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De uitlandsche kapellen voorkomende in de drie waereld-deelen, Asia, Africa en America pl19 (1779-1782)

Pieter Cramer (Dutch, 1721–1776)

Delicate wings unfurl in precise detail—each vein, spot, and gradient of color meticulously recorded. These butterflies and moths, frozen mid-flight, reveal nature’s intricate artistry. The engravings transform fleeting beauty into something permanent, a silent catalog of life’s fragile patterns.
At sea

Jozef Israëls (Dutch, 1824–1911)

A lone boat rocks on dark waves, its weary fishermen bent against the wind. The sea stretches gray and endless, swallowing their silhouettes. Salt spray stings their faces as they haul nets heavy with the day’s meager catch. The horizon offers no comfort—just another day of toil beneath the indifferent sky.
Variété du Magnifique. (1806)

Jacques Barraband (French, unknown)

A vibrant bird perches among lush foliage, its plumage a riot of color against delicate leaves. Every feather seems alive, rendered with precision that blurs the line between art and nature. The creature’s gaze holds something wild yet poised, as if frozen mid-motion between flight and stillness.
Virgin and Child (ca. 1485)

Sandro Botticelli (Italian, 1444-1510)

Mary cradles the infant Jesus, her gaze tender yet distant. Gold leaf halos glow against soft blues, their delicate fingers almost touching. The child clutches a pomegranate—its split flesh revealing blood-red seeds. A quiet tension lingers between maternal warmth and the weight of divine destiny.
Portrait of artist’s sister (1890)

Konstanty Mańkowski (Polish, unknown)

A young woman gazes past the frame, her expression unreadable. The soft light catches the folds of her dress, but her eyes hold something distant, private. There’s a quiet tension in the way she turns slightly away, as if caught between staying and stepping out of view.
Elizabeth Gunning, Duchess of Hamilton and Argyll (ca. 1760)

Sir Joshua Reynolds (English, 1723–1792)

The Duchess’s powdered hair frames her face like a cloud, her silk gown shimmering against the dark background. A slight smile plays at her lips—not quite coy, not quite warm—as if she’s decided the viewer may glimpse, but never truly know, the woman beneath the aristocratic trappings.
Une soirée au Pré-Catelan (1909)

Henri Gervex (French, 1852–1929)

Laughter floats through the lantern-lit garden as silk skirts brush against tailored suits. Glasses clink under the trees, their reflections shimmering in dark puddles from an earlier rain. Paris hums beyond the hedges, but here, time stretches like the shadows across damp gravel.
Birch Forest (1903)

Gustav Klimt (Austrian, 1862–1918)

Slender birch trunks rise like pale ghosts, their black markings stark against the dappled light. The forest floor shimmers with golden leaves, a silent carpet beneath the vertical dance of trees. Each slender form repeats into the distance, creating a rhythm that pulls the eye deeper into the woods.
Battledore (1868-1870)

Albert Joseph Moore (English, 1841–1893)

A woman in flowing drapery holds a battledore, poised mid-motion. The folds of her gown ripple with restrained energy, frozen between stillness and action. Victorian elegance meets classical grace, the shuttlecock suspended just beyond the frame—anticipation hangs in the air like an unplayed note.
A popular courtesan

Stéphane Baron (French, unknown)

A woman lounges in silk, her gaze both inviting and distant. The folds of her dress catch the light, rich fabrics whispering luxury. There’s power in her ease—a courtesan who commands the room without lifting a finger. Every detail hums with unspoken stories.
Abbildungen zu Oken’s Allgemeiner Naturgeschichte für alle Stände Pl.029 (1841)

Lorenz Oken (German, unknown)

Delicate veins branch across translucent leaves, each curve precise as a surgeon’s incision. The engraving freezes their unfurling—not just plants, but architectures of light and shadow. Here, botany becomes blueprint.
Landscape of a small town with children in a pram (1924)

Tadeusz Makowski (Polish, 1882–1932)

A cobbled street winds past pastel houses, sunlight dappling the stones. Two children peer from a pram, their wide eyes taking in the quiet bustle of the town. The scene hums with muted color and the soft geometry of tilted roofs, a moment suspended between childhood wonder and the rhythm of daily life.
Interior, Light Of Spring

Carl Holsøe (Danish, unknown)

Sunlight spills across the wooden floor, pooling around a chair left slightly askew. A vase of fresh blooms sits on the table, their petals catching the glow. The room holds its breath, suspended in the quiet warmth of a spring morning. Shadows stretch lazily, marking time’s slow passage.
Arranging the Tulips (before 1928)

Gari Melchers (American, 1860–1932)

Soft light spills across the table, illuminating a cluster of tulips in mid-arrangement. Their petals—crimson, gold, and cream—curl slightly at the edges, as if caught between the vase and the gardener’s hand. The stems lie scattered, waiting to find their place.
Un repas à deux

Victor Gabriel Gilbert (French, 1847–1935)

Two figures sit at a table, bathed in warm lamplight. The quiet clink of cutlery, the hush of conversation—every detail pulls you into their shared moment. The scene feels intimate, ordinary, yet charged with something unspoken. You lean in, wondering what’s left unsaid between them.