43 2 55 8 cm hi-res stock photography and images

Funerary relief, ca. 150–200, From Syria, Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm), Stone-Sculpture-Inscribed Stock Photo

RM2B0KMCD–Funerary relief, ca. 150–200, From Syria, Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm), Stone-Sculpture-Inscribed

Art inspired by Fragment, 16th–17th century, Italian, Overall: 21 3/4 x 17 1/4 in. (55.2 x 43.8 cm), Textiles-Woven, 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 Photo

RF2HTWAKC–Art inspired by Fragment, 16th–17th century, Italian, Overall: 21 3/4 x 17 1/4 in. (55.2 x 43.8 cm), Textiles-Woven, 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

The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745). Artist: After William Hogarth (British, London 1697-1764 London). Dimensions: Sheet: 17 x 21 15/16 in. (43.2 x 55.8 cm). Engraver: Luke Sullivan (Irish, 1705-1771 London). Date: December 31, 1750. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMR2K7MP–The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745). Artist: After William Hogarth (British, London 1697-1764 London). Dimensions: Sheet: 17 x 21 15/16 in. (43.2 x 55.8 cm). Engraver: Luke Sullivan (Irish, 1705-1771 London). Date: December 31, 1750. Museum: Metropolitan Museum of Art, New York, USA.

Art inspired by Cassetta frame, early 16th century, Italian, Siena, Poplar, 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm., Frames, 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 Photo

RF2HTYGC9–Art inspired by Cassetta frame, early 16th century, Italian, Siena, Poplar, 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm., Frames, 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

. Arlington Street Church, Boston. about 1862. By Josiah Johnson Hawes, American, 1808–1901. Image/mount: 55.9 x 43.2 cm (22 x 17 in.). Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.). Photograph, albumen print mounted on board. Museum of Fine Arts, Boston. . circa 1862. J.J. Hawes 56 ArlingtonStChurch ca1862 byJJHawes MFABoston Stock Photo

RMMMMWKA–. Arlington Street Church, Boston. about 1862. By Josiah Johnson Hawes, American, 1808–1901. Image/mount: 55.9 x 43.2 cm (22 x 17 in.). Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.). Photograph, albumen print mounted on board. Museum of Fine Arts, Boston. . circa 1862. J.J. Hawes 56 ArlingtonStChurch ca1862 byJJHawes MFABoston

Art inspired by Armchair, 1790–1800, Made in United States, American, Mahogany, 37 3/8 x 22 x 17 in. (94.9 x 55.9 x 43.2 cm), Furniture, 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 Photo

RF2HW2035–Art inspired by Armchair, 1790–1800, Made in United States, American, Mahogany, 37 3/8 x 22 x 17 in. (94.9 x 55.9 x 43.2 cm), Furniture, 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

HOOK TOWER at the Entrance of Waterford. Author Phillips, Thomas 55.43. Date of publication: [about 1680] Item type: 1 drawing Medium: pen and black ink with watercolour over pencil Dimensions: sheet 32.2 x 91.4 x 32 cm, on support sheet 54.8 x 95.3 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9F6RW–HOOK TOWER at the Entrance of Waterford. Author Phillips, Thomas 55.43. Date of publication: [about 1680] Item type: 1 drawing Medium: pen and black ink with watercolour over pencil Dimensions: sheet 32.2 x 91.4 x 32 cm, on support sheet 54.8 x 95.3 cm Former owner: George III, King of Great Britain, 1738-1820

Art inspired by Double Capital, late 13th–early 14th century, French, Marble, Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm), Sculpture-Architectural, 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 Photo

RF2HW03WB–Art inspired by Double Capital, late 13th–early 14th century, French, Marble, Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm), Sculpture-Architectural, 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

Grimshaw John Atkinson - Private Collection - Snow at Daichi - 1880 - oil on wood 55,2 x 43,8 cm - Stock Photo

RF2HBTH0C–Grimshaw John Atkinson - Private Collection - Snow at Daichi - 1880 - oil on wood 55,2 x 43,8 cm -

Art inspired by Double Capital, 13th–14th century, Made in Bonnefont, France, French, Limestone or sandstone, Overall: 17 1/8 x 22 x 14 1/2 in. (43.5 x 55.9 x 36.8 cm), Sculpture-Architectural, 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 Photo

RF2HW04CJ–Art inspired by Double Capital, 13th–14th century, Made in Bonnefont, France, French, Limestone or sandstone, Overall: 17 1/8 x 22 x 14 1/2 in. (43.5 x 55.9 x 36.8 cm), Sculpture-Architectural, 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

Drawing, Design for a monumental gateway honoring the arrival of Marie Antoinette at Versailles; France; pen and chinese ink with ink wash; 43.2 × 55.5 cm (17 in. × 21 7/8 in.) Stock Photo

RM2PMMP3C–Drawing, Design for a monumental gateway honoring the arrival of Marie Antoinette at Versailles; France; pen and chinese ink with ink wash; 43.2 × 55.5 cm (17 in. × 21 7/8 in.)

Chest of Drawers MET 171336 2018 Maker: Michael Allison, 1773?1855, Chest of Drawers, 1800?1810, Mahogany, satinwood, ebony, white pine, tulip poplar, 40 3/4 x 43 5/8 x 21 1/2 in. (103.5 x 110.8 x 54.6 cm). The Metropolitan Museum of Art, New York. The Sylmaris Collection, Gift of George Coe Graves, 1931 (32.55.3) Stock Photo

RMKNJ18B–Chest of Drawers MET 171336 2018 Maker: Michael Allison, 1773?1855, Chest of Drawers, 1800?1810, Mahogany, satinwood, ebony, white pine, tulip poplar, 40 3/4 x 43 5/8 x 21 1/2 in. (103.5 x 110.8 x 54.6 cm). The Metropolitan Museum of Art, New York. The Sylmaris Collection, Gift of George Coe Graves, 1931 (32.55.3)

Drawing, Architectural Ornaments:; Italy; watercolor, over pen and brown ink support: coarse white laid paper; 43.2 x 29.5 cm (17 x 11 5/8 in.) Mat: 40.6 x 55.9 cm (16 x 22 in.) Stock Photo

RM2PMD8T5–Drawing, Architectural Ornaments:; Italy; watercolor, over pen and brown ink support: coarse white laid paper; 43.2 x 29.5 cm (17 x 11 5/8 in.) Mat: 40.6 x 55.9 cm (16 x 22 in.)

Chest-on-chest MET 177482 2025 American, Chest-on-chest, ca. 1799, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm). The Metropolitan Museum of Art, New York. Gift of Dorothy O. and Diana Schubart, in memory of William Howard Schubart, 1953 (53.198a?c) Stock Photo

RMKNHYAN–Chest-on-chest MET 177482 2025 American, Chest-on-chest, ca. 1799, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm). The Metropolitan Museum of Art, New York. Gift of Dorothy O. and Diana Schubart, in memory of William Howard Schubart, 1953 (53.198a?c)

Textile (India); cotton; Warp x Weft (a): 50.2 x 50.8 cm (19 3/4 x 20 in.) Warp x Weft (b): 52.7 x 11.1 cm (20 3/4 x 4 3/8 in.) Repeat: 55.9 x 43.2 cm (22 x 17 in.) Stock Photo

RM2PMKX2N–Textile (India); cotton; Warp x Weft (a): 50.2 x 50.8 cm (19 3/4 x 20 in.) Warp x Weft (b): 52.7 x 11.1 cm (20 3/4 x 4 3/8 in.) Repeat: 55.9 x 43.2 cm (22 x 17 in.)

Chest-on-chest MET 156528 2025 American, Chest-on-chest, ca. 1799, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm). The Metropolitan Museum of Art, New York. Gift of Dorothy O. and Diana Schubart, in memory of William Howard Schubart, 1953 (53.198a?c) Stock Photo

RMKNE18J–Chest-on-chest MET 156528 2025 American, Chest-on-chest, ca. 1799, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm). The Metropolitan Museum of Art, New York. Gift of Dorothy O. and Diana Schubart, in memory of William Howard Schubart, 1953 (53.198a?c)

Drawing, Panel of Arabesques for the Hôtel de Salm, Paris; Designed by Jean-Guillaume Moitte (French, 1746–1810); France; pen and black ink, brush and gouache, black chalk on toned paper, lined; 43 x 10.1cm (16 15/16 x 4in.) Mat: 55.9 x 40.6 cm (22 x 16 in.) Mount: 46.8 x 13.8 cm (18 7/16 x 5 7/16 in.) Frame: 60.3 x 44.8 x 2.5 cm (23 3/4 in. x 17 5/8 in. x 1 in.) Stock Photo

RM2PMCTP9–Drawing, Panel of Arabesques for the Hôtel de Salm, Paris; Designed by Jean-Guillaume Moitte (French, 1746–1810); France; pen and black ink, brush and gouache, black chalk on toned paper, lined; 43 x 10.1cm (16 15/16 x 4in.) Mat: 55.9 x 40.6 cm (22 x 16 in.) Mount: 46.8 x 13.8 cm (18 7/16 x 5 7/16 in.) Frame: 60.3 x 44.8 x 2.5 cm (23 3/4 in. x 17 5/8 in. x 1 in.)

Saint Barbara, French, 16th century, French, Caen stone, originally painted and gilded., 55 7/8 × 23 1/4 × 17 in. (141.9 × 59.1 × 43.2 cm), Sculpture-Stone Stock Photo

RM2B0KGXD–Saint Barbara, French, 16th century, French, Caen stone, originally painted and gilded., 55 7/8 × 23 1/4 × 17 in. (141.9 × 59.1 × 43.2 cm), Sculpture-Stone

Cassetta frame. Culture: Italian, Siena. Dimensions: 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm.. Date: early 16th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB1GBK–Cassetta frame. Culture: Italian, Siena. Dimensions: 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm.. Date: early 16th century. Museum: Metropolitan Museum of Art, New York, USA.

RMMW85HP–. Arlington Street Church, Boston. about 1862. By Josiah Johnson Hawes, American, 1808–1901. Image/mount: 55.9 x 43.2 cm (22 x 17 in.). Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.). Photograph, albumen print mounted on board. Museum of Fine Arts, Boston. circa 1862. J.J. Hawes 56 ArlingtonStChurch ca1862 byJJHawes MFABoston

Afbeldinge van't Casteel en de Stadt BATAVIA Author Ottens, Reinier 116.47. Place of publication: [Amsterdam] Publisher: R. , I. Ottens, Date of publication: [around 1745] Item type: 1 print Medium: etching Dimensions: platemark 41.2 x 50.6 cm, on sheet 43.8 x 55.8 cm Former owner: George III, King of Great Britain, 1738-1820 Stock Photo

RM2E9GAW6–Afbeldinge van't Casteel en de Stadt BATAVIA Author Ottens, Reinier 116.47. Place of publication: [Amsterdam] Publisher: R. , I. Ottens, Date of publication: [around 1745] Item type: 1 print Medium: etching Dimensions: platemark 41.2 x 50.6 cm, on sheet 43.8 x 55.8 cm Former owner: George III, King of Great Britain, 1738-1820

Unknown architect, ducker of a lowland drainage under a channel. Monthly competition February 1873 (02.1873): floor plan, 2 longitudinal sections, 4 cross sections; 1: 200, 1: 100, 2 scale strips, explanatory text. Tusche watercolor on the box, 55.8 x 43.8 cm (including scan edges) N.N. : Düker einer Niederungsentwässerung unter einem Kanal. Monatskonkurrenz Februar 1873 Stock Photo

RM2JMTJXT–Unknown architect, ducker of a lowland drainage under a channel. Monthly competition February 1873 (02.1873): floor plan, 2 longitudinal sections, 4 cross sections; 1: 200, 1: 100, 2 scale strips, explanatory text. Tusche watercolor on the box, 55.8 x 43.8 cm (including scan edges) N.N. : Düker einer Niederungsentwässerung unter einem Kanal. Monatskonkurrenz Februar 1873

RF2HW04DF–Art inspired by Double Capital, 13th–14th century, Made in Bonnefont, France, French, Limestone or sandstone, Overall: 17 1/8 x 22 x 14 1/2 in. (43.5 x 55.9 x 36.8 cm), Sculpture-Architectural, 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

Unknown architect, Halle-Sorau-Gubener Eisenbahn, Muldbrücke near Eilenburg (approx. 1871): View. Photo on cardboard, 43.8 x 55.2 cm (including scan edges) N.N. : Halle-Sorau-Gubener Eisenbahn. Muldebrücke, Eilenburg Stock Photo

RM2JMWTCH–Unknown architect, Halle-Sorau-Gubener Eisenbahn, Muldbrücke near Eilenburg (approx. 1871): View. Photo on cardboard, 43.8 x 55.2 cm (including scan edges) N.N. : Halle-Sorau-Gubener Eisenbahn. Muldebrücke, Eilenburg

Stüler August (1800-1865), Hohenzollern Castle near Hechingen (without date): View of Southeast. Lithograph on paper, 43.2 x 55.8 cm (including scan edges) Stüler Friedrich August (1800-1865): Burg Hohenzollern, Hechingen Stock Photo

RM2JMTT1P–Stüler August (1800-1865), Hohenzollern Castle near Hechingen (without date): View of Southeast. Lithograph on paper, 43.2 x 55.8 cm (including scan edges) Stüler Friedrich August (1800-1865): Burg Hohenzollern, Hechingen

The Eight Hosts of Deva, Naga, and Yakshi, 1454. China, Ming dynasty (1368-1644). Hanging scroll; ink and color on silk; painting: 140.2 x 78.8 cm (55 3/16 x 31 in.); overall: 226.5 x 111 cm (89 3/16 x 43 11/16 in.). Stock Photo

RM2H10H8X–The Eight Hosts of Deva, Naga, and Yakshi, 1454. China, Ming dynasty (1368-1644). Hanging scroll; ink and color on silk; painting: 140.2 x 78.8 cm (55 3/16 x 31 in.); overall: 226.5 x 111 cm (89 3/16 x 43 11/16 in.).

Sea and inland fisheries: report . ci v: © © x — t^ it CO — Ol ^ —* #• r- ?<* ?**< © — - a - o oo CO Ol CO CO 01 *oot-Of<x-*o * 1 M II © — ?* co e-i — t— ao © us co 01 Ol CO Ol Ol -*• l 00 © — 01 K OS © © © © 2 on u - KW m oH < P4 3 = 55 -6 s t eS o w o v. o 03 — . = DO -T - a 1 = — O Ctci Q C -fl B d o a 3*3 a a a CO ?* © Number of Months out. Ill9-2 7-7 a to ©« a r; H; 2^ o — ^©Tt^ £. co © © 01 Increasein length. cm. 3-3 9 43 0 — * - -d — * ftp 8 5 c — - 5 * =? — Wg tr oj X ocr co — © - CO CO 01 © *oO*o (live) whenliberated. 838 Length when liberated. . © oi -rF © oi © - CO O Stock Photo

RM2ANE4JJ–Sea and inland fisheries: report . ci v: © © x — t^ it CO — Ol ^ —* #• r- ?<* ?**< © — - a - o oo CO Ol CO CO 01 *oot-Of<x-*o * 1 M II © — ?* co e-i — t— ao © us co 01 Ol CO Ol Ol -*• l 00 © — 01 K OS © © © © 2 on u - KW m oH < P4 3 = 55 -6 s t eS o w o v. o 03 — . = DO -T - a 1 = — O Ctci Q C -fl B d o a 3*3 a a a CO ?* © Number of Months out. Ill9-2 7-7 a to ©« a r; H; 2^ o — ^©Tt^ £. co © © 01 Increasein length. cm. 3-3 9 43 0 — * - -d — * ftp 8 5 c — - 5 * =? — Wg tr oj X ocr co — © - CO CO 01 © *oO*o (live) whenliberated. 838 Length when liberated. . © oi -rF © oi © - CO O

Eugène Delacroix, George Sand's Garden at Nohant, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris), ca. 1842–43, Oil on canvas, 17 7/8 x 21 3/4 in. (45.4 x 55.2 cm), Paintings Stock Photo

RM2B0MTC2–Eugène Delacroix, George Sand's Garden at Nohant, Eugène Delacroix (French, Charenton-Saint-Maurice 1798–1863 Paris), ca. 1842–43, Oil on canvas, 17 7/8 x 21 3/4 in. (45.4 x 55.2 cm), Paintings

Double Capital. Culture: French. Dimensions: Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm). Date: late 13th-early 14th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAARKP–Double Capital. Culture: French. Dimensions: Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm). Date: late 13th-early 14th century. Museum: Metropolitan Museum of Art, New York, USA.

RMMY9PC1–. Arlington Street Church, Boston. about 1862. By Josiah Johnson Hawes, American, 1808–1901. Image/mount: 55.9 x 43.2 cm (22 x 17 in.). Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.). Photograph, albumen print mounted on board. Museum of Fine Arts, Boston. circa 1862. J.J. Hawes 49 ArlingtonStChurch ca1862 byJJHawes MFABoston

Art inspired by Double Capital, 13th–14th century, Made in Bonnefont, France, French, Limestone or sandstone, Overall: 17 1/4 x 21 3/4 x 13 1/2 in. (43.8 x 55.2 x 34.3 cm), Sculpture-Architectural, 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 Photo

RF2HW04CM–Art inspired by Double Capital, 13th–14th century, Made in Bonnefont, France, French, Limestone or sandstone, Overall: 17 1/4 x 21 3/4 x 13 1/2 in. (43.8 x 55.2 x 34.3 cm), Sculpture-Architectural, 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

Art inspired by Side Chair, ca. 1770–90, Made in New Hampshire, United States, American, Cherry, 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm), Furniture, Attributed to Samuel Dunlap (active ca. 1789–1815, 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 Photo

RF2HW9FBW–Art inspired by Side Chair, ca. 1770–90, Made in New Hampshire, United States, American, Cherry, 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm), Furniture, Attributed to Samuel Dunlap (active ca. 1789–1815, 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

Art inspired by A Farmer Grafting a Tree, 1881, Etching on thin wove paper (simili-vellum), image: 17 x 21 5/8 in. (43.2 x 55 cm), Prints, After Jean-François Millet (French, Gruchy 1814–1875 Barbizon), Engraved by Victor Focillon (active ca. 1881, 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 Photo

RF2HW642R–Art inspired by A Farmer Grafting a Tree, 1881, Etching on thin wove paper (simili-vellum), image: 17 x 21 5/8 in. (43.2 x 55 cm), Prints, After Jean-François Millet (French, Gruchy 1814–1875 Barbizon), Engraved by Victor Focillon (active ca. 1881, 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

Boy Drinking, 1582–83. Annibale Carracci (Italian, c. 1560-1609). Oil on canvas; framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in.). Stock Photo

RM2H10E1C–Boy Drinking, 1582–83. Annibale Carracci (Italian, c. 1560-1609). Oil on canvas; framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in.).

Art inspired by Side Chair, 1770–90, Made in Goffstown, New Hampshire, United States, American, Cherry, 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm), Furniture, Attributed to Major John Dunlap (1746–1792), Attributed to Samuel Dunlap (active ca. 1789–1815, 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 Photo

RF2HW9FB9–Art inspired by Side Chair, 1770–90, Made in Goffstown, New Hampshire, United States, American, Cherry, 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm), Furniture, Attributed to Major John Dunlap (1746–1792), Attributed to Samuel Dunlap (active ca. 1789–1815, 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

Army list . c a B H < P3 <1 OS OS OS C31-5 a 3 0 31-5 g Q i| c 3 1-5 1 p p M ^ CC CO ?5 S CM COC<1 s to 55 CO ?—? — (^ 43 • -^?li -*3 4^ ?*^ -ti ^ -p -p -P 4J *s bC -J bi ^- bi +^ bb ^ si H. Mt •-^ b Hi ij b h5t: Hi h h^ !- hJ PI H] 3 Hi E= Hi c Hi B < T3<! -C^ •tf < *^ ^< S-< n< ^S ^ a C^ « 21 ^H ^K Soi ^ M ^« 5« 5« 5pj Sps . r. r^ *?• t— t^ t» 00 t^ t- t— 1^ 3 3 ft JO J3OP n 3 a ^ s bs3 >s 3 ^« <! < < <1 3 ss o 03 •B o 8 : : Q O -< 1 o 2 1 s 1 c C6 B be 3 3o a. t .•c i1 a) be i g 5a si, 03 ^ s a^ ^a 3a5 3o .2 i 0) 3 0n o ^8 1 o 1 03 1 3 n bo •S o Stock Photo

RM2AWD7TB–Army list . c a B H < P3 <1 OS OS OS C31-5 a 3 0 31-5 g Q i| c 3 1-5 1 p p M ^ CC CO ?5 S CM COC<1 s to 55 CO ?—? — (^ 43 • -^?li -*3 4^ ?*^ -ti ^ -p -p -P 4J *s bC -J bi ^- bi +^ bb ^ si H. Mt •-^ b Hi ij b h5t: Hi h h^ !- hJ PI H] 3 Hi E= Hi c Hi B < T3<! -C^ •tf < *^ ^< S-< n< ^S ^ a C^ « 21 ^H ^K Soi ^ M ^« 5« 5« 5pj Sps . r. r^ *?• t— t^ t» 00 t^ t- t— 1^ 3 3 ft JO J3OP n 3 a ^ s bs3 >s 3 ^« <! < < <1 3 ss o 03 •B o 8 : : Q O -< 1 o 2 1 s 1 c C6 B be 3 3o a. t .•c i1 a) be i g 5a si, 03 ^ s a^ ^a 3a5 3o .2 i 0) 3 0n o ^8 1 o 1 03 1 3 n bo •S o

Art inspired by Funerary relief, ca. 150–200, Syria, probably from Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm), Stone-Sculpture-Inscribed, Inscription: 1 Zubaida, son of 2 Dayyanay, son of 3 Male. 4 Alas! Transliteration: 1 zbydʾ br 2 dyny br 3 mlʾ 4, 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 Photo

RF2HTX8RA–Art inspired by Funerary relief, ca. 150–200, Syria, probably from Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm), Stone-Sculpture-Inscribed, Inscription: 1 Zubaida, son of 2 Dayyanay, son of 3 Male. 4 Alas! Transliteration: 1 zbydʾ br 2 dyny br 3 mlʾ 4, 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

Platter, 1750/80, England, Pewter, 43.2 × 55.6 × 4.6 cm (17 × 21 7/8 × 1 13/16 in Stock Photo

RM2A2JWBR–Platter, 1750/80, England, Pewter, 43.2 × 55.6 × 4.6 cm (17 × 21 7/8 × 1 13/16 in

Art inspired by Chest-on-chest, ca. 1799, Made in New Hampshire, United States, American, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm), Furniture, 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 Photo

RF2HW20AN–Art inspired by Chest-on-chest, ca. 1799, Made in New Hampshire, United States, American, Maple, white pine, 79 5/8 x 43 1/8 x 21 7/8 in. (202.2 x 109.5 x 55.6 cm), Furniture, 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

Side Chair. Culture: American. Dimensions: 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm). Maker: Attributed to Major John Dunlap (1746-1792); Attributed to Samuel Dunlap (active ca. 1789-1815). Date: 1770-90. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAA810–Side Chair. Culture: American. Dimensions: 44 7/8 x 22 x 17 in. (114 x 55.9 x 43.2 cm). Maker: Attributed to Major John Dunlap (1746-1792); Attributed to Samuel Dunlap (active ca. 1789-1815). Date: 1770-90. Museum: Metropolitan Museum of Art, New York, USA.

Art inspired by A Knight of Alcántara or Calatrava, ca. 1650–55, Oil on canvas, Overall, with added strips, 77 x 43 3/4 in. (195.6 x 111.1 cm); original canvas 77 x 38 1/2 in. (195.6 x 97.8 cm), Paintings, Bartolomé Estebán Murillo (Spanish, Seville 1617–1682 Seville), The sitter in, 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 Photo

RF2HW8HTN–Art inspired by A Knight of Alcántara or Calatrava, ca. 1650–55, Oil on canvas, Overall, with added strips, 77 x 43 3/4 in. (195.6 x 111.1 cm); original canvas 77 x 38 1/2 in. (195.6 x 97.8 cm), Paintings, Bartolomé Estebán Murillo (Spanish, Seville 1617–1682 Seville), The sitter in, 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

RMMX4E6G–. Arlington Street Church, Boston. about 1862. By Josiah Johnson Hawes, American, 1808–1901. Image/mount: 55.9 x 43.2 cm (22 x 17 in.). Mount: 64.5 x 47.9 cm (25 3/8 x 18 7/8 in.). Photograph, albumen print mounted on board. Museum of Fine Arts, Boston. circa 1862. J.J. Hawes 56 ArlingtonStChurch ca1862 byJJHawes MFABoston

Art inspired by Helmet Mask, 1830–55, Cameroon, Grassfields region, Laikom, Kom kingdom, Laiko, Wood, iron, copper, pigment, wax, H. 20 1/2 x W. 17 1/4 in. (52.1 x 43.8 cm), Wood-Sculpture, 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 Photo

RF2HTX45M–Art inspired by Helmet Mask, 1830–55, Cameroon, Grassfields region, Laikom, Kom kingdom, Laiko, Wood, iron, copper, pigment, wax, H. 20 1/2 x W. 17 1/4 in. (52.1 x 43.8 cm), Wood-Sculpture, 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

Art inspired by The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745), December 31, 1750, Etching and engraving; fifth state of eight, Sheet: 17 x 21 15/16 in. (43.2 x 55.8 cm), Prints, after William Hogarth (British, London 1697–1764, 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 Photo

RF2HW7KJM–Art inspired by The March to Finchley (A Representation of the March of the Guards towards Scotland in the Year 1745), December 31, 1750, Etching and engraving; fifth state of eight, Sheet: 17 x 21 15/16 in. (43.2 x 55.8 cm), Prints, after William Hogarth (British, London 1697–1764, 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

Leaping Carp, 1368-1644. Liu Jie (Chinese, c. 1447-1520s). Hanging scroll, ink and color on silk; image: 140.5 x 83.7 cm (55 5/16 x 32 15/16 in.); overall: 226 x 101.2 cm (89 x 39 13/16 in.); with knobs: 226 x 109.5 cm (89 x 43 1/8 in.). Stock Photo

RM2H10H9M–Leaping Carp, 1368-1644. Liu Jie (Chinese, c. 1447-1520s). Hanging scroll, ink and color on silk; image: 140.5 x 83.7 cm (55 5/16 x 32 15/16 in.); overall: 226 x 101.2 cm (89 x 39 13/16 in.); with knobs: 226 x 109.5 cm (89 x 43 1/8 in.).

Sou'wester Yearbook . S « 4= o 09 55 d • 2 CD K -CO 5 r. CM 4-i CO .&C45 4-1 ,- CO P^( 4-J CO a - CD ?— co 3 CD CD H o H 42U -rt -3 43 (1) ^ O^ -g c CO £•OB CD g e3-S Pi CD r.O CO co <S jg 4*: o Ej CD PI c si Ph< o I) a • * 55. 3 §< = 1 I CO K l 35 M S CD pS 8^ S 38 -J< 5 LU to LU z LU XH Q<LUOS LUU z <z Li LUt/) DOX o DDQ z LU Q ZD a a LU M w 02 O M Eh W 1 PI » ^H c3 Cm § O t« >> a O •i—i i-H +^> Eh o •i-H 0 r^ 3g cs CO CD &° § £ % K^. O CO r^J K c3 CD CD ^ Cjr^ C3-^ -P fl pl S5- CDCO rt co p.5*-) .S CD rt CC o ^.a-g&i? a CD g>^C CD a g ° a 03 > .^ o (X „ Stock Photo

RM2AWHFN8–Sou'wester Yearbook . S « 4= o 09 55 d • 2 CD K -CO 5 r. CM 4-i CO .&C45 4-1 ,- CO P^( 4-J CO a - CD ?— co 3 CD CD H o H 42U -rt -3 43 (1) ^ O^ -g c CO £•OB CD g e3-S Pi CD r.O CO co <S jg 4*: o Ej CD PI c si Ph< o I) a • * 55. 3 §< = 1 I CO K l 35 M S CD pS 8^ S 38 -J< 5 LU to LU z LU XH Q<LUOS LUU z <z Li LUt/) DOX o DDQ z LU Q ZD a a LU M w 02 O M Eh W 1 PI » ^H c3 Cm § O t« >> a O •i—i i-H +^> Eh o •i-H 0 r^ 3g cs CO CD &° § £ % K^. O CO r^J K c3 CD CD ^ Cjr^ C3-^ -P fl pl S5- CDCO rt co p.5*-) .S CD rt CC o ^.a-g&i? a CD g>^C CD a g ° a 03 > .^ o (X „

Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609–1655, 1650–55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2 x 4 x 3 1/4 in. (110.5 x 10.2 x 8.3 cm Stock Photo

RM2HB2PK7–Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609–1655, 1650–55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2 x 4 x 3 1/4 in. (110.5 x 10.2 x 8.3 cm

Pietà with Donors. Culture: French. Dimensions: Overall: 43 3/8 x 92 1/2 x 22 in. (110.2 x 235 x 55.9 cm). Date: ca. 1515. The donors are Pons de Gontaut and his brother Armand, Bishop of Sarlat, in whose family funerary chapel this sculpture and the Entombment originally stood. Their coats of arms were held by the angels in the Entombment scene. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPA9KEH–Pietà with Donors. Culture: French. Dimensions: Overall: 43 3/8 x 92 1/2 x 22 in. (110.2 x 235 x 55.9 cm). Date: ca. 1515. The donors are Pons de Gontaut and his brother Armand, Bishop of Sarlat, in whose family funerary chapel this sculpture and the Entombment originally stood. Their coats of arms were held by the angels in the Entombment scene. Museum: Metropolitan Museum of Art, New York, USA.

. Animal Locomotion Plate 391, Collotypie, 19,3 x 39,2 (43 x 55,2) cm . 1887. Eadweard Muybridge (1830–1904) Alternative names Edward James Muggeridge Description English-American photographer and inventor Date of birth/death 9 April 1830 8 May 1904 Location of birth/death Kingston upon Thames, England Kingston upon Thames, England Authority control : Q190568 VIAF:?2538199 ISNI:?0000 0001 2117 9845 ULAN:?500115207 LCCN:?n79075151 NLA:?35371070 WorldCat Eadweard Muybridge Animal Locomotion Plate 391 Stock Photo

RMMMX70F–. Animal Locomotion Plate 391, Collotypie, 19,3 x 39,2 (43 x 55,2) cm . 1887. Eadweard Muybridge (1830–1904) Alternative names Edward James Muggeridge Description English-American photographer and inventor Date of birth/death 9 April 1830 8 May 1904 Location of birth/death Kingston upon Thames, England Kingston upon Thames, England Authority control : Q190568 VIAF:?2538199 ISNI:?0000 0001 2117 9845 ULAN:?500115207 LCCN:?n79075151 NLA:?35371070 WorldCat Eadweard Muybridge Animal Locomotion Plate 391

Art inspired by The March to Finchley--A Representation of the March of the Guards towards Scotland in the Year 1745, June 12, 1761, Etching and engraving; eighth state of eight, Plate: 17 x 21 15/16 in. (43.2 x 55.8 cm), Prints, After William Hogarth (British, London 1697–1764 London, 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 Photo

RF2HW7KK7–Art inspired by The March to Finchley--A Representation of the March of the Guards towards Scotland in the Year 1745, June 12, 1761, Etching and engraving; eighth state of eight, Plate: 17 x 21 15/16 in. (43.2 x 55.8 cm), Prints, After William Hogarth (British, London 1697–1764 London, 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

Art inspired by A Giant Monkey in Uniform Holding up Pierrot and a Man with a Whip, after 1825, Lithograph touched with pen and brown ink and graphite, sheet: 21 7/8 x 17 in. (55.5 x 43.2 cm), Prints, Anonymous, French, Austrian or German, second decade19th 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 Photo

RF2HW5KN2–Art inspired by A Giant Monkey in Uniform Holding up Pierrot and a Man with a Whip, after 1825, Lithograph touched with pen and brown ink and graphite, sheet: 21 7/8 x 17 in. (55.5 x 43.2 cm), Prints, Anonymous, French, Austrian or German, second decade19th 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

Art inspired by Marble inscribed statue base, Mid Imperial, Antonine, ca. A.D. 160–170, Roman, Marble, H. 44 in (111.8 cm); width 22 in (55.9 cm); depth 17 in (43.2 cm), Stone Sculpture, The base is said to have been found near Rome, but the inscription is in Greek. It records the, 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 Photo

RF2HTWRMH–Art inspired by Marble inscribed statue base, Mid Imperial, Antonine, ca. A.D. 160–170, Roman, Marble, H. 44 in (111.8 cm); width 22 in (55.9 cm); depth 17 in (43.2 cm), Stone Sculpture, The base is said to have been found near Rome, but the inscription is in Greek. It records the, 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

Art inspired by Pietà with Donors, ca. 1515, Made in Biron, Dordogne, France, French, Limestone, traces of polychromy, Overall: 43 3/8 x 92 1/2 x 22 in. (110.2 x 235 x 55.9 cm), Sculpture-Stone, The donors are Pons de Gontaut and his brother Armand, Bishop of Sarlat, in whose family, 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 Photo

RF2HTYJCD–Art inspired by Pietà with Donors, ca. 1515, Made in Biron, Dordogne, France, French, Limestone, traces of polychromy, Overall: 43 3/8 x 92 1/2 x 22 in. (110.2 x 235 x 55.9 cm), Sculpture-Stone, The donors are Pons de Gontaut and his brother Armand, Bishop of Sarlat, in whose family, 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

Untitled (Pennsylvania Railroad Engine), c. 1868. America, 19th century. Albumen print from a wet collodion negative; image: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); mounted: 31.8 x 47.5 cm (12 1/2 x 18 11/16 in.); paper: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); matted: 55.9 x 66 cm (22 x 26 in.). Stock Photo

RM2H12HMK–Untitled (Pennsylvania Railroad Engine), c. 1868. America, 19th century. Albumen print from a wet collodion negative; image: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); mounted: 31.8 x 47.5 cm (12 1/2 x 18 11/16 in.); paper: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); matted: 55.9 x 66 cm (22 x 26 in.).

Inspired by Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609–1655, 1650–55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2 x 4 x 3 1/4 in. (, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photo

RF2HK614C–Inspired by Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609–1655, 1650–55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2 x 4 x 3 1/4 in. (, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture

. Nast's Illustrated Almanac 1873 . sets. 20 Thursday EV.13 Til 9 6 57 4 34 4 51 11 49 6 53 4 38 4 57 8 32 6 48 4 43 5 3 21 Friday 1 7 Tii 22 6 58 4 34 5 30 MORN. 6 54 4 38 5 37 9 21 6 49 4 43 5 44 22 Saturday 2 4 # 5 6 59 4 33 6 21 35 6 55 4 37 6 28 10 10 6 50 4 42 6 35 47) Twenty-fourth Sunday after Trinity. ^ in 3. Days length at New York, 9h. 4 Cm. 23 Sunday 3 3 t 19 7 0 4 32 7 25 1 24 6 56 4 36 7 31 10 58 6 51 4 42 7 38 24 Monday 4 2 V3 2 7 2 4 32 8 38 2 16 6 57 4 36 8 44 11 54 6 52 4 41 8 50 25 Tuesday 4 58 V3 16 7 3 4 31 9 53 3 9 6 58 4 35 9 57 MORN. 6 53 4 40 10 2 26 Wednesday 5 51 ^ Stock Photo

RM2CDDKAR–. Nast's Illustrated Almanac 1873 . sets. 20 Thursday EV.13 Til 9 6 57 4 34 4 51 11 49 6 53 4 38 4 57 8 32 6 48 4 43 5 3 21 Friday 1 7 Tii 22 6 58 4 34 5 30 MORN. 6 54 4 38 5 37 9 21 6 49 4 43 5 44 22 Saturday 2 4 # 5 6 59 4 33 6 21 35 6 55 4 37 6 28 10 10 6 50 4 42 6 35 47) Twenty-fourth Sunday after Trinity. ^ in 3. Days length at New York, 9h. 4 Cm. 23 Sunday 3 3 t 19 7 0 4 32 7 25 1 24 6 56 4 36 7 31 10 58 6 51 4 42 7 38 24 Monday 4 2 V3 2 7 2 4 32 8 38 2 16 6 57 4 36 8 44 11 54 6 52 4 41 8 50 25 Tuesday 4 58 V3 16 7 3 4 31 9 53 3 9 6 58 4 35 9 57 MORN. 6 53 4 40 10 2 26 Wednesday 5 51 ^

Hesitation (Madame Monteaux?), c. 1867, Alfred Stevens, Belgian, 1823-1906, Belgium, Oil on panel, 55.5 × 43.2 cm (21 7/8 × 17 in Stock Photo

RM2A2JNK0–Hesitation (Madame Monteaux?), c. 1867, Alfred Stevens, Belgian, 1823-1906, Belgium, Oil on panel, 55.5 × 43.2 cm (21 7/8 × 17 in

A Farmer Grafting a Tree. Artist: After Jean-François Millet (French, Gruchy 1814-1875 Barbizon); Engraved by Victor Focillon (active ca. 1881). Dimensions: image: 17 x 21 5/8 in. (43.2 x 55 cm) sheet: 21 5/8 x 26 in. (55 x 66 cm). Publisher: Published by Knoedler and Co. , New York. Date: 1881. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPANJ0H–A Farmer Grafting a Tree. Artist: After Jean-François Millet (French, Gruchy 1814-1875 Barbizon); Engraved by Victor Focillon (active ca. 1881). Dimensions: image: 17 x 21 5/8 in. (43.2 x 55 cm) sheet: 21 5/8 x 26 in. (55 x 66 cm). Publisher: Published by Knoedler and Co. , New York. Date: 1881. Museum: Metropolitan Museum of Art, New York, USA.

Fragment, 16th–17th century, Italian, Overall: 21 3/4 x 17 1/4 in. (55.2 x 43.8 cm), Textiles-Woven Stock Photo

RMKC5B0N–Fragment, 16th–17th century, Italian, Overall: 21 3/4 x 17 1/4 in. (55.2 x 43.8 cm), Textiles-Woven

Cassetta frame, early 16th century, Italian, Siena, Poplar, 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm., Frames Stock Photo

RMKC5793–Cassetta frame, early 16th century, Italian, Siena, Poplar, 74.2 x 62.8, 55 x 43, 56.3 x 44.5 cm., Frames

Armchair, 1790–1800, Made in United States, American, Mahogany, 37 3/8 x 22 x 17 in. (94.9 x 55.9 x 43.2 cm), Furniture Stock Photo

RMKC56B3–Armchair, 1790–1800, Made in United States, American, Mahogany, 37 3/8 x 22 x 17 in. (94.9 x 55.9 x 43.2 cm), Furniture

Double Capital, late 13th–early 14th century, French, Marble, Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm Stock Photo

RMKC4E5H–Double Capital, late 13th–early 14th century, French, Marble, Overall: 21 3/4 x 17 x 13 5/8 in. (55.2 x 43.2 x 34.6 cm

Funerary relief, ca. 150–200, Syria, probably from Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm Stock Photo

RMKC2G0M–Funerary relief, ca. 150–200, Syria, probably from Palmyra, Limestone, paint, 21 3/4 x 17 x 10 9/16 in. (55.2 x 43.2 x 26.8 cm

Helmet Mask, 1830–55, Cameroon, Grassfields region, Laikom, Kom kingdom, Laiko, Wood, iron, copper, pigment, wax, H. 20 1/2 x W Stock Photo

RMKCDRDR–Helmet Mask, 1830–55, Cameroon, Grassfields region, Laikom, Kom kingdom, Laiko, Wood, iron, copper, pigment, wax, H. 20 1/2 x W

Art inspired by Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609-1655, 1650-55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2, 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 Photo

RF2HKM77F–Art inspired by Small-Sword with Rapier Blade, blade by Johannes Oehlig, German, hilt by Melchior Trüb, Swiss, 1609-1655, 1650-55, Steel, silver, and wood, Made in Solingen, Nordrhein-Westfalen, Germany, Europe, Zürich, Zürich canton, Switzerland, Europe, Arms & armor, metalwork, 43 1/2, 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

Launt Thompson, American, 1833-1894, Tennyson's Princess, 1881, marble, Overall: 21 3/4 × 17 1/4 × 10 1/2 inches (55.2 × 43.8 × 26.7 cm Stock Photo

RM2A2P9G3–Launt Thompson, American, 1833-1894, Tennyson's Princess, 1881, marble, Overall: 21 3/4 × 17 1/4 × 10 1/2 inches (55.2 × 43.8 × 26.7 cm

. Bulletin of the Natural History Museum Zoology. FRESHWATER NEMATODES FROM LOCH NESS DESCRIPTIONS OF SPECIES Aglenchus agricola (de Man, 1884) Andrassy, 1954 (Fig. 2) Material examined. Fort Augustus Bay: 92, 105 m; cores 2, 3; 29$. Foyers Plateau: 150-161 m; cores 14-17; 299 46*6*. River Foyers: 0.14-0.39 m; cores 40, 43, 45: 2 99, 266. Horizon. Core 2 (2-3 cm), core 14 (3^4 cm), core 40 (2-3 cm). Females, (n = 5). L = 650 urn (625-667): a = 31 (26.4-34.4); b = 6.6 (6.3-6.9); c = 3.3 (3.2-3.4); c' = 14.5 (12.7-15.8); V = 55.1 (53- 56); V = 77.6 (76.5-78.4); tail/V-a = 1.9 (1.7-2.0): tail = 1 Stock Photo

RMRGDGFB–. Bulletin of the Natural History Museum Zoology. FRESHWATER NEMATODES FROM LOCH NESS DESCRIPTIONS OF SPECIES Aglenchus agricola (de Man, 1884) Andrassy, 1954 (Fig. 2) Material examined. Fort Augustus Bay: 92, 105 m; cores 2, 3; 29$. Foyers Plateau: 150-161 m; cores 14-17; 299 46*6*. River Foyers: 0.14-0.39 m; cores 40, 43, 45: 2 99, 266. Horizon. Core 2 (2-3 cm), core 14 (3^4 cm), core 40 (2-3 cm). Females, (n = 5). L = 650 urn (625-667): a = 31 (26.4-34.4); b = 6.6 (6.3-6.9); c = 3.3 (3.2-3.4); c' = 14.5 (12.7-15.8); V = 55.1 (53- 56); V = 77.6 (76.5-78.4); tail/V-a = 1.9 (1.7-2.0): tail = 1

Marble inscribed statue base. Culture: Roman. Dimensions: H. 44 in (111.8 cm); width 22 in (55.9 cm); depth 17 in (43.2 cm). Date: ca. A.D. 160-170. The base is said to have been found near Rome, but the inscription is in Greek. It records the dedication of a statue in honor of Pompeia Agrippinilla, a priestess, which was erected by fellow members of the Bacchic cult to which she belonged. Listed are more than three-hundred Greek personal names, together with some seventy Roman names; about one-third of the total are those of women. The names seem to represent all levels of society, from sena Stock Photo

RMPA92MH–Marble inscribed statue base. Culture: Roman. Dimensions: H. 44 in (111.8 cm); width 22 in (55.9 cm); depth 17 in (43.2 cm). Date: ca. A.D. 160-170. The base is said to have been found near Rome, but the inscription is in Greek. It records the dedication of a statue in honor of Pompeia Agrippinilla, a priestess, which was erected by fellow members of the Bacchic cult to which she belonged. Listed are more than three-hundred Greek personal names, together with some seventy Roman names; about one-third of the total are those of women. The names seem to represent all levels of society, from sena

Platter, 1750/80, England, Pewter, 43.2 × 55.6 × 4.6 cm (17 × 21 7/8 × 1 13/16 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo

RF2B8XPGM–Platter, 1750/80, England, Pewter, 43.2 × 55.6 × 4.6 cm (17 × 21 7/8 × 1 13/16 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Jean-Baptiste Jouvenet, (artist), French, 1644 - 1717, Study for Miraculous Draught of Fishes (?), black chalk with touches of white chalk on brown paper, overall: 43.5 x 55.2 cm (17 1/8 x 21 3/4 in Stock Photo

RM2DCEFDR–Jean-Baptiste Jouvenet, (artist), French, 1644 - 1717, Study for Miraculous Draught of Fishes (?), black chalk with touches of white chalk on brown paper, overall: 43.5 x 55.2 cm (17 1/8 x 21 3/4 in

. The Eastern Bering Sea Shelf : oceanography and resources / edited by Donald W. Hood and John A. Calder. Oceanography Bering Sea.. 536 Fisheries oceanography TABLE 33-5 Summary of mean lengths-at-age determined from NMFS Crab-Groundfish research vessel surveys conducted during June to mid-August, 1973-78 (units = cm fork length) Survey year Age-classes (yr) 7 8 9 10 11 12 13 14 15 1973 1974 1975 1976 1977 1978 15.7 25.7 32.9 39.2 42.0 43.4 46.0 47.3 49.5 52.4 56.1 - 63.5 66.0 - 15.5 25.2 34.9 38.5 44.3 44.3 47.7 49.6 51.0 53.4 51.7 57.6 57.8 - - 14.3 24.3 32.5 39.6 44.3 47.1 50.5 53.4 55.3 5 Stock Photo

RMRE599N–. The Eastern Bering Sea Shelf : oceanography and resources / edited by Donald W. Hood and John A. Calder. Oceanography Bering Sea.. 536 Fisheries oceanography TABLE 33-5 Summary of mean lengths-at-age determined from NMFS Crab-Groundfish research vessel surveys conducted during June to mid-August, 1973-78 (units = cm fork length) Survey year Age-classes (yr) 7 8 9 10 11 12 13 14 15 1973 1974 1975 1976 1977 1978 15.7 25.7 32.9 39.2 42.0 43.4 46.0 47.3 49.5 52.4 56.1 - 63.5 66.0 - 15.5 25.2 34.9 38.5 44.3 44.3 47.7 49.6 51.0 53.4 51.7 57.6 57.8 - - 14.3 24.3 32.5 39.6 44.3 47.1 50.5 53.4 55.3 5

British, Baroque frame, Unknown framemaker, 1st half of 18th century, Carved wood, later oil and water gilding over original gilding, Frame: 43 × 55 × 3 1/4 inches (109.2 × 139.7 × 8.3 cm Stock Photo

RM2DJ5ME2–British, Baroque frame, Unknown framemaker, 1st half of 18th century, Carved wood, later oil and water gilding over original gilding, Frame: 43 × 55 × 3 1/4 inches (109.2 × 139.7 × 8.3 cm

RMRY715A–The Eight Hosts of Deva, Naga, and Yakshi, 1454. China, Ming dynasty (1368-1644). Hanging scroll; ink and color on silk; painting: 140.2 x 78.8 cm (55 3/16 x 31 in.); overall: 226.5 x 111 cm (89 3/16 x 43 11/16 in

A Knight of Alcántara or Calatrava. Artist: Bartolomé Estebán Murillo (Spanish, Seville 1617-1682 Seville). Dimensions: Overall, with added strips, 77 x 43 3/4 in. (195.6 x 111.1 cm); original canvas 77 x 38 1/2 in. (195.6 x 97.8 cm). Date: ca. 1650-55. The sitter in this portrait wears a pendant with a symbol of a military order. In the nineteenth century the sitter was identified as Don Pedro Núñez de Villavicencio (1640-ca. 1695), whose passion for painting led him to study with both Murillo and Mattia Preti. Unfortunately, this identification is incorrect, though the portrait may show ano Stock Photo

RMPAPJ1D–A Knight of Alcántara or Calatrava. Artist: Bartolomé Estebán Murillo (Spanish, Seville 1617-1682 Seville). Dimensions: Overall, with added strips, 77 x 43 3/4 in. (195.6 x 111.1 cm); original canvas 77 x 38 1/2 in. (195.6 x 97.8 cm). Date: ca. 1650-55. The sitter in this portrait wears a pendant with a symbol of a military order. In the nineteenth century the sitter was identified as Don Pedro Núñez de Villavicencio (1640-ca. 1695), whose passion for painting led him to study with both Murillo and Mattia Preti. Unfortunately, this identification is incorrect, though the portrait may show ano

Boy Drinking, 1582-1583. Annibale Carracci (Italian, c. 1560-1609). Oil on canvas; framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in Stock Photo

RMRY5YMH–Boy Drinking, 1582-1583. Annibale Carracci (Italian, c. 1560-1609). Oil on canvas; framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in

North Italian 15th Century, (artist), Saint Sebastian, 15th century, gilded bronze, overall (without added ring, silhouetted contour): 7.42 x 3.43 cm (2 15/16 x 1 3/8 in.), overall (height with added ring): 7.95 cm (3 1/8 in.), gross weight: 55.16 gr (0.122 lb Stock Photo

RM2DCBW9B–North Italian 15th Century, (artist), Saint Sebastian, 15th century, gilded bronze, overall (without added ring, silhouetted contour): 7.42 x 3.43 cm (2 15/16 x 1 3/8 in.), overall (height with added ring): 7.95 cm (3 1/8 in.), gross weight: 55.16 gr (0.122 lb

Cottage Family, John Raphael Smith, 1752–1812, British, after George Morland, 1763–1804, British, 1803, Handcolored mezzotint on moderately thick, moderately textured, beige, laid paper, Sheet: 21 3/4 × 17 1/4 inches (55.2 × 43.8 cm) and Image: 19 7/8 × 15 7/8 inches (50.5 × 40.3 cm Stock Photo

RM2DHY45B–Cottage Family, John Raphael Smith, 1752–1812, British, after George Morland, 1763–1804, British, 1803, Handcolored mezzotint on moderately thick, moderately textured, beige, laid paper, Sheet: 21 3/4 × 17 1/4 inches (55.2 × 43.8 cm) and Image: 19 7/8 × 15 7/8 inches (50.5 × 40.3 cm

Jacopo Tintoretto, (painter), Venetian, 1518 or 1519 - 1594, Maarten de Vos, (painter), Flemish, 1532 - 1603, Portrait of a Man with a Landscape View, 1552/1556, oil on canvas, overall: 110.5 x 88 cm (43 1/2 x 34 5/8 in.), framed: 141.6 x 118.1 cm (55 3/4 x 46 1/2 in Stock Photo

RM2DCB76Y–Jacopo Tintoretto, (painter), Venetian, 1518 or 1519 - 1594, Maarten de Vos, (painter), Flemish, 1532 - 1603, Portrait of a Man with a Landscape View, 1552/1556, oil on canvas, overall: 110.5 x 88 cm (43 1/2 x 34 5/8 in.), framed: 141.6 x 118.1 cm (55 3/4 x 46 1/2 in

Leaping Carp, 1368- 1644. Liu Jie (Chinese, c. 1447-1520s). Hanging scroll, ink and slight color on silk; image: 140.5 x 83.7 cm (55 5/16 x 32 15/16 in.); overall: 226 x 101.2 cm (89 x 39 13/16 in.); with knobs: 226 x 109.5 cm (89 x 43 1/8 in Stock Photo

RMRY5CYN–Leaping Carp, 1368- 1644. Liu Jie (Chinese, c. 1447-1520s). Hanging scroll, ink and slight color on silk; image: 140.5 x 83.7 cm (55 5/16 x 32 15/16 in.); overall: 226 x 101.2 cm (89 x 39 13/16 in.); with knobs: 226 x 109.5 cm (89 x 43 1/8 in

The Forge, Print made by James Sharples, 1825–1892, British, after James Sharples, 1825–1892, British, 1859, Line engraving on thick, slightly textured, cream wove paper, Sheet: 22 × 30 inches (55.9 × 76.2 cm), Plate: 17 7/8 × 21 inches (45.4 × 53.3 cm), and Image: 12 3/4 × 17 1/4 inches (32.4 × 43.8 cm Stock Photo

RM2DJ3G59–The Forge, Print made by James Sharples, 1825–1892, British, after James Sharples, 1825–1892, British, 1859, Line engraving on thick, slightly textured, cream wove paper, Sheet: 22 × 30 inches (55.9 × 76.2 cm), Plate: 17 7/8 × 21 inches (45.4 × 53.3 cm), and Image: 12 3/4 × 17 1/4 inches (32.4 × 43.8 cm

Hesitation (Madame Monteaux?), c. 1867, Alfred Stevens, Belgian, 1823-1906, Belgium, Oil on panel, 55.5 × 43.2 cm (21 7/8 × 17 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photo

RF2B8XEC8–Hesitation (Madame Monteaux?), c. 1867, Alfred Stevens, Belgian, 1823-1906, Belgium, Oil on panel, 55.5 × 43.2 cm (21 7/8 × 17 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

. Comptes rendus hebdomadaires des sÃ©ances de l'AcadÃ©mie des sciences. Science -- Societies, etc; Science; Science. 55o ACADEMIE DES SCIENCES. DurÃ©e Poids Poids olume TempÃ©r des de de de SÃ©ries. expÃ©riences, diastase. glucoside. solution. oplinia. mortelles. h mi; nig cm' o . o 1 1 r>.o 386 i5 -+-55 +69 2 â ->. 8,0 309 30 +51,5 +68 3 â S 2,2 - 286 i5 +43 -t-G5 4 i5 1,3 209 3o -+--59 + G? 5 :>.o 1,5 286 i5 -+-35 +60 G 22 1.0 286 i5 -t-33,5 +60 7 27 1,5 28G I.") -t- 33 +59 8 33 1,0 286 i5 -^ .3(1,5 -^59 9 45 i.o 286 i5 -f-3o +57 10 G', . 1,0 286 i5 + 39 +56 11 ()G 1,0 286 i5 Stock Photo

RMRECWAM–. Comptes rendus hebdomadaires des sÃ©ances de l'AcadÃ©mie des sciences. Science -- Societies, etc; Science; Science. 55o ACADEMIE DES SCIENCES. DurÃ©e Poids Poids olume TempÃ©r des de de de SÃ©ries. expÃ©riences, diastase. glucoside. solution. oplinia. mortelles. h mi; nig cm' o . o 1 1 r>.o 386 i5 -+-55 +69 2 â ->. 8,0 309 30 +51,5 +68 3 â S 2,2 - 286 i5 +43 -t-G5 4 i5 1,3 209 3o -+--59 + G? 5 :>.o 1,5 286 i5 -+-35 +60 G 22 1.0 286 i5 -t-33,5 +60 7 27 1,5 28G I.") -t- 33 +59 8 33 1,0 286 i5 -^ .3(1,5 -^59 9 45 i.o 286 i5 -f-3o +57 10 G', . 1,0 286 i5 + 39 +56 11 ()G 1,0 286 i5

George Sand's Garden at Nohant. Artist: Eugène Delacroix (French, Charenton-Saint-Maurice 1798-1863 Paris). Dimensions: 17 7/8 x 21 3/4 in. (45.4 x 55.2 cm). Date: ca. 1842-43. During the 1840s Delacroix made three summer visits to Nohant in central France, where he stayed at the country home of his friend the writer Aurore Dudevant, better known by her pseudonym George Sand. This verdant view on the south side of the house, whose focal point is a simple stone table (or bench), was preceded by a pencil sketch that probably dates to 1842 or 1843 (Musée Carnavalet, Paris). One of Delacroix's ra Stock Photo

RMPAXTH6–George Sand's Garden at Nohant. Artist: Eugène Delacroix (French, Charenton-Saint-Maurice 1798-1863 Paris). Dimensions: 17 7/8 x 21 3/4 in. (45.4 x 55.2 cm). Date: ca. 1842-43. During the 1840s Delacroix made three summer visits to Nohant in central France, where he stayed at the country home of his friend the writer Aurore Dudevant, better known by her pseudonym George Sand. This verdant view on the south side of the house, whose focal point is a simple stone table (or bench), was preceded by a pencil sketch that probably dates to 1842 or 1843 (Musée Carnavalet, Paris). One of Delacroix's ra

The Setting Sun, Print made by John Young, 1755–1825, British, after John Hoppner, 1758–1810, British, Published by John Young, 1755–1825, British, 1790, Mezzotint (first state) on medium, slightly textured, cream laid paper, Sheet: 18 1/8 × 23 1/2 inches (46 × 59.7 cm), Plate: 17 × 22 inches (43.2 × 55.9 cm), and Image: 15 7/8 × 22 inches (40.3 × 55.9 cm Stock Photo

RM2DHWW32–The Setting Sun, Print made by John Young, 1755–1825, British, after John Hoppner, 1758–1810, British, Published by John Young, 1755–1825, British, 1790, Mezzotint (first state) on medium, slightly textured, cream laid paper, Sheet: 18 1/8 × 23 1/2 inches (46 × 59.7 cm), Plate: 17 × 22 inches (43.2 × 55.9 cm), and Image: 15 7/8 × 22 inches (40.3 × 55.9 cm

. Canadian forest industries 1911. Lumbering; Forests and forestry; Forest products; Wood-pulp industry; Wood-using industries. CANADA LUMBERMAN AND WOODWORKER 29 Planing Mills, Sash and Dooa Factories. Etc. o S5 Â«! 1â< 0 96 98 608 82 Average 488 92 3 5 c. 1 54 2 34 1 38 3 10 1 77 1 84 1 14 1 45 1 51 2 49 2 50 1 53 1 43 1 66 1 26 1 17 2 36 1 63 1 51 cm 0 03'â' â oJ. > o Â§22 Â£ MP, Â° S Â« 0 ** 0 03 woo. u .So Â« * d C d - â¢ Sa "3 2 00 49 65 26 55 52 72 05 03 Average 1 75 23 32 11 16 29 26 51 8 15 10 34 14 24 14 22 23 30 32 49 25 19 5 27 16 57 32 43 24 % Average 25 77 68 89 84 71 Stock Photo

RMRG0K64–. Canadian forest industries 1911. Lumbering; Forests and forestry; Forest products; Wood-pulp industry; Wood-using industries. CANADA LUMBERMAN AND WOODWORKER 29 Planing Mills, Sash and Dooa Factories. Etc. o S5 Â«! 1â< 0 96 98 608 82 Average 488 92 3 5 c. 1 54 2 34 1 38 3 10 1 77 1 84 1 14 1 45 1 51 2 49 2 50 1 53 1 43 1 66 1 26 1 17 2 36 1 63 1 51 cm 0 03'â' â oJ. > o Â§22 Â£ MP, Â° S Â« 0 ** 0 03 woo. u .So Â« * d C d - â¢ Sa "3 2 00 49 65 26 55 52 72 05 03 Average 1 75 23 32 11 16 29 26 51 8 15 10 34 14 24 14 22 23 30 32 49 25 19 5 27 16 57 32 43 24 % Average 25 77 68 89 84 71

Stained Glass Panel with the Entombment. Culture: German. Dimensions: Overall (with 1 T-bar): 43 1/2 x 29 7/8 x 3/8 in. (110.5 x 75.9 x 1 cm) Overall (installation opening): 41 3/4 x 28 3/8 in. (106 x 72.1 cm) a: 21 13/16 x 29 3/8 x 3/8 in. (55.4 x 74.6 x 1 cm) b: 21 9/16 x 29 1/8 x 3/8 in. (54.8 x 74 x 1 cm). Date: 15th century. These panels were part of a window depicting the ancestry of Christ in the form of a Tree of Jesse (a complete example is shown opposite). The painter of these windows adopted an angular style of drapery folds and subtle color juxtapositions initiating a new styl Stock Photo

RMPAAG0G–Stained Glass Panel with the Entombment. Culture: German. Dimensions: Overall (with 1 T-bar): 43 1/2 x 29 7/8 x 3/8 in. (110.5 x 75.9 x 1 cm) Overall (installation opening): 41 3/4 x 28 3/8 in. (106 x 72.1 cm) a: 21 13/16 x 29 3/8 x 3/8 in. (55.4 x 74.6 x 1 cm) b: 21 9/16 x 29 1/8 x 3/8 in. (54.8 x 74 x 1 cm). Date: 15th century. These panels were part of a window depicting the ancestry of Christ in the form of a Tree of Jesse (a complete example is shown opposite). The painter of these windows adopted an angular style of drapery folds and subtle color juxtapositions initiating a new styl

Le Chant, Print made by Johann Jacobus Haid, 1704–1767, and Johann Elias Haid, 1739–1809, German, undated, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 21 3/4 × 17 1/8 inches (55.2 × 43.5 cm), Plate: 13 7/8 × 10 7/8 inches (35.2 × 27.6 cm), and Image: 12 3/8 × 10 7/8 inches (31.4 × 27.6 cm Stock Photo

RM2DHX46G–Le Chant, Print made by Johann Jacobus Haid, 1704–1767, and Johann Elias Haid, 1739–1809, German, undated, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 21 3/4 × 17 1/8 inches (55.2 × 43.5 cm), Plate: 13 7/8 × 10 7/8 inches (35.2 × 27.6 cm), and Image: 12 3/8 × 10 7/8 inches (31.4 × 27.6 cm

Stained Glass Panel with the Deposition. Culture: German. Dimensions: Overall (with 1 T-bar): 43 1/2 x 29 5/16 x 3/8 in. (110.5 x 74.5 x 1 cm) Overall (installation opening): 41 3/4 x 28 3/8 in. (106 x 72.1 cm) a: 21 7/8 x 29 1/4 x 3/8 in. (55.6 x 74.3 x 1 cm) b: 21 3/4 x 29 1/4 x 3/8 in. (55.2 x 74.3 x 1 cm). Date: 15th century. These panels were part of a window depicting the ancestry of Christ in the form of a Tree of Jesse (a complete example is shown opposite). The painter of these windows adopted an angular style of drapery folds and subtle color juxtapositions initiating a new styl Stock Photo

RMPB1XF1–Stained Glass Panel with the Deposition. Culture: German. Dimensions: Overall (with 1 T-bar): 43 1/2 x 29 5/16 x 3/8 in. (110.5 x 74.5 x 1 cm) Overall (installation opening): 41 3/4 x 28 3/8 in. (106 x 72.1 cm) a: 21 7/8 x 29 1/4 x 3/8 in. (55.6 x 74.3 x 1 cm) b: 21 3/4 x 29 1/4 x 3/8 in. (55.2 x 74.3 x 1 cm). Date: 15th century. These panels were part of a window depicting the ancestry of Christ in the form of a Tree of Jesse (a complete example is shown opposite). The painter of these windows adopted an angular style of drapery folds and subtle color juxtapositions initiating a new styl

The Cottar's Door, Print made by William Say, 1768–1834, British, after W. Woolley, active 1773–1791, British, 1802, Mezzotint, proof before all letters on moderately thick, slightly textured, cream laid paper, Sheet: 21 15/16 × 29 inches (55.7 × 73.7 cm), Plate: 17 7/8 × 21 7/8 inches (45.4 × 55.6 cm), and Image: 17 × 21 13/16 inches (43.2 × 55.4 cm Stock Photo

RM2DHWY49–The Cottar's Door, Print made by William Say, 1768–1834, British, after W. Woolley, active 1773–1791, British, 1802, Mezzotint, proof before all letters on moderately thick, slightly textured, cream laid paper, Sheet: 21 15/16 × 29 inches (55.7 × 73.7 cm), Plate: 17 7/8 × 21 7/8 inches (45.4 × 55.6 cm), and Image: 17 × 21 13/16 inches (43.2 × 55.4 cm

RMRY77EP–Untitled (Pennsylvania Railroad Engine), c. 1868. America, 19th century. Albumen print from a wet collodion negative; image: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); mounted: 31.8 x 47.5 cm (12 1/2 x 18 11/16 in.); paper: 27.3 x 43.3 cm (10 3/4 x 17 1/16 in.); matted: 55.9 x 66 cm (22 x 26 in

Francis Bartolozzi, R.A., Print made by Thomas Watson, 1743–1781, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Mezzotint on moderately thick, moderately textured, cream, laid paper, Sheet: 21 3/4 × 17 1/4 inches (55.2 × 43.8 cm), Plate: 14 15/16 × 11 inches (37.9 × 27.9 cm), and Image: 13 1/8 × 10 15/16 inches (33.3 × 27.8 cm Stock Photo

RM2DHWT8H–Francis Bartolozzi, R.A., Print made by Thomas Watson, 1743–1781, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Mezzotint on moderately thick, moderately textured, cream, laid paper, Sheet: 21 3/4 × 17 1/4 inches (55.2 × 43.8 cm), Plate: 14 15/16 × 11 inches (37.9 × 27.9 cm), and Image: 13 1/8 × 10 15/16 inches (33.3 × 27.8 cm

View of Nero's aqueduct, Rome. Artist: Luigi Rossini (Italian, 1790-1857). Dimensions: sheet: 21 3/4 x 30 1/2 in. (55.3 x 77.5 cm) plate: 17 1/4 x 21 1/16 in. (43.8 x 53.5 cm). Date: 1823. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMRFG844–View of Nero's aqueduct, Rome. Artist: Luigi Rossini (Italian, 1790-1857). Dimensions: sheet: 21 3/4 x 30 1/2 in. (55.3 x 77.5 cm) plate: 17 1/4 x 21 1/16 in. (43.8 x 53.5 cm). Date: 1823. Museum: Metropolitan Museum of Art, New York, USA.

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching; open etched state on thick, moderately textured, cream wove paper with cream chine-collé, Sheet: 22 3/8 × 28 inches (56.8 × 71.1 cm), Chine collé: 22 × 27 1/2 inches (55.9 × 69.9 cm), and Image: 17 × 23 7/8 inches (43.2 × 60.6 cm), landscape, Italy Stock Photo

RM2DHXBNF–Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching; open etched state on thick, moderately textured, cream wove paper with cream chine-collé, Sheet: 22 3/8 × 28 inches (56.8 × 71.1 cm), Chine collé: 22 × 27 1/2 inches (55.9 × 69.9 cm), and Image: 17 × 23 7/8 inches (43.2 × 60.6 cm), landscape, Italy

Solitude. Artist: George Bellows (American, Columbus, Ohio 1882-1925 New York). Dimensions: image: 17 3/16 x 15 7/16 in. (43.7 x 39.2 cm) sheet: 23 7/8 x 21 3/4 in. (60.6 x 55.3 cm). Publisher: Published by George Bellows (American, Columbus, Ohio 1882-1925 New York). Date: 1917. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAJMA5–Solitude. Artist: George Bellows (American, Columbus, Ohio 1882-1925 New York). Dimensions: image: 17 3/16 x 15 7/16 in. (43.7 x 39.2 cm) sheet: 23 7/8 x 21 3/4 in. (60.6 x 55.3 cm). Publisher: Published by George Bellows (American, Columbus, Ohio 1882-1925 New York). Date: 1917. Museum: Metropolitan Museum of Art, New York, USA.

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving, with graphite and scraping out; engraver's proof (a) on thick, sightly textured, cream wove paper, Sheet: 22 × 27 7/8 inches (55.9 × 70.8 cm), Chine collé: 21 3/8 × 27 1/8 inches (54.3 × 68.9 cm), and Image: 17 × 23 7/8 inches (43.2 × 60.6 cm Stock Photo

RM2DHXBTA–Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving, with graphite and scraping out; engraver's proof (a) on thick, sightly textured, cream wove paper, Sheet: 22 × 27 7/8 inches (55.9 × 70.8 cm), Chine collé: 21 3/8 × 27 1/8 inches (54.3 × 68.9 cm), and Image: 17 × 23 7/8 inches (43.2 × 60.6 cm

View of the Arruns Pass and Peak from the Pont de Soubé. Artist: John Stewart (British, Scotland 1814-1887). Dimensions: Image: 22.2 × 29.3 cm (8 3/4 × 11 9/16 in.) Mount: 43.6 × 61.9 cm (17 3/16 × 24 3/8 in.). Printer: Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851-55). Date: 1852. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPANYRK–View of the Arruns Pass and Peak from the Pont de Soubé. Artist: John Stewart (British, Scotland 1814-1887). Dimensions: Image: 22.2 × 29.3 cm (8 3/4 × 11 9/16 in.) Mount: 43.6 × 61.9 cm (17 3/16 × 24 3/8 in.). Printer: Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851-55). Date: 1852. Museum: Metropolitan Museum of Art, New York, USA.

Miss Farren, Print made by Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by John Jeffryes, active 1793–1804, British, 1791, Etching and stipple engraving (third state) on medium, slightly textured, cream laid paper, Sheet: 25 1/8 × 17 1/4 inches (63.8 × 43.8 cm), Plate: 22 × 14 inches (55.9 × 35.6 cm), and Image: 19 1/2 × 12 1/2 inches (49.5 × 31.8 cm Stock Photo

RM2DHWWE5–Miss Farren, Print made by Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by John Jeffryes, active 1793–1804, British, 1791, Etching and stipple engraving (third state) on medium, slightly textured, cream laid paper, Sheet: 25 1/8 × 17 1/4 inches (63.8 × 43.8 cm), Plate: 22 × 14 inches (55.9 × 35.6 cm), and Image: 19 1/2 × 12 1/2 inches (49.5 × 31.8 cm

Gothic Windows in the Ruins of the Monastery at Oybin. Artist: Carl Gustav Carus (German, Leipzig 1789-1869 Dresden). Dimensions: 17 x 13 1/4 in. (43.2 x 33.7 cm) Frame: 21 3/4 x 17 7/8 x 2 1/4 in. (55.2 x 45.4 x 5.7 cm). Date: ca. 1828. This church, with its fine Gothic tracery, was founded in 1369, deserted in 1546, and later embraced as a motif by German Romantic artists. Carus visited in August 1820, making a drawing (Staatliche Kunstsammlungen Dresden) that served as a study for the painting. It depicts a vista through two windows--one on either side of the ruined choir--toward a pale m Stock Photo

RMPATC3K–Gothic Windows in the Ruins of the Monastery at Oybin. Artist: Carl Gustav Carus (German, Leipzig 1789-1869 Dresden). Dimensions: 17 x 13 1/4 in. (43.2 x 33.7 cm) Frame: 21 3/4 x 17 7/8 x 2 1/4 in. (55.2 x 45.4 x 5.7 cm). Date: ca. 1828. This church, with its fine Gothic tracery, was founded in 1369, deserted in 1546, and later embraced as a motif by German Romantic artists. Carus visited in August 1820, making a drawing (Staatliche Kunstsammlungen Dresden) that served as a study for the painting. It depicts a vista through two windows--one on either side of the ruined choir--toward a pale m

Bellsane and Parcival under the Enchantment of Urma, John Raphael Smith, 1752–1812, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1782, Mezzotint on moderately thick, moderately textured, beige, laid paper, Sheet: 19 1/16 × 24 7/8 inches (48.4 × 63.2 cm), Plate: 17 3/4 × 22 inches (45.1 × 55.9 cm), and Image: 17 1/8 × 21 15/16 inches (43.5 × 55.7 cm Stock Photo

RM2DHY38Y–Bellsane and Parcival under the Enchantment of Urma, John Raphael Smith, 1752–1812, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1782, Mezzotint on moderately thick, moderately textured, beige, laid paper, Sheet: 19 1/16 × 24 7/8 inches (48.4 × 63.2 cm), Plate: 17 3/4 × 22 inches (45.1 × 55.9 cm), and Image: 17 1/8 × 21 15/16 inches (43.5 × 55.7 cm

Olivia Returns to Her Family, Francis Wheatley, 1747–1801, British, undated, Watercolor, pen and black ink, and white gouache on medium, slightly textured, cream wove paper, Sheet: 17 x 21 7/8 inches (43.2 x 55.6 cm), barrel, bonnet, boots, boys, breeches (trousers), bricks, buckles, buttons, candle, candlesticks, chairs, children, doorway, dresses, family, fichu, fire, fireplace, floorboards, genre subject, girl, grate, hats, hosiery, kerchief, lid, mantel, men, nails, paper, pitcher, plaster, rafters, ribbon, ruffles, shawl, shoes, sling (medical equipment), stock, stockings, vest, wig Stock Photo

RM2DHTEET–Olivia Returns to Her Family, Francis Wheatley, 1747–1801, British, undated, Watercolor, pen and black ink, and white gouache on medium, slightly textured, cream wove paper, Sheet: 17 x 21 7/8 inches (43.2 x 55.6 cm), barrel, bonnet, boots, boys, breeches (trousers), bricks, buckles, buttons, candle, candlesticks, chairs, children, doorway, dresses, family, fichu, fire, fireplace, floorboards, genre subject, girl, grate, hats, hosiery, kerchief, lid, mantel, men, nails, paper, pitcher, plaster, rafters, ribbon, ruffles, shawl, shoes, sling (medical equipment), stock, stockings, vest, wig

43 2 55 8 cm Stock Photos and Images

43 2 55 8 cm Stock Photos and Images

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