Joseph Pennell, Temple over the Canon, Segesta, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9622 Joan Miró, The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10878 Jean-Louis Forain, Le decavé (Cleared Out), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6995 Josef Albers, Portfolio 2, Folder 20 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12210 Joan Miró, Plate VII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10900 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 Vija Celmins, Untitled (Web 4), 2002, Photo-etching and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00479 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07127 Joseph Pennell, The Fallen Column, Athens, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9676 Terry Winters, Fourteen Etchings 7, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9835 Josef Albers, Portfolio 2, Folder 13 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12203 Childe Hassam, The Church at Old Lyme, 1924, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1080 Joseph Pennell, Hallway at Dr. Wister's, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9586 Joseph Pennell, Making Propeller Blades, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9595 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 Joseph Pennell, The Walled City, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9603 R. B. Kitaj, In His Forthcoming Book on Relative Deprivation (Loneliness) from the portfolio Mahler Becomes Politics, Beisbol, 1967, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32853 Josef Albers, Portfolio 2, Folder 18 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12208 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 Joseph Pennell, The Little Fete, Athens, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9690 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 Joseph Pennell, Building the Camp, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9677 Edward Timothy Hurley, Electrical Building at Night, Chicago Fair, 1933, 1933, aquatint; 12 3/8 x 9 1/8 in. (31.4 x 23.2 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047221-0 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37732 Jean Lurçat, Plate (folio 6) from the illustrated book Toupies, 1925, Drypoint and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16693 Georges Rouault, Trial proof for We Think Ourselves Kings, plate VII from Miserere, 1923, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/19811 Auguste Lepère, The Great Apple Market (Le grand marche aux pommes), 1917, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8493 Vija Celmins, Concentric Bearings D, 1985, Mezzotint, aquatint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00470 Vija Celmins, Jupiter Moon - Constellation, 1983, Mezzotint and etching on paper, Tate, London. https://dartabase.art/cite/tate/AR00481 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37733 Adja Yunkers, Aegean I from Artists and Writers Protest against the War in Vietnam, 1966, published 1967, Lithograph with embossing from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32589 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 Vija Celmins, Concentric Bearings B, 1984, Aquatint, drypoint and mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00482 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77077 Vija Celmins, Night Sky 3, 2002, Aquatint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00485 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07726 Vija Celmins, Dark Galaxy, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01159 Joseph Pennell, Shaping a Gun from an Ingot, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9692 Terry Winters, Fourteen Etchings 8, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9836 Joseph Pennell, Finishing Shells, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9593 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 Joan Miró, Table of plates from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10893 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07129 Josef Albers, Portfolio 1, Folder 24 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12158 Louise Bourgeois, Paternity, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77685 Joseph Pennell, Seats of the Mighty, Delphi, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9673 Joseph Pennell, Paestum, Evening, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9581 Joseph Pennell, In the Land of Iron and Steel, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9643 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 Josef Albers, Portfolio 1, Folder 21 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12155 Louise Bourgeois, Tree with Shoes, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78624 Joseph Pennell, Shell Factory, No.II, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9699 Louise Bourgeois, Sleeping Man, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77688 Joseph Pennell, Fitting Guns in Turrets, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9615 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07727 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 Louise Bourgeois, Sewing, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77683 Joseph Pennell, Laying the Floor of Pedro Muguel Lock, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1092 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 Josef Albers, Portfolio 1, Folder 4 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12138 Josef Albers, Portfolio 2, Folder 17 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12207 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 Louise Bourgeois, Amputee with Peg Leg, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78626 Edward Timothy Hurley, City Towers (Chicago River), 1934, aquatint on paper; plate: 9 x 11 7/8 in. (23.0 x 30.3 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047220-0 Childe Hassam, Portsmouth Doorway, 1916, etching and drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1082 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 Terry Winters, Fourteen Etchings 2, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9830 László Moholy-Nagy, Jolan Simon, (1919–20), Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/33277 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 Joseph Pennell, The Iron Mine, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9683 Josef Albers, Portfolio 1, Folder 22 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12156 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 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37730 Vija Celmins, Ocean Surface Wood Engraving 2000, 2000, Wood engraving on paper, Tate, London. https://dartabase.art/cite/tate/AR00473 Marcel Duchamp, Monte Carlo Bond (No. 12), 1924, Cut-and-pasted gelatin silver prints on lithograph with letterpress, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32984 Joan Miró, Plate XIX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10888 Louise Bourgeois, Untitled, plate 2 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, monotype, and embossing, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11000 Josef Albers, Portfolio 1, Folder 1 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12135 Joseph Pennell, Five O'Clock, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9688 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 Terry Winters, Fourteen Etchings 10, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9825 Leon Golub, Killed Youth from Artists and Writers Protest against the War in Vietnam, 1967, Lithograph from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32595 R. B. Kitaj, Hellebore for Georg Trakl from the portfolio Mahler Becomes Politics, Beisbol, 1965, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32843 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07732 Vija Celmins, Concentric Bearings A, 1984, Aquatint, photo-etching and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00469 Louise Bourgeois, Children in Tub, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77694 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07130 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 R. B. Kitaj, The Gay Science from the portfolio Mahler Becomes Politics, Beisbol, 1965, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32841 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 Joseph Pennell, The Dining Room, Stenton, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9592 Josef Albers, Portfolio 1, Folder 18 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12152 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77076 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07733 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 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 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07734 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07725 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 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07128 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 Josef Albers, Portfolio 2, Folder 21 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12211 Louise Bourgeois, Toilette, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77682 Joan Miró, Plate XVIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10887 Jack Sonenberg, Literal Dimensions from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint with die-cut and collage additions from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32585 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 Joseph Pennell, The Temple of Nike, Athens, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9624 Edward Timothy Hurley, Untitled--bridge, 1914, printed 1916, etching on paper; plate: 12 x 7 7/8 in. (30.5 x 20.0 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047224-0 Joseph Pennell, Ready for Service Again, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9678 Edward Timothy Hurley, Fountain Square: Night (Cincinnati), 1921, aquatint and etching on paper; 11 3/4 x 9 1/8 in. (29.8 x 23.2 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047222-0 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07728 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 Joan Miró, Plate VI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10899 Georges Rouault, Trial proof for Christ Laying On His Hands, rejected plate from Miserere, c. 1922–1927, Aquatint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14926 Joseph Pennell, The Odeon, Athens, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9675 Louise Bourgeois, Tree, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78621 Joseph Pennell, The Square, Independence Square, Philadelphia, 1920, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9574 Jim Dine, Self-Portrait in a Flat Cap (Winter), first state, 1974, Etching in black on ivory handmade paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/48324 Joseph Pennell, Munitions City, No.I, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9631 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77073 Josef Albers, Portfolio 1, Folder 20 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12154 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 Joseph Pennell, The Wine-Dark Sea, Sunium, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9670 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 Joan Miró, Plate II from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10889 Josef Albers, Portfolio 2, Folder 9 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12199 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 Joseph Pennell, Looking up Broad Street from Spruce Street, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9640 Louise Bourgeois, Man, Keys, Phone, Clock, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77689 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 Joan Miró, Plate XIV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10883 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 R. B. Kitaj, What is a Comparison? from the portfolio Mahler Becomes Politics, Beisbol, 1964, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32847 Joseph Pennell, Munition Town, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9650 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 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 Joseph Pennell, The Upper-room, Stenton, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9588 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 Vija Celmins, Ocean Surface Woodcut 1992, 1992, Woodcut on paper, Tate, London. https://dartabase.art/cite/tate/AR00484 Joseph Pennell, The Old Shipyard, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9680 Vija Celmins, Night Sky 1 Reversed, 2002, Photo-etching, aquatint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00474 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 Louise Bourgeois, Untitled, plate 8 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint and roulette, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11006 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 Albert Besnard, Cardinal Mercier, 1916, etching on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/4630 Joseph Pennell, The Ants, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9662 Joseph Pennell, Aetna Over Taormina, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9685 Joseph Pennell, The Gun Forge, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9633 Josef Albers, Portfolio 2, Folder 5 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12195 Terry Winters, Fourteen Etchings 6, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9834 Joseph Pennell, The Temple by the Sea, Temple of Concord, Girgenti, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9583 Joseph Pennell, The Guard Gate, Gatun Lock, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9620 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 Joseph Pennell, The Girard Trust Company, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9641 Joseph Pennell, The Keel, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9613 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 Josef Albers, Portfolio 1, Folder 23 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12157 Rudolf Baranik, White-Out from Artists and Writers Protest against the War in Vietnam, 1967, Etching from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32581 Joseph Pennell, The Biggest Lathe in the World, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9703 Andy Warhol, Black Bean, 1968, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07242 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77082 Joseph Pennell, The City Hall and Bridge across Market Street, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9686 Louise Bourgeois, Scissors, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77686 Joan Miró, Plate VIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10901 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Color lithograph on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128085 Vija Celmins, Untitled Portfolio: Galaxy, 1975, Lithograph on paper, Tate, London. https://dartabase.art/cite/tate/AR00605 Josef Albers, Portfolio 1, Folder 11 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12145 Joseph Pennell, The Hall, Stenton, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9617 Josef Albers, Portfolio 1, Folder 33 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12167 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 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77075 R. B. Kitaj, Let Us Call It Arden / And Live In It! from the portfolio Mahler Becomes Politics, Beisbol, 1966, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32844 Timothy Cole, Thomas Jefferson, 1926, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5972 Joseph Pennell, Making a Turbine Engine, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9704 Vija Celmins, Untitled (Web 2), 2001, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00477 Timothy Cole, Rodin, 1926, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5974 Edward Hopper, Evening Wind, 1921, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7779 Joseph Pennell, Shell Factory, No.I, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9691 David Weinrib, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32588 Robert Rauschenberg, Traces Suspectes en Surface, 1972–78, published 1978, Illustrated book with twenty-six lithographs (including four colophon pages), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10721 Joseph Pennell, Battleship Coming Home, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9664 Josef Albers, Portfolio 2, Folder 19 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12209 Joseph Pennell, Drawing Room at Cliveden, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9589 Joseph Pennell, The Transports, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9598 Joseph Pennell, The Acolytes Preparing the Altar of the War God, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9645 R. B. Kitaj, For Fear from the portfolio Mahler Becomes Politics, Beisbol, 1967, Screenprint with varnish additions from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32846 Joseph Pennell, Within the Furnaces, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9629 Joseph Pennell, The Coal Mine, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9627 Joan Miró, Plate IX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10902 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 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07731 George Sugarman, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32586 Joseph Pennell, The Big Gate of the Big Shop, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9649 Louise Bourgeois, Empty Nest, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77692 Josef Albers, Portfolio 1, Folder 26 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12160 Joan Miró, Plate XIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10882 Josef Albers, Portfolio 2, Folder 31 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12221 Josef Albers, Portfolio 1, Folder 6 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12140 Joseph Pennell, Bottling the Big Shell, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9669 Josef Albers, Portfolio 2, Folder 1 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12191 Joseph Pennell, Night in the Yosemite, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9600 Joseph Pennell, The Gantry, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9634 Josef Albers, Portfolio 2, Folder 30 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12220 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 William Copley, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32592 Vija Celmins, Alliance, 1983, Aquatint, mezzotint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR01161 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37734 Joseph Pennell, The White and Black Hammers, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9660 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 Josef Albers, Portfolio 1, Folder 30 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12164 Joan Miró, Wrapper front from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching, drypoint, and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10895 Georges Rouault, Trial proof for Mouth that was Fresh, Bitter as Gall, plate XV from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16665 Joseph Pennell, Sunrise Behind Temple of Concord, Girgenti, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9584 Mark di Suvero, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Lithograph from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32594 Timothy Cole, Abraham Lincoln, 1919, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5968 Joan Miró, Plate IV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10897 Joseph Pennell, Gun-Testing, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9632 Joseph Pennell, Hallway to Bed Room, Stenton, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9585 Louise Bourgeois, Woman with Suitcase, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77693 Joseph Pennell, Building the Freidrich-Strasse Station, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9612 Paul Burlin, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Lithograph from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32590 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77074 Josef Albers, Portfolio 1, Folder 15 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12149 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 Josef Albers, Portfolio 2, Folder 2 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12192 Vija Celmins, Mount Holyoke, 1987, Etching on paper, Tate, London. https://dartabase.art/cite/tate/AR00471 Josef Albers, Portfolio 2, Folder 16 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12206 Joseph Pennell, Signers' Room, Independence Hall, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9698 Josef Albers, Portfolio 2, Folder 4 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12194 Louise Bourgeois, Woman in Bathtub, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77691 Joseph Pennell, Steel Bars for Shells, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9681 Vija Celmins, Divided Night Sky, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01156 Timothy Cole, Abraham Lincoln, 1928, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5969 R. B. Kitaj, Glue-Words from the portfolio Mahler Becomes Politics, Beisbol, 1967, Screenprint with varnish additions from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32854 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 R. B. Kitaj, The Flood of Laymen from the portfolio Mahler Becomes Politics, Beisbol, 1967, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32850 Joseph Pennell, Gas Works from the Canal, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9611 Josef Albers, Portfolio 1, Folder 2 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12136 Timothy Cole, Alexander Hamilton, 1922, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5970 Louise Bourgeois, Birth, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77684 Vija Celmins, Untitled (Web 1), 2001, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00476 Joseph Pennell, Evening in the Munitions Country, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9594 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 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37736 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 Josef Albers, Portfolio 2, Folder 28 from Formulation: Articulation, Portfolio 2, Folder 28 \from\ Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12218 Josef Albers, Portfolio 2, Folder 25 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12215 Auguste Lepère, Le Christ au matin de rameaux, 1918, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8472 Edward Timothy Hurley, Memories of the Fair, 1934, aquatint; 9 x 12 in. (22.9 x 30.5 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047223-1 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37728 Josef Albers, Portfolio 2, Folder 29 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12219 Terry Winters, Fourteen Etchings 13, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9828 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 Josef Albers, Portfolio 2, Folder 15 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12205 Joseph Pennell, Building the Freidrich-Strasse Station, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9602 Joseph Pennell, The Shops at Night, Changing Shifts, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9616 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07730 Auguste Lepère, Angers - Panoramic View (Angers - Vue panoramique), 1912, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8494 Joan Miró, Plate XV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10884 Vija Celmins, Night Sky 2 Reversed, 2002, Photo-etching, aquatint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00475 Joseph Pennell, The Collier, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9693 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 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77079 Childe Hassam, A Vermont Village, 1923, etching and drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1083 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 Joseph Pennell, The New Gun-Pit, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9635 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 Joseph Pennell, Munitions River, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9648 Joseph Pennell, Building Destroyers, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9679 Louise Bourgeois, Untitled, plate 4 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11002 Joan Miró, Plate XXII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Drypoint and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10892 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 Vija Celmins, Concentric Bearings C, 1984, Aquatint, drypoint and mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00483 Timothy Cole, Woodrow Wilson, 1918, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5971 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128087 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07126 Carol Summers, Kill for Peace from Artists and Writers against the War in Vietnam, 1967, Screenprint with punched holes from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32587 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 Joseph Pennell, The Gun Shop, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9659 Joseph Pennell, The Basilica of War, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9657 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 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 Louise Bourgeois, Untitled, plate 3 of 9, from the portfolio, Ode à ma mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11001 Ad Reinhardt, Untitled from Artists and Writers against the War in Vietnam, 1967, Screenprint with collage additions from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32584 Joseph Pennell, Under the Shed, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9607 Joseph Pennell, Landwehr Canal, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9608 Louise Bourgeois, Untitled, plate 1 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10998 Edward Timothy Hurley, Kentucky Barnyard, 1935, etching and aquatint on paper; plate: 11 3/4 x 7 7/8 in. (29.8 x 20.1 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047223-0 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37731 Joseph Pennell, The Woolworth Building, 1915, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1089 Louise Bourgeois, Woman and Clock, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77687 Robert Rauschenberg, The Razorback Bunch (Etching I), 1980, Color photoetching from three plates on white wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/104345 Joseph Pennell, Casting Shells, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9654 Joseph Pennell, The Great Gulf, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9610 Joseph Pennell, Bed Room, Stenton, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9590 Edward Timothy Hurley, Electrical Fountain, Chicago Fair, 1934, 1934, aquatint on paper; plate: 11 7/8 x 8 1/2 in. (30.3 x 21.6 cm), Smithsonian American Art Museum, Washington, D.C. https://dartabase.art/cite/smithsonian/ld1-1643381040022-1643381047221-1 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 Joan Miró, Plate XVII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint and engraving from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10886 Josef Albers, Portfolio 1, Folder 14 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12148 Joseph Pennell, The Hall at Cliveden, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9618 Georges Rouault, Trial proof for The Society Lady Fancies She Has a Rserved Seat in Heaven, plate XVI from Miserere, 1922, Aquatint and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16668 Joseph Pennell, The Shining Rocks, Delphi, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9672 R. B. Kitaj, Nerves, Massage, Defeat, Heart from the portfolio Mahler Becomes Politics, Beisbol, 1967, Screenprint with varnish additions from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32848 R. B. Kitaj, Go and Get Killed Comrade - We Need a Byron in the Movement from the portfolio Mahler Becomes Politics, Beisbol, 1966, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32855 Joseph Pennell, Entrance to the Canal from the Pacific, 1912, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9684 Josef Albers, Portfolio 1, Folder 3 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12137 Joseph Pennell, Mid-day, General Electric Works, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9694 Joan Miró, Plate V from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10898 Charles Hinman, Red Figure from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32596 Joseph Pennell, The Presses, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9636 R. B. Kitaj, The Cultural Value of Fear, Distrust and Hypochondria from the portfolio Mahler Becomes Politics, Beisbol, 1966, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32842 Irving Petlin, Skin from Artists and Writers Protest against the War in Vietnam, 1967, Lithograph from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32583 Vija Celmins, Starfield, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01160 Josef Albers, Portfolio 2, Folder 22 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12212 Andy Warhol, Birmingham Race Riot, 1964, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77809 George Canning Wales, The Fore Chains, 1922, etching and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/6303 Terry Winters, Fourteen Etchings, 1989, Portfolio of fourteen etching and aquatints, thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9824 Josef Albers, Portfolio 2, Folder 12 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12202 Joan Miró, Plate I from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10877 Joseph Pennell, The Temple of Concord on the Wall, Girgenti, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9665 Vija Celmins, Web Ladder, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01155 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77080 Joan Miró, Variant of plate VI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint with pastel additions from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10894 Timothy Cole, Lowlands, 1918, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5973 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 Terry Winters, Fourteen Etchings 14, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9829 Joseph Pennell, Peace and War, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9630 Vija Celmins, Falling Stars, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01158 Josef Albers, Portfolio 2, Folder 6 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12196 Josef Albers, Portfolio 2, Folder 3 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12193 Joseph Pennell, Building the Bismarck, Hamburg, 1914, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9674 Louise Nevelson, Unbound plate from Nevelson's World, 1983, Screenprint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/18247 Vija Celmins, Night Sky Woodcut, 1997, Woodcut on paper mounted on paper, Tate, London. https://dartabase.art/cite/tate/AR00480 Joseph Pennell, Building Submarine Chasers, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9605 Josef Albers, Portfolio 2, Folder 33 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12223 R. B. Kitaj, Republic of the Southern Cross from the portfolio Mahler Becomes Politics, Beisbol, 1965, Screenprint with varnish additions from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32849 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 Joseph Pennell, The Temple of Concord on the Wall, Girgenti, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9582 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 Josef Albers, Portfolio 1, Folder 7 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12141 Josef Albers, Portfolio 1, Folder 13 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12147 Josef Albers, Portfolio 2, Folder 8 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12198 Troy Kinney, Swallows, 1919, drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/8101 Josef Albers, Portfolio 1, Folder 25 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12159 Joseph Pennell, The Little Men of the Big Hammer, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9597 Josef Albers, Portfolio 2, Folder 7 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12197 Josef Albers, Portfolio 2, Folder 27 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12217 Joseph Pennell, Unloading Ore, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9606 Louise Bourgeois, Boy and Girl, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77695 Joseph Pennell, The Forges, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9702 Andy Warhol, A Is an Alphabet, 1953, Portfolio of 26 offset lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14230 Terry Winters, Fourteen Etchings 9, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9837 Landès Lewitin, Innocence in a Labyrinth, 1940, Cut-and-pasted colored photo-engravings, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/33033 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07123 Joan Miró, Plate XI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10880 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 Joseph Pennell, Cutting and Turning a Big Gun, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9658 Louise Bourgeois, Untitled, plate 9 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11007 Childe Hassam, The Chase House, 1929, etching in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7738 Joan Miró, Plate XX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10890 Timothy Cole, The Mill, 1920, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5967 Louise Bourgeois, Tree with Woman, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78623 Timothy Cole, Theodore Roosevelt, 1928, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5976 Josef Albers, Portfolio 1, Folder 12 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12146 Louise Bourgeois, Untitled, plate 7 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11005 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128086 Josef Albers, Portfolio 1, Folder 19 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12153 Vija Celmins, December 1984, 1985, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00468 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 Joseph Pennell, Columns of the Temple of Juno, Girgenti, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9666 Charles Hinman, Artists and Writers Protest against the War in Vietnam, 1966–67, published 1967, Portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching; plus supplemental volume of eighteen letterpress prints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32582 Josef Albers, Portfolio 2, Folder 14 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12204 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 Josef Albers, Portfolio 1, Folder 31 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12165 Louise Bourgeois, Untitled, plate 6 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11004 Josef Albers, Portfolio 1, Folder 27 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12161 Jim Dine, Cold Key West Winter, Summer 1983, Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37729 Louise Bourgeois, Sculptress, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77690 Louise Bourgeois, Tree with Trunk, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78622 Joseph Pennell, Gleisdreieck, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9609 Joseph Pennell, Made in Germany, the Great Crane, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9638 Joseph Pennell, Making Rifles, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9701 Josef Albers, Portfolio 1, Folder 32 from Formulation: Articulation Portfolio 1, Folder 32 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12166 Joseph Pennell, Power-House, Berlin, 1914, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9614 Josef Albers, Portfolio 2, Folder 23 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12213 Romare Bearden, Music on the Gallery, 1975, Monotype with pencil additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32968 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 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77081 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07125 Josef Albers, Portfolio 1, Folder 5 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12139 Jim Dine, Cold Key West Winter, (1981–83), Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37735 Louise Bourgeois, Amputee, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78625 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128088 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 Terry Winters, Fourteen Etchings 1, 1989, One etching and aquatint from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9823 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07121 Terry Winters, Fourteen Etchings 3, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9831 Vija Celmins, Untitled (Web 3), 2002, Aquatint and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00478 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 Charles Cajori, Untitled from Artists and Writers Protest against the War in Vietnam, 1967, Lithograph from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32591 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07729 Vija Celmins, Drypoint - Ocean Surface, 1983, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR00467 Josef Albers, Portfolio 1, Folder 8 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12142 Joseph Pennell, The Ferry House, 1919, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1087 Louise Bourgeois, Blue Dress, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78628 Joseph Pennell, The Shell Factory, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9655 Claes Oldenburg, Hamburger, 1962, Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/36331 Joseph Pennell, The Bay of the Thousand Girls, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9667 Joseph Pennell, The Prow, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9661 Joan Miró, Plate XII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10881 Joseph Pennell, Building Destroyers, No.I, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9700 Josef Albers, Portfolio 2, Folder 11 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12201 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77078 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 R. B. Kitaj, His Every Poor, Defeated, Loser’s, Hopeless Move, Loser, Buried (Ed Dorn) from the portfolio Mahler Becomes Politics, Beisbol, 1966, Screenprint with collage from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32851 Joan Miró, Plate X from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10879 Terry Winters, Fourteen Etchings 12, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9827 Louise Nevelson, Composition from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32597 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07124 Terry Winters, Fourteen Etchings 5, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9833 Childe Hassam, Washington's Headquarters near Valley Forge, 1926, etching and drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1084 Josef Albers, Portfolio 2, Folder 26 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12216 Jules Pascin, George Biddle and Jane Belo, (1927–28), Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/35206 Timothy Cole, Dr. Pasteur, 1925, wood engraving, National Gallery of Art, Washington. https://dartabase.art/cite/nga/5977 Louise Bourgeois, Amputee with Crutch, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78627 Louise Bourgeois, Untitled (Safety Pins), 1991, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77679 Terry Winters, Fourteen Etchings 11, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9826 Joseph Pennell, Planing Big Shells, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9668 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 Josef Albers, Portfolio 2, Folder 10 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12200 Vija Celmins, Constellation - Uccello, 1983, Aquatint and etching on paper, Tate, London. https://dartabase.art/cite/tate/AR00606 Joan Miró, Plate XVI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint and engraving from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10885 Jim Dine, Cold Key West Winter, 1981, Charcoal and lithographic crayon on colored paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/37726 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Lithograph in black on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128090 R. B. Kitaj, I’ve Balled Every Waitress in this Club from the portfolio Mahler Becomes Politics, Beisbol, 1967, Screenprint with collage from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32852 Andy Warhol, [no title], 1967, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07122 Joseph Pennell, The Cauldrons, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9625 Louise Bourgeois, Tree with Red Crutch, 1998, Etching, drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P78629 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 Joseph Pennell, Making Armour-Plate, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9646 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 Josef Albers, Portfolio 2, Folder 32 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12222 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 Louise Bourgeois, Untitled, plate 5 of 9, from the portfolio, Ode à Ma Mère, 1995, Drypoint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/11003 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 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 Josef Albers, Portfolio 2, Folder 24 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12214 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 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 Allan D'Arcangelo, Dipped from Artists and Writers Protest against the War in Vietnam, 1967, Screenprint from a portfolio of nine screenprints (two with collage additions, one with die-cut, one with punched holes), six lithographs (one with embossing), and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32593 Joan Miró, Plate XXI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10891 László Moholy-Nagy, Untitled, from Konstruktionen: Kestnermappe 6 (Constructions: Kestner Portfolio 6), 1923, Color lithograph on cream wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/128089 Josef Albers, Portfolio 1, Folder 16 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12150 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 Josef Albers, Portfolio 1, Folder 9 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12143 Terry Winters, Fourteen Etchings 4, 1989, One etching, aquatint and photogravure from a portfolio of fourteen etching and aquatints thirteen with photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9832 Childe Hassam, Independence Hall, 1926, drypoint in black, National Gallery of Art, Washington. https://dartabase.art/cite/nga/1081 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 Josef Albers, Portfolio 1, Folder 29 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12163 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 Joseph Pennell, New York Stock Exchange, 1923, etching, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9575 Josef Albers, Portfolio 1, Folder 17 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12151 Joseph Pennell, Ready to Start, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9663 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 Brice Marden, [Untitled], 1964–65, Charcoal, pencil, and colored pencil over screenprint on brown paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/38158 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 Joseph Pennell, The Urns, Casting Big Shells, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9637 Joseph Pennell, Building the Battleship, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9596 Vija Celmins, Reverse Galaxy, 2010, Etching and drypoint on paper, Tate, London. https://dartabase.art/cite/tate/AR01157 Georges Rouault, Trial proof for "With Tooth and Nail," plate L from Miserere, 1926, Aquatint and drypoint over photogravure, with pen and ink additions, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16884 Joseph Pennell, Oberbaum-Brucke, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9601 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 Jack Beal, Self-Portrait Drawing (One Hand), 1964, Etching in black on ivory wove paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/28777 R. B. Kitaj, Heart from the portfolio Mahler Becomes Politics, Beisbol, 1966, One from a portfolio of fifteen screenprints, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32845 Claes Oldenburg, Self Portrait, 1958, Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/35800 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 Joseph Pennell, Oil Refining, Whiting, Indiana, 1915, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9623 Joan Miró, Plate III from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10896 Jean-Louis Forain, Salle de jeu (Gambling Room), 1914, lithograph on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7004 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 Joseph Pennell, The Great Tower: Pig-Iron, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9626 Joseph Pennell, In the Jaws of Death, Rolling Bars for Shells, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9628 Joseph Pennell, Munition Works, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9621 Josef Albers, Portfolio 1, Folder 28 from Formulation: Articulation, 1972, Screenprinted folder from a two-part portfolio of 66 screenprinted folders, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12162 Joseph Pennell, The Old Gun-Pit, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9656 Joseph Pennell, The Treasury of Athens, Delphi, 1913, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9671