Agnes Murray

Assisi II, dramatic diptych architectural print monochromatic black and white

1982

Monotype Ms. Murray is notable for capturing the crystalline quality of northern light. She has an extensive exhibition history and she is represented in both private and public co...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherm...

Pastel on black paper. Ms. Morgan says: When I finally started riding the subway again during Covid isolation - going down to the ocean was a real treat. The collection of fisherma...

Pastel on black paper. These works have a have a "stained glass" quality of light coming through the dark paper Ms. Morgan says: During 2020 we discovered a small garden next to a church in our neighborhood in Brooklyn that was well taken care of and always open. We brought our ground chairs...

Pastel on black paper. Ms. Morgan says: During 2020 we discovered a small garden next to a church in our neighborhood in Brooklyn that was well taken care of and always open. We brought our ground...

watercolor on paper 9 x 13 inches, 17 x 21 inches framed. Black frame, white mat This listing is offered by Carrie Haddad Gallery, based in Hudson, NY. This photo-realist cityscape...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

Michael Ricardo Andreev Plasma Flares with Contrails at Dusk 3, 2013 Ink on paper 28 x 50 cm (diptych)

Michael Ricardo Andreev Plasma Flares with Contrails at Dusk 1, 2013 Ink on paper 28 x 50 cm (diptych)

Realistic blue ball-point drawing of a lush country forest landscape "Dream a Little Dream", original drawing made in 2022 by Linda Newman Boughton ballpoint pen ('Rite in the Rain' permanent and waterproof ink) on archival paper 54 x 48 inches unframed, 55.25 x 48.75 inches with a custom wood frame with gold leaf interior and protected with Tru Vue Museum Glass (blocks 99% of UV rays, eliminates reflections, optimal light transmission to brighten colors) Signed by the artist Excellent condition and ready to hang Some might struggle to associate impressionist painting and drawing with a ballpoint pen medium, but one of Linda Newman Boughton’s opulent landscape drawings in signature blue ink is a masterclass in the art of immediacy and movement. Linda Newman Boughton’s Baroque inspired landscape "Dream a Little Dream" captures a lush Hudson Valley forest in vivid detail. Taking four months to create, the original drawing was made entirely using the artist's favorite brand of “Rite in the Rain” waterproof blue-ink pen. Working from a photograph, Boughton employed a variation of pen strokes, combining gestural lines that serve as the drawing’s foundation, with tighter strokes to develop the sections of intricate detail. From a wild and tangled web of lines emerges identifiable forms, such as a complex root system or a bushy canopy of leaves. The work itself feels kinetic; millions of mark makings vibrate with an energy that stems from a sacred connection to nature. Boughton’s passion for the arts began early, as she acted, made art, and designed theatrical sets throughout her youth. She went on to study fashion illustration at Florida State University before transferring to F.I.T in New York City. Experience in the fashion world and her love for theatre soon landed her jobs in Hollywood, painting sets and murals for feature films such as Nightmare on Elm...

BLUE JAY WAY, 2012 ink and graphite on Arches cold press paper 44.5 x 75 inches / 1130 x 1905 mm  unframed Christina McPhee’s expansive abstract paintings, drawings, photographs, and videos test or query how can we know, and who is we? Moving from within a matrix of measurement, observation and contingent effects, her work resists characterization as product, and continually accesses fields outside itself. For her, process equals trial. Her work emulates potential forms of life, in various systems and territories, from a perspective of the non-self– a world beyond identity. McPhee’s dynamic, performative, physical engagement with materials, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the ‘dazzle ships...