Various Artists

Customs - Military Signs of the Ancient Jews - Lithograph - 1862

1862

Uses and Customs - Antique Christian Art is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the...

Uses and Customs - Ancient Army Stuff is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of t...

Uses and Customs - Italian Ritual is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the g...

Uses and Customs - Angles and men is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the g...

Title: Traditional Egyptian Costumes – 18th-Century Ethnographic Engraving This 18th-century ethnographic engraving, titled "Byzondere Egyptische Kleedingen" (translated as "Distinc...

Military and Judicial Costumes from Medieval Italian Society This striking set of three hand-colored costume prints provides a vivid window into the structured and ceremonial dress ...

Italian Elegance and Armor in 15th Century Costume Prints This captivating ensemble of three hand-colored prints showcases the visual contrast between feminine grace and martial str...

Traditional Headwear from Italy: Turin, Rome, Subiaco and More – 1823 Print This hand-colored lithograph, marked “No. 3,” is the third plate from a striking early 19th-century series documenting traditional European costume, particularly regional headwear. Published in London on December 1, 1823, by Baldwin, Cradock & Joy, this print showcases six distinct styles worn by women across Italy, offering a comparative glimpse into local identity, ceremonial dress, and religious symbolism. At the center top is a dramatic blue hooded garment labeled “Penitent.” Worn with the face obscured, this penitential garment features a small red cross emblem, likely representing affiliation with a religious brotherhood or spiritual order. It stands out starkly from the other portraits and introduces a solemn, sacred tone. To its left, a view from behind shows a woman from “Settimo” wearing a stylized crown of hairpins radiating like a sunburst, secured by a horizontal golden bar. Below her elaborately embroidered collar, a red ribbon is neatly tied. To the right, a woman from “Turin” wears an exquisite bonnet of pleated white lace, creating a fan-like halo above her head. Her large gold cross...