Images at Librifly

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Corn Hill and Moot Hall, Ipswich, George Frost, 1745–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 × 13 1/4 inches (22.5 × 33.7 cm), arches, architectural subject, carts,

Croix de Moulin les Planches, Print made by Richard Parkes Bonington, 1802–1828, British, Printed by Charles J. Hullmandel, 1789–1850, British, 1827, Lithograph on moderately thick, smooth, cream wove paper with cream chine collé,

Scene in a park, with figures from the Commedia dell'Arte, Marcellus Laroon the Younger, 1679–1772, British, ca. 1735, Oil on canvas, Support (PTG): 36 1/4 x 34 1/2 inches (92.1 x 87.6 cm), basket, bottles, comedy, commedia dell'arte,

Statue of George II, Greenwich, Thomas Rowlandson, 1756–1827, British, undated, Graphite, pen and brown ink, and watercolor on medium, slightly textured, cream wove paper, Sheet: 7 7/8 × 5 inches (20 × 12.7 cm), Sheet: 8 3/4 × 6 1/2

The Honourable Mrs. Beresford with the Marchioness Townshend and the Hon. Mrs. Gardiner Adoring a Term of Hymen, Print made by Thomas Watson, 1743–1781, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1776, Mezzotint on

John Michael Rysbrack Modelling His Terra-Cotta Statue of Hercules, Andrea Soldi, 1703–1771, Italian, active in Britain (from ca. 1736), 1753, Oil on canvas, Support (PTG): 45 3/16 x 35 3/4 inches (114.8 x 90.8 cm), artist, caliper,

Statue Bust, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, ca. 1790, Graphite with gray wash on medium, moderately textured, cream laid paper, Contemporary drawn border: 7 x 5 inches (17.8 x

Administering the Oath at Highgate, Robert Dighton, 1752–1814, British, undated, Pen and black ink and gray wash on medium, moderately textured, cream wove paper, Sheet: 6 5/8 × 10 7/8 inches (16.8 × 27.6 cm), building, children, genre

Garrick Reading the Ode at the Shakespeare Jubilee, Caroline Watson, 1760–1814, British, after Robert Edge Pine, 1730–1788, British, Published by John Boydell, 1720–1804, British, 1784, Stipple engraving and etching on moderately

Statue of Achilles in Hyde Park, Print made by Samuel Freeman, 1773–1857, British, after Thomas Hosmer Shepherd, 1792–1864, British, Published by Jones & Co., active 1822–1850, British, 1827, Stipple engraving and etching on

Untitled: Classical scene with statue, George Knapton, 1698–1778, British, after Giovanni Paolo Panini, Italian, 1691–1765, Italian, Arthur Pond, ca. 1705–1758, British, 1740, Sheet: 7 1/4 x 4in. (18.4 x 10.2cm

Ticket: Walker's Lectures, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1794, Line engraving on medium, slightly textured, cream laid paper,

Pierrepont House, Nottingham, Nottinghamshire, unknown artist, eighteenth century, Formerly attributed to Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), ca. 1705, Oil on canvas, Support (PTG): 36 3/16 x 48 inches (91.9 x

A Term in a Garden, Joseph Nollekens, 1737–1823, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 9 7/8 x 14 13/16in. (25.1 x 37.6cm) and Sheet: 14 1/2 × 10 inches (36.8 × 25.4 cm), architectural subject,

Theatrical Figures About a Throne, Richard Westall, 1765–1836, British, undated, Watercolor and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 19 x 23 3/4 inches (48.3 x 60.3 cm), breeches (trousers), cloak,

Shadrach, Meshack and Abed-Nego before Nebuchadnezzar, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, graphite, and white gouache on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2

Doge's Palace, Sir David Young Cameron, 1865–1945, British, 1902, Etching and drypoint, arcade, arches, architectural subject, balconies, balustrades, railings and their components, bridge (built work), buildings, canal, capitals,

Augustus, Print made by Jacob Gole, 1660–1737, Dutch, after Pieter Schenck, 1660–1719, Dutch, undated, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 10 1/16 x 7 9/16 inches (25.6 x 19.2 cm), Plate: 10 1/16 x 7 3/16

Title page for 'The Guardian', Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and black ink and gray wash on medium, slightly textured, cream wove paper, Sheet: 6 × 4 1/2 inches (15.2 × 11.4 cm), carriage, children, crowd,

Statue of Marcus Aurelius, Capitoline, Rome, Calvert Richard Jones, 1802–1877, British, 1846, Salted paper print from a paper negative on thin, smooth, cream wove paper, Sheet: 7 3/4 × 9 3/4 inches (19.7 × 24.8 cm

William Hogarth, Print made by Thomas Cook, 1744–1818, British, after Louis François Roubiliac, 1702–1762, French, active in Britain (from 1730), Published by Longman, active 1804–1914, British, 1809, Stipple engraving, etching,

King Henry VII, John Faber the Younger, ca. 1695–1756, Netherlandish, active in Britain, after unknown artist, 1731, Mezzotint on medium, moderately textured, cream laid paper, Sheet: 6 7/8 x 4 15/16 inches (17.4 x 12.5 cm), bust, cap,

Pilgrims Paying Their Devotion in St. Peters at Rome, Print made by David Allan, 1744–1796, British, born in Scotland, after David Allan, 1744–1796, British, born in Scotland, between 1773 and 1775, Etching on moderately thick, rough,

The Sepulchre, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), completed by Alfred Herbert Palmer, 1853–1931, British, between 1880 and 1883, Etching and drypoint, with plate tone on moderately thick,

Sacrifice to Hercules, Gaspar van der Hagen, active 1747–died 1769, Flemish, active in Britain (from ca. 1744), ca. 1766, Marble relief, Overall: 24 x 28 15/16 inches (61 x 73.5 cm), altar, apples, cup, fire, Greek architecture,

Edward I, King of England, Lord of Ireland and Duke of Aquitaine, George Vertue, 1684–1756, British, after a statue by unknown artist, undated, Engraving on medium, slightly textured, cream, laid paper, monted on, moderately thick,

View of Queen Square, Robert Pollard, 1755–1838, British, and Robert Dodd, 1748–1816, British, after Edward Dayes, 1763–1804, British, 1789, Etching and aquatint on moderately thick, moderately textured, cream, laid paper, Sheet:

Views in the Levant: The Colossus of Barletta, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, with pen in brown ink, black ink, gray ink, and graphite on medium, slightly textured, beige, wove paper, mounted on

Queen Square, London, Edward Dayes, 1763–1804, British, 1786, Watercolor with pen and black ink over graphite on thick, smooth, cream wove paper, Sheet: 17 1/16 x 23 1/2 inches (43.4 x 59.7 cm), Contemporary drawn border: 17 1/8 x 23 7/16

Sisters Contemplating on Mortality, Print made by Robert Dunkarton, 1744–1811, British, after George Romney, 1734–1802, British, 1770, Mezzotint (first state) on medium, slightly textured, cream laid paper, Sheet: 20 × 14 1/4 inches

The Volunteers of the City and County of Dublin, Print made by Joseph Collyer, 1748–1827, British, after Francis Wheatley, 1747–1801, British, 1784, Etching and engraving, printed in color and hand-colored, Image: 16 1/2 x 25in. (41.9 x

Portrait of a Woman, Thomas Gainsborough RA, 1727–1788, British, ca. 1750, Oil on canvas, Support (PTG): 29 7/8 x 26 1/4 inches (75.9 x 66.7 cm), book, building, costume, garden, landscape, portrait, sculpture, statue, stream,

George Vertue, M. Gauci, 1810–1846, after George Vertue, 1684–1756, British, Printed by Charles J. Hullmandel, 1789–1850, British, Published by Anthony Molteno, 1784–1845, British, 1821, Lithograph on moderately thick, slightly

Merchant Taylors' School and St. Paul's School, Print made by Benjamin Cole, 1697–1783, British, after unknown artist, 1756, Line engraving and etching on moderately thick, slightly textured, beige laid paper, Sheet: 15 9/16 x 9 5/8 inches

Study of Classical Statue of Hercules, October 6, 1717, Hamlet Winstanley, 1698–1756, British, 1717, Red chalk on medium, slightly textured, cream laid paper, Sheet: 12 1/8 × 7 3/4 inches (30.8 × 19.7 cm) and Binding: 13 inches (33 cm

The Pont Neuf, William Henry Lake Price, ca. 1810–ca. 1896, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 6 1/2 × 9 3/4 inches (16.5 × 24.8 cm), architectural subject, bridge (built work),

Design for a Park Gateway, Edward Blore, 1789–1879, British, undated, Watercolor, gouache, graphite, etched lines, with black ink, and pen in brown ink on medium, slightly textured, cream, wove paper, mounted on moderately thick,

Shakespeare Sacrificed; or, The Offering to Avarice, Print made by James Gillray, 1757–1815, British, 1789, Etching with coloring on medium, slightly textured, cream wove paper, Sheet: 19 3/4 x 15 1/8 inches (50.2 x 38.4 cm), Plate: 19

Academy by Lamplight, Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1769, Oil on canvas, Support (PTG): 50 x 39 3/4 inches (127 x 101 cm), academy, artists, Borghese Gladiator, ca. 100 BC, by Agasias of

Veni Inebriemus Eum Vino Dormiamusque Cum Eo, Print made by unknown artist, seventeenth century, after Hendrick Goltzius, 1558–1617, Dutch, and Jan Saenredam, 1565–1607, Dutch, Published by John Smith, 1652–1743, British, between

Lewis Francis Roubiliac, Print made by Thomas Chambars, ca. 1724–1789, British, after Adrien Carpentiers, active 1739–1778, Flemish, active in Britain (from 1739), undated, Etching and line engraving on moderately thick, smooth, cream

Rabbi with a White Turban, Print made by William Pether, ca. 1738–1821, British, after Rembrandt van Rijn, 1606–1669, Dutch, 1778, Mezzotint on moderately thick, moderately textured, cream laid paper, Sheet: 24 7/8 × 17 15/16 inches

Jonathan Tyers, with His Daughter Elizabeth, and Her Husband John Wood, Francis Hayman, 1707/8–1776, British, between 1750 and 1752, Oil on canvas, Support (PTG): 39 x 34 inches (99.1 x 86.4 cm), canal, dog (animal), father, husband,

Thomas Alphonso Hayley, Half-Length Drawing, attributed to William Blake, 1757–1827, British, ca. 1800, Graphite and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 x 5 1/4 inches (17.1 x 13.3 cm), book,

Pandemonium, Print made by John Martin, 1789–1854, British, and J. P. Quilley, active 1828, after John Martin, 1789–1854, British, 1831, Mezzotint on moderately thick, slightly textured, cream wove paper, Sheet: 22 3/8 × 30 3/4

Achilles Statue, Hyde Park, London, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 9 7/8 x 13 7/16 inches (25.1 x 34.1 cm), clouds, dogs (animals),

Doorhead of the Palazzo Contarini della Porta di Ferro, John Ruskin, 1819–1900, British, undated, Pen and black ink, brown wash and white gouache on medium, slightly textured, cream wove paper, Sheet: 8 7/8 x 10 7/8 inches (22.5 x 27.6

Classical Landscape, William Taverner, 1703–1772, British, ca. 1760, Oil on canvas, Support (PTG): 18 1/4 x 25 inches (46.4 x 63.5 cm), figures, foliage, lagoon, lake, landscape, sculpture, statue, trees, water

David Garrick and his wife by his Temple to Shakespeare, Hampton, Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), ca. 1762, Oil on canvas, Support (PTG): 43 1/4 x 53 inches (109.9 x 134.6 cm), actor,

A Study of Agostino Cornacchini's Statue of Charlemagne, St. Peter's Basilica, Rome, Joseph Wilton RA, 1722–1803, British, Between 1747 and 1755, Graphite, pen and brown ink and brown wash on medium, moderately textured cream laid paper,

School of Giovanni Paolo Panini, Ruin of a Temple with a Statue, Temple ruin with statue, painting, Oil on canvas, Height, 34.5 cm (13.5 inches), Width, 28 cm (11 inches

Carl Stefan Bennet, The Unveiling of the Equestrian Statue of Carl XIV Johan or Sw, in 1854, The discovery of King Carl XIV Johan's equestrian statue 1854, painting, oil on canvas, Height, 125 cm (49.2 inches), Width, 186 cm (73.2 inches

Egyptian: Head of a Statue of a Man, Unidentified artist, Egyptian, 1539–1070 BCE, or later, Stone, possibly diorite, This elegant stone head was once part a statue of an Egyptian man who was probably a noble or an official. His

Spanish: Enthroned Virgin, Unidentified artist, Spanish, 12th century, Wood with polychromy, iron and textile, This painted wooden statue of the Virgin Mary once included a figure of the Christ child; the child, along with Mary's forearms,

Miraculous Statue of Good Ste. Anne de Beaupre, 1899

Notre Dame de Saguenay. Half-tone reproduction of a photograph of the statue, 1920

Miraculous Statue of Good Ste. Anne de Beaupre, 1899

Altar St. Anthony of Padua in St. Roch. Photograph of a statue which represents saint Anthony of Padua, inside the old church (demolished in 1918) of the St. Roch parish, in Qu�bec (Quebec, Canada). To the right, a plaque in honour of

Altar St. Anthony of Padua in St. Roch. Photograph of a statue which represents saint Anthony of Padua, inside the old church (demolished in 1918) of the St. Roch parish, in Qu�bec (Quebec, Canada). To the right, a plaque in honour of

Queen Victoria post card [half-tone]. Model of Victoria statue to be erected in Hamilton, Ontario, Canada in 1908, 1906

The statue in the air : Le Conte, Caroline Eaton, 1863-1946

Ceremonies attending the unveiling of the statue of Benjamin Franklin, June 14, 1899 : presented to the City of Philadelphia by Mr. Justus C. Strawbridge : Strawbridge, Justus C

Homo sapiens, Print, Homo sapiens is the only extant human species. The name is Latin for "wise man" and was introduced in 1758 by Carl Linnaeus (who is himself the lectotype for the species)., statue

Diana Scultori, Italian, 1535-1587, after Giulio Romano, Italian, 1499-1546, Bull Offered in Sacrifice to a Statue of Jupiter, between 1535 and 1587, engraving printed in black ink on laid paper, Image: 8 1/2 × 15 3/8 inches (21.6 × 39.1

J. Pascal Sébah, Turkish, active ca. 1823-1886, Statue of Ramesses II Resting on Its Side at Memphis, 19th century, albumen print, Image: 8 1/8 × 10 1/4 inches (20.6 × 26 cm

Diana Scultori, Italian, 1535-1587, after Giulio Romano, Italian, 1499-1546, Bull Offered in Sacrifice to a Statue of Jupiter, between 1535 and 1587, Engraving printed in black ink on wove paper, Image: 8 1/2 × 15 1/4 inches (21.6 × 38.7

Homo sapiens, Print, Homo sapiens is the only extant human species. The name is Latin for "wise man" and was introduced in 1758 by Carl Linnaeus (who is himself the lectotype for the species)., statue

Homo sapiens, Print, Homo sapiens is the only extant human species. The name is Latin for "wise man" and was introduced in 1758 by Carl Linnaeus (who is himself the lectotype for the species)., statue

Homo sapiens, Print, Homo sapiens is the only extant human species. The name is Latin for "wise man" and was introduced in 1758 by Carl Linnaeus (who is himself the lectotype for the species)., statue

Relief fragment with the mourning Phaedra, statue of hermaphrodite from the Altieri collection and unidentified figures, 1541/47, feather in brown, maroon in red brown, leaf: 21.5 x 29.9 cm, U. der Phädra inscribed: antick bi dwen backmeten,

Zangaki, Greek, active 1860-1889, Colossal Statue of Ramesses II in the First Court of the Temple at Luxor, 19th century, albumen print

Statue of Polyphemus (Palazzo Barbo), Dead Amazone (Palazzo Medici), other unidentified sculptures, 1541/47, feather in brown, maroon in red brown, leaf: 21.7 x 29.4 cm, inscribed: antick, ANTICK, antick, verso u., r .: W, o. r.,

Demeter and Kore from the relief of the Puteal Albani, female upper body, archaic female statue holding a column, Bundschuh einer Barbarien, 1541/47, feather in brown, maroon, sheet: 19.9 x 30.5 cm, inscribed on the pedestal of the statue:

Copy of the statue of Rudolf von Habsburg in the Seidenhof, pen in black, gray wash, sheet: 32.1 x 21.6 cm, U. l., numbered with red chalk: 46, u, ., r., signed with pen in brown: HBock., [HB lig.], Hans Bock d. Ä., Zabern/Elsass um

Egyptian, Statue of the Priest, Pa-ef-tchau-em-awy-Bastet, 595/589 BC, basalt, 9 1/4 x 2 3/4 x 2 3/4 in

Giovanni Domenico Tiepolo, Italian, 1727-1804, The Holy Family Passing a Statue, the Head of Which Falls to the Ground, ca. 1753, etching printed in black ink on laid paper, Plate: 7 1/2 × 9 5/8 inches (19.1 × 24.4 cm

J. Pascal Sébah, Turkish, active ca. 1823-1886, Statue of Ramesses II Resting on Its Back at Memphis, 19th century, albumen print, Image: 9 1/8 × 10 3/8 inches (23.2 × 26.4 cm

Johann Jacob Sandrart, German, 1655-1698, after Joachim von Sandrart I, German, 1606-1688, Statue of the Nile at Rome, c. 1683, Etching and engraving printed in black on laid paper, plate: 12 3/4 x 8 1/4 in

Sir George Grey statue, upper Queen Street Auckland, Muir & Moodie studio, photography studio, circa 1905, Dunedin, gelatin dry plate process, Intersection of Queen and Wakefield Streets with statue of the Colonial Governor, Sir George Grey.

In Octagon, Dunedin, Burton Brothers studio, photography studio, Dunedin, black-and-white photography, Robbie Burns statue

[Sir John Logan Campbell's Statue, Cornwall Park], Muir & Moodie studio, photography studio, Dunedin, gelatin dry plate process

In the Gardens, Christchurch (The Moorhouse Statue), Muir & Moodie studio, 1905, Christchurch

Queen's Statue, Albert Park, Auckland, New Zealand, Muir & Moodie studio, 1909, Auckland

Queen Victoria Statue, Dunedin, New Zealand, Muir & Moodie studio, 1904-1915, Dunedin

In the Gardens, Christchurch (The Moorhouse Statue), Muir & Moodie studio, 1905, Christchurch

Queen Victoria Statue, Dunedin, New Zealand, Muir & Moodie studio, 1904-1915, Dunedin

In the Gardens, Christchurch (The Moorhouse Statue), Muir & Moodie studio, 1905, Christchurch

Queen Victoria Statue, Dunedin, Muir & Moodie studio, photography studio, circa 1905, Dunedin, gelatin dry plate process

Genevieve. (from a poem by S.T. Coleridge entitled 'Love'), George Dawe, 1812, George Dawe's painting Genevieve is a large-scale masterpiece of what art historians have termed 'Romantic classicism', highly fashionable in the early 19th century.

[Looking across to Queens Wharf showing statue], Muir & Moodie studio, photography studio, New Zealand, gelatin dry plate process, Statue of Queen Victoria in former location

Albert Park, Auckland, New Zealand and Queen Victoria Statue, Muir & Moodie studio, 1905-1908, Auckland

Wakefield, upper Queen Street and statue, Muir & Moodie studio, photography studio, New Zealand, gelatin dry plate process, Intersection of Queen and Wakefield Streets with statue of the Colonial Governor, Sir George Grey

Unveiling Queen's Statue, Muir & Moodie studio, 1900-1903, Dunedin

Noumea, Burton Brothers studio, photography studio, 1899, Dunedin, black-and-white photography, Panorama of township with a park square near centre, a fountain with statue stands in the park. Tropical foliage is prominent including coconut and

Queen Victoria Statue, Muir & Moodie studio, photography studio, 01 March1912, Dunedin

Auckland from Saint Matthews, Muir & Moodie studio, photography studio, circa 1905, Dunedin, gelatin dry plate process, Centre of image shop front for J.A. Clark Photographer, The Canadian Photographic Art Studio street address number 346.

Queens Statue, Albert Park, Auckland, Muir & Moodie studio, photography studio, circa 1905, Dunedin, gelatin dry plate process

Ponsonby, Auckland, Muir & Moodie studio, photography studio, circa 1905, Dunedin, gelatin dry plate process, Two trams loaded with passengers on city street, with pedestrians and statue left midground. Tram on right advertises Hemus Art

In the Gardens, Christchurch (The Moorhouse Statue), Muir & Moodie studio, 1905, Christchurch

Flower cartouche around a statue of King-Stadtholder William III 1650-1702, Daniël Seghers, c. 1660

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