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A work made of lithograph on tan japanese paper, laid down on white wove paper (chine collé).

Hommage to Allan Ginsburg, 1998

William T. Wiley

A work made of woodcut from four blocks on ivory laid paper.

The Large Village Fair, 1535

Hans Sebald Beham

A work made of color screenprint on cream wove paper.

Vendor, 1979

Robert Gwathmey

Screenprint of what appears to be a family walking in front of a group of construction workers building a wall. The figures all have dark-brown skin except for one construction worker with white skin. In the family group, a man and a woman hold hands with each other and two small children. The woman and the girl wear yellow dresses and red hats; the boy wears a blue shirt; the man wears a suit and a yellow hat. The workers in the background wear blue.

The Builders, 1974

Jacob Lawrence

In this screenprint, a large crowd of dark-brown-skinned figures dressed in bright yellow, red, blue, and green clothing are crossing a bridge. All of the people recoil in fear as a menacing wolf-like animal approaches them from the other side of the bridge.

Confrontation at the Bridge, 1975

Jacob Lawrence

A work made of watercolor, gouache, and brush and black ink, with scraping, on cream wove paper.

Study for A Reasonable Facsimile, 1942

Arthur Dove

A work made of black chalk with brush and black ink and brown wash, heightened with white gouache, on ivory laid paper prepared with a gray wash.

Fingal Mourning Over the Body of Malvina, from Ossian's Berrathon, c. 1810

Anne-Louis Girodet de Roussy-Trioson

A work made of red and white chalk on brown laid paper, laid down on cream laid paper, with a blue laid paper border.

The Hind Legs of a Horse, n.d.

Charles Le Brun

A work made of lithograph on cream wove paper.

The Bricklayer and His Son, 1945/46, printed 1970

Pablo O'Higgins

A work made of red chalk with graphite on cream laid paper.

Samian Sibyl, c. 1630

Claude Vignon

A work made of pen and black ink, non-photo blue pencil, white correcting fluid and letraset tapes on ivory card, with overlay in brush and red ink on tracing paper.

Untitled, left side, n.d.

Sergio Aragones

A work made of pen and black ink with brush and gray wash, ink and white gouache, with touches of non-photo blue pencil, on cream wove card.

He Goes On Record, from Peter Public, 1925

Clifford Alexander

A work made of pen and black ink, non-photo blue pencil, white correcting fluid and letraset tapes on ivory card, with overlay in brush and red ink on tracing paper.

Untitled, right side, n.d.

Sergio Aragones

A work made of pen and black ink, non-photo blue pencil, and white correcting fluid on white wove paper.

The Don King Institute of Accounting, from Curtis, 1995

Ray Billingsley

A work made of pen and black ink and watercolor on white wove card with tracing paper overlay.

“He's hardly how I imagined him,” from Bigfoot, c. 1981

Nick Downes

A work made of pen and black ink and watercolor on white wove card with tracing paper overlay.

"I've been putting up with their insinuations that I'm a lousy math teacher for this many years!", from Mathematics Dept., c. 1989

Nick Downes

A work made of pen and black ink, and black fiber-tipped pen, with touches of white correcting fluid and non-photo blue pencil, over graphite, with cut-and-pasted text, on ivory wove card.

In the Secret Cellar Laboratory of Sidney Sykes…David Banner Awakes!, from The Incredible Hulk, 1981

Larry Lieber

A work made of pen and black ink, non-photo blue pencil and black fiber-tipped pen, on white wove paper.

If There are Any Fish There, Ol Joe Jinks'll Catch 'Em!, from Joe Jinks, 1940

Lynn Jenkins

A work made of brush and black ink on white wove paper.

Psst...Have you tried Retin-A?, from Mother Goose & Grimm, c. 1988

Mike Peters

A work made of pen and black ink on ivory card with cut and pasted text.

Now Free from Electronic Control, The Hulk Grabs Angrily at the Inactive Remnant of His Endowment, from The Incredible Hulk, 1981

Larry Lieber

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