Images at Librifly

Harbor Scene, 1842–77, Etching, sheet: 12 3/16 x 13 9/16 in. (31 x 34.5 cm), Prints, William Richardson (British, active 1842–77), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Designs for a Decorative Frieze, Two Planters and a Server, 19th century, Pen and brown ink, a: 2 3/16 x 8 11/16 in. (5.6 x 22 cm), Drawings, Anonymous, French, 19th century

Design for wall panels decorated with Chinoiserie scenes, second half 19th century, Graphite and watercolor, Overall: 19 1/2 x 13 3/8 in. (49.6 x 34 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Beggars Receiving Alms at the Door of a House, 1648, Etching, burin, drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Destruction of Job's Sons, 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

Virgin Nursing the Christ Child, ca. 1641, Etching; second state of two, Sheet (trimmed to plate): 5 3/16 × 5 1/16 in. (13.2 × 12.8 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Pompeiian Design for Doorway and Wall with Curtain (possibly for Deepdene Castle), second half 19th century, Black chalk, watercolor, and gouache, 8 1/4 x 10 in. (21.0 x 25.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Holy Trinity, n.d., Woodcut, sheet: 15 3/16 x 11 in. (38.6 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Old Bedford (The Small Plate), 1910, Etching; only state, plate: 4 15/16 x 3 7/16 in. (12.5 x 8.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Sainte Clotilde (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Red and black chalk, white gouache, on gray paper, 19 x 11 3/4 in. (48.3 x 29.8 cm), Drawings, Isidore Pils

Designs for a Chatelaine and an Etui, Pen and gray ink with brush and rose, blue and green wash, 8 1/8 x 3 3/8 in. (20.6 x 8.6 cm.), Drawings, Attributed to Pierre Moreau (French, 1722–1798 Paris

Christ in Glory with Saint Lawrence, Saint Anthony of Padua, Saint Ignatius of Loyola, and Saint Eligius., ca. 1766, Pen and brown ink, brush and brown wash, over traces of graphite, 14 11/16 x 8 7/8in. (37.3 x 22.5cm), Drawings, Attributed

Caricature of the Laocoön, ca. 1520–60, Woodcut, sheet: 14 1/4 x 19 3/8 in. (36.2 x 49.2 cm), Prints, Attributed to Nicolò Boldrini (Italian, Vicenza ca. 1500–after 1566 Venice), After Titian (Tiziano Vecellio) (Italian, Pieve di Cadore

The Adoration of the Magi, 1511, Woodcut, Sheet: 11 5/8 × 8 11/16 in. (29.5 × 22.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Work Table with a Railing, early 19th century, Ink and wash, sheet: 8 9/16 x 12 1/4 in. (21.7 x 31.1 cm), Anonymous, British, 19th century

Clothing Beggars, 1635, Etching, Sheet (trimmed): 10 1/4 × 13 1/16 in. (26.1 × 33.1 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Jupiter and Danäe, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 3/4 × 2 1/4 in. (4.5 × 5.7 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by

Plate 15: doe, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Sheet (trimmed to plate): 3 3/8 × 4 5/16 in. (8.6 × 11 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Rembrandt's Mother in a Cloth Headress, Looking Down, 17th century, Etching, Sheet: 1 11/16 × 1 5/8 in. (4.3 × 4.1 cm), Prints, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris), After Rembrandt (Rembrandt van Rijn) (Dutch,

Booth at a Fair, [1884–86], Etching and drypoint; only state (Glasgow); printed in very dark brown ink on ivory laid paper, Plate: 5 3/16 × 3 3/4 in. (13.2 × 9.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Polander Standing with Arms Folded, 1630–40, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for Pink, Mauve and White Floral Curtains with a Gold and White Pediment, early 19th century, Ink, watercolor and wash, sheet: 8 7/8 x 15 1/16 in. (22.5 x 38.2 cm), Anonymous, British, 19th century

Horses, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 3-5/8 x 10-1/2 in. (9.2 x 26.7 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

The Synagogue, 1648, Etching, sheet: 2 7/8 x 5 3/16 in. (7.3 x 13.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Return from the Christening, 1633, Etching; first state of two, Sheet (trimmed): 10 5/16 × 13 1/4 in. (26.2 × 33.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Golf-Player, 1654, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

La Rétameuse, 1858, Etching; second state of two (Glasgow); on buff (darkened) chine on off-white wove (chine collé), plate: 4 3/8 x 3 1/2 in. (11.1 x 8.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Samson Slaying the Philistine, after Michelangelo (recto); Figure of Fury, after Rosso Fiorentino (verso), 1537–91, Red chalk on paper (recto); black chalk on paper (verso), 13 1/8 x 9 1/8in. (33.4 x 23.2cm), Drawings, Giovanni Battista

View of a Funerary Monument and Crypt, ca. 1760, Etching, sheet: 5 1/4 x 7 11/16 in. (13.3 x 19.5 cm), Prints, Pierre Moreau (French, 1722–1798 Paris

Design for a Music Stand, 19th century, Pen and black and red ink, brush and black, gray and yellow wash, 8 3/8 x 6 5/8 in. (21.3 x 16.9 cm), Drawings, Anonymous, French, 19th century

Portrait of Charles Baudelaire, Full Face, after a photograph by Nadar, 1868, Etching on wove (China) paper, final state of 4, plate: 3 11/16 x 3 1/4 in. (9.4 x 8.2 cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris), After Nadar

Lamp, Hellenistic or Early Imperial, 1st century B.C.–1st century A.D., Greek or Roman, Terracotta, Overall: 1 3/16 x 3 9/16 in. (3 x 9.1 cm), Terracottas

Design for a Stage Set at the Opéra, Paris: Interior of a Cottage, 1830–90, Graphite, sheet: 12 3/8 x 19 1/16 in. (31.4 x 48.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Adoration of the Magi, 1709–87, Graphite, drawing in upright rectangle with scalloped top. Framing lines in graphite, 6-1/8 x 3-1/8 in. (15.5 x 8 cm), Drawings, Francesco Zugno (Italian, Venice 1709–1787 Venice

The Fitting, 1890–91, Drypoint and aquatint, printed in color from three plates; seventh state of seven (Mathews & Shapiro), plate: 14 13/16 x 10 1/8 in. (37.6 x 25.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926

Banquet of the Piacevoli, 1627, Etching, Sheet: 10 1/16 × 15 3/16 in. (25.5 × 38.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

La Fuite a Dessein, n.d., Etching, first state, sheet: 14 x 10 3/8 in. (35.5 x 26.4 cm), Prints, After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), Engraved by Jacques Couché (French, born 1750), Engraved by Charles François

Design for a frame for the portrait of Armand Guéraud, 1862, Etching with drypoint, plate: 6 5/8 x 5 1/8 in. (16.8 x 13 cm), Prints, Charles Meryon (French, 1821–1868

Kneeling Gladiator, 1771–1844, Lead graphite, 7 5/8 x 9 1/2in. (19.4 x 24.1cm), Drawings, Vincenzo Camuccini (Italian, Rome 1771–1844 Rome

Yellow Flowers with Small Heads, 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

The Assumption and Coronation of the Virgin, from The Life of the Virgin, 1510, Woodcut, sheet: 17 3/16 x 12 1/16 in. (43.7 x 30.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Triton and Siren in Tendrils, ca. 1510, Engraving, sheet: 2 3/16 x 4 3/8 in. (5.6 x 11.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Three Slender Chairs, early 19th century, Graphite, sheet: 7 3/16 x 8 7/8 in. (18.3 x 22.5 cm), Anonymous, British, 19th century

The Excavation of an Obelisk from the Campo Marzo, ca. 1749, Etching, Sheet: 9 15/16 × 13 13/16 in. (25.2 × 35.1 cm), Prints, Jean Barbault (French, Viarmes 1718–1762 Rome), This obelisk had been unearthed in 1748 when small houses behind

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 10 9/16 x 5 11/16 in. (26.8 x 14.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Fortitude (Fortitudo) from The Virtues, ca. 1559–60, Engraving; first state of two, Sheet: 10 1/4 x 13 1/4 in. (26 x 33.7 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Philips Galle

Design for the painted decoration of a ceiling, second half 19th century, watercolor and gouache on laid paper, sheet: 5 13/16 x 6 5/8 in. (14.7 x 16.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Prophet Elias, n.d., Engraving with etching, sheet: 16 3/4 x 11 in. (42.6 x 28 cm), Prints, Nicolas Pitau (French, Paris before 1670–1724), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Two Designs for Memorial Tablets, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 10 7/8 x 12 5/16 in. (27.6 x 31.3 cm), Drawings, Anonymous, French, 16th century

Summer (L'Été), ca. 1735, Etching, 8 x 9 5/8 in. (20.3 x 24.4 cm), Prints, Charles Joseph Natoire (French, Nîmes 1700–1777 Castel Gandolfo

Armand de Bourbon-Conti, prince du sang, Etching, second state, image: 14 3/8 x 10 1/16 in. (36.5 x 25.5 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Justus van Egmont (Flemish, Leiden 1601–1674 Antwerp

Songs of Innocence and of Experience: The Fly, 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

St. John the Baptist Drawing Water from a Spring, ca. 1649, Etching with engraving; third state of four, Plate: 4 3/8 × 3 1/4 in. (11.1 × 8.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Annunciation, ca. 1460–70, Woodcut, hand-colored, 7-11/16 x 4-3/4 in.; 8-3/8 x 5-9/16 in., Prints, Probably Anonymous, German, Swabia, 15th century

The Dance of St. Mary Magdalene (reverse copy), n.d., Engraving, sheet: 9 1/2 x 15 3/8 in. (24.1 x 39.1 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 18: camel viewed from behind with pyramid at left, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three, Sheet (trimmed): 3 3/8 × 4 3/16 in. (8.6 × 10.7 cm), Prints, Stefano della Bella (Italian, Florence

Four designs for decorative motifs, 1830–97, graphite, pen and ink, wash, and watercolor on wove paper, sheet: 19 7/16 x 13 3/16 in. (49.4 x 33.5 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Virgin and Saint Rosalia Interceding with Christ, 1625–1713, Pen and brown ink, over black chalk, 10 5/16 x 8 15/16in. (26.2 x 22.7cm), Drawings, Carlo Maratti (Italian, Camerano 1625–1713 Rome), Saint Rosalia, shown at the left in

Head of a Bearded Man Looking Left, early 18th century, Black chalk, stumped, red chalk, pink pastel, on beige paper., 11 7/8 x 8 15/16 in. (30.1 x 22.7 cm), Drawings, François Le Moyne (French, Paris 1688–1737 Paris

Allegory of Winter, after Sébastien Le Clerc, 18th century, Gray wash, over red chalk; squared in graphite. Framing lines in pen and brown ink., 4 1/2 x 7 3/8 in. (11.4 x 18.8 cm.), Drawings, Anonymous, French, 18th 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.

The Judgment of Solomon, 1624–63, Pen and brown ink, brush and faint green wash. Framing lines in pen and brown ink on mount, 4-5/8 x 5-3/8 in. (11.7 x 13.7 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Ornamental Design with a Sphinx Bearing a Vessel on Her Head., 1610–64, Pen and light brown ink; traces of a sketch in graphite, Sheet: 2 11/16 x 2 11/16 in. (6.9 x 6.8 cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664

The Seated Nymph (Une fontaine avec une naïade assise sur une conque), ca. 1740, Etching, sheet: 19 13/16 x 13 3/8 in. (50.3 x 34 cm), Prints, Jean-Baptiste Marie Pierre (French, Paris 1714–1789 Paris

Designs for the painted decoration of a vaulted ceiling, 1830–97, gra[jote. [em amd oml. And watercolor on wove paper mounted on blue paper, Overall: 10 3/8 x 14 11/16 in. (26.3 x 37.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Plate 3 of the 'Tauromaquia':The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open, 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 5/8 x 13 3/4 in.

A voir det élégant et sa haute frisure, On le croiroit un Senateur, Mais ce n'est qu'un garcon marchand, Dont sa bonne mesure sera son bonheru ou son malheur, 1720–75, Etching, sheet: 10 7/16 x 7 13/16 in. (26.5 x 19.9 cm), Prints,

Mars, Venus and Cupid, 1530, Engraving; first state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

La Matrone d'Ephese, 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; third state of three (Cohen), Sheet: 8 11/16 × 6

The Dead Tree, 1640, Etching; first state of two (Robert-Dumesnil), sheet: 4 1/2 x 6 3/4 in. (11.5 x 17.2 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

The Rich Man Playing Violin on a Jaw Bone, ca. 1568, Engraving, Plate (diameter): 7 in. (17.8 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Jan (Johannes) Wierix (Netherlandish, Antwerp

Sibylle Erythréenne, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 x 8 3/8 in. (35.5 x 21.3 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Jacques-Auguste de Thou, premier president au Parlement, Etching, sheet: 13 5/16 x 10 3/8 in. (33.8 x 26.4 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

La Marchande de moutarde, 1858, Etching; third state of five (Glasgow); black ink on tan chine on white wove paper (chine collé), Plate: 6 1/4 x 3 7/16 in. (15.8 x 8.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Seven Angels with Trumpets, from the Apocalypse series, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Nursing, ca. 1890, Drypoint; third state of three, plate: 9 3/8 x 7 in. (23.8 x 17.8 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Portrait of Robert Aitken, First Stone, 1921, Lithograph, sheet: 15 1/16 x 12 11/16 in. (38.3 x 32.2 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Ornamental Border of the Augsburg Diocese (Schr. 2024c), 15th century, Woodcut, hand-colored, sheet: 2 1/16 x 9 13/16 in. (5.3 x 25 cm), Prints, Anonymous, German, 15th century

Plan and Elevation for a Fountain, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 17 5/16 x 11 1/2 in. (43.9 x 29.2 cm), Drawings, Anonymous, French, 16th century

Nude Male Figure with a Sword, 1878, Black chalk, 19 7/16 x 12 11/16 in. (49.3 x 32.3cm), Drawings, Alexandre Cabanel (French, Montpellier 1823–1889 Paris), The drawing is a study for one of the Muslims in the Captivity of St. Louis in

Saint Charles-Borromee, cardinal et archeveque de Milan, Etching, second state, sheet: 12 3/8 x 9 13/16 in. (31.5 x 25 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674

Four Avenging Angels, from the Apocalypse series, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Tall Chimneypiece, Decorated with Vases, 19th century, Graphite, Anonymous, British, 19th century

Design for Half Cartouche with Mask, 18th century, Pen and ink, wash, Drawings, Fortunato Tesi (Italian, 18th century

Brazil, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 1/2 × 2 3/16 in. (8.9 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin

Caspar, from Three Magi series, 1595–1616, Etching, Sheet (trimmed): 11 1/4 × 6 11/16 in. (28.5 × 17 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Indian Paint Brush, Castilleja miniata, June 29, 1909, Watercolor and brown ink over graphite, with page design indicated in graphite and two details in ink, sheet: 13 11/16 x 9 15/16 in. (34.8 x 25.2 cm), Drawings, Margaret Neilson Armstrong

The Deposition, from The Small Passion, ca. 1509, Woodcut, sheet: 5 x 3 7/8 in. (12.7 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for an Urn, ca. 1770–90, Graphite, 18 1/4 x 12 1/16 in. (46.4 x 30.7 cm), Drawings, Anonymous, French, 18th century

The Holy Kinship, in thecentre the Christ Child takes a bird given to him by the infant John the Baptist, ca. 1560, Etching and engraving, sheet: 9 9/16 x 13 3/4 in. (24.3 x 35 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna,

Christ on the Mount of Olives (Schr. 205a), 15th century, Woodcut, hand-colored, sheet: 2 3/4 x 2 3/8 in. (7 x 6 cm), Prints, Anonymous, German, 15th century

Lot and His Daughters, n.d., Black chalk heightened with white; framing lines in brown ink, 8 1/4 x 9 7/8 in. (21 x 25 cm), Drawings, Attributed to Nicolas Vleughels (French, Paris 1668–1737 Rome

Landscape with Children in Oriental Costume, 1773, Pen and black ink, brush and gray and brown wash. Framing lines in pen and black ink., sheet: 14 3/4 x 20 1/16 in. (37.4 x 51 cm), Drawings, Tiberius Domenikus Wocher (German, Mimmenhausen

Melencholia, ca. 1645–1646, Etching, state undetermined, print trimmed on all sides, sheet: 8 3/16 x 4 1/2 in. (20.8 x 11.5 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Standing Male Figure, ca. 1480, Soft metalpoint, highlighted with white gouache (some touches of black chalk probably added by later hand), on ochre prepared paper, Overall: 6 7/8 x 2 15/16 in. (17.5 x 7.5 cm), Drawings, Filippino Lippi

Civil Garb of the French Citizen, 1794, Etching, image: 12 x 6 7/8 in. (30.5 x 17.5 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Crouching Figure of Atlas, 1481–1536, Pen and brown ink, over leadpoint or black chalk, 8-1/8 x 5-1/4 in. (20.6 x 13.4 cm.); sheet: 11 3/16 x 8 1/2 in. (28.4 x 21.6 cm), Drawings, Baldassare Tommaso Peruzzi (Italian, Ancaiano 1481–1536

The Two Gossips (Les Deux Commères), 1832, Pen and black ink, and watercolor on paper, 5 1/16 x 4 1/2 in. (12.8 x 11.5 cm), Drawings, Henry-Bonaventure Monnier (French, Paris 1799–1877 Paris

St. James and the Magician Hermogenes from The Story of the Magician Hermogenes, 1565, Engraving; first state of three, sheet: 12 15/16 x 15 5/16 in. (32.9 x 38.9 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

Plate 17 from the 'Disparates': Loyalty, ca. 1816–23 (published 1864), Etching and burnished aquatint, Plate: 9 5/8 × 13 13/16 in. (24.5 × 35.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux),