Images at Librifly

Saint Michael Fighting the Dragon, from The Apocalypse, n.d., Woodcut, sheet: 15 3/16 x 10 7/8 in. (38.5 x 27.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Very Large Cabinet with Turned Elements, and Two Chairs, early 19th century, Ink and wash, sheet: 12 1/16 x 16 13/16 in. (30.6 x 42.7 cm), Anonymous, British, 19th century

Design for a Plumed Oil Lamp, ca. 1770–90, Graphite, 8 7/8 x 6 in. (22.5 x 15.2 cm), Drawings, Anonymous, French, 18th century

Noah's Sacrifice; Noah at right with his hands clapsed in prayer before a fire upon an altar, two men sacrificing a ram on the ground and another bringing a second ram, two men leading two cows and a camel behind the fire, ca. 1515–27,

Christ on the Mount of Olives, mid-18th century–early 19th century, Etching, Plate: 15 3/4 × 21 3/4 in. (40 × 55.3 cm), Prints, baron Dominique Vivant Denon (French, Givry 1747–1825 Paris), After Rembrandt (Rembrandt van Rijn) (Dutch,

Design for Panels (Textile?) Decorated with Moresque and Knotwork Ornament, ca. 1525–40, Pen and brown ink, over traces of leadpoint, 11-5/16 x 7-5/8 in. (28.7 x 19.3 cm) irregular borders, Close to Master f (North Italian, active ca.

Songs of Innocence and of Experience: Spring (second plate): Little Girl, 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

Design for a ceiling painted with a trompe l'oeil awning and putti in clouds, second half 19th century, graphite and watercolor on laid paper; mounted on laid paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

The Nativity, 1504, Engraving, Sheet: 7 3/16 × 4 11/16 in. (18.2 × 11.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Swarm of Flies above a Spider's Web, 1860–84, Pen and brown ink with graphite on chine collé, sheet: 11 3/16 x 8 11/16 in. (28.4 x 22.1 cm), Drawings, Alexandre-Louis Leloir (French, Paris 1843–1884 Paris

Design for a Mirrored Sideboard with Pointed Legs and Floral Ornament, 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

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

Frontispiece for the Catalogue of the work of Thomas De Leu, 1866, Etching with engraving on laid paper; sixth state of six, plate: 6 x 4 /14 in. (15.2 x 10.8 cm), Prints, Charles Meryon (French, 1821–1868

Illustration to 'The Major's Daughter' (Once a Week, June 21, 1862), 1862, Wood engraving, Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

A muse standing in a niche, left arm resting in a ledge, ca. 1531–76, Engraving, sheet: 6 5/16 x 3 3/8 in. (16 x 8.5 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Crucifixion, from the series The Passion, 1521, Engraving, sheet: 4 3/8 x 2 7/8 in. (11.1 x 7.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Mortuary, Paris (La Morgue), 1854, Etching and drypoint on laid paper; third state of seven, sheet: 8 3/4 x 7 13/16 in. (22.2 x 19.8 cm), Prints, Charles Meryon (French, 1821–1868

Plate 11: shepherdess seated to the right under a tree, watching her flock to the left, mountains to right in the background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two, Sheet (trimmed): 5 1/16 × 10

Designs for Four Women's Dresses with Full Skirts, ca. 1915, Black and white gouache, pen and ink and brush, sheet: 16 15/16 x 10 7/8 in. (43 x 27.6 cm), Drawings, Attributed to A. Foa (French, active 1900–1918

The Death of Seneca, n.d., Pen and black ink, brush and brown wash, heightened with white gouache on blue paper, 8 3/4 x 11 13/16 in. (22.2 x 30 cm.), Drawings, Jean Guillaume Moitte (French, Paris 1746–1810 Paris

Virgin and Child Crowned by Two Angels, 1518, Engraving, Sheet: 5 13/16 × 3 15/16 in. (14.7 × 10 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Strolling Musicians, ca. 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

L'Amour et les Graces Arrivant de Londres; Le Suprême Bon-Ton No. 24, 1815, Etching, hand-colored, sheet (inlaid): 8 1/8 x 10 11/16 in. (20.7 x 27.2 cm), Prints, Adrien Pierre Godefroy, Le Jeune (French, 1777–1865

Youth, n.d., Etching, image: 9 1/4 x 6 5/16 in. (23.5 x 16 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jean Audran (French, Lyons 1667–1756 Paris

The Fall of the Magician, 1565, Engraving; first state of five, plate: 8 3/4 x 11 9/16 in. (22.3 x 29.3 cm), Prints, Pieter van der Heyden (Netherlandish, ca. 1525–1569), After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca.

Design for an Ornamental Panel with Rinceaux, Satyrs, Putti, Monsters and a Human Head., 1535–45, Pen and brown ink, brush and brown wash on brown ink washed paper, highlighted with white gouache, Sheet: 10 1/2 x 8 3/4 in. (26.7 x 22.2 cm),

The Journey of Jacob in Egypt, ca. 1647, Etching; third state of four, Sheet: 7 3/16 × 10 3/4 in. (18.2 × 27.3 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

L'Homme Masqué aux Jambes Torses (The Masked Man with Crooked Legs), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque Dwarfs),

Desire, February 21, 1800, Hand-colored etching, printed in brown ink, Sheet (trimmed): 10 7/16 × 7 7/8 in. (26.5 × 20 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London), After George Moutard Woodward (British, ca.

The Remonstrant Preacher Johannes Uytenbogaert, 1635, Etching and burin; octagonal plate; fourth state of six, image: 8 13/16 x 7 1/16 in. (22.4 x 18 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Study of a Palm Tree (recto); Mountain Landscape (verso), ca. 1635–40, Pen and brown ink, over traces of black chalk (recto); pen and brown ink (verso), 8 1/16 x 10 3/16 in. (20.5 x 25.8 cm), Drawings, Nicolas Poussin (French, Les Andelys

Self-Portrait in a Fur Cap: Bust, 18th century, Etching, Sheet (trimmed): 2 1/2 × 2 1/16 in. (6.3 × 5.3 cm), Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Patron Saints of Austria, 1515–17, Woodcut, Sheet: 8 15/16 × 15 11/16 in. (22.7 × 39.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Wise Virgins Resting Whilst Awaiting the Arrival of The Husband, ca. 1635, Etching, Sheet (trimmed): 10 3/16 × 12 13/16 in. (25.8 × 32.5 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Mater Dolorosa, 1835–67, Graphite and gouache, on gray-green paper. Lined., 17 13/16 x 6 5/16 in. (45.2 x 16.1 cm), Drawings, Camille-Auguste Gastine (French, Paris 1819–1867 Paris

Satyr Family, 1505, Engraving, sheet: 4 1/2 x 2 13/16 in. (11.4 x 7.1 cm) trimmed to plate line at top and sides; clipped at bottom, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Christ in Emmaus, from The Small Passion, ca. 1510, Woodcut, sheet: 5 1/16 x 3 7/8 in. (12.9 x 9.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Perspective of Red Laquer End Table on U-Shape Metal Supports with Top Compartments, 1934, Watercolor, metallic ink and graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Plan for a Grate, 19th century, Ink, graphite and watercolor on tracing paper, Anonymous, British, 19th century

Illustration from Revelations Sancte Birgitte, Koberger Nuremberg 1502 (German Text), n.d., Woodcut, sheet: 9 1/8 x 5 7/8 in. (23.2 x 14.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a decorative panel painted in rococco style, 1830–97, graphite, pen and ink, watercolor and gold paint, heightened with white, Overall: 14 1/8 x 9 13/16 in. (35.8 x 24.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died

San Lorenzo, New Sacristy, window, plan; elevation (recto) San Lorenzo, New Sacristy, window, plan; elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 17 1/8 x 11 5/8 in. (43.5 x 29.5 cm),

Pastry Seller, 1738, Etching with some engraving, Sheet: 9 5/16 x 6 3/4 in. (23.6 x 17.1 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Design for a Chandelier, 19th century, Graphite, pen and black ink, brush and gray wash, sheet: 16 1/8 x 10 1/2 in. (40.9 x 26.7 cm), Drawings, Anonymous, French, 19th century

Design for the decoration of a ceiling with rinceaux, 1830–97, pen and ink, watercolor, gouache, and gold paint over graphite on laid paper; mounted on blue wove paper, Overall: 10 5/8 x 8 3/8 in. (27 x 21.3 cm), Drawings,

Design for Two Marble-topped Pier Tables, early 19th century, Ink and wash, sheet: 8 3/4 x 11 7/8 in. (22.2 x 30.2 cm), Anonymous, British, 19th century

A Seated Youth, late 18th–mid-19th century, Graphite and pen and ink, sheet: 3 1/16 x 2 15/16 in. (7.8 x 7.4 cm), Drawings, Bertel Thorvaldsen (Danish, Copenhagen 1770–1844 Copenhagen

Prudence, from the series The Seven Virtues, 1530, Engraving; first state, sheet: 6 1/2 x 4 1/4 in. (16.5 x 10.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Sheet of Sketches, 1753, Etching, image: 5 3/8 x 8 1/16 in. (13.7 x 20.4 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Christ and the Woman of Samaria at the Well, 1527–85, Brush and ink, 14 1/4 x 9 7/8in. (36.2 x 25.1cm), Drawings, After Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Adam and Eve, n.d., Engraving, sheet: 4 3/4 x 3 9/16 in. (12 x 9 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Right and Left Tribunes, Pen and black ink with watercolor over graphite underdrawing. Framing lines in pen and black ink., 8 1/2 x 11 11/16 in. (21.6 x 29.7 cm), Attributed to Charles Percier (French, Paris 1764–1838 Paris

Design for a Candlestick, 18th century, Pen and black ink on laid paper, sheet: 7 11/16 x 5 11/16 in. (19.5 x 14.4 cm), Drawings, Anonymous, French, 18th century

Three-quarter Length Woman in Profile at a Picture Gallery, Drypoint, plate: 4 9/16 x 2 13/16 in. (11.6 x 7.2 cm), Prints, Henri Somm (French, Rouen 1844–1907 Paris

Enter Cowslip with a Bowl of Cream. - vide Brandenburg Theatricals, June 13, 1795, Hand-colored etching, sheet (clipped impression): 13 3/16 x 8 7/8 in. (33.5 x 22.5 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

Design for a Clock: Birth of Bacchus, 19th century, Graphite, brush and gray wash, watercolor, and gouache, sheet: 8 15/16 x 11 1/4 in. (22.7 x 28.5 cm), Drawings, Anonymous, French, 19th century

Design for Half of a Ceiling Decoration, Fontainbleau, 1867, Graphite, pen and black ink, and gray wash on transfer paper, Overall: 14 1/2 x 9 11/16 in. (36.9 x 24.6 cm), Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

An Allegory: Male Nude in a Stable with Four Wild Horses, ca. 1512–after 1593, Pen and brown ink, brush and gray wash, over black chalk. Framing lines in pen and brown ink, 4-1/2 x 3-1/4 in. (11.4 x 8.3 cm), Drawings, Prospero Fontana

The Musicians (copy), early 16th century, sheet: 4 5/8 x 3 3/16 in. (11.7 x 8 cm) (clipped impression), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Billingsgate, 1859, Etching and drypoint; eighth state of nine (Glasgow); probably as published in 'The Portfolio' in 1878; printed in black ink on modern cream colored medium weight laid paper, plate: 6 x 8 7/8 in. (15.2 x 22.5 cm), Prints,

Designs for Mirror Frames and Sconces, 1698–1765, Pen and brown ink, brush with gray and brown wash, over graphite or black chalk, sheet: 11 3/4 x 8 in. (29.8 x 20.3 cm), Drawings, Giovanni Battista Natali III (Italian, Pontremoli, Tuscany

Design for a Chair, 'For Lord Grosvenor's Drawing Room', early 19th century, Ink and gouache, sheet: 7 5/16 x 4 7/16 in. (18.6 x 11.2 cm), Attributed to Gillows (British, 19th century

Job's Comforters, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 9/16 x 6 7/8 in. (21.7 x 17.5 cm), Prints, William Blake (British, London 1757–1827 London

, ca. 1816–23 (published 1864), Etching, burnished aquatint and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux

Illustration for a Book: Scene of Peacemaking, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3-3/16 x 7-5/16 in. (8.1 x 18.6 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770

Early Morning, 1878, Lithotint with scraping, on a prepared half-tint ground; third state of four (Chicago); printed in black ink on cream wove paper, Image: 6 1/2 × 10 3/16 in. (16.5 × 25.9 cm), Prints, James McNeill Whistler (American,

Design for a ceiling, second half 19th century, Graphite, gouache, and watercolor, Overall: 14 3/4 x 10 3/8 in. (37.5 x 26.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Boy and Dog, 1862, etching and aquatint, final state (III), on blue laid paper from the Strölin edition of 1905, plate: 8 x 5 9/16in. (20.3 x 14.1cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Anger, January 21, 1800, Etching, printed in brown ink, sheet: 11 x 8 3/4 in. (28 x 22.2 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Plate 31 from 'Los Caprichos': She prays for her (Ruega por ella.), 1799, Etching, burnished aquatint, drypoint and burin, Plate: 8 x 5 7/8 in. (20.3 x 15 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Plate 2: Campo Vaccino, a buffalo and two shepherds in center, the Fontanone to right in the middleground, various animals and people in the background, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca.

The Old Entrance to the Palais de Justice, Paris, 1854, Etching and drypoint printed in brown ink on laid paper; second (final) state, plate: 3 7/16 x 3 3/8 in. (8.8 x 8.5 cm), Prints, Charles Meryon (French, 1821–1868

Desert Senna, Cassia armata, May 25, 1912, 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

Cleopatra, 1647, Red and black chalk, sheet: 12 5/8 x 8 1/2 in. (32 x 21.6 cm), Drawings, Claude Vignon (French, Tours 1593–1670 Paris

Design for Red Curtains with a Red and Gold Pelmet, early 19th century, Ink, watercolor and wash, sheet: 9 7/16 x 11 7/8 in. (24 x 30.2 cm), Anonymous, British, 19th century

Saint John Devouring the Book, from The Apocalypse, n.d., Woodcut, sheet: 17 3/8 x 12 1/16 in. (44.1 x 30.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Annie, 1857–58, Etching; fourth state of seven (Glasgow); printed in black ink on tan chine on off-white wove paper (chine collé), plate: 4 5/8 x 3 1/8 in. (11.7 x 7.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Frieze of Ornament with Clasped Hands and Anchor, 1625–76, Etching, Sheet (trimmed): 2 1/2 × 6 15/16 in. (6.3 × 17.6 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Head of a Youth with Open Mouth, 1765–1810, Red chalk, sheet: 23 13/16 x 18 5/16 in. (60.5 x 46.5 cm), Drawings, Jakob Matthias Schmutzer (Austrian, Vienna 1733–1811 Vienna

The Nativity, from The Life of the Virgin, 1502–3, Woodcut, Sheet: 11 5/8 × 8 3/16 in. (29.6 × 20.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cricket, 1884, Etching; only state, plate: 2 11/16 x 3 7/8 in. (6.8 x 9.8 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Profile of Eva Gonzales turned to the left, ca. 1870, Etching on blue laid paper, only state, from 1905 Strölin edition, plate: 9 1/4 x 6 3/16in. (23.5 x 15.7cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Abraham and Three Angels, ca. 1513, Engraving, sheet: 6 15/16 x 5 7/16 in. (17.6 x 13.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Landscape with Cupid and Psyche, 1776, Mezzotint with etching, sheet: 10 11/16 x 16 1/4 in. (27.1 x 41.3 cm), Prints, Richard Earlom (British, London 1743–1822 London), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682

Design after a Roman Frieze, 18th century, Pen and gray ink with brush and gray wash over graphite on laid paper, sheet: 8 3/4 x 14 3/8 in. (22.2 x 36.5 cm), Drawings, Attributed to Anonymous, French, 18th century

Two Standing Male Figures in Antique Military Costume, 1624–63, Pen and brown ink, brush with brown and blue wash. Framing lines in pen and brown ink on mount, 3-3/8 x 2-3/4 in. (8.6 x 7.0 cm), Drawings, attributed to Francesco Allegrini

Vauxhall Bridge, 1861, Etching and drypoint; second state of two (Glasgow); printed in black ink on fine buff fibrous laid Japan, Plate: 2 11/16 × 4 1/2 in. (6.9 × 11.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Padua from the East, with San Francesco and the Salone, 1721–80, Pen and brown ink, over constructed outline drawing in graphite or lead, 7 1/2 x 10 11/16in. (19.1 x 27.1cm), Drawings, Bernardo Bellotto (Italian, Venice 1722–1780 Warsaw

Congo, 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

Plate 31 from 'The Disasters of War' (Los Desastres de la Guerra):'That's tough!' (Fuerte cosa es!), 1810 (published 1863), Etching, burnished aquatint and drypoint, Plate: 8 1/16 in. × 6 in. (20.5 × 15.3 cm), Prints, Goya (Francisco de Goya

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 5/16 x 14 1/4 in. (23.7 x 36.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Mystic Marriage of Saint Catherine of Alexandria, 1551–1629, Pen and brown ink, brush and brown wash, highlighted with white, over traces of black chalk, on blue paper, oval: 10-11/16 x 8-1/16 in. (27.1 x 20.4 cm), Drawings, Avanzino

Penstemon cyananthus, May 29, 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 New York

Design for a 'Quarantore' Decoration, 1540–1609, Pen and brown ink, brush and brown wash, highlighted with white, over traces of black chalk, 15-5/16 x 11-1/4 in. (38.9 x 28.5 cm), Drawings, Federico Zuccaro (Zuccari) (Italian, Sant'Angelo

Head and Shoulders of a Young Woman in Profile I, ca. 1879, Softground etching; printed from canceled plate, sheet: 12 7/8 x 9 13/16 in. (32.7 x 24.9 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Design for a Settee, 19th century, Graphite with watercolor on wove paper, sheet: 9 1/2 x 9 1/2 in. (24.1 x 24.1 cm), Drawings, Anonymous, French, 19th century

Figures in Battle and Head of a Horse (recto); Studies of a Man's Head and Arms (verso), 1610–64, Pen and brown ink (recto); pen and brown ink (verso), 6 7/8 x 8 3/4in. (17.5 x 22.2cm), Drawings, Stefano della Bella (Italian, Florence

Songs of Innocence and of Experience: The Ecchoing Green, 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

Boy Sketching Ruins, 18th century, Etching, sheet: 8 3/16 x 6 1/4 in. (20.8 x 15.9 cm), Prints, Charles Hutin (French, Paris 1715–1776 Dresden

Portrait of Madame Dugazon as Nina, 1788, Pen, black and brown ink; brown, gray, green and red washes, 18 3/16 x 14 1/4 in. (46.2 x 36.2 cm), Drawings, Joseph Jean Bernard (French, 1740–1809