London 1785 painting hi-res stock photography and images

Wooded hilly landscape. Date/Period: London, 1785. Painting. Oil on canvas. 62.9 × 72.4 cm (24.7 × 28.5 in). Author: Abraham Pether. Stock Photo

RMPNDHJP–Wooded hilly landscape. Date/Period: London, 1785. Painting. Oil on canvas. 62.9 × 72.4 cm (24.7 × 28.5 in). Author: Abraham Pether.

Turnpike, Bayswater, 1785 print, Kensington Palace and Hyde Park on the left, Lancaster Gate tube station now on the right Stock Photo

RMBPWXCK–Turnpike, Bayswater, 1785 print, Kensington Palace and Hyde Park on the left, Lancaster Gate tube station now on the right

Derby Porcelain Manufactory, Virgins Awaking Cupid, British, Derby, Derby Porcelain Manufactory (British, 1751–1785), After a print by William Wynne Ryland (British, baptized London 1732–1783 London), After a painting by Angelica Kauffmann (Swiss, Chur 1741–1807 Rome), ca. 1780, British, Derby, Soft-paste biscuit porcelain, Height: 12 3/8 in. (31.4 cm), Ceramics-Porcelain Stock Photo

RM2B0MR5M–Derby Porcelain Manufactory, Virgins Awaking Cupid, British, Derby, Derby Porcelain Manufactory (British, 1751–1785), After a print by William Wynne Ryland (British, baptized London 1732–1783 London), After a painting by Angelica Kauffmann (Swiss, Chur 1741–1807 Rome), ca. 1780, British, Derby, Soft-paste biscuit porcelain, Height: 12 3/8 in. (31.4 cm), Ceramics-Porcelain

Princess de Lieven. 1785–1857, Russian noblewoman. wife of the Russian ambassador to London (1812–34). After her husband’s recall she settled in Paris. A brilliant personality, she was intimate with the great world of London and Paris, and her Paris salon acquired some note. Her friends included Metternich, Wellington, and Guizot. Her diary and much of her correspondence have been published in English. Stock Photo

RMWH94T0–Princess de Lieven. 1785–1857, Russian noblewoman. wife of the Russian ambassador to London (1812–34). After her husband’s recall she settled in Paris. A brilliant personality, she was intimate with the great world of London and Paris, and her Paris salon acquired some note. Her friends included Metternich, Wellington, and Guizot. Her diary and much of her correspondence have been published in English.

Matthew, reading, print maker: Edward Fisher, after painting by: Jusepe de Ribera, London, 1758 - 1785, paper, height 327 mm × width 226 mm, print Stock Photo

RM2WR93GW–Matthew, reading, print maker: Edward Fisher, after painting by: Jusepe de Ribera, London, 1758 - 1785, paper, height 327 mm × width 226 mm, print

England, London, Portrait of Emma Hamilton (1765-1815), Lord Nelsons Lover by George Romney dated about 1785 Stock Photo

RM2TBTBRK–England, London, Portrait of Emma Hamilton (1765-1815), Lord Nelsons Lover by George Romney dated about 1785

Watch, Silver watch in a loose, smooth case. The white, enamelled dial has an enamel painting, representing Adam and Eve., Wm. Wood, London, 1785, silver (metal), d 4.5 cm d 5.3 cm h 6.4 cm × w 5.1 cm × d 2.6 cm Stock Photo

RMW54EPJ–Watch, Silver watch in a loose, smooth case. The white, enamelled dial has an enamel painting, representing Adam and Eve., Wm. Wood, London, 1785, silver (metal), d 4.5 cm d 5.3 cm h 6.4 cm × w 5.1 cm × d 2.6 cm

London, UK. 11th Dec, 2024. EMBARGOED until Thu 12 Dec, 00.01. Staff with a painting showing 'Louis XVI Giving his Instructions to La Perouse, 26 June 1785', by Nicholas-Andre Monsiau, 1817. Set at Versailles, Louis presents La Perouse with instructions for his Pacific voyage. A new exhibition unveils the fascinating and surprising stories of science at Versailles. The exhibition opens at the Science Museum and will run 21 Dec 2024 - 21 Apr 2025. Credit: Imageplotter/Alamy Live News Stock Photo

RM2YWFHG5–London, UK. 11th Dec, 2024. EMBARGOED until Thu 12 Dec, 00.01. Staff with a painting showing 'Louis XVI Giving his Instructions to La Perouse, 26 June 1785', by Nicholas-Andre Monsiau, 1817. Set at Versailles, Louis presents La Perouse with instructions for his Pacific voyage. A new exhibition unveils the fascinating and surprising stories of science at Versailles. The exhibition opens at the Science Museum and will run 21 Dec 2024 - 21 Apr 2025. Credit: Imageplotter/Alamy Live News

Carrington Bowles. Bowles's New One-Sheet Map of the Russian Empire In Europe, comprehending also the Empire in Asia. London 1785 Stock Photo

RMHKRBDK–Carrington Bowles. Bowles's New One-Sheet Map of the Russian Empire In Europe, comprehending also the Empire in Asia. London 1785

Daniel in the lion's den, Daniel in the lions' den (title on object), print maker: Francis Lamb, after painting by: Peter Paul Rubens, publisher: Robert Simpson, London, 1785 - 1848, paper, etching, engraving, height 520 mm × width 665 mm, print Stock Photo

RM2WR754A–Daniel in the lion's den, Daniel in the lions' den (title on object), print maker: Francis Lamb, after painting by: Peter Paul Rubens, publisher: Robert Simpson, London, 1785 - 1848, paper, etching, engraving, height 520 mm × width 665 mm, print

Bodleian Libraries, Advertisement of Lyceum Theatre (London, England), 1785, announcing A cabinet of royal figures. Most curiously moulded in wax Stock Photo

RMHKRERN–Bodleian Libraries, Advertisement of Lyceum Theatre (London, England), 1785, announcing A cabinet of royal figures. Most curiously moulded in wax

View of Berry Pomeroy Castle, View of Berry Pomeroy Castle Devon (title on object), print, print maker: John Hassell, (mentioned on object), after painting by: Thomas Walmsley, (mentioned on object), publisher: James Daniell, (mentioned on object), London, 1785 - 1820, paper, etching, height, 448 mm × width, 534 mm Stock Photo

RM2X6YR8G–View of Berry Pomeroy Castle, View of Berry Pomeroy Castle Devon (title on object), print, print maker: John Hassell, (mentioned on object), after painting by: Thomas Walmsley, (mentioned on object), publisher: James Daniell, (mentioned on object), London, 1785 - 1820, paper, etching, height, 448 mm × width, 534 mm

James Boswell, 9th Laird of Auchinleck (1740-1795). Scottish lawyer and writer. Biographer of Dr Samuel Johnson. Portrait by Joshua Reynolds (1723-1792) in 1785. Oil on canvas (76,2 x 63,5 cm). National Portrait Gallery. London. England. United Kingdom. Stock Photo

RM2G7EP88–James Boswell, 9th Laird of Auchinleck (1740-1795). Scottish lawyer and writer. Biographer of Dr Samuel Johnson. Portrait by Joshua Reynolds (1723-1792) in 1785. Oil on canvas (76,2 x 63,5 cm). National Portrait Gallery. London. England. United Kingdom.

The origins of the Doric order. Smooth tree trunks used as uprights on a base, a trencher capital, solid beam as an architrave, crossbeams inserted to frieze beam as trygliphs, cornice of thick boards plastered with clay. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M45MCG–The origins of the Doric order. Smooth tree trunks used as uprights on a base, a trencher capital, solid beam as an architrave, crossbeams inserted to frieze beam as trygliphs, cornice of thick boards plastered with clay. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

England, London, Greenwich, Royal Observatory, Flamsteed House, Portrait of Margaret Maskelyne (1785-1858) Daughter of The Astromomer Royal by William Stock Photo

RMT0HFE0–England, London, Greenwich, Royal Observatory, Flamsteed House, Portrait of Margaret Maskelyne (1785-1858) Daughter of The Astromomer Royal by William

N/A. The Battle at La Hogue, probably showing the events of 24 May 1692, when the British sailors rowed in and torched the French ships. Dedicated to the Right Honourable the Lord Grosvenor, who apparently commissioned the painting this is based on. 18 November 1781. William Woollett (1735–1785) Alternative names William Woolett; william woollett; Woollett; Woollet; Woolett Description English engraver Date of birth/death 15 August 1735 23 May 1785 Location of birth/death Maidstone London Work location London Authority control : Q8020568 VIAF:21213404 ISNI:0000 0000 6704 595X ULA Stock Photo

RMP5NW6D–N/A. The Battle at La Hogue, probably showing the events of 24 May 1692, when the British sailors rowed in and torched the French ships. Dedicated to the Right Honourable the Lord Grosvenor, who apparently commissioned the painting this is based on. 18 November 1781. William Woollett (1735–1785) Alternative names William Woolett; william woollett; Woollett; Woollet; Woolett Description English engraver Date of birth/death 15 August 1735 23 May 1785 Location of birth/death Maidstone London Work location London Authority control : Q8020568 VIAF:21213404 ISNI:0000 0000 6704 595X ULA

Ann Yearsley (1753-1806), Bristol Milk Woman & Poetess. Milkmaid from Bristol discovered by the famous aristocrat writer Hannah More, who helped her publish a volume of poems in 1785. Bristol was an important port in the slave trade between Africa and the British colonies, and in 1788, Ann published A Poem on the Inhumanity of the Slave-Trade. Copperplate engraving by Wilson Lowry, published by Alexander Hogg at the Kings Arms, 16 Paternoster Row, London, 1787. Stock Photo

RM2CW9YB2–Ann Yearsley (1753-1806), Bristol Milk Woman & Poetess. Milkmaid from Bristol discovered by the famous aristocrat writer Hannah More, who helped her publish a volume of poems in 1785. Bristol was an important port in the slave trade between Africa and the British colonies, and in 1788, Ann published A Poem on the Inhumanity of the Slave-Trade. Copperplate engraving by Wilson Lowry, published by Alexander Hogg at the Kings Arms, 16 Paternoster Row, London, 1787.

Jean-Honore Fragonard, The Fountain of Love. Circa 1785. Oil on canvas. Getty Center, Los Angeles, USA. Stock Photo

RMPPEF1Y–Jean-Honore Fragonard, The Fountain of Love. Circa 1785. Oil on canvas. Getty Center, Los Angeles, USA.

Art inspired by Francesco d' Ageno, 1785–90, Etching and stipple engraving; second state of two, Sheet: 6 1/4 × 4 1/4 in. (15.9 × 10.8 cm), Prints, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon), After Thomas Gainsborough (British, Sudbury 1727–1788 London), Bartolozzi's, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HTXJG4–Art inspired by Francesco d' Ageno, 1785–90, Etching and stipple engraving; second state of two, Sheet: 6 1/4 × 4 1/4 in. (15.9 × 10.8 cm), Prints, Francesco Bartolozzi (Italian, Florence 1728–1815 Lisbon), After Thomas Gainsborough (British, Sudbury 1727–1788 London), Bartolozzi's, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

Portrait of Abram Jacob Messir. Artist: Sir David Wilkie (British, Cults, Scotland 1785-1841 off Gibraltar). Dimensions: sheet: 17 x 11 1/4 in. (43.2 x 28.5 cm). Date: 1841. Wilkie, who reenergized British genre painting in the opening decades of the nineteenth century, was adept at capturing faces and attitudes. In 1841 he traveled to the Holy Land to seek new material and died unexpectedly at sea while returning to London. The present work belongs to a series of vivid portraits of Middle Eastern characters that represent the artist's culminating achievement as a draftsman. Executed in a dis Stock Photo

RMPATMRX–Portrait of Abram Jacob Messir. Artist: Sir David Wilkie (British, Cults, Scotland 1785-1841 off Gibraltar). Dimensions: sheet: 17 x 11 1/4 in. (43.2 x 28.5 cm). Date: 1841. Wilkie, who reenergized British genre painting in the opening decades of the nineteenth century, was adept at capturing faces and attitudes. In 1841 he traveled to the Holy Land to seek new material and died unexpectedly at sea while returning to London. The present work belongs to a series of vivid portraits of Middle Eastern characters that represent the artist's culminating achievement as a draftsman. Executed in a dis

Angelica Kauffmann (1741-1807). Austrian painter. Self-portrait, 1780-1785. Oil on canvas. The State Hermitage Museum. Saint Petersburg. Russia. Stock Photo

RMFY21GH–Angelica Kauffmann (1741-1807). Austrian painter. Self-portrait, 1780-1785. Oil on canvas. The State Hermitage Museum. Saint Petersburg. Russia.

David Wilkie (1785-1841) on engraving from the 1800s. Scottish painter. Engraved by H.Robinson after a painting from W.Beechey and published in London Stock Photo

RF2Y59HJ1–David Wilkie (1785-1841) on engraving from the 1800s. Scottish painter. Engraved by H.Robinson after a painting from W.Beechey and published in London

The death of Captain James Cook at Kealakekua Bay, Hawaii, February 17, 1779. James Cook, 1728 - 1779. Captain in the British Royal Navy, explorer, navigator and cartographer. After a painting based on drawings by John Weber who witnessed the incident and published in London 1785. Stock Photo

RM2G5PX9M–The death of Captain James Cook at Kealakekua Bay, Hawaii, February 17, 1779. James Cook, 1728 - 1779. Captain in the British Royal Navy, explorer, navigator and cartographer. After a painting based on drawings by John Weber who witnessed the incident and published in London 1785.

WILKIE.THE BLIND FIDDLER. MUSEUM OF PAINTING AND SCULPTURE. BY DUCHESNE AND REVEIL. DRAWS AND SYCHED BY REVEIL. LONDON.PARIS 1833 Stock Photo

RF2T2YCHT–WILKIE.THE BLIND FIDDLER. MUSEUM OF PAINTING AND SCULPTURE. BY DUCHESNE AND REVEIL. DRAWS AND SYCHED BY REVEIL. LONDON.PARIS 1833

England, London, Portrait of Hester Lynch Piozzi (1741-1821) by Unknown Italian Artist dated 1785 Stock Photo

RM2TBTBRF–England, London, Portrait of Hester Lynch Piozzi (1741-1821) by Unknown Italian Artist dated 1785

Corinthian order from the Pantheon, Rome. Cornice with modillions and capital with ornate caulicoles. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M45MEN–Corinthian order from the Pantheon, Rome. Cornice with modillions and capital with ornate caulicoles. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

RM2YWFHGX–London, UK. 11th Dec, 2024. EMBARGOED until Thu 12 Dec, 00.01. Staff with a painting showing 'Louis XVI Giving his Instructions to La Perouse, 26 June 1785', by Nicholas-Andre Monsiau, 1817. Set at Versailles, Louis presents La Perouse with instructions for his Pacific voyage. A new exhibition unveils the fascinating and surprising stories of science at Versailles. The exhibition opens at the Science Museum and will run 21 Dec 2024 - 21 Apr 2025. Credit: Imageplotter/Alamy Live News

Fountain of Love, by Jean-Honore Fragonard, circa 1785, Wallace Collection, London, England, UK, GB Stock Photo

RMD4HW5X–Fountain of Love, by Jean-Honore Fragonard, circa 1785, Wallace Collection, London, England, UK, GB

Emma Hamilton, about 1765-1815, By George Romney, about 1785, National Portrait Gallery, London, UK Stock Photo

RM2YHK0B1–Emma Hamilton, about 1765-1815, By George Romney, about 1785, National Portrait Gallery, London, UK

Carrington Bowles. Bowles's New One-Sheet Map of the Russian Empire In Europe, comprehending also the Empire in Asia. London 1785. Caucasus Stock Photo

RMHKRBBT–Carrington Bowles. Bowles's New One-Sheet Map of the Russian Empire In Europe, comprehending also the Empire in Asia. London 1785. Caucasus

Daniel in the lions' den, Daniel in the lions' den (title on object), print, print maker: Francis Lamb, (mentioned on object), after painting by: Peter Paul Rubens, (mentioned on object), publisher: Robert Simpson, (mentioned on object), London, 1785 - 1848, paper, etching, engraving, height, 520 mm × width, 665 mm Stock Photo

RM2X6XKWH–Daniel in the lions' den, Daniel in the lions' den (title on object), print, print maker: Francis Lamb, (mentioned on object), after painting by: Peter Paul Rubens, (mentioned on object), publisher: Robert Simpson, (mentioned on object), London, 1785 - 1848, paper, etching, engraving, height, 520 mm × width, 665 mm

'Cricket as Played in the Artillery Ground, London, 1785', (1947). A game of cricket being played at Finsbury (now in north London). In the mid-eighteenth century, the Artillery Ground was the home of the London Cricket Club. After a painting of 1743 in the Marylebone Cricket Club Collection. From "British Clubs", by Bernard Darwin. [Collins, London, 1947] Stock Photo

RM2AG0HAR–'Cricket as Played in the Artillery Ground, London, 1785', (1947). A game of cricket being played at Finsbury (now in north London). In the mid-eighteenth century, the Artillery Ground was the home of the London Cricket Club. After a painting of 1743 in the Marylebone Cricket Club Collection. From "British Clubs", by Bernard Darwin. [Collins, London, 1947]

A Young Woman of the Sandwich Islands. J. Webber del. J.K. Sherwin sc. (London, G. Nicol and T. Cadell, 1785) Stock Photo

RMJ7MY48–A Young Woman of the Sandwich Islands. J. Webber del. J.K. Sherwin sc. (London, G. Nicol and T. Cadell, 1785)

The National Gallery. London, UK. 28th Mar, 2017. Deputy Director Dr Susan Foister looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News Stock Photo

RMHXD5R7–The National Gallery. London, UK. 28th Mar, 2017. Deputy Director Dr Susan Foister looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News

. English: Engraving or lithograph of lost painting by Charles Bird King, showing Winnebago (or Ho-Chunk) men Red Bird and Wekau. Red Bird (standing) is dressed in a white buckskin outfit that was specially made for his surrender to U.S. authorities during the 1827 Winnebago War. 1855. Charles Bird King (1785–1862) Alternative names C. B. King; Charles B. King; King; chas. b. king Description American painter and artist Date of birth/death 26 September 1785 18 March 1862 Location of birth/death Newport Washington D.C. Work location New York, London, Philadelphia, Baltimore, Richmond Stock Photo

RMMNTP9N–. English: Engraving or lithograph of lost painting by Charles Bird King, showing Winnebago (or Ho-Chunk) men Red Bird and Wekau. Red Bird (standing) is dressed in a white buckskin outfit that was specially made for his surrender to U.S. authorities during the 1827 Winnebago War. 1855. Charles Bird King (1785–1862) Alternative names C. B. King; Charles B. King; King; chas. b. king Description American painter and artist Date of birth/death 26 September 1785 18 March 1862 Location of birth/death Newport Washington D.C. Work location New York, London, Philadelphia, Baltimore, Richmond

REYNOLDS, Sir Joshua (b. 1723, Plympton Earl, d. 1792, London) Mrs. Musters as Hebe 1785 Oil on canvas, 239 x 144,8 cm Iveagh Bequest, Kenwood House, London Tendencies to use the mobile brushwork of Baroque painting for narrative purpose were apparent in England. Reynolds put the sublimity of Antiquity into portraiture in an early stage. Sophia Heywood, or Mrs. Musters (1758-1819), was then renowned for her beauty, and she is depicted as Hebe, that is the handmaid of the gods, filling the bowl for Jupiter. Both her pose and the proportions recall Guido Reni's Aurora, while the colours are re Stock Photo

RM2YADJ3F–REYNOLDS, Sir Joshua (b. 1723, Plympton Earl, d. 1792, London) Mrs. Musters as Hebe 1785 Oil on canvas, 239 x 144,8 cm Iveagh Bequest, Kenwood House, London Tendencies to use the mobile brushwork of Baroque painting for narrative purpose were apparent in England. Reynolds put the sublimity of Antiquity into portraiture in an early stage. Sophia Heywood, or Mrs. Musters (1758-1819), was then renowned for her beauty, and she is depicted as Hebe, that is the handmaid of the gods, filling the bowl for Jupiter. Both her pose and the proportions recall Guido Reni's Aurora, while the colours are re

. Illustration 'Joseph Brant (Mohawk)' . circa 1835. Charles Bird King (1785–1862) Alternative names C. B. King; Charles B. King; King; chas. b. king Description American painter and artist Date of birth/death 26 September 1785 18 March 1862 Location of birth/death Newport Washington D.C. Work location New York, London, Philadelphia, Baltimore, Richmond, Washington D.C. Authority control : Q2958563 VIAF: 27883084 ISNI: 0000 0000 8367 3681 ULAN: 500003108 LCCN: n88156294 GND: 119505827 WorldCat based on the last portrait of Brant, an 1806 oil on canvas painting by Ezra Ames 741 Stock Photo

RMMP6WP3–. Illustration 'Joseph Brant (Mohawk)' . circa 1835. Charles Bird King (1785–1862) Alternative names C. B. King; Charles B. King; King; chas. b. king Description American painter and artist Date of birth/death 26 September 1785 18 March 1862 Location of birth/death Newport Washington D.C. Work location New York, London, Philadelphia, Baltimore, Richmond, Washington D.C. Authority control : Q2958563 VIAF: 27883084 ISNI: 0000 0000 8367 3681 ULAN: 500003108 LCCN: n88156294 GND: 119505827 WorldCat based on the last portrait of Brant, an 1806 oil on canvas painting by Ezra Ames 741

Leatherback RP-P-OB-5365 Scene from the play Coriolanus William Shakespeare, the soldier Gaius Marcius Coriolanus a child and three women. English verse under the voorstelling. Manufacturer : printmaker: Francesco Bartolozzi (listed property) to painting: Angelica Kauffmann (listed building) publisher: James Birchall (listed property) Place manufacture: London Date: 1785 Physical features: etching and dot work in red-brown material : paper Technique: etching / dotted working dimensions: plate edge: h 416 mm × W 490 mm Subject: (story of) Coriolanus Stock Photo

RM2B6H98H–Leatherback RP-P-OB-5365 Scene from the play Coriolanus William Shakespeare, the soldier Gaius Marcius Coriolanus a child and three women. English verse under the voorstelling. Manufacturer : printmaker: Francesco Bartolozzi (listed property) to painting: Angelica Kauffmann (listed building) publisher: James Birchall (listed property) Place manufacture: London Date: 1785 Physical features: etching and dot work in red-brown material : paper Technique: etching / dotted working dimensions: plate edge: h 416 mm × W 490 mm Subject: (story of) Coriolanus

Francesco d' Ageno. Artist: Francesco Bartolozzi (Italian, Florence 1728-1815 Lisbon); After Thomas Gainsborough (British, Sudbury 1727-1788 London). Dimensions: Sheet: 6 1/4 × 4 1/4 in. (15.9 × 10.8 cm). Draftsman: After Richard Cosway (British, Oakford, Devon 1742-1821 London). Sitter: Francesco d'Ageno (Italian, 1727-?1788). Date: 1785-90. Bartolozzi's print is based on a miniature by Cosway, derived from an oil painting by Gainsborough. This second state appeared in 'Prose e rime del Signor Francesco d'Ageno, ultimamente Ministro della Repubblica di Genova alla Corte della Gran Bretagna, Stock Photo

RMPB1NYX–Francesco d' Ageno. Artist: Francesco Bartolozzi (Italian, Florence 1728-1815 Lisbon); After Thomas Gainsborough (British, Sudbury 1727-1788 London). Dimensions: Sheet: 6 1/4 × 4 1/4 in. (15.9 × 10.8 cm). Draftsman: After Richard Cosway (British, Oakford, Devon 1742-1821 London). Sitter: Francesco d'Ageno (Italian, 1727-?1788). Date: 1785-90. Bartolozzi's print is based on a miniature by Cosway, derived from an oil painting by Gainsborough. This second state appeared in 'Prose e rime del Signor Francesco d'Ageno, ultimamente Ministro della Repubblica di Genova alla Corte della Gran Bretagna,

Angelica Kauffmann (1741-1807). Austrian painter. Self-portrait, 1780-1785. Oil on canvas. Detail. The State Hermitage Museum. Saint Petersburg. Russia. Stock Photo

RMFY21GJ–Angelica Kauffmann (1741-1807). Austrian painter. Self-portrait, 1780-1785. Oil on canvas. Detail. The State Hermitage Museum. Saint Petersburg. Russia.

. English: 'William Bagot, Lord Bagot,' portrait of William Bagot, 2nd Baron Bagot, mezzotint, by the British printmaker George Clint, after a painting by John Hoppner. Courtesy of the British Museum, London. Portrait of William Bagot, 2nd Baron Bagot (1773-1856). 1785-1854 (life of the artist). William Bagot 2nd Baron Bagot by George Clint Stock Photo

RMMMRF4J–. English: 'William Bagot, Lord Bagot,' portrait of William Bagot, 2nd Baron Bagot, mezzotint, by the British printmaker George Clint, after a painting by John Hoppner. Courtesy of the British Museum, London. Portrait of William Bagot, 2nd Baron Bagot (1773-1856). 1785-1854 (life of the artist). William Bagot 2nd Baron Bagot by George Clint

Frederick, Duke of York and Albany (1763-1827). He was the second son of George III. Portrait by Sir David Wilkie (1785-1841). The Duke is depicted at home in York House. Oil on panel (59,1 x 52,1 cm), 1823. National Portrait Gallery. London, England, United Kingdom. Stock Photo

RM2DA15A3–Frederick, Duke of York and Albany (1763-1827). He was the second son of George III. Portrait by Sir David Wilkie (1785-1841). The Duke is depicted at home in York House. Oil on panel (59,1 x 52,1 cm), 1823. National Portrait Gallery. London, England, United Kingdom.

. John Adams, 1788 — oil on canvas painting by Mather Brown. In 1785, when John Adams sat for Mather Brown in London, he was one of the best known political-figures in both the newly independent United States and in Europe. Adams first came to prominence in Colonial Massachusetts, with his successful defense of British soldiers accused of murder in the Boston Massacre. Selected as a delegate to both the first and second congress (1774-1775), he was the most important leader for advocating independence. Striking up a friendship with Virginia delegate Thomas Jefferson, Adams suggested that Jeff Stock Photo

RMMMJ7D6–. John Adams, 1788 — oil on canvas painting by Mather Brown. In 1785, when John Adams sat for Mather Brown in London, he was one of the best known political-figures in both the newly independent United States and in Europe. Adams first came to prominence in Colonial Massachusetts, with his successful defense of British soldiers accused of murder in the Boston Massacre. Selected as a delegate to both the first and second congress (1774-1775), he was the most important leader for advocating independence. Striking up a friendship with Virginia delegate Thomas Jefferson, Adams suggested that Jeff

England, London, Portrait of Maria, Lady Callcott (1785-1842) by Sir Thomas Lawrence dated 1819 Stock Photo

RM2TBTBPE–England, London, Portrait of Maria, Lady Callcott (1785-1842) by Sir Thomas Lawrence dated 1819

. English: Bengal Army Troops, Watercolour on European paper, by a Company artist, 1785. This early painting is typical in showing examples of different ranks and regiments in the Bengal Army: a golandaz (artillery private), a sepoy (infantry private) and a subadar (a senior Indian officer). The style is designed to appeal to European taste with an exotic, picturesque background painted with thin watercolour washes. National Army Museum Collection, London: NAM Accession Number 1980-03-22-1 . 1785. Unknown Bengal Army Troops, 1785 Stock Photo

RMMMREME–. English: Bengal Army Troops, Watercolour on European paper, by a Company artist, 1785. This early painting is typical in showing examples of different ranks and regiments in the Bengal Army: a golandaz (artillery private), a sepoy (infantry private) and a subadar (a senior Indian officer). The style is designed to appeal to European taste with an exotic, picturesque background painted with thin watercolour washes. National Army Museum Collection, London: NAM Accession Number 1980-03-22-1 . 1785. Unknown Bengal Army Troops, 1785

Sir Anthony van Dyck, Flemish portrait and history painter, 1599-1641. Copperplate stipple engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M40F5X–Sir Anthony van Dyck, Flemish portrait and history painter, 1599-1641. Copperplate stipple engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

. English: his is a detail from a horizontal scroll-painting depicting Hindu deities. It is a Company painting (the name given to paintings made by Indian artists for the British in India). William Marsden, who served in Sumatra as an East India Company writer between 1771 and 1779, acquired it. In 1785 he established an East India Agency business in London and later became First Secretary to the Admiralty. He devoted himself to scholarly pursuits relating to Asia, and in 1783 he published a 'History of Sumatra'. He presented this scroll to the Royal Asiatic Society in 1828. In 1924 the Societ Stock Photo

RMMW2YA8–. English: his is a detail from a horizontal scroll-painting depicting Hindu deities. It is a Company painting (the name given to paintings made by Indian artists for the British in India). William Marsden, who served in Sumatra as an East India Company writer between 1771 and 1779, acquired it. In 1785 he established an East India Agency business in London and later became First Secretary to the Admiralty. He devoted himself to scholarly pursuits relating to Asia, and in 1783 he published a 'History of Sumatra'. He presented this scroll to the Royal Asiatic Society in 1828. In 1924 the Societ

Fanny Burney, 1752-1840, about 1785, By Edward Francisco Burney, National Portrait Gallery, London, UK Stock Photo

RM2YHJYP5–Fanny Burney, 1752-1840, about 1785, By Edward Francisco Burney, National Portrait Gallery, London, UK

Horloge, Wm. Wood, 1785 Silver watch in loose, smooth cupboard. The white, enamelled dial is equipped with an email painting, representing Adam and Eva. London silver (metal) Silver watch in loose, smooth cupboard. The white, enamelled dial is equipped with an email painting, representing Adam and Eva. London silver (metal) Stock Photo

RM2TDJKPX–Horloge, Wm. Wood, 1785 Silver watch in loose, smooth cupboard. The white, enamelled dial is equipped with an email painting, representing Adam and Eva. London silver (metal) Silver watch in loose, smooth cupboard. The white, enamelled dial is equipped with an email painting, representing Adam and Eva. London silver (metal)

Portrait of Robert Boyd, Lieut. Genl. Sir. Robt. Boyd, K.B. (title on object), print maker: Caroline Watson, after painting by: John Smart, publisher: John Boydell, London, May-1785, paper, height 170 mm × width 126 mm, print Stock Photo

RM2WRAR2N–Portrait of Robert Boyd, Lieut. Genl. Sir. Robt. Boyd, K.B. (title on object), print maker: Caroline Watson, after painting by: John Smart, publisher: John Boydell, London, May-1785, paper, height 170 mm × width 126 mm, print

Fanny Burney, c1784-1785, (1943). Portrait of Frances Burney (1752-1840), English satirical novelist, diarist and playwright, and daughter of the musicologist Dr Charles Burney. She married General d'Arblay, a French refugee, in 1793. Her three major novels are "Evelina" (1778), "Cecilia" (1782) and "Camilla" (1796). After a painting by her cousin Edward Francis Burney, in the National Portrait Gallery in London. From "English Diaries and Journals", by Kate O'Brien. [Collins, London, 1943] Stock Photo

RM2AG0HAX–Fanny Burney, c1784-1785, (1943). Portrait of Frances Burney (1752-1840), English satirical novelist, diarist and playwright, and daughter of the musicologist Dr Charles Burney. She married General d'Arblay, a French refugee, in 1793. Her three major novels are "Evelina" (1778), "Cecilia" (1782) and "Camilla" (1796). After a painting by her cousin Edward Francis Burney, in the National Portrait Gallery in London. From "English Diaries and Journals", by Kate O'Brien. [Collins, London, 1943]

Children reading the inscription on their mother's gravestone, Children Reading the Inscription, on their Mothers Grave-stone (title on object), Groups of Children, print maker: William Ward, after painting by: Richard Morton Paye, publisher: John Raphael Smith, London, 1785, paper, height 454 mm × width 551 mm, print Stock Photo

RM2WR98C6–Children reading the inscription on their mother's gravestone, Children Reading the Inscription, on their Mothers Grave-stone (title on object), Groups of Children, print maker: William Ward, after painting by: Richard Morton Paye, publisher: John Raphael Smith, London, 1785, paper, height 454 mm × width 551 mm, print

RMHXD5R6–The National Gallery. London, UK. 28th Mar, 2017. Deputy Director Dr Susan Foister looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News

The Shepherdess of the Alps ca. 1812 Evelina Hull This romantic image of a courting shepherd and shepherdess was closely copied from an engraving by Francesco Bartolozzi after a painting by Angelica Kauffmann. Published in London in 1785, the print illustrates a scene from 'La Bergère des Alpes,' ('The Shepherdess of the Alps') written in 1766 by the French playwright Jean-François Marmontel.. The Shepherdess of the Alps 13743 Stock Photo

RM2HH96W7–The Shepherdess of the Alps ca. 1812 Evelina Hull This romantic image of a courting shepherd and shepherdess was closely copied from an engraving by Francesco Bartolozzi after a painting by Angelica Kauffmann. Published in London in 1785, the print illustrates a scene from 'La Bergère des Alpes,' ('The Shepherdess of the Alps') written in 1766 by the French playwright Jean-François Marmontel.. The Shepherdess of the Alps 13743

Art inspired by Portrait of Abram Jacob Messir, 1841, Colored chalks and watercolor with white gouache on gray paper, sheet: 17 x 11 1/4 in. (43.2 x 28.5 cm), Drawings, Sir David Wilkie (British, Cults, Scotland 1785–1841 off Gibraltar), Wilkie, who reenergized British genre 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

RF2HW5N37–Art inspired by Portrait of Abram Jacob Messir, 1841, Colored chalks and watercolor with white gouache on gray paper, sheet: 17 x 11 1/4 in. (43.2 x 28.5 cm), Drawings, Sir David Wilkie (British, Cults, Scotland 1785–1841 off Gibraltar), Wilkie, who reenergized British genre 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

Virgins Awaking Cupid ca. 1780 Derby Porcelain Manufactory The composition derives from an engraving by William Wynne Ryland (1733–1783), published in 1776, after a painting by Angelica Kauffmann (1740–1807).. Virgins Awaking Cupid. After a print by William Wynne Ryland (British, baptized London 1732–1783 London). British, Derby. ca. 1780. Soft-paste biscuit porcelain. Derby Porcelain Manufactory (British, 1751–1785). Ceramics-Porcelain Stock Photo

RM2HGTRBB–Virgins Awaking Cupid ca. 1780 Derby Porcelain Manufactory The composition derives from an engraving by William Wynne Ryland (1733–1783), published in 1776, after a painting by Angelica Kauffmann (1740–1807).. Virgins Awaking Cupid. After a print by William Wynne Ryland (British, baptized London 1732–1783 London). British, Derby. ca. 1780. Soft-paste biscuit porcelain. Derby Porcelain Manufactory (British, 1751–1785). Ceramics-Porcelain

Kinderen spelen een tragedie Children Spouting Tragedy (titel op object) On the stairs a classical building are five children in sadness. One of the children pointing her finger up and looks for something to wear, while another hides her face in her hands. On the floor a mask and a boek. Manufacturer : printmaker Charles Howard Hodges (listed property) to painting: Richard Morton Paye (listed building) Publisher: John Raphael Smith (listed property) Place manufacture: London Date: 1785 Physical features: mezzotint, hand coloring material: paper Technique: mezzotint / hand color dimensions: pla Stock Photo

RM2B6YKT4–Kinderen spelen een tragedie Children Spouting Tragedy (titel op object) On the stairs a classical building are five children in sadness. One of the children pointing her finger up and looks for something to wear, while another hides her face in her hands. On the floor a mask and a boek. Manufacturer : printmaker Charles Howard Hodges (listed property) to painting: Richard Morton Paye (listed building) Publisher: John Raphael Smith (listed property) Place manufacture: London Date: 1785 Physical features: mezzotint, hand coloring material: paper Technique: mezzotint / hand color dimensions: pla

Copper plate printed cotton with King George III and his family. Artist: After engravings by J. Seymour , published London, 1779. Culture: British. Dimensions: H. 35 x W. 29 inches 88.9 x 73.7 cm. Date: ca. 1785. The balloon in the upper left is based on the Charles and Robert's hydrogen balloon, launched December 1, 1783. The figure of the Prince of Wales is from an engraving by J.R. Smith, 1783, after a painting by Gainsborough. The group of the three princesses is adapted from an engraving by Thomas Watson, 1776, from the painting of 'the three Montgomery sisters decorating a terminal fig Stock Photo

RMPAXR9E–Copper plate printed cotton with King George III and his family. Artist: After engravings by J. Seymour , published London, 1779. Culture: British. Dimensions: H. 35 x W. 29 inches 88.9 x 73.7 cm. Date: ca. 1785. The balloon in the upper left is based on the Charles and Robert's hydrogen balloon, launched December 1, 1783. The figure of the Prince of Wales is from an engraving by J.R. Smith, 1783, after a painting by Gainsborough. The group of the three princesses is adapted from an engraving by Thomas Watson, 1776, from the painting of 'the three Montgomery sisters decorating a terminal fig

Study for 'The Siege of Gibraltar': Three Figures 1785–86 John Singleton Copley American After settling in London in the fall of 1775, Copley made drawings for most of his English paintings, especially his history paintings. For “The Siege of Gibraltar” (1783–91; Guildhall Art Gallery, London), a stirring depiction of the British defense of the Rock in 1779–82 against Spanish and French forces, Copley made nearly one hundred chalk, graphite, ink, and watercolor drawings. He worked on the painting for eight years, as he time and again altered and compromised his ideas according to the wishes of Stock Photo

RM2HHBW20–Study for 'The Siege of Gibraltar': Three Figures 1785–86 John Singleton Copley American After settling in London in the fall of 1775, Copley made drawings for most of his English paintings, especially his history paintings. For “The Siege of Gibraltar” (1783–91; Guildhall Art Gallery, London), a stirring depiction of the British defense of the Rock in 1779–82 against Spanish and French forces, Copley made nearly one hundred chalk, graphite, ink, and watercolor drawings. He worked on the painting for eight years, as he time and again altered and compromised his ideas according to the wishes of

RM2RX35WN–England, London, Portrait of Hester Lynch Piozzi (1741-1821) by Unknown Italian Artist dated 1785

Death of Lieutenant-Colonel Fordyce. From Campaigning in Kaffirland, by Captain WM. Ross King, 74th Highlanders from the book ' A history of the Scottish Highlands, Highland clans and Highland regiments ' Volume 2 by Maclauchlan, Thomas, 1816-1886; Wilson, John, 1785-1854; Keltie, John Scott, Sir, 1840-1927 Publication date 1875 publisher Edinburgh ; London : A. Fullarton Stock Photo

RF2P3CF5G–Death of Lieutenant-Colonel Fordyce. From Campaigning in Kaffirland, by Captain WM. Ross King, 74th Highlanders from the book ' A history of the Scottish Highlands, Highland clans and Highland regiments ' Volume 2 by Maclauchlan, Thomas, 1816-1886; Wilson, John, 1785-1854; Keltie, John Scott, Sir, 1840-1927 Publication date 1875 publisher Edinburgh ; London : A. Fullarton

London, England. 06/10/2015. Press preview of the exhibition Goya: The Portraits at The National Gallery in London, England. The exhibition opens to the public on 7 October 2015 and runs until 10 January 2016. Paintings: The Duke of Osuna, circa 1795; The Duke and Duchess of Osuna and their Children, 1788; and The Countess-Duchess of Benavente, 1785. Stock Photo

RMF3ENCJ–London, England. 06/10/2015. Press preview of the exhibition Goya: The Portraits at The National Gallery in London, England. The exhibition opens to the public on 7 October 2015 and runs until 10 January 2016. Paintings: The Duke of Osuna, circa 1795; The Duke and Duchess of Osuna and their Children, 1788; and The Countess-Duchess of Benavente, 1785.

'Mr and Mrs William Hallett' (1785), commonly referred to as 'The Morning Walk', by Thomas Gainsborough, back on display at the National Gallery, London, following restoration after it was damaged with a screwdriver by Keith Gregory in an incident on 18 March 2017. Featuring: Atmosphere Where: London, United Kingdom When: 28 Mar 2017 Credit: Dinendra Haria/WENN.com Stock Photo

RMJ2H0PM–'Mr and Mrs William Hallett' (1785), commonly referred to as 'The Morning Walk', by Thomas Gainsborough, back on display at the National Gallery, London, following restoration after it was damaged with a screwdriver by Keith Gregory in an incident on 18 March 2017. Featuring: Atmosphere Where: London, United Kingdom When: 28 Mar 2017 Credit: Dinendra Haria/WENN.com

RF2B99BJM–Watch, Silver watch in a loose, smooth case. The white, enamelled dial has an enamel painting, representing Adam and Eve., Wm. Wood, London, 1785, silver (metal), d 4.5 cm d 5.3 cm h 6.4 cm × w 5.1 cm × d 2.6 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, movement, speed and revolutionize culture.

Wenceslaus Hollar, Bohemian engraver, 1607–1677. Copperplate stipple engraving after a self-portrait from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M40F5B–Wenceslaus Hollar, Bohemian engraver, 1607–1677. Copperplate stipple engraving after a self-portrait from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

RMMWW843–. English: his is a detail from a horizontal scroll-painting depicting Hindu deities. It is a Company painting (the name given to paintings made by Indian artists for the British in India). William Marsden, who served in Sumatra as an East India Company writer between 1771 and 1779, acquired it. In 1785 he established an East India Agency business in London and later became First Secretary to the Admiralty. He devoted himself to scholarly pursuits relating to Asia, and in 1783 he published a 'History of Sumatra'. He presented this scroll to the Royal Asiatic Society in 1828. In 1924 the Societ

Sir William Herschel, (1738-1822), 1785, By Lemuel Francis Abbott, National Portrait Gallery, London, UK Stock Photo

RM2YHK05W–Sir William Herschel, (1738-1822), 1785, By Lemuel Francis Abbott, National Portrait Gallery, London, UK

Thomas Gainsborough, Mr and Mrs William Hallet, -the morning walk, 1785, oil on canvas, National Gallery, London, England, Great Britain Stock Photo

RM2WHAA3C–Thomas Gainsborough, Mr and Mrs William Hallet, -the morning walk, 1785, oil on canvas, National Gallery, London, England, Great Britain

Lady Dashwood and Her Son, ca. 1785. Stock Photo

RM2AX174G–Lady Dashwood and Her Son, ca. 1785.

. Audubon, the naturalist; a history of his life and time. Audubon, John James, 1785-1851; Slavery -- Haiti; Haiti -- History Revolution, 1791-1804. 280 AUDUBON, THE NATURALIST Commission, now the Bureau of Fisheries, as one of the ablest students of birds and fishes which the country has ever produced, as well as the friend of science and sci- entific men everywhere, is now well known, and has been ably set forth by his most recent biographer. ^^ John W. Audubon spent the winter of 1846-47 in London, where he was engaged in painting subjects for his father's work on the Quadrupeds. While he w Stock Photo

RMRJTRP4–. Audubon, the naturalist; a history of his life and time. Audubon, John James, 1785-1851; Slavery -- Haiti; Haiti -- History Revolution, 1791-1804. 280 AUDUBON, THE NATURALIST Commission, now the Bureau of Fisheries, as one of the ablest students of birds and fishes which the country has ever produced, as well as the friend of science and sci- entific men everywhere, is now well known, and has been ably set forth by his most recent biographer. ^^ John W. Audubon spent the winter of 1846-47 in London, where he was engaged in painting subjects for his father's work on the Quadrupeds. While he w

Portrait of Elisabeth Keppel, Text in English in the print. Garlands held by the black page, while the white woman hangs wreaths of flowers around a statue on an altar., print maker: Edward Fisher, after painting by: Joshua Reynolds, Edward Fisher, London, 1761 - 1785, paper, height 592 mm × width 364 mm, print Stock Photo

RM2WR840Y–Portrait of Elisabeth Keppel, Text in English in the print. Garlands held by the black page, while the white woman hangs wreaths of flowers around a statue on an altar., print maker: Edward Fisher, after painting by: Joshua Reynolds, Edward Fisher, London, 1761 - 1785, paper, height 592 mm × width 364 mm, print

The National Gallery. London, UK. 28th Mar, 2017. Larry Keith, Head of Conservation and Keeper at the National Gallery looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News Stock Photo

RMHXD5PE–The National Gallery. London, UK. 28th Mar, 2017. Larry Keith, Head of Conservation and Keeper at the National Gallery looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News

RM2X6XWE7–Portrait of Elisabeth Keppel, Text in English in the print. Garlands held by the black page, while the white woman hangs wreaths of flowers around a statue on an altar., print, print maker: Edward Fisher, (mentioned on object), after painting by: Joshua Reynolds, (mentioned on object), Edward Fisher, (mentioned on object), London, 1761 - 1785, paper, height, 592 mm × width, 364 mm

Kinderen spelen een tragedie Children Spouting Tragedy (titel op object) On the steps of a classical building houses five children, dressed like actors in sorrow. One of the children pointing her finger up and looks for something to wear, while another hides her face in her hands. On the floor a mask and a boek. Manufacturer : printmaker Charles Howard Hodges (listed property) to painting: Richard Morton Paye (listed building) Publisher: John Raphael Smith (listed property) Place manufacture: London Date: 1785 Physical characteristics: mezzotint, hand-coloring material: paper Technique: mezzot Stock Photo

RM2B6YKT1–Kinderen spelen een tragedie Children Spouting Tragedy (titel op object) On the steps of a classical building houses five children, dressed like actors in sorrow. One of the children pointing her finger up and looks for something to wear, while another hides her face in her hands. On the floor a mask and a boek. Manufacturer : printmaker Charles Howard Hodges (listed property) to painting: Richard Morton Paye (listed building) Publisher: John Raphael Smith (listed property) Place manufacture: London Date: 1785 Physical characteristics: mezzotint, hand-coloring material: paper Technique: mezzot

Virgins Awaking Cupid. Artist: After a print by William Wynne Ryland (British, baptized London 1732-1783 London); After a painting by Angelica Kauffmann (Swiss, Chur 1741-1807 Rome). Culture: British, Derby. Dimensions: Height: 12 3/8 in. (31.4 cm). Factory: Derby Porcelain Manufactory (British, 1751-1785). Date: ca. 1780. The composition derives from an engraving by William Wynne Ryland (1733-1783), published in 1776, after a painting by Angelica Kauffmann (1740-1807). Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB1T9P–Virgins Awaking Cupid. Artist: After a print by William Wynne Ryland (British, baptized London 1732-1783 London); After a painting by Angelica Kauffmann (Swiss, Chur 1741-1807 Rome). Culture: British, Derby. Dimensions: Height: 12 3/8 in. (31.4 cm). Factory: Derby Porcelain Manufactory (British, 1751-1785). Date: ca. 1780. The composition derives from an engraving by William Wynne Ryland (1733-1783), published in 1776, after a painting by Angelica Kauffmann (1740-1807). Museum: Metropolitan Museum of Art, New York, USA.

Francesco d' Ageno 1785–90 Francesco Bartolozzi Italian Bartolozzi's print is based on a miniature by Cosway, the latter derived from an oil painting by Gainsborough. This second state appeared in 'Prose e rime del Signor Francesco d'Ageno, ultimamente Ministro della Repubblica di Genova alla Corte della Gran Bretagna, raccolte e pubblicate da Girolamo Tonioli' (Prose and Verse by Francesco d'Ageno, lately minister of the Republic of Genoa to the court of Great Britain, edited by Girolama Tonioli), published London, 1790, by Dennett Jaques.. Francesco d' Ageno 377263 Stock Photo

RM2HJ4988–Francesco d' Ageno 1785–90 Francesco Bartolozzi Italian Bartolozzi's print is based on a miniature by Cosway, the latter derived from an oil painting by Gainsborough. This second state appeared in 'Prose e rime del Signor Francesco d'Ageno, ultimamente Ministro della Repubblica di Genova alla Corte della Gran Bretagna, raccolte e pubblicate da Girolamo Tonioli' (Prose and Verse by Francesco d'Ageno, lately minister of the Republic of Genoa to the court of Great Britain, edited by Girolama Tonioli), published London, 1790, by Dennett Jaques.. Francesco d' Ageno 377263

RM2RX35GT–England, London, Portrait of Maria, Lady Callcott (1785-1842) by Sir Thomas Lawrence dated 1819

John Henderson, in the Character of Iago (Shakespeare's 'Othello') 1786 Francesco Bartolozzi Published shortly after Henderson's death, this engraving shows the actor in a signature role, the villainous Iago in 'Othello,' which he played to great acclaim at the Covent Garden Theatre between 1780 and 1785. Bartolozzi based the subject's expressive features on a painting by the American painter Gilbert Stuart, who lived in London between 1775 and 1793. Known as 'The Bath Roscius,' Henderson worked in the latter city until 1778, then moved to London after David Garrick's death (see 17.3.981 for G Stock Photo

RM2HGPW30–John Henderson, in the Character of Iago (Shakespeare's 'Othello') 1786 Francesco Bartolozzi Published shortly after Henderson's death, this engraving shows the actor in a signature role, the villainous Iago in 'Othello,' which he played to great acclaim at the Covent Garden Theatre between 1780 and 1785. Bartolozzi based the subject's expressive features on a painting by the American painter Gilbert Stuart, who lived in London between 1775 and 1793. Known as 'The Bath Roscius,' Henderson worked in the latter city until 1778, then moved to London after David Garrick's death (see 17.3.981 for G

RMF3EJMK–London, England. 06/10/2015. Press preview of the exhibition Goya: The Portraits at The National Gallery in London, England. The exhibition opens to the public on 7 October 2015 and runs until 10 January 2016. Paintings: The Duke of Osuna, circa 1795; The Duke and Duchess of Osuna and their Children, 1788; and The Countess-Duchess of Benavente, 1785.

RMJ2H0PN–'Mr and Mrs William Hallett' (1785), commonly referred to as 'The Morning Walk', by Thomas Gainsborough, back on display at the National Gallery, London, following restoration after it was damaged with a screwdriver by Keith Gregory in an incident on 18 March 2017. Featuring: Atmosphere Where: London, United Kingdom When: 28 Mar 2017 Credit: Dinendra Haria/WENN.com

The Fountain of Love, Fragonard, Jean-Honoré, 1732-1806, Regnault, Nicolas-François, 1746-ca. 1810, Stipple engraving, ca 1785, The print reproduces in reverse the painting The Fountain of Love by Jean-Honoré Fragonard, of which there exist several versions (J. Paul Getty Museum, Inv. 99.PA.30, London, Wallace collection, Inv. P394, 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

RF2B9FEG3–The Fountain of Love, Fragonard, Jean-Honoré, 1732-1806, Regnault, Nicolas-François, 1746-ca. 1810, Stipple engraving, ca 1785, The print reproduces in reverse the painting The Fountain of Love by Jean-Honoré Fragonard, of which there exist several versions (J. Paul Getty Museum, Inv. 99.PA.30, London, Wallace collection, Inv. P394, 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.

Plan and elevation of an oval temple to Venus, ancient Rome. Dome with four doors and 16 columns. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M45MCN–Plan and elevation of an oval temple to Venus, ancient Rome. Dome with four doors and 16 columns. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

RMMY52C9–. English: his is a detail from a horizontal scroll-painting depicting Hindu deities. It is a Company painting (the name given to paintings made by Indian artists for the British in India). William Marsden, who served in Sumatra as an East India Company writer between 1771 and 1779, acquired it. In 1785 he established an East India Agency business in London and later became First Secretary to the Admiralty. He devoted himself to scholarly pursuits relating to Asia, and in 1783 he published a 'History of Sumatra'. He presented this scroll to the Royal Asiatic Society in 1828. In 1924 the Societ

Sir Richard Arkwright, (1732-1792), about 1783-1785, By Joseph Wright, National Portrait Gallery, London, UK Stock Photo

RM2YHK05N–Sir Richard Arkwright, (1732-1792), about 1783-1785, By Joseph Wright, National Portrait Gallery, London, UK

. English: Portrait of Heinrich Albert Thalbitzer (1737–1785), Prussian consul in Helsingør. He is seated at a table, wearing a violet coat and pants and a lace shirt. On the table are a candlestick and a letter addressed “To Mr. Henry Thalbitzer Mercht (Merchant) to London”. He is reading a book with the title The Guardian. Inscribed on the old canvas: Gemahlt von R. von Gasc geb. von Lisiewsky Berlin 1762. The painting is relined, and the inscription is therefore hidden. Oil on canvas. 115×88 cm. Purchased by The Museum of National History at Frederiksborg Castle in June 2014 for 90,000 kr. Stock Photo

RMMYWJX7–. English: Portrait of Heinrich Albert Thalbitzer (1737–1785), Prussian consul in Helsingør. He is seated at a table, wearing a violet coat and pants and a lace shirt. On the table are a candlestick and a letter addressed “To Mr. Henry Thalbitzer Mercht (Merchant) to London”. He is reading a book with the title The Guardian. Inscribed on the old canvas: Gemahlt von R. von Gasc geb. von Lisiewsky Berlin 1762. The painting is relined, and the inscription is therefore hidden. Oil on canvas. 115×88 cm. Purchased by The Museum of National History at Frederiksborg Castle in June 2014 for 90,000 kr.

RM2HWXNB0–Thomas Gainsborough, Mr and Mrs William Hallet, -the morning walk, 1785, oil on canvas, National Gallery, London, England, Great Britain

. Audubon the naturalist; a history of his life and time. Audubon, John James, 1785-1851. 280 AUDUBON, THE NATURALIST Commission, now the Bureau of Fisheries, as one of the ablest students of birds and fishes which the country has ever produced, as well as the friend of science and sci- entific men everywhere, is now well known, and has been ably set forth by his most recent biographer.18 John W. Audubon spent the winter of 1846-47 in London, where he was engaged in painting subjects for his father's work on the Quadrupeds. While he was. john w. audubon's inscription in a copy of volume i of t Stock Photo

RMRJRRFJ–. Audubon the naturalist; a history of his life and time. Audubon, John James, 1785-1851. 280 AUDUBON, THE NATURALIST Commission, now the Bureau of Fisheries, as one of the ablest students of birds and fishes which the country has ever produced, as well as the friend of science and sci- entific men everywhere, is now well known, and has been ably set forth by his most recent biographer.18 John W. Audubon spent the winter of 1846-47 in London, where he was engaged in painting subjects for his father's work on the Quadrupeds. While he was. john w. audubon's inscription in a copy of volume i of t

RMHXD5PR–The National Gallery. London, UK. 28th Mar, 2017. Larry Keith, Head of Conservation and Keeper at the National Gallery looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News

Portrait of William V, Prince of Orange-Nassau, Portrait of William V in an oval. In the bottom margin are name and titles., print, print maker: Burnet Reading, (mentioned on object), after painting by: R. Wilding, (mentioned on object), publisher: William Richardson, (mentioned on object), print maker: London, publisher: London, publisher: Rotterdam, 10-Sep-1785, paper, engraving, etching, height, 158 mm × width, 99 mm Stock Photo

RM2X6WJDG–Portrait of William V, Prince of Orange-Nassau, Portrait of William V in an oval. In the bottom margin are name and titles., print, print maker: Burnet Reading, (mentioned on object), after painting by: R. Wilding, (mentioned on object), publisher: William Richardson, (mentioned on object), print maker: London, publisher: London, publisher: Rotterdam, 10-Sep-1785, paper, engraving, etching, height, 158 mm × width, 99 mm

Gualtherus en Griselda Grisalda (titel op object) Gualtherus represents the kneeling Griselda. Right house. In the background a landschap. Manufacturer : printmaker: Francesco Bartolozzi (listed property) to painting: Angelica Kauffmann (listed building) Publisher: William Dickinson (listed property) Place manufacture: London Date: Feb 20 1785 Physical Features: Etching and dotted engra in red material: paper Technique: etching / dotted engra / color dimensions: sheet: h 434 mm (Inner plate edge cut.) × W 330 mm (Inner plate edge cut.) Subject: couple or loversGriselda Stock Photo

RM2B6RYJ0–Gualtherus en Griselda Grisalda (titel op object) Gualtherus represents the kneeling Griselda. Right house. In the background a landschap. Manufacturer : printmaker: Francesco Bartolozzi (listed property) to painting: Angelica Kauffmann (listed building) Publisher: William Dickinson (listed property) Place manufacture: London Date: Feb 20 1785 Physical Features: Etching and dotted engra in red material: paper Technique: etching / dotted engra / color dimensions: sheet: h 434 mm (Inner plate edge cut.) × W 330 mm (Inner plate edge cut.) Subject: couple or loversGriselda

Study for 'The Bride at Her Toilet on the Day of Her Wedding'. Artist: Sir David Wilkie (British, Cults, Scotland 1785-1841 off Gibraltar). Dimensions: Sheet: 6 1/16 x 4 3/8 in. (15.4 x 11.1 cm). Date: ca. 1838. This is one of a group of sketches where Wilkie developed compositional ideas for a painting he would show at the Royal Acdemy, London in 1838 (now National Academy of Scotland, Edinburgh). Pen lines suggest movement, and wash is used to indicate shadow as the artist conveys the movements of a young woman dressing for her wedding assisted by a companion and watched by an older woman. Stock Photo

RMPB20HP–Study for 'The Bride at Her Toilet on the Day of Her Wedding'. Artist: Sir David Wilkie (British, Cults, Scotland 1785-1841 off Gibraltar). Dimensions: Sheet: 6 1/16 x 4 3/8 in. (15.4 x 11.1 cm). Date: ca. 1838. This is one of a group of sketches where Wilkie developed compositional ideas for a painting he would show at the Royal Acdemy, London in 1838 (now National Academy of Scotland, Edinburgh). Pen lines suggest movement, and wash is used to indicate shadow as the artist conveys the movements of a young woman dressing for her wedding assisted by a companion and watched by an older woman.

RM2RX3BY1–England, London, Portrait of Emma Hamilton (1765-1815), Lord Nelsons Lover by George Romney dated about 1785

The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3) March 10, 1785 John Raphael Smith British Smith’s mezzotint reproduces Fuseli’s striking conception of the witches as first encountered by Macbeth and Banquo in Shakespeare’s play (act 1, scene 3), prompting Banquo to ask:'What are theseSo wither’d and wild in their attire, That look not like the inhabitants o’ the earth,And yet are on’t?.../ You seem to understand me, By each at once her chappy finger laying /Upon her skinny lips. .'After a seven-year sojourn in Rome, Fuseli settled in London in 1779 and became known for painting imagin Stock Photo

RM2HGPTJY–The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3) March 10, 1785 John Raphael Smith British Smith’s mezzotint reproduces Fuseli’s striking conception of the witches as first encountered by Macbeth and Banquo in Shakespeare’s play (act 1, scene 3), prompting Banquo to ask:'What are theseSo wither’d and wild in their attire, That look not like the inhabitants o’ the earth,And yet are on’t?.../ You seem to understand me, By each at once her chappy finger laying /Upon her skinny lips. .'After a seven-year sojourn in Rome, Fuseli settled in London in 1779 and became known for painting imagin

RMF3EJN9–London, England. 06/10/2015. Press preview of the exhibition Goya - The Portraits at The National Gallery in London, England. The exhibition opens to the public on 7 October 2015 and runs until 10 January 2016. Paintings: The Duke of Osuna, circa 1795; The Duke and Duchess of Osuna and their Children, 1788; and The Countess-Duchess of Benavente, 1785.

Deputy Director Dr Susan Foister examines 'Mr and Mrs William Hallett' (1785), commonly referred to as 'The Morning Walk', by Thomas Gainsborough, which is back on display at the National Gallery, London, following restoration after it was damaged with a screwdriver by Keith Gregory in an incident on 18 March 2017. Featuring: Susan Foister Where: London, United Kingdom When: 28 Mar 2017 Credit: Dinendra Haria/WENN.com Stock Photo

RMJ2H0R2–Deputy Director Dr Susan Foister examines 'Mr and Mrs William Hallett' (1785), commonly referred to as 'The Morning Walk', by Thomas Gainsborough, which is back on display at the National Gallery, London, following restoration after it was damaged with a screwdriver by Keith Gregory in an incident on 18 March 2017. Featuring: Susan Foister Where: London, United Kingdom When: 28 Mar 2017 Credit: Dinendra Haria/WENN.com

The Fountain of Love, Fragonard, Jean-Honoré, 1732-1806, Regnault, Nicolas-François, 1746-ca. 1810, Stipple engraving reimagined Stock Photo

RFRAHAR3–The Fountain of Love, Fragonard, Jean-Honoré, 1732-1806, Regnault, Nicolas-François, 1746-ca. 1810, Stipple engraving reimagined

Columns and capitals of the Tuscan, Doric, Ionic, Corinthian and Composite orders. Comparison of proportions, elevation, column taper, and degree of ornament. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785. Stock Photo

RM2M45MET–Columns and capitals of the Tuscan, Doric, Ionic, Corinthian and Composite orders. Comparison of proportions, elevation, column taper, and degree of ornament. Copperplate engraving from Francis Fitzgerald’s The Artist’s Repository and Drawing Magazine, Charles Taylor, London, 1785.

Hester Lynch Piozzi, (1741-1821), 1785-1786, By an unknown Italian artist, National Portrait Gallery, London, UK Stock Photo

RM2YHK06A–Hester Lynch Piozzi, (1741-1821), 1785-1786, By an unknown Italian artist, National Portrait Gallery, London, UK

RMHXD5PT–The National Gallery. London, UK. 28th Mar, 2017. Larry Keith, Head of Conservation and Keeper at the National Gallery looking at the painting of Thomas Gainsborough, Mr and Mrs William Hallett (‘The Morning Walk'), 1785. Following the incident on Saturday 18 March 2017 at the National Gallery in London, Thomas Gainsborough's Mr and Mrs William Hallett - known as The Morning Walk - has been restored and is back on public display. Credit: Dinendra Haria/Alamy Live News

RM2X6WJDY–Portrait of William V, Prince of Orange-Nassau, Portrait of William V in an oval. In the bottom margin are name and titles., print, print maker: Burnet Reading, (mentioned on object), after painting by: R. Wilding, (mentioned on object), publisher: William Richardson, (mentioned on object), print maker: London, publisher: London, publisher: Rotterdam, 10-Sep-1785, paper, engraving, etching, height, 152 mm × width, 97 mm

London 1785 painting Stock Photos and Images

London 1785 painting Stock Photos and Images

Download Confirmation

Password Confirmation

Search Results for London 1785 painting Stock Photos and Images (241)

Filter by agency collections

Search builder

Get great features with your free account