21.1 x 14.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Boy with a Sword, Turned Left, 1862, Etching and aquatint on laid paper (Hudelist), state III of IV, sheet: 15 x 11 3/8in. (38.1 x 28.9cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris), This print is the most successful of

Design for the decoration of a ceiling cove and moulding, 1830–97, watercolor, gouache, and gold paint over graphite on wove paper; mounted on wove paper, Overall: 8 1/4 x 10 13/16 in. (21 x 27.5 cm), Drawings, Jules-Edmond-Charles Lachaise

Gardener with a Basket on her Arm, from Hortulanae series, 1612–16, Etching and engraving, Sheet: 13 11/16 x 8 5/16 in. (34.8 x 21.1 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Landscape, after Corot, 1833–1914, Etching on laid paper; third and final state, sheet: 20 1/16 x 14 3/4 in. (51 x 37.4 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Camille Corot (French, Paris 1796–1875

Two Dwarfs Playing Dice, a Dog at Left (recto), Study of a Leg (verso), 1659–1742, Pen and brown ink, over red chalk (recto), red chalk (verso), 7 1/16 x 10 13/16in. (17.9 x 27.5cm), Drawings, attributed to Faustino Bocchi (Italian,

Pont-au-Change, Paris, 1854, Etching and drypoint on laid paper (D&C Blauw); fifth state of twelve, Plate: 6 1/8 x 13 3/16 in. (15.5 x 33.5 cm), Prints, Charles Meryon (French, 1821–1868

Design for a Chandelier, 18th century, Graphite, pen and black ink, brush and gray wash, sheet: 23 1/8 x 14 3/4 in. (58.8 x 37.4 cm), Drawings, Anonymous, French, 18th century

Large Choirstall with Christ Blessing the Virgin, ca. 1518–20, Etching; first state of two, sheet: 11 1/2 x 17 5/16 in. (29.2 x 44 cm) (all three plates), Prints, Daniel Hopfer (German, Kaufbeuren 1471–1536 Augsburg

Design for an Oil Lamp, 19th century, Graphite, brush and gray wash, and gouache, sheet: 16 3/8 x 10 9/16 in. (41.6 x 26.8 cm), Drawings, Anonymous, French, 19th century

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

Nude Study, Woman Kneeling on a Pillow, 1923–24, Lithograph, image: 9 1/2 x 7 in. (24.1 x 17.8 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

View of Motrone Castle (before its demolition around 1692), 1606–80, Pen and brown ink over leadpoint., 6 9/16 x 10 3/4 in. (16.7 x 27.3 cm), Drawings, Attributed to Giovanni Francesco Grimaldi (Italian, Bologna 1606–1680 Rome

Wooded Landscape with Riders, August 1, 1797, Aquatint; second state of two, plate: 7 1/4 x 9 5/8 in. (18.4 x 24.4 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788 London

Design for a monument, 18th century, Pen and ink, wash, Anonymous, French, 18th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and violet wash, and gouache, sheet: 9 5/16 x 4 1/8 in. (23.6 x 10.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau