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Plate 35: Philip of Spain as Neptune, riding in a chariot drawn by two sea horses; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...'. Artist: Pieter de Jode II (Flemish, 1606-ca. 1674). Dimensions: Sheet (Trimmed): 11 5/8 × 15 1/8 in. (29.5 × 38.4 cm). Published in: Antwerp. Publisher: Johannes Meursius (Flemish, active 1620-47). Date: 1636. On January 28, 1635, the city of Ghent celebrated the entry of Cardinal-Infante Ferdinand of Spain, the recently appointed governor of the Southern Netherlands. A group of Flemish artists were commissioned to create pa Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/plate-35-philip-of-spain-as-neptune-riding-in-a-chariot-drawn-by-two-sea-horses-from-guillielmus-becanuss-serenissimi-principis-ferdinandi-hispaniarum-infantis-artist-pieter-de-jode-ii-flemish-1606-ca-1674-dimensions-sheet-trimmed-11-58-15-18-in-295-384-cm-published-in-antwerp-publisher-johannes-meursius-flemish-active-1620-47-date-1636-on-january-28-1635-the-city-of-ghent-celebrated-the-entry-of-cardinal-infante-ferdinand-of-spain-the-recently-appointed-governor-of-the-southern-netherlands-a-group-of-flemish-artists-were-commissioned-to-create-pa-image213183238.htmlRMPAR9B2–Plate 35: Philip of Spain as Neptune, riding in a chariot drawn by two sea horses; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...'. Artist: Pieter de Jode II (Flemish, 1606-ca. 1674). Dimensions: Sheet (Trimmed): 11 5/8 × 15 1/8 in. (29.5 × 38.4 cm). Published in: Antwerp. Publisher: Johannes Meursius (Flemish, active 1620-47). Date: 1636. On January 28, 1635, the city of Ghent celebrated the entry of Cardinal-Infante Ferdinand of Spain, the recently appointed governor of the Southern Netherlands. A group of Flemish artists were commissioned to create pa
One of six perspective designs for the Concave Mirror and engraved mirrors in Vauxhall Gardens, Print made by Jacob Bonneau, 1741–1786, British, after Samuel Wale RA, 1721–1786, British, and after John Gwynn RA, 1713–1786, British, 1751, Etching and stipple engraving on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/4 x 15 1/4 inches (28.6 x 38.8 cm), Plate: 9 13/16 x 12 3/16 inches (25 x 31 cm), and Image: 8 5/8 x 11 7/16 inches (21.9 x 29 cm), arches, architectural subject, children, circles, columns, concave mirrors, costume, designs, discussion, dog (animal), exploring Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/one-of-six-perspective-designs-for-the-concave-mirror-and-engraved-mirrors-in-vauxhall-gardens-print-made-by-jacob-bonneau-17411786-british-after-samuel-wale-ra-17211786-british-and-after-john-gwynn-ra-17131786-british-1751-etching-and-stipple-engraving-on-moderately-thick-slightly-textured-cream-laid-paper-sheet-11-14-x-15-14-inches-286-x-388-cm-plate-9-1316-x-12-316-inches-25-x-31-cm-and-image-8-58-x-11-716-inches-219-x-29-cm-arches-architectural-subject-children-circles-columns-concave-mirrors-costume-designs-discussion-dog-animal-exploring-image389789845.htmlRM2DJ4CWW–One of six perspective designs for the Concave Mirror and engraved mirrors in Vauxhall Gardens, Print made by Jacob Bonneau, 1741–1786, British, after Samuel Wale RA, 1721–1786, British, and after John Gwynn RA, 1713–1786, British, 1751, Etching and stipple engraving on moderately thick, slightly textured, cream laid paper, Sheet: 11 1/4 x 15 1/4 inches (28.6 x 38.8 cm), Plate: 9 13/16 x 12 3/16 inches (25 x 31 cm), and Image: 8 5/8 x 11 7/16 inches (21.9 x 29 cm), arches, architectural subject, children, circles, columns, concave mirrors, costume, designs, discussion, dog (animal), exploring
Desk. Culture: British. Designer: Mervyn Macartney (British, London, 1853-1932). Dimensions: Overall: 38 × 29 1/4 × 14 in. (96.5 × 74.3 × 35.6 cm). Maker: For the firm of Kenton & Co., London. Manufacturer: W. Hall for Kenton and Co. (London, 1890-1892). Date: 1891. When shown in an 1893 Arts and Crafts Exhibition at the New Gallery, London, this desk, or a nearly identical one now in the Minneapolis Institute of Arts, was favorably commented on in The Cabinet Maker and Art Furnisher: 'An escritoire by Mr. Mervyn Macartney....is quite a gem. Original in design, dressed up with lovely wood, an Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/desk-culture-british-designer-mervyn-macartney-british-london-1853-1932-dimensions-overall-38-29-14-14-in-965-743-356-cm-maker-for-the-firm-of-kenton-co-london-manufacturer-w-hall-for-kenton-and-co-london-1890-1892-date-1891-when-shown-in-an-1893-arts-and-crafts-exhibition-at-the-new-gallery-london-this-desk-or-a-nearly-identical-one-now-in-the-minneapolis-institute-of-arts-was-favorably-commented-on-in-the-cabinet-maker-and-art-furnisher-an-escritoire-by-mr-mervyn-macartneyis-quite-a-gem-original-in-design-dressed-up-with-lovely-wood-an-image213081627.htmlRMPAJKP3–Desk. Culture: British. Designer: Mervyn Macartney (British, London, 1853-1932). Dimensions: Overall: 38 × 29 1/4 × 14 in. (96.5 × 74.3 × 35.6 cm). Maker: For the firm of Kenton & Co., London. Manufacturer: W. Hall for Kenton and Co. (London, 1890-1892). Date: 1891. When shown in an 1893 Arts and Crafts Exhibition at the New Gallery, London, this desk, or a nearly identical one now in the Minneapolis Institute of Arts, was favorably commented on in The Cabinet Maker and Art Furnisher: 'An escritoire by Mr. Mervyn Macartney....is quite a gem. Original in design, dressed up with lovely wood, an
Hamlet, Print made by Charles Ansell, ca.1752–active 1790, British, after Joseph Constantine Stadler, active 1780–1812, British, and after Conrad Martin Metz, 1749–1827, German, Published by William Holland, 1757–1815, British, 1809, Aquatint and etching with hand coloring on moderately thick, slightly textured, beige wove paper, Sheet: 12 5/16 x 15 3/16 inches (31.2 x 38.5 cm), Plate: 11 3/4 x 14 3/4 inches (29.9 x 37.5 cm), and Image: 10 5/8 x 13 7/8 inches (27 x 35.2 cm), armor, battlement, boots, breeches (trousers), buckles, burlesque, caricature, castle, clouds, coats, costume, cravats Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hamlet-print-made-by-charles-ansell-ca1752active-1790-british-after-joseph-constantine-stadler-active-17801812-british-and-after-conrad-martin-metz-17491827-german-published-by-william-holland-17571815-british-1809-aquatint-and-etching-with-hand-coloring-on-moderately-thick-slightly-textured-beige-wove-paper-sheet-12-516-x-15-316-inches-312-x-385-cm-plate-11-34-x-14-34-inches-299-x-375-cm-and-image-10-58-x-13-78-inches-27-x-352-cm-armor-battlement-boots-breeches-trousers-buckles-burlesque-caricature-castle-clouds-coats-costume-cravats-image389654961.htmlRM2DHX8TH–Hamlet, Print made by Charles Ansell, ca.1752–active 1790, British, after Joseph Constantine Stadler, active 1780–1812, British, and after Conrad Martin Metz, 1749–1827, German, Published by William Holland, 1757–1815, British, 1809, Aquatint and etching with hand coloring on moderately thick, slightly textured, beige wove paper, Sheet: 12 5/16 x 15 3/16 inches (31.2 x 38.5 cm), Plate: 11 3/4 x 14 3/4 inches (29.9 x 37.5 cm), and Image: 10 5/8 x 13 7/8 inches (27 x 35.2 cm), armor, battlement, boots, breeches (trousers), buckles, burlesque, caricature, castle, clouds, coats, costume, cravats
Diptych of the Virgin and Child Enthroned and the Crucifixion. Eastern Mediterranean or Italian. Date: 1275-1280. Dimensions: Left wing: 38 × 29.5 cm (14 15/16 × 11 5/8 in.); Painted image of left wing: 29.8 × 22.3 cm (11 3/4 × 8 3/4 in.) Right wing: 38 × 29.5 cm (14 15/16 × 11 5/8 in.); Painted image of right wing: 30 × 22.3 cm (11 7/8 × 8 3/4 in.). Tempera on panel. Origin: Italy. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/diptych-of-the-virgin-and-child-enthroned-and-the-crucifixion-eastern-mediterranean-or-italian-date-1275-1280-dimensions-left-wing-38-295-cm-14-1516-11-58-in-painted-image-of-left-wing-298-223-cm-11-34-8-34-in-right-wing-38-295-cm-14-1516-11-58-in-painted-image-of-right-wing-30-223-cm-11-78-8-34-in-tempera-on-panel-origin-italy-museum-the-chicago-art-institute-image239740043.htmlRMRX12TB–Diptych of the Virgin and Child Enthroned and the Crucifixion. Eastern Mediterranean or Italian. Date: 1275-1280. Dimensions: Left wing: 38 × 29.5 cm (14 15/16 × 11 5/8 in.); Painted image of left wing: 29.8 × 22.3 cm (11 3/4 × 8 3/4 in.) Right wing: 38 × 29.5 cm (14 15/16 × 11 5/8 in.); Painted image of right wing: 30 × 22.3 cm (11 7/8 × 8 3/4 in.). Tempera on panel. Origin: Italy. Museum: The Chicago Art Institute.
Sir William Beechey, R. A., Print made by Richard Cooper the Younger, 1740–1814, British, after William Evans, active 1797–1856, British, after Sir William Beechey, 1753–1839, British, Published by Thomas Cadell the younger, 1773–1836, British, Published by William Davies, 1776–1820, British, 1814, Crayon manner, stipple engraving, and line engraving on moderately thick, moderately textured, cream wove paper, Sheet: 15 3/4 x 11 7/16 inches (40 x 29 cm), Plate: 14 15/16 x 11 7/16 inches (38 x 29 cm), and Image: 6 7/8 x 8 7/16 inches (17.5 x 21.5 cm), artist, coat, cravat, easel, man, painting ( Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sir-william-beechey-r-a-print-made-by-richard-cooper-the-younger-17401814-british-after-william-evans-active-17971856-british-after-sir-william-beechey-17531839-british-published-by-thomas-cadell-the-younger-17731836-british-published-by-william-davies-17761820-british-1814-crayon-manner-stipple-engraving-and-line-engraving-on-moderately-thick-moderately-textured-cream-wove-paper-sheet-15-34-x-11-716-inches-40-x-29-cm-plate-14-1516-x-11-716-inches-38-x-29-cm-and-image-6-78-x-8-716-inches-175-x-215-cm-artist-coat-cravat-easel-man-painting-image389783479.htmlRM2DJ44PF–Sir William Beechey, R. A., Print made by Richard Cooper the Younger, 1740–1814, British, after William Evans, active 1797–1856, British, after Sir William Beechey, 1753–1839, British, Published by Thomas Cadell the younger, 1773–1836, British, Published by William Davies, 1776–1820, British, 1814, Crayon manner, stipple engraving, and line engraving on moderately thick, moderately textured, cream wove paper, Sheet: 15 3/4 x 11 7/16 inches (40 x 29 cm), Plate: 14 15/16 x 11 7/16 inches (38 x 29 cm), and Image: 6 7/8 x 8 7/16 inches (17.5 x 21.5 cm), artist, coat, cravat, easel, man, painting (
Virgin and Child in a niche. Artist: Luca della Robbia (Italian, 1399/1400-1482 Florence). Culture: Italian, Florence. Dimensions: Overall (confirmed): 18 5/8 × 15 1/4 × 3 1/2 in., 29 lb. (47.3 × 38.7 × 8.9 cm, 13.2 kg). Date: ca. 1460. One of the most distinguished sculptors of the early Renaissance, Luca della Robbia created famous works in marble, such as the Cantoria (Singing Choir) for the organ loft of Florence Cathedral, and in bronze, such as the doors of the North Sacristy of the same church. His name is, however, most closely identified -- and indeed nearly synonymous with -- scul Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/virgin-and-child-in-a-niche-artist-luca-della-robbia-italian-13991400-1482-florence-culture-italian-florence-dimensions-overall-confirmed-18-58-15-14-3-12-in-29-lb-473-387-89-cm-132-kg-date-ca-1460-one-of-the-most-distinguished-sculptors-of-the-early-renaissance-luca-della-robbia-created-famous-works-in-marble-such-as-the-cantoria-singing-choir-for-the-organ-loft-of-florence-cathedral-and-in-bronze-such-as-the-doors-of-the-north-sacristy-of-the-same-church-his-name-is-however-most-closely-identified-and-indeed-nearly-synonymous-with-scul-image212871818.htmlRMPA944X–Virgin and Child in a niche. Artist: Luca della Robbia (Italian, 1399/1400-1482 Florence). Culture: Italian, Florence. Dimensions: Overall (confirmed): 18 5/8 × 15 1/4 × 3 1/2 in., 29 lb. (47.3 × 38.7 × 8.9 cm, 13.2 kg). Date: ca. 1460. One of the most distinguished sculptors of the early Renaissance, Luca della Robbia created famous works in marble, such as the Cantoria (Singing Choir) for the organ loft of Florence Cathedral, and in bronze, such as the doors of the North Sacristy of the same church. His name is, however, most closely identified -- and indeed nearly synonymous with -- scul
Sensibility, Print made by Richard Earlom, 1743–1822, British, after George Romney, 1734–1802, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, 1789, Stipple engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 17 3/8 x 13 9/16 inches (44.2 x 34.4 cm), Plate: 14 15/16 x 11 7/16 inches (38 x 29 cm), and Image: 12 5/8 x 9 13/16 inches (32.1 x 25 cm), costume, gesture, gown, headscarf, hills, muslin, pedestal, personification, reaching, religious and mythological subject, robe, sash, trees, urn, woman Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sensibility-print-made-by-richard-earlom-17431822-british-after-george-romney-17341802-british-published-by-john-boydell-17201804-british-published-by-josiah-boydell-17521817-british-1789-stipple-engraving-and-etching-on-moderately-thick-moderately-textured-cream-laid-paper-sheet-17-38-x-13-916-inches-442-x-344-cm-plate-14-1516-x-11-716-inches-38-x-29-cm-and-image-12-58-x-9-1316-inches-321-x-25-cm-costume-gesture-gown-headscarf-hills-muslin-pedestal-personification-reaching-religious-and-mythological-subject-robe-sash-trees-urn-woman-image389729619.htmlRM2DJ1M2Y–Sensibility, Print made by Richard Earlom, 1743–1822, British, after George Romney, 1734–1802, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, 1789, Stipple engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 17 3/8 x 13 9/16 inches (44.2 x 34.4 cm), Plate: 14 15/16 x 11 7/16 inches (38 x 29 cm), and Image: 12 5/8 x 9 13/16 inches (32.1 x 25 cm), costume, gesture, gown, headscarf, hills, muslin, pedestal, personification, reaching, religious and mythological subject, robe, sash, trees, urn, woman
Madonna and Child Enthroned with Four Saints. Dated: c. 1240/1245. Dimensions: overall: 97.3 × 49.9 × 1.3 cm (38 5/16 × 19 5/8 × 1/2 in.) height (main panel, without extension for head and halo): 73.6 cm (29 in.) top section (extension for head and halo): 26.5 × 23.5 cm (10 7/16 × 9 1/4 in.) framed: 102.2 x 55.9 x 5.7 cm (40 1/4 x 22 x 2 1/4 in.). Medium: tempera on panel. Museum: National Gallery of Art, Washington DC. Author: Margaritone d'Arezzo. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/madonna-and-child-enthroned-with-four-saints-dated-c-12401245-dimensions-overall-973-499-13-cm-38-516-19-58-12-in-height-main-panel-without-extension-for-head-and-halo-736-cm-29-in-top-section-extension-for-head-and-halo-265-235-cm-10-716-9-14-in-framed-1022-x-559-x-57-cm-40-14-x-22-x-2-14-in-medium-tempera-on-panel-museum-national-gallery-of-art-washington-dc-author-margaritone-darezzo-image218767287.htmlRMPKWKWB–Madonna and Child Enthroned with Four Saints. Dated: c. 1240/1245. Dimensions: overall: 97.3 × 49.9 × 1.3 cm (38 5/16 × 19 5/8 × 1/2 in.) height (main panel, without extension for head and halo): 73.6 cm (29 in.) top section (extension for head and halo): 26.5 × 23.5 cm (10 7/16 × 9 1/4 in.) framed: 102.2 x 55.9 x 5.7 cm (40 1/4 x 22 x 2 1/4 in.). Medium: tempera on panel. Museum: National Gallery of Art, Washington DC. Author: Margaritone d'Arezzo.
View of the Old Corn Market and Tuns Inn, Guildford, Print made by Robert Havell & Son, 1769–1832, British, after Henry Garling, 1789–1870, British, Published by Henry Garling, 1789–1870, British, 1819, Aquatint with etching, hand-colored on thick, moderately textured, beige wove paper, Sheet: 11 11/16 x 15 1/8 inches (29.7 x 38.4 cm), Plate: 9 1/8 x 11 1/16 inches (23.1 x 28.1 cm), and Image: 6 5/16 x 8 5/8 inches (16.1 x 21.9 cm), architect, architectural subject, architecture, bonnets, buildings, businesses, children, city, dog (animal), genre subject, horse (animal), markets, men, shopping Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-old-corn-market-and-tuns-inn-guildford-print-made-by-robert-havell-son-17691832-british-after-henry-garling-17891870-british-published-by-henry-garling-17891870-british-1819-aquatint-with-etching-hand-colored-on-thick-moderately-textured-beige-wove-paper-sheet-11-1116-x-15-18-inches-297-x-384-cm-plate-9-18-x-11-116-inches-231-x-281-cm-and-image-6-516-x-8-58-inches-161-x-219-cm-architect-architectural-subject-architecture-bonnets-buildings-businesses-children-city-dog-animal-genre-subject-horse-animal-markets-men-shopping-image389762690.htmlRM2DJ3682–View of the Old Corn Market and Tuns Inn, Guildford, Print made by Robert Havell & Son, 1769–1832, British, after Henry Garling, 1789–1870, British, Published by Henry Garling, 1789–1870, British, 1819, Aquatint with etching, hand-colored on thick, moderately textured, beige wove paper, Sheet: 11 11/16 x 15 1/8 inches (29.7 x 38.4 cm), Plate: 9 1/8 x 11 1/16 inches (23.1 x 28.1 cm), and Image: 6 5/16 x 8 5/8 inches (16.1 x 21.9 cm), architect, architectural subject, architecture, bonnets, buildings, businesses, children, city, dog (animal), genre subject, horse (animal), markets, men, shopping
Portrait of Miss Jones. Dated: 1901. Dimensions: image: 10.5 x 16.5 cm (4 1/8 x 6 1/2 in.) sheet: 18.6 x 13.1 cm (7 5/16 x 5 3/16 in.) mount: 28.5 x 19.5 cm (11 1/4 x 7 11/16 in.) mount: 38.2 x 29.9 cm (15 1/16 x 11 3/4 in.). Medium: photogravure on chine collé mounted on white paper and on dark gray wove paper. Museum: National Gallery of Art, Washington DC. Author: Frank Eugene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-miss-jones-dated-1901-dimensions-image-105-x-165-cm-4-18-x-6-12-in-sheet-186-x-131-cm-7-516-x-5-316-in-mount-285-x-195-cm-11-14-x-7-1116-in-mount-382-x-299-cm-15-116-x-11-34-in-medium-photogravure-on-chine-coll-mounted-on-white-paper-and-on-dark-gray-wove-paper-museum-national-gallery-of-art-washington-dc-author-frank-eugene-image225579052.htmlRMR300AM–Portrait of Miss Jones. Dated: 1901. Dimensions: image: 10.5 x 16.5 cm (4 1/8 x 6 1/2 in.) sheet: 18.6 x 13.1 cm (7 5/16 x 5 3/16 in.) mount: 28.5 x 19.5 cm (11 1/4 x 7 11/16 in.) mount: 38.2 x 29.9 cm (15 1/16 x 11 3/4 in.). Medium: photogravure on chine collé mounted on white paper and on dark gray wove paper. Museum: National Gallery of Art, Washington DC. Author: Frank Eugene.
Laurence Sterne, A.M., Edward Fisher, 1722–1785, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1760, Mezzotint on moderatley thick, slightly textured, beige laid paper, Sheet: 15 5/8 x 11 3/4 inches (39.7 x 29.9 cm), Plate: 14 15/16 x 10 13/16 inches (38 x 27.5 cm), and Image: 13 5/16 x 10 7/8 inches (33.8 x 27.6 cm), author, cloak, curls, desk, drapery, garter, gaze, gesturing, leg, mantle, papers, poet, portrait, posing, quills, robe, sitting, sleeves, smiling, Sterne, Laurence (1713–1768), writer and Church of England clergyman, vicar, wig Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/laurence-sterne-am-edward-fisher-17221785-british-after-sir-joshua-reynolds-ra-17231792-british-1760-mezzotint-on-moderatley-thick-slightly-textured-beige-laid-paper-sheet-15-58-x-11-34-inches-397-x-299-cm-plate-14-1516-x-10-1316-inches-38-x-275-cm-and-image-13-516-x-10-78-inches-338-x-276-cm-author-cloak-curls-desk-drapery-garter-gaze-gesturing-leg-mantle-papers-poet-portrait-posing-quills-robe-sitting-sleeves-smiling-sterne-laurence-17131768-writer-and-church-of-england-clergyman-vicar-wig-image389659430.htmlRM2DHXEG6–Laurence Sterne, A.M., Edward Fisher, 1722–1785, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1760, Mezzotint on moderatley thick, slightly textured, beige laid paper, Sheet: 15 5/8 x 11 3/4 inches (39.7 x 29.9 cm), Plate: 14 15/16 x 10 13/16 inches (38 x 27.5 cm), and Image: 13 5/16 x 10 7/8 inches (33.8 x 27.6 cm), author, cloak, curls, desk, drapery, garter, gaze, gesturing, leg, mantle, papers, poet, portrait, posing, quills, robe, sitting, sleeves, smiling, Sterne, Laurence (1713–1768), writer and Church of England clergyman, vicar, wig
City magistrates taking leave of Marie de Medici before the town hall, from Caspar Barlaeus, 'Medicea Hospes'. Artist: Salomon Savery (Dutch, 1594-1678); After Jan Martszen de Jong (Dutch, Haarlem 1609-1647 Haarlem). Author: Caspar Barlaeus (Dutch). Dimensions: Sheet: 11 9/16 × 15 1/4 in. (29.4 × 38.8 cm) Plate: 11 1/8 × 15 1/16 in. (28.3 × 38.3 cm). Publisher: Joan and Cornelius Blaeu. Date: 1638. One of a series of sixteen plates showing the festivals and ceremonies in honor of Marie de Medici's visit to Amsterdam from August 31 to September 5, 1638. Illustration to Caspar Barlaeus, 'Med Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/city-magistrates-taking-leave-of-marie-de-medici-before-the-town-hall-from-caspar-barlaeus-medicea-hospes-artist-salomon-savery-dutch-1594-1678-after-jan-martszen-de-jong-dutch-haarlem-1609-1647-haarlem-author-caspar-barlaeus-dutch-dimensions-sheet-11-916-15-14-in-294-388-cm-plate-11-18-15-116-in-283-383-cm-publisher-joan-and-cornelius-blaeu-date-1638-one-of-a-series-of-sixteen-plates-showing-the-festivals-and-ceremonies-in-honor-of-marie-de-medicis-visit-to-amsterdam-from-august-31-to-september-5-1638-illustration-to-caspar-barlaeus-med-image213145259.htmlRMPANGXK–City magistrates taking leave of Marie de Medici before the town hall, from Caspar Barlaeus, 'Medicea Hospes'. Artist: Salomon Savery (Dutch, 1594-1678); After Jan Martszen de Jong (Dutch, Haarlem 1609-1647 Haarlem). Author: Caspar Barlaeus (Dutch). Dimensions: Sheet: 11 9/16 × 15 1/4 in. (29.4 × 38.8 cm) Plate: 11 1/8 × 15 1/16 in. (28.3 × 38.3 cm). Publisher: Joan and Cornelius Blaeu. Date: 1638. One of a series of sixteen plates showing the festivals and ceremonies in honor of Marie de Medici's visit to Amsterdam from August 31 to September 5, 1638. Illustration to Caspar Barlaeus, 'Med
Plan of the West India Docks, Print made by Benjamin Baker, 1766–1841, British, after Ralph Walker, active 1768–1796, Published by Benjamin Baker, 1766–1841, British, 1802, Etching, hand-colored on moderately thick, slightly textured, beige wove paper, Sheet: 12 x 16 1/4 inches (30.5 x 41.3 cm), Plate: 11 9/16 x 15 5/8 inches (29.4 x 39.7 cm), and Image: 10 3/4 x 14 15/16 inches (27.3 x 38 cm), architectural subject, buildings, canal, docks, map, marine art, masts, merchants, plan (drawing), port, river, roads, scale (rule), sea, ships, streets, wharf, Dogs, Isle of, England, Europe, Greater Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/plan-of-the-west-india-docks-print-made-by-benjamin-baker-17661841-british-after-ralph-walker-active-17681796-published-by-benjamin-baker-17661841-british-1802-etching-hand-colored-on-moderately-thick-slightly-textured-beige-wove-paper-sheet-12-x-16-14-inches-305-x-413-cm-plate-11-916-x-15-58-inches-294-x-397-cm-and-image-10-34-x-14-1516-inches-273-x-38-cm-architectural-subject-buildings-canal-docks-map-marine-art-masts-merchants-plan-drawing-port-river-roads-scale-rule-sea-ships-streets-wharf-dogs-isle-of-england-europe-greater-image389762620.htmlRM2DJ365G–Plan of the West India Docks, Print made by Benjamin Baker, 1766–1841, British, after Ralph Walker, active 1768–1796, Published by Benjamin Baker, 1766–1841, British, 1802, Etching, hand-colored on moderately thick, slightly textured, beige wove paper, Sheet: 12 x 16 1/4 inches (30.5 x 41.3 cm), Plate: 11 9/16 x 15 5/8 inches (29.4 x 39.7 cm), and Image: 10 3/4 x 14 15/16 inches (27.3 x 38 cm), architectural subject, buildings, canal, docks, map, marine art, masts, merchants, plan (drawing), port, river, roads, scale (rule), sea, ships, streets, wharf, Dogs, Isle of, England, Europe, Greater
Six-light candelabrum and stand (one of a pair). Culture: British. Dimensions: Overall (candelabrum (.1a-g), confirmed): 29 3/4 × 15 × 13 1/4 in., 42 lb. (75.6 × 38.1 × 33.7 cm, 19.1 kg); Overall (stand (.4), confirmed): 3 1/2 × 14 5/8 × 14 5/8 in. (8.9 × 37.1 × 37.1 cm). Maker: Alexis Decaix (British, active 1778-1811). Retailer: Rundell, Bridge and Rundell (British, London, active 1797-1843). Date: ca. 1802-6. These candelabra were one component of an extraordinary Egyptian-style dining room that was designed between 1802 and 1806 for Goodwood House, near Chichester in southern England, th Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/six-light-candelabrum-and-stand-one-of-a-pair-culture-british-dimensions-overall-candelabrum-1a-g-confirmed-29-34-15-13-14-in-42-lb-756-381-337-cm-191-kg-overall-stand-4-confirmed-3-12-14-58-14-58-in-89-371-371-cm-maker-alexis-decaix-british-active-1778-1811-retailer-rundell-bridge-and-rundell-british-london-active-1797-1843-date-ca-1802-6-these-candelabra-were-one-component-of-an-extraordinary-egyptian-style-dining-room-that-was-designed-between-1802-and-1806-for-goodwood-house-near-chichester-in-southern-england-th-image213197631.htmlRMPARYN3–Six-light candelabrum and stand (one of a pair). Culture: British. Dimensions: Overall (candelabrum (.1a-g), confirmed): 29 3/4 × 15 × 13 1/4 in., 42 lb. (75.6 × 38.1 × 33.7 cm, 19.1 kg); Overall (stand (.4), confirmed): 3 1/2 × 14 5/8 × 14 5/8 in. (8.9 × 37.1 × 37.1 cm). Maker: Alexis Decaix (British, active 1778-1811). Retailer: Rundell, Bridge and Rundell (British, London, active 1797-1843). Date: ca. 1802-6. These candelabra were one component of an extraordinary Egyptian-style dining room that was designed between 1802 and 1806 for Goodwood House, near Chichester in southern England, th
Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving, second state on thick, moderately textured, beige wove paper with cream chine-collé, Sheet: 29 1/2 × 22 3/4 inches (74.9 × 57.8 cm), Plate: 27 1/4 × 19 3/8 inches (69.2 × 49.2 cm), Chine collé: 26 7/8 × 18 5/8 inches (68.3 × 47.3 cm), and Image: 20 5/8 × 15 1/4 inches (52.4 × 38.7 cm), architecture, bridge, cliff, landscape, livestock, reflection, religious and mythological subject, sun, trees, water, waterfall Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mercury-and-argus-print-made-by-james-t-willmore-18001863-british-after-joseph-mallord-william-turner-17751851-british-1841-etching-and-line-engraving-second-state-on-thick-moderately-textured-beige-wove-paper-with-cream-chine-coll-sheet-29-12-22-34-inches-749-578-cm-plate-27-14-19-38-inches-692-492-cm-chine-coll-26-78-18-58-inches-683-473-cm-and-image-20-58-15-14-inches-524-387-cm-architecture-bridge-cliff-landscape-livestock-reflection-religious-and-mythological-subject-sun-trees-water-waterfall-image389656876.htmlRM2DHXB90–Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving, second state on thick, moderately textured, beige wove paper with cream chine-collé, Sheet: 29 1/2 × 22 3/4 inches (74.9 × 57.8 cm), Plate: 27 1/4 × 19 3/8 inches (69.2 × 49.2 cm), Chine collé: 26 7/8 × 18 5/8 inches (68.3 × 47.3 cm), and Image: 20 5/8 × 15 1/4 inches (52.4 × 38.7 cm), architecture, bridge, cliff, landscape, livestock, reflection, religious and mythological subject, sun, trees, water, waterfall
Composed Armor. Culture: European, Italy, Spain, and Germany. Dimensions: Wt. approx. 40 lb. (18.14 kg); 29.156.66g (tasset); H. 9 1/16 in. (23 cm); W. 9 1/16 in. (23 cm); D. 1 7/8 in. (4.8 cm); Wt. 9.3 oz. (263.7 g); 29.156.66l (right elbow defense); H. 8 3/16 in. (20.8 cm); W. 4 3/8 in. (11.1 cm); D. 8 1/2 in. (21.6 cm); Wt. 15.7 oz. (445.1 g); 29.156.66q (leg defense); H. 20 in. (50.8 cm); W. 6 7/16 in. (16.4 cm); D. 8 1/4 in. (21 cm); Wt. 4 lb. 3.9 oz. (1924.9 g); 29.156.66s (greave); H. 15 1/4 in. (38.7 cm); W. 5 in. (12.7 cm); D. 5 7/8 in. (14.9 cm); Wt. 2 lb. 9 oz. (1162.3 g). Date: ca. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/composed-armor-culture-european-italy-spain-and-germany-dimensions-wt-approx-40-lb-1814-kg-2915666g-tasset-h-9-116-in-23-cm-w-9-116-in-23-cm-d-1-78-in-48-cm-wt-93-oz-2637-g-2915666l-right-elbow-defense-h-8-316-in-208-cm-w-4-38-in-111-cm-d-8-12-in-216-cm-wt-157-oz-4451-g-2915666q-leg-defense-h-20-in-508-cm-w-6-716-in-164-cm-d-8-14-in-21-cm-wt-4-lb-39-oz-19249-g-2915666s-greave-h-15-14-in-387-cm-w-5-in-127-cm-d-5-78-in-149-cm-wt-2-lb-9-oz-11623-g-date-ca-image213147010.htmlRMPANK56–Composed Armor. Culture: European, Italy, Spain, and Germany. Dimensions: Wt. approx. 40 lb. (18.14 kg); 29.156.66g (tasset); H. 9 1/16 in. (23 cm); W. 9 1/16 in. (23 cm); D. 1 7/8 in. (4.8 cm); Wt. 9.3 oz. (263.7 g); 29.156.66l (right elbow defense); H. 8 3/16 in. (20.8 cm); W. 4 3/8 in. (11.1 cm); D. 8 1/2 in. (21.6 cm); Wt. 15.7 oz. (445.1 g); 29.156.66q (leg defense); H. 20 in. (50.8 cm); W. 6 7/16 in. (16.4 cm); D. 8 1/4 in. (21 cm); Wt. 4 lb. 3.9 oz. (1924.9 g); 29.156.66s (greave); H. 15 1/4 in. (38.7 cm); W. 5 in. (12.7 cm); D. 5 7/8 in. (14.9 cm); Wt. 2 lb. 9 oz. (1162.3 g). Date: ca.
Miss Peel, Daughter of the Right Honble. Sir Robert Peel, Bart., Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, 1833, Mezzotint (first published state) on medium, slightly textured, cream wove paper with cream chine-collé, Sheet: 21 3/4 × 17 1/2 inches (55.2 × 44.5 cm), Plate: 19 3/4 × 15 inches (50.2 × 38.1 cm), Chine collé: 17 3/4 × 13 3/8 inches (45.1 × 34 cm), and Image: 15 1/4 × 11 3/4 inches (38.7 × 29.8 cm), branches, child, dog (animal), figure study, frills, girl, hills, lake Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/miss-peel-daughter-of-the-right-honble-sir-robert-peel-bart-print-made-by-samuel-cousins-18011887-british-after-sir-thomas-lawrence-17691830-british-1833-mezzotint-first-published-state-on-medium-slightly-textured-cream-wove-paper-with-cream-chine-coll-sheet-21-34-17-12-inches-552-445-cm-plate-19-34-15-inches-502-381-cm-chine-coll-17-34-13-38-inches-451-34-cm-and-image-15-14-11-34-inches-387-298-cm-branches-child-dog-animal-figure-study-frills-girl-hills-lake-image389646115.htmlRM2DHWWGK–Miss Peel, Daughter of the Right Honble. Sir Robert Peel, Bart., Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, 1833, Mezzotint (first published state) on medium, slightly textured, cream wove paper with cream chine-collé, Sheet: 21 3/4 × 17 1/2 inches (55.2 × 44.5 cm), Plate: 19 3/4 × 15 inches (50.2 × 38.1 cm), Chine collé: 17 3/4 × 13 3/8 inches (45.1 × 34 cm), and Image: 15 1/4 × 11 3/4 inches (38.7 × 29.8 cm), branches, child, dog (animal), figure study, frills, girl, hills, lake
Visit to the New Mother. Artist: Abraham Bosse (French, Tours 1602/1604-1676 Paris). Dimensions: Sheet (trimmed): 10 3/8 × 13 9/16 in. (26.4 × 34.5 cm). Publisher: Melchior Tavernier (French (born Flanders), Antwerp 1564-1641 Paris). Series/Portfolio: Marriage in the City (Le Mariage à la ville). Date: 1633. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/visit-to-the-new-mother-artist-abraham-bosse-french-tours-16021604-1676-paris-dimensions-sheet-trimmed-10-38-13-916-in-264-345-cm-publisher-melchior-tavernier-french-born-flanders-antwerp-1564-1641-paris-seriesportfolio-marriage-in-the-city-le-mariage-la-ville-date-1633-museum-metropolitan-museum-of-art-new-york-usa-image213179222.htmlRMPAR47J–Visit to the New Mother. Artist: Abraham Bosse (French, Tours 1602/1604-1676 Paris). Dimensions: Sheet (trimmed): 10 3/8 × 13 9/16 in. (26.4 × 34.5 cm). Publisher: Melchior Tavernier (French (born Flanders), Antwerp 1564-1641 Paris). Series/Portfolio: Marriage in the City (Le Mariage à la ville). Date: 1633. Museum: Metropolitan Museum of Art, New York, USA.
Warwick Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 15/16 × 15 inches (27.8 × 38.1 cm), Plate: 9 15/16 × 11 7/8 inches (25.2 × 30.2 cm), Chine collé: 9 5/8 × 11 5/8 inches (24.4 × 29.5 cm), and Image: 6 1/2 × 9 9/16 inches (16.5 × 24.3 cm), architectural subject, bridge (built work), castle, landscape, river, Avon, England, United Kingdom, Warwick, Warwick Castle, Warwickshire Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/warwick-castle-robert-wallis-17941878-british-after-joseph-mallord-william-turner-17751851-british-1832-line-engraving-1st-state-on-thick-slightly-textured-cream-wove-paper-with-cream-chine-colle-sheet-10-1516-15-inches-278-381-cm-plate-9-1516-11-78-inches-252-302-cm-chine-coll-9-58-11-58-inches-244-295-cm-and-image-6-12-9-916-inches-165-243-cm-architectural-subject-bridge-built-work-castle-landscape-river-avon-england-united-kingdom-warwick-warwick-castle-warwickshire-image389727238.htmlRM2DJ1H1X–Warwick Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 15/16 × 15 inches (27.8 × 38.1 cm), Plate: 9 15/16 × 11 7/8 inches (25.2 × 30.2 cm), Chine collé: 9 5/8 × 11 5/8 inches (24.4 × 29.5 cm), and Image: 6 1/2 × 9 9/16 inches (16.5 × 24.3 cm), architectural subject, bridge (built work), castle, landscape, river, Avon, England, United Kingdom, Warwick, Warwick Castle, Warwickshire
William Tylee Ranney, American, 1813 - 1857, Dragoon with His Charger, c. 1830-1840, graphite on wove paper, image (irregular): 10.16 × 14.29 cm (4 × 5 5, 8 in.), sheet: 12.38 × 16.51 cm (4 7, 8 × 6 1, 2 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/william-tylee-ranney-american-1813-1857-dragoon-with-his-charger-c-1830-1840-graphite-on-wove-paper-image-irregular-1016-1429-cm-4-5-5-8-in-sheet-1238-1651-cm-4-7-8-6-1-2-in-image631099373.htmlRM2YJN1K9–William Tylee Ranney, American, 1813 - 1857, Dragoon with His Charger, c. 1830-1840, graphite on wove paper, image (irregular): 10.16 × 14.29 cm (4 × 5 5, 8 in.), sheet: 12.38 × 16.51 cm (4 7, 8 × 6 1, 2 in
A Satyr with a Staff and Seven Other Figures. Dated: 1744. Dimensions: plate: 28.5 × 39.1 cm (11 1/4 × 15 3/8 in.) sheet: 29.9 × 40.4 cm (11 3/4 × 15 7/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francesco Fontebasso. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-satyr-with-a-staff-and-seven-other-figures-dated-1744-dimensions-plate-285-391-cm-11-14-15-38-in-sheet-299-404-cm-11-34-15-78-in-medium-etching-on-laid-paper-museum-national-gallery-of-art-washington-dc-author-francesco-fontebasso-image225458136.htmlRMR2PE48–A Satyr with a Staff and Seven Other Figures. Dated: 1744. Dimensions: plate: 28.5 × 39.1 cm (11 1/4 × 15 3/8 in.) sheet: 29.9 × 40.4 cm (11 3/4 × 15 7/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francesco Fontebasso.
Jean-Baptiste Oudry, French, 1686 - 1755, Gabriel Huquier (publisher) French, 1695 - 1772, A Deer Attacked by Dogs, 1725, Hunting Scenes with Dogs, plate 2, etching on laid paper, plate: 37.6 x 29.5 cm (14 13, 16 x 11 5, 8 in.), sheet: 38.7 x 30.2 cm (15 1, 4 x 11 7, 8 in.), Robert-Dumesnil 1967, no. 2, State iv, iv Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jean-baptiste-oudry-french-1686-1755-gabriel-huquier-publisher-french-1695-1772-a-deer-attacked-by-dogs-1725-hunting-scenes-with-dogs-plate-2-etching-on-laid-paper-plate-376-x-295-cm-14-13-16-x-11-5-8-in-sheet-387-x-302-cm-15-1-4-x-11-7-8-in-robert-dumesnil-1967-no-2-state-iv-iv-image631097479.htmlRM2YJMY7K–Jean-Baptiste Oudry, French, 1686 - 1755, Gabriel Huquier (publisher) French, 1695 - 1772, A Deer Attacked by Dogs, 1725, Hunting Scenes with Dogs, plate 2, etching on laid paper, plate: 37.6 x 29.5 cm (14 13, 16 x 11 5, 8 in.), sheet: 38.7 x 30.2 cm (15 1, 4 x 11 7, 8 in.), Robert-Dumesnil 1967, no. 2, State iv, iv
Cassetta frame, early 17th century, Italian, Bolognese, Poplar. Gilt; dull orange-brown bole., Overall, 60 x 49.5 cm; sight, 38 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-cassetta-frame-early-17th-century-italian-bolognese-poplar-gilt-dull-162569853.htmlRMKCDKE5–Cassetta frame, early 17th century, Italian, Bolognese, Poplar. Gilt; dull orange-brown bole., Overall, 60 x 49.5 cm; sight, 38
Reinforcing Plates of Armor for the Tilt. Culture: Austrian, Innsbruck. Dimensions: grandguard (21.138.2): L. 12 3/4 in. (32.39 cm); W. 14 1/8 in. (35.86 cm); Wt. 4 lb. 4 oz. (1928 g); tilting buffe (21.138.3): L. 15 in. (38.1 cm); W. 9 3/4 in. (24.77 cm); Wt. 4 lb.11 oz. (2126 g); elbow guard (21.138.4): L. 10 3/4 in. (27.31 cm); W. 7 7/8 in. (19.99 cm); Wt. 2 lb. 13 oz. (1276 g). Date: dated 1551. For the joust, or tilt, in the Italian fashion, the grandguard protecting the upper left chest and neck was close-fitting in contrast to the German use of a projecting tilt targe (cape-like defens Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/reinforcing-plates-of-armor-for-the-tilt-culture-austrian-innsbruck-dimensions-grandguard-211382-l-12-34-in-3239-cm-w-14-18-in-3586-cm-wt-4-lb-4-oz-1928-g-tilting-buffe-211383-l-15-in-381-cm-w-9-34-in-2477-cm-wt-4-lb11-oz-2126-g-elbow-guard-211384-l-10-34-in-2731-cm-w-7-78-in-1999-cm-wt-2-lb-13-oz-1276-g-date-dated-1551-for-the-joust-or-tilt-in-the-italian-fashion-the-grandguard-protecting-the-upper-left-chest-and-neck-was-close-fitting-in-contrast-to-the-german-use-of-a-projecting-tilt-targe-cape-like-defens-image213261035.htmlRMPAXTHF–Reinforcing Plates of Armor for the Tilt. Culture: Austrian, Innsbruck. Dimensions: grandguard (21.138.2): L. 12 3/4 in. (32.39 cm); W. 14 1/8 in. (35.86 cm); Wt. 4 lb. 4 oz. (1928 g); tilting buffe (21.138.3): L. 15 in. (38.1 cm); W. 9 3/4 in. (24.77 cm); Wt. 4 lb.11 oz. (2126 g); elbow guard (21.138.4): L. 10 3/4 in. (27.31 cm); W. 7 7/8 in. (19.99 cm); Wt. 2 lb. 13 oz. (1276 g). Date: dated 1551. For the joust, or tilt, in the Italian fashion, the grandguard protecting the upper left chest and neck was close-fitting in contrast to the German use of a projecting tilt targe (cape-like defens
Hollow frame, 1845–55 (style ca. 1755), French, Oak lower moldings and feather keys; lime upper moldings., 47.4 x 54.8, 29.5 x 3 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-hollow-frame-184555-style-ca-1755-french-oak-lower-moldings-and-feather-162384588.htmlRMKC575G–Hollow frame, 1845–55 (style ca. 1755), French, Oak lower moldings and feather keys; lime upper moldings., 47.4 x 54.8, 29.5 x 3
Jean-Baptiste Oudry, French, 1686 - 1755, Gabriel Huquier (publisher) French, 1695 - 1772, A Fox Attacked by Dogs, 1725, Hunting Scenes with Dogs, plate 3, etching on laid paper, plate: 37.5 x 29.4 cm (14 3, 4 x 11 9, 16 in.), sheet: 38.2 x 30.2 cm (15 1, 16 x 11 7, 8 in.), Robert-Dumesnil 1967, no. 3, State iv, iv Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jean-baptiste-oudry-french-1686-1755-gabriel-huquier-publisher-french-1695-1772-a-fox-attacked-by-dogs-1725-hunting-scenes-with-dogs-plate-3-etching-on-laid-paper-plate-375-x-294-cm-14-3-4-x-11-9-16-in-sheet-382-x-302-cm-15-1-16-x-11-7-8-in-robert-dumesnil-1967-no-3-state-iv-iv-image631097795.htmlRM2YJMYJY–Jean-Baptiste Oudry, French, 1686 - 1755, Gabriel Huquier (publisher) French, 1695 - 1772, A Fox Attacked by Dogs, 1725, Hunting Scenes with Dogs, plate 3, etching on laid paper, plate: 37.5 x 29.4 cm (14 3, 4 x 11 9, 16 in.), sheet: 38.2 x 30.2 cm (15 1, 16 x 11 7, 8 in.), Robert-Dumesnil 1967, no. 3, State iv, iv
View of the Colosseum from the Orti Farnesiani, 1833, Antoine-Félix Boisselier, French, 1790 - 1857, 28 5/8 x 37 1/2 in. (72.71 x 95.25 cm) (sight)37 x 45 5/8 x 3 3/4 in. (93.98 x 115.89 x 9.53 cm) (outer frame)29 1/4 x 38 1/2 in. (74.3 x 97.79 cm) (canvas), Oil on canvas, France, 19th century, The virtues of heaven and earth merge in this luminous landscape, as a monk sits on an overturned capital (top of a column), repurposed as a place to rest. In the distance, the brilliant midday light envelops the ruins of the Colosseum and the Arch of Titus, reminders of the glory of ancient Rome. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-colosseum-from-the-orti-farnesiani-1833-antoine-flix-boisselier-french-1790-1857-28-58-x-37-12-in-7271-x-9525-cm-sight37-x-45-58-x-3-34-in-9398-x-11589-x-953-cm-outer-frame29-14-x-38-12-in-743-x-9779-cm-canvas-oil-on-canvas-france-19th-century-the-virtues-of-heaven-and-earth-merge-in-this-luminous-landscape-as-a-monk-sits-on-an-overturned-capital-top-of-a-column-repurposed-as-a-place-to-rest-in-the-distance-the-brilliant-midday-light-envelops-the-ruins-of-the-colosseum-and-the-arch-of-titus-reminders-of-the-glory-of-ancient-rome-image573505529.htmlRM2T91C49–View of the Colosseum from the Orti Farnesiani, 1833, Antoine-Félix Boisselier, French, 1790 - 1857, 28 5/8 x 37 1/2 in. (72.71 x 95.25 cm) (sight)37 x 45 5/8 x 3 3/4 in. (93.98 x 115.89 x 9.53 cm) (outer frame)29 1/4 x 38 1/2 in. (74.3 x 97.79 cm) (canvas), Oil on canvas, France, 19th century, The virtues of heaven and earth merge in this luminous landscape, as a monk sits on an overturned capital (top of a column), repurposed as a place to rest. In the distance, the brilliant midday light envelops the ruins of the Colosseum and the Arch of Titus, reminders of the glory of ancient Rome.
The Annunciation. Date/Period: Ca. 1472. Painting. Oil on panel. Height: 98 cm (38.5 in); Width: 217 cm (85.4 in). Author: LEONARDO DA VINCI. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-annunciation-dateperiod-ca-1472-painting-oil-on-panel-height-98-cm-385-in-width-217-cm-854-in-author-leonardo-da-vinci-image225855688.htmlRMR3CH6G–The Annunciation. Date/Period: Ca. 1472. Painting. Oil on panel. Height: 98 cm (38.5 in); Width: 217 cm (85.4 in). Author: LEONARDO DA VINCI.
Fireworks Dislay in Paris for the Birth of the Dauphin on January 21, 1730, 1730, Jacques Dumont le Romain; Artist: after Giovanni Niccolo Servandoni, French, 1701 - 1781, 12 1/4 x 19 1/4 in. (31.12 x 48.9 cm) (plate)15 1/16 x 21 5/8 in. (38.26 x 54.93 cm) (sheet)23 3/4 x 29 3/4 x 1 1/8 in. (60.33 x 75.57 x 2.86 cm) (outer frame), Etching, France, 18th century, With French governance relying on dynastic succession, the birth of the Dauphin-the male heir to the throne-was cause for celebration. Louis XV's queen, Marie Leszczinska, had given birth to three daughters before having a son Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/fireworks-dislay-in-paris-for-the-birth-of-the-dauphin-on-january-21-1730-1730-jacques-dumont-le-romain-artist-after-giovanni-niccolo-servandoni-french-1701-1781-12-14-x-19-14-in-3112-x-489-cm-plate15-116-x-21-58-in-3826-x-5493-cm-sheet23-34-x-29-34-x-1-18-in-6033-x-7557-x-286-cm-outer-frame-etching-france-18th-century-with-french-governance-relying-on-dynastic-succession-the-birth-of-the-dauphin-the-male-heir-to-the-throne-was-cause-for-celebration-louis-xvs-queen-marie-leszczinska-had-given-birth-to-three-daughters-before-having-a-son-image573511521.htmlRM2T91KP9–Fireworks Dislay in Paris for the Birth of the Dauphin on January 21, 1730, 1730, Jacques Dumont le Romain; Artist: after Giovanni Niccolo Servandoni, French, 1701 - 1781, 12 1/4 x 19 1/4 in. (31.12 x 48.9 cm) (plate)15 1/16 x 21 5/8 in. (38.26 x 54.93 cm) (sheet)23 3/4 x 29 3/4 x 1 1/8 in. (60.33 x 75.57 x 2.86 cm) (outer frame), Etching, France, 18th century, With French governance relying on dynastic succession, the birth of the Dauphin-the male heir to the throne-was cause for celebration. Louis XV's queen, Marie Leszczinska, had given birth to three daughters before having a son
Plate 38: View of the facade of the church of St. Roch and at left the facade of the School of St. Roch, Venice, 1703 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-plate-38-view-of-the-facade-of-the-church-of-st-roch-and-at-left-the-162523456.htmlRMKCBG94–Plate 38: View of the facade of the church of St. Roch and at left the facade of the School of St. Roch, Venice, 1703
Crouching Venus, 17th century, 15 1/4 x 10 1/2 x 5 5/8 in. (38.74 x 26.67 x 14.29 cm), Bronze, France, 17th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/crouching-venus-17th-century-15-14-x-10-12-x-5-58-in-3874-x-2667-x-1429-cm-bronze-france-17th-century-image573483564.htmlRM2T90C3T–Crouching Venus, 17th century, 15 1/4 x 10 1/2 x 5 5/8 in. (38.74 x 26.67 x 14.29 cm), Bronze, France, 17th century
Album of Drawings. Artist: Filippo Juvarra (Italian, Messina 1678-1736 Madrid). Dimensions: Overall: 11 9/16 x 8 3/8 x 1 1/16 in. (29.4 x 21.2 x 2.7 cm). Date: 1678-1736. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/album-of-drawings-artist-filippo-juvarra-italian-messina-1678-1736-madrid-dimensions-overall-11-916-x-8-38-x-1-116-in-294-x-212-x-27-cm-date-1678-1736-museum-metropolitan-museum-of-art-new-york-usa-image212898261.htmlRMPAA9W9–Album of Drawings. Artist: Filippo Juvarra (Italian, Messina 1678-1736 Madrid). Dimensions: Overall: 11 9/16 x 8 3/8 x 1 1/16 in. (29.4 x 21.2 x 2.7 cm). Date: 1678-1736. Museum: Metropolitan Museum of Art, New York, USA.
Pine right of a pair of Pine and Rock, 1874, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 55 5/8 × 4 7/8 in. (141.29 × 12.38 cm) (image)68 7/8 × 7 3/8 in. (174.94 × 18.73 cm) (mount, without roller), Ink on paper, Japan, 19th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/pine-right-of-a-pair-of-pine-and-rock-1874-yamanaka-shinten-japanese-1822-1885-55-58-4-78-in-14129-1238-cm-image68-78-7-38-in-17494-1873-cm-mount-without-roller-ink-on-paper-japan-19th-century-image573483949.htmlRM2T90CHH–Pine right of a pair of Pine and Rock, 1874, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 55 5/8 × 4 7/8 in. (141.29 × 12.38 cm) (image)68 7/8 × 7 3/8 in. (174.94 × 18.73 cm) (mount, without roller), Ink on paper, Japan, 19th century
Flying geese and full moon. Utagawa Hiroshige ?? ??; Japanese, 1797-1858. Date: 1830-1833. Dimensions: 36 x 12.5 cm. Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/flying-geese-and-full-moon-utagawa-hiroshige-japanese-1797-1858-date-1830-1833-dimensions-36-x-125-cm-color-woodblock-print-chutanzaku-origin-japan-museum-the-chicago-art-institute-image240132009.htmlRMRXJXR5–Flying geese and full moon. Utagawa Hiroshige ?? ??; Japanese, 1797-1858. Date: 1830-1833. Dimensions: 36 x 12.5 cm. Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute.
Poems from Shūi gusō and Shin kokin wakashū, Six Immortal Poets from the Shinkokinshu, 1718, Unknown Japanese, 6 1/4 × 5 5/8 × 3/4 in. (15.88 × 14.29 × 1.91 cm)4 3/4 × 4 7/8 in. (12.07 × 12.38 cm) (image), Ink and color on paper, Japan, 18th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/poems-from-shi-gus-and-shin-kokin-wakash-six-immortal-poets-from-the-shinkokinshu-1718-unknown-japanese-6-14-5-58-34-in-1588-1429-191-cm4-34-4-78-in-1207-1238-cm-image-ink-and-color-on-paper-japan-18th-century-image573485968.htmlRM2T90F5M–Poems from Shūi gusō and Shin kokin wakashū, Six Immortal Poets from the Shinkokinshu, 1718, Unknown Japanese, 6 1/4 × 5 5/8 × 3/4 in. (15.88 × 14.29 × 1.91 cm)4 3/4 × 4 7/8 in. (12.07 × 12.38 cm) (image), Ink and color on paper, Japan, 18th century
The Bearing of the Cross, from The Large Passion. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.4 cm) image: 15 1/2 x 11 1/16 in. (39.3 x 28.1 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-bearing-of-the-cross-from-the-large-passion-artist-albrecht-drer-german-nuremberg-1471-1528-nuremberg-dimensions-sheet-17-38-x-11-1516-in-441-x-304-cm-image-15-12-x-11-116-in-393-x-281-cm-date-nd-museum-metropolitan-museum-of-art-new-york-usa-image232817456.htmlRMRENN14–The Bearing of the Cross, from The Large Passion. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 17 3/8 x 11 15/16 in. (44.1 x 30.4 cm) image: 15 1/2 x 11 1/16 in. (39.3 x 28.1 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.
The Cottage, 1765, Jean-Baptiste Le Prince, French, 1734 - 1781, 2 1/8 x 4 1/2 in. (5.4 x 11.43 cm) (image)2 3/8 x 4 7/8 in. (6.03 x 12.38 cm) (plate)5 5/8 x 7 in. (14.29 x 17.78 cm) (sheet), Etching, France, 18th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-cottage-1765-jean-baptiste-le-prince-french-1734-1781-2-18-x-4-12-in-54-x-1143-cm-image2-38-x-4-78-in-603-x-1238-cm-plate5-58-x-7-in-1429-x-1778-cm-sheet-etching-france-18th-century-image573510745.htmlRM2T91JPH–The Cottage, 1765, Jean-Baptiste Le Prince, French, 1734 - 1781, 2 1/8 x 4 1/2 in. (5.4 x 11.43 cm) (image)2 3/8 x 4 7/8 in. (6.03 x 12.38 cm) (plate)5 5/8 x 7 in. (14.29 x 17.78 cm) (sheet), Etching, France, 18th century
Jules, Duc d'Enghien. Dated: 1661. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Robert Nanteuil after Pierre Mignard I. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jules-duc-denghien-dated-1661-medium-engraving-museum-national-gallery-of-art-washington-dc-author-robert-nanteuil-after-pierre-mignard-i-image225588744.htmlRMR30CMT–Jules, Duc d'Enghien. Dated: 1661. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Robert Nanteuil after Pierre Mignard I.
Parish Priest in Choir Robe, c. 1764, Jean-Baptiste Le Prince, French, 1734 - 1781, 6 7/8 x 4 7/8 in. (17.46 x 12.38 cm) (image)9 x 5 5/8 in. (22.86 x 14.29 cm) (plate)10 1/4 x 6 3/4 in. (26.04 x 17.15 cm) (sheet), Etching, France, 18th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/parish-priest-in-choir-robe-c-1764-jean-baptiste-le-prince-french-1734-1781-6-78-x-4-78-in-1746-x-1238-cm-image9-x-5-58-in-2286-x-1429-cm-plate10-14-x-6-34-in-2604-x-1715-cm-sheet-etching-france-18th-century-image573510707.htmlRM2T91JN7–Parish Priest in Choir Robe, c. 1764, Jean-Baptiste Le Prince, French, 1734 - 1781, 6 7/8 x 4 7/8 in. (17.46 x 12.38 cm) (image)9 x 5 5/8 in. (22.86 x 14.29 cm) (plate)10 1/4 x 6 3/4 in. (26.04 x 17.15 cm) (sheet), Etching, France, 18th century
L'Education (Education). Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: CLAUDE GILLOT. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/leducation-education-medium-etching-and-engraving-museum-national-gallery-of-art-washington-dc-author-claude-gillot-image233252211.htmlRMRFDFG3–L'Education (Education). Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: CLAUDE GILLOT.
Commandant of the Streltsi Militia, 1764, Jean-Baptiste Le Prince, French, 1734 - 1781, 6 3/4 x 4 7/8 in. (17.15 x 12.38 cm) (image)9 1/8 x 5 5/8 in. (23.18 x 14.29 cm) (plate)10 1/2 x 6 7/8 in. (26.67 x 17.46 cm) (sheet), Etching, France, 18th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/commandant-of-the-streltsi-militia-1764-jean-baptiste-le-prince-french-1734-1781-6-34-x-4-78-in-1715-x-1238-cm-image9-18-x-5-58-in-2318-x-1429-cm-plate10-12-x-6-78-in-2667-x-1746-cm-sheet-etching-france-18th-century-image573510716.htmlRM2T91JNG–Commandant of the Streltsi Militia, 1764, Jean-Baptiste Le Prince, French, 1734 - 1781, 6 3/4 x 4 7/8 in. (17.15 x 12.38 cm) (image)9 1/8 x 5 5/8 in. (23.18 x 14.29 cm) (plate)10 1/2 x 6 7/8 in. (26.67 x 17.46 cm) (sheet), Etching, France, 18th century
Four Horsemen of the Apocalypse. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Date: ca. 1497/1498. The third woodcut from Dürer's Apocalypse, the Four Horsemen presents a dramatically distilled version of the passage from the book of Revelation (6:1-8). Transforming what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects motion and danger into this climactic moment through his subtle manipulation of the wood block. The parallel lines across the image establish a basic middle tone, against which the artist silhouettes and overlaps the Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/four-horsemen-of-the-apocalypse-artist-albrecht-drer-german-nuremberg-1471-1528-nuremberg-date-ca-14971498-the-third-woodcut-from-drers-apocalypse-the-four-horsemen-presents-a-dramatically-distilled-version-of-the-passage-from-the-book-of-revelation-61-8-transforming-what-was-a-relatively-staid-and-unthreatening-image-in-earlier-illustrated-bibles-drer-injects-motion-and-danger-into-this-climactic-moment-through-his-subtle-manipulation-of-the-wood-block-the-parallel-lines-across-the-image-establish-a-basic-middle-tone-against-which-the-artist-silhouettes-and-overlaps-the-image232817444.htmlRMRENN0M–Four Horsemen of the Apocalypse. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Date: ca. 1497/1498. The third woodcut from Dürer's Apocalypse, the Four Horsemen presents a dramatically distilled version of the passage from the book of Revelation (6:1-8). Transforming what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects motion and danger into this climactic moment through his subtle manipulation of the wood block. The parallel lines across the image establish a basic middle tone, against which the artist silhouettes and overlaps the
Indian Boy at Fort Snelling, 1862, Thomas Waterman Wood, American, 1823 - 1903, 29 7/8 x 25 1/4 in. (75.88 x 64.14 cm) (sight)30 x 25 in. (76.2 x 63.5 cm) (canvas)38 5/8 x 32 1/2 x 2 3/4 in. (98.11 x 82.55 x 6.99 cm) (outer frame), Oil on canvas, mounted on aluminum, United States, 19th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/indian-boy-at-fort-snelling-1862-thomas-waterman-wood-american-1823-1903-29-78-x-25-14-in-7588-x-6414-cm-sight30-x-25-in-762-x-635-cm-canvas38-58-x-32-12-x-2-34-in-9811-x-8255-x-699-cm-outer-frame-oil-on-canvas-mounted-on-aluminum-united-states-19th-century-image573490713.htmlRM2T90N75–Indian Boy at Fort Snelling, 1862, Thomas Waterman Wood, American, 1823 - 1903, 29 7/8 x 25 1/4 in. (75.88 x 64.14 cm) (sight)30 x 25 in. (76.2 x 63.5 cm) (canvas)38 5/8 x 32 1/2 x 2 3/4 in. (98.11 x 82.55 x 6.99 cm) (outer frame), Oil on canvas, mounted on aluminum, United States, 19th century
Wagtails, early 16th century, Kenkō Shōkei, Japanese, active before 1478–ca. 1523, 15 1/16 × 22 3/4 in. (38.26 × 57.79 cm) (image)47 3/4 × 28 5/8 in. (121.29 × 72.71 cm) (mount, without roller), Ink on paper, Japan, 16th century, Kenkō Shōkei was both a Zen priest and a highly skilled ink painter who spent most of his career at the major Zen monastery Kenchōji in the city of Kamakura. Here he depicted a pair of wagtails on branches in strikingly contrasting poses. One stares down to the right as if aiming at some prey, while the other stands straight with a glance to the left. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/wagtails-early-16th-century-kenk-shkei-japanese-active-before-1478ca-1523-15-116-22-34-in-3826-5779-cm-image47-34-28-58-in-12129-7271-cm-mount-without-roller-ink-on-paper-japan-16th-century-kenk-shkei-was-both-a-zen-priest-and-a-highly-skilled-ink-painter-who-spent-most-of-his-career-at-the-major-zen-monastery-kenchji-in-the-city-of-kamakura-here-he-depicted-a-pair-of-wagtails-on-branches-in-strikingly-contrasting-poses-one-stares-down-to-the-right-as-if-aiming-at-some-prey-while-the-other-stands-straight-with-a-glance-to-the-left-image573486044.htmlRM2T90F8C–Wagtails, early 16th century, Kenkō Shōkei, Japanese, active before 1478–ca. 1523, 15 1/16 × 22 3/4 in. (38.26 × 57.79 cm) (image)47 3/4 × 28 5/8 in. (121.29 × 72.71 cm) (mount, without roller), Ink on paper, Japan, 16th century, Kenkō Shōkei was both a Zen priest and a highly skilled ink painter who spent most of his career at the major Zen monastery Kenchōji in the city of Kamakura. Here he depicted a pair of wagtails on branches in strikingly contrasting poses. One stares down to the right as if aiming at some prey, while the other stands straight with a glance to the left.
Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 3/16 in. (52.4 × 38.6 cm) (sheet)29 9/16 × 24 7/16 × 1 3/4 in. (75.1 × 62.1 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/blood-collage-c-1850-60-john-bingley-garland-british-17911875-20-58-15-316-in-524-386-cm-sheet29-916-24-716-1-34-in-751-621-44-cm-outer-frame-collage-of-engraving-and-gold-paper-with-gouache-red-india-ink-gold-paint-and-inscriptions-in-pen-and-ink-on-buff-backing-paper-england-19th-century-john-bingley-garland-was-a-prosperous-english-merchant-politician-public-servant-and-collage-artist-he-lived-in-newfoundland-for-four-years-in-two-different-stints-where-he-managed-his-familys-fish-trading-business-and-served-image573489642.htmlRM2T90KTX–Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 3/16 in. (52.4 × 38.6 cm) (sheet)29 9/16 × 24 7/16 × 1 3/4 in. (75.1 × 62.1 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served
Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 1/4 × 15 1/4 in. (51.4 × 38.7 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/blood-collage-c-1850-60-john-bingley-garland-british-17911875-20-14-15-14-in-514-387-cm-sheet29-12-24-516-1-34-in-749-618-44-cm-outer-frame-collage-of-engraving-and-gold-paper-with-gouache-red-india-ink-gold-paint-and-inscriptions-in-pen-and-ink-on-buff-backing-paper-england-19th-century-john-bingley-garland-was-a-prosperous-english-merchant-politician-public-servant-and-collage-artist-he-lived-in-newfoundland-for-four-years-in-two-different-stints-where-he-managed-his-familys-fish-trading-business-and-served-image573489667.htmlRM2T90KWR–Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 1/4 × 15 1/4 in. (51.4 × 38.7 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business, and served
Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 1/8 in. (52.4 × 38.4 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/blood-collage-c-1850-60-john-bingley-garland-british-17911875-20-58-15-18-in-524-384-cm-sheet29-12-24-516-1-34-in-749-618-44-cm-outer-frame-collage-of-engraving-and-gold-paper-with-gouache-red-india-ink-gold-paint-and-inscriptions-in-pen-and-ink-on-buff-backing-paper-england-19th-century-john-bingley-garland-was-a-prosperous-english-merchant-politician-public-servant-and-collage-artist-he-lived-in-newfoundland-for-four-years-in-two-different-stints-where-he-managed-his-familys-fish-trading-business-image573489566.htmlRM2T90KP6–Blood Collage, c. 1850-60, John Bingley Garland, British, 1791–1875, 20 5/8 × 15 1/8 in. (52.4 × 38.4 cm) (sheet)29 1/2 × 24 5/16 × 1 3/4 in. (74.9 × 61.8 × 4.4 cm) (outer frame), Collage of engraving and gold paper, with gouache, red india ink, gold paint, and inscriptions in pen and ink, on buff backing paper, England, 19th century, John Bingley Garland was a prosperous English merchant, politician, public servant, and collage artist. He lived in Newfoundland for four years, in two different stints, where he managed his family’s fish trading business
Seated Avalokiteshvara Bodhisattva (Guanyin), late 11th-early 12th century, Unknown, 38 3/4 x 22 x 13 1/2 in. (98.43 x 55.88 x 34.29 cm) ((a) body)8 x 30 1/4 x 13 in. (20.32 x 76.84 x 33.02 cm) ((b) legs)25 x 17 x 12 3/4 in. (63.5 x 43.18 x 32.39 cm) ((c) arm)22 1/2 x 19 1/2 x 7 7/8 in. (57.15 x 49.53 x 20 cm) ((d) arm)14 x 14 x 14 1/2 in. (35.56 x 35.56 x 36.83 cm) ((e) PL hip)8 3/4 x 7 1/2 x 5 in. (22.23 x 19.05 x 12.7 cm) ((f) ushnisha)10 3/4 x 5 1/2 x 4 in. (27.31 x 13.97 x 10.16 cm) ((g) hand)11 3/4 x 5 1/2 x 4 in. (29.85 x 13.97 x 10.16 cm) ((h) hand), Wood, gesso, mineral pigments Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/seated-avalokiteshvara-bodhisattva-guanyin-late-11th-early-12th-century-unknown-38-34-x-22-x-13-12-in-9843-x-5588-x-3429-cm-a-body8-x-30-14-x-13-in-2032-x-7684-x-3302-cm-b-legs25-x-17-x-12-34-in-635-x-4318-x-3239-cm-c-arm22-12-x-19-12-x-7-78-in-5715-x-4953-x-20-cm-d-arm14-x-14-x-14-12-in-3556-x-3556-x-3683-cm-e-pl-hip8-34-x-7-12-x-5-in-2223-x-1905-x-127-cm-f-ushnisha10-34-x-5-12-x-4-in-2731-x-1397-x-1016-cm-g-hand11-34-x-5-12-x-4-in-2985-x-1397-x-1016-cm-h-hand-wood-gesso-mineral-pigments-image573507951.htmlRM2T91F6R–Seated Avalokiteshvara Bodhisattva (Guanyin), late 11th-early 12th century, Unknown, 38 3/4 x 22 x 13 1/2 in. (98.43 x 55.88 x 34.29 cm) ((a) body)8 x 30 1/4 x 13 in. (20.32 x 76.84 x 33.02 cm) ((b) legs)25 x 17 x 12 3/4 in. (63.5 x 43.18 x 32.39 cm) ((c) arm)22 1/2 x 19 1/2 x 7 7/8 in. (57.15 x 49.53 x 20 cm) ((d) arm)14 x 14 x 14 1/2 in. (35.56 x 35.56 x 36.83 cm) ((e) PL hip)8 3/4 x 7 1/2 x 5 in. (22.23 x 19.05 x 12.7 cm) ((f) ushnisha)10 3/4 x 5 1/2 x 4 in. (27.31 x 13.97 x 10.16 cm) ((g) hand)11 3/4 x 5 1/2 x 4 in. (29.85 x 13.97 x 10.16 cm) ((h) hand), Wood, gesso, mineral pigments
Portions of a Field Armor, dated 1524, probably Augsburg, German, probably Augsburg, Steel, leather, H. as mounted 29 3/4 in. (7 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-portions-of-a-field-armor-dated-1524-probably-augsburg-german-probably-162449677.htmlRMKC8665–Portions of a Field Armor, dated 1524, probably Augsburg, German, probably Augsburg, Steel, leather, H. as mounted 29 3/4 in. (7
Armor for Field and Tilt, ca. 1550 to 1575, Italian, Steel, Wt. 61 lb. 10 oz. (27.95 kg); helmet (a); H. 12 1/2 in. (31.8 cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-armor-for-field-and-tilt-ca-1550-to-1575-italian-steel-wt-61-lb-10-162581455.htmlRMKCE68F–Armor for Field and Tilt, ca. 1550 to 1575, Italian, Steel, Wt. 61 lb. 10 oz. (27.95 kg); helmet (a); H. 12 1/2 in. (31.8 cm
The Wrathful Bon Deity Walse Ngampa, One of the Five Fortress Meditational Deities, early 15th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-the-wrathful-bon-deity-walse-ngampa-one-of-the-five-fortress-meditational-162416196.htmlRMKC6KEC–The Wrathful Bon Deity Walse Ngampa, One of the Five Fortress Meditational Deities, early 15th century
Fragments of a Frieze, late 12th century, Made in Latium, Italy, Central Italian, Stone (Peperino di Viterbo from Viterbo (Italy Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-fragments-of-a-frieze-late-12th-century-made-in-latium-italy-central-162431033.htmlRMKC7AC9–Fragments of a Frieze, late 12th century, Made in Latium, Italy, Central Italian, Stone (Peperino di Viterbo from Viterbo (Italy
Wild Geese Flying under the Full Moon, Utagawa Hiroshige, ca. 1833 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-wild-geese-flying-under-the-full-moon-utagawa-hiroshige-ca-1833-162404513.htmlRMKC64H5–Wild Geese Flying under the Full Moon, Utagawa Hiroshige, ca. 1833
Henri-Jules de Bourbon, duc d'Enghien, Robert Nanteuil, 1661 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-henri-jules-de-bourbon-duc-denghien-robert-nanteuil-1661-162523507.htmlRMKCBGAY–Henri-Jules de Bourbon, duc d'Enghien, Robert Nanteuil, 1661
Toussaint Lemaistre (1807/8–1888), Camille Corot, 1833 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-toussaint-lemaistre-180781888-camille-corot-1833-162535805.htmlRMKCC425–Toussaint Lemaistre (1807/8–1888), Camille Corot, 1833
The Feast of Belshazzar, Antonio Gionima, 1697–1732 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-the-feast-of-belshazzar-antonio-gionima-16971732-162484004.htmlRMKC9P04–The Feast of Belshazzar, Antonio Gionima, 1697–1732
Reinforcing Plates of Armor for the Tilt, dated 1551 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-reinforcing-plates-of-armor-for-the-tilt-dated-1551-162337473.htmlRMKC332W–Reinforcing Plates of Armor for the Tilt, dated 1551
Quiver with Eleven Crossbow Bolts, quiver, probably early 16th century; bolts, 14th–16th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-quiver-with-eleven-crossbow-bolts-quiver-probably-early-16th-century-162434674.htmlRMKC7F2A–Quiver with Eleven Crossbow Bolts, quiver, probably early 16th century; bolts, 14th–16th century
Armor of the Dukes of Alba, ca. 1575–85, Milan, Italian, Milan, Steel, gold, silver, Wt. 25 lbs. 12 oz. (11.68 kg); Helmet (a Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-armor-of-the-dukes-of-alba-ca-157585-milan-italian-milan-steel-gold-162399008.htmlRMKC5WGG–Armor of the Dukes of Alba, ca. 1575–85, Milan, Italian, Milan, Steel, gold, silver, Wt. 25 lbs. 12 oz. (11.68 kg); Helmet (a
