Art by Medium: Rag Paper

Dessert Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Beneath the Sea, 2025 by a.muse is a 24 x 18in work on paper that combines acrylic, pastel, sand, and diamond dust. The artist uses texture adding to the luminous, organic landscape....

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. The paths are crowded with towering eucalyptus, bay laurel and madrone tr...

These are two 18 x 24-inch hand-printed photographs of the fog in early morning light in the woods in northern California near San Francisco using the antique cyanotype process. Thei...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: Size: 36x24 This series was captured on a local Texas ranch, where the land stretches wide and t...

Framed to 44 x 30 x 2 inches. The artwork itself measures 40 x 26 inches. Arches 100% cotton watercolor paper framed in a white 2-inch deep solid wood box frame. The intricate patt...

Brand-new addition to the Foggy Woods Collection of forests in northern California near San Francisco. New as of May 14, 2024. This is a hand-printed contact photograph using the ant...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Mallorca, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. Ships rolled with matting removed. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson...

This unique multistep technique is a combination of a painting and a photograph or monotype. Cyanotypes are a kind of alternative photographic process from the 1800s. The chemicals a...

Arnaldo Pomodoro Untitled Mid-Century Modern Geometric Abstraction, 1968 Silkscreen with colors on rag paper with deckled edges Hand signed, numbered 44 from the edition of 80 and da...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

An artist's proof (a/p) of a spiral staircase in Rome by Roberta Fineberg (RF) that captures a cylindrical stairwell in the Eternal City. For a Cities series, RF travels often to Eur...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes...

This long narrow monotype was made by carefully arranging hundreds of individual blades of fresh-cut native Californian wild grass. The species of tall marsh grass is called Gray Rus...

A steep path in the woods curves upward with the distant pines at the top disappearing into morning fog and the leafy trees in the foreground bright and sharp. These are the foggy wo...

Raccoon Watching Fish, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Artist: Alec Cumming Title: To the Sound of the Temple Medium: oil on paper Size: 97 x 63 cm (38 x 25") Year: 2016 Alec Cumming Exhibited at Alec Cummin...

Blue Hydrangea - image bled to plate size ~ 39 x 29 - printed on 100% cotton rag - edition 3/5 Architectural elements

Adored by collectors and art lovers around the globe, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-makin...

The pale gray-green of this pair of monotypes calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut branches from eucalyptus trees which grow in the w...

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...

Elizabeth Osborne (American/Philadelphia, b. 1936) "Red." Watercolor on paper. 1991/1992. Signed and dated l.r.. Sight: 9" x 12". Frame: 18 1/4" x 21 1/2". Provenance: Purchased from Jane Haslem Gallery in 1994. From the collection of Nancy Elizabeth Stanley. 1936, born Philadelphia, Pennsylvania 1959, BFA, University of Pennsylvania, Philadelphia, Pennsylvania 1954-58, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania SOLO EXHIBITIONS Berry Campbell, New York, Elizabeth Osborne: A Retrospective, 2022. Locks Gallery, Philadelphia, Pennsylvania, Reflections: Painting Memory, 2017. Locks Gallery, Philadelphia, Pennsylvania, Watercolors: Five Decades, 2017. The Delaware Art Museum, Wilmington, Delaware, Elizabeth Osborne: The 1960s, 2016. Luther W. Brady Art Gallery, George Washington University, Washington, D.C., Color Bloc: Paintings by Elizabeth Osborne, 2015. The James A. Michener Art Museum, Doylestown, Pennsylvania, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne, 2015. (Traveled to The Lancaster Museum of Art, Lancaster, Pennsylvania, 2016.) Locks Gallery, Philadelphia, Pennsylvania, Luminous Gestures: New Works by Elizabeth Osborne, 2013. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: Watercolors, 2011. Locks Gallery, Philadelphia, Pennsylvania, New Work, 2011. The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, Elizabeth Osborne: The Color of Light, 2009. Locks Gallery, Philadelphia, Pennsylvania, Figurative ‘60s, 2007. Locks Gallery, Philadelphia, Pennsylvania, Floating Landscapes: 1971-1979, 2006. J. Cacciola Galleries, New York, Works on Paper, 2006. The Print Center, Philadelphia, Pennsylvania, Recent Prints, 2005. Locks Gallery, Philadelphia, Pennsylvania, 2004. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: 30 Years, Works on Paper, 2002. Locks Gallery, Philadelphia, Pennsylvania, Vantage, 2000. Old Main Art Museum, Northern Arizona University, Flagstaff, Arizona, 1998. Locks Gallery, Philadelphia, Pennsylvania, 1997. Locks Gallery, Philadelphia, Pennsylvania, 1994. Jane Haslem Gallery, Washington, D.C., 1994. North Dakota Museum of Art, Grand Forks, North Dakota, 1993-94. Locks Gallery, Philadelphia, Pennsylvania, 1992. Arronson Gallery, The University of Arts, Philadelphia, Pennsylvania, Watercolors, 1991. University of the Arts, Philadelphia, Pennsylvania, 1990. Marian Locks Gallery, Philadelphia, Pennsylvania, 1988. Fischbach Gallery, New York, 1988. Fischbach Gallery, New York, 1984. Fischbach Gallery, New York, 1982. Fischbach Gallery, New York, 1980. Marian Locks Gallery, Philadelphia, Pennsylvania, 1978. Marian Locks Gallery, Philadelphia, Pennsylvania, 1976. Gimpel & Weitzenhoffer, Ltd., New York, 1977. Gimpel & Weitzenhoffer, Ltd., New York, 1974. Marian Locks Gallery, Philadelphia, Pennsylvania, Landscapes, 1972. Makler Gallery, Philadelphia, Pennsylvania, 1970. American Consulate, Sao Paulo, Brazil, 1969. Peale Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1963. GROUP EXHIBITIONS Avery Galleries, Bryn Mawr, Pennsylvania, The Women of the Pennsylvania Academy of the Fine Arts: Past to Present, 2024. Berry Campbell, New York, Perseverance, 2024. Locks Gallery, Philadelphia, Pennsylvania, From Dusk Till Dawn, 2015. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, “Something Clicked in Philly”: David Lynch and His Contemporaries, 2014. Locks Gallery, Philadelphia, Pennsylvania, It’s Not the Numbers, 2014. Locks Gallery, Philadelphia, Pennsylvania, Works on Paper, 2013. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, The Female Gaze: Women Artists Making Their World, 2013. Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, Pennsylvania, Four Visions/Four Painters: Murray Dessner...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

This is a hand-printed photograph using the 170-year-old cyanotype process. This is a negative (reversal of the dark and light tones) of the original photograph of a branch of a magn...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº2 + Year: 2022 + Edition Size: 24 + Stamped and...

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...

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

Commonly referred to as the Snow Moon because of snowfall typical in February, the bright orb illuminated the night sky in New York City. The Snow Moon was the second full moon of 20...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 3 of 5. Kristin Moore says o...

This unique multistep technique is a combination of a painting and a photograph or monotype. Cyanotypes are a kind of alternative photographic process from the 1800s. The chemicals a...

Giant oaks reach across a shady path in the woods, soft morning light glowing in the distance. These are the woods in the hills of Oakland, across the bay from San Francisco. The pho...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

"Bottle Collection I" is a modern still-life that portrays a collection of bottles and china items that are arranged in a harmonious composition ag...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyanotype, photogram or sun print. ...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Born and raised in London, British photographer Nathalie Gordon shoots with an unusual but fantastic hyper realistic style. Her work is packed with high sheen and edge, yet she is ab...

"The Big City" by Halsey Chait India Ink on 250 GSM Lenox 100 Cotton Rag Paper Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processe...

Golfam Jozdani Shadows of Peace XIV (Aliens, Surreal, Expressionism, Urban) 2025 Oil Pastel on Fine Paper Size: 11 x 8.5 inches (28 x 22 cm) Signed and dated in pencil COA provided ...

These are two separate 40 x 26 inch cyanotypes (unique monotypes) made using the same tree branches flipped over facing the opposite direction, the result being a symmetrical mirror ...

This is a hand-printed photograph using the 170-year-old cyanotype process. This is a negative (reversal of the dark and light tones) of the original photograph of a branch of a magn...

Etching with drypoint on cream wove paper, 11 3/4 x 13 3/4 inches (297 x 347 mm), full margins. Signed in pencil and numbered 32/40, lower margin. Minor mat tone and several small lo...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Chris Ritter (1906-1976). Walking Figure, ca. 1960. Watercolor on rag paper, sheet measures 15.5 x 22 inches. Sheet is loose and unmounted. Unframed. Estate stamps500 on verso....

This is an exclusive handprinted limited edition cyanotype. "Calming Sea Ripples" is a handmade cyanotype print portraying the subtle movements and abstract ripples of the open sea. ...

Though it resembles a giant abstract watercolor painting owing to its soft gradations and luminous quality, this is a form of photography called a cyanotype, photogram or sun print. ...

Rural scene of a hillside farm, depicted in watercolor on rag paper by Northern California watercolor and acrylic artist W. H. Myers (American, 20th century). Signed "W. H. Myers." P...

Brand-new addition to the Foggy Woods Collection of forests in northern California near San Francisco. This is a hand-printed contact photograph using the antique cyanotype process a...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Marble Blue Silk Pattern + Year: 2022 + Edition Size: 50 + Medium: Cyanotype on Watercolor Paper + Sta...

Hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 3 prints made in this largest size. These are the foggy woods in the hills of Oakland, across...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

This unique multistep technique is a combination of a painting and a photograph or monotype. Cyanotypes are a kind of alternative photographic process from the 1800s. The chemicals a...

Though this may look like a woodcut or screen print, it is a kind of photography. Cyanotypes are a 19th century alternative (cameraless) photographic process. This monotype was print...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 2 of 5. Kristin Moore says o...

Though this may look like a woodcut or screen print, it is a kind of photography. Cyanotypes are a 19th century alternative (cameraless) photographic process. This monotype was print...