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Petit Palais, Paris

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Etching of Paris rooftops and chimneys with a windmill on Montmartre hill under a stormy, hatched sky.

A mill at Montmartre

Eugène Bejot, 1897

Etching of moored barges on a river with reflections, stone bridges and city buildings along the far bank.

The jetty

Eugène Bejot, 1905

Etching of the Seine with a stone bridge, moored barges, a rowboat, tree-lined quay and Paris buildings in the distance.

Quai d'Anjou

Eugène Bejot, 1906

Etching of pedestrians under umbrellas on a rainy city street at dusk, with a street lamp and reflections on wet pavement.

The small funeral (Boucard-Goodfriend 154)

Félix-Hilaire Buhot, 1878

Etching of silhouetted people with umbrellas on a wooden pier under a stormy sky with seagulls and a flagpole.

A pier in England (Boucard-Goodfriend 132)

Félix-Hilaire Buhot, 1879

Etching of travelers on a rain-soaked quay under a stormy sky, with a flagpole, umbrella and flying gulls.

Landing in England (Boucard-Goodfriend 130)

Félix-Hilaire Buhot, 1879

Etching of holidaymakers with umbrellas on a beach under a dark storm sky, with flagpoles and a distant sailing ship.

A squall at Trouville, 4 August 1874 (Boucard-Goodfriend 122)

Félix-Hilaire Buhot, 1874

Etching of a provincial street with a dormered stone house, a walking figure in a cloak, and leafy trees along a wall.

In the provinces (Boucard-Goodfriend 65)

Félix-Hilaire Buhot, 1875

Etching of a young girl with loose hair in three-quarter view, looking to the side, signed Mary Cassatt below.

The ceremonial robe (Adelyn Dohme Breeskin 191)

Mary Cassatt, 1904

Etching of a young girl leaning on an armchair back, holding a small doll, signed Mary Cassatt.

Simone leaning against the back of an armchair (Adelyn Dohme Breeskin 187)

Mary Cassatt, 1904

Etching of a woman with pulled-back hair bending over a small dog held in her arms, against a shaded background.

Mathilde feeding her dog (Adelyn Dohme Breeskin 86)

Mary Cassatt, 1886

Drypoint etching of a woman holding a small child against her shoulder, signed Mary Cassatt below.

Antoinette in her mother's arms (Adelyn Dohme Breeskin 212)

Mary Cassatt, 1910

Etching of two figures on a fallen log beside a river, one with a rifle, under a large drooping willow tree.

The poacher

Paul Huet, 1834

Etching of a boy between a bearded man with a staff and a woman in a headscarf, with a dog and rocky landscape behind.

Jesus brought back from the Temple by his parents (Bartsch 60)

Rembrandt van Rijn, 1654

Etched portrait of an elderly bearded man in a cap and fur-trimmed robe, seated in a chair beside an arched window.

Jan Lutma (Bartsch 276)

Rembrandt van Rijn, 1656

Etching of dogs attacking a bull in a bullring, with cloaked men on foot and a mounted rider watching from the side.

The dogs unleashed on the bull - Plate C (H : 239)

Francisco Goya, 1816

Etching of a seated woman guiding a young girl knitting in a wooden-paneled room, with a cat on a ledge by the window.

The little knitter after Jean-François Millet

Félix Bracquemond

Etching of a woman in a white cap guiding a child's knitting in a dim wooden interior beside a window.

The knitter after Jean-François Millet

Félix Bracquemond

Etched portrait of an older man with moustache and white hair, a smoking hand at lower left, with ornate background details.

Edmond de Goncourt

Félix Bracquemond

Etching of men in period dress fighting in a rough room, with an open doorway and a figure peeking in at right.

The brawl after Meissonier

Félix Bracquemond, 1865

Sepia etching of a laborer leaning on a hoe in a rough field, with smoke rising on the distant horizon.

Labor after the man with the hoe by Millet

Félix Bracquemond

Etched portrait of a bearded man in a wide-brimmed hat raising a glass of wine, gazing upward, in sepia tones.

A drinker after Lafond

Félix Bracquemond

Etching of a child beside a saddled white horse in a farmyard, with a leaning wooden shutter and a woman watching from a door

The good friends after Decamps

Félix Bracquemond

Lithograph of reclining Venus surrounded by winged cherubs in a forest, with a lute and arrows in the foreground.

Venus and the loves after Joseph Guichard

Félix Bracquemond, 1854

Etching of a bearded crowned king on a throne with a winged youth at his feet, flanked by ornate columns and a hanging lamp.

David after Gustave Moreau

Félix Bracquemond, 1884

Etching of a chaotic crowd of men with swords and raised arms in a legislative chamber with draped curtains.

Boissy d'Anglas presiding over the National Convention, on 1st prairial Year III after Delacroix. First state

Félix Bracquemond, 1881

Etching of a chaotic assembly chamber with crowds, raised swords and draped curtains, after Delacroix by Félix Bracquemond.

Boissy d'Anglas presiding over the National Convention, on 1st prairial Year III after Delacroix (IFF : 384 ; Beraldi…

Félix Bracquemond, 1881

Etching of two figures watching wild geese fly over a field with grazing sheep and a hedgerow.

Autumn or the flight of wild geese after Jean-François Millet. First state

Félix Bracquemond, 1887

Etching of a shepherd pointing at geese flying overhead while a seated woman looks up and sheep graze in a field.

Autumn or the flight of wild geese after Jean-François Millet

Félix Bracquemond, 1887

Monochrome print of men in period dress playing cards around a table beside a stone fireplace, with smoking onlookers.

The card game after Meissonier

Félix Bracquemond

Etching of a mounted horseman in a plumed hat facing a charging bull in a bullring, with spectators in the stands above.

A Spanish gentleman in the plaza breaking small lances without the help of the chulos, n°13. (H : 216)

Francisco Goya, 1816

Etching of a bull in an arena with a fallen donkey, a tossed figure, and lancers at the edges, by Goya.

Palisade of bulls made with donkeys to defend themselves from the bull with torches, n°17. (H : 220)

Francisco Goya, 1816

Etching of a hunched prisoner seated in chains, with shackled ankles and a dark hatched background.

The prisoner - Tan Barbara security as the crime (Delteil 31 ; Gassier-Wilson 986 ; Harris 26 IV ; Lefort 258)

Francisco Goya, 1815

Sepia etching of a woman in a long dark gown flying above grotesque, caricatured faces, titled Volaverunt.

The Caprices pl. 61 : Volaverunt (Delteil 98 ; Gassier-Wilson 573 ; Harris 96 III 1 ; Lefort 61)

Francisco Goya, 1799

Sepia etching of a cloaked figure covering its face as a winged demon and grotesque faces loom above, plate 48 by Goya.

The Caprices pl. 48. Soplones (Delteil 85 ; Gassier-Wilson 547 ; Harris 83 III 1 ; Lefort 48)

Francisco Goya, 1799

Sepia etching of a woman by a cooking pot with hand to mouth, and a bent figure in a long skirt in the foreground.

The Caprices pl. 4 : El de la rollona (Delteil 43 ; Gassier-Wilson 457 ; Harris 39 III 1 ; Lefort 4)

Francisco Goya, 1799

Sepia etching of a man embracing a swooning woman beside a brick wall, with a skull and shovel at their feet.

The Caprices pl. 10 : El amor y la muerte (Delteil 47 ; Gassier-Wilson 469 ; Harris 45 III 1 ; Lefort 10)

Francisco Goya, 1799

Etching of an owl with spread wings above two bound figures tied back to back, with a tree branch and grass.

The Caprices pl. 75 : No hay quien nos desate ? (Delteil 112 ; Gassier-Wilson 608 ; Harris 110 III 1 ; Lefort 75)

Francisco Goya, 1799

Etching of a woman in white fleeing winged demons and grotesque creatures, by Goya, plate 72 of The Caprices.

The Caprices pl. 72 : No te escaparas (Delteil 109 ; Gassier-Wilson 596 ; Harris 107 III 1 ; Lefort 72)

Francisco Goya, 1799

Brown etching of two men in restraining devices, one lying and one standing, with a donkey-headed figure behind them.

The Caprices pl. 50 : Los chinchillas (Delteil 87 ; Gassier-Wilson 551 ; Harris 85 III 1 ; Lefort 50)

Francisco Goya, 1799

Sepia etching of two old women and an old man around a table, one sweeping with a broom, from Goya's Caprices.

The Caprices pl. 78 : Despacha, que dispiértan (Delteil 115 ; Gassier-Wilson 609 ; Harris 113 III 1 ; Lefort 78)

Francisco Goya, 1799

Sepia etching of four men drinking around a barrel, one leaning back laughing, with the caption Nadie nos ha visto.

The Caprices pl. 79 : Nadie nos ha visto (Delteil 116 ; Gassier-Wilson 611 ; Harris 114 III 1 ; Lefort 79)

Francisco Goya, 1799

Etching of screaming, contorted figures with raised arms, from Goya's Caprices series, plate 80.

The Caprices pl. 80 : Ya es hora (Delteil 117 ; Gassier-Wilson 613 ; Harris 115 III 1 ; Lefort 80)

Francisco Goya, 1799

Sepia print of a barefoot woman seated on the floor in a dim room, head bowed, lit by a small high window.

The Caprices pl. 32 : Por que fue sensible (Delteil 69 ; Gassier-Wilson 515 ; Harris 67 III 1 ; Lefort 32)

Francisco Goya, 1799

Etching of a powdered-wig nobleman standing over two bent men beside a shelf of bottles, titled Al Conde Palatino.

The Caprices pl. 33 : Al Conde Palatino (Delteil 70 ; Gassier-Wilson 517 ; Harris 68 III 1 ; Lefort 33)

Francisco Goya, 1799

Brown etching of a seated man being attended by two women in an interior, with a jug on a table beside them.

The Caprices pl. 35 : Le descanona (Delteil 72 ; Gassier-Wilson 520 ; Harris 70 III 1 ; Lefort 35)

Francisco Goya, 1799

Etching of an old man grinning beside a burning wooden chair, with smoke rising in a dark interior.

The Caprices pl. 18 : Y se le quema la Casa (Delteil 55 ; Gassier-Wilson 487 ; Harris 53 III 1 ; Lefort 18)

Francisco Goya, 1799

Etching of a tall shrouded ghostly figure at left, with a swordsman and fallen men at night beside a tree at right.

Disparate of fear. For fear do not lose honor, pl. 2 (H : 249)

Francisco Goya, 1823

Etching of women in striped shawls gathered on a large dark tree branch against a grey background.

Walking around the branches. Ridiculous Disparate, pl. 3 (H : 250)

Francisco Goya, 1823

Etching of a grinning grotesque man towering over a small cloaked woman, with floating distorted heads around them.

After vice comes fornication. Simpleton. Disparate of a fool, pl. 4 (H : 251)

Francisco Goya, 1823

Etching of a rider on a white horse flying with large wings beside a two-headed winged monster against a dark background.

I renounce the friend who covers with wings and kills with the beak. Flying Disparate, pl. 5 (H : 252)

Francisco Goya, 1823

Etching of an armed man with a pole driving forward while hunched figures stand before a dark stone wall.

God made us and we marvel. Furious Disparate, pl. 6 (H : 253)

Francisco Goya, 1823

Etching of a grotesque shirtless man pointing while embracing a woman, with a crowd of caricatured figures watching in shadow

She who marries badly never lacks a fault to find. Disordered Disparate, pl. 7 (H : 254)

Francisco Goya, 1823

Etching of hooded figures wrapped in sackcloth standing and bending in a row against a dark background.

Under the sackcloth, there is a soul. The bagged ones. Disparate of bagged ones, pl. 8 (H : 255)

Francisco Goya, 1823

Etching of hooded figures and cats in a dark crowded scene, with a seated bearded man and a figure holding cats.

Cat's paws and a pious habit. General Disparate, pl. 9 (H : 256)

Francisco Goya, 1823

Etching of a rearing horse throwing its rider backward, with a fallen figure on rocky ground at left.

The woman and the colt, may another tame them. The raptor horse, unbridled disparate, pl. 10 (H : 257)

Francisco Goya, 1823

Etching of a dark interior with a raised-armed woman before a group of hooded elderly women and a crouching figure.

Poor Disparate, pl. 11 (H : 258)

Francisco Goya, 1823

Etching of ruffled dancing figures, men and women, in a dark tonal setting by Goya, 1823.

If she danced at sea, she took what she found. Cheerful Disparate, pl. 12 (H : 259)

Francisco Goya, 1823

Etching of a man strapped to a large bat-like wing flying through a dark sky, with other gliding figures nearby.

Way of flying. Where there is desire there is strength, pl. 13 (H : 260)

Francisco Goya, 1823

Etching of grotesque masked carnival figures in exaggerated poses, one in a tall pointed hat, against a dark landscape.

Carnival joys, tomorrow you will be ashes. Carnival Disparate, pl. 14 (H : 261)

Francisco Goya, 1823

Dark etching of a crowd beneath a swirling cloth, with figures reaching upward on the right and a robed figure on the left.

Without recommending oneself to God or the devil. Clear Disparate, pl. 15 (H : 262)

Francisco Goya, 1823

Etching of hooded and cloaked figures in a dark night scene, with a pointing man at right and a winged form above.

Wounds heal but not bad words. Triple Disparate, pl. 16. (H : 263)

Francisco Goya, 1823

Dark etching of grotesque figures gathered around a seated old woman and a small dog, with a laughing man pointing.

Loyalty. He who does not love you, slanders you by mocking. Quiet folly, pl. 17 (H : 264)

Francisco Goya, 1823

Etching of hooded figures gathered at night around a reclining body, with a kneeling woman looking up at an old man pointing.

God creates them and they get together. Funeral folly, pl. 18 (H : 265)

Francisco Goya, 1823

Engraved interior of a vaulted hall with a crowd in period dress around a central table set for a funeral banquet.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, third of the…

Friedrich Brentel, 1609

Engraved view of a Gothic church interior with hooded mourners, soldiers, candles and heraldic shields for a funeral.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, sixth of the…

Friedrich Brentel, 1609

Etching of a Gothic church interior with a funeral procession of hooded mourners and soldiers moving toward a draped catafalq

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, seventh of th…

Friedrich Brentel, 1609

Engraved print of a tiered funeral catafalque with many candles and crosses above a crowned effigy of a duke.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, eighth of the…

Friedrich Brentel, 1609

Etching of a funeral procession with an effigy on a draped bier under a canopy, surrounded by hooded mourners holding pikes.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, thirty-eighth…

Friedrich Brentel, 1609

Etching of a funeral procession with hooded mourners in long cloaks and halberd-carrying guards, with inscriptions above.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, forty-second…

Friedrich Brentel, 1609

Etched procession of cloaked gentlemen and armed attendants with halberds, walking in a long line across the sheet.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, forty-sixth p…

Friedrich Brentel, 1609

Engraved procession of mourners in cloaks and archers with long pole weapons walking in a line.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, forty-eighth…

Friedrich Brentel, 1609

Etching of a soldier leading a horse down a rocky path past a tree, with a woman and another figure nearby.

Various figures and scribbles. Foot soldier descending a mountain path leading his horse by the bridle, preceded by a…

Stefano Della Bella

Black-and-white composite print of Henry Monnier portraits and figures in top hats, with a central face, quill pen and scatte

Henry Monnier. Portraits and transformations: 1-Henry Monnier in 1822 (after a watercolor by Chalon), 2-Henry Monnier…

Edmond Morin, 1877

Engraving of ships attacking a coastal battery, with rowboats in the foreground and tents on the shore under a cloudy sky.

Attack and capture of the batteries of Punto Obligado, November 20, 1845 after François-Pierre-Bernard Barry

François Pierre Bernard Barry, 1848

Engraved panorama of ships in naval combat off a coast, with smoke rising from the shore under a cloudy sky.

Naval combat of Punto Obligado, November 20, 1845 after François-Pierre-Bernard Barry

François Pierre Bernard Barry, 1839

Engraved architectural plan of the Basilica of the Nativity with numbered rooms, courtyards, a compass rose, and a legend.

Journey to the Holy Land, First plate. Lieure 307 [Plan of the Basilica of the Nativity]

Jacques Callot, 1620

Etched architectural plan and elevation of the Holy Cenacle church with lettered key and compass rose, by Jacques Callot.

Journey to the Holy Land, Eleventh plate. Lieure 320-321 [Plan and elevation of the church of the Holy Cenacle]

Jacques Callot, 1620

Engraved longitudinal section of the Holy Sepulchre basilica showing domes, arcades, and keyed chapels with lettering.

Journey to the Holy Land, Twentieth plate. Lieure 330 [Longitudinal section of the Basilica of the Holy Sepulchre]

Jacques Callot, 1620

Etched architectural section of the Holy Sepulchre basilica with domed chapel, arches, staircase and Italian key text.

Journey to the Holy Land, Twenty-first plate. Lieure 331 [Longitudinal section of the Basilica of the Holy Sepulchre,…

Jacques Callot, 1620

Engraved ground plan of the Holy Sepulchre with a circular colonnade, central chapel, and lettered key in Italian.

Journey to the Holy Land, Twenty-fourth plate. Lieure 337 [Plan of the Basilica of the Holy Sepulchre]

Jacques Callot, 1620

Etched ground plan of the church of Saint Anne in Jerusalem with lettered key, cloister, cells and cistern.

Journey to the Holy Land, Thirty-first plate. Lieure 344 [Plan of the church of Saint Anne of Jerusalem]

Jacques Callot, 1620

Engraved architectural plan and perspective section of the Holy Sepulchre of the Virgin church with lettered key.

Journey to the Holy Land, Thirty-third plate. Lieure 346 [Plan of the church of the Holy Sepulchre of the Virgin]

Jacques Callot, 1620

Engraved longitudinal section of the Holy Sepulchre church interior with arched vaults, steps, altars and lettered keys.

Journey to the Holy Land, Thirty-fourth plate. Lieure 347 [Longitudinal section of the church of the Holy Sepulchre o…

Jacques Callot, 1620

Engraved plan and elevation of a church with lettered labels, showing arches, a staircase and the Holy Sepulchre tomb.

Journey to the Holy Land, Thirty-fifth plate. Lieure 348 [Plan and elevation of the church of the Holy Sepulchre of t…

Jacques Callot, 1620

Etched bird's-eye view of walled Jerusalem with dense domed buildings, numbered landmarks and a lettered key below.

Journey to the Holy Land, Thirty-sixth plate. Lieure 349 [Plan of the city of Jerusalem]

Jacques Callot, 1620

Engraved plan of a funerary complex with burial chambers and passages, plus drawings of domed tombs and sarcophagi.

Journey to the Holy Land, Thirty-eighth plate. Lieure 351 [Plan of the funerary complex]

Jacques Callot, 1620

Engraved architectural plate showing a vaulted tomb chamber elevation with arched doorways, smaller detail views, and a label

Journey to the Holy Land, Thirty-ninth plate. Lieure 352 [Elevation of the funerary complex]

Jacques Callot, 1620

Engraved print of the Virgin Mary holding the standing infant Jesus on clouds, within an arched ornamental border.

The Virgin of Canteleu after Schopin (IFF page 93)

Jean Alexandre Allais, 1845

Engraving of a haloed saint dying on a fur-covered bed, monks kneeling beside him, angels playing music above.

The Death of Saint Francis of Assisi after Annibale Carracci (Dutuit page 5, Robert-Dumesnil 27, Courboin 2367)

Engraving of Saint Sebastian tied to a tree, pierced by arrows, with a tower, riders and a landscape behind him.

Saint Sebastian after Annibale Carracci (Dutuit page 6, Robert-Dumesnil 37, Courboin 2376)

Engraving of allegorical figures with a seated woman, cherubs, a ram and a woman reaching toward a unicorn on clouds.

The cardinal virtues, Temperance after Domenichino (Robert-Dumesnil 120, Dutuit page 14)

Gérard Audran, 1675

Engraving of a seated allegorical woman with a mirror, a reclining man below, and putti in a spandrel frame.

The cardinal virtues, Prudence after Domenichino (Robert-Dumesnil 119, Dutuit page 14)

Gérard Audran, 1675

Engraving of an allegorical female figure with shield and staff, a man wrestling a lion, and putti among clouds.

The cardinal virtues, Fortitude after Domenichino (Robert-Dumesnil 122, Dutuit page 15)

Gérard Audran, 1675

Engraving of an allegorical figure of Justice on a cloud, beneath a crowned woman and winged putti in a triangular frame.

The cardinal virtues, Justice after Domenichino (Robert-Dumesnil 121, Dutuit page 15)

Gérard Audran, 1675

Engraving of a seated woman with a sunflower reaching toward a winged cupid holding a torch beneath a large tree.

Clytie and Cupid after Annibale Carracci. Dutuit page 340

Francesco Bartolozzi