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Presentation at the Mosaic Temple by Pietro Cavallini (1259-1330) 1291 Rome, basilica santa maria in Trastevere (Saint Mary of the Transtevere)
Presentation at the Mosaic Temple by Pietro Cavallini (1259-1330) 1291 Rome, basilica santa maria in Trastevere (Saint Mary of the Transtevere)

ANJ5005406: Presentation at the Mosaic Temple by Pietro Cavallini (1259-1330) 1291 Rome, basilica santa maria in Trastevere (Saint Mary of the Transtevere), Cavallini, Pietro (c.1250-c.1330) / Bridgeman Images

ID: ANJ5005406

Presentation at the Mosaic Temple by Pietro Cavallini (1259-1330) 1291 Rome, basilica santa maria in Trastevere (Saint Mary of the Transtevere)

Cavallini, Pietro (c.1250-c.1330)

Head of a donkey, 1796 (black chalk and grey wash)
Head of a donkey, 1796 (black chalk and grey wash)

BLB5026014: Head of a donkey, 1796 (black chalk and grey wash), Tischbein, Johann Heinrich Wilhelm (1751-1829) / Bridgeman Images

ID: BLB5026014

Head of a donkey, 1796 (black chalk and grey wash)

Tischbein, Johann Heinrich Wilhelm (1751-1829)

An idealized woodland scene near Naples, 1796 (pen and black and brown ink)
An idealized woodland scene near Naples, 1796 (pen and black and brown ink)

BLB5026023: An idealized woodland scene near Naples, 1796 (pen and black and brown ink), Tischbein, Johann Heinrich Wilhelm (1751-1829) / Bridgeman Images

ID: BLB5026023

An idealized woodland scene near Naples, 1796 (pen and black and brown ink)

Tischbein, Johann Heinrich Wilhelm (1751-1829)

Wild boar with piglets watched by Reynard the Fox from under a Tree, c.1810 (pen and brown ink with coloured wash, and white heightening)
Wild boar with piglets watched by Reynard the Fox from under a Tree, c.1810 (pen and brown ink with coloured wash, and white heightening)

BLB5026038: Wild boar with piglets watched by Reynard the Fox from under a Tree, c.1810 (pen and brown ink with coloured wash, and white heightening), Tischbein, Johann Heinrich Wilhelm (1751-1829) / Bridgeman Images

ID: BLB5026038

Wild boar with piglets watched by Reynard the Fox from under a Tree, c.1810 (pen and brown ink with coloured wash, and white heightening)

Tischbein, Johann Heinrich Wilhelm (1751-1829)

Threshing in the Cotswolds, c.1909 (w/c & charcoal on paper)
Threshing in the Cotswolds, c.1909 (w/c & charcoal on paper)

TEP4819919: Threshing in the Cotswolds, c.1909 (w/c & charcoal on paper), Hodgkins, Frances (1869-1947) / Bridgeman Images

ID: TEP4819919

Threshing in the Cotswolds, c.1909 (w/c & charcoal on paper)

Hodgkins, Frances (1869-1947)

Mausoleum of Pope Jules II. (1513 - 1545) by Michelangelo Buonarroti called Michael Angel (Michelangelo or Michelangelo, 1475-1564). Rome, Church of San Pietro in Vincoli (Saint-Pierre-aux-Liens).
Mausoleum of Pope Jules II. (1513 - 1545) by Michelangelo Buonarroti called Michael Angel (Michelangelo or Michelangelo, 1475-1564). Rome, Church of San Pietro in Vincoli (Saint-Pierre-aux-Liens).

ANJ4986758: Mausoleum of Pope Jules II. (1513 - 1545) by Michelangelo Buonarroti called Michael Angel (Michelangelo or Michelangelo, 1475-1564). Rome, Church of San Pietro in Vincoli (Saint-Pierre-aux-Liens)., Buonarroti, Michelangelo (1475-1564) / Bridgeman Images

ID: ANJ4986758

Mausoleum of Pope Jules II. (1513 - 1545) by Michelangelo Buonarroti called Michael Angel (Michelangelo or Michelangelo, 1475-1564). Rome, Church of San Pietro in Vincoli (Saint-Pierre-aux-Liens).

Buonarroti, Michelangelo (1475-1564)

Study of a child's legs, c.1816 (pen and brown ink, with brown wash over graphite)
Study of a child's legs, c.1816 (pen and brown ink, with brown wash over graphite)

BLB5026026: Study of a child's legs, c.1816 (pen and brown ink, with brown wash over graphite), Schnorr von Carolsfeld, Julius (1794-1872) / Bridgeman Images

ID: BLB5026026

Study of a child's legs, c.1816 (pen and brown ink, with brown wash over graphite)

Schnorr von Carolsfeld, Julius (1794-1872)

Landscape with an early burial mound and megalith, c.1815 (pen and brown ink with w/c)
Landscape with an early burial mound and megalith, c.1815 (pen and brown ink with w/c)

BLB5026039: Landscape with an early burial mound and megalith, c.1815 (pen and brown ink with w/c), Tischbein, Johann Heinrich Wilhelm (1751-1829) / Bridgeman Images

ID: BLB5026039

Landscape with an early burial mound and megalith, c.1815 (pen and brown ink with w/c)

Tischbein, Johann Heinrich Wilhelm (1751-1829)

Chapel of the cloister of the convent of Baida representing the Annunciation. Sculpture 1388, Palermo, Italy. PA 148A.
Chapel of the cloister of the convent of Baida representing the Annunciation. Sculpture 1388, Palermo, Italy. PA 148A.

ANJ4990062: Chapel of the cloister of the convent of Baida representing the Annunciation. Sculpture 1388, Palermo, Italy. PA 148A., Italian School, (14th century) / Bridgeman Images

ID: ANJ4990062

Chapel of the cloister of the convent of Baida representing the Annunciation. Sculpture 1388, Palermo, Italy. PA 148A.

Italian School, (14th century)

Abbey of San Pietro al Monte. Interior view of the crypt. Architecture of the 11th century. Civate al Monte, Italy.
Abbey of San Pietro al Monte. Interior view of the crypt. Architecture of the 11th century. Civate al Monte, Italy.

ANJ4990184: Abbey of San Pietro al Monte. Interior view of the crypt. Architecture of the 11th century. Civate al Monte, Italy., Italian School, (12th century) / Bridgeman Images

ID: ANJ4990184

Abbey of San Pietro al Monte. Interior view of the crypt. Architecture of the 11th century. Civate al Monte, Italy.

Italian School, (12th century)

Saint Jerome removes the spine of the Lion. Story of Saint Jerome. Fresco of the Church of San Francesco. Painting by Benozzo Gozzoli (1420-1497), 1452. Montefalco, Italy. UM 57B.
Saint Jerome removes the spine of the Lion. Story of Saint Jerome. Fresco of the Church of San Francesco. Painting by Benozzo Gozzoli (1420-1497), 1452. Montefalco, Italy. UM 57B.

ANJ4990242: Saint Jerome removes the spine of the Lion. Story of Saint Jerome. Fresco of the Church of San Francesco. Painting by Benozzo Gozzoli (1420-1497), 1452. Montefalco, Italy. UM 57B., Gozzoli, Benozzo di Lese di Sandro (1420-97) / Bridgeman Images

ID: ANJ4990242

Saint Jerome removes the spine of the Lion. Story of Saint Jerome. Fresco of the Church of San Francesco. Painting by Benozzo Gozzoli (1420-1497), 1452. Montefalco, Italy. UM 57B.

Gozzoli, Benozzo di Lese di Sandro (1420-97)

Baroque art: Overview of the Church Thomas de Villeneuve (San Tommaso di Villanova) in Castelgandolfo (Castel Gandolfo), Italy. Architecture by Gian Lorenzo Bernini called Le Bernin (1598-1680)
Baroque art: Overview of the Church Thomas de Villeneuve (San Tommaso di Villanova) in Castelgandolfo (Castel Gandolfo), Italy. Architecture by Gian Lorenzo Bernini called Le Bernin (1598-1680)

ANJ4993933: Baroque art: Overview of the Church Thomas de Villeneuve (San Tommaso di Villanova) in Castelgandolfo (Castel Gandolfo), Italy. Architecture by Gian Lorenzo Bernini called Le Bernin (1598-1680), Bernini, Gian Lorenzo (1598-1680) / Bridgeman Images

ID: ANJ4993933

Baroque art: Overview of the Church Thomas de Villeneuve (San Tommaso di Villanova) in Castelgandolfo (Castel Gandolfo), Italy. Architecture by Gian Lorenzo Bernini called Le Bernin (1598-1680)

Bernini, Gian Lorenzo (1598-1680)

La Madonna della lettera (Madonna a la lettre). Painting by Mattia Preti Il Cavaliere Calabrese (1613-1699). Regional Museum of Messina, Italy. PR 150A.
La Madonna della lettera (Madonna a la lettre). Painting by Mattia Preti Il Cavaliere Calabrese (1613-1699). Regional Museum of Messina, Italy. PR 150A.

ANJ4990024: La Madonna della lettera (Madonna a la lettre). Painting by Mattia Preti Il Cavaliere Calabrese (1613-1699). Regional Museum of Messina, Italy. PR 150A., Preti, Mattia (Il Calabrese) (1613-99) / Bridgeman Images

ID: ANJ4990024

La Madonna della lettera (Madonna a la lettre). Painting by Mattia Preti Il Cavaliere Calabrese (1613-1699). Regional Museum of Messina, Italy. PR 150A.

Preti, Mattia (Il Calabrese) (1613-99)

Chapel of the cloister of the Convent of Baida depicting two evangelists and their symbols (Saint John with the Eagle and Saint Matthew with the Angel. Sculpture 1388, Palermo, Italy. PA 149.
Chapel of the cloister of the Convent of Baida depicting two evangelists and their symbols (Saint John with the Eagle and Saint Matthew with the Angel. Sculpture 1388, Palermo, Italy. PA 149.

ANJ4990040: Chapel of the cloister of the Convent of Baida depicting two evangelists and their symbols (Saint John with the Eagle and Saint Matthew with the Angel. Sculpture 1388, Palermo, Italy. PA 149., Italian School, (14th century) / Bridgeman Images

ID: ANJ4990040

Chapel of the cloister of the Convent of Baida depicting two evangelists and their symbols (Saint John with the Eagle and Saint Matthew with the Angel. Sculpture 1388, Palermo, Italy. PA 149.

Italian School, (14th century)

Portrait of a young woman or Laura. Her rich fur coat lets her chest appear wrapped in the light veil that holds her hairstyle. In his back we see branches of Lauriers. Painting by Zorzi da Castelfranco Giorgione (1476/1478-1510), 1506. Kunsthistorisches Museum, Vienna
Portrait of a young woman or Laura. Her rich fur coat lets her chest appear wrapped in the light veil that holds her hairstyle. In his back we see branches of Lauriers. Painting by Zorzi da Castelfranco Giorgione (1476/1478-1510), 1506. Kunsthistorisches Museum, Vienna

ANJ4990178: Portrait of a young woman or Laura. Her rich fur coat lets her chest appear wrapped in the light veil that holds her hairstyle. In his back we see branches of Lauriers. Painting by Zorzi da Castelfranco Giorgione (1476/1478-1510), 1506. Kunsthistorisches Museum, Vienna, Giorgione, (Giorgio da Castelfranco) (1476/8-1510) / Bridgeman Images

ID: ANJ4990178

Portrait of a young woman or Laura. Her rich fur coat lets her chest appear wrapped in the light veil that holds her hairstyle. In his back we see branches of Lauriers. Painting by Zorzi da Castelfranco Giorgione (1476/1478-1510), 1506. Kunsthistorisches Museum, Vienna

Giorgione, (Giorgio da Castelfranco) (1476/8-1510)

Renaissance art: Left hand of Moses, Detail of the Mausolee of Jules II to the Church of San Pietro in Vincoli, Chapel della Rovere in Rome. Sculpture by Michelangelo Buonarroti called Michelangelo (Michelangelo or Michelangelo, 1475 - 1564), 1513-1545
Renaissance art: Left hand of Moses, Detail of the Mausolee of Jules II to the Church of San Pietro in Vincoli, Chapel della Rovere in Rome. Sculpture by Michelangelo Buonarroti called Michelangelo (Michelangelo or Michelangelo, 1475 - 1564), 1513-1545

ANJ4992209: Renaissance art: Left hand of Moses, Detail of the Mausolee of Jules II to the Church of San Pietro in Vincoli, Chapel della Rovere in Rome. Sculpture by Michelangelo Buonarroti called Michelangelo (Michelangelo or Michelangelo, 1475 - 1564), 1513-1545, Buonarroti, Michelangelo (1475-1564) / Bridgeman Images

ID: ANJ4992209

Renaissance art: Left hand of Moses, Detail of the Mausolee of Jules II to the Church of San Pietro in Vincoli, Chapel della Rovere in Rome. Sculpture by Michelangelo Buonarroti called Michelangelo (Michelangelo or Michelangelo, 1475 - 1564), 1513-1545

Buonarroti, Michelangelo (1475-1564)

Baroque art: Endemble view of the Triton Fountain, Piazza Navona in Rome (Fontana del Tritone, Piazza Navona). Sculpture by Gian Lorenzo (Gianlorenzo) Bernini called The Bernini (1598-1680), 1658-1678
Baroque art: Endemble view of the Triton Fountain, Piazza Navona in Rome (Fontana del Tritone, Piazza Navona). Sculpture by Gian Lorenzo (Gianlorenzo) Bernini called The Bernini (1598-1680), 1658-1678

ANJ4993899: Baroque art: Endemble view of the Triton Fountain, Piazza Navona in Rome (Fontana del Tritone, Piazza Navona). Sculpture by Gian Lorenzo (Gianlorenzo) Bernini called The Bernini (1598-1680), 1658-1678, Bernini, Gian Lorenzo (1598-1680) / Bridgeman Images

ID: ANJ4993899

Baroque art: Endemble view of the Triton Fountain, Piazza Navona in Rome (Fontana del Tritone, Piazza Navona). Sculpture by Gian Lorenzo (Gianlorenzo) Bernini called The Bernini (1598-1680), 1658-1678

Bernini, Gian Lorenzo (1598-1680)

Baroque art: Chapel Gavotti, Church of San Nicola da Tolentino, Rome. Architecture of Cortona stone (Pietro Berrettini dit Pietro da Cortona, 1596-1669) and Ciro Ferri (1634-1689), 1668-1674.
Baroque art: Chapel Gavotti, Church of San Nicola da Tolentino, Rome. Architecture of Cortona stone (Pietro Berrettini dit Pietro da Cortona, 1596-1669) and Ciro Ferri (1634-1689), 1668-1674.

ANJ4996657: Baroque art: Chapel Gavotti, Church of San Nicola da Tolentino, Rome. Architecture of Cortona stone (Pietro Berrettini dit Pietro da Cortona, 1596-1669) and Ciro Ferri (1634-1689), 1668-1674., Cortona, Pietro da (Berrettini) (1596-1669) / Bridgeman Images

ID: ANJ4996657

Baroque art: Chapel Gavotti, Church of San Nicola da Tolentino, Rome. Architecture of Cortona stone (Pietro Berrettini dit Pietro da Cortona, 1596-1669) and Ciro Ferri (1634-1689), 1668-1674.

Cortona, Pietro da (Berrettini) (1596-1669)

The pledge, 1921 (oil on canvas)
The pledge, 1921 (oil on canvas)

BRR5896034: The pledge, 1921 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896034

The pledge, 1921 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

The Termagant Throwing back her light vestment, she stretched forth her long skinny arm, in derision, 1919 (oil on canvas)
The Termagant Throwing back her light vestment, she stretched forth her long skinny arm, in derision, 1919 (oil on canvas)

BRR5896037: The Termagant Throwing back her light vestment, she stretched forth her long skinny arm, in derision, 1919 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896037

The Termagant Throwing back her light vestment, she stretched forth her long skinny arm, in derision, 1919 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

In the Crystal Depths, 1906 (oil on canvas)
In the Crystal Depths, 1906 (oil on canvas)

BRR5896081: In the Crystal Depths, 1906 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896081

In the Crystal Depths, 1906 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

Dying Winter, 1934 (oil on canvas)
Dying Winter, 1934 (oil on canvas)

BRR5896094: Dying Winter, 1934 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896094

Dying Winter, 1934 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

Still Life with Peach Halves, 1822
Still Life with Peach Halves, 1822

BRR5896120: Still Life with Peach Halves, 1822, Peale, Raphaelle (1774-1825) / Bridgeman Images

ID: BRR5896120

Still Life with Peach Halves, 1822

Peale, Raphaelle (1774-1825)

The Battle at Glens Falls Each of the combatants threw all his energies into that effort, and the result was, that both tottered on the brink of the precipice, 1919 (oil on canvas)
The Battle at Glens Falls Each of the combatants threw all his energies into that effort, and the result was, that both tottered on the brink of the precipice, 1919 (oil on canvas)

BRR5896137: The Battle at Glens Falls Each of the combatants threw all his energies into that effort, and the result was, that both tottered on the brink of the precipice, 1919 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896137

The Battle at Glens Falls Each of the combatants threw all his energies into that effort, and the result was, that both tottered on the brink of the precipice, 1919 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

The Meeting of the Generals, 1919 (oil on canvas) As soon as this slight salutation had passed, Montcalm moved towards them with a quick but graceful step, baring his head to the veteran and dropping his spotless plume nearly to the earth in courtesy
The Meeting of the Generals, 1919 (oil on canvas) As soon as this slight salutation had passed, Montcalm moved towards them with a quick but graceful step, baring his head to the veteran and dropping his spotless plume nearly to the earth in courtesy

BRR5896140: The Meeting of the Generals, 1919 (oil on canvas) As soon as this slight salutation had passed, Montcalm moved towards them with a quick but graceful step, baring his head to the veteran and dropping his spotless plume nearly to the earth in courtesy, Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896140

The Meeting of the Generals, 1919 (oil on canvas) As soon as this slight salutation had passed, Montcalm moved towards them with a quick but graceful step, baring his head to the veteran and dropping his spotless plume nearly to the earth in courtesy

Wyeth, Newell Convers (1882-1945)

The Spring House, 1888 (watercolor on paper)
The Spring House, 1888 (watercolor on paper)

BRR5896159: The Spring House, 1888 (watercolor on paper), Richards, William Trost (1833-1905) / Bridgeman Images

ID: BRR5896159

The Spring House, 1888 (watercolor on paper)

Richards, William Trost (1833-1905)

Spring, 1901 (oil on canvas)
Spring, 1901 (oil on canvas)

BRR5896167: Spring, 1901 (oil on canvas), Pyle, Howard (1853-1911) / Bridgeman Images

ID: BRR5896167

Spring, 1901 (oil on canvas)

Pyle, Howard (1853-1911)

BRR5896200: "They cannot better die than for their natural lord," said Dick, 1916 (oil on canvas), Wyeth, Newell Convers (1882-1945) / Bridgeman Images

ID: BRR5896200

"They cannot better die than for their natural lord," said Dick, 1916 (oil on canvas)

Wyeth, Newell Convers (1882-1945)

Study for the Sacrament of Ordination, before 1712 (oil on canvas)
Study for the Sacrament of Ordination, before 1712 (oil on canvas)

DMW753040: Study for the Sacrament of Ordination, before 1712 (oil on canvas), Crespi, Giuseppe Maria (Lo Spagnuolo) (1665-1747) / Bridgeman Images

ID: DMW753040

Study for the Sacrament of Ordination, before 1712 (oil on canvas)

Crespi, Giuseppe Maria (Lo Spagnuolo) (1665-1747)

Allegory of Minerva Freeing Chained Mankind, c.1730-40 (terracotta)
Allegory of Minerva Freeing Chained Mankind, c.1730-40 (terracotta)

DMW753097: Allegory of Minerva Freeing Chained Mankind, c.1730-40 (terracotta), French School, (18th century) / Bridgeman Images

ID: DMW753097

Allegory of Minerva Freeing Chained Mankind, c.1730-40 (terracotta)

French School, (18th century)

Still Life (oil on canvas)
Still Life (oil on canvas)

DMW753185: Still Life (oil on canvas), Monnoyer, Jean-Baptiste (1636-99) / Bridgeman Images

ID: DMW753185

Still Life (oil on canvas)

Monnoyer, Jean-Baptiste (1636-99)

Croyant l'apercevoir (They think they can see it coming), from the series
Croyant l'apercevoir (They think they can see it coming), from the series

DMW937695: Croyant l'apercevoir (They think they can see it coming), from the series "La Comète de 1857" (The comet of 1857), published in "Le Charivari," March 23, 1857 (litho), Daumier, Honore (1808-79) / Bridgeman Images

ID: DMW937695

Croyant l'apercevoir (They think they can see it coming), from the series "La Comète de 1857" (The comet of 1857), published in "Le Charivari," March 23, 1857 (litho)

Daumier, Honore (1808-79)

Reclining Nude (graphite on paper)
Reclining Nude (graphite on paper)

DMW937603: Reclining Nude (graphite on paper), Klimt, Gustav (1862-1918) / Bridgeman Images

ID: DMW937603

Reclining Nude (graphite on paper)

Klimt, Gustav (1862-1918)

Woman with Bowed Head (black chalk & charcoal on paper)
Woman with Bowed Head (black chalk & charcoal on paper)

DMW937609: Woman with Bowed Head (black chalk & charcoal on paper), Luce, Maximilien (1858-1941) / Bridgeman Images

ID: DMW937609

Woman with Bowed Head (black chalk & charcoal on paper)

Luce, Maximilien (1858-1941)

On dit qu'on commence déjà ‡à la voir!... (Some say that they are already seeing it!), from the series
On dit qu'on commence déjà ‡à la voir!... (Some say that they are already seeing it!), from the series

DMW937694: On dit qu'on commence déjà ‡à la voir!... (Some say that they are already seeing it!), from the series "La Comète de 1857" (The comet of 1857), published in "Le Charivari," March 7, 1857 (litho), Daumier, Honore (1808-79) / Bridgeman Images

ID: DMW937694

On dit qu'on commence déjà ‡à la voir!... (Some say that they are already seeing it!), from the series "La Comète de 1857" (The comet of 1857), published in "Le Charivari," March 7, 1857 (litho)

Daumier, Honore (1808-79)

Becquet (The Fiddler), from
Becquet (The Fiddler), from

DMW937697: Becquet (The Fiddler), from "A Series of Sixteen Etchings of Scenes on the Thames", 1859-60 (etching & drypoint), Whistler, James Abbott McNeill (1834-1903) / Bridgeman Images

ID: DMW937697

Becquet (The Fiddler), from "A Series of Sixteen Etchings of Scenes on the Thames", 1859-60 (etching & drypoint)

Whistler, James Abbott McNeill (1834-1903)


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