Roman Marbles

Roman Empire
Bust of Philosopher
AD 100-125
marble
Museum of Fine Arts, Budapest

Roman Empire
Head of Woman
AD 220-260
marble
Herzog Anton Ulrich Museum, Braunschweig

Roman Empire
Herm of Bearded Deity
2nd century AD
marble
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Bough of Plane Tree
1st century AD
marble relief fragment
Museum of Fine Arts, Budapest

Roman Empire
Dionysus
1st century AD
marble relief
(imitating archaic style)
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Hercules stealing Tripod from Apollo's Temple,
with Apollo resisting
20 BC-AD 20
marble fragment of fountain
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Procession of Sacred Objects
AD 25-50
marble relief
Museum of Fine Arts, Budapest

Roman Empire
Legionary from Triumphal Arch
AD 100
marble relief 
Antikensammlung,
Staatliche Museen zu Berlin

Roman Empire
Apoxyomenos
AD 130-150
marble
(forearms and vase added, 16th century)
Gallerie degli Uffizi, Florence

Roman Empire
Artemis
2nd century AD
marble, heavily restored
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Athena
2nd-3rd century AD
marble, heavily restored
Musée d'Art Classique de Mougins

Roman Empire
Muse
2nd century AD
marble
(antique torso with modern head and limbs)
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Muse
AD 140-150
marble
(heavily restored, with modern head)
Antikensammlung, Staatliche Museen zu Berlin

Roman Empire
Torso of Hercules
AD 130-150
marble
Museumslandschaft Hessen Kassel

Roman Empire
Torso of Man wearing Chiton and Cloak
AD 130-140
marble
Museumslandschaft Hessen Kassel

Roman Empire
Vase
(with relief figures of Artemis and others)
30-20 BC
marble
Ny Carlsberg Glyptotek, Copenhagen

Charlotte's attitude had in short its moments of flowering into pretty excesses of civility, self-effacements in the presence of others, sudden little formalisms of suggestion and recognition, that might have represented her sense of the duty of not 'losing sight' of a social distinction.  This impression came out most for Maggie when, in their easier intervals, they had only themselves to regard, and when her companion's inveteracy of never passing first, of not sitting till she was seated, of not interrupting till she appeared to give leave, of not forgetting too familiarly that in addition to being important she was also sensitive, had the effect of throwing over their intercouse a kind of silver tissue of decorum.  It hung there above them like a canopy of state, a reminder that though the lady-in-waiting was an established favourite, safe in her position, a little queen, however good-natured, was always a little queen and might with small warning remember it.

– Henry James, The Golden Bowl (1904)

E. McKnight Kauffer

E. McKnight Kauffer
The Dynasts by Thomas Hardy, Kingsway Theatre
1914
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Journey of the Magi
(illustration to poem by T.S. Eliot)
1927
pochoir
National Gallery of Australia, Canberra

E. McKnight Kauffer
A Song for Simeon
(illustration to poem by T.S. Eliot)
1928
pochoir
National Gallery of Australia, Canberra

E. McKnight Kauffer
BBC Handbook
1928
lithograph (book cover)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Triumphal March by T.S. Eliot
(cover of Curwen Press prospectus)
1931
lithograph and letterpress
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Posters by E. McKnight Kauffer - Museum of Modern Art
1937
lithograph (pamphlet cover)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Journey into Fear
1940
lithograph (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Classical Head
ca. 1940-45
gouache on paper (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Egyptian Servant Statues
1948
lithograph (proof for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Intruder in the Dust by William Faulkner
1948
gouache on paper (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Ulysses by James Joyce
1949
lithograph (dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
The Dream of Poliphilo
1950
lithograph (proof for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Invisible Man by Ralph Ellison
1952
lithograph (dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

from On the Morning of Christ's Nativity

The Oracles are dumm,
No voice or hideous humm 
    Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,    
    With hollow shreik the steep of Delphos leaving.
No nightly trance, or breathed spell,
Inspires the pale-eyed Priest from the prophetic cell.

– Prudentius (AD 348-410), as adapted and translated by John Milton (1629)

Text

Édouard Vuillard
Program for Théâtre Libre
1890
lithograph
National Gallery of Australia, Canberra

Scotson-Clark
"The Queen of Finesse" - in the New York Ledger
1895
lithograph (poster)
Delaware Art Museum, Wilmington

Charles Dana Gibson
Two Women & a Fool
ca. 1895
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Joseph J. Gould
How To Feed Children
1896
lithograph (poster)
Philadelphia Museum of Art

Giovanni Maria Mataloni
Caffaro - Giornale di Genova
ca. 1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Carl Kunze
Konzerthaus Wintergarten, Dortmund
ca. 1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

William Sergeant Kendall
Robert Blum in January Scribner's
ca. 1910
watercolor and ink on paper
(print study)
Smithsonian American Art Museum, Washington DC

Joseph Christian Leyendecker
The Literary Digest
ca. 1912
oil on canvas
(design for magazine cover)
Chrysler Museum of Art, Norfolk, Virginia

Herbert Paus
Save Your Child from Autocracy and Poverty
ca. 1918
lithograph (poster)
Delaware Art Museum, Wilmington

Otto Lange
Bad Elster
ca. 1928
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Edmund Walker
No Extra Trains at Christmas!
ca. 1943
lithograph (poster)
National Gallery of Australia, Canberra

C. Dudley Wood
The Hotel Federal
ca. 1950
lithograph (poster)
National Gallery of Australia, Canberra

Wes Wilson
Jefferson Airplane at the Fillmore, San Francisco
1967
lithograph (poster)
Delaware Art Museum, Wilmington

Christopher Pratt
Victoria Regina (Red)
1971
screenprint
Beaverbrook Art Gallery, Fredericton, New Brunswick

Scott Hyde
The Light Is Different In California
1980
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Italo Scanga
Aaron Copeland
1997
vitreograph print
New Britain Museum of American Art, Connecticut

Bernadette Corporation
Please Read the Titles to Yourself
2007
wool embroidery on synthetic fabric
Whitney Museum of American Art, New York

from Virgil's Gnat

The fiery Sun was mounted now on hight

Up to the heavenly towers, and shot each where

Out of his golden Charet glistering light;

And fayre Aurora with her rosie heare,

The hatefull darknes now had put to flight,

When as the shepheard seeing day appeare,

His little Goats gan drive out of heir stalls,

To feede abroad, where pasture best befalls.

To an high mountains top he with them went,

Where thickest grasse did cloath the open hills:

They now amongst the woods and thickets ment,

Now in the valleies wandring at their wills,

Spread themselves farre abroad through each descent;

Some on the soft greene grasse feeding their fills;

Some clambring through the hollow cliffes on hy,

Nibble the bushie shrubs, which growe thereby. 

Others the utmost boughs of trees doe crop,

And brouze the woodbine twigges, that freshly bud;

This with full bit doth catch the utmost top

Of some soft Willow, or new growen stud;

This with sharpe teeth the bramble leaves doth lop,

And chaw the tender prickles in her Cud;

The whiles another high doth overlooke

Her owne like image in a christall brooke. 

O the great happines, which shepheards have,

Who so loathes not too much the poore estate,

With minde that ill use doth before deprave,

Ne measures all things by the costly rate

Of riotise, and semblants outward brave;

No such sad cares, as wont to macerate

And rend the greedie mindes of covetous men,

Do ever creepe into the shepheards den.

Ne cares he if the fleece, which him arayes,

Be not twice-steeped in Assyrian dye,

Ne glistering of golde, which underlayes

The summer beames, doe blinde his gazing eye.

Ne pictures beautie, nor the glauncing rayes

Of precious stones, whence no good commeth by;

Ne yet his cup embost with Imagery

Of Bœtus or of Alcons vanity.

– Appendix Vergiliana, translated by Edmund Spenser (1591)