Images at Librifly

Fireworks in Rome Over Castel Sant' Angelo, 18th century, Etching, Sheet: 11 x 15 3/8 in. (27.9 x 39.1 cm), Prints, Adriaen Manglard (French, 1695–1760

Plate 16 from 'The Disasters of War' (Los Desastres de la Guerra):' They make use of them.' (Se aprovechan.), 1810 ( published in 1863), Etching, lavis, drypoint, burin and burnisher, Plate: 6 5/16 × 9 1/4 in. (16 × 23.5 cm), Prints, Goya

Perspective for a Stage Set with Stairs and Arches, 1684–1737, Pen and brown ink, brush and gray wash, 6-1/4 x 9-1/8 in. (15.9 x 23.2 cm), Serafino Brizzi (Italian, Bologna 1684–1737 Bologna

Cartouche Containing an Empty Shield Surmounted by a Lion and Framed by a Lion and a Child, 1646, Etching; second state, Plate: 5 3/8 × 7 11/16 in. (13.6 × 19.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Sketches for a Wall Tomb with Skeletons, 1630–40, Pen and brown ink over traces of black chalk (recto); black chalk (verso), 11-1/2 x 8-13/16 in. (29.2 x 22.4 cm) maximum; irregular borders, Drawings, Gian Lorenzo Bernini (Italian, Naples

Head and shoulders of a Woman, ca. 1794, Black chalk, 3 7/8 x 2 13/16 in. (9.9 x 7.2 cm), Drawings, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Vignette with Two Portrait Medallions, Pen and gray ink with brush and gray wash, 3 3/8 x 5 3/8 in. (8.5 x 13.6 cm), Drawings, Charles Percier (French, Paris 1764–1838 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 3/8 x 6 1/4 in. (18.7 x 15.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, Irregular sheet: 12 7/16 x 10 7/16 in. (31.6 x 26.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Ponte Molle, Rome, 18th century, Watercolor on paper, 8 5/16 x 11 7/16 in. (21.1 x 29.1 cm), Drawings, attributed to Joseph Vernet (French, Avignon 1714–1789 Paris

Designs for Two Mirror Frames Supported on Footed Pedestals with Armorial Ornament, early 19th century, Ink, watercolor and wash, sheet: 8 3/4 x 14 15/16 in. (22.2 x 38 cm), Anonymous, British, 19th century

Centaurs at a Pond, 1824–78, Pen and black ink, brush and grey and brown ink, black chalk, sheet: 15 7/16 x 17 1/2 in. (39.2 x 44.4 cm), Drawings, Friedrich Preller the Elder (German, Eisenach 1804–1878 Weimar

Saint Christopher, 1511, Woodcut, sheet: 8 1/4 x 8 1/4 in. (21 x 21 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Ornamental Panel with Flaming Lamp and Floral Swags, 19th century, Watercolor on vellum, sheet: 4 x 14 in. (10.2 x 35.6 cm), Drawings, Anonymous, French, 19th century

Calais Boats in Vlissingen, 1850, Etching on thin wove paper; second (final state), plate: 2 5/8 x 4 3/4 in. (6.7 x 12.1 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman (Dutch, Amsterdam ca. 1623–1664

Satyr carrying a nymph restraining her right arm, ca. 1515–1600, Engraving, Sheet (Trimmed): 7 5/16 × 4 15/16 in. (18.6 × 12.5 cm), Prints, Anonymous, Italian, 16th to early 17th century, After Giulio Romano (Italian, Rome 1499?–1546

Statuette, 1917, Lithograph, image: 8 x 5 3/4 in. (20.3 x 14.6 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Abraham Casting Out Hagar and Ishmael, 1637, Etching, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Songs of Innocence and of Experience: Little Boy Lost, 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

The Arms of the Empire and of Nuremberg, 1521, Woodcut, sheet: 9 3/4 x 6 3/4 in. (24.8 x 17.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Riverscape with Hikers and a Dog, late 18th–early 19th century, Black chalk and brush and gray wash. Framing line in black chalk., sheet: 20 x 15 3/16 in. (50.8 x 38.5 cm), Drawings, Heinrich Theodor Wehle (German, Förstgen at Niesky

Madonna and Child in Glory, 17th century, Engraving, sheet: 9 3/4 x 8 3/16 in. (24.7 x 20.8 cm), Prints, Anonymous, 17th century, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Flying Figure Appearing before an Enthroned Figure, 1662–1728, Red chalk, 8 x 12-3/16 in. (20.3 x 31.0 cm), Drawings, Paolo De Matteis (Italian, Piano del Cilento 1662–1728 Naples

The Dance of the Magdalene, 1519, Engraving, Sheet: 11 7/16 × 15 5/8 in. (29 × 39.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden), In this large and delicately engraved print, Mary Magdalene is depicted in her

Design for a Stage Set: A Town Square with a Fountain., 1657–1743, Pen and brown ink, brush with gray and brown wash over graphite, sheet: 9 x 11 1/8 in. (22.9 x 28.3 cm), Drawings, Ferdinando Galli Bibiena (Italian, Bologna 1657–1743

The 'Adam and Eve, ' Old Chelsea, 1878–79, Etching and drypoint; third state of three (Glasgow); printed in black ink printed on, Plate: 6 13/16 × 11 13/16 in. (17.3 × 30 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Alternate designs for the decoration of a coffered ceiling, 1840–97, graphite, pen and ink, gouache, and gold paint on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Hecyra, 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

Lady Smith and Her Children, 1800–1872, Watercolor with touches of gouache, over black chalk on bristol board, 8 5/8 x 7 1/8 in. (21.9 x 18 cm), Drawings, Simon Jacques Rochard (French, Paris 1788–1872 Brussels

Seated Figure: Study for “A Vision of Antiquity”, 1883–85, Fabricated black crayon, squared, 14 5/8 x 10 1/4 in. (37.2 x 26 cm), Drawings, Pierre Puvis de Chavannes (French, Lyons 1824–1898 Paris), The flattening and simplification of

Design for Frame, ca. 1843, Tempera and graphite, 18 11/16 x 12 5/16 in. (47.4 x 31.2 cm), Edouard [?] Bouvenne (French

Saint John, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Entrance Portico of the Château d'Anet, seen from the interior of the courtyard, n.d., Pen and black ink, watercolor, over black chalk, 8 1/4 x 11 3/16 in. (20.9 x 28.4 cm), Drawings, Jean Lubin Vauzelle (French, Angerville-la-Gâte,

Vulcan et Thetis, 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

Studies of a Seated Youth in Armor, ca. 1505, Point of brush and gray wash, highlighted with white gouache, on blue paper, 7 1/2 x 7 1/16in. (19 x 18cm), Drawings, Vittore Carpaccio (Italian, Venice 1460/66?–1525/26 Venice), This

Plate 66 from 'Los Caprichos':There it goes (Allá vá eso.), 1799, Etching, aquatint and drypoint, Plate: 8 1/16 × 6 7/16 in. (20.5 × 16.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Steps, Luxembourg Gardens, 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on ivory laid paper, Image: 8 3/16 × 6 3/16 in. (20.8 × 15.7 cm), Prints, James McNeill

The Nativity, n.d., Engraving, Sheet: 7 3/16 × 4 3/16 in. (18.3 × 10.7 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Fenice Theater in Venice (recto); Fragment of a Larger Drawing Representing Part of a Column and a Cornice (verso), 1712–1835, Pen and brown ink, brush with brown and gray wash over traces of black chalk (recto); pen and brown ink, brush

Design for a Clock, 18th century, Pen and gray ink, brush and black, gray, and yellow wash, over graphite., sheet: 14 11/16 x 9 5/8 in. (37.3 x 24.5 cm), Anonymous, French, 18th century

Idealized Female Head, Copied after the Antique, late 18th–early 19th century, Red chalk, sheet: 16 7/8 x 11 1/4 in. (42.9 x 28.5 cm), Drawings, Johann Evangelist Kastner (Austrian, Weiher 1776–1827 Vienna

The Old Fiddler (The Small Plate), ca. 1919, published 1929, Etching; second state, plate: 5 3/4 x 4 1/2 in. (14.6 x 11.4 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

The Entombment, from The Passion, 1512, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.7 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Limehouse, 1878, Lithotint with scraping and incising, on a prepared half-tint ground; second state of three (Chicago); printed in black ink on cream Japanese paper mounted on white plate paper, Plate: 6 3/4 x 10 3/8 in. (17.1 x 26.4 cm),

Severed head, said to be that of Maximilien-François-Marie-Isidore de Robespierre (1758-1794), guillotined July 28, 1794 (10 Thermidor, An II), 1794, Graphite, 6 7/16 x 4 7/16 in. (16.3 x 11.3 cm.), Drawings, baron Dominique Vivant Denon

Portrait of E. Triere, 19th century, Graphite, sheet: 2 3/4 x 2 1/2 in. (7 x 6.4 cm), Drawings, Anonymous, French, 19th century

Mother and Child with a Doll., 1610–85, Pen and brown and black ink, brush and gray-brown wash, over graphite. Incised. Tacked down to paper mount., 4 1/3 x 3 3/4 in. (11.0 x 9.5 cm), Drawings, Adriaen van Ostade (Dutch, Haarlem 1610–1685

Design for a Catafalgue Used on the Occasion of the Canonization of Saint Mary Magdalen de' Pazzi, Florence, 1669., 1611–89, Red chalk, 10 1/2 x 15 13/16in. (26.7 x 40.2cm), Drawings, Baldassarre Franceschini (il Volterrano) (Italian,

The Ninth of Thermidor, or the English Surprise, to Honest People of All Countries (Le Neuf Thermidor ou la surprise angloise, aux honnêtes gens to tous le pays), fructidor l'an 3e, 1795, Hand-colored etching, sheet: 11 1/16 x 14 1/2 in.

Design for a Stage Set, 1828–90, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Caricature of a Man Seen from Behind, 1760 (?), Pen and black ink, gray wash, 7 1/2 x 4 7/16 in. (19 x 11.3 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

The Death of Lucretia?, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink on mount, 3 7/8 x 6 3/4in. (9.8 x 17.1cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679

Gates, City, London, after 1887, Etching; impression from the cancelled plate (Glasgow) ; printed in black ink on heavy off-white wove, Plate: 5 3/16 × 3 3/4 in. (13.2 × 9.6 cm), Prints, James McNeill Whistler (American, Lowell,

Drapery Study for Figure Holding Crown (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, 18 5/8 x 12 1/16

Saint Luke, ca. 1764, Etching, first state of two, Sheet: 9 1/8 × 6 3/4 in. (23.2 × 17.1 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Giovanni Lanfranco (Italian, Parma 1582–1647 Rome

Angelo Maria Querini Created Cardinal by Benedict XIII, 1709–87, Graphite, drawing in form of tondo, 5-13/16 x 5-5/16 in. (14.7 x 13.5 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

Design for a Chair, ca. 1820, Ink, watercolor and wash, sheet: 7 5/16 x 7 5/8 in. (18.5 x 19.3 cm), Attributed to Gillows (British, 19th century

Design for Ceiling, second half 19th century, Watercolor and ink, 6 1/2 x 8 1/2 in. (16.5 x 21.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Noah leaving the Ark, 16th century, Engraving, sheet: 12 x 15 1/16 in. (30.5 x 38.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Study for Lower Part of Torso and Legs of a Young Boy, 1568–1640, Black chalk, traces of red chalk, 8 11/16 x 3 3/8in. (22.1 x 8.6cm), Drawings, Pomarancio (Cristoforo Roncalli) (Italian, Pomarance ca. 1553–1626 Rome

The Crucifixion (Round) (copy), n.d., Engraving, Sheet: 1 3/4 × 1 3/4 in. (4.5 × 4.5 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Gothic Desk and Tray, early 19th century, Graphite, sheet: 8 11/16 x 12 5/16 in. (22 x 31.2 cm), Anonymous, British, 19th century

Design for a ceiling, second half 19th century, Graphite and watercolor, Overall: 8 5/8 x 11 1/16 in. (21.9 x 28.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Partial design for the decoration of a ceiling with scrolls and swags of fruit, 1830–97, graphite, pen and ink, watercolor, and gouache on wove paper; mounted on blue wove paper, Overall: 8 1/16 x 10 1/2 in. (20.4 x 26.6 cm), Drawings,

The Tower at Marghera, 1764–1835, Pen and brown ink, brush and gray wash, over traces of graphite or lead or black chalk, 4 3/4 x 7 11/16in. (12 x 19.5cm), Drawings, Giacomo Guardi (Italian, Venice (?) 1764–1835 Venice

Study of the Nationaltheater, Berlin, mid-19th century, Graphite, sheet: 4 1/2 x 6 1/8 in. (11.5 x 15.5 cm), Drawings, Eduard Gaertner (German, Berlin 1801–1877 Zechlin

Songs of Innocence: Title Page, 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

Saint Paul looking to the right and holding a sword and a book, ca. 1515–27, Engraving, Sheet: 8 3/8 × 5 9/16 in. (21.3 × 14.2 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), After Marcantonio Raimondi

Plate 10 from 'The Disasters of War' (Los Desastres de la Guerra):Nor do these (Tampoco), 1810, Etching and burin, Plate: 5 7/8 × 8 1/2 in. (15 × 21.6 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Holy Family with the Infant St. John the Baptist and an Angel, 1477–1523, Pen and brown ink over red chalk, 6 5/8 x 4 13/16 in. (16.9 x 12.2 cm), Drawings, Cesare da Sesto (Italian, Sesto Calende 1477–1523 Milan

Design for a Vase with Lid, ca. 1851, Watercolor, over graphite. Design pasted to blue mounting paper., sheet: 12 3/16 x 6 1/8 in. (30.9 x 15.6 cm), Drawings, Anonymous, French, 19th century

Design for a Pen and Ink Stand with a Cupid and Two Ink Wells, 19th century, Pen and gray ink, brush and gray, yellow, brown, and black wash. Framing lines in pen and black ink., sheet: 11 1/4 x 17 5/8 in. (28.5 x 44.7 cm), Anonymous,

Whistler's 'Portrait of Himself', 1888, Roulette, aquatint and etching printed in brown ink; sixth state of seven, plate: 12 7/8 x 8 3/4 in. (32.7 x 22.2 cm), Prints, Henri-Charles Guérard (French, Paris 1846–1897 Paris

Knitting in the Library, ca. 1881, Soft-ground and aquatint; second state of three, plate: 10 15/16 x 8 1/2 in. (27.8 x 21.6 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Design for an Overdoor or the Top of a Niche with a Bust and Garland-bearing Putti, 1652–1725, Pen and brown ink, brush and gray-brown wash, over traces of black chalk, sheet: 6 7/8 x 7 3/4 in. (17.5 x 19.7 cm), Giovanni Battista Foggini

Two Dancers in a Rehearsal Room, 1877–78, Aquatint, drypoint, and scraping on laid paper; only state, sheet: 9 7/16 x 8 1/16 in. (24 x 20.5 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Self-Portrait in a Flat Cap and Embroidered Dress, ca. 1642, Etching; second state of two, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

San Lorenzo, Library, Ricetto, entablature, elevation profile (recto) San Lorenzo, Library, Ricetto, column, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/16 x 11 13/16 in.

The Visitation, from The Life of the Virgin (copy), early 16th century, Woodcut, sheet: 11 5/8 x 8 5/16 in. (29.5 x 21.1 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Marcantonio Raimondi (Italian, Argini (?)

Venus and Cupid, 1528, Engraving, sheet: 6 3/16 x 4 3/8 in. (15.7 x 11.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Christ Preaching, 16th century, Pen and brown ink, brush and brown wash, on brownish paper, 9-1/8 x 13-7/8 in. (23.2 x 35.2 cm), Drawings, After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42–1609 Ancona), The present

La Rue des Chantres (Rue des Chantres, Paris), 1862, Etching, plate: 11 3/4 x 5 7/8 in. (29.8 x 14.9 cm), Prints, Charles Meryon (French, 1821–1868

Five Putti Playing with a Goat (Bacchanalia), ca. 1690–95, Red chalk, 6 3/4 x 10 11/16in. (17.1 x 27.1cm), Drawings, Carlo Cignani (Italian, Bologna 1628–1719 Forl

Design for Three Low Chairs and Two Pedestal Tables, early 19th century, Pen and ink, sheet: 8 3/16 x 13 5/16 in. (20.8 x 33.8 cm), Anonymous, British, 19th century

Woman Wearing a Costume Whose Bustle and Headdress are the Shape of Fishes, second half 19th century, Watercolor on gray card, sheet: 8 5/8 x 5 7/16 in. (21.9 x 13.8 cm), Anonymous, British, 19th century

From Eaton, December 8, 1776, Etching; third state of three, plate: 6 5/16 x 4 3/4 in. (16 x 12 cm), Prints, Philippe Jacques de Loutherbourg (French, Strasbourg 1740–1812 London

Title Page: Monkey-Ana or Men, in Miniature, December 1, 1827, Illustrations: etching, Sheet: 8 1/8 x 6 7/16 in. (20.6 x 16.3 cm), Prints, Thomas Landseer (British, London 1795–1880 London

Le Faucon, 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 5/8 × 9 13/16 in. (34.6 × 25

The Visitation, from The Life of the Virgin, 1503–4, Woodcut, sheet: 17 x 11 3/4 in. (43.2 x 29.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Philip Melanchthon, 1526, Engraving, sheet: 6 15/16 x 5 in. (17.7 x 12.7 cm) fair margin, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Female Nude with Two Seahorses, 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

Design for Ceiling of the Duchess of Newcastle's Petit Salon, Hôtel Hope, 1867, Pen and black ink, gouache, watercolor, and gilt, 6 x 7 15/16 in. (15.3 x 20.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Les Courses d'Auteuil ou La Journée des Drags, 1909, Lithograph, sheet: 12 11/16 x 19 3/16 in. (32.2 x 48.8 cm), Prints, Jean Veber (French, Paris 1864–1928 Paris

Plate 23 from 'The Disasters of War' (Los Desastres de la Guerra): 'The Same Elsewhere' (Lo mismo en otras partes), 1810 (published 1863), Etching, drypoint, lavis and burin, Plate: 6 5/16 × 9 7/16 in. (16 × 24 cm), Prints, Goya (Francisco

The Death of Polyxena, 1624–63, Pen and brown ink, brush an brown wash. Framing lines in pen and brown ink on mount, 3-1/2 x 5-1/16 in. (8.9 x 12.9 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679

Christ Stilling the Tempest ?, 1662–1728, Red chalk on paper, 9-1/2 x 12 in. (24.2 x 30.5 cm), Drawings, attributed to Paolo De Matteis (Italian, Piano del Cilento 1662–1728 Naples

The Discovery of the True Cross, 1568–1625, Pen and brown ink, brush and brown wash, over slight traces of black chalk, sheet: 6 1/2 x 8 7/16 in. (16.5 x 21.4 cm), Drawings, Moncalvo (Guglielmo Caccia) (Italian, Montabone 1568–1625

The Vision of St. John of the Cross, n.d., Black chalk, over red chalk, heightened with white on gray paper., 13 1/4 x 9 5/8 in. (33.6 x 24.4 cm), Drawings, Charles de la Fosse (French, Paris 1636–1716 Paris

Architectural fantasy, late 18th century, Pen and black ink, watercolor, 9 in. (22.6 cm.) in diameter, Drawings, Attributed to Jean Henri Alexandre Pernet (French, Paris 1763–after 1789

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