Database / Artworks
Artworks

Untitled
Brice Marden
Pencil and beeswax on paper · 1969
Museum of Modern Art

Lingotto
Mario Merz
Brush-wood, beeswax and steel · 1968
Tate

Embryo II
Lynda Benglis
Purified and pigmented beeswax, damar resin, and gesso on masonite · 1967
Museum of Modern Art

Untitled IV
Joseph Beuys
Glass, wood, and metal display case containing (left to right): Machine Aggregate (Maschinenaggregat), 1964: poppies, pine needles, machine parts, beeswax plate, shards of mirror, and fat in white tin can; Substances (Substanzen), 1977: eleven samples from Unschlitt/Tallow, 1977, and plastic box with fat; Plastic/Medicinal (Zinc Salve) Containing Blood Sausage (Plastik/Medizinisch [Zinksalbe] behandelte Blutwurst), 1964: blood sausage and zinc salve; Aus dem Maschineneraum (From the Machine Room), 1977-78: multiple of printed paper and can, and glass jar containing fat; Gelatin Wedge/Programmed (Gelatinekeil/Programmiert), 1969: gelatin, chocolate, and paper; Untitled (Beuys Brew) (Ohne Titel [Beuysbräu]), 1970: bottle carrier, eighteen "Dötze bottles," gelatin, glass, and oil paint; Untitled (Ohne Titel), 1973: grass plant (grass flower) and fat; Untitled (Proof for special edition of the magazine Interfunktionen, 61) (Ohne Titel [Klischee für Vorzugsausgabe der Zeitschrift Interfunktionen, Heft 61]), 1961: metal plate and oil paint · 1964
Museum of Modern Art

Dancer Holding Her Right Foot in Her Right Hand
Edgar Degas
pigmented beeswax, plastiline, metal armature, on wooden base · 1900
National Gallery of Art

Dancer Holding Her Right Foot in Her Right Hand
Edgar Degas
pigmented beeswax, metal armature, wood?, cork, on wooden base · 1900
National Gallery of Art

Woman Stretching
Edgar Degas
pigmented beeswax, metal armature, on wooden base · 1896
National Gallery of Art

Pregnant Woman
Edgar Degas
pigmented beeswax, plastiline, metal armature, cork, on wooden base · 1896
National Gallery of Art

Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over a yellow ink tone block, and transferred golden-yellow, green, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with brush and black ink and diluted yellow printing ink, on cream Japanese paper · 1893
Art Institute of Chicago

Te faruru (Here We Make Love), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown gouache, on cream Japanese paper (previously mounted on mottled blue wove paper laid down on cream wove card [a presentation mount]) · 1893
Art Institute of Chicago

Maruru (Offerings of Gratitude), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, with selective wiping of the black ink, over a yellow ink tone block, transferred golden-yellow, green, and red-orange, and stenciled red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream wove paper · 1893
Art Institute of Chicago

Te atua (The God) from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in yellow ocher and black inks, over yellow ink tone block, and transferred golden-yellow, green, red-orange, and red oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper · 1893
Art Institute of Chicago

Mahna no varua ino (The Devil Speaks), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed twice in brown and black inks, over a yellow, silver-gray and brownish-orange ink tone block, and transferred yellow, green, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), on ivory Japanese paper, laid down on cream wove card · 1893
Art Institute of Chicago

L’univers est créé (The Universe Is Being Created), from the Noa Noa Suite
Paul Gauguin
Wood-block print, printed in black ink with traces of residual brown ink, with selective wiping, over solvent-thinned and transferred and stenciled yellow, orange, red, blue, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), with touches of brush and black ink, on medium-weight, smooth, pink wove paper (faded to tan) · 1893
Art Institute of Chicago

Noa Noa (Fragrant), from the Noa Noa Suite
Paul Gauguin
Wood-block print in black ink, with touches of reddish-brown watercolor and black ink, over yellow ink tone block and transferred golden-yellow, orange, and green oil-based media, some containing beeswax and conifer resin (probably pine resin), on cream Japanese paper, laid down on heavy cream wove card · 1893
Art Institute of Chicago

Woman Washing Her Left Leg
Edgar Degas
beeswax, metal armature, ceramic, on wooden base · 1890
National Gallery of Art

Dancer Putting on Her Stocking
Edgar Degas
pigmented beeswax, metal armature, cork, on wooden base · 1890
National Gallery of Art

Woman Washing Her Left Leg
Edgar Degas
pigmented beeswax, metal armature, on wooden base · 1890
National Gallery of Art

Dancer Looking at the Sole of Her Right Foot
Edgar Degas
pigmented beeswax, metal armature, cork, on wooden base · 1890
National Gallery of Art

Jockey with Cap
Edgar Degas
pigmented beeswax, metal armature, cloth, paper · 1890
National Gallery of Art

Horse Galloping on the Right Foot, the Back Left Foot Only Touching the Ground
Edgar Degas
pigmented beeswax, metal armature, wool, cork, on wooden base · 1890
National Gallery of Art

Woman Seated, Wiping Her Left Hip
Edgar Degas
pigmented beeswax, shredded fabric, metal lid, wood, rope, cork, on wooden base · 1890
National Gallery of Art

Woman Seated in an Armchair, Wiping Her Left Armpit
Edgar Degas
pigmented beeswax, plastiline, metal armature, cork, wood, on wooden base · 1890
National Gallery of Art

Woman Seated, Wiping Her Left Side
Edgar Degas
pigmented beeswax, plastiline, metal armature, wood, cork, on wooden base · 1890
National Gallery of Art