Explore Artworks

The Three Marys (ca. 1906–1911)

Edwin Austin Abbey (American, 1852–1911)

Three women gather in hushed sorrow, their draped robes pooling around them like shadows. The weight of loss hangs between them, unspoken yet palpable in their bowed heads and clasped hands. A moment suspended—not in grief’s climax, but its quiet aftermath.
A Lady In Brown (1920)

Sir John Lavery (Irish, 1856–1941)

A woman in a brown dress gazes past the frame, her expression unreadable. Soft brushstrokes blur the background, pulling focus to the quiet intensity in her eyes. The folds of her dress catch the light, hinting at movement just paused. There’s a story here, half-told.
Bijeneter (Merops apiaster) (1596-1610)

Anselmus Boëtius de Boodt (Flemish, 1550–1632)

A bee-eater perches mid-motion, its iridescent plumage catching the light—turquoise wings, golden throat, dagger-like beak poised to strike. The watercolor renders each feather with precision, as if the bird might dart off the page.
The Lute Player

Frederik Hendrik Kaemmerer (Dutch, 1839–1902)

A young musician leans into his lute, fingers poised above the strings. The warm glow of candlelight catches the rich fabrics around him—velvet, silk—as if the room itself holds its breath for the first note.
Fireside Candlelight (1903)

Adam Emory Albright (American, 1862–1957)

Soft candlelight flickers across the room, casting warm pools on the floor. A fire crackles nearby, its glow mingling with the dancing shadows. The scene feels intimate, like a quiet moment stolen from time—just the hush of flames and the gentle play of light on worn wooden boards.
Portrait Of Flutist François Devienne (1792)

Jacques Louis David (French, 1748–1825)

A young flutist leans forward, fingers poised above the instrument. His powdered wig and velvet coat contrast with the intensity in his eyes—not just a musician, but a man caught mid-thought, about to play or speak. The folds of his cravat seem to tremble with unspent breath.
Epinephelus ruber, The red Wall-eye. (1785-1797)

Marcus Elieser Bloch (German, 1723–1799)

The red Wall-eye glides across the page, scales etched with precision, its gills flared as if still breathing. The engraving captures the fish’s taut energy, frozen mid-motion against stark white. Every spine and fin is rendered with clinical clarity, yet the creature feels alive, ready to dart off the paper.
Motiv aus dem Decamerone

Salvatore Postiglione (Italian, 1861–1906)

A scene from the Decameron unfolds—figures draped in rich fabrics whisper secrets, their faces alight with mischief. The air hums with unspoken tales, each glance hinting at stories too scandalous to voice. Here, piety and pleasure dance just beyond the frame.
Psalliota Arvensis Schff. II (1915-1945)

Hans Walty (Swiss, 1868-1948)

Delicate gills fan out beneath the mushroom’s broad cap, each line etched with precision. The stem rises firm from shadow, its surface textured like worn fabric. A quiet study of form and function, where science meets artistry in the curve of a spore-laden underside.
Daydreams

Conrad Kiesel (German, 1846–1921)

A woman’s distant gaze lingers just beyond the frame, lost in thought. Soft light brushes her features, hinting at unspoken reveries. The portrait holds a quiet tension—between presence and absence, between the moment and whatever lies behind her eyes.
Portrait of Charles Girault (1875)

Evert Louis van Muyden (Swiss, 1853–1922)

A stern gaze meets the viewer, the subject’s sharp features framed by a dark coat. The brushwork captures both the weight of authority and a flicker of weariness in his expression. Every fold of fabric, every shadow suggests a man accustomed to command—yet not untouched by its burdens.
Portrait Of A Young Woman Sitting On Marble Seat (1882)

William Oliver (English, 1804–1853)

A young woman perches on a marble seat, her gaze steady and unreadable. The cool stone contrasts with the warmth of her presence, the folds of her dress hinting at a quiet tension. There’s something unresolved in her stillness—neither waiting nor leaving, just existing in that exact moment.
The Sleeping Beauty (1921)

John Collier (English, 1850–1934)

A woman lies in deep slumber, draped in flowing white, her golden hair spilling across the pillows. The air hums with enchantment—time suspended, waiting for that fateful kiss to break the spell. Her stillness holds the weight of a thousand untold stories.
Bal blanc (1903)

Joseph-Marius Jean Avy (French, 1871–1939)

A swirl of white gowns glides across the floor, their movement frozen mid-step. The air hums with muffled laughter and rustling fabric, a fleeting glimpse of elegance caught between one turn and the next. Light bounces off satin slippers as the dance lingers, suspended in its own rhythm.
Fragment of a house with two trees (1920)

Tadeusz Makowski (Polish, 1882–1932)

A tilted house leans into the wind, its walls splintered between two twisted trees. The landscape buckles under unseen pressure, shapes bending as if seen through warped glass. Something familiar fractures here—home, stability—yet the trees stand, stubborn and gnarled against the sky’s uneasy weight.