Images at Librifly

Candelabrum with Two Victory Figures (for 'Ornamenti Diversi'), ca. 1782, Pen and black ink, brush and gray wash, on gray washed paper, sheet: 17 1/16 x 10 7/16 in. (43.4 x 26.5 cm), Attributed to Giocondo (Giuseppe) Albertolli (Italian,

Speculum Romanae Magnificentiae: Pan Teaching the Young Olympus to Play the Flute, ca. 1540–80, Engraving, mount: 17 5/16 x 12 5/8 in. (44 x 32 cm), Prints, Anonymous, After Battista Franco (Italian, Venice ca. 1510–1561 Venice

Mohamed and the Monk Sergius, 1508, Engraving; second state, sheet: 11 1/4 x 8 3/8 in. (28.6 x 21.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Two sculptures on pedestals, 18th–19th century, Brown pen and ink and wash, sheet: 15 3/8 x 20 11/16 in. (39 x 52.5 cm), Drawings, Felice Giani (Italian, San Sebastiano Curone near Alessandria 1758–1823 Rome

Christ Driving the Money-Changers from the Temple, 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Diana the huntress acompanied by her dogs standing in a niche, 16th century, Engraving, sheet: 6 5/8 x 3 3/8 in. (16.9 x 8.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Landscape with a Milkman, ca. 1650, Etching and drypoint, sheet: 2 5/8 x 6 15/16 in. (6.7 x 17.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Last Supper, 1790, Black chalk, heightened with white, on light brown paper. Lined., 7 3/16 x 12 13/16 in. (18.3 x 32.6 cm), Drawings, Louis Lafitte (French, Paris 1770–1828 Paris

Four-master and Two Three-masters Anchored near a Fortified Island from The Sailing Vessels, 1561–65, Engraving and etching; first state of three, Plate: 8 7/8 × 11 9/16 in. (22.5 × 29.4 cm), Prints, Pieter Bruegel the Elder (Netherlandish,

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

Design for a Garden Fête with a Semi-circular Wall and Statues in Niches., 1615–79, Pen and brown ink, brush and brown wash over traces of graphite; some strokes cancelled with white gouache, sheet: 10 3/8 x 13 3/4 in. (26.4 x 35 cm),

Plower in Pulla Caste, 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

Count de Rochambeau, French General of the Land Forces in America Reviewing the French Troops, April 1, 1781, Engraving, plate: 8 1/4 x 13 1/16 in. (21 x 33.2 cm), Prints, Anonymous, British, 18th century

Design for Ceiling at Fontainebleau, 1850–1910, Graphite and gouache, 14 1/8 x 4 7/8 in. (35.8 x 12.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Adoration of the Magi, 15th century, sheet: 4 7/8 x 3 1/2 in. (12.4 x 8.9 cm), Prints, Anonymous, German, 15th century

Title plate to the series the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 3/16 x 4 in. (13.2 x 10.1 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for Colossal Triumphal Arch Surmounted by a Quadriga, 18th century, Pen and black ink, brush and gray, blue and brown wash over graphite underdrawing, 11 x 10 9/16 in. (28.0 x 26.8 cm.), Jean Charles Delafosse (French, Paris 1734–1789

The Holy Spirit as a bird descending with spread wings at top center; the twelve Apostles standing below gesturing to it in front of an archway, 1518, Engraving, Plate: 7 3/8 x 6 7/8 in. (18.7 x 17.5 cm), Prints, Domenico Campagnola (Italian,

La Folie l'égare (Folly Adrift), ca. 1810–20, Black and white chalk, 11 1/8 x 14 in. (28.3 x 35.5 cm), Drawings, Jean-Baptiste Mallet (French, 1759–1835

Fulham (Chelsea), late 19th or 20th century, Facsimile of etching, plate: 5 3/16 x 7 15/16 in. (13.2 x 20.2 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Head of a Man Wearing a High Collar, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over traces of black chalk, 10-11/16 x 7-15/16 in. (27.1 x 20.1 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770

Farm House along a River, two figures at left, n.d., Red chalk and some traces of black chalk at center. Horizontal strip added at bottom of sheet., 8 9/16 x 13 1/8 in. (21.7 x 33.3 cm), Drawings, Attributed to Antoine Watteau (French,

Illustration for a Book: Soldiers Offering the Decapitated Head of a Man and Keys to a General, 1696–1770, Black chalk reworked with traces of red chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-15/16 x 6-1/8 in.

Design for an Empire Chair, late 18th or early 19th century, Pen and brown ink, watercolor. Framing lines in pen and black ink., sheet: 10 9/16 x 7 13/16 in. (26.9 x 19.9 cm), Drawings, Anonymous, French, 18th century, Anonymous, French,

Study of a Figure, 1837–1911, Black chalk on white paper, 13 15/16 x 9 1/4 in. (35.4 x 23.5 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

The Nôtre-Dame Pump, Paris, 1852, Etching on laid paper (watermark: HP in a shield), plate: 6 3/4 x 9 15/16 in. (17.2 x 25.2 cm), Prints, Charles Meryon (French, 1821–1868

Design for a stained glass window with heraldic designs for the Chateau Mouchy (Oise), second half 19th century, pen and ink, watercolor and gouache on wove paper, Overall: 14 3/4 x 10 3/8 in. (37.4 x 26.4 cm), Drawings, Jules-Edmond-Charles

The Resurrection, 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

Holy Family, 1527–85, Brush and brown ink, 14 1/4 x 9 3/4in. (36.2 x 24.8cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Ecce Homo, 1540/41–1609, Pen and brown ink, brush and brown wash, highlighted with white, on beige paper, 9 7/16 x 5 7/8in. (23.9 x 14.9cm), Drawings, Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42–1609 Ancona

Virgin and Child Seated by a Tree, 1513, Engraving, sheet: 4 5/8 x 2 15/16 in. (11.7 x 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Boy with Soap Bubbles, 1867–69, etching and aquatint on laid paper, from 1905 Strölin edition, plate: 9 7/8 x 8 5/16in. (25.1 x 21.1cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Holy Family with Saint John the Baptist, ca. 1637–1640, Etching, Plate: 6 9/16 × 9 in. (16.7 × 22.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Study of Four Saints, 1525–34, Red chalk; squared for transfer, 9 5/16 x 7 5/8in. (23.7 x 19.4cm), Drawings, Correggio (Antonio Allegri) (Italian, Correggio, active by 1514–died 1534 Correggio

Design for an Epitaph, 1652–1725, Pen and light brown ink, brush and brown-gray wash, over traces of black chalk, sheet: 9 3/8 x 5 15/16 in. (23.8 x 15.1 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

The Betrothal of Mary of Burgundy from the Triumphal Arch of Emperor Maximilian I, 1515, Woodcut, Sheet (trimmed): 6 13/16 × 5 11/16 in. (17.3 × 14.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Two-Handled Urn with Acanthus, Shell, and Egg-and-Tongue Motif., 1652–1725, Pen and brown ink, brush and light brown wash, over traces of black chalk or graphite, sheet: 13 9/16 x 9 1/2 in. (34.4 x 24.1 cm), Attributed to

Study of a Figure in a Niche (Saint Ambrose; recto); Architectural Studies: Four Alternative Designs for Fictive Niches and an Unrelated Design with Garlands (verso), ca. 1560-67, 1564–65, Pen and brown ink, brush with pale brown and purple

Songs of Innocence and of Experience: The Little Vagabond, 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

Repose in Egypt, Mary holding and looking at the infant Christ while St. Joseph sleeps, ca. 1637–1639, Etching, Sheet: 3 3/8 × 5 1/16 in. (8.5 × 12.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Lace Design, 19th century, Pen and ink with wash, sheet (irreg.): 6 1/8 x 5 1/8 in. (15.6 x 13 cm), Drawings, Anonymous, French, 19th century

Design for the decoration of the stairway in the Chateau d'Ognon of M. de Machy (Oise, France), second half 19th century, Graphite and watercolor heightened with white on wove paper; inlaid in blue wove paper, sheet: 5 1/16 x 8 15/16 in. (12.8 x

Death and the Soldier, n.d., Woodcut, sheet: 4 3/4 x 3 1/4 in. (12.1 x 8.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Shais in legno compensato...[Perspective and Elevation of a Chaise with Tubular Metal Frame and Green Cushion and Arm Rests], 1945, Colored pencil and graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Joseph in Prison (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

Design for the Bow of a Key (?), 19th century, Pen and brown ink with brown wash over traces of graphite on laid paper, framing lines in blue crayon, sheet: 4 7/16 x 3 3/4 in. (11.3 x 9.6 cm), Anonymous, French, 19th century

Sudarium displayed by two Angels, 1513, Engraving, plate: 3 7/8 x 5 7/16 in. (9.8 x 13.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Dining Room, Hôtel de Doctor Cranchi, 1872, Watercolor and gouache, 10 3/8 x 8 5/16 in. (26.3 x 21.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Landscape with a Ruined Temple, 1624–63, Brush and brown wash. Framing lines in pen and brown ink on mount, 4-15/16 x 7-9/16 in. (12.5 x 19.2 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Landscape (A Grove of Trees Standing Near a River), 1828–67, Graphite on beige wove paper, 7 3/8 x 6 in. (18.7 x 15.2 cm), Drawings, Attributed to Théodore Rousseau (French, Paris 1812–1867 Barbizon

Sheet of Studies: Two Male Heads in Profile and Standing Man, late 18th–mid-19th century, Brush and brown wash, 12 7/16 x 7 5/8 in. (31.6 x 19.3 cm), Drawings, Jean-Baptiste Isabey (French, Nancy 1767–1855 Paris

Four Flying Angels (recto); Two Flying Figures (verso), 1624–63, Pen and brown ink, brush and brown wash (recto); two flying figures in pen and brown ink (verso), 2-5/8 x 5-11/16 in. (6.7 x 14.4 cm), Drawings, attributed to Francesco

Portrait of Marcellin Desboutin (recto); sketch of head (verso), n.d., Pen and black ink over graphite, 10 9/16 x 8 1/4 in. (26.8 x 21 cm), Drawings, Henri Somm (French, Rouen 1844–1907 Paris

Maunder's Fish Shop, Chelsea, 1890, Transfer lithograph with scraping, drawn on medium-grained transfer paper, Image: 11 1/4 × 8 7/8 in. (28.6 × 22.5 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Bathers, 19th century, Watercolor over graphite, sheet: 7 3/16 x 7 1/16 in. (18.2 x 17.9 cm), Drawings, Pierre Puvis de Chavannes (French, Lyons 1824–1898 Paris

On ne s'avise jamais du tout, 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, 1795, Etching; first state of three (Cohen), Sheet: 13 11/16 x 10 1/16 in. (34.8 x

The Dead Christ Mourned by the Magdalen Who Venerates the Wounds on His Feet, 1787–1863, Pen and brown ink, brush and gray-brown wash, highlighted with white gouache, 8 3/4 × 12 1/4 in. (22.2 × 31.1 cm), Drawings, Fortunato Duranti

A Girl Holding a Hare, ca. 1653, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

La Marchande de moutarde, 1858, Etching; third state of five (Glasgow); black ink on gray chine on white wove paper (chine collé), plate: 6 3/16 x 3 1/2 in. (15.7 x 8.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Little Arthur, 1857–58, Etching; fourth state of four (Glasgow); printed in black ink on tan (darkened) chine on white wove paper (chine collé), Plate: 2 5/16 x 1 15/16 in. (5.9 x 4.9 cm), Prints, James McNeill Whistler (American, Lowell,

Design for a sepulchral monument with two figures, late 17th–early 18th century, Pen and brown ink, over red and black chalk or graphite, brown-grey wash, sheet: 6 7/16 x 4 5/8 in. (16.3 x 11.8 cm), Drawings, Pieter Verbruggen the Younger

Sculpted head of Juno, ca 1531–76, Engraving, sheet: 5 9/16 x 4 7/16 in. (14.2 x 11.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Holy Family with a Rosary, ca. 1640–1642, Etching, Sheet: 6 1/2 × 3 15/16 in. (16.5 × 10 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Designs for a Theatre, late 18th century, Pen and black ink, brush and rose wash over graphite, 7 1/4 x 9 7/8 in. (18.4 x 25.1 cm), Drawings, Anonymous, French, 18th century

Périandre, ca. 1639–40, Engraving (figure by Couvay) and etching (background by Bosse), sheet: 13 7/8 x 8 5/16 in. (35.2 x 21.1 cm), Prints, Jean Couvay (French, Arles ca. 1605–1663 Paris), Abraham Bosse (French, Tours 1602/1604–1676

Design for an Altar, with Elevation and Ground Plan, 18th century, Pen and black and gray ink, brush and gray and blue wash, 16 5/16 x 10 1/2 in. (41.5 x 26.6 cm), Drawings, Anonymous, French, 18th century

Lieven Willemsz van Coppenol, Writing Master: the Larger Plate (copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Three Heads after Michelangelo's Frescoes in the Sistine Chapel, 16th century, Pen and brown ink, 9 3/4 x 8 1/2in. (24.8 x 21.6cm), Drawings, Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550–1580), After

Steamboat Fleet, [1875], Drypoint; first state of two (Glasgow); printed in black ink on ivory laid paper, Plate: 5 5/16 × 8 3/8 in. (13.5 × 21.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Large Bookcabinet, with a Door at Left and a Chair at Right, early 19th century, Graphite, sheet: 10 13/16 x 14 15/16 in. (27.5 x 38 cm), Anonymous, British, 19th century

Copies after Jusepe de Ribera, 18th century, Pen and black ink, gray wash, over graphite. Framing lines in pen and brown ink., 13 1/4 x 9 1/4 in. (33.7 x 23.5 cm), Drawings, Nicolas Bernard Lépicié (French, Paris 1735–1784 Paris

Sheet of Studies: Three Figures Above, Studies of Horses Below, 1612–75, Pen and brown ink, brush and brown and a little red-brown wash, 8-3/8 x 5-3/8 in. (21.2 x 13.7 cm), Drawings, Attributed to Micco Spadaro (Domenico Gargiulo) (Italian,

Plate 6 from the 'Disparates': It is amazing-and we were made by God, ca. 1816–23 (published 1864), Etching and aquatint, Plate: 9 5/8 × 13 7/8 in. (24.5 × 35.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Christ and the Canaanite Woman, 1654–1719, Brown and cream oil paint, on a sheet imprinted with a Latin text, 14 3/4 x 10 3/8in. (37.5 x 26.4cm), Drawings, Giovan Gioseffo dal Sole (Italian, Bologna 1654–1719 Bologna

Design for Three Swivel Chairs with Green, Red and Blue Upholstery, early 19th century, Ink, watercolor and wash, sheet: 9 1/8 x 12 5/16 in. (23.2 x 31.3 cm), Anonymous, British, 19th century

Olympia, published 1902, Wood engraving, image: 5 3/16 x 7 5/16 in. (13.2 x 18.5 cm), Prints, After Édouard Manet (French, Paris 1832–1883 Paris), Engraved by Moller

Reclining Female Nude Figure, 1560–1635, Black chalk, highlighted with white, on blue paper, 7 3/8 x 11in. (18.8 x 28cm), Drawings, Domenico Tintoretto (Italian, Venice 1560–1635 Venice

Virgin on a Crescent with a Starry Crown, 1508, Engraving, plate: 4 5/8 x 2 15/16 in. (11.8 x 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), de Lumague

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

The Smoker (Le Fumeur), 1879–82, Etching and drypoint on blue laid paper, only state, from 1905 Strölin edition, plate: 9 1/8 x 6in. (23.2 x 15.2cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Armed Four-Master Sailing Towards a Port from The Sailing Vessels, 1561–65, Engraving; second state of four, sheet: 13 5/16 x 10 1/4 in. (33.8 x 26 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569

Seated Carthusian Holding an Open Book, 1711, Oil paint on paper. Varnished., 11 7/16 x 8 5/8 in. (29.1 x 21.9 cm), Drawings, Jean Restout le jeune (French, Rouen 1692–1768 Paris

Plate 12 from 'Los Caprichos': Out hunting for teeth (A caza de dientes.), 1799, Etching, burnished aquatint and burin, Plate: 8 1/2 × 5 7/8 in. (21.6 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Holy Family, Etching and engraving, sheet: 10 5/8 x 7 7/8 in. (27 x 20 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Songs of Innocence and of Experience: Laughing Song, 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

The Toilet of a Modern Belle: Inflating a Lady, July 1829, Hand-colored etching, sheet: 9 15/16 x 13 11/16 in. (25.3 x 34.7 cm), Prints, William Heath ('Paul Pry') (British, London 1795–1840 Hampstead

A King Pursued by a Unicorn, from the Unicorn Series, ca. 1555, Engraving, only state, sheet: 9 1/16 x 14 13/16 in. (23 x 37.6 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

A dwarf (Un Enano), 1778, Etching printed in black ink, Plate: 8 7/16 x 6 1/16 in. (21.5 x 15.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), After Velázquez (Diego Rodríguez de Silva y

Portrait of a Russian Empress on horseback, 18th century, Watercolor on vellum, 16 1/8 x 12 1/8 in. (41 x 30.8 cm), Drawings, Anonymous, French, 18th century

Design for Two White Curtains with Gold Fringes and a White and Gold Pelmets, early 19th century, Ink, watercolor and wash, sheet: 9 1/2 x 11 15/16 in. (24.1 x 30.3 cm), Anonymous, British, 19th century

Horse and Rider, 1624–63, Pen and brown ink over black chalk, 4-9/16 x 5-3/8 in. (11.6 x 13.6 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Joy with Tranquility (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 11 7/16 x 8 7/8 in. (29.1 x 22.5 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

A slave holds a camel by the bridle, from 'Several heads in the Persian style' (Plusieurs têtes coiffées à la persienne), 1649, Etching; second state of two, Plate: 3 15/16 × 2 15/16 in. (10 × 7.5 cm), Prints

Bust of a Young Girl, Profile to Left, 18th century, Charcoal, stumped, heightened with white, on beige paper., 14 1/4 x 11 1/8 in. (36.2 x 28.3 cm.), Drawings, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Design for a Man's Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 1/2 x 11 5/8 in. (44.5 x 29.5 cm), Drawings, Anonymous, French, 16th century

Bacchanale - Satyr and Nymph with Infant and Infant Satyr, n.d., Etching, second state, image: 5 9/16 x 8 3/16 in. (14.1 x 20.8 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Pharaon, ca. 1639–40, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 7/8 x 8 3/8 in. (35.3 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676

Design for a Stage Set (recto); Architectural Design (verso), 1780–1804, Pen and brown ink, brush and brown wash over black chalk (recto); pen and brown ink over black chalk (verso), 9 x 13 9/16in. (22.8 x 34.4cm), Drawings, Francesco Navone

Passages de l'Opéra, 1888, Etching and drypoint; only state (Glasgow); printed in dark brownish-black ink, Plate: 4 15/16 × 8 7/16 in. (12.6 × 21.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

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