George Baxter, Belle of the Village, 1854, Aquatint, stipple, and engraving on steel, printed in black, on wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61572

Conrad Martens, Cunningham's Gap, 1851, Pencil heightened with white, black and sepia on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/5057

George Baxter, The Great Exhibition (Small Exterior), 1851, Steel etching and stipple printed in puple, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54196

Honoré Daumier, Le Beau sexe a l'école de natation, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6365

Nadar (Gaspard Félix Tournachon), Antoine Gustave Droz (French writer, 1832-1895), c. 1853/72, Woodburytype, from the periodical “Galerie Contemporaine Littéraire, Artistique” (1877), volume 4, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/144597

George Baxter, Religious Events No. 2, 1852, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54152

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503075

Honoré Daumier, Un Chemin dangereux, 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6388

Félix Bracquemond, Profile Portrait of Charles Meryon, 1854, Drawing in graphite on ivory laid paper over plate mark stamped in paper with no etched image but with warm brown ink at plate mark and larger rectangle of lavender ink tone from a stone (?) on ivory laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/28032

George Baxter, His Royal Highness, the Prince of Wales, also called Prince of Wales' Galop, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61527

James McNeill Whistler (1834-1903), Couple seated at a table, 1858, Pencil on off-white wove paper; H x W: 16.8 x 11.8 cm (6 5/8 x 4 5/8 in), National Museum of Asian Art, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643390182193-1643390183199-0

William R. Phipps, John Cabell Breckinridge, c. 1855, Daguerreotype; Image: 7.1 x 6 cm (2 13/16 x 2 3/8"); Case Open: 9.4 x 16.2 x 1 cm (3 11/16 x 6 3/8 x 3/8"); Case Closed: 9.4 x 8.1 x 1.7 cm (3 11/16 x 3 3/16 x 11/16"), National Portrait Gallery, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643399756728-1643399811904-0

Jean Baptiste Camille Corot, The Willows of Marissel, 1857, oil on canvas, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.194

W.T. COPELAND & SONS LTD [SPODE], Plate, c.1851–85, Porcelain (bone china) the blue ground painted in overglaze colours with naturalistic ferns and butterflies. Gilt dentil edge, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/15142

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503101

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00891

Henry Lewis, St. Anthony Falls as It Appeared in 1848, 1855, Oil on canvas, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/28.79

Jean-Louis Forain, Farniente, 1852, watercolor on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7026

Alfred Jacob Miller, Buffalo Drinking and Bathing at Night, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.100

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00882

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503019

Carl Staaff, Oskar I, 1799-1859, konung av Sverige och Norge, 1858, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106377114

Harriet Beecher Stowe, <I>Uncle Tom's Cabin; or, Life Among the Lowly</I>, 1852, ink on paper; H x W x D (Closed): 9 5/16 × 6 5/16 × 7/8 in. (23.7 × 16 × 2.2 cm); H x W x D (Open): 9 5/16 × 12 1/2 × 7/8 in. (23.7 × 31.8 × 2.2 cm), National Museum of African American History and Culture, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643398738600-1643398744925-0

George Baxter, The Birth of the Saviour, also called The Nativity or The Adoration, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54285

Conrad Martens, Franklyn Vale, c.1854, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3144

Ōtagaki Rengetsu, Flower vase, c.1855–60, Hand-built stoneware, glazed, painted calligraphy, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/17986

Japanese, Tsuka with Lions, c. 1870 (Meiji), gold, ray skin, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/51.1205.3

Ichiryusai Hiroshige, Ayase-gawa, Kane-ga-guchi (no. 69 from 'Meisho Edo hyakkei' series) (Kane-ga-fuchi, Ayase River (no. 69 from 'One hundred famous views of Edo' series)), 1857, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3133

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503088

Charles Loring Elliott, Captain Warren Delano, c. 1852, oil on canvas, National Gallery of Art, Washington. https://dartabase.art/cite/nga/3153

James Whistler, The rag gatherers, 1858, Etching on cream laid paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/6846

Jean-Louis Forain, Le cafe concert des reservistes, 1852, watercolor on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7023

George Jones, Interior, 1856, Oil on wood, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/6843

George Baxter, The Gardener's Shed, 1856, Etching and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on board, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59503

Jean Baptiste Camille Corot, Little Shepherd, 1st Plate (Le Petit Berger), 1855, cliché-verre, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6000

Charles Meryon, La galerie Notre-Dame, Paris (The Gallery of Notre Dame, Paris), 1853, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9095

Ichiryusai Hiroshige, Sendagi, Dango-zaka Hana-yashiki (no. 16 from 'Meisho Edo hyakkei' series) (Flower pavilion, Dango Hill, Sendagi (no. 16 from 'One hundred famous views of Edo' series)), 1856, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1200

Charles Meryon, Chateau de Chenonceau, 2e planche (The Chateau of Chenonceau, 2nd plate), 1856, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9143

Honoré Daumier, Un Jour de représentation a bénéfice..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6370

George Baxter, Christ Blessing Bread, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128186

Ludvig August Smith, Interior with mother and daughter at the window, 1853, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368001

Frederic Terry, Court House and Scotch Church, Parramatta (no. 17 from 'Landscape scenery, illustrating Sydney, Parramatta, Richmond, Maitland, Windsor and Port Jackson, New South Wales' series), 1854, published 1855, Etching and engraving on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12746

Charles Meryon, L'arche du Pont Notre-Dame, Paris (An Arch of the Notre-Dame Bridge, Paris), 1853, etching and drypoint on laid green paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9094

George Baxter, Hollyhocks, 1857, Aquatint on steel printed in brown, with block printing in colors, on wove paper, laid down on board, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59506

Conrad Martens, Heifer Station, Canning Downs, 1854, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12368

Francis Seymour Haden, Thames Fishermen, 1859, drypoint with etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7655

Gustave Herter, Armchair, c. 1855, Walnut, original leather, modern velvet cushion, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/214

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503063

Charles Meryon, Le Pont-au-Change, Paris, 1854, etching on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9102

Honoré Daumier, A Family Scene, plate 37 from Croquis D'été, 1858, Lithograph in black on off-white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/84598

Markus Lynge, Fortællingen om Akigssiak: Sælhundeboldspillet, hvor bedstefaderen overvindes, 1859–1860, Træsnit på tyndt japanpapir, Statens Museum for Kunst (National Gallery of Denmark), Copenhagen. https://dartabase.art/cite/smk/KKS13358d

Silvester Diggles, Fortitude Valley, 1858, Pencil on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12694

George Baxter, The Slaves, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59502

William Cardin, Bill of sale for a boy named Hall to Jerome B. Annis, January 16, 1854, ink on paper (fiber product); H x W: 5 1/8 × 7 9/16 in. (13 × 19.2 cm), National Museum of African American History and Culture, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643398738600-1643398751641-0

Henry Gritten, Main Road, Newtown (toward Mt Direction, Hobart, Tasmania), 1858, Oil on canvas, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/6990

Wilhelm Marstrand, Helena Roed, Acting as Leonora in Ludvig Holberg’s Det lykkelige skibbrud (The Fortunate Shipwreck), 1858, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106378491

James Whistler, Fumette (from 'The French set'), 1858, Etching, drypoint on thin cream laid paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/2526

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00902

Jean-François Millet, First Steps, c. 1859–66, black chalk and pastel on beige laid paper, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/138515

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00895

Charles Meryon, La Rue des Mauvais Garçons, Paris (The Street of the Bad Boys), 1854, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9081

Charles Meryon, Le Pont-au-Change, Paris, vers 1784, 1855, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9472

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00898

George Baxter, Short Change, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54322

Alfred Jacob Miller, Shoshone Female - Catching A Horse, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.137

William Callow, Royal Palace, Dresden, 1852, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00144

Charles Robert Leslie, Head of Falstaff, c.1851, Oil paint on wood, Tate, London. https://dartabase.art/cite/tate/A00740

Utagawa Kuniyoshi, The grand battle of the castle Takadate in the province of Oshu, 1856, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1844

Francesco Solimena, Trees. Study, 1855, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368119

Jean-François Millet, Man with Wheelbarrow (Le paysan rentrant du fumier), 1855, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9193

Rudolph T. Lux, Cup and Saucer, c. 1861, Porcelain, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/2859

Jean-Louis Forain, Peur de Bourreau! Qu'est-ce que tu attends?..., 1852, black crayon on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7024

Honoré Daumier, Pourriez-vous me dire...? J'ai la grippe!..., 1858, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6405

George Baxter, The Parting Look (without Man and Box), 1858, Steel engraving colored with wooden blocks, on paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61565

Carl Stefan Bennet, View of Stockholm from Kvarnholmen, 1851, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368475

Charles Meryon, Entrée du Couvent des Capucins français à Athenes (Entrance to the French Capuchin Convent at Athens), 1854, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9140

Sir Edward Coley, Bt Burne-Jones, Study for ‘Buondelmonte’s Wedding’, c.1859, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A01161

Thomas Eakins, Map of Switzerland, (c. 1856), Ink, watercolor, and pencil on paperboard; 16 x 20 in. (40.6 x 50.7 cm), Hirshhorn Museum and Sculpture Garden, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643399857816-1643399859670-1

Charles Meryon, Seated Female Figure for "San Francisco", probably c. 1856, graphite on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9134

Honoré Daumier, Une Leçon de botanique, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6348

George Baxter, Victoria, Queen of Great Britain, also called Queen and Headdress, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54223

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503094

George Baxter, The Emperor Napoleon I, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54263

Charles Meryon, La salle des pas-perdus à l'ancien Palais-de-Justice, Paris (The Antechamber of the Palace of Justice, Paris), 1855, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9471

Thomas - Engraver, TULLOCH, after David Ham, Golden Point, Mount Alexander, 1852, Colour lithograph with handcolouring on smooth wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/2058

George Baxter, Fairy Scenes, c. 1851, Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54164

Frederik Christian Lund, Peter Christian Skovgaard on a Rock on Kungsholmen, Stockholm, 1851, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368231

Charles Meryon, La Pompe Notre-Dame, Paris (The Notre-Dame Pump), 1852, etching and drypoint on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9099

William Callow, Rathaus, Gotha, 1852, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00145

Alfred Jacob Miller, The Indian Certificate, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.108

Eugene von Guerard, Stony Rises, Lake Corangamite, 1857, Art Gallery of South Australia, Adelaide. https://dartabase.art/cite/wikidata/Q28801734

Samuel Palmer, The Sleeping Shepherd; Early Morning, 1857, etching, hand-colored with watercolor and opaque white with gold highlights, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9505

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00893

FLAVELLE BROS., Long case regulator, c.1852–56, Cedar, constructed with glass panel framing the pendulum and flame cedar panel inset on base, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12186

Thomas - Engraver, TULLOCH, after David Ham, Forest Creek, Mount Alexander, 1852, Colour lithograph, hand-coloured on smooth wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/9380

Utagawa Kuniyoshi, Raiko and the earth spider (from 'Japanese and Chinese comparisons of the Genji' series), 1855/56, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1716

Charles Meryon, La petite pompe, Paris (The Notre Dame Pump, small plate), 1854, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9082

Charles Aubert, Pompeian No.2, 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503084

Aron fra Kangeq, Nordbosagaerne. Fortællingen om Oungortok: Kasape dræber høvdingen Oungortok., 1857–1861, Træsnit på tyndt japanpapir, Statens Museum for Kunst (National Gallery of Denmark), Copenhagen. https://dartabase.art/cite/smk/KKS13358h

Conrad Martens, North and South Brisbane from the South Brisbane rocks, 1851, Pencil on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12856

Charles Meryon, Seine Boat for "Le Pont-au-Change", probably c. 1854, graphite on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9129

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503048

Eugène Delacroix, View of Tangier from the Seashore, 1856–58, Oil on canvas, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/49.4

Honoré Daumier, “- Aren't you getting dressed? - No... I remain like this in my swimming gear all day long, outside the swimming pool. - Even in winter? - Then I put on my hat!,” plate 28 from Croquis D'été, 1858, Lithograph in black on off-white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/84587

Ichiryusai Hiroshige, Suido-bashi, Surugadai (no. 63 from 'Meisho Edo hyakkei' series) (Suido Bridge, Surugadai (no. 63 from 'One hundred famous views of Edo' series)), 1857, Colour woodblock print, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11284

Alfred Jacob Miller, The Thirsty Trapper, 1858–1860, watercolor heightened with white on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.26

George Baxter, The Princess Royal, 1858, Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54233

Edgar Degas, The Infanta Margarita, after Velázquez, c. 1861–62, Etching and drypoint; second state of two (only known impression), The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334667

George Baxter, Hagar And Ishmael, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59539

Conrad Martens, Brisbane, c.1852, Watercolour and gouache over pencil on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/10809

Charles Meryon, Moliere's Tomb, probably c. 1854, graphite with red chalk additions on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9127

Constant Troyon, Landscape with Cattle and Sheep, c. 1852–58, Oil on canvas, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/49.6

Alexandre-Gabriel Decamps, Job and His Friends, c. 1852, Oil on canvas, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/39.48

Honoré Daumier, A Naples - Le meilleur des rois... (1st plate), 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6349

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00907

Joseph-Théodore Deck, Gallic Rooster, c. 1880, earthenware with glazes, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/48.2537

Edgar Degas, Two Dancers, Half-length, 1854, Pastel and charcoal on tracing paper with a joined strip, laid down on cardboard, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436167

George Baxter, The Holy Family, also called The Large Holy Family, 1855, Etching and aquatint on steel, printed in black, with block printing in sepia, on wove paper, varnished (Baxterotype), laid down on original mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59497

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503066

Ichiryusai Hiroshige, Tojiba hot springs (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty odd provinces)' series), 1853, Woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/5617

Anonymous Artist, Christ with Saint John the Baptist as Children, probably 1855/1860, marble, National Gallery of Art, Washington. https://dartabase.art/cite/nga/122

Jean-Marie Saint-Eve, Temptation on the Mount, 1854, watercolor, crayon and graphite on cream, moderately thick, moderately textured wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.916

George Baxter, Rev. John Wesley, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54281

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503026

Paul Gavarni, V'la l'coco: The Chocolate Vendor, 1855–1857, watercolor and colored inks with graphite underdrawing heightened with white on moderately thick, slighty textured wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1449

George Baxter, His Royal Highness Prince Albert, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54228

Johan Kristian Berger, Kronborg Castle by Moonlight, 1852, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106357912

George Baxter, Prince Frederick William of Prussia, 1858, Steel etching and stipple printed in black, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54240

Utagawa Hirosada, (Hatakeyama Shigetada, Kabuki actor) (Osaka print), 1855, Colour woodblock print on Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12475

Untitled (Eight Atalanta Crewmen), July 30, 1856, Daguerreotype, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/27494

Jean-François Millet, Nächtliche Szene im Wald, c. 1855, Schwarze Kreide auf geripptem Büttenpapier, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/23937

Dante Gabriel Rossetti, David, 1858–64, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00842

Félix Bracquemond, Charles Meryon, 1853, heliogravure on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5260

Honoré Daumier, Le Jour de l'an, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6358

Amalia Lindegren, Study of a Man in Turkish Dress, 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106367905

James McDougal Hart, A Stream in the Adirondacks, 1859, oil on canvas, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.103

Honoré Daumier, (1er Bas Bleu) - Profitons de l'occasion..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6356

Eugene von Guerard, Bush fire between Mount Elephant and Timboon, 1857. https://dartabase.art/cite/wikidata/Q74832709

Honoré Daumier, (Le Domestique) - Monsieur ferait bien..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6347

Léon Marcotte, Armchair, c. 1860, Maple, gilt bronze, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/227

Francis Seymour Haden, Mytton Hall, 1859, drypoint in brown, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1074

Jean-Louis Forain, a) Chimney Corner (recto); b) Two Figures (verso), 1852, a) pen and brown ink and brown wash on wove Chapron Coquelin paper; b) pen and brown ink on wove Chapron Coquelin paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7016

Jean-Louis Forain, To Each His Own, 1852, brush and black ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7032

George Baxter, The Salutation, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128187

Joseph Meeks & Sons, Side Chair, 1859, Rosewood, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/249

Alfred Jacob Miller, Crossing the Divide, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.132

Utagawa Hiroshige, Tango Province: Ama no hashidate (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1853, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/4709

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00890

Gustaf Brusewitz, Hilda Amalia Brusewitz (f. 1853), 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106378078

Alphonse Legros, (Head of a small boy), c.1855–65, Metal point with opaque white on toned wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12661

Silvester Diggles, North Brisbane from the south side, 1858, Pencil on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12691

Frederic Terry, King Street, Sydney, looking west (no. 33 from 'Landscape scenery, illustrating Sydney, Parramatta, Richmond, Maitland, Windsor and Port Jackson, New South Wales' series), 1854, published 1855, Etching and engraving on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11268

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00892

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00904

Conrad Martens, Brisbane, 1855, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/14440

Charles Meryon, La Rue des Toiles, à Bourges, 1853, etching and drypoint on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9145

Eugene von Guerard, From the verandah of Purrumbete, 1858, National Gallery of Australia, Canberra. https://dartabase.art/cite/wikidata/Q28794173

Max Rosenthal, Sun Bird, 1851, Color lithograph; Sheet: 27 × 17.5 cm (10 5/8 × 6 7/8"); Book (closed): 28.1 × 19.8 × 3.5 cm (11 1/16 × 7 13/16 × 1 3/8"); Book (opened): 28.1 × 41.2 cm (11 1/16 × 16 1/4"), National Portrait Gallery, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643399756728-1643399817474-0

Utagawa Kunisada Ii, Kabuki actor as the samurai Makuwa Daiki Tsunetake from Bakin's 'Hakkenden', 1852, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/4101

Honoré Daumier, Oui, monsieur Chapuzot..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6369

George Baxter, Belle of the Village, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61574

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00887

Ise-Kane, Tokaido Gojusan Tsugi no Uchi, 1852 (late Edo), mulberry paper, pigments, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/95.758

Francis Seymour Haden, Thames Fishermen, 1859, drypoint with etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7654

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503059

Charles Meryon, Adresse de Rochoux, Marchand d'estampes (The Address-Card of Rochoux, a Printseller), probably 1856, etching in red and black on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9086

Charles Meryon, Porte d'un ancien couvent, Rue Mirabeau, à Bourges (Doorway of an Ancient Convent, in the Rue Mirabeau, Bourges), 1851, etching and drypoint on Japanese wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9142

George Baxter, The Fruit Girl of the Alps, 1859, Etching, stipple, and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on original mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59508

Utagawa Kunisada Ii, A New Year's interview (right-hand panel of triptych), 1856, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3599

Charles Meryon, L'abside de Notre-Dame de Paris (The Apse of the Cathedral of Notre-Dame, Paris), 1854, etching, drypoint, and engraving on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9103

Paul Gavarni, Alexander Gabriel Descamps, 1853, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7336

Paul Gavarni, Old Woman, 1852–1866, iron gall ink with red and blue colored inks heightened with white on brown, moderately thick, slightly textured wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1444

Edgar Degas, Portrait of a Woman, after a Drawing in the Uffizi then attributed to Leonardo da Vinci, 1858–1859, Graphite on off-white wove paper, Harvard Art Museums, Cambridge. https://dartabase.art/cite/harvard/1423

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00880

Eliza Cox, Clematis and Thysanotis (Common Fringe lily), c.1852–83, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/9086

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503055

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503042

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503047

George Baxter, "Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache, c. 1854, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54275

George Baxter, The Daughter of the Regiment, 1856, Steel etching and stipple printed in blue, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54249

Jean-Louis Forain, a) Chauffeur and Procession (recto); b) Two Sketches of Chauffeur and Passenger (verso), 1852, a) black crayon on wove paper; b) graphite on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7028

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00900

François Bonvin, Der kleine Zeichner, 1856, Kohle und schwarze Kreide, verwischt und gekratzt, auf geripptem Büttenpapier, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/10482

Charles Meryon, La Pompe Notre-Dame, Paris (The Notre-Dame Pump), 1852, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9100

Honoré Daumier, A l'instar d'Henri IV, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6361

George Baxter, "I Don't Like It!," also called "So Nasty!", 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54308

George Baxter, The Siege of Sebastopol, 1855, Steel etching and stipple printed in black, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54202

Edgar Degas, The Engraver Joseph Tourny (Le graveur Joseph Tourny), 1857 (third printing), etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6479

Johan Peter Raadsig, View from Kullen, Sweden, 1858, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368467

Archer and Warner, Astral Lamp, c. 1855, Brass, glass, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/280

George Baxter, King Saul, from Religious Events, No. 1 and No. 2., 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54155

Ichiryusai Hiroshige, Noto Province, Waterfall Bay (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty odd provinces)' series), 1853, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8873

Jean-Louis Forain, Nude on Rocks, 1852, watercolor on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7027

Conrad Martens, Coochin, 1851, Pencil on off-white wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11600

Vilhelm Melbye, Sea Piece, 1859, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368141

Alfred Jacob Miller, Caravan en Route, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.51

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00908

Conrad Martens, Forest, Cunningham's Gap, 1856, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8766

Alphonse Legros, (Head of a youth), c.1855–65, Metal point with opaque white on toned paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12662

George Baxter, The May Queen Set, 1858, Steel etching, aquatint, and stipple printed in black, with block printing in colors (from 8 blocks), on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54175

George Baxter, "Vive L'Empereur!" Napoleon III, also called Napoleon III, long moustache, c. 1854, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54272

Ichiryusai Hiroshige, Shimonoseki, Nagato Province (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1855, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20646

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503068

George Baxter, The Late Duke of Wellington, also called Wellington without arm, 1852, Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54266

Charles Meryon, Moliere's Tomb, probably c. 1854, graphite on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9136

Conrad Martens, Killarney, Canning Downs, 1854, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8956

Toyohara Kunichika, Courtesan and her attendants, 1859, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/568

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503043

Ichiryusai Hiroshige, The Go Gorge at Bitchu Province (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1853, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20644

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00889

Jean-Louis Forain, a) Lady and Gentleman in Evening Dress (recto); b) Sketch of Figure (verso), 1852, a) pen and black ink on wove paper; b) pen and black ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7025

Charles Meryon, Seated Male Figure for "San Francisco", probably c. 1856, graphite on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9135

George Baxter, The Parting Look (with Man and Box), 1858, Steel engraving colored with wooden blocks, on paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61563

Anna Elisabet Amanda Tigerhielm, Self-portrait, 1857, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106378504

George Baxter, Dover Coast, 1855, Steel etching and aquatint printed in black on wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59571

Gustave Courbet, Spring Flowers, c. 1855–60, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436026

Thomas Woolner, Portrait medallion of William Charles Wentworth, c.1854, Copper, black paint, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/243

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503044

George Baxter, Lake Lucerne, Switzerland, 1857, Steel engraving colored with wooden blocks, on paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61555

Charles Meryon, Armes symboliques de la ville de Paris (Symbolical Arms of the City of Paris), 1854, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9091

Moritz Retzsch, Scene at Spa, 1851, pencil on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1277

Sarah Ann Wilson, Album Quilt, 1854, Appliquéd, pieced and embroidered quilt; dyed, undyed and printed cotton plain weave fabrics and cotton and silk velvet fabric; cotton embroidery threads, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/153633

Constantin Hansen, Loki. Study for Ægir’s Feast, 1855, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368222

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503092

Roger Fenton, London: The British Museum, 1857, Albuminpapier auf Karton, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/102504

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00896

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00899

Charles Meryon, La galerie Notre-Dame, Paris (The Gallery of Notre Dame, Paris), 1853, etching and engraving on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/866

Abraham - Artist, SIMMONDS, William Henry - Engraver, E. GAMBART & Co. Solomon, The departure (second class) and The return (first class), 1857, Engravings with stipple and roulette on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/10859

Ichiryusai Hiroshige, Shisa, Iki Province (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1856, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20647

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00903

George Baxter, Dover Coast, 1855, Steel etching and aquatint printed in black, with block printing in sepia, on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59569

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503045

Ichiryusai Hiroshige, Mount Kano, Kazusa Province (from 'Fuji sanjurokkei (Thirty-six views of Mount Fuji)' series), 1858, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20648

Charles Marville, Sky Study, Paris, 1856–57, albumen print from wet collodion negative, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/154075

Édouard Manet, The Man in the Tall Hat, 1858/1859, watercolor and graphite, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8678

Moritz Unna, Woman with Handwork outside a Fisherman’s Hut, 1852, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368217

George Baxter, Edmund Burke, 1856, Steel etching and stipple printed in black, with block printing in colors, on wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54260

Charles Meryon, Titre des eaux-fortes sur Paris (Title Page to the Set of Etchings of Paris), 1852, etching on blue wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9088

Gustaf Brusewitz, Helena Maria Brusewitz (1849-1932), 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106378046

Édouard Baldus, Orange: Die Mauer des Théâtre antique, 1858, Albuminpapier auf Karton, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/102465

UNKNOWN, Ink-well, c.1854–55, Glass, lead crystal cut with silver rim and lid, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/9194

Francis Seymour Haden, Early Morning - Richmond, 1859, etching and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1073

Eugene von Guerard, Purrumbete from across the lake, 1858, National Gallery of Australia, Canberra. https://dartabase.art/cite/wikidata/Q28797418

George Baxter, The Late Duke of Wellington (with Arm), 1853, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54269

Georg Saal, The Verma Waterfalls. Study, 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368159

Honoré Daumier, Mais, monsieur, je vous assure que c'est du... veau!..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6368

Shodo-sho, Leaf from Album Depicting the Sixteen Lohans (Arhats), 1851 (Edo), ink and colors on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/35.167.25

George Baxter, The Princess Royal (Ring Out Old England's Bells), 1858, Steel etching printed in black, with block printing in colors, on wove paper, laid down on sheet music cover page with gold printing, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/138634

George Baxter, View from Harrow-on-the-Hill, 1851, Steel etching, aquatint, and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54376

Jean-Louis Forain, On sonne! Si c'est l'Anglais d'hier maman tu t'en iras!, 1852, graphite and black crayon on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7017

Eugène Delacroix, Greek Cavalry Men Resting in Forest, 1858, oil on fabric, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/95259

George Baxter, Victoria, Queen of Great Britain, India, etc., also called The Large Queen, 1859, Etching, mezzotint, and roulette on steel, printed in black, with color block printing, on ivory wove paper, varnished, laid down on original mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59491

Henry Short, Fruit and flowers, 1859, Oil on canvas, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/15168

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00879

George Baxter, Vah-ta-ah, the Feejeean Princess, 1857, Steel etching and stipple, with block printing in colors, on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54118

Conrad Martens, Bottle tree, 1851, Pencil on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3800

UNKNOWN, (Portrait of two gentlemen), c.1851–65, Hand-coloured ambrotype on glass, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/10441

Honoré Daumier, Oui, monsieur Gimblet, l'ordre ne sera... rétabli..., 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6262

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00905

William Callow, Rathaus, Hanover, 1852, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00142

Gustave Courbet, Madame Auguste Cuoq (Mathilde Desportes, 1827–1910), c. 1852–57, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436016

George Baxter, Sir Robert Peel (without Finger), 1853, Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54251

George Baxter, The Hop Garden, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54363

Honoré Daumier, Madame Chapotard se disposant a faire ses confitures, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6366

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00884

Gustave Courbet, Blick auf Frankfurt am Main mit der Alten Brücke von Sachsenhausen her, 1858, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/4000

Honoré Daumier, Le Jour ou l'on dine chez Monsieur le Directeur..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6367

Utagawa Kuniyoshi, The drama of Chushingura (11th Act), 1854, Colour woodblock print, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/4420

Alfred Jacob Miller, The Trapper's Bride, 1858–59, watercolor heightened with white on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.12

Charles Meryon, Le tombeau de Molière, au Père-Lachaise, Paris (Moliere's Tomb, in Père-Lachaise Cemetary, Paris), 1854, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9083

William B. Dexter, Game, c.1853, Oil on canvas, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1573

Conrad Martens, Coochin Run, 1854, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8767

Utagawa Hiroshige Ii, Kanazawa and Kamakura (from 'Famous views of the Tokaido' series), c.1858, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/9401

Honoré Daumier, Je vous arrête, mauvais sujet..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6364

Honoré Daumier, Il y a la guerre... les loyers vont... diminuer..., 1859, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6404

Honoré Daumier, Art Lovers, c. 1863, Gray and black wash, charcoal, and graphite, with watercolor, on cream laid paper, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/109042

George Baxter, "So Tired!", 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54328

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00894

Ichiryusai Hiroshige, Kannon Temple at Abuto, Bingo Province (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1853, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20645

Dante Gabriel Rossetti, King David, 1858–64, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00844

George Baxter, The Day before Marriage, 1854, Etching, aquatint, and roulette on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on board, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59510

Alfred Jacob Miller, Free Trappers in Trouble, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.163

Jean-Louis Forain, a) Waiter and Customer (recto); b) Sketch of a Man and Woman (verso), 1852, a) brush and black ink and graphite on wove paper; b) brush and black ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7015

Adolf Schreyer, Rastende Araber an einem Marmorbrunnen, 1856, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1370

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503100

Utagawa Kunisada Ii, A New Year's interview (left-hand panel of triptych), 1856, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/410

Eugene von Guerard, View of Geelong, 1856, Geelong Art Gallery, Geelong. https://dartabase.art/cite/wikidata/Q7928775

Nadar (Gaspard Félix Tournachon), Élie-Louis, duc Decazes (French statesman and diplomat, 1819-1886), c. 1853/77, Woodburytype, from the periodical “Galerie Contemporaine Littéraire, Artistique” (1877), volume 2, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/144581

Francis Frith, Der Kiosk des Trajan auf der Nilinsel Philae, 1857, Albuminpapier auf Karton, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/102508

Constantin Hansen, Jean Holm, inhabitant at Bombebøssen, a Shelter for Poor Seamen, 1851, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368345

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503038

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503080

Jean-Louis Forain, a) Nurse and Child (recto); b) Man on Horseback (verso), 1852, a) pen and black ink on wove paper; b) pen and black ink and purple pencil on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7018

Conrad Martens, The homestead, Canning Downs, 1852, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/13598

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00901

Félix Bracquemond, Charles Meryon, 1854, etching in brown-black and red on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5262

George Baxter, Christmas Time, 1859, Steel engraving printed in black, with block printing in colors, on wove paper, varnished, laid down, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54305

Gustave Courbet, Hunting Dogs with Dead Hare, 1857, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436014

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00888

Paul Gavarni, Old Woman in Red Cap, 1852–1866, iron gall ink, red ink, and sanguine colored ink with white heightening on brown moderately thick slightly textured wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1419

George Baxter, Queen and the Heroes of India, 1857, Steel etching and stipple printed in black, with block printing in colors, on wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54172

Ichiryusai Hiroshige, Ryogoku, hanabi (no. 98 from 'Meisho Edo hyakkei' series) (Fireworks at Ryogoku (no. 98 from 'One hundred famous views of Edo' series)), 1858, Colour woodblock print, crepe process on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8645

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503069

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00897

Francis Seymour Haden, On the Test, in or after 1859, etching and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1079

Honoré Daumier, L'Inconvénient d'avoir un ami mélomane, 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6357

James McNeill Whistler (1834-1903), Etching plate: Becquet, 1859, Copper; H x W: 25.5 x 19.3 cm (10 1/16 x 7 5/8 in), National Museum of Asian Art, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643390182193-1643390182511-0

Jean-Louis Forain, Comedie Parisienne, 1852, graphite and brush and black ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7020

Joseph Meeks & Sons, Side Chair, 1859, Rosewood, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/248

Shodo-sho, Leaf from Album Depicting the Sixteen Lohans (Arhats), 1851 (Edo), ink and colors on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/35.167.1

Pierre Joseph Chardigny, [Untitled], 1851, Waxed plaster, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/478

Jean-Louis Forain, a) Print Connoisseur (recto); b) Sketch of Print Connoisseur (verso), 1852, a) brush and brown ink and black chalk with brown wash and white heightening on laid Van Gelder paper; b) black crayon on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7021

Silvester Diggles, View from Kangaroo Point, 1858, Pencil on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12693

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503093

George Baxter, The Saviour, also called Ecce Homo, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54298

Gustave Courbet, Madame Frederic Breyer (Fanny Hélène Van Bruyssel, 1830–1894), 1858, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436000

Ichiryusai Hiroshige, Water at Komeido, c.1852, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/4432

George Baxter, The Pas des Trois, 1855, Steel etching and stipple printed in purple, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54158

Charles Meryon, Armes symboliques de la ville de Paris (Symbolical Arms of the City of Paris), 1854, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9090

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503091

Honoré Daumier, At the Deligny Baths. - The ladder at 4 p.m., plate 33 from Croquis D'été, 1858, Lithograph in black on off-white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/84593

Chief Justice Roger B. Taney, <I>The Case of Dred Scott in the United States Supreme Court</I>, 1857, ink on paper with string; H x W x D: 9 1/16 × 5 13/16 × 5/16 in. (23 × 14.7 × 0.8 cm), National Museum of African American History and Culture, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643398738600-1643398750333-1

French, Peasant Woman Embracing Crucifix, c. 1870, black crayon, watercolor and opaque watercolor on blue, moderately thick, slightly textured wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1331

George Baxter, St. Paul Preaching at Athens, from The Raphael Cartoons, 1855, Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on ivory wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59559

James Tissot, A Patriarch, c. 1870, watercolor with graphite underdrawing on cream, moderately thick, smooth wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.2009

Charles Meryon, Plan du Combat de Sinope (Plan of the Battle of Sinope), 1853, etching with watercolor additions on Van Gelder laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9139

Jørgen Roed, The Actor Kristian Mantzius, 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368196

Johan Vilhelm Gertner, Study of an Old Woman with a Huckle and a Shawl, 1854, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368213

George Baxter, The Lovers' Letter-Box, 1856, Etching, stipple, and aquatint on steel, printed in black, with block printing in colors, on wove paper, varnished, laid down on secondary support, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59512

Alfred Jacob Miller, Indian Courtship, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.168

Jean-Louis Forain, At an Evening Party, 1852, pen and brown ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7031

William Holbrook Beard, Lightning Struck a Flock of Witches, c. 1859–1896, oil on cardboard; 12 1/4 × 17 5/8 in. (31.1 × 44.8 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381070102-1

Honoré Daumier, L'Esprit frappeur, probably 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6355

Thomas - Engraver, TULLOCH, after David Ham, Great meeting of gold diggers, December l5th 1851, 1852, Colour lithograph, hand-coloured on smooth wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/2188

Eliza Cox, Billaridiera longfola, c.1852–83, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11784

George Baxter, Needle Box with an impression of The Corn Field, 1857, Steel etching, with block printing in colors, on wove paper, laid down on box lid, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61604

Charles Meryon, Saint-Etienne-du-Mont, Paris (Church of St. Stephen of the Mount, Paris), 1852, etching on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9098

Gustave Courbet, Alphonse Promayet (1822–1872), 1851, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436008

Honoré Daumier, L'Artiste - Voila qui est terminé!..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6377

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503077

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00885

Ernest Meissonier, A Painter, 1855, oil on mahogany, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/150841

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503098

Conrad Martens, House and garden, Goomburra, c.1853, Watercolour and pencil on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3192

Thomas Couture, Soap Bubbles, c. 1859, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436030

Alfred Jacob Miller, Indian Council, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.127

George Baxter, The Crucifixion, also called The Small Crucifixion, 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), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54293

Angilbert Göbel, Arme Leute, 1858, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1414

George Baxter, Lord Nelson, 1853, Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54257

Ichiryusai Hiroshige, Horai Temple, Mikawa Province (from 'Rokujuyoshu meisho zue (Views of famous places of the sixty-odd provinces)' series), 1853, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20643

Utagawa Kunisada, Patriot girl, Princess Shiranui, 1854, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3239

Albert Bierstadt, Gathering Storm, (c. 1857–1858), Oil on paper mounted on paperboard; 6 7/8 x 9 3/4 in. (17.4 x 24.7 cm), Hirshhorn Museum and Sculpture Garden, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643399857816-1643399858554-0

George Baxter, The Crucifixion, also called The Large Crucifixion, 1855, Etching and aquatint in black and block printing in sepia on ivory wove paper, varnished (Baxterotype), laid down on original mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/138636

Shodo-sho, Leaf from Album Depicting the Sixteen Lohans (Arhats), 1851 (Edo), ink and colors on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/35.167.9

Adolph von Menzel, Der Bärenzwinger im zoologischen Garten (The Bear Pit in the Zoological Gardens), 1851, lithograph on Chine appliqué on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9075

Honoré Daumier, Une Promenade conjugale, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6360

George Baxter, David, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128184

Alfred Jacob Miller, Camp Scene (Sioux), 1858–1860, watercolor heightened with white on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.64

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503073

William Callow, Unidentified Market Place, ? Lubeck or Leipzig, 1852, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00143

Francis Seymour Haden, Amalfi, in or before 1858, etching and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7647

Edgar Degas, Self-Portrait, 1857, Etching in black on ivory laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/13551

Arthur - Engraver, FOSTER, after Myles Birket Willmore, (Shepherds with sheep and cattle overlooking sea), c.1855–88, Steel engraving on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11466

George Baxter, Victoria, Queen of Great Britain, India, etc., also called The Large Queen, 1859, Etching, mezzotint, and roulette on steel, printed in black, on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59493

Léopold Flameng, Charles Meryon, 1858, photogravure on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6851

Charles Robert Leslie, Falstaff Personating the King, c.1851, Oil paint on wood, Tate, London. https://dartabase.art/cite/tate/A00739

Jean Baptiste Camille Corot, The Gardens of Horace (Les Jardins d'Horace), 1855, cliché-verre, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6001

George Baxter, The Soldier's Farewell, The Parents' Gift, 1855, Steel etching and stipple printed in black, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54204

Gustave Courbet, View of Ornans, probably mid-1850s, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436025

Constantin Hansen, Tor. Study for Aegir’s Feast, 1857, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368225

John Frederick Kensett, An October Day in the White Mountains, 1854, oil on canvas, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/143477

Nadar (Gaspard Félix Tournachon), Champfleury (born Jules François Felix Fleury-Husson, French critic and novelist, 1821-1889), c. 1855/59, Woodburytype, from the periodical “Galerie Contemporaine Littéraire, Artistique” (1878), volume 6, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/144578

Kagaya Katsugoro of Hongo, Sugawara denju tenarai kagami, 1852 (late Edo), mulberry paper, pigments, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/95.766

James McNeill Whistler (1834-1903), Soupe à Trois Sous, 1859, Etching; ink on paper; H x W: 15.3 x 22.7 cm (6 x 8 15/16 in), National Museum of Asian Art, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643390182193-1643390183260-0

George Baxter, Religious Events No. 1, 1852, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54149

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00881

Jasper Francis Cropsey, Catskill Mountain House, 1855, Oil on canvas, Minneapolis Institute of Art, Minneapolis. https://dartabase.art/cite/mia/31.47

George Baxter, The Birth of the Saviour, also called The Nativity or The Adoration, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54287

Charles Meryon, La Tour de l'Horloge, Paris (The Clock Tower, Paris), 1852, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9097

August Malmström, The Ride of the Valkyries. Study for The Battle of Bråvalla, 1859, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106359430

Amalia Lindegren, At A Tavern, 1853, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368366

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503090

Paul Gavarni [Chevalier], A Sailor Standing on the Shore, 1859–60, Pen and brown ink with wash and watercolor, heightened with white on cream wove paper, laid on card, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334666

Utagawa Kunisada Ii, A New Year's interview, 1856, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/37122

George Baxter, St. Peter and St. John Healing the Sick, from The Raphael Cartoons, 1855, Steel etching, aquatint, and stipple printed in brown, with block printing in sepia, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59561

Théodore Chassériau, Femmes Mauresques de Constantine, 1851, soft-ground and hard-ground etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5958

George Baxter, Flora, also called Flora the Gypsy Girl, 1852, Steel engraving, with stipple, printed in black, with block printing in 11 colors, on wove paper, laid down on original mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61577

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503062

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503099

Frederic Terry, Sydney Harbour from Watsons Bay (no. 5 from 'Landscape scenery, illustrating Sydney, Parramatta, Richmond, Maitland, Windsor and Port Jackson, New South Wales' series), 1854, published 1855, Etching and engraving on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/10624

George Baxter, The Saviour, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128185

Conrad Martens, Middle Harbour, 1859, Watercolour and gouache over pencil on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/7445

Augustin Jean Moreau-Vauthier, The Three Theological Virtues, 1855, ivory, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/71.584

Thomas - Engraver, TULLOCH, after David Ham, Commissioner's tent and officers' quarters, Forest Creek, December 1851, 1852, Colour lithograph with handcolouring on smooth wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/2189

Jean-François Millet, La baratteuse (A woman churning butter), 1855, Etching on thin ivory laid paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12897

Adolph von Menzel, In a Railway Carriage (After a Night's Journey), 1851, Gouache, with touches of pastel and oil paint, on cream wove paper, laid down on Japanese paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/215327

Charles Meryon, Le tombeau de Molière, au Père-Lachaise, Paris (Moliere's Tomb, in Père-Lachaise Cemetary, Paris), 1854, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9105

Utagawa Kunisada Ii, A New Year's interview (centre panel of triptych), 1856, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/246

Charles-François Daubigny, Villerville Seen from Le Ratier, 1855, oil on fabric, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/128363

Alphonse Legros, Procession in the Sepulchre of Saint Medard(Procession dans le caveaux de St.-Medard), 1859, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8309

Jean Baptiste Camille Corot, Reverie, 1857 or later, Oil on wood, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/435981

Dante Gabriel Rossetti, The Adoration, 1858–64, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00843

Ichiryusai Hiroshige, Ryogoku, hanabi (no. 98 from 'Meisho Edo hyakkei' series) (Fireworks at Ryogoku (no. 98 from 'One hundred famous views of Edo' series)), 1858, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8624

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503087

Robert S. Duncanson, <I>Robbing the Eagle's Nest</I>, 1856, oil on canvas , wood; H x W (unframed): 36 × 46 1/8 in. (91.4 × 117.2 cm); Storage: 142.2 × 167.6 × 33 cm (56 × 66 × 13 in.); H x W x D (framed): 46 1/4 × 56 × 3 1/8 in. (117.5 × 142.2 × 8 cm), National Museum of African American History and Culture, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643398738600-1643398742824-1

Félix Bracquemond, Profile Portrait of Charles Meryon, 1854, Etching in black on ivory laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/63640

Jean-Louis Forain, Consolation, 1852, black crayon and brush and ink on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7034

Jean-Louis Forain, a) Ludus pro Populo (recto); b) Head of a Man (verso), 1852, a) black crayon on wove paper; b) black crayon on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7030

Sir Edward John Poynter (1836-1919), Portrait of Whistler, 1858, Pencil on paper; H x W: 18.6 x 13.2 cm (7 5/16 x 5 3/16 in), National Museum of Asian Art, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643390182193-1643390183164-0

Alfred Jacob Miller, Indian Girl with Papoose Crossing Stream, 1858–1860, wash heightened with white on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.14

Edgar Degas, The Dancers, 1854, Pastel and charcoal on paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436137

UNKNOWN, Card case, c.1853–54, Silver with moulded scrolls and vertical engine- turned engraving, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/15107

Francis Seymour Haden, Thames Fishermen, 1859, drypoint with etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1077

Max Rosenthal, The Hen That Hatched This Egg, 1851, Color lithograph; Sheet: 27 × 17.5 cm (10 5/8 × 6 7/8"); Book (closed): 28.1 × 19.8 × 3.5 cm (11 1/16 × 7 13/16 × 1 3/8"); Book (opened): 28.1 × 41.2 cm (11 1/16 × 16 1/4"), National Portrait Gallery, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643399756728-1643399817485-0

Etienne Carjat, Charles Baudelaire (French poet, critic, and writer, 1821-1867), c. 1863, Woodburytype, from the periodical “Galerie Contemporaine Littéraire, Artistique” (1878), volume 5, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/86945

Paul Gavarni, Actors, 1855–1857, transparent watercolor with graphite underdrawing, brown iron gall ink and red ink on cream, moderately thick, smooth wove paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1455

Silvester Diggles, View from New Farm, 1858, Pencil on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11737

Gustave Courbet, Portrait of a Man, probably c. 1862, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436019

Honoré Daumier, Le Commerce un jour d'échéance, 1851, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6350

Honoré Daumier, Il me semble que j'aperçois...  un... chien... pas muselé!..., 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6363

George Baxter, See Saw Margery Daw, also known as Miss Mischief, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54320

Charles Meryon, La morgue, Paris (The Mortuary), 1854, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9104

Amalia Lindegren, Johan Peter Lefrén (1784-1862), general, educationalist, politician, Married to Maria Antoinetta Hedman, 1856, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106373081

Francis Seymour Haden, Early Morning - Richmond, 1859, etching and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7665

George Baxter, The Crucifixion, also called The Large Crucifixion, 1855, Etching and aquatint in black and block printing in sepia on ivory wove paper, varnished (Baxterotype), laid downon original blindstamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59495

Edgar Degas, Self-Portrait (Edgar Degas, par lui-même), 1857, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6478

Edgar Degas, Self-Portrait, c. 1855–56, Oil on paper, laid down on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436158

George Baxter, Sir Robert Peel, also called Peel with Extended Finger, 1853, Steel etching, aquatint, and stipple printed in brown, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54254

Charles Meryon, La Tour de l'Horloge, Paris (The Clock Tower, Paris), 1852, etching on wove Japanese paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9096

Gustave Courbet, After the Hunt, c. 1859, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436007

Alfred Jacob Miller, A ""Surround"" of Buffalo by Indians, 1858–1860, watercolor on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.1940.200

David Johnson, Study, North Conway, New Hampshire, 1851, oil on canvas, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/143140

Sir Edward Coley, Bt Burne-Jones, Study for ‘Buondelmonte’s Wedding’, c.1859, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A01162

Francis Seymour Haden, Mytton Hall, 1859, drypoint in brown, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7667

Eugène Delacroix, Christ Asleep during the Tempest, c. 1853, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436176

Erik Wahlbergson, Self portrait, Erik Wahlbergson (1808-1865), artist, 1851, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106378470

Jean-Louis Forain, Sur le canape, 1852, brush and black ink and brown wash on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7033

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503096

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503064

Markus Lynge, Fortællingen om Akigssiak: Akigssiak kaster indlandsboen ned fra et fjeld, 1859–1860, Træsnit på tyndt japanpapir, Statens Museum for Kunst (National Gallery of Denmark), Copenhagen. https://dartabase.art/cite/smk/KKS13358e

Thomas Woolner, Portrait medallion of Alfred Lord Tennyson, 1856, Bronze, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/10941

Charles Meryon, Le stryge (The Vampire), 1853, etching on Japanese laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9092

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00886

Charles Meryon, La galerie, Notre Dame (from 'Eaux-fortes sur Paris' series) (The gallery, Notre Dame (from 'Views of Paris' series)), 1853, Etching on thin Japanese paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/5069

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503072

YOSHITAKI, Three kabuki actors (Osaka print), 1855, Coloured woodblock print, embossed on Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1105

Charles Meryon, Ancienne porte du Palais de Justice, Paris (Old Gate of the Palace of Justice, Paris), 1854, etching and drypoint on Jan Kool laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9089

Frederik Vermehren, Portrait of a Woman, 1852, Nationalmuseum, Stockholm. https://dartabase.art/cite/nmse/Q106368103

George Baxter, Puss Napping, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54313

Thomas - Engraver, TULLOCH, after David Ham, Golden Point, Ballarat - 1851, 1852, Colour lithograph with handcolouring on smooth wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/2825

Honoré Daumier, Queu poisson!, 1856, Lithograph on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3100

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503079

Conrad Martens, Crossing place, Canning Downs, 1854, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8955

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503086

George Baxter, The Princess Royal, Princess of Prussia, 1858, Steel etching and stipple printed in brown, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54236

Jean Baptiste Camille Corot, A Village Street: Dardagny, 1852, 1857, or 1863, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/435987

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00883

William Linnaeus Casey, Street in Dinan, France, c. 1855–70, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O499830

George Baxter, The Allied Sovereigns and the Commanders of Their Forces, 1855, Steel etching and stipple printed in black, with block printing in colors, on wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54169

Francis Frith, Der Tempel von Kom Ombo in Oberägypten, 1857, Albuminpapier auf Karton, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/102507

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503097

Edward von Steinle, Der Geiger im Turmfenster, 1858, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1615

Edgar Degas, The Old Italian Woman, 1857, Oil on canvas, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/436120

Eliza Cox, Telopea oreades (Tasmanian waratah), 1852, Watercolour on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11785

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503065

Charles Meryon, Le Pont-au-Change, Paris, vers 1784, 1855, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9473

Reuben Townroe, [title not known], c.1858, Watercolour on paper, Tate, London. https://dartabase.art/cite/tate/A00906

Ichiryusai Hiroshige, Sun'en Oigawa (Oi River Suruga and Totomi Province) (from 'Fuji sanjurokkei (Thirty-six views of Mount Fuji)' series), 1858, Colour woodblock print on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/20649

Owen Jones, Original drawing for 'The Grammar of Ornament', 1856, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503067

George Baxter, "It is Finished!", 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), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54295

Dante Gabriel Rossetti, Fanny Cornforth, 1859, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00845

Eliphalet Brown Jr, Temple at Tumai, Lew Chew, 1854, Lithograph on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/33671

Charles Robert Leslie, Head of Prince Hal, c.1851, Oil paint on canvas, Tate, London. https://dartabase.art/cite/tate/A00741

Charles Meryon, Le Pont Neuf, Paris, 1853, etching and drypoint on green laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9101

Utagawa Hiroshige, The Moon-Viewing Promontory, from One Hundred Views of Famous Places in Edo, 1857, color woodblock print, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/152499

George Baxter, The Finding of Moses, from Religious Events No. 1, c. 1852, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/138632

Francis Seymour Haden, Thames Fishermen, 1859, drypoint with etching in dark brown on chine colle, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7646

George Baxter, The Houses of Parliament, 1851, Steel etching and stipple printed in purple, with block printing in colors, on laid paper, laid down on original stamped mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54199

Francis Seymour Haden, Kensington Gardens (The Small Plate), 1859, etching in dark brown, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1076

William Callow, Rathaus, Eisenach, 1852, Graphite on paper, Tate, London. https://dartabase.art/cite/tate/A00146

UNKNOWN, (Portrait of two young girls), c.1855–65, Hand-coloured ambrotype on glass, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/11476

George Baxter, Infantine Jealousy, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54311

Jean Baptiste Camille Corot, Sommerlandschaft, 1855–1860, Öl auf Leinwand, Städel Museum, Frankfurt am Main. https://dartabase.art/cite/staedel/1392

Jean-Louis Forain, Children Looking over the Edge of a Crib, 1852, black crayon on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7022

謝琯樵, 蘭石, 1857, Ink wash, National Taiwan Museum of Fine Arts, Taichung. https://dartabase.art/cite/ntmofa/08200048

Utagawa Kunisada Ii, Mitate on chapter 12 from 'The Tale of Genji', 1857, Colour woodblock print on laid Oriental paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/6407

George Baxter, The Finding of Moses, from Religious Events, No. 1 and No. 2, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128179

Honoré Daumier, The Bath at 4 Sous, plate 29 from Croquis D'été, 1858, Lithograph in black on off-white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/84589

George Baxter, News from Australia, 1854, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original card mount (trimmed), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/61505

Eugene von Guerard, Warrenheip Hills near Ballarat, 1854, National Gallery of Victoria, Melbourne. https://dartabase.art/cite/wikidata/Q20470339

George Baxter, Eugenie, Empress of the French, 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54278

Hugh Cameron, (Unfinished portrait of a lady), 1858, Watercolour over pencil on wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/8480

Silvester Diggles, Kangaroo Point, 1858, Pencil on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12692

Honoré Daumier, Se réjouissant... de la fin de la Canicule, 1852, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6362

Owen Jones, The Grammar of Ornament, c. 1855–6, Victoria and Albert Museum, London. https://dartabase.art/cite/vam/O503081

George Baxter, The Third Day He Rose Again, 1854, Steel etching, aquatint, and stipple printed in black, with block printing in colors, on wove paper, laid down on original card mount, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/59555

Charles Meryon, La Loi lunaire, 1er planche ("Lunar" Law, 1st plate), 1856, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9112

George Baxter, "So Nice!", 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, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/54316

Edgar Degas, Sheet of Studies and Sketches, 1858, graphite, pen and dark brown ink, and watercolor on thick ivory wove paper, Cleveland Museum of Art, Cleveland. https://dartabase.art/cite/cleveland/128808