Jean-Louis Forain, Le repos du modèle (2e planche) (The Model's Rest) (second plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6885 Jean-Louis Forain, Le decavé (Cleared Out), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6995 Jean-Louis Forain, Le Christ dépouillé de ses vêtements (Christ Stripped of His Clothes), 1909, drypoint in brown on wove Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6906 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32679 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32758 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32686 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 Henri de Toulouse-Lautrec, VIII. Saluant le Public, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334741 David Hockney, Eine (Part I), 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20134 Richard Long, In the Cloud, 1991, Screenprint on board, Tate, London. https://dartabase.art/cite/tate/AR00143 Pierre-Auguste Renoir, Ambroise Vollard from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30165 Auguste Lepère, Old Foot-bridge, Banks of the Small Morin (Vieille passerelle, bords du petit morin), 1915, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8490 Jean-Louis Forain, Lourdes, transport des paralysées (Lourdes, Transport of the Paralyzed), 1912/1913, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6946 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32767 Jean-Louis Forain, Portrait de Renoir (1ère planche) (Portrait of Renoir) (first plate), 1905, transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6983 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32737 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 Jean-Louis Forain, Fille-mère (1ère planche) (Unwed Mother) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6870 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 Auguste Lepère, The Great Apple Market (Le grand marche aux pommes), 1917, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8493 David Hockney, 4. The Drinking Scene, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07035 Albert Besnard, Small Donkey at Berck (Un petit ane à Berck), 1897, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4621 Jean-Louis Forain, Portrait de Renoir (3e planche) (Portrait of Renoir) (third plate), 1905, transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6985 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 Jean-Louis Forain, Le repos en Egypte (The Rest in Egypt), 1909, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6941 Jean-Louis Forain, La madone et les enfants (The Madonna and the Children), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6900 Jean-Louis Forain, Le miraculé devant l'ostensoir (4e planche) (The Miracle before the Blessed Sacrament) (fourth plate), 1912/1913, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6951 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 Jean-Louis Forain, Etude de femme nue, les bras abaissés (Study of a Nude Woman, with Lowered Arms), c. 1900, transfer lithograph on laid Arches paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6996 David Hockney, My Bonnie Lies Over the Ocean, 1961–2, Etching, aquatint and stamp on paper, Tate, London. https://dartabase.art/cite/tate/P07353 David Hockney, Très (End of Triple), 1990, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20133 Albert Besnard, The Feathered Turban (Le turban à aigrette), 1901, etching and drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4626 Jean-Louis Forain, Forain gravant (1ère planche) (Forain Etching) (first plate), 1912, drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6944 Gerald Laing, Follow Me from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17183 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32748 Eduardo Paolozzi, Memory Core Units from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32695 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32687 David Hockney, 1. The Arrival, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07029 David Hockney, Tyler Dining Room, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20122 Vasily Kandinsky, Plate (folio 12) from 10 Origin, 1942, Woodcut from a portfolio of six linoleum cuts, three woodcuts, and one lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19637 Jean-Louis Forain, Salle de jeu (Gambling Room), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7003 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32709 Henri de Toulouse-Lautrec, III. Pessima, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334734 Jean-Louis Forain, The End - Verdun, c. 1916, drypoint and etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7136 David Hockney, Kaisarion and All his Beauty, 1961, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P11376 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32704 Jean-Louis Forain, Le retour au foyer (The Return Home), c. 1915, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6942 David Hockney, Queen, 1961, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P11495 Pierre-Auguste Renoir, Woman by the Grapevine, Fourth Variant (Femme au cep de vigne, 4e variante) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30169 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32670 Jean-Louis Forain, L'avocat pourchassé (The Lawyer Pursued), 1915, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7013 Jean-Louis Forain, Pietà (3e planche) (Pietà) (third plate), 1910, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6928 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 Jean-Louis Forain, La route d'Emmaüs (1ère planche) (The Road to Emmaus) (first plate), 1902/1907, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6890 Jean-Louis Forain, Lourdes, la paralytique (2e planche) (Lourdes, the Paralytic) (second plate), 1912/1913, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6933 David Hockney, Water Pouring into Swimming Pool, Santa Monica, 1964, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P11378 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32751 David Hockney, White Lines Dancing in Printing Ink, 1990, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20130 Albert Besnard, Confidences, 1900, etching and drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4623 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32673 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 Auguste Lepère, The House of the Woodcutter, Vendee (La maison du bucheron, Vendee), 1915, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8471 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32700 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32747 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32681 Jean-Louis Forain, Avant le repas à Emmaus (1ère planche) (Before the Supper at Emmaus) (first plate), 1910, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6915 Jean-Louis Forain, Danseuse et Maître d'hôtel (Dancer and Headwaiter), 1908, soft-ground etching, drypoint, and aquatint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6867 Jean-Louis Forain, C'est fini!...(grande planche) (It is Finished!...) (large plate), 1910, drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6926 Jean-Louis Forain, Portrait de Forain (Portrait of Forain), 1912, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6943 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32746 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 Eduardo Paolozzi, Donald Duck Meets Mondrian from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32691 Jean-Louis Forain, La sortie de l'audience (1ère planche) (Coming Out of the Hearing) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6879 Jean-Louis Forain, Evanouissement à l'audience (Fainting at the Hearing), 1910, etching and drypoint on on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6924 David Hockney, He Enquired After the Quality, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77565 Jean-Louis Forain, La repos en Egypte (The Rest in Egypt), c. 1916, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6931 Jean-Louis Forain, Le prévenu et l'enfant (The Prisoner and the Child), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6881 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32756 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 Jean-Louis Forain, Le Christ dépouillé de se vêtements (Christ Stripped of His Clothes), 1909, transfer lithograph on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7010 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32749 Jean-Louis Forain, Après la saisie (After the Seizure), 1908, etching (zinc) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6868 David Hockney, Lillies, 1970–1, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P06290 David Hockney, Amaryllis in Vase, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20105 Auguste Lepère, Clisson (Lower Loire), 1909, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8495 Henri de Toulouse-Lautrec, Sybil Sanderson, 1898, Crayon lithograph on china paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334743 Eduardo Paolozzi, Cover for a Journal from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32690 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 Albert Besnard, La Flore de le Gros, 1899, etching, drypoint, and printed tone on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4622 Jean-Louis Forain, Dans le parc de Versailles (1ère planche) (In the Park at Versailles) (first plate), 1909, drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6912 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32732 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32757 David Hockney, The Perspective Lesson, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20104 Lucian Freud, Girl with a Fig Leaf, 1947, Intaglio print on paper, Tate, London. https://dartabase.art/cite/tate/P77265 Jean-Louis Forain, Lourdes, la paralytique (2e planche) (Lourdes, the Paralytic) (second plate), 1912/1913, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6990 Paul Gauguin, Wayside Shrine in Brittany (Le calvaire Breton), 1898–1899, woodcut on very thin Japan paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7343 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32723 Pierre-Auguste Renoir, Woman by the Grapevine, Third Variant (Femme au cep de vigne, 3e variante) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30168 Jean-Louis Forain, Femme nue passant sa chemise (Nude Woman Taking Off Her Chemise), c. 1910, drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6921 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 Jean-Louis Forain, Femme nue, assise sur son lit, de face (Nude Woman, Seated on Her Bed, Front View), 1909, etching and drypoint (zinc plate) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6873 David Hockney, House Doodle, 1984, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P20108 Jean-Louis Forain, Portrait de Renoir (4e planche) (Portrait of Renoir) (fourth plate), 1905, transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6986 Pierre-Auguste Renoir, Stone with Three Sketches (La Pierre au trois croquis) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30173 Jean-Louis Forain, Croquis de femme en buste (Sketch of a Woman in Half-Length), c. 1900, lithograph on Arches wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5296 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32693 David Hockney, Billy Wilder, 1976, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P07239 Pierre-Auguste Renoir, Woman by the Grapevine, Second Variant (Femme au cep de vigne, 2e variante) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30167 Henri Fantin-Latour, Pastoral, 1896, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6848 Jean (Hans) Arp, Plate (folio 4) from 10 Origin, 1942, Woodcut from a portfolio of six linoleum cuts, three woodcuts, and one lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19631 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32721 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32707 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32678 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32702 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 Albert Gleizes, Composition from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1945), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31871 Jean-Louis Forain, Etude de femme assise (Study of a Seated Woman), c. 1903, transfer lithograph laid Arches paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7000 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 Francis Picabia, A Little Solitude in the Midst of Suns (Petite solitude au milieu des soleils) from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1915), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31864 Auguste Lepère, Wreckers, Saint-Jean-de-Monts (Pilleurs d'epaves, Saint-Jean-de-Monts), 1915, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8488 Auguste Lepère, Rue de la Montagne-Sainte-Genevieve, Paris, 1906, etching, aquatint, and (drypoint?), National Gallery of Art, Washington. https://dartabase.art/cite/nga/8470 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32740 Jean-Louis Forain, En cabinet particulier (1ère planche) (In a Private Room) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6893 Jean-Louis Forain, Le départ de l'enfant prodigue (1ère planche, en hauteur) (The Departure of the Prodigal Son) (first plate, vertical), probably 1912/1913, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6934 David Hockney, Portrait of Mother I, 1985, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20124 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32752 David Hockney, Portrait of Mother II, 1985, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20123 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 David Hockney, Woman with a Sewing Machine, 1954, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P13001 Jean-Louis Forain, Lourdes, 1914, 25th International Eucharistic Congress, 1914, lithograph [poster] in blue and black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7268 David Hockney, In an Old Book, 1966, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P77568 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32710 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32726 Albert Besnard, Cardinal Mercier, 1916, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4630 Henri de Toulouse-Lautrec, Lucien Guitry, 1898, Crayon lithograph on china paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334746 Eduardo Paolozzi, Moonstrips Empire News, 1967, Portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32669 David Hockney, Red Celia, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20109 Jean-Louis Forain, Le repas à Emmaus (2e planche) (The Supper at Emmaus) (second plate), 1910, etching and drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6916 Jean-Louis Forain, La rencontre sous la voute (3e planche) (The Meeting under the Arch) (third plate), 1910, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6920 Henri de Toulouse-Lautrec, Coquelin Aîné, 1898, Crayon lithograph on china paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334745 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32720 Jean-Louis Forain, Le Bon Feu (The Good Fire), c. 1916, lithograph [poster] in black and brown on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7278 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32768 David Hockney, Two Boys Aged 23 or 24, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77564 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 Gerald Laing, Two Tunnels from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17178 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32675 Auguste Lepère, Amsterdam Seen from Victoria Hotel (Amsterdamvue de Victoria Hotel), 1901, etching with drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8502 Pierre-Auguste Renoir, Study of a Nude Woman, Seated (Étude de femme nue, assise) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30174 David Hockney, 2. Meeting the Good People (Washington), 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07031 Jean-Louis Forain, L'avocat parlant au prévenu (2e planche) (The Lawyer Talking to the Prisoner) (second plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6883 Jean-Louis Forain, Le calvaire (2e planche) (Calvary) (second plate), 1902, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6889 Jean-Louis Forain, Servir (To Serve), 1913, lithograph [poster] in black and brown on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7277 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 Pierre-Auguste Renoir, Claude Renoir, Facing Left (Claude Renoir, Tourné à gauche) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30172 Sonia Delaunay, Plate (folio 8) from 10 Origin, 1942, Linoleum cut from a portfolio of six linoleum cuts, three woodcuts, and one lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19635 Gerald Laing, Witness, 1968, Portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17174 Jean-Louis Forain, En cabinet particulier (1ère planche) (In a Private Room) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6892 Alphonse Legros, Dr. Louis Vintras, 1904, lithograph in red, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8340 Jean-Louis Forain, La rencontre sous la voute (2e planche) (The Meeting under the Arch) (second plate), 1910, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6919 Lucian Freud, The Painter’s Mother, 1982, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P07783 Lucian Freud, Bella in her Pluto T-Shirt, 1995, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P20165 David Hockney, Rampant, 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20137 Jean-Louis Forain, Sur le lit (On the Bed), c. 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6894 David Hockney, Portrait of Mother III, 1985, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20119 Jean-Louis Forain, Le bon samaritain (The Good Samaritan), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6875 Auguste Lepère, Path from St.-Gilles, St.-Jean-de-Monts (La route de St.-Gilles, St.-Jean-de-Monts), 1911, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8477 Albert Besnard, The Dancer of Tanjore (La bayadère of Tanjore), 1914, etching, drypoint, and printed tone on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4627 Jean-Louis Forain, Avocat compulsant un dossier (Lawyer Going through a Brief), 1909, etching in blue on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6903 Jean-Louis Forain, Le femme adultère (3e planche) (The Adulteress) (third plate), 1910, drypoint in brown on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6930 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32705 Jean-Louis Forain, Témoins à l'audience (2e planche) (Evidence at the Hearing) (second plate), 1908, etching and soft-ground etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6865 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32714 David Hockney, Portrait of Cavafy II, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77575 Jean-Louis Forain, Le repos du modèle (4e planche) (The Model's Rest) (fourth plate), 1909, etching and drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6911 Jean-Louis Forain, Scène de cabinet particulier (planche en hauteur) (Scene in a Private Room) (vertical plate), c. 1905, transfer lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7002 David Hockney, 5a. Viewing a Prison Scene, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07038 Paul Cezanne, The Bathers (Small Plate), 1897, colored lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5947 David Hockney, A Picture of Two Chairs, 1985–6, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20125 Max Ernst, The Bell Ringer and Map of the Ocean (Le Sonneur et Carte de l'océan), 1950, Two etchings, one inkless, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12359 Henri de Toulouse-Lautrec, VII. Linger Longer, Loo, 1898, Lithograph printed with beige tint stone on vellum, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334740 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32730 Henri de Toulouse-Lautrec, Cover - Yvette Guilbert, 1898, Lithograph on blue wove paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334688 David Hockney, Table Flowable, 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20135 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 Jean-Louis Forain, Femme nue vue de dos (Nude Woman Seen from the Back), 1910, drypoint and etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6922 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 David Hockney, Views of Hotel Well I, 1984–5, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20118 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32729 David Hockney, The Wave, A Lithograph, 1990, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20132 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32699 Jean-Louis Forain, Le repos du modèle (1ère planche) (The Model's Rest) (first plate), 1909, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6884 David Hockney, The Print Collector (Portrait of Felix Man), 1969, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P06289 Suzanne Valadon, Woman at Her Bath, 1908, Drypoint and etching in black on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/3433 Jean-Louis Forain, First Exhibition of the Humorists, Palace of Style, 1911, lithograph [poster] in red and black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7272 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 Henri de Toulouse-Lautrec, VI. Soularde, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334739 David Hockney, Portrait of Cavafy in Alexandria, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77563 Eduardo Paolozzi, Colophon from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32672 David Hockney, Hotel Acatlan: Two Weeks Later, 1985, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20121 David Hockney, Caribbean Tea Time, 1987, Lithograph, screenprint, printed paper and stencil on paper on 4 panels, Tate, London. https://dartabase.art/cite/tate/P20129 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 Jean-Louis Forain, Les couloirs du Palais (The Corridors of the Palace of Justice), 1908, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6863 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32725 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 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32762 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32684 Jean-Louis Forain, En soirée (At an Evening Party), c. 1896, lithograph on wove Arches vellum paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6972 Jean-Louis Forain, Le Christ portant sa croix (4e planche) (Christ Carrying the Cross) (fourth plate), 1910, etching and drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6925 David Hockney, Pacific Mutual Life, 1964, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P11379 Paul Gauguin, Te Atua (The Gods) Small Plate [verso], in or after 1895, woodcut in black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7347 Auguste Lepère, Le Christ au matin de rameaux, 1918, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8472 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32722 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32719 Pierre-Auguste Renoir, Claude Renoir, Looking Down (La Tête baissée) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30171 Jean-Louis Forain, Le Christ dépouillé de ses vêtements (Christ Stripped of His Clothes), 1909, drypoint and etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6907 Auguste Lepère, Summer in Saint-Martin, the Past Nuptials (Ete de la Saint-Martin, la noce qui passe), 1908, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8475 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 Jean-Louis Forain, Témoins à l'audience (1ère planche) (Evidence at the Hearing) (first plate), 1908, soft-ground etching (zinc) in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6864 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32754 Pierre-Auguste Renoir, Woman by the Grapevine, First Variant (Femme au cep de vigne, 1re variante) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30177 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32761 David Hockney, Deux (Second Part), 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20138 Auguste Lepère, Angers - Panoramic View (Angers - Vue panoramique), 1912, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8494 Jean-Louis Forain, Baignoire au théatre (Lower Box at the Theater), 1909, etching and aquatint (zinc plate) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6872 David Hockney, The New and the Old and the New, 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20136 David Hockney, Mexican Hotel, Acatlan, 1984, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P20107 Jean-Louis Forain, Avocat compulsant un dossier (Lawyer Going through a Brief), 1909, etching and drypoint in brown on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6904 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32711 David Hockney, For John Constable, 1976, Intaglio print on paper, Tate, London. https://dartabase.art/cite/tate/P03184 Jean-Louis Forain, Lourdes, transport des paralysées (Lourdes, Transport of the Paralyzed), 1912/1913, etching and drypoint on Van Gelder laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6936 Jean-Louis Forain, J.L. Forain, c. 1912, drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6945 Jean-Louis Forain, Croquis de femme nue, la tête contre l'oreiller (1ère plance) (Sketch of a Nude Woman, Her Head Against a Pillow) (1st plate), c. 1909, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6896 Jean-Louis Forain, Scène de cabinet particulier (planche en largeur) (Scene in a Private Room) (horizontal plate), c. 1905, transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7009 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32734 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32753 Eugène Carrière, Portrait of Paul Verlaine, 1896, Lithograph in black from two stones on China paper, laid down on cream wove paper (chine collé), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/27729 David Hockney, Pembroke Studio Interior, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20106 Fernand Léger, Mechanical Period (Époque mécanique) from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1919), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31861 Auguste Lepère, Amiens Cathedral (Cathedrale d'Amiens - Jour d'inventaire), 1907, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8492 Jean-Louis Forain, Un caboulet à montmartre (A Dive at Montmartre), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6905 David Hockney, Myself and my Heroes, 1961, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07352 Jean-Louis Forain, Sur le lit (On the Bed), c. 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6895 Auguste Lepère, Corpus Christi Procession at Nantes (Procession de la Fete Dieu a Nantes), 1901, woodcut, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8524 Eduardo Paolozzi, Title page from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32668 David Hockney, An Image of Ken, 1985, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20120 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 Francis Seymour Haden, An Early Riser, 1897, mezzotint (with etching?) in green, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7669 Auguste Lepère, Route from La Houssoye, Crevecoeur-le-Grand (Route de La Houssoye, Crevecoeur), 1913, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8487 Henri de Toulouse-Lautrec, Woman Washing—The Toilet, plate five from Elles, 1896, Color lithograph on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/36003 Jean-Louis Forain, First Exhibition of the Humorists, Palace of Style, 1911, lithograph [poster] in black and red on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7273 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 Auguste Lepère, The Falling Balloon, in Pre-Saint-Gervais (Lebaloon qui tombe, au Pre-Saint-Gervais), 1910, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8486 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 Albert Besnard, Self-Portrait, 1919, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4631 Jean-Louis Forain, Les notables (grande planche) (The Notables) (large plate), c. 1915, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6938 David Hockney, Views of Hotel Well III, 1984–5, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20115 Auguste Lepère, Provins (Seine et Marne), 1910, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8483 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32735 Lucian Freud, Woman with an Arm Tattoo, 1996, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P11508 Auguste Lepère, Spring Tide, Rocks of Zion (Grande maree, rochers de Sion, Vendee), 1907, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8480 Jean-Louis Forain, Pietà (1ère planche) (Pietà) (first plate), 1910, drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6927 Jean-Louis Forain, La sortie de l'audience (1ère planche) (Coming Out of the Hearing) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6878 Auguste Lepère, Burial in the Vendeen Marsh (Un enterrement dans le marais Vendeen), 1901, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8528 David Hockney, Connoisseur, 1969, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P06288 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32728 Pierre-Auguste Renoir, Louis Valtat from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30170 David Hockney, Mirror, Mirror on the Wall, 1961, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P11377 Auguste Lepère, Shelter for the Poor, Vendee (Le nid de pauvres, Vendee), 1909, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8482 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 Henri de Toulouse-Lautrec, Sarah Bernhardt, 1898, Crayon lithograph on china paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334742 Henri de Toulouse-Lautrec, I. Sur la Scene, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334732 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 Paul Cezanne, Small Bathers, 1896–97, Color lithograph on ivory China paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/82071 David Hockney, An Image of Celia, 1984–6, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20116 Jean-Louis Forain, Ambroise Vollard, quatre esquisses (Ambroise Vollard, four sketches), c. 1910, lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7011 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32733 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32677 Auguste Lepère, Old Houses at Amiens (Vieilles maisons a Amiens), 1907, etching on light green paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8485 Jean-Louis Forain, Lourdes, la miraculée (2e planche) (Lourdes, the Miracle) (second plate), 1912/1913, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6932 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32759 David Hockney, 8. Meeting the Other People, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07043 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32706 David Hockney, 3a. The Seven Stone Weakling, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07034 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32724 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32682 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32764 Gerald Laing, Headers from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17175 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32727 Auguste Lepère, American Quarries, near Paris (Carrieres d'Amerique, pres Paris), 1898, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8503 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32755 Henri de Toulouse-Lautrec, IV. A Menilmontant de Bruant, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334735 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32763 Paul Gauguin, Title Page for "Le Sourire" (Titre du Sourire), 1899, woodcut on Japan paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7351 Gerald Laing, Screen from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17180 Eduardo Paolozzi, High Life from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32689 Jean-Louis Forain, L'Allemand expulsé (The German Expelled), 1919, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6993 Pierre-Auguste Renoir, Woman by the Grapevine (Femme au cep de vigne) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30176 David Hockney, Pembroke Studio with Blue Chairs and Lamp, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20111 Jean-Louis Forain, Portrait de Renoir (2e planche) (Portrait of Renoir) (second plate), 1905, transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6984 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32708 David Hockney, Cleanliness is Next to Godliness, 1964, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P04315 David Hockney, To Remain, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77566 David Hockney, 7. Disintegration, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07041 Henri de Toulouse-Lautrec, Woman Fastening a Corset, Passing Conquest, plate nine from Elles, 1896, Color lithograph on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/36010 Eugène Carrière, Rodin Sculpting, 1900, Lithograph from two stones, with scraping on stone, on tan wove paper, lined with linen, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/105773 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 Henri Fantin-Latour, Weeper: Study of a Nude Woman, Seated with Profile to Right, 1899, lithograph on Chinese paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6844 Eduardo Paolozzi, Formica-Formikel from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32692 Jean-Louis Forain, Pèlerins d'Emmaüs (Pilgrims at Emmaus), 1912/1913, etching, drypoint, and white and brown wash with graphite additions on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6952 Jean-Louis Forain, Les notables (petite planche) (The Notables) (small plate), 1915, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6937 Jean-Louis Forain, La sortie de l'audience (1ère planche) (Coming Out of the Hearing) (first plate), 1909, drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6876 Gerald Laing, Two Players from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17176 Auguste Lepère, Pont Neuf, 1901, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8500 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32717 Paul Cezanne, The Bathers (Large Plate), 1896–1897, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5946 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32769 Jean-Louis Forain, A la table de jeu (1ère planche) (At the Gambling Table) (first plate), 1909, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6898 David Hockney, The Beginning, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77571 Jean-Louis Forain, En cabinet particulier (3e planche) (In a Private Room) (third plate), 1910, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6923 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32683 Jean-Louis Forain, Le calvaire (1ère planche) (Calvary) (first plate), 1902, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6887 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32731 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32676 David Hockney, 7a. Cast Aside, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07042 Jean-Louis Forain, L'avocat parlant au prévenu (1ère planche) (The Lawyer Talking to the Prisoner) (first plate), 1909, drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6882 Pierre-Auguste Renoir, Study of a Nude Woman, Seated, Variant (Étude de femme nue, assise, variante) from Twelve Original Lithographs by Pierre-Auguste Renoir (Douze lithographies originales de Pierre-Auguste Renoir), c. 1904, published 1919, One from a portfolio of twelve lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/30175 David Hockney, Twelve Fifteen, 1991, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20139 Jean-Louis Forain, Après l'apparition (2e planche) (After the Vision) (second plate), 1902/1907, drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6910 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32750 David Hockney, 6. Death in Harlem, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07039 Auguste Lepère, Angers - The House of the King of Poland (Angers - La maison du roi de Pologne), 1912, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8476 Paul Gauguin, Human Misery (Misères humaines), 1898–1899, woodcut on Japan paper, perimeter mounted, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7349 Gerald Laing, Gold Standard from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17182 Eduardo Paolozzi, Erni and T. T. at St. Louis Airport from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32694 Gerald Laing, Chevelere Assigne from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17177 Jean-Louis Forain, Le repas à Emmaus (3e planche) (The Supper at Emmaus) (third plate), 1910, etching and drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6917 David Hockney, Celia, 1969, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P11497 David Hockney, Walking Past Two Chairs, 1984–6, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20117 Jean-Louis Forain, Femme assise, la tête dans la main droite (Seated Woman with Her Head Resting on Her Right Hand), 1897, lithograph in red and black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6979 Jean-Louis Forain, Le calvaire (1ère planche) (Calvary) (first plate), 1902, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6886 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32765 Jean-Louis Forain, Lourdes, la miraculée (1ère planche) (Lourdes, the Miracle) (first plate), 1912/1913, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6950 Jean-Louis Forain, Eventail (pour le bal Gavarni) (Fan (for the Gavarni Ball)), 1903, color transfer lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6988 Auguste Lepère, Banks of the Somme at Amiens (Bords de la Somme a Amiens), 1907, etching and aquatint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8496 Auguste Herbin, Madman (Fou) from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953, One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31872 Jean-Louis Forain, La fraction du pain (The Breaking of the Bread), 1902/1907, etching and drypoint in brown on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6914 Lucian Freud, Man Posing, 1985, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P77182 Jean-Louis Forain, Lourdes, 1914, 25th International Eucharistic Congress, 1914, lithograph [poster] in black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7271 Jean-Louis Forain, a) Scène de grève (3e planche) (Scene of a Strike) (third plate) (recto); b) Untitled (verso), c. 1897, a) lithograph on laid paper; b) black lithographic crayon on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6978 David Hockney, Two Pembroke Studio Chairs, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20103 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32766 David Hockney, 4a. Marries an Old Maid, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07036 Jean-Louis Forain, Lourdes, l'imploration devant la Grotte (4e planche) (Lourdes, Imploring before the Grotto) (fourth plate), 1912/1913, etching on blue laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6989 Jean-Louis Forain, Le bain (planche en hauteur) (The Bath) (vertical plate), c. 1896, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6976 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 David Hockney, One Night, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77572 Francis Seymour Haden, An Early Riser, 1897, mezzotint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1071 David Hockney, Celia, 1973, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P11498 Lucian Freud, Woman Sleeping, 1995, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P11507 Jean-Louis Forain, Le gros cigare (The Big Cigar), 1909, soft-ground etching and drypoint (zinc plate) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6871 David Hockney, Number One Chair, 1985–6, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20126 David Hockney, Lithographic Water Made of Lines, Crayon and Two Blue Washes Without Green Wash, 1978–80, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P12116 Jean-Louis Forain, Le petit déjeuner (planche en largeur) (Breakfast) (horizontal plate), 1895, lithograph on wove Arches vellum paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6967 Jean-Louis Forain, Après la saisie (After the Seizure), 1908, etching (zinc) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6869 Auguste Lepère, Reims Cathedral (Cathedrale de Reims), 1911, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8474 David Hockney, 5. The Election Campaign (with Dark Message), 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07037 Jean-Louis Forain, Servir (To Serve), 1913, lithograph [poster] in black and brown on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7276 Jean-Louis Forain, Le Christ portant sa croix (5e planche) (Christ Carrying the Cross) (fifth plate), c. 1910, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6935 Jean-Louis Forain, Le calvaire (2e planche) (Calvary) (second plate), 1902, etching with graphite and lithographic crayon additions on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6888 Jean-Louis Forain, Le retour de l'enfant prodigue (3e planche) (The Return of the Prodigal Son) (third plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6874 David Hockney, 1a. Receiving the Inheritance, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07030 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 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32680 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32745 Lucian Freud, Head and Shoulders of a Girl, 1990, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P77472 Jean-Louis Forain, A la table de jeu (1ère planche) (At the Gambling Table) (first plate), 1909, etching and drypoint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6897 David Hockney, In Despair, 1966, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P77573 David Hockney, The Shop Window of a Tobacco Store, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77569 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32716 Jean-Louis Forain, A la table de jeu (At the Gambling Table), c. 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6994 Paul Gauguin, Tahitian Carrying Bananas (Le porteur de fei), in or after 1895, woodcut, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7345 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32697 Lucian Freud, David Dawson, 1998, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P11520 Lucian Freud, Head of a Woman, 1982, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P07782 Auguste Lepère, The Poulterer, Vendee (Le Poulailler, Vendee), 1908, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8481 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32718 Henri de Toulouse-Lautrec, Cléo de Mérode, 1898, Crayon lithograph with scraper on china paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334744 Jean-Louis Forain, La sortie de l'audience (1ère planche) (Coming Out of the Hearing) (first plate), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6877 Jean-Louis Forain, Pietà (3e planche) (Pietà) (third plate), 1910, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6929 Auguste Lepère, Provins (Seine et Marne), 1910, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8484 Lucian Freud, Blond Girl, 1985, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P77186 Max Ernst, The Bell Ringer or Map of the Ocean (Le Sonneur ou Carte de l'océan), 1950, Etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10140 Albert Besnard, La Biarrote, 1901, etching, drypoint, and printed tone on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4625 Jean-Louis Forain, "1er Salon des Humoristes, Palais des Modes (First Exhibition of the Humorists, Palace of Style), 1911, lithograph [poster] in black and red on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7275 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32744 Eduardo Paolozzi, Secrets of the Internal Combustion Engine from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32671 Auguste Lepère, Burial in the Vendeen Marsh (Un enterrement dans le marais Vendeen), 1901, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8527 Jean-Louis Forain, The Miracle before the Blessed Sacrament (fourth plate), 1912/1913, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6940 Lucian Freud, Head of a Woman, 1996, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P11510 Gerald Laing, Trace from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17173 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32701 Gerald Laing, Glide from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17179 Alphonse Legros, Phrenology Course, 2nd plate (Le cours de phrenologie), 1906, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8295 Jean-Louis Forain, Avocat parlant à sa cliente (Lawyer Talking to His Client), 1915, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7012 Jean-Louis Forain, Femme assise de profil (Woman Seated in Profile), 1909, etching (zinc plate) on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6913 Jean-Louis Forain, La route d'Emmaüs (2e planche) (The Road to Emmaus) (second plate), 1902/1907, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6939 Jean-Louis Forain, La rencontre sous la voute (1ère planche) (The Meeting under the Arch) (first plate), 1910, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6918 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32703 Jean-Louis Forain, La Borne - Verdun (The End - Verdun), c. 1916, drypoint and etching on on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7155 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32760 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 Jean-Louis Forain, Femme mettant son bas (Woman Putting On Her Stockings), c. 1909, etching and aquatint on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6891 Jean (Hans) Arp, Constellation from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1928), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31859 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32696 Jean-Louis Forain, En Grèce (In Greece), 1897, lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6977 Paul Gauguin, Te Atua (The Gods) Small Plate [recto], in or after 1895, woodcut in black on very thin Japan paper, mounted face down, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7346 Sonia Delaunay, Gouache from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1950), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31870 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32715 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32741 Jean-Louis Forain, Suspension d'audience (Recess of the Hearing), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7014 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 David Hockney, An Image of Gregory, 1984–5, 2 lithographs on paper, Tate, London. https://dartabase.art/cite/tate/P20114 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32736 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32713 Henri de Toulouse-Lautrec, II. Dans la Glu, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334733 Jean-Louis Forain, L'avocat invectivé (The Lawyer Abused), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7008 F. L. Griggs, St. Ippolyts, No. 2, 1903, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7422 Jean-Louis Forain, Le prévenu et l'enfant (The Prisoner and the Child), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6880 Jean-Louis Forain, A la table de jeu (2e planche) (At the Gambling Table) (second plate), 1909, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6899 Jean-Louis Forain, Paysage des environs de Versailles (Landscape in the Neighborhood of Versailles), 1909, etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6901 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 Jean-Louis Forain, Le Christ aux outrages (The Mocking of Christ), 1909, drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6908 Jean-Louis Forain, Le Christ portant sa croix (7e planche) (Christ Carrying the Cross) (seventh plate), c. 1910, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6949 Jean-Louis Forain, Avocat parlant à sa cliente (Lawyer Talking to His Client), 1915, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7006 Jean-Louis Forain, Lourdes, 1914, 25th International Eucharistic Congress, 1914, lithograph [poster] in blue and black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7269 David Hockney, White Porcelain, 1985–6, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20127 Lucian Freud, Large Head, 1993, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P20141 Auguste Lepère, Return of the Procession to Nante Cathedral (Rentree de la Procession a la Cathedral de Nantes), 1901, etching with drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8501 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32674 David Hockney, In the Dull Village, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77570 David Hockney, Four Flowers in Still Life, 1990, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20131 Jean-Louis Forain, Etude de femme assise, en buste de profil (Study of a Seated Woman, Half-Length in Profile), c. 1903, transfer lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6998 David Hockney, An Image of Celia Study, 1986, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20128 David Hockney, 2a. The Gospel Singing (Good People) (Madison Square Garden), 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07032 Gerald Laing, Three Axes from Witness, 1968, One from a portfolio of ten screenprints with collage additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/17181 Eugène Carrière, Sleep, 1897, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5908 David Hockney, 6a. The Wallet Begins to Empty, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07040 Auguste Lepère, In the Deluged Marsh - The Shepherd (Au marais inonde - Le berger), 1911, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8469 Paul Gauguin, Title Page for "Le Sourire" (Titre du Sourire), 1899, woodcut on Japan paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7350 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 Jean-Louis Forain, Suspension d'audience (Recess of the Hearing), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7007 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32698 Jean-Louis Forain, Après l'apparition (2e planche) (After the Vision) (second plate), 1902/1907, drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6909 Lucian Freud, Kai, 1992, Etching on paper, Tate, London. https://dartabase.art/cite/tate/P20100 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32743 Jean-Louis Forain, Portrait d'Ambroise Vollard (Portrait of Ambroise Vollard), c. 1910, lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7005 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 Jean-Louis Forain, Etude de femme assise (Study of a Seated Woman), c. 1903, transfer lithograph in black and red on laid Arches paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7001 David Hockney, 3. The Start of the Spending Spree and the Door Opening for a Blonde, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07033 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32739 Jean-Louis Forain, La route de Rocquencourt (The Road to Rocquencourt), 1909, etching on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6902 Jean-Louis Forain, Lourdes, 1914, 25th International Eucharistic Congress, 1914, lithograph [poster] in green and black on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7270 David Hockney, Mo with Five Leaves, 1971, Intaglio print on paper, Tate, London. https://dartabase.art/cite/tate/P07238 Auguste Lepère, Watering-place behind Notre-Dame (L'abreuvoirderriere Notre-Dame), 1897, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8497 David Hockney, Celia with Green Hat, 1984, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20110 Vasily Kandinsky, Gray (Gris) from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1931), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31873 David Hockney, Beautiful and White Flowers, 1966, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77574 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32685 Henri de Toulouse-Lautrec, V. Chanson Ancienne, 1898, Lithograph printed with beige tint stone on laid paper, The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334738 Jean-Louis Forain, Etude de femme, en buste de face (Study of a Woman, Half-Length Facing Front), c. 1903, transfer lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6999 Eduardo Paolozzi, The Silken World of Michelangelo from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32688 Jean-Louis Forain, Salle de jeu (Gambling Room), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7004 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32742 F. L. Griggs, Stevenage, 1902, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7423 Jean-Louis Forain, First Exhibition of the Humorists, Palace of Style, 1911, lithograph [poster] in black and red on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7274 Paul Cezanne, Large Bathers, 1896–c. 1898, Color lithograph with hand-coloring on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/39508 David Hockney, Hotel Acatlan: Second Day, 1984–5, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/P20113 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32712 Jean-Louis Forain, Scène d'audience (les deux avocats) (Scene of a Hearing (The Two Lawyers)), c. 1915, lithograph on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6992 Jacques Villon, Small Cubist Painting (Petite peinture cubiste) from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I, 1953 (original executed in 1921), One from a portfolio of sixteen screenprint reproductions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/31867 David Hockney, 8a. Bedlam, 1961–3, Etching and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P07044 Jean-Louis Forain, Témoins à l'audience (2e planche) (Evidence at the Hearing) (second plate), 1908, etching and soft-ground etching on laid Van Gelder paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6866 Paul Gauguin, Te Atua (The Gods) Small Plate, 1898–1899, two laminated woodcuts on Japanese paper, double-mounted on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7348 Eduardo Paolozzi, Untitled from Moonstrips Empire News, 1967, One from a portfolio of 101 screenprints (including title page and colophon), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32738