 |
| Robert Gibbings The Retreat from Serbia 1916 hand-colored engraving Agnes Etherington Art Centre, Kingston, Ontario |
 |
| Erich Heckel Three Women by the Water 1923 hand-colored woodcut Art Institute of Chicago |
 |
| Walford Graham Robertson We Three Kings ca. 1925 hand-colored woodcut Wichita Art Museum, Kansas |
-Farmers-drop-a-Crate-1938-hand-colored-lithograph-Smithsonian-American-Art-Museum-Washington-DC.jpg) |
| Don Freeman Forty-Second Street Calamity: Farmers drop a Crate 1938 hand-colored lithograph Smithsonian American Art Museum, Washington DC |
-Geometric-Motif-1958-hand-colored-transfer-print-National-Gallery-of-Australia-Canberra.jpg){kind=spacer} |
| Ludwig Hirschfeld-Mack Geometric Motif 1958 hand-colored transfer print National Gallery of Australia, Canberra |
 |
| Clarence Millet Brulatour Court before 1959 hand-colored woodcut Dallas Museum of Art |
 |
| Jim Dine Wrench 1973 hand-colored lithograph Smithsonian American Art Museum, Washington DC |
 |
| Claes Oldenburg Bat Spinning at the Speed of Light 1975 hand-colored lithograph Walker Art Center, Minneapolis |
 |
| Robert Cottingham Patte's 1980-82 hand-colored lithograph Smithsonian American Art Museum, Washington DC |
 |
| Sigmar Polke Untitled 1984 hand-colored lithograph Walker Art Center, Minneapolis |
 |
| Robin White Three Broken Shells 1985 hand-colored woodcut National Gallery of Australia, Canberra |
 |
| Robin White Two Shells called Nouo 1985 hand-colored woodcut National Gallery of Australia, Canberra |
 |
| Roger Medearis Family Reunion 1990 hand-colored lithograph Smithsonian American Art Museum, Washington DC |
 |
| Robert Motherwell Burning Elegy 1991 lithograph on hand-colored paper Walker Art Center, Minneapolis |
 |
| Robert Motherwell Delos 1991 lithograph on hand-colored paper Walker Art Center, Minneapolis |
 |
| Robert Motherwell Hollow Men's Cave 1991 lithograph on hand-colored paper Walker Art Center, Minneapolis |
 |
| William T. Wiley In the Garden 1996 hand-colored linocut Smithsonian American Art Museum, Washington DC |
The Pelican
Squatter on water, ingenuous fisherman,
Behold the pelican
Slapped by a wave, all grinning or aghast
At the enormity of his habitat,
The famous pouch, half stomach and half chin,
Quick to show off unguessed
Capacities: few things do that.
Always the postures foolish yet severe
Of Empire furniture
Assist him in a courtesy nowadays
Only among artists fashionable, who like
Being in public each a caricature
The world may recognize
And still be free to overlook.
Like great men he already is in part
A myth or work of art
Sparing the watcher as it spares itself
By an apt gaiety, gay ineptitude,
Who floats, no evident concern at heart,
Above the bluest gulf
Upon the wind as on a tide.
But when the human fishermen can cast their bait
At times they see too late
The ponderous bird avail of it in midair,
And are made to witness by their stratagem
Hurt and embarrassed over the pleasure-boat
A creature of desire
As crude as theirs, involved with them.
Yet, lacking food, this bird must be, to feed
His offspring, flesh and blood,
Himself his own last supper, and die then
Fattened upon the sense of how they thrive.
Almost one fancies charity is not greed,
Seeing the pelican
From air to emptier water dive.
– James Merrill (1951)