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One of the cherubim Stock Photos and Images
RMMC6NB5–Angels Cherubim one of the cherubim 10th century mosaic in the narthex of Saint Marks Venice Italy
RMC7TR68–Barton Turf, Norfolk, rood screen, Cherubim, one of The Nine Orders of Angels, detail, Superior Hierarchy, gold plumage covered
RM2T90674–Psalter, God Enthroned between Cherubim, This manuscript, illustrated with 155 marginal paintings, is one the few surviving 'marginal psalters,' in which images provide a pictorial commentary on the Biblical text. Other examples include the Khludov Psalter, the Barberini Psalter, the Theodore Psalter, and a Cyrillic psalter made in Kiev
RM2R6EYBR–The plan of the bowl resembles a quatrefoil. Below is a round base and a short shaft, with a festoon supported by two cherubim. The lid has, below, moldings and two pediment volutes at the front upon which two angels sit embracing each other, the left one holding in his right hand flower stems. In the center is an onion-shaped cupola with a cross on top. Usual background. Date: ca. 1775. Pen and brown ink, brush and brown wash on lined off-white laid paper. Museum: Cooper Hewitt, Smithsonian Design Museum.
RMPYJA1P–A young man on one knee holds the hand of Death who is hiding behind a mask of the face of a pretty young woman; cherubim cavort overhead.
RM2BF5AJT–The Assumption of the Virgin. Horizontal rectangle. Upon Clouds. In the center is the Virgin, in a glory of rays. At left is an angel playing the lute. At right another one playing the organ; both with groups of angels. Cherubim below.
RF2AN1PWH–Ornate tiling on the wall of the Salon de Carlos V in the Real Alcázar. The figure on the right is one of several allegorical panels to feature.
RM2BTN9FK–Relief Glory of the sacrament console table. Research in ProgressTop: a) upon a pedestal, showing the Easter lamb in its front panel, two angels, one kneeling, the other one standing. They carry the globe, on top of which two cherubim support the chalice, above which the Host appears, being the center of a glory of rays.
RM2E2JAEG–Monument to Madame Soyer, in Kensal Green Cemetery, 1844. The tomb of British painter Emma Soyer, designed by her husband, French chef Alexis Benoît Soyer, at Kensal Green in north London. The '...heroic figure of Faith...points with her right hand to Heaven, whilst, in her left, she holds the cross, symbolical of Christianity...On the upper portion of the pedestal are two cherubim...One holds a crown over the head of an effigy of M. Soyer...on a medallion of white statuary marble; whilst the other holds a branch of palm, emblematical of peace. The medallion is surrounded with a serpent,
RMTB9KNK–A concrete cherub watches over the gardens of Rosewood Manor, also known as the Sykes-Leigh House, April 16, 2010, in Columbus, Mississippi.
RM2AM0KFJ–The pathway of life ..to which is added a biography of DrTalmage . - dead. Vicarious suffering ! Died for all ! The time came when our whole racemust die unless some one should endure torture and sorrow and shame. Whoshall come to the rescue ? Shall it be one of the seraphim ? Not one. Shall itbe one of the cherubim ? Not one. Shall it be an inhabitant of some pure andunfallen woild? Not one. Then Christ said: Lo ! I come to do Thy will,O God. Oh, the love ! Oh, the endurance ! Oh, the horrors of the sacrifice !Shall not our souls go out toward Him, saying: Lord Jesus Christ, take my soul.Thou
RM2WT0NH9–Detail of cherubim from Raphael's 'Sistine Madonna'. Unknown, photographer about 1865–1885 Painting of two winged cherubim. One is resting his chin in one hand. The other is resting his head on crossed arms.
RMFA8490–Detail of sculpture in the Wall Garden at Nymans, West Sussex. Nymans was bought by the Messel family in the late 19th century, and became one of the country's great gardens.
RF2D7XCT8–Antique 19th-century illustration depicting Sistine Madonna, oil painting by Raphael (finished ca. 1513-1514). Engraving published in Systematischer B
![CELESTIAL HIERARCHIES The invisible ladder of the Nine Spiritual Hierarchies, from the Three-in-One godhead [Trinitas], in the Archetypal realm (Mundus Archetypus), served by [left] the three primary hierachies - the Seraphim, Cherubim and the Thrones (linked with Saturn), and [centre] by the second level of hierarchies - the Dominions (linked with Jupiter), the Principates (linked with Mars), the Powers (or Potestates, linked with the Sun), and [right] the Virtutes (linked with Venus), the Archangels (linked with Mercury), and the Angels (linked with the Moon). The spiritual hierarchies Stock Photo](https://c8.alamy.com/comp/MC6HAD/celestial-hierarchies-the-invisible-ladder-of-the-nine-spiritual-hierarchies-from-the-three-in-one-godhead-trinitas-in-the-archetypal-realm-mundus-archetypus-served-by-left-the-three-primary-hierachies-the-seraphim-cherubim-and-the-thrones-linked-with-saturn-and-centre-by-the-second-level-of-hierarchies-the-dominions-linked-with-jupiter-the-principates-linked-with-mars-the-powers-or-potestates-linked-with-the-sun-and-right-the-virtutes-linked-with-venus-the-archangels-linked-with-mercury-and-the-angels-linked-with-the-moon-the-spiritual-hierarchies-MC6HAD.jpg "CELESTIAL HIERARCHIES The invisible ladder of the Nine Spiritual Hierarchies, from the Three-in-One godhead [Trinitas], in the Archetypal realm (Mundus Archetypus), served by [left] the three primary hierachies - the Seraphim, Cherubim and the Thrones (linked with Saturn), and [centre] by the second level of hierarchies - the Dominions (linked with Jupiter), the Principates (linked with Mars), the Powers (or Potestates, linked with the Sun), and [right] the Virtutes (linked with Venus), the Archangels (linked with Mercury), and the Angels (linked with the Moon). The spiritual hierarchies Stock Photo")
RMMC6HAD–CELESTIAL HIERARCHIES The invisible ladder of the Nine Spiritual Hierarchies, from the Three-in-One godhead [Trinitas], in the Archetypal realm (Mundus Archetypus), served by [left] the three primary hierachies - the Seraphim, Cherubim and the Thrones (linked with Saturn), and [centre] by the second level of hierarchies - the Dominions (linked with Jupiter), the Principates (linked with Mars), the Powers (or Potestates, linked with the Sun), and [right] the Virtutes (linked with Venus), the Archangels (linked with Mercury), and the Angels (linked with the Moon). The spiritual hierarchies
RMC7TR8C–Barton Turf, Norfolk, rood screen, Cherubim, one of The Nine Orders of Angels, detail, Superior Hierarchy, gold plumage covered
RM2T90676–Psalter, God Enthroned among Cherubim; Four Saints, This manuscript, illustrated with 155 marginal paintings, is one the few surviving 'marginal psalters,' in which images provide a pictorial commentary on the Biblical text. Other examples include the Khludov Psalter, the Barberini Psalter, the Theodore Psalter, and a Cyrillic psalter made in Kiev
RM2C3PPC0–A cherub sits atop a fountain in the garden at Ponce de Leon’s Fountain of Youth Archaeological Park, Sept. 6, 2019, in St. Augustine, Florida.
RM2R6EK2E–The bowl has a plan of a rectangle, the short sides of which are supported by half circles. It is supported by an octagonal base, consisting of a plinth and moldings, the main one being fluted. The bowl has a rededing neck, with a garland lying upon the shoulder, at te front, and hanging down as festoons. The lid has the shape of an octangonal, curved pyramid roof, with a cross on top. Below, in front of it, is a circular medallon with the representation of the baptism of Christ, laterally framed by two cornucopias, and with two cherubim above it. Usual background. Date: ca. 1775. Pen and brow
![The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and Stock Photo](https://c8.alamy.com/comp/2T1DK06/the-beaucousin-collection-at-the-national-gallery-quotcharityquot-by-f-salviati-1860-engraving-of-a-painting-the-most-recent-accession-to-our-national-gallery-at-least-of-those-which-have-been-exposed-to-public-scrutiny-is-the-collection-of-thirty-one-pictures-purchased-last-year-from-m-edmond-beaucousin-at-paris-for-some-xa35000-or-xa36000-we-do-not-recollect-the-exact-amount-the-quotcharityquot-by-salviati-a-florentine-by-birth-b-1510-d-1563-contrasts-remarkably-by-the-boldness-displayed-in-its-motive-and-grouping-with-the-more-modest-work-of-francia-and-2T1DK06.jpg "The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and Stock Photo")
RM2T1DK06–The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and
RM2AJ23HG–The Book of Revelation ; a study of the last prophetic book of Holy Scripture . they stood above the Throne, while Ezekiels Cherubimsupported the Throne, and Johns Living Creatures were in themidst or around the Throne. Whatever significances there may bein the different forms the Cherubim or Living Creatures took, itis clear that they do not represent the Church, but are attendants orofficials attached to the Throne of God, for they summon the fourHorsemen to appear (Rev. 6:1-8), and one of them hands to theSeven Vial Angels, the Golden Vials filled with the Wrath ofGod. Rev. 15:7. And when t
RM2WT19JE–Detail from Correggio's 'Danaë'. Unknown, photographer about 1865–1885 Detail from Correggio's painting of Danaë. The detail features two cherubim or putti, one of which has wings. One is holding an arrow and is sharpening it on a small plate. The other is holding the small plate. A quiver of arrows is resting on a surface beside them. (Recto, mount) lower right, pencil: 'Caracci sharpening the Arrows';
RMFA8491–Detail of sculpture in the Wall Garden at Nymans, West Sussex. Nymans was bought by the Messel family in the late 19th century, and became one of the country's great gardens.
RM2HH7DCH–Stained Glass Panel with an Angel ca. 1450 British English glazing programs frequently included representations of the nine orders of angels, appropriately in the upper parts of windows. Included in the ranks of angels are the cherubim. In England, they usually wear feathered cloaks like the one shown here.. Stained Glass Panel with an Angel. British. ca. 1450. Pot-metal, white glass, vitreous paint, silver stain. Made in East Anglia ?, England. Glass-Stained
RM2WTGFWC–Diana visiting sleeping Endymion. unknown c. 1760 Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Aubusson Ownership History: French & Co. In clouds, Endymion sleeping as Diana rises his tunic to embrace him; 4 cherubim flank the couple, issuing water from vase & their mouths Borders missing. A note on recto of photograph (left): 'Trumbauer's own 1919'. The name probably refers to Horace Trumbauer, one of French & Co.'s clients from 1918 to 1927, as suggested by the archives. No French & Co. stock sheet in archive, no stock number
RMMC6J7D–ALCHEMY - MICROCOSM AND MACROCOSM This plate, engraved by Merian for Johann-Daniel Mylius, Opus Medico-chymicum, 1618, is one of the most complex and symbolically satisfying from the heyday of learned alchemy. In essence it is designed to portray the relationships that subtend between the Higher and Lower worlds, between the Macrocosm and the Microcosm. The upper third of the picture is a double sunburst - an esoteric reference to the Sun behind the Sun. The area is peopled by four-winged angels, who represent the Cherubim, the highest servitors of God. The Lamb of God, which is Christ, i
RMC7P42D–Barton Turf, Norfolk, rood screen, Cherubim, one of the Nine Orders of Angels, Superior Hierarchy, gold plumage covered with eye
RM2JC7K4E–The risen Christ stands on his tomb. He looks up and holds a cross with a banner in his right hand. Above the staff are three Cherubim. In the margin a one-line, laudatory caption about the deceased painter in Latin. Resurrection of Christ, print maker: anonymous, after: Gaspar de Crayer, (mentioned on object), publisher: Cornelis Galle (II), (mentioned on object), print maker: Low Countries, after: Southern Netherlands, publisher: Antwerp, 1669 - 1678, paper, engraving, h 263 mm × w 210 mm
RMCXE5AK–Cherubs (cherubims) in low relief detail over main entrance, church at Mission Espiritu Santo, Goliad State Park, Texas, USA
RM2R6EXD4–The Virgin is seated upon clouds having the Christ child in her lap. Some cherubim are beside her. On the earth are two groups of three worshippers each. The left one includes a holy pope, the right on Saint Francis. A man in cuirass, at right, and a woman, at left, represent, probably, the donors. Black chalk, pen and ink, brush and bistre wash on paper. Date: 1530-1560. Museum: Cooper Hewitt, Smithsonian Design Museum.
RM2DN33F9–Design for a monument, Corrado Giaquinto, Italian, 1703 - 1765, Black chalk, pen and brown ink, brush and wash on paper, A pedestal stands in front of a niche, flanked by pilasters shaped like gaines and showing cherubim in the capitals. Two angels, one of whom is flying, support a medallion portrait of the pope. His coat of arms is in front of the pediment. The scale is at the left edge., Italy, ca. 1750, architecture, Drawing
RM2DMHT07–Design for Two Trophies Referring to the Virgin, Graphite, brush and Chinese black on paper, The trophies are suspended from clouds with pairs of cherubim. In the center are escutcheons with the fountain and the tabernacle, respectively. The left one includes furthermore: the star, the Ark of the Covenant, the looking glass, a star crown, a censer, a lily spray. The right one includes: a paif of scales and a sword, a cross, a pitcher, a lily spray., France, 1750–1780, Drawing
RM2DM8K87–Study for an Altarpiece: the Madonna Worshipped by Saints and, Possibly, Donors, Black chalk, pen and ink, brush and bistre wash on paper, The Virgin is seated upon clouds having the Christ child in her lap. Some cherubim are beside her. On the earth are two groups of three worshippers each. The left one includes a holy pope, the right on Saint Francis. A man in cuirass, at right, and a woman, at left, represent, probably, the donors., Italy, 1530–1560, Drawing
![Monument to Dr. John Yonge, by Torrigiani, in the Rolls Chapel, [Chancery Lane, London], 1860. 'Among the monuments almost hidden from view in the quaint old Chapel of the Rolls - an edifice now undergoing restoration...is one by no less an artist than Torrigiani...This monument is to the memory of Dr. John Yonge, who was appointed Master of the Rolls during the reign of Henry VII., and retained the office until his death [in 1516]...It represents the effigy in a recumbent attitude, habited in a long red robe and deep square cap, the face of the figure being wonderfully fine. In a recess above Stock Photo](https://c8.alamy.com/comp/2T1DKX5/monument-to-dr-john-yonge-by-torrigiani-in-the-rolls-chapel-chancery-lane-london-1860-among-the-monuments-almost-hidden-from-view-in-the-quaint-old-chapel-of-the-rolls-an-edifice-now-undergoing-restorationis-one-by-no-less-an-artist-than-torrigianithis-monument-is-to-the-memory-of-dr-john-yonge-who-was-appointed-master-of-the-rolls-during-the-reign-of-henry-vii-and-retained-the-office-until-his-death-in-1516-it-represents-the-effigy-in-a-recumbent-attitude-habited-in-a-long-red-robe-and-deep-square-cap-the-face-of-the-figure-being-wonderfully-fine-in-a-recess-above-2T1DKX5.jpg "Monument to Dr. John Yonge, by Torrigiani, in the Rolls Chapel, [Chancery Lane, London], 1860. 'Among the monuments almost hidden from view in the quaint old Chapel of the Rolls - an edifice now undergoing restoration...is one by no less an artist than Torrigiani...This monument is to the memory of Dr. John Yonge, who was appointed Master of the Rolls during the reign of Henry VII., and retained the office until his death [in 1516]...It represents the effigy in a recumbent attitude, habited in a long red robe and deep square cap, the face of the figure being wonderfully fine. In a recess above Stock Photo")
RM2T1DKX5–Monument to Dr. John Yonge, by Torrigiani, in the Rolls Chapel, [Chancery Lane, London], 1860. 'Among the monuments almost hidden from view in the quaint old Chapel of the Rolls - an edifice now undergoing restoration...is one by no less an artist than Torrigiani...This monument is to the memory of Dr. John Yonge, who was appointed Master of the Rolls during the reign of Henry VII., and retained the office until his death [in 1516]...It represents the effigy in a recumbent attitude, habited in a long red robe and deep square cap, the face of the figure being wonderfully fine. In a recess above
RM2DMHR21–Sheet 15 of a Drawing Book, Group of the Madonna of the Rosary, Carlo Maria Giudici, Italian, 1723 - 1804, Black chalk on paper, Vertical rectangle. Figure of the Virgin is shown from the front, standing and carrying the Christ child with her left arm and the rosary with the lowered right hand. An angel holds one side of her coat, another sits upon it. Two cherubim are at the base, which has the shape of clouds. Verso: the forepart of a left foot is sketched horizontally., Milan, Italy, 1780–1800, figures, Drawing
RM2DMF98G–Designs for Altar Candlesticks and Candle Brackets, Pen and ink, brush and gray watercolor, black chalk on paper, Vertical rectangle. At left and right, two candlesticks with hexagonal bases with concave sides, supported by leaf scrolls. In the decorations of the candlestick at left, scallops of a cloth with tassels. A mask is at the upper knob. The candlestick at right has cherubim at the oblique sides of the upper section of the pedestal. The bowl below its socket has the shape of a shell. The brackets, either for one candle, are in the center. They are drawn in a vertical row, in profile
RM2AM39E0–The masterpieces of the Centennial international exhibition of 1876 .. . The two doors also were of olive tree;and he carved upon them carvings of cherubim and palm trees and open flowers,and overlaid them with gold, and spread gold upon the cherubim, and upon thepalm trees. So also made he for the door of the temple posts of olive tree,a fourth part of the wall. And the doors were of fir tree: the two leaves ofthe one door were folding, and the two leaves of the other door were folding.And he carved thereon cherubim and palm trees and open flowers: and coveredthem with gold fitted upon the ca
RM2DM9ND5–Altar mensa, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The left half is shown. The central part is projecting. One step leads to it. Laterally are molded panels. The bathtub sarcophagus is supported by a gaine with a lion mask. In the center is an ovoidal opening with a monogram in front and with a framing of palm branches. In the center of the ledge is the tabernacle. In front of the upper mouldings is a festoon supported by a cherubim., Rome, Italy, 1746-1809, architecture, Drawing
![Painting and Sculpture. Lagrenée, Jean-Jacques (French, 1739-1821) (author of design) [painter] De Menou (French, act. 1780-1793) (workshop) [weaver] c. 1788-1792 Tapestry Dimensions: H 8'8' x W 10'3' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Beauvais Ownership History: French & Co. Landscape with female painter holding palmette & next to easel, with 2 male companions, one holding wreath over her head & the other with wings (L); female artist sculpting bust topping pedestal with classical frieze (R), & 2 cherubim holding sketch symbolizing geometry near bouquet of Stock Photo](https://c8.alamy.com/comp/2WTGA7P/painting-and-sculpture-lagrene-jean-jacques-french-1739-1821-author-of-design-painter-de-menou-french-act-1780-1793-workshop-weaver-c-1788-1792-tapestry-dimensions-h-88-x-w-103-tapestry-materialstechniques-unknown-culture-french-weaving-center-beauvais-ownership-history-french-co-landscape-with-female-painter-holding-palmette-next-to-easel-with-2-male-companions-one-holding-wreath-over-her-head-the-other-with-wings-l-female-artist-sculpting-bust-topping-pedestal-with-classical-frieze-r-2-cherubim-holding-sketch-symbolizing-geometry-near-bouquet-of-2WTGA7P.jpg "Painting and Sculpture. Lagrenée, Jean-Jacques (French, 1739-1821) (author of design) [painter] De Menou (French, act. 1780-1793) (workshop) [weaver] c. 1788-1792 Tapestry Dimensions: H 8'8' x W 10'3' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Beauvais Ownership History: French & Co. Landscape with female painter holding palmette & next to easel, with 2 male companions, one holding wreath over her head & the other with wings (L); female artist sculpting bust topping pedestal with classical frieze (R), & 2 cherubim holding sketch symbolizing geometry near bouquet of Stock Photo")
RM2WTGA7P–Painting and Sculpture. Lagrenée, Jean-Jacques (French, 1739-1821) (author of design) [painter] De Menou (French, act. 1780-1793) (workshop) [weaver] c. 1788-1792 Tapestry Dimensions: H 8'8' x W 10'3' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Beauvais Ownership History: French & Co. Landscape with female painter holding palmette & next to easel, with 2 male companions, one holding wreath over her head & the other with wings (L); female artist sculpting bust topping pedestal with classical frieze (R), & 2 cherubim holding sketch symbolizing geometry near bouquet of
RMC7TRAN–Barton Turf, Norfolk, rood screen, Cherubim, one of The Nine Orders of Angels, detail, Superior Hierarchy, gold plumage covered
RMCXD62P–Cherubs (cherubims) in low relief detail over main entrance, church at Mission Espiritu Santo, Goliad State Park, Texas, USA
RM2R6EK9B–The shaft is similar to -1411, the bowl to -1406. The lid has below a base with two zones, the lower one being undecorated, except with a broken pediment at the front. Upon the base stands a pyramid-like, curved pedestal with, ton top, a bunch of lilies and cherubim. Below the oblique sides are cherubim and palm branches. Usual background. Date: ca. 1775. Pen and brown ink, brush and brown wash on lined off-white laid paper. Museum: Cooper Hewitt, Smithsonian Design Museum.
RM2AKK5XG–Antiquities of the Orient unveiled, containing a concise description of the remarkable ruins of King Solomon's temple, and store cities ,together with those of all the most ancient and renowned cities of the East, including Babylon, Nineveh, Damascus, and Shushan . spread gold upon the cherubim, and upon thepalm-trees. So also made he for the door of the temple posts q/*olive-tree, a fourth part of the wall. And the two doors were of fir-tree : the two leavesof the one door were folding, and the two leavesof the other door were folding. And he carved thereon cherubim and palm-treesand open flo
RM2DM9PFP–Design for a Baptismal Font, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The shaft is similar to -1411, the bowl to -1406. The lid has below a base with two zones, the lower one being undecorated, except with a broken pediment at the front. Upon the base stands a pyramid-like, curved pedestal with, ton top, a bunch of lilies and cherubim. Below the oblique sides are cherubim and palm branches. Usual background., Rome, Italy, ca. 1775, architecture, Drawing
![The Assumption of the Virgin, Ventura Salimbeni, Italian, 1568 - before 1613, Taddeo Zuccaro, Italian, 1529 - 1566, Red crayon, pen and ink, brush and gray wash, and sepia on paper, Horizontal rectangle. Upon Clouds. In the center is the Virgin, in a glory of rays. At left is an angel playing the lute. At right another one playing the organ; both with groups of angels. Cherubim below. Compare with drawing by [sp?] reproduced in Röhrer 'Sammlung H.S Röhrer,' Augsburg, 1928, pl. 103. Salimbeni attribution considered wrong by Philip Pouncy (verbally, March, 1958)., Italy, early 17th century Stock Photo](https://c8.alamy.com/comp/2DN23XC/the-assumption-of-the-virgin-ventura-salimbeni-italian-1568-before-1613-taddeo-zuccaro-italian-1529-1566-red-crayon-pen-and-ink-brush-and-gray-wash-and-sepia-on-paper-horizontal-rectangle-upon-clouds-in-the-center-is-the-virgin-in-a-glory-of-rays-at-left-is-an-angel-playing-the-lute-at-right-another-one-playing-the-organ-both-with-groups-of-angels-cherubim-below-compare-with-drawing-by-sp-reproduced-in-rhrer-sammlung-hs-rhrer-augsburg-1928-pl-103-salimbeni-attribution-considered-wrong-by-philip-pouncy-verbally-march-1958-italy-early-17th-century-2DN23XC.jpg "The Assumption of the Virgin, Ventura Salimbeni, Italian, 1568 - before 1613, Taddeo Zuccaro, Italian, 1529 - 1566, Red crayon, pen and ink, brush and gray wash, and sepia on paper, Horizontal rectangle. Upon Clouds. In the center is the Virgin, in a glory of rays. At left is an angel playing the lute. At right another one playing the organ; both with groups of angels. Cherubim below. Compare with drawing by [sp?] reproduced in Röhrer 'Sammlung H.S Röhrer,' Augsburg, 1928, pl. 103. Salimbeni attribution considered wrong by Philip Pouncy (verbally, March, 1958)., Italy, early 17th century Stock Photo")
RM2DN23XC–The Assumption of the Virgin, Ventura Salimbeni, Italian, 1568 - before 1613, Taddeo Zuccaro, Italian, 1529 - 1566, Red crayon, pen and ink, brush and gray wash, and sepia on paper, Horizontal rectangle. Upon Clouds. In the center is the Virgin, in a glory of rays. At left is an angel playing the lute. At right another one playing the organ; both with groups of angels. Cherubim below. Compare with drawing by [sp?] reproduced in Röhrer 'Sammlung H.S Röhrer,' Augsburg, 1928, pl. 103. Salimbeni attribution considered wrong by Philip Pouncy (verbally, March, 1958)., Italy, early 17th century
![Bacchus (Dionysus) and Ariadne. unknown c. 1800-1850 ? Tapestry Dimensions: H 13'6' x W 10'8' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Aubusson Ownership History: French & Co. purchased from Mrs. George Blumenthal [first item on list of 6 tapestries, all in the present set], received 11/28/1919; transferred to stock no. 22150 [SS 10676]. In garden landscape, Bacchus & Ariadne, amongst cherubim, one alongside 2 leopards (L) (BRD) field within architectural, octagonal & godrooned central cartouche with (UPR BRD) 2 reclining figures of Fame (?), each holding a laurel Stock Photo](https://c8.alamy.com/comp/2WTGBX7/bacchus-dionysus-and-ariadne-unknown-c-1800-1850-tapestry-dimensions-h-136-x-w-108-tapestry-materialstechniques-unknown-culture-french-weaving-center-aubusson-ownership-history-french-co-purchased-from-mrs-george-blumenthal-first-item-on-list-of-6-tapestries-all-in-the-present-set-received-11281919-transferred-to-stock-no-22150-ss-10676-in-garden-landscape-bacchus-ariadne-amongst-cherubim-one-alongside-2-leopards-l-brd-field-within-architectural-octagonal-godrooned-central-cartouche-with-upr-brd-2-reclining-figures-of-fame-each-holding-a-laurel-2WTGBX7.jpg "Bacchus (Dionysus) and Ariadne. unknown c. 1800-1850 ? Tapestry Dimensions: H 13'6' x W 10'8' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Aubusson Ownership History: French & Co. purchased from Mrs. George Blumenthal [first item on list of 6 tapestries, all in the present set], received 11/28/1919; transferred to stock no. 22150 [SS 10676]. In garden landscape, Bacchus & Ariadne, amongst cherubim, one alongside 2 leopards (L) (BRD) field within architectural, octagonal & godrooned central cartouche with (UPR BRD) 2 reclining figures of Fame (?), each holding a laurel Stock Photo")
RM2WTGBX7–Bacchus (Dionysus) and Ariadne. unknown c. 1800-1850 ? Tapestry Dimensions: H 13'6' x W 10'8' Tapestry Materials/Techniques: unknown Culture: French Weaving Center: Aubusson Ownership History: French & Co. purchased from Mrs. George Blumenthal [first item on list of 6 tapestries, all in the present set], received 11/28/1919; transferred to stock no. 22150 [SS 10676]. In garden landscape, Bacchus & Ariadne, amongst cherubim, one alongside 2 leopards (L) (BRD) field within architectural, octagonal & godrooned central cartouche with (UPR BRD) 2 reclining figures of Fame (?), each holding a laurel
RM2DM833N–Relief; Glory of the sacrament; console table, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Top: a) upon a pedestal, showing the Easter lamb in its front panel, two angels, one kneeling, the other one standing. They carry the globe, on top of which two cherubim support the chalice, above which the Host appears, being the center of a glory of rays. Beside the pedestal are suggested: at left, an angel kneeling upon a volute, worshipping; at right: two angels holding a candlestick with five candles.
RMC7P437–Barton Turf, Norfolk, rood screen, Cherubim, one of the Nine Orders of Angels, Superior Hierarchy, gold plumage covered with eye
RM2DMAEW5–Design for a Baptismal Font, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The plan of the bowl resembles a quatrefoil. Below is a round base and a short shaft, with a festoon supported by two cherubim. The lid has, below, moldings and two pediment volutes at the front upon which two angels sit embracing each other, the left one holding in his right hand flower stems. In the center is an onion-shaped cupola with a cross on top. Usual background., Rome, Italy, ca. 1775, architecture, Drawing
RM2R6F2NX–Upper left, the Virgin, with arms extended, born heavenwards through clouds by eight angels and cherubim. Upper right, Virgin born heavenwards, supported by four winged putti, with another angel at upper left. Lower left, two putti, one seated, and other kneeling, holding sprays of flowers. Lower right, two kneeling women, embracing. Date: 1821-22. Pen and ink, brush and brown wash, over black chalk on white wove paper. Museum: Cooper Hewitt, Smithsonian Design Museum.
RM2DM8W5B–Design for a Baptismal Font, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The bowl is supported at the ends by four revered consoles upon two octangonal plinths. The lower part of the bowl is fluted, the upper one has a frieze with festoons, hanging from the upper spirals of the consoles. Below, the lif in plain. Upon an octagonal base with cherubim at the oblique sides, raises a pedestal supporting a socket from which a cross springs. Only part of it is visible. Usual background., Rome, Italy, ca. 1775, architecture, Drawing
RM2DN04C3–Lunette with St. Peter and St.Paul with St. Matthew and the Prophet Isaiah, Study after Sebastiano del Piombo, Felice Giani, Italian, 1758–1823, Pen and ink, brush and brown wash, over black chalk on white wove paper, Upper left, the Virgin, with arms extended, born heavenwards through clouds by eight angels and cherubim. Upper right, Virgin born heavenwards, supported by four winged putti, with another angel at upper left. Lower left, two putti, one seated, and other kneeling, holding sprays of flowers. Lower right, two kneeling women, embracing., Italy, 1821–22, figures, Drawing
RM2DMF11X–Architectural Details and Three heads, Filippo Marchionni, Italian, 1732–1805, Black, red chalk, pen and ink, brush and gray watercolor on laid paper, Top left: elevation of upper left corner of a building; part of a window pane, above which two friezes and cornices rise. A drapery festoon decorates the lower part with grotesque motif. Top right: a capital for a pilaster with masks forming the capital; a part of left leg of a seated man. Center right: left side of a frieze with a tiara over a shell flanked by cherubim. Bottom: three heads of women; left one is lowered
RM2JBXR2W–Two representations on one slide. Above: in the square in front of Solomon's Temple, the Temple is being consecrated with festivities. King Solomon is kneeling on a platform. In the background the temple and a large altar where sacrifices are brought. God appears as a dark cloud in the sky. Below: the ark of the covenant in the rear hall of Solomon's temple, the most sacred, under the wings of the cherubim., Dedication of Solomon's temple and the ark of the covenant I Kings VIII, vs. 1: Dedication of Solomon's Temple / I Kings VIII vs. 6: The Ark of the Covenant , print maker: Jan Luyken, (
RM2DMXBMH–Two Designs for Candelabra, Francesco Santini, Italian, 1763 - 1840, Brush and watercolor, pen and ink, graphite, varnish on paper, Vertical rectangle. At bottom, a molded panel in the entire width of the sheet, with a plan of the bases, either with a correspondingly colored background. Above in the interval between the bases is a tablet with the scale: Piede di Bologna. The candelabra have Neo-Renaissance forms. The left one is supported by three leaf feet. The base consists of acanthus scrolls, connected below by other scrolls, and a baluster inside. The lower part of the shaft is a vase
RM2AM1Y61–Examples of household taste . The two doors also were of olive tree;and he carved upon them carvings of cherubim and palm trees and open flowers,and overlaid them with gold, and spread gold upon the cherubim, and upon thepalm trees. So also made he for the door of the temple posts of olive tree,a fourth part of the wall. And the doors were of fir tree: the two leaves ofthe one door were folding, and the two leaves of the other door were folding.And he carved thereon cherubim and palm trees and open flowers: and coveredthem with gold fitted upon the carved work. It was also the custom in Egypt
RM2DM9PEP–Design for a Baptismal Font, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, The bowl has a plan of a rectangle, the short sides of which are supported by half circles. It is supported by an octagonal base, consisting of a plinth and moldings, the main one being fluted. The bowl has a rededing neck, with a garland lying upon the shoulder, at te front, and hanging down as festoons. The lid has the shape of an octangonal, curved pyramid roof, with a cross on top. Below, in front of it, is a circular medallon
RMC7MXG4–Barton Turf, Norfolk, rood screen, Cherubim, one of the 9 Nine Orders of Angels. six wings, gold plummage covered with eyes
RM2R6F1DC–The left half is shown. The central part is projecting. One step leads to it. Laterally are molded panels. The bathtub sarcophagus is supported by a gaine with a lion mask. In the center is an ovoidal opening with a monogram in front and with a framing of palm branches. In the center of the ledge is the tabernacle. In front of the upper mouldings is a festoon supported by a cherubim. Pen and brown ink, brush and brown wash on lined off-white laid paper. Date: 1746-1809. Museum: Cooper Hewitt, Smithsonian Design Museum.
RM2AFW6NK–. The pictorial history of Palestine and the Holy land including a complete history of the Jews. e the railing of a communion-table, were fixed five massive gold candelabra, on each sidethe entrance, and between the candelabra were chains or wreaths of flowers, wrought in puregold, separating even the entrance of the oracle from the body of the temple. Within theoracle was set the ancient ark of the covenant, which had preceded them to the PromisedLand, beneath two colossal cherubim, each nineteen feet four inches and a half high, withimmense out spreadwings, one wing of each cherubim touching
RM2R6F2R2–The bowl is supported at the ends by four revered consoles upon two octangonal plinths. The lower part of the bowl is fluted, the upper one has a frieze with festoons, hanging from the upper spirals of the consoles. Below, the lif in plain. Upon an octagonal base with cherubim at the oblique sides, raises a pedestal supporting a socket from which a cross springs. Only part of it is visible. Usual background. Date: ca. 1775. Pen and brown ink, brush and brown wash on lined off-white laid paper. Museum: Cooper Hewitt, Smithsonian Design Museum.
![. The pictorial history of Palestine and the Holy land including a complete history of the Jews. [1.3. Shrine anrl Ark borne by Priests.]* Two cherubim of jfold .... in (or nt) the two ends of the niprey-seat, Exorl. v. ?. VOI,. I. 2 K 250 HISTORY OF PALESTINE. [Book II. When the Hebrew ark was removed from its place, it was not taken into parts, but thechest itself, the mercy-seat, and the cherubim were carried together as one piece, preciselyas they had stood in the sanctuary. The preceding engraving (13) shows the same practiceamong the Egyptians. Here we again see small figures in posture Stock Photo](https://c8.alamy.com/comp/2AFXGK5/the-pictorial-history-of-palestine-and-the-holy-land-including-a-complete-history-of-the-jews-13-shrine-anrl-ark-borne-by-priests-two-cherubim-of-jfold-in-or-nt-the-two-ends-of-the-niprey-seat-exorl-v-voi-i-2-k-250-history-of-palestine-book-ii-when-the-hebrew-ark-was-removed-from-its-place-it-was-not-taken-into-parts-but-thechest-itself-the-mercy-seat-and-the-cherubim-were-carried-together-as-one-piece-preciselyas-they-had-stood-in-the-sanctuary-the-preceding-engraving-13-shows-the-same-practiceamong-the-egyptians-here-we-again-see-small-figures-in-posture-2AFXGK5.jpg ". The pictorial history of Palestine and the Holy land including a complete history of the Jews. [1.3. Shrine anrl Ark borne by Priests.]* Two cherubim of jfold .... in (or nt) the two ends of the niprey-seat, Exorl. v. ?. VOI,. I. 2 K 250 HISTORY OF PALESTINE. [Book II. When the Hebrew ark was removed from its place, it was not taken into parts, but thechest itself, the mercy-seat, and the cherubim were carried together as one piece, preciselyas they had stood in the sanctuary. The preceding engraving (13) shows the same practiceamong the Egyptians. Here we again see small figures in posture Stock Photo")
RM2AFXGK5–. The pictorial history of Palestine and the Holy land including a complete history of the Jews. [1.3. Shrine anrl Ark borne by Priests.]* Two cherubim of jfold .... in (or nt) the two ends of the niprey-seat, Exorl. v. ?. VOI,. I. 2 K 250 HISTORY OF PALESTINE. [Book II. When the Hebrew ark was removed from its place, it was not taken into parts, but thechest itself, the mercy-seat, and the cherubim were carried together as one piece, preciselyas they had stood in the sanctuary. The preceding engraving (13) shows the same practiceamong the Egyptians. Here we again see small figures in posture
RM2HT8NWX–A Study of Bound Male Figures being Manhandled, and Various Putti, One Holding a Palm Frond, n.d.
RM2CEDX0D–. Select views of London and its environs; containing a collection of highly-finished engravings, from original paintings and drawings, accompanied by copious letter-press descriptions of such objects in the metropolis and the surrounding country as are most remarkable for antiquity, architectural grandeur, or picturesque beauty. for holy water. The roof of this entrance is dividedby numerous ribs, and one of the keystones represents a female praying, sur-rounded by cherubim. At the upper end, and directly facing the door, onascending one step, is a bracket, over which are the remains of the f
RM2B7PJXY–Trois Amours dont un tient une flèche (Three Loves, one of which holds an arrow), from Premiere Livre de Groupes d'Enfans (First Book of Groups of Children).
RM2CE2T6X–. Sacred geography, and antiquities . ation on the great day ofatonement, to make propitiation for the holy place, because ofthe uncleanness of the children of Israel, and because of theirtransgressions in all their sins. Lev. 16: 14-16. Above themercy-seat, at its two ends, were placed the two cherubim, whichare thus described (Exod. 25: 18-20): And thou shalt maketwo cherubim of gold, of beaten Avork shalt thou make them, atthe two ends of the mercy-seat. And make thou one cherub atthe one end and one cherub at the other end. Of the mercy-seat shalt thou make the cherubim (that is, apparentl
RM2B7PJEF–Three putti before a large garland, the one in the middle rides an ostrich, from a series of tapestries made for Leo X, ca. 1530-40.
RM2CDJ9BJ–. Israel's laws and legal precedents . and he overlaid it with gold. 22And the wholetemple was overlaid with gold, until all the temple was finished. 29And he carvedall the walls of the house round about with carved figures of cherubim andpalm trees and opening flowers, both in the inner and outer rooms. 30And thefloor of the temple he overlaid with gold.The 23aAnd in the inner room he made two cherubim of olive wood. 26The birnU height of the one cherub was ten cubits, and so was that of the other—23beach a Ex. 2024 Lit., cause my name to be remembered, i. e., at each of the many sacred place
RM2B7P99B–Six putti playing with the arms of Mars, four holding onto a large lance, one on the left wearing a helmet and a sword belt, holding a shield upright, and one placing a garland of flowers and leaves in a basket at right, 1769. After Ennemond Alexandre Petitot
RM2CDDBCW–. I'm from Boston : scenes from the living past, illustrated by picture and story . Merchant adventurer from Jersey/ who in parlous times as/ CaptainJ^ of the Privateer Queen of Hungary/ took from a French ship in the^ year 1746/ the four figures of cherubim now in front/ of the organ.^ This memorial is by no means the only reminder of the mari- ^ time background which made Christ Church typical of Eighteenth^ Century Boston. Another tablet commemorates the fact that the4 spire is **due to the bounty of Honduras Merchants, of whom^ one Ukes to think as sitting in **The Bay Pew, now inscribed,^
RM2DCBB8P–Wealth, represented by a woman seated on clouds and surrounded by putti, one of whom is pouring coins, 1725-75.
Search Results for One of the cherubim Stock Photos and Images (142)
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