Images at Librifly

The Lamentation, from The Large Passion, n.d., Woodcut, sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Chimney Piece, late 18th century, Graphite and blue and brown wash, sheet: 8 5/16 x 9 5/8 in. (21.1 x 24.4 cm), Anonymous, British, 18th century

The Head of a Young Woman Wearing a Bonnet, ca. 1880–82, Graphite with pen, brush and ink, sheet: 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm)(sight), Drawings, Max Klinger (German, Leipzig 1857–1920 Großjena

Nocturne: Palaces, 1879–80, Etching and drypoint; tenth state of twelve (Glasgow); printed in brownish-black ink on ivory laid paper, Plate: 11 3/4 × 7 15/16 in. (29.8 × 20.2 cm), Prints, James McNeill Whistler (American, Lowell,

New Year's Card: Christ Child with the Cross, ca. 1490, Woodcut, hand-colored, sheet: 1 5/16 x 2 13/16 in. (3.4 x 7.1 cm), Prints, South Anonymous, German, South Germany, 15th century

Illustration to 'The Relief Fund in Lancashire' (Once a Week), 1862, Wood engraving; proof, Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Two Studies for a Crouching Woman, 1914–15, Graphite, 21 3/8 x 13 5/8 in. (54.3 x 34.6 cm), Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna

Salvation Army, Sandwich, [1887], Etching and drypoint; impression from cancelled plate; printed in black ink on ivory wove paper, Plate: 3 1/8 × 6 7/8 in. (8 × 17.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The Men's Bath, n.d., Woodcut, sheet: 15 1/4 x 11 in. (38.7 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Virgin and Christ Child, ca. 1641, Etching; second state of two, Sheet (trimmed to plate): 5 5/16 × 4 7/8 in. (13.5 × 12.4 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Stage Set: Semi-Circular Colonnaded Building, a Bridge Surmounted by a Tempietto, a Fountain in the Foreground and Putti Bearing Garlands., 1774–1843, Pen and brown ink, brush with brown, blue, rose and gray wash, over traces

St. Gregory and St. Sebastian (Schr. 1493x), 15th century, Woodcut, hand-colored with handwriting in brown ink, sheet: 7 15/16 x 5 5/16 in. (20.2 x 13.5 cm), Prints, Anonymous, German, 15th century

Design for a sepulchral monument with Mary Magdalen and Saint Jerome; verso: Sketch (counterproof) and writing exercises, late 17th–early 18th century, Pen and dark brown ink, over black chalk or graphite, grey-brown wash; verso: counterproof

Design for Three Vases, ca. 1770–85, Black chalk, pen and brown ink, 14 7/8 x 9 1/8 in. (37.8 x 23.1 cm), Drawings, Anonymous, French, 18th century

Old Man with a Divided Fur Cap, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Piano Stool, early 19th century, Ink and gouache, sheet: 7 5/16 x 4 7/16 in. (18.5 x 11.2 cm), Attributed to Gillows (British, 19th century

Elevation of a Side Board with Display of Ceramics, 1932, Graphite, Sheet: 10 13/16 × 7 1/2 in. (27.5 × 19 cm), Guglielmo Ulrich (Italian, 1904–1977), Guglielmo Ulrich graduated from the Istituto Superiore Politechnico in 1927. Three years

The Sudarium Displayed by Two Angels, 1513, Engraving, Sheet: 4 1/16 × 1 11/16 in. (10.3 × 4.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Conversion of Saint Paul, 1612–66, Pen and brown ink, brush and brown wash, over black chalk, 8 5/8 x 11in. (21.9 x 27.9cm), Drawings, Pier Francesco Mola (Italian, Coldrerio 1612–1666 Rome

The Assumption of the Virgin, 1548–1612, Red chalk, over charcoal, squared for transfer, 8-11/16 x 7-1/16 in. (22.0 x 18.0 cm), Drawings, Attributed to Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612 Florence

The Beheading of John the Baptist, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Plate 29 of the 'Tauromaquia': Pepe Illo making the pass of the 'recorte'., 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 9/16 × 13 3/4 in. (24.3 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

The Old Bearded Man in a High Fur Cap, with Eyes Closed, ca. 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Designs for Plates Taken from Oudry's Illustrations to La Fontaine's Fables, after 1755, Etching, sheet: 5 1/4 x 11 1/2 in. (13.4 x 29.2 cm), Prints, After Jean-Baptiste Oudry (French, Paris 1686–1755 Beauvais), Anonymous, 18th century

The Last Supper, 1565–1608, Pen and brown ink, brush and brown wash, on beige paper, 11 7/8 x 10 3/8in. (30.1 x 26.4cm), Drawings, Francesco Curia (Italian, documented Naples 1565/70–1608 Naples

Pompeiian Design for Paneling, second half 19th century, Graphite and watercolor, 5 1/16 x 4 in. (12.8 x 10.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design with Flowers and Rocaille Ornaments, ca. 1760, Black chalk, with some red chalk, heightened with white, on faded blue paper, 21 x 12 1/4 in. (53.3 x 31.1 cm), Attributed to Jean Pillement (French, Lyons 1728–1808 Lyons

Design for Export Furniture, ca. 1800, Watercolor over graphite, sheet approx.: 11 x 16 in. (27.9 x 40.6 cm), Drawings, Anonymous, Chinese, 19th century

Christ Before Pilate: the large plate, 1636, Etching; fourth state of five, sheet: 21 3/4 x 17 5/8 in. (55.3 x 44.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a ceiling with a putto set in a border, second half 19th century, Graphite, gilt, gouache, and watercolor, Overall: 3 3/16 x 5 1/2 in. (8.1 x 13.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

St. Peter's, attic, window, elevation (recto) St. Peter's, apse, plan; window, cornice, elevation profile; arch frame, elevation profile (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 23 5/16

Le Départ de Calicot Pour le Combat, 1817–18, Hand-colored etching, plate: 14 9/16 x 9 3/16 in. (37 x 23.3 cm), Prints, Anonymous, French, 19th century

Design for Stable Arches, Hôtel Candamo, ca. 1873, Pen and black ink, watercolor, 14 7/8 x 10 5/8 in. (37.8 x 27.0 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for woodwork and painted panels, 19th century, graphite, pen and ink, watercolor on wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for a Canopy Bed, ca. 1760–80, Watercolor over graphite, Sheet: 12 3/4 × 8 5/8 in. (32.4 × 21.9 cm), Anonymous, French, 18th century, The canopy bed played an essential role in every nobleman’s bedroom. Not only did it afford

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor over graphite, Irregular sheet: 14 3/16 x 17 in. (36 x 43.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Standing Nude Putto and Study of a Helmeted Head, 1609/10–?1675, Black chalk, highlighted with white, on blue paper, 7-5/8 x 4-1/2 in. (19.3 x 11.5 cm), Drawings, Micco Spadaro (Domenico Gargiulo) (Italian, Naples 1609/10–1675 Naples

The Holy Family in an Interior, early 19th century, Pen and brown ink and wash on wove paper, sheet: 6 11/16 x 4 1/8 in. (17 x 10.5 cm), Drawings, E. La Touche (early 19th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 3/4 x 6 11/16 in. (24.8 x 17 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Virgin and Child Appearing to Saint Peter, Saint Damasus, Saint Lawrence, and Saint Paul; the Martyrdom of Saint Lawrence in the Background, 1566–68, Pen and brown ink, brush and brown wash, over traces of red and black chalk, on beige

The Rabbit Hunt, 1560, Etching, Sheet: 8 7/16 x 11 3/8 in. (21.4 x 28.9 cm), Prints, Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), On the hillside of an expansive river valley, a hunter accompanied by his alert

Plate 13 from 'Los Caprichos':They are hot (Estan calientes.), 1799, Etching and burnished aquatint, Plate: 8 7/16 × 5 15/16 in. (21.4 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

All Saints Church, Upper Norwood seen from the north side of Beulah Hill, second half 19th century, Graphite on china paper, 11 3/16 x 17 1/2 in. (28.4 x 44.5 cm), Drawings, Camille Pissarro (French, Charlotte Amalie, Saint Thomas 1830–1903

Sketched Caricature of a Standing Man Facing Left, 1674–1755, Pen and brown ink over traces of graphite, Sheet: 10 15/16 x 7 5/8 in. (27.8 x 19.4 cm), Drawings, attributed to Pier Leone Ghezzi (Italian, Comunanza near Ascoli Piceno

The Ascension of Christ, 1568–1613, Brush, brown, gray and cream oil paint on paper, 12-3/16 x 8-11/16 in. (31 x 22.1 cm), Drawings, Attributed to Ventura Salimbeni (Italian, Siena 1568–1613 Siena

Death's Door, from The Grave, a Poem by Robert Blair, 19th century, Etching, plate: 9 9/16 x 5 7/16 in. (24.3 x 13.8 cm), Prints, After William Blake (British, London 1757–1827 London

Late Picquet, 1890, Transfer lithograph drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on fine laid cream (darkened) Japanese paper., Image: 7 9/16 × 6 1/8 in. (19.2 × 15.5 cm), Prints, James McNeill Whistler

The Angel shows Saint John the Fountain of Living Water, from the Apocalypse, n.d., Engraving, plate: 11 3/4 x 8 7/16 in. (29.9 x 21.4 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Design for a Stage Set at the Opéra, Paris: Domed Interior (recto); Sketches for Dome and Doors (verso), 1830–90, Graphite, sheet: 10 15/16 x 14 1/16 in. (27.8 x 35.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Scheme for an Architectural Decoration with a Standing Male Figure in a Niche, 1572–1642, Black and red chalk, Sheet: 10 1/2 x 5 1/16 in. (26.7 x 12.9 cm), Drawings, Fabrizio Boschi (Italian, Florence 1572–1642 Florence

Design for a room with wood panels inset with paintings and a heavily-carved double door, 1830–97, graphite, pen and ink, watercolor, and gold paint on wove paper; mounted on blue wove paper, Overall: 10 3/8 x 14 3/4 in. (26.4 x 37.5 cm),

Death Carrying an Infant, from 'The five deaths' (Les cinq Morts), ca. 1648, Etching; second state of three, Sheet (trimmed within platemark): 7 5/16 × 5 7/8 in. (18.5 × 15 cm), Prints, Etched by Stefano della Bella (Italian, Florence

The Garden, 1879–80, Etching and drypoint; fifth state of fiteen (Glasgow); printed in dark brown ink on medium weight ivory laid paper, Plate: 12 × 9 7/16 in. (30.5 × 24 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The Presentation of the Virgin in the Temple, 1590–1646, Pen and brown ink, brush and brown wash, highlighted with white, on gray-green paper, 5-9/16 x 8-1/16 in. (14.1 x 20.4 cm), Drawings, Belisario Corenzio (Italian (born Greece),

Study of Oak Trees (recto), 1800, Black chalk, sheet: 16 3/4 x 21 3/4 in. (42.5 x 55.3 cm), Drawings, Carl Wilhelm Kolbe (German, Berlin 1759–1835 Dresden

Ceiling design for Salon d'Entrée, Hôtel de Monsieur de Juigne, Paris, 1867, 1867, Pen and brown ink, watercolor, and gouache, 14 13/16 x 10 11/16 in. (37.6 x 27.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Creation of Eve, 1483–1520, Pen and brown ink, 8-7/8 x 7-1/4 in. (22.5 x 18.4 cm), Drawings, Vincenzo Tamagni (Italian, San Gimignano 1492–ca. 1530 San Gimignano), School of Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520

Design for Grate, 1874, Ink, watercolor and graphite on tracing paper, Anonymous, British, 19th century

Landscape, ca. 1840, Watercolor on wove paper, Sheet: 6 3/4 x 11 1/2 in. (17.1 x 29.2cm), Drawings, Alexandre-Gabriel Decamps (French, Paris 1803–1860 Fontainebleau

Olympia (large plate), January–May 1867, Etching on blue laid paper, third and final state, from 1905 Strölin edition, plate: 6 5/8 x 9 7/16in. (16.8 x 24cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Design for a Pediment, 18th century, Red chalk, 6 7/8 x 8 1/2 in. (17.5 x 21.6 cm), Anonymous, French, 18th century

Sewing Apprentice, 1737, Etching with some engraving, Sheet: 9 1/16 x 6 7/8 in. (23 x 17.4 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Longshore Men, 1859, Etching and drypoint; fourth state of four (Glasgow); black ink on medium weight ivory laid paper, Plate: 6 x 8 13/16 in. (15.2 x 22.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

View of the Roman Forum with the Column of Phocas and the Temple of Saturn, n.d., Pen and brown ink, brush and gray wash over red chalk, 8 1/16 x 12 5/16 in. (20.5 x 31.2 cm), Drawings, Victor Jean Nicolle (French, Paris 1754–1826 Paris

Wenzel Jamnitzer, 16th century, Etching, sheet: 6 7/8 x 10 3/16 in. (17.4 x 25.8 cm), Prints, Jost Amman (Swiss, Zurich before 1539–1591 Nuremberg

The Circumcision, from The Life of the Virgin, ca. 1504, Woodcut, sheet: 17 3/16 x 11 15/16 in. (43.7 x 30.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Allegory, 1532–77, Pen and ink over red chalk, 9-1/8 x 7-15/16 in. (23.2 x 20.2 cm), Drawings, Orazio Samacchini (Italian, Bologna 1532–1577 Bologna

Drawing of the Head of Michelangelo's Dawn (from the Tomb of Lorenzo de' Medici, Church of San Lorenzo, Florence)., n.d., Red chalk, sheet: 16 7/16 x 12 3/4 in. (41.8 x 32.4 cm), Drawings, Anonymous, After Michelangelo Buonarroti (Italian,

Catamaran and Speel's Owl (Charlotte Chushman and Joseph A. Speel), from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 11 1/8 x 7 1/16 in. (28.3 x 18 cm), Prints, Henry Louis Stephens

Plate 41 from 'Los Caprichos': Neither more nor less (Ni mas ni menos.), 1799, Etching, burnished aquatint, drypoint and burin, Plate: 7 3/4 x 5 13/16 in. (19.7 x 14.8 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Study of a Figure, 1837–1911, Graphite on light buff paper, 11 1/4 x 8 1/2 in. (28.5 x 21.6 cm), Drawings, Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire

Plate 5: two pilgrims with hats rest to the left, seen from behind, a horseman rides towards the background to the right, from 'Various Figures' (Agréable diversité de figures), 1642, Etching; fourth state of five (De Vesme), Sheet: 3 1/16 ×

Landscape with Mountains in the Distance, 1634–89, Brush and gray wash, over traces of black chalk, 8 7/8 x 13 13/16in. (22.6 x 35.1cm), Drawings, Ciro Ferri (Italian, Rome 1634?–1689 Rome

The Forge, Passage du Dragon, 1894, Transfer lithograph with stumping, drawn on thin, transparent transfer paper; , Image: 8 3/4 × 6 1/2 in. (22.3 × 16.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Anteros Victorious, 1560–1609, Red chalk, sheet: 8 13/16 x 6 1/4 in. (22.4 x 16 cm), Drawings, Annibale Carracci (Italian, Bologna 1560–1609 Rome

Speculum Romanae Magnificentiae: Subjects after Antique Cameos and Gems, executed ca. 1550–77, printed after 1577, Engraving. State ii, Prints, Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561

Saint Joseph Presented by the Virgin to the Holy Trinity, ca. 1735, Red chalk, pen and brown ink, brush and brown wash, highlighted with white, 10 5/16 x 15 13/16in. (26.2 x 40.2cm), Drawings, Corrado Giaquinto (Italian, Molfetta 1703–1766

The Lamentation, from The Small Passion, ca. 1509, Woodcut, sheet: 5 1/16 x 3 7/8 in. (12.9 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 13 x 9 11/16 in. (33 x 24.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Standing Man, 1897, Graphite over red and white oil paint, Sheet: 18 1/2 x 10 5/16 in. (47 x 26.2cm), Drawings, Fernand Cormon (French, Paris 1854–1924 Paris

Minerva Presenting Two Portraits to Apollo, 17th century, Black chalk, squared in red chalk. Contours incised for transfer. Framing lines in pen and brown ink., 5 9/16 x 8 1/16 in. (14.1 x 20.4 cm), Drawings, Eustache Le Sueur (French, Paris

Design for Ornamented Tile, 19th century, Pen and black ink with wash, gouache, and graphite underdrawing, sheet: 17 3/16 x 17 5/16 in. (43.7 x 44 cm), Drawings

The Piazzetta, Looking Toward San Giorgio Maggiore (recto); Two Columns (verso), 1712–93, Pen and brown ink, brush and brown wash (recto). Framing lines in pen and brown ink. Pen and brown ink sketch of two columns (verso), 6 x 10 1/4in. (15.2

Men Loading Wagons, 1610–64, Pen and brown ink on paper, 3 1/8 x 4 3/4in. (7.9 x 12.1cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

Cottages and Farm Buildings with a Man Sketching, ca. 1645, Etching, sheet: 5 1/8 x 8 1/4 in. (13 x 21 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Stage Set, 1825–90, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Romanesque Style Font and Plan (recto); One Font (verso), mid-19th century, Graphite, ink and wash on pale blue paper, Anonymous, British, 19th century

Landscape with Trees, Farm Buildings, and a Tower, ca. 1651, Etching and drypoint; fourth state of four, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for the Interior Cupola of a Domed Chapel, Farnborough, England, 1880–86, Watercolor, gilt, pen and gray ink, graphite, 13 9/16 x 18 13/16 in. (34.4 x 47.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, sheet: 11 1/4 x 21 3/4 in. (28.6 x 55.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Raising of Lazarus, ca. 1619, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 7 15/16 x 10 11/16 in. (20.2 x 27.1 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

Saint Catherine of Alexandria, ca. 1764, Etching, first state of two, Sheet: 8 7/16 x 5 7/8 in. (21.5 x 15 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Mattia Preti (Il Cavalier Calabrese) (Italian, Taverna

San Lorenzo, model, right half façade (left hand of folio); San Lorenzo, Library, Ricetto, consoles, elevation (right hand) (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 22 13/16

Salmacis and Hermaphrodite, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 7/8 × 2 1/4 in. (4.7 × 5.7 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence),

Design for doorway, 18th century, Pen and black ink, pen and brown ink, brush and gray wash, brush and brown wash., 9 x 8 7/16 in. (22.8 x 21.5 cm), Drawings, Anonymous, French, 18th century

Abraham and Three Angels, ca. 1513, Engraving, sheet: 7 x 5 7/16 in. (17.7 x 13.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Deposition, n.d., Engraving, sheet: 11 15/16 x 8 9/16 in. (30.4 x 21.7 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Plate 56 from 'Los Caprichos': To rise and to fall (Subir y bajar.), 1799, etching and burnished aquatint, Plate: 8 7/16 x 5 7/8 in. (21.4 x 14.9 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Ceiling and wall design, 19th century, Pen and ink, watercolor, Drawings, Anonymous, French, 19th century

Design for the Base of a Vessel with Three Dolphins., 1652–1725, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 3 7/16 x 3 1/8 in. (8.7 x 8 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence