Images at Librifly

Drawing of an Interior: Chambre à coucher, 1857, Graphite, pen and blue ink, watercolor, sheet: 7 7/8 x 11 3/8 in. (20 x 28.9 cm), Drawings, Anonymous, French, 19th century

Boy Holding Flowers, 18th century, Black and white chalk on blue paper, 5 7/8 x 5 1/2 in. (15 x 14 cm), Drawings, Anonymous, French, 18th century

The Intaglio Printers, 1642, Etching, Sheet (trimmed): 10 3/16 in. × 13 in. (25.8 × 33 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Ill-Assorted Couple, ca. 1495, Engraving, sheet: 5 7/8 x 5 7/16 in. (14.9 x 13.8 cm) trimmed to plate line, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, Irregular sheet: 10 13/16 x 17 1/2 in. (27.4 x 44.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Frontispiece to Les Gardes Françaises, 1632, Etching; undescribed first state before letter, Sheet (trimmed): 7 7/16 × 4 1/2 in. (18.9 × 11.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), Drawing in graphite on verso of

Design for Three Vases, ca. 1770–85, Pen and brown ink, watercolor, and graphite, 14 7/8 x 9 3/16 in. (37.8 x 23.3 cm), Drawings, Anonymous, French, 18th century

Plate 14: shepherdess herding goats, ca. 1641, Etching; third state of three (De Vesme), Sheet (trimmed to plate): 3 3/8 × 4 3/16 in. (8.6 × 10.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Plate 16: stag, from 'Various animals' (Diversi animali), ca. 1641, Etching; second state of three (De Vesme), Plate: 3 3/8 × 4 1/4 in. (8.6 × 10.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a sepulchral monument with an allegory of Time; verso: Architectural sketch and fragment of a letter, late 17th–early 18th century, Pen and brown ink, red chalk, over black chalk or graphite, brown wash; verso: red chalk, sheet: 8

Hunters with Dead Game in a Landscape, 1600–1800, Black chalk, reinforced with colored chalks, brush, gouache, and brown ink, on blue paper, 9 3/4 x 15 13/16 in. (24.8 x 40.1 cm), Drawings, Giovanni Agostino Cassana (Italian, Venice ca.

Plate 4: a deer hunt, two horsemen galloping towards the left behind three dogs and a deer, a group of trees to right, from 'Various Figures' (Agréable diversité de figures), 1642, Etching; fourth state of five (De Vesme), Sheet: 2 3/4 × 4

The Crucifixion, ca. 1475–1500, Metalcut, hand-colored in green and red, plate: 6 5/8 x 4 7/16 in. (16.8 x 11.3 cm), Prints, Anonymous, German, South Germany, 15th century

Grotesque with male figure with lower body and head of acanthus scrolls, ca. 1515–1600, Engraving, Sheet (Trimmed): 8 7/16 × 5 9/16 in. (21.4 × 14.1 cm), Prints, Anonymous, Italian, 16th to early 17th century, After Marco Dente (Italian,

The Sacrifice of a Ram; naked man at right guiding a ram towards an altar pyre, hooded priest at left with a young attendant, ca. 1515–27, Engraving, Sheet (Trimmed): 4 5/16 in. × 7 in. (11 × 17.8 cm), Prints, Marco Dente (Italian,

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite; Framing lines in pen and red ink, Irregular sheet: 9 3/4 x 8 1/16 in. (24.8 x 20.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Rest on the Flight into Egypt, ca. 1641, Etching, third state of four, Sheet (trimmed to plate): 3 3/16 × 5 1/4 in. (8.1 × 13.4 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Concarneau, ca. 1925, Black chalk and watercolor, 10 15/16 x 15 13/16 in. (27.8 x 40.1 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Frontispiece for Saltero, ca. 1633, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Dan-l. Lambert the Wonderful Great Pumpkin of Little Brittain [sic], May 4, 1806, Hand-colored etching, Sheet: 8 11/16 × 12 13/16 in. (22.1 × 32.6 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Small Farm on the Banks of the Oise, after Théodore Rousseau, 1850–1914, Etching; touched artist's proof before first described state, sheet: 12 13/16 x 18 1/16 in. (32.5 x 45.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914

Much Ado About Nothing, 1828, Hand-colored etching, sheet: 14 1/8 x 9 5/8 in. (35.8 x 24.5 cm), Prints, William Heath ('Paul Pry') (British, London 1795–1840 Hampstead

Le Bancal Jouant de La Guitar (The Bandy-Legged Man Playing the Guitar), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque

Design for a carved pillar next to a doorframe, 19th century, Graphite, partially on tracing paper, Anonymous, British, 19th century

Ruines du Château de Pierrefonds (Ruins of the Château de Pierrefonds, after Viollet-le-Duc), 1858, Etching with drypoint on laid paper; state one of three, plate: 6 x 8 1/8 in. (15.2 x 20.6 cm), Prints, Charles Meryon (French, 1821–1868),

Plate 10 from 'La Tauromaquia': Charles V spearing a bull in the ring at Valladolid, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 13/16 × 13 3/4 in. (25 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Little Evelyn, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; only state (Chicago); printed in black ink on the cream laid paper used for, Image: 6 7/8 × 4 1/2 in. (17.4 × 11.5 cm), Prints, James

Design for the Decoration of a Pilaster (recto); Putti with Trophies and Seated Figure with Child (verso), ca. 1529, Red chalk (recto); red chalk studies (verso), 12 13/16 x 8 3/16in. (32.5 x 20.8cm), Drawings, Attributed to Giovanni Antonio da

Plate 25 from the 'Tauromaquia':They Loose Dogs on the Bull., 1816, Etching, burnished aquatint and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.4 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Entombment, from The Passion, 1512, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.7 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Nigritane, 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

La Jolie New Yorkaise, 1894, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on cream laid Japan, Image: 8 7/8 × 6 3/16 in. (22.6 × 15.7 cm), Prints, James McNeill Whistler

Christ among the Doctors, from The Life of the Virgin, Latin Edition, 1511, n.d., Woodcut, sheet: 17 5/16 x 12 in. (43.9 x 30.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Two Vases, ca. 1770–85, Pen and brown ink, and watercolor, 14 7/8 x 9 3/16 in. (37.8 x 23.3 cm), Drawings, Anonymous, French, 18th century

Joseph and Potiphar's Wife, 1512, Engraving; first state, sheet: 7 7/8 x 6 7/16 in. (20 x 16.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Thirty-six Acrobats in Six Groups, 1652, Etching; second state of two, Sheet (trimmed): 12 13/16 × 8 7/8 in. (32.5 × 22.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Hooded Male Head (from Sketches on The Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is a fragment cut from the upper portion of 'Sketches on the Coast Survey Plate' (Kennedy no. 1) by Whistler and

Inside Attire of the French Citizen, 1794, Etching, image: 12 1/8 x 6 7/8 in. (30.8 x 17.5 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Sant'Apollonia, portal, elevation (recto) Sant'Apollonia, portal, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 3/16 x 11 9/16 in. (43.7 x 29.3 cm), Drawings

Joseph Telling His Dream to Jacob, 1512, Engraving; first state, sheet: 4 15/16 x 6 9/16 in. (12.5 x 16.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

A Warrior Subduing Another (recto); Warrior Seen in Bust-Length with Fantastic Helmet (verso), 1460–64, Pen and brown ink, brush and brown wash, over black chalk or leadpoint (recto and verso), sheet: 7 3/16 x 4 1/2 in. (18.3 x 11.4 cm),

Unidentified, funerary altar, plan and elevations (recto) S. Giovanni Laterano, Oratorio della Santa Croce, paneling, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 15 3/8 x 11 1/8 in.

Inside Attire of the French Citizen, 1794, Etching with some aquatint, image: 12 1/8 x 7 in. (30.8 x 17.8 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825

Design for the decoration of a ceiling, second half 19th century, Pen and ink and watercolor on wove paper, sheet: 3 3/8 x 4 1/2 in. (8.6 x 11.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Courtyard, Chelsea Hospital, 1888, Lithograph with stumping; only state (Chicago); printed on black ink on grayish white chine mounted on white plate paper, Image: 8 7/16 × 6 3/8 in. (21.5 × 16.2 cm), Prints, James McNeill Whistler (American,

Design for a Monument, 18th century, Pen and brown ink, brush and brown wash, heightened with white over black chalk, 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm), Drawings, attributed to Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Village Festival (La Vogue), ca. 1920, Black chalk and watercolor on paper, 6 x 11 1/4 in. (15.3 x 28.7 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Silentium, 1862–64, etching on blue laid paper, final state (II), from 1905 Strölin edition, plate: 8 x 5 15/16in. (20.3 x 15.1cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Venus, Cupid and Satyr, 1527–85, Brush and ink, 13 5/8 x 9 1/2in. (34.6 x 24.1cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

The Visitation, ca. 1516, Engraving, sheet: 4 1/4 x 3 3/16 in. (10.8 x 8.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Famous Men and Women from Classical and Biblical Antiquity, 1450s, Pen and brown ink, brush and watercolor of various hues, traces of gold paint, 12 3/16 x 7 7/8 in. (31 x 20 cm), Drawings, Attributed to Barthelemy d'Eyck (Netherlandish,

An Old Turk Seated on a Stone, ca. 1662, Etching, Sheet: 3 13/16 × 2 13/16 in. (9.7 × 7.2 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Study of a Man's Head, 1494–1556, Red chalk; stumping, sheet: 5 1/4 x 4 1/2 in. (13.3 x 11.4 cm), Drawings, Jacopo da Pontormo (Jacopo Carucci) (Italian, Pontormo 1494–1556 Florence

Belphegor, 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, 1795, Etching and engraving; second state of three (Cohen), Sheet: 14 × 10 7/16 in. (35.6 × 26.5

A Building, 1797, Pen and brown ink, washed., 4 1/4 x 8 in. (10.8 x 20.3 cm), Drawings, Misbach (French, active ca. 1800

Design for a ceiling with ribbon bearing putti, second half 19th century, Graphite, pen and black ink, gilt, gouache, and watercolor, Overall: 17 3/16 x 19 9/16 in. (43.6 x 49.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

The Old Smith's Story, 1896, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on medium weight ivory laid paper, sheet: 11 1/16 x 8 7/8 in. (28.1 x 22.5 cm), Prints, James McNeill

A Lady and a Rose Bush, 1913, Pen and ink, watercolor, and lead white on laid paper, sheet: 11 7/8 x 7 15/16 in. (30.2 x 20.2 cm), Drawings, Charles Martin (French, Montpellier 1884/88–1932/34 Paris

Design for a Painted Ceiling, second half 19th century, Pen and black ink, watercolor, and gouache, 7 3/8 x 10 7/8 in. (18.7 x 27.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born

Head of a Man, 1549, Pen and iron gall ink (laid down), 6 x 4 1/8 in. (15.2 x 10.5 cm), Drawings, Sebald Beham (German, Nuremberg 1500–1550 Frankfurt

View of a Coast Line (from Sketches on the Coast Survey Plate), 1854–55, Etching; proof impression of the only state (Glasgow 1); this is a fragment cut from the upper portion of 'Sketches on the Coast Survey Plate' (Kennedy no. 1) by Whistler

Justice, ca. 1499, Engraving, Sheet: 4 3/16 × 3 1/16 in. (10.7 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Femme avare galant Escroc, 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; second state of three (Cohen), Sheet: 13

Pan reclincing near a large vase set in a landscape, ca. 1645, Etching, Sheet (trimmed to plate line): 4 1/2 × 8 3/8 in. (11.4 × 21.2 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua), In the

Elevation of a Domed Corinthian Temple, 18th century, Pen and black ink, brush and gray wash, over graphite, 10 5/8 x 15 1/16 in. (27 x 38.2 cm), Drawings, Anonymous, French, 18th century

Virgin and Child, 1775, Etching, Sheet: 5 5/16 x 3 15/16 in. (13.5 x 10 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Washerwoman by a Brook, n.d., Pen and ink, brush and gray wash, over traces of black chalk, 13 x 8 7/16 in. (33 x 21.5 cm), Drawings, Attributed to Jean Pillement (French, Lyons 1728–1808 Lyons

Design for an ornamented stone pedastal surmounted by an urn, 1830–97, graphite and watercolor heightened with white on wove paper; mounted on laid paper, Overall: 10 11/16 x 8 1/4 in. (27.2 x 20.9 cm), Drawings, Jules-Edmond-Charles Lachaise

The Fashions of the Day – or Time Past and Time Present: The Year (1740) a Lady's Full Dress of Bombazeen – The Year (1808) Lady's Undress of Bum-be-seen, ca. 1808, Hand-colored etching, Plate: 8 11/16 x 12 15/16 in. (22 x 32.8 cm), Prints,

Studies of a Head and a Hand, 1510, Red chalk, 5-9/16 x 8-1/16 in. (14.2 x 20.5 cm), Drawings, Andrea del Sarto (Andrea d'Agnolo) (Italian, Florence 1486–1530 Florence

Virgin and Child with Saint John the Baptist and Saint Paul, 1524–1606, Pen and brown ink, brown wash, over traces of black chalk, on blue paper, 16 1/8 x 10 7/8in. (40.9 x 27.6cm), Drawings, Paolo Farinati (Italian, Verona 1524–1606

Design for a Clock, ca. 1781–85, Pen and black and brown ink, brush and yellow, green, gray, and rose wash, 14 3/8 x 9 5/8 in. (36.5 x 24.5 cm), Anonymous, French, 18th century, This drawing of a small porcelain mantel clock was made for

The Visitation, ca. 1516, Engraving, sheet: 4 1/4 x 3 1/4 in. (10.8 x 8.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Chicago Nominee: 'I knew him, Horatio; a fellow of infinite jest...Where be your gibes now?–Hamlet, Act IV [sic], Scene 1', 1864, Wood engraving, Sheet: 12 x 16 5/8 in. (30.5 x 42.2 cm), Prints, Justin H. Howard (American, active

Bacchanals, 18th Century, Red chalk squared with black, sheet: 10 3/4 x 16 1/4 in. (27.3 x 41.3 cm), Drawings, Anonymous, French, 18th century

Design for the Base of a Vessel with Two Satyrs., 1652–1725, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 3 7/8 x 3 3/4 in. (9.9 x 9.6 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

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

Entombment, 19th century, Etching, sheet: 10 5/8 x 7 13/16 in. (27 x 19.8 cm), Prints, Anonymous, German, 19th century, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Model Draping, 1890, Transfer lithograph, drawn on coarse-grained transfer paper, with additions in graphite; only state (Chicago); printed in black ink on modern laid paper, sheet: 9 5/8 x 7 1/2 in. (24.4 x 19.1 cm), Prints, James McNeill

The Penance of Saint John Chrysostom, ca. 1496, Engraving, Sheet: 7 1/16 × 4 3/16 in. (18 × 10.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A procession of horse-drawn cannon carriages to left, horsemen in combat and a dead horse to right, battle on a bridge in center background, from 'Peace and War' (Divers desseins tant pour la paix que pour la guerre), ca. 1641, Etchin; second

La Mer, 1850–1914, Etching on laid paper; fourth and final state, Sheet: 17 5/16 x 12 1/8 in. (44 x 30.8 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Studies for Coffee Urns, Arched-top Altars, and an Altar Project for the Baptistery of Florence Cathedral (Recto). Studies for Chapels and Portals (Verso)., 1652–1725, Pen and light brown ink, brush and gray wash over traces of black chalk

Design for a Chimneypiece, 19th century, Graphite, partially on tracing paper, Anonymous, British, 19th century

Female Figure with Anchor, 18th century, Graphite, pen and black ink, 6 15/16 x 3 7/8 in. (17.6 x 9.9 cm) irregular, Drawings, Anonymous, French, 18th century

Coat of Arms with a Skull, 1503, Engraving, Sheet: 8 9/16 × 6 1/4 in. (21.8 × 15.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Drawing for a Chimney-piece, ca. 1850, Pen and brown ink with brush and brown wash over graphite, 8 1/4 x 13 15/16 in. (20.9 x 35.4 cm), Delorme

Margot la Critique, n.d., Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Landscape – Cottage in a Wood, 18th century, Gouache, 4 3/8 x 6 5/16 in., Drawings, Anonymous, French, 18th century

A 'Maja' standing against a dark background (Maja), Etching, aquatint and burnishing, printed in black ink, with platetone, Plate: 7 3/8 × 4 7/8 in. (18.8 × 12.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Various figures of horse ballet, 1652, Etching, Sheet: 12 1/16 × 8 1/2 in. (30.7 × 21.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Echo of the Concours Galland (Echo du Concours Galland), 19th century, Pen and black ink, blue wax crayon, and graphite, 6 7/8 x 11 1/16 in. (17.4 x 28.1 cm), Drawings, O. Deleiderrier (Swiss (?), 19th century

Presents Offered to the Bride, ca. 1633, Etching; first state of two, Sheet: 12 1/8 x 15 3/4 in. (30.8 x 40 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Study of a Seated Male Nude, late 18th–19th century, Black and white chalk, sheet: 20 11/16 x 16 3/4 in. (ca. 52.5 x 42.5 cm), Drawings, Philipp Otto Runge (German, Wolgast 1777–1810 Hamburg

Sheet of Sketches, 1753, Etching, image: 5 3/8 x 8 in. (13.7 x 20.3 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Plate 59 from 'Los Caprichos': And still they don't go! (Y aun no se van!), 1799, Etching and aquatint, Plate: 8 7/16 x 5 15/16 in. (21.4 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Crucifixion with Four Angels, 15th century, Engraving, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Temple of Minerva, elevation of cornice (recto) Temple of Minerva, elevation of capital and base (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 9/16 x 17 3/8 in. (29.3 x 44.2 cm

Saint Cecilia Playing the Organ, 1650s, Red chalk, sheet: 11 7/16 x 7 5/8 in. (29 x 19.3 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna), Cecilia was a saint and virgin martyr believed to have lived

The Convalescent (Suzanne Manet), 1879–81 (?), Etching, drypoint, and aquatint in brown ink on tan laid paper, final state of three, plate: 5 x 3 15/16in. (12.7 x 10cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris