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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63,855 open-access works

63,855 NGA-open-access works
Dataset refreshed September 19, 2026

This image shows a group of figures in an outdoor setting near a tree with a net hanging from it. The figures are interacting with each other. Some are subdued or captured under the tree, while others in the foreground are energetically postured, holding weapons, or engaging with their surroundings. One figure reaches upwards. The ground is detailed with baskets, fish, and foliage. The use of line and shading creates a sense of depth and action, capturing a moment of tension or conflict.

Print2018.91.4

Banditti Robbing Fishermen

Peter Perez Burdett, after John Hamilton Mortimer

1771 · etching and aquatint printed in brown on laid paper

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The image shows a group of men. One man is seated on a rock, holding a spear in his left hand and appears to be talking with two other men in the scene. The seated man wears a helmet with a plume, chainmail tunic, shorts with a decorative pattern, and sandals. His long hair extends down his back. One man wears a turban and looks focused, while the other leans forward behind a rock. The background features trees, a cloudy sky, and rocks framing the group, and a large jug is in the foreground next to the seated man.

Print1978.51.12

Banditti Taking His Post

John Hamilton Mortimer

1778 · etching

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This is a drawing of armed guards with spears in a rocky landscape. The composition shows a rocky terrain with vegetation. A figure in classical armor and helmet is seated on a rock, with a spear nearby and gesturing with an outstretched arm. Two other figures are crouched under a rocky outcrop. The background has trees and clouds. The artwork features detailed textures in armor, clothing, and rocks, creating a dramatic narrative. The style includes fine lines, intricate details, and dynamic forms for storytelling.

Print2017.53.76

Banditti Taking His Post

John Hamilton Mortimer

1778 · etching on wove paper

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The image shows three individuals positioned within a rocky, natural setting. The central figure is seated, facing left and extending an arm towards the other two individuals below him. He wears a helmet, sleeveless vest, knee-length shorts, and sandals. His hair is partly visible under the helmet. The other two individuals crouch beside a rock, one wearing a turban. In the foreground, there are rocks and sparse vegetation, with a spear and jug to the right. The background shows a distant landscape with clouds and tree branches.

Print2017.53.77

Banditti Taking His Post

John Hamilton Mortimer

1778 · etching on laid paper

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The image shows a close-up of three male figures, each showing their shoulders and heads within a circular frame. The person on the right has sharp facial features, a mustache, and a cap or turban with feather-like details. The central figure has textured, curly hair and appears youthful. The third person on the left wears a distinctive turban. The figures wear layered, draping fabrics. The central figure rests his chin on the hilt of a large, engraved sword. The background is a densely textured pattern.

Print2017.53.93

Banditti: Three Heads

Joseph Haynes, after John Hamilton Mortimer

1780 · etching on laid paper

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The image shows a wooden chair with a high back and a woven seat. The color palette includes soft browns and beiges, highlighting the natural hues of the wood. The chair is positioned centrally with its front legs visible at the bottom and the ornate backrest extending upwards. The background is plain and light-colored.

Index of American Design1943.8.4085

Banister Back Chair

Henry Murphy

1935/1942 · watercolor, colored pencil, and graphite on paper

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The image features a single wooden chair with a high, intricately carved backrest and a patterned seat cushion. The chair's frame is primarily a dark brown, almost black, with an earthy, warm tone dominating the seat material. Positioned centrally, the chair is set against a plain, off-white background.

Index of American Design1943.8.4083

Banister Back Side Chair

Michael Riccitelli

1938 · watercolor, colored pencil, graphite and some heightening on paper

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The image displays a large, round string instrument with a circular body and a long neck, positioned diagonally within the frame. The colors in the image are various shades of brown and beige, with some darker hues on the neck and lighter ones on the body. The instrument is centered, with the circular body occupying the bottom left portion and the neck extending towards the top right corner. The background is a plain, light beige, contrasting with the darker tones of the instrument.

Index of American Design1943.8.12719

Banjo

Alf Bruseth

c. 1937 · watercolor, graphite, and pen and ink on paper

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The image shows an ornate pendulum clock with a circular face on a tall, narrow base, topped with an eagle sculpture. The clock face has Roman numerals and points to around 3:55. Below the clock face, the base is adorned with a colorful illustration of a mythological scene, framed in red and gold. The clock's color palette includes deep reds, golds, and blue accents, with detailed drawings. The lower section of the clock displays a scene of a chariot labeled 'AURORA' pulled by horses, surrounded by decorative elements.

Index of American Design1943.8.4769

Banjo Clock

Frank M. Keane

c. 1939 · watercolor, colored pencil, gouache, pen and ink, and graphite on paperboard

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The image depicts a tall, elegant clock with an ornate design. The clock has a round face at the top with an eagle-shaped ornament perched above it. The central body is slender, decorated with intricate floral motifs in vibrant reds, greens, and golds. The base includes a rectangular painting bordered with a floral pattern and a gold, downward-pointing finial. The color palette consists of rich earth tones with accents of gold, red, green, blue, and white. The clock is positioned centrally in the image, with its base slightly above the bottom edge and its top near the upper edge against a light, neutral background.

Index of American Design1943.8.4771

Banjo Clock

M. Rosenshield-von-Paulin

c. 1937 · watercolor, colored pencil, and graphite on paperboard

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The image shows an ornate grandfather clock with a circular face at the top featuring Roman numerals and the word "Willard" along with "Boston." The clock's body is adorned with elaborate decorations, including a painted panel depicting a scene with horses and a chariot near the bottom. The color palette includes earth tones and vivid accents of red, blue, and gold in the decorations. The clock is positioned upright, centered in the image, occupying most of the visual space, with the artist's signature "Ulrich Fischer" appearing in small text towards the lower left corner.

Index of American Design1943.8.4774

Banjo Clock

Ulrich Fischer

c. 1937 · watercolor, colored pencil, pen and ink and graphite on paperboard

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The image displays an ornate clock with an eagle perched on top, a circular face displaying Roman numerals, and an intricate base featuring decorative illustrations. The color palette is predominantly neutral with shades of beige, complemented by accents of gold, green, and some blue on the detailing of the clock's base. The clock is centrally positioned in the frame, standing upright against a plain background.

Index of American Design1943.8.4775

Banjo Clock

Nicholas Gorid

c. 1936 · watercolor, colored pencil and graphite on paperboard

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There is a large wall clock with a round clock face displaying Roman numerals. The clock has a wooden frame with a deep brown and red hue. Below the clock face is an elongated trapezoidal section with a yellow and black design. The base of the clock is rectangular with a gold oval embellishment. The color palette includes dark brown, red, gold, and black against an off-white background. The clock is positioned vertically in the center of the image.

Index of American Design1943.8.4778

Banjo Clock

Ralph Morton

c. 1942 · watercolor, colored pencil, gouache, and graphite on paperboard

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Index of American Design1943.8.10423

Banjo Clock

American 20th Century

1935/1942 · graphite and colored pencil on paper

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Index of American Design1943.8.10424

Banjo Clock

Emilio Zito

1935/1942 · graphite on paper

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The sculpture is of a bird, likely a duck or a similar type of waterfowl. It is crafted in a stylized manner, with a focus on simplistic form and smooth curves. The sculpture is primarily brown with darker spots. The wings are detailed with a pattern resembling feathers. The bird stands on a stylized base resembling a pedestal. The surface of the sculpture appears glossy. The bird's head is facing forward with a defined beak and subtle eye details. Overall, the sculpture resembles a decorative object that could be used as an art piece.

Index of American Design1943.8.8544

Bank

Aaron Fastovsky

c. 1939 · watercolor, graphite, and pen and ink on paperboard

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A ceramic hen is placed on a neutral, off-white background. The hen has earthy brown and beige tones with a marbled effect. It is centered in the composition. In the lower left corner of the frame is a signature that reads "Aaron Bohrod."

Index of American Design1943.8.8545

Bank

Aaron Fastovsky

c. 1940 · watercolor, gouache, and graphite on paperboard

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The image shows a pigeon perched on an abstract base with green leaves and red accents. The pigeon is depicted in shades of grey with subtle highlights, standing upright with its beak facing slightly to the right. The artist's signature is located in the lower-left corner of the image.

Index of American Design1943.8.8278

Bank (Dove)

Elisabeth Fulda

c. 1937 · watercolor, graphite, and pen and ink on paperboard

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This is a painting of a camel with a colorful saddle. The camel is centered in the image, standing against a plain, light-colored background. The animal is drawn with careful attention to detail, showcasing its distinctive humps, elongated neck, and slender legs. It is adorned with a vibrant saddle that features bright orange and red tones. The simplicity of the background emphasizes the camel.

Index of American Design1943.8.8439

Bank Camel

William O. Fletcher

c. 1940 · watercolor, graphite, and pen and ink on paper

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The image displays a street scene from a slightly elevated perspective. The artwork depicts a sidewalk with various figures walking. The horizon is not visible, focusing on the bustling scene. The painting features fine and linear brushstrokes giving it a sketch-like appearance. The simple color palette consists of cool blue tones against a light background, creating a light atmosphere. People are walking on the sidewalk, while others are further away, some in conversation. Leafy trees and buildings are depicted on both sides with light and airy strokes, adding an impressionistic quality to the scene.

Print1943.3.7586

Bank Holiday, Corner of Beaufort Street, Chelsea

Théodore Roussel

c. 1888 - 1889 · etching in green on laid paper

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The image shows a perspective view of a wooded path. Visibility of the horizon is hindered by dense trees. The brushstrokes are sketch-like with expressive lines creating movement and texture. The color palette is monochromatic, with shades of black and grey on light-colored paper. The ground has hatchings indicating light patches. A wooden bench is slightly off-center to the right. In the background, trees densely populate the landscape.

Print2012.92.184

Bank im Walde II (Bench in the Woods II)

Lovis Corinth

1917 · drypoint in black

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The image shows a landscape drawing with a body of water leading towards trees and a house in a scenic setting. The hills and the architectural structure imply the horizon. The style includes cross-hatching and linear strokes for texture. The color palette is in sepia tones. The water has softened lines, and the vegetation and trees are detailed. The drawing leads the eye towards the house partially hidden by nature, with trees in the background.

Drawing1956.14.7

Bank of a River

Alphonse Legros

Date not recorded · pen and brown ink with brown wash on cardboard

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The image shows a three-dimensional, metallic box on the left, with ornate patterns covering its surfaces. On the right, there are two smaller, flat, square panels placed vertically above each other, each containing metallic shapes and patterns similar to those on the box. The color palette consists of dark greys and blacks with hints of beige and soft metallics. The box is positioned in the foreground to the left, while the two panels are arranged in a column on the right side of the image.

Index of American Design1943.8.8586

Bank of Industry

William O. Fletcher

c. 1938 · watercolor, gouache, and pen and ink on paper

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The image depicts a slightly elevated view looking over water towards a landscape. The horizon is low, with a cluster of tall trees and foliage reflecting in the still water below. Birds are flying in the sky above. The brushwork is detailed, with textured strokes showing the trees and clouds. The color palette is primarily black and gray, highlighting the natural scenery. The scene portrays a tranquil riverside setting.

Print1980.45.453

Bank of the Somme (Bords de la Somme)

Jules Dupré

1836 · lithograph

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