Emulsion Prints and Multiples

a mesmerizing sea of blue, green and ocre color tones from an ongoing photography project since the late 1990s, capturing the details of the human iris and a pupil's unique abstractions Iris I...

a mesmerizing sea of light blue and acqua color tones from an ongoing photography project since the late 1990s, capturing the details of the human iris and a pupil's unique abstracti...

Rare Engraving "Cabane Des Hold, Terres Artiques, Fig CII," 1st edition "Description de l’Univers, page 281 This rare image depicts the Willem Barentsz expedition of 1597 to Novaya Zemlya, Russia. The engraving, with later hand-coloring, shows the cabin and ship of the Dutch arctic expedition of Barentsz on Novaya Zemlya (Nova Zembla), with the party being attacked (and in some cases apparently eaten) by bears and wolves. Dutch explorer, Willem Barentsz, reached the west coast of Novaya Zemlya in 1594, and in a subsequent expedition of 1596 rounded the northern point and wintered on the northeast coast. Barentsz died during the expedition, and may have been buried on the northern island. This artwork is a page from a book by 17th century cartographer and engineer, Allain Manesson Mallet (French, 1630-1706), "Description de L'Univers, contenant les differents systêmes du monde, les cartes générals et particulières de la géographie ancienne et modern." Paris: Denys Thierry, 1683. Presented in an cream colored mat. Text on verso shown in images. Mat Size: 11.5"H x 9.07"W Paper Size: 8.25"H x 5.44"W Image Size: 5.63"H x 3.75"W Alain Manesson Mallet (French, 1630-1706) was a 17th century cartographer and military engineer. He started his career as a musketeer in the army of Louis XIV, became a Sergeant-Major in the artillery and an Inspector of Fortifications. He later served under Alfonso VI, King of Portugal...

a mesmerizing sea of light amber, emerald and aqua color tones, from an ongoing photography project since the late 1990s, capturing the details of the human iris and a pupil's unique...

Offset lithograph with a yellow silk screen overlay on 170gsm paper 35.20 x 10.00 in (89.4 x 25.4 cm) From a limited edition of 3,000. Comes with the publisher Certificate of Authe...

Agnes Martin Praise (Framed), 1976 Limited edition lithograph on Dalton Natural Bond paper with gold rubber stamp signature, accompanied by the original sleeve Agnes Martin's signature is stamped in gold; unnumbered proof Frame included: framed in a white wood museum frame with UV plexiglass Measurements: Framed 17.75 inches by 17.75 inches by 1.5 inches Artwork alone 10 inches by 10 inches Agnes Martin's signature is stamped in gold; an unnumbered proof This work is accompanied by its original envelope, affixed to the back of the frame This work was originally distributed by the Museum of Modern Art, New York and is accompanied by the original sleeve, affixed to the back of the frame (see photo) "Praise" is an example of Agnes Martin's lifelong fascination with grid-based compositions, which grew from her interest in Taoism. The image is comprised of a light pink square overlaid with a series of darker pink lines, which break the square into columns of alternating widths. The elegant, saccharine pink here is a departure from her typically subdued compositions, which are rarely feature color aside from light washes of muted hues. Martin's use of color here comes after the artist's ten-year respite in the Southwest. This gorgeous pastel-pink lithograph is truly special as it's one of the only prints she did in color. She oversaw every aspect of the prints creation, including the gold stamped signature, which. Despite her close association with the Minimalists, Martin described her work as Abstract Expressionist in line with Rothko's formal logic, “perceptual perfection,” and sparse compositions. She became recognized for her delicate use of lines and sparing application of color. Martin's rubber stamp signature is in gold and is deliberately faint as per the artist's express instructions. About Agnes Martin: "Born on a farm in rural Saskatchewan, Canada, Agnes Martin immigrated to the United States in 1932 in the hopes of becoming a teacher. After earning a degree in art education, she moved to the desert plains of Taos, New Mexico, where she made abstract paintings with organic forms, which attracted the attention of renowned New York gallerist Betty Parsons, who convinced the artist to join her roster and move to New York in 1957. There, Martin lived and worked on Coenties Slip, a street in Lower Manhattan, alongside a community of artists—including Robert Indiana, Ellsworth Kelly, and Jack Youngerman—who were all drawn to the area’s cheap rents, expansive loft spaces and proximity to the East River. Harbor Number 1 (1957), one of Martin’s earliest New York paintings, combines the geometric abstraction of her earlier Taos work with the newfound inspiration of the harbor landscape, evident in her choice of blue-gray palette. Over the course of the next decade, Martin developed her signature format: six by six foot painted canvases, covered from edge to edge with meticulously penciled grids and finished with a thin layer of gesso. Though she often showed with other New York abstractionists, Martin’s focused pursuit charted new terrain that lay outside of both the broad gestural vocabulary of Abstract Expressionism and the systematic repetitions of Minimalism. Rather, her practice was tethered to spirituality and drew from a mix of Zen Buddhist and American Transcendentalist ideas. For Martin, painting was “a world without objects, without interruption… or obstacle. It is to accept the necessity of … going into a field of vision as you would cross an empty beach to look at the ocean.”1 In 1967, at the height of her career, Martin faced the loss of her home to new development, the sudden death of her friend Ad Reinhardt, and the growing strain of mental illness; she left New York, and returned to Taos, where she abandoned painting, instead pursuing writing and meditation in isolation. Her return to painting in 1974 was marked by a subtle shift in style: no longer defined by the delicate graphite grid, compositions such as Untitled Number 5 (1975) display bolder geometric schemes—like distant relatives of her earliest works. In these late paintings, Martin evoked the warm palette of the arid desert landscape where she remained for the rest of her life" Introduction by Jennifer Harris, Curatorial Assistant, Department of Painting and Sculpture, 2016 Agnes Martin, quoted in Ann Wilson...

Artist: Vahe Yeremyan Work: Print on Canvas Subject: Boats, SIZE: 14" x 26" x 0.8''inch, 36x66x2cm Unframed, Stretched on the wooden bar, Gallery Wrapped, Ready to Hang All works a...

Carl Andre Handwritten Letter to the Artist's Parents, 1974 Letter handwritten with black marker on postmarked, stamped postcard (hand signed by Carl Andre) Boldly signed @ - the art...

Etching Edition 143/175 Last 2 left, new, not preowned Video attached This is a series of original etchings from respected European artist Cuca Romley. Ms Romley is 91 years and cur...

Soft watercolor accents add to the beauty of this cyanotype and watercolor of the Venice Canal by Cheryl Trotter (American, 20th century). Cheryl Trotter, a Pacific Grove artist and ...

Wonderful minimalist watercolor of sand dune with grass and birds by Ed Walaitis (American, 1914-2005), 1978. Signed and dated lower left. Condition: Excel...

A different side of Ian Laurie. landscapes from Cornish coast England 14/25 signed and dated Ian Laurie was born in 1933 and is a self taught artist who made the transition fr...