| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 49704 |
 |
They most konstnarerna wonder that term had telephone if alike nagon insight in navy thing ocb had darfor svarigheter that picture one vessel accurate |
mk203
nagot as underline of that picture |
| 49637 |
 |
They Spanish conquistadorena each they flush as cranberry through they tropical regnskogarna in Sydamerika wide 1500- digits midst. |
mk199
They sokte behind guld,kryddor and nya omraden that settlement. |
| 49557 |
 |
They three appear men |
mk201
A malning of Benozzo Gozzoli in Palace Medicine in Florence |
| 73729 |
 |
Third Eye by Irina Belova |
oil on canvas, 70x50cm
cyf |
| 40162 |
 |
Third Quarter of the 14 th c |
mk156
Manuscript illumination
Stolen from the Library St.Petersburg |
| 56945 |
 |
Third-class compartment |
mk250 Year in 1862. Oil on canvas, 65.4 x 90.2 cm around. New York Metropolitan Museum of Art |
| 49734 |
 |
This anslaende portrait of captain James Cook,en of 1700- digits djarvaste sjofarare,ar millings of N.Dance |
mk203
Ansiktsuttrycket am failing bestamt,men also sensible and thoughtful avenue if the expressive a certain countless and accustom pa that konstnaren bark become fardig |
| 56782 |
 |
This conception |
mk250 Year in 1333. Wood and gold leaf color Eggs, about 307.3 x 266 cm. Uffizi in Florence. |
| 56809 |
 |
This conception |
mk250 Florence, Italy, San Marco Church, about the year in 1400-1445. Frescoes, 215.9 x 320 cm. |
| 43466 |
 |
THis Detail illustrates |
mk172
the characteristic plastework covering the walls and vault of the Chamber of the Virgin of Loreto
|
| 43493 |
 |
This painting Allows us to picture the interior of a church in new spain |
mk172
The altarpiece is in the background
|
| 43474 |
 |
This painting signed |
mk172
by Jose de Ibarra exemplifies one of the Baroque-s most outstanding characteristics
|
| 49643 |
 |
This Portrait of Mackenzie with a am matching in hand emphasize his importance as kartlaggare and upptackare |
mk199
|
| 49699 |
 |
This portrait of Vasco da Gama to clerical error Gregorio Lopez. |
mk203
Map am arriving stamp a am handwriting in savages a of Magellans besattningsman |
| 52731 |
 |
This tapestry is one of a set of four depicting |
mk223
Oil on canvas
|
| 77716 |
 |
Thom Thomson, Le Pin, 1916-1917. |
Thom Thomson, Le Pin, 1916-1917.
cjr |
| 41375 |
 |
Thomas Cranmer,Archbishop of Canterbury |
mk160
|
| 41388 |
 |
Thomas Cromwell,1 st Earl of Essex |
mk160
Secretary of State to Henry VIII and Lord Privy Seal
|
| 50936 |
 |
Thomas Fitztrick |
mk217
|
| 71069 |
 |
Thomas Middleton of Crowfield and His Daughter Mary |
Thomas Middleton of Crowfield and His Daughter Mary"
1776
Medium Oil on canvas
|
| 72224 |
 |
Thomas Middleton of Crowfield and His Daughter Mary |
Date circa 1776
Medium Oil on canvas
cyf |
| 76132 |
 |
Thorvaldsen |
Oil on canvas, 32.5 x 23.5 cm
cyf |
| 38356 |
 |
Three Boys in Zouave Costume |
mk136
Oil on canvas
about 1863
|
| 73182 |
 |
Three Breton Girls Lighting their Candles before the Process |
Oil painting reproduction of Ferdinand du Puigaudeau. |
| 30353 |
 |
Three Graces,from Pompeii |
mk68
Naples,
National
Archaeological Museum
|
| 57118 |
 |
Three icon |
mk253 plank in Moscow 1422-1427, the State Tretyakov Gallery collection. |
| 56995 |
 |
Three musicians |
mk250 Year in 1921. Oil on canvas, 200.7 x 221 cm. New York Museum of Modern Art. |
| 56779 |
 |
Throne of the Virgin and Child with Saints |
mk250 Lee Italy Siena Cathedral. In the year 1308-1311. Mussel board. 213 x 396.2 cm. Siena Cathedral Museum. |
| 42577 |
 |
Throning Virgin with Child Between St. Theodorus and St. Joris |
MK169
6e century n. Chr. Painting on panel
68.6x47.9cm |
| 76166 |
 |
Through Wind and Rain |
1875. Oil on canvas, by William McTaggart. In the public domain. Source [1]
cyf |
| 43486 |
 |
Throughout three centuries |
mk172
we come upon the same typologies of portraiture,with rare excenptions
|
| 48902 |
 |
Thursday battle with jattarna |
mk187
1872
Oil slick pa screen
487x336cm |
| 61313 |
 |
tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long |
mk274 tidstypiksk inredning i det ovre borgerskapet en sa kallad makartsa long |
| 49707 |
 |
Tiger |
mk203
harness prompt and accumulator devoid hind leg |
| 30357 |
 |
Tiger Attacking a Bull |
mk68
Inlaid marble
Rome
Capitoline Museums
c.300-400
|
| 46305 |
 |
Tigers 022 |
This is oil painting of Tigers on canvas. |
| 46309 |
 |
Tigers 026 |
This is oil painting of Tigers on canvas. |
| 56896 |
 |
Tingzhong of Krishna and Lade Ha |
mk250 India's Punjab province, the year 1760. Matt watercolor on paper. 28.3 x 19.7 cm. In a new National Museum. |
| 37389 |
 |
Tinkle a Cat |
mk125
|
| 48897 |
 |
Tiondemotet in Scandal |
mk187
1865
Oil slick pa screen
91x123cm |
| 57787 |
 |
titelsidan |
mk260
titelsidan av carsten niebuhrs reise beschreibung medett portratt av niebuhr i sitt 76:e levnadsar |
| 30199 |
 |
To England with weapons and Wine |
nn05
|
| 58168 |
 |
To expose the truth to deceive |
mk261 canvas painting, Florence, hunting and the boundaries of the Museum of History |
| 49775 |
 |
To grand hojder an giraffe nar no other landvarelse wonder utovande of slaktbestyren |
mk204
|
| 79120 |
 |
To sigojnerkvinder uden for deres bolig. |
To sigojnerkvinder uden for deres bolig. 1878 Two gypsy women outside their home, 1878 painting by P. S. Krøyer. Oil on canvas
cjr |
| 49752 |
 |
To sjoss each fire and ice varre enemies an nagonsin stormar,vilket Urville smartsamt was getting go through the 9 Feb. 1838 |
mk203
His infrusna Astrologer millings of konstnaren,forfattaren,sjomannen and intersects Ambroise Louis Garneray |
| 57201 |
 |
To the Red Army |
mk253 canvas 200 x 360 cm in 1961 in St. Petersburg, Russia museum |
| 45535 |
 |
Tobias and the angel |
mk186
around 1465 Turin, Galleria Sabauda |
| 69242 |
 |
tobias som laker sin blinda faders ogon |
olja på duk 70x90cm
se |
| 35424 |
 |
Tomb and distant View of the Rajmahal Hills |
mk101
Probably 1781
Oil on canvas
66.2x72.4cm |
| 64999 |
 |
Tomb of Don Sancho Saiz de Carillo |
1300 Tempera on wood Museu Nacional d'Art de Catalunya, Barcelona In the mid 13th century a new type of funeral monument appeared in France: a marble or stone tomb on which the figure of the deceased is lying and its sides representing the participants of the funeral procession in reliefs. This type also appeared in Spain, however, corresponding to the local traditions, it was realized from wood with side panels covered by paintings instead of sculptures. The panels shown come from the tomb of Sancho Saiz de Carillo in Burgos. The arrangement of the figures follows the frieze-type. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1251-1300 , Spanish , painting , religious |
| 65008 |
 |
Tomb of Don Sancho Saiz de Carillo |
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The linear style is remarkable for its subtlety. It is characterized, particularly in northern Spain, by undulating rhythms and a refined color scale. The backgrounds, in which architecture, furniture, and occasionally utensils are schematically represented, are in monochrome, but the figures that occupy the foreground have an expressive humanity, very different from the hieratic formalism of the past. A typical and very ancient example of the calligraphic style is the decoration of the tomb of Don Sancho Saiz de Carrillo (Barcelona Museum). This comes from Mahamud (Burgos) and marks the beginning of the Gothic style in Castile. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious |
| 65009 |
 |
Tomb of Don Sancho Saiz de Carillo |
1300 Panel Museu Nacional d'Art de Catalunya, Barcelona The so-called Linear Style of the Gothic painting developed principally in the north of Spain, its straight lines and rigid figurative scheme recalling contemporary Romanesque Apocalypse manuscripts. The row of lamenting women on the ceiling of the tomb, now in Barcelona, of Sancho Saiz Carillo, a nobleman from Burgos, is Gothic only in that the figures are positioned in rows and overlap. The posture and gestures, even the physiognomies, are borrowed from a largely traditional style that still clearly bears signs of the Romanesque. The work's firm lines make it a particularly bold exmple of the Linear Style, which dominated Spanish painting in the years between 1290 and 1350. , UNKNOWN MASTER, Spanish , Tomb of Don Sancho Saiz de Carillo (detail) , 1301-1350 , Spanish , painting , religious |
| 62414 |
 |
Tomb of Empress |
1825 Marble Church, Rueil-Malmaison When Jos?phine de Beauharnais ((Marie Jos?phe Rose, Tascher de la Pagerie) died on May 29th 1814, her children decided to pay her a tribute by building a tomb deserving her and her legendary generosity. After eleven years of delay - explained by political background, opposition of State officials and hesitations from the commissioners - on September 28th 1825, however, the mortal remains of the Empress were put down in a white-marble tomb due to Louis Berthault, architect, and Pierre Cartellier, sculptor. The kneeling figure of the praying Empress surmounts her tomb |
| 63038 |
 |
Tomb of Gregory XIII |
1719-25 Marble Basilica di San Pietro, Vatican The process of populating the churches of Rome with statues and carved tombs continued at the beginning of the eighteenth century, and the sculptors' workshops were extremely active. (They even produced for export, e.g. statues were ordered from Rome for the Palace-Monastery of Mafra near Lisbon.) Sculpture was now firmly fixed in the style of Bernini. Camillo Rusconi, the Frenchman Pierre Legros (1666-1719) and Ren?Michel (called Michel-Ange) Slodtz are among the sculptors most typical of this continuation of the Baroque. The tomb of Pope Gregory XIII in St Peter's is one of Rusconi's masterpieces. Like most such memorials in the early eighteenth century, it is subscribed to the basic formula of Algardi's tomb of Leo XI, albeit with Berninesque touches. Religion looks up to the figure of the Pope giving benediction as Fortitude lifts the massive drapery to reveal a sarcophagus with a relief commemorating the Gregorian emendation of the calendar. Despite the ostensible religious context of the monument, its focal point remained the Pope as enlightened reformer rather than spiritual leader. Artist: RUSCONI, Camillo Painting Title: Tomb of Gregory XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious |
| 62393 |
 |
Tomb of Juan de Padilla |
1489-93 Alabaster Museo Provincial, Burgos The kneeling figure is a detail from the Tomb of Juan de Padilla, carved in the same period than the Tomb of Infante Alfonso in the Monastery of Miraflores, Burgos. Original location of the tomb was the Monastery of Fresdelval |
| 63095 |
 |
Tomb of Pope Benedict XIII |
1734 Marble Santa Maria sopra Minerva, Rome Pietro Braci was - together with Filippo della Valle - the pupil of Camillo Rusconi. He applied more painterly effects than his master and the other pupils by using multi-coloured marble. The tomb of Pope Benedict XIII was designed by Carlo Marchionni and carried out in collaboration with Bartolomeo Pincelotti (died in 1740), who was responsible for the figure of Humility. The tomb takes after the by now established Algardian model due to the ways Rusconi worked. Bracci sculpted the statue of Purity and, above all, the statue of the pope, clearly configured as an eighteenth-century reinterpretation of Bernini's figure of Alexander VII at prayer, realized for the funerary monument of the pontiff. Bracci's choice is, however, much more theatrical: Benedict XIII, seated on a throne, holds his hand to his breast in a gesture partly of Christian submission, and partly as an eternal promise of faith. Artist: BRACCI, Pietro Painting Title: Tomb of Pope Benedict XIII , 1701-1750 Painting Style: Italian , sculpture Type: religious |
| 49787 |
 |
Topiantilopen bags yarn pa brood varifran the able general view country |
mk204
|
| 48544 |
 |
Topographical View of Wilton |
mk190
c.1700
|
| 75793 |
 |
Torre del Greco near Pompeii and Naples |
1846
Oil on canvas
22,5 ?? 60,4 cm
cjr |
| 75956 |
 |
Toulouse Street, French Quarter |
"Toulouse Street, French Quarter". Painting of street in the Freench Quarter of New Orleans, by Harry A. Nolan.
cjr |
| 48538 |
 |
Town Garden in Dogpole,Shrewsbury |
mk190
c.1710
|
| 73541 |
 |
Townsfolk shopping along the Oudegracht |
Date 1883
cyf |
| 72041 |
 |
Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands |
Townsfolk shopping along the Oudegracht, Utrecht, The Netherlands
1883(1883)
cjr
|
| 34093 |
 |
Trajjan-s Grand Plan for the Heart of rome The libraries of Trajan-s Forum |
mk88
|
| 34202 |
 |
Transfiguration of Christ |
mk90
The theophany
Twelfth-century Byzantine Mosaic in the monastic church at Daphni
|
| 71963 |
 |
Transport der Freudenmadchen zur Polizeiwache |
1745(1745)
Oil on canvas
65 X 82 cm (25.59 X 32.28 in)
|
| 73383 |
 |
Transport der Freudenmadchen zur Polizeiwache |
Date 1745(1745)
Medium Oil on canvas
Dimensions 65 X 82 cm (25.59 X 32.28 in)
cyf |
| 42524 |
 |
Trapvormige pyramid and palace of king Zoser Sakkara |
mk169
Egypt ca.2770v.Chr |
| 65101 |
 |
Traveller's Missal |
1360-64 Illumination on parchment Knihovna N?rodniho Muzea, Prague The manuscript served as a Missal for masses during traveling. The name of the owner (Johann von Neumarkt) can be read in Latin below the frame at the bottom. The initial G represents the scene of Annunciation. At the upper right corner of the initial Prophet Isaias, at the upper left corner King David and a bird can be seen. , MINIATURIST, Bohemian , Traveller's Missal , 1351-1400 , Bohemian , illumination , religious |
| 41256 |
 |
Trees and Flowers by a Stream |
mk161
|
| 73865 |
 |
Trees and Pool |
Date between 1840(1840) and 1850(1850)
Medium Oil on panel
Dimensions 21.1 X 31 cm (8.31 X 12.2 in)
cyf |
| 41254 |
 |
Tribute Horse |
mk161
|
| 42537 |
 |
Tribuut Bringing subjects, relief at the stair to the audientie-hall Persepolis, iran |
MK169
ca. 500 v. Chr. |
| 52781 |
 |
Trim Castle |
mk223
Oil on canvas
|
| 64135 |
 |
Trinity Piet |
1415-30 Oil on oak panel, 23,2 x 15,9 cm Wallraf-Richartz Museum, Cologne The Man of Sorrows in the arms of God the Father with the Holy Ghost between them both is a kind of Seat of Mercy or more exactly a Trinity Piet? The type is met with frequently in French and Burgundian court painting from the end of the fourteenth century onwards. One of the best known and earliest preserved examples is the tondo by Jean Malouel in the Louvre. Both in the common Man of Sorrows type and in the Trinity Piet? angels are often supporting Christ's body on both sides or carrying instruments of the Passion. The small Cologne work is part of this tradition. The Man of Sorrows is flanked by four angels, with two of them holding the Flagellation column, the scourge, the stick with the sponge and the lance. This type clearly forms the basis of the Man of Sorrows borne by an angel by Master Francke which in turn led to the Virgin showing Man of Sorrows by Memling (Melbourne). The reverse features a Holy Face of Christ. The panel is attributed to the Master of Sankt Laurenz (St Lawrence), the pupil of the Cologne Master of St Veronica. It is also assumed that this small panel was the left wing of a diptych having, on the right, a Mater Dolorosa. , Artist: UNKNOWN MASTER, German , Trinity Piet? , 1401-1450 , German , painting , religious |
| 32200 |
 |
Triptych |
Panel
Museo Cerralbo, Madrid |
| 64922 |
 |
Triptych |
45 x 56 cm Gallerie dell'Accademia, Venice Much more of an innovator than either Catarino or Lorenzo Veneziano was Jacobello Alberegno, who in the Triptych with Crucifixion and Saints, his only signed work, reveals himself to be an artist of penetrating refinement. If it is true that the two lateral saints, St Gregory and St Jerome, are examples of stylized Gothic figures, the images of the small central panel display a naturalness worthy of one of the best of Giotto's disciples. An extraordinary human dimension seems to govern the expression of sentiments in the picture: a grief-stricken St John the Evangelist clutches his cloak to his breast while the Virgin extends imploring arms and stares transfixed with anguish at her crucified son. , ALBEREGNO, Jacobello , Triptych , 1351-1400 , Italian , painting , religious |
| 65033 |
 |
Triptych |
85,3 x 95 cm (central panel), 86,3 x 41 (wings) Wallraf-Richartz Museum, Cologne The painter of this altarpiece, the central panel of which depicting the extended Holy Family ('Holy Kinship') is referred to as The Elder Master of the Holy Kinship. , UNKNOWN MASTER, German , Triptych , 1401-1450 , German , painting , religious |
| 51075 |
 |
Triptych The Adoration of the Magi |
1475-1500
Oil on wood,
29 x 39 cm |
| 51068 |
 |
Triptych with Scenes from the Life of Christ |
Oil on panel,
83,7 x 68,8 cm |
| 64131 |
 |
Triptych with Scenes from the Life of Christ |
1500-05 Oil on panel, 58 x 46 cm (centre), 57,5 x 16,5 cm (each wing) Private collection, Milan This remarkable work which came to light recently seems to be by the same Memling follower who painted the Santa Barbara Lamentation (Museum of Art). In the larger Lamentation, however, the painter is more precise in the details than in the miniature scenes, which seem to be painted with an unruly brush. Typologically, however, everything corresponds: the rather stiff figures with wooden gestures and attitudes, the hard folds, the trees with thick burly foliage, the plump clouds with heavy lighted edges. Remarkable about this triptych is the fact that many of the little scenes have been taken from well-known Memling compositions: it is largely conceived as a pastiche of Memling fragments. From left to right and from top to bottom, the triptych contains the following scenes: Left wing 1. Annunciation 2. Visitation 3. Nativity 4. Jesus among the Pharisees Central panel 5. Presentation in the Temple 6. Flight into Egypt 7. Mourning Mary and Joseph 8. Flagellation 9. Carrying of the Cross 10. Crucifixion 11. Lamentation 12. Entombment 13. Circumcision 14. Mount of Olives 15. Christ at the column 16. Christ released from the Flagellation column by Mary and John 17. Crowning with Thorns 18. Mocking of Christ 19. Christ nailed to the Cross 20. Crucifixion Right panel 21. Resurrection 22. Ascension 23. Descent of the Holy Ghost 24. Death of the Virgin. The work is popular in conception and there is hardly any logic in the arrangement of the scenes. Following the example of contemporaneous miniature painting (Simon Bening) they are enclosed in a painted window in early Renaissance style. Only the wings are arranged in chronological order with scenes from the Childhood and scenes after the Christ's death. In the central panel, which is mainly devoted to the Passion, everything is mixed up. Spatially the artist has shown a degree of circumspection, for the scenes at the top have a very low horizon, while the lower scenes exhibit the usual foreshortening in successive plans. The conscious reference to various works by Memling (with some scenes possibly deriving from lost compositions) clearly points to a painter who had access to these works while they were still in the workshop or to whom working drawings were available. It is also remarkable that the borrowings come from late works. It can be assumed therefore that we are here dealing with a student or assistant of Memling. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ , 1501-1550 , Flemish , painting , religious |
| 64132 |
 |
Triptych with Scenes from the Life of Christ |
1500-05 Oil on panel Private collection, Milan The picture represents scene 2 of the left wing, the Visitation. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious |
| 64133 |
 |
Triptych with Scenes from the Life of Christ |
1500-05 Oil on panel Private collection, Milan The picture represents scene 9 of the central panel, the Carrying of the Cross. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious |
| 64134 |
 |
Triptych with Scenes from the Life of Christ |
1500-05 Oil on panel Private collection, Milan The picture represents scene 21 of the right wing, the Resurrection. , Artist: UNKNOWN MASTER, Flemish , Triptych with Scenes from the Life of Christ (detail) , 1501-1550 , Flemish , painting , religious |
| 64040 |
 |
Triptych with the Family of St Anne |
1490s Oil on panel, 87,4 x 92,5 cm (centre), 87,3 x 37,1 cm (left), 87,4 x 39,2 cm (right) Museum voor Schone Kunsten, Ghent An impression of Ghent panel painting in the shadow of the leading masters is provided by a number of works from religious institutions in the city that have been attributed to local workshops on stylistic grounds. There is , for instance, the Triptych with the Family of St Anne. This work prompted the coinage of the name 'The Master of the Family of St Anne', an anonymous artist to whom several other panels in Ghent have been attributed. The most clearly discernible influence in his work is that of Van der Goes' realism. , Artist: UNKNOWN MASTER, Flemish , Triptych with the Family of St Anne , 1451-1500 , Flemish , painting , religious |
| 73355 |
 |
Tristan and Isolde |
Tristan and Isolde
cjr |
| 30417 |
 |
Triumph of Death |
mk68
Fresco
Palermo
Regional Gallery of Sicily
1449
ltaly
|
| 63079 |
 |
Triumph of Death |
1350 (?) Fresco Campo Santo, Pisa The celebrated frescoes, the Triumph of Death, with accompanying scenes of the Last Judgment, Hell, and Legends of the Hermits were attributed for long time to Francesco Traini. These, among the outstanding Italian paintings of the 14th century, were badly damaged by bombs in the Second World War, but this brought to light, by way of partial compensation, the beautiful 'sinopie, which are now shown in the Museo delle Sinopie. The frescoes include many telling details of death's victims and are usually seen as a reflection of the horrors of the Black Death of 1348, but some authorities consider them earlier and attribute them to the mysterious Buffalmacco. Artist: BUFFALMACCO, Bounamico Painting Title: Triumph of Death (detail) , 1301-1350 Painting Style: Italian , , mythological |
| 76740 |
 |
Triumph of Flora |
Date ca. 1627-1629(1627-1629)
Medium Oil on canvas
Dimensions 165 ?? 241 cm (65 ?? 94.9 in)
cyf |
| 77687 |
 |
Triumphzug des Bacchus |
ca. 1536-1537
oak panel
56.3 ?? 106.5 cm (22.2 ?? 41.9 in)
cjr |
| 74474 |
 |
Trompe-l ail mit Atelierwand und Vanitasstillleben |
1665
Oil on canvas
cjr |
| 49296 |
 |
Troops at Pittsburg Landsing April,1862 |
mk195
Pencil
New York Public
|
| 72294 |
 |
Trouville |
Trouville," oil on panel, by the French artist Eugene Louis Boudin. Yale University Art Gallery, gift of Mrs. Joseph M. Flint. Courtesy of Yale University, New Haven, Conn.
cjr |
| 49703 |
 |
Truly Catarina lavatory Monte Sinai |
mk203
one Portuguese orlogsfartyg,var bribe with more an kanoner,aven if absence each latta pjaser. |
| 49120 |
 |
Tsar Ivan the Terrible |
mk193
1897
Oil on canvas
247x132cm
|
| 74386 |
 |
Tsar Ivan the Terrible and the priest Sylvester |
English: Tsar Ivan the Terrible and the priest Sylvester, 24 June, 1547 (oil painting, 1856).
Date 1856
cyf |
| 61455 |
 |
tsar nikolaus i |
mk275 dostojevskij deltog i en sammansvarjning mot honom och domdes till doden men benadades i sista stund |
| 56965 |
 |
Tub |
mk250 Year in 1886. Pastel painting, 29.2 x 82.2 cm. Baliaosai Museum. |
| 48413 |
 |
Tudor Court Scene in a Walled enclosure probably a garden |
mk190
1500
Poems of Charles d-Orleans
|
