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Upright Venice, One of the ‘Twenty-six Etchings,’ or the ‘Second Venice Set’
1879-1880
James Abbott McNeill Whistler
etching and drypoint, printed in black ink on laid paper, trimmed to platemark
The Riva, No. 2, One of the ‘Twenty-six Etchings,’ or the ‘Second Venice Set’
1879-1880
James Abbott McNeill Whistler
etching and drypoint, printed in warm black ink on laid paper, trimmed to platem
The Mast, One of the ‘Twelve Etchings,’ or the ‘First Venice Set’
1879-1880
James Abbott McNeill Whistler
etching and drypoint printed in warm black ink on laid paper, trimmed to platemark
The Traghetto, No. 2, One of the ‘Twelve Etchings,’ or the ‘First Venice Set’
1879-1880
James Abbott McNeill Whistler
etching, printed in dark brown ink on laid paper, trimmed to platemark
The Riva, One of the ‘Twelve Etchings,’ or the ‘First Venice Set’
1879-1880
James Abbott McNeill Whistler
etching, printed in black ink on wove paper
The Forge, One of the ‘Sixteen Etchings,’ or the ‘Thames Set’
1861
James Abbott McNeill Whistler
drypoint on laid Japan tissue
The Forge—Passage du Dragon
1894
James Abbott McNeill Whistler
transfer lithograph with stumping on laid paper
Les Trimar Deurs
Camille Pissarro
color etching and drypoint on beige laid paper
La Chanteuse
Adriaen Jansz van Ostade
etching and drypoint on beige laid paper
Sketch of a Piazza
1735-1793
Francesco Guardi
ink on paper
The Temperance Hotel
1902
Sir Muirhead Bone
graphite and ink on paper
Les Experts, from “Dreyfus Affair”
1968
Ben Shahn
pochoir print on paper
Jungbauern
1914; printed circa 1950-1970
August Sander
gelatin silver print on paper