Images at Librifly

The Château de Versailles Seen from the Gardens, 1779, Pen and black ink, watercolor, heightened with white, over traces of graphite., 8 1/16 x 11 15/16 in. (20.4 x 30.4 cm), Drawings, Louis Nicolas de Lespinasse, called the Chevalier de

Plate 11 from the 'Tauromaquia':The Cid campeador spearing another bull., 1816, Etching, burnished aquatint and burin, Plate: 9 13/16 × 13 3/4 in. (25 × 35 cm), Prints, Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746–1828

Design for Altar, second half 19th century, Watercolor, 15 1/16 x 11 3/8 in. (38.3 x 28.9 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris, 1820

Christ in Limbo, from The Passion, 1512, Engraving, Sheet: 4 9/16 × 2 15/16 in. (11.6 × 7.4 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

En Déshabillé, ca. 1889, Drypoint; only state, plate: 7 3/16 x 5 7/16 in. (18.3 x 13.8 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Angels Restraining the Four Winds, n.d., Woodcut, sheet: 15 3/16 x 11 in. (38.6 x 27.9 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

The Two Landscapes (Right Tree), ca. 1630, Etching, sheet: 2 3/8 x 2 5/16 in. (6 x 5.8 cm), Prints, Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?–1682 Rome

Illustration for a Book: Surrender of the Keys of a City to an Emperor, 1696–1770, Black chalk. Horizontal and vertical centering lines ruled in faint black chalk, 3-1/16 x 6-9/16 in. (7.8 x 16.7 cm), Drawings, Giovanni Battista Tiepolo

Old Man Kneeling Facing Upper Left, 1615–73, Pen and brown ink, brown and gray wash, traces of red chalk, 4-3/8 x 3-1/4 in. (11.1 x 8.2 cm), Drawings, Salvator Rosa (Italian, Arenella (Naples) 1615–1673 Rome

Ennui (The Large Plate), 1914, published 1915, Etching; third state of six, plate: 17 5/8 x 12 7/8 in. (44.8 x 32.7 cm), Prints, Walter Richard Sickert (British, Munich 1860–1942 Bathampton, Somerset

Eight Miscellaneous Designs for the de la Rochejaquelein Family, second half 19th century, Graphite, pen and black ink, 12 1/4 x 18 3/4 in. (31.1 x 47.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet

Design for the decoration of a ceiling with filagree borders and a central medallion, 1830–97, watercolor over graphite on wove paper; mounted on blue paper, Overall: 14 13/16 x 10 3/8 in. (37.6 x 26.4 cm), Drawings, Jules-Edmond-Charles

All Who See Me Jeer at Me (Omnes Videntes me Deriserunt me), 1773, Etching, plate: 7 x 9 3/16 in. (17.8 x 23.3 cm), Prints, Joseph François Foulquier (French, Toulouse 1744/45–1789 Martinique

Design for Part of a Church Ceiling with a Dome, 1735–1817, Pen and Ink with gray, blue and brown wash, sheet: 7 11/16 x 10 1/4 in. (19.5 x 26 cm), Faustino Trebbi (Italian, Budrio [Bologna] 1761–1836 Bologna), After Flaminio Innocenzo

Design for Grate, with Plan, 1874, Graphite on tracing paper, Anonymous, British, 19th century

Project for a 'Maison de plaisance pour un grand seigneur', Elevation and Section, ca. 1783, Elevation: pen and black ink with watercolor , Elevation sheet: 6 3/16 x 9 5/8 in. (15.7 x 24.5 cm), Drawings, Jean Nicolas Sobre (French

Nursemaid and Child, 1859, Etching and drypoint; second state of two (Glasgow); black ink on fine cream antique laid paper, plate: 3 13/16 x 5 3/16 in. (9.7 x 13.2 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts

The birth of Saint John the Baptist, ca. 1538–45, Engraving, sheet: 11 9/16 x 17 13/16 in. (29.3 x 45.2 cm), Prints, Giulio Bonasone (Italian, active Rome and Bologna, 1531–after 1576

David Praying, ca. 1507, Engraving, sheet: 6 1/4 x 4 1/2 in. (15.9 x 11.4 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Design for Stem of a Ship, 18th century, Pen and brown ink, brush and brown wash, watercolor, and graphite; on verso, graphite. Framing lines in pen and brown ink., Overall: 10 11/16 x 13 1/8 in. (27.2 x 33.4 cm), Drawings, Anonymous,

The School Mistress, ca. 1638, Etching, Sheet (trimmed): 10 1/16 × 12 3/4 in. (25.5 × 32.4 cm), Prints, Abraham Bosse (French, Tours 1602/1604–1676 Paris

Figure of a Man, 1612–66, Pen and brown ink, brush and brown wash, 10 13/16 x 9 11/16in. (27.4 x 24.6cm), Drawings, attributed to Pier Francesco Mola (Italian, Coldrerio 1612–1666 Rome

The Virgin on the Crescent (copy), n.d., Engraving, Sheet: 4 3/8 × 2 3/4 in. (11.1 × 7 cm), Prints, After Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Windsor (Memorial), 1887, Drypoint; third state of four (Glasgow); printed in dark brown ink on ivory laid paper, Plate: 5 3/16 × 3 3/4 in. (13.2 × 9.6 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Painter at an Easel, 1620–67, Engraving and etching, Sheet (trimmed): 8 7/16 × 5 1/2 in. (21.4 × 14 cm), Prints, Michel Lasne (French, Caen 1590–1667 Paris), After Abraham Bosse (French, Tours 1602/1604–1676 Paris

Saint Paul, 1514, Engraving, Sheet: 4 5/8 × 2 7/8 in. (11.7 × 7.3 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Design for Grand Salon, Ground Floor, Hôtel Candamo, ca. 1873, Pen and black ink, watercolor, 8 3/8 x 10 7/8 in. (21.3 x 27.6 cm), Drawings, Jules-Edmond-Charles Lachaise (French, died 1897), Eugène-Pierre Gourdet (French, born Paris,

Seated Nude Woman, 1906, Brush, ink, and graphite on paper, 17 x 10 in. (43.2 x 25.4 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Willibald Pirckheimer, 1524, Engraving, plate: 7 3/16 x 4 1/2 in. (18.2 x 11.5 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

Les Musards de la Rue du Coq à Paris (Dawdlers of the Rue Coq, Paris), ca. 1810, Hand-colored etching, sheet: 9 1/8 x 15 1/16 in. (23.2 x 38.2 cm), Prints, Attributed to Thomas Rowlandson (British, London 1757–1827 London), After Pierre

Plate 4: Head of a Woman in Profile, from 'Second collection of various doodles and etching proofs' (Second recueil de divers griffonnements et preuves d'eauforte), ca. 1646, Etching, Plate: 2 1/2 × 3 5/16 in. (6.4 × 8.4 cm), Prints, Stefano

Le Cocu battu et content, 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; first state of three (Cohen), Sheet: 13 7/16

The Long Gallery, Louvre, 1894, Transfer lithograph with stumping, drawn on fine-grained transfer paper; only state (Chicago); printed in black ink on ivory wove paper, Image: 8 1/2 × 6 1/4 in. (21.6 × 15.9 cm), Prints, James McNeill

Seated Prelate, 1830–71, Red chalk, Overall: 11 x 9 1/8in. (28 x 23.1cm), Drawings, Alexandre Laemlein (French, Hohenfeld 1813–1871 Pontlevoy

Gold Coast, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 1/2 × 2 3/16 in. (8.9 × 5.6 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de

Moses Drawing Water from the Rock, ca. 1552–61, Etching and engraving, second state, sheet: 14 9/16 x 23 5/8 in. (37 x 60 cm) trimmed to platemark, Prints, Battista Franco (Italian, Venice ca. 1510–1561 Venice

Design for Fireplace in French Renaissance Revival Style, 1856, Graphite, pen and black ink, brush and gray wash, watercolor, 12 15/16 x 12 1/8 in. (32.9 x 30.8 cm), Anonymous, French, 19th century

La Folie, n.d., Etching, second state, sheet: 11 3/8 x 8 1/8 in. (28.9 x 20.7 cm), Prints, Jean François Janinet (French, Paris 1752–1814 Paris), After Jean Honoré Fragonard (French, Grasse 1732–1806 Paris

The Circle of the Thieves; Buoso Donati Attacked by the Serpent , from Dante's Inferno, Canto XXV, ca. 1825–27, Engraving, plate: 9 5/16 x 13 1/4 in. (23.7 x 33.7 cm), Prints, William Blake (British, London 1757–1827 London

Fuite de M. de Belle-Isle, prisonnier chez les Attakapas, 1767, Etching, sheet: 5 5/8 x 3 5/8 in. (14.3 x 9.2 cm), Prints, After Gabriel de Saint-Aubin (French, Paris 1724–1780 Paris), Etched by Charles-Francois Letellier

Perspective of Chaise with Quilted Leather Upholstery, 1935, Brown ink and wash, over graphite, Drawings, Guglielmo Ulrich (Italian, 1904–1977

Elevation of a House, 18th century, Pen and black ink, brush and gray wash, 9 7/8 x 15 7/8 in. (25.1 x 40.3 cm), Drawings, Anonymous, French, 18th century

Charles Henri Plantade, 1806, Stipple engraving, sheet: 10 5/16 x 8 3/8 in. (26.2 x 21.3 cm), Prints, Antoine Achille Bourgeois de la Richardière (French, Polna 1777–1830), After Antoine-Paul Vincent (French, active Paris 1800/1812

The Clock Tower, Paris, 1852, Etching with engraving on laid paper (Hudelist); fifth state of ten, plate: 10 1/4 x 7 5/16 in. (26.1 x 18.5 cm), Prints, Charles Meryon (French, 1821–1868

Cottage Beside a Canal: A View of Diemen (counterproof), ca. 1645, Etching; counterproof, Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a Gas Chandelier, 1850–70, Graphite, gouache, sheet: 10 13/16 x 10 7/8 in. (27.4 x 27.6 cm) uneven, Drawings, Anonymous, French, 19th century

The Raising of Lazarus, ca. 1507, Engraving, sheet: 11 1/8 x 7 15/16 in. (28.3 x 20.2 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

Chile, from 'Game of Geography' (Jeu de la Géographie), 1644, Etching, Sheet: 3 1/2 × 2 1/8 in. (8.9 × 5.4 cm), Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence), Designed by Jean Desmarets de Saint-Sorlin

Design for a Sofa, ca. 1820, Ink and gouache, sheet: 5 1/4 x 7 in. (13.4 x 17.8 cm), Attributed to Gillows (British, 19th century

William Ewing, Catcher, New York, 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),

Kneeling Prelate, 1830–71, Red chalk on light gray paper, Overall: 12 1/2 x 12 5/16in. (31.7 x 31.2cm), Drawings, Alexandre Laemlein (French, Hohenfeld 1813–1871 Pontlevoy

Figures in an Imaginary Architectural Interior, ca. 1760, Etching, sheet: 2 5/8 x 3 7/8 in. (6.6 x 9.8 cm), Prints, Pierre Moreau (French, 1722–1798 Paris

Design for Three Chairs, early 19th century, Graphite, sheet: 10 3/4 x 14 15/16 in. (27.3 x 38 cm), Anonymous, British, 19th century

Study for an Altar with a Figure on a Raised Socle at Left; verso: Study for an Altar with a Figure of an Angel or Saint, 1700–1770, Pen and brown ink, graphite, sheet: 20 7/16 x 12 5/16 in. (51.9 x 31.2 cm), Drawings, Joseph Anton

Finding of the bodies of Saints Peter and Paul, ca. 1647–51, Etching, sheet: 11 3/4 x 8 1/8 in. (29.8 x 20.7 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Design for a Choir Screen with a Cardinal's Hat, 16th century, Black chalk, pen and brown ink, brush and brown wash, sheet: 16 7/8 x 11 7/16 in. (42.9 x 29.1 cm), Drawings, Anonymous, French, 16th century

Landscape, 1860–1926, Pastel, 8 5/8 x 16 3/4 in. (21.9 x 42.5 cm), Drawings, Claude Monet (French, Paris 1840–1926 Giverny

The Folding Chair, ca. 1883, Etching; only state, plate: 8 1/4 x 6 7/16 in. (21 x 16.4 cm), Prints, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise

Frontispiece for Epigrammi de Guelfi, ca. 1636, Etching, Prints, Etched by Stefano della Bella (Italian, Florence 1610–1664 Florence

The Draped Figure, Seated, 1893, Transfer lithograph with stumping, drawn on fine grained transfer paper; only state (Chicago); printed in black ink on heavyweight tan laid Japanese vellum, Image: 7 5/16 × 6 3/8 in. (18.6 × 16.2 cm), Prints,

Tending the Sheep, 19th century, Black chalk, with touches of red, blue, and white chalk on brown wove paper laid down on white wove paper, sheet: 9 13/16 x 15 13/16 in. (25 x 40.2 cm), Drawings, Charles Jacque (French, Paris 1813–1894

Design for a Gate, 18th century, Graphite, pen and black ink, sheet: 12 3/16 x 15 1/2 in. (30.9 x 39.3 cm), Drawings, Anonymous, French, 18th century

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

Christ and the Samaritan Woman (Schr. 141c), 15th century, Woodcut, sheet: 4 5/8 x 3 7/8 in. (11.7 x 9.9 cm), Prints, Anonymous, German, 15th century

Design for Three Chairs with Armorial Ornament on Backs, early 19th century, Graphite, sheet: 10 7/8 x 14 13/16 in. (27.7 x 37.7 cm), Anonymous, British, 19th century

View of the Isola di San Giorgio Maggiore, 1764–1835, Brush and gouache, 3 1/4 x 4 11/16in. (8.2 x 11.9cm), Drawings, Attributed to Giacomo Guardi (Italian, Venice (?) 1764–1835 Venice

Plan of the Roof and Section of a Pavilion in the Gardens of the Château de Saint-Cloud (recto); Study for the Exterior with Partial Plan of the Pavilion (verso), 1750, Pen and brown and gray ink, brush and brown wash over traces of black chalk

Job and his Wife restored to Prosperity, 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

Landscape, 1825–65, Watercolor on paper, Overall: 5 1/16 x 7 1/8in. (12.9 x 18.1cm), Drawings, Constant Troyon (French, Sèvres 1810–1865 Paris

Plate 21 from the 'Tauromaquia': Dreadful events in the front rows of the ring at Madrid and death of the mayor of Torrejon, 1816, Etching, burnished aquatint, lavis, drypoint and burin, Plate: 9 11/16 × 13 7/8 in. (24.6 × 35.2 cm), Prints,

Shepherds with their Flock, Etching, sheet: 9 3/16 x 14 9/16 in. (23.4 x 37 cm), Prints, Giovanni Benedetto Castiglione (Il Grechetto) (Italian, Genoa 1609–1664 Mantua

Forum of Nerva, colonnade, profiles of attic and entablature, architrave and column detail (recto) Arch of Constantine, plan (verso), early to mid-16th century , Dark brown ink, black chalk, and incised lines, sheet: 11 5/8 x 17 5/16 in.

Design for a Console or Capital with a Cherub, 1652–1725, Pen and brown ink, over traces of black chalk, sheet: 2 7/16 x 1 15/16 in. (6.2 x 5 cm), Giovanni Battista Foggini (Italian, Florence 1652–1725 Florence

Design for a Stage Set at the Opéra, Paris, 1830–90, Brush and red, yellow, and brown wash, over graphite, Irregular sheet: 15 1/2 x 7 1/16 in. (39.4 x 18 cm), Drawings, Eugène Cicéri (French, Paris 1813–1890 Fontainebleau

The Virgin in profile facing right reading to the infant Christ, ca. 1515–27, Engraving, Sheet (Trimmed): 7 7/16 × 5 3/16 in. (18.9 × 13.1 cm), Prints, Attributed to Marco Dente (Italian, Ravenna, active by 1515–died 1527 Rome), After

Male Figure with a Bow and Arrow Shooting at a Statue of a Woman with a Ball on her Head, 1627–1703, Pen and brown ink, brush and brown wash, over charcoal, 10 1/2 x 15 5/16in. (26.6 x 38.9cm), Drawings, Domenico Piola (Italian, Genoa

The Good Samaritan, 1633, Etching, engraving and drypoint; first state of four, Sheet: 10 9/16 × 8 7/16 in. (26.8 × 21.5 cm), Prints, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam), This etching depicts the final scene

Miraculous Draught of Fish, 1595–1657, Etching, sheet: 9 3/4 x 12 13/16 in. (24.7 x 32.5 cm), Prints, After Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp

The Penitent St. Jerome, 1539–91, Pen and black and grey ink. Double framing line in pen and black ink, by the artist., sheet: 13 9/16 x 9 3/16 in. (34.4 x 23.3 cm), Drawings, Jost Amman (Swiss, Zurich before 1539–1591 Nuremberg), After

Frontispiece for 'L'Illustration Nouvelle', 1867, Etching; second state of three, sheet: 16 7/8 x 10 3/4 in. (42.9 x 27.3 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres

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

Nude Demon Encircled by a Serpent, after Michelangelo's Last Judgment; and Other Figure Studies (recto); Figure Studies (verso), 1548–1608, Pen and brown ink, brush and brown wash, over red chalk (recto); pen and brown ink, over red chalk

Ruins of a Roman Bath or Reservoir, n.d., Oil on paper, laid down on canvas., 22 5/8 x 15 5/8 in. (57.4 x 39.7 cm), Drawings, Louis Gauffier (French, La Rochelle 1762–1801 Livourne

Les Ruines a gauche, Etching, sheet: 7 1/16 x 7 7/8 in. (18 x 20 cm), Prints, Jean Morin (French, Paris ca. 1605–1650 Paris

Plate 5 from 'The Disasters of War' (Los Desastres de la Guerra): And they are like wild beasts (Y son fieras), 1810 ( published 1863), Etching, burnished aquatint and drypoint, Plate: 6 in. × 8 1/8 in. (15.2 × 20.7 cm), Prints, Goya

Reading, 1879, Lithograph with scraping; fourth state of four (Chicago); printed in black ink on grayish chine mounted on ivory wove paper, Image: 6 1/8 × 5 1/8 in. (15.5 × 13 cm), Prints, James McNeill Whistler (American, Lowell,

Job and His Family, from Illustrations of the Book of Job, 1825–26, Engraving, plate: 7 3/4 x 6 7/16 in. (19.7 x 16.4 cm), Prints, William Blake (British, London 1757–1827 London

Saint Philip, 1523/1526, Engraving, Sheet: 4 13/16 × 3 1/16 in. (12.2 × 7.7 cm), Prints, Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg

St. Luke, ca. 1508, Engraving, sheet: 4 9/16 x 3 1/2 in. (11.6 x 8.9 cm), Prints, Lucas van Leyden (Netherlandish, Leiden ca. 1494–1533 Leiden

George Montagu, 4th Duke of Manchester, William, 2nd Viscount Courtenay, de jure 8th Earl of Devon, and George William Coventry, 6th Earl of Coventry, 1779–1802, Black and red chalk, varnished, on thin laid paper. Oval., 8-3/8 x 6-3/8

Design for a Sink and Vanity, 19th century, Pen and ink and watercolor on heavy wove paper, sheet: 11 5/16 x 7 7/8 in. (28.8 x 20 cm), Anonymous, French, 19th century

Gardens of the Villa Correr, near Strà (recto); Study for The Transverberation of Saint Teresa of Jesus and a Study of Hands (verso), 1712–93, Pen and brown ink, brush and brown wash, over charcoal (recto). Framing lines in pen and brown ink;

Design for an Urn, ca. 1770–90, Pen and brown ink, graphite, 7 1/2 x 9 3/16 in. (19.1 x 23.4 cm), Drawings, Anonymous, French, 18th century

The Velvet Dress (Mrs. Leyland), 1873, Drypoint; fourth state of five (Kennedy), Plate: 9 3/16 x 6 3/16 in. (23.3 x 15.7 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Les Demoiselles de village, after Courbet, 1850–1914, Etching on laid paper; second (?) state of three, sheet: 12 13/16 x 16 15/16 in. (32.5 x 43 cm), Prints, Félix Bracquemond (French, Paris 1833–1914 Sèvres), After Gustave Courbet

Rue Furstenburg, 1894, Transfer lithograph, drawn on fine-grained transfer paper; only state (Chicago), Image: 8 7/8 × 6 1/4 in. (22.5 × 15.9 cm), Prints, James McNeill Whistler (American, Lowell, Massachusetts 1834–1903 London

Design for a tea cup, 19th century, Pen and ink and watercolor, sheet (irregular): 2 5/8 x 4 1/16 in. (6.7 x 10.3 cm), Drawings, Anonymous, French, 19th century

Design for Three Hat or Coat Racks, early 19th century, Ink and watercolor, sheet: 9 7/16 x 11 7/8 in. (24 x 30.2 cm), Anonymous, British, 19th century

Rue Lafuite (Ambroise Vollard's Gallery on the rue Lafitte), n.d., Pen and ink, blue pencil, and watercolor on heavy wove paper, 15 7/8 x 9 1/2 in. (40.3 x 24.1 cm), Drawings, Adolphe-Léon Willette (French, Châlons-sur-Marne 1857–1926

Farm House by a River with Figures, 1765, Pen and brown ink, brush and watercolor, over black chalk., 5 7/16 x 8 1/4 in. (13.8 x 21.0 cm.), Drawings, Louis Gabriel Moreau (French, Paris 1740–1806 Paris