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THE DOORWAY, VÉZELAY, FRANCE, 1915. CREATOR: ALBANY E HOWARTH.

The doorway, Vézelay, France, 1915. Vézelay is a historic hill town in north-cental France, famous for its Romanesque abbey and also for its Basilica of St Mary Magdalene. The doorway, Vézelay, France, 1915. Creator: Albany E Howarth. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SIDE CHAIR, C1755-60. CREATOR: UNKNOWN.

Side Chair, c1755-60. Side Chair, c1755-60. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

QUEEN ANNE TRANSITIONAL ARMCHAIR, C1750-80. CREATOR: UNKNOWN.

Queen Anne Transitional Armchair, c1750-80. Queen Anne Transitional Armchair, c1750-80. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PRESIDENT'S ROOM AT CAPITOL, BETWEEN C1910 AND C1915. CREATOR: BAIN NEWS SERVICE.

President's room at Capitol, between c1910 and c1915. Portrait of Samuel Osgood, 4th United States Postmaster General, on wall. William McKinley bust. President's room at Capitol, between c1910 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MONUMENT OF OSCAR WILDE, BETWEEN C1910 AND C1915. CREATOR: BAIN NEWS SERVICE.

Monument of Oscar Wilde, between c1910 and c1915. Monument of Oscar Wilde, between c1910 and c1915. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

MRS. C.W. FAIRBANKS, 1913. CREATOR: BAIN NEWS SERVICE.

Mrs. C.W. Fairbanks, 1913. Shows Cornelia "Nellie" Cole Fairbanks (1852-1913), wife of Senator and Vice President Charles W. Fairbanks. She also served as President General of the National Society Daughters of the American Revolution. Mrs. C.W. Fairbanks, 1913. Creator: Bain News Service. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BOX MADE OF THE WOOD OF SHAKSPEARE’S MULBERRY-TREE, PRESENTED TO [DAVID] GARRICK..., 1864. CREATOR: UNKNOWN.

Box made of the wood of Shakspeare's mulberry-tree, presented to [David] Garrick by the town of Stratford-on-Avon, 1864. Item from a bequest to the British Museum: '...the box or casket, made of the wood of the mulberry-tree planted by Shakspeare, in which the freedom of the borough of Stratford-on Avon was presented to [Shakespearian actor David] Garrick. This casket was purchased by the late Mr. Mathews, the comedian, at Mrs. Garrick's sale, and when his library and curiosities were brought to the hammer in August, 1835, it was, amidst a crowd of bidders, knocked down to Mr. George Daniel, at a large sum. It is exquisitely carved with the following devices: In the front, Fame holding the bust of Shakspeare, and the three Graces crowning him with laurel; on the back, Garrick, finely delineated, in the character of King Lear in the storm scene; on the sides are emblematical figures representing Tragedy and Comedy; the top and corners are boldly carved with subjects and devices from Shakspeare's works. It is raised upon and supported by four silver griffins, with ruby eyes. On the 3rd of May, 1709, the freedom of Stratford-on-Avon was presented to Mr. Garrick, inclosed in this famous casket'. From "Illustrated London News", 1864. Box made of the wood of Shakspeare’s mulberry-tree, presented to [David] Garrick..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

INCISED STONES ON THE CHEVIOT HILLS, 1864. CREATOR: UNKNOWN.

Incised stones on the Cheviot Hills, 1864. '...markings, which are supposed to belong to a very remote period of British history, before the Roman Conquest...The circles vary in diameter from 2 in. or 3 in. to nearly 2 ft...In the vicinity of Doddington, near Wooler, some hundreds of them exist; indeed, wherever the native rock is exposed, some of them may usually be seen. The rock is sandstone. Owing to the hardness of the stone of the district, and the fact that in many instances the carved figures have long been protected by a covering of turf, the marks of the tool with which they have been carved are occasionally distinctly visible...The district about Doddington...is characterised by the presence of Celtic remains - such as barrows, stone circles, and camps...One very interesting fact connected with these enigmatical figures is, that in several instances they have been found upon stones covering Celtic interments. No satisfactory answer has yet been given to the question which naturally arises - What purpose were these strange devices intended to serve ...The fact that they occur on stones used for covering the remains of the dead seems to indicate that they have a religious significance in relation to the rites of sepulture'. From "Illustrated London News", 1864. Incised stones on the Cheviot Hills, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SKETCHES FROM NEW ZEALAND: SCENE ON THE WAIKATO, NEAR ITS JUNCTION WITH THE WAIPA RIVER, 1864. CREATOR: UNKNOWN.

Sketches from New Zealand: scene on the Waikato, near its junction with the Waipa River, 1864. Engraving from a drawing made on the spot by Mr. G. P. Angas, '...representing the picturesque scenery on the Waikato, near its junction with the Waipa River. The Waikato here is broad and deep, and flows majestically along between alluvial plains of the richest soil, which are bounded on the right by the high range of Taupiri. In the distance are seen the mountains of Perongia, near Kawhia, on the west coast. The village on the river bank is called Wakaaepa, and the district around has long been famous for its plantations of the "kumera," or sweet potato, the choicest vegetable of the New Zealander. In the foreground is a "patuka," or storehouse, in which maize, seeds, &c., are kept in security from the rats. Not far from this spot are the principal strongholds and settlements of the powerful Waikato tribes, who are the foremost in opposing British rule in New Zealand, and are at this moment carrying on their unequal warfare with a valour and determination worthy of a better cause'. From "Illustrated London News", 1864. Sketches from New Zealand: scene on the Waikato, near its junction with the Waipa River, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: SQUARE STONE WITH SIDES FACING THE POINTS OF THE COMPASS, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: square stone with sides facing the points of the compass, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: ALTAR-STONE, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: altar-stone, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: altar-stone, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: MONOLITH, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: monolith, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...The traveller comes unexpectedly upon sculptured fragments in almost every direction, and the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: monolith, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE RUINS OF COPAN, CENTRAL AMERICA: A HEAD, WITH OTHER SCULPTURED STONES, 1864. CREATOR: UNKNOWN.

The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Engraving from a photograph by Mr. Osbert Salvin. 'Just where the ruins stand...the valley opens out into a small alluvial plain of great fertility. Over this plain, wherever the vegetation has been left untouched, forest grows. It would be difficult to determine how far the ruins extend throughout the valley, as sculptured stones are to be seen all along the road leading to what appears to be the central point of the ruins...the natives point in the hills to a painted stone here and a carved stone there. The ruins of Copan comprise the walls of a supposed temple, 624 ft. in length, and many pyramidal structures...sculptured stones of all sizes lie scattered in profusion, some bearing hieroglyphics...With the exception of a few monoliths, hardly any of the ruins remain undisturbed. The terraces and pyramidal mounds have had their steps and stonework almost universally displaced. The mere force of the roots of the trees which grow upon and between the stones, or even the earthquakes to which they must have been subjected from time to time, seem insufficient to account for so general a dislocation'. From "Illustrated London News", 1864. The Ruins of Copan, Central America: a head, with other sculptured stones, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: STAG'S HORN EWER, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Ewer, in stag's horn, mounted and inlaid with ivory, most elaborately and minutely carved in many compartments with hunting-subjects; apparently the work of an eminent artist of the school of Augsburg. Signed AM. VC 1673. A. J. B. Beresford Hope, Esq.'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Stag's horn ewer, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE LOAN COLLECTION, SOUTH-KENSINGTON: IVORY TANKARD, 1862. CREATOR: UNKNOWN.

The Loan Collection, South-Kensington, 1862. 'Tankard, mounted in silver-gilt, the drum richly carved with a mythological subject, the Marriage of Jupiter and Juno, &c.: on the cover, which is in ivory, a beautiful frieze of amorini, &c. An exquisitely-finished Flemish tankard, circa 1650...Robert Napier, Esq.'. From "Illustrated London News", 1862. The Loan Collection, South-Kensington: Ivory tankard, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

A JAPANESE WOOD-ENGRAVER, 1864. CREATOR: UNKNOWN.

A Japanese wood-engraver, 1864. '...from a sketch by our Artist at Yokohama. It is painful here to observe the uncomfortable position of the Japanese engraver at his work - to see how he is doubled up at the apology for a table, and in what an awkward way he holds the style. But we are amused when we look at his wonderful spectacles, tied round his ears with a piece of string. The instruments he uses are of the simplest description; and his wood is not hard, like our boxwood, but extremely soft. His mode of operation is this: the subject to be engraved is first drawn on a thin piece of paper with Indian ink and a Japanese paint-brush. The drawing is then reversed and pasted on the wood. The paper is oiled and left on the wood till the engraving is finished. All the black lines in the drawing are thus left in relief. The block is then washed and covered with printing-ink made of lampblack and glue. The printing is performed by laying a clean sheet of paper on the block and pressing the surface, by hand, with a round tool covered with a dried leaf. This operation goes on till thousands of copies are printed. The Japanese also print in colours, by having different blocks of wood for the different colours'. From "Illustrated London News", 1864. A Japanese wood-engraver, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

CONFERENCE OF HANDICRAFTSMEN OF THE CITY OF PRYLUKY, 1925. CREATOR: UNKNOWN.

Conference of handicraftsmen of the city of Pryluky, 1925. In the early part of the Stalin era, the Kremlin established a new administrative territory in the Soviet Far East--the Jewish Autonomous Region--to serve as a Jewish homeland. The capital of the region was the city of Birobidzhan. This album includes 274 photographs of the early years of Birobidzhan, beginning in the late 1920s. National Library of Russia Conference of handicraftsmen of the city of Pryluky, 1925. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

1459 TOMBSTONE MADE OF WHITE LIMESTONE IN THE ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

1459 tombstone made of white limestone in the Rostov museum, Rostov Velikii, 1911. 1459 tombstone made of white limestone in the Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEVENTEENTH-CENTURY PLASHCHANITSA [SHROUD WITH THE IMAGE OF CHRIST], IN THE MIDDLE..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Seventeenth-century plashchanitsa [shroud with the image of Christ], in the middle, a wooden carved image of Christ Our Savior lying in the grave. On the sides, carved images of Saint John the Theologian and Saint John the Precursor. Museum inventory numbers 5683 and 190. In the Rostov Museum. Rostov Velikii, 1911. Seventeenth-century plashchanitsa [shroud with the image of Christ], in the middle..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM THE SECOND HALF OF THE EIGHTEENTH CENTURY WITH CARVED IMAGES OF THE MOTHER..., 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from the second half of the eighteenth century with carved images of the Mother of God and the Twelve Apostles, Museum inventory number 8875, Rostov museum, Rostov Velikii, 1911. Holy Gates from the second half of the eighteenth century with carved images of the Mother..., 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM 1652, MUSEUM INVENTORY NUMBER 1591, ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from 1652, Museum inventory number 1591, Rostov museum, Rostov Velikii, 1911. Holy Gates from 1652, Museum inventory number 1591, Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HOLY GATES FROM THE FIRST HALF OF THE EIGHTEENTH CENTURY, MUSEUM INVENTORY NUMBER 1824...1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Holy Gates from the first half of the eighteenth century, Museum inventory number 1824, Rostov Museum, Rostov Velikii, 1911. Holy Gates from the first half of the eighteenth century, Museum inventory number 1824...1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CARVED WOODEN HOLY GATES FROM THE SEVENTEENTH CENTURY IN THE ROSTOV MUSEUM, ROSTOV VELIKII, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Carved wooden Holy Gates from the seventeenth century in the Rostov museum, Rostov Velikii, 1911. Carved wooden Holy Gates from the seventeenth century in the Rostov museum, Rostov Velikii, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STONE CROSS ON THE BANK OPPOSITE PISANYI ROCK IN MEMORY OF DEMIDOV, CHUSOVAIA RIVER, 1912. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Stone cross on the bank opposite Pisanyi Rock in memory of Demidov, Chusovaia River, 1912. Stone cross on the bank opposite Pisanyi Rock in memory of Demidov, Chusovaia River, 1912. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STERZH CROSS, THE TVER MUSEUM, 1910. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Sterzh Cross, the Tver Museum, 1910. Sterzh Cross, the Tver Museum, 1910. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

DMITRIEVSKY CATHEDRAL, VLADIMIR, 1911. CREATOR: SERGEY MIKHAYLOVICH PROKUDIN-GORSKY.

Dmitrievsky Cathedral, Vladimir, 1911. Dmitrievsky Cathedral, Vladimir, 1911. Creator: Sergey Mikhaylovich Prokudin-Gorsky. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HANDICRAFT WORKS OF THE PERM ZEMSTVO, 1911. CREATOR: A. A. ANTONOV.

Handicraft works of the Perm zemstvo, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Handicraft works of the Perm zemstvo, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

EXHIBITS OF HANDICRAFTSMEN OF THE YEKATERINBURG ZEMSTVO, 1911. CREATOR: A. A. ANTONOV.

Exhibits of handicraftsmen of the Yekaterinburg zemstvo, 1911. From a collection of photographs documenting the First West Siberian Agricultural, Forestry, and Industrial Trade Exhibition, which took place in Omsk in 1911. The exhibition was held from June 15 to August 1 of that year, and was a significant event in the life of the Siberian region. Nothing on this scale or this level of ambition had ever been staged in Siberia. Omsk State Museum of Regional History and Folklife Exhibits of handicraftsmen of the Yekaterinburg zemstvo, 1911. Creator: A. A. Antonov. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

HANDICRAFT POTTER FROM THE VILLAGE OF ATAMANOVSKOYE, KRASNOYARSK DISTRICT, 1900. CREATOR: LI VONAGO.

Handicraft potter from the village of Atamanovskoye, Krasnoyarsk district, 1900. This collection includes more than four hundred photographs of daily life in Yenisei Province in the late tsarist period. Photographs include peasants, Cossacks, and high-ranking officials. Krasnoiarsk Krai Museum of Regional History and Folklife Handicraft potter from the village of Atamanovskoye, Krasnoyarsk district, 1900. Creator: LI Vonago. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

COMPLAINT TO THE SHOEMAKER, 1878. CREATOR: ECHTLER, ADOLF (1843-1914).

Complaint to the shoemaker, 1878. Private Collection Complaint to the shoemaker, 1878. Creator: Echtler, Adolf (1843-1914). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

SMILING FLORIST STANDING AMIDST BOUQUET OF VARIOUS FLOWERS AT SHOP

Smiling florist standing amidst bouquet of various flowers at shop (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER SPRAYING WATER ON PLANTS IN GARDEN CENTER

Gardener spraying water on plants in garden center (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER TAKING CARE OF PLANTS IN SHOP

Gardener taking care of plants in shop (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER TAKING CARE OF POTTED PLANT AT SHOP

Gardener taking care of potted plant at shop (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

HAPPY GARDENER HOLDING CRATE OF PLANTS IN GARDEN CENTER

Happy gardener holding crate of plants in garden center (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER EXAMINING PLANT AT SHOP

Gardener examining plant at shop (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER TAKING CARE OF PLANT IN PLANT NURSERY

Gardener taking care of plant in plant nursery (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

HAPPY FLORIST HOLDING BUNCH OF FLOWERS

Happy florist holding bunch of flowers (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

YOUNG FLORIST SMELLING PINK COLORED FLOWER

Young florist smelling pink colored flower (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING FLORIST HOLDING PINK COLORED FLOWERS OVER EYES

Smiling florist holding pink colored flowers over eyes (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER WATERING PLANTS WITH CAN

Gardener watering plants with can (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER STANDING WITH WATERING CAN NEAR PLANTS

Gardener standing with watering can near plants (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING GARDENER HOLDING CRATE OF PLANTS IN GARDEN CENTER

Smiling gardener holding crate of plants in garden center (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER HOLDING CRATE OF PLANTS

Gardener holding crate of plants (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING FLORIST SMELLING FLOWERS AT STORE

Smiling florist smelling flowers at store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING FLORIST ARRANGING FLOWERS IN VASE AT STORE

Smiling florist arranging flowers in vase at store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

THOUGHTFUL FLORIST STANDING WITH COFFEE CUP AT FLOWER STORE

Thoughtful florist standing with coffee cup at flower store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

HAPPY FLORIST STANDING WITH DIARY AT RECEPTION DESK

Happy florist standing with diary at reception desk (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING FLORIST LEANING NEAR VARIOUS FLOWERS ON DESK

Smiling florist leaning near various flowers on desk (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

FLORIST STANDING AT RECEPTION DESK IN FLOWER STORE

Florist standing at reception desk in flower store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER HOLDING PRUNING SHEARS AT GARDENING STORE

Gardener holding pruning shears at gardening store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

FLORIST HOLDING PRUNING SHEARS AT STORE

Florist holding pruning shears at store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING FLORIST STANDING WITH TABLET PC AND HAND IN POCKET AT GARDEN CENTER

Smiling florist standing with tablet PC and hand in pocket at garden center (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

FLORIST WITH TABLET PC AT FLOWER STORE

Florist with tablet PC at flower store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

SMILING GARDENER SITTING WITH TABLET PC AT STORE

Smiling gardener sitting with tablet PC at store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

GARDENER TAKING CARE OF PLANTS IN STORE

Gardener taking care of plants in store (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

FLORIST WITH HANDS IN POCKETS AT FLOWER SHOP

Florist with hands in pockets at flower shop (KEYSTONE/WESTEND61/SERGEI ANISCHENKO)

BOY ASSEMBLING TOY SNAKE MODEL NEAR DOG AT HOME

Boy assembling toy snake model near dog at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

BOY ASSEMBLING TOY SNAKE NEAR DOG AT HOME

Boy assembling toy snake near dog at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

BOY MAKING TOY MODEL USING SCREWDRIVER AT HOME

Boy making toy model using screwdriver at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

BOY USING SCREWDRIVER AND MAKING TOY MODEL AT HOME

Boy using screwdriver and making toy model at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

SMILING BOY ASSEMBLING TOY MODEL AT HOME

Smiling boy assembling toy model at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

BOY READING INSTRUCTION MANUAL TO MAKE TOY MODEL AT HOME

Boy reading instruction manual to make toy model at home (KEYSTONE/WESTEND61/ELENA MEDOKS)

BOY TEACHING BROTHER TO MAKE TOY MODEL AT HOME

Boy teaching brother to make toy model at home (KEYSTONE/WESTEND61/ELENA MEDOKS)