Images at Librifly

Design for the painted decoration of a ceiling, second half 19th century, graphite and watercolor on laid paper, sheet: 4 7/16 x 8 3/4 in. (11.3 x 22.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Two Marauders, mid to late 17th century, Etching, Sheet: 7 5/16 x 4 1/2 in. (18.5 x 11.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Apollo Supported by a Winged Genius, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over black chalk, 10-9/16 x 8-9/16 in. (26.8 x 21.7 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Design for the painted decoration of a ceiling with the monogram: M, 1830–97, pen and ink, brush and wash over graphite on wove paper, sheet: 10 9/16 x 14 7/8 in. (26.9 x 37.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Adam and Eve flanked by two trees, a town in the background, ca. 1512–14, Engraving, 9 1/2 x 6 15/16 in. (24.2 x 17.6 cm), Prints, Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna (?)), After Raphael (Raffaello

Unidentified Subject: Reclining Nude Male Figure and Cattle, 1615–66, Pen and brown ink (recto); illegible black chalk notations (verso), 9 15/16 x 7 5/16in. (25.2 x 18.6cm), Drawings, Giovanni Angelo Canini (Italian, Rome 1615–1666 Rome

The Raising of Lazarus, 1595–1616, Etching and engraving, Sheet (trimmed): 17 1/16 × 11 7/16 in. (43.4 × 29.1 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Figure Studies: Three Sketches of Cain Killing Abel, with an Altar of Sacrifice at Center, Two Standing Women, a Hand, and a Seated Child with a Squirrel, 1510–61, Pen and brown ink., 8 5/8 x 11 13/16in. (21.9 x 30cm), Drawings, Battista

Un Coup de Vent non Prédit par Mathieu (de la Drôme), Plate 1 of Croquis d'Hiver, December 3, 1864, Lithograph with notations in pen, sheet: 8 1/2 x 10 in. (21.6 x 25.4 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879

Three Figures by a Rustic Dwelling, 1582–1656, Pen and brown ink, over traces of black chalk, 8 3/16 x 6 15/16in. (20.8 x 17.6cm), Drawings, Remigio Cantagallina (Italian, Borgo Sansepolcro ca. 1582–1656 Florence

Design for the decoration of the ceiling in the Opéra Comique, Paris, ca. 1845, Pen and ink with watercolor and gouache, sheet: 17 15/16 x 30 7/8 in. (45.5 x 78.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Late Picquet, 1894, Transfer lithograph drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on cream simili-vellum, Image: 7 9/16 × 6 1/8 in. (19.2 × 15.5 cm), Prints, James McNeill Whistler (American, Lowell,

Wooded Landscape with Two Country Carts and Figures, August 1, 1797, Soft-ground etching, hand-colored; second state of two, plate: 12 3/4 x 15 1/2 in. (32.4 x 39.4 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788 London

Landscape with hills and a lake, trees in right foreground., 1615–73, Pen and brown ink, on beige paper, 2-1/16 x 5-11/16 in. (5.3 x 14.5 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Design for Gray and Pink Curtains with Pink Fringes and a PInk and Gold Pediment, early 19th century, Ink, watercolor and wash, sheet: 8 9/16 x 12 3/8 in. (21.8 x 31.4 cm), Anonymous, British, 19th century

The Little Putney, No. 1 (Little Putney Bridge), 1879, Etching and drypoint; fifth state of five (Glasgow); printed in dark brownish-black ink on cream colored laid paper, as published in 1883, plate: 5 3/16 x 8 1/8 in. (13.2 x 20.6 cm),

Virgin Embracing the Christ Child, ca. 1641, Etching; second state of three, Sheet (trimmed to plate): 5 9/16 × 4 1/2 in. (14.2 × 11.4 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Medici Coat of Arms on top of a Window of Door Frame, 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 2 1/8 x 2 1/2 in. (5.4 x 6.3 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Almanach for 1639: Louis XIII and Anne of Austria entrusting the Kingdom and the Heir Apparent to the Virgin, 1638, Etching, Sheet (trimmed): 14 1/16 × 10 1/2 in. (35.7 × 26.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design with Winged Female Figure, 19th century, Red chalk on laid paper, sheet: 4 3/8 x 6 1/4 in. (11.1 x 15.9 cm), Drawings, Anonymous, French, 19th century

Anne d'Autriche, reine de France, en deuil de cour, Etching, sheet: 14 15/16 x 11 1/2 in. (38 x 29.2 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Saint Christopher, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Library of Pergamus Given to Cleopatra, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink on mount, 3-11/16 x 6-1/2 in. (9.4 x 16.5 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano

Design for a Sofa with One WIng-like Arm, Chair and Stool, early 19th century, Graphite, sheet: 8 9/16 x 12 3/8 in. (21.8 x 31.4 cm), Anonymous, British, 19th century

Two Horses, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 4-5/8 x 4-5/8 in. (11.7 x 11.7 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Political-Candour;– i.e.–Coalition-Resolutions of June 14th, 1805.–Pro bono Publico–, June 21, 1805, Hand-colored etching, sheet (clipped impression, plate line showing at bottom): 14 x 10 7/8 in. (35.6 x 27.6 cm), Prints, James

Design for Two Gothic Style Armchairs, early 19th century, Ink, watercolor and wash, sheet: 8 9/16 x 12 3/16 in. (21.7 x 31 cm), Anonymous, British, 19th century

Jews' Quarter, Amsterdam, 1889, Etching; cancelled plate (Glasgow); printed in black ink on heavy ivory wove paper, 5 1/8 x 8 1/2 in. (13 x 21.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Ceiling Decoration., 1709–20, Pen and brown ink, brush and gray-brown wash, over graphite or leadpoint with ruled and compass construction, Sheet: 8 3/4 x 7 7/8 in. (22.3 x 20 cm), Drawings, Donato Giuseppe Frisoni (Italian,

Little Salute, 1879–80, Etching and drypoint; third state of three (Glasgow); printed in black ink on medium weight ivory laid paper torn from a book, Plate: 3 3/16 × 8 3/8 in. (8.1 × 21.2 cm), Prints, James McNeill Whistler (American,

Jupiter's love for Juno rekindled when she puts on Venus's Girdle, 1546, Engraving, sheet: 7 5/16 x 10 1/16 in. (18.5 x 25.5 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for a Man's Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 9/16 x 11 3/4 in. (44.6 x 29.9 cm), Drawings, Anonymous, French, 16th century

Study for the Age of Bronze, 1637, Pen and brown ink, over black chalk, 9 3/16 x 6 3/4in. (23.3 x 17.2cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596–1669 Rome), This rapid sketch of a Roman military triumph was

Two Satyrs in a Landscape, ca. 1505–10, Pen and brown ink, highlighted with white gouache on fine, off-white laid paper, 8-1/2 x 5-15/16 in. (21.6 x 15.1 cm), Drawings, Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576

Partial Design for the decoration of a 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

The Crucifixion, n.d., Engraving, Sheet: 12 3/8 × 9 5/16 in. (31.5 × 23.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Songs of Innocence and of Experience, Shewing the Two Contrary States of the Human Soul: Combined Title Page, ca. 1825, Relief etching printed in orange-brown ink and hand-colored with watercolor and gold, Plate: 4 7/16 × 2 13/16 in. (11.2 ×

Joachim and the Angel, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 11 3/4 x 8 1/4 in. (29.8 x 21 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Juno watching Jupiter and Io, from 'The Loves of the Gods', 1531–60, Engraving, sheet: 6 9/16 x 4 1/2 in. (16.6 x 11.4 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Robert Arnauld d'Andilly, conseiller du roi, Etching, second state, sheet: 15 3/16 x 11 11/16 in. (38.5 x 29.7 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Design for the decoration of a wall in Islamic motifs, second half 19th century, graphite on tracing paper glued to cardboard, sheet: 11 5/8 x 7 1/2 in. (29.5 x 19 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Artist's Son, Titus (copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Ornament Design with a Trident and Two Fish, 19th century, Pen and brown ink, watercolor, over graphite. Framing lines in pen and gray ink. Design is pasted onto mounting paper., sheet: 13 5/16 x 6 3/8 in. (33.8 x 16.2 cm), Drawings,

The Last Supper, 1523, Woodcut, sheet: 8 7/16 x 11 7/8 in. (21.4 x 30.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Minerva and the Arts and Sciences, 16th century, Engraving, sheet: 6 5/16 x 4 1/8 in. (16 x 10.5 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Parmigianino (Girolamo Francesco Maria Mazzola)

Christ Disputing with the Doctors; a sketch, 1652, Etching and drypoint; first state of three, sheet: 5 1/16 x 8 7/16 in. (12.9 x 21.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Two Desks, early 19th century, Graphite, sheet: 8 11/16 x 12 5/16 in. (22 x 31.2 cm), Anonymous, British, 19th century

Design for a ceiling with a putto, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 9 1/2 x 12 3/8 in. (24.2 x 31.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Sibylle Européenne, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 3/16 x 8 7/16 in. (36 x 21.4 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Ecce Homo, from The Large Passion, n.d., Woodcut, sheet: 17 5/16 x 11 7/8 in. (43.9 x 30.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Stage Set with a Circular Arcade (recto); Sketch for Stage Set with Circular Arcade (verso), 1698–1765, Pen and brown ink, brush and gray wash, over traces of graphite (recto); pen and brown ink (verso), sheet: 4 5/16 x 3 1/16 in.

Two Designs for Trophies and a Cartouche, ca. 1768, Pen and black ink with brush and gray wash., 14 3/4 x 8 9/16 in. (37.5 x 21.8 cm.), Jean Charles Delafosse (French, Paris 1734–1789 Paris

Desire (Le Brun Travested, or Caricatures of the Passions), February 21, 1800, Etching, printed in brown ink, sheet: 11 x 8 3/4 in. (27.9 x 22.2 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Design for a Chest, ca. 1770–90, Graphite, 11 3/8 x 9 1/2 in. (28.9 x 24.2 cm), Drawings, Anonymous, French, 18th century

Portrait of Ulrich Varnbuler, n.d., Woodcut, sheet: 17 3/16 x 12 13/16 in. (43.7 x 32.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Pierrot and Scaramouche show the portrait of Harlequin, n.d., Etching, second state, image: 7 5/16 x 8 7/16 in. (18.5 x 21.4 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel

Design for the decoration of a ceiling with a central panel of painted clouds, 1830–97, pen and ink, watercolor, and gouache over graphite on laid paper; mounted on blue wove paper, Overall: 10 11/16 x 8 5/16 in. (27.1 x 21.1 cm), Drawings,

Two Standing Male Figures and Seated Woman with a Child, 1760s, Pen and brown ink, brush with brown and gray wash, over black chalk. Vertical ruled stylus lines at left and right, 14-13/16 x 10-5/16 in. (37.6 x 26.2 cm), Drawings, Francesco

St. Michael Expurging Heresy., 1596–1669, Pen and brown ink, brush and brown wash over traces of black chalk, Sheet: 14 3/4 x 10 5/16 in. (37.4 x 26.2 cm), Drawings, Attributed to Pietro da Cortona (Pietro Berrettini) (Italian, Cortona

Drawing of a Sword Hilt, 16th–17th century, Western European, Pen and ink on paper, 10 x 4 1/2 in. (25.4 x 11.4 cm), Works on Paper-Drawings

The Standard Bearer, ca. 1501, Engraving, Sheet: 4 1/2 × 2 3/4 in. (11.5 × 7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Lamp, 2nd century A.D., Roman, Terracotta, Length 11.8 cm. H. 4 cm., Terracottas

The Parable of the Good Shepherd, 1565, Engraving; fourth state of four, sheet: 8 3/4 x 11 9/16 in. (22.3 x 29.3 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips Galle (Netherlandish,

Two Men Seen Three- Quarter Length, 1615–73, Pen and brown ink, brown wash, 3-1/2 x 3-1/4 in. (8.8 x 8.2 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Christ and the Woman Taken in Adultery, 1590–1646, Brush and blue wash, over slignt traces of black chalk, 7-7/8 x 12-1/4 in. (20.0 x 31.1 cm), Drawings, attributed to Belisario Corenzio (Italian (born Greece), Achaea 1558–1646 Esperia,

Fortuna in a Niche, 1498, Pen and greenish brown ink, 12 13/16 x 4 11/16 in. (32.5 x 11.9 cm), Drawings, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), This female nude, thought to represent an allegory of Fortune, seems to hover

Head and Front Quarters of a Bull, 1510–61, Pen and brown ink, on beige paper, 4 1/4 x 3 3/16in. (10.8 x 8.1cm), Drawings, Battista Franco (Italian, Venice ca. 1510–1561 Venice

The Island of Anconetta (recto); Two Feet Wearing Pointed Shoes (verso), 1712–93, Pen and brown ink, brush with brown and gray wash, over red chalk (recto); at upper border appear two feet wearing pointed shoes, pricked for transfer and

Tracing of a Ballet Costume: St Sebastian, 1922, Pencil on tracing paper, 12 1/16 x 10 11/16 in. (30.6 x 27.2 cm), Léon Bakst (Russian, Grodno 1866–1924 Paris

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

Portrait of the Artist., 1884, Pen and brown ink, 6 3/8 x 4 7/16in. (16.2 x 11.3cm), Drawings, Giovanni Boldini (Italian, Ferrara 1842–1931 Paris

Imaginary Landscape with Classical Ruins; Fountain in Foreground, 1700–1750, Point of a brush and gray wash, over graphite. Framing lines in pen and bronze paint, 5 11/16 x 5 11/16in. (14.5 x 14.5cm), Drawings, Carlo Fantaccini (Italian,

Vestal Maiden Asleep in a Chair, ca. 1879, Pen and black ink, 6 15/16 x 4 1/2 in. (17.6 x 11.4 cm), Drawings, Louis-Hector Leroux (French, Verdun 1829–1900 Angers

The Trinity (copy), n.d., Woodcut, sheet: 5 3/4 x 4 1/4 in. (14.6 x 10.8 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Young Cleric in a Cope Holding a Book, 1702–59, Black chalk, highlighted with white, on gray-washed paper, 14-1/2 x 10-3/16 in. (36.9 x 25.9 cm), Drawings, Placido Costanzi (Italian, Rome 1702–1759 Rome

The Church of St. Etienne-du-Mont, Paris, 1852, Etching and drypoint on green laid paper; fourth state of eight, plate: 9 3/4 x 5 1/16 in. (24.8 x 12.8 cm), Prints, Charles Meryon (French, 1821–1868

Frontispiece for Il Nino Figlio, 1655, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Hedgehog Cactus, Echinocereus polyacanthus, May 9, 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

The Angel with the Key to the Bottomless Pit , from The Apocalypse, n.d., Woodcut, sheet: 17 3/8 x 12 1/16 in. (44.1 x 30.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Four Studies of Nude Men, 1757–1822, Pen and brown ink. Mounted on a card, 8-3/16 x 13 in. (20.8 x 33.0 cm), Drawings, Anonymous, Italian, early 19th century

Figure Studies: Two Standing and Two Seated Men, 1609/10–?1675, Pen and brown ink, brush and brown wash, 6-7/16 x 11-9/16 in. (16.4 x 29.4 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

Saint Eustace, ca. 1501, Engraving, Sheet: 13 7/8 × 10 9/16 in. (35.3 × 26.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Butcher's Dog, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; fourth state of four; printed in black ink on medium weight ivory laid paper, Image: 7 1/8 × 5 3/16 in. (18.1 × 13.1 cm), Prints, James

Design for the Vestibule of the Chateau de Lude (Sarthe), second half 19th century, oil paint on wove paper, Overall: 10 3/8 x 14 3/4 in. (26.3 x 37.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Virgin and Christ Child Served by Angels, 1640, Etching; first state of three (Robert-Dumesnil), sheet: 11 1/2 x 15 7/8 in. (29.2 x 40.4 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Ten designs for the decoration of houses, including at least one for the stairway of the Chateau d'Ognon of M. deMachy (Oise, France), second half 19th century, Graphite, pen and ink, and watercolor on various papers glued to cardboard, sheet:

Design for Four Table Ends, early 19th century, Ink and watercolor, sheet: 7 11/16 x 9 13/16 in. (19.5 x 24.9 cm), Anonymous, British, 19th century

A Buck, December 1, 1790, Etching and aquatint, sheet: 13 5/16 x 8 7/16 in. (33.8 x 21.5 cm), Prints, George Moutard Woodward (British, ca. 1760–1809 London

Pink Flower Pattern, 19th century, Graphite, watercolor, and gouache on gray paper, 13 3/16 x 9 15/16 in. (33.5 x 25.3 cm), Drawings, Anonymous, French, 19th century

Faith (Fides) from the series The Virtues, ca. 1559–60, Engraving; first state of two, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Prints, Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips Galle

Ornamental design of three children holding up a fountain, 19th century, Etching, Plate: 8 1/8 × 6 11/16 in. (20.7 × 17 cm), Auguste Pequegnot (French, 1819–1878), After Stefano della Bella (Italian, Florence 1610–1664 Florence

House with a Turret, rue de la Tixéranderie, Paris, ca. 1881–82, Etching on laid paper, Plate: 9 1/2 x 5 3/16 in. (24.1 x 13.1 cm), Prints, Edmond Gosselin, after Charles Meryon (French, 1821–1868

Head of a very old Man facing right, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Two Winged Children with Bodies Turning into Ornament Blowing Bubbles, ca. 1653, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Baptism of Christ (recto); Kneeling Figure (?) in a Landscape (verso), 1612–75, Pen and brown ink, brush and brown wash, over red chalk (recto); pen and brown ink (verso), 7-3/4 x 6-1/16 in. (19.7 x 15.4 cm), Drawings, Micco Spadaro

Studies for the Archangel Gabriel (recto and verso), ca. 1645, Red and black chalk, over graphite, on light brown paper (verso, same media), 16 1/2 x 10 3/8 in. (41.9 x 26.4 cm), Drawings, Nicolas Mignard (French, Troyes 1606–1668 Paris

A Faun or Satyr Preparing a Pig for Sacrifice, 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.

New France, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 7/16 × 2 3/16 in. (8.8 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de

Saint George on Horseback, 1505–8, Engraving, Sheet: 4 7/16 × 3 7/16 in. (11.2 × 8.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Virgin Appearing to Saint John, Frontispiece to the Apocalyppse, 1511, Woodcut, sheet: 7 1/4 x 7 3/16 in. (18.4 x 18.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg