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45557

Slide of Baldassare Suarez, named II Mantenuto

mk186 1650 Florence, Accademia della Crusca

59876

slimdebirken

mk269 1889 olja pa duk 54.5 x 66 cm nasjonalmuseer for kunst arktrktur

61511

slottet mayerling

mk275 slottet mayerling

48836

Slottskyrkans roof

mk187 paborjad 1745 and was concluding of Taravals pupil johan Pasch

65006

Small Book of Hours of Duke Berry

1390 Illumination on parchment Biblioth?que Nationale, Paris The miniature depicts Duke of Berry leaving his castle. The figure of the Duke is probably a portrait. The miniaturist was strongly influenced by the Limbourg brothers as shown by the landscape details. , MINIATURIST, French , Small Book of Hours of Duke Berry , 1351-1400 , French , illumination , religious

38698

Small Clump of Wayside Plants

mk141 Second half of the Sixteenth century Opaque paints and brush on parchment,with opaque white highlights. 11.7x14.7cm

57135

Smoke back

mk253 oil painting 72 x 93.5 cm Moscow in 1889, the State Tretyakov Gallery collection

64559

Smokers in an Interior

1643 Oil on canvas, 117 x 137 cm Mus?e du Louvre, Paris Not all the Le Nain genre scenes depict peasants. Some of them show middle-class sitters, even rarer in art than the depiction of the poor. It is one of these larger 'bourgeois compositions' which admits the Le Nain brothers into that small group of painters capable of creating a masterpiece. This is the Smokers in an Interior in the Louvre, dated 1643. Its technique must have been learned during the painting of the Forge, but the brushwork is far more precise. The composition is much less original, being closer to the type familiar from the Dutch. The figures are grouped round a table illuminated by a solitary candle, and the figure on the left has fallen asleep at the table. In this painting it seems that the depiction of low life - here middle-class men smoking in an interior - has risen beyond its normal pictorial limitations to create a masterpiece which is, perforce, unexpected. While Nicolas Poussin was obsessed with the concept of beauty and with the need to be able to paint exactly what he thought, here the painter's desire arises from an opposite need, the need to observe. Each of the models appears to be a portrait, although it is difficult to explain why the sitters should have chosen to be depicted with such casualness. There is no clue to the possibility of a confraternity, although the curious emblems on the carpet on the table could be symbols of some secret society. The eerie quality of the picture is emphasized by the fall of the shadows on the faces and by the way in which the figures stare into space just like the peasants in other pictures and the seated figure on the right has all the appearance of being under the influence of some drug. There is no satisfactory explanation for such a picture; it is as if this trio of painters, observers of a small fragment of their times, never intended the meanings of their pictures to be divined. Artist:LE NAIN brothers Title: Smokers in an Interior, 1601-1650, French , painting , genre

71181

Smugglers in the Tatra Mountains

1870(1870) Oil on canvas 90 x 127 cm (35.43 x 50 in)

78245

Sniezynka

oil on canvas, 218 x 138 cm, private property Date 1891(1891) cyf

76371

sniezynka,

sniezynka, oil on canvas, 218 x 138 cm, private property 1891(1891) cjr

73275

Soap Bubbles

Oil painting reproduction of Ferdinand du Puigaudeau. cjr

85252

Socrates, his two spouses, and Alcibiades,

oil on canvas. Accession number 1377. cjr

48782

Sodra Rada ancient church

mk187 Had ses avenue the millings triumfkrucifixet with this sufferings Crystal surroundings of Mary and Johannesburg

45834

Sogi lio Sogi zo

MK178 Halfte 98x54.4cm first Muromachi-Peirode

43397

Soldier and true columnist

mk171 Bernal Diaz of the Castle or a hard one mentis against lopez of Gomara.

34214

Solomon and the Queen of Sheba

mk90 Illustration by Qadimi to Jamis Salaman and Absal in the Mashhad manuscript 1556-65

34132

Solomon with Halo

seal pressed against his heart,beneath two angels bearing a scarf of victory,and served both by his human minister Asaph and by a demon king as he sits upon the lion throne

34242

Solomon,with the Queen of Sheba and their minister Asaph

mk90 rules as symbol of sovereign intellect ouver fairy folk,demons,dragons the Fowls of the Air,and the beasts of the earth School of Isfahan c.1600

65316

Solovey ozhidanie

454 ?? 587 pixels

43442

Some authors believe that in terms of artistic and architectonic activity

mk172 Sixteenth century new spain encapsulated the concept of synthesized experience.

37786

Some Dogs

sn02 Oil on canvas

37808

Some Horses

sn02 Oil on canvas

37813

Some sailboat on the sea

mk129 Oil on canvas

37814

Some sailboat on the sea

mk129 Oil on canvas

37837

Some Sailboat on the sea

mk129 Oil on canvas

57137

Song of the final

mk253 canvas 105 x 89 cm Moscow in 1877 -1878, the State Tretyakov Gallery collection

71046

songe de Jacob

mk289 siecle avignon musee du petit palais

39441

Sophia (the holy wisdom)

mk148 Ikone,17.Jh.,symbolisiert sitting Russian on the throne by an angel with fire wings

41890

Sophia,The Wisdom of God,Stroganov School

mk165 Recklinghausen Germany

73950

Sophie Hedvig Raben

Date 1700s Medium Oil Artist Unknown

72343

Sophie Hedvig Raben, gift med gred Adam Moltke

Sophie Hedvig Raben, gift med gred Adam Moltke 1700s cjr

62411

Sorrow

1816 Marble, height 135 cm P?re-Lachaise Cemetery, Paris The P?re-Lachaise Cemetery in Paris, opened in 1804, was soon covered with monuments and these, together with the beauty of the site and the many plants and shrubs surrounding the tombs, made it during the romantic period a popular resort on half-days and holidays. Under the Ancien R?gime, people sought to ensure their salvation by endowing foundations; in the nineteenth century, their successors were anxious above all that their memory should not die, oblivion being in their eyes ultimate death. The decree law of 1804, followed by the creation of the big cemeteries outside the city walls, was an expression of this new materialistic form of respect for the dead and guaranteed the success of the sale of burial plots in perpetuity and monuments designed to preserve - and extol - the memory of the deceased. In keeping with this trend, images depicting Death were seldom placed in cemeteries. On the other hand, the representation of Grief, am indirect way of paying tribute to the dead, is a favourite theme very much in evidence in funerary sculpture, expressed sometimes in allegorical, sometimes in narrative form. As early as 1816 Milhomme created a fine figure expressing the sorrow of the widow and six children of Pierre Gareau, killed in an accident. The Milhomme figure begot many more of the same kind, but the scenes of affliction came to an end with the years 1820-25. Author: MILHOMME, Fran?ois-Dominique-Aim? Title: Sorrow, Tomb of Pierre Gareau Form: sculpture , 1801-1850 , French , religious

41988

sounds appealing

mk166 c. 1500 Marmol, height 174m Basilica of San Pedro, The Vatican one, Rome

41990

sounds appealing

Mk166 Anuses 1530-1535 I Wave on cloth 127x163cm Museum of the Louvre, Paris

35451

South View of Windsor,taken from the Great Park

mk102 1787

35434

South-east View of the Fort of Bijaigarh

mk102 c.1790 Gouache 35.3x51.2cm

64927

South-Tyrolian Evangelistarium

1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Annunciation comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious

64928

South-Tyrolian Evangelistarium

1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Presentation comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious

64929

South-Tyrolian Evangelistarium

1482 Illumination on parchment Cathedral Library, Esztergom The miniature depicting the Vision of St John the Evangelist (The Eagle and Christ-Child} comes from a South-Tyrolian Evangelistarium. , MINIATURIST, Austrian , South-Tyrolian Evangelistarium , 1451-1500 , Austrian , illumination , religious

79121

Southern harbour scene with merchants Oil on canvas,

Abraham Storck (1635 - 1710): Southern harbour scene with merchants Oil on canvas, 70 x 70 cm Date 17th or 18th century cjr

49712

Sovereign perceive the Seas

mk203 bare pa one kopparstick of John Payne,skissades of Phinas Pett ocb barley of bans sons Peter am failing 1637

57204

Soviet gymnast

mk253 270 x 215 cm 1964-1965 St. Petersburg, Russia museum

80592

Spalliera Panels The Story of Griselda Part II Exile

Decameron, Tenth tale (X, 10): The Story of Griselda, Part II: Exile. This painting is part of the group: Spalliera Panels with the Story of Patient Griselda; Oil with some tempera on wood; 61,6 x 154,3 cm cjr

73034

Spaziergang auf der Allee im Park

Spaziergang auf der Allee im Park, 1881 Oil on wood, 19 X 14 cm cjr

39422

Sphinx out of the ruler time of the Ptolemaus

mk148 before the so named" Pompei-column" (2.Jh.n.Chr) in Alexandria, a cosmopolitan city where the Greek Egyptian and Jewish culture next to one another existed

60109

Sponsorship of Frederic

mk270 johann sebasian bach perfming on apiano before his patron frederick the great in may 1747.

48507

Spring

mk190 1643 British Musuem

72722

Spring Burning Trees in a Girdled Clearing Western Scene

Date between 1838(1838) and 1842(1842) Medium Oil on canvas Dimensions 65.4 X 51.5 cm (25.75 X 20.28 in) cyf

79436

Spring year 1905

1906; oil on canvas, 121 x 170,5 cm. cjr

79247

Spring's New Arrivals

"Spring's New Arrivals",Painting - oil on panel, Height: 85.09 cm (33.5 in.), Width: 64.77 cm (25.5 in.) cjr

71520

Spring--Burning Trees in a Girdled Clearing, Western Scene

between 1838(1838) and 1842(1842) Oil on canvas 65.4 x 51.5 cm (25.75 x 20.28 in)

47924

Squatting male nude

mk189 1917 Black chald,water colour gouache 46.1x29.1cm

63943

St Andrew

123 x 95 cm Museo del Prado, Madrid Ribera was trained in Valencia, but in about 1616 he moved to Italy, settling in Naples. A clever draftsman and a master of composition, his numerous paintings are more varied than the legends concerning him might lead one to suppose. In his better work the dominant colors, browns and reds, contrast with cruel lighting, which sometimes appears to do violence to the forms. In Ribera highly refined ecxecution and realistic modeling, particularly the marvelous flesh tints of his saints, are combined with a marked preference for dramatic themes, as may be seen in his St Andrew, in the Prado, or better in the painting of the martyrdom of the same saint, now in Budapest. His Crucifixion, in the collegiate church od Osuna, and his Martyrdom of St Bartholomew (1630) in the Prado, are similar in intention and technique. A preference does not imply total exclusion, and there is evidence that Ribera was also a sumptuous colorist. His style evolved from an early preoccupation with 'tenebrist' techniques, through a period of experiment with a silvery light, to a final stage characterized by warm and golden tones. One of his most beautiful paintings is the Holy Family in the Metropolitam Museum of Art in New York. Ribera also practiced engraving and his influence was considerable, both in Italy, where he lived in Naples when it was ruled by Spanish viceroys, and in Spain. Much of his work was intended for Spanish patrons and was an object of admiration as well as a stimulus to Spanish painters. , Artist: RIBERA, Jusepe de , St Andrew , 1601-1650 , Spanish , painting , religious

64482

St Barbara

1762 Painted and gilt wood Monastery Church, Ettal Straub created mainly elegant wooden statues, sometimes, like St Barbara, with courtly attitudes. Artist:STRAUB, Johann Baptist Title: St Barbara, 1751-1800, German , sculpture , religious

65247

St Bartholomew and St Thomas

1395 Tempera on wood, 65,5 x 49,5 cm National Gallery, Prague The work is a fragment of the epitaph of Jan of Jeren, canon of Prague, who died in 1395 and was buried in Prague Cathedral. The inscribed panel must have been set on his tomb a short time afterwards. The Madonna and Child may have been in the centre of the surviving right-hand part, while on the left further saints and the praying figure of the donor may have completed the composition. The Apostles Bartholomew and Thomas are standing on a narrow strip of ground in front of a shining golden background. Their figures are surrounded by abundant intricate draperies, whose edges of soft lines, corners and folds which tumble down like waterfalls seem to live a separate life independent of the bodies. The bright colours of the two saints' cloaks complement one another-as do the hues of the linings. The pink lining of the green cloak and the blue lining of the red one serve a purely decorative function. The artist composed the two figures so as to create harmonious forms. The right-hand edge of St Bartholomew's draperies, forming a gently wavy line and the straight left-hand contour of St Thomas's mantle, which appears to continue the line of the spear, run very near each other. This narrow stripe turns the two figures into a form springing from the same basis and bending in two opposite directions. At the bottom the formation is completed by the green cloak flowing into the red one, while at the top it is enclosed by the tips of the flaying knife and of the spear which touch each other. Artist: UNKNOWN MASTER, Bohemian , St Bartholomew and St Thomas , 1351-1400 , Bohemian , painting , religious

65103

St Benedict

15,5 x 16,1 cm Museum of Fine Arts, Budapest The picture was cut out from a so-called antiphonary (which is a manuscript containing liturgical texts and music) along the line of its frame. When and why this happened is not known. The picture originated from the workshop of an artist known as The Master of the Martyrologium of Gerona, who, in the first two decades of the fifteenth century, was one of the most important figures in Bohemian miniature painting. He knew the leading movements in Western European art at first hand, and adopted the layout of his compositions and the method of representing landscape masses mainly from the painter of the Mar?chal of Boucicault and the Limbourg brothers. The prolific output of his workshop, where numerous assistants were engaged, exerted a marked effect on miniature and panel painting not only in Bohemia but in the neighbouring countries too (for example on the Hungarian Thomas de Coloswar). The picture reproduced here is, in all likelihood, the work of one of his assistants. Its frame is a three-dimensional, quatrefoil green shape embedded in a golden square. The background is provided by a geometrical design of stylized white flowers in a golden network on a red ground. The ground- plan of the setting is undefinable, the only furniture being a stepped, pale yellow platform, on whose right side stands a lectern of the same colour. Facing the spectator, St Benedict is seated in the middle, holding an abbot's crozier in his left hand and, with his right hand, presenting to the monks the book containing the rules of the Benedictine order. The rich design of the background sets off the simplicity of the monks and the same effect is achieved by the contrast of the plain d?cor without any details and the figures in their plain black habits. The emphasis on the massive group of the monks is brought into equilibrium by the mass of the lectern placed fairly high and by the figure of St Benedict which is set slightly to the right of the central axis. His right foot, placed somewhat higher, is in the axis of the composition. His black mantle falls asymmetrically to two sides from his raised right knee. The undulating hem of this garment runs parallel with the lines of his arm and virtually merges with the lobes on both sides of the frame. , MINIATURIST, Bohemian , St Benedict , 1401-1450 , Bohemian , illumination , religious

73776

St Catherine of Siena

Date between 1500(1500) and 1699(1699) Medium Oil on copper Dimensions 45.1 X 38.1 cm (17.76 X 15 in) cyf

44437

St Catherine with the P

1390s

52332

St Catherine with the Philosophers

1390s Fresco Museo Civico, Piacenza

51069

St Christopher

c. 1400 Tempera and oil on wood, 33 x 21,4 cm

88133

St Christopher

c. 1400(1400) Medium tempera and Oil on wood Dimensions Height: 33 cm (13 in). Width: 21.4 cm (8.4 in). cjr

65005

St Elizabeth Clothes the Poor and Tends the Sicks

1390s Tempera on pine, 123,4 x 49,2 cm Wallraf-Richartz Museum, Cologne This panel was once the inside of the right wing of an altarpiece. The outside of the wing (also in the Museum) shows the Descent from thee Cross. With another panel in the Wilhelm-Hack Museum, Ludvigshafen, this is part of a 'Misericordia' altarpiece depicting the Acts of' Mercy, and probably once stood in a hospital in Cologne. , UNKNOWN MASTER, German , St Elizabeth Clothes the Poor and Tends the Sicks , 1351-1400 , German , painting , religious

65019

St Francis Altarpiece

1500-05 Oak, 132,5 x 163 cm Wallraf-Richartz Museum, Cologne The central panel shows St Francis receiving the stigmata, and also other scenes from his legend. On the left wing are Sts John Capistran and Bonaventura; on the right wing Sts Louis of Toulouse and Bernard of Siena (not illustrated). On the exteriors are St Francis and five Moroccan martyrs of the Order (not illustrated). This altarpiece is an important example of the iconography of St Francis and of Franciscan propaganda. The altarpiece was executed by two masters referred to as the Master of St Severin and the Master of the Ursula Legend. , UNKNOWN MASTER, German , St Francis Altarpiece (central panel) , 1501-1550 , German , painting , religious

64988

St George Altarpiece

1460 Oak, 124,5 x 167 cm (central panel), 124,5 x 77 cm (each wing) Wallraf-Richartz Museum, Cologne This unusual altar is the first in Cologne not to have Christ or the Virgin as its subject but an individual saint, St George. However, on the exterior of the wing on the left is the Adoration of the Christ Child with the donor Peter Kannegieser and family, and on the right the Ecce Homo with the donor's parents. The artist of the altarpiece is referred to as the Master of the Legend of St George. , UNKNOWN MASTER, German , St George Altarpiece , 1451-1500 , German , painting , religious

63701

St George Freeing the Princess

1520 Oil on wood, 19 x 18 cm Galleria degli Uffizi, Florence This small composition represents a theme popular in North European painting and gives us an interpretation of the legend which is particularly charged with fantastic effects. The strangely elongated trees appear to sprout up one on top of the other, waving their ghostly fronds as if in a dream-like vision. The three small archaic figures are somehow lost in the painting, which seems to aim more at conveying the unknown, mysterious forces of nature. The fully armoured knight with his plumed helmet and the fragile kneeling princess thus become merely the pretext for the representation of a far loftier and subtle magic.Artist:LEMBERGER, Georg Title: St George Freeing the Princess Painted in 1501-1550 , German - - painting : religious

63043

St James the Great

1715-18 Marble, height 425 cm San Giovanni in Laterano, Rome The significant sculptural undertaking that inaugurated the eighteenth century in Rome was the realization of the colossal statues of the Apostles in twelve monumental, green marble niches, decorated by the dove symbol of the Pamphili family, which Francesco Borromini built during the reconstruction of the interior of San Giovanni in Laterano. The statues, the completion of Borromini's project, were executed before 1718 by the most important sculptors of the time from Rome and elsewhere. The sculptors included Camillo Rusconi (Andrew, Matthew, James the Greater, John the Evangelist), Francesco Moratti (Simon), Angelo de' Rossi (James the Less), Giuseppe Mazzuoli (Philip), Lorenzo Ottoni (Thaddeus), as well as the Frenchmen Pierre-?tienne Monnot (Peter, Paul) and Pierre Le Gros (Bartholomew, Thomas). Among these artists Camillo Rusconi was the most noted sculptor of the first half of the century. Artist: RUSCONI, Camillo Painting Title: St James the Great , 1701-1750 Painting Style: Italian , sculpture Type: religious

79618

St Jerome

1630s Medium Oil on canvas cyf

64491

St Joachim

1749 Stucco, life-size Unsere Liebe Frau, Birnau The artist decorated the pilgrimage church at Birnau with life-size stucco figures. The figures express their emotion through agitated movements. Artist:FEUCHTMAYR, Joseph Anton Title: St Joachim, 1701-1750, German , sculpture , religious

72977

St John of God

Date between 1701(1701) and 1800(1800) Medium Oil on canvas Dimensions 101 X 151.1 cm (39.76 X 59.49 in) cyf

65058

St Lazarus between Martha and Mary

Panel Museo L?zaro Galdiano, Madrid The artist of the panel is referred to as the Master of Perea. , UNKNOWN MASTER, Spanish , St Lazarus between Martha and Mary , 1451-1500 , Spanish , painting , religious

65252

St Margaret

1400 Brush, Chinese ink, red chalk, 21.4 X 14 cm Museum of Fine Arts, Budapest This lovely sheet is one of the drawings made about 1400, which are on the borderline of drawing as an autonomous genre. It may have been the preparatory sketch for a picture or a sculpture, or its subsequent copy; or else it may have served for a model drawing. Up to now no direct connection with existing works of art has been established. The drawing produced by the brush in greyish-black Chinese ink and coloured by red chalk is so delicate and exquisite, asserting three-dimensional values and effects of light with such a number of nuances, that for us it represents self contained artistic values of a very high level indeed. The main reason why it is so difficult to fix the place where the work was created is that it represents in a very highly developed form and exceptional quality the style of the time about 1400, an art interwoven from several European trends. It was originally considered to have been the work of a Cologne master, then an Austrian one, while Oettinger, due to the relationship between the drawing and the P?hl Altarpiece, had in mind a master of the Augsburg region, but working under the effect of Bohemian art. Czech scholars revealed some connections, both of form and of shape, with the so-called "beautiful Madonnas" and a group of paintings produced under their influence. Indeed, the equilibrium of the figure brought about by movements of opposite directions, and, above all by the dense and deep folds of the wide garment which completely conceals the body, draperies that fall downwards on either side like a cascade, the edges showing rhythmically undulating lines, as well as the three-dimensional modelling of the soft, heavy folds are reminiscent of the Beautiful Madonna of Krumlov and the sculptures and paintings inspired by it. The composition of the drawing is carefully poised. The dragon at the saint's feet provides a pedestal broad enough for the slender figure in her ample garments. The mass of the dragon's head is counterbalanced by the sling made by the end of its tail, whereas the line of the saint's body leaning towards the right is counterpoised by an imaginary diagonal line drawn from the dragon's head to the cross. The abundant drapery falling onto the right hip is a characteristic example of how in the International Gothic style draperies achieved the status of elements from which a picture can be constructed, motifs that have an independent life of their own. Artist: UNKNOWN MASTER, Bohemian , St Margaret , 1351-1400 , Bohemian , graphics , religious

65210

St Matthew's Gospel

1235-40 Illumination on parchment, 33,5 x 25 cm St?dtische Sammlung, Rathaus, Goslar The title page of the Evangeliary shows the Adoration of the Magi, the Dream of St Joseph and the Evangelist St Matthew. The style is expressive in its abrupt gestures and unexpected contortions of the drapery. The style survived for about eighty years and then was replaced by the more refined Parisian fashion. Artist: MINIATURIST, German , St Matthew's Gospel , 1201-1250 , German , illumination , religious

63885

St Norbert

1637 Oil on panel, 158 x 120 cm O.-L. Vrouwekathedraal, Antwerp Marten Pepijn (also spelled Pepyn), an artist at Antwerp painted in a style faithful to the humanists of the preceding generation. St Norbert played a special part in Antwerp ecclesiastical history. In 1124 he overcame the heretic Tanchelm at Antwerp and made the chapel of Our Lady from which the Cathedral was to evolve, the city's parish church. As one might expect, the pious story does not tally entirely with historical reality. Norbert is customarily portrayed as an archbishop or abbot. His attribute is a monstrance containing the Host, as he defended the Eucharist against Tanchelm's disbelief. The saint is dressed here in the habit of the Norbertine or Premonstratensian Order, of which he was the founder. He kneels before a monstrance. A sanctuary lamp - an oil lamp that has to be kept burning by the Holy Sacrament (the consecrated wafers) - is suspended in front of a curtain. The olive branch in the background symbolizes Norbert's message of peace.Artist:PEPIJN, Marten Title: St Norbert Painted in 1601-1650 , Flemish - - painting : religious

63953

St Peter

75 x 63 cm The Hermitage, St. Petersburg *** Keywords: ************* Artist: RIBERA, Jusepe de , St Peter , 1601-1650 , Spanish , painting , religious

52780

St stephen window

mk223 oil on canvas

51095

St Ursula Shrine

c. 1400 Painted wood

64402

St Vincent and a Donor

185 x 117 cm Museo del Prado, Madrid The artist of the panel is referred to as the Master of Archbishop Dalmau of Mur. Artist:UNKNOWN MASTER, Spanish Title: St Vincent and a Donor, 1451-1500, Spanish , painting , religious

42603

St. Clara

MK169 1283 Panel 277x153cm

56767

St. Francis altar

mk250 Italy Peixi Ya St. Francis Church, the year 1235. Wood color eggs, about 152.4 x 106.7 cm.

56744

St. George and St. Theodore between the Virgin Mary and baby

mk250 Icon, the 6th century AD - 7 century earlier. Wax on-board painting, 68.62 x 49.23 cm, Egypt. Mount Sinai. St. Catherine's Monastery.

79508

St. Margaret of Antioch

Oil on panel 51 x 34 cm (20.1 x 13.4 in) cjr

79811

St. Mark's Square with Charlatans

Oil on canvas, 73.2 x 117.2 cm Date 1720s cjr

56754

St. Matthew s

mk250 From Germany, Aachen, the year of about 800-810 years. Ink, painted in Dan's kraft paper, 32.4 x 25.4 cm. Vienna. Treasures from the Museum of Art Museum.

56868