Images at Librifly

James McNeill Whistler, 19th century, Etching with plate tone, plate: 11 13/16 x 7 15/16 in. (30 x 20.1 cm), Prints, Carlo Pellegrini (Italian, Capua 1839–1889 London

Joseph Telling His Dreams (reverse copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Moses Striking the Rock, 1634–1705, Pen and brown ink, over lead or black chalk, 10 1/8 x 16 1/4in. (25.7 x 41.2cm), Drawings, Luca Giordano (Italian, Naples 1634–1705 Naples

Joseph's cup being discovered in Benjamin's sack of grain, ca. 1580–90, Engraving, plate: 5 1/4 x 9 5/8 in. (13.3 x 24.5 cm), Prints, Monogrammist PVO (active ca. 1580–90), After Giulio Bonasone (Italian, active Rome and Bologna,

Plate 8 of the'Tauromaquia': A Moor caught by the bull in the ring, 1816, Etching, burnished aquatint and drypoint, sheet: 12 1/16 x 17 1/2 in. (30.7 x 44.5 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Plan and Elevation for a Fountain, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 1/4 x 11 9/16 in. (43.8 x 29.3 cm), Drawings, Anonymous, French, 16th century

The Apocalyptic Woman, from The Apocalypse, 1511, Woodcut, block: 15 1/2 x 11 in. (39.3 x 28 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Satyr family walking towards the left with two goats and a basket of grapes, ca. 1657, Etching; second state of three (Massar), Plate: 8 7/8 x 8 7/8 in. (22.5 x 22.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Caricature of an Engravings Printer, Pen and black ink, brush and gray and colored wash, over traces of black chalk, 7 1/16 x 4 1/16 in. (17.9 x 10.3 cm), Drawings, Jean Charles Delafosse (French, Paris 1734–1789 Paris

Plate 22 from 'Los Caprichos': Poor little girls! (Probrecitas!), 1799, posthumous impression, Etching and burnished aquatint, Plate: 8 1/2 in. × 6 in. (21.6 × 15.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

'That Old Fashioned Mother of Mine', ca. 1928, Etching and engraving; third state of three, sheet: 7 3/4 x 5 7/8 in. (19.7 x 14.9 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Scorn (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Hand-colored etching, printed in brown ink, sheet: 10 3/8 x 8 1/4 in. (26.3 x 21 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Susanna and the Two Elders, ca. 1508, Engraving, sheet: 7 3/4 x 6 5/8 in. (19.7 x 16.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Study of animal heads, n.d., Prints, Claude Gillot (French, Langres 1673–1722 Paris

Design for Curtains with Purple, White and Mink Fabric, Purple Fringes and Gold and White Pediments, early 19th century, Ink, watercolor and wash over graphite, sheet: 10 9/16 x 14 7/8 in. (26.9 x 37.8 cm), Anonymous, British, 19th century

San Lorenzo, Library, pilaster, elevation; soffit, detail, plan (recto) San Lorenzo, Library, entablature, section (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/8 x 11 7/16 in. (44.2 x

The Dressmaker, ca. 1863, Etching on laid paper, sheet: 7 15/16 x 9 7/16 in. (20.2 x 24 cm), Prints, Henri Jean Augustin de Braekeleer (Belgian, Antwerp 1840–1888 Antwerp

A fisherman bringing in his nets, a man at left pushing a bale to the right, two seated figures mending nets, and two figures at right seen from the back, ca. 1662, Etching, Sheet: 3 7/8 × 7 1/16 in. (9.9 × 18 cm), Prints, Etched by Stefano

The Virgin and Child with Chaplets Appearing to Saint Dominic and Saint Catherine of Siena, 1570–1639, Pen and brown ink, brush and brown wash, over black chalk, 8-11/16 x 6 in. (22.1 x 15.3 cm), Drawings, Pietro Mera ('Il Fiammingo')

Italian Theater, 1821, Lithograph on wove paper; only state, Sheet: 10 1/16 x 7 5/16 in. (25.6 x 18.6 cm), Prints, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris), Like many young painters at work in Paris in the 1820s

Joachim and Anna at the Golden Gate, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 17 3/8 x 11 13/16 in. (44.1 x 30 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Recumbent Male Nude, n.d., Red chalk, 11 3/4 x 15 11/16 in. (29.9 x 39.9 cm), Drawings, Charles-Albert Despiau (French, Mont-de-Marsan 1874–1946 Paris

Design for a ceiling in Baroque style with a central panel in trompe l'oeil, 19th century, graphite, pen and ink, watercolor, wash, and gold paint, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Design for Painted Wall Decoration for a Bakery, second half 19th century, Watercolor, 7 1/4 x 3 7/8 in. (18.4 x 9.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Stage Set at the Opéra, Paris, 1840–90, Graphite, Irregular sheet: 13 11/16 x 15 5/8 in. (34.7 x 39.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Christ Washing the Disciples' Feet, 1563–1610, Pen and brown ink, wash, over red chalk on paper, 6-7/16 x 8-1/16 in. (16.3 x 20.4 cm), Drawings, attributed to Francesco Vanni (Italian, Siena 1563–1610 Siena

The Rhinoceros, after 1620, Chiaroscuro woodcut with tone block in printed in light olive green, sheet: 8 7/16 x 11 13/16 in. (21.4 x 30 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Martyrdom of St. Bartholomew, after Mattia Preti, ca. 1774, Brush and brown wash, over traces of graphite., 11 5/8 x 11 11/16 in. (29.5 x 29.7 cm), Drawings, François André Vincent (French, Paris 1746–1816 Paris

Design for a paneled ceiling, 19th century, pen and ink, watercolor, and gouache on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Two alternative designs for the painted decoration of a panel (one with the intertwined initials CL), 19th century, pen and ink, watercolor, and gold paint on paper; mounted on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died

Drawing of an Interior: Salle à manger, 1857, Graphite, pen and blue ink, watercolor, sheet: 8 1/8 x 11 in. (20.7 x 28 cm), Drawings, Anonymous, French, 19th century

Lamech and Cain, 1524, Engraving, sheet: 4 5/8 x 3 in. (11.7 x 7.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Domus Aurea, cryptoporticus, grotteschi, details (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 10 3/8 x 7 3/8 in. (26.4 x 18.7 cm

Caricature of Engravers 'a la Grecque', Pen and black ink with brush and gray and colored wash over traces of black chalk, 7 5/8 x 4 7/8 in. (19.4 x 12.4 cm), Drawings, Jean Charles Delafosse (French, Paris 1734–1789 Paris

Design for a Portable Screen, 1698–1765, Pen and brown ink, brush and gray wash, over traces of graphite or black chalk, 10-1/2 x 9-7/16 in. (26.7 x 24.0 cm), Drawings, Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765

Study for a Book Plate: Leda and the Swan, late 19th–early 20th century, Pen and black ink, brush and black and grey wash, graphite on board., 18 1/4 x 15 5/8 in. (46.4 x 39.7 cm), Drawings, Franz von Bayros (Austrian, Zagreb 1866–1924

Study of a Head, 1837–1911, Graphite on gray paper, 7 3/4 x 7 in. (19.7 x 17.8 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Endymion Sleeping, 1635–50, Pen and brown ink, brush and light brown wash, sheet: 8 3/8 x 9 3/4 in. (21.2 x 24.8 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna), A naked shepherd slumbers for

Design for a ceiling, second half 19th century, Graphite, pen and black ink, and watercolor, Overall: 18 7/16 x 11 in. (46.8 x 27.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Soldiers Giving Drink to Christ, ca. 1512, Engraving, sheet: 4 3/8 x 3 1/4 in. (11.1 x 8.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Stag at bay, from 'Animal hunts' (Chasses à différents animaux), ca. 1654, Etching, Sheet (trimmed): 5 5/8 × 9 7/8 in. (14.3 × 25.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Ecstacy of the Blessed Giacinta Marescotti, 1654–1714, Pen and brown ink, brush with brown and red wash, over red chalk, highlighted with white gouache, 12 11/16 x 8 15/16in. (32.3 x 22.7cm), Drawings, Giuseppe Passeri (Passari)

Embroidery Pattern with an Oblong Panel in its Center, 1521 before, Woodcut, sheet: 10 9/16 x 8 5/16 in. (26.8 x 21.1 cm), Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), After Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise)

Cardinal Bentivoglio, Etching, sheet: 12 5/8 x 10 5/16 in. (32.1 x 26.2 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Anthony van Dyck (Flemish, Antwerp 1599–1641 London

The Witch, ca. 1500, Engraving, Sheet: 4 5/8 × 2 13/16 in. (11.7 × 7.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for the Right Half of an Overdoor Decoration with a Bust, 1652–1725, Pen and brown ink, brush and gray-brown wash. A vertical graphite line through the center of the design, sheet: 5 13/16 x 5 in. (14.7 x 12.7 cm), Giovanni Battista

Battle Scene with the Emblems of the Farnese Family., 16th century, Pen and brown ink, brush and brown wash, on wood panel, Image as framed: 6 3/4 x 4 15/16 in. (17.1 x 12.5 cm), Drawings, Anonymous, Italian?, 16th century (near Francesco

Jan Uytenbogaert (The Gold Weigher), 1639, Etching and drypoint, Plate: 9 15/16 × 8 1/16 in. (25.2 × 20.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Studies for headpieces and vignettes in the book, Amor und Psyche (Opus V), 1878, Pen and ink on blue paper, sheet: 7 x 4 in. (17.8 x 10.2 cm), Drawings, Max Klinger (German, Leipzig 1857–1920 Großjena

Litigium removed from the body of Chaos while his mother is thrown into the air, set within a frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 5/16 x 3 15/16 in. (13.5 x 10 cm), Prints, Giulio Bonasone

St. Bavo, from the series Saints of North and South Netherlands, 1650, Engraving and etching, sheet: 17 1/8 x 11 13/16 in. (43.5 x 30 cm), Prints, Engraved by Cornelis Visscher (Dutch, Haarlem (?) 1629–1658 Amsterdam

Joseph and Potiphar's Wife (reverse copy), n.d., sheet: 4 13/16 x 6 3/8 in. (12.2 x 16.2 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Pizzaro a New Play or the Drury-Lane Masquerade, June 11, 1799, Hand-colored etching, sheet: 10 3/16 x 16 1/4 in. (25.9 x 41.2 cm), Prints, Anonymous, British, 18th century

Apollo Driving the Chariot of the Rising Sun., 1527–85, Pen and brown ink, brush and brown wash, over black chalk; squared in red chalk, 9 9/16 x 14in. (24.3 x 35.5cm), Drawings, Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid), This

Painted Wall Decor Featuring Thin Column with a Pair of Swans and Trompe L'Oeil Vases at Base, 19th century, Gouache, watercolor, pen and black ink, 8 7/16 x 7 7/16 in. (21.5 x 18.9 cm), Drawings, Attributed to Jules-Edmond-Charles Lachaise

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 4 1/8 x 6 in. (10.4 x 15.2 cm), Drawings, Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

Songs of Innocence and of Experience: Nurse's Song, 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

Procession of Monstrous Figures, 1615, Etching, frieze 1 of 8 plates, sheet: 3 11/16 x 12 1/2 in. (9.4 x 31.8 cm), Prints, Wendel Dietterlin, the Younger (German, active Strasbourg ca. 1614–69

Allegory of the Trinitarian Order, 1577–1668, Pen and brown ink, brush and brown wash, over red chalk. Squared in red chalk. Arched framing lines above in pen and brown ink, 8 1/8 x 6 9/16in. (20.6 x 16.6cm), Drawings, Alessandro Tiarini

Le Paysan qui avait offense son Seigneur, from Contes et nouvelles en vers par Jean de La Fontaine. A Paris, de l'imprimerie de P. Didot, l'an III de la République, 1795, published in 1795, Etching and engraving; second state of three (Cohen),

Two Urns Decorated with Human Figures, Animals and Garlands., n.d., Pen and brown ink, brush with brown and gray wash highlighted with white gouache over traces of graphite, sheet: 9 3/4 x 9 3/16 in. (24.7 x 23.3 cm), Drawings, After Polidoro

Six Designs for the Decoration of Rectangular and Horizontal reliefs, 1762–1844, Pen and brown ink, brush and grey wash over traces of black chalk, 4 x 5- 7/8 in. (10.1 x 14.9 cm), Giuseppe Bernardino Bison (Italian, Palmanova 1762–1844

Design of Rinceaux., 1470–1510, Pen and brown ink, over traces of construction lines in black chalk or lead point, 1 7/8 x 11 1/4in. (4.7 x 28.5cm), Drawings, Ascribed to Circle of Andrea Mantegna (Italian, Isola di Carturo 1430/31–1506

Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out' (Ho hay que dar voces.), 1811–12 (published 1863), Etching, burnished aquatint, burin and burnisher, Plate: 6 1/8 × 8 1/16 in. (15.5 × 20.5 cm),

Design for a Fruit Plate, 19th century, Brush and yellow, red, green, and gray ink, heightened with white, over graphite., sheet: 12 1/16 x 9 9/16 in. (30.7 x 24.3 cm), Drawings, Anonymous, French, 19th century

Monstrosity of 1829: 'Lo this is their very guise', 1829, Hand-colored etching, plate: 14 5/16 x 10 1/8 in. (36.4 x 25.7 cm), Prints, Attributed to William Heath ('Paul Pry') (British, London 1795–1840 Hampstead

Design for a Stage Set at the Opéra, Paris: Church Interior, 1830–90, Pen and gray, red, and black ink, brush and gray wash, over graphite, Irregular sheet: 12 15/16 x 19 5/16 in. (32.9 x 49.1 cm), Drawings, Eugène Cicéri (French,

The Last Judgment, 1558, Engraving; first state of two, sheet: 10 1/4 x 13 9/16 in. (26 x 34.4 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish, ca.

Design for a Statue of Prudence with Sketches at Upper Left Corner., n.d., Pen and brown ink, brush and gray wash over traces of black chalk, sheet: 5 1/4 x 2 11/16 in. (13.4 x 6.9 cm), Drawings, Giuseppe Bernardino Bison (Italian, Palmanova

The Lime-Burner (W. Jones, Lime-Burner, Thames Street), 1859, Etching and drypoint; second state of two (Glasgow); black ink on fine, Plate: 9 7/8 x 6 7/8 in. (25.1 x 17.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Design for a Freestanding Tomb Seen in Elevation and Plan, 1530–35, Pen and brown ink, brush and brown wash, over extensive compass-incised and stylus-ruled construction with pin-pricked measurements, on off-white paper now partly darkened,

Plate 44 from 'The Disasters of War' (Los Desastres de la Guerra): 'I saw it' (Yo lo vi.), 1810 (published 1863), Etching, drypoint and burin, Plate: 6 1/4 × 9 1/4 in. (15.8 × 23.5 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for a Jardiniere, 19th century, Graphite, watercolor, and gouache, sheet: 11 1/4 x 18 3/16 in. (28.6 x 46.2 cm), Drawings, Anonymous, French, 19th century

Design for the Left Half of an Altar, 1730–66, Pen and deep brown ink, brush and brown wash, 5 9/16 x 2 3/8in. (14.1 x 6cm), Mauro Antonio Tesi (Italian, Montalbano 1730–1766 Bologna

Design for a Vase, ca. 1770–85, Watercolor, and graphite, 6 1/8 x 4 1/8 in. (15.6 x 10.4 cm), Drawings, Anonymous, French, 18th century

Bibi Valentin, 1859, Etching and drypoint; second state of two, from the damaged plate (Glasgow); black ink on fine ivory laid Japan, plate: 5 15/16 x 8 15/16 in. (15.1 x 22.7 cm), Prints, James McNeill Whistler (American, Lowell,

Sheet of Sketches, ca. 1735, Etching, image: 5 1/2 x 8 3/16 in. (14 x 20.8 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Teals, 1850–1914, Etching; third state of four, sheet: 17 7/16 x 14 1/8 in. (44.3 x 35.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Man seen from the Front, holding the Skin of his right Arm and Leg in his right Hand, 16th century, Engraving, sheet: 5 7/8 x 4 7/16 in. (15 x 11.3 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Flagellation, ca. 1552–61, Etching and engraving, sheet: 16 7/16 x 21 9/16 in. (41.8 x 54.7 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), After Titian (Tiziano Vecellio) (Italian, Pieve di

No. 51 from La Mode Illustrée, 1869, Hand-colored lithograph, sheet: 14 7/8 x 10 9/16 in. (37.8 x 26.9 cm), Prints, Adèle-Anaïs Toudouze (French, Paris 1822–1899 Paris

Line in front of the Butcher Shop, 1870–71, Etching on light blue laid paper, only state, from 1905 Strölin edition, plate: 9 1/4 x 6 1/8in. (23.5 x 15.6cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Sudarium Held by Two Angels, 1513, Engraving, Sheet: 4 in. × 5 1/2 in. (10.1 × 13.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Deposition, from The Small Passion (copy), n.d., Engraving, plate: 1 15/16 x 1 9/16 in. (5 x 4 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Possibly Marcantonio Raimondi (Italian, Argini (?) ca.

The Holy Family with Attendant Angels, 1612–50, Pen and brown ink (recto); fragmentary copy in pen and brown ink of figures in Mantegna's engraving, the Senators (verso) (Bartsch, 8, pp. 234-235, no. 11), 5 3/8 x 6 1/16in. (13.7 x 15.4cm),

Chelsea Rags, 1888, Transfer lithograph, drawn on coarse-grained transfer paper; only state (Chicago), Image: 7 1/16 × 6 1/4 in. (18 × 15.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Arion and Two Cupids on a Dolphin, 1527–85, Brush and ink, 10-7/8 x 8-5/16 in. (27.6 x 21.1 cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

The Patriotick Barber of New York, or the Captain in the Suds, February 14, 1775, Mezzotint, plate: 13 7/8 x 10 in. (35.3 x 25.4 cm), Prints, Attributed to Philip Dawe (British, 1745?–?1809), In this satire, issued in London the year

Satyrs Abducting Nymphs, n.d., Pen and black ink, brush and gray wash, over traces of graphite, 16 1/16 x 12 11/16 in. (40.8 x 32.3 cm.), Drawings, François Jean Sablet (French, Morges 1745–1819 Nantes

[Arch of Constantine], cornice, elevation in profile, ornamental detailing (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines

Design for a Candelabra, 19th century, Pen and brown ink, sheet: 9 1/16 x 5 3/16 in. (23 x 13.2 cm), Drawings, Anonymous, French, 19th century

La famille des Cochons ramenée dans l'étable (The family of pigs pulled to the stable), June 25, 1791, Hand-colored etching, sheet: 6 1/8 x 8 7/8 in. (15.5 x 22.5 cm), Prints, Anonymous, French, 18th century

French Volunteers Marching to the Conquest of Great Britain, October 25, 1803, Hand-colored etching, sheet: 8 9/16 x 24 in. (21.8 x 60.9 cm), Prints, James Gillray (British, Chelsea 1756–1815 London), After? Charles Loraine Smith (British,

A Bearded Man in a Cloak and Turban Facing Right., 1610–64, Pen and light brown ink; a few strokes in graphite at lower left corner, Sheet: 2 5/8 x 2 5/16 in. (6.6 x 5.8 cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664

White Lilies, March 12, 1911, Watercolor and brown ink over 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

Design for a sepulchral monument with a portrait bust; verso: Design for a reliquary (?), late 17th–early 18th century, Pen and brown ink, red chalk, brown and red wash, over black chalk or graphite; verso: black chalk or graphite, sheet: 7

Theatrical Pleasures, ( Snug in the Gallery, Plate 3), ca. 1835, Hand-colored etching, image: 8 3/4 x 7 3/16 in. (22.3 x 18.2 cm), Prints, Theodore Lane (British, Isleworth ca. 1800–1828 London

Design for a Stage Set at the Opéra, Paris: Balustrade with Chinese Motif, 1830–90, Graphite, Irregular sheet: 3 9/16 x 16 3/4 in. (9 x 42.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Lucy Hessel in the Bedroom ('Le Boudoir'), ca. 1917, Black and red conté crayon on paper, sheet: 7 1/2 x 5 3/4 in. (19.1 x 14.6 cm), Drawings, Édouard Vuillard (French, Cuiseaux 1868–1940 La Baule

Woman and Man Seated on Lionskin, Man Pouring Wine, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca.