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Set of ten lithographic prints comprising:lithographic print of drawing by Guercino entitled Study of a flying Putto, originally drawn c.1622-24Acquired by George III, King of the United Kingdom (1738-1820).Red chalk with some sanguine wash. Probably drawn very soon after the artist?s arrival in Rome. It may be connected with the ceiling painting of the Assumption (c.1623/4) in the Chiesa del Rosario at Cento, or, less probably, with the St. Chrysogonus in Glory (1622) which is now at Lancaster House. (Information kindly supplied by Mr. Denis Mahon).Print size inches: 7 x 9.2 together with lithographic print of drawing by Annibale Carracci entitled Cupid, originally drawn The great collection of drawings by the Carracci in The Royal Library came from two sources; the Albani collection, purchased in Rome for George III, King of the United Kingdom (1738-1820) in 1762, and Consul Joseph Smith?s collection, bought for the King in 1763.Black chalk, heightened with white, on blue paper. One of the magnificent large studies for the ceiling of the Galleria Farnese in which Carracci worked from 1597-c.1604. The drawing represents one of two Cupids found in the corner of the ceiling to the left of the fresco entitled 'Polyphemus killing Acis'.Print size inches: 6.8 x 9.7 together with lithographic print of drawing by Giovanni Lorenzo Bernini entitled Study for the Fontana del Moro in the Piazza Navona in Rome, originally drawn c.1652-1655The Bernini drawings in The Royal Library were among the drawings bought in Rome for George III with the Albani Collection in 1762.Pen and brown wash. A drawing for the second stage of Bernini?s design for the fountain, which was designed and made between 1652 and 1655.Print size inches: 8.1 x 9.7 together with lithographic print of drawing by Leonardo da Vinci entitled A Woman in a Landscape, originally drawn c.1517-18Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk. Certainly one of Leonardo's last drawings created towards the very end of his life, probably in France where he died in 1519. The content of the sketch shows a young woman standing in a landscape pointing. It was said by Popham that this drawing 'represents the sum of that romantic feeling which underlies Leonardo's work as a painter and draughtsman'.Print size inches: 5.5 x 8.4 together with lithographic print of drawing by Leonardo da Vinci entitled The Head of Leda, originally drawn c.1504-6Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Pen and ink over black chalk. This is a study, four of which survive, for the head of Leda in the painting Leda and the Swan. The theme is based on the mythical tale of Leda seduced by Jupiter in the form of a swan. Leonardo demonstrates his attention to detail with the whorls and braids of the hairstyle, not dissimilar to forms created by water. The painting itself does not survive, having been destroyed in the eighteenth century.Print size inches: 6 x 7.2 together with lithographic print of drawing by Leonardo da Vinci entitled Star of Bethlehem and other Plants, originally drawn c.1505-7Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Red chalk with pen and ink. During this time (1505-7), Leonardo was creating a number of studies of plants for the foreground of the painting Leda and the Swan, destroyed around 1700. Moving towards a more stylised structure the drawing illustrates the Star of Bethlehem with flowers growing from a draped ring of swirling leaves and grasses behind. To the left one identifies leaves of crowfoot and to the right wood anemone with spurge and detail of its individual flowers below.Print size inches: 6.5 x 8 together with lithographic print of drawing by Leonardo da Vinci entitled Neptune with his Sea-horses., originally drawn c.1504-5Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.Black chalk on white paper. A study for the drawing of Neptune for his friend Antonio Segni, master of the papal mint. Although highly praised in the sixteenth century, the large finished drawing is now lost and what we see here is a preparatory study. The flowing design and movement is comparable with the Battle of Anghiari on which Leonardo was working at the same time. At the top of the paper is written, in Leonardo's hand a reminder to 'Abasse icchacalli' (lower the horses).Print size inches: 9.3 x 6.1 together with lithographic print of drawing by Michelangelo entitled Archers shooting at a Herm, originally drawn c.1530Acquired by George III, King of the United Kingdom (1738-1820) by 1810.Two tones of red chalk. One of a few presentation drawings made as gifts for his closest friends and considered the pinnacle of Michelangelo's draughtsmanship. Fuelled by the fire kindled by the putti on the left, a group of naked youths, both male and female, aim urgently at a herm (a squared stone pillar with a head on the top). With one exception they have no weapons and their arrows fall to the base and sides of the target missing the centre symbolising the theme that ?passionate, blind striving cannot achieve its real aim?.Print size inches: 9.2 x 6.4 together with lithographic print of drawing by Raphael entitled The Massacre of the Innocents, originally drawn c.1510Recorded in the collection of George III (1738-1820).Red chalk over a tracing in pencil and a sketch with a stylus. A study for the design which was engraved by Marcantonio but was not apparently used for any other purpose. On the verso a study for a salver with marine deities.Print size inches: 9.3 x 5.6 together with lithographic print of drawing by Leonardo da Vinci entitled Studies of a Rearing Horse., originally drawn c.1503Acquired by Charles II, King England (1630-85). Bequeathed to Francesco Melzi; purchased by Pompeo Leoni, c.1582-90; Thomas Howard, 2nd Earl of Arundel by 1630 and finally resting with The Royal Collection by 1690.A dynamic study in red chalk and pen and sepia c.1503-4. Leonardo made a number of studies of horses for a mural in the Palazzo delle Signoria in Florence depicting the Battle of Anghiari (1440). Only part of the mural, which ultimately did not survive, was completed. The movement in this sketch is demonstrated by the varying positions of the horses legs and head. The cursorily drawn rider adds further to the mood. Below are the faint outlines of smaller drawing of a horse rearing towards the left.Print size inches: 5.8 x 6.2