Prints
Etchings, lithographs, woodcuts, and engravings
Sun Rays—Paula, Berlin - Alfred Stieglitz
"Sun Rays—Paula, Berlin" by Alfred Stieglitz (1889, printed 1920/39) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1926) Gelatin silver print.
Read commentary →The Bride, cover for The Prima Donna Waltz sheet music - George Baxter
"The Bride, cover for The Prima Donna Waltz sheet music" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on ivory wove paper with letterpress in gold.
Read commentary →The Bride, cover for The Prima Donna Waltz sheet music - George Baxter
"The Bride, cover for The Prima Donna Waltz sheet music" by George Baxter (1850) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on ivory wove paper with letterpress in gold.
Read commentary →The Massacre of the Lamented Missionary, The Rev. J. Williams and Mr Harris - George Baxter
"The Massacre of the Lamented Missionary, The Rev. J. Williams and Mr Harris" by George Baxter (1841) Steel etching and stipple printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →The Reception of the Rev. J. Williams, at Tanna in the South Seas, the Day Before He was Massacred - George Baxter
"The Reception of the Rev. J. Williams, at Tanna in the South Seas, the Day Before He was Massacred" by George Baxter (1841) Steel etching printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →The Parting Look (without Man and Box) - George Baxter
"The Parting Look (without Man and Box)" by George Baxter (1858) Steel engraving colored with wooden blocks, on paper.
Read commentary →The Parting Look (with Man and Box) - George Baxter
"The Parting Look (with Man and Box)" by George Baxter (1858) Steel engraving colored with wooden blocks, on paper.
Read commentary →The Mountain Stream - George Baxter
"The Mountain Stream" by George Baxter (n.d.) Steel engraving colored with wooden blocks on paper.
Read commentary →The Dogs of St. Bernard - George Baxter
"The Dogs of St. Bernard" by George Baxter (n.d.) Steel engraving colored with wooden blocks on paper.
Read commentary →Lake Lucerne, Switzerland - George Baxter
"Lake Lucerne, Switzerland" by George Baxter (1857) Steel engraving colored with wooden blocks, on paper.
Read commentary →The Bridesmaid - George Baxter
"The Bridesmaid" by George Baxter (n.d.) Steel engraving colored with wooden blocks on paper.
Read commentary →Arrival of Her Most Gracious Majesty at House of Lords to Open First Parliament of her Reign - George Baxter
"Arrival of Her Most Gracious Majesty at House of Lords to Open First Parliament of her Reign" by George Baxter (n.d.) Steel engraving colored with wooden blocks on paper.
Read commentary →Her Most Gracious Majesty Queen Victoria Receiving the Sacrament at her Coronation - George Baxter
"Her Most Gracious Majesty Queen Victoria Receiving the Sacrament at her Coronation" by George Baxter (n.d.) Steel engraving colored with wooden blocks on paper.
Read commentary →The Massacre of the Lamented Missionary the Rev. J. Williams and Mr. Harris, from Two Specimens - George Baxter
"The Massacre of the Lamented Missionary the Rev. J. Williams and Mr. Harris, from Two Specimens" by George Baxter (1841) Steel etching printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Reception of the Rev. J. Williams, at Tanna in the South Seas, the Day Before He was Massacred, from Two Specimens - George Baxter
"The Reception of the Rev. J. Williams, at Tanna in the South Seas, the Day Before He was Massacred, from Two Specimens" by George Baxter (1841) Steel etching printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Crucifixion, also called The Large Crucifixion - George Baxter
"The Crucifixion, also called The Large Crucifixion" by George Baxter (1855) Etching and aquatint in black and block printing in sepia on ivory wove paper, varnished (Baxterotype), laid down on original mount.
Read commentary →Victoria, Queen of Great Britain, India, etc., also called The Large Queen - George Baxter
"Victoria, Queen of Great Britain, India, etc., also called The Large Queen" by George Baxter (1859) Etching, mezzotint, and roulette on steel, printed in black, with color block printing, on ivory wove paper, varnished, laid down on original mount.
Read commentary →First Impression, also called First Impressions (Large) - George Baxter
"First Impression, also called First Impressions (Large)" by George Baxter (c. 1864) Etching and aquatint on steel, printed in black, with block printing in color, on white wove paper, varnished.
Read commentary →The Wreck of the Reliance (November 12, 1842) - George Baxter
"The Wreck of the Reliance (November 12, 1842)" by George Baxter (November 1, 1843) Steel engraving, with block printing in oil-based colored inks on paper.
Read commentary →The Ordinance of Baptism, from Missions in Jamaica - George Baxter
"The Ordinance of Baptism, from Missions in Jamaica" by George Baxter (1843) Etching and stipple printed in black, with block printing in color, on wove paper, varnishd, laid down on original mount.
Read commentary →The Hop Garden - George Baxter
"The Hop Garden" by George Baxter (1856) Steel etching, aquatint, and stipple printed in purple, with block printing in colors from 12 zinc blocks, on wove paper, laid down on original stamped mount.
Read commentary →Indian Settlement - George Baxter
"Indian Settlement" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →Avalanche at Lewes - George Baxter
"Avalanche at Lewes" by George Baxter (1837) Steel etching and aquatint printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Air Bird - George Baxter
"Air Bird" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Temperate - George Baxter
"Temperate" by George Baxter (1835) Steel etching and stipple printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Tropical Scenery - George Baxter
"Tropical Scenery" by George Baxter (1835) Steel etching and stipple printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Polar Sky - George Baxter
"Polar Sky" by George Baxter (1835) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Tropical Scenery - George Baxter
"Tropical Scenery" by George Baxter (1835) Steel etching and stipple printed in green, with block printing in colors, on ivory wove paper, laid down on original stamped mount.
Read commentary →Miss Aldersey's School at Ningpo - George Baxter
"Miss Aldersey's School at Ningpo" by George Baxter (1847) Steel etching printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Hollyhocks - George Baxter
"Hollyhocks" by George Baxter (1857) Aquatint on steel printed in brown, with block printing in colors, on wove paper, laid down on board.
Read commentary →Puss Napping - George Baxter
"Puss Napping" by George Baxter (1856) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from four zinc blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Late Duke of Wellington, also called Wellington without arm - George Baxter
"The Late Duke of Wellington, also called Wellington without arm" by George Baxter (1852) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Emperor Napoleon I - George Baxter
"The Emperor Napoleon I" by George Baxter (1853) Steel etching, aquatint, and stipple printed in black, with block printing in colors from 12 blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Princess Royal, Princess of Prussia - George Baxter
"The Princess Royal, Princess of Prussia" by George Baxter (1858) Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →The First Impression - George Baxter
"The First Impression" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on card.
Read commentary →English Ship by Moonlight (Melaia) - George Baxter
"English Ship by Moonlight (Melaia)" by George Baxter (1838) Steel etching, aquatint, and roulette printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Summer Fly - George Baxter
"Summer Fly" by George Baxter (1837) Steel etching printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Turn of the Monsoon - George Baxter
"Turn of the Monsoon" by George Baxter (1837) Steel etching and aquatint printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →The Holy Family, also called The Large Holy Family - George Baxter
"The Holy Family, also called The Large Holy Family" by George Baxter (1855) Etching and aquatint on steel, printed in black, with block printing in sepia, on wove paper, varnished (Baxterotype), laid down on original mount.
Read commentary →The Ordinance of Baptism, from Missions in Jamaica - George Baxter
"The Ordinance of Baptism, from Missions in Jamaica" by George Baxter (1843) Etching and stipple printed in black, with block printing in color, on wove paper, varnished, laid down on original mount.
Read commentary →"So Tired!" - George Baxter
""So Tired!"" by George Baxter (1853) Steel etching and stipple printed in brown, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →See Saw Margery Daw, also known as Miss Mischief - George Baxter
"See Saw Margery Daw, also known as Miss Mischief" by George Baxter (1858) Steel etching, aquatint, and stipple printed in black, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →Victoria, Queen of Great Britain, also called Queen's Hand on Table - George Baxter
"Victoria, Queen of Great Britain, also called Queen's Hand on Table" by George Baxter (after 1839) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →Pas des Trois and Fairy Scenes (from Set of Needle Prints) - George Baxter
"Pas des Trois and Fairy Scenes (from Set of Needle Prints)" by George Baxter (c. 1851) Steel etching and stipple printed in black, with block printing in colors, on wove paper (two compositions on one sheet).
Read commentary →The Greek Dance - George Baxter
"The Greek Dance" by George Baxter (1850) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Rafaralahy, Governor of Foule Point Madagascar - George Baxter
"Rafaralahy, Governor of Foule Point Madagascar" by George Baxter (1839) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →The Mosaic Pavement at Pitney, also called At Pitney, Co. Somt. 1829 - George Baxter
"The Mosaic Pavement at Pitney, also called At Pitney, Co. Somt. 1829" by George Baxter (1836) Block printing in colors, with debossing, on ivory wove paper.
Read commentary →Convolvulus Leaves, Flower, and Bud, from Baxter's Agricultural and Horticultural Gleaner - George Baxter
"Convolvulus Leaves, Flower, and Bud, from Baxter's Agricultural and Horticultural Gleaner" by George Baxter (1836) Block printing in colors, and letterpress, on ivory wove paper.
Read commentary →Polar Sky - George Baxter
"Polar Sky" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Parhelia, from Astronomy and Scripture - George Baxter
"Parhelia, from Astronomy and Scripture" by George Baxter (1843) Steel etching, printed in blue, with block printing in colors, on wove paper.
Read commentary →Netley Abbey - George Baxter
"Netley Abbey" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors from 11 blocks, on wove paper, laid down on original stamped mount.
Read commentary →Windsor Castle, from the Long Walk - George Baxter
"Windsor Castle, from the Long Walk" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Christmas Time - George Baxter
"Christmas Time" by George Baxter (1859) Steel engraving printed in black, with block printing in colors, on wove paper, varnished, laid down.
Read commentary →The Birth of the Saviour, also called The Nativity or The Adoration - George Baxter
"The Birth of the Saviour, also called The Nativity or The Adoration" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors from 14 blocks, on wove paper, laid down on original stamped mount.
Read commentary →Her Majesty Queen Victoria, also called The De la Rue Queen - George Baxter
"Her Majesty Queen Victoria, also called The De la Rue Queen" by George Baxter (c. 1850) Steel etching, stipple, and roulette printed in purple, with block printing in colors, on laid paper.
Read commentary →Queen and the Heroes of India - George Baxter
"Queen and the Heroes of India" by George Baxter (1857) Steel etching and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →Children Outside Gates of a Mansion (Tales for Girls) - George Baxter
"Children Outside Gates of a Mansion (Tales for Girls)" by George Baxter (1836) Steel etching and aquatint printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Lo Studio - George Baxter
"Lo Studio" by George Baxter (1839) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Evening on the Sea - George Baxter
"Evening on the Sea" by George Baxter (1835) Steel etching and aquatint printed in black, with block printing in colors, on ivory wove paper.
Read commentary →View from Deserted Rock Quarry on the Wye (top), and Winter, also called The Small Winter, the long print (bottom) - George Baxter
"View from Deserted Rock Quarry on the Wye (top), and Winter, also called The Small Winter, the long print (bottom)" by George Baxter (1849, printed 1936) Aquatint in black (top), and aquatint and stipple engraving in black (bottom), on ivory wove paper.
Read commentary →The Day before Marriage - George Baxter
"The Day before Marriage" by George Baxter (1854) Etching, aquatint, and roulette on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on board.
Read commentary →Windsor Castle, also called Returning From Stag Hunting - George Baxter
"Windsor Castle, also called Returning From Stag Hunting" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors from 12 blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Late Duke of Wellington (with Arm) - George Baxter
"The Late Duke of Wellington (with Arm)" by George Baxter (1853) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Conchologists, also called The Large Conchologists - George Baxter
"The Conchologists, also called The Large Conchologists" by George Baxter (1850) Steel etching and roulette printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Six Malagasy Christians (now in England) Waiting at Tamatava to Embark for Mauritius - George Baxter
"The Six Malagasy Christians (now in England) Waiting at Tamatava to Embark for Mauritius" by George Baxter (1840) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →The Dying Gladiator - George Baxter
"The Dying Gladiator" by George Baxter (1838) Steel etching and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →A Bird of Spring - George Baxter
"A Bird of Spring" by George Baxter (1837) Steel etching printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →The Mosaic Pavement at Pitney, also called The Roman Pavement at Pitney - George Baxter
"The Mosaic Pavement at Pitney, also called The Roman Pavement at Pitney" by George Baxter (1836) Block printing in colors on ivory wove paper.
Read commentary →The Conqueror of Europe (Auricula) - George Baxter
"The Conqueror of Europe (Auricula)" by George Baxter (1836) Steel etching and roulette printed in green, with block printing in colors, on ivory wove paper.
Read commentary →The Shore - George Baxter
"The Shore" by George Baxter (1835) Steel etching and aquatint printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Temperate - George Baxter
"Temperate" by George Baxter (1835) Steel etching printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Near Folkstone, Midday - George Baxter
"Near Folkstone, Midday" by George Baxter (1847) Steel etching and stipple printed in blue, with block printing in colors, on wove paper.
Read commentary →"I Don't Like It!," also called "So Nasty!" - George Baxter
""I Don't Like It!," also called "So Nasty!"" by George Baxter (1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors from eight zinc blocks, on wove paper, laid down on original stamped mount.
Read commentary →Edmund Burke - George Baxter
"Edmund Burke" by George Baxter (1856) Steel etching and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →Jetty Treffz (Mademoiselle Jetty Treffz) - George Baxter
"Jetty Treffz (Mademoiselle Jetty Treffz)" by George Baxter (1850) Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →The Great Exhibition (Small Exterior) - George Baxter
"The Great Exhibition (Small Exterior)" by George Baxter (1851) Steel etching and stipple printed in puple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →Paul and Virginia, also called The Large Paul and Virginia - George Baxter
"Paul and Virginia, also called The Large Paul and Virginia" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Greek Dance And Harem Set - George Baxter
"The Greek Dance And Harem Set" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper (two compositions on one sheet).
Read commentary →Rev. John Williams (Small) - George Baxter
"Rev. John Williams (Small)" by George Baxter (1840) Stipple and etching in black on ivory wove paper.
Read commentary →The Old Water Mill - George Baxter
"The Old Water Mill" by George Baxter (1838) Steel etching and aquatint printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Isola Bella, Lago Maggiore, Italy - George Baxter
"Isola Bella, Lago Maggiore, Italy" by George Baxter (1837) Steel etching printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →The Seasons - George Baxter
"The Seasons" by George Baxter (1836) Steel etching printed in brown, with block printing in colors, on ivory wove paper.
Read commentary →Flora, also called Flora the Gypsy Girl - George Baxter
"Flora, also called Flora the Gypsy Girl" by George Baxter (1852) Steel engraving, with stipple, printed in black, with block printing in 11 colors, on wove paper, laid down on original mount.
Read commentary →Sir David Scott, Bart. K.G.H. - George Baxter
"Sir David Scott, Bart. K.G.H." by George Baxter (c. 1836) Aquatint, mezzotint, and roulette in black on ivory wove paper.
Read commentary →Dove Dale - George Baxter
"Dove Dale" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →View from Windsor Forest - George Baxter
"View from Windsor Forest" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors from 11 blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Birth of the Saviour, also called The Nativity or The Adoration - George Baxter
"The Birth of the Saviour, also called The Nativity or The Adoration" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors from 14 blocks, on wove paper, laid down on original stamped mount.
Read commentary →Paul and Virginia, also called The Small Paul and Virginia - George Baxter
"Paul and Virginia, also called The Small Paul and Virginia" by George Baxter (1848) Steel etching printed in black, with block printing in colors, on wove paper, laid down on buff wove paper.
Read commentary →The Conchologists, also called The Large Conchologists - George Baxter
"The Conchologists, also called The Large Conchologists" by George Baxter (1850) Steel etching and roulette printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Judgment of Brutus - George Baxter
"The Judgment of Brutus" by George Baxter (1840) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Milo of Crotona Rending the Oak - George Baxter
"Milo of Crotona Rending the Oak" by George Baxter (1838) Steel etching and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Winter Bird - George Baxter
"Winter Bird" by George Baxter (1837) Steel etching and aquatint printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Tropical Scenery - George Baxter
"Tropical Scenery" by George Baxter (1835) Steel etching printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Belle of the Village - George Baxter
"Belle of the Village" by George Baxter (1854) Aquatint, stipple, and engraving on steel, printed in brown, with block printing in colors, on wove paper, varnished, laid down on wove paper mount.
Read commentary →The Crucifixion, also called The Large Crucifixion - George Baxter
"The Crucifixion, also called The Large Crucifixion" by George Baxter (1855) Etching and aquatint in black and block printing in sepia on ivory wove paper, varnished (Baxterotype), laid downon original blindstamped mount.
Read commentary →Shall I Succeed? - George Baxter
"Shall I Succeed?" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Short Change - George Baxter
"Short Change" by George Baxter (1856) Steel etching and stipple printed in black, with block printing in colors from ten blocks, on wove paper, laid down on original stamped mount.
Read commentary →The May Queen Set - George Baxter
"The May Queen Set" by George Baxter (1858) Steel etching, aquatint, and stipple printed in black, with block printing in colors (from 8 blocks), on ivory wove paper.
Read commentary →The Allied Sovereigns and the Commanders of Their Forces - George Baxter
"The Allied Sovereigns and the Commanders of Their Forces" by George Baxter (1855) Steel etching and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →Fairy Scenes - George Baxter
"Fairy Scenes" by George Baxter (c. 1851) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Harem - George Baxter
"The Harem" by George Baxter (1850) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Rev. J. Williams First Interview with the Natives of Erromanga - George Baxter
"The Rev. J. Williams First Interview with the Natives of Erromanga" by George Baxter (1842) Steel etching and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Michaelangelo's Moses - George Baxter
"Michaelangelo's Moses" by George Baxter (1839) Steel etching and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Bohemian Peasants, Near Toplitz - George Baxter
"Bohemian Peasants, Near Toplitz" by George Baxter (1836) Steel etching, with block printing in colors, on ivory wove paper.
Read commentary →The Seasons - George Baxter
"The Seasons" by George Baxter (1835) Block printing in colors, on ivory wove paper.
Read commentary →Windsor Forest (Pocket Book version) - George Baxter
"Windsor Forest (Pocket Book version)" by George Baxter (1850) Steel etching and stipple printed in brown, with block printing in colors from 11 blocks, on wove paper, laid down on original mount.
Read commentary →The Saviour, also called Ecce Homo - George Baxter
"The Saviour, also called Ecce Homo" by George Baxter (1854) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia from two blocks, on wove paper, laid down on original stamped mount.
Read commentary →"It is Finished!" - George Baxter
""It is Finished!"" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount (Baxterotype process).
Read commentary →Jerusalem, from the Mount of Olives - George Baxter
"Jerusalem, from the Mount of Olives" by George Baxter (1849) Steel etching, aquatint, roulette, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →His Royal Highness Prince Albert (Blue Breeches) - George Baxter
"His Royal Highness Prince Albert (Blue Breeches)" by George Baxter (1848) Steel etching and stipple printed in black, with block printing in colors (from 12 blocks), on laid paper, laid down on buff wove paper with framing line in blue ink.
Read commentary →Parsonage at Ovingham - George Baxter
"Parsonage at Ovingham" by George Baxter (1839) Steel etching with block printing in sepia, on ivory wove paper.
Read commentary →Socrates - George Baxter
"Socrates" by George Baxter (1840) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Lo Studio - George Baxter
"Lo Studio" by George Baxter (1839) Steel etching and aquatint printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Advice on the Care of Teeth - George Baxter
"Advice on the Care of Teeth" by George Baxter (1837) Steel etching printed in black with block printing in colors, with liftable flap, on wove paper.
Read commentary →The Welsh Harper - George Baxter
"The Welsh Harper" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Miss Aldersby's School at Ningpo - George Baxter
"Miss Aldersby's School at Ningpo" by George Baxter (1847) Steel etching printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Victoria, Queen of Great Britain, India, etc., also called The Large Queen - George Baxter
"Victoria, Queen of Great Britain, India, etc., also called The Large Queen" by George Baxter (1859) Etching, mezzotint, and roulette on steel, printed in black, on ivory wove paper.
Read commentary →Derwent Water, Cumberland - George Baxter
"Derwent Water, Cumberland" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Balmoral Castle - George Baxter
"Balmoral Castle" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on wove card.
Read commentary →Infantine Jealousy - George Baxter
"Infantine Jealousy" by George Baxter (1857) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from ten blocks, on wove paper, laid down on original stamped mount.
Read commentary →Eugenie, Empress of the French - George Baxter
"Eugenie, Empress of the French" by George Baxter (1854) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from nine blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Pas des Trois - George Baxter
"The Pas des Trois" by George Baxter (1855) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Religious Events No. 1 - George Baxter
"Religious Events No. 1" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Hungarian Peasants - George Baxter
"Hungarian Peasants" by George Baxter (1836) Steel etching, with block printing in colors (from 10 blocks), on ivory wove paper.
Read commentary →Modifications of Clouds - George Baxter
"Modifications of Clouds" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Eagle and Vulture - George Baxter
"Eagle and Vulture" by George Baxter (1834) Block printing in colors on ivoy wove paper.
Read commentary →The Greek Dance - George Baxter
"The Greek Dance" by George Baxter (1850) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Lovers' Letter-Box - George Baxter
"The Lovers' Letter-Box" by George Baxter (1856) Etching, stipple, and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on secondary support.
Read commentary →The Slaves - George Baxter
"The Slaves" by George Baxter (1855) Etching and aquatint on steel, printed in black, with block printing in sepia, on wove paper, varnished (Baxterotype), laid down on thick wove paper.
Read commentary →Lord Nelson - George Baxter
"Lord Nelson" by George Baxter (1853) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Jenny Lind (Mademoiselle Jenny Lind) - George Baxter
"Jenny Lind (Mademoiselle Jenny Lind)" by George Baxter (1850) Steel etching, stipple, and roulette printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →His Royal Highness Prince of Wales - George Baxter
"His Royal Highness Prince of Wales" by George Baxter (1850) Steel etching and stipple printed in black, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →The Wesleyan Chapel, Popham's Broadway, Madras - George Baxter
"The Wesleyan Chapel, Popham's Broadway, Madras" by George Baxter (1846) Steel etching, with block printing in colors, on ivory wove paper.
Read commentary →The John Wesley Missionary Ship - George Baxter
"The John Wesley Missionary Ship" by George Baxter (1838/41) Steel etching, aquatint, and stipple printed in black on ivory wove paper.
Read commentary →Rev. John Williams - George Baxter
"Rev. John Williams" by George Baxter (1837) Steel etching and aquatint, with block printing in colors, on ivory wove paper.
Read commentary →Autumnal Artist - George Baxter
"Autumnal Artist" by George Baxter (1837) Steel etching printed in blue, with block printing in colors, on ivoy wove paper.
Read commentary →Caroline Mordaunt - George Baxter
"Caroline Mordaunt" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →"Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache - George Baxter
""Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache" by George Baxter (c. 1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Sir Robert Peel (without Finger) - George Baxter
"Sir Robert Peel (without Finger)" by George Baxter (1853) Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →His Royal Highness Prince Albert - George Baxter
"His Royal Highness Prince Albert" by George Baxter (1855) Steel etching and stipple printed in brown, with block printing in colors (from 9 blocks), on laid paper, laid down on original stamped mount.
Read commentary →The Houses of Parliament - George Baxter
"The Houses of Parliament" by George Baxter (1851) Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →Religious Events No. 2 - George Baxter
"Religious Events No. 2" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Vah-ta-ah, the Feejeean Princess - George Baxter
"Vah-ta-ah, the Feejeean Princess" by George Baxter (1857) Steel etching and stipple, with block printing in colors, on ivory wove paper.
Read commentary →The John Wesley Missionary Ship - George Baxter
"The John Wesley Missionary Ship" by George Baxter (1838/41) Steel etching, aquating, and stipple printed in black on ivory wove paper.
Read commentary →Virginia Water - George Baxter
"Virginia Water" by George Baxter (1836) Block printing in colors on ivory wove paper.
Read commentary →The End of Time - George Baxter
"The End of Time" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Eagle and Vulture - George Baxter
"Eagle and Vulture" by George Baxter (1834) Block printing in colors on ivory wove paper.
Read commentary →Her Majesty, H.R.H. Prince Albert, and Family Leaving Kingston Harbour, Ireland - George Baxter
"Her Majesty, H.R.H. Prince Albert, and Family Leaving Kingston Harbour, Ireland" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on wove card.
Read commentary →The Circassian Lady at the Bath - George Baxter
"The Circassian Lady at the Bath" by George Baxter (1850) Steel engraving, with stipple and roulette, printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →River Carnel, Cornwall - George Baxter
"River Carnel, Cornwall" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →River Carnel, Cornwall - George Baxter
"River Carnel, Cornwall" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →"So Nice!" - George Baxter
""So Nice!"" by George Baxter (1852) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Fisherman's Home - George Baxter
"The Fisherman's Home" by George Baxter (1849) Steel etching and stipple printed in purple, with block printing in colors from 12 blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Crucifixion, also called The Small Crucifixion - George Baxter
"The Crucifixion, also called The Small Crucifixion" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia from two zinc blocks, on wove paper, laid down on original stamped mount (Baxterotype process).
Read commentary →England's Queen, or Her Most Gracious Majesty the Queen - George Baxter
"England's Queen, or Her Most Gracious Majesty the Queen" by George Baxter (1848) Steel etching and stipple printed in black, with block printing in colors (from 13 blocks), on laid paper, laid down on buff wove paper, with framing line in blue ink.
Read commentary →King Saul, from Religious Events, No. 1 and No. 2. - George Baxter
"King Saul, from Religious Events, No. 1 and No. 2." by George Baxter (c. 1852) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount with printing in gold.
Read commentary →Child on a Bed - George Baxter
"Child on a Bed" by George Baxter (1840) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Domestic Happiness - George Baxter
"Domestic Happiness" by George Baxter (1840) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Prince Frederick William of Prussia - George Baxter
"Prince Frederick William of Prussia" by George Baxter (1858) Steel etching and stipple printed in black, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →His Royal Highness Prince Albert (Buckskin Trousers) - George Baxter
"His Royal Highness Prince Albert (Buckskin Trousers)" by George Baxter (1850) Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down.
Read commentary →The Bride, also called The Large Bride - George Baxter
"The Bride, also called The Large Bride" by George Baxter (1850) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Mission Premises at the Kuruman Station - George Baxter
"The Mission Premises at the Kuruman Station" by George Baxter (1842) Steel etching and aquatint, with block printing in colors, on ivory wove paper.
Read commentary →Cleopatra - George Baxter
"Cleopatra" by George Baxter (1837) Steel etching and stipple printd in purple, with block printing in colors (from 16 blocks), on wove paper, laid down on original stamped mount.
Read commentary →Little Grebes and Nests, from The Feathered Tribes of the British Islands - George Baxter
"Little Grebes and Nests, from The Feathered Tribes of the British Islands" by George Baxter (1834) Block printing in colors on ivory wove paper.
Read commentary →The Gardener's Shed - George Baxter
"The Gardener's Shed" by George Baxter (1856) Etching and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on board.
Read commentary →"Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache - George Baxter
""Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache" by George Baxter (c. 1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Sir Robert Peel, also called Peel with Extended Finger - George Baxter
"Sir Robert Peel, also called Peel with Extended Finger" by George Baxter (1853) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Daughter of the Regiment - George Baxter
"The Daughter of the Regiment" by George Baxter (1856) Steel etching and stipple printed in blue, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →The Princess Royal - George Baxter
"The Princess Royal" by George Baxter (1858) Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount.
Read commentary →Victoria, Queen of Great Britain, also called Queen and Headdress - George Baxter
"Victoria, Queen of Great Britain, also called Queen and Headdress" by George Baxter (1855) Steel etching and stipple printed in black, with block printing in colors (from 9 blocks), on laid paper, laid down on original stamped mount.
Read commentary →Destruction of the Tanjore by Lightening, off Ceylon - George Baxter
"Destruction of the Tanjore by Lightening, off Ceylon" by George Baxter (1844) Steel etching and stipple printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Wesleyan Mission Station at Waingaroa, New Zealand. Natives Assembling for Worship - George Baxter
"Wesleyan Mission Station at Waingaroa, New Zealand. Natives Assembling for Worship" by George Baxter (1846) Steel etching and stipple, with block printing in colors, on ivory wove paper.
Read commentary →Te Po, a Chief of Rarotonga - George Baxter
"Te Po, a Chief of Rarotonga" by George Baxter (1837) Steel etching printed in black, with block printing in colors, on ivory wove paper.
Read commentary →Vineyard near Mount St. Bernard - George Baxter
"Vineyard near Mount St. Bernard" by George Baxter (1837) Steel etching and aquatint printed in blue, with block printing in colors, on ivory wove paper.
Read commentary →Scene on the Mountain Tops - George Baxter
"Scene on the Mountain Tops" by George Baxter (1835) Block printing in colors on ivory wove paper.
Read commentary →Dippers and Nest, from The Feathered Tribes of the British Islands - George Baxter
"Dippers and Nest, from The Feathered Tribes of the British Islands" by George Baxter (1834) Block printing in colors on ivory wove paper.
Read commentary →The Holy Family - George Baxter
"The Holy Family" by George Baxter (1849–50) Steel etching and stipple printed in brown, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Finding of Moses, from Religious Events No. 1 - George Baxter
"The Finding of Moses, from Religious Events No. 1" by George Baxter (c. 1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Christ Blessing Bread, from Religious Events, No. 1 and No. 2 - George Baxter
"Christ Blessing Bread, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →The Fruit Girl of the Alps - George Baxter
"The Fruit Girl of the Alps" by George Baxter (1859) Etching, stipple, and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on original mount.
Read commentary →View From a Deserted Rock Quarry on the Wye - George Baxter
"View From a Deserted Rock Quarry on the Wye" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Welsh Drovers - George Baxter
"Welsh Drovers" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Cader Idris - George Baxter
"Cader Idris" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View from Richmond Hill, Noon - George Baxter
"View from Richmond Hill, Noon" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Rev. John Wesley - George Baxter
"Rev. John Wesley" by George Baxter (c. 1858) Steel etching and stipple printed in black, with block printing in colors from nine blocks, on wove paper, laid down on original stamped mount.
Read commentary →Hindoo Temple at Gyah Bahar - George Baxter
"Hindoo Temple at Gyah Bahar" by George Baxter (1847) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on wove paper.
Read commentary →South Down Sheep - George Baxter
"South Down Sheep" by George Baxter (1836) Block printing in colors on ivory wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →David, from Religious Events, No. 1 and No. 2 - George Baxter
"David, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →The Finding of Moses, from Religious Events, No. 1 and No. 2 - George Baxter
"The Finding of Moses, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →The New Year's Token, also called Christmas Present - George Baxter
"The New Year's Token, also called Christmas Present" by George Baxter (1836) Book with letterpress and two color wood engravings on ivory wove paper, bound in cover with tooled red leather.
Read commentary →La Tarantella Needle Box, also called The Small Tarantella - George Baxter
"La Tarantella Needle Box, also called The Small Tarantella" by George Baxter (c. 1850) Box with color wood engraving on ivory wove paper, laid down on box lid, and with ten small boxes, each with color wood engraving on ivory wove paper laid down on box lid, on the inside.
Read commentary →His Royal Highness, the Prince of Wales, also called Prince of Wales' Galop - George Baxter
"His Royal Highness, the Prince of Wales, also called Prince of Wales' Galop" by George Baxter (1859) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on wove paper titlepage with gold printing.
Read commentary →Dover Coast - George Baxter
"Dover Coast" by George Baxter (1855) Steel etching and aquatint printed in black on wove paper.
Read commentary →The Third Day He Rose Again - George Baxter
"The Third Day He Rose Again" by George Baxter (1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original card mount.
Read commentary →St. Ruth's Priory - George Baxter
"St. Ruth's Priory" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View from Richmond Hill, Noon - George Baxter
"View from Richmond Hill, Noon" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →London from Greenwich Observatory - George Baxter
"London from Greenwich Observatory" by George Baxter (1845) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →The Saviour, from Religious Events, No. 1 and No. 2 - George Baxter
"The Saviour, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →Needle Box with an impression of The Corn Field - George Baxter
"Needle Box with an impression of The Corn Field" by George Baxter (1857) Steel etching, with block printing in colors, on wove paper, laid down on box lid.
Read commentary →News from Australia - George Baxter
"News from Australia" by George Baxter (1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original card mount (trimmed).
Read commentary →St. Peter and St. John Healing the Sick, from The Raphael Cartoons - George Baxter
"St. Peter and St. John Healing the Sick, from The Raphael Cartoons" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount.
Read commentary →St. Paul Preaching at Athens, from The Raphael Cartoons - George Baxter
"St. Paul Preaching at Athens, from The Raphael Cartoons" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on ivory wove paper, laid down on original stamped mount.
Read commentary →Hagar And Ishmael, from Religious Events, No. 1 and No. 2 - George Baxter
"Hagar And Ishmael, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →George Pritchard - George Baxter
"George Pritchard" by George Baxter (1845) Steel etching printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Bala Lake, North Wales - George Baxter
"Bala Lake, North Wales" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Bolton Abbey - George Baxter
"Bolton Abbey" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Brighton Chain Pier - George Baxter
"Brighton Chain Pier" by George Baxter (1850) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View from Harrow-on-the-Hill - George Baxter
"View from Harrow-on-the-Hill" by George Baxter (1851) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Salutation, from Religious Events, No. 1 and No. 2 - George Baxter
"The Salutation, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →Man as a Moral and Accountable Being - George Baxter
"Man as a Moral and Accountable Being" by George Baxter (1840) Book with letterpress and two Baxter prints on ivory wove paper, bound in hardcover with green cloth.
Read commentary →Needle Box decorated with The Regal Set - George Baxter
"Needle Box decorated with The Regal Set" by George Baxter (1850) Box with steel etching printed in brown, with block printing in colors, on ivory wove paper, laid down on box lid, and with ten small boxes, each with Baxter prints on ivory wove paper laid down on box lid, on the inside.
Read commentary →The Landing of Her Majesty and Her Royal Highness Prince Albert, in Ireland - George Baxter
"The Landing of Her Majesty and Her Royal Highness Prince Albert, in Ireland" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Dover Coast - George Baxter
"Dover Coast" by George Baxter (1855) Steel etching and aquatint printed in black, with block printing in sepia, on ivory wove paper.
Read commentary →Prospectus with Royal Arms in Gold and Colours - George Baxter
"Prospectus with Royal Arms in Gold and Colours" by George Baxter (1840) Letterpress in black and block printing in colours on ivory wove paper.
Read commentary →Crucis Abbey - George Baxter
"Crucis Abbey" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Welsh Drovers - George Baxter
"Welsh Drovers" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Dripping Well, Hastings - George Baxter
"Dripping Well, Hastings" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View from Richmond Hill, Morning - George Baxter
"View from Richmond Hill, Morning" by George Baxter (1845) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper.
Read commentary →The Pictorial Album, or Cabinet of Paintings for the Year 1837 - George Baxter
"The Pictorial Album, or Cabinet of Paintings for the Year 1837" by George Baxter (1837) Book with letterpress and eleven Baxter prints on ivory wove paper, bound in hardcover with tooled and painted leather and dark red velvet.
Read commentary →Maritime Discovery and Christian Missions: Considered in Their Mutual Relations - George Baxter
"Maritime Discovery and Christian Missions: Considered in Their Mutual Relations" by George Baxter (1840) Book with letterpress, one Baxter print, and one engraving in black, on cream wove paper, bound in hardcover with dark blue cloth.
Read commentary →Our Village, Volume 1 - George Baxter
"Our Village, Volume 1" by George Baxter (1835) Book with letterpress and eighteen color wood engravings and steel etchings on cream wove paper, bound in paper board cover with green and red cloth.
Read commentary →The Rev. Robert Moffat - George Baxter
"The Rev. Robert Moffat" by George Baxter (1843) Steel etching and stipple printed in blue, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Hindoo and Mohamedan Buildings - George Baxter
"Hindoo and Mohamedan Buildings" by George Baxter (1834, printed 1835) Block printing in colors, on ivory wove paper, laid down on card.
Read commentary →River Tiefy, Cardiganshire - George Baxter
"River Tiefy, Cardiganshire" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Llangollen - George Baxter
"Llangollen" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Lovers' Seat, Hastings - George Baxter
"Lovers' Seat, Hastings" by George Baxter (1850) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on wove card.
Read commentary →The Royal Exchange - George Baxter
"The Royal Exchange" by George Baxter (1851) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Artist or, Young Ladies’ Instructor in Ornamental Painting, Drawing etc. consisting of lessons in Grecian painting, Japan painting, Oriental tinting, Mezzotinting, Transferring, Inlaying and manufacturing Ornamented articles for fancy fairs - George Baxter
"The Artist or, Young Ladies’ Instructor in Ornamental Painting, Drawing etc. consisting of lessons in Grecian painting, Japan painting, Oriental tinting, Mezzotinting, Transferring, Inlaying and manufacturing Ornamented articles for fancy fairs" by George Baxter (1835) Book with letterpress, two Baxter prints, and seventeen lithographs in black, on ivory wove paper, bound in cover with black lea
Read commentary →Man in His Physical Structure and Adaptations - George Baxter
"Man in His Physical Structure and Adaptations" by George Baxter (1838) Book with letterpress and two Baxter prints on cream wove paper, bound in hardcover with green cloth.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Her Majesty Queen Victoria, also called Queen Victoria as Sovereign of the Order of the Garter - George Baxter
"Her Majesty Queen Victoria, also called Queen Victoria as Sovereign of the Order of the Garter" by George Baxter (1839) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper.
Read commentary →The Death of Ananias, from The Raphael Cartoons - George Baxter
"The Death of Ananias, from The Raphael Cartoons" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount.
Read commentary →Proposed Communist Settlement of the Christian Commonwealth - George Baxter
"Proposed Communist Settlement of the Christian Commonwealth" by George Baxter (1845) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper, laid down on brown wove paper.
Read commentary →The Lamented Missionary, the Rev. John Williams - George Baxter
"The Lamented Missionary, the Rev. John Williams" by George Baxter (1843) Steel etching with stipple and roulette printed in black, with block printing in colors (from 22 blocks), on wove paper, laid down on card.
Read commentary →Funeral of the Late Duke of Wellington, also called St. Paul's Cathedral - George Baxter
"Funeral of the Late Duke of Wellington, also called St. Paul's Cathedral" by George Baxter (1852) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Our Village, Volume 2 - George Baxter
"Our Village, Volume 2" by George Baxter (1835) Book with letterpress and eighteen color wood engraving and steel etching on cream wove paper, bound in cover with green and red cloth.
Read commentary →Pin Cushion with the Portrait of the Duke of Cambridge, from The Allied Sovereigns and the Commanders of Their Forces - George Baxter
"Pin Cushion with the Portrait of the Duke of Cambridge, from The Allied Sovereigns and the Commanders of Their Forces" by George Baxter (1855) Medallion with color wood engraving and steel etching on ivory wove paper.
Read commentary →Key for Her Most Gracious Majesty Queen Victoria Receiving the Sacrament at her Coronation - George Baxter
"Key for Her Most Gracious Majesty Queen Victoria Receiving the Sacrament at her Coronation" by George Baxter (1841) Lithograph and letterpress on wove paper.
Read commentary →The Saviour Blessing the Bread - George Baxter
"The Saviour Blessing the Bread" by George Baxter (c. 1852) Steel etching, aquatint, and stipple printed in brown-black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →England's Queen, or Her Most Gracious Majesty the Queen - George Baxter
"England's Queen, or Her Most Gracious Majesty the Queen" by George Baxter (1848) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original card mount.
Read commentary →The First Lesson - George Baxter
"The First Lesson" by George Baxter (1855) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Lake Luggellaw - George Baxter
"Lake Luggellaw" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Lake Luggellaw - George Baxter
"Lake Luggellaw" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →View from Harrow-on-the-Hill - George Baxter
"View from Harrow-on-the-Hill" by George Baxter (1851) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on wove card.
Read commentary →The Child's Companion and Juvenile Instruction - George Baxter
"The Child's Companion and Juvenile Instruction" by George Baxter (1846) Wood engraving and letterpress in black on cream wove paper.
Read commentary →Boaz and Ruth, from Religious Events, No. 1 and No. 2 - George Baxter
"Boaz and Ruth, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1853) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →Joseph Sold, from Religious Events, No. 1 and No. 2 - George Baxter
"Joseph Sold, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →China: Its State and Prospects, with Special References to the Spread of the Gospel - George Baxter
"China: Its State and Prospects, with Special References to the Spread of the Gospel" by George Baxter (1838, republished 1842) Book with letterpress, one color wood engraving, and one wood engraving in black, on cream wove paper, bound in hardcover with light brown cloth.
Read commentary →Baxter's Agricultural and Horticultural Annual - George Baxter
"Baxter's Agricultural and Horticultural Annual" by George Baxter (1836) Book with letterpress and two Baxter prints on cream wove paper, bound in hardcover with green cloth.
Read commentary →The Holy Family - George Baxter
"The Holy Family" by George Baxter (1849–50) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on cover of a collection of sheet music.
Read commentary →The Reconciliation - George Baxter
"The Reconciliation" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Landing of Her Majesty and H.R.H. Prince Albert in Ireland - George Baxter
"The Landing of Her Majesty and H.R.H. Prince Albert in Ireland" by George Baxter (1850) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on wove paper frontispiece with printing in gold.
Read commentary →Fruit No. 2 - George Baxter
"Fruit No. 2" by George Baxter (1856) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Descent from the Cross - George Baxter
"The Descent from the Cross" by George Baxter (1852) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper laid down on original card mount.
Read commentary →Water Mill on the Wye - George Baxter
"Water Mill on the Wye" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Dripping Well, Hastings - George Baxter
"Dripping Well, Hastings" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Queen's Floral Needle Box Set, also called Ten Bouquets - George Baxter
"Queen's Floral Needle Box Set, also called Ten Bouquets" by George Baxter (1850) Steel etching and stipple printed in purple, with block printing in colors (from 9 blocks), on wove paper.
Read commentary →Le Souvenir or Pocket Tablet for 1848 - George Baxter
"Le Souvenir or Pocket Tablet for 1848" by George Baxter (1848) Book with letterpress, six color wood engravings and steel etchings, and collage of newspaper clippings on ivory wove paper, bound in red paper cover, tucked in paperboard slipcase with engraving in black on cream wove paper.
Read commentary →Australia, News From Home - George Baxter
"Australia, News From Home" by George Baxter (1853) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original card mount (trimmed).
Read commentary →Verona, Evening Scene - George Baxter
"Verona, Evening Scene" by George Baxter (1850) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Departure of the Camden, Missionary Ship - George Baxter
"The Departure of the Camden, Missionary Ship" by George Baxter (1838) Steel etching printed in blue, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Ben Nevis, Scotland - George Baxter
"Ben Nevis, Scotland" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Crucis Abbey - George Baxter
"Crucis Abbey" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Welsh Drovers - George Baxter
"Welsh Drovers" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Richmond Bridge - George Baxter
"Richmond Bridge" by George Baxter (1851) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View from Harrow-on-the-Hill - George Baxter
"View from Harrow-on-the-Hill" by George Baxter (1851) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Greenwich Castle, from The Child's Companion - George Baxter
"Greenwich Castle, from The Child's Companion" by George Baxter (1848) Wood engraving and letterpress in black on cream wove paper.
Read commentary →Our Village, Volume 3 - George Baxter
"Our Village, Volume 3" by George Baxter (1835) Book with letterpress and eighteen color wood engraving and steel etching on cream wove paper, bound in cover with green and red cloth.
Read commentary →Box with accordion book, with prints from Allied Sovereigns and Commanders - George Baxter
"Box with accordion book, with prints from Allied Sovereigns and Commanders" by George Baxter (1855/65) Box of painted leather and purple velvet (exterior), and blue velvet (interior) with color wood engraving and steel etching on ivory wove paper pasted inside lid, and accordion book with six Baxter prints on ivory wove paper.
Read commentary →His Royal Highness Prince Albert - George Baxter
"His Royal Highness Prince Albert" by George Baxter (1850) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Fruit No. 1 - George Baxter
"Fruit No. 1" by George Baxter (1856) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Death of Ananias, from The Raphael Cartoons - George Baxter
"The Death of Ananias, from The Raphael Cartoons" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount.
Read commentary →The Launch of the Trafalgar - George Baxter
"The Launch of the Trafalgar" by George Baxter (1842) Steel etching printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →Pomare, Queen Of Tahiti - George Baxter
"Pomare, Queen Of Tahiti" by George Baxter (1845) Steel etching printed in blue, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Tintern Abbey - George Baxter
"Tintern Abbey" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →View Near Ilkley - George Baxter
"View Near Ilkley" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on buff wove paper.
Read commentary →Dripping Well, Hastings - George Baxter
"Dripping Well, Hastings" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →King Saul, from Religious Events, No. 1 and No. 2 - George Baxter
"King Saul, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →Tales of the Great and the Brave - George Baxter
"Tales of the Great and the Brave" by George Baxter (1838) Book with letterpress and one Baxgter print on ivory wove paper, bound in hardcover with black cloth.
Read commentary →"Vive L'Emperor!" Napoleon III, also called Napoleon III short moustache - George Baxter
""Vive L'Emperor!" Napoleon III, also called Napoleon III short moustache" by George Baxter (c. 1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on wove paper cover printed in gold.
Read commentary →The Miraculous Draught of Fishes, from The Raphael Cartoons - George Baxter
"The Miraculous Draught of Fishes, from The Raphael Cartoons" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount.
Read commentary →The Ninth Hour - George Baxter
"The Ninth Hour" by George Baxter (1854) Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Norfolk Bridge, New Shoreham - George Baxter
"Norfolk Bridge, New Shoreham" by George Baxter (1835) Color block print on ivory wove paper.
Read commentary →Ben Nevis, Scotland - George Baxter
"Ben Nevis, Scotland" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Tintern Abbey - George Baxter
"Tintern Abbey" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Lover's Seat, Hastings - George Baxter
"Lover's Seat, Hastings" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Surrey Zoological Gardens, Exhibiting a View of Edinburgh - George Baxter
"Surrey Zoological Gardens, Exhibiting a View of Edinburgh" by George Baxter (1846) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Duke of Buccleuch's Residence, Richmond - George Baxter
"Duke of Buccleuch's Residence, Richmond" by George Baxter (1848) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on blue wove paper.
Read commentary →The Great Exhibition (Exterior) - George Baxter
"The Great Exhibition (Exterior)" by George Baxter (1851) Steel etching with stipple printed in blue with block prining in colors (from 11 blocks), on wove paper, laid down on original mount.
Read commentary →Caleb and His Daughter, from Religious Events, No. 1 and No. 2 - George Baxter
"Caleb and His Daughter, from Religious Events, No. 1 and No. 2" by George Baxter (c. 1852) Steel etching and stipple, with block printing in colors (from 8 blocks), on wove paper, laid down on wove paper mount with block printing in gold.
Read commentary →Winter, the Long Print - George Baxter
"Winter, the Long Print" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Summer, also called The Small Summer - George Baxter
"Summer, also called The Small Summer" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on card.
Read commentary →Crossing the Brook - George Baxter
"Crossing the Brook" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →"Come, Pretty Robbin" - George Baxter
""Come, Pretty Robbin"" by George Baxter (1857) Steel etching, aquatint, and stipple printed in purple, with block printing in colors from nine zinc blocks, on wove paper, laid down on original stamped mount.
Read commentary →Chimborazo - George Baxter
"Chimborazo" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Stolzenfels on the Rhine - George Baxter
"Stolzenfels on the Rhine" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Gems of the Great Exhibition No. 3 - George Baxter
"Gems of the Great Exhibition No. 3" by George Baxter (1852) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Great Exhibition (Interior) - George Baxter
"The Great Exhibition (Interior)" by George Baxter (1851) Steel etching and stipple printd in dark purple, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Ben Nevis, Scotland - George Baxter
"Ben Nevis, Scotland" by George Baxter (1850) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →"Copper, Your Honour?" - George Baxter
""Copper, Your Honour?"" by George Baxter (1853) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on card.
Read commentary →Yggdrasill, the Mundane Tree - George Baxter
"Yggdrasill, the Mundane Tree" by George Baxter (1847) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper.
Read commentary →Summer Time, "Half Light, Half Shade She Stood," also called Gathering Roses - George Baxter
"Summer Time, "Half Light, Half Shade She Stood," also called Gathering Roses" by George Baxter (1856) Steel etching, aquatint, and stipple printed in purple, with block printing in colors from ten blocks, on wove paper, laid down on original stamped mount.
Read commentary →Temples of Philea, Egypt - George Baxter
"Temples of Philea, Egypt" by George Baxter (1848) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Returning from Prayer - George Baxter
"Returning from Prayer" by George Baxter (1855) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from ten zinc blocks, on wove paper, laid down on original stamped mount.
Read commentary →The Pompeian Court of the Crystal Palace. Digby Wyatt, Esq., Architect - George Baxter
"The Pompeian Court of the Crystal Palace. Digby Wyatt, Esq., Architect" by George Baxter (c. 1854) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Crystal Palace, New York - George Baxter
"Crystal Palace, New York" by George Baxter (1853) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Gems of the Great Exhibition No. 4 - George Baxter
"Gems of the Great Exhibition No. 4" by George Baxter (1852/54) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Gems of the Great Exhibition No. 2 - George Baxter
"Gems of the Great Exhibition No. 2" by George Baxter (1852) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Gems of the Great Exhibition No. 1 - George Baxter
"Gems of the Great Exhibition No. 1" by George Baxter (1852) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Abbeville - George Baxter
"Abbeville" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on buff wove paper.
Read commentary →The Glacier du Tacconnay, from The Ascent of Mont Blanc - George Baxter
"The Glacier du Tacconnay, from The Ascent of Mont Blanc" by George Baxter (1855) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →Gems of the Great Exhibition No. 1 - George Baxter
"Gems of the Great Exhibition No. 1" by George Baxter (1852) Steel etching and stipple printed in black, with block printing in colors, on wove paper, varnished, laid down on original mount.
Read commentary →Winter, also called The Small Winter - George Baxter
"Winter, also called The Small Winter" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Stolzenfels on the Rhine - George Baxter
"Stolzenfels on the Rhine" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Stolzenfels on the Rhine - George Baxter
"Stolzenfels on the Rhine" by George Baxter (1849) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →Leaving the Grands Mulets, from Ascent of Mont Blanc - George Baxter
"Leaving the Grands Mulets, from Ascent of Mont Blanc" by George Baxter (1855) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →Gems of the Crystal Palace, No. 1, The Exterior - George Baxter
"Gems of the Crystal Palace, No. 1, The Exterior" by George Baxter (1854) Steel etching and aquatint printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Gems of the Great Exhibition No. 7, The Veiled Vestal - George Baxter
"Gems of the Great Exhibition No. 7, The Veiled Vestal" by George Baxter (1854) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on thick wove paper with lithographic text.
Read commentary →Gems of the Great Exhibition No. 6 - George Baxter
"Gems of the Great Exhibition No. 6" by George Baxter (1854) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The King of the French Leaving Eu for Paris - George Baxter
"The King of the French Leaving Eu for Paris" by George Baxter (1848) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →Little Red Riding Hood - George Baxter
"Little Red Riding Hood" by George Baxter (1856) Steel etching, aquatint, and stipple printed in black, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →Harvest Time, also called The Gleaners - George Baxter
"Harvest Time, also called The Gleaners" by George Baxter (1856) Steel etching, aquatint, and stipple printed in purple, with block printing in colors from 12 blocks, on wove paper, laid down on original stamped mount.
Read commentary →Nuremberg, Bavaria - George Baxter
"Nuremberg, Bavaria" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →The Mur De La Cote, from The Ascent Of Mont Blanc - George Baxter
"The Mur De La Cote, from The Ascent Of Mont Blanc" by George Baxter (1855) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →The Great Exhibition - George Baxter
"The Great Exhibition" by George Baxter (1851) Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The King of French Leaving Eu for Paris, September 12, 1843, also called Eu Cathedral - George Baxter
"The King of French Leaving Eu for Paris, September 12, 1843, also called Eu Cathedral" by George Baxter (1848) Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The King of French Leaving Eu for Paris, September 12, 1843 - George Baxter
"The King of French Leaving Eu for Paris, September 12, 1843" by George Baxter (1848) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper.
Read commentary →La Biondina in Gondoletta - George Baxter
"La Biondina in Gondoletta" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on buff wove paper.
Read commentary →Australia, News from Home - George Baxter
"Australia, News from Home" by George Baxter (1853) Steel etching with stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Morning Call - George Baxter
"The Morning Call" by George Baxter (1853) Steel etching, aquatint, and stipple printed in black, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →"Copper, Your Honour?" - George Baxter
""Copper, Your Honour?"" by George Baxter (1850) Steel etching, aquatint, and stipple printed in brown, with block printing in colors from eight blocks, on wove paper, laid down on original stamped mount.
Read commentary →River Scene, Holland - George Baxter
"River Scene, Holland" by George Baxter (1847) Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount.
Read commentary →The Summit, from Ascent of Mont Blanc - George Baxter
"The Summit, from Ascent of Mont Blanc" by George Baxter (1855) Steel etching, aquatint, and stipple printed in blue, with block printing in colors, on wove paper, laid down on card.
Read commentary →The Crystal Palace and Gardens - George Baxter
"The Crystal Palace and Gardens" by George Baxter (1854) Steel etching printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →The Dog and the Serpent (The Defence) - George Baxter
"The Dog and the Serpent (The Defence)" by George Baxter (1854) Steel etching and stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Paul et Virginie Valse - George Baxter
"Paul et Virginie Valse" by George Baxter (1853) Steel etching printed in black, with block printing in colors, on wove paper, laid down on titleplage of musical score, printed in gold.
Read commentary →News from Australia - George Baxter
"News from Australia" by George Baxter (1854) Steel etching with stipple printed in black, with block printing in colors, on wove paper, laid down on original mount.
Read commentary →Villa Pamphili outside Porta S. Pancrazio, from Views of Rome - Giovanni Battista Piranesi
"Villa Pamphili outside Porta S. Pancrazio, from Views of Rome" by Giovanni Battista Piranesi (1776, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Grotta di Palazzo with Banquet - Louis Jean Desprez
"View of the Grotta di Palazzo with Banquet" by Louis Jean Desprez (c. 1790) Pen and black ink and brush and watercolor, over traces of graphite, on ivory laid paper, laid down on card.
Read commentary →Saint Jerome Penitent in the Wilderness - Albrecht Dürer
"Saint Jerome Penitent in the Wilderness" by Albrecht Dürer (c. 1497) Engraving in black on cream laid paper.
Read commentary →View of the Villa d'Este - Claude Thienon
"View of the Villa d'Este" by Claude Thienon (1817) Lithograph in black on ivory wove paper.
Read commentary →Saint Jerome Reading in an Italian Landscape - Rembrandt van Rijn
"Saint Jerome Reading in an Italian Landscape" by Rembrandt van Rijn (c. 1653) Etching, burin, and drypoint on ivory laid paper.
Read commentary →View of the Grand Cascade at Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Grand Cascade at Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1766) Etching on ivory laid paper.
Read commentary →View of the Villa of His Eminence Cardinal Alessandro Albani, outside Porta Salaria, from Views of Rome - Giovanni Battista Piranesi
"View of the Villa of His Eminence Cardinal Alessandro Albani, outside Porta Salaria, from Views of Rome" by Giovanni Battista Piranesi (1769, published 1800–07) Etching on ivory laid paper.
Read commentary →View of the Remains of the Praetorian Fort [the Poecile], Hadrian's Villa, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Remains of the Praetorian Fort [the Poecile], Hadrian's Villa, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1770) Etching on heavy ivory laid paper.
Read commentary →Another view of the Temple of the Sibyl in Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Another view of the Temple of the Sibyl in Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1761) Etching on heavy ivory laid paper.
Read commentary →Title Page, from Twelve Months of Flowers - Henry Fletcher
"Title Page, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →January, from Twelve Months of Flowers - Henry Fletcher
"January, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →Saint Jerome in the Desert - Hieronymus Cock
"Saint Jerome in the Desert" by Hieronymus Cock (c. 1553) Etching and engraving on ivory laid paper.
Read commentary →View of the Villa d'Este, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Villa d'Este, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1773, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Small Waterfall and Rapids, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Small Waterfall and Rapids, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1769) Etching on heavy ivory laid paper.
Read commentary →Roma Antica - Giovanni Paolo Panini
"Roma Antica" by Giovanni Paolo Panini (1757/60) Pen and black ink, watercolor, and brush and gray wash, heightened with touches of white gouache, over graphite, on ivory laid paper, laid down on cream laid card.
Read commentary →On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews His Bill (Illustration for Edmond Renoir’s “L’étiquette”) - Pierre-Auguste Renoir
"On the Terrace of a Hotel in Bordighera: The Painter Jean Martin Reviews His Bill (Illustration for Edmond Renoir’s “L’étiquette”)" by Pierre-Auguste Renoir (1881) Black conté crayon over pen and brush and black ink on ivory laid paper (discolored to cream).
Read commentary →The Medici Vase, plate one from The Six Large Views of Rome and the Campagna - Stefano della Bella
"The Medici Vase, plate one from The Six Large Views of Rome and the Campagna" by Stefano della Bella (1656) Etching and engraving on ivory laid paper.
Read commentary →The Grotto of Pan and Fame - Stefano della Bella
"The Grotto of Pan and Fame" by Stefano della Bella (1653/55) Etching on ivory laid paper.
Read commentary →South Facade of the Villa and the Great Meadow, from Views of the Villa Pratolino - Stefano della Bella
"South Facade of the Villa and the Great Meadow, from Views of the Villa Pratolino" by Stefano della Bella (1658) Etching on cream laid paper.
Read commentary →The Colossal Statue of the Apennines, from Views of Villa di Pratolino - Stefano della Bella
"The Colossal Statue of the Apennines, from Views of Villa di Pratolino" by Stefano della Bella (c. 1653) Etching in black on ivory laid paper.
Read commentary →Les jets d'eau sortant de terre, from Vues de la villa de Pratolino - Stefano della Bella
"Les jets d'eau sortant de terre, from Vues de la villa de Pratolino" by Stefano della Bella (1653/55) Etching on paper.
Read commentary →March, from Twelve Months of Flowers - Henry Fletcher
"March, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →February, from Twelve Months of Flowers - Henry Fletcher
"February, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →July, from Twelve Months of Flowers - Henry Fletcher
"July, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →May, from Twelve Months of Flowers - Henry Fletcher
"May, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →April, from Twelve Months of Flowers - Henry Fletcher
"April, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →September, from Twelve Months of Flowers - Henry Fletcher
"September, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →August, from Twelve Months of Flowers - Henry Fletcher
"August, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →November, from Twelve Months of Flowers - Henry Fletcher
"November, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →October, from Twelve Months of Flowers - Henry Fletcher
"October, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →December, from Twelve Months of Flowers - Henry Fletcher
"December, from Twelve Months of Flowers" by Henry Fletcher (n.d.) Engraving in black ink with opaque and translucent watercolor on cream laid paper.
Read commentary →1. Arch of Titus. 2. Villa Farnese. 3. Columns of the Temple of Jupiter Stator [the Supporter]. 4. Arch of Septimius Severus. 5. Temple of Peace, plate six from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"1. Arch of Titus. 2. Villa Farnese. 3. Columns of the Temple of Jupiter Stator [the Supporter]. 4. Arch of Septimius Severus. 5. Temple of Peace, plate six from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Equestrian Ballet in the Amphitheater of the Boboli Gardens - Stefano della Bella
"Equestrian Ballet in the Amphitheater of the Boboli Gardens" by Stefano della Bella (1661) Etching on ivory laid paper.
Read commentary →The Martyrdom of Saint Simon of Trent from Schedel Weltchronik (Schedel’s World History), Plate 23 from Woodcuts from Books of the 15th Century - Michel Wolgemut
"The Martyrdom of Saint Simon of Trent from Schedel Weltchronik (Schedel’s World History), Plate 23 from Woodcuts from Books of the 15th Century" by Michel Wolgemut (1493, portfolio assembled 1929) Woodcut and letterpress in black (recto and verso) on buff laid paper, tipped onto cream wove paper mat.
Read commentary →Tarragona Terrace and Garden - John Singer Sargent
"Tarragona Terrace and Garden" by John Singer Sargent (c. 1908) Watercolor and opaque watercolor with printed paper fragments over traces of graphite on ivory wove paper.
Read commentary →Doctor Syntax Returned from His Tour, from The Tour of Doctor Syntax - Thomas Rowlandson
"Doctor Syntax Returned from His Tour, from The Tour of Doctor Syntax" by Thomas Rowlandson (c. 1812) Hand-colored etching and acquaint on ivory wove paper.
Read commentary →Flowers in an Urn Decorated with Putti, on a Plinth - Jan van Huysum
"Flowers in an Urn Decorated with Putti, on a Plinth" by Jan van Huysum (early 18th century) Pen and black ink and brush and black and brown ink washes, over red chalk, on cream laid paper.
Read commentary →Doctor Syntax Meditating on the Tomb Stones, from The Tour of Doctor Syntax - Thomas Rowlandson
"Doctor Syntax Meditating on the Tomb Stones, from The Tour of Doctor Syntax" by Thomas Rowlandson (c. 1812) Hand-colored etching and acquaint on ivory wove paper.
Read commentary →Naples with Mt. Vesuvius - Rudolf von Alt
"Naples with Mt. Vesuvius" by Rudolf von Alt (1835) Watercolor on paper.
Read commentary →Portrait of Philippe Coypel and His Wife - Charles-Antoine Coypel
"Portrait of Philippe Coypel and His Wife" by Charles-Antoine Coypel (1742) Pastel on blue laid paper, pieced, laid down on canvas.
Read commentary →The Discovery of Holofernes's Corpse, plate eight from The Story of Judith and Holofernes - Philips Galle
"The Discovery of Holofernes's Corpse, plate eight from The Story of Judith and Holofernes" by Philips Galle (1564) Engraving in black on ivory laid paper.
Read commentary →The Zone (Outside the City Walls) - Georges Seurat
"The Zone (Outside the City Walls)" by Georges Seurat (1882–83) Black conte crayon on cream laid paper.
Read commentary →Tombeau de la chrétienne. Vue du côté nord. (Tomb of the Christian Woman. View of the North Side.) - John Beasley Greene
"Tombeau de la chrétienne. Vue du côté nord. (Tomb of the Christian Woman. View of the North Side.)" by John Beasley Greene (1855) Albumen print.
Read commentary →Medinet Habu, Mortuary Temple of Ramses III, Left Wall (Médinet-Habou, Temple funéraire de Ramsès III, paroi gauche - John Beasley Greene
"Medinet Habu, Mortuary Temple of Ramses III, Left Wall (Médinet-Habou, Temple funéraire de Ramsès III, paroi gauche" by John Beasley Greene (1854) Salted paper print.
Read commentary →Untitled [Roman sculptures, Cherchell Museum] - John Beasley Greene
"Untitled [Roman sculptures, Cherchell Museum]" by John Beasley Greene (1856) Salted paper print.
Read commentary →Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters - Anne Allen
"Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters" by Anne Allen (c. 1795) Color etching with à la poupée inking on ivory laid paper.
Read commentary →Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters - Anne Allen
"Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters" by Anne Allen (c. 1795) Color etching with à la poupée inking on ivory wove paper.
Read commentary →Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters - Anne Allen
"Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters" by Anne Allen (c. 1795) Color etching with à la poupée inking on blue laid paper.
Read commentary →Title Page, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters - Anne Allen
"Title Page, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters" by Anne Allen (c. 1795) Color etching with à la poupée inking on cream laid paper.
Read commentary →Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters - Anne Allen
"Plate, from New Suite of Notebooks of Ideal Flowers for Use by Draftsmen and Painters" by Anne Allen (c. 1795) Color etching with à la poupée inking on blue laid paper.
Read commentary →Flowers - Anne Allen
"Flowers" by Anne Allen (1796/1808) Color etching from two plates inked à la poupée on blue-green laid paper.
Read commentary →Working a little bunch in the hills - Laton Alton Huffman
"Working a little bunch in the hills" by Laton Alton Huffman (c. 1900) Gelatin silver (printing-out-paper) print.
Read commentary →Avenue of Pollard Birches and Poplars - Vincent van Gogh
"Avenue of Pollard Birches and Poplars" by Vincent van Gogh (March 1884) Reed pen and iron-gall ink on tan laid paper.
Read commentary →Weeping Tree - Vincent van Gogh
"Weeping Tree" by Vincent van Gogh (1889) Reed pen and black-brown ink, with black chalk on off-white wove paper.
Read commentary →Tetards (Pollards) - Vincent van Gogh
"Tetards (Pollards)" by Vincent van Gogh (1884) Pen and brown ink, with touches of pen and black ink, graphite and graphite frottage, and traces of black chalk, on grayish-white paper laid down on cardboard.
Read commentary →Jane Avril - Henri de Toulouse-Lautrec
"Jane Avril" by Henri de Toulouse-Lautrec (1899) Color lithograph on tan wove paper.
Read commentary →Lady Filmer in her Drawing Room - Mary Georgiana Caroline, Lady Filmer
"Lady Filmer in her Drawing Room" by Mary Georgiana Caroline, Lady Filmer (1863–68) Albumen prints, collage and watercolor.
Read commentary →The Past, the Present, the Future, plate 349 - Honoré-Victorin Daumier
"The Past, the Present, the Future, plate 349" by Honoré-Victorin Daumier (1834) Lithograph in black on off-white wove paper.
Read commentary →Hussar (recto) Man with a Top Hat and Bandaged Head (verso) - James McNeill Whistler
"Hussar (recto) Man with a Top Hat and Bandaged Head (verso)" by James McNeill Whistler (1854/55) Pen and black ink over graphite (recto), and graphite (verso), on cream wove paper.
Read commentary →Lancer - James McNeill Whistler
"Lancer" by James McNeill Whistler (1854/55) Pen and black ink over graphite on cream wove paper.
Read commentary →Gendarme - James McNeill Whistler
"Gendarme" by James McNeill Whistler (1854/55) Pen and black ink over graphite on cream wove paper.
Read commentary →Policeman and Citizen - James McNeill Whistler
"Policeman and Citizen" by James McNeill Whistler (1854/55) Pen and black ink over graphite on cream wove paper.
Read commentary →Scene from Bohemian Life - James McNeill Whistler
"Scene from Bohemian Life" by James McNeill Whistler (1855/57) Pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board.
Read commentary →Two Sketches - James McNeill Whistler
"Two Sketches" by James McNeill Whistler (1878/79) Lithographic crayon and brush and tusche on coarse-grained transfer paper.
Read commentary →Figures by a Railing - James McNeill Whistler
"Figures by a Railing" by James McNeill Whistler (1870/73) Pen and brown ink on blue laid paper (discolored).
Read commentary →Corte del Paradiso - James McNeill Whistler
"Corte del Paradiso" by James McNeill Whistler (1880) Pastel and black chalk on brown wove paper with fibrous inclusions.
Read commentary →The Little Blue Cap - James McNeill Whistler
"The Little Blue Cap" by James McNeill Whistler (1893/95) Watercolor and opaque watercolor over charcoal on brown wove paper.
Read commentary →Portrait of Miss Maud Franklin - James McNeill Whistler
"Portrait of Miss Maud Franklin" by James McNeill Whistler (1883/1888) Pen and brown ink on cream laid paper.
Read commentary →H.C. Pollitt - James McNeill Whistler
"H.C. Pollitt" by James McNeill Whistler (1896) Lithographic crayon on thin, transparent transfer paper, tipped onto card (modern mount).
Read commentary →Reclining Draped Figure - James McNeill Whistler
"Reclining Draped Figure" by James McNeill Whistler (1893) Lithographic crayon, with traces of scraping and stumping, on fine-grained transfer paper laid down on cream wove paper.
Read commentary →Chelsea Shop - James McNeill Whistler
"Chelsea Shop" by James McNeill Whistler (1897/1900) Watercolor with touches of opaque watercolor on cream wove paper.
Read commentary →Butterfly (recto); Study of Butterfly (verso) - James McNeill Whistler
"Butterfly (recto); Study of Butterfly (verso)" by James McNeill Whistler (1898/99) Pen and black ink over graphite (recto), and pen and black ink, with corrections by the artist in white opaque paint (verso), on cream wove card.
Read commentary →Butterfly "Encountered" (recto); Sketch for Tailpiece (verso) - James McNeill Whistler
"Butterfly "Encountered" (recto); Sketch for Tailpiece (verso)" by James McNeill Whistler (1898/99) Pen and black ink over graphite (recto), and graphite (verso), on cream wove card.
Read commentary →Butterfly - James McNeill Whistler
"Butterfly" by James McNeill Whistler (1898/99) Pen and black ink on cream wove card.
Read commentary →Butterfly with Checkered Wings - James McNeill Whistler
"Butterfly with Checkered Wings" by James McNeill Whistler (1898/99) Pen and black ink on cream wove card.
Read commentary →A Club on a Cushion - James McNeill Whistler
"A Club on a Cushion" by James McNeill Whistler (1898/99) Pen and black ink over graphite, with corrections by the artist in white opaque paint, on cream wove card.
Read commentary →Butterfly - James McNeill Whistler
"Butterfly" by James McNeill Whistler (1898/99) Pen and black ink on cream wove card.
Read commentary →Butterfly (recto); Fragment of Butterfly (verso) - James McNeill Whistler
"Butterfly (recto); Fragment of Butterfly (verso)" by James McNeill Whistler (1898/99) Pen and black ink over graphite (recto), and brush and black ink over graphite (verso), on cream wove card.
Read commentary →Butterfly (recto); Fragment of Butterfly (verso) - James McNeill Whistler
"Butterfly (recto); Fragment of Butterfly (verso)" by James McNeill Whistler (1898/99) Pen and black ink over graphite (recto), and pen and black ink over graphite, with corrections by the artist in white opaque paint (verso), on cream wove card.
Read commentary →Study for "Arrangement in Black, No. 2: Portrait of Mrs. Louis Huth" (recto); Study for "Symphony in Flesh Color and Pink: Portrait of Mrs. Frances Leyland" (verso) - James McNeill Whistler
"Study for "Arrangement in Black, No. 2: Portrait of Mrs. Louis Huth" (recto); Study for "Symphony in Flesh Color and Pink: Portrait of Mrs. Frances Leyland" (verso)" by James McNeill Whistler (c. 1872) Pastel (recto), and black chalk with touches of pink and white pastel (verso), on brown wove paper.
Read commentary →Study for "The Blue Girl: Portrait of Miss Elinor Leyland" - James McNeill Whistler
"Study for "The Blue Girl: Portrait of Miss Elinor Leyland"" by James McNeill Whistler (c. 1879) Pen and brown ink, with brush and brown ink, on cream pseudo-laid paper tipped onto cream wove paper.
Read commentary →Head of a Girl - James McNeill Whistler
"Head of a Girl" by James McNeill Whistler (c. 1882) Pen and brown ink with scraping on cream laid paper laid down on ivory board.
Read commentary →Sketch after "Arrangement in Black: Lady Meux" - James McNeill Whistler
"Sketch after "Arrangement in Black: Lady Meux"" by James McNeill Whistler (c. 1881) Pen and brown ink on cream wove paper laid down on ivory board.
Read commentary →Green and Blue: The Dancer - James McNeill Whistler
"Green and Blue: The Dancer" by James McNeill Whistler (c. 1893) Watercolor and opaque watercolor over traces of black chalk on brown wove paper laid down on card.
Read commentary →Girl Reading in Bed - James McNeill Whistler
"Girl Reading in Bed" by James McNeill Whistler (c. 1882) Pen and brown ink with traces of graphite on pink wove paper.
Read commentary →Capitano Esgangarato - Capitano Cocodrillo, plate 14 from Balli di Sfessania - Jacques Callot
"Capitano Esgangarato - Capitano Cocodrillo, plate 14 from Balli di Sfessania" by Jacques Callot (c. 1622) Etching and engraving on paper.
Read commentary →Stacks of Wheat - Claude Monet
"Stacks of Wheat" by Claude Monet (1891) Black chalk on cream laid paper.
Read commentary →Boy in the Country - Claude Monet
"Boy in the Country" by Claude Monet (1857) Graphite on ivory wove paper.
Read commentary →Two Figures (related to the painting Tahitian Landscape) - Paul Gauguin
"Two Figures (related to the painting Tahitian Landscape)" by Paul Gauguin (1891/93) Black chalk, with touches of watercolor and watercolor offset on cream wove paper.
Read commentary →Seated Tahitian Youth - Paul Gauguin
"Seated Tahitian Youth" by Paul Gauguin (1894/1903) Watercolor and graphite on irregularly shaped cream wove Japanese paper, laid down on ivory laid paper with brown and blue fibers, laid down on cream wove paper.
Read commentary →Two Tahitian Women in a Landscape - Paul Gauguin
"Two Tahitian Women in a Landscape" by Paul Gauguin (c. 1892) Monotype matrix in watercolor and gouache, with brush and green ink, over traces of graphite, on cream Japanese paper, laid down on tan wove paper (partially removed).
Read commentary →Pape moe - Paul Gauguin
"Pape moe" by Paul Gauguin (1893/94) Watercolor, with black fabricated chalk, pen and brown ink (originally purple) and touches of brush and black ink on heavily textured ivory wove paper.
Read commentary →Three People, a Mask, a Fox and a Bird, headpiece forLe sourire - Paul Gauguin
"Three People, a Mask, a Fox and a Bird, headpiece forLe sourire" by Paul Gauguin (1899, printed and published 1921) Wood-block print in black ink on ivory China paper.
Read commentary →Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite - Paul Gauguin
"Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite" by Paul Gauguin (1893/94, printed and published in 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Maruru (Offerings of Gratitude), from the Noa Noa Suite - Paul Gauguin
"Maruru (Offerings of Gratitude), from the Noa Noa Suite" by Paul Gauguin (1893–94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Te po (The Night), from the Noa Noa Suite - Paul Gauguin
"Te po (The Night), from the Noa Noa Suite" by Paul Gauguin (1893–94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite" by Paul Gauguin (1893/94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Noa Noa (Fragrant), from the Noa Noa Suite - Paul Gauguin
"Noa Noa (Fragrant), from the Noa Noa Suite" by Paul Gauguin (1893–94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Mahana atua (Day of the God) - Paul Gauguin
"Mahana atua (Day of the God)" by Paul Gauguin (1894/95, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Nave nave fenua (Delightful Land), from the Noa Noa Suite - Paul Gauguin
"Nave nave fenua (Delightful Land), from the Noa Noa Suite" by Paul Gauguin (1893/94, printed 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Change of Residence, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Change of Residence, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899) Second-state impression laid down on first-state impression Wood-block print of second state in black ink on thin ivory Japanese paper, laid down on wood-block print of first state in ocher ink on grayish-ivory wove paper (recto); wood-block print in black ink and oxidized linseed oil (est.) on grayish-ivory wo
Read commentary →Tahitian Carrying Bananas, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Tahitian Carrying Bananas, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, tipped on thin white Japanese paper.
Read commentary →Auti te pape (Women at the River), from the Noa Noa Suite - Paul Gauguin
"Auti te pape (Women at the River), from the Noa Noa Suite" by Paul Gauguin (1894) Wood-block print in black ink, over stenciled dark-red ink and a yellow-ink tone block, on cream wove paper (an imitation Japanese vellum).
Read commentary →Auti te pape (Women at the River) from the Noa Noa Suite - Paul Gauguin
"Auti te pape (Women at the River) from the Noa Noa Suite" by Paul Gauguin (1893/94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Portrait of Stéphane Mallarmé - Paul Gauguin
"Portrait of Stéphane Mallarmé" by Paul Gauguin (1891, printed 1919) Etching, drypoint and engraving in brown-black on cream Japanese laid paper.
Read commentary →L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite - Paul Gauguin
"L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite" by Paul Gauguin (1893–94, printed and published 1921) Wood-block print in black ink on grayish-ivory China paper.
Read commentary →Te atua (The God), from the Noa Noa Suite - Paul Gauguin
"Te atua (The God), from the Noa Noa Suite" by Paul Gauguin (1894) Wood-block print in black ink, over a stenciled dark-red-ink tone block, on cream wove paper (an imitation Japanese vellum).
Read commentary →Maruru (Offerings of Gratitude), from the Noa Noa Suite - Paul Gauguin
"Maruru (Offerings of Gratitude), from the Noa Noa Suite" by Paul Gauguin (1893/94, printed 1941/42) Wood-block print, printed in black ink on cream wove paper.
Read commentary →Te atua (The God), from the Noa Noa Suite - Paul Gauguin
"Te atua (The God), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black ink on tan wove paper.
Read commentary →Te atua (The God), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Te atua (The God), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Second-state impression laid down on first-state impression Wood-block print of second state in black ink on lunette-shaped, thin ivory Japanese paper, laid down on wood-block print of first state in brownish-black ink on lunette-shaped ivory wove paper.
Read commentary →Te atua (The God), from the Noa Noa Suite - Paul Gauguin
"Te atua (The God), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in residual brown and black inks on ivory wove paper.
Read commentary →Te faruru (Here We Make Love), from the Noa Noa Suite - Paul Gauguin
"Te faruru (Here We Make Love), from the Noa Noa Suite" by Paul Gauguin (1893–94) Wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, on cream wove Japanese paper, laid down on cream laid Japanese paper (a laminate made by the artist).
Read commentary →Noa Noa (Fragrant), from the Noa Noa Suite - Paul Gauguin
"Noa Noa (Fragrant), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black, with a transferred twill impression, on tan wove paper.
Read commentary →Seated Tahitian Woman (related to the painting Te faaturuma [Reverie]) - Paul Gauguin
"Seated Tahitian Woman (related to the painting Te faaturuma [Reverie])" by Paul Gauguin (1891/93) Charcoal on cream wove paper (discolored to tan).
Read commentary →A Horse and Birds, headpiece for Le sourire - Paul Gauguin
"A Horse and Birds, headpiece for Le sourire" by Paul Gauguin (1899) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Plate with the Head of a Horned Devil, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Plate with the Head of a Horned Devil, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print, printed twice in black over pale yellow ocher ink, on thin ivory Japanese paper, partially laid down on white two-ply mat board.
Read commentary →Woman Picking Fruit and Oviri - Paul Gauguin
"Woman Picking Fruit and Oviri" by Paul Gauguin (1895/96) Wood-block print in black ink on thin ivory Japanese paper, tipped on ivory wove paper, laid down on off-white wove plate paper with decorative plate marks.
Read commentary →Te atua (The God), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Te atua (The God), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink, with yellow ocher ink offset, on thin ivory Japanese paper, laid face down on ivory wove paper (recto); wood-block print in brownish-black ink on ivory wove paper (verso).
Read commentary →Nave nave fenua (Delightful Land), from the Noa Noa Suite - Paul Gauguin
"Nave nave fenua (Delightful Land), from the Noa Noa Suite" by Paul Gauguin (1893–94) Wood-block print in residual brown and black inks, with selective wiping, a transferred twill impression, and touches of hand-applied dark brown ink, on thin, pale-pink wove paper (faded to tan).
Read commentary →Breton Bather - Paul Gauguin
"Breton Bather" by Paul Gauguin (1886/87) Charcoal and pastel, with touches of brush and brown ink, on ivory laid paper (discolored to tan), partially outlined in graphite and squared in black fabricated chalk, with yellow paint residue on verso.
Read commentary →Te atua (The God), from the Noa Noa Suite - Paul Gauguin
"Te atua (The God), from the Noa Noa Suite" by Paul Gauguin (1894) Wood-block print in black ink, over a stenciled orange-ink tone block, on cream wove paper (an imitation Japanese vellum).
Read commentary →Three People, a Mask, a Fox, and a Bird, headpiece for Le sourire - Paul Gauguin
"Three People, a Mask, a Fox, and a Bird, headpiece for Le sourire" by Paul Gauguin (1899) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Tahitian Idol—the Goddess Hina - Paul Gauguin
"Tahitian Idol—the Goddess Hina" by Paul Gauguin (1894/95) Wood-block print in black ink, over brush and solvent thinned and selectively applied ocher, reddish-orange and touches of green wax-and-resin-based media, on cream wove paper.
Read commentary →Human Miseries, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Human Miseries, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, laid down on white Japanese paper.
Read commentary →Wayside Shrine in Brittany, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Wayside Shrine in Brittany, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, tipped on thin white Japanese paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her)" by Paul Gauguin (1894/95) Wood-block print, printed twice in black ink, on cream Japanese paper.
Read commentary →Bust of a Nude Woman and Three-Quarter Figure of a Man with a White Cap in Profile, Third Small Figure at Far Right, headpiece for Le sourire - Paul Gauguin
"Bust of a Nude Woman and Three-Quarter Figure of a Man with a White Cap in Profile, Third Small Figure at Far Right, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on cream wove paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her)" by Paul Gauguin (1894/95) Wood-block print in black ink with brush and stencil-applied red, orange, yellow, green, blue, violet, and brown watercolors on ivory Japanese paper, laid down on cream Japanese paper.
Read commentary →Buddha, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Buddha, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper perimeter mounted on white Japanese paper.
Read commentary →Oviri - Paul Gauguin
"Oviri" by Paul Gauguin (1894) Wood-block print, printed twice in deep-yellow ocher and brown ink, with touches of black watercolor, on cream wove paper (an imitation Japanese vellum), mounted on mottled blue wove laminate card (recto); wood-block print in black ink over red ink tone block, and brush and solvent-thinned orange wash, on cream wove paper (an imitation Japanese vellum) mounted on mo
Read commentary →Oviri - Paul Gauguin
"Oviri" by Paul Gauguin (1894) Wood-block print, printed twice in deep-yellow ocher and black ink, on cream wove paper (an imitation Japanese vellum), mounted on mottled blue wove laminate card (recto); wood-block print in black ink over red ink tone block, and brush and solvent-thinned orange wash, on cream wove paper (an imitation Japanese vellum) mounted on mottled blue wove laminate card (ver
Read commentary →Le sourire: Journal méchant, Mar. 1900 - Paul Gauguin
"Le sourire: Journal méchant, Mar. 1900" by Paul Gauguin (1900) Mimeograph in brownish-black ink, with wood-block print in black ink on cream wove paper.
Read commentary →Noa Noa (Fragrant), from the Noa Noa Suite - Paul Gauguin
"Noa Noa (Fragrant), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black ink, with touches of reddish-brown watercolor and black ink, over yellow ink tone block and transferred golden-yellow, orange, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper, laid down on heavy cream wove card.
Read commentary →Noa Noa (Fragrant), from the Noa Noa Suite - Paul Gauguin
"Noa Noa (Fragrant), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black ink, over traces of brown ink, with hand-applied blue, light blue, several greens, pink, orange, pale-orange, yellow, pale-red, and dark-gray watercolor, on ivory Japanese paper.
Read commentary →Te po (The Night) from the Noa Noa Suite - Paul Gauguin
"Te po (The Night) from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in brown and black inks, with selective wiping, and hand-applied red, two tones of orange, yellow, two tones of blue, silver-gray, and black watercolor, on cream laid Japanese paper laid down on cream wove Japanese paper (a laminate made by the artist).
Read commentary →Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire - Paul Gauguin
"Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black on thin, ivory Japanese paper.
Read commentary →A Fisherman Drinking Beside His Canoe - Paul Gauguin
"A Fisherman Drinking Beside His Canoe" by Paul Gauguin (1894) Wood-block print, printed twice in brown and black ink, on cream wove Japanese paper laid down on cream wove Japanese paper.
Read commentary →L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite - Paul Gauguin
"L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in black and brown inks, with selective wiping, and hand-applied orange, yellow, red, two tones of green, two tones of blue, silver-gray and black watercolor, on cream wove Japanese paper laid down on cream laid Japanese paper (a laminate made by the artist).
Read commentary →L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite - Paul Gauguin
"L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite" by Paul Gauguin (1893–94) Wood-block print, printed in black ink with traces of residual brown ink, with selective wiping, over solvent-thinned and transferred and stenciled yellow, orange, red, blue, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), with touches of brush and bla
Read commentary →Maruru (Offerings of Gratitude), from the Noa Noa Suite - Paul Gauguin
"Maruru (Offerings of Gratitude), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in brown and black inks, with selective wiping of the brown, and hand-applied green, blue, two yellows, and pink watercolor on ivory wove Japanese paper laid down on cream laid Japanese paper (a laminate made by the artist).
Read commentary →Te faruru (Here We Make Love), from the Noa Noa Suite - Paul Gauguin
"Te faruru (Here We Make Love), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, touches of brush and red and green watercolors, and traces of brush and black ink, on pale-pink wove paper (faded to tan).
Read commentary →Manau tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite - Paul Gauguin
"Manau tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in brown and black inks, with selective wiping, and a transferred twill impression, on pale-pink wove paper (faded to tan).
Read commentary →Auti te pape (Women at the River), from the Noa Noa Suite - Paul Gauguin
"Auti te pape (Women at the River), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in pale orange and black ink, over transferred yellow, pink, orange, blue and green oil-based media, with traces of conifer resin (probably pine resin), on cream wove Japanese paper, laid down on cream wove Japanese paper.
Read commentary →Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite - Paul Gauguin
"Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in brown and black inks, over a yellow, silver-gray and brownish-orange ink tone block, and transferred yellow, green, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), on ivory Japanese paper, laid down on cream wove card.
Read commentary →Te atua (The God) from the Noa Noa Suite - Paul Gauguin
"Te atua (The God) from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in yellow ocher and black inks, over yellow ink tone block, and transferred golden-yellow, green, red-orange, and red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper.
Read commentary →Nave nave fenua (Delightful Land), from the Noa Noa Suite - Paul Gauguin
"Nave nave fenua (Delightful Land), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black ink, with hand-applied red, blue, green, yellow, red-orange, and silver-gray watercolor on tan wove paper.
Read commentary →Noa noa (Fragrant) - Paul Gauguin
"Noa noa (Fragrant)" by Paul Gauguin (1894/95) Wood-block print in black ink, with red, orange, blue, mauve, light green, and green watercolor on parchment.
Read commentary →A Fisherman Drinking Beside His Canoe - Paul Gauguin
"A Fisherman Drinking Beside His Canoe" by Paul Gauguin (1894) Wood-block print in black ink on tan wove paper (recto); wood-block print in black ink, over stencil-applied red and yellow ink, on cream wove paper (verso).
Read commentary →Tahitian Idol—the Goddess Hina - Paul Gauguin
"Tahitian Idol—the Goddess Hina" by Paul Gauguin (1894/95) Wood-block print in reddish-brown ink with blue-gray watercolor on ivory wove paper, laid down on ivory wove paper.
Read commentary →Mahana atua (Day of the God) - Paul Gauguin
"Mahana atua (Day of the God)" by Paul Gauguin (1894/95) Wood-block print in black ink with touches of solvent-thinned blue, red, and orange watercolors (recto); wood-block print, printed twice in brown and brown-black ink (a maculature impression) (verso), on cream Japanese paper.
Read commentary →Maori Woman in the Forest - Paul Gauguin
"Maori Woman in the Forest" by Paul Gauguin (1894/95) Wood-block print in black ink manipulated with brush and solvent, on ivory Japanese paper, laid down on cream Japanese paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her)" by Paul Gauguin (1894/95) Wood-block print, printed twice in black ink, with brush and stencil-applied red, orange, yellow, green, blue, violet, and brown watercolors on ivory Japanese paper, laid down on cream Japanese paper.
Read commentary →Oviri - Paul Gauguin
"Oviri" by Paul Gauguin (1894) Wood-block print in black ink on cream wove Japanese paper, laid down on cream wove Japanese paper.
Read commentary →Oviri - Paul Gauguin
"Oviri" by Paul Gauguin (1894) Wood-block print, printed twice in deep yellow ocher and black ink (recto); wood-block print in black ink over stenciled yellow ink and a red ink tone block (verso); on cream wove paper (an imitation Japanese vellum).
Read commentary →Noa noa (Fragrant) - Paul Gauguin
"Noa noa (Fragrant)" by Paul Gauguin (1894/95) Wood-block print in black ink, over solvent thinned and selectively applied yellow ocher ink, on cream wove paper.
Read commentary →Le sourire: Journal sérieux, Nov. 1899 - Paul Gauguin
"Le sourire: Journal sérieux, Nov. 1899" by Paul Gauguin (1899) Mimeograph in brownish-black ink, with wood-block prints in black ink on cream wove paper.
Read commentary →Le sourire: Journal sérieux, Nov. 1899 - Paul Gauguin
"Le sourire: Journal sérieux, Nov. 1899" by Paul Gauguin (1899) Mimeograph in brownish-black ink, with wood-block prints in black ink on cream wove paper.
Read commentary →Le sourire: Journal sérieux, Aug. 21, 1899 - Paul Gauguin
"Le sourire: Journal sérieux, Aug. 21, 1899" by Paul Gauguin (1899) Mimeograph in brownish-black ink with touches of pink watercolor, and wood-block print in ocher ink, on cream wove paper.
Read commentary →Le sourire: Journal méchant, Feb. 1900 - Paul Gauguin
"Le sourire: Journal méchant, Feb. 1900" by Paul Gauguin (1900) Mimeograph in brownish-black ink, with wood-block print in black ink, on cream wove paper.
Read commentary →Le sourire: Journal sérieux, Sept. 19, 1899 - Paul Gauguin
"Le sourire: Journal sérieux, Sept. 19, 1899" by Paul Gauguin (1899) Mimeograph in brownish-black ink, with wood-block prints in black ink on cream wove paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her)" by Paul Gauguin (1894/95, printed 1928) Wood-block print in black ink on cream Japanese paper.
Read commentary →Caricatures of Gauguin and Governor Gallet, with headpiece from Le sourire - Paul Gauguin
"Caricatures of Gauguin and Governor Gallet, with headpiece from Le sourire" by Paul Gauguin (1900) Watercolor, with black colored pencil, and touches of pen and black ink, over a transfer drawing in black, and wood-block print in black ink with blue watercolor on cream wove paper.
Read commentary →Le sourire: Journal sérieux, Oct. 13, 1899 - Paul Gauguin
"Le sourire: Journal sérieux, Oct. 13, 1899" by Paul Gauguin (1899) Mimeograph in brownish-black ink, with wood-block prints in black ink on cream wove paper.
Read commentary →Fragment of Long Inscription - Paul Gauguin
"Fragment of Long Inscription" by Paul Gauguin (c. 1895) Graphite on cream wove paper, discolored to tan.
Read commentary →Tahitian Eve (related to the painting Parau ne te varua ino) (recto); Fragment of Inscription (related to Cahier pour Aline) (verso) - Paul Gauguin
"Tahitian Eve (related to the painting Parau ne te varua ino) (recto); Fragment of Inscription (related to Cahier pour Aline) (verso)" by Paul Gauguin (1891/93) Pen and brownish-black ink (originally dark purple), over pen and brown ink (originally purple) (recto) and graphite (verso) on cream wove paper (discolored to tan) (removed from a sketchbook).
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her) - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her)" by Paul Gauguin (1894/95) Wood-block print in black ink manipulated with brush and solvent, on ivory Japanese paper, laid down on cream Japanese paper.
Read commentary →The Ox Cart, from the Suite of Late Wood-Block Prints - Paul Gauguin
"The Ox Cart, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, laid down on medium-weight, fibrous, off-white Japanese paper.
Read commentary →The Rape of Europa, from the Suite of Late Wood-Block Prints - Paul Gauguin
"The Rape of Europa, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin, ivory Japanese paper, laid face down on ivory wove paper (recto); wood-block print in yellow ocher ink on ivory wove paper (verso).
Read commentary →Women, Animals, and Foliage, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Women, Animals, and Foliage, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, partially laid down on thin white Japanese paper.
Read commentary →Soyez amoureuses, vous serez heureuses (Love, and You Will be Happy), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Soyez amoureuses, vous serez heureuses (Love, and You Will be Happy), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899) Second-state impression laid down on first-state impression Wood-block print of second state in black ink on thin ivory Japanese paper, laid down on wood-block print of first state in yellow ocher ink on grayish-ivory wove paper (recto); wood-block print in black
Read commentary →Tahitian Woman, headpiece for Le sourire - Paul Gauguin
"Tahitian Woman, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Tahitians, Flowers, and Leaves, headpiece for Le sourire - Paul Gauguin
"Tahitians, Flowers, and Leaves, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire - Paul Gauguin
"Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on cream Japanese paper (recto); wood-block print in black ink over blue and green pencil on cream Japanese paper (verso)ck on cream wove paper.
Read commentary →At the Black Rocks, from the Suite of Late Wood-Block Prints - Paul Gauguin
"At the Black Rocks, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on moderately thick cream wove paper.
Read commentary →At the Black Rocks, from the Suite of Late Wood-Block Prints - Paul Gauguin
"At the Black Rocks, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on cream wove paper.
Read commentary →Eve, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Eve, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, laid down on ivory wove paper (discolored to cream).
Read commentary →Interior of a Tahitian Hut, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Interior of a Tahitian Hut, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, laid down on cream wove paper.
Read commentary →Maruru (Offerings of Gratitude), from the Noa Noa Suite - Paul Gauguin
"Maruru (Offerings of Gratitude), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in yellow ocher and black inks, with selective wiping of the black ink, over a yellow ink tone block, transferred golden-yellow, green, and red-orange, and stenciled red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream wove paper.
Read commentary →Two Tahitian Women and a Marquesan Earplug - Paul Gauguin
"Two Tahitian Women and a Marquesan Earplug" by Paul Gauguin (1891/93) Pen and brown ink and graphite on parchment.
Read commentary →Te faruru (Here We Make Love), from the Noa Noa Suite - Paul Gauguin
"Te faruru (Here We Make Love), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown go
Read commentary →Auti te pape (Women at the River), from the Noa Noa Suite - Paul Gauguin
"Auti te pape (Women at the River), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed in reddish-brown and black ink on ivory wove paper (previously mounted on mottled blue wove paper laid down on cream wove card [a presentation mount]).
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed three times in reddish-brown, black, and light black ink, with touches of brush and black gouache and silver-gray watercolor (altered from black), on ivory laid Japanese paper, laid down on ivory wove Japanese paper (a laminate made by the artist).
Read commentary →Te atua (The God), from the Noa Noa Suite - Paul Gauguin
"Te atua (The God), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in orange and brown inks, over residual black ink, with wiping and touches of hand-applied black ink, on thin, pale-pink wove paper (faded to tan).
Read commentary →Two Maoris - Paul Gauguin
"Two Maoris" by Paul Gauguin (1896/97) Wood-block print printed twice in ocher and black ink, with red-brown watercolor on brown laid Japanese paper.
Read commentary →Young Maoris - Paul Gauguin
"Young Maoris" by Paul Gauguin (1896/97) Wood-block print printed twice in yellow ocher and black ink, on cream wove notebook paper ruled in blue.
Read commentary →Memory of Meijer de Haan - Paul Gauguin
"Memory of Meijer de Haan" by Paul Gauguin (1896/97) Wood-block print printed twice in black and brown ink, with dry brush and gray and ocher watercolor, on cream Japanese paper.
Read commentary →Hina - Paul Gauguin
"Hina" by Paul Gauguin (1891–93) Rubbing in brown on ivory tissue taken from a cylindrical wooden carving.
Read commentary →The Woman with Figs - Paul Gauguin
"The Woman with Figs" by Paul Gauguin (1894, printed 1899) Etching with open bite applied with a reed pen on a zinc plate, in dark green ink with selective wiping, on cream wove Japanese paper (a proofing paper).
Read commentary →Two Women Chattering, headpiece for Le Sourire - Paul Gauguin
"Two Women Chattering, headpiece for Le Sourire" by Paul Gauguin (1900) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Portrait of Tehamana - Paul Gauguin
"Portrait of Tehamana" by Paul Gauguin (1891/93) Charcoal and wetted charcoal, with stumping and erasing, on cream wove paper, selectively fixedr.
Read commentary →Tahitian Carrying Bananas, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Tahitian Carrying Bananas, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper.
Read commentary →Soyez amoureuses, vous serez heureuses (Love, and You Will Be Happy), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Soyez amoureuses, vous serez heureuses (Love, and You Will Be Happy), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899) Wood-block print in dark-orange (burnt sienna) ink on cream wove paper.
Read commentary →Te arii vahine—opoi (Woman with Mangos—Tired), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Te arii vahine—opoi (Woman with Mangos—Tired), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper, partially laid down on white Japanese paper.
Read commentary →Horse, with Other Animals and Ornaments - Paul Gauguin
"Horse, with Other Animals and Ornaments" by Paul Gauguin (1899/1900) Wood-block print in black ink on cream wove paper.
Read commentary →Maoris and Animals - Paul Gauguin
"Maoris and Animals" by Paul Gauguin (1896/97) Wood-block print in yellow ocher ink with gray-blue watercolor and touches of red watercolor on cream wove notebook paper ruled in blue.
Read commentary →Sketches of Figures, Pandanus Leaf, and Vanilla Plant - Paul Gauguin
"Sketches of Figures, Pandanus Leaf, and Vanilla Plant" by Paul Gauguin (1891/93) black fabricated chalk and watercolor on cream wove paper (removed from a sketchbook).
Read commentary →Head of a Tahitian Woman (recto), Sketches of Anatomical Details (verso) - Paul Gauguin
"Head of a Tahitian Woman (recto), Sketches of Anatomical Details (verso)" by Paul Gauguin (1891/93) Pen and brown ink (originally purple) (recto); graphite (verso); on cream wove paper, discolored to tan (removed from a sketchbook).
Read commentary →The Yellow Christ (recto), Female Bather Wading through a Brook - Paul Gauguin
"The Yellow Christ (recto), Female Bather Wading through a Brook" by Paul Gauguin (c. 1889) Salted paper print (extremely faded) toned with watercolor, on cream wove silver printing-out paper, laid down on cream card (recto); albumen print laid down on cream card (verso).
Read commentary →Still Life with Cat - Paul Gauguin
"Still Life with Cat" by Paul Gauguin (c. 1899) Watercolor on cream laid paper, laid down on cream Japanese paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L'estampe originale - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L'estampe originale" by Paul Gauguin (1893–94) Lithograph in black on ivory wove paper.
Read commentary →A Fisherman Drinking Beside His Canoe - Paul Gauguin
"A Fisherman Drinking Beside His Canoe" by Paul Gauguin (1894) Wood-block print in black ink, with red, orange, yellow, green, blue, violet and brown watercolor and touches of red and orange gouache, on ivory Japanese paper, laid down on cream Japanese paper.
Read commentary →Tahitian Hut - Paul Gauguin
"Tahitian Hut" by Paul Gauguin (1891/93) Watercolor, with touches of gouache, over graphite, on tan wove paper.
Read commentary →Te atua (The God), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Te atua (The God), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899, printed 1995) Wood-block print in black and brown ink from two blocks on cream Japanese paper with cream fibrous inclusions throughout.
Read commentary →Three Breton Women with Infants - Armand Séguin
"Three Breton Women with Infants" by Armand Séguin (1894) Woodcut in brown ink with letterpress above on discolored ivory laid paper hinged to tan laid paper.
Read commentary →Tahitians Fishing - Paul Gauguin
"Tahitians Fishing" by Paul Gauguin (1891/93) Brush and black ink, over brush and brown ink (originally purple), with watercolor and gouache on parchment, laid down on brown wove paper.
Read commentary →Seated Tahitian Woman (recto); Standing Tahitian Woman (verso) - Paul Gauguin
"Seated Tahitian Woman (recto); Standing Tahitian Woman (verso)" by Paul Gauguin (1891/93) Pen and brown ink (originally purple, est.), with graphite, on cream wove paper (recto); pen and brown ink (originally purple, est.), with traces of graphite, on cream wove paper; removed from a sketchbook and trimmed.
Read commentary →Man with an Ax - Paul Gauguin
"Man with an Ax" by Paul Gauguin (1891/93) Thinned gouache, with pen and black ink, over pen and brown ink, on cream wove paper (discolored to tan), laid down on cream Japanese paper.
Read commentary →Ten Studies of Tahitian Figures - Paul Gauguin
"Ten Studies of Tahitian Figures" by Paul Gauguin (1891/93) Brush and brown inks (originally purple), with watercolor, on parchment.
Read commentary →Sketch of Man with a Hat and Fragment of Woman’s Shoulder - Paul Gauguin
"Sketch of Man with a Hat and Fragment of Woman’s Shoulder" by Paul Gauguin (1891/93) Graphite on cream wove irregularly shaped paper, discolored to tan (removed from a sketchbook).
Read commentary →Parau Hina Tefatou (Words between Goddess of the Moon and God of the Earth) - Paul Gauguin
"Parau Hina Tefatou (Words between Goddess of the Moon and God of the Earth)" by Paul Gauguin (1893/94) Brush and gray wash and pen and brown ink (originally purple, est.), with black fabricated chalk, on heavily textured ivory wove paper.
Read commentary →Sketch of Maori Woman and Child - Paul Gauguin
"Sketch of Maori Woman and Child" by Paul Gauguin (1891/93) Pen and brown ink (originally purple), with touches of graphite on cream wove irregularly shaped paper, discolored to tan (removed from a sketchbook).
Read commentary →Sketches of Figures, Hands, and Feet (related to the painting Aha oe feii? [What! Are You Jealous?]) - Paul Gauguin
"Sketches of Figures, Hands, and Feet (related to the painting Aha oe feii? [What! Are You Jealous?])" by Paul Gauguin (1891/93) Black fabricated chalk with pen and brown ink (originally purple) on cream wove paper (removed from a sketchbook).
Read commentary →Bust of a Tahitian Woman - Paul Gauguin
"Bust of a Tahitian Woman" by Paul Gauguin (1894) Watercolor monotype on ivory Japanese paper, discolored to tan, laid down on tan wove paper.
Read commentary →Seated Female (related to the painting Sister of Charity) - Paul Gauguin
"Seated Female (related to the painting Sister of Charity)" by Paul Gauguin (c. 1902) Transfer drawing in black ink on ivory wove paper.
Read commentary →Tahitian Landscape - Paul Gauguin
"Tahitian Landscape" by Paul Gauguin (1894) Watercolor monotype from a glass matrix, with touches of gouache on cream wove paper laid down on ivory Japanese paper.
Read commentary →Aha oe feii? (What! Are You Jealous?) - Paul Gauguin
"Aha oe feii? (What! Are You Jealous?)" by Paul Gauguin (1894) Watercolor monotype from a glass matrix, with brush and white gouache, reddish-brown and black water color, on cream wove paper (an imitation Japanese vellum).
Read commentary →Te atua (The God), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Te atua (The God), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Three People, a Mask, a Fox and a Bird, headpiece for Le sourire - Paul Gauguin
"Three People, a Mask, a Fox and a Bird, headpiece for Le sourire" by Paul Gauguin (1899) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →Change of Residence, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Change of Residence, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899) Wood-block print in black ink, with touches of red and black watercolor, on cream wove paper.
Read commentary →Two Standing Tahitian Women - Paul Gauguin
"Two Standing Tahitian Women" by Paul Gauguin (1894) Black ink monotype from a glass matrix, over watercolor monotype from a paper matrix, with touches of metallic oil-based media, on thin cream Japanese paper laid down on cream wove paper (an imitation Japanese vellum).
Read commentary →Maruru (Offerings of Gratitude), from the Noa Noa Suite - Paul Gauguin
"Maruru (Offerings of Gratitude), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and transferred golden-yellow, green, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with brush and black ink and diluted yellow printing ink, on cream Japanese paper.
Read commentary →Man Carrying Bananas Followed by Two Horses, headpiece for Le sourire - Paul Gauguin
"Man Carrying Bananas Followed by Two Horses, headpiece for Le sourire" by Paul Gauguin (1900) Wood-block print printed twice in black ink on cream wove paper (an imitation Japanese vellum) (recto); wood-block print in black ink over orange ink tone block, on cream wove paper (an imitation Japanese vellum) (verso).
Read commentary →Soyez amoureuses, vous serez heureuses (Love, and You Will Be Happy), from the Suite of Late Wood-Block Prints - Paul Gauguin
"Soyez amoureuses, vous serez heureuses (Love, and You Will Be Happy), from the Suite of Late Wood-Block Prints" by Paul Gauguin (1899) Second-state impression laid down on first-state impression Wood-block print of second state in black ink on thin ivory Japanese paper, laid down on wood-block print of first state in yellow ocher ink with traces of black ink on grayish-ivory wove paper (recto);
Read commentary →Auti te pape (Women at the River), from the Noa Noa Suite - Paul Gauguin
"Auti te pape (Women at the River), from the Noa Noa Suite" by Paul Gauguin (spring/summer 1894) Wood-block print in black ink, over stenciled red ink and a yellow ink tone block, on cream wove paper (an imitation Japanese vellum).
Read commentary →Tahitian Idol—the Goddess Hina - Paul Gauguin
"Tahitian Idol—the Goddess Hina" by Paul Gauguin (1894/95) Wood-block print in black ink, over brush and solvent thinned and selectively applied yellow ocher, reddish-orange and touches of green and pink wax-and resin-based media, on cream wove paper.
Read commentary →Woman Picking Fruit and Oviri - Paul Gauguin
"Woman Picking Fruit and Oviri" by Paul Gauguin (1895/96) Wood-block print in black ink on thin ivory Japanese paper, laid down on thin ivory Japanese paper (a modern mount).
Read commentary →L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite - Paul Gauguin
"L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite" by Paul Gauguin (1893/94) Wood-block print in black ink, with selective wiping, on pink wove paper (faded to pinkish tan).
Read commentary →Two Women Chattering, headpiece for Le Sourire - Paul Gauguin
"Two Women Chattering, headpiece for Le Sourire" by Paul Gauguin (1900) Wood-block print in black ink on thin ivory laid Japanese paper.
Read commentary →A Fisherman Drinking Beside His Canoe - Paul Gauguin
"A Fisherman Drinking Beside His Canoe" by Paul Gauguin (1894) Wood-block print in brown ink on cream wove Japanese paper, laid down on cream wove Japanese paper.
Read commentary →Interior of a Tahitian Hut, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Interior of a Tahitian Hut, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin ivory Japanese paper.
Read commentary →Women, Animals, and Foliage, from the Suite of Late Wood-Block Prints - Paul Gauguin
"Women, Animals, and Foliage, from the Suite of Late Wood-Block Prints" by Paul Gauguin (1898/99) Wood-block print in black ink on thin laid ivory Japanese paper, laid down on thin wove white Japanese paper.
Read commentary →Nave nave fenua (Delightful Land), from the Noa Noa Suite - Paul Gauguin
"Nave nave fenua (Delightful Land), from the Noa Noa Suite" by Paul Gauguin (1893–94) Wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and stenciled red oil medium, on cream Japanese paper discolored to a grayish tone.
Read commentary →Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire - Paul Gauguin
"Fox, Busts of Two Women, and a Rabbit, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on thin ivory Japanese paper, laid down on ivory Japanese paper.
Read commentary →A Horse and Birds, headpiece for Le sourire - Paul Gauguin
"A Horse and Birds, headpiece for Le sourire" by Paul Gauguin (1899) Wood-block print in black ink on mottled gray-blue wove paper, laid down on buff wove paper.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L’estampe originale - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from L’estampe originale" by Paul Gauguin (1894) Lithograph in black ink on ivory wove paper, discolored to light brown.
Read commentary →Tahitians, Flowers, and Leaves, headpiece for Le sourire - Paul Gauguin
"Tahitians, Flowers, and Leaves, headpiece for Le sourire" by Paul Gauguin (1899/1900) Wood-block print in black ink on cream wove paper.
Read commentary →Noa noa (Fragrant) - Paul Gauguin
"Noa noa (Fragrant)" by Paul Gauguin (1894/95) Wood-block print in black ink, over solvent thinned and selectively applied yellow ocher ink, on cream wove paper.
Read commentary →Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite - Paul Gauguin
"Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite" by Paul Gauguin (1894) Wood-block print in black ink, with brush and pale orange wash, over stenciled yellow ink and a red ink tone block, on cream wove paper (an imitation Japanese vellum).
Read commentary →Man with an Ax - Paul Gauguin
"Man with an Ax" by Paul Gauguin (1893/94) Pen and black ink, and brush and black wash, with pen and brown ink (originally purple) and touches of graphite, on heavily textured ivory wove paper.
Read commentary →Noa Noa - Paul Gauguin
"Noa Noa" by Paul Gauguin (n.d.) Collotype with letterpress, in black on cream wove papers, folded, with collotype in black with red on ivory laid paper and envelope, contained within cream wove paper wrapper with collotype in black.
Read commentary →Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite - Paul Gauguin
"Manao tupapau (She Thinks of the Ghost or The Ghost Thinks of Her), from the Noa Noa Suite" by Paul Gauguin (1893/94) End-grain boxwood block, with a commercially prepared gray ground, sealed with an opaque pink oil medium, and inked in black ink.
Read commentary →Portrait of Stéphane Mallarmé - Paul Gauguin
"Portrait of Stéphane Mallarmé" by Paul Gauguin (1891) Etching, with drypoint and engraving, in black, with pen and black and brown ink, and brush and black and gray wash, on cream wove paper.
Read commentary →Amélie Laurent Dieterlé - Pierre-Auguste Renoir
"Amélie Laurent Dieterlé" by Pierre-Auguste Renoir (c. 1899) Lithograph in gray on off-white wove paper.
Read commentary →Woman Reclining, to the Left - Pierre-Auguste Renoir
"Woman Reclining, to the Left" by Pierre-Auguste Renoir (c. 1906) Etching on cream wove paper.
Read commentary →Children on the Beach, Berneval - Pierre-Auguste Renoir
"Children on the Beach, Berneval" by Pierre-Auguste Renoir (c. 1892) Etching and drypoint in warm black on ivory wove paper.
Read commentary →Dance in the Country - Pierre-Auguste Renoir
"Dance in the Country" by Pierre-Auguste Renoir (c. 1890) Soft ground etching in brown-gray on ivory laid paper.
Read commentary →Two Women Bathing - Pierre-Auguste Renoir
"Two Women Bathing" by Pierre-Auguste Renoir (c. 1895) Etching on tan wove paper.
Read commentary →Seated Bather - Pierre-Auguste Renoir
"Seated Bather" by Pierre-Auguste Renoir (c. 1897) Color soft ground etching in blue on ivory wove paper.
Read commentary →Pinning the Hat - Pierre-Auguste Renoir
"Pinning the Hat" by Pierre-Auguste Renoir (1898) Lithograph from five stones in black, orange, salmon, yellow and green on ivory laid paper.
Read commentary →Portrait of Ambroise Vollard - Pierre-Auguste Renoir
"Portrait of Ambroise Vollard" by Pierre-Auguste Renoir (c. 1904) Lithograph on ivory wove paper.
Read commentary →Standing Female Bather - Pierre-Auguste Renoir
"Standing Female Bather" by Pierre-Auguste Renoir (c. 1896) Lithograph in rose, blue, ochre and dark blue-gray on cream laid paper.
Read commentary →Studies of Trees and Foliage - Pierre-Auguste Renoir
"Studies of Trees and Foliage" by Pierre-Auguste Renoir (1884/87) Pen and black ink with opaque and transparent watercolor on ivory wove paper.
Read commentary →Reclining Nude - Pierre-Auguste Renoir
"Reclining Nude" by Pierre-Auguste Renoir (1906) Etching in red-brown (sanguine) on cream Japanese paper.
Read commentary →Seated Nude Woman - Pierre-Auguste Renoir
"Seated Nude Woman" by Pierre-Auguste Renoir (c. 1906) Soft ground etching in dark brown on cream laid paper.
Read commentary →Portrait of Louis Valtat - Pierre-Auguste Renoir
"Portrait of Louis Valtat" by Pierre-Auguste Renoir (c. 1904) Lithograph in black on ivory Japanese paper.
Read commentary →Claude Renoir, Turned to the Left - Pierre-Auguste Renoir
"Claude Renoir, Turned to the Left" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on cream Japanese paper.
Read commentary →Woman with Grapevine, 2nd variant - Pierre-Auguste Renoir
"Woman with Grapevine, 2nd variant" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on ivory Japanese paper.
Read commentary →Woman with Grapevine, 4th variant - Pierre-Auguste Renoir
"Woman with Grapevine, 4th variant" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on cream Japanese paper.
Read commentary →Woman with Grapevine, 1st variant - Pierre-Auguste Renoir
"Woman with Grapevine, 1st variant" by Pierre-Auguste Renoir (c. 1904; published 1919) Lithograph in black on cream Japanese paper.
Read commentary →Woman with Grapevine - Pierre-Auguste Renoir
"Woman with Grapevine" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on cream Japanese paper.
Read commentary →Study of Seated Female Nude, Variant - Pierre-Auguste Renoir
"Study of Seated Female Nude, Variant" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on ivory Japanese paper.
Read commentary →Study of Seated Nude Woman - Pierre-Auguste Renoir
"Study of Seated Nude Woman" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph on paper.
Read commentary →Stone with Three Sketches - Pierre-Auguste Renoir
"Stone with Three Sketches" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on cream Japanese paper.
Read commentary →Claude Renoir, Head Lowered - Pierre-Auguste Renoir
"Claude Renoir, Head Lowered" by Pierre-Auguste Renoir (c. 1904, published 1919) Lithograph in black on cream Japanese paper.
Read commentary →The Pinned Hat and the Bather - Pierre-Auguste Renoir
"The Pinned Hat and the Bather" by Pierre-Auguste Renoir (c. 1905) Lithograph in black on thick grayish-ivory wove paper.
Read commentary →Woman with Grapevine, 3rd variant - Pierre-Auguste Renoir
"Woman with Grapevine, 3rd variant" by Pierre-Auguste Renoir (c. 1904) Lithograph in black on cream Japanese paper.
Read commentary →Portrait of Cezanne - Pierre-Auguste Renoir
"Portrait of Cezanne" by Pierre-Auguste Renoir (c. 1902) Lithograph on grayish ivory wove paper.
Read commentary →Woman Reclining, to the Left - Pierre-Auguste Renoir
"Woman Reclining, to the Left" by Pierre-Auguste Renoir (c. 1906) Etching on cream wove paper.
Read commentary →Maternity, large plate - Pierre-Auguste Renoir
"Maternity, large plate" by Pierre-Auguste Renoir (c. 1912) Lithograph from two stones in black and gray on gray chine.
Read commentary →Study of a Seated Nude Woman, variant - Pierre-Auguste Renoir
"Study of a Seated Nude Woman, variant" by Pierre-Auguste Renoir (c. 1904) Lithograph in black on off-white wove paper.
Read commentary →The Pinned Hat, second plate - Pierre-Auguste Renoir
"The Pinned Hat, second plate" by Pierre-Auguste Renoir (c. 1898) Lithograph from one stone in blue-gray on gray chine tipped at corners and margins to mat.
Read commentary →Standing Bather - Pierre-Auguste Renoir
"Standing Bather" by Pierre-Auguste Renoir (c. 1910) Etching on tan laid paper.
Read commentary →Seated Nude Woman - Pierre-Auguste Renoir
"Seated Nude Woman" by Pierre-Auguste Renoir (c. 1906) Soft ground etching on bright cream laid paper.
Read commentary →Portrait of Richard Wagner - Pierre-Auguste Renoir
"Portrait of Richard Wagner" by Pierre-Auguste Renoir (c. 1900) Lithograph in black on ivory wove paper.
Read commentary →Child with a Biscuit (Jean Renoir) - Pierre-Auguste Renoir
"Child with a Biscuit (Jean Renoir)" by Pierre-Auguste Renoir (1898/99) Lithograph in black on cream laid paper.
Read commentary →The Auvers Valley on the Oise River - Pierre-Auguste Renoir
"The Auvers Valley on the Oise River" by Pierre-Auguste Renoir (after 1884) Gouache and watercolor, with touches of scraping, on ivory wove paper.
Read commentary →Vase of Flowers - Pierre-Auguste Renoir
"Vase of Flowers" by Pierre-Auguste Renoir (May 1857) Graphite on white wove paper.
Read commentary →Bathers in a Forest - Pierre-Auguste Renoir
"Bathers in a Forest" by Pierre-Auguste Renoir (1895/97) Graphite on tan wove paper, laid down on ivory Japanese paper.
Read commentary →Workers' Daughters on the Outer Boulevard (Illustration for Émile Zola's "L'Assommoir") - Pierre-Auguste Renoir
"Workers' Daughters on the Outer Boulevard (Illustration for Émile Zola's "L'Assommoir")" by Pierre-Auguste Renoir (1877/78) Pen and brown ink, over black chalk, on ivory laid paper.
Read commentary →Grove of Trees - Pierre-Auguste Renoir
"Grove of Trees" by Pierre-Auguste Renoir (1888/90) Opaque and transparent watercolor on cream wove paper.
Read commentary →Claude Renoir Turned Three-Quarters to the Left - Pierre-Auguste Renoir
"Claude Renoir Turned Three-Quarters to the Left" by Pierre-Auguste Renoir (c. 1908) Soft ground etching on blue-green laid paper.
Read commentary →Standing Bather - Pierre-Auguste Renoir
"Standing Bather" by Pierre-Auguste Renoir (c. 1910) Etching on cream wove paper.
Read commentary →Study - James McNeill Whistler
"Study" by James McNeill Whistler (1878) Lithograph in black ink with scraping and roulette work on ivory chine laid down on off-white plate paper.
Read commentary →Study - James McNeill Whistler
"Study" by James McNeill Whistler (1878) Lithograph in black ink with scraping on tan wove paper.
Read commentary →The Fan - James McNeill Whistler
"The Fan" by James McNeill Whistler (1879) Transfer lithograph in black ink on ivory plate paper.
Read commentary →Victoria Club - James McNeill Whistler
"Victoria Club" by James McNeill Whistler (1879/87) Transfer lithograph in black ink with scraping, on ivory laid paper.
Read commentary →Gaiety Stage Door - James McNeill Whistler
"Gaiety Stage Door" by James McNeill Whistler (1879/87) Transfer lithograph in black ink with scraping, on ivory laid paper.
Read commentary →Victoria Club - James McNeill Whistler
"Victoria Club" by James McNeill Whistler (1879/87) Transfer lithograph in black with scraping, on cream chine laid down on ivory plate paper.
Read commentary →Reading - James McNeill Whistler
"Reading" by James McNeill Whistler (1879, published 1887) Lithograph, in black ink, with stumping, on ivory wove paper.
Read commentary →Reading - James McNeill Whistler
"Reading" by James McNeill Whistler (1879/87) Lithograph, in black ink, with stumping, on cream chine, laid down on ivory plate paper.
Read commentary →Reading - James McNeill Whistler
"Reading" by James McNeill Whistler (1879/87) Lithograph, in black ink, with scraping, on ivory Japanese paper.
Read commentary →Old Battersea Bridge - James McNeill Whistler
"Old Battersea Bridge" by James McNeill Whistler (1879/87) Lithograph, in black ink, with scraping, on tan laid paper.
Read commentary →Study - James McNeill Whistler
"Study" by James McNeill Whistler (1879) Lithograph, in black ink, on a prepared half-tint ground, with scraping, on ivory plate paper.
Read commentary →Entrance Gate - James McNeill Whistler
"Entrance Gate" by James McNeill Whistler (1887) Transfer lithograph in black on ivory wove paper.
Read commentary →Old Battersea Bridge - James McNeill Whistler
"Old Battersea Bridge" by James McNeill Whistler (1879, published 1887) Lithograph, in black ink, with scraping, on white plate paper.
Read commentary →Old Battersea Bridge - James McNeill Whistler
"Old Battersea Bridge" by James McNeill Whistler (1879/87) Lithograph, in black ink, with scraping, on cream chine, laid down on ivory plate paper.
Read commentary →Drury Lane Rags - James McNeill Whistler
"Drury Lane Rags" by James McNeill Whistler (1888) Transfer lithograph in black on ivory laid paper.
Read commentary →Chelsea Shops - James McNeill Whistler
"Chelsea Shops" by James McNeill Whistler (1888) Transfer lithograph in black ink on ivory laid paper.
Read commentary →Lindsey Row, Chelsea - James McNeill Whistler
"Lindsey Row, Chelsea" by James McNeill Whistler (1888) Transfer lithograph in black on ivory laid paper.
Read commentary →Little Court, Cloth Fair - James McNeill Whistler
"Little Court, Cloth Fair" by James McNeill Whistler (1887) Transfer lithograph in black on ivory laid paper.
Read commentary →Churchyard - James McNeill Whistler
"Churchyard" by James McNeill Whistler (1887) Transfer lithograph in black on cream laid paper.
Read commentary →Drury Lane Rags - James McNeill Whistler
"Drury Lane Rags" by James McNeill Whistler (1888) Transfer lithograph in black on grayish ivory wove proofing paper.
Read commentary →The Horoscope - James McNeill Whistler
"The Horoscope" by James McNeill Whistler (probably 1889) Transfer lithograph in black on cream Japanese paper.
Read commentary →The Novel: Girl Reading - James McNeill Whistler
"The Novel: Girl Reading" by James McNeill Whistler (probably 1889) Transfer lithograph in black on cream laid paper.
Read commentary →The Dancing Girl - James McNeill Whistler
"The Dancing Girl" by James McNeill Whistler (1889) Transfer lithograph in black on cream chine, laid down on ivory plate paper.
Read commentary →The Farriers - James McNeill Whistler
"The Farriers" by James McNeill Whistler (1888) Transfer lithograph in black on cream wove proofing paper.
Read commentary →Courtyard, Chelsea Hospital - James McNeill Whistler
"Courtyard, Chelsea Hospital" by James McNeill Whistler (1888) Lithograph, in black ink, with stumping, on cream wove paper.
Read commentary →Chelsea Rags - James McNeill Whistler
"Chelsea Rags" by James McNeill Whistler (1888) Transfer lithograph in black on tan laid paper.
Read commentary →The Dancing Girl - James McNeill Whistler
"The Dancing Girl" by James McNeill Whistler (1889) Transfer lithograph in black on ivory laid paper.
Read commentary →The Little Nude Model, Reading - James McNeill Whistler
"The Little Nude Model, Reading" by James McNeill Whistler (1889/90) Transfer lithograph in black on ivory laid paper.
Read commentary →Model Draping - James McNeill Whistler
"Model Draping" by James McNeill Whistler (c. 1889) Transfer lithograph in black on cream laid paper.
Read commentary →The Winged Hat - James McNeill Whistler
"The Winged Hat" by James McNeill Whistler (1890) Transfer lithograph in black with scraping, on ivory wove paper.
Read commentary →Maunder's Fish Shop, Chelsea - James McNeill Whistler
"Maunder's Fish Shop, Chelsea" by James McNeill Whistler (1890) Transfer lithograph in black on cream laid paper.
Read commentary →The Tyresmith - James McNeill Whistler
"The Tyresmith" by James McNeill Whistler (1890) Transfer lithograph in black on grayish ivory laid paper.
Read commentary →Figure Study in Colors - James McNeill Whistler
"Figure Study in Colors" by James McNeill Whistler (1890) Transfer lithograph from four stones on ivory wove proofing paper.
Read commentary →The Garden - James McNeill Whistler
"The Garden" by James McNeill Whistler (1891) Transfer lithograph in black on ivory laid paper.
Read commentary →Gatti's - James McNeill Whistler
"Gatti's" by James McNeill Whistler (1890) Transfer lithograph in black on ivory laid paper.
Read commentary →Suede Gloves - James McNeill Whistler
"Suede Gloves" by James McNeill Whistler (1890) Transfer lithograph in black on cream laid paper.
Read commentary →The Winged Hat - James McNeill Whistler
"The Winged Hat" by James McNeill Whistler (1890) Transfer lithograph in black with scraping, on ivory wove paper.
Read commentary →Cocks and Hens, Hôtel Colbert - James McNeill Whistler
"Cocks and Hens, Hôtel Colbert" by James McNeill Whistler (1891) Transfer lithograph in black on ivory wove paper.
Read commentary →Hôtel Colbert, Windows - James McNeill Whistler
"Hôtel Colbert, Windows" by James McNeill Whistler (1891) Transfer lithograph in black on ivory laid paper.
Read commentary →Grand Rue, Dieppe - James McNeill Whistler
"Grand Rue, Dieppe" by James McNeill Whistler (c. 1891, printed 1904) Transfer lithograph in black on ivory Japanese paper.
Read commentary →Two Trial Sketches: A. Grand Rue, Dieppe; B. An Interior - James McNeill Whistler
"Two Trial Sketches: A. Grand Rue, Dieppe; B. An Interior" by James McNeill Whistler (c. 1891, printed 1904) Transfer lithograph in black on ivory wove paper.
Read commentary →Nude Model, Standing - James McNeill Whistler
"Nude Model, Standing" by James McNeill Whistler (c. 1891) Transfer lithograph in black on cream Japanese gampi paper.
Read commentary →La Danseuse: A Study of the Nude - James McNeill Whistler
"La Danseuse: A Study of the Nude" by James McNeill Whistler (c. 1891) Transfer lithograph in black on cream Japanese gampi paper.
Read commentary →Staircase - James McNeill Whistler
"Staircase" by James McNeill Whistler (1891) Transfer lithograph in black on grayish white chine, laid down on ivory plate paper.
Read commentary →Draped Figure, Standing - James McNeill Whistler
"Draped Figure, Standing" by James McNeill Whistler (1891) Transfer lithograph in dark gray on cream Japanese paper.
Read commentary →Draped Figure, Standing - James McNeill Whistler
"Draped Figure, Standing" by James McNeill Whistler (1891) Lithograph, from thin, transparent paper, from four stones, red-orange and brown (keystone), orange, and ochre inks, on ivory laid paper.
Read commentary →Mother and Child, No. 3 - James McNeill Whistler
"Mother and Child, No. 3" by James McNeill Whistler (1891/95) Transfer lithograph in black on cream Japanese paper.
Read commentary →Mother and Child, No. 2 - James McNeill Whistler
"Mother and Child, No. 2" by James McNeill Whistler (1891/95) Transfer lithograph in black on cream laid paper.
Read commentary →Mother and Child, No. 1 - James McNeill Whistler
"Mother and Child, No. 1" by James McNeill Whistler (1891, printed 1895) Transfer lithograph, with scraping and stumping, in black on cream laid paper.
Read commentary →Stephane Mallarmé, No. 2 - James McNeill Whistler
"Stephane Mallarmé, No. 2" by James McNeill Whistler (1892) Transfer lithograph in black with scraping, on cream laid paper.
Read commentary →Portrait Study: Miss Charlotte R. Williams - James McNeill Whistler
"Portrait Study: Miss Charlotte R. Williams" by James McNeill Whistler (1892) Transfer lithograph in black on cream laid paper.
Read commentary →Mother and Child, No. 4 - James McNeill Whistler
"Mother and Child, No. 4" by James McNeill Whistler (1891, printed 1895) Transfer lithograph in black on ivory Japanese paper.
Read commentary →Stéphane Mallarmé - James McNeill Whistler
"Stéphane Mallarmé" by James McNeill Whistler (1892) Transfer lithograph in gray-black on ivory laid paper.
Read commentary →Draped Figure, Reclining - James McNeill Whistler
"Draped Figure, Reclining" by James McNeill Whistler (1892) Transfer lithograph from five stones, in black (keystone), blue-green, olive green, yellow-green, yellow, purple-brown, pale ochre, orange-red, and rose on ivory wove paper.
Read commentary →The Fireplace - James McNeill Whistler
"The Fireplace" by James McNeill Whistler (1893) Transfer lithograph in black on ivory wove proofing paper.
Read commentary →Stéphane Mallarmé - James McNeill Whistler
"Stéphane Mallarmé" by James McNeill Whistler (1892, published 1893) Transfer lithograph in gray-black on grayish ivory wove paper, laid down on off-white plate paper (chine collé).
Read commentary →Gabled Roofs - James McNeill Whistler
"Gabled Roofs" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →The Marketplace, Vitré - James McNeill Whistler
"The Marketplace, Vitré" by James McNeill Whistler (1893) Transfer lithograph in black on ivory laid paper.
Read commentary →Vitré: The Canal - James McNeill Whistler
"Vitré: The Canal" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →Red House, Paimpol - James McNeill Whistler
"Red House, Paimpol" by James McNeill Whistler (1893) Transfer lithograph from three stones, in black (keystone), red, and gray inks, with scraping, on cream wove Japanese vellum.
Read commentary →The Clock-Makers, Paimpol - James McNeill Whistler
"The Clock-Makers, Paimpol" by James McNeill Whistler (1893) Transfer lithograph in black on cream laid paper.
Read commentary →Yellow House, Lannion - James McNeill Whistler
"Yellow House, Lannion" by James McNeill Whistler (1893) Transfer lithograph with scraping, from five stones, in black (keystone), green, yellow, gray, and medium gray, on cream Japanese paper.
Read commentary →Yellow House, Lannion - James McNeill Whistler
"Yellow House, Lannion" by James McNeill Whistler (1893) Transfer lithograph, with scraping, from six stones in black (keystone), greenish gray, brown, green, yellow, and gray on ivory laid paper.
Read commentary →Nude Model, Reclining - James McNeill Whistler
"Nude Model, Reclining" by James McNeill Whistler (1893) Transfer lithograph in black ink with stumping, on ivory laid paper.
Read commentary →Conversation under the Statue, Luxembourg Gardens - James McNeill Whistler
"Conversation under the Statue, Luxembourg Gardens" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on ivory laid paper.
Read commentary →The Steps, Luxembourg - James McNeill Whistler
"The Steps, Luxembourg" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on tan laid paper.
Read commentary →The Pantheon, from the Terrace of the Luxembourg Gardens - James McNeill Whistler
"The Pantheon, from the Terrace of the Luxembourg Gardens" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →Conversation under the Statue, Luxembourg Gardens - James McNeill Whistler
"Conversation under the Statue, Luxembourg Gardens" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on ivory laid paper.
Read commentary →The Draped Figure, Seated - James McNeill Whistler
"The Draped Figure, Seated" by James McNeill Whistler (1893) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →The Draped Figure, Back View - James McNeill Whistler
"The Draped Figure, Back View" by James McNeill Whistler (1893) Lithograph, in black ink, on ivory laid paper.
Read commentary →Little Draped Figure, Leaning - James McNeill Whistler
"Little Draped Figure, Leaning" by James McNeill Whistler (1893) Transfer lithograph in black on cream laid Japanese vellum.
Read commentary →Nursemaids: "Les Bonnes du Luxembourg" - James McNeill Whistler
"Nursemaids: "Les Bonnes du Luxembourg"" by James McNeill Whistler (1894) Transfer lithograph in black on cream laid paper.
Read commentary →A Lady Seated - James McNeill Whistler
"A Lady Seated" by James McNeill Whistler (1893) Lithograph, in black ink, with scraping and touches of brush and tusche, on grayish ivory China paper.
Read commentary →The Garden Porch - James McNeill Whistler
"The Garden Porch" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid proofing paper.
Read commentary →The Long Gallery, Louvre - James McNeill Whistler
"The Long Gallery, Louvre" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on cream wove paper.
Read commentary →The Little Balcony - James McNeill Whistler
"The Little Balcony" by James McNeill Whistler (1894) Transfer lithograph in black on cream laid Japanese vellum.
Read commentary →The Terrace, Luxembourg - James McNeill Whistler
"The Terrace, Luxembourg" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on cream laid Japanese vellum.
Read commentary →The Long Balcony - James McNeill Whistler
"The Long Balcony" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →Count Robert de Montesquiou, No. 2 - James McNeill Whistler
"Count Robert de Montesquiou, No. 2" by James McNeill Whistler (1894) Transfer lithograph in black with scraping, on grayish ivory China paper.
Read commentary →The Man with a Sickle - James McNeill Whistler
"The Man with a Sickle" by James McNeill Whistler (1894) Transfer lithograph in black on cream wove Japanese vellum.
Read commentary →Tête-à-tête in the garden - James McNeill Whistler
"Tête-à-tête in the garden" by James McNeill Whistler (1894) Transfer lithograph in black on cream laid Japanese vellum.
Read commentary →The Duet, No. 2 - James McNeill Whistler
"The Duet, No. 2" by James McNeill Whistler (1894) Transfer lithograph in black on grayish ivory China paper.
Read commentary →La Belle Dame paresseuse - James McNeill Whistler
"La Belle Dame paresseuse" by James McNeill Whistler (1894) Lithograph from thin transparent transfer paper, in black ink, on cream wove Japanese vellum.
Read commentary →La Jolie New Yorkaise - James McNeill Whistler
"La Jolie New Yorkaise" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →Rue Furstenburg - James McNeill Whistler
"Rue Furstenburg" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →The Laundress: "La Blanchisseuse de la place Dauphine" - James McNeill Whistler
"The Laundress: "La Blanchisseuse de la place Dauphine"" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →Late Picquet - James McNeill Whistler
"Late Picquet" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →The Little Café au Bois - James McNeill Whistler
"The Little Café au Bois" by James McNeill Whistler (1894) Transfer lithograph in black on cream Japanese proofing paper.
Read commentary →The Whitesmiths, Impasse des Carmélites - James McNeill Whistler
"The Whitesmiths, Impasse des Carmélites" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →The Forge, Passage du Dragon - James McNeill Whistler
"The Forge, Passage du Dragon" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →La Belle Jardinière - James McNeill Whistler
"La Belle Jardinière" by James McNeill Whistler (1894) Transfer lithograph in black, with stumping and scraping, on cream laid paper, laid down on a heavy backing sheet.
Read commentary →The Smith, Passage du Dragon - James McNeill Whistler
"The Smith, Passage du Dragon" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on grayish white chine, laid down on ivory plate paper.
Read commentary →The Forge, Passage du Dragon - James McNeill Whistler
"The Forge, Passage du Dragon" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on grayish white chine, laid down on ivory plate paper.
Read commentary →Confidences in the Garden - James McNeill Whistler
"Confidences in the Garden" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →The Smith, Passage du Dragon - James McNeill Whistler
"The Smith, Passage du Dragon" by James McNeill Whistler (1894) Transfer lithograph in black with stumping, on ivory wove proofing paper laid down on a heavy backing sheet.
Read commentary →The Priest's House, Rouen - James McNeill Whistler
"The Priest's House, Rouen" by James McNeill Whistler (1894/95) Transfer lithograph in black with stumping and scraping, on cream Japanese paper.
Read commentary →The Priest's House, Rouen - James McNeill Whistler
"The Priest's House, Rouen" by James McNeill Whistler (1894/95) Transfer lithograph in black with stumping and scraping, on cream wove Japanese vellum laid down on a heavy backing sheet.
Read commentary →La Fruitière de la rue de Grenelle - James McNeill Whistler
"La Fruitière de la rue de Grenelle" by James McNeill Whistler (1894) Transfer lithograph in black on cream laid Japanese vellum.
Read commentary →The Duet - James McNeill Whistler
"The Duet" by James McNeill Whistler (1894) Transfer lithograph in black on cream laid paper.
Read commentary →The Priest's House, Rouen - James McNeill Whistler
"The Priest's House, Rouen" by James McNeill Whistler (1894–95) Transfer lithograph in black, with stumping and scraping, on cream laid paper.
Read commentary →The Priest's House, Rouen - James McNeill Whistler
"The Priest's House, Rouen" by James McNeill Whistler (1894/95) Transfer lithograph in black with stumping and scraping, on off-white chine, laid down on white plate paper.
Read commentary →The Smith, Passage du Dragon - James McNeill Whistler
"The Smith, Passage du Dragon" by James McNeill Whistler (1894) Transfer lithograph in black, with stumping, on cream wove Japanese vellum.
Read commentary →La Belle Dame endormie - James McNeill Whistler
"La Belle Dame endormie" by James McNeill Whistler (1894) Transfer lithograph in black on grayish white chine, laid down on white plate paper.
Read commentary →La Robe Rouge - James McNeill Whistler
"La Robe Rouge" by James McNeill Whistler (1894, printed 1895) Transfer lithograph in black on ivory laid paper.
Read commentary →La Robe Rouge - James McNeill Whistler
"La Robe Rouge" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →Portrait of Dr. Whistler, No. 2 - James McNeill Whistler
"Portrait of Dr. Whistler, No. 2" by James McNeill Whistler (1894) Transfer lithograph in black ink on grayish ivory laid proofing paper.
Read commentary →The Doctor - James McNeill Whistler
"The Doctor" by James McNeill Whistler (1894, published 1896) Transfer lithograph in black on off-white wove paper.
Read commentary →A Portrait: Mildred Howells - James McNeill Whistler
"A Portrait: Mildred Howells" by James McNeill Whistler (1894/96) Transfer lithograph in black with scraping, on ivory laid paper.
Read commentary →The Sisters - James McNeill Whistler
"The Sisters" by James McNeill Whistler (1894/95) Transfer lithograph in black with scraping, on cream wove Japanese vellum.
Read commentary →The Sisters - James McNeill Whistler
"The Sisters" by James McNeill Whistler (1894/95) Transfer lithograph with scraping, on ivory wove proofing paper.
Read commentary →Walter Sickert - James McNeill Whistler
"Walter Sickert" by James McNeill Whistler (1895) Transfer lithograph in black on ivory laid paper.
Read commentary →Study - James McNeill Whistler
"Study" by James McNeill Whistler (1894) Transfer lithograph in black on ivory laid paper.
Read commentary →Figure Study - James McNeill Whistler
"Figure Study" by James McNeill Whistler (1894) Transfer lithograph in black on grayish white chine, laid down on white plate paper.
Read commentary →Unfinished Sketch of Lady Haden - James McNeill Whistler
"Unfinished Sketch of Lady Haden" by James McNeill Whistler (1895) Lithograph, in black ink, with scraping, on cream wove Japanese vellum.
Read commentary →Unfinished Sketch of Lady Haden - James McNeill Whistler
"Unfinished Sketch of Lady Haden" by James McNeill Whistler (1895) Lithograph, in black ink, with scraping, on grayish white chine, laid down on ivory plate paper.
Read commentary →The Little Doorway, Lyme Regis - James McNeill Whistler
"The Little Doorway, Lyme Regis" by James McNeill Whistler (1895) Transfer lithograph in black on cream wove proofing paper.
Read commentary →Girl with Bowl - James McNeill Whistler
"Girl with Bowl" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →Back of the Gaiety Theatre - James McNeill Whistler
"Back of the Gaiety Theatre" by James McNeill Whistler (1895) Lithograph in black on ivory laid paper.
Read commentary →The Strong Arm - James McNeill Whistler
"The Strong Arm" by James McNeill Whistler (1895) Transfer lithograph in black on ivory laid paper.
Read commentary →The Smith's Yard - James McNeill Whistler
"The Smith's Yard" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →Father and Son - James McNeill Whistler
"Father and Son" by James McNeill Whistler (1895) Transfer lithograph in black on ivory laid paper.
Read commentary →The Good Shoe - James McNeill Whistler
"The Good Shoe" by James McNeill Whistler (1895) Transfer lithograph in black on cream Japanese paper.
Read commentary →The Sunny Smithy - James McNeill Whistler
"The Sunny Smithy" by James McNeill Whistler (1895) Transfer lithograph in black on ivory laid paper.
Read commentary →The Master Smith - James McNeill Whistler
"The Master Smith" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →The Good Shoe - James McNeill Whistler
"The Good Shoe" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →John Grove - James McNeill Whistler
"John Grove" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →The Blacksmith - James McNeill Whistler
"The Blacksmith" by James McNeill Whistler (1895/96) Transfer lithograph in black with stumping, on cream wove proofing paper.
Read commentary →Sunday, Lyme Regis - James McNeill Whistler
"Sunday, Lyme Regis" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →The Little Steps, Lyme Regis - James McNeill Whistler
"The Little Steps, Lyme Regis" by James McNeill Whistler (1895/96) Transfer lithograph in black on cream laid paper.
Read commentary →Sketch of a Blacksmith - James McNeill Whistler
"Sketch of a Blacksmith" by James McNeill Whistler (1895) Transfer lithograph in black on ivory Japanese paper.
Read commentary →The Old Smith's Story - James McNeill Whistler
"The Old Smith's Story" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →Fifth of November - James McNeill Whistler
"Fifth of November" by James McNeill Whistler (1895) Transfer lithograph in black on cream laid paper.
Read commentary →Study of a Horse - James McNeill Whistler
"Study of a Horse" by James McNeill Whistler (1895) Transfer lithograph in black on ivory laid paper.
Read commentary →The Brothers - James McNeill Whistler
"The Brothers" by James McNeill Whistler (1895/96) Transfer lithograph in black on cream laid paper.
Read commentary →The Blacksmith - James McNeill Whistler
"The Blacksmith" by James McNeill Whistler (1895/96) Transfer lithograph in black, with stumping, on cream laid paper.
Read commentary →The Fair - James McNeill Whistler
"The Fair" by James McNeill Whistler (1895/96) Transfer lithograph in black on cream laid paper.
Read commentary →Sketches of Miss Philip and Mr. A. Studd - James McNeill Whistler
"Sketches of Miss Philip and Mr. A. Studd" by James McNeill Whistler (1895) Transfer lithograph in black on ivory wove proofing paper.
Read commentary →The Russian Schube - James McNeill Whistler
"The Russian Schube" by James McNeill Whistler (1896) Transfer lithograph in black, with scraping, on cream laid paper.
Read commentary →Study: Joseph Pennell - James McNeill Whistler
"Study: Joseph Pennell" by James McNeill Whistler (1896) Transfer lithograph in black on cream wove Japanese vellum.
Read commentary →Little Evelyn - James McNeill Whistler
"Little Evelyn" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →Kensington Gardens - James McNeill Whistler
"Kensington Gardens" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →The Barber's Shop in the Mews - James McNeill Whistler
"The Barber's Shop in the Mews" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Firelight: Joseph Pennell, No. 2 - James McNeill Whistler
"Firelight: Joseph Pennell, No. 2" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →Firelight: Joseph Pennell, No. 1 - James McNeill Whistler
"Firelight: Joseph Pennell, No. 1" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →Firelight - James McNeill Whistler
"Firelight" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Little Dorothy - James McNeill Whistler
"Little Dorothy" by James McNeill Whistler (1896) Transfer lithograph in black on ivory wove paper.
Read commentary →Waterloo Bridge - James McNeill Whistler
"Waterloo Bridge" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Evening, Little Waterloo Bridge - James McNeill Whistler
"Evening, Little Waterloo Bridge" by James McNeill Whistler (1896) Transfer lithograph in black with stumping, on cream laid paper.
Read commentary →Savoy Pigeons - James McNeill Whistler
"Savoy Pigeons" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →Portrait Study: Mr. Herbert C. Pollitt - James McNeill Whistler
"Portrait Study: Mr. Herbert C. Pollitt" by James McNeill Whistler (1896) Transfer lithograph, with scraping in black on cream laid paper.
Read commentary →The Manager's Window, Gaiety Theatre - James McNeill Whistler
"The Manager's Window, Gaiety Theatre" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Needlework - James McNeill Whistler
"Needlework" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Study No. 2: Mr. Thomas Way - James McNeill Whistler
"Study No. 2: Mr. Thomas Way" by James McNeill Whistler (1896) Transfer lithograph in black on cream laid paper.
Read commentary →Study No. 2: Mr. Thomas Way - James McNeill Whistler
"Study No. 2: Mr. Thomas Way" by James McNeill Whistler (1896) Transfer lithograph in black on cream wove Japanese vellum.
Read commentary →Study No. 1: Mr. Thomas Way - James McNeill Whistler
"Study No. 1: Mr. Thomas Way" by James McNeill Whistler (1896) Transfer lithograph in black on ivory chine, laid down on off-white plate paper.
Read commentary →Portrait Study: Mrs. Philip - James McNeill Whistler
"Portrait Study: Mrs. Philip" by James McNeill Whistler (1896) Transfer lithograph in black on ivory Japanese paper.
Read commentary →Little London - James McNeill Whistler
"Little London" by James McNeill Whistler (1896) Transfer lithograph in black with stumping, on ivory laid paper.
Read commentary →The Butcher's Dog - James McNeill Whistler
"The Butcher's Dog" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Sketch of William E. Henley - James McNeill Whistler
"Sketch of William E. Henley" by James McNeill Whistler (1896) Transfer lithograph in black with stumping, on ivory laid paper.
Read commentary →St. Anne's, Soho - James McNeill Whistler
"St. Anne's, Soho" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →Charing Cross Railway Bridge - James McNeill Whistler
"Charing Cross Railway Bridge" by James McNeill Whistler (1896) Transfer lithograph in black with stumping, scraping, and incising, on cream laid paper.
Read commentary →Little London Model - James McNeill Whistler
"Little London Model" by James McNeill Whistler (1896) Transfer lithograph in black on ivory laid paper.
Read commentary →St. Giles-in-the-Fields - James McNeill Whistler
"St. Giles-in-the-Fields" by James McNeill Whistler (1896) Transfer lithograph in black, with stumping, on cream laid paper.
Read commentary →The Shoemaker - James McNeill Whistler
"The Shoemaker" by James McNeill Whistler (1896) Transfer lithograph in various black inks, with stumping, on buff laid paper.
Read commentary →The Medici Collar - James McNeill Whistler
"The Medici Collar" by James McNeill Whistler (1897) Transfer lithograph in various black inks, on buff laid paper.
Read commentary →Afternoon Tea - James McNeill Whistler
"Afternoon Tea" by James McNeill Whistler (1897) Transfer lithograph in various black inks, on tan laid Japanese vellum.
Read commentary →Portrait Study: Mrs. Philip, No. 3 (recto) Portrait Study: Geneviève Mallarmé (verso) - James McNeill Whistler
"Portrait Study: Mrs. Philip, No. 3 (recto) Portrait Study: Geneviève Mallarmé (verso)" by James McNeill Whistler (1897) Transfer lithograph in black on ivory plate paper.
Read commentary →Portrait Study: Mrs. Philip, No. 4 [Studies of the Philips] - James McNeill Whistler
"Portrait Study: Mrs. Philip, No. 4 [Studies of the Philips]" by James McNeill Whistler (1897) Transfer lithograph in black, printed over counterproof of lithograph in black, on ivory laid paper.
Read commentary →Mother and Daughter [La Mère Malade] - James McNeill Whistler
"Mother and Daughter [La Mère Malade]" by James McNeill Whistler (1897) Counterproof of transfer lithograph with stumping, in black, on off-white wove paper.
Read commentary →The Shoemaker - James McNeill Whistler
"The Shoemaker" by James McNeill Whistler (1896) Transfer lithograph in various black inks, with stumping, on grayish ivory China paper.
Read commentary →The Little Fish Shop, Chelsea Embankment - Theodore Roussel
"The Little Fish Shop, Chelsea Embankment" by Theodore Roussel (1888–89) Etching in black on cream Japanese paper.
Read commentary →Fish Shop, Chelsea - James McNeill Whistler
"Fish Shop, Chelsea" by James McNeill Whistler (1886) Etching and drypoint with foul biting and plate tone in dark brown on ivory laid paper.
Read commentary →Laburnums and Battersea - Theodore Roussel
"Laburnums and Battersea" by Theodore Roussel (1889/90 and 1898) Etching and drypoint in black, with selective wiping of plate tone, on ivory laid paper.
Read commentary →Laburnums and Battersea - Theodore Roussel
"Laburnums and Battersea" by Theodore Roussel (1889/90 and 1898) Etching and drypoint in brown, with selective wiping of plate tone, on cream Japanese paper.
Read commentary →Nocturne: Palaces - James McNeill Whistler
"Nocturne: Palaces" by James McNeill Whistler (1879/80) Etching and drypoint in brownish black, with selective wiping of plate tone, on ivory laid paper.
Read commentary →Drury Lane - James McNeill Whistler
"Drury Lane" by James McNeill Whistler (1880/81) Etching with foul biting in black on cream laid paper.
Read commentary →Nocturne: Palaces - James McNeill Whistler
"Nocturne: Palaces" by James McNeill Whistler (1879/80) Etching and drypoint in black, with selective wiping of plate tone, on ivory laid paper.
Read commentary →Trial Plate for Nine O'Clock A.M. - Theodore Roussel
"Trial Plate for Nine O'Clock A.M." by Theodore Roussel (1919–20) Gelatin plate with incised lines and traces of red ink.
Read commentary →The Steam Launch, Chelsea Embankment - Theodore Roussel
"The Steam Launch, Chelsea Embankment" by Theodore Roussel (1888–89) Etching in black on ivory laid paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Soft ground etching, inked à la poupée, in yellowish green and greenish blue on ivory laid paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Soft ground etching, inked à la poupée, in yellowish green and greenish blue on ivory laid paper.
Read commentary →Standing Figure in a Chinese Gown - Theodore Roussel
"Standing Figure in a Chinese Gown" by Theodore Roussel (1890–94) Lithographic crayon on fine-grained transfer paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Softground etching in black ink on ivory laid paper.
Read commentary →Draped Figure, Reclining - James McNeill Whistler
"Draped Figure, Reclining" by James McNeill Whistler (1892) Transfer lithograph from five stones, in black (keystone), bluish-green, olive green, yellowish green, yellow, purple-brown, pale ochre, orange-red, and rose on ivory laid paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Softground etching, inked à la poupée, on ivory laid paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Color soft ground etching, inked à la poupée, with inkless intaglio on ivory laid paper.
Read commentary →The Sea at Bognor - Theodore Roussel
"The Sea at Bognor" by Theodore Roussel (1895) Color monotype on ivory laid paper.
Read commentary →Mount for The Sea at Bognor - Theodore Roussel
"Mount for The Sea at Bognor" by Theodore Roussel (1897–99) Softground etching, aquatint, lavis and drypoint in yellow-brown metallic and light brownish red on ivory laid paper.
Read commentary →Stag and Flower Pattern Frame (side frame section) - Theodore Roussel
"Stag and Flower Pattern Frame (side frame section)" by Theodore Roussel (1897–99) Etching and soft ground in yellow-brown metallic and black on ivory laid paper.
Read commentary →Stag and Flower Pattern Frame (top frame section) - Theodore Roussel
"Stag and Flower Pattern Frame (top frame section)" by Theodore Roussel (1897–99) Etching and soft ground in yellow-brown metallic and black on ivory laid paper.
Read commentary →Untitled Drawing for Frame Cartouche (Salamander) - Theodore Roussel
"Untitled Drawing for Frame Cartouche (Salamander)" by Theodore Roussel (1899/1908) Brush and black ink, gold metallic ink, and watercolor on semi-transparent tan wove paper.
Read commentary →Untitled Drawing for Frame Cartouche (Plant Motif) - Theodore Roussel
"Untitled Drawing for Frame Cartouche (Plant Motif)" by Theodore Roussel (1899/1908) Brush and black ink on semi-transparent tan wove paper.
Read commentary →Design for a Frame - Theodore Roussel
"Design for a Frame" by Theodore Roussel (1899–1908) Pen and brush and black ink, with graphite and traces of white gouache on semi-transparent yellowish brown wove paper.
Read commentary →Stag and Flower Pattern Frame (bottom frame section) - Theodore Roussel
"Stag and Flower Pattern Frame (bottom frame section)" by Theodore Roussel (1897–99) Etching and soft ground in black, yellow-brown metallic, and green-blue with plate tone, on ivory Japanese paper.
Read commentary →Jupiter and Alcmene Medallion, Sketch for Decoration of a Frame - Theodore Roussel
"Jupiter and Alcmene Medallion, Sketch for Decoration of a Frame" by Theodore Roussel (1907–08) Etching in black on cream laid paper.
Read commentary →Jupiter and Alcmene and Nymphs and Satyrs on a Frieze Medallion, Study for Decoration of a Frame - Theodore Roussel
"Jupiter and Alcmene and Nymphs and Satyrs on a Frieze Medallion, Study for Decoration of a Frame" by Theodore Roussel (1907–08) Etching and soft ground in black on cream laid paper.
Read commentary →They Spruce Themselves Up, plate 51 from Los Caprichos - Francisco José de Goya y Lucientes
"They Spruce Themselves Up, plate 51 from Los Caprichos" by Francisco José de Goya y Lucientes (1797/99) Etching and aquatint in sepia on ivory laid paper.
Read commentary →The Temptation of Saint Anthony - Martin Schongauer
"The Temptation of Saint Anthony" by Martin Schongauer (c. 1469/73) Engraving in black on cream laid paper.
Read commentary →Cover-Frontispiece for the Temptation of St. Anthony - Odilon Redon
"Cover-Frontispiece for the Temptation of St. Anthony" by Odilon Redon (1888) Bi-fold portfolio cover with lithograph in black on blue-green wove paper.
Read commentary →Temptation, plate 453 - Honoré-Victorin Daumier
"Temptation, plate 453" by Honoré-Victorin Daumier (1835) Lithograph in black on off-white wove paper.
Read commentary →The Temptation of Saint Anthony, plate 16 from the Emblemata Secularia - Johann Theodor de Bry
"The Temptation of Saint Anthony, plate 16 from the Emblemata Secularia" by Johann Theodor de Bry (published 1596 or 1611) Engraving in black on ivory laid paper.
Read commentary →The Temptation of Saint Anthony - Jacques Callot
"The Temptation of Saint Anthony" by Jacques Callot (1635) Etching in black on ivory laid paper.
Read commentary →The Family - Adriaen van Ostade
"The Family" by Adriaen van Ostade (1647) Etching in black on ivory laid paper.
Read commentary →And in the Very Disk of the Sun Lights the Face of Jesus Christ, plate 10 from The Temptation of Saint Anthony (1st series) - Odilon Redon
"And in the Very Disk of the Sun Lights the Face of Jesus Christ, plate 10 from The Temptation of Saint Anthony (1st series)" by Odilon Redon (1888) Lithograph in black on ivory China paper, laid down on ivory wove paper (chine collé).
Read commentary →Then There Appears a Singular Being, Having the Head of a Man On the Body of a Fish, plate 5 of 10 - Odilon Redon
"Then There Appears a Singular Being, Having the Head of a Man On the Body of a Fish, plate 5 of 10" by Odilon Redon (1888) Lithograph in black on ivory China paper, laid down on ivory wove paper (chine collé).
Read commentary →The Little Cavaliers - Édouard Manet
"The Little Cavaliers" by Édouard Manet (1860) Etching, drypoint, roulette, and bitten tone in black on gray chine, laid down on ivory wove paper (chine collé).
Read commentary →The Absinthe Drinker - Édouard Manet
"The Absinthe Drinker" by Édouard Manet (1862) Etching in black on cream laid paper.
Read commentary →The Little Gypsies - Édouard Manet
"The Little Gypsies" by Édouard Manet (1861/62) Etching and drypoint in warm black on ivory laid paper.
Read commentary →The Gypsies - Édouard Manet
"The Gypsies" by Édouard Manet (1862) Etching in warm black on ivory laid paper.
Read commentary →M. Manet (The Artist's Father) II - Édouard Manet
"M. Manet (The Artist's Father) II" by Édouard Manet (1861) Etching, aquatint and plate tone in black on ivory laid paper.
Read commentary →Phillip IV King of Spain - Édouard Manet
"Phillip IV King of Spain" by Édouard Manet (1862) Etching, drypoint and retroussage inking in black on ivory chine, laid down on ivory wove paper (chine collé).
Read commentary →The Absinthe Drinker - Édouard Manet
"The Absinthe Drinker" by Édouard Manet (1867–68 or 1874) Etching and aquatint in black on cream Japanese laid paper.
Read commentary →The Little Cavaliers - Édouard Manet
"The Little Cavaliers" by Édouard Manet (1867/74) Etching, drypoint, roulette and bitten tone in black on ivory Japanese paper, laid down on tan wove paper (chine collé).
Read commentary →The Spanish Singer - Édouard Manet
"The Spanish Singer" by Édouard Manet (1861–62) Etching, lavis and roulette in black on ivory China paper.
Read commentary →The Absinthe Drinker - Édouard Manet
"The Absinthe Drinker" by Édouard Manet (1862) Etching and plate tone in black on ivory laid paper.
Read commentary →The Little Girl - Édouard Manet
"The Little Girl" by Édouard Manet (1861–62) Etching and drypoint with plate tone in brown on ivory laid paper.
Read commentary →Hat and Guitar, frontispiece for the edition of fourteen etchings - Édouard Manet
"Hat and Guitar, frontispiece for the edition of fourteen etchings" by Édouard Manet (1874) Etching, aquatint, drypoint, and engraving in black on blue wove paper.
Read commentary →Hat and Guitar, Frontispiece for the edition of fourteen etchings - Édouard Manet
"Hat and Guitar, Frontispiece for the edition of fourteen etchings" by Édouard Manet (1862–63) Etching, aquatint and drypoint in black on ivory wove paper.
Read commentary →Victorine Meurent in the Costume of an "Espada" - Édouard Manet
"Victorine Meurent in the Costume of an "Espada"" by Édouard Manet (1862) Etching in black and lavis in warm gray on ivory laid paper.
Read commentary →Lola de Valence - Édouard Manet
"Lola de Valence" by Édouard Manet (1863) Etching in black on ivory laid Japanese paper.
Read commentary →Lola de Valence - Édouard Manet
"Lola de Valence" by Édouard Manet (1863) Lithograph in black on light gray wove paper.
Read commentary →The Boy Carrying a Tray - Édouard Manet
"The Boy Carrying a Tray" by Édouard Manet (1862) Etching and aquatint in black on cream Japanese paper.
Read commentary →Lola de Valence - Édouard Manet
"Lola de Valence" by Édouard Manet (1863) Etching and aquatint, with roulette, in black on cream laid paper.
Read commentary →The Ballet Dancer (Don Mariano Camprubi) - Édouard Manet
"The Ballet Dancer (Don Mariano Camprubi)" by Édouard Manet (1862–63) Etching in brown on cream laid paper.
Read commentary →The Toilette - Édouard Manet
"The Toilette" by Édouard Manet (1862) Etching in black on ivory laid Chinese paper.
Read commentary →At the Prado I - Édouard Manet
"At the Prado I" by Édouard Manet (1863) Etching and aquatint in black on cream laid paper.
Read commentary →The Races - Édouard Manet
"The Races" by Édouard Manet (1865/72) Lithograph in black on ivory chine, laid down on ivory wove paper (chine collé).
Read commentary →The Philosopher - Édouard Manet
"The Philosopher" by Édouard Manet (1865–66) Etching and drypoint in warm black on ivory laid paper.
Read commentary →Portrait of Félix Bracquémond - Édouard Manet
"Portrait of Félix Bracquémond" by Édouard Manet (1865) Lift-ground etching with plate tone in black on cream laid paper.
Read commentary →Marine - Édouard Manet
"Marine" by Édouard Manet (1865–66) Etching, aquatint and roulette in brown on ivory laid paper.
Read commentary →Dead Christ with Angels - Édouard Manet
"Dead Christ with Angels" by Édouard Manet (1866/67) Etching and aquatint in black on ivory laid paper.
Read commentary →The Philosopher - Édouard Manet
"The Philosopher" by Édouard Manet (1865–66) Etching and drypoint in warm black on blue laid paper.
Read commentary →The Tragic Actor (Rouvière in the role of Hamlet) - Édouard Manet
"The Tragic Actor (Rouvière in the role of Hamlet)" by Édouard Manet (1865–66) Etching and plate tone in black on ivory laid paper.
Read commentary →Olympia (published plate) - Édouard Manet
"Olympia (published plate)" by Édouard Manet (1867) Etching and aquatint in black on cream laid paper.
Read commentary →Charles Baudelaire, Full Face III - Édouard Manet
"Charles Baudelaire, Full Face III" by Édouard Manet (1868) Etching and plate tone in black heightened with brush and gray wash on ivory laid paper.
Read commentary →Olympia (published plate) - Édouard Manet
"Olympia (published plate)" by Édouard Manet (1867) Etching in black on blue laid paper.
Read commentary →Dead Toreador - Édouard Manet
"Dead Toreador" by Édouard Manet (1867–68) Etching, aquatint, and drypoint in black on buff laid paper.
Read commentary →Exotic Flower (Woman in a Mantilla) - Édouard Manet
"Exotic Flower (Woman in a Mantilla)" by Édouard Manet (1868) Etching and aquatint in warm black on ivory laid paper.
Read commentary →Charles Baudelaire, Full Face III - Édouard Manet
"Charles Baudelaire, Full Face III" by Édouard Manet (1869) Etching in black on ivory laid paper.
Read commentary →The Execution of Maximilian - Édouard Manet
"The Execution of Maximilian" by Édouard Manet (1867–68) Lithograph in black, with scraping, on ivory chine laid down on ivory wove paper.
Read commentary →Charles Baudelaire, In Profile II - Édouard Manet
"Charles Baudelaire, In Profile II" by Édouard Manet (1867–68) Etching and plate tone in black on ivory laid paper.
Read commentary →Boy Blowing Soap Bubbles - Édouard Manet
"Boy Blowing Soap Bubbles" by Édouard Manet (late 1868/early 1869) Etching in warm black on ivory wove paper.
Read commentary →Exotic Flower (Woman in a Mantilla) - Édouard Manet
"Exotic Flower (Woman in a Mantilla)" by Édouard Manet (1868) Etching and aquatint in brown on ivory chine, laid down on ivory wove paper (chine collé).
Read commentary →Odalisque - Édouard Manet
"Odalisque" by Édouard Manet (c. 1868) Etching and aquatint in warm black on buff wove paper.
Read commentary →Odalisque - Édouard Manet
"Odalisque" by Édouard Manet (c. 1868) Etching and aquatint in black on buff laid paper.
Read commentary →Boy Blowing Soap Bubbles - Édouard Manet
"Boy Blowing Soap Bubbles" by Édouard Manet (late 1868/early 1869) Etching and aquatint, with roulette, with color applied à la poupée, on cream wove paper.
Read commentary →The Cats - Édouard Manet
"The Cats" by Édouard Manet (1868–69) Etching and aquatint with plate tone in warm black on cream laid paper.
Read commentary →Line in Front of the Butcher Shop - Édouard Manet
"Line in Front of the Butcher Shop" by Édouard Manet (1870–71) Etching in warm black on ivory laid paper.
Read commentary →The Urchin - Édouard Manet
"The Urchin" by Édouard Manet (1868–74) Lithograph in black, with scraping, on chine with blue and red fibers, laid down on ivory wove paper (chine collé).
Read commentary →The Urchin - Édouard Manet
"The Urchin" by Édouard Manet (1868–74) Lithograph in black, with scraping, on ivory chine with red and blue fibers, laid down on ivory wove paper (chine collé).
Read commentary →Line in Front of the Butcher Shop - Édouard Manet
"Line in Front of the Butcher Shop" by Édouard Manet (1870–71) Etching in warm black on buff laid paper.
Read commentary →Profile of Eva Gonzales, Turned to the Left - Édouard Manet
"Profile of Eva Gonzales, Turned to the Left" by Édouard Manet (1870) Etching with plate tone in black on cream laid paper.
Read commentary →The Barricade - Édouard Manet
"The Barricade" by Édouard Manet (1871) Lithograph in black, with scraping, on ivory chine laid down on ivory wove paper (chine collé).
Read commentary →Berthe Morisot in Black - Édouard Manet
"Berthe Morisot in Black" by Édouard Manet (1872–74) Lithograph in black, with scraping, on off-white chine, laid down on ivory wove paper.
Read commentary →Berthe Morisot in Silhouette - Édouard Manet
"Berthe Morisot in Silhouette" by Édouard Manet (1872–74) Lithograph in black on chine, laid down on ivory wove paper (chine collé).
Read commentary →Berthe Morisot - Édouard Manet
"Berthe Morisot" by Édouard Manet (1872) Etching in brown on blue laid paper.
Read commentary →The River in the Plain - Édouard Manet
"The River in the Plain" by Édouard Manet (1874) Etching and drypoint in black on ivory Japanese paper.
Read commentary →The Arch of the Bridge - Édouard Manet
"The Arch of the Bridge" by Édouard Manet (1874) Etching and aquatint in black on ivory laid paper.
Read commentary →At the Café (unpublished plate) - Édouard Manet
"At the Café (unpublished plate)" by Édouard Manet (1874) Gillotage in black on ivory China paper.
Read commentary →In the Upper Gallery - Édouard Manet
"In the Upper Gallery" by Édouard Manet (1877) Gillotage in black on trimmed gray wove China paper.
Read commentary →Punch - Édouard Manet
"Punch" by Édouard Manet (1874) Lithograph printed in color from seven stones (beige, orange, green, yellow, light blue, white, black), with scraping, on ivory wove paper.
Read commentary →Berthe Morisot in Silhouette - Édouard Manet
"Berthe Morisot in Silhouette" by Édouard Manet (1872–74, printed 1884) Lithograph in black on ivory chine, laid down on ivory wove paper (chine collé).
Read commentary →Jeanne (Spring) - Édouard Manet
"Jeanne (Spring)" by Édouard Manet (1902) Etching and foul-biting in black on ivory laid paper.
Read commentary →Woman (The Sphinx) - Edvard Munch
"Woman (The Sphinx)" by Edvard Munch (1899) Lithograph on paper.
Read commentary →The Prodigal Son with Harlots - Amos Doolittle
"The Prodigal Son with Harlots" by Amos Doolittle (n.d.) Hand-colored engraving on paper.
Read commentary →The Small Crucifixion ("The Pommel of Emperor Maximilian") - Albrecht Dürer
"The Small Crucifixion ("The Pommel of Emperor Maximilian")" by Albrecht Dürer (1519) Engraving in black on ivory laid paper.
Read commentary →Old Man and Young Girl - Henri de Toulouse-Lautrec
"Old Man and Young Girl" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Georgia O'Keeffe—Hands and Thimble - Alfred Stieglitz
"Georgia O'Keeffe—Hands and Thimble" by Alfred Stieglitz (1919) Palladium print.
Read commentary →A Study for the Card Players - Paul Cezanne
"A Study for the Card Players" by Paul Cezanne (1890–92) Watercolor with graphite on beige wove paper.
Read commentary →Montagne Sainte-Victoire (The Arc Valley) - Paul Cezanne
"Montagne Sainte-Victoire (The Arc Valley)" by Paul Cezanne (c. 1885) Watercolor with graphite, heightened with opaque white watercolor, on cream wove paper.
Read commentary →Road in Provence - Paul Cezanne
"Road in Provence" by Paul Cezanne (c. 1885) Watercolor and graphite on tan wove paper.
Read commentary →Man Wearing a Straw Hat - Paul Cezanne
"Man Wearing a Straw Hat" by Paul Cezanne (1905/06) Watercolor with graphite on white wove paper.
Read commentary →The Three Skulls - Paul Cezanne
"The Three Skulls" by Paul Cezanne (1902/06) Watercolor, with graphite, on ivory wove paper.
Read commentary →Pistachio Tree at Château Noir - Paul Cezanne
"Pistachio Tree at Château Noir" by Paul Cezanne (c. 1900) Watercolor with graphite on cream wove paper, laid down on tan wove paper.
Read commentary →Extensive Landscape with a Village and Hillside in the Distance - Félix Hippolyte Lanoue
"Extensive Landscape with a Village and Hillside in the Distance" by Félix Hippolyte Lanoue (c. 1860) Pastel on blue wove paper, laid down on Japanese paper.
Read commentary →The Call of the Stag - Rosa Bonheur
"The Call of the Stag" by Rosa Bonheur (1890s) Pastel on brown paper, laid down on board.
Read commentary →Portrait of a Young Boy with Blue Eyes - Jean-Baptiste Perronneau
"Portrait of a Young Boy with Blue Eyes" by Jean-Baptiste Perronneau (c. 1750) Pastel on blue laid paper, laid down on canvas.
Read commentary →Self-Portrait - Maurice Quentin de Latour
"Self-Portrait" by Maurice Quentin de Latour (c. 1737) Pastel on greenish-tan laid paper.
Read commentary →The Day of Judgment - William Blake
"The Day of Judgment" by William Blake (1805) Pen and gray and black inks and watercolor, with scraping, over graphite, on cream wove paper, laid down on tan board.
Read commentary →Bookplate of Willibald Pirckheimer - Master I.B.
"Bookplate of Willibald Pirckheimer" by Master I.B. (1529) Engraving in black on ivory laid paper.
Read commentary →Mussooree and the Dhoon from Landour - Joseph Mallord William Turner
"Mussooree and the Dhoon from Landour" by Joseph Mallord William Turner (c. 1835) Watercolor and gouache, over graphite, on off-white wove paper, edge mounted on cream wove card.
Read commentary →The Steerage - Alfred Stieglitz
"The Steerage" by Alfred Stieglitz (1907, printed in or before 1913) Photogravure.
Read commentary →Equivalent, from Set A (Third Set, Print 7) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 7)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →A Wet Day on the Boulevard, Paris - Alfred Stieglitz
"A Wet Day on the Boulevard, Paris" by Alfred Stieglitz (1894) Carbon print.
Read commentary →Poplars - Lake George - Alfred Stieglitz
"Poplars - Lake George" by Alfred Stieglitz (1935) Gelatin silver print.
Read commentary →From My Window at An American Place, Southwest - Alfred Stieglitz
"From My Window at An American Place, Southwest" by Alfred Stieglitz (1932) Gelatin silver print.
Read commentary →Grass and Flagpole - Alfred Stieglitz
"Grass and Flagpole" by Alfred Stieglitz (1933) Gelatin silver print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 6) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 6)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 8) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 8)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 4) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 4)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 5) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 5)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 3) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 3)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 2) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 2)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent, from Set A (Third Set, Print 1) - Alfred Stieglitz
"Equivalent, from Set A (Third Set, Print 1)" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1925) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1927) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1926) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1927) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1930) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1930) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1925) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1925) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1925) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1929) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent, from Set E (Print 3) - Alfred Stieglitz
"Equivalent, from Set E (Print 3)" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent, from Set E (Print 1) - Alfred Stieglitz
"Equivalent, from Set E (Print 1)" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent, from Set E (print 2) - Alfred Stieglitz
"Equivalent, from Set E (print 2)" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1930) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent, Spiritual America - Alfred Stieglitz
"Equivalent, Spiritual America" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1924) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →Equivalent - Alfred Stieglitz
"Equivalent" by Alfred Stieglitz (c. 1929) Gelatin silver print.
Read commentary →From My Window at An American Place, Southwest - Alfred Stieglitz
"From My Window at An American Place, Southwest" by Alfred Stieglitz (1932) Gelatin silver print.
Read commentary →From My Window at An American Place, North - Alfred Stieglitz
"From My Window at An American Place, North" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →From My Window at An American Place, North - Alfred Stieglitz
"From My Window at An American Place, North" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →From My Window at An American Place, North - Alfred Stieglitz
"From My Window at An American Place, North" by Alfred Stieglitz (1930/31) Gelatin silver print.
Read commentary →New York from the Shelton - Alfred Stieglitz
"New York from the Shelton" by Alfred Stieglitz (1935) Gelatin silver print.
Read commentary →From My Window at the Shelton, West - Alfred Stieglitz
"From My Window at the Shelton, West" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →From My Window at the Shelton, West - Alfred Stieglitz
"From My Window at the Shelton, West" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →From My Window at the Shelton, West - Alfred Stieglitz
"From My Window at the Shelton, West" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →The Dying Chestnut Tree—My Teacher - Alfred Stieglitz
"The Dying Chestnut Tree—My Teacher" by Alfred Stieglitz (1927) Gelatin silver print.
Read commentary →Hedge and Grasses - Lake George - Alfred Stieglitz
"Hedge and Grasses - Lake George" by Alfred Stieglitz (1933) Gelatin silver print.
Read commentary →Barn—Lake George - Alfred Stieglitz
"Barn—Lake George" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Window: Wood, Glass, Snow - Alfred Stieglitz
"Window: Wood, Glass, Snow" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Music - A Sequence of Ten Cloud Photographs, No. II - Alfred Stieglitz
"Music - A Sequence of Ten Cloud Photographs, No. II" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Lake George - Alfred Stieglitz
"Lake George" by Alfred Stieglitz (c. 1922) Gelatin silver print.
Read commentary →Poplars—Lake George - Alfred Stieglitz
"Poplars—Lake George" by Alfred Stieglitz (1932) Gelatin silver print.
Read commentary →The Dancing Trees - Alfred Stieglitz
"The Dancing Trees" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Door to Kitchen, Lake George - Alfred Stieglitz
"Door to Kitchen, Lake George" by Alfred Stieglitz (1934) Gelatin silver print.
Read commentary →The Dying Chestnut - Alfred Stieglitz
"The Dying Chestnut" by Alfred Stieglitz (1919) Gelatin silver print.
Read commentary →First Snow and the Little House - Alfred Stieglitz
"First Snow and the Little House" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Grass and Frost - Alfred Stieglitz
"Grass and Frost" by Alfred Stieglitz (1934) Gelatin silver print.
Read commentary →Lake George from the Hill - Alfred Stieglitz
"Lake George from the Hill" by Alfred Stieglitz (1932) Gelatin silver print.
Read commentary →Car 2F-77-77 - Alfred Stieglitz
"Car 2F-77-77" by Alfred Stieglitz (1935) Gelatin silver print.
Read commentary →Lake George - Alfred Stieglitz
"Lake George" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →House and Grape Leaves - Alfred Stieglitz
"House and Grape Leaves" by Alfred Stieglitz (1934) Gelatin silver print.
Read commentary →House and Grape Leaves - Alfred Stieglitz
"House and Grape Leaves" by Alfred Stieglitz (1934) Gelatin silver print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Georgia O'Keeffe—Torso - Alfred Stieglitz
"Georgia O'Keeffe—Torso" by Alfred Stieglitz (1918) Gelatin silver print.
Read commentary →Georgia O'Keeffe—Neck - Alfred Stieglitz
"Georgia O'Keeffe—Neck" by Alfred Stieglitz (1921) Gelatin silver print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Hands and Horse Skull - Alfred Stieglitz
"Georgia O'Keeffe - Hands and Horse Skull" by Alfred Stieglitz (1931) Gelatin silver print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1919/20) Platinum print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Platinum print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Platinum print.
Read commentary →Georgia O'Keeffe—Hands - Alfred Stieglitz
"Georgia O'Keeffe—Hands" by Alfred Stieglitz (1920/22) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1919/21) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1919/21) Platinum print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Georgia O'Keeffe - Feet - Alfred Stieglitz
"Georgia O'Keeffe - Feet" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1933) Gelatin silver print.
Read commentary →Georgia O'Keeffe—Hand - Alfred Stieglitz
"Georgia O'Keeffe—Hand" by Alfred Stieglitz (1918) Palladium print.
Read commentary →Georgia O'Keeffe - Alfred Stieglitz
"Georgia O'Keeffe" by Alfred Stieglitz (1918) Gelatin silver print.
Read commentary →Dorothy Norman - Alfred Stieglitz
"Dorothy Norman" by Alfred Stieglitz (1930) Gelatin silver print.
Read commentary →Dorothy Norman - Alfred Stieglitz
"Dorothy Norman" by Alfred Stieglitz (c. 1931) Gelatin silver print.
Read commentary →Dualities - Dorothy Norman - Alfred Stieglitz
"Dualities - Dorothy Norman" by Alfred Stieglitz (1932) Gelatin silver print.
Read commentary →Barn, Lake George - Alfred Stieglitz
"Barn, Lake George" by Alfred Stieglitz (1936) Gelatin silver print.
Read commentary →Rainbow - Alfred Stieglitz
"Rainbow" by Alfred Stieglitz (1920) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Hedwig Stieglitz - Alfred Stieglitz
"Hedwig Stieglitz" by Alfred Stieglitz (1921/22) Gelatin silver print.
Read commentary →Tree Set 3 - Alfred Stieglitz
"Tree Set 3" by Alfred Stieglitz (c. 1924) Gelatin silver print.
Read commentary →The Old Maple—Lake George - Alfred Stieglitz
"The Old Maple—Lake George" by Alfred Stieglitz (1926) Gelatin silver print.
Read commentary →Poplars—Lake George - Alfred Stieglitz
"Poplars—Lake George" by Alfred Stieglitz (1935) Gelatin silver print.
Read commentary →Gable and Apples - Alfred Stieglitz
"Gable and Apples" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Sherwood Anderson - Alfred Stieglitz
"Sherwood Anderson" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Sherwood Anderson - Alfred Stieglitz
"Sherwood Anderson" by Alfred Stieglitz (1923) Palladium print.
Read commentary →Sherwood Anderson - Alfred Stieglitz
"Sherwood Anderson" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Sherwood Anderson - Alfred Stieglitz
"Sherwood Anderson" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Katharine Dudley - Alfred Stieglitz
"Katharine Dudley" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Waldo Frank - Alfred Stieglitz
"Waldo Frank" by Alfred Stieglitz (1920) Palladium print.
Read commentary →John Marin - Alfred Stieglitz
"John Marin" by Alfred Stieglitz (1921/22) Gelatin silver print.
Read commentary →Dorothy True - Alfred Stieglitz
"Dorothy True" by Alfred Stieglitz (1919) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Palladium print.
Read commentary →Arthur G. Dove - Alfred Stieglitz
"Arthur G. Dove" by Alfred Stieglitz (1923) Gelatin silver print.
Read commentary →Georgia Engelhard - Alfred Stieglitz
"Georgia Engelhard" by Alfred Stieglitz (1920) Palladium print.
Read commentary →Lake George, Oaklawn - Alfred Stieglitz
"Lake George, Oaklawn" by Alfred Stieglitz (1912/13) Gelatin silver print.
Read commentary →Arthur G. Dove - Alfred Stieglitz
"Arthur G. Dove" by Alfred Stieglitz (1912) Platinum print.
Read commentary →John Marin - Alfred Stieglitz
"John Marin" by Alfred Stieglitz (1910) Platinum print.
Read commentary →Marsden Hartley - Alfred Stieglitz
"Marsden Hartley" by Alfred Stieglitz (1916) Platinum print.
Read commentary →From the Back-Window "291" - Alfred Stieglitz
"From the Back-Window "291"" by Alfred Stieglitz (1915) Platinum print.
Read commentary →From the Back-Window "291" Snow-Covered Tree, Back-Yard - Alfred Stieglitz
"From the Back-Window "291" Snow-Covered Tree, Back-Yard" by Alfred Stieglitz (1915) Platinum print.
Read commentary →From Room "3003" - The Shelton, New York, Looking Northeast - Alfred Stieglitz
"From Room "3003" - The Shelton, New York, Looking Northeast" by Alfred Stieglitz (1927) Gelatin silver print.
Read commentary →The Flatiron - Alfred Stieglitz
"The Flatiron" by Alfred Stieglitz (1903, printed 1920/39) Gelatin silver print.
Read commentary →The Terminal - Alfred Stieglitz
"The Terminal" by Alfred Stieglitz (1893, printed 1920/39) Gelatin silver print.
Read commentary →The Steerage - Alfred Stieglitz
"The Steerage" by Alfred Stieglitz (1907, printed 1920/39) Gelatin silver print.
Read commentary →The Hand of Man - Alfred Stieglitz
"The Hand of Man" by Alfred Stieglitz (1902, printed 1920/39) Gelatin silver print.
Read commentary →A Wet Day on the Boulevard, Paris - Alfred Stieglitz
"A Wet Day on the Boulevard, Paris" by Alfred Stieglitz (1894, printed 1918/32) Gelatin silver print.
Read commentary →Venice - Alfred Stieglitz
"Venice" by Alfred Stieglitz (1894, printed 1920/39) Gelatin silver print.
Read commentary →Stones of Venice, Chioggia - Alfred Stieglitz
"Stones of Venice, Chioggia" by Alfred Stieglitz (1887, printed 1920/39) Gelatin silver print.
Read commentary →A Street in Sterzing, The Tyrol - Alfred Stieglitz
"A Street in Sterzing, The Tyrol" by Alfred Stieglitz (1890) Platinum print.
Read commentary →My Father - Alfred Stieglitz
"My Father" by Alfred Stieglitz (1894, printed 1920/39) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →Rebecca Salsbury Strand - Alfred Stieglitz
"Rebecca Salsbury Strand" by Alfred Stieglitz (1922) Gelatin silver print.
Read commentary →November Days - Alfred Stieglitz
"November Days" by Alfred Stieglitz (1887, printed 1920/39) Gelatin silver print.
Read commentary →Mid Snow and Ice - Alfred Stieglitz
"Mid Snow and Ice" by Alfred Stieglitz (1894, printed 1920/39) Gelatin silver print.
Read commentary →The Net Mender - Alfred Stieglitz
"The Net Mender" by Alfred Stieglitz (1894) Carbon print.
Read commentary →An Icy Night, New York - Alfred Stieglitz
"An Icy Night, New York" by Alfred Stieglitz (1898) Carbon print.
Read commentary →Fiola Flannery, Kitty Stieglitz - Alfred Stieglitz
"Fiola Flannery, Kitty Stieglitz" by Alfred Stieglitz (1902) Platinum print.
Read commentary →Fiola Flannery, Kitty Stieglitz - Alfred Stieglitz
"Fiola Flannery, Kitty Stieglitz" by Alfred Stieglitz (1902) Platinum print.
Read commentary →Aileen Flannery - Alfred Stieglitz
"Aileen Flannery" by Alfred Stieglitz (1902) Platinum print.
Read commentary →Aileen Flannery - Alfred Stieglitz
"Aileen Flannery" by Alfred Stieglitz (1902) Platinum print.
Read commentary →The Two Sisters-in-Law, plate twelve from Landscapes and Interiors - Édouard Jean Vuillard
"The Two Sisters-in-Law, plate twelve from Landscapes and Interiors" by Édouard Jean Vuillard (1899) Color lithograph on grayish-ivory China paper.
Read commentary →The Old Woman and The Fool in a Window - Monogrammist b. g.
"The Old Woman and The Fool in a Window" by Monogrammist b. g. (c. 1480) Engraving in black on ivory laid paper.
Read commentary →The Fall of Troy and the Escape of Aeneas - Giorgio Ghisi
"The Fall of Troy and the Escape of Aeneas" by Giorgio Ghisi (1540/50) Engraving in black on ivory laid paper.
Read commentary →Jeremiah - Nicolas Beatrizet
"Jeremiah" by Nicolas Beatrizet (1547) Engraving on paper.
Read commentary →“Les Arts” Furnishing Fabric - Hippolyte Lebas
"“Les Arts” Furnishing Fabric" by Hippolyte Lebas (c. 1816) Cotton; roller printed.
Read commentary →Wooded Landscape with Village Scene - Thomas Gainsborough
"Wooded Landscape with Village Scene" by Thomas Gainsborough (early 1770s (not later than 1772)) Varnished gouache, over black and red chalks, on cream laid paper, laid down on canvas, stretched on a wooden stretcher and varnished again.
Read commentary →Riders on Horseback in Woods - Unknown artist
"Riders on Horseback in Woods" by Unknown artist (18th century) Pastel, with touches of binder-rich media (possibly oil), on tan laid paper laid down on paperboard, framed.
Read commentary →Saint Luke Painting the Virgin - Anton Wierix
"Saint Luke Painting the Virgin" by Anton Wierix (c. 1580-90) Engraving in black on off-white laid paper.
Read commentary →Fly Fishing, Saranac Lake - Winslow Homer
"Fly Fishing, Saranac Lake" by Winslow Homer (1889) Etching and aquatint with lavis, stopping-out, scraping, and burnishing, on moderately thick, smooth, cream simulated Japanese vellum.
Read commentary →Life-Size Black Bass - Winslow Homer
"Life-Size Black Bass" by Winslow Homer (1904) Transparent watercolor, with touches of opaque watercolor, rewetting, blotting and scraping, over graphite, on thick, moderately textured (twill texture on verso), ivory wove paper (left, right and lower edges trimmed).
Read commentary →The Rapids, Hudson River, Adirondacks - Winslow Homer
"The Rapids, Hudson River, Adirondacks" by Winslow Homer (1894) Transparent watercolor, with traces of opaque watercolor, blotting, and scraping, over graphite, on thick, rough-textured, ivory wove paper.
Read commentary →The Rhinoceros - Albrecht Dürer
"The Rhinoceros" by Albrecht Dürer (1515) Woodcut in black on ivory laid paper.
Read commentary →On the Test - Francis Seymour Haden
"On the Test" by Francis Seymour Haden (c. 1859) Etching with drypoint on cream Japanese paper.
Read commentary →Cybele Stepping on a Serpent - Follower of Paolo Farinato
"Cybele Stepping on a Serpent" by Follower of Paolo Farinato (n.d.) Pen and brown ink with brush and brown wash, heightened with cream gouache, on blue laid paper, laid down on cream wove card.
Read commentary →Adoration of the Shepherds - Agostino Carracci
"Adoration of the Shepherds" by Agostino Carracci (c. 1580-1600) Pen and brown ink, over black chalk, with incising, on tan laid paper, laid down on ivory laid paper.
Read commentary →The Return, Tynemouth (recto) Study (verso) - Winslow Homer
"The Return, Tynemouth (recto) Study (verso)" by Winslow Homer (1881) Transparent watercolor, with touches of opaque watercolor, rewetting, blotting, and scraping, heightened with gum glaze, over graphite, on moderately thick, moderately-textured, ivory wove paper (left and lower edges trimmed).
Read commentary →The Cock Fight - Winslow Homer
"The Cock Fight" by Winslow Homer (1885) Transparent and opaque watercolor, with traces of scraping, over graphite, on thick, moderately textured, cream wove paper (top and lower edges trimmed).
Read commentary →For to Be a Farmer's Boy - Winslow Homer
"For to Be a Farmer's Boy" by Winslow Homer (1887) Transparent and opaque watercolor, with rewetting, blotting, and scraping, heightened with gum glaze, over graphite, on thick, rough-textured ivory wove paper (lower edge trimmed).
Read commentary →The Morning Bath - Hilaire Germain Edgar Degas
"The Morning Bath" by Hilaire Germain Edgar Degas (1887/90) Pastel on off-white laid paper mounted on board.
Read commentary →The Water Fan - Winslow Homer
"The Water Fan" by Winslow Homer (1898/99) Watercolor, with blotting and touches of scraping, over graphite, on thick, rough twill-textured, ivory wove paper.
Read commentary →Two Boys Watching Schooners - Winslow Homer
"Two Boys Watching Schooners" by Winslow Homer (1880) Watercolor, with graphite, on moderately thick, rough-textured, ivory wove paper.
Read commentary →The Lone Boat, North Woods Club, Adirondacks - Winslow Homer
"The Lone Boat, North Woods Club, Adirondacks" by Winslow Homer (1892) Watercolor, with rewetting, blotting, and scraping, over traces of graphite, on thick, rough-textured, ivory wove paper.
Read commentary →Drawings of French Churches - Augustus Charles Pugin
"Drawings of French Churches" by Augustus Charles Pugin (1820s) Bound volume containting 83 watercolors.
Read commentary →Mme Lili Grenier (recto); Landscape with Church (verso) - Henri de Toulouse-Lautrec
"Mme Lili Grenier (recto); Landscape with Church (verso)" by Henri de Toulouse-Lautrec (1885/88) Oil paint, with graphite (recto), and oil paint with touches of black crayon varnished overall (verso), on gray cardboard.
Read commentary →The Virgin with the Pear - Hans Sebald Beham
"The Virgin with the Pear" by Hans Sebald Beham (1520) Engraving in black on ivory laid paper.
Read commentary →Job Conversing with His Friends - Hans Sebald Beham
"Job Conversing with His Friends" by Hans Sebald Beham (1547) Engraving in black on ivory laid paper.
Read commentary →Christ Crowned with Thorns Speaking to His Mother - Hans Sebald Beham
"Christ Crowned with Thorns Speaking to His Mother" by Hans Sebald Beham (1519) Engraving in black on ivory laid paper.
Read commentary →Virgin and Child by the Window - Barthel Beham
"Virgin and Child by the Window" by Barthel Beham (n.d.) Engraving in black on cream laid paper.
Read commentary →Job Conversing with His Friends - Hans Sebald Beham
"Job Conversing with His Friends" by Hans Sebald Beham (1547) Engraving in black on ivory laid paper.
Read commentary →The Mocking, Flagellation, and Crucifixion of Christ (The Great Calvary) - Jacob Matham
"The Mocking, Flagellation, and Crucifixion of Christ (The Great Calvary)" by Jacob Matham (1615) Engraving on silk.
Read commentary →Maurits, Prince of Orange-Nassau - Willem Jacobsz. Delff
"Maurits, Prince of Orange-Nassau" by Willem Jacobsz. Delff (1618) Engraving on silk.
Read commentary →The Holy Shroud of Besançon - Jean De Loisy
"The Holy Shroud of Besançon" by Jean De Loisy (1634) Engraving in black and yellowish brown, with hand additions in red gouache on cream, silk satin weave, folded.
Read commentary →Two Goats with Large Horns, from Various Animals - Nicolaes Berchem
"Two Goats with Large Horns, from Various Animals" by Nicolaes Berchem (17th century) Etching on paper.
Read commentary →A Shepherdess Speaking to Her Dog - Karel Dujardin
"A Shepherdess Speaking to Her Dog" by Karel Dujardin (1653) Etching on cream laid paper.
Read commentary →Goats, from Various Animals - Nicolaes Berchem
"Goats, from Various Animals" by Nicolaes Berchem (17th century) Etching in black ink on ivory laid paper.
Read commentary →The Supper after the Masked Ball - Thomas Couture
"The Supper after the Masked Ball" by Thomas Couture (c. 1855) Woodcut with painted and stenciled additions on tan wove paper, laid down on fabric, and stretched on a wooden stretcher.
Read commentary →Woman Seen from the Back - Artist unknown
"Woman Seen from the Back" by Artist unknown (n.d.) Lithograph on ivory wove paper.
Read commentary →Cow Relieving Itself - Nicolaes Berchem
"Cow Relieving Itself" by Nicolaes Berchem (1635/1683) Etching on ivory laid paper.
Read commentary →A Young Man Caressing the Young Hostess - Cornelis Pietersz. Bega
"A Young Man Caressing the Young Hostess" by Cornelis Pietersz. Bega (c. 1650) Etching on cream laid paper.
Read commentary →Rest on the Flight into Egypt - Bartolomeo Biscaino
"Rest on the Flight into Egypt" by Bartolomeo Biscaino (n.d.) Etching printed in reddish brown on paper.
Read commentary →Jael and Sisera - Albrecht Altdorfer
"Jael and Sisera" by Albrecht Altdorfer (1520/25) Woodcut in black on ivory laid paper.
Read commentary →Landscape with Sheep, from The Small Landscapes - Schelte Adamsz. Bolswert
"Landscape with Sheep, from The Small Landscapes" by Schelte Adamsz. Bolswert (c. 1638) Engraving on ivory laid paper.
Read commentary →Landscape with the Great Ruins, from The Small Landscapes - Schelte Adamsz. Bolswert
"Landscape with the Great Ruins, from The Small Landscapes" by Schelte Adamsz. Bolswert (c. 1638) Engraving on ivory laid paper.
Read commentary →The Bewitched Groom - Hans Baldung Grien
"The Bewitched Groom" by Hans Baldung Grien (c. 1544) Woodcut in black on ivory laid paper.
Read commentary →A Groom Bridling a Horse - Hans Baldung Grien
"A Groom Bridling a Horse" by Hans Baldung Grien (early 1540s) Engraving in black on ivory laid paper.
Read commentary →The Large Horse - Albrecht Dürer
"The Large Horse" by Albrecht Dürer (1505) Engraving in black on ivory laid paper.
Read commentary →Landscape with Philemon and Baucis, from Large Landscapes - Schelte Adamsz. Bolswert
"Landscape with Philemon and Baucis, from Large Landscapes" by Schelte Adamsz. Bolswert (c. 1638) Engraving in black on cream laid paper.
Read commentary →Wild Horses Fighting - Hans Baldung Grien
"Wild Horses Fighting" by Hans Baldung Grien (1534) Woodcut in black on tan laid paper.
Read commentary →The Power of Woman [3 Esdras 4:18-19, 22-23, 29-32], from The Four Strongest Powers - Philips Galle
"The Power of Woman [3 Esdras 4:18-19, 22-23, 29-32], from The Four Strongest Powers" by Philips Galle (1574) Engraving on ivory laid paper.
Read commentary →The Power of the King [3 Esdras 4:3-8], from The Four Strongest Powers - Philips Galle
"The Power of the King [3 Esdras 4:3-8], from The Four Strongest Powers" by Philips Galle (1574) Engraving on ivory laid paper.
Read commentary →The Power of Wine [3 Esdras 3:19-23], from The Four Strongest Powers - Philips Galle
"The Power of Wine [3 Esdras 3:19-23], from The Four Strongest Powers" by Philips Galle (1574) Engraving on ivory laid paper.
Read commentary →Jesus Wrapped in the Robe of Fools, plate 12 from The Passion of Christ - Claudine Bouzonnet-Stella
"Jesus Wrapped in the Robe of Fools, plate 12 from The Passion of Christ" by Claudine Bouzonnet-Stella (1650/60) Etching, with engraving, in black on gray laid paper.
Read commentary →The Power of Truth [3 Esdras 4:36, 38], from The Four Strongest Powers - Philips Galle
"The Power of Truth [3 Esdras 4:36, 38], from The Four Strongest Powers" by Philips Galle (1574) Engraving on ivory laid paper.
Read commentary →Beach with Fishing Boats (recto); Landscape with Farmer Plowing a Field (verso) - Eugène Louis Boudin
"Beach with Fishing Boats (recto); Landscape with Farmer Plowing a Field (verso)" by Eugène Louis Boudin (1870/79) Pastel on (recto) and charcoal (verso) on grayish-tan wove paper.
Read commentary →Christ in the Desert with Six Angels - Master of the Catherine Wheel
"Christ in the Desert with Six Angels" by Master of the Catherine Wheel (c. 1490) Engraving on paper.
Read commentary →The Cloister of San Lorenzo Fuori le Mura, Rome
"The Cloister of San Lorenzo Fuori le Mura, Rome" (1827) Brush and various gray washes over traces of graphite, on ivory wove paper, laid down on cream wove paper.
Read commentary →Landscape with Saint George and the Dragon and the Monte Soratte - Joseph Anton Koch
"Landscape with Saint George and the Dragon and the Monte Soratte" by Joseph Anton Koch (c. 1816) Pen and dark gray ink, over graphite (recto); graphite (verso) on ivory laid paper.
Read commentary →Monastery of San Francesco di Civitella in the Sabine Mountains - Joseph Anton Koch
"Monastery of San Francesco di Civitella in the Sabine Mountains" by Joseph Anton Koch (1810) Etching on paper.
Read commentary →Dante Crosses the Stream of Blood of the Tyrants and Murderers on the Back of Nessus the Centaur - Joseph Anton Koch
"Dante Crosses the Stream of Blood of the Tyrants and Murderers on the Back of Nessus the Centaur" by Joseph Anton Koch (1808) Etching in black on cream laid paper.
Read commentary →A Civita Castellana - Jacob Wilhelm Mechau
"A Civita Castellana" by Jacob Wilhelm Mechau (1793) Etching on ivory laid paper.
Read commentary →The Adoration of the Magi, from The Life of Christ - Martin Schongauer
"The Adoration of the Magi, from The Life of Christ" by Martin Schongauer (1470/75) Engraving on tan laid paper.
Read commentary →View of the Serpentara Between Olivano and Civitella - Théodore Caruelle d' Aligny
"View of the Serpentara Between Olivano and Civitella" by Théodore Caruelle d' Aligny (1825) Pen and brown ink with traces of graphite on cream laid paper.
Read commentary →The usefulness of the crinoline when cheating the customs, plate 414 from Actualités - Honoré-Victorin Daumier
"The usefulness of the crinoline when cheating the customs, plate 414 from Actualités" by Honoré-Victorin Daumier (1857) Lithograph in black on white wove paper.
Read commentary →Flock of Sheep at the Edge of a Wood - Charles Émile Jacque
"Flock of Sheep at the Edge of a Wood" by Charles Émile Jacque (1877) Etching, drypoint and aquatint on ivory simili-Japanese paper.
Read commentary →Figures from the Ceiling of the Sistine Chapel - Adamo Scultori
"Figures from the Ceiling of the Sistine Chapel" by Adamo Scultori (1550/65) 12 engravings in black on cream laid paper, tipped onto album sheet.
Read commentary →Figures from the Ceiling of the Sistine Chapel - Adamo Scultori
"Figures from the Ceiling of the Sistine Chapel" by Adamo Scultori (1550/65) 12 engravings in black on cream laid paper, tipped onto album sheet.
Read commentary →The Baptism of Christ - Martin Schongauer
"The Baptism of Christ" by Martin Schongauer (1480/90) Engraving in black on ivory laid paper.
Read commentary →Plate 14b, from Turnier Buch Herzogs Wilhelm des Vierten von Bayern (Tournament Book of Duke Wilhelm IV of Bavaria) - Clemens Senefelder
"Plate 14b, from Turnier Buch Herzogs Wilhelm des Vierten von Bayern (Tournament Book of Duke Wilhelm IV of Bavaria)" by Clemens Senefelder (1817) Lithograph in black and metallic pigments, with pen and ink retouchings, on ivory wove paper.
Read commentary →Plate 14a, from Turnier Buch Herzogs Wilhelm des Vierten von Bayern (Tournament Book of Duke Wilhelm IV of Bavaria) - Clemens Senefelder
"Plate 14a, from Turnier Buch Herzogs Wilhelm des Vierten von Bayern (Tournament Book of Duke Wilhelm IV of Bavaria)" by Clemens Senefelder (1817) Lithograph in black and metallic pigments, with pen and ink retouchings, on ivory wove paper.
Read commentary →Cows Drinking - Charles Émile Jacque
"Cows Drinking" by Charles Émile Jacque (1866) Etching and drypoint on China paper laid down on ivory wove paper (chine collé).
Read commentary →Woman Feeding Six Pigs - Charles Émile Jacque
"Woman Feeding Six Pigs" by Charles Émile Jacque (1850) Etching and roulette on China paper.
Read commentary →Four Sleeping Pigs - Charles Émile Jacque
"Four Sleeping Pigs" by Charles Émile Jacque (1850) Etching and roulette on China paper.
Read commentary →The Pipers - Charles Émile Jacque
"The Pipers" by Charles Émile Jacque (c. 1865) Etching on ivory laid paper.
Read commentary →Shepherdess - Charles Émile Jacque
"Shepherdess" by Charles Émile Jacque (1864–66) Etching and roulette on cream laid paper.
Read commentary →Tea - Mary Cassatt
"Tea" by Mary Cassatt (c. 1890) Drypoint in brown ink on ivory laid paper.
Read commentary →The Mandolin Player - Mary Cassatt
"The Mandolin Player" by Mary Cassatt (c. 1889) Drypoint in brown ink on ivory laid paper.
Read commentary →Reflection - Mary Cassatt
"Reflection" by Mary Cassatt (c. 1890) Drypoint in brown ink on ivory laid paper.
Read commentary →Peasant Mother and Child - Mary Cassatt
"Peasant Mother and Child" by Mary Cassatt (c. 1894) Color drypoint and aquatint, with additions in yellow, on white laid paper.
Read commentary →The Fitting - Mary Cassatt
"The Fitting" by Mary Cassatt (1890–91) Color aquatint and drypoint on off-white wove paper.
Read commentary →Lady in Black, in a Loge, Facing Right - Mary Cassatt
"Lady in Black, in a Loge, Facing Right" by Mary Cassatt (c. 1881) Soft ground etching in brown ink on cream laid paper.
Read commentary →On the Balcony - Mary Cassatt
"On the Balcony" by Mary Cassatt (c. 1889) Soft ground etching in black-brown ink on blued white laid paper.
Read commentary →Lydia Reading - Mary Cassatt
"Lydia Reading" by Mary Cassatt (1880-81) Aquatint, with soft ground etching and drypoint, on cream wove paper.
Read commentary →On the Balcony - Mary Cassatt
"On the Balcony" by Mary Cassatt (c. 1889) Soft ground etching in gray-brown ink on cream laid paper.
Read commentary →The Music Making Couple - Monogrammist b. g.
"The Music Making Couple" by Monogrammist b. g. (1470/80) Round engraving on ivory laid paper.
Read commentary →Amiens Cathedral - Louis Auguste Lepère
"Amiens Cathedral" by Louis Auguste Lepère (1907) Etching on ivory Japanese paper.
Read commentary →Amiens Cathedral - Louis Auguste Lepère
"Amiens Cathedral" by Louis Auguste Lepère (1907) Etching on ivory Japanese paper laid down on card.
Read commentary →The Pont-Neuf - Louis Auguste Lepère
"The Pont-Neuf" by Louis Auguste Lepère (1901) Etching on cream wove paper.
Read commentary →Portrait of Auguste Raffet - Auguste Bry
"Portrait of Auguste Raffet" by Auguste Bry (1839) Lithograph in black on ivory China paper, laid down on white wove paper.
Read commentary →Schoolboys Fighting - Auguste Bry
"Schoolboys Fighting" by Auguste Bry (n.d.) Lithograph in black on off-white wove paper.
Read commentary →A Wooded River Landscape with Jacob, Laban, and His Daughters - Claude Lorrain
"A Wooded River Landscape with Jacob, Laban, and His Daughters" by Claude Lorrain (1661) Pen and brown ink, with brush and black, brown and gray wash, and black chalk, on cream laid paper, laid down on cream laid card.
Read commentary →The Shipwreck - Claude Lorrain
"The Shipwreck" by Claude Lorrain (1638/41) Etching on ivory laid paper.
Read commentary →Harbor Scene with a Lighthouse - Claude Lorrain
"Harbor Scene with a Lighthouse" by Claude Lorrain (1638–41) Etching on ivory laid paper.
Read commentary →Harbor with a Large Tower - Claude Lorrain
"Harbor with a Large Tower" by Claude Lorrain (c. 1641) Etching on ivory laid paper.
Read commentary →Buildings Beside Lagoon - Claude Lorrain
"Buildings Beside Lagoon" by Claude Lorrain (n.d.) Pen and brown ink, with brush and gray wash, on ivory laid paper, perimter mounted on cream wove card.
Read commentary →Nymphs and Satyrs Playing Musical Instruments - Claude Lorrain
"Nymphs and Satyrs Playing Musical Instruments" by Claude Lorrain (n.d.) Pen and brown ink, with brush and brown wash, on cream laid paper.
Read commentary →Italianate River Landscape with Bridge with Tower - Claude Lorrain
"Italianate River Landscape with Bridge with Tower" by Claude Lorrain (n.d.) Pen and brown ink and brush and brown wash, over graphite, on cream laid paper, tipped on to cream card.
Read commentary →Seascape - Claude Lorrain
"Seascape" by Claude Lorrain (n.d.) Pen and black ink and brush and gray wash on tan laid paper, laid down on tan laid card.
Read commentary →The Tempest - Claude Lorrain
"The Tempest" by Claude Lorrain (1630) Etching on ivory laid paper.
Read commentary →Arabesque - Claude Lorrain
"Arabesque" by Claude Lorrain (c. 1630) Etching on ivory laid paper.
Read commentary →Seated Woman and Other Sketches - Claude Lorrain
"Seated Woman and Other Sketches" by Claude Lorrain (1630/33) Etching on ivory laid paper.
Read commentary →The Two Landscapes - Claude Lorrain
"The Two Landscapes" by Claude Lorrain (c. 1630) Etching on ivory laid paper.
Read commentary →Study for a Scene with Brigands - Claude Lorrain
"Study for a Scene with Brigands" by Claude Lorrain (c. 1633) Etching on ivory laid paper.
Read commentary →Classical Landscape - Tivoli - Claude Lorrain
"Classical Landscape - Tivoli" by Claude Lorrain (1636) Pen and ink on paper.
Read commentary →The Flight into Egypt - Claude Lorrain
"The Flight into Egypt" by Claude Lorrain (1630/33) Etching on ivory laid paper.
Read commentary →The Herd at the Watering Place - Claude Lorrain
"The Herd at the Watering Place" by Claude Lorrain (1635) Etching on ivory laid paper.
Read commentary →Panorama from the Sasso - Claude Lorrain
"Panorama from the Sasso" by Claude Lorrain (1649/1655) Pen and brown ink with brush and brown wash, heightened with white gouache and traces of white chalk, over black chalk and graphite, on cream laid paper.
Read commentary →The Wooden Bridge (Rebecca and Eliezer) - Claude Lorrain
"The Wooden Bridge (Rebecca and Eliezer)" by Claude Lorrain (1638–41) Etching on ivory laid paper.
Read commentary →Time, Apollo and the Seasons - Claude Lorrain
"Time, Apollo and the Seasons" by Claude Lorrain (1662) Etching on ivory laid paper.
Read commentary →The Goatherd - Claude Lorrain
"The Goatherd" by Claude Lorrain (1663) Etching on ivory laid paper.
Read commentary →Coast Scene with an Artist Drawing - Claude Lorrain
"Coast Scene with an Artist Drawing" by Claude Lorrain (1638–41) Etching on ivory laid paper.
Read commentary →The Rape of Europa - Claude Lorrain
"The Rape of Europa" by Claude Lorrain (1634) Etching on ivory laid paper.
Read commentary →The Roman Forum - Claude Lorrain
"The Roman Forum" by Claude Lorrain (1636) Etching on ivory laid paper.
Read commentary →Scene of Brigands - Claude Lorrain
"Scene of Brigands" by Claude Lorrain (1633) Etching in black on ivory laid paper.
Read commentary →Harbor Scene with Rising Sun - Claude Lorrain
"Harbor Scene with Rising Sun" by Claude Lorrain (1634) Etching on ivory laid paper.
Read commentary →The Herd Returning in Stormy Weather - Claude Lorrain
"The Herd Returning in Stormy Weather" by Claude Lorrain (1651) Etching on ivory laid paper.
Read commentary →The Cowherd - Claude Lorrain
"The Cowherd" by Claude Lorrain (1636) Etching on ivory laid paper.
Read commentary →The Country Dance - Claude Lorrain
"The Country Dance" by Claude Lorrain (c. 1637) Etching on ivory laid paper.
Read commentary →The Dance on the River Bank - Claude Lorrain
"The Dance on the River Bank" by Claude Lorrain (c. 1634) Etching on ivory laid paper.
Read commentary →The Four Goats - Claude Lorrain
"The Four Goats" by Claude Lorrain (1630/33) Etching on ivory laid paper.
Read commentary →The Ford - Claude Lorrain
"The Ford" by Claude Lorrain (1634) Etching on ivory laid paper.
Read commentary →The Cowherd - Claude Lorrain
"The Cowherd" by Claude Lorrain (1636) Etching on ivory laid paper.
Read commentary →Harriett Pullman Carolan - John Singer Sargent
"Harriett Pullman Carolan" by John Singer Sargent (1911) Charcoal on cream laid paper.
Read commentary →Landscape - Georges Seurat
"Landscape" by Georges Seurat (c. 1881) Black Conté crayon on off-white laid paper.
Read commentary →Academic Male Nude - Georges Seurat
"Academic Male Nude" by Georges Seurat (1877) Black Conté crayon, black chalk, and charcoal, with stumping and erasing, on cream laid paper.
Read commentary →An Artist at His Easel - John Singer Sargent
"An Artist at His Easel" by John Singer Sargent (1914) Watercolor over traces of graphite on ivory wove paper.
Read commentary →Workmen at Carrara - John Singer Sargent
"Workmen at Carrara" by John Singer Sargent (1911) Watercolor with touches of opaque watercolor and scraping over graphite on ivory wove paper.
Read commentary →Woodsheds, Tyrol - John Singer Sargent
"Woodsheds, Tyrol" by John Singer Sargent (1914) Watercolor with scraping and wax resist over graphite on ivory wove paper.
Read commentary →Olive Trees, Corfu - John Singer Sargent
"Olive Trees, Corfu" by John Singer Sargent (1909) Watercolor and opaque watercolor with scraping and wax resist over graphite on ivory wove paper.
Read commentary →Forest Landscape with Wild Animals - Pieter Bruegel, the elder
"Forest Landscape with Wild Animals" by Pieter Bruegel, the elder (late 16th century) Pen and brown ink on buff laid paper, laid down on card.
Read commentary →The Hare Hunters - Pieter Bruegel, the elder
"The Hare Hunters" by Pieter Bruegel, the elder (1566) Etching in black on ivory laid paper.
Read commentary →The Resurrection - Pieter Bruegel, the elder
"The Resurrection" by Pieter Bruegel, the elder (c. 1580) Engraving in black on ivory laid paper.
Read commentary →The Chair ("That shadow that lies floating on the floor..."), from The Raven (Le Corbeau) - Édouard Manet
"The Chair ("That shadow that lies floating on the floor..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on cream laid paper.
Read commentary →The Raven on the Bust of Pallas ("Perched upon a bust of Pallas..."), from The Raven (Le Corbeau) - Édouard Manet
"The Raven on the Bust of Pallas ("Perched upon a bust of Pallas..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on cream laid paper.
Read commentary →At the window ("Open here I flung the shutter..."), from The Raven (Le Corbeau) - Édouard Manet
"At the window ("Open here I flung the shutter..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on cream laid paper.
Read commentary →Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau) - Édouard Manet
"Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on cream laid paper.
Read commentary →Flying Raven: ex libris, from The Raven (Le Corbeau) - Édouard Manet
"Flying Raven: ex libris, from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on ivory parchment paper.
Read commentary →The Man with the Dog - Édouard Manet
"The Man with the Dog" by Édouard Manet (c. 1882) Pastel on canvas, prepared with an off-white gouache ground.
Read commentary →Swallows, plate 8 from Le Fleuve - Édouard Manet
"Swallows, plate 8 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →The Sea, plate 7 from Le Fleuve - Édouard Manet
"The Sea, plate 7 from Le Fleuve" by Édouard Manet (1874) Etching and drypoint in black on ivory laid paper.
Read commentary →The Arch of the Bridge, plate 6 from Le Fleuve - Édouard Manet
"The Arch of the Bridge, plate 6 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →The Parapet of the Bridge, plate 5 from Le Fleuve - Édouard Manet
"The Parapet of the Bridge, plate 5 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →The River in the Plain, plate 4 from Le Fleuve - Édouard Manet
"The River in the Plain, plate 4 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →The High Valley, plate 3 from Le Fleuve - Édouard Manet
"The High Valley, plate 3 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →The Mountain, plate 2 from Le Fleuve - Édouard Manet
"The Mountain, plate 2 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →Dragonfly, plate 1 from Le Fleuve - Édouard Manet
"Dragonfly, plate 1 from Le Fleuve" by Édouard Manet (1874) Etching, drypoint and aquatint in black on ivory laid paper.
Read commentary →Sketches from “The Gypsies,” “The Spanish Ballet,” and “Lola de Valence” for “L’Autographe au Salon de 1865” - Édouard Manet
"Sketches from “The Gypsies,” “The Spanish Ballet,” and “Lola de Valence” for “L’Autographe au Salon de 1865”" by Édouard Manet (1865) Brush and black ink and wash, over graphite, on ivory laid paper, pieced in the lower left.
Read commentary →The Races - Édouard Manet
"The Races" by Édouard Manet (1865–72) Lithograph in black on chine collé.
Read commentary →Le Fleuve - Édouard Manet
"Le Fleuve" by Édouard Manet (1874) Unbound poem of five folded sheets; cover on ivory wove paper, poem and etchings, drypoints and aquatint on ivory laid paper.
Read commentary →Sketches of Marine Scenes (recto); Two Sketches: Beside Stormy Coast, Cloudy Seascape - Édouard Manet
"Sketches of Marine Scenes (recto); Two Sketches: Beside Stormy Coast, Cloudy Seascape" by Édouard Manet (1852/83 (recto); c. 1871 (verso)) Watercolor and graphite (recto), and watercolor with traces of graphite, heightened with touches of white gouache (verso), on off-white wove paper.
Read commentary →Young Man Standing (Léon Leenhoff) (recto); Sketch of Standing Boy (verso) - Édouard Manet
"Young Man Standing (Léon Leenhoff) (recto); Sketch of Standing Boy (verso)" by Édouard Manet (1864/65) Black crayon (recto and verso) on tannish-buff laid paper with blue fibers, recto squared in graphite.
Read commentary →The Chair ("That shadow that lies floating on the floor..."), from The Raven (Le Corbeau) - Édouard Manet
"The Chair ("That shadow that lies floating on the floor..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on gray China paper.
Read commentary →At the window ("Open here I flung the shutter..."), from The Raven (Le Corbeau) - Édouard Manet
"At the window ("Open here I flung the shutter..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on gray China paper.
Read commentary →Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau) - Édouard Manet
"Under the Lamp ("Once upon a midnight dreary..."), from The Raven (Le Corbeau)" by Édouard Manet (1875) Transfer lithograph in black on gray China paper.
Read commentary →L'après-midi d'un faune - Édouard Manet
"L'après-midi d'un faune" by Édouard Manet (1876) Book with four wood engravings in black on various laid and wove papers, two handcolored with pink wash, rebound and housed in slipcase.
Read commentary →Portrait of Alphonse Maureau - Édouard Manet
"Portrait of Alphonse Maureau" by Édouard Manet (1878/79) Pastel on canvas, prepared with an off-white ground.
Read commentary →The rue Mosnier with Gas Lamp - Édouard Manet
"The rue Mosnier with Gas Lamp" by Édouard Manet (1878) Brush with tusche, over graphite on transfer paper, laid down on cream wove paper.
Read commentary →Portrait of Berthe Morisot with a Fan - Édouard Manet
"Portrait of Berthe Morisot with a Fan" by Édouard Manet (1874) Watercolor over traces of graphite on cream wove paper.
Read commentary →Sketches of Snails, Flowering Plant - Édouard Manet
"Sketches of Snails, Flowering Plant" by Édouard Manet (1864/68) Watercolor over graphite pencil on cream laid paper.
Read commentary →Head of a Tahitian Woman - Paul Gauguin
"Head of a Tahitian Woman" by Paul Gauguin (1891/93, with later additions 1894/95) Pen and brush and black ink, with green, blue, yellow and white gouache, over pen and brown ink and touches of graphite, on parchment.
Read commentary →The Stalk—Moulin Rouge - Henri de Toulouse-Lautrec
"The Stalk—Moulin Rouge" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →Mademoiselle Cocyte - Henri de Toulouse-Lautrec
"Mademoiselle Cocyte" by Henri de Toulouse-Lautrec (1900) Red and black chalk, with stumping, on ivory wove paper.
Read commentary →The Simpson Chain - Henri de Toulouse-Lautrec
"The Simpson Chain" by Henri de Toulouse-Lautrec (1896) Color brush and spatter lithograph (poster) on tan wove paper with lettering by another hand.
Read commentary →Woman Lying on her Back, Lassitude, plate ten from Elles - Henri de Toulouse-Lautrec
"Woman Lying on her Back, Lassitude, plate ten from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Footit and Chocolat - Henri de Toulouse-Lautrec
"Footit and Chocolat" by Henri de Toulouse-Lautrec (1894, printed 1939 or 1947) Lithograph on ivory wove paper.
Read commentary →Polin, from Treize Lithographies - Henri de Toulouse-Lautrec
"Polin, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898) Lithograph on ivory laid paper.
Read commentary →Lucien Guitry, from Treize Lithographies - Henri de Toulouse-Lautrec
"Lucien Guitry, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Anna Held, from Treize Lithographies - Henri de Toulouse-Lautrec
"Anna Held, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →May Belfort, from Treize Lithographies - Henri de Toulouse-Lautrec
"May Belfort, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Color lithograph on cream wove paper.
Read commentary →Emilienne d'Alençon, from Treize Lithographies - Henri de Toulouse-Lautrec
"Emilienne d'Alençon, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Coquelin the Elder, from Treize Lithographies - Henri de Toulouse-Lautrec
"Coquelin the Elder, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Sybil Sanderson, from Treize Lithographies - Henri de Toulouse-Lautrec
"Sybil Sanderson, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Jeanne Granier, from Treize Lithographies - Henri de Toulouse-Lautrec
"Jeanne Granier, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Sarah Bernhardt, from Treize Lithographies - Henri de Toulouse-Lautrec
"Sarah Bernhardt, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Cléo de Mérode, from Treize Lithographies - Henri de Toulouse-Lautrec
"Cléo de Mérode, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph in black on ivory laid paper.
Read commentary →Jane Hading, from Treize Lithographies - Henri de Toulouse-Lautrec
"Jane Hading, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Louise Balthy, from Treize Lithographies - Henri de Toulouse-Lautrec
"Louise Balthy, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Marie-Louise Marsy, from Treize Lithographies - Henri de Toulouse-Lautrec
"Marie-Louise Marsy, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →At the Circus Fernando: Medrano with a Piglet - Henri de Toulouse-Lautrec
"At the Circus Fernando: Medrano with a Piglet" by Henri de Toulouse-Lautrec (c. 1889) Oil on paper laid down on board.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Three ivory laid sheets with deckled edges folded in half and sewn to form six pages with letterpress in black and red.
Read commentary →Wisdom - Henri de Toulouse-Lautrec
"Wisdom" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Wisdom - Henri de Toulouse-Lautrec
"Wisdom" by Henri de Toulouse-Lautrec (1893, printed and published 1927) Color lithograph on cream wove paper.
Read commentary →For You!... - Henri de Toulouse-Lautrec
"For You!..." by Henri de Toulouse-Lautrec (1893, published 1927) Color lithograph on ivory wove paper.
Read commentary →Back Room of a shop in Cracow, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Back Room of a shop in Cracow, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on ivory wove paper.
Read commentary →Clemenceau in Busk, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Clemenceau in Busk, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on ivory wove paper.
Read commentary →Textile Market, Cracow, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Textile Market, Cracow, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on ivory wove paper.
Read commentary →The Prayer of the Polish Jews, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"The Prayer of the Polish Jews, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on grayish-ivory wove chine.
Read commentary →Georges Clemenceau and the Optomotrist, Mayer, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Georges Clemenceau and the Optomotrist, Mayer, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on grayish-ivory wove chine.
Read commentary →Polish Jews, Carlsbad, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Polish Jews, Carlsbad, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on ivory wove paper.
Read commentary →Schlomé Fuss in the Synagogue, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Schlomé Fuss in the Synagogue, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on ivory wove paper.
Read commentary →The Arrest of Schlomé Fuss, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"The Arrest of Schlomé Fuss, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on ivory wove paper.
Read commentary →Baron Moïse Begging, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Baron Moïse Begging, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on ivory wove paper.
Read commentary →Baron Moïse, the Box, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Baron Moïse, the Box, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on grayish-ivory wove chine.
Read commentary →Cover for Au pied du Sinaï - Henri de Toulouse-Lautrec
"Cover for Au pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on cream wove paper.
Read commentary →Study of a Woman - Henri de Toulouse-Lautrec
"Study of a Woman" by Henri de Toulouse-Lautrec (1893, printed and published 1927) Lithograph on cream wove paper.
Read commentary →Woman in Bed—Waking, plate three from Elles - Henri de Toulouse-Lautrec
"Woman in Bed—Waking, plate three from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Frontispiece, from Elles - Henri de Toulouse-Lautrec
"Frontispiece, from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman in Bed, Profile, Getting Up, plate eight from Elles - Henri de Toulouse-Lautrec
"Woman in Bed, Profile, Getting Up, plate eight from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Head of a Man in Profile - Henri de Toulouse-Lautrec
"Head of a Man in Profile" by Henri de Toulouse-Lautrec (n.d.) Ink on ivory laid paper.
Read commentary →Carnot is Sick! - Henri de Toulouse-Lautrec
"Carnot is Sick!" by Henri de Toulouse-Lautrec (1893, printed and published 1927) Color lithograph on cream wove paper.
Read commentary →Menu for a Dinner given by May Belfort - Henri de Toulouse-Lautrec
"Menu for a Dinner given by May Belfort" by Henri de Toulouse-Lautrec (1896) Color lithograph on tan wove paper.
Read commentary →At the Opera: Madame Caron in Faust - Henri de Toulouse-Lautrec
"At the Opera: Madame Caron in Faust" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Mademoiselle Eglantine's Troupe - Henri de Toulouse-Lautrec
"Mademoiselle Eglantine's Troupe" by Henri de Toulouse-Lautrec (1896) Color lithograph on tan wove paper.
Read commentary →Sleep - Henri de Toulouse-Lautrec
"Sleep" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream laid paper.
Read commentary →Dance at the Moulin Rouge - Henri de Toulouse-Lautrec
"Dance at the Moulin Rouge" by Henri de Toulouse-Lautrec (1897) Color lithograph on grayish-ivory laid China paper.
Read commentary →Cover for L'Estampe originale - Henri de Toulouse-Lautrec
"Cover for L'Estampe originale" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Guy and Mealy, in 'Paris qui Marche' - Henri de Toulouse-Lautrec
"Guy and Mealy, in 'Paris qui Marche'" by Henri de Toulouse-Lautrec (1898) Color lithograph on cream wove paper.
Read commentary →Reine de Joie - Henri de Toulouse-Lautrec
"Reine de Joie" by Henri de Toulouse-Lautrec (1892) Color lithograph on tan wove paper.
Read commentary →Menu Sylvain - Henri de Toulouse-Lautrec
"Menu Sylvain" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Menu Card for Adrien Hébrard - Henri de Toulouse-Lautrec
"Menu Card for Adrien Hébrard" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →A Merry Christmas - Henri de Toulouse-Lautrec
"A Merry Christmas" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →The Old Gentlemen - Henri de Toulouse-Lautrec
"The Old Gentlemen" by Henri de Toulouse-Lautrec (1894, published before 1910) Lithograph on cream wove paper.
Read commentary →Eros vanné - Henri de Toulouse-Lautrec
"Eros vanné" by Henri de Toulouse-Lautrec (1894, published before 1910) Lithograph in black on cream Japanese paper.
Read commentary →Calmèse's Little Pony - Henri de Toulouse-Lautrec
"Calmèse's Little Pony" by Henri de Toulouse-Lautrec (1898) Lithograph on cream wove paper.
Read commentary →New Year's Greeting - Henri de Toulouse-Lautrec
"New Year's Greeting" by Henri de Toulouse-Lautrec (1897) Lithograph on ivory wove paper.
Read commentary →The Three Wise Men - Henri de Toulouse-Lautrec
"The Three Wise Men" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →La revue blanche - Henri de Toulouse-Lautrec
"La revue blanche" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →Promenade - Henri de Toulouse-Lautrec
"Promenade" by Henri de Toulouse-Lautrec (1899) Color lithograph on cream wove paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph on paper.
Read commentary →Cover for Les Courtes Joies - Henri de Toulouse-Lautrec
"Cover for Les Courtes Joies" by Henri de Toulouse-Lautrec (1897, printed and published 1925) Lithograph over a fawn tint from a second stone on grayish laid china paper.
Read commentary →Your Mouth - Henri de Toulouse-Lautrec
"Your Mouth" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →Aristide Bruant, from Le Café-Concert - Henri de Toulouse-Lautrec
"Aristide Bruant, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Mademoiselle Marcelle Lender, Standing - Henri de Toulouse-Lautrec
"Mademoiselle Marcelle Lender, Standing" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Le Suisse, Menu - Henri de Toulouse-Lautrec
"Le Suisse, Menu" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →La Macarona in the Costume of a Jockey - Henri de Toulouse-Lautrec
"La Macarona in the Costume of a Jockey" by Henri de Toulouse-Lautrec (1893) Oil paint and watercolor, over charcoal, on tan wove tracing paper, laid down on cream woodpulp card.
Read commentary →The Secret, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Secret, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Invitation for Mr. and Mrs. Alexandre Natanson - Henri de Toulouse-Lautrec
"Invitation for Mr. and Mrs. Alexandre Natanson" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Seduction - Henri de Toulouse-Lautrec
"Seduction" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory laid paper.
Read commentary →Invitation to an Exhibition - Henri de Toulouse-Lautrec
"Invitation to an Exhibition" by Henri de Toulouse-Lautrec (1898) Lithograph on cream wove paper.
Read commentary →Cover for L'Etoile rouge - Henri de Toulouse-Lautrec
"Cover for L'Etoile rouge" by Henri de Toulouse-Lautrec (1898) Lithograph on tan or gray-brown wove paper.
Read commentary →Couple at a Café-Concert - Henri de Toulouse-Lautrec
"Couple at a Café-Concert" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Horse and Collie - Henri de Toulouse-Lautrec
"Horse and Collie" by Henri de Toulouse-Lautrec (1898) Lithograph on ivory wove paper.
Read commentary →Mademoiselle Leconte - Henri de Toulouse-Lautrec
"Mademoiselle Leconte" by Henri de Toulouse-Lautrec (1898) Lithograph on tan wove paper.
Read commentary →Buy my Pretty Violets, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Buy my Pretty Violets, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →At the Ambassadeurs—Singer at the Café-concert, from the sixth album of L'Estampe originale - Henri de Toulouse-Lautrec
"At the Ambassadeurs—Singer at the Café-concert, from the sixth album of L'Estampe originale" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory wove paper.
Read commentary →Proposal (first plate) - Henri de Toulouse-Lautrec
"Proposal (first plate)" by Henri de Toulouse-Lautrec (1898, published 1899) Lithograph, with text added, on ivory wove paper.
Read commentary →La Gitane - Henri de Toulouse-Lautrec
"La Gitane" by Henri de Toulouse-Lautrec (1899) Color lithograph poster on two sheets of cream wove paper, laid down on unbleached Irish linen.
Read commentary →The Hanged Man - Henri de Toulouse-Lautrec
"The Hanged Man" by Henri de Toulouse-Lautrec (1892) Lithograph on cream wove paper.
Read commentary →In Bed - Henri de Toulouse-Lautrec
"In Bed" by Henri de Toulouse-Lautrec (1898) Lithograph on tan or gray-brown wove paper.
Read commentary →Oscar Wilde and Romain Coolus—Program for Raphaël and Salomé - Henri de Toulouse-Lautrec
"Oscar Wilde and Romain Coolus—Program for Raphaël and Salomé" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper.
Read commentary →À Saint-Lazare - Henri de Toulouse-Lautrec
"À Saint-Lazare" by Henri de Toulouse-Lautrec (1885, later edition) Lithograph in black on tan wove paper.
Read commentary →Tailpiece from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Tailpiece from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897) Reproduction of a lithograph on cream wove paper.
Read commentary →Yvette Guilbert, in Colombine à Pierrot - Henri de Toulouse-Lautrec
"Yvette Guilbert, in Colombine à Pierrot" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →A Cemetery in Galicia, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"A Cemetery in Galicia, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on cream wove paper.
Read commentary →Program for La Lépreuse - Henri de Toulouse-Lautrec
"Program for La Lépreuse" by Henri de Toulouse-Lautrec (1896) Color lithograph on tan wove paper.
Read commentary →À Saint-Lazare - Henri de Toulouse-Lautrec
"À Saint-Lazare" by Henri de Toulouse-Lautrec (1885, later edition) Lithograph in black on tan wove paper.
Read commentary →Buy my Pretty Violets, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Buy my Pretty Violets, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895, printed 1935) Lithograph, with lithographic text, on tan wove paper.
Read commentary →Floréal, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Floréal, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895, printed and published 1935) Lithograph, with text added, on tan wove paper.
Read commentary →The Sea Swallows, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Sea Swallows, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Secret, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Secret, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895, printed and published 1935) Lithograph on cream wove paper.
Read commentary →Cover for La Tribu d'Isidore - Henri de Toulouse-Lautrec
"Cover for La Tribu d'Isidore" by Henri de Toulouse-Lautrec (1897) Color lithograph on cream wove paper.
Read commentary →The Second Volume by Bruant - Henri de Toulouse-Lautrec
"The Second Volume by Bruant" by Henri de Toulouse-Lautrec (1893) Color lithograph on tan wove paper.
Read commentary →Cycle Michael - Henri de Toulouse-Lautrec
"Cycle Michael" by Henri de Toulouse-Lautrec (1896) Brush lithograph in olive green on tan wove paper.
Read commentary →Eldorado: Aristide Bruant - Henri de Toulouse-Lautrec
"Eldorado: Aristide Bruant" by Henri de Toulouse-Lautrec (1892) Color lithograph on tan wove paper.
Read commentary →L'Aube - Henri de Toulouse-Lautrec
"L'Aube" by Henri de Toulouse-Lautrec (1896) Color lithograph poster on cream wove paper.
Read commentary →May Belfort - Henri de Toulouse-Lautrec
"May Belfort" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →Babylone d'Allemagne - Henri de Toulouse-Lautrec
"Babylone d'Allemagne" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →Aristide Bruant, in His Cabaret - Henri de Toulouse-Lautrec
"Aristide Bruant, in His Cabaret" by Henri de Toulouse-Lautrec (1893) Color lithograph on buff wove paper.
Read commentary →Jane Avril - Henri de Toulouse-Lautrec
"Jane Avril" by Henri de Toulouse-Lautrec (1893) Color lithograph on tan wove paper.
Read commentary →Divan Japonais - Henri de Toulouse-Lautrec
"Divan Japonais" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Busk Cemetery, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Busk Cemetery, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on cream wove paper.
Read commentary →Schlomé Fuss in the Synagogue, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"Schlomé Fuss in the Synagogue, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on cream wove paper.
Read commentary →Program for the Gémier Benefit - Henri de Toulouse-Lautrec
"Program for the Gémier Benefit" by Henri de Toulouse-Lautrec (1897) Lithograph with text added, in dark gray on gray-brown wove paper.
Read commentary →Désiré Dihau - Henri de Toulouse-Lautrec
"Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Floréal, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Floréal, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Sea Swallows, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Sea Swallows, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Shooting Stars, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Shooting Stars, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Butterflies, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Butterflies, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895, published 1935) Lithograph on cream wove paper.
Read commentary →The Butterflies, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Butterflies, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Madman, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Madman, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on ivory wove paper.
Read commentary →Eros vanné - Henri de Toulouse-Lautrec
"Eros vanné" by Henri de Toulouse-Lautrec (1894) Lithograph in black on tan wove paper.
Read commentary →Rehearsal at the Folies-Bergère, Emilenne D'Alençon and Mariquita - Henri de Toulouse-Lautrec
"Rehearsal at the Folies-Bergère, Emilenne D'Alençon and Mariquita" by Henri de Toulouse-Lautrec (1893) Lithograph with brown tint stone on cream wove paper.
Read commentary →Rehearsal at the Folies-Bergère—Emilenne D'Alençon and Mariquita - Henri de Toulouse-Lautrec
"Rehearsal at the Folies-Bergère—Emilenne D'Alençon and Mariquita" by Henri de Toulouse-Lautrec (1893) Lithograph on cream Japanese paper.
Read commentary →The Hairdresser, Program for the Théâtre Libre - Henri de Toulouse-Lautrec
"The Hairdresser, Program for the Théâtre Libre" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →The Milliner, Renée Vert - Henri de Toulouse-Lautrec
"The Milliner, Renée Vert" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →At La Souris, Madame Palmyre - Henri de Toulouse-Lautrec
"At La Souris, Madame Palmyre" by Henri de Toulouse-Lautrec (1897) Lithograph in black on ivory Japanese paper.
Read commentary →Elles: The Clownesse - Henri de Toulouse-Lautrec
"Elles: The Clownesse" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →Box in the Grand Tier - Henri de Toulouse-Lautrec
"Box in the Grand Tier" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →The Passenger in Cabin 54—The Cruise - Henri de Toulouse-Lautrec
"The Passenger in Cabin 54—The Cruise" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Farewell, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Farewell, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895, published 1935) Lithograph on ivory wove paper.
Read commentary →Farewell, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Farewell, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on ivory wove paper.
Read commentary →Poor Street-Walker! - Henri de Toulouse-Lautrec
"Poor Street-Walker!" by Henri de Toulouse-Lautrec (1893, published 1918) Lithograph on cream wove paper.
Read commentary →Yahne and Antoine, in L'Age Difficile - Henri de Toulouse-Lautrec
"Yahne and Antoine, in L'Age Difficile" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →May Milton - Henri de Toulouse-Lautrec
"May Milton" by Henri de Toulouse-Lautrec (1895) Oil and pastel on cardboard.
Read commentary →May Milton - Henri de Toulouse-Lautrec
"May Milton" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Reine de Joie - Henri de Toulouse-Lautrec
"Reine de Joie" by Henri de Toulouse-Lautrec (1892) Color lithograph on tan wove paper.
Read commentary →The Chestnut Vendor - Henri de Toulouse-Lautrec
"The Chestnut Vendor" by Henri de Toulouse-Lautrec (1897, printed and published 1925) Lithograph on grayish-ivory wove paper.
Read commentary →Zamboula-Polka - Henri de Toulouse-Lautrec
"Zamboula-Polka" by Henri de Toulouse-Lautrec (1900, printed after 1901) Lithograph on cream wove paper.
Read commentary →Proposal (first plate) - Henri de Toulouse-Lautrec
"Proposal (first plate)" by Henri de Toulouse-Lautrec (1898, printed before 1923) Lithograph on cream wove paper.
Read commentary →The Master Engraver, Adolphe Albert - Henri de Toulouse-Lautrec
"The Master Engraver, Adolphe Albert" by Henri de Toulouse-Lautrec (1898) Lithograph on ivory wove paper.
Read commentary →Au Pied du Sinaï, Rejected Cover - Henri de Toulouse-Lautrec
"Au Pied du Sinaï, Rejected Cover" by Henri de Toulouse-Lautrec (1897, published 1898) Lithograph on thick gray-tan Japan wove paper.
Read commentary →The Arton Trial, Ribot Giving Evidence (second plate) - Henri de Toulouse-Lautrec
"The Arton Trial, Ribot Giving Evidence (second plate)" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper.
Read commentary →Poster for Elles - Henri de Toulouse-Lautrec
"Poster for Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Supper in London - Henri de Toulouse-Lautrec
"Supper in London" by Henri de Toulouse-Lautrec (1896) Lithograph on cream wove paper.
Read commentary →Prospectus—Programme de l'Oeuvre - Henri de Toulouse-Lautrec
"Prospectus—Programme de l'Oeuvre" by Henri de Toulouse-Lautrec (1895) Lithograph on tan wove paper.
Read commentary →What the Rain Says - Henri de Toulouse-Lautrec
"What the Rain Says" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Christmas Ballad, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Christmas Ballad, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Adieu - Henri de Toulouse-Lautrec
"Adieu" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Bust of Mademoiselle Marcelle Lender - Henri de Toulouse-Lautrec
"Bust of Mademoiselle Marcelle Lender" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Réjane and Galipaux, in Madame Sans-Gêne - Henri de Toulouse-Lautrec
"Réjane and Galipaux, in Madame Sans-Gêne" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream laid Japanese paper.
Read commentary →At the Théâtre-Libre: Antoine in L'Inquiétude - Henri de Toulouse-Lautrec
"At the Théâtre-Libre: Antoine in L'Inquiétude" by Henri de Toulouse-Lautrec (1893, published 1894) Lithograph on cream wove paper.
Read commentary →Poor Street-Walker! - Henri de Toulouse-Lautrec
"Poor Street-Walker!" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Your Mouth - Henri de Toulouse-Lautrec
"Your Mouth" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →Cover and Frontispiece to Les Vieilles Histoires - Henri de Toulouse-Lautrec
"Cover and Frontispiece to Les Vieilles Histoires" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →The Hairdresser, Program for the Théâtre Libre - Henri de Toulouse-Lautrec
"The Hairdresser, Program for the Théâtre Libre" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →A Drive in the Country - Henri de Toulouse-Lautrec
"A Drive in the Country" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →Homage to Molière - Henri de Toulouse-Lautrec
"Homage to Molière" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on cream wove paper.
Read commentary →Cover for Babylone d'Allemagne - Henri de Toulouse-Lautrec
"Cover for Babylone d'Allemagne" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory wove paper.
Read commentary →Madame Réjane - Henri de Toulouse-Lautrec
"Madame Réjane" by Henri de Toulouse-Lautrec (1898, published 1936) Color lithograph on ivory laid paper.
Read commentary →Footit et chocolat - Henri de Toulouse-Lautrec
"Footit et chocolat" by Henri de Toulouse-Lautrec (n.d.) Lithograph on paper.
Read commentary →The Loge with the Gilded Mask - Henri de Toulouse-Lautrec
"The Loge with the Gilded Mask" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →The Promenade des Anglais in Nice - Henri de Toulouse-Lautrec
"The Promenade des Anglais in Nice" by Henri de Toulouse-Lautrec (1879/1881) Watercolor, with touches of gouache, and graphite, on ivory wove paper.
Read commentary →The Last Song - Henri de Toulouse-Lautrec
"The Last Song" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Au Pied de l'Echafaud - Henri de Toulouse-Lautrec
"Au Pied de l'Echafaud" by Henri de Toulouse-Lautrec (1893) Lithograph poster on cream wove paper.
Read commentary →Le bézigue - Henri de Toulouse-Lautrec
"Le bézigue" by Henri de Toulouse-Lautrec (1895) Lithograph with hand-coloring, on tan wove paper.
Read commentary →La vache enragée - Henri de Toulouse-Lautrec
"La vache enragée" by Henri de Toulouse-Lautrec (1896) Color lithograph poster on cream wove paper.
Read commentary →The Rabbits' Waltz - Henri de Toulouse-Lautrec
"The Rabbits' Waltz" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Amateur Photographer - Henri de Toulouse-Lautrec
"The Amateur Photographer" by Henri de Toulouse-Lautrec (1894, published January 1895) Lithographs recto and verso with lettering by the artist and letterpress added, on tan wove paper.
Read commentary →Horsewoman and Cart - Henri de Toulouse-Lautrec
"Horsewoman and Cart" by Henri de Toulouse-Lautrec (1899) Lithograph on cream laid paper.
Read commentary →At the Moulin Rouge, La Goulue and Her Sister - Henri de Toulouse-Lautrec
"At the Moulin Rouge, La Goulue and Her Sister" by Henri de Toulouse-Lautrec (1892) Color lithograph on tan wove paper.
Read commentary →Promenade - Henri de Toulouse-Lautrec
"Promenade" by Henri de Toulouse-Lautrec (1899) Color lithograph on cream wove paper.
Read commentary →Debauchery (second plate) - Henri de Toulouse-Lautrec
"Debauchery (second plate)" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Miss May Belfort Taking a Bow - Henri de Toulouse-Lautrec
"Miss May Belfort Taking a Bow" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Old Gentlemen - Henri de Toulouse-Lautrec
"The Old Gentlemen" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →Adolphe—The Sad Young Man - Henri de Toulouse-Lautrec
"Adolphe—The Sad Young Man" by Henri de Toulouse-Lautrec (1894) Lithograph on ivory wove paper.
Read commentary →Truffier and Moreno, in Les Femmes Savantes - Henri de Toulouse-Lautrec
"Truffier and Moreno, in Les Femmes Savantes" by Henri de Toulouse-Lautrec (1893, published 1894) Lithograph on cream wove paper.
Read commentary →The Old Flirts, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Old Flirts, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →The Prayer of the Polish Jews, from Au Pied du Sinaï - Henri de Toulouse-Lautrec
"The Prayer of the Polish Jews, from Au Pied du Sinaï" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on cream wove paper.
Read commentary →Portrait of Aristide Bruant, from Le Café-Concert - Henri de Toulouse-Lautrec
"Portrait of Aristide Bruant, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Cover for Le Fardeau de la Liberté - Henri de Toulouse-Lautrec
"Cover for Le Fardeau de la Liberté" by Henri de Toulouse-Lautrec (1897) Color lithograph on tan wove paper.
Read commentary →La Goulue - Henri de Toulouse-Lautrec
"La Goulue" by Henri de Toulouse-Lautrec (1894) Lithograph on ivory wove paper.
Read commentary →At the Renaissance: Sarah Bernhardt in Phèdre - Henri de Toulouse-Lautrec
"At the Renaissance: Sarah Bernhardt in Phèdre" by Henri de Toulouse-Lautrec (1893) Lithograph on grayish-cream wove paper.
Read commentary →Cover for Jouets de Paris - Henri de Toulouse-Lautrec
"Cover for Jouets de Paris" by Henri de Toulouse-Lautrec (1900, published 1901) Lithograph on ivory wove paper.
Read commentary →Les Pieds nickelés - Henri de Toulouse-Lautrec
"Les Pieds nickelés" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Homage to Molière - Henri de Toulouse-Lautrec
"Homage to Molière" by Henri de Toulouse-Lautrec (1897, published 1898) Color lithograph on cream wove paper.
Read commentary →Cover for La Tribu d'Isidore - Henri de Toulouse-Lautrec
"Cover for La Tribu d'Isidore" by Henri de Toulouse-Lautrec (1897) Color lithograph on cream wove paper.
Read commentary →Cover for L'exemple de Ninon de Lenclos amoureuse - Henri de Toulouse-Lautrec
"Cover for L'exemple de Ninon de Lenclos amoureuse" by Henri de Toulouse-Lautrec (1898) Lithograph with letterpress text added in blue on cream wove paper.
Read commentary →Bust of Mademoiselle Marcelle Lender - Henri de Toulouse-Lautrec
"Bust of Mademoiselle Marcelle Lender" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Portrait of Mademoiselle Marcelle Lender, three-quarter view - Henri de Toulouse-Lautrec
"Portrait of Mademoiselle Marcelle Lender, three-quarter view" by Henri de Toulouse-Lautrec (1898) Color lithograph on blue laid paper.
Read commentary →Cover for Les Courtes Joies - Henri de Toulouse-Lautrec
"Cover for Les Courtes Joies" by Henri de Toulouse-Lautrec (1897, printed and published 1925) Lithograph over a fawn tint from a second stone on grayish laid china paper.
Read commentary →The Arton Trial (third plate) - Henri de Toulouse-Lautrec
"The Arton Trial (third plate)" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper, laid down on cream Japan tissue.
Read commentary →Madame Simon-Girard, Brasseur and Guy in La belle Hélène - Henri de Toulouse-Lautrec
"Madame Simon-Girard, Brasseur and Guy in La belle Hélène" by Henri de Toulouse-Lautrec (1900) Lithograph on cream wove paper.
Read commentary →Lugné-Poé and Bady, in "Au-Dessus des Forces Humaines" - Henri de Toulouse-Lautrec
"Lugné-Poé and Bady, in "Au-Dessus des Forces Humaines"" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →At the Variétés: Mademoiselle Lender and Brasseur - Henri de Toulouse-Lautrec
"At the Variétés: Mademoiselle Lender and Brasseur" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Rehearsal at the Folies-Bergère, Emilenne D'Alençon and Mariquita - Henri de Toulouse-Lautrec
"Rehearsal at the Folies-Bergère, Emilenne D'Alençon and Mariquita" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →At the Gaieté Rochechouart: Nicolle - Henri de Toulouse-Lautrec
"At the Gaieté Rochechouart: Nicolle" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Study of a Woman - Henri de Toulouse-Lautrec
"Study of a Woman" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Carnot is Sick! - Henri de Toulouse-Lautrec
"Carnot is Sick!" by Henri de Toulouse-Lautrec (1893, printed and published 1927) Lithograph on cream wove paper.
Read commentary →May Belfort - Henri de Toulouse-Lautrec
"May Belfort" by Henri de Toulouse-Lautrec (1895) Color lithograph poster on tan wove paper.
Read commentary →Cover for Les Courtes Joies - Henri de Toulouse-Lautrec
"Cover for Les Courtes Joies" by Henri de Toulouse-Lautrec (1897, published 1925) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Miss Loïe Fuller - Henri de Toulouse-Lautrec
"Miss Loïe Fuller" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Footit and Chocolat - Henri de Toulouse-Lautrec
"Footit and Chocolat" by Henri de Toulouse-Lautrec (1894, printed 1939) Lithograph on cream wove paper.
Read commentary →At the Circus: Work in the Ring - Henri de Toulouse-Lautrec
"At the Circus: Work in the Ring" by Henri de Toulouse-Lautrec (1899) Charcoal, pastel, and black chalk, with stumping, touches of colored pencil, and incising, on off-white wove paper.
Read commentary →Napoleon - Henri de Toulouse-Lautrec
"Napoleon" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Miss May Belfort (large plate) - Henri de Toulouse-Lautrec
"Miss May Belfort (large plate)" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Little Box - Henri de Toulouse-Lautrec
"The Little Box" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →Double harness - Henri de Toulouse-Lautrec
"Double harness" by Henri de Toulouse-Lautrec (1897) Lithograph touched with watercolor on cream wove paper.
Read commentary →Cecy Loftus - Henri de Toulouse-Lautrec
"Cecy Loftus" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →A Spectator, from Le Café-Concert - Henri de Toulouse-Lautrec
"A Spectator, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Bust of Mademoiselle Marcelle Lender - Henri de Toulouse-Lautrec
"Bust of Mademoiselle Marcelle Lender" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Woman Fastening a Corset, Passing Conquest, plate nine from Elles - Henri de Toulouse-Lautrec
"Woman Fastening a Corset, Passing Conquest, plate nine from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman Combing Her Hair—La Coiffure, plate seven from Elles - Henri de Toulouse-Lautrec
"Woman Combing Her Hair—La Coiffure, plate seven from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman at the Mirror—Mirror in Hand, plate six from Elles - Henri de Toulouse-Lautrec
"Woman at the Mirror—Mirror in Hand, plate six from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman with a Tub, plate four from Elles - Henri de Toulouse-Lautrec
"Woman with a Tub, plate four from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman with a Tray—Breakfast (Madame Baron and Mademoiselle Popo), plate two from Elles - Henri de Toulouse-Lautrec
"Woman with a Tray—Breakfast (Madame Baron and Mademoiselle Popo), plate two from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Seated Female Clown (Mademoiselle Cha-U-Kao), plate one from Elles - Henri de Toulouse-Lautrec
"Seated Female Clown (Mademoiselle Cha-U-Kao), plate one from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Woman Washing—The Toilet, plate five from Elles - Henri de Toulouse-Lautrec
"Woman Washing—The Toilet, plate five from Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory wove paper.
Read commentary →Cover for Elles - Henri de Toulouse-Lautrec
"Cover for Elles" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Invitation to a Glass of Milk - Henri de Toulouse-Lautrec
"Invitation to a Glass of Milk" by Henri de Toulouse-Lautrec (1897) Lithograph on cream wove paper.
Read commentary →In the Hanneton - Henri de Toulouse-Lautrec
"In the Hanneton" by Henri de Toulouse-Lautrec (1898) Lithograph in black on ivory wove paper.
Read commentary →Cabaret Singer - Henri de Toulouse-Lautrec
"Cabaret Singer" by Henri de Toulouse-Lautrec (1898) Lithograph on cream wove paper.
Read commentary →The Animal-Tamer before the Tribunal - Henri de Toulouse-Lautrec
"The Animal-Tamer before the Tribunal" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →La fillette nue: Menu - Henri de Toulouse-Lautrec
"La fillette nue: Menu" by Henri de Toulouse-Lautrec (1898) Color lithograph on ivory wove paper.
Read commentary →Leaving the Theater - Henri de Toulouse-Lautrec
"Leaving the Theater" by Henri de Toulouse-Lautrec (1896) Lithograph in black on cream wove paper.
Read commentary →Picnic - Henri de Toulouse-Lautrec
"Picnic" by Henri de Toulouse-Lautrec (1898) Color lithograph on cream wove paper.
Read commentary →At the Maison d'Or - Henri de Toulouse-Lautrec
"At the Maison d'Or" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →Why Not?... Once Does Not Count - Henri de Toulouse-Lautrec
"Why Not?... Once Does Not Count" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →The Head Salesman at Jourdan and Brown - Henri de Toulouse-Lautrec
"The Head Salesman at Jourdan and Brown" by Henri de Toulouse-Lautrec (1897) Color lithograph on ivory wove paper.
Read commentary →At the Moulin Rouge: A Rude! A Real Rude! - Henri de Toulouse-Lautrec
"At the Moulin Rouge: A Rude! A Real Rude!" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →At the Variétés: Mademoiselle Lender and Brasseur - Henri de Toulouse-Lautrec
"At the Variétés: Mademoiselle Lender and Brasseur" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Di ti Fellow, English Singer in a Café-Concert - Henri de Toulouse-Lautrec
"Di ti Fellow, English Singer in a Café-Concert" by Henri de Toulouse-Lautrec (1898) Lithograph on grayish-ivory laid China paper.
Read commentary →Small English Girl (Miss Dolly) - Henri de Toulouse-Lautrec
"Small English Girl (Miss Dolly)" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Le Margoin (Mademoiselle Louise Blouet) - Henri de Toulouse-Lautrec
"Le Margoin (Mademoiselle Louise Blouet)" by Henri de Toulouse-Lautrec (1900) Lithograph on cream wove paper.
Read commentary →Miss Ida Heath, English Dancer - Henri de Toulouse-Lautrec
"Miss Ida Heath, English Dancer" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →In the Picton Bar (American Bar), rue Scribe - Henri de Toulouse-Lautrec
"In the Picton Bar (American Bar), rue Scribe" by Henri de Toulouse-Lautrec (1896) Lithograph on cream wove paper.
Read commentary →Mademoiselle Lender and Baron - Henri de Toulouse-Lautrec
"Mademoiselle Lender and Baron" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Guy and Mealy, in "Paris qui Marche" - Henri de Toulouse-Lautrec
"Guy and Mealy, in "Paris qui Marche"" by Henri de Toulouse-Lautrec (1898) Color lithograph on cream wove paper.
Read commentary →Lugné-Poé, in Image - Henri de Toulouse-Lautrec
"Lugné-Poé, in Image" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →Mademoiselle Lender, in Madam Satan - Henri de Toulouse-Lautrec
"Mademoiselle Lender, in Madam Satan" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Ida Heath at the Bar - Henri de Toulouse-Lautrec
"Ida Heath at the Bar" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory wove paper.
Read commentary →Truffier and Moreno, in Les Femmes Savantes - Henri de Toulouse-Lautrec
"Truffier and Moreno, in Les Femmes Savantes" by Henri de Toulouse-Lautrec (1893, published 1894) Lithograph on cream wove paper.
Read commentary →Miss May Belfort with Long Hair - Henri de Toulouse-Lautrec
"Miss May Belfort with Long Hair" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →At the Folies-Bergère: The Modesty of Monsieur Prudhomme - Henri de Toulouse-Lautrec
"At the Folies-Bergère: The Modesty of Monsieur Prudhomme" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Your Mouth - Henri de Toulouse-Lautrec
"Your Mouth" by Henri de Toulouse-Lautrec (1893) Color lithograph on tan wove paper.
Read commentary →Judic - Henri de Toulouse-Lautrec
"Judic" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →Bartet and Mounet-Sully, in Antigone - Henri de Toulouse-Lautrec
"Bartet and Mounet-Sully, in Antigone" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Réjane and Galipaux, in Madame Sans-Gêne - Henri de Toulouse-Lautrec
"Réjane and Galipaux, in Madame Sans-Gêne" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →The Stalk—Moulin Rouge - Henri de Toulouse-Lautrec
"The Stalk—Moulin Rouge" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →At the Moulin Rouge: the Franco-Russian Alliance - Henri de Toulouse-Lautrec
"At the Moulin Rouge: the Franco-Russian Alliance" by Henri de Toulouse-Lautrec (1893, published 1894) Lithograph on cream wove paper.
Read commentary →Madame Simon-Girard, Brasseur and Guy in La belle Hélène - Henri de Toulouse-Lautrec
"Madame Simon-Girard, Brasseur and Guy in La belle Hélène" by Henri de Toulouse-Lautrec (1900) Lithograph on cream wove paper.
Read commentary →The Arton Trial (third plate) - Henri de Toulouse-Lautrec
"The Arton Trial (third plate)" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper, laid down on cream wove Japan tissue.
Read commentary →Lender and Lavallière, in Le Fils de L'Arétin - Henri de Toulouse-Lautrec
"Lender and Lavallière, in Le Fils de L'Arétin" by Henri de Toulouse-Lautrec (1895) Lithograph on tan wove paper, laid down on white laid Japanese paper.
Read commentary →Miss May Belfort (large plate) - Henri de Toulouse-Lautrec
"Miss May Belfort (large plate)" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Cover and Frontispiece to Les Vieilles Histoires - Henri de Toulouse-Lautrec
"Cover and Frontispiece to Les Vieilles Histoires" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →The Arton Trial (first plate) - Henri de Toulouse-Lautrec
"The Arton Trial (first plate)" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper, laid down on cream Japan tissue.
Read commentary →Confetti - Henri de Toulouse-Lautrec
"Confetti" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →The Arton Trial, Ribot Giving Evidence (second plate) - Henri de Toulouse-Lautrec
"The Arton Trial, Ribot Giving Evidence (second plate)" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper.
Read commentary →The Lebaudy Trial, Mademoiselle Marsy Giving Evidence - Henri de Toulouse-Lautrec
"The Lebaudy Trial, Mademoiselle Marsy Giving Evidence" by Henri de Toulouse-Lautrec (1896) Lithograph on tan wove paper, laid down on cream wove Japanese paper.
Read commentary →In Their Forties - Henri de Toulouse-Lautrec
"In Their Forties" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →The Passenger in Cabin 54—A Cruise - Henri de Toulouse-Lautrec
"The Passenger in Cabin 54—A Cruise" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Yahne in Her Box, in L'Age Difficile - Henri de Toulouse-Lautrec
"Yahne in Her Box, in L'Age Difficile" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Miss May Belfort (large plate) - Henri de Toulouse-Lautrec
"Miss May Belfort (large plate)" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Mademoiselle Marcelle Lender, Standing - Henri de Toulouse-Lautrec
"Mademoiselle Marcelle Lender, Standing" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Anna Held and Baldy - Henri de Toulouse-Lautrec
"Anna Held and Baldy" by Henri de Toulouse-Lautrec (1896) Lithograph on ivory wove paper.
Read commentary →The Motorist - Henri de Toulouse-Lautrec
"The Motorist" by Henri de Toulouse-Lautrec (1896) Lithograph on cream wove paper.
Read commentary →At Sea by Night, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"At Sea by Night, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Lender Dancing the Bolero in Chilpéric - Henri de Toulouse-Lautrec
"Lender Dancing the Bolero in Chilpéric" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Box, Faust - Henri de Toulouse-Lautrec
"The Box, Faust" by Henri de Toulouse-Lautrec (1896) Lithograph in violet black on cream wove paper.
Read commentary →The Milliner, Renée Vert - Henri de Toulouse-Lautrec
"The Milliner, Renée Vert" by Henri de Toulouse-Lautrec (1893) Color lithograph on tan wove paper.
Read commentary →Lender Seated - Henri de Toulouse-Lautrec
"Lender Seated" by Henri de Toulouse-Lautrec (1895) Lithograph on ivory wove paper.
Read commentary →Lender and Auguez in La Chanson de Fortunio - Henri de Toulouse-Lautrec
"Lender and Auguez in La Chanson de Fortunio" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Lender Taking a Bow - Henri de Toulouse-Lautrec
"Lender Taking a Bow" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Yahne and Mayer, in L'Age Difficile - Henri de Toulouse-Lautrec
"Yahne and Mayer, in L'Age Difficile" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Luce Myrès, in Profile - Henri de Toulouse-Lautrec
"Luce Myrès, in Profile" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Lender and Lavallière in a Revue at the Variétés - Henri de Toulouse-Lautrec
"Lender and Lavallière in a Revue at the Variétés" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Le crocodile, Menu - Henri de Toulouse-Lautrec
"Le crocodile, Menu" by Henri de Toulouse-Lautrec (1896) Lithograph on cream wove paper.
Read commentary →Brandès and Leloir, in Les Cabotins - Henri de Toulouse-Lautrec
"Brandès and Leloir, in Les Cabotins" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →Miss May Belfort at the Bar Achille - Henri de Toulouse-Lautrec
"Miss May Belfort at the Bar Achille" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Brandès and le Bargy, in Les Cabotins - Henri de Toulouse-Lautrec
"Brandès and le Bargy, in Les Cabotins" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →Luce Myrès, Front View - Henri de Toulouse-Lautrec
"Luce Myrès, Front View" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Rear View of Lender Dancing the Bolero in Chilpéric - Henri de Toulouse-Lautrec
"Rear View of Lender Dancing the Bolero in Chilpéric" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Lender in Chilpéric, Full Face - Henri de Toulouse-Lautrec
"Lender in Chilpéric, Full Face" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Dog and the Parrot - Henri de Toulouse-Lautrec
"The Dog and the Parrot" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Brasseur's Entrance in Chilpéric - Henri de Toulouse-Lautrec
"Brasseur's Entrance in Chilpéric" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Au Bois - Henri de Toulouse-Lautrec
"Au Bois" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →A Gala Evening at the Moulin Rouge - Henri de Toulouse-Lautrec
"A Gala Evening at the Moulin Rouge" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Program for "The Little Clay Cart" - Henri de Toulouse-Lautrec
"Program for "The Little Clay Cart"" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Trainer - Henri de Toulouse-Lautrec
"The Trainer" by Henri de Toulouse-Lautrec (1899) Color lithograph on cream wove paper.
Read commentary →Antoine and Gémier, in Une Faillite - Henri de Toulouse-Lautrec
"Antoine and Gémier, in Une Faillite" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →The Passenger in Cabin 54—Cruise - Henri de Toulouse-Lautrec
"The Passenger in Cabin 54—Cruise" by Henri de Toulouse-Lautrec (1896) Color lithograph on tan wove paper.
Read commentary →The Chatelaine, or 'Le Tocsin' - Henri de Toulouse-Lautrec
"The Chatelaine, or 'Le Tocsin'" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →Anna Held, in Toutes ces Dames au Théâtre - Henri de Toulouse-Lautrec
"Anna Held, in Toutes ces Dames au Théâtre" by Henri de Toulouse-Lautrec (1894, published 1895) Lithograph on cream wove paper.
Read commentary →Eccentric Dance - Henri de Toulouse-Lautrec
"Eccentric Dance" by Henri de Toulouse-Lautrec (1894) Lithograph on ivory wove paper.
Read commentary →Polaire - Henri de Toulouse-Lautrec
"Polaire" by Henri de Toulouse-Lautrec (1898, published 1930) Lithograph on cream wove paper.
Read commentary →Mary Hamilton - Henri de Toulouse-Lautrec
"Mary Hamilton" by Henri de Toulouse-Lautrec (1894, published before 1925) Lithograph on cream wove paper.
Read commentary →Yvette Guilbert, from Le Café-Concert - Henri de Toulouse-Lautrec
"Yvette Guilbert, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Jane Avril, from Le Café-Concert - Henri de Toulouse-Lautrec
"Jane Avril, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Paula Brébion, from Le Café-Concert - Henri de Toulouse-Lautrec
"Paula Brébion, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →Emilienne d'Alençon, from Treize Lithographies - Henri de Toulouse-Lautrec
"Emilienne d'Alençon, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →Study - Henri de Toulouse-Lautrec
"Study" by Henri de Toulouse-Lautrec (1895) Brush and black ink, with black Conté crayon, heightened with touches of white gouache, on tan tracing paper, laid down on ivory wove paper.
Read commentary →Cover of L'Estampe originale, with notes - Henri de Toulouse-Lautrec
"Cover of L'Estampe originale, with notes" by Henri de Toulouse-Lautrec (1893) Lithograph in black on grayish-ivory wove China paper.
Read commentary →Cover for L'Estampe originale - Henri de Toulouse-Lautrec
"Cover for L'Estampe originale" by Henri de Toulouse-Lautrec (1895) Color lithograph on ivory wove paper.
Read commentary →Cover for the first album of L'Estampe originale - Henri de Toulouse-Lautrec
"Cover for the first album of L'Estampe originale" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →La revue blanche - Henri de Toulouse-Lautrec
"La revue blanche" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →L'Artisan Moderne - Henri de Toulouse-Lautrec
"L'Artisan Moderne" by Henri de Toulouse-Lautrec (1896) Lithograph poster on tan wove paper, laid down on fabric.
Read commentary →Aristide Bruant - Henri de Toulouse-Lautrec
"Aristide Bruant" by Henri de Toulouse-Lautrec (1893) Color lithograph poster on tan wove paper, laid down on white wove Japan tissue.
Read commentary →La vache enragée - Henri de Toulouse-Lautrec
"La vache enragée" by Henri de Toulouse-Lautrec (1896) Lithograph poster on tan wove paper, laid down on fabric.
Read commentary →The Pledge - Henri de Toulouse-Lautrec
"The Pledge" by Henri de Toulouse-Lautrec (1897) Lithograph on cream wove paper.
Read commentary →Cover for L'exemple de Ninon de Lenclos amoureuse - Henri de Toulouse-Lautrec
"Cover for L'exemple de Ninon de Lenclos amoureuse" by Henri de Toulouse-Lautrec (1898) Color lithograph on cream wove paper.
Read commentary →Program for La Lépreuse - Henri de Toulouse-Lautrec
"Program for La Lépreuse" by Henri de Toulouse-Lautrec (1896) Color lithograph on tan wove paper.
Read commentary →Mademoiselle Pois Vert - Henri de Toulouse-Lautrec
"Mademoiselle Pois Vert" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Eros vanné - Henri de Toulouse-Lautrec
"Eros vanné" by Henri de Toulouse-Lautrec (1894, published before 1910) Lithograph in black on ivory wove paper.
Read commentary →Carnival - Henri de Toulouse-Lautrec
"Carnival" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →The Photographer Sescau - Henri de Toulouse-Lautrec
"The Photographer Sescau" by Henri de Toulouse-Lautrec (1896) Color lithograph on ivory laid paper, laid down on linen.
Read commentary →The Fainting Fit - Henri de Toulouse-Lautrec
"The Fainting Fit" by Henri de Toulouse-Lautrec (1894) Lithograph on cream wove paper.
Read commentary →The Horse Fancier - Henri de Toulouse-Lautrec
"The Horse Fancier" by Henri de Toulouse-Lautrec (1898) Lithograph on cream wove paper.
Read commentary →At the Ice Palace - Henri de Toulouse-Lautrec
"At the Ice Palace" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Blanche and Noire - Henri de Toulouse-Lautrec
"Blanche and Noire" by Henri de Toulouse-Lautrec (1896) Lithograph on cream laid Japanese paper.
Read commentary →Mademoiselle Marcelle Lender, Standing - Henri de Toulouse-Lautrec
"Mademoiselle Marcelle Lender, Standing" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Snobbery - Henri de Toulouse-Lautrec
"Snobbery" by Henri de Toulouse-Lautrec (published April 24, 1897) Color lithographic reproduction of a photorelief print on grayish wove chine.
Read commentary →Miss Polaire - Henri de Toulouse-Lautrec
"Miss Polaire" by Henri de Toulouse-Lautrec (published February 23, 1895) Color lithographic reproduction of a photorelief print on grayish wove chine.
Read commentary →So You Are Experienced? - Henri de Toulouse-Lautrec
"So You Are Experienced?" by Henri de Toulouse-Lautrec (published January 9, 1897) Color lithographic reproduction of a photorelief print on grayish wove chine.
Read commentary →Great Opera Concerts: Ambroise Thomas Attending a Rehearsal of Françoise de Rimini - Henri de Toulouse-Lautrec
"Great Opera Concerts: Ambroise Thomas Attending a Rehearsal of Françoise de Rimini" by Henri de Toulouse-Lautrec (published February 8, 1896) Color lithographic reproduction of a photorelief print on grayish wove chine.
Read commentary →Chocolat Dancing - Henri de Toulouse-Lautrec
"Chocolat Dancing" by Henri de Toulouse-Lautrec (published March 28, 1896) Color lithographic reproduction of a photorelief print on grayish wove chine.
Read commentary →Zimmerman and His Machine - Henri de Toulouse-Lautrec
"Zimmerman and His Machine" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →Debauchery (second plate) - Henri de Toulouse-Lautrec
"Debauchery (second plate)" by Henri de Toulouse-Lautrec (1896) Color lithograph on cream wove paper.
Read commentary →Philibert the Pony - Henri de Toulouse-Lautrec
"Philibert the Pony" by Henri de Toulouse-Lautrec (1898) Lithograph on ivory wove paper.
Read commentary →Miss Loïe Fuller - Henri de Toulouse-Lautrec
"Miss Loïe Fuller" by Henri de Toulouse-Lautrec (1893) Color lithograph on cream wove paper.
Read commentary →Mary Hamilton, from Le Café-Concert - Henri de Toulouse-Lautrec
"Mary Hamilton, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →Elsa, called The Viennese - Henri de Toulouse-Lautrec
"Elsa, called The Viennese" by Henri de Toulouse-Lautrec (1897) Color lithograph on grayish-ivory laid China paper.
Read commentary →The Smoked Herring, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"The Smoked Herring, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Jane Hading, from Treize Lithographies - Henri de Toulouse-Lautrec
"Jane Hading, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →May Belfort, from Treize Lithographies - Henri de Toulouse-Lautrec
"May Belfort, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on ivory laid paper.
Read commentary →May Belfort, from Treize Lithographies - Henri de Toulouse-Lautrec
"May Belfort, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Polin, from Treize Lithographies - Henri de Toulouse-Lautrec
"Polin, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898) Lithograph on cream wove paper.
Read commentary →Marie-Louise Marsy, from Treize Lithographies - Henri de Toulouse-Lautrec
"Marie-Louise Marsy, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Louise Balthy, from Treize Lithographies - Henri de Toulouse-Lautrec
"Louise Balthy, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Anna Held, from Treize Lithographies - Henri de Toulouse-Lautrec
"Anna Held, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Lucien Guitry, from Treize Lithographies - Henri de Toulouse-Lautrec
"Lucien Guitry, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Jeanne Granier, from Treize Lithographies - Henri de Toulouse-Lautrec
"Jeanne Granier, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Coquelin the Elder, from Treize Lithographies - Henri de Toulouse-Lautrec
"Coquelin the Elder, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Cléo de Mérode, from Treize Lithographies - Henri de Toulouse-Lautrec
"Cléo de Mérode, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Sybil Sanderson, from Treize Lithographies - Henri de Toulouse-Lautrec
"Sybil Sanderson, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →Sarah Bernhardt, from Treize Lithographies - Henri de Toulouse-Lautrec
"Sarah Bernhardt, from Treize Lithographies" by Henri de Toulouse-Lautrec (1898, published before 1906) Lithograph on cream wove paper.
Read commentary →At the Star, Le Havre - Henri de Toulouse-Lautrec
"At the Star, Le Havre" by Henri de Toulouse-Lautrec (1899) Lithograph on cream wove paper.
Read commentary →Lullaby, from Mélodies de Désiré Dihau - Henri de Toulouse-Lautrec
"Lullaby, from Mélodies de Désiré Dihau" by Henri de Toulouse-Lautrec (1895) Lithograph on cream wove paper.
Read commentary →Adolphe ou Le Jeune Homme Triste - Henri de Toulouse-Lautrec
"Adolphe ou Le Jeune Homme Triste" by Henri de Toulouse-Lautrec (1894, published before 1910) Lithograph on cream wove paper.
Read commentary →Brandès in her Box - Henri de Toulouse-Lautrec
"Brandès in her Box" by Henri de Toulouse-Lautrec (1894) Color lithograph on ivory wove paper.
Read commentary →The Englishman at the Moulin Rouge - Henri de Toulouse-Lautrec
"The Englishman at the Moulin Rouge" by Henri de Toulouse-Lautrec (1892) Color lithograph on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory laid paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Color lithograph, with letterpress, on ivory wove paper.
Read commentary →Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph with letterpress, on ivory laid paper.
Read commentary →Cover for Yvette Guilbert - Henri de Toulouse-Lautrec
"Cover for Yvette Guilbert" by Henri de Toulouse-Lautrec (1894) Lithograph on gray-brown wove paper laid down on board.
Read commentary →Irish and American Bar, Rue Royale—The Chap Book - Henri de Toulouse-Lautrec
"Irish and American Bar, Rue Royale—The Chap Book" by Henri de Toulouse-Lautrec (1895) Color lithograph on tan wove paper.
Read commentary →Le Tocsin - Henri de Toulouse-Lautrec
"Le Tocsin" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →The Jockey - Henri de Toulouse-Lautrec
"The Jockey" by Henri de Toulouse-Lautrec (1899) Color lithograph on ivory laid paper.
Read commentary →The Jockey - Henri de Toulouse-Lautrec
"The Jockey" by Henri de Toulouse-Lautrec (1899) Lithograph on grayish-ivory laid China paper.
Read commentary →Homage to Molière - Henri de Toulouse-Lautrec
"Homage to Molière" by Henri de Toulouse-Lautrec (1897) Color lithograph on cream wove paper.
Read commentary →American Singer, from Le Café-Concert - Henri de Toulouse-Lautrec
"American Singer, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Ducarre at the Ambassadeurs, from Le Café-Concert - Henri de Toulouse-Lautrec
"Ducarre at the Ambassadeurs, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Madame Abdala, from Le Café-Concert - Henri de Toulouse-Lautrec
"Madame Abdala, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →The Little Errand Girl - Henri de Toulouse-Lautrec
"The Little Errand Girl" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Carnot is Sick! - Henri de Toulouse-Lautrec
"Carnot is Sick!" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Wisdom - Henri de Toulouse-Lautrec
"Wisdom" by Henri de Toulouse-Lautrec (1893) Color lithograph on ivory wove paper.
Read commentary →White Night - Henri de Toulouse-Lautrec
"White Night" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →Program for L'Argent - Henri de Toulouse-Lautrec
"Program for L'Argent" by Henri de Toulouse-Lautrec (1895) Color lithograph on cream wove paper.
Read commentary →Caudieux at the Petit Casino, from Le Café-Concert - Henri de Toulouse-Lautrec
"Caudieux at the Petit Casino, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Emma Calvé - Henri de Toulouse-Lautrec
"Emma Calvé" by Henri de Toulouse-Lautrec (1898) Color lithograph on tan wove paper.
Read commentary →The Old Gentlemen - Henri de Toulouse-Lautrec
"The Old Gentlemen" by Henri de Toulouse-Lautrec (1894, published before 1910) Color lithograph on ivory wove paper.
Read commentary →Frontispiece, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Frontispiece, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon transfer, see Wittrock) in purple or violet on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Taking a Bow, plate eight from Yvette Guilbert - Henri de Toulouse-Lautrec
"Taking a Bow, plate eight from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon with scraper) in olive-green on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Linger, longer, loo, plate seven from Yvette Guilbert - Henri de Toulouse-Lautrec
"Linger, longer, loo, plate seven from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon) in violet or purple on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Soûlarde, plate six from Yvette Guilbert - Henri de Toulouse-Lautrec
"Soûlarde, plate six from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon) in olive-green on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →An Old Song, plate five from Yvette Guilbert - Henri de Toulouse-Lautrec
"An Old Song, plate five from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon with scraper) in olive-green on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →À Menilmontant by Bruant, plate four from Yvette Guilbert - Henri de Toulouse-Lautrec
"À Menilmontant by Bruant, plate four from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon with scraper) in sanguine (red-brown) on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Pessima, plate three from Yvette Guilbert - Henri de Toulouse-Lautrec
"Pessima, plate three from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon) in purple or violet on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Dans la glu, plate two from Yvette Guilbert - Henri de Toulouse-Lautrec
"Dans la glu, plate two from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon) in sanguine (red-brown) on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →On the Stage, plate one from Yvette Guilbert - Henri de Toulouse-Lautrec
"On the Stage, plate one from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898, printed 1930) Lithograph (crayon with scraper) in sanguine (red-brown) on cream wove paper hinged at top corners to gray-brown wove paper.
Read commentary →Bartet and Mounet-Sully, in Antigone - Henri de Toulouse-Lautrec
"Bartet and Mounet-Sully, in Antigone" by Henri de Toulouse-Lautrec (1893) Lithograph on cream wove paper.
Read commentary →The Jockey Going to the Post - Henri de Toulouse-Lautrec
"The Jockey Going to the Post" by Henri de Toulouse-Lautrec (1899) Color lithograph on ivory laid paper.
Read commentary →Princely Idyll - Henri de Toulouse-Lautrec
"Princely Idyll" by Henri de Toulouse-Lautrec (1897) Color lithograph on cream wove paper.
Read commentary →Edmée Lescot, from Le Café-Concert - Henri de Toulouse-Lautrec
"Edmée Lescot, from Le Café-Concert" by Henri de Toulouse-Lautrec (1893) Lithograph on ivory wove paper.
Read commentary →Yvette Guilbert Taking a Bow, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert Taking a Bow, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—'Linger, Longer, Loo', from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—'Linger, Longer, Loo', from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—Soûlarde, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—Soûlarde, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—Chanson Ancienne, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—Chanson Ancienne, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—A Menilmontant de Bruant, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—A Menilmontant de Bruant, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—Pessima, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—Pessima, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert—Dans la Glu, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert—Dans la Glu, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Yvette Guilbert on the Stage, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert on the Stage, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph with beige tint stone, on ivory laid paper.
Read commentary →Frontispiece for Yvette Guilbert - Henri de Toulouse-Lautrec
"Frontispiece for Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph on ivory laid paper.
Read commentary →Yvette Guilbert on Stage, from Yvette Guilbert - Henri de Toulouse-Lautrec
"Yvette Guilbert on Stage, from Yvette Guilbert" by Henri de Toulouse-Lautrec (1898) Lithograph on light blue wove paper.
Read commentary →The Terror of Grenelle - Henri de Toulouse-Lautrec
"The Terror of Grenelle" by Henri de Toulouse-Lautrec (1894) Color lithograph on cream wove paper.
Read commentary →Yacht Dock - John Henry Twachtman
"Yacht Dock" by John Henry Twachtman (c. 1889, printed 1921) Etching in black on cream wove paper.
Read commentary →Coal Dock, Bridgeport - John Henry Twachtman
"Coal Dock, Bridgeport" by John Henry Twachtman (1888-89) Etching in black on cream wove paper.
Read commentary →The Old Toll House at Bridgeport (Large Plate) - John Henry Twachtman
"The Old Toll House at Bridgeport (Large Plate)" by John Henry Twachtman (1888) Etching in black and pen and black ink and graphite on ivory laid paper.
Read commentary →Mill in Holland - John Henry Twachtman
"Mill in Holland" by John Henry Twachtman (1884/89) Etching in black on ivory wove paper.
Read commentary →French Landscape - John Henry Twachtman
"French Landscape" by John Henry Twachtman (1884/89) Etching in black on cream wove paper.
Read commentary →Holland Dykes - John Henry Twachtman
"Holland Dykes" by John Henry Twachtman (1885/88) Etching and drypoint in black on cream Japanese paper.
Read commentary →Four Boats - John Henry Twachtman
"Four Boats" by John Henry Twachtman (1881/85) Etching and drypoint in black on cream wove paper.
Read commentary →Windmills - John Henry Twachtman
"Windmills" by John Henry Twachtman (1881, printed 1921) Etching in black on cream wove paper.
Read commentary →Snow Landscape - John Henry Twachtman
"Snow Landscape" by John Henry Twachtman (1879–83) Etching and drypoint in black cream wove paper.
Read commentary →Mill Creek, Cincinnati - John Henry Twachtman
"Mill Creek, Cincinnati" by John Henry Twachtman (1879-80) Etching in black on cream wove paper.
Read commentary →Autumn Landscape - John Henry Twachtman
"Autumn Landscape" by John Henry Twachtman (1879–80, printed 1921) Etching in black on cream wove paper.
Read commentary →Harbor with Barges - John Henry Twachtman
"Harbor with Barges" by John Henry Twachtman (1879-70) Etching in brown on tan wove paper.
Read commentary →Shanties and Factories - John Henry Twachtman
"Shanties and Factories" by John Henry Twachtman (1879–80, printed 1921) Drypoint in black on cream wove paper.
Read commentary →Evening - John Henry Twachtman
"Evening" by John Henry Twachtman (1881) Etching on China paper.
Read commentary →Dock at Newport - John Henry Twachtman
"Dock at Newport" by John Henry Twachtman (1893) Etching on ivory laid paper.
Read commentary →The Remains of the Mausoleum of Augustus, plate XXI from The Campus Martius of Ancient Rome - Giovanni Battista Piranesi
"The Remains of the Mausoleum of Augustus, plate XXI from The Campus Martius of Ancient Rome" by Giovanni Battista Piranesi (first published 1762) Etching in black ink on cream laid paper.
Read commentary →Temple of Sol and Luna…, from Views of Rome (Tempi del Sole e della Luna, o come altri, d'Iside e Serapi, from Vedute di Roma) - Giovanni Battista Piranesi
"Temple of Sol and Luna…, from Views of Rome (Tempi del Sole e della Luna, o come altri, d'Iside e Serapi, from Vedute di Roma)" by Giovanni Battista Piranesi (1760-78) Etching in black on ivory laid paper.
Read commentary →The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London - Giovanni Battista Piranesi
"The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London" by Giovanni Battista Piranesi (1762) Book with forty-nine etchings in black on ivory wove paper.
Read commentary →Arch of Galienus. I. Facade of the Church of S. Vito, plate 29 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Arch of Galienus. I. Facade of the Church of S. Vito, plate 29 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Tomb of Caecilia Metella, from Views of Rome - Giovanni Battista Piranesi
"Tomb of Caecilia Metella, from Views of Rome" by Giovanni Battista Piranesi (1762, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the ancient structure built by Tarquinius Superbus called the Bel Lido, and like others, built by Marcus Agrippa in the time of Augustus when he cleaned all of the sewers leading to the Tiber, from Views of Rome - Giovanni Battista Piranesi
"View of the ancient structure built by Tarquinius Superbus called the Bel Lido, and like others, built by Marcus Agrippa in the time of Augustus when he cleaned all of the sewers leading to the Tiber, from Views of Rome" by Giovanni Battista Piranesi (1776, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Arch of Constantine, from Views of Rome - Giovanni Battista Piranesi
"View of the Arch of Constantine, from Views of Rome" by Giovanni Battista Piranesi (1771, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Colosseum, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Colosseum, from Views of Rome" by Giovanni Battista Piranesi (1766, published 1807–35) Etching on heavy ivory laid paper.
Read commentary →Arch of Trajan in Ancona, plate 28 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Arch of Trajan in Ancona, plate 28 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Tomb of the three Curiatii brothers in Albano, plate 27 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Tomb of the three Curiatii brothers in Albano, plate 27 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Temple of Clitumnus between Foligno and Spoleto, plate 26 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Temple of Clitumnus between Foligno and Spoleto, plate 26 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Ampitheater of Verona, plate 25 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Ampitheater of Verona, plate 25 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Arch of Pola in Istria near the Gate, plate 24 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Arch of Pola in Istria near the Gate, plate 24 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Ampitheater of Pola in Istria near the sea, plate 23 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Ampitheater of Pola in Istria near the sea, plate 23 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Rear View of the Temple of Pola in Istria. 1. Rear view of another temple, plate 22 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Rear View of the Temple of Pola in Istria. 1. Rear view of another temple, plate 22 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Temple of Pola in Istria, plate 21 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Temple of Pola in Istria, plate 21 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Tomb of Caecilia Metella called Capo di Bove [Ox Head], plate twenty from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Tomb of Caecilia Metella called Capo di Bove [Ox Head], plate twenty from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Part of the ancient Appian Way about three miles outside Porta S. Sebastiano, plate 19 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Part of the ancient Appian Way about three miles outside Porta S. Sebastiano, plate 19 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Tomb of the Scipios, plate 18 from Some Views of Triumphal Arches and other arches - Giovanni Battista Piranesi
"Tomb of the Scipios, plate 18 from Some Views of Triumphal Arches and other arches" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →The Arch at Rimini built by Augustus, plate 17 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"The Arch at Rimini built by Augustus, plate 17 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →The Bridge at Rimini built by the Emperors Augustus and Tiberius, plate 16 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"The Bridge at Rimini built by the Emperors Augustus and Tiberius, plate 16 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Title Page: Roman Antiquities outside Rome drawn and etched by Giambat'ta Piranesi, Venetian Architect. Part Two, from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Title Page: Roman Antiquities outside Rome drawn and etched by Giambat'ta Piranesi, Venetian Architect. Part Two, from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Forum of Augustus, plate 15 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Forum of Augustus, plate 15 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Senatorial Bridge, Today called the Ponte Rotto [Broken Bridge]. 1. Temple of Vesta. 2. Temple of Fortuna Virilis. 3. Part of the ancient Palatine, plate 14 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Senatorial Bridge, Today called the Ponte Rotto [Broken Bridge]. 1. Temple of Vesta. 2. Temple of Fortuna Virilis. 3. Part of the ancient Palatine, plate 14 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Arch of Septimius Severus. 1. Temple of Concord. 2. Ascent to the Capitoline Hill, plate 13 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Arch of Septimius Severus. 1. Temple of Concord. 2. Ascent to the Capitoline Hill, plate 13 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Flavian ampitheater, called the Colosseum. 1. Arch of Constantine. 2. Palatine Hill, plate 12 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Flavian ampitheater, called the Colosseum. 1. Arch of Constantine. 2. Palatine Hill, plate 12 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Temple of Janus, plate 11 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Temple of Janus, plate 11 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Ruins of the Temple of Jupiter Stator [Jupiter the Supporter]. 1. Temple of Antoninus and Faustina. 2. Temple of Peace, plate 10 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Ruins of the Temple of Jupiter Stator [Jupiter the Supporter]. 1. Temple of Antoninus and Faustina. 2. Temple of Peace, plate 10 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Arch of Constantine in Rome, plate 9 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Arch of Constantine in Rome, plate 9 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Arch of Drusus at the Porta S. Sebastiano in Rome, plate 8 from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Arch of Drusus at the Porta S. Sebastiano in Rome, plate 8 from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Temple of Jupiter Tonans [Jupiter the Thunderer]. 1. Temple of Concord, plate 7 from Some Views of Triumphal Arches and other Monuments - Giovanni Battista Piranesi
"Temple of Jupiter Tonans [Jupiter the Thunderer]. 1. Temple of Concord, plate 7 from Some Views of Triumphal Arches and other Monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Part of the Forum of Nerva, plate five from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Part of the Forum of Nerva, plate five from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (published 1748) Etching in black on ivory laid paper.
Read commentary →Transription of Ancient Latin Inscriptions and Index, from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Transription of Ancient Latin Inscriptions and Index, from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Transcription of various ancient Latin inscriptions, from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Transcription of various ancient Latin inscriptions, from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Dedication to Giovanni Bottari, from Some Views of Triumphal Arches and other monuments - Giovanni Battista Piranesi
"Dedication to Giovanni Bottari, from Some Views of Triumphal Arches and other monuments" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →Sheet of Sketches: Standing Man with Raised Arm, Cherubim - Giovanni Battista Piranesi
"Sheet of Sketches: Standing Man with Raised Arm, Cherubim" by Giovanni Battista Piranesi (1768/78) Pen and black ink, and charcoal, with traces of black chalk, on ivory laid paper.
Read commentary →Sheet of Sketches: Six Figures - Giovanni Battista Piranesi
"Sheet of Sketches: Six Figures" by Giovanni Battista Piranesi (1768/78) Pen and black and gray ink on ivory laid paper.
Read commentary →Three Column Capitals - Giovanni Battista Piranesi
"Three Column Capitals" by Giovanni Battista Piranesi (n.d.) Pen and brown ink with brush and brown wash, over traces of black chalk, on ivory laid paper.
Read commentary →Title Page from Imaginary Prisons - Giovanni Battista Piranesi
"Title Page from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →Frontispiece, from Roman Antiquities, Part I - Giovanni Battista Piranesi
"Frontispiece, from Roman Antiquities, Part I" by Giovanni Battista Piranesi (1748) Etching on ivory laid paper.
Read commentary →The Grand Piazza, plate 4 from Imaginary Prisons - Giovanni Battista Piranesi
"The Grand Piazza, plate 4 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Round Tower, plate 3 from Imaginary Prisons - Giovanni Battista Piranesi
"The Round Tower, plate 3 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Man on the Rack, plate 2 from Imaginary Prisons - Giovanni Battista Piranesi
"The Man on the Rack, plate 2 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →View of the Octagonal Temple of Minerva Medica, from Views of Rome - Giovanni Battista Piranesi
"View of the Octagonal Temple of Minerva Medica, from Views of Rome" by Giovanni Battista Piranesi (1764, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →The Well, plate 13 from Imaginary Prisons - Giovanni Battista Piranesi
"The Well, plate 13 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Round Tower, plate 3 from the second edition of Carceri d'invenzione (Imaginary Prisons) - Giovanni Battista Piranesi
"The Round Tower, plate 3 from the second edition of Carceri d'invenzione (Imaginary Prisons)" by Giovanni Battista Piranesi (1750, reworked 1761) Etching, engraving, sulphur tint, and burnishing in black on ivory laid paper.
Read commentary →View of the Temple of the Camenae, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of the Camenae, from Views of Rome" by Giovanni Battista Piranesi (1773) Etching on heavy ivory laid paper.
Read commentary →View of the Arch of Titus, from Vedute di Roma (Views of Rome) - Giovanni Battista Piranesi
"View of the Arch of Titus, from Vedute di Roma (Views of Rome)" by Giovanni Battista Piranesi (1750/59) Etching in black on ivory laid paper.
Read commentary →Another view of the Temple of the Sibyl in Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Another view of the Temple of the Sibyl in Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1761, published 1800–07) Etching on heavy laid paper.
Read commentary →Another view of the Temple of the Sibyl at Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Another view of the Temple of the Sibyl at Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1761, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Campo Vaccino, from Views of Rome - Giovanni Battista Piranesi
"View of the Campo Vaccino, from Views of Rome" by Giovanni Battista Piranesi (1772) Etching on heavy ivory laid paper.
Read commentary →View of the Port of Ripa Grande, from Views of Rome - Giovanni Battista Piranesi
"View of the Port of Ripa Grande, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Remains of the Villa of Maecenas at Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Remains of the Villa of Maecenas at Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1763, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Basilica of St. Peter's in the Vatican, near the Tribune, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Basilica of St. Peter's in the Vatican, near the Tribune, from Views of Rome" by Giovanni Battista Piranesi (1773) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Basilica of St. John Lateran, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Basilica of St. John Lateran, from Views of Rome" by Giovanni Battista Piranesi (1768) Etching on heavy ivory laid paper.
Read commentary →View of the Remains of the Tomb of the Plautii on the Via Tiburtina, near the Ponte Lugano, two miles distant from Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Remains of the Tomb of the Plautii on the Via Tiburtina, near the Ponte Lugano, two miles distant from Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1760/69, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Ancient temple commonly called the Temple of Health on the Via d'Albano five miles outside Rome, from Views of Rome - Giovanni Battista Piranesi
"Ancient temple commonly called the Temple of Health on the Via d'Albano five miles outside Rome, from Views of Rome" by Giovanni Battista Piranesi (1763) Etching on heavy ivory laid paper.
Read commentary →View of the Arch of Septimius Severus, from Views of Rome - Giovanni Battista Piranesi
"View of the Arch of Septimius Severus, from Views of Rome" by Giovanni Battista Piranesi (1772, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Basilica of S. Maria Maggiore, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Basilica of S. Maria Maggiore, from Views of Rome" by Giovanni Battista Piranesi (1768, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Flavian Amphitheater, called the Colosseum, from Views of Rome - Giovanni Battista Piranesi
"View of the Flavian Amphitheater, called the Colosseum, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Pantheon, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Pantheon, from Views of Rome" by Giovanni Battista Piranesi (1768, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Remains of the Forum of Nerva, from Views of Rome - Giovanni Battista Piranesi
"View of the Remains of the Forum of Nerva, from Views of Rome" by Giovanni Battista Piranesi (1757) Etching on heavy ivory laid paper.
Read commentary →View of the Remains of the Forum of Nerva, from Views of Rome - Giovanni Battista Piranesi
"View of the Remains of the Forum of Nerva, from Views of Rome" by Giovanni Battista Piranesi (1770) Etching on heavy ivory laid paper.
Read commentary →Interior view of the ancient Temple of Bacchus, now the church of S. Urbano, two miles from Rome, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the ancient Temple of Bacchus, now the church of S. Urbano, two miles from Rome, from Views of Rome" by Giovanni Battista Piranesi (1767, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of Bacchus, now the church of S. Urbano, two miles distant from Rome, beyond the Porta S. Sebastiano, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Bacchus, now the church of S. Urbano, two miles distant from Rome, beyond the Porta S. Sebastiano, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Ponte Salario, from Views of Rome - Giovanni Battista Piranesi
"View of the Ponte Salario, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Ponte Molle [or Milvian Bridge] over the Tiber two miles outside Rome, from Views of Rome - Giovanni Battista Piranesi
"View of the Ponte Molle [or Milvian Bridge] over the Tiber two miles outside Rome, from Views of Rome" by Giovanni Battista Piranesi (1762) Etching on heavy ivory laid paper.
Read commentary →Interior View of the Temple Which is Believed to Have Been Dedicated to Juno, from Different views of Paestum - Giovanni Battista Piranesi
"Interior View of the Temple Which is Believed to Have Been Dedicated to Juno, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →Interior view of the so-called College des Anfictions, from Different views of Paestum - Giovanni Battista Piranesi
"Interior view of the so-called College des Anfictions, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →Interior view of the remains of one of the pronaoi of the Temple of Neptune which faces inland, from Different views of Paestum - Giovanni Battista Piranesi
"Interior view of the remains of one of the pronaoi of the Temple of Neptune which faces inland, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →View of the Remains of the Two Rows of Columns in the Temple of Neptune which [originally] formed the colonnades along the sides of the cella, and supported the uppermost part of the roof, from Different views of Paestum - Giovanni Battista Piranesi
"View of the Remains of the Two Rows of Columns in the Temple of Neptune which [originally] formed the colonnades along the sides of the cella, and supported the uppermost part of the roof, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →Rear view of the remains of the pronaos of the Temple of Neptune, drawn in the two preceding plates, from Different views of Paestum - Giovanni Battista Piranesi
"Rear view of the remains of the pronaos of the Temple of Neptune, drawn in the two preceding plates, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →View of the Remains of the Cella of the Temple of Neptune, from Different views of Paestum - Giovanni Battista Piranesi
"View of the Remains of the Cella of the Temple of Neptune, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →Interior view of St. Peter's Basilica in the Vatican, from Views of Rome - Giovanni Battista Piranesi
"Interior view of St. Peter's Basilica in the Vatican, from Views of Rome" by Giovanni Battista Piranesi (1748) Etching on heavy ivory laid paper.
Read commentary →View of the So-Called Tempio della Tosse (Temple of the Cough) on the Via Tiburtina a mile from Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the So-Called Tempio della Tosse (Temple of the Cough) on the Via Tiburtina a mile from Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1763) Etching on heavy ivory laid paper.
Read commentary →View of the Pantheon of Agrippa, today S. Maria ad Martyres, from Views of Rome - Giovanni Battista Piranesi
"View of the Pantheon of Agrippa, today S. Maria ad Martyres, from Views of Rome" by Giovanni Battista Piranesi (1761) Etching on heavy ivory laid paper.
Read commentary →Remains of the so-called Temple of Apollo at Hadrian's Villa, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Remains of the so-called Temple of Apollo at Hadrian's Villa, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1768, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Ruins of the Antonine Baths [Baths of Caracalla], from Views of Rome - Giovanni Battista Piranesi
"Ruins of the Antonine Baths [Baths of Caracalla], from Views of Rome" by Giovanni Battista Piranesi (1765, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Remains of the temple of the god Canopus at Hadrian's Villa, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Remains of the temple of the god Canopus at Hadrian's Villa, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1768) Etching on heavy ivory laid paper.
Read commentary →View of the Arch of Titus, from Views of Rome - Giovanni Battista Piranesi
"View of the Arch of Titus, from Views of Rome" by Giovanni Battista Piranesi (1771) Etching on heavy ivory laid paper.
Read commentary →View of the Grand Cascade at Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Grand Cascade at Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1765) Etching on heavy ivory laid paper.
Read commentary →Interior view of the villa of Maecenas, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the villa of Maecenas, from Views of Rome" by Giovanni Battista Piranesi (1764, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of Cybele in the Piazza of the Bocca della Verità, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Cybele in the Piazza of the Bocca della Verità, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of the Sibyl at Tivoli, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of the Sibyl at Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1761) Etching on heavy ivory laid paper.
Read commentary →Ruins of the Xystus [a long open portico used for athletic exercises], the central hall of the Antonine Baths [The Baths of Caracalla], from Views of Rome - Giovanni Battista Piranesi
"Ruins of the Xystus [a long open portico used for athletic exercises], the central hall of the Antonine Baths [The Baths of Caracalla], from Views of Rome" by Giovanni Battista Piranesi (1765, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Pyramidal Tomb of Cestius, from Views of Rome - Giovanni Battista Piranesi
"View of the Pyramidal Tomb of Cestius, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Interior view of the so-called Tempio della Tosse [Temple of the Cough], from Views of Rome - Giovanni Battista Piranesi
"Interior view of the so-called Tempio della Tosse [Temple of the Cough], from Views of Rome" by Giovanni Battista Piranesi (1764) Etching on heavy ivory laid paper.
Read commentary →Egyptian Obelisk. This was erected by Pope Sixtus V in the Piazza of St. John Lateran, from Views of Rome - Giovanni Battista Piranesi
"Egyptian Obelisk. This was erected by Pope Sixtus V in the Piazza of St. John Lateran, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →The Column of Marcus Aurelius, from Views of Rome - Giovanni Battista Piranesi
"The Column of Marcus Aurelius, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of Visible Remains of the Baths of Diocletian at S. Maria degli Angeli, from Views of Rome - Giovanni Battista Piranesi
"View of Visible Remains of the Baths of Diocletian at S. Maria degli Angeli, from Views of Rome" by Giovanni Battista Piranesi (1774, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Title Page from Imaginary Prisons - Giovanni Battista Piranesi
"Title Page from Imaginary Prisons" by Giovanni Battista Piranesi (1749–50) Etching with engraving and sulphur tint or open bite on ivory laid paper.
Read commentary →Ruins of the Xystus [a long open portico used for athletic exercises], the central hall of the Antonine Baths [The Baths of Caracalla], from Views of Rome - Giovanni Battista Piranesi
"Ruins of the Xystus [a long open portico used for athletic exercises], the central hall of the Antonine Baths [The Baths of Caracalla], from Views of Rome" by Giovanni Battista Piranesi (1765) Etching on heavy ivory laid paper.
Read commentary →A., B. View of the remains of the two rows of columns in the Temple of Neptune which originally formed the colonnades along the sides of the cella, and supported the uppermost part of the roof, from Different views of Paestum - Giovanni Battista Piranesi
"A., B. View of the remains of the two rows of columns in the Temple of Neptune which originally formed the colonnades along the sides of the cella, and supported the uppermost part of the roof, from Different views of Paestum" by Giovanni Battista Piranesi (1778) Etching on ivory laid paper.
Read commentary →View of the Temple of Cybele in the Piazza of the Bocca della Verità, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Cybele in the Piazza of the Bocca della Verità, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Pyramidal Tomb of Cestius, from Views of Rome - Giovanni Battista Piranesi
"View of the Pyramidal Tomb of Cestius, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Palazzo di Montecitorio, from Views of Rome - Giovanni Battista Piranesi
"View of the Palazzo di Montecitorio, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Palazzo della Consulta on the Quirinal housing the Papal Secretariat, from Views of Rome - Giovanni Battista Piranesi
"View of the Palazzo della Consulta on the Quirinal housing the Papal Secretariat, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Façade of the Basilica of S. Croce in Gerusalemme [the Holy Cross in Jerusalem], from Views of Rome - Giovanni Battista Piranesi
"View of the Façade of the Basilica of S. Croce in Gerusalemme [the Holy Cross in Jerusalem], from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Rear Entrance of the Basilica of S. Maria Maggiore, from Views of Rome - Giovanni Battista Piranesi
"View of the Rear Entrance of the Basilica of S. Maria Maggiore, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Basilica of S. Maria Maggiore with its two flanking wings, from Views of Rome - Giovanni Battista Piranesi
"View of the Basilica of S. Maria Maggiore with its two flanking wings, from Views of Rome" by Giovanni Battista Piranesi (1749) Etching on heavy ivory laid paper.
Read commentary →Internal view of the Atrium of the Portico of Octavia, from Views of Rome - Giovanni Battista Piranesi
"Internal view of the Atrium of the Portico of Octavia, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of Antoninus and Faustina in the Roman Forum, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Antoninus and Faustina in the Roman Forum, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of Fortuna Virilis. Now the Armenian church of S. Maria Egizziaca, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Fortuna Virilis. Now the Armenian church of S. Maria Egizziaca, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Site of the ancient Roman Forum, from Views of Rome - Giovanni Battista Piranesi
"View of the Site of the ancient Roman Forum, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Piazza di Spagna, from Views of Rome - Giovanni Battista Piranesi
"View of the Piazza di Spagna, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Piazza della Rotonda, from Views of Rome - Giovanni Battista Piranesi
"View of the Piazza della Rotonda, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of Piazza Navona above the ruins of the Circus of Domitian, from Views of Rome - Giovanni Battista Piranesi
"View of Piazza Navona above the ruins of the Circus of Domitian, from Views of Rome" by Giovanni Battista Piranesi (1750/59, published 1800–07) Etching on heavy white laid paper.
Read commentary →View along the Via del Corso of the Palazzo dell' Accademia established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture, from Views of Rome - Giovanni Battista Piranesi
"View along the Via del Corso of the Palazzo dell' Accademia established by Louis XIV, King of France for French students of Painting, Sculpture and Architecture, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →The Pyramid of Gaius Cestius, from Views of Rome - Giovanni Battista Piranesi
"The Pyramid of Gaius Cestius, from Views of Rome" by Giovanni Battista Piranesi (1750/59, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the large Trevi Fountain formerly called the Acqua Vergine, from Views of Rome - Giovanni Battista Piranesi
"View of the large Trevi Fountain formerly called the Acqua Vergine, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Piazza del Popolo, from Views of Rome - Giovanni Battista Piranesi
"View of the Piazza del Popolo, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of Piazza Navona above the ruins of the Circus of Domitian, from Views of Rome - Giovanni Battista Piranesi
"View of Piazza Navona above the ruins of the Circus of Domitian, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Arch of Septimius Severus through which passed the ancient Sacred Way, bringing victors to the Capitol, from Views of Rome - Giovanni Battista Piranesi
"Arch of Septimius Severus through which passed the ancient Sacred Way, bringing victors to the Capitol, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Remains of a room belonging to the Praetorian Fort at Hadrian's Villa, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Remains of a room belonging to the Praetorian Fort at Hadrian's Villa, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1774, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Remains of the so-called Temple of Apollo at Hadrian's Villa, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Remains of the so-called Temple of Apollo at Hadrian's Villa, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1768) Etching on heavy ivory laid paper.
Read commentary →View of the Basilica of San Sebastiano fuori delle mura [St. Sebastian outside the Walls] on the Appian Way, from Views of Rome - Giovanni Battista Piranesi
"View of the Basilica of San Sebastiano fuori delle mura [St. Sebastian outside the Walls] on the Appian Way, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Customs House in Piazza di Pietra, which was built within the ruins of the Temple of Marcus Aurelius Antoninus Pius in his Forum, from Views of Rome - Giovanni Battista Piranesi
"View of the Customs House in Piazza di Pietra, which was built within the ruins of the Temple of Marcus Aurelius Antoninus Pius in his Forum, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on ivory laid paper.
Read commentary →View of the Palazzo della Consulta on the Quirinal housing the Papal Secretariat, from Views of Rome - Giovanni Battista Piranesi
"View of the Palazzo della Consulta on the Quirinal housing the Papal Secretariat, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Façade of the Basilica of S. Croce in Gerusalemme [the Holy Cross in Jerusalem], from Views of Rome - Giovanni Battista Piranesi
"View of the Façade of the Basilica of S. Croce in Gerusalemme [the Holy Cross in Jerusalem], from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the palace of the illustrious Barberini family on the Quirinal Hill, designed by Cavaliere Bernini, from Views of Rome - Giovanni Battista Piranesi
"View of the palace of the illustrious Barberini family on the Quirinal Hill, designed by Cavaliere Bernini, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Palazzo di Montecitorio, from Views of Rome - Giovanni Battista Piranesi
"View of the Palazzo di Montecitorio, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the exterior of St. Peter's Basilica in the Vatican, from Views of Rome - Giovanni Battista Piranesi
"View of the exterior of St. Peter's Basilica in the Vatican, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of Two Churches, One Called 1. S. Maria di Loreto, the other 2. The Name of Mary, near 3. Trajan's Column. 4. The ascent to the Quirinal, from Views of Rome - Giovanni Battista Piranesi
"View of Two Churches, One Called 1. S. Maria di Loreto, the other 2. The Name of Mary, near 3. Trajan's Column. 4. The ascent to the Quirinal, from Views of Rome" by Giovanni Battista Piranesi (1762) Etching on heavy ivory laid paper.
Read commentary →View of the Mausoleum of the Emperor Hadrian (now called Castel Sant’Angelo) from the Rear, from Vedute di Roma (Views of Rome) - Giovanni Battista Piranesi
"View of the Mausoleum of the Emperor Hadrian (now called Castel Sant’Angelo) from the Rear, from Vedute di Roma (Views of Rome)" by Giovanni Battista Piranesi (1750/59) Etching in black on ivory laid paper.
Read commentary →View of the Basilica of S. Lorenzo fuori delle Mura [S. Lorenzo outside the Walls], from Views of Rome - Giovanni Battista Piranesi
"View of the Basilica of S. Lorenzo fuori delle Mura [S. Lorenzo outside the Walls], from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Rear Entrance of the Basilica of S. Maria Maggiore, from Views of Rome - Giovanni Battista Piranesi
"View of the Rear Entrance of the Basilica of S. Maria Maggiore, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Flavian Amphitheater, called the Colosseum, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Flavian Amphitheater, called the Colosseum, from Views of Rome" by Giovanni Battista Piranesi (1766) Etching on ivory laid paper.
Read commentary →View of the Basilica of S. Paolo fuori delle Mura [St. Paul outside the Walls], built by Constantine the Great, from Views of Rome - Giovanni Battista Piranesi
"View of the Basilica of S. Paolo fuori delle Mura [St. Paul outside the Walls], built by Constantine the Great, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →A. View of the Tomb of Licinianus Piso on the ancient Appian Way... B. Tomb of the Cornelii..., from Views of Rome - Giovanni Battista Piranesi
"A. View of the Tomb of Licinianus Piso on the ancient Appian Way... B. Tomb of the Cornelii..., from Views of Rome" by Giovanni Battista Piranesi (1764, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Basilica of St. John Lateran, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Basilica of St. John Lateran, from Views of Rome" by Giovanni Battista Piranesi (1768) Etching on ivory laid paper.
Read commentary →View of the Temple of Hercules at Cori, ten miles distant from Velletri, from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Hercules at Cori, ten miles distant from Velletri, from Views of Rome" by Giovanni Battista Piranesi (1769, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the Capitoline Hill with the steps to the Church of S. Maria in Aracoeli, from Views of Rome - Giovanni Battista Piranesi
"View of the Capitoline Hill with the steps to the Church of S. Maria in Aracoeli, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Ancient temple commonly called the Temple of Health on the Via d'Albano five miles outside Rome, from Views of Rome - Giovanni Battista Piranesi
"Ancient temple commonly called the Temple of Health on the Via d'Albano five miles outside Rome, from Views of Rome" by Giovanni Battista Piranesi (1763) Etching on heavy ivory laid paper.
Read commentary →Remains of a covered portico, or a cryptoporticus, in a villa of Domitian, five miles outside Rome on the Frascati road, from Views of Rome - Giovanni Battista Piranesi
"Remains of a covered portico, or a cryptoporticus, in a villa of Domitian, five miles outside Rome on the Frascati road, from Views of Rome" by Giovanni Battista Piranesi (1766) Etching on heavy ivory laid paper.
Read commentary →View of the Remains of the Dining Room of the Golden House of Nero, commonly called the Temple of Peace, from Views of Rome - Giovanni Battista Piranesi
"View of the Remains of the Dining Room of the Golden House of Nero, commonly called the Temple of Peace, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Fountainhead of the Acqua Paola on Monte Aureo, from Views of Rome - Giovanni Battista Piranesi
"View of the Fountainhead of the Acqua Paola on Monte Aureo, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Trajan's Column, from Views of Rome - Giovanni Battista Piranesi
"Trajan's Column, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Basilica of S. Maria Maggiore with its two flanking wings, from Views of Rome - Giovanni Battista Piranesi
"View of the Basilica of S. Maria Maggiore with its two flanking wings, from Views of Rome" by Giovanni Battista Piranesi (1749) Etching on heavy ivory laid paper.
Read commentary →View of the Palazzo Odescalchi, from Views of Rome - Giovanni Battista Piranesi
"View of the Palazzo Odescalchi, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Basilica of S. Maria Maggiore, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Basilica of S. Maria Maggiore, from Views of Rome" by Giovanni Battista Piranesi (1768) Etching on ivory laid paper.
Read commentary →Cut-away view of the interior of the Basilica of S. Paolo fuori delle Mura [St. Paul outside the Walls], from Views of Rome - Giovanni Battista Piranesi
"Cut-away view of the interior of the Basilica of S. Paolo fuori delle Mura [St. Paul outside the Walls], from Views of Rome" by Giovanni Battista Piranesi (1749) Etching on heavy ivory laid paper.
Read commentary →View of the Fountainhead of the Acqua Felice, from Views of Rome - Giovanni Battista Piranesi
"View of the Fountainhead of the Acqua Felice, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of Ponte Lugano on the Anio, from Views of Rome - Giovanni Battista Piranesi
"View of Ponte Lugano on the Anio, from Views of Rome" by Giovanni Battista Piranesi (1763) Etching on heavy ivory laid paper.
Read commentary →Interior view of the ancient Temple of Bacchus, now the church of S. Urbano, two miles from Rome, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the ancient Temple of Bacchus, now the church of S. Urbano, two miles from Rome, from Views of Rome" by Giovanni Battista Piranesi (1767) Etching on heavy ivory laid paper.
Read commentary →Another interior view of the Villa of Maecenas, Tivoli, from Views of Rome - Giovanni Battista Piranesi
"Another interior view of the Villa of Maecenas, Tivoli, from Views of Rome" by Giovanni Battista Piranesi (1767, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the upper storey of the Cages for Wild Animals built by the Emperor Domitian, associated with the Flavian Amphitheater and commonly called the Curia Hostilia, from Views of Rome - Giovanni Battista Piranesi
"View of the upper storey of the Cages for Wild Animals built by the Emperor Domitian, associated with the Flavian Amphitheater and commonly called the Curia Hostilia, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →View of the Temple of Jupiter Tonans [Jupiter the Thunderer], from Views of Rome - Giovanni Battista Piranesi
"View of the Temple of Jupiter Tonans [Jupiter the Thunderer], from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →The Theater of Marcellus, from Views of Rome - Giovanni Battista Piranesi
"The Theater of Marcellus, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Interior view of the Pantheon, from Views of Rome - Giovanni Battista Piranesi
"Interior view of the Pantheon, from Views of Rome" by Giovanni Battista Piranesi (1768, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of the So-Called Temple of Concord, from Views of Rome - Giovanni Battista Piranesi
"View of the So-Called Temple of Concord, from Views of Rome" by Giovanni Battista Piranesi (1774, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →View of Visible Remains of the Baths of Diocletian, from Views of Rome - Giovanni Battista Piranesi
"View of Visible Remains of the Baths of Diocletian, from Views of Rome" by Giovanni Battista Piranesi (1774, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Title Page from Imaginary Prisons - Giovanni Battista Piranesi
"Title Page from Imaginary Prisons" by Giovanni Battista Piranesi (1750–60) Etching and engraving on heavy ivory laid paper.
Read commentary →The Arch with a Shell Ornament, plate 11 from Imaginary Prisons - Giovanni Battista Piranesi
"The Arch with a Shell Ornament, plate 11 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →Prisoners on a Projecting Platform, plate 10 from Imaginary Prisons - Giovanni Battista Piranesi
"Prisoners on a Projecting Platform, plate 10 from Imaginary Prisons" by Giovanni Battista Piranesi (1750–60) Etching and engraving on heavy ivory laid paper.
Read commentary →The Giant Wheel, plate 9 from Carceri d'invenzione (Imaginary Prisons) - Giovanni Battista Piranesi
"The Giant Wheel, plate 9 from Carceri d'invenzione (Imaginary Prisons)" by Giovanni Battista Piranesi (1748/50) Etching and engraving on heavy ivory laid paper.
Read commentary →The Drawbridge, plate 7 from Imaginary Prisons - Giovanni Battista Piranesi
"The Drawbridge, plate 7 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Staircase with Trophies, plate 8 from Imaginary Prisons - Giovanni Battista Piranesi
"The Staircase with Trophies, plate 8 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Smoking Fire, plate 6 from Imaginary Prisons - Giovanni Battista Piranesi
"The Smoking Fire, plate 6 from Imaginary Prisons" by Giovanni Battista Piranesi (1750–60) Etching and engraving on heavy ivory laid paper.
Read commentary →The Pier with a Lamp, plate 15 from Imaginary Prisons - Giovanni Battista Piranesi
"The Pier with a Lamp, plate 15 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Grand Piazza, plate 4 from Imaginary Prisons - Giovanni Battista Piranesi
"The Grand Piazza, plate 4 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Round Tower, plate 3 from Imaginary Prisons - Giovanni Battista Piranesi
"The Round Tower, plate 3 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Well, plate 13 from Imaginary Prisons - Giovanni Battista Piranesi
"The Well, plate 13 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Gothic Arch, plate 14 from Imaginary Prisons - Giovanni Battista Piranesi
"The Gothic Arch, plate 14 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Sawhorse, plate 12 from Imaginary Prisons - Giovanni Battista Piranesi
"The Sawhorse, plate 12 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →The Pier with Chains, plate 16 from Imaginary Prisons - Giovanni Battista Piranesi
"The Pier with Chains, plate 16 from Imaginary Prisons" by Giovanni Battista Piranesi (c. 1750) Etching and engraving on heavy ivory laid paper.
Read commentary →View of the exterior of St. Peter's Basilica in the Vatican, from Views of Rome - Giovanni Battista Piranesi
"View of the exterior of St. Peter's Basilica in the Vatican, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Egyptian Obelisk. This was erected by Pope Sixtus V in the Piazza of St. John Lateran, from Views of Rome - Giovanni Battista Piranesi
"Egyptian Obelisk. This was erected by Pope Sixtus V in the Piazza of St. John Lateran, from Views of Rome" by Giovanni Battista Piranesi (1750/59) Etching on heavy ivory laid paper.
Read commentary →Opere Varie di Architetura; Raccolta di Alcuni Disegni del Barberi da Cento detto Il Guercino - Giovanni Battista Piranesi
"Opere Varie di Architetura; Raccolta di Alcuni Disegni del Barberi da Cento detto Il Guercino" by Giovanni Battista Piranesi (1750-1764) Book of 122 etchings on paper.
Read commentary →Title Page: Collection of several drawings engraved after Barbieri da Cento (known as Guercino) engraved on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi - Giovanni Battista Piranesi
"Title Page: Collection of several drawings engraved after Barbieri da Cento (known as Guercino) engraved on copper and presented to Thomas Jenkins, painter and member of the Academy of St. Luke, out of respect and friendship from his fellow member, the architect Gio. Battista Piranesi" by Giovanni Battista Piranesi (1764) Etching in red and black ink on ivory laid paper with gilt edges.
Read commentary →Palatial Courtyard with a Fountain - Giovanni Battista Piranesi
"Palatial Courtyard with a Fountain" by Giovanni Battista Piranesi (c. 1750) Pen and brown ink and brush and brown wash on buff laid paper.
Read commentary →View of St. Peter's Basilica and Piazza in the Vatican, from Views of Rome - Giovanni Battista Piranesi
"View of St. Peter's Basilica and Piazza in the Vatican, from Views of Rome" by Giovanni Battista Piranesi (1748) Etching on heavy ivory laid paper.
Read commentary →The Monumental Tablet - Giovanni Battista Piranesi
"The Monumental Tablet" by Giovanni Battista Piranesi (1750) Etching on heavy ivory laid paper.
Read commentary →The Skeletons - Giovanni Battista Piranesi
"The Skeletons" by Giovanni Battista Piranesi (1750) Etching on heavy ivory laid paper.
Read commentary →The Pier with Chains, plate 16 from Imaginary Prisons - Giovanni Battista Piranesi
"The Pier with Chains, plate 16 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Pier with a Lamp, plate 15 from Imaginary Prisons - Giovanni Battista Piranesi
"The Pier with a Lamp, plate 15 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Gothic Arch, plate 14 from Imaginary Prisons - Giovanni Battista Piranesi
"The Gothic Arch, plate 14 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Sawhorse, plate 12 from Imaginary Prisons - Giovanni Battista Piranesi
"The Sawhorse, plate 12 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Arch with a Shell Ornament, plate 11 from Imaginary Prisons - Giovanni Battista Piranesi
"The Arch with a Shell Ornament, plate 11 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching on heavy ivory laid paper.
Read commentary →Prisoners on a Projecting Platform, plate 10 from Imaginary Prisons - Giovanni Battista Piranesi
"Prisoners on a Projecting Platform, plate 10 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Giant Wheel, plate 9 from Imaginary Prisons - Giovanni Battista Piranesi
"The Giant Wheel, plate 9 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Staircase with Trophies, plate 8 from Imaginary Prisons - Giovanni Battista Piranesi
"The Staircase with Trophies, plate 8 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Drawbridge, plate 7 from Imaginary Prisons - Giovanni Battista Piranesi
"The Drawbridge, plate 7 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Smoking Fire, plate 6 from Imaginary Prisons - Giovanni Battista Piranesi
"The Smoking Fire, plate 6 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →The Lion Bas-Reliefs, plate 5 from Imaginary Prisons - Giovanni Battista Piranesi
"The Lion Bas-Reliefs, plate 5 from Imaginary Prisons" by Giovanni Battista Piranesi (1761) Etching and engraving on heavy ivory laid paper.
Read commentary →View of Ponte Lugano on the Anio, from Views of Rome - Giovanni Battista Piranesi
"View of Ponte Lugano on the Anio, from Views of Rome" by Giovanni Battista Piranesi (1763, published 1800–07) Etching on heavy ivory laid paper.
Read commentary →Female Saint Beholding Vision of Christ Child and Saint Joseph - Domenico Theotokópoulos, called El Greco
"Female Saint Beholding Vision of Christ Child and Saint Joseph" by Domenico Theotokópoulos, called El Greco (n.d.) Brush and brown and black ink and brush and brown and gray wash on cream laid paper.
Read commentary →The Lamentation - Hercules Segers
"The Lamentation" by Hercules Segers (c. 1607) Etching in brown-black on ivory laid paper.
Read commentary →La Rue de la Vieille Lanterne: The Suicide of Gérard de Nerval - Gustave Doré
"La Rue de la Vieille Lanterne: The Suicide of Gérard de Nerval" by Gustave Doré (1855) Lithograph in black on light gray China paper laid down on white wove paper.
Read commentary →The Tournament - Jost Amman
"The Tournament" by Jost Amman (1565) Woodcut on paper.
Read commentary →The Judgment of Paris - Marcantonio Raimondi
"The Judgment of Paris" by Marcantonio Raimondi (c. 1520) Engraving in black on ivory laid paper.
Read commentary →The Descent from the Cross: Second Plate - Rembrandt van Rijn
"The Descent from the Cross: Second Plate" by Rembrandt van Rijn (1633) Etching and burin on ivory laid paper.
Read commentary →The Canterbury Pilgrims - William Blake
"The Canterbury Pilgrims" by William Blake (1810) Line engraving on cream laid paper.
Read commentary →Self-Portrait Etching at a Window - Rembrandt van Rijn
"Self-Portrait Etching at a Window" by Rembrandt van Rijn (1648) Etching, drypoint and burin in black on ivory laid paper.
Read commentary →Cypresses - Vincent van Gogh
"Cypresses" by Vincent van Gogh (1889) Pen and reed pen and brown inks and graphite on cream wove paper.
Read commentary →Get Prints Daily
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