Art by Medium: Ink

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 an original abstract acrylic paint, ink, spray paint, and colored pencil original artwork by San Diego artist, Bryce Nihill. Its dimensions are 34"x20"x2". It comes framed. A...

Archival Inkjet on paper Signed by the artist, on verso Image: 50.8 x 50.8 cm Sheet: 58.4 x 58.4 cm Framed: 66.5 x 66.5 x 4 cm Edition of 10 + 2 AP

Neerja Chandna Peters enjoys navigating harmony through the play of lines with their symmetrical synchrony and rhythmic interplay, manipulating the nuances, their saturation and thei...

Ink on paper Time and Space are conceptually interconnected works. The relationship between the two is the driving force of our universe. Both pieces were created during one of th...

Framed Cuban Artist/Caricaturist Conrado Walter Massaguer presents Hollywood star Adolphe Menjou in a satirical dual portrait. In the foreground, the subject is seen in a dapper top hat, tux, fashionable cigarette and boutonnière, and is shown as being the epitome of being stylishly debonair. To make a larger point about this subject, Massaguer paints a cast shadow of Menjou as a burning red devil who studies his alter ego from above. Keeping with the artist's sarcasm, we see the good and bad in one image. Works by Massaguer are rare and this work is in keeping with his signature style. This work was most likely done on assignment for Life Magazine, Cosmopolitan, The New Yorker or Vanity Fair. Signed upper right. Inscribe lower right. Titled on verso. Unframed, Slight bend to board; toning to board; scattered faint foxing; pin point abrasions to margins, not affecting image. 19-1/2 x 15-1/8 inches board size. Conrado Walter Massaguer y Diaz was a Cuban artist, political satirist, and magazine publisher. He is considered a student of the Art Nouveau. He was the first caricaturist in the world to broadcast his art on television.He was first caricaturist to exhibit on Fifth Avenue. He was the first caricaturist in the world to exhibit his caricatures on wood. He, and his brother Oscar, were the first magazine publishers in the world to use photolithographic printing. Self portrait of Conrado Walter Massaguer, depicted on a carrousel ride, with the devil over his left shoulder and an angel over his right. (1945) He created the magazine Social with his brother Oscar to showcase Cuban artistic talent. The duo later created the magazine Carteles, which became for a period the most popular magazine in Cuba, which was purchased by Miguel Ángel Quevedo in 1953. In his life, he met and drew caricatures of Franklin D. Roosevelt, Walt Disney, Albert Einstein, the King of Spain, and many others.[ In sum total, he was the author of more than 28 thousand caricatures and drawings.Ernest Hemingway once had to refrain himself from punching Massaguer in the face after the artist drew an unflattering caricature of him. The dictator Gerardo Machado, however, did not punch Massaguer for his own unflattering caricature - he had the artist deported. He was one of the most internationally renowned Cuban artists of his day, and his art is still regularly featured in galleries across the Western Hemisphere and Europe. Early life Massaguer was born on October 18, 1889, in Cárdenas, Cuba.[In 1892, his family moved to Havana. When the Cuban War of Independence broke out, Massaguer's family escaped the country. From 1896 to 1908, he lived in Mérida, Mexico. However, during this time, his parents enrolled him in the New York Military Academy, where he stayed during school years. In 1905, after graduating the military academy, he briefly attended the San Fernando school in Havana, where he was tutored by Ricardo de la Torriente and Leopoldo Romañach. In 1906, less than a year later, he returned to the family home in Mexico. Career as artist Early career While living in Yucatán, Mexico, Massaguer published his first caricatures in local newspapers and magazines. These included La Campana, La Arcadia, and the Diario Yucateco. In 1908, he moved back to Havana. After returning to the island in 1908, Massaguer began mingling with Havana's aristocratic circles, forming close friendships with some of the city's most powerful and influential men, as well as winning the favor of many women who were quickly charmed by him. Massaguer, largely self-taught, honed his style using the avant-garde techniques he studied from the European and American magazines that were widely available in Cuba at the time. Cover of the immensely popular Cuban magazine El Figaro, drawn by Massaguer in 1909. This cover depicts two bumbling, incompetent American tourists to the island. He started drawing for El Fígaro, and was featured prominently on the cover in 1909. After two years of refining his craft, Havana announced a poster contest aimed at attracting North American tourists to stay in the city during the winter months. Notable figures like Leopoldo Romañach, Armando Menocal, Rodríguez Morey, Jaime Valls, and others also entered the competition. The jury was particularly impressed by the modern execution and creative solution of one piece, signed by Massaguer, who was relatively unknown at the time. The jury deliberations caused a great controversy.[5] The prize was ultimately awarded to the Galician painter Mariano Miguel, who had recently married the daughter of Nicolás Rivero, the wealthy owner of the conservative newspaper Diario de la Marina. Although Massaguer received only an honorable mention, the fraud scandal caused such an uproar that his name quickly entered the public spotlight, and he became an overnight sensation. In 1910, he became co-owner of the advertising agency Mercurio, with Laureano Rodríguez Castells. At Mercurio, he led the Susini cigar campaign, and earned substantial wealth. Massaguer has been described as a restless man, in both mind and body.After earning enough money from his art to begin traveling, he was almost always doing so. He constantly traveled between New York City and Havana, Mexico and France, Europe and the Americas. In 1911, his reputation among the Havana socialites solidified when he organized his own first public caricature exhibit, and also the first Caricature Salon ever held in the Americas, hosted at Athenaeum of Havana (the Ateneo), and the Círculo de La Habana. Other exhibitors here included Maribona, Riverón, Portell Vilá, Valer, Botet, Barsó, García Cabrera, Carlos Fernández, Rafael Blanco, and Hamilton de Grau. "Messaguer Visits Broadway." Caricatures of theatrical and literary figures. Elsie Janis, Raymond Hitchcock, S. Jay Kaufman (columnist), Ibanez, author of The Four Horsemen, and Frances White In 1912, in the New York American Journal, he published his first Broadway drawings. From 1913 to 1918, he was an editor for Gráfico. Social Main article: Social (magazine) Cover of the magazine Social, July 7, 1923 In 1916, he created the magazine Social with his brother, Oscar H. Massaguer. Social's contributors included Guillén Carpentier, Chacón y Calvo, Enrique José Varona and others.Social has been described as Massaguer's great love in the magazine industry, and was the property that historians say he cared the most about. Social was an innovative magazine, being the first magazine in the world to use a modern printing process called photolithographic printing. Social set cultural trends, not only in the fashion of Cuba, but in art, politics, and Cuban identity.[11] Social catered to a certain aesthetic in Cuba - that of the sophisticated elite socialite - but Massaguer would also use this magazine to ridicule and jibe against that same class of society when he found their personalities worthy of his contempt. In Social, readers could find a variety of content, including short stories, avant-garde poetry, art reviews, philosophical essays, and serialized novels, as well as articles on interior design, haute couture, and fashion. Occasionally, the magazine also featured reports on sports such as motor racing, rowing, tennis, and horse riding.The cultural promotion efforts of both Massaguer and Emilio Roig de Leuchsenring are evident in the magazine. Notably, this period overlaps with their involvement in the Minorista Group, which was then at the forefront of the country's intellectual life.[5] Many contributors were devoted members of the group, leading some experts to consider Social as the cultural voice of the Minoristas. One of the features of Social magazine was its section called "Massa Girls," which was a play on his own name, and pronounced with a glottal 'g' in a similar fashion to the letter in Massaguer.[12] Massaguer drew women as independent and free-thinking, and never drew the woman celebrity as a caricature of herself, but as a free agent surrounded by caricatures.[11] However, Massaguer himself has been described as a womanizer in his personal life, and hesitant to fully embrace every facet of women's liberation. In 1916, he also established la Unión de Artes Gráficas and the advertising agency Kesevén Anuncios.[9] The art critic Bernardo González Barroa wrote: “Massaguer has solved the problem of working hard, living comfortably off what his art produces and not missing any artistic, sporting or social event. His broad, childish laugh, of a carefree individual who carries his luck hidden in a pocket, appears everywhere for the moment, disguising the pranks of pupils that lurk, mock and, finally, flash with satisfaction at finding the characteristic point after having analyzed a soul... Massaguer's personality is beginning to solidify now. He has been the best-known and most popular caricaturist for a long time, but his technique had not reached the security, the mastery of values that he presents in his latest works, which is very natural and explainable”[5] Carteles Main article: Carteles Cover of the magazine Carteles, November 29, 1931 In 1919, Massaguer and his brother created the magazine Carteles.[9] Carteles gained the widest circulation of any magazine in Latin America, and the most popular magazine in Cuba for a time, until that title was claimed by Revista Bohemia. Carteles remained in print until July 1960.This magazine showcased Cuban commerce, art, sports, and social life before the revolution. In 1924, Carteles took a more political turn, with articles criticizing Gerardo Machado's government. it became a prime example of the humor and graphic design employed by artists like Horacio Rodríguez Suria and Andrés García...

'Once Upon a Table' is a figurative portrait by multi-disciplinary artist Kim Frohsin. Professionally framed in a white ash hardwood floater frame, with an opening on the back, to reveal the artist's signature, title of the painting, and year of its making - 2008. Ready for hanging and also suitable to sit of a table as a sculpture. Frohsin’s work is held by the San Jose Museum of Art, the Crocker Art Museum in Sacramento, the Office of the Governor, State Capital, Sacramento, and the United States Department of State. Her work is also in numerous corporate and private collections, among them the Morgan Flagg Family Collection, Buck Fine Arts, Adobe Systems, Inc Neiman Marcus and the Gap, Inc. Frohsin began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri and Stephen De Staebler in an exhibit of "Four Figures from the Bay." With Wayne Thiebaud as the juror, she won the California Society of Printmakers' Award in 1996, and the following year exhibited at the de Young Museum in San Francisco in "Bay Area Art...

Gerry Mulligan, Baritone Sax - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Gerry Mulligan sits on a stool holding his ba...

Interior design paintings. The work was done with india ink and alcoholic ink in black, grey and green color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene...

Official Vintage 1937 program of the Coronation of King George and Queen Elizabeth. Framed in a dark brown wood shadowbox with an off-white colored ma...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

Aditya Dicky Singh Untitled Infrared photograph on fine-art Hahnemuhle archival paper 36" x 53" unframed (92cm x 135cm) 2017 Edition 1/10 *Should you wish the photograph to be...

PURE EVIL - RICHARD BURTON'S NIGHTMARE Date of creation: 2020 Medium: Hand finished screen print on paper Edition: 1 Size: 26 x 26 cm Condition: In mint conditions, brand new and nev...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

In this finely executed pen and wash drawing, Jacobus Storck presents us with an imaginary view in an Italian port. The splendor of the buildings (the large sculpted fountain surmoun...

Nick Vedros Cubist Poodle Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 9.5x14in Edition: 12 Signed, dated and numbered by hand on label Stamped COA pro...

Oil, enamel, and ink on canvas Signed in black, l.r. This artwork is offered by ClampArt, located in New York City. Inscriptions read: THE WALL, NOGALES In Nogales, I walk across...

Paula Valenzuela Underworld, 2025 Alcohol ink and watercolor ink on Yupo paper 14 x 11 inches This one-of-a-kind work on paper comes unframed. External, visible frame and glass in s...

Rosy ANDREASI-VERDIER (1934-2015) Mode drawing : Elegant Short Dresses Original gouache and watercolor drawing Bears the "Rosy Andreasi Verdier" Archives stamp bottom left...

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 ...

Winged woman is a fine ink drawing, realized by Albert Decaris (1901-1988) . Good conditions. Albert Decaris was a French artist, engraver and painter. ...

Jean Launois (1898-1942) Opium smokers, Indochina Stamp of the artit's estate on the lower right Black ink on paper 22.5 x 30.5 cm Framed : 38 x 46 cm This beautiful drawing, a fine example of Jean Launois' particular art, dates from the artist's stay in Indochina, from which he brought a group of works. An exhibition devoted to this Indochinese period of the artist's production was held at the Musée de l'Abbaye Sainte-Croix, Sables d'Olonne in 1998. About the artist : Of Vendée origin, Jean Launois very quickly showed a sure talent for drawing and was encouraged in this by his parents. He trained with his fellow Vendeans Charles Milcendeau and Auguste Lepère and then entered the Académie Jullian in Paris. Enrolled in the First World War in 1916, he continued to draw at the front, and produced numerous portraits of soldiers...

Interior design paintings. The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size. This is the "Many thoughts, one head" series. The...

191j24017 (Abstract print) Engraving / carborundum on zinc printed on BKF paper 250 g - Unframed. Pierre Muckensturm added printmaking to his oeuvre since 2010. The engraving and ...

Le Croates is an original drawing in ink and watercolor realized by Herbert Knotel in 1930/40s. Good condition except for being aged. The artwork is depicted through strong lines i...

'Tendrils of Warmth' is a figurative portrait by multi-disciplinary artist Kim Frohsin. Professionally framed in an white ash hardwood floater frame, with an opening on the back, to reveal the artist's signature, title of the painting, and year of its making - 2008. Ready for hanging and also suitable to sit of a table as a sculpture. Frohsin’s work is held by the San Jose Museum of Art, the Crocker Art Museum in Sacramento, the Office of the Governor, State Capital, Sacramento, and the United States Department of State. Her work is also in numerous corporate and private collections, among them the Morgan Flagg Family Collection, Buck Fine Arts, Adobe Systems, Inc Neiman Marcus and the Gap, Inc. Frohsin began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri and Stephen De Staebler in an exhibit of "Four Figures from the Bay." With Wayne Thiebaud as the juror, she won the California Society of Printmakers' Award in 1996, and the following year exhibited at the de Young Museum in San Francisco in "Bay Area Art...

"Avant Hier" - Lithograph on Paper Abstract expressionist lithograph on paper depicting figures, with clouds of white by Jim Crabb (American, b. 1947). Hues of brown take up the pap...

This striking underwater nude photograph captures dramatic movement against a pure black backdrop, where flowing crimson fabric creates dynamic contrast with pale forms. The composit...

Florida is an oil and ink mixed media artwork mounted on panel, 24 x 20 inches, signed and dated 'STEINBERG/1969' lower right. Inscribed '22 Florida' verso in pencil. Framed in a con...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

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...

Group of Three 19th Century Framed Painted Silhouettes Framed in black: Male: 6.25x7.75, unframed 5.5x7 Framed in black: Female: 4.75x6.25, unframed 2.x2.75 Gilded frame: Female: ...

Image Dimensions: Image 9" x 19" Sheet Dimensions: 15" x 20.25" Medium: Watercolor, ink, and graphite on paper laid to board This is an unsigned study for the 38" H x 75" W oil pain...

"Permafrost" by Alexis Kandra is a limited edition signed, titled, dated and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil (edition total of 5). The image features a surreal wildlife scene of a fantastical grouping of animals -- in the foreground of the landscape is a (now extinct) saber tooth tiger...

Kim Frohsin, Third generation Bay Area Figurative artist began exhibiting in the San Francisco Bay Area in the early 1990s, and in 1993 was included with Nathan Olivera, Manuel Neri...

False Bar II Oil, bitumen, graphite, sand, dry pigment on paper laid on canvas 38" x 50" I am a visual artist whose work investigates small and large -scale abstraction primarily i...

This framed reproduction of Claude Monet's immensely popular painting, “The Bridge Over The Seine Near Argenteuil,” comes with a certificate of authenticity on the back and is numbered 1102, making it interesting for several reasons. The artagraphic process used to produce this work in a limited edition of 2900 is considered the state-of-the-art in art reproduction and the most respectful approach to reproducing a painting by a master. In three steps, this technique creates a 3D replica of an original oil painting's color and surface texture. Colors are scanned with a digital laser and then printed separately using oil-based inks on a single sheet. A mold is created from the original painting to reproduce its surface texture and bas-relief brushstrokes. Unlike lithographs and serigraphs, there is a palpable material and relief if you run your fingers over the surface. At the Impressionist group's first exhibition in 1874, Claude Monet demonstrated his deep interest in the motif by working on seven depictions of the Argenteuil bridge and four of the railroad bridge upstream. The artwork depicts Monet's immediate impressions of the scene rather than offering detailed realism. In these series, moored sailboats occupy the foreground, while the fluidity of the river melts harmoniously with the geometrically contrasted presence of the bridge and its imposing pillars. Monet manipulates his palette and complementary color schemes to create the illusion of light and movement through small, separate, and visible brushstrokes, making it one of the artist's most recognizable signatures. The painting displays a diversity of styles, with some elements more solid, having strong and distinct lines and structured forms defined by firm contours, while the water and the sky in the background give off an impression of moving space, floating, and ripples. An original painting of the series can be seen at Musée d'Orsay in Paris, France...

Woman with billowing skirt and french curls in red, blue and black, 'Parisian Fllip' from multidisciplinary visual artist Kim Frohsin, who created the series, 'Dancers and Athletes',...

Pink Song of Freedom is a painting realized by Iranian Painter and Poet Parimah Avani in 2022. China ink and acrylic on ivory-colored paper. Hand-signed and dated. Excellent condit...

Nick Vedros Lie Detector Dog Archival Pigment Print Hahnemühle FineArt Baryta 325 gsm Year: 2000s Size: 8x8.5in Edition: 12 Signed, dated and numbered by ...

In her work, Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersl...

The Lady is a drawing artwork realized by an Anonymous artist in mid-20th century. Pencil and watercolor on paper Good condition.

Provenance: Directly from the atelier of the artist Notes: This is an excellent example of a depiction of a French countryside village, with an emphasis in simplicity.

Loving Horses One of a kind Mixed Medium on Canvas Collector's Edition Mixed Media: Acrylic, Ink, Stucco, Glass Beads, Crackle Paste SPECIFICATIONS: - Fine art canvas - Professio...

America Martin "Woman with Blossoms" Ink on Paper 33.75” x 31” Framed AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angeles. America ...

Woman is an original artwork realized between the XIX century and the XX century by Henry Somm. Original black and white pencil drawings on paper. The artwork represents a portrait...

Original pair of rare and iconic ink drawings for the St. Trinians series by the British artist and satirical cartoonist Ronald Searle, one signed. The details of the works are: Ro...

REWA says of her work… Viewers largely label me under “Contemporary African Art”. I label my work as Igbo Vernacular Art. The reason for this is that I believe that I have created a...

ALEX KATZ (1927-Present) Katz' 2020 'Dancer 2' is a cutout with UV-cured archival inks on shaped powder-coated aluminum, mounted to aluminum base. Incised 'Alex Katz', dated and num...

Sir William Blake Richmond KCB, RA, PPRBSA 1842 - 1921 The Shepherd Egg tempera on wooden panel, signed with initials bottom left Image size: 8 ¼ x 5 ½ inches Period gilt oak frame A newly discovered work by the artist. Sir William Blake Richmond KCB, RA, PPRBSA was an English portrait painter, sculptor and a designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul's Cathedral in London. He was the son of the portraitist George Richmond RA and studied at the Royal Academy Schools in the early 1860s. Influenced by his father and by Sir John Everett Millais, he is best known for his mosaic decorations below the dome and in the apse of St Paul's Cathedral in London. His father, George Richmond, was one of 'the Ancients' who were a group of artists who formed around the visionary artist and poet William Blake. Samuel Palmer was an other of the ancients and a close friend of the family. Our painting could have been inspired by George Richmond’s engraving 'The Shepherd', 1827, but in our panel the shepherd is turned round facing away, and is playing a flute instead of resting on a staff. But the sheep and other elements are there. It is also suggestive of Welby Sherman's engraving after Samuel Palmer of the same name and date, but here the shepherd is sitting but like ours turned away. William Blake's is an altogether happier image given the figure is playing to his sheep. Our painting is playing with some of the same ideas and feels like the same sort of period, and the ‘fresco’ like chalk ground is interesting, as is the pen and ink finishing on the tempera. All three are strongly influenced by Blake's illustrations to Thornton's 'Virgil'. The shepherd and his flock are clearly based on Thenot and his sheep in the Frontispiece to Thornton. Blake Richmond wrote:"If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of my father's contemporaries, Calvert, Blake and others, whose shadows are substance still to me" [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling op. cit p. 28]. Richmond was given private art lessons by John Ruskin before attending the Royal Academy for three years. After that he spent a number of years in Italy, where an encounter with a shepherd called Beppino, 'a splendid speciman of a Sabine Shepherd', could also have gave him the inspiration for the painting we show here. Richmond recalls how he met Beppino on the hillside, and was invited to share the shade of the shepherd's capanna, a wooden hut. 'What a place! In an instant of time I was back into the age of kings, and I knew Romulus had lived and am sure that he lived in a hut exactly like this one'. That night Richmond dined at Beppino's hut 'on roast kid, hard bread dipped in Roman wine, goat's cream and white ricotta'. The shepherd had such an impression on Richmond that he sought him out on a return visit to Italy some years later, but was saddened to hear that Beppino 'had joined his fore-fathers in the shades'. He was moved to write the following, which perfectly expresses the mood of this painting and his tribute to a fleeting companion: 'Little events of this kind unite past times with present, create and emphasis continuity of human instincts, which seem to defy time and make travel so intensely interesting and invigorating to a citizen of this world. One need not go to the palace, far otherwise, or to cities and towns to discover the kernal of enduring civilisations. One finds it, if one wills to do so, in the backbone of the world, an ancient peasantry who have watched and still watch the progress of the stars'. Richmond was influential in the early stages of the Arts and Crafts Movement in his selection of bold colours and materials for the mosaics in St. Paul's Cathedral and in his collaboration with James Powell and Sons...

Dahlia 10 is a rich and luxurious Archival Inkjet Print by contemporary photographer Philip Gatward. It is available in this size of 32" x 38" from a Limited Edition of 10. Gatwa...

Adele Riley is a British contemporary land and seascape artist working primarily in acrylic and acrylic inks. Her artistic process usually begins with a loose idea of what she wants ...

Myril Adler "Magic Window" c.1960s Intaglio etching collage, ink on paper Image outlined in blue ink 5.75"x2.5" site unframed Signed and titled in ink Myril Adler, was born on Septe...

"Ghosts" - Abstract Composition in Acrylic, Oil, and Ink on Cradled Wood Panel Dramatic abstract composition by Michele King (American, b. 1962). This piece resembles a nebula, with swirling texture and subtle variations in color. Although the piece appears to be mostly black, there are a variety of colors that peek through the top layer. A layer of high gloss varnish creates a nearly iridescent quality to the piece, and the colors shift subtly depending on the viewing angle. Signed "Michele King" on verso. No frame, but the edges are painted for a frame-less display. Board size: 24"H x 24"W Michele King (American, b. 1962) was born in Cleveland, Ohio and moved to California in the 1990s. She attended Virginia Tech and Harvard, where she earned her MPA. She pursued graduate studies at the Glasgow School of Art in 2013. Her work is focused on “memory, the future, and ways in which perception is shaped through a combination of reality and imagination.” King’s process involves layering of various media, creating depth and texture. AWARDS and RESIDENCIES 2019 Individual Artist Grant, Center for Cultural Innovation, San Francisco CA 2017 Creative Research Grant/Artist-in-Residence, Jiwar Creació i Societat, Barcelona, Spain 2014 Development Grant, Bay Area Video Coalition, San Francisco CA 2013 Individual Artist Grant, Center for Cultural Innovation, San Francisco CA 2012 Artist-In-Residence, Can Serrat, El Bruc, Spain 2010 Artist-in-Residence, Red Cinder Creativity Center, Na’alehu, Hawaii 2008 Artspan Selections (Juried), LIMN Gallery, San Francisco CA 2007 Studio Grant/Artist-in-Residence, Red Ink Studios, San Francisco CA (2 years) 2007 Cultural Exchange Invitational, Le Genie de la Bastille, Paris, France 1999 Emerging Artist Award, 42nd San Diego Art Institute, San Diego CA SELECTED EXHIBITIONS and PROJECTS 2019 Infinite Sketch Installation, Brooklyn Art Library, Brooklyn, New York The Happiness Project Interactive Installation, Oakland Murmur, CA Love is Thicker, site specific installation, TBA 2018 Poetics of Light, Avenue 12 Gallery, San Francisco, CA (with Truong Tran) Exhibition Gràcia Plaça de la Vila, Barcelona Spain (with Elfi Gulen & Isador Fernandez) Urban Mobility Archive Project/Color of Belonging, Barcelona, Spain (with Jiwar) 2017 Stanford Urban Resilience Lab Collaboration, ELL Gallery & Stanford University Animate Objects, Curated State Pop-Up Exhibition, San Francisco, CA Familiar Distance, 123 Bolinas, Fairfax, CA (solo) Art for AIDS, Metreon, San Francisco CA 2016 Altered BooksMarks, Adobe Backroom Gallery, San Francisco, CA (co-curator) Daylighted Projections Exhibition, Phoenix Hotel, San Francisco CA Levi’s Vintage Textile Workshop, Monterey CA (assisting Sherri Wood) Aesthetics and the Night Sky, San Juan Bautista, California The Essence Library, San Francisco Art Institute ACE, San Francisco, CA 2015 Form + Substance, Curated State, San Francisco, CA Under the Moon, Avenue Gallery, San Francisco, CA (with Michelle Brandemuehl) 2014 After Dark, SOMArts Ramp Gallery, San Francisco, CA (solo/installation) 2013 The Telephone Project, Brooklyn NY/global (with Satellite Collective) 2012 The Lost and Found Project, Can Serrat AIR, El Bruc Spain Eyes Closed, Can Serrat International Art & Music Festival, El Bruc Spain Here/Now Auction, Royal Nonesuch Gallery, Oakland, CA 2011 Can’t Trace Time, Mina Dresden Gallery, San Francisco, CA (with Andrzej Karwacki) Live Paintings, Red Poppy Art House, San Francisco, CA (with Adrian Arias) The Magic Hour Installation, Columbia Collaboration Lab, New York NY Angry at the Movies...

Woman in a Fur Wrap Pen and ink heightened with white, c. 1920 Signed in ink lower right (see photo) Estate stamp verso (see photo) Provenance: estate of the artist ...

Myril Adler Untitled c.1960s Intaglio etching collage, ink on paper 3.75"x1.75" site unframed Signed in ink lower right Very Good Condition- Wear consiste...

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media—acrylic paint, glazes, ink, collage, pencils, and dry pigment—built upon p...

One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand painting, printed on canvas, then hand p...

The Portrait is a drawing artwork realized by an Anonymous artist in early 20th century Pencil and china ink on paper Good condition.

Love Between Horses Couple Painting One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand pain...