Images at Librifly

The Banquet for the Return of the Prodigal Son, ca. 1636, Etching, Sheet: 10 1/16 × 12 5/8 in. (25.5 × 32 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Adoration of the Magi, 1625–30, Pen and brown ink, brush and brown wash, sheet: 9 3/16 x 14 13/16 in. (23.3 x 37.7 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna), While the drawing cannot be

Plate 80 from 'The Disasters of War' (Los Desastres de la Guerra): 'Will she rise again?' (Si resucitará?), after 1814–15 (published 1863), Etching and burnisher, Plate: 6 3/4 × 8 9/16 in. (17.2 × 21.8 cm), Prints, Goya (Francisco de Goya y

Wood Cutter, 1742, Etching with some engraving, Sheet: 9 5/16 in. × 7 in. (23.7 × 17.8 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Madonna and Child Enthroned with Saint Basil the Great and Saint John the Baptist and Donor, 1540–50, Pen and brown ink, brush and brown wash. Mounted on board, 9 1/8 x 7 5/8in. (23.2 x 19.4cm), Drawings, Niccolò dell' Abate (Italian,

Scene in the Tuileries: The Watering Cart, 1760, Etching, second state, sheet: 4 x 7 7/8 in. (10.2 x 20 cm), Prints, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Head of a Man in Profile Facing to the Left, 1490–94, Pen and brown ink, over soft black chalk, 4 5/8 x 2 1/16in. (11.7 x 5.2cm), Drawings, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), In his studies from the late 1480s onward,

Design for the Parish Church of Merkershausen, 1738 (?), Pen and black ink, grey wash, watercolour, over graphite; framing line in pen and black ink, and grey and black wash, by the artist, sheet: 16 1/16 x 24 3/8 in. (40.8 x 61.9 cm),

The Last Supper, from The Small Passion (copy), n.d., Engraving, Sheet: 4 15/16 × 3 3/4 in. (12.6 × 9.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Possibly Abraham Waesberge (Dutch

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 3/8 x 8 15/16 in. (18.8 x 22.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Putti at play, second half 19th century, Graphite and brown wash, image: 4 7/8 x 9 1/2 in. (12.4 x 24.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Illustration to 'The Morning Before the Massacre of St. Bartholomew' (Once a Week, August 16, 1862), 1862, Wood engraving, Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Men Carrying Jars, 1624–63, Pen and brown ink, and brush and brown wash. Framing lines in pen and brown ink on mount, 4-3/8 x 6-3/8 in. (11.1 x 16.2 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679

Triumph of Bacchus who is seated on a carriage at left, 1531–76, Engraving, sheet: 5 7/16 x 8 11/16 in. (13.8 x 22 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Three cupids in front of a facade with pilasters, one holding a trident and another a large shell, ca. 1515–1600, Engraving, Sheet: 7 11/16 × 18 3/8 in. (19.5 × 46.7 cm), Prints, Anonymous, Italian, 16th to early 17th century, After

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.

Time, Apollo and the Seasons, 1662, Etching; seventh state of seven (Mannocci), sheet: 7 3/16 x 9 7/8 in. (18.3 x 25.2 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Grands Sauteurs!, from La Caricature, 19th century, Lithograph, Overall: 10 1/4 x 13 7/16 in. (26.1 x 34.1 cm), Prints, Alexandre-Gabriel Decamps (French, Paris 1803–1860 Fontainebleau

Landscape with a woman seated next to a man playing a hurdy-gurdy, ca. 1540, Woodcut, Sheet (Trimmed): 9 1/2 × 14 13/16 in. (24.2 × 37.6 cm), Prints, Domenico Campagnola (Italian, Venice (?) 1500–1564 Padua

Gaetano Rossi Napoletano, n.d., Conté crayon on off white wove paper, 9 13/16 x 7 13/16 in. (25 x 19.8 cm), Drawings, Jean-Baptiste Joseph Wicar (French, Lille 1762–1834 Rome

Rest on the flight into Egypt, Mary holding the infant Christ with St. Joseph at left, ca. 1640, Etching, Plate: 6 7/8 × 10 7/16 in. (17.5 × 26.5 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Pride (Superbia) from The Seven Deadly Sins, 1558, Engraving, sheet: 10 1/4 x 13 9/16 in. (26 x 34.4 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish, ca.

The Studio, Christmas 1916, 1916, Lithograph, image: 5 1/2 x 4 5/16 in. (14 x 11 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

En plein soleil, 1858, Etching; third state of three (Glasgow); printed in black ink on tan chine, Plate: 3 15/16 × 5 1/4 in. (10 × 13.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Agrippine Sibyl, from the series of Sibyls, ca. 1530, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Study for a Cartouche, Pen and black ink, with brush and gray wash. Framing lines in pen and brown ink., 5 x 4 3/16 in. (12.7 x 10.7 cm), Drawings, Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Design for a Chinese-Style Porcelain Candelabra, 19th century, Graphite, watercolor, gouache, and gold gilt, sheet: 18 3/8 x 11 13/16 in. (46.7 x 30 cm), Drawings, Anonymous, French, 19th century

Saint John Before God and the Elders, from The Apocalypse, n.d., Woodcut, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Pattern Book, 1830–70, American, Paper, 8 7/16 x 10 1/2 x 5/8 in. (21.4 x 26.7 x 1.6 cm), Natural Substances

The Virgin Immaculate Crowned by Two Angels, with Angel Musicians in the Foreground, 1555–1630, Pen and brown ink, brown wash, over black chalk, 8 7/8 x 6 13/16in. (22.6 x 17.3cm), Drawings, Domenico Fontana (Italian, Florence 1555–1630

The Schoolmaster, n.d., Woodcut, sheet: 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Quietude, ca. 1891, Drypoint; fifth state, plate: 10 3/16 x 7 in. (25.9 x 17.8 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Plate 13 from 'The Disasters of War' (Los Desastres de la Guerra):Bitter to be Present (Amarga presencia), 1810 (published 1863), Etching, lavis, drypoint, burin and burnisher, Plate: 5 1/2 × 6 3/4 in. (13.9 × 17.1 cm), Prints, Goya

Portait of Seated Man in Hat, 1782, Etching with roulette, image: 4 5/8 x 3 9/16 in. (11.8 x 9 cm), Prints, Charles Echard (French, Caen 1748–1810 Paris

Omer II Talon, avocat au Parlement et conseiller du roi, Etching, after first state, image: 12 1/16 x 9 3/16 in. (30.6 x 23.3 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels

Venus with Playing Cupids, Chiaroscuro woodcut in black and three tone blocks in beige, brown and dark brown, sheet: 10 1/2 x 15 15/16 in. (26.6 x 40.5 cm), Prints, Attributed to Ugo da Carpi (Italian, Carpi ca. 1480–1532 Bologna), After

Standing Youth Holding a Club (recto); Temptation of Adam and Eve (verso), 1438–61, Brush and gray wash, highlighted with white, on faded blue paper (recto); fragment of the Temptation of Adam and Eve in pen and brown ink, over black chalk,

Fabric Design with Blue Flowers, ca. 1918–25, Gouache and stencil over graphite, 9 7/16 x 7 3/8 in. (24 x 18.7 cm), Drawings, Attributed to Paul Poiret (French, Paris 1879–1944 Paris

Studies for the Education of the Virgin, 1692–1758, Pen and brown ink, 8 7/16 x 8 15/16in. (21.5 x 22.7cm), Drawings, Agostino Masucci (Italian, Rome 1692–1768 Rome

Design for a Piano, 19th century, Watercolor on wove paper, sheet: 16 7/8 x 10 5/8 in. (42.8 x 27 cm), Anonymous, French, 19th century

San Giorgio, 1879–80, Etching and drypoint; printed in dark brownish-black ink on fine ivory laid paper, Plate: 8 3/16 × 11 15/16 in. (20.8 × 30.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Chair, early 19th century, Ink and gouache, sheet: 7 3/16 x 4 7/16 in. (18.3 x 11.2 cm), Attributed to Gillows (British, 19th century

The Prodigal Son Guarding Pigs, ca. 1636, Etching, Sheet: 10 5/16 x 13 in. (26.2 x 33 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Study of Two Figures, 1837–1911, Graphite, 16 3/4 x 11 in. (42.5 x 27.9 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Design for Trompe L'Oeil Ceiling for Dining Room, Hôtel de Trévise, 1850–1910, Graphite and watercolor, 10 7/8 x 8 3/8 in. (27.6 x 21.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

A Carthusian Saint Visiting the Plague Stricken, 1599–1661, Pen and brown ink, gray wash, and black chalk on paper, 9 9/16 x 13 5/16in. (24.3 x 33.8cm), Drawings, Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome

Melencolia I, 1514, Engraving, image: 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Pieter Haaringh ('Young Haaringh'), 1655, Etching, drypoint, and burin; first state of five, Plate: 7 13/16 × 5 7/8 in. (19.8 × 14.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Annunciation., 1560–1600, Pen and brown ink, brush and brown wash, over leadpoint or black chalk, on paper washed light brown; squared for transfer, 8-5/8 x 8-1/8 in. (21.9 x 20.6 cm), Drawings, Marchigian artist near Filippo Bellini

Design for Wall, Hôtel de Beaujon, Paris, 1872, Watercolor, pen and black ink, and gilt over graphite, sheet: 14 1/2 x 6 7/16 in. (36.9 x 16.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Saint Peter and Saint John at the Gate of the Temple, from The Passion, 1513, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.7 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Marine Deity with Attendant Female Figure, 1696–1770, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk, 11 5/8 x 9 7/8in. (29.6 x 25.1cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Diogenes in search of an honest man, ca. 1645–47, Etching, sheet: 8 7/16 x 11 15/16 in. (21.5 x 30.4 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

The Continence of Scipio, Brown chalk, brush and brown wash, 19 x 11 3/16 in. (48.2 x 28.4 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris

The Counsellor, King, Warrior, Mother & Child in the Tomb, from The Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 5 5/8 x 8 15/16 in. (14.3 x 22.7 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa 1765–1810

The Nativity (copy), n.d., Woodcut, Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Johannes Mommaert

Dance on the Village Square, ca. 1633, Etching, Sheet: 11 1/16 x 13 13/16 in. (28.1 x 35.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Stage Sets: Anteroom with Stairs Leading to a Gallery Composed of a Series of Connected Barrel Vaults, 1698–1765, Pen and gray ink, brush with brown and gray wash, 6 3/16 x 4 5/16in. (15.7 x 11cm), Drawings, Giovanni Battista

Kick Up at a Hazard Table, ca. 1787–90, Hand-colored etching and aquatint, sheet: 16 1/8 x 21 7/16 in. (40.9 x 54.4 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), Men from a range of social classes gather to play

The Miniature, 1843–1925, Watercolor, 14 x 10 in. (35.6 x 25.4 cm), Drawings, Attilio Simonetti (Italian, Rome 1843–1925 Rome

Aeneas and the Cumaean Sibyl Entering the Infernal Regions, 1610–62, Pen and brown ink, brush and blue wash, highlighted with white, over black chalk, on blue-gray paper, 9 x 12-5/8 in. (22.9 x 32.0 cm), Drawings, Giovanni Francesco

The Banquet of Anthony and Cleopatra, 1763–64, Etching, first state, sheet: 6 13/16 x 4 13/16 in. (17.3 x 12.3 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Giovanni Battista Tiepolo (Italian, Venice

The Clock Tower, ca. 1852, Graphite with red chalk on laid paper (a narrow strip added at right), 14 1/2 x 10 3/8 in. (36.8 x 26.4 cm), Drawings, Charles Meryon (French, 1821–1868

Drapery Study for a Monk (lower register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black and white chalk, traces of red chalk, on gray paper, 19 x 11 11/16 in. (48.3 x 29.7 cm),

Innsbruck from the series Civitates Orbis Terrarum, vol. V, plate 59, 1590, Etching, sheet: 14 15/16 x 20 5/16 in. (38 x 51.6 cm), Prints, After Joris Hoefnagel (Netherlandish, Antwerp 1542–1601 Vienna), Simon Novellanus (16th century

Barrel Cactus, May 24, 1912, Watercolor and brown ink over 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

Sibyl Announcing the Birth of Christ to the Emperor Augustus, 1505–71, Pen and brown ink, brush and pale brown wash, over black chalk, 10 1/2 x 8 1/16in. (26.6 x 20.4cm), Drawings, Bartolomeo Neroni (Il Riccio) (Italian, Siena

Pride of California, Lathyrus Splendens, April 10, 1914, 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

Design for Fringed Curtains Surrounding Three Windows, early 19th century, Graphite, sheet: 10 11/16 x 14 15/16 in. (27.2 x 38 cm), Anonymous, British, 19th century

Portrait of Virginie Cardinal's Favorite, the Actor Crochard (illustration for La Famille Cardinal by Ludovic Halévy), ca. 1880, Black ink printed on laid paper, mounted on heavy paper (monotype), sheet: 10 1/8 x 7 7/16 in. (25.7 x 18.9 cm),

Three Designs for Covered Vases, 18th century, Graphite, Sheet: 4 13/16 x 2 15/16 in. (12.2 x 7.5 cm), Drawings, Anonymous, French, 18th century

Study of a Seated Woman, 1702–85, Black chalk stumped, highlighted with white chalk, on light brown paper, 11 7/16 x 8 5/16in. (29.1 x 21.1cm), Drawings, Pietro Longhi (Pietro Falca) (Italian, Venice 1701–1785 Venice

Study of a Fire Urn, ca. 1770–90, Brush and gray and brown wash on laid paper, sheet: 12 5/8 x 7 3/4 in. (32.1 x 19.7 cm), Attributed to Anonymous, French, 18th century

Plate 48 from 'The Disasters of War' (Los Desastres de la Guerra): 'Cruel tale of woe!'(Cruel Lástima!), 1811–12 (published 1863), Etching, burnished lavis, burin and burnisher, Plate: 5 7/8 in. × 8 in. (15 × 20.3 cm), Prints, Goya

Flora, ca. 1560–70, Engraving, sheet: 16 1/4 x 11 5/16 in. (41.2 x 28.7 cm) trimmed to platemark, Prints, Engraved by Anonymous, Italian, second half of the 16th century, Designed by ? Battista Franco (Italian, Venice ca. 1510–1561

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: 7 11/16 x 8 11/16 in. (19.6 x 22.1 cm), Drawings, Donato Giuseppe Frisoni

Design for a Chandelier, ca. 1770–90, Pen and black ink, 19 5/8 x 14 3/16 in. (49.8 x 36 cm), Drawings, Anonymous, French, 18th century

The Musicians, 1524, Engraving, sheet: 4 5/8 x 3 in. (11.7 x 7.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Agony in the Garden, ca. 1657, Etching and drypoint, sheet: 4 3/8 x 3 5/16 in. (11.1 x 8.4 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Suite of Furniture, A Double-sided Sofa, Two Chairs and Two Armchairs (Verso: sketch for shelves and a mirror), early 19th century, Graphite, sheet: 10 3/4 x 14 15/16 in. (27.3 x 38 cm), Anonymous, British, 19th century

Charivari, ca. 1633, Etching with engraving; first state of two, Sheet (trimmed): 10 in. × 12 15/16 in. (25.4 × 32.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Belted Pig and Two Cupids (or Geniuses) with a Butterfly (or Moth), 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

Design for decoration of a wall with painted panels separated by pilasters, 1830–97, graphite and watercolor on laid paper, Overall: 10 5/8 x 14 13/16 in. (27 x 37.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

A gentleman seen from behind walking into a church, ca. 1629, Etching, Sheet (trimmed): 6 1/16 × 3 15/16 in. (15.4 × 10 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean de Saint-Igny (French, Rouen ca.

Title Page: Le Brun Travested, or Caricatures of the Passions, January 21, 1800, Etching, printed in brown ink, sheet: 7 5/16 x 8 11/16 in. (18.5 x 22.1 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George

Potiphar's Wife Acuses Joseph, 1512, Engraving; third state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Venus and Cupid, 1527–85, Pen and ink, 13 1/2 x 9 1/16 in. (34.3 x 23.0 cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

The Good Samaritan, 1689–1767, Pen and brown ink, brush and brown wash, highlighted, on beige paper. Framing lines in pen and brown ink, 8 1/16 x 12 11/16in. (20.4 x 32.2cm), Drawings, Gaspare Diziani (Italian, Belluno 1689–1767 Venice

Plate 5 from the 'Disparates': Flying Folly, ca. 1816–23 (private printing ca4), Etching and aquatint, Plate: 9 5/8 × 13 7/8 in. (24.5 × 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Acolyte with Open Book (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Red, white, and black chalk, on gray paper, 19 x 11 3/4 in. (48.4 x 29.8 cm), Drawings, Isidore

Le Jouer de Vielle (The Hurdy-Gurdy Player), 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 and

The Artist's Mother with Her Hand on Her Chest, 1631, Etching; New Holl's fourth state of six, Sheet: 4 3/4 x 3 9/16 in. (12 x 9.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The toilet of Psyche who is seated in the centre being attended to, 1531–76, Engraving, sheet: 8 11/16 x 6 1/4 in. (22 x 15.9 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Martyrdom of the Apostle Thomas, 1638–1646, Pen and brown ink, brush and brown wash, spots of red wash at upper right and left, 6 7/8 x 6 1/8in. (17.4 x 15.6cm), Drawings, Giovanni Lanfranco (Italian, Parma 1582–1647 Rome), An

Putti with the Attributes of the Arts, 1627–1703, Pen and brown ink, brush and brown wash over some charcoal, 5 9/16 x 7 3/8in. (14.2 x 18.8cm), Drawings, Domenico Piola (Italian, Genoa 1627–1703 Genoa

Rape of Europa, ca. 1636, Etching with drypoint, Sheet (Trimmed): 8 15/16 × 12 3/8 in. (22.7 × 31.4 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Portrait of a Woman, 19th century, Brush and black and gray wash, heightened with white, over graphite, sheet: 13 7/16 x 10 3/16 in. (34.1 x 25.8 cm), Drawings, Anonymous, French, 19th century

A Little Game of Bagatelle, Between Old Abe the Rail Splitter & Little Mac the Gunboat General, 1864, Lithograph, sheet: 12 1/2 x 19 1/8 in. (31.7 x 48.5 cm), Prints

Landscape with a Memorial Scene, ca. 1760–80, Pen and brown ink with red chalk underdrawing, 11 3/8 x 8 1/16 in. (28.9 x 20.5 cm), Workshop of Ennemond Alexandre Petitot (French, Lyons 1727–1801 Parma

St. Andrew, ca. 1510, Engraving, sheet: 4 7/16 x 2 3/4 in. (11.3 x 7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden