Joan Miró, Monument, cast 1970, Bronze with black patina;  base of welded steel, painted black, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/6138

Francisco Goya, 'Bien tirada esta' (plate 17 from 'Caprichos' series) ('It is well pulled up' (plate 17 from 'Caprices' series)), 1797–98+, Etching, burnished aquatint and burin on cream wove paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/12878

Francisco Goya, 'Nada.  Ello dira' (plate 69 from 'Desastres de la guerra' series) ('Nothing.  It speaks for itself' (plate 69 from 'The disasters of war' series)), 1810, published 1863, Etching and aquatint on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3020

Francisco Goya, 'Espiró sin remedio' (plate 53 from 'Desastres de la guerra' series) ('There was nothing to be done and he died' (plate 53 from 'The disasters of war' series)), c.1812, published c.1903, Etching and aquatint on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/3806

Ferrer Bassa, Virgin and Child, with the Crucifixion and the Annunciation, and the Coronation of the Virgin and the Presentation in the Temple, c. 1340–1348 (Medieval), tempera and gold leaf on panel, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.468

Joan Miró, (Untitled) (from 'Noire et rouge' series), 1938, Drypoint on Arches paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/1519

Mariano Fortuny, The Rare Vase, 1870, watercolor and opaque watercolor with selectively applied glaze over traces of charcoal (?) on paper, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/37.148

Francisco Goya, 'Que locura!' (plate 68 from 'Desastres de la guerra' series) ('What folly' (plate 68 from 'The disasters of war' series)), 1810, published 1863, Etching and aquatint on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/4062

Per Kirkeby, [Untitled], 1989, Etching and aquatint on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/5739

Bernat Pintor, Tomb Relief with a Bishop Giving a Funeral Blessing, c. 1370–1390 (Medieval), limestone with paint, Walters Art Museum, Baltimore. https://dartabase.art/cite/walters/27.11

Olafur Eliasson, Mirrorstage for Merce, 2004, 3-color photogravure, Harvard Art Museums, Cambridge. https://dartabase.art/cite/harvard/4594

Henning Christiansen, Yes! he is dead on the line; Stranger on the Shore [Danish]; Stranger on the Shore [English], from the portfolio "Hommage à Arthur Köpcke", 1980, Collage and offset, Harvard Art Museums, Cambridge. https://dartabase.art/cite/harvard/5516

Per Kirkeby, The painter and his model (from 'Hommage à Arthur Köpcke' (Hommage to Arthur Kopcke) portfolio), 1979, Etching and lithograph on paper, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/503

Olafur Eliasson, The cubic structural evolution project, 2004, ABS plastic, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/15255

Henning Christiansen, Yes! he is dead on the line; Stranger on the Shore [Danish]; Stranger on the Shore [English], from the portfolio "Hommage à Arthur Köpcke", 1980, Collage and offset, Harvard Art Museums, Cambridge. https://dartabase.art/cite/harvard/5515

Olafur Eliasson, Riverbed, 2014, Water, rock (volcanic stones [blue basalt, basalt, lava], other stones, gravel, sand), wood, steel, plastic sheeting, hose, pumps, Queensland Art Gallery and Gallery of Modern Art, Brisbane. https://dartabase.art/cite/qagoma/34280