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akg270678 Craft and Trade / Glasser. "Vitriarius Faber. Der Glaser". Woodcut, partially coloured, undated, Germany, 1st half of 18th Century. From a series of depictions of trades. 7.7 × 11 cm. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte. Author: ANONYMOUS.
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akg530588 Ethnology / Africa:. - "Du Royaume de Zenega / Funerailles". (Burial ceremony in Senegal). Copper engraving, unsigned. From: Olfert Dapper, Description de l'Afrique, Traduite du Flamand, Amsterdam (Wolfgang, Waesberge, Boom & van Someren) 1686, P. 235. Colour added later. Author: ANONYMOUS.
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orz058865 CARLOS II EMPERADOR CRISTIANO - SIGLO XVII - SG 1.710-2. Author: ANONYMOUS. Location: BIBLIOTECA NACIONAL-COLECCION. MADRID. SPAIN. MARIANA DE AUSTRIA HIJO. CARLOS II DE ESPAÑA (1661-1700). FELIPE IV (1605-1665) HIJO NATURAL.
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alb3681789 Speculum Romanae Magnificentiae: Temple of Janus. Artist: Anonymous. Dimensions: sheet: 22 1/8 x 16 3/4 in. (56.2 x 42.6 cm)plate: 17 11/16 x 13 7/8 in. (45 x 35.2 cm). Publisher: Tommaso Barlacchi (active Rome, 1541-50). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1550.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 29 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3683422 Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants. Artist: Anonymous; After Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Dimensions: sheet: 6 7/8 x 11 in. (17.5 x 28 cm)mount: 10 13/16 x 15 9/16 in. (27.5 x 39.5 cm). Publisher: Antonio Salamanca (Salamanca 1478-1562 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: early 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 142 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3682943 Speculum Romanae Magnificentiae: Theater of Marcellus. Artist: Anonymous. Dimensions: sheet: 14 3/8 x 21 1/4 in. (36.5 x 54 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Claudio Duchetti (Italian, active Venice and Rome, ca. 1565-died ca. 1585). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 63 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3680689 Speculum Romanae Magnificentiae: Front view of St. Lawrence Gateway, Rome. Artist: Anonymous. Dimensions: sheet: 19 1/8 x 12 3/16 in. (48.5 x 31 cm)plate: 16 11/16 x 11 7/16 in. (42.4 x 29 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1566.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 74 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3678423 Speculum Romanae Magnificentiae: Castrum. Artist: Anonymous. Dimensions: sheet: 12 13/16 x 8 1/16 in. (32.5 x 20.5 cm). Publisher: Michele Tramezzino (Italian, active Venice and Rome, 1526-died 1561). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 89 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3672921 Alexander the Great commanding that the work of Homer be placed in the tomb of Achilles. Artist: Anonymous; After Marcantonio Raimondi (Italian, Argini (?) ca. 1480-before 1534 Bologna (?)). Dimensions: Sheet: 9 11/16 × 15 13/16 in. (24.6 × 40.1 cm). Date: ca. 1500-1550. Museum: Metropolitan Museum of Art, New York, USA.
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alb3670475 Satyrs in a Landscape. Artist: Anonymous; After Herman van Swanevelt (Dutch, Woerden (?) ca. 1603-1655 Paris). Dimensions: sheet: 7 5/8 x 10 5/8 in. (19.3 x 27 cm). Museum: Metropolitan Museum of Art, New York, USA.
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alb3679753 Speculum Romanae Magnificentiae: Roman Naval Battle. Artist: Anonymous. Dimensions: sheet: 13 9/16 x 19 1/8 in. (34.5 x 48.5 cm)plate: 12 3/8 x 18 1/8 in. (31.5 x 46 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 72 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3640199 Speculum Romanae Magnificentiae: Arch of Constantine. Artist: Anonymous. Dimensions: sheet: 13 1/2 x 16 3/4 in. (34.3 x 42.5 cm)mount: 14 5/8 x 16 3/4 in. (37.1 x 42.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 81 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3653383 Speculum Romanae Magnificentiae: Column of Dilius and Obelisque Fountain. Artist: Anonymous. Dimensions: sheet: 18 7/8 x 13 1/8 in. (48 x 33.3 cm)plate: 18 3/16 x 12 5/16 in. (46.2 x 31.2 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1575.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 106 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3658363 The Betrayal of Christ, from The Passion of Christ. Artist: After Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem); Anonymous. Dimensions: Sheet: 7 13/16 x 5 1/16 in. (19.8 x 12.8 cm). Date: ca. 1598-1617. Museum: Metropolitan Museum of Art, New York, USA.
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alb3661528 Christ on the Cross, from The Passion of Christ. Artist: After Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem); Anonymous. Dimensions: Sheet: 7 5/8 in. × 5 in. (19.4 × 12.7 cm). Series/Portfolio: Set of copies: Hirschmann p. 18 and Dutuit IV.412. Date: ca. 1598-1617. Museum: Metropolitan Museum of Art, New York, USA.
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alb3665709 Dido holding a dagger in her right hand, left arm outstreched. Artist: After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome); Anonymous; After Marcantonio Raimondi (Italian, Argini (?) ca. 1480-before 1534 Bologna (?)). Dimensions: Sheet: 6 1/8 × 4 7/8 in. (15.6 × 12.4 cm). Date: ca. 1510-30. Museum: Metropolitan Museum of Art, New York, USA.
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alb3661138 Speculum Romanae Magnificentiae: The Antonine Column. Artist: Anonymous. Dimensions: sheet: 20 7/8 x 12 3/8 in. (53 x 31.5 cm). Publisher: Nicolaus van Aelst (Flemish, Brussels 1526-1613 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1589.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 112 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3631574 The Return from Egypt. Artist: Anonymous; After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); After Lucas Vorsterman I (Flemish, Zaltbommel 1595-1675 Antwerp). Dimensions: Sheet (Trimmed): 16 9/16 × 11 7/8 in. (42.1 × 30.1 cm). Publisher: Gaspar Huberti (Flemish, 1685-1724). Date: ca. 1705-24. Museum: Metropolitan Museum of Art, New York, USA.
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alb3632056 Speculum Romanae Magnificentiae: Baths of Agrippa. Artist: Anonymous. Dimensions: sheet: 13 5/16 x 20 1/2 in. (33.8 x 52 cm). Publisher: Claudio Duchetti (Italian, active Venice and Rome, ca. 1565-died ca. 1585). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1585.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 88 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3628472 Poetry personified as a winged woman. Artist: After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome); Anonymous; After Marcantonio Raimondi (Italian, Argini (?) ca. 1480-before 1534 Bologna (?)). Dimensions: 7 3/16 x 5 11/16 in. (18.3 x 14.5 cm). Date: ca. 1515-50. Museum: Metropolitan Museum of Art, New York, USA.
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alb3627754 The Triumph of Christ: the last sheet on the right showing Adam and Eve who lead the procession. Artist: Anonymous; After Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90?-1576 Venice). Dimensions: Sheet: 15 1/4 × 10 9/16 in. (38.8 × 26.8 cm). Date: ca. 1510-11. Museum: Metropolitan Museum of Art, New York, USA.
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alb3650095 Jupiter and Mercury with Philemon and Baucis. Artist: Anonymous; After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Dimensions: Sheet (Trimmed): 12 5/16 × 15 13/16 in. (31.3 × 40.1 cm). Publisher: Johannes Meyssens (Flemish, Brussels 1612-1670 Antwerp). Date: ca. 1627-70. Museum: Metropolitan Museum of Art, New York, USA.
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alb3641337 Speculum Romanae Magnificentiae: Atreus Farnese. Artist: Anonymous; After Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome). Dimensions: sheet: 13 7/8 x 8 7/8 in. (35.2 x 22.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1574.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 112 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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alb3648227 Speculum Romanae Magnificentiae: Sacrifice on the Campus Martius. Artist: Anonymous. Dimensions: sheet: 10 1/4 x 18 1/8 in. (26 x 46 cm)plate: 8 5/16 x 16 5/16 in. (21.1 x 41.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome); Pietro de' Nobili (Italian, active Rome, 1584-85); Paolo Graziani (Italian, active Rome, 1577-84). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 137 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.
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orz155604 SAN JERONIMO - SIGLO XVIII - FOTO AÑOS 90. Author: ANONYMOUS. Location: PRIVATE COLLECTION. MADRID. SPAIN. SAN JERONIMO (347-420) CARDENAL SAN JERONIMO.
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alb3618620 The Prison; a group of men in a dungeon bound in chains and shackles; to the right a figure hanging from his arms, tied to a boulder. Artist: Anonymous; After Giulio Romano (Italian, Rome 1499?-1546 Mantua). Dimensions: plate: 10 1/4 x 14 3/16 in. (26 x 36 cm) trimmed within borderline. Former Attribution: Formerly attributed to Giorgio Ghisi (Italian, Mantua ca. 1520-1582 Mantua). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.
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akg2080410 Hamza ibn 'Abdul-Muttalib, companion and paternal uncle of the Islamic prophet Muhammad, c.567-625. Hamza ibn 'Abdul-Muttalib and Ubaydah ibn al-Harith with their army. fighting against Abu Jahl. Miniature, Constantinople, c.1594/95. Illustration from the epic Siyer-i Nebi. about the life of the Prophet Muhammad, by Mustafa son of Yusuf of Erzurum, known as al-Darir, written. 1388. London, Khalili Collection. Museum: London, Khalili Collection. Author: ANONYMOUS.
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akg017249 Nollet, Abbé Jean-Antoine; French physicist (experimeted with electricity around 1750; wrote "Lettres sur l'électricité", 1753); Pimpré (Oise). 1700 - Paris 1770. Abbé Nollet at the electrifying machine. Wood engraving, c. 1880. Author: ANONYMOUS.
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orz113979 CARTEL DE LA GUERRA CIVIL - GUERRA ESPAÑOLA CONTRA EL FASCISMO INTERNACIONAL - SIGLO XX. Author: ANONYMOUS. Location: ARCHIVO HISTORICO NACIONAL. SALAMANCA. SPAIN.
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akg169197 Aksum (Ethiopia). Stele. (Biggest monolith in the world; height 24 m.; C 1st - 4th AD.). - "The Obelisk of Axum". Copper engr., coloured. From: Carl Bertuch, Bilderbuch für Kinder, 7. Bd., Weimar (Landes-Industrie-Comptoir) 1810, Nr. 53. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte. Author: ANONYMOUS.
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akg3028161 Zypern, späte Bronzezeit, spät-zyprisch III, um 1200-1125 v. Chr. - Statue des Gottes auf dem Kupferbarren. - Bronze, Höhe 35 cm. Fundort: Enkomi (Distrikt Famagusta, Zypern). Nachbildung des Originales im Cyprus Museum in Nikosia, Inv. Nr. Enkomi 1963.16.15. Bochum, Deutsches Bergbau-Museum. Museum: Bochum, Deutsches Bergbau-Museum. Author: ANONYMOUS.
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orz006715 AMADEO DE SABOYA (1845-1890) - DUQUE DE AOSTA - REY DE ESPAÑA "EL EFIMERO" (1870-73) - SIGLO XIX - PINTURA ROMANTICA. Author: ANONYMOUS. Location: ALCAZAR / MUSEO DEL EJERCITO-COLECCIÓN. Toledo. SPAIN.
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orz003829 First priest in America. Oil on canvas. 20th century. Sevilla, Colombian Library. Author: ANONYMOUS. Location: BIBLIOTECA COLOMBINA. Sevilla. Seville. SPAIN. BARTOLOME DE LAS CASAS. FRAY BARTOLOME DE LAS CASAS. CASAS FRAY BARTOLOME.
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orz024480 LA MAGDALENA - PINTURA MURAL DE LA ERMITA DE LA VERA CRUZ DE MADERUELO - SIGLO XII - ROMANICO ESPAÑOL - PINTURA MURAL AL FRESCO. Author: ANONYMOUS. Location: MUSEO DEL PRADO-PINTURA. MADRID. SPAIN. SANTA MARIA MAGDALENA-MARIA DE MAGDALA.
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akg073860 First World War 1914-18: Sea battle. 7 Mai 1915: Cunard-steamer Lusitania is sunk on its way from the USA to Liverpool by the German submarine U 20. The sinking of the Lusitania. Watercolour painting, contemporary, signed "Wikinger" (the Viking). Author: ANONYMOUS.
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orz015262 Jaime Ist, the "Conquistador" of Aragon and Cataluna (1208-1276). Oil on canvas (123 x 90 cm). Valencia, Government Palace. Author: ANONYMOUS. Location: PALACIO DE LA GENERALITAT. Valencia. SPAIN. JAIME II DE VALENCIA. JAIME I DE ARAGON (1208-1276) EL CONQUISTADOR.
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orz134029 Spanish school. Portrait of Charles III (1716-1788), king of Spain from 1759 to 1788. 18th century. Madrid, Banco de España. Author: ANONYMOUS. Location: BANCO DE ESPAÑA-COLECCION ARTE. MADRID. SPAIN. CARLOS III (1716-1788) REY BORBON DE ESPAÑA-CARLOS I DE PARMA.
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orz234828 VIRGEN MARIA CON EL NIÑO EN BRAZOS, PROBABLEMENTE HECHA PARA FERNANDO DE ANTEQUERA, 1406/1412, h.41,5cm. Author: ANONYMOUS. Location: CATEDRAL-MUSEO. Toledo. SPAIN. INFANT JESUS. SANTA ANA MADRE DE LA VIRGEN MARIA. VIRGEN CORONADA.
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orz234827 VIRGEN MARIA CON EL NIÑO EN BRAZOS, PROBABLEMENTE HECHA PARA FERNANDO DE ANTEQUERA, 1406/1412, h.41,5cm. Author: ANONYMOUS. Location: CATEDRAL-MUSEO. Toledo. SPAIN. INFANT JESUS. SANTA ANA MADRE DE LA VIRGEN MARIA. VIRGEN CORONADA.
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orz171137 HERNAN CORTES 1485/1547-CONQUISTADOR ESPAÑOL DE MEXICO. Author: ANONYMOUS. Location: Archivo General de Indias. Sevilla. Seville. SPAIN. HERNAN CORTES (1485-1547).
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orz025481 CONQUISTA DE MEXICO - ENTRADA TRIUNFANTE DE HERNAN CORTES Y SU EJERCITO EN TLAXCALA - PINTURA EN COBRE - SIGLO XVIII. Author: ANONYMOUS. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN. HERNAN CORTES (1485-1547).
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orz025480 CONQUISTA DE MEXICO-LA NOCHE TRISTE- 1520 - PINTADO EN COBRE- S XVIII. Author: ANONYMOUS. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN. HERNAN CORTES (1485-1547).
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orz025482 CORTES MANDA EMBAJADORES A TLAXCALA Y EL SENADO LOS ADMITE - PINTADO EN COBRE- SIGLO XVIII. Author: ANONYMOUS. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN. HERNAN CORTES (1485-1547).
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orz002509 Conquest of Mexico. Hernán Cortés arresting Moctezuma. 1519-1521. Painted in copper. 18th century. Madrid, America museum. Author: ANONYMOUS. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN. MOCTEZUMA II. HERNAN CORTES (1485-1547).
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orz002820 Conquest of Mexico. Diego Velazquéz giving the ships to Cortés. Painted on copper in the late 18th century. Madrid, museum of America. Author: ANONYMOUS. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN. DIEGO VELAZQUEZ DE CUELLAR. HERNAN CORTES (1485-1547).
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orz003873 Portrait of Hernán Cortés (1485-1547), conquistador of Mexico. Seville, Collection of the duke del Infantado. Author: ANONYMOUS. Location: Archivo General de Indias. Sevilla. Seville. SPAIN.
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akg374736 Chénier, André; franz. Dichter; Konstantinopel 30.10.1762 - (hingerichtet). Paris 25.7.1794. André Chénier im Gefängnis St.-Lazare. Radierung, anonym, nach Gemälde, 1794, von Joseph Benoît Suvée (1743-1807). Paris, Bibliothèque Nationale. Museum: Paris, Bibliothèque Nationale.
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alb30346895 Portrait of the composer Béla Bartók (1881-1945). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346863 Northwest Swiss Association Ski Race. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346806 Movie poster "La Femme et le Pantin" (A Woman Like Satan) by Julien Duvivier. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346838 Société des Aérodromes de France. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346842 Portrait of the composer Béla Bartók (1881-1945). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346872 The final word on the defendants. Cover of the magazine Krokodil, No. 25, 1936. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346329 Onward to the storm and victory of the Majority Social Democratic Party!. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346398 Roberto Farinacci with Adolf Hitler, Berlin, September 30, 1940. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346351 Leni Riefenstahl and Gustav Diessl in the film "S.O.S. Iceberg" by Arnold Fanck. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347074 Portrait of the Painter Oscar Ghiglia (1876-1945). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347024 Movie poster "The Postman Always Rings Twice" by Tay Garnett. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348991 Movie poster "Wild Orchids" by Sidney Franklin. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348900 Portrait of Marie Curie (1867-1934). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348618 Woody Allen and Romy Schneider in "What's New Pussycat?" by Clive Donner. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348657 Saint Leonard Liberating Captives. Museum: Royal Museum of Fine Arts, Antwerp. Author: ANONYMOUS.
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alb30348675 Portrait of Ivan Ilyich Mozzhukhin (1889-1939). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348648 Adriatic Lines Venice. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348647 Aerial view of the UFA site in Neubabelsberg. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348698 Movie poster "Flying Down to Rio" by Thornton Freeland. Museum: © RKO Radio Pictures. Author: ANONYMOUS.
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alb30348697 Scene from the film "The Great Escape" by John Sturges. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348609 Battle of Zonchio in August 1499. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348659 Michel Subor and Brigitte Bardot in "Please, Not Now!" (La Bride sur le cou) by Roger Vadim. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346764 La Vestale. Cheminée à feu continu. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346792 Movie poster "The Scarlet Claw" by Roy William Neill. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348138 Lincoln Zephyr V12. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348193 From Spirituals to Swing by John Hammond in Carnegie Hall on 23 December 1938. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348181 Movie poster "The Good, the Bad and the Ugly" (Il buono, il brutto, il cattivo) by Sergio. Museum: © United Artists. Author: ANONYMOUS.
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alb30347326 Movie poster "Dancing Lady" by Robert Z. Leonard. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347395 Tourist Map USSR. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347311 I always use Lux. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347329 Portrait of Giovanni Raimondo Torlonia (1754-1829). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347352 Raquel Welch in the film "One Million Years B.C." by Don Chaffey. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347399 The Miracle of the Donkey of Saint Anthony of Padua. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347304 Portrait of Liubov Popova. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347382 Marlene Dietrich in "Blonde Venus" by Josef von Sternberg. Museum: © Paramount Pictures. Author: ANONYMOUS.
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alb30347389 Poster for the opera "Mefistofele" by Arrigo Boito. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30349606 Portrait of Archduchess Barbara of Austria, Duchess of Ferrara (1539-1572). Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30349471 Brigitte Bardot in "The Night Heaven Fell" (Les bijoutiers du clair de lune) by Roger Vadim. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30347537 Movie poster "Queen of Outer Space" by Edward Bernds. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348704 Movie poster "In the Mood for Love" by Wong Kar-Wai. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346938 Movie poster "Quatermass II" by Val Guest. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346933 Portrait of Liubov Popova with her son in her studio. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30346926 First International Dada Fair in Berlin, 1920. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30349121 Patricia Laffan in the film "Devil Girl from Mars" by David MacDonald. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30349134 Movie poster "Pickup" by Hugo Haas. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30349123 FIS Nordic World Ski Championships 1934. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348590 Maya Plisetskaya in the Ballet film "Anna Karenina". Museum: © International Maya Plisetskaya and Rodion Shchedrin Foundation. Author: ANONYMOUS.
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alb30348526 Delphine Seyrig in the film "Stolen Kisses" by François Truffaut. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348522 Scene from the film "The Third Man" by Carol Reed. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348564 Movie poster "Flirtation" by Leo Birinsky. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348512 Movie poster "A Clockwork Orange" by Stanley Kubrick. Museum: © Warner Bros. Entertainment. Author: ANONYMOUS.
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alb30348531 Grand Hotel Panhans Semmering. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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alb30348597 Laine de Schaffhouse. Museum: PRIVATE COLLECTION. Author: ANONYMOUS.
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