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 Anatoli Lvovich Kaplan, The Breadwinner (The Pony) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12712 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 Alexander Liubimov, Award for an outstanding shockworker, 1931, Offset lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/26963 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, 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 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 Anatoli Lvovich Kaplan, The Rich from Jehupez from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12716 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 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 Anatoli Lvovich Kaplan, Portrait of Zejtl (Tevia's Daughter) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12679 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 Anatoli Lvovich Kaplan, The Wait (Hodl at the Window) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12722 Vija Celmins, Concentric Bearings B, 1984, Aquatint, drypoint and mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR00482 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 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 Anatoli Lvovich Kaplan, Cast of characters from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12788 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 Anatoli Lvovich Kaplan, Before the Sabbath (Lighting Candles–Golda to the Right of the Table) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12709 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 Louise Bourgeois, Sewing, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77683 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 Anatoli Lvovich Kaplan, Tevia's Tavern (Golda and Zejtl Milking) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12672 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 Anatoli Lvovich Kaplan, Portrait of the Innkeeper from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12791 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 Anatoli Lvovich Kaplan, Eighth Chapter: Return Home Quickly from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12777 Anatoli Lvovich Kaplan, Thirteenth Chapter: The Death of the Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12782 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 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 Anatoli Lvovich Kaplan, Anatewka (The Village) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12682 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 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 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 Anatoli Lvovich Kaplan, The Tailor's Family (Motl, Zejtl, and the Children) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12687 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 Anatoli Lvovich Kaplan, Morning (The Room) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12671 Anatoli Lvovich Kaplan, In the Kitchen (The Diary) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12708 Louise Bourgeois, Toilette, 1994, Drypoint on paper, Tate, London. https://dartabase.art/cite/tate/P77682 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 Anatoli Lvovich Kaplan, Tevia and Shalom Aleichem Meeting Again from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12728 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 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 Anatoli Lvovich Kaplan, On the River (Zejtl Transports the Goats to Market) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12730 Anatoli Lvovich Kaplan, Colophon from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12718 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 Anatoli Lvovich Kaplan, Evening (Tevia's House) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12692 Anatoli Lvovich Kaplan, The Matchmaker (Efroim, the Jewish Matchmaker) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12719 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 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 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 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 Anatoli Lvovich Kaplan, Seller of Air (Lives by Money Matters: Air) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12677 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 Anatoli Lvovich Kaplan, Sixth Chapter: The Wife Is Waiting from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12774 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 Lurçat, Harlequin and the Gardener , plate from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16698 Jean Lurçat, Harlequin Hamlet , plate from the illustrated book Toupies, 1925, Etching and pochoir from a portfolio with fourteen etching and pochoirs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/16688 Georges Rouault, Trial proof for "They Have Ruined Even the Ruins," plate XXXIV from Miserere, 1926, Aquatint, lift ground aquatint, and drypoint with roulette over photogravure, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/14908 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 Anatoli Lvovich Kaplan, Front cover from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12763 Anatoli Lvovich Kaplan, Portrait of Menachem-Mendl from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12673 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, 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 Anatoli Lvovich Kaplan, Portrait of Golda (Tevia's Wife) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12691 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 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 Anatoli Lvovich Kaplan, The Tailor's Evening Meal from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12686 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 Louise Bourgeois, Scissors, 1994, Drypoint and aquatint on paper, Tate, London. https://dartabase.art/cite/tate/P77686 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 Anatoli Lvovich Kaplan, The Schoolmaster and His Wife from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12765 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 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, The Transports, 1917, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9598 Anatoli Lvovich Kaplan, Table of contents from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12727 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 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 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 Anatoli Lvovich Kaplan, Tevia and Golda from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12733 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, 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 Anatoli Lvovich Kaplan, At the Exchange from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12674 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 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 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 Joseph Pennell, Gun-Testing, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9632 Anatoli Lvovich Kaplan, In Bojberik (Summer Visitors) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12710 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 Anatoli Lvovich Kaplan, The Tailor's Wife from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12790 Anatoli Lvovich Kaplan, Title page from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12775 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 Anatoli Lvovich Kaplan, Text from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12787 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 Anatoli Lvovich Kaplan, The Tailor (Motl at Work) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12729 Anatoli Lvovich Kaplan, Portrait of Motl (Motl Kamisol, The Tailor) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12683 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 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 Anatoli Lvovich Kaplan, Portrait of Fjodor (Fedjka, the Poet) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12725 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 Anatoli Lvovich Kaplan, The Village Kosodejewka from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12767 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77079 Anatoli Lvovich Kaplan, Title page from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12706 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 Anatoli Lvovich Kaplan, In the House of the Rich from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12668 Joseph Pennell, The New Gun-Pit, 1916, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9635 Anatoli Lvovich Kaplan, Portrait of Pertschik (Pfefferl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12714 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 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 Anatoli Lvovich Kaplan, First Chapter: The Tailor's Room from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12769 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 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 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 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 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 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 Anatoli Lvovich Kaplan, The Butcher Shop from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12680 Joseph Pennell, Mid-day, General Electric Works, Berlin, 1921, lithograph, National Gallery of Art, Washington. https://dartabase.art/cite/nga/9694 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 Anatoli Lvovich Kaplan, Summer Visitors (The Rich Women) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12694 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 Anatoli Lvovich Kaplan, By the Cradle (The Bedroom) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12732 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 Anatoli Lvovich Kaplan, The Village Slodejewka from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12766 Anatoli Lvovich Kaplan, The Bewitched Tailor, 1954–57, published 1957, Portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12764 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 Anatoli Lvovich Kaplan, Table of contents from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12688 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 Anatoli Lvovich Kaplan, The Wedding (Motl and Zejtl's Marriage) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12684 Anatoli Lvovich Kaplan, A Family of Merchants from Tevia the Milkman, Volume I, 1957–61, publisher 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12676 Anatoli Lvovich Kaplan, Portrait of Tevia from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12690 Vija Celmins, Web Ladder, 2010, Mezzotint on paper, Tate, London. https://dartabase.art/cite/tate/AR01155 Anatoli Lvovich Kaplan, Fifth Chapter: The Tailor Drinking at the Inn from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12773 Andy Warhol, [no title], 1972, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P77080 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 Louise Nevelson, Unbound plate from Nevelson's World, 1983, Screenprint, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/18247 Anatoli Lvovich Kaplan, Seventh Chapter: At the Rabbi's from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12776 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 Varvara Rodchenko, Dustjacket for Ideologicheskaiaborba i literatura (The Ideological Battle and Literature), 1980, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32320 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 Anatoli Lvovich Kaplan, Third Chapter: The Inn from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12771 Anatoli Lvovich Kaplan, Eleventh Chapter: The Family in Distress from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12780 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 Anatoli Lvovich Kaplan, Portrait of Hodl (Tevia's Daughter) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12713 Anatoli Lvovich Kaplan, Colophon from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12678 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 Anatoli Lvovich Kaplan, Ninth Chapter: Ridiculing the Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12778 Anatoli Lvovich Kaplan, Foreword from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12786 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 Anatoli Lvovich Kaplan, The Final Plate: Portrait of the Author from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12783 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 Anatoli Lvovich Kaplan, Summer Outing (on the River Bank) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12720 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 Anatoli Lvovich Kaplan, Portrait of Chawa (Tevia's Daughter) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12724 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 Anatoli Lvovich Kaplan, Return Home (Return at Night) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12669 Anatoli Lvovich Kaplan, Interior (with Mirror, Samovar, and Lights) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12731 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 Anatoli Lvovich Kaplan, Children in Anatewka (in Front of Motl's House) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12726 Anatoli Lvovich Kaplan, In Exile (Pertschik and Hodl Reading) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12723 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 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 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 Anatoli Lvovich Kaplan, Future Dreams (Pertschik and Hodl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12715 Anatoli Lvovich Kaplan, Portrait of Lejser-Wolf (The Butcher) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12681 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 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 Anatoli Lvovich Kaplan, Tevia the Milkman, Volume II, 1957–61, published 1961, Portfolio of twenty-seven lithographs (incomplete; complete portfolio comprises 28 lithographs), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12707 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 Anatoli Lvovich Kaplan, Twelfth Chapter: The Indignation from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12781 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 Anatoli Lvovich Kaplan, The Tailor's House (in the Rain) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12685 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 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 Anatoli Lvovich Kaplan, Frontispiece (Tevia and Shalom Aleichem in Front of the Village) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12689 Anatoli Lvovich Kaplan, Title page from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12666 Andy Warhol, [no title], 1971, Screenprint on paper, Tate, London. https://dartabase.art/cite/tate/P07729 Anatoli Lvovich Kaplan, The Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12789 Anatoli Lvovich Kaplan, Pertschik's Father (The Elder Pfefferl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12717 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 El Lissitzky, About Two Squares: A Suprematist Tale of Two Squares in Six Constructions, 1922, Book with letterpress and offset lithography, in black and red, on cream wove paper, stapled along spine, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199130 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 Anatoli Lvovich Kaplan, Tevia's Family from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12670 Claes Oldenburg, Hamburger, 1962, Lithographic crayon on paper, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/36331 Anatoli Lvovich Kaplan, Back cover from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12784 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 Anatoli Lvovich Kaplan, The Broker (The Businessman) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12675 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 Varvara Rodchenko, Cover for Evgenii Vinkour, 1974, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32319 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 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 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 Anatoli Lvovich Kaplan, Communications Zone (on the March in Exile) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12721 Vija Celmins, Constellation - Uccello, 1983, Aquatint and etching on paper, Tate, London. https://dartabase.art/cite/tate/AR00606 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 Anatoli Lvovich Kaplan, Text from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12768 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 Anatoli Lvovich Kaplan, Fourth Chapter: The Purchase from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12772 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 Aleksandr Rodchenko, Transrationalists (Zaumniki), 1922, Book with linocut on light red wove paper cover (discolored to pink-cream), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199561 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 Anatoli Lvovich Kaplan, Tenth Chapter: The Pursuit from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12779 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 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 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 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 Anatoli Lvovich Kaplan, Summer Visitors (Datschniki) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12711 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 Anatoli Lvovich Kaplan, Table of contents from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12785 Anatoli Lvovich Kaplan, Second Chapter: The Tailor Sets Out from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12770 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 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 Anatoli Lvovich Kaplan, Balagula (Heavy Hauler with Horse) from Tevia the Milkman, Volume I, 1957–1961, publisher 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12693 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 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