National Gallery of Art · Open Data

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Explore only works whose published-image record is explicitly marked open access by the National Gallery of Art. Every result includes eligible imagery and connects back to the museum.

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63,836 open-access works

63,836 NGA-open-access works
Dataset refreshed September 12, 2026

Print2015.143.884

2.000 fr...sans écurie...ça ne me convient pas!

Honoré Daumier

1840 · lithograph

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This is a photograph of an oil drilling site. The image features several tall wooden derricks dominating the background. The ground appears muddy or rough. Some buildings are visible in the distant background. The image is sepia-toned. The card mount surrounding the photograph indicates it was part of a stereoscopic view.

Photograph2024.93.1

2753. Gassing Wells

American 19th Century

c. 1860 · stereoscopic albumen silver print

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The image shows a rustic industrial scene from an elevated angle. Wooden buildings with steeply pitched roofs are prominently displayed, constructed from weathered wooden planks. Tall, skeletal frameworks tower over the smaller buildings, indicating the presence of an oil rig operation. The horizon is obscured by a densely wooded hillside, framing the scene. The color palette is monochrome, emphasizing textures and contrasts between the buildings and natural surroundings. The absence of color highlights the forms and structures, providing a historical glimpse into industrial architecture and its interaction with the environment.

Photograph2024.93.3

2757. Farrel Farm

American 19th Century

c. 1860 · stereoscopic albumen silver print

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The image shows a stereoscopic view of men around wooden barrels at an oil-shipping operation. There is a small river with trees alongside, leading to a hilly landscape in the background. The scene is in sepia tone with a range of brown and tan colors.

Photograph2024.93.5

2800. Shipping Oil—Story Farm

American 19th Century

1860s-1870s · stereoscopic albumen silver print

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The image shows a large, cylindrical ceramic jar with two small handles near the top. The jar features decorative blue patterns and motifs on its surface. The color palette consists of a grayish-beige tone of the ceramic with various shades of blue for the decorative elements. The jar is centrally positioned against a neutral off-white background, and the artist's signature is visible near the bottom right.

Index of American Design1943.8.7052

4 Gal Crock

Betty Jacob

c. 1940 · watercolor, gouache, graphite, and colored pencil on paper

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The image shows a landscape from an elevated viewpoint. In the foreground, there are wooden oil derricks. In the background, there are hills and a valley. The color palette is mostly sepia tones, with various shades of brown, beige, and grey. The scene includes a townscape with small buildings blending into the hills. The level of detail in the buildings and derricks gives the image a documentary style.

Photograph2024.93.2

42. Tarport & Limestone from B. B. & K. R. R.

American 19th Century

c. 1860 · stereoscopic albumen silver prints

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This is an illustration of a chaotic room with a small dog causing turmoil. The dog is on a disrupted table with scattered objects like cards and broken crockery on the floor. A top hat is on a hook nearby. Two individuals are depicted, one gesturing animatedly while leaning over the table, and another figure stands in the background. The scene captures the energetic and comedic disarray of a spontaneous domestic disturbance.

Print1995.68.10

5 heures du soir

Honoré Daumier

1839 · crayon lithograph in black on wove paper

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The image features five rectangular sections, each with a unique floral pattern on a brown background. The color palette includes vibrant blues, reds, greens, and yellows for the various floral elements. Positioned in the top row, from left to right, the first section features blue flowers and yellow drooping blooms, while the second section shows similar blue flowers with large, faint yellow-green leaves. In the bottom row, the left section showcases red flowers with elongated yellow-green stems, the middle has delicate green leaf patterns with small pink flowers and red berries, and the right section displays bold red leaves alongside intricate green floral designs. The artist's name, Suzanne Roy, is written in the bottom right corner of the beige border surrounding the sections.

Index of American Design1943.8.908

5 Printed Textiles

Suzanne Roy

c. 1936 · watercolor, gouache, and graphite on paperboard

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The image shows a man sitting up in bed with a cat and a dog beside him. He is smiling and wearing a bedcap and a nightshirt. There is a candle on a nightstand, clothes on a chair, slippers on the floor, and a patterned curtain next to the bed.

Print1979.49.42

7 heures du matin

Honoré Daumier

1839 · lithograph on newsprint

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The image depicts a man lying in bed, from the head to the knees. He is in a reclining position with a pillow under his head and covered by a blanket. The man has prominent cheekbones and a narrow chin. He is wearing a nightcap and a nightgown, with his eyes closed and a subtle smile. A cat is on his legs and a small dog is near the bed, interacting with him. A side table next to the bed holds a tall candlestick. Draped curtains form the background, and clothing items are scattered under the bed with slippers on the floor.

Print1995.68.1

7 heures du matin

Honoré Daumier

1839 · crayon lithograph in black on wove paper

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The image shows a detailed illustration of a building on a street corner. The horizon is low in the scene, with rooftops in the distance and a cobblestone path leading away from the viewer. The artwork is precise and includes fine lines to depict the building's facade and the cobblestones. The color scheme is sepia-toned. A sign displaying "McLaughlin Carpenter" hangs from the side of the building. The windows are intricately detailed with crosshatching. Another building is visible in the distance and birds are drawn in the sky.

Print2008.115.1683

78 Cross Street, Boston, Massachusetts

John Mackie Falconer

1879-1880 · etching

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This is a drawing of a figure leaning forward and holding a rifle in a stark landscape. The drawing is executed in charcoal or pencil with strong, dynamic lines conveying a sense of motion. The figure is advancing through a flat, barren land with details like a plume of smoke in the background. The line work is simple, contrasting with the detailed shading on the figure's clothing and equipment. The landscape is sparse with minimal lines indicating the horizon. The composition focuses on the solitary figure, using negative space to evoke a sense of isolation or urgency.

Drawing1943.3.4123

7me 1914

Jean-Louis Forain

c. 1914/1919 · brush and black ink and black crayon on wove paper

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This is a photograph of a title page for a collection of etchings. The image displays a page with printed and handwritten text. The printed text reads "SUITE DE 8 EAUX-FORTES GRAVÉES SUR NATURE PRÈS DAMPIERRE PAR Eug. BLÉRY," which translates to a suite of eight nature-etched prints near Dampierre by Eugène Bléry. The handwritten text on the left side appears to enumerate a list, likely corresponding to the etchings described in the suite, written in French. The typography is formal and balanced, emphasizing the artist's name, title, and nature of the work. The paper is aged, giving it a historical look.

Portfolio1993.36.1-8

8 Eaux-Fortes Gravées sur Nature

Eugène Bléry

published 1849 · portfolio with wrapper of 8 etchings on chine collé

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The image shows a man standing at a window, with exaggerated facial features. He is wearing a nightshirt and pajama trousers, with slippers on his feet. He is holding a cup and a newspaper, while a small dog stands nearby. A cat is curled up on a tabletop next to a candlestick, and there is a bird in a cage and potted plants nearby. The background includes a chair and a partly open cabinet.

Print1995.68.2

8 heures du matin

Honoré Daumier

1839 · crayon lithograph in black on wove paper

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The image shows a stereoscopic view of an oil derrick in a sparse landscape. The point of view is from ground level, looking up at the tall wooden structure. The horizon line is low, with the derrick towering against the sky. In the distance, there are scattered small buildings, additional derricks, and some remaining trees. The overall color palette is a muted sepia tone. Closest to us, the base of the derrick shows wooden structures and two figures. The surrounding area has a hilly terrain with wood debris, showing a human impact on the environment.

Photograph2024.93.6

81. Flowing Well

West & Waddell

1880s · stereoscopic albumen silver prints

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The image depicts six young boys standing in front of a building. Most of the boys wear newsboy caps and hold stacks of newspapers. They are dressed in coats, long pants, and boots. The background shows a stone wall with windows and a sign that reads "Spitting on the floor forbidden by order of the Board of Health."

Photograph2018.206.13

8:30 P.M. Group of newsboys selling at the depot, Hartford, Connecticut. Smallest boy 11 years old.

Lewis Hine

March 1909 · gelatin silver print

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The image shows an elderly man lying in bed holding a candlestick and appearing to snuff out a candle. He is propped up against a pillow, wearing a nightcap and a nightshirt. The bed is adorned with a floral quilt and pillows, with cats resting nearby. In the background, heavy curtains hang around the bed, and there is a glass and a small bottle on a bedside table.

Print1979.49.45

9 heures du soir

Honoré Daumier

1839 · lithograph on newsprint

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The image depicts an elderly individual reclining in a bed. The person is lying back against pillows, with their head turned slightly to the side. They have an angular face with pronounced cheekbones and are wearing a nightcap. The individual's eyes are closed. They are dressed in a nightgown, partly covered by a blanket with a floral pattern. The person extends one arm out to hold a candlestick on a small table beside the bed. Around the bed, there are patterned curtains, and the bed is covered with a quilt. A pair of slippers lies on the floor near the foot of the bed. The background consists of shadowy areas.

Print1995.68.12

9 heures du soir

Honoré Daumier

1839 · crayon lithograph in black on wove paper

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The image displays a complex pattern of geometric shapes, including squares and circles formed by interlacing lines and dots on a blue background. In the center, a square pattern with red linear elements resembles a plaid design. Surrounding this are clusters of circular dots and rectangular shapes forming a rhythmic arrangement. The overall composition resembles a tapestry, evoking traditional handcrafted weaves.

Index of American Design2022.33.3

[Coverlet - section]

Cornelius Christoffels

1935/1942 · transparent and opaque watercolor, ink, and graphite on wove Strathmore paper

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The image displays a pattern of geometric shapes and lines consisting of interconnected squares and rectangles in a checkered design. The contrasting colors highlight the grid-like structure, resembling a classic tartan or plaid fabric. The use of different colors creates visual texture and depth.

Index of American Design2022.33.6

[Coverlet - section]

Cornelius Christoffels

1935/1942 · ink over graphite on wove paper

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This is a drawing of a printed page consisting of text and an illustration. The page features a decorative title detailing an event relating to Henry II, King of France, in the year 1549. Below the title and main text, there is a small woodcut illustration depicting a figure carrying a staff or spear, navigating through a landscape with trees in the background, and water possibly flowing at their feet. The text beneath this illustration mentions Paris and a bookseller named Jehan Dallier. The overall composition of the page reflects the style of 16th-century printed documents, characterized by its typography and engravings.

Volume2016.91.1

[Entrée d'Henri II] C'est l'ordre qui a este tenu a la nouvelle et ioyeuse entrée que tres hault, tresexcellent et trespuissant Prince le Roy treschrestien Henry deuzieme de ce nom à faicte en sa bonne ville et cité de Paris...

Jean Goujon

1549 · bound volume with 1 woodcut headpiece and 11 woodcut illustrations including 2 fold-outs on laid paper

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Seven roses in full bloom are clustered in a wide bouquet set against a dark brown background in this horizontal still life painting. The blossom to our left is peach, and a bud dips down in front of that flower. Behind it and to our right is a lavender pink rose, and then wine red, blush pink, and white. Two butter-yellow roses are along the top of the bouquet, and one of those faces away from us to the right. Spring-green leaves are interspersed throughout, and a single maroon-red petal sits lies on the table in the lower left corner of the composition. The scene is painted with visible brushstrokes, especially evident in the dark background. The artist signed and dated the painting with red paint in the top right corner, “Fantin. 82.”

Painting2004.110.4

_Roses de Nice_ on a Table

Henri Fantin-Latour

1882 · oil on canvas

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Print2015.19.1537

A Family (Une Famille)

Albert Besnard

1890 · etching, aquatint and soft ground on laid paper

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The image shows a winding path leading to a thatch-roofed cottage surrounded by barren trees. The viewpoint is elevated, providing a clear view of the paths and the house. The horizon is blocked by trees, focusing attention on the cottage and surrounding trees. The artwork features soft brushstrokes, creating a sense of movement in the landscape. Details of the trees and ground are shown through lines and shading. The color scheme is monochromatic, mainly black, gray, and white, contributing to a somber atmosphere. The contrast and texture enhance the composition, emphasizing the tranquil yet eerie quality of the scene.

Print2016.36.2

A Lonely Farm [Hawkridge]

Robert Polhill Bevan

1900 · crayon-manner lithograph printed in black on coated wove paper

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