Database / Artworks
Artworks

Conference Room Table from Turin Stock Exchange
Roberto Gabetti
Lacquered wood, brass, Formica and Resinflex · 1952
Museum of Modern Art

Inland Steel Building: Model of Preliminary Design
Skidmore Owings & Merrill
Thermoplastic resin sheet and enameled steel · 1949
Art Institute of Chicago

Untitled
Gregorio Vardanega
Oil and oleoresin on wood · 1948
Museum of Modern Art

Relief no. 30
Raúl Lozza
Oil, alkyd, pine resin, wax, and acrylic on wood and metal wire · 1946
Museum of Modern Art

Radio Nurse Speaker
Isamu Noguchi
Bakelite resin · 1937
Museum of Modern Art

Otaïti
Francis Picabia
Oil paint and resin on canvas · 1930
Tate

The Eye
Antoine Pevsner
Oil and resin on carved gesso, on cardboard · 1923
Museum of Modern Art

Tahitian Idol—the Goddess Hina
Paul Gauguin
Wood-block print in black ink, over brush and solvent thinned and selectively applied yellow ocher, reddish-orange and touches of green and pink wax-and resin-based media, on cream wove paper · 1894
Art Institute of Chicago

Tahitian Idol—the Goddess Hina
Paul Gauguin
Wood-block print in black ink, over brush and solvent thinned and selectively applied ocher, reddish-orange and touches of green wax-and-resin-based media, on cream wove paper · 1894
Art Institute of Chicago

Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and transferred golden-yellow, green, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with brush and black ink and diluted yellow printing ink, on cream Japanese paper · 1893
Art Institute of Chicago

Te faruru (Here We Make Love), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown gouache, on cream Japanese paper (previously mounted on mottled blue wove paper laid down on cream wove card [a presentation mount]) · 1893
Art Institute of Chicago

Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, with selective wiping of the black ink, over a yellow ink tone block, transferred golden-yellow, green, and red-orange, and stenciled red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream wove paper · 1893
Art Institute of Chicago

Te atua (The God) from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over yellow ink tone block, and transferred golden-yellow, green, red-orange, and red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper · 1893
Art Institute of Chicago

Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in brown and black inks, over a yellow, silver-gray and brownish-orange ink tone block, and transferred yellow, green, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), on ivory Japanese paper, laid down on cream wove card · 1893
Art Institute of Chicago

Auti te pape (Women at the River), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in pale orange and black ink, over transferred yellow, pink, orange, blue and green oil-based media, with traces of conifer resin (probably pine resin), on cream wove Japanese paper, laid down on cream wove Japanese paper · 1893
Art Institute of Chicago

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed in black ink with traces of residual brown ink, with selective wiping, over solvent-thinned and transferred and stenciled yellow, orange, red, blue, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), with touches of brush and black ink, on medium-weight, smooth, pink wove paper (faded to tan) · 1893
Art Institute of Chicago

Noa Noa (Fragrant), from the Noa Noa Suite
Paul Gauguin
Wood-block print in black ink, with touches of reddish-brown watercolor and black ink, over yellow ink tone block and transferred golden-yellow, orange, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper, laid down on heavy cream wove card · 1893
Art Institute of Chicago

Untitled
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1864
Art Institute of Chicago

Branch of a Fern
William Henry Fox Talbot
Photoglyphic engraving made without a gauze or resin ground screen · 1848
Art Institute of Chicago

St. Etienne du Mont, Facade
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1848
Art Institute of Chicago

Alcazar de Seville
William Henry Fox Talbot
Photoglyphic engraving employing resin ground · 1848
Art Institute of Chicago

Erxian
TONE
Wood, composition, silk, resin · 1801
The Metropolitan Museum of Art

Miniature Mask
Mixtec
Wood, gold foil, and shell with pigment and resin · 1300
Art Institute of Chicago

Portrait of a Man Wearing an Ivy Wreath
Ancient Egyptian
Lime (linden) wood, beeswax, pigments, gold, textile, and natural resin · 101
Art Institute of Chicago