Images at Librifly

Le Cocu battu et content, 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; third state of three (Cohen), Sheet: 12 1/16

A group of men at right pushing philosophers toward a fire with burning books at the left, ca. 1515–27, Engraving, Sheet (Trimmed): 2 5/8 × 3 9/16 in. (6.6 × 9 cm), Prints, Attributed to Marco Dente (Italian, Ravenna, active by 1515–died

The Flaggelation (copy), n.d., sheet: 4 5/8 x 3 1/8 in. (11.7 x 7.9 cm), Prints, Jan Muller (Netherlandish, Amsterdam 1571–1628 Amsterdam), After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Barrett's Veterans (They Also Serve), 1920, Etching; first state, plate: 5 7/16 x 8 15/16 in. (13.8 x 22.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Study for a Prometheus Bound (recto); slight sketch of head and shoulders of man in lead pencil (verso), 1615–73, Pen, brown ink and lead graphite, 10 x 7 1/16 in. (25.4 x 17.9 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples)

Black slave carries a leopard pelt and holds the bridle of a horse, from 'Several heads in the Persian style' (Plusieurs têtes coiffées à la persienne), 1649–50, Etching; second state of two, Sheet (trimmed): 4 in. × 3 3/8 in. (10.1 × 8.5

Two designs for decorative motifs featuring cornucopia and rinceaux, 1830–97, pen and ink, wash and watercolor over graphite on wove paper, Overall: 19 5/8 x 13 9/16 in. (49.8 x 34.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

Sketch of a Blacksmith, 1895, Transfer lithograph, drawn on thin. transparent transfer paper; second state of two (Chicago); printed in black ink on cream laid Japan, Image: 4 3/16 × 3 5/8 in. (10.7 × 9.2 cm), Prints, James McNeill Whistler

Architectural Capriccio with Roman Monuments and Washerwomen, n.d., Pen and black and gray ink, with brush and brown wash, and watercolor on paper, 9 3/16 x 12 5/16 in. (23.3 x 31.2 cm), Drawings, After Hubert Robert (French, Paris

Seated Couple in a Bower, 18th century, Colored chalk, with framing lines in graphite, 10 13/16 x 8 in. (27.4 x 20.3 cm), Drawings, Anonymous, French, 18th century

Design for a Sofa, ca. 1820, Ink and gouache, sheet: 5 3/16 x 6 13/16 in. (13.2 x 17.3 cm), Attributed to Gillows (British, 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.

Archangel Drawing a Sword, 1825–86, Watercolor over black chalk, gold paint; framing line in black chalk with reddish-orange watercolor along the top and right edges; two arched lines impressed in paper, lower left, 17 15/16 x 14 5/8 in. (45.5

Plate 76 from 'Los Caprichos':You understand?... well, as I say... eh! Look out! otherwise... (¿Està Umd...pues, Como digo..eh! Cuidado! si no...), 1799, Etching and burnished aquatint, Plate: 8 3/8 x 5 7/8 in. (21.2 x 15 cm), Prints, Goya

The Bum Shop, July 11, 1785, Hand-colored etching, sheet: 12 3/16 x 17 5/16 in. (31 x 44 cm), Prints, Attributed to R. Rushworth (British, active 1785–86), By the 1780s the London fashion for high hair had been replaced by an exaggerated

The Masculine Gender, February 2, 1787, Etching with touches of watercolor, sheet: 10 1/2 x 8 1/4 in. (26.7 x 21 cm), Prints, Attributed to Henry Kingsbury (British, active ca. 1775–98

Saint John the Baptist in the desert, ca. 1637–1639, Etching, Sheet: 6 9/16 × 6 9/16 in. (16.6 × 16.6 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

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

Design for Coving, Hotel de Trevise, 1850–1910, Graphite, pen and gray ink, watercolor, gilt, heightened with white, 13 3/16 x 19 3/8 in. (33.5 x 49.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Phacelia Grandiflora, June 4, 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 1867–1944 New York

The Laughing Audience, December 1733, Etching; fourth state of four, sheet (trimmed within plate): 6 7/8 x 6 1/8 in. (17.4 x 15.5 cm), Prints, William Hogarth (British, London 1697–1764 London

Vers a Eugène Bléry, No 2 (Verses dedicated to Eugène Bléry, No 2), 1854, Etching, plate: 5 x 2 11/16 in. (12.7 x 6.8 cm), Prints, Charles Meryon (French, 1821–1868

Plate 12: head of a child, from 'The Book for Learning to Draw' (Livre pour apprendre à dessiner), ca. 1649, Etching, Sheet (trimmed to plate): 3 1/8 × 2 5/8 in. (8 × 6.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664

Studies of Flowers, 18th century, Graphite, 9 1/2 x 15 1/4 in. (24.1 x 38.7 cm), Drawings, Anonymous, French, 18th century

The Small Lion Hunt (with One Lion), ca. 1629, Etching, Sheet: 6 7/16 × 4 13/16 in. (16.3 × 12.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Portal of the Hôtel d'Uzès by Ledoux, 18th century, Pen and gray ink, brush and gray wash, 2 7/8 x 4 5/16 in. (7.3 x 11.0 cm), Drawings, Anonymous, French, 18th century

Head of a Youth in Profile (recto); Study of a Seated Figure (verso), ca. 1525, Black chalk (recto and verso), 9 1/4 x 7 1/2in. (23.5 x 19cm), Drawings, attributed to Giovanni Antonio Sogliani (Italian, Florence 1492–1544 Florence

Plate 13 of the 'Tauromaquia': A Spanish mounted knight in the ring breaking short spears without the help of assistants, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 3/4 in. × 14 in. (24.8 × 35.5 cm), Prints, Goya

Design for a One-armed Sofa, early 19th century, Graphite, sheet: 8 7/16 x 12 1/16 in. (21.5 x 30.7 cm), Anonymous, British, 19th century

Hounds Chasing a Stag and a Doe, ca. 1654, Etching, Sheet (trimmed): 5 5/8 × 8 7/8 in. (14.3 × 22.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Drawing of Interior, Façade, and Rear of Church, 18th century, Pen and ink, 14 1/8 x 9 1/8 in. (35.9 x 23.2 cm), Jacques Germain Soufflot (French, Irancy 1713–1780 Paris

Plate 5: a woman carrying a child on a horse to left, a camel following her, a herd of goats, sheep, and a shepherd in front of her to right, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca. 1646,

St. John (copy), from the series The Four Evangelists, n.d., sheet: 4 1/4 x 3 in. (10.8 x 7.6 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

To Be Sold With All His Engagements–The Famous Race Horse Woolsack, June 29, 1829, Hand-colored etching, plate: 10 3/8 x 14 13/16 in. (26.3 x 37.6 cm), Prints, William Heath ('Paul Pry') (British, London 1795–1840 Hampstead

Soldiers at Rest (Milites Requiescentes) from The Large Landscapes, ca. 1555–56, Etching and engraving, 12 5/8 x 17in. (32 x 43.2cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Johannes van

Plate 10 from 'La Tauromaquia': Charles V spearing a bull in the ring at Valladolid, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 3/4 × 13 3/4 in. (24.8 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Christ Healing the Paralytic, ca. 1616–20, Pen and brown ink, brown wash, sheet: 5 1/4 x 7 15/16 in. (13.3 x 20.2 cm), Drawings, Jacob Jordaens (Flemish, Antwerp 1593–1678 Antwerp

Repose in Egypt, Holy Family seated while an angel pulls at tree branches, copy after Cantarini, ca. 1637–1639 or after, Etching, Sheet: 9 11/16 × 6 15/16 in. (24.6 × 17.6 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648

Salome with the Head of John the Baptist, ca. 1517, Woodcut, image: 9 1/2 x 6 7/8 in. (24.1 x 17.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Early Morning, Battersea (Battersea Dawn) (Cadogan Pier), 1861, Etching and drypoint; second state of two (Glasgow); printed in black ink on ivory laid paper, plate: 4 1/2 x 5 7/8 in. (11.4 x 14.9 cm), Prints, James McNeill Whistler (American,

Plate 27 from 'Los Caprichos':Which of them is the more overcome? (Quien mas rendido?), 1799, Etching, aquatint and drypoint, Plate: 7 1/2 × 5 13/16 in. (19.1 × 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Struggle over the Flemish Milch-Cow, 1646, Engraving, sheet: 9 13/16 x 12 13/16 in. (25 x 32.5 cm), Prints, Crispijn de Passe the Younger (Dutch, Cologne ca. 1594–1670 Amsterdam

The Crucifixion, from The Passion (copy), n.d., Engraving, Sheet: 4 1/2 × 2 15/16 in. (11.5 × 7.4 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Death of Saint Joseph, 1739, Pen and brown ink, brush and brown wash, over traces of charcoal (or black chalk), lightly squared in charcoal, 7 1/16 x 4 3/16in. (18 x 10.7cm), Drawings, Niccolò Ricciolini (Italian, Rome 1687–1772 Rome

Cookware Peddler, 1746, Etching with some engraving, Sheet: 9 5/16 x 7 1/16 in. (23.6 x 17.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

Christ on the Mount of Olives, from The Passion, 1508, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Mask, Etching, Prints, Attributed to Stefano della Bella (Italian, Florence 1610–1664 Florence

Fabric Design with Sweet Pea Flowers and Vines, ca. 1918–25, Gouache and stencil over graphite, 7 13/16 x 6 5/16 in. (19.8 x 16 cm), Drawings, Attributed to Paul Poiret (French, Paris 1879–1944 Paris

The Laundress: 'La Blanchisseuse de la Place Dauphine', 1894, Transfer lithograph, drawn on fine-grained transfer paper; only state (Chicago), Image: 9 1/16 × 6 3/16 in. (23 × 15.7 cm), Prints, James McNeill Whistler (American, Lowell,

Adoration of the Shepherds, ca. 1620–30, Brush and black and brown wash over black chalk on buff paper, 13 15/16 x 9 3/16 in. (35.4 x 23.3 cm), Drawings, Claude Vignon (French, Tours 1593–1670 Paris

Design for a ceiling with trompe l'oeil balustrade and sky, second half 19th century, Graphite, gouache, and watercolor, Overall: 13 3/8 x 19 5/8 in. (33.9 x 49.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Implements Animated, Pl. 2, Dedicated to the Housemaids and Cooks of the United Kingdoms, ca. 1811, Hand-colored etching, plate: 9 11/16 x 13 13/16 in. (24.6 x 35.1 cm), Prints, Charles Williams (British, active 1797–1830

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 13 7/16 x 11 5/16 in. (34.1 x 28.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

La Fuite de Clelie, 1763–64, Etching, sheet: 6 1/8 x 9 1/16 in. (15.5 x 23 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Le Bossu a La Canne (The Hunchback with a Cane), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque Dwarfs), 1616–22, Etching

Christ on the Cross between the Virgin and Saint John (first sheet of two), 1510, Woodcut, sheet: 9 15/16 x 6 in. (25.2 x 15.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Plumed Oil Lamp (recto); Sketches for a vase and oil lamp (verso), ca. 1770–90, Graphite, 6 7/16 x 9 11/16 in. (16.4 x 24.6 cm), Drawings, Anonymous, French, 18th century

Design for a Gas Lamp with Gilt Base and Glass Globe, 19th century, Graphite and gouache, 19 7/8 x 15 11/16 in. (50.5 x 39.9 cm), Drawings, Guérard (French, active early 19th century

The Angel with the Key to Bottomless Pit, 1511, Woodcut, sheet: 15 1/2 x 11 1/8 in. (39.4 x 28.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Muse, n.d., Red chalk; faintly squared in red chalk. Framing lines in black chalk. Horizontal line in graphite at lower margin., 8 1/8 x 5 15/16 in. (20.6 x 15 cm), Drawings, Bernard Picart (French, Paris 1673–1733 Amsterdam

Venus Watching Vulcan and Cyclops Forge Armor for Mars, late 17th century, Pen and brown ink over black chalk, 9 1/2 x 14 5/16 in. (24.2 x 36.3 cm), Drawings, attributed to Raymond de La Fage (French, Lisle-sur-Tarn 1650–1684 Lyon

Costume Design, ca. 1930s, Watercolor with metallic inks over graphite on wove paper, sheet: 14 15/16 x 10 3/16 in. (37.9 x 25.9 cm), Drawings, Olga Marynowsky (active 1930s

Design for the decoration of a ceiling with a trompe l'oeil painting of a coffered dome, 1830–97, graphite, pen and ink, watercolor and gold paint on wove paper; mounted on blue wove paper, Overall: 14 7/8 x 10 11/16 in. (37.8 x 27.1 cm),

Elevation of a Daybed on Black Bases, 1932, Watercolor and black ink, over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Group of naked men engaged in battle in a wooded landscape, some on horseback; a dog at lower left., 1517, Engraving, Sheet (trimmed to plate): 8 3/4 × 8 15/16 in. (22.2 × 22.7 cm), Prints, Domenico Campagnola (Italian, Venice (?)

The Lovers, ca. 1914, Graphite, Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna

The Duck, 1855–1914, Etching; third state of four, sheet: 14 7/16 x 10 5/8 in. (36.6 x 27 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Quack Doctor, G. W. Stevens in His Lecture on Heads, October 10, 1793, Engraving, image: 12 1/16 x 9 13/16 in. (30.6 x 24.9 cm), Prints, Attributed to Isaac Cruikshank (British, Edinburgh, Scotland 1764–1811 London

Studies of Heads, 1773, Etching, sheet: 4 13/16 x 6 in. (12.2 x 15.3 cm), Prints, Louis Germain (French, 1733–ca. 1791

Standing Egyptian Figure, 1771–1844, Lead graphite on buff paper, 10 1/4 x 9 7/8in. (26 x 25.1cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Ex Antiquis Cameorum et Gemmae Delineata/ Liber Secundus/et ab Enea Vico Parmen Incis., 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

Chist Carrying the Cross, from The Small Passion, 1509, Woodcut, sheet: 5 x 3 13/16 in. (12.6 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Three Sets of Shelves on Casters, early 19th century, Ink and wash, sheet: 8 11/16 x 12 3/8 in. (22.1 x 31.4 cm), Anonymous, British, 19th century

T. A. Nash's Fruit Shop (T. A. Nash's Greengrocer's Shop), 1887, Etching and drypoint; fifth state of five (Glasgow); printed in black ink on ivory laid paper, Plate: 6 13/16 × 4 13/16 in. (17.3 × 12.2 cm), Prints, James McNeill Whistler

Waist-Length Portrait of a Man Wearing the Order of the Golden Fleece, in Profile Facing Left, 1620s, Pen and brown ink; accidental red chalk offset, sheet: 6 3/4 x 5 13/16 in. (17.2 x 14.7 cm), Drawings, Guercino (Giovanni Francesco Barbieri)

Saint Paul Preaching in Athens, 1733, Pen and brown ink, brush and pale gray wash, over graphite, 15 5/16 x 10 15/16in. (38.9 x 27.8cm), Drawings, Giovanni Paolo Panini (Italian, Piacenza 1691–1765 Rome

Caryatid Facing Right, mid-16th Century, Pen and brown ink, brush and brown wash, over traces of leadpoint or black chalk, sheet: 9 5/8 x 3 in. (24.5 x 7.6 cm), Drawings, Attributed to Pirro Ligorio (Italian, Naples ca. 1512/13–1583

The Whore of Babylon, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 10 from the 'Disparates': The horse abductor, ca. 1816–23 (published 1864), Etching, burnished aquatint and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Standing Figure of Apollo with a Lyre, 1666–1724, Brush and brown wash, highlighted with white, over traces of charcoal, on blue paper; traces of squaring in charcoal, 11 1/8 x 5 11/16in. (28.2 x 14.4cm), Drawings, Paolo Gerolamo Piola

Plate 68 'Los Caprichos': Pretty teacher! (Linda maestra!), 1799, Etching, burnished aquatint and drypoint on laid paper, Plate: 8 1/4 x 5 13/16 in. (20.9 x 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

The wounder soldier Scipio in the centre surrounded by figures, 1531–76, Engraving, sheet: 7 7/8 x 10 1/2 in. (20 x 26.7 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for a Curved-back Sofa Upholstered in Red, early 19th century, Ink, watercolor and wash, sheet: 8 15/16 x 11 7/8 in. (22.7 x 30.1 cm), Anonymous, British, 19th century

Portrait of a Young Woman; verso: Sketch of a Young Woman with her Hands Resting on a Table, first half 19th century, Graphite, sheet: 6 11/16 x 4 1/2 in. (17 x 11.5 cm), Drawings, Georg Friedrich Kersting (German, Gustrow 1785–1847 Meissen

Judith Decapitating Holofernes, 1624–59, Pen and brown ink, brush and brown wash, over black chalk, 7 1/16 x 5 9/16in. (18 x 14.2cm), Drawings, Valerio Castello (Italian, Genoa 1624–1659 Genoa

Head of a Girl, 1837–1911, Graphite on white paper, 15 1/2 x 11 9/16 in. (39.3 x 29.3 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Fabric Design with Blue Flowers, ca. 1918–25, Gouache and stencil over graphite, 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm), Drawings, Attributed to Paul Poiret (French, Paris 1879–1944 Paris

Child Carrying a Puppy on his Shoulder, ca. 1662, Etching; first state, with printed tone, Plate: 5 13/16 × 5 1/2 in. (14.7 × 14 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 11 from 'Los Caprichos': Lads Making Ready (Muchachos al Avío), 1799, Etching, burnished aquatint and burin, Plate: 8 7/16 x 6 in. (21.4 x 15.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Design for a Stage Set at the Opéra, Paris: A Tent, 1830–90, Graphite, Irregular sheet: 7 1/16 x 8 7/8 in. (17.9 x 22.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Agony in the Garden, 1515, Etching, Sheet: 9 3/16 × 6 9/16 in. (23.4 × 16.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 1: various fragments of ancient monuments, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca. 1646, Etching; second state of six (De Vesme), Plate: 5 1/8 × 5 3/16 in. (13 × 13.2 cm), Prints,

Design for a Ceiling, second half 19th century, Graphite, gilt, gouache, and watercolor, Overall: 10 13/16 x 8 1/16 in. (27.4 x 20.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Plate 7 of the 'Tauromaquia': Origin of the harpoon or banderillas., 1816, Etching, burnished aquatint and burin, Plate: 9 1/2 × 13 3/4 in. (24.2 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Shepherd Chases Away a Wolf, from Thornton's Pastorals of Virgil, 1821, Wood engraving; first state, block: 1 3/8 x 2 7/8 in. (3.5 x 7.3 cm), Prints, William Blake (British, London 1757–1827 London

Design for a Pen and Ink Stand, 19th century, Pen and gray ink, brush and gray. yellow, brown, and black wash. Framing lines in pen and black ink., sheet: 11 3/16 x 17 5/8 in. (28.4 x 44.7 cm), Anonymous, French, 19th century

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

Southern landscape with a man and a snake, 1847, Graphite, blue watercolor, sheet: 16 5/8 x 23 3/16 in. (42.2 x 58.9 cm), Drawings, Heinrich Dreber (German, Dresden 1822–1875 Anticoli di Campagna, near Rome

Decoration for a Plate: A Field, 1870, Etching, plate: 11 9/16 x 13 5/8 in. (29.4 x 34.6 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Trade Card, January 1835, Black ink, 2 1/4 x 3 5/8 in. (5.7 x 9.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897