This collection contains approximately 25,000 prints and 8,000 drawings (plus a small group of illuminated miniatures) ranging from the fifteenth century to the present, and 5,000 photographs primarily from the twentieth century. Particular strengths are several hundred prints and drawings from the early modern period, including German Expressionism, many of which came to the Gallery as part of the Société Anonyme Collection and the bequest of Katherine S. Dreier, along with a notable selection of American works of the nineteenth and early twentieth centuries.

Other highlights are extraordinary prints by the two greatest Old Master printmakers, Albrecht Dürer and Rembrandt van Rijn, and a broad group of Dutch and Flemish sixteenth- and seventeenth-century drawings that together constitute an exemplary study collection with few rivals in the United States. The numerous nineteenth-century French drawings include stunning examples by Edgar Degas, Eugène Delacroix, Édouard Manet, Pierre-Auguste Renoir, Georges Seurat, and Édouard Vuillard. Also present is an extensive collection of drawings by the American pre-Raphaelite painter and illustrator Edwin Austin Abbey and lithographs by the nineteenth-century French caricaturist Paul Gavarni. In recent decades the Gallery has acquired works by contemporary artists such as Georg Baselitz, Sol LeWitt, and Brice Marden, and significant groups of photographs by Walker Evans, Aaron Siskind, Ralph Eugene Meatyard, Lewis Baltz, and others.

		Suzanne Boorsch suzanne.boorsch@yale.edu Suzanne Boorsch, the Robert L. Solley Curator of Prints, Drawings, and Photographs at the Gallery, received her M. Phil. from New York University in 1977. Her major publications are on Italian and French Old Master prints, including a catalogue raisonné of the engravings of Giorgio Ghisi and work on School of Fontainebleau etchings and prints after Andrea Mantegna. Download curriculum vitae
		Lisa Hodermarsky lisa.hodermarsky@yale.edu Elisabeth (Lisa) Hodermarsky, the Sutphin Family Senior Associate Curator of Prints, Drawings, and Photographs, is a specialist in nineteenth- and twentieth-century American art on paper, with a particular interest in prints and drawings. In her many years on staff at the Gallery, she has produced numerous exhibitions and publications, including John La Farge’s Second Paradise: Voyages in the South Seas, 1890–1891; Appropriated Lands: Photography and the Great Surveys of the American West, 1867–1879; and The Synthetic Century: Collage from Cubism to Postmodernism; and is a principal coauthor of the exhibition catalogue, Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery. She is presently working on the book Conversations from the Print Studio: Necessity and Innovation.
		Joshua Chuang joshua.chuang@yale.edu Joshua Chuang, Assistant Curator of Photographs, most recently organized the exhibition First Doubt: Optical Confusion in Modern Photography and authored its accompanying catalogue. He has written widely on modern and contemporary photography and has edited monographs on the work of Judith Joy Ross and Mark Ruwedel. He is currently at work on a traveling retrospective exhibition and related series of publications devoted to the work of the American photographer Robert Adams.

Clark, Alvin L., Jr. From Mannerism to Classicism: Printmaking in France, 1600–1660. New Haven: Yale University Art Gallery, 1987.

Cornell, Daniell. Alfred Stieglitz and the Equivalent: Reinventing the Nature of Photography. New Haven: Yale University Art Gallery, 1999.

Emison, Patricia A. The Art of Teaching: Sixteenth-Century Allegorical Prints and Drawings. New Haven: Yale University Art Gallery, 1986.

Field, Richard S., et al. American Prints 1900–1950: An exhibition in honor of the donation of John P. Axelrod, B.A. 1968. New Haven: Yale University Art Gallery, 1983.

Field, Richard S., et al. French Drawings: Acquisitions 1970–1984. New Haven: Yale University Art Gallery, 1984.

Gross, Sally Lorensen. Toward an Urban View: The Nineteenth-Century American City in Prints. New Haven: Yale University Art Gallery, 1989.

Haverkamp-Begemann, Egbert, and Anne-Marie Logan. European Drawings and Watercolors in the Yale University Art Gallery 1500–1900. New Haven: Yale University Press, 1970.

Herbert, Robert L., Eleanor S. Apter, and Elise K. Kenney. The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné. New Haven: Yale University Press, 1984.

Hodermarsky, Elisabeth S. The Synthetic Century: Collage from Cubism to Postmodernism, Selections from the Collection. New Haven: Yale University Art Gallery, 2002.

Hodermarsky, Elisabeth S. Give a thing and it is yours forever: George Hopper Fitch Collects for Yale. New Haven: Yale University Art Gallery, 1997.

Kusserow, Karl. Watercolor in America. New Haven: Yale University Art Gallery, 1990.

Law, Mary E. Confronting the Uncomfortable: Questioning Truth and Power. New Haven: Yale University Art Gallery, 1989.

Mills, Laura K. American Allegorical Prints: Constructing an Identity. New Haven: Yale University Art Gallery, 1996.

Pillsbury, Edmund, and John Caldwell. Sixteenth Century Italian Drawings: Form and Function. New Haven: Yale University Art Gallery, 1974.

Shestack, Alan, and Lesley K. Baier. The Katharine Ordway Collection. New Haven: Yale University Art Gallery, 1983.

Williams, Lyle W. Pattern and Invention: Ornament Prints, 1500–1800. New Haven: Yale University Art Gallery, 1992.

Wolf, Alice, with a preface by Theodore Sizer. The Edward B. Greene Collection of Engraved Portraits and Portrait Drawings at Yale University. New Haven: Yale University Press, and London: Oxford University Press, 1942.