Pesquisando por: "Feet on the table" - Fotoarena - Agência de fotojornalismo

BON58973 large circular top cut from one piece of padouk;

BAL1424

BON44707

BAL1716

LLM3096173 Couple touching feet. Postcard, early 20th century.

BON52251

UIG2596205 Historical Geography. 1900. Ireland. Pigs' feet, though in themselves considered a table delicacy at some Irish fairs, are, by reason of their hoff-like nature, very out of place in the local canvas-covered curraghs, whose sides they could easily pierce.

CH441549 each demilune top with a half round leafy spray within crossbanded borders and opening to a felt-lined playing surface;

HSC272128

HNE273722

STM752571

LLH6030652 The language of feet, flirting by playing footsie.

HNE273725

UIG5389499

XDM1069413 by Eliza Anthony

FAS120469 by Augustus Welby Pugin

LLM3626818 Mary anointing Christ's feet. Illustration from Sunny Sabbaths, or Pleasant Pages for Happy Homes (James Hagger, London, c1868).

XJF193894

TWC65556 73.7 x 64.8 x 37.5cm;

BAL9113

BAL9097

BL3312016 PsalterEngland (Oxford?), circa 1210Language: LatinSource/Shelfmark: Royal 1 D. X, f.5

LLM2811931 Illustration for The New Picture Book being Pictorial Lessons on Form, Comparison, and Number, for children under seven years of age by Nicholas Bohny (8th edn, Edward Stanford, 1880).

FIA5406518 Fete villageoise - Village Festival - Pieter Aertsen (1508-1575). Oil on wood, 1550. Dimension : 84,9x170 cm. Art History Museum, Vienne

LLM3092335 Table Mountain, from Newlands. Illustration for Picturesque South Africa (Dennis Edwards, c 1895).

CNC6531 by Émile-Jacques Ruhlmann

STM620312

FAS45501 by Willam Richard Lethaby

IMA229409

XIR409233

XNR61618 by Jean Louis Forain

XIR414560 lavis, rehauts blancs; b/w photo;A.G. phot; 1899; squared paper for transfer; Sainte Marie Madeleine;

CH652939 Nude Boy Standing; Stehender Knabenakt. Christian Rohlfs (1849-1938). Oil on canvas. 80 x 53.3cm.

BAL9021

LLM11727365 "They Fought with him on Foot more than three hours, both before him and behind him." Illustration for The Boy's King Arthur (Charles Scribner, 1929).By Newell Convers Wyeth

CPH230982 table of the Last Supper;

CH650345 Black Boy Blowing Bubbles. George Harvey (1835-1920). Watercolour and pencil on paper. Signed and dated 1887. 41.6 x 28.2cm

BL3289260 Holkham Bible Picture BookEngland, circa 1320-1330Source/Shelfmark: Add. 47682, f.25

HSC272135 for pair see 272132 and 272133;

STM621280

HSC272133 for pair see 272134 and 272135;

LLM8658405 The Table of Shewbread, Scale 1/2 Inch to a Foot. Illustration for Panorama of the Tabernacle by Frank H White (S W Partridge, 1873. The tabernacle, also known as the Tent of the Congregation, also Tent of Meeting, was the portable earthly dwelling place of Yahweh (the God of Israel) used by the Israelites from the Exodus until the conquest of Canaan.

LSA363865

LLM7149693 Mary Magdalene washing the feet of Jesus Christ. Illustration from The History of the Life and Death of the Ever-Blessed Jesus Christ, Saviour of the World, by Jeremy Taylor (London, 1678).

CH659606 Ida. Anders Leonard Zorn (1860-1920). Oil on canvas. Dated 1907. 67 x 43.2cm. Ida was the houskeeper of the artist's home in Mora .

STM620319

MNY90566 by Nicolino Calyo

CPH1762450 Tintoretto, Cena in casa di Simone fariseo, Musei Civici agli Eremitani, Padova

PNP246281 Land Office of Sedgwick County;

CH989502 Back to Fishing; Retour de Peche. Theophile Louis Deyrolle (d.1923). Oil on canvas. 132.1 x 98.5cm.

XIR164804 The Restaurant of wet feet at the Marche des Innocents in Paris;

CH3505969 The rectangular top with rounded corners and concave-molded edge, above two baluster and ring-turned stems, each on four splayed legs carved with stylized acanthus knees and scroll-carved feet with brass casters, impressed 2376

XOS3492865 Made by German-born Herter Brothers of New York for William Henry Vanderbilt's Fifth Avenue mansion as a monument to his power and prestige as the centrepiece of his library. The table top shows the stars at the time of his birth.

CH3505971 Comprising two tilt-top sections, with one narrow leaf to finish one tilt-top section, the rounded rectangular top with thick moulded edge, on baluster columns and cabriole legs with scrolled foliate feet, with sunk castors, four brass clips, one pedestal stamped 12503, the narrow leaf also usable to make a breakfast-table.

XOS6372827 Made by German-born Herter Brothers of New York for William Henry Vanderbilt's Fifth Avenue mansion as a monument to his power and prestige as the centrepiece of his library. The table top shows the stars at the time of his birth.

UIG5314786 Historical Geography. 1900. Ireland. Pigs' feet, though in themselves considered a table delicacy at some Irish fairs, are, by reason of their hoff, like nature, very out of place in the local canvas, covered curraghs, whose sides they could easily pierce.

CH827692 The Magdalen washing Christ's Feet in the House of Simon. Luca Gordano (1634-1705). Oil on canvas, unframed. 258.4 x 315cm.

BLP2973957 The table of showbread was a small table made of acacia wood and overlaid with pure gold. It measured 3 feet by 1.5 feet and was 2 feet, 3 inches high. It stood on the right side of the Holy Place across from the lampstand and held 12 loaves of bread, representing the 12 tribes of Israel. The priests baked the bread with fine flour and it remained on the table before the Lord for a week; every Sabbath day the priests would remove it and eat it in the Holy Place, then put fresh bread on the table. Only priests could eat the bread, and it could only be eaten in the Holy Place, because it was holy.

BLP2973958 The table of showbread was a small table made of acacia wood and overlaid with pure gold. It measured 3 feet by 1.5 feet and was 2 feet, 3 inches high. It stood on the right side of the Holy Place across from the lampstand and held 12 loaves of bread, representing the 12 tribes of Israel. The priests baked the bread with fine flour and it remained on the table before the Lord for a week; every Sabbath day the priests would remove it and eat it in the Holy Place, then put fresh bread on the table. Only priests could eat the bread, and it could only be eaten in the Holy Place, because it was holy.

BLP2973956 The table of showbread was a small table made of acacia wood and overlaid with pure gold. It measured 3 feet by 1.5 feet and was 2 feet, 3 inches high. It stood on the right side of the Holy Place across from the lampstand and held 12 loaves of bread, representing the 12 tribes of Israel. The priests baked the bread with fine flour and it remained on the table before the Lord for a week; every Sabbath day the priests would remove it and eat it in the Holy Place, then put fresh bread on the table. Only priests could eat the bread, and it could only be eaten in the Holy Place, because it was holy.

XCC5861081 By Nicolas Bertin

CH6372852 With hinged top enclosing a baize-lined interior, above an acanthus- carved shaped apron centred by a shell and with a pounced ground, on cabriole legs and square paw feet

CH6372850 With hinged top enclosing a baize-lined interior, above an acanthus- carved shaped apron centred by a shell and with a pounced ground, on cabriole legs and square paw feet

MOR2915232

CH6372851 With hinged top enclosing a baize-lined interior, above an acanthus- carved shaped apron centred by a shell and with a pounced ground, on cabriole legs and square paw feet

CH1762464 The four gilt-metal columns on ball feet with ball-and-spire finials flanking a pedimented frame, the single chain fuse movement with finely cut wheels each with six crossings, Harrison's maintaining power

UIG5447270

TW1212962 This impressive Biblical scene is thought to be by the great Italian artist Tintoretto or artists from his studio. Jesus is shown on the far right, about to wash the feet of his disciple Peter - a symbolic act of purification before Peter became a priest. In the centre of the picture is the table at which the disciples will eat the Last Supper. The rich colouring, strong lighting, and use of twisting poses are characteristic of Tintoretto's style. The picture hung in St Nicholas' Cathedral, Newcastle for nearly 150 years from 1818.

SLR3827775 Rococco Table symphonion, ten discs, playing on a total of 84 teeth, diametrically arranged on two combs - the ' sublime harmony ' arrangement in a simulated carved walnut case with brass claw feet, printed silk picture under the lid with a green plush surround. It plays discs 30 cm diameter. Displayed at Keith Harding's World of Mechanical Music.

UIS5093741 Site of the Twenty Feet Reflector at Fieldhausen', 1834. Lithograph by G H Ford after an original by J F W Herschel, used as a frontispiece engraving to 'Results of Astronomical Observations made 1834-38 at the Cape of Good Hope'. Published in 1847, this document records the observations of Sir John F W Herschel while making the first detailed telescopic survey of the Southern skies. The only son of the astronomer Sir William Herschel, he was continuing the work of his father who had already mapped the Northern skies. The image shows the 20-Foot Telescope that Herschel used to discover thousands of new celestial objects. The building to the right housed a smaller telescope that was used to pinpoint their position in the sky. Herschel observed from Feldhausen House near Table Mountain at Claremont, six miles from Capetown, South Africa. ©SSPL/Science Museum

BAL277838 claw feet;

TWC5914651 Although described as a bedside table in the nineteenth century, this is actually a work table ('table en chiffonnière'), frequently used by women for holding their needlework or accoutrements from other similar activities. It comprises a small cupboard in the upper section and two shelves below. The cushions on the shelves probably date from the mid-19th century, but before this the shelves may have had some form of textile lining. A candelabrum for two candles springs from the top of the table, enabling more light to be thrown on the activity of the person sitting by the table. The uncompromising Greek key feet illustrate the fashionable ‘goût grec’ of the period, an early form of neoclassicism, and recall certain engraved designs by J-C Delafosse (1734-89).Several examples of this model exist, and they come from the workshop of Jean-Henri Riesener or Jean-François Leleu. The reason for the confusion is that both men trained with Jean-François Oeben and there are many similarities in their work in their early careers in the mid-1760s. Like another example in the Wallace Collection (F311), this table appears to derive from the work of Oeben, but is considered to be an early work of Riesener, perhaps dating from the period after Oeben’s death before Riesener was made a master cabinet-maker. The reason for this attribution centres on the marquetry decoration, which is less cramped and more realistic than that on F311 and which may be compared to the floral marquetry on other pieces by Riesener, for example a roll-top desk in the Wallace Collection (F102).

SLR3827772 Rococco Table symphonion, ten discs, playing on a total of 84 teeth, diametrically arranged on two combs - the ' sublime harmony ' arrangement in a simulated carved walnut case with brass claw feet, printed silk picture under the lid with a green plush surround. It plays discs 30 cm diameter. Displayed at Keith Harding's World of Mechanical Music.

JEF3084405 Gateleg table, made of oak, elm and red deal with an oval top with two hinged leaves, raised on a joined frame with a drawer to one end, on twist-turned uprights and inverted cup feet, connected above the feet by plain stretchers with bead-moulded top edges.

LLM5988106 Illustration for catalogue of Army & Navy Stores Ltd, 105 Victoria Street, London, SW1, 1939-40.

CH2657053 The rectangular veneered top with canted corners and brass and stained-wood inlaid banding on edge above above a conforming frame centering an applied gilt mount depicting a lyre flanked by female figures, snakes and scrollwork, all flanked by gilded eagle mounts on canted corners over a gilded and vert-antique spreadwinged figure flanked in rear by two similarly treated turned and carved columns above a veneered and mount-decorated abacus base over gilded acanthus-leaf and vert-antique hock legs, on animal paw feet

LLM3092312 The Devil's Peak, Cape Town. Illustration for Picturesque South Africa (Dennis Edwards, c 1895).

CH5058855 The rectangular black slate top inlaid with siena marble, verde antico, lapis lazuli, mother of pearl and other various stones centered by a parrot within an elaborate foliate and strapwork ground on associated white marble volute-carved supports centered by lions' masks, and paw feet.

FLO4677802 A woman writes a letter on a somno (night table containing a chamberpot) with her feet on a pillow, while her dog chews a lace collar and a cat sleeps on her ballgown. Handcoloured engraving from Pierre de la Mesangere's Le Bon Genre, Paris, 1817.

CH827083 A Special Celebration. Johan Severin Nilson (1846-1918). Oil on canvas. Painted in 1877. 85 x 119.4cm.

CH491787 The redecorated case with gilt Chinoiserie figures on a green ground, brass handle to the inverted bell top with flambeau finials, serpentine aperture to the front door, the moulded base on brass brackett feet

CH3618329 Shaped rectangular top over single frieze drawer on scroll-carved cabriole legs with hoof feet, X-form stretcher with acanthus finial.

CH988128 The Farmers; Les Cultivateurs. Hector Hyppolite (1894-1948). Oil on board. 44.5 x 54.3cm.

XDB174672 en forme de Bacchus enfant;

LLM3643437 Above and Below Board. Postcard, early 20th century.

XIR86565 meal at the house of Simon;

LIP1044733 A Hydropathic Legend. Illustration for The Graphic, 8 September 1883.

XCF282069

CH747163 The carving attributed to John Boson and Giovanni Battista Guelfi.Supplied to Richard Boyle, 3rd Earl of Burlington (1694-1753) under the direction of William Kent (1685-1748) for the Gallery of his villa at Chiswick circa 1730.Each with rectangular 'mosaic pavement' specimen marble top inlaid with a central octagon compartment of a porphyry cross in verde antico spandrels and bardiglio marble frame within a starburst, the geometrically-patterned field inlaid with octagons, crosses and lozenges in green serpentine, alabaster, Egyptian porphyry, verde antico, Spanish brocatelle, bianco e nero, siena, brêche d'alep, alabastro fiorito, brêche violette, jasper and grey bardiglio marble within a Greek ribbon-fret border, the frame with a moulded cornice centred by a water-god mask festooned with oak garlands issuing from the winged, scrolled, voluted water-nymphs, the acanthus-wrapped voluted plinth centred by a scallop-shell cartouche supporting a youth, the sides festooned with further acorn garlands above a scallop-shell cartouche, on acanthus-trailed scrolled voluted feet, minor strengthening braces to the reverse, each with printed label GALLERY, the original gilding with a contemporary oil varnish, a further coat of varnish and a later layer of 19th Century gilding

CH3715449 Almost certainly commissioned by Dominique Daguerre. The upper tier with hinged fall-front, each tier banded to the upper edge with ebony and citronnier and ebony-lined to the interior, each tier inset with wax cameos of putti and Classical scenes within gold surrounds and beneath domed glass, on baluster and spirally-reeded supports separated by bas-relief panels, on toupie feet and castors, stamped A. WEISWEILER.

CH3715448 Almost certainly commissioned by Dominique Daguerre. The upper tier with hinged fall-front, each tier banded to the upper edge with ebony and citronnier and ebony-lined to the interior, each tier inset with wax cameos of putti and Classical scenes within gold surrounds and beneath domed glass, on baluster and spirally-reeded supports separated by bas-relief panels, on toupie feet and castors, stamped A. WEISWEILER.

CH3715450 Almost certainly commissioned by Dominique Daguerre. The upper tier with hinged fall-front, each tier banded to the upper edge with ebony and citronnier and ebony-lined to the interior, each tier inset with wax cameos of putti and Classical scenes within gold surrounds and beneath domed glass, on baluster and spirally-reeded supports separated by bas-relief panels, on toupie feet and castors, stamped A. WEISWEILER.

CH747157 The carving attributed to John Boson and Giovanni Battista Guelfi.Supplied to Richard Boyle, 3rd Earl of Burlington (1694-1753) under the direction of William Kent (1685-1748) for the Gallery of his villa at Chiswick circa 1730.Each with rectangular 'mosaic pavement' specimen marble top inlaid with a central octagon compartment of a porphyry cross in verde antico spandrels and bardiglio marble frame within a starburst, the geometrically-patterned field inlaid with octagons, crosses and lozenges in green serpentine, alabaster, Egyptian porphyry, verde antico, Spanish brocatelle, bianco e nero, siena, brêche d'alep, alabastro fiorito, brêche violette, jasper and grey bardiglio marble within a Greek ribbon-fret border, the frame with a moulded cornice centred by a water-god mask festooned with oak garlands issuing from the winged, scrolled, voluted water-nymphs, the acanthus-wrapped voluted plinth centred by a scallop-shell cartouche supporting a youth, the sides festooned with further acorn garlands above a scallop-shell cartouche, on acanthus-trailed scrolled voluted feet, minor strengthening braces to the reverse, each with printed label GALLERY, the original gilding with a contemporary oil varnish, a further coat of varnish and a later layer of 19th Century gilding

DIL4046085 .

HLK5054866 the friezes and tops inlaid with continuous bold Greek key pattern design probably in holly, on arched cabriole legs carved on the knees with scrolling foliage ad cabochons and ending in scrolled feet. 91cm. Wide; 75cm. High

CH822984 Afternoon Tea. Richard Edward Miller (1875-1943). Oil on canvas. 86.3 x 91.5cm.

LLM3092334 Sir Lowry Pass. Illustration for Picturesque South Africa (Dennis Edwards, c 1895).

CH3715451 Almost certainly commissioned by Dominique Daguerre. The upper tier with hinged fall-front, each tier banded to the upper edge with ebony and citronnier and ebony-lined to the interior, each tier inset with wax cameos of putti and Classical scenes within gold surrounds and beneath domed glass, on baluster and spirally-reeded supports separated by bas-relief panels, on toupie feet and castors, stamped A. WEISWEILER.

CH6369370 Each hexagonal top with a central ivory roundel issuing swirling segments of exotic woods including palm, wenge, macassar ebony and sabicu, divided by feather-banding above a frieze drawer, on twin foliate C-scroll supports and a lotus-bordered plinth base terminating in four scrolled feetEach 28 in. (71 cm.) high; 21 in. (53.5 cm.) wide; 18o in. (46.5 cm.) deep

CH3899216 Entirely red lacquered and decorated in gold lacquer, brown and green on the circular tray of foliage scrolls and flowers, the belt and the four arched feet with patterns of scrolls and flowers, resting on a circular base.