Images at Librifly

Venus and Mars, from 'The Loves of the Gods', 1531–60, Engraving, sheet: 5 5/16 x 4 3/8 in. (13.5 x 11.1 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Nôtre-Dame Pump, 1852, Etching on green laid paper; sixth state of nine, plate: 6 5/8 x 9 3/4 in. (16.8 x 24.8 cm), Prints, Charles Meryon (French, 1821–1868

Old House in Rector Street (from Scenes of Old New York), 1870, Etching, plate: 6 x 5 3/8 in. (15.2 x 13.7 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Design for left-hand side of a side-board, framed by sconces with putti, 19th century, Ink and graphite, sheet (irregular): 7 1/16 x 9 1/8 in. (17.9 x 23.1 cm), Anonymous, British, 19th century

Rest on the Flight into Egypt, ca. 1641, Etching; second state of two, Sheet: 3 1/16 × 2 7/8 in. (7.8 × 7.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Nicolas de Neuville, marquis de Villeroy, Etching, sheet: 12 11/16 x 10 1/16 in. (32.2 x 25.6 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Sacrifice of a Swan, 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 Venice

Studies of Armor, 17th century, Black and red chalk, sheet: 10 5/8 x 13 3/4 in. (27 x 34.9 cm), Drawings, Anonymous, French, 17th century

Standing Youth with Sword and Palm Branch, 15th century, Brush and brown wash, highlighted with white, on brown-washed paper, 11-7/8 x 6-9/16 in. (30.1 x 16.7 cm), Drawings, Attributed to Antonio Vivarini (Italian, Venice, active by

Perspective Design for a Stage Set of an Italian Cityscape, 1784–97, Pen and black ink, brown and gray wash and leadpoint with vertical lines in leadpoint for the architectural construction, 10 1/2 × 14 1/4 in. (26.7 × 36.2 cm), Antonio

The Presentation of the Virgin in the Temple, from The Life of the Virgin, ca. 1503, Woodcut, sheet: 12 1/8 x 8 3/8 in. (30.8 x 21.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Romantic Subject, 1781–1835, Lead graphite, 9 x 7 in. (22.9 x 17.8 cm), Drawings, Bartolomeo Pinelli (Italian, Rome 1781–1835 Rome

Theatrical Pleasures, Plate 4: Taken Places Occupied, ca. 1835, Hand-colored etching, image: 8 7/8 x 7 3/16 in. (22.5 x 18.2 cm), Prints, Theodore Lane (British, Isleworth ca. 1800–1828 London

Two Designs for Vases (recto); Variant Design for a Vase (verso), Pen and brown ink, brush and brown wash, over black chalk underdrawing (recto); pen and brown ink (verso), 13 1/8 x 8 15/16 in. (33.3 x 22.7 cm), Drawings, Ennemond Alexandre

Christ on the Cross with the Virgin and Saint John, 1480, Woodcut, hand-colored, 7-1/8 c 4-7/8 in., about 1/16 in. margin, Prints, Anonymous, German, Swabia, 15th century

Sketch for a wall panel in the Sala Paolina at Castel Sant' Angelo, Rome, ca. 1546, Pen and brown ink, 5 × 6 3/8 in. (12.7 × 16.2 cm), Drawings, Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501–1547 Rome) or Copy after

Priest with Upraised Arms Wearing a Two-Horned Tiara, 1575–1633, Red chalk on red-washed paper, 8 9/16 x 5 1/16in. (21.7 x 12.9cm), Drawings, Antonio d'Enrico Tanzio (Tanzio da Varallo) (Italian, Riale d'Alagna 1575/80–1632/33 Novara

Frontispiece for 'Eaux-fortes de Guérard, Collection de Mr. S. P. [Samuel Putnam] Avery, New York', late 19th century, Black chalk, Sheet: 17 3/8 x 11 15/16 in. (44.2 x 30.3 cm), Drawings, Henri-Charles Guérard (French, Paris 1846–1897

The Rest on the Flight into Egypt; lightly etched, 1645, Etching with touches of drypoint, sheet: 5 3/16 x 4 9/16 in. (13.2 x 11.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

View of Interior with Figures, Saint Clotilde, second half 19th century, Graphite, pen and black ink, watercolor, gouache, and gilt, 12 1/16 x 7 5/16 in. (30.6 x 18.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Design for a Stool, 19th century, Pen and brown ink, brush and brown and light green wash, 4 3/8 x 5 3/4 in. (11.1 x 14.6 cm), Drawings, Anonymous, French, 19th century

Plate 24 from 'Los Caprichos': Nothing could be done about It (Nohubo remedio.), 1799, Etching and burnished aquatint, Plate: 8 3/8 x 5 13/16 in. (21.3 x 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Study of an Antique Statue, n.d., Pen and brown ink, 8 1/2 x 4 1/4 in. (21.6 x 10.8 cm); maximum; cut to octagonal shape, Drawings, Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna

A Valet Putting Away the Luxious Clothes of His Master, mid to late 17th century, Etching, Sheet (trimmed): 11 1/8 × 7 11/16 in. (28.3 × 19.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Death of the Rich Man, mid-17th century, Etching, Sheet: 10 3/4 × 13 5/8 in. (27.3 × 34.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for Coffered Ceiling in Four Alternate Color Schemes, Empress Eugenie's Hotel, second half 19th century, Graphite, watercolor, and gilt, 5 3/8 x 7 11/16 in. (13.7 x 19.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

Boy with a Trumpet, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

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

The Legislative Belly, January 1834, Lithograph on wove paper, sheet: 13 11/16 x 19 5/8 in. (34.7 x 49.8 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

The Omval, 1645, Etching and drypoint; second state of two, sheet: 7 7/16 x 9 1/16 in. (18.9 x 23 cm) (about 1/16 in. margin), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Dom Gregoire Tarrisse, superieur general de la Congregation de Saint-Maur, Etching, image: 12 9/16 x 8 7/16 in. (31.9 x 21.4 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Plate 5 from 'The Tauromaquia': The spirited Moor Gazul is the first to spear bulls according to the rules, 1816, Etching, burnished aquatint and drypoint, Plate: 9 3/4 x 13 7/8 in. (24.7 x 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes)

Temporalis Aeternitas', four scholars amongst ruins, 1645, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Three Putti with Trumpets, ca. 1500, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

French Barracks, August 12, 1791, Hand-colored etching and aquatint, sheet: 15 7/16 x 20 1/16 in. (39.2 x 51 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Design for Upright Decorative Panel, 18th century, Red chalk over black chalk with traces of brown wash, sheet: 13 1/2 x 10 3/8 in. (34.3 x 26.3 cm), Drawings, Anonymous, French, 18th century

Project for the Decoration of a Spandrel: Winged Female Figure Holding a Tablet and a Crown, 1524–1606, Brush and brown wash, over black chalk, on blue paper, 15 13/16 x 11in. (40.1 x 28cm), Drawings, Paolo Farinati (Italian, Verona

Seated woman with a putto, 1775, Etching, sheet: 8 1/2 x 6 9/16 in. (21.6 x 16.7 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Two Heads of Old Soldiers, after 1641, Etching, Sheet (trimmed): 3 7/8 × 7 7/8 in. (9.9 × 20 cm), Prints, After Stefano della Bella (Italian, Florence 1610–1664 Florence), Etched by ? Peregrine Lovell (British, active 1646–47

Design for Clock, 19th century, Graphite, pen and black ink, gouache and watercolor, sheet: 14 15/16 x 10 1/4 in. (37.9 x 26.1 cm), Drawings, Anonymous, French, 19th century

Nude female figure reclining on side, n.d., Graphite, 9 1/4 x 14 3/16 in. (23.5 x 36.1 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

The Raising of Lazarus: The Smaller Plate (reverse copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Stage Set, 19th century, Graphite on laid paper, sheet: 9 5/16 x 14 3/16 in. (23.7 x 36.1 cm), Drawings, Anonymous, French, 19th century

San Lorenzo, New Sacristy, portal, plan; elevation (recto) San Lorenzo, New Sacristy, portal, details (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 5/16 x 11 5/8 in. (44 x 29.5 cm),

Ecce Homo, 1575–1699, Black and red chalk on brownish paper, 16 x 11 3/4 in. (40.5 x 29.9 cm), Drawings, Bolognese School, after Guido Reni (Italian, Bologna 1575–1642 Bologna

Le Pont des Arts, n.d., Watercolor over black chalk, sheet: 11 x 14 1/2 in. (27.9 x 36.8 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Elevation en perspective d'une colonne destinée pour la Sépultre d'une Reine, 1746–50, Etching, plate: 9 7/16 x 12 13/16 in. (24 x 32.5 cm), Prints, Ennemond Alexandre Petitot (French, Lyons 1727–1801 Parma

Illustration for a Book: Procession of Monks and Flagellants, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3-1/8 x 6-9/16 in. (8.0 x 16.6 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Piazza San Marco towards San Giacomo, 1764–1835, Brush and gouache, 3 7/16 x 4 15/16in. (8.7 x 12.6cm), Drawings, Attributed to Giacomo Guardi (Italian, Venice (?) 1764–1835 Venice

Street Crowd, late 19th–early 20th century, Black chalk on paper, 18 7/8 x 12 in. (48 x 30.5 cm), Drawings, Théophile-Alexandre Steinlen (French (born Switzerland), Lausanne 1859–1923 Paris

The Way to Emmaus, 1527–85, Brush and black ink, 13 1/4 x 9 3/8in. (33.7 x 23.8cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Illustration from Sebastian Brandt: Navis Stultifera, Basle, Bergmann van Olpe, 1497, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Two Children Embrace, ca. 1662, Etching, Sheet (trimmed): 2 5/16 × 3 1/2 in. (5.8 × 8.9 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Drapery Study for Saint Remi (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk, stumped, heightened with white chalk, on gray paper. Large brown stain., 17 3/4 x

Plate 41 from 'The Disasters of War' (Los Desastres de La Guerra): 'They escape through the flames.' (Escapan entre las llamas), 1810 (published 1863), Etching and burin, Plate: 6 5/16 × 9 1/4 in. (16 × 23.5 cm), Prints, Goya (Francisco de

Half Lunette with Putto and Monster, 18th century, Pen and brown wash, 5 1/4 x 8 3/4 in. (13.4 x 22.2 cm), Drawings, Étienne de Lavallée-Poussin (French, Rouen 1733–1793 Paris

Plate 6 from 'Los Caprichos': Nobody knows himself (Nadie se conoce.), 1799, Etching and burnished aquatint, Plate: 8 7/16 x 5 15/16 in. (21.4 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Christ Nailed to the Cross (Schr. 2417x), 15th century, Woodcut, hand-colored, sheet: 2 15/16 x 2 3/16 in. (7.5 x 5.6 cm), Prints, Anonymous, German, 15th century

Plate 16: head of an old man in profile with a cloth tied around his head, from 'The Book for Learning to Draw' (Livre pour apprendre à dessiner), ca. 1649, Etching, Plate: 3 1/4 × 2 1/2 in. (8.3 × 6.4 cm), Prints, Stefano della Bella

Design for a Salt Celler, ca. 1770–90, Pen and gray and rose and brown ink, brush and gray wash, 8 15/16 x 7 9/16 in. (22.7 x 19.2 cm), Drawings, Anonymous, French, 18th century

Palazzo Farnese, plan, ground floor (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 27 11/16 x 20 1/2 in. (70.3 x 52 cm), Drawings

Satyr carrying a nymph restraining her right arm, ca. 1515–1600, Engraving, Sheet (Trimmed): 7 1/2 × 4 3/4 in. (19 × 12.1 cm), Prints, Anonymous, Italian, 16th to early 17th century, After Marco Dente (Italian, Ravenna, active by

Two Designs for Serving Tables, 19th century, Graphite, (a) 5 1/16 x 5 5/8 in. (12.9 x 14.3 cm), Drawings, Anonymous, French, 19th century

The Gallery, Nôtre-Dame Cathedral, Paris, 1853, Etching on brown-black ink on laid paper; fourth state of six, plate: 11 1/8 x 6 7/8 in. (28.3 x 17.5 cm), Prints, Charles Meryon (French, 1821–1868

Standing Male Figure Supporting a Shield, 1612–50, Pen and brown ink, over a little black chalk, on beige paper, 9 3/16 x 5 11/16in. (23.3 x 14.5cm), Drawings, Pietro Testa (Italian, Lucca 1612–1650 Rome

Shoemaker (Le Cordonnier), ca. 1632–33, Etching; second state of two (Join-Lambert and Préaud), sheet: 9 15/16 x 12 7/8 in. (25.3 x 32.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Entombment of Christ, 15th century, Engraving, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Two Dead Ducks., 1685–1755, Brush with gray, brown, green, blue and yellow wash over graphite. Traces of framing outlines at top and bottom, sheet: 7 1/8 x 8 1/4 in. (18.1 x 21 cm), Drawings, Count Giorgio Durante (Duranti) (Italian,

Plate 21 from 'The Disasters of War' (Los Desastres de la Guerra): 'It will be the same.' (Será lo mismo), 1810, Etching (before lavis is added), Plate: 5 11/16 × 8 7/16 in. (14.5 × 21.5 cm), Prints, Goya (Francisco de Goya y Lucientes)

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 15/16 x 5 11/16 in. (20.1 x 14.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Vignette for L'Eclipse, a sonnet by Auguste Vacquerie, 1850–1914, Etching, sheet: 13 9/16 x 9 3/8 in. (34.5 x 23.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Horses' Heads, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-3/4 x 3-3/4 in. (7.0 x 9.5 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

A Bedroom Scene, 19th century, Graphite, pen and brown ink, 6 15/16 x 9 13/16 in. (17.6 x 25 cm), Drawings, Anonymous, French, 19th century

Designs for Door Hardware, ca. 1775–85, Graphite, pen and gray ink, brush and brown, blue, yellow, gray, and green wash. Framing lines in pen and black ink., 10 15/16 x 18 1/16 in. (27.8 x 45.9 cm), Drawings, Anonymous, French, 18th

Design for a sculptural group with God the Father in a niche, late 17th–early 18th century, Pen and brown ink, brown wash, over black chalk or graphite, sheet: 7 15/16 x 6 in. (20.2 x 15.2 cm), Drawings, Pieter Verbruggen the Younger

Arch of Morning Glories, study for ' A Basket of Flowers', 1848–49, Pastel on blue paper, 12-1/16 x 18 in. (30.6 x 45.7 cm), Drawings, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris), This vivid pastel is a study for a

Design for an Altar Erected for the Holy Week, 1730–66, Pen and brown ink, brush and brown wash, 7 3/8 x 4 5/8in. (18.7 x 11.8cm), Mauro Antonio Tesi (Italian, Montalbano 1730–1766 Bologna

Saints Nicholas, Ulrich and Erasmus, n.d., Woodcut, sheet: 8 3/8 x 5 11/16 in. (21.3 x 14.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

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

In Memorium: T.W. Barrett, ca. 1922, Etching; second state of two, plate: 4 7/16 x 3 7/16 in. (11.2 x 8.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

The Intaglio Printers, 1642, Etching, Sheet: 10 11/16 x 13 3/8 in. (27.2 x 34 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Large Tree at Albano, 1782, Pen and brown ink and brown wash over graphite; framing line in brown ink, Drawings, Jacob Philipp Hackert (German, Prenzlau 1737–1807 San Pietro di Careggi

Rabbit Pelt Peddler, 1737, Etching with some engraving, Sheet: 9 7/16 x 7 3/16 in. (23.9 x 18.3 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Madonna and Child, 1612–16, Etching, Sheet: 6 in. × 4 13/16 in. (15.2 × 12.3 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

The Little Cavaliers, after 'Velázquez', 1861–62, etching and drypoint, final state; on blue laid paper from the Strölin edition of 1905, platel: 9 7/8 x 15 5/16in. (25.1 x 38.9cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Mercury and Argus, ca. 1630–1648, Etching, Sheet: 9 15/16 × 11 13/16 in. (25.2 × 30 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Design for a Decanter, 19th century, Watercolor, over graphite. Design pasted to brown mounting paper., sheet: 10 11/16 x 8 3/8 in. (27.1 x 21.2 cm), Drawings, Virginia Ferrari (Italian (Bolognese) (?), active ca. 1847

Bust of an Old Bearded Man Looking Down, Three-Quarters Right, 1631, Etching; third state of three, Sheet (trimmed): 4 1/2 × 4 1/8 in. (11.5 × 10.4 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The death of Saint Alexis Falconieri at Monte Senario, 1548–1612, Pen and brown ink, brush and brown wash, highlighted with white, over red chalk and some charcoal, 6-3/8 x 11-1/16 in. (16.2 x 28.1 cm), Drawings, Bernardino Poccetti

Elijah Visited by an Angel in the Wilderness (I Kings 19:4-8), 18th century, Black chalk, heightened with white, on beige paper, 15 1/4 x 9 15/16 in. (38.8 x 25.2 cm), Drawings, Jean-Baptiste Bénard (French, 18th century

The adoration of the shepherds, various figures at night surround the Christ Child, ca. 1550–60, Engraving, sheet: 10 5/8 x 16 3/4 in. (27 x 42.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After

Designs for a ceiling and painted panel, 1830–97, graphite, pen and ink, watercolor on wove paper, Overall: 10 9/16 x 8 1/2 in. (26.8 x 21.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Plan and Elevation of Gallery, Chateau de Deepdene, 1875–79, Pen and brown ink, watercolor, graphite, 6 7/16 x 17 5/16 in. (16.4 x 43.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

River Landscape near Narni, 1698–1757, Pen and brown ink, over traces of black chalk, 10 7/8 x 16 1/2in. (27.6 x 41.9cm), Drawings, Giovanni Battista Busiri (Italian, Rome 1698–1757 Rome

Beardless Man in Fur Cloak and Cap: Bust, second half 18th century, Etching, Sheet: 3 7/16 × 3 1/16 in. (8.8 × 7.8 cm), Prints, David Deuchar (British (born Scotland), 1743–1808), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden

Raising of Lazarus, 1480–1556, Pen and brown ink, over black chalk, 4 15/16 x 6 3/4in. (12.6 x 17.1cm), Drawings, attributed to Lorenzo Lotto (Italian, Venice ca. 1480–1556 Loreto

Betrayal of Christ, n.d., Woodcut, sheet: 15 1/2 x 11 1/16 in. (39.4 x 28.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Fashion Study: Two Women in Evening Dress, ca. 1860, Watercolor over graphite, 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm), Drawings, Adèle-Anaïs Toudouze (French, Paris 1822–1899 Paris

The Nativity, from The Little Passion, n.d., Woodcut, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Jeu de Societe dans un Parc, n.d., Etching, sheet: 13 15/16 x 16 1/8 in. (35.4 x 40.9 cm), Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris