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Etruscan civilization: female bronze statuette from Brolio. 550 BC. Dim. 36 cm Florence, Museo Archeologico, inv. 561
Etruscan civilization: female bronze statuette from Brolio. 550 BC. Dim. 36 cm Florence, Museo Archeologico, inv. 561

LRI4689650: Etruscan civilization: female bronze statuette from Brolio. 550 BC. Dim. 36 cm Florence, Museo Archeologico, inv. 561, Etruscan, (6th century BC) / Bridgeman Images

ID: LRI4689650

Etruscan civilization: female bronze statuette from Brolio. 550 BC. Dim. 36 cm Florence, Museo Archeologico, inv. 561

Etruscan, (6th century BC)

Etruscan civilization: “” gold earrings”” From the tomb of the Flabelli, Populonia, Italy - 6th century BC Florence, Museo Archeologico
Etruscan civilization: “” gold earrings”” From the tomb of the Flabelli, Populonia, Italy - 6th century BC Florence, Museo Archeologico

LRI4689653: Etruscan civilization: “” gold earrings”” From the tomb of the Flabelli, Populonia, Italy - 6th century BC Florence, Museo Archeologico, Etruscan, (6th century BC) / Bridgeman Images

ID: LRI4689653

Etruscan civilization: “” gold earrings”” From the tomb of the Flabelli, Populonia, Italy - 6th century BC Florence, Museo Archeologico

Etruscan, (6th century BC)

Etruscan civilization: bronze tripod in the shape of lion's foot (leg) - 480-460 BC Dim 27.5 cm Florence, Museo Archeologico, inv 710
Etruscan civilization: bronze tripod in the shape of lion's foot (leg) - 480-460 BC Dim 27.5 cm Florence, Museo Archeologico, inv 710

LRI4689631: Etruscan civilization: bronze tripod in the shape of lion's foot (leg) - 480-460 BC Dim 27.5 cm Florence, Museo Archeologico, inv 710, Etruscan, (5th century BC) / Bridgeman Images

ID: LRI4689631

Etruscan civilization: bronze tripod in the shape of lion's foot (leg) - 480-460 BC Dim 27.5 cm Florence, Museo Archeologico, inv 710

Etruscan, (5th century BC)

Half-free morel, Morchella semilibera, jelly baby, Leotia lubrica, and false morel, Verpa digitaliformis. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.
Half-free morel, Morchella semilibera, jelly baby, Leotia lubrica, and false morel, Verpa digitaliformis. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

FLO4689657: Half-free morel, Morchella semilibera, jelly baby, Leotia lubrica, and false morel, Verpa digitaliformis. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910. / Bridgeman Images

ID: FLO4689657

Half-free morel, Morchella semilibera, jelly baby, Leotia lubrica, and false morel, Verpa digitaliformis. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

Etruscan civilization: “” two pieces aureus””” 5th century BC Provenance unknown Florence, Museo Archeologico, inv 36246 - Etruscan civilization: two aureus coins, 5th century BC. Unknown provenance. Museum of Archaeology, inv 36246, Florence, Italy
Etruscan civilization: “” two pieces aureus””” 5th century BC Provenance unknown Florence, Museo Archeologico, inv 36246 - Etruscan civilization: two aureus coins, 5th century BC. Unknown provenance. Museum of Archaeology, inv 36246, Florence, Italy

LRI4689688: Etruscan civilization: “” two pieces aureus””” 5th century BC Provenance unknown Florence, Museo Archeologico, inv 36246 - Etruscan civilization: two aureus coins, 5th century BC. Unknown provenance. Museum of Archaeology, inv 36246, Florence, Italy, Etruscan, (5th century BC) / Bridgeman Images

ID: LRI4689688

Etruscan civilization: “” two pieces aureus””” 5th century BC Provenance unknown Florence, Museo Archeologico, inv 36246 - Etruscan civilization: two aureus coins, 5th century BC. Unknown provenance. Museum of Archaeology, inv 36246, Florence, Italy

Etruscan, (5th century BC)

Edible mushrooms: Tricholoma pessundatum, Tricholoma panaeolum. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.
Edible mushrooms: Tricholoma pessundatum, Tricholoma panaeolum. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

FLO4689715: Edible mushrooms: Tricholoma pessundatum, Tricholoma panaeolum. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911. / Bridgeman Images

ID: FLO4689715

Edible mushrooms: Tricholoma pessundatum, Tricholoma panaeolum. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

Poisonous mushrooms: milkcap, Lactarius scrobiculatus, and birch milkcap, L. theiogalus, L. tabidus. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.
Poisonous mushrooms: milkcap, Lactarius scrobiculatus, and birch milkcap, L. theiogalus, L. tabidus. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

FLO4689747: Poisonous mushrooms: milkcap, Lactarius scrobiculatus, and birch milkcap, L. theiogalus, L. tabidus. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911. / Bridgeman Images

ID: FLO4689747

Poisonous mushrooms: milkcap, Lactarius scrobiculatus, and birch milkcap, L. theiogalus, L. tabidus. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

Livid entoloma or livid agaric, Entoloma sinuatum (Entoloma lividum). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.
Livid entoloma or livid agaric, Entoloma sinuatum (Entoloma lividum). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

FLO4689906: Livid entoloma or livid agaric, Entoloma sinuatum (Entoloma lividum). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910. / Bridgeman Images

ID: FLO4689906

Livid entoloma or livid agaric, Entoloma sinuatum (Entoloma lividum). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

Rufous or red milkcap, Lactarius rufus, weeping milkcap, Lactifluus volemus, Lactarius volemus, mild milkcap, Lactarius subdulcis and candy cap or curry milkcap, Lactarius camphoratus. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.
Rufous or red milkcap, Lactarius rufus, weeping milkcap, Lactifluus volemus, Lactarius volemus, mild milkcap, Lactarius subdulcis and candy cap or curry milkcap, Lactarius camphoratus. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

FLO4689786: Rufous or red milkcap, Lactarius rufus, weeping milkcap, Lactifluus volemus, Lactarius volemus, mild milkcap, Lactarius subdulcis and candy cap or curry milkcap, Lactarius camphoratus. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910. / Bridgeman Images

ID: FLO4689786

Rufous or red milkcap, Lactarius rufus, weeping milkcap, Lactifluus volemus, Lactarius volemus, mild milkcap, Lactarius subdulcis and candy cap or curry milkcap, Lactarius camphoratus. Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

Edible mushrooms: Dryad's saddle, Polyporus squamosus, Polyporus pes caprae. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.
Edible mushrooms: Dryad's saddle, Polyporus squamosus, Polyporus pes caprae. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

FLO4689999: Edible mushrooms: Dryad's saddle, Polyporus squamosus, Polyporus pes caprae. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911. / Bridgeman Images

ID: FLO4689999

Edible mushrooms: Dryad's saddle, Polyporus squamosus, Polyporus pes caprae. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

Chalice of brown paste from the tomb of the bronze tank, 680-670 BC
Chalice of brown paste from the tomb of the bronze tank, 680-670 BC

LRI4689830: Chalice of brown paste from the tomb of the bronze tank, 680-670 BC, Etruscan, (7th century BC) / Bridgeman Images

ID: LRI4689830

Chalice of brown paste from the tomb of the bronze tank, 680-670 BC

Etruscan, (7th century BC)

Austrian pink copper. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.
Austrian pink copper. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

FLO4690021: Austrian pink copper. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years. / Bridgeman Images

ID: FLO4690021

Austrian pink copper. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

The skeleton of Death guides a group of tourists through the Catacombs in Paris. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death guides a group of tourists through the Catacombs in Paris. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690146: The skeleton of Death guides a group of tourists through the Catacombs in Paris. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690146

The skeleton of Death guides a group of tourists through the Catacombs in Paris. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

Etruscan civilization: “” Alabastre””” Upper part in plaster shaped woman with long hair 600-550 BC Dim 24.5 cm From the tomb of the Flabelli a Populonia, Italy - Florence Museo Archeologico inv 89293 b
Etruscan civilization: “” Alabastre””” Upper part in plaster shaped woman with long hair 600-550 BC Dim 24.5 cm From the tomb of the Flabelli a Populonia, Italy - Florence Museo Archeologico inv 89293 b

LRI4689764: Etruscan civilization: “” Alabastre””” Upper part in plaster shaped woman with long hair 600-550 BC Dim 24.5 cm From the tomb of the Flabelli a Populonia, Italy - Florence Museo Archeologico inv 89293 b, Etruscan, (6th century BC) / Bridgeman Images

ID: LRI4689764

Etruscan civilization: “” Alabastre””” Upper part in plaster shaped woman with long hair 600-550 BC Dim 24.5 cm From the tomb of the Flabelli a Populonia, Italy - Florence Museo Archeologico inv 89293 b

Etruscan, (6th century BC)

Coincap mushroom, Collybia grammocephela. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.
Coincap mushroom, Collybia grammocephela. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

FLO4689851: Coincap mushroom, Collybia grammocephela. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911. / Bridgeman Images

ID: FLO4689851

Coincap mushroom, Collybia grammocephela. Chromolithograph drawn by Bessin for Leon Rolland's “Atlas of Mushrooms”” 1911.

Cyclomyces setiporus (Polyporus intybaceus) and birch polypore, Piptoporus betulinus (Polyporus betulinus). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.
Cyclomyces setiporus (Polyporus intybaceus) and birch polypore, Piptoporus betulinus (Polyporus betulinus). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

FLO4690003: Cyclomyces setiporus (Polyporus intybaceus) and birch polypore, Piptoporus betulinus (Polyporus betulinus). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910. / Bridgeman Images

ID: FLO4690003

Cyclomyces setiporus (Polyporus intybaceus) and birch polypore, Piptoporus betulinus (Polyporus betulinus). Chromolithograph by Lassus after an illustration by A. Bessin from Leon Rolland's Guide to Mushrooms from France, Switzerland and Belgium, Atlas des Mushrooms, Paul Klincksieck, Paris, 1910.

Pride of Waltham pink hybrid pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.
Pride of Waltham pink hybrid pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

FLO4690054: Pride of Waltham pink hybrid pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years. / Bridgeman Images

ID: FLO4690054

Pride of Waltham pink hybrid pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

Duchess of Bedford, hybrid crimson pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.
Duchess of Bedford, hybrid crimson pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

FLO4690087: Duchess of Bedford, hybrid crimson pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years. / Bridgeman Images

ID: FLO4690087

Duchess of Bedford, hybrid crimson pink. Chromolithograph by Georges Severeyns from an illustration by Walter H. Fitch from William Paul's “The Rose Garden in two divisions,” London, 1888. First issued in 1848 with 15 colored plates, “” The Rose Garden”” soon became a standard work on roses and ran to 10 editions, the last in 1903. The illustrations for the 9th edition were by Walter Fitch, the famous artist who illustrated Curtis' “” Botanical Magazine”” for many years.

The skeleton of Death sits in the porter's chair of a great house, as the terrified servants come down the stairs to investigate. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death sits in the porter's chair of a great house, as the terrified servants come down the stairs to investigate. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690164: The skeleton of Death sits in the porter's chair of a great house, as the terrified servants come down the stairs to investigate. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690164

The skeleton of Death sits in the porter's chair of a great house, as the terrified servants come down the stairs to investigate. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The skeleton of Death boxes with a bareknuckle prize fighter while another boxer lies on the ground and the crowd flees in terror. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death boxes with a bareknuckle prize fighter while another boxer lies on the ground and the crowd flees in terror. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690171: The skeleton of Death boxes with a bareknuckle prize fighter while another boxer lies on the ground and the crowd flees in terror. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690171

The skeleton of Death boxes with a bareknuckle prize fighter while another boxer lies on the ground and the crowd flees in terror. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The skeleton of Death fights with gentlemen gamblers in the Chance room at a London gaming club. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death fights with gentlemen gamblers in the Chance room at a London gaming club. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690198: The skeleton of Death fights with gentlemen gamblers in the Chance room at a London gaming club. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690198

The skeleton of Death fights with gentlemen gamblers in the Chance room at a London gaming club. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The twelve Apotres Detail of a fresco of the school of Siena. 14th century. Monastery of St. Benedict (Sacro Speco), Superior Church in Subiaco (Rome), Italy
The twelve Apotres Detail of a fresco of the school of Siena. 14th century. Monastery of St. Benedict (Sacro Speco), Superior Church in Subiaco (Rome), Italy

LRI4690207: The twelve Apotres Detail of a fresco of the school of Siena. 14th century. Monastery of St. Benedict (Sacro Speco), Superior Church in Subiaco (Rome), Italy, Sienese School, (14th century) / Bridgeman Images

ID: LRI4690207

The twelve Apotres Detail of a fresco of the school of Siena. 14th century. Monastery of St. Benedict (Sacro Speco), Superior Church in Subiaco (Rome), Italy

Sienese School, (14th century)

The skeleton of Death rides with a man toward the betting post on a racetrack, while children play a game of lotto. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death rides with a man toward the betting post on a racetrack, while children play a game of lotto. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690214: The skeleton of Death rides with a man toward the betting post on a racetrack, while children play a game of lotto. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690214

The skeleton of Death rides with a man toward the betting post on a racetrack, while children play a game of lotto. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The skeleton of Death helps a large matron onto the fatal Last Stage. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death helps a large matron onto the fatal Last Stage. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690445: The skeleton of Death helps a large matron onto the fatal Last Stage. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690445

The skeleton of Death helps a large matron onto the fatal Last Stage. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The skeleton of Death paints a portrait of an Alderman, while his young servant girl flirts with a gallant artist behind the screen. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death paints a portrait of an Alderman, while his young servant girl flirts with a gallant artist behind the screen. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690501: The skeleton of Death paints a portrait of an Alderman, while his young servant girl flirts with a gallant artist behind the screen. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690501

The skeleton of Death paints a portrait of an Alderman, while his young servant girl flirts with a gallant artist behind the screen. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The Water Party: tourists abandon a sea voyage due to bad weather. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.
The Water Party: tourists abandon a sea voyage due to bad weather. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

FLO4690631: The Water Party: tourists abandon a sea voyage due to bad weather. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690631

The Water Party: tourists abandon a sea voyage due to bad weather. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

Rowlandson, Thomas (1756-1827)

Parrots: tricolor ara and banksian or Banks cacatoes. Lithogaphie de Guyard d'apres une illustration de Jean Gabriel Pretre (1780-1845), published in Dictionnaire des sciences naturelles, by Antoine Jussieu (1686-1758), Paris, edition Levrault, 1816-1830.
Parrots: tricolor ara and banksian or Banks cacatoes. Lithogaphie de Guyard d'apres une illustration de Jean Gabriel Pretre (1780-1845), published in Dictionnaire des sciences naturelles, by Antoine Jussieu (1686-1758), Paris, edition Levrault, 1816-1830.

FLO4690638: Parrots: tricolor ara and banksian or Banks cacatoes. Lithogaphie de Guyard d'apres une illustration de Jean Gabriel Pretre (1780-1845), published in Dictionnaire des sciences naturelles, by Antoine Jussieu (1686-1758), Paris, edition Levrault, 1816-1830. / Bridgeman Images

ID: FLO4690638

Parrots: tricolor ara and banksian or Banks cacatoes. Lithogaphie de Guyard d'apres une illustration de Jean Gabriel Pretre (1780-1845), published in Dictionnaire des sciences naturelles, by Antoine Jussieu (1686-1758), Paris, edition Levrault, 1816-1830.

The skeleton of Death as a priest celebrating the wedding between a young woman and an ugly old man. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death as a priest celebrating the wedding between a young woman and an ugly old man. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690212: The skeleton of Death as a priest celebrating the wedding between a young woman and an ugly old man. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690212

The skeleton of Death as a priest celebrating the wedding between a young woman and an ugly old man. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The miracle of Saint Placidus: Saint Benedict of Nursie saves the young Placidus caught in the stream of a lake. 13th century (fresco)
The miracle of Saint Placidus: Saint Benedict of Nursie saves the young Placidus caught in the stream of a lake. 13th century (fresco)

LRI4690283: The miracle of Saint Placidus: Saint Benedict of Nursie saves the young Placidus caught in the stream of a lake. 13th century (fresco), Consolo (Magister Conxolus) (13th century) / Bridgeman Images

ID: LRI4690283

The miracle of Saint Placidus: Saint Benedict of Nursie saves the young Placidus caught in the stream of a lake. 13th century (fresco)

Consolo (Magister Conxolus) (13th century)

The skeleton of Death holds the rudder on a rowboat escaping a shipwreck, as its desparate crew row for the shore and passengers drown in the waves. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death holds the rudder on a rowboat escaping a shipwreck, as its desparate crew row for the shore and passengers drown in the waves. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690317: The skeleton of Death holds the rudder on a rowboat escaping a shipwreck, as its desparate crew row for the shore and passengers drown in the waves. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690317

The skeleton of Death holds the rudder on a rowboat escaping a shipwreck, as its desparate crew row for the shore and passengers drown in the waves. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The skeleton of Death comes for Tom Higgins, a bricklayer's lad who has expired waiting for a dish outside an inn. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.
The skeleton of Death comes for Tom Higgins, a bricklayer's lad who has expired waiting for a dish outside an inn. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

FLO4690480: The skeleton of Death comes for Tom Higgins, a bricklayer's lad who has expired waiting for a dish outside an inn. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690480

The skeleton of Death comes for Tom Higgins, a bricklayer's lad who has expired waiting for a dish outside an inn. Handcoloured copperplate drawn and engraved by Thomas Rowlandson from The English Dance of Death, Ackermann, London, 1816.

Rowlandson, Thomas (1756-1827)

The Theatre: Tourists enjoying a play at Scarborough Theatre. Handcoloured copperplate engraving by Thomas Rowlandson after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.
The Theatre: Tourists enjoying a play at Scarborough Theatre. Handcoloured copperplate engraving by Thomas Rowlandson after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

FLO4690573: The Theatre: Tourists enjoying a play at Scarborough Theatre. Handcoloured copperplate engraving by Thomas Rowlandson after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690573

The Theatre: Tourists enjoying a play at Scarborough Theatre. Handcoloured copperplate engraving by Thomas Rowlandson after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

Rowlandson, Thomas (1756-1827)

View of the Holy Staircase, decorated with frescoes. 14th century (photography)
View of the Holy Staircase, decorated with frescoes. 14th century (photography)

LRI4690640: View of the Holy Staircase, decorated with frescoes. 14th century (photography), Master Trecentesco of Sacro Speco School (14th Century) / Bridgeman Images

ID: LRI4690640

View of the Holy Staircase, decorated with frescoes. 14th century (photography)

Master Trecentesco of Sacro Speco School (14th Century)

Departure: Tourists loading luggage onto a carriage in front of a hotel in the rain. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.
Departure: Tourists loading luggage onto a carriage in front of a hotel in the rain. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

FLO4690644: Departure: Tourists loading luggage onto a carriage in front of a hotel in the rain. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690644

Departure: Tourists loading luggage onto a carriage in front of a hotel in the rain. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J.C. Stadler, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

Rowlandson, Thomas (1756-1827)

View of the apse decorated with frescoes, 13th century (photography)
View of the apse decorated with frescoes, 13th century (photography)

LRI4690673: View of the apse decorated with frescoes, 13th century (photography), Italian School / Bridgeman Images

ID: LRI4690673

View of the apse decorated with frescoes, 13th century (photography)

Italian School

The Warm Bath: naked woman taking a bath behind curtains in a Regency room. Said to be a portrait of Mary Robinson, mistress of King George IV. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J. Bluck, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.
The Warm Bath: naked woman taking a bath behind curtains in a Regency room. Said to be a portrait of Mary Robinson, mistress of King George IV. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J. Bluck, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

FLO4690683: The Warm Bath: naked woman taking a bath behind curtains in a Regency room. Said to be a portrait of Mary Robinson, mistress of King George IV. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J. Bluck, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813., Rowlandson, Thomas (1756-1827) / Bridgeman Images

ID: FLO4690683

The Warm Bath: naked woman taking a bath behind curtains in a Regency room. Said to be a portrait of Mary Robinson, mistress of King George IV. Handcoloured copperplate engraving by Thomas Rowlandson, aquatint by J. Bluck, after a sketch by J. Green from Poetical Sketches of Scarborough, Ackermann, London, 1813.

Rowlandson, Thomas (1756-1827)


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