EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialA tennis court without lines is like a painting without a frame. Marks made by the ball and the pursuit of it are the brush strokes, telling a story of angles, speed and power, mistakes and, sometimes, perfection. (Pete Kiehart/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialJon Rahm plays his shot from the fourth tee during the final round of the Masters Tournament at Augusta National Golf Club in Augusta, Ga., on Sunday, April 9, 2023. (Doug Mills/The New York Times)
EditorialCollar of needle lace with various flowers and curling leaves on tendrils, Collar of natural colored needle lace: Venetian embossed lace. Curved strip-shaped model. Pattern: various flowers and curling leaves on tendrils. The motifs are made with festi...
EditorialDenys Calvaert (Attributed to) / 'Elijah visited by the angel'. Second half of the XVI century. Wash, Pencil, Grey-brown ink, Pencil strokes on dark yellow laid paper.
EditorialAgostino Masucci / 'The Assumption of the Virgin'. First quarter of the XVIII century. Grey-brown wash, Pencil, Pencil strokes on dark yellow paper.
EditorialVictories of Frederick II the Great, King of Prussia over the Austrians in the Austrian succession war and the seven-year war, Silver Medal. Front: Frederik II with drawn sword, sitting on a horse that has placed front legs on globe with inscription EU...
EditorialThe Horse "The Horse", from "William Hayley's Ballads" Verso: [Engraved with foliage, grass, etc., practice strokes], William Blake, 1757-1827, British.