Images at Librifly

Partial design for the painted decoration of a ceiling, 1830–97, wash, watercolor, gouache, and gold paint over graphite on wove paper; mounted on blue wove paper, Overall: 10 5/8 x 8 1/4 in. (27 x 21 cm), Drawings, Jules-Edmond-Charles

Virgin and Child with the Monkey, ca. 1498, Engraving, Sheet: 7 1/2 × 4 13/16 in. (19 × 12.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Fringed Curtains, early 19th century, Ink and wash, sheet: 8 11/16 x 12 1/4 in. (22 x 31.1 cm), Anonymous, British, 19th century

Fire, ca. 1630, Etching, Sheet: 5 13/16 × 4 5/16 in. (14.8 × 11 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Theater Design, 18th century, Pen and brown ink heightened with green wash and black ink, sheet: 6 5/8 x 9 3/4 in. (16.8 x 24.8 cm), Drawings, Attributed to Anonymous, French, 18th century

Architectural Fantasy, ca. 1785–90, Red chalk, Diameter: 12 3/4 in. (32.4 cm), Drawings, Jean Laurent Legeay (French, Paris ca. 1710–after 1788 Rome

Funeral of François Duplessis de Mornay, n.d., Black chalk, heightened with white chalk, on light brown paper. Incised for transfer. Verso darkened with black chalk., 13 x 15 3/4 in. (33.1 x 40 cm), Drawings, Jean Restout le jeune (French,

Christ Appearing to Mary Magdalen, from The Small Passion, ca. 1510, Woodcut, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Andromache and Astyanax, ca. 1798, Pen and gray ink with brush and brown wash over traces of black chalk, 11 3/4 x 8 5/8 in. (29.8 x 21.9 cm), Drawings, Pierre Paul Prud'hon (French, Cluny 1758–1823 Paris), Didot initially commissioned

Seated Male Nude Resting on a Stick, 1765–1810, Red chalk, sheet: 24 1/4 x 18 9/16 in. (61.6 x 47.1 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

Mademoiselle Rose Bertin, Dressmaker to Marie-Antoinette, n.d., Etching, Sheet: 4 9/16 × 3 7/8 in. (11.6 × 9.9 cm), trimmed to image, Prints, Jean François Janinet (French, Paris 1752–1814 Paris), After Jean Honoré Fragonard (French,

Allegory of the Arts, 1796, Pen and black ink, brush and brown wash, over faint black chalk underdrawing, sheet: 9 5/8 x 14 1/8 in. (24.4 x 35.8 cm), Drawings, Joseph Marie Vien (French, Montpellier 1716–1809 Paris

Wainscott Chair Design with a Panel Depicting Leda and the Swan, Graphite on wove paper, sheet: 12 3/8 x 8 7/8 in. (31.4 x 22.6 cm), Drawings, Anonymous, French, 19th century, Attributed to A. Damon & Co (London and Paris

Design for Pink Curtains and White Inner Curtains, with a Gold, White and Pink Pediment, early 19th century, Ink, watercolor and wash, sheet: 10 13/16 x 14 15/16 in. (27.4 x 38 cm), Anonymous, British, 19th century

Plate 10: a horseman and a woman, seen from behind, riding towards the right with a young man following them to left, another horseman and woman to right in the background, from 'Various Figures' (Agréable diversité de figures), 1642,

Bearded Male Term Looking Left, ca. 1545–65, Pen and black ink with grey wash, heightened with white, each: 11 7/16 x 3 15/16 in. (29 x 10 cm), Anonymous, French, 16th century

Sketches of Furniture, 19th century, Graphite, pen and brown ink, sheet: 13 1/8 x 8 1/8 in. (33.3 x 20.6 cm), Anonymous, French, 19th century

Fishing Boat, 1879–80, Etching and drypoint; fourth state of six (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 6 1/8 × 9 1/8 in. (15.6 × 23.1 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Study for Mme Théodore Gobillard, 1869, Graphite on pale buff wove paper, Sheet: 13 1/8 x 17 5/16 in. (33.3 x 44cm), Drawings

Plate 33 from 'Los Caprichos':To the Count Palatine (Al Conde Palatino.), 1799, Etching, aquatint, drypoint and burin, Plate: 8 7/16 x 5 7/8 in. (21.4 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Virgin on a Grassy Bench, ca. 1503, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 53 from 'Los Caprichos':What a golden beak! (Que pico de Oro!), 1799, Etching, burnished aquatint and burin, Plate: 8 7/16 x 5 7/8 in. (21.4 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Marcus Curtius Leaping into the Chasm (recto); Study of a Seated Crowned Female Figure (verso), 1638–1721, Pen and brown ink, brush and brown wash, highlighted with white, on brownish paper (recto); red chalk study of a seated, crowned female

'L'Abandonnée', 1860–1917, Graphite, stumped, 7 9/16 x 11 7/8 in. (19.4 x 30.4 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

Architectural Fantasy: Figures on a Grand Staircase (recto); Studies for the Frame of a Shaped Field (verso), 1712–93, Pen and brown ink, brush and brown wash, over red chalk (recto); pen and brown ink, brush and brown wash (verso), 9 15/16 x

Design for a Very Large Cabinet, with Renaissance Ornament and Lamps, early 19th century, Graphite, sheet: 10 3/4 x 14 13/16 in. (27.3 x 37.7 cm), Anonymous, British, 19th century

Design for a Folding Screen, Pen and gray ink, brush and gray wash over traces of black chalk and graphite, 13 7/8 x 4 5/8 in. (35.2 x 11.7 cm), Jacques de Lajoüe (French, Paris 1686–1761 Paris

David in Prayer, 1652, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Plate 50 from 'The Disasters of War' (Los Desastres de la Guerra): 'Unhappy mother!.' (Madre Infeliz!), 1811–12 (published 1863), Etching, burnished aquatint and drypoint, Plate: 6 1/8 × 8 1/16 in. (15.5 × 20.5 cm), Prints, Goya (Francisco

Saint John the Baptist in the desert, copy in reverse after Cantarini, ca. 1637–1639 or after, Etching, Sheet (Trimmed): 6 9/16 × 6 9/16 in. (16.6 × 16.6 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

View of New York from Brooklyn Heights, 1849, Hand-colored lithograph, image: 11 5/16 x 16 7/8 in. (28.7 x 42.9 cm), Prints, Frances Flora Bond Palmer (American (born England), Leicester 1812–1876 New York

The Holy Family and the infant John the Baptist, 1531–76, Engraving, sheet: 14 3/16 x 10 in. (36 x 25.4 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Raphael (Raffaello Sanzio or Santi) (Italian,

Two sea gods accompanied by four nymphs, 1531–76, Engraving, sheet: 14 x 10 1/2 in. (35.6 x 26.7 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Study of Ancient Soldiers, 17th century, Red chalk, 7 1/4 x 12 3/8 in. (18.4 x 31.4 cm), Drawings, Anonymous, French, 17th century

Sketch for Figure on Whistler Monument, 1840–1917, Graphite, stumped, on cream paper, 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm), Drawings, Auguste Rodin (French, Paris 1840–1917 Meudon

Firelight (Joseph Pennell, No. 1), 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture, Image: 6 9/16 × 5 1/2 in. (16.7 × 14 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Design for Bed, 19th century, Graphite, 7 15/16 x 10 5/16 in. (20.2 x 26.2 cm), Anonymous, French, 19th century

Woman returning from a hunt carrying a boar in her right hand and a stick on her left shoulder to which a hare and two ducks are tied, ca. 1515–27, Engraving, Sheet (Trimmed): 6 7/16 × 4 3/4 in. (16.3 × 12 cm), Prints, Marco Dente (Italian,

Theatrical Pleasures, Plate 5: Feasting in the Saloon, ca. 1835, Hand-colored etching, plate: 10 13/16 x 8 13/16 in. (27.5 x 22.4 cm), Prints, Theodore Lane (British, Isleworth ca. 1800–1828 London

Study of a Garden Sculpture: Iole, 1727–1804, Pen and brown ink, brush and brown wash, over black chalk, 10 7/8 x 4 15/16in. (27.7 x 12.6cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Battle of the Titans, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in black chalk, and pen and brown ink on mount, 3-7/16 x 4-13/16 in. (8.8 x 12.2 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Two Turks in Turbans, ca. 1662, Etching, Sheet (trimmed to plate): 3 1/2 × 3 11/16 in. (8.9 × 9.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

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

Saints Nicholas, Ulrich and Erasmus, n.d., Woodcut, sheet: 8 3/8 x 5 5/8 in. (21.2 x 14.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Costume Design, 1836–37, Pen and brown ink, brush and brown wash, graphite, 9 5/8 x 5 7/8 in. (24.5 x 15 cm), Drawings, Pierre-Numa Bassaget, called Numa (French, active 1830–54

Design for Fringed Curtains, early 19th century, Ink and wash, sheet: 8 11/16 x 12 3/16 in. (22 x 31 cm), Anonymous, British, 19th century

Portrait of Lambinet, 19th century, Graphite, sheet: 1 7/8 x 1 13/16 in. (4.8 x 4.6 cm), Drawings, Anonymous, French, 19th century

Arch of Septimius Severus, Rome, 1505–71, Pen and ink, brush and brown wash, 11 1/16 x 10 1/8in. (28.1 x 25.7cm), Drawings, attributed to Bartolomeo Neroni (Il Riccio) (Italian, Siena 1505/15–1571 Siena

Three Scenes from the Life of the Prophet Daniel, 1564, Pen and black ink. Framing line in pen and black ink., sheet: 12 3/16 x 8 7/16 in. (30.9 x 21.5 cm), Drawings, Jost Amman (Swiss, Zurich before 1539–1591 Nuremberg

Wooded Landscape with Herdsmen and Cows, August 1, 1797, Aquatint (sugar-lift process), printed in brown ink, plate: 10 7/8 x 13 11/16 in. (27.6 x 34.7 cm), Prints, Thomas Gainsborough (British, Sudbury 1727–1788 London), Most famous for

Design fo the Allegory of the Arts, second half 19th century, Graphite, gouache, and watercolor, Overall: 10 7/16 x 14 3/4 in. (26.5 x 37.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

The Flight into Egypt, from The Life of the Virgin, from the Latin Edition, 1511, Woodcut, 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

House with a Turret, rue de la Tixéranderie, Paris, 1852, Etching on laid paper; fourth state of five, plate: 9 11/16 x 5 3/16 in. (24.6 x 13.1 cm), Prints, Charles Meryon (French, 1821–1868

Cavalry Engagement, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-9/16 x 5-1/16 in. (9.0 x 12.9 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

The Betrayal of Christ, (Christ Taken Captive), from the Circular Passion, 1509, Engraving, Diameter: 11 1/4 in. (28.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Last Supper, 1634–89, Brush and brown wash, highlighted with white, over black chalk, on brownish paper, 13 3/4 x 8 7/8in. (35 x 22.6cm), Drawings, Ciro Ferri (Italian, Rome 1634?–1689 Rome

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

St. Mary Magdalene on the Clouds, 1518, Engraving, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 4: bear, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Sheet (trimmed to plate): 3 1/4 × 4 1/8 in. (8.3 × 10.4 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Framed Design for a Stage Set with Arches, Stairs, Human Figure and Sphinx Statue., 1772–1842, Pen and brown ink, brush with brown and gray wash, Sheet: 11 x 8 1/8 in. (28 x 20.6 cm), Drawings, Attributed to Mauro Berti (Italian, Bologna

The puny Cryptogamia, 1860, Etching on wove paper, plate: 2 3/4 x 2 1/4 in. (7 x 5.7 cm), Prints, Charles Meryon (French, 1821–1868

Portrait of a Young Man, 1834, Graphite, sheet: 9 7/8 x 7 15/16 in. (25.1 x 20.1 cm), Drawings, Adolf Senff (German, Halle 1785–1863 Ostrau

Kneeling Male Figure with Outstretched Arms (recto); Semi-Nude Seated Male Figure seen from Behind (verso), 1537–91, Red chalk (recto and verso), 11 3/4 x 7 5/16in. (29.9 x 18.6cm), Drawings, Attributed to Giovanni Battista Naldini (Italian,

Christ on the Cross, ca. 1485, Woodcut, hand-colored, printed on vellum., image: 11 5/16 x 6 15/16 in. (28.8 x 17.7 cm), Prints, Anonymous, German, Franconia, 15th century

Design for a Cabinet in Moorish Style, 19th century, Graphite, with framing lines in graphite, 10 5/8 x 6 7/16 in. (27 x 16.4 cm), Anonymous, French, 19th century

Two putti on clouds, second half 19th century, Oil paint over graphite, image: 5 11/16 x 5 13/16 in. (14.5 x 14.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Cartouche with an Annunication above and a Kneeling Figure with Staff Below., 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 2 5/8 x 2 13/16 in. (6.7 x 7.1 cm), Drawings, Giovanni Battista Foggini (Italian,

Clothing Beggars (Vêtir les nus), Etching, sheet: 11 1/8 x 14 in. (28.2 x 35.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, with squaring lines in pen and red ink, Irregular sheet: 7 7/8 x 4 15/16 in. (20 x 12.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Architectural Fantasy, 19th century, Pen and black and gray ink, 4 5/8 x 5 7/8 in. (11.8 x 15 cm), Drawings, Joseph Lemercier (French, 1803–1887

They Refused This...the Ignoramuses!! (Ils m'ont refusé ça...les ignares!!), April 6, 1859, Lithograph; second state, Sheet: 10 3/8 × 14 1/4 in. (26.3 × 36.2 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois),

The Wise Virgins Conversing, ca. 1635, Etching, Sheet (trimmed): 9 in. × 12 13/16 in. (22.8 × 32.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Wooden Substitute, or Any Port in a Storm, January 19, 1821, Hand-colored etching, Plate: 11 7/8 x 8 3/4 in. (30.2 x 22.2 cm), Prints, Possibly by Theodore Lane (British, Isleworth ca. 1800–1828 London

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 11 1/16 x 19 7/16 in. (28.1 x 49.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Ornamental drawings (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 1/2 x 3 1/2 in. (29.2 x 8.9 cm

Design for Two Urns, ca. 1770–90, Pen and brown ink, graphite, 9 3/16 x 14 15/16 in. (23.4 x 37.9 cm), Drawings, Anonymous, French, 18th century

Design for a Fireplace Iron, Mantle Candlesticks and a Clock, 19th century, Pen and brown ink, sheet: 10 1/16 x 9 1/16 in. (25.6 x 23 cm), Drawings, Anonymous, French, 19th century

Spain, Scotland, and Switzerland, 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

Two Figures in an Architectural Setting: A Female Nude Seated in a Profile View and a Seated Male Nude in a Three-Quarter View with the Left Leg Bent, ca. 1550, Pen and brown ink, red and black chalk., 9 x 5 1/2in. (22.9 x 14cm), Drawings,

The Triumph of Mordecai, 1515, Engraving; first state, sheet: 8 5/16 x 11 9/16 in. (21.1 x 29.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Flight into Egypt, from The Life of the Virgin, Latin Edition, 1511, 1511, Woodcut, sheet: 16 1/4 x 11 7/8 in. (41.3 x 30.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ Disputing with the Doctors; a sketch, 1652, Etching and drypoint; first state of three, sheet: 5 3/16 x 8 11/16 in. (13.2 x 22 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Back View of a Seated Male Nude, 1599–1661, Red chalk on beige paper, 15-5/8 x 10-7/16 in. (39.7 x 26.5 cm), Drawings, Circle of Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome

Design for a Stage Sets Groin-vaulted Stairway Leading to a Gallery with Another Stairway to a Second Story at Left (recto); Slight Sketch Traced Through form the Recto and Reworked (verso)., 1698–1765, Pen and gray ink, brush with brown and

Saint Judas, 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

Studies of Hands, 1837–1911, Metalpoint on prepared paper, 9 3/16 x 13 1/4 in. (23.4 x 33.7 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Moses on Sinai (Le tables de Loi judaique), 1773, Etching, sheet: 14 3/16 x 19 3/8 in. (36.1 x 49.2 cm), Prints, Simon Julien (French, Toulon 1735–1800 Paris

The Church at Eragny, ca. 1894–95, Black chalk, 9 3/8 x 12 1/16 in. (23.8 x 30.7 cm), Drawings, Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903 Paris

Figure Studies: Seated Female Holding a Book, Two Heads of Bearded Men, Seated Male Nude, and Four Sketches for Christ Judging (recto); Studies for Cain Slaying Abel (verso), 1548–1628, Pen and brown ink, 10 3/8 x 7 3/8in. (26.3 x 18.8cm),

Gentleman Seen from the Back Indicating a Landscape, after 1629, Etching; reverse copy, sheet: 5 3/8 x 3 9/16 in. (13.6 x 9 cm), Prints, Anonymous, French, 17th century, After Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean

Design for a sepulchral monument with a seated female figure; verso: Design for a statue of a standing male figure and fragment of a letter, late 17th–early 18th century, Pen and brown ink, over red chalk and black chalk or graphite, red and

Plate 9: Marine Bull, from 'Various figures and doodles' (Diverses figures et griffonnemens), ca. 1646, Etching, Sheet (trimmed): 2 3/16 × 4 5/16 in. (5.5 × 11 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, sheet: 10 3/16 in. (25.8 x 27.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Saint Anthony and Saint Paul in the Desert, ca. 1503, Woodcut, sheet: 8 7/16 x 5 5/8 in. (21.4 x 14.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 18: camel viewed from behind with pyramid at right, from 'Various animals' (Diversi animali), after 1641, Etching; reverse copy, Sheet: 3 3/8 × 4 1/16 in. (8.5 × 10.3 cm), Prints, After Stefano della Bella (Italian, Florence

Design for a Stage Set at the Opéra, Paris, 1830–90, Pen and brown ink, watercolor, over graphite, sheet: 10 5/8 x 15 1/4 in. (27 x 38.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Christ on the Cross between the Virgin and Saint John, 1516, Woodcut, sheet: 10 15/16 x 8 7/8 in. (27.8 x 22.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Polish man with a mustache wearing a fur coat and a hat with a feather, ca. 1648, Etching, Sheet: 3 7/16 x 2 7/16 in. (8.7 x 6.2 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Circle of Theives: Agnello Brunelleschi Attacked By a Six-Footed Serpent , from Dante's Inferno, Canto XXVV, ca. 1825–27, Engraving, plate: 9 1/2 x 13 5/16 in. (24.1 x 33.8 cm), Prints, William Blake (British, London 1757–1827 London

The Martyrdom of St. Catherine, 1577, Pen and brown ink, brush and brown wash, some white highlighting, over black chalk, 9 1/2 x 7 5/16in. (24.2 x 18.5cm), Drawings, Tiburzio Passarotti (Passerotti) (Italian, Bologna ca. 1555–1612