Images at Librifly

Harnessing of Cattle (Haut-Dauphiné), 1850–1914, Etching; second and final state, sheet: 9 13/16 x 12 5/8 in. (25 x 32 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Pierre Paul Dubuisson (French, active 18th

Design for a Cartouche with Zoomorphic Mask above and Cornucopia of Fruit and Leaves on the Sides., 1790–1800, Pen and brown ink over black chalk, sheet: 9 1/8 x 6 7/8 in. (23.1 x 17.4 cm), Drawings, Sebastiano Cavina (Italian, documented

Study for a Judgment of Paris and Other Figure Studies, 1615–73, Pen and brown ink, over black chalk, 10-1/16 x 7-7/16 in. (25.5 x 18.9 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Plate 36 from 'The Disasters of War' (Los Desastres de La Guerra): 'Not [in this case] either' (Tampoco), 1810, Etching, burnished aquatint, drypoint, burin, and burnisher, Plate: 6 in. × 8 1/16 in. (15.3 × 20.4 cm), Prints, Goya

Figure Studies: Standing and Kneeling Clerics and Religious, Adam and Eve, and a Reclining Skeleton, ca. 1602, Pen and brown ink, brush and brown wash, black chalk, 8 3/16 x 11 5/16in. (20.8 x 28.8cm), Drawings, Francesco Vanni (Italian,

Waterloo Bridge, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; only state (Chicago); printed in black ink on cream laid paper, Image: 6 3/4 in. × 5 in. (17.2 × 12.7 cm), Prints, James McNeill Whistler

Studies and Sketches for Figures: Standing Male Nude in Frontal View, Male Heads, Seated Monkey, and a Long-Beaked Bird (a Stork?) (recto); Figure Studies: Back View of Standing Male and Female Heads, a Flying Long-Beaked Bird, etc. (verso),

Bookplate of Hilprant Brandenburg (Schr. 2038), 15th century, Woodcut, hand-colored, sheet: 2 13/16 x 2 11/16 in. (7.2 x 6.9 cm), Prints, Anonymous, German, 15th century

Portrait of Rembrandt as St. Paul, n.d., Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Jupiter, Neptune and Pluto dividing the universe, 1531–76, Engraving, sheet: 7 11/16 x 10 1/4 in. (19.5 x 26.1 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for Pink, Green and White Curtains with Pink and 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

Longshore Men, 1859, Etching and drypoint; third state of four (Glasgow); black ink on medium weight, Plate: 5 7/8 × 8 15/16 in. (15 × 22.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Terrour or Fright, January 21, 1800, Hand-colored etching, printed in brown ink, Sheet (trimmed): 11 5/16 × 8 11/16 in. (28.7 × 22 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Temperance, from the series The Virtues, 1530, Engraving; first state, sheet: 6 1/2 x 4 1/4 in. (16.5 x 10.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Man with Torch between Flaming Altar and Statuette, 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

Panel of Ornament with Two Sirens, 1528, Engraving, Sheet: 4 3/4 × 3 1/8 in. (12 × 8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Saint Christopher Facing Left, 1521, Engraving, sheet: 4 9/16 x 2 15/16 in. (11.7 x 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Martyrdom of St. Catherine of Alexandria, 1548–1612, Pen and brown ink, brush and brown wash, over red chalk, 7 x 10 1/16in. (17.8 x 25.6cm), Drawings, Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612 Florence

Seated Woman with a Winged Putto, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 11-5/16 x 10-1/16 in. (28.8 x 25.5 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Figure Studies (recto); Figures Along a Canal and on a Bridge; to the right, a Curtain and a Stool (?) (verso), 1712–93, Black chalk, the architecture drawn in pen and brown ink over black chalk on beige paper (recto). Framing lines in pen and

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

Study for a Cartouche, Pen and black ink with brush and gray wash. Framing lines in pen and black ink., 5 x 4 3/16 in. (12.7 x 10.7 cm), Drawings, Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Design for a Mirrored Dressing Table with Baroque Ornament, and a Casket, early 19th century, Ink and watercolor, sheet: 9 1/2 x 11 13/16 in. (24.2 x 30 cm), Anonymous, British, 19th century

Ornament Drawing with Cartouche, Putti, and Monkeys, n.d., Red chalk and red chalk wash over graphite underdrawing, 7 1/4 x 18 in. (18.4 x 45.7 cm), Drawings, Attributed to Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Loading a galley, from 'Views of the port of Livorno' (Vues du port de Livourne), 1654–55, Etching; second state of two, Sheet: 9 1/4 × 13 11/16 in. (23.5 × 34.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Men Spitting at a Fire, n.d., Lithograph, Sheet: 4 3/4 x 6 11/16 in. (11.99 x 16.99cm), Prints, Formerly attributed to Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Entombment, Etching and engraving, first state, sheet: 14 3/16 x 12 13/16 in. (36 x 32.5 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Christ, ca. 1510, Engraving, sheet: 4 5/8 x 2 7/8 in. (11.7 x 7.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Landscape with Seated Shepherd and Dog, n.d., Graphite with touches of brush and brown wash, 5 5/8 x 8 7/8 in. (14.3 x 22.6 cm), Drawings, Attributed to Jean Pillement (French, Lyons 1728–1808 Lyons

Head of a Man with a feathered Cap (Bernini?), Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for a Round Pink Sofa and an Armchair and a One-armed Chair, early 19th century, Ink, watercolor and wash, sheet: 10 13/16 x 15 1/16 in. (27.4 x 38.2 cm), Anonymous, British, 19th century

Profile of a Bearded Old Man Looking Right, 1765–1810, Red chalk, sheet: 24 x 18 1/2 in. (61 x 47 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

A Phantasmagoria;—Scene–Conjuring-Up an Armed-Skeleton, January 5, 1803, Hand-colored etching, sheet: 13 7/8 x 10 in. (35.3 x 25.4 cm), Prints

The Apocalyptic Woman, from The Apocalypse, Latin Edition, 1511, 1511, Woodcut, sheet: 15 15/16 x 10 15/16 in. (40.5 x 27.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

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.

A child and a satyr child playing with a goat, ca. 1657, Etching; reverse copy, Sheet (trimmed to plate): 8 11/16 × 9 3/8 in. (22.1 × 23.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Battle of ?, 19th century, Pen and ink, brush and wash over graphite, with touches of white, sheet: 7 1/2 x 10 9/16 in. (19.1 x 26.9 cm), Drawings, Anonymous, French, 19th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 10 7/8 x 17 1/16 in. (27.6 x 43.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Kneeling Nude Male Figure, Facing Left, March 25, 1859, Graphite, 8 15/16 x 11 7/16 in. (22.7 x 29.1 cm), Drawings, Henri Lehmann (French, Kiel 1814–1882 Paris

Helluones librorum (Bookworms), November 10, 1786, Aquatint printed in brown ink, plate: 12 15/16 x 15 1/2 in. (32.8 x 39.4 cm), Prints, Joshua Kirby Baldrey (British, 1754–1828), Aquatint by Francis Jukes (British, Hertfordshire

Les Paysagistes: Le premier copie la nature, le second copie le premier (The first copies nature, the second copies the first), May 12, 1865, Lithograph, sheet: 11 5/16 x 9 1/2 in. (28.8 x 24.1 cm), Prints, Honoré Daumier (French,

Designs for Plates Taken from Oudry's Illustrations to La Fontaine's Fables, after 1755, Etching, sheet: 11 7/16 x 6 9/16 in. (29 x 16.7 cm), Prints, After Jean-Baptiste Oudry (French, Paris 1686–1755 Beauvais), Anonymous, 18th century

Designs for a Pilaster Ornament and Cartouche (recto); Design for a Window or a Wall Plaque (verso)., 1652–1725, Pen and brown ink, over traces of black chalk; verso: pen and brown ink over traces of black chalk, sheet: 4 3/16 x 3 3/16 in.

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 1/2 x 4 in. (24.2 x 10.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Perfect Harmony, 1776, Pen and brown ink, brown wash, over traces of graphite, 10 1/2 x 8 1/2 in. (26.7 x 21.6 cm.), Drawings, Jean Michel Moreau the Younger (French, Paris 1741–1814 Paris

Rape of Europa, ca. 1636, Etching and Drypoint, Sheet (Trimmed): 8 15/16 × 12 3/8 in. (22.7 × 31.4 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Alexander and Roxana, 1531–76, Engraving, sheet: 9 1/4 x 13 3/4 in. (23.5 x 35 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Beggar with a Wooden Leg, ca. 1630, Etching, New Holl. second state of four, Sheet: 4 7/16 × 2 5/8 in. (11.3 × 6.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Reclining Nude, ca. 1913, Graphite, 14 7/8 x 22 1/2 in. (37.8 x 57.2 cm), Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna

Sketchbook Sheet of Ornamental Studies, (recto and verso), 1487–1564, Pen and brown ink, 12-5/8 x 8-7/8 in. (32.0 x 22.5 cm), Drawings, attributed to Giovanni da Udine (Giovanni dei Ricamatori) (Italian, Udine 1487–1564 Rome

Bachots au bords de la Seine, 1833–1914, Drypoint on laid paper, sheet: 12 3/16 x 16 9/16 in. (31 x 42.1 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

The Wedding of the Gods: Second Scene, Diana, 1637, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), After set by Alfonso Parigi (Italian, ca. 1625–1656

Plate 28 of the 'Tauromaquia': The forceful Rendon stabs a bull with the pique, from which pass he died in the ring at Madrid., 1816, Etching, burnished aquatint and burin, Plate: 9 3/4 × 13 11/16 in. (24.7 × 34.8 cm), Prints, Goya

The Death of the Virgin, 1639, Etching and drypoint; third state of three, sheet: 15 1/2 x 12 5/16 in. (39.4 x 31.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Study for the Ugolino Group, 19th century, Graphite, 3 5/8 x 4 7/8 in. (9.2 x 12.4 cm), Drawings, Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie

Conversion of St. Paul, ca. 1637, Etching, sheet: 15 15/16 x 11 11/16 in. (40.5 x 29.7 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Noah and the Animals Entering the Ark, 1650–55, Monotype, 9 3/4 x 14 5/16 in. (24.7 x 36.4 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

La Caffarella (ou Grotte d'Egerie), 1620–50, Etching, third state, image: 5 11/16 x 8 5/16 in. (14.4 x 21.1 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Cornelis van Poelenburch (Dutch, Utrecht (?) 1594/95–1667

Design for a Bookcabinet and Two Pedestals (Verso: sketch), early 19th century, Ink and watercolor and wash, sheet: 9 1/2 x 11 15/16 in. (24.1 x 30.4 cm), Anonymous, British, 19th century

The Angel of the Annunciation (Cartoon for an Embroidery), 1466–1524, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk on paper washed brown; outlines of design and framing outlines pricked and with

“The Sixth Knot”. Interlaced Roundel with Seven Wreaths, 1521 before, Woodcut, sheet: 10 15/16 x 8 11/16 in. (27.8 x 22.1 cm), Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), After Leonardo da Vinci (Italian, Vinci 1452–1519

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 6 1/2 x 3 3/8 in. (16.5 x 8.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Standing Female Nude, n.d., Graphite and watercolor, Overall: 11 x 9 in. (28 x 22.8 cm), Drawings, Odilon Roche (French, 1868–1947

Three Designs for Plate Borders, 19th century, Graphite, watercolor, and gold paint. Framing lines in graphite., sheet: 9 3/4 x 13 7/16 in. (24.8 x 34.2 cm), Drawings, Anonymous, French, 19th century

Bacchus standing in a niche holding grapes in his raised right hand, fruit in his left hand, a dog lower right, ca. 1515–27, Engraving, Sheet (Trimmed): 9 in. × 4 1/8 in. (22.8 × 10.5 cm), Prints, Marco Dente (Italian, Ravenna, active by

Caricature, 1904, Graphite, 11 5/8 x 7 15/16 in. (29.6 x 20.1 cm), Drawings, Georges-Jules-Auguste Cain (French, Paris 1856–1919 Paris

Rosvitha Presenting the Comedies to the Emperor Otto I. illustration from the Opera Hrosvita, 1501, n.d., Woodcut, sheet: 10 3/4 x 7 13/16 in. (27.3 x 19.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The small lion hunt, with two lions, ca. 1632, Etching, sheet: 6 1/16 x 4 15/16 in. (15.4 x 12.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

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.

Street at Saverne, 1858, Etching and open bite or sandpaper ground; third state of four (Glasgow); blue chine on off-white wove paper (chine collé), Plate: 8 3/16 × 6 1/4 in. (20.8 × 15.9 cm), Prints, James McNeill Whistler (American,

Clearing in a Wooded Landscape, 1676–1730, Pen and brown ink, over traces of graphite or lead. Framing lines in pen and dark brown ink, 11 1/2 x 7 13/16in. (29.2 x 19.8cm), Drawings, Marco Ricci (Italian, Belluno 1676–1730 Venice

Rape of Europa, ca. 1636, Etching and Drypoint, Sheet: 9 1/8 × 12 11/16 in. (23.1 × 32.3 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

The garroted man (El agarrotado), 1778–80, Etching and burin, Plate: 12 15/16 × 8 3/8 in. (32.8 × 21.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

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

Design for a Vessel, 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 6 5/8 x 5 1/8 in. (16.8 x 13 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Tarquin and Lucrezia, 1771–1844, Pen and black ink, 5 3/8 x 7in. (13.7 x 17.8cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Southern Landscape with Figures and Cattle at a River, 1686, Black chalk and grey wash; framing line in pen and black ink; over a framing line in pen and brown ink, sheet: 8 7/16 x 12 13/16 in. (21.4 x 32.6 cm), Drawings, Jan van der Meer the

Plate 70 from 'Los Caprichos': Devout Profession (Devota profesion.), 1799, Etching, aquatint and drypoint, Plate: 8 1/16 x 6 7/16 in. (20.5 x 16.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Venus, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/8 in. (4.6 × 6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets

A Portrait:Mildred Howells, 1894–96, Transfer lithograph with scraping, drawn on thin, transparent transfer paper; second state of three (Chicago); printed in black ink on ivory laid paper, Image: 8 7/8 × 7 3/4 in. (22.6 × 19.7 cm), Prints,

Jupiter at left in the form of a shepherd accompanied by Mnemosyne, set within an elaborate cartouche, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 5/16 x 3 15/16 in. (13.5 x 10 cm), Prints, Giulio Bonasone

Madonna and Child with a bird, ca. 1635–1636, Etching, Plate: 8 9/16 × 5 13/16 in. (21.7 × 14.7 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Caricature, 1858–1909, Pen and brown ink, brush and brown wash, 2 5/8 x 4 1/16 in. (6.6 x 10.3 cm), Drawings, Caran d'Ache [Emmanuel Poiré] (French, Moscow 1858–1909 Paris

Hezekiah, King of Judah, 19th century, Oil over pen and brown ink on thin paper, laid down on board, 12 x 5 9/16 in. (30.5 x 14.2cm), Drawings

Theatrical Pleasures, Plate 5: Feasting in the Saloon, ca. 1835, Hand-colored etching, plate: 10 13/16 x 8 7/8 in. (27.5 x 22.5 cm), Prints, Theodore Lane (British, Isleworth ca. 1800–1828 London

The Little Mast, 1879–80, Etching and drypoint; second state of eight (Glasgow); printed in black ink on , Plate: 10 7/16 × 7 5/16 in. (26.5 × 18.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Flowers: Roses and Lilacs, late 19th–early 20th century, Watercolor on brown paper, 13 11/16 x 9 1/2 in. (34.8 x 24.1 cm), Drawings, Paul de Longpré (French, Lyon 1855–1911 Hollywood

A Blind Man from the Quinze-Vingts Hospital, 1738, Etching with some engraving, Sheet: 9 3/16 x 6 15/16 in. (23.4 x 17.6 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon

Unknown, portal or niche, plan and elevation; perspective study, interior, square chamber with cross-vault, with a scale figure (recto), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 5/8 x 17 1/2 in.

Willibald Pirckheimer, 1524, Engraving, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Study for Saint Gervasius, ca2, Black chalk heightened with white chalk, on gray-beige paper. Framing lines in pen and brown ink., 16 7/8 x 10 5/16 in. (42.9 x 26.2 cm), Drawings, Eustache Le Sueur (French, Paris 1616–1655 Paris), One of

Plate 5: reclining lion, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 1/4 × 4 1/8 in. (8.2 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Stocking, 1890, Drypoint; fifth state of six, plate: 10 1/16 x 7 3/8 in. (25.6 x 18.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Designs for Three Chairs with Turned Legs and Backs, early 19th century, Ink, watercolor and wash, sheet: 8 3/4 x 12 5/16 in. (22.2 x 31.3 cm), Anonymous, British, 19th century

Plate 78 from' Los Caprichos': Be quick, they are waking up (Despacha, que dispiértan.), 1799, Etching and burnished aquatint, Plate: 8 7/16 x 5 7/8 in. (21.4 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

A Banker in Barry Selly 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

Bacchanal Scene, 18th century, Pen and black ink, brush and gray wash, 5 7/8 x 9 3/16 in. (15 x 23.3 cm), Drawings, Anonymous, French, 18th century

Italian Landscape, 18th century, Black chalk, brush and gray wash, black wash., 9 11/16 x 15 7/16 in. (24.6 x 39.2 cm), Drawings, Anonymous, French, 18th century

Plate 15 from 'Los Caprichos': A pretty piece of advice (Bellos consejos), ca. 1797–99, Etching, burnished aquatint and burin, Plate: 8 1/2 × 5 15/16 in. (21.6 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Portrait of Richard Wagner, 19th century, Lithograph, sheet: 10 13/16 x 7 7/16 in. (27.5 x 18.9 cm), Prints, Anonymous, 19th century, After Pierre Petit (French, Aups 1832–1909 Paris