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[vertical rectangular scene] képek

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3D podium pedestals in round, rectangular and hexagonal shapes, realistic white display stands and tall geometric platforms for product presentation mockup vector set.-stock-foto
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White pipes extend from the wall next to a black vent. The wall is made of bricks. Bright sunlight shines on the structure. The setting is in a city a-stock-foto
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White pedestals or podium. White vector cube display stand. Exhibitions, product showcases or modern branding mockups. Product platform-stock-foto
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White pedestals or podium. White vector rectangular display stand. Exhibitions, product showcases or modern branding mockups. Product platform-stock-foto
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White pedestals or podium. White vector rectangular display stand. Exhibitions, product showcases or modern branding mockups. Product platform-stock-foto
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White pedestals or podium. White vector rectangular display stand. Exhibitions, product showcases or modern branding mockups. Product platform-stock-foto
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Calm Teal Rectangular Artwork Scene. Reflective Layered Teal Rectangle With Textured Brushwork-stock-foto
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Chittorgarh, India - March 21, 2022: A row of painted Hindu memorial urns with religious motifs is arranged along a roadside at the base of a rocky cliff, with sparse trees and dry vegetation visible.-stock-foto
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Wooden cat shelter with snow-covered roof and circular entrance opening, set on pallet and boards, vertical and horizontal timber fence behind-stock-foto
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Graphic artist; angel heads; allegorical-symbolic bookplate; religious bookplate; lilies; Eye of Providence (iconographic); dogs; swords (weapons); IHS monogram; Dominicans (order); monastic libraries; bookplate; Catholic Church (institution); oval; religious orders; 2nd half of the 18th century; graphic print; height 9.1 cm; width 7.2 cm, The image shows a rectangular engraved plate with an oval central scene surrounded by a dark hatched border and four cherubic faces at the corners with wings extending toward the oval; inside the oval is a radiating pattern of fine lines and a small standing-stock-foto
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Adoration of the Magi; Sandrart, Jakob von (1630-1708), publisher; Maratti, Carlo (1625-1713), engraver; religious scenes; Adoration of the Magi; camels; Joseph (Saint); revindication; 17th century; print; height 21.4 cm; width 13.5 cm, A large pale beige sheet with a pair of rectangular grayscale engravings placed side by side near the top center, each engraving framed by blank beige margins; the left engraving shows a group of clothed figures in flowing garments standing in front of a vertical architectural element and an open sky with clouds, with a few figures turned toward each other in c-stock-foto
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The eruption of Vesuvius in 1819; Camillo de Vito (fl. 1794–1845), draughtsman; subject: Vesuvius (Italy), eruptions, nocturne landscape/seascape of the Bay of Naples, Naples; date: 1819; medium: drawing; dimensions: 7.3 cm x 11.5 cm., A vertical sheet with a dark outer border containing two small framed paintings mounted one above the other; the top painting shows a dark silhouette of a mountain against a smoky sky with bright orange and yellow eruption colors near the summit, a dark foreground shoreline with a few small figures standing, and several boats with dark sails on a grayish water u-stock-foto
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Three of Hearts - Red Cross Sisters tending to the wounded in a hospital set up in a Belgian church, Tański, Czesław (1862-1942), illustrator, World War I (1914-1918), playing cards, Red Cross (organization), hearts (card suits), Belgium, altars, field hospitals, wounded, Poland, 1916-1917, Warsaw, drawing, A pale gray board holds a grid of illustrated rectangular cards arranged in rows, each card framed by a thin white margin; the visible colors include gray, white, black, red, blue, brown, green, yellow, and beige. The top left card shows a dark blue and black night scene with beams of pale-stock-foto
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Six of Diamonds — Polish Peasants Leaving Their Villages; Tański, Czesław (1862–1942), illustrator; drawing; playing card (diamonds suit); depicts peasants, carts, dogs, roadside crosses; Poland, Warsaw; 1916–1917; World War I (1914–1918)., A flat sheet with a grid of illustrated playing cards mounted on a pale gray background; the cards show a variety of scenes drawn in ink and watercolor with visible colors including red, black, gray, brown, green, blue, yellow, and beige. The top row shows four vertical cards: the first with dark gray smoke and a landscape with muted browns and greens and b-stock-foto
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Eight of Hearts — A Forest Under Fire, Tański, Czesław (1862–1942), illustrator; forest landscapes; drawing; playing card design (hearts suit); trees; forests; Poland; 1916–1917; World War I (1914–1918)., A pale gray background holds a grid of illustrated rectangular cards with decorative borders, each card featuring hand-drawn scenes in muted tones and overlaid with suit symbols in black or red; overall colors include gray, white, black, red, brown, beige, blue, yellow, and green. The top row shows three vertical cards with scenes: a dark cannon-like object amid foliage and small figures with-stock-foto
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Vestigia delle Terme di Tito. Mars and Venus. Quadro from the vault decoration of room 15, Carlone, Marco (1742-1796), graphic artist; Smuglewicz, Franciszek (1745-1807), graphic artist; Mirri, Ludovico (1738-1786), publisher. Ancient architecture, traces (archaeological), Rome (Italy); traces of decoration; Golden House of Nero (Rome); Baths of Titus (Rome); Venus (mythology); grotesques (ornament); Mars (mythology). Vestigia delle Terme di Tito, 1776 — illustration; Italian graphic; antiquity; archaeology; mythology. Board marked no. 51, in the graphic album page 34, 1776, Rome. Colored grap-stock-foto
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Vestigia delle Terme di Tito. Ephebe in a blue robe. Quadro from the wall decoration in room 15, Carlone, Marco (1742–1796), graphic artist; Smuglewicz, Franciszek (1745–1807), graphic artist; Mirri, Ludovico (1738–1786), publisher. Ancient architecture, Rome (Italy); traces (archaeol.); traces of decoration; Golden House of Nero (Rome); Baths of Titus (Rome); ephebes; grotesques (ornament). Vestigia delle Terme di Tito, 1776 — illustration; Italian graphics; antiquity; archaeology. Board marked no. 35, in the graphic album page 36, 1776, Rome; colored graphic print; height 57.3 cm, width 30.7-stock-foto
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Carriage; Maj, Aleksander (1883–1952), graphic artist; carriages; illustrations; after 1900; Warsaw; woodcut block; height 7.2 cm; width 12.7 cm; thickness 2.2 cm, A low, rectangular object rests on a smooth surface with a reflective sheen, composed of two joined blocks with a visible gap between them. The top surfaces are dark and textured with carved circular patterns and rough irregularities, while the vertical faces show a worn, coarse texture in a brownish-golden color. The gap between the blocks reveals an inner surface in a lighter yellowish-gold tone. The overall scene is set against a-stock-foto
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The Martyrdom of St. Lawrence; graphic artist; subject: The Martyrdom of St. Lawrence, Lawrence (St.; ?–258) — iconography, historical scenes, lictor's rods, martyrs, Catholic saints; 2nd half of the 19th century; medium: graphic matrix/graphic plate; dimensions: height 10.9 cm, width 29.1 cm, thickness 0.2 cm., A rectangular metal plate with an engraved scene featuring a group of robed figures arranged across the surface; the metal shows a mix of warm coppery tones and cooler grayish areas from wear. On the left, a group of standing figures in flowing robes are gathered near architectural ele-stock-foto
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Saint John of God, Labinger, Jakub (fl. 1726–1760), graphic artist. Saint John of God (1495–1550) — iconography. Saint John of God in monk's robes with a rosary at his belt is shown with his hands outstretched in prayer, carried on a cloud by two angels (one holding a lily) and a putto. On the sides, holy putti emerging from the clouds. At the bottom, between the inscription, a cartouche with the emblem of the Brothers Hospitallers order with a six-pointed star above the emblem; the cartouche below a noble crown. Composition in a frame, ca. 1735. Graphic plate (graphic matrix), height 34.3 cm,-stock-foto
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Two tondos: Guardian Angel and the Holy Family, by Stanisław Pczycki (ca. 1769–1844), graphic artist. Guardian Angel; Holy Family, after 1805. Graphic plate, height 14.5 cm, width 20.5 cm., A rectangular metal plate with rounded corners showing a central vertical seam and a patina of pink, copper, brown, and gray tones, mottled with darker spots and streaks; on each side of the seam there is a circular engraved scene, the left circle depicting a group of people wearing draped clothing and cloaks standing outdoors with a landscape background and the right circle depicting a winged figure guidin-stock-foto
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Recto: Crucifixion; verso: Fragment of a composition, graphic artist, Crucifixion (iconographic), Jesus Christ. Plate obtained by cutting a larger matrix — on the reverse a visible fragment of etched, quite thick parallel and intersecting lines — terrain with leaves over water. Image of Christ crucified. The composition is enclosed in a triple linear frame. The engraving was made with a stylus; parts of the body are stippled. The image belongs to a series of graphic compositions depicting images that are objects of cult, most often made by anonymous engravers, often in monastery engraving work-stock-foto
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Recto: Saint Thomas a Kempis; verso: Saint Anthony with Child in his arms. Obverse: image of Saint Thomas a Kempis kneeling, on the right a crucifix and an open book; above the saint the Holy Trinity and two angels, on the right a vase of flowers. Reverse: image of Saint Anthony of Padua with the Child in his arms and a lily in his hand. Drawings on the plate made by the same hand with a thin stylus. Inscription at the bottom: 'O quam magna multitudo, dulcedinis Tuae Domine, quam abscondisti timentibus Te! Kempis 1. 3. cw' — a quote from Saint Thomas a Kempis, On the Imitation of Christ. Part-stock-foto
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S. JOANNES NEPOMUCEN (Saint John of Nepomuk), Balcewicz, Franciszek Wenceslas (fl. ca 1748-1760), graphic artist, John of Nepomuk (Saint; ca 1350-1393), saints, martyrs, martyrdom, Vltava (Czech Republic; river), crucifixes, Charles Bridge (Prague), architectural decorations, soldiers, devotional representations, religious paintings, 1748-1760, Vilnius, graphic, graphic matrix, graphic plate, height 11.7 cm, width 6.6 cm, A rectangular metal plate with engraved decorative designs, shown against a grey background, featuring an ornate vertical frame with curving scrollwork and textured crosshatc-stock-foto
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The Death of Grażyna, illustration for 'Grażyna' by Adam Mickiewicz. Rymwid finds the dying Grażyna (lines 971–976). Niewiarowicz, Władysław (1815–1891), draughtsman; Hoffman, Karol (1798–1875). A drawing printed on a block covered with primer, further developed in pen, ink, pencil, with highlights in white gouache; the block was ready for cutting. Before 1851, Paris. Woodcut block; height 11.4 cm, width 14.8 cm, thickness 2.3 cm., A roughly rectangular wooden panel with a central vertical crack shows a detailed monochrome drawing of a reclining scene. The image includes a seated bearded figur-stock-foto
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Vignette: man against the backdrop of architecture. Karęga, Ignacy (fl. ca. 1764–1800). A man in a hat is digging the ground with a shovel; next to him and in front of him are two faintly visible human figures. Architectural fragments flank both sides in the background. On the right side a plaque with the inscription facing the scene: 'QUID QUID SUBTERRA, EST IN APRICUM PROFERET AETAS.' 1701–1800. Graphic plate., A rectangular metal plate with a warm copper color shows an engraved scene framed by a narrow border. The engraving depicts a figure wearing a hat and loose clothing leaning forward w-stock-foto
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Jan Małecki's bookplate Światowid in front of whom smoke rises from two vessels. In the background the setting sun. The whole in a decorative frame with an inscription at the bottom. ca. 1905. Graphic, typographic print; bookplate. Height 14.1 cm, width 4.5 cm; height 16 cm, width 6.6 cm. Styles/subjects: Światowid (mythology), Slavic mythology, Young Poland (style), symbolism (style). Maker/figures: Jan Małecki (bookplate), Tadeusz Rychter (illustrator), Dominik Witke-Jeżewski. Motifs: swastika. Ethnographic bookplate; Polish bookplates; Polish graphics., A narrow vertical print in muted tone-stock-foto
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Facades of old tenement houses; verso: Castle in Wiśnicz. Jabłczyński, Feliks (1865–1928), graphic artist. Polish graphics, ca. 1924. Graphic plate (graphic matrix), graphic; height 6.6 cm, width 9.5 cm. Subjects: castles, tenement houses, streets; location depicted: Wiśnicz Stary (Lesser Poland Voivodeship)., The image shows a vertical rectangular scene of a multi-story building facade rendered in textured gray tones with areas of darker charcoal and lighter silvery highlights; the surface appears rough and mottled with scratches and smudges. Several window outlines and recessed door shapes a-stock-foto
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Florian's Gate in Kraków; Feliks Jabłczyński (1865–1928), graphic artist; Polish graphics; ca. 1924; graphic matrix/graphic plate; subject: Florian's Gate, tenement houses, cityscape, architectural study, streets, views; medium: graphics; place: Kraków (Lesser Poland Voivodeship), Warsaw; dimensions: height 10 cm, width 5.3 cm., A vertical grayscale image of a tall stone tower with a steep, tiered roof and a pointed top, showing textured brickwork and small rectangular openings near the top; the tower base has arched doorways and rough steps, with a shield-shaped relief on the facade and a gro-stock-foto
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City view inspired by Polish architecture; Feliks Jabłczyński (1865–1928), graphic artist; tenement houses, streets, gates, cityscapes, architectural studies; Polish graphics; Poland; ca. 1924; Warsaw; graphic matrix/graphic plate; height 10.4 cm, width 7.4 cm, A detailed monochrome sketch of a large stone building with a tall central tower and several pointed spires rising behind it, rendered in fine dark lines on a light gray, textured background; the building shows a pitched roof, arched gateway, and multiple rectangular windows, with architectural details indicated by crosshatching and ver-stock-foto
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Canal with a wooden bridge among trees; by Feliks Jabłczyński (1865–1928); Polish graphic artist; Polish graphics; landscapes; wooden bridges; 1919–1920; graphic plate; height 9.7 cm, width 12.1 cm, A pale beige rectangular sheet with a hand-drawn scene in dark gray lines, showing a landscape with a group of trees of various sizes, a few bushy rounded treetops, and several thin trunks. In the midground a simple bridge or low structure spans across a stretch of water reflected below, with vertical and horizontal hatch marks suggesting texture. The foreground contains a scattering of grasses and-stock-foto
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Dupondius/as, Faustina the Younger (ca. 130–176; Roman empress 161–176), Marcus Aurelius (121–180; Roman emperor 161–180) (issuer). Obverse: Draped bust of Faustina II facing right, inscribed FAVSTINA · AVGVSTA. Reverse: Draped throne (pulvinar) with two children — Commodus twins and Antoninus — with inscription SAECVL · LICIT in exergue and SC in field. Date/style: 161–176 CE, Rome, Roman Empire. Object type and measurements: coin (dupondius/as), diameter 24.5–26.0 mm, weight 14.57 g, axis 0°., A roughly round, slightly irregular coin-like object with a textured, worn surface in shades of dar-stock-foto
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Denarius depicting Faustina the Younger (ca. 130–176; Roman empress 161–176) and Marcus Aurelius (121–180; Roman emperor 161–180) as issuers; obverse: bust of Faustina II in drapery to the right, inscribed STINA AVGVSTA; reverse: draped throne (pulvinar) bearing two children—the twins Commodus and Antoninus—inscribed SAECVLI FELI; iconography references to Commodus (161–192; Roman emperor 177–192) and thrones; legend circumferential; date ca. 161–176; Roman Empire (27 BC–476), Rome; coin: diameter 18.0 mm, weight 3.20 g, axis 0°., A round metallic coin with a worn surface showing a raised cent-stock-foto
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Denarius; Hadrian (76–138; Roman emperor 117–138). Obverse: bust of Hadrian facing right, laurel wreath in hair; rim inscription: TRAIANHADRIANVSAVG. Reverse: Liberalitas seated left on a platform, holding a tessera in his right hand, a citizen (or Hadrian) standing in front of the platform; rim inscription: S III; legend in field: LIBERALAVG. Date: 119–122. Place: Rome, Roman Empire. Medium: coin. Weight: 3.05 g., A round, worn coin with an uneven edge shown against a white background; the coin appears mostly gray with areas of lighter and darker gray patina and slight brownish tones, featuri-stock-foto
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General National Loan Poland 5%, National Government, National Government, securities, National Loan, January Uprising (1863–1864), Kingdom of Poland (1815–1918). Inscription: GENERAL NATIONAL LOAN POLAND // FIVE PERCENT // By the Decree of the National Government of October 10, 1863, established // Lit. A - 100 - 14,895 // ONE HUNDRED POLISH ZLOTY // MEMBERS OF THE NATIONAL DEBT COMMITTEE // J. Otręba W. Czartoryski, S. Gałęzowski. Two dry impressions of the seal of the National Government with the tripartite coat of arms under the crown. Reverse: EXTRACT FROM THE DECREE OF THE NATIONAL GOVER-stock-foto
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From the series 'Towards the Sky'; Janusz Przybylski (1937–1998); painter; subject: sky, rain; print; height 59.5 cm, width 43 cm; dated 1987., A rectangular artwork centered on a cream background shows a blue ink drawing divided by a curtain into two scenes: on the left a group of stylized figures including a bearded man in a suit with exaggerated facial features, a face with long hair and beard peering from the foreground, and a few other faces partially visible behind them, all rendered with dense blue hatch marks and shading; on the right a more sparsely drawn scene with a nude woman-stock-foto
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Blank black rectangular storefront sign mockup hanging on old stone building-stock-foto
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Vytautas the Great War Museum in Kaunas, Lithuania-stock-foto
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Vytautas the Great War Museum in Kaunas, Lithuania-stock-foto
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Vytautas the Great War Museum in Kaunas, Lithuania-stock-foto
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