Medium & Period +
Contemporary
Painting
Drawing
Print
Photography
Sculpture
Eighteenth-century French Drawings
Theme +
The Artist’s Model
Allegories of the Arts
The Artist’s Hand
Recent acquisitions
Highlights
En plein air
Women Artists
Printmakers
Artists' Tools

Contemporary

Here we present some of the collection’s contemporary pieces that engage with the theme of the artist at work and investigate it in novel ways.

Painting

There are over 120 paintings in the collection, mostly dating to the 19th century, when depictions of artists working in their studios became a popular genre. The French school is especially strong with works by Honoré Daumier, Jean-Louis-Ernest Meissonier and Henri Fantin-Latour. There are notable groups of paintings by less well-known names, such as Norbert Goeneutte, François Bonvin and Emile Friant. Although Old Master paintings of the subject are harder to acquire, the collection includes fine examples by David Teniers the Younger, Anthony Van Dyck and Frans Francken the Younger.

Drawing

Given that Katrin Bellinger started collecting in parallel to her career as a dealer in Old Master drawings it is not surprising that this is a strength of the collection. To date, there are some 400 sheets, the earliest of which is a French manuscript illumination of around 1500, while a drawing by Antony Gormley is among the most recent.

Although the theme of the artist at work is harder to find in Katrin Bellinger’s favourite area, 16th- and 17th-century Italian drawings, the collection does include some beautiful examples by Parmigianino, Pier Francesco Mola and Livio Mehus, among others. The 18th century is well represented, both in Italy, with drawings by Giambattista and Domenico Tiepolo, and in France, with Antoine Watteau, Jean-Honoré Fragonard, Hubert Robert and Jean-August-Dominque Ingres. The subject’s omnipresence in the 19th century is reflected in the collection’s holdings, which include Pierre Puvis de Chavannes, Paul Mathey, Georges Seurat and James Ensor. Self-portraits and studio scenes continue to proliferate in the 20th century, as shown by the works of Max Liebermann, Lovis Corinth, William Orpen, Egon Schiele and Horst Janssen.

Print

The print collection has grown steadily in recent years and now includes over 300 works. It features iconic examples in excellent impressions, including Rembrandt’s Self-Portrait Drawing at a Window and Rembrandt and Saskia, as well as works by lesser-known hands such as the German printmakers, Daniel Nikolaus Chodowiecki, Johann Adam Klein and Georg Friedrich Schmidt. Alongside the prints we find important artists’ manuals by Odoardo Fialetti and Abraham Bloemaert. The contemporary holdings include prints by Jim Dine and Michael Craig-Martin.

Photography

With over 300 examples, the photographic holdings have increased steadily in an effort to focus on images that complement the collection as a whole. Therefore, the corpus of 19th-century artists’ studio views is particularly significant and includes two large groups by photographers Edmond Bénard and Paul Marsan (Dornac). A noteworthy series of portraits by J. P. Mayall showing Academicians of the Royal Academy in their studios was used to illustrate F. G. Stephens’ Artists at Home (1884). Among the contemporary photographs we find portraits of Lucian Freud and his contemporaries by David Dawson and Bruce Bernard.

Sculpture

Sculptural depictions of artists at work are relatively rare and there are just over 20 in the collection. Highlights include the Hands of the Painter, Meissonier cast in bronze by Vincenzo Gemito and Denys Puech’s Portrait of Léon Bonnat. One of the great rarities of the collection is a female mannequin made in Southern Germany around 1550. Although not strictly showing an artist working, the collection includes several portrait medals, among them Caspar Berger’s provocative Vera Icon/Self-Portrait (2010) in 18k gold. Among the contemporary pieces, Not Vital’s Self-portrait (1995) and Phillida Barlows’s Untitled: Paintsticks (2017).

Eighteenth-century French Drawings

This section presents a selection of eighteenth-century French drawings, one of the strengths of the Katrin Bellinger Collection.

The Artist’s Model

The Katrin Bellinger collection’s holdings offer a wide-ranging overview of the theme of the artist’s model, with examples spanning from the 18th century, with Giambattista Tiepolo’s Academy of the nude, to the present. While many works focus on the didactic aspect of the life class, others place the spotlight on the model as an individual, perhaps showing them in a moment of rest. Others still, like Thomas Rowlandson’s and Charles West Cope’s satirical images, poke fun at the obsessive pursuit of ideal beauty and the ever-present fear of immorality.

Drawing from life was the final stage in the three-part training prescribed for artists since the Renaissance. Young apprentices first had to train their hand by copying their master’s drawings and studying antique casts. French academies introduced the life class in the 17th century, admitting male models exclusively. From its establishment in late 1768, the Royal Academy of Art in London also prescribed several years of drawing the nude for its pupils. A comprehensive understanding of the workings of the male body was considered essential for any artist regardless of his future ambitions.

In the second half of the 19th century, with the rise of realism, the demand for models of both genders increased exponentially. Although female models were a common sight by that point, a certain uneasiness endured. A flurry of images exposes the unsettling relationship between the overwhelmingly male cohort of artists and the exposed body of the model. By playing with multiple levels of gaze, Georges Paul Leroux’s and Maxime Dethomas’s drawings blur the boundary between sanctioned practice and voyeurism.

Numerous 20th-century photographs capture the interaction between artist and model both in the studio and in the art school. Less well represented is the experience of women artists working from the nude model, a taboo that long outlived the restrictions imposed on women’s artistic education. It is refreshing to see Bill Brandt’s shot of a nude model posing for Brynhild Parker, showing her as a fine practitioner of the British figurative style.

Allegories of the Arts

This group of works from the Katrin Bellinger collection illustrates the intersection between depictions of artist at work and allegories of the arts. The taste for allegorical images prevailed in the 17th and 18th centuries, when emblem books became a go-to for artists and patrons. The most famous, Cesare Ripa’s Iconologia, was first published with illustrations in 1603, in Rome. Allegories of the arts can serve a variety of functions. While some celebrate a specific art, others glorify the artist practicing it or the institution cultivating it. Others still, centre on the power of art to transcend time.

The tradition of representing painting, sculpture and architecture as female figures – abstract entities guiding the (usually male) artist to glory –, emerged during the sixteenth-century. In his Lives of the Artists, Giorgio Vasari described Painting, Sculpture and Architecture as the three Sister Arts all born from one father, Disegno, signifying both the act of drawing and the conceptual ideation of design. The ambition of Italian Renaissance artists to elevate the status of the visual arts from manual to intellectual activities thus resulted in their inclusion among the nobler Liberal Arts.

The sisterhood between the Arts is at the centre of Michel François Dandré-Bardon’s drawing and Daniel Berger’s print after Angelica Kauffman. While a light-hearted sketch by Pietro Testa adds a hint of irony to the traditional paragone, or rivalry, between painting and sculpture, by exaggerating the latter’s creative frenzy.

From the 17th century, the easily-blurred boundary between portraits of women painters and allegories of Painting allowed for ambitious affirmations of female agency in the arts. Much rarer is the representation of Design (in Italian, Disegno is a masculine noun) as a female artist intently studying a classical cast. In her ground-breaking work, one of her four Elements of Art painted for the ceiling of the Royal Academy’s Council Room in Somerset House, Angelica Kauffman reclaimed women’s proficiency in all realms of artistic creation.

The Artist’s Hand

While artists’ hands at work are a common sight within the Katrin Bellinger collection, this selection is devoted to works that thematise the hand as the primary object of investigation. The group features hands drawing, writing, painting, and sculpting, but also hands sharpening quills and cleaning brushes. Notoriously difficult to depict, hands have always been a challenging subject-matter for artists, often serving as a testing ground for their skills in representation. Even more testing is to draw one’s own hands. Just as, with the aid of a mirror, training artists turn to their own faces as a readily available subject, so they may also study their hands, as we see in Edgar Degas’ drawing of his right hand sketching his left.

Arguably the fundamental instrument of the artist, hands constitute a beguiling topic of investigation. Representing an individual’s hands may bring one closer to the origin of their creative powers. At times equated to portraits or self-portraits, depictions of hands can be as different as the motivations behind them. Vincenzo Gemito’s bronze cast of the hands of his mentor Jean-Louis Ernest Meissonier is not only a tribute to the older master but also a proxy for the man himself, whose company Gemito sorely missed.

Sir Francis Seymour Haden’s series of prints of his own hands, variously drawing, etching, dry-pointing, or painting are a true catalogue of his skills. Photographer Nicola Bensley said of the resting hand of Frank Auerbach that it was ‘the hand of a master painter…truly.’ Georg Baselitz’s both haunting and powerful prints of his own hand belong to a broader personal investigation of the human form. Finally, the hand-prints collected by Marianne Raschig, signed and dated by each artist, stand as compelling testimonies of direct contact as well as being instruments through which Raschig developed her influential theories on palm-reading.

Recent acquisitions

The drawings collection was recently enriched by Johan Joseph Zoffany’s atmospheric landscape showing a rare image of the artist sketching at the water’s edge at Kara on the Ganges. While attesting to Zoffany’s interest in local sceneries towards the end of his Indian sojourn (1783–89), the sheet also resonates with our recent interest in the theme of the travelling artist as explored in the exhibition Connecting Worlds: Artists & Travel.

The German Romantic drawings now include Carl Julius Milde’s intimate portrait of Julius Oldach and Erwin Speckter in their studio in Munich, of 1826; inscribed in red pen by Speckter ‘Mr Jul: Oldach and I and our Friedel in the workshop / for my dear mother.’ Given both friends’ untimely death before the age of 30, this youthful image is a precious testimony of their companionship and shared aspirations.

Also datable to the mid-to-late 1820s is a jewel-like painting by Carl Gustav Boerner, in typical Biedermeier style and a rare example of the famous art dealer’s artistic talents. The room is embellished with all the usual paraphernalia of the painter’s studio and a mannequin in a toga looks over the artist’s shoulder.

Another notable addition to the paintings collection is an intriguing view of Sir Lawrence Alma Tadema’s studio at Townshend House by the artist’s sister-in-law, Emily Epps Williams. The panel belongs to the set of forty-five which originally formed part of a decorative scheme in the hall of Alma-Tadema’s remodelled house on Grove End Road.

The depictions of female artists at work now feature Katherine Read’s masterful pastel portrait of her niece, Miss Helena Beatson, a child prodigy. Described as possessing ‘a most astonishing genius from Drawing’, Helena is portrayed having just completed a tender image of a mother and child. Our pastel was displayed at the Society of Artists in 1767 and translated into a mezzotint by James Watson the following year.

A new technique was introduced to the collection with a Gothic revival stained-glass panel by Clayton & Bell representing an allegory of the visual arts enclosed within a floral frame.

The fast-expanding prints collection now includes an iconic self-portrait by Jean-Etienne Liotard; an expressive aquatint by Emile Nolde; and Pablo Picasso’s Sculpteur songeant, Modèle aux Cheveux noirs et Bol avec trois Anémones from his sought after Suite Vollard.

Amongst the recently acquired photographs, a rare albumen print showing the sumptuous Roman studio of Mariano Fortuny senior (1838-1874), the leading Spanish painter of his day and father of Mariano Fortuny y Madrazo. Produced with the technically complex ‘wet collodion’ process, it is a testament to the fine details and deep rich tones that the method allows.

In the past year the collection has also expanded considerably into the contemporary, with both established and emerging artists. Celia Paul’s Artist in her Studio (with man painted out) attests to her deeply personal reflection on the studio as a space of her own. While in his blue watercolour Ali Kazim relies on his own likeness to blend painstaking miniature painting techniques and highly individual imagery informed by past visual culture.

Highlights

This section features some of the collection’s highlights in different media.

En plein air

The practice of working out of doors to create landscape sketches and studies to be later worked up in the studio is a long established one. An early example from the Katrin Bellinger collection is Lambert Doomer’s draughtsman sketching by a tree of circa 1660, where he captures a colleague working out of doors. An Italian drawing, Remigio Cantagallina’s artist walking and sketching in a landscape, is another early example.

From the late 18th century onwards sketching excursions with fellow artists became common practice, as shown in the drawings and prints of Friedrich Preller the Elder, Johann Adam Klein and Wilhelm von Kobell. Thomas Rowlandson’s Artist travelling in Wales shows an elderly artist heavily laden with painting-materials in the pouring rain, making a witty commentary on the trials of the touring painter.

 Indeed, although drawing implements, watercolours and sketchbooks are easily transported, the equipment available to artists before the 19th century limited their ability to produce a finished painting in nature. Pigments had to be ground and mixed with linseed oil to obtain colours, and a pig’s bladder was needed to carry them outside the workshop. This changed with the introduction of paint in tubes (invented in 1841) and of lightweight portable easels, contributing to the rise of plein air painting. The method became more widespread from the 1860s and was made famous by the impressionists who advocated the need to capture the quality of natural light and its effect on both landscape and figures.

Women Artists

Ever since she started collecting, Katrin Bellinger has sought representations of female artists at work, as counterparts to the overwhelming majority of portraits and self-portraits of male artists. Despite the difficulties and limitations historically encountered by women wanting to pursue a career in the arts, women are shown making art in a variety of images ranging vastly in date and geographical provenance, as the present selection demonstrates. The earliest in the collection is a woodcut illustration from Boccaccio’s 14th-century De Mulieribus Claris (Concerning Famous Women), which shows the Roman artist Marcia. The most recent is a 2019 piece by London-based South African artist Lisa Brice.

While some of the works are self-portraits, others were made by the artists’ teachers, husbands, and fellow art school students. Aside from a few exceptions, their identity is unknown and from the manner in which they are portrayed it is not always possible to ascertain if these women were professionals or amateurs. Up to the 19th century, young women wishing to learn how to draw were usually taught by a family member or an established artist, as illustrated in Francesco Bartolozzi’s and Arthur Pond’s drawings.

In the second half of the 19th century, access to formal training became progressively more open to women, with private art schools first seeing the benefits in admitting female pupils. Rose Marie Guillaume’s watercolour is set at the renowned Académie Julian in Paris, where she trained and taught, in a separate studio reserved for female students only. Larger institutions slowly followed suit. The London Royal Academy of Arts began admitting women in 1860 – although they could not attend life-drawing classes there until 1893 – and the École des Beaux-Arts in Paris finally opened its doors to female students in 1897. Late 19th-century self-portraits with palette and brushes symbolize the ambitious and self-confident woman artist. The struggle for access and recognition continued throughout the 20th and 21st centuries and arguably up to the present day, with the self-portrait and the studio view still acting as powerful vehicles for the negotiation of women’s artistic identity.

Printmakers

Although not as numerous as those of painters and draughtsmen, representations of printmakers at work form a notable group within the Katrin Bellinger collection. Executed in a variety of media, these images range in date from the 17th century to today. As a group, they show the continued fascination with the tools and craftsmanship required to realize printed images. They also shed light on how the status of the artist-printmaker was negotiated through the genres of self-portraiture and the studio scene.

Abraham Bosse’s famous prints focus on the commercial printmaking workshop and have an informative function. Pierre Baquoy’s later example shows an atelier teeming with assistants, each tasked with a different step in the printing process. In the right foreground, the master engraver inspects an impression. Over his workspace, a light diffusing screen is deployed to soften the light hitting the reflective surface of the plate. This device, seen in several of the works in this group and still in use today, allows the artist to create subtle values undisturbed by the glimmer of the metal.

Most images focus on the figure of the painter-etcher working in his studio in solitude. This format is, at least in part, inspired by Rembrandt’s self-portraits and by the mystique surrounding his persona. As well as promoting his skills in his innovative prints, the Dutch master also cultivated his own image, becoming the quintessential artists’ artist. The 19th-century cult of Rembrandt is exemplified by Paul-Adolph Rajon’s etching after a painting by Jean-Léon Gérôme, Rembrandt biting an etched plate (now lost). With the foundation of the Sociéte des Aquafortistes in 1862, the scene was set for the etching revival, which took hold in France, England and the United States. Images of artists making etchings, as well as engravings, woodcuts and lithographs, proliferate in the 20th and 21st centuries.

Artists' Tools

Artists have always enjoyed depicting their tools and workspaces. Whether for didactic purposes or as means of self-expression, tools such as pens, brushes, ink pots, paint boxes and paper constitute a captivating subject for artists working across media and styles. This varied selection from the Katrin Bellinger collection exemplifies well the fascination with studio miscellanea and the tools of the trade.

While artists’ tools feature in nearly all of the collection’s works, in this group they are allowed to take centre stage. Whether arranged in a still-life composition or shown as if only momentarily relinquished, representations of artists’ tools offer insights into the intimate space of the workshop. For artists across periods, such as François Bonvin and John Sergeant, their palettes, brushes, pencils and portfolios became favourite subjects to be lovingly and meticulously portrayed. Typical of his lively sketches of everyday objects, Adolphe von Menzel’s witty drawing brings his spectacles, penknife and quill to life.

From the early 1960s, American artist Jim Dine deployed his paintbrush and studio tools as markers of his persona, in what he called an ‘autobiography through objects’. Contemporary Norwegian printmaker Erling Valtyrson also self-identified with his tools and exotic collectables by titling his mezzotint, Self-portrait.

Related blog article: Pens and mahl sticks: in the drawn world of John Sergeant

All +
All
Medium & Period +
Contemporary
Painting
Drawing
Print
Photography
Sculpture
Eighteenth-century French Drawings
Theme +
The Artist’s Model
Allegories of the Arts
The Artist’s Hand
Recent acquisitions
Highlights
En plein air
Women Artists
Printmakers
Artists' Tools
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Yousuf Karsh , Mardin 1908 - 2002 Boston

Georgia O’Keefe, 1956, printed 1980s

Silver print, 60.6 x 48.3 cm Katrin Bellinger Collection, inv. no. 2022-074

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Rade Petrasevic, Vienna 1982

Self-Portrait (Cute but Psycho), 2017

Oil on canvas, 140 x 90 cm Katrin Bellinger Collection, inv. no. 2019-001

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Juan Araujo , Caracas 1971

Laughing and the Storm, 2022

Oil and wax on zinc, 150 x 200 mm Katrin Bellinger Collection, inv. no. 2022-014

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Michael Craig-Martin , Dublin 1941

Velasquez, 2022

Pigment print on Somerset Satin Photo Paper 300gsm, 100 x 85.9 cm Katrin Bellinger Collection, inv. no. 2022-057

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Eileen Cooper, Glossop 1953

Self portrait with coloured pastels, 2019

Pastel, charcoal, 605 x 335 mm Katrin Bellinger Collection, inv. no. 2022-096

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David Dawson, Pwllheli 1960

Mirror and the bed, 2020

Oil on canvas, 51 x 46 cm Katrin Bellinger Collection, inv. no. 2022-077

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Lisa Milroy, Vancouver 1959

Let’s begin, 2022

Watercolour, 310 x 200 mm Katrin Bellinger Collection, inv. no. 2022-097

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Pierre Bergian, Bruges 1965

My Studio IV, 2022

Oil and pencil on paper, 420 x 580 mm Katrin Bellinger Collection, inv. no. 2022-050

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Esme Hodsoll, London 1992

Orchids/Torso, 2021-22

Oil on wood panel, 35 x 27 cm Katrin Bellinger Collection, inv. no. 2022-045

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Chantal Joffe , St.Albans, Vermont 1969

Self-Portrait with Left Arm Bent Behind, 2015

Pastel, 400 x 300 mm katrin Bellinger Collection, inv. no. 2022-006

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Kate Friend

Maggi Hambling, Cactus, Suffolk, 2020

C-type colour print, 800 x 650 mm Katrin Bellinger Collection, inv. no. 2021-142

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Yinka Shonibare, London 1962

Planets in my Head: Young Artist II, 2021

Fibreglass mannequin, Dutch wax printed cotton textile, globe, steel base plate, easel, canvas, and acrylic Katrin Bellinger Collection, inv. no. 2021-002

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Attributed to John R. Clayton , London 1827 - 1913 London

Art, c. 1865

Gothic revival stained glass panel, 86 x 86 cm Katrin Bellinger Collection, inv. no. 2022-064

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Eikoh Hosoe , Yonezawa 1933

Portrait of Yayoi Kusama, 1968

Silver gelatin print, printed later, 500 x 400 mm katrin Bellinger Collection, inv. no. 2022-061

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Carlo Cignani, Bologna 1628-1719 Forlì

Self-portrait, c. 1706

Black chalk and charcoal on paper, 219 x 166 mm katrin Bellinger Collection, inv. no. 2022-037

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John Hamilton Mortimer , Eastbourne 1740 - 1779 London

Two Ladies sitting in the the Corner of a Studio, c. 1775

Pen and black ink and grey wash on laid paper, 187 x 195 mm katrin Bellinger Collection, inv. no. 2022-002

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FRANÇOIS BONVIN , Paris 1817 - 1887 Saint-Germain-en-Laye

Young schoolboy drawing, 1849

Oil on canvas, 33 x 24.7 cm Katrin Bellinger Collection, inv. no. 2021-093

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Pablo Picasso, Malaga 1881 - 1973 Mougins

Sculpteur songeant, Modèle aux Cheveux noirs et Bol avec trois Anémones, 1933

Etching, 450 x 340 mm Katrin Bellinger Collection, inv. no. 2021-087

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Emil Nolde, Nolde 1867 - 1956 Seebüll

E. N. (Self-portrait), 1908

Etching and aquatint, 402 x 330 mm Katrin Bellinger Collection, inv. no. 2022-062

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Donna Huddleston , Belfast 1970

Personal development, 2021

Carran d'ache and graphite on paper, 660 x 510 mm katrin Bellinger Collection, inv. no. 2022-001

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Celia Paul, Thiruvananthapuram 1959

Artist in her Studio (with man painted out), 2020

Oil on canvas, 63.7 x 56.4 cm Katrin Bellinger Collection, inv. no. 2023-011

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Emily Epps Williams, c. 1869–1890

The studio from the side entrance, Townshend House, 1885

Oil on panel, 81.3 x 19 cm Katrin Bellinger Collection, inv. no. 2023-026

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Johan Joseph Zoffany, Frankfurt 1733 - 1810 London

A Landscape at Kara, with the Artist Sketching, 1788

Black, red and white chalks on grey-blue paper, 255 x 345 mm Katrin Bellinger Collection, inv. no. 2023-073

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Carl Julius Milde, Hamburg 1803 - Lübeck 1875

Julius Oldach and Erwin Speckter in their Studio in Munich, 1826

Pencil, 215 x 174 mm Katrin Bellinger Collection, inv. no. 2023-030

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Carl Gustav Boerner, Knau 1790 - Leipzig 1855

Self-portrait of the artist at work in his studio

Oil on wood, 195 x 240 mm Katrin Bellinger Collection, inv. no. 2023-048

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Anonymous French

Mariano Fortuny in his Studio, Rome, 1870

Albumen print, 280 x 380 mm Katrin Bellinger Collection, inv. no. 2023-087

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Ali Kazim, Pattoki 1979

Untitled (Mara’s Army I), 2022

Watercolour pigments on paper, 430 x 560 mm Katrin Bellinger Collection, inv. no. 2023-027

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Katherine Read, Dundee 1723 - 1778 Madras

Miss Helena Beatson, 1767

Pastel on paper, 590 x 460 mm Katrin Bellinger Collection, inv. no. 2023-043

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JEAN-ETIENNE LIOTARD, Geneva 1702 - 1789 Geneva

Little Self-portrait, c. 1781

Etching and roulette, 210 x 167 mm Katrin Bellinger Collection, inv. no. 2023-039

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Johan Joseph Zoffany, Frankfurt 1733 - 1810 London

The Artist and His Family, c. 1799

Black and white chalks on paper, 285 x 255 mm Katrin Bellinger Collection, inv. no. 2020-018

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Giovanni Francesco Barbieri, il Guercino (?), Cento 1591 - 1666 Bologna

AN ALLEGORY OF PAINTING, WITH PUTTI SUPPORTING A CANVAS BEARING THE COAT-OF-ARMS OF FERDINANDO GONZAGA, DUKE OF MANTUA, 1618

Pen and brown ink, 165 x 227 mm Katrin Bellinger Collection, inv. no. 2001-027

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Francesco Bartolozzi , Florence 1727 - 1815 Lisbon

Design, after Angelica Kauffman, 1787

Stipple engraving, 398 x 436 mm Katrin Bellinger Collection, inv. no. 2001-002

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Jan De Bisschop, Amsterdam 1628 - 1671 The Hague

The Union of Drawing and Colour, after Guido Reni

Brush in brown wash, over black chalk, 200 x 247 mm Katrin Bellinger Collection, inv. no. 1987-002

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Michel François Dandré-Bardon , Aix-en-Provence 1700 - 1783 Paris

AN ALLEGORY OF PAINTING AND SCULPTURE

Red chalk, 164 x 211 mm Katrin Bellinger Collection, inv. no. 2006-003

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Giovanni David, Gabella 1743 - 1790 Genoa

AN ALLEGORY OF PAINTING

Etching, 124 x 86 mm Katrin Bellinger Collection, inv. no. 2003-010

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Giovanni David, Gabella 1743 - 1790 Genoa

AN ALLEGORY OF PAINTING, 1775

Etching, 301 x 226 mm Katrin Bellinger Collection, inv. no. 2014-017

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François Boucher, Paris 1703-1770 Paris, and Edmé Bouchardon , Chaumont-en-Bassigny 1698 - 1762 Paris

THE SPIRIT OF LEARNING, HOLDING A SKETCH OF CUPID DRAWING A BUST

Black chalk, light grey wash (Bouchardon, The Spirit of Learning); black chalk (Boucher), 172 x 120 mm (sheet) Katrin Bellinger Collection, inv. no. 2012-007

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Friedrich Heinrich Füger, Heilbronn 1751 - 1818 Vienna

AN ALLEGORY OF PAINTING

Pencil and grey wash, 114 mm (diam.) Katrin Bellinger Collection, inv. no. 2018-006

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Carl Gehrts , Hamburg 1853 - 1898 Endenich

AN ALLEGORY OF ART (STILL-LIFE AND ARCHITECTURAL PAINTING), 1888

Pencil and red wash, 221 x 414 mm (approx.) Katrin Bellinger Collection, inv. no. 1991-006

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Mathieu Joseph Charles Hunin , Mechelen 1770 - 1851 Mechelen

Pictura – The Personification of Painting, after Willem Jacob Herreyns

Etching, 143 x 119 mm Katrin Bellinger Collection, inv. no. 2017-057

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François-Thomas Mondon, Paris c.1709 - 1755 Paris

Project for an Allegorical Frontispiece with the Academy’s Coat of Arms, c. 1740

Sanguine within black chalk framing line, squared in red chalk, 285 x 440 mm Katrin Bellinger Collection, inv. no. 2019-008

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Domenico Piola, Genoa 1627 - 1703 Genoa

AN ALLEGORY OF PAINTING WITH PUTTI SUPPORTING AN OVAL PORTRAIT

Pen and brown ink, brown wash and black chalk, 380 X 462 mm Katrin Bellinger Collection, inv. no. 1992-025

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Pietro Testa, Lucca 1611 - 1650 Rome

An Allegory of Sculpture

Pen and brown ink, squared in black chalk, 182 x 270 mm Katrin Bellinger Collection, inv. no. 1999-008

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Rebecca Ackroyd , Cheltenham 1987

Scratching the Surface, 2020

Epoxy resin, 290 x 190 mm Katrin Bellinger Collection, inv. no. 2020-017

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German School

Still-life with Etching Tools, circa 1900

Etching, 212 x 146 mm Katrin Bellinger Collection, inv. no. 2018-033

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Georg Baselitz, Kamenz 1938

Eine Hand ist keine Faust IV, 2019

Etching with sugar-lift aquatint on Hahnemühle Bütten 300 gsm paper, 537 x 394 mm Katrin Bellinger Collection, inv. no. 2021-017

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Georg Baselitz, Kamenz 1938

Mano I (Gold), 2019

One from a set of ten aquatint and sugar-lift aquatints from two plates on 300gsm Hahnemühle Bütten paper, 780 x 535 mm Katrin Bellinger Collection, inv. no. 202-019

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Nicola Bensley

HAND OF FRANK AUERBACH, 2015

Silver gelatine fibre based hand print, 508 x 406 mm Katrin Bellinger Collection, inv. no. 2016-021

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Agostino Carracci, Bologna 1557-1602 Parma

Study of hands sharpening a pen

Pen and brown ink, brown wash, pricked for transfer, 107 x 202 mm Katrin Bellinger Collection, inv. no. 2018-012

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Érik Desmazières, Rabat 1948

L’Image d’un crabe sur mon bureaus, 1982-83

Pen and black ink with gouache on blue laid paper, 295 X 210 mm Katrin Bellinger Collection, inv. no. 2017-013

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Carl Gehrts , Hamburg 1853 - 1898 Endenich

SHEET OF HAND STUDIES, 1891

Black pen and ink, black crayon, watercolour, 295 x 387 mm Katrin Bellinger Collection, inv. no. 2011-057

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Ernest Haas, Vienna 1921 - 1986 New York

JEAN COCTEAU, PARIS, 1952

Gelatin silver print, 406 x 356 mm Katrin Bellinger Collection, inv. no. 1998-026

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Sir Francis Seymour Haden, London 1818 - 1910 Woodcote Manor

HANDS DRY-POINTING, circa 1877

Drypoint printed in sepia ink on cream Continental watermarked laid paper, 139 x 212 mm Katrin Bellinger Collection, inv. no. 2011-052

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Sir Francis Seymour Haden, London 1818 - 1910 Woodcote Manor

HAND ETCHING – O LABORUM DULCE LENIMEN, 1865

Etching, drypoint and pencil, 102 x 148 mm Katrin Bellinger Collection, inv. no. 1993-007

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Hou Tcheng Yen

THE ART OF HANDLING YOUR BRUSH

Woodcut, 225 x 254 mm Katrin Bellinger Collection, inv. no. 1995-016

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Agostino Masucci, Rome 1691-1758 Rome

STUDIES OF FOUR HANDS, TWO WITH A PORTE-CRAYON, AND AN ARM

Red and white chalk on blue paper, 290 x 209 mm Katrin Bellinger Collection, inv. no. 1989-005

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Marianne Raschig , Active 1870s - 1930s

Hand-prints of Käthe Kollwitz, 16 June 1925

Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017

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Marianne Raschig , Active 1870s - 1930s

Hand-prints of Charlotte Behrend, 2 April 1925

Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017

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Marianne Raschig , Active 1870s - 1930s

Hand-prints of George Grosz, 30 April 1928

Ink on paper, touched with graphite, c. 210 x c. 165 mm Katrin Bellinger Collection, inv. no. 213-017

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Yuri Vashenko, Moscow 1941

Self-portrait

Etching, 450 x 344 mm Katrin Bellinger Collection, inv. no. 2017-030

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Louis Wade, b. 1987

Study of the Artist’s Hands (cleaning his brushes), 2017

Oil on wood, 200 x 250 mm Katrin Bellinger Collection, inv. no. 2019-007

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Dutch School

PYGMALION AND GALANTHEA, c. 1670

Oil on panel, 380 x 510 mm Katrin Bellinger Collection, inv. no. 1995-048

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Luca Ciamberlano, active 1599-1641

Studies of three pairs of hand, each sharpening a pen, after Agostino Carracci, 1597-1629

Engraving Katrin Bellinger Collection, inv. no. 1995-070

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Antoine Watteau , Valenciennes 1684 - 1721 Nogent-sur-Marne

COPY AFTER A SELF-PORTRAIT BY ANTHONY VAN DYCK

Black, red and white chalks, 212 x 153 mm Katrin Bellinger Collection, inv. no. 2008-021

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Jean-Baptiste Marie Pierre, Paris 1714 - 1789 Paris

LE SICILIEN OR L’ AMOUR PEINTRE

Pen and black ink, grey wash heightened with white bodycolour, with black ink framing lines, 220x 263 mm Katrin Bellinger Collection, inv. no. 2005-007

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JEAN-BAPTISTE ISABEY, Nancy 1767 - 1855 Paris

PORTRAIT OF HUBERT ROBERT, HALF-LENGTH, HOLDING A PORTFOLIO

Black chalk heightened with white on buff paper, 266 x 205 mm Katrin Bellinger Collection, inv. no. 1995-034

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Hubert Robert, Paris 1733 - 1808 Paris

AN ARTIST DRAWING BESIDE A STATUE OF JUPITER, 1762

Red chalk, 530x 400 mm Katrin Bellinger Collection, inv. no. 1989-006

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Giovanni Battista Tiepolo, Venice 1696-1770 Madrid

Artists Drawing a Nude in an Academy by Lamplight, c. 1720

Black and white chalk on blue paper, 410 x 540 mm Katrin Bellinger collection, inv. no. 1993-022

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DAVID HOCKNEY , Bradford 1937

Artist and Model, 1973-74

Etching, 575 x 440 mm Katrin Bellinger Collection, inv. no. 2020-007

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MAXIME DETHOMAS , Ganges 1867 - 1929 Paris

Model in the studio

Charcoal on paper, 500 x 326 mm Katrin Bellinger Collection, inv. no. 2017-032

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Giacomo Trevisino, Circle of

MODEL POSING IN A STUDIO

Oil on board, 105 x 182 mm Katrin Bellinger Collection, inv. no. 2015-022

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Thomas Rowlandson , London 1756 - 1827 London

A DUTCH ACADEMY: ARTISTS IN AN INTERIOR DRAWING A FEMALE NUDE

Pencil, pen and grey-brown ink and watercolour Katrin Bellinger Collection, inv. no. 1990-009

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Léon Matthieu Cochereau, attribute to , Montigny-le-Gannelon 1793 - Ionian Sea 1817

LIFE CLASS WITH A FEMALE NUDE MODEL

Oil on paper, 398 x 323 mm Katrin Bellinger Collection, inv. no. 2001-004

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CHARLES WEST COPE , Leeds 1811 - 1890 Bournemouth

DRAWING CLASS WITH A MALE NUDE, 1864

Etching, overworked with black chalk and black ink, 142 x 190 mm Katrin Bellinger Collection, inv. no. 2012-014

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Georges Paul Leroux, Paris 1877 - 1957 Paris

A LIFE CLASS WITH A STANDING NUDE FEMALE MODEL, 1904

Pen, black chalk and watercolour heightened with white, 268 x 353 mm Katrin Bellinger Collection, inv. no. 1994-002

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Thomas Rowlandson , London 1756 - 1827 London

AN ENGLISH ACADEMY: ARTISTS IN AN INTERIOR DRAWING A FEMALE NUDE

Pen and grey ink and watercolour, 184 x 236 mm Katrin Bellinger Collection, inv. no. 1991-010

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Ernest HILLEMACHER, Paris 1818 - 1887 Paris

A LIFE CLASS IN THE STUDIO OF LÉON COGNIET (1794-1880)

Oil on canvas, 460 x 380 mm Katrin Bellinger Collection, inv. no. 1997-017

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Gyula Halász, known as Brassaï , Brassó 1899 - 1984 Beaulieu-sur-Mer

À L´ACADEMIE JULIEN, 1932

Vintage gelatin silver print, 235 x 176 mm Katrin Bellinger Collection, inv. no. 2001-040

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George Bellows, Columbus 1882 - 1925 New York

THE LIFE CLASS, FIRST STONE, 1917

Lithograph, 354 x 494 mm Katrin Bellinger Collection, inv. no. 2017-011

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Ferdinand Schmutzer, Vienna 1870 - 1928 Vienna

CORMAN’S STUDIO, PARIS, 1900-01

Etching, II/II, 365 x 237 mm Katrin Bellinger Collection, inv. no. 2009-034

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Bill Brandt, Hamburg 1904 - 1983 London

MISS WALKER POSING FOR BRYNHILD PARKER (FROM ‘A DAY IN THE LIFE OF AN ARTIST’S MODEL’), 1939, 1939

Gelatin silver print, 189 x 244 mm Katrin Bellinger Collection, inv. no. 1997-010

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Gyula Halász, known as Brassaï , Brassó 1899 - 1984 Beaulieu-sur-Mer

HENRI MATISSE AND A FEMALE MODEL, PARIS, 1939, 1939

Gelatin silver print, printed later, 250 x 306 mm Katrin Bellinger Collection, inv. no. 1997-012

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Emile Friant, Dieuze 1863 - 1932 Paris

UN COIN D’ATELIER (GABY), 1922

Oil on mahogany panel, 28 x 24 cm Katrin Bellinger Collection, inv. no. 2013-033

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ALPHONSE COLAS, Lille 1818 - Lille 1887

ACADEMY CLASS WITH A MALE MODEL, c. 1855

Pastel, 520 x 710 mm Katrin Bellinger Collection, inv. no. 1989-002

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Adolphe Dallemagne, Pontoise 1811 - 1882 Corbeil-Essonnes

Portrait of Félix Bracquemond (1833-1914), 1866

Albuminous print mounted on cardboard, 220 x 165 mm Katrin Bellinger Collection, inv. no. 2020-013

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Christelle Téa (1988)

Petit-déjeuner 6.IV.2020, 2020

Watercolour, 260 x 360 mm Katrin Bellinger Collection, inv. no. 2020-016

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Carlo Lasinio , Treviso 1759 - 1838 Pisa

Portrait of Anthonis Mor (c. 1517-1577)

Etching and engraving, printed à la poupée and finished by hand, 270 x 174 mm Katrin Bellinger Collection, inv. no. 2020-125

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Henri Emile Benoît Matisse, Le Cateau-Cambrésis 1869 - 1954 Nice

Self-portrait as an etcher, 1900-1903

Drypoint on heavy wove paper, 205 x 252 mm Katrin Bellinger Collection, inv. no. 2020-010

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Berthe Morisot , Bourges 1841 - 1895 Paris

Self-Portrait drawing with her daughter, 1889

Drypoint, 275 x 180 mm Katrin Bellinger Collection, inv. no. 2020-160

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Gustave Chanet , Paris 1862 - 1938 Paris

Self-Portrait at the Easel

Oil on canvas, 350 x 275 mm Katrin Bellinger Collection, inv. no. 2020-162

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Steve Nishimoto

Untitled (Window 62), 2020

Oil on linen, 254 x 203 mm Katrin Bellinger Collection, inv. no. 2020-025

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Julie Charlotte L. Buchet, Bourges 1847 - 1921 Paris

Double Self-Portrait at the Easel

Watercolour , 265 x 380 mm Katrin Bellinger Collection, inv. no. 2020-021

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Werner Tübke , Schönebeck 1929 - 2004 Leipzig

Self-portrait, 1970

Graphite on paper, 880 x 660 mm Katrin Bellinger Collection, inv. no. 2020-024

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Henri-Joseph Harpignies, Valenciennes 1819 - 1916 Saint-Privé

The Artist Painting en Plein Air, Surrounded by Children, 1879

Pen and black ink, grey wash, 178 x 203 mm Katrin Bellinger Collection, inv. no. 2020-035

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Charles Halkerston, c. 1830-1899

VIEW FROM THE ARTIST’S STUDIO, 12 BUCCLEUCH PLACE, EDINBURGH, CIRCA 1870-71

Oil on canvas, 34.9 x 38 cm Katrin Bellinger Collection, inv. no. 2012-002

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Adolph Von Menzel, Breslau 1815 - 1905 Berlin

Study of paint brushes

Zimmermann lead, grey-brown wash, watercolour, 630 x 100 mm Katrin Bellinger Collection, inv. no. 1993-031

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Adolph Von Menzel, Breslau 1815-1905 Berlin

The Artist’s Glasses

Pen and black and brown ink on wove paper, 203 x 141 mm Katrin Bellinger Collection, inv. no. 2018-052

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ERLING VALTYRSON, Norway 1955

Self Portrait, 2017

Mezzotint, 360 x 590 mm Katrin Bellinger Collection, inv. no. 2018-026

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John Sergeant, London 1937-2007 Powys

Pencils and charcoal, 2002

Charcoal, black and coloured chalk, white heightening, 243 x 321 mm Katrin Bellinger Collection, inv. no. 2002-026

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Jehan Daly, Llanelli 1918-2001 Adisham

THE ARTIST’S ESSENTIALS

Coloured chalk on blue paper, 188 x 306 mm Katrin Bellinger Collection, inv. no. 2005-001

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Eliot Hodgkin, Purely on Thames 1905-1987 London

A painter’s box, 1946

Watercolour on pencil, 300 x 500 mm Katrin Bellinger Collection, inv. no. 2010-005

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John Sergeant, London 1937-2007 Powys

The Artist’s Paint Box

Pencil Katrin Bellinger Collection, inv. no. 2006-010

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Walter Gay, Hingham (MA) 1856-1937 Paris

THE ARTIST’S WATERCOLOUR TABLE AT THE CHÂTEAU DU BRÉAU, CIRCA 1905

Watercolour, 270 x 370 mm Katrin Bellinger Collection, inv. no. 2011-029

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James Ensor, Ostend 1860-1949 Ostend

VIEW OF THE ARTIST’S STUDIO WITH ‘UNE COLORISTE’, 1882

Black chalk, 224 x 175 mm Katrin Bellinger Collection, inv. no. 2013-006

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François Bonvin, Paris 1817-1887 Saint-Germain-en-Laye

The Artist’s Tools

Oil on panel, 160 x 220 mm Katrin Bellinger Collection, inv. no. 2008-006

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Anonymous, German School, CIRCA 1900

Still life with Etching tools

Etching, 212 x 146 mm Katrin Bellinger Collection, inv. no. 2018-033

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François Bonvin , Paris 1817-1887 Saint-Germain-en-Laye

The Etcher’s Tools

Drypoint on laid paper, 224 x 148 mm Katrin Bellinger Collection, inv. no. 1999-040

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Christelle Téa, 1988

Watercolour box with brushes and a glass of water, 2020

Chinese ink and watercolour on paper, 222 x 291 mm Katrin Bellinger Collection, inv. no. 2020-011

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David Hockney, Bradford 1937

Two Lemons and Four Limes, 1971

C-Print, 180 x 239 mm Katrin Bellinger Collection, inv. no. 2018-037

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Jim Dine, Cincinnati 1935

COLORS NO. 1 (paintBOX), 1961

Watercolour and graphite on paper, 345 x 250 mm Katrin Bellinger Collection, inv. no. 2015-023

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Jim Dine, Cincinnati 1935

COLORS NO. 2 (paintBOX), 1961

Watercolour and graphite on paper, 340 x 245 mm Katrin Bellinger Collection, inv. no. 2015-024

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Jim Dine, Cincinnati 1935

FIVE PAINT BRUSHES (SIXTH STATE), 1972

Etching on copperplate deluxe paper, 59.7 x 90.2 cm (plate) Katrin Bellinger Collection, inv. no. 2015-026

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Horst Janssen, Hamburg 1929-1995 Hamburg

Nichsagen, zeichnen (Buntstifte), 1974

Felt pen and pencil on handmade paper, 165 x 236 mm Katrin Bellinger Collection, inv. no. 2019-072

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Michael Craig-Martin, Dublin 1941

Savarin Can, 2018

Digital print on Hahnemühle Photo Rag Bright White 310gsm paper, 420 x 290 mm Katrin Bellinger Collection, inv. no. 2019-048

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Abraham Bosse, Tours 1604-1676 Paris

GRAVEURS EN TAILLE-DOUCE, 1643

Etching, 257 x 327 mm Katrin Bellinger Collection, inv. no. 2010-009

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Abraham Bosse, Tours 1604-1676 Paris

THE WORKSHOP OF A PRINTER, 1642

Etching, 257 x 327 mm Katrin Bellinger Collection, inv. no. 2010-010

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NICOLAS-HENRI JACOB , Paris 1782-1871 Paris

The Genius of the Invention of Lithography, 1819

Lithograph, 190 x 163 mm Katrin Bellinger Collection, inv. no. 2018-047

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PIERRE BAQUOY (AFTER JEAN MICHEL LE JEUNE), Paris 1759 - 1829 Paris

Atelier of an Engraver, 1806

Etching and engraving, 181 x 315 mm Katrin Bellinger Collection, inv. no. 2012-028

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MAX KLINGER , Leipzig 1857-1920 Grossjena

TITLEPAGE: RADIERUNGEN, 1881

Etching, 103 x 104 mm Katrin Bellinger Collection, inv. no. 2009-039

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HANS MEID , Pforzheim 1883-1957 Berlin

AT THE ETCHING TABLE: INTERIOR WITH SELF-PORTRAIT, 1912

Etching and drypoint (artist proof), 220 x 234 mm Katrin Bellinger Collection, inv. no. 1994-008

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George BELLOWS , Columbus 1882-1925 New York

GENE SPEICHER DRAWING ON A STONE, 1921

Lithograph, 289 x 219 mm Katrin Bellinger Collection, inv. no. 2017-010

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OTTO GREINER , Leipzig 1869-1916 Munich

AN ARTIST-LITHOGRAPHER WITH HIS PRINTER

Pen and black ink, 187 x 225 mm Katrin Bellinger Collection, inv. no. 1990-001

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ANGILBERT GÖBEL , Frankfurt am Main 1821-1882 Frankfurt am Main

THE ENGRAVER, JOHANNES KASPAR EISSENHARDT, IN HIS STUDIO, CIRCA 1850

Oil on paper on canvas, 525 x 372 mm Katrin Bellinger Collection, inv. no. 2011-058

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JEAN PIERRE NORBLIN , Misy-sur-Yonne 1745-1830 Paris

Self-portrait as printmaker

Etching, 137 x 147 mm Katrin Bellinger Collection, inv. no. 1993-019

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Paul Mathey, Paris 1844–1929 Paris

Félicien Rops at the Press, 1888

Pencil and pen in brown ink, with white gouache, 315 x 228 mm Katrin Bellinger collection, inv. no. 1992-019

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Rembrandt Harmensz. van Rijn, Leiden 1606–1669 Amsterdam

Self-Portrait at a Window, Drawing on an Etching Plate, 1648

Etching with drypoint and engraving, 159 x 130 mm Katrin Bellinger Collection, inv. no. 2012-003

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Jean-Auguste-Dominique Ingres, Montauban 1780-1867 Paris

Portrait of Auguste Gaspard Louis Boucher-Desnoyers, 1825

Graphite on vellum paper, 357 x 270 mm Katrin Bellinger Collection, inv. no. 1995-038

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MAURICE LANGASKENS , Ghent 1884-1946 Schaerbeek

Le Graveur

Drypoint on China paper, 990 x 128 mm Katrin Bellinger Collection, inv. no. 2018-063

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Honoré Victorin Daumier, Marseille 1808–1879 Valmondois

L’Aquafortiste

Oil on canvas, 135 x 180 mm Katrin Bellinger Collection, inv. no. 1993-003

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Pierre Bonnard , Fonenay-Aux Roses 1867-1947 Le Cannet

LE GRAVEUR, CIRCA 1930

Etching, 330 x 250 mm Katrin Bellinger Collection, inv. no. 2019-62

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Augustus Edwin JOHN, Tenby 1878-1961 Fordingbridge

SELF-PORTRAIT IN A HAT, 1902

Etching, 127 x 101 mm Katrin Bellinger Collection, inv. no. 2015-015

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PAUL-ADOLPH RAJON (AFTER GÉRÔME), Dijon 1843 - 1888 Auvers-sur-Oise

REMBRANDT IN HIS STUDIO

Lithograph, 350 x 257 mm Katrin Bellinger Collection, inv. no. 2008-019

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FRANÇOIS BONVIN , Paris 1817-1887 Saint-Germain-en-Laye

Le Graveur, 1861

Drypoint on handmade paper, 216 x 162 mm Katrin Bellinger Collection, inv. no. 1998-015

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EDMOND BÉNARD, Paris 1838-1907 Paris

THE PRINTER-ENGRAVER AUGUSTE MAULER IN HIS STUDIO, 1880-1900

Contemporary proof on albumin paper, 203 x 264 mm Katrin Bellinger Collection, inv. no. 2015-069

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ÉRIK DESMAZIèRES , Rabat 1948

L’ATELIER RENE TAZE, 1992

Engraving, 650 x 500 mm Katrin Bellinger Collection, inv. no. 2016-037

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MATHIAS JOHANSSON, Ostersund 1961

LOUISE BOURGEOIS WORKING ON HER PRINTING PRESS AT HOME, 1995, 1995, printed in 2013

Selver gelatin print, 317 x 470 mm Katrin Bellinger Collection, inv. no. 2013-023

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Inge MORATH , Graz 1923-2002 New York

Saul Steinberg (from the series, Saul Steinberg Masks), 1959

Vintage silver print, 327 x 220 mm Katrin Bellinger Collection, inv. no. 2019-065

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Jacob Hilsdorf, Bingen 1872-1916 Frankfurt

PORTRAIT OF THE PAINTER, ADOLPH VON MENZEL, standing with a book, 1904

Vintage carbon print, 203 x 105 mm Katrin Bellinger Collection, inv. no. 2019-078

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Daniel Berger, Berlin 1744-1824 Berlin

The Three Fine Arts, After Angelica Kauffman, 1786

Engraving, 172 x 224 mm Katrin Bellinger Collection, inv. no. 2019-053

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FRIEDRICH HEINRICH FÜGER , Heilbronn 1751-1818 Vienna

Portrait of Angelica Kauffman

Pen and grey wash, over an underdrawing in pencil, 199 x 138 mm Katrin Bellinger Collection, inv. no. 2019-071

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Franz Ritter von Felbinger, Hainburg on the Danube 1844 - 1906 Trebitsch

Self-Portrait on Artist’s Palette, 1887

Oil on wooden artist's palette, 400 x 270 mm Katrin Bellinger Collection, inv. no. 2019-070

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Maurice Eliot, Paris 1862-1945 Épinay-sous-Sénart

Self-Portrait, 1887

Pastel, 610 x 500 mm Katrin Bellinger Collection, inv. no. 2019-060

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Louis de Carmontelle, Paris 1717-1806 Paris

Vivant Denon faisant le portrait du chevalier de Cossé, CIRCA 1775

Watercolour, black and red chalk, 335 x 215 mm Katrin Bellinger Collection, inv. no. 2019-011

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Philipp Otto Runge, Wolgast 1777-1810 Hamburg

Hands Drawing, 1798

Black chalk with white heightening on white paper, 310 x 205 mm Katrin Bellinger Collection, inv. no. 2019-058

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Rose-Marie Guillaume, Tours 1875-after 1896 Paris

A PAINTER IN THE STUDIO OF THE ACADÉMIE JULIAN, PARIS

Black chalk, watercolour, gouache, 610 x 440 mm Katrin Bellinger Collection, inv. no. 2011-012

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Anonymous

Portrait of a female artist, circa 1800

Pastel and black chalk on paper, 590 x 460 mm Katrin Bellinger collection, inv. no. 2015-007

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Virginie Augeron, Active late 18th century

Self-Portrait at an Easel, holding a Palette and Brushes, in a Park Landscape, 1794

Black and red chalk, heightened with white, 360 mm (diameter) Katrin Bellinger Collection, inv. no. 2017-054

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Anonymous, French school

The drawing lesson, 19th century, second half

Oil on canvas, 210 x 150 mm Katrin Bellinger collection, inv. no. 2015-090

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Tom Heywood, active 1868-1913

TWO LADIES IN A DRAWING SCHOOL, 1868

Watercolour, 441 x 278 mm Katrin Bellinger Collection, inv. no. 1990-003

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Arthur Pond, London 1701-1758 London

An Amateur Pastellist at her Easel, Circa 1737

Pastel on linen canvas, 640 x 508 mm Katrin Bellinger Collection, inv. no. 2017-007

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Anton Sorg, printer, Augsburg 1430-1493 Augsburg

Marcia as sculptor and painter (from Boccaccio, De Mulieribus Claris), 1479/94

Woodcut, 256 x 181 mm Katrin Bellinger Collection, inv. no. 1995-028

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Cyrus Cincinnati Cuneo, San Francisco 1878-1916 London

FEMALE STUDENTS IN WHISTLER’S ACADEMY IN PARIS, c. 1898/99

Pen and ink, 457 x 305 mm Katrin Bellinger Collection, inv. no. 2011-028

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Francesco Bartolozzi, Florence 1727-1815 Lisbon

A YOUNG WOMAN, DRAWING, 1799

Black and red chalk, on laid paper, 254 x 364 mm Katrin Bellinger Collection, inv. no. 2017-004

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ROBERT LÉOPOLD LEPRINCE , Paris 1800-1847 Chartres

THE DRAWING LESSON

Pen and brown ink and wash, 240 x 300 mm Katrin Bellinger collection, inv. no. 2008-011

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GIJSBERTUS JOHANNUS VAN DEN BERG , Rotterdam 1769-1817 Rotterdam

THE DRAWING LESSON, 1790S

Red and black chalk, 483 x 375 mm Katrin Bellinger collection, inv. no. 2011-013

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Jean-François Bosio, Monaco 1764-1827 Paris

Portrait of an artist sketching in a Parisien interior

Pen and brown ink, brown wash heightened with white on blue paper, 269 x 197 mm Katrin Bellinger collection, inv. no. 2019-056

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François Bonvin, Paris 1817-1887 Saint-Germain-en-Laye

Sophie Unternährer painting at the Easel, 1848

Oil on canvas, 242 x 187 mm Katrin Bellinger Collection, inv. no. 2018-041

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François Bonvin, Paris 1817-1887 Saint-Germaine-en-Laye

A WOMAN PAINTING AT AN EASEL, c. 1848

Black chalk, 237 x 156 mm Katrin Bellinger Collection, inv. no. 1999-013

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Catherine Caroline C. Engelhart, Copenhagen 1845-1926 Sèvres

THE ARTIST IN HER STUDIO, 1894

Oil on canvas, 790 x 550 mm Katrin Bellinger Collection, inv. no. 2001-016

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ANNE GUÉRET, Paris 1760-1805 Paris

PORTRAIT OF A FEMALE ARTIST WITH A PORTFOLIO (SELF-PORTRAIT?), 1793?

Black chalk, pen and grey ink and wash, heightened with white gouache, 320 x 404 mm Katrin Bellinger Collection, inv. no. 2008-012

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Jules Alfred Huot de Goncourt, Paris 1830-1870 Auteuil-Neuilly-Passy

PORTRAIT OF MADEMOISELLE BLANCHE PASSY AT HER EASEL, 1859

Pencil, 248 x 165 mm Katrin Bellinger collection, inv. no. 2011-063

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FANNY GUILLAUME BARONNE DE MOLARET , Chartres 1820 - 1888 Chartres?

Landscape painter at her easel, 1837

Graphite on vellum, 282 x 222 mm Katrin Bellinger collection, inv. no. 2015-017

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Francesco Bartolozzi , Florence 1727-1815 Lisbon

PORTRAIT OF ANGELICA KAUFFMANN, AFTER SIR JOSHUA REYNOLDS, 1780

Stipple engraving, 330 x 260 mm Katrin Bellinger collection, inv. no. 2002-006

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Thomas Worlidge, Peterborough 1700-1766 London

Portrait of the artist Sofonisba Anguissola

Etching, 216 x 160 mm Katrin Bellinger Collection, inv. no. 2019-045

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Felix Bracquemond, Paris 1833-1914 Sèvres

La Terrasse (THE ARTIST’S WIFE, MARIE BRACQUEMOND, DRAWING), 1876

Etching on chamoise laid paper, 250 x 350 mm Katrin Bellinger Collection, inv. no. 2018-062

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Kati Horna, Budapest 1912-2000 Mexico City

LEONORA CARRINGTON IN HER STUDIO, 1954

Vintage gelatin silver print, 250 x 200 mm Katrin Bellinger collection, inv. no. 2015-019

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Fritz Eschen, Berlin 1900-1964 Melk

Renée Sintenis at work on the ‘Knabe mit Querflöte’, c. 1952-53

Vintage silver print, 400 x 299 mm Katrin Bellinger collection, inv. no. 2017-053

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Lisa Brice, Cape Town 1968

Untitled, 2019

Oil on trace, 419 x 296 mm Katrin Bellinger Collection, inv. no. 2019-063

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Remigio Cantagallina, Sansepolcro 1582-1656 Florence

AN ARTIST SKETCHING AN AVALANCHE OF TREES IN AN ITALIANATE LANDSCAPE

Black chalk, pen and brown ink, single pen and brown ink framing lines, on laid paper, 192 x 252 mm Katrin Bellinger collection, inv. no. 2015-028

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Allaert van Everdingen, Alkmaan 1621-1675 Amsterdam

Travellers Sketching in a Glade by a Stream and Fir Trees

Watercolour and bodycolour, brown framing lines, 145 x 223 mm Katrin Bellinger collection, inv. no. 1991-008

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Lambert Doomer, Amsterdam 1624-1700 Amsterdam

An artist seated by a tree, sketching, c. 1660

Pen and brown ink, brown wash, 145 x 117 mm Katrin Bellinger collection, inv. no. 1992-001

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Antoine-Félix Boisselier, Paris 1790 - 1857 Versaille

AN ARTIST WITH A SKETCHBOOK, PERCHED IN A TREE

Pen and brown wash, black chalk, and pencil, 150 x 107 mm Katrin Bellinger collection, inv. no. 1996-008

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Johann Christoph Erhard, Nuremberg 1795-1822 Rome

THE DWARF-ARTIST HOFFMANN, SKETCHING IN A LANDSCAPE

Pencil, 138 x 104 mm Katrin Bellinger collection, inv. no. 1992-023

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Wilhelm von Kobells, Mannheim 1766-1853 Munich

The Draughtsman, c. 1846

Etching, 155 x 130 mm Katrin Bellinger collection, inv. no. 1992-027

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Johann Adam Klein, Nürnberg 1792-1875 Munich

An artist’s visiting card, 1814

Etching, 750 x 820 mm Katrin Bellinger collection, inv. no. 1993-005

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Johann Adam Klein, Nuremberg 1792-1875 Munich

A draughtsman with a herd, 1844

Etching, 341 x 258 mm Katrin Bellinger collection, inv. no. 2002-010

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Hubert Robert, Paris 1733-1808 Paris

Deux dessinateurs au milieau de fragments antiques, devant le Panthéon de Paris, 1804

Pen and grey ink with watercolour over underdrawing in pencil, 130 x 200 mm Katrin Bellinger Collection, inv. no. 2016-006

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Carlo Labruzzi, Rome 1748-1817 Perugia

The Colosseum from the Palatine Hill, Rome; A GROUP OF FIGURES AND THE ARTIST SKETCHING

Pen and watercolour over traces of pencil, 375 x 540 mm Katrin Bellinger collection, inv. no. 2012-017

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Frierich Preller the Elder, Eisenach 1804-1874 Weimar

The artist with his pupils in nature in the island of Vilm, 1847

Pencil and white wash on brown paper, 161 x 139 mm Katrin Bellinger collection, inv. no. 2016-031

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Thomas Rowlandson, London 1756-1827 London

An Artist Travelling in Wales, c. 1797

Pen and ink and watercolour over touches of pencil (n the artist's original wash line mount), 282 x 282 mm Katrin Bellinger collection, inv. no. 2019-044

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Heinrich Ahrens, Braunschweig 1805-1863 Kassel

Self-portrait, with dog, tobacco pipe, sketchbook and pencil, lying in Bergpark Wilhelmshöhe

Oil on canvas, 36.4 x 45 cm Katrin Bellinger collection, inv. no. 2018-064

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Julius von Blaas, Albano Laziale 1845-1923 Bad Hall

A woman painter sketching in a forest

Oil on canvas, 45 x 71 cm Katrin Bellinger collection, inv. no. 2012-020

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Onorato Carlandi, Rome 1848-1939 Rome

GIUSEPPE FERRARI VIEWED FROM BEHIND SKETCHING EN PLEIN AIR

Pen and brown ink, 254 x 177 mm Katrin Bellinger collection, inv. no. 2002-028

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Henri-Joseph Harpignies, Valenciennes 1819-1916 Saint-Privé

A draughtsman in the forest, 1901

Black chalk, 435 x 295 mm Katrin Bellinger collection, inv. no. 2009-014

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Richard Müller, Tschirnitz 1874-1954 Dresden

Atelier en plein air at the Geiersburg ruins near Teplitz, 1939

Pencil on vellum, 218 x 265 mm Katrin Bellinger collection, inv. no. 2018-065

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Anonymous, French, early 20th century

Artist painting in a field

Collodian sepia print, 151 x 105 mm Katrin Bellinger collection, inv. no. 2014-007

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Eugene Emmanuel Viollet-le-Duc, Paris 1814-1879 Lausanne

The artist sketching while trapped in a crevasse, 1870

Watercolour heightened with gouache, 229 x 133 mm Katrin Bellinger Collection, inv. no. 2017-003

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Evelyn Dunbar, Reading 1906-1960 Wye

CHARLES MAHONEY DRAWING PLANTS IN THE GARDEN OF THE CEDARS, c. 1936

Pen and ink, 85 x 120 mm Katrin Bellinger Collection, inv. no. 2015-032

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Cyrus Cincinnati Cuneo, San Francisco 1878-1916 London

SELF-PORTRAIT, SKETCHING OUT OF DOORS

Oil on board, 38.1 x 28 cm Katrin Bellinger collection, inv. no. 2013-015

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Charles Desavary, Arras 1837-1885 Arras

JEAN-BAPTISTE COROT PAINTING AT SAINT-NICOLAS-LES ARRAS, c. 1875

Vintage albumen print, 137 x 100 mm Katrin Bellinger collection, inv. no. 2013-034

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Eugène Decan, Paris 1829-1893 Paris

COROT PAINTING OUTSIDE

Oil on canvas, 241 x 349 mm Katrin Bellnger collection, inv. no. 2010-004

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Giovanni Battista Pace, Rome 1650-1699 Rome

Saint Luke painting the Virgin

Red chalk, lightly squared in black chalk, 253 x 197 mm Katrin Bellinger collection, inv. no. 2018-066

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Emile Friant, Dieuze 1863 - 1932 Paris

Self-portrait reading in the studio

Oil on canvas laid down on panel, 35.2 x 33 cm Katrin Bellinger collection, inv. no. 2018-039

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Emile Friant, Dieuze 1863-1932 Paris

Portrait of Jacques Majorelle (1886-1962), 1911

Black chalk, 540 x 380 mm Katrin Bellinger collection, inv. no. 2019-005

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Paul Mathey, Paris 1844-1929 Paris

Portrait of Paul Renouard, drawing, c. 1891

Charcoal, 335 x 240 mm Katrin Bellinger collection, inv. no. 2019-006

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Serge Vandercam, Copenhagen 1924-2005 Wavre

Jean Arp

Silver vintage print, 500 x 400 mm Katrin Bellinger collection, inv. no. 2018-019

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Albrecht Fuchs, Bielefeld 1964

John Baldessari in his studio, Los Angeles, 2004

C-print, 310 x 248 mm Katrin Bellinger collection, 2018-068

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Antony Gormley, London 1950

The Origin of Drawing VIII, 2008

Carbon and casein on paper, 190 x 273 mm Katrin Bellinger Collection, inv. no. 2018-054

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Henri Fantin-Latour, Grenoble 1836-1904 Buré

Self-Portrait, in the Studio

Oil on panel, 335 x 318 mm Katrin Bellinger collection, inv. no. 1997-026

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Cornelis Pietersz Bega, Haarlem 1631/32-1664 Haarlem

Self-Portrait, c. 1649-50

Oil on paper, 187 x 172 mm Katrin Bellinger collection, inv. no. 2007-036

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Carlo Maratti, Camerano, Marche 1625-1713 Rome

Portrait of Annibale Carracci

Black and red chalk, 157 x 120 mm Katrin Bellinger collection, inv. no. 2014-028

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Giovanni Domenico Tiepolo, Venice 1727 - 1804 Venice

Punchinello as a Portrait Painter, c. 1802-03

Pen and brown ink, brown and ochre wash, over black chalk, 355 x 470 mm Katrin Bellinger collction, inv. no. 2004-014

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Hubert Robert, Paris 1733-1808 Paris

An Artist Seated at a Table in his Studio Drawing a Bust of A Woman, c. 1763-65

Red chalk, 333 x 441 mm Katrin Bellinger Collection, ind. no. 2002-012

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Livio Mehus, Oudenaarde 1630-1691 Florence

Self-Portrait

Red chalk, 214 x 168 mm Katrin Bellinger collection, inv. no. 1999-035

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Lucian Freud, Berlin 1922-2011 London

The Artist’s Studio, with a Study for ‘Large Interior after Watteau’ on an Easel, 1983

Pen and ink, coloured chalks, and wash, 178 x 254 mm Katrin Bellinger collection, inv. no. 2002-020

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Max Liebermann, Berlin 1847–1935

Self-Portrait with Straw Hat and Sketch Pad, c. 1924

Watercolour, 309 x 244 mm Katrin Bellinger Collection, inv. no. 2010-029

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Horst Janssen, Hamburg 1929–1999 Hamburg

Self-Portrait, Poster Design for Galerie Kornfeld, 1971

Black and coloured chalks, 560 x 332 mm Katrin Bellinger Collection, inv. no. 2012-016

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Egon Schiele, Tulin 1890 – 1918 Vienna

Office at the Mühling Prisoner-of-War Camp, 1916

Black and red crayon, 461 x 292 mm Katrin Bellinger Collection, inv. no. 2013-031

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Georges Seurat, Paris 1859–1891 Paris

Le Peintre à la palette, c. 1881

Black conté crayon, 175 x 110 mm Katrin Bellinger Collection, inv. no. 2010-028

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Ermenegildo Antonio Donadini, Spolarto 1847–1936 Radebeul

Artist’s Studio, Munich, 1877

Pencil, 348 x 417mm Katrin Bellinger collection, inv. no. 2010-011

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Hubert Robert, Paris 1733 - 1808 Paris

Roman Studio of the Antiquities Restorer, Bartolomeo Cavaceppi, 1765

Black chalk Katrin Bellinger Collection, inv. no. 2013-030

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Pierfrancesco Mola, Coldrerio 1612-1666 Rome

Self-Portrait

Black and red chalk; yellow, red, blue and mauve, brown and white pastels on light brown paper, 315 x 246 mm Katrin Bellinger collection, inv. no. 2016-026

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Jean Honoré Fragonard, Grasse 1732-1806 Paris

The Inspiration of the Artist

Pen and brown ink and wash over black chalk within pen and brown ink framing lines, 230 x 349 mm Katrin Bellinger Collection, inv. no. 2016-025

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Jacques Antoine Marie Lemoine, Rouen 1751-1824 Paris

Portrait of Jean Honoré Fragonard, 1797

Black chalk, stomp and highlights in white chalk on beige paper, 320 x 225 mm Katrin Bellinger Collection, inv. no. 2016-016

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Pierre Puvis de Chavannes, Lyon 1824-1898 Paris

Self-Portrait holding a Palette, c. 1883-87

Pastel on linen canvas, 653 x 500 mm Katrin Bellinger Collection, inv. no. 2016-015

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Jean-Jacques Karpff, Colmar 1770-1829 Versailles

Self-Portrait, 1794

Pastel, 310 x 235 mm Katrin Bellinger Collection, inv. no. 2011-005

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Paul Cesar Helleu, Vannes 1859-1927 Paris

Paulette, the daughter of the Artist, drawing, circa 1920

Sanguine on paper, 482 x 370 mm Katrin Bellinger Collection, inv. no. 2017-017

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Lovis Corinth, Tapiau, Prussia 1858-1925 Zandvoort

Self-portrait with pencil and sketchbook, 1924

Graphite, 313 x 248 mm Katrin Bellinger collection, inv. no. 2017-006

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Phyllida Barlow, Newcastle upon Tyne 1944

Untitled: Paintsticks, 2017

11 Bronze sticks Katrin Bellinger Collection, inv. no. 2017-043

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Not Vital, Engadin 1948

Untitled (Self Portrait), 1995

Bronze, 21.6 x 21.6 cm Katrin Bellinger Collection, inv. no. 2017-040

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Ernst Scheidegger, Rorschach 1923-2016 Zürich

Salvador Dali, 2003

Silver gelatin print, 200 x 280 mm Katrin Bellinger Collection, inv. no. 2017-062

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Kalman Dery, Bacs 1859-1940 Munich

The Painter’s Studio, 1883

Oil on canvas, 49.5 x 68 cm Katrin Bellinger Collection, inv. no. 2018-002

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Martinus Rørbye, Drammen 1803-Copenhagen 1848

Portrait of Professor C. A. Lorentzen in his Studio, 1827

Oil on canvas, 70.4 x 57.1 cm Katrin Bellinger Collection, inv. no. 2017-044

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John Sergeant, London 1937-2007 Powys

The Drawing School at the Royal Academy, 1962

Coloured chalks and crayon, 68.6 x 71.1 cm Katrin Bellinger Collection, inv. no. 2017-050

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John Ward, Hereford 1917-2007 Bilting, Kent

Sel-portrait with model

Pencil, 311 X 464 mm Katrin Bellinger Collection, inv. no. 2017-049

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Victor-Charles-François Mongodin, Vire 1819 - ?

Un peintre

Black pencil, charcoal, stumping, white chalk, heightened with gouache on lilac paper, 305 x 223 mm Katrin Bellinger Collection, inv. no. 2018-051

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Lovis Corinth, Tapiau, Prussia 1858-1925 Zandvoort

Self-portrait, 1920-21

Lithograph on cream laid Japan paper, 315 x 250 mm Katrin Bellinger Collection, inv. no. 2018-027

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Hilaire-Germain-Edgar Degas, Paris 1834-1917 Paris

Study of the Artist’s Hands, with Subsidiary Studies after the “Nike Unbinding her Sandal Strap,” and a Figure Wearing a Cope, circa 1853-54

Graphite on pale pink laid paper, 123 x 234 mm Katrin Bellinger Collection, inv. no. 2018-015

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Honoré Victorin Daumier, Marseilles 1808-1879 Valmondois

Le peintre (presumed Portrait of Corot), circa 1866-67

Pen and black ink on laid paper, 248 x 184 mm Katrin Bellinger Collection, inv. no. 2018-050

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Georg Friedrich Schmidt, Berlin 1712-1775 Berlin

Self-portrait, Drawing, 1752

Etching and engraving, 211 x 172 mm Katrin Bellinger Collection, inv. no. 2018-048

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Frans Francken II, Antwerp 1581–1642

A Painter at his Easel

Oil on copper, 280 x 240 mm Katrin Bellinger Collection, inv. no. 1998-039

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Emile Friant, Dieuze 1863–1932 Paris

UN CONSEIL, 1913

Engraving, 280 x 175 mm Katrin Bellinger Collection, inv. no. 2017-032

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Emile Friant, Dieuze 1863–1932 Paris

Victor Prouvé (1858-1943) in His Studio, ‘Le Coin Favori’, 1883

Oil on panel, 547 x 455 mm Katrin Bellinger Collection, inv. no. 2000-024

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Paul Mathey, Paris 1844–1929 Paris

Félicien Rops in His Studio

Oil on canvas, 650 x 500 mm Katrin Bellinger Collection, inv. no. 1998-003

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Petrus van Schendel, Terhijden 1806–1870 Brussels

Artist in His Studio

Oil on wood, 43.6 x 60.5 cm Katrin Bellinger Collection, inv. no. 2007-008

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Anthony van Dyck, Antwerp 1599–1641 London

Portrait of Karel van Mallery (1571-1645)

Oil on board, 230 x 178 mm Katrin Bellinger Collection, inv. no. 1998-010

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Pierre Louis Bouvier, Geneva 1766-1836 Geneva

Portrait of a Lady, Half-Length, Holding an Artist’s Portfolio, Seated at a Table with a Chest of Drawing Materials, 1812

Oil on canvas (unlined), 222 x 195 mm Katrin Bellinger Collection, inv. no. 2016-003

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Daniel Maclise, Cork 1806-1870 London

Self-Portrait as a Young Man, circa 1826 - 27

Oil on panel, 230 x 190 mm Katrin Bellinger collection, inv. no. 2015-025

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Edouard Duyck, Brussels 1856-1897 Brussels

Self-Portrait, As reflected from a Convex Mirror, 1883

Oil on panel, 12 cm (diameter) Katrin Bellinger Collection, inv. no. 2000-015

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Walter Gay, Boston 1856–1937 Le Bréau

Studio of the Sculptor, Jean-Louis Gregoire, 1888

Oil on panel, 405 x 270 mm Katrin Bellinger collection, inv. no. 2011-002

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François Bonvin, Paris 1817–1887 Saint-Germain-en-Laye

The Artist’s Sign, a Trompe L’Oeil with Palette, 1866

Oil on zinc, 250 x 170 mm Katrin Bellinger collection, inv. no. 2010-011

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Georg Friedrich Schmidt, Berlin 1712–1775 Berlin

Self-Portrait with Spider in the Window, 1758

Etching, 247 x 192 mm Katrin Bellinger Collection, inv. no. 2011-010

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Enea Vico, Parma 1523–1567 Ferrara

The Academy of Baccio Bandinelli, c. 1545/50

Engraving, 309 x 483 mm Katrin Bellinger Collection, inv. no. 1998-039

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Rembrandt Harmensz. van Rijn, Leiden 1606–1669 Amsterdam

Rembrandt and Saskia, 1636

Etching, 105 x 93 mm Katrin Bellinger collection, inv. no. 2013-002

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Érik Desmazières, Rabat 1948

Rembrandt’s Kunstcaemer, 2007

Etching with roulette and aquatint, 417 x 566 mm Katrin Bellinger Collection, inv. no. 2012-025

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Frederick Bloemaert (after Abraham Bloemaert), Utrecht c. 1616–1690 Utrecht

A Student Draughtsman, Drawing Plaster Casts, 1740

Engraving in printed book, 380 x 300 mm Katrin Bellinger Collection, inv. no. 1995-071

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Norbert Goeneutte, Paris 1854-1894 Auvers-sur-Oise

Portrait of the Artist’s Brother, Charles Goeneutte, Before 1888

Drypoint on Arches laid paper, 550 x 345 mm Katrin Bellinger Collection, inv. no. 2016-022

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Angilbert Göbel, Frankfurt 1821-1882 Frankfurt

Portrait of the Artist, Christian Siedentopf Engraving and Smoking, 1843

Etching, 146 x 146 mm Katrin Bellinger Collection, inv. no. 2016-012

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Giovanni Benedetto Castiglione, Genoa 1609-1664 Mantua

The Genius of Castiglione

Etching, 368 x 245 mm Katrin Bellinger collection, inv. no. 2016-041

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Georg Baselitz, Kamenz 1938

Der Maler

Etching, 315 x 237 mm Katrin Bellinger collection, inv. no. 2016-040

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Francisco Jose de Goya y Luciente, Fuendetodos, Aragon 1746-1828 Bordeaux

Self-Portrait, c. 1797-98

Etching and aquatint, 218 x 153 nm Katrin Bellinger Collection, inv. no. 2017-041

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David Dawson, Pwllheli 1960

Lucian Freud, Shaving from Lucian Freud: Studio Life

C-type photographic print, 553 x 743 mm Katrin Bellinger Collection, inv. no. 2012-008

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Anonymous, 20th c.

Max Liebermann Painting His Self-Portrait in His Studio, Pariser Platz, Berlin

Gelatin silver print, 130 x 178 mm Katrin Bellinger Collection, inv. no. 2006-023

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Bern Schwartz, New York City 1914–1978 La Jolla

Portrait of David Hockney, 1977

Printed from a digital scan of original negative Katrin Bellinger Collection, inv. no. 2008-024

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Joseph Parkin Mayall, Huddersfield 1839-1906 London

Portrait of Frederic, Baron Leighton of Stretton, R.A., c. 1884

Albumen print, 179 x 217 mm Katrin Bellinger Collection, inv. no. 2000-041

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Paul Marsan, Paris 1858–1941 Paris

The Painter and Engraver, Félix Bracquemond, 1904

Vintage citrate print, 108 x 170 mm Katrin Bellinger Collection, inv. no. 2013-009

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Ugo Mulas, Pozzolengo 1928-1973 Milan

Jim Dine, New York, 1964/65

Vintage silver gelatin print, 275 x 475 mm Katrin Bellinger Collection, inv. no. 2016-004

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Henri Cartier-Bresson, Chauteloup-en-Brie 1908-2004 Montjustin

Henri Matisse, 1944

Vintage silver print, 177 x 253 mm Katrin Bellinger Collection, inv. no. 2015-089

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Emile-Antoine Bourdelle, Montauban 1861–1929 Le Vésinet

The Young Sculptor, c. 1908

Bronze, 28 cm (height) Katrin Bellinger Collection, inv. no. 2014-046

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Vincenzo Gemito, Naples 1852–1929 Naples

The Hands of Jean-Louis Ernest Meisonnier, 1879

Bronze, 200 mm Katrin Bellinger Collection, inv. no. 2000-007

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Anonymous, Southern German School

Female Mannequin, c. 1550

Boxwood, 450 mm Katrin Bellinger Collection, inv. no. 2011-027

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Denys Pierre Puech, Gavernac 1854–1942 Paris

Portrait of Léon Bonnat, Full-Length, Holding a Palette, 1903

Plaster of Paris, 525 mm Katrin Bellinger Collection, inv. no. 2008-008