BM: American Art

The Creation of the Universe (L'Univers est crée), Paul Gauguin, carved winter 1893-1894; printed 1921, Brooklyn Museum: European Art

Size: Sheet: 10 11/16 x 16 9/16 in. (27.1 x 42.1 cm) Image: 8 x 13 7/8 in. (20.3 x 35.2 cm) Medium: Woodcut on China paper

https://www.brooklynmuseum.org/opencollection/objects/23844

Fire Engine, Ron Kleeman, 1976, Minneapolis Institute of Art: Prints and Drawings

Size: 35 3/8 x 38 ½ in. (89.85 x 97.79 cm) (image) Medium: Color screenprint

https://collections.artsmia.org/art/67575/

Artist’s Studio “The Dance”, Roy Lichtenstein, 1974, MoMA: Painting and Sculpture

Gift of Mr. and Mrs. S. I. Newhouse, Jr. Size: 8’ 1/8" x 10’ 8 1/8" (244.3 x 325.5 cm) Medium: Oil and magna on canvas

http://www.moma.org/collection/works/79538

Birth of a Personage, Emilio Rodríguez Larraín, 1965, MoMA: Painting and Sculpture

Given anonymously Size: 6’ 6 ¾" x 56" (200 x 142 cm) Medium: Oil and tempera on board

http://www.moma.org/collection/works/79125

A Cosey Corner, Frank Millet, 1884, American Paintings and Sculpture

Gift of George I. Seney, 1887 Size: 36 ¼ x 24 ¼ in. (92.1 x 61.6 cm) Medium: Oil on canvas

https://www.metmuseum.org/art/collection/search/11583

The Eclogues of Virgil, Aristide Maillol, 1926, Minneapolis Institute of Art: Prints and Drawings

Bound in full black morocco with decorative ceramic plaque inset on front cover Captivated by the books that William Morris (1834-96) was making at his Kelmscott Press in England and the success of French publisher Ambroise Vollard’s artist’s books, Count Harry Kessler (1868-1937) started his own private Cranach Press in Weimar, Germany, in 1913. One of its first goals was to turn Virgil’s Eclogues into the perfect book. Kessler spared little, commissioning woodcuts from Maillol and a new translation from Marc Lafargue. To add a Renaissance flavor, Kessler chose a fifteenth-century Venetian typeface by Nicolas Jenson and hired Morris’s colleague Emery Walker to supervise the cutting of new type. Kessler rhapsodized that the font “was winged with inner tension, and it gleamed with tender light.” Ever conscious of unity, Maillol designed his 43 woodcuts-here depicting Tityrus-to be equally important to the type, actually referring to his illustrations as “typography.” Size: 13 1/8 x 10 1/8in. (33.3 x 25.7cm) Medium: Woodcuts, letterpress; bound volume

https://collections.artsmia.org/art/32638/

Sophie Guillemette, Grand Duchess of Baden (1801-1865), Franz Xaver Winterhalter , 1831, Cleveland Museum of Art: Modern European Painting and Sculpture

Sophie Guillemette (1801-1865), daughter of Gustavus IV Adolphus of Sweden, was the wife of Grand Duke Leopold of Baden. Winterhalter was her drawing instructor and made several portraits of both the duke and the duchess before leaving for London to become the most celebrated portrait painter of his time. Size: Framed: 57.5 x 46.5 x 10 cm (22 5/8 x 18 5/16 x 3 15/16 in.); Unframed: 39.1 x 28.5 cm (15 3/8 x 11 ¼ in.) Medium: oil on fabric

https://clevelandart.org/art/1979.43