Explore Artworks

Les Fleurs du potager (Le Grand-Lemps) (1909)

Pierre Bonnard (French, 1867–1947)

A tangle of garden flowers bursts from the canvas—vibrant, unruly, as if still swaying in the breeze. Petals glow against loose brushstrokes, their colors humming with life. No careful arrangement here, just the wild joy of blooms spilling from their pots.
Le petit chaperon rouge (1904)

A. Guillon (French, unknown)

A girl in a red cloak pauses mid-step, the forest shadows stretching long around her. The basket on her arm holds more than bread—it carries the weight of every warning whispered at the hearth. Between the trees, something watches.
Atlas państwa zwierzęcego Pl.66 (1905)

Kurt Lampert (German, unknown)

A meticulous engraving of the animal kingdom, where each creature is etched with scientific precision—fur, feathers, and scales rendered in sharp detail. The composition balances order with wild vitality, as if the page could rustle with movement.
Summer Afternoon (Figures On A Bridge)

John Henry Twachtman (American, 1853–1902)

Dappled sunlight filters through the trees, casting shifting patterns on the wooden bridge. Two figures pause mid-crossing, their silhouettes softened by the hazy summer air. The water below mirrors the lazy green of overhanging branches, blurring the line between reflection and reality. A breath of warmth lingers in the stillness.
Portrait of a Woman (1886)

Marie Wandscheer (Dutch, 1856–1936)

A woman gazes past the frame, her expression unreadable. The light catches the folds of her dark dress, the subtle textures of fabric and skin rendered with quiet precision. There’s weight in her stillness—not posed, but paused, as if mid-thought. The background dissolves, leaving only her presence.
Vitis_ Askarie (1911)

Ellen Isham Schutt (American, 1873–1955)

Delicate tendrils curl around unseen supports, leaves splayed to catch the light. The grapevine’s veins branch like tiny rivers, each stroke of watercolor precise—not just a plant, but a living map of growth and grip.
Over The Wall (1865)

Filippo Palizzi (Italian, 1818–1899)

A boy perches atop a weathered stone wall, legs dangling over the edge. Below, the world stretches out—unknown, inviting. His hands grip the rough surface, torn between safety and the urge to leap. The wall divides more than land; it’s the line between childhood and whatever comes next.
Fauna japonica Pl.139 (1833-1850)

Philipp Franz Balthasar von Siebold (German, 1796–1866)

Delicate wings spread across the page, each vein traced with precision. A Japanese beetle pauses mid-motion, its iridescent shell catching imagined light. Surrounding flora frames the insect like a living specimen pressed between parchment—science and artistry fused in ink.
The Guardian Angel

Sir Edward Coley Burne-Jones (English, 1833–1898)

A winged figure stands watch, draped in flowing robes, its gaze both tender and solemn. The angel’s presence feels like a whispered promise—protection unseen but unshaken. Light clings to its feathers, soft yet unyielding, as if the divine could be glimpsed in the stillness between breaths.
Poissons, ecrevisses et crabes, de diverses couleurs et figures extraordinaires.. Pl.035 (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, both frozen mid-battle. The sea creatures twist in exaggerated forms—some striped like tigers, others spotted like leopards, all defying nature’s ordinary palette.
A monograph of the Pittidæ, or family of ant-thrushes Pl.34 (1893-1895)

Daniel Giraud Elliot (American, unknown)

A jewel-toned ant-thrush perches on a slender branch, its plumage a vivid contrast of rust and sapphire. The sharp precision of each feather reveals the bird’s delicate structure, as if it might dart into the undergrowth at any moment.
Carassius auratus (Goldfish)

Frank Edward Clarke (New Zealander, 1864–1935)

A goldfish glides through watery depths, its scales shimmering like liquid copper. The delicate watercolor strokes blur fins into motion, capturing the creature’s effortless drift between light and shadow.
Yellow Christ (1889)

Emile Bernard (French, 1868–1941)

A stark yellow Christ hangs on the cross, his body merging with the flat, vibrant fields behind him. The scene pulses with unnatural color—more vision than reality, where suffering and landscape become one.
Parmelee Estate in Bloom (c. 1920)

Dora Louise Murdoch (American, 1857–1933)

Sunlight spills across the manicured lawns, dappling flowerbeds bursting with color. A grand estate stands framed by blossoms, its white columns softened by climbing vines. The air hums with bees drunk on nectar, and somewhere, a gardener’s shears snip in rhythm with the sway of hydrangeas.
A synopsis of the birds of Australia, and the adjacent Islands Pl.38 (1837-1838)

Elizabeth Gould (English, 1804–1841)

A pair of Australian parrots perch on a gnarled branch, their emerald feathers stark against the muted background. One cocks its head, beak slightly open as if mid-chirp, while the other leans in—a fleeting interaction frozen in delicate ink lines. The engraving pulses with quiet avian energy.