Images at Librifly

Plate 22: cart horse, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three, Plate: 3 7/16 × 4 7/16 in. (8.8 × 11.2 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for Two Ornamented Tabletop Mirrors, early 19th century, Graphite, sheet: 8 5/8 x 12 1/4 in. (21.9 x 31.1 cm), Anonymous, British, 19th century

Studies of the Heads of Saskia and Others, 1636, Etching, sheet: 6 1/16 x 5 1/16 in. (15.4 x 12.9 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Christ on the Cross, 1508, Engraving, Sheet: 5 1/4 × 3 7/8 in. (13.4 × 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Gentleman Seated at a Table, n.d., Black chalk, heightened with white, on beige paper, 17 15/16 x 11 7/16 in. (45.5 x 29 cm), Drawings, François de Troy (French, Toulouse 1645–1730 Paris

Artist Sketching a Young Girl, n.d., Red chalk. Framing lines in pen and brown ink., 10 1/16 x 13 5/16 in. (25.5 x 33.8 cm), Drawings, Hubert Robert (French, Paris 1733–1808 Paris

The Clock Tower, Paris (La Tour de l'Horloge), 1852, Etching with engraving on laid paper; state four of ten, plate: 10 1/4 x 7 5/16 in. (26.1 x 18.5 cm), Prints, Charles Meryon (French, 1821–1868

Studies of Flying Putti (recto); Composition Studies (verso), 1575–1642, Pen and brown ink (recto); pen and brown ink; female figure at lower left in black chalk (verso), 6 1/8 × 8 3/8 in. (15.6 × 21.2 cm), Drawings, Guido Reni (Italian,

Design for the decoration of a ceiling, second half 19th century, watercolor and gouache over graphite on wove paper, sheet: 10 9/16 x 14 15/16 in. (26.9 x 37.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Knight, Death, and the Devil, 1513, Engraving, sheet: 9 9/16 x 7 3/8 in. (24.3 x 18.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 6 3/16 x 4 7/8 in. (15.7 x 12.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Dance of St. Mary Magdalene, 1519, Engraving; first state, sheet: 11 5/16 x 15 9/16 in. (28.7 x 39.5 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Study for the Muse Thalia, 19th century, Black chalk, stumping, on gray paper, Sheet: 18 5/16 x 8 5/8 in. (46.5 x 21.9cm), Drawings, Paul Baudry (French, 1828–1886

Design for a Study Ceiling, second half 19th century, Graphite, watercolor, and gouache, 6 1/8 x 7 1/4 in. (15.6 x 18.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

L'Homme au Gros Ventre Orné d'une Rangée de Boutons (Man with a Large Belly Decorated with a Row of Buttons), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The

Dancing Girl, 1889, Transfer lithograph drawn on coarse grained transfer paper; only state (Chicago); cream India mounted on heavy ivory wove paper, 14 3/8 x 11 in. (36.5 x 27.9 cm), Prints, James McNeill Whistler (American, Lowell,

Von Ungluckes Fal, title page chapter 37 from Sebastian Brandt, Das Narrenschrift, n.d., Woodcut, sheet: 8 1/4 x 5 11/16 in. (21 x 14.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Landscape, mid-17th century, Pen and brown ink, 10 1/2 x 14 13/16 in. (26.7 x 37.6 cm), Drawings, Ercole Bazicaluva (Italian, born Pisa (?), ca. 1600, active Florence ca. 1638

Mocking of Christ (copy), n.d., sheet: 4 1/2 x 2 7/8 in. (11.4 x 7.3 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Abraham Dismissing Hagar, 1599–1661, Red chalk; highlighted with white lead which has turned black, Sheet: 7 3/8 x 7 1/2 in. (18.7 x 19.1 cm), Drawings, Andrea Sacchi (Italian, Rome (?) ca. 1599–1661 Rome

Il Mondo Festeggiante: Entrance of Cosimo III de' Medici, 1661, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Frieze with Tritons and Dolphins, Plate 13 from: 'Decorative friezes and foliage' (Ornamenti di fregi e fogliami), ca. 1648, Etching, Sheet: 3 3/8 × 9 5/8 in. (8.6 × 24.4 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664

Lamentation over the Dead Christ at the Foot of the Cross (recto); Studies for the Burial of Christ (verso), 1620–30, Pen and brown ink, on blue paper, 8 3/4 x 11in. (22.3 x 28cm), Drawings, Ferraù Fenzoni (Italian, Faenza 1562–1645

The Israelites Gathering Manna, ca. 1547, Etching and engraving, second state, sheet: 15 3/16 x 23 3/4 in. (38.6 x 60.3 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Georges-Auguste Couthon at the National Convention in 1793, ca. 1793, Black chalk, 6 7/16 x 4 1/8 in. (16.4 x 10.5 cm.), Drawings, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

Songs of Innocence and of Experience: Infant Joy, 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

Bust portrait of Frans Floris, 1531–76, Engraving, sheet: 7 5/16 x 5 3/16 in. (18.5 x 13.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), Bartsch thinks that the print is after a design by Bonasone and

Veneration (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 10 15/16 x 8 7/8 in. (27.8 x 22.5 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Plate 29 from 'The Disasters of War' (Los Desastres de la Guerra):: 'He deserved it' (Lo merecia), 1810 ( published 1863), Etching, drypoint, burin and burnisher, Plate: 6 7/8 × 8 1/2 in. (17.4 × 21.6 cm), Prints, Goya (Francisco de Goya y

Domus Augustiana, cornice, profile projection (recto) Ara Grimani, base (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 8 7/16 x 13 11/16 in. (21.5 x 34.7 cm

The Rendezvous, 1843–1925, Watercolor, 14 1/16 x 10 1/16in. (35.7 x 25.6cm), Drawings, Attilio Simonetti (Italian, Rome 1843–1925 Rome

Study of Figures from Michelangelo's Last Judgment, Sistine Chapel, 1540–50, Red chalk, 5 7/16 x 8 3/16 in. (13.8 x 20.8 cm), Drawings, After Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome

Bain-froid Chevrier (Chevrier's cold bath establishment, or The School Baths, Paris), 1864, Etching; fourth state of five, plate: 5 1/8 x 5 5/8 in. (13 x 14.3 cm), Prints, Charles Meryon (French, 1821–1868

Hercules and Omphale, 1689–1767, Pen and brown ink, brush and brown wash, over red chalk. Squared in black chalk, 11 5/8 x 7 3/4in. (29.6 x 19.7cm), Drawings, Gaspare Diziani (Italian, Belluno 1689–1767 Venice

Portrait of Johann Anton Koch, ca. 1823, Graphite, sheet: 7 7/16 x 6 1/16 in. (18.9 x 15.4 cm), Drawings, Hieronymus Hess (Swiss, Basel 1799–1850 Basel

Ornamental drawings (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 10 1/4 x 4 7/8 in. (26.1 x 12.4 cm

Boy with a Trumpet, ca. 1507, Engraving, sheet: 4 3/8 x 3 1/4 in. (11.1 x 8.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Illustration for a Book: Meeting Between Two Generals (?) before a Fortified Town, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 4-7/16 x 7-9/16 in. (11.2 x 19.2 cm), Drawings, Giovanni Battista

The Martyrdom of Saint Lawrence, 1557–1622, Black chalk, highlighted with traces of white chalk, on blue-gray paper, 16 x 11-3/8 in. (40.6 x 28.9 cm), Drawings, Leandro Bassano (Italian, Bassano del Grappa 1557–1622 Venice

A European Jay, ca. 1863, Graphite, 3 13/16 x 2 11/16 in. (9.7 x 6.8 cm), Drawings, Charles Meryon (French, 1821–1868

Au Bon Marché-Comptoir des Modes, Chapeaux de Dentelles et de Crêpe, Été 1891, 1891, Wood engraving, Overall: 9 9/16 x 6 1/8 x 1/16 in. (24.3 x 15.6 x 0.1 cm), Books

Head of a Woman with a Veil, 1782, Reddish-brown chalk, sheet: 23 1/2 x 17 5/16 in. (59.7 x 44 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

Walk-through of an Influential Critic (La Promenade du Critique Influent), June 24, 1865, Lithograph; second state, Image: 9 7/16 x 8 9/16 in. (24 x 21.8 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

Portico Octavia, pediment and entablature, elevation; pediment, elevation (recto) Temple of Antoninus and Faustina, entablature, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x

Charity, from the series The Seven Virtues, 1530, Engraving; first state, sheet: 6 5/16 x 4 5/16 in. (16 x 11 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Study No. 1: Mr. Thomas Way, 1896, Transfer lithograph, drawn on white transfer paper with a grained-stone texture; only state (Chicago); printed in black ink on grayish white chine mounted on off- white plate paper, Image: 7 3/8 × 4 11/16 in.

Justice, 1636, Etching, Sheet (trimmed): 2 15/16 × 1 7/8 in. (7.4 × 4.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

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

Plate 13: buffalo lying down, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Plate: 3 3/8 × 4 3/16 in. (8.5 × 10.7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Tyresmith, 1890, Transfer lithograph, drawn on medium-grained transfer paper; printed in black ink, Image: 6 11/16 × 6 7/8 in. (17 × 17.5 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London),

Lunar Law, No. 2, 1866, Etching, printed on laid paper; fourth state of six, plate: 4 7/8 x 3 1/2 in. (12.4 x 8.9 cm), Prints, Charles Meryon (French, 1821–1868

The Drunken Silenus, 1560–1609, Engraving on Silver, 9 1/4 x 9 1/8in. (23.5 x 23.2cm), Prints, After Annibale Carracci (Italian, Bologna 1560–1609 Rome

The resurrection of Christ, holding a banner in his right hand, soldiers surrounding the tomb, some falling away, 1561, Etching and Engraving, Sheet: 11 1/4 in. × 7 in. (28.5 × 17.8 cm), Prints, Giulio Bonasone (Italian, active Rome and

Soldiers Marching in Water, 19th century, Pen and ink, 10 3/4 x 8 3/4 in. (27.3 x 22.2 cm), Drawings, Charles-Henri Pille (French, Essones 1844–1897 Paris

Theodoric, 1650, Engraving and etching, state III of IV, sheet: 20 1/2 x 15 1/8 in. (52.1 x 38.4 cm), Books

Plate C: The dogs let loose on the bull., ca. 1816, Etching, burnished aquatint, drypoint and burin, Sheet: 9 5/8 x 13 3/4 in. (24.51 x 35cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Rest on the flight into Egypt, Mary holding the infant Christ with St. Joseph at right, copy after Cantarini, ca0 or after, Etching, Plate: 7 5/16 × 10 7/16 in. (18.5 × 26.5 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648

Design for Fireplace and Grate, 19th century, Ink and watercolor on linen, Anonymous, British, 19th century

Plate 7: ox, from 'Various animals' (Diversi animali), ca. 1641, Etching; second state of three (De Vesme), Plate: 3 1/4 × 4 1/8 in. (8.3 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Lamentation, from The Small Passion, ca. 1509, Woodcut, sheet: 5 1/8 x 3 7/8 in. (13 x 9.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Sculpture or Monument, 19th century, Graphite on laid paper, sheet: 12 13/16 x 7 7/8 in. (32.6 x 20 cm), Anonymous, French, 19th century

Design for decorative border to a ceiling with a putto carrying a basket of flowers, 1830–97, graphite and watercolor on wove paper; mounted on cardboard, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Life Drawing, mid-18th century, Red chalk, 16 11/16 x 11 5/16 in. (42.4 x 28.8 cm), Drawings, Attributed to Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Mythological Scene, 1602–30, Pen and brown ink, brush and brown wash, over black chalk, 7-3/4 x 5-3/4 in. (19.7 x 14.6 cm), Drawings, attributed to Antonio Gandini (Italian, documented Trento 1602–1630 Ronchi

Design for a Stage Set at the Opéra, Paris, 1825–90, Graphite, brush and brown wash, sheet: 11 x 17 15/16 in. (27.9 x 45.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Lamp, 1890–91, Drypoint, soft-ground etching and aquatint, printed in color from three plates; fourth state of four (Mathews & Shapiro), plate: 12 11/16 x 9 15/16 in. (32.2 x 25.3 cm), Prints, Mary Cassatt (American, Pittsburgh,

Old Battersea Bridge, 1879, Etching and drypoint; seventh state of seven (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 7 13/16 × 11 5/8 in. (19.9 × 29.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Plate 11: dogs, from 'Various animals' (Diversi animali), ca. 1641, Etching; third state of three (De Vesme), Sheet (trimmed to plate): 3 3/8 × 4 1/4 in. (8.6 × 10.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Pallas, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 7/8 × 2 3/16 in. (4.8 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean

Virgin and Child with a Pear, copy, n.d., Engraving, Sheet: 6 13/16 × 4 5/16 in. (17.3 × 11 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Madonna on the Crescent, Frontispiece to The Life of the Virgin, ca. 1511, Woodcut, sheet: 7 7/8 x 7 1/2 in. (19.9 x 19.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Muff, February 16, 1787, Hand-colored etching, sheet: 10 9/16 x 8 1/16 in. (26.9 x 20.4 cm), Prints, Attributed to Henry Kingsbury (British, active ca. 1775–98

The Square Tower, 1637, Etching; second state of two (Mannocci), sheet: 7 11/16 x 5 11/16 in. (19.5 x 14.4 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Landscape with Figures: The Silver Age, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in black chalk, and in pen and brown ink on mount, 3-7/16 x 4-5/8 in. (8.7 x 11.7 cm), Drawings, attributed to Francesco Allegrini

The Traghetto, No. 2, 1879–80, Etching and drypoint; eighth state of nine (Glasgow); printed in dark brown ink on medium weight ivory laid paper, Plate: 9 3/8 × 11 15/16 in. (23.8 × 30.4 cm), Prints, James McNeill Whistler (American,

The Raising of Lazarus: The Smaller Plate, 1642, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Angel in the Sun calling the Birds of Prey, from the Apocalypse, n.d., Engraving; second state of two, plate: 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Youth, 1636, Etching; second state of two, Sheet (trimmed): 10 7/16 in. × 13 in. (26.5 × 33 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Design for a Cartouche with a Religious Subject in the Central Compartment, 16th century, Pen and brown ink, brush and brown wash, over leadpoint (?), 11-3/16 x 5-1/8 in. (28.4 x 13.0 cm), Drawings, Attributed to Taddeo Zuccaro (Italian,

Monk (lower register); verso: Drapery Study for a Bishop (lower register); (studies for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk on gray paper (recto); red chalk (verso), 19 x 11 5/8

Design for an Oval Ceiling, probably for Pless Residence, second half 19th century, Graphite and brush with brown wash; squaring in graphite on laid paper, sheet: 13 7/16 x 19 3/8 in. (34.1 x 49.2 cm), Drawings, Jules-Edmond-Charles Lachaise

Perspective of a Church's Interior, 18th century, Graphite on yellowish paper, Sheet: 6 x 4 9/16 in. (15.3 x 11.6 cm), Pietro Bosio (Italian, Cremona, second half 18th century–1789 Rome

Design for a Marble Topped Table and a Low-backed Chair and a Stool, early 19th century, Ink and watercolor, sheet: 8 15/16 x 11 15/16 in. (22.7 x 30.3 cm), Anonymous, British, 19th century

Design for a Stage Set at the Opéra, Paris: Landscape Looking Toward Rome, 1830–90, Graphite, heightened with white, sheet: 12 5/16 x 19 1/8 in. (31.3 x 48.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Concave Petitioner: The Taste of the Day, no. 33 (Le Solliciteur Concave: Le Goût du Jour, No. 33), 1817, Etching, hand-colored, Plate: 10 11/16 x 8 1/16 in. (27.2 x 20.5 cm), Prints, Anonymous, French, 19th century

Abraham Entertaining the Three Angels (Genesis 18:1-15) (recto); A Couple Embracing, and Other (verso), 1710–80, Pen and brown ink, over black chalk (recto and verso), 13 7/8 x 8 7/8in. (35.3 x 22.5cm), Drawings, Attributed to Francesco

Architectural Fantasy: Figures on a Grand Staircase, 1712–93, Pen and brown ink, brush and brown wash. Framing lines in pen and brown ink, 10 1/2 x 6 1/4in. (26.6 x 15.9cm), Drawings, Francesco Guardi (Italian, Venice 1712–1793 Venice

Bust of an Old Man with Flowing Beard: the Head Inclined Three-Quarters Right, 1630, Etching; New Holl.'s first state of two, Sheet: 4 1/16 × 3 5/16 in. (10.3 × 8.4 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669

The Suicide of Portia, 1612–16, Etching with stippling and engraving, Sheet (trimmed): 9 5/8 × 7 3/8 in. (24.4 × 18.8 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Asie, 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

Grotesque with a vase, birds and acanthus scrolls, ca. 1515–1600, Engraving, Sheet: 8 11/16 × 5 3/16 in. (22 × 13.2 cm), Prints, Anonymous, Italian, 16th to early 17th century, After Marco Dente (Italian, Ravenna, active by 1515–died

Ecce Homo, 15th century, Engraving, Prints, Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, brush and brown wash, and gouache, Irregular sheet: 1 1/2 x 5 1/2 in. (3.8 x 13.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a cup, 19th century, Pen and ink and watercolor, sheet (irregular): 3 1/4 x 3 15/16 in. (8.2 x 10 cm), Drawings, Anonymous, French, 19th century

The Descent of Christ Into Limbo, ca. 1561, Engraving; first state of two, sheet: 9 1/16 x 11 7/16 in. (23 x 29 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden

Sibylle Delphique, ca. 1635, Engraving (figure by Rosselet) and etching (background by Bosse), sheet: 14 1/8 x 8 3/8 in. (35.8 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Sheet of Sketches: Sculpture for a Banquet Honoring Queen Christian of Sweden., early 17th–late 17th century, Pen and brown ink on ivory paper, sheet: 8 1/4 x 11 15/16 in. (21 x 30.4 cm), Drawings, Giovanni Paolo (Johan Paul) Schor (Austrian,

La Caffarella (ou Grotte d'Egerie), Etching, sheet: 7 1/4 x 9 13/16 in. (18.4 x 25 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Cornelis van Poelenburch (Dutch, Utrecht (?) 1594/95–1667 Utrecht

The Last Supper, 1510, Woodcut, sheet: 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 x 2 15/16 in. (17.8 x 7.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau