Mixed Media

Gerhar Richter, in collaboration with Vorwerk, made a special edition titled: 1024 Colors. The color palette by Richter is brought in with high quality pieces of carpet. *The images...

Jack Smith Do Not Open ‘Til Happy Hour c. 1960s Pen on manila folder 12 x 9.5 inches Contact gallery for price. This work is offered by ClampArt in New York City.

Robert Motherwell Brasileira 1975 Acrylic, graphite and printed paper collage on canvas laid on board 121 x 91 cms (47 5/8 x 35 7/8 ins) Provenance: Ace Gallery, Los Angeles Doug...

This mixed media on paper painting of Jesse Owens is from the seminal artist Artis Lane and is one of the many exquisite pieces done of historical figures and celebrities of seminal ...

Green Projection, 1971 - Work on Paper, British Abstraction - Sandra Blow Signed and dated on canvas overlap on reverse Acrylic on canvas, with aluminium construction 54 x 48 inches ...

Abstract in Browns, 1997 - Work on Paper, British Abstraction - Sandra Blow Signed and dated Gouache on board 12 x 9 1/2 inches Sandra Blow RA (1925-2006) pioneered British abstract...

Yellow Within, 2006 - Work on Paper, British Abstraction - Sandra Blow Signed on reverse Acrylic and mixed media on canvas 24 x 24 inches Sandra Blow RA (1925-2006) pioneered Britis...

This mixed media on paper from the seminal artist Artis Lane is one of the many model pictures from her long and illustrious career. The subject is an older man, whom is called "Anci...

The title is "Miniature Serena w/ Pearled Gold Rim Cap and Candy Pink Tube". This artwork is the first of the edition, numbered 1 of 10. About the artist: Carole A. Feuerman (born 1945) is an American sculptor and author working in Hyperrealism. She is one of the three major artists credited...

BOYLE FAMILY – STUDY OF MUDCRACKS WITH BRICK AND DETRITUS, LORRYPARK SERIES 182.9 x 182.9 x 8.9 cm 72 x 72 x 3 1/2 in. Mixed media and resin on fibreglass...

BOYLE FAMILY – RUST STUDY 24 by 24 cm 9 1/2 by 9 1/2 in. Mixed media, resin and fibreglass 1963 The Boyle Family, a collaborative group of artists, is kn...

ANATOL BRUSILOVSKY (1932-) Love and power 1999 Collage 37.7 x 27.2 cm signed and dated bottom right; signed, titled, dated, numbered "#8" and inscribed from the cycle "1900-2000" on ...

ANATOL BRUSILOVSKY (1932-) Heart of the people 1982 Collage 35.4 x 27.6 cm signed and dated below right titled, inscribed with measurement: "Collage", signed and dated on reverse

A very early important collage by Anatol Brusilovsky

An early collage from Anatol Brusilovsky

Original painting on wood giving 3D appearance. Hand signed on verso by the artist. Artwork is in excellent condition. Certificate of Authenticity i...

A monumental limited edition Woolen Tapestry of Andy Warhol's iconic "Marilyn" published by Museum Masters International in 1997. Artist: after Andy ...

A fine mixed media abstract in yellows, reds, blues, and whites, acquired from a New York gallery. Oil and crepe or tissue paper on canvas, signed lower right “Jason,” and housed in ...

Blue On Blue #1, original vintage 1965 abstract painting by Denver artist, Angelo Di Benedetto (1913-1992). Acrylic paint in shades of blue on shaped 3 dimensional (3D) canvas with a circular form protruding from the center of square painting. Presented in a vintage/original frame, outer dimensions measure 26 ¾ x 26 ½ x 1 ¼ inches. Image size is 26 x 26 x 3 ¼ inches. Exhibited: Whitney Museum of American Art, 1965 Annual Exhibition of Contemporary American Painting December 8, 1965 to January 30, 1966 The son of Italian immigrants from the Salerno province in southern Italy, as a teenager Di Benedetto worked as a truck driver in the mornings and a bartender in the afternoons to study at the Cooper Union Art School in New York City (1930-34) from which he graduated with a certificate in freehand drawing. He won a scholarship to the Boston Museum Art School where he studied for three years, beginning in 1934, with Russian émigré painter, Alexandre Jacovleff, a member of Mir Isskustva (World of Art) in St. Petersburg before the Russian Revolution. In 1936 he painted a religious mural for St. Michael’s Grove in Paterson, New Jersey. The following year, he entered his first juried exhibition at the Montclair Museum in New Jersey, winning first prize and first honorable mention. In December 1938, the Royal Netherlands Steamship Line sent him on a two-month ethnological study trip to Haiti, his first exposure to a different environment outside the United States. During what turned out to be an extended six-month stay, he studied and painted the life and religious customs of the island, resulting in a series of colorful, stylized paintings inspired by his immersion in the local culture. He also did scenes of Port-au-Prince and executed commissions received from prominent people in Haiti, including government officials. In 1940, his Haitian paintings were exhibited at the Montross Gallery in New York (his first solo show) and also reproduced in the January 1940 issue of Life Magazine. One of his Haitian paintings, Morning in Port-au-Prince, was owned by an American author, politician and U.S. ambassador, Clare Boothe Luce, while another image, Haiti Post Office, was acquired for the Encyclopedia Britannica Collection and later donated to Fisk University in Nashville, Tennessee. Before World War II, Di Benedetto traveled extensively around the United States in his car and trailer doing regional paintings. In 1941, he did what is considered the first authentic version of George Washington Crossing the Delaware, a contrast to the well-known painting on the same subject (1851) by German-born painter, Emanuel Gottlieb Leutze. During the war, Di Benedetto volunteered for a secret mission to Africa in 1941 before the Allied invasion, serving as director of camouflage, foreman of native laborers, and an interpreter while based in Eritrea. The following year he received a direct commission as a Second Lieutenant in the U.S. Army Air Corps in the First Photo Mapping Squadron, leading groups as a guide and interpreter and doing ground control. During his free time in Africa, he sketched and painted the local population and his fellow servicemen. Following Africa, he served as an orientation officer and aerial photographic officer for the 311th Photo Wing at Bolling Field, in the District of Columbia where he did a series of illustrated articles describing the natives in the different countries where the men of his organization were stationed during the war. In 1945 he was assigned to a mapping unit at Buckley Air Field in Denver where he served until his discharge in 1946. Like many other servicemen stationed at the time in Colorado, Di Benedetto chose to remain in Colorado, impressed by the state’s physical grandeur and healthful climate. After the war, he lived briefly for about a year in Rangely, a small town in northwest Colorado where he traveled and sketched. But finding it a little too remote, he settled in the old mining town of Central City in 1947, his home base for the rest of his life. He spent his first six years there transforming the old Sauder-McShane Mercantile warehouse into a giant art studio. His initial acquaintance with the town’s mining town history in 1947 resulted in a drawing, Death of a Miner, showing a male figure buried under a pile of collapsed rock in a mining tunnel. In 1949 Di Benedetto and his wife, ceramist Lee Porzio, opened the Benpro Art School in his studio where he conducted summer art classes. The following year he teamed up with a Denver-based artist, Frank Vavra, to open the Denver Art Center at 924 Broadway. He and Vavra were founding members of the 15 Colorado Artists who seceded in 1948 from the Denver Artists Guild because they were dissatisfied with the older organization’s underlying conservatism and the disdain of some of its members for modern art. Welcoming anyone wanting to learn how to draw or paint, the Denver Art Center in downtown Denver only lasted about a year. Undeterred by its lack of success, Di Benedetto continued throughout his career to give workshops, classes, and lectures on art-related topics in Denver and elsewhere. Examples of topics ranged from subjects such as “African Art,” Chappell House, Denver (1945) and “University or Artistic Thought” sponsored by the Art for World Friendship Committee (1954). He also taught locally at the Jewish Community Center, Steele Community Center, International House, Southern Colorado State College-Pueblo, and lectured at the University of Denver. Beginning in 1969 he sponsored over one hundred youths at his studio in Central City to spend a summer learning about art. He also conducted classes for serious working artists. His efforts earned him an honorary doctorate from the University of Colorado in 1977. He likewise promoted contemporary Colorado artists’ work in the 1950s, heading a committee that presented one-person exhibitions in a small gallery at the Vogue Art Cinema on South Pearl Street in Denver. His interest in promoting the arts led to his participation in numerous organizations. In the 1960s he became concerned with environmental and urban art and was the president of Art for the Cities, a Denver-based nonprofit organization. He also was the chairman of and a participant in the first annual environmental art exhibit held at Denver’s American Medical Center. In 1968 Colorado Governor John Love appointed him to the Colorado Council on the Arts and Humanities in which he remained active until 1975. He served for two consecutive years as program coordinator for the Governor’s Conference on the Arts and Humanities. At the 1969 conference, Governor Love presented him an award for his contribution to the art and artists of Colorado. At the same time, he actively participated in the civic life of Central City. The town’s Police Magistrate (1955-56), he twice campaigned for mayor, first in 1966 and again in 1973, and ran for commissioner in 1979. He socialized with artists Ben Shahn, Herbert Bayer and Mark Rothko, as well as theatrical stars appearing at the Central City Opera House, including Helen Hayes, Mae West, and Gypsy Rose Lee. He invited them to carve their autographs on his kitchen table. Di Benedetto worked with equal facility in a variety of media: acrylic, oil paint, watercolor, charcoal, Conte crayon, graphic arts and metal (copper, iron). Up until the early 1950s, his output was dominated by representational figure work and expressionist Colorado landscapes that were not always immune from controversy. When Life Magazine included a reproduction of his Regionalist painting, Lovers in the Cornfield (1941) in its article, “Ten Years of American Art: Life Reviews the Record of a Lively, Important Decade” (November 26, 1946, issue), three counties in Massachusetts banned the publication. Just as immediately, the painting was exhibited in Denver. He said that he liked the West because the people, despite their lack of exposure to art, were individualistic and almost “anarchistic.” In the early 1950s he did woodcuts in a modernist style, including Remembrance, showing his two young daughters. Influenced by Abstract Expressionism at that time, he began considering the elimination of the image from his work. By the end of the decade, he had decided that “the circle – pure and simple was one of the most familiar symbols of mankind and that it metaphored into everything.” At the same time, he noted that “99% of the abstract painters shied away from using…[the circle]. When they didn’t, they slaughtered it, murdered it and buried it. So it became my motif.” For more than three decades he explored the circle in paint, sculpture and shaped canvas. Two examples of the last-named medium are his Red CQ and Black C-1, both from 1969. Because abstraction touched upon his deep feelings and spirituality, he felt he could make visible that part of life which “we feel but almost never see.” His fascination with the circle also relates to his belief that to affect the dialogue existing between object and maker, the artist must “create archetypal shapes [that have universal appeal], not symbols…to reflect simply the intrinsic beauty of the shape itself.” A strong advocate for public art, Di Benedetto headed Art for the Cities, Inc., which sponsored nine sculptures for Burns Park as part of the Denver Sculpture Symposium held in the Mile High City in 1968. The catalysts for the idea of the sculptures were Beverly and Bernie Rosen, who had been instrumental in the creation of the contemporary department at the Denver Art Museum. Along with Di Benedetto, the other participating sculptors were Dean Fleming, Peter Forakis, Roger Kotoske, Tony Magar, Robert Mangold, Robert Morris, Richard Van Buren and Bill Verhelst. The park project eventually served as a prototype for twenty-two states, bringing the sculpture to urban spaces. The sculptures reflected Di Benedetto’s concept of “burden-less environmental art” with no hidden meaning for the public to decipher. His goal in public art was to “create a work which, when integrated with the site, will create a tranquil oasis, a counterbalance to the modern chaotic world we experience daily.” During the 1960s and 1970s, he received other major sculpture commissions: an 80-foot-long copper wall, Jewish Community Center, Denver (1962); sculpture garden, General Rose Hospital, Denver (1964); Fountain, First National Bank of Dallas (1966); Colorado Fuel & Iron Company, Pueblo, Colorado (1969); neighborhood park sculpture, Yonkers, New York (1971); High School Park, Northglenn, Colorado (1974); ice skating rink sculpture, Pueblo (1976). Fate was not as kind to his mural which the Colorado Supreme Court justices commissioned him to paint in 1976 for the Colorado Judicial Building from a field of twenty-two candidates. With his former student, Phyllis Montrose as his principal assistant along with three others, he spent a year and a half executing the mural. Entitled Justice Through the Ages (aka Lawgivers), it depicted sixty individuals from ancient Babylon...

This work resembles a colorful abstraction of a terrarium inhabited by geometric and organic forms alike. Bert L. Long Jr., was self-taught artist, was born in 1940 in Texas, grew ...

1983 Charcoal, watercolor, dye and graphite on paper S. 22 1/4 x 30 in. Unique in pencil lower right; titled lower left; Titled 'Study for Cold Heaven' lower left; signed and dated '...

Medium: Mixed Media on Board Signature: Signed on Verso Contact for dimensions. Maxfield Parrish created the present work as a playbill to commemorate a performance of Ivanhoe, whi...

Mathieu Matégot (1910-2001) Sans titre c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre 150 x 70 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right) Price: $11,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF21324) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Oberon c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre; (possibly) no. 2 125 x 202 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $18,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19387) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Castille c.1950s Aubusson tapestry, Pinton Frères; (probably) unique 156 x 120 cm signed ‘Matégot’ and with the Pinton Frères monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $14,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF11410) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Apollo c.1950s Aubusson tapestry, Manufactura de Tapeçarias de Portalegre; edition 3 of 6 142 x 118 cm signed ‘Matégot’ with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $13,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19383.3) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern...

Gouache on paper Contact gallery for price. This work is offered by ClampArt in New York City.

Mixed media collage

Lesser Ury (1861-1931) Auf dem Kanal 1912 pastel on board 49.2 x 34.9 cm signed and dated 'L.Ury.1912.' (lower left) Price: $25,000 USD Provenance: Sale: Christie's London, 30 June 2000, lot 42 Collection of Simone and Jean Tiroche (acquired at the above sale) Thence by descent Sale: Christie's London, 19 June 2013, lot 199 Private collection, UK (acquired from the above sale) Notes: Dr Sibylle Gross has confirmed the authenticity of this work. Lesser Ury, a German-Jewish Impressionist...

Kelly Fearing (1918 - 2011) Title: "Unicorn with a Golden Wall" Medium: Mixed Media on Paper Dimensions: 18" x 12" (image) Markings: Signed LR Framed

Collaboration between David Wojnarowicz and Jane Bauman Contact gallery for price. This work is offered by ClampArt in New York City.

Robert Motherwell's "The Red and Black No.52" is an abstract collage that incorporates oil based etching ink, pasted papers, and aquatint on paper. The piece was created between the ...

Vibrant kinetic sculpture that includes a base that can be mounted on the wall with long pole-like attachment that balances at the base of the piece. The work is wonderfully painted in a variety of vibrant colors and patterns. Artist Biography: Artist John Scott was born in New Orleans and raised in the city’s Lower Ninth Ward. He taught at Xavier University for more than 40 years and was named a MacArthur Fellow in 1992 by the John D. and Catherine T. MacArthur Foundation, a highly prestigious honor that came at the height of his career. Scott was known for creating vibrant kinetic sculptures that explored topics ranging from the West African diddly-bow string instrument to the rhythms and movements inspired by enslaved dancers in early 19th-century in New Orleans’s famed Congo Square. His large woodcuts...

Colorful collage that includes shades of blue, red, green and white. Robert Goodnough's signature is in the bottom right hand corner. This piece is framed and has a label on the back that lists the artist, title and edition (80/496). Dimensions Without Frame: H 20 in. x W 9 in. Artist Biography: Robert Goodnough (October 23, 1917 – October 2, 2010) was an American abstract expressionist painter. A veteran of World War II, Goodnough was one of the last of the original generation of the New York School; (although he has been referred to as a member of the "second generation" of Abstract Expressionists), even though he began exhibiting his work in galleries in New York City in the early 1950s. Robert Goodnough was among the 24 artists from the total of 256 participants who were included in the famous 9th Street...

Spray paint on paper Contact gallery for price This work is offered by ClampArt in New York City.

1979 Acrylic, solvent transfer and printed paper collage on paper Sheet: 23 x 15 1/4 in. (58.4 x 38.7 cm) Unique Signed and dated "RAUSCHENBERG 79" (lower left) Framed

Signed Tschacbasov l.r. dated 1979 Framed

This wall sculpture by Yaacov Agam is a 3D screen print on folded construction paper mounted in a plexiglass enclosure. It is # 86 in a series of 99 printed in 1984. The color palett...

Artist: Robert Rauschenberg, American (1925 - 2008) Title: Narcissus, from ROCI USA (Wax Fire Works) Year: 1990 Medium: Acrylic, Enamel, and Fire Wax on Sta...

"Self-Portrait" is a stunning mixed media piece showing the vibrancy of the figure through the use of bold lines and placement of the blue and orange colors. The figure appears to be...

"Surreal Study: Male and Female Figures on a Branch" is a complex piece with figures both facing toward and away from the viewer sitting on a branch in a mammoth tree or a fallen tre...

"Rose" is an original artwork realized by Jannis Kounellis in 1963. It is hand signed overleaf and made with mixed media on cardboard. The Certificate of Authenticity is on a signed photograph. Exhibitions: Rome 1960 - the Dealer's Choice, Galleria Angelica, Rome, 2012. Reference: Luca Beatrice, Roma ’60, Milano, Silvana Editoriale, 2010, p. 189. Very good conditions, wooden frame included. Jannis Kounellis (1936 – 2017) was a Greek painter and sculptor. He anticipated and fostered the development of the Arte Povera movement. From the 1980s, his artworks often retrieved fragments and ancient objects...

Medium: Mixed Media on Paperboard Signature: Signed Lower Right This mixed media art by Jesssie Willcox Smith, entitled “Pease-Porridge Hot, Pease-Porridge Cold,” was executed in 19...

'HeartofAlcamo' by Stanley Boxer, 1989. Oil and mixed media on canvas, 51 x 24 in. / Frame: 52.25 x 25.25 in. This impasto painting has an active surface that is thickly painted wit...

TECHNICAL INFORMATION Ellsworth Kelly Dark Gray and White 1977-1979 Screenprint and collage on handmade paper 29 3/4 x 41 5/8 in. Edition of 41 Pencil Signe...

LEON POLK SMITH Collage #34, 1970 Canvas collage, and pencil on paper 50 x 25-1/2 inches 54-1/2 x 40-3/16 inches Lower right - "Leon Polk Smith 1970"

Black and peach tonal abstract painting with a crushed toy car attached to the surface of the canvas. The work is signed by the artist in the b...

Mixed Media primary tonal painting with two metal cars attached to the surface. The work is painted in yellow and red tones. The painting is signed by the ar...

Large minimal abstract painting with a green background. Attached to the surface are two toy cars surrounded by red paint and four wired bicycles surrounded in blue. The work is sign...

Large Black, yellow and red minimal abstract painting with bicycles. The work is signed by the artist, Francis d'Estaing, in the bottom corner. The work...

Primary tonal painting with toy cars attached to the surface. The work is signed by the artist, Francis d'Estaing, in the bottom corner of the painting. The artist board is framed in...

An Original Illustration Handpainted with India Ink and Watercolor, Gouache on Paper, by Edouard Halouze. A Baltic woman dancing to a man playing an acco...

Fido, 1998 Chemical or biological rocket Stainless steel, electronics and resin 100 x 12 x 12 inches Fido is a fully functional rocket with a hand sculpted nosecone but is missing the detonator and fuel. Shipping times may vary depending on location. Gregory Green is internationally recognized for his challenging work and the numerous controversies it has spawned in the USA and Europe. Since the mid-1980’s, Gregory has created artworks and performances exploring systems of control and the evolution of individual and collective empowerment. Green’s work considers the use of violence, alternatives to violence, and the accessibility of information and technology as vehicles for social or political change. Referencing historical precedents and disturbingly anticipating various historical events, such as the tragedy of 9/11 and the Arab Spring...

Acrylic and graphite on paper. 15.2 x 21 cms (6 x 8 1/4 ins)

Acrylic and pasted paper on paper 21.6 x 17.8 cms (8 1/2 x 7 ins)

Acrylic and pasted paper on paper 21.6 x 17.8 cms (8 1/2 x 7 ins)

Acrylic and pasted papers on paper 35.6 x 21 cms (14 x 8 1/2 ins)

Acrylic, pasted papers, and graphite on paper 56 x 26 cms (22 x 10 1/4 ins)