Images at Librifly

Seated Ecclesiastic, ca. 1662, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Le Niveau Nationale (The National Level), ca. 1789, Hand-colored etching, sheet: 9 15/16 x 12 3/8 in. (25.2 x 31.5 cm), Prints, Anonymous, French, 18th century

Design for Pointed Utensil with an Egyptian Style Figure on the Handle, 1548–1612, Pen and brown ink, brush and brown wash, over black chalk., 6 9/16 x 2 1/2 in. (16.6 x 6.4 cm), Drawings, Bernardino Poccetti (Italian, San Marino di

Plate 18: a noblewoman walking towards the left with a feathered fan, another woman in background to left, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 1/4 in. × 4 in. (8.2 × 10.2 cm), Prints,

Thenot and Colinet Eat Their Evening Meal, from Thornton's Pastorals of Virgil, 1821, Wood engraving, block: 1 7/16 x 3 in. (3.7 x 7.6 cm), Prints, William Blake (British, London 1757–1827 London

Plate 40 from 'The Disasters of War' (Los Desastres de La Guerra):'He gets something out of It (Algun partido saca), 1810 (published 1863), Etching, drypoint and burin , Plate: 6 7/8 × 8 7/16 in. (17.4 × 21.5 cm), Prints, Goya (Francisco de

Reading by Lamplight, 1859, Etching and drypoint; third state of three (Glasgow); black ink on fine off-white antique laid paper, Plate: 6 1/4 × 4 5/8 in. (15.9 × 11.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The Goldsmith, 1655, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Illustration to 'Count Burckhardt' (Once a Week, September 27, 1862), 1862, Wood engraving, Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Marble Topped Table with a Marble Shelf, early 19th century, Ink and watercolor, sheet: 9 1/16 x 11 7/8 in. (23 x 30.2 cm), Anonymous, British, 19th century

The Nativity, 1504, Engraving, Sheet: 7 5/16 × 4 3/16 in. (18.5 × 10.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Betrayal of Christ, from The Passion, 1508, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.8 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Clock: Three Birds, 19th century, Graphite, brush and gray wash, watercolor, gouache, and gold gilt, sheet: 8 3/16 x 11 5/16 in. (20.8 x 28.8 cm), Drawings, Anonymous, French, 19th century

Drury Lane Rags, 1888, Transfer lithograph, drawn on medium-grain transfer paper; only state (Chicago); printed in black ink on cream laid paper, Image: 6 5/16 × 5 13/16 in. (16 × 14.7 cm), Prints, James McNeill Whistler (American, Lowell,

Nude Male Figure, 1625–1713, Red chalk on paper faded gray (originally blue-gray ?), 14 x 10 in. (35.6 x 25.4 cm), Drawings, Ascribed to Carlo Maratti (Italian, Camerano 1625–1713 Rome

Apotheosis of Saint Mary Magdalen, 1527–85, Brush and black ink, 12 1/4 x 8 11/16in. (31.1 x 22.1cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

A procession of horsemen and cannons in the middle ground walking to the left, a cannon and two men to left, from 'Peace and War' (Divers desseins tant pour la paix que pour la guerre), ca. 1641, Etching; second state of two, Sheet (trimmed to

Christ's Entry into Jerusalem, from The Small Passion (copy), n.d., Woodcut, sheet: 8 1/4 x 5 3/4 in. (21 x 14.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Prodigal Son Leaves Home, ca. 1636, Etching, Sheet: 10 1/8 x 12 13/16 in. (25.7 x 32.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Sisters, 1894–95, Transfer lithograph with scraping, drawn on thin transparent transfer paper; first state of two (Chicago); printed in black ink on grayish white chine mounted on white plate paper, Image: 5 7/8 × 9 5/16 in. (15 × 23.6

The Parrot, ca. 1891, Drypoint; fourth state of seven, plate: 6 1/4 x 4 5/8 in. (15.9 x 11.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

John Ward, 2nd Viscount Dudley and Ward, 1779–1802, Black and red chalk, varnished, on thin laid paper. Oval., 8-15/16 x 6-9/16 in. (22.7 x 16.7 cm), Drawings, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon

Design for the decoration of the stairway in the Chateau d'Ognon of M. deMachy (Oise, France), second half 19th century, Graphite, pen and ink, watercolor, and gouache on wove paper, sheet: 10 1/2 x 14 13/16 in. (26.6 x 37.6 cm), Drawings,

Le Scelerat Damiens, 1757, Etching, sheet: 10 x 7 in. (25.4 x 17.8 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Three Winged Female Figures, 1696–1770, Pen and brown ink, brush with pale (yellow) brown wash, over black chalk, 9-1/8 x 9-5/8 in. (23.2 x 24.5 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

La Danseuse: A Study of the Nude, probably 1891, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in blue ink on Japanese gampi paper, Image: 6 3/16 × 4 3/4 in. (15.7 × 12 cm), Prints, James

Laocoön and his two sons standing on a pedestal and being attacked by serpents, set before a decaying wall, ca. 1515–27, Engraving, Sheet (Trimmed): 17 7/16 × 12 15/16 in. (44.3 × 32.9 cm), Prints, Marco Dente (Italian, Ravenna, active

Augustin de Thou, president au Parlement, Etching, sheet: 17 11/16 x 12 15/16 in. (45 x 32.8 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Design for the decoration of a gothic niche, second half 19th century, watercolor over graphite on laid paper glued to cardboard, sheet: 8 x 3 3/8 in. (20.3 x 8.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Virtue: Athena, 1637, Etching, Sheet (trimmed): 8 in. × 5 1/4 in. (20.3 × 13.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Western Azalea, Azalea occidentalis, July 2, 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

Temperance (Temperancia), 1530, Engraving, sheet: 6 3/8 x 4 5/16 in. (16.2 x 10.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a ceiling: the Grand Salon, second half 19th century, Graphite, pen and black ink, and gray wash, Overall: 10 9/16 x 15 1/2 in. (26.9 x 39.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Peddler of Old Hats, 1742, Etching with some engraving, Sheet: 9 1/4 x 7 in. (23.5 x 17.8 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Two Dead Ducks, 1685–1755, Brush with gray, green, blue, black, and orange wash over leadpoint. Traces of framing outlines in pen and black ink at bottom, 6-9/16 x 8-3/8 in. (16.6 x 21.2 cm), Drawings, Count Giorgio Durante (Duranti)

Design for a ceiling decorated with clouds and birds, 1830–97, graphite, pen and ink, watercolor and gold paint on wove paper; mounted on blue paper, Overall: 13 3/8 x 19 1/2 in. (33.9 x 49.5 cm), Drawings, Jules-Edmond-Charles Lachaise

Design for a Stage Set: Casino de St. Etienne, 1830–90, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Man at Desk, Wearing Cross and Chain, 1641, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Visit to the New Mother, 1633, Etching with engraving; first state of two, Sheet: 11 5/8 × 14 15/16 in. (29.6 × 38 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Pie-Us Ecstacy – or Godliness (the Itinerant Preachers) Great Gain, November 19, 1825, Etching, Plate: 11 1/4 x 8 3/4 in. (28.5 x 22.3 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), Rowlandson created this grotesque

Composition Study with Three Figures Standing on a Rock, 19th century, Pen and blue ink, over graphite, on tracing paper. Lined., 14 3/4 x 8 3/8 in. (37.4 x 21.2 cm), Drawings, Henri Lehmann (French, Kiel 1814–1882 Paris

Design for a Stage Set at the Opéra, Paris: A Tent, 1830–90, Graphite, Irregular sheet: 5 1/16 x 5 11/16 in. (12.9 x 14.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Studies of the Christ Child, 1513–14, Red chalk, Sheet: 8 5/8 x 6 9/16 in. (22 x 16.7 cm), Drawings, Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome), This animated sheet of studies done from a live model may be dated

Standing Figure of Saint Peter Holding Book and Keys., 1536/7–1615, Pen and two shades of brown ink, brush and pale brown wash, over traces of black chalk, 9 1/2 x 5 1/16 in. (24.2 x 12.9 cm), Drawings, Giovanni de' Vecchi (Italian, Borgo

Design for Two Bookstands on Casters, early 19th century, Ink and watercolor and wash, sheet: 9 1/8 x 11 7/8 in. (23.1 x 30.2 cm), Anonymous, British, 19th century

Saint John the Baptist Baptizing the Multitude, 1554–56, Pen and brown ink, brush and brown wash. , 9 5/16 x 12 11/16in. (23.7 x 32.3cm), Drawings, Pellegrino Tibaldi (Italian, Puria di Valsolda 1527–1596 Milan), The drawing is a study

Study for the Figure of Aeolus, 1549–51, Red chalk, sheet: 11 9/16 x 7 3/16 in. (29.4 x 18.2 cm), Drawings, Pellegrino Tibaldi (Italian, Puria di Valsolda 1527–1596 Milan), This is a study for the figure of Aeolus, ruler of the winds,

A Frigate at Sea, 17th century, Pen and black ink, gray wash, brown ink, over black chalk, on vellum. Mounted on board., 9 13/16 x 7 1/2 in. (25 x 19 cm), Drawings, Pierre Puget (French, Château Follet 1620–1694 Fougette

Océanie: Îlots à Uvea (Wallis): Pêche aux Palmes, 1845 (Oceania: Fishing, near islands with palms in the Uea or Wallis Group, 1845), 1863, Etching with drypoint on laid paper, plate: 6 3/4 x 13 1/8 in. (15.9 x 33.3 cm), Prints, Charles

Plate 2: a peasant woman removing her shoes in center, another peasant woman and two cows in a stream to left, a bridge to right in the background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two, Sheet

The Smith's Yard, 1895, Transfer lithograph drawn on thin, transparent transfer paper; only state (Chicago), as published; printed from a supplementary stone on medium-weight ivory wove paper with a smooth finish, Image: 7 1/2 × 6 1/4 in. (19.1

Sketch for Adoration of the Kings, 17th century, Pen and brown ink, brush and brown wash., 7 3/16 x 9 11/16 in. (18.2 x 24.6 cm), Drawings, Anonymous, French, 17th century

The Nativity, from The Life of the Virgin, Latin Edition, 1511, 1511, Woodcut, 11 3/4 x 8 3/8 in. (29.8 x 21.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Général sans pareil (The Peerless General), Summer 1815, Hand-colored etching, plate: 11 5/8 x 7 5/16 in. (29.5 x 18.6 cm), Prints, Anonymous, French, 19th century

Study for a Pendentive: Figures of Saint Peter and Saint Paul, 1590–1646, Brush and brown wash, highlighted with white, on blue paper, 10-3/16 x 8-7/16 in. (25.9 x 21.5 cm), Drawings, Belisario Corenzio (Italian (born Greece), Achaea

Price's Candle-Works (Price's Candle Factory), 1876/1877, Drypoint; ninth state of thirteen (Glasgow); printed in black ink on dark ivory Japan, Plate: 5 13/16 × 8 13/16 in. (14.8 × 22.4 cm), Prints, James McNeill Whistler (American, Lowell,

The Virgin with the Swaddled Child, 1520, Engraving, Sheet: 5 1/2 × 3 3/4 in. (14 × 9.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Rococco-style wall and cove ornament in the salon of the Hotel de Luynes, owned by the Duc de Sabran, second half 19th century, pen and ink and watercolor on wove paper, Overall: 14 5/16 x 10 1/2 in. (36.4 x 26.7 cm), Drawings,

Left Half of a Cartouche with Griffin and Acanthus Scroll, 1732–1802, Pen and brown ink, brush and dark green wash, 7 11/16 x 3 5/8 in. (19.6 x 9.2 cm), Attributed to Carlo Bianconi (Italian, Bologna 1732–1802 Milan

French Liberty. British Slavery, December 21, 1792, Hand-colored etching, plate: 9 13/16 x 14 in. (24.9 x 35.5 cm), Prints, James Gillray (British, Chelsea 1756–1815 London), A tattered Frenchman warms his feet at a meager fire while dining

Mythological Scene, 1771–1844, Lead graphite, 7 1/4 x 9 1/8in. (18.4 x 23.2cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Elaborate Design for a Chandelier, 19th century, Pen and brown ink, sheet: 19 1/8 x 16 5/16 in. (48.5 x 41.4 cm), Drawings, Anonymous, French, 19th century

Illustration from The Comedie of Terence, 19th century reprint, n.d., Woodcut, sheet: 3 1/2 x 5 5/8 in. (8.9 x 14.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The infant Hercules killing the snakes, set within an elaborate frame, from the 'Loves, Rages and Jealousies of Juno', 1531–76, Engraving, sheet: 5 3/16 x 3 15/16 in. (13.2 x 10 cm), Prints, Giulio Bonasone (Italian, active Rome and

St Paul overcoming the viper, within an architectual setting, an oval composition, ca. 1540–70, Engraving, Sheet: 9 7/16 in. × 6 in. (24 × 15.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After

Plate 2: La Place Dauphine, on the coast of Pont Neuf, the equestrian statue of Louis XIII in center, seen from the back and numerous figures, from 'Various Figures' (Agréable diversité de figures), 1642, Etching; undescribed state between

Christ on the Cross, with the Virgin and Saint John, 15th century, Woodcut, sheet: 9 7/16 x 6 15/16 in. (24 x 17.7 cm), Prints, Anonymous, 15th century

Little Arthur, 1857–58, Etching; fourth state of four (Glasgow); printed in black ink on off-white chine mounted on off-white wove paper, Plate: 2 5/16 x 1 15/16 in. (5.9 x 4.9 cm), Prints, James McNeill Whistler (American, Lowell,

The Triubute Money: Christ at center right gesturing to man at his left with coins in his hand, other figures surrounding them; columns and drapery in the background, ca. 1564–89, Engraving and etching, Sheet (Trimmed to plate): 13 3/16 × 16

Crowned Heads, from Pictures of Extra Articles and Visitors to the Exhibition, ca. 1851, Wood engraving, sheet: 4 3/4 x 13 7/8 in. (12.1 x 35.3 cm), Prints, Richard Doyle (British, London 1824–1883 London), London's Great Exhibition of the

Design for the Decoration of the Ceiling in the Hôtel de Pless, Berlin, or the Chateau de Cangé in the Loire, second half 19th century, Watercolor, gouache, and gold paint, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Plate 24 from 'The Disasters of War' (Los Desastres de la Guerra):' They can still be of use.' (Aun podrán servir), 1810, Etching before burnisher, Plate: 6 5/16 × 10 1/16 in. (16.1 × 25.6 cm), Prints, Goya (Francisco de Goya y Lucientes)

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, watercolor, and gouache, Irregular sheet: 11 5/16 x 20 11/16 in. (28.7 x 52.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Mirrored Sideboard with Diminishing Legs, Floral and Rocaille Ornament, early 19th century, Ink and wash, sheet: 8 5/8 x 12 1/4 in. (21.9 x 31.1 cm), Anonymous, British, 19th century

The Country Dance (Large Plate), ca. 1637, Etching; third state of four (Mannocci), sheet: 7 13/16 x 10 1/16 in. (19.8 x 25.6 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Allegory of Painting with Putti, 18th century, Pen and brown ink, brown and gray wash over black chalk; verso: faint black chalk sketches, 7 3/8 x 10 11/16 in. (18.7 x 26.9 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set Showing the Interior of a Fortress or Dungeon., 1751–1831, Pen and brown ink, brush and brown and gray wash, sheet: 7 1/16 x 9 5/16 in. (18 x 23.6 cm), Pietro di Gottardo Gonzaga (Italian, Belluno 1751–1831 St.

Caricature of Georges-Auguste Couthon (called Aristide, 1756-1794), President of the Convention in 1793, on the way to the guillotine on July 28, 1794 (10 Thermidor, An II), ca. 1794, Pen, black ink over black chalk, 5 3/16 x 4 1/16 in.

Phaeton, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 2 1/16 × 2 1/4 in. (5.3 × 5.7 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean

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.

Design for a Torchère, ca. 1770–90, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink with brush and green wash, Sheet: 18 1/2 × 12 3/16 in. (47 × 31 cm), Jean Jacques François Le Barbier (French, Rouen

The Virgin Walking to the Right Carrying the Christ Child, 1503–40, Red chalk, over stylus sketch, 6 13/16 x 5 9/16in. (17.3 x 14.1cm), Drawings, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore

The Flying Raven, Ex Libris for The Raven by Edgar Allan Poe, 1875, Lithograph on simili-parchment, Sheet: 6 1/8 x 11 5/8 in. (15.6 x 29.5 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Design for a Sword Hilt, ca.1550, probably Nuremberg, German, probably Nuremberg, Pen, ink, wash, paper, 8 1/2 x 11 3/8 in. (21.5 x 28.8 cm), Works on Paper-Drawings, Original designs for Renaissance swords are exceptionally rare,

Illustration from Revelations Sancte Birgitte, Koberger Nuremberg 1500 (Latin Text), n.d., Woodcut, sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

L'Armoire à glace (The Mirrored Wardrobe), 1922, Etching; first state, plate: 11 11/16 x 7 3/4 in. (29.7 x 19.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Design for an Iron Railing, 18th century, Pen and brown ink, brush and brown wash, sheet: 9 15/16 x 15 3/16 in. (25.2 x 38.5 cm), Anonymous, French, 18th century

The Dream of an Inhabitant of Mongolia (La Fontaine Fables, Book XI, Fable IV), after Moreau, 1850–1914, Etching, sheet: 15 3/4 x 11 5/8 in. (40 x 29.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Gustave

Design for a One-armed Gothic Style Sofa and Chair, early 19th century, Ink and wash, sheet: 8 5/8 x 12 5/16 in. (21.9 x 31.2 cm), Anonymous, British, 19th century

Covena, Brodiaea capitata, var. pauciflora, June 8, 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

Design for a Lady's Tomb, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 5/16 x 11 9/16 in. (43.9 x 29.3 cm), Drawings, Anonymous, French, 16th century

Hope (Spes) from the series The Virtues, 1559–60, Engraving, Plate: 8 7/8 x 11 9/16 in. (22.6 x 29.3 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips Galle (Netherlandish, Haarlem

Introduction of Citizen Volpone & His Suite, at Paris.–Vide, The Moniteur, & Cobbetts Letters, November 15, 1802, Hand-colored etching, sheet: 9 13/16 x 14 in. (25 x 35.6 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

Design for a Theatre, 18th century, Graphite, sheet: 4 1/2 x 2 5/8 in. (11.4 x 6.7 cm), Drawings, Anonymous, French, 18th century

Design for Cove Section, second half 19th century, Pen and black ink, watercolor, and gouache, 5 7/8 x 11 1/4 in. (14.9 x 28.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

A Pole Leading a Horse by the Bridle and Speaking with Two Other Men, ca. 1662, Etching, Sheet (trimmed to plate): 3 1/16 × 4 1/16 in. (7.7 × 10.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Descent from the Cross with Saint Francis and Another Friar, 1619, Pen and brown ink, brush and brown and gray wash, highlighted with gold., 14 5/16 x 11 1/8in. (36.4 x 28.3cm), Drawings, Jacopo Ligozzi (Italian, Verona 1547–1627

Arrie, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 3/4 x 9 in. (34.9 x 22.8 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris), After

America (L'Amerique), Etching, sheet: 8 5/8 x 5 3/4 in. (21.9 x 14.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Old Thames: 'Black Lion Wharf, ' an Etching, 1895, Wood engraving, image: 11 3/16 x 16 7/8 in. (28.4 x 42.9 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London), Engraved by Carl Hentschel