Images at Librifly

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, brush and brown wash, and gouache, Irregular sheet: 9 1/8 x 5 1/2 in. (23.2 x 13.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study of Female Nude Bending on Hands and Knees, late 19th–early 20th century, Black and white chalk on blue laid paper, sheet: 12 3/16 x 18 15/16 in. (31 x 48.1 cm), Drawings, Adolph Hirémy-Hirschl (Hungarian, Temesvar 1860–1933 Rome (or

Fireplace Design, 19th century, Graphite, Anonymous, British, 19th century

Salmon Globe Mallow, Sphaeralcea pedata, May 9, 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

Design for an Equestrian Statue in a Cartouche (recto); Sketches for a Frieze with Sea-Shells and Floral Ornament (verso)., 1652–1725, Pen and brown ink, over traces of black chalk; verso: Pen and brown ink, over traces of black chalk, sheet:

Architectural Fantasy, ca. 1785–90, Red chalk, 32.4 cm diameter, Drawings, Jean Laurent Legeay (French, Paris ca. 1710–after 1788 Rome

St. Mary Magdalene in the Clouds (copy), n.d., Engraving, sheet: 4 5/8 x 2 7/8 in. (11.7 x 7.3 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Christ and the Virgin at the Foot of the Cross, Etching, sheet: 11 3/4 x 8 7/16 in. (29.8 x 21.5 cm), Prints, Laurent de La Hyre (French, Paris 1606–1656 Paris

Lieven Willemsz van Coppenol with his Grandson, ca. 1658, Etching and drypoint; fifth state, image: 10 1/8 x 7 13/16 in. (25.7 x 19.8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Windowed Wall with Decorative Panels, mid-18th century, Pen and black ink, brush and gray wash, watercolor, over graphite, 5 5/8 x 10 1/16 in. (14.3 x 25.6 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set, 1830–1900, Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Denial of Saint Peter, 1790, Black chalk, heightened with white, on light brown paper. Lined., 7 3/16 x 12 7/8 in. (18.2 x 32.7 cm), Drawings, Louis Lafitte (French, Paris 1770–1828 Paris

Illustration for a Book: Bishops and Monks Being Received at a Ship by a Venerable Dignitary, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-15/16 x 6-1/16 in. (7.4 x 15.4 cm), Drawings, Giovanni

Les Monuments Romains, Etching, sheet: 11 5/8 x 17 13/16 in. (29.5 x 45.3 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Cornelis van Poelenburch (Dutch, Utrecht (?) 1594/95–1667 Utrecht

Calvary (Golgotha), 1517, Engraving; sixth state, sheet: 11 1/2 x 16 1/2 in. (29.2 x 41.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Baptism of The Eunuch, 1641, Etching, touches of gray wash; second state of two, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Mac-Arel, from The Comic Natural History of the Human Race, 1851, Color lithography with watercolor and gum, sheet: 7 1/16 x 11 1/16 in. (17.9 x 28.1 cm), Prints, Henry Louis Stephens (American, Philadelphia, Pennsylvania 1824–1882 Bayonne,

The Adoration of the Shepherds, with the lamp, ca. 1654, Etching; first state of two, sheet: 5 9/16 x 6 3/4 in. (14.2 x 17.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Standing Male Nude Seen from Below, ca. 1730, Black chalk, stumping, heightened with white, on beige paper. Framing lines in pen and brown ink., 14 5/8 x 8 7/16 in. (37.1 x 21.4 cm), Drawings, François Le Moyne (French, Paris 1688–1737

Farmyard with Ducks, 19th century, Charcoal and white chalk, 12 x 18 in. (30.5 x 45.7cm), Drawings

Saint Veronica, n.d., Woodcut, sheet: 2 3/8 x 1 5/8 in. (6.1 x 4.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for One Quarter of a Ceiling with a Medaillons at the Center (recto); Design for a Quarter of a Ceiling with a Medaillon at the Corner and a Medaillon at the Center (verso), 18th century, Graphite with some ruled and compass construction,

Bust-Length Portrait of a Woman (recto); Bust-Length Study of a Girl (verso), 1557–1602, Red chalk, over possible traces of black chalk (recto); red chalk (verso), Sheet: 13 11/16 x 9 13/16 in. (34.8 x 25 cm), Drawings, Agostino Carracci

A Real Rubber! At Whist, ca. 1825, Hand-colored etching and aquatint, sheet: 16 3/4 x 11 7/16 in. (42.5 x 29 cm), Prints, After M. Egerton (British, active London, 1821–27), This satire pokes fun at elderly whist players gathered in a

Moses at right telling the Israelites to gather the manna and at left Moses striking the rock, 1546, Engraving, Sheet: 10 13/16 × 13 11/16 in. (27.4 × 34.8 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576),

Lot and his Daughters, 1620–40, Etching; fourth state of five, sheet: 10 7/8 x 8 13/16 in. (27.7 x 22.4 cm), Prints, Jan Georg (Joris) van Vliet (Dutch, Deft ca. 1610–ca. 1635), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden

Sight, 1635–38, Etching, Sheet: 10 1/2 × 13 5/16 in. (26.7 × 33.8 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

The Ball, ca. 1634, Etching and engraving; second state of two, Sheet (trimmed): 10 7/16 × 13 1/2 in. (26.5 × 34.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plate 55 from 'The Disasters of War' (Los Desastres de la Guerra): 'The worst is to beg' (Lo peor es pedir), 1811–12 (published 1863), Etching, lavis and burnisher, Plate: 6 1/8 × 13/16 in. (15.6 × 2 cm), Prints, Goya (Francisco de Goya y

Design for a Machine, 18th century, Pen and brown ink, watercolor. Dimensions in pieds given on each side of machine., sheet: 13 15/16 x 19 5/8 in. (35.4 x 49.8 cm), Drawings, Anonymous, French, 18th century

Travelers on a Road, 1577–1668, Pen and brown ink, brush and brown wash, over a little black chalk, 7 5/16 x 5in. (18.6 x 12.7cm), Drawings, Alessandro Tiarini (Italian, Bologna 1577–1668 Bologna

Charles H. Getzien, Pitcher, Detroit, from World's Champions, Second Series (N43) for Allen & Ginter Cigarettes, 1888, Commercial lithograph, Sheet: 2 15/16 x 3 1/4 in. (7.4 x 8.3 cm), Pretzels' Getzien, Pitcher, Detroit Wolverines. Trade

Putti at play, second half 19th century, Graphite and brown wash, image: 5 1/16 x 9 5/16 in. (12.9 x 23.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Neptune Holding a Trident and Standing on a Dolphin, 1499–1546, Pen and brown ink, brush and brown wash, over black chalk, 8 1/8 x 3 5/8in. (20.7 x 9.2cm), Drawings, Giulio Romano (Italian, Rome 1499?–1546 Mantua

Mother's Kiss, 1890–91, Drypoint and aquatint, printed in color from two plates; fifth state of five (Mathews & Shapiro), plate: 13 5/8 x 8 15/16 in. (34.6 x 22.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le

Pompeiian Design for Paneling, second half 19th century, Graphite and gouache, 8 11/16 x 11 1/8 in. (22 x 28.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

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

Design for a Wall Tomb, 16th century, Graphite, pen and brown ink, sheet: 13 11/16 x 9 3/8 in. (34.8 x 23.8 cm), Drawings, Anonymous, French, 16th century

A fan with a rebus on Love on one side Fortune on the other, ca. 1639, Etching fashioned to form a fan with fringe around the edges and wooden handle, Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence), Text on one side

Penitent Woman Anointing the Feet of Christ at the Table of Simon the Pharisee (Luke 7:36-50), 1511–51, Pen and brown ink, brush and brown wash, highlighted with white, with ruled lines on beige paper (recto); rubbed with charcoal (for

Plate 1: the genius of drawing, a child with wings, seated on a rock in center turned towards the right, holding a drawing pad and pen, ruins including a triumphal arch to right in the background, the title page from 'The Principles of Design'

Fragments choisis dans les Peintures et les Tableaux les plus interessants des Palais et des Eglises d'Italie, 18th century, Etchings, Each print approximately:, Prints, Jean Claude Richard, Abbé de Saint-Non (French, Paris 1727–1791

Scholars at a Lecture, March 3, 1736, Etching and engraving; state two of two, sheet: 9 3/16 x 7 11/16 in. (23.4 x 19.5 cm), Prints, William Hogarth (British, London 1697–1764 London

Design for a coffered ceiling with painted initials: SRI (?), 1840–97, graphite, pen and ink, watercolor and gold paint on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

The Opening of the Fifth and Sixth Seals, from the Apocalypse, n.d., Woodcut, sheet: 17 3/8 x 12 1/8 in. (44.1 x 30.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint Cecilia, ca. 1890–95, Gouache and watercolor over graphite on wove paper mounted to wood panel, Sheet: 13 5/16 x 6 3/8 in. (33.8 x 16.2 cm), Drawings, Gustave Moreau (French, Paris 1826–1898 Paris

A Pond (Decoration for a Plate), 1850–1914, Etching on laid paper, sheet: 12 11/16 x 19 5/16 in. (32.2 x 49 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

The Gas Tanks at Clichy, 1886, Pen and iron gall ink over graphite on Japan paper on cardboard, 9 5/8 x 14 7/16 in. (24.5 x 36.6 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

A Bearded Prophet in Glory Attended by a Bishop, Two Other Male Saints, and Angels (Design for a Section of a Dome), 1634–35, Black chalk, partly reworked by the artist in pen and brown ink, maximum sheet: 11 1/2 x 10 5/16 in. (29.2 x 26.2

Little Nude Model, Reading, 1889–90, Transfer lithograph drawn on coarse-grained transfer paper; only state (Chicago), Image: 9 in. × 7 3/16 in. (22.8 × 18.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Altar Flanked by St. Louis and St. Theresa, mid-19th century, Watercolor, Emile-Charles Wattier (French, Paris 1800–1868 Paris

Design for a brooch with bird motif, 19th century, Gouache on cardboard, sheet: 11 1/8 x 9 7/16 in. (28.2 x 24 cm), Drawings, Anonymous, French, 19th century

Young Woman Wearing a Plumed Turban, Facing Right, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

The Good Shoe, 1895, Transfer lithograph drawn on thin, transparent paper; only state (Chicago), Image: 6 3/4 × 4 3/4 in. (17.1 × 12 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for Gallery Ceiling, Hôtel Cottier, ca. 1879, Brush and oil, 10 13/16 x 8 3/4 in. (27.4 x 22.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Death and the Lansquenet, n.d., Woodcut, sheet: 4 13/16 x 3 5/16 in. (12.2 x 8.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Flask, Pen and brown ink, brush and gray wash over graphite underdrawing, sheet: 5 3/4 x 3 5/16 in. (14.6 x 8.4 cm), Juste Aurèle Meissonnier (French, Turin 1695–1750 Paris

Design for the Exterior Façade of the Country House of Monsieur Blaney, Belleville (recto); Design for façade (verso), 18th century, Pen and brown ink, watercolor; Scale in pieds at bottom, 13 9/16 x 17 1/8 in. (34.4 x 43.5 cm), Drawings,

Design for a ceiling, second half 19th century, Graphite and watercolor, Overall: 14 3/4 x 10 3/8 in. (37.4 x 26.4 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

The Choice of Hercules, 17th century, Black chalk, squared, 6 x 5-1/2 in. (15.2 x 14.0 cm), Drawings, Anonymous, French, 17th century

Seated Youth Facing Right, Seen from the Back, 1560–1609, Red chalk with some white chalk highlights (recto); scribbles in red chalk (verso), sheet: 11 1/8 x 11 7/8 in. (28.2 x 30.2 cm), Drawings, Annibale Carracci (Italian, Bologna

Ornamental Motif Surmounted by a Coat of Arms, 1640–50, Pen and brown ink, brown wash, 8 3/16 x 5 13/16in. (20.8 x 14.7cm), Drawings, Leonardo Scaglia (Italian, documented Perugia, Ancona, 1640–1650

A Sheet of Studies of Flowers: A Rose, a Heartsease, a Sweet Pea, a Garden Pea, and a Lax-flowered Orchid, 16th century, Watercolor and gouache, over black chalk, 8 5/16 x 5 7/8 in. (21.1 x 15 cm), Drawings, Jacques Le Moyne de Morgues

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite and watercolor, Irregular sheet: 7 7/16 x 18 1/16 in. (18.9 x 45.8 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Old Louvre, Paris, after Zeeman, 1865–66, Etching; seventh state of seven, plate: 6 9/16 x 10 1/2 in. (16.7 x 26.7 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman (Dutch, Amsterdam ca.

Madonna with a Rose, 1595–1616, Etching, Sheet (trimmed): 8 in. × 5 9/16 in. (20.3 × 14.2 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Tartarie, 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

Head of a Woman in Profile, 1650, Etching, Plate: 3 3/8 × 2 11/16 in. (8.5 × 6.9 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Joseph's cup being discovered in Benjamin's sack of grain, 1531–76, Engraving, Sheet: 4 15/16 × 9 5/16 in. (12.5 × 23.7 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), After Raphael (Raffaello Sanzio or

Design for a Buffet, Plant Stand, and Table, 19th century, Black chalk, pen and black ink, brush and brown wash, 12 11/16 x 23 7/16 in. (32.3 x 59.5 cm), Drawings, Anonymous, French, 19th century

Design for a Mounted Chinese Vase, ca. 1750–85, Gouache, with pen and brown and gray ink, 9 1/4 x 14 7/8 in. (23.5 x 37.8 cm), Drawings, Anonymous, French, 18th century

'Eaux-fortes par Bracquemond', 1854, Etching, sheet: 9 1/4 x 7 7/8 in. (23.5 x 20 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), The etchers who produced albums with Cadart during the 1850s and 1860s favored simple

Three Pigs Lying in Front of a Shed, 1850, Etching on wove paper, laid down on card; second, final state, plate: 6 3/8 x 5 1/2 in. (16.2 x 14 cm), Prints, Charles Meryon (French, 1821–1868), After Karel Dujardin (Dutch, Amsterdam

Studies of Cavaliers, 1610–64, Pen and brown ink on paper, 2 15/16 x 4 7/8in. (7.5 x 12.4cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

King David with Angels., ca. 1625–26, Pen and brown ink, brush and brown wash, highlighted with white gouache over traces of charcoal or black chalk; squared in red chalk on blue paper, 10 7/16 x 8 11/16 in. (26.5 x 22.1 cm), Drawings,

Design for a Stage Set at the Opéra, Paris, 19th century, Graphite, Irregular sheet: 11 3/8 x 19 3/16 in. (28.9 x 48.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Stage Set at the Opéra, Paris, 1825–90, Graphite, Irregular sheet: 12 7/16 x 19 1/2 in. (31.6 x 49.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for Gothic Style Cabinet with Mirror, early 19th century, Ink, watercolor and wash, sheet: 9 7/16 x 11 13/16 in. (24 x 30 cm), Anonymous, British, 19th century

Le Traité de Paix avec Rome (The Peace Treaty with Rome), ca. 1789, Hand-colored etching, plate: 10 9/16 x 12 3/4 in. (26.8 x 32.4 cm), Prints, Anonymous, French, 18th century

Plate D from the 'Disparates': Fools-'or Little Bulls' - folly, ca. 1816–23 (published before 1877), Etching, aquatint and drypoint, Plate: 9 5/8 × 13 3/4 in. (24.5 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish,

Design for Red Curtains with Gold Fringes and Gold and White Pediment, early 19th century, Ink, watercolor and wash, sheet: 10 13/16 x 15 5/16 in. (27.4 x 38.9 cm), Anonymous, British, 19th century

Design for a Helmet with an Elaborate Plume, 1652–1725, Pen and brown ink, brush and light brown wash, over traces of black chalk, sheet: 6 15/16 x 4 15/16 in. (17.6 x 12.6 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725

Rococo Cartouche, Black crayon, 11 x 7 5/8 in. (27.9 x 19.4 cm), Anonymous, French, 18th century

Lunar Law, No 2, 1866, Etching, printed on laid paper; first state of six, plate: 4 7/8 x 3 1/2 in. (12.4 x 8.6 cm), Prints, Charles Meryon (French, 1821–1868

Caryatid Facing Left, mid-16th century, Pen and brown ink, brush and brown wash, over traces of black chalk, sheet: 9 1/4 x 2 3/16 in. (23.5 x 5.5 cm), Drawings, Attributed to Pirro Ligorio (Italian, Naples ca. 1512/13–1583 Ferrara

St. Francis (?), n.d., Engraving, sheet: 12 3/16 x 7 11/16 in. (31 x 19.5 cm), Prints, Pierre Landry (French, 1630?–1701), After Laurent de La Hyre (French, Paris 1606–1656 Paris

Gentleman with a Sword, 1629, Etching, Sheet (trimmed): 5 7/16 × 3 11/16 in. (13.8 × 9.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris), After Jean de Saint-Igny (French, Rouen ca. 1595/1600–1647 Paris

Elevation of an interior showing a paneled wall and double doors decorated in rococco sty.e, 1830–97, graphite on wove paper; inlaid in wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Peru, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 1/2 × 2 3/16 in. (8.9 × 5.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin

Studies of Female Statues, 18th century, Graphite, pen and black ink, 7 15/16 x 10 5/16 in. (20.2 x 26.2 cm), Drawings, Anonymous, French, 18th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, sheet: 10 1/4 x 2 11/16 in. (26 x 6.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Woman on Rearing Horse, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561 Venice

Balthasar, after figure in 'The Adoration of the Magi' by Jacques Bellange, ca. 1615, Etching, Sheet (trimmed): 11 in. × 7 1/16 in. (27.9 × 18 cm), Prints, Matthäus Merian the Elder (Swiss, Basel 1593–1650 Schwalbach), After Jacques

Design for a Stage Set, 1810–38, Pen and black ink; additional piece of tissue paper adhered to the center of the paper, sheet: 11 13/16 x 16 9/16 in. (30 x 42.1 cm), Aimé Chenavard (French, 1798–1838

Gatti's, 1890, Transfer lithograph, drawn on fine-grained transfer paper; only state (Chicago), Image: 6 13/16 × 5 1/4 in. (17.3 × 13.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a Monstrance, 1610–64, Pen and brown ink, brush and gray wash, over black chalk, 15 3/8 x 9 1/2in. (39.1 x 24.1cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Knight and Man-at-arms, n.d., Woodcut, sheet: 15 x 10 7/8 in. (38.2 x 27.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Figures, 1624–63, Pen and brown ink, brush an brown wash. Framing lines in pen and brown ink on mount, 3-1/8 x 3-3/8 in. (7.9 x 8.6 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Bust of a Man in a Feathered Turban and Long Beard, n.d., Etching, Prints, Circle of Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design of a Perspective for a Stage Set with Courtyard and Triumphal Arch., 1657–1743, Pen and brown ink, brush and green and gray wash, over traces of leadpoint with some traces of white gouache to cancel parts of the drawing, 8-3/4 x