text:
Type of object Amulets Apparatus Arms and Armor Basketry Book Binding Bound Volume Calligraphy Carpet Ceramic Coins Cosmetic Objects Drawing (288) Embroidery Enamel Forgery Frame Funerary Equipment Furniture and woodwork Garment Glass Glyptic Illumination Implements Inlays Ivory Jade Jewelry Knitting Lace Lacquer Leather Linoleum Block Lithographic Stone Manuscript Metalwork Miniature Miscellaneous Mixed Media Monotype Mosaic Musical Instrument Netsuke Painting Papyri Photograph Plaque Plate Portfolio Portrait Miniature Print (1) Relief Rock crystal Rubbing Sampler Scarabs Sculpture Seals Silver Spindle Whorl Stencil Stone Tapestry Textile Time-based Media Tool Velvet Vessels Wood Woodblock
Collection AA - Andes AA - Intermediate Region AA - Mesoamerica AA - Native North America ASIAN - Album leaf ASIAN - Fan painting ASIAN - Folding screen ASIAN - Handscroll ASIAN - Hanging scroll African Art American - Cleveland School American - Furniture and Decorative Arts American - Painting American - Sculpture Ancient Burmese Art CONTEMP - Cleveland School CONTEMP - Installation Media CONTEMP - Painting CONTEMP - Sculpture Cambodian Art Ceylonese Art China - Five Dynasties China - Han Dynasty China - Jin Dynasty China - Liao Dynasty China - Ming Dynasty China - Modern China - Neolithic China - Northern Dynasties China - Qing Dynasty China - Shang Dynasty China - Song Dynasty China - Southern Dynasties China - Sui Dynasty China - Tang Dynasty China - Three Kingdoms China - Yuan Dynasty China - Zhou Dynasty Chinese Art DR - American - Cleveland School (9) DR - American 18th Century DR - American 19th Century (2) DR - American 20th Century (29) DR - American 21st Century DR - Austrian (1) DR - Belgian DR - British (2) DR - Czech (3) DR - Dutch (36) DR - Flemish (8) DR - French (92) DR - German (19) DR - Italian (81) DR - Japanese (2) DR - Mexican DR - Misc. Countries DR - Russian DR - Spanish (1) DR - Swedish DR - Swiss (2) Decorative Arts Drawings (1) Ed Art - Decorative Art Ed Art - Prints Egypt - Early Dynastic Egypt - First Intermediate Egypt - Greco-Roman Egypt - Late Period Egypt - Middle Kingdom Egypt - Modern Forgery Egypt - New Kingdom Egypt - Old Kingdom Egypt - Predynastic Egypt - Ptolemaic Dynasty Egypt - Second Intermediate Egypt - Third Intermediate Egyptian Furniture GR - Cypriot GR - Etruscan GR - European Bronze Age GR - Greek GR - Italic GR - Roman GR - Sardinian and Cretan GR - South Italy Indian Art Indian Art - Andhra Indian Art - Andhra, Amaravati Indian Art - Chola Indian Art - Indus Valley Indian Art - Kushan Indian Art - Kushan, Gandhara Indian Art - Kushan, Mathura Indian Art - Maurya Indian Art - Medieval Indian Art - Mughal Indian Art - Pakistan Indian Art - Sunga Indian Art - Sunga, Bharhut Islamic Art Japanese Art Javanese Art Korean Art MED - Arms & Armor MED - Byzantine MED - Early Christian MED - Gothic MED - Manuscript Illuminations MED - Medieval Art MED - Migration Period MED - Numismatics MED - Renaissance MED - Romanesque Mod Euro - Furniture and Decorative Arts 1800-1960 Mod Euro - Painting 1800-1960 Mod Euro - Sculpture 1800-1960 Near Eastern Art Nepalese Art Oceanic Art P - British before 1800 P - French & Austria 16th C. and earlier P - French 17th Century P - French 18th Century P - German before 1800 P - Italian 15th Century and earlier P - Italian 16th & 17th Century P - Italian 18th Century P - Miscellaneous P - Netherlandish-Dutch P - Netherlandish-Flemish P - Spanish before 1800 PH - American 1900-1950 PH - American 1951-Present PH - American 19th Century PH - Austrian PH - Brazilian PH - British 19th Century PH - British 20th Century PH - Canadian PH - Czech PH - French 19th Century PH - French 20th Century PH - German 20th Century PH - Italian PH - Japanese 20th Century PH - Mexican PH - Misc. 19th Century PH - Misc. 20th Century PH - Misc. 21st Century PH - Photogravure PH - Russian 20th Century PH - Swiss 20th Century PR - Apparatus PR - Aquatint PR - Carborundum PR - Chalk Manner PR - Chiaroscuro PR - Cliché verre PR - Collograph PR - Colotype PR - Computer PR - Drypoint PR - Electrostatic copier PR - Embossing PR - Engraving PR - Etching PR - Gypsograph PR - Lavis manner PR - Linocut PR - Lithograph PR - Mezzotint PR - Monotype PR - Photogravure PR - Relief PR - Screenprint PR - Steel engraving PR - Stencil (pouchoir) PR - Stipple PR - Wood engraving PR - Woodblock PR - Woodcut (1) Paintings Photography Prints Sculpture Southeast Asian T - Contemporary Fiber Art T - Coptic T - Ecclesiastical T - Islamic T - Lace T - Native North American T - Pre-Columbian Textiles Tibetan Art
Department African Art American Painting and Sculpture Art of the Americas Chinese Art Contemporary Art Decorative Art and Design Drawings (288) Egyptian and Ancient Near Eastern Art European Painting and Sculpture Greek and Roman Art Indian and Southeast Asian Art Islamic Art Japanese Art Korean Art Medieval Art Modern European Painting and Sculpture Oceania Photography Prints (1) Textiles
Medium: Brush and black ink (251)
Capriccio: A Palace with a Courtyard by the Lagoon, c. 1750-1755
Antonio Canaletto (Italian, 1697-1768)
1930.23CCCC0
Alarums and Excursions, 1899
Maxfield Parrish (American, 1870-1966)
Salome with the Head of St. John the Baptist, c. 1517
Albrecht Altdorfer (German, c. 1480-1538)
1948.440CCCC0
Untitled, c. 1950
Louise Bourgeois (American, 1911-2010)
The Holy Family (also known as Christ in the Lap of Truth), c. 1805
William Blake (British, 1757-1827)
The Presentation in the Temple, c. 1770
François Boucher (French, 1703-1770)
1925.1005CCCC0
Figure in a Landscape, 1960
Jean Dubuffet (French, 1901-1985)
A Lady with Three Suitors, c. 1500
France, 16th century
Piazza San Marco, Venice, 1780s
Francesco Guardi (Italian, 1712-1793)
A Spring Shower, 1790s-1804
Giovanni Domenico Tiepolo (Italian, 1727-1804)
The Waterfall of Marmore at Terni, 1776-78
Philipp Hackert (German, 1737-1807)
Madonna Nursing the Christ Child, c. 1670-72
Bartolomé Esteban Murillo (Spanish, 1617-1682)
G.O.P. Convention, Cleveland, 1936
Thomas Hart Benton (American, 1889-1975)
1995.70©
The Adoration of the Magi, c. 1740
Giovanni Battista Tiepolo (Italian, 1696-1770)
Figure from the "Legends" Series, 1962
The Fisherman (Le Pêcheur), c. 1840-45
Théodore Rousseau (French, 1812-1867)
The Disrobing of Christ, c. 1785-1790
1999.5CCCC0
Street Scene, c. 1926/30
Maurice de Vlaminck (French, 1876-1958)
Mountainous Landscape, c. 1680
Nicolaes Berchem (Dutch, 1620-1683)
Mountain Landscape with Fir Trees, 1918/19
Ernst Ludwig Kirchner (German, 1880-1938)
Barnett Newman (American, 1905-1970)
1986.4©
Notre-Dame de Paris, c. 1881
Luc-Olivier Merson (French, 1846-1920)
Standing Officer Holding a Boar's Spear, 1586
Hendrick Goltzius (Dutch, 1558–1617)
The Flight Before the Invaders, first third 20th century
Jean Julien Lemordant (French, 1882-1968)
In Expectation, 1800s
Constantin Guys (French, 1805-1892)
Figure in the Street at Night (recto); Portrait of a Woman (verso), 1913
Ludwig Meidner (German, 1884-1966)
Figure in the Street at Night (recto), 1913
1982.14.a©
The Funeral of Saint Stephen, c. 1460
Filippo Lippi (Italian, c. 1406-1469)
Allegory of Christian Belief, c. 1622
Johann Liss (German, c. 1597-1631)
The Fox and the Turkey Hens: Illustration for the Fables of La Fontaine, 1733
Jean-Baptiste Oudry (French, 1686-1755)
Man in Armor beside a Chariot, c. 1550
assistant of Francesco Salviati (Italian, 1510-1563)
Aeneas Saving Anchises at the Fall of Troy, 1587-88
Federico Barocci (Italian, 1528-1612)
Flight into Egypt: The Embarkment of the Holy Family, c. 1735
The Woman with a Tambourine, 1790s
A Stop in the Park, 1800s
The Funeral of Decius Mus, 1774
Jean-Honoré Fragonard (French, 1732-1806)
Worker, c. 1920
George Grosz (German, 1893-1959)
Temptation of Saint Anthony, late 1570s
Luca Cambiaso (Italian, 1527-1585)
The Idolatry of Solomon, 1622-23
Pietro da Cortona (Italian, 1596-1669)
The Annunciation, c. 1568
The Nativity with the Dream of Joseph, c. 1527/30?
Parmigianino (Italian, 1503-1540)
The Meeting of Orestes and Hermione, c. 1800
Anne-Louis Girodet de Roucy-Trioson (French, 1767-1824)
Peasants with a Farm-cart, c. 1790
The Trial, 1790s
At the Ball (recto); La femme à l'éventail, after Goya (verso), 19th century
At the Ball (recto), 19th century
1942.927.aCCCC0
The Game of Bowls, 1790s
Study of a Male Nude, c. 1907
Aristide Maillol (French, 1861-1944)
View of Alkmaar with Boats, 1600s
Netherlands, 17th century
Peasant's Cottage (recto); Bridge and Gate (verso), c. 1600
Abraham Bloemaert (Dutch, 1564-1651)
Peasant's Cottage (recto), c. 1600
Bridge and Gate (verso), c. 1600
1940.737.bCCCC0
Café in Constantinople, 1847
Alexandre Bida (French, 1823-1895)
The Cattle Vendor, 1790s
Christ on the Mount of Olives, The Flagellation, Christ Crowned with..., 1788
Martin Johann Schmidt (Austrian, 1718-1801)
Christ on the Mount of Olives, 1788
1963.242.1CCCC0
The Flagellation, 1788
Christ Crowned with Thorns, 1788
The Crucifixion, 1788
St. Jerome in His Study, c. 1490
Filippino Lippi (Italian, 1457-1504)
Study for Bachelor Girl, No. 4, 1915
John Sloan (American, 1871-1951)
The Conversion of Saul with Horseman and Banner, c. 1645-1647
Jacob Jordaens (Flemish, 1593-1678)
Scene in a Park, c. 1760
Punchinello Arrested, 1790s
Flagellation of Christ, c. 1750/55
Gaspare Diziani (Italian, 1689-1767)
Gathering Wood, late 1790s
Battle Scene with a Fort, first third 17th century?
Antonio Tempesta (Italian, 1555-1630)
Hollow Tree, after Roelant Savery, after 1670
Lambert Doomer (Dutch, 1623-1700) and 1 other
View of the Château of Pierrefonds, c. 1870
François-Louis Français (French, 1814-1897)
The Risen Christ Adored by Saints and Angels, 1566-68
Giorgio Vasari (Italian, 1511-1574)
Gautama and Bodhisattvas, 1957
Munakata Shikō (Japanese, 1903-1975)
The Judgment of Paris, c. 1585
Carletto Caliari (Italian, 1570-1596)
The Last Communion of St. Jerome, c. 1726
Landscape, Date unknown
Marsden Hartley (American, 1877-1943)
Design for Two Vases, Two Coats of Arms, and a Bull (recto) Several Line..., mid 1500s
Luzio Romano (Italian, active 1528-75)
Design for Two Vases, Two Coats of Arms, and a Bull (recto), mid 1500s
Design for a Chalice (recto) Architectural Plan (verso), mid 1500s
Design for a Chalice (recto), mid 1500s
Design for the Divertissement from "La Pastorale" (First Entrée of the..., 1703
Jean I Bérain (French, 1640-1711)
Cross Section of the Hôtel de Ville Seen in Perspective Showing the..., 1739-1740
Jacques-François Blondel (French, 1705-1744)
Two Studies of a Flayed Man (recto) Study of a Flayed Torso (verso), 1554
Bartolommeo da Arezzo (Italian, active about 1550-80)
Two Studies of a Flayed Man (recto), 1554
1975.26.aCCCC0
Study of a Flayed Torso (verso), 1554
1975.26.bCCCC0
Harlem River, New York City, c. 1920
Preston Dickinson (American, 1891-1930)
1942.1067©
Madonna and Child with Saints, 1700s
after Giuseppe Bazzani (Italian, 1690-1769)
Copy after Primaticcio's Juno Awakening Sleep, after 1535
copy after Francesco Primaticcio (Italian, 1504-1570)
Winter Landscape with Skater, 1662
Jan van Kessel (Dutch, 1641-1680)
Kumi Sugai (Japanese, 1919-1996)
Allegorical Scene: Couple before a Statue, 1700s
F. Müller (German)
Wooded Landscape, after 1648
Anthonie Waterloo (Dutch, 1609/10-1690)
Strawberry Barrel II, 1951
Antonio Frasconi (American, 1919-2013)
Maternal Solicitude, 1777
Jean Baptiste Le Prince (French, 1734-1781)
Caricature of Ed Wynn, Date unknown
Jim Herron (American, 1907-1987)
Hannibal Swearing Eternal Enmity toward Rome, c. 1808
Boar Hunt, c. 1672
Abraham Hondius (Dutch, c. 1625-1695)
Narcissus, first half 1600s
Gabriel Weyer (German, 1576-1632)
Five Grotesque Heads, second half 1700s
Gaetano Gandolfi (Italian, 1734-1802)
Littoral Landscape, 1963
Morton Grossman
Fugitives, Date unknown
Rockwell Kent (American, 1882-1971)
Self-Portrait, 1945
Alice Lauffer Lawrence (American, 1916-2008)
Potted Primula, 1955
Janet L. Mack (American, 1921-1979)
The House in the Forest, 1900s
André Dunoyer de Segonzac (French, 1884-1974)
Sketches of Various Figures (verso), 1850-75
Honoré Daumier (French, 1808-1879)
Hot Day, before 1948
Yasuo Kuniyoshi (American, 1889-1953)
Untitled, 1940s
William Gropper (American, 1897-1977)
Peasants in a Rocky Landscape, second third 1600s
Jan Wouwerman (Dutch, 1629-1666)
Lilacs, 1924
Charles Burchfield (American, 1893-1967)
Design for a Candlestick, mid 1500s
Night, Salzburg, 1968
Dolf Mayern (Austrian, 1933-)
Horses, Date unknown
Michael A. Cammuso (American, b. 1928)
Jacopo Marcello Directing the Assault of Gallipoli, 1750-1760
Antonio Guardi (Italian, 1699-1760)
The Stag Hunt, 1790s
Composition No. 10, c. 1958
Sam Butnik (American, 1920-2004)
Ceres, 16th century
Lelio Orsi (Italian, 1511-1587)
Deserted House, 1923
A Rocky Cove with Fishing Boats, late 1650s
Allart van Everdingen (Dutch, 1621-1675)
The Meeting of Joachim and Anna, first quarter 1500s
Wolf Traut (German, c. 1486-1520)
Winter, c. 1913
Design for Two Vases and an Ornament (recto); Sketches of Five Arms and..., mid 1500s
Design for Two Vases and an Ornament (recto), mid 1500s
1925.1190.aCCCC0
A Funeral, c. mid-1870s-early 1880s
Jean-Paul Laurens (French, 1838-1921)
Allegory, 1818
Charles Abraham Chasselat (French, 1782-1843)
The Ringed Vase, Date unknown
William Sommer (American, 1867-1949)
Saint Peter Martyr, 16th Century?
Giovanni Battista Paggi (Italian, 1554-1627)
Floral Designs with a Blue Bird, c. 1773/74
Giacomo Cavenezia (Italian)
Triumphal Arch and Figures, first half 1700s
Andrea Locatelli (Italian, 1695-1741)
Ceiling Study: Allegory of Peace and War, c. 1800 ?
Giuseppe Bernardino Bison (Italian, 1762-1844)
View of Dordrecht from the River, 1775-1815
Jacob van Strij (Dutch, 1756-1815)
Landscape with the Village of Schenkenschanz, Gelderland, 1600s
Herman Saftleven (Dutch, 1609-1685)
Cartouche with Putti, second half 1700s
Franz Xaver Habermann (German)
Sheep and Cows, 1790s
Angel Appearing to Zacharias, third quarter 1600s
Samuel van Hoogstraten (Dutch, 1627-1678)
Bacchanal, 1600s
circle of Pietro da Cortona (Italian, 1596-1669)
Brado, Vainqueur du géants Antigoras, 1914
Auguste Louis Lepère (French, 1849-1918)
The Neuve River at the End of the Dardenne Valley, 1800s
Edouard Jean Marie Hostein (French, 1804-1889)
Officier de Cosaques, 1914
Général Leman, 1914
Infanterie russe, 1914
Bataille de Rozelieures en Lorraine, 1914
Allegorical Figure (verso), 1500s
Niccolo dell' Abbate (Italian, c. 1512-1571)
Général de Castelneau, 1914
Floral Designs and Floral Bands, 1784
Madonna and Child with Angels, late 1500s
Aurelio Luini (Italian, 1530-1593)
Design for a Standing Dish, c. 1625-45
workshop of Adam van Vianen (Dutch, 1559-1627) and 1 other
There is corn in the sea!, fourth quarter 1800s or first third 1900s
Jean Louis Forain (French, 1852-1931)
A Faun Grasping a Bunch of Grapes, after 1616/18
studio of Peter Paul Rubens (Flemish, 1577-1640)
Romulus and Remus Found by Faustulus (recto) Concentric Circles (verso), c. 1535
Romanino (Italian, 1484/87-1562)
Romulus and Remus Found by Faustulus (recto), c. 1535
The Beach at Ostia, 1949
Renzo Vespignani (Italian, 1924-)
Bataille du Col de la Chiprotte, 1914
Edge of Marsh at Couronne, 1863
Félix Ziem (French, 1821-1911)
White Mountain Country, 1927
John Marin (American, 1872-1953)
The Dog and the Crocodile, 1950
Detail of Martyrdom of Saint John the Evangelist, after Callot, after 1634?
Stefano Della Bella (Italian, 1610-1664)
Untitiled: Sketch for Print Club Publication label, no. 44, 1966, 1966
Paolo Boni (Italian, 1926-)
Wyoming Horizon, 1990
Sandy Walker
Ponte San Rocco at Tivoli, first half 1600s
attributed to Willem van Niewlandt (Flemish, 1584-1635/6)
Termonde, 1914
Untitled: Alternate Sketch for Print Club Publication label, no. 44, 1966, 1966
Tree Patterns, Date unknown
Werner Drewes (American, 1899-1985)
Running Horse, Date unknown
Jane Travis (American)
Atlantic Wall - Invasion, 1944
Antonin Pelc (Czech, 1895-1967)
Hitler and Mussolini, 1943
Floral Designs with Two Birds, 1774
Artillelurs belges, 1914
Scène nocturne; patrouille à la lisière d'un bois, 1914
Dans les Vosges, 1914
1974.146.cCCCC0
Marche d'un groupe de prisonniers allemands, 1914
Prancing Horse, Date unknown
Pillaging Soldiers, 1794
Dirk Langendijk (Dutch, 1748-1805)
Peasants at the Edge of a Wood, c. 1630
Jacob van Mosscher (Dutch, 1655)
Stag Line, 1921
Guy Pène du Bois (American, 1884-1958)
Dêbut de la manoeuvre de la Marne, 1914
Landscape (recto) Two Views of Paris (verso), first half 1800s
Georges Michel (French, 1763-1843)
Landscape (recto), 1800-1843
Two Views of Paris (verso), 1800-1843
Old Locomotive, 1902
Lyonel Feininger (American, 1871-1956)
Le Grand Duc Victor, 1914
Mitrailleurs anglais, 1914
Bombe explosant sur un cuirasse aux canons braques, 1914
L'Oservateur boche, 1914
Maréchal Joffre, 1914
August: Landscape with Wagons, c.1655
Pieter Molyn (Dutch, 1595-1661)
A Barnyard with Goats and a Goatherd, c. 1610-1615
Design for Glass Painting: Man and Woman in Architectural Setting, second half 1500s
attributed to Tobias Stimmer (Swiss, 1539-1584)
Bather, c. 1885/89
Félix Bracquemond (French, 1833-1914)
Dans une tranchée, des soldats allemands se rendent, 1914
Au Maroc, 1914
Bataille des frontières: groupe des soldats britanniques, 1914
L'Allemagne feedale, 1914
Alpins en ambuscade, 1914
Three Scenes from the Passion of Christ (recto) Architectural Sketch ..., 1500s
Northern Italy, 16th century
Three Scenes from the Passion of Christ (recto), 1500s
The Baptism of Christ, c. 1600-1630
Cesare Pollini (Italian, c. 1560-c. 1630)
Late Summer Sun, 1953
Landscape with Shepherds, c. 1700?
Domenico I Piola (Italian, 1627-1703)
James McBey (British, 1883-1959)
Ruth and Boaz (recto) The Fall of Simon Magus (verso), 1600s
Italy, 17th century
Ruth and Boaz (recto), 1600s
The Fall of Simon Magus (verso), Date unknown
1954.684.b©
Mountain Landscape with Figures, first half 1600s
Anton Mirou (Flemish, bef 1586-aft 1661)
Rocky Landscape (Bornholm, Denmark), 1935
The Poultry Woman, second half 18th century
Hendrik Meijer (Dutch, 1737-1793)
Midmorning in Summer, 1923
Siège des Maubeuge, 1914
Group of Buildings on a Seashore, 1653
Jan van Goyen (Dutch, 1596-1656)
An Assembling, Date unknown
Mabel H. Hewitt (American)
The Red Horse (recto) Sketch of a Tree (verso), 1935
Clarence Holbrook Carter (American,1904-2000)
The Red Horse (recto), 1935
1958.164.a©
Rape of the Sabines, 1700s
Louvain, 1914
L'Incendie de Louvain, 1914
1974.147.dCCCC0
1974.147.eCCCC0
1974.147.fCCCC0
Moorish Women, first half 1900s
Edouard Leon Louis Edy-Legrand (French, 1892-1970)
The Lamentation, c. 1635
attributed to Gaspar de Crayer (Flemish, 1584-1669)
The Fish Monger, second half 18th century
Von Kluck, 1914
Worshippers at a Street Shrine, 1730/40
Alessandro Magnasco (Italian, 1667-1749)
Mid-European Street Fair, 1955
Roman Subject, 1700s
attributed to Philibert Benoît Delarue (French, 1718-1780)
City Abstraction, c. 1913
Abraham Walkowitz (American, 1880-1965)
Summer Benediction, 1951
Bust of Diana with Putti and Hunting Attributes, first half 18th century
Jacob de Wit (Dutch, 1695-1754)
Reims, 1914
Study of a Goat, 1700s
Jean Jacques de Boissieu (French, 1736-1810)
God the Father with Symbol of the Trinity, 1758 or after
Frontispiece for an Album of Drawings: Peasants at a Fountain (recto)..., 1784
Frontispiece for an Album of Drawings: Peasants at a Fountain (recto), 1784
Hilly Landscape with Hut Beside a Stream, 1627
van de Velde Esaias (Dutch, 1587-1630)
God the Father with Angels and Cherubs, 1758 or after
Cats (recto); Sketch of Two Figures Embracing (verso), Date unknown
Théodule Ribot (French, 1823-1891)
Cats (recto), Date unknown
Mystic Marriage of St. Catherine, Date unknown
copy after Nicolas Poussin (French, 1594-1665)
Ascension of Saint Jerome, 1600s
Karel Skréta (Czech, 1610-1674)
Figures Near the Ruins of a Corinthian Temple (recto); Fragment of an..., first half 1700s
Figures Near the Ruins of a Corinthian Temple (recto), first half 1700s
Holy Family, 17th century
Landscape with Horsemen, 1600s
Flanders, 17th century
The Little Hamlet, second or third quarter 17th century
Fantastic Harbor Scene with Architecture and Figures, 1713
Isaac de Moucheron (Dutch, 1667-1744)
Cow, second half 1600s
Johann Heinrich Roos (German, 1631-1685)
Oil Derricks, before 1958
The Great Drought Sun, 1953
Grotesque with a Satyr Feeding a Dragon (recto); Grotesque with a..., c. 1565/1588
Marco Marchetti (Italian, 1565-1588)
Grotesque with a Satyr Feeding a Dragon (recto), c. 1565/1588
Grotesque with a Leaping Centaur (verso), c. 1565/1588
Fusilade dans une rue, 1914
Tournai, 1914
River Landscape with Fisherman and Three Boats, second third 19th century
Albertus van Beest (Dutch, 1820-1860)
The Bishop and the Demon (recto); Three Demons Holding a Knight (verso), 1900s
The Bishop and the Demon (recto), 1900s
Rocky Inlet with Boats and Buildings (recto); Sketches of Castles (verso), 1600s
Rocky Inlet with Boats and Buildings (recto), 1600s
Chariot Drawn by Lions with Amorini (recto) Partial Architectural Study ..., first half 1500s
Chariot Drawn by Lions with Amorini (recto), first half 1500s
Virgin and Child with Saint John (recto) Unidentifiable (verso), 1500s
Virgin and Child with Saint John (recto), 1500s
The Peasant Who Blew Hot and Cold (copy after Aegidius Sadeler), c. 1610
after Aegidius Sadeler (Flemish, c. 1570-1629)
Venus Disarming Mars, Drapery Study (verso), c. 1632/35
Peter Paul Rubens (Flemish, 1577-1640)
Sheep Heads, second or third quarter 1800s
Wouter Verschuur (Dutch, 1812-1874)
Les Femmes receuillant les blesses, 1914
Le roi des Belges dans les tranchées, 1914
Recherche des blessés, 1914
Van Hasler, 1914
Pastoral Landscape with Village, 1799
Jacob Cats (Dutch, 1741-1799)
Pastoral Landscape with a Ruin, 1799
Paysage de France, 1914
1930.23 Pen and brown ink and brush and gray wash with brush and black ink, over traces of graphite (?), framing lines in brown and black ink Sheet: 26.9 x 42.1 cm (10 9/16 x 16 9/16 in.) Purchase from the J. H. Wade Fund CCCC0
1940.723 Brush and black and gray wash, with white gouache, over graphite, framing lines in pen and black ink Sheet: 37.5 x 24.8 cm (14 3/4 x 9 3/4 in.); Image: 27.9 x 17.7 cm (11 x 6 15/16 in.) Bequest of James Parmelee ©
1948.440 Pen and brown ink and brush and white gouache, framing lines in black ink Sheet: 19.1 x 12.6 cm (7 1/2 x 4 15/16 in.); Secondary Support: 20 x 13 cm (7 7/8 x 5 1/8 in.) John L. Severance Fund CCCC0
1998.112 Brush and black ink and gray wash, with white paint and traces of black chalk(?) and blue crayon Sheet: 55.9 x 71.2 cm (22 x 28 1/16 in.) Purchase from the J. H. Wade Fund ©
1950.239 Black, gray, and brown ink applied with pen and point of brush; gray, pink, yellow, and green wash Sheet: 37.9 x 32.5 cm (14 15/16 x 12 13/16 in.) John L. Severance Fund CCCC0
1925.1005 Pen and brown ink, brush and brown wash, and black chalk, heightened with white paint, framing lines in brown ink Sheet: 32.3 x 20 cm (12 11/16 x 7 7/8 in.); Framed: 66 x 50.9 x 6.4 cm (26 x 20 1/16 x 2 1/2 in.) Gift of Leonard C. Hanna, Jr. CCCC0
1963.586 Brush and black ink Sheet: 30.4 x 23.7 cm (11 15/16 x 9 5/16 in.) Gift of Mr. and Mrs. Carl L. Selden ©
1956.40 Pen and brown ink, brush and brown wash, with traces of black chalk Sheet: 23 x 19.3 cm (9 1/16 x 7 5/8 in.) John L. Severance Fund CCCC0
1951.83 Pen and brown ink, brush and brown wash, with brush and gray wash (possibly chalk) and traces of black chalk, framing lines in brown and black ink Sheet: 31.3 x 46.5 cm (12 5/16 x 18 5/16 in.) John L. Severance Fund CCCC0
1937.573 Pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink over graphite Sheet: 35.5 x 47.1 cm (14 x 18 9/16 in.); Image: 29.6 x 41.5 cm (11 5/8 x 16 5/16 in.) Purchase from the J. H. Wade Fund CCCC0
1982.40 Pen and black ink, brush and brown wash, with white gouache and graphite Sheet: 52.2 x 39.9 cm (20 9/16 x 15 11/16 in.) Dudley P. Allen Fund CCCC0
1968.66 Pen and brown ink and brush and brown wash over red and black chalk, with traces of white, framing lines in brown ink Sheet: 21.4 x 15.4 cm (8 7/16 x 6 1/16 in.); Secondary Support: 24.1 x 18.5 cm (9 1/2 x 7 5/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1995.70 Pen and brush and black ink and black crayon, with graphite Image: 35.6 x 51.5 cm (14 x 20 1/4 in.); Sheet: 37.4 x 53.2 cm (14 3/4 x 20 15/16 in.) Leonard C. Hanna, Jr. Fund ©
1944.474 Pen and brown ink and brush and brown wash, over black chalk Sheet: 38.7 x 28.5 cm (15 1/4 x 11 1/4 in.) Dudley P. Allen Fund CCCC0
1977.51 Brush and black ink, watercolor, and gouache Sheet: 50 x 33.3 cm (19 11/16 x 13 1/8 in.) Gift of Mrs. Henry Blazy ©
1980.18 Pen and brown ink and brush, gray and black wash (scratched away in places), with touches of pink watercolor Sheet: 20.9 x 28 cm (8 1/4 x 11 in.); Secondary Support: 20.9 x 28 cm (8 1/4 x 11 in.); Tertiary Support: 29.6 x 37.9 cm (11 5/8 x 14 15/16 in.) John L. Severance Fund CCCC0
1999.5 Pen and brown and black ink, brush and black, brown, and red-brown wash, over black chalk, framing lines in brown ink Sheet: 47.9 x 38.2 cm (18 7/8 x 15 1/16 in.); Image: 46.1 x 36.2 cm (18 1/8 x 14 1/4 in.) Purchase from the J. H. Wade Fund CCCC0
1966.378 Brush and black ink and pastel Sheet: 45 x 53.9 cm (17 11/16 x 21 1/4 in.); Secondary Support: 45.7 x 55.5 cm (18 x 21 7/8 in.) Gift of Lewis C. Williams in memory of Lewis B. Williams ©
1958.410 Brush and black ink, brush and gray wash, and black chalk; framing lines in black and brown ink Sheet: 30.4 x 52 cm (11 15/16 x 20 1/2 in.) Delia E. Holden Fund CCCC0
1963.86 Graphite and brush and black ink Sheet: 34.6 x 50.7 cm (13 5/8 x 19 15/16 in.) Delia E. Holden and L. E. Holden Funds CCCC0
1986.4 Brush and black ink on cream wove paper Sheet: 53.5 x 61.1 cm (21 1/16 x 24 1/16 in.) Purchase from the J. H. Wade Fund ©
2008.359 Pen and black ink, brush and gray wash, black and white gouache, and graphite Sheet: 32.6 x 21.7 cm (12 13/16 x 8 9/16 in.) Bequest of Muriel Butkin CCCC0
1994.195 Pen and brown ink and brush and brown wash with red chalk (in the face and hands), heightened with traces of white, over black chalk, incised throughout, framing lines in brown ink and graphite Sheet: 20.6 x 15.6 cm (8 1/8 x 6 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1927.414 Pen and black ink and brush and black and gray wash and black chalk Sheet: 29 x 41.9 cm (11 7/16 x 16 1/2 in.) Gift of Mrs. Benjamin P. Bole CCCC0
1926.51 Pen and black ink and brush and black ink and black, gray and green wash Sheet: 30.4 x 20.5 cm (11 15/16 x 8 1/16 in.); Secondary Support: 30.4 x 20.5 cm (11 15/16 x 8 1/16 in.); Tertiary Support: 30.4 x 20.5 cm (11 15/16 x 8 1/16 in.) Dudley P. Allen Fund CCCC0
1982.14 Pen and black ink and brush and black ink over black chalk Sheet: 50.8 x 80.6 cm (20 x 31 3/4 in.) Andrew R. and Martha Holden Jennings Fund ©
1947.70 Pen and brown ink with brush and brown wash with traces of stylus over traces of black chalk Sheet: 24.9 x 19.3 cm (9 13/16 x 7 5/8 in.); Secondary Support: 24.9 x 19.3 cm (9 13/16 x 7 5/8 in.) John L. Severance Fund CCCC0
1953.6 Pen and brown ink and brush and brown wash; framing lines in pen and black ink Sheet: 15.3 x 9.4 cm (6 x 3 11/16 in.) Dudley P. Allen Fund CCCC0
1977.93 Brush and black ink and gray wash heightened with white gouache, blue ink in margin; framing lines in brown ink Sheet: 31 x 26 cm (12 3/16 x 10 1/4 in.); Image: 24 x 18.8 cm (9 7/16 x 7 3/8 in.) John L. Severance Fund CCCC0
1964.99 Pen and brown ink and brush and brown wash over black chalk, heightened with white Sheet: 35.7 x 27.1 cm (14 1/16 x 10 11/16 in.); Secondary Support: 35.7 x 27.4 cm (14 1/16 x 10 13/16 in.); Tertiary Support: 35.8 x 27.4 cm (14 1/8 x 10 13/16 in.) Dudley P. Allen Fund CCCC0
1960.26 Pen and brown ink, brush and brown wash and yellow gouache heightened with traces of white, over black chalk, with stylus (banister), framing lines in brown ink Sheet: 27.7 x 42.6 cm (10 7/8 x 16 3/4 in.) L. E. Holden Fund CCCC0
1929.443 Pen and brown ink and brush and brown wash over black chalk; framing lines in black chalk Sheet: 30 x 44.7 cm (11 13/16 x 17 5/8 in.) Purchase from the J. H. Wade Fund CCCC0
1947.12 Pen and brown ink and brush and brown wash, over black chalk; framing lines in brown ink over graphite Sheet: 35.4 x 47.3 cm (13 15/16 x 18 5/8 in.); Image: 29.7 x 41.7 cm (11 11/16 x 16 7/16 in.) Dudley P. Allen Fund CCCC0
1926.50 Pen and black ink and brush and gray wash over graphite Sheet: 21.1 x 25.6 cm (8 5/16 x 10 1/16 in.); Secondary Support: 29 x 35.2 cm (11 7/16 x 13 7/8 in.) Dudley P. Allen Fund CCCC0
1980.17 Brush and brown ink and wash over black chalk Sheet: 24 x 37.6 cm (9 7/16 x 14 13/16 in.) John L. Severance Fund CCCC0
1954.344 Brush and black ink Sheet: 80.7 x 33.4 cm (31 3/4 x 13 1/8 in.) Gift of The Print Club of Cleveland ©
1929.540 Pen and brown ink and brush and brown wash, over traces of black chalk Sheet: 40.1 x 28.1 cm (15 13/16 x 11 1/16 in.); Secondary Support: 52.2 x 36 cm (20 9/16 x 14 3/16 in.) Dudley P. Allen Fund CCCC0
1987.142 Pen and brown ink, point of brush and black ink, brush and brown wash, and white and blue gouache, framing lines in brown ink Sheet: 24.8 x 43.3 cm (9 3/4 x 17 1/16 in.); Secondary Support: 25.5 x 44.1 cm (10 1/16 x 17 3/8 in.) John L. Severance Fund CCCC0
1959.200 Pen and brown ink (iron gall) and brush and brown wash over traces of black chalk Sheet: 29.5 x 20.7 cm (11 5/8 x 8 1/8 in.) In memory of Mrs. William G. Mather CCCC0
1924.1003 Pen and brown and black ink and brush and brown wash, with traces of brush and black wash, heightened with lead white (oxidized) Sheet: 8.6 x 7.5 cm (3 3/8 x 2 15/16 in.); Secondary Support: 14.9 x 13.4 cm (5 7/8 x 5 1/4 in.) Dudley P. Allen Fund CCCC0
1989.101 Pen and brown and black ink, point of brush and brown and gray wash, with black chalk and graphite, heightened with white gouache on cream wove paper Sheet: 28.5 x 21.8 cm (11 1/4 x 8 9/16 in.); Image: 26.2 x 20 cm (10 5/16 x 7 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1937.568 Pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink over black chalk Sheet: 28.6 x 41.3 cm (11 1/4 x 16 1/4 in.) Purchase from the J. H. Wade Fund CCCC0
1937.569 Pen and brown ink and brush and brown wash, with black chalk; framing lines in brown ink over graphite Sheet: 35 x 46.4 cm (13 3/4 x 18 1/4 in.); Image: 29.3 x 41.3 cm (11 9/16 x 16 1/4 in.) Purchase from the J. H. Wade Fund CCCC0
1942.927 Pen and black ink and brush and gray wash Sheet: 24.9 x 19.6 cm (9 13/16 x 7 11/16 in.) The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken CCCC0
1937.571 Pen and brown ink and brush and brown wash, over traces of black chalk; framing lines in brown ink over graphite Sheet: 35.5 x 47.3 cm (14 x 18 5/8 in.); Image: 29.7 x 41.6 cm (11 11/16 x 16 3/8 in.) Purchase from the J. H. Wade Fund CCCC0
1950.454 Pen and brush and black ink Sheet: 27.5 x 19.1 cm (10 13/16 x 7 1/2 in.) Gift of Leonard C. Hanna, Jr. ©
1929.538 Point of brush and gray ink and brush and gray wash with traces of pen and black ink over traces of graphite; framing lines in brown ink Sheet: 13.8 x 20.4 cm (5 7/16 x 8 1/16 in.) Dudley P. Allen Fund CCCC0
1940.737 Pen and brown ink with brush and brown, blue, red and yellow wash, over black and red chalk Sheet: 17.2 x 27.2 cm (6 3/4 x 10 11/16 in.) Bequest of James Parmelee CCCC0
2008.381 Brush and black and gray ink, graphite, and stylus on white wove paper coated with a white ground Sheet: 40.7 x 29.2 cm (16 x 11 1/2 in.); Image: 38.2 x 25.9 cm (15 1/16 x 10 3/16 in.) Bequest of Muriel Butkin CCCC0
1937.574 Pen and brown ink and brush and brown wash, over black chalk; framing lines in brown ink and graphite Sheet: 35.4 x 47.3 cm (13 15/16 x 18 5/8 in.); Image: 29.5 x 41.7 cm (11 5/8 x 16 7/16 in.) Purchase from the J. H. Wade Fund CCCC0
1963.242 Brush and gray ink and gray wash with black chalk John L. Severance Fund CCCC0
1924.532 Pen and brown ink over traces of black chalk(?), with brush and brown wash, heightened with lead white; pricked Sheet: 24 x 20.8 cm (9 7/16 x 8 3/16 in.); Secondary Support: 24.2 x 20.8 cm (9 1/2 x 8 3/16 in.) Gift of Leonard C. Hanna, Jr. CCCC0
1962.203 Brush and black ink Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson ©
1954.366 Black and red chalk, pen and black and gray ink, brush and brown wash, watercolor, and gouache, heightened with white gouache, framing lines in red chalk and graphite (right edge) Sheet: 32.9 x 19.9 cm (12 15/16 x 7 13/16 in.) Delia E. Holden and L. E. Holden Funds CCCC0
1925.1006 Pen and brown and gray ink, brush and brown and gray wash, and traces of yellow watercolor over black chalk; framing lines in black ink Sheet: 19.2 x 25 cm (7 9/16 x 9 13/16 in.); Secondary Support: 19.2 x 25 cm (7 9/16 x 9 13/16 in.) Dudley P. Allen Fund CCCC0
1937.570 Pen and brown ink and brush and brown wash, with black chalk; framing lines in brown ink over graphite Sheet: 35.1 x 46.7 cm (13 13/16 x 18 3/8 in.); Image: 29.3 x 41.3 cm (11 9/16 x 16 1/4 in.) Purchase from the J. H. Wade Fund CCCC0
1960.179 Pen and black ink, black chalk, and brush and gray wash, with brush and brown wash; squared in graphite, framing lines in black chalk and black ink Sheet: 20 x 27.1 cm (7 7/8 x 10 11/16 in.); Image: 19.5 x 26.1 cm (7 11/16 x 10 1/4 in.) James Parmelee Fund CCCC0
1937.572 Pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink and graphite Sheet: 35.1 x 47 cm (13 13/16 x 18 1/2 in.); Image: 29.4 x 41.5 cm (11 9/16 x 16 5/16 in.) Purchase from the J. H. Wade Fund CCCC0
1929.545 Pen and brown ink and brush and brown wash, over black chalk Sheet: 13.3 x 21.4 cm (5 1/4 x 8 7/16 in.) Dudley P. Allen Fund CCCC0
1958.315 Pen and black and brown ink, black chalk, and brush and green, brown, and orange wash Sheet: 31.7 x 47.4 cm (12 1/2 x 18 11/16 in.) Delia E. Holden Fund CCCC0
2008.380 Pen and black ink, brush and black and gray wash, and graphite, heightened with white gouache Sheet: 42.2 x 56.2 cm (16 5/8 x 22 1/8 in.); Matted: 54.6 x 67.3 cm (21 1/2 x 26 1/2 in.) Bequest of Muriel Butkin CCCC0
1991.43 Black chalk, pen and brown ink, and extensive white heightening (wash and point of brush), with incising on paper prepared with a brown wash. Sheet: 41.9 x 26.5 cm (16 1/2 x 10 7/16 in.) John L. Severance Fund CCCC0
1959.12 Brush and black ink Gift of The Print Club of Cleveland ©
1946.216 Pen and brown ink and brush and brown wash, with brush and gray wash, over black chalk, heightened with white gouache; framing lines in green ink and red chalk (bottom) Sheet: 39.2 x 51.1 cm (15 7/16 x 20 1/8 in.); Secondary Support: 39.2 x 51.1 cm (15 7/16 x 20 1/8 in.) Dudley P. Allen Fund CCCC0
1950.449 Pen and brown ink and brush and brown wash over traces of black chalk heightened with lead white Sheet: 55.2 x 40.8 cm (21 3/4 x 16 1/16 in.); Secondary Support: 55.2 x 40.8 cm (21 3/4 x 16 1/16 in.) Gift of Edward B. Greene CCCC0
1961.163 Brush and black ink Sheet: 53.3 x 73.5 cm (21 x 28 15/16 in.) Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson ©
1924.589 Pen and brown ink and brush and gray and brown wash over black chalk Sheet: 29.7 x 21.3 cm (11 11/16 x 8 3/8 in.) Dudley P. Allen Fund CCCC0
1924.587 Pen and brown ink and brush and brown wash over black chalk Sheet: 32.1 x 20 cm (12 5/8 x 7 7/8 in.) Dudley P. Allen Fund CCCC0
2008.379 Pen and black ink and brush and gray wash with red, blue, and yellow wash, with graphite Sheet: 35.1 x 46.3 cm (13 13/16 x 18 1/4 in.) Bequest of Muriel Butkin CCCC0
2008.408 Pen and black ink, brush and gray wash, and watercolor with gouache, over graphite Sheet: 42.9 x 69.5 cm (16 7/8 x 27 3/8 in.); Secondary Support: 53.9 x 89.6 cm (21 1/4 x 35 1/4 in.) Bequest of Muriel Butkin CCCC0
1975.26 Pen and brown ink and brush and brown wash over black chalk; incised (both figures) and pricked (left figure) Sheet: 40.5 x 27.6 cm (15 15/16 x 10 7/8 in.) L. E. Holden Fund CCCC0
1942.1067 Pen and brush and black ink and graphite Sheet: 41.5 x 50.6 cm (16 5/16 x 19 15/16 in.); Secondary Support: 44.1 x 53.3 cm (17 3/8 x 21 in.) Mr. and Mrs. William H. Marlatt Fund ©
1960.72 Pen and brown ink and brush and gray wash, with traces of black chalk and brush and brown wash Sheet: 29.2 x 39.3 cm (11 1/2 x 15 1/2 in.) James Parmelee Fund CCCC0
1929.537 Pen and black ink (with point of brush?) and brush and red-brown wash (red chalk wash?), heightened with lead white (partially oxidized); framing lines in brown ink with traces of gold paint Sheet: 22.3 x 33.5 cm (8 3/4 x 13 3/16 in.); Secondary Support: 33.5 x 45.7 cm (13 3/16 x 18 in.) Dudley P. Allen Fund CCCC0
2019.7 Brush and black ink and grey wash over black chalk on cream laid paper; brown ink framing line Sheet: 17.8 x 25.8 cm (7 x 10 3/16 in.) John L. Severance Fund CCCC0
1992.288 Brush, black ink and wash Sheet: 27.2 x 24.1 cm (10 11/16 x 9 1/2 in.) Bequest of Lockwood Thompson ©
1956.302 Brush and gray wash, with brush and red wash; framing lines in black ink Sheet: 17.2 x 10.5 cm (6 3/4 x 4 1/8 in.); Image: 16.3 x 9.8 cm (6 7/16 x 3 7/8 in.) Gift of The Print Club of Cleveland CCCC0
2019.16 Charcoal applied wet, brush and black and brown and white washes; black ink framing line on antique brown laid paper Sheet: 28.8 x 46.3 cm (11 5/16 x 18 1/4 in.) John L. Severance Fund CCCC0
1953.1 Brush and black ink and wash Gift of The Print Club of Cleveland ©
1953.609 Pen and black ink and brush and brown wash over graphite, with traces of white gouache; framing lines in black ink Sheet: 13.3 x 18.3 cm (5 1/4 x 7 3/16 in.); Secondary Support: 20 x 25.2 cm (7 7/8 x 9 15/16 in.) Gift of William Mathewson Milliken, in memory of H. Oothout Milliken CCCC0
1952.97 Brush and black ink Silver Jubilee Treasure Fund ©
2008.349 Pen and black and brown ink, brush and brown and gray wash, and white paint over graphite Sheet: 34.4 x 42.9 cm (13 9/16 x 16 7/8 in.) Bequest of Muriel Butkin CCCC0
1960.157 Pen and black ink and brush and black and gray wash heightened with lead white (partially oxidized); framing lines in black and brown ink Sheet: 41.9 x 52.5 cm (16 1/2 x 20 11/16 in.); Secondary Support: 41.9 x 52.5 cm (16 1/2 x 20 11/16 in.) Delia E. Holden Fund CCCC0
1988.150 Brush and black ink and brush and gray wash over traces of black chalk; framing lines in pen and black ink Sheet: 15.3 x 15 cm (6 x 5 7/8 in.) John L. Severance Fund CCCC0
1969.277 Pen and brown ink and brush and brown wash, over black chalk Sheet: 29.5 x 20.2 cm (11 5/8 x 7 15/16 in.) Gift of Frederick M. Mayer CCCC0
1963.268 Brush and black ink Gift of The Cleveland Art Association ©
1922.388 Pen and brush and black ink Dudley P. Allen Fund ©
1955.216 Brush and black ink Gift of The Print Club of Cleveland ©
1958.374 Pen and brush and black ink Sheet: 61.8 x 47.4 cm (24 5/16 x 18 11/16 in.) Gift of William Mathewson Milliken, in memory of H. Oothout Milliken ©
1966.179.b Pen and black ink, black chalk, black crayon and brush and black and brown wash Sheet: 6.5 x 29.8 cm (2 9/16 x 11 3/4 in.) Fiftieth anniversary gift of Mr. and Mrs. Eugene Victor Thaw CCCC0
1948.1919 Brush and gray and black ink, with black chalk, abrasion and traces of graphite and white chalk Sheet: 72.5 x 57.2 cm (28 9/16 x 22 1/2 in.) Hinman B. Hurlbut Collection ©
1981.158 Brush and black ink, black crayon, heightened with white gouache Gift of Mr. and Mrs. Mitchell C. Shaheen ©
1970.286 Brush and black ink, brush and gray wash, and black chalk; framing lines in black ink Sheet: 34.9 x 23.9 cm (13 3/4 x 9 7/16 in.); Secondary Support: 34.9 x 23.9 cm (13 3/4 x 9 7/16 in.); Tertiary Support: 42 x 30.6 cm (16 9/16 x 12 1/16 in.) Gift of Mr. and Mrs. Noah L. Butkin CCCC0
1953.582 Brush and black ink and wash heightened with white and pencil Gift of The Print Club of Cleveland ©
1927.362 Pen and brown ink and brush and brown wash, over black chalk Sheet: 32.5 x 14.6 cm (12 13/16 x 5 3/4 in.); Secondary Support: 38.8 x 20.9 cm (15 1/4 x 8 1/4 in.) Gift of The Print Club of Cleveland CCCC0
1976.165 Brush and black ink Sheet: 65.2 x 50 cm (25 11/16 x 19 11/16 in.) Gift of William Mathewson Milliken ©
1953.135 Pen and brown ink and brush and brown wash, over black chalk; framing lines in brown ink Sheet: 53.6 x 77 cm (21 1/8 x 30 5/16 in.); Image: 50.9 x 75 cm (20 1/16 x 29 1/2 in.) Dudley P. Allen Fund CCCC0
1981.36 Pen and brown ink and brush and brown wash, with black chalk; framing lines in brown ink and graphite Sheet: 35.7 x 47.1 cm (14 1/16 x 18 9/16 in.); Image: 29.7 x 41.4 cm (11 11/16 x 16 5/16 in.) Gift in memory of Paul Wick from his family CCCC0
1958.290 Brush and black ink and watercolor and bronze gouache Image: 61 x 91.5 cm (24 x 36 in.) Gift of the American Institute of Decorators ©
1939.655 Pen and brown ink and brush and brown wash; incised, squared in black chalk, framing lines in graphite (left and bottom) Sheet: 25.6 x 18.7 cm (10 1/16 x 7 3/8 in.); Secondary Support: 29.3 x 22 cm (11 9/16 x 8 11/16 in.) Gift of Robert Hays Gries CCCC0
1965.462 Brush and black ink and watercolor and crayon Mr. and Mrs. Charles G. Prasse Collection ©
1980.70 Pen and brown and black ink and brush and gray and black wash; framing lines in brown ink Sheet: 13.4 x 17.2 cm (5 1/4 x 6 3/4 in.); Image: 11.2 x 15.4 cm (4 7/16 x 6 1/16 in.) Delia E. Holden Fund CCCC0
1969.30 Pen and black ink and brush and gray wash Sheet: 14.1 x 9.3 cm (5 9/16 x 3 11/16 in.); Secondary Support: 26.6 x 21.3 cm (10 1/2 x 8 3/8 in.) L. E. Holden Fund CCCC0
1942.1069 Pen and black ink, brush and black and gray wash, and graphite Sheet: 41 x 49.4 cm (16 1/8 x 19 7/16 in.) Mr. and Mrs. William H. Marlatt Fund ©
1925.1190 Pen and brown ink and brush and brown wash, with brush and gray wash (left vase), over black chalk Sheet: 31.6 x 21.6 cm (12 7/16 x 8 1/2 in.) Dudley P. Allen Fund CCCC0
2008.368 Charcoal and brush and black and brown ink, with stumping and scratching away Sheet: 40.1 x 29 cm (15 13/16 x 11 7/16 in.) Bequest of Muriel Butkin CCCC0
1982.366 Pen and black ink and brush and brown wash, heightened with white gouache; framing lines in black ink Sheet: 15.3 x 9.7 cm (6 x 3 13/16 in.); Image: 14.3 x 9.1 cm (5 5/8 x 3 9/16 in.) Gift of Henry H. Hawley CCCC0
1966.537 Brush and black ink and watercolor Gift of Dr. and Mrs. Theodor W. Braasch ©
1939.669 Pen and brown ink and brush and brown wash over black chalk Sheet: 33.6 x 23.5 cm (13 1/4 x 9 1/4 in.); Secondary Support: 42.3 x 31.8 cm (16 5/8 x 12 1/2 in.) Gift of Robert Hays Gries CCCC0
1952.287 Pen and black and brown ink, brush and black and brown wash, watercolor and gouache, over traces of black chalk Sheet: 32.3 x 22.8 cm (12 11/16 x 9 in.) Dudley P. Allen Fund CCCC0
1989.234 Brush and gray and black wash, over black chalk; framing lines in black chalk, and brown ink (iron gall) Sheet: 32.4 x 16.9 cm (12 3/4 x 6 5/8 in.); Image: 30.4 x 15.2 cm (11 15/16 x 6 in.) Bequest of Mrs. Severance A. Millikin CCCC0
1971.31 Pen and brown ink and brush and brown wash over black chalk Sheet: 29.7 x 43 cm (11 11/16 x 16 15/16 in.); Secondary Support: 29.7 x 43 cm (11 11/16 x 16 15/16 in.); Tertiary Support: 37.8 x 50.9 cm (14 7/8 x 20 1/16 in.) Delia E. Holden Fund CCCC0
1961.79 Pen and black and brown ink and brush and black, gray, brown and blue wash, over black chalk; framing lines in brown ink Sheet: 20.5 x 36.5 cm (8 1/16 x 14 3/8 in.); Secondary Support: 20.5 x 33.2 cm (8 1/16 x 13 1/16 in.) Delia E. Holden Fund CCCC0
1961.37 Black chalk and brush and brown wash; framing lines in graphite (top) and black ink Sheet: 51.2 x 21 cm (20 3/16 x 8 1/4 in.) L. E. Holden Fund CCCC0
1967.24 Pen and black ink and brush and gray, black, green, yellow, and red wash, heightened with white gouache Sheet: 38.7 x 25.8 cm (15 1/4 x 10 3/16 in.); Secondary Support: 46.6 x 35.5 cm (18 3/8 x 14 in.) Delia E. Holden and L. E. Holden Funds CCCC0
1947.13 Pen and brown ink and brush and brown wash, over black chalk; framing lines in brown ink and graphite Sheet: 35.8 x 47.3 cm (14 1/8 x 18 5/8 in.); Image: 29.5 x 41.5 cm (11 5/8 x 16 5/16 in.) Dudley P. Allen Fund CCCC0
1929.12 Reed pen and brown and black ink and brush and brown, gray and red wash, over black chalk Sheet: 17.1 x 15.5 cm (6 3/4 x 6 1/8 in.) The Charles W. Harkness Endowment Fund CCCC0
1954.688 Pen and brown ink and brush and brown wash over black chalk, heightened with white gouache; incised, framing lines in brown ink over traces of black chalk Sheet: 26.3 x 43.5 cm (10 3/8 x 17 1/8 in.); Image: 25.4 x 42.7 cm (10 x 16 13/16 in.); Secondary Support: 26.3 x 43.5 cm (10 3/8 x 17 1/8 in.) The Norweb Collection CCCC0
1974.174 Brush and black ink heightened with white Delia E. Holden Fund CCCC0
1978.129 Pen and brush and black ink, brush and brown and gray wash, and white and gray-blue gouache, over graphite Sheet: 30.5 x 43.8 cm (12 x 17 1/4 in.) Gift of Muriel S. Butkin CCCC0
1974.227.b Pen and black ink and brush and gray wash, heightened with white gouache Sheet: 28.8 x 19 cm (11 5/16 x 7 1/2 in.); Secondary Support: 43.3 x 28.8 cm (17 1/16 x 11 5/16 in.) Gift of The Print Club of Cleveland CCCC0
1952.291 Pen and brown ink, brush and brown and black wash, watercolor and gouache Sheet: 31.7 x 22.8 cm (12 1/2 x 9 in.) Dudley P. Allen Fund CCCC0
1988.107 Pen and brown ink and brush and brown wash over black chalk (extended with brush and water in places); pricked Sheet: 23.9 x 18.7 cm (9 7/16 x 7 3/8 in.) Edwin R. and Harriet Pelton Perkins Memorial Fund CCCC0
1964.100 Black chalk (stumped in places), pen and brown ink, and brush and black ink Sheet: 53.6 x 53.9 cm (21 1/8 x 21 1/4 in.); Secondary Support: 53.6 x 53.9 cm (21 1/8 x 21 1/4 in.) Norman O. Stone and Ella A. Stone Memorial Fund CCCC0
1956.731 Brush and black ink and watercolor over black crayon Sheet: 37 x 53.1 cm (14 9/16 x 20 7/8 in.) The Fanny Tewksbury King Collection CCCC0
1943.341 Black chalk and brush and brown wash; framing lines in black ink Sheet: 37.8 x 26.2 cm (14 7/8 x 10 5/16 in.) Purchase from the J. H. Wade Fund CCCC0
1963.87 Pen and brown ink, with point of brush and brown wash over black chalk (traces of red chalk and purple wash unrelated to composition) Sheet: 16.3 x 24.8 cm (6 7/16 x 9 3/4 in.); Secondary Support: 23.6 x 31 cm (9 5/16 x 12 3/16 in.) Dudley P. Allen Fund CCCC0
1950.502 Pen and brush and black ink and brush and gray wash Sheet: 33 x 60.5 cm (13 x 23 13/16 in.) Norman O. Stone and Ella A. Stone Memorial Fund ©
1982.169 Pen and brown ink, black crayon and brush and gray wash; framing lines in black crayon; two figures in right margin in black crayon (top figure) and graphite (bottom figure) Sheet: 22.5 x 35.2 cm (8 7/8 x 13 7/8 in.); Image: 18.8 x 30.3 cm (7 3/8 x 11 15/16 in.) Gift of Rabbi and Mrs. Daniel J. Silver in honor of Dr. Sherman E. Lee CCCC0
1948.1913 Watercolor and brush and black ink, with black crayon Sheet: 43.3 x 55.2 cm (17 1/16 x 21 3/4 in.) Hinman B. Hurlbut Collection ©
1952.219 Brush and black ink and wash Gift of The Print Club of Cleveland ©
1958.430 Pen and brown ink with brush and brown wash over black chalk (upper portion of soldier's armor) Sheet: 12.8 x 18.6 cm (5 1/16 x 7 5/16 in.) James Parmelee Fund CCCC0
1967.189 Pen and brush and black ink Sheet: 32.4 x 24.3 cm (12 3/4 x 9 9/16 in.) Gift of Mr. and Mrs. Paolo Boni ©
1954.560 Pen and brown ink and brush and blue and brown wash over traces of black chalk; framing lines in brown ink Sheet: 38.1 x 27.6 cm (15 x 10 7/8 in.) John L. Severance Fund CCCC0
1974.170 Brush and brown ink with touches of black ink Delia E. Holden Fund CCCC0
1967.190 Pen and brush and black ink Sheet: 32.8 x 24.3 cm (12 15/16 x 9 9/16 in.) Gift of Mr. and Mrs. Paolo Boni ©
1961.224 Brush and black ink Gift of Mr. and Mrs. Werner Drewes ©
1944.455 Brush and black ink Gift of Mr. and Mrs. Paul B. Travis ©
1945.108 Brush and black ink Gift of Mrs. Malcolm L. McBride ©
1952.289 Pen and brown ink, brush and brown wash, gouache and watercolor, over traces of black chalk Sheet: 31.7 x 22.8 cm (12 1/2 x 9 in.) Dudley P. Allen Fund CCCC0
1974.162 Brush and black ink, black crayon, heightened with white gouache Delia E. Holden Fund CCCC0
1974.146 Brush and black ink over pencil with white highlights Delia E. Holden Fund CCCC0
1969.298 Pen and brown ink and brush and gray and black wash; framing lines in brown ink Sheet: 23.8 x 33.3 cm (9 3/8 x 13 1/8 in.) Delia E. Holden Fund CCCC0
1967.23 Black chalk and brush and brown wash; framing lines in black ink Sheet: 35.8 x 51.9 cm (14 1/8 x 20 7/16 in.); Secondary Support: 35.8 x 51.9 cm (14 1/8 x 20 7/16 in.) Delia E. Holden Fund CCCC0
1958.1 Pen and black ink, brush and black wash, and watercolor, over traces of graphite; framing lines in black ink over graphite Sheet: 43 x 36.9 cm (16 15/16 x 14 1/2 in.); Image: 37.4 x 31.5 cm (14 3/4 x 12 3/8 in.) Bequest of Leonard C. Hanna, Jr. ©
1974.181 Brush and black ink and brown and white heightening Delia E. Holden Fund CCCC0
1977.184 Pen and black ink, brush and gray and yellow wash, yellow gouache, and black chalk Sheet: 18.5 x 30 cm (7 5/16 x 11 13/16 in.); Secondary Support: 28.7 x 39.6 cm (11 5/16 x 15 9/16 in.) Dudley P. Allen Fund CCCC0
1972.118 Pen and black ink, brush and black and gray wash over graphite, heightened with traces of white; framing lines in black ink Sheet: 16.6 x 32.1 cm (6 9/16 x 12 5/8 in.) Gift of Eugene and Clara Thaw ©
1929.541 Black chalk and brush and gray wash over traces of graphite; framing lines in brown ink Sheet: 14.8 x 19.6 cm (5 13/16 x 7 11/16 in.) Dudley P. Allen Fund CCCC0
1980.49 Pen and brown ink, brush and brown wash over black chalk, heightened with white gouache; framing lines in brown ink Sheet: 9.2 x 15.3 cm (3 5/8 x 6 in.) Dudley P. Allen Fund CCCC0
1923.74 Pen and black ink and brush and gray wash, heightened with white gouache Sheet: 32.1 x 21 cm (12 5/8 x 8 1/4 in.) Dudley P. Allen Fund CCCC0
1980.240 Brush and black ink and black chalk heightened with white gouache; framing lines in black chalk Sheet: 59.1 x 44 cm (23 1/4 x 17 5/16 in.); Secondary Support: 59.1 x 44 cm (23 1/4 x 17 5/16 in.) Bequest of Noah L. Butkin CCCC0
1954.698 Pen and brown ink and brush and brown wash over traces of black chalk; framing line (left edge) in brown ink Sheet: 26.9 x 14.4 cm (10 9/16 x 5 11/16 in.) The Norweb Collection CCCC0
1988.80 Pen and brown ink and brush and brown wash and red chalk; traces of framing lines in black chalk Sheet: 11.5 x 19.6 cm (4 1/2 x 7 11/16 in.); Secondary Support: 11.5 x 19.6 cm (4 1/2 x 7 11/16 in.) John L. Severance Fund CCCC0
1981.213 Brush and black ink and pen and brown ink and pencil and charcoal Mr. and Mrs. Charles G. Prasse Collection ©
1939.664 Pen and brown ink and brush and brown wash over traces of black chalk; framing lines in brown ink Sheet: 35.7 x 47.8 cm (14 1/16 x 18 13/16 in.); Secondary Support: 35.7 x 47.8 cm (14 1/16 x 18 13/16 in.) Gift of Robert Hays Gries CCCC0
1996.315 Brush and black ink and watercolor Sheet: 23 x 39.3 cm (9 1/16 x 15 1/2 in.); Image: 21.5 x 38.3 cm (8 7/16 x 15 1/16 in.) Gift of Mr. and Mrs. J. King Rosendale ©
1954.684 Pen and brown ink and brush and brown wash over black chalk, heightened with lead white Sheet: 30.2 x 27.7 cm (11 7/8 x 10 7/8 in.) The Norweb Collection CCCC0
1954.707 Pen and brown ink and brush and gray wash with blue and green watercolor, over traces of black chalk, with white paint Image: 20.8 x 32.2 cm (8 3/16 x 12 11/16 in.) The Norweb Collection CCCC0
1949.552 Pen and brush and black ink and watercolor Sheet: 49 x 39.4 cm (19 5/16 x 15 1/2 in.) John L. Severance Fund ©
1937.467 Pen and brown ink and brush and brown wash over black chalk; framing lines in black ink Sheet: 15.8 x 13.1 cm (6 1/4 x 5 3/16 in.) Gift of Mrs. Benjamin P. Bole CCCC0
1981.211 Pen and brush and black ink and pencil and charcoal over pencil Mr. and Mrs. Charles G. Prasse Collection ©
1974.172 Brush and pen and black ink with touches of brown ink and pen Delia E. Holden Fund CCCC0
1929.542 Black chalk and brush and gray wash; framing lines in brown ink Sheet: 11.8 x 20.4 cm (4 5/8 x 8 1/16 in.) Dudley P. Allen Fund CCCC0
1956.227 Brush and black ink and wash and gray and white gouache Gift of Mabel H. Hewitt ©
1958.164 Pen and black ink and brush and red wash over traces of graphite Sheet: 28.3 x 47.9 cm (11 1/8 x 18 7/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1954.678 Pen and brown ink and brush and brown wash, with traces of black chalk? Sheet: 28.1 x 51.6 cm (11 1/16 x 20 5/16 in.) The Norweb Collection CCCC0
1974.173 Brush and brown ink with touches of black ink with white corrections Delia E. Holden Fund CCCC0
1974.147 Pen and brush and black ink with white highlights Delia E. Holden Fund CCCC0
1947.205 Brush (or pen?) and black ink, watercolor, and gouache Sheet: 44 x 55.5 cm (17 5/16 x 21 7/8 in.); Secondary Support: 45.9 x 57.5 cm (18 1/16 x 22 5/8 in.); Tertiary Support: 46.8 x 58.5 cm (18 7/16 x 23 1/16 in.) Gift of Mrs. Malcolm L. McBride ©
1966.174 Black chalk and brush and gray wash heightened with white chalk; framing lines in black ink Sheet: 42.7 x 47.4 cm (16 13/16 x 18 11/16 in.); Secondary Support: 42.7 x 47.4 cm (16 13/16 x 18 11/16 in.) Fiftieth anniversary gift for the Mr. and Mrs. Charles G. Prasse Collection CCCC0
1937.468 Pen and brown ink and brush and brown wash over black chalk; framing lines in black ink Sheet: 15.7 x 13 cm (6 3/16 x 5 1/8 in.) Gift of Mrs. Benjamin P. Bole CCCC0
1974.154 Brush and pen and black ink over pencil with white highlights Delia E. Holden Fund CCCC0
1974.6 Brush and red-brown ink and black chalk, heightened with lead white Sheet: 47.7 x 37.2 cm (18 3/4 x 14 5/8 in.) Dudley P. Allen Fund CCCC0
1959.80 Pen and brush and black ink Gift of the Artist ©
1939.656 Pen and black ink and brush and brown wash over black chalk, heightened with white gouache; framing lines in brown ink Sheet: 24.2 x 36.3 cm (9 1/2 x 14 5/16 in.); Secondary Support: 24.2 x 36.3 cm (9 1/2 x 14 5/16 in.) Gift of Robert Hays Gries CCCC0
1997.215 Pen and brush and black ink Sheet: 17 x 13.3 cm (6 11/16 x 5 1/4 in.) Gift of Donald F. Barney, Jr., in honor of Carter Foster ©
1953.257 Conté crayon and pen and brush and black ink and wash Gift of The Print Club of Cleveland ©
1979.124 Pen and brown ink and brush and brown wash over black chalk, heightened with white; framing lines in black and brown ink over graphite Sheet: 29.2 x 15.3 cm (11 1/2 x 6 in.) Gift of Steve Albert CCCC0
1974.169 Pen and brush and black ink with traces of black crayon heightened with white Delia E. Holden Fund CCCC0
2010.248 Black ink and gray ink wash and point of brush work Sheet: 24.1 x 19.5 cm (9 1/2 x 7 11/16 in.) Bequest of Muriel Butkin CCCC0
1991.325 Pen and brown ink and brush and brown wash over traces of black chalk; traces of framing lines in silver paint Sheet: 28.1 x 19.8 cm (11 1/16 x 7 13/16 in.); Secondary Support: 30.8 x 23.1 cm (12 1/8 x 9 1/8 in.) Gift of Mrs. A. Dean Perry CCCC0
1967.184 Pen and black ink and brush and brown and gray wash over graphite; framing lines in black ink Sheet: 39.4 x 29.8 cm (15 1/2 x 11 3/4 in.) Gift of Rosenberg & Stiebel, Inc. CCCC0
1966.7 Black chalk and brush and gray and brown wash (addition, upper left, in white paint and black chalk); framing lines in brown ink Sheet: 19.6 x 29.2 cm (7 11/16 x 11 1/2 in.) Dudley P. Allen Fund CCCC0
1991.324 Pen and brown ink and brush and brown wash over black chalk; traces of framing lines in silver paint Sheet: 28.1 x 19.8 cm (11 1/16 x 7 13/16 in.); Secondary Support: 34.4 x 25.2 cm (13 9/16 x 9 15/16 in.) Gift of Mrs. A. Dean Perry CCCC0
2010.285 Black ink applied with pen (reed) and brush Sheet: 23.5 x 17.1 cm (9 1/4 x 6 3/4 in.) Bequest of Muriel Butkin CCCC0
1954.686 Pen and brown ink and brush and gray and brown wash, over black chalk The Norweb Collection CCCC0
1954.691 Pen and brown ink, graphite and brush and brown wash; framing lines in black ink Sheet: 27.9 x 16.7 cm (11 x 6 9/16 in.) The Norweb Collection CCCC0
1989.235 Brush and black and gray wash, over traces of black chalk; framing lines in black chalk, and brown ink (iron gall) Sheet: 32.1 x 16.9 cm (12 5/8 x 6 5/8 in.); Image: 30.4 x 15 cm (11 15/16 x 5 7/8 in.) Bequest of Mrs. Severance A. Millikin CCCC0
1975.171 Pen and brown ink and brush and brown wash over traces of black chalk or charcoal Sheet: 10.3 x 8 cm (4 1/16 x 3 1/8 in.) Gift of Dr. and Mrs. Sherman E. Lee CCCC0
1951.264 Pen and brown ink and brush and brown wash over traces of graphite; framing lines in black ink Sheet: 15.2 x 20.2 cm (6 x 7 15/16 in.); Secondary Support: 25 x 32.5 cm (9 13/16 x 12 13/16 in.) Gift of Robert Hays Gries CCCC0
1929.543 Black chalk and brush and gray and brown wash; framing lines in black chalk and brown ink (right, bottom) Sheet: 9 x 14.4 cm (3 9/16 x 5 11/16 in.) Dudley P. Allen Fund CCCC0
1989.246 Pen and black ink and brush and gray wash with traces of blue gouache, heightened with white gouache Sheet: 18.4 x 27.2 cm (7 1/4 x 10 11/16 in.) Bequest of Mrs. Severance A. Millikin CCCC0
1954.697 Red chalk; framing lines in brush and black ink Sheet: 6.7 x 11.1 cm (2 5/8 x 4 3/8 in.); Secondary Support: 6.7 x 11.1 cm (2 5/8 x 4 3/8 in.) The Norweb Collection CCCC0
1958.417 Pen and black ink, black crayon, and brush and brown wash Sheet: 22.5 x 30.4 cm (8 7/8 x 11 15/16 in.) Gift of Mrs. Malcolm L. McBride ©
1953.432 Conté crayon and watercolor with pen and black ink and brush and black wash; framing lines in crayon Sheet: 38.4 x 48.3 cm (15 1/8 x 19 in.); Image: 33.2 x 43.8 cm (13 1/16 x 17 1/4 in.) Norman O. Stone and Ella A. Stone Memorial Fund ©
1997.139 Pen and brown ink and brush and brown wash, over traces of black chalk Sheet: 27.4 x 19.8 cm (10 13/16 x 7 13/16 in.); Secondary Support: 31.4 x 23 cm (12 3/8 x 9 1/16 in.) Andrew R. and Martha Holden Jennings Fund CCCC0
1974.111 Brush and black ink Delia E. Holden Fund CCCC0
1974.129 Brush and black ink and wash over pencil Delia E. Holden Fund CCCC0
1954.704 Brush and black and gray ink and brush and gray wash and graphite, with traces of point of brush and grey wash and pen and black ink; framing lines in graphite (top and bottom) Sheet: 20.1 x 15.3 cm (7 15/16 x 6 in.) The Norweb Collection CCCC0
1951.418 Pen and black ink and brush and brown wash (two different colors brown wash) Sheet: 29.4 x 21.5 cm (11 9/16 x 8 7/16 in.); Image: 29 x 21 cm (11 7/16 x 8 1/4 in.) Gift of Edward B. Greene in memory of Joseph Oriel Eaton CCCC0
1939.643 Pen and brown ink, point of brush and black and gray wash, and brush and gray wash over traces of graphite; framing lines in brown ink (iron gall) Sheet: 6.9 x 14.8 cm (2 11/16 x 5 13/16 in.) Gift of Robert Hays Gries CCCC0
1954.693 Pen and brown ink and brush and brown wash over black chalk; framing lines in brown ink Sheet: 9 x 42.4 cm (3 9/16 x 16 11/16 in.) The Norweb Collection CCCC0
1954.710 Pen and black ink and brush and brown wash and blue, green, red and red-purple gouache Sheet: 17.6 x 15 cm (6 15/16 x 5 7/8 in.); Secondary Support: 18.2 x 15.6 cm (7 3/16 x 6 1/8 in.); Tertiary Support: 18.2 x 15.6 cm (7 3/16 x 6 1/8 in.); Quadratic Support: 24.8 x 20.9 cm (9 3/4 x 8 1/4 in.) The Norweb Collection CCCC0
1954.682 Pen and black ink and brush and gray wash Sheet: 8.2 x 11.5 cm (3 1/4 x 4 1/2 in.); Secondary Support: 9.8 x 12.7 cm (3 7/8 x 5 in.) The Norweb Collection CCCC0
1970.37.b Pen and brown ink and brush and brown wash (right half); black chalk, with stumping (left half) Sheet: 19.9 x 49.2 cm (7 13/16 x 19 3/8 in.) Purchase from the J. H. Wade Fund CCCC0
1954.706 Black chalk and brush and gray and black wash over traces of graphite; framing lines in brown ink and graphite Sheet: 14.5 x 18.4 cm (5 11/16 x 7 1/4 in.) The Norweb Collection CCCC0
1974.119 Pen and brush and black ink Delia E. Holden Fund CCCC0
1989.227 Watercolor, point of brush and watercolor, and pen and brown ink over black chalk; framing lines in brown ink Sheet: 18.1 x 25.7 cm (7 1/8 x 10 1/8 in.); Secondary Support: 18.1 x 25.7 cm (7 1/8 x 10 1/8 in.) Bequest of Mrs. Severance A. Millikin CCCC0
1989.228 Watercolor, point of brush and watercolor, and pen and brown ink over black chalk; framing lines in brown ink and brown wash Sheet: 25.8 x 18 cm (10 3/16 x 7 1/16 in.); Secondary Support: 25.8 x 18 cm (10 3/16 x 7 1/16 in.) Bequest of Mrs. Severance A. Millikin CCCC0

redpajama_set_name: RedPajamaCommonCrawl


text:
/ Autumn '89
/ The 9th October 2009
/ Festival of Lights
The 2009 Festival of Lights - the twentieth anniversary of the Peaceful Revolution
© MOMENTPHOTO / Ronald Bonss
In 2009 more than 100,000 visitors participated in the Festival of Lights held on the occasion of the twentieth anniversary of the Peaceful Revolution in Leipzig. Local residents, many of them young people, were joined by visitors from other parts of Germany and other countries in a candlelit procession around the inner-city ring road.
Along the historic route of the demonstration architects, light planners, designers and artists from a number of European countries presented their individual interpretations of the events of the autumn of '89.
For many people the 2009 Festival of Lights brought back many memories, but in addition to this it represented a symbol for unity, freedom and the way in which barriers can be overcome. Many of those who attended had themselves participated in the demonstrations 20 years earlier, while the Festival of Lights enabled others to experience for themselves the force of the non-violent movement for freedom and democracy in the autumn of '89.
The route of the demonstration was illuminated
The location for the Festival of Lights was the route which the 1989 demonstrators took along the ring road. It began in St Nicholas's Church Yard and continued to Augustusplatz Square, Georgi Ring, the main railway station, Tröndlin Ring and Goerdeler Ring. For the occasion of the festival the main stations of the historic route of the demonstration, the so-called 'landmarks', were highlighted by light projections and artistic performances.
Numerous light art projects
The idea for the Festival of Lights was conceived and carried out by Leipzig's Tourism und Marketing Agency and local light artist Jürgen Meier. Numerous partners contributed their own individual projects around the inner-city ring road with the slogan "Civic commitment – 1989 and today", all of them coming together to form an impressive single thematic art work of light.
In order to promote the idea of European solidarity and the international dimension of 9 October Leipzig's twin cities were invited to participate with their own projects. Accordingly the city of Lyon contributed a work at the Reformed Evangelical church along the Tröndlin Ring, where the film footage of the 70,000 strong demonstration was shot on 9 October 1989 and later broadcast by western media.


There was a time in America when attending church and abiding by the practices and teachings of a religion were qualities that were respected and looked up to by everyone, and it spoke well for those seeking pubic office and was widely thought to be a natural stepping stone in a public career and for someone seeking a seat on a federal court.
But that was a more reasonable time when substantive things mattered and reasonable politicians were deciding who our future judges would be. During the previous administration, Barack Obama appointed Sonia Sotomayor to the Supreme Court simply because she had a "non-traditional" background and upbringing and because she stressed and supported liberal causes, completely ignoring whether she formed good, constitutionally sound opinions on her previous bench appointments and whether or not she would serve the welfare of America and the constitution in her future decisions. But let a more traditional, non-leftist appointee be nominated to the bench and the liberals on the Senate Judiciary Committee lose their minds.
Amy Barrett, a distinguished law professor at Notre Dame, has been appointed by President Trump to a vacant seat on the Seventh Circuit Court of Appeals. The Democrats on the Senate Judiciary Committee could not contain themselves from getting very personal and suggesting that Professor Barrett was not a good candidate for the open position because she is a practicing Catholic, and we all know that religion, especially Christianity, is a massive target that all liberal politicians like to take pot-shots at. One strongly suspects that since Ms Barrett is a Catholic, her probable stand on abortion was the grievous sin that the liberal Senators were trying to criticize without actually having to say it. The current officially approved preference for liberal Democrats is to abort babies, not birth them.
Democrats have a lot of nerve stating that Catholics would be bad for the court because they may bring their religion to the bench (one remembers clearly when some Americans said the same thing about the presidency when John Kennedy, himself a Catholic, was running for the White House), especially since each of these smug Democrats represent the most narrow-minded, closed-minded, prejudiced people in the nation. So now liberals are suggesting a Judicial litmus test for making judicial appointments.
Maybe in the future patriotic, non-leftist Senators on the Judiciary Committee should make it a parallel litmus rest to reject any female judicial appointee who had actually had an abortion or had given money to Planned Parenthood, along with any male appointee who does not attend a Christian Church or Jewish Synagogue regularly. Applying a litmus test of any kind has been specifically forbidden by leftist politicians for many decades, until their own anti-American and anti-constitutional schemes are at stake, then they'll apply any off-the-wall argument to gain or retain power and influence, and in the current case of Donald Trump's current appointee to a vacant Circuit Court position, they'll happily and proudly defame, insult and reject the good lady being considered. And that's how America's radical, leftist, establishment politicians demonstrate their own religion of diversity.


text:
using Microsoft.Win32.SafeHandles;
using System;
using System.Runtime.InteropServices;

internal partial class Interop
{
    internal partial class Kernel32
    {
        [DllImport(Libraries.Kernel32, CharSet = CharSet.Unicode, SetLastError = true)]
        internal static extern bool SetProcessWorkingSetSizeEx(SafeProcessHandle handle, IntPtr min, IntPtr max, int flags);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Game Review: Hades (2020)
February 19, 2021 by Zaheerah
Defy Hades, the god of the Underworld, as you hack and slash your way out of his domain in order to reach the surface. Aided by the Gods on Olympus and other denizens of the underworld, Zagreus is hellbent on making it out of his father's domain.
Listen carefully, says the narrator, as the player, young Zagreus, gracefully lands outside the House of Hades, sending his last goodbye to his father. With only a sword, you venture into the depth of Tartarus, the first biome. There you must defeat a variety of enemies: wretched thugs swing their clubs, the witches cast a damaging projectile and brimstone's energy beam can stack up damage fast. Each completion of a chamber rewards you a variety of goods and, more importantly, access to the aid of multiple Greek gods, Zagreus's uncles and cousins. They root for you as make your escape. Each failed attempt sends you straight back home via the Styx.
Oh, how a random fanart that ended up on my timeline led to me discovering one of my favourite games ever. Here I was thinking nothing could top the sheer joy I felt playing Breath of the Wild, but Hades comes quite close. Hades is one of the best games I've ever had the pleasure to play. From music to gameplay, Hades is a visual and audio treat.
"Beyond the present chamber lies the outermost perimeter of Tartarus, promising terrifying dangers far beyond the Underworld Prince's reckoning."
The Narrator
As Zagreus, I play it simple, my trusty Stygius is my weapon of choice for the first ten or so runs. That is until I received enough keys to unlock the rest of Zagreus's armoury, which range from a bow, shield, spear and my favourite, the Twin Fist of Malphon, a pair of armoured gloves that have carried me through over ten successfully attempts in the underworld. Hades is made with replay value in mind. Each run is almost unique and dependent on the player's choice. Completing a run was never really on my mind as the journey making it there brings just as much joy. Unique chambers on each biome reveal a shade to befriend and a cause to help, further along, you receive the aid of an old friend who isn't all too happy to see you leave. (Thanatos, I would die for you.)
There are no difficulty settings in Hades, which had me, an easy mode player, sweating a bit. But God mode was extremely helpful to combatting any problems I had. You are not invulnerable, but it does reduce the damage you take from enemies, each death will increase your resistance by 2%. The music of Hades is amazing. I found myself way too focused on my runs to really appreciate it until I made it to Asphodel, the second biome of the Underworld, where you have the chance to meet Eurydice who gifts you treats that can boost the Boons you have acquired. When you enter the chamber, it is silent and then comes the gorgeous voice of Ashley Barrett. A song dedicated to her carefree life in the afterlife, now unbothered by her worries of mortal life. There I was compelled to listen to the soundtrack on its own and genuinely felt its effect.
The art style truly had me scrolling through Twitter to find any and all fan art I could find. I had initially seen pictures from the game in development where most of the major characters were given placeholder images. In its official release, you see the gods, Chthonic and Olympian, in all their glory. Hades towers over you in his seat as he scoffs at your return. Nyx, the personification of Night, is your adopted mother who guides you in your journey, offering wisdom and advice. One of her sons, Hypnos, watches over you and greets you in your return. His hilarious quips and unhelpful advice ("Maybe try killing [the enemies] beforehand, I don't know!") makes each failure almost worth it. You also meet Zagreus's mentor, famed Achilles, who taught him everything he knows, who stands strong within the halls of the house of Hades, far away from the man he once knew.
Image: Supergiant Games. From left to right: Zagreus, Meg, Hypnos (in red), Thanatos, Achilles and Zeus
Hades is ridiculously addicting. A completed run would take me around thirty minutes at most, I've slowly shaved off time in each run, but it appears to be my average time. Loss is nothing in this game because each failure brings a new path. The heart of the game resides in Zagerus and his interaction with the various mythic figures. Each reinterpretation stole my heart and broke it at the same time. By the time the final credits roll, the game is not done, new storylines and challenges appear that will have you returning to the House of Hades in no time. As the game eerily proclaims with each death, there is no escape.
DEVELOPER | BUY ON: STEAM | SWITCH
Review: The Girl Who Fell Beneath the Sea January 14, 2022
Review: Of Trust & Heart January 7, 2022
YEAR IN REWIND: 2021 December 31, 2021
Review: The Boy with Fire December 13, 2021
Review: How We Fall Apart December 6, 2021
hades nintendo switch review supergiant games video game
Review: Version Zero
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One thought on "Game Review: Hades (2020)"
Alienor says:
Ahhh It was one of my favorite games from last year, so good 😭


text:
Residents enjoy Edgerton festivities
Photos courtesy of the City of Edgerton
Despite thunderstorms and a pandemic, Edgerton still served about 900 hotdogs at their annual 4th of July festivities.
"The crowd was down significantly in Martin Creek Park itself, but our parking lots were full and so was the lot at Big Bull Creek Park across the street," said Kara Banks, public information officer. " We had many families opt to stay in their vehicles to watch the show."
"Although numbers were down, it was a great event," said Don Roberts, mayor. "Different, but still rewarding. We really wanted to give the community something to celebrate to this year. I think people needed that little bit of normalcy, even if it was with masks and social distancing. It's the best fireworks show in Johnson County after all."
The rain did not impact the fireworks,. "The pyro crew managed to get those covered in plenty of time before the storm hit. The show started at 9:45 and lasted about 15 minutes," Banks said.
With the governor's recent executive order regarding masks, Edgerton utilized social distancing on shuttle service between the city hall and park.
"The shuttle worked great," Banks said. "Roughly 50 people or so utilized it between 5:30-10:30 p.m. The driver said he was picking up small groups of people all evening. Seating was social
distanced, so it took a couple of trips to get everyone back to their cars at the end of the night."
PreviousUPDATE: Melton, Baldwin decline to wear masks
Next11 firework tents in Gardner
GEHS vandalized
4-H member wins coveted 'I Dare You' Award
Edgerton Easter egg hunt planned


Open my refrigerator and you are apt to find a roast chicken. A roasted chicken is a staple in my refrigerator. I learned long ago that having a roast chicken on hand is a wonderful time saver. First, it is a delicious family dinner entree that is easy to prepare on a busy weekend. Later, the leftovers become lunch in the form of a soup or sandwich or become a light dinner as part of a crisp salad.
You can buy a prepared rotisserie chicken at any grocery store these days, and I do when I am really pressed for time. Those store roasted chickens are just not the same as the chickens you roast in your home oven. To me, the store roasted versions always seem over cooked and over seasoned. That's why I prefer to roast my chicken at home.
One of my favorite recipes for roast chicken is my lemon garlic roast chicken. It is made with ingredients I always have on hand, so no extra effort is required running to the store for a missing ingredient. One thing I like to do is prepare the chicken at for least an hour or two before roasting to give the lemon and seasonings a little extra time to work their magic. Just be sure to cover the chicken well and refrigerate it.
Preheat your oven to 375 degrees F. Mix together the salt, pepper and garlic powder in a small bowl. Place the chicken in a roasting pan and coat it generously with olive oil. Using your hands, rub the chicken all over with the oil. Sprinkle approximately half of the seasoning mixture inside the cavity of the chicken. With your fingers, loosen the skin attached to the breast and legs by gently inserting your fingers between the skin and the meat. Once loosened, spread about half of the seasoning mixture under the skin.
Thinly slice 1/2 of the lemon and place the slices under the skin of the chicken. Cut the whole lemon into quarters and place those lemon pieces into the chicken's cavity. Spread the remaining seasoning mixture over the outside of the chicken using your fingers to distribute the seasoning evenly.
Tie the legs of the chicken together with twine. Place the chicken in the oven to roast until the skin is browned and the internal temperature measures 185 degrees F, about 60-90 minutes. Baste the chicken occasionally while it roasts.
Remove the chicken from the oven, cover with foil and allow to rest for 15 minutes. Serve with your favorite sides.
Today roasted chicken. Tomorrow, salad topped with the leftovers. Yum!
I am going to try this chicken. I think my family would like it, even my kids!
Hi Diann. I think this is a kid friendly meal. My boys always liked it when they were young.


Commissioner of Income Tax, Bangalore Vs. United Spirits Ltd.
1. We have heard learned counsel for the parties to the lis.
2. Having gone through the records of the case, we are of the considered opinion that the appeals, being devoid of any merit, are liable to be dismissed and are dismissed accordingly. No costs.
3. However, the question of law raised is kept open to be agitated in an appropriate case.


text:
Quite a number of families and young couples took the decision to emigrate from Blackfen to far-away countries like Australia and New Zealand, particularly in the 1950s, 60s and 70s. After a long journey by ship, life was not always easy in a new country a long way from home. But there were often opportunities to succeed which were not available in England.
Did you emigrate from Blackfen? Why did you go and what was life like in your new country?
Emigrants often have specific memories of Blackfen in a different way to people who have stayed and seen the place change over time. What do you remember about the Blackfen you left behind?
Blackfen's most famous emigrant is Mike Rann, who became Premier of South Australia and High Commissioner of Australia to the UK. A local boy who made good!


Is your coffee or dining table looking a bit bare? Does it need a breath of fresh air? Or do you simply want a little update? Perhaps our personalised photo and art coasters are exactly what you have been looking for. They will certainly do the trick when it comes to giving your home a makeover.
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You can opt for a single coaster or if you prefer a set then we offer multipacks of 4 and multipacks of 6. Even better, you can upload a different image for each coaster with the multipack option! All coasters are easy to wipe clean and are heat resistant. Any image that you pick is bound to look incredible with our bright and vibrant photo reproduction.
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« Presentencing declaration of Fr. Steve Kelly, S.J., Kings Bay Plowshares nuclear disarmament action
Patrick O'Neill sentenced to 14 months in prison for nuclear disarmament action »
33 month prison sentence for Plowshares activist Fr. Steve Kelly, S.J.
On October 15, Fr. Steve Kelly, S.J. was sentenced to 33 months in prison for his part in the Kings Bay Plowshares nuclear disarmament action of April 2018. Federal judge Lisa Godbey Wood also ordered that Kelly pay restitution of $33,503.51, jointly and severally with his six codefendants, and a special assessment of $310. Recognizing the Jesuit priest's indigence, the court waived any fine and interest payments on the restitution. Three years of supervised probation will follow his prison term, with the conditions that Kelly must surrender all financial information requested by the probation office, make no applications for credit, and cooperate with submitting a DNA sample.
Fr. Kelly has already served 30 months in Georgia county jails since his arrest, and the judge said he will receive credit for time served. It's possible that with statutory good time credit he has completed the 33 months, but that calculation has yet to be made by the Bureau of Prisons.
You can read Kelly's presentencing declaration here.
Together with co-defendants Elizabeth McAlister, Mark Colville, Clare Grady, Martha Hennessy, Patrick O'Neill and Carmen Trotta, the activists entered the Trident nuclear submarine base at Kings Bay, Georgia, and engaged in symbolic acts of disarmament. They were convicted one year ago on charges of misdemeanor trespass and three felonies: destruction of property on a Naval Station, depredation of government property and conspiracy to do these things.
Kelly now faces a hearing in federal court in Tacoma, Washington for violating probation on an earlier sentence for trespass at the Trident nuclear submarine base there.
His codefendant Elizabeth McAlister was sentenced in June to time served (17 months). Patrick O'Neill will be sentenced tomorrow, October 16, while Mark Colville, Clare Grady, Martha Hennessy and Carmen Trotta are now scheduled to be sentenced in mid-November.
STATEMENT FROM DENNIS APEL, FR. KELLY'S CHARACTER WITNESS
I was asked by Fr. Steve Kelly to be a character witness at his sentencing. While I am more than honored to do so, I want to be clear regarding my intent. I am not trying to affect the sentencing. My fantasy would be to have Fr. Steve's character precipitate a conversion among those present in the courtroom. As anyone who has been involved in this case is aware, if you believe that Steve Kelly is operating from deeply held convictions and a radical faith in the gospels, he is a prophet. If you don't believe him, he is just an opinionated criminal. As someone who knows Steve well, I assure you that the first assessment is the truth and the second is false.
I am no stranger to the typical U.S. courtroom where the "law" is treated as God while justice takes a back seat; where even the most fundamental morals are ignored for the sake of upholding the system designed to maintain idolatry to the Pentagon; where witnesses are sworn in with the admonition "to speak the truth, the whole truth and nothing but the truth so help you God" and then essentially gagged in front of a jury of their peers through motions In Limine, denied the ability to speak the truth about why they did what they did, the horrors they are confronting and the spirituality behind their actions. Prosecutors assume the role of protecting the military as if the most powerful military in the history of humankind were not able to protect itself. Prosecutors assume the role of establishing the motives and character of those they designate as criminals and of whom they haven't the slightest clue regarding their true character or motivations. Nor do they care to learn because, in our system, character and motives are irrelevant. The character of the accused is no more relevant to the purpose of the law than is the will of God. Entire careers and livelihoods are based solely on convictions and sentences. In what kind of system could a person with the spirituality, conviction and love of God's children that Fr. Steve Kelly has, be dismissed as a criminal and left to languish for two and a half years in a county jail, while his basic message is expunged in the courtroom; the message that the most horrific and abominable weapons designed by human technology, weapons that have and will visit unfathomable horrors on the children of God and likely exterminate God's creation, are allowed to exist and proliferate while the most basic of reasonable detractors are gagged and put away. As Steve often reminds us, "When the nuclear holocaust comes, it will be completely legal."
Fr. Steve Kelly is a man of deep faith who speaks truth to power and accepts the consequences. That is his character. Any other assessment of his character is false. I know this because I have known Steve for decades. He has spent more than 10 years of his life behind bars, giving up the warm embrace and camaraderie of loved ones as well as the comforts of a truly-accessible easy life, to instead speak the truth that God sees nuclear weapons as an abomination. I defy anyone in this courtroom to make a case for a God who embraces weapons of indiscriminate destruction and human misery. It's not complicated. We who accept nuclear weapons are wrong, wrong, wrong. Fr. Steve just says that with his life and body. That is his character. He has taken up his cross to follow Jesus, pure and simple. We dismiss that fact at our own peril.
So, the question before this court is, "What to do with Fr. Steve Kelly; what is the proper punishment? What shall we impose so that he and others of his ilk are deterred? How can we maintain the order and protect the military from those like Fr. Steve who may want to shine a light on a crime infinitely more serious than trespass and vandalism, namely the extermination of the human race?" The answer is, it doesn't matter the punishment. Steve will accept it and continue his prophetic mission. The question ought not to be how to punish Steve but rather what is it going to take for those who have ears to hear but cannot hear, and eyes to see but cannot see, to give up their idolatry to weapons of mass destruction and turn toward the God of love; to once and for all beat their swords into plowshares and study war no more? My advice to those in this courtroom is to take an honest look at the true character of Fr. Steve Kelly and to try emulate it rather than defile it. Or don't.
Watch the October 11 Festival of Hope webinar here.
from The Atlanta Journal-Constitution
Priest at peace with sentence for Georgia anti-nuke protest
by Joshua Sharpe
Before his sentencing Thursday, Father Steve Kelly, a Jesuit priest and prolific anti-nuclear weapons activist who has been arrested numerous times, told the court he would refuse to pay any restitution or follow any probation rules. Instead, he asked the judge to give him extra prison time.
Kelly was one of seven Catholic activists from around the U.S. who broke into Naval Submarine Base Kings Bay, near Cumberland Island in coastal South Georgia, in April 2018. They hung banners, defaced signs and spread human blood to call for worldwide disarmament by "symbolically disarming" the facility. The activists believed nuclear warheads were stored at the facility. The government has declined to confirm or deny it.
Kelly, 71, who has spent more than a decade in jails and prisons for protests around the United States, was sentenced to 33 months in federal prison for conspiracy, destruction of federal property, destruction of naval property and trespassing. U.S. District Court Judge Lisa Godbey Wood gave him credit for the time served since his arrest hours after the break-in, meaning he has only a few more months behind bars.
"I am a political prisoner," the priest said in a statement to the court.
The judge also gave Kelly three years of supervised release, which as always he said he intends to ignore. Once he is released from custody in this case, he will be sent to federal authorities in Tacoma, Washington, to face a warrant taken out because he ignored supervised release there.
"My participation in any aspect of supervised release is to comply with and accommodate the U.S.' compelling interest of the nuclear weapons agenda," the priest said in his statement to the court. "Compelling interest is a euphemism for thousands of Hiroshimas and Nagasakis."
Like his co-defendants, Kelly is part of the Plowshares movement to end all possession of nuclear weapons. The name comes from the Bible in Isaiah 2:4, where nations are urged to "beat their swords into plowshares" and stop war. (A plowshare is the blade of a plow.) The movement started in 1980 and has taken on new life in recent years, particularly after brinkmanship between the U.S. and North Korea.
U.S. Secretary of Defense Mark T. Esper and other national leaders take the position that the weapons are needed to protect America from adversarial nations that have or could obtain their own warheads. The government considers protests like the one by the Kings Bay activists troublesome because of the property damage and a potentially dangerous disruption.
The Kings Bay Plowshares 7, as the group refers to themselves, refused to take a plea deal for the 2018 break-in. Their movement generally calls for three steps to a protest: symbolic disarming, testifying at trial, and going to jail. Their attorneys argued against the charges, saying the Religious Freedom Restoration Act of 1993 protected their protest because they were motivated by their faith. All seven defendants were convicted last year.
The Kings Bay Plowshares 7 have spent their lives protesting for various causes and working in Catholic houses of hospitality. While Kelly remained in jail, the others were eventually released on bond.
Sentencing hearings for the other defendants are scheduled in the coming weeks, except for Elizabeth McAlister, 83, a former nun who was sentenced previously to 17 months in prison but had already served that much time in jail. She was given three years of supervised release.
Bill Quigley, an attorney who represents some of the other Kings Bay Plowshares members, said Kelly refuses to cooperate with even the requirements of prison.
"They end up putting him in solitary confinement for most of the time," Quigley said. "He's OK with that. He prays, he reads, he meditates."
from Common Dreams
Kings Bay Plowshares 7 Activists Sentenced for 2018 Anti-Nuclear Protest at Georgia Naval Base
Father Stephen Kelly and Patrick O'Neill were sentenced to nearly three years and 14 months in prison, respectively.
by Brett Wilkins, staff writer
A federal court on Thursday sentenced a Catholic priest to nearly three years in prison for trespassing on a Georgia naval base to protest U.S. nuclear weapons policy, but he could be imminently released due to time served—while on Friday another activist was sentenced in connection with the same demonstration.
National Catholic Reporter reports Rev. Stephen M. Kelly, a 71-year-old Jesuit priest, was sentenced by U.S. District Judge Lisa Godbey Wood to 33 months' imprisonment, three years' probation, and over $33,000 in restitution fees to be paid jointly with other defendants.
"Father Kelly, it has been clear to me you are sincere in your beliefs," said Wood. "However, I would be remiss to discount the nature of the offense that we're looking at today and the risk to safety that you knowingly undertook."
Because Kelly has already been jailed for 30 months and is eligible for 54 days of annual good behavior credit, he could be released at any time.
Kelly, a member of the Catholic peace activist group Kings Bay Plowshares 7, entered Kings Bay Naval Base in St. Marys, Georgia with six others at dusk on April 4, 2018. The group chose April 4 because it was the 50th anniversary of the assassination of the Rev. Dr. Martin Luther King, Jr., the Nobel Peace Prize recipient who called the United States government "the greatest purveyor of violence in the world today."
The activists—Carmen Trotta, Patrick O'Neill, Martha Hennessy, Liz McAlister, Clare Grady, Father Steve Kelly, and Mark Coalville—said they wanted "to highlight what King called the 'evil triplets of militarism, racism, and materialism'" and to "make real the prophet Isaiah's command: 'beat swords into plowshares.'"
"Armed" with hammers, bottles of their own blood, crime scene tape, and an indictment charging the U.S. government with crimes against peace, the seven splashed the blood on a wall, spray-painted an anti-war slogan on a sidewalk, and hammered away at a monument to nuclear war. They caused minimal damage.
Kings Bay houses at least six nuclear submarines, each armed with 20 Trident submarine-launched ballistic missiles of the multiple independently targetable reentry vehicle (MIRV) variety. Each missile contains numerous nuclear warheads, providing a thermonuclear force multiplier and overwhelming first-strike capability.
Put simply, Kings Bay's submarines are capable of killing many millions of human beings and making life on Earth a frozen hellscape for many millions more.
Kelly—who has spent more than a decade behind bars for numerous acts of peaceful protest over the course of his lifetime—told the court on Thursday that he is a "prisoner of conscience for Christ," and that he preaches against "the sin that flourishes in weapons of mass destruction."
"I answer to a higher authority in that my faith… [compels] me to respond to the needs of the poor, oppressed, [and] disenfranchised, in any locality," Kelly said in a written statement.
Kelly also invoked the Nuremberg principles—enacted in response to Nazi genocide and crimes against humanity perpetrated during World War II—which established the framework of modern international law in a bid to prevent such crimes in the future.
O'Neill was scheduled to be sentenced on Friday as this article was published. While no media reports have yet appeared, Kings Bay Plowshares 7 tweeted that the 61-year-old was sentenced to 14 months' imprisonment, three years of supervised release, and a share of the $33,000 in restitution fees, with credit for some time served.
As for the other five activists, none except McAlister—who in June was sentenced to time served plus $25 a month in fines—has been sentenced, mostly due to the Covid-19 pandemic.
from Religion News Service
A U.S. District Court judge sentenced the Rev. Stephen Kelly to 33 months in jail and three years' probation, plus restitution fees for trespassing onto the Kings Bay Naval Base in Georgia.
by Yonat Shimron
(RNS) — Since his arrest nearly three years ago on trespassing charges after invading a nuclear submarine base with six others as part of a symbolic nuclear disarmament action, the Rev. Stephen M. Kelly has been held in a Brunswick, Georgia, county jail.
On Thursday (Oct. 15), Kelly, a 71-year-old Jesuit priest, considered the leader of the group that came to be known as the Kings Bay Plowshares 7, was sentenced by a U.S. District Court judge to 33 months in jail, three years' probation and restitution fees.
Because Kelly has already served 30 months and under federal law is owed 54 days a year of "good time credit," he could essentially walk out of jail tomorrow.
"Father Kelly, it has been clear to me you are sincere in your beliefs," said Judge Lisa Godbey Wood. "However, I would be remiss to discount the nature of the offense that we're looking at today and the risk to safety that you knowingly undertook."
Kelly described himself in a pre-sentence statement as a "prisoner of conscience for Christ," and one who preaches against "the sin that flourishes in weapons of mass destruction."
He is part of a group of Catholic pacifists who quietly and with little fanfare continue to undertake nonviolent action protesting nuclear weapons, which they say will lead to omnicide, or the destruction of the human race.
The group's members say that they take their cues from Catholic teachings and the Bible, particularly the saying of the Prophet Isaiah: "They shall beat their swords into plowshares, and their spears into pruning hooks: nation shall not lift up sword against nation, neither shall they learn war any more."
Kelly and his collaborators believe their action was intended to prevent nuclear war. The only ordained member of the Kings Bay Plowshares 7, Kelly said he was not concerned with the effectiveness of his protest, but rather with being faithful to his Christian calling.
"I answer to a higher authority in that my faith imperative, as outlined in the tenets of the Catechism, missions me to respond to the needs of the poor, oppressed, disenfranchised, in any locality and without any exclusion to those with felony record," Kelly wrote in his statement to the judge.
He also repeatedly invoked the Nuremberg principles, enacted after World War II, which established international laws to stop crimes against humanity.
Kelly, who is a member of the Jesuits' Western U.S. region, based in Oregon, has spent at least a decade behind bars, including six years [Nuclear Resister correction: more than three years] in solitary confinement. He has refused to work during his confinement because in so doing he would support what he has called the prison industrial complex.
It remains to be seen whether Kelly will agree to probation or restitution as ordered by the court. He has indicated he will not.
"He's a fearless person," said Patrick O'Neill, one of the Kings Bay Plowshares 7. "He's not burdened by the normal self-constraints of most of us. He's very driven in his effort to save the world from its own hand."
On the night of April 4, 2018, the Kings Bay Plowshares 7 cut a padlock and later a security fence at Kings Bay Naval Base in Georgia, which houses six Trident submarines carrying hundreds of nuclear weapons. The intruders spilled blood on a Navy wall insignia, spray-painted an anti-war slogan on a walkway and banged on a monument to nuclear warfare.
More than an hour into their action they were apprehended and taken to jail. While four of the seven were released on bail, three refused the terms of the bail and remained in jail — none for as long as Kelly.
Last year, all seven were convicted of destruction of property on a naval installation, depredation of government property, trespass and conspiracy.
With the exception of Elizabeth McAlister, who was sentenced in June to time served, none of the other Plowshares activists has been sentenced, largely due to the coronavirus pandemic. Four of the seven have asked to postpone the sentencing because of a surge of COVID-19 sweeping through prisons across the U.S. O'Neill, another member of Plowshares 7, will be sentenced on Friday.
The Rev. Scott Santarosa, the provincial in charge of Jesuits West, said Kelly was commissioned to a peace and justice ministry.
"He's really a wonderful guy," Santarosa said. "I have great personal respect and affection for him."
The two have communicated through postcards during the time Kelly was in jail.
His friend Dennis Apel, a Catholic worker who runs Beatitude House in Guadalupe, California, and who served as a character witness at the sentencing Thursday, said that upon Kelly's release, he expected that the priest would go on an eight-day meditation retreat based on the spiritual practices of Ignatius of Loyola, founder of the Jesuit order.