Chinese White Collection

Riverside Drive, (pen and black ink, brush and ink wash and Chinese white on board)
651016 Riverside Drive, (pen and black ink, brush and ink wash and Chinese white on board) by Glackens, William James (1870-1938); 27.3x29.9 cm; Private Collection; (add.info.: Riverside Drive)

Bahama Island Light, 1883 (watercolour, chinese white and pencil on blue-grey paper)
823179 Bahama Island Light, 1883 (watercolour, chinese white and pencil on blue-grey paper) by Moran, Thomas (1837-1926); 25.5x36 cm; Private Collection; (add.info.: Bahama Island Light)

The Honeymoon, 1875 (pencil and Chinese white on gray paper)
650869 The Honeymoon, 1875 (pencil and Chinese white on gray paper) by Homer, Winslow (1836-1910); 22.5x28.5 cm; Private Collection; (add.info.: The Honeymoon. Winslow Homer (1836-1910)

Aiming an 8-inch Union siege mortar in the trenches outside Petersburg, Virginia
867767 Aiming an 8-inch Union siege mortar in the trenches outside Petersburg, Virginia, as sketched by Alfred R. Waud (pencil on paper) by Waud

Joseph Prudhomme Standing, 1868. Creator: Henry Bonaventure Monnier (French, 1805-1877)
Joseph Prudhomme Standing, 1868

Joseph Prud homme Standing 1868 Henry Bonaventure Monnier
Joseph Prud homme Standing, 1868. Henry Bonaventure Monnier (French, 1805-1877). Black ink, Chinese white, and watercolors on heavy-weight wove paper; overall: 27.9 x 19.7 cm (11 x 7 3/4 in.)

Symbolic Figure Sibyl? 16th century Pen ink brush
Artokoloro

Alexander Bucephalus 17th century Pen brown ink
Artokoloro

Landscape 17th century Pen brown ink touched
Artokoloro

Sedate Parrot n. d Wash Chinese white 7 15 / 16 x 6 7 / 16
Artokoloro

Adoration Madonna Child 1400-1600 Brush brown ink
Artokoloro

Angry Parrot n. d Wash Chinese white 5 3 / 16 x 8 3 / 16
Artokoloro

Bishop Two Saints 1575-1600 Pen ink brush wash
Artokoloro

Birth Saint John Baptist 16th century Pen brown ink
Artokoloro

Deacon Led Martyrdom 1575-1640 Pen brown ink
Artokoloro

The 71st reg. N. Y. at Alexandria, 1861 May 24-31, drawing on brown paper pencil
The 71st reg. N.Y. at Alexandria, 1861 May 24-31, drawing on brown paper pencil and Chinese white, 20.3 x 16.1 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Rifle pits in the woods, 1863 July 1-3, drawing on tan paper pencil and Chinese white, 7.8 x 24.9 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Scene in the camp of the Washington Greys. 8th N.Y.S.M, 1861 ca. April-August, drawing on olive paper pencil and Chinese white, 7.7 x 27.1 cm

The bivouac feast after a successful forage in the enemies country after the occupation of Munsons hill, 1861 October 1, drawing on green paper pencil and Chinese white, 17.5 x 26.6 cm

The captured flags in the O, 1862 February, drawing on brown paper pencil and Chinese white, 13.8 x 16.5 cm. (sheet), The Alfred Waud American Civil War Sketches Collection, 1862-1865

Blind Ford & Scotts Mill, 1863 ca. May 5, drawing on olive paper pencil and Chinese white, 12.2 x 33.6 cm. (sheet), The Alfred Waud American Civil War Sketches Collection, 1862-1865

Monocacy R. R. Bridge, 1863 ca. June-July, drawing on tan paper pencil and Chinese white
Monocacy R.R. Bridge, 1863 ca. June-July, drawing on tan paper pencil and Chinese white, 11.6 x 10.8 cm. (sheet), The Alfred Waud American Civil War Sketches Collection, 1862-1865, by Alfred R Waud

Guerilla warfare. Unarmed Union soldiers fired at by farmers on the James River, 1862 ca. July 8, drawing on tan paper pencil and Chinese white, 16.0 x 24.9 cm

Building pontoon bridges at Fredericksburg Dec. 11th, 1862 December 11, drawing on pink-tan paper pencil and Chinese white, 20.7 x 23.4 cm

General Patricks punishment for gamblers, 1863 October, drawing on olive paper pencil and Chinese white, 15.0 x 23.4 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Effects of shells upon the enemies rifle pits at the crossing over the Rappahannock, June 5th, 1863 June 5, drawing on tan paper pencil, ink wash, and Chinese white, 23.8 x 35.0 cm

Advance of the Army towards Lewinsville, 1861 ca. September, drawing on brown paper pencil, Chinese white, and black ink wash, 24.3 x 35.1 cm

Martinsburg, 1864 ca. December 3, drawing on light green paper pencil and Chinese white, 23.5 x 32.7 cm (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Glendale, Va, 1862 June 30, drawing on tan paper pencil and Chinese white, 22. 9 x30
Glendale, Va, 1862 June 30, drawing on tan paper pencil and Chinese white, 22.9 x30.5 cm, 1862-1865, by Alfred R Waud, 1828-1891, an american artist famous for his American Civil War sketches

Spot near fort Damnation where the 9th Corps charged and afterwords carried the abattis and Cheveaux de frize across to the rear of the rebel works as a defense against attack from the second line

Great War Meeting at Washington, District of Columbia, August 6, 1862, 1862 August 6, drawing on tan paper pencil and Chinese white, 20.8 x 23.4 cm

Willows and pines, between 1860 and 1865, drawing on tan paper pencil and Chinese white, 17.8 x 23.3 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Marriage at the camp of the 7th N. J. V. Army of the Potomac, Va, 1863 March 18, drawing
Marriage at the camp of the 7th N.J.V. Army of the Potomac, Va, 1863 March 18, drawing on tan paper pencil and Chinese white, 24.7 x 35.7 cm

Fairfax Seminary now General Hospital Headquarters for the Army of the Potomac, between 1860 and 1865, drawing on brown paper pencil and Chinese white, 15.8 x 35.1 cm

Charge of the 6th Michigan cavalry over the rebel earthworks nr. Falling Waters, 1863 July 14, drawing on tan paper pencil and Chinese white, 14.2 x 29.7 cm

Siege of Petersburg, 1864 July, drawing on brown paper pencil and Chinese white, 11.1 x 23.2 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Commissary dept. Hd. qts. Army of the Potomac, 1863 March, drawing on tan paper pencil
Commissary dept. Hd.qts. Army of the Potomac, 1863 March, drawing on tan paper pencil and Chinese white, 8.6 x 22.0 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Sugarloaf Mountain, MD, 1862 September, drawing on tan paper pencil and Chinese white, 11.4 x 15.4 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Elys Ford, 1864 May 4, drawing on tan paper pencil and Chinese white, 17. 8 x 23
Elys Ford, 1864 May 4, drawing on tan paper pencil and Chinese white, 17.8 x 23.3 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891, an american artist famous for his American Civil War sketches

Shelling the rebel rifle pits on the Rappahannock, previous to the third crossing of Sedgwicks corps June 5th, 1863 June 5, drawing on brown paper pencil and Chinese white, 22.6 x 34.6 cm

Attack on the rebel works. Fredericksburg. Dec. 13th, 1862 December 13, drawing on tan paper pencil and Chinese white, 10.3 x 35.4 cm

Shenandoah Valley, Sept. 1864, 1864 September, drawing on olive paper pencil, Chinese white, and black ink wash, 12.4 x 17.6 cm

Bridge through the Chickahominy Swamp, between 1860 and 1865, drawing on tan paper pencil and Chinese white, 17.8 x 25.9 cm

Portion of Rebel battery at Wynns Mill. The gun which wounded Lieut. Wagner. Topographical Engineer, 1862 ca. April, drawing on tan paper pencil and Chinese white, 17.8 x 25.2 cm

Stripping a rail fence for fires, between 1860 and 1865, drawing on brown paper pencil and Chinese white, 9.6 x 10.5 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

Lost horsemen. In search of a road, 1862 ca. November, drawing on brown paper pencil and Chinese white, 10.2 x 9.3 cm. (sheet), 1862-1865, by Alfred R Waud, 1828-1891

The rebel dodge to cover the retreat into Virginia. Flag of truce to look after the wounded, 1862 ca. September, drawing on tan paper pencil and Chinese white, 15.9 x 25.1 cm

The 24th Corps charging a fort to the left, 1865 April 2, drawing on olive paper pencil and Chinese white, 14.1 x 33.8 cm

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"Exploring the Delicate Beauty of Chinese White: A Captivating Journey through Art" Step into the enchanting world of "Chinese white, " a versatile medium that has graced numerous masterpieces throughout history. From tranquil garden scenes to bustling cityscapes, this captivating pigment has left its mark on various artistic expressions. In the Garden, c. 1889 (watercolor, Chinese white and pencil on paper laid on board): The ethereal strokes delicately bring to life vibrant blooms and lush foliage in this mesmerizing watercolor masterpiece. Each brushstroke whispers secrets of nature's tranquility. Riverside Drive (pen and black ink, brush and ink wash and Chinese white on board): With skillful precision, the artist employs Chinese white to add depth and texture to this urban landscape. The interplay between light and shadow creates a dynamic scene that invites contemplation. One of Williamson's Stages, c. 1892 (pen and brush and black ink): Here, Chinese white dances across the canvas as it captures the essence of movement in an era long gone by. It breathes life into each stroke, immortalizing a fleeting moment in time. Bahama Island Light, 1883 (watercolour, chinese white and pencil on blue-grey paper): The soft hues created by blending Chinese white with other pigments transport us to a serene island oasis bathed in gentle sunlight. This delicate touch adds an airiness that is both soothing and inviting. The Honeymoon, 1875 (pencil and Chinese white on gray paper): In this intimate sketch enhanced by touches highlights against muted tones, love blossoms amidst quiet moments shared between two souls embarking upon their journey together. Aiming an 8-inch Union siege mortar in the trenches outside Petersburg, Virginia: Even amid chaos during times of war, a hintofChinesewhitebringsclaritytothisscene.