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Plum varieties, Prunus domestica: Le Royal and Blue Perdrigon. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Plum varieties, Prunus domestica: Le Royal and Blue Perdrigon. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595008: Plum varieties, Prunus domestica: Le Royal and Blue Perdrigon. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595008

Plum varieties, Prunus domestica: Le Royal and Blue Perdrigon. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

Apricot varieties, Prunus armeniaca: Black Apricot, Breda Apricot, Brussels Apricot and Moor Park or Lord Anson's Apricot. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Apricot varieties, Prunus armeniaca: Black Apricot, Breda Apricot, Brussels Apricot and Moor Park or Lord Anson's Apricot. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595051: Apricot varieties, Prunus armeniaca: Black Apricot, Breda Apricot, Brussels Apricot and Moor Park or Lord Anson's Apricot. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595051

Apricot varieties, Prunus armeniaca: Black Apricot, Breda Apricot, Brussels Apricot and Moor Park or Lord Anson's Apricot. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

An angel holding the epitaph. Monument of Bernardo Giugni. Marble relief, 1469-1481
An angel holding the epitaph. Monument of Bernardo Giugni. Marble relief, 1469-1481

LRI4595057: An angel holding the epitaph. Monument of Bernardo Giugni. Marble relief, 1469-1481, Mino da Fiesole (1430-1484) / Bridgeman Images

ID: LRI4595057

An angel holding the epitaph. Monument of Bernardo Giugni. Marble relief, 1469-1481

Mino da Fiesole (1430-1484)

Peach varieties, Prunus persica: Gallande, blossom and Superb Royal. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Peach varieties, Prunus persica: Gallande, blossom and Superb Royal. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595069: Peach varieties, Prunus persica: Gallande, blossom and Superb Royal. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595069

Peach varieties, Prunus persica: Gallande, blossom and Superb Royal. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

Virgin and Child between St Laurent and St Leonard. High marble relief, 1464-1469
Virgin and Child between St Laurent and St Leonard. High marble relief, 1464-1469

LRI4595095: Virgin and Child between St Laurent and St Leonard. High marble relief, 1464-1469, Mino da Fiesole (1430-1484) / Bridgeman Images

ID: LRI4595095

Virgin and Child between St Laurent and St Leonard. High marble relief, 1464-1469

Mino da Fiesole (1430-1484)

Nectarine varieties, Prunus persica: Vermash, Clarmont, blossom, Homerton's White and Ford's Black Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Nectarine varieties, Prunus persica: Vermash, Clarmont, blossom, Homerton's White and Ford's Black Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595133: Nectarine varieties, Prunus persica: Vermash, Clarmont, blossom, Homerton's White and Ford's Black Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595133

Nectarine varieties, Prunus persica: Vermash, Clarmont, blossom, Homerton's White and Ford's Black Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

Nectarine varieties, Prunus persica: Violette Hative, blossom, Genoa, and Peterborough Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Nectarine varieties, Prunus persica: Violette Hative, blossom, Genoa, and Peterborough Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595141: Nectarine varieties, Prunus persica: Violette Hative, blossom, Genoa, and Peterborough Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595141

Nectarine varieties, Prunus persica: Violette Hative, blossom, Genoa, and Peterborough Nectarine. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

White Frontiniac grape, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
White Frontiniac grape, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595176: White Frontiniac grape, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595176

White Frontiniac grape, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

Black Hamburgh grapes, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.
Black Hamburgh grapes, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

FLO4595186: Black Hamburgh grapes, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797. / Bridgeman Images

ID: FLO4595186

Black Hamburgh grapes, Vitis vinifera. Handcoloured stipple engraving of an illustration by George Brookshaw from his own “” Pomona Britannica,”” London, Longman, Hurst, etc., 1817. The quarto edition of the original folio edition published from 1804-1812. Brookshaw (1751-1823) was a successful cabinet maker who disappeared in the 1790s before returning as a flower painter with the anonymous “” New Treatise on Flower Painting,””” 1797.

Cutting engine by the ingenious mechanic and clockmaker Samuel Rehe (1735-1799) of London, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1817.
Cutting engine by the ingenious mechanic and clockmaker Samuel Rehe (1735-1799) of London, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1817.

FLO4592272: Cutting engine by the ingenious mechanic and clockmaker Samuel Rehe (1735-1799) of London, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1817. / Bridgeman Images

ID: FLO4592272

Cutting engine by the ingenious mechanic and clockmaker Samuel Rehe (1735-1799) of London, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1817.

Architectural elevation and plan of a Roman ampitheatre. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.
Architectural elevation and plan of a Roman ampitheatre. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.

FLO4592371: Architectural elevation and plan of a Roman ampitheatre. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820. / Bridgeman Images

ID: FLO4592371

Architectural elevation and plan of a Roman ampitheatre. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.

Drying equipment and rollers for bleaching cloth, 18th century. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1803.
Drying equipment and rollers for bleaching cloth, 18th century. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1803.

FLO4592386: Drying equipment and rollers for bleaching cloth, 18th century. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1803. / Bridgeman Images

ID: FLO4592386

Drying equipment and rollers for bleaching cloth, 18th century. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1803.

Jesse Ramsden (1735-1800)'s engine for dividing straight lines, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey Jr. from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1811.
Jesse Ramsden (1735-1800)'s engine for dividing straight lines, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey Jr. from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1811.

FLO4592390: Jesse Ramsden (1735-1800)'s engine for dividing straight lines, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey Jr. from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1811. / Bridgeman Images

ID: FLO4592390

Jesse Ramsden (1735-1800)'s engine for dividing straight lines, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey Jr. from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1811.

Parts of Jesse Ramsden (1735-1800)'s circular dividing engine, 1773. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1809.
Parts of Jesse Ramsden (1735-1800)'s circular dividing engine, 1773. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1809.

FLO4592466: Parts of Jesse Ramsden (1735-1800)'s circular dividing engine, 1773. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1809. / Bridgeman Images

ID: FLO4592466

Parts of Jesse Ramsden (1735-1800)'s circular dividing engine, 1773. Copperplate engraving by Wilson Lowry from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1809.

Greek antiquite: pyxide of Painter C representing the birth of Athena: scenes of warrior fights, c. 570-560 BC (ceramic)
Greek antiquite: pyxide of Painter C representing the birth of Athena: scenes of warrior fights, c. 570-560 BC (ceramic)

JLJ4592514: Greek antiquite: pyxide of Painter C representing the birth of Athena: scenes of warrior fights, c. 570-560 BC (ceramic), Greek school, (6th century BC) / Bridgeman Images

ID: JLJ4592514

Greek antiquite: pyxide of Painter C representing the birth of Athena: scenes of warrior fights, c. 570-560 BC (ceramic)

Greek school, (6th century BC)

Brothers Nicolo and Matteo Polo, 1409-12 (miniature)
Brothers Nicolo and Matteo Polo, 1409-12 (miniature)

JLJ4592556: Brothers Nicolo and Matteo Polo, 1409-12 (miniature), Master of the Mazarine (fl.c.1410-20) / Bridgeman Images

ID: JLJ4592556

Brothers Nicolo and Matteo Polo, 1409-12 (miniature)

Master of the Mazarine (fl.c.1410-20)

Iron age figure. 1100-800 BC (suclpture)
Iron age figure. 1100-800 BC (suclpture)

LRI4592790: Iron age figure. 1100-800 BC (suclpture), Prehistoric / Bridgeman Images

ID: LRI4592790

Iron age figure. 1100-800 BC (suclpture)

Prehistoric

Precolombian civilization: Mayan statue representing the god of maids (stone)
Precolombian civilization: Mayan statue representing the god of maids (stone)

JLJ4592792: Precolombian civilization: Mayan statue representing the god of maids (stone), Mayan / Bridgeman Images

ID: JLJ4592792

Precolombian civilization: Mayan statue representing the god of maids (stone)

Mayan

Boring machine and cornering saw, Block Machinery at Portsmouth naval harbour, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1815.
Boring machine and cornering saw, Block Machinery at Portsmouth naval harbour, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1815.

FLO4592850: Boring machine and cornering saw, Block Machinery at Portsmouth naval harbour, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1815. / Bridgeman Images

ID: FLO4592850

Boring machine and cornering saw, Block Machinery at Portsmouth naval harbour, 18th century. Copperplate engraving by Wilson Lowry after a drawing by John Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1815.

Surgical procedures from the 19th century: cranial injuries, bandages on a fracture of the clavicle, leg injury. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1810.
Surgical procedures from the 19th century: cranial injuries, bandages on a fracture of the clavicle, leg injury. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1810.

FLO4592892: Surgical procedures from the 19th century: cranial injuries, bandages on a fracture of the clavicle, leg injury. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1810. / Bridgeman Images

ID: FLO4592892

Surgical procedures from the 19th century: cranial injuries, bandages on a fracture of the clavicle, leg injury. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1810.

Surgical equipment including elevator, tripod elevator, Mr. Rodman's trepanning instrument, I.L. Petite's elevator as improved by M. Louis, old conical saw and trepan from the 19th century. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1813.
Surgical equipment including elevator, tripod elevator, Mr. Rodman's trepanning instrument, I.L. Petite's elevator as improved by M. Louis, old conical saw and trepan from the 19th century. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1813.

FLO4592926: Surgical equipment including elevator, tripod elevator, Mr. Rodman's trepanning instrument, I.L. Petite's elevator as improved by M. Louis, old conical saw and trepan from the 19th century. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1813. / Bridgeman Images

ID: FLO4592926

Surgical equipment including elevator, tripod elevator, Mr. Rodman's trepanning instrument, I.L. Petite's elevator as improved by M. Louis, old conical saw and trepan from the 19th century. Copperplate engraving by Wilson Lowry after an illustration by J. Farey Jr. from Abraham Rees' “” Cyclopedia or Universal Dictionary,” London, 1813.

Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi”, edition Robert Hardwicke, London, 1862
Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi”, edition Robert Hardwicke, London, 1862

FLO4594384: Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi”, edition Robert Hardwicke, London, 1862 / Bridgeman Images

ID: FLO4594384

Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi”, edition Robert Hardwicke, London, 1862

Black ink coprin (Coprinus atramentarius 1), ash clavary (Clavaria cinerea 2) - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “” A Plain and Easy Account of British Fungi”””, edition Robert Hardwicke, London, 1862
Black ink coprin (Coprinus atramentarius 1), ash clavary (Clavaria cinerea 2) - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “” A Plain and Easy Account of British Fungi”””, edition Robert Hardwicke, London, 1862

FLO4594408: Black ink coprin (Coprinus atramentarius 1), ash clavary (Clavaria cinerea 2) - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “” A Plain and Easy Account of British Fungi”””, edition Robert Hardwicke, London, 1862 / Bridgeman Images

ID: FLO4594408

Black ink coprin (Coprinus atramentarius 1), ash clavary (Clavaria cinerea 2) - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “” A Plain and Easy Account of British Fungi”””, edition Robert Hardwicke, London, 1862

Girolle (girole) (Cantharellus cibarius 1), Delicious Milkworm (Lactarius deliciosus 2) - Chromolithography from a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862
Girolle (girole) (Cantharellus cibarius 1), Delicious Milkworm (Lactarius deliciosus 2) - Chromolithography from a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862

FLO4594419: Girolle (girole) (Cantharellus cibarius 1), Delicious Milkworm (Lactarius deliciosus 2) - Chromolithography from a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862 / Bridgeman Images

ID: FLO4594419

Girolle (girole) (Cantharellus cibarius 1), Delicious Milkworm (Lactarius deliciosus 2) - Chromolithography from a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862

Polyporus squamosus - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862
Polyporus squamosus - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862

FLO4594439: Polyporus squamosus - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862 / Bridgeman Images

ID: FLO4594439

Polyporus squamosus - Chromolithography based on a drawing by Mordecai Cubitt Cooke (1825-1914), published in “A Plain and Easy Account of British Fungi””, edition Robert Hardwicke, London, 1862

Zenith sector telescopes by astronomical instrument makers George Graham, Jesse Ramsden and John Dolland. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.
Zenith sector telescopes by astronomical instrument makers George Graham, Jesse Ramsden and John Dolland. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.

FLO4594441: Zenith sector telescopes by astronomical instrument makers George Graham, Jesse Ramsden and John Dolland. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820. / Bridgeman Images

ID: FLO4594441

Zenith sector telescopes by astronomical instrument makers George Graham, Jesse Ramsden and John Dolland. Copperplate engraving by Wilson Lowry after a drawing by J. Farey from Abraham Rees' Cyclopedia or Universal Dictionary of Arts, Sciences and Literature, Longman, Hurst, Rees, Orme and Brown, London, 1820.

Corner building, rue de Bretagne, Paris 3rd arrondissement.
Corner building, rue de Bretagne, Paris 3rd arrondissement.

MDA4594501: Corner building, rue de Bretagne, Paris 3rd arrondissement. / Bridgeman Images

ID: MDA4594501

Corner building, rue de Bretagne, Paris 3rd arrondissement.

Dress (Dress) of the reign of King Richard I, the Lionheart, 1189-1199. She wears a green mantle embroidered with coats of arms, a blue dress, long white veil and crown. Based on Montfaucon, Du Cange, Matthew Paris, illuminated manuscripts and effigies in Fontevraud Abbey. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress (Dress) of the reign of King Richard I, the Lionheart, 1189-1199. She wears a green mantle embroidered with coats of arms, a blue dress, long white veil and crown. Based on Montfaucon, Du Cange, Matthew Paris, illuminated manuscripts and effigies in Fontevraud Abbey. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594523: Dress (Dress) of the reign of King Richard I, the Lionheart, 1189-1199. She wears a green mantle embroidered with coats of arms, a blue dress, long white veil and crown. Based on Montfaucon, Du Cange, Matthew Paris, illuminated manuscripts and effigies in Fontevraud Abbey. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594523

Dress (Dress) of the reign of King Richard I, the Lionheart, 1189-1199. She wears a green mantle embroidered with coats of arms, a blue dress, long white veil and crown. Based on Montfaucon, Du Cange, Matthew Paris, illuminated manuscripts and effigies in Fontevraud Abbey. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Dress of the reign of King Henry VII, 1485-1509. She wears a white headdress decorated with jewels, and blue dress with jeweled collar, cuffs, and hem. Based on a tapestry in Cardinal Wolsey's withdrawing room at Hampton Court, Harleian manuscript, jewelry in portraits of Elizabeth Woodville, Queen of Edward IV. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress of the reign of King Henry VII, 1485-1509. She wears a white headdress decorated with jewels, and blue dress with jeweled collar, cuffs, and hem. Based on a tapestry in Cardinal Wolsey's withdrawing room at Hampton Court, Harleian manuscript, jewelry in portraits of Elizabeth Woodville, Queen of Edward IV. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594629: Dress of the reign of King Henry VII, 1485-1509. She wears a white headdress decorated with jewels, and blue dress with jeweled collar, cuffs, and hem. Based on a tapestry in Cardinal Wolsey's withdrawing room at Hampton Court, Harleian manuscript, jewelry in portraits of Elizabeth Woodville, Queen of Edward IV. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594629

Dress of the reign of King Henry VII, 1485-1509. She wears a white headdress decorated with jewels, and blue dress with jeweled collar, cuffs, and hem. Based on a tapestry in Cardinal Wolsey's withdrawing room at Hampton Court, Harleian manuscript, jewelry in portraits of Elizabeth Woodville, Queen of Edward IV. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Dress of the reign of King Henry VII, 1485-1509. She wears a black dress with gold apron, and a black hood with green veil. The ornament which fastens the hood, the clog or clock, is mentioned in the Ordinance issued by Margaret, Countess of Richmond (Henry VII's mother) for “” The Reformation of Apparell for Grest Estates of Women in the Tyme of Mourning.”” Copied from the Roman de la Rose in the British Museum. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress of the reign of King Henry VII, 1485-1509. She wears a black dress with gold apron, and a black hood with green veil. The ornament which fastens the hood, the clog or clock, is mentioned in the Ordinance issued by Margaret, Countess of Richmond (Henry VII's mother) for “” The Reformation of Apparell for Grest Estates of Women in the Tyme of Mourning.”” Copied from the Roman de la Rose in the British Museum. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594636: Dress of the reign of King Henry VII, 1485-1509. She wears a black dress with gold apron, and a black hood with green veil. The ornament which fastens the hood, the clog or clock, is mentioned in the Ordinance issued by Margaret, Countess of Richmond (Henry VII's mother) for “” The Reformation of Apparell for Grest Estates of Women in the Tyme of Mourning.”” Copied from the Roman de la Rose in the British Museum. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594636

Dress of the reign of King Henry VII, 1485-1509. She wears a black dress with gold apron, and a black hood with green veil. The ornament which fastens the hood, the clog or clock, is mentioned in the Ordinance issued by Margaret, Countess of Richmond (Henry VII's mother) for “” The Reformation of Apparell for Grest Estates of Women in the Tyme of Mourning.”” Copied from the Roman de la Rose in the British Museum. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Dress (Dress) of the reign of King Edward VI, 1547-1553. She wears a velvet hat, round-collared dress decorated with pearls, open puff sleeves, and a jeweled belt. Pedro de Gante, Stow, Hollingshed, and portrait of Elizabeth when princess. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress (Dress) of the reign of King Edward VI, 1547-1553. She wears a velvet hat, round-collared dress decorated with pearls, open puff sleeves, and a jeweled belt. Pedro de Gante, Stow, Hollingshed, and portrait of Elizabeth when princess. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594660: Dress (Dress) of the reign of King Edward VI, 1547-1553. She wears a velvet hat, round-collared dress decorated with pearls, open puff sleeves, and a jeweled belt. Pedro de Gante, Stow, Hollingshed, and portrait of Elizabeth when princess. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594660

Dress (Dress) of the reign of King Edward VI, 1547-1553. She wears a velvet hat, round-collared dress decorated with pearls, open puff sleeves, and a jeweled belt. Pedro de Gante, Stow, Hollingshed, and portrait of Elizabeth when princess. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Artcurial bookstore, Hotel particulier, Rond point des Champs Elysees, Paris 8th arrondissement. With a work by Jean Pierre Raynaud (born in 1939). Photography 1999.
Artcurial bookstore, Hotel particulier, Rond point des Champs Elysees, Paris 8th arrondissement. With a work by Jean Pierre Raynaud (born in 1939). Photography 1999.

TEC4594663: Artcurial bookstore, Hotel particulier, Rond point des Champs Elysees, Paris 8th arrondissement. With a work by Jean Pierre Raynaud (born in 1939). Photography 1999. / Bridgeman Images

ID: TEC4594663

Artcurial bookstore, Hotel particulier, Rond point des Champs Elysees, Paris 8th arrondissement. With a work by Jean Pierre Raynaud (born in 1939). Photography 1999.

Dress (Dress) of the reign of Queen Elizabeth I, 1558-1603. She wears a lace ruff, plumed headdress, dress with puffed and slit sleeves, jeweled bodice, and embroidered petticoat. Based on Stubbs, Caspar Rutz, portrait of Lady Willoughby, dress worn by her described in manuscript letters of her descendant Lady Chandos. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress (Dress) of the reign of Queen Elizabeth I, 1558-1603. She wears a lace ruff, plumed headdress, dress with puffed and slit sleeves, jeweled bodice, and embroidered petticoat. Based on Stubbs, Caspar Rutz, portrait of Lady Willoughby, dress worn by her described in manuscript letters of her descendant Lady Chandos. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594680: Dress (Dress) of the reign of Queen Elizabeth I, 1558-1603. She wears a lace ruff, plumed headdress, dress with puffed and slit sleeves, jeweled bodice, and embroidered petticoat. Based on Stubbs, Caspar Rutz, portrait of Lady Willoughby, dress worn by her described in manuscript letters of her descendant Lady Chandos. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594680

Dress (Dress) of the reign of Queen Elizabeth I, 1558-1603. She wears a lace ruff, plumed headdress, dress with puffed and slit sleeves, jeweled bodice, and embroidered petticoat. Based on Stubbs, Caspar Rutz, portrait of Lady Willoughby, dress worn by her described in manuscript letters of her descendant Lady Chandos. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Dress (Dress) of the reign of James I, 1601-1625. She wears a dress with jeweled bodice, double lace ruff, puff sleeves, embroidered petticoat, hat with pearls and veil, and feather fan. Based on Lady Lucy Percy's dress, portrait of Anne, Countess of Argyle, play published in 1607 Lingua, Bulwer's pedigree of the English Gallant, brassed of the Colepepper family, Argingly Church, Sussex. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.
Dress (Dress) of the reign of James I, 1601-1625. She wears a dress with jeweled bodice, double lace ruff, puff sleeves, embroidered petticoat, hat with pearls and veil, and feather fan. Based on Lady Lucy Percy's dress, portrait of Anne, Countess of Argyle, play published in 1607 Lingua, Bulwer's pedigree of the English Gallant, brassed of the Colepepper family, Argingly Church, Sussex. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

FLO4594741: Dress (Dress) of the reign of James I, 1601-1625. She wears a dress with jeweled bodice, double lace ruff, puff sleeves, embroidered petticoat, hat with pearls and veil, and feather fan. Based on Lady Lucy Percy's dress, portrait of Anne, Countess of Argyle, play published in 1607 Lingua, Bulwer's pedigree of the English Gallant, brassed of the Colepepper family, Argingly Church, Sussex. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840. / Bridgeman Images

ID: FLO4594741

Dress (Dress) of the reign of James I, 1601-1625. She wears a dress with jeweled bodice, double lace ruff, puff sleeves, embroidered petticoat, hat with pearls and veil, and feather fan. Based on Lady Lucy Percy's dress, portrait of Anne, Countess of Argyle, play published in 1607 Lingua, Bulwer's pedigree of the English Gallant, brassed of the Colepepper family, Argingly Church, Sussex. Handcoloured lithograph from “” Costumes of British Ladies from the Time of William the First to the Reign of Queen Victoria”, London, Dickinson and Son, 1840.

Allegory of Day and Night: detail of the columns and capitals. Mausoleum of Giuliano de Medici. Marble sculpture, 1531
Allegory of Day and Night: detail of the columns and capitals. Mausoleum of Giuliano de Medici. Marble sculpture, 1531

LRI4594799: Allegory of Day and Night: detail of the columns and capitals. Mausoleum of Giuliano de Medici. Marble sculpture, 1531, Buonarroti, Michelangelo (1475-1564) / Bridgeman Images

ID: LRI4594799

Allegory of Day and Night: detail of the columns and capitals. Mausoleum of Giuliano de Medici. Marble sculpture, 1531

Buonarroti, Michelangelo (1475-1564)

Mrs. Sarah Siddons as Lady Macbeth at the Theatre Royal Drury Lane. Handcoloured stipple copperplate engraving by Robert Cooper after a painting by George Harlowe. From D. Terry's “” British Theatrical Gallery,” London, Henry Berthoud Jr., 1825.
Mrs. Sarah Siddons as Lady Macbeth at the Theatre Royal Drury Lane. Handcoloured stipple copperplate engraving by Robert Cooper after a painting by George Harlowe. From D. Terry's “” British Theatrical Gallery,” London, Henry Berthoud Jr., 1825.

FLO4594827: Mrs. Sarah Siddons as Lady Macbeth at the Theatre Royal Drury Lane. Handcoloured stipple copperplate engraving by Robert Cooper after a painting by George Harlowe. From D. Terry's “” British Theatrical Gallery,” London, Henry Berthoud Jr., 1825. / Bridgeman Images

ID: FLO4594827

Mrs. Sarah Siddons as Lady Macbeth at the Theatre Royal Drury Lane. Handcoloured stipple copperplate engraving by Robert Cooper after a painting by George Harlowe. From D. Terry's “” British Theatrical Gallery,” London, Henry Berthoud Jr., 1825.


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