Images at Librifly

Plate 6 from 'The Tauromaquia':The Moors make a different play in the ring calling the bull with their burnous., 1816, Etching, burnished aquatint and drypoint, Plate: 9 5/8 x 13 3/4 in. (24.5 x 35 cm), Prints, Goya (Francisco de Goya y

Jail Bird, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 11 1/16 x 7 1/16 in. (28.1 x 18 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882 Bayonne,

Title Page, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 1/4 x 6 3/8 in. (21 x 16.2 cm), Prints, William Blake (British, London 1757–1827 London

The Resurrection, 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

At the Prado, 1863, reworked ca. 1867, Etching and aquatint on heavy laid paper, final state of two, posthumous impression, plate: 8 3/4 x 6 1/8in. (22.2 x 15.6cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Old Beggar Woman with a Gourd, ca. 1629, Etching; second state of two, Sheet: 3 7/8 × 1 7/8 in. (9.8 × 4.7 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Foolish Virgins Conversing, ca. 1635, Etching; first state of two, Sheet: 12 3/16 × 15 7/8 in. (31 × 40.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Architectural Design with an Altarpiece Framed in a Niche and Surmounted by a Dome, 1735–1817, Pen and brown ink, brush and brown, gray, yellow, and rose wash, with a vertical line in leadpoint (in half part of the drawing) through the

Design for a Candelabra, 19th century, Pen and brown ink, sheet: 10 3/4 x 6 1/8 in. (27.3 x 15.6 cm), Drawings, Anonymous, French, 19th century

Design for Wall Decor Painted with Putti and Dogs, before 1889, Gouache, 16 1/2 x 9 1/8 in. (41.9 x 23.2 cm), Drawings, Attributed to Jules-Edmond-Charles Lachaise (French, died 1897), Attributed to Eugène-Pierre Gourdet (French, born Paris,

Robe Trianon, Dollfus Mieg & Cie, 1865, Hand-colored lithograph, Sheet: 14 3/16 x 10 13/16 in. (36 x 27.4 cm), Prints, Lacour et Morin (French

Virgin on a Crescent, Title-page from Pelbartus de Temesvar: Stellarium corone (Schr. 2869), 1502, Whiteline woodcut, sheet: 9 13/16 x 6 1/2 in. (25 x 16.5 cm), Prints, Johann Otmar (German, Augsburg, 1502–1514

The Cowherd, 1636, Etching; third state of six (Mannocci), Sheet: 5 1/2 x 8 1/4 in. (14 x 21 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome), The Cowherd is one of Claude’s most admired prints. Wielding

Château de Chenonceau, No 2 (Château de Chenonceau, No 2), 1856, Etching on laid paper; first state of three, plate: 4 5/8 x 7 3/8 in. (11.7 x 18.7 cm), Prints, Charles Meryon (French, 1821–1868

Design for a Chair, 19th century, Graphite, brush and brown wash, gouache, 7 3/8 x 6 1/4 in. (18.7 x 15.8 cm), Anonymous, French, 19th century

Last Illustration from Dürers Treatise on Fortification, Nuremberg, 1527, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Purple Orchids or Lilies, March 24, 1911, 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

Hope, 1530, Engraving, sheet: 6 1/2 x 4 5/16 in. (16.5 x 11 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Seated Bishop Holding a Book, ca. 1600, Black chalk(?), highlighted with white chalk on blue paper faded to light brown, 9 5/16 x 7 1/2in. (23.6 x 19cm), Drawings, Attributed to Jacopo Palma the Younger (Italian, Venice ca. 1548–1628 Venice

Head of an Old Woman Looking to Lower Right (Saint Elizabeth), 1584–86, Brush and oil paint on paper, 15 3/8 x 10 13/16in. (39.1 x 27.5cm), Drawings, Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino), Barocci was among the pioneers

The Unsafe Tenement (The Old Farm), 1858, Etching; third state of four (Glasgow); printed in black ink on tan (darkened), Plate: 6 1/8 x 8 7/8 in. (15.6 x 22.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Drawing After an Antique Tabouret, 19th century, Pen and ink on laid paper, sheet: 5 3/16 x 5 3/8 in. (13.1 x 13.6 cm), Drawings, Anonymous, French, 19th century

Saint John Beholding the Seven Golden Candlesticks, from The Apocalypse, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Narcissus, 17th century, Etching, sheet: 2 15/16 x 4 1/2 in. (7.5 x 11.5 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Study for a Massacre of the Innocents, 1560–1636, Black chalk, pen and bistre with gray-brown washes, sheet: 7 3/8 x 5 in. (18.7 x 12.7 cm), Drawings, Circle of Domenico Cresti Passignano (Italian, Florence (Passignano?) 1560–1636

Plate 6: two studies of children, from 'Collection of various doodles and etching proofs' (Recueil de divers griffonnements et preuves d'eauforte), ca. 1646, Etching, Sheet: 4 in. × 1 9/16 in. (10.1 × 4 cm), Prints, Stefano della Bella

Arco dei Pantani, Forum of Augustus, cornice, elevation; schematic elevation (recto) Temple of Apollo Sosiano, column base, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 9 5/16 x 11

Uncorking Old Sherry, March 10, 1805, Hand-colored etching, plate: 14 1/16 x 10 in. (35.7 x 25.4 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

The Savoy Pigeons, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; only state (Chicago), from the published edition printed from a supplementary stone; printed in black ink on heavy cream laid paper, Sheet:

Chinoiserie, Black chalk with stumping, and graphite with a faint gray wash, 8 3/8 x 8 1/16 in. (21.3 x 20.4 cm.), Drawings, Jean Pillement (French, Lyons 1728–1808 Lyons

Reclining Male Nude, as Wind God on Clouds, 1765–1810, Red chalk, sheet: 24 1/4 x 18 1/2 in. (61.6 x 47 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

The Punt, 1861, Etching and drypoint; fourth state of six (Glasgow); printed in black ink on ivory chine mounted on heavy cream wove paper (chine collé), Plate: 4 3/4 x 6 7/16 in. (12.1 x 16.4 cm), Prints, James McNeill Whistler (American,

Rest on the Flight into Egypt, ca. 1641, Etching; second state of three, Sheet (trimmed to plate): 6 1/8 × 6 15/16 in. (15.5 × 17.7 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Hercules and Deianira, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 3/4 × 2 3/16 in. (4.5 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed

Design for Painted Wall Paneling, Château de Deepdene, 1875–79, Watercolor and gouache, 7 1/4 x 13 1/2 in. (18.4 x 34.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Sketch of Fountain, 18th century, Graphite, pen and black ink, 12 5/16 x 8 1/16 in. (31.2 x 20.4 cm), Drawings, Anonymous, French, 18th century

Saint with Angel and Putto, n.d., Pen and brown ink, brush and dark brown ink, over lead point., sheet: 9 15/16 x 8 1/8 in. (25.2 x 20.6 cm), Drawings, After Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

Caricature, ca. 1776–86, Graphite, brush and wash, 13 x 10 in. (33.0 x 25.4 cm), Drawings, Anonymous, French, 18th century

My Family, Second Stone, 1921, Lithograph, image: 10 1/8 x 8 in. (25.7 x 20.3 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Design for Two Marble Topped Tables with Carved Legs, early 19th century, Ink, watercolor and wash, sheet: 10 3/4 x 14 15/16 in. (27.3 x 38 cm), Anonymous, British, 19th century

Cortile del Belvedere, Upper Courtyard, stair, plan (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 23 1/4 x 17 5/16 in. (59 x 44 cm), Drawings

Design for the Frame of a Funerary Plaque with the Coat of Arms of Roger II de Saint Lary, Duc de Bellegarde, ca. 1619–30, Pen and brown ink, brush and brown and blue wash, over traces of black chalk underdrawing, 18 1/16 x 12 3/16 in. (45.8

The Three Fates, 1527–85, Pen and brown ink, 4 1/2 x 11 1/4in. (11.4 x 28.5cm), Drawings, Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Job rebuked by his Friends, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 1/2 x 6 5/8 in. (21.6 x 16.8 cm), Prints, William Blake (British, London 1757–1827 London

The Old Gate of the Palais de Justice, Paris, 1854, Etching and drypoint on laid paper; first of two states, plate: 3 7/16 x 3 3/8 in. (8.8 x 8.5 cm), Prints, Charles Meryon (French, 1821–1868

St. Jerome in his Study (Schr. 2679a), 15th century, Metalcut, hand-colored, sheet: 8 1/4 x 6 in. (21 x 15.3 cm), Prints, Anonymous, German, 15th century

Cléobule, ca. 1639–40, Engraving (figure by Couvay) and etching (background by Bosse), sheet: 14 1/16 x 8 5/16 in. (35.7 x 21.1 cm), Prints, Jean Couvay (French, Arles ca. 1605–1663 Paris), Abraham Bosse (French, Tours 1602/1604–1676

Le triomphe de la coquetterie, 18th century, Etching and engraving, sheet: 14 3/4 x 19 in. (37.5 x 48.3 cm), Prints, Anonymous, French, 18th century

Finding the bodies of Saints Peter and Paul (fragment), ca. 1647–51, Etching, sheet: 7 1/4 x 7 7/16 in. (18.4 x 18.9 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Drawing of an Interior: Atelier, 1857, Graphite, pen and blue ink, watercolor, sheet: 8 x 11 9/16 in. (20.3 x 29.3 cm), Drawings, Anonymous, French, 19th century

Dido Reine de Cartage/ une Muse, 17th century, Pen and brown ink, brush and gray wash, graphite., 5 5/8 x 4 7/8 in. (14.3 x 12.4 cm), Drawings, Anonymous, French, 17th century

Pygmalion and Galatea, Brown chalk, 13 7/8 x 8 3/4 in. (35.2 x 22.2 cm), Drawings, François Boucher (French, Paris 1703–1770 Paris

Vignette with an Allegorical Figure of Astronomy, ca. 1798, Pen and brown ink, brush with blue, rose, yellow, and brown wash, over black chalk. Framing lines in pen and brown ink, 8 x 7 15/16in. (20.3 x 20.2cm), Drawings, Mauro Gandolfi

Design for a paneled ceiling, 19th century, pen and ink, watercolor, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Illustration for a Book: Coronation of an Emperor (?), 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3-1/16 x 6-1/8 in. (7.7 x 15.6 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

Designs for Four Decorated Tables., 1723–1808, Graphite with brush and brown wash, sheet: 15 5/16 x 9 7/16 in. (38.9 x 24 cm), Drawings, Antonio Asprucci (Italian, Rome 1723–1808 Rome

Design for wallpaper featuring strapwork, rinceaux, and cartouches filled with bouquets of roses, 1830–97, gouache on wove paper, Overall: 12 13/16 x 9 3/4 in. (32.5 x 24.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Study of a Pediment, 18th century, Pen and brown ink over graphite, sheet: 4 x 7 7/16 in. (10.1 x 18.9 cm), Attributed to Anonymous, French, 18th century

Alexander and Porus, 1771–1844, Pen and brown ink over graphite, 10 1/2 x 16in. (26.7 x 40.6cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Plate 3 from the 'Disparates': Ridiculous Folly, ca. 1816–23 (published 1864), Etching, aquatint and drypoint, Plate: 9 7/16 × 13 3/4 in. (24 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Bath, 1890–91, Drypoint, soft-ground etching and aquatint, printed in black ink from one plate; fifth state of seventeen (Mathews & Shapiro), plate: 12 9/16 x 9 3/4 in. (31.9 x 24.8 cm), Prints, Mary Cassatt (American, Pittsburgh,

Teals, 1853, Etching, Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

A tree and figure, 18th century, Red chalk, 7 1/4 x 4 7/8 in. (18.4 x 12.4 cm), Drawings, Anonymous, French, 18th century

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, sheet: 11 1/8 x 7 7/8 in. (28.3

Plate 64 from 'Los Caprichos': Bon voyage (Buen Viage.), 1799, Etching, burnished aquatint and burin, Plate: 8 7/16 x 6 in. (21.5 x 15.3 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

The Crucifixion, from The Small Passion, ca. 1509, Woodcut, sheet: 5 x 3 13/16 in. (12.7 x 9.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Presentation in the Temple: Oblong Plate, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Old Louvre, Paris, after Zeeman, 1865–66, Etching on laid paper; fifth state of seven (Schneiderman), plate: 6 9/16 x 10 1/2 in. (16.7 x 26.7 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman

Design for Three Tub Chairs, early 19th century, Ink, watercolor and wash, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Anonymous, British, 19th century

Hanging Lantern, 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

The Pool, 1859, Etching and drypoint; sixth state of six (Glasgow); printed in black ink on extremely fine laid Japan, Plate: 5 3/8 x 8 3/8 in. (13.7 x 21.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

The Five Orders of Periwigs, November 1761, Etching; first state of two, sheet: 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm), Prints, Hogarth here applied the terminology of classical architecture to men’s wigs to satirize the divisions of British

Design for Ceiling Decoration in the Dining Room, Hôtel de Pless, Berlin, second half 19th century, Watercolor, gouache, and gold paint on wove paper, sheet: 8 1/16 x 8 13/16 in. (20.4 x 22.4 cm), Drawings, Jules-Edmond-Charles Lachaise

Designs for a Chandelier and a Plaster Mount, 19th century, Pen and brown ink, image: 16 5/16 x 14 1/2 in. (41.5 x 36.9 cm), Drawings, Anonymous, French, 19th century

Two Designs for Ornamental Panels, second half 19th century, Graphite, pen and black ink, watercolor and gilt, 9 3/8 x 12 1/4 in. (23.8 x 31.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Portrait of a Silversmith, Seated, 19th century, Pen and brown ink, brush and brown wash, 7 7/8 x 5 7/8 in. (20 x 14.9 cm), Drawings, Ernest Meissonier (French, Lyons 1815–1891 Paris

La Promenade en Bokei; Le Suprême Bon-Ton No. 26, 1816, Etching, hand-colored, plate: 8 7/8 x 10 3/4 in. (22.5 x 27.3 cm), Prints, Adrien Pierre Godefroy, Le Jeune (French, 1777–1865

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor, gouache, and graphite, Irregular sheet: 8 5/8 x 14 1/16 in. (21.9 x 35.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Sheet with Figure Studies (double sided), 17th century, Pen and brown ink, sheet: 8 7/8 x 12 in. (22.6 x 30.5 cm), Drawings, Pietro Novelli, called Il Monrealese (Italian, Monreale 1603–1647 Palermo

Design for an Allegorical Print, Pen and black ink, 5 3/4 x 3 7/8 in. (14.6 x 9.9 cm.), Drawings, Louis Lafitte (French, Paris 1770–1828 Paris

The Annunciation, Pen and red and brown ink, red and brown wash, heightened with white., 5 9/16 x 8 11/16 in. (14.1 x 22 cm), Drawings, Anonymous, French, 16th century

Design for the painted decoration of a baker's shop, second half 19th century, graphite and watercolor on wove paper, sheet: 3 1/8 x 7 3/16 in. (7.9 x 18.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Design for a Trompe L'Oeil Ceiling with a Loggia, n.d., Pen and ink and wash, 11-1/4 x 7-1/4 in. (28.6 x 18.4 cm), Faustino Trebbi (Italian, Budrio [Bologna] 1761–1836 Bologna), After Girolamo Curti detto 'Dentone' (Italian, Bologna,

Ladies Bathing, 1717, Pen and gray ink, brush and gray wash, heightened with white, over traces of graphite, contours incised., 2 15/16 x 4 3/8 in. (7.5 x 11.1 cm), Drawings, Claude Simpol (French, Clamecy 1666–1716 Paris

Designs for Tables, ca. 1770–90, Pen and gray and black ink, brush and yellow and gray wash, over black chalk, 8 1/2 x 13 1/4in. (21.6 x 33.7cm), Drawings, Anonymous, French, 18th century

Saint John the Baptist in Prison Sends His Disciples to Question Jesus, 1598–1616, Pen and brown ink, brush and gray wash, sheet: 5 3/8 x 11 1/16 in. (13.7 x 28.1 cm), Drawings, Ermenegildo Lodi (Italian, Cremona, 1598–1616

Songs of Innocence and of Experience: Night, ca. 1825, Relief etching printed in orange-brown ink and hand-colored with watercolor and gold, sheet: 6 3/16 x 5 9/16 in. (15.7 x 14.1 cm), Prints, William Blake (British, London 1757–1827 London

Saint Remi (lower register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk, stumped, white chalk, on light gray paper, 18 3/16 x 11 5/8 in. (46.2 x 29.6 cm), Drawings, Isidore

Bust of a Warrior Wearing a Plumed Helmet, Looking Toward Spectator Over His Right Shoulder (recto); Sketch of a Leg (verso), 1605–9, Red chalk on light brown paper, 4 13/16 x 3 1/2in. (12.2 x 8.9cm), Drawings, Camillo Procaccini (Italian,

Abduction of Proserpine, 1516, Etching, Sheet: 12 3/16 × 8 3/8 in. (30.9 × 21.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Death of Ananias, 1518, Woodcut, key block only, Sheet: 8 11/16 × 14 5/8 in. (22.1 × 37.2 cm), Prints, Ugo da Carpi (Italian, Carpi ca. 1480–1532 Bologna), After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome

Mother and Child, No. 1, 1891 and 1895, Transfer lithograph with scraping and stumping, drawn on fine-grained transfer paper; second state of two (Chicago); printed in black ink on fine white laid paper, 11 7/8 x 7 3/4 in. (30.2 x 19.7 cm),

Girl with a Bowl, 1895, Transfer lithograph, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on cream Japanese vellum, Image: 5 3/8 × 2 5/8 in. (13.6 × 6.7 cm), Prints, James McNeill Whistler (American,

The Tax Collectors (Les Traitants), 1778, Etching, Sheet: 9 1/4 × 7 1/8 in. (23.5 × 18.1 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

The Music Room, 1859, Etching; second state of four (Glasgow); Fine antique laid paper with a greenish cast, Plate: 5 11/16 x 8 1/2 in. (14.4 x 21.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Plate 27 from the 'Tauromaquia': The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 5/8 × 13 3/4 in. (24.4 × 34.9 cm), Prints, Goya (Francisco

Landscape with Wayfarers, 1740–99, Brush and brown ink, over graphite or black chalk. Framing line in pen and black ink., sheet: 7 11/16 x 6 5/8 in. (19.5 x 16.8 cm), Drawings, Ferdinand Kobell (German, Mannheim 1740–1799 Munich

The Martyrdom of St. Catherine, ca. 1627, Etching; second state of two (Pacht Bassani), sheet: 8 1/4 x 10 3/8 in. (21 x 26.3 cm), Prints, Claude Vignon (French, Tours 1593–1670 Paris

Design for an Ewer, 19th century, Pen and brown ink, brush and red wash, heightened with white., sheet: 14 3/8 x 8 3/8 in. (36.5 x 21.3 cm), Drawings, Anonymous, French, 19th century

Saint Jerome Extracting a Thorn from the Lion's Foot, Lyons 1508 (copy), n.d., Woodcut, Block: 7 11/16 × 5 1/2 in. (19.6 × 14 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg