Philippe Collection (page 4)

Philip IV, King of Spain, c. 1624 (oil on canvas)
3493032 Philip IV, King of Spain, c.1624 (oil on canvas) by Velazquez, Diego Rodriguez de Silva y (1599-1660); 200x102.9 cm; Metropolitan Museum of Art, New York

Interior View of Saint-Philippe-de-Roule, Paris (pen & ink and w / c on paper)
CJP107566 Interior View of Saint-Philippe-de-Roule, Paris (pen & ink and w/c on paper) by Chalgrin, Jean Francois Therese (1739-1811) (circle of)

The House of Orleans (engraving)
1048058 The House of Orleans (engraving) by English School, (19th century); Private Collection; (add.info.: The House of Orleans)

Philippe, The Duke of Orleans (colour litho)
612656 Philippe, The Duke of Orleans (colour litho) by Guth, Jean Baptiste (fl.1883-1921) (after); Private Collection; (add.info.: Philippe, The Duke of Orleans, 1er Conscrit de France)

The People Burning the Throne at the Place de la Bastille, 1848 (colour litho)
CHT169073 The People Burning the Throne at the Place de la Bastille, 1848 (colour litho) by French School, (19th century); Bibliotheque Nationale, Paris

St. James the Minor, St. Philip and St. Barnabas, from the Isenheim Altarpiece, c. 1490 (painted wood)
XIR181071 St. James the Minor, St. Philip and St. Barnabas, from the Isenheim Altarpiece, c.1490 (painted wood) by Hagenauer, Nikolaus (c.1455-1526/28); Musee d Unterlinden, Colmar, France

Jean-Antoine de Mesmes, Seigneur of Irval, Count of Avaux, from a painting by Philippe de Champaigne, 1653
5855357 Jean-Antoine de Mesmes, Seigneur of Irval, Count of Avaux, from a painting by Philippe de Champaigne, 1653. by Lechevallier-Chevignard, Edmond (1825-1902); (add.info.: Jean-Antoine de Mesmes)

XIII Siecle, Regne de Louis IX, Philippe, Comte de Bologne et de Clermont (engraving)
5220280 XIII Siecle, Regne de Louis IX, Philippe, Comte de Bologne et de Clermont (engraving) by French School, (19th century); Private Collection; (add.info.: XIII Siecle, Regne de Louis IX)

Stater of Philip II (382-336 BC) King of Macedonia, with an effigy of Apollo
XIR197227 Stater of Philip II (382-336 BC) King of Macedonia, with an effigy of Apollo, 356-336 BC (gold) by Greek School, (4th century BC); Bibliotheque Nationale, Paris

Portrait of Claude de Bullion (1569-1640). Creator: Champaigne, Philippe, de (1602-1674)
Portrait of Claude de Bullion (1569-1640). Private Collection

The stage magician, Monsieur Philippe, performs a magic trick involving a cannon at the Strand Theatre, London Date: 1845

Portrait of Charles de La Porte (1602-1664), c. 1660. Creator: Champaigne, Philippe
Portrait of Charles de La Porte (1602-1664), c. 1660. Private Collection

The Late Provision, 1771. Creator: Philippe Triere
The Late Provision, 1771

The Triumph of Galatea. Creator: Philippe Triere
The Triumph of Galatea

Two Figures, a Faun, and a Satyr approach a Recliniing Woman, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man Playing Two Flutes and Woman on Lionskin, published ca. 1599-1622. Creator: Unknown
Man Playing Two Flutes and Woman on Lionskin, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Warrior Pulling a Rider from His Horse, from "Ex Antiquis Camorum et Ge
Warrior Pulling a Rider from His Horse, from " Ex Antiquis Camorum et Gemmae Delineata", published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman with Shield Seated on Seamonster, published ca. 1599-1622. Creator: Unknown
Woman with Shield Seated on Seamonster, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Three Cupids and Two Dolphins, published ca. 1599-1622. Creator: Unknown
Three Cupids and Two Dolphins, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Wing; Man with Vase and Dog, published ca. 1599-1622. Creator: Unknown
Man with Wing; Man with Vase and Dog, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman and Man Seated on Lionskin, Man Pouring Wine, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Belted Pig and Two Cupids (or Geniuses) with a Butterfly (or Moth), published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Faun or Satyr Preparing a Pig for Sacrifice, published ca. 1599-1622. Creator: Unknown
A Faun or Satyr Preparing a Pig for Sacrifice, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Two Women and Two Cupids, published ca. 1599-1622. Creator: Unknown
Two Women and Two Cupids, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Hercules playing a lyre, a lionskin draped over his shoulder, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Woman Collecting Blood from a Sheep, published ca. 1599-1622. Creator: Unknown
A Woman Collecting Blood from a Sheep, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Female Nude with Two Seahorses, published ca. 1599-1622. Creator: Unknown
Female Nude with Two Seahorses, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Torch at Temple Door, published ca. 1599-1622. Creator: Unknown
Man with Torch at Temple Door, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Sacrifice of a Swan, published ca. 1599-1622. Creator: Unknown
Sacrifice of a Swan, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Torch between Flaming Altar and Statuette, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Two Lovers with Pan, published ca. 1599-1622. Creator: Unknown
Two Lovers with Pan, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man and Woman Sacrificing a Goat, published ca. 1599-1622. Creator: Unknown
Man and Woman Sacrificing a Goat, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Scene of Sacrifice with Warrior Killing Ram and Four Other Figures, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Reclining Female Figure on a Chariot drawn by Two Centaurs, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Figure with Pig and Serpent, published ca. 1599-1622. Creator: Unknown
Figure with Pig and Serpent, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man Attended by Three Women, published ca. 1599-1622. Creator: Unknown
Man Attended by Three Women, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman on Rearing Horse, published ca. 1599-1622. Creator: Unknown
Woman on Rearing Horse, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Ram, published ca. 1599-1622. Creator: Unknown
Ram, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Figure on Seagoat; Man Carving Wing, published ca. 1599-1622. Creator: Unknown
Figure on Seagoat; Man Carving Wing, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Satyr Leading Goat on which a Infant Rides, published ca. 1599-1622. Creator: Unknown
Satyr Leading Goat on which a Infant Rides, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

La Gageure des trois Commeres: La Servante, from Contes et nouvelles en vers par Jean de La Fontaine. A Paris, de l imprimerie de P. Didot, l an III de la Republique, 1795, published in 1795

Charles II entering The Hague in a carriage with the Mauritshuis on the right; from Verhael van de Reys van Carel II, Coning van Groot-Brittannie, in Hollandt van 25 Mey tot 2 Junij 1660, 1660

The Entombment, 1589. Creator: Philippe Thomassin
The Entombment, 1589

Allegorical thesis print with various figures, set in an architectural structure, 1608

France. Liberal Revolution, 1848. National Assembly invaded
France. Liberal Revolution, 1848. Popular uprising to force the abdication of King Louis Philippe of Orleans and proclaim the Second Republic (Days 22 to 24 February)

LOUIS-PHILIPPE QUITS
Rejected and dejected, Louis- Philippe leave Paris and take refuge in England Date: 24 February 1848

VICTORIA / LOUISP / GOSPORT
Queen Victoria entertains Louis Philippe at Osborne: scene at Gosport station Date: 1844

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Philippe Halsman, a renowned photographer, captured the enigmatic Salvador Dali in his element. In this captivating photograph from around 1948, Dali is surrounded by surreal objects that defy gravity and logic. Cats float effortlessly alongside water frozen mid-motion, creating an otherworldly scene. But Philippe's talent extends beyond capturing surrealist painters; he also immortalizes historical figures like Jacques De Molay. This influential figure of the Knights Templar holds secrets untold within his gaze, hinting at a tumultuous past. Moving forward in time, we encounter Victoria/Louisp/Gosport - a mysterious trio whose story remains shrouded in ambiguity. What adventures did they embark on? What secrets do their names hold? The mention of Crecy transports us to medieval times when battles raged and kingdoms clashed. Philippe's lens captures the essence of these historic moments with precision and artistry. Water takes center stage as Philippe Mercier unveils "The Elements. " With masterful brushstrokes, he brings forth its fluidity and power while paying homage to its vital role in our existence. Josslyn and Idina Hay grace another frame as they stand proudly on their Kenyan farm named Slains. Their connection to this land radiates through the lens—a testament to resilience and love for nature. In "Choosing a Club, " Philippe reveals not only a sport but also choices we make throughout life—decisions that shape our destiny or lead us down unexpected paths. Greek mythology comes alive as Hera, Aphrodite, and Athena prepare for the contest of beauty before P. . Who will be crowned victor? The anticipation hangs thickly in the air as each goddess exudes confidence unique to her divine essence. Philippe IV Le Bel emerges multiple times across different works—an enigmatic figure who left an indelible mark on history. Whether depicted anonymously or by Jones' hand, his presence looms large, leaving us to ponder his influence.