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  • A suspended lower arm from which the skin and fatty layer has been removed to reveal the muscles. Next to it is a knife and a surgical instrument case with its lid. Engraving after G. de Lairesse, 1739.
  • The muscles of the lower arm which act on the fingers, thumb and wrist raised from their origins and left at their insertions. Engraving after G. de Lairesse, 1739.
  • A deep dissection of the muscles of the thigh, seen from the back. Engraving after G. de Lairesse, 1739.
  • The muscles of the lower leg. Engraving after G. de Lairesse, 1739.
  • The muscles of the lower leg with the tendons separated from each other. Engraving after G. de Lairesse, 1739.
  • The muscles of the left hip and thigh dissected away to expose the bones of the hip and the head of the femur. Engraving after G. de Lairesse, 1739.
  • The muscles of the back of the hand and the forearm dissected. The tendons are raised and separated by various instruments. Engraving after G. de Lairesse, 1739.
  • The gluteus muscles of the left side of the body. Engraving after G. de Lairesse, 1739.
  • The muscles of the lower arm and hand dissected and spread out across the dissecting table and a book. Engraving after G. de Lairesse, 1739.
  • A back view of the muscles of the thigh, intact but slightly separated from each other. Engraving after G. de Lairesse, 1739.
  • The extensor muscles of the foot dissected and left attched at their insertions. Engraving after G. de Lairesse, 1739.
  • Muscles of the left thigh and hip. Engraving after G. de Lairesse, 1739.
  • The ribs. Engraving after G. de Lairesse, 1739.
  • The muscles of the back, with the hands tied together at the wrist. Engraving after G. de Lairesse, 1739.
  • The trachea (windpipe) and bronchi. Engraving after G. de Lairesse, 1739.
  • The flexor muscles of the arm, hand and fingers, separated from each other and raised through the use of a dowel and a perforated box. Engraving after G. de Lairesse, 1739.
  • The anatomy of melancholy : what it is, with all the kinds causes, symptomes, prognostickes, & seuerall cures of it in three partitions, with their severall sections, members & subsections, philosophically, medicinally, historically, opened & cut up / By Democritus Junior [pseud.] With a satyricall preface, conducing to the following discourse.
  • British Postgraduate Medical School, Hammersmith: G. Grey Turner and colleagues, 1946. Photograph, 1946.
  • John Smith, known as Buckhorse, a pugilist. Stipple engraving by R. Cooper, 1822, after D. Dodd.
  • The two bookes of Sr Francis Bacon, of the proficience and advancement of learning, divine and humane.
  • Saint Apollonia. Engraving by B.A. Nicolet, 1786, after G. Reni.
  • Erigone, ensnared by Dionysus, reaching for grapes on a vine. Lithograph by B.-R. Julien, 1835, after L. Poyet.
  • Saint Augustine of Hippo: he suffers from toothache. Collotype (?), 1907, after Benozzo Gozzoli.
  • The Medical Mission for Experts on their visit to India: group portrait includes Sir Weldon Dalrymple-Champneys (front row, centre right) and Henry E. Sigerist (back row, second from right). Photograph after a photograph by Kundan Lal, ca. 1950.
  • The Medical Mission for Experts on their visit to India: group portrait includes Sir Weldon Dalrymple-Champneys (front row, centre right) and Henry E. Sigerist (back row, second from right). Photograph after a photograph by Kundan Lal, ca. 1950.
  • A woman is being attacked by an eagle as she attempts to rescue her baby from the eagle's nest where it has been taken as possible food for the young birds. Mezzotint and etching after G. Dawe.
  • Lord Grenville, Prime Minister and leader of the Broad Bottoms faction, meets Sarah Baartman, the "Hottentot Venus": on account of their similar body-mass, a dynastic marriage is considered. Coloured etching attributed to W. Heath, 1810.
  • The Lord Mayor of London kneels before King George III and presents a remonstrance on behalf of the City of London: the king has no time to read it as he is preoccupied with making buttons. Engraving, 1770.
  • The marriage of Henry VI and Margaret of Anjou. Coloured etching by John Carter, 1793.
  • James Bradley. Mezzotint by J. Faber after Thomas Hudson.