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(62)See frames attributed stock video clips
One Settee and Ten Armchairs; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries Stock Photo
RMPPT1GM–One Settee and Ten Armchairs; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries by reimagined Stock Photo
RFRAX5AC–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries by reimagined
Numerous picture frames for sale (but not the photographs in them) in front of a painting attributed to Edward Bowyer expected to get 20,000 to 30,000, pictured in Sir Elton John's London house. Hundreds of items belonging to the pop star are up for auction at Sotheby's on September 30, 2003. The collection is expected to fetch in excess of 800,000. Stock Photo
RMG6GR1F–Numerous picture frames for sale (but not the photographs in them) in front of a painting attributed to Edward Bowyer expected to get 20,000 to 30,000, pictured in Sir Elton John's London house. Hundreds of items belonging to the pop star are up for auction at Sotheby's on September 30, 2003. The collection is expected to fetch in excess of 800,000.
Bonhams, London, UK. 30 March 2021. Bonhams The Dunrobin Attic Sale includes more than 450 lots, including paintings, portraits, historic photographs, picture frames, marble sculptures, crested dinner services, and treasures from the historic castle’s kitchen and cellar on behalf of 25th Earl of Sutherland. Image: Attributed to Allan Ramsay (Edinburgh 1713-1784 Dover), Portrait of General James Grant of Ballindalloch (1720-1806). Estimate: £7,000-10,000. The sale takes place 20th April at Bonhams, Edinburgh. Credit: Malcolm Park/Alamy Live News Stock Photo
RM2F65DRX–Bonhams, London, UK. 30 March 2021. Bonhams The Dunrobin Attic Sale includes more than 450 lots, including paintings, portraits, historic photographs, picture frames, marble sculptures, crested dinner services, and treasures from the historic castle’s kitchen and cellar on behalf of 25th Earl of Sutherland. Image: Attributed to Allan Ramsay (Edinburgh 1713-1784 Dover), Portrait of General James Grant of Ballindalloch (1720-1806). Estimate: £7,000-10,000. The sale takes place 20th April at Bonhams, Edinburgh. Credit: Malcolm Park/Alamy Live News
Francesco Rosselli. The Presentation in the Temple, plate four from the Life of the Virgin and Christ. 1465–1475. Italy. Engraving in black on ivory paper Francesco Rosselli combined the long parallel strokes of his engraver’s burin with one-point perspective to create a centrally focused, receding sense of depth. The symmetrical theatrical backdrop frames the foreground figures of Christ, Mary, and two rabbis. The Prophet Amos (1934.5), is also attributed to the artist, showing his range with a finer approach of lightly hatched shadows and darker outlines. In contrast, Giovanni da Brescia ach Stock Photo
RM2AHW4KP–Francesco Rosselli. The Presentation in the Temple, plate four from the Life of the Virgin and Christ. 1465–1475. Italy. Engraving in black on ivory paper Francesco Rosselli combined the long parallel strokes of his engraver’s burin with one-point perspective to create a centrally focused, receding sense of depth. The symmetrical theatrical backdrop frames the foreground figures of Christ, Mary, and two rabbis. The Prophet Amos (1934.5), is also attributed to the artist, showing his range with a finer approach of lightly hatched shadows and darker outlines. In contrast, Giovanni da Brescia ach
Pair of Doors 9th century The Beveled style, which is seen in many different media in Islamic art, is identified most closely with Samarra, the ninth‑century royal residence of the Abbasid caliphs. It was from there that the style spread widely to other parts of the Islamic world.. Pair of Doors. 9th century. Wood (teak); frames with carved panels. Attributed to Iraq, Samarra. Wood Stock Photo
RM2HH3005–Pair of Doors 9th century The Beveled style, which is seen in many different media in Islamic art, is identified most closely with Samarra, the ninth‑century royal residence of the Abbasid caliphs. It was from there that the style spread widely to other parts of the Islamic world.. Pair of Doors. 9th century. Wood (teak); frames with carved panels. Attributed to Iraq, Samarra. Wood
'Chessboard' Carpet. Dimensions: Rug: H. 73 1/2 in. (186.7 cm) W. 51 in. (129.5 cm). Date: late 16th-early 17th century. The field of the so-called 'Chessboard' carpet is usually applied on a vermillion ground and divided into rectangular compartments, each containing an eight-pointed star composed of an endless knot of interlaced bands. The stars are encircled by small abstract radiating trefoil ornaments resembling fleur-de-lys, cypresses, and rosettes. On the large border that frames the central compartments of this design, poly-lobed lozengelike medallions alternate with cartouches. Styl Stock Photo
RMPB14TB–'Chessboard' Carpet. Dimensions: Rug: H. 73 1/2 in. (186.7 cm) W. 51 in. (129.5 cm). Date: late 16th-early 17th century. The field of the so-called 'Chessboard' carpet is usually applied on a vermillion ground and divided into rectangular compartments, each containing an eight-pointed star composed of an endless knot of interlaced bands. The stars are encircled by small abstract radiating trefoil ornaments resembling fleur-de-lys, cypresses, and rosettes. On the large border that frames the central compartments of this design, poly-lobed lozengelike medallions alternate with cartouches. Styl
The Life of Christ Attributed to Franceschino Zavattari Italian This small triptych is remarkable both for its preservation and for the fact that it is still intact. The spaces below the center panel were originally filled with small relics. It is curious that the right wing shows events from the life of Christ leading up to the Flight into Egypt while the left shows events following it. There is, however, no technical reason for believing that the two wings have been reversed. In style the picture is related to the work of the Late Gothic Veronese painter Giovanni Badile. The frames have been Stock Photo
RM2HHBJHF–The Life of Christ Attributed to Franceschino Zavattari Italian This small triptych is remarkable both for its preservation and for the fact that it is still intact. The spaces below the center panel were originally filled with small relics. It is curious that the right wing shows events from the life of Christ leading up to the Flight into Egypt while the left shows events following it. There is, however, no technical reason for believing that the two wings have been reversed. In style the picture is related to the work of the Late Gothic Veronese painter Giovanni Badile. The frames have been
Factory and industrial management . frames as made byMaffei for balanced engines appear to havegiven most satisfactory results in practice,and their use is extending rapidly. Thisresult is to be attributed to the high qualityof the work in their production. They areforged from slabs of best-best iron ofselected scrap, double-fagoted, welded, andhammered, the welds being well removedfrom the neighborhood of motor efforts.After the frames are forged they are an-nealed and then placed on the machine de-picted in the view Figure 9 A, which wasmade specially for this class of locomotivework by the Stock Photo
RM2AN74B2–Factory and industrial management . frames as made byMaffei for balanced engines appear to havegiven most satisfactory results in practice,and their use is extending rapidly. Thisresult is to be attributed to the high qualityof the work in their production. They areforged from slabs of best-best iron ofselected scrap, double-fagoted, welded, andhammered, the welds being well removedfrom the neighborhood of motor efforts.After the frames are forged they are an-nealed and then placed on the machine de-picted in the view Figure 9 A, which wasmade specially for this class of locomotivework by the
One Armchair; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries by Beauvais Stock Photo
RMPPT1GN–One Armchair; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries by Beauvais
One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841 reimagined Stock Photo
RFRAFNAF–One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841 reimagined
One Armchair; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries Stock Photo
RMEE030N–One Armchair; Frames attributed to François-Honoré-Georges Jacob-Desmalter, French, 1770 - 1841, Tapestries
One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery Stock Photo
RMW51D69–One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery
Kamer van JW des Tombe aan de Plompetorengracht 1-3 in Utrecht A room with wallpaper and many photos and pictures on the wall. On the ground, a bookcase bearing frames. Left written on the album page: Room v des Tombe.. Plompetoren Utrecht. Manufacturer : Photographer: Henry Peacock Who: ldrecht (attributed to) Place manufacture: Netherlands Date: 1888 Physical features: albumen print material: paper photo paper Technique: albumen print dimensions: photo: H 172 mm × W 122 mmblad: H 302 mm × W 250 mm Stock Photo
RM2B6Y349–Kamer van JW des Tombe aan de Plompetorengracht 1-3 in Utrecht A room with wallpaper and many photos and pictures on the wall. On the ground, a bookcase bearing frames. Left written on the album page: Room v des Tombe.. Plompetoren Utrecht. Manufacturer : Photographer: Henry Peacock Who: ldrecht (attributed to) Place manufacture: Netherlands Date: 1888 Physical features: albumen print material: paper photo paper Technique: albumen print dimensions: photo: H 172 mm × W 122 mmblad: H 302 mm × W 250 mm
The Flagellation of Christ. Culture: Italian, Milan. Dimensions: Overall: 8 5/8 × 5 1/8 in. (21.9 × 13 cm). Date: ca. 1492-1503. The inscription at the base of the relief refers to Giovanni Borgia (1446-1503), bishop of Monreale, who was created cardinal in 1492 by his uncle Pope Alexander VI, and the identification is confirmed by the coat of arms painted on the spandrel between the two arches. The high quality of the goldsmith's work has led this pax to be attributed to Caradosso Foppa (ca.1452-ca. 1526). The finial figure and the enameled roundels on the base are later additions. Museum: M Stock Photo
RMPAXNGN–The Flagellation of Christ. Culture: Italian, Milan. Dimensions: Overall: 8 5/8 × 5 1/8 in. (21.9 × 13 cm). Date: ca. 1492-1503. The inscription at the base of the relief refers to Giovanni Borgia (1446-1503), bishop of Monreale, who was created cardinal in 1492 by his uncle Pope Alexander VI, and the identification is confirmed by the coat of arms painted on the spandrel between the two arches. The high quality of the goldsmith's work has led this pax to be attributed to Caradosso Foppa (ca.1452-ca. 1526). The finial figure and the enameled roundels on the base are later additions. Museum: M
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by reimagined Stock Photo
RFRAFNAG–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by reimagined
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6H–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
Mirror clock. Artist: Stem and foot probably cast from designs by Matthias Zündt (German, probably ca. 1498-1572 Nürnberg); Band of case from design by Cornelis Bos (Netherlandish, Hertogenbosch ca. 1510?-before 1566 Groningen). Culture: German, Nuremberg. Dimensions: Overall: 16 × 6 1/4 × 1 1/4 in. (40.6 × 15.9 × 3.2 cm). Maker: Movement attributed to Master CR (probably active before 1565). Date: ca. 1565-70. Known as a mirror clock for its form's similarity to a looking glass, this has also been called a monstrance clock because it resembles the receptacle for the consecrated host. Religio Stock Photo
RMPANHN4–Mirror clock. Artist: Stem and foot probably cast from designs by Matthias Zündt (German, probably ca. 1498-1572 Nürnberg); Band of case from design by Cornelis Bos (Netherlandish, Hertogenbosch ca. 1510?-before 1566 Groningen). Culture: German, Nuremberg. Dimensions: Overall: 16 × 6 1/4 × 1 1/4 in. (40.6 × 15.9 × 3.2 cm). Maker: Movement attributed to Master CR (probably active before 1565). Date: ca. 1565-70. Known as a mirror clock for its form's similarity to a looking glass, this has also been called a monstrance clock because it resembles the receptacle for the consecrated host. Religio
One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo
RF2B970GG–One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 50.8 cm (39 5/8 × 25 × 20 in Stock Photo
RMW51D6B–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 50.8 cm (39 5/8 × 25 × 20 in
Adoration of the Kings. Artist: Elements of the central group are derived from Tommaso Vincidor (Tommaso di Andrea) (Italian, Bologna ca. 1517-ca. 1536 Breda (?)) 's 'Adoration' for the Scuola Nuova tapestries. Culture: Flemish, Brussels. Designer: Design attributed to Bernard van Orley (Netherlandish, Brussels ca. 1492-1541/42 Brussels) or a member of his workshop. Dimensions: H. 4 ft. 2 in. (1.27 m.), W. 5 ft. (1.52 m.). Maker: Possibly woven in the workshop directed by Pieter van Aelst the Younger (Flemish, active 1509-55). Date: ca. 1530-35. Museum: Metropolitan Museum of Art, New York, US Stock Photo
RMPB1ER7–Adoration of the Kings. Artist: Elements of the central group are derived from Tommaso Vincidor (Tommaso di Andrea) (Italian, Bologna ca. 1517-ca. 1536 Breda (?)) 's 'Adoration' for the Scuola Nuova tapestries. Culture: Flemish, Brussels. Designer: Design attributed to Bernard van Orley (Netherlandish, Brussels ca. 1492-1541/42 Brussels) or a member of his workshop. Dimensions: H. 4 ft. 2 in. (1.27 m.), W. 5 ft. (1.52 m.). Maker: Possibly woven in the workshop directed by Pieter van Aelst the Younger (Flemish, active 1509-55). Date: ca. 1530-35. Museum: Metropolitan Museum of Art, New York, US
One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo
RF2B9CYB1–One Settee and Ten Armchairs, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6C–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GW–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Paris, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6E–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 50.8 cm (39 5/8 × 25 × 20 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. Stock Photo
RF2B970GN–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestry upholstery by the Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, wool and silk, 100.6 × 63.5 × 50.8 cm (39 5/8 × 25 × 20 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6F–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GK–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6A–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 x 63.5 x 48.3 cm (39 5,8 x 25 x 19 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. Stock Photo
RF2B9CYB0–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 x 63.5 x 48.3 cm (39 5,8 x 25 x 19 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.
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in Stock Photo
RMW51D6D–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 in
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GP–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
Tea caddy, rectangular, with pearl edges, The rectangular tea caddy has a flat, hinged lid. Pearl frames have been applied along all edges. The bus has a lock, the key of which is missing., Reynier Brandt (attributed to), Amsterdam, 1782, silver (metal), h 10.3 cm × w 8.8 cm × d 6.1 cm × w 362.0 Stock Photo
RMW54CPP–Tea caddy, rectangular, with pearl edges, The rectangular tea caddy has a flat, hinged lid. Pearl frames have been applied along all edges. The bus has a lock, the key of which is missing., Reynier Brandt (attributed to), Amsterdam, 1782, silver (metal), h 10.3 cm × w 8.8 cm × d 6.1 cm × w 362.0
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GT–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Beauvais, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
Two plates in frames, A plaque of Delftware, painted in blue with a landscape in a frame with embossed flowers, leaves and medallions. Brand: a big star, cattle driving, cattle driver, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc, landscapes in the temperate zone, De Witte Starre (attributed to), Delft, c. 1690 - c. 1705, earthenware, h 39 cm × w 37.5 cm Stock Photo
RMW55E8E–Two plates in frames, A plaque of Delftware, painted in blue with a landscape in a frame with embossed flowers, leaves and medallions. Brand: a big star, cattle driving, cattle driver, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc, landscapes in the temperate zone, De Witte Starre (attributed to), Delft, c. 1690 - c. 1705, earthenware, h 39 cm × w 37.5 cm
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GR–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
Tap jug made of silver with (originally three) faucets, Tap jug made of silver with (originally three) faucets in the form of spewer with rotary knobs, pear-shaped vase adorned with grunts and leaf frames, with two S-shaped handles and standing on three legs in the form of lion's claws, (loose lid) with grunts., Christiaan Warenberg (attributed to), Amsterdam, c. 1700 - c. 1710, silver (metal), h 4.7 cm × w 3.1 cm Stock Photo
RMW55TGD–Tap jug made of silver with (originally three) faucets, Tap jug made of silver with (originally three) faucets in the form of spewer with rotary knobs, pear-shaped vase adorned with grunts and leaf frames, with two S-shaped handles and standing on three legs in the form of lion's claws, (loose lid) with grunts., Christiaan Warenberg (attributed to), Amsterdam, c. 1700 - c. 1710, silver (metal), h 4.7 cm × w 3.1 cm
One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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. Stock Photo
RF2B970GJ–One Armchair, Frames attributed to François-Honoré-Georges Jacob-Desmalter (French, 1770 - 1841), Tapestries by Beauvais Manufactory (French, founded 1664), Paris, France, Europe, about 1810, Mahogany and beech, gilt-bronze mounts, silk and wool tapestry upholstery, 100.6 × 63.5 × 48.3 cm (39 5/8 × 25 × 19 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.
Art inspired by Tabernacle frame, second quarter 14th century, Italian, Siena, Pine. Gold-orange bole., Overall, 62.9 x 27.3; sight, 50.8 x 21.9 cm; engaged., Frames, The shallow molding profile of this engaged frame provides a gentle transition to the punched borders of the painting, 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
RF2HTYCTC–Art inspired by Tabernacle frame, second quarter 14th century, Italian, Siena, Pine. Gold-orange bole., Overall, 62.9 x 27.3; sight, 50.8 x 21.9 cm; engaged., Frames, The shallow molding profile of this engaged frame provides a gentle transition to the punched borders of the painting, 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
Folding dish with driven flowers, The round, arched dish rests on a stand ring and has a wide border, made up of eight swiveled gnats with soft, bony-like frames. Every guy is driven with a big flower. From the bottom center, clockwise, three times a garden anemone, a trumpet narcissus, a tulip, twice a garden anemone and a lily. Midfield shows a scene of two boys sitting in a landscape drinking from a bowl together, cupids: 'amores', 'amoretti', 'putti', flowers, ornament, Nicolaas Hoyer (attributed to), Amsterdam, 1661, silver (metal), h 8.5 cm × d 35.0 cm × w 440 Stock Photo
RMW54YCN–Folding dish with driven flowers, The round, arched dish rests on a stand ring and has a wide border, made up of eight swiveled gnats with soft, bony-like frames. Every guy is driven with a big flower. From the bottom center, clockwise, three times a garden anemone, a trumpet narcissus, a tulip, twice a garden anemone and a lily. Midfield shows a scene of two boys sitting in a landscape drinking from a bowl together, cupids: 'amores', 'amoretti', 'putti', flowers, ornament, Nicolaas Hoyer (attributed to), Amsterdam, 1661, silver (metal), h 8.5 cm × d 35.0 cm × w 440
Tea caddy, rectangular, with pearl edges, The rectangular tea caddy has a flat, hinged lid. Pearl frames have been applied along all edges. The bus has a lock, the key of which is missing., Reynier Brandt (attributed to), Amsterdam, 1782, silver (metal), h 10.3 cm × w 8.8 cm × d 6.1 cm × w 362.0 gr, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo
RF2B99A38–Tea caddy, rectangular, with pearl edges, The rectangular tea caddy has a flat, hinged lid. Pearl frames have been applied along all edges. The bus has a lock, the key of which is missing., Reynier Brandt (attributed to), Amsterdam, 1782, silver (metal), h 10.3 cm × w 8.8 cm × d 6.1 cm × w 362.0 gr, 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.
Bottle of oil and vinegar set consisting of two bottles of glass and a pepper can in a holder, Bottle decorated with various grinding work. The narrow neck ends in a wide spout. The straight ear runs from the top of the neck to the belly of the bottle. The ear was broken off and is attached to the bottle with silver frames., Jan Hendrik Middelhuysen (attributed to), Amsterdam, 1783, silver (metal), glass, h 21.1 cm × d 8.3 cm Stock Photo
RMW54GBJ–Bottle of oil and vinegar set consisting of two bottles of glass and a pepper can in a holder, Bottle decorated with various grinding work. The narrow neck ends in a wide spout. The straight ear runs from the top of the neck to the belly of the bottle. The ear was broken off and is attached to the bottle with silver frames., Jan Hendrik Middelhuysen (attributed to), Amsterdam, 1783, silver (metal), glass, h 21.1 cm × d 8.3 cm
Tap jug made of silver with (originally three) faucets, Tap jug made of silver with (originally three) faucets in the form of spewer with rotary knobs, pear-shaped vase adorned with grunts and leaf frames, with two S-shaped handles and standing on three legs in the form of lion's claws, (loose lid) with grunts., Christiaan Warenberg (attributed to), Amsterdam, c. 1700 - c. 1710, silver (metal), h 4.7 cm × w 3.1 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing d Stock Photo
RF2B9AAKR–Tap jug made of silver with (originally three) faucets, Tap jug made of silver with (originally three) faucets in the form of spewer with rotary knobs, pear-shaped vase adorned with grunts and leaf frames, with two S-shaped handles and standing on three legs in the form of lion's claws, (loose lid) with grunts., Christiaan Warenberg (attributed to), Amsterdam, c. 1700 - c. 1710, silver (metal), h 4.7 cm × w 3.1 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing d
Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works Stock Photo
RM2JDXB2H–Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works
Two plates in frames, A plaque of Delftware, painted in blue with a landscape in a frame with embossed flowers, leaves and medallions. Brand: a big star, cattle driving, cattle driver, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc, landscapes in the temperate zone, De Witte Starre (attributed to), Delft, c. 1690 - c. 1705, earthenware, h 39 cm × w 37.5 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, mov Stock Photo
RF2B9A31D–Two plates in frames, A plaque of Delftware, painted in blue with a landscape in a frame with embossed flowers, leaves and medallions. Brand: a big star, cattle driving, cattle driver, herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc, landscapes in the temperate zone, De Witte Starre (attributed to), Delft, c. 1690 - c. 1705, earthenware, h 39 cm × w 37.5 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, mov
Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works Stock Photo
RM2JE161Y–Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works
Folding dish with driven flowers, The round, arched dish rests on a stand ring and has a wide border, made up of eight swiveled gnats with soft, bony-like frames. Every guy is driven with a big flower. From the bottom center, clockwise, three times a garden anemone, a trumpet narcissus, a tulip, twice a garden anemone and a lily. Midfield shows a scene of two boys sitting in a landscape drinking from a bowl together, cupids: 'amores', 'amoretti', 'putti', flowers, ornament, Nicolaas Hoyer (attributed to), Amsterdam, 1661, silver (metal), h 8.5 cm × d 35.0 cm × w 440 gr, Reimagined by Gibon, de Stock Photo
RF2B99MAE–Folding dish with driven flowers, The round, arched dish rests on a stand ring and has a wide border, made up of eight swiveled gnats with soft, bony-like frames. Every guy is driven with a big flower. From the bottom center, clockwise, three times a garden anemone, a trumpet narcissus, a tulip, twice a garden anemone and a lily. Midfield shows a scene of two boys sitting in a landscape drinking from a bowl together, cupids: 'amores', 'amoretti', 'putti', flowers, ornament, Nicolaas Hoyer (attributed to), Amsterdam, 1661, silver (metal), h 8.5 cm × d 35.0 cm × w 440 gr, Reimagined by Gibon, de
Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works Stock Photo
RM2JDYTPM–Adoration by the shepherds; Crucifixion; Resurrection of Christ, Three ovals side by side: on the left: the Adoration of Mary and the shepherds with the proclamation to the shepherds in the background; in the center the three crosses on Mount Golgotha. Below the cross of Christ are Mary and St. John, Mary Magdalene in a kneeling position embraces the foot of the cross; right: the Resurrection of Christ from the tomb, soldiers flee frightened. The ovals are framed in ornamental frames. Below the representations Latin texts from the O.T. and N.T., print maker: Philips Galle, (attributed to works
Bottle of oil and vinegar set consisting of two bottles of glass and a pepper can in a holder, Bottle decorated with various grinding work. The narrow neck ends in a wide spout. The straight ear runs from the top of the neck to the belly of the bottle. The ear was broken off and is attached to the bottle with silver frames., Jan Hendrik Middelhuysen (attributed to), Amsterdam, 1783, silver (metal), glass, h 21.1 cm × d 8.3 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, Stock Photo
RF2B99CM6–Bottle of oil and vinegar set consisting of two bottles of glass and a pepper can in a holder, Bottle decorated with various grinding work. The narrow neck ends in a wide spout. The straight ear runs from the top of the neck to the belly of the bottle. The ear was broken off and is attached to the bottle with silver frames., Jan Hendrik Middelhuysen (attributed to), Amsterdam, 1783, silver (metal), glass, h 21.1 cm × d 8.3 cm, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism,
Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm Stock Photo
RM2JE184R–Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm
Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. Along the convex part there are semicircular frames at the bottom and at the top. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes. A letter is e Stock Photo
RF2B99PH2–Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. Along the convex part there are semicircular frames at the bottom and at the top. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes. A letter is e
Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm Stock Photo
RM2JDXBR5–Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm
Scaffolding Model of a 60 to 68-Gun Ship, Truss model of the hull of a ship on a slope surrounded by wooden scaffolding, on a sloping ground board. The skin of the model has been omitted so that the nine-part frames are visible. As far as can be distinguished, the model has sixty-six artillery gates divided over three decks, which are only indicated by the gates, except for the lower deck, for which deck beams are also fitted. Twisted mirror with two gates, hollow wulf, no fence details or side galleries. The sheer runs slightly to both ends, a bar wood. Flat round. Striking is the replacement Stock Photo
RF2B9B5AM–Scaffolding Model of a 60 to 68-Gun Ship, Truss model of the hull of a ship on a slope surrounded by wooden scaffolding, on a sloping ground board. The skin of the model has been omitted so that the nine-part frames are visible. As far as can be distinguished, the model has sixty-six artillery gates divided over three decks, which are only indicated by the gates, except for the lower deck, for which deck beams are also fitted. Twisted mirror with two gates, hollow wulf, no fence details or side galleries. The sheer runs slightly to both ends, a bar wood. Flat round. Striking is the replacement
Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm Stock Photo
RM2JDYX6Y–Request of St. Anthony, St. Anthony is kneeling before a hut, at a round table on which is an open book and crucifix. Before him appears a woman with deer antlers and snake tail on her head, a jug in her hand. On the left, the boar. In the background a burning city. At top in three frames three scenes from his life. At bottom a caption in Latin in a cartouche., print maker: Pieter Huys, (attributed to), after own design by: Pieter Huys, Antwerp, c. 1560 - c. 1580, paper, engraving, height 262 mm × width 203 mm
Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes, respectively an A and V. These are repeated in engraved form above the spout., Rocks, Bologna, Stock Photo
RF2B99PH3–Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes, respectively an A and V. These are repeated in engraved form above the spout., Rocks, Bologna,
Copying Maps, Photographic Headquarters, Petersburg, Virginia, Unknown, Attributed to Alexander Gardner, March 1865 Stock Photo
RMKC77H2–Copying Maps, Photographic Headquarters, Petersburg, Virginia, Unknown, Attributed to Alexander Gardner, March 1865
Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. Along the convex part there are semicircular frames at the bottom and at the top. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes. A letter is Stock Photo
RMW552ET–Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. Along the convex part there are semicircular frames at the bottom and at the top. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes. A letter is
Drinking bowl with allegories of pure and impure love, Drinking bowl on foot, completely gilded. A balustrade stem rises from a curved foot with a raised center, carrying the round dish with a loose cover plate. In the bowl, surrounded by a leaf wreath, a driven relief in which pure and impure love are allegorically represented (see below). Various hunting representations are engraved on the edge. On the cover plate, in gear, masks on rolling cartouches between fruit bunches. For the nodus and for the sections above and below, three free-standing volutes. Fruit festivities and lion masks in re Stock Photo
RF2B99DP2–Drinking bowl with allegories of pure and impure love, Drinking bowl on foot, completely gilded. A balustrade stem rises from a curved foot with a raised center, carrying the round dish with a loose cover plate. In the bowl, surrounded by a leaf wreath, a driven relief in which pure and impure love are allegorically represented (see below). Various hunting representations are engraved on the edge. On the cover plate, in gear, masks on rolling cartouches between fruit bunches. For the nodus and for the sections above and below, three free-standing volutes. Fruit festivities and lion masks in re
Scaffolding Model of a 60 to 68-Gun Ship, Truss model of the hull of a ship on a slope surrounded by wooden scaffolding, on a sloping ground board. The skin of the model has been omitted so that the nine-part frames are visible. As far as can be distinguished, the model has sixty-six artillery gates divided over three decks, which are only indicated by the gates, except for the lower deck, for which deck beams are also fitted. Twisted mirror with two gates, hollow wulf, no fence details or side galleries. The sheer runs slightly to both ends, a bar wood. Flat round. Striking is the replacement Stock Photo
RMW56XKR–Scaffolding Model of a 60 to 68-Gun Ship, Truss model of the hull of a ship on a slope surrounded by wooden scaffolding, on a sloping ground board. The skin of the model has been omitted so that the nine-part frames are visible. As far as can be distinguished, the model has sixty-six artillery gates divided over three decks, which are only indicated by the gates, except for the lower deck, for which deck beams are also fitted. Twisted mirror with two gates, hollow wulf, no fence details or side galleries. The sheer runs slightly to both ends, a bar wood. Flat round. Striking is the replacement
Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes, respectively an A and V. These are repeated in engraved form above the spout., Rocks, Bologna Stock Photo
RMW552ER–Ampoule, Ampoule with a hinged, rounded lid and resting on a round base with a flat bottom edge. The base is made up of a curved and constricted, rejuvenating section. The rejuvenating part is articulated by a flat ring. The body has a convex belly and a straight wall. Profiled frames run along the center of the wall and along the top. On one side there is a triangular spout, on the other side an ear in the shape of a volute. The thumb rest has the shape of an openwork letter decorated with volutes, respectively an A and V. These are repeated in engraved form above the spout., Rocks, Bologna
Tabernacle frame, Barna da Siena, second quarter 14th century Stock Photo
RMKCD2NH–Tabernacle frame, Barna da Siena, second quarter 14th century
Drinking bowl with allegories of pure and impure love, Drinking bowl on foot, completely gilded. A balustrade stem rises from a curved foot with a raised center, carrying the round dish with a loose cover plate. In the bowl, surrounded by a leaf wreath, a driven relief in which pure and impure love are allegorically represented (see below). Various hunting representations are engraved on the edge. On the cover plate, in gear, masks on rolling cartouches between fruit bunches. For the nodus and for the sections above and below, three free-standing volutes. Fruit festivities and lion masks in Stock Photo
RMW54HTJ–Drinking bowl with allegories of pure and impure love, Drinking bowl on foot, completely gilded. A balustrade stem rises from a curved foot with a raised center, carrying the round dish with a loose cover plate. In the bowl, surrounded by a leaf wreath, a driven relief in which pure and impure love are allegorically represented (see below). Various hunting representations are engraved on the edge. On the cover plate, in gear, masks on rolling cartouches between fruit bunches. For the nodus and for the sections above and below, three free-standing volutes. Fruit festivities and lion masks in
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