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Handmade leather-bound photo album with black pages and mounting corners 14 x 14 x 2 1/2 in (35.56 x 35.56 x 6.35 cm), 24 leaves 12, 4 APs, 1 AP with 35 leaves Metropolitan Museum of Art, New York; [421] Museum of Modern Art, New York (2 versions); [422] [423] and Whitney Museum, New York [424] 218 [413] GF1992-041 [425]
back crayon and graphite, on white clay-coated wove paper 15 x 13 inches Art Institute of Chicago. [163] [164] I Mary: 1975-76 black crayon, with white crayon, touches of white gouache, scratching and erasing, on off-white clay coated paper 20 x 16 inches Art Institute of Chicago. [165] [166] Made When Legally Blind: 1977 colored pencil 9 x 11.88
The majority of monochrome photographs produced today are black-and-white, either from a gelatin silver process, or as digital photography. Other hues besides grey can be used to create monochrome photography, [1] but brown and sepia tones are the result of older processes like the albumen print, and cyan tones are the product of cyanotype prints.
William Bliss Baker (November 27, 1859 – November 20, 1886) was an American artist who began painting just as the Hudson River School was winding down. Baker began his studies in 1876 at the National Academy of Design, where he studied with Bierstadt and de Haas.
Karol Witkowski has exhibited his paintings in New York several times each year between 1891 and 1910. His paintings have been exhibited at auctions and galleries of New York, such as: Theodore Stewart's Sallon, Henry C. Merry Auction, Schenck Art Gallery, P. H. McMahon Auction, WM. B. Norman Auction, James P. Silo Auction, Rohlf's Gallery, Mathews's Art Galleries, John Fell O'Brien Art ...
A carbon print is a photographic print with an image consisting of pigmented gelatin, rather than of silver or other metallic particles suspended in a uniform layer of gelatin, as in typical black-and-white prints, or of chromogenic dyes, as in typical photographic color prints.
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