I need you to answer the questions for all the images

I need you to answer the questions for all the images , I will send you the book so you can get the information from there.

The questions are:

1. Identify the image.
   • Supply the title given in your image list (if a proper name of a work, like “Mona Lisa”,
     is available use this. If only a description of the piece is available, like “Stonehenge”,
     use that.).
     
   • Give the artist(s) name(s) if available.
     
   • List the year or time period the piece was created (use the information supplied on your
     
     image lists with each quiz grade).
     
2. When was this artwork created? Supply any information about how this affected the
   creation of the piece or how this influenced others at this time.
3. Where was this artwork created? Supply any information about how this affected the
   creation of the piece or how this influenced others in the area.
4. If known, who created this artwork and why did they create it? Did the artist(s) create other
   work that influenced or was influenced by this piece? Did this person’s occupation and/or
   religious or political beliefs affect the artwork’s creation?
5. Are there any more points you would like to make that were not stated above that further
   explain why this piece is important to study in the history of graphic design?

The Art work are:

Images :

• Cave Painting from Lascaux, c. 15,000-10,000 BCE
• Cuneiform tablet from Umma, c. 2050 BCE
• Stele bearing the Code of Hammurabi, 1792-1750 BCE (include both full image
  and detail of writing)
• Stamp-cylinder seal (“the Tyszkiewicz seal”), Hittite, 1650-1200 BCE
• The Rosetta Stone
• Detail from the Papyrus of Hunefar
• Votive stela with four figures, 5th century BCE
• Etruscan Bucchero vase, 7th or 6th century BCE
• Carved inscription on Trajan’s column
• Four-handled vessel with chin-wen inscription, 11th century BCE (both full
  image and detail of writing)
• Shi Tao, the Love of Lotus landscape, Qing dynasty (1644-19120 CE)
• The Diamond Sutra, 868
• Chinese movable types, c. 1300 BCE (image 3-19)
  • The Vatican Vergil, The Death of Laocoön (use image 4-1)
  • The Book of Durrow, Matthew (symbol of man) facing the opening of St.
    Matthew
  • The Lindisfarne Gospels, carpet page facing the opening of St. Matthew
  • The Book of Kells, Chi-Rho page
  • The Book of Kells, symbols for authors of the four Gospels
  • The Book of Kells, text page with ornamental initials (use image 4-9)
  • Coronation Gospels, opening page of St. Mark’s Gospel
  • The Four Horsemen of the Apocalypse from the Beatus of Fernando and Sancha
  • Douce Apocalypse, (image of St. John by the multitudes worshipping God, image
    used in lectures and in Meggs)
  • Ormesby Psalter, (use image 4-19)
  • Mustafa al-Khalil, frontispiece of a manuscript Qu’ran, 1739 (use image 4-21)
  • The Limbourg brothers, January and February pages from Les tres riches heures
    du duc de Berry
  • Pages from Ars Memorandi per Figuras Evangelistarum, c. 1470
  • Johann Gutenberg, pages 146 and 147 from The Gutenberg Bible
  • Fust and Schoeffer, colophon and trademark from a Psalter in Latin
    (use image 5-17)
  • • Albrecht Pfister (printer), illustration from second edition of Der Ackerman aus
      Bohmen (Death and the Ploughman), c. 1463
    • Anton Koberger, pages from the Nuremberg Chronicle (see image 6-11 AND 6-
      12)
    • Albrecht Dürer, The Four Horsemen of the Apocalypse
    • Albrecht Dürer, from Underweisung der Messung (see image 6-20)
    • Lucas Cranach the Younger, broadside including commemorative portrait of
      Martin Luther, 1539
    • Arnao Guillén de Brocar, page from the Polygot Bible, 1514-17 (see image 6-36)
    • Printer’s trademark, 1481, attributed to Andreas Torresanus (use image 7-5)
    • Laurentius de Rubeis, printer’s mark, 1482
    • Pere Miguel, printer’s mark, 1494
    • Aldus Manutius, printer’s trademark, c. 1500
    • Geoffrey Tory, construction of the letter Q,V, and R from Champ Fleury (see
      image 7-36)
    • Geoffrey Tory, fantastic alphabet from Champ Fleury (see image 7-37)
    • Johann Oporinus (printer), page from De Humani Corporis Fabrica
    • Abraham Bosse, Printing Shop-The Plate Printer
    • • Louis Simonneau, Romain du Roi, 1695 late 1600s
      • Pierre Simon Fournier le Jeune, pages from Manuel Typographique, 1764
        and 1768. (see 8-7 and 8-8)
      • George Bickman the Elder, the page for The Universal Penman, c. 1750
      • Giambattista Bodoni, title page from Manuale Tipografico, 1818
      • Pierre Didot, title page for Vergil’s Bucolica, Georgica, et Aeneis,1798
      • William Blake, title page from The Book of Thel, 1789
      • William Caslon and William Caslon II, title page from A Specimen of
        Printing Types, 1764
      • Robert Thorne, fat-face types, 1821
      • Vincent Figgins, sixteen-line pica, Antique, 1840
      • Robert Thorne, Egyptian type designs, 1821
      • Henry Caslon, Ionic type specimen, mid-1840s
      • Rand and Avery foundry, ornamental fonts, 1867
      • William Caslon IV, 2-Line English Egyptian type specimen, 1816
        (first sans serif)
      • Joseph Niépce, View from the Window at Le Gras, c. 1826
        (first photograph from nature)
      • Louis Jacques Daguerre, Paris Boulevard, 1839
      • F.T. Nader, “Sarah Bernhardt”, 1859
      • Title page for The Pencil of Nature, 1844
      • John H. Bufford’s Sons “Swedish Song Quartett” poster, 1867
      • Louis Prang, Valentine card, 1883
      • Forst, Averell & Co., poster for Hoe printing press, 1870
      • Morris Pere et Fils (letterpress printers) and Emile Levy (lithographer),
        “Cirque d’hiver” poster, 1871
      • Richard G. Tietze, poster for Harper’s Magazine, December 1883
      • Thomas Nast, political cartoon from Harper’s Weekly, 1871 (9-71B)
      • Trademark for Moss Engraving Company, 1872
      • • Arthur H Mackmurdo, Century Guild trademark, 1884
        • Arthur H Mackmurdo, book cover for Wren’s City Churches, 1883
        • Selwyn Image, title page from The Century Guild Hobby Horse, 1884
        • Arthur H. Mackmurdo, design element from the Hobby Horse
          (use image 10-9)
        • William Morris, trademark for the Kelmscott Press, 1892
        • William Morris (designer) and Walter Crane (illustrator), page from
          The Story of Glittering Plain (use image 10-17)
        • William Morris (designer) and Edward Burne-Jones (illustrator), The
          Works of Geoffrey Chaucer, (opening title spread), 1896
        • T.J. Cobden-Sanderson and Emery Walker, pages from the Doves
          Press Bible, 1903
        • Lucien and Esther Pisarro, pages from Ishtar’s Descent into Nether
          World, 1903
        • Kitagawa Utamaro, portrait of a courtesan, late 1700s (use image 11-3)
        • Jules Cheret, Orphee aux Enfers, 1879
        • Aubrey Beardsley, “The Peacock Skirt”, illustration from Oscar Wilde’s
          Salome, 1894
        • Aubrey Beardsley, “John and Salome”, illustration from Oscar Wilde’s
          Salome, 1894
        • Aubrey Beardsley, “The Dancer’s Reward”, illustration from Oscar
          Wilde’s Salome, 1894
        • Henri de Toulouse-Lautrec, La Goulue au Moulin Rouge, lithographic
          poster, 1891
        • Alphonse Mucha, lithographic poster for Job cigarette papers, 1898
        • Alphonse Mucha, Gismonda, lithographic poster, 1894
        • Eugene Grasset, lithographic poster for Sarah Bernhardt as Joan of Arc,
          1894
        • Will Bradley, cover for the Inland Printer, Christmas 1895 edition
        • Théophile Alexandre Steinlen, poster for “Tournée du Chat Noir de
          Rodolphe Salis”, 1896
        • Will Bradley, cover for The Chap Book, 1895
        • Otto Eckmann, Jugend cover, 1896 (use image 11-71)
        • Peter Behrens, page design for Jugend, 1904 (use image 11-73)
        • Henri van de Velde, poster for Tropon food concentrate, 1899
        • Peter Behrens, The Kiss, 1898