161. 一位女士和一个孩子的肖像,传统上被认为鲁伯特王子(1619-1682)和他的母亲波希米亚伊丽莎白(1596-1662) by Marcus Gheeraerts the Younger 高清作品[32%]

Portrait of a Lady and Child, traditionally identified as Prince Rupert (1619-1682) and his mother Elizabeth of Bohemia (1596-1662)

材质 :Oil on canvas 尺寸 :216.9 × 125.1 cm Painting

一位女士和一个孩子的肖像,传统上被认为鲁伯特王子(1619-1682)和他的母亲波希米亚伊丽莎白(1596-1662)-小马库斯·盖尔茨(Anglo - Flemish, 1561–1636)

英文名称:Portrait of a Lady and Child, traditionally identified as Prince Rupert (1619-1682) and his mother Elizabeth of Bohemia (1596-1662)-Marcus Gheeraerts the Younger

162. 三艘驳船在一条河上航行,前面一名男子和一头驴子,还留下了四个数字` Auf einem Fluss segeln drei Barken, vorne auf dem Weg ein Mann mit einem Esel, weiter links vier Figuren by Nicolaas Wicart 高清作品[32%]

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Auf einem Fluss segeln drei Barken, vorne auf dem Weg ein Mann mit einem Esel, weiter links vier Figuren-

图片文件尺寸: 6920 x 5007px

三艘驳船在一条河上航行,前面一名男子和一头驴子,还留下了四个数字-尼古拉斯·维卡特

~ Auf einem Fluss segeln drei Barken, vorne auf dem Weg ein Mann mit einem Esel, weiter links vier Figuren--Nicolaas Wicart (荷兰艺术家, 1748-1815)

164. 佩内洛普·惠特尼(Penelope Whitney)回忆道:“我从小在加利福尼亚州中部骑马和比赛的马匹世界如此可怕的性别歧视;女孩和女人通常只被视为性对象,而不天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特(Charley Parkhurst,又名独眼查理)的故事。在淘金热期间,帕克赫斯特一名著名的驿站马车司机,他去世后,人们发现帕克赫斯特在生物学上女性。(2018年) by Jamil Hellu 高清作品[32%]

“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale

材质 :Digital pigment print 尺寸 :147.3 × 101.6 cm Photography

佩内洛普·惠特尼(Penelope Whitney)回忆道:“我从小在加利福尼亚州中部骑马和比赛的马匹世界如此可怕的性别歧视;女孩和女人通常只被视为性对象,而不天才的骑手和训练员。”惠特尼的灵感来自查理·帕克赫斯特(Charley Parkhurst,又名独眼查理)的故事。在淘金热期间,帕克赫斯特一名著名的驿站马车司机,他去世后,人们发现帕克赫斯特在生物学上女性。(2018年)-Jamil灯

英文名称:“The horse world I grew up riding and competing in central California was so horribly sexist; girls and women were often seen only as sexual objects, not as talented riders and trainers,” recalls Penelope Whitney who is inspired by the story of Charley Parkhurst, aka One-Eyed Charley. Celebrated as a stagecoach driver during the Gold Rush, it was discovered after his death that Parkhurst was biologically female. (2018) | Available for Sale-Jamil Hellu

167. 婚姻保险箱还卡松。在南肯辛顿的维多利亚和阿尔伯特博物馆。意大利语(可能佛罗伦萨语),约1550年。埃德温·福利` Marriage coffer or cassone. In the Victoria and Albert Museum, South Kensington. Italian (Florentine probably), ca. 1550. (1910 ~ 1911) by Edwin Foley 高清作品[32%]

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Marriage coffer or cassone. In the Victoria and Albert Museum, South Kensington. Italian (Florentine probably), ca. 1550. (1910 ~ 1911) -

图片文件尺寸: 4494 x 3453px

婚姻保险箱还卡松。在南肯辛顿的维多利亚和阿尔伯特博物馆。意大利语(可能佛罗伦萨语),约1550年。埃德温·福利-埃德温·福利

~ Marriage coffer or cassone. In the Victoria and Albert Museum, South Kensington. Italian (Florentine probably), ca. 1550. (1910 ~ 1911) --Edwin Foley (English, 1859-1912)

169. 巴扎杰特的一位女演员罗赞娜的肖像,可能弗朗索瓦兹-玛丽-安托瓦内特-约瑟夫·索洛特,名叫劳考特小姐(1756-1815),半身长 - 让-巴蒂斯特-格雷兹的追随者- 高清作品[32%]

 PORTRAIT OF AN ACTRESS AS ROZANNE IN BAZAJET, PROBABLY FRANÇOISE-MARIE-ANTOINETTE-JOSEPH SAUEROTTE, CALLED MADEMOISELLE RAUCOURT (1756-1815), BUST LENGTH-FOLLOWER-OF-JEAN-BAPTISTE-GREUZE-

PORTRAIT OF AN ACTRESS AS ROZANNE IN BAZAJET, PROBABLY FRANÇOISE-MARIE-ANTOINETTE-JOSEPH SAUEROTTE, CALLED MADEMOISELLE RAUCOURT (1756-1815), BUST LENGTH-FOLLOWER-OF-JEAN-BAPTISTE-GREUZE-
(巴扎杰特的一位女演员罗赞娜的肖像,可能弗朗索瓦兹-玛丽-安托瓦内特-约瑟夫·索洛特,名叫劳考特小姐(1756-1815),半身长-让-巴蒂斯特-格雷兹的追随者-)