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1720 1774 Stock Photos and Images
John Milton. Artist: Giovanni Battista Cipriani (Italian, Florence 1727-1785 Hammersmith (active London)). Author: Illustrates book by John Toland (Irish, 1670-1722). Dimensions: Sheet: 10 7/16 × 6 11/16 in. (26.5 × 17 cm). Sitter: John Milton (British, London 1608-1674 London). Subject: Associated with Thomas Hollis (British, London 1720-1774). Date: 1760. This image of the young Milton was engraved to illustrate a 1761 edition of John Toland's 'Life of Milton' then reissued for Francis Blackburne's 'Memoirs of Thomas Hollis' (1780). Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/john-milton-artist-giovanni-battista-cipriani-italian-florence-1727-1785-hammersmith-active-london-author-illustrates-book-by-john-toland-irish-1670-1722-dimensions-sheet-10-716-6-1116-in-265-17-cm-sitter-john-milton-british-london-1608-1674-london-subject-associated-with-thomas-hollis-british-london-1720-1774-date-1760-this-image-of-the-young-milton-was-engraved-to-illustrate-a-1761-edition-of-john-tolands-life-of-milton-then-reissued-for-francis-blackburnes-memoirs-of-thomas-hollis-1780-museum-metropolitan-museum-of-art-new-york-usa-image233247842.htmlRMRFDA02–John Milton. Artist: Giovanni Battista Cipriani (Italian, Florence 1727-1785 Hammersmith (active London)). Author: Illustrates book by John Toland (Irish, 1670-1722). Dimensions: Sheet: 10 7/16 × 6 11/16 in. (26.5 × 17 cm). Sitter: John Milton (British, London 1608-1674 London). Subject: Associated with Thomas Hollis (British, London 1720-1774). Date: 1760. This image of the young Milton was engraved to illustrate a 1761 edition of John Toland's 'Life of Milton' then reissued for Francis Blackburne's 'Memoirs of Thomas Hollis' (1780). Museum: Metropolitan Museum of Art, New York, USA.
JOHN PAGE (1720-1774). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/john-page-1720-1774-image374276839.htmlRM2CMWNWY–JOHN PAGE (1720-1774).
Portrait of Jan Mandijn, Portrait of Jan Mandijn. His name and profession are in the bottom margin., print, print maker: Cornelis van den Berg, Haarlem, c. 1720 - 1774, paper, height, 50 mm × width, 45 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-jan-mandijn-portrait-of-jan-mandijn-his-name-and-profession-are-in-the-bottom-margin-print-print-maker-cornelis-van-den-berg-haarlem-c-1720-1774-paper-height-50-mm-width-45-mm-image624754884.htmlRM2Y8C16C–Portrait of Jan Mandijn, Portrait of Jan Mandijn. His name and profession are in the bottom margin., print, print maker: Cornelis van den Berg, Haarlem, c. 1720 - 1774, paper, height, 50 mm × width, 45 mm
Double dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Double fanon de Pondichéry de Louis XV. Argent, 1720-1774. Paris, musée Carnavalet. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/double-dewlap-pondicherry-louis-xv-1720-1774-anonyme-double-fanon-de-pondichry-de-louis-xv-argent-1720-1774-paris-muse-carnavalet-image349921841.htmlRM2B988TH–Double dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Double fanon de Pondichéry de Louis XV. Argent, 1720-1774. Paris, musée Carnavalet.
Simon François Ravenet (Engraver) Kupferschmied. etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/simon-franois-ravenet-engraver-kupferschmied-etching-1720-1774-17201774-image572942082.htmlRM2T83ND6–Simon François Ravenet (Engraver) Kupferschmied. etching 1720-1774 , 1720/1774
Thomas Hollis, 1720-1774, By Joseph Wilton, about 1762, National Portrait Gallery, London, UK Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/thomas-hollis-1720-1774-by-joseph-wilton-about-1762-national-portrait-gallery-london-uk-image630439830.htmlRM2YHK0C6–Thomas Hollis, 1720-1774, By Joseph Wilton, about 1762, National Portrait Gallery, London, UK
Art inspired by Study for a Tailpiece, 1774, Red chalk, 3 1/4 x 4 9/16 in. (8.3 x 11.6 cm), Drawings, Charles Dominique Joseph Eisen (French, Valenciennes 1720–1778 Brussels, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-study-for-a-tailpiece-1774-red-chalk-3-14-x-4-916-in-83-x-116-cm-drawings-charles-dominique-joseph-eisen-french-valenciennes-17201778-brussels-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462947454.htmlRF2HW525J–Art inspired by Study for a Tailpiece, 1774, Red chalk, 3 1/4 x 4 9/16 in. (8.3 x 11.6 cm), Drawings, Charles Dominique Joseph Eisen (French, Valenciennes 1720–1778 Brussels, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Louis XV of France (1710-1774) as Dauphin, oil portrait painting by Rosalba Carriera, 1720-1721 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-oil-portrait-painting-by-rosalba-carriera-1720-1721-image465355651.htmlRM2J12NTK–Louis XV of France (1710-1774) as Dauphin, oil portrait painting by Rosalba Carriera, 1720-1721
Art inspired by Four Continents: The Peoples of the Earth Invoking the Deities, 1720–74, Pen and brown and black ink, gray wash touched with white, 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm), Drawings, Gottfried Bernhard Goetz (German, Velehrad 1708–1774 Augsburg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-four-continents-the-peoples-of-the-earth-invoking-the-deities-172074-pen-and-brown-and-black-ink-gray-wash-touched-with-white-8-18-x-6-14-in-206-x-159-cm-drawings-gottfried-bernhard-goetz-german-velehrad-17081774-augsburg-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462946854.htmlRF2HW51C6–Art inspired by Four Continents: The Peoples of the Earth Invoking the Deities, 1720–74, Pen and brown and black ink, gray wash touched with white, 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm), Drawings, Gottfried Bernhard Goetz (German, Velehrad 1708–1774 Augsburg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Portrait of the actor Conrad Ekhof (1720-1778), ca 1774. Creator: Graff, Anton (1736-1813). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-the-actor-conrad-ekhof-1720-1778-ca-1774-creator-graff-anton-1736-1813-image221500688.htmlRMPTA6AT–Portrait of the actor Conrad Ekhof (1720-1778), ca 1774. Creator: Graff, Anton (1736-1813).
Art inspired by Title page, from Trofeo o sia Magnifica Colonna Coclide...(The Trophy or Magnificent Spiral Column), 1774–79, Etching, Plate: 17 1/2 x 27 7/16 in. (44.5 x 69.7 cm), Prints, Giovanni Battista Piranesi (Italian, Mogliano Veneto 1720–1778 Rome, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-title-page-from-trofeo-o-sia-magnifica-colonna-coclidethe-trophy-or-magnificent-spiral-column-177479-etching-plate-17-12-x-27-716-in-445-x-697-cm-prints-giovanni-battista-piranesi-italian-mogliano-veneto-17201778-rome-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463005408.htmlRF2HW7M3C–Art inspired by Title page, from Trofeo o sia Magnifica Colonna Coclide...(The Trophy or Magnificent Spiral Column), 1774–79, Etching, Plate: 17 1/2 x 27 7/16 in. (44.5 x 69.7 cm), Prints, Giovanni Battista Piranesi (Italian, Mogliano Veneto 1720–1778 Rome, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Musée d'Histoire de Marseille : Exposition la Peste de 1720 : Copie manuscrite de 1754 de l'ouvrage de Pierre-Honoré ROUX (1695-1774)'Relation de la peste arrivée à Marseille en l'an 1720 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/muse-dhistoire-de-marseille-exposition-la-peste-de-1720-copie-manuscrite-de-1754-de-louvrage-de-pierre-honor-roux-1695-1774relation-de-la-peste-arrive-marseille-en-lan-1720-image451779382.htmlRM2H7095X–Musée d'Histoire de Marseille : Exposition la Peste de 1720 : Copie manuscrite de 1754 de l'ouvrage de Pierre-Honoré ROUX (1695-1774)'Relation de la peste arrivée à Marseille en l'an 1720
Art inspired by Portrait of Jonathan Swift, 1774, White cut paper, with pen and ink additions, mounted on black silk, framed, Overall: 13 7/16 x 11 in. (34.2 x 28 cm), Cut Paper, Nathaniel Bermingham (Irish, born ca. 1720, active mainly London, 1736–74, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-portrait-of-jonathan-swift-1774-white-cut-paper-with-pen-and-ink-additions-mounted-on-black-silk-framed-overall-13-716-x-11-in-342-x-28-cm-cut-paper-nathaniel-bermingham-irish-born-ca-1720-active-mainly-london-173674-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462979919.htmlRF2HW6FH3–Art inspired by Portrait of Jonathan Swift, 1774, White cut paper, with pen and ink additions, mounted on black silk, framed, Overall: 13 7/16 x 11 in. (34.2 x 28 cm), Cut Paper, Nathaniel Bermingham (Irish, born ca. 1720, active mainly London, 1736–74, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Louis XV of France (1710-1774) as Dauphin between 1720 and 1721. 1073 Rosalba Carriera - Louis XV of France as Dauphin (1720-1721) - Google Art Project Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-between-1720-and-1721-1073-rosalba-carriera-louis-xv-of-france-as-dauphin-1720-1721-google-art-project-image185580679.htmlRMMNWX1B–Louis XV of France (1710-1774) as Dauphin between 1720 and 1721. 1073 Rosalba Carriera - Louis XV of France as Dauphin (1720-1721) - Google Art Project
Gabriel de Clieu and the coffee plant seedling. De Clieu arranged to transport a coffee plant from the greenhouses of the Jardin royal des plantes to Martinique in 1720, water was rationed on the voyage and he shared his ration with the seedling. Gabriel-Mathieu Francois D'ceus de Clieu,c. 1687 –1774. French naval officer and the governor of Guadeloupe from 1737 to 1752 and the founder of Pointe-à-Pitre. From Le Savant du Foyer ou Notions Scientifiques Sur Les Objets Usuels de la Vie, published 1864 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/gabriel-de-clieu-and-the-coffee-plant-seedling-de-clieu-arranged-to-transport-a-coffee-plant-from-the-greenhouses-of-the-jardin-royal-des-plantes-to-martinique-in-1720-water-was-rationed-on-the-voyage-and-he-shared-his-ration-with-the-seedling-gabriel-mathieu-francois-dceus-de-clieuc-1687-1774-french-naval-officer-and-the-governor-of-guadeloupe-from-1737-to-1752-and-the-founder-of-pointe-pitre-from-le-savant-du-foyer-ou-notions-scientifiques-sur-les-objets-usuels-de-la-vie-published-1864-image433051476.htmlRM2G4F5G4–Gabriel de Clieu and the coffee plant seedling. De Clieu arranged to transport a coffee plant from the greenhouses of the Jardin royal des plantes to Martinique in 1720, water was rationed on the voyage and he shared his ration with the seedling. Gabriel-Mathieu Francois D'ceus de Clieu,c. 1687 –1774. French naval officer and the governor of Guadeloupe from 1737 to 1752 and the founder of Pointe-à-Pitre. From Le Savant du Foyer ou Notions Scientifiques Sur Les Objets Usuels de la Vie, published 1864
Louis XV of France (1710-1774) as Dauphin, 1720-1721. Artist: Carriera, Rosalba Giovanna (1657-1757) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-1720-1721-artist-carriera-image60397272.htmlRMDE799C–Louis XV of France (1710-1774) as Dauphin, 1720-1721. Artist: Carriera, Rosalba Giovanna (1657-1757)
The Tables of the Law, Gerrit de Broen (II), c. 1720 - c. 1774 In the center two stone tablets with the ten commandments leaning on a palm tree. In th Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-tables-of-the-law-gerrit-de-broen-ii-c-1720-c-1774-in-the-center-two-stone-tablets-with-the-ten-commandments-leaning-on-a-palm-tree-in-th-image570307246.htmlRF2T3RMKX–The Tables of the Law, Gerrit de Broen (II), c. 1720 - c. 1774 In the center two stone tablets with the ten commandments leaning on a palm tree. In th
France. Paris. Louvre Museum. Kingdom of Louis XV (1710-1774). Celebration offered by the city to the king on the occasion of the wedding of Princess Louise Elisabeth of France (1727-1759) with the Infante Philip of Spain (1720-1765), on August 29, 1739. Engraving. Color. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-france-paris-louvre-museum-kingdom-of-louis-xv-1710-1774-celebration-172656994.htmlRMM0W5N6–France. Paris. Louvre Museum. Kingdom of Louis XV (1710-1774). Celebration offered by the city to the king on the occasion of the wedding of Princess Louise Elisabeth of France (1727-1759) with the Infante Philip of Spain (1720-1765), on August 29, 1739. Engraving. Color.
Iohann George Sulzer geb-den 16 Octobr 1720 - gest-den 25 Febr 1779 - A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779. LCCN2009631984 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-iohann-george-sulzer-geb-den-16-octobr-1720-gest-den-25-febr-1779-176671918.htmlRMM7C2RA–Iohann George Sulzer geb-den 16 Octobr 1720 - gest-den 25 Febr 1779 - A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779. LCCN2009631984
Thomas Hollis, 1720-1774, By Joseph Wilton, about 1762, National Portrait Gallery, London, UK. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/thomas-hollis-1720-1774-by-joseph-wilton-about-1762-national-portrait-gallery-london-uk-image631135432.htmlRM2YJPKK4–Thomas Hollis, 1720-1774, By Joseph Wilton, about 1762, National Portrait Gallery, London, UK.
Iohann George Sulzer geb-den 16 Octobr 1720 - gest-den 25 Febr 1779 - A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/iohann-george-sulzer-geb-den-16-octobr-1720-gest-den-25-febr-1779-a-graff-pinxit-1774-d-berger-sculp-berloini-1779-image364605282.htmlRM2C555N6–Iohann George Sulzer geb-den 16 Octobr 1720 - gest-den 25 Febr 1779 - A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779.
Giovanni Battista Piranesi, Italian, 1720-1778, Hadrian's Villa: Remains of the So-Called Pretorio, 1774, etching printed in black ink on heavy cream laid paper, Plate: 17 7/8 × 25 1/8 inches (45.4 × 63.8 cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/giovanni-battista-piranesi-italian-1720-1778-hadrians-villa-remains-of-the-so-called-pretorio-1774-etching-printed-in-black-ink-on-heavy-cream-laid-paper-plate-17-78-25-18-inches-454-638-cm-image328712977.htmlRM2A2P4N5–Giovanni Battista Piranesi, Italian, 1720-1778, Hadrian's Villa: Remains of the So-Called Pretorio, 1774, etching printed in black ink on heavy cream laid paper, Plate: 17 7/8 × 25 1/8 inches (45.4 × 63.8 cm
Double dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Double fanon de Pondichéry de Louis XV, 1720-1774. Argent, 1720-1774. Paris, musée Carnavalet. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/double-dewlap-pondicherry-louis-xv-1720-1774-anonyme-double-fanon-de-pondichry-de-louis-xv-1720-1774-argent-1720-1774-paris-muse-carnavalet-image349921828.htmlRM2B988T4–Double dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Double fanon de Pondichéry de Louis XV, 1720-1774. Argent, 1720-1774. Paris, musée Carnavalet.
Simon François Ravenet Comic walking. etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/simon-franois-ravenet-comic-walking-etching-1720-1774-17201774-image572940418.htmlRM2T83K9P–Simon François Ravenet Comic walking. etching 1720-1774 , 1720/1774
Portrait of Johann Sebastian Bach, 1720. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-johann-sebastian-bach-1720-image186154992.htmlRMMPT2GG–Portrait of Johann Sebastian Bach, 1720.
THOMAS HOLLIS Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-thomas-hollis-56779989.htmlRMD8AFCN–THOMAS HOLLIS
Portrait of Louisa Ulrika of Prussia (1720-1782), Queen of Sweden. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-louisa-ulrika-of-prussia-1720-1782-queen-of-sweden-image186209821.htmlRMMPXGEN–Portrait of Louisa Ulrika of Prussia (1720-1782), Queen of Sweden.
Louis XV of France (1710-1774) as Dauphin (1720 - 1721) by Rosalba Carriera Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-1720-1721-by-rosalba-carriera-image544080485.htmlRM2PH505W–Louis XV of France (1710-1774) as Dauphin (1720 - 1721) by Rosalba Carriera
Louise Maximilienne Caroline, Countess of Albany (1752-1824) (oil on canvas) by Fabre, Francois Xavier (1766-1837); Galleria degli Uffizi, Florence, Tuscany, Italy; (add.info.: daughter of prince Gustav-Adolf of Stolberg-Gedern & princess Elisabeth of Hornes; married prince Charles Edward Stuart (1720-88) in 1774; later she became the lover of the poet Vittorio Alfieri and after his death in 1803 she became the friend and companion of the artist Fabre;); French, out of copyright. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louise-maximilienne-caroline-countess-of-albany-1752-1824-oil-on-canvas-by-fabre-francois-xavier-1766-1837-galleria-degli-uffizi-florence-tuscany-italy-addinfo-daughter-of-prince-gustav-adolf-of-stolberg-gedern-princess-elisabeth-of-hornes-married-prince-charles-edward-stuart-1720-88-in-1774-later-she-became-the-lover-of-the-poet-vittorio-alfieri-and-after-his-death-in-1803-she-became-the-friend-and-companion-of-the-artist-fabre-french-out-of-copyright-image468938960.htmlRM2J6X0C0–Louise Maximilienne Caroline, Countess of Albany (1752-1824) (oil on canvas) by Fabre, Francois Xavier (1766-1837); Galleria degli Uffizi, Florence, Tuscany, Italy; (add.info.: daughter of prince Gustav-Adolf of Stolberg-Gedern & princess Elisabeth of Hornes; married prince Charles Edward Stuart (1720-88) in 1774; later she became the lover of the poet Vittorio Alfieri and after his death in 1803 she became the friend and companion of the artist Fabre;); French, out of copyright.
View of Bolton Hall, North Riding of Yorkshire, the seat of Admiral Harry Powlett, 6th Duke of Bolton, 1720-1794. Built in 1678 for the 1st Duke, Charles Paulet. Showing parklands, cattle grazing, woods, and lake. Copperplate engraving by Michael Angelo Rooker after an illustration by Paul Sandby from The Copper Plate Magazine or Monthly Treasure, G. Kearsley, London, June 1, 1775. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-bolton-hall-north-riding-of-yorkshire-the-seat-of-admiral-harry-powlett-6th-duke-of-bolton-1720-1794-built-in-1678-for-the-1st-duke-charles-paulet-showing-parklands-cattle-grazing-woods-and-lake-copperplate-engraving-by-michael-angelo-rooker-after-an-illustration-by-paul-sandby-from-the-copper-plate-magazine-or-monthly-treasure-g-kearsley-london-june-1-1775-image538637358.htmlRM2P891CE–View of Bolton Hall, North Riding of Yorkshire, the seat of Admiral Harry Powlett, 6th Duke of Bolton, 1720-1794. Built in 1678 for the 1st Duke, Charles Paulet. Showing parklands, cattle grazing, woods, and lake. Copperplate engraving by Michael Angelo Rooker after an illustration by Paul Sandby from The Copper Plate Magazine or Monthly Treasure, G. Kearsley, London, June 1, 1775.
Annals of medical history . Fagon was in 170366 years old and Vernage, who was thenscarcely forty, honored his older colleagueby placing the Iatters effigy on the jeton ofhis administrative term. While a Dean was usually elected onlyonce for a term of two years quite a num-ber held the position for two terms. Be-sides Jean Boudin, mentioned above, Ar-mand Doute (1716- 1720), Francois Geof-froy (1726-1730), Jean - Baptiste Boyer(1756 - 1760), Louis Alleaume (i774 - 1778).and several others were elected twice suc-cessively. Rene Le Thuillier (1768-1774)and Claude Bourru (1788 - 1793) were eIec1& Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/annals-of-medical-history-fagon-was-in-170366-years-old-and-vernage-who-was-thenscarcely-forty-honored-his-older-colleagueby-placing-the-iatters-effigy-on-the-jeton-ofhis-administrative-term-while-a-dean-was-usually-elected-onlyonce-for-a-term-of-two-years-quite-a-num-ber-held-the-position-for-two-terms-be-sides-jean-boudin-mentioned-above-ar-mand-doute-1716-1720-francois-geof-froy-1726-1730-jean-baptiste-boyer1756-1760-louis-alleaume-i774-1778and-several-others-were-elected-twice-suc-cessively-rene-le-thuillier-1768-1774and-claude-bourru-1788-1793-were-eiec1-image339987358.htmlRM2AN3N9J–Annals of medical history . Fagon was in 170366 years old and Vernage, who was thenscarcely forty, honored his older colleagueby placing the Iatters effigy on the jeton ofhis administrative term. While a Dean was usually elected onlyonce for a term of two years quite a num-ber held the position for two terms. Be-sides Jean Boudin, mentioned above, Ar-mand Doute (1716- 1720), Francois Geof-froy (1726-1730), Jean - Baptiste Boyer(1756 - 1760), Louis Alleaume (i774 - 1778).and several others were elected twice suc-cessively. Rene Le Thuillier (1768-1774)and Claude Bourru (1788 - 1793) were eIec1&
Art inspired by Three Musicians and Harlequin in an Ornamental Frame, 1720–74, Pen and brown ink, blue-grey wash. Framing line in pen and brown ink, sheet: 13 1/16 x 8 3/4 in. (33.2 x 22.3 cm), Drawings, Georg Philipp Rugendas II (German, Augsburg 1701–1774 Augsburg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-three-musicians-and-harlequin-in-an-ornamental-frame-172074-pen-and-brown-ink-blue-grey-wash-framing-line-in-pen-and-brown-ink-sheet-13-116-x-8-34-in-332-x-223-cm-drawings-georg-philipp-rugendas-ii-german-augsburg-17011774-augsburg-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462991476.htmlRF2HW729T–Art inspired by Three Musicians and Harlequin in an Ornamental Frame, 1720–74, Pen and brown ink, blue-grey wash. Framing line in pen and brown ink, sheet: 13 1/16 x 8 3/4 in. (33.2 x 22.3 cm), Drawings, Georg Philipp Rugendas II (German, Augsburg 1701–1774 Augsburg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Portrait of the philosopher Johann Georg Sulzer . Porträt des Johann Georg Sulzer (1720-1779), schweizer Theologe, Philosoph, Übersetzer und Publizist. Gleimhaus Halberstadt . 1774. 1150 Sulzer Portrait ca 1780 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-the-philosopher-johann-georg-sulzer-portrt-des-johann-georg-sulzer-1720-1779-schweizer-theologe-philosoph-bersetzer-und-publizist-gleimhaus-halberstadt-1774-1150-sulzer-portrait-ca-1780-image185595361.htmlRMMNXGNN–Portrait of the philosopher Johann Georg Sulzer . Porträt des Johann Georg Sulzer (1720-1779), schweizer Theologe, Philosoph, Übersetzer und Publizist. Gleimhaus Halberstadt . 1774. 1150 Sulzer Portrait ca 1780
Art inspired by The Descent from the Cross, ca. 1720, Pen and brown ink, brush and brown and red wash, over red chalk, 16 7/16 x 11in. (41.8 x 27.9cm), Drawings, Gian Antonio Burrini (Italian, Bologna 1656–1727 Bologna), The signature blue and gold mount of this drawing indicates it, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-the-descent-from-the-cross-ca-1720-pen-and-brown-ink-brush-and-brown-and-red-wash-over-red-chalk-16-716-x-11in-418-x-279cm-drawings-gian-antonio-burrini-italian-bologna-16561727-bologna-the-signature-blue-and-gold-mount-of-this-drawing-indicates-it-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462950960.htmlRF2HW56JT–Art inspired by The Descent from the Cross, ca. 1720, Pen and brown ink, brush and brown and red wash, over red chalk, 16 7/16 x 11in. (41.8 x 27.9cm), Drawings, Gian Antonio Burrini (Italian, Bologna 1656–1727 Bologna), The signature blue and gold mount of this drawing indicates it, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Giovanni Battista Piranesi, Italian, 1720-1778, Hadrian's Villa: Remains of the So-Called Pretorio, 1774, etching printed in black ink on heavy cream laid paper, Plate: 17 7/8 × 25 1/8 inches (45.4 × 63.8 cm), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/giovanni-battista-piranesi-italian-1720-1778-hadrians-villa-remains-of-the-so-called-pretorio-1774-etching-printed-in-black-ink-on-heavy-cream-laid-paper-plate-17-78-25-18-inches-454-638-cm-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image349814342.htmlRF2B93BNA–Giovanni Battista Piranesi, Italian, 1720-1778, Hadrian's Villa: Remains of the So-Called Pretorio, 1774, etching printed in black ink on heavy cream laid paper, Plate: 17 7/8 × 25 1/8 inches (45.4 × 63.8 cm), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Four Continents: The Peoples of the Earth Invoking the Deities. Artist: Gottfried Bernhard Goetz (German, Velehrad 1708-1774 Augsburg). Dimensions: 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm). Date: 1720-74. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/four-continents-the-peoples-of-the-earth-invoking-the-deities-artist-gottfried-bernhard-goetz-german-velehrad-1708-1774-augsburg-dimensions-8-18-x-6-14-in-206-x-159-cm-date-1720-74-museum-metropolitan-museum-of-art-new-york-usa-image212870304.htmlRMPA926T–Four Continents: The Peoples of the Earth Invoking the Deities. Artist: Gottfried Bernhard Goetz (German, Velehrad 1708-1774 Augsburg). Dimensions: 8 1/8 x 6 1/4 in. (20.6 x 15.9 cm). Date: 1720-74. Museum: Metropolitan Museum of Art, New York, USA.
View of the So-Called Temple of Concord, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 462 x 692 mm (image), 470 x 700 mm (plate), 555 x 726 mm (sheet Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-so-called-temple-of-concord-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-italy-etching-on-heavy-ivory-laid-paper-462-x-692-mm-image-470-x-700-mm-plate-555-x-726-mm-sheet-image328633894.htmlRM2A2JFTP–View of the So-Called Temple of Concord, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 462 x 692 mm (image), 470 x 700 mm (plate), 555 x 726 mm (sheet
Half dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Demi-fanon de Pondichéry de Louis XV, 1720-1774. Argent, 1720-1774. Paris, musée Carnavalet. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/half-dewlap-pondicherry-louis-xv-1720-1774-anonyme-demi-fanon-de-pondichry-de-louis-xv-1720-1774-argent-1720-1774-paris-muse-carnavalet-image349921836.htmlRM2B988TC–Half dewlap Pondicherry Louis XV, 1720-1774 Anonyme. Demi-fanon de Pondichéry de Louis XV, 1720-1774. Argent, 1720-1774. Paris, musée Carnavalet.
Simon François Ravenet (Engraver) Scissor grinder; Salesperson. etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/simon-franois-ravenet-engraver-scissor-grinder-salesperson-etching-1720-1774-17201774-image572942075.htmlRM2T83NCY–Simon François Ravenet (Engraver) Scissor grinder; Salesperson. etching 1720-1774 , 1720/1774
Horse-racing Set of six: 3. Catching the Colts, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-3-catching-the-colts-william-elliot-active-1774-died-1792-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389788177.htmlRM2DJ4AP9–Horse-racing Set of six: 3. Catching the Colts, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
Iohann George Sulzer geb:den 16 Octobr 1720 - gest:den 25 Febr 1779 / A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/iohann-george-sulzer-gebden-16-octobr-1720-gestden-25-febr-1779-a-graff-pinxit-1774-d-berger-sculp-berloini-1779-image269924116.htmlRMWK42Y0–Iohann George Sulzer geb:den 16 Octobr 1720 - gest:den 25 Febr 1779 / A Graff pinxit 1774 ; D. Berger sculp. Berloini 1779.
Portrait of the King Louis XV of France (1710-1774), 1720. Found in the collection of the Musée des Beaux-Arts, Reims. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-the-king-louis-xv-of-france-1710-1774-1720-found-in-the-collection-of-the-musxe9e-des-beaux-arts-reims-image485495358.htmlRM2K5T67X–Portrait of the King Louis XV of France (1710-1774), 1720. Found in the collection of the Musée des Beaux-Arts, Reims.
The tables of the law In the middle two stone tablets with the Ten Commandments leaning on a palm tree. In the background you can see how Mount Sinai was covered with clouds and lightning. God speaks to the people of Israel that is at the foot of the mountain verzamelt. Manufacturer : printmaker: Gerrit de Broen (II) (listed building) in drawing: Gerrit de Broen (II) (listed building) Place manufacture: Amsterdam Dated: ca. 1720 - ca. 1774 Physical characteristics: etching and engra material: paper Technique: etching / engra (printing process) Measurements: plate edge: h 353 mm × W 273 mm Subj Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-tables-of-the-law-in-the-middle-two-stone-tablets-with-the-ten-commandments-leaning-on-a-palm-tree-in-the-background-you-can-see-how-mount-sinai-was-covered-with-clouds-and-lightning-god-speaks-to-the-people-of-israel-that-is-at-the-foot-of-the-mountain-verzamelt-manufacturer-printmaker-gerrit-de-broen-ii-listed-building-in-drawing-gerrit-de-broen-ii-listed-building-place-manufacture-amsterdam-dated-ca-1720-ca-1774-physical-characteristics-etching-and-engra-material-paper-technique-etching-engra-printing-process-measurements-plate-edge-h-353-mm-w-273-mm-subj-image348297456.htmlRM2B6J8XT–The tables of the law In the middle two stone tablets with the Ten Commandments leaning on a palm tree. In the background you can see how Mount Sinai was covered with clouds and lightning. God speaks to the people of Israel that is at the foot of the mountain verzamelt. Manufacturer : printmaker: Gerrit de Broen (II) (listed building) in drawing: Gerrit de Broen (II) (listed building) Place manufacture: Amsterdam Dated: ca. 1720 - ca. 1774 Physical characteristics: etching and engra material: paper Technique: etching / engra (printing process) Measurements: plate edge: h 353 mm × W 273 mm Subj
Louis XV of France (1710-1774) as Dauphin between 1720 and 1721 by Rosalba Carriera Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-between-1720-and-1721-by-rosalba-carriera-image544080488.htmlRM2PH5060–Louis XV of France (1710-1774) as Dauphin between 1720 and 1721 by Rosalba Carriera
. A portrait and biographical record of Portage and Summit counties, Ohio . nn, fifth, born 1720, diedFebruary 20, 177S, at Milford. He marriedMary Peck, November 4, 1741, at Milford.and she died about 1800, quite aged. Benja-min Fenn, fifth, was captain of a militia com-pany from 1770 to 1774. and was then electeiicolonel, holding his commission until his deathHis children were Benjamin, Nathan, Mar,Sarah and Samuel. Benjamin Fenn, sixtli,born at Milford, Conn., died October 27.1780, in Milford. He married Sarah Treat,great-granddaughter of Gov. Robert Trea».twenty years governor of Connecti Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-portrait-and-biographical-record-of-portage-and-summit-counties-ohio-nn-fifth-born-1720-diedfebruary-20-177s-at-milford-he-marriedmary-peck-november-4-1741-at-milfordand-she-died-about-1800-quite-aged-benja-min-fenn-fifth-was-captain-of-a-militia-com-pany-from-1770-to-1774-and-was-then-electeiicolonel-holding-his-commission-until-his-deathhis-children-were-benjamin-nathan-marsarah-and-samuel-benjamin-fenn-sixtliborn-at-milford-conn-died-october-271780-in-milford-he-married-sarah-treatgreat-granddaughter-of-gov-robert-treatwenty-years-governor-of-connecti-image371761834.htmlRM2CGR60A–. A portrait and biographical record of Portage and Summit counties, Ohio . nn, fifth, born 1720, diedFebruary 20, 177S, at Milford. He marriedMary Peck, November 4, 1741, at Milford.and she died about 1800, quite aged. Benja-min Fenn, fifth, was captain of a militia com-pany from 1770 to 1774. and was then electeiicolonel, holding his commission until his deathHis children were Benjamin, Nathan, Mar,Sarah and Samuel. Benjamin Fenn, sixtli,born at Milford, Conn., died October 27.1780, in Milford. He married Sarah Treat,great-granddaughter of Gov. Robert Trea».twenty years governor of Connecti
Portrait of Conrad Ekhof (1720-1778). Bildnis Conrad Ekhof, Kopie des 19. Jh. eines Gemäldes von Anton Graff. Theaterwissenschaftliche Sammlung der Universität zu Köln, Schloss Wahn, Inv.Nr. 1782 (Sammlung Niessen) . 1774 (original); 19th century (this copy). 772 Konrad Ekhof after Anton Graff Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-conrad-ekhof-1720-1778-bildnis-conrad-ekhof-kopie-des-19-jh-eines-gemldes-von-anton-graff-theaterwissenschaftliche-sammlung-der-universitt-zu-kln-schloss-wahn-invnr-1782-sammlung-niessen-1774-original-19th-century-this-copy-772-konrad-ekhof-after-anton-graff-image185821152.htmlRMMP8TNM–Portrait of Conrad Ekhof (1720-1778). Bildnis Conrad Ekhof, Kopie des 19. Jh. eines Gemäldes von Anton Graff. Theaterwissenschaftliche Sammlung der Universität zu Köln, Schloss Wahn, Inv.Nr. 1782 (Sammlung Niessen) . 1774 (original); 19th century (this copy). 772 Konrad Ekhof after Anton Graff
View of the So-Called Temple of Concord, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 462 x 692 mm (image), 470 x 700 mm (plate), 555 x 726 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-so-called-temple-of-concord-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-italy-etching-on-heavy-ivory-laid-paper-462-x-692-mm-image-470-x-700-mm-plate-555-x-726-mm-sheet-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image349698602.htmlRF2B8X43P–View of the So-Called Temple of Concord, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 462 x 692 mm (image), 470 x 700 mm (plate), 555 x 726 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Art inspired by The Gentleman and Cabinet-Maker's Director, 1762, Illustrations: etching and engraving, book: 18 1/8 x 11 3/4 x 1 7/8 in. (46 x 29.8 x 4.7 cm), Matthew Darly (British, ca. 1720–1778 (?)), Tobias Müller (active London 1760s), Johann Sebastian Müller (German, Nuremberg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-the-gentleman-and-cabinet-makers-director-1762-illustrations-etching-and-engraving-book-18-18-x-11-34-x-1-78-in-46-x-298-x-47-cm-matthew-darly-british-ca-17201778-tobias-mller-active-london-1760s-johann-sebastian-mller-german-nuremberg-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462958434.htmlRF2HW5G5P–Art inspired by The Gentleman and Cabinet-Maker's Director, 1762, Illustrations: etching and engraving, book: 18 1/8 x 11 3/4 x 1 7/8 in. (46 x 29.8 x 4.7 cm), Matthew Darly (British, ca. 1720–1778 (?)), Tobias Müller (active London 1760s), Johann Sebastian Müller (German, Nuremberg, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Portrait of Jonathan Swift. Artist: Nathaniel Bermingham (Irish, born ca. 1720, active mainly London, 1736-74). Dimensions: Overall: 13 7/16 x 11 in. (34.2 x 28 cm). Sitter: Portrait of Jonathan Swift (Irish, Dublin 1667-1745 Dublin). Date: 1774. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-jonathan-swift-artist-nathaniel-bermingham-irish-born-ca-1720-active-mainly-london-1736-74-dimensions-overall-13-716-x-11-in-342-x-28-cm-sitter-portrait-of-jonathan-swift-irish-dublin-1667-1745-dublin-date-1774-museum-metropolitan-museum-of-art-new-york-usa-image213324042.htmlRMPB1MYP–Portrait of Jonathan Swift. Artist: Nathaniel Bermingham (Irish, born ca. 1720, active mainly London, 1736-74). Dimensions: Overall: 13 7/16 x 11 in. (34.2 x 28 cm). Sitter: Portrait of Jonathan Swift (Irish, Dublin 1667-1745 Dublin). Date: 1774. Museum: Metropolitan Museum of Art, New York, USA.
View of Visible Remains of the Baths of Diocletian, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 422 x 688 mm (image), 447 x 699 mm (plate), 498 x 725 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-visible-remains-of-the-baths-of-diocletian-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-italy-etching-on-heavy-ivory-laid-paper-422-x-688-mm-image-447-x-699-mm-plate-498-x-725-mm-sheet-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image349698601.htmlRF2B8X43N–View of Visible Remains of the Baths of Diocletian, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 422 x 688 mm (image), 447 x 699 mm (plate), 498 x 725 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
Simon François Ravenet (Engraver) Milk seller; Wine seller. etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/simon-franois-ravenet-engraver-milk-seller-wine-seller-etching-1720-1774-17201774-image572942113.htmlRM2T83NE9–Simon François Ravenet (Engraver) Milk seller; Wine seller. etching 1720-1774 , 1720/1774
Horse-racing Set of six: 2. Brood Mares with their Foles, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-2-brood-mares-with-their-foles-william-elliot-active-1774-died-1792-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389788178.htmlRM2DJ4APA–Horse-racing Set of six: 2. Brood Mares with their Foles, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
View of Krakowskie Przedmiescie and Sigismund's Column, 1774. Found in the Collection of the Royal Castle, Warsaw. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-krakowskie-przedmiescie-and-sigismunds-column-1774-found-in-the-collection-of-the-royal-castle-warsaw-image565538545.htmlRM2RT2E55–View of Krakowskie Przedmiescie and Sigismund's Column, 1774. Found in the Collection of the Royal Castle, Warsaw.
. History of Queens County, New York, with illustrations, portraits, & sketches of prominent families and individuals . upervisors—Samuel Moore, 1684, 1687, 1691; ThomasStevenson, 1685; Jeremiah Burroughs, 1686; JonathanHazard, 1690; Lieutenant Joseph Sacket, 1697, 1700, 1 706,1711; John Berrian, 1699; Peter Berrien, 1703, 1708; JohnCoe, 1716; Captain Thomas Hazard, 1720; Samuel Fishsen., 1733; Jacob Rapelje, 1756: Jeromus Remsen jr.,1774; Daniel Luyster, 1777; Samuel Riker, 1783, 1803;Robert Furman, 1786; John Lawrence, 1807; JonathanHoward, 1810, 1825; James Lent, 1811, 1822; JohnAlsop, 1821 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/history-of-queens-county-new-york-with-illustrations-portraits-sketches-of-prominent-families-and-individuals-upervisorssamuel-moore-1684-1687-1691-thomasstevenson-1685-jeremiah-burroughs-1686-jonathanhazard-1690-lieutenant-joseph-sacket-1697-1700-1-7061711-john-berrian-1699-peter-berrien-1703-1708-johncoe-1716-captain-thomas-hazard-1720-samuel-fishsen-1733-jacob-rapelje-1756-jeromus-remsen-jr1774-daniel-luyster-1777-samuel-riker-1783-1803robert-furman-1786-john-lawrence-1807-jonathanhoward-1810-1825-james-lent-1811-1822-johnalsop-1821-image370014367.htmlRM2CDYH2R–. History of Queens County, New York, with illustrations, portraits, & sketches of prominent families and individuals . upervisors—Samuel Moore, 1684, 1687, 1691; ThomasStevenson, 1685; Jeremiah Burroughs, 1686; JonathanHazard, 1690; Lieutenant Joseph Sacket, 1697, 1700, 1 706,1711; John Berrian, 1699; Peter Berrien, 1703, 1708; JohnCoe, 1716; Captain Thomas Hazard, 1720; Samuel Fishsen., 1733; Jacob Rapelje, 1756: Jeromus Remsen jr.,1774; Daniel Luyster, 1777; Samuel Riker, 1783, 1803;Robert Furman, 1786; John Lawrence, 1807; JonathanHoward, 1810, 1825; James Lent, 1811, 1822; JohnAlsop, 1821
. Portrait of Conrad Ekhof (1720-1778), German actor . 1774. ConradEkhofSchauspielerWeimarS78 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-conrad-ekhof-1720-1778-german-actor-1774-conradekhofschauspielerweimars78-image184961997.htmlRMMMWMWH–. Portrait of Conrad Ekhof (1720-1778), German actor . 1774. ConradEkhofSchauspielerWeimarS78
The Descent from the Cross. Artist: Gian Antonio Burrini (Italian, Bologna 1656-1727 Bologna). Dimensions: 16 7/16 x 11in. (41.8 x 27.9cm). Date: ca. 1720. The signature blue and gold mount of this drawing indicates it was owned by the French collector and connoisseur Pierre-Jean Mariette (1694-1774), who also attributed this composition to Burrini in the elegant inscription on the cartouche. According to Mariette's Abécédario Pittorico (Paris, 1851-1853, vol. 1, p . 236), the Metropolitan Museum of Art's drawing was part of a series of twelve studies for paintings on copper executed by Burri Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-descent-from-the-cross-artist-gian-antonio-burrini-italian-bologna-1656-1727-bologna-dimensions-16-716-x-11in-418-x-279cm-date-ca-1720-the-signature-blue-and-gold-mount-of-this-drawing-indicates-it-was-owned-by-the-french-collector-and-connoisseur-pierre-jean-mariette-1694-1774-who-also-attributed-this-composition-to-burrini-in-the-elegant-inscription-on-the-cartouche-according-to-mariettes-abcdario-pittorico-paris-1851-1853-vol-1-p-236-the-metropolitan-museum-of-arts-drawing-was-part-of-a-series-of-twelve-studies-for-paintings-on-copper-executed-by-burri-image213109726.htmlRMPAKYHJ–The Descent from the Cross. Artist: Gian Antonio Burrini (Italian, Bologna 1656-1727 Bologna). Dimensions: 16 7/16 x 11in. (41.8 x 27.9cm). Date: ca. 1720. The signature blue and gold mount of this drawing indicates it was owned by the French collector and connoisseur Pierre-Jean Mariette (1694-1774), who also attributed this composition to Burrini in the elegant inscription on the cartouche. According to Mariette's Abécédario Pittorico (Paris, 1851-1853, vol. 1, p . 236), the Metropolitan Museum of Art's drawing was part of a series of twelve studies for paintings on copper executed by Burri
Remains of a room belonging to the Praetorian Fort at Hadrian’s Villa, Tivoli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/59), Italy, Etching on heavy ivory laid paper, 436 x 576 mm (image), 445 x 587 mm (plate), 513 x 653 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, spe Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/remains-of-a-room-belonging-to-the-praetorian-fort-at-hadrians-villa-tivoli-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-175859-italy-etching-on-heavy-ivory-laid-paper-436-x-576-mm-image-445-x-587-mm-plate-513-x-653-mm-sheet-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-spe-image349698668.htmlRF2B8X464–Remains of a room belonging to the Praetorian Fort at Hadrian’s Villa, Tivoli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/59), Italy, Etching on heavy ivory laid paper, 436 x 576 mm (image), 445 x 587 mm (plate), 513 x 653 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, spe
Jacques-Philippe Le Bas (Engraver) Nut seller; Brush seller. etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jacques-philippe-le-bas-engraver-nut-seller-brush-seller-etching-1720-1774-17201774-image572942087.htmlRM2T83NDB–Jacques-Philippe Le Bas (Engraver) Nut seller; Brush seller. etching 1720-1774 , 1720/1774
Horse-racing Set of six: 4. Subduing Shoeing, the Cavison and Pillar, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-4-subduing-shoeing-the-cavison-and-pillar-william-elliot-active-1774-died-1792-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389788184.htmlRM2DJ4APG–Horse-racing Set of six: 4. Subduing Shoeing, the Cavison and Pillar, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
. Army list . 59Sc... 20.53... 2165...15386... 2367... 2 20635, 246?... 1911... 2265... 1912...14216... 2053... 20.53...1190a...17.34a...2053a... 1502... 1720... 442...2012rf 1390e 1307a 1610 1551a 1716a 850a 1532 1371 1163e ...187.3a, 1876 2007 1732 15546 388a 1554 1550 1330 851 13346 425a 519a 23-52 1393c Reford, R. B. S 12786 Refoy, C 24.52 Regan, J. L 180i;6, I8l6c P. R., R. Eng. ... 1730 Reg-er, F. P 20326 Regrnard, P 1540a Regrnart, C. H 2302 N. S 923 tReiach, J 213/ Reiohe, A. D. E 1233 Reichwald.W.F 531 t Reid.A 2405 V A 2.3t8 A., Wt. Off. ret. ... 2452 A 1557c A 2053a A. D 1774, 1790( Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/army-list-59sc-2053-216515386-2367-2-20635-246-1911-2265-191214216-2053-20531190a1734a2053a-1502-1720-4422012rf-1390e-1307a-1610-1551a-1716a-850a-1532-1371-1163e-1873a-1876-2007-1732-15546-388a-1554-1550-1330-851-13346-425a-519a-23-52-1393c-reford-r-b-s-12786-refoy-c-2452-regan-j-l-180i6-i8l6c-p-r-r-eng-1730-reg-er-f-p-20326-regrnard-p-1540a-regrnart-c-h-2302-n-s-923-treiach-j-213-reiohe-a-d-e-1233-reichwaldwf-531-t-reida-2405-v-a-23t8-a-wt-off-ret-2452-a-1557c-a-2053a-a-d-1774-1790-image370114514.htmlRM2CE44RE–. Army list . 59Sc... 20.53... 2165...15386... 2367... 2 20635, 246?... 1911... 2265... 1912...14216... 2053... 20.53...1190a...17.34a...2053a... 1502... 1720... 442...2012rf 1390e 1307a 1610 1551a 1716a 850a 1532 1371 1163e ...187.3a, 1876 2007 1732 15546 388a 1554 1550 1330 851 13346 425a 519a 23-52 1393c Reford, R. B. S 12786 Refoy, C 24.52 Regan, J. L 180i;6, I8l6c P. R., R. Eng. ... 1730 Reg-er, F. P 20326 Regrnard, P 1540a Regrnart, C. H 2302 N. S 923 tReiach, J 213/ Reiohe, A. D. E 1233 Reichwald.W.F 531 t Reid.A 2405 V A 2.3t8 A., Wt. Off. ret. ... 2452 A 1557c A 2053a A. D 1774, 1790(
Deutsch: Portrait des Schweizer Philosophen Johann Georg Sulzer (1720-1779) . 1774. Anton Graff - Johann Georg Sulzer 1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/deutsch-portrait-des-schweizer-philosophen-johann-georg-sulzer-1720-1779-1774-anton-graff-johann-georg-sulzer-1774-image184895298.htmlRMMMPKRE–Deutsch: Portrait des Schweizer Philosophen Johann Georg Sulzer (1720-1779) . 1774. Anton Graff - Johann Georg Sulzer 1774
. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 206 Georg Michael von La Roche Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/deutsch-georg-michael-von-la-roche-17201788-autor-bzw-inspirator-der-briefe-ber-das-mnchswesen-zrich-1772-17741780-kurtrierischer-regierungskanzler-gatte-der-schriftstellerin-sophie-von-la-roche-17301807-4-february-2016-095512-unknown-206-georg-michael-von-la-roche-image188890186.htmlRMMY8KA2–. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 206 Georg Michael von La Roche
The Gentleman and Cabinet-Maker's Director. Artist: Matthew Darly (British, ca. 1720-80 London); Tobias Müller (active London 1760s); Johann Sebastian Müller (German, Nuremberg 1715-1785 London); Cornelius Heinrich Hemmerich (active Britain, 18th century); Butler Clowes (British, active London ca. 1760-1782); Edward Rooker (British, London 1711-1774 London); Isaac Taylor, I (British, Worcester 1730-1807 Edmonton, Greater London); William Foster (British, 18th century); Thomas Morris (British, active 1750-1800); James Hullett (British, active 18th century). Artist and publisher: Thomas Chippend Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-gentleman-and-cabinet-makers-director-artist-matthew-darly-british-ca-1720-80-london-tobias-mller-active-london-1760s-johann-sebastian-mller-german-nuremberg-1715-1785-london-cornelius-heinrich-hemmerich-active-britain-18th-century-butler-clowes-british-active-london-ca-1760-1782-edward-rooker-british-london-1711-1774-london-isaac-taylor-i-british-worcester-1730-1807-edmonton-greater-london-william-foster-british-18th-century-thomas-morris-british-active-1750-1800-james-hullett-british-active-18th-century-artist-and-publisher-thomas-chippend-image213113060.htmlRMPAM3TM–The Gentleman and Cabinet-Maker's Director. Artist: Matthew Darly (British, ca. 1720-80 London); Tobias Müller (active London 1760s); Johann Sebastian Müller (German, Nuremberg 1715-1785 London); Cornelius Heinrich Hemmerich (active Britain, 18th century); Butler Clowes (British, active London ca. 1760-1782); Edward Rooker (British, London 1711-1774 London); Isaac Taylor, I (British, Worcester 1730-1807 Edmonton, Greater London); William Foster (British, 18th century); Thomas Morris (British, active 1750-1800); James Hullett (British, active 18th century). Artist and publisher: Thomas Chippend
Pianta di Roma e del Campo Marzio, Collection of maps of Rome, Piranesi, Giovanni Battista, 1720-1778, Etching, engraving, ca. 1774, On the date of the map, see Wilton-Ely, no. 1097, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/pianta-di-roma-e-del-campo-marzio-collection-of-maps-of-rome-piranesi-giovanni-battista-1720-1778-etching-engraving-ca-1774-on-the-date-of-the-map-see-wilton-ely-no-1097-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350079806.htmlRF2B9FEA6–Pianta di Roma e del Campo Marzio, Collection of maps of Rome, Piranesi, Giovanni Battista, 1720-1778, Etching, engraving, ca. 1774, On the date of the map, see Wilton-Ely, no. 1097, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Simon François Ravenet (Engraver) Saleswoman (a la creme); Seller (patentz, the talmouses). etching 1720-1774 , 1720/1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/simon-franois-ravenet-engraver-saleswoman-a-la-creme-seller-patentz-the-talmouses-etching-1720-1774-17201774-image572942056.htmlRM2T83NC8–Simon François Ravenet (Engraver) Saleswoman (a la creme); Seller (patentz, the talmouses). etching 1720-1774 , 1720/1774
Horse-racing Set of six: 5. Bridling, Sadling, Breaking, & Training, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-5-bridling-sadling-breaking-training-william-elliot-active-1774-died-1792-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389788168.htmlRM2DJ4AP0–Horse-racing Set of six: 5. Bridling, Sadling, Breaking, & Training, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 239 Georg Michael von La Roche Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/deutsch-georg-michael-von-la-roche-17201788-autor-bzw-inspirator-der-briefe-ber-das-mnchswesen-zrich-1772-17741780-kurtrierischer-regierungskanzler-gatte-der-schriftstellerin-sophie-von-la-roche-17301807-4-february-2016-095512-unknown-239-georg-michael-von-la-roche-image188091926.htmlRMMX094P–. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 239 Georg Michael von La Roche
View of the So-Called Temple of Concord, from Views of Rome. Giovanni Battista Piranesi (Italian, 1720-1778); published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9). Date: 1774. Dimensions: 462 x 692 mm (image); 470 x 700 mm (plate); 555 x 726 mm (sheet). Etching on heavy ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-so-called-temple-of-concord-from-views-of-rome-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-date-1774-dimensions-462-x-692-mm-image-470-x-700-mm-plate-555-x-726-mm-sheet-etching-on-heavy-ivory-laid-paper-origin-italy-museum-the-chicago-art-institute-image240100337.htmlRMRXHEC1–View of the So-Called Temple of Concord, from Views of Rome. Giovanni Battista Piranesi (Italian, 1720-1778); published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9). Date: 1774. Dimensions: 462 x 692 mm (image); 470 x 700 mm (plate); 555 x 726 mm (sheet). Etching on heavy ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute.
Pianta di Roma e del Campo Marzio, Collection of maps of Rome, Piranesi, Giovanni Battista, 1720-1778, Etching reimagined Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/pianta-di-roma-e-del-campo-marzio-collection-of-maps-of-rome-piranesi-giovanni-battista-1720-1778-etching-reimagined-image230262843.htmlRFRAHAGY–Pianta di Roma e del Campo Marzio, Collection of maps of Rome, Piranesi, Giovanni Battista, 1720-1778, Etching reimagined
Portrait of Hugo Jacobsz., Cornelis van den Berg, c. 1720 - 1774 print Portrait of Hugo Jacobsz. His name in the lower margin. Haarlem paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-hugo-jacobsz-cornelis-van-den-berg-c-1720-1774-print-portrait-of-hugo-jacobsz-his-name-in-the-lower-margin-haarlem-paper-image594769273.htmlRM2WFJ27N–Portrait of Hugo Jacobsz., Cornelis van den Berg, c. 1720 - 1774 print Portrait of Hugo Jacobsz. His name in the lower margin. Haarlem paper
Horse-racing Set of six: 6. 'Finish'd Horses / Match'em & Trajan Runing at New-market', William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-6-finishd-horses-matchem-trajan-runing-at-new-market-william-elliot-active-1774-died-1792-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389788189.htmlRM2DJ4APN–Horse-racing Set of six: 6. 'Finish'd Horses / Match'em & Trajan Runing at New-market', William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 238 Georg Michael von La Roche Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/deutsch-georg-michael-von-la-roche-17201788-autor-bzw-inspirator-der-briefe-ber-das-mnchswesen-zrich-1772-17741780-kurtrierischer-regierungskanzler-gatte-der-schriftstellerin-sophie-von-la-roche-17301807-4-february-2016-095512-unknown-238-georg-michael-von-la-roche-image187589833.htmlRMMW5CMW–. Deutsch: Georg Michael von La Roche (1720–1788), Autor bzw. Inspirator der Briefe über das Mönchswesen (Zürich 1772), 1774–1780 kurtrierischer Regierungskanzler, Gatte der Schriftstellerin Sophie von La Roche (1730–1807). 4 February 2016, 09:55:12. Unknown 238 Georg Michael von La Roche
Italiano: Veduta della Piazza di Monte Cavallo Palazzo Pontificio. Strada che conduce a Porta Pia. Palazzo della Consulta. Statue Colossali di Prasitele, e Fidia. Palazzi della Famiglia Pontificia. English: A mid-18th century etching of the Quirinal in Rome, by Giovanni Battista Piranesi. The famous Roman scuptures of Castor and Pollux (the Dioscuri) are in the foreground. Deutsch: Das Bild zeigt einen Kupferstich des Quirinalshügel und den dortigen Monumenten, angefertigt von dem Künstler Giovanni Battista Piranesi (1720-1778). Español: De mediados del siglo XVIII, un aguafuerte del Quirinal Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/italiano-veduta-della-piazza-di-monte-cavallo-palazzo-pontificio-strada-che-conduce-a-porta-pia-palazzo-della-consulta-statue-colossali-di-prasitele-e-fidia-palazzi-della-famiglia-pontificia-english-a-mid-18th-century-etching-of-the-quirinal-in-rome-by-giovanni-battista-piranesi-the-famous-roman-scuptures-of-castor-and-pollux-the-dioscuri-are-in-the-foreground-deutsch-das-bild-zeigt-einen-kupferstich-des-quirinalshgel-und-den-dortigen-monumenten-angefertigt-von-dem-knstler-giovanni-battista-piranesi-1720-1778-espaol-de-mediados-del-siglo-xviii-un-aguafuerte-del-quirinal-image185547521.htmlRMMNTBN5–Italiano: Veduta della Piazza di Monte Cavallo Palazzo Pontificio. Strada che conduce a Porta Pia. Palazzo della Consulta. Statue Colossali di Prasitele, e Fidia. Palazzi della Famiglia Pontificia. English: A mid-18th century etching of the Quirinal in Rome, by Giovanni Battista Piranesi. The famous Roman scuptures of Castor and Pollux (the Dioscuri) are in the foreground. Deutsch: Das Bild zeigt einen Kupferstich des Quirinalshügel und den dortigen Monumenten, angefertigt von dem Künstler Giovanni Battista Piranesi (1720-1778). Español: De mediados del siglo XVIII, un aguafuerte del Quirinal
Book of New Trophies. Artist: Jacques Dumont, called le Romain (French, Paris 1701-1781 Paris). Designer: Designed by Gilles-Marie Oppenord (French, Paris 1672-1742 Paris). Dimensions: Overall: 11 7/8 x 9 7/16 x 1/8 in. (30.2 x 24 x 0.3 cm). Engraver: Engraved by Jacques François Blondel (French, Rouen 1705-1774 Paris). Published in: Paris. Publisher: Published by Chez Huquier (French, 18th century). Date: 1720-74. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/book-of-new-trophies-artist-jacques-dumont-called-le-romain-french-paris-1701-1781-paris-designer-designed-by-gilles-marie-oppenord-french-paris-1672-1742-paris-dimensions-overall-11-78-x-9-716-x-18-in-302-x-24-x-03-cm-engraver-engraved-by-jacques-franois-blondel-french-rouen-1705-1774-paris-published-in-paris-publisher-published-by-chez-huquier-french-18th-century-date-1720-74-museum-metropolitan-museum-of-art-new-york-usa-image213366355.htmlRMPB3JXY–Book of New Trophies. Artist: Jacques Dumont, called le Romain (French, Paris 1701-1781 Paris). Designer: Designed by Gilles-Marie Oppenord (French, Paris 1672-1742 Paris). Dimensions: Overall: 11 7/8 x 9 7/16 x 1/8 in. (30.2 x 24 x 0.3 cm). Engraver: Engraved by Jacques François Blondel (French, Rouen 1705-1774 Paris). Published in: Paris. Publisher: Published by Chez Huquier (French, 18th century). Date: 1720-74. Museum: Metropolitan Museum of Art, New York, USA.
Portrait of Jan Mandijn, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Jan Mandijn. His name and profession in the undermarg. Haarlem paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-jan-mandijn-cornelis-van-den-berg-c-1720-1774-print-portrait-of-jan-mandijn-his-name-and-profession-in-the-undermarg-haarlem-paper-image592991473.htmlRM2WCN2JW–Portrait of Jan Mandijn, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Jan Mandijn. His name and profession in the undermarg. Haarlem paper
Horse-racing Set of six: 1.The Cullen Arabian &c., William Elliot, active 1774, died 1792, British, And Thomas Smith of Derby, ca. 1720–1767, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/horse-racing-set-of-six-1the-cullen-arabian-c-william-elliot-active-1774-died-1792-british-and-thomas-smith-of-derby-ca-17201767-british-after-thomas-smith-of-derby-ca-17201767-british-1758-engraving-sheet-15-38-x-21-38in-391-x-543cm-image389771341.htmlRM2DJ3H91–Horse-racing Set of six: 1.The Cullen Arabian &c., William Elliot, active 1774, died 1792, British, And Thomas Smith of Derby, ca. 1720–1767, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm
View of Visible Remains of the Baths of Diocletian, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 422 x 688 mm (image), 447 x 699 mm (plate), 498 x 725 mm (sheet Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-visible-remains-of-the-baths-of-diocletian-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-italy-etching-on-heavy-ivory-laid-paper-422-x-688-mm-image-447-x-699-mm-plate-498-x-725-mm-sheet-image328633892.htmlRM2A2JFTM–View of Visible Remains of the Baths of Diocletian, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 422 x 688 mm (image), 447 x 699 mm (plate), 498 x 725 mm (sheet
Italiano: Veduta del Ponte Molle (Ponte Milvio) sul Tevere due miglia lontan da Roma. A. Ristauri del Pontefice Niccolò V. B. Rovine del Ponte supplite con due ponti levatoj. C. Torre fabbricata ne' tempi bassi per custodia del Ponte. Latina: Imago pontis milvii a Ioanne Baptista Piranesio (Giovanni Battista Piranesi) facta. Deutsch: Die de:Milvische Brücke im de:18. Jahrhundert. Stich von de:Giovanni Battista Piranesi (1720-1778). Über diese Brücke fahrend, verließ Goethe die Ewige Stadt am 25. April 1788, um sie nie wieder zu betreten. Vgl.: Hans Wahl, Anton Kippenberg: Goethe und seine Wel Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/italiano-veduta-del-ponte-molle-ponte-milvio-sul-tevere-due-miglia-lontan-da-roma-a-ristauri-del-pontefice-niccol-v-b-rovine-del-ponte-supplite-con-due-ponti-levatoj-c-torre-fabbricata-ne-tempi-bassi-per-custodia-del-ponte-latina-imago-pontis-milvii-a-ioanne-baptista-piranesio-giovanni-battista-piranesi-facta-deutsch-die-demilvische-brcke-im-de18-jahrhundert-stich-von-degiovanni-battista-piranesi-1720-1778-ber-diese-brcke-fahrend-verlie-goethe-die-ewige-stadt-am-25-april-1788-um-sie-nie-wieder-zu-betreten-vgl-hans-wahl-anton-kippenberg-goethe-und-seine-wel-image185547569.htmlRMMNTBPW–Italiano: Veduta del Ponte Molle (Ponte Milvio) sul Tevere due miglia lontan da Roma. A. Ristauri del Pontefice Niccolò V. B. Rovine del Ponte supplite con due ponti levatoj. C. Torre fabbricata ne' tempi bassi per custodia del Ponte. Latina: Imago pontis milvii a Ioanne Baptista Piranesio (Giovanni Battista Piranesi) facta. Deutsch: Die de:Milvische Brücke im de:18. Jahrhundert. Stich von de:Giovanni Battista Piranesi (1720-1778). Über diese Brücke fahrend, verließ Goethe die Ewige Stadt am 25. April 1788, um sie nie wieder zu betreten. Vgl.: Hans Wahl, Anton Kippenberg: Goethe und seine Wel
The Prodigal Son (Houghton Gallery). Artist: Simon Francis Ravenet, the elder (French, 1706-1774); After Salvator Rosa (Italian, Arenella (Naples) 1615-1673 Rome). Dimensions: Sheet (trimmed close to plateline): 20 1/4 × 15 1/16 in. (51.5 × 38.2 cm) Leaf: 28 15/16 × 20 1/2 in. (73.5 × 52 cm). Publisher: Published London by John Boydell (British, Shropshire 1720-1804 London). Date: 1781. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-prodigal-son-houghton-gallery-artist-simon-francis-ravenet-the-elder-french-1706-1774-after-salvator-rosa-italian-arenella-naples-1615-1673-rome-dimensions-sheet-trimmed-close-to-plateline-20-14-15-116-in-515-382-cm-leaf-28-1516-20-12-in-735-52-cm-publisher-published-london-by-john-boydell-british-shropshire-1720-1804-london-date-1781-museum-metropolitan-museum-of-art-new-york-usa-image212857011.htmlRMPA8D83–The Prodigal Son (Houghton Gallery). Artist: Simon Francis Ravenet, the elder (French, 1706-1774); After Salvator Rosa (Italian, Arenella (Naples) 1615-1673 Rome). Dimensions: Sheet (trimmed close to plateline): 20 1/4 × 15 1/16 in. (51.5 × 38.2 cm) Leaf: 28 15/16 × 20 1/2 in. (73.5 × 52 cm). Publisher: Published London by John Boydell (British, Shropshire 1720-1804 London). Date: 1781. Museum: Metropolitan Museum of Art, New York, USA.
Portrait of Laurens Jansz. Coster, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Laurens Jansz. Coster. His name in the lower margin. paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-laurens-jansz-coster-cornelis-van-den-berg-c-1720-1774-print-portrait-of-laurens-jansz-coster-his-name-in-the-lower-margin-paper-image594146959.htmlRM2WEHME7–Portrait of Laurens Jansz. Coster, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Laurens Jansz. Coster. His name in the lower margin. paper
Remains of a room belonging to the Praetorian Fort at Hadrian’s Villa, Tivoli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/59), Italy, Etching on heavy ivory laid paper, 436 x 576 mm (image), 445 x 587 mm (plate), 513 x 653 mm (sheet Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/remains-of-a-room-belonging-to-the-praetorian-fort-at-hadrians-villa-tivoli-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-175859-italy-etching-on-heavy-ivory-laid-paper-436-x-576-mm-image-445-x-587-mm-plate-513-x-653-mm-sheet-image328633958.htmlRM2A2JFY2–Remains of a room belonging to the Praetorian Fort at Hadrian’s Villa, Tivoli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/59), Italy, Etching on heavy ivory laid paper, 436 x 576 mm (image), 445 x 587 mm (plate), 513 x 653 mm (sheet
Seaport with Sailors Loading Merchandise. Artist: Richard Earlom (British, London 1743-1822 London); After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?-1682 Rome). Dimensions: sheet: 10 7/8 x 13 11/16 in. (27.6 x 34.8 cm) plate: 8 1/4 x 10 3/16 in. (21 x 25.8 cm). Publisher: Published by John Boydell (British, Shropshire 1720-1804 London). Series/Portfolio: Liber Veritatis, no. 17. Date: 1774. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/seaport-with-sailors-loading-merchandise-artist-richard-earlom-british-london-1743-1822-london-after-claude-lorrain-claude-gelle-french-chamagne-16045-1682-rome-dimensions-sheet-10-78-x-13-1116-in-276-x-348-cm-plate-8-14-x-10-316-in-21-x-258-cm-publisher-published-by-john-boydell-british-shropshire-1720-1804-london-seriesportfolio-liber-veritatis-no-17-date-1774-museum-metropolitan-museum-of-art-new-york-usa-image233247269.htmlRMRFD97H–Seaport with Sailors Loading Merchandise. Artist: Richard Earlom (British, London 1743-1822 London); After Claude Lorrain (Claude Gellée) (French, Chamagne 1604/5?-1682 Rome). Dimensions: sheet: 10 7/8 x 13 11/16 in. (27.6 x 34.8 cm) plate: 8 1/4 x 10 3/16 in. (21 x 25.8 cm). Publisher: Published by John Boydell (British, Shropshire 1720-1804 London). Series/Portfolio: Liber Veritatis, no. 17. Date: 1774. Museum: Metropolitan Museum of Art, New York, USA.
Portrait of Jan van Hemessen, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Jan van Hemessen in a window of Dutch text. paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-jan-van-hemessen-cornelis-van-den-berg-c-1720-1774-print-portrait-of-jan-van-hemessen-in-a-window-of-dutch-text-paper-image594297052.htmlRM2WETFXM–Portrait of Jan van Hemessen, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Jan van Hemessen in a window of Dutch text. paper
View of Visible Remains of the Baths of Diocletian at S. Maria degli Angeli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 459 x 694 mm (image), 469 x 700 mm (plate), 526 x 760 mm (sheet Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-visible-remains-of-the-baths-of-diocletian-at-s-maria-degli-angeli-from-views-of-rome-1774-published-180007-giovanni-battista-piranesi-italian-1720-1778-published-by-francesco-italian-1758-1810-and-pietro-piranesi-italian-born-17589-italy-etching-on-heavy-ivory-laid-paper-459-x-694-mm-image-469-x-700-mm-plate-526-x-760-mm-sheet-image328617206.htmlRM2A2HPGP–View of Visible Remains of the Baths of Diocletian at S. Maria degli Angeli, from Views of Rome, 1774, published 1800–07, Giovanni Battista Piranesi (Italian, 1720-1778), published by Francesco (Italian, 1758-1810) and Pietro Piranesi (Italian, born 1758/9), Italy, Etching on heavy ivory laid paper, 459 x 694 mm (image), 469 x 700 mm (plate), 526 x 760 mm (sheet
View of a Portico by the Side of a River, with Herdsmen and Cattle, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching, printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 x 16 5/16 inches (28 x 41.5 cm), Plate: 8 3/16 x 10 1/8 inches (20.8 x 25.7 cm), and Image: 7 3/8 x 10 1/8 inches (18.8 x 25.7 cm), architectural subject, colonnade, columns (architectural elements), flute (aerophone), genre subject, gesture, goats, grazing, hat, hills Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-a-portico-by-the-side-of-a-river-with-herdsmen-and-cattle-print-made-by-richard-earlom-17431822-british-after-claude-lorrain-16001682-french-published-by-john-boydell-17201804-british-1774-mezzotint-and-etching-printed-in-brown-ink-on-moderately-thick-slightly-textured-cream-laid-paper-sheet-11-x-16-516-inches-28-x-415-cm-plate-8-316-x-10-18-inches-208-x-257-cm-and-image-7-38-x-10-18-inches-188-x-257-cm-architectural-subject-colonnade-columns-architectural-elements-flute-aerophone-genre-subject-gesture-goats-grazing-hat-hills-image389731640.htmlRM2DJ1PK4–View of a Portico by the Side of a River, with Herdsmen and Cattle, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching, printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 x 16 5/16 inches (28 x 41.5 cm), Plate: 8 3/16 x 10 1/8 inches (20.8 x 25.7 cm), and Image: 7 3/8 x 10 1/8 inches (18.8 x 25.7 cm), architectural subject, colonnade, columns (architectural elements), flute (aerophone), genre subject, gesture, goats, grazing, hat, hills
'Interior of a Palace Hall'. Italy, Between 1720 and 1774. Dimensions: 27,7x38,4 cm. Museum: State Hermitage, St. Petersburg. Author: ANTONIO GALLI BIBIENA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/interior-of-a-palace-hall-italy-between-1720-and-1774-dimensions-277x384-cm-museum-state-hermitage-st-petersburg-author-antonio-galli-bibiena-image241206612.htmlRMT0BWDT–'Interior of a Palace Hall'. Italy, Between 1720 and 1774. Dimensions: 27,7x38,4 cm. Museum: State Hermitage, St. Petersburg. Author: ANTONIO GALLI BIBIENA.
Portrait of Albert van Ouwater, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Albert van Ouwater. His name and profession in the undermarg. Haarlem paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-albert-van-ouwater-cornelis-van-den-berg-c-1720-1774-print-portrait-of-albert-van-ouwater-his-name-and-profession-in-the-undermarg-haarlem-paper-image594758425.htmlRM2WFHGC9–Portrait of Albert van Ouwater, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Albert van Ouwater. His name and profession in the undermarg. Haarlem paper
Scene of a Storm, with a Vessel Wrecked, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/8 x 16 15/16 inches (28.2 x 43 cm), Plate: 8 3/16 x 10 3/16 inches (20.8 x 25.8 cm), and Image: 7 1/2 x 10 3/16 inches (19 x 25.8 cm), architectural subject, barge (flat-bottomed watercraft), beams (structural elements), castle, cliffs, coast, coats, genre subject, labor, marine art, marine salvage Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/scene-of-a-storm-with-a-vessel-wrecked-print-made-by-richard-earlom-17431822-british-after-claude-lorrain-16001682-french-published-by-john-boydell-17201804-british-1774-mezzotint-and-etching-printed-in-brown-ink-on-moderately-thick-slightly-textured-cream-laid-paper-sheet-11-18-x-16-1516-inches-282-x-43-cm-plate-8-316-x-10-316-inches-208-x-258-cm-and-image-7-12-x-10-316-inches-19-x-258-cm-architectural-subject-barge-flat-bottomed-watercraft-beams-structural-elements-castle-cliffs-coast-coats-genre-subject-labor-marine-art-marine-salvage-image389731860.htmlRM2DJ1PY0–Scene of a Storm, with a Vessel Wrecked, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/8 x 16 15/16 inches (28.2 x 43 cm), Plate: 8 3/16 x 10 3/16 inches (20.8 x 25.8 cm), and Image: 7 1/2 x 10 3/16 inches (19 x 25.8 cm), architectural subject, barge (flat-bottomed watercraft), beams (structural elements), castle, cliffs, coast, coats, genre subject, labor, marine art, marine salvage
Louis XV of France (1710-1774) as Dauphin. Date/Period: 1720 - 1721. Painting. Height: 505 mm (19.88 in); Width: 385 mm (15.15 in). Author: CARRIERA, ROSALBA. ROSALBA CARRIERA. Carriera, Rosalba Giovanna. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louis-xv-of-france-1710-1774-as-dauphin-dateperiod-1720-1721-painting-height-505-mm-1988-in-width-385-mm-1515-in-author-carriera-rosalba-rosalba-carriera-carriera-rosalba-giovanna-image219717975.htmlRMPND0EF–Louis XV of France (1710-1774) as Dauphin. Date/Period: 1720 - 1721. Painting. Height: 505 mm (19.88 in); Width: 385 mm (15.15 in). Author: CARRIERA, ROSALBA. ROSALBA CARRIERA. Carriera, Rosalba Giovanna.
Portrait of Albert van Ouwater, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Albert van Ouwater. His name and profession in the undermarg. Haarlem paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-albert-van-ouwater-cornelis-van-den-berg-c-1720-1774-print-portrait-of-albert-van-ouwater-his-name-and-profession-in-the-undermarg-haarlem-paper-image594778888.htmlRM2WFJEF4–Portrait of Albert van Ouwater, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Albert van Ouwater. His name and profession in the undermarg. Haarlem paper
View with several Vessels lying close to the Shore, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/16 x 16 15/16 inches (28.1 x 43 cm), Plate: 8 1/8 x 10 3/16 inches (20.7 x 25.8 cm), and Image: 7 9/16 x 10 3/16 inches (19.2 x 25.8 cm), architectural subject, boats, cargo, castle, cliffs, flags, fort, genre subject, harbor, labor, landscape, marine art, masts, nets (objects), sails, sea Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-with-several-vessels-lying-close-to-the-shore-print-made-by-richard-earlom-17431822-british-after-claude-lorrain-16001682-french-published-by-john-boydell-17201804-british-1774-mezzotint-and-etching-printed-in-brown-ink-on-moderately-thick-slightly-textured-cream-laid-paper-sheet-11-116-x-16-1516-inches-281-x-43-cm-plate-8-18-x-10-316-inches-207-x-258-cm-and-image-7-916-x-10-316-inches-192-x-258-cm-architectural-subject-boats-cargo-castle-cliffs-flags-fort-genre-subject-harbor-labor-landscape-marine-art-masts-nets-objects-sails-sea-image389731664.htmlRM2DJ1PM0–View with several Vessels lying close to the Shore, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/16 x 16 15/16 inches (28.1 x 43 cm), Plate: 8 1/8 x 10 3/16 inches (20.7 x 25.8 cm), and Image: 7 9/16 x 10 3/16 inches (19.2 x 25.8 cm), architectural subject, boats, cargo, castle, cliffs, flags, fort, genre subject, harbor, labor, landscape, marine art, masts, nets (objects), sails, sea
France. Paris. Louvre Museum. Kingdom of Louis XV (1710-1774). Celebration offered by the city to the king on the occasion of the wedding of Princess Louise Elisabeth of France (1727-1759) with the Infante Philip of Spain (1720-1765), on August 29, 1739. Engraving. Color. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/france-paris-louvre-museum-kingdom-of-louis-xv-1710-1774-celebration-offered-by-the-city-to-the-king-on-the-occasion-of-the-wedding-of-princess-louise-elisabeth-of-france-1727-1759-with-the-infante-philip-of-spain-1720-1765-on-august-29-1739-engraving-color-image231217714.htmlRMRC4TFE–France. Paris. Louvre Museum. Kingdom of Louis XV (1710-1774). Celebration offered by the city to the king on the occasion of the wedding of Princess Louise Elisabeth of France (1727-1759) with the Infante Philip of Spain (1720-1765), on August 29, 1739. Engraving. Color.
Portrait of Laurens Jansz. Coster, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Laurens Jansz. Coster in a circle of Dutch text. paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-laurens-jansz-coster-cornelis-van-den-berg-c-1720-1774-print-portrait-of-laurens-jansz-coster-in-a-circle-of-dutch-text-paper-image594141130.htmlRM2WEHD22–Portrait of Laurens Jansz. Coster, Cornelis van den Berg, c. 1720 - 1774 print Portrait of Laurens Jansz. Coster in a circle of Dutch text. paper
View of a Sea Port, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 10 7/8 x 16 3/4 inches (27.6 x 42.6 cm), Plate: 7 15/16 x 10 1/8 inches (20.2 x 25.7 cm), and Image: 7 1/2 x 10 1/8 inches (19.1 x 25.7 cm), anchor (watercraft equipment), arches, architectural subject, barrels (containers), breeches (trousers), cliffs, coast, coats, costume, ferry, flags, genre subject, gesture, labor, marine Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-a-sea-port-print-made-by-richard-earlom-17431822-british-after-claude-lorrain-16001682-french-published-by-john-boydell-17201804-british-1774-mezzotint-and-etching-printed-in-brown-ink-on-moderately-thick-slightly-textured-cream-laid-paper-sheet-10-78-x-16-34-inches-276-x-426-cm-plate-7-1516-x-10-18-inches-202-x-257-cm-and-image-7-12-x-10-18-inches-191-x-257-cm-anchor-watercraft-equipment-arches-architectural-subject-barrels-containers-breeches-trousers-cliffs-coast-coats-costume-ferry-flags-genre-subject-gesture-labor-marine-image389730422.htmlRM2DJ1N3J–View of a Sea Port, Print made by Richard Earlom, 1743–1822, British, after Claude Lorrain, 1600–1682, French, Published by John Boydell, 1720–1804, British, 1774, Mezzotint and etching printed in brown ink on moderately thick, slightly textured, cream laid paper, Sheet: 10 7/8 x 16 3/4 inches (27.6 x 42.6 cm), Plate: 7 15/16 x 10 1/8 inches (20.2 x 25.7 cm), and Image: 7 1/2 x 10 1/8 inches (19.1 x 25.7 cm), anchor (watercraft equipment), arches, architectural subject, barrels (containers), breeches (trousers), cliffs, coast, coats, costume, ferry, flags, genre subject, gesture, labor, marine
In the center two stone tablets with the Ten Commandments leaning on a palm tree. In the background is Mount Sinai covered with clouds and lightning. God speaks to the people of Israel gathered at the foot of the mountain, The tablets of the law, print maker: Gerrit de Broen (II), (mentioned on object), intermediary draughtsman: Gerrit de Broen (II), (mentioned on object), Amsterdam, c. 1720 - c. 1774, paper, etching, engraving, h 353 mm × w 273 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/in-the-center-two-stone-tablets-with-the-ten-commandments-leaning-on-a-palm-tree-in-the-background-is-mount-sinai-covered-with-clouds-and-lightning-god-speaks-to-the-people-of-israel-gathered-at-the-foot-of-the-mountain-the-tablets-of-the-law-print-maker-gerrit-de-broen-ii-mentioned-on-object-intermediary-draughtsman-gerrit-de-broen-ii-mentioned-on-object-amsterdam-c-1720-c-1774-paper-etching-engraving-h-353-mm-w-273-mm-image472253221.htmlRM2JC8YPD–In the center two stone tablets with the Ten Commandments leaning on a palm tree. In the background is Mount Sinai covered with clouds and lightning. God speaks to the people of Israel gathered at the foot of the mountain, The tablets of the law, print maker: Gerrit de Broen (II), (mentioned on object), intermediary draughtsman: Gerrit de Broen (II), (mentioned on object), Amsterdam, c. 1720 - c. 1774, paper, etching, engraving, h 353 mm × w 273 mm
Study for a Tailpiece, Charles Dominique Joseph Eisen, 1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-study-for-a-tailpiece-charles-dominique-joseph-eisen-1774-162480073.htmlRMKC9GYN–Study for a Tailpiece, Charles Dominique Joseph Eisen, 1774
Portrait of Jonathan Swift, Nathaniel Bermingham, 1774 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-portrait-of-jonathan-swift-nathaniel-bermingham-1774-162425472.htmlRMKC739M–Portrait of Jonathan Swift, Nathaniel Bermingham, 1774
Four Continents: The Peoples of the Earth Invoking the Deities, Gottfried Bernhard Goetz, 1720–74 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-four-continents-the-peoples-of-the-earth-invoking-the-deities-gottfried-162456799.htmlRMKC8F8F–Four Continents: The Peoples of the Earth Invoking the Deities, Gottfried Bernhard Goetz, 1720–74
The Death of St. Joseph. Artist: After Alonso Cano (Spanish, Granada 1601-1667 Granada). Artist and engraver: Alexander Bannerman (British, Cambridge (?) ca. 1730-ca. 1774). Dimensions: sheet: 11 x 14 15/16 in. (28 x 38 cm). Publisher: John Boydell (British, Shropshire 1720-1804 London). Date: 1766. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-death-of-st-joseph-artist-after-alonso-cano-spanish-granada-1601-1667-granada-artist-and-engraver-alexander-bannerman-british-cambridge-ca-1730-ca-1774-dimensions-sheet-11-x-14-1516-in-28-x-38-cm-publisher-john-boydell-british-shropshire-1720-1804-london-date-1766-museum-metropolitan-museum-of-art-new-york-usa-image213154550.htmlRMPAP0PE–The Death of St. Joseph. Artist: After Alonso Cano (Spanish, Granada 1601-1667 Granada). Artist and engraver: Alexander Bannerman (British, Cambridge (?) ca. 1730-ca. 1774). Dimensions: sheet: 11 x 14 15/16 in. (28 x 38 cm). Publisher: John Boydell (British, Shropshire 1720-1804 London). Date: 1766. Museum: Metropolitan Museum of Art, New York, USA.
