40 3 x 59 1 cm hi-res stock photography and images

Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm Stock Photo

RM2HB2BKD–Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm

Inspired by Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photo

RF2HK59E3–Inspired by Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

Der Ruckzughei Marignano (Retreat at Marignano) Ferdinand Hodler (Swiss, 1853-1918). Der Ruckzughei Marignano (Retreat at Marignano), ca.1898. Lithograph on Japan paper, 15 7/8 x 23 1/4 in. (40.3 x 59.1 cm). European Art ca.1898 Stock Photo

RM2M9414P–Der Ruckzughei Marignano (Retreat at Marignano) Ferdinand Hodler (Swiss, 1853-1918). Der Ruckzughei Marignano (Retreat at Marignano), ca.1898. Lithograph on Japan paper, 15 7/8 x 23 1/4 in. (40.3 x 59.1 cm). European Art ca.1898

Virgin and Child. Culture: French. Dimensions: Overall: 64 1/4 x 23 3/8 x 16 in. (163.2 x 59.4 x 40.6 cm) Weight approx.: 1236lb. (560.6kg). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPANGPR–Virgin and Child. Culture: French. Dimensions: Overall: 64 1/4 x 23 3/8 x 16 in. (163.2 x 59.4 x 40.6 cm) Weight approx.: 1236lb. (560.6kg). Date: 15th century. Museum: Metropolitan Museum of Art, New York, USA.

Painting; oil on canvas; overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.) framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in.); The Lavie Children circa 1770. 1176 The Lavie Children-1770-Johann Zoffany Stock Photo

RMMNXP1D–Painting; oil on canvas; overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.) framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in.); The Lavie Children circa 1770. 1176 The Lavie Children-1770-Johann Zoffany

Fragment (France); silk, metallic thread; Warp x Weft: 40 x 59 cm (15 3/4 x 23 1/4 in.) Stock Photo

RM2PMGYX7–Fragment (France); silk, metallic thread; Warp x Weft: 40 x 59 cm (15 3/4 x 23 1/4 in.)

'Georges François Blondel, A View of the Inside of the New Prison at Rome, c. 1765, mezzotint on laid paper, plate: 56.4 x 40.5 cm (22 3/16 x 15 15/16 in.) sheet: 59.4 x 44.6 cm (23 3/8 x 17 9/16 in.), Paul Mellon Fund, 2001.118.1' Stock Photo

RM2REJY55–'Georges François Blondel, A View of the Inside of the New Prison at Rome, c. 1765, mezzotint on laid paper, plate: 56.4 x 40.5 cm (22 3/16 x 15 15/16 in.) sheet: 59.4 x 44.6 cm (23 3/8 x 17 9/16 in.), Paul Mellon Fund, 2001.118.1'

On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature Stock Photo

RM2HB1R2K–On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature

Art inspired by Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm, 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 Photo

RF2HKKBN3–Art inspired by Der Ruckzughei Marignano, Retreat at Marignano, Ferdinand Hodler, Swiss, 1853-1918, Lithograph on Japan paper, ca.1898, 15 7/8 x 23 1/4 in., 40.3 x 59.1 cm, 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

RM2M94142–Der Ruckzughei Marignano (Retreat at Marignano) Ferdinand Hodler (Swiss, 1853-1918). Der Ruckzughei Marignano (Retreat at Marignano), ca.1898. Lithograph on Japan paper, 15 7/8 x 23 1/4 in. (40.3 x 59.1 cm). European Art ca.1898

Art inspired by Spindle-back armchair, 1640–80, Possibly made in Boston, Massachusetts, United States; Possibly made in Charlestown, Massachusetts, United States, American, Ash, 44 3/4 x 23 1/2 x 15 3/4 in. (113.7 x 59.7 x 40 cm), Furniture, The rarest and grandest of the early turned, 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 Photo

RF2HW2089–Art inspired by Spindle-back armchair, 1640–80, Possibly made in Boston, Massachusetts, United States; Possibly made in Charlestown, Massachusetts, United States, American, Ash, 44 3/4 x 23 1/2 x 15 3/4 in. (113.7 x 59.7 x 40 cm), Furniture, The rarest and grandest of the early turned, 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

Elevation of a Catafalque: Obelisks at the Corners and One in Center. Artist: Workshop of Giuseppe Galli Bibiena (Italian, Parma 1696-1756 Berlin). Dimensions: 23-1/2 x 17-3/8 in. (59.7 x 44.1 cm). Date: ca. 1720-40. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPANGCG–Elevation of a Catafalque: Obelisks at the Corners and One in Center. Artist: Workshop of Giuseppe Galli Bibiena (Italian, Parma 1696-1756 Berlin). Dimensions: 23-1/2 x 17-3/8 in. (59.7 x 44.1 cm). Date: ca. 1720-40. Museum: Metropolitan Museum of Art, New York, USA.

Art inspired by Portrait of a Young Woman, ca. 1490–1500, Oil on wood, 23 1/8 x 15 3/4 in. (58.7 x 40 cm), Paintings, Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence), This damaged but evocative portrait has been identified as the widow of Credi's, 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 Photo

RF2HW8HCG–Art inspired by Portrait of a Young Woman, ca. 1490–1500, Oil on wood, 23 1/8 x 15 3/4 in. (58.7 x 40 cm), Paintings, Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59–1536 Florence), This damaged but evocative portrait has been identified as the widow of Credi's, 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

Rain Effect, c. 1879, Camille Pissarro, French, 1830–1903, 6 5/16 x 8 1/2 in. (16.03 x 21.59 cm) (plate)8 3/16 x 12 1/16 in. (20.8 x 30.64 cm) (sheet)15 3/4 × 19 3/4 × 1 1/8 in. (40.01 × 50.17 × 2.86 cm) (outer frame), Aquatint, France, 19th century Stock Photo

RM2T9094D–Rain Effect, c. 1879, Camille Pissarro, French, 1830–1903, 6 5/16 x 8 1/2 in. (16.03 x 21.59 cm) (plate)8 3/16 x 12 1/16 in. (20.8 x 30.64 cm) (sheet)15 3/4 × 19 3/4 × 1 1/8 in. (40.01 × 50.17 × 2.86 cm) (outer frame), Aquatint, France, 19th century

Inspired by On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photo

RF2HK4J4B–Inspired by On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

Islamic, Spanish, Mosaic Tile Wall Revetment, 15th Century, Earthenware with tin and lead glazes, 23 3/8 x 16 x 3 1/2 in. (59.4 x 40.6 x 8.9 cm Stock Photo

RM2A2PR3H–Islamic, Spanish, Mosaic Tile Wall Revetment, 15th Century, Earthenware with tin and lead glazes, 23 3/8 x 16 x 3 1/2 in. (59.4 x 40.6 x 8.9 cm

Art inspired by Virgin and Child, 15th century, Made in Touraine, Loire, French, Limestone with polychromy, Overall: 64 1/4 x 23 3/8 x 16 in. (163.2 x 59.4 x 40.6 cm), Sculpture-Stone, 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 Photo

RF2HTYJYP–Art inspired by Virgin and Child, 15th century, Made in Touraine, Loire, French, Limestone with polychromy, Overall: 64 1/4 x 23 3/8 x 16 in. (163.2 x 59.4 x 40.6 cm), Sculpture-Stone, 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

Designed by Sir Lawrence Alma-Tadema, British, born Netherlands, 1836–1912, Manufactured by Johnstone, Norman & Co., London, Model D Pianoforte and Stools, 1884–87, Oak, cherry, ebony, boxwood, satinwood, cedar, holly, ivory, coral, mother-of-pearl, abalone, copper, brass, silver, parchment, and modern upholstery, Overall piano: 40 3/16 x 104 3/4 x 59 13/16 in. (102.1 x 266.1 x 151.9 cm Stock Photo

RM2B0GY4E–Designed by Sir Lawrence Alma-Tadema, British, born Netherlands, 1836–1912, Manufactured by Johnstone, Norman & Co., London, Model D Pianoforte and Stools, 1884–87, Oak, cherry, ebony, boxwood, satinwood, cedar, holly, ivory, coral, mother-of-pearl, abalone, copper, brass, silver, parchment, and modern upholstery, Overall piano: 40 3/16 x 104 3/4 x 59 13/16 in. (102.1 x 266.1 x 151.9 cm

Art inspired by On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature, 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 Photo

RF2HKK222–Art inspired by On the Marsh, Jules Dupré, French, 1811-1889, Oil on canvas mounted on masonite, France, 1850, 15 3/4 x 23 1/4 in., 40.0 x 59.1 cm, Jules Dupre, marsh, nature, 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

Two Fragments, 19th century, United States, Silk, satin weave, embroidered in silk floss, silver and pink metal threads wrapped around a fiber core, in long and short split and couching stitches and French knots, 103.1 x 59.3 cm (40 1/2 x 23 3/8 in Stock Photo

RM2A2JXN1–Two Fragments, 19th century, United States, Silk, satin weave, embroidered in silk floss, silver and pink metal threads wrapped around a fiber core, in long and short split and couching stitches and French knots, 103.1 x 59.3 cm (40 1/2 x 23 3/8 in

Art inspired by Eliezer and Rebecca, third quarter 17th century, British, Silk and satin on canvas, H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm); Framed: H. 20 x W. 23 1/2 x D. 1 1/2 inches (50.8 x 59.7 x 3.8 cm), Textiles-Embroidered, 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 Photo

RF2HTW9F9–Art inspired by Eliezer and Rebecca, third quarter 17th century, British, Silk and satin on canvas, H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm); Framed: H. 20 x W. 23 1/2 x D. 1 1/2 inches (50.8 x 59.7 x 3.8 cm), Textiles-Embroidered, 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

A Morning Scene of the Forest with Rinaldo on the Bank of the Enchanted River, Edward Rooker, 1724–1774, British, and Paul Sandby RA, 1731–1809, British, after John Collins, ca. 1725–1758/59, British, ca. 1763, Etching on moderately thick, slightly textured, cream wove paper, Sheet: 17 3/4 x 20 1/2 inches (45.1 x 52.1 cm) and Image: 16 x 20 1/4 inches (40.6 x 51.4 cm), forest, genre subject, landscape, morning, river, soldier Stock Photo

RM2DHY1MY–A Morning Scene of the Forest with Rinaldo on the Bank of the Enchanted River, Edward Rooker, 1724–1774, British, and Paul Sandby RA, 1731–1809, British, after John Collins, ca. 1725–1758/59, British, ca. 1763, Etching on moderately thick, slightly textured, cream wove paper, Sheet: 17 3/4 x 20 1/2 inches (45.1 x 52.1 cm) and Image: 16 x 20 1/4 inches (40.6 x 51.4 cm), forest, genre subject, landscape, morning, river, soldier

Art inspired by Elevation of a Catafalque: Obelisks at the Corners and One in Center, ca. 1720–40, Pen, brown ink and wash, 23-1/2 x 17-3/8 in. (59.7 x 44.1 cm), Workshop of Giuseppe Galli Bibiena (Italian, Parma 1696–1756 Berlin, 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 Photo

RF2HW5ETM–Art inspired by Elevation of a Catafalque: Obelisks at the Corners and One in Center, ca. 1720–40, Pen, brown ink and wash, 23-1/2 x 17-3/8 in. (59.7 x 44.1 cm), Workshop of Giuseppe Galli Bibiena (Italian, Parma 1696–1756 Berlin, 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

Eliezer and Rebecca, third quarter 17th century, British, Silk and satin on canvas, H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm Stock Photo

RMKC6ME9–Eliezer and Rebecca, third quarter 17th century, British, Silk and satin on canvas, H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm

Drawing, Palazzo Milzetti, Faenza;; Italy; pen and brown ink, brown wash, over black chalk on white laid paper; 18.8 x 13.1 cm (7 3/8 x 5 3/16 in.) matted w/-3455,57,59 Mat: 55.9 x 40.6 cm (22 x 16 in.) Stock Photo

RM2PME25X–Drawing, Palazzo Milzetti, Faenza;; Italy; pen and brown ink, brown wash, over black chalk on white laid paper; 18.8 x 13.1 cm (7 3/8 x 5 3/16 in.) matted w/-3455,57,59 Mat: 55.9 x 40.6 cm (22 x 16 in.)

Nine-Dragon Falls, late 1800s. Han Unpyeong (Korean). Ink and color on paper; overall: 71 x 40.7 cm (27 15/16 x 16 in.); painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in Stock Photo

RMRY6RFR–Nine-Dragon Falls, late 1800s. Han Unpyeong (Korean). Ink and color on paper; overall: 71 x 40.7 cm (27 15/16 x 16 in.); painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in

Print, Plate 2, Projet d'un Trumeau de glace pour un grand cabinet fait pour le Portugal (Project for a Pier Glass for a Large Cabinet Made for Portugal), Oeuvre de Juste-Aurèle Meissonnier (Works of Juste-Aurèle Meissonnier); Designed by Juste-Aurèle Meissonnier (French, b. Italy, 1695–1750); Engraved by Gabriel Huquier (French, 1695–1772); France; engraving on white laid paper; Platemark: 50.8 x 34 cm (20 x 13 3/8 in.) Sheet: 59.1 × 40.6 cm (23 1/4 in. × 16 in.) Stock Photo

RM2PMKGXR–Print, Plate 2, Projet d'un Trumeau de glace pour un grand cabinet fait pour le Portugal (Project for a Pier Glass for a Large Cabinet Made for Portugal), Oeuvre de Juste-Aurèle Meissonnier (Works of Juste-Aurèle Meissonnier); Designed by Juste-Aurèle Meissonnier (French, b. Italy, 1695–1750); Engraved by Gabriel Huquier (French, 1695–1772); France; engraving on white laid paper; Platemark: 50.8 x 34 cm (20 x 13 3/8 in.) Sheet: 59.1 × 40.6 cm (23 1/4 in. × 16 in.)

RF2B8XW9P–Two Fragments, 19th century, United States, Silk, satin weave, embroidered in silk floss, silver and pink metal threads wrapped around a fiber core, in long and short split and couching stitches and French knots, 103.1 x 59.3 cm (40 1/2 x 23 3/8 in.), 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.

TOPOGRAPHIA DE LA CIUDAD DE MANILA Author Ximenez, Hipolito 116.40. Place of publication: [Manila] Publisher: [publisher not identified] Date of publication: [about 1739.] Item type: 1 print Medium: engraving and etching Dimensions: sheet 59.9 x 83.3 cm (trimmed below platemark) Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9GAG3–TOPOGRAPHIA DE LA CIUDAD DE MANILA Author Ximenez, Hipolito 116.40. Place of publication: [Manila] Publisher: [publisher not identified] Date of publication: [about 1739.] Item type: 1 print Medium: engraving and etching Dimensions: sheet 59.9 x 83.3 cm (trimmed below platemark) Former owner: George III, King of Great Britain, 1738-1820

$. Annual report of the State Board of Health and Bureau of Vital Statistics of Missouri . 50-59 years.. t^M 40-49 years.. 30-39 years.. lO .. 20-29 years.. W 10-19 years. ■*rt e^ 5-9 years.. . ■t IN 4 years. . • ■ 3 years 2 years 1 year o ^ ^ N Under 1 year t^ CO Total C0C5 (NrtN {»■ -IM (N Mrt cq-H » o o 0 > r-f .ao> ex c a C a IS o It B 10 > Ema XI po O w ce 00 95 N £c c 4O O cQ 51/: o> e r-i u 1 D W ® 0 0 •a c« 0 C PL, 0 0 S 3 H06 CO 1 0)J2 3Eh » x: 0 10 w OS P a c 0 0 0 « 0 c00 06 Si n a a ■a ® s 1cc £1 cc QC B UX! 9 S 0S ? n C0 s 0 I-] 1 C «c■3 Cm 0 a n a C 0cc CO a S > a c Stock Photo$

RM2CH8E4K–. Annual report of the State Board of Health and Bureau of Vital Statistics of Missouri . 50-59 years.. t^M 40-49 years.. 30-39 years.. lO .. 20-29 years.. W 10-19 years. ■*rt e^ 5-9 years.. . ■t IN 4 years. . • ■ 3 years 2 years 1 year o ^ ^ N Under 1 year t^ CO Total C0C5 (NrtN {»■ -IM (N Mrt cq-H » o o 0 > r-f .ao> ex c a C a IS o It B 10 > Ema XI po O w ce 00 95 N £c c 4O O cQ 51/: o> e r-i u 1 D W ® 0 0 •a c« 0 C PL, 0 0 S 3 H06 CO 1 0)J2 3Eh » x: 0 10 w OS P a c 0 0 0 « 0 c00 06 Si n a a ■a ® s 1cc £1 cc QC B UX! 9 S 0S ? n C0 s 0 I-] 1 C «c■3 Cm 0 a n a C 0cc CO a S > a c

Eliezer and Rebecca. Culture: British. Dimensions: H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm); Framed: H. 20 x W. 23 1/2 x D. 1 1/2 inches (50.8 x 59.7 x 3.8 cm). Date: third quarter 17th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPANP7K–Eliezer and Rebecca. Culture: British. Dimensions: H. 15 3/4 x W. 20 inches (40.0 x 50.8 cm); Framed: H. 20 x W. 23 1/2 x D. 1 1/2 inches (50.8 x 59.7 x 3.8 cm). Date: third quarter 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Game of Backgammon, 1640s. David Teniers (Flemish, 1610-1690). Oil on wood, transferred to canvas; framed: 82 x 102 x 9 cm (32 5/16 x 40 3/16 x 3 9/16 in.); unframed: 59 x 80.6 cm (23 1/4 x 31 3/4 in Stock Photo

RMRY3X37–Game of Backgammon, 1640s. David Teniers (Flemish, 1610-1690). Oil on wood, transferred to canvas; framed: 82 x 102 x 9 cm (32 5/16 x 40 3/16 x 3 9/16 in.); unframed: 59 x 80.6 cm (23 1/4 x 31 3/4 in

George Luks, (painter), American, 1866 - 1933, The Bersaglieri, 1918, oil on canvas, overall: 101.9 x 151.5 cm (40 1/8 x 59 5/8 in.), framed: 119.1 x 169.6 x 7 cm (46 7/8 x 66 3/4 x 2 3/4 in Stock Photo

RM2DCEY36–George Luks, (painter), American, 1866 - 1933, The Bersaglieri, 1918, oil on canvas, overall: 101.9 x 151.5 cm (40 1/8 x 59 5/8 in.), framed: 119.1 x 169.6 x 7 cm (46 7/8 x 66 3/4 x 2 3/4 in

P.tie du DIOCESE de BOURGES ou sont LES ARCHIDIACONEÃÅS de BOURBON de BRUERE et de NARZENE Author Sanson, Guillaume 59.15.3. Place of publication: [Paris] Publisher: [publisher not identified] Date of publication: [1678] Item type: 1 map Medium: hand-coloured copperplate engraving Dimensions: 40.7 x 45.3 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9F8MY–P.tie du DIOCESE de BOURGES ou sont LES ARCHIDIACONEÃÅS de BOURBON de BRUERE et de NARZENE Author Sanson, Guillaume 59.15.3. Place of publication: [Paris] Publisher: [publisher not identified] Date of publication: [1678] Item type: 1 map Medium: hand-coloured copperplate engraving Dimensions: 40.7 x 45.3 cm Former owner: George III, King of Great Britain, 1738-1820

Spindle-back armchair. Culture: American. Dimensions: 44 3/4 x 23 1/2 x 15 3/4 in. (113.7 x 59.7 x 40 cm). Date: 1640-80. The rarest and grandest of the early turned chairs are those with rows of spindles below the seat as well as above it. Although its boxlike form may look simple at first glance, this chair is a complex composition with subtle variations in the shaping of the rungs and in the spacing of its horizontal and vertical members. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAXRAR–Spindle-back armchair. Culture: American. Dimensions: 44 3/4 x 23 1/2 x 15 3/4 in. (113.7 x 59.7 x 40 cm). Date: 1640-80. The rarest and grandest of the early turned chairs are those with rows of spindles below the seat as well as above it. Although its boxlike form may look simple at first glance, this chair is a complex composition with subtle variations in the shaping of the rungs and in the spacing of its horizontal and vertical members. Museum: Metropolitan Museum of Art, New York, USA.

Thomas Gainsborough, (artist), British, 1727 - 1788, Seashore with Fishermen, c. 1781/1782, oil on canvas, overall: 101.9 x 127.6 cm (40 1/8 x 50 1/4 in.), framed: 124.5 x 149.9 x 7 cm (49 x 59 x 2 3/4 in Stock Photo

RM2DCC0EA–Thomas Gainsborough, (artist), British, 1727 - 1788, Seashore with Fishermen, c. 1781/1782, oil on canvas, overall: 101.9 x 127.6 cm (40 1/8 x 50 1/4 in.), framed: 124.5 x 149.9 x 7 cm (49 x 59 x 2 3/4 in

VUE DE LA SALLE DES ANTIQUES, Et des Orangeries de Sarskocello. Author Damame-DeÃÅmartrais, Michel-FrancÃßois 112.80.b.2. Place of publication: [Paris] Publisher: [Michel-FrancÃßois Damame-DeÃÅmartrais] Date of publication: [1811] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: sheet 40 x 59.3 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9G52P–VUE DE LA SALLE DES ANTIQUES, Et des Orangeries de Sarskocello. Author Damame-DeÃÅmartrais, Michel-FrancÃßois 112.80.b.2. Place of publication: [Paris] Publisher: [Michel-FrancÃßois Damame-DeÃÅmartrais] Date of publication: [1811] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: sheet 40 x 59.3 cm Former owner: George III, King of Great Britain, 1738-1820

Portrait of a Young Woman. Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59-1536 Florence). Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm). Date: ca. 1490-1500. This damaged but evocative portrait has been identified as the widow of Credi's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (<i>ginepro</i>) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Museum: Metropol Stock Photo

RMPB1M16–Portrait of a Young Woman. Artist: Lorenzo di Credi (Lorenzo d'Andrea d'Oderigo) (Italian, Florence 1456/59-1536 Florence). Dimensions: 23 1/8 x 15 3/4 in. (58.7 x 40 cm). Date: ca. 1490-1500. This damaged but evocative portrait has been identified as the widow of Credi's brother, who was a goldsmith. This would explain why she is dressed in black and holds a ring. The juniper bush (<i>ginepro</i>) behind her could refer to her name, Ginevra di Giovanni di Niccolò. The picture was inspired by Leonardo's portrait of Ginevra de' Benci in the National Gallery of Art, Washington. Museum: Metropol

Edgar Degas, (artist), French, 1834 - 1917, Before the Ballet, 1890/1892, oil on canvas, overall: 40 x 88.9 cm (15 3/4 x 35 in.), framed: 59.7 x 109.8 x 8.2 cm (23 1/2 x 43 1/4 x 3 1/4 in Stock Photo

RM2DCG15R–Edgar Degas, (artist), French, 1834 - 1917, Before the Ballet, 1890/1892, oil on canvas, overall: 40 x 88.9 cm (15 3/4 x 35 in.), framed: 59.7 x 109.8 x 8.2 cm (23 1/2 x 43 1/4 x 3 1/4 in

P.tie du DIOCESE de BOURGES ou sont LES ARCHIDIACONES de BUZANCÃßOIS de SOLOGNE en partie et celuy de GRACAY Author Sanson, Guillaume 59.15.2. Place of publication: [Paris] Publisher: [publisher not identified] Date of publication: [1678] Item type: 1 map Medium: hand-coloured copperplate engraving Dimensions: 40.7 x 45.3 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9F8P6–P.tie du DIOCESE de BOURGES ou sont LES ARCHIDIACONES de BUZANCÃßOIS de SOLOGNE en partie et celuy de GRACAY Author Sanson, Guillaume 59.15.2. Place of publication: [Paris] Publisher: [publisher not identified] Date of publication: [1678] Item type: 1 map Medium: hand-coloured copperplate engraving Dimensions: 40.7 x 45.3 cm Former owner: George III, King of Great Britain, 1738-1820

Armchair. Culture: American. Dimensions: 40 x 27 3/8 x 25 5/8 in. (101.6 x 69.5 x 65.1 cm). Maker: Attributed to Thomas Affleck (1740-1795). Date: ca. 1766. This armchair is a more elaborately carved version of another example (59.154) in the collection. Both are thought to have been made by Thomas Affleck for the family of John Penn. Here, the straight 'Marlborough' legs are embellished with Gothic pointed arches over a Chinese trellis, and the arm supports are fronted by carved leafage. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAX7AC–Armchair. Culture: American. Dimensions: 40 x 27 3/8 x 25 5/8 in. (101.6 x 69.5 x 65.1 cm). Maker: Attributed to Thomas Affleck (1740-1795). Date: ca. 1766. This armchair is a more elaborately carved version of another example (59.154) in the collection. Both are thought to have been made by Thomas Affleck for the family of John Penn. Here, the straight 'Marlborough' legs are embellished with Gothic pointed arches over a Chinese trellis, and the arm supports are fronted by carved leafage. Museum: Metropolitan Museum of Art, New York, USA.

Winslow Homer, (artist), American, 1836 - 1910, Hound and Hunter, 1892, oil on canvas, overall: 71.8 x 122.3 cm (28 1/4 x 48 1/8 in.), framed: 102.2 x 151.8 x 10.2 cm (40 1/4 x 59 3/4 x 4 in Stock Photo

RM2DC9P0F–Winslow Homer, (artist), American, 1836 - 1910, Hound and Hunter, 1892, oil on canvas, overall: 71.8 x 122.3 cm (28 1/4 x 48 1/8 in.), framed: 102.2 x 151.8 x 10.2 cm (40 1/4 x 59 3/4 x 4 in

Plan de la Ville et Cittadelle du Havre de grace 1637. Map information: Title: Plan de la Ville et Cittadelle du Havre de grace 1637. 68.61. Place of publication: [France] Publisher: [unknown producer] Date of publication: [1637 c.] Item type: 1 map Medium: pen and ink with coloured wash Dimensions: 40.6 x 59.3 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9FDFF–Plan de la Ville et Cittadelle du Havre de grace 1637. Map information: Title: Plan de la Ville et Cittadelle du Havre de grace 1637. 68.61. Place of publication: [France] Publisher: [unknown producer] Date of publication: [1637 c.] Item type: 1 map Medium: pen and ink with coloured wash Dimensions: 40.6 x 59.3 cm Former owner: George III, King of Great Britain, 1738-1820

Portrait of Jane Hoskyns, c. 1778-1780. George Romney (British, 1734-1802). Oil on canvas; framed: 102 x 89 x 10.5 cm (40 3/16 x 35 1/16 x 4 1/8 in.); unframed: 69.8 x 59 cm (27 1/2 x 23 1/4 in Stock Photo

RMRY1GG7–Portrait of Jane Hoskyns, c. 1778-1780. George Romney (British, 1734-1802). Oil on canvas; framed: 102 x 89 x 10.5 cm (40 3/16 x 35 1/16 x 4 1/8 in.); unframed: 69.8 x 59 cm (27 1/2 x 23 1/4 in

Poem on the Theme of a Monk's Life. Artist: Sesson Yubai (Japanese, 1290-1346). Culture: Japan. Dimensions: Image: 16 x 23 3/8 in. (40.6 x 59.4 cm) Overall with mounting: 51 x 29 1/8 in. (129.5 x 74 cm) Overall with knobs: 51 x 31 3/16 in. (129.5 x 79.2 cm). Date: 14th century. Sesson Yubai, one of the most accomplished literati Zen monks, was both proficient in calligraphy and learned in Chinese poetry. After studying with the Chinese émigré monk Yishan Yining (Japanese: Issan Ichinei, 1247-1317), he spent twenty-three years in China, and his calligraphy reveals the influence of the latest Stock Photo

RMPAR8YG–Poem on the Theme of a Monk's Life. Artist: Sesson Yubai (Japanese, 1290-1346). Culture: Japan. Dimensions: Image: 16 x 23 3/8 in. (40.6 x 59.4 cm) Overall with mounting: 51 x 29 1/8 in. (129.5 x 74 cm) Overall with knobs: 51 x 31 3/16 in. (129.5 x 79.2 cm). Date: 14th century. Sesson Yubai, one of the most accomplished literati Zen monks, was both proficient in calligraphy and learned in Chinese poetry. After studying with the Chinese émigré monk Yishan Yining (Japanese: Issan Ichinei, 1247-1317), he spent twenty-three years in China, and his calligraphy reveals the influence of the latest

Johann Zoffany, (artist), British, 1733 - 1810, The Lavie Children, c. 1770, oil on canvas, overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.), framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in Stock Photo

RM2DCDEXX–Johann Zoffany, (artist), British, 1733 - 1810, The Lavie Children, c. 1770, oil on canvas, overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.), framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in

WORCESTER. Author Bluck, John 43.67.k. Place of publication: London Publisher: Pubd Augt 1 1800 by F. Jukes No 10 Howland Street., Date of publication: [August 1 1800] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: platemark 40 x 55.3 cm, on sheet 43.4 x 59.6 cm sheet Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9EMM1–WORCESTER. Author Bluck, John 43.67.k. Place of publication: London Publisher: Pubd Augt 1 1800 by F. Jukes No 10 Howland Street., Date of publication: [August 1 1800] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: platemark 40 x 55.3 cm, on sheet 43.4 x 59.6 cm sheet Former owner: George III, King of Great Britain, 1738-1820

Various Roman Ionic capitals compared with Greek examples from Le Roy [S. Maria in Trastevere, S. Paoplo fuori le Mura, S. Clemente, etc.], from Della Magnificenza e d'Architettura de'Romani (On the Grandeur and the Architecture of the Romans by Gio. Battista Piranesi, Fellow of the Royal Society of Antiquaries of London), tab. 20. Artist: Giovanni Battista Piranesi (Italian, Mogliano Veneto 1720-1778 Rome). Dimensions: Plate: 15 3/4 x 23 9/16 in. (40 x 59.8 cm) Sheet: 21 1/4 x 31 1/2 in. (54 x 80 cm). Series/Portfolio: Della Magnificenza e d'Architettura de'Romani. Date: mid-18th century. I Stock Photo

RMPAN0HE–Various Roman Ionic capitals compared with Greek examples from Le Roy [S. Maria in Trastevere, S. Paoplo fuori le Mura, S. Clemente, etc.], from Della Magnificenza e d'Architettura de'Romani (On the Grandeur and the Architecture of the Romans by Gio. Battista Piranesi, Fellow of the Royal Society of Antiquaries of London), tab. 20. Artist: Giovanni Battista Piranesi (Italian, Mogliano Veneto 1720-1778 Rome). Dimensions: Plate: 15 3/4 x 23 9/16 in. (40 x 59.8 cm) Sheet: 21 1/4 x 31 1/2 in. (54 x 80 cm). Series/Portfolio: Della Magnificenza e d'Architettura de'Romani. Date: mid-18th century. I

Domenico Tintoretto, (painter), Venetian, 1560 - 1635, Susanna, c. 1580s, oil on canvas, overall: 150.2 x 102.6 cm (59 1/8 x 40 3/8 in.), framed: 185.7 x 137.8 x 10.8 cm (73 1/8 x 54 1/4 x 4 1/4 in Stock Photo

RM2DCEN2X–Domenico Tintoretto, (painter), Venetian, 1560 - 1635, Susanna, c. 1580s, oil on canvas, overall: 150.2 x 102.6 cm (59 1/8 x 40 3/8 in.), framed: 185.7 x 137.8 x 10.8 cm (73 1/8 x 54 1/4 x 4 1/4 in

George Knapton, (painter), British, 1698 - 1778, A Graduate of Merton College, Oxford, c. 1754/1755, oil on canvas, overall: 127.7 x 102.1 cm (50 1/4 x 40 3/16 in.), framed: 150.2 x 124.5 x 10.2 cm (59 1/8 x 49 x 4 in Stock Photo

RM2DCEMG1–George Knapton, (painter), British, 1698 - 1778, A Graduate of Merton College, Oxford, c. 1754/1755, oil on canvas, overall: 127.7 x 102.1 cm (50 1/4 x 40 3/16 in.), framed: 150.2 x 124.5 x 10.2 cm (59 1/8 x 49 x 4 in

The Nativity, c. 1485-1490. Gerard David (Netherlandish, 1450/60-1523). Oil on wood panel; framed: 102.5 x 76 x 7.5 cm (40 3/8 x 29 15/16 x 2 15/16 in.); unframed: 85.2 x 59.7 cm (33 9/16 x 23 1/2 in Stock Photo

RMRY4M6N–The Nativity, c. 1485-1490. Gerard David (Netherlandish, 1450/60-1523). Oil on wood panel; framed: 102.5 x 76 x 7.5 cm (40 3/8 x 29 15/16 x 2 15/16 in.); unframed: 85.2 x 59.7 cm (33 9/16 x 23 1/2 in

Fritz Müller, (painter), American, 1814 - 1861 or after, Capture of the 'Savannah' by the 'U.S.S. Perry', 1861, oil on canvas, overall: 59 x 91.2 cm (23 1/4 x 35 7/8 in.), framed: 69.9 x 101.6 x 7 cm (27 1/2 x 40 x 2 3/4 in Stock Photo

RM2DCG4NF–Fritz Müller, (painter), American, 1814 - 1861 or after, Capture of the 'Savannah' by the 'U.S.S. Perry', 1861, oil on canvas, overall: 59 x 91.2 cm (23 1/4 x 35 7/8 in.), framed: 69.9 x 101.6 x 7 cm (27 1/2 x 40 x 2 3/4 in

A VIEW of the STRAND BRIDGE from the Design of JOHN RENNIE Esqr F.RS. &c. &c. &c. &c. Engineer to the Company. Author Dubourg, Matthew 22.40.a. Place of publication: London Publisher: Published Decr 5th 1811 by W. Anderson Paddington Green., Date of publication: [December 5 1811] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: sheet 59.3 x 86.1 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9HFG6–A VIEW of the STRAND BRIDGE from the Design of JOHN RENNIE Esqr F.RS. &c. &c. &c. &c. Engineer to the Company. Author Dubourg, Matthew 22.40.a. Place of publication: London Publisher: Published Decr 5th 1811 by W. Anderson Paddington Green., Date of publication: [December 5 1811] Item type: 1 print Medium: aquatint and etching with hand-colouring Dimensions: sheet 59.3 x 86.1 cm Former owner: George III, King of Great Britain, 1738-1820

Portrait of the Great Master Seosan. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 59 7/8 x 30 5/8 in. (152.1 x 77.8 cm) Overall with mounting: 88 1/2 x 37 1/8 in. (224.8 x 94.3 cm) Overall with knobs: 88 1/2 x 40 1/8 in. (224.8 x 101.9 cm). Date: late 17th-18th century. This painting depicts the eminent monk Cheongheodang Hyujeong (1520-1604), better known by his posthumous title, Seosan Daesa, or Great Master Seosan. In addition to his role as a leader of Seon Buddhism (Chan in Chinese; Zen in Japanese), Seosan Daesa was also renowned for helping lead an army of Buddhist Stock Photo

RMPAX3JE–Portrait of the Great Master Seosan. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 59 7/8 x 30 5/8 in. (152.1 x 77.8 cm) Overall with mounting: 88 1/2 x 37 1/8 in. (224.8 x 94.3 cm) Overall with knobs: 88 1/2 x 40 1/8 in. (224.8 x 101.9 cm). Date: late 17th-18th century. This painting depicts the eminent monk Cheongheodang Hyujeong (1520-1604), better known by his posthumous title, Seosan Daesa, or Great Master Seosan. In addition to his role as a leader of Seon Buddhism (Chan in Chinese; Zen in Japanese), Seosan Daesa was also renowned for helping lead an army of Buddhist

Unknown architect, train station for 3 subways. Monthly competition March 1917 (03.1917): Department 1: 2000; Several cross sections of the tunnel 1: 200; Bahnhof in floor plan, view and longitudinal section 1: 200; Scale bar. Ink, pencil on cardboard, 40.4 x 59.6 cm (including scan edges) Stock Photo

RM2JMMMMW–Unknown architect, train station for 3 subways. Monthly competition March 1917 (03.1917): Department 1: 2000; Several cross sections of the tunnel 1: 200; Bahnhof in floor plan, view and longitudinal section 1: 200; Scale bar. Ink, pencil on cardboard, 40.4 x 59.6 cm (including scan edges)

Koenig Hugo (1880-1917), studio building. Monthly competition April 1904 (04.1904): floor plan cellar, ground floor, upper floor, attic 1: 100; Scale bar. Tusche watercolor on the box, 40 x 59.3 cm (including scan edges) Koenig Hugo (1880-1917): Ateliergebäude. Monatskonkurrenz April 1904 Stock Photo

RM2JMWMXC–Koenig Hugo (1880-1917), studio building. Monthly competition April 1904 (04.1904): floor plan cellar, ground floor, upper floor, attic 1: 100; Scale bar. Tusche watercolor on the box, 40 x 59.3 cm (including scan edges) Koenig Hugo (1880-1917): Ateliergebäude. Monatskonkurrenz April 1904

Erhard Etzlaub, (artist), German, died 1532, Road Map of Central Europe, c. 1492, woodcut, image: 40.7 x 29.1 cm (16 x 11 7/16 in.), sheet: 41.6 x 30.2 cm (16 3/8 x 11 7/8 in.), overall (exterior frame dimensions): 59.7 x 44.5 cm (23 1/2 x 17 1/2 in Stock Photo

RM2DCBGHK–Erhard Etzlaub, (artist), German, died 1532, Road Map of Central Europe, c. 1492, woodcut, image: 40.7 x 29.1 cm (16 x 11 7/16 in.), sheet: 41.6 x 30.2 cm (16 3/8 x 11 7/8 in.), overall (exterior frame dimensions): 59.7 x 44.5 cm (23 1/2 x 17 1/2 in

Triumfa España en las Americas (The Triumph of Spain in the Americas). Culture: Spanish. Dimensions: H. 16 x W. 30 inches (40.6 x 76.2 cm); As joined to 59.208.89: H. 15 3/4 x W. 51 1/2 inches (40.0 x 130.8 cm). Date: 18th century. In this Spanish printed cotton, 'America' is a Native American female supported on a litter by two young men in a stylized tropical environment. In the sixteenth century, Europeans began personifying the Americas as an exotic native woman. The phrase Triumfa España en las Americas suggests that the designer was attempting to reassure viewers of Spain's dominance i Stock Photo

RMPB1DEP–Triumfa España en las Americas (The Triumph of Spain in the Americas). Culture: Spanish. Dimensions: H. 16 x W. 30 inches (40.6 x 76.2 cm); As joined to 59.208.89: H. 15 3/4 x W. 51 1/2 inches (40.0 x 130.8 cm). Date: 18th century. In this Spanish printed cotton, 'America' is a Native American female supported on a litter by two young men in a stylized tropical environment. In the sixteenth century, Europeans began personifying the Americas as an exotic native woman. The phrase Triumfa España en las Americas suggests that the designer was attempting to reassure viewers of Spain's dominance i

Koeppen Walther (1877-1933), studio building. Monthly competition April 1904 (04.1904): floor plan basement, ground floor, upper floor 1: 100; Scale bar. Tusche watercolor on the box, 40.5 x 59.3 cm (including scan edges) Koeppen Walther (1877-1933): Ateliergebäude. Monatskonkurrenz April 1904 Stock Photo

RM2JMWMXD–Koeppen Walther (1877-1933), studio building. Monthly competition April 1904 (04.1904): floor plan basement, ground floor, upper floor 1: 100; Scale bar. Tusche watercolor on the box, 40.5 x 59.3 cm (including scan edges) Koeppen Walther (1877-1933): Ateliergebäude. Monatskonkurrenz April 1904

Giovanni d'Alemagna, (painter), German, Venetian, 1400 - 1450, Saint Apollonia Destroys a Pagan Idol, c. 1442/1445, tempera on poplar panel, overall: 59.4 x 34.7 cm (23 3/8 x 13 11/16 in.), framed: 63.8 x 40.8 x 5.4 cm (25 1/8 x 16 1/16 x 2 1/8 in Stock Photo

RM2DCBKTA–Giovanni d'Alemagna, (painter), German, Venetian, 1400 - 1450, Saint Apollonia Destroys a Pagan Idol, c. 1442/1445, tempera on poplar panel, overall: 59.4 x 34.7 cm (23 3/8 x 13 11/16 in.), framed: 63.8 x 40.8 x 5.4 cm (25 1/8 x 16 1/16 x 2 1/8 in

Text Page, Persian Verses (Recto); The Fortieth Year of King Kisra Nushirwan's Reign. The Story of Buzrgmihr. 'Kisra Nushirwan questions Buzurghmihr' in the manuscript of Shahnama of Firdawsi., 1330-1335. Iran, Tabriz, Mongol Period (Ilkhanid), 14th Century. Ink and opaque watercolor on paper; sheet: 59.3 x 40.2 cm (23 3/8 x 15 13/16 in.); text area: 40.6 x 29.2 cm (16 x 11 1/2 in Stock Photo

RMRY4MKC–Text Page, Persian Verses (Recto); The Fortieth Year of King Kisra Nushirwan's Reign. The Story of Buzrgmihr. 'Kisra Nushirwan questions Buzurghmihr' in the manuscript of Shahnama of Firdawsi., 1330-1335. Iran, Tabriz, Mongol Period (Ilkhanid), 14th Century. Ink and opaque watercolor on paper; sheet: 59.3 x 40.2 cm (23 3/8 x 15 13/16 in.); text area: 40.6 x 29.2 cm (16 x 11 1/2 in

Falls of Tivoli, John Warwick Smith, 1749–1831, British, undated, Watercolor and gouache with scraping out on medium, slightly textured, cream wove paper, pasted on thick, smooth, cream wove paper, Mount: 23 1/2 x 19 inches (59.7 x 48.3 cm) and Sheet: 20 7/8 x 16 inches (53 x 40.6 cm), cityscape, cliff, genre subject, houses, landscape, men, river, science, trees, village, waterfalls, women, Aniene, Italy, Lazio, Roma, Tivoli Stock Photo

RM2DJ5CAH–Falls of Tivoli, John Warwick Smith, 1749–1831, British, undated, Watercolor and gouache with scraping out on medium, slightly textured, cream wove paper, pasted on thick, smooth, cream wove paper, Mount: 23 1/2 x 19 inches (59.7 x 48.3 cm) and Sheet: 20 7/8 x 16 inches (53 x 40.6 cm), cityscape, cliff, genre subject, houses, landscape, men, river, science, trees, village, waterfalls, women, Aniene, Italy, Lazio, Roma, Tivoli

North Italian 15th Century, (painter), Francesco Sforza, probably c. 1480/1500, oil on panel, painted surface: 69.5 x 59.5 cm (27 3/8 x 23 7/16 in.), overall (with backing, collar, and cradle): 72.4 x 62.1 cm (28 1/2 x 24 7/16 in.), framed: 103.5 x 92.7 x 8.9 cm (40 3/4 x 36 1/2 x 3 1/2 in Stock Photo

RM2DC8GXW–North Italian 15th Century, (painter), Francesco Sforza, probably c. 1480/1500, oil on panel, painted surface: 69.5 x 59.5 cm (27 3/8 x 23 7/16 in.), overall (with backing, collar, and cradle): 72.4 x 62.1 cm (28 1/2 x 24 7/16 in.), framed: 103.5 x 92.7 x 8.9 cm (40 3/4 x 36 1/2 x 3 1/2 in

Switzerland. Grindelwald, Upper Glacier, Source of the Lutschine, 1875-1877. Adolphe Braun (French, 1812-1877). Carbon print, toned, from wet collodion negative; image: 38.7 x 48.3 cm (15 1/4 x 19 in.); framed: 59.1 x 74.3 cm (23 1/4 x 29 1/4 in.); paper: 40 x 50.7 cm (15 3/4 x 19 15/16 in.); matted: 55.9 x 71.1 cm (22 x 28 in Stock Photo

RMRY5XYB–Switzerland. Grindelwald, Upper Glacier, Source of the Lutschine, 1875-1877. Adolphe Braun (French, 1812-1877). Carbon print, toned, from wet collodion negative; image: 38.7 x 48.3 cm (15 1/4 x 19 in.); framed: 59.1 x 74.3 cm (23 1/4 x 29 1/4 in.); paper: 40 x 50.7 cm (15 3/4 x 19 15/16 in.); matted: 55.9 x 71.1 cm (22 x 28 in

Design for Little Frogmore: Elevation, James Wyatt, 1746–1813, British, 1791, Watercolor, gray wash, pen and black and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 23 1/2 x 18 inches (59.7 x 45.7 cm), Contemporary drawn border: 22 3/4 x 17 1/4 inches (57.8 x 43.8 cm), and Image: 21 5/8 x 16 inches (54.9 x 40.6 cm), architectural subject, chimneys (architectural elements), clouds, elevations (drawings), Gothic (Medieval), lawn, pointed arch, stairs, trees Stock Photo

RM2DHWYPY–Design for Little Frogmore: Elevation, James Wyatt, 1746–1813, British, 1791, Watercolor, gray wash, pen and black and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 23 1/2 x 18 inches (59.7 x 45.7 cm), Contemporary drawn border: 22 3/4 x 17 1/4 inches (57.8 x 43.8 cm), and Image: 21 5/8 x 16 inches (54.9 x 40.6 cm), architectural subject, chimneys (architectural elements), clouds, elevations (drawings), Gothic (Medieval), lawn, pointed arch, stairs, trees

Salon des Cent. Dimensions: 63.1 cm x 42.9 cm, 59.3 cm x 40 cm. Museum: Van Gogh Museum, Amsterdam. Author: IBELS, HENRI GABRIEL. Stock Photo

RMR64M9P–Salon des Cent. Dimensions: 63.1 cm x 42.9 cm, 59.3 cm x 40 cm. Museum: Van Gogh Museum, Amsterdam. Author: IBELS, HENRI GABRIEL.

Koeppen Walther (1877-1933), studio building. Monthly competition April 1904 (04.1904): Upper south view (entrance), slope view (north side) 1: 100; Scale bar. Ink on cardboard, 59.5 x 40.3 cm (including scan edges) Koeppen Walther (1877-1933): Ateliergebäude. Monatskonkurrenz April 1904 Stock Photo

RM2JMWMWM–Koeppen Walther (1877-1933), studio building. Monthly competition April 1904 (04.1904): Upper south view (entrance), slope view (north side) 1: 100; Scale bar. Ink on cardboard, 59.5 x 40.3 cm (including scan edges) Koeppen Walther (1877-1933): Ateliergebäude. Monatskonkurrenz April 1904

On the Marsh Jules Dupré (French, 1811-1889). On the Marsh, 1850. Oil on canvas mounted on masonite, 15 3/4 x 23 1/4 in. (40.0 x 59.1 cm). European Art 1850 Stock Photo

RM2M935A5–On the Marsh Jules Dupré (French, 1811-1889). On the Marsh, 1850. Oil on canvas mounted on masonite, 15 3/4 x 23 1/4 in. (40.0 x 59.1 cm). European Art 1850

RM2M935A1–On the Marsh Jules Dupré (French, 1811-1889). On the Marsh, 1850. Oil on canvas mounted on masonite, 15 3/4 x 23 1/4 in. (40.0 x 59.1 cm). European Art 1850

A View in the Island of Jamaica, of Roaring River Estate, belonging to William Beckford Esq.r near Savannah la Marr, Print made by Thomas Vivares, c.1735–c.1790, British, after George Robertson, 1749–1788, British, Published by John Boydell, 1720–1804, British, 1778, Line engraving on medium, moderately textured, cream laid paper, Sheet: 18 1/2 x 22 1/4in. (47 x 56.5cm), Plate: 15 3/4 x 21 1/2in. (40 x 54.6cm), Image: 13 3/4 x 20 1/2in. (34.9 x 52.1cm), and Frame: 23 1/4 × 29 1/4 × 1 1/8 inches (59.1 × 74.3 × 2.9 cm Stock Photo

RM2DJ4E9X–A View in the Island of Jamaica, of Roaring River Estate, belonging to William Beckford Esq.r near Savannah la Marr, Print made by Thomas Vivares, c.1735–c.1790, British, after George Robertson, 1749–1788, British, Published by John Boydell, 1720–1804, British, 1778, Line engraving on medium, moderately textured, cream laid paper, Sheet: 18 1/2 x 22 1/4in. (47 x 56.5cm), Plate: 15 3/4 x 21 1/2in. (40 x 54.6cm), Image: 13 3/4 x 20 1/2in. (34.9 x 52.1cm), and Frame: 23 1/4 × 29 1/4 × 1 1/8 inches (59.1 × 74.3 × 2.9 cm

John Temple. Dated: 1765. Dimensions: overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Medium: pastel on paper mounted on canvas. Museum: National Gallery of Art, Washington DC. Author: John Singleton Copley. Stock Photo

RMR358GM–John Temple. Dated: 1765. Dimensions: overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Medium: pastel on paper mounted on canvas. Museum: National Gallery of Art, Washington DC. Author: John Singleton Copley.

Pendant necklace, 15 3/4 x 8 1/2 x 1 3/4 in. (40.01 x 21.59 x 4.45 cm), Silver, China Stock Photo

RM2T908NJ–Pendant necklace, 15 3/4 x 8 1/2 x 1 3/4 in. (40.01 x 21.59 x 4.45 cm), Silver, China

RM2H10JFB–Nine-Dragon Falls, late 1800s. Han Unpyeong (Korean). Ink and color on paper; overall: 71 x 40.7 cm (27 15/16 x 16 in.); painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in.).

Decorative Figures 'Peace and Plenty'. Dated: c. 1938. Dimensions: overall: 40 x 59.7 cm (15 3/4 x 23 1/2 in.). Medium: watercolor, graphite, and colored pencil on paperboard. Museum: National Gallery of Art, Washington DC. Author: Robert Pohle. Stock Photo

RMR2PR1J–Decorative Figures 'Peace and Plenty'. Dated: c. 1938. Dimensions: overall: 40 x 59.7 cm (15 3/4 x 23 1/2 in.). Medium: watercolor, graphite, and colored pencil on paperboard. Museum: National Gallery of Art, Washington DC. Author: Robert Pohle.

Tiger left of a pair of Tiger and Dragon, 1868, Mori Ippo, Japanese, 1798 - 1871, 40 3/8 x 16 3/4 in. (102.55 x 42.55 cm) (image)69 x 23 1/4 in. (175.26 x 59.06 cm) (overall, without roller), Ink on silk, Japan, 19th century Stock Photo

RM2T91KJ0–Tiger left of a pair of Tiger and Dragon, 1868, Mori Ippo, Japanese, 1798 - 1871, 40 3/8 x 16 3/4 in. (102.55 x 42.55 cm) (image)69 x 23 1/4 in. (175.26 x 59.06 cm) (overall, without roller), Ink on silk, Japan, 19th century

RM2H10X2R–Game of Backgammon, 1640s. David Teniers (Flemish, 1610–1690). Oil on wood, transferred to canvas; framed: 82 x 102 x 9 cm (32 5/16 x 40 3/16 x 3 9/16 in.); unframed: 59 x 80.6 cm (23 1/4 x 31 3/4 in.).

Spring Dance Scene, mid- to late 1600s. Attributed to Hishikawa Moronobu (Japanese, c. 1618-1694). Hanging scroll; ink and color on silk; overall: 151.1 x 92.1 cm (59 1/2 x 36 1/4 in.); painting only: 40 x 68.3 cm (15 3/4 x 26 7/8 in.). Stock Photo

RM2H0YAE9–Spring Dance Scene, mid- to late 1600s. Attributed to Hishikawa Moronobu (Japanese, c. 1618-1694). Hanging scroll; ink and color on silk; overall: 151.1 x 92.1 cm (59 1/2 x 36 1/4 in.); painting only: 40 x 68.3 cm (15 3/4 x 26 7/8 in.).

RM2H10WGJ–Portrait of Jane Hoskyns, c. 1778-1780. George Romney (British, 1734-1802). Oil on canvas; framed: 102 x 89 x 10.5 cm (40 3/16 x 35 1/16 x 4 1/8 in.); unframed: 69.8 x 59 cm (27 1/2 x 23 1/4 in.).

The Bersaglieri. Dated: 1918. Dimensions: overall: 101.9 x 151.5 cm (40 1/8 x 59 5/8 in.) framed: 119.1 x 169.6 x 7 cm (46 7/8 x 66 3/4 x 2 3/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: George Luks. Stock Photo

RMPM7WK7–The Bersaglieri. Dated: 1918. Dimensions: overall: 101.9 x 151.5 cm (40 1/8 x 59 5/8 in.) framed: 119.1 x 169.6 x 7 cm (46 7/8 x 66 3/4 x 2 3/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: George Luks.

Animal Locomotion Plate 699, 1887, Eadweard Muybridge; Publisher: University of Pennsylvania, American (born England), American (born England), 1830 - 1904, 7 7/16 x 15 3/4 in. (18.89 x 40.01 cm) (image)18 1/2 x 23 1/2 in. (46.99 x 59.69 cm) (sheet), Collotype, 19th century Stock Photo

RM2T91MM6–Animal Locomotion Plate 699, 1887, Eadweard Muybridge; Publisher: University of Pennsylvania, American (born England), American (born England), 1830 - 1904, 7 7/16 x 15 3/4 in. (18.89 x 40.01 cm) (image)18 1/2 x 23 1/2 in. (46.99 x 59.69 cm) (sheet), Collotype, 19th century

RM2H10GX5–The Nativity, c. 1485-1490. Gerard David (Netherlandish, 1450/60-1523). Oil on wood panel; framed: 102.5 x 76 x 7.5 cm (40 3/8 x 29 15/16 x 2 15/16 in.); unframed: 85.2 x 59.7 cm (33 9/16 x 23 1/2 in.).

Seashore with Fishermen. Dated: c. 1781/1782. Dimensions: overall: 101.9 x 127.6 cm (40 1/8 x 50 1/4 in.) framed: 124.5 x 149.9 x 7 cm (49 x 59 x 2 3/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Thomas Gainsborough. Stock Photo

RMPM644H–Seashore with Fishermen. Dated: c. 1781/1782. Dimensions: overall: 101.9 x 127.6 cm (40 1/8 x 50 1/4 in.) framed: 124.5 x 149.9 x 7 cm (49 x 59 x 2 3/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Thomas Gainsborough.

Tiger Emerging from Bamboo, late 18th century, Katayama Yōkoku, Japanese, 1760 - 1801, 50 5/8 x 33 5/8 in. (128.59 x 85.41 cm) (image)77 3/4 x 40 1/2 in. (197.49 x 102.87 cm) (overall, without roller), Ink and colors on silk, Japan, 18th century Stock Photo

RM2T91KHF–Tiger Emerging from Bamboo, late 18th century, Katayama Yōkoku, Japanese, 1760 - 1801, 50 5/8 x 33 5/8 in. (128.59 x 85.41 cm) (image)77 3/4 x 40 1/2 in. (197.49 x 102.87 cm) (overall, without roller), Ink and colors on silk, Japan, 18th century

Chartres Cathedral: Right Door of the Royal Portal with Our Lady of Chartres, 1857. Charles Nègre (French, 1820-1880). Photogravure; image: 59.7 x 45.5 cm (23 1/2 x 17 15/16 in.); paper: 103 x 72.5 cm (40 9/16 x 28 9/16 in.); matted: 106.7 x 81.3 cm (42 x 32 in.). Stock Photo

RM2H11P19–Chartres Cathedral: Right Door of the Royal Portal with Our Lady of Chartres, 1857. Charles Nègre (French, 1820-1880). Photogravure; image: 59.7 x 45.5 cm (23 1/2 x 17 15/16 in.); paper: 103 x 72.5 cm (40 9/16 x 28 9/16 in.); matted: 106.7 x 81.3 cm (42 x 32 in.).

Saint John the Baptist, c. 1500. Attributed to Jan Crocq (Netherlandish, act. 1486-1510). Tonnerre limestone; overall: 163 x 59 x 40 cm (64 3/16 x 23 1/4 x 15 3/4 in.). John the Baptist was one of the most beloved and widely venerated saints of the Middle Ages. He is depicted here wearing his traditional camel hair fleece beneath a luxuriant outer mantle. The sculpture is attributed to Jan Crocq, a Netherlandish artist active at the court of René II, Duke of Lorraine at Nancy from 1486 to 1510, and noted for his naturalistic treatment of hair and costume. Stock Photo

RM2H0YK1A–Saint John the Baptist, c. 1500. Attributed to Jan Crocq (Netherlandish, act. 1486-1510). Tonnerre limestone; overall: 163 x 59 x 40 cm (64 3/16 x 23 1/4 x 15 3/4 in.). John the Baptist was one of the most beloved and widely venerated saints of the Middle Ages. He is depicted here wearing his traditional camel hair fleece beneath a luxuriant outer mantle. The sculpture is attributed to Jan Crocq, a Netherlandish artist active at the court of René II, Duke of Lorraine at Nancy from 1486 to 1510, and noted for his naturalistic treatment of hair and costume.

Switzerland. Grindelwald, Upper Glacier, Source of the Lutschine, 1875–77. Adolphe Braun (French, 1812-1877). Carbon print, toned, from wet collodion negative; image: 38.7 x 48.3 cm (15 1/4 x 19 in.); paper: 40 x 50.7 cm (15 3/4 x 19 15/16 in.); matted: 55.9 x 71.1 cm (22 x 28 in.); framed: 59.1 x 74.3 cm (23 1/4 x 29 1/4 in.). Stock Photo

RM2H10YKY–Switzerland. Grindelwald, Upper Glacier, Source of the Lutschine, 1875–77. Adolphe Braun (French, 1812-1877). Carbon print, toned, from wet collodion negative; image: 38.7 x 48.3 cm (15 1/4 x 19 in.); paper: 40 x 50.7 cm (15 3/4 x 19 15/16 in.); matted: 55.9 x 71.1 cm (22 x 28 in.); framed: 59.1 x 74.3 cm (23 1/4 x 29 1/4 in.).

Cover for a Trophy Cup, 1792–93. Firm of Peter Bateman (British, 1740-1825). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as the trophy that accompanies this lid, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of the trophy cup can be found t Stock Photo

RM2H106MJ–Cover for a Trophy Cup, 1792–93. Firm of Peter Bateman (British, 1740-1825). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as the trophy that accompanies this lid, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of the trophy cup can be found t

Hound and Hunter. Dated: 1892. Dimensions: overall: 71.8 x 122.3 cm (28 1/4 x 48 1/8 in.) framed: 102.2 x 151.8 x 10.2 cm (40 1/4 x 59 3/4 x 4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Winslow Homer. Stock Photo

RMRFGR7M–Hound and Hunter. Dated: 1892. Dimensions: overall: 71.8 x 122.3 cm (28 1/4 x 48 1/8 in.) framed: 102.2 x 151.8 x 10.2 cm (40 1/4 x 59 3/4 x 4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Winslow Homer.

Dragon right of a pair of Tiger and Dragon, 1868, Mori Ippo, Japanese, 1798 - 1871, 40 3/4 x 16 3/4 in. (103.51 x 42.55 cm) (image)69 1/4 x 23 1/4 in. (175.9 x 59.06 cm) (overall, without roller), Ink on silk, Japan, 19th century Stock Photo

RM2T91KHN–Dragon right of a pair of Tiger and Dragon, 1868, Mori Ippo, Japanese, 1798 - 1871, 40 3/4 x 16 3/4 in. (103.51 x 42.55 cm) (image)69 1/4 x 23 1/4 in. (175.9 x 59.06 cm) (overall, without roller), Ink on silk, Japan, 19th century

Trophy Cup and Cover, 1792-1793. Peter Bateman (British, 1740-1825), Anne Bateman (British, 1748-1813). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, acanthus spears, and acorn finial, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy c Stock Photo

RM2H0XX7X–Trophy Cup and Cover, 1792-1793. Peter Bateman (British, 1740-1825), Anne Bateman (British, 1748-1813). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, acanthus spears, and acorn finial, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy c

Trophy Cup, 1792–93. Peter Bateman (British, 1740-1825), Anne Bateman (British, 1748-1813). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy cup can be found the arms o Stock Photo

RM2H106MN–Trophy Cup, 1792–93. Peter Bateman (British, 1740-1825), Anne Bateman (British, 1748-1813). Silver gilt; overall: 59.7 x 40 cm (23 1/2 x 15 3/4 in.). Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this trophy, with its swags of flowers, neoclassical rosettes, and acanthus spears, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. Engraved on one side of this trophy cup can be found the arms o

Persian Verses: The Fortieth Year of King Kisra Nushirwan's Reign and the Story of Buzurgmihr (recto) from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), 1330-35. Iran, Tabriz, Ilkhanid period (1256-1353). Ink and opaque watercolor on paper; sheet: 59.3 x 40.2 cm (23 3/8 x 15 13/16 in.); text area: 40.6 x 29.2 cm (16 x 11 1/2 in.). Mongol interest in the production of illustrated manuscripts eventually focused on Persian epic poetry. The Shahnama, a compilation of the epics and tales of Iran's legendary heroes, was a natural choice; the book included many subjects that suited Mong Stock Photo

RM2H0YXG8–Persian Verses: The Fortieth Year of King Kisra Nushirwan's Reign and the Story of Buzurgmihr (recto) from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), 1330-35. Iran, Tabriz, Ilkhanid period (1256-1353). Ink and opaque watercolor on paper; sheet: 59.3 x 40.2 cm (23 3/8 x 15 13/16 in.); text area: 40.6 x 29.2 cm (16 x 11 1/2 in.). Mongol interest in the production of illustrated manuscripts eventually focused on Persian epic poetry. The Shahnama, a compilation of the epics and tales of Iran's legendary heroes, was a natural choice; the book included many subjects that suited Mong

Dietrich Emil (1844-1913), railway bridge. Monthly competition April 1875 (04.1875): floor plan, outline side view, longitudinal section, details; Scale bar. Tusche watercolor on the box, 59.1 x 44.3 cm (including scan edges) Dietrich Emil (1844-1913): Eisenbahnbrücke. Monatskonkurrenz April 1875 Stock Photo

RM2JMTMMJ–Dietrich Emil (1844-1913), railway bridge. Monthly competition April 1875 (04.1875): floor plan, outline side view, longitudinal section, details; Scale bar. Tusche watercolor on the box, 59.1 x 44.3 cm (including scan edges) Dietrich Emil (1844-1913): Eisenbahnbrücke. Monatskonkurrenz April 1875

Before the Ballet. Dated: 1890/1892. Dimensions: overall: 40 x 88.9 cm (15 3/4 x 35 in.) framed: 59.7 x 109.8 x 8.2 cm (23 1/2 x 43 1/4 x 3 1/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS. Stock Photo

RMPKYA3N–Before the Ballet. Dated: 1890/1892. Dimensions: overall: 40 x 88.9 cm (15 3/4 x 35 in.) framed: 59.7 x 109.8 x 8.2 cm (23 1/2 x 43 1/4 x 3 1/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Saint Jude, 1591-1592, Jacob de Gheyn, the Younger, Flemish, 1565 - 1629, 8 3/4 x 8 1/2 in. (22.23 x 21.59 cm) (sheet)19 3/4 × 15 3/4 in. (50.17 × 40.01 cm) (outer frame), Pen and brown ink and grey wash on white laid paper, Belgium, 16th century Stock Photo

RM2T91MW2–Saint Jude, 1591-1592, Jacob de Gheyn, the Younger, Flemish, 1565 - 1629, 8 3/4 x 8 1/2 in. (22.23 x 21.59 cm) (sheet)19 3/4 × 15 3/4 in. (50.17 × 40.01 cm) (outer frame), Pen and brown ink and grey wash on white laid paper, Belgium, 16th century

Susanna. Dated: c. 1575. Dimensions: overall: 150.2 x 102.6 cm (59 1/8 x 40 3/8 in.) framed: 185.7 x 137.8 x 10.8 cm (73 1/8 x 54 1/4 x 4 1/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Jacopo Tintoretto. Stock Photo

RMR3AYC3–Susanna. Dated: c. 1575. Dimensions: overall: 150.2 x 102.6 cm (59 1/8 x 40 3/8 in.) framed: 185.7 x 137.8 x 10.8 cm (73 1/8 x 54 1/4 x 4 1/4 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: Jacopo Tintoretto.

Kneeling Carmelite Nun: Saint Teresa of Avila (?), 17th century, Attributed to Jean-Baptiste de Champaigne, French, 1631 - 1681, 4 9/16 x 3 3/16 in. (11.59 x 8.1 cm) (sheet)19 3/4 x 15 3/4 in. (50.17 x 40.01 cm) (outer frame), Pen and brown ink and wash on laid paper, France, 17th century Stock Photo

RM2T91A85–Kneeling Carmelite Nun: Saint Teresa of Avila (?), 17th century, Attributed to Jean-Baptiste de Champaigne, French, 1631 - 1681, 4 9/16 x 3 3/16 in. (11.59 x 8.1 cm) (sheet)19 3/4 x 15 3/4 in. (50.17 x 40.01 cm) (outer frame), Pen and brown ink and wash on laid paper, France, 17th century

The Lavie Children. Dated: c. 1770. Dimensions: overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.) framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: JOHANN ZOFFANY. Stock Photo

RMPKYAKE–The Lavie Children. Dated: c. 1770. Dimensions: overall: 102.5 x 127.6 cm (40 3/8 x 50 1/4 in.) framed: 125.7 x 151.1 x 7.6 cm (49 1/2 x 59 1/2 x 3 in.). Medium: oil on canvas. Museum: National Gallery of Art, Washington DC. Author: JOHANN ZOFFANY.

Book of Sudhana from the Garland Sutra (Hua-yan Ching Pu-hsien Hsing-yuan Pin), late 16th century, 16 1/16 x 4 3/8 x 5/8 in. (40.8 x 11.11 x 1.59 cm), Woodblock print on paper, China, 16th century, The final chapter of the Garland Sutra (Hua yan ching) was considered essential reading for all Buddhists. It concerns the Indian boy Sudhana who, while searching for knowledge of the Buddhist law, sought advice from 53 different bodhisattvas. Finally, the bodhisattva Samantabhadra taught him his ten great compassionate vows and how to fulfill them in order to attain enlightenment Stock Photo

RM2T91F7D–Book of Sudhana from the Garland Sutra (Hua-yan Ching Pu-hsien Hsing-yuan Pin), late 16th century, 16 1/16 x 4 3/8 x 5/8 in. (40.8 x 11.11 x 1.59 cm), Woodblock print on paper, China, 16th century, The final chapter of the Garland Sutra (Hua yan ching) was considered essential reading for all Buddhists. It concerns the Indian boy Sudhana who, while searching for knowledge of the Buddhist law, sought advice from 53 different bodhisattvas. Finally, the bodhisattva Samantabhadra taught him his ten great compassionate vows and how to fulfill them in order to attain enlightenment

Panel. Possibly after Anna Maria Garthwaite (English, 1690-1763); England, Spitalfields. Date: 1733-1743. Dimensions: 103.7 x 51.3 cm (40 3/4 x 20 1/4 in.) Warp repeat: 59.1 cm (23 1/4 in.). Silk, plain weave with 3:1 twill interlacings of secondary binding warps and brocading wefts; two selvages present. Origin: Spitalfields. Museum: The Chicago Art Institute. Stock Photo

RMRXD127–Panel. Possibly after Anna Maria Garthwaite (English, 1690-1763); England, Spitalfields. Date: 1733-1743. Dimensions: 103.7 x 51.3 cm (40 3/4 x 20 1/4 in.) Warp repeat: 59.1 cm (23 1/4 in.). Silk, plain weave with 3:1 twill interlacings of secondary binding warps and brocading wefts; two selvages present. Origin: Spitalfields. Museum: The Chicago Art Institute.

40 3 x 59 1 cm Stock Photos and Images

40 3 x 59 1 cm Stock Photos and Images

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