Images at Librifly

Design for Three Small Elevated Armchairs, early 19th century, Ink, watercolor and wash, sheet: 8 9/16 x 12 3/16 in. (21.8 x 31 cm), Anonymous, British, 19th century

Palazzo Senatorio, window, elevation (recto) Palazzo Senatorio, window, plan; section (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x 11 5/8 in. (43.5 x 29.5 cm), Drawings

Six Designs for Hanging Shelves, 19th century, lithograph, 4 9/16 x 2 1/2 in. (11.6 x 6.3 cm), Drawings, Anonymous, French, 19th century

Design for the Frame of a Mirror or Fire Screen (recto); Various Sketches (verso)., 1652–1725, Pen and brown ink, over traces of black chalk. Verso: pen and brown ink, sheet: 6 3/4 x 3 1/4 in. (17.1 x 8.2 cm), Giovanni Battista Foggini

Music-Making Angels Seated on Clouds, ca. 1616, Pen and brown ink, on beige paper, 7-1/8 x 10-13/16 in. (18.1 x 27.4 cm), Drawings, Andrea Commodi (Italian, Florence 1560–1638 Florence

Son Fish and Sucker, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 7 x 10 7/8 in. (17.8 x 27.7 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882

Arch of Constantine, elev, partial plan (recto) Arch of Constantine, profiles of base, shaft and entablature (verso), ca. 1540–60, Dark brown ink, black chalk, and incised lines, sheet: 17 5/16 x 11 9/16 in. (44 x 29.3 cm

A Figure and Some Architectural Details., 1475–1564, Pen and brown ink, sheet: 7 5/16 x 8 1/8 in. (18.6 x 20.7 cm), Drawings, School of Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome

Design for a Candelabra, ca. 1770–90, Pen and black ink, graphite, 15 1/8 x 9 1/16 in. (38.4 x 23 cm), Drawings, Anonymous, French, 18th century

Cloelia on horseback crossing the Tiber, ca. 1540–60, Engraving, Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Laban searching for idols among Jacob's possessions, ca. 1635–40, Etching, sheet: 9 1/2 x 12 7/8 in. (24.2 x 32.7 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Unidentified Scene: Figures in a Landscape, 1624–63, Pen and brown ink. Framing lines in pen and brown ink, 3-1/8 x 4-1/2 in. (7.9 x 11.4 cm), Drawings, Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Designs for a Funerary Monument with Stairs (Recto). Various Funerary Monument Designs (Verso)., 1652–1725, Pen and brown ink, brush and gray wash, over traces of graphite or black chalk. Verso: pen and brown ink over traces of graphite,

Plate 79 from 'The Disasters of War' (Los Desastres de la Guerra): 'Truth has died' ' (Murió la verdad.), after 1814–15 (published 1863), Etching and burnisher, Plate: 6 13/16 × 8 9/16 in. (17.3 × 21.8 cm), Prints, Goya (Francisco de Goya y

Christ Crowned with Thorns (copy), n.d., Engraving, sheet: 4 3/8 x 3 in. (11.1 x 7.6 cm), Prints, Jan Muller (Netherlandish, Amsterdam 1571–1628 Amsterdam), After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Hermaphrodite, 1568–1640, Red chalk, 10 7/8 x 4 3/16in. (27.7 x 10.6cm), Drawings, Anonymous, Italian, mid-16th century, Previously attributed to Cavaliere d'Arpino (Giuseppe Cesari) (Italian, Arpino 1568–1640 Rome

The Riva, No. 1 (The Riva), 1879–80, Etching and drypoint; fourth state of four (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 7 15/16 × 11 5/8 in. (20.1 × 29.6 cm), Prints, James McNeill Whistler (American,

Adoration of the Shepherds: A Night Piece, ca. 1652, Etching, fourth state of eight, Plate: 5 3/4 x 7 11/16 in. (14.6 x 19.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Gabled Roofs (Gabled Roofs, Vitré), 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on medium weight ivory laid paper, Image: 8 1/16 × 6 5/16 in. (20.4 × 16.1 cm),

St Peter's, cornice, exterior, profile (recto) Unidentified, moulding, elevation; Unidentified structure, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 16 15/16 x 9 5/8 in. (43 x 24.5 cm),

Miss Prattle Consulting Doctor Double Fee about her Pantheon Head Dress, 1772, Mezzotint, plate: 13 15/16 x 10 in. (35.4 x 25.4 cm), Prints, Anonymous, British, 18th century

The Artist's Mother: Head and Bust, Three-Quarters Right, 1628, Etching; New Holl. second state of four, Sheet (trimmed): 2 11/16 × 2 5/8 in. (6.8 × 6.6 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), The

Taupes, 1854, Etching; fourth and final state, sheet: 19 5/8 x 12 1/2 in. (49.8 x 31.7 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Design for a Snuff Box, Pen and gray ink with brush and rose, yellow, violet, blue and green wash, 8 1/16 x 4 5/16 in. (20.5 x 10.9 cm.), Drawings, Attributed to Pierre Moreau (French, 1722–1798 Paris

Venerable Idleness, Queen of Cockaigne; a fat woman seated on a movable toilet chair being waited on and fed by seven women, 1565, Engraving, Sheet: 11 1/2 × 16 5/16 in. (29.2 × 41.5 cm), Prints, Nicolò Nelli (Italian, active Venice, ca.

Study of Drapery, 1906, Red chalk on buff paper, 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm), Drawings, Louis-Oscar Roty (French, Paris 1846–1911 Paris

Civil Garb of the French Citizen, 1794, Etching, image: 12 1/8 x 7 1/16 in. (30.8 x 18 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Design for the painted decoration of a ceiling, second half 19th century, pen and ink and watercolor on laid paper, sheet: 5 15/16 x 6 3/4 in. (15.1 x 17.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Hat Boxes, Opera Reminiscences, pt. 2, July 14, 1829, Hand-colored etching, plate: 10 1/8 x 14 5/16 in. (25.7 x 36.4 cm), Prints, William Heath ('Paul Pry') (British, London 1795–1840 Hampstead

Greenwich Pensioner, 1859, Etching; second state of two (Glasgow), Plate: 3 3/4 x 5 1/4 in. (9.5 x 13.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London), Whistler studied etching in London under the

Design for the decoration of a coffered ceiling ornamented with the name 'Racine' and entwined letters: DD, second half 19th century, graphite, watercolor and gouache on wove paper, Overall: 8 3/8 x 10 13/16 in. (21.3 x 27.4 cm), Drawings,

Design for a Tapestry Seat of a Sofa, 1721, Gouache with oil. Silhouetted and laid down on mount with soft yellow wash surround within two black-ink border lines., 5 3/16 x 14 13/16 in. (13.2 x 37.6 cm), Charles Antoine Coypel (French, Paris

Athena seated near Juno who has taken away Cupid's arrows, set within an elaborate 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 (Italian,

The Virgin on the Crescent, ca. 1499, Engraving, Sheet: 4 3/16 × 2 15/16 in. (10.6 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Five designs for the decoration of interiors, 1830–97, graphite and pen and ink on various papers; mounted on cardboard, Overall: 18 3/4 x 12 3/8 in. (47.6 x 31.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Crucifixion (Schr. 486), 15th century, Woodcut, sheet: 4 13/16 x 3 1/2 in. (12.3 x 8.9 cm), Prints, Anonymous, German, 15th century

Christ and the Woman of Samaria, 16th century, Red chalk, 4 1/2 x 8 1/2in. (11.4 x 21.6cm), Drawings, Anonymous, Italian, Venetian, 15th to 16th century

Kneeling Draped Figure, 1830–71, Red and black chalk on light gray paper, Overall: 12 5/8 x 12 1/4in. (32 x 31.1cm), Drawings, Alexandre Laemlein (French, Hohenfeld 1813–1871 Pontlevoy

Landscape with family walking together in the foreground, at left two figures with herd of goats and sheep; a mill (?) and other buildings in the background, ca. 1535–40, Woodcut, Sheet (trimmed): 13 1/16 × 17 1/2 in. (33.2 × 44.5 cm),

Part of the Entrance of the Polish Legation (I and K), 1633, Etching, state i, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for an Urn, 19th century, Graphite, brush and gray wash, watercolor, gouache, and gold gilt, sheet: 16 7/8 x 11 5/16 in. (42.9 x 28.7 cm), Drawings, Anonymous, French, 19th century

Plate 17 from 'Los Caprichos': It is nicely stretched (Bien tirada está.), 1797–98, Etching, aquatint, drypoint, and burin, Sheet: 9 13/16 x 5 15/16 in. (24.99 x 15.01cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Holy Family, 1599–1661, Brush and ink, highlighted with white on tan paper, 10 1/16 x 6 11/16in. (25.6 x 17cm), Drawings, attributed to Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome

Au Bon Marché-Comptoir des Modes, Chapeaux de Paille de Fantaisie, Éte 1890, 1890, Wood engraving, Overall: 9 7/16 x 6 1/8 x 1/16 in. (24 x 15.6 x 0.1 cm), Books

Peter and John Healing the Cripple at the Gate of the Temple, 1659, Etching, drypoint, and burin, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Entombment, ca. 1552–61, Engraving, fourth state, sheet: 17 1/8 x 23 7/16 in. (43.5 x 59.5 cm) trimmed to platemark L. and R., Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

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

The Seven Angels with the Trumpet, from The Apocalypse, n.d., Woodcut, sheet: 17 5/16 x 11 15/16 in. (44 x 30.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Forge, 1866, Drypoint; sixth state of six (Glasgow); printed in black ink on fine ivory laid Japan, Plate: 7 11/16 × 12 7/16 in. (19.5 × 31.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Virgin and Child with the Pear, 1511, Engraving, Sheet: 6 7/16 × 4 3/8 in. (16.3 × 11.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Nativity (reverse copy), n.d., Engraving, Sheet: 6 7/8 × 4 9/16 in. (17.5 × 11.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Peasant, second half 19th century, Black chalk on laid paper, sheet: 13 x 8 1/2 in. (33 x 21.6 cm), Drawings, Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris

Saint Lawrence Standing and Holding the Grill, Instrument of His Martyrdom, ca. 1715, Pen and brown ink, brush and gray wash, highlighted with white, on beige paper. Squared in black chalk, 14 x 7 1/2in. (35.6 x 19.1cm), Drawings,

Visit to the New Mother, 1633, Etching with engraving; first state of two, Sheet (trimmed): 10 3/8 × 13 9/16 in. (26.4 × 34.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a ceiling, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 8 1/4 x 10 11/16 in. (21 x 27.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Design for a Firescreen, 'for Lady Heathcote', early 19th century, Ink and gouache, sheet: 7 1/4 x 4 7/16 in. (18.4 x 11.2 cm), Attributed to Gillows (British, 19th century

Ornament design, 18th century, Black chalk, sheet: 13 3/16 x 9 7/16 in. (33.5 x 24 cm), Drawings, Anonymous, French, 18th century

Design for a Rocaille Cartouche, 1652–1725, Black chalk, sheet: 2 3/16 x 2 13/16 in. (5.5 x 7.1 cm), Attributed to Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Baltasar Carlos, Prince of Spain and Son of Philip IV (D. Baltasar Carlos Principe de España. Hijo del Rey D. Felipe IV), 1778, Etching and drypoint printed in black ink, Plate: 13 11/16 × 8 11/16 in. (34.8 × 22 cm), Prints, Goya (Francisco

Design for an Iron Railing, 19th century, Pen and brown ink, sheet: 4 1/8 x 14 11/16 in. (10.4 x 37.3 cm), Anonymous, French, 19th century

Two putti seated on clouds, second half 19th century, Oil paint over graphite, image: 5 11/16 x 5 13/16 in. (14.4 x 14.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Title page, from 'Various figures and doodles' (Diverses figures et griffonnemens), ca. 1646, Etching, Sheet (trimmed): 2 13/16 × 3 9/16 in. (7.1 × 9.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Crucifixion, 15th century, Engraving, 7 3/4 x 5 15/16 in. (19.7 x 15.1 cm), Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

The Barber, 1632–33, Etching; first state of two (Duplessis), Sheet: 11 x 14 1/2 in. (28 x 36.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Horse Armoury in the Tower, January 1, 1800, Hand-colored etching, Sheet: 10 13/16 x 16 1/4 in. (27.5 x 41.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Cardinal Albrecht of Brandenburg, 1519, Engraving, Sheet: 5 13/16 × 3 7/8 in. (14.7 × 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Landscape with a Castle on a Hill, 1632–1712, Pen and brown ink, 7 13/16 x 11 1/4in. (19.9 x 28.5cm), Drawings, Crescenzio Onofri (Italian, Rome after 1632–after 1712 Florence

The Arch of Septimius Severus Seen from the East, ca. 1594, Pen and brown ink, sheet: 7 3/4 x 10 9/16 in. (19.7 x 26.8 cm), Drawings, Jan Brueghel the Elder (Netherlandish, Brussels 1568–1625 Antwerp), After Matthijs Bril the Younger

The Apocalyptic Woman, from the Apocalypse series, 1511, Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Present State of Great Britain, 1779, Etching, sheet: 11 7/16 x 16 3/4 in. (29 x 42.5 cm), Prints, James Phillips (British, active 1779–1809), Issued in London at the height of the American Revolution, this print summarizes the

The Flaying of Marsyas, early 18th century, Red chalk, with framing lines in pen and black ink, 9 1/2 x 16 7/16 in. (24.2 x 41.7 cm), Drawings, François van Loo (French, Aix 1708–1732 Turin

Design for a ceiling painted with trompe l'oeil clouds, 1830–97, watercolor, gouache, and gold paint on wove paper, sheet: 14 3/4 x 10 3/8 in. (37.5 x 26.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Don Mariano Camprubi (Le Baïlarin), 1862–63, etching on blue laid paper, only state, from 1905 Strölin edition, plate: 11 3/4 x 7 3/4in. (29.8 x 19.7cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Galatea on her Chariot drawn by Dolphins, 1652–1725, Pen and brown ink, over preliminary drawing made in black chalk, sheet: 7 3/16 x 5 7/8 in. (18.2 x 15 cm), Attributed to Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Plate D from the 'Disparates': Fools-'or Little Bulls' - folly, ca. 1816–23 (published 1877), Etching, aquatint and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

View of a Country House, 1898, Watercolor, 15 13/16 x 21 1/8 in. (40.1 x 53.6 cm), Drawings, Anonymous, French, 19th century

Plate 20: wolf, from 'Various animals' (Diversi animali), ca. 1641, Etching; second state of three (De Vesme), Plate: 3 3/8 × 4 3/8 in. (8.5 × 11.1 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Portrait of a Man (recto); A Male Torso in Jacket and the Head of a Child (verso), 1740s, Red chalk highlighted with white chalk (recto); red chalk (verso), 14 13/16 x 9 15/16 in. (37.6 x 25.2 cm), Drawings, Giuseppe Ghislandi ('Fra Vittore

Plate 15 from 'The Disasters of War' (Los Desastres de la Guerra):And there is nothing to be done (Y no hai remedio), 1810 ( published 1863), Etching, drypoint, burin and burnisher, Plate: 5 1/2 × 6 9/16 in. (14 × 16.6 cm), Prints, Goya

Boreas and Oreithyia, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 13/16 × 2 3/16 in. (4.6 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed

Design for the decoration of a ceiling with strapwork and rinceaux, 1830–97, pen and ink and watercolor on wove paper; mounted on wove paper, Overall: 15 x 10 11/16 in. (38.1 x 27.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

Centaur Embracing a Satyress, 1727–1804, Pen and dark brown ink, brush and gray-brown wash, over traces of black chalk, 7-9/16 x 10-13/16 in. (19.2 x 27.4 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

The Château of Chambord Seen from the Southwest, 18th century, Pen and gray ink, watercolor, over traces of graphite, 9 3/16 x 14 3/8 in. (23.4 x 36.5 cm.), Drawings, Simon Mathurin Lantara (French, Oncy 1729–1778 Paris

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

Venus Teaching Cupid to Use His Bow, 18th century, Red chalk; framing lines in pen and black ink, Image: 13 3/8 × 8 1/4 in. (34 × 21 cm), Drawings, Louis Claude Vassé (French, Paris 1716–1772 Paris

Saint John the Evangelist (recto; Cartoon for a Fresco); Saint Mark (verso; Cartoon for a Fresco)., 1548–49, (Recto and verso) Charcoal, highlighted with white chalk, on blue paper; outlines heavily stylus-incised on recto, and partly so on

Conversion of St. Paul, Engraving, Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Two Grotesque Heads, 1640s, Etching; only state, sheet (clipped impression): 4 3/16 x 6 5/8 in. (10.6 x 16.8 cm), Prints, Anonymous, Netherlandish, 17th century, After Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), A monk with a

Les allies s'apprètent à pousser les opérations du siège avec plus de vigueur que jamais…, from Actualités, published in Le Charivari, February 26, 1855, February 26, 1855, Lithograph; second state of two (Delteil), Sheet: 14 1/8 × 9

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

St. Peter's, drum, interior, elevation (recto) St. Peter's, drum, pedestal, section (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 22 5/8 x 17 3/16 in. (57.4 x 43.7 cm), Drawings, Attributed

Design for a Stage Set at the Opéra, Paris: Church Interior, 1830–90, Pen and red ink, gouache, and graphite, sheet: 14 5/16 x 18 1/16 in. (36.3 x 45.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Le Florentin à la chasse, ca. 1654, Etching; third state of three, Sheet (trimmed): 7 1/2 × 10 11/16 in. (19.1 × 27.2 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for Two Round-topped Pedestal Tables, ca. 1830, Ink on pink paper, sheet: 9 5/8 x 7 3/4 in. (24.4 x 19.7 cm), Anonymous, British, 19th century

Damaio de Gois, n.d., Engraving, Sheet: 6 5/16 × 4 1/2 in. (16 × 11.5 cm), Prints, Philips Galle (Netherlandish, Haarlem 1537–1612 Antwerp), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Celebrrrre Jury de Peinture..., published in Le Charivari, March 16, 1840, March 16, 1840, Lithograph; third state of four (Delteil), Sheet: 9 5/8 × 12 3/8 in. (24.5 × 31.5 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879

Juno summoning sleep to descend upon Jupiter, set within an elaborate frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 1/4 x 4 1/16 in. (13.3 x 10.3 cm), Prints, Giulio Bonasone (Italian, active Rome and

The Banquet for the Return of the Prodigal Son, ca. 1636, Etching and engraving; (copy in reverse), Sheet (trimmed): 12 1/16 × 14 1/8 in. (30.6 × 35.9 cm), Prints, Anonymous, After Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Betrayal of Christ (copy in roundel), 15th century, Engraving, Plate: 4 1/4 in. (10.8 cm), Prints, After Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Copy of a painting entitled 'L'Automne, ' by J.F. Millet, n.d., Black, white and traces of red chalk on blue paper, 5 x 6 1/4 in. (12.7 x 14.9 cm), Drawings, Alfred-Ernest Robaut (French, Douai 1830–1909 Fontenay-sous-Bois