Art by Medium: Ink

Lynn Sanders is an artist excited by beauty: architecture, foliage, landscapes, seascapes, interiors. She finds palettes and shapes in her environment and propels them into her work,...

Belgian artist Greet Helsen masterfully layers acrylic paint with the effervescent transparency of watercolors in her large mixed-media abstract paintings. Reminiscent of abstract ex...

This beautiful Henri Matisse Drawing 'Femme souriante'' was conceived in July of 1942. It is in excellent condition, signed and dated 'H. Matisse...

Bettina Mauel expresses vitality and sensuality in her abstract and figurative paintings. “I paint what I experience,” she articulates. “This includes landscapes, dancers and people ...

This sophisticated modernist portrait was realized by the esteemed artist Manuel Angele Ortiz in Spain, circa 1950. The work realized in a style influenced by the work of Pablo Picas...

This (Poster Design) was made for the exhibition 'Dorothy Dehner, Sculptures and Watercolors,' at the Willard Gallery, May 7 through 31, 1957. It's a perfect mid-century American i...

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a minty light teal greenish blue and pale yellow background. The monotype brings to mind the t...

Krisanne Souter weaves together elements of nature and ancient feminine archetypes, such as the Mother and the Mystic. Botanical themes, playful elements, and unexpected surprises ar...

Peter Passuntino BDSM 1960s Ink, ink wash & chalk on paper 12.25"x10" unframed unsigned Peter Passuntino b. 1936 Peter Passuntino, was born in Chicago, Illinois. At the age of 18, Passuntino was selected to be in a group show at the Carnegie Institute, and at 19 he was selected for a one-man show at the Artist Guild in Chicago. From 1954 to 1958 he attended the School of the Art Institute of Chicago. Then, upon receiving a Fulbright Fellowship in Painting, Passuntino spent time in Paris, from 1963 to 1965. While in Paris he studied art at the Istitut de Arts et Archeologie and exhibited in a solo exhibition entitled “Bad Manners, A Happening at the American Arts Center” (1963). During his time at the School of the Art Institute of Chicago, Passuntino was an organizer of the Exhibition Momentum Group, and he served as the group’s chairman in 1958. The Exhibition Momentum Group was successful in expanding the Chicago-Midwest art community and in bringing emerging and established artists from the East Coast to Chicago as panelists and jurors of the exhibitions. In 1969, The Rhino Horn Group was founded in New York City by a group of artists bound together by their dedication to figurative art and a collective notion that artistic practice should have both a critical and a social function. They critiqued the art-as-business ideology that absorbed fine arts into consumer culture in the United States during the 1960s. The seven founding members were Peter Passuntino (b. 1936), Benny Andrews (1930-2006), Jay Milder (b. 1934), Peter Dean (1934-1993), Ken Bowman (1937-2014), Michael Fauerbach (1942-2011), and Nicholas Sperakis (b. 1943). Between 1969 and 1978, active members also included Bill Barrell (b. 1932), Leonel Góngora (1932-1999), Isser Aronovici (1932-1994), June Leaf...

Renowned career illustrator Stephen Gammell now devotes his energy to a full-time studio practice, and we’re honored to bring the current work of an artist who, with dozens of public...

Richard Andres American, 1927-2013 Untitled, c. 1980 acrylic and ink on paper mounted on canvas 30 x 34 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of th...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

In the artist's Art on Design print series, Be the Dance, 2023 by a.muse is a colorful one-of-a-kind art on paper. The work is an invitation to freedom of self-expression and invites...

Ink, charcoal, resin on masonite Dimitri operates from the idea of the “unfinished.” It informs his choice of materials and the way he handles them. It informs the imagery. The unfin...

This is an original, framed mixed media work (hand painting on top of a photogravure print) in Nazanin Moghbeli's "Words from My Mother" series. It is float framed in a contemporary ...

This is a framed mixed media ink painting (sumi inks, India inks, and walnut inks) on paper in red, black, and earth tones. It is framed in a white painted wood shadowbox frame. Orga...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Bridget Riley: Reconnaissance (hand signed and inscribed by Bridget Riley), 2001 Hardback monograph with no dust jacket as issued (hand signed and inscri...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

Frank Roth, American (1936 - ) - Untitled IV, Year: 1960, Medium: Graphite and Ink on Paper, signed, dated and dedicated in pen, Image Size: 8 x 9.5 inches, Size: 11.25 x 11 in. (28...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Dana Piazza's creates abstract black and white and colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper ar...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Large Contemporary Gallery-Wrapped Oil and Ink Painting by Katherine Filice "No Way Down" is a 60 x 42.5-inch gallery-wrapped painting by Katherine Filice, combining oil and ink on r...

McArthur Binion (b. 1946, Macon, MS; lives and works in Chicago, IL) combines collage, drawing, and painting to create autobiographical abstractions of painted minimalist patterns ov...

Renowned career illustrator Stephen Gammell now devotes his energy to a full-time studio practice, and we’re honored to bring the current work of an artist who, with dozens of public...

Richard Andres American, 1927-2013 Untitled, c. 1980 acrylic and ink on paper mounted on canvas signed lower right 24 x 20 inches 25 x 21 inches, framed Richard Andres was born in B...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

Judith Brown (December 17, 1931 – May 11, 1992) was a dancer and a sculptor who was drawn to images of the body in motion and its effect on the cloth surrounding it. She welded crushed automobile scrap metal into energetic moving torsos, horses, and flying draperies. Brown attended Sarah Lawrence College in Yonkers, New York (B.A., 1954), where she learned to weld from her teacher, Theodore Roszak, a pioneering abstract expressionist sculptor. This is done in a style similar to Leonard Baskin. Select Commissions Mural Sculpture, Lobby, Louisville Radio Station WAVE Fountain, commissioned by Architectural Interiors, New York City Model, designed and executed for Festival of Two Worlds, Spoleto, Italy Sculpture, designed for Electra Film Productions, NYC Noah's Ark, exhibited at Bronx Zoo, New York City, at Rochester Museum and Science Center, Rochester, New York, and at Hopkins Center, Hanover, New Hampshire Store Windows, executed Tiffany & Company Windows, New York City, Christmas 1957, 1959, 1962, October 1969, Spring 1979, and October 1980 Wall Sculptures: for Youngstown Research Center (1963-4), commissioned by Youngstown Steel Company, Youngstown, Ohio; for Hecht and Company, Landmark Shopping Center, Alexandria, Virginia, Daniel Schwartzman, Architect; for Lobby, 570 Seventh Avenue, New York City, Giorgio Cavaglieri, Architect; for Lobby, Cities Service Company's New Research Center, Cranbury, New Jersey; for Ottauquechee Health Center, Woodstock, Vermont Eternal Lights: for Congregation Beth-El, South Orange, New Jersey; for Congregation Sharey Tefilo, East Orange, New Jersey Menorahs: commissioned by Architect Fritz Nathan for the Permanent Collection of the Jewish Museum, New York City; commissioned by Smith College for the Helen Hill Chapel, Northampton, Massachusetts; commissioned by Jules Scherman, of Wisteria Press, Inc., New York City Altar Cross, commissioned by Smith College for the Helen Hill Chapel, Northampton, Massachusetts Landscape, Memorial Piece for Gustave Heller, YM-YWCA, Essex County, New Jersey Memorial Plaque for Robert A. Ferguson, Westchester County Airport, Purchase, New York Sculpture for Vice President's office, Atlantic Richfield Company, New York City Bronze Relief Sculpture for Gymnasium Lobby, South Richmond High School, Staten Island, New York, Daniel Schwartzman, Architect Poster, Stratton Arts Festival, Stratton, Vermont Medallion, commissioned by Brandeis University National Women's Committee, New York City Model for Fountain for the Plaza at Windsor, Vermont Bronze Sculpture, commissioned by Intramural, Inc. for Building Lobby, N/E Cor. 79th Street and Second Avenue, New York City Presentation Piece, commissioned by Graphic Arts Associates of Delaware Valley, Philadelphia, Pennsylvania Wall Mural, Noah's Ark, Roosevelt Hospital, New York City 1977: Designed and executed Hanes Hosiery "Million Dollar Award"; Designed and executed "Old Spice" Smart Ship Award 1978: Commissioned to design and execute the "Walter White Award" for the NAACP for presentation to Hubert Humphrey; Commissioned to design and execute the Award for the Honorees of the National Board YWCA's First Tribute to Women in International Industry 1979: Designed and executed Jewelry for the Museum of Modern Art, New York City; Designed and executed limited edition of Mazuzas for Brandeis University-National Women's Committee, New York City 1980: Bronze Cross commissioned for St. James Episcopal Church, Woodstock, Vermont 1982: Eubie Award, New York Chapter of the National Academy of Recording Arts and Sciences 1985: Two Sculptures, Marriott Hotel, Orlando, Florida 1986: Two large Sculptures for indoor reflecting pools, Palm Desert Hotel, Palm Springs, California; John Portman, Eight Sculptures for Peachtree Plaza Hotel, Atlanta, Georgia; John Portman, Beach House, Sea Island, Georgia 1987: Loan Installation, DeCordova Museum, Lincoln, Massachusetts 1988: Eleven foot outdoor Sculpture for Front Plaza, River Court, Charles River, East Cambridge, Massachusetts, H. J. Davis Development Corp.; Tomie dePaola...

Artist : Kory Twaddle "Autumn Biogram of the Nelson" Newsprint, graphite, conté crayon pastel, charcoal, beeswax, cardboard, paper, gingko leaves, stickers, and Mixed Media on drawi...

John Kato's print, titled "Still Thinking of Her: Orange Breakfast," captures a poignant yet cheery scene. The composition centers on a cut-up orange placed ...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Katrina Revenaugh Unexpected Blooms No. 2 Archival Pigment Ink, Acrylic, Spray Paint, Belgian Linen Year: 2023 Size: 33.5 x 33.5 Signed: On Verso COA provided The graffiti botanical...

Roy Ahlgren "Fiesta" 1982 Silkscreen on Paper 26"x 18" site, 29.75" x 22.25" paper Signed and Dated in Pencil, Bottom Right Limited Edition 92/130 Roy Ahlgren (1927-2011) Algren wa...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

JACQUES LIPCHITZ Study for Bull and Condor, 1964 Original Ink on gouache on Paper drawing and signed lower left front Unique Held in the original vintage frame This work is from th...

“Bright Blooms 4” - Oil, Acrylic, and Ink on Canvas, 36 x 48 inches “Azalea Light” radiates with a lush vibrancy, where soft magenta blooms and golden hues blend effortlessly with t...

Interior design paintings. The work was done with india ink in black and grey color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene face on a mat board in white with sizes 16 by 20 in. Mila Akopova...

Nazanin Moghbeli is a Persian American artist with training in Persian calligraphy, miniature painting, and music. The abstracted calligraphy text in her "Words from My Mother" seri...

Maryn Hunzeker, American, 1907 - 1972 Title - The Refinery. Possible mixed media on board (Paper, Collage, Oil, Ink) Not dated - We believe this to be circa 1950's - Signed lower right Another stunning vintage mid century abstract painting...

Bold lithograph by Patricia Pearce (American, b. 1948). Numbered ("2/25"), titled ("Kimono 10"), and signed ("Patricia Pearce") along the bottom edge. Presented in a blue-gray mat wi...

Balancing act 2 (Abstract Painting) Gouache, graphite and ink on Rives paper. Unframed. Balancing Act 2 is part of a series of works on paper started in 2016. They are created in the evenings and aptly named after busy days of teaching and other responsibilities. The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing. This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Interior design paintings. The work is made with alcoholic ink in pale pink, rose color on Yupo paper. It is 11 by 14 inches in size, framed (gold) with styrene face on a double mat...

TEMPT ENSEMBLE 2022 Paris, France Originally created as part of Nicholas' solo exhibition "This, and Thereafter (Plumes)," December 10, 2022 - January 7, 2023. The theme illustrated...

Interior design paintings. The work was done with alcohol ink in brown, beige color on Yupo paper. The work is 11 by 14 inches in size, framed black with a styrene face on a mat boar...

Myril Adler "Shifting" c.1960s Intaglio etching collage, ink on paper 5.25"x2.5" unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (no...

SET US IN STONE II 2022 Paris, France Originally created as part of Nicholas' solo exhibition "This, and Thereafter (Plumes)," December 10, 2022 - January 7, 2023. The theme illustrated the enigmatic uncertainty around what might happen after life. A range of paintings were presented – vibrant and ethereal – touching on different aspects of this notion. Each painting had a different point of view, oftentimes focusing around the inevitability of what is to come, and if and how it influences the present. This particular piece centers around personal legacy, how you will be remembered, and how your life vanishes into an abstraction as time goes by. This notion is visualized with a bust set in stone. The technique Evans used was a mixing of water-based ink with a hint of pink, that he knew would react when overlaid with white acrylic, pulling out a lighter hue of the pink ink. The white silhouette of a portrait set in stone creates a ghostly continuation of the underlaid pattern. Option to create a pair alongside "Set Us In Stone I" (as pictured). Price and size are per painting. Evans Deventer...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Inspired by the vibrant surroundings she found growing up on the Mediterranean...

Al Dickstein New York school Abstract Geometric work. Came in with small collection of his work including signed letters and a signed card and some monogrammed pieces. Signed and inscribed by artist. Showed at New York's Stable Gallery...

Bettina Mauel expresses vitality and sensuality in her abstract and figurative paintings. “I paint what I experience,” she articulates. “This includes landscapes, dancers and people ...

Joseph Glasco (American, 1925-1996) Seated Figure 1970 India ink on paper 16 x 11.5 inches Signed and dated lower right Joseph Glasco was born in Paul’s Valley, Oklahoma and grew up...

Rafael Canogar (Spain, 1935) 'Carácter', 1989 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 99 ID: CAN1205-010-001_1 Hand-signed by author

Michael Knigin Abstract 7 1967 Ink brush drawing on paper 10.5"x14" unframed $675 Signed and dated in ink lower left Came from artist's estate *Custom framing available for additional charge. Please expect framing time between 3-5 weeks. Michael Knigin, painter, printmaker, muralist, photographer, and teacher, was born in Brooklyn, New York on December 9, 1942. He received his BFA in 1966 from the Tyler School of Art, Temple University in Philadelphia. In 1964 he was awarded a Ford Foundation Grant, which enabled him to study printmaking at the Tamarind Lithography Workshop and collaborate with Rufino Tamayo. Knigin was a full professor at the Pratt Graphic Center in Manhattan between 1967 and 2003. From 1968 through 1972, he also co-owned and directed the Chiron Press where he worked with Andy Warhol, Louise Nevelson, Kenneth Noland, Larry Poons, and Tom Wesselman. In 1974, he served as Art and Technical Director of the Burston Graphics Art Centre in Jerusalem. In 1988, Knigin was appointed to the NASA Art Team and was sent to the Kennedy Space Center...

'Quadrants Ephemeral' from Irene Zweig, where intellect, science, mathematics and order are at play in shades of green, blue, grey and white, in the abstract mixed media painting tha...