Images at Librifly

Ôhi (Stole), late Edo period (1789–1868), 1800/68, Japan, Heri, jô: silk and gold-leaf-on-lacquered-paper-strip, plain weave with plain interlacings of secondary binding warps and supplementary patterning wefts, shiten: silk and

Medal, 18th century, European, Europe, Silver, Diam. 6.5 cm (2 9/16 in

Sitting Model, 1892, Anders Zorn, Swedish, 1860-1920, Sweden, Etching on ivory laid paper, 130 x 91 mm (image), 138 x 98 mm (plate), 358 x 273 mm (sheet

I’m Thine, Only Thine (valentine), c. 1850, Unknown Artist, English, 19th century, England, Watercolor with collage on embossed ivory laid paper, 181 × 117 mm (folded sheet

Kiritsubo, from the series Fifty-four Chapters of the Tale of Genji (Genji monogatari gojuyonjo), 1852, Utagawa Hiroshige 歌川 広重, Japanese, 1797-1858, Japan, Color woodblock print, oban, 25 x 35.8 cm (9 13/16 x 14 1/16 in

Man in Black, 1820/40, American, 19th century, United States, Oil on canvas, 67.3 × 57.5 cm (26 1/2 × 22 5/8 in

Dish, c. 1770, Worcester Porcelain Factory, Worcester, England, founded 1751, Worcester, Soft-paste porcelain, polychrome enamels and gilding, 23.9 x 31.6 cm (9 7/16 x 12 7/16

Fragment, A.D. 1476/1532, Probably Chuquibamba, Probably south coast, Peru, Peru, Plain compound cloth (old card

Miniature Buddhist Water Sprinkler (Kundika) with Lotus-leaf Spout, late Song (960–1279) or Yuan dynasty (1271–1368), c. 13th century, China, Glazed stoneware, H. 8.9 cm (3 9/16 in.), diam. 4.9 cm (1 15/16 in

Landscape, 1870/75, Maxime Lalanne, French, 1827-1886, France, Charcoal, with stumping and erasing, on ivory laid paper, 282 × 372 mm

Standing Pavise, c. 1480/90, German, Klausen, Tirol, Wood, iron, and boarskin, 117.5 x 58.5 cm (46 1/4 x 23 in

Furisode, 18th century, late Edo period (1789–1868), Japan, Silk and gold-leaf-over-lacquered-paper strips, plain weave with supplementary patterning wefts bound on reverse face by secondary binding warps in plain interlacing, lined in red

Paperweight, c. 1845–60, Clichy, France, 1837-1885, Clichy, Glass, Diam. 7.6 cm (3 in

Pole Screen, 18th century, England, 111.8 × 68.6 cm (44 × 27 in

Fragment (From an Orphrey Band), 15th century, Italy, Silk, gold gilt strip wound around silk fiber core, integrated compound-weave of warp-float faced satin weave and twill weave with supplementary patterning wefts, 54.3 x 23.8 cm (21 3/8 x 9

Lady Montegle, December 1, 1796, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 330 x 192 mm (image), 351 x 236 mm (plate), 457 x 335 mm (sheet

The Assault of the Shoe, 1888, Henri Charles Guérard, French, 1846-1897, France, Etching, with open bite, in black on cream wove paper, 167 × 254 mm (image/plate), 355 × 490 mm (sheet

Fragment, c. 1700, Italy, Italy

Woman Haymaker at Éragny, 1897, Camille Pissarro, French, 1830-1903, France, Etching in black on cream wove paper (discolored to brown), 205 × 150 mm (image/plate), 224 × 172 mm (sheet

Mise-en-carte (Point-paper), 1760/90, France, Lyon, France, Ink and gouache on hand drawn graph paper, 45.45 × 55.6 cm (17 7/8 × 21 7/8 in

Bath House from Hyperotomachie ou discours du son gede Poliphile, plate 69 from Woodcuts from Books of the XVI Century, 1554, assembled into portfolio 1937, Jean Goujon (French, c.1510-c.1565), assembled by Max Geisberg (Swiss, 1875-1943),

Venus Ordering Psyche to Seek Water From a Fountain Guarded by Dragons, 1530/40, Master of the Die (Italian, active c. 1530-1560), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian,

Ancyluris, Print, Ancyluris is a butterfly genus in the family Riodinidae. They are resident in the Neotropics

San Francisco Bay, c. 1860/69, Carleton Watkins, American, 1829–1916, United States, Albumen print, 18.2 x 22.3 cm (image/paper

The Actor Nakamura Sukegoro II in the role of a chivalrous commoner (otokodate), c. 1768/70, Katsukawa Shunsho 勝川 春章, Japanese, 1726-1792, Japan, Color woodblock print, hosoban, 32.3 x 14.5 cm (12 11/16 x 5 11/16 in

The Actor Onoe Tamizo I as Kewaizaka no Shosho Disguised as a Komuso in the Play Furisode Kisaragi Soga, Performed at the Ichimura Theater in the Second Month, 1772, c. 1772, Katsukawa Shunsho 勝川 春章, Japanese, 1726-1792, Japan, Color

Plate three, from A Harlot’s Progress, 1732, William Hogarth, English, 1697-1764, England, Engraving in black on ivory laid paper, 300 × 375 mm (image), 323 × 393 mm (plate), 437 × 536 mm (sheet

Landscape with a Square Tower, 1650, Rembrandt van Rijn, Dutch, 1606-1669, Holland, Etching and drypoint in black on off-white laid paper, 88 x 156 mm (plate), 90 x 157 mm (sheet

Jar with Sawtooth and Encircling Bands, Eastern Han dynasty (A.D. 25–220), China, Earthenware with lead green glaze and underglaze carved decoration, H. 10 1/2 in

Sheet of Studies for the Blinding of Elymas, Sacrifice at Lystra, and a Holy Family, c. 1558, Taddeo Zuccaro, Italian, 1529-1566, Italy, Pen and brown ink, and brush and red chalk and brown wash, on ivory laid paper, 386 x 274 mm

Olivier de Serres, 1858, Jean François Millet (French, 1814-1875), after Daniel de Serres (French, 1539-1619), printed by Lemercier et Compagnie, France, Lithograph on gray China paper laid down on ivory wove paper, 146 × 99 mm

Couple Embracing, plate six from The Large Wedding-Dancers, 1538, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 118 x 79 mm (image/plate/sheet

Under Old Battersea Bridge, 1876/78, James McNeill Whistler, American, 1834-1903, United States, Etching, drypoint and open bite, with foul biting, with drypoint cancellation, in black ink on ivory laid paper, 214 x 138 mm (plate), 379 x

Fragment, 1601/35, Italy, Silk, plain weave with gilt-metal strips supplementary facing wefts and supplementary pile warps forming cut and uncut voided velvet, 15.1 x 12.8 cm (6 x 5 in

Leaf from a Copy of the Ashtasahasrika Prajnaparamitasutra (Perfection of Wisdom in Eight Thousand Verses), Pala period, 1160/1180, India/Bangladesh, India, Opaque watercolor on palm leaf, 6.4 x 43.8 cm (2 1/2 x 17 1/4 in

Armida Encounters the Sleeping Rinaldo, 1742/45, Giovanni Battista Tiepolo, Italian, 1696–1770, Italy, Oil on canvas, 187.5 × 216.8 cm (73 13/16 × 85 3/8 in

Horse and Rider, 1630, Hans Ludwig Kienle (German, 1591–1653), Germany, Ulm, Ulm, Silver and silver gilt, H. 31.5 cm (12 3/8 in

Mounted Huntsman Sounding a Horn, c. 1818, Carle Vernet (French, 1758-1836), printed by Comte de Charles Philibert Lasteyrie du Saillant (French, 1759-1849), France, Lithograph in black on ivory wove paper, 301 × 221 mm (image), 379 × 272

The Marriage of Ferdinand de’ Medici and the Duchess Christine de Lorraine, plate 1 from The Life of Ferdinand de Medici, 1616/20, Jacques Callot, French, 1592-1635, France, Engraving on ivory laid paper, 225 × 300 mm (sheet, trimmed to

Memorial Portrait of the Actor Ichikawa Danjuro VIII, 1854, Utagawa Kunisada I (Toyokuni III), Japanese, 1786-1864, Japan, Color woodblock print, oban

Study for Vignette in Fontanelle’s (attr.) Les Amours de Mirtil, Canto I, c. 1761, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink over black chalk, on gray laid paper, laid down on ivory laid paper, 114 × 72 mm

Plate One, from A Rake’s Progress, June 1735, William Hogarth, English, 1697-1764, England, Etching and engraving in black on ivory laid paper, 319 × 387 mm (image), 360 × 410 mm (plate), 490 × 601 mm (sheet

Lion Hunt, 1860/61, Eugène Delacroix, French, 1798-1863, France, Oil on canvas, 30 × 38 1/2 in. (76.5 × 98.5 cm

The Great Gate, n.d., Anthoni Waterlo, Dutch, 1609-1690, Holland, Etching on paper, 153 x 206 mm (image), 155 x 207 mm (sheet

Hawk on Plum Branch Looking Down at Fleeing Bird, c. 1775, Attributed to Isoda Koryusai, Japanese, 1735-1790, Japan, Color woodblock print, hashira-e, 28 x 5 in

Chous (Toy Pitcher), 430/410 BC, Greek, Athens, Athens, terracotta, decorated in the red-figure technique, 9.2 × 6.8 × 6.8 cm (3.66 × 2.69 × 2.70 in

The Broad Bridge, 1878, James McNeill Whistler, American, 1834-1903, United States, Lithotint, in brown ink, with scraping, on ivory plate paper, 187 x 281 mm (image), 247 x 357 mm (sheet

There isn’t Time Now, plate 19 from The Disasters of War, 1810/12, published 1863, Francisco José de Goya y Lucientes, Spanish, 1746-1828, Spain, Etching, lavis, drypoint, burin and burnishing on ivory wove paper with gilt edges, 131 x

Le Mariage (Furnishing Fabric), c. 1810, Engraved by Alexis Nicolas Nöel (French, 1792–1871) after a design by Jean Baptiste Mallett (French, 1759–1835), France, Bolbec, Bolbec, Cotton, plain weave, block printed, a: 218.7 × 64 cm

Apus cancriformis, Print

Ammonites pustulatus franconicus, Print, Ammonoidea, Ammonoids are a group of extinct marine mollusc animals in the subclass Ammonoidea of the class Cephalopoda. These molluscs, commonly referred to as ammonites, are more closely related to

Marine Scene, n.d., possibly or an imitator of Anthony Vandyke Copley Fielding, English, 1787-1855, England, Watercolor and gouache, with scraping, heightened with varnish, over traces of graphite, on cream wove paper, laid down on green

Plate Twenty of 38 from Oeuvres de J. B. Huet, 1796–99, Jean Baptiste Huet, French, 1745-1811, France, Etching on paper, 480 × 350 mm

Kanaya: Kanaya Slope and Oi River (Kanaya, Kanaya saka, Oigawa)—No. 25, from the series Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi), also known as the Reisho Tokaido, c. 1847/52, Utagawa Hiroshige 歌川 広重, Japanese,

Fragment, 1775/1800, France, brocaded silk, 15.9 × 27.9 cm (6 1/4 × 11 in

Sunday in Paris, 1887, Paul Signac, French, 1863-1935, France, Lithograph in black, with scraping on stone, on cream wove paper, 174 × 120 mm

Two Candelabra, c. 1835, France, Glass with gilt metal, 1979.1005: 74.6 × 49.2 × 15.8 cm (29 7/16 × 19 7/16 × 6 1/4 in.), 1979.1006: 74.9 × 48.6 × 15.5 cm (29 9/16 × 19 3/8 × 6 1/8 in

Portrait of Jacques Bénigne Bossuet, Bishop of Meaux, 1723, Pierre-Imbert Drevet (French, 1697-1739), after Hyacinthe Rigaud (French, 1659-1743), France, Engraving on cream laid paper, 501 × 333 (sheet, cut within plate and to image in

The actors Ichikawa Danjuro VII as Takamoto no kitsune and Segawa Kikunojo V as Izumi no Chieda-gitsune, 1818, Utagawa Kunisada I (Toyokuni III), Japanese, 1786-1864, Japan, Color woodblock print, shikishiban, surimono, 22.7 x 20 cm

Paperweight, c. 1846–55, Baccarat (French, founded 1764), France, Glass, Diam. 6.4 cm (2 1/2 in

Beaker, c. 1850, Bohemia, Czech Republic, Bohemia, Glass, colorless, blown, cut, overlaid with opaque white glass, enameled and gilded, 12.4 × 8.1 cm (4 7/8 × 3 3/16 in

Amulet of the Osirian Triad (Nephthys, Horus, and Isis), Late Period, Dynasty 26 (664–332 BC), Egyptian, Egypt, Faience, 3.8 × 2.9 × 1.7 cm (1 1/2 × 1 1/8 × 5/16 in

Two Young Women in Conversation, n.d., Guercino, school of, Italian, 1591-1666, Italy, Pen and iron gall ink on buff laid paper, laid down on cream laid paper, 222 x 204 mm

Christ Before Pilate: Large Plate, 1635, Rembrandt van Rijn, Dutch, 1606-1669, Holland, Etching on paper, 543 x 449 mm (image);552 x 449 mm (plate);556 x 455 mm (sheet

Head of a Male Deity (Deva), Haripunjaya period, 11th/12th century, Thailand, Lamphun Province, Thailand, Stucco, 27.4 x 22.6 x 17.9 cm (10 3/4 x 8 7/8 x 6 15/16 in

The Actor Nakamura Nakazo I as Ippei (?) in the Play Koi Nyobo Somewake Tazuna (?), Performed at the Ichimura Theater (?) in the Eighth Month, 1778 (?), c. 1778, Katsukawa Shunko I, Japanese, 1743-1812, Japan, Color woodblock print, hosoban,

Double Pendant in the Form of a Mythical Saurian with Tusks, A.D. 800/1200, Coclé, Coclé province, Panama, Panama, Gold with plaster restoration of boar tusks, 6 × 7 × 2.32 cm (2 3/8 × 2 3/4 × 7/8 in

Panel (Furnishing Fabric), 18th century, Qing dynasty (1644–1911), China, Silk, satin weave with supplementary pile warps forming cut and uncut solid velvet, 171.5 × 63.85 cm (67 1/2 × 25 1/8 in

Untitled (99), c. 1890, edited by Ferdinando Ongania, Italian, 1842–1911, Italy, Photogravure, No. 99 from the portfolio "Calli, Canali e Isole della Laguna

Apostle Spoon: The Master, 1628/29, London, England, London, Silver, figure gilded, 18.3 x 5.2 cm (7 3/16 x 2 1/16 in

Assumption of the Virgin (recto), Sketches of Architectural Details (verso), n.d., Unknown Artist, Italian, 16th/17th century, Italy, Black chalk with pen and brown ink and brush and pale purple wash (recto), and pen and brown ink with brush

The Entry into Jerusalem, from The Fall and Redemption of Man, 1513, Albrecht Altdorfer, German, c.1480-1538, Germany, Woodcut in black on ivory laid paper, 172 x 148 mm (image/plate), 174 x 149 mm (sheet

America Presenting at the Altar of Liberty Medallions of Her Illustrious Sons (Furnishing Fabric), c. 1785, After etchings by Pierre Eugène du Simitière (Swiss, died 1784), England, Linen and cotton, plain weave, copperplate printed, a:

Ornamental Design for Knife Handle with Earth, from The Four Elements, c. 1590, After Johann Theodor de Bry, German, 1561-1623, Flanders, Engraving in black on ivory laid paper, 90 × 22 mm (image/sheet, trimmed within plate mark

Figures from a Massacre of the Innocents, n.d., Andrea Boscoli, Italian, c. 1560-1608, Italy, Black and red chalk on cream laid paper, laid down on cream wove card, 282 x 186 mm

The Angel and the Eighth Sphere, plate 48 from Planets and Spheres, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on tan laid paper, 167 x 97 mm (image), 179 x 101 mm (plate), 182 x 104 mm

Panel, 1775/1800, France, Silk, warp-float faced 7:1 satin weave self-patterned by areas of 1:7 'Z' twill weave, 315 × 59 cm (124 × 23 1/4 in

Rape of Deianira, after c. 1575, After Luca Cambiaso, Italian, 1527-1585, Italy, Pen and brown and reddish brown ink with brush and reddish brown wash, on ivory laid paper, laid down on ivory laid paper, 381 x 281 mm (max

Two Sheep, n.d., Adriaen van de Velde, Dutch, 1636-1672, Holland, Etching on ivory paper, 72 x 97 mm

Paperweight, c. 1845–60, Clichy, France, 1837-1885, Clichy, Glass, Diam. 7.6 cm (3 in

Study for Lucain’s La Pharsale, Canto V, c. 1766, Hubert François Gravelot, French, 1699-1773, France, Pen and black ink, with graphite, on gray laid paper, incised for transfer, and perimeter mounted on ivory laid paper, 147 × 90 mm

Headdress (Jagún Jagún), Mid–/late 19th century, Yoruba, Ekiti region, Nigeria, Coastal West Africa, Nigeria, Wood, iron, nails, fiber, and sacrificial materials, H. 111.8 cm (44 in

Stater (Coin) Depicting a Tripod, about 500/480 BC, Greek, Crotone, Italy, Crotone, Silver, Diam. 2.2 cm, 7.78 g

Mount for Anemonies, 1897–99, Theodore Roussel, French, worked in England, 1847-1926, England, Softground etching, aquatint, lavis and drypoint in black and yellow metallic on ivory Japanese paper, 283 × 254 mm (image), 298 × 265 mm

At the Concert, 1896, Henri de Toulouse-Lautrec, French, 1864-1901, France, Color zincograph on cream wove paper, 318 × 251 mm (image), 610 × 458 mm (sheet

Coquelin the Elder, from Treize Lithographies, 1898, published before 1906, Henri de Toulouse-Lautrec, French, 1864-1901, France, Lithograph on ivory laid paper, 287 × 229 mm (image), 391 × 316 mm (sheet

Study, 1710/20, Attributed to Giuseppe Bartolomeo Chiari (Italian, 1654-1727), possibly Pietro Dandini (Italian, 1646-1712), Italy, Red chalk, on ivory laid paper, laid down on ivory laid paper, 201 × 176 mm

Juvenile Tricks, plate 22 from Liber Studiorum, published January 1, 1811, Joseph Mallord William Turner (English, 1775-1851), Engraved by William Say (English, 1768-1834), England, Etching and engraving in brown on ivory wove paper, 179 ×

His Grace the Duke of Rutland, 1804, Charles Turner (English, 1773-1857), after John Hoppner (English, 1758-1810), England, Mezzotint on paper, 606 × 377 mm (image), 645 × 382 mm (plate), 735 × 480 mm (sheet

Tetradrachm (Coin) Portraying Alexander the Great, 361/281 BC, issued by King Lysimachus of Thrace, Greek, Roman Empire, Silver, Diam. 2.7 cm, 15.48 g

Fragment, Roman period (30 B.C.–641 A.D.), 5th/6th century, Egypt, Bahnasa, Egypt, Linen and wool, tapestry weave, 15.2 × 15.2 cm (6 × 6 in

Noa Noa (Fragrant), from the Noa Noa Suite, 1893/94, Paul Gauguin, French, 1848-1903, France, Wood-block print in black, with a transferred twill impression, on tan wove paper, 354 × 201 mm (image), 357 × 204 mm (sheet

Amulet of a Female Sphinx, Middle Kingdom, Dynasties 11–13 (about 2055–1650 BC), Egyptian, Egypt, Amethyst, 2.1 × 1.6 × 0.6 cm (13/16 × 5/8 × 1/4 in

Allegorical Figure Representing Asia, 1746, Meissen Porcelain Factory, Germany, founded 1710, Modeled by Johann Joachim Kändler, German, 1706-1775, Meissen, Hard-paste porcelain, polychrome enamels, and gilding, 18.4 × 14.1 × 12.4 cm

La Vie de Jeanne d’Arc (The Life of Joan of Arc) (Furnishing Fabric), c. 1815, Designed by Charles Abraham Chasselat (French, 1782–1843), Possibly Manufactured by Hartmann et Fils (French, founded 1776), France, possibly Munster, France,

Arenicola piscatorum, Print

Alabastron (Container for Scented Oil), 200/150 BC, Eastern Mediterranean, possibly the Syro-Palestinian region, Mediterranean Region, Glass, core-formed technique, 13.1 × 3.4 × 3.4 cm (5 1/8 × 1 3/8 × 1 3/8 in

Cameo of Venus and Cupid, Probably a Hat Badge Mounted as a Pendant, 1575-1600, Italian, Northern Italy, Gold, chalcedony, enamel, pearls, and glass, 10.8 × 4.9 cm (4 1/4 × 1 15/16 in

Amulet of a Leg and Foot, Late Old Kingdom–First Intermediate Period, Dynasties 5–11 (about 2494–2055 BC), Egyptian, Egypt, Carnelian, 2 × 1 × .25 cm ( 3/4 × 3/8 × 1/8 in

Interior view of the Basilica of St. Peter’s in the Vatican, near the Tribune, from Views of Rome, 1773, Giovanni Battista Piranesi, Italian, 1720-1778, Italy, Etching on heavy ivory laid paper, 485 x 673 mm (image), 490 x 679 mm (plate),