Childe Hassam, American painter, October 17, 1859 - August 27, 1935
The Avenue in the Rain, 1917
Oil on canvas, 42 x 22.2 in //
The White House, Washington DC
View in Montmartre, Paris, 1889
Watercolor and gouache over graphite on cream wove paper, 13 7/8 x 9 15/16 in //
Princeton University Art Museum
Late Afternoon, New York, Winter, c 1900
Oil on canvas, 36.9 x 29 in //
Brooklyn Museum, New York
Church at Old Lyme, 1905
Oil on canvas
Albright-Knox Art Gallery, Buffalo
July Fourteenth, Rue Daunou, 1910
Oil on canvas, 29 1/8 x 19 7/8 in //
Metropolitan Museum of Art, New York
The Water Garden, 1909
Oil on canvas, 24 x 35.9 in //
Metropolitan Museum of Art, New York
Drydock, Gloucester, c 1890
Watercolor over ink and graphite, 13 3/16 in x 19 1/2 in //
The Phillips Collection, Washington DC
Washington's Birthday — Fifth Avenue at 23rd Street, 1916
Etching, 10.2 x 15.7 in //
Museum of Fine Arts, Houston
Norman Structure, 1885
Pen and black ink over graphite on board, 10 3/8 x 7 5/8 in //
National Gallery of Art, Washington DC
Celia Thaxter's Garden, Isles of Shoals, Maine, 1890
Oil on canvas, 17.7 x 21.4 in //
Metropolitan Museum of Art, New York
The Gorge, Appledore, circa 1912
Transparent watercolor with touches of opaque watercolor on cream, moderately thick, moderately textured wove paper, 13.8 x 19.8 in //
Brooklyn Museum
Back Road, circa 1884
Oil on canvas, 31 x 24.7 in //
Brooklyn Museum, New York
William Blake, English artist, November 28, 1757-August 12, 1827
The Ancient of Days, 1794
Colour relief etching and white-line etching in blue, black, red and yellow; with added hand colouring
The Inscription over the Gate, 1824–7
Graphite, ink and watercolour on paper, 20.7 x 14.7 in //
Tate Gallery, London
The Angel Michael Binding Satan, c 1805
Watercolor, black ink, and graphite on off-white wove paper, 14 1/8 x 12 13/16 in //
Harvard Art Museums/Fogg Museum
The Body of Abel Found by Adam and Eve, circa 1826
Tempera, gold and mahogany wood, 17 x 12.7 in //
Tate Gallery, London
Watercolor Illustration to Milton's Paradise Lost, 1807
Antaeus Setting Down Dante and Virgil in the Last Circle of Hell, between 1824 and 1827
Pen, ink and watercolor, 20.70 x 14.72 in //
National Gallery of Victoria, Australia
When the Morning Stars Sang Together, 1804/1807
Pen and black ink, watercolor, over traces of graphite, 7 x 11 in //
The Morgan Library & Museum, New York
The Great Red Dragon and the Beast from the Sea, 1805
Pen and watercolor, 15.7 × 14 in //
National Gallery of Art, Washington DC
The Youthful Poet's Dream, Illustration to Milton's L'Allegro and Il Penseroso, between 1816 and 1820
Watercolor
The Morgan Library, New York
The Red Dragon and the Woman Clothed in Sun, circa 1803
Watercolor, ink and graphite on paper, 17.2 x 13.7 in //
Brooklyn Museum
Mirth, Illustration to Milton's L'Allegro and Il Penseroso, between 1816 and 1820
Watercolor
The Morgan Library, New York
Let the Day Perish Wherein I Was Born (The Book of Job), 1821
Watercolor, black ink and graphite on cream laid paper, 8 7/8 x 10 5/8 in //
Fogg Art Museum, Cambridge, Massachusetts
Dante and Virgil Approaching the Angel Who Guards the Entrance of Purgatory, 1824–7
Graphite, ink and watercolour on paper, 20.7 x 14.7 in //
Tate Gallery, London
The Stygian Lake, with the Ireful Sinners Fighting, 1824 - 1827
Pen, ink and watercolour over pencil
National Gallery of Victoria, Australia
Job's Comforters, 1805
Pen and black ink, gray wash, and watercolour, over traces of graphite
The Morgan Library, New York
David Delivered out of Many Waters, c.1805
Ink and watercolour on paper, 16.3 x 13.7 in //
Tate Gallery
Cerberus, Part of Illustrations to Dante’s ‘Divine Comedy’
Graphite, ink and watercolour on paper, 14.6 x 20.8 in //
Tate Gallery, London
Songs of Innocence and of Experience, The Tyger, 1795
Relief and white-line etching with hand coloring, 7.7 x 5.4 in //
The Huntington Library, Art Museum, and Botanical Gardens, Pasadena
Jacob's Ladder, 1805
Pen and ink and water color, 14.5 x 11.4 in //
British Museum, London
Newton, circa 1804-05
Monotype print, 18.1 x 23.6 in //
Tate Britain, London
The Last Trumpet, 1780–85
Pen and ink, 8 1/16 x 8 3/8 in //
Metropolitan Museum of Art, New York
The Lovers' Whirlwind, Francesca da Rimini and Paolo Malatesta, between 1824 and 1827
Pen, ink and watercolor
Birmingham Museum and Art Gallery, UK
‘A Rolling Stone is ever Bare of Moss,' Illustrations to Robert John Thornton, ‘The Pastorals of Virgil’
Wood engraving on paper, 1.3 x 3 in //
Tate Gallery, London
The Canterbury Pilgrims, c 1810-1820
Etching and engraving, 13.9 x 37 in
British Museum, London
Jerusalem, Plate 51, between 1804 and 1820
Relief etching printed in black with pen and black ink and watercolor on moderately thick, smooth, cream wove paper, 8.85 x 6.37 in //
Yale Center for British Art, New Haven, Connecticut
Jerusalem, Plate 1, Frontispiece, 1804 to 1820
Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth, cream wove paper, 8.77 x 6.37 in //
Yale Center for British Art, New Haven, Connecticut
The Poems of Thomas Gray, Design 67, "The Fatal Sisters," between 1797 and 1798
Watercolor, pen, black ink and graphite on cream-colored paper, 16.49 x 12.75 in //
Yale Center for British Art, New Haven, Connecticut