Images at Librifly

Coat of Arms with a Mask, Held by Two Genii, 1527, Engraving, sheet: 3 x 4 5/8 in. (7.6 x 11.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a Cartouche with a Lion's Head and Nimbus, 1732–1802, Pen and brown ink, brush and green wash with framing lines in gray-green ink, 7 x 8- 7/16 in. (17.8 x 21.4 cm), Carlo Bianconi (Italian, Bologna 1732–1802 Milan

Plate 25 from 'The Disasters of War' (Los Desastres de la Guerra):'These too. (Tambien estos.), 1810 ( published 1863), Etching, drypoint and burin , Plate: 6 1/2 × 9 1/4 in. (16.5 × 23.5 cm), Prints, Goya (Francisco de Goya y Lucientes)

Sphiron, ca. 1639–40, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 7/8 x 8 3/8 in. (35.3 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676

David in Prayer, 1652, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Satan Before the Throne of God, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 7/16 x 6 9/16 in. (21.4 x 16.7 cm), Prints, William Blake (British, London 1757–1827 London

The Pic-Nic Orchestra, April 23, 1802, Hand-colored etching and engraving, plate: 10 x 14 in. (25.4 x 35.6 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

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

Lodging Pilgrims, possibly 1635, Etching with engraving, Sheet (trimmed): 10 1/4 × 12 7/16 in. (26 × 31.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Progress of Love, 1803, Brush and brown wash over black chalk underdrawing, framing lines in pen and black ink, brush and black wash, sheet: 16 9/16 x 21 5/8 in. (42 x 55 cm), Drawings, Antoine Pierre Mongin (French, Paris 1761/62–1827

Old Man with a Long Beard, 1761, Etching and drypoint; third state of three (Meyer), plate: 5 1/2 x 4 3/16 in. (14 x 10.6 cm), Prints, Captain William E. Baillie (Irish, County Kilbride 1723–1810 London), After Rembrandt (Rembrandt van Rijn)

Figures from 'The Deluge' of Michelangelo, 1837–1911, Metalpoint, 7 13/16 x 10 1/8 in. (19.9 x 25.7 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Head of a Woman in Profile, 16th century, Black and red chalk, framing lines in pen and black ink, sheet: 4 7/8 x 3 1/4 in. (12.4 x 8.3 cm), Drawings, Anonymous, French, 16th century

Margot Leaning Against Her Mother, 1923, Drypoint; second state of two, restrike, plate: 9 13/16 x 6 15/16 in. (24.9 x 17.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Circe drinking from a cup with the companions of Ulysses in a boat at left, a circular composition, 1531–76, Engraving, sheet: 8 7/16 x 7 15/16 in. (21.5 x 20.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after

'What are You Laughing at? To the Victor Belong the Spoils' (from Harper's Weekly), November 25, 1871, Wood engraving, sheet: 15 3/8 x 10 9/16 in. (39 x 26.9 cm), Prints, Thomas Nast (American (born Germany), Landau 1840–1902 Guayaquil),

The Kitchen, 1858, Etching; second state of three (Glasgow); dark brown ink on buff chine on off-white wove paper (chine collé), Plate: 8 15/16 × 6 1/8 in. (22.7 × 15.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Contes et nouvelles en vers: Le Savetier, 1795, Etching, third state, sheet: 12 1/8 x 10 1/2 in. (30.8 x 26.6 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Jean Dambrun (French, Paris 1741–after 1808

George W. Whistler, 1800–1849, 1841–60, Engraving, sheet: 9 5/8 x 7 in. (24.4 x 17.8 cm), Prints, William G. Jackman (British, active America ca. 1841–1860

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

Design for a ceiling painted with clouds and flowering vines, 1830–97, graphite, pen and ink, watercolor on wove paper, image: 8 x 10 9/16 in. (20.3 x 26.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Design for a Porcelain Cup, 19th century, Graphite, watercolor, and gouache, heightened with white, sheet: 10 3/16 x 15 7/8 in. (25.8 x 40.4 cm), Drawings, Anonymous, French, 19th century

Le Goût du Jour, No. 21: Les Modernes Incroyables, from Caricatures Parisiennes, ca. 1815, Etching, hand-colored, sheet: 14 5/8 x 10 3/8 in. (37.1 x 26.3 cm), Prints, Georges Jacques Gatine (French, Caen, ca. 1773–after 1841

The Fair, 1895–96, Transfer lithograph, drawn on thin, transparent transfer paper; first state of two, Image: 9 5/16 × 6 1/4 in. (23.6 × 15.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

A Woman Distributing Bread from a Basket: Study for 'Feed the Hungry, ' in the Chapel of the Seven Corporal Works of Mercy (Les Oeuvres de Miséricorde), Church of Saint-Eustache, Paris, 1850–53, Fabricated black and white chalk, squared with

The Little Girl, 1861–62, Etching and drypoint on laid paper, state one of two, plate: 8 1/8 x 4 5/8in. (20.6 x 11.7cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Design for Two Vases, ca. 1770–85, Pen and gray and brown ink, and watercolor, 14 7/8 x 9 3/16 in. (37.8 x 23.3 cm), Drawings, Anonymous, French, 18th century

The Barnacle Girl, ca. 1919, Etching; second state of two, plate: 6 7/8 x 4 13/16 in. (17.5 x 12.2 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

The Terrace at the Villa Brancas, 1876, Etching; eighth and final state, plate: 12 11/16 x 17 5/8 in. (32.3 x 44.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Collège Henri IV (ou Lycée Napoléon), 1863–64, Etching; tenth state, plate: 11 3/4 x 19 in. (29.8 x 48.3 cm), Prints, Charles Meryon (French, 1821–1868

Female Figure with Tripod, 18th century, Graphite, pen and brown ink; framing lines in graphite, 6 13/16 x 3 7/16 in. (17.3 x 8.8 cm), Drawings, Anonymous, French, 18th century

Hope (Spes) from The Virtues, ca. 1559–60, Engraving, sheet: 10 5/16 x 11 7/8 in. (26.2 x 30.2 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips Galle (Netherlandish, Haarlem

Design for Ceiling of Grand Salon, Hôtel Hope, 1867, Pen and black ink, and gouache, 9 15/16 x 13 3/16 in. (25.2 x 33.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Ceiling: Venice Receiving Homage, 1755–60, Pen and black ink, brush and gray-green and blue-gray wash, over black chalk, 11 7/8 x 8 1/16in. (30.2 x 20.5cm), Drawings, Gaspare Diziani (Italian, Belluno 1689–1767 Venice), This

Christ in Limbo (reverse copy), n.d., Engraving, Sheet: 4 3/4 × 3 1/8 in. (12 × 7.9 cm), Prints, Bundele, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Raising of Lazarus, small plate, 1642, Etching; first state of two, sheet: 6 x 4 1/2 in. (15.2 x 11.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Vase with a Cross-section of its Neck (recto); Design for a Vase with studies of a Muscular Nude Male Figure and figures for a Baptism (verso), 1652–1725, Pen and brown ink, brush and gray wash, over traces of black chalk (recto);

Two Designs for the decoration of walls pierced by pairs of double doors, 1830–97, graphite and watercolor on tracing paper; mounted on heavy wove paper, Overall: 11 7/8 x 9 in. (30.2 x 22.8 cm), Drawings, Jules-Edmond-Charles Lachaise

Plate 40 from 'Los Caprichos': Of what ill will he die? (De que mal morira?), 1799, Etching and aquatint, Plate: 8 3/8 x 5 13/16 in. (21.3 x 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Design for a Lady's Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 1/2 x 11 11/16 in. (44.4 x 29.7 cm), Drawings, Anonymous, French, 16th century

Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere, another group of scholars in the background, ca. 1515–27, Engraving, Sheet (Trimmed): 8 11/16 × 6 7/8 in. (22 ×

Prodigieux Effet Produit dans la Masse au Salon de 1840, 1840, Lithograph, image: 6 5/8 x 9 in. (16.8 x 22.9 cm), Prints, Anonymous, French, 19th century

Nude female figure standing with clasped hands, n.d., Graphite on cream paper, Overall: 14 1/8 x 9 1/16 in. (35.9 x 23 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

Young Cleric Kneeling before a Pope, 1663–1716, Pen and brown ink, brush and brown wash, over black chalk, 7 5/16 x 4 9/16in. (18.5 x 11.6cm), Drawings, Pietro Antonio de' Pietri (Italian, Cremia 1663–1716 Rome

Inauguration de la statue equestre de Louis XV, 1766, Etching, before legend, image: 7 3/16 x 4 7/16 in. (18.3 x 11.3 cm), trimmed to image, Prints, After Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris), Etched by Pierre Chenu

Horsemen and Soldiers, 1610–64, Pen and brown ink on paper, 3 1/2 x 5 1/2in. (8.9 x 14cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Stage Set at the Opéra, Paris, 1830–90, Brush and brown and green wash, over graphite, sheet: 9 1/2 x 3 in. (24.1 x 7.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Architectural Capriccio: Vaulted Passageway Leading to a Square, 1712–93, Pen and brown ink, brush and brown wash, over traces of black chalk. Framing lines in pen and brown ink, 8 x 9 5/8in. (20.3 x 24.5cm), Drawings, Francesco Guardi

Christ Giving the Host to a Holy Abbess, 1690, Pen and brown ink, brush and gray wash. Squared in black chalk, 15-11/16 x 9-3/16 in. (39.9 x 23.3 cm), Drawings, Giovanni Battista Gaulli (Il Baciccio) (Italian, Genoa 1639–1709 Rome

La Coupe Enchantee, 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), Sheet: 14 1/16 × 10

Self-Portrait with Plumed Cap and Lowered Sabre, 1634, Etching; second state of three, plate: 5 1/8 x 4 1/4 in. (13 x 10.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Nemesis (The Great Fortune), ca. 1501, Engraving, Sheet: 13 1/16 × 9 1/16 in. (33.1 × 23 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 1: Two palms and a coat of arms frame the title and dedication, title page for 'Various Figures' (Agréable diversité de figures), 1642, Etching; fourth state of five (De Vesme), Sheet: 3 1/16 × 4 1/8 in. (7.8 × 10.5 cm), Prints,

Old Man in Meditation, Leaning on a Book, ca. 1645, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Gothic Tracery and Paneling, early 19th century, Ink and watercolor and wash, sheet: 9 7/16 x 11 7/8 in. (24 x 30.2 cm), Drawings, Anonymous, British, 19th century

Design for Ceiling, 18th century, Leadpoint or graphite with ruled and compass construction, 10 7/8 x 12 1/2 in. (27.7 x 31.8 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

Design for a Stage Set at the Opéra, Paris, 1825–90, Graphite, heightened with white, Irregular sheet: 12 1/2 x 16 7/16 in. (31.7 x 41.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

An Apparition, 1615–73, Pen and brown ink, lightly washed, 7 3/8 × 5 1/2 in. (18.7 × 13.9 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Design for the decoration of a beamed ceiling, 1840–97, graphite and watercolor on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for Chalice with Arms of Jean-François Paul LeFevre de Caumartin, Bishop of Vannes, 18th century, Pen and brown ink, brush and gray wash, brush and yellow wash, sheet: 13 15/16 x 8 1/16 in. (35.4 x 20.4 cm), Drawings, Anonymous,

Designs for painted panels, 1830–97, graphite, watercolor, and gold paint on wove paper, Overall: 10 15/16 x 10 5/8 in. (27.8 x 27 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Head of Bearded Old Man, 1805, Reddish-brown chalk, sheet: 23 9/16 x 17 in. (59.9 x 43.2 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

The Vision, ca. 1630, Etching; first state of five (Mannocci), sheet: 4 3/16 x 6 13/16 in. (10.7 x 17.3 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

The Festival of Fools, after 1570, Engraving; second state of three, sheet: 11 13/16 x 16 3/4 in. (30 x 42.5 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish,

Plate 9: leopard, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 3/8 × 4 3/16 in. (8.5 × 10.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Suzanne Manet at Bellevue, 1880, Brush and black wash over graphite on wove paper, 6-3/16 x 4-5/8 in. (15.7 x 11.7 cm), Drawings, Édouard Manet (French, Paris 1832–1883 Paris

Armed Three-Master Anchored Near a City from The Sailing Vessels, ca. 1555–56, Engraving; first state of two, plate: 9 1/8 x 11 9/16 in. (23.2 x 29.4 cm), Prints, Frans Huys (Netherlandish, 1522–1562), After Pieter Bruegel the Elder

A Foreshortened View of a Ceiling Corner Decorated with Statues, Putti and Garlands, n.d., Pen and brown ink brush and blue wash over traces of black chalk, 6 1/8 × 10 1/16 in. (15.6 × 25.5 cm), Attributed to Luigi Garzi (Italian, Pistoia

Plate 52 from 'Los Caprichos': What a tailor can do! (Lo que puede un Sastre!), 1799, Etching, burnished aquatint, drypoint and burin, Plate: 8 3/8 x 5 15/16 in. (21.3 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

The Death of the VIrgin, from The Life of the Virgin, Latin Edition, 1511, 1511, Woodcut, sheet: 17 5/16 x 11 13/16 in. (44 x 30 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Phalaris Having Perillus Thrown into the Bronze Bull, 17th century, Etching with engraving; second state of three, Plate: 5 15/16 × 7 13/16 in. (15.1 × 19.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence), After

Drawing for title page 'Le Petit Journal', 19th century, Brush and gray wash over graphite underdrawing, 15 5/16 x 12 3/4 in. (38.9 x 32.4 cm), Drawings, Made by (?) Hubert Clerget (French, Dijon 1818–1899 Saint-Denis

Design for mural decoration surrounding a door: landscape with classical ruins, 1830–97, black chalk heighted with white on beige wove paper; mounted on blue wove paper, Overall: 14 3/4 x 10 7/16 in. (37.4 x 26.5 cm), Drawings,

Calvary with the Three Crosses, ca. 1503, Woodcut, sheet: 8 3/8 x 5 13/16 in. (21.2 x 14.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Two Women in Day Dresses: Preparatory drawing for a fashion plate from Le Moniteur de la Mode, October 19, 1886, Watercolor, Sheet: 14 x 10 5/8 in. (35.5 x 27 cm), Drawings, Jules David (French, 1808–1892

Plate 1: a pack horse, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 7/16 × 4 5/16 in. (8.7 × 10.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 20 from the 'Tauromaquia':The agility and audacity of Juanito Apiñani in [the ring] at Madrid., 1816, Etching and aquatint, Plate: 9 5/8 × 13 7/8 in. (24.5 × 35.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Christ Between His Parents Returning from the Temple, n.d., Etching, Sheet (trimmed): 3 13/16 × 5 15/16 in. (9.7 × 15.1 cm), Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

S. Pietro in Montorio, Tempietto, section (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/2 x 11 5/8 in. (44.5 x 29.5 cm

Design for a Pink Sofa and Two Mauve Chairs, early 19th century, Ink, watercolor and wash, sheet: 10 13/16 x 14 15/16 in. (27.5 x 37.9 cm), Anonymous, British, 19th century

Design for Ceiling, 18th century, Graphite or leadpoint with ruled and compass construction, 9 3/16 x 11 5/16 in. (23.3 x 28.7 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

A Kingfisher on a Branch, 16th century, Watercolor and gouache over traces of black chalk, sheet: 4 1/2 x 7 1/16 in. (11.5 x 18 cm), Drawings, Jacques Le Moyne de Morgues (French, Dieppe ca. 1533–1588 London

Artist Drawing a Portrait of a Man, n.d., Woodcut, sheet: 5 1/4 x 5 7/8 in. (13.3 x 14.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Hippomenes and Atalanta, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/16 in. (4.6 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence),

St. Mary Magdalene on the Clouds (copy), 1518 (?), Engraving, sheet: 4 5/8 x 2 15/16 in. (11.7 x 7.4 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Saint Cajetan of Thiene Holding the Infant Jesus, 1730–40, Pen and brown ink, brush and gray wash. Framing lines in pen and gray ink, 8-15/16 x 6-7/8 in. (22.7 x 17.4 cm), Drawings, Gaetano Gherardo Zompini (Italian, Nervesa near Treviso

Hedysarum Pabulare, 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 New York

The Last Judgment (Schr. 619), 15th century, Woodcut, hand-colored, sheet: 3 1/16 x 2 3/8 in. (7.7 x 6 cm), Prints, Anonymous, German, 15th century

Design for Festival Architecture for an Entry into Paris for the King of Sweden, Frederick I of Hesse, 18th century, Pen and gray ink, gray wash over traces of black chalk. Border line in pen and black ink., 10 3/4 x 7 1/2 in. (27.3 x 19.1 cm.),

Portrait of Marie Antoinette, 1786–1800, Stipple engraving and etching, printed in colors, plate: 17 5/16 x 11 3/4 in. (44 x 29.8 cm), Prints, John Curtis (British, active 1786–1800), After Dufroe (French, 18th century), After

La Mère Gérard, 1858, Etching; fourth state of four (Glasgow); printed in black ink on brownish-gray chine on off-white wove paper (chine collé), Plate: 5 × 3 9/16 in. (12.7 × 9 cm), Prints, James McNeill Whistler (American, Lowell,

Teal Among the Reeds, 1850–1914, Etching on laid paper; fourth and final state, Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Fumette, 1858, Etching; fifth state of five (Glasgow); printed in black ink on thin cream laid Japan, Plate: 6 3/8 × 4 5/16 in. (16.2 × 10.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Two Designs for Doorways with Alternate Overdoor Decoration, second half 19th century, Graphite, pen and black ink, and watercolor, Both designs 8 3/4 x 4 3/4 in. (22.2 x 12.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Tiddy-Doll, the Great French-Gingerbread-Baker; Drawing Out a New Batch of Kings, His Man Hopping Talley, Mixing Up the Dough, January 23, 1806, Hand-colored etching, sheet: 10 1/4 x 15 1/16 in. (26 x 38.3 cm), Prints, James Gillray

The Holy Family with Saint John the Baptist, copy after Cantarini, ca. 1639–1648 or after, Etching, Sheet: 6 9/16 × 8 15/16 in. (16.7 × 22.7 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

The Pregnancy of Callisto Discovered by Diana, 1612–66, Pen and brown ink, over black and red chalk, 7 3/4 x 11 3/16in. (19.7 x 28.4cm), Drawings, Antonio Molinari (Italian, Venice 1655–1704 Venice

Plate 11: a young horseman, seen from the front, leading another horse, from 'Diversi capricci', ca. 1644–47, Etching; third state of four, Sheet: 3 1/4 × 4 1/8 in. (8.3 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence

St. Joachim Embracing St. Anna, 1520, Engraving, sheet: 4 3/16 x 2 3/4 in. (10.6 x 7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Kitchen, [1858] republished 1885, Etching with drypoint cancellation lines; from the cancelled plate (Glasgow), plate: 8 7/8 x 6 1/8 in. (22.5 x 15.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London