Images at Librifly

Apothecary Jar, 1750–1800, Made in Mexico, Mexican, Tin-glazed earthenware, H. 9 3/8 in. (23.8 cm), Ceramics

Design for a Cartouche (recto); Design for a Cartouche (verso), 1580–1620, Pen and brown ink, over leadpoint or black chalk., 11 1/4 x 8 3/4 in. (28.6 x 22.2 cm), Drawings, Anonymous, Italian, 16th to early 17th century

清中期 掐絲琺瑯鷄形香薰, Incense Burner in the Shape of a Rooster, Qing dynasty (1644–1911), 18th century, China, Cloisonné enamel on copper, H. 7 5/8 in. (19.4 cm), Cloisonné, A symbol of diligence and fortune, the rooster is

November (one of a series representing the labors of the months), 1690 or slightly earlier, Red chalk, 3 3/8 x 4 3/4 in. (8.6 x 12.1 cm), Drawings, Jonas Umbach (German, Augsburg 1624–1693 Augsburg

Cow, ca. 1912, Pastel on linen, 17 3/4 x 21 1/2 in. (45.1 x 54.6 cm), Drawings, Arthur Dove (American, Canandaigua, New York 1880–1946 Huntington, New York), Early in his career, Dove produced a highly innovative series of pastel drawings

Mosque Lamp Bearing the Name of the Mamluk Sultan al-Malik al-Nasir, ca. 1340, Attributed to Syria, Glass, colorless with brown tinge; blown, applied blown foot, applied handles; enameled and gilded, H. 13 in. (33 cm), Glass

Head of a Child, copy of engraving by Luca Ciambulano, 17th century, Black chalk on light tan paper, 6-1/4 x 5-3/16 in. (15.9 x 13.1 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

Fragment, 4th century, Attributed to Egypt, Linen, wool, 26 15/16 in. high 17 11/16 in. wide (68.5 cm high 45 cm wide), Textiles

Salt, 1780–1825, Possibly made in England; Possibly made in United States, American, Blown pattern-molded glass, 2 1/2 x 2 3/4 in. (6.4 x 7 cm), Glass

Bronze mirror, Classical, ca. 450–420 B.C., Etruscan, Bronze, length 9 1/8 in. (23.2 cm); diameter 6 7/8 in. (17.5 cm), Bronzes, Achle (Achilles) fighting with Memnun (Memnon) and Thesan (Eos) retrieving the body of her son Memnun from the

Design for a Facade, 1710–27, Pen and brown ink, brush and gray wash, over ruling in graphite, 16-15/16 x 12-5/8 in. (43 x 32.1 cm), Drawings, Pietro Paolo Coccetti (Cocchetti) (Italian, documented Rome, 1710–1727

Terracotta lamp, Mid Imperial, 2nd century A.D., Roman, Terracotta; mold-made, Overall: 1 1/2 x 3 1/2 in. (3.8 x 8.9 cm), Terracottas

Lamp, 1st century B.C.–1st century A.D., Roman, Terracotta, Length 9.9 cm. H. 3 cm., Terracottas

Design for a House, Side Elevation, ca. 1883, Graphite, W. Strong (British, 19th century

Still Life with Jug, 1919, Graphite and watercolor, 11 7/8 x 17 5/8 in. (30.2 x 44.8 cm), Drawings, Paul Signac (French, Paris 1863–1935 Paris

Washington. Harewood Hospital, 1861–65, Albumen silver print from glass negative, Photographs

The Wilderness Battlefield, 1864, Albumen silver print from glass negative, Image: 5 1/16 × 3 11/16 in. (12.9 × 9.4 cm), Photographs, Unknown (American), Possibly by Alexander Gardner (American, Glasgow, Scotland 1821–1882 Washington,

Viscountess Vilain, 1857, Salted paper print from glass negative, Image: 29.1 x 22.5 cm (11 7/16 x 8 7/8 in.), Photographs, Pierre-Louis Pierson (French, 1822–1913

Head of a Girl, 17th century, Black chalk on buff paper. Strips (1/2 in.) added at top and bottom., 4 1/8 x 3 3/4 in. (10.4 x 9.5 cm), Drawings, Anonymous, Dutch, 17th century

Mauroy. Alfred, Édouard. 34 ans, né à Paris VIIe. Dessinateur. Anarchiste. 26/2/94., 1894, Albumen silver print from glass negative, 10.5 x 7 x 0.5 cm (4 1/8 x 2 3/4 x 3/16 in.) each, Photographs, Alphonse Bertillon (French, 1853–1914),

Women Sewing at a Table, ca. 1894–96, Oil on canvas, 10 1/4 × 15 in. (26 × 38.1 cm), Paintings, Eugène Carrière (French, Gournay 1849–1906 Paris), Carrière’s subjects were often drawn from his family life, and this work may well

[Kneeling Carpenter Holding a Nail and Raised Hammer], 1870s–80s, Tintype, Image: 8.8 x 6.2 cm (3 7/16 x 2 7/16 in.), Photographs, Unknown (American

Bottle, 1700–1800, Possibly made in Ireland; Possibly made in England, Glass, Overall: 4 5/8 in., 106.7 Grams (11.7 cm, 3 Troy Ounces), Glass

Drawings and Prints, Books Prints Ornament & Architecture, Convivio delle Belle Donne, page 8 (recto), Publisher, Designer, Woodcut border on title signed by, Nicolo Zoppino, Matteo da Treviso, Italian, Ferrara 1478/80–1544 Venice,

Plate, ca. 1825–ca. 1836, Made in Staffordshire, Stoke-on-Trent, England, British (American market), Earthenware, transfer-printed, Diam. 9 in. (22.9 cm), Ceramics, Joseph Stubbs (active ca. 1822–36

Inkwell, ca. 1750, Made in Mexico, Mexican, Tin-glazed earthenware, Diam. 4 in. (10.2 cm), Ceramics

Beatrice, 1866, Albumen silver print from glass negative, 36.8 x 29.0 cm (14 1/2 x 11 7/16 in. ), Photographs, Julia Margaret Cameron (British (born India), Calcutta 1815–1879 Kalutara, Ceylon), In this photograph, modeled closely on a

Vase of Flowers, 1790s, Pen and black ink with gray wash, sheet: 12 1/4 x 8 in. (31.1 x 20.3 cm), Drawings, Willem van Leen (Dutch, Dordrecht 1753–1825 Delfshaven

Custard Cup, 1815–30, Made in Paris, France, French, Porcelain, 4 1/4 x 3 1/4 x 2 1/2 in. (10.8 x 8.3 x 6.4 cm), Ceramics

Standing Figure of Ptah, Late Period, Dynasty 26–29, 664–332 B.C., From Egypt, Faience, H. 9.7 cm (3 13/16 in

Vase-technique Carpet with Overlapping Cartouches, 17th century, Made in Iran, probably Kirman or Isfahan, Cotton (warp), silk (weft), wool (weft and pile); asymmetrically knotted pile, Rug: L. 189 in. (480.1 cm), Textiles-Rugs, The tightly

Pitcher, 1830–70, Probably made in Bennington, Vermont, United States, American, Parian porcelain, 3 5/8 x 3 3/8 x 2 1/8 in. (9.2 x 8.6 x 5.4 cm), Ceramics

Enthroned Virgin and Child, ca. 1210–20, Made in Meuse Valley, France, North French, Oak with traces of polychromy, Overall: 48 1/2 x 20 1/4 x 19in. (123.2 x 51.4 x 48.3cm), Sculpture-Wood, Crowned as the Queen of Heaven, Mary is seated on

New Modelbüch allen Nägerin u. Sydenstickern (Page 20v), 1556

唐 彩繪陶宮裝乐樂女俑, Standing Court Lady, Tang dynasty (618–907), mid-7th century, China, Earthenware with pigment, H. 15 1/8 in. (38.4 cm), Tomb Pottery, This figure holds a round implement with strings or ribbons that

Design of Ceiling and Balustrade, 18th century, Pen and brown ink, brush and green and brown wash, sheet: 10-3/8 x 8-11/16 in, Drawings, Anonymous, Italian, 18th century

Sheet of Studies: Three Male Heads, a Lion and a Mouse, 1800–1856, pen and brown ink, Sheet: 9 1/2 x 7 3/16 in. (24.1 x 18.3cm), Drawings, Pierre Jean David d'Angers (French, Angers 1788–1856 Paris

Drawings and Prints, Book Prints Ornament & Architecture, Trionfo Di Virtu. Libro Novo..., page 15 (verso), Publisher, Matteo Pagano, Italian, 1515–1588, Venice, Pagano, Matteo, Italian, 1515, 1588, 1563

The Descent of the Holy Ghost, late 16th–early 17th century, Graphite, pen and brown ink, brown wash, sheet: 5 3/8 x 6 11/16 in. (13.7 x 17 cm), Drawings, Hans Rottenhammer, I (German, Munich, 1564–1625, Augsburg

The Assumption of the Virgin, 1822, Black chalk, heightened with white, on light brown paper, Overall: 17 5/8 x 12 9/16in. (44.7 x 31.9cm), Drawings, Merry Joseph Blondel (French, Paris 1781–1853 Paris

Bowl, 1785–90, Made in China, Chinese, for American market, Porcelain, Diam. 6 1/4 in. (15.9 cm), Ceramics, This object belongs to a large dinner service bearing the Townley family coat-of-arms. The service, probably ordered by Justice

Birilay. Henri, Marc, Julien. 46 ans, né à Chartres (Eure & Loir). Journalier. Anarchiste. 11/3/94. , 1894, Albumen silver print from glass negative, 10.5 x 7 x 0.5 cm (4 1/8 x 2 3/4 x 3/16 in.) each, Photographs, Alphonse Bertillon

Three Virtues (Temperance, Hope, and Fortitude or Justice) and Studies of a Seated Man, ca. 1420, Italian, Florence, Metalpoint, touches of brush and brown wash, heightened with white (partially oxidized in the figure at the lower left), on

Drawings and Prints, Books Prints Ornament & Architecture, La Gloria et l'Honore di Ponti Tagliati, E Ponti in Aere, page 11 (verso), Publisher, Matteo Pagano, Italian, 1515–1588, Venice, Pagano, Matteo, Italian, 1515, 1588

Studio delle virtuose Dame, page 12 (recto), 1597

Soprano ophicleide in B-flat, mid-19th century, France, French, Brass, 25 11/16 × 6 13/16 × 11 1/2 in. (65.2 × 17.3 × 29.2 cm), Aerophone-Lip Vibrated, Adolphe (Antoine Joseph) Sax (Belgian, Dinant, Belgium 1814–1894 Paris), The

Arcade de l'Ecce Homo. Ponce Pilate présente Jésus au Peuple, 1860 or later, Albumen silver print from paper negative, Image: 10 13/16 × 8 3/16 in. (27.4 × 20.8 cm), Photographs, Louis de Clercq (French, 1837–1901

Wine Glass, 1870–90, Made in Pittsburgh, Pennsylvania, United States, American, Pressed yellow glass, H. 3 7/8 in. (9.8 cm); Diam. 2 1/4 in. (5.7 cm), Glass, Adams and Company

Essempio di recammi, page 19 (recto), 1530, Woodcut, Overall: 7 13/16 x 6 3/16 x 3/8 in. (19.8 x 15.7 x 1 cm), Written by Giovanni Antonio Tagliente, Italian, Venice ca. 1465-1527 Venice, published by Giovanantonio e i fratelli da Sabbio

Two Designs for an Overmantel Glass (Verso: Partial Floor plan), 1743–96, Pen and ink, wash and watercolor, over graphite, sheet: 22 3/4 x 14 5/8 in. (57.8 x 37.1 cm), Sir William Chambers (British (born Sweden), Göteborg 1723–1796

Interior View of Fort Sumpter, 1860s, Albumen silver print from glass negative, Photographs, George N. Barnard (American, 1819–1902

Drawings and Prints, Books, Prints, Ornament & Architecture, La Vera Perfettione del Disegno di varie sorti di recami, page 15 (recto), Illustrator, Publisher, Woodcut of Lucrezia designed by, Giuseppe Salviati (Giuseppe Porta, called Il

Floral and Geometric Designs for a Frontal, 1892, Graphite, sheet: 4 3/4 x 9 1/2 in. (12 x 24.1 cm), Ernest Geldart (British, London 1848–1929

Landscape with a House Hidden Between Trees and Two Men Near a Small Bridge, late 18th–early 19th century, Black chalk and brush and gray ink and wash, within black ink framing lines, sheet: 14 x 13 1/2 in. (35.5 x 34.3 cm), Drawings,

Fragment of a Cover, 17th century, Attributed to Turkey, Silk, 24 in. high 24.00 in. wide (61 cm high 61 cm wide), Textiles

The Diwan-i Khas from the Mussaman Burj, Agra Palace, 1862–64, Albumen silver print from paper negative, 40.6 x 44.3cm (16 x 17 7/16in.), Photographs, John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham,

Le Caracul (L'Astrakhan), 1860s, Albumen silver print from glass negative, Photographs, Pierre-Louis Pierson (French, 1822–1913

Tiger in Repose, ca. 1850–65, Oil on canvas, 10 3/4 × 14 in. (27.3 × 35.6 cm), Paintings, Antoine-Louis Barye (French, Paris 1796–1875 Paris), This tiger, relaxed yet alert, is based on animals that Barye saw at the menagerie of the

Group of Figures at a Table, 1732–33, Graphite, sheet: 7 3/8 x 9 3/4 in. (18.8 x 24.8 cm), Drawings, Marcellus Laroon the Younger (British, Chiswick 1679–1772 Oxford

Seated Man Wearing a Flat Cap, 1635–40, Pen and brown ink, brush and brown wash, heightened with white gouache, sheet: 5 13/16 x 5 7/16 in. (14.8 x 13.8 cm), Drawings, Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam

Design for a decoration of Walldoors., 1700–1780, Graphite with ruled construction, 7 11/16 x 11 7/16 in. (19.5 x 29 cm), Drawings, Anonymous, Italian, Piedmontese, 18th century

Sketch of a Child Riding a Dog, 1805–40, Pen and brown ink, sheet: 2 11/16 x 3 3/4 in. (6.8 x 9.5 cm), Drawings, William Pitts (British, London 1790–1840 London

Painted limestone funerary slab with a soldier and two girls, Hellenistic, 2nd half of 3rd century B.C., Greek, Limestone, paint, Other: 16 1/2 × 9 5/8 × 3 7/8 in. (41.9 × 24.4 × 9.8 cm), Miscellaneous-Paintings, The soldier, in a long

Forty-nine scenes from the Tales of Ise (Ise monogatari), 『伊勢物語』, Edo period (1615–1868), mid-17th century, Japan, Pair of six-panel folding screens, with ninety-eight paintings and poem cards (shikishi) applied to gold leaf on

Lamentation over the Dead Christ, 17th century, Pen and brown ink, brush and brown wash, over red chalk on light brown paper, 5-1/16 x 7-7/16 in. (12.9 x 18.9 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

Ornamented Metal Hinge from Watch Tower, Frankfurt am Main, second half 19th century, Graphite, sheet: 7 1/16 x 11 5/8 in. (18 x 29.6 cm), Anonymous, British, 19th century

Terracotta head of a man, Cypro-Archaic II, ca. 600 B.C., Cypriot, Terracotta; mold-made, H. 8 3/4 in. (22.2 cm), Terracottas, The manufacture of large scale hollow terracotta sculpture on Cyprus began in the mid-seventh century B.C. This is

Design for Spanish Chair, 1835–1900, Ink, watercolor, Robert William Hume (British, London 1816–1904 Long Island City

Drawings and Prints, Album Print Ornament & Architecture, Targhe ed altri ornati di varie e capricciose invenzioni (Cartouches and other ornaments of various and capricious invention, page 20), Artist, Publisher, After, Georges Reverdy, Jacob

北宋至金 定窯刻花萱草紋碗, Bowl, late Northern Song (960–1127)–Jin dynasty (1115–1234), ca. 12th century, China, Porcelain with incised decoration under ivory-white glaze (Ding ware), Diam. 3 1/2 in. (8.9 cm), Ceramics

Neu künstlich Modelbuch (page 12r), 1598

White Eagle Eyeing a Mountain Lion, Meiji period (1868–1912), 1885, Japan, Hanging scroll; ink and color on paper, Image: 65 1/2 x 33 in. (166.4 x 83.8 cm), Paintings, Kawanabe Kyōsai (Japanese, 1831–1889), In this set of four large

Elevation of Staircase Wall, 19th century, Ink on tracing paper, Anonymous, British, 19th century

Design for Curtains, 1841–84, Graphite, sheet: 13 3/8 x 8 7/16 in. (34 x 21.5 cm), Charles Hindley and Sons (British, London 1841–1917 London

Terracotta figure, Cypro-Archaic II, ca. 600–480 B.C., Cypriot, Terracotta; hand-made, H. 4 1/16 in. (10.3 cm), Terracottas, Man or monkey? The distinction is minimal in this spontaneous, engaging work. Seated with one foot over the other,

Design for a Gothic Wall Containing a Door and Fireplace, 19th century, Ink on tracing paper, Anonymous, British, 19th century

Drawings and Prints, Books Prints Ornament & Architecture, Schön newes Modelbuch (Page 87r), Publisher, Sigismundus Latomus, German, active 1599–ca. 1627, Frankfurt am Main, Latomus, Sigismundus, German, 1599, 1632, 1608

Design for an Altar, 19th century, Pen and black and gray ink, brush and gray wash, sheet: 18 15/16 x 13 1/16 in. (48.1 x 33.2 cm), Drawings, Attributed to Anonymous, German, 19th century

Les Songes Drolatiques de Pantagruel ou sont contenues plusieurs figures de l'invention de maitre François Rabelais, [1565], Letterpress text with woodcut illustrations, Overall: 6 1/16 x 4 3/16 x 9/16 in. (15.4 x 10.6 x 1.5 cm), Books,

Figure of a Man, the Lawyer, 18th–19th century, Pen and brown ink, brush and grey ink wash, Sheet: 9 7/8 × 7 7/8 in. (25.1 × 20 cm), Drawings, Sir Henry William Bunbury (British, Mildenhall, Suffolk 1750–1811 Keswick, Cumberland

Equal-Arm Brooch, ca. 650–750, Made in Niederbreisig, Germany, Frankish, Copper alloy, Overall: 1 15/16 x 11/16 x 9/16 in. (5 x 1.8 x 1.4 cm), Metalwork-Copper alloy

Elevation and Plan of Parish of Great Bentley near Colchester, Mission Chapel and Infant School at Angers Green, late 19th–early 20th century, Watercolor, pen and black ink, sheet: 16 x 12 in. (40.6 x 30.5 cm), Ernest Geldart (British,

Denise Zola, ca. 1900, Gelatin silver print, Image: 8 7/8 × 6 9/16 in. (22.5 × 16.6 cm), Photographs, Émile Zola (French, Paris 1840–1902 Paris

Bird-Shaped Brooch, 500–600, Frankish, Silver-gilt, garnets with patterned foil backings, Overall: 1/2 x 1 3/16 x 1/4 in. (1.2 x 3 x 0.7 cm), Metalwork-Silver, The dress of Frankish women generally consisted of a tunic, cinched by a belt

Tymicha and Millius before Dionysius, 18th–19th century, Pen and brown ink, brush and grey wash, Sheet: 3 1/4 × 4 11/16 in. (8.3 × 11.9 cm), Drawings, Edward Francis Burney (British, Worcester 1760–1848 London

Jug, 1435–75, Made in probably Manises, Valencia, Spain, Spanish, Tin-glazed earthenware, Overall: 8 1/2 x 7 13/16 x 6 3/4 in. (21.6 x 19.9 x 17.2 cm), Ceramics, The ivy-leaf pattern was one of the most common motifs in fifteenth-century

Design for a Tudoresque Villa, Elevation, 19th century, Pen and ink and watercolor, sheet: 13 x 16 in. (33 x 40.7 cm), Anonymous, British, early 19th century

Molded base, mid-17th century, Austrian, Ivory and ebony veneer, Overall: 6 1/2 x 11 7/8 x 7 7/8 in. (16.5 x 30.2 x 20 cm), Woodwork-Furniture

Karnak (Thèbes), Troisième Pylône - Colosse de Spath Calcaire, en D, 1851–52, printed 1853–54, Salted paper print from paper negative, 24.0 x 30.3 cm. (9 7/16 x 11 15/16 in.), Photographs, Félix Teynard (French, 1817–1892

Bowl with Foliate Rim, Goryeo dynasty (918–1392), second half of the 12th century, Korea, Stoneware with inlaid design of chrysanthemums and butterflies under celadon glaze, H. 3 1/4 in. (8.3 cm); Diam. 7 1/2 in. (19.1 cm), Ceramics

Hinge, second half 19th century, Graphite rubbing, sheet: 7 x 4 3/4 in. (17.8 x 12 cm), Anonymous, British, 19th century

Loie Fuller Dancing, ca. 1900, Gelatin silver print, 10.9 x 14.3 cm (4 5/16 x 5 5/8 in.), Photographs, Samuel Joshua Beckett (British, Shadwell, Stepney [London] 1870–1940 Bournemouth

Transverse Flute in C, 1856, Paris, France, French, Wood, metal, Total length: 70.9 cm (27 15/16 in.), Aerophone-Blow Hole-side-blown flute (transverse), Louis Lot (French, La Couture 1807–1896 Chatou

Monk with Crucifix (Recto); Monk with Book (Verso), 1600, Red chalk, with white chalk highlighting (recto); Red chalk (verso), sheet: 8 7/16 x 6 5/16 in. (21.4 x 16 cm), Drawings, Anonymous, Italian, 17th century

The Death of Cleopatra, ca. 1645–55, Oil on canvas, 37 3/8 × 29 1/2 in. (95 × 75 cm), Paintings, Guido Cagnacci (Italian, Santarcangelo di Romagna 1601–1663 Vienna), The subject derives from Plutarch's Lives (1st century A.D.) and

Design for a Ceiling, 1800–1900, Watercolor, 6-1/8 x 7-7/8 in, Drawings, Anonymous, Italian, 19th century

Bouchez. Louis. 19 ans, né le 29/8/75 à Paris XXe. Sculpteur. Anarchiste. 6/1/94., 1894, Albumen silver print from glass negative, 10.5 x 7 x 0.5 cm (4 1/8 x 2 3/4 x 3/16 in.) each, Photographs, Alphonse Bertillon (French, 1853–1914),

Portrait of Pierre de la Roche, 1703, Mezzotint; second state of two, Plate: 14 3/8 × 10 1/4 in. (36.5 × 26 cm), Prints, Isaac Sarrabat (French, 18th century), After Robert Levrac de Tournières (French, Caen 1667–1752 Caen

Tankard engraved with scenes depicting the Fire of London and the Great Plague, I N (British, mid-late 17th century), 1675/76, British, London, Silver, Overall (confirmed): 7 1/2 × 9 1/4 × 6 in., 37 oz. 13 dwt. (19.1 × 23.5 × 15.2 cm,

Abandoned Camp, Falmouth, Virginia, 1862, Albumen silver print from glass negative, Photographs, Andrew Joseph Russell (American, 1830–1902