Images at Librifly

Seated Ecclesiastic, ca. 1662, Etching; touched proof, Sheet: 3 9/16 × 2 1/4 in. (9.1 × 5.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Francois de Villemontee, conseiller d'etat ordinaire, Etching, image: 11 7/16 x 9 3/16 in. (29 x 23.3 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Design for Four Vases, ca. 1770–85, Pen and brown ink, and black chalk, 14 7/8 x 9 3/16 in. (37.8 x 23.4 cm), Drawings, Anonymous, French, 18th century

The Flagellation (Schr. 308c), 15th century, Woodcut, hand-colored, sheet: 1 7/8 x 1 5/16 in. (4.8 x 3.3 cm), Prints, Anonymous, German, 15th century

The Virgin Surrounded by Many Angels, 1518, Woodcut, sheet: 11 11/16 x 8 5/16 in. (29.7 x 21.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 4 7/16 x 5 1/2 in. (11.2 x 13.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Burying the Dead, 1635, Etching with engraving, Sheet: 11 3/8 x 13 1/2 in. (28.9 x 34.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Seated Women Holding Aloft a Sword, and Supported by Two Putti, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 10-1/16 x 8 in. (25.6 x 20.3 cm), Drawings, Giovanni Battista Tiepolo (Italian,

St. Gangulphus, 1650, Engraving and etching, sheet: 17 1/16 x 11 5/8 in. (43.3 x 29.6 cm), Prints, C. Visscher

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite and gouache, Irregular sheet: 2 x 7 1/2 in. (5.1 x 19 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Replacements in the Parisian Guard Playing Cards in 1795, ca. 1795, Pen and brown ink over traces of black chalk, 6 9/16 x 4 9/16 in. (16.6 x 11.6 cm), Drawings, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Drawing after a Lithograph of a Recumbent Lion., n.d., Brush and black and gray wash, graphite and black chalk, Sheet: 7 3/8 x 12 3/8 in. (18.7 x 31.4 cm), Drawings, After Antonio Canova (Italian, Possagno 1757–1822 Venice

The Angel sounding the Sixth Trumpet, from the Apocalypse, n.d., Engraving, plate: 11 7/8 x 8 9/16 in. (30.2 x 21.8 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

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

Two Hermits in the Wilderness, 1625–84, Pen and brown ink, brown wash, on beige paper, 6 1/2 x 10 1/2in. (16.5 x 26.7cm), Drawings, Domenico Maria Canuti (Italian, Bologna 1625–1684 Bologna

Design for Door, 18th century, Pen and brown ink, over graphite or leadpoint, with ruled and compass construction, 13 x 17 13/16 in. (33 x 45.3 cm), Drawings, Workshop of Leonardo Marini (Italian, Piedmontese documented ca. 1730–after 1797

Draped Male Figure Standing in a Niche, 1655–1730, Pen and brown ink, brush with brown and gray wash, on light brown washed paper, 12 5/8 x 8 3/8in. (32.1 x 21.3cm), Drawings, attributed to Gregorio Lazzarini (Italian, Venice 1655–1730

The Head of a Woman Looking Up (Judith)., 1625–26, Red and black chalk, on originally blue paper now faded to light brown-gray, 13 1/4 × 8 7/8 in. (33.6 × 22.6 cm), Drawings, Guido Reni (Italian, Bologna 1575–1642 Bologna), Striking for

Designs for Two Candelabras and Two Urns, 19th century, Pen and brown ink, a: 7 1/2 x 6 3/8 in. (19 x 16.2 cm), Drawings, Anonymous, French, 19th century

Raymond Diocrès Speaking During His Funeral (from the Life of Saint Bruno of Cologne), 1628–29, Pen and dark brown ink, brush and brown wash, highlighted with white gouache, over soft black chalk or leadpoint, 12 3/16 x 8 1/4 in. (31 x 21

Caricature of a Woman in a Large Hat, 1920, Graphite, sheet: 14 x 10 in. (35.5 x 25.4 cm), Drawings, Enrico Caruso (Italian, 1873–1921

Free Trade Wharf, 1877, Etching and drypoint; fourth state of eight (Glasgow) as published by the Fine Art Society; printed in black ink on fine ivory Japan, Plate: 3 7/8 x 7 3/8 in. (9.8 x 18.7 cm), Prints, James McNeill Whistler (American,

The Procession of the Holy Sacrament, ca. 1648, Etching, state iii, sheet: 13 1/8 x 18 11/16 in. (33.4 x 47.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design after François Duquesnoy, tomb of Ferdinand van den Eynden, Red chalk, 14 3/8 x 9 1/8 in. (36.5 x 23.1 cm), Drawings, Anonymous, French, 18th century

Elevation of a wall decorated with the dove of the holy ghost, second half 19th century, Elevation of a wall decorated with the dove of the holy ghost, sheet: 13 x 13 11/16 in. (33 x 34.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Santa Maria Maggiore, Sforza Chapel, elevation (recto) Unknown, entablature, partial cornice, and column or pilaster base profile (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 13/16 x 17 5/16

Plate 43 from 'Los Caprichos': The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799, published 1908–12, Etching and aquatint on wove paper, Plate: 8 1/2 x 6 in. (21.6 x 15.2 cm), Prints, Goya (Francisco de

Sin of Adam and Eve, 1529, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Furniture, 19th century, Pen and black ink, brush and gray wash. Framing lines in pen and black ink., sheet: 13 7/16 x 8 15/16 in. (34.1 x 22.7 cm), Anonymous, French, 19th century

Figures before an Altar, n.d., Red chalk., 8 1/4 x 5 7/8 in. (20.9 x 15 cm), Drawings, Bernard Picart (French, Paris 1673–1733 Amsterdam

Venice, n.d., Watercolor on paper, 8 x 12 3/4 in. (20.3 x 32.4 cm), Drawings, Félix-François-Georges-Philibert Ziem (French, Beaune 1821–1911 Paris

St. Paul, Hermit, 1615–73, Pen and brown and black ink, brown wash, over black chalk, corrected and highlighted with gray gouache, 11-1/2 x 7-5/8 in. (29.2 x 19.4 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Landscape with Figures near a Tomb, 1656–1727, Pen and brown ink, 10 1/4 x 8 3/16in. (26 x 20.8cm), Drawings, Gian Antonio Burrini (Italian, Bologna 1656–1727 Bologna

Harlequin menaces Scaramouche with a Torch, n.d., Etching, second state, image: 7 5/16 x 8 7/16 in. (18.6 x 21.4 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French,

The Virgin and Child Resting Outside a City Gate, 1560–1609, Pen and brown ink, brush with traces of brown wash, on light brown beige paper; traces of framing outlines in pen and brown ink, sheet: 7 3/8 x 8 1/2 in. (18.8 x 21.6 cm), Drawings,

Design for Two Caskets, early 19th century, Ink and wash, sheet: 8 11/16 x 12 5/16 in. (22 x 31.3 cm), Anonymous, British, 19th century

Two Tables, One Low with Large Vase and Objects, One Higher with Covered Pot, Lion and Small Bowl, 19th century, Pen and ink and gouache, Overall: 14 1/8 x 18 3/8 in. (35.9 x 46.7 cm), Drawings, Anonymous, Chinese, 19th century

Design for a ceiling, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 13 3/8 x 23 5/16 in. (33.9 x 59.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Saint Christopher Facing Left (copy), n.d., Engraving, Sheet: 4 1/2 in. × 3 in. (11.5 × 7.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Speculum Romanae Magnificentiae: Subjects after Antique Cameos and Gems, ca. 1550–77, Engraving. State i before numbers, Prints, Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design for Chandelier, 18th century, Pen and gray ink, brush and gray wash, watercolor, 11 7/16 x 7 5/8 in. (29 x 19.4 cm), Drawings, Anonymous, French, 18th century

Designs for the Decoration of a Frieze and Corner Motifs (recto); Design for Two Frames Decorated with Volutes, Garlands and the Head of a Putto (verso), 1652–1725, Pen and brown ink, over traces of black chalk. Verso: pen and brown ink,

Christ on the Mount of Olives, from The Large Passion, n.d., Woodcut, sheet: 17 3/8 x 12 in. (44.1 x 30.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Study of Boy's Head; the Queen of Sheba Before Solomon., 1580–94, Black and red chalk, partly highlighted with white chalk, on blue paper, 11 3/4 x 7 13/16 in. (29.8 x 19.8 cm), Drawings, Attributed to Antonio Vassilacchi (called 'Il

Portrait of Alfred Rethel, looking up; verso: Studies of two heads, 19th century, Graphite, sheet: 8 1/4 x 5 1/4 in. (21 x 13.3 cm), Drawings, Heinrich Karl Anton Mücke (German, 1806–1891

Il Gobbo dei Carracci, 1736, Etching and aquatint, brown ink, sheet: 11 5/8 x 7 5/8 in. (29.6 x 19.4 cm), Prints, Arthur Pond (British, London 1701–1758 London), After Annibale Carracci (Italian, Bologna 1560–1609 Rome

Ground Plan for Second Floor of a Palace, n.d., Pen and black ink, brush and gray wash over graphite, 9 3/4 x 16 3/4 in. (24.8 x 42.6 cm), Degana

Departure for the Fields, ca. 1638–41, Etching; third state of four (Mannocci), sheet: 5 3/16 x 7 3/16 in. (13.1 x 18.2 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

The Holy Family with Angels, 1603–5, Black chalk highlighted with white chalk on blue paper, 14 1/8 x 10 5/8 in. (35.9 x 27 cm), Drawings, Pomarancio (Cristoforo Roncalli) (Italian, Pomarance ca. 1553–1626 Rome

Shipbuilder's Yard, Liverpool, 1875, Drypoint; first state of four (Glasgow); printed in black ink on ivory laid paper, Plate: 10 13/16 x 5 7/8 in. (27.5 x 14.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

A Group of Figures Surrounding Two Bird-coops, 1697–1768, Pen and brown ink over lead or graphite underdrawing, 8 3/16 x 11 9/16 in. (20.8 x 29.4 cm), Drawings, Bernardo Bellotto (Italian, Venice 1722–1780 Warsaw

Design for a Table, 1698–1765, Pen and brown ink, brush with gray and brown wash, over traces of graphite or black chalk, sheet: 6 5/8 x 6 3/8 in. (16.8 x 16.2 cm), Drawings, Giovanni Battista Natali III (Italian, Pontremoli, Tuscany

A Lady in a Hunting Costume with a Lady in Walking Costume on a Mountain Path from La Mode Illustrée, 1881, Hand-colored lithograph, sheet: 14 13/16 x 10 3/8 in. (37.6 x 26.4 cm), Prints, Adèle-Anaïs Toudouze (French, Paris 1822–1899

The Holy Family with the Three Hares, n.d., Woodcut, sheet: 15 7/16 x 11 1/16 in. (39.2 x 28.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Summer, 1735, Etching with engraving, sheet: 10 3/16 x 9 5/8 in. (25.9 x 24.5 cm), Prints, Charles Joseph Natoire (French, Nîmes 1700–1777 Castel Gandolfo), Benoît Audran II (French, Paris 1698–1772 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite; Squaring lines in pen and red ink, Irregular sheet: 10 3/8 x 3 1/2 in. (26.3 x 8.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

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

Design for a ceiling, second half 19th century, Graphite and watercolor, Overall: 15 5/8 x 21 1/4 in. (39.7 x 54 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Drawing of Two 'Americans' for Ballet de la Douairière de Billebahaut, 1626, Pen and brown ink, watercolor with silver and gold ink, 8 15/16 x 6 7/8 in. (22.7 x 17.5 cm), Drawings, Daniel Rabel (French, Paris 1578–1637 Paris), Drawing

Horatius Cocles Defending the Bridge, 1527–85, Pen and brown ink, 8 x 12-1/4 in. (20.3 x 31.1 cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Wounded Crane with an Arrow in its Breast Before Setting Sun, late 19th–early 20th century, Pen and ink on buff stock, 4 x 4 9/16 in. (10.2 x 11.6 cm), Drawings, Max Klinger (German, Leipzig 1857–1920 Großjena

Arch of Septimius Severus, panel, elevation (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 9/16 x 17 1/4 in. (29.3 x 43.8 cm

St. John the Baptist in the Desert, 1513, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Pegu, 1644, Etching, state iii, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin (French, 1595–1676

Lagoon Capriccio with an Obelisk, ca. 1750–70, Pen and brown ink, brush and gray wash, over black chalk, 9 3/8 x 14 7/16in. (23.8 x 36.6cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

La Belle Jardinière, 1894, Transfer lithograph with stumping and scraping, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on fine laid Japan, Image: 8 3/4 × 6 1/4 in. (22.3 × 15.8 cm), Prints, James

Death carrying a child, from 'The five deaths' (Les cinq Morts), ca. 1648, Etching; second state of three, Sheet (trimmed within platemark): 7 in. × 5 13/16 in. (17.8 × 14.7 cm), Prints, Stefano della Bella was one of the most talented and

The Crucifixion (Round), ca. 1519, Engraving, Diameter: 1 7/16 in. (3.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Balthasar Carlos, Prince of Spain and Son of Philip IV (D. Baltasar Carlos Principe de España. Hijo del Rey D. Felipe IV), from Etchings after Velazquez, 1778, Etching and drypoint printed in black ink, Plate: 13 9/16 × 8 11/16 in. (34.5 × 22

Design for a painted ceiling with putti on clouds in a central oval, 1830–97, Graphite, watercolor, and gold paint on wove paper; mounted on wove paper, Overall: 9 7/16 x 12 3/8 in. (23.9 x 31.4 cm), Drawings, Jules-Edmond-Charles Lachaise

The Gallery of the Palace of Justice, ca. 1638, Etching; first state of two, Sheet (trimmed): 9 7/8 × 12 9/16 in. (25.1 × 31.9 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Deer hunt, from 'Animal hunts' (Chasses à différents animaux), ca. 1654, Etching, Sheet (trimmed to plate): 5 7/8 in. × 9 in. (15 × 22.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

James McNeill Whistler, 1874, Etching; proof, plate: 5 1/8 x 3 7/8 in. (13 x 9.8 cm), Prints, Percy Thomas (British, London 1846–1922 London

Two Different Halves of Cartouches Each Showing an Eagle Fighting a Serpent, 1646, Etching, proof with additions in brown pen and ink and black chalk, sheet: 4 1/16 x 7 3/8 in. (10.3 x 18.8 cm), Prints, Stefano della Bella (Italian, Florence

Big Fish Eat Little Fish, 1557, Engraving; fourth state of four, Plate: 9 1/16 × 11 13/16 in. (23 × 30 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish,

Standing Female Figure, ca. 1739–40, Etching, sheet: 4 1/2 x 2 15/16 in. (11.4 x 7.5 cm), Prints, Pierre Ignace Parrocel (French, 1702–1775

The Adoration of the Shepherds, Gouache over black chalk underdrawing, on paper, mounted on canvas, 16 1/4 x 11 in. (41.3 x 27.9 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris), Known for graceful mythologies and charming

Les neuf Muses, 1644, Etching, state i, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin (French, 1595–1676

An Architectural Capriccio; a View Through a Great Arch with an Obelisk in a Piazza in the Middle Distance, 18th century, Pen and black ink, brush and gray wash, 8 1/4 x 11 in. (20.9 x 28.0 cm), Drawings, Charles Michel Ange Challe (French,

The Penance of Saint John Chrysostom, ca. 1496, Engraving, Sheet: 7 1/8 × 4 5/8 in. (18.1 × 11.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Wind God, 1669, Black chalk, highlighted with white, on brownish paper, 7 7/16 x 13 1/8in. (18.9 x 33.3cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596–1669 Rome), This study of a youth after life served for

Portrait of Benjamin Fillon, 1876, Etching; third state of three, sheet: 13 1/8 x 9 5/8 in. (33.3 x 24.4 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

The Nativity, 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

Crowd in Front of the Tuileries Palace During the Wedding of Napoleon to Marie-Louise of Austria, ca. 1810, Pen and gray ink, brush and gray wash, over black chalk, 16 3/8 x 12 1/8 in. (41.6 x 30.8 cm), Drawings, Charles Percier (French,

Design for a Porcelain Candelabra with Seven Branches, 19th century, Graphite, brush and gray and yellow wash, and gouache, sheet: 17 1/4 x 11 7/16 in. (43.8 x 29 cm), Drawings, Anonymous, French, 19th century

Earth, ca. 1648, Etching, Sheet (trimmed): 9 13/16 × 12 1/2 in. (24.9 × 31.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Well-a-day, Is this my Son Tom, ca. 1773, Etching and engraving, sheet: 19 1/4 x 14 3/16 in. (48.9 x 36 cm), Prints, Probably after Samuel Hieronymus Grimm (Swiss, Bern 1733–1794 London (active Britain from 1768)), The extremes of

Ten Cavaliers Forming a Circle, 1652, Etching, Plate: 8 11/16 × 11 5/8 in. (22 × 29.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Foolish Virgins Rejected, ca. 1635, Etching, Sheet: 8 3/4 × 12 11/16 in. (22.2 × 32.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Christ Carrying the Cross, from The Passion, 1512, Engraving, Sheet: 4 9/16 × 2 15/16 in. (11.6 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Voyage of Jacob in Egypt, ca. 1647, Etching; third state of four, Sheet (trimmed): 7 1/8 × 10 11/16 in. (18.1 × 27.2 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Coronation of the Czar Alexander I, Moscow, September 1801, 1801, Watercolor, sheet: 13 x 19 11/16 in. (33 x 50 cm), Drawings, Lieutenant-Captain Cheleyev (Russian, active early 19th century

Monocle Right Eye, Portrait of J. M. Whistler, ca. 1889, Lithograph, sheet: 15 1/4 x 11 3/8 in. (38.8 x 28.9 cm), Prints, Mortimer Menpes (Australian, Port Adelaide 1855–1938 Pangbourne, England

Christ Nailed to The Cross, from The Small Passion, edition Venice, 1612, 1612, Woodcut, sheet: 8 1/16 x 5 13/16 in. (20.5 x 14.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, brush and brown and gray wash, and gouache, Irregular sheet: 8 3/4 x 3 1/8 in. (22.3 x 7.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Adoration of the Magi, 1511, Woodcut, sheet: 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm) trimmed to block line, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Herd at the Watering Place, 1635, Etching; third state of three (Mannocci), sheet: 4 5/16 x 6 15/16 in. (11 x 17.7 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Design for a Stage Set, Showing Right Half Only, 1698–1772, Attributed to Prospero Zanichelli (Italian, Reggio Emilia 1698–1772 Reggio Emilia

Ecstatic Christ, ca. 1510–11, Pen and two shades of carbon black ink, traces of black chalk underdrawing, 6 11/16 x 9 7/16 in. (16.9 x 24.0 cm), Drawings, Hans Baldung (called Hans Baldung Grien) (German, Schwäbisch Gmünd (?)

The Holy Family with Five Angels, ca. 1503, Woodcut, sheet: 8 1/2 x 5 3/4 in. (21.6 x 14.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg