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Search filters ‹ Back to results | WBC ART (49,932) Page 1 of 500 Anders Zorn. Bather (Evening) II. 1896. Sweden. Etching on tan wove paper Anders Zorn. Bather (Evening) II. 1896. Sweden. Etching on tan wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anders-zorn-bather-evening-ii-1896-sweden-etching-on-tan-wove-paper-image337969500.html Henri Fantin-Latour. The Mastersingers of Nuremberg, Act I Walther and Eva Meet. 1881–1891. France. Lithograph in black on off-white chine Henri Fantin-Latour. The Mastersingers of Nuremberg, Act I Walther and Eva Meet. 1881–1891. France. Lithograph in black on off-white chinehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/henri-fantin-latour-the-mastersingers-of-nuremberg-act-i-walther-and-eva-meet-18811891-france-lithograph-in-black-on-off-white-chine-image337971105.html Tôshûsai Sharaku. The actor Iwai Hanshiro IV as Otoma. 1794. Japan. Color woodblock print; hosoban Tôshûsai Sharaku. The actor Iwai Hanshiro IV as Otoma. 1794. Japan. Color woodblock print; hosobanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/tshsai-sharaku-the-actor-iwai-hanshiro-iv-as-otoma-1794-japan-color-woodblock-print-hosoban-image338000357.html Edward Colonna (Designer). Vase. 1895–1907. Limoges. Hard-paste porcelain with stenciled, pate sur pate with incised decoration Edward Colonna (Designer). Vase. 1895–1907. Limoges. Hard-paste porcelain with stenciled, pate sur pate with incised decorationhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/edward-colonna-designer-vase-18951907-limoges-hard-paste-porcelain-with-stenciled-pate-sur-pate-with-incised-decoration-image337986599.html Pietro della Vecchia. The Adoration of the Magi. 1645–1655. Italy. Oil on canvas Pietro della Vecchia. The Adoration of the Magi. 1645–1655. Italy. Oil on canvashttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/pietro-della-vecchia-the-adoration-of-the-magi-16451655-italy-oil-on-canvas-image337960056.html Honoré-Victorin Daumier. Even the Planets are Watching with Interest the Arrival of the Famous Comet, plate 9 from La Cométe De 1857. 1857. France. Lithograph in black on white wove paper Honoré-Victorin Daumier. Even the Planets are Watching with Interest the Arrival of the Famous Comet, plate 9 from La Cométe De 1857. 1857. France. Lithograph in black on white wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/honor-victorin-daumier-even-the-planets-are-watching-with-interest-the-arrival-of-the-famous-comet-plate-9-from-la-comte-de-1857-1857-france-lithograph-in-black-on-white-wove-paper-image337998521.html Joseph Mallord William Turner. Peat Bog, Scotland, plate 45 from Liber Studiorum. 1812. England. Etching and engraving in brown on ivory laid paper Joseph Mallord William Turner. Peat Bog, Scotland, plate 45 from Liber Studiorum. 1812. England. Etching and engraving in brown on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/joseph-mallord-william-turner-peat-bog-scotland-plate-45-from-liber-studiorum-1812-england-etching-and-engraving-in-brown-on-ivory-laid-paper-image337975510.html Katsukawa Shunsho. The Actor Yamashita Kinsaku II as Lady Kikusui (Kikusui Gozen) ( ) in the Play Kaeribana Eiyu Taiheiki ( ), Performed at the Nakamura Theater ( ) in the Eleventh Month, 1779 ( ). 1774–1784. Japan. Color woodblock print; hosoban; from a multisheet composition Katsukawa Shunsho. The Actor Yamashita Kinsaku II as Lady Kikusui (Kikusui Gozen) ( ) in the Play Kaeribana Eiyu Taiheiki ( ), Performed at the Nakamura Theater ( ) in the Eleventh Month, 1779 ( ). 1774–1784. Japan. Color woodblock print; hosoban; from a multisheet compositionhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/katsukawa-shunsho-the-actor-yamashita-kinsaku-ii-as-lady-kikusui-kikusui-gozen-in-the-play-kaeribana-eiyu-taiheiki-performed-at-the-nakamura-theater-in-the-eleventh-month-1779-17741784-japan-color-woodblock-print-hosoban-from-a-multisheet-composition-image337956160.html Hishikawa Moronobu. Emon Hill, from the series The Appearance of Yoshiwara (Yoshiwara no tei). 1676–1689. Japan. Woodblock print; oban, sumizuri-e Hishikawa Moronobu. Emon Hill, from the series The Appearance of Yoshiwara (Yoshiwara no tei). 1676–1689. Japan. Woodblock print; oban, sumizuri-ehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/hishikawa-moronobu-emon-hill-from-the-series-the-appearance-of-yoshiwara-yoshiwara-no-tei-16761689-japan-woodblock-print-oban-sumizuri-e-image337971104.html Charles Émile Jacque. John Balfour de Burley - Les Puritains. 1833–1894. France. Etching and engraving on ivory wove paper Charles Émile Jacque. John Balfour de Burley - Les Puritains. 1833–1894. France. Etching and engraving on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/charles-mile-jacque-john-balfour-de-burley-les-puritains-18331894-france-etching-and-engraving-on-ivory-wove-paper-image337972285.html Suzanne Valadon. Two Women Drying Themselves. 1896. France. Soft ground etching in dark brown on cream laid paper Suzanne Valadon. Two Women Drying Themselves. 1896. France. Soft ground etching in dark brown on cream laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/suzanne-valadon-two-women-drying-themselves-1896-france-soft-ground-etching-in-dark-brown-on-cream-laid-paper-image337965273.html Cupisnique. Stirrup Spout Vessel with Raised Geometric Scroll Motif. 1000 BC–200 BC. North Coast. Ceramic Cupisnique. Stirrup Spout Vessel with Raised Geometric Scroll Motif. 1000 BC–200 BC. North Coast. Ceramichttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/cupisnique-stirrup-spout-vessel-with-raised-geometric-scroll-motif-1000-bc200-bc-north-coast-ceramic-image337956978.html Charles Meryon. View of Part of the City of Paris toward the Close of the XVII Century. 1861. France. Etching on ivory laid paper Charles Meryon. View of Part of the City of Paris toward the Close of the XVII Century. 1861. France. Etching on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/charles-meryon-view-of-part-of-the-city-of-paris-toward-the-close-of-the-xvii-century-1861-france-etching-on-ivory-laid-paper-image338008352.html James McNeill Whistler. Cottage Door. 1886. United States. Etching and drypoint in black ink on ivory laid paper James McNeill Whistler. Cottage Door. 1886. United States. Etching and drypoint in black ink on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/james-mcneill-whistler-cottage-door-1886-united-states-etching-and-drypoint-in-black-ink-on-ivory-laid-paper-image337962996.html Thomas Eakins. The Zither Player. 1876. United States. Watercolor on cream wove paper Thomas Eakins. The Zither Player. 1876. United States. Watercolor on cream wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/thomas-eakins-the-zither-player-1876-united-states-watercolor-on-cream-wove-paper-image337963730.html Southworth & Hawes. Untitled. 1852. United States. Daguerreotype Southworth & Hawes. Untitled. 1852. United States. Daguerreotypehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/southworth-hawes-untitled-1852-united-states-daguerreotype-image337960306.html Beaker. 1700–1725. Bohemia. Glass with engraved gold leaf decoration Beaker. 1700–1725. Bohemia. Glass with engraved gold leaf decorationhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/beaker-17001725-bohemia-glass-with-engraved-gold-leaf-decoration-image337966231.html Rodolphe Bresdin. Hunters Surprised by Death. 1857. France. Etching on ivory China paper laid down on ivory wove paper Rodolphe Bresdin. Hunters Surprised by Death. 1857. France. Etching on ivory China paper laid down on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/rodolphe-bresdin-hunters-surprised-by-death-1857-france-etching-on-ivory-china-paper-laid-down-on-ivory-wove-paper-image337994440.html Utagawa Kuninaga. Newly Published Dutch Perspective View The Tomb of King Mausolus in Asia. 1820–1830. Japan. Color woodblock print Utagawa Kuninaga. Newly Published Dutch Perspective View The Tomb of King Mausolus in Asia. 1820–1830. Japan. Color woodblock printhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/utagawa-kuninaga-newly-published-dutch-perspective-view-the-tomb-of-king-mausolus-in-asia-18201830-japan-color-woodblock-print-image338010042.html Bag (Needlework). 1601–1625. England. Linen, plain weave; embroidered in silk threads and silver-gilt strips wound around a silk fibre core in rococo and plait (thread counted) stitches, couching, plaited braid and woven rosettes; tassels made with silver-gilt threads in Turk's head knots; lined with silk, plain weave Bag (Needlework). 1601–1625. England. Linen, plain weave; embroidered in silk threads and silver-gilt strips wound around a silk fibre core in rococo and plait (thread counted) stitches, couching, plaited braid and woven rosettes; tassels made with silver-gilt threads in Turk's head knots; lined with silk, plain weavehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bag-needlework-16011625-england-linen-plain-weave-embroidered-in-silk-threads-and-silver-gilt-strips-wound-around-a-silk-fibre-core-in-rococo-and-plait-thread-counted-stitches-couching-plaited-braid-and-woven-rosettes-tassels-made-with-silver-gilt-threads-in-turks-head-knots-lined-with-silk-plain-weave-image337960604.html Chalice. 1595–1605. Spain. Silver gilt Chalice. 1595–1605. Spain. Silver gilthttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chalice-15951605-spain-silver-gilt-image338001335.html Louis Auguste Lepère. Modern Bucolic. 1901. France. Woodcut in salmon, fawn, tan, red, light blue and medium blue from four blocks on cream laid paper Louis Auguste Lepère. Modern Bucolic. 1901. France. Woodcut in salmon, fawn, tan, red, light blue and medium blue from four blocks on cream laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/louis-auguste-lepre-modern-bucolic-1901-france-woodcut-in-salmon-fawn-tan-red-light-blue-and-medium-blue-from-four-blocks-on-cream-laid-paper-image337953395.html Albrecht Dürer. The Small Horse. 1505. Germany. Engraving in black on ivory laid paper Albrecht Dürer. The Small Horse. 1505. Germany. Engraving in black on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/albrecht-drer-the-small-horse-1505-germany-engraving-in-black-on-ivory-laid-paper-image337962292.html Winged Goblet. 1620–1630. Germany. Glass Winged Goblet. 1620–1630. Germany. Glasshttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/winged-goblet-16201630-germany-glass-image337982723.html Helen Hyde. Marching as to War. 1904. United States. Color etching on paper Helen Hyde. Marching as to War. 1904. United States. Color etching on paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/helen-hyde-marching-as-to-war-1904-united-states-color-etching-on-paper-image337991631.html Charles Émile Jacque. Woman Washing Pots, with Children. 1845. France. Etching and engraving on ivory chine laid down on ivory laid paper Charles Émile Jacque. Woman Washing Pots, with Children. 1845. France. Etching and engraving on ivory chine laid down on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/charles-mile-jacque-woman-washing-pots-with-children-1845-france-etching-and-engraving-on-ivory-chine-laid-down-on-ivory-laid-paper-image337971980.html Soup Bowl. 1750–1755. Jingdezhen. Hard-paste porcelain with polychrome enamels and gilding Soup Bowl. 1750–1755. Jingdezhen. Hard-paste porcelain with polychrome enamels and gildinghttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/soup-bowl-17501755-jingdezhen-hard-paste-porcelain-with-polychrome-enamels-and-gilding-image337961799.html Pilgrim Bottle. 1700–1710. Potsdam. Ruby glass with silver-gilt mounts Pilgrim Bottle. 1700–1710. Potsdam. Ruby glass with silver-gilt mountshttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/pilgrim-bottle-17001710-potsdam-ruby-glass-with-silver-gilt-mounts-image337982798.html William H. Bell. The Vermillion Cliff, a typical plateau edge, as seen from Jacobs Pool, Arizona. From its top a plateau stretches to the right, and from its base another to the left. Their difference of level is 1.500 feet, and the step is too steep for scaling.. 1872. United States. Albumen print, stereo, No. 15 from the series Geographical Explorations and Surveys West of the 100th Meridian William H. Bell. The Vermillion Cliff, a typical plateau edge, as seen from Jacobs Pool, Arizona. From its top a plateau stretches to the right, and from its base another to the left. Their difference of level is 1.500 feet, and the step is too steep for scaling.. 1872. United States. Albumen print, stereo, No. 15 from the series Geographical Explorations and Surveys West of the 100th Meridianhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/william-h-bell-the-vermillion-cliff-a-typical-plateau-edge-as-seen-from-jacobs-pool-arizona-from-its-top-a-plateau-stretches-to-the-right-and-from-its-base-another-to-the-left-their-difference-of-level-is-1500-feet-and-the-step-is-too-steep-for-scaling-1872-united-states-albumen-print-stereo-no-15-from-the-series-geographical-explorations-and-surveys-west-of-the-100th-meridian-image337954278.html Albrecht Dürer. The Holy Family with Two Angels in a Vaulted Hall. 1503–1504. Germany. Woodcut in black on ivory laid paper Albrecht Dürer. The Holy Family with Two Angels in a Vaulted Hall. 1503–1504. Germany. Woodcut in black on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/albrecht-drer-the-holy-family-with-two-angels-in-a-vaulted-hall-15031504-germany-woodcut-in-black-on-ivory-laid-paper-image337970984.html Artist unknown. Cup plate. 1844. Sandwich. Pressed glass Artist unknown. Cup plate. 1844. Sandwich. Pressed glasshttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/artist-unknown-cup-plate-1844-sandwich-pressed-glass-image337997256.html Mary Cassatt. The Artist's Father Reading. 1880–1885. United States. Graphite, on ivory wove paper Mary Cassatt. The Artist's Father Reading. 1880–1885. United States. Graphite, on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mary-cassatt-the-artists-father-reading-18801885-united-states-graphite-on-ivory-wove-paper-image337957361.html Torii Kiyonaga. The Actors Matsumoto Koshiro IV as Ukita Sakingo and Sawamura Sojuro III as the ghost of the courtesan Takao, in the play Ominaeshi Sugata no Hatsuaki, performed at the Nakamura Theater, 1788. 1788. Japan. Color woodblock print; oban Torii Kiyonaga. The Actors Matsumoto Koshiro IV as Ukita Sakingo and Sawamura Sojuro III as the ghost of the courtesan Takao, in the play Ominaeshi Sugata no Hatsuaki, performed at the Nakamura Theater, 1788. 1788. Japan. Color woodblock print; obanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/torii-kiyonaga-the-actors-matsumoto-koshiro-iv-as-ukita-sakingo-and-sawamura-sojuro-iii-as-the-ghost-of-the-courtesan-takao-in-the-play-ominaeshi-sugata-no-hatsuaki-performed-at-the-nakamura-theater-1788-1788-japan-color-woodblock-print-oban-image337966247.html Katsukawa Shunsho. The Actor Nakamura Nakazo I as Kudo Saemon Suketsune ( ) in the Play Sakai-cho Soga Nendaiki ( ), Performed at the Nakamura Theater ( ) in the First Month, 1771 ( ). 1766–1776. Japan. Color woodblock print; hosoban; from a multisheet composition Katsukawa Shunsho. The Actor Nakamura Nakazo I as Kudo Saemon Suketsune ( ) in the Play Sakai-cho Soga Nendaiki ( ), Performed at the Nakamura Theater ( ) in the First Month, 1771 ( ). 1766–1776. Japan. Color woodblock print; hosoban; from a multisheet compositionhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/katsukawa-shunsho-the-actor-nakamura-nakazo-i-as-kudo-saemon-suketsune-in-the-play-sakai-cho-soga-nendaiki-performed-at-the-nakamura-theater-in-the-first-month-1771-17661776-japan-color-woodblock-print-hosoban-from-a-multisheet-composition-image337964154.html Cover. 1701–1800. Spain. Linen; cross stitch and punch work Cover. 1701–1800. Spain. Linen; cross stitch and punch workhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/cover-17011800-spain-linen-cross-stitch-and-punch-work-image337963974.html Giovanni Battista Piranesi. View of the Ponte Molle [or Milvian Bridge] over the Tiber two miles outside Rome, from Views of Rome. 1762. Italy. Etching on heavy ivory laid paper Giovanni Battista Piranesi. View of the Ponte Molle [or Milvian Bridge] over the Tiber two miles outside Rome, from Views of Rome. 1762. Italy. Etching on heavy ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/giovanni-battista-piranesi-view-of-the-ponte-molle-or-milvian-bridge-over-the-tiber-two-miles-outside-rome-from-views-of-rome-1762-italy-etching-on-heavy-ivory-laid-paper-image337983133.html Utagawa Hiroshige. Suruga, Kai, and Izu, no. 5 from the series Cutout Pictures of the Provinces (Kunizukushi harimaze zue). 1852. Japan. Color woodblock print; oban, harimaze Utagawa Hiroshige. Suruga, Kai, and Izu, no. 5 from the series Cutout Pictures of the Provinces (Kunizukushi harimaze zue). 1852. Japan. Color woodblock print; oban, harimazehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/utagawa-hiroshige-suruga-kai-and-izu-no-5-from-the-series-cutout-pictures-of-the-provinces-kunizukushi-harimaze-zue-1852-japan-color-woodblock-print-oban-harimaze-image337964957.html Anders Zorn. Seaward Skerries. 1913. Sweden. Etching on ivory laid paper Anders Zorn. Seaward Skerries. 1913. Sweden. Etching on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anders-zorn-seaward-skerries-1913-sweden-etching-on-ivory-laid-paper-image337969886.html Agostino Carracci. Portrait of His Son, Antonio Carracci. 1592–1595. Italy. Red chalk on cream laid paper, laid down on cream wove paper Agostino Carracci’s training as an engraver and his careful study of the human form are evident in the execution of this portrait of his son Antonio, both in the vigorous strokes of the background and in the structure of the face. Antonio was probably twelve or thirteen years old when his father made this portrait of him. Agostino Carracci. Portrait of His Son, Antonio Carracci. 1592–1595. Italy. Red chalk on cream laid paper, laid down on cream wove paper Agostino Carracci’s training as an engraver and his careful study of the human form are evident in the execution of this portrait of his son Antonio, both in the vigorous strokes of the background and in the structure of the face. Antonio was probably twelve or thirteen years old when his father made this portrait of him.https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/agostino-carracci-portrait-of-his-son-antonio-carracci-15921595-italy-red-chalk-on-cream-laid-paper-laid-down-on-cream-wove-paper-agostino-carraccis-training-as-an-engraver-and-his-careful-study-of-the-human-form-are-evident-in-the-execution-of-this-portrait-of-his-son-antonio-both-in-the-vigorous-strokes-of-the-background-and-in-the-structure-of-the-face-antonio-was-probably-twelve-or-thirteen-years-old-when-his-father-made-this-portrait-of-him-image337971322.html John Thomson. Amoy Harbour. 1863–1873. Scotland. Collotype, pl. XIII from the album Illustrations of China and its People, Volume II (1873) John Thomson. Amoy Harbour. 1863–1873. Scotland. Collotype, pl. XIII from the album Illustrations of China and its People, Volume II (1873)https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/john-thomson-amoy-harbour-18631873-scotland-collotype-pl-xiii-from-the-album-illustrations-of-china-and-its-people-volume-ii-1873-image337959122.html Giorgio Ghisi. The Judgment of Paris. 1555. Italy. Engraving on cream laid paper Ghisi was among the most celebrated engravers in 16th-century Europe. This work, one of the engravers most ambitious compositions, is based on a drawing by G.B. Bertani, an Italian painter. It was produced while Ghisi was working in the Antwerp workshop of Hieronymous Cock, the most important print publisher in Northern Europe. Although based on the composition of another artist, the print was enhanced by Ghisi’ s own addition the exquisite Northern landscape in the distance. Giorgio Ghisi. The Judgment of Paris. 1555. Italy. Engraving on cream laid paper Ghisi was among the most celebrated engravers in 16th-century Europe. This work, one of the engravers most ambitious compositions, is based on a drawing by G.B. Bertani, an Italian painter. It was produced while Ghisi was working in the Antwerp workshop of Hieronymous Cock, the most important print publisher in Northern Europe. Although based on the composition of another artist, the print was enhanced by Ghisi’ s own addition the exquisite Northern landscape in the distance.https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/giorgio-ghisi-the-judgment-of-paris-1555-italy-engraving-on-cream-laid-paper-ghisi-was-among-the-most-celebrated-engravers-in-16th-century-europe-this-work-one-of-the-engravers-most-ambitious-compositions-is-based-on-a-drawing-by-gb-bertani-an-italian-painter-it-was-produced-while-ghisi-was-working-in-the-antwerp-workshop-of-hieronymous-cock-the-most-important-print-publisher-in-northern-europe-although-based-on-the-composition-of-another-artist-the-print-was-enhanced-by-ghisi-s-own-addition-the-exquisite-northern-landscape-in-the-distance-image337985939.html Han-Chinese. Fragment (Dress Fabric). 1875–1900. China. embroidered on silk Han-Chinese. Fragment (Dress Fabric). 1875–1900. China. embroidered on silkhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/han-chinese-fragment-dress-fabric-18751900-china-embroidered-on-silk-image337956464.html Workshop of Domenico Tintoretto. Reclining Nude. 1500–1599. Italy. Charcoal, with oiled charcoal, heightened with traces of white chalk, on blue laid paper, laid down on ivory laid paper Workshop of Domenico Tintoretto. Reclining Nude. 1500–1599. Italy. Charcoal, with oiled charcoal, heightened with traces of white chalk, on blue laid paper, laid down on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/workshop-of-domenico-tintoretto-reclining-nude-15001599-italy-charcoal-with-oiled-charcoal-heightened-with-traces-of-white-chalk-on-blue-laid-paper-laid-down-on-ivory-laid-paper-image337999570.html Unknown artist. Winter Scene with People Outside a Cottage Near a Pond. 1800–1899. Unknown Place. Brush and black and gray wash, with scraping, on cream wove card Unknown artist. Winter Scene with People Outside a Cottage Near a Pond. 1800–1899. Unknown Place. Brush and black and gray wash, with scraping, on cream wove cardhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/unknown-artist-winter-scene-with-people-outside-a-cottage-near-a-pond-18001899-unknown-place-brush-and-black-and-gray-wash-with-scraping-on-cream-wove-card-image337963586.html Ancient Roman. Fragments of a Revetment Depicting Fish Scales. 100 BC–100 AD. Roman Empire. Glass, mosaic glass technique Ancient Roman. Fragments of a Revetment Depicting Fish Scales. 100 BC–100 AD. Roman Empire. Glass, mosaic glass techniquehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/ancient-roman-fragments-of-a-revetment-depicting-fish-scales-100-bc100-ad-roman-empire-glass-mosaic-glass-technique-image337984863.html Retable (Depicting Madonna and Child, Nativity, and Adoration of the Magi; Altar Frontal Depicting the Resurrection and Six Apostles). 1460–1470. Spain. Linen plain weave ground appliquéd with linen and silk plain weaves and silk velvet; embroidered with silk floss and creped threads, gilt- and-silvered-metal-strip-wrapped silk threads, seed pearls and metal spangles The only surviving embroidered altarpiece from Spain, this sumptuous work re-creates the characteristic elements of a painted retable from the Spanish kingdom of Castile. They include the base, or banco, with the Resurrection at i Retable (Depicting Madonna and Child, Nativity, and Adoration of the Magi; Altar Frontal Depicting the Resurrection and Six Apostles). 1460–1470. Spain. Linen plain weave ground appliquéd with linen and silk plain weaves and silk velvet; embroidered with silk floss and creped threads, gilt- and-silvered-metal-strip-wrapped silk threads, seed pearls and metal spangles The only surviving embroidered altarpiece from Spain, this sumptuous work re-creates the characteristic elements of a painted retable from the Spanish kingdom of Castile. They include the base, or banco, with the Resurrection at ihttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/retable-depicting-madonna-and-child-nativity-and-adoration-of-the-magi-altar-frontal-depicting-the-resurrection-and-six-apostles-14601470-spain-linen-plain-weave-ground-appliqud-with-linen-and-silk-plain-weaves-and-silk-velvet-embroidered-with-silk-floss-and-creped-threads-gilt-and-silvered-metal-strip-wrapped-silk-threads-seed-pearls-and-metal-spangles-the-only-surviving-embroidered-altarpiece-from-spain-this-sumptuous-work-re-creates-the-characteristic-elements-of-a-painted-retable-from-the-spanish-kingdom-of-castile-they-include-the-base-or-banco-with-the-resurrection-at-i-image337969212.html Chute and Brooks. Untitled (Black Sailor). 1875–1899. Uruguay. Albumen print Chute and Brooks. Untitled (Black Sailor). 1875–1899. Uruguay. Albumen printhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chute-and-brooks-untitled-black-sailor-18751899-uruguay-albumen-print-image337979891.html Giovanni Fattori. Boscaiola. 1845–1908. Italy. Etching in black, with plate tone, on cream wove paper Giovanni Fattori. Boscaiola. 1845–1908. Italy. Etching in black, with plate tone, on cream wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/giovanni-fattori-boscaiola-18451908-italy-etching-in-black-with-plate-tone-on-cream-wove-paper-image337955137.html Honoré-Victorin Daumier. “- Baron, I have the honor of introducing you to Mr. Mérouel, one of our biggest bankers… - Baron, I have the honor of introducing you to Mr. Cascaret, one of our biggest shareholders,” plate 31 from Croquis D'été. 1858. France. Lithograph in black on ivory wove paper Honoré-Victorin Daumier. “- Baron, I have the honor of introducing you to Mr. Mérouel, one of our biggest bankers… - Baron, I have the honor of introducing you to Mr. Cascaret, one of our biggest shareholders,” plate 31 from Croquis D'été. 1858. France. Lithograph in black on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/honor-victorin-daumier-baron-i-have-the-honor-of-introducing-you-to-mr-mrouel-one-of-our-biggest-bankers-baron-i-have-the-honor-of-introducing-you-to-mr-cascaret-one-of-our-biggest-shareholders-plate-31-from-croquis-dt-1858-france-lithograph-in-black-on-ivory-wove-paper-image337965507.html Disc (bi). 300 BC–100 BC. China. Jade Disc (bi). 300 BC–100 BC. China. Jadehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/disc-bi-300-bc100-bc-china-jade-image337986073.html Mrs. John Major (Maker). Bedcover (Quilt Top). 1850. Pennsylvania. Cotton, plain weave; appliquéd with pieced plain weave; and plain weave; roller printed Mrs. John Major (Maker). Bedcover (Quilt Top). 1850. Pennsylvania. Cotton, plain weave; appliquéd with pieced plain weave; and plain weave; roller printedhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mrs-john-major-maker-bedcover-quilt-top-1850-pennsylvania-cotton-plain-weave-appliqud-with-pieced-plain-weave-and-plain-weave-roller-printed-image337983839.html Auguste Edouart. Silhouette of Hammond Family. 1842. France. Cut paper silhouette Auguste Edouart. Silhouette of Hammond Family. 1842. France. Cut paper silhouettehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/auguste-edouart-silhouette-of-hammond-family-1842-france-cut-paper-silhouette-image337986671.html Panel (Furnishing Fabric). 1800–1820. France. Panel (Furnishing Fabric). 1800–1820. France.https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/panel-furnishing-fabric-18001820-france-image337997486.html Albrecht Altdorfer. Dido Killing Herself. 1515–1535. Germany. Engraving in black on ivory laid paper Albrecht Altdorfer. Dido Killing Herself. 1515–1535. Germany. Engraving in black on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/albrecht-altdorfer-dido-killing-herself-15151535-germany-engraving-in-black-on-ivory-laid-paper-image337962002.html Fragment. 1501–1600. Spain. Silk, satin damask weave Fragment. 1501–1600. Spain. Silk, satin damask weavehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-15011600-spain-silk-satin-damask-weave-image337976035.html Circle of Willem van Nieuwlandt, II. View from within the Roman Forum. 1600. Flanders. Pen and brown ink with brush and pale blue and brown wash, on ivory laid paper, laid down on ivory laid paper Circle of Willem van Nieuwlandt, II. View from within the Roman Forum. 1600. Flanders. Pen and brown ink with brush and pale blue and brown wash, on ivory laid paper, laid down on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/circle-of-willem-van-nieuwlandt-ii-view-from-within-the-roman-forum-1600-flanders-pen-and-brown-ink-with-brush-and-pale-blue-and-brown-wash-on-ivory-laid-paper-laid-down-on-ivory-laid-paper-image337998635.html Giovanni Battista Piranesi. The Column of Marcus Aurelius, from Views of Rome. 1750–1759. Italy. Etching on heavy ivory laid paper Giovanni Battista Piranesi. The Column of Marcus Aurelius, from Views of Rome. 1750–1759. Italy. Etching on heavy ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/giovanni-battista-piranesi-the-column-of-marcus-aurelius-from-views-of-rome-17501759-italy-etching-on-heavy-ivory-laid-paper-image337983038.html Katsushika Hokusai. Fujieda, from the series Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi). 1801–1811. Japan. Color woodblock print; chuban Katsushika Hokusai. Fujieda, from the series Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi). 1801–1811. Japan. Color woodblock print; chubanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/katsushika-hokusai-fujieda-from-the-series-fifty-three-stations-of-the-tokaido-tokaido-gojusan-tsugi-18011811-japan-color-woodblock-print-chuban-image337962895.html Chôbunsai Eishi. Komachi, from the series Six Immortal Poets (Rokkasen). 1784–1795. Japan. Color woodblock print; oban Chôbunsai Eishi. Komachi, from the series Six Immortal Poets (Rokkasen). 1784–1795. Japan. Color woodblock print; obanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chbunsai-eishi-komachi-from-the-series-six-immortal-poets-rokkasen-17841795-japan-color-woodblock-print-oban-image337991428.html Isoda Koryusai. The Courtesan Shirotae of the Okanaya. 1771–1786. Japan. Color woodblock print; hashira-e Isoda Koryusai. The Courtesan Shirotae of the Okanaya. 1771–1786. Japan. Color woodblock print; hashira-ehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/isoda-koryusai-the-courtesan-shirotae-of-the-okanaya-17711786-japan-color-woodblock-print-hashira-e-image338002116.html Lucas Cranach, the Elder. Saint Matthias, from Christ, the Apostles and Saint Paul. 1505–1515. Germany. Woodcut in black on buff laid paper Lucas Cranach, the Elder. Saint Matthias, from Christ, the Apostles and Saint Paul. 1505–1515. Germany. Woodcut in black on buff laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/lucas-cranach-the-elder-saint-matthias-from-christ-the-apostles-and-saint-paul-15051515-germany-woodcut-in-black-on-buff-laid-paper-image337970359.html Katsukawa Shunsho. The Actors Ichimura Uzaemon IX as Hata no Daizen Taketora Disguised as the Yakko Matahei (right), and Iwai Hanshiro IV as Umegae Disguised as the Poem-Diviner Omatsu (left), in the Play Mukashi Otoko Yuki no Hinagata, Performed at the Ichimura Theater in the Eleventh Month, 1781. 1776–1786. Japan. Color woodblock print; aiban Katsukawa Shunsho. The Actors Ichimura Uzaemon IX as Hata no Daizen Taketora Disguised as the Yakko Matahei (right), and Iwai Hanshiro IV as Umegae Disguised as the Poem-Diviner Omatsu (left), in the Play Mukashi Otoko Yuki no Hinagata, Performed at the Ichimura Theater in the Eleventh Month, 1781. 1776–1786. Japan. Color woodblock print; aibanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/katsukawa-shunsho-the-actors-ichimura-uzaemon-ix-as-hata-no-daizen-taketora-disguised-as-the-yakko-matahei-right-and-iwai-hanshiro-iv-as-umegae-disguised-as-the-poem-diviner-omatsu-left-in-the-play-mukashi-otoko-yuki-no-hinagata-performed-at-the-ichimura-theater-in-the-eleventh-month-1781-17761786-japan-color-woodblock-print-aiban-image337963824.html Théophile-Alexandre Pierre Steinlen. The Sheep of Boisdeffre. 1898. France. Lithograph in black on ivory wove paper Théophile-Alexandre Pierre Steinlen. The Sheep of Boisdeffre. 1898. France. Lithograph in black on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/thophile-alexandre-pierre-steinlen-the-sheep-of-boisdeffre-1898-france-lithograph-in-black-on-ivory-wove-paper-image337975010.html Eugène Delacroix. Marguerite's Ghost Appearing to Faust, from Faust. 1828. France. Lithograph in black on ivory wove paper Eugène Delacroix. Marguerite's Ghost Appearing to Faust, from Faust. 1828. France. Lithograph in black on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/eugne-delacroix-marguerites-ghost-appearing-to-faust-from-faust-1828-france-lithograph-in-black-on-ivory-wove-paper-image337998256.html Henri de Toulouse-Lautrec. Cover for La Tribu d'Isidore. 1897. France. Color lithograph on cream wove paper Henri de Toulouse-Lautrec. Cover for La Tribu d'Isidore. 1897. France. Color lithograph on cream wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/henri-de-toulouse-lautrec-cover-for-la-tribu-disidore-1897-france-color-lithograph-on-cream-wove-paper-image337985060.html Anders Zorn. A Ring. 1906. Sweden. Etching on ivory laid paper Anders Zorn. A Ring. 1906. Sweden. Etching on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anders-zorn-a-ring-1906-sweden-etching-on-ivory-laid-paper-image337969814.html Moche. Flaring Bowl with Textile Pattern. 100 BC–500 AD. North Coast. Ceramic and pigment Moche. Flaring Bowl with Textile Pattern. 100 BC–500 AD. North Coast. Ceramic and pigmenthttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/moche-flaring-bowl-with-textile-pattern-100-bc500-ad-north-coast-ceramic-and-pigment-image338005685.html Table Clock. 1570–1630. Germany. Gilt bronze and iron Table Clock. 1570–1630. Germany. Gilt bronze and ironhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/table-clock-15701630-germany-gilt-bronze-and-iron-image337990355.html Anders Zorn. Mrs. Cleveland II. 1899. Sweden. Etching on ivory laid paper Anders Zorn. Mrs. Cleveland II. 1899. Sweden. Etching on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anders-zorn-mrs-cleveland-ii-1899-sweden-etching-on-ivory-laid-paper-image337969588.html Charles Samuel Keene. Lord Salisbury Addressing a Meeting. 1870–1891. England. Pen and brown ink, with brush and brown and gray wash and touches of gouache, over traces of graphite, on buff wove paper, laid down on ivory wove paper Charles Samuel Keene. Lord Salisbury Addressing a Meeting. 1870–1891. England. Pen and brown ink, with brush and brown and gray wash and touches of gouache, over traces of graphite, on buff wove paper, laid down on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/charles-samuel-keene-lord-salisbury-addressing-a-meeting-18701891-england-pen-and-brown-ink-with-brush-and-brown-and-gray-wash-and-touches-of-gouache-over-traces-of-graphite-on-buff-wove-paper-laid-down-on-ivory-wove-paper-image337976243.html Panel (Furnishing Fabric). 1701–1800. France. Silk, plain weave; painted; two panels pieced Panel (Furnishing Fabric). 1701–1800. France. Silk, plain weave; painted; two panels piecedhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/panel-furnishing-fabric-17011800-france-silk-plain-weave-painted-two-panels-pieced-image338007782.html Unknown Italian. Harbor of Naples. 1600–1699. Italy. Pen and black ink on vellum Unknown Italian. Harbor of Naples. 1600–1699. Italy. Pen and black ink on vellumhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/unknown-italian-harbor-of-naples-16001699-italy-pen-and-black-ink-on-vellum-image337998625.html Paulus Moreelse. Portrait of a Young Lady. 1615–1625. Holland. Oil on panel The youthful subject of this portrait is bedecked in jewelry that features gold, enameling, gems, and pearls. Linked medallions emphasize the puffed contour of her sleeves, but most of her jewelry is intended to call attention to the wide neckline of her dress, framed in luxuriant lace. The delicate forms of the pearl necklace, with its jeweled drops, and the showy brooch backed by ribbons complement the openwork of the lace ruff and collar. Paulus Moreelse, who worked in Utrecht in the prosperous Dutch Republic, speci Paulus Moreelse. Portrait of a Young Lady. 1615–1625. Holland. Oil on panel The youthful subject of this portrait is bedecked in jewelry that features gold, enameling, gems, and pearls. Linked medallions emphasize the puffed contour of her sleeves, but most of her jewelry is intended to call attention to the wide neckline of her dress, framed in luxuriant lace. The delicate forms of the pearl necklace, with its jeweled drops, and the showy brooch backed by ribbons complement the openwork of the lace ruff and collar. Paulus Moreelse, who worked in Utrecht in the prosperous Dutch Republic, specihttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/paulus-moreelse-portrait-of-a-young-lady-16151625-holland-oil-on-panel-the-youthful-subject-of-this-portrait-is-bedecked-in-jewelry-that-features-gold-enameling-gems-and-pearls-linked-medallions-emphasize-the-puffed-contour-of-her-sleeves-but-most-of-her-jewelry-is-intended-to-call-attention-to-the-wide-neckline-of-her-dress-framed-in-luxuriant-lace-the-delicate-forms-of-the-pearl-necklace-with-its-jeweled-drops-and-the-showy-brooch-backed-by-ribbons-complement-the-openwork-of-the-lace-ruff-and-collar-paulus-moreelse-who-worked-in-utrecht-in-the-prosperous-dutch-republic-speci-image337994251.html Anders Zorn. Mrs. Cotton II. 1901. Sweden. Etching on ivory laid paper Anders Zorn. Mrs. Cotton II. 1901. Sweden. Etching on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/anders-zorn-mrs-cotton-ii-1901-sweden-etching-on-ivory-laid-paper-image337973540.html Blithely and Bonnily, Song Birds are Singing Love (valentine). 1840–1860. England. Lithograph with hand-coloring on embossed ivory wove paper Blithely and Bonnily, Song Birds are Singing Love (valentine). 1840–1860. England. Lithograph with hand-coloring on embossed ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/blithely-and-bonnily-song-birds-are-singing-love-valentine-18401860-england-lithograph-with-hand-coloring-on-embossed-ivory-wove-paper-image337989180.html Kuba. Woman's Overskirt. 1801–1900. Democratic Republic of Congo. Raffia, plain weave; embroidered in stem stitches and running stitches cut to form pile Kuba. Woman's Overskirt. 1801–1900. Democratic Republic of Congo. Raffia, plain weave; embroidered in stem stitches and running stitches cut to form pilehttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/kuba-womans-overskirt-18011900-democratic-republic-of-congo-raffia-plain-weave-embroidered-in-stem-stitches-and-running-stitches-cut-to-form-pile-image337985881.html Théodore Chassériau. If I Do Die Before Thee, plate eight from Othello. 1844. France. Etching, engraving and drypoint on off-white China paper, laid down on cream wove paper Théodore Chassériau. If I Do Die Before Thee, plate eight from Othello. 1844. France. Etching, engraving and drypoint on off-white China paper, laid down on cream wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/thodore-chassriau-if-i-do-die-before-thee-plate-eight-from-othello-1844-france-etching-engraving-and-drypoint-on-off-white-china-paper-laid-down-on-cream-wove-paper-image337968720.html Henri Fantin-Latour. Sara the Bather. 1885. France. Lithograph in black on light gray China paper laid down on white wove paper Henri Fantin-Latour. Sara the Bather. 1885. France. Lithograph in black on light gray China paper laid down on white wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/henri-fantin-latour-sara-the-bather-1885-france-lithograph-in-black-on-light-gray-china-paper-laid-down-on-white-wove-paper-image337971137.html James Peale. Mary (Polly) Lawton Bringhurst. 1790. Philadelphia. Watercolor on ivory James Peale. Mary (Polly) Lawton Bringhurst. 1790. Philadelphia. Watercolor on ivoryhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/james-peale-mary-polly-lawton-bringhurst-1790-philadelphia-watercolor-on-ivory-image337996531.html Panel (Map). 1784. England. Silk, plain weave; printed Panel (Map). 1784. England. Silk, plain weave; printedhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/panel-map-1784-england-silk-plain-weave-printed-image337958776.html Achille Etna Michallon. Landscape with Bridge. 1817. France. Lithograph in black on ivory wove paper Achille Etna Michallon. Landscape with Bridge. 1817. France. Lithograph in black on ivory wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/achille-etna-michallon-landscape-with-bridge-1817-france-lithograph-in-black-on-ivory-wove-paper-image337968168.html Lucas Cranach, the Elder. Saint Philip, from The Martyrdom of the Apostles. 1507–1517. Germany. Woodcut in black on ivory laid paper Lucas Cranach, the Elder. Saint Philip, from The Martyrdom of the Apostles. 1507–1517. Germany. Woodcut in black on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/lucas-cranach-the-elder-saint-philip-from-the-martyrdom-of-the-apostles-15071517-germany-woodcut-in-black-on-ivory-laid-paper-image337972137.html Follower of Michelangelo Buonarroti. Male Figure Study, with Slight Sketch of Seated Figure. 1540–1550. Italy. Pen and brown ink, with traces of black chalk, on ivory laid paper Follower of Michelangelo Buonarroti. Male Figure Study, with Slight Sketch of Seated Figure. 1540–1550. Italy. Pen and brown ink, with traces of black chalk, on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/follower-of-michelangelo-buonarroti-male-figure-study-with-slight-sketch-of-seated-figure-15401550-italy-pen-and-brown-ink-with-traces-of-black-chalk-on-ivory-laid-paper-image337995643.html Master E.S.. St. Peter. 1450–1467. Germany. Engraving in black on paper Master E.S.. St. Peter. 1450–1467. Germany. Engraving in black on paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/master-es-st-peter-14501467-germany-engraving-in-black-on-paper-image337999859.html William Blake. Sabrina's Silvery Flood, from The Pastorals of Virgil. 1821. England. Wood engraving on off-white wove paper William Blake. Sabrina's Silvery Flood, from The Pastorals of Virgil. 1821. England. Wood engraving on off-white wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/william-blake-sabrinas-silvery-flood-from-the-pastorals-of-virgil-1821-england-wood-engraving-on-off-white-wove-paper-image338000710.html Kitagawa Utamaro. Mirror, from the series “Eight Views of Tea-stalls in Celebrated Places ( Meisho koshikake hakkei ). 1790–1801. Japan. Color woodblock print; oban Kitagawa Utamaro. Mirror, from the series “Eight Views of Tea-stalls in Celebrated Places ( Meisho koshikake hakkei ). 1790–1801. Japan. Color woodblock print; obanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/kitagawa-utamaro-mirror-from-the-series-eight-views-of-tea-stalls-in-celebrated-places-meisho-koshikake-hakkei-17901801-japan-color-woodblock-print-oban-image338002360.html Félicien Rops. Middle-Class. 1853–1898. Belgium. Drypoint on ivory China paper Félicien Rops. Middle-Class. 1853–1898. Belgium. Drypoint on ivory China paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/flicien-rops-middle-class-18531898-belgium-drypoint-on-ivory-china-paper-image337976449.html Eugène Delacroix. Study. 1836–1843. France. Graphite and stumping on cream wove paper Eugène Delacroix. Study. 1836–1843. France. Graphite and stumping on cream wove paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/eugne-delacroix-study-18361843-france-graphite-and-stumping-on-cream-wove-paper-image337999982.html Ippitsusai Buncho. The Actor Ichikawa Yaozo II as Yoshimine no Munesada in the Play Kuni no Hana Ono no Itsumoji, Performed at the Nakamura Theater in the Eleventh Month, 1771. 1766–1776. Japan. Color woodblock print; hosoban Ippitsusai Buncho. The Actor Ichikawa Yaozo II as Yoshimine no Munesada in the Play Kuni no Hana Ono no Itsumoji, Performed at the Nakamura Theater in the Eleventh Month, 1771. 1766–1776. Japan. Color woodblock print; hosobanhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/ippitsusai-buncho-the-actor-ichikawa-yaozo-ii-as-yoshimine-no-munesada-in-the-play-kuni-no-hana-ono-no-itsumoji-performed-at-the-nakamura-theater-in-the-eleventh-month-1771-17661776-japan-color-woodblock-print-hosoban-image337956211.html Donald Shaw MacLaughlan. Moulin St. Maurice. 1902. United States. Etching in black on cream laid paper Donald Shaw MacLaughlan. Moulin St. Maurice. 1902. United States. Etching in black on cream laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/donald-shaw-maclaughlan-moulin-st-maurice-1902-united-states-etching-in-black-on-cream-laid-paper-image337972978.html Marie-Blanche Hennelle Fournier. The Madame B Album. 1870–1879. France. Albumen prints with watercolor (in album) Marie-Blanche Hennelle Fournier. The Madame B Album. 1870–1879. France. Albumen prints with watercolor (in album)https://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/marie-blanche-hennelle-fournier-the-madame-b-album-18701879-france-albumen-prints-with-watercolor-in-album-image337953154.html Auguste Salzmann. Jérusalem, Auberge d'Allemagne. 1854. France. Salted paper print Auguste Salzmann. Jérusalem, Auberge d'Allemagne. 1854. France. Salted paper printhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/auguste-salzmann-jrusalem-auberge-dallemagne-1854-france-salted-paper-print-image337977851.html Stole. 1401–1500. Spain. Silk, velvet; cut, voided; additional brocading wefts in gilt strip (wound around silk fiber core) forming loops where required; gilt galloon trim and crosses; two attached silk cords, knotted and fringed Stole. 1401–1500. Spain. Silk, velvet; cut, voided; additional brocading wefts in gilt strip (wound around silk fiber core) forming loops where required; gilt galloon trim and crosses; two attached silk cords, knotted and fringedhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stole-14011500-spain-silk-velvet-cut-voided-additional-brocading-wefts-in-gilt-strip-wound-around-silk-fiber-core-forming-loops-where-required-gilt-galloon-trim-and-crosses-two-attached-silk-cords-knotted-and-fringed-image337981681.html Sir Joshua Reynolds. Lady Sarah Bunbury Sacrificing to the Graces. 1763–1765. England. Oil on canvas Lady Sarah Bunbury was famous as the society beauty who attracted the attention of the future King George III when she was only fifteen. George was persuaded to marry a German princess instead of her, and a year after the royal marriage, Lady Sarah wed Sir Charles Bunbury in a match that lasted only a short while. In this portrait, Sir Joshua Reynolds—the first president of the Royal Academy and a champion of the importance of classical artistic models—conferred upon her a ?attering honorary ci Sir Joshua Reynolds. Lady Sarah Bunbury Sacrificing to the Graces. 1763–1765. England. Oil on canvas Lady Sarah Bunbury was famous as the society beauty who attracted the attention of the future King George III when she was only fifteen. George was persuaded to marry a German princess instead of her, and a year after the royal marriage, Lady Sarah wed Sir Charles Bunbury in a match that lasted only a short while. In this portrait, Sir Joshua Reynolds—the first president of the Royal Academy and a champion of the importance of classical artistic models—conferred upon her a ?attering honorary cihttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sir-joshua-reynolds-lady-sarah-bunbury-sacrificing-to-the-graces-17631765-england-oil-on-canvas-lady-sarah-bunbury-was-famous-as-the-society-beauty-who-attracted-the-attention-of-the-future-king-george-iii-when-she-was-only-fifteen-george-was-persuaded-to-marry-a-german-princess-instead-of-her-and-a-year-after-the-royal-marriage-lady-sarah-wed-sir-charles-bunbury-in-a-match-that-lasted-only-a-short-while-in-this-portrait-sir-joshua-reynoldsthe-first-president-of-the-royal-academy-and-a-champion-of-the-importance-of-classical-artistic-modelsconferred-upon-her-a-attering-honorary-ci-image337973860.html Chôbunsai Eishi. A Courtesan Reading a Letter. 1815–1830. Japan. Hanging scroll; ink and color on silk Chôbunsai Eishi. A Courtesan Reading a Letter. 1815–1830. Japan. Hanging scroll; ink and color on silkhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/chbunsai-eishi-a-courtesan-reading-a-letter-18151830-japan-hanging-scroll-ink-and-color-on-silk-image337960005.html Nazca. Effigy Drum in the Form of a Masked Warrior Holding Trophy Heads and Darts. 180 BC–500 AD. South Coast. Ceramic and pigment Nazca. Effigy Drum in the Form of a Masked Warrior Holding Trophy Heads and Darts. 180 BC–500 AD. South Coast. Ceramic and pigmenthttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/nazca-effigy-drum-in-the-form-of-a-masked-warrior-holding-trophy-heads-and-darts-180-bc500-ad-south-coast-ceramic-and-pigment-image338005114.html Lappet. 1780–1789. France. Linen, needle lace of a type known as Point d'Argentan with whipped mesh ground Lappet. 1780–1789. France. Linen, needle lace of a type known as Point d'Argentan with whipped mesh groundhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/lappet-17801789-france-linen-needle-lace-of-a-type-known-as-point-dargentan-with-whipped-mesh-ground-image337963780.html Paul Pontius. Isabella Clara Eugenia (1566-1633). 1625–1633. Flanders. Engraving in black on cream laid paper Paul Pontius. Isabella Clara Eugenia (1566-1633). 1625–1633. Flanders. Engraving in black on cream laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/paul-pontius-isabella-clara-eugenia-1566-1633-16251633-flanders-engraving-in-black-on-cream-laid-paper-image337956963.html Henry Tresham. Man and Woman in Attitudes of Distress. 1771–1899. Ireland. Pen and black ink and brush and gray wash on cream laid paper, laid down on cream wove paper, laid down on blue laid paper Henry Tresham. Man and Woman in Attitudes of Distress. 1771–1899. Ireland. Pen and black ink and brush and gray wash on cream laid paper, laid down on cream wove paper, laid down on blue laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/henry-tresham-man-and-woman-in-attitudes-of-distress-17711899-ireland-pen-and-black-ink-and-brush-and-gray-wash-on-cream-laid-paper-laid-down-on-cream-wove-paper-laid-down-on-blue-laid-paper-image338008703.html Bernardo Zilotti. Farmyard Scene. 1700–1799. Italy. Pen and brown ink, over traces of black chalk, on ivory laid paper Bernardo Zilotti. Farmyard Scene. 1700–1799. Italy. Pen and brown ink, over traces of black chalk, on ivory laid paperhttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bernardo-zilotti-farmyard-scene-17001799-italy-pen-and-brown-ink-over-traces-of-black-chalk-on-ivory-laid-paper-image337996511.html Next page Page 1 of 500 12345678910