EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialEquestrian portrait of William III, Prince of Orange, Equestrian portrait of William III. A command staff in his right hand. In the background a battle. At the top right a winged Faam blows on a horn. In her right hand a banderole with his name and tit...
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...