Images at Librifly

Saint Mark writing his Gospel, a winged lion at the right, 1531–76, Engraving, sheet: 6 13/16 x 11 in. (17.3 x 28 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Perino del Vaga (Pietro

Fantasy, 1824–98, Pen and brown ink on calque, laid down on wove paper, sheet: 11 13/16 x 8 1/16 in. (30 x 20.5 cm), Drawings, Pierre Puvis de Chavannes (French, Lyons 1824–1898 Paris

Old St. Paul's Cathedral, London, seen from the East, 17th century, Pen and brown ink and brown and gray wash over black chalk, squared in black chalk, and incised, sheet: 6 15/16 x 8 13/16 in. (17.7 x 22.4 cm), Wenceslaus Hollar (Bohemian,

Design for a Desk with Two Sets of Drawers, early 19th century, Ink and watercolor, sheet: 3 7/8 x 6 7/8 in. (9.9 x 17.5 cm), Anonymous, British, 19th century

Etchings of Paris; Title page to the suite, 1852, Etching on brown wove paper; first state, plate: 6 1/2 x 4 15/16 in. (16.5 x 12.5 cm), Prints, Charles Meryon (French, 1821–1868), Charles Meryon was celebrated among artists and collectors

Christ on the Cross between the Virgin and Saint John, 1516, Woodcut, sheet: 10 7/8 x 8 3/4 in. (27.7 x 22.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Terrace of the Villa Brancas, 1876, Etching; seventh state of eight, Plate: 10 7/16 x 14 5/16 in. (26.5 x 36.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Panel of Ornament with Two Sirens, 1528, Engraving, sheet: 4 5/8 x 3 1/16 in. (11.7 x 7.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 79 from 'Los Caprichos': No one has seen us (Nadie nos ha visto.), 1799, Etching, burnished aquatint and burin, Plate: 8 3/8 x 5 7/8 in. (21.2 x 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Plate A from the 'Disparates':Well-Known Folly, ca. 1816–23 (published before 1877), Etching and burnished aquatint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

The Wise Virgins Refuse Oil to the Foolish Virgins, ca. 1635, Etching and engraving, Sheet (trimmed): 8 11/16 × 12 1/2 in. (22 × 31.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Great Man on His Hobby Horse, 1803, Hand-colored etching, Sheet: 18 1/2 x 8 9/16 in. (47 x 21.7 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

The Prince of Whales or the Fisherman at Anchor, May 1, 1812, Hand-colored etching, sheet: 8 3/4 x 20 15/16 in. (22.2 x 53.2 cm), Prints, George Cruikshank (British, London 1792–1878 London), This light-hearted marine triumph casts George,

The Balcony, 1879–80, Etching and drypoint; eighteenth state of nineteen (Glasgow); printed in brown ink on heavy laid ivory paper, Plate: 11 11/16 × 7 13/16 in. (29.7 × 19.9 cm), Prints, James McNeill Whistler (American, Lowell,

The Crucifixion (Round) (copy), n.d., Engraving, Sheet: 4 1/2 × 4 1/4 in. (11.5 × 10.8 cm), Prints, ? Johannes Riepenhausen (German, Goettingen 1788–1860 Venice), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Chandelier, 19th century, Pen and brown ink, sheet: 16 1/4 x 9 11/16 in. (41.2 x 24.6 cm), Drawings, Anonymous, French, 19th century

Temperance, 1636, Etching, Sheet (trimmed): 2 15/16 × 1 15/16 in. (7.5 × 4.9 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plate10 from 'The Disasters of War' (Los Desastres de la Guerra): 'Nor [do these] either.' (Tampoco), 1810 (published 1863), Etching and burin, Plate: 5 13/16 × 8 7/8 in. (14.8 × 22.6 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Massacre de Nesle (1472), 19th century, Watercolor and gouache over graphite, and a little red chalk, 15 5/8 x 10 11/16 in. (39.7 x 27.2 cm), Drawings, Édouard-Alexandre Odier (French, Hamburg 1800–1887 Paris

Berthe Morisot (in silhouette), 1872–74, published 1884, lithograph, final state (II), on chine collé; 1884 edition, Plate: 8 1/2 x 6 1/2in. (21.6 x 16.5cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Six Stages of Mending a Face, Dedicated with respect to the Right Hon-ble. Lady Archer, May 29, 1792, Hand-colored etching, Sheet: 10 13/16 × 15 1/8 in. (27.4 × 38.4 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London),

Abraham's Sacrifice, 1655, Etching and drypoint, Sheet: 6 5/16 × 5 1/4 in. (16.1 × 13.4 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Study of the Interior of Santa Maria Maggiore in Rome., 1621–46, Pen and brown ink, brush with gray and blue wash, over traces of graphite, highlighted with white gouache, sheet: 15 1/8 x 9 15/16 in. (38.4 x 25.2 cm), Abbate Paolo de Angelis

Sheepshearing Beneath a Tree, ca. 1854, Conté crayon with stumping, heightened with pen and brown ink and white gouache on wove paper, 11 5/8 x 8 7/8 in. (29.5 x 22.5 cm), Drawings, Jean-François Millet (French, Gruchy 1814–1875 Barbizon),

Death carrying an infant, from 'The five deaths' (Les cinq Morts), ca. 1648, Etching, second state of two, Sheet: 7 5/16 × 5 7/8 in. (18.6 × 15 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

A Cat Curled Up, Sleeping, 1861, Graphite, on ivory-colored paper, 4 5/8 x 4 1/4 in. (11.7 x 10.8 cm), Drawings, Édouard Manet (French, Paris 1832–1883 Paris

Design for a Church Façade, 1732–1816, Pen and brown ink, brush and gray wash, over graphite, 10 x 7 1/2in. (25.4 x 19.1cm), Drawings, Giuseppe Jarmorini (Italian, Bologna 1732–1816 Bologna

The Beast with the Seven Heads and the Beast with Lamb's Horns, 1511, Woodcut, sheet: 15 1/8 x 11 in. (38.4 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 3: two horsemen crossing a river to right, a woman with two baskets atop a donkey to left, trees to the left and right, a bridge in the background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two,

La loi lunaire, No 1 (Lunar Law, No 1), 1856, Etching, printed on laid paper; third state of three, plate: 6 1/4 x 9 7/8 in. (15.9 x 24 cm), Prints, Charles Meryon (French, 1821–1868

Studies of Four Horses with Two Horsemen, ca. 1848–51 (?), Graphite, watercolor, sheet: 6 7/8 x 9 13/16 in. (17.5 x 25 cm), Drawings, Jörgen Valentin Sonne (Danish, Birkeröd 1801–1890 Copenhagen

Grotesque with male figure with lower body and head of acanthus scrolls, ca. 1515–27, Engraving, Sheet: 13 7/8 × 9 1/4 in. (35.2 × 23.5 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome

The Toilet of Venus, Pen and black ink, brush and brown and blue wash, heightened with white, framing lines in pen and brown ink, 6-1/16 x 8-5/16 in. (40.8 x 21.1 cm), Drawings, Anonymous, French, School of Fontainebleau, 16th century

Japonisme, 1881, Drypoint, Plate: 9 1/2 x 12 9/16 in. (24.1 x 31.9 cm), Prints, Henri Somm (French, Rouen 1844–1907 Paris

Seated Bearded Male Figure Looking to Upper Left, 1636–88, Black and brown chalk, highlighted with white, on blue-gray paper, 15 x 9 3/16in. (38.1 x 23.3cm), Drawings, Giovan Battista Beinaschi (Italian, Fossano 1636–1688 Naples

The Witch, ca. 1500, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint Christopher Facing Left (reverse copy), n.d., Engraving, Sheet: 4 1/2 in. × 3 in. (11.4 × 7.6 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Skeleton Re-Animated, Title Page to the Grave, a Poem by Robert Blair, March 1, 1813, Engraving, plate: 14 x 10 1/2 in. (35.6 x 26.7 cm), Prints, Luigi Schiavonetti (Italian, Bassano del Grappa 1765–1810 London), After William Blake

The New Parliament Pudding or John Bull's Treat, ca. 1832, Hand-colored lithograph, sheet: 9 15/16 x 14 1/16 in. (25.2 x 35.7 cm), Prints, Anonymous, British, 19th century

Adoration, n.d., Etching, sheet: 17 1/8 x 11 13/16 in. (43.5 x 30 cm), Prints, François Chauveau (French, Paris 1613–1676 Paris), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Framed Design for an Architectural Interior: Coffered Ceiling with Central Hexagonal Cartouche and Walls with Floral Ornament and Drapery., 1774–1839, Pen and brown ink, brush and brown, gray, blue, orange, green wash, over traces of

Cain Slaying Abel, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-1/8 x 2-3/8 in. (7.9 x 6.0 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Two Designs for Ceiling with Putti and Allegorical Figures of the Arts, second half 19th century, Graphite, pen and black ink, watercolor, and gilt on tissue, 14 1/2 x 10 1/2 in. (36.8 x 26.7 cm), Drawings, Jules-Edmond-Charles Lachaise

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, black chalk, heightened with white, sheet: 10 3/4 x 16 1/16 in. (27.3 x 40.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study of Justice Dispensing Rewards to the Arts (recto); Study of a Lunette and Spandrel (verso), 1680–1744, Brush and brown wash, over black chalk (recto); faint study of a lunette and spandrel, in black chalk (verso), 9 1/2 x 7 15/16 in.

Design for Three Stools with Columnar Supports, early 19th century, Graphite, sheet: 8 9/16 x 12 3/16 in. (21.8 x 31 cm), Anonymous, British, 19th century

Palazzo Massimo alle Colonne, cortile, section (recto) Palazzo Massimo alle Colonne , first story loggia entablature, profile section and column shaft (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines,

Design for a decorative motif featuring griffins and swags of fruit, 1830–97, pen and ink and wash over graphite on wove paper, Overall: 19 3/8 x 12 5/8 in. (49.2 x 32.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Jael Killing Sisera, without ornamental frame, 1517, Woodcut, sheet: 9 9/16 x 6 7/8 in. (24.3 x 17.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Les Jeunes Soeurs, n.d., Etching, first state, image: 19 7/16 x 13 5/16 in. (49.4 x 33.8 cm), trimmed to image, Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Geraud Vidal (French, Toulouse 1742–1801

Plate 12 from 'The Disasters of War' (Los Desastres de la Guerra):This is what you were born for (Para eso habeis nacido.), 1810 (published 1863), Etching, lavis, drypoint and burin, Plate: 6 7/16 × 9 1/4 in. (16.4 × 23.5 cm), Prints, Goya

Design for a Candelabrum with the Monogram of Louis XIV, 17th century, Pen and brown ink on light buff paper, sheet: 11 1/2 x 7 1/4 in. (29.2 x 18.4 cm), Drawings, Anonymous, French, 17th century

Tête d'expression, n.d., Graphite on paper, 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm), Drawings, Henri-Paul Royer (French, Nancy, 1869–1938

Virgin of the Long Thigh; the Virgin reclining on the ground her left leg outstretched supporting the infant Christ who reaches across to the infant John the Baptist, Joseph seated at left, buildings in the background, ca. 1518–27, Engraving,

Church Interior, 1791, Pen and brown ink, brush and brown and grey wash over graphite. Framing line in pen and ink., 13 15/16 x 18 5/16 in. (35.4 x 46.5 cm), Drawings, Johann Ludwig Ernst Morgenstern (German, Rudolstadt 1738–1819 Frankfurt

Illustration from Dürers Vier Bucher von Menslicher Proportion, Nuremberg, 1528, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Songs of Innocence and of Experience: The Clod & the Pebble, 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

Plate 16 from 'The Disasters of War' (Los Desastres de la Guerra):' They make use of them.' (Se aprovechan.), 1810, Etching and drypoint, Plate: 6 5/16 x 9 1/4 in. (16 x 23.5 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for a Sofa with Foliate Ornament, early 19th century, Graphite, sheet: 9 x 11 7/8 in. (22.8 x 30.2 cm), Anonymous, British, 19th century

Portrait of Eugene Speicher, First Stone, 1923–24, Lithograph, image: 9 x 8 1/4 in. (22.9 x 21 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

The Emperor Constantine Copronymous Burned by an Invisible Fire (recto); Studies of Sibyls and Angles (verso), ca. 1599–1610, Pen and brown ink, brush and brown wash, over black chalk (recto). Pen and brown ink, over black chalk (verso),

Children Seated on a Hillside with a Racquet, 19th century, Black chalk and pastel, sheet: 8 1/16 x 13 3/8 in. (20.4 x 34 cm), Drawings, Charles-Emmanuel Serret (French, 1824–1900

Study for a Garden Capriccio, Red chalk over black chalk underdrawing., 10 3/8 x 7 1/2 in. (26.4 x 19.1 cm), Drawings, Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Plate 8: a horseman descends a riverbank, another horseman in river to right, from 'Diversi capricci', ca. 1644–47, Etching; third state of four (De Vesme), Sheet: 3 3/8 × 3 15/16 in. (8.5 × 10 cm), Prints, Stefano della Bella (Italian,

Fruit Stall, 1879–80, Etching and drypoint; eighth state of twenty-one (Glasgow); printed in black ink on , Plate: 9 × 6 in. (22.8 × 15.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Milo of Croton, n.d., Etching, image: 7 5/16 x 5 5/8 in. (18.5 x 14.3 cm), Prints, Philippe Auguste Hennequin (Lyon 1762–1833 Leuze, near Tournai

Roman Telamones in the Egyptian Style, 1510–61, Pen and brown ink, over traces of black chalk, 15 1/16 x 10 11/16in. (38.2 x 27.2cm), Drawings, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Cardinal Paolo Sfondrato Kneeling Before Saint Cecilia, Accompanied by other Saints, 1563–1610, Pen and brown ink, brush and brown wash, over black chalk, 5 9/16 x 8 5/16in. (14.2 x 21.1cm), Drawings, attributed to Francesco Vanni (Italian,

St. Peter's, centering truss, tunnel vault, section (recto), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 5/8 x 17 1/8 in. (29.5 x 43.5 cm), Drawings

Portrait of a Young Man, ca. 1820, Lithograph, Sheet: 8 7/8 x 7 1/4 in. (22.5 x 18.49cm), Prints, Formerly attributed to Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Counsellor O.P.–Defender of our Theatric Liberties, December 5, 1809, Hand-colored etching, plate: 13 7/8 x 13/16 in. (35.2 x 2.1 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

Diogenes Throwing His Cup to the Ground, 17th century, Pen and brown ink, brush and brown and gray wash. Framing lines in pen and brown ink, graphite., 6 5/8 x 4 in. (16.8 x 10.1 cm), Drawings, Anonymous, French, 17th century

Caricature of a Sculptor, Pen and black ink with gray, ochre, blue, pink and green washes over black chalk underdrawing, 7 3/8 x 4 7/16 in. (18.8 x 11.3 cm.), Drawings, Jean Charles Delafosse (French, Paris 1734–1789 Paris

Designs for Two Silver Serving Dishes and Trays, 19th century, Pen and black ink, brush and gray wash, sheet: 9 5/16 x 14 1/2 in. (23.7 x 36.9 cm), Drawings, Anonymous, French, 19th century

The Lady on Horseback and the Lansquenet, ca. 1497, Engraving, Sheet: 4 1/4 × 3 1/16 in. (10.8 × 7.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Sepulchral Monument Divided in Two Parts with Bas Relief Surmounted by Statues and Foliate Decoration Below., 1826, Pen and brown ink, brush with gray and brown wash, over traces of graphite, sheet: 13 5/16 x 9 9/16 in. (33.8 x 24.3

Saint Simon, 1523, Engraving, Sheet: 4 9/16 × 2 15/16 in. (11.6 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ on the Mount of Olives, from The Passion, 1508, Engraving, Sheet: 4 1/2 × 2 13/16 in. (11.4 × 7.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 30 from 'The Disasters of War' (Los Desastres de la Guerra):'Ravages of war' (Estragos de la guerra), 1810 (published 1863), Etching, drypoint, burin and burnisher, Plate: 5 1/2 × 6 5/8 in. (14 × 16.8 cm), Prints, Goya (Francisco de

Design for an Empire Covered Dish, ca. 1810–15, Pen and black ink, sheet: 10 3/16 x 15 7/8 in. (25.9 x 40.3 cm), Drawings, Anonymous, French, 19th century

Standing Virgin Holding the Christ Child, 1475–1546, Pen and brown ink, brush and brown wash, highlighted with white, on blue paper. Squared in red chalk, 11-7/16 x 4 in. (29.0 x 10.1 cm), Drawings, Gaudenzio Ferrari (Italian, Valduggia

Two Plans and Elevations for Fountains, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 14 1/2 x 11 1/16 in. (36.9 x 28.1 cm), Drawings, Anonymous, French, 16th century

Portrait of Henry VII, 16th century, Red and black chalk, sheet: 7 1/8 x 5 3/8 in. (18.1 x 13.6 cm), Drawings, Anonymous, Italian, 16th century

Interior scene with soldiers pillaging, 17th century, Pen and black ink, watercolour, gouache, sheet: 4 5/16 x 3 9/16 in. (11 x 9.1 cm), Drawings, Attributed to Anonymous, 17th century

Saint Francis Receiving the Stigmata, ca. 1503, Woodcut, block: 8 3/4 x 5 7/8 in. (22.2 x 14.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Plate 12: a shepherd sleeping on the ground to right, three horses to left, other horses and various figures to right, the Baths of Diocletian in the background, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de

Man Clutching Moneybags While Banks Collapse, late 19th–early 20th century, Hand-colored lithograph; touched proof, image: 11 1/2 x 8 in. (29.2 x 20.3 cm), Prints, Emmanuel Wyttenbach (American, born Bern, Switzerland, active California,

Le Magnifique, 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; first state of three (Cohen), Sheet: 10 1/2 × 7 5/8 in. (26.7 × 19.3 cm),

Cavalry Charge, mid to late 18th century, Etching, Sheet (trimmed): 5 3/4 × 7 15/16 in. (14.6 × 20.2 cm), Prints, Francesco Casanova (Italian, London 1727–1803 Brühl

Wild Onion, Allium acuminatum, May 13, 1913, 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 1867–1944

Flutist, 1880, Pen and black ink, 6 7/8 x 4 9/16 in. (17.4 x 11.6 cm), Drawings, Charles Delort (French, Nîmes 1841–1895 Saint-Eugène

Frieze of Trophies, n.d., Pen and brown ink, brush and brown wash, over leadpoint., 8 x 13 5/16 in. (20.3 x 33.8 cm), Drawings, After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Design for a Stage Set at the Opéra, Paris: Balustrade wtih Lamp Posts, 1830–90, Graphite, Irregular sheet: 5 1/16 x 17 3/4 in. (12.8 x 45.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Smoker, Facsimile reproduction of Manet's etching of 1866-67, in the second state, plate: 6 13/16 x 6 13/16in. (17.3 x 17.3cm), Prints, Reproduction of the etching by Édouard Manet (French, Paris 1832–1883 Paris

Boiserie from the Hôtel Colbert de Villacerf, 19th century, Graphite, pen and black ink, sheet: 11 1/8 x 14 5/16 in. (28.2 x 36.3 cm), Drawings, Anonymous, French, 19th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 10 15/16 x 4 13/16 in. (27.8 x 12.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Abraham's Sacrifice, 1655, Etching and drypoint, sheet: 6 1/4 x 5 1/4 in. (15.8 x 13.3 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Stage Set, 1828–90, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Festival Procession, 1499–1543, Pen and brown ink, brush and brown wash, 4-3/8 x 7-5/8 in. (11 x 19.3 cm), Drawings, After Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Doorway and Vine, 1879–80, Etching and drypoint; twelfth state of eighteen (Glasgow); printed in brown ink on ivory laid paper, Plate: 9 1/8 × 6 5/8 in. (23.2 × 16.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts