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jacobean era képek

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A woodcut titled 'The Falconer' from George Turberville's (c.1540–c.1597) 'The Book of Faulconrie or Hawking' depicting a falconer and his attendants. The central figure, dressed in elaborate late Elizabethan attire with prominent trunk hose and a feathered cap, carries a hooded falcon on a gloved hand and is accompanied by hunting dogs. This 1611 edition illustrated the techniques and high social standing associated with falconry during the late Tudor (1485–1603) and early Stuart (1603–1714) periods. 1611.-stock-foto
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A hand-coloured engraving depicting Audley End House in Essex, which was commissioned by Thomas Howard, 1st Earl of Suffolk (1561–1626), and constructed during the Jacobean era (1603–1625). Built on the site of the former Walden Abbey, the mansion was designed to accommodate royal visits from King James I and once ranked among the largest and most opulent prodigy houses in England. 1781.-stock-foto
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A woodcut depicting a London night-watchman, known as a bellman, patrolling the streets during the Stuart dynasty (1603–1714). Accompanied by a dog at his heels, the figure carries the essential tools of his trade, including a lantern for illumination, a bell to cry the hour, and a pike for protection. Such watchmen were responsible for maintaining law and order in the city after dark, and this illustration originally served as the title page for a ballad. 1616.-stock-foto
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An engraving of Francis Beaumont (1584–1616), an English playwright and poet of the Jacobean era during the Stuart dynasty (1603–1714) who was most famous for his collaboration with John Fletcher. This portrait was produced for George H. Townsend's Alphabetical Chronology of Ancient and Modern History. 1862.-stock-foto
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An engraving by Simon van de Passe (1595–1647) titled 'Instauratio Magna' by Francis Bacon (1561–1626). Bacon was an English philosopher and statesman who served as Lord Chancellor and is credited with developing the Baconian method of scientific inquiry based on empirical observation. The illustration depicts a ship sailing between the Pillars of Hercules, representing the expansion of knowledge beyond the confines of classical tradition as expressed by the Latin motto 'Multi pertransibunt & augebitur scientia'. The work was published in London by John Bill, the Royal Printer. 1620.-stock-foto
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An engraving depicting Francis Bacon (1561-1626), Viscount St Albans, an English philosopher, statesman, and pioneer of the scientific method. He is portrayed following his appointment as Lord Chancellor in 1618, dressed in the formal robes of his office including a prominent ruff and a richly embroidered gown. Bacon was a transformative figure in Western philosophy, advocating for empirical observation and systematic experimentation to replace Aristotelian deductive logic. c.1738.-stock-foto
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An engraving depicting Francis Bacon, 1st Viscount St Alban (1561–1626), an influential English philosopher and statesman who served as Lord Chancellor during the Stuart (1603–1714) reign of King James I. He is shown wearing a tall black hat and an elaborate lace ruff, attire characteristic of the early seventeenth century. Renowned as the father of empiricism, Bacon advocated for a scientific approach based on inductive reasoning and systematic observation, which fundamentally challenged the dominance of Aristotelian deductive logic. c.1850.-stock-foto
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A chromolithograph depicting Francis Bacon (1561-1626), 1st Viscount St Alban, an English philosopher, statesman, and pioneer of the scientific method. Serving as Lord Chancellor under King James I, Bacon is celebrated as the father of empiricism for his advocacy of inductive reasoning and the systematic observation of nature. The portrait represents him in typical Jacobean attire, wearing a tall steeple hat and a starched white ruff, symbols of his high office and intellectual standing during the Stuart period (1603–1714). c.1910.-stock-foto
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A copperplate engraving depicting Gervase Babington (c.1550–1610), an English churchman who served as the Bishop of Llandaff from 1591, Exeter from 1595, and Worcester from 1597. Executed by the engraver Renold Elstracke, the three-quarter-length portrait shows Babington holding a book, reflecting his status as a theologian and his service as Queen’s counsel for the Welsh Marches. c.1620.-stock-foto
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An engraving depicting John Speed (1542–1629), the English cartographer and historian. Speed is renowned for his comprehensive atlas of the British Isles, "The Theatre of the Empire of Great Britaine", and his significant work "The History of Great Britaine". Published by T. Rodd of Great Newport Street, Long Acre, the portrait shows Speed wearing a wide-brimmed hat and a formal ruff collar. 1816.-stock-foto
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A copperplate engraving from the work of Robert Fludd (1574–1637) illustrating the lines of the hand for a chapter on chiromancy in "Utriusque Cosmi Historia". Robert Fludd was a prominent English Paracelsian physician and mystic whose encyclopaedic writings attempted to synthesise scientific observation with hermetic philosophy. This specific engraving introduces a section titled 'De Scientia animae naturalis cum vitali, seu astrologia chiromantica seu Chiromantia', reflecting the period's belief in the hand as a microcosm reflecting the greater celestial order. It was published in Oppenheim-stock-foto
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An engraving by Simon de Passe depicting George Abbot (1562–1633), the English cleric who served as Archbishop of Canterbury from 1611 until 1633. A supporter of the Puritans and a key translator for the King James Version of the Bible, Abbot was shown in his ecclesiastical robes and a flat cap, holding a prayer book. The background featured a vista of Lambeth Palace and the River Thames, establishing his official role within the Church of England. c.1616.-stock-foto
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A wood engraving by Henry Marriott Paget (1856–1936) depicting William Parker, 13th Baron Morley and 4th Baron Monteagle (1575–1622) receiving the anonymous letter that revealed the Gunpowder Plot. While at dinner on 26 October 1605, the Baron was handed a message warning him to avoid the State Opening of Parliament, an event that ultimately led to the discovery of the conspiracy to assassinate King James I. The scene shows Monteagle reading the document by candlelight in the presence of his guests and a young messenger. c.1895.-stock-foto
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An engraving depicting the principal conspirators of the Gunpowder Plot, including Thomas Bates (d.1606), Robert Winter (c.1568–1606), Christopher Wright (c.1570–1605), John Wright (1568–1605), Thomas Percy (c.1560–1605), Guido (Guy) Fawkes (1570–1606), Robert Catesby (c.1572–1605), and Thomas Winter (c.1571–1606). The group of men plotted to destroy the Houses of Parliament on 5 November 1605 in a failed effort to assassinate King James I and restore a Catholic monarch to the throne. This print was published in Frankfurt. 1605.-stock-foto
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An engraving of Lady Arbella Stuart (1575–1615) of the House of Stuart (1371–1714), who was a potential successor to the English throne during the reign of Queen Elizabeth I. As the great-granddaughter of King Henry VII and niece to Lord Darnley, she held a significant claim to the crown and was second in line after King James VI of Scotland. Her unsanctioned marriage to William Seymour, 2nd Duke of Somerset, led to her imprisonment in the Tower of London, where she died after a period of ill health and mental distress. c.1825.-stock-foto
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An engraving depicting Thomas Sackville, 1st Earl of Dorset (1536–1608), an English statesman, diplomat, and poet who served during the Tudor (1485–1603) and Stuart (1603–1714) dynasties. Sackville held the distinguished office of Lord High Treasurer and was notably appointed as the commissioner of state trials to announce the death sentence to Mary, Queen of Scots, in 1586. c.1850.-stock-foto
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A chromolithograph depicting George Villiers, 1st Duke of Buckingham (1592–1628). He served as a prominent English statesman and the primary favourite of both King James I and King Charles I during the Stuart dynasty (1603–1714). Buckingham rose to immense power within the royal court, though his military failures and perceived arrogance made him widely unpopular, eventually leading to his assassination by John Felton in Portsmouth. This reproduction is based on an original portrait by the Dutch Golden Age painter Gerard van Honthorst. c.1900.-stock-foto
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A woodcut depicting King James I of England and VI of Scotland (1566–1625) of the House of Stuart (1603–1714) welcoming Prince Charles (1600–1649), later King Charles I, upon his return from Spain. The Prince had travelled to Madrid alongside the Duke of Buckingham to negotiate a marriage with the Infanta Maria Anna, a mission known as the Spanish Match. The negotiations failed because the Spanish court required Charles to convert to Roman Catholicism and demanded the repeal of penal laws against Catholics in England. Upon his return to London without a bride, Charles was greeted with public r-stock-foto
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An engraving depicting a scene from Ben Jonson's (1572–1637) satirical play 'The Alchemist' (1610), which explores themes of greed and human gullibility during the Jacobean era. In this scene from Act 1, Scene 3, the naive tobacconist Abel Drugger consults the con artist Subtle, who poses as a learned alchemist to provide fraudulent astrological guidance for the layout of Drugger's new shop. The illustration, created by Charles Grignion the Elder (1721–1810) after a painting by John Graham (1754–1817), features the title 'BRITISH THEATRE' and was produced for John Bell's extensive collection o-stock-foto
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An engraving depicting the English actor James William Dodd (1740–1796) as the character Abel Drugger in a production of Ben Jonson’s (1572–1637) play "The Alchemist". First performed in 1610, the satirical comedy lampoons human greed through the character of Drugger, a naive tobacconist who turns to alchemy to ensure his business’s success. Dodd was a distinguished comic performer of the late eighteenth century, particularly associated with the Theatre Royal, Drury Lane. 1791.-stock-foto
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An engraving depicting Walter Aston, 1st Lord Aston of Forfar (1584–1639). He served as the English Ambassador to Spain during the Stuart dynasty (1603–1714) and was a primary negotiator for the proposed Spanish Match between Prince Charles and the Infanta Maria Anna. He was also a prominent literary patron, notably supporting the poet Michael Drayton. c.1630.-stock-foto
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An engraving of George Abbot (1562–1633), Archbishop of Canterbury and a prominent English churchman during the Stuart dynasty (1371–1714). Appointed to the see of Canterbury in 1611, Abbot was a staunch Calvinist and served as a lead translator for the King James Version of the Bible, overseeing the work on the Gospels and the Acts of the Apostles. His tenure was characterised by theological tensions with the emerging Arminian movement and was notably affected by a tragic hunting accident in 1621. This illustration, published by Harding and Lepard, depicts him in ecclesiastical robes with a r-stock-foto
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An engraving of Charles Blount, 1st Earl of Devonshire (1563–1606), an English courtier and soldier who served as Lord Deputy of Ireland. Following his decisive victory at the Siege of Kinsale in 1601, Blount successfully brought the Nine Years' War to a close and was subsequently created Earl of Devonshire by James I. He was a prominent figure at the courts of both Elizabeth I and James I, though his reputation suffered later in life due to his controversial marriage to Penelope Devereux. The portrait shows the Earl seated in an ornate chair wearing an elaborate lace ruff and the Lesser Georg-stock-foto
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An engraving of Sir Thomas Bodley (1545–1613), the English diplomat and scholar who founded the Bodleian Library at the University of Oxford. After serving as a diplomat for Queen Elizabeth I, he dedicated his retirement to the restoration of the university's library, which was formally opened in 1602 and subsequently renamed in his honour following his knighthood in 1604. c.1610.-stock-foto
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An engraving depicting George Villiers, 1st Duke of Buckingham (1592–1628), an English courtier and influential favourite of both James I and Charles I. Rising through the Stuart court to become one of the most powerful men in the kingdom, he served as Lord High Admiral and was a significant patron of the arts. His controversial political influence and erratic foreign policies eventually led to his assassination by John Felton in Portsmouth on 23 August 1628. c.1630.-stock-foto
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An engraving depicting Robert Cecil, 1st Earl of Salisbury (1563–1612), an English statesman and spymaster who served as the principal advisor to Queen Elizabeth I and King James I. He held the positions of Secretary of State and Lord High Treasurer, playing a crucial role in the discovery of the Gunpowder Plot in 1605 and the peaceful transition of the crown to the Stuart dynasty in 1603. Created Viscount Cranborne in 1604 and Earl of Salisbury in 1605, he is shown here in ceremonial attire including the collar of the Order of the Garter. c.1610.-stock-foto
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An engraving of Mary Herbert, Countess of Pembroke (1561–1621), an influential English poet and literary patron who edited her brother Sir Philip Sidney's work 'Arcadia'. As a central figure of the Wilton Circle, she was among the first English women to gain significant recognition for her literary contributions, including her completion of the Sidney Psalms. This portrait by Simon van de Passe depicts her in elaborate Jacobean dress with a lace ruff and ornate jewellery. 1618.-stock-foto
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An engraving of Fulke Greville, 1st Baron Brooke (1554–1628), an English poet and statesman who served as Chancellor of the Exchequer and Treasurer of the Navy under the Tudor and Stuart dynasties. Greville was a member of the Elizabethan and Jacobean courts and is noted for his philosophical poetry and his biography of his lifelong friend, Sir Philip Sidney. c.1830.-stock-foto
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An engraving after a portrait by Sir Anthony van Dyck of Henry Percy, 9th Earl of Northumberland (1564–1632), an English nobleman known as the Wizard Earl due to his fascination with scientific experimentation. Known for his patronage of the sciences and alchemy, Percy was famously imprisoned in the Tower of London for sixteen years following the 1605 Gunpowder Plot on suspicion of complicity, a period during which he continued his scholarly research and built an extensive library. The original painting by van Dyck was commissioned posthumously by the Earl's son, Algernon Percy. c.1831.-stock-foto
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An engraving depicting William Herbert, 3rd Earl of Pembroke (1580–1630), a prominent English poet and courtier who served as Lord Chamberlain and Chancellor of the University of Oxford. A prolific patron of the arts, he supported the work of Ben Jonson, Philip Massinger, and Inigo Jones, and was one of the dedicatees of William Shakespeare’s First Folio in 1623. The portrait is based on an original work by Daniel Mytens and shows the subject holding his staff of office. c.1633.-stock-foto
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An engraving depicting Turkish forces on the left attacking a fortress from the work 'Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia' by Robert Fludd (1574–1637). Groups of pikemen stand in formation with crescent-adorned banners, awaiting the artillery to breach the fortifications while gunners fire a line of cannons toward the moated star fort. This illustration from Fludd's encyclopaedic masterpiece details the technical aspects of military science and siege warfare common in the early 17th century. 1621.-stock-foto
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An engraving depicting a mobile artillery battery designed to advance towards enemy positions from the 'Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia' by Robert Fludd (1574–1637). This proposed method for moving artillery provides protection for both the guns and the gunners within a fortified structure during the Stuart period (1603–1714). The work was published in Oppenheim by Johann Theodore de Bry and demonstrates early seventeenth-century military engineering concepts. c.1621.-stock-foto
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A photograph of Sir Johnston Forbes-Robertson (1853–1937) depicting him as Leontes in a revival of 'The Winter's Tale' by William Shakespeare. An eminent English actor-manager noted for his Shakespearean roles, Forbes-Robertson appeared in this production at the Lyceum Theatre in London alongside Mary Anderson. The play, originally composed around 1611, was famously staged for the wedding celebrations of Princess Elizabeth, daughter of King James I, and Frederick V, the Elector Palatine, in 1613. c.1887.-stock-foto
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A woodcut engraving of James I of England, VI of Scotland (1566-1625). Depicted in hawking costume holding a hooded bird, the portrait illustrates the king engaging in a prestigious sport that was central to aristocratic life during the Jacobean era, signifying wealth, status, and skill. This engraving is based on a contemporary image. c.1800.-stock-foto
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A wood engraving of James VI of Scotland and I of England and Ireland (1566-1625). The son of Mary, Queen of Scots, he became King of Scotland in 1567 and King of England and Ireland in 1603. As the first Stuart monarch of the United Kingdom, he united the crowns of Scotland and England, although the two countries remained separate states until 1707. c.1900.-stock-foto
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Engraving of Coins of James I - Shilling and Crown from a 19th Century History Book Cassell's History of England Special Edition by A.W.Cowan Volume-stock-foto
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Engraving of Coins of James I - Pound Sovereign, Unit or Laurel, Spur Rial and Thistle Crown from a 19th Century History Book Cassell's History of En-stock-foto
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Engraving of the Great Seal of James I from a 19th Century History Book Cassell's History of England Special Editionby A.W.Cowan Volume II-stock-foto
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James I of England (James VI of Scotland), James Charles Stuart, (1566-1625), British King, portrait painting in oil on canvas by Paul van Somer, circa 1618-stock-foto
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Engraving of the Ladies of the French Court Gathered round Lord Kensington to View the Locket with the Portrait of Prince Charles (Future King Charles-stock-foto
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