Images at Librifly

Frontispiece to Pierre d'Hozier's 'Les noms surnoms qualitez armes et blasons des chevaliers de l'Ordre du Sainct Esprit' with Louis XIII dubbing a nobleman kneeling before him, in the presence of several other noblemen, 1634, Etching, Sheet: 10

Death of Ananias, 1518, Chiaroscuro woodcut printed from three blocks in brown and black ink, Sheet: 9 3/4 × 14 7/8 in. (24.7 × 37.8 cm), Prints, Ugo da Carpi (Italian, Carpi ca. 1480–1532 Bologna), After Raphael (Raffaello Sanzio or

Rape of Europa, 1776, Mezzotint with etching, sheet: 9 13/16 x 15 7/8 in. (24.9 x 40.3 cm), Prints, Richard Earlom (British, London 1743–1822 London), After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Fireworks in a Piazza, ca. 1618–23, Pen and brown ink, brush with gray and brown wash, over traces of lead point (?), sheet: 7 5/16 x 10 3/8 in. (18.6 x 26.4 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666

Half-Length Portrait of a Young Man, 18th century, Black and red chalk, 8 5/8 x 6 1/2 in. (21.9 x 16.5 cm), Drawings, Attributed to Jean Marc Nattier (French, Paris 1685–1766 Paris

View Within the Colosseum, Rome, 18th century, Black chalk, heightened with white on gray-blue paper. Framing lines in pen and brown ink. Verso: faint black chalk sketch of an arch., 10 7/8 x 16 5/16 in. (27.6 x 41.4 cm), Drawings, Charles

View of Ariccia, 1853, Brown wash over black chalk and graphite, heightened with watercolor, Sheet: 10 9/16 x 16 1/8 in. (26.8 x 41cm), Drawings, Jean-Achille Benouville (French, Paris 1815–1891 Paris

Christ Driving the Money Changers from the Temple, 1635, Etching, sheet: 5 9/16 x 6 3/4 in. (14.1 x 17.1 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a cup and saucer, 19th century, Pen and ink with wash on laid paper, sheet: 12 3/16 x 8 1/16 in. (31 x 20.5 cm), Anonymous, French, 19th century

Hercules at the Crossroad, ca. 1498, Engraving, Sheet: 12 13/16 × 8 15/16 in. (32.6 × 22.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Joachim and Anna at the Golden Gate, from The Life of the Virgin, 1504, Woodcut, sheet: 11 11/16 x 8 3/8in. (29.7 x 21.3cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Lady Holding a Fan, 18th century, Black and red chalk with white gouache on green-gray paper, 6 1/4 x 7 1/4 in. (15.9 x 18.4 cm), Drawings, Michel Barthélémy Ollivier (French, Marseille 1712–1784 Paris

Virgin and Child, 1772, Mezzotint, Sheet: 14 13/16 x 10 7/8 in. (37.7 x 27.7 cm), Prints, Robert Laurie (British, London 1755–1836 Broxbourne, Hertfordshire), After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Studies for 'The Conversion of the Jailer before Saint Paul and Silas', 1666, Red, black, and white chalks on buff paper, 11 1/8 x 16 5/8 in. (28.4 x 42.3 cm), Drawings, Nicolas de Plattemontagne (French, Paris 1631–1706 Paris), Nicolas de

The Nôtre-Dame Pump, Paris, 1852, Etching on chine collé; eighth state of ten, plate: 6 11/16 x 9 13/16 in. (17 x 25 cm), Prints, Charles Meryon (French, 1821–1868

David with the Head of Goliath, 1651, Etching, Sheet (trimmed): 7 1/2 × 5 3/8 in. (19 × 13.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Plate 19 of the 'Tauromaquia': Another madness of his in the same ring., 1816, Etching, burnished aquatint, drypoint and burin, Plate: 9 1/2 × 13 3/4 in. (24.2 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Coat of Arms of Ferdinand I, n.d., Woodcut, sheet: 11 3/8 x 7 1/2 in. (28.9 x 19.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Polish Groom Bathing Horses, ca. 1662, Etching, Plate: 3 1/16 × 5 1/16 in. (7.7 × 12.8 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Battle Scene, 1624–63, Pen and brown ink; heavily washed with red, 5-3/8 x 7-7/8 in. (13.7 x 20.0 cm), Drawings, Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

The Entombment, n.d., Woodcut, sheet: 15 1/4 x 10 7/8 in. (38.7 x 27.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Esther and Mordecai before King Ahasuerus (Esther 8:1- 12), 1536/7–1615, Pen and brown ink, brush and brown wash, over black chalk, 12 7/16 x 8 13/16in. (31.6 x 22.4cm), Drawings, Giovanni de' Vecchi (Italian, Borgo Sansepolcro

Design for a Stage Set at the Opéra, Paris: Tree-Lined Road, 1830–90, Graphite, sheet: 11 5/16 x 16 3/4 in. (28.7 x 42.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Rotterdam, 1906, Watercolor and graphite on paper, 10 x 16 1/8 in. (25.4 x 40.6 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Two Women Friends Reclining, 1903/4–1906, Graphite, 13 3/4 x 21 3/4 in. (34.9 x 55.2 cm), Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna

The Agony in the Garden, n.d., Woodcut, sheet: 15 3/8 x 10 15/16 in. (39.1 x 27.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Cavalry Engagement (recto); Concert of Angels (verso), 1624–63, Pen and brown ink (recto). Faint pen and brown ink sketch of an angelic concert (verso). Framing lines in pen and brown ink on mount, 5 x 7-1/4 in. (12.7 x 18.4 cm), Drawings,

Design for a Round Pedestal Table, early 19th century, Ink and wash over graphite, sheet: 10 13/16 x 15 1/16 in. (27.4 x 38.2 cm), Anonymous, British, 19th century

Design for an Ornamental Doorway Leading to a Garden, 18th century, Pen and gray ink, brush and gray and brown wash., 7 5/8 x 17 1/4 in. (19.4 x 43.8 cm), Drawings, Anonymous, French, 18th century

Marianne, 1647, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 3/16 x 8 3/8 in. (33.5 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676 Paris),

Europe, mid to late 17th century, Etching, Sheet (trimmed): 8 7/16 × 5 11/16 in. (21.5 × 14.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Grotesque Winged and Bearded Head Looking to the Left within a Circle, 1727, Pen and brown ink, sheet: 12 7/8 x 8 1/2 in. (32.7 x 21.6 cm), Drawings, Gaetano Piccini (Italian, active Rome, 1710–30

Studies of a tree (recto and verso), n.d., Graphite with green, blue and yellow washes (recto); graphite with green, blue and purple washes (verso), Sheet: 19 3/4 x 13 3/4 in. (50.2 x 34.9cm), Drawings, Paul Cézanne (French, Aix-en-Provence

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 9/16 x 6 9/16 in. (19.2 x 16.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Study for a Garden Capriccio, n.d., Pen and black ink, over traces of graphite underdrawing. Framing lines in pen and black ink., 17 1/4 x 11 5/8 in. (43.8 x 29.5 cm), Workshop of Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

The Young Siegfried, 1839, Pen and brush and grey ink, sheet: 5 3/16 x 2 13/16 in. (13.1 x 7.1 cm), Drawings, Julius Hübner (German, Oels in Scchlesien 1806–1882 Loschwitz

The Sudarium Held by One Angel, 1516, Etching, sheet: 7 5/16 x 5 1/4 in. (18.6 x 13.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Soldiers, 1624–63, Pen and brown ink. Framing lines in pen and brown ink on mount, 2-1/2 x 7-1/4 in. (6.4 x 18.4 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Design for a Bowl, ca. 1770–90, Pen and gray and rose ink, brush and gray wash, 8 15/16 x 15 1/8 in. (22.7 x 38.4 cm), Drawings, Anonymous, French, 18th century

Saint Anthony of Padua adoring the Christ Child in Glory, ca. 1640, Etching, Sheet: 10 1/2 × 7 1/16 in. (26.7 × 18 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Studies of Heads and Hands, 17th century, Black and red chalk, sheet: 9 x 13 11/16 in. (22.8 x 34.8 cm), Drawings, Anonymous, French, 17th century

Adolphe Jollivet, published in La Caricature no. 164, December 27, 1833, December 27, 1833, Lithograph, Sheet: 13 9/16 × 10 1/16 in. (34.4 × 25.5 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

The Last Supper, 1523, Woodcut, sheet: 8 3/8 x 5 3/4 in. (21.3 x 14.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Virgin and Child with Saints Joseph and John the Baptist (after Michelangelo's Madonna del Silenzio), 1561, Engraving and etching, sheet: 15 7/8 x 10 5/8 in. (40.3 x 27 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna,

Mask, Etching, Prints, Attributed to Stefano della Bella (Italian, Florence 1610–1664 Florence

Soupe à trois sous, 1859, Etching; only state (Glasgow); printed in black ink on thin buff Japan, Plate: 6 × 9 in. (15.3 × 22.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Cardinal Albrecht of Brandenburg, n.d., Engraving, Plate: 6 7/8 × 5 1/16 in. (17.4 × 12.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Elevation of a design for an altar and painted wall decoration, second half 19th century, graphite, pen and ink, watercolor, gouache, and gold paint on wove paper, sheet: 24 1/8 x 18 11/16 in. (61.2 x 47.5 cm), Drawings, Jules-Edmond-Charles

The Sea Monster, ca. 1498, Engraving, Sheet: 5 7/8 × 7 3/8 in. (14.9 × 18.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Perspective of Living Room with Bookcase-Divider, ca. 1939, Colored crayon-pencil, sheet: 7 5/16 x 10 7/8 in. (18.6 x 27.7 cm), Drawings, Guglielmo Ulrich (Italian, 1904–1977

Portrait of a Scholar, 1591–1666, Pen and brown ink on white paper, sheet: 10 1/4 x 11 3/16 in. (26.1 x 28.4 cm), Drawings, Imitator of Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

Landscape with Three Gabled Cottages Beside a Road, 1650, Etching and drypoint; third state of three, sheet: 6 3/8 x 8 1/16 in. (16.2 x 20.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Ulysses and His Companions Fighting the Cicones Before the City of Ismaros, Study for a Destroyed Fresco in the Galerie d'Ulysee, Chateau de Fontainebleau, 1555–60, Red chalk highlighted with white gouache, on red-washed paper, 9 1/2 x 12

Drawing for a Door Frame, 18th century, Pen and gray-green wash, sheet: 6 3/4 x 8 3/16 in. (17.1 x 20.8 cm), Lorenzo Sarti (Italian, Bologna, 18th century

Civil Garb of the French Citizen, 1794, Etching, image: 11 7/8 x 6 7/8 in. (30.1 x 17.5 cm), Prints, After Jacques Louis David (French, Paris 1748–1825 Brussels), baron Dominique Vivant Denon (French, Givry 1747–1825 Paris

A Man in Tyrolean Costume, Seated, Smoking a Pipe, 1842, Graphite, heightened with touches of watercolor, and white on beige, textured, wove paper, 14-1/2 x 10-1/2 in. (36.8 x 26.7 cm), Drawings, Théodore Valerio (French, Herserange

Design for the decoration of a ceiling with strapwork, 1830–97, graphite, watercolor, gouache, and gold paint on laid paper; mounted on wove paper, Overall: 9 15/16 x 8 3/8 in. (25.3 x 21.3 cm), Drawings, Jules-Edmond-Charles Lachaise

Christ before Caiaphas, from The Passion, 1512, Engraving, Sheet: 4 11/16 × 2 15/16 in. (11.9 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Two Variants for a Cartouche with Palm Leave Decoration, 1652–1725, Pen and brown ink over traces of black chalk, sheet: 4 7/16 x 7 1/2 in. (11.2 x 19.1 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

The Kermis at Hoboken, ca. 1559, Engraving; second state of four, sheet: 11 3/16 x 16 1/16 in. (28.4 x 40.8 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Frans Hogenberg (Netherlandish,

Landscape with a Cow, Etching and drypoint, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Allegory with Figures of Hope, Time, and Death, 1659–1734, Pen and brown ink, brush and gray wash, over red and black chalk, 10 13/16 x 7 11/16in. (27.4 x 19.6cm), Drawings, Sebastiano Ricci (Italian, Belluno 1659–1734 Venice

Design for a Stage Set at the Opéra, Paris: A Tent, 1830–90, Graphite, heightened with white, Irregular sheet: 8 3/4 x 12 1/2 in. (22.3 x 31.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Foolish Virgins Rejected, ca. 1635, Etching; early state, Sheet: 13 7/16 in. × 18 in. (34.2 × 45.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Oval Ornament Designs for Boxes, 17th century, Pen and brown ink, brush and brown wash, over black chalk., 2 1/16 in. (5.3 cm) circumference, Anonymous, French, 17th century

Christ Presented to the People, 1655, Drypoint; eighth state of eight, Sheet: 14 x 17 15/16 in. (35.6 x 45.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), Rembrandt treated this large drypoint almost as a

The Prodigal Son Guarding Pigs (L'Enfant prodigue garde les cochons), ca. 1636, Etching, sheet: 10 1/4 x 12 7/8 in. (26 x 32.7 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Part of the Entrance of the Polish Legation (G and H), 1633, Etching, state i, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Adam and Eve, ca. 1639, Etching, Plate: 7 13/16 × 6 3/4 in. (19.8 × 17.2 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Study of an Actor, 1624–63, Pen and brown ink, 3-3/8 x 2-7/16 in. (8.6 x 6.2 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Departure for the Fields, ca. 1638–41, Etching; third state of four (Mannocci), sheet: 5 1/4 x 7 1/2 in. (13.4 x 19 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

The Petit Pont, Paris, 1850 and later, Etching and engraving on wove paper; first state (of nine), plate: 10 7/16 x 7 5/16 in. (26.5 x 18.5 cm), Prints, Charles Meryon (French, 1821–1868

Salome Receiving the Head of Saint John the Baptist, n.d., Woodcut, sheet: 8 1/8 x 5 1/4 in. (20.6 x 13.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Man Grieving, 1634, Etching; first state of two, plate: 9 x 7 7/16 in. (22.8 x 18.9 cm), Prints, Jan Georg (Joris) van Vliet (Dutch, Deft ca. 1610–ca. 1635), After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

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

Design for Ceiling Decoration, 1870, Graphite, pen and brown and black ink, brush and brown wash on blue paper., sheet: 9 1/2 x 5 1/2 in. (24.2 x 13.9 cm), Drawings, Anonymous, French, 19th century

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

Design for the decoration of a wall punctuated by a fireplace and a door and hung with gold-framed pictures, 1830–97, graphite, watercolor, and gold paint on wove paper; mounted on blue wove paper, Overall: 10 3/8 x 14 13/16 in. (26.4 x 37.6

Flight into Egypt, ca. 1641, Etching; first state of four, Plate: 4 3/4 × 4 1/16 in. (12.1 × 10.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Decorative Wall Panel, 19th century, Watercolor on wove paper, sheet: 2 3/16 x 4 13/16 in. (5.5 x 12.3 cm), Anonymous, French, 19th century

Tomb of Cecchino Bracci, S. Maria in Araceoli, Rome, 16th century, Black chalk, pen and brown ink, sheet: 15 9/16 x 21 15/16 in. (39.5 x 55.8 cm), Drawings, Anonymous, French, 16th century

A Peep at Christies;–or–Tally-ho & His Nimeny-pimeney taking the Morning Lounge, September 24, 1796, Hand-colored etching, sheet: 14 1/8 x 10 in. (35.9 x 25.4 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

At the Café des Ambassadeurs, 1879–80, Etching, softground, drypoint, and aquatint; fifth (final) state; canceled plate, sheet: 12 7/8 x 15 11/16 in. (32.7 x 39.9 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

L'Ancien Louvre (The Old Louvre, Paris, after Zeeman), 1865–66, Etching on laid paper; third state of seven, plate: 7 5/8 x 10 1/2 in. (19.4 x 26.7 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman

Lawyer on His Way to Court (Se Rendant à l'Audience), 1830–79, Black chalk, Sheet: 12 1/2 x 18 13/16 in. (31.8 x 47.8cm), Drawings, Thomas Couture (French, Senlis 1815–1879 Villiers-le-Bel

The Parrot, ca. 1891, Drypoint; sixth state, plate: 6 3/8 x 5 11/16 in. (16.2 x 14.4 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Plate 10: a horse lying down in center, a cow and two goats to right, two seated shepherds to left, a waterfall and a mountain to left in the background, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca.

Cicero in Catilinam, March 17, 1785, Etching, plate: 13 7/16 x 11 1/4 in. (34.2 x 28.6 cm), Prints, James Sayers (British, 1748–1823), In November 1784, a year after King George III appointed him chief minister, William Pitt faced a

Apollon et Marsyas, 1644, Etching, first state, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin (French, 1595–1676

Design for a Chalice (recto); Design for the Base of a Vase (verso), 1652–1725, Pen and brown ink, brush and brown wash, over traces of black chalk. Verso: graphite, sheet: 8 7/8 x 3 3/4 in. (22.6 x 9.5 cm), Giovanni Battista Foggini

Les Danseurs au Luth (The Dancers with a Lute), from Les Caprices Series B, The Nancy Set, 1617–20, Etching; first state of two (Lieure), Sheet: 7 5/16 x 10 3/8 in. (18.5 x 26.3 cm), Prints, Jacques Callot (French, Nancy 1592–1635 Nancy

Study for 'Mme Théodore Gobillard' (née Yves Morisot), 1869, Graphite, squared, on buff tracing paper, mounted on laid paper, Sheet: 12 3/8 x 17 5/16 in. (31.5 x 44cm), Drawings, Edgar Degas (French, Paris 1834–1917 Paris), Degas made

Shepherd and Shepherdess Conversing in a Landscape, ca. 1651, Etching; third state of seven (Mannocci), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Lace Design, 19th century, Pen and ink with wash, sheet: 3 1/16 x 7 11/16 in. (7.8 x 19.5 cm), Drawings, Anonymous, French, 19th century

View of the Ankl-Alpe and the Schliersee, 1817, Black chalk, heightened with white chalk (? partly oxidized), sheet: 8 1/4 x 10 13/16 in. (21 x 27.5 cm), Drawings, Johann Georg von Dillis (German, Grüngiebing 1759–1841 Munich

State of the English Nation, August 1, 1778, Etching and engraving, plate: 7 11/16 x 10 5/16 in. (19.6 x 26.2 cm), Prints, Anonymous, British, 18th century

Ptolémée, ca. 1639–40, 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 1602/1604–1676

St. Paul, ca. 1510, Engraving, sheet: 4 5/8 x 2 13/16 in. (11.7 x 7.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Annie Seated, 1858–59, Etching and drypoint; third state of three (Glasgow); black ink on medium weight ivory laid Japan paper, Plate: 5 1/8 × 3 13/16 in. (13 × 9.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

View of Genoa, 1604, Prints, Anonymous, Italian, 17th century