Images at Librifly

Pompeiian Design for Wall and Doorway, second half 19th century, Pen and black ink, graphite, watercolor, gouache, 6 5/8 x 11 1/4 in. (16.8 x 28.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor, over graphite, Irregular sheet: 9 3/16 x 12 1/2 in. (23.4 x 31.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Clock Tower, Paris, 1852, Etching with engraving on laid paper; fifth state of ten, plate: 10 1/4 x 7 5/16 in. (26.1 x 18.5 cm), Prints, Charles Meryon (French, 1821–1868

Portrait of L. F. Sezille, Widow of Beaucousin, 18th century, Graphite, pen and brown ink, sheet: 4 3/8 x 2 15/16 in. (11.1 x 7.4 cm), Drawings, Anonymous, French, 18th century

Adam and the Beasts, from Hayley's Ballads, June 1, 1802, Engraving, sheet: 7 5/16 x 6 in. (18.5 x 15.2 cm), Prints

Designs for Three Chairs, early 19th century, Ink, watercolor and wash, sheet: 8 9/16 x 12 5/16 in. (21.8 x 31.2 cm), Anonymous, British, 19th century

Bathsheba at the Bath, 1750, Black chalk with touches of red chalk, with stumping, heightened with white chalk, sheet: 13 1/16 x 10 7/8 in. (33.2 x 27.6 cm), Drawings, Antoine Pesne (French, Paris 1683–1757 Berlin

Cartouche with a Crown, the Virgin (?) and the Holy Ghost, and Four Putti, early 17th century, Pen and black ink, grey wash, Sheet: 6 5/16 x 5 1/2 in. (16 x 14 cm), Drawings, Johann Matthias Kager (German, Munich 1575–1634 Augsburg

Pylades and Orestes, April 1, 1797, Hand-colored etching, sheet (clipped impression): 13 13/16 x 10 1/8 in. (35.1 x 25.6 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

The Fourth Oriental Head, ca. 1635, Etching; second state of three, plate: 6 1/8 x 5 3/8 in. (15.6 x 13.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Fall of Babylon, from the Apocalypse, n.d., Engraving; second state of two, plate: 11 15/16 x 8 7/16 in. (30.4 x 21.4 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Paganini Playing and Studies of Heads, 1820–35, Pen, brush, and brown ink on paper, 8 x 6 3/8 in. (20.3 x 16.2 cm), Drawings, Henri-Louis-Hippolyte Poterlet (French, Paris 1804–1835 Paris

Sloth (Desidia), from the series The Seven Deadly Sins, 1558, Engraving, Sheet: 8 15/16 x 11 5/8 in. (22.7 x 29.6 cm), Prints, Pieter van der Heyden (Netherlandish, ca. 1525–1569), After Pieter Bruegel the Elder (Netherlandish, Breda (?)

Entry, or Lord Fat Cheeks (Entrée, ou Milord-Gorju), 1820–22, Lithograph, image: 8 1/4 x 5 11/16 in. (20.9 x 14.5 cm), Prints, Nicolas-Toussaint Charlet (French, Paris 1792–1845 Paris

Design for a Vessel, 18th century, Pen and gray ink over graphite with brush and gray wash on laid paper, sheet: 4 3/8 x 5 15/16 in. (11.1 x 15.1 cm), Drawings, Attributed to Anonymous, French, 18th century

Design for a Carved Mirror Frame Surmounting a Mantle (Trumeau), 1742, Pen and brown ink, over leadpoint and black chalk, 12 3/16 x 8 7/16 in. (30.9 x 21.4 cm) irregular borders, Drawings, Domenico Silvestro Giannotti (Italian, Lucca

Design for a door, second half 19th century, Graphite, watercolor, and white heightening, Overall: 26 3/4 x 13 11/16 in. (67.9 x 34.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

The Virgin washing the Christ Child accompanied by figures and an angel at right, ca. 1550–60, Engraving on blue paper, sheet: 13 9/16 x 15 1/4 in. (34.5 x 38.8 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after

Saint Januarius Saving Naples from an Eruption of Mt. Vesuvius. Verso: Small sketch of similar scene., 1724, Pen and brown ink over black chalk. Framing lines in pen and brown ink. Design framed in vertical, arch-top altarpiece outline, sheet: 7

The Little Lagoon, 1879–80, Etching and drypoint; third state of four (Glasgow); printed in dark brown ink on medium-light weight ivory laid paper, Plate: 9 × 6 in. (22.9 × 15.3 cm), Prints, James McNeill Whistler (American, Lowell,

Drawing for a Frontispiece, 1704–39, sheet: 12 1/2 x 8 in. (31.8 x 20.3 cm), Drawings, Mauro Soderini (Italian, Florence, 1704–after 1739

Man of Sorrows with Arms Outstretched, ca. 1500, Engraving, Sheet: 4 7/16 × 2 3/4 in. (11.3 × 7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Upright Venice, 1879–80, Etching and drypoint; fourth state of seven (Glasgow); printed in dark brown ink on medium weight ivory laid paper, Plate: 9 15/16 × 6 15/16 in. (25.3 × 17.7 cm), Prints, James McNeill Whistler (American, Lowell,

Hansom Cabs, New York, ca. 1897, Black chalk on ruled paper, 6 7/8 x 8 5/8in. (17.5 x 21.9cm), Drawings, Giovanni Boldini (Italian, Ferrara 1842–1931 Paris

Saint John the Baptist eating a piece of fruit, an oval composition, ca. 1641, Etching; third state of three, Sheet: 6 13/16 × 5 3/8 in. (17.3 × 13.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Grotesque Wall Decoration, 1501–47, Pen and brown ink, sheet: 10 1/16 x 9 3/4 in. (25.6 x 24.8 cm), Drawings, Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501–1547 Rome

The Passion for Love, n.d., Etching, second state, sheet: 9 7/16 x 14 3/4 in. (24 x 37.5 cm), Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jean Audran (French, Lyons 1667–1756 Paris

Design for the Crowning Decorations of a Gate (recto); Sketches of Stone Blocks with Measurements (verso), 1652–1725, Pen and light brown ink, brush and gray wash, over traces of graphite (Recto). Pen and brown ink (Verso), sheet: 4 3/16 x 7

Plate B from the 'Disparates':Punctual Folly, ca. 1816–23 (published before 1877), Etching, aquatint, and drypoint (?), Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Study of a Tree, n.d., Black chalk on beige paper, 13 1/4 x 8 1/2 in. (33.7 x 21.6 cm), Drawings, Attributed to Jean Pillement (French, Lyons 1728–1808 Lyons

Design for Four Vases, ca. 1770–85, Black chalk, and pen and brown ink, 14 13/16 x 9 3/16 in. (37.7 x 23.3 cm), Drawings, Anonymous, French, 18th century

Limehouse, 1859, Etching and drypoint; fifth state of six (Glasgow); black ink on fine laid Japan paper, Plate: 5 × 8 in. (12.7 × 20.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Portrait of Jacques Callot, ca. 1636, Etching with engraving; fourth state of four (Lothe), Sheet: 9 13/16 × 5 5/8 in. (25 × 14.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plate A from the 'Disparates':Well-Known Folly, ca. 1816–23 (published before 1877), Etching and burnished aquatint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Rinceaux with Eagle and Lion, Plate 15 from: 'Decorative friezes and foliage' (Ornamenti di fregi e fogliami), ca. 1648, Etching, Sheet: 3 1/8 × 9 1/2 in. (8 × 24.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Head of an Old Woman Looking Up, ca3, Red chalk. Framing lines in pen and brown ink., 16 1/4 x 12 7/8 in. (41.3 x 32.7 cm), Drawings, Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris

Seated Woman Holding a Tablet, late 17th, mid 18th century, Etching, Sheet (trimmed): 4 3/8 × 3 3/8 in. (11.1 × 8.5 cm), Prints, Possibly by Jean Antoine de Maroulles (Messina 1674–1726 Paris), After Abraham Bosse (French, Tours

The Rejection of Joachim's Offering, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 11 11/16 x 5 5/16 in. (29.7 x 13.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Aesop (Aesopus), from Etchings after Velazquez, 1778, Etching printed in black ink, Plate: 11 5/8 × 8 7/16 in. (29.5 × 21.5 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), After Velázquez

Children, Obey Me, Do Not Play With Those Weapons, April 1834, Lithograph on chine collé, sheet: 14 1/8 x 21 1/2 in. (35.8 x 54.6 cm), Prints, J. J. Grandville (French, Nancy 1803–1847 Vanves), Auguste Desperret (French, died 1865

The Toilet (La Toilette), from Essai de Papilloneries Humaines par Saint Aubin, ca. 1756–60, Etching; first state of two, plate: 13 1/16 x 9 3/8 in. (33.2 x 23.8 cm), Prints, Charles Germain de Saint-Aubin (French, Paris 1721–1786 Paris

A Seated White Sailor; A Standing Black Sailor, ca. 1660, Etching; first state of two, Plate: 7 3/8 × 7 1/4 in. (18.8 × 18.4 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Vertumnus and Pomona, Brown chalk, 13 9/16 x 8 15/16 in. (34.5 x 22.7 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris), Boucher depicts here a well-known story from Ovid's Metamorphoses. Pomona, the Roman goddess of fruit,

Head of a Man, 1837–1911, Metalpoint on white prepared paper, 8 3/4 x 7 in. (22.3 x 17.8 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 13 1/4 x 9 1/2 in. (33.7 x 24.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Songs of Innocence and of Experience: A Dream, 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

Plate 12 from the 'Disparates': If Marion will dance, then she has to take the consequences, ca. 1816–23 (published 1864), Etching, burnished aquatint and drypoint, Plate: 9 5/8 × 13 7/8 in. (24.5 × 35.2 cm), Prints, Goya (Francisco de

An 'Académie': Striding Man Leaning on a Plank, 1742–43, Etching, sheet: 15 3/16 x 10 13/16 in. (38.6 x 27.5 cm), Prints, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

The Adoration of the Magi, ca. 1500, Pen and brown ink, over traces of black chalk, 10-15/16 x 9-7/16 in. (27.8 x 24.0 cm), Drawings, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence 1473–1517 Florence) (?), In this

The Elevation of Saint Mary Magdalen, n.d., Woodcut, sheet: 8 3/8 x 5 11/16 in. (21.2 x 14.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 2 11/16 x 4 5/16 in. (6.9 x 11 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Mary I, Queen of England, 1600–1627, Engraving, sheet: 7 5/8 x 4 1/2 in. (19.4 x 11.4 cm), Prints, Francis Delaram (British, 1589/90–1627 London

Figure Studies: Woman holding a Shield, a Dancing Female, and a Priest Supported at an Altar before a Group of Onlookers, 1612, Red chalk, 9 1/16 x 8in. (23 x 20.3cm), Drawings, Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612

The Birth of Saint Francis of Assisi, 1555–1629, Pen and brown ink, brush and pale brown wash, on beige paper. Squared in charcoal, 6 1/8 × 5 3/16 in. (15.6 × 13.1 cm), Drawings, Camillo Procaccini (Italian, Bologna 1555–1629 Milan),

Christ on the Mount of Olives, from The Large Passion, ca. 1497–99, Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A bust of a young man wearing a cap with feathers, turned three-quarters to the left, the coat of arms of the Grand Duke of Tuscany in top left, title page from 'Several heads in the Persian style' (Plusieurs têtes coiffées à la persienne),

The Holy Family with Saint Catherine, Saint John the Evangelist and an Angel, 1612–16, Etching, Sheet (trimmed): 10 9/16 × 7 3/8 in. (26.9 × 18.7 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

The Virgin Nursing the Child, 1519, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.8 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Palazzo dei Conservatori, coffered ceiling, ceiling plan and details; Sphinx, perspective view (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 7/16 x 11 9/16 in. (44.3 x 29.3 cm),

San Lorenzo, Library, entry portal to library, elevation (recto) San Lorenzo, Library, entry portal to library, section; entry portal to library, side elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised

Fish Vendor, 1738, Etching with some engraving, Sheet: 9 3/16 x 6 7/8 in. (23.4 x 17.5 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

The Virgin with Child in the Niche, ca. 1518, Engraving, sheet: 4 5/8 x 2 13/16 in. (11.8 x 7.2 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Fall of Man, (Adam and Eve), ca. 1514, Woodcut, sheet: 16 3/16 x 11 9/16 in. (41.1 x 29.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Lamentation, from The Passion, 1507, Engraving, Sheet: 4 9/16 × 2 13/16 in. (11.6 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Gothic Style Mirrored Cabinet, early 19th century, Ink and watercolor and graphite, sheet: 9 1/2 x 11 7/8 in. (24.1 x 30.1 cm), Anonymous, British, 19th century

Henri de Lorraine, comte d'Harcourt, Etching, image: 11 13/16 x 9 1/2 in. (30 x 24.1 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Hell Hounds Rallying Round the Idol of France, April 8, 1815, Hand-colored etching, sheet: 10 9/16 x 14 3/4 in. (26.8 x 37.4 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Annie, 1857–58, Etching; fourth state of seven (Glasgow); printed in black ink on tan (darkened) chine mounted on white wove paper (chine collé), Plate: 4 5/8 × 3 1/8 in. (11.8 × 7.9 cm), Portfolios, James McNeill Whistler (American,

Sibylle Hellespontique, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 x 8 3/8 in. (35.6 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Two Roses and Two Small Flowers, 19th century, Gouache on olive green prepared paper, sheet: 7 7/8 x 7 7/16 in. (20 x 18.9 cm), Drawings, Anonymous, French, 19th century

Fragment of a Tapestry Cartoon: Outstretched Hand, Body of a Seraph, and a Wing, 1500–1550, Brush, yellow, pink, green, grey and white gouache, over black chalk, 14-3/8 x 7-15/16 in. (36.5 x 20.1 cm), Drawings, School of Raphael

Detail of the Crowning of the Virgin, 1922, restrike of 15th century original, Woodcut, sheet: 17 13/16 x 11 5/16 in. (45.2 x 28.7 cm), Prints, Anonymous, 15th century

Two Studies for Helmet Designs Presented En Profil, 1652–1725, Pen and brown ink, brush and light brown wash, over traces of black chalk, sheet: 7 3/8 x 6 13/16 in. (18.8 x 17.3 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725

Woman seated on iron garden seat with canopy, 1854, Graphite, sheet: 11 5/16 x 8 13/16 in. (28.8 x 22.4 cm), Drawings, Ferdinand Kirchgessner (German, active Nuremberg (?) 1850–55

Plate 61 from 'The Disasters of War' (Los Desastres de la Guerra): 'Perhaps they are of another breed' (Si son de otro linage.):, 1811–12 (published 1863), Etching, lavis, drypoint, burin and burnisher, Plate: 8 1/8 × 6 1/8 in. (20.6 × 15.5

Group of Six Reclining Nude Women (Nymphs Bathing) (recto); Sketch of a Leg (verso), 1529–66, Pen and brown ink, brush and brown wash, traces of red chalk (recto), red chalk (verso), sheet: 4 7/8 x 4 7/8 in. (12.4 x 12.4 cm), Drawings,

Seated Female Nude and Dancing Female Figure, 1624–63, Pen and brown ink, 3-7/8 x 4-7/8 in. (9.8 x 12.4 cm), Drawings, Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Plate 62 from 'Los Caprichos': Who would have thought it? (Quien lo creyera!), 1799, Etching, burnished aquatint and burin, Plate: 8 7/16 × 5 15/16 in. (21.5 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Fabric Design with Stripes, ca. 1918–25, Gouache and stencil over graphite, 7 7/8 x 6 5/16 in. (20 x 16 cm), Drawings, Attributed to Paul Poiret (French, Paris 1879–1944 Paris

The Crucifixion (Round), n.d., Engraving, Sheet: 1 7/16 × 1 9/16 in. (3.7 × 3.9 cm), Prints, Anonymous, German, 16th century, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Marine bull, detail (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 8 3/8 x 10 7/8 in. (21.2 x 27.6 cm

The Holy Family with Saints and Two Musical Angels, 1511, Woodcut, sheet: 8 1/4 x 8 5/16 in. (21 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Smith, Passage du Dragon, 1894, Transfer lithograph with stumping, drawn on thin, transparent transfer paper; first state of three (Chicago); printed in black ink on grayish white chine mounted on ivory plate paper, Image: 9 15/16 × 6 3/8

Scene of Antique Sacrifice, 1762–1844, Pen and brown ink, brush with brown and pink wash, over traces of black chalk or graphite. Framing outlines in pen and brown ink, and, at the left border, in graphite, 9-1/8 x 13-11/16 in. (23.1 x 34.7

Elevation of the corner of a room decorated with Renaissance-style murals and carved woodwork, 19th century, graphite on tracing paper; glued to wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Macaroni Print Shop, July 14, 1772, Etching, plate: 7 1/16 x 9 13/16 in. (17.9 x 25 cm), Prints, Edward Topham (British, York 1751–1820 Doncaster

Architectural Motif: Double Acanthus Fleuron, ca. 1875, Black chalk, 19 3/16 x 12 1/2 in. (48.8 x 31.7 cm), Drawings, Georges Seurat (French, Paris 1859–1891 Paris

If he is guilty, let him die quickly (Si es delinquente qe. muera presto), ca. 1815, published 1859, Etching, printed in black ink with platetone, Plate: 4 9/16 × 3 3/8 in. (11.6 × 8.5 cm), Prints, Goya (Francisco de Goya y Lucientes)

Eunuchus, 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

The Circumcision of Jesus, 1555–1619, Pen and brown ink, brush with brown and gray wash, highlighted with white, squared in black chalk, 9-1/16 x 14-13/16 in. (23 x 37.7 cm), Drawings, Giovanni Battista Trotti ('Il Malosso') (Italian,

Reclining Nude with Drapery, ca. 1913, Graphite, sheet: 14 5/8 x 22 in. (37.1 x 55.9 cm), Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna

Studies of Kneeling Figures, 1615–73, Pen and brown ink, brush and brown wash, 7 15/16 x 5 9/16in. (20.2 x 14.1cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Camme, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 3/8 x 8 3/8 in. (34 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris), After

Head of an old Man looking down, facing Left, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

La Chasse aux canards, Etching, sheet: 13 9/16 x 17 15/16 in. (34.5 x 45.6 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Jacques Fouquieres (Flemish, 1590/91–1659

Design for Pier Table and Gold Mirror: Front and Side Elevations, early 19th century, Ink, watercolor and wash, sheet: 9 5/8 x 11 7/8 in. (24.5 x 30.2 cm), Anonymous, British, 19th century

Panurge Leaving Rominagrobis's House, 1833–1914, Etching; first state of three, sheet: 15 13/16 x 11 5/8 in. (40.2 x 29.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Saint Cecilia, Saint Mary Magdalen, Saint Catherine of Alexandria, and Saint Agnes, Angels with Palm Branches and Crowns Above (recto); Sketches of Three Standing Figures and Arithmetic Calculations (verso), ca. 1609, Pen and brown ink, over

Ceylonese Jungle, mid-19th–early 20th century, Pen and black ink. Framing line in pen and black ink, sheet: 20 11/16 x 18 1/2 in. (52.6 x 47 cm), Drawings, Hermann von Königsbrunn (Austrian, Radkersburg, Steiermark 1823–1907 Graz

San Lorenzo, Library, plan; reflected ceiling plan; stair, detail (recto) San Lorenzo, Ricetto, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/8 x 11 13/16 in. (44.1 x 30 cm),