Images at Librifly

Four Artists seated at a table (Brunet, Potier, Tiercetin [?], Vernet), n.d., Pen and brown ink, brush and gray wash, 3 5/8 x 5 3/16 in. (9.1 x 13.1 cm), Drawings, Attributed to Carle (Antoine Charles Horace) Vernet (French, Bordeaux

Saint Paul (copy), n.d., Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.2 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Two Are But One (Les deux ne font qu'un), late 18th century, Hand-colored etching, sheet: 5 7/8 x 8 3/8 in. (15 x 21.3 cm), Prints, Anonymous, French, 18th century, During the first years of the French REvolution, King Louis XVI was

Classical Bust of a Bearded Male Seen in Profile, 1771–1844, Lead graphite, 9 3/4 x 7 7/8 in. (24.8 x 20.0 cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Isabel de Bourbon on horseback, after Velázquez, 1778, Etching and drypoint, Plate: 14 9/16 × 12 1/4 in. (37 × 31.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), After Velázquez (Diego

Marine, 1865–66, Etching and aquatint on blue laid paper, from 1905 Strölin edition, plate: 5 11/16 x 7 7/8in. (14.4 x 20cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Little Putney, No. 2 (The Little Putney), 1879, Etching and drypoint; third state of three (Glasgow); printed in dark brown ink with selective wiping on ivory laid paper, plate: 4 7/8 x 7 7/8 in. (12.4 x 20 cm), Prints, James McNeill Whistler

The Woman Clothed with the Sun, from the Apocalypse, n.d., Engraving, plate: 11 5/8 x 8 3/8 in. (29.5 x 21.2 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

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.

Christ among the Doctors, ca. 1540–45, Etching and engraving, first state, sheet: 14 5/16 x 18 3/16 in. (36.3 x 46.2 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

'More Pigs Than Teats', –or–the New Litter of Hungry Grunters, Sucking John-Bull's-Old-Sow to Death, March 5, 1806, Hand-colored etching, sheet (clipped impression, inlaid): 9 5/8 x 13 5/8 in. (24.4 x 34.6 cm), Prints, James Gillray

Magdalena Moons, from the series Quatuor Personae..., 1649, Engraving and etching, sheet: 16 3/8 x 12 1/16 in. (41.6 x 30.6 cm), Prints, Engraved by Cornelis Visscher (Dutch, Haarlem (?) 1629–1658 Amsterdam

Procession of Monstrous Figures, 1615, Etching, frieze 1 of 8 plates, sheet: 3 11/16 x 12 3/16 in. (9.3 x 31 cm), Prints, Wendel Dietterlin, the Younger (German, active Strasbourg ca. 1614–69

Landscape with a Square Tower, 1650, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Three Low Gothic Style Arm Chairs, early 19th century, Pen and ink, sheet: 8 1/16 x 12 9/16 in. (20.5 x 31.9 cm), Anonymous, British, 19th century

The Mast (The Venetian Mast), 1879–80, Etching and drypoint; seventh state of twelve (Glasgow); printed in black ink on , Plate: 13 7/16 × 6 3/8 in. (34.1 × 16.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Aeneas Carrying Anchises in the Burning of Troy, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink on mount, 3-13/16 x 5-1/8 in. (9.7 x 13.0 cm), Drawings, attributed to Francesco Allegrini (Italian,

St. Scholastica, Engraving, sheet: 15 1/16 x 9 3/8 in. (38.2 x 23.8 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Portrait of Whistler, 1881, Drypoint, plate: 11 7/8 x 5 15/16 in. (30.1 x 15.1 cm), Prints, Carlo Pellegrini (Italian, Capua 1839–1889 London

Three Dancing Putti, 1640–50, Pen and brown ink, brown wash, 6 5/16 x 8 1/8in. (16.1 x 20.7cm), Drawings, Leonardo Scaglia (Italian, documented Perugia, Ancona, 1640–1650

A drunken Silenus riding an ass being supported by satyrs, 1531–76, Engraving, Sheet: 5 1/2 × 8 11/16 in. (14 × 22 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Man weraing a turban facing left, ca. 1645–50, Etching, sheet: 7 3/16 x 6 in. (18.2 x 15.2 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Palazzo dei Conservatori, portico, plan; portal, elevation; details, elevations (recto) Palazzo dei Conservatori, portico, elevation; details, profiles (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines,

Saint George Standing, ca. 1502, Engraving, Sheet: 4 7/16 × 2 13/16 in. (11.3 × 7.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Francis, Engraving; second state of two (Nagler), sheet: 14 7/8 x 9 1/2 in. (37.8 x 24.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), After Laurent de La Hyre (French, Paris 1606–1656 Paris

The Barber (le Barbier), ca. 1632–33, Etching, sheet: 10 1/16 x 13 1/16 in. (25.5 x 33.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Section of a Ballroom: Three Doorways between Sets of Two Columns, 18th century, Pen and gray ink, brush and brown wash, 9 3/4 x 15 3/4 in. (24.8 x 40.0 cm), Drawings, Anonymous, French, 18th century

The Dandies Coat of Arms, March 28, 1819, Etching, hand colored, sheet: 15 7/16 x 9 15/16 in. (39.2 x 25.3 cm), Prints, George Cruikshank (British, London 1792–1878 London

Beggar Leaning on a Stick, Facing Left, ca. 1630, Etching, Sheet (trimmed to platemark): 3 3/8 × 1 13/16 in. (8.6 × 4.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), Rembrandt made many small etchings of

Two Young Page-Boys, 1600–1650, Pen and brown ink, brush and brown wash, 4 x 2-1/2 in. (10.1 x 6.4 cm), Drawings, Bernardino Rodriguez ('Bernardino Siciliano') (Italian, documented (?) Sicily 1600–1650

Standing Virgin with Child, Two Heads at Upper Right (recto); Sketch of Steps (verso), 1530, Pen and brown ink, over black chalk (recto); pen sketch of steps (?) (verso), 4 13/16 x 3 1/8in. (12.3 x 8cm), Drawings, Battista Franco (Italian,

Diana Resting with Nymphs, Etching and engraving, second state, sheet: 11 11/16 x 15 7/8 in. (29.7 x 40.3 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Plate 11: the pyramid of Caius Cestius to right in the background, a horse grazing in center, a foal suckling a mare to left, a seated shepherd and another standing and pointing towards the left at right, a round composition, from 'Roman

Prudence, 1636, Etching, Sheet (trimmed): 2 7/8 × 1 7/8 in. (7.3 × 4.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Cabinet with Central Drawers and Palmeate Ornament, early 19th century, Pen and ink, sheet: 10 11/16 x 14 15/16 in. (27.1 x 38 cm), Anonymous, British, 19th century

The Duelliste aux Deux Sabres (The Duelist with Two Sabres), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque Dwarfs),

Saint Christopher, probably 16th century, Woodcut, sheet: 10 7/8 x 7 3/4 in. (27.7 x 19.7 cm), Prints, Anonymous, German, 19th century

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.

Elevation of an interior showing a wall decorated in ornate panels and mounted statuettes, 1830–97, graphite, pen and ink, watercolor, and gold paint on wove paper; mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French,

A cavalier and a lady on horseback, within an ornate border decorated with fruit and cornucopias, ca. 1655, Etching, Sheet: 10 11/16 × 8 7/16 in. (27.1 × 21.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Vessel, 18th century, Graphite on laid paper, sheet: 6 5/16 x 5 5/16 in. (16.1 x 13.5 cm), Drawings, Attributed to Anonymous, French, 18th century

Satan Going Forth fron the Presence of the Lord, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 7/16 x 6 5/8 in. (21.4 x 16.8 cm), Prints, William Blake (British, London 1757–1827 London

Bust of a Man in a Hat Gazing Upward, ca. 1480–90, Pen and carbon black ink, over pen and brown ink, on paper prepared with sanguine wash., 5 1/8 x 3 7/8 in. (13 x 9.6 cm), Drawings, Martin Schongauer (German, Colmar ca. 1435/50–1491

Design for a Double Heart Monument, 16th century, Pen and brown ink, black chalk underdrawing, sheet: 16 7/16 x 7 3/16 in. (41.8 x 18.2 cm), Anonymous, French, 16th century

Design for a Triple Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, watercolor, sheet: 16 11/16 x 11 15/16 in. (42.4 x 30.3 cm), Drawings, Anonymous, French, 16th century

Four Putti with Bow and Arrows on Clouds above a Landscape with a Tower, 1591–1666, Pen and brown ink, with brush and brown wash ; some red chalk transferred, sheet: 11 x 7 7/16 in. (27.9 x 18.9 cm), Drawings, Guercino (Giovanni Francesco

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 12 5/8 x 13 in. (32 x 33 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Herd Returning in Stormy Weather, ca. 1650–51, Etching; second state of two (Mannocci), sheet: 6 13/16 x 8 3/4 in. (17.3 x 22.3 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Rébus on the subject of love, a riddle depicted on drapery, below a landscape with a pyramid and two obelisks, a bust of a sphinx at bottom, an oval composition, ca. 1639, Etching, Sheet (trimmed to plate): 11 7/16 × 8 1/4 in. (29.1 × 20.9

Cat and Flowers, 1869, Etching and aquatint; third (final) state; posthumous edition, plate: 7 7/8 x 5 7/8 in. (20 x 14.9 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Gallery, Nôtre-Dame Cathedral, Paris, 1853, etching on laid paper; fourth state of six, sheet: 11 1/8 x 6 7/8 in. (28.3 x 17.5 cm), Prints, Charles Meryon (French, 1821–1868

Numidie, 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 Rectangular and Round Marble-topped Tables and a Tête-à Tête Chair, early 19th century, Ink, watercolor and wash, sheet: 10 7/8 x 14 15/16 in. (27.6 x 38 cm), Anonymous, British, 19th century

Ruth and Boaz, 1607–56, Red chalk and brush and red wash, 6 9/16 x 6 7/8in. (16.7 x 17.4cm), Drawings, Aniello Falcone (Italian, Naples 1607–1656 Naples

Street Scene, ca. 1884, Drypoint; only state, sheet: 4 x 2 11/16 in. (10.2 x 6.9 cm) (trimmed to platemark), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Reclining Female Nude, 1658, Etching, drypoint, and engraving on japan paper, Plate: 3 3/16 × 6 1/4 in. (8.1 × 15.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), The so-called 'Negress' Lying Down is

Designs for a painted ceiling with filagree borders, 1830–97, watercolor, gouache, and gold paint over graphite on wove paper; mounted on wove paper, Overall: 10 3/8 x 14 3/4 in. (26.3 x 37.5 cm), Drawings, Jules-Edmond-Charles Lachaise

The Rabbit, 1866, Etching, drypoint, and bitten tone on laid paper (watermark: Hudelist), only state, plate: 5 1/4 x 4 in. (13.5 x 10.2 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Saint Jerome exctracting a Thorn from the Lion's Foot (copy), n.d., Woodcut, sheet: 9 7/8 x 6 5/8 in. (25.1 x 16.8 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Femme de Lettres, 1911–12, published 1915, Etching; seventh state (?) of seven, plate: 5 7/8 x 7 1/8 in. (14.9 x 18.1 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Study of a Hand, 19th century, Graphite heightened with white on greenish paper, sheet: 8 5/8 x 6 15/16 in. (21.9 x 17.6 cm), Drawings, Anonymous, French, 19th century

The Stoning of St. Stephen, 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Reading by Lamplight, 1859, Etching and drypoint; third state of three (Glasgow); black ink on fine ivory oriental laid paper, Plate: 6 1/4 × 4 5/8 in. (15.9 × 11.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Saint Sebastian Bound to the Column, ca. 1499, Engraving, Sheet: 4 5/16 × 3 1/16 in. (11 × 7.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Well, Hello (Eh bonjour– donc–.), 1821, Lithograph, hand-colored; proof with the publisher's address and the dash at the end of the inscription added by hand in pen and brown ink., Image: 10 3/8 x 8 1/8 in. (26.3 x 20.7 cm), Prints,

Profile of two soldiers wearing fur caps, ca. 1794, Black chalk, 5 7/8 x 4 1/8 in. (14.9 x 10.5 cm), Drawings, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Bibi Lalouette, 1859, Etching and drypoint; second state of two, with the scratch (Glasgow), Plate: 9 x 6 in. (22.9 x 15.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Monogram Surmounted by a Crown, 19th century, Pen and black ink, 8 1/4 x 6 3/4 in. (21.0 x 17.1 cm), Drawings, Charles Monblond (French, 19th century

Two Camel Heads, ca. 1641, Etching, state ii or iii, Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for Ceiling: Gallery of Château de Magnitot (recto); Decorative Design (verso), second half 19th century, Watercolor, gouache, and gilt, 19 7/16 x 13 3/8 in. (49.3 x 34 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Study of Drapery, 1818, Black chalk, heightened with white, squared in black chalk, on beige paper, 8 1/2 x 6 9/16 in. (21.6 x 16.7 cm), Drawings, Jean-Baptiste Joseph Wicar (French, Lille 1762–1834 Rome), Through careful shading, subtle

A Frenchman, Sword in Hand, ca. 1635, Etching, Sheet: 12 3/8 × 8 11/16 in. (31.5 × 22.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and brown and gray wash, and gouache, Irregular sheet: 7 1/16 x 5 3/16 in. (17.9 x 13.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Adoration of the Magi, Engraving, tree etched, plate: 11 5/8 x 17 3/8 in. (29.5 x 44.1 cm), Prints, Attributed to Monogrammist 9 (Italian), After (?) Battista Franco (Italian, Venice ca. 1510–1561 Venice

Rue des Mauvais Garçons, Paris, 1854, Etching on wove paper; first of three states; lines of verse added in pen and ink, plate: 4 15/16 x 3 7/8 in. (12.6 x 9.8 cm), Prints, Charles Meryon (French, 1821–1868

Jan Six, 1647, Etching, drypoint, burin; fourth state of four, image: 10 11/16 x 8 5/16 in. (27.2 x 21.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Portrait of the Artist Théodore Chassériau, 1893, Etching on laid paper, plate: 5 11/16 x 4 3/16 in. (14.5 x 10.7 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Théodore Chassériau (French, Le Limon,

Four Angels holding back the Winds, from the Apocalypse, n.d., Engraving, plate: 11 15/16 x 8 7/16 in. (30.3 x 21.5 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Kensington Gardens, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture, Image: 6 5/8 × 5 13/16 in. (16.8 × 14.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for Door Knocker, 16th century, Pen and brown ink, with brush and brown washes, with graphite underdrawing., 9 3/4 x 7 13/16 in. (24.7 x 19.8 cm.), Attributed to Étienne Delaune (French, Orléans 1518/19–1583 Strasbourg), Design for

Hector's Farewell to Andromache and Astyanax, 1676–1741/46, Pen and brown ink, brush and gray wash, highlighted with white, on brown washed paper, 13 7/16 x 8in. (34.1 x 20.3cm), Drawings, Sebastiano Galeotti (Italian, Florence

Lamp, Late Imperial, 3rd century A.D., Roman, Terracotta, Length 7.5 cm. H. 3.3 cm., Terracottas

Studies of a Draped Female Figure, Kneeling, Seen from the Back, for the East Transept of the Chruch of Sainte-Clothilde, Paris, 1858, Charcoal (rubbed) and graphite on off-white laid paper, 11-3/4 x 8-1/2 in. (29.8 x 21.6 cm), Drawings,

Les Bulos Graves', Victor Hugo at his play 'Les Burgraves', from 'La Caricature', April 2, 1843, Lithograph, sheet: 10 1/8 x 14 7/8 in. (25.7 x 37.8 cm), Prints, Jean-Pierre Moynet (French, 1819–1876

Holy Family with Saint John the Baptist kissing the infant Christ's hand, ca2, Etching, Sheet: 4 15/16 × 3 7/16 in. (12.5 × 8.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Melencolia I (copy), 1602, Engraving, Sheet: 9 1/2 × 7 9/16 in. (24.2 × 19.2 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Beast with Seven Heads and the Beast with Lamb's Horns, from the Apocalypse series, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and gray, black, and brown wash, and gouache, Irregular sheet: 9 1/4 x 5 3/16 in. (23.5 x 13.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

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

Marjorie, Emma and Elsie, 1921, Lithograph, image: 11 1/4 x 13 3/4 in. (28.6 x 34.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Caricature of an Engraver (recto); Sketch for a Caricature (verso), Pen and black ink, brush and gray wash, colored washes, over black chalk (recto); black chalk (verso), 7 1/2 x 4 5/8 in. (19.1 x 11.8 cm), Drawings, Jean Charles Delafosse

Design for a Candelabra, 19th century, Pen and brown ink, sheet: 8 15/16 x 4 13/16 in. (22.7 x 12.3 cm), Drawings, Anonymous, French, 19th century

Plan du Combat de Sinope (Plan of the Battle of Sinope), 1853, Etching, plate: 7 3/16 x 10 1/4 in. (18.3 x 26 cm), Prints, Charles Meryon (French, 1821–1868

Plate 4: a horse in profile facing the left, about to descend from a mound, a horseman to left in background, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 1/8 × 3 3/4 in. (8 × 9.5 cm), Prints,

Prometheus (or Tityus), 1771–1844, Lead graphite, 8 1/8 x 10in. (20.6 x 25.4cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Foolish Virgins Sleeping, ca. 1635, Etching; first state of two, Sheet: 13 x 15 15/16 in. (33 x 40.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Hercules fight adragon in the centre, Achelous carrying off Deianeira upper left, 1531–76, Engraving, sheet: 10 5/8 x 16 7/8 in. (27 x 42.8 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Saint John before God and the Elders, from The Apocalypse, ca. 1496, Woodcut, sheet: 15 1/4 x 10 3/4 in. (38.7 x 27.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Self-portrait, 1857, Etching and bitten tone on wove paper; second state of four, plate: 9 1/16 x 5 11/16 in. (23 x 14.4 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Two Standing Men, 1609/10–?1675, Pen and brown ink, brush and brown wash, 7 x 5-1/4 in. (17.8 x 13.4 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples