Pesquisando por: "The Old Gate (engraving)" - Fotoarena - Agência de fotojornalismo

902_05_12529202highres The Tower of London. From a print published by The Royal Antiquarian Society and engraved from the survey made in 1597, by W. Haiward and J. Gascoigne, by order of Sir J. Peyton, Governor of The Tower - a, Lion's Tower b, Bell Tower c, Beauchamp Tower d, The Chapel e, Keep called also Caesar's or The White Tower f, Jewel House g, Queen's Lodgings, h, Queen's Gallery and Garden i, Lieutenant's Lodgings k, Bloody Tower l, St, Thomas's Tower (now Traitor's Gate) m, Place of Execution on Tower Hill. From Old England: A Pictorial Museum, published 1847.

alb10822650 Jerusalem. View from St Stephen's Gate, traditionally known as the Pool of Bethesda. Engraving by Emile Rouargue. Later colouration. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb10822656 Jerusalem. Interior of the Golden Gate, the oldest entrance to the walls of the Old City. Engraving by Emile Rouargue. Later colouration. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb10822648 Bethlehem. Shrine of the Nativity. Engraving by Emile Rouargue. Later colouration. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb3790656 Francisco de Goya y Lucientes / 'The Sleep of Reason Produces Monsters'. 1797 - 1799. Etching, Aquatint on ivory laid paper. Museum: Museo del Prado, Madrid, España.

alb10818823 Jerusalem. View from St Stephen's Gate, traditionally known as the Pool of Bethesda. Engraving by Emile Rouargue. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb10818817 Bethlehem. Shrine of the Nativity. Engraving by Emile Rouargue. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb10818813 Jerusalem. Interior of the Golden Gate, the oldest entrance to the walls of the Old City. Engraving by Emile Rouargue. "La Tierra Santa y los lugares recorridos por los profetas, por los apóstoles y por los cruzados" (The Holy Land and the sites traversed by the prophets, by the apostles and by the crusaders). Published in Barcelona by the printing house of Joaquin Verdaguer, 1840. Author: Emile Rouargue (1795-1865). French engraver.

alb1900264 The gates of the market in Athens, 1827, by Giulio Ferrario (1767-1847), engraving from the Ancient and Modern Costumes, Milan, Italy. Greek Civilization, 19th Century. Location: Milan, Biblioteca Nazionale Braidense (Library).

alb2122470 Paestum gate (front and rear, 1, 2), Temple of the goddess Minerva at Athens (3), Temple of Paestum (4). Handcolored copperplate engraving from Robert von Spalart's "Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages," Metz, 1810.

alb3607743 Witches Preparing for Sabbath. Artist: Andries Stock (Netherlandish, 1572/82-after 1648); Designed by Jacques de Gheyn II (Netherlandish, Antwerp 1565-1629 The Hague). Dimensions: Sheet: 17 1/4 × 25 3/4 in. (43.8 × 65.4 cm). Publisher: Published by Nicolaes de Clerck. Date: ca. 1610.To appreciate the complex symbolism and rich details of the world of witches represented in this print close examination is needed. In the centre three witches prepare ointments that they will smear over their bodies enabling them to fly. The book before them presumably contains the recipe they need for their concoction. At the right another witch riding a broomstick fuelled by the vapors from a cauldron is being dragged by the hair by a demon. In the upper left, witches clutch bolts of fire, a reference to their power to wreak havoc by creating storms of hail and lightning to ruin crops. Below to the left, Cupid seems to be struggling with a winged demon. This has been understood as a battle between the perverse loves of witches and the pure love of Cupid. Many other details throughout the composition add to our enjoyment of it.During the time this print was made many people believed in the reality of witches and their activities. We do not know for certain the attitude of Jacques de Gheyn who designed the print but there is some evidence to think he was a skeptic and regarded subjects of witchcraft with bemusement. Museum: Metropolitan Museum of Art, New York, USA.

alb3647167 The Witches. Artist: Hans Baldung (called Hans Baldung Grien) (German, Schwäbisch Gmünd (?) 1484/85-1545 Strasbourg (Strassburg)). Dimensions: Sheet: 14 7/16 × 10 3/16 in. (36.6 × 25.9 cm). Date: 1510. Museum: Metropolitan Museum of Art, New York, USA. Author: Hans Baldung (called Hans Baldung Grien).

alb3673507 Adam and Eve. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: 9 7/8 x 7 7/8in. (25.1 x 20cm). Date: 1504.Throughout his life, Dürer was in thrall to the idea that the perfect human form corresponded to a system of proportion and measurements and could be generated by using such a system. Near the end of his life, he wrote several books codifying his theories, including the Underweysung der Messung (Manual of measurement), published in 1525, and Vier Bücher von menschlichen Proportion (Four books of human proportion), published in 1528 just after his death. Dürer's fascination with ideal form is manifest in Adam and Eve. The first man and woman are shown in nearly symmetrical idealized poses: each with the weight on one leg, the other leg bent, and each with one arm angled slightly upward from the elbow and somewhat away from the body. The figure of Adam is reminiscent of the Hellenistic Apollo Belvedere, excavated in Italy late in the fifteenth century. The first engravings of the sculpture were not made until well after 1504, but Dürer must have seen a drawing of it. Dürer was a complete master of engraving by 1504: human and snake skin, animal fur, and tree bark and leaves are rendered distinctively. The branch Adam holds is of the mountain ash, the Tree of Life, while the fig, of which Eve has broken off a branch, is from the forbidden Tree of Knowledge. Four of the animals represent the medieval idea of the four temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, and the elk melancholic. Museum: Metropolitan Museum of Art, New York, USA.

alb3624459 Adam and Eve. Artist: After Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: Sheet: 9 1/2 × 7 7/16 in. (24.2 × 18.9 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

alb3608551 Adam and Eve. Artist: After Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg); Jan (Johannes) Wierix (Netherlandish, Antwerp 1549-1615 Brussels). Date: 1566. Museum: Metropolitan Museum of Art, New York, USA.

akg7542769 Rotterdam (Netherlands), Old gate at the harbor. Steel engraving by B. Metzeroth after drawing by C. Reiss; Hildburghausen (Art Institute of the Bibliographic Institute), (around 1850?). 15.9 × 23.2 cm. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte. Author: C. REISS. BERNHARD METZEROTH.

alb4581515 Spain, Burgos. Arch of Santa Maria. It was built in the 14th century as a gateway and tower in the wall of the city. Rebuilt in the 16th century by Juan de Vallejo and Francisco de Colonia as a triumphal arch dedicated to Emperor Charles V. Illustration by Letre. Engraving by Sierra. Crnica General de Espaa, Historia Ilustrada y Descriptiva de sus Provincias. Castilla-La Vieja, 1870.

alb3684160 The Last Supper. Artist: Netherlandish (Antwerp Mannerist) Painters (first quarter 16th century). Dimensions: Overall, with shaped top and engaged frame: central panel 47 x 33 3/4 in. (119.4 x 85.7 cm); left wing 47 x 16 7/8 in. (119.4 x 42.9 cm); right wing 47 1/8 x 17 in. (119.7 x 43.2 cm). Date: 1515-20.At least three artists collaborated on this well-preserved altarpiece, which is still in its original (though regilt) frame. Adam and Eve on the exterior are based on Dürer's 1504 engraving of the subject. The Old Testament scenes on the inner wings are prefigurations of the Last Supper, which is depicted in a fantastic Renaissance architectural setting on the central panel. The left wing shows the king and high priest Melchizedek outside the gates of Salem giving bread and wine to the patriarch Abraham. The right wing represents Moses and the Israelites in the desert fed by manna falling from heaven. Museum: Metropolitan Museum of Art, New York, USA.

alb3647607 Samson and the Lion (Dalziels' Bible Gallery). Artist: After Frederic, Lord Leighton (British, Scarborough 1830-1896 London). Dimensions: Image: 7 1/4 × 7 1/4 in. (18.4 × 18.4 cm)India sheet: 9 7/16 × 9 1/4 in. (23.9 × 23.5 cm)Mount: 16 7/16 in. × 12 15/16 in. (41.8 × 32.8 cm). Engraver: Dalziel Brothers (British, active 1839-1893). Printer: Camden Press (British, London). Publisher: Scribner and Welford (New York, NY). Date: 1865-81. Museum: Metropolitan Museum of Art, New York, USA.

alb2620970 French happiness English misery, Cruikshank, Isaac, 1756?-1811?, engraving 1793, on the left, four ragged and starving sansculottes fighting over a frog, a cat has dropped dead at their feet, and scenes of death in the background; on the right, a scene in an English tavern with a table laden with food and four men overeating, a fat dog lies on the floor, and a cat has caught a mouse.

alb2118919 French happiness English misery, Cruikshank, Isaac, 1756?-1811?, engraving 1793, on the left, four ragged and starving sansculottes fighting over a frog, a cat has dropped dead at their feet, and scenes of death in the background; on the right, a scene in an English tavern with a table laden with food and four men overeating, a fat dog lies on the floor, and a cat has caught a mouse.

alb1458657 Homer (8th Century B.C.). Greek epic poet. Frontispiece and cover of the Complete Works. Volume First. The Iliad. Set in the Trojan War. Amsterdam, 1743. Episcopal Library. Barcelona. Catalonia.

alb3624032 The Holy Family with the Infant John the Baptist. Artist: Federico Barocci (Italian, Urbino ca. 1535-1612 Urbino); Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem). Dimensions: Sheet: 18 7/16 × 13 7/8 in. (46.8 × 35.2 cm). Date: 1593. Museum: Metropolitan Museum of Art, New York, USA. Author: HENDRICK GOLTZIUS. FEDERICO BAROCCI.

alb9873698 Temple Bar, Paviors and Westminster Abbey. The old city gate at Temple Bar 49, Paviors at work with pick and hammer paving the streets with Scottish stone 50 and view of the Gothic pile Westminster Abbey erected by Saxon king Sebert 51. Woodcut engraving after an illustration by Isaac Taylor from City Scenes, or a Peep into London, by Ann Taylor and Jane Taylor, published by Harvey and Darton, Gracechurch Street, London, 1828. English sisters Ann and Jane Taylor were prolific Romantic poets and writers of childrens books in the early 19th century.

alb9875237 South view of the Abbey Gateway, ancient inner gate of the 12th century Reading Abbey. A woman swineherd carries two buckets on a yoke near several pigs, while gentlemen, riders and a carriage pass through the arch. A South prospect of the Abby-Gate at Reading. Copperplate engraving by Michael Angelo Rooker after an illustration by Paul Sandby from The Copper Plate Magazine or Monthly Treasure, G. Kearsley, London, May 1, 1775.

alb9879485 The Old Woman and her Cats. Four large cats play around an old woman in pointed hat with a wooden leg seated on a wicker basket in a room with fireplace under a collapsing thatched roof. Copperplate engraving by Lovegrove after an illustration by John Wootton from Fables by John Gay, with a Life of the Author, John Stockdale, London, 1793.

alb9879156 17th century Dutch peasants outside a large farmhouse. A man seated on a barrel points at the gate as he talks to a woman seated on a step in front of a crowd Men and women watch the incident from the doorway and upstairs windows. Copperplate engraving by David Deuchar from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

alb9873042 Gentleman on an old nag and lady on a pony meet up during a fox hunt, 19th century. Rosa McDermott sidesaddle on her pony and Jack Bunting shake hands. The groom gardener Old Gaiters watches from behind a tree. Who would have thought of seeing you. Handcoloured steel engraving after an illustration by John Leech from Robert Smith Surtees Plain or Ringlets?, Bradbury and Evans London, 1860. Leech (1817-1864) was an English caricaturist and illustrator best known for his work for Punch magazine.

alb9878892 An old basket-weaver woman at the hearth in a garret, Regency era. She wears a hooded cape and fichu, smokes a pipe and drinks a glass of gin with her pet cat. Tom Takeall's neighbor in London. Taking Comfort. Handcoloured copperplate engraving drawn and engraved by Richard Dagley from Takings, or the Life of A Collegian, John Warren, London, 1821.

alb9871825 Serval, Leptailurus serval (Cape cat, Felis capensis). From a nine-month old specimen. Handcoloured steel engraving by Joseph Kidd after an illustration by Alexander Forbes from William Rhinds The Miscellany of Natural History: Feline Species, edited by Sir Thomas Dick Lauder, Fraser & Co., Edinburgh, Scotland, 1834.

alb9877412 17th century Dutch peasant in cap leaning on his door gate. The house has a gable top and lattice windows. Peasant Leaning on His Doorway. Copperplate engraving by David Deuchar after an original by Adriaen van Ostade from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

alb9876073 A game keeper giving directions to a couple fox hunting, 19th century. Facey Romford and Lucy Somersville on the trail of a fast bag fox. Fresh as a four year old. Went off like a shot! Handcoloured steel engraving after an illustration by John Leech from Robert Smith Surtees Mr. Facey Romfords Hounds, Bradbury, Evans and Co., London, 1865. Leech (1817-1864) was an English caricaturist and illustrator best known for his work for Punch magazine.

alb9878089 Dutch mother and small children at house gate, 17th century. Little Girl Playing with a Baby in its Mothers Arms. Copperplate engraving by David Deuchar after an original by Adriaen van Ostade from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

alb9876401 English woman in crinoline skirt trying to catch a cat during a hare hunt, 19th century. The cat has outwitted the hounds by laying false trails. Alongside Mrs Wotherspoon are Caleb Rennison, Mr Trail, Captain Nabley, Mr Nettlefold, the Major, etc. Old Wotherspoons hare. Handcoloured steel engraving after an illustration by John Leech from Robert Smith Surtees Ask Mamma, or the Richest Commoner in England, Bradbury and Evans., London, 1858.

alb9881572 Connoisseurs of painting, 17th century. Three old women in caps look at a painting of a cat. With a palette and brushes, paintings on the wall and on an easel, and a child drawing on the floor. Copperplate engraving by David Deuchar after an original by from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

alb9880483 17th century Dutch drunk man vomits on the floor of a tavern watched by two other peasants. The rustic bar has a wooden table, barrel and case, window shutters, and a jug on the floor. Copperplate engraving by David Deuchar after an original by Adriaen van Ostade from A Collection of Etchings after the most Eminent Masters of the Dutch and Flemish Schools, Edinburgh, 1803.

alb3606314 The Descent of Man into the Vale of Death, from The Grave, a Poem by Robert Blair. Artist: Luigi Schiavonetti (Italian, Bassano del Grappa 1765-1810 London); After William Blake (British, London 1757-1827 London). Dimensions: plate: 9 1/2 x 5 5/16 in. (24.1 x 13.5 cm)sheet: 10 13/16 x 6 1/4 in. (27.5 x 15.9 cm). Publisher: Rudolph Ackermann, London (active 1794-1829). Date: March 1, 1813. Museum: Metropolitan Museum of Art, New York, USA.

akg5617706 Wrangel, Friedrich Graf (1864) of. Prussian officer (1856 field marshal); Szczecin 13.4.1784 - Berlin. 01/11/1877. - "Papa Wrangel under the linden trees". - Wood engraving, c. 1875, by Hermann Lüders (1836-1908) / (Ausriss from periodical, bibliographic data can not be reconstructed). Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

alb3636398 Plate 43 from 'Los Caprichos': The sleep of reason produces monsters (El sueño de la razon produce monstruos). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm)Sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm). Series/Portfolio: Los Caprichos. Date: 1799.This is the best known image from Goya's series of 80 aquatint etchings published in 1799 known as 'Los Caprichos' that are generally understood as the artist's criticism of the society in which he lived. Goya worked on the series from around 1796-98 and many drawings for the prints survive. The inscription on the preparatory drawing for this print, now in the Prado Museum in Madrid, indicates that it was originally intended as the title page to the series. In the published edition, this print became plate 43, the number we can see in the top right corner. Nevertheless, it has come to symbolise the overall meaning of the series, what happens when reason is absent. Various animals including bats and owls fly above the sleeping artist, and at the lower right a lynx watches vigilantly alerting us to the rise of monstrous forces that we are able to control when sleep descends. Museum: Metropolitan Museum of Art, New York, USA. Author: Goya (Francisco de Goya y Lucientes).

alb4105956 Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the 'Night Watch'. Officers and other civic guardsmen of District II in Amsterdam, under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, known as 'The Night Watch'. Dating: 1642. Place: Amsterdam. Measurements: h 379.5 cm × w 453.5 cm × w 337 kg × w 170 kg. Museum: Rijksmuseum, Amsterdam. Author: HARMENSZOON VAN RIJN REMBRANDT.

alb1891543 Engraved dagger in gold, silver, bronze and niello, from Tomb IV of the Circle A of Mycenae (Greece). Detail: a feline chasing birds. Goldsmith art, Mycenaean Civilization, 16th Century BC. Location: Athens, Ethnikó Arheologikó Moussío (National Archaeological Museum).

alb5110573 Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 17801855, British, after William Hogarth, 16971764, British, Published by John Tallis & Co, active 18381840, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper.

alb5110732 The Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 17801855, British, after William Hogarth, 16971764, British, Published by John Tallis & Co, active 18381840, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper.

akg8325040 Jan Pietersz Saenredam.; 1565-1607, after. Bloemaert, Abraham; 1564-1651. "The Prodigal Son as Swineherd", c. 1603-05. Engraving, 43.3 × 62.9 cm, second of five versions. Amsterdam, Rijksmuseum.

alb4484175 Old clothing guild of 's-Hertogenbosch, guild token with no. 9, Brass oval token on bearing eye. Front: while sitting on horseback at a gate, St. Maarten cuts his cloak in half, behind him: man with a stool inside a circle, cut off: inscription. Reverse: woman, standing in the doorway of a shop with old clothes, welcomes two men inside a cover, cut off: number 9, 's-Hertogenbosch, anonymous, s Hertogenbosch, 1750, brass (alloy), engraving, h 7.8 cm × w 6 cm × w 24.30 gr.

alb4091666 Emblem 4; youth chasing girls. Notebook of William Blake. England; circa 1787-1818. [Whole folio] Profile portrait, possibly of Robert Blake. Emblem drawing of two small girls chased by a boy with a brimmed hat; one has fallen, and the other flies. Engraved for 'Gates of Paradise'. Lines from 'Public Address' Image taken from Notebook of William Blake. Originally published/produced in England; circa 1787-1818. Source: Add. 49460, f.11. Language: English.

alb3576270 Maggiore Gate in the Aurelian walls, Rome, Italy, engraving by Lemaitre from Italie Ancienne, second part, by Duruy, Filon, Lacroix and Yanoski, L'Univers pittoresque, published by Firmin Didot Freres, Paris, 1851.

alb4035123 Summer clothes for the countryside: one-two year-old girl wearing a piquet dress, 11-12 year-old girl wearing pinafore, 12-13 year-old girl wearing a dress with a bodice and appliques, engraving from La Mode Illustree, No 33, August 13, 1899.

alb3234923 The triumph of Mordecai, engraving by Gustave Dore (1832-1883), from The Holy Scriptures containing the Old and New Testaments: Translated from The Latin Vulgate by Antonio Martini (1721-1809), with friezes by Enrico Giacomelli, Esther 6:11, Volume 1, 1869-1870 edition.

alb5164126 Tsuba, Iron, engraved brass inlay, Tsuba are disk-shaped metal sword guards that prevent the palm of the hand from slipping past the hilt and onto the blade. This tsuba was made during the Keicho period (15961615), a time when metalsmiths were beginning to transition from the production of Kyoto swords (old swords in traditional vernacular styles), and began to produce Shinto swords (new swords)., This iron tsuba is shinmaru gata (a true circle) in shape, has a migaki (smooth) surface, and is decorated with an inlaid brass design of a kakiwaki kiri (branch of the paulownia tree) with parted foliage., The inlay technique known as tetsu was a specialty of the Heianjo school of brass inlay in a region of which Kyoto is the center. The suemon taka zogon inlay is high relief with thin, linear carving lines resembling hair., At the center is the nakago-ana, an opening through which the sword passes. On either side are ryo-hitsu, openings for the kozuka (utility knife) and the kogai (skewer tool). At left is sashi ura, the side which faces the blade, whose opening takes the hangetsu-kei (half moon) shape. Opposite is the more elaborately decorated sashi omote side, which faces the sword hilt. Its tri-lobed opening is of the suhama type, and symbolically represents the coastline of Horai, the holy island of the Immortals. Surrounding these openings, is the seppadai, a flat oval area that is migaki (burnished). The rim of the tsuba is angular, or kaku-mimi., Japan, 15951615, metalwork, Decorative Arts, Tsuba.

alb2632286 The old maid, en sanguine engraving.

alb2624895 The genius of France extirpating despotism tyranny and oppression from the face of the earth Or the royal warriors defeated, Cruikshank, Isaac, 1764 1811, engraving 1792, a woman wearing a liberty cap, representing the genius of France, holding a cat o' nine tails in one hand and the reins of a donkey in the other; on this donkey and another bucking in the background are several monarchs identified as Prussia, Germany, Russia, Sweden, Brunswick, Turkey, Spain, and, falling to the ground, China; Louis XVI lies on the ground beneath the donkey held by the woman; in the left foreground, sitting on the ground tearing her hair is Marie I of Portugal.

alb2627686 Monstrous craws, at a new coalition feast, Cartoon shows King George, dressed as an old woman, the Queen, and the Prince of Wales seated around a basin perched on the laps of the King and Queen; they eagerly spoon the contents, representing gold coins, into their mouths. Pouches hanging from their necks like goitres are full, except for that of the Prince of Wales, whose is empty. The gate to the treasury, in the background, is open.

alb2158718 New Testament. Gospel of Luke, Chapter X. Jesus in the House of Martha and Mary. Gustave Dore's drawing. Engraving by Pannemaker.

alb2228321 Give of present for the priest. Engraving by H. Werdmuller. "La Ilustracion Iberica", 1884. Colored.

alb2037405 Cleopatra VII Philopator (69-30 BC). Queen of Egypt. Cleopatra testing poisons on condemned prisoners. Engraving after a painting of A. Cabanel in The History of Nations.

alb2247462 New Testament. Gospel of Luke, Chapter X. Jesus in the House of Martha and Mary. Gustave Dore's drawing. Engraving by Pannemaker. Colored.

alb2116384 The genius of France extirpating despotism tyranny and oppression from the face of the earth Or the royal warriors defeated, Cruikshank, Isaac, 1764 1811, engraving 1792, a woman wearing a liberty cap, representing the genius of France, holding a cat o' nine tails in one hand and the reins of a donkey in the other; on this donkey and another bucking in the background are several monarchs identified as Prussia, Germany, Russia, Sweden, Brunswick, Turkey, Spain, and, falling to the ground, China; Louis XVI lies on the ground beneath the donkey held by the woman; in the left foreground, sitting on the ground tearing her hair is Marie I of Portugal.

alb2110234 The old maid, en sanguine engraving.

alb2112379 Monstrous craws, at a new coalition feast, Cartoon shows King George, dressed as an old woman, the Queen, and the Prince of Wales seated around a basin perched on the laps of the King and Queen; they eagerly spoon the contents, representing gold coins, into their mouths. Pouches hanging from their necks like goitres are full, except for that of the Prince of Wales, whose is empty. The gate to the treasury, in the background, is open.

alb1943849 Costume of Crosville, near Dieppe. While the bonnet is not so special, the shoes are very elegant. She carries a milk pail and stands in front of an old house. Hand-colored fashion plate illustration by Lante engraved by Gatine from Louis-Marie Lante's "Costumes des femmes du Pays de Caux," 1827/1885. With their tall Alsation lace hats, the women of Caux and Normandy were famous for the elegance and style.

alb4142350 Where is Mother Going?, plate 65 from Los Caprichos. Francisco José de Goya y Lucientes; Spanish, 1746-1828. Date: 1797-1799. Dimensions: 181 x 119 mm (image); 206 x 165 mm (plate); 301 x 207 mm (sheet). Etching and aquatint on ivory laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

alb4140120 The Great Gate. Anthoni Waterlo; Dutch, 1609-1690. Date: 1630-1690. Dimensions: 153 x 206 mm (image); 155 x 207 mm (sheet). Etching on paper. Origin: Holland. Museum: The Chicago Art Institute, Chicago, USA. Author: Anthonie Waterloo.

akg314861 Women. "Difficult decision". (A young woman having to decide between life in the country or in the city.). Woodcut, c. 1890, after a painting by Hanns Fechner. (1860-1931). Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

akg044724 Vogel, Hermann. "Die Waldhexe" / "The Forest Witch".- Coloured woodcut after a drawing by Hermann Vogel, c. 1890. Author: HERMANN VOGEL-PLAUEN.

alb3684226 Plate 21 from ' Los Caprichos': How they pluck her! (¡Qual la descañonan!). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 8 7/16 x 5 3/4 in. (21.4 x 14.6 cm)Sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm). Series/Portfolio: Los Caprichos. Date: 1799. Museum: Metropolitan Museum of Art, New York, USA.

alb3617146 Christ in Limbo, from The Passion. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: Sheet: 4 11/16 × 3 1/16 in. (11.9 × 7.7 cm). Date: 1512. Museum: Metropolitan Museum of Art, New York, USA.

alb3649539 Plate 71 from 'Los Caprichos': When day breaks we will be off (Si amanece; nos Vamos.). Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 7 11/16 x 5 7/8 in. (19.6 x 14.9 cm)Sheet: 11 9/16 × 8 1/4 in. (29.4 × 21 cm). Series/Portfolio: Los Caprichos. Date: 1799. Museum: Metropolitan Museum of Art, New York, USA.

alb3787298 Francisco de Goya y Lucientes / 'Quien lo creyera!'. 1797 - 1799. Etching, Japanese chisel, Burnished aquatint on ivory laid paper. Museum: Museo del Prado, Madrid, España.

alb9448638 View of the Eerste Sint-Antoniespoort in Amsterdam, Oude St. Antonis Poort (title on object), View of the side of the Eerste Sint-Antoniespoort in Amsterdam. In the background on the right is the Old Church. This fifteenth-century building came to lie within the city (on the Nieuwmarkt) after the city expansions of the late sixteenth century and so lost its function as a city gate. In 1617-1618 it was converted into a weighing house. Above in the middle a banding with the title., print maker: anonymous, after print by: Simon Frisius, 1693 and/or 1726, paper, etching, engraving, height 120 mm × width 155 mm.

alb9439972 Apollo stands on a pedestal, the winch in one hand, a laurel wreath in the other. Next to him are three Muses. On the left, a figure kneels in front of Apollo. On the right, a man, a palm branch in one hand, is chasing an old woman away with a scourge. Through a gate, a mountain can be seen with the winged horse Pegasus, Apollo and the Muses: Arnold Nachtegael Klemens, Mixed Poems, 1726, print maker: Clemens Nachtegaal, (mentioned on object), Clemens Nachtegaal, (mentioned on object), publisher: Johan van Doesburg, (mentioned on object), Rotterdam, 1726, paper, engraving, etching, h 65 mm × w 113 mm.

alb9395991 St. Peter and St. John Healing Cripple at Gate of Temple, 1513, Albrecht Dürer, German, 14711528, 4 5/8 x 2 15/16 in. (11.75 x 7.46 cm) (image), Engraving, Germany, 16th century, This last scene of the 'Engraved Passion' has been left out of most of the old copies preserved. Since this subject lies outside the scope of a Passion series, Dürer cannot have intended it to be the final sheet, but must have planned to add further subjects which were never completed. It depicts a New Testament episode in the Acts of the Apostles (3:1-10), in which Peter and John heal a cripple begging outside the Beautiful Gate of the temple in Jerusalem. The cripple's disease has been identified as leprosy.

alb3746039 The Sluice. Dated: 1640-1690. Dimensions: sheet: 9.5 x 15.5 cm (3 3/4 x 6 1/8 in.). Medium: etching and engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: and Anthonie Waterloo Johannes Ruisscher.

alb3708696 The Fellow 'Prentices at Their Looms. Dated: 1747. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: William Hogarth.

alb3648121 Christ in Limbo, from The Small Passion. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 5 1/16 x 3 7/8 in. (12.8 x 9.8 cm). Date: ca. 1509. Museum: Metropolitan Museum of Art, New York, USA.

alb3739257 Le vieux chat et la jeune Souris (The Old Catand the Young Mouse). Dated: published 1759. Medium: hand-colored etching. Museum: National Gallery of Art, Washington DC. Author: Johann Christoph Teucher after Jean-Baptiste Oudry.

alb4138435 The Prophet Elie Arriving at the House of Sareptas' Widow. Jan Saenredam (Netherlandish, 1565-1607); after Abraham Bloemaert (Dutch, 1566-1651). Date: 1604. Dimensions: 422 x 318 mm (image/plate); 441 x 321 mm (sheet). Engraving on paper. Origin: Holland. Museum: The Chicago Art Institute, Chicago, USA.

alb3900562 O the Roast Beef of Old England ('The Gate of Calais'). Date/Period: 1748. Painting. Oil paint on canvas. Width: 945 mm. Height: 788 mm. Author: William Hogarth.

alb3609525 Rhyton terminating in the forepart of a wild cat. Culture: Parthian. Dimensions: H. 10 7/8 in. (27.5 cm). Date: ca. 1st century B.C..Elaborate bowls, animal-headed drinking vessels, and rhytons--vessels which have a hole at the front from which liquid flows--were highly valued in ancient Near Eastern society. During the pre-Achaemenid, Achaemenid, and Parthian periods, examples made of silver, gold, and clay were used throughout a vast area extending both to the east and west of Iran. The animals on these vessels included the ram, horse, bull, ibex, supernatural creatures, and female divinities; some were engraved with royal inscriptions. Rhytons made of precious materials were probably luxury wares used at royal courts. Both the rhyton and the animal-headed vessel were adopted by the Greek world as exotic and prestigious Oriental products.Dating from the Parthian period, this silver rhyton is a fine example of the enduring influence of Hellenistic culture, which owes much to the artistic traditions of Achaemenid Iran. The horn-shaped vessel ends in the forepart of a panther; a spout for pouring is in the middle of the chest. A gilded fruit-laden grapevine winds around the panther's chest; at the other end of the rhyton, an ivy wreath encircles the rim. These are the symbols of the Greek wine god Dionysus, whose cult spread eastward with the invasion of Alexander. Dionysiac images--panthers, grapevines, and dancing females--were absorbed by the Parthians and continued to appear in the art of Near Eastern cultures in the Sasanian period (A.D. 224-651). Museum: Metropolitan Museum of Art, New York, USA.

alb3673388 Samson Carrying the Gates (Dalziels' Bible Gallery). Artist: Frederic, Lord Leighton (British, Scarborough 1830-1896 London); Dalziel Brothers (British, active 1839-1893). Dimensions: Image: 6 9/16 × 7 3/8 in. (16.7 × 18.7 cm)India sheet:16 7/16 × 12 15/16 in. (41.7 × 32.9 cm)Mount: 16 7/16 in. × 12 15/16 in. (41.8 × 32.8 cm). Date: 1881. Museum: Metropolitan Museum of Art, New York, USA. Author: Lord Leighton Frederic. Dalziel Brothers.

alb3676998 Woman Churning Butter. Artist: Jean-François Millet (French, Gruchy 1814-1875 Barbizon). Dimensions: plate: 7 3/16 x 4 3/4 in. (18.2 x 12 cm)sheet: 12 5/8 x 9 3/4 in. (32.1 x 24.8 cm). Date: 1855-56. Museum: Metropolitan Museum of Art, New York, USA.

akg157697 Master of the Lübeck Bible, 1494. -"Destruction of the Walls of Jericho".- (Joshua 6,20). Wood engraving. From the Niederdeutsche Bibel, Lübeck (Steffen Andres) 1494. Author: MEISTER DER LUEBECKER BIBEL.

akg045730 Dore, Gustave. 1832-1883. "Nehemiah and his men at the gates of Jerusalem". (Nehemiah 2,13). Wood engraving after the drawing by Gustave Dore. From the series of 230 Pictures of the Bible, 1865. German edition, Stuttgart. (E.Hallberger), undated. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

akg045830 Dore, Gustave. 1832-1883. -"Samson tears apart the gates of Gaza". Wood engraving after the drawing by Gustave Dore. From the series of 230 Pictures of the Bible, 1865. German edition, Stuttgart. (E, Hallberger), undated. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

alb2122329 Gates and figures on walls at Persepolis, capital of Achaemenid Persia. Handcoloured copperplate engraving from Robert von Spalart's "Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages," Chez Collignon, Metz, 1810.

alb3714328 The Gate of Calais, or The Roast Beef of Old England. Dated: 1748/1749. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: William Hogarth and Charles Mosley.

alb3740741 The Industrious 'Prentice a Favorite, and entrusted by his Master. Dated: 1747. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: William Hogarth.

alb4859766 Seven Years War (1756-1763). Map of Breslau, 1757. The town was besieged by the Prussian army of Frederick the Great between 7 and 19 December 1757, which successfully engaged a combined Austrian and French force under the command of Soloman Sprecher von Bernegg. On 20 December the Austrian garrison at Breslau surrendered as prisoners of war. On 21 December the Austrians left Breslau through the Schweidnitz Gate, laying down their arms before Frederick II of Prussia. Map of Breslau and the siege to which it was subjected. Published in 1765 by the cartographer Jean de Beaurain (1696-1771) as an illustration of his Great Map of Germany, with the events that took place during the Seven Years War. Etching and engraving. French edition, 1765. Military Historical Library of Barcelona (Biblioteca Histórico Militar de Barcelona). Catalonia. Spain. Author: Jean de Beaurain (1696-1771). French geographer.

akg5565958 Deutsch, Mitte 17. Jahrhundert. - "Christus, liebste Seele, früh und spat / Komm spazieren in den Garten, den (...)/ so wird er auch mit ihm erlangen Gottes Huld". (den Stationen der Passion Christi sind symbolische Blumen zugeordnet: Engelkraut (Arnika), Aloe, Nelke, Königskron, Vergißmeinnicht und Kreuzwurz. In der Mitte des Gartens steht ein Myrtenbaum mit dem gekreuzigten Christus). - Kupferstich (Einblattdruck), um 1650, bez. "Paulus Fürst excudit" (Verlag Paul Fürst, Nürnberg).

alb1464855 Cover of the newspaper "The Liberator", Boston, 23 October 1857. The Liberty Bell Center. Philadelphia. Pennsylvania. USA.

alb1464456 Luis de Sarria, called Fray Luis de Granada (Louis of Granada) (1504-1588). Spanish writer. Part two of the Introduction of the Symbol of Faith. Cover of the first edition, printed in Barcelona, 1584. Catalonia, Spain.

akg242511 Family / Grandmother:. "Cest bien vrai, mès Enfants!" Old woman by the spinning wheel tells a story to some children. Copper engraving, c. 1800. (Picture source without further details). Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.

alb3582650 View of Bab al-Futuh (Conquest gate), Cairo, Egypt, engraving from L'Egypte, Alexandrie et Le Caire, edited by Gaston Maspero, from L'Illustration, Journal Universel, No 2053, Volume LXXX, July 1 1882.

alb4028525 The old man telling Phra to stop for the night, The Wonderful Adventures of Phra the Phoenician, engraving after a drawing by Henry Marriott Paget (1856-1936), from The Illustrated London News, volume 97, No 2691, November 15, 1890.

alb3315767 Ruined Chinese gateway at Shuiding, China, from the journey through Central Asia by Henry Lansdell, engraving, illustration from the magazine The Graphic, volume XXX, no 780, November 8, 1884.

alb8343612 History of Israel. Jerusalem. Interior of the Golden Gate, the oldest entrance to the walls of the Old City. Engraving. Universal History (Historia Universal) by César Cantú. Volume III, 1855.

akg8938104 William Radclyffe. The Gate of Calais, O the Roast Beef of Old England, 1833. Etching and line engraving on medium, slightly textured, cream wove paper. Inv. No. B1998.14.1055. New Haven, Yale Center for British Art.

akg8938106 William Radclyffe. Gate of Calais, O the Roast Beef of Old England, 1833. Etching and line engraving on medium, slightly textured, cream wove paper. Inv. No. B1998.14.1057. New Haven, Yale Center for British Art.

alb3655060 Christ and the Woman of Samaria (Liber Studiorum, part XIV, plate 71). Artist: Designed and etched by Joseph Mallord William Turner (British, London 1775-1851 London). Dimensions: plate: 7 1/4 x 10 3/8 in. (18.4 x 26.4 cm)sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm). Engraver: Samuel William Reynolds, the elder (British, London 1773-1835 London). Publisher: Joseph Mallord William Turner (British, London 1775-1851 London). Date: January 1, 1819.Turner distilled his ideas about landscape In "Liber Studiorum" (Latin for Book of Studies), a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction and Reynolds here added mezzotint to describe a scene from the Gospel of John 4:4-26, where Jesus encounters a Samitarian woman by a well. After asking for a drink, he reveals that his teachings offers sustenance of a different type. Approaching figures on the road represent the disciples returning from town with food, while the classical setting derives from a work by Poussin, and the letter "H" in the upper margin places the work within Turner's category of Historical landscape. Museum: Metropolitan Museum of Art, New York, USA.

alb4161456 The Meadow Gate. Alphonse Legros; French, 1837-1911. Date: 1880-1890. Dimensions: 167 × 206 mm (plate); 223 × 289 mm (sheet). Etching and drypoint on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.