Images at Librifly

Warrior with an Axe and Study of a Leg, 1897, Graphite, red and white oil paint, pen and brown ink, Sheet: 20 x 13 13/16 in. (50.8 x 35.1cm), Drawings, Fernand Cormon (French, Paris 1854–1924 Paris

Three Designs for Panels of Arabesques, late 18th century, Pen and black and brown ink, brush and gray wash, over graphite, sheet A: 14 1/8 x 2 3/16 in. (35.8 x 5.5 cm), Drawings, Anonymous, French, 18th century

Turkeys, 1879–80, Etching and drypoint; first state of two (Glasgow); printed in brown ink on medium, Plate: 8 3/16 × 5 9/16 in. (20.8 × 14.1 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Birth of the Virgin, from The Life of the Virgin (copy), n.d., Woodcut, Sheet: 11 7/8 × 8 1/4 in. (30.2 × 20.9 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 16 7/16 x 10 11/16 in. (41.8 x 27.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Father and Son, 1895, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on cream Japanese paper, Image: 8 5/16 × 6 1/8 in. (21.1 × 15.6 cm), Prints, James McNeill Whistler (American,

The Martyrdom of Saint John, from The Apocalypse, Latin Edition 1511, ca. 1496, Woodcut, sheet: 15 5/16 x 10 15/16 in. (38.9 x 27.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 33 from the 'Tauromaquia': The unlucky death of Pepe Illo in the ring at Madrid., 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 11/16 × 13 3/4 in. (24.6 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for Jewelry, 19th century, Pen and black ink, brush and yellow wash, heightened with white, sheet: 4 1/4 x 5 1/2 in. (10.8 x 14 cm), Drawings, Anonymous, French, 19th century

Hôtel Colbert, Windows, 1891, Transfer lithograph drawn on fine-grained transfer paper; only state (Chicago), Image: 6 5/8 × 5 1/16 in. (16.9 × 12.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Calvary (Golgotha), 1517, Engraving; first state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Horse, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-5/8 x 3-3/16 in. (6.7 x 8.1 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Landscape with a Hay Barn and a Flock of Sheep, 1652, Etching and drypoint; second state of two, sheet: 4 1/16 x 7 11/16 in. (10.3 x 19.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Parlor Critic, 1921, Lithograph, image: 10 x 8 3/4 in. (25.4 x 22.2 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

The Shoemaker, 1896, Transfer lithograph with stumping, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on medium weight ivory laid paper, Image: 6 1/4 × 8 11/16 in. (15.8 × 22.1 cm), Prints, James

Back View of Standing Woman, 1830–71, Red Chalk, Overall: 12 1/4 x 9 1/4in. (31.1 x 23.5cm), Drawings, Alexandre Laemlein (French, Hohenfeld 1813–1871 Pontlevoy

Monsters, Monkeys, and Men, ca. 1820, Lithograph on china paper, sheet: 16 7/16 x 20 3/16 in. (41.7 x 51.3 cm), Prints, Anonymous, French, Austrian or German, second decade19th century

Susanna and the Elders., 1647–1726, Pen and brown ink, over traces of black chalk or graphite, sheet: 7 7/16 x 7 5/8 in. (18.9 x 19.3 cm), Drawings, Attributed to Gregorio de' Ferrari (Italian, Porto Maurizio 1647–1726 Genoa

Allegory of Penance and Death, 1612–50, Pen and brown ink, over traces of black chalk, 5 3/8 x 14 1/16in. (13.6 x 35.7cm), Drawings, Pietro Testa (Italian, Lucca 1612–1650 Rome

Architectural Design for a Ceiling with a Dome, 1735–1817, Pen and brown ink, brush and brown wash, gray and blue wash over traces of leadpoint, 11-1/4 x 10-3/16 in. (28.6 x 25.8 cm) irregular borders, Flaminio Innocenzo Minozzi (Italian,

Passerelle du Pont-au-Change, après l'incendie de 1621 (The Footbridge temporarily replacing the Pont-au-Change, Paris, after the fire of 1621, after Della Bella), 1860, Etching, plate: 4 11/16 x 9 in. (11.9 x 22.8 cm), Prints, Charles

Autumn, ca. 1637, Etching, Sheet (trimmed): 10 1/4 × 12 5/8 in. (26 × 32.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Ceremony of Investiture of My L**d S**m**th with the Order of Cabbage-hood, ca. June 1819, Hand-colored etching, sheet: 10 5/16 x 14 13/16 in. (26.2 x 37.6 cm), Prints, J. Lewis Marks (British, active 1814–32 or later

Self-Portrait, 1837–1911, Graphite on wove paper, sheet: 8 1/4 x 6 5/16 in. (21 x 16.1 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

A Small Cupid with His Bow, from 'Various figures and doodles' (Diverses figures et griffonnemens), ca. 1646, Etching, Sheet (trimmed): 3 1/4 × 2 1/2 in. (8.3 × 6.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Portrait of a Lady, seated, 18th century, Red chalk, 8 1/8 x 5 7/8 in. (20.6 x 14.9 cm), Drawings, Anonymous, French, 18th century

Design for an Altar with Kneeling Angels Supporting a Crucifix, 1634–89, Pen and brown ink, brush and brown wash, over black chalk, Sheet: 12 3/16 x 10 13/16 in. (31 x 27.4 cm), Drawings, Ciro Ferri (Italian, Rome 1634?–1689 Rome

Thomas Haaringh (Old Haaringh), ca. 1655, Drypoint and burin; second state of two, sheet: 7 13/16 x 5 15/16 in. (19.8 x 15.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Man Standing in Three-Quarter View Facing Left, 1702–88, Graphite, reworked with brush and brown wash in shadows, 15 1/2 x 9 9/16in. (39.4 x 24.3cm), Drawings, attributed to Francesco Zuccarelli (Italian, Pitigliano 1702–1788 Florence

Mother and Child, No. 2, 1891 and 1895, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on cream Japanese laid paper, image: 6 3/4 x 7 3/4 in. (17.1 x 19.7 cm), Prints, James McNeill

Rocky Landscape with Hunters, 1786, Pen and brown ink, brush and brown and gray wash; framing line in black ink, sheet: 15 1/16 x 18 3/4 in. (38.2 x 47.6 cm), Drawings, Johann Christian Reinhart (German, Hof 1761–1847 Rome

Interior of a Smoking-Room or Club-Room, 1878, Watercolor and gouache over graphite, 13 3/8 x 18 1/4 in. (33.9 x 46.4 cm), A. Fix (French

A standing monk, 18th century, Black and white chalk on gray-brown paper, 16 1/2 x 10 7/8 in. (41.9 x 27.6 cm), Drawings, Anonymous, French, 18th century

Saint Lucy in Glory, 1686–1775, Brush and red and brown wash, over red chalk, 11 3/4 x 12 11/16in. (29.9 x 32.3cm), Drawings, Carlo Innocenzo Carloni (Italian, Scaria 1686–1775 Scaria

Illustration for a Book: General Carried in Triumph, 1696–1770, Graphite or black chalk. Traces of reworking in red chalk. Horizontal and vertical centering lines ruled in faint graphite or black chalk, 4-5/16 x 7-1/2 in. (11.0 x 19.1 cm),

Presentation of the Virgin in the Temple (below), Abraham about to Sacrifice Isaac (above), 1520, Pen and brown ink, brush and brown wash, highlighted with white gouache, squared in black chalk, on brownish paper. The empty triangular corners

Juno at the right turning and speaking to the Fates, set within an elaborate frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 3/8 x 4 1/8 in. (13.7 x 10.5 cm), Prints, Giulio Bonasone (Italian, active

Seated Male Nude, 1510–63, Red chalk, 6-5/16 x 4-3/8 in. (16 x 11.1 cm), Drawings, Francesco Salviati (Francesco de' Rossi) (Italian, Florence 1510–1563 Rome

Head of Satyr and Three Figures, 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

Design for an Urn, ca. 1770–90, Pen and brown ink, graphite, 12 3/8 x 8 3/4 in. (31.5 x 22.3 cm), Drawings, Anonymous, French, 18th century

Old Westminster Bridge, 1859, Etching and drypoint; third state of four (Glasgow); black ink on fine fibrous laid Japan paper, plate: 3 x 7 7/8 in. (7.6 x 20 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

The Holy Spirit Surrounded by a Wreath of Flowers Held up by Infant Angels, 1632–98, Pen and brown ink, brush and brown wash, over black chalk, 7-1/2 x 8-1/8 in. (19.1 x 20.6 cm), Drawings, Giovanni Battista Merano (Italian, Genoa

Ecce Homo, 1511, Woodcut, sheet: 5 1/16 x 3 3/8 in. (12.8 x 8.6 cm), Prints, Hans Baldung (called Hans Baldung Grien) (German, Schwäbisch Gmünd (?) 1484/85–1545 Strasbourg (Strassburg

The Crucifixion (Round) (copy), 1847, Engraving, Sheet: 3 7/16 × 2 3/4 in. (8.8 × 7 cm), Prints, Carl Kappes, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Rape of Europa, 1546, engraving, sheet: 11 9/16 x 17 1/16 in. (29.4 x 43.3 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome

Drawing of Cartouche with Bearded Man Left, Young man crowned with Laurels Right, and Four Putti, 1498–1561, Pen and brown ink, 8 1/8 x 6 1/8in. (20.6 x 15.6cm), Drawings, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design with Flowers, 19th century, Watercolor over graphite, 13 3/16 x 18 11/16 in. (33.5 x 47.5 cm), Drawings, Anonymous, French, 19th century

Male Actor in Ballet Costume, n.d., Pen and black ink over chalk, 16 7/8 x 12 1/16 in. (42.8 x 30.7 cm), Drawings, After (?) Jean Berain (French, Saint-Mihiel 1640–1711 Paris), Drawing with a design for a male ballet costume, consisting of

Design for a Vessel, 19th century, Pen and ink with wash, sheet: 10 3/8 x 6 9/16 in. (26.3 x 16.6 cm), Drawings, Anonymous, French, 19th century

Henri II, roi de France, Etching, image: 12 1/16 x 8 3/16 in. (30.7 x 20.8 cm), trimmed to image, Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After François Clouet (French, Tours (?), active by 1536–died 1572 Paris

A Water-mill near Saint-Denis, 1850, Etching on wove paper; first state of two, plate: 5 3/8 x 9 1/2 in. (13.7 x 24.2 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman (Dutch, Amsterdam ca. 1623–1664

Easter Daisy, Townsendia exscapa, 1909–14, 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

Campagne du Vice-amiral Cte d'Estaing, 1778, Pen and gray and brown ink with brush and gray wash, 10 7/8 x 16 1/8 in. (27.7 x 41 cm.), Drawings, Pierre Ozanne (French, Brest 1737–1813 Brest

Sheet of sketches, 18th century, Etching, sheet: 6 1/4 x 3 11/16 in. (15.9 x 9.4 cm), Prints, Hubert François Gravelot (French, Paris 1699–1773 Paris

Venus and Mars discovered by Apollo, from 'The Loves of the Gods', 1531–60, Engraving, sheet: 6 11/16 x 4 3/4 in. (17 x 12 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Virgin and Christ Child, 1641, Etching; second state of three, Sheet (trimmed): 3 3/8 × 3 1/2 in. (8.5 × 8.9 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Little Cavaliers, after 'Velázquez', 1861–62, etching, drypoint, and bitten tone on laid paper (watermark: H P Hallines); state one of six, plate: 9 1/4 x 14 13/16 in. (23.5 x 37.7 cm), Prints, Édouard Manet (French, Paris

Gaiety Stage Door, 1879 and 1887, Transfer lithograph with scraping, drawn on coarse-grained transfer paper; only state; printed in black ink on grayish Japanese paper mounted on off-white plate paper, Image: 4 13/16 × 7 11/16 in. (12.3 × 19.5

Studies for four urns with a walking stick and hat, 18th century, Pen and black ink, traces of black chalk, sheet: 6 3/8 x 12 9/16 in. (16.2 x 31.9 cm), Drawings, Anonymous, German, 18th century (?), Anonymous, French, 18th century

Plate 19: Torso of a Man with a Shield and Eye Study, from 'Collection of various doodles and etching proofs' (Recueil de divers griffonnements et preuves d'eauforte), ca. 1646, Etching; third state of four (De Vesme), Plate: 7/8 × 4 7/8 in.

Winter, ca. 1637, Etching, Sheet (trimmed): 10 5/16 × 12 15/16 in. (26.2 × 32.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for one section of a ceiling painted in trompe l'oeil iron work with flowering vines and birds, second half 19th century, Graphite, pen and black ink, watercolor and gouache, sheet: 8 3/8 x 11 in. (21.3 x 27.9 cm), Drawings,

Alecto and Her Train, at the Gate of Pandaemonium:–or–The Recruiting Sarjeant Enlisting John Bull, Into the Revolution Service, July 4, 1791, Hand-colored etching, sheet: 15 1/2 x 17 1/2 in. (39.3 x 44.4 cm), Prints, James Gillray

Jupiter, Neptune, and Pluto offering their crowns to the arms of Cardinal Borghese, ca2–1643, Etching, Sheet (Trimmed): 12 1/4 × 17 1/8 in. (31.1 × 43.5 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Clement de Jonghe, printseller, 1651, Etching, drypoint, and burin; fourth state of six, sheet: 8 3/16 x 6 5/16 in. (20.8 x 16 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Préparatif pour le départ du Prince et Princesse des Nabots. L'incomparable Baron de Catagon leur présentes une Nouvelle Coeffure, do son Invention, qui lui merité le glorieux titre de Restaurateur des Nabots, 18th century, Etching, sheet:

Bust of a Man with Long Beard (recto), 1477–1549, Black chalk, 10 3/16 x 6 5/16in. (25.9 x 16cm), Drawings, Sodoma (Giovanni Antonio Bazzi) (Italian, Vercelli 1477–1549 Siena

Christ before the High Priest Caiphas, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-3/4 x 3-1/8 in. (7.0 x 7.9 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Songs of Innocence and of Experience: The Angel, 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

Flying Angel, 1553–1626, Red and some black chalk. Squared in red chalk, 6 15/16 x 8 1/2in. (17.6 x 21.6cm), Drawings, Attributed to Pomarancio (Cristoforo Roncalli) (Italian, Pomarance ca. 1553–1626 Rome

The Rock of Aeolus, 1652, Etching, Sheet: 12 1/2 in. × 9 in. (31.7 × 22.8 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

American Wildflower with Yellow Blossoms, May 11, 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

Street Show (Paillasse) (recto); a clown playing a drum (verso), 1825–79, Black chalk and watercolor on laid paper (recto); graphite and black chalk (verso), 14 3/8 x 10 1/16 in. (36.5 x 25.5cm), Drawings, Honoré Daumier (French, Marseilles

Design for Upright Decorative Panels, 18th century, Pen and gray ink, brush and gray wash with background in brush and blue wash. Cut at the bottom., 7 3/8 x 6 3/16 in. (18.7 x 15.7 cm), Drawings, Anonymous, French, 18th century

Design for Ceiling Decorations, Fontainebleau, second half 19th century, Graphite, 20 1/8 x 9 1/2 in. (51.1 x 24.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Sadness (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 11 3/16 x 9 in. (28.4 x 22.8 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Watch Your Rear ! ! ! !, 1822, Lithograph; only state, Sheet: 12 5/16 x 9 7/8 in. (31.2 x 25.1 cm), Prints, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris

Mexico, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 1/2 × 2 3/16 in. (8.9 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin

Half-Figure of a Male Nude with Arms behind Back, 1585–1644, Red chalk on beige paper, 12 15/16 x 10 13/16in. (32.9 x 27.4cm), Drawings, Ottavio Vannini (Italian, Florence 1585–1644 Florence

Saint Matthew, 1835–67, Graphite and white gouache on gray-brown paper, 17 1/2 x 7 11/16 in. (44.5 x 19.6 cm), Drawings, Camille-Auguste Gastine (French, Paris 1819–1867 Paris

Juno persuading Athena to nurse the young Hercules, set within an elaborate frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 3/8 x 3 15/16 in. (13.7 x 10 cm), Prints, Giulio Bonasone (Italian, active Rome

Male Figure Running, 1582–1647, Pen and brown ink, 8 1/16 x 4 5/8in. (20.5 x 11.8cm), Drawings, Giovanni Lanfranco (Italian, Parma 1582–1647 Rome

Flayed man seen from behind, 1531–76, Engraving, sheet: 5 7/8 x 4 5/16 in. (15 x 11 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Solomon Worshiping an Idol, ca. 1514, Woodcut, sheet: 16 1/16 x 11 3/16 in. (40.8 x 28.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Francisco Valdes, Spanish Commander, from the series Quatuor Personae..., 1649, Engraving and etching; second state of two, sheet: 16 7/16 x 11 15/16 in. (41.7 x 30.3 cm), Prints, Engraved by Cornelis Visscher (Dutch, Haarlem (?) 1629–1658

Venus and Adonis, ca. 1637–1639, Etching, Sheet: 4 5/8 × 6 7/8 in. (11.8 × 17.4 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

L'Entrée au Musée, 1808, Hand-colored etching, plate: 7 13/16 x 10 1/2 in. (19.8 x 26.7 cm), Prints, Anonymous, French, 19th century

Draped Figure Reclining, 1892, Transfer lithograph, drawn on thin, transparent transfer paper; second state of two (Chicago); printed in rose, bluish-green, olive green, yellowish-green, purple-brown, pale ochre and orange-red (it is likely

Design for a Salt Cellar and Tazza, n.d., Pen and brown ink, brush and brown wash, over black chalk, sheet: 16 15/16 x 11 in. (43 x 27.9 cm), Drawings, Attributed to workshop of Ottavio Strada (Italian (naturalized), Nuremberg (?) 1550–1606

Gants de Suède, 1890, Transfer lithograph, drawn on medium-grained transfer paper; only state (Chicago); printed in black ink on fine dark cream Japan, Image: 8 1/2 in. × 4 in. (21.6 × 10.2 cm), Prints, James McNeill Whistler (American,

Study of the Right Leg of a Male Child, Pen and brown ink over black chalk and stylus underdrawing, 8 5/16 x 4 13/16 in. (21.1 x 12.2 cm), Drawings, Attributed to Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome

Hatred or Jealousy, January 21, 1800, Hand-colored etching, printed in brown ink, Sheet (trimmed): 11 1/4 × 8 7/8 in. (28.5 × 22.6 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Musical Trophy, 19th century, Brush and brown wash, black chalk, heightened with white. Pricked for transfer., 14 3/16 x 11 15/16in. (36 x 30.3cm), Drawings, Charles Monblond (French, 19th century

Nursemaids: 'Les Bonnes du Luxembourg', 1894, Transfer lithograph, drawn on fine-grained transfer paper, second state of two (Chicago); printed in black ink on fine cream laid paper removed from an old ledger, Image: 7 15/16 × 6 1/4 in. (20.2

Ceiling Design for the Pless Chateau, Silesia, second half 19th century, Gouache, circular sheet: 13 in. (33 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Chimneypiece, Pen and black ink, brush and gray wash, 15 9/16 x 11 9/16 in. (39.5 x 29.4 cm), Drawings, Jean Charles Delafosse (French, Paris 1734–1789 Paris

St. Anthony, Archbishop of Florence, 1651, Etching, Sheet: 4 3/4 × 5 7/8 in. (12 × 15 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Visitation of the Virgin to Saint Elizabeth, 1560–1631, Pen and brown ink, brush and pale brown wash, over black and red chalk. Framing lines in pen and brown ink. Squared lightly in black chalk, 13-1/16 x 10-3/16 in. (33.2 x 25.9 cm),

Design for a Cabinet with Columns and Inset Fabric Panels: Elevation and Side View, early 19th century, Graphite, sheet: 10 3/4 x 14 13/16 in. (27.3 x 37.7 cm), Anonymous, British, 19th century

Design for a Sculptural Frame Decorated with Angel Heads, Volutes and Leaves (for a Ceiling ?); Design for a Base Decorated with Angel Heads, Volutes and Leaves, early 16th century, Pen and brown ink, brush and brown wash over traces of