Jean Lurçat, Harlequin and his Shadow (plate, folio 13) from Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16700 Childe Hassam, The Church at Old Lyme, 1924, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1080 Pierre Bonnard, The Bath, c. 1925, Lithograph in black on off-white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/73386 Georges Rouault, Trial proof for Man Is A Wolf To Man, plate XXXVII from Miserere, 1926, Aquatint and drypoint over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16734 Jean Lurçat, Plate (folio 6) from the illustrated book Toupies, 1925, Drypoint and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16693 Georges Rouault, Trial proof for We Think Ourselves Kings, plate VII from Miserere, 1923, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19811 Käthe Kollwitz, Bread (Brot), 1924, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8197 Georges Rouault, Trial proof for Face To Face, plate XL from Miserere, 1926, Aquatint, etching, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16736 Georges Rouault, Trial proof for Death Took Him As He Rose From His Bed of Nettles, plate XLV from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16788 Paul Klee, Der Verliebte (The Loved One), 1923, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8107 Georges Rouault, Trial proof for And Veronica With Her Delicate Linen Still Goes Her Way..., plate XXXIII from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16706 Margaret Jordan Patterson, Garden Flowers, c. 1920, color woodcut on paper; sheet: 10 7/16 x 7 3/8 in. (26.1 x 18.8 cm.), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381052630-0 Georges Rouault, Trial proof for It is Hard to Live..., plate XII from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16661 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221149 Marcel Duchamp, Monte Carlo Bond (No. 12), 1924, Cut-and-pasted gelatin silver prints on lithograph with letterpress, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32984 Georges Rouault, Trial proof for Christ Laying On His Hands, rejected plate from Miserere, c. 1922–1927, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11638 Jean Lurçat, Harlequin General , plate from the illustrated book Toupies, 1925, Etching, aquatint, and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16694 Jean Lurçat, Dancing Harlequin, plate from the illustrated book Toupies, 1925, Etching, aquatint, and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16692 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221150 Jean Lurçat, Harlequin Mime , plate (folio 8) from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16695 Georges Rouault, Trial proof for Eternally Scourged..., plate III from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16567 Georges Rouault, Trial proof for Take Refuge in Your Heart, Miserable Vagabond, plate IV from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16605 Edward Timothy Hurley, Fountain Square: Night (Cincinnati), 1921, aquatint and etching on paper; 11 3/4 x 9 1/8 in. (29.8 x 23.2 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047222-0 Georges Rouault, Trial proof for Daughter of Joy, So-Called, plate XIV from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16663 Emil Nolde, Mythical Creatures (Fabelwesen) from Das graphische Werk von Emil Nolde 1910-1925, (1926, published 1927), Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11614 Georges Rouault, Trial proof for Christ Laying On His Hands, rejected plate from Miserere, c. 1922–1927, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14926 Joseph Pennell, The Square, Independence Square, Philadelphia, 1920, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9574 Georges Rouault, Trial proof for Abandoned, rejected plate from Miserere, c. 1922–1927, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19822 Georges Rouault, Trial proof for The Bad Grain Will Be Removed Tomorrow I, rejected plate from Miserere, c. 1922–1927, Lift ground aquatint and aquatint over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/24653 Charles E. Heil, Young Bluejay, c. 1923, etching on paper; plate: 6 7/8 x 8 7/8 in. (17.5 x 22.7 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381046696-1 Jean Lurçat, Harlequin and the Gardener , plate from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16698 Jean Lurçat, Harlequin Hamlet , plate from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16688 Georges Rouault, Trial proof for "They Have Ruined Even the Ruins," plate XXXIV from Miserere, 1926, Aquatint, lift ground aquatint, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14908 Georges Rouault, Trial proof for In The Press, The Grapes Were Trodden, plate XLVIII from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16824 Emil Nolde, Elderly Men (Ältere Herren) from Das graphische Werk von Emil Nolde 1920-1925, (1926, published 1927), Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11612 Margaret Jordan Patterson, Zinnias and Marigolds, c. 1921, color woodcut on paper; sheet: 10 x 7 1/8 in. (25.3 x 18.1 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381052632-0 Charles E. Heil, Chickadee no. 1, c. 1923, etching on paper; plate: 6 7/8 x 5 in. (17.5 x 12.6 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381046696-0 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221145 Georges Rouault, Trial proof for In the Land of Thirst and Terror, plate XXVI from Miserere, 1923, Aquatint and lift ground aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16284 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Color lithograph on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128085 Georges Rouault, Trial proof for Street of the Lonely, plate XXIII from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16675 Timothy Cole, Thomas Jefferson, 1926, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5972 Timothy Cole, Rodin, 1926, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5974 Edward Hopper, Evening Wind, 1921, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7779 Käthe Kollwitz, Germany's Children are Hungry! (Deutschlands Kinder Hungern!), 1924, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8199 Käthe Kollwitz, Bettelnde (Begging), 1924, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8150 Unknown artist, Organizatsiia proizvodstva pobeda nad kapitalisticheskim stroem (Organization of Production is Victory Over the Capitalist Regime), c. 1920, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9019 Georges Rouault, Trial proof for The Condemned is Led Away..., plate XVIII from Miserere, 1922, Aquatint, etching, and drypoint with roulette over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16670 Georges Rouault, Trial proof for Mouth that was Fresh, Bitter as Gall, plate XV from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16665 Joseph Pennell, Building the Freidrich-Strasse Station, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9612 Jean Lurçat, Homosexual Harlequin , plate from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16691 Georges Rouault, Trial proof for Sing Matins, A New Day Is Born, plate XXIX from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16701 Timothy Cole, Abraham Lincoln, 1928, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5969 Marc Chagall, Untitled from My Life, 1922, published 1923 (hand additions executed 1946), Title page with hand additions from a portfolio of twenty etchings, fifteen with drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/22273 Joseph Pennell, Gas Works from the Canal, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9611 Timothy Cole, Alexander Hamilton, 1922, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5970 Georges Rouault, Trial proof for We Think Ourselves Kings, plate VII from Miserere, 1923, Aquatint, lift ground aquatint, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16281 Georges Rouault, Trial proof for Old Mother, Now Cries Alone, c. 1922–1927., Lift ground aquatint, aquatint, and drypoint over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/21924 Paul Klee, A Genius Serves a Small Breakfast (Ein Genius serviert ein kleines Frühstück), 1920, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8108 Georges Rouault, Trial proof for Jesus Mocked..., plate II from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16551 Joseph Pennell, Building the Freidrich-Strasse Station, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9602 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221146 Georges Rouault, Trial proof for Tomorrow Will Be Beautiful, Said The Shipwrecked Man, plate XI from Miserere, 1922, Aquatintand drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16651 Childe Hassam, A Vermont Village, 1923, etching and drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1083 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221151 Ingeborg Andreasen-Lindborg, Lola, 1920, drypoint; sight 8 1/2 x 6 3/4 in. (21.6 x 17.1 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381049324-1 Georges Rouault, Trial proof for ...The Accused Indicted Beneath A Forgotten Crucifix, rejected plate from Miserere, c. 1922–1927, Aquatint over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12335 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128087 Jean Lurçat, Jesuit Harlequin , plate (folio 9) from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16696 Jean Lurçat, Harlequin's Lust , plate (folio 10) from the illustrated book Toupies, 1925, Etching, aquatint, and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16697 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221148 Jean Lurçat, Harlequin Diplomat , plate from the illustrated book Toupies, 1925, Etching, aquatint, and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16689 Joseph Pennell, Landwehr Canal, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9608 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221144 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199176 Georges Rouault, Plus le coeur est noble, moins le col est roide (The Nobler the Heart, the Less Stiff the Collar) for the illustrated book Miserere, 1926, published 1948, Aquatint, drypoint and photogravure with ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16843 Georges Rouault, Trial proof for The Society Lady Fancies She Has a Rserved Seat in Heaven, plate XVI from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16668 Joseph Pennell, Mid-day, General Electric Works, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9694 George Canning Wales, The Fore Chains, 1922, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6303 Georges Rouault, Trial proof for This Will Be The Last Time, Little Father!, plate XXXVI from Miserere, 1927, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16728 Paul Klee, The Tight Rope Walker (Seiltänzer), 1923, lithograph in black and pink, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8106 Georges Rouault, Trial proof for In These Dark Times Of Vainglory And Unbelief, Our Lady of Land's End Keeps Vigil, plate LVI from Miserere, 1927, Aquatint, etching, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16927 Childe Hassam, The Chase House, 1929, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7738 Timothy Cole, The Mill, 1920, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5967 Timothy Cole, Theodore Roosevelt, 1928, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5976 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128086 Joseph Pennell, Gleisdreieck, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9609 Georges Rouault, Trial proof for It Would be So Sweet to Love!, plate XIII from Miserere, 1923, Lift ground aquatint, etching, and drypoint over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14925 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128088 Georges Rouault, Trial proof for The Bay Of The Dead, rejected plate from Miserere, c. 1922–1927, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12360 Käthe Kollwitz, Self-Portrait, 1924, Transfer lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/16737 El Lissitzky, About Two Squares: A Suprematist Tale of Two Squares in Six Constructions, 1922, Book with letterpress and offset lithography, in black and red, on cream wove paper, stapled along spine, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199130 Margaret Jordan Patterson, Grandmother's Peonies, 1921, color woodcut on paper; sheet: 10 1/8 x 7 1/8 in. (25.7 x 18.2 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381052631-0 Gustav G. Klutsis, Postcard Commemorating the Russian All-Union Spartakiada, 1928, Color lithograph on off-white wove card, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/221147 Gustav G. Klutsis, Under the Sign of the Komsomol, 1924, Color offset lithograph on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199078 Childe Hassam, Washington's Headquarters near Valley Forge, 1926, etching and drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1084 Jules Pascin, George Biddle and Jane Belo, (1927–28), Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/35206 Timothy Cole, Dr. Pasteur, 1925, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5977 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128090 Jean Lurçat, Title page from Toupies, 1925, Pochoir and lithograph from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16686 Aleksandr Rodchenko, Transrationalists (Zaumniki), 1922, Book with linocut on light red wove paper cover (discolored to pink-cream), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199561 Jean Lurçat, Harlequin General , plate from the illustrated book Toupies, 1925, Etching, aquatint, and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16699 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Color lithograph on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128089 Georges Rouault, Trial proof for Sometimes The Blind Have Comforted Those Who See, plate LV from Miserere, 1926, Aquatint, etching, and drypoint with roulette over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16924 Georges Rouault, Trial proof for Who Does Not Paint Himself a Face?, plate VIII from Miserere, 1923, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16620 Childe Hassam, Independence Hall, 1926, drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1081 Joseph Pennell, New York Stock Exchange, 1923, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9575 Jean Lurçat, Harlequin Knight of Malta , plate from the illustrated book Toupies, 1925, Etching with roulette and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16690 Georges Rouault, Trial proof for "With Tooth and Nail," plate L from Miserere, 1926, Aquatint and drypoint over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16884 Joseph Pennell, Oberbaum-Brucke, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9601