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  • A human skeleton and the bones of the hand: three figures, showing the anterior view of a skeleton and details of the bones of the hand. Etching by or after J. Gamelin, 1778/9.
  • A human skeleton, seen from the front and leaning on a spade, surrounded by illustrations of individual bones. Engraving, 1686.
  • A human skeleton, leaning against a tomb: lateral view. Engraving by R. Benard, late 18th century, after A. Vesalius, 1543.
  • A human skeleton, leaning against a tomb: lateral view. Engraving by R. Benard, late 18th century, after A. Vesalius, 1543.
  • A human skeleton, seen from the front, with labels giving the latin names of the bones. Photograph after a woodcut after Hans Wechtlin, 1517.
  • A human skeleton, seen from the back, resting the bones of its right forearm on a spade handle, after Vesalius. Etching by I. Basire, 1743.
  • An altar bearing a Latin inscription surrounded by an array of human skulls and bones and a cloaked skeleton. Photograph by J. Taylor, c. 1881.
  • Two figures: a kneeling human skeleton, with hands tied behind its back, and an écorché figure tied to a tree-trunk. Engraving by Barlow, ca. 1800.
  • A human skeleton, seen from the back, bent forward with his hands clasped to his skull, after Vesalius. Engraving by Benard, 1779, after a woodcut, 1543.
  • A surgeon shows a gentleman his surgery: the room contains a human skeleton, écorché figures, rows of jars and a variety of medical instruments. Engraving, ca. 1748.
  • A surgeon shows a gentleman his surgery: the room contains a human skeleton, écorché figures, rows of jars and a variety of medical instruments. Engraving, ca. 1748.
  • A human skeleton, seen from the front, resting the bones of his left forearm on a spade handle, after Vesalius. Engraving by Benard, 1779, after a woodcut, 1543.
  • A human skeleton, seen from the back, bent forward with his hands clasped to his skull, after Vesalius. Engraving by Benard, late 18th century, after a woodcut, 1543.
  • A human skeleton, seen from the front, resting the bones of his left forearm on a spade handle, after Vesalius. Engraving 1769, after Prevost, 1762, after a woodcut, 1543.
  • A winged skeleton holding a drawing of a seated model, with human bones and skulls on the table and floor beside him. Etching by or after J. Gamelin, 1778/9.
  • A human skeleton, seen from the front, resting the bones of his lower left arm on a spade handle. Engraving by D. M. Bonaveri, ca. 1685/1690 after a woodcut, 1543.
  • An interior in candlelight with male figures drawing; sculptures, books, skulls and a human skeleton arranged on a shelf and on the floor. Engraving by E. Vico after B. Bandinelli.
  • A human skeleton, seen from the front, resting the bones of his left forearm on a spade handle, after Vesalius. Engraving by Benard, late 18th century, after a woodcut, 1543.
  • A human skeleton, seen from the front, resting the bones of his right forearm on a spade handle, after Vesalius. Engraving 1778, after an engraving by Prevost, 1762, after a woodcut, 1543.
  • Skeleton of a man, with the those of a male and female lion: five figures, including a comparison between a human foot and that of a lion. Lithograph by B. Waterhouse Hawkins, 1860.
  • The sense of taste: diners around a feasting table containing a swan and a human skeleton, above, scenes of communion and Abraham and the three angels. Engraving after G. Collaert, 1630, after N. van der Horst.
  • The sense of taste: diners around a feasting table containing a swan and a human skeleton, above, scenes of communion and Abraham and the three angels. Engraving after G. Collaert, 1630, after N. van der Horst.
  • Phrenological propensities: philoprogenitiveness, amativeness, self-love, individuality, number; illustrated by a huge and happy family, an apothecary making advances on his maidservant, a dandy admiring his reflection, Seurat the human skeleton, Toby the learned pig. Coloured etching by G. Cruikshank, 1826, after himself.
  • Phrenological propensities: philoprogenitiveness, amativeness, self-love, individuality, number; illustrated by a huge and happy family, an apothecary making advances on his maidservant, a dandy admiring his reflection, Seurat the human skeleton, Toby the learned pig. Coloured etching by G. Cruikshank, 1826, after himself.
  • Human bones in the foreground; skeletons in the background. Engraving after C. Martinez, ca. 1680 (?).
  • Human bones in the foreground; skeletons in the background. Engraving after C. Martinez, ca. 1680 (?).
  • Java: human skeletons lying in a valley poisoned by volcanic gases, being watched by travellers. Coloured aquatint.
  • The Royal United Hospital, Bath: the museum, with human and animal skeletons and skulls on display. Photograph, ca. 1870.
  • Fourteen human skeletons performing activities symbolic of life and death. Engraving, 1740 or 1780, after C. Martínez, ca. 1680 (?).
  • An anatomical dissection taking place in a hall decorated with musclemen and human and animal skeletons in niches. Engraving with etching, 1685.