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"Fine Art"

France: "Fontaine Saint Michel, vers 1860". Photograph by Edouard Denis Baldus (1813-1889). Paris, Musée Carnavalet.  © Musée Carnavalet / Roger-Viollet / The Image Works
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France: "Fontaine Saint Michel, vers 1860". Photograph by Edouard Denis Baldus (1813-1889). Paris, Musée Carnavalet. © Musée Carnavalet / Roger-Viollet / The Image Works
Hubert Robert (1733-1808). "La démolition des maisons du pont Notre-Dame, en 1786". Paris, Musée Carnavalet.  © Musée Carnavalet / Roger-Viollet / The Image Works
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Hubert Robert (1733-1808). "La démolition des maisons du pont Notre-Dame, en 1786". Paris, Musée Carnavalet. © Musée Carnavalet / Roger-Viollet / The Image Works
Martial Adolphe Théodore Jules Potemont (1828-1883). "Vue générale des théâtres du boulevard du Temple, avant le percement du boulevard du prince Eugène (actuel boulevard Voltaire), en 1862". Paris, Musée Carnavalet.  © Musée Carnavalet / Roger-Viollet / The Image Works
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Martial Adolphe Théodore Jules Potemont (1828-1883). "Vue générale des théâtres du boulevard du Temple, avant le percement du boulevard du prince Eugène (actuel boulevard Voltaire), en 1862". Paris, Musée Carnavalet. © Musée Carnavalet / Roger-Viollet / The Image Works
Adolphe Yvon (1817-1893). "Napoleon III handing the decree of annexation of the surrounding town to Baron Haussmann". Oil on canvas, 1865. Paris, Musée Carnavalet.  © Musée Carnavalet / Roger-Viollet / The Image Works
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Adolphe Yvon (1817-1893). "Napoleon III handing the decree of annexation of the surrounding town to Baron Haussmann". Oil on canvas, 1865. Paris, Musée Carnavalet. © Musée Carnavalet / Roger-Viollet / The Image Works
Alfred Philippe Roll (1846-1919). "Adolphe Alphand, 1888". Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Petit Palais / Roger-Viollet / The Image Works
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Alfred Philippe Roll (1846-1919). "Adolphe Alphand, 1888". Musée des Beaux-Arts de la Ville de Paris, Petit Palais. © Petit Palais / Roger-Viollet / The Image Works
Hubert Robert (1733-1808). "Le jardin du musée des Monuments français" (1803). Paris, musée Carnavalet.  © Musée Carnavalet / Roger-Viollet / The Image Works
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Hubert Robert (1733-1808). "Le jardin du musée des Monuments français" (1803). Paris, musée Carnavalet. © Musée Carnavalet / Roger-Viollet / The Image Works
Sakhara – Saqqara (Central Egypt), Tomb of Kagemni – Mastaba 25 (Mastaba of Vizir Kagemni; Old Kingdom, early 16th dynasty after 2347 B.C.). A scribe with quill behind his ear and a papyrus scroll under his arm. Detail from the relief with sacrificial and scenes from everyday life. Limestone. ©Hervé Champollion / akg-images / The Image Works
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Sakhara – Saqqara (Central Egypt), Tomb of Kagemni – Mastaba 25 (Mastaba of Vizir Kagemni; Old Kingdom, early 16th dynasty after 2347 B.C.). A scribe with quill behind his ear and a papyrus scroll under his arm. Detail from the relief with sacrificial and scenes from everyday life. Limestone. ©Hervé Champollion / akg-images / The Image Works
Art: Columbian. Breastplate. Pre-Columbian goldsmith’s work of the Muisca Indians. Bogota, Gold Museum.  ©akg-images / The Image Works
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Art: Columbian. Breastplate. Pre-Columbian goldsmith’s work of the Muisca Indians. Bogota, Gold Museum. ©akg-images / The Image Works
Colombia - MUISCA Culture  : "Tunjas", antropomorphous votive figures in gold in a funerary urn. (Pre-Hispanic Gold Funeral Furniture) 15th century. Gold museum, Bogota ©François Guénet / akg-images / The Image Works
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Colombia - MUISCA Culture : "Tunjas", antropomorphous votive figures in gold in a funerary urn. (Pre-Hispanic Gold Funeral Furniture) 15th century. Gold museum, Bogota ©François Guénet / akg-images / The Image Works
Maruja Mallo, *1902–1995+. “El espantapeces”, 1931. Oil on canvas, 155,5 × 104 cm. Col. Joan Massanet.   ©akg-images / The Image Works  Additional copyright clearance required.
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Maruja Mallo, *1902–1995+. “El espantapeces”, 1931. Oil on canvas, 155,5 × 104 cm. Col. Joan Massanet. ©akg-images / The Image Works
Additional copyright clearance required.
Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Leonora Carrington at home in Mexico City. 1998.   ©Marion Kalter / akg-images / The Image Works
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Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Leonora Carrington at home in Mexico City. 1998. ©Marion Kalter / akg-images / The Image Works
Chiki Weisz and Leonora Carrington in their home in Mexico in 1998.   ©Marion Kalter / akg-images / The Image Works
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Chiki Weisz and Leonora Carrington in their home in Mexico in 1998. ©Marion Kalter / akg-images / The Image Works
Leonora Carrington, *1917-2011+. “Ladies run, there is a Man in the Rose Garden”, 1948. Tempera on wood, 44,5 × 91,5 cm. Berlin, private collection.   ©akg-images / The Image Works  Additional copyright clearance required.
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Leonora Carrington, *1917-2011+. “Ladies run, there is a Man in the Rose Garden”, 1948. Tempera on wood, 44,5 × 91,5 cm. Berlin, private collection. ©akg-images / The Image Works
Additional copyright clearance required.
Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Leonora Carrington at home in Mexico City. 1998.   ©Marion Kalter / akg-images / The Image Works
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Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Leonora Carrington at home in Mexico City. 1998. ©Marion Kalter / akg-images / The Image Works
Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Mexico City, 1998.   ©Marion Kalter / akg-images / The Image Works
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Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Mexico City, 1998. ©Marion Kalter / akg-images / The Image Works
Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Mexico City, 1998.   ©Marion Kalter / akg-images / The Image Works
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Leonora Carrington, English painter, sculptor, costume designer, writer; *1917-2011+. Portrait, Mexico City, 1998. ©Marion Kalter / akg-images / The Image Works
MEXICO CITY, May 26, 2011 -- Undated file photo shows the surrealist artist Leonora Carrington, who passed away in Mexico at the age of 94 on May 25, 2011. The famous artist was born in Lancanshire, England, on April 6, 1917 and settled in Mexico in 1942, after fleeing the nazi persecution during the Second World War. The artist is considered one of the surrealist legends around the world. (/Arturo Bermudez) ©A Bermudez / Xinhua / Photoshot / TopFoto / The Image Works
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MEXICO CITY, May 26, 2011 -- Undated file photo shows the surrealist artist Leonora Carrington, who passed away in Mexico at the age of 94 on May 25, 2011. The famous artist was born in Lancanshire, England, on April 6, 1917 and settled in Mexico in 1942, after fleeing the nazi persecution during the Second World War. The artist is considered one of the surrealist legends around the world. (/Arturo Bermudez) ©A Bermudez / Xinhua / Photoshot / TopFoto / The Image Works
MEXICO CITY, May 26, 2011 () -- Undated file photo shows the surrealist artist Leonora Carrington, who passed away in Mexico at the age of 94 on May 25, 2011. The famous artist was born in Lancanshire, England, on April 6, 1917 and settled in Mexico in 1942, after fleeing the nazi persecution during the Second World War. The artist is considered one of the surrealist legends around the world. (/Arturo Bermudez) ©A Bermudez / Xinhua / Photoshot / TopFoto / The Image Works
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MEXICO CITY, May 26, 2011 () -- Undated file photo shows the surrealist artist Leonora Carrington, who passed away in Mexico at the age of 94 on May 25, 2011. The famous artist was born in Lancanshire, England, on April 6, 1917 and settled in Mexico in 1942, after fleeing the nazi persecution during the Second World War. The artist is considered one of the surrealist legends around the world. (/Arturo Bermudez) ©A Bermudez / Xinhua / Photoshot / TopFoto / The Image Works
France: The Study of Napoléon III in Tuileries ( 1862 ). In the wall, the plan of the works of Paris. Watercolour of Fortuné de Fournier ( 1798-1864 ), Castle of Compiègne. RVB-02956 1862 PARIS PARIS ILE-DE-FRANCE FRANCE © Roger-Viollet / The Image Works
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France: The Study of Napoléon III in Tuileries ( 1862 ). In the wall, the plan of the works of Paris. Watercolour of Fortuné de Fournier ( 1798-1864 ), Castle of Compiègne. RVB-02956 1862 PARIS PARIS ILE-DE-FRANCE FRANCE © Roger-Viollet / The Image Works
Aimée-Henri-Edmond Sewrin-Bassompierre (1809-1896). "Les bains Deligny en 1842". Pastel.  Aimée-Henri-Edmond Sewrin-Bassompierre (1809-1896). "Deligny baths in 1842".Paris, musée Carnavalet. © Musée Carnavalet/Roger-Viollet/ The Image Works
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Aimée-Henri-Edmond Sewrin-Bassompierre (1809-1896). "Les bains Deligny en 1842". Pastel. Aimée-Henri-Edmond Sewrin-Bassompierre (1809-1896). "Deligny baths in 1842".Paris, musée Carnavalet. © Musée Carnavalet/Roger-Viollet/ The Image Works
"Acclimatization Garden, Sinhalese". Displays. Color lithography. Paris, Carnavalet museum. REVERBERE. © Musée Carnavalet/Roger-Viollet/ The Image Works
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"Acclimatization Garden, Sinhalese". Displays. Color lithography. Paris, Carnavalet museum. REVERBERE. © Musée Carnavalet/Roger-Viollet/ The Image Works
FLANDRIN, Jean-Hippolyte (1809-1864). Napoléon III. 1861. Oil on canvas. FRANCE. Versailles. National Museum of Versailles. ©BeBa / Iberfoto / The Image Works
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FLANDRIN, Jean-Hippolyte (1809-1864). Napoléon III. 1861. Oil on canvas. FRANCE. Versailles. National Museum of Versailles. ©BeBa / Iberfoto / The Image Works
Japan: 'A Young Woman Practicing the Kanji', Meiji Period woodblock print by Toyohara Chikanobu (1838-1912), 1897 - Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.  In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.  Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.  Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.  ©Pictures From History/ The Image Works
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Japan: 'A Young Woman Practicing the Kanji', Meiji Period woodblock print by Toyohara Chikanobu (1838-1912), 1897 - Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.

In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.

Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.

Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867. ©Pictures From History/ The Image Works
Japan: A Meiji Period woodblock print depicting two geishas relaxing, while the inset shows the curfew bell at Asakusa Shrine. Toyohara Chikanobu (1838-1912), 1888 - Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.  In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.  Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.  Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.  ©Pictures From History/ The Image Works
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Japan: A Meiji Period woodblock print depicting two geishas relaxing, while the inset shows the curfew bell at Asakusa Shrine. Toyohara Chikanobu (1838-1912), 1888 - Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.

In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to ukiyo-e.

Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.

Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867. ©Pictures From History/ The Image Works
Japan: One of a pair of screens titled 'Pine and Plum by Moonlight' (c. 1600), an ink on paper painting by Kaiho Yusho (1533 - 1615) - Kaiho Yusho (1533 – 1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa.  At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei.  At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (gempitsu), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.  ©Pictures From History/ The Image Works
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Japan: One of a pair of screens titled 'Pine and Plum by Moonlight' (c. 1600), an ink on paper painting by Kaiho Yusho (1533 - 1615) - Kaiho Yusho (1533 – 1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa.

At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei.

At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (gempitsu), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced. ©Pictures From History/ The Image Works

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