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Curated Group

Film Noir, Visuality and Themes — Collection Theme

Curated by University Learning Programs
The Stag Brought to Bay (From a series of 9 prints, ‘Chasses à différents animau
1654
Stefano della Bella
etching on paper
A Hungarian Horseman (From a series of 11 prints, ‘Cavaliers nègres, polonais et
1651
Stefano della Bella
etching on paper
The Adoration of the Shepherds
1560-1609
Annibale Carracci
etching and engraving on paper
Campo Vaccino (Forum Romanum)
1636
Claude Lorrain
etching on paper
Lot and His Daughters
1530
Lucas Van Leyden
engraving on paper
Bacchante
1926
Aristide Maillol
etching on paper
Reiter
1904, printed 1905
Max Slevogt; Bruno Cassirer
etching and drypoint on paper
Opposite
1933
Josef Albers
woodblock print on paper
Noon Hour
circa 1946
Isabel Bishop
etching on paper
Le Fumeur (First Plate)
1866
Édouard Manet
etching and drypoint on paper
Théodore de Banville tourné à gauche (Second plate)
1874
Édouard Manet
etching and aquatint on paper
Kopf
1921-1922
Alexei Jawlensky
lithograph on paper
La Bourrine aux Cinq z’enfants (Vendée)
1911
Auguste Louis Lepère
etching on paper
Le Moulin à Lidor (Picardie)
1910
Auguste Louis Lepère
etching on paper
Faneuses (Haymakers)
1890
Camille Pissarro
etching on Holland paper
Los Caprichos, plate 37: Si sabrá mas el discípulo? (Might not the pupil know more?)
plates etched 1797-1798; published 1799
Francisco José de Goya y Lucientes
etching, aquatint and burin on paper
Kidwelly Castle
1859
Sir Francis Seymour Haden
etching on paper
Portrait of Francis Russel, the 2nd Earl of Bedford
1740
Jacobus Houbraken
engraving on paper
Lolita
1841-1914
Edward Stodart
stipple engraving on paper
Death and the Ploughman’s Wife
1894
William Strang
etching on paper
Genesis 44:1-13
1540-1608
Peter van der Borcht
etching on paper
Allegory
1598 - c. 1650
Pierre Brébiette
etching on paper
Portrait of Sébastien Bourdon (1616-1671)
1733
Laurent Cars
engraving on heavy off-white laid paper
A Landscape, with Peasants and Cattle
1776
Richard Earlom
mezzotint on paper
The Hotel de Valle – Dreux
1933
Louis Conrad Rosenberg
etching on paper
Correspondances dangereuses
1947
Brunidor Editions; Max Ernst; S. W. Hayter
etching on Vélin Arches paper
Child’s Head
17th century
Guercino (Giovanni Francesco Barbieri)
pen and ink with crayon touches on cream laid paper
The Fifty-Three Stations of the Tokaido (Kichizo Edition): #39 Okazaki, Yahagi Bridge over the Toyokawa River
circa 1850
Utagawa Hiroshige
color woodblock print on paper
_sen Edo Meisho: Ryogoku Bridge, Evening Fireworks
circa 1865-1875
Utagawa Hiroshige III
color woodblock print on paper, ôban yoko-e size
Self-Portrait
1920
Lovis Corinth
lithograph on paper
Sibenik, Dalmatia
1885-1948
Franz Jansen
etching on paper
Woman and Child
1527-1585
Luca Cambiaso
pen and ink on white paper
Seated Nude
1930
Isamu Noguchi
black crayon with gray wash on off-white paper, mounted on board
Legends of Mythology: Alcmene with Zeus – Amphitrion, from the Series “The Loves of Zeus”
1920
Lovis Corinth
color lithograph on paper
Legends of Mythology: Antiope and the Faun, from the Series “The Loves of Zeus”
1920
Lovis Corinth
color lithograph on paper
Legends of Mythology: Callisto with Zeus – Artemis, from the Series “The Loves of Zeus”
1920
Lovis Corinth
color lithograph on paper
Ganymede und der Adler
1920
Lovis Corinth
lithograph on paper
Legends of Mythology: Io with the Cloud, from the Series ‘The Loves of Zeus’
1920
Lovis Corinth
color lithograph on paper
Figure Asleep
1927
Henri Matisse
lithograph on paper
The Negro. No.6 from the Series of Ten Prints, ‘Der Jahrmarkt’
1921
Max Beckmann
drypoint on paper
Reclining Nude
1882-1948
Georges Braque
etching on paper
Spanish Landscape
1914-1939
Federico Castellón
lithograph on paper
Streetscene (Strassenszene)
1919-1920
George Grosz
lithograph on paper
Self-Portrait
1847-1935
Max Liebermann
lithograph on paper
Portrait
1884-1948
Karl Schmidt-Rottluff
lithograph on paper
Back of Nude Woman, Three-Quarter Length
1861-1944
Aristide Maillol
graphite on white paper
Two Boxers I
1902-1969
William Horace Littlefield
lithograph on paper
The Bathers (large plate)
1896 - circa 1898
Paul Cézanne
lithograph on paper
The Beach (Strand)
1922
Max Beckmann
drypoint on paper
Two Figures & El
1931
Stuart Davis
lithograph on paper
Fallen Boxer
1927
William Horace Littlefield
etching on paper
Children’s Games. No. 6. (Two Putti with Skull)
1594
Nicolas de Bruyn
engraving on paper
Study of Ships; no. 3 from the series of 13 plates, Various Seascapes, Ports, and Harbors
1653-1655 (mid-1650s)
Reinier Nooms
etching on paper
Standing Nude, p. 25 from Ovide: L’Art d’aimer
1935
Aristide Maillol
lithograph on paper
Guitar Player
1932
Gregory Orloff
woodcut on paper
Happy
1919
William Auerbach-Levy
etching on paper
Dunkerque (No. 2)
1937
Arthur Briscoe
etching on paper
Swiss Peasants
n.d.
Enid Butcher
engraving on paper
Cyre
circa 1935
Sir David Young Cameron
etching on paper
Chaff
n.d.
Frank Gillett
etching on paper
Amsterdam (A Fragment) (‘A Fragment’ is underlined)
1863
Sir Francis Seymour Haden
etching on paper
Amstelodamum
1863
Sir Francis Seymour Haden
etching on paper
Evening
1864
Sir Francis Seymour Haden
etching on paper
The Two Asses
circa 1867
Sir Francis Seymour Haden
etching on paper
The Two Asses
circa 1867
Sir Francis Seymour Haden
etching on paper
A Water Meadow
1859
Sir Francis Seymour Haden
etching on paper
Old Courtyard
1902-1949
Kenneth Holmes
etching on paper
Whitby
1902-1949
Kenneth Holmes
etching on paper
A Rabbi Studying, from a drawing by Rembrandt
1906
Augustus John
etching on paper
The Anarchist
1869-1949
William Lee Hankey
drypoint on paper
Les Dunes
1917
William Lee Hankey
etching on paper
Malines Cathedral
1885-1949
Herbert Warlow
etching on paper
Caning Chairs
1872-1943?
Auguste Brouet
etching on paper
Le Salut (Dancer Taking a Bow)
1872-1943?
Auguste Brouet
drypoint on paper
Los Proverbios (also known as “Los Disparates”), plate 8: So el sayal, hay al (“There is something beneath the sackcloth,” i.e. “you can’t judge a man by his clothes”) or Los ensacados (The men in sacks)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and burnished aquatint on paper
Los Proverbios (also known as “Los Disparates”), plate 9: Un as de gato y habito de beato (“The claws of a cat and the dress of a devotee”–i.e. “Vice is often clothed in Virtue’s habit”) or Disparate general (General folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and burnished aquatint on paper
Los Proverbios (also known as “Los Disparates”), plate 11: “Two heads are better than one” or Disparate pobre (Poor folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, burnished aquatint, drypoint and burin on paper
Los Proverbios (also known as “Los Disparates”), plate 12: Si marina bayló, tome lo que halló (“If Marion will dance, then she has to take the consequences”)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, burnished aquatint and drypoint on paper
Los Proverbios (also known as “Los Disparates”), plate 13: Donde hay ganas hay maña (“Where there’s a will there’s a way”) or Modo de volar (A way of flying)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, aquatint and drypoint? on paper
Los Proverbios (also known as “Los Disparates”), plate 14: Alegrias antruejo, que mañana seras ceniza (“Rejoice, carnival, for tomorrow thou wilt be ashes”) or Disparate de carnabal (Carnival folly)
circa 1864-1900
Francisco José de Goya y Lucientes
aquatint and etching on paper
Los Proverbios (also known as “Los Disparates”), plate 15: Sin recomendarse a dios ni al diablo (“Without commending himself either to god or the devil”) or Disparate claro (Clear folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, burnished aquatint and lavis on paper
Los Proverbios (also known as “Los Disparates”), plate 16: Sanan cuchilladas mas no maleas palabras (“Wounds heal quicker than hasty words”)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and burnished aquatint on paper
Los Proverbios (also known as “Los Disparates”), plate 17: El que no te ama, burlando te difama (“He who does not like thee will defame thee in jest”) or La lealtad (Loyalty)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and burnished aquatint on paper
Los Proverbios (also known as “Los Disparates”), plate 18: Dios los cria y ellos se juntan (“God creates them and they join up together,” i.e. “Birds of a feather flock together”)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, burnished aquatint and burin on paper
La Tauromaquia, plate 20: Ligereza y atrevimiento de Juanito Apiñani en la de Madrid (“The agility and audacity of Juanito Apiñani in [the ring] at Madrid”)
1815-1816
Francisco José de Goya y Lucientes
aquatint and etching on paper
Los Proverbios (also known as Los Disparates), by Goya y Lucientes; title page for the first edition
1864
Spanish
lithograph on paper
Los Proverbios (also known as “Los Disparates”), plate 1: Pesa mas que un burro muerto (“Heavier than a dead donkey”) or Disparate femenino (Feminine folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and aquatint with drypoint on paper
Los Proverbios (also known as “Los Disparates”), plate 2: Por temor no pierdas honor (“Do not lose honour through fear”) or Disparate de miedo (Folly of Fear)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, burnished aquatint and drypoint? on paper
Shells (Coquillages)
1877-1949
Raoul Dufy
lithograph on paper
Los Proverbios (also known as “Los Disparates”), plate 3: Andarse por las ramas (“To go amongst the branches,” i.e. “to talk through one’s hat”) or Disparate ridiculo (Ridiculous folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, aquatint and drypoint on paper
Family
1931
Käthe Kollwitz
lithograph on paper
Los Proverbios (also known as “Los Disparates”), plate 5: Reniego al amigo que cubre con las alas y muerde conel pico (“Renounce the friend who covered you with his wings and bites you with his beak”) or Disparate volanted (Flying folly)
circa 1864-1900
Francisco José de Goya y Lucientes
aquatint and etching on paper
Los Proverbios (also known as “Los Disparates”), plate 6: Hizonos dios y maravillamos nos (“It is amazing–and we were made by God”) or Disparate furioso (Furious Folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching and burnished aquatint on paper
The Road to Exile (Le Chemin de l’Exil)
1944
Jacques Lipchitz
engraving and aquatint on paper
Los Proverbios (also known as “Los Disparates”), plate 7: La que mal marida nunca le falta que diga (“She who is ill wed never misses a chance to say no”) or Disparate matrimonial (Matrimonial folly)
circa 1864-1900
Francisco José de Goya y Lucientes
etching, aquatint and drypoint on paper
Dancer
circa 1927
Abraham Walkowitz
brush, ink and graphite on white paper
Dancer
circa 1927
Abraham Walkowitz
brush, ink and graphite on white paper
Two Figures, Crippled and Blind
circa 1906
Abraham Walkowitz
ink on paper
Two Figures
1909
Abraham Walkowitz
ink on paper
New York
circa 1915
Abraham Walkowitz
graphite on white paper
New York
circa 1915
Abraham Walkowitz
graphite on white paper
Island of Marken, Holland
1906
Abraham Walkowitz
monotype on paper
Cologne Landscape, No. 1
1952
Ralston Crawford
lithograph on paper

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