19 15 16 x 16 Black and White Stock Photos & Images - Page 2

. Precious stones, a popular account of their characters, occurrence and applications, with an introduction to their determination, for mineralogists, lapidaries, jewellers, etc. With an appendix on pearls and coral. Precious stones; Pearls; Corals. Actual Sizes of Brilliants (Diamonds) of ^Ia to 100 carats. Plate IX. 1 O VtEar. 2 W9. 1/2 » 3 03 3/4 „ ^ KLS 1 s aia ivi» 6 uTn 1%" 7 KLjJ 1^/4" jfl 11 12 13 14 2 • 2i/4» 2V2» 23/4" 3 ' 3%. 15 16 17 19 20 21 iVaHar. 5V2 " 18 (LtkX^ 6 " 6V2" 7 " 8 " 22 [ XXO ) 9 " 23 Y XX: A } 10 24 X ir X , 11 25 A xx: Stock Photo

RMRDABAA–. Precious stones, a popular account of their characters, occurrence and applications, with an introduction to their determination, for mineralogists, lapidaries, jewellers, etc. With an appendix on pearls and coral. Precious stones; Pearls; Corals. Actual Sizes of Brilliants (Diamonds) of ^Ia to 100 carats. Plate IX. 1 O VtEar. 2 W9. 1/2 » 3 03 3/4 „ ^ KLS 1 s aia ivi» 6 uTn 1%" 7 KLjJ 1^/4" jfl 11 12 13 14 2 • 2i/4» 2V2» 23/4" 3 ' 3%. 15 16 17 19 20 21 iVaHar. 5V2 " 18 (LtkX^ 6 " 6V2" 7 " 8 " 22 [ XXO ) 9 " 23 Y XX: A } 10 24 X ir X , 11 25 A xx:

Summer's Fruitful Pastures Albert Pinkham Ryder (American, 1847-1917). Summer's Fruitful Pastures, mid-late 1870s. Oil on panel, 7 5/8 x 9 15/16 in. (19.4 x 25.2 cm). American Art mid-late 1870s Stock Photo

RM2M934H1–Summer's Fruitful Pastures Albert Pinkham Ryder (American, 1847-1917). Summer's Fruitful Pastures, mid-late 1870s. Oil on panel, 7 5/8 x 9 15/16 in. (19.4 x 25.2 cm). American Art mid-late 1870s

. The Tertiary insects of North America [microform]. Insects; Paleontology; Insectes fossiles; Paléontologie. WM Ml -MI' i w. M I I;- 642 TEUTIAUY rNSK(3TS OF NOKTII AMKUIOA. .SVSTKMATIi' I.IST (IK TIIK. Sri'.CIKS l)i:sil!Illi:il IN TIIK I'llKSKNT Vl>UK, I'.TO. —CotllinilCMl. Syntonintic list of ppccioH. Groups, gvneri), and HiiccicM. :» 4 r. 6 7 8 <l 10 11 I'i 13 14 15 16 17 18 19 20 21 « 2;i 25 2.i 27 2H 2U 30 31 :w X(7(iH(i —Con I'<1, 'rrapfZonotiiH stygiuliK Lcuiiica lioliiu'sii Liiiiiii'a piitiiiimi Liniiii'ff aliolita Linnii'a farccratu LiTiiiifa cvolnta ; Linuita gravida Rliyp Stock Photo

RMRJ30A5–. The Tertiary insects of North America [microform]. Insects; Paleontology; Insectes fossiles; Paléontologie. WM Ml -MI' i w. M I I;- 642 TEUTIAUY rNSK(3TS OF NOKTII AMKUIOA. .SVSTKMATIi' I.IST (IK TIIK. Sri'.CIKS l)i:sil!Illi:il IN TIIK I'llKSKNT Vl>UK, I'.TO. —CotllinilCMl. Syntonintic list of ppccioH. Groups, gvneri), and HiiccicM. :» 4 r. 6 7 8 <l 10 11 I'i 13 14 15 16 17 18 19 20 21 « 2;i 25 2.i 27 2H 2U 30 31 :w X(7(iH(i —Con I'<1, 'rrapfZonotiiH stygiuliK Lcuiiica lioliiu'sii Liiiiiii'a piitiiiimi Liniiii'ff aliolita Linnii'a farccratu LiTiiiifa cvolnta ; Linuita gravida Rliyp

Forest Scene with Pool Ralph Albert Blakelock (American, 1847-1919). Forest Scene with Pool, ca. 1880-1899. Oil on canvas, 19 15/16 x 11 15/16 in. (50.6 x 30.4 cm). American Art ca. 1880-1899 Stock Photo

RM2M93WN1–Forest Scene with Pool Ralph Albert Blakelock (American, 1847-1919). Forest Scene with Pool, ca. 1880-1899. Oil on canvas, 19 15/16 x 11 15/16 in. (50.6 x 30.4 cm). American Art ca. 1880-1899

RMRDRCG4–. Mollusca ... Mollusks. 66 HBLICIDjE. 74. Gorilla erronea, Alhers. HelLv rivoli, Pfeiffer (uon Deshayes), Mon. Ilelic. Viv. i, 1848, p. 407; Reeve, Conch. Icon, vii, 1852, pi. 78, fi^. 413; Pfeiffer, CoDch.- Cab., Ileliceeii, ii, 1852, p. 288, pi. Ill', figs. 16-19; iii, 18-53, pi. 160, iigs. 8-11,14, 15. Helix erronea. Albers, Zeits. Malak. x, 1853, p. 107 ; Kobelt, Illust. Conch. Buch, 1879, pi. 68, fig. 37; Brot, Journ. Conchyl. xii, 1864, pi. 2, figs. 7-9. Anchistoma (Corilla) erroneum, Adams, Gen. Rec. Moll, ii, 1865, p. 208. Corilla erronea, Frauenfeld, Verh. K. K. zool.-bot. Ges. xix,

RM2M93WGM–Forest Scene with Pool Ralph Albert Blakelock (American, 1847-1919). Forest Scene with Pool, ca. 1880-1899. Oil on canvas, 19 15/16 x 11 15/16 in. (50.6 x 30.4 cm). American Art ca. 1880-1899

. Catalogue of the fresh-water fishes of Africa in the British museum (Natural history) ... Fishes; Freshwater animals. 412 SILURID.E. 5-8. Hgr. & yg. 9. Ad. 10. Skel. 11-14. Ad. & hgr. 15-16, Ad. 17. Ad. 18. Ad. 19-21. Ad. & lior. Between Khartum and the Sobat. Bahr Zeraf. Near Tonga, White Nile. Month of L. No. Gondokoro, Bahr-el-Gebel. Fajao, Victoria Nile. Omo R. L. Rudolf at Galeba. Mr. P. C. Zaphiro (C.) ; W.N. McMillan, Esq. (P.). Capt. S. Flower (P.). L. Loat.Esq. (C). J. 8. Bndgett, Esq. (P.). Dr. Donaldson Smith (C). Mr. P. C. Zaphiro (C.) ; W. X. McMillan, Esq. (P.). 10. Stock Photo

RMRDJCY5–. Catalogue of the fresh-water fishes of Africa in the British museum (Natural history) ... Fishes; Freshwater animals. 412 SILURID.E. 5-8. Hgr. & yg. 9. Ad. 10. Skel. 11-14. Ad. & hgr. 15-16, Ad. 17. Ad. 18. Ad. 19-21. Ad. & lior. Between Khartum and the Sobat. Bahr Zeraf. Near Tonga, White Nile. Month of L. No. Gondokoro, Bahr-el-Gebel. Fajao, Victoria Nile. Omo R. L. Rudolf at Galeba. Mr. P. C. Zaphiro (C.) ; W.N. McMillan, Esq. (P.). Capt. S. Flower (P.). L. Loat.Esq. (C). J. 8. Bndgett, Esq. (P.). Dr. Donaldson Smith (C). Mr. P. C. Zaphiro (C.) ; W. X. McMillan, Esq. (P.). 10.

RM2M934GT–Summer's Fruitful Pastures Albert Pinkham Ryder (American, 1847-1917). Summer's Fruitful Pastures, mid-late 1870s. Oil on panel, 7 5/8 x 9 15/16 in. (19.4 x 25.2 cm). American Art mid-late 1870s

. Florists' review [microform]. Floriculture. Doz. No.l—36-inch willow handle, lO^inch opening, stained..$11.40 No.2—38-inch willow handle, 11-inch opening, stained.. 14.40 No.3—40-inch willow handle, 12*»-Inch opening, stained. 16.80 On this number, where a chain handle is desired instead of the willow, we quote $13.20, $16.80 and $19.20. Doz. No. 1-13^x5^x4 inches, stained. .$4.80 No. 2-18 x6 X4I9 inches, stained.. 7.80 Lining, extra, 25c and 30c each Doz. No. 1—21x7 x6 inches, stained $11.40 No. 2—26x8 x() inches, stained 15.00 No. 3—30x8i«x6^ inches, stained 19.20 Lining, extra, 35c, 50c a Stock Photo

RMRRWAX8–. Florists' review [microform]. Floriculture. Doz. No.l—36-inch willow handle, lO^inch opening, stained..$11.40 No.2—38-inch willow handle, 11-inch opening, stained.. 14.40 No.3—40-inch willow handle, 12*»-Inch opening, stained. 16.80 On this number, where a chain handle is desired instead of the willow, we quote $13.20, $16.80 and $19.20. Doz. No. 1-13^x5^x4 inches, stained. .$4.80 No. 2-18 x6 X4I9 inches, stained.. 7.80 Lining, extra, 25c and 30c each Doz. No. 1—21x7 x6 inches, stained $11.40 No. 2—26x8 x() inches, stained 15.00 No. 3—30x8i«x6^ inches, stained 19.20 Lining, extra, 35c, 50c a

Queen Kneeling Before Cross Unknown. Queen Kneeling Before Cross, late 18th-early 19th century. Painting on wood, 7 11/16 x 5 15/16 in. (19.5 x 15.1 cm). European Art late 18th-early 19th century Stock Photo

RM2M93A4N–Queen Kneeling Before Cross Unknown. Queen Kneeling Before Cross, late 18th-early 19th century. Painting on wood, 7 11/16 x 5 15/16 in. (19.5 x 15.1 cm). European Art late 18th-early 19th century

. Histoire naturelle, gÃ©nÃ©rale et particuliÃ¨re [microforme] : [s] ervant de suite Ã l'histoire naturelle de l'homme. Sciences naturelles; Natural history. 414 ProsasjzitÂ£s 2141 contre 354 ou 6 jj contre i qu'elle ne vivra pas 14 ans de plus, *jo4 contre 191 ou 7 || contre i qu'elle ne vivra pas 15 ans de plus. X j 5 8 contre 2 5 7 ou prÃ¨s de i o contre I qt:'elle ne vivra pas 16 ans de plus. 2440 contre 155 ou 15 fcontre r qu elle ne vivra pas 18 ans de plus. 2510 contre 85 ou 19 â contre r qu'elle ne vivra pas 11 ans de plusÂ» 2571 contre 14 ou 107^ contre 1 qu'elle ne vivra pas 16 ans Stock Photo

RMRET2CM–. Histoire naturelle, gÃ©nÃ©rale et particuliÃ¨re [microforme] : [s] ervant de suite Ã l'histoire naturelle de l'homme. Sciences naturelles; Natural history. 414 ProsasjzitÂ£s 2141 contre 354 ou 6 jj contre i qu'elle ne vivra pas 14 ans de plus, *jo4 contre 191 ou 7 || contre i qu'elle ne vivra pas 15 ans de plus. X j 5 8 contre 2 5 7 ou prÃ¨s de i o contre I qt:'elle ne vivra pas 16 ans de plus. 2440 contre 155 ou 15 fcontre r qu elle ne vivra pas 18 ans de plus. 2510 contre 85 ou 19 â contre r qu'elle ne vivra pas 11 ans de plusÂ» 2571 contre 14 ou 107^ contre 1 qu'elle ne vivra pas 16 ans

Jumping Trout Winslow Homer (American, 1836-1910). Jumping Trout, 1889. Watercolor over graphite on cream, medium-weight, moderately textured wove paper, 13 15/16 x 19 15/16 in. (35.4 x 50.6 cm). American Art 1889 Stock Photo

RM2M93X80–Jumping Trout Winslow Homer (American, 1836-1910). Jumping Trout, 1889. Watercolor over graphite on cream, medium-weight, moderately textured wove paper, 13 15/16 x 19 15/16 in. (35.4 x 50.6 cm). American Art 1889

. The encyclopedia of practical horticulture; a reference system of commercial horticulture, covering the practical and scientific phases of horticulture, with special reference to fruits and vegetables;. Gardening; Fruit-culture; Vegetable gardening. 1692 ENCYCLOPEDIA OF PRACTICAL HORTICULTURE Plants 40 ft. X 60 ft 18 42 ft. X 42 ft 24 42 ft. X 48 ft 21 42 ft. X 54 ft 19 42 ft. X 60 ft 17 48 ft. X 48 ft 18 48 ft. X 54 ft.. 16 48 ft. X 60 ft 15 50 ft. X 50 ft 17 50 ft. X 54 ft 16 50 ft. X 60 ft 14 54 ft. X 54 ft 14 54 ft. X 60 ft 13 60 ft. X 60 ft 12 70ft.x 70 ft 8 80 ft. X 80 ft 6 90 ft. x 90 Stock Photo

RMRD7RWW–. The encyclopedia of practical horticulture; a reference system of commercial horticulture, covering the practical and scientific phases of horticulture, with special reference to fruits and vegetables;. Gardening; Fruit-culture; Vegetable gardening. 1692 ENCYCLOPEDIA OF PRACTICAL HORTICULTURE Plants 40 ft. X 60 ft 18 42 ft. X 42 ft 24 42 ft. X 48 ft 21 42 ft. X 54 ft 19 42 ft. X 60 ft 17 48 ft. X 48 ft 18 48 ft. X 54 ft.. 16 48 ft. X 60 ft 15 50 ft. X 50 ft 17 50 ft. X 54 ft 16 50 ft. X 60 ft 14 54 ft. X 54 ft 14 54 ft. X 60 ft 13 60 ft. X 60 ft 12 70ft.x 70 ft 8 80 ft. X 80 ft 6 90 ft. x 90

Rip Van Winkle Daniel Chester French (American, 1850-1931). Rip Van Winkle, 1925. Bronze, 19 x 6 x 6 1/2 in., 14.2 lb. (48.3 x 15.2 x 16.5 cm, 6.4kg). American Art 1925 Stock Photo

RM2M934GM–Rip Van Winkle Daniel Chester French (American, 1850-1931). Rip Van Winkle, 1925. Bronze, 19 x 6 x 6 1/2 in., 14.2 lb. (48.3 x 15.2 x 16.5 cm, 6.4kg). American Art 1925

. Reis door Noord Amerika [microform]. Natural history; Natural history; Natural history; Sciences naturelles; Sciences naturelles; Sciences naturelles. 9^4 WAARNEMINGEN AANGAANDE HET WEDEIU J U L L 1749:' Dag. j Uur. I. o. 3- 7- 8. 9- 10. II. 12. 13. ;I4. 15- i6. 17. 18. 19. so. Â£1. 5. V. 8. V. a. N. 6. V. N. 4. N. 41. V.. [Weder. Ã¶. V. 16. 0. r-V. ai. 0. 3. N. aa. 0. 4i.V.. i'8. 0. 3.N. 24. 5. 5- V. 17. 0. 2. N. 26. Oi> 5. V. 23. 0. 6. V. ao. 0. 3. N. 33- o- S- V. SI. 0. a. N. aS. 0. 5.- V.: 16. 0. 3. N. 28. 0. / 5-V. 14. 0. 10.V. S-X- 19. 0. 3. N. 24. 0. 5. V. 15. 0. a. N. 25. 0. 5-j;- Stock Photo

RMRJ224J–. Reis door Noord Amerika [microform]. Natural history; Natural history; Natural history; Sciences naturelles; Sciences naturelles; Sciences naturelles. 9^4 WAARNEMINGEN AANGAANDE HET WEDEIU J U L L 1749:' Dag. j Uur. I. o. 3- 7- 8. 9- 10. II. 12. 13. ;I4. 15- i6. 17. 18. 19. so. Â£1. 5. V. 8. V. a. N. 6. V. N. 4. N. 41. V.. [Weder. Ã¶. V. 16. 0. r-V. ai. 0. 3. N. aa. 0. 4i.V.. i'8. 0. 3.N. 24. 5. 5- V. 17. 0. 2. N. 26. Oi> 5. V. 23. 0. 6. V. ao. 0. 3. N. 33- o- S- V. SI. 0. a. N. aS. 0. 5.- V.: 16. 0. 3. N. 28. 0. / 5-V. 14. 0. 10.V. S-X- 19. 0. 3. N. 24. 0. 5. V. 15. 0. a. N. 25. 0. 5-j;-

Boats Drawn Up John Singer Sargent (American, born Italy, 1856-1925). Boats Drawn Up, ca. 1908. Translucent watercolor and touches of opaque watercolor with graphite underdrawing, 14 x 19 15/16 in. (35.6 x 50.7 cm). American Art ca. 1908 Stock Photo

RM2M940B8–Boats Drawn Up John Singer Sargent (American, born Italy, 1856-1925). Boats Drawn Up, ca. 1908. Translucent watercolor and touches of opaque watercolor with graphite underdrawing, 14 x 19 15/16 in. (35.6 x 50.7 cm). American Art ca. 1908

. Florists' review [microform]. Floriculture. No. 1 No. 1 Size Doz. 8-inch $1.00 10-inch 1.25 12-inch 1.50 14-inch 2.00 16-inch 3.00 18-inch 4.00 100 B 7.f0 8.00 10.00 13.50 19 50 27.00 No. 2 No. 8 Sire Djz. 100 8-inch $1.40 $ 9.00 10-inch 1.65 12.00 12-inch 2.<x) 14.(iO 14-inch 2.50 18.00 16-inch 3.50 25.00 18-inch 4.25 :52.0O No. 3 No. 3 S'ze Doz. 100 8-inch $1.50 $ 9.00 10-inch 1.75 10.00 12-inch 1.95 12.(0 14-inch 2.25 15.00 16-inch 3.25 21.00 18-inch 4.00 29.00 No. 4 No. 4 Size Doz. 8-inch $1.60 10 inch 1.80 12inch .... 2.00 14-inch 2.50 16-inch 3.50 18-inch 4.50 100 $10.00 12.00 14.00 Stock Photo

RMRRNT19–. Florists' review [microform]. Floriculture. No. 1 No. 1 Size Doz. 8-inch $1.00 10-inch 1.25 12-inch 1.50 14-inch 2.00 16-inch 3.00 18-inch 4.00 100 B 7.f0 8.00 10.00 13.50 19 50 27.00 No. 2 No. 8 Sire Djz. 100 8-inch $1.40 $ 9.00 10-inch 1.65 12.00 12-inch 2.<x) 14.(iO 14-inch 2.50 18.00 16-inch 3.50 25.00 18-inch 4.25 :52.0O No. 3 No. 3 S'ze Doz. 100 8-inch $1.50 $ 9.00 10-inch 1.75 10.00 12-inch 1.95 12.(0 14-inch 2.25 15.00 16-inch 3.25 21.00 18-inch 4.00 29.00 No. 4 No. 4 Size Doz. 8-inch $1.60 10 inch 1.80 12inch .... 2.00 14-inch 2.50 16-inch 3.50 18-inch 4.50 100 $10.00 12.00 14.00

RM2M934FP–Rip Van Winkle Daniel Chester French (American, 1850-1931). Rip Van Winkle, 1925. Bronze, 19 x 6 x 6 1/2 in., 14.2 lb. (48.3 x 15.2 x 16.5 cm, 6.4kg). American Art 1925

Serviceable Boxes Among the Rocks Stuart Davis (American, 1892-1964). Serviceable Boxes Among the Rocks, 1917. Graphite on cream, moderately thick, moderately textured wove paper., Sheet: 14 15/16 x 19 in. (37.9 x 48.3 cm). American Art 1917 Stock Photo

RM2M92Y66–Serviceable Boxes Among the Rocks Stuart Davis (American, 1892-1964). Serviceable Boxes Among the Rocks, 1917. Graphite on cream, moderately thick, moderately textured wove paper., Sheet: 14 15/16 x 19 in. (37.9 x 48.3 cm). American Art 1917

Radha Pining for Her Beloved, Page from a dated Rasikapriya Series Indian. Radha Pining for Her Beloved, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 13/16 x 6 in. (19.8 x 15.2 cm). Asian Art 1634 Stock Photo

RM2M93T1A–Radha Pining for Her Beloved, Page from a dated Rasikapriya Series Indian. Radha Pining for Her Beloved, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 13/16 x 6 in. (19.8 x 15.2 cm). Asian Art 1634

The Rigor of the Game, Kearsarge Hall, North Conway, New Hampshire George Inness (American, 1825-1894). The Rigor of the Game, Kearsarge Hall, North Conway, New Hampshire, ca. 1875. Oil on canvas, 19 15/16 x 30 1/2 in. (50.6 x 77.5 cm). American Art ca. 1875 Stock Photo

RM2M93808–The Rigor of the Game, Kearsarge Hall, North Conway, New Hampshire George Inness (American, 1825-1894). The Rigor of the Game, Kearsarge Hall, North Conway, New Hampshire, ca. 1875. Oil on canvas, 19 15/16 x 30 1/2 in. (50.6 x 77.5 cm). American Art ca. 1875

Tiger Reclining (Tigre couché) Antoine-Louis Barye (French, 1795-1875). Tiger Reclining (Tigre couché), n.d. Watercolor on thin cream-colored wove paper mounted on thick pulpboard, Sheet: 12 9/16 x 19 15/16 in. (31.9 x 50.6 cm). European Art n.d. Stock Photo

RM2M932NK–Tiger Reclining (Tigre couché) Antoine-Louis Barye (French, 1795-1875). Tiger Reclining (Tigre couché), n.d. Watercolor on thin cream-colored wove paper mounted on thick pulpboard, Sheet: 12 9/16 x 19 15/16 in. (31.9 x 50.6 cm). European Art n.d.

Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series Indian. Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 3/4 x 6 1/16 in. (19.7 x 15.4 cm). Asian Art 1634 Stock Photo

RM2M93M0F–Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series Indian. Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 3/4 x 6 1/16 in. (19.7 x 15.4 cm). Asian Art 1634

RM2M93M02–Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series Indian. Yashoda Ties Krishna to a Mortar, Page from a dated Rasikapriya Series, 1634. Opaque watercolor and gold on paper, sheet: 7 3/4 x 6 1/16 in. (19.7 x 15.4 cm). Asian Art 1634

Peasant Woman Pulling Potatoes (Paysanne ramassant des pommes de terre) Camille Jacob Pissarro (Saint Thomas, (former Danish West Indies), 1830–1903, Paris, France). , 1880s (possibly). Charcoal and ink wash on wove paper, 7 13/16 x 6 1/16 in. (19.8 x 15.4 cm). European Art 1880s (possibly) Stock Photo

RM2M9394J–Peasant Woman Pulling Potatoes (Paysanne ramassant des pommes de terre) Camille Jacob Pissarro (Saint Thomas, (former Danish West Indies), 1830–1903, Paris, France). , 1880s (possibly). Charcoal and ink wash on wove paper, 7 13/16 x 6 1/16 in. (19.8 x 15.4 cm). European Art 1880s (possibly)

Stone Bridge, Rouen (Pont de Pierre, Rouen) Camille Jacob Pissarro (Saint Thomas, (former Danish West Indies), 1830–1903, Paris, France). Stone Bridge, Rouen (Pont de Pierre, Rouen), 1883-1884. Soft-ground etching on medium heavy laid Arches paper, 5 7/8 x 7 13/16 in. (15 x 19.8 cm). European Art 1883-1884 Stock Photo

RM2M93N9D–Stone Bridge, Rouen (Pont de Pierre, Rouen) Camille Jacob Pissarro (Saint Thomas, (former Danish West Indies), 1830–1903, Paris, France). Stone Bridge, Rouen (Pont de Pierre, Rouen), 1883-1884. Soft-ground etching on medium heavy laid Arches paper, 5 7/8 x 7 13/16 in. (15 x 19.8 cm). European Art 1883-1884

The White Roses Anna S. Fisher (American, 1873-1942). The White Roses, before 1922. Opaque watercolor, graphite, touches of pastel, and touches of transparent watercolor on cream, moderately thick, slightly textured wove paper mounted to wood pulp paperboard, 24 15/16 x 19 in. (63.3 x 48.3 cm). With its combination of naturalistically painted flowers and Asian objects, this stunning watercolor recalls the still lifes of John La Farge, and demonstrates Western artists’ enduring fascination with art of the Far East into the twentieth century. Like La Farge, who was one of the earliest and most Stock Photo

RM2M92D1M–The White Roses Anna S. Fisher (American, 1873-1942). The White Roses, before 1922. Opaque watercolor, graphite, touches of pastel, and touches of transparent watercolor on cream, moderately thick, slightly textured wove paper mounted to wood pulp paperboard, 24 15/16 x 19 in. (63.3 x 48.3 cm). With its combination of naturalistically painted flowers and Asian objects, this stunning watercolor recalls the still lifes of John La Farge, and demonstrates Western artists’ enduring fascination with art of the Far East into the twentieth century. Like La Farge, who was one of the earliest and most

The Reapers Eugène Fromentin (French, 1820-1876). The Reapers, 1851. Oil on cradled panel, 12 3/8 x 19 15/16 in. (31.4 x 50.6 cm). Fromentin depicts the close of the working day as colorfully garbed peasants drag their implements toward an oxcart heavily laden with their harvest. Smoke curls from a chimney in the distance, suggesting the additional reward of a warm hearth. Although Fromentin usually painted exotic scenes of an archaic North Africa, such pastoral images of the French countryside appealed to an increasingly mechanized society. European Art 1851 Stock Photo

RM2M928NG–The Reapers Eugène Fromentin (French, 1820-1876). The Reapers, 1851. Oil on cradled panel, 12 3/8 x 19 15/16 in. (31.4 x 50.6 cm). Fromentin depicts the close of the working day as colorfully garbed peasants drag their implements toward an oxcart heavily laden with their harvest. Smoke curls from a chimney in the distance, suggesting the additional reward of a warm hearth. Although Fromentin usually painted exotic scenes of an archaic North Africa, such pastoral images of the French countryside appealed to an increasingly mechanized society. European Art 1851

RM2M928N2–The Reapers Eugène Fromentin (French, 1820-1876). The Reapers, 1851. Oil on cradled panel, 12 3/8 x 19 15/16 in. (31.4 x 50.6 cm). Fromentin depicts the close of the working day as colorfully garbed peasants drag their implements toward an oxcart heavily laden with their harvest. Smoke curls from a chimney in the distance, suggesting the additional reward of a warm hearth. Although Fromentin usually painted exotic scenes of an archaic North Africa, such pastoral images of the French countryside appealed to an increasingly mechanized society. European Art 1851

Fragment of a terracotta volute-krater (bowl for mixing wine and water) mid-4th century B.C. Attributed to the Painter of the Dublin Situlae The fragment is augmented by 19.192.81.2.. Fragment of a terracotta volute-krater (bowl for mixing wine and water) 250891 : Attributed to the Painter of the Dublin Situlae, Fragment of a terracotta volute-krater (bowl for mixing wine and water), mid-4th century B.C., Terracotta, Overall: 3 15/16 x 2 9/16in. (10 x 6.5cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1919 (19.192.81.8) Stock Photo

RM2HJ3898–Fragment of a terracotta volute-krater (bowl for mixing wine and water) mid-4th century B.C. Attributed to the Painter of the Dublin Situlae The fragment is augmented by 19.192.81.2.. Fragment of a terracotta volute-krater (bowl for mixing wine and water) 250891 : Attributed to the Painter of the Dublin Situlae, Fragment of a terracotta volute-krater (bowl for mixing wine and water), mid-4th century B.C., Terracotta, Overall: 3 15/16 x 2 9/16in. (10 x 6.5cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1919 (19.192.81.8)

Melon Boats John Singer Sargent (American, born Italy, 1856-1925). Melon Boats, ca. 1908. Opaque and translucent watercolor with graphite underdrawing, 14 x 19 15/16 in. (35.6 x 50.7 cm). In Melon Boats, very likely painted in Haifa, Palestine (in present-day Israel), Sargent dramatically cropped the forms of these ordinary work vessels and employed vivid colors and bright white accents to replicate the effects of intense sunlight. He devoted the upper half of the composition to a wide swath of sail, onto which he layered tinted washes to suggest the filtering effect of the cloth. To learn mo Stock Photo

RM2M935D5–Melon Boats John Singer Sargent (American, born Italy, 1856-1925). Melon Boats, ca. 1908. Opaque and translucent watercolor with graphite underdrawing, 14 x 19 15/16 in. (35.6 x 50.7 cm). In Melon Boats, very likely painted in Haifa, Palestine (in present-day Israel), Sargent dramatically cropped the forms of these ordinary work vessels and employed vivid colors and bright white accents to replicate the effects of intense sunlight. He devoted the upper half of the composition to a wide swath of sail, onto which he layered tinted washes to suggest the filtering effect of the cloth. To learn mo

Temples and Bathing Ghat at Benares Edwin Lord Weeks (American, 1849-1903). Temples and Bathing Ghat at Benares, ca. 1883-1885. Oil on canvas, 19 15/16 x 29 15/16 in. (50.6 x 76 cm). Weeks probably painted this seemingly spontaneous sketch of the banks of the Ganges River in the sacred city of Benares during his first extended visit to India, in 1882–83. It most likely served as one of many preparatory studies for his large and important painting The Last Journey, Souvenir of the Ganges, Benares, exhibited to acclaim at the Paris Salon of 1885. Although the broad brushwork of this study is ch Stock Photo

RM2M92DHA–Temples and Bathing Ghat at Benares Edwin Lord Weeks (American, 1849-1903). Temples and Bathing Ghat at Benares, ca. 1883-1885. Oil on canvas, 19 15/16 x 29 15/16 in. (50.6 x 76 cm). Weeks probably painted this seemingly spontaneous sketch of the banks of the Ganges River in the sacred city of Benares during his first extended visit to India, in 1882–83. It most likely served as one of many preparatory studies for his large and important painting The Last Journey, Souvenir of the Ganges, Benares, exhibited to acclaim at the Paris Salon of 1885. Although the broad brushwork of this study is ch

RM2M935D4–Melon Boats John Singer Sargent (American, born Italy, 1856-1925). Melon Boats, ca. 1908. Opaque and translucent watercolor with graphite underdrawing, 14 x 19 15/16 in. (35.6 x 50.7 cm). In Melon Boats, very likely painted in Haifa, Palestine (in present-day Israel), Sargent dramatically cropped the forms of these ordinary work vessels and employed vivid colors and bright white accents to replicate the effects of intense sunlight. He devoted the upper half of the composition to a wide swath of sail, onto which he layered tinted washes to suggest the filtering effect of the cloth. To learn mo

A Vision of Vishnu (Vaikuntha Darshana) Attributed to Murad and Lupha (active late 17th-early 18th century). A Vision of Vishnu (Vaikuntha Darshana), c 1710-15. Opaque watercolor, gold, and silver on paper, sheet: 7 11/16 x 5 3/8 in. (19.5 x 13.7 cm). We know from court records that a ruler of the northwestern kingdom of Bikaner had a vivid dream in which he saw Vishnu and Lakshmi enthroned in a garden pavilion. Interpreting the vision as a good omen or blessing, the king ordered a painter to make an illustration based on his description. The subject remained a favorite for local artists and Stock Photo

RM2M939HR–A Vision of Vishnu (Vaikuntha Darshana) Attributed to Murad and Lupha (active late 17th-early 18th century). A Vision of Vishnu (Vaikuntha Darshana), c 1710-15. Opaque watercolor, gold, and silver on paper, sheet: 7 11/16 x 5 3/8 in. (19.5 x 13.7 cm). We know from court records that a ruler of the northwestern kingdom of Bikaner had a vivid dream in which he saw Vishnu and Lakshmi enthroned in a garden pavilion. Interpreting the vision as a good omen or blessing, the king ordered a painter to make an illustration based on his description. The subject remained a favorite for local artists and

Ascension. unknown c. 1535-1550 Tapestry Dimensions: H 10'3' x W 9'6' Tapestry Materials/Techniques: wool; metallic thread (gold) Culture: Flemish Weaving Center: Brussels Ownership History: French & Co. purchased from Jacques Seligmann & Co. 2/15/1918; sold to Leon Schinasi 11/30/1925 [SS 4584]. French & Co. purchased from Leon Schinasi, invoiced 12/24/192[6] [SS 14740]. Christ, holding banner & surrounded by radiant light, ascends into heaven while kneeling apostles look up into sky with raised arms (Mark 16:14-19) (BRD) bunches of flowers & fruit twisting around central palm tree motif rod; Stock Photo

RM2WTGFCN–Ascension. unknown c. 1535-1550 Tapestry Dimensions: H 10'3' x W 9'6' Tapestry Materials/Techniques: wool; metallic thread (gold) Culture: Flemish Weaving Center: Brussels Ownership History: French & Co. purchased from Jacques Seligmann & Co. 2/15/1918; sold to Leon Schinasi 11/30/1925 [SS 4584]. French & Co. purchased from Leon Schinasi, invoiced 12/24/192[6] [SS 14740]. Christ, holding banner & surrounded by radiant light, ascends into heaven while kneeling apostles look up into sky with raised arms (Mark 16:14-19) (BRD) bunches of flowers & fruit twisting around central palm tree motif rod;

Trial and tortures of Christ: Crowning with thorns, Flagellation by soldiers and Pilate showing Christ to people, 'Ostentatio Christi'. unknown c. 1520-1530 Tapestry Dimensions: H 284 x W 344 m Tapestry Materials/Techniques: wool & silk Culture: Southern Netherlands Weaving Center: unknown Ownership History: French & Co. Duchessa de Osuna y de Gandia coll., Madrid (by 1959 to at least 1990). Soldiers with sticks place thorny crown on Christ's head & give him rod (Matthew 27:27-31; Mark 15:16-20; John 19:2-3); flagellation with Christ tied to column (Matthew 27:26; Mark 15:15; John 19:1); Pilat Stock Photo

RM2WTFW72–Trial and tortures of Christ: Crowning with thorns, Flagellation by soldiers and Pilate showing Christ to people, 'Ostentatio Christi'. unknown c. 1520-1530 Tapestry Dimensions: H 284 x W 344 m Tapestry Materials/Techniques: wool & silk Culture: Southern Netherlands Weaving Center: unknown Ownership History: French & Co. Duchessa de Osuna y de Gandia coll., Madrid (by 1959 to at least 1990). Soldiers with sticks place thorny crown on Christ's head & give him rod (Matthew 27:27-31; Mark 15:16-20; John 19:2-3); flagellation with Christ tied to column (Matthew 27:26; Mark 15:15; John 19:1); Pilat

View of New York from the North, 1679 1867 George Hayward American, born England. View of New York from the North, 1679 380759 Artist: George Hayward, American (born England), ca. 1800?ca. 1872, Artist: After James Carson Breevoort, American, 1810?1887, Artist: After Jasper Danckaerts, Dutch, born 1639, View of New York from the North, 1679, 1867, Lithograph with tint stones; proof before letters, image: 7 1/2 x 12 5/16 in. (19 x 31.2 cm) sheet: 9 1/2 x 15 1/16 in. (24.1 x 38.2 cm). The Metropolitan Museum of Art, New York. The Edward W. C. Arnold Collection of New York Prints, Maps and Pictu Stock Photo

RM2HJ34X3–View of New York from the North, 1679 1867 George Hayward American, born England. View of New York from the North, 1679 380759 Artist: George Hayward, American (born England), ca. 1800?ca. 1872, Artist: After James Carson Breevoort, American, 1810?1887, Artist: After Jasper Danckaerts, Dutch, born 1639, View of New York from the North, 1679, 1867, Lithograph with tint stones; proof before letters, image: 7 1/2 x 12 5/16 in. (19 x 31.2 cm) sheet: 9 1/2 x 15 1/16 in. (24.1 x 38.2 cm). The Metropolitan Museum of Art, New York. The Edward W. C. Arnold Collection of New York Prints, Maps and Pictu

Passion of Christ: Christ before Pontius Pilate. unknown c. 1650-1675 Tapestry Dimensions: H 6'6' x W 7'7' Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: Charles M. Ffoulke coll. (1903). French & Co. received from C. M. F. [Charles M. Ffoulke], n.d.; returned, 9/19/1922 [SS 11504]. French & Co. purchased from J. Roberts Ffoulke, invoiced 4/281926 [SS 14143]. Within architectural setting, Christ, surrounded by soldiers & with bound wrists, stands before Pontius Pilate (Matthew 27:11-26; Mark 15:2-15; Luke 23:2-7, 23:13-25; John 18:28-19:16) (L Stock Photo

RM2WTGC44–Passion of Christ: Christ before Pontius Pilate. unknown c. 1650-1675 Tapestry Dimensions: H 6'6' x W 7'7' Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: Charles M. Ffoulke coll. (1903). French & Co. received from C. M. F. [Charles M. Ffoulke], n.d.; returned, 9/19/1922 [SS 11504]. French & Co. purchased from J. Roberts Ffoulke, invoiced 4/281926 [SS 14143]. Within architectural setting, Christ, surrounded by soldiers & with bound wrists, stands before Pontius Pilate (Matthew 27:11-26; Mark 15:2-15; Luke 23:2-7, 23:13-25; John 18:28-19:16) (L

19 15 16 x 16 Black & White Stock Photos

19 15 16 x 16 Black & White Stock Photos

Download Confirmation

Password Confirmation

Search Results for 19 15 16 x 16 Black & White Stock Photos and Images (138)

Filter by agency collections

Search builder

Get great features with your free account

Get inspired for your next project!