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Domenico Ghirlandaio (1449-1494). An Old Man and his GrandsoDomenico Ghirlandaio (14491494). Italian Renaissance painter from Florence. An Old Man and his Grandson (ca. 1490). Tempera on wood. Museum of Louvre. Paris. France
Gentlemen fencers in Tierce guard and thrust positionGentlemen fencers in position for the outside-guard called Tierce, and the thrust in Tierce. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Carnival Scene or the Minuet by TIEPOLO, Giovanni Domenico (1727-1804). Baroque art. Oil on canvas
Amomum, vochya, callisia, tapanhuacanga, portlandia, fransinAutograph letter to Sir J. Banks, consisting of descriptions, with water colour drawings of genera of Plants collected in Minas Geraes, Brazil Vandelli, Domenico, 1732-1816. Page one of sixteen pages
Domenico Cimarosa / ColtelDOMENICO CIMAROSA Neapolitan composer
Wife kissing a young man behind her husbands back. German fashions of the late 15th century. From a color illustration by a German master in Berlin Print Room, Kupferstichkabinet
Head of St John the Baptist, ca. 1630, by Domenico ZampieriDomenico Zampieri (or Domenichino) (1581-1641). Italian baroque painter. Head of St John the Baptist, ca.1630. Detail. San Fernando Royal Academy of Fine Arts. Madrid. Spain. Date: 2019
David with the Head of Goliath. 1620s by Domenico FettiDomenico Fetti (1589-1624). Italian painter. David with the Head of Goliath. 1620s. National Museum. Stockholm. Sweden. Date:
The Lamentation of Christ with a Donor, c. 1505, by DomenicoDomenico Panetti (1460-1530). Italian painter. The Lamentation of Christ with a Donor, c.1505. Detail. Gemaldegalerie. Berlin. Germany
Female attendant, Birth of Virgin, by Domenico GhirlandaioFemale attendant in the Birth of the Virgin, by Domenico Ghirlandaio (1448 - 1494), engraving after a fresco in the choir of Santa Maria Novella, Florence, Italy
Virgin proceeding to the Temple, by Domenico GhirlandaioThe Virgin proceeding to the Temple with female attendants, by Domenico Ghirlandaio (1448-1494), engraving after a fresco in the choir of Santa Maria Novella, Florence, Italy. Date: 1485-1490
Gentlemen fencers in thrust and guard positionsGentlemen fencers in position of the inside Carte and the thrust given on the outside flank called Flanconade. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencers in thrust and guard positionsGentlemen fencers in position for the outside-guard called Tierce and the thrust from the outside under the wrist called Second
Gentlemen fencers in Tierce outside guardGentlemen fencers in position for the Tierce outside guard and the thrust on the same side with the wrist reversed in carte called Carte over the Arm
Defensive guard of the small sword (B) against an attack by the broad sword (A). Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in guard of sword and lanternGentleman fencer in the guard of the sword and lantern run through by a thrust from an opponent using sword and cloak. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in the guard of the sword and cloak opposed by the sword and lantern. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
The Spanish Guard defeated after an attempt of the Cut on the Head. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentleman fencer in the French Guard attack against an opponent in the Spanish Guard position (A). Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer making the return thrust in Tierce after having parried with the poignard. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in the Italian Guard position fighting with sword and dagger. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in guard and thrust positionsGentlemen fencers in position for the inside-guard called Carte and the inside-thrust called Thrust in Carte. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in the second position of the Disarm on the Carte or Second Thrust, after the Prime Parade parry. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer disarming his opponent on the Carte ThrustGentleman fencer disarming his opponent on the Carte or Second Thrust, after parrying with the Prime Parade. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer taking his opponents sword, second position of the Disarm after parrying his Carte Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer disarming his opponent after parrying his Carte Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in the whole turn called VolteGentleman fencer making the whole turn called Volte, on the Pass in Tierce, or in Carte over the Arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in the Demi-Volte turnGentleman fencer in the half-round or bounding turn of the Body called the Demi-Volte. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer running through an opponentGentleman fencer stabbing his opponent after an Evasion, by moving his left leg back when his opponent makes a pass on the outside of the sword
Gentleman fencer making the Pass on the sword in Carte over the arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentlemen fencers making the plain Cut over the Point from Carte in Tierce. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in the return from the Prime parade to the Seconde and Low Carte thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer making the return on the Flanconade thrust by reversing the edge to an opponent who has not opposed with the left hand
Gentlemen fencers making a return thrust in Quinte after the thrust in Seconde. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer making the Seconde return thrust after parrying Carte over the Arm. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in the Tierce return after the Tierce thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentlemen fencers in the Carte return after the Carte parry. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentlemen fencers in the Quinte parry against Quinte ThrustGentlemen fencers in the Quinte parade, point low and wrist raised, against the Quinte Thrust, outside thrust under the wrist
Gentlemen fencers in Prime parry and Seconde thrustGentlemen fencers in the Prime parade or St. George Guard parry derived from the broadsword, against the outside thrust under the wrist called Seconde
Gentlemen fencers in guard positionsGentlemen fencers in the position for the Guard in Carte, and position for the Guard in Tierce. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencer in the position of the Thrust in SecondeGentleman fencer in the position of the outside Parade for the thrust under the wrist or the Thrust in Seconde. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in thrust and parry positionsGentlemen fencers in the position of the outward parry with the nails upward or the Feather Parade and the outward thrust nails upward, or the Carte over the Arm
Gentlemen fencers in Tierce parry and thrust positionsGentlemen fencers in the position of the outside parade in Tierce and the outside thrust or Tierce-Thrust. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentlemen fencers in Carte thrust and parryGentlemen fencers in the position of the inside parade in Carte and the thrust in Carte. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr
Gentleman fencers in the fourth and fifth positions of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentlemen fencers in the second and third positions of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentleman fencer in the first position of the Salute. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787
Gentleman fencer in first position to draw a sword. Copperplate engraving by after an illustration by Thomas Rowlandson from Mr. Domenico Angelos The School of Fencing, London, 1787