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1650 1700 drawings Stock Photos and Images
Art inspired by Design for a Hand Mirror or Fan Handle, ca. 1650–1700, Pen and black ink, 6 3/4 x 3 11/16 in. (17.2 x 9.3 cm), Drawings, Anonymous, Italian, 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-design-for-a-hand-mirror-or-fan-handle-ca-16501700-pen-and-black-ink-6-34-x-3-1116-in-172-x-93-cm-drawings-anonymous-italian-18th-century-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462988108.htmlRF2HW6X1G–Art inspired by Design for a Hand Mirror or Fan Handle, ca. 1650–1700, Pen and black ink, 6 3/4 x 3 11/16 in. (17.2 x 9.3 cm), Drawings, Anonymous, Italian, 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Four Raginis. India, Odisha (Orissa), circa 1650-1700. Drawings; watercolors. Opaque watercolor on cloth Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/four-raginis-india-odisha-orissa-circa-1650-1700-drawings-watercolors-opaque-watercolor-on-cloth-image464787770.htmlRM2J04WF6–Four Raginis. India, Odisha (Orissa), circa 1650-1700. Drawings; watercolors. Opaque watercolor on cloth
Art inspired by Design for a Carriage., 1650–1700, Black chalk or leadpoint, 13 1/4 x 29 1/2 in. (33.7 x 75 cm), on two glued sheets of paper., Drawings, Anonymous, Italian, 17th or 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-design-for-a-carriage-16501700-black-chalk-or-leadpoint-13-14-x-29-12-in-337-x-75-cm-on-two-glued-sheets-of-paper-drawings-anonymous-italian-17th-or-18th-century-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462969166.htmlRF2HW61W2–Art inspired by Design for a Carriage., 1650–1700, Black chalk or leadpoint, 13 1/4 x 29 1/2 in. (33.7 x 75 cm), on two glued sheets of paper., Drawings, Anonymous, Italian, 17th or 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Saint Joseph kneels down next to the seated Virgin Mary and the young Child, Holy Family The Abraham Bloemaert Book of Drawings , print maker: Frederick Bloemaert, intermediary draughtsman: Abraham Bloemaert, Utrecht, c. 1650 - c. 1700, paper, etching, engraving, h 206 mm × w 168 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/saint-joseph-kneels-down-next-to-the-seated-virgin-mary-and-the-young-child-holy-family-the-abraham-bloemaert-book-of-drawings-print-maker-frederick-bloemaert-intermediary-draughtsman-abraham-bloemaert-utrecht-c-1650-c-1700-paper-etching-engraving-h-206-mm-w-168-mm-image472281382.htmlRM2JCA7M6–Saint Joseph kneels down next to the seated Virgin Mary and the young Child, Holy Family The Abraham Bloemaert Book of Drawings , print maker: Frederick Bloemaert, intermediary draughtsman: Abraham Bloemaert, Utrecht, c. 1650 - c. 1700, paper, etching, engraving, h 206 mm × w 168 mm
Art inspired by Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata), 1650–1700, Pen and brown ink, brush and brown wash, over red chalk on light tan paper, 8-15/16 x 8-15/16 in. (22.7 x 22.7 cm), Drawings, Anonymous, Italian, 17th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-erminia-and-the-shepherds-a-scene-from-torquato-tassos-gerusalemme-liberata-16501700-pen-and-brown-ink-brush-and-brown-wash-over-red-chalk-on-light-tan-paper-8-1516-x-8-1516-in-227-x-227-cm-drawings-anonymous-italian-17th-century-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462952737.htmlRF2HW58X9–Art inspired by Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata), 1650–1700, Pen and brown ink, brush and brown wash, over red chalk on light tan paper, 8-15/16 x 8-15/16 in. (22.7 x 22.7 cm), Drawings, Anonymous, Italian, 17th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Design for a Hand Mirror or Fan Handle. Artist: Anonymous, Italian, 18th century. Dimensions: 6 3/4 x 3 11/16 in. (17.2 x 9.3 cm). Date: ca. 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-hand-mirror-or-fan-handle-artist-anonymous-italian-18th-century-dimensions-6-34-x-3-1116-in-172-x-93-cm-date-ca-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image212899824.htmlRMPAABW4–Design for a Hand Mirror or Fan Handle. Artist: Anonymous, Italian, 18th century. Dimensions: 6 3/4 x 3 11/16 in. (17.2 x 9.3 cm). Date: ca. 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Design for a Carriage., Anonymous, Italian, 17th or 18th century, 1650–1700 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-design-for-a-carriage-anonymous-italian-17th-or-18th-century-16501700-162450291.htmlRMKC8703–Design for a Carriage., Anonymous, Italian, 17th or 18th century, 1650–1700
The arts lamenting the destruction of their works, design for a ceiling painting Gherardini, Alessandro 1655 - 1726 Drawing Central Italian drawings: schools of Florence, Siena, the Marches and Umbria. Italian Drawings in the Department of Prints and Drawings, Statens Museum for Kunst, Chris Fischer, nr. 160, p.232-233, afb. p.233, k2002-001, 2001. Italian paintings and sculpture in Denmark, Harald Olsen, p.14, note 29, 28349, 1961. Drawings by old masters at Christ Church Oxford, James Byam Shaw, nr. 307, 45265, 1976. Affreschi di palazzo Corsini a Firenze 1650-1700, Alessandra Guicciardini C Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-arts-lamenting-the-destruction-of-their-works-design-for-a-ceiling-painting-gherardini-alessandro-1655-1726-drawing-central-italian-drawings-schools-of-florence-siena-the-marches-and-umbria-italian-drawings-in-the-department-of-prints-and-drawings-statens-museum-for-kunst-chris-fischer-nr-160-p232-233-afb-p233-k2002-001-2001-italian-paintings-and-sculpture-in-denmark-harald-olsen-p14-note-29-28349-1961-drawings-by-old-masters-at-christ-church-oxford-james-byam-shaw-nr-307-45265-1976-affreschi-di-palazzo-corsini-a-firenze-1650-1700-alessandra-guicciardini-c-image613391945.htmlRM2XHXBK5–The arts lamenting the destruction of their works, design for a ceiling painting Gherardini, Alessandro 1655 - 1726 Drawing Central Italian drawings: schools of Florence, Siena, the Marches and Umbria. Italian Drawings in the Department of Prints and Drawings, Statens Museum for Kunst, Chris Fischer, nr. 160, p.232-233, afb. p.233, k2002-001, 2001. Italian paintings and sculpture in Denmark, Harald Olsen, p.14, note 29, 28349, 1961. Drawings by old masters at Christ Church Oxford, James Byam Shaw, nr. 307, 45265, 1976. Affreschi di palazzo Corsini a Firenze 1650-1700, Alessandra Guicciardini C
Design for a Hand Mirror or Fan Handle, Anonymous, Italian, 18th century, ca. 1650–1700 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-design-for-a-hand-mirror-or-fan-handle-anonymous-italian-18th-century-162426730.htmlRMKC74XJ–Design for a Hand Mirror or Fan Handle, Anonymous, Italian, 18th century, ca. 1650–1700
The return of the Prodigal Son, 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-return-of-the-prodigal-son-1650-1700-image482097525.htmlRM2K09C8N–The return of the Prodigal Son, 1650-1700.
Standing Franciscan Saint in a Niche, Anonymous, Italian, Roman-Bolognese, 17th century, 1650–1700 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-standing-franciscan-saint-in-a-niche-anonymous-italian-roman-bolognese-162532712.htmlRMKCC03M–Standing Franciscan Saint in a Niche, Anonymous, Italian, Roman-Bolognese, 17th century, 1650–1700
![. Herbals, their origin and evolution, a chapter in the history of botany, 1470-1670. Botany; Botany; Herbals. Plate VI. JOACHIM CAMERARIUS, the younger (1534—1598)- [Engraving- by Bartholom;eus Kilian, probably between 1650 "and 1700. Department of Prints and Drawings, British Museum.]. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.. Arber, Agnes Robertson, 1879-1960. Cambridge, University press Stock Photo](https://c8.alamy.com/comp/RDMW8C/herbals-their-origin-and-evolution-a-chapter-in-the-history-of-botany-1470-1670-botany-botany-herbals-plate-vi-joachim-camerarius-the-younger-15341598-engraving-by-bartholomeus-kilian-probably-between-1650-quotand-1700-department-of-prints-and-drawings-british-museum-please-note-that-these-images-are-extracted-from-scanned-page-images-that-may-have-been-digitally-enhanced-for-readability-coloration-and-appearance-of-these-illustrations-may-not-perfectly-resemble-the-original-work-arber-agnes-robertson-1879-1960-cambridge-university-press-RDMW8C.jpg ". Herbals, their origin and evolution, a chapter in the history of botany, 1470-1670. Botany; Botany; Herbals. Plate VI. JOACHIM CAMERARIUS, the younger (1534—1598)- [Engraving- by Bartholom;eus Kilian, probably between 1650 "and 1700. Department of Prints and Drawings, British Museum.]. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.. Arber, Agnes Robertson, 1879-1960. Cambridge, University press Stock Photo")
. Herbals, their origin and evolution, a chapter in the history of botany, 1470-1670. Botany; Botany; Herbals. Plate VI. JOACHIM CAMERARIUS, the younger (1534—1598)- [Engraving- by Bartholom;eus Kilian, probably between 1650 "and 1700. Department of Prints and Drawings, British Museum.]. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.. Arber, Agnes Robertson, 1879-1960. Cambridge, University press Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/herbals-their-origin-and-evolution-a-chapter-in-the-history-of-botany-1470-1670-botany-botany-herbals-plate-vi-joachim-camerarius-the-younger-15341598-engraving-by-bartholomeus-kilian-probably-between-1650-quotand-1700-department-of-prints-and-drawings-british-museum-please-note-that-these-images-are-extracted-from-scanned-page-images-that-may-have-been-digitally-enhanced-for-readability-coloration-and-appearance-of-these-illustrations-may-not-perfectly-resemble-the-original-work-arber-agnes-robertson-1879-1960-cambridge-university-press-image232184188.htmlRMRDMW8C–. Herbals, their origin and evolution, a chapter in the history of botany, 1470-1670. Botany; Botany; Herbals. Plate VI. JOACHIM CAMERARIUS, the younger (1534—1598)- [Engraving- by Bartholom;eus Kilian, probably between 1650 "and 1700. Department of Prints and Drawings, British Museum.]. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.. Arber, Agnes Robertson, 1879-1960. Cambridge, University press
Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata), Anonymous, Italian, 17th century, 1650–1700 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-erminia-and-the-shepherds-a-scene-from-torquato-tassos-gerusalemme-162448124.htmlRMKC846M–Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata), Anonymous, Italian, 17th century, 1650–1700
Exotic Flowering Plant. India, Deccan (?), circa 1650-1700. Drawings; watercolors. Opaque watercolor and gold on paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/exotic-flowering-plant-india-deccan-circa-1650-1700-drawings-watercolors-opaque-watercolor-and-gold-on-paper-image464697702.htmlRM2J00PJE–Exotic Flowering Plant. India, Deccan (?), circa 1650-1700. Drawings; watercolors. Opaque watercolor and gold on paper
Art inspired by Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682), 1650–1700, Pen and brown ink, brush and brown and gray wash, over graphite and traces of red chalk, 24-1/16 x 17-1/16 in. (61.1 x 43.3 cm), Drawings, Anonymous, Italian, Roman-, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-temporary-structure-in-celebration-of-the-birth-of-the-duc-de-bourgogne-august-6-1682-16501700-pen-and-brown-ink-brush-and-brown-and-gray-wash-over-graphite-and-traces-of-red-chalk-24-116-x-17-116-in-611-x-433-cm-drawings-anonymous-italian-roman-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462955045.htmlRF2HW5BTN–Art inspired by Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682), 1650–1700, Pen and brown ink, brush and brown and gray wash, over graphite and traces of red chalk, 24-1/16 x 17-1/16 in. (61.1 x 43.3 cm), Drawings, Anonymous, Italian, Roman-, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Design for a Carriage. Artist: Anonymous, Italian, 17th or 18th century. Dimensions: 13 1/4 x 29 1/2 in. (33.7 x 75 cm), on two glued sheets of paper.. Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-carriage-artist-anonymous-italian-17th-or-18th-century-dimensions-13-14-x-29-12-in-337-x-75-cm-on-two-glued-sheets-of-paper-date-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image213197233.htmlRMPARY6W–Design for a Carriage. Artist: Anonymous, Italian, 17th or 18th century. Dimensions: 13 1/4 x 29 1/2 in. (33.7 x 75 cm), on two glued sheets of paper.. Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Art inspired by Standing Franciscan Saint in a Niche, 1650–1700, Pen and brown ink, brush and brown and gray washes, highlighted with white gouache, over traces of black chalk. Horizontal ruled lines in black chalk at regular intervals, 7-3/16 x 3 in. (18.3 x 7.6 cm), Drawings, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-standing-franciscan-saint-in-a-niche-16501700-pen-and-brown-ink-brush-and-brown-and-gray-washes-highlighted-with-white-gouache-over-traces-of-black-chalk-horizontal-ruled-lines-in-black-chalk-at-regular-intervals-7-316-x-3-in-183-x-76-cm-drawings-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462953562.htmlRF2HW59YP–Art inspired by Standing Franciscan Saint in a Niche, 1650–1700, Pen and brown ink, brush and brown and gray washes, highlighted with white gouache, over traces of black chalk. Horizontal ruled lines in black chalk at regular intervals, 7-3/16 x 3 in. (18.3 x 7.6 cm), Drawings, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Saint Anthony of Padua, 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/saint-anthony-of-padua-1650-1700-image474666717.htmlRM2JG6X6N–Saint Anthony of Padua, 1650-1700.
Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682), Anonymous, Italian, Roman-Bolognese Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-temporary-structure-in-celebration-of-the-birth-of-the-duc-de-bourgogne-162488714.htmlRMKCA00A–Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682), Anonymous, Italian, Roman-Bolognese
A Mythical Creature Killing Elephants. India, Odisha (Orissa), circa 1650-1700. Drawings; watercolors. Opaque watercolor on cloth Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-mythical-creature-killing-elephants-india-odisha-orissa-circa-1650-1700-drawings-watercolors-opaque-watercolor-on-cloth-image464729984.htmlRM2J027RC–A Mythical Creature Killing Elephants. India, Odisha (Orissa), circa 1650-1700. Drawings; watercolors. Opaque watercolor on cloth
Design for a Frieze with Two Griffins. Artist: Anonymous, Italian, 17th century. Dimensions: 2 1/4 x 6 7/16 in. (5.7 x 16.4 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-frieze-with-two-griffins-artist-anonymous-italian-17th-century-dimensions-2-14-x-6-716-in-57-x-164-cm-date-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image213118904.htmlRMPAMB9C–Design for a Frieze with Two Griffins. Artist: Anonymous, Italian, 17th century. Dimensions: 2 1/4 x 6 7/16 in. (5.7 x 16.4 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Portrait of Philip IV, ca. 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-philip-iv-ca-1650-1700-image474666706.htmlRM2JG6X6A–Portrait of Philip IV, ca. 1650-1700.
Radhika's Manifest Small Arrogance (Prakasha Laghumana), Folio from a Rasikapriya (The Connoisseur's Delights). India, Rajasthan, Amber, circa 1650-1700. Drawings; watercolors. Opaque watercolor, gold, and ink on paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/radhikas-manifest-small-arrogance-prakasha-laghumana-folio-from-a-rasikapriya-the-connoisseurs-delights-india-rajasthan-amber-circa-1650-1700-drawings-watercolors-opaque-watercolor-gold-and-ink-on-paper-image464788700.htmlRM2J04XMC–Radhika's Manifest Small Arrogance (Prakasha Laghumana), Folio from a Rasikapriya (The Connoisseur's Delights). India, Rajasthan, Amber, circa 1650-1700. Drawings; watercolors. Opaque watercolor, gold, and ink on paper
Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata). Artist: Anonymous, Italian, 17th century. Dimensions: 8-15/16 x 8-15/16 in. (22.7 x 22.7 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/erminia-and-the-shepherds-a-scene-from-torquato-tassos-gerusalemme-liberata-artist-anonymous-italian-17th-century-dimensions-8-1516-x-8-1516-in-227-x-227-cm-date-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image213149002.htmlRMPANNMA–Erminia and the Shepherds (a scene from Torquato Tasso's Gerusalemme Liberata). Artist: Anonymous, Italian, 17th century. Dimensions: 8-15/16 x 8-15/16 in. (22.7 x 22.7 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Portrait of Elisabeth of Bourbon, Queen of Spain, ca. 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-elisabeth-of-bourbon-queen-of-spain-ca-1650-1700-image474666705.htmlRM2JG6X69–Portrait of Elisabeth of Bourbon, Queen of Spain, ca. 1650-1700.
Radha's Hidden Endeavors That Indicate Her Preoccupation with Love (Prachanna Chesta), Folio from a Rasikapriya (The Connoiseur's Delights). India, Rajasthan, Amber, circa 1650-1700. Drawings; watercolors. Opaque watercolor, gold, and ink on paper Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/radhas-hidden-endeavors-that-indicate-her-preoccupation-with-love-prachanna-chesta-folio-from-a-rasikapriya-the-connoiseurs-delights-india-rajasthan-amber-circa-1650-1700-drawings-watercolors-opaque-watercolor-gold-and-ink-on-paper-image464788673.htmlRM2J04XKD–Radha's Hidden Endeavors That Indicate Her Preoccupation with Love (Prachanna Chesta), Folio from a Rasikapriya (The Connoiseur's Delights). India, Rajasthan, Amber, circa 1650-1700. Drawings; watercolors. Opaque watercolor, gold, and ink on paper
Design for a Carriage. 1650–1700 Anonymous, Italian, 17th or 18th century Italian. Design for a Carriage.. Anonymous, Italian, 17th or 18th century. 1650–1700. Black chalk or leadpoint. Drawings Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-carriage-16501700-anonymous-italian-17th-or-18th-century-italian-design-for-a-carriage-anonymous-italian-17th-or-18th-century-16501700-black-chalk-or-leadpoint-drawings-image458295652.htmlRM2HHH4NT–Design for a Carriage. 1650–1700 Anonymous, Italian, 17th or 18th century Italian. Design for a Carriage.. Anonymous, Italian, 17th or 18th century. 1650–1700. Black chalk or leadpoint. Drawings
Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682). Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 24-1/16 x 17-1/16 in. (61.1 x 43.3 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/temporary-structure-in-celebration-of-the-birth-of-the-duc-de-bourgogne-august-6-1682-artist-anonymous-italian-roman-bolognese-17th-century-dimensions-24-116-x-17-116-in-611-x-433-cm-date-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image213117596.htmlRMPAM9JM–Temporary Structure in Celebration of the Birth of the Duc de Bourgogne (August 6, 1682). Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 24-1/16 x 17-1/16 in. (61.1 x 43.3 cm). Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
In. Maria Magdalena Pokutuśc Gennari, Benedetto II (1633-1715), Gennari, Ercole (1597-1658); 2 after. XVII century (1650-00-00-1700-00-00);Czartoryska née Krasiński, Ludwika Maria (1883-1958) - collection, Działyńska from Czartoryski, Izabela (1830-1899), Gołuchów (Greater Poland Voivodeship), Gołuchów - collection, acts, female acts, album Dessins de Ma 24tres, skulls, kruczyfs, Italian drawings, Vanitas (allegory) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/in-maria-magdalena-pokutuc-gennari-benedetto-ii-1633-1715-gennari-ercole-1597-1658-2-after-xvii-century-1650-00-00-1700-00-00czartoryska-ne-krasiski-ludwika-maria-1883-1958-collection-dziayska-from-czartoryski-izabela-1830-1899-gouchw-greater-poland-voivodeship-gouchw-collection-acts-female-acts-album-dessins-de-ma-24tres-skulls-kruczyfs-italian-drawings-vanitas-allegory-image598946762.htmlRM2WPCAKP–In. Maria Magdalena Pokutuśc Gennari, Benedetto II (1633-1715), Gennari, Ercole (1597-1658); 2 after. XVII century (1650-00-00-1700-00-00);Czartoryska née Krasiński, Ludwika Maria (1883-1958) - collection, Działyńska from Czartoryski, Izabela (1830-1899), Gołuchów (Greater Poland Voivodeship), Gołuchów - collection, acts, female acts, album Dessins de Ma 24tres, skulls, kruczyfs, Italian drawings, Vanitas (allegory)
The Virgin and Child with Saint Anne and Joseph, ca. 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-virgin-and-child-with-saint-anne-and-joseph-ca-1650-1700-image482095631.htmlRM2K099W3–The Virgin and Child with Saint Anne and Joseph, ca. 1650-1700.
Allegorical Design for a Ceiling Fresco. Artist: After Francesco Albani (Italian, Bologna 1578-1660 Bologna). Dimensions: 10 7/16 x 28 9/16 in. (26.5 x 72.5 cm), on two glued sheets of paper.. Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/allegorical-design-for-a-ceiling-fresco-artist-after-francesco-albani-italian-bologna-1578-1660-bologna-dimensions-10-716-x-28-916-in-265-x-725-cm-on-two-glued-sheets-of-paper-date-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image212916975.htmlRMPAB5NK–Allegorical Design for a Ceiling Fresco. Artist: After Francesco Albani (Italian, Bologna 1578-1660 Bologna). Dimensions: 10 7/16 x 28 9/16 in. (26.5 x 72.5 cm), on two glued sheets of paper.. Date: 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Saint Pepin I and his daughter, Saint Begga, ca. 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/saint-pepin-i-and-his-daughter-saint-begga-ca-1650-1700-image482095807.htmlRM2K09A3B–Saint Pepin I and his daughter, Saint Begga, ca. 1650-1700.
Annibale Carracci Introduces Painting to Apollo and Minerva. Artist: After Carlo Maratti (Italian, Camerano 1625-1713 Rome); Pietro Aquila (Italian, Marsala, Sicily 1650-1692/1700 Rome). Dimensions: Sheet (Trimmed to plate): 18 1/8 × 25 1/4 in. (46 × 64.1 cm). Publisher: Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Series/Portfolio: Published in Galeria Farnesianae Icones..., 1674. Date: 1674. This print appeared as a frontispiece to a book of etchings depicting the frescoes painted by Annibale Carracci in the Farnese Gallery in Rome. Like the publication of the book itself, this Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/annibale-carracci-introduces-painting-to-apollo-and-minerva-artist-after-carlo-maratti-italian-camerano-1625-1713-rome-pietro-aquila-italian-marsala-sicily-1650-16921700-rome-dimensions-sheet-trimmed-to-plate-18-18-25-14-in-46-641-cm-publisher-giovanni-giacomo-de-rossi-italian-rome-1627-1691-rome-seriesportfolio-published-in-galeria-farnesianae-icones-1674-date-1674-this-print-appeared-as-a-frontispiece-to-a-book-of-etchings-depicting-the-frescoes-painted-by-annibale-carracci-in-the-farnese-gallery-in-rome-like-the-publication-of-the-book-itself-this-image213365538.htmlRMPB3HWP–Annibale Carracci Introduces Painting to Apollo and Minerva. Artist: After Carlo Maratti (Italian, Camerano 1625-1713 Rome); Pietro Aquila (Italian, Marsala, Sicily 1650-1692/1700 Rome). Dimensions: Sheet (Trimmed to plate): 18 1/8 × 25 1/4 in. (46 × 64.1 cm). Publisher: Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Series/Portfolio: Published in Galeria Farnesianae Icones..., 1674. Date: 1674. This print appeared as a frontispiece to a book of etchings depicting the frescoes painted by Annibale Carracci in the Farnese Gallery in Rome. Like the publication of the book itself, this
The Virgin and Child with Saint Elizabeth and Saint John the Baptist, ca. 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-virgin-and-child-with-saint-elizabeth-and-saint-john-the-baptist-ca-1650-1700-image482095829.htmlRM2K09A45–The Virgin and Child with Saint Elizabeth and Saint John the Baptist, ca. 1650-1700.
Akbar Offering Timur's Crown to Shah Jahan. India. Date: 1650-1700. Dimensions: 21.2 x 15.6 cm (8 5/16 x 6 1/8 in.). Ink on paper. Origin: Iran. Museum: The Chicago Art Institute. Author: Islamic. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/akbar-offering-timurs-crown-to-shah-jahan-india-date-1650-1700-dimensions-212-x-156-cm-8-516-x-6-18-in-ink-on-paper-origin-iran-museum-the-chicago-art-institute-author-islamic-image240109763.htmlRMRXHXCK–Akbar Offering Timur's Crown to Shah Jahan. India. Date: 1650-1700. Dimensions: 21.2 x 15.6 cm (8 5/16 x 6 1/8 in.). Ink on paper. Origin: Iran. Museum: The Chicago Art Institute. Author: Islamic.
Three Lucchese saints Sts Nicholas Tolentino, Nicholas of Bari interceding with the Virgin for the victims of the plague, 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/three-lucchese-saints-sts-nicholas-tolentino-nicholas-of-bari-interceding-with-the-virgin-for-the-victims-of-the-plague-1650-1700-image482097612.htmlRM2K09CBT–Three Lucchese saints Sts Nicholas Tolentino, Nicholas of Bari interceding with the Virgin for the victims of the plague, 1650-1700.
Mars Sending Gorgon to Slay the Arts. Possibly after Pietro Testa; Italian, 1611/12-1650. Date: 1632-1700. Dimensions: 365 × 253 mm. Pen and brown ink, over black chalk, on tan laid paper. Origin: Italy. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mars-sending-gorgon-to-slay-the-arts-possibly-after-pietro-testa-italian-161112-1650-date-1632-1700-dimensions-365-253-mm-pen-and-brown-ink-over-black-chalk-on-tan-laid-paper-origin-italy-museum-the-chicago-art-institute-image240064196.htmlRMRXFT98–Mars Sending Gorgon to Slay the Arts. Possibly after Pietro Testa; Italian, 1611/12-1650. Date: 1632-1700. Dimensions: 365 × 253 mm. Pen and brown ink, over black chalk, on tan laid paper. Origin: Italy. Museum: The Chicago Art Institute.
Three Lucchese saints Sts Nicholas Tolentino, Nicholas of Bari and Roch interceding with the Virgin on behalf of the victims of the plague , 1650-1700. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/three-lucchese-saints-sts-nicholas-tolentino-nicholas-of-bari-and-roch-interceding-with-the-virgin-on-behalf-of-the-victims-of-the-plague-1650-1700-image482097630.htmlRM2K09CCE–Three Lucchese saints Sts Nicholas Tolentino, Nicholas of Bari and Roch interceding with the Virgin on behalf of the victims of the plague , 1650-1700.
Calvary. Rombout van Troyen (Netherlandish, c. 1605-c. 1650); or the style of Raymond de Lafage (French, 1656-1690). Date: 1625-1700. Dimensions: 224 x 452 mm. Pen and brown ink, with brush and brown-gray wash, over black chalk, on ivory laid paper, tipped onto tan wove paper. Origin: Netherlands. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/calvary-rombout-van-troyen-netherlandish-c-1605-c-1650-or-the-style-of-raymond-de-lafage-french-1656-1690-date-1625-1700-dimensions-224-x-452-mm-pen-and-brown-ink-with-brush-and-brown-gray-wash-over-black-chalk-on-ivory-laid-paper-tipped-onto-tan-wove-paper-origin-netherlands-museum-the-chicago-art-institute-image240064722.htmlRMRXFW02–Calvary. Rombout van Troyen (Netherlandish, c. 1605-c. 1650); or the style of Raymond de Lafage (French, 1656-1690). Date: 1625-1700. Dimensions: 224 x 452 mm. Pen and brown ink, with brush and brown-gray wash, over black chalk, on ivory laid paper, tipped onto tan wove paper. Origin: Netherlands. Museum: The Chicago Art Institute.
Deianeira receiving the poisoned tunic from Nessus, and the wounded centaur falling to the ground at left. Artist: Anonymous; After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Dimensions: Sheet (Trimmed): 13 1/16 × 8 13/16 in. (33.1 × 22.4 cm). Date: ca. 1650-1700. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/deianeira-receiving-the-poisoned-tunic-from-nessus-and-the-wounded-centaur-falling-to-the-ground-at-left-artist-anonymous-after-peter-paul-rubens-flemish-siegen-1577-1640-antwerp-dimensions-sheet-trimmed-13-116-8-1316-in-331-224-cm-date-ca-1650-1700-museum-metropolitan-museum-of-art-new-york-usa-image213260938.htmlRMPAXTE2–Deianeira receiving the poisoned tunic from Nessus, and the wounded centaur falling to the ground at left. Artist: Anonymous; After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Dimensions: Sheet (Trimmed): 13 1/16 × 8 13/16 in. (33.1 × 22.4 cm). Date: ca. 1650-1700. Museum: Metropolitan Museum of Art, New York, USA.
Le Fontane del Giardino Estense in Tivoli con li Loro Prospetti, e Vedute della Cascata del Fiume Aniene. Dimensions: Plate: 8 3/4 x 13 in. (22.3 x 33 cm). Etcher: Giovanni Francesco Venturini (Italian, active ca. 1650-1700). Publisher: Published by Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Date: 1691 or after. Fourth series of the views of fountains published by Giovanni Giacomo Rossi. 'Le Fontane del Giardino Estense in Tivoli', contains a title page, an allegorical frontispiece with dedication to Francesco II, Duke of Modena, plus 26 plates of views by Venturini. Museum: Me Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/le-fontane-del-giardino-estense-in-tivoli-con-li-loro-prospetti-e-vedute-della-cascata-del-fiume-aniene-dimensions-plate-8-34-x-13-in-223-x-33-cm-etcher-giovanni-francesco-venturini-italian-active-ca-1650-1700-publisher-published-by-giovanni-giacomo-de-rossi-italian-rome-1627-1691-rome-date-1691-or-after-fourth-series-of-the-views-of-fountains-published-by-giovanni-giacomo-rossi-le-fontane-del-giardino-estense-in-tivoli-contains-a-title-page-an-allegorical-frontispiece-with-dedication-to-francesco-ii-duke-of-modena-plus-26-plates-of-views-by-venturini-museum-me-image213176179.htmlRMPAR0AY–Le Fontane del Giardino Estense in Tivoli con li Loro Prospetti, e Vedute della Cascata del Fiume Aniene. Dimensions: Plate: 8 3/4 x 13 in. (22.3 x 33 cm). Etcher: Giovanni Francesco Venturini (Italian, active ca. 1650-1700). Publisher: Published by Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Date: 1691 or after. Fourth series of the views of fountains published by Giovanni Giacomo Rossi. 'Le Fontane del Giardino Estense in Tivoli', contains a title page, an allegorical frontispiece with dedication to Francesco II, Duke of Modena, plus 26 plates of views by Venturini. Museum: Me
Le Fontane ne' Palazzi e ne' Giardini di Roma con li Loro Prospetti et Ornamenti. Dimensions: Plate: 8 5/16 x 12 3/16 in. (21.1 x 31 cm). Etcher: Giovanni Battista Falda (Italian, Valduggia 1643-1678 Rome); Giovanni Francesco Venturini (Italian, active ca. 1650-1700). Publisher: Published by Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Date: 1691 or after. Third part of the print series on the fountains of Rome and its surroundings published by Giovanni Giacomo de Rossi. 'Le Fontane ne' Palazzi e ne' Giardini', portrayed by Venturini and Falda, contains a title page, an allegori Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/le-fontane-ne-palazzi-e-ne-giardini-di-roma-con-li-loro-prospetti-et-ornamenti-dimensions-plate-8-516-x-12-316-in-211-x-31-cm-etcher-giovanni-battista-falda-italian-valduggia-1643-1678-rome-giovanni-francesco-venturini-italian-active-ca-1650-1700-publisher-published-by-giovanni-giacomo-de-rossi-italian-rome-1627-1691-rome-date-1691-or-after-third-part-of-the-print-series-on-the-fountains-of-rome-and-its-surroundings-published-by-giovanni-giacomo-de-rossi-le-fontane-ne-palazzi-e-ne-giardini-portrayed-by-venturini-and-falda-contains-a-title-page-an-allegori-image213113325.htmlRMPAM465–Le Fontane ne' Palazzi e ne' Giardini di Roma con li Loro Prospetti et Ornamenti. Dimensions: Plate: 8 5/16 x 12 3/16 in. (21.1 x 31 cm). Etcher: Giovanni Battista Falda (Italian, Valduggia 1643-1678 Rome); Giovanni Francesco Venturini (Italian, active ca. 1650-1700). Publisher: Published by Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Date: 1691 or after. Third part of the print series on the fountains of Rome and its surroundings published by Giovanni Giacomo de Rossi. 'Le Fontane ne' Palazzi e ne' Giardini', portrayed by Venturini and Falda, contains a title page, an allegori
Frontispiece for Vindicae Predestinationis et Gratiae. Artist: Grégoire Huret (French, Lyon 1606-1670 Paris). Dimensions: Sheet: 8 1/8 × 5 1/2 in. (20.7 × 14 cm). Publisher: John Billaine. Date: 1650. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-for-vindicae-predestinationis-et-gratiae-artist-grgoire-huret-french-lyon-1606-1670-paris-dimensions-sheet-8-18-5-12-in-207-14-cm-publisher-john-billaine-date-1650-museum-metropolitan-museum-of-art-new-york-usa-image212901418.htmlRMPAADX2–Frontispiece for Vindicae Predestinationis et Gratiae. Artist: Grégoire Huret (French, Lyon 1606-1670 Paris). Dimensions: Sheet: 8 1/8 × 5 1/2 in. (20.7 × 14 cm). Publisher: John Billaine. Date: 1650. Museum: Metropolitan Museum of Art, New York, USA.
