Verso of paper on which the object has been mounted, inscribed in black ink, u.l.: 65.5; in graphite, u.c.: 5; in typing on white sticker, l.l.: 1965.5/DELVAUX, Paul/Mermaid/WORK ON PAPER/17 5/8 x 21 1/4 in. (overall); 8 3/4 x 12 1/4 in.; in black ballpoint pen, l.r.: 22 [encircled]
Inscribed in graphite, l.r.: P DELVAUX/6-30; in black ink on board, l.l.: 65.11; verso of board, in typing on white sticker, l.c.: 1965.11/DELVAUX, Paul/Woman (Femme)/WORK ON PAPER/20 15/16 x 17 3/16 in. (overall); 13 3/4 x 9 7/8 in.; in black ink on white sticker, l.r.: 1; in graphite, c.r.: 65.11 [underlined twice]
The scene depicts a group of figures marching in the foreground from the left to the right of the composition. A thin sliver of land can be seen in the background. A man in the center carries a scythe over his shoulder. A woman in the center right carries a child on her back.
In 1893, Kollwitz attended a performance of Gerhart Hauptman's The Weavers, which described an uprising of Silesian weavers brought about by industrialization in England. The play was banned due to its ties with a similar uprising in Berlin due to industrialization. Kollwitz's set of prints The Weavers' Revolt were created to depict the plight of oppressed migrant workers during Germany's industrialization.
Signed and dated on the stone: Mucha 1897, On the stone, l.r.: Chemins de Fer P.L.M./Billets d'Aller & Retour__Billets Circulaires/Billets d'Aller & Retour collectifs de Famille a prix reduits./Trajet en 16 Heures, par Trains de Luxe On the stone, l.l. margin: Affiches Artistiques de la Societe "La Plume"/31, Rue Bonaparte, Paris On the stone, l.r. margin: Imp. F. Champenois/66,Bould St. Michel, Paris
This image shows a figure set back a bit from the viewer, and standing at an angle facing toward the left of the page. The figure is dressed in a black suit with a white shirt, and is standing on a fairly plain ground with just a few black lines. The figure's hair and outfit blend into the black background.
According to the Tate's catalog, this image of Whistler was created for a book called Twelve Portraits. Nicholson created this image when Whistler was at the height of his celebrity, and so Nicholson portrays him as well-dressed and standing at a distance from the viewer. This image is meant to commemorate Whistler's reputation as the leading member of the Aesthetic Movement.