Study for Portrait VI, Francis Bacon — Study for Portrait VI, 1953
Francis Bacon

G367

bust of a woman with a cluster of small snakes at the front of her head, wings at the side of her head; intertwined snakes below her breasts — Medusa, c. 1854
Harriet Goodhue Hosmer

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Two men lying on rocky outcrop, one on his back in a blue shirt, the other on his stomach in a white shirt; blue sky and clouds at UR. Frame: painted black with open carving of birds and flowers. — Santos Dumont - The Father of Aviation II, 2009
Kehinde Wiley

G310

Wood artist's palette with mixed oil colors. Small scene of deer in forest painted in center. — Palette, 19th century
Rosa Bonheur

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a: wire framework in organic shape with printed tin, plastic and wooden toys and noisemakers attached--Jack-in-the-boxes, various shapes of noisemakers, drums, clickers, tops and tambourines; b: suit installed over black plastic mannequin; colorful sweater fragments pieced together to create a bodysuit with head and face covering; bodysuit covered overall with crocheted doilies and hot pads, embroidered felt fragments and pieced stitched pieces; pink and white doily over face area — Soundsuit, 2010
Nick Cave

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white ground with four central pattern vinettes in dark brown; terra cotta on foot and inside mouth; central pattern with two square swirls vertically and one rounded swirl on each side; step pattern around exterior — Black/White with Red Base, 2014
Franklin Peters

G260

wide shoulder with vertical neck and scalloped rim painted terra cotta; white ground with dark brown step pattern below waves along shoulder — Red Base, Scalloped Top with Waves, 2014
Franklin Peters

G260

gray skyscraper set against stark background under a black and yellow sky; two flat roofed wings protrude from building; L wing has pool, R has a couple in silhouette; skyscraper and wings have open windows; stark landscape in background with dark shrubs in V-arrangement; boiling black sky at top with black silhouettes of human figures; black frame — Skyscraper, 1971
Roger Brown

G280

abstract, colorful image; squiggly, thick linear design in multicolored pigments of blue, green, yellow, red and purple; heart shape in upper left quadrant in green, yellow and red colors; white bird with wings extended in bottom center; eye shape in middle; two stars on right edge- a green star on middle center, a red star in LRC — Untitled, 1947
Beauford Delaney

G376

image of a male figure, bare chested and wearing underwear, on left; nude statue on right with drapery around shoulders and around PL arm; darkened background; black band along left edge — Untitled (Male Torso with Statue), c. 1936-1939
Lionel Wendt

G211

hazy image of a piano with abstract ripples of water running vertically down the left side — Untitled (Piano, Water, and Sea), c. 1935
Lionel Wendt

G211

black-and-white image of head and shoulders of black woman with tall lobed hairstyle in LRC in front of a wall with a lamp at center — Sasa, Bleecker, New York, 2016
Zanele Muholi

G374

central painted panel with geometric shapes including abstracted letters, in various bright multicolors (predominately warm colors at left, cool colors at right), surrounded by a white frame; outer band of beadwork in predominately red, black, and blue with white text: "WHAT WE WANT / IS FREE"; outer white frame — WHAT WE WANT IS FREE, 2020
Jeffrey Gibson

G261

Ten screenprinted acrylic panels mounted in a slotted Plexiglas base, enclosed within a stainless steel cover.. Conceived as a three-dimensional "book" whose photomontaged pages (panels) can be moved and rearranged as desired. — Opal Gospel, 1971
Robert Rauschenberg; Publisher: Racolin Press, Briarcliff Manor, New York; Producer: Styria Studio, New York

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Landscape. Architecture. — Church at Head Tide #2, 1938–1940
Marsden Hartley

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Seated Angel, Simeon Solomon — Seated Angel, 1883
Simeon Solomon

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Portrait of Monroe Wheeler, Pavel Tchelitchew — Portrait of Monroe Wheeler, c. 1945
Pavel Tchelitchew

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Allegorical Self-Portrait, Simeon Solomon — Allegorical Self-Portrait, 1873
Simeon Solomon

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numeral "2" in gray tones — Figure 2, 1963
Jasper Johns

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Abstraction. — Untitled, 1970
Cy Twombly

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Scribbled horizontal lines at bottom; separate sheet taped at top center — Untitled, 1971
Cy Twombly

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Lion and lioness in landscape — Royalty at Home, 1885
Rosa Bonheur

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Landscape. Abstracted. Painted frame — You Remember How Very Special the Moment Was, 1981
Hollis Sigler

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Study for a modern dance poster — Study for "New Dance Ensemble" Poster, 1982
Harmony Hammond

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Untitled, Robert Rauschenberg — Untitled, 1968
Robert Rauschenberg

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includes a hand-drawn mat — They were Right, They are Perfect, 1982
Hollis Sigler

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includes a hand-drawn mat — There is a Doubt, She Could be Right, 1982
Hollis Sigler

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shirtless young man; eyes wide — Boy in Brambles, N.Y., 1969
Arthur Tress

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man wearing only work gloves and boots; PR leg on tree stump; saw between legs — Lumberjack Fantasy, Woodstock, 1978
Arthur Tress

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nude figure with wet hair; standing between two rows of trees and statues — Hermaphrodite, East Hampton, 1973
Arthur Tress

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statue in foreground; man imitating statue in background — Man with Classical Statue, Pojo, CA, 1994
Arthur Tress

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tan wash in background; thick black lines and curves; blue forms; torn from notebook — Abstract Composition, 1955
Beauford Delaney

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Yellow ground; irregular turquoise and pink forms throughout; greenish tint in ground areas — Ciel (Sky), 1960
Beauford Delaney

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abstract image; white ground with multicolored streaks and irregular shapes; wavy, irregular lines of thick green pigment over swirled colors — Untitled, 1954
Beauford Delaney

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abstracted figure wearing brown boots, black shirt and blue-grey pants seated on a chair in the corner of a room with blue walls and tan floor — Study for Self-Portrait, 1984
Francis Bacon; Publisher: Marlborough Graphics, New York

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red ground; three lines of musical notation in yellow; purple dancing figures above and between lines of music; blue text and bottom — 20th Montreux Jazz Festival, 1986
Andy Warhol; Designer: Keith Haring

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%C2%A9 David Hockney %2F Gemini G.E..L.

Celia in an Armchair, 1980

David Hockney; Printer: Gemini G.E.L., Los Angeles; Publisher: Gemini G.E.L., Los Angeles

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diptych mounted vertically; top section (a) is Cubist-style head of a man with curly brown hair and blue eyes, wearing a dark blue and white striped shirt, with one hand on his chin and another holding a cigarette near the PL side of his head; bottom section (b) is man's lower body, with hands next to hips, legs crossed, with brown shoes; grey and white frame with sculptural elements; collage elements on a — An Image of Gregory, 1984-1985
David Hockney; Publisher: Tyler Graphics, Ltd., Mount Kisco, New York

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large vase with chrysanthemums at center; small, irregularly shaped rock at lower R; standing vessel with two objects at R — Chrysanthemums and Scholar's Rock, early 20th century
attributed to Okuhara Seiko

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blossoming grey orchids with black and grey foliage at center of fan; lines of text at L and R; rectangular relief stamp URC; rectangular intaglio stamp with rounded edges L center — Orchids, 1870
Okuhara Seiko

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black and white photograph of a nude man crouched in front of a grey ground and a white diamond shape — Thomas, 1987
Robert Mapplethorpe

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black and white photograph; front 3/4 view of white calla lily with some view of the stem; black background — Calla Lily, 1987
Robert Mapplethorpe

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standing young person from waist up with PL side to camera, on L side of image; s/he has arms crossed on chest and is wearing plaid shirt; white wood frame with museum glass — Siya Kolela, Makhaza, Khayelitscha, Cape Town, 2011
Zanele Muholi

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young person viewed from lower torso up; wearning v-neck cardigan sweater and collared polo shirt; serious expression — Lumka Stemela, Nyanga East, Cape Town, 2011
Zanele Muholi

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back view of a nude black man seated on a curved leather stool — Ken Moody, 1983
Robert Mapplethorpe

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white ground with terra cotta and dark drown detail; wide shoulder with short vertical neck and wide mouth; small foot; terracotta band around neck with dots below central pattern is geometric in terra cotta color and stylized vegetal forms in dark brown — White, Orange with Flowery Leaves, 2014
Franklin Peters

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white ground with four rows of squared swirls in tight linear maze pattern; wide, round shape with no neck and small mouth — Mazes Seed Pot, 2014
Franklin Peters

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large color portrait of a woman in purple dress and purple eye shadow seated on sofa covered with bright sheet and animal print pillows; gold and white striped carafe and stem glass on table in front of her at L, with shards of broken glass on table at front; orange wall in background decorated with two records; artificial plant behind woman, against wood paneling — Portrait of Qusuquzah, 2008
Mickalene Thomas

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children kneeling in a loose circle against a cobalt blue background with constellation patterns — Polaris, 1987
Martin Wong

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two dimensional object with a mixture of photographs and collage-like elements; surface is slightly raised with photographs and shapes imbedded like puzzle pieces; gray textured backing; series of red plus signs dispersed across upper half; two horizontal red lines-one in upper left quadrant and one in upper right quadrant; red vertical line on upper middle right side, and runs downward to bottom, intersecting with a small square-shaped black and with photograph of a cratered rock; five red circles with photographs of space, portraits and life scenes placed in middle of circle; other photographs of life scenes and space dispersed across surface; various colored dots in orange, blue, red, black and white decorate background — Bess, 2016
Sadie Benning

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six abstract "creatures" in pastel colors; six titles listed below — The Ravening Beasts, 1944
Dudley Huppler

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man wearing black leather mask, black leather strap across upper torso, and black underwear standing in front of non-descript space; bright blue in upper right quadrant and upper left quadrant with gradated white and pink background — Chris, 2017
Joe Sinness

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black and white etching of a dark, non-descript room; figure covered with a white sheet stands to the PL of a short, male figure with dark pants and a white shirt, PL hand in the pocket of his pants — The Sexton Disguised as a Ghost, 1969 (published 1970)
David Hockney

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black and white image of a small creature with round dark eyes and large, looped ears; round mushroom-shaped body with geometric shapes — The Bug of Marianne Moore, 1945
Dudley Huppler

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black and white image of a long, slender pumpkin/ gourd with a simple white background; mounted on backing board — Cocozelle Squash (or Vegetable Marrow Squash), 1948
Dudley Huppler

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black and white image; dark bird with light gray head rests on top of a pitcher in the linkness of a cow wearing a white dress with a neck tie and ruffled hem — Cowbird on Cow Pitcher, c. 1948
Dudley Huppler

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image of three trees planted in a row; left tree has four separate segments that are conical and recede in size toward the top; center tree is a single cone shape; tree on the right has spiraling foliage winding around the trunk; each tree is planted in a mound of grass — Three Orders of Italian Trees, 1953
Dudley Huppler

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%C2%A9 Estate Dudley Huppler

Ralph Pomeroy the Poet, 1955

Dudley Huppler

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colored image of a peeled banana lying on a wooden sofa, propped up with a green bolster pillow; yellow and white dots surround sofa — Nude Banana on Sheraton-Style Sofa, 1981
Dudley Huppler

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male figure in red loincloth is tied to a tree; arrows lodged in PL thigh, chest and in various areas of the tree; darkened landscape with moon in the URQ — Saint Sebastian, 1941
Karl Priebe

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black and white; slender black cone-shaped vase with white downward-facing chevron pattern; oval dark grey shadow below vase; grey horizon line with downward gradient across image at same height as top of vase; gathered flowers (carnations) in bunch at top of vase facing many different directions; light grey/white band above horizon line — Carnations, 1984
Robert Mapplethorpe

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abstracted angel- or bird-like form with five ovoid openings at bottom; three looping forms on each "wing" with different sized polka dots — A Patriotic Spectacle, 1945
Dudley Huppler

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black female figure reclined on a couch covered in a floral-patterned blanket; figure wears red, gauzy robe, open, with chest exposed, and a black bodice around the waist, with lace trim at the bottom; animal patterened rugs, with a bright blue wall in background; large plant at right edge; white lamp on a wooden table, with a tattered LP under table leaning against the wall — Madame Mama Bush, 2012
Mickalene Thomas

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Black woman wearing a houndstooth jacket with her hands in her pockets, leaning against a wall — Andrea, 54, Minneapolis, MN, 2016
Jess T. Dugan

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Six-color etching and screenprint with chine collé and hand-cut gampishi oversheet: The first plate is printed in light green, light blue, light brown, and light gray inks from an aquatint with a brown chine collé element. The second plate is printed in black ink with etching, sugar-lift, spit-bite, drypoint, scraping, burnishing with the two lower comers cut at diagonals and reassembled after inking and prior to printing. The oversheet is white gampishi which was screenprinted. 136 diamond shapes were hand-cut according to placements designated by the artist and attached using 10 diamond shapes cut from BEVA in placements designated by the artist. The gampishi oversheet being attached at irregular intervals will dynamically respond to its environment with changes described by the artist as "expected and welcome." To allow movement and protect the oversheet from damage, each print was mounted using kozo-shi strips to museum board with an 8-ply museum board window overmat. — Winter Speaks, 2015
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

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Woodcut: Hand-printed in dark blue with a barren on a sheet of white gampi from laser-cut luan plywood created from the artist's drawing and mounted to the Revere Silk sheet with wheat starch. Intaglio: Two steel-faced copper plates drawn by the artist using sugar-lift, spit-bite, scraping, burnishing, and extensive drypoint using sandpaper, twisted scribes, and scrapers printed in black ink. Screenprinting: Solid light blue shapes created using Rubylith material per colored paper shapes cut by the artist printed after the prints were dried and flattened. Digital: Digital pigment printing on white gampi from the artist's drawing on tracing paper adhered to BEV A conservation film and cut by a programed knife cutter and applied to the print with heat. Of Summer is the second print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four print series concerning the four seasons. To match the presentation of the first print, Winter Speaks, each Of Summer print was mounted using kozo-shi strips to museum board with an 8-ply museum board window over mat. — ɹǝɯɯnS ɟo, 2016
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

Not on View

• Digital pigment print of scanned green floral drawing on verso of the Somerset Velvet paper. • Digital pigment print of scanned Sumi ink drawing printed onto Asuka paper. • Asuka hand-cut and chine colléd onto the Somerset Velvet paper, prior to intaglio. • Intaglio from one steel-faced copper plate drawn by the artist using aquatint, spit-bite, sugar-lift, and drypoint in black ink. • Screenprint in light gray on Coventry Rag paper. Screenprint in blue on museum board. • Butterfly element made of gampi holographic foil, stainless steel wire, and BEVA conservation film. • Coventry Rag border cut and adhered to Somerset Velvet intaglio print using BEVA conservation film and gampi paper. • Three-dimensional elements hand-cut and folded forward to the artist's specifications. • Coventry/Somerset print attached to museum board using BEVA conservation film and gampi paper. • lnserted the hand-cut and folded butterfly element through the museum board and attached with BEVA conservation film and gampi paper. Finally is the third print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four-print series concerning the four seasons. — Finally, 2017
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center

Not on View

Seventy-nine color print with lithographic, relief, screen and pigment printing with hand-cutting, collage, and metallic foil. Printing order: Coventry Rag: A gradation from light gray on the left to medium gray on the right was digitally pigment printed and seven colors (3 golds, copper, red, yellow, and orange) of foil were applied individually using metal leaf size screenprinted through screen stencils created from the artist's drawing. Kozo-shi: 92 shapes in 62 colors printed from 14 lithographic plates and one run of blended color screenprinting. The plates were created by relief printing black ink from wood panels onto tracing paper. The artist selected shapes from the printed tracing paper which were used to create photolithographic plates. After the lithographic plates were printed, an overprint of gradated screen ink transitioning from clear on the left side to transparent black on the right was applied. The printed kozo-shi was cut into strips and mounted on the printed Coventry Rag sheets using BEVA film adhesive. The kozo-shi mounted on the Coventry Rag was then screenprinted with eight colors (3 metallic golds, metallic copper, metallic bronze, red, orange, and yellow) through screen stencils created using the artist's drawings. — Bringing in the Ghosts, 2019
Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View

32-color screenprint and lithograph co-published by Highpoint and the Walker Art Center produced from computer files and drawings by the artist hand-printed from photosensitive screens and lithographic plates. The four lithographic elements were retained for possible reworking and inclusion in separate project. — Entropia (review), 2004
Julie Mehretu; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View

A four-color lithographic print with chine collé published by Highpoint Editions. Four lithographic drawings by the artist were printed from lithographic plates on four pieces of gampi paper. The four separate gampi sheets were layered using wheat starch paste and then attached to the Somerset backing sheet, also using wheat starch paste. Entropia: Construction is related to an earlier work co-published in 2004 by Highpoint Editions and the Walker Art Center, Entropia (review). Three drawings previously used in Entropia (review) were merged with a fourth new drawing by Julie Mehretu to create Entropia: Construction. There are no further variants or prints using these drawings. — Entropia: Construction, 2005
Julie Mehretu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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bathroom scene; male figure wearing white underwear, stands in front of a white claw foot bathtub looking to the PR, with PR arm across his chest; PL wrist is bound with a red string or rope and attached to another nude figure in a jumbled, compromised position, draped over the edge of the bathtub; both bodies appear to have been wounded, with suggestions of bloodstains on the edges of the bodies and the bathtub; chair on the right center edge; stool with green fabric draped over it in LRQ; yellow bath mat on a brown tiled floor; yellow walls and blue shower curtain — Tied at the Wrist, 1988
Hugh Steers

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interior kitchen scene; seated figure in red shorts and a white t shirt, cigarette in PR hand, while PL hand holds a pink cup resting on a table; standing figure in a suit holding a stack of money in both hands; stove and sink on center left — The Smoker's Dilemma, 1990
Hugh Steers

Not on View

white budded cross with a white cloth tied around it, placed in the C in a flat landscape; blue sky across top — Thomas Merton's Grave, 2021
Math Bass

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Spit-bite aquatint, drypoint, and burnshing printed in black ink on gray Rives BFK with white Shikibu #1 chine collé. — days: I, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

Drypoint, burnshing, and cutting with a jewelers saw printed in black ink on white Arches Cover paper. — days: II, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

Two plate intaglio. One plate created with spit-bite printed à la poupée on natural Kaga gampi chine collé in green, gray, and tan inks on bright white Hahnemühle paper. The second plate was created with drypoint and burnshing and printed in black ink. — days: III, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

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Spit-bite aquatint printed in blue on pale gray Domestic etching paper with natural gampi chine collé. — days: IV, 2021
Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View

portrait of the head and upper back of a greyhound with light brown fur, with its head turned toward PL; reddish brown ground; dog wears a double chain collar with a tag: R.B.; received in gilt frame — Portrait of a Greyhound Dog, c. 1865-1868
Rosa Bonheur

Not on View

Voice, Jasper Johns — Voice, 1966-1967
Jasper Johns

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Light Bulb, Jasper Johns; Publisher: Universal Limited Art Editions (ULAE) — Light Bulb, 1966
Jasper Johns; Publisher: Universal Limited Art Editions (ULAE)

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Signs, Robert Rauschenberg; Printer: Styria Studio, New York; Publisher: Castelli Graphics, New York — Signs, 1970
Robert Rauschenberg; Printer: Styria Studio, New York; Publisher: Castelli Graphics, New York

Not on View

YMCA Locker Room, Paul Cadmus — YMCA Locker Room, 1934
Paul Cadmus

Not on View

Ale Cans, Jasper Johns; Publisher: Universal Limited Art Editions (ULAE) — Ale Cans, 1964
Jasper Johns; Publisher: Universal Limited Art Editions (ULAE)

Not on View

Wayne Sleep, David Hockney; Printer: Maurice Payne, London — Wayne Sleep, 1969
David Hockney; Printer: Maurice Payne, London

Not on View

Title page from a portfolio of eight screenprints — Untitled, from 8 Odi di Orazio, Series I, 1968
Cy Twombly; Publisher: Published and printed by Edizioni Sergio Tosi, Milan, Italy

Not on View

Plate 11 from Six Fairy Tales from the Brothers Grimm — The Lake, 1969 (published 1970)
David Hockney; Printer: Print Shop, Amsterdam; Publisher: Petersburg Press, New York

Not on View

Target, Jasper Johns; Publisher: Universal Limited Art Editions (ULAE) — Target, 1967
Jasper Johns; Publisher: Universal Limited Art Editions (ULAE)

Not on View

A book of five texts by Samuel Beckett and 33 etchings by Jasper Johns; binding: linen covered binder with liner of "Hatching" lithograph, printed in four colors with purple tassle; type: Caslon Old-Face 16 pt.; hand-printed by Fequet & Baudier, Paris — Foirades/Fizzles, 1976
Jasper Johns; Author: Samuel Beckett; Publisher: Petersburg Press Ltd., London

Not on View

Celia in a Wicker Chair, David Hockney; Publisher: Petersburg Press, New York — Celia in a Wicker Chair, 1974
David Hockney; Publisher: Petersburg Press, New York

Not on View

Commemorative Artwork (AFL-CIO Centennial), Robert Rauschenberg — Commemorative Artwork (AFL-CIO Centennial), 1981
Robert Rauschenberg

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From a suite of four prints — Dance of the Ladder IV, 1981
Harmony Hammond

Not on View

Fan Lady Meets Cactus Lady, Harmony Hammond — Fan Lady Meets Cactus Lady, 1981
Harmony Hammond

Not on View

Fan Lady Meets Cactus Lady, Harmony Hammond — Fan Lady Meets Cactus Lady, 1981
Harmony Hammond

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Fan Lady Meets Cactus Lady, Harmony Hammond — Fan Lady Meets Cactus Lady, 1981
Harmony Hammond

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Fan Lady Meets Cactus Lady, Harmony Hammond — Fan Lady Meets Cactus Lady, 1981
Harmony Hammond

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Chicken Lady, Harmony Hammond; Publisher: Vermillion Editions Limited, Minneapolis — Chicken Lady, 1985
Harmony Hammond; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

From a suite of four color lithographs. The mat and frame were designed by the artist. — She Always Thought She Was Wrong, 1982
Hollis Sigler

Not on View

From a suite of four color lithographs. The mat and frame were designed by the artist. — There Is a Doubt, She Could Be Right, 1982
Hollis Sigler

Not on View

From a suite of four color lithographs. The mat and frame were designed by the artist. — She Was Tired of Filling Her Heart with Hopeless Dreams, 1982
Hollis Sigler

Not on View

From a suite of four color lithographs. The mat and frame were designed by the artist. — They Were Right, They Are Perfect, 1982
Hollis Sigler

Not on View

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