Images at Librifly

Design for the decoration of the ceiling of a vestibule in painted panels with roman key borders, 1830–97, graphite, pen and ink, watercolor, and gouache, Overall: 16 11/16 x 14 1/2 in. (42.4 x 36.8 cm), Drawings, Jules-Edmond-Charles

Neptune calming the Tempest Aeolus raised against the Fleet of Aeneas, 1531–76, Engraving, sheet: 9 x 16 9/16 in. (22.8 x 42 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Death of St. Peter and St. Paul (Saint Pierre et Saint Paul dans le tombeau), 17th century, Etching, sheet: 7 15/16 x 5 11/16 in. (20.1 x 14.4 cm), Prints, Claude Vignon (French, Tours 1593–1670 Paris

Foreshortening of a Library, 1728–78, Pen and brown ink, brush and gray wash over traces of leadpoint, 13 1/8 x 8 7/8 in. (33.4 x 22.6 cm), Carlo Galli Bibiena (Italian, Vienna, 1728–after 1778

The Virgin Nursing the Christ Child, copy, n.d., Engraving, Sheet: 4 9/16 × 2 7/8 in. (11.6 × 7.3 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 57 from 'The Disasters of War' (Los Desastres de la Guerra): 'The healthy and the sick' (Sanos y enfermos.), 1811–12 (published 1863), Etching, burnished aquatint, burin and burnisher, Plate: 6 1/8 × 8 1/8 in. (15.6 × 20.6 cm),

Allegorical Figure of Purity with a Unicorn, 1688–89, Pen and brown ink, brush and gray wash, highlighted with white, over black chalk, on brown-washed paper, 15 3/4 x 11 3/4in. (40 x 29.8cm), Drawings, Marcantonio Franceschini (Italian,

The Last Judgment, 15th century, Woodcut; Derschau restrike, sheet: 13 1/16 x 9 1/2 in. (33.2 x 24.1 cm), Prints, Anonymous, German, 15th century

Canal with a Large Boat and a Bridge, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Embroidered Curtain, 1889, Etching and drypoint; sixth state of ten (Glasgow); printed in dark brown ink on fine ivory laid paper, Plate: 9 5/16 × 6 1/4 in. (23.7 × 15.9 cm), Prints, James McNeill Whistler (American, Lowell,

The Atlas of the Landed Interest, February 18, 1784, Etching, sheet: 9 5/16 x 6 1/2 in. (23.6 x 16.5 cm), Prints, James Sayers (British, 1748–1823

Everyman, ca. 1558, Engraving with letterpress text; first state of two with letterpress text version B, plate: 9 1/8 x 11 7/8 in. (23.2 x 30.1 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels),

Persée et Méduse, 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

Saints Stephen, Sixtus and Lawrence, n.d., Woodcut, sheet: 8 5/16 x 5 9/16 in. (21.1 x 14.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Scene at a Fair: A Peep Show, 18th century, Pen and brown ink, brush and brown wash, 6 7/16 x 4 15/16 in. (16.4 x 12.5 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 12 5/8 x 10 1/2 in. (32 x 26.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Virgin and Child, Saint Dominic, and Angels Distributing Chaplets to the Faithful, 1575–1640, Pen and brown ink, brush and pale brown wash, highlighted with white, over traces of black chalk, on blue paper. All four borders of paper

Design for a Frieze with a Procession of Putti, 19th century, Pen and black ink over graphite, sheet: 5 9/16 x 16 1/4 in. (14.2 x 41.2 cm), Drawings, Anonymous, French, 19th century

Le Gascon puni, from Contes et nouvelles en vers par Jean de La Fontaine. A Paris, de l'imprimerie de P. Didot, l'an III de la République, 1795, published in 1795, Etching; first state of three (Cohen), Sheet: 13 11/16 × 10 in. (34.8 × 25.4

The Crucifixion, from The Passion, 1511, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.7 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Anatomical drawing, 18th century, Pen and ink, brush and gray wash on blue paper, sheet: 8 7/16 x 13 1/8 in. (21.4 x 33.4 cm), Drawings, Anonymous, French, 18th century

Plate 71 from 'Los Caprichos': When day breaks we will be off (Si amanece; nos Vamos.), 1799, Etching, burnished aquatint and burin, Plate: 7 11/16 x 5 7/8 in. (19.6 x 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for a Cupola Decoration, Pen and gray ink, brush and gray, brown and colored wash, Overall: 11 3/4 x 17 3/8 in. (29.8 x 44.1 cm), Drawings, Giovanni Antonio Torricelli (Italian, Lugano 1716–1781 North Italy

Dropsy Courting Consumption, October 25, 1810, Hand-colored etching, Plate: 13 11/16 x 9 11/16 in. (34.7 x 24.6 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

The Angel Appearing to the Shepherds, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Three Chairs with Pictorial Upholstery, early 19th century, Ink, watercolor and wash, sheet: 8 9/16 x 12 1/8 in. (21.7 x 30.8 cm), Anonymous, British, 19th century

Reading in Bed (The Slipper), 1858, Etching and drypoint; second state of two (Glasgow); black ink on fine laid paper, plate: 4 11/16 x 3 1/8 in. (11.9 x 7.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Bust of a Man, 18th century, Graphite, 4 1/4 in. circular, Drawings, Anonymous, French, 18th century

Design for Fireplace and Grate: Plan, 19th century, Ink and watercolor on linen, Anonymous, British, 19th century

The Unrepentant Thief on the Cross, Study of a Child's Head at Lower Left, and of an Ear at Lower Right Border, 1510–61, Pen and brown ink, 13 1/8 x 8 9/16in. (33.3 x 21.8cm), Drawings, Battista Franco (Italian, Venice ca. 1510–1561

The Virgin and Child Enthroned with Attendant Saints, 1697–1732, Pen and brown ink, brush and brown wash, over black chalk, 10-5/16 x 7-3/8 in. (26.2 x 18.7 cm), Drawings, Attributed to Antonio Gionima (Italian, Venice 1697–1732 Bologna

The Holy Family, 1512–13, Drypoint, sheet: 8 1/4 x 7 5/16 in. (21 x 18.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The triumph of love, cupid riding a chariot drawn by unicorn is in the upper right, naked figures fill the composition, 1545, Engraving, sheet: 11 5/16 x 15 7/8 in. (28.8 x 40.4 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna,

Passion Flower, 1799, Gouache on vellum, sheet: 10 3/8 x 7 15/16 in. (26.3 x 20.2 cm), Drawings, Sydenham Teak Edwards (British, Usk, Wales 1768–1819 London), The Welsh-born Edwards came to London in 1788 at the invitation of the

The Corsican Spider in His Web!, July 12, 1808, Hand-colored etching, Sheet: 14 in. × 9 15/16 in. (35.6 × 25.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard Woodward (British, ca. 1760–1809

Design for a Candelabra, ca. 1770–90, Graphite, 9 3/8 x 14 3/8 in. (23.8 x 36.5 cm), Drawings, Anonymous, French, 18th century

The Storks, n.d., Etching, Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

A Rocky Outcrop, 1493–1560, Pen and brown ink, 7-1/2 x 10-1/2 in. (19.0 x 26.7 cm), Drawings, Baccio Bandinelli (Italian, Gaiole in Chianti 1493–1560 Florence

Italian Landscape, 19th century, Pencil on paper, 5 3/4 x 8 1/8 in. (13.4 x 20.3 cm), Drawings, Anonymous, French, 19th century

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 14 1/8 x 9 5/8 in. (35.9 x 24.4 cm), Drawings, Anonymous, French, 19th century

Design for Doorway Exterior, 18th century, Pen and black ink, brush and gray, black and brown wash., Overall: 14 13/16 x 8 7/8 in. (37.7 x 22.6 cm), Anonymous, French, 18th century

Fruit Shop (Little Greengrocer's Shop, Chelsea), [1885–86], Etching and drypoint; second state of two (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 2 11/16 × 4 in. (6.9 × 10.1 cm), Prints, James McNeill Whistler

Saint Elizabeth of Hungary, ca. 1470, Woodcut, hand-colored, 14-7/16 x 10-9/32 in; 15-3/16 x 10-3/4 in., Prints

Design for Three Hat and Umbrella Stands, ca. 1830–40 , Ink and watercolor, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Anonymous, British, 19th century, The firm Gillows was established in Lancaster by Robert Gillow (British, Singleton

Lazarus and the Rich Man, 1830, Hand-colored etching, sheet: 9 9/16 x 13 1/16 in. (24.3 x 33.1 cm), Prints, Anonymous, British, 19th century

Design for the painted decoration of a rooms walls and ceiling, 1830–97, graphite and pen and ink on wove paper, sheet: 14 13/16 x 10 1/4 in. (37.7 x 26.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Amador Jean-Baptiste de Vignerod, abbe de Richelieu, Etching, first state, Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Maunder's Fish Shop, Chelsea, 1890, Transfer lithograph with scraping, drawn on medium-grained transfer paper, Image: 7 1/2 × 6 11/16 in. (19 × 17 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Razor's Levée, or Ye Heads of a New Wig Ad[ministration] on a Broad Bottom, April 21, 1783, Etching, sheet: 10 7/8 x 15 7/8 in. (27.6 x 40.3 cm), Prints, James Sayers (British, 1748–1823

Entrance Gate, 1887, Transfer lithograph, drawn on coarse-grained transfer paper; only state (Chicago); printed in black ink on cream laid Dutch paper, Image: 5 13/16 × 4 3/4 in. (14.8 × 12 cm), Prints, James McNeill Whistler (American,

Temple (The Temple), [1880–81], Etching; only state (Glasgow); printed in brownish-black ink on ivory laid paper, Plate: 3 7/8 × 6 in. (9.8 × 15.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Framed Sketch for a Man, a Dog and a Tree, 1612–66, Pen and brown ink, black and red chalk and light brown-gray wash, 5-3/8 x 7-3/8 in. (13.7 x 18.7 cm) irregular borders, Drawings, Pier Francesco Mola (Italian, Coldrerio 1612–1666 Rome

Wooded Landscape with Country Cart, Cottage and Figures, 1784–86, Soft-ground etching; first state, plate: 11 x 13 3/4 in. (27.9 x 34.9 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788 London

Studies of a Woman Wearing a Cap, ca. 1717–18, Black and red chalk, heightened with a little white., 7 1/4 x 8 1/16 in. (18.4 x 20.5 cm) including a 1.3 cm strip added at lower margin, Drawings, Antoine Watteau (French, Valenciennes

Three Dogs, after Paolo Veronese, 1727–1804, Black chalk, highlighted with white chalk, on blue paper, 13 1/8 x 9 3/16in. (33.3 x 23.3cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Melencolia I, 1514, Engraving, Sheet: 9 1/2 × 7 5/16 in. (24.1 × 18.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Mirrored Sideboard with Diminishing Legs, Floral and Rocaille Ornament, early 19th century, Ink and wash, sheet: 8 11/16 x 12 5/16 in. (22.1 x 31.2 cm), Anonymous, British, 19th century

Nursing, ca. 1890, Drypoint; third state of three, plate: 9 1/4 x 6 15/16 in. (23.5 x 17.6 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Witches' Sabbath, 1640–1649, Pen and brown ink, brush and brown wash, 10 11/16 x 7 1/4in. (27.2 x 18.4cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

The Virgin and Child with Saint Roch and Two Other Male Saints, 1512–83, Pen and brown ink, brush and brown wash, highlighted with white, over black chalk, on brown-washed paper; traces of squaring in black chalk, 13 3/8 x 9 1/8in. (33.9 x

The Plumb-Pudding in Danger;–or–State Epicures Taking un Petit Souper, February 26, 1805, Hand-colored etching, plate: 10 1/4 x 14 1/4 in. (26 x 36.2 cm), Prints, James Gillray (British, Chelsea 1756–1815 London), Napoleon Bonaparte,

Admiration (Le Brun Travested, or Caricatures of the Passions), January 20, 1800, Etching, printed in brown ink, hand-colored, sheet: 11 9/16 x 9 in. (29.3 x 22.8 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Polish horseman in profile facing right, a tower and other figures on horses in background, a circular composition, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching; second state of two, Plate: 7 1/4 ×

The Holy Family with Two Female Saints, 1727–1804, Pen and black ink, brush and gray wash, over traces of black chalk. Framing lines in pen and ink. Arched top, 13-1/8 x 6-9/16 in. (33.3 x 16.7 cm), Drawings, Giovanni Domenico Tiepolo

Design for an altar, late 17th–early 18th century, Pen and black ink, grey and red wash, over black chalk or graphite, sheet: 6 1/2 x 5 1/16 in. (16.5 x 12.8 cm), Drawings, Hendrik-Frans Verbruggen (Flemish, Antwerp 1654–1724 Antwerp

Madonna and Child seated on clouds and surrounded by angels, copy in reverse after Cantarini, ca. 1639 or after, Etching, Sheet (Trimmed): 5 9/16 × 4 1/2 in. (14.1 × 11.5 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648

Clump of Trees with a Vista, 1652, Drypoint; second state of two, Sheet: 4 13/16 × 8 5/16 in. (12.3 × 21.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), Clump of Trees with a Vista, probably Rembrandt's

Perspective Sketch for a Palace Interior., 18th century, 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 3/8 x 3 11/16 in. (13.6 x 9.3 cm), Giuseppe

Plate 3: two girls walking towards the left, seen from behind, a woman on a horse to left in background, from 'Diversi capricci', ca. 1644–47, Etching; third state of four, Sheet: 3 1/8 × 3 11/16 in. (8 × 9.3 cm), Prints, Stefano della

St. Peter's, tribune, exterior, entablature and cornice details (recto), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x 11 9/16 in. (43.5 x 29.3 cm), Drawings

Portrait of Dr. Whistler, No. 2, 1894, Transfer lithograph, drawn on thin, transparent transfer paper; only state; printed in black ink on fine cream laid paper, Image: 7 9/16 × 6 1/16 in. (19.2 × 15.4 cm), Prints, James McNeill Whistler

Partial design for a decorated ceiling painted with clouds, 1830–97, graphite, pen and ink, and watercolor on wove paper, Overall: 10 3/4 x 15 1/16 in. (27.3 x 38.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Man on Horseback with Attendant, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-1/8 x 3-5/16 in. (7.9 x 8.4 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Armand Guéraud of Nantes, printer and man of letters, 1861, Etching in tin, printed on laid paper; first state of four, plate: 2 1/4 x 1 3/4 in. (5.7 x 4.4 cm), Prints, Charles Meryon (French, 1821–1868

Saint Charles Borromee, cardinal et archeveque de Milan, Etching, second state, sheet: 12 11/16 x 10 1/2 in. (32.3 x 26.7 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels

Designs for a Chandelier, ca. 1770–90, Graphite, 14 x 8 1/8 in. (35.6 x 20.7 cm), Drawings, Anonymous, French, 18th century

Portrait of the Consort of the Russian Empress, 18th century, Watercolor on vellum, 15 3/4 x 11 7/8 in. (40 x 30.2 cm), Drawings, Anonymous, French, 18th century

In the Zoological Garden, 1850–1914, Etching; sixth state of seven, sheet: 10 1/16 x 13 9/16 in. (25.5 x 34.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Mask, Etching, Prints, Attributed to Stefano della Bella (Italian, Florence 1610–1664 Florence

Chinoiserie panel, 18th century, Graphite, 14 1/4 x 9 3/8 in. (36.2 x 23.8 cm), Drawings, Anonymous, French, 18th century

Ahaz, Hezekiah, Manasses, from The Twelve Kings of Israel, ca. 1520, Woodcut, image: 12 5/8 x 19 7/16 in. (32.1 x 49.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 38 from 'The Disasters of War' (Los Desastres de La Guerra):'Barbarians!' (Bárbaros!), 1810 (published 1863), Etching, burnished aquatint, burin and burnisher, Plate: 6 in. × 8 3/16 in. (15.3 × 20.8 cm), Prints, Goya (Francisco de

Elevation of the Amphitheatre and Entrance Gate of the Collège des Chirugies, Paris, ca. 1752, Pen and gray ink, brush and gray and pink wash, over graphite. Verso rubbed with red chalk. Lightly incised. Framing line in pen and black ink., 14

Africa, mid to late 17th century, Etching, Sheet (trimmed): 8 7/16 × 5 5/8 in. (21.5 × 14.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Coast Scene with an Artist, ca. 1638–41, Etching; third state of five (Mannocci), sheet: 5 1/2 x 7 1/2 in. (14 x 19 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Design for a paneled ceiling to be painted in grotesque motifs, 19th century, graphite, pen and ink, watercolor, and gouache on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

River Scene, 17th century, Black chalk, brush and black and white wash on blue-grey paper, 7 13/16 x 10 11/16 in. (19.8 x 27.1 cm), Drawings, Anonymous, French, 17th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 1/8 x 6 5/8 in. (28.2 x 16.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Harpies Driven from the Table of King Phineus by Zetes and Calais, n.d., Black chalk, brush and gray wash, heightened with white, on beige paper, 10 1/4 x 19 3/8 in. (26 x 49.2 cm), Drawings, François Verdier (French, Paris 1651–1730

An Early Lesson of Marching, December 24, 1794, Hand-colored etching, sheet: 9 1/8 x 13 in. (23.2 x 33 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard Woodward (British, ca. 1760–1809 London

The Sculptor [Preparations for the Academy, Old Joseph Nollekens and his Venus], ca. 1800, Hand-colored etching, Sheet (trimmed): 11 1/4 × 8 9/16 in. (28.5 × 21.8 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London),

Pan et Syrinx, 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

Jupiter, Neptune, and Pluto offering their crowns to the arms of Cardinal Borghese, ca2–1643, Etching, Sheet (Trimmed): 12 5/16 × 17 1/4 in. (31.2 × 43.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Saint Francis, ca. 1550–60, Black chalk on blue paper, squared in black chalk, sheet: 13 3/4 x 6 7/8 in. (35 x 17.5 cm), Drawings, Girolamo Siciolante da Sermoneta (Italian, Sermoneta 1521–1575 Rome

Sniped, 1918, Lithograph, image: 8 7/8 x 11 1/8 in. (22.5 x 28.3 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Design for a Reliquary, 18th century, Pen and black ink, brush and gray and blue wash, 15 1/4 x 10 11/16 in. (38.7 x 27.2 cm), Drawings, Anonymous, French, 18th century

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

Edmond Duranty (1833–1880), 1879, Conte crayon, heightened with white chalk, on blue laid paper, 12 1/8 x 18 9/16 in. (30.8 x 47.2cm), Drawings, Edgar Degas (French, Paris 1834–1917 Paris

Designs for Two Candelabras, 19th century, Pen and brown ink, sheet: 11 1/4 x 8 3/8 in. (28.6 x 21.3 cm), Drawings, Anonymous, French, 19th century

Partial design for the painted decoration of a ceiling, 1830–97, pen and ink, watercolor, and gouache over graphite on wove paper; mounted on blue wove paper, Overall: 10 7/8 x 8 9/16 in. (27.6 x 21.7 cm), Drawings, Jules-Edmond-Charles