Patrons Stock Photos and Images
RM2CTD32R–Business Directories of the Villages and Townships of Broome County, giving names, locations, and explicit directions of business of our patrons.cont., still image, Atlases, 1876
RM2A2W267–Virgin of the Rosary with Patrons and Angels, Unknown, about 1480, oil and gold on panel, 38-1/4 x 23-3/8 in. 43-3/8 x 28-1/2 in. (framed), German, European Painting and Sculpture Before 1800
RMW5752X–Jeronimo de Vries, twenty-five years secretary of the city of Amsterdam, penned by him among patrons and friends, Silver Medal Front: inscription. Reverse: inscription, Amsterdam, anonymous, Netherlands, 1819 - 1823, silver (metal), striking (metalworking), d 4 cm × w 21.46
RM2DJ3GYY–The Whitehaven Races, Septr. 7th, 1852 / To the Patrons of the Whitehaven Races / This Print is most respectively dedicated by Jno. Rook, Michael Hanhart, active 1841–1852, And N. Hanhart, active 1841–1852, after John Rook, active 1852, 1852, Hand colored lithograph, Sheet: 10 3/4 x 14 3/4in. (27.3 x 37.5cm
RM2DCHBDN–list of names, Anonymous, 1737-1789, canvas, wood, oil paint, The names of the patrons of the St. Catharina and Caecilia guesthouse, 1737-1789, painted on canvas, divided into three columns. The canvas is placed on a panel in a profiled frame with two s-shaped arches at the top that converge towards the middle and each end in a volute. Above it a padding of acanthus leaf and below it a vine with grapes. At the back of the frame on iron brackets two iron chains with links and a ring to hang the frame, With frame: 230 x 234 x 13cm (2300 x 2340 x 130mm
RM2DCHBE6–list of names, Anonymous, 1737-1789, canvas, wood, oil paint, The names of the patrons of the St. Catharina and Caecilia guesthouse, 1737-1789, painted on canvas, divided into three columns. The canvas is placed on a panel in a profiled frame with two s-shaped arches at the top that converge towards the middle and each end in a volute. Above it a padding of acanthus leaf and below it a vine with grapes. At the back of the frame on iron brackets two iron chains with links and a ring to hang the frame, With frame: 230 x 234 x 13cm (2300 x 2340 x 130mm
RM2DJ6FD2–The Interior of the British Institution Gallery, John Scarlett Davis, 1804–1845, British, 1829, Oil on canvas, Support (PTG): 44 1/2 x 56 inches (113 x 142.2 cm), arch, aristocrats, chair, collectors, conversation piece, cows, frames (furnishings), interior, men, paintings, patrons, portrait, room, sitting, women, England, Greater London, United Kingdom
RM2DJ8A78–At Ashford, Attributed to Rev. Daniel Finch, 1757–1840, British, 1818, Pen, brown ink, gray ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/2 × 8 inches (21.6 × 20.3 cm), architectural subject, cityscape, meat, patrons, shops, street, town, windows, Ashford, England, Europe, Kent, United Kingdom
RM2DDJ1YR–Memorial Tablet of Sir Richard and George Tangye, 1908 Situated on the stairwell in the entrance to the Birmingham Museum and Art Gallery, Chamberlain Square. Richard and George Tangye were engineering manufacturers, patrons of the arts and contributed a large sum to the building of the Museum & Art Gallery, and the Birmingham School of Art on Margaret Street. Sculptor: William Robert Colton Bronze and Marble, 19th Century, Sculpture, Pre-Raphaelite
RM2DN4W7C–Design for Acanthus Rinceaux with Animals and Birds, Pen and brown ink, brush and brown wash, white gouache; scale in graphite added on each side; curving stroke (of a letter?) in pen and brown ink cut off on lower center of sheet, Symmetrical arrangement of interlaced acanthus rinceaux interspersed with animals and birds. Included are salamanders and eagles which are possible references to Federico Gonzaga and family who were important patrons of Giulio Romano., Italy, 1524–46, ornament, Drawing
RMW54PFN–Cephalus and Procris Cephalus and Procris Tapestry with the history of Cephalus and Procris from the Diana series The histories of Diana (series title), Central are Diana, dressed in blue brocade from Lucca with white birds and lions as patrons, and Procis saying goodbye to each other before the latter returns to her husband Cephalus, who had accused her of infidelity and for which she had fled. The moments of seduction and flights are presented at the end in nature and on the second plan. The foreground is dominated on the left and right by elegantly dressed hunters with their hunting gear
RM2B0BXAF–John Rollin Tilton, Temple of Aphaea, Aegina, ca. 1870-1879, oil on canvas, 30 15/16 in. x 48 1/16 in. (78.58 cm x 122.08 cm), Born in New Hampshire, John Rollin Tilton began his artistic career painting signs and rail car decorations in Portland. Encouragement from local critic John Neal prompted him to pursue training in Europe. In 1852 Tilton settled in Rome, where he would spend many productive years. On the strength of his Claude Lorrain-inspired landscapes, he gained a popular following, especially among Grand Tour patrons. Henry Wadsworth Longfellow, Class of 1825, described him as 'a v
RM2DCFNKY–Élisabeth Louise Vigée Le Brun, (artist), French, 1755 - 1842, The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien, 1787, oil on canvas, overall: 123.4 x 155.9 cm (48 9/16 x 61 3/8 in.), framed: 177.8 x 203.2 x 19.1 cm (70 x 80 x 7 1/2 in.), Purchased as the Gift of the Bay Foundation in memory of Josephine Bay Paul and Ambassador Charles Ulrick Bay, Madame Vigée Le Brun was part of the world she painted and, like her aristocratic patrons, was under threat of the guillotine after the revolution. She was forced to flee Paris in disguise in 1789
RMKCC78R–Terracotta stand, Archaic, ca. 520 B.C., Greek, Attic, Terracotta; red-figure, H. 10 in. (25.4 cm), Vases, A significant amount
RMKCE6CK–Armor, dated 1548, with later restorations, Nuremberg, German, Nuremberg, Steel, leather, copper alloy, textile, Wt. approx. 56
RMKCE3FH–Terracotta stand, Archaic, ca. 520 B.C., Greek, Attic, Terracotta; red-figure, H. 10 1/4 in. (26 cm), Vases, A significant
RMKC6A3T–Portrait of a Woman, ca. 1770, Oil on canvas, 49 7/8 x 40 in. (126.7 x 101.6 cm), Paintings, Joseph Wright (Wright of Derby
RMKC6PP9–Detached Flintlock alla Fiorentina, dated 1679, Bargi, Italian, Bargi, Steel, H. 2 3/4 in. (7.0 cm); W. 5 3/4 in. (14.6 cm
RMKC8781–The Lamentation, ca. 1514–16, Oil on wood, 22 × 18 in. (55.9 × 45.7 cm), Paintings, Ludovico Mazzolino (Italian, Ferrara ca. 148
RMKCDKAC–Neptune, ca. 1580, Copper alloy with light brown patina under a verdigris patina., H. 28.3 cm., Metalwork-Bronze, Attributed to
RMKC3MN2–The Burial of Christ, 1595, Oil on copper, 17 1/4 x 13 3/4 in. (43.8 x 34.9 cm), Paintings, Annibale Carracci (Italian, Bologna
RMKC74MH–Tray Stand, 14th century, Attributed to Egypt, Brass; inlaid with silver, H. 9 9/16 in. (24.3 cm), Metal, This tray stand
RMKC6KEM–Entrance to a Village, ca. 1665, Oil on wood, 29 1/2 x 43 3/8 in. (74.9 x 110.2 cm), Paintings, Meyndert Hobbema (Dutch
RMKC87XG–Footed beaker, mid-17th century, Hungarian, Brassó, Silver, partly gilded, Overall: 7 3/16 x 3 9/16 in. (18.3 x 9 cm), Metalwork
RMKC6PN7–Processional Cross, 12th–13th century, Ethiopia, Lasta region, Tigrinya peoples, Bronze, H. 12 7/16 x W. 5 7/16 x D. 1 in. (31.6
RMKC625Y–Plate, probably mid-19th century, Russian, Kyschtymsk (Kyshtym), Iron, cast and patinated, 3/4 × 8 5/8 in. (1.9 × 21.9 cm
RMKCDNCH–Seated King, Probably Herod, ca. 1300–1350, Made in Meuse Valley, Netherlands, South Netherlandish, Marble, Overall: 18 3/4 x 6
RMKCBR72–The Baptism of Christ, ca. 1650, Oil on canvas, Overall 59 3/4 x 46 1/2 in. (151.8 x 118.1 cm); painted surface (oval) 59 1/8 x
RMKCD1PK–Mosaic Panel, ca. 1890–91, American, Favrile glass, 35 1/8 x 22 x 2 in. (89.2 x 55.9 x 5.1 cm), Glass, Tiffany Glass Company
RMKC85YM–Bench, ca. 1927–28, Lacquered wood, goatskin, 18 × 40 × 21 in. (45.7 × 101.6 × 53.3 cm), Furniture, Jean Dunand (French (born
RMKCD723–Illuminated Psalter, late 1100s, Byzantine, Tempera, black ink and gold on parchment, 8 1/8 x 5 7/8 x 2 in. (20.7 x 14.9 x 5.1
RMKC3NJC–John Greenleaf, 1753–54, Oil on canvas, 21 1/2 x 17 3/4 in. (54.6 x 45.1 cm), Paintings, John Singleton Copley (American, Boston
RMKC486M–Seal in shape of a duck, New Kingdom, Dynasty 18, early, ca. 1550–1450 B.C., From Egypt, Steatite (glazed), h. 1 cm (3/8 in); w
RMKC486P–Stamp Seal in Shape of a Cat, New Kingdom, Dynasty 18, ca. 1550–1450 B.C., From Egypt, Glazed steatite, H. 7/16 x 5/16 in. (1.1
RMKC85YJ–Bed, ca. 1927–28, Lacquered wood, 39 3/8 × 71 1/8 × 84 1/4 in. (100 × 180.7 × 214 cm), Furniture, Jean Dunand (French
RMKC85YK–Easy Chair, ca. 1927–28, Lacquered wood, goatskin, 35 3/4 in. × 24 3/4 in. × 42 in. (90.8 × 62.9 × 106.7 cm), Furniture, Jean
RMKC7FD1–Side Chair, ca. 1927–28, Lacquered wood, replacement chamois, 35 in. × 17 1/2 in. × 20 1/2 in. (88.9 × 44.5 × 52.1 cm
RMKC7YG9–Dog Guarding Dead Game, 1753, Oil on canvas, 25 1/2 x 31 3/4 in. (64.8 x 80.6 cm), Paintings, Jean-Baptiste Oudry (French, Paris
RMKC75H6–Basket, 1770–76, Made in New York, New York, United States, American, Silver, 11 3/16 x 14 7/16 x 11 3/8 in. (28.4 x 36.7 x 28.9
RMKC3Y4X–Composed Armor, ca. 1550–80, Landshut; Augsburg, German, Landshut and Augsburg; gorget, Italian, Steel, gold, leather, textile
RMKC7FD0–Bedside Table, ca. 1927–28, Lacquered wood, ivory, 23 5/8 × 27 1/2 × 13 3/4 in. (60 × 69.9 × 34.9 cm), Furniture, Jean Dunand
RMKC6E5J–Melophone, ca. 1850–55, Paris, France, French, Maple, brass, L. 79 cm (31 1/8 in.) x W. 30.5 cm (12 in.) x D. 19.5 cm (7 11/16
RMKCC5RX–Figure: Head, 16th century, Sierra Leone, Sapi peoples, Steatite, H. 10 3/16 x W. 8 1/2 x D.14 1/4 in. (26 x 21.6 x 36.2 cm
RMKC85M7–Portrait of a Man, 1533, Oil on oak, Overall, with arched top, 12 x 8 7/8 in. (30.5 x 22.5 cm); painted surface 11 3/4 x 8 1/8
RM2DDJ793–Gout Stool, 1750-65 This mahogany adjustable seat on a tripod base was made in England around 1750-65. It is most likely that it was made as a special commission for an individual suffering from gout, a form of arthritis which results in swollen joints, particularly in the feet and legs making walking extremely painful and difficult.The construction is unusual as the curved ribs of the stool have been made from strips of mahogany which have been glued together to produce a laminate, plywood structure. In the 18th century this work would have been time consuming as each layer had to be cut
RM2DDHGWT–Gout Stool, 1750-65 This mahogany adjustable seat on a tripod base was made in England around 1750-65. It is most likely that it was made as a special commission for an individual suffering from gout, a form of arthritis which results in swollen joints, particularly in the feet and legs making walking extremely painful and difficult.The construction is unusual as the curved ribs of the stool have been made from strips of mahogany which have been glued together to produce a laminate, plywood structure. In the 18th century this work would have been time consuming as each layer had to be cut
RM2DDJ795–Gout Stool, 1750-65 This mahogany adjustable seat on a tripod base was made in England around 1750-65. It is most likely that it was made as a special commission for an individual suffering from gout, a form of arthritis which results in swollen joints, particularly in the feet and legs making walking extremely painful and difficult.The construction is unusual as the curved ribs of the stool have been made from strips of mahogany which have been glued together to produce a laminate, plywood structure. In the 18th century this work would have been time consuming as each layer had to be cut
RM2DDJ78R–Gout Stool, 1750-65 This mahogany adjustable seat on a tripod base was made in England around 1750-65. It is most likely that it was made as a special commission for an individual suffering from gout, a form of arthritis which results in swollen joints, particularly in the feet and legs making walking extremely painful and difficult.The construction is unusual as the curved ribs of the stool have been made from strips of mahogany which have been glued together to produce a laminate, plywood structure. In the 18th century this work would have been time consuming as each layer had to be cut
RM2DDJ78T–Gout Stool, 1750-65 This mahogany adjustable seat on a tripod base was made in England around 1750-65. It is most likely that it was made as a special commission for an individual suffering from gout, a form of arthritis which results in swollen joints, particularly in the feet and legs making walking extremely painful and difficult.The construction is unusual as the curved ribs of the stool have been made from strips of mahogany which have been glued together to produce a laminate, plywood structure. In the 18th century this work would have been time consuming as each layer had to be cut
RMKCC569–Armor for Man and Horse Presumably Made for Baron Pankraz von Freyberg (1508–1565), man's armor, ca. 1535–40; horse armor
RMKCDC14–Pendant Medallion with the Last Judgment, ca. 1420, Made in Paris, France, French, Ivory, paint, and silver-gilt mount, Overall
RMKCBR1A–The Marquis de Vandières, Abbé Jean-Bernard Le Blanc, Germain Soufflot, and Charles-Nicolas Cochin, the Younger
RMKC809J–三幅神吉原通い図巻 「全盛季春遊戯」, Three Gods of Good Fortune Visit the Yoshiwara; or “Scenes of Pleasure at the Height of Spring
RMEDYY0G–The Interior of the British Institution Gallery Signed and dated, lower right: 'J. Scarlett Davis | 1829', John Scarlett Davis
RMKC6B93–The Iliad of Homer, The Odyssey of Homer, Compositions from The Tragedies of Aeschylus, and The Theogony, Works and Days
RMKC7W4H–松花堂昭乗書・伝俵屋宗達下絵 立葵下絵和歌色紙 藤原興風, Underpainting attributed to Tawaraya Sōtatsu, early 17th century
RMEDYWJA–Turf, with Jockey up, at Newmarket Portrait of 'Turf' with Jockey up Inscribed lower left: 'Turf', George Stubbs, 1724-1806
RM2B0C55F–Bartolommeo Melioli, Francesco II Gonzaga (1466-1519), later fourth Marquess of Mantua, 1484, bronze, black patina, 2 13/16 in. (7.1 cm.), This early medal depicts Francesco II Gonzaga (1466-1519), the fourth Marquess of Mantua. A personification of Prudence holding a muzzle (a Gonzaga family device) is on the reverse, perhaps presenting the teenage Francesco with an important lesson: govern with the virtues of restraint and self-control. As the popularity of medals spread into Northern Italy during the latter half of the fifteenth century, schools of medalists formed in major urban centers wh
RM2DRC8CW–Maker: Gerrit Onckelbag, American, 1670–1732, Caudle Cup, Silver, 5 3/4 × 9 3/8 in., 50.71 lb. (14.6 × 23.8 cm, 23 oz.), This two-handled cup made by Gerrit Onckelbag is of a type called in Britain a porringer, posset pot, or caudle cup, more or less interchangeably, indicating that it was used to serve a variety of foodstuffs. Uncommon in New York silver, the form is identical to contemporary cups from England and New England, including an example of 1679–85 by John Coney of Boston
![engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo](https://c8.alamy.com/comp/2DCH861/engraving-plate-jan-goeree-engraver-18th-century-bottom-left-j-goeree-fec-general-13-x-107cm-130-x-107mm-dragon-cityscape-minerva-neptune-man-mercury-sailing-ship-engraving-plate-for-the-printing-labels-on-the-packaging-of-leiden-bales-of-textile-material-the-plate-shows-a-scene-of-three-cloth-cloth-dealers-depicted-within-a-cartouche-one-of-the-traders-sits-between-two-piles-of-pressed-textile-the-other-two-are-in-front-of-him-one-of-the-pressed-packs-of-fabric-is-standing-upright-behind-the-two-standing-men-and-features-a-handmark-with-the-letters-ap-behind-the-2DCH861.jpg "engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo")
RM2DCH861–engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the
![engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo](https://c8.alamy.com/comp/2DCH870/engraving-plate-jan-goeree-engraver-18th-century-bottom-left-j-goeree-fec-general-13-x-107cm-130-x-107mm-dragon-cityscape-minerva-neptune-man-mercury-sailing-ship-engraving-plate-for-the-printing-labels-on-the-packaging-of-leiden-bales-of-textile-material-the-plate-shows-a-scene-of-three-cloth-cloth-dealers-depicted-within-a-cartouche-one-of-the-traders-sits-between-two-piles-of-pressed-textile-the-other-two-are-in-front-of-him-one-of-the-pressed-packs-of-fabric-is-standing-upright-behind-the-two-standing-men-and-features-a-handmark-with-the-letters-ap-behind-the-2DCH870.jpg "engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo")
RM2DCH870–engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the
![engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo](https://c8.alamy.com/comp/2DCH86B/engraving-plate-jan-goeree-engraver-18th-century-bottom-left-j-goeree-fec-general-13-x-107cm-130-x-107mm-dragon-cityscape-minerva-neptune-man-mercury-sailing-ship-engraving-plate-for-the-printing-labels-on-the-packaging-of-leiden-bales-of-textile-material-the-plate-shows-a-scene-of-three-cloth-cloth-dealers-depicted-within-a-cartouche-one-of-the-traders-sits-between-two-piles-of-pressed-textile-the-other-two-are-in-front-of-him-one-of-the-pressed-packs-of-fabric-is-standing-upright-behind-the-two-standing-men-and-features-a-handmark-with-the-letters-ap-behind-the-2DCH86B.jpg "engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the Stock Photo")
RM2DCH86B–engraving plate, Jan Goeree Engraver, 18th century, bottom left: J. Goeree [...] fec, General: 13 x 10,7cm 130 x 107mm, dragon, cityscape, minerva, neptune, man, mercury, sailing ship, Engraving plate for the printing labels on the packaging of Leiden bales of textile material. The plate shows a scene of three cloth-cloth dealers, depicted within a cartouche. One of the traders sits between two piles of pressed textile, the other two are in front of him. One of the pressed packs of fabric is standing upright behind the two standing men, and features a handmark with the letters AP. Behind the
RM2DT3R7P–Maker: Bartholomew Le Roux, American, ca. 1665–1713, Caster, ca. 1705, Silver, 8 in. (20.3 cm), Unequaled in American silver for its monumental size and richness of decoration, this caster by Bartholomew le Roux represents a European tradition of style and craftsmanship in the American colonies. Used to dispense expensive spices, the eighteenthth-century tableware illustrates typical Baroque ornamentation, including gadroons on the foot and flange, scrolled bayonet fasteners, and a pierced cover with engraved symmetrical floral and foliate scrolls. Elaborate silver table services
RMKCC589–Set of seven pruning tools, 1575–1600, French, Moulins, Steel, partly gilded; mother-of-pearl, Tool (.1470): 3 5/16 × 5/8 × 12
RM2B0BYX0–Thomas Rowlandson, The Picnic Party, ca. 1800-1827, watercolor on paper, 11 5/8 in. x 18 in. (29.6 cm. x 45.7 cm.), In 'Sense and Sensibility,' Jane Austen (1775--1817) describes preparations for a picnic party in the country. 'The grounds were declared to be highly beautiful. . . . They contained a noble piece of water, a sail on which was to form a great part of the morning's amusement, cold provisions were to be taken, . . . and everything conducted in the usual style of a complete party of pleasure. . . . They were all in high spirits and good humour, eager to be happy, and determined to s
RM2B0BXXK–Pieter Coecke van Aelst I, The Triumph of Sloth, ca. 1537, pen and brown ink, brush and grey wash on paper, 8 3/4 in. x 15 11/16 in. (22.2 cm. x 39.8 cm.), Pieter Coecke van Aelst I oversaw an Antwerp-based workshop that designed works across media, from panel paintings to tapestries, prints, goldsmiths' work, and stained glass. This drawing depicts a lethargic procession in which the allegorical embodiment of Sloth, recumbent and idle on her chariot, traverses a droopy, dismal landscape, her snoozing standard-bearer Sleep leading the way and about to keel off his steed. This is one from a ser
Search Results for Patrons Stock Photos and Images (93)
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