Images at Librifly

Time Seated, with Two Attendant Figures, 1696–1770, Pen and brown ink, brush with pale and dark brown wash, over leadpoint or black chalk, 9-3/4 x 13-15/16 in. (24.7 x 35.4 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice

The Vision of St. Hubert, 1728–1800, Pen and brown ink, brown wash, over black chalk. The paper washed blue outside framing lines, 11-5/8 x 7-1/2 in. (29.6 x 19.0 cm), Drawings, Vittorio Amedeo Rapous (Italian, Turin (?) 1728–before 1800

Noah letting the animals into the ark, ca. 1630, Etching, sheet: 5 1/4 x 3 3/4 in. (13.3 x 9.5 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Religious scenes used in Salus Anime, n.d., Woodcuts, sheet: about 2 1/2 x 2 in. (6.4 x 5.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Jan Cornelis Sylvius, Preacher (reverse copy), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Winepress of the Wrath of God, from the Apocalypse, n.d., Engraving; second state of two, plate: 12 1/16 x 8 3/4 in. (30.7 x 22.2 cm), Prints, Jean Duvet (French, ca. 1485–after 1561

Aux Trois Quartiers, Nouveautés Élégantes, Hiver 1887–88, 1887–88, Lithograph and wood engraving, Overall: 9 3/16 x 6 x 1/16 in. (23.3 x 15.3 x 0.2 cm), Books

Ill-Matched Couple, n.d., Engraving, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Maunder's Fish Shop, Chelsea, 1890, Transfer lithograph with scraping, drawn on medium-grained transfer paper, Image: 7 1/16 × 6 3/4 in. (18 × 17.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Three Male Heads, 19th century, Pen and black ink, red and brown wash, over black chalk; on beige paper, lined, Sheet: 4 3/16 x 8 9/16 in. (10.7 x 21.7cm), Drawings, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

A Parisienne on a Crowded Street, 1844–1907, Watercolor, graphite, pen and ink, sheet: 8 1/8 x 6 1/8 in. (20.7 x 15.5 cm), Drawings, Henri Somm (French, Rouen 1844–1907 Paris

Jupiter Hurling a Thunderbolt, 1530–37, Brown ink and washes, black chalk underdrawing, traces of red chalk, laid paper, 6 5/8 x 7 5/8 in. (16.8 x 19.3 cm), Drawings, Giulio Romano (Italian, Rome 1499?–1546 Mantua), Dazzling for its

The Tall Bridge, 1878, Lithotint with scraping, first state of two (Chicago), printed in brown ink on, chine: 11 x 7 1/4 in. (27.9 x 18.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Messengers tell Job of his Misfortunes, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 7/16 x 6 5/8 in. (21.4 x 16.8 cm), Prints, William Blake (British, London 1757–1827 London

Early Morning, Battersea (Battersea Dawn) (Cadogan Pier), probably 1863, Etching and drypoint; second state of two (Glasgow); printed in black ink on cream laid Japan, Plate: 4 1/2 × 5 15/16 in. (11.4 × 15.1 cm), Prints, James McNeill

A Park with Figures at a Statue near Water, 1775 (?), Gouache, watercolour. Framing line in pen and brown ink., sheet: 10 7/8 x 15 3/8 in. (27.6 x 39 cm), Drawings, Salomon Gessner (Swiss, Zurich 1730–1788 Zurich

L'Amour, n.d., Etching, second state (?), sheet: 11 7/16 x 8 5/16 in. (29 x 21.1 cm), Prints, Jean François Janinet (French, Paris 1752–1814 Paris), After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

Fameux Jury de Peinture. Salon de 1841, March 20, 1841, Lithograph, sheet: 9 13/16 x 14 7/16 in. (24.9 x 36.6 cm), Prints, Clément Pruche (French, active 1831–70

Vignette Illustrating Torquato Tasso's 'Gerusalemme Liberata' (X:78), 1745, Red chalk over traces of graphite, sheet: 8 1/4 x 6 1/2 in. (21 x 16.5 cm), Drawings, Giovanni Battista Piazzetta (Italian, Venice 1682–1754 Venice), This elegantly

Juno, from 'Game of Mythology' (Jeu de la Mythologie), 1644, Etching; first state of five, Sheet: 1 7/8 × 2 1/16 in. (4.7 × 5.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets

The Decapitation of a Male Saint, 1686–1775, Brush and red wash, over red chalk, 14 3/16 x 10 1/4in. (36.1 x 26cm), Drawings, Carlo Innocenzo Carloni (Italian, Scaria 1686–1775 Scaria

Plate 4 from the 'Disparates': Simpleton, ca. 1816–23 (published 1864), Etching, burnished aquatint, burin and drypoint (?), Plate: 9 9/16 × 13 7/8 in. (24.3 × 35.2 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

Design for Panel: Allegorical Figure of Europe, 1650–79, Black chalk, 9 15/16 x 8 15/16in. (25.2 x 22.7cm), Drawings, Giacomo Barri (Italian, documented Venice after 1630–1689 Venice

Masked Man using a Lantern to Collect Discarded Pamphlets by a Tombstone, published in Le Charivari, ca. 1830, Lithograph, sheet: 11 7/16 x 8 7/8 in. (29 x 22.6 cm), Prints

Standing Female Figure, ca. 1739–40, Etching, sheet: 4 1/2 x 2 11/16 in. (11.4 x 6.9 cm), Prints, Pierre Ignace Parrocel (French, 1702–1775

Four Canephori, 1510–85, Pen and brown ink, over black chalk. Squared in pen and brown ink, 6 3/16 x 7 3/4in. (15.7 x 19.7cm), Drawings, Carlo Urbino (Italian, Crema ca. 1510/20–after 1585 Crema

Design for a Chest of Drawers, 18th century, Pen and black and gray ink, brush and gray wash., sheet: 14 5/16 x 9 1/8 in. (36.3 x 23.2 cm), Anonymous, French, 18th century

St. Sebastian, ca. 1510, Engraving, sheet: 4 1/8 x 2 7/8 in. (10.5 x 7.3 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 2 from 'The Disasters of War' (Los Desastres de la Guerra): 'Rightly or wrongly' (Con razon ó sin ella.), 1810 (published 1863), Etching, lavis, drypoint, burin, and burnisher, Plate: 6 in. × 8 1/16 in. (15.3 × 20.5 cm), Prints,

Twenty-four Cavaliers in Two Columns, 1652, Etching, Sheet (with border): 9 7/16 × 13 1/8 in. (24 × 33.3 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Tragic Actor: Rouvière in the Role of Hamlet, 1865–66, Etching on blue laid paper, final state (II), from 1905 Strölin edition, plate: 14 3/8 x 8 9/16in. (36.5 x 21.7cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris),

Illustration for a Book: Booty Presented to Three Dignitaries, 1696–1770, Graphite or black chalk. Horizontal and vertical centering lines ruled in faint graphite or black chalk, 2-15/16 x 6-1/8 in. (7.4 x 15.6 cm), Drawings, Giovanni Battista

Plate 70 from 'The Disasters of War' (Los Desastres de la Guerra): 'They do not know the way.' (No saben el camino.), after 1814–15 (published 1863), Etching, drypoint, burin and burnisher, Plate: 6 7/8 × 8 1/2 in. (17.5 × 21.6 cm), Prints,

A Domestic Scene, 1582–84, Pen and with brown and gray-black ink, brush with gray and brown wash, over black chalk, Sheet: 12 7/8 x 9 1/4 in. (32.8 x 23.6 cm), Drawings, Annibale Carracci (Italian, Bologna 1560–1609 Rome), This tenderly

Unidentified Subject, 1702–59, Black chalk, highlighted with white, on gray-washed paper, 10-7/16 x 10-7/8 in. (26.5 x 27.7 cm), Drawings, Placido Costanzi (Italian, Rome 1702–1759 Rome

Sea Monster (in two fragments), 1548–1612, Pen and brown ink., 3 9/16 x 3 in. (9.1 x 7.6 cm), Drawings, Ascribed to Bernardino Poccetti (Italian, San Marino di Valdelsa 1548–1612 Florence

Reclining River God, a Goat's Head, and Studies of Heraldic Emblems (recto); Cavalier Standing on a Globe Supported by a Kneeling Giant (verso), 1612–75, Pen and brown ink (recto). Pen study of knight standing on a globe, supported by a

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

Draughtsman Making a Perspective Drawing of a Reclining Woman, ca. 1600, Woodcut, sheet: 3 1/16 x 8 7/16 in. (7.7 x 21.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A Woman Spinning (recto); A Woman Holding a Bundle (verso), 18th century, Pen and brown ink, 11 5/8 x 7 3/16 in. (29.5 x 18.3 cm), Drawings, Giacomo Ceruti (Italian, Milan 1698–1767 Milan

Fragments choisis dans les Peintures et les Tableaux les plus interessants des Palais et des Eglises d'Italie, 18th century, Etching, sheet: 8 1/8 x 5 7/8 in. (20.6 x 15 cm), Prints, Jean Claude Richard, Abbé de Saint-Non (French, Paris

Album Title Page: Hanging Scene, 19th century, Graphite, sheet: 6 5/8 x 9 in. (16.8 x 22.8 cm), Drawings, Anonymous, French, 19th century

Elevation of an interior with a chimneypiece surmounted by a mirror and a second floor balcony, 1830–97, pen and ink, graphite, and oil on tracing paper; mounted on wove paper, Overall: 20 7/16 x 13 3/8 in. (51.9 x 33.9 cm), Drawings,

Two Polish horsemen with their horses facing left, from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), ca. 1651, Etching, Sheet: 7 3/16 × 7 3/8 in. (18.3 × 18.7 cm), Prints, Stefano della Bella (Italian, Florence

Bust of an Old Man with a Flowing Beard: the Head Bowed Forward: Left Shoulder Unshaded, 1630, Etching, Sheet: 3 3/4 × 3 1/8 in. (9.5 × 8 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

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

Illustration for a Book: Inhabitants Leaving a Conquered City, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 2-15/16 x 5-15/16 in. (7.4 x 15.1 cm), Drawings, Giovanni Battista Tiepolo (Italian,

The Rialto, 1879–80, Etching and drypoint; first state of three (Glasgow); printed in black ink on medium weight ivory laid paper, Plate: 11 11/16 × 7 15/16 in. (29.7 × 20.1 cm), Prints, James McNeill Whistler (American, Lowell,

The Barber's (The Barber's Shop, Chelsea), [1886–95], Etching and drypoint; first state of two (Glasgow); in black ink on ivory laid paper, Plate: 6 7/16 × 9 7/16 in. (16.3 × 24 cm), Prints, James McNeill Whistler (American, Lowell,

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

San Lorenzo, Library, Ricetto, entry portal from library, elevation (recto) San Lorenzo, Library, Ricetto, entry portal from library, plan and section (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines,

Woman's Head, from L'Estampe Moderne, 1897–99, Photolithograph, mount: 16 7/16 x 12 5/8 in. (41.7 x 32 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Putti at play, second half 19th century, Graphite and brown wash, image: 4 3/4 x 9 7/16 in. (12.1 x 24 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Design for the decoration of the dining room, 20 rue Matignon, second half 19th century, Gouache on wove paper, sheet: 8 1/16 x 12 13/16 in. (20.4 x 32.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

St. Giles-in-the-Fields, 1896, Transfer lithograph with stumping, drawn on white transfer paper with a grained-stone texture; only state (Chicago) probably printed posthumously by Goulding; printed in black ink on fine laid Japan mince, Image: 8

The Dog on the Kennel, 1858, Etching, second state of two (Glasgow), printed in black on coarse fibrous wove paper, plate: 2 13/16 x 3 1/2 in. (7.1 x 8.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Snow Plant, Sarcodes sanguinea, July 1909, 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

Louis XVI Entering Paris, October 6, 1789, 1789, Pen and black ink, brush and gray wash, watercolor and gouache, over graphite, 5 3/16 x 8 3/16 in. (13.2 x 20.8 cm.), Drawings, Jacques François Joseph Swebach (French, Metz 1769–1823

The Successful Fortune Hunter, or Captain Shelalee Leading Miss Marrowfat to the Temple of Hymen, 1802, Hand-colored etching, Sheet:: 13 1/2 × 9 5/8 in. (34.3 × 24.5 cm), Prints, Thomas Rowlandson (British, London 1757–1827 London

Antiope, ca. 1639–40, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 13 7/8 x 8 3/8 in. (35.3 x 21.2 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours 1602/1604–1676

Glass Furnace: Murano (Murano – Glass Furnace), 1879–80, Etching and drypoint; first state of four (Glasgow); printed in brown ink on ivory laid paper, plate: 6 1/4 x 9 1/4 in. (15.9 x 23.5 cm), Prints, James McNeill Whistler (American,

Man with Torch at Temple Door, published ca. 1599–1622, Engraving. Third state., plate: 3 7/16 x 4 7/8 in. (8.8 x 12.4 cm), Prints, Engraved by Anonymous, Italian, 16th century, After Battista Franco (Italian, Venice ca. 1510–1561

Three Standing Male Figures (recto); Two Standing Male Figures (verso), 1502–93, Pen and brown ink, brush and brown wash (recto); pen and brown ink, over traces of black chalk (verso), 8 x 3 5/8in. (20.3 x 9.2cm), Drawings, Romulo Cincinnato

The Siege of a Fortress, n.d., Woodcut, sheet: 8 13/16 x 14 15/16 in. (22.4 x 37.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Head of an old bearded Man facing Right, Etching, Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Germain-Augustin and Rose de Saint-Aubin, Drawn by Their Uncle, 1766, Gray wash over black chalk and graphite., 7 3/16 x 4 13/16 in. (18.2 x 12.2 cm), Drawings, Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris

Game of the Bridge, Pisa, 1634, Etching, state i, Prints, Designed by Stefano della Bella (Italian, Florence 1610–1664 Florence), Etched by Antonio Francesco Luccini (Italian, born Florence, 1605

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 8 9/16 x 5 3/16 in. (21.8 x 13.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Apse of Notre-Dame, Paris, 1854, Etching with engraving and drypoint on laid paper; fourth state of nine, plate: 6 1/2 x 11 13/16 in. (16.5 x 30 cm), Prints, Charles Meryon (French, 1821–1868

The Virgin With Child and St. Anna, 1516, Engraving, sheet: 4 3/8 x 3 1/2 in. (11.1 x 8.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a Fireplace, 1633 or after, Pen and brown ink, brush and gray wash, with framing lines in gold paint, 13 7/8 x 9 3/8 in. (35.2 x 23.8 cm), Anonymous, French, 17th century, After Jean Barbet (French, 1605–1654), This drawing

Design for a Stage Set at the Opéra, Paris: A Fountain, 1830–90, Graphite, Irregular sheet: 4 5/16 x 6 3/8 in. (11 x 16.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Seven Angels with the Trumpets, from The Apocalypse, Latin Edition, 1511, 1511, Woodcut, sheet: 15 5/16 x 11 1/16 in. (38.9 x 28.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Woman Kneeling Facing Left (recto); Seated Woman Facing Right (verso), 1555–1619, Pen and brown ink, touched with white, over traces of black chalk, squared for transfer in black chalk (recto), pen and brown ink (verso), 7-13/16 x 7-1/16 in.

Plate 24: herdsman atop a horse, seen from behind, leads his cattle down a hill, a tower on a hill to left in the background, from 'Diversi capricci', ca. 1644–47, Etching; third state of four, Sheet: 3 1/4 × 3 15/16 in. (8.3 × 10 cm),

Saint Francis of Assisi and Saint Louis of France Venerating an Image of the Virgin, ca. 1618, Pen and brown ink, on beige paper, sheet: 9 5/16 x 6 3/8 in. (23.6 x 16.2 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento

Design for a Stage Set: Semi-Circular Architectural Ruins, Fountains, and an Obelisk., 1657–1743, Pen and brown ink, brush and brown wash over traces of graphite., sheet: 9 5/16 x 14 13/16 in. (23.6 x 37.6 cm), Ferdinando Galli Bibiena

A guardian angel walking with a child, ca. 1640, Etching, Sheet: 7 11/16 × 5 1/16 in. (19.5 × 12.8 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Bon Voyage (Buen Viage), from The Caprices (Los Caprichos), plate 64, 1799, Etching, burnished aquatint and burin, Image: 8 7/16 × 6 3/16 in. (21.5 × 15.7 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Design for a Soup Tureen with Pig on Top, 19th century, Pen and brown ink with gray wash on laid paper, sheet: 13 5/16 x 19 3/8 in. (33.8 x 49.2 cm), Drawings, Anonymous, French, 19th century

Design for a sepulchral monument with a portrait bust, 1673, Pen and brown ink, red and brown wash, red chalk, over black chalk or graphite, sheet: 8 1/8 x 4 1/4 in. (20.6 x 10.8 cm), Drawings, Hendrik-Frans Verbruggen (Flemish, Antwerp

Design for wallpaper featuring oak leaves, acorns, and intertwined twigs, 1830–97, gouache on wove paper, image: 6 13/16 x 6 13/16 in. (17.3 x 17.3 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

The Children's Pic-Nic, ca. 1872–74, Lithograph, image: 9 1/8 x 12 3/8 in. (23.2 x 31.4 cm), Prints

Head of a Man, 1575–1633, Red chalk, 11 15/16 x 7 13/16in. (30.4 x 19.9cm), Drawings, Antonio d'Enrico Tanzio (Tanzio da Varallo) (Italian, Riale d'Alagna 1575/80–1632/33 Novara

Partial design for a ceiling painted in strapwork and pine cone motifs, 19th century, graphite, pen and ink, and watercolor on wove paper; inlaid in blue wove paper, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Ground Plan of a Pavillion, 16th century, Pen and brown ink, brush and brown wash on laid paper., 13 9/16 x 9 9/16 in. (34.5 x 24.3 cm), Drawings, Anonymous, French, 16th century

Design for a Decorated Console with Two Slaves on Top of an Eagle, 1762–1844, Pen and brown ink, brush and gray wash, 9- 5/16 x 7- 1/4 in. (23.6 x 18.4 cm), Giuseppe Bernardino Bison (Italian, Palmanova 1762–1844 Milan

Hungarian horseman riding towards the left, other horsemen in the background, a circular composition from 'Figures on Horseback' (Cavaliers nègres, polonais et hongrois), n.d., Etching; reverse copy, Sheet: 6 11/16 × 6 3/4 in. (17 × 17.2

Coat of Arms with a Mask, Held by Two Genii, 1527, Engraving, sheet: 3 1/16 x 4 5/8 in. (7.8 x 11.8 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Two Nude Children Supporting a Blank Shield, ca. 1510, Engraving, sheet: 3 5/16 x 4 3/16 in. (8.4 x 10.6 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Border and Three Pediments (recto), Fifteen circular Designs (verso), 18th century, Pen and black ink over graphite, bottom design (recto) with brown, yellow, and blue wash on Whatman paper, sheet: 12 11/16 x 9 7/16 in. (32.2 x 24 cm),

Madame Claire Philippe de La Pierre (née da Cunha), 1796, Black chalk, stumping, with white highlights, on white paper, 11 3/4 x 10 in. (29.8 x 25.4 cm), Drawings, Jacques Antoine Marie Lemoine (French, Rouen 1751–1824 Paris

Pink-purple Orchid, ca. 1911, Watercolor and brown ink over 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

A Company of Horsemen, Etching, sheet: 10 13/16 x 16 13/16 in. (27.4 x 42.7 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

The Letter, 1890–91, Drypoint and aquatint, printed in color from three plates, plate: 13 5/8 x 8 15/16 in. (34.6 x 22.7 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Saint Jerome Praying in a Landscape., 1550–60, Pen and brown ink, brush and brown wash, highlighted with white gouache, on paper tinted with a light brown wash, 8 3/8 x 6 9/16 in. (21.2 x 16.6 cm), Drawings, Attributed to Niccolò dell'

Design for a Chair, ca. 1820, Ink, watercolor, gouache and wash, sheet: 7 1/4 x 4 7/16 in. (18.4 x 11.3 cm), Attributed to Gillows (British, 19th century

Seascape with Bacchus and Ariadne, 1742, Engraving, image: 11 5/16 x 15 1/16 in. (28.8 x 38.3 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome), Engraved by François Vivares (French, Saint-Jean-du-Bruel

Wooded Landscape with Stag, 1800–1877, Pen and brown ink, watercolor, heightened with white gouache, sheet: 15 9/16 x 19 11/16 in. (39.5 x 50 cm), Drawings, Carl August Lebschee (German, Schmiegel 1800–1877 Munich

A Symphony (from 'Vanity Fair'), January 12, 1878, Color lithograph, image: 12 1/8 x 7 5/16 in. (30.8 x 18.6 cm), Prints, Sir Leslie Ward ['Spy'] (British, 1851–1922), Caricatue of Whistler published in 'Vanity Fair' January 12, 1878,