Active 2nd half of 19th century Stock Photos and Images
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Active 2nd half of 19th century Stock Photos and Images
RM2B0GY6W–Michel Berthaud, French, active 2nd half of 19th century, Henri Regnault, Carte-de-Visite, 1866–71, Albumen print from glass negative, image: 3 11/16 x 2 3/16 in. (9.4 x 5.6 cm
RMPANKP2–Go Horen no zu View of the Imperial Carriage. Artist: Utagawa Kunitoshi (Japanese, active 2nd half of 19th century). Culture: Japan. Dimensions: Triptych 14 9/16 x 29 in. (37 x 73.6 cm). Date: 1889 (Meiji 22). Museum: Metropolitan Museum of Art, New York, USA.
RMP76NR1–Toshimasa (Japanese, active ca. 1850-1925). 'Tsuba of the Gods of Wind and Thunder,' 2nd half 19th century-1st quarter 20th century. silver, gold, copper, shakudo, shibuichi. Walters Art Museum (51.166): Acquired by Henry Walters. 222 Toshimasa - Tsuba with the Gods of Wind and Thunder - Walters 51166
RF2HW3GW6–Art inspired by Go Horen no zu, View of the Imperial Carriage, Meiji period (1868–1912), 1889 (Meiji 22), Japan, One sheet of a triptych of polychrome woodblock prints; ink and color on paper, Triptych 14 9/16 x 29 in. (37 x 73.6 cm), Prints, Utagawa Kunitoshi (Japanese, active 2nd, 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
RM2HWBXKA–Reading at the Secluded Pine Studio (Song yin an). Artist: Tao Tao, active 2nd half of the 19th century
RMPAXN44–Onna no Daruma. Artist: Keiri (Japanese, active first half of the 19th century). Culture: Japan. Dimensions: 8 1/2 x 7 5/16 in. (21.6 x 18.6 cm). Date: 1835?. Museum: Metropolitan Museum of Art, New York, USA.
RMP76NRA–Toshimasa (Japanese, active ca. 1850-1925). 'Tsuba of the Gods of Wind and Thunder,' 2nd half 19th century-1st quarter 20th century. silver, gold, copper, shakudo, shibuichi. Walters Art Museum (51.166): Acquired by Henry Walters. 222 Toshimasa - Tsuba with the Gods of Wind and Thunder - Walters 51166 - Mark
RMPB4NCT–Drawing Book. Artist: H. Byrne (British, active second half of 19th century). Dimensions: 9 5/8 × 14 3/16 in. (24.5 × 36 cm). Printer: Cover printed by John Heywood (British, late 19th century). Date: 1880-81. Museum: Metropolitan Museum of Art, New York, USA.
RMP76NR9–Toshimasa (Japanese, active ca. 1850-1925). 'Tsuba of the Gods of Wind and Thunder,' 2nd half 19th century-1st quarter 20th century. silver, gold, copper, shakudo, shibuichi. Walters Art Museum (51.166): Acquired by Henry Walters. 222 Toshimasa - Tsuba with the Gods of Wind and Thunder - Walters 51166 - Back
RMPAAY6Y–Fashionable Seven Autumn Plants (Fuzoku aki nanakusa). Artist: Toyohara Sadatora (Japanese, active ca. 1818-1844). Culture: Japan. Dimensions: Image: 15 in. × 10 1/8 in. (38.1 × 25.7 cm). Date: first half of the 19th century. Museum: Metropolitan Museum of Art, New York, USA.
RMPAM4CB–Louis Michel Lepelletier de St. Fargeau. Artist: Pierre Michel Alix (French, Paris 1762-1817 Paris); After Louis Garneray (French, active first half 19th century). Dimensions: Sheet: 16 1/16 × 11 7/8 in. (40.8 × 30.2 cm). Series/Portfolio: Collection des Grands Hommes. Date: 1794. Museum: Metropolitan Museum of Art, New York, USA.
RMPATFJ2–Inro with Rabbit in the Moon and Autumn Grasses. Artist: Kyukoku (Japanese, active first half of the 19th century). Culture: Japan. Dimensions: 3 3/8 x 1 7/8 x 1 1/8 in. (8.5 x 4.7 x 2.8 cm). Date: first half of the 19th century. Museum: Metropolitan Museum of Art, New York, USA.
RMPAMAH4–Fantastic Rocks with Cascading Waterfall; Fishing Boats by a Lake Hamlet. Artist: Aiseki (Japanese, active first half of the 19th century). Culture: Japan. Dimensions: Image (a): 51 3/4 × 17 15/16 in. (131.5 × 45.5 cm) Overall with mounting (a): 81 1/2 × 22 15/16 in. (207 × 58.2 cm) Overall with knobs (a): 81 1/2 × 25 1/16 in. (207 × 63.6 cm) Image (b): 51 13/16 × 17 7/8 in. (131.6 × 45.4 cm) Overall with mounting (b): 81 1/2 × 22 15/16 in. (207 × 58.2 cm) Overall with knobs (b): 81 1/2 × 25 1/16 in. (207 × 63.7 cm). Date: first half of the 19th century. Museum: Metropolitan Museum of Art
RMPB4N2B–America. Artist: After a composition by Jean Jacques François Le Barbier (French, Rouen 1738-1826 Paris). Culture: French, Beauvais. Dimensions: Overall: 42 1/4 × 75 3/8 × 28 in. (107.3 × 191.5 × 71.1 cm). Factory: Tapestry upholstery by Beauvais. Maker: Workshop of de Menou (French, active 1780-93). Patron: Commissioned for Louis XVI, King of France (French, Versailles 1754-1793 Paris). Date: designed ca. 1786, woven 1790-91; settee frame second half 19th century. Louis XVI commissioned the tapestry-woven upholstery for two settees (1978.5a-c, .6a-c) and twelve armchairs (1978.404.7a-c-.18a-
RMPANJ8X–Armchair. Artist: After a composition by Jean Jacques François Le Barbier (French, Rouen 1738-1826 Paris). Culture: French, Beauvais. Dimensions: Overall: 37 3/4 × 27 × 24 in. (95.9 × 68.6 × 61 cm). Factory: Tapestry upholstery by Beauvais. Maker: Workshop of de Menou (French, active 1780-93). Patron: Commissioned for Louis XVI, King of France (French, Versailles 1754-1793 Paris). Date: designed ca. 1786, woven 1790-91; chair frame second half 19th century. Commissioned by Louis XVI, this ensemble belongs to a set of four wall hangings (1978.404.1-.4) and fifty-six pieces of furniture upholst
RMPAR8N1–Armchair. Artist: After a composition by Jean Jacques François Le Barbier (French, Rouen 1738-1826 Paris). Culture: French, Beauvais. Dimensions: Overall: 37 3/4 × 27 × 24 in. (95.9 × 68.6 × 61 cm). Factory: Tapestry upholstery by Beauvais. Maker: Workshop of de Menou (French, active 1780-93). Patron: Commissioned for Louis XVI, King of France (French, Versailles 1754-1793 Paris). Date: designed ca. 1786, woven 1790-91; chair frame second half 19th century. Commissioned by Louis XVI, this ensemble belongs to a set of four wall hangings (1978.404.1-.4) and fifty-six pieces of furniture upholst
RMPAXPA3–Settee. Artist: After a composition by Jean Jacques François Le Barbier (French, Rouen 1738-1826 Paris). Culture: French, Beauvais. Dimensions: Overall: 42 1/4 × 75 3/8 × 28 in. (107.3 × 191.5 × 71.1 cm). Factory: Tapestry upholstery by Beauvais. Maker: Workshop of de Menou (French, active 1780-93). Patron: Commissioned for Louis XVI, King of France (French, Versailles 1754-1793 Paris). Date: designed ca. 1786, woven 1790-91; settee frame second half 19th century. Louis XVI commissioned the tapestry-woven upholstery for two settees (1978.5a-c, .6a-c) and twelve armchairs (1978.404.7a-c-.18a-c
RMPATMTW–Drawing Book. Artist: H. Byrne (British, active second half of 19th century). Dimensions: 8 7/8 × 13 in. (22.5 × 33 cm). Date: 1883. Museum: Metropolitan Museum of Art, New York, USA.
RMPAKYCD–Afternoon jacket. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: 1885-90. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impecca
RMPB1ME7–Evening cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: 1885-89. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably
RMPAMAF6–Evening jacket. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1893. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccab
RMPAC20F–Dress. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1885. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailor
RMPAPH2E–Cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1895. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailore
RMPAAWT6–Evening cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1891. Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably
RMPANXX8–Pedestal from the drawing room of the William H. Vanderbilt House. Artist: Herter Brothers (German, active New York, 1864-1906). Culture: American. Dimensions: 64 1/4 x 10 15/16 x 10 15/16 in. (163.2 x 27.8 x 27.8 cm). Date: 1879-82. Herter Brothers, the leading cabinetmaking, design, and decorating firm during the second half of the nineteenth century, created a pair (2002.298.1-.2) of opulent pedestals for their most prestigious commission, the grand Fifth Avenue residence of William H. Vanderbilt. Each pedstal is a column carved with ribbons and 'jewel'-encrusted garlands. Ormolu capitals
RMPANJ09–A bacchante wearing a flowing drapery, looking down, right arm bent and left arm outstretched, set against a black background inside a rectangular frame. Artist: Engraved by Antonio Ricciani (Italian, Rome 1775/76-1847 Naples); Intermediary draughtsman Luigi Agricola (Italian, born ca. 1750). Dimensions: Sheet: 16 5/16 × 12 3/8 in. (41.4 × 31.5 cm) Plate: 13 × 9 13/16 in. (33 × 25 cm). Publisher: Agapito Franzetti (Italian, active Rome, last quarter 18th century-first quarter 19th century). Date: ca. 1795-1847. From a series of engravings depicting wall paintings from Herculaneum, made by va
RMPAPGG9–Egyptian Revival demi-parure. Culture: British. Dimensions: Necklace, confirmed: 1 × 14 in. (2.5 × 35.6 cm); Bracelet, confirmed: 7/8 × 2 3/8 × 2 1/8 in. (2.2 × 6 × 5.4 cm); Earring, confirmed: 2 3/16 × 1 1/16 in. (5.6 × 2.7 cm). Maker: Carlo Giuliano (Italian, active England, ca. 1831-1895). Retailer: C. F. Hancock. Date: ca. 1865. The firm of Carlo Giuliano was one of the leading producers of archaeological-revival jewelry in the second half of the nineteenth century, and this parure in the Egyptian taste reflects one of the many historical styles in which the Giuliano firm worked. It is
RMPAARNP–Earrings. Culture: American. Dimensions: Earrings: 1 1/16 x 5/8 x 1 1/2 in. (2.7 x 1.6 x 3.8 cm). Maker: Edward Burr (active 1838-68). Date: ca. 1836-50. By the mid-nineteenth century, Americans were experiencing an era of innovation in science and industry. Among the latter was the jewelry industry, which, like fashions in dress, looked to Europe for inspiration. A nostalgic romanticism infused contemporary styles in both England and America. Such mid-eighteenth-century motifs as flowers and scrolls began to reappear. This lovely half-set of brooch and earrings emulates French and English de
RMPAB2M7–Carnot Is Sick! (from Les Vieilles Histoires). Artist: Henri de Toulouse-Lautrec (French, Albi 1864-1901 Saint-André-du-Bois). Dimensions: Sheet: 13 11/16 × 10 13/16 in. (34.7 × 27.5 cm) Image: 9 5/8 × 7 5/16 in. (24.4 × 18.6 cm). Publisher: Edouard Kleinmann (French, active 19th century). Series/Portfolio: Les Vieilles Histories (The Old Tales). Date: 1893. Museum: Metropolitan Museum of Art, New York, USA.
RMPAXP48–Jérusalem, Arc de l'Ecce-Homo. Artist: Auguste Salzmann (French, 1824-1872). Dimensions: Image: 33.2 x 23.5 cm (13 1/16 x 9 1/4 in.) Mount: 59.9 x 45.2 cm (23 9/16 x 17 13/16 in.). Printer: Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851-55). Date: 1854. A miniature cityscape is framed by the half-moon of a second-century Roman arch. The sloped path below, known as the Via Dolorosa (Way of Sorrows), serves as a popular pilgrimage route. As a biblical archaeologist, Salzmann chose to record this site for its association with the New Testament trial and conviction o
RMRFFTPB–Newhaven Fishwife. Artist: David Octavius Hill (British, Perth, Scotland 1802-1870 Edinburgh, Scotland); Robert Adamson (British, St. Andrews, Scotland 1821-1848 St. Andrews, Scotland). Photography Studio: Hill and Adamson (British, active 1843-1848). Date: 1843-47. Museum: Metropolitan Museum of Art, New York, USA.
RMR33CNT–Michel Lepelletier. Dated: 1794. Dimensions: sheet (trimmed to platemark): 35.3 x 28 cm (13 7/8 x 11 in.) overall (framing line): 24.6 x 21.8 cm (9 11/16 x 8 9/16 in.). Medium: etching and wash manner, printed in blue, red, yellow, and black inks. Museum: National Gallery of Art, Washington DC. Author: Pierre-Michel Alix after Jean-François Garnerey.
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