Images at Librifly

Two Studies of Plumed Helmets, ca. 1750–1800 , Red Chalk, 10 7/8 x 7 3/8 in. (27.6 x 18.7 cm), Attributed to Hubert Robert (French, Paris 1733–1808 Paris

A Scholar in His Study ('Faust'), ca. 1652, Etching, drypoint, and burin; third state of three, sheet: 8 9/16 x 6 9/16 in. (21.7 x 16.7 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Landscape Study, 1873, Etching; third state of four, sheet: 12 1/2 x 17 11/16 in. (31.8 x 45 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Sheet of Sketches, 1753, Etching, image: 5 3/8 x 8 in. (13.6 x 20.3 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 10 11/16 x 13 3/8 in. (27.2 x 33.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Two Studies of a Kneeling Male Figure (recto); Handwritten letter (verso), ca. 1652, Pen and brown ink, sheet: 6 15/16 x 6 5/8 in. (17.7 x 16.9 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

Harlequin, Emperor on the Moon, n.d., Etching, second state, image: 7 3/16 x 8 9/16 in. (18.2 x 21.7 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris

The School Mistress, ca. 1638, Etching; first state of two, Sheet (trimmed): 10 in. × 12 11/16 in. (25.4 × 32.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Piano, 19th century, Watercolor, sheet: 9 15/16 x 16 1/8 in. (25.3 x 41 cm), Anonymous, French, 19th century

Nero, 1840–1917, Graphite with wash of watercolor and gouache on cream paper, Overall: 12 13/16 x 9 13/16 in. (32.5 x 25 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon), Nero, or, as it is titled in French on the lower

Studies for a Sculpture with Figures of Prudence, Industry and Economy Supported by Slaves and an Oval Plaque with Cartouche; Separate Study for a Cupola (Recto). Studies for Figural Ornament (Verso)., 1652–1725, Pen and brown ink, brush and

Foreshortened or Trompe L'Oeil View of the Architecture Surrounding a Courtyard, 1657–1743, Pen and brown ink, brush and gray wash over traces of black chalk, sheet: 11 9/16 x 8 1/4 in. (29.3 x 21 cm), Attributed to Ferdinando Galli Bibiena

Figure of a Man Standing, 19th century, Graphite, sheet: 13 3/4 x 8 5/8 in. (34.9 x 21.9 cm), Drawings, Anonymous, French, 19th century

Design for a Ceiling with a Woman (Aurora?) in a Chariot and Putti (Recto). Design for an Ornamental Frieze (Verso)., 1537–86, Pen and brown ink, brush and wash over traces of black chalk or graphite (recto); pen and brown ink over red chalk

Sibylle Cimmérienne, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 3/16 x 8 7/16 in. (36 x 21.4 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Vertumnus and Pomona, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/16 in. (4.6 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed

Designs for Scissors and Letter Opener, 19th century, Pen and brown ink with gray and yellow wash, sheet: 6 1/4 x 2 3/4 in. (15.8 x 7 cm), Drawings, Anonymous, French, 19th century

Arabesque Cartouche, 18th century, Pen and black ink, graphite., 2 13/16 x 3 in. (7.1 x 7.6 cm), Drawings, Anonymous, French, 18th century

Apollo Bathing, Attended by the Nymphs of Thetis, 17th century, Brush and gray wash, over red and black chalk. Squared for transfer in black chalk. Framing lines in pen and brown ink., 11 9/16 x 15 13/16 in. (29.3 x 40.1 cm), Drawings, Charles

View of the Obelisk of Thutmosis III Seen from the Walls of Alexandria, late 17th–early 18th century, Watercolor, graphite, pen and brown and black ink. Along the upper and the lower edge, a framing line in pen and brown ink; along the left

Study of a Stump with Aerial Roots, mid-19th–early 20th century, Watercolour, bodycolour, over graphite, sheet: 18 x 11 15/16 in. (45.7 x 30.4 cm), Drawings, Woldemar Friedrich (German, Gnadau 1846–1910 Berlin

The Disciples at the Tomb, 1764, Etching, first state of two, Sheet: 5 3/8 × 3 5/8 in. (13.7 × 9.2 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Jacopo Tintoretto (Jacopo Robusti) (Italian, Venice

Saint Peter and Saint John Healing a Cripple at the Gate of the Temple, 1534–47, Pen and brown ink, over black chalk (recto); pen and brown sketch of a right hand at upper left, and circle in red chalk at lower right (verso), 9 15/16 x 7

Saint Christopher, 1511, Woodcut, sheet: 8 3/8 x 8 3/8 in. (21.3 x 21.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Archway, Pont Nôtre-Dame, Paris, 1853, Etching; fourth state of four, Plate: 6 x 7 11/16 in. (15.3 x 19.5 cm), Prints, Charles Meryon (French, 1821–1868

The Tiny Pool, [1879], Etching and drypoint; third state of three (Glasgow); printed in black ink on ivory laid paper, Plate: 3 7/8 × 2 9/16 in. (9.8 × 6.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Bush Monkey-flower, Diplacus longiflorus, May 28, 1912, Watercolor and brown ink over graphite, with page design indicated in graphite, sheet: 13 11/16 x 9 15/16 in. (34.8 x 25.2 cm), Drawings, Margaret Neilson Armstrong (American, New York

Study for an Angel (recto); Study of a Cushion (verso), 1600–1602, Charcoal or soft black chalk, highlighted with white chalk, on blue paper; several scattered stains of rose-colored paint at lower left (recto); black chalk with some white

Bust of a Man with a Broad Collar, 17th century, Graphite on vellum; framing lines at left and at lower margins in pen and brown ink, 6 1/4 x 4 1/2 in. (15.8 x 11.4 cm), Drawings, Anonymous, French, 17th century

Holy Family with a Dragonfly, ca. 1495, Engraving, Sheet: 9 5/16 × 11 1/4 in. (23.6 × 28.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Gaspar de Guzman, Count of Olivares on horseback, after Velázquez, 1778, Etching and drypoint, Plate: 14 5/8 × 12 3/8 in. (37.2 × 31.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), After

Preparation for Portrait Engraving of Artist in Frame, 18th century, Black chalk, sheet: 17 3/16 x 12 1/2 in. (43.7 x 31.7 cm), Drawings, Anonymous, French, 18th century

Design for the Side of a Carriage, ca. 1750–80, Graphite, 7 3/16 x 14 in. (18.2 x 35.5 cm), Drawings, Anonymous, French, 18th century

Contes et nouvelles en vers: A Femme avare galant Escroc, from Les Contes de la Fontaine, 1795, Etching; first state of three (Cohen), Sheet: 13 11/16 × 9 15/16 in. (34.8 × 25.3 cm), Prints, Jacques Aliamet (French, Abbeville 1726–1788

Caricature Showing the Comte de Provence as a Cat, 18th century, Etching, sheet: 4 1/2 x 3 7/8 in. (11.5 x 9.8 cm), Prints, Anonymous, French, 18th century

Four Horsemen of the Apocalypse, ca. 1497/1498, Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Head of a Woman, 1760–1815, Red crayon on paper., 8-3/4 x 5-9/16 in. (22.2 x 14.1 cm), Drawings, Attributed to Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon), After François Boucher (French, Paris 1703–1770 Paris

Allegory of the Old and New Dispensations, 1700–1708, Pen and brown ink, over black and red chalk, highlighted with white gouache, on light brown paper, 11 7/8 x 8 5/16in. (30.2 x 21.1cm), Drawings, Carlo Maratti (Italian, Camerano

Design for a ceiling with trompe l'oeil balustrade and putti, second half 19th century, Graphite and watercolor, Overall: 13 5/8 x 19 9/16 in. (34.6 x 49.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

The Crowned Virgin With Child in Glory, ca. 1512, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Flayed man seen from in front, holding a stick, ca. 1531–76, Engraving, sheet: 6 1/16 x 4 5/16 in. (15.4 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

A Putto Seated on a Frame, ca. 1538–40, Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of leadpoint or black chalk., sheet: 4 3/4 x 2 9/16 in. (12 x 6.5 cm), Drawings, Girolamo Mazzola Bedoli (Italian,

Design for Ceiling Decoration Hôtel de Pless, Berlin, second half 19th century, Watercolor and gouache on wove paper, sheet: 6 5/16 x 6 3/4 in. (16 x 17.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Table or Basin Supported by Male Sirens (recto); Sketch for the Same Subject (verso) ., 1652–1725, Pen and brown ink, over traces of black chalk (recto); Pen and light brown ink, over traces of black chalk (verso), sheet: 3 5/16 x 4 in. (8.4 x

Venus with Doves, 1781–1835, Pen and ink, brush and brown wash, Diameter: 5 1/2 in. (14.3 cm), Drawings, Bartolomeo Pinelli (Italian, Rome 1781–1835 Rome

Saint John Beholding the Seven Golden Candlesticks, from The Apocalypse, n.d., Woodcut, sheet: 15 9/16 x 11 in. (39.5 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Great Exhibition 'Wot is to Be', Probable Results of The Industry of All Nations in The Year '51, Showing What is to be Exhibited, Who is To Exhibit, in Short How Its All Going to Be Done, 1850, Wood engraving, sheet: 5 1/16 x 9 5/16 in.

Plate 17 from the 'Disparates': Loyalty, ca. 1816–23 (private printing ca4), Etching and burnished aquatint, Plate: 9 9/16 × 13 7/8 in. (24.3 × 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Theatrical Divertissement Offered at a Gala Evening Party, 18th century, Pen and brown ink, watercolor and gouache., 7 15/16 x 10 1/4 in. (20.2 x 26 cm), Drawings, Attributed to Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Palazzo Salviati-Adimari elevations (recto) Villa Farnesina stables, plan and section; drawing of a screw (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 9 11/16 x 13 3/8 in. (24.6 x 34 cm),

Saint John the Baptist in the desert, ca. 1637–1639, Etching, Sheet: 6 11/16 × 6 5/8 in. (17 × 16.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Seated, Bearded Man Holding a Banderole, 1524–1606, Pen and brown ink, brown wash, highlighted with white, over black chalk, 9 3/8 x 8 7/16in. (23.8 x 21.5cm), Drawings, Paolo Farinati (Italian, Verona 1524–1606 Verona

The Little Courier, ca. 1496, Engraving, Sheet: 4 5/16 × 3 1/8 in. (11 × 7.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Rapture (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 11 1/8 x 8 3/4 in. (28.3 x 22.2 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard

Design for a Term shaped like a Winged Female Figure, 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 4 5/8 x 1 1/2 in. (11.7 x 3.8 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

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

Flight into Egypt: Altered from Tobias and the Angel by Hercules Segers, ca. 1653, Etching reworked with drypoint and burin by Rembrandt; sixth state of seven, Plate: 8 7/16 × 11 in. (21.4 × 28 cm), Prints, Rembrandt (Rembrandt van Rijn)

The Virgin and Child, ca. 1515-17, Black chalk, 5-5/8 x 4-9/16 in. (14.3 x 11.6 cm), Drawings, Workshop of Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence 1473–1517 Florence

The Wedding of Cupid and Psyche [Right panel], 1530–61, Engraving, sheet: 16 3/16 x 22 1/2 in. (41.1 x 57.1 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), After Giulio Romano (Italian, Rome 1499?–1546 Mantua

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 8 1/16 x 11 9/16 in. (20.4 x 29.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Leda and the Swan, from 'The Loves of the Gods', 1531–76, Engraving, sheet: 6 1/8 x 4 5/16 in. (15.6 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for a Dressing Cabinet with Marble Top and Mirror, early 19th century, Ink and watercolor and wash, sheet: 9 1/2 x 11 7/8 in. (24.1 x 30.2 cm), Anonymous, British, 19th century

A Giant Monkey in Uniform Holding up Pierrot and a Man with a Whip, after 1825, Lithograph touched with pen and brown ink and graphite, sheet: 21 7/8 x 17 in. (55.5 x 43.2 cm), Prints, Anonymous, French, Austrian or German, second decade19th

Panel of Ornament, 17th century, Pen and brown ink, over red chalk., 5 1/8 x 2 5/8 in. (13.0 x 6.7 cm), Drawings, Anonymous, French, 17th century

Beggar Seated Warming His Hands at a Chafing Dish, ca. 1630, Etching; second state of two, Sheet: 3 1/4 in. × 2 in. (8.2 × 5.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Songs of Innocence and of Experience: The Lamb, 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

Beggar Man and Beggar Woman Conversing, 1630, Etching; New Holl. second state of three, Sheet: 29 15/16 × 25 9/16 in. (76 × 65 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Cupid in the Elysian Fields tied to a tree in the centre, surrounded my many figures, 1563, Engraving, sheet: 9 x 14 1/16 in. (22.8 x 35.7 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Plate 8: a seated horse to right, seen from behind and turned to the left, three other horses in middleground, a tree in center, from 'Various Figures' (Agréable diversité de figures), 1642, Etching; fourth state of five (De Vesme), Sheet: 2

Design for a Table with an Acanthus Leaf and Swan Base, 19th century, Pen and brown ink, sheet: 6 1/4 x 7 9/16 in. (15.8 x 19.2 cm), Drawings, Anonymous, French, 19th century

Dressing for Church, ca. 1911, Etching; second state of two, plate: 6 7/8 x 4 15/16 in. (17.5 x 12.5 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Landscape with Lovers, 1740–99, Brush and brown ink, over graphite or black chalk. Framing line in pen and black ink., sheet: 7 11/16 x 6 9/16 in. (19.5 x 16.7 cm), Drawings, Ferdinand Kobell (German, Mannheim 1740–1799 Munich

Design for a Bay of a Side Wall, Château de Béhourt, second half 19th century, Watercolor, 12 5/8 x 4 5/8 in. (32.1 x 11.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Ten designs for the decoration of interiors, 1830–97, graphite, pen and ink, and wash on various papers; mounted on cardboard, Overall: 12 5/16 x 19 3/16 in. (31.2 x 48.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The story of Jason and Medea at the left she carries off her son, in the middle she is shown in her madness, Jason stands at the right, 1531–76, Engraving, sheet: 8 1/2 x 12 1/2 in. (21.6 x 31.8 cm), Prints, Giulio Bonasone (Italian, active

Woman Bathing Her Feet at a Brook, 1658, Etching on japan paper, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Mohammed and the Monk Sergius, 1508, Engraving, sheet: 11 1/4 x 8 7/16 in. (28.6 x 21.5 cm) (trimmed to plate line), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden), The subject of this print is a rarely illustrated

Putti Supporting a Garland, early 18th century, Black chalk on blue paper. Framing lines in pen and brown ink. A vertical strip measuring .6 cm has been added at right., 8 7/16 x 11 11/16 in. (21.5 x 29.7 cm), Drawings, François Le Moyne

Virgin and Child in a Landscape, ca. 1597, Engraving, Sheet: 13 5/16 x 9 5/8 in. (33.8 x 24.4 cm), Prints, Aegidius Sadeler II (Netherlandish, Antwerp 1568–1629 Prague), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Robert Seated, Facing Left, 1885, Drypoint; second state of two, plate: 6 1/4 x 4 5/8 in. (15.9 x 11.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

The Figure of Sarah, Bride of Tobias, 1830–82, Graphite on beige tracing paper, Overall: 11 9/16 x 7 5/16in. (29.4 x 18.5cm), Drawings, Henri Lehmann (French, Kiel 1814–1882 Paris

Design for Two Vases, ca. 1770–85, Pen and brown and gray ink, watercolor, and black chalk, 14 7/8 x 9 1/4 in. (37.8 x 23.5 cm), Drawings, Anonymous, French, 18th century

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 5 7/8 x 4 1/16 in. (15 x 10.3 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

Project for the Monument de la Montagne, Orléans, ca. 1794, Pen and black ink, brush and gray, pink and pale yellow wash, over graphite underdrawing, 21 x 14 1/2 in. (53.4 x 36.9 cm), Drawings, Claude Mathieu Delagardette (French,

Le Joueur de Flageolet (The Flageolet Player), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque Dwarfs), 1616–22, Etching

Design for an Occasional Table, ca. 1770–85, Pen and brown ink, brush and gray wash, watercolor, and graphite, 15 1/4 x 8 15/16 in. (38.7 x 22.7 cm), Drawings, Anonymous, French, 18th century

White Jasmine, March 9, 1911, Watercolor and brown ink over graphite, with details in brown ink, sheet: 13 11/16 x 9 15/16 in. (34.8 x 25.2 cm), Drawings, Margaret Neilson Armstrong (American, New York 1867–1944 New York

Design for Seven Vertical Panels of Arabesque Decoration, Farnsborough, England, 1880–86, Pen and black ink, brush and gray wash, graphite, 11 3/16 x 16 15/16 in. (28.4 x 43 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

Virgin and Child Crowned by Two Angels, 1518, Engraving, Sheet: 6 in. × 4 1/16 in. (15.3 × 10.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cleric (lower register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858); black chalk landscape sketch on verso of support, 19th century, Black chalk, heightened with white chalk, on tracing paper. Paste

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 3 3/8 x 3 5/8 in. (8.5 x 9.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Project for the Monument de la Montagne, Orléans, ca. 1794, Pen and black ink, brush and pink, gray, blue and peach wash, over graphite underdrawing, 14 3/4 x 21 5/16 in. (37.5 x 54.1 cm), Drawings, Claude Mathieu Delagardette (French,

A Choice Spirit, December 1, 1790, Etching and aquatint, sheet: 13 3/8 x 8 5/8 in. (34 x 21.9 cm), Prints, George Moutard Woodward (British, ca. 1760–1809 London

Nocturne, 1879–80, Etching and drypoint; sixth state of nine (Glasgow); printed in black ink on heavy cream Japan, Plate: 7 7/8 x 11 5/8 in. (20 x 29.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Prodigal Son Leaves Home, ca. 1636, Etching, Sheet: 10 1/2 × 13 1/8 in. (26.6 × 33.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Quiet Canal, 1879–80, Etching and drypoint; fourth state of four (Glasgow); brown ink on very fine laid paper, Plate: 8 3/4 × 6 in. (22.3 × 15.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Release of Prometheus, late 19th–early 20th century, Pen and black ink on buff stock, 3 x 8 3/16 in. (7.6 x 20.8 cm), Drawings, Max Klinger (German, Leipzig 1857–1920 Großjena

Design for the Garden Façade of the Palais Royal, 1781, Pen and black ink, brush and gray wash, over traces of black chalk underdrawing, sheet: 10 1/4 x 14 3/16 in. (26.1 x 36 cm), Drawings, Victor Louis (French, Paris 1731–1800 Paris

Lindsay Row, Chelsea, 1888, Transfer lithograph, drawn on coarse-grained transfer paper; only state (Chicago), Image: 4 15/16 × 7 15/16 in. (12.6 × 20.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Figures Watching a Display of Fireworks at Castel Sant'Angelo, Rome (recto); A Distant View of the Fireworks Seen from a Villa Garden (verso), 1606–80, pen and brown ink (recto); pen and brown ink over leadpoint or graphite (verso), 10 1/8 x 14