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Venice Film Festival, about 1985. Italian director Dario Argento/Mostra del Cinema di Venezia. He registered Dario Argento -
Venice Film Festival, about 1985. Italian director Dario Argento/Mostra del Cinema di Venezia. He registered Dario Argento -

MME4774470: Venice Film Festival, about 1985. Italian director Dario Argento/Mostra del Cinema di Venezia. He registered Dario Argento -, Mencarini, Marcello / Bridgeman Images

Stupinigi Palace, Nichelino (Torino), June 22, 1985. Charity event in support of cancer research/Palazzina di caccia di Stupinigi, Nichelino (Torino), 22 June 1985. Serata benefica in favore della ricerca contro il cancro -
Stupinigi Palace, Nichelino (Torino), June 22, 1985. Charity event in support of cancer research/Palazzina di caccia di Stupinigi, Nichelino (Torino), 22 June 1985. Serata benefica in favore della ricerca contro il cancro -

MME4774626: Stupinigi Palace, Nichelino (Torino), June 22, 1985. Charity event in support of cancer research/Palazzina di caccia di Stupinigi, Nichelino (Torino), 22 June 1985. Serata benefica in favore della ricerca contro il cancro -, Mencarini, Marcello / Bridgeman Images

Venice Lido, 1994. Russian writer Vladimir Voinovich/Lido di Venezia, 1994. Lo scrittore russo Vladimir Voinovich -
Venice Lido, 1994. Russian writer Vladimir Voinovich/Lido di Venezia, 1994. Lo scrittore russo Vladimir Voinovich -

MME4780767: Venice Lido, 1994. Russian writer Vladimir Voinovich/Lido di Venezia, 1994. Lo scrittore russo Vladimir Voinovich -, Mencarini, Marcello / Bridgeman Images

Venice Lido, Venice Film Festival, about 1985. Italian director Eriprando Visconti/Lido di Venezia, Mostra del Cinema di Venezia, 1985 circa. He registered Eriprando Visconti -
Venice Lido, Venice Film Festival, about 1985. Italian director Eriprando Visconti/Lido di Venezia, Mostra del Cinema di Venezia, 1985 circa. He registered Eriprando Visconti -

MME4780881: Venice Lido, Venice Film Festival, about 1985. Italian director Eriprando Visconti/Lido di Venezia, Mostra del Cinema di Venezia, 1985 circa. He registered Eriprando Visconti -, Mencarini, Marcello / Bridgeman Images

Venice Lido; Venice Film Festival 1990. American writer Gore Vidal, president of the jury/Lido di Venezia, Mostra del Cinema di Venezia 1990. Lo scrittore Gore Vidal, presidente della giuria -
Venice Lido; Venice Film Festival 1990. American writer Gore Vidal, president of the jury/Lido di Venezia, Mostra del Cinema di Venezia 1990. Lo scrittore Gore Vidal, presidente della giuria -

MME4781109: Venice Lido; Venice Film Festival 1990. American writer Gore Vidal, president of the jury/Lido di Venezia, Mostra del Cinema di Venezia 1990. Lo scrittore Gore Vidal, presidente della giuria -, Mencarini, Marcello / Bridgeman Images

Pesaro, August 18, 1984. Rossini Opera Festival. Staging of “” Il viaggio a Reims”” (The July to Reims) by Gioacchino Rossini. This is the first performance of that opera, staged by Luca Ronconi and conducted by Claudio Abbado, after the reconstruction of its manuscript, assumed lost, in the 1970s/Pesaro, 18 August 1984. Rossini Opera Festival. Messa in the scene of “” Il viaggio a Reims”” by Gioacchino Rossini. E 'la prima rappresentazione dell'opera, con la regia di Luca Ronconi e la direzione d'orchestra di Claudio Abbado, dopo il ritrovamento e la ricomposizione negli anni '70 del suo manoscritto che si credeva perduto -
Pesaro, August 18, 1984. Rossini Opera Festival. Staging of “” Il viaggio a Reims”” (The July to Reims) by Gioacchino Rossini. This is the first performance of that opera, staged by Luca Ronconi and conducted by Claudio Abbado, after the reconstruction of its manuscript, assumed lost, in the 1970s/Pesaro, 18 August 1984. Rossini Opera Festival. Messa in the scene of “” Il viaggio a Reims”” by Gioacchino Rossini. E 'la prima rappresentazione dell'opera, con la regia di Luca Ronconi e la direzione d'orchestra di Claudio Abbado, dopo il ritrovamento e la ricomposizione negli anni '70 del suo manoscritto che si credeva perduto -

MME4781255: Pesaro, August 18, 1984. Rossini Opera Festival. Staging of “” Il viaggio a Reims”” (The July to Reims) by Gioacchino Rossini. This is the first performance of that opera, staged by Luca Ronconi and conducted by Claudio Abbado, after the reconstruction of its manuscript, assumed lost, in the 1970s/Pesaro, 18 August 1984. Rossini Opera Festival. Messa in the scene of “” Il viaggio a Reims”” by Gioacchino Rossini. E 'la prima rappresentazione dell'opera, con la regia di Luca Ronconi e la direzione d'orchestra di Claudio Abbado, dopo il ritrovamento e la ricomposizione negli anni '70 del suo manoscritto che si credeva perduto -, Mencarini, Marcello / Bridgeman Images

Positano (Salerno), 1987. American opera singer Shirley Verrett and conductor Tzimon Barto/Positano (Salerno), 1987. La cantante lirica Shirley Verrett e il direttore d'orchestra Tzimon Barto-
Positano (Salerno), 1987. American opera singer Shirley Verrett and conductor Tzimon Barto/Positano (Salerno), 1987. La cantante lirica Shirley Verrett e il direttore d'orchestra Tzimon Barto-

MME4781621: Positano (Salerno), 1987. American opera singer Shirley Verrett and conductor Tzimon Barto/Positano (Salerno), 1987. La cantante lirica Shirley Verrett e il direttore d'orchestra Tzimon Barto-, Mencarini, Marcello / Bridgeman Images

Egyptian woman with sacred sistrum rattle and simpulum ladle, and priestess with statue of Harpocrates, the god of silence. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796).
Egyptian woman with sacred sistrum rattle and simpulum ladle, and priestess with statue of Harpocrates, the god of silence. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796).

FLO4703373: Egyptian woman with sacred sistrum rattle and simpulum ladle, and priestess with statue of Harpocrates, the god of silence. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796). / Bridgeman Images

Italian director Federico Fellini at the award of the Golden Lion to Marcello Mastroianni at the 1990 Venice Festival.
Italian director Federico Fellini at the award of the Golden Lion to Marcello Mastroianni at the 1990 Venice Festival.

MME4703433: Italian director Federico Fellini at the award of the Golden Lion to Marcello Mastroianni at the 1990 Venice Festival., Mencarini, Marcello / Bridgeman Images

Comedians Marcello Mastroianni and Jeanne Moreau at the Cannes Film Festival in 1991.
Comedians Marcello Mastroianni and Jeanne Moreau at the Cannes Film Festival in 1991.

MME4703449: Comedians Marcello Mastroianni and Jeanne Moreau at the Cannes Film Festival in 1991., Mencarini, Marcello / Bridgeman Images

Blues musician John Mayall on stage in 1988.
Blues musician John Mayall on stage in 1988.

MME4703514: Blues musician John Mayall on stage in 1988., Mencarini, Marcello / Bridgeman Images

Alberto I Canfrancesco della Scala (1291-1329), war name Cangrande della Scala, lord of Verona and mecene of Dante Alighieri (1265-1321) - Cangrande della Scala, lord of Verona, 14th center- He wears a blue cap, pink cape with hanging sleeves lined with fur, belted scarlet robe, gauntlets and holds a blue two-handed sword in scabbard - From his sarcophagus in the church of Santa Maria Antica, Verona - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860
Alberto I Canfrancesco della Scala (1291-1329), war name Cangrande della Scala, lord of Verona and mecene of Dante Alighieri (1265-1321) - Cangrande della Scala, lord of Verona, 14th center- He wears a blue cap, pink cape with hanging sleeves lined with fur, belted scarlet robe, gauntlets and holds a blue two-handed sword in scabbard - From his sarcophagus in the church of Santa Maria Antica, Verona - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860

FLO4676799: Alberto I Canfrancesco della Scala (1291-1329), war name Cangrande della Scala, lord of Verona and mecene of Dante Alighieri (1265-1321) - Cangrande della Scala, lord of Verona, 14th center- He wears a blue cap, pink cape with hanging sleeves lined with fur, belted scarlet robe, gauntlets and holds a blue two-handed sword in scabbard - From his sarcophagus in the church of Santa Maria Antica, Verona - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860, Mercuri, Paolo (1804-84) / Bridgeman Images

Suit d'un homme jeif, 14eme century - Jewish man, 14th century - He wears a white hood, yellow cape with gold embroidery, green robe, red belt and shoes - From a painting by Sano di Pietro in the Academy of Fine Arts, Siena - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860
Suit d'un homme jeif, 14eme century - Jewish man, 14th century - He wears a white hood, yellow cape with gold embroidery, green robe, red belt and shoes - From a painting by Sano di Pietro in the Academy of Fine Arts, Siena - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860

FLO4676850: Suit d'un homme jeif, 14eme century - Jewish man, 14th century - He wears a white hood, yellow cape with gold embroidery, green robe, red belt and shoes - From a painting by Sano di Pietro in the Academy of Fine Arts, Siena - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1860, Mercuri, Paolo (1804-84) / Bridgeman Images

Costume d'une femme de la nobility Siennoise (Italy), 14th century - Noble woman of Siena, in luxurious crown of gold, silver necklace and fringed violet dress, from a painting by Domenico Bartoli, 14th century - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1861
Costume d'une femme de la nobility Siennoise (Italy), 14th century - Noble woman of Siena, in luxurious crown of gold, silver necklace and fringed violet dress, from a painting by Domenico Bartoli, 14th century - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1861

FLO4676980: Costume d'une femme de la nobility Siennoise (Italy), 14th century - Noble woman of Siena, in luxurious crown of gold, silver necklace and fringed violet dress, from a painting by Domenico Bartoli, 14th century - Handcoloured illustration drawn and lithographed by Paul Mercuri with text by Camille Bonnard from “” Historical Costumes from the 12th to 15th Centuries,”” Levy Fils, Paris, 1861, Mercuri, Paolo (1804-84) / Bridgeman Images

English royal valet in hunting wear, 14th century. He wears a purple leotard, green hose and cracows or foals. From his shoulder hangs a horn to call the dogs, and on his belt is a dagger to skin game. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
English royal valet in hunting wear, 14th century. He wears a purple leotard, green hose and cracows or foals. From his shoulder hangs a horn to call the dogs, and on his belt is a dagger to skin game. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4673715: English royal valet in hunting wear, 14th century. He wears a purple leotard, green hose and cracows or foals. From his shoulder hangs a horn to call the dogs, and on his belt is a dagger to skin game. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

French bourgeois, 14th century. He wears a red bonnet, yellow mantelet with hood turned down, and robe in scarlet wool, yellow shoes. He wears a yellow purse on his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
French bourgeois, 14th century. He wears a red bonnet, yellow mantelet with hood turned down, and robe in scarlet wool, yellow shoes. He wears a yellow purse on his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4673756: French bourgeois, 14th century. He wears a red bonnet, yellow mantelet with hood turned down, and robe in scarlet wool, yellow shoes. He wears a yellow purse on his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

Executioner, 9th century. He wears a sleeveless tunic with belt, laced sandals up to the calf, and holds an axe. From a manuscript in the king's library. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
Executioner, 9th century. He wears a sleeveless tunic with belt, laced sandals up to the calf, and holds an axe. From a manuscript in the king's library. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4673840: Executioner, 9th century. He wears a sleeveless tunic with belt, laced sandals up to the calf, and holds an axe. From a manuscript in the king's library. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

French soldier, 9th century. He wears a Phrygian cap, chlamys, short chainmail armour over a tunic, stockings and shoes laced to the calf. He carries a lance and buckler (shield). Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
French soldier, 9th century. He wears a Phrygian cap, chlamys, short chainmail armour over a tunic, stockings and shoes laced to the calf. He carries a lance and buckler (shield). Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4673873: French soldier, 9th century. He wears a Phrygian cap, chlamys, short chainmail armour over a tunic, stockings and shoes laced to the calf. He carries a lance and buckler (shield). Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

King Pyrrhus in Greek armour and a Greek warrior with chariot, harness and lance. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796).
King Pyrrhus in Greek armour and a Greek warrior with chariot, harness and lance. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796).

FLO4703811: King Pyrrhus in Greek armour and a Greek warrior with chariot, harness and lance. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1796). / Bridgeman Images

French singer Gilbert Montagne at the Sanremo Festival in 1990
French singer Gilbert Montagne at the Sanremo Festival in 1990

MME4704092: French singer Gilbert Montagne at the Sanremo Festival in 1990, Mencarini, Marcello / Bridgeman Images

Fashionable women in decollete dresses playing the game of hide and seek in a garden. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
Fashionable women in decollete dresses playing the game of hide and seek in a garden. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677559: Fashionable women in decollete dresses playing the game of hide and seek in a garden. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images

Bertha, daughter of King Lothair II and his concubine Waldrada, 863-925. She wears a veil tied at the throat, and two tunics, the top one with gold cuffs. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
Bertha, daughter of King Lothair II and his concubine Waldrada, 863-925. She wears a veil tied at the throat, and two tunics, the top one with gold cuffs. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4673967: Bertha, daughter of King Lothair II and his concubine Waldrada, 863-925. She wears a veil tied at the throat, and two tunics, the top one with gold cuffs. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

Military costume, 12th century. Knight in red cape, white tunic, over chainmail suit of armour and plate greaves, spurs and gauntlets. His arms include sword and dagger. His “” nasal”” helmet features a chainmail gorgerin and a strip of leather and armour to protect the nose. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
Military costume, 12th century. Knight in red cape, white tunic, over chainmail suit of armour and plate greaves, spurs and gauntlets. His arms include sword and dagger. His “” nasal”” helmet features a chainmail gorgerin and a strip of leather and armour to protect the nose. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4674272: Military costume, 12th century. Knight in red cape, white tunic, over chainmail suit of armour and plate greaves, spurs and gauntlets. His arms include sword and dagger. His “” nasal”” helmet features a chainmail gorgerin and a strip of leather and armour to protect the nose. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

Raymond V, Count of Toulouse, (Raymond V de Toulouse) 1134-1194. He wears a skullcap, short sayon (jacket), doublet, and stockings and gauntlets. He wears a dagger or misericorde from his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
Raymond V, Count of Toulouse, (Raymond V de Toulouse) 1134-1194. He wears a skullcap, short sayon (jacket), doublet, and stockings and gauntlets. He wears a dagger or misericorde from his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4674295: Raymond V, Count of Toulouse, (Raymond V de Toulouse) 1134-1194. He wears a skullcap, short sayon (jacket), doublet, and stockings and gauntlets. He wears a dagger or misericorde from his belt. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

Agnes de la Queue, first wife of Erost de Treinel, 13th century. She wears a long tunic, cotte bold, furlined cape, yellow pointed shoes. Her veil is tied under the chin, passed through her bonnet, and draped to the shoulders. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.
Agnes de la Queue, first wife of Erost de Treinel, 13th century. She wears a long tunic, cotte bold, furlined cape, yellow pointed shoes. Her veil is tied under the chin, passed through her bonnet, and draped to the shoulders. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834.

FLO4674332: Agnes de la Queue, first wife of Erost de Treinel, 13th century. She wears a long tunic, cotte bold, furlined cape, yellow pointed shoes. Her veil is tied under the chin, passed through her bonnet, and draped to the shoulders. Handcoloured copperplate drawn and engraved by Leopold Massard from “” French Costumes from KingClovis to Our Days,”” Massard, Mifliez, Paris, 1834., Massard, Leopold (1812-1889) / Bridgeman Images

Median king and Persian king seated on a throne and holding a sceptre. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797).
Median king and Persian king seated on a throne and holding a sceptre. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797).

FLO4704211: Median king and Persian king seated on a throne and holding a sceptre. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797). / Bridgeman Images

Portrait of mathematician Pierre Soury in 1980.
Portrait of mathematician Pierre Soury in 1980.

MME4704292: Portrait of mathematician Pierre Soury in 1980., Mencarini, Marcello / Bridgeman Images

The shrouded body of Jesus Christ being carried into the tomb. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797).
The shrouded body of Jesus Christ being carried into the tomb. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797).

FLO4704338: The shrouded body of Jesus Christ being carried into the tomb. Handcolored copperplate engraving from Robert von Spalart's “” Historical Picture of the Costumes of the Principal People of Antiquity and of the Middle Ages”” (1797). / Bridgeman Images

Dioscuride di Samo, Coat of arms/crest/emblem with itinerant musicians, Italy, Campania 2nd Century, mosaic floor (mosaic)
Dioscuride di Samo, Coat of arms/crest/emblem with itinerant musicians, Italy, Campania 2nd Century, mosaic floor (mosaic)

MEP4704364: Dioscuride di Samo, Coat of arms/crest/emblem with itinerant musicians, Italy, Campania 2nd Century, mosaic floor (mosaic) / Bridgeman Images

Violinist Isaac Stern in 1995.
Violinist Isaac Stern in 1995.

MME4704427: Violinist Isaac Stern in 1995., Mencarini, Marcello / Bridgeman Images

Violinist Isaac Stern in 1995.
Violinist Isaac Stern in 1995.

MME4704482: Violinist Isaac Stern in 1995., Mencarini, Marcello / Bridgeman Images

Street entertainer using a baton to remove a coin from a woman's nose without touching her nose. Audience of fashionable women in bonnets, shawls and dresses with frills. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
Street entertainer using a baton to remove a coin from a woman's nose without touching her nose. Audience of fashionable women in bonnets, shawls and dresses with frills. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677632: Street entertainer using a baton to remove a coin from a woman's nose without touching her nose. Audience of fashionable women in bonnets, shawls and dresses with frills. Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images

Breakfast. Gentlemen in coat tails and breeches and ladies in veils and dresses share a breakfast of coffee and bread. Great familiarity reigns in the morning, one has no time to become ceremonial, breakfast is the honest meal.” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
Breakfast. Gentlemen in coat tails and breeches and ladies in veils and dresses share a breakfast of coffee and bread. Great familiarity reigns in the morning, one has no time to become ceremonial, breakfast is the honest meal.” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677718: Breakfast. Gentlemen in coat tails and breeches and ladies in veils and dresses share a breakfast of coffee and bread. Great familiarity reigns in the morning, one has no time to become ceremonial, breakfast is the honest meal.” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images

A woman is pampered by her seamstress, her clothes seller, her hairdresser and two chambermaids. As Montesquieu said, “” For one man to live deliciously, one hundred others must work tirelessly.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
A woman is pampered by her seamstress, her clothes seller, her hairdresser and two chambermaids. As Montesquieu said, “” For one man to live deliciously, one hundred others must work tirelessly.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677735: A woman is pampered by her seamstress, her clothes seller, her hairdresser and two chambermaids. As Montesquieu said, “” For one man to live deliciously, one hundred others must work tirelessly.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images

Evening party at Coblenz (between rue Taitbout and rue Neuve-Lepelletier, Paris). A group of women and children (including a black woman) sit listening to music from a hurdygurdy man and woman with tambourine. “” In 1791-1792, the previously unfashionable Boulevard des Italians became the favorite promenade for the royalist partisans. To be seen there was a public profession of aristocracy, an enlistment in the army of the princes, an espousal of the interests and opinions of the French refugees in Koblentz. After 1795, it became the fashionable place for incredible, wonderful, and muscadins. At night from 6 til midnight, up to 4,000 people jostled, elbowed and bumped along this street.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
Evening party at Coblenz (between rue Taitbout and rue Neuve-Lepelletier, Paris). A group of women and children (including a black woman) sit listening to music from a hurdygurdy man and woman with tambourine. “” In 1791-1792, the previously unfashionable Boulevard des Italians became the favorite promenade for the royalist partisans. To be seen there was a public profession of aristocracy, an enlistment in the army of the princes, an espousal of the interests and opinions of the French refugees in Koblentz. After 1795, it became the fashionable place for incredible, wonderful, and muscadins. At night from 6 til midnight, up to 4,000 people jostled, elbowed and bumped along this street.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677876: Evening party at Coblenz (between rue Taitbout and rue Neuve-Lepelletier, Paris). A group of women and children (including a black woman) sit listening to music from a hurdygurdy man and woman with tambourine. “” In 1791-1792, the previously unfashionable Boulevard des Italians became the favorite promenade for the royalist partisans. To be seen there was a public profession of aristocracy, an enlistment in the army of the princes, an espousal of the interests and opinions of the French refugees in Koblentz. After 1795, it became the fashionable place for incredible, wonderful, and muscadins. At night from 6 til midnight, up to 4,000 people jostled, elbowed and bumped along this street.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images

Three graces of the Ballet of**. Elegant ballet dancers in costume (one in turban and shawl, one with tambourine and dress decorated with flowers, and one with a basket and long plaits tied with ribbons). “” Each movement betrays a form: arms, shoulders, throat, legs, feet all are naked or appear so.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.
Three graces of the Ballet of**. Elegant ballet dancers in costume (one in turban and shawl, one with tambourine and dress decorated with flowers, and one with a basket and long plaits tied with ribbons). “” Each movement betrays a form: arms, shoulders, throat, legs, feet all are naked or appear so.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817.

FLO4677921: Three graces of the Ballet of**. Elegant ballet dancers in costume (one in turban and shawl, one with tambourine and dress decorated with flowers, and one with a basket and long plaits tied with ribbons). “” Each movement betrays a form: arms, shoulders, throat, legs, feet all are naked or appear so.”” Handcoloured engraving from Pierre de la Mesanger's Le Bon Genre, Paris, 1817. / Bridgeman Images


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