Explore Artworks

Coronation of the Virgin (about 1420)

Gentile da Fabriano (Italian, 1370–1427)

Golden light bathes the Virgin as angels lower a jeweled crown onto her head. Their wings shimmer against the deep blue, their faces alight with reverence. Below, saints and martyrs gaze upward, caught in this moment of divine grace. Every inch glows with intricate patterns and radiant gold leaf.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.020 (1718-1719)

Louis Renard (French, 1678–1746)

Vibrant fish dart across the page, their scales shimmering in impossible hues. A crimson crab claws at a cobalt crayfish, frozen mid-battle. These creatures defy nature—flaring fins, exaggerated spines, colors too bold for any ocean. Each specimen twists reality into something stranger, wilder.
A synopsis of the birds of Australia, and the adjacent Islands Pl.24 (1837-1838)

Elizabeth Gould (English, 1804–1841)

A vibrant lorikeet perches among twisting branches, its emerald feathers stark against the paper’s muted tones. Delicate lines trace each barb of its wings, while the beak curves toward unseen fruit. This isn’t just a bird—it’s a meticulous record of life in the antipodean canopy.
Confidences (1889)

Georges Croegaert (Belgian, unknown)

Two women lean close, their whispered exchange frozen in rich fabrics and muted light. One gloved hand rests on the other’s arm—a fleeting intimacy amid velvet and lace. The room hums with unspoken words, the air thick with secrets too delicate to voice aloud.
Konijnen (1878 – 1910)

Theo van Hoytema (Dutch, 1863–1917)

Two rabbits, one alert with ears pricked, the other crouched low—watercolor strokes bring their fur to life, soft yet precise. The muted earth tones ground them in their world, a quiet moment of wildness caught on paper.
Notolabrus celidotus (NZ) _ Wrasse (1875)

Frank Edward Clarke (New Zealander, 1864–1935)

A wrasse glides through unseen waters, its scales catching the light in flashes of orange and blue. The precise brushwork traces every fin and curve, as if the fish might dart off the page at any moment.
The Annunciation (ca. 1525)

Joos Van Cleve (Dutch, unknown)

A golden light spills through the window as the angel kneels, wings still trembling. Mary’s hands pause mid-stitch, the thread slack between her fingers. The room holds its breath—divinity intrudes on the ordinary, and everything after this moment will be different.
Phlegmacium praestans Cord. (1915-1945)

Hans Walty (Swiss, 1868-1948)

Delicate gills fan out beneath a smooth, tawny cap—this fungus stands poised between decay and elegance. Its precise lines reveal nature’s quiet craftsmanship, each detail a testament to life’s fleeting beauty. Here, science and art blur into something quietly mesmerizing.
Chemin de l’écluse, Saint-Ouen-l’Aumône (1882)

Camille Pissarro (French, 1830–1903)

A sunlit path winds past a quiet riverbank, where dappled light dances on the water. Trees lean gently over the lane, their leaves whispering in the breeze. The scene hums with the quiet rhythm of rural life—soft, fleeting, alive.
The Broom Cactus (1815-1819)

Sydenham Edwards (English, 1768–1819)

Spiky arms stretch upward, each rib lined with sharp yellow spines. Delicate pink flowers bloom unexpectedly from the harsh, angular form—a desert survivor dressed in unlikely finery. The watercolor’s precise strokes trace every thorn and petal, revealing beauty in the bristling.
Natural History (Galerya obrazowa zwiérząt czyli Historya naturalna) Pl.16 (1839)

Anton Benedikt Reichenbach (German, 1804–1877)

A detailed engraving of animals, their forms precisely etched—each line alive with texture and movement. The creatures seem poised between the page and the wild, frozen yet full of life.
The Sheep-Shearer (After Millet)

Vincent van Gogh (Dutch, 1853–1890)

A man bends over a sheep, blade in hand. The animal’s wool bunches under his grip, thick and tangled. Sunlight catches the curve of his back, the tension in his fingers. Around them, the field hums—dry grass, warm fleece, the quiet labor of rural life.
Cristiceps australis (Tas) _ Weedfish (1867)

Frank Edward Clarke (New Zealander, 1864–1935)

A slender weedfish drifts through tangled kelp, its mottled body blending into the swaying fronds. The delicate fins ripple like submerged leaves, perfectly adapted to vanish into Tasmania’s coastal forests.
Le lever (1865)

William Bouguereau (French, 1825–1905)

A young woman stretches at dawn, her body bathed in soft light. The sheets slip away as she rises, caught between sleep and waking. Her pose is effortless, natural—a private moment made timeless. The morning air seems to linger on her skin.
Araçarys (1900-1906)

Emil August Göldi (Swiss, unknown)

A watercolor toucan perches with sharp precision, its beak a bold curve against muted greens. Every feather is rendered with scientific clarity, yet the bird’s watchful eye hints at life beyond the page.