Images at Librifly

Design for a Covered Vase, 18th century, Red chalk, sheet: 7 1/8 x 5 3/8 in. (18.1 x 13.7 cm), Attributed to Anonymous, French, 18th century

La fidelité, 17th century, Pen and brown ink, brush and gray wash, graphite., 5 3/8 x 2 11/16 in. (13.7 x 6.8 cm), Drawings, Anonymous, French, 17th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor over graphite, Irregular sheet: 12 3/16 x 8 1/4 in. (31 x 21 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Conversion of St. Paul, 1509, Engraving, Sheet: 11 1/8 in. × 16 in. (28.3 × 40.7 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden), In a tiny vignette in the left background, Lucas depicted the dramatic moment

Elevation of the Pompe de la Samaritaine, Paris, ca. 1713–14, Pen and black ink, brush and gray wash, and graphite, 18 3/4 x 15 1/2 in. (47.7 x 39.4 cm), Drawings, Robert de Cotte (French, Paris 1656/57–1735 Paris

Greek Vase featuring Eros, 18th century, Watercolor, Overall: 9 3/8 in. X 7 1/4 in. (23.8 X 18.4 cm), Drawings, Anonymous, French, 18th century

Plate 44 from 'Los Caprichos': They spin finely (Hilan delgado.), 1799, Etching, aquatint, drypoint, and burin, Plate: 8 7/16 × 5 15/16 in. (21.4 × 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Fireplace and Grate Design with Sunflower Andirons, 19th century, Ink and watercolor, Anonymous, British, 19th century

Trajan Fighting the Dacians; Trajan on horseback at right riding towards a group of soldiers at left and trampling two men, ca. 1515–1600, Engraving, Sheet (Trimmed): 3 1/4 × 5 1/16 in. (8.3 × 12.8 cm), Prints, Anonymous, Italian, 16th to

The Holy Family with Saint John the Baptist, ca. 1637–1640 or after, Etching, Plate: 6 5/16 × 8 7/16 in. (16 × 21.5 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Study for a Garden Capriccio, n.d., Pen and black ink, over graphite underdrawing. Framing lines in pen and black ink., 17 3/8 x 10 3/4 in. (44.1 x 27.3 cm), Workshop of Gilles-Marie Oppenord (French, Paris 1672–1742 Paris

Apollo and Leucothea, from 'The Loves of the Gods', ca. 1531–76, Engraving, sheet: 5 11/16 x 4 3/8 in. (14.5 x 11.1 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

Design for a Ceiling Decoration with Putti and Garland Motifs., 1709–20, Pen and brown ink, over graphite or leadpoint with ruled and compass construction, 13 5/16 x 12 15/16in. (33.8 x 32.8cm), Drawings, Attributed to Donato Giuseppe Frisoni

Venus Entrusting an Infant to Time, 1696–1770, Pen and brown ink, brush and brown wash, over black chalk, 12 x 10 in. (30.5 x 25.4 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid

Two Designs for Tombs, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 10 3/16 x 12 1/2 in. (25.9 x 31.7 cm), Drawings, Anonymous, French, 16th century

The Witches at the Walnut Tree of Benevento, 1534–77, Pen and brown ink, Sheet: 2 3/8 × 7 1/8 in. (6 × 18.1 cm), Drawings, Guglielmo della Porta (Italian, Porlezza, near Lake Lugano ca. 1500–1577 Rome

Saint Christopher Facing Right, 1521, Engraving, Sheet: 4 11/16 × 2 15/16 in. (11.9 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Portrait of Louis XVI, late 18th century, Stipple engraving, printed in colors, sheet: 10 11/16 x 8 11/16 in. (27.2 x 22 cm), Prints

Adoration of the Magi, 1560–1630, Red and white chalk on paper, 6 3/16 x 7 13/16in. (15.7 x 19.8cm), Drawings, Attributed to Cesare Pollino (Cesare dal Francia or Franchi) (Italian, Perugia ca. 1560–1598 Rome

A Paradice [sic] for Fools–A Nocturnal Trip–or–The Disciple of Johanna benighted–vided Scourge No. XXXVI, page 510, September 1, 1814, Hand-colored etching, sheet: 8 11/16 x 21 9/16 in. (22 x 54.8 cm), Prints, Charles Williams

Design for an Polygonal Tabernacle, with Obelisks and a Pediment Surmounted by Three Figures Supporting a Tempietto-like Structure, 1512–72, Pen and brown ink, brush and brown wash, over preliminary constructions in black chalk or graphite,

Unidentified Subject: Nine Figures and a Horse, 1624–63, Pen and brown ink, over red chalk. Framing lines in pen and brown ink on mount, 2 1/2 x 4 in. (6.4 x 10.2 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, Irregular sheet: 8 7/16 x 5 9/16 in. (21.5 x 14.1 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Portrait of Louis Robert, 1873, Etching on heavy wove paper; fourth state of four, sheet: 20 1/4 x 15 5/8 in. (51.5 x 39.7 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Man Singing and Playing a Lute, mid to late 17th century, Etching, Sheet (trimmed): 8 5/16 × 5 11/16 in. (21.1 × 14.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Group of Armed Men (copy), n.d., Engraving, sheet: 4 3/8 x 3 1/8 in. (11.1 x 7.9 cm), Prints, Jan Muller (Netherlandish, Amsterdam 1571–1628 Amsterdam), After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Chelsea Rags, 1888, Transfer lithograph, drawn on coarse-grained transfer paper; only state (Chicago), Image: 7 1/16 × 6 1/4 in. (18 × 15.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

La Matrone d'Ephese, from Contes et nouvelles en vers par Jean de La Fontaine. A Paris, de l'imprimerie de P. Didot, l'an III de la République, 1795, published in 1795, Etching and engraving; second state of three (Cohen), Sheet: 13 3/4 × 10

The Little Horse (copy), n.d., Engraving, Sheet: 6 1/2 × 4 1/4 in. (16.5 × 10.8 cm), Prints, Jan (Johannes) Wierix (Netherlandish, Antwerp 1549–1615 Brussels), After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Joseph Interpreting Pharaoh's dreams (copy), n.d., Engraving, sheet: 4 15/16 x 6 9/16 in. (12.6 x 16.6 cm), Prints, After Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Single Door and Overdoor Panel with Cupids Bearing a Violin, second half 19th century, Graphite, pen and black ink, and watercolor, 8 3/4 x 4 3/4 in. (22.2 x 12.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

Les Canards l'ont bien passé, 1850–1914, Etching; third and final state, sheet: 8 1/2 x 11 7/8 in. (21.6 x 30.2 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Giacobbe, che pasce l'armento di labano, 18th century, etching, image: 13 3/16 x 18 7/8 in. (33.5 x 48 cm), Prints, Pietro Monaco (Italian, 1707–1772), After Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Three Cupids and Two Dolphins, 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

Designs for Two Candelabras and a Pedestal, 19th century, Pen and brown ink, sheet: 10 1/8 x 8 1/4 in. (25.7 x 20.9 cm), Drawings, Anonymous, French, 19th century

Design for Jewelry, 19th century, Graphite, brush and brown wash, gouache, sheet: 6 11/16 x 4 3/16 in. (17 x 10.7 cm), Drawings, Anonymous, French, 19th century

The Adoration of the Shepherds., 17th century, Pen and dark brown ink; traces of framing outlines in pen and brown ink, Sheet: 8 1/8 x 6 5/16 in. (20.6 x 16 cm), Drawings, Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596–1669

Waggoners Frocks or No Bodys of 1795, August 4, 1795, Hand-colored etching, sheet: 14 9/16 x 11 3/16 in. (37 x 28.4 cm), Prints, Anonymous, British, 18th century

Ephraim Bueno, Jewish Physician, 1647, Etching, drypoint, and burin; second state of two, sheet: 9 5/8 x 6 15/16 in. (24.4 x 17.7 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Frontispiece: Ornamenti o Grottesche, ca. 1653, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Half-figure of a Young Woman, 1918, Graphite., 22 3/8 x 14 11/16 in. (56.9 x 37.3 cm), Drawings, Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna), Rapidly executed during Klimt's late period, this sensuous drawing belongs to a large

The Stoning of St. Stephen, 1635, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Madonna in Glory Crowned by Angels (Schr. 1113), 15th century, Woodcut, hand-colored, sheet: 2 1/4 in. (5.7 cm), Prints, Anonymous, German, 15th century

Design for a Frieze, 18th century, Black chalk, sheet: 5 1/16 x 11 1/16 in. (12.8 x 28.1 cm), Drawings, Anonymous, French, 18th century

The Angel with the Key to the Bottomless Pit, ca. 1498, Woodcut, sheet: 15 3/8 x 11 in. (39.1 x 28 cm) trimmed to block line, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The standing Virgin with an elaborate ornamental frame, 17th century, Engraving, Prints, Anonymous, Netherlandish, 16th century

Saint Bartholomew, 1523, Engraving, Sheet: 4 3/4 × 2 15/16 in. (12.1 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Saint Joseph at left and a bishop at right standing before the altar of the Virgin and Christ Child, ca. 1515–27, Engraving, Sheet (Trimmed): 10 1/4 × 7 5/16 in. (26 × 18.5 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died

Man Seated at a Keyboard Instrument, 1774, Pen and brown ink, brush and brown wash, 12 11/16 x 8 1/8 in. (32.3 x 20.5 cm), Drawings, François André Vincent (French, Paris 1746–1816 Paris

Episode from the 'Gesta Romanorum': The Emperor and the Page, 1500–1537, Pen and black ink, gray wash. Framing line in pen and black ink., diameter: 7 13/16 in. (19.8 cm), Drawings, Jörg Breu the Elder (German, Augsburg 1480–1537

Study of a Tree; verso: Study of Houses, 1832, Graphite, sheet: 8 3/8 x 6 15/16 in. (21.2 x 17.7 cm), Drawings, Ernst Ferdinand Oehme (German, Dresden 1797–1855 Dresden

Le Boulevard de Gand à Paris, 19th century, Hand-colored etching, sheet: 8 7/16 x 11 15/16 in. (21.4 x 30.3 cm), Prints, Georges Jacques Gatine (French, Caen, ca. 1773–after 1841

Churchyard, 1887, Transfer lithograph, drawn on coarse-grained transfer paper; only state (Chicago), Image: 8 1/4 × 6 13/16 in. (21 × 17.3 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

The Artist's Mother Seated at a Table Looking Right: Three-Quarter Length, ca. 1631, Etching; New Holl.'s second state of three, Sheet: 5 15/16 × 5 3/16 in. (15.1 × 13.2 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669

A Forest Edge with Peasants and a Village in the Background; verso: Landscape Sketch, late 18th–mid 19th century, Black chalk, brown-gray wash; framing line in black chalk, by the artist, sheet: 11 15/16 x 15 7/16 in. (30.3 x 39.2 cm),

Designs for Four Candle Fixtures, 19th century, Pen and brown ink, sheet: 7 5/8 x 10 1/16 in. (19.4 x 25.6 cm), Drawings, Anonymous, French, 19th century

A satyr discovering a sleeping woman; two crabs hanging from a rope which is strung between a term and a tree, ca. 1515–27, Engraving, Sheet (Trimmed): 4 3/8 × 6 3/4 in. (11.1 × 17.2 cm), Prints, Marco Dente (Italian, Ravenna, active by

The Past, the Present, and the Future (Le passé – Le présent – L'Avenir), published in La Caricature, no. 166, Jan. 9, 1834, January 9, 1834, Lithograph, Sheet: 13 3/4 × 10 5/8 in. (35 × 27 cm), Prints, Honoré Daumier (French,

The adoration of the shepherds, various figures surrounding the Christ Child in the centre, 1531–76, Engraving, Sheet: 10 5/8 × 16 15/16 in. (27 × 43 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576),

Trofei di Mario, Rome, 1776, Black chalk, framing lines in pen and brown ink, 12 3/4 x 18 1/8 in. (32.4 x 46.1 cm), Drawings, Louis Chaix (French, Marseilles 1740–1811 Paris

Four Beggar Women, ca. 1641, Etching, Sheet (trimmed): 3 9/16 × 2 3/4 in. (9 × 7 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Flagellation, from The Passion, 1512, Engraving, Sheet: 4 3/4 × 3 1/16 in. (12 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Drawing of a Fountain, 16th century, Pen and brown ink, brush and brown wash, over faint black chalk., 9 1/2 x 10 1/2 in. (24.1 x 26.7 cm), Drawings, Anonymous, French, 16th century

Jael and Sisera, 1611–74, Brush and grey ink, heightened with white bodycolor. Framing line in brush and grey ink and white bodycolor, sheet: 8 1/4 x 11 13/16 in. (21 x 30 cm), Drawings, Leonaert Bramer (Dutch, Delft 1596–1674 Delft

St. James's Street, 1878, Etching and drypoint; fourth state of four (Glasgow); printed in black ink on ivory laid paper, Plate: 10 13/16 × 5 7/8 in. (27.4 × 15 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Devil's Bridge toward the Gothard Mountain in Switzerland, 1785–1824, Brush and brown, gray and green watercolor and bodycolor. Framing line in black ink and an approximately 1.25 inch border of olive-green watercolor., sheet: 22 3/8 x 17 1/4

Cats, 1868–69, Etching on blue laid paper, only state, from 1905 Strölin edition, plate: 6 5/8 x 8 7/16in. (16.8 x 21.4cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Standing Scholar (Prophet?) Turned to the Right (Recto); Standing Scholar (Prophet?) Turned to the Left (Verso), ca. 1460–70, Germany, Middle Rhine, Pen and carbon black ink, traces of black chalk underdrawing, on paper prepared with sanguine

Design for Two Red Fringed Curtains with Gold Pelmets, early 19th century, Ink, watercolor and wash, sheet: 9 7/16 x 11 7/8 in. (24 x 30.1 cm), Anonymous, British, 19th century

Design for a Firescreen, early 19th century, Ink and gouache, sheet: 7 3/16 x 4 3/8 in. (18.2 x 11.1 cm), Attributed to Gillows (British, 19th century

Caricature of a Junkman [recto], Caricature of a School Master [verso], Pen and black ink with brush and brown, blue and pink washes over black chalk underdrawing [recto], 6 11/16 x 4 3/16 in. (17 x 10.6 cm.), Drawings, Jean Charles Delafosse

Kitty K. (The Small Plate), 1920, Etching and engraving; only state, plate: 6 7/8 x 4 5/8 in. (17.5 x 11.8 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Design for Two Fringed Curtains Handing from Rods (Verso: Sketches), early 19th century, Graphite, sheet: 9 1/2 x 11 7/8 in. (24.2 x 30.2 cm), Anonymous, British, 19th century

Design for Two Small Cabinets, early 19th century, Graphite, sheet: 8 11/16 x 12 5/16 in. (22 x 31.2 cm), Anonymous, British, 19th century

Heads of Three Lions, ca. 1641, Etching; second state of two, Sheet: 4 1/4 × 6 1/8 in. (10.8 × 15.5 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a Bed and Canopy, 18th Century, Pen and black and gray ink, brush and gray, orange, and red wash, 8 11/16 x 14 5/8 in. (22 x 37.1 cm), Drawings, Circle of Charles Percier (French, Paris 1764–1838 Paris), Circle of Pierre

An allegory of the rising sun, a naked man wearing a shroud and accompanied Father Time is being drawn by horses, 1531–76, Engraving, sheet: 9 3/4 x 13 3/8 in. (24.8 x 34 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna,

Bacchanal before an altar to the gods, ca. 1645, Etching, plate trimmed on all sides, state undetermined, sheet: 7 9/16 x 7 in. (19.2 x 17.8 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Job's Despair, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 9/16 x 6 9/16 in. (21.7 x 16.7 cm), Prints, William Blake (British, London 1757–1827 London

Christ Crowned with Thorns, 1519, Engraving; second state, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Two Men Holding Long Staffs (recto); Proof impression of part of an etching, and scribbles in the artist's hand (verso), 1720–78, Pen and brown ink, 6 9/16 x 8 3/8in. (16.6 x 21.3cm), Drawings, Giovanni Battista Piranesi (Italian, Mogliano

The Royal Family of Troy Mourning the Death of Hector, 1734–1802, Black chalk., 8 1/8 x 11 3/8in. (20.7 x 28.9cm), Drawings, Gaetano Gandolfi (Italian, San Matteo della Decima 1734–1802 Bologna

Design for a Clock, ca. 1770–90, Pen and black and brown ink, brush and green, yellow, and gray wash, 17 5/8 x 13 in. (44.8 x 33 cm), Drawings, Anonymous, French, 18th century

Anne 1921, 1923, Lithograph, image: 9 x 9 in. (22.9 x 22.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Lot and His Daughters, 1624–63, Pen and brown ink, brush and brown wash. Framing lines in red chalk, and pen and brown ink on mount, 3-1/8 x 4-3/8 in. (7.9 x 11.1 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?)

Design for Pediment with Two Heraldic Crests, Lions and a Crown, 18th century, Graphite, pen and black ink, brush and gray wash., sheet: 4 7/8 x 12 15/16 in. (12.4 x 32.9 cm), Anonymous, French, 18th century, Attributed to Jean Charles

Satyr and Satyress Seated on a Pedestal Supporting a Vase., 1652–1725, Pen and brown ink, brush and gray-brown wash over traces of black chalk, sheet: 7 5/8 x 4 5/16 in. (19.3 x 10.9 cm), Giovanni Battista Foggini (Italian, Florence

Ceremony of the Contract of Marriage between W?adys?aw IV, King of Poland, and Marie Louise Gonzaga, Princess of Mantua, at Fontainebleau, 1645, Etching; second state of two, Sheet: 10 13/16 × 13 1/8 in. (27.4 × 33.3 cm), Prints, Abraham

Angel with a Banderole, 1555–1629, Red chalk, brush and red wash, highlighted with white, on beige paper, 9 7/16 × 4 3/16 in. (24 × 10.7 cm), Drawings, Camillo Procaccini (Italian, Bologna 1555–1629 Milan

Elaborately Framed Roundel of Christ Washing the Feel of the Apostles, after 1800 (?), Watercolor over black crayon, 22 3/4 x 17 1/16 in. (57.8 x 43.3 cm), Drawings, Anonymous, German, 19th century

Healing the Paralytic (Jésus-Christ prouve en guérissant un paralytique, qu'il a le pouvoir de pardonner les péchés), Etching, sheet: 8 13/16 x 6 5/16 in. (22.4 x 16 cm), Prints, Claude Vignon (French, Tours 1593–1670 Paris

Coat of arms with Three Lions' Heads, n.d., Woodcut, sheet: 12 15/16 x 9 13/16 in. (32.9 x 25 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Illustration for Goethe, 1842, Watercolor, over graphite (?). Three framing lines, the inner one in pen and brown ink, the outer ones in graphite., sheet: 12 1/4 x 9 3/16 in. (31.1 x 23.4 cm), Drawings, Leopold Schulz (Austrian, Vienna

Bead Stringers, 1879–80, Etching and drypoint; fifth state of eleven (Glasgow); printed in black ink on ivory laid paper, image: 8 15/16 x 5 15/16 in. (22.7 x 15.1 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Study for Clovis (middle register; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk, white chalk, on gray paper, stumped, 15 1/16 x 9 1/8 in. (38.4 x 23.1 cm), Drawings, Isidore

Stone Cutter, 1737, Etching with some engraving, Image: 8 11/16 x 6 5/8 in. (22 x 16.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Leaving the Bath, 1879–80, Drypoint and aquatint on laid paper; twelfth state of twenty-two, or more states, plate: 5 x 5 in. (12.7 x 12.7 cm), Prints, Edgar Degas (French, Paris 1834–1917 Paris

Design for a ceiling, second half 19th century, Graphite, gilt, gouache, and watercolor, Overall: 10 5/8 x 8 1/4 in. (27 x 21 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite on blue paper, sheet: 14 1/8 x 10 1/16 in. (35.9 x 25.5 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Italy, from Pictures of Extra Articles and Visitors to the Exhibition, ca. 1851, Wood engraving, sheet: 4 3/4 x 13 7/8 in. (12.1 x 35.3 cm), Prints, Richard Doyle (British, London 1824–1883 London