Images at Librifly

Head of an old man, Ptolemaic Period, 200–1 B.C., From Egypt; Probably from Memphite Region, Memphis (Mit Rahina), Pottery, H. 2.8 cm (1 1/8 in.); W. 3.3 cm (1 5/16 in.); D. 3.5 cm (1 3/8 in.), While related to Hellenistic theatrical

Rose King: A Man Astride a Fox, 1712 or later, Pen and black ink, sheet: 3 9/16 x 2 5/16 in. (9 x 5.9 cm), Drawings, Johannes Brandenberg (Swiss, Zug 1661–1729 Zug

Drawings and Prints, Books Prints Ornament & Architecture, Newes Modelbuch in Kupffer(Page 10r), Artist, Johann Sibmacher, German, active 1590–1611, Sibmacher, Johann, German, 1590, 1611, 1604, 1604

[Young Woman Seated Next to a Table with Elbow Resting on a Book], 1840s, Daguerreotype, Image: 6.8 x 5.5 cm (2 11/16 x 2 3/16 in.), Photographs, Unknown (American

Cherubs, 17th century, Black chalk, stumped, with a few white highlights on light brown paper. Ruled framing outlines in brown ink, 10-11/16 x 8-5/8 in. (27.1 x 21.9 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

Study for an Engraving of 'Songs in the Opera of Flora', 18th century, Pen and black ink, black chalk, over graphite underdrawing, 2 13/16 x 3 15/16 in. (7.2 x 10 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

[Seated Man Pointing to a Passage in an Open Book], 1850s, Daguerreotype, Image: 15.3 x 10.8 cm (6 x 4 1/4 in.), Photographs, John Jabez Edwin Mayall (British, Oldham, Lancashire 1813–1901 West Sussex

Co. A, 30th Pennsylvania Infantry, Camp Mott Hooton, 1861–65, Albumen silver print from glass negative, Photographs

Study of a Classical Rosette, 1776–79, Attributed to Thomas Hardwick (British, London 1752–1829 London

[Young Man in Three-piece Suit and Bow Tie], 1850s, Daguerreotype, Image: 9.9 x 7.5 cm (3 7/8 x 2 15/16 in.), Photographs, Attributed to Albert Sands Southworth (American, West Fairlee, Vermont 1811–1894 Charlestown, Massachusetts),

明初 剔紅庭園高士圖漆盤, Dish with garden scene, Ming dynasty (1368–1644), late 14th century, China, Carved red lacquer, H. 1 1/4 in. (3.2 cm); Diam. 7 3/34 in. (19.7 cm), Lacquer, Elegant grounds and inviting pavilions are often

Architectural Frame for Altar, 16th century, Pen and brown ink, washed, 12-1/2 x 8 in. (31.8 x 20.3 cm), Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550–1580

[Santa Francesca Romana, Rome], 1850s, Albumen silver print from paper negative, Photographs, Unknown (British

Drawings and Prints, Books Prints Ornament & Architecture, Prima parte de' fiori, page 12 (recto), Author, Printer, Publisher, Giovanni Battista Ciotti, Nicolo Moretti, Francesco de' Franceschi, Italian, born Siena, ca. 1560, Italian,

Labeyrie. Romain. 19 ans, né le 13/11/74 à Cauna (Landes). Sculpteur. Anarchiste. 10/1/94. , 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,

Relief with Birds in the Papyrus Thicket, Middle Kingdom, Dynasty 11, ca. 2030–2000 B.C., From Egypt, Upper Egypt, Thebes, Deir el-Bahri, Temple of Mentuhotep II, Egypt Exploration Fund excavations, 1907, Limestone, paint, H. 49 cm (19

Design for a Panel with a Depiction of Bacchus and Ariadne, 17th century, Pen and brown ink, brush with brown, red, blue and yellow wash, over black chalk on cream paper, 3-1/4 x 9-3/8 in. (8.2 x 23.8 cm), Drawings, Anonymous, Italian,

Palette with two birds attached at their tails, Predynastic, Naqada II, ca. 3650–3500 B.C., From Egypt, Greywacke, H: 7.4 cm (2 15/16 in.); W: 9 cm (3 9/16 in

Departure of the Amazons, 1620s, Oil on canvas, 20 x 26 in. (50.8 x 66 cm), Paintings, Claude Déruet (French, Nancy ca. 1588–1660 Nancy), This canvas and its pendant (opposite) date to the 1620s, when Deruet was the chief painter in the

Mosaic glass bowl, Early Imperial, late 1st century B.C.–early 1st century A.D., Roman, Glass; cast and cut, H.: 1 11/16 in. (4.3 cm), Glass, Translucent purple, translucent turquoise blue, and opaque white., Outsplayed rounded rim;

Taking Shelter from the Rain, Edo period (1615–1868), after 1709, Japan, Six-panel folding screen; ink and color on paper, 47 3/4 x 124 1/2 in. (121.3 x 316.2 cm), Screens, Hanabusa Itchō (Japanese, 1652–1724

Goddess of Dance (Nrtyadevi), Malla period, 16th century, Nepal (Kathmandu Valley), Wood with pigment, H. incl. base 33 in. (83.8 cm); W. 13 1/2 in. (34.3 cm); D. 9 in. (22.9 cm), Sculpture, Polychromed wood sculpture survives in Nepal, both

One of Twenty-Three Sheets of Drawings of Glassware (Mirrors, Chandeliers, Goblets, etc.), 1850–80, Tissue, with pencil, pen and ink, and watercolor, 14 x 19 in. (35.6 x 48.3 cm), Drawings, Compagnia di Venezia & Murano

Design for a Mantelpiece, ca. 1900, Graphite, 4 7/8 x 6 1/16 in. (12.4 x 15.4 cm), Anonymous, French, 19th century

Standing Soldier, 1812–45, Pen and brown ink, 13 7/16 x 9 15/16 in. (34.1 x 25.3 cm), Drawings, Nicolas-Toussaint Charlet (French, Paris 1792–1845 Paris

Eyn new kunstlichboich, Page 2 verso, 1529

Italianate River Landscape with an Inn, mid-17th–mid-18th century, Pen and brown ink, brush and brown wash, over red chalk. Traces of framing line in pen and brown ink., sheet: 10 1/2 x 16 1/16 in. (26.7 x 40.8 cm), Drawings, Gaspar

Design for Stained Glass Window, 1885, Watercolor, pen and brown ink, sheet: 11 11/16 x 7 1/4 in. (29.7 x 18.4 cm), Horatio Walter Lonsdale (British, 1844–1919

The Apostles Looking at Christ and the Virgin in a Glory of Angels (top right plate), 1546, Etching, 16 3/16 x 21 9/16 in. (41.1 x 54.8 cm), Prints, Léon Davent (French, active 1540–56), after Giulio Romano (Italian, Rome 1499?–1546

View of the 'Palazzo Maggiore' on the Palatine Hill, Rome, mid 17th century, Pen and brown ink, brown wash, over black chalk; framing line in pen and brown ink, sheet: 3 3/4 x 6 3/16 in. (9.6 x 15.7 cm), Drawings, Jan de Bisschop (Dutch,

Platter, 1815–30, Made in Paris, France, French, Porcelain, 1 5/8 x 13 1/16 x 9 1/4 in. (4.1 x 33.2 x 23.5 cm), Ceramics

Fear, ca. 1860, Albumen silver print, Image: 7 15/16 × 6 1/16 in. (20.2 × 15.4 cm), Photographs, Henry Peach Robinson (British, Ludlow, Shropshire 1830–1901 Tunbridge Wells, Kent

Drawings and Prints, Books Prints Ornament & Architecture, Corona delle Nobili et Virtuose Donne: Libro IV, page 58 (recto), Publisher, Cesare Vecellio, Italian, Pieve di Cadore 1521–1601 Venice, Vecellio, Cesare, Italian, 1521, 1601

Mountain with figures of women, Qing dynasty (1644–1911), 18th–19th century, China, Soapstone, H. 4 3/8 in. (11.1 cm); W. 3 1/2 in. (8.9 cm); D. 2 in. (5.1 cm), Sculpture

Eyn new kunstlichboich, page 22r, 1529

Drawings and Prints, Books Prints Ornament & Architecture, Ornamento nobile...Fatta da Lucretia Romana (Libro V of the Corona), page 6 (recto), Publisher, Author, Alessandro de' Vecchi, Cesare Vecellio, Italian, active Venice, 1570–1629,

Drawings and Prints, Books Prints Ornament & Architecture, Neu künstlich Modelbuch (page 31r), Publisher, Bernhard Jobin, Swiss, Porrentruy (Jura) before 1545–1593/1597 Strasbourg, Jobin, Bernhard, Swiss, 1535, 1597, 1598, 1598

Raguel's Reception of Tobias at Ecbatana, 1520–75, pen and brown ink, gray wash, 7 1/8 x 13 3/8 in. (18.1 x 33.9 cm), Drawings, Pieter Aertsen (Netherlandish, Amsterdam 1507/8–1575 Amsterdam

Tsagain Myo: A Roadway, August 29–30, 1855, Albumen silver print from waxed(?) paper negative, Image: 24.5 x 34.1 cm (9 5/8 x 13 7/16 in.), Photographs, Linnaeus Tripe (British, Devonport (Plymouth Dock) 1822–1902 Devonport), This view of

Designs for Furniture, ca. 1800–ca. 1840, Pen and black ink, graphite, and watercolor., 11 1/8 x 12 1/4 x 1 13/16 in. (28.3 x 31.1 x 4.6 cm), Pierre Antoine Bellangé (French, Paris 1758–1827 Paris), Louis-Alexandre Bellangé (French,

Vanity Box, A.H. 1204/A.D. 1789, Country of Origin Iran, Papier-maché and pasteboard; painted and lacquered, H: 13.8 in (35 cm) x W: 9.4 in (24 cm) x Depth: 1.4 in (3.5 cm), Lacquer, Muhammad Baqir (Iranian, active 1735–90), This superbly

Ce est ung tractat de la noble art de leguille ascavoir ouvraiges de spaigne... page 3 (verso), after 1527, Woodcut, Overall: 6 7/8 x 5 11/16 in. (17.5 x 14.5 cm), Printed by Willem Vosterman. From top to bottom, and left to right: Design

Study of a Rock, early 19th century, Watercolor and gouache over graphite on buff-colored paper, sheet: 5 5/8 x 8 3/4 in. (14.3 x 22.2 cm), Drawings, Anonymous, British, early 19th century

Les Singuliers et Nouveaux Portraicts... page 16 (recto), 1588, Woodcut, Overall: 8 1/16 x 6 5/16 in. (20.5 x 16 cm), Designed by Federic de Vinciolo, published by Jean Le Clerc, Paris, bound by Chambolle-Duru, French, 19th century. From top

Drawings and Prints, Books Prints Ornament & Architecture, Corona delle Nobili et Virtuose Donne: Libro IV, page 69 (recto), Publisher, Cesare Vecellio, Italian, Pieve di Cadore 1521–1601 Venice, Vecellio, Cesare, Italian, 1521, 1601

Melchizedek Blessing Abraham, n.d., Pen and brown ink, brush and gray wash, with framing line, sheet: 10 11/16 x 14 7/16 in. (27.2 x 36.6 cm), Drawings, Jan Luyken (Dutch, Amsterdam 1649–1712 Amsterdam

The Tempter, 1886, Graphite, Sheet: 11 1/4 x 7 5/8 in. (28.6 x 19.4 cm), Drawings, Sir John Tenniel (British, London 1820–1914 London), Tenniel's drawing for a satirical print published in the periodical 'Punch' on November 27, 1886 shows a

Design for an Alter with Saint Michael and the Dragon, 1715–74, Pen and black and touches of brown ink, brush and grey and touches of pink wash., 18 7/8 x 13 7/16 in. (48 x 34.2 cm), Drawings, Attributed to Johann Baptist Modler (German,

Snuff Bottle, Qing dynasty (1644–1911), 19th century, China, Agate, H. 3 in. (7.6 cm), Snuff Bottles

Darjeeling, 1860s–70s, Albumen silver print from glass negative, 20.3 x 27.4 cm (8 x 10 13/16 in.), Photographs, Unknown

Dr. Syntax and the Superannuated Fox Hunters, 1820, Graphite on tracing paper, Sheet: 5 3/16 × 8 1/4 in. (13.2 × 21 cm), Drawings, Thomas Rowlandson (British, London 1757–1827 London

The Notaries Flew of With The Prey ('Escribanitos volaron con la presa'), 1807–45, Pen and dark brown ink. Composition outlined with pen and dark brown ink on all sides. Traces of black chalk underscript under inscription. On off-white paper,

Sake bottle (Tokkuri), Edo period (1615–1868), ca. 1700–1750, Japan, Stoneware with stylized flower and plum design (Ko-Kiyomizu ware), H. 6 × W. 5 in. (15.2 × 12.7 cm), Ceramics

Drawings and Prints, Books Prints Ornament & Architecture, Eyn new kunstlichboich, page 10v, Publisher, Designer, Woodcut border designed by, Peter Quentel, Anton Woensam von Worms, German, active Cologne, 1518–46, German, active first

Eyn new kunstlichboich, Titlepage (2 recto), 1529

The Lilly Macaroni, November 13, 1771, Etching, plate: 6 1/4 x 4 3/16 in. (15.8 x 10.7 cm), Prints

Limestone votive ear, Late Classical–Hellenstic, 4th–3rd century B.C., Cypriot, Limestone, H. 2 1/2 in. (6.4 cm), Cesnola Inscriptions, The right ear is schematically rendered, with the canal indicated by a circular hole. There are traces

Pontoon Bridge, Broadway Landing, Appomattox River, 1861–65, Albumen silver print from glass negative, Photographs, William Frank Browne (American

Tile from marsh scene, New Kingdom, Amarna Period, Dynasty 18, ca. 1353–1336 B.C., From Egypt, Middle Egypt, Amarna (Akhetaten), Royal Palace of Akhenaten, Petrie excavations, 1891–92, Polychrome faience, h. 5.5 cm (2 3/16 in.); w.

Kenji Morita, 1886, Ambrotype, Image: 9.6 x 6.8 cm (3 3/4 x 2 11/16 in.), Photographs, Fujita (Japanese, active 1880s), When Japan opened its ports to the West in the 1850s, photography—called shashin, literally, a copy of truth—soon

The Mocking of Christ, 1560–1635, Black chalk, brush and brown ink, gray and white oil paint, on blue paper; squared in black chalk, 9-5/16 x 16 in. (23.7 x 40.6 cm), Drawings, Domenico Tintoretto (Italian, Venice 1560–1635 Venice

Italian Landscape, 16th century, Pen and brown ink. Verso: red chalk, 8 3/4 x 12 7/8 in. (22.3 x 32.7 cm), Drawings, Cornelis Cort (Netherlandish, Hoorn ca. 1533–1578 Rome

芦雁図屏風; 柳に水上月図屏風, Goose and Reeds; Willows and Moon, Edo period (1615–1868), right screen: 1774; left screen: 1793, Japan, Pair of six-panel folding screens; ink, color and gold on paper, Each: Image: 60 9/16 in. ×

Flight into Egypt ?, n.d., Etching, Prints, Attributed to Andrea Schiavone (Andrea Meldola) (Italian, Zadar (Zara) ca. 1510?–1563 Venice), Designed by ? Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?–1576 Venice), In

Ornamental Design with Diana and Endymion in a Central Cartouche, n.d., Pen and brown ink, brush and grey and brown wash. Inlaid down into paper mount with brown and gold framing lines., c. 12 1/16 x 9 9/16 in. (30.6 x 24.3 cm) irregularly shaped

Belt Buckle in Two Parts, ca. 500–700, Niederbreisig, Frankish, Copper alloy, Belt buckle: 5 x 2 1/4 x 1 3/16 in. (12.7 x 5.7 x 3 cm); triangular plaque: 3 9/16 x 1 5/8 x 11/16 in. (9 x 4.2 x 1.8 cm), Miscellaneous-Buckles & Ornament

A Stiff Pull, 1880s, printed 1887, Photogravure, 20.8 x 28.9 cm. (8 3/16 x 11 3/8 in.), Peter Henry Emerson (British, born Cuba, 1856–1936

Relief of king's head in blue crown, head of child god on opposite side, Late Period–Ptolemaic Period, 400–200 B.C., From Egypt, Limestone, H. 27.3 cm (10 3/4 in.); W. 24 cm (9 7/16 in.); D. 3 cm (1 3/16 in

Grugeau. Alfred, Alphonse. 26 ans, né à Tours (Indre & Loire). Cordonnier. Anarchiste. 9/3/94. , 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 (French,

Four-Cornered Hat, 7th–9th century, Peru, Wari, Camelid hair, cotton, Overall: 22 1/2 x 7 in. (57.15 x 17.78 cm), Textiles-Woven

Case (Inrō) with Design of Courtier and Lady in a Boat (from the Tale of Genji), Edo period (1615–1868), 18th century, Japan, Gold maki-e and mother-of-pearl inlay , H. 2 3/8 in. (6.1 cm); W. 2 3/16 in. (5.5 cm); D. 13/16 in. (2.1 cm),

Elevated Railroad, Broadway, New York, 1861, Watercolor over graphite, sheet: 25 1/2 x 35 13/16 in. (64.8 x 90.9 cm), Drawings, J. Beigel (American, 19th century

Limestone Keystone from a Vaulted Ceiling, ca. 1220–30, German, Limestone, Overall: 20 x 33 in. (50.8 x 83.8 cm), Sculpture-Architectural, During the 1100s and 1200s, fortified settlements were built in the Holy Land by knights from western

Four Small Allegories, 18th century, Pen and black ink with graphite, 4 3/16 x 4 1/2 in. (10.6 x 11.5 cm.), Drawings, Hubert François Gravelot (French, Paris 1699–1773 Paris

Pietà with Saint Nicholas and Saint James the Great, first quarter 16th century, Made in Burgundy, France, French, Limestone, 11 1/4 x 11 7/8 x 5 1/8 in. (28.6 x 30.2 x 13 cm), Sculpture, The Pietà, depicting the Virgin Mary holding the

Camp of Confederate Prisoners at Belle Plain, May 12, 1863, 1863, Albumen silver print from glass negative, 15.1 x 20.7 cm (5 15/16 x 8 1/8 in. ), Photographs, Timothy H. O'Sullivan (American, born Ireland, 1840–1882

Drawings and Prints, Books Prints Ornament & Architecture, Pretiosa Gemma delle virtuose donne, page 11 (recto), Author, Publisher, Binder, Isabella Catanea Parasole, Gargano, Hardy-Mennil, Italian, ca. 1565/70–ca. 1625, Venetia,

Drawing for Title Page with Amorini Riding a Dolphin, 18th century, Red chalk, 10-1/2 x 8-1/4 in, Drawings, Anonymous, Italian, 18th century

Cartouche due disegno differenti da Baldachino da Processioni, 18th century, sheet: 6 3/4 x 11 1/2 in. (17.1 x 29.2 cm), Drawings, Anonymous, Italian, first half of the 18th century

Studies of Cattle, 17th century, Brush and brown wash over black chalk on light brown laid paper, 4-3/16 x 6-1/4 in. (10.7 x 15.8 cm), Drawings, Anonymous, Italian, Roman-Bolognese, 17th century

Kohl jar, Second Intermediate Period–Early New Kingdom, Dynasty 17–18, ca. 1635–1458 B.C., From Egypt, Upper Egypt, Thebes, Asasif, Courtyard CC 41, Tomb R 2, Burial B 3, In coffin, 1915–16, Travertine (Egyptian alabaster), h. 6

Stage design: piazza with a building, an obelisk, and a monument. Building and monument with numbers referring to inscription below., 18th century, Pen and brown ink, brush and brown wash, over lead, on cream laid paper, 7-1/8 x 10-15/16 in.

Drawings and Prints, Books Prints Ornament & Architecture, Corona delle Nobili et Virtuose Donne: Libro IV, page 94 (recto), Publisher, Cesare Vecellio, Italian, Pieve di Cadore 1521–1601 Venice, Vecellio, Cesare, Italian, 1521, 1601

Stage design for Nikita Balieff's theatrical company called Chauvre-Souris, New York City, first half 20th century, traces of graphite, gouache, framing lines, heightened with white, on brown card paper, sheet: 10 15/16 x 18 5/8 in. (27.8 x

Backplate of a Belt Buckle, 6th–7th century, Frankish, Iron, silver inlay, copper alloy, Overall: 2 11/16 x 2 5/16 x 11/16 in. (6.9 x 5.8 x 1.7 cm), Metalwork-Iron

Draped Male Figure Gesturing, 16th century, Pen and ink, brush and wash, 8-1/8 x 4-5/8 in. (20.6 x 11.7 cm), Drawings, Anonymous, Italian, Roman, 16th century

Interior Scene, 19th century, Graphite, 6 3/8 x 9 13/16 in. (16.2 x 24.9 cm), Drawings, Anonymous, German, 19th century

Male Figure with Dog and Pitcher, 17th century, Pen and brown ink, brush and gray wash, sheet: 5 1/16 x 1 11/16 in. (12.9 x 4.3 cm), Drawings, Anonymous, Italian, 17th century

Drawings and Prints, Books Prints Ornament & Architecture, Eyn new kunstlichboich, page 11v, Publisher, Designer, Woodcut border designed by, Peter Quentel, Anton Woensam von Worms, German, active Cologne, 1518–46, German, active first

「神橋」志野橋文茶碗, Shino Teabowl with Bridge and House, known as “Bridge of the Gods” (Shinkyō), Momoyama period (1573–1615), late 16th century, Japan, Glazed stoneware with design painted in iron oxide (Mino ware, Shino

La Gloria et l'Honore di Ponti Tagliati, E Ponti in Aere, page 8 (verso), 1556, Woodcut, Overall: 8 1/4 x 6 1/8 in. (21 x 15.5 cm), Published by Matteo Pagano, Italian, 1515-1588, Venice. From top to bottom, and left to right: Design is

Le Pompe: Opera Nova, page 3 (verso), 1557, Woodcut, Overall: 8 1/16 x 5 7/8 in. (20.5 x 15 cm), Published by Giovanni Battista & Marchio Sessa, Venice. From top to bottom, and left to right: Design composed of 2 vertical columns. Left column

Lions Attacking Two Men and a Horse, 1801–59, Brush, black and gray wash, over black chalk, plate: 10 3/16 x 16 1/8 in. (25.9 x 41 cm), Drawings, Attributed to James Ward (British, London 1769–1859 Chestnut, Hertfordshire

Fragmentary Cenotaph Cover with Qur'anic Calligraphy, 17th–18th century, Attributed to Turkey, Silk; lampas, Textile: H. 38 1/4 in. (97.2 cm), Textiles-Woven, This rectangular silk textile shows a design of chevron bands containing

Seated Virgin and Child, ca. 1300–1350, Made in Ile-de-France, France, French, Walnut, paint, gilt, 48 × 20 1/2 × 14 1/4 in. (121.9 × 52.1 × 36.2 cm), Sculpture-Wood, The elegant drapery folds, pitched knees, and engaging expression

Cruet, 1870–90, Made in Pittsburgh, Pennsylvania, United States, American, Pressed yellow glass, H. 6 1/2 in. (16.5 cm), Glass, Adams and Company

Ornamento delle belle & virtuose donne, page 6 (verso), 1554, Woodcut, Overall: 7 1/2 x 5 7/8 in. (19 x 15 cm), Published by Matteo Pagano, Italian, 1515-1588, Venice, bound by Lloyd, Wallis & Lloyd, British, active London after 1821.

Caricature of a Man Pointing, 1610–80, Pen and brown ink, Sheet: 5 1/16 x 4 1/8 in. (12.9 x 10.4 cm), Drawings, Gian Lorenzo Bernini (Italian, Naples 1598–1680 Rome

Sketch of a Sailboat, mid-17th–early 18th century, Pen and brown ink, sheet: 6 x 7 1/2 in. (15.2 x 19.1 cm), Drawings, Willem van de Velde II (Dutch, Leiden 1633–1707 London

Ber(h)nard. Victor. 43 ans, né à Paris. Coupeur. Anarchiste. Fiché le 28/2/94., 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), Born