Quick filters:
Lower left door panel Stock Photos and Images
A baker blowing his horn, A baker blowing his horn. A man hangs out over a lower door and blows a horn. To the left of the door is a basket with vines., Adriaen van Ostade, 1630 - 1685, panel, oil paint (paint), h 29.1 cm × w 24 cm × t 1.7 cm d 7.0 cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-baker-blowing-his-horn-a-baker-blowing-his-horn-a-man-hangs-out-over-a-lower-door-and-blows-a-horn-to-the-left-of-the-door-is-a-basket-with-vines-adriaen-van-ostade-1630-1685-panel-oil-paint-paint-h-291-cm-w-24-cm-t-17-cm-d-70-cm-image261410136.htmlRMW58788–A baker blowing his horn, A baker blowing his horn. A man hangs out over a lower door and blows a horn. To the left of the door is a basket with vines., Adriaen van Ostade, 1630 - 1685, panel, oil paint (paint), h 29.1 cm × w 24 cm × t 1.7 cm d 7.0 cm
The supports are two oblique pillars with lion's feet connected above these by moldings. The frame has the shape of a frieze with figures, the top has the shape of cornices of an entablature. The candlestick is a variation of -2030, the pedestal having also a round shape, the lion's mask, the festoons and the brakcets being attached to it. The column is fluted. Usual background. On the reverse is part of a project, in ink, of the decoration of the entrance wall of a room. Above a door is a panel, beside it, at left, a dado and a panel. Above is an entablature and the vaulted lower part of the Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-supports-are-two-oblique-pillars-with-lions-feet-connected-above-these-by-moldings-the-frame-has-the-shape-of-a-frieze-with-figures-the-top-has-the-shape-of-cornices-of-an-entablature-the-candlestick-is-a-variation-of-2030-the-pedestal-having-also-a-round-shape-the-lions-mask-the-festoons-and-the-brakcets-being-attached-to-it-the-column-is-fluted-usual-background-on-the-reverse-is-part-of-a-project-in-ink-of-the-decoration-of-the-entrance-wall-of-a-room-above-a-door-is-a-panel-beside-it-at-left-a-dado-and-a-panel-above-is-an-entablature-and-the-vaulted-lower-part-of-the-image554749545.htmlRM2R6F0KN–The supports are two oblique pillars with lion's feet connected above these by moldings. The frame has the shape of a frieze with figures, the top has the shape of cornices of an entablature. The candlestick is a variation of -2030, the pedestal having also a round shape, the lion's mask, the festoons and the brakcets being attached to it. The column is fluted. Usual background. On the reverse is part of a project, in ink, of the decoration of the entrance wall of a room. Above a door is a panel, beside it, at left, a dado and a panel. Above is an entablature and the vaulted lower part of the
Elevations of a Door, Door Frames, Overdoor, and Adjoining Wall Panel, Mauro Antonio Tesi, Italian, 1730 - 1766, Red chalk on paper, Vertical format elevations of door, frame, overdoor, and wall panel. Two designs in the scheme of 1940-21-32. At left: suggested are a folding door with three panels in either wing, hermae as supports of the overdoor which shows a relief with children flanking an escutcheon in front of a curtain and a circular pediment with a mask. At right: two panels are suggested for the door, a trophy of arms for the lower one, a mask with rinceaux and a flower vase Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/elevations-of-a-door-door-frames-overdoor-and-adjoining-wall-panel-mauro-antonio-tesi-italian-1730-1766-red-chalk-on-paper-vertical-format-elevations-of-door-frame-overdoor-and-wall-panel-two-designs-in-the-scheme-of-1940-21-32-at-left-suggested-are-a-folding-door-with-three-panels-in-either-wing-hermae-as-supports-of-the-overdoor-which-shows-a-relief-with-children-flanking-an-escutcheon-in-front-of-a-curtain-and-a-circular-pediment-with-a-mask-at-right-two-panels-are-suggested-for-the-door-a-trophy-of-arms-for-the-lower-one-a-mask-with-rinceaux-and-a-flower-vase-image391442052.htmlRM2DMRM98–Elevations of a Door, Door Frames, Overdoor, and Adjoining Wall Panel, Mauro Antonio Tesi, Italian, 1730 - 1766, Red chalk on paper, Vertical format elevations of door, frame, overdoor, and wall panel. Two designs in the scheme of 1940-21-32. At left: suggested are a folding door with three panels in either wing, hermae as supports of the overdoor which shows a relief with children flanking an escutcheon in front of a curtain and a circular pediment with a mask. At right: two panels are suggested for the door, a trophy of arms for the lower one, a mask with rinceaux and a flower vase
Sketch of Chair and Door. Chair, with decorative arm rest, legs, and upholstery, left. Right, decorative door panel and detail of low relief, lower right. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sketch-of-chair-and-door-chair-with-decorative-arm-rest-legs-and-upholstery-left-right-decorative-door-panel-and-detail-of-low-relief-lower-right-image353505625.htmlRM2BF3G0W–Sketch of Chair and Door. Chair, with decorative arm rest, legs, and upholstery, left. Right, decorative door panel and detail of low relief, lower right.
painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-floris-verster-1902-signature-front-bottom-left-floris-verster-1902-panel-oil-paint-painted-carrier-295-457-03cm-295-457-3mm-with-frame-45-612-34cm-450-612-34mm-village-view-building-study-tree-borger-study-of-a-barn-in-borger-the-brown-wooden-door-of-the-barn-can-be-seen-in-the-middle-of-the-performance-there-is-a-wheelbarrow-to-the-right-of-the-door-in-the-foreground-to-the-left-and-right-are-trees-in-front-of-the-shed-the-trunks-and-the-lower-edge-of-the-leaves-of-the-trees-can-be-seen-signed-bottom-left-image387990109.htmlRM2DF6D9H–painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left
A Baker Sounding His Horn, Adriaen van Ostade, c. 1648 painting A bakery blends on his horn. A man hangs over a lower door and blows on a horn. On the left next door a basket with vines. panel. oil paint (paint) hornblowing baker Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-baker-sounding-his-horn-adriaen-van-ostade-c-1648-painting-a-bakery-blends-on-his-horn-a-man-hangs-over-a-lower-door-and-blows-on-a-horn-on-the-left-next-door-a-basket-with-vines-panel-oil-paint-paint-hornblowing-baker-image595572608.htmlRM2WGXJX8–A Baker Sounding His Horn, Adriaen van Ostade, c. 1648 painting A bakery blends on his horn. A man hangs over a lower door and blows on a horn. On the left next door a basket with vines. panel. oil paint (paint) hornblowing baker
Prague, St. Vitus Cathedral, Central Portal, Western Facade, Bronze Door, Lower Left Panel Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-prague-st-vitus-cathedral-central-portal-western-facade-bronze-door-43463568.htmlRMCEKX68–Prague, St. Vitus Cathedral, Central Portal, Western Facade, Bronze Door, Lower Left Panel
Detail from the Ten Commandments, Bronze Doors of the Roman Catholic Church, L'église de la Madeleine, Place de la Madeleine, Paris, France. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/detail-from-the-ten-commandments-bronze-doors-of-the-roman-catholic-church-lglise-de-la-madeleine-place-de-la-madeleine-paris-france-image342506476.htmlRM2AW6EE4–Detail from the Ten Commandments, Bronze Doors of the Roman Catholic Church, L'église de la Madeleine, Place de la Madeleine, Paris, France.
Abstract grunge background. The lower left side of the old garage door. Scratches and rust. Large rusty iron hinges with rivets. Bottom grass. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/abstract-grunge-background-the-lower-left-side-of-the-old-garage-door-scratches-and-rust-large-rusty-iron-hinges-with-rivets-bottom-grass-image273786645.htmlRFWWC1JD–Abstract grunge background. The lower left side of the old garage door. Scratches and rust. Large rusty iron hinges with rivets. Bottom grass.
A baker blowing his horn, A baker blowing his horn. A man hangs out over a lower door and blows a horn. To the left of the door is a basket with vines., Adriaen van Ostade, 1630 - 1685, panel, oil paint (paint), h 29.1 cm × w 24 cm × t 1.7 cm d 7.0 cm, 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 Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-baker-blowing-his-horn-a-baker-blowing-his-horn-a-man-hangs-out-over-a-lower-door-and-blows-a-horn-to-the-left-of-the-door-is-a-basket-with-vines-adriaen-van-ostade-1630-1685-panel-oil-paint-paint-h-291-cm-w-24-cm-t-17-cm-d-70-cm-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-image350014163.htmlRF2B9CEHR–A baker blowing his horn, A baker blowing his horn. A man hangs out over a lower door and blows a horn. To the left of the door is a basket with vines., Adriaen van Ostade, 1630 - 1685, panel, oil paint (paint), h 29.1 cm × w 24 cm × t 1.7 cm d 7.0 cm, 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.
With the right door folding. It has above and below a high rectangular panel, the upper one with the representation of the figure of a standing woman, the lower one with a hermae, both in the center of scrolls. A small oval representation, framed above by festoons, is in the interval. The overdoor consists of an oblong, divided into a central lozenge, with the figure of a standing woman and four pentagons. The lateral frame consists, at right, of a pilaster with a stem of leaves springing from a vase, and a capital with an oval medallion, at left of a fluted gaine in front of a band. On top th Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/with-the-right-door-folding-it-has-above-and-below-a-high-rectangular-panel-the-upper-one-with-the-representation-of-the-figure-of-a-standing-woman-the-lower-one-with-a-hermae-both-in-the-center-of-scrolls-a-small-oval-representation-framed-above-by-festoons-is-in-the-interval-the-overdoor-consists-of-an-oblong-divided-into-a-central-lozenge-with-the-figure-of-a-standing-woman-and-four-pentagons-the-lateral-frame-consists-at-right-of-a-pilaster-with-a-stem-of-leaves-springing-from-a-vase-and-a-capital-with-an-oval-medallion-at-left-of-a-fluted-gaine-in-front-of-a-band-on-top-th-image554746396.htmlRM2R6ETK8–With the right door folding. It has above and below a high rectangular panel, the upper one with the representation of the figure of a standing woman, the lower one with a hermae, both in the center of scrolls. A small oval representation, framed above by festoons, is in the interval. The overdoor consists of an oblong, divided into a central lozenge, with the figure of a standing woman and four pentagons. The lateral frame consists, at right, of a pilaster with a stem of leaves springing from a vase, and a capital with an oval medallion, at left of a fluted gaine in front of a band. On top th
painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-floris-verster-1902-signature-front-bottom-left-floris-verster-1902-panel-oil-paint-painted-carrier-295-457-03cm-295-457-3mm-with-frame-45-612-34cm-450-612-34mm-village-view-building-study-tree-borger-study-of-a-barn-in-borger-the-brown-wooden-door-of-the-barn-can-be-seen-in-the-middle-of-the-performance-there-is-a-wheelbarrow-to-the-right-of-the-door-in-the-foreground-to-the-left-and-right-are-trees-in-front-of-the-shed-the-trunks-and-the-lower-edge-of-the-leaves-of-the-trees-can-be-seen-signed-bottom-left-image387990146.htmlRM2DF6DAX–painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left
Door Panel Hôtel de Lauzun. Eugène Atget, photographer (French, 1857 - 1927) 1905 Detail of a carved wood door with oak leaves. (Recto, print) upper left, in pencil: 'Hôtel de Lauzun'; Upper right, in pencil: '4973'; Lower left, in pencil: 'EA 9084-Z'; Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/door-panel-htel-de-lauzun-eugne-atget-photographer-french-1857-1927-1905-detail-of-a-carved-wood-door-with-oak-leaves-recto-print-upper-left-in-pencil-htel-de-lauzun-upper-right-in-pencil-4973-lower-left-in-pencil-ea-9084-z-image599932898.htmlRM2WT18EX–Door Panel Hôtel de Lauzun. Eugène Atget, photographer (French, 1857 - 1927) 1905 Detail of a carved wood door with oak leaves. (Recto, print) upper left, in pencil: 'Hôtel de Lauzun'; Upper right, in pencil: '4973'; Lower left, in pencil: 'EA 9084-Z';
At right is a door with: 'per il / Marchese (?) / Antici', written in the opening. 'A' is written in the frame of the rectangular overdoor, in one of its panels 'C'. At left, beside the door, is a dado and a high rectangular panel between two vertical ones like bands. The main panel has a frame and a small central square, marked 'D'. Above, scrolls, below a grotesque motif. The central part of the band is marked 'A', the lower part 'B'. At right the beginning of the panel is outlined. Pen and brown ink, brush and brown wash on off-white laid paper, lined. Date: 1746-1809. Museum: Cooper Hewitt Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/at-right-is-a-door-with-per-il-marchese-antici-written-in-the-opening-a-is-written-in-the-frame-of-the-rectangular-overdoor-in-one-of-its-panels-c-at-left-beside-the-door-is-a-dado-and-a-high-rectangular-panel-between-two-vertical-ones-like-bands-the-main-panel-has-a-frame-and-a-small-central-square-marked-d-above-scrolls-below-a-grotesque-motif-the-central-part-of-the-band-is-marked-a-the-lower-part-b-at-right-the-beginning-of-the-panel-is-outlined-pen-and-brown-ink-brush-and-brown-wash-on-off-white-laid-paper-lined-date-1746-1809-museum-cooper-hewitt-image554748278.htmlRM2R6EY2E–At right is a door with: 'per il / Marchese (?) / Antici', written in the opening. 'A' is written in the frame of the rectangular overdoor, in one of its panels 'C'. At left, beside the door, is a dado and a high rectangular panel between two vertical ones like bands. The main panel has a frame and a small central square, marked 'D'. Above, scrolls, below a grotesque motif. The central part of the band is marked 'A', the lower part 'B'. At right the beginning of the panel is outlined. Pen and brown ink, brush and brown wash on off-white laid paper, lined. Date: 1746-1809. Museum: Cooper Hewitt
painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-floris-verster-1902-signature-front-bottom-left-floris-verster-1902-panel-oil-paint-painted-carrier-295-457-03cm-295-457-3mm-with-frame-45-612-34cm-450-612-34mm-village-view-building-study-tree-borger-study-of-a-barn-in-borger-the-brown-wooden-door-of-the-barn-can-be-seen-in-the-middle-of-the-performance-there-is-a-wheelbarrow-to-the-right-of-the-door-in-the-foreground-to-the-left-and-right-are-trees-in-front-of-the-shed-the-trunks-and-the-lower-edge-of-the-leaves-of-the-trees-can-be-seen-signed-bottom-left-image387990151.htmlRM2DF6DB3–painting, Floris Verster, 1902, Signature front, bottom left: Floris Verster 1902, panel, oil paint, painted, Carrier: 29.5 × 45.7 × 0.3cm (295 × 457 × 3mm), With frame: 45 61.2 × 3.4cm (450 × 612 × 34mm), village view, building, study, tree, borger, Study of a barn in Borger. The brown wooden door of the barn can be seen in the middle of the performance. There is a wheelbarrow to the right of the door. In the foreground to the left and right are trees in front of the shed. The trunks and the lower edge of the leaves of the trees can be seen. Signed bottom left
Subsema for a wall with paintwork, Daniël Marot (I), 1673 - in or before 1703 On the left, half a door is visible with an upper door panel. There is a large number of vases on the lower bosom and the corner of the door. From series of 6 magazines. print maker: Netherlands (possibly)after own design by: Netherlands (possibly)publisher: The Hague paper etching Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/subsema-for-a-wall-with-paintwork-danil-marot-i-1673-in-or-before-1703-on-the-left-half-a-door-is-visible-with-an-upper-door-panel-there-is-a-large-number-of-vases-on-the-lower-bosom-and-the-corner-of-the-door-from-series-of-6-magazines-print-maker-netherlands-possiblyafter-own-design-by-netherlands-possiblypublisher-the-hague-paper-etching-image594052813.htmlRM2WEDCBW–Subsema for a wall with paintwork, Daniël Marot (I), 1673 - in or before 1703 On the left, half a door is visible with an upper door panel. There is a large number of vases on the lower bosom and the corner of the door. From series of 6 magazines. print maker: Netherlands (possibly)after own design by: Netherlands (possibly)publisher: The Hague paper etching
CARL THEODOR REIFFENSTEIN, door panel of the portal from the church tower in Preungesheim, September 4, 1882, sheet, 152 x 108 mm, pencil on paper, door panel of the portal from the church tower in Preungesheim, CARL THEODOR REIFFENSTEIN, page, adhesive tapes, volume 38, page 23, Part number / total, 2 / 5, FRANKFURT-PREUNGESHEIM, 19TH CENTURY, DRAWING, pencil on paper, GRAPHITE-CLAY MIXTURE, PAPER, PENCIL DRAWING, GERMAN, ARCHITECTURAL STUDY, TRAVEL STUDY, Dated and inscribed lower right, in pencil, Preungesheim 4 September 1882; bottom left: On the church tower, numbered on the page above Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/carl-theodor-reiffenstein-door-panel-of-the-portal-from-the-church-tower-in-preungesheim-september-4-1882-sheet-152-x-108-mm-pencil-on-paper-door-panel-of-the-portal-from-the-church-tower-in-preungesheim-carl-theodor-reiffenstein-page-adhesive-tapes-volume-38-page-23-part-number-total-2-5-frankfurt-preungesheim-19th-century-drawing-pencil-on-paper-graphite-clay-mixture-paper-pencil-drawing-german-architectural-study-travel-study-dated-and-inscribed-lower-right-in-pencil-preungesheim-4-september-1882-bottom-left-on-the-church-tower-numbered-on-the-page-above-image573243455.htmlRM2T8HDTF–CARL THEODOR REIFFENSTEIN, door panel of the portal from the church tower in Preungesheim, September 4, 1882, sheet, 152 x 108 mm, pencil on paper, door panel of the portal from the church tower in Preungesheim, CARL THEODOR REIFFENSTEIN, page, adhesive tapes, volume 38, page 23, Part number / total, 2 / 5, FRANKFURT-PREUNGESHEIM, 19TH CENTURY, DRAWING, pencil on paper, GRAPHITE-CLAY MIXTURE, PAPER, PENCIL DRAWING, GERMAN, ARCHITECTURAL STUDY, TRAVEL STUDY, Dated and inscribed lower right, in pencil, Preungesheim 4 September 1882; bottom left: On the church tower, numbered on the page above
Upper row: at left, a pedestal of a kind stands upon the upper part of the door frame. It has at the front on ovoidal medallion with a figure, and on top the tiara upon the crossed keys. Center: the escutcheon stands upon a base, upon which garlands drag. On top are the keys and the tiara in front of a volute pediment. At right: a similar escutcheon stands in front of a couch upon a base of several moldings. Lower row: at left, the escutcheon is in front of an obliquely shown pedestal upon which an enormous helmet st ands. At right: above an entablature stands a pedestal with an escutcheon sim Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/upper-row-at-left-a-pedestal-of-a-kind-stands-upon-the-upper-part-of-the-door-frame-it-has-at-the-front-on-ovoidal-medallion-with-a-figure-and-on-top-the-tiara-upon-the-crossed-keys-center-the-escutcheon-stands-upon-a-base-upon-which-garlands-drag-on-top-are-the-keys-and-the-tiara-in-front-of-a-volute-pediment-at-right-a-similar-escutcheon-stands-in-front-of-a-couch-upon-a-base-of-several-moldings-lower-row-at-left-the-escutcheon-is-in-front-of-an-obliquely-shown-pedestal-upon-which-an-enormous-helmet-st-ands-at-right-above-an-entablature-stands-a-pedestal-with-an-escutcheon-sim-image554750393.htmlRM2R6F1P1–Upper row: at left, a pedestal of a kind stands upon the upper part of the door frame. It has at the front on ovoidal medallion with a figure, and on top the tiara upon the crossed keys. Center: the escutcheon stands upon a base, upon which garlands drag. On top are the keys and the tiara in front of a volute pediment. At right: a similar escutcheon stands in front of a couch upon a base of several moldings. Lower row: at left, the escutcheon is in front of an obliquely shown pedestal upon which an enormous helmet st ands. At right: above an entablature stands a pedestal with an escutcheon sim
City View in the Winter, Dirk Jan van der Laan, 1790 - 1813 painting Cityscape in the winter. A man with a sled and two children stand in front of a house. A man looks outside over the lower door. The boy has skating in the left hand, a stick in the right hand. Hereby also a dog. On the right, several people walk over the snow -covered streets. panel. oil paint (paint) snow. public road. winter landscape; landscape symbolizing winter (the four seasons of the year). skates (winter sports) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/city-view-in-the-winter-dirk-jan-van-der-laan-1790-1813-painting-cityscape-in-the-winter-a-man-with-a-sled-and-two-children-stand-in-front-of-a-house-a-man-looks-outside-over-the-lower-door-the-boy-has-skating-in-the-left-hand-a-stick-in-the-right-hand-hereby-also-a-dog-on-the-right-several-people-walk-over-the-snow-covered-streets-panel-oil-paint-paint-snow-public-road-winter-landscape-landscape-symbolizing-winter-the-four-seasons-of-the-year-skates-winter-sports-image595526333.htmlRM2WGTFWH–City View in the Winter, Dirk Jan van der Laan, 1790 - 1813 painting Cityscape in the winter. A man with a sled and two children stand in front of a house. A man looks outside over the lower door. The boy has skating in the left hand, a stick in the right hand. Hereby also a dog. On the right, several people walk over the snow -covered streets. panel. oil paint (paint) snow. public road. winter landscape; landscape symbolizing winter (the four seasons of the year). skates (winter sports)
CARL THEODOR REIFFENSTEIN, door panel in the Konstanz Minster, September 4, 1871, sheet, 121 x 98 mm, pencil on paper, door panel in the Konstanz Cathedral, CARL THEODOR REIFFENSTEIN, page, adhesive tapes, volume 30, page 89, part number / total, 2 / 3, CONSTANCE, LAKE BODEN, 19TH CENTURY, DRAWING, pencil on paper, GRAPHITE-CLAY MIXTURE, PAPER, PENCIL DRAWING, GERMAN, STUDY AFTER AN ARTS, ORNAMENT STUDY, TRAVEL STUDY, SKETCH, Dated and inscribed lower left, in pencil, Constance. Muenster. September 4, 1871, Door panel, numbered on the page below the drawing, in pencil, 2 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/carl-theodor-reiffenstein-door-panel-in-the-konstanz-minster-september-4-1871-sheet-121-x-98-mm-pencil-on-paper-door-panel-in-the-konstanz-cathedral-carl-theodor-reiffenstein-page-adhesive-tapes-volume-30-page-89-part-number-total-2-3-constance-lake-boden-19th-century-drawing-pencil-on-paper-graphite-clay-mixture-paper-pencil-drawing-german-study-after-an-arts-ornament-study-travel-study-sketch-dated-and-inscribed-lower-left-in-pencil-constance-muenster-september-4-1871-door-panel-numbered-on-the-page-below-the-drawing-in-pencil-2-image573240063.htmlRM2T8H9FB–CARL THEODOR REIFFENSTEIN, door panel in the Konstanz Minster, September 4, 1871, sheet, 121 x 98 mm, pencil on paper, door panel in the Konstanz Cathedral, CARL THEODOR REIFFENSTEIN, page, adhesive tapes, volume 30, page 89, part number / total, 2 / 3, CONSTANCE, LAKE BODEN, 19TH CENTURY, DRAWING, pencil on paper, GRAPHITE-CLAY MIXTURE, PAPER, PENCIL DRAWING, GERMAN, STUDY AFTER AN ARTS, ORNAMENT STUDY, TRAVEL STUDY, SKETCH, Dated and inscribed lower left, in pencil, Constance. Muenster. September 4, 1871, Door panel, numbered on the page below the drawing, in pencil, 2
Sketch of Chair and Door, Arnold William Brunner, American, 1857–1925, Graphite on paper, Chair, with decorative arm rest, legs, and upholstery, left. Right, decorative door panel and detail of low relief, lower right., USA, 1883, furniture, Drawing Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sketch-of-chair-and-door-arnold-william-brunner-american-18571925-graphite-on-paper-chair-with-decorative-arm-rest-legs-and-upholstery-left-right-decorative-door-panel-and-detail-of-low-relief-lower-right-usa-1883-furniture-drawing-image391313745.htmlRM2DMHTJW–Sketch of Chair and Door, Arnold William Brunner, American, 1857–1925, Graphite on paper, Chair, with decorative arm rest, legs, and upholstery, left. Right, decorative door panel and detail of low relief, lower right., USA, 1883, furniture, Drawing
Architectural Studies, Filippo Marchionni, Italian, 1732–1805, Charcoal, brush and sepia, black-brown watercolor on laid paper, Left row: a console with a mask; upper part of door case, laterally framed by a pilaster. A decorated panel is in the frieze above the opening. On top is an oblong framed by scrolls and halves of palmettes. Central row: upper left side of a door or window case, showing a broken pediment with a knob motif in the center. A capital supports cornices and a knob. Right row: two masks, the upper one supporting a shell, the lower one a vase with twigs., Italy, 1750–90 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/architectural-studies-filippo-marchionni-italian-17321805-charcoal-brush-and-sepia-black-brown-watercolor-on-laid-paper-left-row-a-console-with-a-mask-upper-part-of-door-case-laterally-framed-by-a-pilaster-a-decorated-panel-is-in-the-frieze-above-the-opening-on-top-is-an-oblong-framed-by-scrolls-and-halves-of-palmettes-central-row-upper-left-side-of-a-door-or-window-case-showing-a-broken-pediment-with-a-knob-motif-in-the-center-a-capital-supports-cornices-and-a-knob-right-row-two-masks-the-upper-one-supporting-a-shell-the-lower-one-a-vase-with-twigs-italy-175090-image391235600.htmlRM2DME900–Architectural Studies, Filippo Marchionni, Italian, 1732–1805, Charcoal, brush and sepia, black-brown watercolor on laid paper, Left row: a console with a mask; upper part of door case, laterally framed by a pilaster. A decorated panel is in the frieze above the opening. On top is an oblong framed by scrolls and halves of palmettes. Central row: upper left side of a door or window case, showing a broken pediment with a knob motif in the center. A capital supports cornices and a knob. Right row: two masks, the upper one supporting a shell, the lower one a vase with twigs., Italy, 1750–90
Design for a Double Door and Overdoor, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, With the right door folding. It has above and below a high rectangular panel, the upper one with the representation of the figure of a standing woman, the lower one with a hermae, both in the center of scrolls. A small oval representation, framed above by festoons, is in the interval. The overdoor consists of an oblong, divided into a central lozenge, with the figure of a standing woman and four pentagons. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-double-door-and-overdoor-giuseppe-barberi-italian-17461809-pen-and-brown-ink-brush-and-brown-wash-on-off-white-laid-paper-lined-with-the-right-door-folding-it-has-above-and-below-a-high-rectangular-panel-the-upper-one-with-the-representation-of-the-figure-of-a-standing-woman-the-lower-one-with-a-hermae-both-in-the-center-of-scrolls-a-small-oval-representation-framed-above-by-festoons-is-in-the-interval-the-overdoor-consists-of-an-oblong-divided-into-a-central-lozenge-with-the-figure-of-a-standing-woman-and-four-pentagons-image391138048.htmlRM2DM9TG0–Design for a Double Door and Overdoor, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, With the right door folding. It has above and below a high rectangular panel, the upper one with the representation of the figure of a standing woman, the lower one with a hermae, both in the center of scrolls. A small oval representation, framed above by festoons, is in the interval. The overdoor consists of an oblong, divided into a central lozenge, with the figure of a standing woman and four pentagons.
Three panels. Top left a vase with flowers on a pedestal. Top right a child with a vase and a bowl with flowers. Below a vase with flowers, flanked by two women and two children. Copy after leaf from the series Nouveaux Liure de Tableaux de Portes published by Daniel Marot between 1703 and 1712, Two vertical upper door panels and panel for above lower bosom Nouveaux Livre de Taleaux de Portes, et cheminée (series title)., Daniël Marot (I), print maker: anonymous, publisher: anonymous, after 1703 - before 1800, paper, etching, h 301 mm × w 194 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/three-panels-top-left-a-vase-with-flowers-on-a-pedestal-top-right-a-child-with-a-vase-and-a-bowl-with-flowers-below-a-vase-with-flowers-flanked-by-two-women-and-two-children-copy-after-leaf-from-the-series-nouveaux-liure-de-tableaux-de-portes-published-by-daniel-marot-between-1703-and-1712-two-vertical-upper-door-panels-and-panel-for-above-lower-bosom-nouveaux-livre-de-taleaux-de-portes-et-chemine-series-title-danil-marot-i-print-maker-anonymous-publisher-anonymous-after-1703-before-1800-paper-etching-h-301-mm-w-194-mm-image473400056.htmlRM2JE56GT–Three panels. Top left a vase with flowers on a pedestal. Top right a child with a vase and a bowl with flowers. Below a vase with flowers, flanked by two women and two children. Copy after leaf from the series Nouveaux Liure de Tableaux de Portes published by Daniel Marot between 1703 and 1712, Two vertical upper door panels and panel for above lower bosom Nouveaux Livre de Taleaux de Portes, et cheminée (series title)., Daniël Marot (I), print maker: anonymous, publisher: anonymous, after 1703 - before 1800, paper, etching, h 301 mm × w 194 mm
Design for Wall Decoration, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At right is a door with: 'per il / Marchese (?) / Antici', written in the opening. 'A' is written in the frame of the rectangular overdoor, in one of its panels 'C'. At left, beside the door, is a dado and a high rectangular panel between two vertical ones like bands. The main panel has a frame and a small central square, marked 'D'. Above, scrolls, below a grotesque motif. The central part of the band is marked 'A', the lower part 'B'. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-wall-decoration-giuseppe-barberi-italian-17461809-pen-and-brown-ink-brush-and-brown-wash-on-off-white-laid-paper-lined-at-right-is-a-door-with-per-il-marchese-antici-written-in-the-opening-a-is-written-in-the-frame-of-the-rectangular-overdoor-in-one-of-its-panels-c-at-left-beside-the-door-is-a-dado-and-a-high-rectangular-panel-between-two-vertical-ones-like-bands-the-main-panel-has-a-frame-and-a-small-central-square-marked-d-above-scrolls-below-a-grotesque-motif-the-central-part-of-the-band-is-marked-a-the-lower-part-b-image391165292.htmlRM2DMB390–Design for Wall Decoration, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At right is a door with: 'per il / Marchese (?) / Antici', written in the opening. 'A' is written in the frame of the rectangular overdoor, in one of its panels 'C'. At left, beside the door, is a dado and a high rectangular panel between two vertical ones like bands. The main panel has a frame and a small central square, marked 'D'. Above, scrolls, below a grotesque motif. The central part of the band is marked 'A', the lower part 'B'.
Design for a Sedan Chair, Brush and various water colors, pen and Chinese ink, black chalk on paper, Shown from the rear right corner with open door. On top of the roof sits the Dionysus boy upon a scroll. He has a staff with vine in his left arm and with his right hand raises the garlands which decorate the roof. Corn cobs stand at the corners from which tassels hang. A scroll rises from the lower right to the upper left superimposed garland. The upper panel of the back shows above a festoon and an intertwined garland hanging from a disk. Below, the upper sides of a triangle form garlands. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-sedan-chair-brush-and-various-water-colors-pen-and-chinese-ink-black-chalk-on-paper-shown-from-the-rear-right-corner-with-open-door-on-top-of-the-roof-sits-the-dionysus-boy-upon-a-scroll-he-has-a-staff-with-vine-in-his-left-arm-and-with-his-right-hand-raises-the-garlands-which-decorate-the-roof-corn-cobs-stand-at-the-corners-from-which-tassels-hang-a-scroll-rises-from-the-lower-right-to-the-upper-left-superimposed-garland-the-upper-panel-of-the-back-shows-above-a-festoon-and-an-intertwined-garland-hanging-from-a-disk-below-the-upper-sides-of-a-triangle-form-garlands-image391252497.htmlRM2DMF2FD–Design for a Sedan Chair, Brush and various water colors, pen and Chinese ink, black chalk on paper, Shown from the rear right corner with open door. On top of the roof sits the Dionysus boy upon a scroll. He has a staff with vine in his left arm and with his right hand raises the garlands which decorate the roof. Corn cobs stand at the corners from which tassels hang. A scroll rises from the lower right to the upper left superimposed garland. The upper panel of the back shows above a festoon and an intertwined garland hanging from a disk. Below, the upper sides of a triangle form garlands.
Each with a central main entrance and two lateral lower ones. The lower part of the ceiling is vaulted. Left row, above: beside the central opening are two Ionic columns; laterally are door openings in somewhat projecting walls; above is an entablature with, on top, figures. Figures standing above the columns and sitting putti at the ends, connected by festoons. Below: the central opening has the shape of that in a circular tent with a bunch of feathers on top. Laterally are door openings in walls. Central row, above: laterally are door openings in walls. Central row, above: laterally are door Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/each-with-a-central-main-entrance-and-two-lateral-lower-ones-the-lower-part-of-the-ceiling-is-vaulted-left-row-above-beside-the-central-opening-are-two-ionic-columns-laterally-are-door-openings-in-somewhat-projecting-walls-above-is-an-entablature-with-on-top-figures-figures-standing-above-the-columns-and-sitting-putti-at-the-ends-connected-by-festoons-below-the-central-opening-has-the-shape-of-that-in-a-circular-tent-with-a-bunch-of-feathers-on-top-laterally-are-door-openings-in-walls-central-row-above-laterally-are-door-openings-in-walls-central-row-above-laterally-are-door-image554742650.htmlRM2R6EKWE–Each with a central main entrance and two lateral lower ones. The lower part of the ceiling is vaulted. Left row, above: beside the central opening are two Ionic columns; laterally are door openings in somewhat projecting walls; above is an entablature with, on top, figures. Figures standing above the columns and sitting putti at the ends, connected by festoons. Below: the central opening has the shape of that in a circular tent with a bunch of feathers on top. Laterally are door openings in walls. Central row, above: laterally are door openings in walls. Central row, above: laterally are door
Profil de deux Venteaux de la porte Cochere (Profile of Two Venteaux of a Carriage Door), Livre de Portes Cocheres (Book of Carriage Doors), François de Cuvilliés the Elder, Belgian, active Germany, 1695 - 1768, Carl Albert von Lespilliez, German, 1723 - 1796, Nicolas Jean-Baptiste de Poilly, French, 1712–after 1758, François de Cuvilliés the Elder, Belgian, active Germany, 1695 - 1768, Engraving on paper, Design for double doors in Rococo style with two decorative upper panels. Each panel depicts a rocaille fountain topped by a dolphin spewing water and a herm. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/profil-de-deux-venteaux-de-la-porte-cochere-profile-of-two-venteaux-of-a-carriage-door-livre-de-portes-cocheres-book-of-carriage-doors-franois-de-cuvillis-the-elder-belgian-active-germany-1695-1768-carl-albert-von-lespilliez-german-1723-1796-nicolas-jean-baptiste-de-poilly-french-1712after-1758-franois-de-cuvillis-the-elder-belgian-active-germany-1695-1768-engraving-on-paper-design-for-double-doors-in-rococo-style-with-two-decorative-upper-panels-each-panel-depicts-a-rocaille-fountain-topped-by-a-dolphin-spewing-water-and-a-herm-image391575057.htmlRM2DN1NYD–Profil de deux Venteaux de la porte Cochere (Profile of Two Venteaux of a Carriage Door), Livre de Portes Cocheres (Book of Carriage Doors), François de Cuvilliés the Elder, Belgian, active Germany, 1695 - 1768, Carl Albert von Lespilliez, German, 1723 - 1796, Nicolas Jean-Baptiste de Poilly, French, 1712–after 1758, François de Cuvilliés the Elder, Belgian, active Germany, 1695 - 1768, Engraving on paper, Design for double doors in Rococo style with two decorative upper panels. Each panel depicts a rocaille fountain topped by a dolphin spewing water and a herm.
Anonymous (date unknown), Dutch, artist:in Lucas Hugensz. van Leyden (1488, 1499 resp. 1494 - 1533), copy after, Joseph tells Jacob his dreams, origin of print: after 1512, copperplate engraving, sheet size: 12.5 x 16.4 cm, upper right above door on panel inscribed and dated 'L 1512', lower left black Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/anonymous-date-unknown-dutch-artistin-lucas-hugensz-van-leyden-1488-1499-resp-1494-1533-copy-after-joseph-tells-jacob-his-dreams-origin-of-print-after-1512-copperplate-engraving-sheet-size-125-x-164-cm-upper-right-above-door-on-panel-inscribed-and-dated-l-1512-lower-left-black-image573212438.htmlRM2T8G28P–Anonymous (date unknown), Dutch, artist:in Lucas Hugensz. van Leyden (1488, 1499 resp. 1494 - 1533), copy after, Joseph tells Jacob his dreams, origin of print: after 1512, copperplate engraving, sheet size: 12.5 x 16.4 cm, upper right above door on panel inscribed and dated 'L 1512', lower left black
![The Entrance to the Mission. Doris Ulmann, photographer (American, 1882 - 1934) 1916 Full length portrait of a monk in a doorway. The left door panel is closed. The door is encased in a stone archway. (Verso, mount) upper left, in red pencil: '7 [sideways]'; Upper center, in black ink stamp: 'THIS PICTURE, THE PROPERTY OF JOHN JACOB NILES, OR HIS ESTATE, / IS ON LOAN FOR AN INDEFINITE PERIOD OF TIME TO THE LIBRARY / OF THE UNIVERSITY OF KENTUCKY, IN LEXINGTON, KENTUCKY.'; Upper center, in pencil: 'Doris Ulmann / The Entrance to the Mission'; Lower left, in green ink: '70 [circled]'; Stock Photo](https://c8.alamy.com/comp/2WT1AAW/the-entrance-to-the-mission-doris-ulmann-photographer-american-1882-1934-1916-full-length-portrait-of-a-monk-in-a-doorway-the-left-door-panel-is-closed-the-door-is-encased-in-a-stone-archway-verso-mount-upper-left-in-red-pencil-7-sideways-upper-center-in-black-ink-stamp-this-picture-the-property-of-john-jacob-niles-or-his-estate-is-on-loan-for-an-indefinite-period-of-time-to-the-library-of-the-university-of-kentucky-in-lexington-kentucky-upper-center-in-pencil-doris-ulmann-the-entrance-to-the-mission-lower-left-in-green-ink-70-circled-2WT1AAW.jpg "The Entrance to the Mission. Doris Ulmann, photographer (American, 1882 - 1934) 1916 Full length portrait of a monk in a doorway. The left door panel is closed. The door is encased in a stone archway. (Verso, mount) upper left, in red pencil: '7 [sideways]'; Upper center, in black ink stamp: 'THIS PICTURE, THE PROPERTY OF JOHN JACOB NILES, OR HIS ESTATE, / IS ON LOAN FOR AN INDEFINITE PERIOD OF TIME TO THE LIBRARY / OF THE UNIVERSITY OF KENTUCKY, IN LEXINGTON, KENTUCKY.'; Upper center, in pencil: 'Doris Ulmann / The Entrance to the Mission'; Lower left, in green ink: '70 [circled]'; Stock Photo")
The Entrance to the Mission. Doris Ulmann, photographer (American, 1882 - 1934) 1916 Full length portrait of a monk in a doorway. The left door panel is closed. The door is encased in a stone archway. (Verso, mount) upper left, in red pencil: '7 [sideways]'; Upper center, in black ink stamp: 'THIS PICTURE, THE PROPERTY OF JOHN JACOB NILES, OR HIS ESTATE, / IS ON LOAN FOR AN INDEFINITE PERIOD OF TIME TO THE LIBRARY / OF THE UNIVERSITY OF KENTUCKY, IN LEXINGTON, KENTUCKY.'; Upper center, in pencil: 'Doris Ulmann / The Entrance to the Mission'; Lower left, in green ink: '70 [circled]'; Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-entrance-to-the-mission-doris-ulmann-photographer-american-1882-1934-1916-full-length-portrait-of-a-monk-in-a-doorway-the-left-door-panel-is-closed-the-door-is-encased-in-a-stone-archway-verso-mount-upper-left-in-red-pencil-7-sideways-upper-center-in-black-ink-stamp-this-picture-the-property-of-john-jacob-niles-or-his-estate-is-on-loan-for-an-indefinite-period-of-time-to-the-library-of-the-university-of-kentucky-in-lexington-kentucky-upper-center-in-pencil-doris-ulmann-the-entrance-to-the-mission-lower-left-in-green-ink-70-circled-image599934353.htmlRM2WT1AAW–The Entrance to the Mission. Doris Ulmann, photographer (American, 1882 - 1934) 1916 Full length portrait of a monk in a doorway. The left door panel is closed. The door is encased in a stone archway. (Verso, mount) upper left, in red pencil: '7 [sideways]'; Upper center, in black ink stamp: 'THIS PICTURE, THE PROPERTY OF JOHN JACOB NILES, OR HIS ESTATE, / IS ON LOAN FOR AN INDEFINITE PERIOD OF TIME TO THE LIBRARY / OF THE UNIVERSITY OF KENTUCKY, IN LEXINGTON, KENTUCKY.'; Upper center, in pencil: 'Doris Ulmann / The Entrance to the Mission'; Lower left, in green ink: '70 [circled]';
Six Designs for Alcove Elevations, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Each with a central main entrance and two lateral lower ones. The lower part of the ceiling is vaulted. Left row, above: beside the central opening are two Ionic columns; laterally are door openings in somewhat projecting walls; above is an entablature with, on top, figures. Figures standing above the columns and sitting putti at the ends, connected by festoons. Below: the central opening has the shape of that in a circular tent Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/six-designs-for-alcove-elevations-giuseppe-barberi-italian-17461809-pen-and-brown-ink-brush-and-brown-wash-on-off-white-laid-paper-lined-each-with-a-central-main-entrance-and-two-lateral-lower-ones-the-lower-part-of-the-ceiling-is-vaulted-left-row-above-beside-the-central-opening-are-two-ionic-columns-laterally-are-door-openings-in-somewhat-projecting-walls-above-is-an-entablature-with-on-top-figures-figures-standing-above-the-columns-and-sitting-putti-at-the-ends-connected-by-festoons-below-the-central-opening-has-the-shape-of-that-in-a-circular-tent-image391104752.htmlRM2DM8A2T–Six Designs for Alcove Elevations, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Each with a central main entrance and two lateral lower ones. The lower part of the ceiling is vaulted. Left row, above: beside the central opening are two Ionic columns; laterally are door openings in somewhat projecting walls; above is an entablature with, on top, figures. Figures standing above the columns and sitting putti at the ends, connected by festoons. Below: the central opening has the shape of that in a circular tent
Projet d'une grande Pendule, from 'Oeuvre de Juste Aurele Meissonnier' ca. 1742–48 Juste Aurèle Meissonnier French Design for a large pendule hung in front of a wall panel. The pendule has a round clock dial placed in a large case built up out of rocaille ornaments. On top a winged female figure holding a garland is seated. On the left the garland is supported by the figure of a small cupid. To the left, part of a door is depicted and on the lower right three arms of a candelabra are visible.. Projet d'une grande Pendule, from 'Oeuvre de Juste Aurele Meissonnier' 428556 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/projet-dune-grande-pendule-from-oeuvre-de-juste-aurele-meissonnier-ca-174248-juste-aurle-meissonnier-french-design-for-a-large-pendule-hung-in-front-of-a-wall-panel-the-pendule-has-a-round-clock-dial-placed-in-a-large-case-built-up-out-of-rocaille-ornaments-on-top-a-winged-female-figure-holding-a-garland-is-seated-on-the-left-the-garland-is-supported-by-the-figure-of-a-small-cupid-to-the-left-part-of-a-door-is-depicted-and-on-the-lower-right-three-arms-of-a-candelabra-are-visible-projet-dune-grande-pendule-from-oeuvre-de-juste-aurele-meissonnier-428556-image458479203.htmlRM2HHWEW7–Projet d'une grande Pendule, from 'Oeuvre de Juste Aurele Meissonnier' ca. 1742–48 Juste Aurèle Meissonnier French Design for a large pendule hung in front of a wall panel. The pendule has a round clock dial placed in a large case built up out of rocaille ornaments. On top a winged female figure holding a garland is seated. On the left the garland is supported by the figure of a small cupid. To the left, part of a door is depicted and on the lower right three arms of a candelabra are visible.. Projet d'une grande Pendule, from 'Oeuvre de Juste Aurele Meissonnier' 428556
Title Page, Part 9, from an Album of Drawings belonging to Don Gaspero Méndez de Haro y Guzman, Unknown, Pen and brown ink, brush and blue-gray and brown wash, black chalk on heavy brown laid paper, lined, Vertical format architectural drawing. Two stories, the lower one with pilasters of Doric order, the upper one with pilasters of Ionic order. The door frame shows a broken pediment with an escutcheon in the center, with a winged skull on top. Laterally are niches showing statues of DEATH in front of trophies, the left one referring to worldly power, the right one to ecclesiastical Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/title-page-part-9-from-an-album-of-drawings-belonging-to-don-gaspero-mndez-de-haro-y-guzman-unknown-pen-and-brown-ink-brush-and-blue-gray-and-brown-wash-black-chalk-on-heavy-brown-laid-paper-lined-vertical-format-architectural-drawing-two-stories-the-lower-one-with-pilasters-of-doric-order-the-upper-one-with-pilasters-of-ionic-order-the-door-frame-shows-a-broken-pediment-with-an-escutcheon-in-the-center-with-a-winged-skull-on-top-laterally-are-niches-showing-statues-of-death-in-front-of-trophies-the-left-one-referring-to-worldly-power-the-right-one-to-ecclesiastical-image391723672.htmlRM2DN8FF4–Title Page, Part 9, from an Album of Drawings belonging to Don Gaspero Méndez de Haro y Guzman, Unknown, Pen and brown ink, brush and blue-gray and brown wash, black chalk on heavy brown laid paper, lined, Vertical format architectural drawing. Two stories, the lower one with pilasters of Doric order, the upper one with pilasters of Ionic order. The door frame shows a broken pediment with an escutcheon in the center, with a winged skull on top. Laterally are niches showing statues of DEATH in front of trophies, the left one referring to worldly power, the right one to ecclesiastical
Console table with candlestick, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The supports are two oblique pillars with lion's feet connected above these by moldings. The frame has the shape of a frieze with figures, the top has the shape of cornices of an entablature. The candlestick is a variation of -2030, the pedestal having also a round shape, the lion's mask, the festoons and the brakcets being attached to it. The column is fluted. Usual background. On the reverse is part of a project, in ink Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/console-table-with-candlestick-giuseppe-barberi-italian-17461809-pen-and-brown-ink-brush-and-brown-wash-on-off-white-laid-paper-lined-the-supports-are-two-oblique-pillars-with-lions-feet-connected-above-these-by-moldings-the-frame-has-the-shape-of-a-frieze-with-figures-the-top-has-the-shape-of-cornices-of-an-entablature-the-candlestick-is-a-variation-of-2030-the-pedestal-having-also-a-round-shape-the-lions-mask-the-festoons-and-the-brakcets-being-attached-to-it-the-column-is-fluted-usual-background-on-the-reverse-is-part-of-a-project-in-ink-image391163119.htmlRM2DMB0FB–Console table with candlestick, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The supports are two oblique pillars with lion's feet connected above these by moldings. The frame has the shape of a frieze with figures, the top has the shape of cornices of an entablature. The candlestick is a variation of -2030, the pedestal having also a round shape, the lion's mask, the festoons and the brakcets being attached to it. The column is fluted. Usual background. On the reverse is part of a project, in ink
