366 UMMA Objects
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This photograph depicts the chantry in the nave of a cathedral. A large column consumes the majority of the foreground of the image, while a patch of sunlight illuminates ornate carvings in the background.
Francis Bedford (British (modern))
Chantry in the Nave, Wells Cathedral
1850 – 1894
Gift of Margaret and Howard Bond
1979/2.103
View of several row boats with passengers moored on the edge of a body water across from a town. 
Francis Frith (British (modern))
Windsor Castle
1858 – 1880
Gift of Margaret and Howard Bond
1979/2.106
This screenprint has a simple, graphic image of a folded piece of paper on a table. The folded paper outline with dark black lines and colored in a beige color. The table is similarly outlined and is colored white. The background is a bright red color. The print is inscribed by the artist in pencil (l.r.).
Patrick Caulfield (British (modern))
Watch me eat, without appetite, à la carte
1973
Gift of Jack A. and Noreen Rounick
2004/2.80.2
This print has two series of thick black parallel lines that form a zig-zag pattern and connect out to a series of spheres, resembling a wall-mounted coat rack. There are two lines of spheres; the three on the top are light purple and the three on the bottom are dark purple. The background and the structure created by the parallel lines is in a dark purple. The print is signed and editioned in pencil (l.r.) "Patrick Caulfield AP".
Patrick Caulfield (British (modern))
Oh! if one of Them, some fine evening, would try
1973
Gift of Jack A. and Noreen Rounick
2004/2.80.10
This print is almost entirely solid black. At the top center, there are two planes of color, shades of blue, separated by a thick black line. This creates an image resembling an opened curtain, looking out a window from a dark room. The print is signed and editioned in pencil (l.r.) "Patrick Caulfield AP".
Patrick Caulfield (British (modern))
And, with my eyes bolting toward the unconscious
1973
Gift of Jack A. and Noreen Rounick
2004/2.80.12
The majority of this print is solid black but on the right, there is a sliver of bright pink in the shape of a triangle. The print is signed and editioned in pencil (l.r.) "Patrick Caulfield AP".
Patrick Caulfield (British (modern))
Curtains drawn back from balconies of shores
1973
Gift of Jack A. and Noreen Rounick
2004/2.80.21

Bob Crossley (British (modern))
Transmutation-Terre Verte
1971
Gift of Myron and Bobbie Levine
2005/1.316
At the center of the lithograph, a tree's black trunk stretches from the bottom to the top of the print. The tree's abstract leaves and branches spread across the top of the print and there is ground cover across the bottom in exagerated texture. Signed (l.r.) "Moore" and numbered (l.l.) "53/150" in pencil.
Henry Moore (British (modern))
Forest
1973
Gift of Corrine Lemberg
2011/1.124
Portrait of a subject in costume, holding a book. "Ex Libris" printed in upper left corner.
J. Craig Annan (British (modern))
Ex Libris
1909
Gift of The Morris and Beverly Baker Foundation, in memory of Morris D. Baker, a graduate of The University of Michigan School of Architecture, 1952
2000/2.141.6

David Roberts (British (modern))
Encampment in the Desert, Near Monastery at Mount Sinai
1839
Gift of George H. Forsyth and Ilene H. Forsyth
2018/1.315
A farm scene depicting three men, horses, pigs, and a wagon. There are ducks in a small body of water in the foreground and buildings with thatched roofs in the background.
John Frederick Herring, Jr. (British (modern))
Farm Yard
1815 – 1907
Gift of Keren and Mark Kalimian
2018/2.143
This print consists of a series of horizontal bands that are made up of a variety of patterns, from grids to dots. The colors used are black, dark and light orange, yellow, pink, tan, white, blue, and red. At the base of the print, there is text in tan that reads: "The theory of relativity, may certainly be a true description of the facts concerned, even though the theory a theory which took such liberties fully, with the help of what is nothing but a host of metaphors taken from the languages of physics, of biology, and of social life, works out / their categorical structure, and only recasts what has formed concentric circles, surrounded by smaller orbs of the same space; then again a vertical band filled with horizontal strokes; and lastly, two vertical bands of concentric circles". The print is signed and numbered (l.r.) "Eduardo Paolozzi A.P 7".
Sir Eduardo Paolozzi (British (modern))
Theory of Relativity
1967
Gift of Professor Diane M. Kirkpatrick
2000/2.11.9
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