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Total de Resultados: 389

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50974559 Paris, France - December 14: Goalkeeper Ines Marques of Paris FC warming up during the UEFA Women's Champions League group stage match between Paris FC and Real Madrid CF at Stade Charlety on December 14, 2023 in Paris, France. Photo Credit: Just Pictures/ Sipa USA/ Fotoarena
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50974572 Paris, France - December 14: Goalkeeper Ines Marques of Paris FC warming up during the UEFA Women's Champions League group stage match between Paris FC and Real Madrid CF at Stade Charlety on December 14, 2023 in Paris, France. Photo Credit: Just Pictures/ Sipa USA/ Fotoarena
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50974582 Paris, France - December 14: Goalkeeper Ines Marques of Paris FC warming up during the UEFA Women's Champions League group stage match between Paris FC and Real Madrid CF at Stade Charlety on December 14, 2023 in Paris, France. Photo Credit: Just Pictures/ Sipa USA/ Fotoarena
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50974561 Paris, France - December 14: Goalkeeper Ines Marques of Paris FC warming up during the UEFA Women's Champions League group stage match between Paris FC and Real Madrid CF at Stade Charlety on December 14, 2023 in Paris, France. Photo Credit: Just Pictures/ Sipa USA/ Fotoarena
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20231206_zaa_at2_048 December 6, 2023, Estoril, Portugal: Cascais, 12/06/2023 - Grupo Desportivo Estoril Praia hosted Futebol Clube do Porto this afternoon at the António Coimbra da Mota Stadium in Estoril in the Group Stage, Group D, of the League Cup - Allianz Cup 2023/24. Zé Pedro; João Marques (Credit Image: © Atlantico Press/Zuma Press/Fotoarena Wire)
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20231206_zaa_at2_044 December 6, 2023, Estoril, Portugal: Cascais, 12/06/2023 - Grupo Desportivo Estoril Praia hosted Futebol Clube do Porto this afternoon at the António Coimbra da Mota Stadium in Estoril in the Group Stage, Group D, of the League Cup - Allianz Cup 2023/24. Fabio Cardoso; João Marques (Credit Image: © Atlantico Press/Zuma Press/Fotoarena Wire)
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50003036 Cascais, 12/06/2023 - Grupo Desportivo Estoril Praia hosted Futebol Clube do Porto this afternoon at the António Coimbra da Mota Stadium in Estoril in the Group Stage, Group D, of the League Cup - Allianz Cup 2023/24. Zé Pedro; João Marques (Gerardo Santos / Global Images/Sipa USA)
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50003040 Cascais, 12/06/2023 - Grupo Desportivo Estoril Praia hosted Futebol Clube do Porto this afternoon at the António Coimbra da Mota Stadium in Estoril in the Group Stage, Group D, of the League Cup - Allianz Cup 2023/24. Fabio Cardoso; João Marques (Gerardo Santos / Global Images/Sipa USA)
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49504259 Martim Marques (26) of Lugano receives a yellow card from referee Tamas Bognar of Hungary during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504261 Martim Marques (26) of Lugano pictured in a duel with Tajon Buchanan (17) of Club Brugge during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504256 Martim Marques (26) of Lugano pictured in a duel with Tajon Buchanan (17) of Club Brugge during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504240 Martim Marques (26) of Lugano pictured in a duel with Tajon Buchanan (17) of Club Brugge during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504246 Martim Marques (26) of Lugano pictured in a duel with Tajon Buchanan (17) of Club Brugge during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504263 Martim Marques (26) of Lugano pictured in a duel with Tajon Buchanan (17) of Club Brugge during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49504205 Igor Thiago (99) of Club Brugge fighting for the ball with Martim Marques (26) of Lugano during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49503081 Tajon Buchanan (17) of Club Brugge pictured in a duel with Martim Marques (26) of Lugano during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49613729 Martim Marques (26) of Lugano receives a yellow card from referee Tamas Bognar of Hungary during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49614225 players of Lugano with Uran Bislimi (25) of Lugano, Kreshnik Hajrizi (4) of Lugano, Lars Lukas Mai (17) of Lugano, Allan Arigoni (34) of Lugano, Albian Hajdari (5) of Lugano, goalkeeper Amir Saipi (1) of Lugano , Jonathan Sabbatini (14) of Lugano, Martim Marques (26) of Lugano, Renato Steffen (11) of Lugano, Yanis Cimignani (21) of Lugano and Hadj Mohamed Mahmoud (29) of Lugano pose for a team photo during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49614187 Martim Marques (26) of Lugano and Tajon Buchanan (17) of Club Brugge pictured during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49614174 Martim Marques (26) of Lugano and Tajon Buchanan (17) of Club Brugge pictured during the Uefa Conference League on matchday 4 in group D in the 2023-2024 season between Club Brugge KV and FC Lugano from Switzerland on November 9 , 2023 in Brugge, Belgium. Photo Credit: David Catry / Isosport/ Content Curation/ Sipa USA/ Fotoarena
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49217525 Club's Ferran Jutgla and Lugano's Martim Marques fight for the ball during a soccer game between Switzerland's Lugano and Belgian soccer team Club Brugge KV, Thursday 26 October 2023 in Zurich, Switzerland, on day 3 of the group phase of the UEFA Conference League competition, in group D. BELGIUM ONLY - BELGA PHOTO BRUNO FAHY Photo Credit: BRUNO FAHY/ Belga/ Sipa USA/ Fotoarena
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49217521 Club's Ferran Jutgla and Lugano's Martim Marques fight for the ball during a soccer game between Switzerland's Lugano and Belgian soccer team Club Brugge KV, Thursday 26 October 2023 in Zurich, Switzerland, on day 3 of the group phase of the UEFA Conference League competition, in group D. BELGIUM ONLY - BELGA PHOTO BRUNO FAHY Photo Credit: BRUNO FAHY/ Belga/ Sipa USA/ Fotoarena
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49217216 Club's Ferran Jutgla and Lugano's Martim Marques fight for the ball during a soccer game between Switzerland's Lugano and Belgian soccer team Club Brugge KV, Thursday 26 October 2023 in Zurich, Switzerland, on day 3 of the group phase of the UEFA Conference League competition, in group D. BELGIUM ONLY - BELGA PHOTO BRUNO FAHY Photo Credit: BRUNO FAHY/ Belga/ Sipa USA/ Fotoarena
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20231026_zaf_bg3_073 October 26, 2023, Zurich, Switzerland: Club's Ferran Jutgla and Lugano's Martim Marques fight for the ball during a soccer game between Switzerland's Lugano and Belgian soccer team Club Brugge KV, Thursday 26 October 2023 in Zurich, Switzerland, on day 3 of the group phase of the UEFA Conference League competition, in group D. BELGIUM ONLY (Credit Image: © Bruno Fahy/Belga/Zuma Press/Fotoarena)
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20231026_zaf_bg3_067 October 26, 2023, Zurich, Switzerland: Club's Ferran Jutgla and Lugano's Martim Marques fight for the ball during a soccer game between Switzerland's Lugano and Belgian soccer team Club Brugge KV, Thursday 26 October 2023 in Zurich, Switzerland, on day 3 of the group phase of the UEFA Conference League competition, in group D. BELGIUM ONLY (Credit Image: © Bruno Fahy/Belga/Zuma Press/Fotoarena)
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48733511 Guimarães, 01/10/2023 - Vitória Sport Clube hosted Estoril Praia at the D. Afonso Henriques Stadium this evening in a game counting for the 7th round of the I League 2023/2024. João Marques; André André (Miguel Pereira/Global Images/Sipa USA)
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45121021 UNITED STATES - MARCH 13: A reflection of Rep. Terri Sewell, D-Ala., is seen during a prerecorded interview with Nichole Francis Reynolds, right, vice president and head of global government relations at ServiceNow, during the ServiceNow and MeriTalk Federal Forum titled "Transformation Accelerated,? at the Marriott Marquis on Monday, March 13, 2023. Francis Reynolds had previously served as Sewell?s chief of staff. (Tom Williams/CQ Roll Call/Sipa USA) .WDIADirectorGeneral PaulNakasoneNational Security AgencyNSA
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MT1HNSLCS000JQRABD Senegal, Dakar, 2021-12-26, The Mayor is accompanied by a distinguished guest: Mr. Thierry Breton, European Commissioner for the Internal Market. Presented as a friend of the mayor and Goree, the French politician had the honor to deliver the cup to the captain of the Amdy Shop team. No one is sure of the reasons for his presence. Photograph by Arthur Cassot / Hans Lucas.Senegal, Dakar, 2021-12-26, Le Maire est accompagne d un invite de marque M. Thierry Breton, Commissaire Europeen au MarcheInterieur. Presente comme un ami du maire et de Goree, l homme politique francais a eu l honneur de delivrer le trophee au capitaine de l equipe Amdy Shop. Nul n est certain des raisons de sa presence. Photographie de Arthur Cassot / Hans Lucas.
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20230206_zna_c181_354 February 6, 2023, Seville (Andalusia, Spain: The mayor of Seville, Antonio Muñoz, (l) with the film producer, Gervasio Iglesias, (r) and the film director, Alberto Rodriguez, (d) during the meeting entitled 'From the idea to the film set' for the Goya Awards 2023 in the Marques de Contaderos space, on February 6, 2023 in Seville (Andalusia, Spain). A few days before the Goya Awards 2023 Gala, in this year's venue, Seville, several informative meetings are held with the protagonists and nominees for these awards...06 FEBRUARY 2023..Joaquin Corchero / Europa Press..02/06/2023 (Credit Image: © Joaquin Corchero/Contacto/Zuma Press/Fotoarena)
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41329862 Georgia Stanway of England (centre) looks to find a way past Marisa Soares Marques (left) and Caroline Jorge of Luxembourg (right) during the 2023 FIFA Womens World Cup Qualifying Group D match at the Bet 365 Stadium, Stoke-on-TrentPicture by Russell Hart/Focus Images/Sipa USA 06/09/2022
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41329694 Demi Stokes of England (right) looks to find a way past Julie Marques Abreu of Luxembourg during the 2023 FIFA Womens World Cup Qualifying Group D match at the Bet 365 Stadium, Stoke-on-TrentPicture by Russell Hart/Focus Images/Sipa USA 06/09/2022
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41081466 UNITED STATES - AUGUST 25: Rep. Abigail Spanberger, D-Va., takes a picture with Marques Jones of the National Multiple Sclerosis Society, after a news conference with healthcare professionals and activists on the Inflation Reduction Act?s effect on lowering drug costs for seniors and extending health insurance tax credits, outside the Mary Washington Hospital in Fredericksburg, Va., on Thursday, August 25, 2022. (Tom Williams/CQ Roll Call/Sipa USA)
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ny250918232304 Arekia Bennett, center, the executive director of Mississippi Votes, with clockwise from left, Marquis Hunt, a junior at Tougaloo College; Terri Wells, a senior at Jackson State; and KeAnne Williams, a senior at Jackson State, during a Mississippi Votes event in Jackson, Miss., Sept. 17, 2018. The organization is teaming up with veterans of the Freedom Summer 1964 to help register voters for the midterm elections. (Edmund D. Fountain/The New York Times/Fotoarena)
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902_05_12516151highres The Graphic Newspaper/Naval review 1897, Foreign Vessels at the Jubilee Naval Review
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alb2069837 Diego Rodríguez de Silva y Velázquez / 'The Surrender of Breda or The Lances', 1635, Spanish School, Oil on canvas, 307 cm x 367 cm, P01172. Museum: MUSEO DEL PRADO, MADRID, SPAIN.
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alb3906540 Portrait of a Gentleman. Date/Period: Ca. 1554. Painting. Oil on canvas mounted on wood. Height: 1,017 mm (40.03 in); Width: 817 mm (32.16 in). Author: Tintoretto.
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alb3623505 Philip IV (1605-1665) in Parade Armor. Artist: Gaspar de Crayer (Flemish, 1584-1669). Dimensions: 72 x 46 1/2 in. (182.9 x 118.1 cm). Date: ca. 1628.Gaspar de Crayer painted several portraits of Philip IV, probably commissioned by the Marqués de Leganés, who served as Philip's emissary to the Spanish court in Brussels in 1627-28. Here the young king of Spain is presented in a magnificently decorated Flemish cavalry armor. He holds a commander's baton in his right hand and wears an ornate rapier on his left hip. The composition follows a pattern in Spanish portraiture of depicting kings in fine armor, which was established decades earlier by Titian, for example in his portraits of Emperor Charles V and King Philip II. Museum: Metropolitan Museum of Art, New York, USA.
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akg3516952 Louis-Marie de Salgues Lescure, Marquis de; Leader of the Vendéans; Paris 1766 - Between Ernée and Fougères 1793. "Death of the Marquis de Lescure". Painting, 1863, by Lucien de Latouche (1811-1891).
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akg005801 Hitler, Adolf. Politican (NSDAP). 1889-1945. - Berlin, Reichs Chancellory, 11 March. 1939: On occasion of the Japanese Art Exhibition, Hitler receives the Japanese cultural ambassador, Marquis Inouye. (2nd from right); left: Oshima, Japanese ambassador in Berlin, right: Minister of State Otto Meissner. Photo.
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akg8703100 Luis de Madrazo (1825-1897). "Cristina de Roncali y Gaviria, the Little Marquise of Roncali", 1858. Oil on canvas, 80 × 65 cm. Madrid, Museo Lazaro Galdiano.
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akg8934272 Leslie Matthew 'Spy' Ward. Politicians - Vanity Fair. 'the lordship of Compton'. The Marquis of Northampton. 11 February 1904, 1904. Chromolithograph. Inv. No. B1979.14.879. New Haven, Yale Center for British Art.
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akg7906734 Chenavard, Paul Marc Joseph; 1807-1895. "Le marquis de Deux-Brézé et Mirabeau" (The Marquis of Deux-Brézé and Mirabeau), June 23, 1789, 1831. Painting, oil painting. PPP4638, Paris, Petit Palais.
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akg7906113 Laurens, Jean-Paul; 1838-1921. "Esquisse de détail pour l'Hôtel de Ville de Paris: La voûte d'acier, silhouette du marquis de Lafayette" (Detailed sketch for the City Hall of Paris: the steel vault, silhouette of the Marquis de Lafayette), around 1889. Painting, oil painting. PDUT1896, Paris, Petit Palais.
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akg7332656 Dupuy, Paul Michel, 1869-1949. "Plage de Biarritz" (Biarritz Beach), 1913. Oil on canvas, 154.5 × 380 cm. Donation of the Azevedo Marques Family in 1949. Inv. No. 1364. São Paulo, Pinacoteca do Estado.
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akg253956 Ferrari, Enzo Anselmo, 1898 - 1988, Italian motor racing driver and entrepreneur, the founder of the Scuderia Ferrari Grand Prix motor racing team, and subsequently of the Ferrari automobile marque. Enzo Ferrari. Photo, Modena, 1956. Copyright: For editorial use only.
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akg897711 Cinq-Mars, Henri Coiffier de Ruze, Marquis de C.-M.; Benefactor of Louis XIII; 1620-1642. "Richelieu et Cinq-Mars" (captured on June 14, 1642, after his conspiracy against Richelieu). Colour lithograph, undated, after a drawing by Job, full name Jacques Onfroy de Bréville (1858-1931). Collectors' cards from the company "Chocolat Cardon", Cambrai. Paris, Private Collection. Museum: Paris, Private Collection.
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akg258695 Maputo (form. Lourenço Marques, Mozambique, Africa), Forteleza de Nossa Senhora da Conceicao. (Fort, built 1851-1867 in place of the Fort from 1781, today military museum). Partial view: view of the fortification walls. Photo, Sept. 1999.
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akg258696 Maputo (form. Lourenço Marques, Mozambique, Africa), Forteleza de Nossa Senhora da Conceicao. (Fort, built 1851-1867 in place of the Fort from 1781, today military museum). Partial view: entrance to th. Forteleza with view of the equestrian statue of the Portuguese governor Albuquerque. Photo, Sept. 1999.
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akg1558490 Antonio MANCINI:. The Marquis Giorgio Capranica del Grillo (1849 -1922) was for many years a gentleman of the Court of Queen Margherita of Italy, the Queen Mother. His mother was Adelaide Ristori, the actress. The portrait was painted in Rome in 1889 but apparently post-dated 1899 in 1904. Oil on canvas, 205.7 × 109.2 cm, 1889. London, National Gallery. Museum: London, National Gallery. Copyright: Additional permissions needed for non-editorial use.
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alb4139062 Le Chancelier le Tellier. Robert Nanteuil; French, 1623-1678. Date: 1659. Dimensions: 359 × 265 mm (sheet, trimmed within platemark). Engraving on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.
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akg570254 Götz, Curt; Schauspieler u. Schriftsteller; 1888-1960. Werke: Miniaturen (UA Wien 1958). Aufführung Berlin, Theater am Kurfürstendamm, 1987 (Insz.: Jürgen Wölffer; Darst.: Georg Thomalla, Michael Lech, Renate Holm, Arnold Marquis u. a.): Szene. Zeichnung, 1987; von Gerd Hartung (1913-2003). Filzstift auf Papier 21 × 29,7 cm. Privatsammlung. Museum: PRIVATE COLLECTION. Copyright: Gerd Hartung's artistic copyright cleared via akg-images. This artwork is not in the public domain. akg-images represents the artistic copyright of this artist, please contact us from more information and to clear the necessary permissions. For editorial use only.
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alb3657058 Marie Françoise de La Cropte de St. Abre, Marquise d'Argence. Artist: Jean Marc Nattier (French, Paris 1685-1766 Paris). Dimensions: 32 1/2 x 25 1/2 in. (82.6 x 64.8 cm). Date: 1744.The marquise's name and the date are inscribed on the stretcher. In 1744, the year she sat for Nattier, she was married in Paris to François Achard Joumard Tison d'Argence (1719-1781), who descended from several families of great antiquity in Angoulême and Périgueux.In this formal, frontal portrait the young sitter wears a pointed bodice trimmed with lace and pearls. An extravagant length of taffeta-like fabric is knotted at her breast. The trees, some with leafless branches, are unusual for a portrait in this relatively small format. Museum: Metropolitan Museum of Art, New York, USA.
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alb3647912 Virgin and Child. Artist: Copy after Jan Gossart (called Mabuse) (Netherlandish, ca. 1522). Dimensions: Overall 17 7/8 x 13 5/8 in. (45.4 x 34.6 cm); painted surface 17 1/4 x 13 in. (43.8 x 33 cm).In his Schilder-Boeck (Book on Picturing) of 1604 Karel van Mander wrote about Jan Gossart: " . when in the service of the marquis de Veere, Mabuse [Gossart] painted an image of Mary in which the face was painted after the marquis' wife and the little child after her child . " This painting may be a replica of Gossart's lost original portrait of Anna van Bergen, the wife of Adolf of Burgundy, marquis de Veere, and their son, Hendrik, in the guise of the Virgin and Child. As such, Anna aspired to emulate the standard of ideal virtue and motherhood exemplified by the Virgin. Museum: Metropolitan Museum of Art, New York, USA. Author: Copy after Jan Gossart (called Mabuse).
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alb3663663 The Vocation of Saint Aloysius (Luigi) Gonzaga. Artist: Guercino (Giovanni Francesco Barbieri) (Italian, Cento 1591-1666 Bologna). Dimensions: 140 x 106 in. (355.6 x 269.2 cm). Date: ca. 1650.Luigi Gonzaga (born 1568) was the eldest son of the marquis of Castiglione. He resigned the marquisate in favor of his younger brother, and in 1585 joined the Jesuit novitiate in Rome. He devoted himself to the care of the poor until he died of the plague in 1591. He was beatified in 1621 and canonized in 1726. Guercino's altarpiece was commissioned for the Theatine church of Guastalla in 1650 by Duke Ferrante III Gonzaga (1618-1678). An angel holds a heavenly wreath over the saint's head, while at his feet are a sheaf of lilies, representing chastity, and a crown, symbolizing the marquisate he had renounced. Museum: Metropolitan Museum of Art, New York, USA.
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alb3660631 Portrait of a Woman, Called the Marquise Perrin de Cypierre. Artist: Jean Marc Nattier (French, Paris 1685-1766 Paris). Dimensions: 31 1/2 x 25 1/4 in. (80 x 64.1 cm), with later additions of 1 1/4 in. (3.2 cm) at bottom, 1 in. (2.5 cm) at left, and 1/2 in. (1.3 cm) at right. Date: 1753. Museum: Metropolitan Museum of Art, New York, USA.
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akg2084156 History, France, French Revolutions. "Serment fédératif du 14 Juillet 1790". (The Fête de la Fédération of the 14th July 1790 was a celebration to commemorate the first anniversary of the Storming of the Bastille and the unity of the French Nation). Aquatint, coloured, 1790 by Louis Le Coeur after a drawing by Jacques Swebach-Desfontaines (1769-1823). 34 x 27.5 cm. Réserve QB-370 (22) -FT 4, de Vinck T. 22, no. 3761, Paris, Bibliothèque Nationale. Museum: Paris, Bibliothèque Nationale.
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akg258691 Maputo (form. Lourenço Marques, Mozambique, Africa), Casa de Ferro (iron house; built c. 1880 in Belgium; arch.: Gustav Eiffel; shipped to Maputo as a present to the Portuguese governor; today seat of the national cultural board). Exterior view. Photo, Sept. 1999.
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akg258692 Maputo (form. Lourenço Marques, Mozambique, Africa), Casa de Ferro (iron house; built c. 1880 in Belgium; arch.: Gustav Eiffel; shipped to Maputo as a present to the Portuguese governor; today seat of the national cultural board). View. Photo, Sept. 1999.
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akg286256 Montcalm de Saint-Véran, Louis Joseph Marquis de; French commander; 1712-1759. "The Death of General Montcalm". (As supreme commander of the defence of Quebec against the English under General Wolfe, he was fatally wounded on 13th September 1759, as was his adversary.). Copper engraving, contemporary. Author: ANONYMOUS.
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akg330462 Bonchamp, Charles-Melchior-Arthur, Marquis de. French royalist, leader in the War in the Vendéer; 1760-1793.- "Mort de Bonchamp (...) " (Royalist uprising in the Vendée, 1793/96: Bonchamp, fatally wounded near Cholet, 17.10.1793, prevents the sloughter of republican prisoners of war as revenge for his injury before his death). Illustration, 1894, by Job (1858-1931). From: Les Epées de France, Paris (H.Geffroy). Paris, Private Collection. Museum: Paris, Private Collection.
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akg575113 France / Histoire / Révolution française, 1789-1799 :. Fête de la Fédération à Paris sur le Champ-de-Mars le 14 juillet 1790. (Fête de la Constitution). "Fête de la Fédération (14 juillet 1790)". Chromolithographie française (image de collection), anonyme. vers 1900. N° 11 d'une série "Histoire de France entre 1789 et 1799". Paris, collection privée. Museum: Paris, Private Collection.
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akg091749 Montgolfier, brothers (Etienne de M., 1745-1799; Michel-Joseph de M., 1740-1810); inventors of the hot-air balloon. Setting off for the first manned ascent of a Montgolfiere on 21.11.1783 near Paris, led by J.-F. Pilatre de eRozier, accompanied by F.-L. Marquis d'Arlandes. Contemporary coloured etching. Author: ANONYMOUS.
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akg444336 Bonchamps, Charles-Artus, Marquis de. Leader of the Vendéer (pardoned 5,000 imprisoned Republicans before his death), 1760-1793. Bonchamp's tomb. Sculpture, 1825, by Pierre-Jean David d'Angers (1788-1856). Saint-Florent-le-Vieil (Dép. Maine-et-Loire, France), Abbaye de Montglonne. Photo.
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akg293387 Bonchamp, Charles-Melchior-Arthur, Marquis de. French royalist, leader in the War in the Vendée; 1760-1793.- "Mort de Bonchamp (...) " (Royalist uprising in the Vendée, 1793/96: Bonchamp, fatally wounded near Cholet, 17.10.1793, prevents the slaughter of republican prisoners of war as revenge for his injury before his death). Steel engraving, unmarked, 1839.
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akg376500 Louis Joseph Marquis of Montcalm de Saint-Véran; French military commander; 1712-1759. "Montcalm blessé est ramené à Québec". (Montcalm is mortally wounded as commander-in-chief at the defense of Quebec against the English under General Wolfe, 13 Sept. 1759). Colour print after a drawing by Louis-Charles Bombled (1862-1927). From: E. Guénin, La Nouvelle-France, Paris, 1904. Paris, private collection. Museum: Paris, Private Collection.
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akg016867 Montgolfier, brothers (Etienne de M., 1745-1799; Michel-Joseph de M., 1740-1810); inventors of the hot-air balloon. Setting off for the first manned ascent of a Montgolfiere on 21.11.1783 near Paris, led by J.-F. Pilatre de Rozier, accompanied by F.-L. Marquis d'Arlandes. Contemporary coloured etching. Author: ANONYMOUS.
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akg075847 French Revolution:. Federation Festival, Paris, 14 July 1790. (Festival of the Constitution on the Champs de Mars). - Lafayette, Commander-General of the National Guard taking his oath on the Constitution. Contemp. painting, anon. Author: ANONYMOUS.
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alb9877731 Nicolas Fouquet, Superintendent of Finances, 1615-1680. Marquis de Belle-Île, vicomte de Melun et Vaux, minister under King Louis XIV. Fouquet, Surintdt des Finances. Copperplate engraving by D after Charles le Brun from Marie de Rabutin-Chantal Sevignes Collection des Vingt Portraits du Siecle de Louis XIV, Collection of 20 Portraits of the century of King Louis XIV, J.J. Blaise, Libraire, Quai des Augustins, Paris, 1818.
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alb3603041 Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso). Artist: Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Dimensions: Sheet: 11 3/8 x 8 7/16 in. (28.9 x 21.4 cm). Date: ca. 1510-11.This double-sided sheet of closely observed life studies is the most magnificent drawing by Michelangelo in North-America, purchased by the Metropolitan Museum of Art on August 8, 1924 (its acquisition being voted by the museum's acquisitions committee on June 9, 1924), in great part thanks to negotiations by the eminent painter, John Singer Sargent, with the widow of Aureliano de Beruete, its previous owner (file no. D7950, Archive Department of Drawings and Prints, The Metropolitan Museum of Art). The much smaller than life-size studies on the famous recto side of the Metropolitan sheet were clearly done from a young male assistant posing in the artist's studio, being preparatory for the design of the Libyan Sibyl, the monumental enthroned female figure painted in fresco on the north-east end of the Sistine Ceiling. The Libyan Sibyl was the last of the seers to be frescoed on the north part of the vault, executed in a scale that is about three times life-size (the overall area of this part in the fresco measures 4.54 meters by 3.80 meters); she is clothed except for her powerful shoulders and arms, and wears an elaborately braided coiffure. Her complex pose in the fresco, evidently requiring study in numerous drawings, plays on the arrested motion of her stepping down from the throne, while holding an enormous open book of prophecy which she is about to close. Sketched in soft black chalk, the verso of the double-sided Metropolitan sheet was possibly drawn before the better-known recto side with its meditated red chalk studies; many of Michelangelo's drawings for the early parts of the Sistine Ceiling are in a similarly soft black-chalk technique (examples of early Sistine studies in soft black chalk are British Museum inv. 1859,0625.567, London; Teylers Museum inv. A 18 verso, Haarlem; Casa Buonarroti inv. nos. 64 F and 75 F, Florence; Musée du Louvre Département des Arts Graphiques inv. 860, Paris; Biblioteca Reale inv. 15627 D.C., Turin.), while a preponderance of sheets done for the later parts of the frescoes are in red chalk. The verso of the Metropolitan sheet portrays at center, in profile the large nude seated figure of the sibyl (here, the softer anatomical forms may be feminine, rather than masculine as they evidently are in the case of the studies on the recto), at upper right a very summary design of a much smaller figure in three-quarter view facing left (its style generally resembles the motifs in the "Oxford Sketchbook": see Ashmolean Museum nos. 1846.45 to 1846.52), and at lower right the detail study of the sibyl's right knee. The main study in red chalk, on what is today considered the recto of the Metropolitan double-sided sheet, portrays the seated youth with head in profile, bent arms and upper body turned in an elegant contrapposto stance, to display the formidable musculature of his back in a rear view. Michelangelo considered the position of the shoulders turning into the depth of space, with especial attention, indicating also with two small circles the prominence of the supraspinatus muscles (the accents with tiny touches of white chalk on the left shoulder are likely a later retouching, but create a most intense highlight). The sequence of execution of the surrounding motifs on the recto, also done in red chalk, is much less clear, and one may venture to guess that, at left, the reprise of the head in profile and the rough sketch of the torso and head were drawn before the main study (given that parts of their outlines seem to lie underneath the main study), while the highly rendered motifs of the left hand at lower center and the three reprises of the left foot and toes at right probably followed the main study on the sheet. The manner of the weight-bearing on the toes of the sibyl's left foot was crucial for the overall design of the figure's contrapposto pose, and explains the multiple studies of this detail on the Metropolitan sheet. The facial features on the large head at lower left in the recto seem closer to those of the Libyan Sibyl in the final fresco, than the face of the youth in the main study. The recto of a sheet in the Ashmolean Museum (no. 1846.43; Fig. 2), Oxford, dedicated to studies for the Sistine Ceiling and sketches for the Tomb of Pope Julius II, represents at center the attendant young boy genius who is seen to the immediate left of the frescoed Libyan Sibyl, as well as at lower left the sibyl's right hand, both motifs executed in red chalk. While the overall dimensions of the Oxford sheet (28.6 x 19.4 cm) are similar to those of the Metropolitan sheet, the hue of the red chalk seems brighter and slightly orange; nevertheless, it is clear that the Oxford and New York sheets are very close companions, probably from the same sketchbook, without their necessarily being (in the present author's opinion) halves of the same sheet, as an earlier generation of scholars suggested (summary of discussion in Joannides 2007, p. 120).The scientific findings which emerged during the cleaning of Michelangelo's Sistine frescoes (1984-1990; published in Mancinelli 1994) provide a precise, though often overlooked context in which to consider the dating and function of the Metropolitan Museum studies. Given that the great artist painted the enormous vault of the chapel from the west to east end -- that is, from above the entrance to above the site of the altar -- in two campaigns demarcated by the erection of scaffolding (or pontate), as is suggested by both documents and a variety of recently emerged physical data (for which see Mancinelli 1994, pp. 16-22), the monumental Libyan Sibyl belongs to the latter phase of work on the project. At this point, Michelangelo's technical virtuosity as a fresco painter was at its height, having made a rough and inexperienced beginning in 1508 when the first scene of the vault he frescoed, The Deluge, grew mold because of incorrectly prepared intonaco (this fine surface plaster was used too watery; see also Condivi 1553). The most difficult technique of painting is possibly that of fresco, as it requires speed of execution onto the wet plaster before it sets and great self-confidence; writers of art treatises from the fourteenth to the eighteenth century judged the medium of fresco to be supreme, precisely because of the technical virtuosity it demanded (Bambach 1999); as Michelangelo would himself later complain to his biographer Giorgio Vasari: "Fresco painting is not an art for old men." (Vasari 1568).Although the chronology of the Sistine Ceiling is debated, the first phase of work, or pontata, was done between late summer - perhaps late July -- of 1508 (the contract for the Sistine frescoes dates to May 10, 1508; see Bardeschi Ciulich and Barocchi 1970) and late August 1510, and ended with the painting of the Creation of Eve; while the second pontata and final phase of work probably began some time after January 1511 (the winter months are not good for fresco-painting), concluding on October 31, 1512 with the unveiling of the Chapel (see Gilbert 1994). The recto of the Metropolitan Museum study can be dated with great probability to the winter of 1511, when Michelangelo could draw rather than paint in fresco (he returned to Rome, from Bologna, by January 11, 1511), and would have been prepared at the beginning of the second pontata, that is, soon after the great artist had moved his scaffolding for the second (and final) time to paint. The gigantic figure of the Libyan Sibyl, together with her throne and attendants, was frescoed onto the large concave surface of the vault in twenty days of work (the fresco is comprised of 20 giornate, or patches of fine surface plaster), and the complex design was transferred by the laborious technique of spolvero (a cartoon or full-scale drawing transferred by means of pricking and pouncing the outlines; see Bambach 1994).The Metropolitan study is done with a red-chalk of slightly purplish hue sharpened to a point for the fine contours of the figure and some of the interior hatching, but it was also at times applied with the side of the stick; the red chalk medium was especially suited for the particularized, highly naturalistic study of anatomical detail. Although Michelangelo had begun to use red chalk in the early 1490s (See C.C. Bambach, "La virtù dei disegni del giovane Michelangelo", in Michelangelo 1564-2014, ed. by C. Acidini, Rome 2014), his greatest accomplishments with this medium are connected with the later parts of the Sistine Ceiling. Yet the group of red chalk studies for the Sistine has also been among the most greatly contested of Michelangelo's drawings in terms of attributions. The closest companions in style and technique to the red-chalk Metropolitan Libyan Sibyl are the studies on the sheet at the Ashmolean Museum (Fig. 2), as well as three others at the Teyler Museum, Haarlem (inv. nos. A16 recto, A20 recto-verso, and A27 recto-verso). Two of these Teyler sheets (A20 and A 27) are drawn, in fact, with a red chalk of closely similar purplish hue as that employed for the Libyan Sibyl on the recto of the Metropolitan Museum sheet. Clearly autograph, the sketches on the better preserved verso of the Metropolitan sheet are not ever mentioned by the scholars rejecting the attribution of the recto studies to Michelangelo(Perrig 1976; Perrig 1991; Zöllner et al. 2008). This verso exhibits a similar type of handling --with loose, impressionistic hatching and contours, rather than finely detailed-- as most of the soft black-chalk studies for the early parts of the Sistine Ceiling (for example, the sheets British Museum inv. 1859,0625.567, London; Teylers Museum inv. A 18 verso, Haarlem; Casa Buonarroti inv. nos. 64 F and 75F, Florence; Musée du Louvre Département des Arts Graphiques inv. 860, Paris). The late sixteenth-century copy in red chalk after the Metropolitan Libyan Sibyl at the Uffizi (inv. no. 2318 F), Florence, is of nearly the same size, but is of remarkably inferior quality of execution, omitting also the two anatomical notations of circles on the shoulders and the tiny white chalk accents. Moreover, the drawn copy rearranges the positioning of the individual motifs, introduces the right foot of the sibyl (which is absent in the recto of the Metropolitan sheet), and records the abrupt terminus of outlines in the study of the toe. As the Uffizi copy emulates defects of condition in the original Metropolitan sheet (especially the outlines of the hole in the original paper support), it can be deduced that it directly derives from the Metropolitan sheet.The verso sketches on the Metropolitan Museum sheet have always rightly been recognized as by Michelangelo, and the "no. 2i ." inscribed at lower center adds further proof, as it fits precisely into a numerical sequence found on many other drawings by the great artist that have an early Buonarroti family provenance (see Bambach 1997). The annotation at lower left on the recto regarding the artist's surname, here spelled in the form of "bona Roti" is also signficant in view of the corpus of drawings by Michelangelo and his school which bear this annotation by the so-called "Bona Roti collector," as Paul Joannides has baptized him. In any case, important groups of drawings inherited by the Buonarroti family appears to have been dispersed between ca. 1684 and 1799, probably by the senatore Filippo Buonarroti (Joannides 2007). The paraph in pen and dark brown ink inscribed at lower center on the recto of the Metropolitan sheet is often mistaken as a mark of ownership by the collector Everhard Jabach (1618-1695), of Cologne and Paris (De Tolnay1975; Logan and Plomp 2005) rather, it closely resembles the paraphs scribbled on sheets of drawings in the Real Academia de San Fernando, Madrid, and which were part of a large group of drawings acquired in 1775 from the widow of the painter Andrea Procaccini (1671-1734), who had died at La Granja de San Ildefonso and who had in turn inherited them from his master, Carlo Maratti (1625-1713; see Mena Marqués 1982). Although the overall condition of this double-sided sheet is very good, it is somewhat different for each face of the paper; the original off-white hue of the paper is still nearly intact on the verso, but is considerably darkened on the recto; this is apparently due to prolonged exposure to light, and, as noted in 1925 by Bryson Burroughs (the curator who bought the drawing for the Met), the red chalk studies on the recto were "fixed" with a solution of shellac in alcohol, which has intensified the differences of light and shade (Bryson Burroughs 1925). The recto also exhibits stains of brown wash at lower right; the triangular loss on the original support toward the center of the right border (if the sheet is regarded from the recto) is the result of very early damage, being made up and toned in restoration after 1951.(Carmen C. Bambach). Museum: Metropolitan Museum of Art, New York, USA.
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akg5161282 Lafayette, Marie Joseph de Motier, Marquis de L.; French general and politician; 1757-1834. - "Cette cocarde fera le tour du monde" (This cockade will go around the world). - (General Lafayette, commander of the newly formed National Guard (July 15, 1789) declares the cockade with the tricolor a significant symbol). Colour print after watercolour by Job, full name Jacques Onfroy de Bréville (1858-1931). From: Les mots historiques du pays de France, Texts par Trogan, Illustrations de Job, Tours (Alfred Mame et fils) 1896, p. Private collection.
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akg3674400 Histoire de France / Débuts de l'époque contemporaine. "LA RÉVOLUTION FRANÇAISE / L'ASSEMBLÉE CONSTITUANTE (1789-1791) - L'ASSEMBLÉE LÉGISLATIVE (1791-1792)". Détail : "Ouverture des États-Généraux ; Le Serment du Jeu de Paume ; Marie Joseph de Motier, Marquis de Lafayette ; Prise de la Bastille ; Honoré Gabriel de Riquetti, Marquis de Mirabeau ; Jean Siffrein Maury ; Camille Desmoulins ; Maximilien de Robespierre ; Bernard-René de Launay, Gouverneur de la Bastille ; Le Retour de Varennes ; Les Massacres du 2 au 6 septembre 1792". Impression couleur d'après un dessin de Jos. Girard. Gustave Gautherot, Histoire de France, Tome I, Paris (Maison de la Bonne Presse), 1934.
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akg3674320 Histoire de France / Temps modernes. "LOUIS XIV (suite) / LE GOUVERNEMENT DU GRAND ROI (1661-1715)". Détail : "Galère "La Dauphine"; Louis XIV; Vaisseau à trois ponts; Jean-Baptiste Colbert; Marquis de Seignelay; Marquis de Louvois; Michel le Tellier; Louis XIV préside son conseil; Gentilhomme de la maison du Roi; Le château de Versailles au temps de Louis XIV; Conseiller au Parlement en costume d'apparat". Impression couleur d'après un dessin de Jos. Girard. Gustave Gautherot, Histoire de France, Tome I, Paris (Maison de la Bonne Presse), 1934.
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akg193447 American War of Independence 1775-83 /. Surrender at Yorktown, 19 Oct 1781 (The British army under Lord C.Cornwallis surrender to the US-French troops under G.Washington). "Capitulation de Cornwallis". Engraving by Torlet after Vernier. From: Roux de Rochelle, L'Univers. Etats-Unis d'Amerique, Paris (Firmin Didot) 1837, p. 28. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg256283 American Revolutionary War, 1775-83:. Capitulation of Yorktown, 19. Oct. 1781. The British army under General Lord Cornwallis surrenders to the French-American troops under G.Washington. "Capitulation de Cornwallis". / Etching by Torlet after Vernier. From: Roux de Rochelle L'Univers. Etats-Unis d'Amerique, Paris. (Firmin Didot) 1837, S. 284f. / Spät. Kolor.
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akg394674 Art de la table :. "UN SACRÉ NOCEUR. Le Monsieur. Vous me donnerez de la tisane ? Le Maître d'hôtel. Quelle marque? Mümm, Roederer, Moët, Montebello? Le Monsieur. Non. Marque Camomille." (tisane pris dans le sens désuet de mauvais champagne). Lithographie coul. d'ap. dessin de Henri Gerbault (1863-1930). De l'album : Boum...Voilà ! Paris (H. Simonis Empis, Éditeur), 1900.
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akg337937 American War of Independence 1775-83 /. Yorktown, 19 Oct. 1781 (The Brit. army under C.Cornwallis capitulates to the Franco-American troops under G.Washington). General Lafayette has the "Yankee Doodle" played as the defeated troops present their flags.- / Illustr. fr. Job, by Jacques Onfroy de Bréville (1858-1931). From: Les Chants Nationaux (...). Paris, Private Collection. Museum: Paris, Private Collection.
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akg570459 Sebastien Vauban, Le Prestre, Marquis de V.; French war master builder; 1633-1707. "Einige Stücke oder Theile von einer Circumvallations-Linie". (Various parts of the circumvallation line). From: The attack and the defense of fortresses (...) translated into German, part 1, Berlin (Christian Sigismund Bergemann) 1744. Figure I. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg570465 Sebastien Vauban, Le Prestre, Marquis de V.; French war master builder; 1633-1707. "Thore oder Eingänge an denen Linien mit Schlag- oder Drehe-Bäumen." (Gates or entrances...). From: The attack and the defense of fortresses (...) translated into German, part 1, Berlin (Christian Sigismund Bergemann) 1744. Figure III. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg570461 Sebastien Vauban, Le Prestre, Marquis de V.; French war master builder; 1633-1707. "General profiles or averages for all types of lines.". From: The attack and the defense of fortresses (...) translated into German, part 1, Berlin (Christian Sigismund Bergemann) 1744. Figure II. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg570469 Sebastien Vauban, Le Prestre, Marquis de V.; French war master builder; 1633-1707. "Regulaire Attaquen auf gleichem Boden, da die Trenchee in der Weite eines Canonenschusses geöffnet worden." (Regular attacks on steady ground...). From: The attack and the defense of fortresses (...) translated into German, part 1, Berlin (Christian Sigismund Bergemann) 1744. Figure V. Berlin, Sammlung Archiv für Kunst und Geschichte. Museum: Berlin, Sammlung Archiv für Kunst und Geschichte.
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akg387206 Sebastien Vauban, Le Prestre, Marquis de V.; French military engineer; 1633-1707. "DESSEINS DES MINES". (Plan and cross-section of a wall with a mine shaft, views of an exploding mine, a wall after the explosion). Book illumination, 1704. From: Traité des sièges and de l'attaque des places. Issue for 8-year-old Louis, Duc de Bourgogne, son of Louis XIV. / sheet18. Paris, Bibliothèque du Génie. Museum: Paris, Bibliothèque du Génie.
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akg134735 Sade, Donatien-Alphonse-François, Marquis de French writer, 1740-1814. "The Marquis de Sade in the vault of his castle". Unsignd copper engraving, 18th century, coloured. Author: ANONYMOUS.
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akg327839 Love and marriage / wedding:. bridal couple. "La bénédiction nuptiale" (the wedding blessing). Phtoo postcard (Arialev), Paris (Marque Étoile, série No. 3027) 1907. Paris, private collection. Paris, Private Collection. Museum: Paris, Private Collection.
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alb3646069 Portrait of George Savile, Marquis of Hallifax. Artist: After Mary Beale (British, Barrow, Suffolk baptised 1633-1699 London). Author: Related to work by Thomas Birch (British, 1705-1766). Dimensions: Plate: 10 3/4 × 9 1/4 in. (27.3 × 23.5 cm)Sheet: 16 1/4 × 10 3/16 in. (41.3 × 25.8 cm). Engraver: Jacob Houbraken (Dutch, Dordrecht 1698-1780 Amsterdam). Publisher: John and Paul Knapton (British, active 1735-89). Series/Portfolio: Thomas Birch, The Heads of Illustrious Persons of Great Britain. Sitter: George Savile, 1st Marquis of Halifax (British, 1633-1695). Date: 1740. Museum: Metropolitan Museum of Art, New York, USA.
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akg243104 Montespan, Françoise Athénaïs de Rochechouart de Mortemart, Marquise de M.. Louis XIV's mistress from 1667; Lussac-les-Châteaux 5.10.1641 - Bourbon l'Archembault 27.5.1707. The Marquise de Montespan in a gallery of Clagny palace. Painting by Henri Gascard (1635-1701). Private collection.
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akg3977007 To: Sade, Donatien-Alphonse-François, Marquis de French writer, 1740-1814. "Portrait imaginaire de D.A.F. de Sade" (Imaginary portrait of D.A.F. de Sade), 1938. Painting, 1938, by Man Ray (1890-1976). Oil on canvas with painted wood, 54 × 46.7 cm. Inv. 85-021 D. Houston, The Menil Collection. Museum: Houston, The Menil Collection. Copyright: This artwork is not in the public domain. Additional copyright clearance may be required before use of this image. © Man Ray.
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alb4488415 George Gordon (1592-1649), second Marquis of Huntley, Portrait of George Gordon (1592-1649), Second Marquis of Huntley. Bust, to the left. After the portrait by Anthony van Dyck in the collection of the Duke of Buccleuch in Scotland. Part of the portrait portrait collection, George Gordon (second Marquis of Huntly), Samuel Cooper, 1630 - 1672, parchment (animal material), gold (metal), glass, h 5.6 cm × w 4.6 cm h 7.1 cm × w 4.6 cm × d 0.8 cm.
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alb4442857 Decapitation of James, Duke of Monmouth and Duke Archibald of Argyle, Silver Medal. Obverse: on an altar with crowned coat of arms encircled by garter order are four scepters and a bust of a man with laurel wreath, in background Neptune in sea-going car and ship on calm sea within an inscription. Reverse: Justice with sword and scales, on which she weighs three crowns against a sword, a torch and a serpent, stands between two beheaded corpses, the heads of which lie on a pedestal on either side of her, with her foot she tramples a snake, while in the background rebels are destroyed by lightning above inscription., Sedgemoor, Somerset, England, James Scott duke of Monmouth, Archibald Campbell (2nd Marquis and 9th Earl of Argyll), Reynier Arondeaux, Amsterdam, 1685, silver (metal), striking (metalworking), d 6.2 cm × w 92.51 gr.
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akg258704 Maputo (form. Lourenço Marques, Mozambique, Africa). Railway station (compl. in 1910; arch.: Gustav Eiffel; renovated 1997/98). View of the main building. Photo, Sept. 1999.
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akg195217 Kokoschka, Oskar. 1886-1980. "Portrait of the Marquis Joseph de Montesquiou-Fezensac", 1910. Oil on canvas, 80 × 63cm. Stockholm, Moderna Museet. Museum: Stockholm, Moderna Museet. Copyright: This artwork is not in the public domain. It is your responsibility to obtain all necessary third party permissions from the copyright handler in your country prior to publication. © Oskar Kokoschka.
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alb2179050 View of the Royal Gallery, Italian garden of the Palace of the Marquises of Fronteira, Lisbon, Portugal.
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akg408683 Verne, Jules ; écrivain français ; 1828-1905. Oeuvre : L'Ile à hélice (roman, 1895). 1re partie, chap. XI "îles Marquises" : la communication téléphonique est établie entre l'île à hélice et la côte américaine par le biais d'une bouée où se raccordent les câbles. Grav. sur bois, coloriée, d'ap. L. Benett. In : "Voyages Extraordinaires", Paris (coll. Hetzel).
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alb4104805 Portrait Study of Arthur Wellesley, Duke of Wellington. Portrait of Arthur Wellesley, Duke of Wellington (1769-1852). Dating: 1821. Place: London. Measurements: h 76 cm × w 63.5 cm; d 12 cm. Museum: Rijksmuseum, Amsterdam. Author: Jan Willem Pieneman (mentioned on object).
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alb2019425 Leonardo Jusepe / 'The Surrender of Juliers', 1634-1635, Oil on canvas, 307 x 381 cm, P00858. Museum: MUSEO DEL PRADO, MADRID, SPAIN. AMBROSIO ESPINOLA. DIEGO MEXIA FELIPEZ DE GUZMAN.
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alb3892224 Manuel de Roda y Arrieta. Date/Period: 1765. Painting. Oil on canvas. Height: 99 cm (38.9 in); Width: 75 cm (29.5 in). Author: Pompeo Batoni.
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alb3907608 Judith with the Head of Holophernes. Date/Period: Ca. 1495/1500. Painting. Tempera on panel. Height: 30.10 mm (1.18 in); Width: 18.10 mm (0.71 in). Author: Andrea Mantegna or Follower (Possibly Giulio Campagnola).
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alb4102379 The Kranenhoofd on the Scheldt, Antwerp (Winter Pastime on the Scheldt in Antwerp). Dating: 1622. Measurements: h 58.5 cm × w 113 cm; d 8.5 cm. Museum: Rijksmuseum, Amsterdam. Author: Sebastiaan Vrancx.
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alb4142672 Portrait of Philippe Claude André de Thubières, Comte de Caylus. Jean B. A. Gautier d'Agoty; French, 1740-1786. Date: 1760-1786. Dimensions: 236 × 192 mm (image); 255 × 207 mm plate); 305 × 228 mm (sheet). Color mezzotint on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Jean Baptiste André Gautier d'Agoty.
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alb9534955 After Titian's "Madonna of the Rabbit". oil on canvas. Date: 1878-1882. Museum: Smithsonian American Art Museum.
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akg8686046 Dupuy, Paul Michel, 1869-1949. "Plage de Biarritz" (Biarritz Beach), 1913. Oil on canvas, 154.5 × 380 cm. Donation of the Azevedo Marques Family in 1949. Inv. No. 1364. São Paulo, Pinacoteca do Estado.
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