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A work made of dye imbibition print, from the portfolio "st. louis and the arch" (1980).

The Arch, 1977/80

Joel Meyerowitz

A work made of dye imbibition print, from the portfolio "st. louis and the arch" (1980).

The Arch, 1977/80

Joel Meyerowitz

A work made of dye imbibition print, from the portfolio "st. louis and the arch" (1980).

The Arch, 1977/80

Joel Meyerowitz

A work made of pen and brown ink, with brush and brown and gray wash, heightened with white chalk, on cream laid paper, squared in black chalk, laid down on off-white japanese paper.

The Holy Family with Saint John the Baptist, 1570/80

Follower of Federico Barocci

A work made of etching, with drypoint cancellation, in dark brown ink on cream japanese paper.

The Riva, 1879/80

James McNeill Whistler

A work made of etching and drypoint in dark brown on cream laid paper.

Salute Dawn, 1879/80

James McNeill Whistler

A work made of etching and drypoint in dark brown on ivory laid paper.

Lagoon--Noon, 1879/80

James McNeill Whistler

A work made of gelatin silver prints (two matted together), from "united states geological survey," and "rephotograpic survey project" (1977–1980).

Historic Spanish Record of the Conquest, South Side of Inscription Rock, New Mexico, 1873 and 1978

Mark Klett

A work made of gelatin silver print.

A162, from the series "Diary of Elizabeth and James Dixon (1840-41)/ Connecticut Landscapes, 1977–86", December 25 1979, printed 1979/80

James Welling

A work.

Panel, c. 1870/80

A work made of stone.

Cameo, c. 1870/80

A work made of glass; cut and stipple engraved.

Wine Glass, c. 1760/80

A work made of glass; blown, cut, stained red and engraved.

Wine Glass, c. 1850/80

A work made of cotton, plain weave; printed.

Panel (Furnishing Fabric), c. 1870/80

A work made of bast fiber, two-strand weft-twining; with cornhusk supplementary weft-twining (false-embroidery); drawstring (possibly suede).

ˀımáˀsp̉alx̣ (Flat Storage Bag), c. 1860/80

Nez Perce (Nimíipuu)

A work made of bound edition of etchings, soft ground and spit bite on tan wove paper, bound together..

Suite of Daze, 1937

William T. Wiley

A work made of heri, jô, yô: silk and gold-leaf-over-lacquered-paper-strip, warp-float faced 2:1 ‘z’ twill weave with weft-float faced 1:2 ‘z’ twill interlacings of secondary binding warps and supplementary patterning wefts; shiten, niten: silk and gold-leaf-over-lacquered-paper-strip, warp-float faced 2:1 ‘s’ twill weave with supplementary patterning wefts, some bound in weft-float faced 1:2, and 1:5 ‘s’ twill interlacings; lining: silk, plain weave self-patterned by rows of 1:1 plain gauze crossings.

Kesa, late Edo period (1789–1868)/ Meiji period (1868–1912), 1844/80

A work made of chromogenic print.

Bergen, Norway, n.d. (c. 1960s/80s)

Eric Julber

A work made of mon side: wool, plain weave; fulled (gorofukuren); embroidered with silk and gold-leaf-on-lacqueréd-paper-strip wrapped cotton in laidwork, couching and paper padded couching; lined with silk, weft-float faced 4:1 satin weave (shusu); outer edges interlined with paper; sewn with front and lining matched in size (tachikiri awase).

Fukusa (Gift Cover), early Meiji period (1868–1912), 1870/80

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