Images at Librifly

Design for a Porcelain Vase with Bronze Mount, 19th century, Graphite, watercolor, gouache, and gold gilt, sheet: 17 1/16 x 11 7/16 in. (43.4 x 29 cm), Drawings, Anonymous, French, 19th century

Perspective of 'Studio D' Solozione', 1954, Black ink and colored pencil, over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Seven drawings, including four decorative motifs and two scenes of interiors, 1830–97, graphite, pen and ink, and gouache on various papers; mounted on cardboard, Overall: 14 1/16 x 6 5/8 in. (35.7 x 16.9 cm), Drawings, Jules-Edmond-Charles

Plate 4: a deer hunt, two horsemen galloping towards the rightbehind three dogs and a deer, a group of trees to left, from 'Various Figures' (Agréable diversité de figures), after 1642, Etching, Sheet: 2 3/4 × 4 3/16 in. (7 × 10.6 cm),

The Lamentation, from The Passion, 1507, Engraving, Sheet: 4 13/16 × 3 1/16 in. (12.2 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Festival Architecture for an Entry into Paris for the King of Sweden, Frederick I of Hesse, 18th century, Pen and gray ink, brush and brown wash over graphite, 8 3/4 x 7 1/2 in. (22.2 x 19.1 cm), Drawings, Guillaume Thomas Raphaël

Landscape with Mountains, n.d., Red chalk, highlighted with white chalk, on pink prepared paper, sheet: 9 5/16 x 12 11/16 in. (23.6 x 32.2 cm), Drawings, Antonio d'Enrico Tanzio (Tanzio da Varallo) (Italian, Riale d'Alagna 1575/80–1632/33

Youth Kneeling before a Prelate (recto); Another Study of a Youth Kneeling before a Prelate (verso), ca. 1620, Pen and brown ink, brush and light brown wash (recto and verso), sheet: 9 3/8 x 7 9/16 in. (23.8 x 19.2 cm), Drawings, Guercino

Joshua, with the Sun at Upper Left, 19th century, Oil over pen and brown ink on thin paper, laid down on board, 13 7/16 x 5 5/8 in. (34.2 x 14.3cm), Drawings

Alexander and Bucephalus, 17th century, Pen and brown ink, Chinese white, brush and black wash on yellow paper., 5 3/4 x 11 1/8 in. (14.6 x 28.3 cm), Drawings, Anonymous, French, 17th century

Emma, Elsie and Gene, 1921, Lithograph, image: 11 1/2 x 11 3/8 in. (29.2 x 28.9 cm), Prints, George Bellows (American, Columbus, Ohio 1882–1925 New York

The story of Jason and Medea at the left she carries off her son, in the middle she is shown in her madness, Jason stands at the right, 1531–76, Engraving, sheet: 8 11/16 x 12 5/8 in. (22 x 32.1 cm), Prints, Giulio Bonasone (Italian, active

Design for Pink, Green and White Curtains with Gold and Red Fringes, and Gold Pediments, ca. 1820, Ink, watercolor and wash, sheet: 10 7/8 x 15 1/16 in. (27.6 x 38.3 cm), Anonymous, British, 19th century

Caricature of Henri Mürger, 1849–61, Pen and watercolor, 12 3/8 x 9 in. (31.4 x 22.9 cm), Drawings, Nadar (French, Paris 1820–1910 Paris

Biblical Subject, 18th century, Etching and Engraving, sheet: 12 x 17 11/16 in. (30.5 x 45 cm), Prints, Anonymous, Italian, 18th century, After Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for painted decoration of wall or ceiling panels, including the word 'Frascati', second half 19th century, pen and ink, watercolor, and gold paint, sheet: 8 3/4 x 4 1/8 in. (22.2 x 10.5 cm), Drawings, Jules-Edmond-Charles Lachaise

Charles de Valois, duc d'Angouleme, Etching, image: 11 13/16 x 9 7/16 in. (30 x 24 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris), After Philippe de Champaigne (French, Brussels 1602–1674 Paris

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 7 3/8 x 1 5/8 in. (18.8 x 4.2 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Spanish Singer (Le Guitarrero), 1861–62, etching, final state (V) on blue laid paper, plate: 11 5/8 x 9 9/16in. (29.5 x 24.3cm), Prints, Édouard Manet (French, Paris 1832–1883 Paris

Design for wallpaper featuring rinceaux and carouches framing figures, 1830–97, gouache on wove paper, Overall: 12 3/8 x 9 7/16 in. (31.4 x 23.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Entrance to the Faubourg Saint-Marceau, Paris, 1850, Etching on wove paper; second state of two, plate: 5 3/8 x 9 1/2 in. (13.6 x 24.2 cm), Prints, Charles Meryon (French, 1821–1868), After Reinier Nooms, called Zeeman (Dutch, Amsterdam

The Cumaean Sibyl before Tarquin the Proud, 16th century, Pen and brown ink, brush and brown wash, highlighted with white gouache, on traces of lead point or black chalk, on light brown paper, Sheet: 8 5/8 x 6 1/16 in. (21.9 x 15.4 cm),

Very Haughty and Very Mighty Legitimist Brats, February 1834, Lithograph on chine collé, sheet: 12 13/16 x 2 3/16 in. (32.6 x 5.6 cm), Prints, Honoré Daumier (French, Marseilles 1808–1879 Valmondois

Two Seated Women and a Boy on Clouds, 1696–1770, Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk, 8-5/16 x 9-1/2 in. (21.1 x 24.2 cm), Drawings, Giovanni Battista Tiepolo (Italian, Venice 1696–1770

Virgin and Child Seated by the Wall (reverse copy), n.d., Engraving, Sheet: 5 11/16 × 3 7/8 in. (14.4 × 9.8 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Crucifixion used in Missale Traiectense (Utrecht Missal), Leiden, 1514, ca. 1512, Woodcut printed on vellum with letterpress type printed in black and red on verso, sheet: 10 x 6 1/2 in. (25.4 x 16.5 cm), Prints, Lucas van Leyden

Justice, ca. 1499, Engraving, Sheet: 4 1/4 × 3 1/8 in. (10.8 × 7.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for a Stage Set at the Opéra, Paris, 1830–90, Brush and black and gray wash, over graphite, sheet: 8 11/16 x 5 1/4 in. (22.1 x 13.4 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

Tiburtine Sibyl, from the series of Sibyls, ca. 1530, Woodcut, Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Plate 47 from 'The Disasters of War' (Los Desastres de la Guerra): 'This is how it happened'(Así sucedió.), 1810 (published 1863), Etching, burnished lavis, drypoint, burin and burnisher, Plate: 6 1/16 × 8 1/16 in. (15.4 × 20.4 cm), Prints,

Songs of Innocence and of Experience: Little Black Boy (second plate), 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,

Woman in Half-Length, Profile View Facing Left and Reading a Piece of Paper Signed 'Catarina', 1702–88, Graphite or black chalk, 8 15/16 x 6 7/8in. (22.7 x 17.4cm), Drawings, attributed to Francesco Zuccarelli (Italian, Pitigliano

Adam and Eve, ca. 1639, Etching, Sheet (Trimmed): 7 3/4 × 6 11/16 in. (19.7 × 17 cm), Prints, Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Designs for Three Candelabras and an Urn, 19th century, Pen and brown ink, image: 10 13/16 x 15 15/16 in. (27.5 x 40.5 cm), Drawings, Anonymous, French, 19th century

Troops Encamped on the Champs Elysées, 1870, 19th century, Pen and gray ink, brush and black and gray wash, sheet: 10 3/4 x 14 13/16 in. (27.3 x 37.7 cm), Drawings, Anonymous, French, 19th century

Design for a Stage Set at the Opéra, Paris, 1830–90, Graphite, Irregular sheet: 11 15/16 x 8 3/8 in. (30.3 x 21.3 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Four Horsemen, from The Apocalypse, 1498, Woodcut, Sheet: 15 1/4 x 11 7/16 in. (38.8 x 29.1 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), The third and most famous woodcut from Dürer's series of illustrations

Seated Woman Working on a Tapestry, 1620–76, Etching, Sheet (trimmed): 8 1/4 × 5 11/16 in. (21 × 14.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Feeding the Hungry, 1635, Etching with engraving; first state of two, Sheet (trimmed): 10 in. × 12 11/16 in. (25.4 × 32.2 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Saint John Devouring the Book, from The Apocalypse, n.d., Woodcut, Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Virgin and Child Seated by a Tree, 1513, Engraving, sheet: 4 5/8 x 3 in. (11.7 x 7.6 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Arch of Constantine, Rome, 1500–1571, Pen and ink, brush and brown wash, 11 15/16 x 10 1/16in. (30.3 x 25.5cm), Drawings, attributed to Bartolomeo Neroni (Il Riccio) (Italian, Siena 1505/15–1571 Siena

Fan Design with Flower Motifs, 19th century, Watercolor over graphite, sheet: 8 1/2 x 18 1/4 in. (21.6 x 46.4 cm), Drawings, Anonymous, French, 19th century

Mercury and Argus, 1662, Etching; third state of three (Mannocci), sheet: 9 13/16 x 13 1/2 in. (25 x 34.3 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Apollo and the Niobids, 18th century, Pen and brown ink, on brown paper., 5 x 3 3/8 in. (12.7 x 8.6 cm), Drawings, Anonymous, French, 18th century

Ceiling Design of a Nereid Mounted on a Hippocamp with Putto, 18th century, Graphite, pen and black ink, brush and brown and gray wash. Framing lines in graphite., 7 x 7 3/16 in. (17.8 x 18.3 cm), Drawings, Anonymous, French, 18th century

An Oriental Horseman, 1727–1804, Pen and dark brown ink, brush and brown wash, over traces of black chalk or graphite, sheet: 7 9/16 x 10 13/16 in. (19.2 x 27.4 cm), Drawings, Giovanni Domenico Tiepolo (Italian, Venice 1727–1804 Venice

Villa of Pratolino: The Appenino, ca. 1653, Etching; second state, Plate: 9 15/16 × 15 3/16 in. (25.2 × 38.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Colonist René de Laudonnière Sablais, after van de Passe, 1861, Etching, drypoint and engraving, plate: 6 x 4 1/4 in. (15.2 x 10.8 cm), Prints, Charles Meryon (French, 1821–1868), after (?) Crispijn de Passe the Elder (Netherlandish,

Portrait of a Young Woman (Miss Seaton) (Dorothy Seaton), 1897, only printed posthumously, Transfer lithograph with stumping, drawn on thin, transparent transfer paper; only state (Chicago); printed in black ink on fine ivory laid paper, Image:

Design for Stage Set, 1698–1765, Pen and brown ink, brush and gray wash, sheet: 6 x 4 in. (15.3 x 10.1 cm), Drawings, Attributed to Giovanni Battista Natali III (Italian, Pontremoli, Tuscany 1698–1765 Naples

Head of a Bearded Man., 1620–30, Black chalk, highlighted with white chalk, on blue-gray paper partly faded light brown, 13-3/8 x 9-9/16 in. (34.0 x 24.3 cm), Drawings, Domenichino (Domenico Zampieri) (Italian, Bologna 1581–1641 Naples

Cleric with Raised Arms (lower register?; study for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), 19th century, Black chalk, heightened with white chalk, on gray paper, 18 3/4 x 12 1/8 in. (47.5 x 30.8 cm),

One Font and Plan (recto); Two Romanesque Style Fonts (verso), mid-19th century, Graphite, ink and wash on pale blue paper (recto); graphite (verso), Anonymous, British, 19th century

Plate IV, from Rules for Drawing Caricaturas, February 26, 1788, Etching, sheet: 5 1/8 x 8 7/16 in. (13 x 21.4 cm), Prints

Fashion Study: Woman in a Green Dress, 19th century, Pen and brown ink, brush and gray wash, watercolor, heightened with white, sheet: 9 15/16 x 7 3/8 in. (25.2 x 18.7 cm), Drawings, Anonymous, French, 19th century

Triton Sounding a Conch Shell, ca. 1597–1602, Charcoal or soft black chalk on blue-gray paper; traces of framing outlines in pen and black ink and black chalk, Sheet: 15 1/4 x 9 9/16 in. (38.8 x 24.3 cm), Drawings, Annibale Carracci (Italian,

Attention (Le Brun Travested, or Caricatures of the Passions), January 21, 1800, Etching, printed in brown ink, sheet: 11 1/8 x 8 11/16 in. (28.3 x 22.1 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London

The Virgin and Child, God the father upper right, angels at left, ca. 1647–50, Etching, sheet: 7 15/16 x 15 3/4 in. (20.2 x 40 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for Three Vases, ca. 1770–85, Pen and brown ink, and black chalk, 14 15/16 x 9 3/16 in. (37.9 x 23.4 cm), Drawings, Anonymous, French, 18th century

Saint Florian, ca. 1460, Woodcut, hand-colored, 10 x 6-9/16 in.; 11-1/4 x 7-9/16 in., Prints, Casper (Upper German, Regensburg, ca. 1460), This sheet, pasted into the inside of a book cover, is one of nine associated with Casper, a

Picture Seller, 1738, Etching with some engraving, image: 9 x 7 1/16 in. (22.9 x 17.9 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont 1698–1762

Horseman in a Landscape, ca. 1550-60, Etching, Sheet: 13 1/8 × 17 3/4 in. (33.3 × 45.1 cm), Prints, Attributed to Battista Franco (Italian, Venice ca. 1510–1561 Venice

Sheet of Sketches, 1753, Etching, image: 5 9/16 x 8 1/8 in. (14.2 x 20.7 cm), Prints, François Boucher (French, Paris 1703–1770 Paris), After Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht

Three Peasants in Conversation (reverse copy), n.d., Engraving, Sheet: 4 1/2 × 3 1/4 in. (11.5 × 8.2 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Luigi Guidotti

A Sort of Umbrella, 1746, Etching with some engraving, Sheet: 9 1/4 x 6 13/16 in. (23.5 x 17.3 cm), Prints, Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692–1765 Paris), After Edme Bouchardon (French, Chaumont

The Head of a Woman in Profile Facing Left, 1490–1500, Metalpoint, highlighted with white gouache, on pale blue-gray prepared paper, Overall: 5 3/16 x 4 in. (13.2 x 10.2 cm), Drawings, Follower of Leonardo da Vinci (Italian, Vinci

Mal Lui Veut Mal Lui Tourne Dit Le Bonne Homme Richard, ca. 1780, Engraving, plate: 8 13/16 x 10 5/8 in. (22.4 x 27 cm), Prints, Anonymous, French, 18th century

Gabled Roofs, Vitré, 1893, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on medium weight ivory laid paper, Image: 8 1/16 × 6 5/16 in. (20.4 × 16.1 cm), Prints, James

The Presentation of the Virgin in the Temple (recto); Another Design for the Same Composition (verso), 1612–50, Pen and brown ink, brush and brown wash, on beige paper (recto); pen and brown ink (verso)., 14 7/16 x 10 5/16in. (36.7 x 26.2cm),

Twenty-two designs for the painted decoration of interiors, 1830–97, graphite, pen and ink, and wash on various papers; mounted on cardboard, Overall: 12 3/8 x 18 13/16 in. (31.4 x 47.8 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Surprised Ducks, 1885–89, Etching with burin, plate: 14 3/4 x 10 5/8 in. (37.5 x 27 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

Male Nude Torso with Raised Arms, ca. 1522–24, Red chalk, 4 1/8 x 2 3/16in. (10.4 x 5.5cm), Drawings, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore), Popham considered this small, delicately

The Straw Hat, ca. 1899, Drypoint; only state, plate: 9 1/4 x 6 1/4 in. (23.5 x 15.9 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Amsterdam, from the Tolhuis, 1863, Etching and drypoint; third state of eight (Glasgow); printed in black ink on ivory, plate: 5 1/8 x 8 3/16 in. (13 x 20.8 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903

Design for a Stage Set: The Gallery of a Magnificent Palace Decorated with Mirrors., 1696–1756, Pen and brown ink, brush and gray wash over traces of black chalk (recto and verso), sheet: 7 13/16 x 8 1/4 in. (19.9 x 21 cm), Giuseppe Galli

Project for a Tomb, ca. 1590–1600, Pen and brown ink, brush and brown and gray wash., 8 1/2 x 5 3/4 in. (21.6 x 14.6 cm) - top cut to arch shape in middle., Drawings, Anonymous, French, 16th century

Agony in the Garden, 1515, Etching, Sheet: 8 11/16 × 6 1/16 in. (22 × 15.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Designs for Ornamental Military Trophies (recto and verso), ca. 1540–70, Pen and brown ink (recto and verso

A Nymph Holding a Large Dog by its Collar, ca. 1654, Etching, late state unrecorded by De Vesme, Sheet (trimmed to plate): 7 3/8 × 5 3/4 in. (18.8 × 14.6 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

Design for a decorative panel in the Baroque style for the Chateau de Vaux-Praslin, second half 19th century, pen and ink and wash on wove paper, Overall: 19 5/8 x 13 1/4 in. (49.8 x 33.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French,

Salome with the Head of John the Baptist, 1514, Woodcut, sheet: 16 x 11 3/8 in. (40.6 x 28.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

The Wounded Lion, July 16, 1805, Hand-colored etching, sheet: 10 9/16 x 14 7/16 in. (26.8 x 36.7 cm), Prints, James Gillray (British, Chelsea 1756–1815 London

Study of Drapery over the Knees of a Seated Figure., 1472–1517, Black chalk, highlighted with white. Squared in black chalk, 4-7/8 x 6-7/16 in. (12.4 x 16.3 cm), Drawings, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) (Italian, Florence

Female Mask Surrounded by Tendrils, 1652–1725, Pen and brown ink, over preliminary drawing in black chalk, sheet: 6 1/4 x 10 in. (15.9 x 25.4 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Design for a Pair of Doors Joined by an Ornamental Panel, second half 19th century, Graphite, pen and black ink, and watercolor, 8 5/8 x 10 1/4 in. (21.9 x 26.0 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre

Standing Male Nude, 1754, Black chalk, sheet: 23 5/8 x 10 1/16 in. (60 x 25.5 cm), Drawings, Franz August Myldorfer (Austrian, active ca. 1750

Holy Family with Saint Elizabeth and Saint John the Baptist, copy in reverse after Cantarini, ca9 or after, Etching, Sheet (Trimmed): 5 1/16 × 7 5/16 in. (12.8 × 18.5 cm), Prints, After Simone Cantarini (Italian, Pesaro 1612–1648 Verona

Design for a Sofa on Casters, ca. 1820, Ink and gouache, sheet: 5 1/16 x 6 7/16 in. (12.9 x 16.4 cm), Attributed to Gillows (British, 19th century

The Harsen Homestead, Corner of 10th Avenue and 70th Street (from Scenes of Old New York), 1876, Etching, plate: 4 11/16 x 6 3/16 in. (11.9 x 15.7 cm), Prints, Henry Farrer (American, London 1844–1903 New York

Design for Decorated 'Sultan' Plaque for Stable Wall, Hôtel Candamo, ca. 1873, Pen and black ink, watercolor, 9 1/4 x 14 1/4 in. (23.5 x 36.2 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French,

Venus, 1859, Etching and drypoint; first state of two (Glasgow); printed in black ink on medium weight off-white fibrous wove paper, Plate: 5 7/8 × 8 7/8 in. (15 × 22.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

Design for a Sofa with Two Loose Cushions, early 19th century, Ink and wash, sheet: 9 1/16 x 11 15/16 in. (23 x 30.3 cm), Anonymous, British, 19th century

Sack of a City, 1499–1543, Pen and brown ink, brushed and washed with brown and gray, over charcoal, 11 x 8 in. (27.6 x 20.4 cm), Drawings, School of Polidoro da Caravaggio (Italian, Caravaggio ca. 1499–ca. 1543 Messina

Illustration for 'The Relief Fund in Lancashire' (for Once a Week), 1862, Wood engraving; proof, sheet: 5 x 4 3/8 in. (12.7 x 11.1 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Plate 4: bear, from 'Various animals' (Diversi animali), 1641, Etching; second state of three (De Vesme), Plate: 3 1/8 × 4 1/8 in. (8 × 10.5 cm), Prints, Stefano della Bella (Italian, Florence 1610–1664 Florence

The Instruments of Human Sustenance (Humani Victus Instrumenta): Cooking, after 1569, Engraving, sheet: 14 15/16 x 10 7/8 in. (37.9 x 27.7 cm), Prints, In the manner of the circle of Giuseppe Arcimboldo (Italian, Milan (?) 1527?–1593 Milan),

Illustration for a Book: Queen of Port City Receiving Envoys, 1696–1770, Black chalk, reworked with traces of red chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3-1/8 x 6-3/16 in. (8.0 x 15.7 cm), Drawings,

Saint Jude (or Saint Matthias), 1595–1616, Etching, Sheet (trimmed): 11 7/8 × 6 3/4 in. (30.1 × 17.1 cm), Prints, Jacques Bellange (French, Bassigny (?) ca. 1575–1616 Nancy

Horror, January 21, 1800, Hand-colored etching, printed in brown ink, Sheet (trimmed): 11 5/16 × 8 7/8 in. (28.8 × 22.5 cm), Prints, After George Moutard Woodward (British, ca. 1760–1809 London