The collection · DiffusionLab

A matting-floored crewman in a beaded collar leaning out black against an enormous sun, the tail of the 1960s, telephoto compression of a formation. Work 10296.

A tobacco advert with a magenta ghost on a pinboard of overlapping notices, offset print with dot gain in the shadows, dot gain swallowing the shadow detail. Work 10287.

1824: a champagne-lit branch of quince with two fruits, fashion plate shot at three in the morning, register out by a hair. Work 10283.

Muted pastel through green haze of a stone face looking up out of the sand in the season the lamps were caged, aquatint with a dark ground. Work 10254.

Quirky 1960s claymation scenes, cinematic, dance party, reproduction with the paper grain in it, scanned from a well-read copy. Work 10251.

A caught out and sheepish fishing float beside a chasm, the Etruscan years, stumpwork. Work 10240.

A canal boat family, the Lebanese Civil War years, Ethiopian icon panel, scan with the highlights held back. Work 10239.

A matchbox car in Clarks desert boots and no socks, the turn of the 1910s, eyewitness photograph, reticulated emulsion. Work 10229.

A smoke-stained tower yard of packed earth and stone, the years the road was widened, heroic scale study with a human for measure, negative varnished after fixing. Work 10228.

A man slumped over a steering wheel and a hitchhiker in heels beside a coupe on a roadhouse dance floor, a wet March in 1951, flat colour poster style plate. Work 10225.

A launch gantry with a swing arm at a service station forecourt, the space race, Frank R. Paul style cover painting, coloured gel on the background. Work 10224.

1761, a lump of myrrh in a paper twist above a wake of ruled foam, gouache matt on a dark ground, photogravure with a soft aquatint grain. Work 10218.

A latex cast creature eye painted on a bead with a tie-down bolt through one foot, the year the sequel was shot, matte line showing at a horizon. Work 10198.

A fourth-generation hand-numbered tape out of fifty between two seated stone figures, the age of the stone cutters, crude one colour print on thin paper. Work 10193.

Quirky 1960s claymation, creatures, Project film, print with a retouched background. damaged film, film grain. Work 10183.

A fairground ride operator, the silent film era, bogolanfini mud cloth, linocut pulled on thin paper. Work 10176.

The whole series ran to forty: hand-cut stencil label art of a glue-stained steam locomotive seen head on, 1945. Work 10175.

The ferry stopped when the bank fell: ehon illustrated book page of a pine-shaded woman with a fan half open, the Tenpo years. Work 10167.

An oil-slick figure with the face left uncovered beside a bowl of oil on water, the year the foil came in, it took a week to drill them all, straight photograph with no retouch at all. Work 10158.

A clay sailor with rolled trouser legs, the school term of 1965, model animation lit like a landscape, gate weave rocking the whole frame. Work 10152.

A resin poured into a plaster mould photographed as a figure whose head is lost inside a pod, grey rock against warm lamplight, gelatin dry plate on a weighted stand. Work 10151.

A movie poster for a spy film set in one hotel, 1963, geometric. Work 10146.

A woman doing a hustle turn on skates with both arms out for balance, New Year 1981, painted sign above a snack bar, instant print with a white border. Work 10145.

A relief panel of dancers, the hot months, heat and humidity photography, daylight stock under coloured air. Work 10136.

Faded 1970s colour print of a smoke-cured pastel kitchen mixer, Christmas 1918, etching with a soft ground aquatint. Work 10093.

1970s strange cartoons, glass negative scratched at the edge. Work 10086.

A tamarind pulp in a jar and a pill tile of hand-cut marble, duotone portrait in gold and black, lithograph on smooth trade paper. Work 10084.

1970 cartoon, animation, wes anderson style. Work 10080.

An elevator operator with a slack jaw, the turn of the 1970s, comprehensive layout in marker, magenta out of register by a hair. Work 10077.

An air hostess pointing to an exit with the sound word lettered across it, the hundredth issue, dotted illustration with no grey in it, two flats meeting with a white gap. Work 10060.