Images at Librifly

Veneration (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Hand-colored etching, printed in brown ink, sheet: 11 1/2 x 8 7/8 in. (29.2 x 22.6 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

An 'Académie': Sitting Man, 1742–43, Etching, sheet: 10 15/16 x 15 3/16 in. (27.8 x 38.5 cm), Prints, Carle (Charles André) Vanloo (French, Nice 1705–1765 Paris

Four designs for decorative panels, 1830–97, graphite and pen and ink on tracing paper; mounted on wove paper, Overall: 19 7/16 x 13 3/8 in. (49.3 x 34 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Design for a Title Page for Sheet Music, late 19th–early 20th century, Pen and black ink, brush and gray wash, red gouache, corrected with white. Partially incised for transfer. Strips added at top and at right, 12 15/16 x 10 in. (32.8 x 25.4

The Lady on Horseback and the Lansquenet, ca. 1497, Engraving, Sheet: 4 1/8 × 2 15/16 in. (10.4 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design of a Perspective projection for an Urn, n.d., Pen and brown ink, brush and brown and gray wash over traces of black and red chalk, Image: 8 7/16 x 8 1/8 in. (21.4 x 20.7 cm), Drawings, Attributed to Flaminio Innocenzo Minozzi (Italian,

Putti and a Young Satyr at Play, 1582–1647, Red chalk, 7 3/8 x 10 1/8in. (18.8 x 25.7cm), Drawings, Giovanni Lanfranco (Italian, Parma 1582–1647 Rome

Exterior and interior section of a temple in Rome dedicated to Neptune, 1541, Engraving, sheet: 17 11/16 x 14 7/16 in. (45 x 36.6 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

My Lady, September 1, 1821, Hand-colored etching and engraving, sheet: 10 13/16 x 7 3/16 in. (27.5 x 18.3 cm), Prints, Anonymous, British, 19th century

The Pancake Woman, 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Weeping (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 11 5/16 x 8 7/8 in. (28.7 x 22.5 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Figure of Young Man or Woman in Bust-length, in Three-Quarter View, 1700–1713, Black chalk on gray prepared paper, 9 3/8 x 6 3/4in. (23.8 x 17.1cm), Drawings, Attributed to Carlo Maratti (Italian, Camerano 1625–1713 Rome

Unidentified, Doric cornice, elevation; Theater of Marcellus, Doric cornice, elevation (recto) Unidentified, cornice, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 14 5/8 x 10 15/16

The Virgin with Female Attendant Appearing to Four Male Saints, 1680–95, Pen and brown ink, brush and gray wash, over red chalk, 9 13/16 x 5 7/8in. (25 x 15cm), Drawings, Attributed to Carlo Maratti (Italian, Camerano 1625–1713 Rome

St. Peter's, drum, exterior bay, elevation with details (recto) St. Peter's, drum, section (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 22 13/16 x 17 1/8 in. (58 x 43.5 cm), Drawings

The Hand of Poussin, after Ingres, 1875–77, Graphite, 8 7/16 x 5 7/8 in. (21.4 x 14.9 cm), Drawings, Georges Seurat (French, Paris 1859–1891 Paris

Study, 1879, Lithograph with scraping, on a prepared half-tint ground; only state (Chicago); printed in brown ink on grayish wove paper, Image: 10 1/4 x 6 1/2 in. (26 x 16.5 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Est-ce un enchantment..., n.d., Etching, third state, sheet: 10 3/16 x 13 11/16 in. (25.8 x 34.7 cm), Prints

White Lily, illustration from Gart der Gesundheit (Sch2), March 28, 1485, Hand-colored woodcut, Prints, Anonymous, German, 15th century

Dandies in Rotten Row, January 21, 1819, Hand-colored etching, plate: 9 13/16 x 13 3/4 in. (24.9 x 34.9 cm), Prints, Attributed to William Heath ('Paul Pry') (British, London 1795–1840 Hampstead), Rotten Row was the nickname for a road

Songs of Innocence and of Experience: The Garden of Love, 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

Thirteen designs for the painted decoration of interiors, 1830–97, graphite, pen and ink, watercolor and gouache on various papers; mounted on cardboard, Overall: 12 5/16 x 18 3/4 in. (31.2 x 47.7 cm), Drawings, Jules-Edmond-Charles Lachaise

Design for a Tabernacle, ca. 1650–60, Pen and brown ink, brush and brown wash, heightened with white, over graphite. Framing lines in pen and brown ink., 15 3/8 x 9 5/8 in. (39 x 24.4 cm), Drawings, Pierre Puget (French, Château Follet

The Judgment of Paris, ca. 1550–60, Etching and engraving, sheet: 11 15/16 x 18 1/16 in. (30.4 x 45.9 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576), Inspired in part by Marcantonio's engraving and by the

The triumph of love, cupid riding a chariot drawn by unicorn is in the upper right, naked figures fill the composition; a proof impression, 1545, Engraving, sheet: 10 1/4 x 15 7/8 in. (26 x 40.4 cm), Prints, Giulio Bonasone (Italian, active

Design for a Pedestal (recto); Design for the Plan of a Monument (verso), 1652–1725, Pen and brown ink over traces of black chalk. Vertical ruling lines (recto). Black chalk (verso), sheet: 5 1/4 x 3 11/16 in. (13.3 x 9.3 cm), Giovanni Battista

Boy Chasing a Butterfly, 1591–1666, Pen and brown ink, sheet: 7 5/8 x 4 7/16 in. (19.4 x 11.2 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna

View of the Piazzetta di San Marco in Venice, 19th century, Graphite and watercolor, sheet: 13 3/16 x 17 7/8 in. (33.5 x 45.4 cm), Drawings, Wilhelm Gail (German, Munich 1804–1890 Munich

Figure Studies, 1696–1770, Pen and brown ink, over black chalk, on beige paper, 9-7/8 x 13-7/16 in. (25.1 x 34.1 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

William Murray, 1st Earl of Mansfield, 1779–1802, Black and red chalk, varnished, on thin laid paper. Oval., 7-3/8 x 5-3/4 in. (18.7 x 14.6 cm), Drawings, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon

The Virgin Entrusting the Christ Child to Saint Francis of Assisi, 1689–1767, Two sheets of paper joined horizontally above center: pen and brown ink, brush and gray wash, over red chalk and lead or graphite (bottom sheet); brush and gray wash,

Youth in a Chariot with Attendant Young Woman, ca. 1621–23, Pen and brown ink, brush and brown wash, sheet: 6 9/16 x 7 13/16 in. (16.7 x 19.9 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna), This

The Virgin Nursing the Christ Child, in a Glory of Angels (recto); Studies for seated figures of Christ and God the Father in red chalk (verso), 1690–1758, Pen and brown ink, brush and brown wash, over red chalk. Verso: faint red chalk studies

Illustration and Text from Dürers Vier Bucher von Menslicher Proportion, Nuremberg, 1528, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, sheet: 9 3/16 x 3 3/4 in. (23.4 x 9.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

La Blanchisseuse de la Place Dauphine, 1894, Transfer lithograph, drawn on fine-grained transfer paper; only state (Chicago), Image: 9 1/16 × 6 3/16 in. (23 × 15.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Design for a sepulchral monument with an allegory of Time, late 17th–early 18th century, Pen and brown ink, brown wash, over black chalk, sheet: 8 13/16 x 6 9/16 in. (22.4 x 16.7 cm), Drawings, Pieter Verbruggen the Younger (Flemish,

Vest, Made in United States, American, embroidered, 24 3/4 x 17 1/2 in. (62.9 x 44.5 cm), Textiles

Plate 42 from 'Los Caprichos': Thou who canst not (Tu que no puedes.), 1799, Etching and burnished aquatint, Plate: 8 7/16 × 5 15/16 in. (21.5 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Head of a Satyr and Other Figure Studies, 1610–64, Pen and brown ink, 4 7/16 x 6in. (11.3 x 15.2cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

Pierre Nivelle, Bishop of Luçon, after Lasne, 1861, Etched in tin and printed on laid paper; fifth state of five (Schneiderman), plate: 6 3/8 x 4 1/4 in. (16.2 x 10.8 cm), Prints, Charles Meryon (French, 1821–1868), After Michel Lasne

Zanzibar, 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

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 7 13/16 x 6 15/16 in. (19.8 x 17.6 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

Annie, 1857–58, Etching; sixth state of seven (Glasgow); printed in black ink on fibrous ivory laid paper, Plate: 4 5/8 x 3 1/8 in. (11.7 x 7.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Pluto riding a chariot descending into Hell, from the 'Division of the Universe', 1531–76, Engraving, sheet: 7 11/16 x 10 in. (19.5 x 25.4 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Cook and His Wife, ca. 1496, Engraving, Sheet: 4 1/4 × 3 1/16 in. (10.8 × 7.8 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A faun standing in a niche holding aloft a bunch of grapes with his right hand and fruit with his left hand, a dog lower right, ca. 1515–27, Engraving, Sheet (Trimmed): 8 11/16 × 4 1/4 in. (22 × 10.8 cm), Prints, Marco Dente (Italian,

The Long Balcony, 1894, Transfer lithograph, drawn on fine-grained transfer paper; second state of two (Chicago); printed in black ink on medium weight laid paper, 10 3/4 x 8 1/4 in. (27.3 x 21 cm), Prints, James McNeill Whistler (American,

Elevation for the Episcopal Palace at Cahors, France, mid-18th century, Pen and black ink, brush and gray, blue, and pink wash, 9 1/4 x 16 7/8 in. (23.5 x 42.9 cm), Drawings, Anonymous, French, 18th century

Allegory of the Foglia River with the city of Pesaro's coat of arms, frontispiece for 'Il Pesarese', ca. 1639, Etching, Sheet: 5 1/2 × 3 9/16 in. (14 × 9 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Design for the Collège de France, Paris: Elevation of Court Front Showing Entrance Screen, ca. 1772, Pen and black and gray ink, gray and blue wash, 12 9/16 x 19 1/8 in. (31.9 x 48.5 cm), Jean François Chalgrin (French, Paris 1739–1811

The Last Supper, ca. 1764, Etching, first state of two, Sheet: 6 5/8 x 8 1/2 in. (16.8 x 21.6 cm), Prints, Jean Honoré Fragonard (French, Grasse 1732–1806 Paris), After Sebastiano Ricci (Italian, Belluno 1659–1734 Venice

Grotesque Head With a Large Eyebrow 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

The Annunciation, 1675–1741, Pen and brown ink, brush and brown wash, over graphite or lead. Framing outlines with scalloped top border in brush and brown wash, 11 x 7 13/16in. (28 x 19.9cm), Drawings, attributed to Giovanni Antonio

The Amorous Lion, from the Fables of La Fontaine, 1850–1914, Etching, sheet: 17 1/2 x 12 5/8 in. (44.5 x 32.1 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Gustave Moreau (French, Paris 1826–1898 Paris

Two Low Tables with Ornamental Objects, 19th century, Pen and ink and gouache, Overall: 14 1/8 x 18 3/8 in. (35.9 x 46.7 cm), Drawings, Anonymous, Chinese, 19th century

Man Dreaming, 1825–80, Lithographic crayon, Sheet: 7 7/8 x 11 11/16 in. (20 x 29.7cm), Drawings, Formerly attributed to copy after Honoré Daumier (French, Marseilles 1808–1879 Valmondois

IIllustration from Dürers Vier Bucher von Menslicher Proportion, Nuremberg, 1528, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Antigone Gives Token Burial to the Body of Her Brother Polynices, 1835–98, Watercolor, pen and black ink over black chalk, on gray-green paper, 10 13/16 x 13 7/8 in. (27.4 x 35.3 cm), Drawings, Jules-Eugène Lenepveu (French, Angers

The Young Girl Resting, 1756, Etching; first state of two, Sheet: 11 5/16 x 8 11/16 in. (28.7 x 22 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), Although he worked primarily as a painter and draftsman, Boucher found early

Plate 48 from 'The Disasters of War' (Los Desastres de la Guerra): 'Cruel tale of woe!'(Cruel Lástima!), 1811–12 (published 1863), Etching, burnished lavis, burin and burnisher, Plate: 6 in. × 8 1/16 in. (15.3 × 20.5 cm), Prints, Goya

Design for the painted decoration of a ceiling, 1830–97, pen and white ink, watercolor, and gold paint on wove paper mounted on blue wove paper, Overall: 13 9/16 x 19 1/2 in. (34.4 x 49.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Joseph and Potiphar's Wife, ca. 1550, Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of black chalk, on blue paper; traces of framing outlines in pen and brown ink along upper and right borders, sheet: 5

Angel Seated on a Cloud, ca. 1560, Etching and engraving, sheet: 7 1/16 x 5 9/16 in. (18 x 14.2 cm), Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Christ on the Cross, 15th century, Woodcut, hand-colored, sheet: 11 13/16 x 8 3/16 in. (30 x 20.8 cm), Prints, Anonymous, German, 15th century

The Orchestra of the Olympia, Shoreditch, ca. 1920, Etching; only state, plate: 11 7/8 x 8 7/8 in. (30.2 x 22.5 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Design for the painted decoration of a ceiling in strapwork and rinceaux, second half 19th century, Graphite, watercolor, and gouache on wove paper; mounted on blue wove paper, Overall: 14 13/16 x 10 7/16 in. (37.6 x 26.5 cm), Drawings,

Plate 65 from ' Los Caprichos':Where is mother going? (Donde vá mamá?), 1799, Etching, aquatint and drypoint, Plate: 8 1/8 × 6 7/16 in. (20.6 × 16.4 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Gluttony (Gula) from The Seven Deadly Sins, 1558, Engraving, Sheet: 8 3/4 x 11 9/16 in. (22.3 x 29.3 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Pieter van der Heyden (Netherlandish, ca.

Songs of Experience: Introduction: Hear the voice of the Bard, 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

Plate 8: A the bow of a galley at left and another galley at right, seen from behind, two rowboats in center, a hill with a fortress in the background, from 'Various landscapes' (Divers paysages), ca. 1641, Etching; second state of two, Sheet

Design for Hardware, 19th century, Black chalk, sheet: 11 15/16 x 9 5/16 in. (30.3 x 23.7 cm), Anonymous, French, 19th century

Partial design for a painted ceiling, 1830–97, graphite, wash, watercolor, gouache, and gold paint on wove paper; mounted on blue wove paper, Overall: 10 13/16 x 8 11/16 in. (27.4 x 22 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

The Tapestry at Michelfeld, n.d., Woodcut, sheet: 5 1/4 x 10 3/16 in. (13.3 x 25.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Four Angels Holding the Winds, from The Apocalypse, n.d., Woodcut, sheet: 17 5/16 x 12 1/16 in. (44 x 30.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Scene of Martyrdom, after Giovanni Angelo Canini, Red chalk, over traces of black chalk, 14 15/16 x 12 in. (38 x 30.5 cm), Drawings, Jean Robert Ango (French, active Rome, 1759–70, died after 1773

Palazzo dei Conservatori, portico, plan; façade cornice, elevation; minor order, cornice; column, elevation; pedestal, elevation (recto) Palazzo dei Conservatori, portal, elevation; section (verso), early to mid-16th century , Dark brown

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor and graphite, Irregular sheet: 6 1/4 x 5 3/8 in. (15.9 x 13.6 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Stage Set: Interior of a Palazzo Decorated with Large Mirrors and Console Tables, 1698–1765, Pen and brown ink, brush with brown and gray wash, 5 1/8 x 4in. (13 x 10.2cm), Drawings, Giovanni Battista Natali III (Italian,

Plate 31 of the 'Tauromaquia': Banderillas with firecrackers., 1816, Etching, burnished aquatint, drypoint, burin and lavis, Plate: 9 3/4 x 13 3/4 in. (24.7 x 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos

L'Estropié au Capuchon (The Beggar Wearing a Hood), from Varie Figure Gobbi, suite appelée aussi Les Bossus, Les Pygmées, Les Nains Grotesques (Various Hunchbacked Figures, The Hunchbacks, The Pygmes, The Grotesque Dwarfs), 1616–22,

Domus Aurea, unidentified, grotteschi, details (recto) blank (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 5 1/8 x 6 15/16 in. (13 x 17.6 cm

A Speedy & Effectual Preparation for the Next World, May 1, 1777, Etching, plate: 9 5/8 x 13 3/4 in. (24.5 x 35 cm), Prints

Study of Two Figures for the Age of Gold, 1637, Black chalk, slightly reworked by the artist with the wet tip of the chalk stick, 12 11/16 x 9 3/4in. (32.3 x 24.7cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona

The Holy Family with the Infant Baptist, 1527–85, Pen and brown ink, brush and brown wash., 9 3/4 x 6 1/8in. (24.7 x 15.6cm), Drawings, Luca Cambiaso (Italian, Moneglia 1527–1585 Madrid

Right and Part of the Left Half of a Design for a Cartouche, 1604–87, Pen and ink, over faint traces of black chalk, sheet: 9 15/16 x 8 3/8 in. (25.3 x 21.2 cm), Michelangelo Colonna (Italian, Ravenna/Como 1604–1687 Bologna

Distinguished Meal, 1770, Etching, Sheet (trimmed): 7 1/16 × 8 11/16 in. (18 × 22 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Claude Gillot (French, Langres 1673–1722 Paris

Studies for an Education of the Virgin: Saint Anne Teaching the Virgin to Read, 1659–1734, Pen and brown ink over black chalk, 9 7/16 x 6 1/2in. (23.9 x 16.5cm), Drawings, Sebastiano Ricci (Italian, Belluno 1659–1734 Venice

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 9 1/4 x 10 1/8 in. (23.5 x 25.7 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Design for a Candelabra, 19th century, Pen and brown ink, sheet: 9 5/8 x 5 1/16 in. (24.4 x 12.8 cm), Drawings, Anonymous, French, 19th century

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

Saint Anthony Reading, 1519, Engraving, Sheet: 3 7/8 × 5 5/8 in. (9.8 × 14.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The birth of Bacchus, from 'The Loves of the Gods', ca. 1531–76, Engraving, sheet: 6 11/16 x 4 7/16 in. (17 x 11.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

The Prodigal Son, ca. 1496, Engraving, Sheet: 9 13/16 × 7 5/8 in. (24.9 × 19.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Box Lid, ca. 1750, Pen and black ink, brush and light orange and green wash, over touches of black chalk and graphite. Border line in pen and black ink with narrow line of orange wash., 1 11/16 x 2 13/32 in. (4.3 x 6.1 cm),

Skating before the St. George's Gate, Antwerp, ca. 1558, Engraving; first state of two, 9 1/8 x 11 3/4 in. (23.2 x 29.9 cm), Prints, After Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels), Frans Huys

Sibylle Tiburtine, ca. 1635, Engraving (figure by Rousselet) and etching (background by Bosse), sheet: 14 1/8 x 8 5/16 in. (35.8 x 21.1 cm), Prints, Gilles Rousselet (French, Paris 1614–1686 Paris), Abraham Bosse (French, Tours

Framed Unfinished Design of a Baroque Church Interior., before 1769, Pen and brown ink, brush and gray-blue and brown wash over traces of graphite, sheet: 14 1/8 x 10 9/16 in. (35.8 x 26.8 cm), Attributed to Giovanni Maria Galli Bibiena, the

Studies of a Reclined Woman on a Seashell, for the Triumph of Galatea (recto and verso), ca. 1692, Brush and brown wash, over black chalk (recto); black chalk (verso), 10-1/2 x 7-13/16 in. (26.7 x 19.8 cm), Drawings, Paolo De Matteis (Italian,

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