Art by Medium: Ink

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

Emlen Pope Etting (1905-1993). Sodom & Gomorrah, ca. 1955. Gouache, watercolor and ink on paper. Sheet measures 11 x 15 inches. Framed measurement, 17 x 21 inches. Titled a...

A refined example of French Art Deco illustration, this elegant drawing is executed in ink and gouache on blue laid paper and showcases the stylish, fashion‑forward aesthetic of the ...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 5.75 X 19.5 Dated August 5, 1954 in top right corner. Like her contemporaries, Aggie Mack, Candy and Patsy Walker (before her conversion to a superhero), Susie Q. Smith was a female Archie-type — not exactly an imitator, because Archie, who had started only four years earlier, hadn't yet become popular enough to spawn imitators, but part of his genre. She attended high school, where her teachers often seemed unreasonable to her, interacted with the opposite gender in a typically adolescent way, and her parents didn't completely understand her. And she was cute and perky as only a teenage girl can be. Susie was the star of a comic strip distributed by King Features, the biggest of the comic strip syndicates, whose other offerings have ranged from Jackys Diary to Prince Valiant. King launched the strip in both daily and Sunday form in 1945. Daily, she was only in a panel at first, but it expanded into a full, multi-panel strip on February 7, 1953. In a very odd turn of events, in 1953 the Walters chose to leave King Features behind and hitch their wagon at the McNaught Syndicate. The creators were Harold "Jerry" Walter and his wife, Linda. Jerry was also responsible for Jellybean Jones, who has nothing to do with Jughead Jones's young sister, a modern-day addition to the Archie cast of characters. Together, they did The Lively Ones during the 1960s. Though each was capable of doing both major jobs in comic strip production, their usual working method was for Jerry to dream up the ideas and write the dialog, while Linda did the artwork. The Walters also collaborated on a series of Susie Q. Smith comic books for Dell Comics. Instead of reprinting newspaper strips, these ran new stories by the Walters. Between 1951 and '54, four issues were published as part of the Four Color Comics series, where many minor comic strips, including Dotty Dripple, Timmy and Rusty Riley had found a home. It had no other media spin-offs. Susie Q. Smith had a respectable run in the newspapers, but it ended in 1959. Jerry Walter (1915 - 2007) was an abstract expressionist artist whose output of energetic and colorful paintings were the products of the rich artistic milieu of post-war New York City. He was born Harold Frank Walter in Mount Pleasant, Iowa on November 25, 1915. After graduating from Colgate University in 1937, Walter moved to New York City, where he studied drawing and painting at the New School and the Art Students’ League. Before concentrating seriously on his art, he spent several years as a successful copywriter and idea man for the advertising agencies of J. Walter Thompson, McCann Ericson, and BBDO. During this time, he also worked as a syndicated cartoonist. Collaborating with his wife, Linda, his best-known series was Susie Q. Smith, which first appeared in 1945 and described as a “female Archie type.” Very popular, the cartoon was later the subject of a series of comic books published from 1951 to 1954. After serving in the United States Army for three years during World War II, Walter began to paint seriously. He ascribed his earliest artistic influence to Joan Miró, whose Dog Barking at the Moon (1926) he viewed when he was twelve, the year he published his first cartoon. Walter later wrote that jazz, “the first native expression of so-called modernism” was a strong influence on his work. During the later 1940s, Walters spent time at the Research Studio in Maitland, Florida. Founded in 1937 by artist and architect J. André Smith and supported by the philanthropist Mary Curtis Bok, the Research Studio was a lively colony that hosted prominent artists, including Milton Avery, Ralston Crawford, and Doris Lee. While at the Studio, Walter’s work was purchased by Frank Crowninshield. A founding trustee of the Museum of Modern Art and editor of Vanity Fair, Crowinshield was a noted collector; his collection included important works by Pablo Picasso, Marc Chagall, Henri Matisse, Edgar Degas, George Bellows, and Pierre Bonnard. Returning to New York after his time at the Studio, Walter became an active member of the New York school of the abstract expressionist movement, and in the summer of 1956, Walter exhibited 13 paintings and a selection of drawings at New York’s Chase Gallery. The adroit manipulation of both color and composition evident in his work shows the influence of Abstract Expressionism, particularly Willem de Kooning, Arshile Gorky, and Hans Hofmann. illustrator and female cartoonist Linda Walter was the talented female mind behind the beloved "Susie Q. Smith" comic strip. She played an instrumental role in shaping the cultural landscape through her vibrant illustrations. Known for the timeless charm of the "Susie Q. Smith" comic strip, Linda's artistry brought joy and laughter to countless readers during the 1950s and continues to resonate with fans across generations. She was part of the Woodstock artists community. from Women in Comics: Linda Walter was the artist of newspaper strip Susie Q. Smith, which was written by her husband, Jerry. It was syndicated by King Features Syndicate and ran from 1945 to 1959. The Walters also contributed original Susie Q. Smith stories to Dell's Four Color comic books from 1951 to 1954. From 1964-1965, they created a singled panel comic called The Lively Ones. Vintage Golden Age of Comics era. The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created. Between 1939 and 1941 Detective Comics (DC) and its sister company, All-American Publications, introduced popular superheroes such as Batman and Robin, Wonder Woman, the Flash, Green Lantern, Doctor Fate, the Atom, Hawkman, Green Arrow and Aquaman. Timely Comics, the 1940s predecessor of Marvel Comics, had million-selling titles featuring the Human Torch, the Sub-Mariner, and Captain America. Another notable series was The Spirit by Will Eisner. Dell Comics' non-superhero characters (particularly the licensed Walt Disney animated-character comics) outsold the superhero comics of the day. The publisher featured licensed movie and literary characters such as Mickey Mouse, Donald Duck, Roy Rogers and Tarzan. Additionally, MLJ's introduction of Archie Andrews in Pep Comics #22 (December 1941) gave rise to teen humor comics, with the Archie Comics...

RED GROOMS (Untitled), for Alice + Bo, Provincetown 1966 Original ink drawing on paper Signed, inscribed and dated with a dateline of Provincetown on recto. Vintage frame included Th...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works exploring the botanical splendor of Italian flowers with highly detailed captures Flora Italiana ( Papavero Bianco ) delicate white poppy flower petals 40 x 30 inches (102 x 76cm) signed edition of 25 64 x 48 inches (162 x 122cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ___________________ About the artist Linda Rosewall’s artistic path was cemented during her childhood. She was inspired by her farther, an accomplished musician and composer who raised his six children as a performing family act. The experience of traveling the United States and Canada in a small airplane piloted by her father provided the opportunity for Linda to capture these moments on her small Kodak Instamatic Camera. At the age of 18, she enrolled at Columbia College of Fine Arts Chicago. During her studies, Linda apprenticed under photographer Norman Bilisko and later worked with Dennis Manarchy...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian-governed academic setting. This presence exposed Franci...

Jack Youngerman October 1, from Betty Parsons Gallery, 1964 India ink on paper, with original Betty Parsons Gallery label Pencil signed and dated '64 on the front; also signed, title...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

White Lotus Lithograph A limited edition lithograph by listed artist Hoi Lebadang, (Vietnamese/French, 1922 – 2015). This print displays an ethereal lotus flower to center, known to ...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

Original mixed media work on paper by Adam Baranello. Mixed media, acrylic, spray paint on canvas. Size 17 x 14 in. Offered unframed. Ships rolled Multidisciplinary artist Adam Ba...

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...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Traces of lived experiences appear in On Hansen's works, exploring the possibilities of formal abstraction and seeking an organic experience between space and time through painting a...

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...

Alexander Calder 1898–1976 American Lucioles (Fireflies) Signed and dated “Calder 72” (lower right) Gouache and ink on paper Few artists defined the visual language of modern abs...

Original mixed media work on paper by Adam Baranello. Mixed media, acrylic, spray paint on canvas. Size 17 x 14 in. Offered unframed. Ships rolled Multidisciplinary artist Adam Ba...

Gathering Vraic on a Jersey Shore. c. 1937. Ink and watercolor on 'Castle Linen Tolli & Harvey LD London' countermarked paper. 7 1/8 x 13 1/2 (sheet 12 1/2 x 16 1/4). Good condition, apart from small professionally repaired paper losses at the corners, from previous hinges. Dedicated 'To my friend Harold James Bailey E.B.' and annotated 'To wish you a glad glow of happiness for Christmas and the New Year'. From the collection of the famous Blampied scholar and collector, Harold J. Bailey, who wrote an article, 'Edmund Blampied: Artist and Philosopher' in the Print Collector's Quarterly 24 (1937). Housed in a 15 1/2 x 21 1/2-inch Whistler style gold wood frame. In the left rear section is a Martello or Conway tower, built as a fortiffiction. A Jersey Round Tower Coastal towers stand all along the coast of the island. The British built 22 round towers, one similar square tower, and eight Martello towers towards the end of the 18th Century and in the early to mid-19th Century, but now only 24 remain, including seven of the Martellos. Vraic is a seaweed found in the Channel Islands. The main use of vraic is for spreading over potato fields during the winter. It is then ploughed into the soil before the potatoes are planted in late winter and spring. Vraic was traditionally gathered by horse and cart in Grouville Bay and St Ouen's Bay, and in smaller quantities at Le Hocq and Havre des Pas. The practice continues using...

Original Graffiti Street Art on Canvas, Mixed Medium on Canvas 45W x 60H" Original Mixed Media Graffiti Street Art on Canvas Investment Opportunity - Unique - Original - Signed Thi...

In this cotemporary drawing, carefully drawn dots and lines in soft shades of indigo blue with pink, green, yellow and dark red details in an intricate composition are inspired by pa...

Wonderful silkscreen of Japanese diarist doll in glass case. Illegibly signed left corner, dated (October 8, 1983) and numbered (2/30). Presented in wood frame. Image size: 20"H x 14...

In carefully drawn dots and lines in soft shades of indigo blue with pink, green, yellow and dark red details, this intricate composition is inspired by patterns in nature. This cont...

Vintage Abstract Figurative Etching - "Embrace" Vintage abstract figural "Embrace", a lithograph by Patricia Ann Way (American, 20th Century). Signed "Patricia Way" and dated "76"...

AMERICA MARTIN "Jackie Robinson No.1 Unframed" Ink on Paper 14" x 11" A portion of each sale will be donated to the ACLU + NAACP JoAnne Artman Gallery proudly introduces America Ma...

Figure with Orange and Blue - Original Signed Abstract Expressionist Work Dynamic figural abstract piece by Felix Ruvolo (American, 1912-1992). In the center of the composition is a...

"Shifting Diamonds - Pickup Truck”, by ceramic dynamo Katharine Morling is a whimsical porcelain installation of a truck loaded with gold and diamonds. Th...

Readings from the "Communion of Saints": folio from an Italian Missal Pigment on vellum Mid 17th century Provenance: Otto F. Ege (1888-1951) Phillip Duechnes Bookseller, New York, c. 1948 References And Exhibitions: Otto F. Ege Box Folio 27 Ege describes these folios as: Epistolary (Epistolarium), Italy, Middle 15th century Latin Text: Rotunda or Round Gothic Script, square rhetorical neumes Sister folio are in the following rare book libraries: Case Western Reserve University Cincinnati Public Library Cleveland Institute of Art Cleveland Public Library Denison University Kent State University Kenyon College...

Heather Hollis Devils Tower National Park Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2019 Size: 12 x 8.7 inches (30.48 x 22.09 cm) Edition: 15 Signed on label (to be a...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Steve Sorman has had over 80 solo artist exhibitions throughout the United States . I have included, just for reference, some images of his museum show so that you can see the body...

3906 Abstract artist proof lithograph on laid paper titled Secrets &Sinai in a silver metal frame

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

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,...

Max Manning is a Houston-based painter whose practice he describes as “algorithmic abstraction”, studio-built systems that he deliberately disrupts to create compositions where loose...

Kim Frohsin, Third generation Bay Area Figurative artist began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was...

photo-eye Gallery is very excited to share new work from represented artist Maggie Taylor. After completing her prodigious series of illustrations for Lewis Carroll's Through the Loo...

Carefully drawn dots and lines in soft shades of indigo blue with pink, green, yellow and dark red details, this intricate composition is inspired by patterns in nature. This contemp...

The WEBB imagery is of the most important imagery every taken. The finest museum quality WEBB images available. Printed on archival paper using archival inks. 50x40 Edition of 150 ...

Interior design paintings. The work was done with alcohol ink in ultramarine blue color on Yupo paper. The work is 11 by 14 inches in size, framed (gold or black) with a styrene face...

Peter Knapp’s “The Denizens of Delight – Fun with Matisse” is a 27.375 x 38.25 x 1 inch mixed media abstract painting on panel in blue, purple, orange, and green acrylic, ink, and co...

Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo...

Over 350 year old antique copper engraving of the female Roman goddess Bellona, the goddess of war, circa 1650. Original artwork on paper displayed on a white mat with a gold border...

"Boldest Flyer" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower center with graphite. This piece featu...

"Glitch in the Machine" is an original piece by Kevin Snipes made from ink, gouache, and acrylic on paper. This piece measures 9.25”h x 6”w and is signed en verso. Kevin Snipes (he/...

Salvadoran-born Victor Cartagena has been making art in the Bay Area since the late 80s. The work that he produced in the early to mid-1990’s battled with memories of the violence in...

Roland Ayers (1932-2014). Spring, 1972. Ink on paper, 9.75 × 13.5 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Ali...

Next Sign by Frank Schott from a series of works capturing conceptual roadside signs in iconic American landscapes captured with a large format camera to allow epic scale print s...

Roland Ayers (1932-2014). Our Home, 1971. Ink on paper. 4.5 × 6 7/8 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of ...

Hiroshi Honda Hatatatedai Signed upper right Ink on paper laid on canvas 35 x 92 inches Hiroshi Honda was an American painter who was born in Hilo, Hawaii, to Japanese parents who ...

Mid Century Modern Farmhouse Landscape in Watercolor and Ink on Paper Bright, modern landscape by Robin Gay McCline (American, 1928-2008). A line of trees and buildings runs across ...

A contemporary color photograph by Roberta Fineberg is a nod to photo secessionist Edward Steichen. The subject for the artist's night photography is a Central Park West building (th...

Bold print of "Brotherhood" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 3 from a series of 10, print...

Roland Ayers (1932-2014). Aerial Circus Series (Ed Henderson), 1971. Ink on paper, 11.75 × 16.5 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July ...

Large format observation of a California Redwoods grove, capturing the colors and lush flora of the iconic biosphere in mesmerizing details Redwoods (2010) by Erik Pawassar is offer...

Original mixed media work on paper by Adam Baranello. Mixed media, acrylic, spray paint on canvas. Size 17 x 14 in. Offered unframed. Ships rolled Multidisciplinary artist Adam Ba...

Roland Ayers (1932-2017). Improvisation, 2nd Series, #5. Ink on paper, measures 19 x 24 inches. Unframed and unmounted. Signed and dated lower right, titled lower left. There are a few minor areas of loss in margins as depicted in close-up photos. Additionally, there a a few minor tears in margins. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...