Privately Related

Richard Grayson
Negative Space (Things I Don't Understand)
2000
oil on canvas
National Gallery of Victoria, Melbourne

Grobon Frères (François-Frédéric and Anthelme-Eugène)
Strawberries and Roses
ca. 1850-60
lithograph
Museum für Angewandte Kunst, Vienna

Charles MacIver Grierson
Irish Girl
1907
watercolor on paper
Agnes Etherington Art Centre, Kingston, Ontario

Urs Graf the Elder after Martin Schongauer
One of the proverbial Foolish Virgins
before 1527
engraving
Graphische Sammlung Albertina, Vienna

Misha Gordin
Crowd #34
1991
gelatin silver print
Art Institute of Chicago

Misha Gordin
Crowd #2
1988
gelatin silver print
Art Institute of Chicago

Robert James Gordon
La Liseuse
ca. 1877
oil on canvas
Art Gallery of New South Wales, Sydney

Jon Goulder (frame) and Liz Williamson (textiles)
Broached Goulder Chaise
2019-20
pine, upholstered in hessian
Art Gallery of South Australia, Adelaide

Douglas Warner Gorsline
Mrs Burling
ca. 1940
oil on canvas
New Britain Museum of American Art, Connecticut

Benozzo Gozzoli
St Ursula with Angels and Donor 
ca. 1455-60
tempera on panel
National Gallery of Art, Washington DC

Elizabeth Greenberg
Untitled
2017
pigment print
Portland Museum of Art, Maine

Stephen Greene
Zephka's Castle
1991
oil on canvas
McNay Art Museum, San Antonio, Texas

Ruzzie Green
Advertising Shot for Pepperell Sheets
1946
tricolor carbro print
National Gallery of Australia, Canberra

Karl Grill
Daisy Spies as The Spiral
in Oskar Schlemmer's Triadic Ballet
1926
gelatin silver print
National Gallery of Australia, Canberra

John Grey
Cameo Portrait of a Lady
1889
albumen silver print
(carte de visite)
National Gallery of Australia, Canberra

Timothy Greenfield-Sanders
Cindy Sherman
1980
gelatin silver print
Lowe Art Museum, University of Miami

Half Way

Having abdicated with comparative ease

And dismissed the greater part of your friends,

Escaping by submarine

In a false beard, half-hoping the ports were watched,

You have got here, and it isn't snowing:

How shall we celebrate your arrival?

Of course we shall mention

Your annual camp for the Tutbury glass-workers,

Your bird-photography phase, your dream at the Hook,

Even your winter in Prague, though not very fully:

Your public refusal of a compass

Is fixed for to-morrow.

Now look at this map.

Red means a first-class, yellow a second-class road,

Crossed swords are for battlefields, gothic characters

For places of archaeological interest.

Our man will drive you as far as the Shot Tower;

Further than that, we fear, is impossible.

At Bigsweir look out for the Kelpie.

If you meet Mr. Wren it is wiser to hide.

Consult before leaving a water-doctor. 

Do you wish to ask any questions?

                                                       Good. You may go.

– W.H. Auden (1930)