Database / Artworks
Artworks
The Royal Palace, from Love of Three Orange
Boris Israelevich Anisfeld
Gouache, with watercolor, graphite, gold metallic paint, brush and black ink and touches of charcoal, selectively varnished, on off-white laid paper · 1899
Art Institute of Chicago
The Castle of the Sorceress, from Love of Three Orange
Boris Israelevich Anisfeld
Gouache with brush and black ink, watercolor, pen and black ink, and touches of gold metallic paint, selectively varnished on off-white laid paper · 1899
Art Institute of Chicago
The King and the Doctors, from Love of Three Orange
Boris Israelevich Anisfeld
Gouache, with watercolor, gold leaf, gold metallic paint, and touches of graphite, selectively varnished, on off-white laid paper · 1899
Art Institute of Chicago
Pink Curtain #2, from Love of Three Orange
Boris Israelevich Anisfeld
Gouache and watercolor, with pen and black ink, and gold metallic paint, and charcoal, over graphite, selectively varnished, on off-white laid paper · 1899
Art Institute of Chicago
Cabalistic Curtain, from Love of Three Orange
Boris Israelevich Anisfeld
Gouache, with watercolor and touches of gold metallic paint, selectively varnished, on off-white laid paper · 1899
Art Institute of Chicago
Courtyard of the Royal Palace, from Love of Three Orange
Boris Israelevich Anisfeld
Watercolor and gouache, with gold leaf, pen and black ink, and touches of brush and black ink, over graphite, varnished overall on off-white laid paper · 1899
Art Institute of Chicago
Flirt
Félicien Rops
Soft varnish etching ("vernis mou") and drypoint on ivory wove paper · 1894
Art Institute of Chicago
A Document on the Impotence of Love
Félicien Rops
Heliogravure, with soft varnish ("vernis mou") and drypoint, on cream wove paper · 1894
Art Institute of Chicago
Frontispiece to Les baisers morts
Félicien Rops
Soft varnish ("vernis mou") etching, drypoint and roulette in brownish-red on cream wove paper · 1893
Art Institute of Chicago
Frontispiece to Les baisers morts
Félicien Rops
Soft varnish etching ("vernis mou"), drypoint and roulette on cream wove paper · 1893
Art Institute of Chicago
Modern Masks
Félicien Rops
Photogravure in dark brown retouched with soft varnish (vernis mou), roulette and blue handcoloring on thick cream wove paper · 1889
Art Institute of Chicago
Lily Pattern Frame
Theodore Roussel
Etching in black on ivory laid paper, joined and laid down onto wood frame, and varnished · 1888
Art Institute of Chicago
The Modesty of Sodom
Félicien Rops
Heliogravure retouched with drypoint, soft varnish (vernis mou) and aquatint on ivory laid paper · 1888
Art Institute of Chicago
Maturity
Félicien Rops
Aquatint, soft varnish ("vernis mou") and drypoint on cream laid paper · 1887
Art Institute of Chicago
At an Atheist Dinner-Party
Félicien Rops
Heliogravure retouched with aquatint and soft varnish (vernis mou) in black on thick cream wove paper · 1882
Art Institute of Chicago
Frontispiece for Rimes de Joie
Félicien Rops
Heliogravure, with soft varnish (vernis mou) on cream wove paper · 1881
Art Institute of Chicago
Orange Walnuts
Paul Balin
wallcoverings, sidewall — block-printed paper, embossed, varnish · 1880
Cooper Hewitt, Smithsonian Design Museum
Dieppe Shop Window
Walter Richard Sickert
Oil, with pen and black ink, over incising and touches of graphite, on ivory wove paper, pieced and laid down on cream card, varnished overall · 1880
Art Institute of Chicago
Coaching in New England
Albert Fitch Bellows
varnish · 1876
Woman with a Carcel Lamp
Félicien Rops
Reproduction of a soft varnish etching ("vernis mou"), with drypoint and roulette, on cream laid paper · 1876
Art Institute of Chicago
Design for a Chatelaine with Watch
Alexis Falize, French
jewelry, drawing — brush and gouache, gum varnish, graphite on buff-colored laid paper · 1875
Cooper Hewitt, Smithsonian Design Museum
Taking Tea
Félicien Rops
Etching, soft varnish (vernis mou) and drypoint on ivory wove paper · 1875
Art Institute of Chicago
Mme Lili Grenier (recto); Landscape with Church (verso)
Henri de Toulouse-Lautrec
Oil paint, with graphite (recto), and oil paint with touches of black crayon varnished overall (verso), on gray cardboard · 1875
Art Institute of Chicago
Zelfportret van Edward John Gregory, met palet en penselen, zittend voor de ezel
John Gregory
varnishing on gouache (paint), deck paint, paper · 1870
Rijksmuseum