Model of a house ca. 1750–1700 B.C. Middle Kingdom The model represents a house with a two-columned portico, and on the left a stair leads to the roof top where people might sleep during the hot summer and keep provisions. The walled courtyard has an outlet at the front indicating that this house model functioned as an offering 'table' on a grave.. Model of a house 555830 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/model-of-a-house-ca-17501700-bc-middle-kingdom-the-model-represents-a-house-with-a-two-columned-portico-and-on-the-left-a-stair-leads-to-the-roof-top-where-people-might-sleep-during-the-hot-summer-and-keep-provisions-the-walled-courtyard-has-an-outlet-at-the-front-indicating-that-this-house-model-functioned-as-an-offering-table-on-a-grave-model-of-a-house-555830-image458516079.html
RM2HHY5X7–Model of a house ca. 1750–1700 B.C. Middle Kingdom The model represents a house with a two-columned portico, and on the left a stair leads to the roof top where people might sleep during the hot summer and keep provisions. The walled courtyard has an outlet at the front indicating that this house model functioned as an offering 'table' on a grave.. Model of a house 555830
Portrait of a Surgeon Netherlandish Painter Netherlandish A surgeon is represented here with the attributes of his trade: a skull and a metal instrument that resembles the tool used to cauterize skulls. From his belt hang several keys and a saw. The man’s features—a firm jaw, lines around the eyes, and large, powerful hands—attest to the rigors of his profession, in contrast to the courtly refinement of portraits by Corneille de Lyon. The cryptic inscription on the left reads, 'seit om of swijcht' (be cautious or keep silent).. Portrait of a Surgeon 437208 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/portrait-of-a-surgeon-netherlandish-painter-netherlandish-a-surgeon-is-represented-here-with-the-attributes-of-his-trade-a-skull-and-a-metal-instrument-that-resembles-the-tool-used-to-cauterize-skulls-from-his-belt-hang-several-keys-and-a-saw-the-mans-featuresa-firm-jaw-lines-around-the-eyes-and-large-powerful-handsattest-to-the-rigors-of-his-profession-in-contrast-to-the-courtly-refinement-of-portraits-by-corneille-de-lyon-the-cryptic-inscription-on-the-left-reads-seit-om-of-swijcht-be-cautious-or-keep-silent-portrait-of-a-surgeon-437208-image458247670.html
RM2HHEYG6–Portrait of a Surgeon Netherlandish Painter Netherlandish A surgeon is represented here with the attributes of his trade: a skull and a metal instrument that resembles the tool used to cauterize skulls. From his belt hang several keys and a saw. The man’s features—a firm jaw, lines around the eyes, and large, powerful hands—attest to the rigors of his profession, in contrast to the courtly refinement of portraits by Corneille de Lyon. The cryptic inscription on the left reads, 'seit om of swijcht' (be cautious or keep silent).. Portrait of a Surgeon 437208
Plate 27 from the 'Tauromaquia': The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike 1816 Goya (Francisco de Goya y Lucientes) Spanish Unaware of the danger, a blindfolded horse is trapped to keep it from fleeing in panic. The animal’s defenselessness is emphasized by the light area on its chest, suggesting a stationary target. The gaze of the picador prepares the viewer for the violence about to be unleashed, while the dramatic resolution of the clash is prefigured at left by another horse rearing in fright and a dead animal ready to be dragged away. In their ap Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/plate-27-from-the-tauromaquia-the-celebrated-picador-fernando-del-toro-draws-the-fierce-beast-on-with-his-pike-1816-goya-francisco-de-goya-y-lucientes-spanish-unaware-of-the-danger-a-blindfolded-horse-is-trapped-to-keep-it-from-fleeing-in-panic-the-animals-defenselessness-is-emphasized-by-the-light-area-on-its-chest-suggesting-a-stationary-target-the-gaze-of-the-picador-prepares-the-viewer-for-the-violence-about-to-be-unleashed-while-the-dramatic-resolution-of-the-clash-is-prefigured-at-left-by-another-horse-rearing-in-fright-and-a-dead-animal-ready-to-be-dragged-away-in-their-ap-image458173889.html
RM2HHBHD5–Plate 27 from the 'Tauromaquia': The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike 1816 Goya (Francisco de Goya y Lucientes) Spanish Unaware of the danger, a blindfolded horse is trapped to keep it from fleeing in panic. The animal’s defenselessness is emphasized by the light area on its chest, suggesting a stationary target. The gaze of the picador prepares the viewer for the violence about to be unleashed, while the dramatic resolution of the clash is prefigured at left by another horse rearing in fright and a dead animal ready to be dragged away. In their ap
Dancers Practicing at the Barre 1877 Edgar Degas French The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right. Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/dancers-practicing-at-the-barre-1877-edgar-degas-french-the-watering-can-visible-at-left-was-a-standard-fixture-in-ballet-rehearsal-rooms-water-was-sprinkled-on-the-floor-to-keep-dust-from-rising-when-ballerinas-danced-degas-also-used-the-watering-can-as-a-visual-pun-its-shape-is-mimicked-by-that-of-the-dancer-at-right-shown-at-the-1877-impressionist-exhibition-the-painting-was-given-by-degas-to-the-collector-henri-rouart-as-a-replacement-for-an-earlier-work-now-lost-which-the-artist-altered-and-accidentally-destroyed-louisine-havemeyer-purchased-it-from-rouarts-estate-sale-in-1912-image458227244.html
RM2HHE1EM–Dancers Practicing at the Barre 1877 Edgar Degas French The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right. Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912
Sailors on Horseback March 16, 1811 Thomas Rowlandson Three sailors ride away from the seashore, and all are having difficulties. A fourth is on his hands and knees at extreme left, and looks up to say: 'Mind what you are at Messmates for I am upset, and the frigate I came on board of—has been under weigh, without me this half hour.' The rider at the front clasps his rearing horse around the neck, and looks back to say: 'Keep more to the Star-board and be D—d, to you—dont you see how you make my vessel, run a head.' The next man is tied to his horse with heavy ropes, and he says: 'Here I come Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sailors-on-horseback-march-16-1811-thomas-rowlandson-three-sailors-ride-away-from-the-seashore-and-all-are-having-difficulties-a-fourth-is-on-his-hands-and-knees-at-extreme-left-and-looks-up-to-say-mind-what-you-are-at-messmates-for-i-am-upset-and-the-frigate-i-came-on-board-ofhas-been-under-weigh-without-me-this-half-hour-the-rider-at-the-front-clasps-his-rearing-horse-around-the-neck-and-looks-back-to-say-keep-more-to-the-star-board-and-be-dd-to-youdont-you-see-how-you-make-my-vessel-run-a-head-the-next-man-is-tied-to-his-horse-with-heavy-ropes-and-he-says-here-i-come-image457938399.html
RM2HH0W2R–Sailors on Horseback March 16, 1811 Thomas Rowlandson Three sailors ride away from the seashore, and all are having difficulties. A fourth is on his hands and knees at extreme left, and looks up to say: 'Mind what you are at Messmates for I am upset, and the frigate I came on board of—has been under weigh, without me this half hour.' The rider at the front clasps his rearing horse around the neck, and looks back to say: 'Keep more to the Star-board and be D—d, to you—dont you see how you make my vessel, run a head.' The next man is tied to his horse with heavy ropes, and he says: 'Here I come
Sailors on Horseback March 16, 1811 Thomas Rowlandson Three sailors ride away from the seashore, and all are having difficulties. A fourth is on his hands and knees at extreme left, and looks up to say: 'Mind what you are at Messmates for I am upset, and the frigate I came on board of—has been under weigh, without me this half hour.' The rider at the front clasps his rearing horse around the neck, and looks back to say: 'Keep more to the Star-board and be D—d, to you—dont you see how you make my vessel, run a head.' The next man is tied to his horse with heavy ropes, and he says: 'Here I come Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/sailors-on-horseback-march-16-1811-thomas-rowlandson-three-sailors-ride-away-from-the-seashore-and-all-are-having-difficulties-a-fourth-is-on-his-hands-and-knees-at-extreme-left-and-looks-up-to-say-mind-what-you-are-at-messmates-for-i-am-upset-and-the-frigate-i-came-on-board-ofhas-been-under-weigh-without-me-this-half-hour-the-rider-at-the-front-clasps-his-rearing-horse-around-the-neck-and-looks-back-to-say-keep-more-to-the-star-board-and-be-dd-to-youdont-you-see-how-you-make-my-vessel-run-a-head-the-next-man-is-tied-to-his-horse-with-heavy-ropes-and-he-says-here-i-come-image457938439.html
RM2HH0W47–Sailors on Horseback March 16, 1811 Thomas Rowlandson Three sailors ride away from the seashore, and all are having difficulties. A fourth is on his hands and knees at extreme left, and looks up to say: 'Mind what you are at Messmates for I am upset, and the frigate I came on board of—has been under weigh, without me this half hour.' The rider at the front clasps his rearing horse around the neck, and looks back to say: 'Keep more to the Star-board and be D—d, to you—dont you see how you make my vessel, run a head.' The next man is tied to his horse with heavy ropes, and he says: 'Here I come
Bowls 14th century Fuel has always been an expensive commodity and Islamic potters, like those of today, often sought to economize on its use by packing their ceramic kilns as tightly as possible. Refractory clay tripod stilts were used to keep stacked vessels from sticking together during firing and these left behind small stilt marks that are seen seen on many ceramics. In this case, the bowls accidently shifted before or during firing fusing them together along with the interposed stilts.Sometimes molten glaze dripped down onto objects below. The two large turquoise splashes on a large lust Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bowls-14th-century-fuel-has-always-been-an-expensive-commodity-and-islamic-potters-like-those-of-today-often-sought-to-economize-on-its-use-by-packing-their-ceramic-kilns-as-tightly-as-possible-refractory-clay-tripod-stilts-were-used-to-keep-stacked-vessels-from-sticking-together-during-firing-and-these-left-behind-small-stilt-marks-that-are-seen-seen-on-many-ceramics-in-this-case-the-bowls-accidently-shifted-before-or-during-firing-fusing-them-together-along-with-the-interposed-stiltssometimes-molten-glaze-dripped-down-onto-objects-below-the-two-large-turquoise-splashes-on-a-large-lust-image458257314.html
RM2HHFBTJ–Bowls 14th century Fuel has always been an expensive commodity and Islamic potters, like those of today, often sought to economize on its use by packing their ceramic kilns as tightly as possible. Refractory clay tripod stilts were used to keep stacked vessels from sticking together during firing and these left behind small stilt marks that are seen seen on many ceramics. In this case, the bowls accidently shifted before or during firing fusing them together along with the interposed stilts.Sometimes molten glaze dripped down onto objects below. The two large turquoise splashes on a large lust
Spacer with Hathor head ca. 1070–664 B.C. Third Intermediate Period (including Kushite) A spacer is an element intended to keep multiple strands of a bracelet or necklace from becoming tangled. One face of this openwork example depicts the Hathor emblem from the sistrum. To either side are uraeus cobras, the one on the left wearing the red crown of Lower Egypt and that on the right the white crown of Upper Egypt. Lotus buds and blossoms with cats appear to either side. Cats on the one hand represent the pacified leonine goddesses, but the composite emblem with cats has a close association with Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/spacer-with-hathor-head-ca-1070664-bc-third-intermediate-period-including-kushite-a-spacer-is-an-element-intended-to-keep-multiple-strands-of-a-bracelet-or-necklace-from-becoming-tangled-one-face-of-this-openwork-example-depicts-the-hathor-emblem-from-the-sistrum-to-either-side-are-uraeus-cobras-the-one-on-the-left-wearing-the-red-crown-of-lower-egypt-and-that-on-the-right-the-white-crown-of-upper-egypt-lotus-buds-and-blossoms-with-cats-appear-to-either-side-cats-on-the-one-hand-represent-the-pacified-leonine-goddesses-but-the-composite-emblem-with-cats-has-a-close-association-with-image458057641.html
RM2HH695D–Spacer with Hathor head ca. 1070–664 B.C. Third Intermediate Period (including Kushite) A spacer is an element intended to keep multiple strands of a bracelet or necklace from becoming tangled. One face of this openwork example depicts the Hathor emblem from the sistrum. To either side are uraeus cobras, the one on the left wearing the red crown of Lower Egypt and that on the right the white crown of Upper Egypt. Lotus buds and blossoms with cats appear to either side. Cats on the one hand represent the pacified leonine goddesses, but the composite emblem with cats has a close association with
The Upsetting of the Reform Coach June 4, 1834 John Doyle This political satire responds to the resignation of four Cabinet members from Lord Gray's administration in May 1834. A coach (lettered 'Reform') tips over in the background as William IV looks out the window and shouts 'Help! help!'. On the roof, Lord Brougham says to Lord Melbourne 'Sit fast M lb ne, these fellows have done much better to have kept their places; I think one ought always to keep one's place as long as one can.' Behind the coatch, the Duke of Richmond holds the head of Lord Ripon who lies on the ground. At left, Edwa Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-upsetting-of-the-reform-coach-june-4-1834-john-doyle-this-political-satire-responds-to-the-resignation-of-four-cabinet-members-from-lord-grays-administration-in-may-1834-a-coach-lettered-reform-tips-over-in-the-background-as-william-iv-looks-out-the-window-and-shouts-help!-help!-on-the-roof-lord-brougham-says-to-lord-melbourne-sit-fast-m-lb-ne-these-fellows-have-done-much-better-to-have-kept-their-places-i-think-one-ought-always-to-keep-ones-place-as-long-as-one-can-behind-the-coatch-the-duke-of-richmond-holds-the-head-of-lord-ripon-who-lies-on-the-ground-at-left-edwa-image457844058.html
RM2HGTGNE–The Upsetting of the Reform Coach June 4, 1834 John Doyle This political satire responds to the resignation of four Cabinet members from Lord Gray's administration in May 1834. A coach (lettered 'Reform') tips over in the background as William IV looks out the window and shouts 'Help! help!'. On the roof, Lord Brougham says to Lord Melbourne 'Sit fast M lb ne, these fellows have done much better to have kept their places; I think one ought always to keep one's place as long as one can.' Behind the coatch, the Duke of Richmond holds the head of Lord Ripon who lies on the ground. At left, Edwa
Plaque ca. 9th–8th century B.C. Assyrian This long, narrow strip of ivory is broken at both ends, but enough remains of the decoration to identify it as a scene depicting a royal banquet. At left, a beardless attendant gestures to a stand holding three pots, perhaps serving vessels for the meal; he may be waving a fan over the pots to keep insects away. Two similar figures stand to the right, armed with bows, and face the back of the seated king, who is identified by his distinctive hat—a fez-like cap topped by a small cone. The king is bearded and seated on a throne with a high back. He holds Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/plaque-ca-9th8th-century-bc-assyrian-this-long-narrow-strip-of-ivory-is-broken-at-both-ends-but-enough-remains-of-the-decoration-to-identify-it-as-a-scene-depicting-a-royal-banquet-at-left-a-beardless-attendant-gestures-to-a-stand-holding-three-pots-perhaps-serving-vessels-for-the-meal-he-may-be-waving-a-fan-over-the-pots-to-keep-insects-away-two-similar-figures-stand-to-the-right-armed-with-bows-and-face-the-back-of-the-seated-king-who-is-identified-by-his-distinctive-hata-fez-like-cap-topped-by-a-small-cone-the-king-is-bearded-and-seated-on-a-throne-with-a-high-back-he-holds-image458412715.html
RM2HHPE2K–Plaque ca. 9th–8th century B.C. Assyrian This long, narrow strip of ivory is broken at both ends, but enough remains of the decoration to identify it as a scene depicting a royal banquet. At left, a beardless attendant gestures to a stand holding three pots, perhaps serving vessels for the meal; he may be waving a fan over the pots to keep insects away. Two similar figures stand to the right, armed with bows, and face the back of the seated king, who is identified by his distinctive hat—a fez-like cap topped by a small cone. The king is bearded and seated on a throne with a high back. He holds
Plate 27 from 'La Tauromaquia': The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike Goya (Francisco de Goya y Lucientes) Spanish 1816 Unaware of the danger, a blindfolded horse is trapped to keep it from fleeing in panic. The animal’s defenselessness is emphasized by the light area on its chest, suggesting a stationary target. The gaze of the picador prepares the viewer for the violence about to be unleashed, while the dramatic resolution of the clash is prefigured at left by another horse rearing in fright and a dead animal ready to be dragged away. In their app Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/plate-27-from-la-tauromaquia-the-celebrated-picador-fernando-del-toro-draws-the-fierce-beast-on-with-his-pike-goya-francisco-de-goya-y-lucientes-spanish-1816-unaware-of-the-danger-a-blindfolded-horse-is-trapped-to-keep-it-from-fleeing-in-panic-the-animals-defenselessness-is-emphasized-by-the-light-area-on-its-chest-suggesting-a-stationary-target-the-gaze-of-the-picador-prepares-the-viewer-for-the-violence-about-to-be-unleashed-while-the-dramatic-resolution-of-the-clash-is-prefigured-at-left-by-another-horse-rearing-in-fright-and-a-dead-animal-ready-to-be-dragged-away-in-their-app-image569501226.html
RM2T2F0HE–Plate 27 from 'La Tauromaquia': The celebrated picador, Fernando del Toro, draws the fierce beast on with his pike Goya (Francisco de Goya y Lucientes) Spanish 1816 Unaware of the danger, a blindfolded horse is trapped to keep it from fleeing in panic. The animal’s defenselessness is emphasized by the light area on its chest, suggesting a stationary target. The gaze of the picador prepares the viewer for the violence about to be unleashed, while the dramatic resolution of the clash is prefigured at left by another horse rearing in fright and a dead animal ready to be dragged away. In their app
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