Images at Librifly

Allegorical Figure of Purity with a Unicorn (recto); Study for Drapery (verso), 1650, Red chalk, highlighted with white chalk, on thick beige paper (recto); study for drapery in red chalk (verso), 11 3/4 x 8 9/16in. (29.9 x 21.8cm), Drawings,

View of the Ponte Vecchio, Florence, 17th century, Brush and green, brown and gray wash over black chalk and graphite, 10 3/8 x 16 9/16 in. (26.3 x 42.1 cm), Drawings, Israel Silvestre (French, Nancy 1621–1691 Paris

Design for a ceiling with floral accents and Greek key border, second half 19th century, Graphite, gouache, adn watercolor, Overall: 10 11/16 x 14 7/8 in. (27.1 x 37.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Bavaria, from Pictures of Extra Articles and Visitors to the Exhibition, ca. 1851, Wood engraving, sheet: 4 3/4 x 13 7/8 in. (12.1 x 35.3 cm), Prints, Richard Doyle (British, London 1824–1883 London), London's Great Exhibition of the Works

The Ball, ca. 1634–35, Etching; second state of two (Duplessis), Sheet (trimmed): 10 3/8 × 13 3/8 in. (26.3 × 34 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Madonna on the Crescent, Frontispiece to The Life of the Virgin, ca. 1511, Woodcut, sheet: 16 7/8 x 11 9/16 in. (42.9 x 29.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Two Horse Heads, ca. 1649, Etching, state i, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Holy Family with Mary Magdalene and John the Baptist who embraces Christ, 1543, Engraving, sheet: 10 7/8 x 7 13/16 in. (27.7 x 19.9 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Parmigianino

Nocturne, 1879–80, Etching and drypoint ; ninth state of nine from the cancelled plate (Glasgow), Plate: 7 7/8 × 11 1/2 in. (20 × 29.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Head of a Woman, second half 17th century, Black chalk on gray paper, 12 1/4 (patched at bottom to 13 5/8) x 10 1/4 in., Drawings, Anonymous, French, 17th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 1/16 x 5 3/4 in. (23 x 14.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Knight, Death, and the Devil (copy), n.d., Engraving, Sheet: 10 3/16 × 7 15/16 in. (25.8 × 20.2 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Banquet of the Rich Man, mid to late 17th century, Etching; first state of two, Sheet (trimmed): 10 5/16 × 13 1/8 in. (26.2 × 33.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Nôtre-Dame (Decoration for a Plate), 1850–1914, Etching on laid paper, sheet: 12 5/8 x 19 3/16 in. (32 x 48.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Chained Nude Prisoner, After Pietro Tacca, 1729–1804, Pen and black ink, brush with brown, gray, and black wash, highlighted with white gouache, over black chalk, on violet prepared paper faded to light pink, 10 11/16 x 6 1/8in. (27.2 x

Design for the Ceiling Decoration in Vasari's House in Arezzo, 1511–74, Pen and brown ink, brush and rose-brown wash, over black chalk, and compass and ruled construction, sheet: 13 1/2 x 9 1/2 in. (34.3 x 24.1 cm), Giorgio Vasari (Italian,

The Crucifixion, from the Circular Passion, 1509, Engraving, Diameter: 11 1/4 in. (28.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Christ before Pilate, from the Passion (copy), n.d., Engraving, Sheet: 4 1/2 × 2 15/16 in. (11.5 × 7.5 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.

Design for a Bowl, ca. 1770–90, Pen and gray and rose ink, brush and gray wash, 15 1/8 x 9 in. (38.4 x 22.8 cm), Drawings, Anonymous, French, 18th century

The Piazetta (The Piazzetta), 1879–80, Etching and drypoint; fifth state of nine (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 10 x 7 1/8 in. (25.4 x 18.1 cm), Prints, James McNeill Whistler (American, Lowell,

Plate 16 from the 'Disparates': Wounds heal quicker than hasty words, ca. 1816–23 (published 1864), Etching and burnished aquatint, Plate: 9 5/8 x 14 in. (24.5 x 35.5 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Design for Three Chairs, Two with Armorial Ornament on Backs, early 19th century, Graphite, sheet: 10 13/16 x 14 13/16 in. (27.4 x 37.7 cm), Anonymous, British, 19th century

Groupe de deux angelots (l'un regardant de face et l'autre vers la gauche), Etching, sheet: 9 13/16 x 8 7/16 in. (25 x 21.4 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels

Finding the bodies of Saints Peter and Paul, 1645–51, Etching, Sheet: 11 13/16 × 8 1/8 in. (30 × 20.7 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for a Pulpit, 18th century, Pen and black ink, brush and brown, gray, and blue washes, over black chalk underdrawing, sheet: 16 13/16 x 10 9/16 in. (42.7 x 26.9 cm), Drawings, Louis Gustave Taraval (French, Stockholm 1738–1794

Winged Putti with Open Music Books, 1629–1700, Red chalk, 9 13/16 x 7in. (24.9 x 17.8cm), Drawings, Lorenzo Pasinelli (Italian, Bologna 1629–1700 Bologna

Study of a young man bending forward to kiss a hand, for the painting The Departure of the Prodigal Son (now lost), 1862–63, Graphite, heightened with white, on pink paper, 9 1/2 x 12 1/16 in. (24.1 x 30.6 cm), Drawings, James Tissot

Study of a Garden Sculpture: Leda?, 1727–1804, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 10 1/16 x 5 3/8 in. (25.5 x 13.6 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Lovers (Schr. 1976), 15th century, Woodcut, restrike, sheet: 11 1/8 x 9 7/16 in. (28.2 x 23.9 cm), Prints, Anonymous, German, 15th century

Design for Cartouche with Banners, Drums, Leaves and a Woman's Head with Tiara., 1732–1802, Pen and brown ink, brush and brown wash highlighted with white gouache; traces of graphite at center, Sheet: 10 9/16 x 7 13/16 in. (26.9 x 19.8 cm),

The Adoration of the Magi, 1654–1727, Red chalk, 11 3/16 x 12 11/16in. (28.4 x 32.3cm), Drawings, Giuseppe Bartolomeo Chiari (Italian, Lucca or Rome 1654–1727 Rome

Jael Killing Sisera, without ornamental frame (copy), early 16th century, sheet: 9 11/16 x 6 7/8 in. (24.6 x 17.5 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Visitation, ca. 1599–1610, Pen and brown ink, brush and brown wash, over black chalk, sheet: 4 3/4 x 4 1/4 in. (12 x 10.8 cm), Drawings, Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612 Florence

Two Alternative Designs for a Mirror Stand, 1698–1765, Pen and brown ink, brush with brown and gray wash, over traces of graphite or black chalk, sheet: 12 3/8 x 8 1/2 in. (31.4 x 21.6 cm), Drawings, Giovanni Battista Natali III (Italian,

Design for Three Upright Panels of Ornament Arabesques, 18th century, Pen and brown ink, 8 7/8 x 6 9/16 in. (22.5 x 16.7 cm) - torn center and mended, Anonymous, French, 18th century

Study for the Portrait of General Desaix, ca. 1800, Black and white chalk on blue paper, 12 1/16 x 9 1/2 in. (30.7 x 24.1 cm), Drawings, Andrea Appiani (Italian, Milan 1754–1817 Milan

Virgin on a Grassy Bench, ca. 1503, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.5 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A lion, dragon and fox fighting each other, boats on the sea in the background, an oval composition, ca. 1515–1600, Engraving, Sheet (Trimmed to image): 4 5/8 × 6 11/16 in. (11.8 × 17 cm), Prints, Anonymous, Italian, 16th to early 17th

Justice, from the series The Virtues, 1530, Engraving; third state, sheet: 6 3/8 x 4 3/16 in. (16.2 x 10.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Milkmaid, 1510, Engraving, Sheet: 4 1/2 x 6 1/8 in. (11.4 x 15.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden), In a print that has been described as the earliest Dutch image of a milkmaid, a buxom lass and

Saint George on Horseback, 1508/1518, Chiaroscuro woodcut in two blocks, sheet: 12 13/16 x 9 1/8 in. (32.5 x 23.1 cm), Prints, Hans Burgkmair (German, Augsburg 1473–1531 Augsburg

The Repeal, or the Funeral of Miss Ame-Stamp, 1766, Hand-colored etching, plate: 8 7/8 x 13 5/8 in. (22.5 x 34.6 cm), Prints, Anonymous, British, 18th century, British politicians are imagined processing through the London docks to mourn the

The Beast with Seven Heads and Ten Horns, from the Apocalypse, n.d., Engraving, sheet: 12 3/16 x 9 in. (30.9 x 22.9 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

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

Castello Colonna at Genazzano, Italy, 1835, Pen and brown ink, over traces of graphite, on cream-colored laid paper, 12 11/16 x 19 5/16 in. (32.3 x 49cm), Drawings, Claude-Félix-Théodore (called Caruelle) d'Aligny (French, Chaumes,

Portrait of a Man, 18th century, Graphite, 6 x 4 15/16 in. (15.2 x 12.6 cm), Drawings, Attributed to Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Le Bouvier pres d'une mare, Etching, plate: 11 5/8 x 18 1/8 in. (29.6 x 46 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Jacques Fouquieres (Flemish, 1590/91–1659

Seated Satyress, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over red chalk, 7-1/2 x 6-5/16 in. (19 x 16.1 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Design for a Cabinet with a Vitrine, 19th century, Graphite, pen and black ink, watercolor, gouache, 11 7/8 x 7 3/16 in. (30.1 x 18.2 cm), Drawings, Anonymous, French, 19th century

Plate 17 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not agree.' (No se convienen.), 1810 (published 1863), Etching, drypoint, burin and burnisher, Plate: 5 11/16 × 8 7/16 in. (14.5 × 21.5 cm), Prints, Goya (Francisco

Crowd Leaving a Theatre [?], 19th century, Graphite, black and red chalk, heightened with white, 12 1/2 x 16 7/8 in. (31.7 x 42.8 cm). Top corners rounded., Drawings, Pierre-Numa Bassaget, called Numa (French, active 1830–54

Portrait of Abraham Francen, ca. 1656, Etching, 6 1/8 x 9 1/16 in. (15.6 x 23 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a coffered ceiling decorated with rinceaux, 1840–97, graphite, pen and ink, wash and gouache on wove paper, inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Ecce Homo, from the Circular Passion, 1509, Engraving, Diameter: 11 3/8 in. (28.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Mercury and Argus, counterproof of copy in reverse after Cantarini, ca. 1630–1648 or after, Etching, Sheet: 13 7/16 × 15 3/4 in. (34.2 × 40 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Saint Christopher and Saint John the Baptist (Sch9m), ca. 1480–90, Woodcut, hand-colored., 9-1/2 x 6-3/4 in. (cut just outside the picture), Prints

Sheet of Studies: Five Angels (recto); Youth in Clerical Robes and Other Studies (verso), 1696–1770, Pen and brown ink, brush and brown wash (recto), pen and brown and black ink (verso), 8-11/16 x 8-5/8 in. (22.1 x 21.9 cm), Drawings,

Feast of Pan, n.d., Etching, fourth state, sheet: 11 x 16 5/8 in. (28 x 42.2 cm), Prints, Claude Gillot (French, Langres 1673–1722 Paris

Embracing Female Figures, Some Holding Musical Scores., 1570–73, Pen and brown ink, brush and brown wash, partly highlighted with white gouache (somewhat oxidized), over black chalk; squared in black chalk, sheet: 5 3/16 x 9 5/8 in. (13.2 x

A Little Cheque (The Small Plate), 1915, Etching and engraving; second state, plate: 5 15/16 x 3 15/16 in. (15.1 x 10 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Le Pont-neuf et la Samartaine de dessous la première arche du Pont-au-Change (Pont-neuf and the Samartaine seen from under the first arch of the Pont-au-Change, Paris, after Nicolle), 1855, Etching with engraving, plate: 5 3/4 x 8 in. (14.6 x

Shepherd and Shepherdess Conversing in a Landscape, ca. 1651, Etching; second state of seven (Mannocci), sheet: 7 11/16 x 10 1/4 in. (19.6 x 26 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Cleric (lower register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Red and white chalk, traces of black chalk, on beige paper. Scattered stains., 18 1/2 x 11 3/4 in. (47.0 x 29.8 cm),

Design for a ceiling decoration, 19th century, Watercolor over graphite, sheet: 16 x 14 5/8 in. (40.7 x 37.1 cm), Drawings, Anonymous, French, 19th century

Design for an earring with a green scarab, 19th century, Ink and watercolor on cardboard, sheet: 9 3/16 x 6 1/4 in. (23.4 x 15.8 cm), Drawings, Anonymous, French, 19th century

Exhibition 'Stare' Case, 1811 (?), Etching, hand colored, sheet: 18 3/4 x 13 1/16 in. (47.6 x 33.2 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), One of Rowlandson's most ebullient designs, this etching simultaneously

Rue des Toiles, Bourges, 1853, Etching with drypoint; eighth state of eight, plate: 8 3/8 x4 5/8 in. (21.3 x 11.7 cm), Prints, Charles Meryon (French, 1821–1868

A Cavalry Fight, 1629, Etching; second state of two, Sheet (trimmed to and just within the platemark): 4 1/8 × 3 1/8 in. (10.5 × 8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Discovery of Romulus and Remus (recto); Three Ancient Soldiers (verso), 1690–1700, Pen and brown ink, brush and brown wash, on brownish paper, 7-5/8 x 11-7/16 in. (19.4 x 29.1 cm), Drawings, Paolo Pagani (Italian, Castello Valsolda

Figure on Seagoat; Man Carving Wing, 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

Suggestion by Whistler for his Portrait, 19th–20th century, Commercial relief process, sheet: 9 x 5 15/16 in. (22.9 x 15.1 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Fitzroy Square (Street Scene), 1878–81, Etching; third state of three (Glasgow); printed in brownish-black ink on medium weight laid paper, Sheet: 8 7/8 × 6 13/16 in. (22.5 × 17.3 cm), Prints, After James McNeill Whistler (American, Lowell,

A group of figures at right witnessing a shipwreck, ca. 1515–27, Engraving, Sheet (Trimmed): 2 5/8 × 3 9/16 in. (6.6 × 9 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), After Francesco Salviati (Francesco de'

Head of a Man in Profile to Right, 1503–40, Pen and brown ink, over black chalk, 2 3/8 x 2 1/4in. (6 x 5.7cm), Drawings, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore

Germany, from Pictures of Extra Articles and Visitors to the Exhibition, ca. 1851, Wood engraving, sheet: 4 3/4 x 13 7/8 in. (12.1 x 35.3 cm), Prints, Richard Doyle (British, London 1824–1883 London), London's Great Exhibition of the Works

The mystic marriage of Saint Catherine, ca. 1560–1600, Etching, plate: 8 1/16 x 5 13/16 in. (20.5 x 14.8 cm), Prints, Anonymous, Italian, 16th century, After Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After

Arizona Thistle, Carduus Arizonicus, August 3, 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

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and gray and violet wash, Irregular sheet: 2 5/16 x 11 7/8 in. (5.9 x 30.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

A River God (recto); Sketches for the Vestibule of the Laurenziana, Florence (verso), 1511–92, Pen and brown ink (recto); Pen and brown ink, with red chalk (verso), 7-1/4 x 9-1/2 in. (18.4 x 24.1 cm), Drawings, Bartolomeo Ammanati

Study for an Arched Alcove with a Canapé, ca. 1804–10, Pen and gray ink, brush and colored wash, 9 3/8 x 11 1/4 in. (23.8 x 28.6 cm), Drawings, Anonymous, French, 19th century

Richard Brocklesby, physician, 1764–1802, Black and red chalk, varnished, on thin laid paper. Oval., 5-7/8 x 5 in. (14.9 x 12.7 cm), Drawings, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon

Saint George, n.d., Woodcut, sheet: 1 1/4 x 1 5/8 in. (3.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Water, ca. 1630, Etching, Sheet (trimmed): 5 15/16 × 4 5/16 in. (15.1 × 11 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plate 22 from the 'Tauromaquia':Manly courage of the celebrated Panjuelera in [the ring] at Saragosa., 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 13/16 × 13 3/4 in. (25 × 35 cm), Prints, Goya (Francisco de Goya y

The Palazzo Reale at Pórtici with Vesuvius in the Background, n.d., Red chalk. Vertical crease at center., 13 3/16 x 18 7/8 in. (33.5 x 47.9 cm), Drawings, Louis Chaix (French, Marseilles 1740–1811 Paris

Butcher Birds, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 10 13/16 x 7 1/16 in. (27.4 x 17.9 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882

Two satyrs placing Silenus on a braying mule and a third satyr at left, ca. 1515–1600, Engraving, Sheet (Trimmed): 4 3/16 × 6 3/4 in. (10.7 × 17.2 cm), Prints, Anonymous, Italian, 16th to early 17th century, After Marco Dente (Italian,

Two Monastic Figures Standing before a Church, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-1/2 x 3-1/8 in. (6.4 x 7.9 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679

Illustration for a Book: Allegory of Venice, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-7/8 x 6 in. (7.3 x 15.2 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

The Blindness of Tobit, 1651, Etching with touches of drypoint; first state of two, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Pompeiian Design for Paneling, second half 19th century, Pen and black ink, watercolor, and gouache, 8 5/8 x 4 in. (21.9 x 10.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Conversations under the Statue, Luxembourg Gardens, 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on machine-made, tan laid paper, Image: 6 11/16 × 6 1/16 in. (17 ×

Portrait of a Girl and her Dog, ca. 1796–97, Pen and black and gray ink, brush and gray wash, 17 1/8 x 12 3/8 in. (43.5 x 31.5 cm), Drawings, Jean Jacques Lequeu (French, Rouen 1757–1825 Paris

Illustration for a Book: Meeting Between a Pope and Doge, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-13/16 x 6-1/4 in. (7.2 x 15.8 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Barefooted Child, 1896–97, Drypoint on blue paper; third state of five (Mathews & Shapiro), plate: 9 1/2 x 12 9/16 in. (24.1 x 31.9 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Self-Portrait in a Velvet Cap with Plume, 1638, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Three Oriental Figures (Jacob and Laban?), 1641, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Stage Design for Boris Godounov for the Opera Russe de Paris on its South American Tour, 1929-30, ca. 1929, Gouache and metallic paints over graphite, sheet: 13 7/8 x 22 in. (35.3 x 55.9 cm), Drawings, Pavel Petrovic Froman (Russian, Moscow

Calochortus Nuttalli, May 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 1867–1944 New York