Images at Librifly

View of Ancient Roman Ruins, an Arch and a Triangular-Pedimented Doorway, 18th century, Pen and brown ink, brush and gray wash and some traces of leadpoint; framed outlines in black ink and blue wash, 9-1/4 x 7-3/8 in. (23.5 x 18.8 cm) irregular

The Rat Catcher, 1746, Etching with some engraving, Sheet: 9 5/16 x 7 7/16 in. (23.6 x 18.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Frontispiece for Oeuvres Nouvelles de Champfleury, after Courbet, 1860–98, Etching; third and final state, sheet: 8 3/16 x 6 in. (20.8 x 15.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Gustave Courbet

Two designs for paneled ceiling with painted decoration, 19th century, pen and ink, watercolor, and gold paint on two sheets of tracing paper; mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Topographic Plan (Porto Ercole?) in the Shape of a Fan, Etching and engraving, Sheet: 8 7/16 × 11 11/16 in. (21.5 × 29.7 cm), Prints

Design for a Sofa, early 19th century, Graphite, sheet: 9 1/16 x 11 15/16 in. (23 x 30.3 cm), Anonymous, British, 19th century

Sketches of Sculptured Decoration. Entablatures and a Frieze with Human, Animal and Floral Ornaments, mid-17th century, Pen and brown ink, over traces of leadpoint or graphite, sheet: 12 13/16 x 8 11/16 in. (32.5 x 22 cm), After Agostino

A Jemmy, December 1, 1790, Etching and aquatint, sheet: 13 x 8 7/16 in. (33 x 21.5 cm), Prints, George Moutard Woodward (British, ca. 1760–1809 London

Christ Crowned with Thorns, from the Circular Passion, 1509, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Saint Francis beneath a Tree, Praying, 1657, Drypoint and etching on Indian paper; second state of two, plate: 7 1/8 x 9 5/8 in. (18.1 x 24.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), Rembrandt worked

Arms of the Medici with Della Rovere, 1637, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Deucalion et Pyrrha, 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

Soupe à trois sous, 1859, Etching; only state (Glasgow); printed in black ink on fine cream laid paper, Plate: 6 x 8 15/16 in. (15.2 x 22.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Inauguration de la statue equestre de Louis XV, 1766, Etching, third state, sheet: 8 3/8 x 5 5/16 in. (21.3 x 13.5 cm), Prints, After Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris), Etched by Pierre Chenu (French, Paris 1730–late

The Holy Family with Three Hares, ca. 1497–98, Woodcut, first state of nine, image: 15 1/8 x 11 in. (38.4 x 27.9 cm) trimmed to block line, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Augustine and the Child on the Seashore, 1642–1709, Black chalk washed with faint green, 8-5/8 in. circular (21.9 cm), Drawings, Andrea Pozzo (Italian, Trento 1642–1709 Vienna

Plate 7 from the 'Disparates': Disorderly Folly, ca. 1816–23 (published 1864), Etching, aquatint and drypoint, Plate: 9 9/16 × 13 7/8 in. (24.3 × 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Cottage with a White Paling, 1648, Etching and drypoint; third state of three, sheet: 5 3/16 x 6 3/8 in. (13.2 x 16.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Galatea escaping Polyphemus; he is seated on a rock holding a staff and pipes and looking towards Galatea at right riding a shell pulled by two dolphins, Cupid flying above, ca. 1515–1600, Engraving, Sheet (Trimmed): 4 1/4 × 6 11/16 in. (10.8

Hope, 1636, Etching, Sheet (trimmed): 2 15/16 × 1 13/16 in. (7.4 × 4.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Russian Orthodox Cathedral, Paris, 19th century, Pen and black and brown ink, brush and brown, gray, and blue/green wash, gouache, over graphite., sheet: 20 3/16 x 13 7/16 in. (51.2 x 34.2 cm), Drawings, Anonymous, French, 19th century

A young sailor and an old man sitting by the sea, 17th century, Etching; first state of two, Sheet: 4 1/16 × 7 1/8 in. (10.3 × 18.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Tourelle Rue de l'Ecole de Médecine, 22 (House with a Turret, No 22, rue de l'Ecole de Médecine, Paris) (called the Turret of Marat), 1861 or later, Etching with drypoint, plate: 8 5/16 x 5 1/8 in. (21.1 x 13 cm), Prints, Charles Meryon

Design for a Statue consisting of a Satyr and Satyress Lifting a Vase, 1652–1725, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 6 15/16 x 3 1/16 in. (17.6 x 7.8 cm), Attributed to Giovanni Battista Foggini

Unidentified building, elevation and section elevation (recto) Corinthian column base, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 4 5/16 x 10 13/16 in. (11 x 27.5 cm

Designs for an Altar in a Niche, 1735–1817, Pen and brown ink, brush and brown, gray, purple-gray and green wash, over traces of leadpoint; vertical line in leadpoint and pen and brown ink through the center of the drawing to create the

William IV from the series Counts and Countesses of Holland, Zeeland, and West-Frisia, 1650, Engraving and etching; second state of three, sheet: 20 7/16 x 15 1/16 in. (51.9 x 38.2 cm), Prints, Engraved by Cornelis Visscher (Dutch, Haarlem

Ecce Homo, from The Passion, 1512, Engraving, Sheet: 4 1/2 × 2 15/16 in. (11.5 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Lamentation, from The Passion, 1507, Engraving, Sheet: 4 1/2 × 2 3/4 in. (11.5 × 7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Implements Animated, Pl. 1, Dedicated to the Carpenters and Gardeners of Great Britain, 1811, Hand-colored etching, plate: 9 11/16 x 13 13/16 in. (24.6 x 35.1 cm), Prints, Charles Williams (British, active 1797–1830

Nôtre Dame, Paris, 1870, Etching and watercolor on laid paper, plate: 11 9/16 x 13 11/16 in. (29.4 x 34.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Man Assisting a Woman to Mount a Horse, with Two Other Figures and a Dog, 1762–1844, Pen and brown and black ink, brush and brown wash, over black chalk, 4 1/2 x 6 5/8in. (11.4 x 16.8cm), Drawings, attributed to Giuseppe Bernardino Bison

Pompeiian Design for Paneling, second half 19th century, Pen and black ink, watercolor, 9 5/16 x 5 11/16 in. (23.6 x 14.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

The Circle of Traitors: Dante's Foot Striking Bocca degli Abbate, from Dante's Inferno, Canto XXXII, ca. 1825–27, Engraving, plate: 9 3/16 x 13 3/8 in. (23.3 x 34 cm), Prints, William Blake (British, London 1757–1827 London

Design for a ceiling with garland bearing putti, second half 19th century, Graphite, gouache, and watercolor, Overall: 14 13/16 x 10 11/16 in. (37.7 x 27.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Old-Clothes Shop, No. 2 (Rag Shop), [1884–86], Etching and drypoint; third state of three (Glasgow); in dark brown ink on ivory laid paper, Plate: 3 11/16 × 6 7/16 in. (9.3 × 16.3 cm), Prints, James McNeill Whistler (American, Lowell,

Six Horses, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-15/16 x 9-3/4 in. (7.5 x 24.7 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Fashion Drawing with a Woman Seated in a Chair with a Boy and Girl, 19th century, Graphite and watercolor, 6 5/8 x 5 1/4 in. (16.8 x 13.3 cm), Drawings, Pierre-Numa Bassaget, called Numa (French, active 1830–54

The Man of Sorrows Seated, 1515, Etching on iron; first state of three, sheet: 4 5/16 x 2 9/16 in. (11 x 6.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cartouche Formed by a Tiger Skin Flanked by Two Centaurs, 1647, Etching; first state, Sheet (trimmed): 4 13/16 × 3 3/8 in. (12.2 × 8.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Four Designs for Vases, 19th century, Graphite, pen and gray ink, and watercolor. The four designs are pasted onto mounting paper., sheet: 6 15/16 x 10 3/16 in. (17.6 x 25.8 cm), Drawings, Anonymous, French, 19th century

Copies after Raphael's 'The Finding of Moses', Red and white chalk, with touches of pink pastel, 10 1/2 x 17 15/16 in. (26.7 x 45.5 cm), Drawings, Michel Corneille the Younger (French, Paris 1642–1708 Paris

Virtue Crowning a Bearded Man., 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, sheet: 10 3/16 x 10 3/16 in. (25.9 x 25.8 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Lamentation of the Virgin, Etching and engraving, sheet: 11 5/8 x 12 13/16 in. (29.5 x 32.5 cm) trimmed just outside platemark except top which is within, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Plate 23 from 'Los Caprichos': These specks of dust (Aquellos polbos.), 1799, Etching, aquatint, drypoint and burin, Plate: 8 7/16 × 5 13/16 in. (21.5 × 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

France, 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

Christ in Limbo, from The Large Passion, edition 1511, n.d., Woodcut, sheet: 15 9/16 x 10 7/8 in. (39.5 x 27.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Manet Seated, Turned to the Left, ca. 1866–68, Etching, first state (one of four known impressions), plate: 6 3/4 x 4 3/4 in. (17.1 x 12 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris), During the 1860s, when Degas was very

Christ on the Cross, 15th century, Woodcut, hand-colored with illuminated border, 8-19/32 x 5-27/32 in.; 15-5/8 x 11-1/8 in., Prints, Anonymous, German, Basel, 15th century

Plate 9 from 'Los Caprichos': Tantalus (Tantalo.), 1799, Etching and burnished aquatint, Plate: 8 1/16 × 5 7/8 in. (20.5 × 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Gene Speicher Drawing on a Stone, 1921, Lithograph, image: 11 3/8 x 8 5/8 in. (28.9 x 21.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Illustration from Dürers Vier Bucher von Menslicher Proportion, Nuremberg, 1528, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Death of Ananias, 1518, Chiaroscuro woodcut printed from three blocks in grey, Sheet: 9 1/4 × 14 5/8 in. (23.5 × 37.2 cm), Prints, Ugo da Carpi (Italian, Carpi ca. 1480–1532 Bologna), After Raphael (Raffaello Sanzio or Santi) (Italian,

Head of a Man plunged in Shadow, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

The Last Supper (Schr. 176a), 15th century, Woodcut, hand-colored, sheet: 3 3/8 x 2 9/16 in. (8.6 x 6.5 cm), Prints, Anonymous, German, 15th century

Saint Christopher Facing Left, 1521, Engraving, Sheet: 4 9/16 × 2 15/16 in. (11.6 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint John the Baptist and Saint Onuphrius, ca. 1503, Woodcut, sheet: 8 7/16 x 5 11/16 in. (21.5 x 14.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Knife Sharpener, 1742, Etching with some engraving, Sheet: 9 3/16 x 6 7/8 in. (23.3 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

Henri Houssaye, as a child, ca. 1854, Etching, sheet: 12 1/8 x 8 in. (30.8 x 20.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

The Death of Socrates, ca. 1749, Pen and brown ink, brush and brown wash, over red chalk heightened with white gouache., 8 15/16 x 13 3/8 in. (22.7 x 34 cm), Drawings, Michel François Dandré-Bardon (French, Aix-en-Provence 1700–1783

Rustic Market (Nundinae Rusticorum) from The Large Landscapes, ca. 1555–56, Etching and engraving; second state of three, Sheet: 13 9/16 x 17 11/16 in (34.4 x 44.9 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

Seated Woman in Profile after Antique Bas Relief, ca. 1660, Etching, Sheet (trimmed to plate): 5 1/2 × 5 1/16 in. (14 × 12.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Cartouche, 1652–1725, Pen and light brown ink, over traces of black chalk, sheet: 3 15/16 x 2 3/4 in. (10 x 7 cm), Attributed to Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Plate 11: dogs, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 5/16 × 4 3/16 in. (8.4 × 10.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

892 from Modes de Paris, Journal des Tailleurs, 1848, Hand-colored lithograph, sheet: 10 x 6 15/16 in. (25.4 x 17.7 cm), Prints, Anonymous, French, 19th century

A Polish groom, from the back, holding a horse by the bridle, ca. 1662, Etching, Plate: 3 1/8 × 4 1/8 in. (8 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Cabinet-Bookcase and Two Stands for Flowers, early 19th century, Ink, watercolor and wash, sheet: 9 1/16 x 11 13/16 in. (23 x 30 cm), Anonymous, British, 19th century

Design for a Bed with Yellow and Blue Fringed Hangings, early 19th century, Ink, watercolor and wash, sheet: 9 5/8 x 11 5/8 in. (24.4 x 29.5 cm), Anonymous, British, 19th century

Design for a ceiling, second half 19th century, Graphite, pen and black ink, and gray wash, Overall: 10 5/8 x 14 13/16 in. (27 x 37.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Figure Studies, 1810–74, Graphite and black chalk, 8 7/16 x 9 3/4 in. (21.4 x 24.7 cm), Drawings, Alphonse-Henri Périn (French, Paris 1798–1874 Paris

Helleoportic Sibyl, from the series of Sibyls, ca. 1530, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a ceiling painted in filagree designs, second half 19th century, Watercolor, gouache, and gold paint on wove paper; inlaid in wove paper, Overall: 18 15/16 x 13 7/16 in. (48.1 x 34.1 cm), Drawings, Jules-Edmond-Charles Lachaise

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 3/4 x 2 3/16 in. (29.8 x 5.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Knight with Lance, 1604–56, Pen and brown ink, with brush and brown wash, over traces of black chalk, 6 1/8 x 5 11/16in. (15.6 x 14.4cm), Drawings, Baccio del Bianco (Italian, Florence 1604–1656 Escorial

The Wedding Feast at Cana (after Paolo Veronese), 1540–1609, Pen and brown ink on blue paper, 8 1/8 x 12 15/16in. (20.7 x 32.9cm), Drawings, After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42–1609 Ancona), After Paolo

Landscape with a Road Beside a Canal, ca. 1652, Drypoint, plate: 3 1/8 x 8 3/8 in. (8 x 21.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Unidentified, cornice, projection (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 9/16 x 17 3/16 in. (29.4 x 43.6 cm

The Merry Thought, April 16, 1787, Hand-colored etching, sheet: 7 9/16 x 10 in. (19.2 x 25.4 cm), Prints, Attributed to Henry Kingsbury (British, active ca. 1775–98

Bust of Beardless Old Man in Profile Facing Right, ca. 1645–50, Etching, sheet: 4 1/4 x 3 1/8 in. (10.8 x 8 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Plate 15: mid-bust of a young woman in profile wearing a hat topped with feathers, from 'The Book for Learning to Draw' (Livre pour apprendre à dessiner), ca. 1649, Etching, Plate: 3 3/16 × 2 1/2 in. (8.1 × 6.4 cm), Prints, Stefano della

Palazzo Massimo alle Colonne, elevation (recto) Palazzo Massimo alle Colonne, portal, elevation; portal entablature, profile (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 16 9/16 x 11 7/16 in.

Fall, Etching with engraving, sheet: 9 7/8 x 10 5/16 in. (25.1 x 26.2 cm), Prints, Charles Joseph Natoire (French, Nîmes 1700–1777 Castel Gandolfo

Pegasus and the Young Bellephron, late 19th–early 20th century, Pen and black ink on buff stock, 6 3/8 x 4 in. (16.2 x 10.1 cm), Drawings, Max Klinger (German, Leipzig 1857–1920 Großjena

Lady with a Mirror, 1716, Pen and gray ink, brush and gray wash, heightened with white, over traces of graphite, contours incised., 2 15/16 x 4 3/8 in. (7.5 x 11.1 cm), Drawings, Claude Simpol (French, Clamecy 1666–1716 Paris

Design for a Double Townhouse (front elevation), ca. 1843, Watercolor and ink on paper, Sheet: 14 1/2 x 20 1/4 in. (36.8 x 51.4 cm), Alexander Jackson Davis (American, New York 1803–1892 West Orange, New Jersey), Although Davis generally

The Legislator in Office, 1794, Etching, sheet: 15 5/8 x 10 3/16 in. (39.7 x 25.9 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Seated Satyr Holding a Garland, 1696–1770, Pen and dark brown ink, brush with pale and dark brown wash, over leadpoint or black chalk, 7-13/16 x 7-13/16 in. (19.8 x 19.8 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770

Design for the decoration of a ceiling, 1830–97, graphite on wove paper, Overall: 10 5/8 x 14 7/8 in. (27 x 37.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Stage Set: Solomon Receiving the Queen of Sheba under a Baldacchino, with Fantastical Architecture and a Gardenscape., 1728–78, Pen and brown ink, brush and brown wash over graphite, sheet: 8 x 13 5/8 in. (20.3 x 34.6 cm), Carlo

Christ on the Cross, 1508, Engraving, Plate: 5 1/4 x 3 13/16 in. (13.3 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christopher Columbus, n.d., Pen, ink and brown wash heightened with gouache, 6 3/8 x 4 1/4 in. (16.2 x 10.8 cm), Drawings, Jean-Baptiste Dedéban (French, 1781–1849

The Kitchen, [1858] republished 1885, Etching; third state of three (Glasgow); black ink on buff laid paper, Plate: 9 × 6 3/16 in. (22.8 × 15.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Descent from the Cross, n.d., Etching, image: 7 11/16 x 4 13/16 in. (19.6 x 12.3 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris 1730–1805 Shrewsbury

Allegorie sur la Convalescence du Dauphin, 1752, Etching, first state, sheet: 5 1/16 x 6 3/16 in. (12.8 x 15.7 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Horses, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-7/8 x 7-1/8 in. (7.3 x 18.1 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Virginia, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 in. × 2 1/16 in. (7.6 × 5.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin

Design for an Urn, ca. 1770–90, Graphite, pen and gray ink, brush and gray and yellow wash, 19 5/16 x 13 7/16 in. (49.1 x 34.1 cm), Drawings, Anonymous, French, 18th century

Jupiter and Astraea, ca. 1545–50, Pen and brown ink, brush and brown wash, highlighted with white gouache, on paper tinted with a thin brown wash, Sheet: 6 1/4 x 9 1/8 in. (15.9 x 23.1 cm), Drawings, Giulio Campi (Italian, Cremona

Wall Design, 18th century, Leadpoint or graphite with ruled and compass construction, 11 3/8 x 16 in. (28.9 x 40.6 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 4 13/16 x 3 1/8 in. (12.2 x 8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau