Images at Librifly

Design for Hôtel de Trevise, Paris, second half 19th century, Pen and gray ink, watercolor, heightened with white, 6 7/8 x 16 15/16 in. (17.5 x 43.1 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

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

A Sibyl Holding a Scroll (Study for the Cimmerian Sibyl), 1638, Pen and dark brown ink, sheet: 7 13/16 x 5 7/8 in. (19.8 x 15 cm), Drawings, Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591–1666 Bologna), Like other Sibyls of the

Architectural fantasy, 18th century, Pen and brown ink, watercolor, 9 in. (22.8 cm) in diameter, Drawings, Attributed to Jean Henri Alexandre Pernet (French, Paris 1763–after 1789

The Toilet, 1878, Lithotint, with scraping and incising, on a prepared half-tint ground; second state of five, Image: 10 1/8 x 6 7/16 in. (25.7 x 16.4 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Head of a Bearded Man Looking to Lower Left (Nicodemus), 1579–82, Brush and oil paint on paper, 15 1/4 x 10 3/4in. (38.7 x 27.3cm), Drawings, Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino), This full-scale colored oil sketch on

Hercules at the Crossroad, ca. 1498, Engraving, Sheet: 13 1/8 × 9 1/8 in. (33.4 × 23.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Advancing Figure, 1568–1640, Red chalk, 7 13/16 x 3 5/8in. (19.8 x 9.2cm), Drawings, Cavaliere d'Arpino (Giuseppe Cesari) (Italian, Arpino 1568–1640 Rome

A Pikeman, 1632, Etching; second state of two, Sheet (trimmed): 9 5/16 × 6 5/16 in. (23.6 × 16 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Study of B.P., 1923, Lithograph, image: 8 3/4 x 7 3/8 in. (22.2 x 18.7 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

Ecce Homo, from The Passion, 1512, Engraving, Sheet: 4 5/8 × 2 15/16 in. (11.8 × 7.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Decorative Group, 16th century, Pen and brown ink, on brown paper, 8 7/8 x 8 1/2in. (22.5 x 21.6cm), Drawings, After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42–1609 Ancona

Tavolo e sedin [Perspective of a Circular Table with 3-Pedestal Base and a Side Chair], 1937, Brown pencil, Drawings, Guglielmo Ulrich (Italian, 1904–1977

The Virgin with the Swaddled Child (copy), n.d., Engraving, Sheet: 5 7/16 × 3 11/16 in. (13.8 × 9.4 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Cartouche, 18th century, Pen and wash, sheet: 6 1/8 x 9 1/8 in. (15.6 x 23.2 cm), Drawings, Fortunato Tesi (Italian, 18th century

La salle des pas-perdus a l'ancien Palais de Justice (The antechamber of the Palais de Justice, Paris, after Ducerceau), 1855, Etching (from a pewter plate), plate: 12 x 17 1/8 in. (30.5 x 43.5 cm), Prints, Charles Meryon (French,

'Les Miséreaux', 1859–1923, Black chalk tinted with colored chalks, 21 x 16 in. (53.3 x 40.6 cm), Drawings, Théophile-Alexandre Steinlen (French (born Switzerland), Lausanne 1859–1923 Paris

La Loi Solaire, 19th century, Prints, Charles Meryon (French, 1821–1868

Job's Evil Dreams, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 8 1/2 x 6 5/8 in. (21.6 x 16.8 cm), Prints, William Blake (British, London 1757–1827 London

The Cobbler, ca. 1632–33, Etching, Sheet: 11 7/16 × 14 11/16 in. (29 × 37.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Cartouche Framed by Children and a Goat, 1646, Etching; second state, Sheet: 4 1/8 × 7 5/16 in. (10.5 × 18.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Assumption of the Virgin, 1575–1642, Red chalk, 10 1/2 × 7 5/8 in. (26.7 × 19.4 cm), Drawings, After Guido Reni (Italian, Bologna 1575–1642 Bologna

Design for Architectural Ornament; verso: Two Designs for Architectural Ornament, 18th century, Graphite, sheet: 4 13/16 x 7 5/16 in. (12.3 x 18.5 cm) irregular, Drawings, Anonymous, French, 18th century

A Lyre Bird, ca. 1846–55, Graphite, 3 9/16 x 2 in. (9.1 x 5.1 cm), Drawings, Charles Meryon (French, 1821–1868

The Unsafe Tenement (The Old Farm), 1858, Etching; third state of four (Glasgow), printed in black ink on gray chine on white wove paper (chine collé), plate: 6 1/8 x 8 7/8 in. (15.6 x 22.5 cm), Prints, James McNeill Whistler (American,

Christ on the Cross with the Virgin and Saint John, 15th century, Woodcut, hand-colored, sheet: 13 3/4 x 9 1/16 in. (35 x 23 cm), Prints, Anonymous, German, 15th century

Rapture (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Hand-colored etching, printed in brown ink, sheet: 11 7/16 x 8 11/16 in. (29 x 22.1 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

Hercules and Cacus, n.d., Woodcut, sheet: 15 7/16 x 11 1/8 in. (39.2 x 28.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Watercolor over graphite, sheet: 9 7/16 x 17 5/16 in. (24 x 43.9 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Title-page from Pelbartus de Temesvar, 1502–14, Metalcut (?), sheet: 11 13/16 x 8 3/4 in. (30 x 22.2 cm), Prints, Johann Otmar (German, Augsburg, 1502–1514

Rest on the flight into Egypt, Mary holding the infant Christ while St. Joseph hands him a fruit, ca. 1639, Etching, Sheet: 12 3/16 × 7 11/16 in. (31 × 19.6 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

A horseman with sword in hand galloping towards the right, other horsemen galloping towards the left in the background, from 'Various cavalry exercises' (Diverses exercices de cavalerie), ca. 1645–46, Etching, Sheet (trimmed): 3 9/16 in. × 3

The Triumph of Nature Over Art (design for an engraving of 'De Florum Cultura'), ca. 1633, Pen and brown ink, brush and brown wash, over black chalk, 7 13/16 x 5 11/16in. (19.9 x 14.5cm), Drawings, Pietro da Cortona (Pietro Berrettini)

Fan Leaf Decorated with Caricatures and Reversible Heads, early 19th century, Etching on prepared green paper, sheet: 12 5/16 x 21 1/4 in. (31.3 x 53.9 cm), Prints, Attributed to Anonymous, French, early 19th century

Design for a Piano with an Owl, 19th century, Graphite, sheet (irregular): 6 5/8 x 4 in. (16.8 x 10.1 cm), Anonymous, French, 19th century

Standing Gentleman, three-quarter length profile facing right, n.d., Black chalk, heightened with white on dark brown paper, 15 13/16 x 5 11/16 in. (40.1 x 14.5 cm), Drawings, Attributed to Anne Louis Girodet-Trioson (French, Montargis

Illustration for 'The Major's Daughter' (Once a Week), 1862, Wood engraving; proof, sheet: 5 x 4 7/16 in. (12.7 x 11.3 cm), Prints, After James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Frontispiece for Les Tréteaux by Charles Monselet [Paris, 1859], 1850–1914, Etching; third and final state, sheet: 7 7/8 x 5 5/16 in. (20 x 13.5 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Temple of Minerva, elevation of architrave (recto) Temple of Minerva, column shaft (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 9/16 x 17 3/8 in. (29.3 x 44.2 cm

The Poet Virgil in a Basket, 1525, Engraving; first state, Sheet: 9 5/8 × 7 7/16 in. (24.5 × 18.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden), According to medieval legend, Virgil fell in love with the Roman

Procession (left-hand portion of border below Sacrifice of Isaac, inlaid-marble pavement, Siena Cathedral), 1520–50, Pen and brown ink, brush and brown wash, over leadpoint or black chalk, 3 7/8 x 16 3/8in. (9.8 x 41.6cm), Drawings, After

Songs of Experience: Title page, 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 1757–1827 London

Study of a Seated Putto Looking at His Right (recto); A Woman's Head, Study after the Antique (verso), 1590–1630, Red chalk (recto and verso), framing in black chalk (recto), 7 15/16 x 5 3/16in. (20.2 x 13.2cm), Drawings, Anonymous Roman

The Island of San Giorgio Maggiore, Venice, 1764–1835, Pen and brown ink, brush and gray wash, over traces of black chalk. Framing lines in pen and brown ink, 7 1/16 x 8 5/8in. (18 x 21.9cm), Drawings, Giacomo Guardi (Italian, Venice (?)

Plate 34 from 'Los Caprichos': Sleep overcomes them (Las rinde el Sueño.), 1799, Etching and burnished aquatint, Plate: 8 7/16 x 5 15/16 in. (21.4 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

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

Design for a paneled ceiling painted with putti, birds, and floral motifs on tracing paper; mounted on wove paper, 19th century, pen and ink, watercolor, and gold paint, Drawings, Jules-Edmond-Charles Lachaise (French, died 1897),

The Virgin Appearing to St. Bernard of Clairvaux, 1687–1772, Pen and brown ink, brown and gray wash, over red chalk. Squared in red chalk, 10 11/16 × 7 13/16 in. (27.2 × 19.9 cm), Drawings, Niccolò Ricciolini (Italian, Rome 1687–1772

Perspectival Cross-Section of a Venetian Palace, 1830–79, Pen and gray ink, brush and light wash, metal point framing lines, with small spatters of brown wash, 9 3/4 x 13 1/4 in. (24.8 x 33.7 cm), Eugène-Emmanuel Viollet-le-Duc (French,

Design for a Music Room, 1805, Pen and gray ink, brush and gray, yellow, blue, and pink wash., sheet: 15 1/2 x 21 7/8 in. (39.4 x 55.6 cm), Drawings, Anonymous, French, 19th century

Three Dancing Nymphs and a Satyr, 1702–88, Pen and brown ink, brush and brown wash, over graphite, 6 9/16 x 8 1/16in. (16.7 x 20.5cm), Drawings, Francesco Zuccarelli (Italian, Pitigliano 1702–1788 Florence

Drawing of an Interior: Salon, 1857, Pen and blue ink, watercolor, heightened with white, sheet: 6 1/8 x 9 1/2 in. (15.5 x 24.1 cm), Drawings, Anonymous, French, 19th century

Christ Before Pilate: The Large Plate (copy in reverse of center), n.d., Etching, Prints, After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

The Entombment, n.d., Woodcut, sheet: 14 15/16 x 10 3/4 in. (37.9 x 27.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

A standing sailor talking to a seated Levantine, ca. 1660, Etching; first state of two, Sheet: 7 3/16 × 7 3/16 in. (18.2 × 18.2 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Sacrifice in a Classical Building, 18th Century, Pen and ink and bistre wash on paper, 5 3/8 x 3 7/8 in. (13.7 x 9.8 cm), Drawings, Anonymous, French, 18th century

Pincushion Cactus, Cactus Grahami, May 10, 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 a sepulchral monument with a seated prophet or philosopher; verso: Sketches, late 17th–early 18th century, Pen and brown ink, over black chalk; verso: black chalk, sheet: 9 1/2 x 5 11/16 in. (24.2 x 14.5 cm), Drawings, Pieter

A Peasant on Horseback seen in Profile Facing Right; Two Studies of the Same Man's Head., 1610–64, Pen and brown ink; traces of sketches in graphite, Sheet: 2 9/16 x 3 5/8 in. (6.5 x 9.2 cm), Drawings, Stefano della Bella (Italian, Florence

Whirligig Peddler, 1742, Etching with some engraving, image: 9 x 7 7/16 in. (22.9 x 18.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Landscape Study: Surburbs of Rome, 1606–80, Pen and brown ink, 7 3/8 x 12 3/8in. (18.7 x 31.4cm), Drawings, Giovanni Francesco Grimaldi (Italian, Bologna 1606–1680 Rome

S. Costanza, drum, interior, elevation; column shafts, profiles; narthex, section; stair, detail plan (recto) stair, plans; window, elevation (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11

South Sea Fishers, 1850, Etching on wove paper; first of two states, plate: 2 5/8 x 4 11/16 in. (6.6 x 11.9 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman (Dutch, Amsterdam ca. 1623–1664 Amsterdam

The Bathers, 1651, Etching, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Three Standing Figures in Antique Costume., 1610–64, Pen and brown ink; framing outlines in dark brown ink, Sheet: 2 13/16 x 2 5/16 in. (7.2 x 5.9 cm), Drawings, Stefano della Bella (Italian, Florence 1610–1664 Florence

Whistler Asleep, 1897, Drypoint, plate: 7 11/16 x 11 5/8 in. (19.6 x 29.5 cm), Prints, Giovanni Boldini (Italian, Ferrara 1842–1931 Paris

The Wife-Beater, ca. 1633, Etching with engraving, Sheet (trimmed): 10 3/16 × 13 1/8 in. (25.8 × 33.3 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

A Jessamy, December 1, 1790, Etching and aquatint, sheet: 13 1/8 x 8 9/16 in. (33.4 x 21.7 cm), Prints, George Moutard Woodward (British, ca. 1760–1809 London

The Death of Maitre Andre, n.d., Etching, second state, image: 7 3/16 x 8 3/8 in. (18.3 x 21.3 cm), trimmed to image, Prints, Claude Gillot (French, Langres 1673–1722 Paris), Engraved by Jacques Gabriel Huquier (French, Paris 1730–1805

Partial design for a ceiling with an ornate border, 1830–97, graphite on wove paper, sheet: 10 3/4 x 14 13/16 in. (27.3 x 37.7 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Fantastic Hairdress with Fruit and Vegetable Motif, 18th century, Watercolor on canvas laid down on board, 17 1/4 x 22 in. (43.8 x 55.9 cm), Drawings, Anonymous, French, 18th century

Studies of Hands, ca. 1517, Red chalk. Lined, 4-13/16 x 6-7/16 in. (12.2 x 16.3 cm), Drawings, Andrea del Sarto (Andrea d'Agnolo) (Italian, Florence 1486–1530 Florence

The Miraculous Draught of Fish, Engraving, sheet: 9 13/16 x 14 3/4 in. (25 x 37.5 cm) trimmed to platemark L. and R. and more from top and bottom, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice), After Raphael (Raffaello Sanzio

A Deacon Led to Martyrdom, 1575–1640, Pen and brown ink, brush and blue wash, highlighted with chinese white, on blue paper, 8 7/8 x 5 9/16in. (22.6 x 14.1cm), Drawings, Giovanni Mauro della Rovere (Italian, Milan ca. 1575–ca. 1640

A naked man pursing a naiad and a cupid into the water, ca. 1515–27, Engraving, Sheet (Trimmed): 4 3/16 × 6 13/16 in. (10.7 × 17.3 cm), Prints, Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), Verso not visible as print is

Iron Grate with Acanthus Ornament, 19th century, Gray and brown wash with touches of gold, sheet: 12 5/8 x 17 in. (32.1 x 43.2 cm), Anonymous, British, 19th century

Philip IV on horseback, after Velázquez, 1778, Etching, Plate: 14 1/2 × 12 3/16 in. (36.8 × 31 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828 Bordeaux), Painted by Velázquez (Diego Rodríguez de Silva

Franken, pientre du roi, 17th century, Etching, second state, sheet: 14 x 10 1/8 in. (35.6 x 25.7 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Jerome Franken (French

Design for a coiffered ceiling, second half 19th century, Graphite, pen and black ink, gouache, and watercolor, Overall: 10 5/16 x 14 15/16 in. (26.2 x 37.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Carousel in Florence for the Marriage of The Grand Duke Ferdinand II, 1637, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

Fulham (Chelsea), 1879, Etching and drypoint; cancelled plate, after fifth state of five (Glasgow); printed in black ink on ivory wove paper, plate: 5 1/4 x 8 in. (13.3 x 20.3 cm), Prints, James McNeill Whistler (American, Lowell,

The Whore of Babylon, from The Apocalypse, 1498, Woodcut, sheet, 15-5/8 x 11-1/4 in. (39.5 x 28.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), By 1498, Dürer had published more than two dozen prints, which

Figures, 1624–63, Pen and brown ink, brush and brown wash, 3-9/16 x 5-1/4 in. (9.1 x 13.3 cm), Drawings, attributed to Francesco Allegrini (Italian, Cantiano (?) 1615/20–after 1679 Gubbio

Wheatfields, 1865, Watercolor, over black chalk, 3 11/16 x 6 1/4 in. (9.4 x 15.9 cm), Drawings, Théodore Rousseau (French, Paris 1812–1867 Barbizon

America, Asia, and Europe, 18th century, Brush and brown wash on paper, 7 3/8 x 6 3/16 in. (18.7 x 15.7 cm), Drawings, Anonymous, French, 18th century

Fred Wood, Cyclist, 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), Trade cards from 'World's Champions, ' Second Series (N43), issued in 1888

Jezebel Promising Naboth's Vineyards to King Ahab, ca. 1517, Woodcut; first state, sheet: 9 1/2 x 6 3/4 in. (24.1 x 17.1 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for a Stage Set at the Opéra, Paris, 1828–90, Graphite, black chalk, heightened with white, sheet: 11 1/8 x 16 15/16 in. (28.3 x 43 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Chile, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching; undescribed state, Sheet: 3 1/16 × 2 1/16 in. (7.7 × 5.2 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets

Margot Wearing a Bonnet (No. 4), 1923, Drypoint; second state, restrike, plate: 9 x 6 1/4 in. (22.8 x 15.8 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Design for a Mirrored Marble Table Ornamented with Gold, early 19th century, Ink and watercolor and wash, sheet: 9 5/8 x 11 7/8 in. (24.4 x 30.1 cm), Anonymous, British, 19th century

Four Figures Kneeling in Supplication, 1830–71, Red chalk, Overall: 9 9/16 x 16in. (24.3 x 40.6cm), Drawings, Alexandre Laemlein (French, Hohenfeld 1813–1871 Pontlevoy

Wives at Table During the Absence of their Husbands, ca. 1636, Etching, Sheet (trimmed): 10 1/4 × 13 3/8 in. (26 × 34 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Family Warming Their Hands By a Fire, 18th century, Etching, Prints, Noël Hallé (French, Paris 1711–1781 Paris

Design for a Frame in the Form of a Cartouche (Mirror?), 1698–1765, Pen and brown ink, brush and brown wash, sheet: 7 3/8 x 4 3/8 in. (18.8 x 11.1 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany

Water Carrier, 1742, Etching with some engraving, Sheet: 9 3/16 x 6 5/8 in. (23.4 x 16.8 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Plate 30 from 'Los Caprichos': Why hide them? (Porque esconderlos?), 1799, Etching, burnished aquatint and drypoint, Plate: 8 7/16 x 5 15/16 in. (21.4 x 15.1 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Shepherd with His Flock in a Clearing, 1776, Brush, brown wash over black chalk. Framing lines in pen and brown ink., 10 9/16 x 13 5/16 in. (26.8 x 33.8 cm), Drawings, Jean-Baptiste Le Prince (French, Metz 1734–1781 Saint-Denis-du-Port

Plate 7: a triple waterfall, a dead tree to right, a mountain and a herd of cows to right in the background, a round composition, from 'Roman landscapes and ruins' (Paysages et ruines de Rome), ca. 1646, Etching; second state of six (De Vesme),

Procession (left-hand portion of border below Sacrifice of Isaac, inlaid-marble pavement, Siena Cathedral), 1520–50, Pen and brown ink, brush and brown wash, over leadpoint or black chalk, 3-7/8 x 16-1/8 in. (9.8 x 41 cm), Drawings, After