Ink Mixed Media

Tom Sime experiments with wax to create organic biomorphic compositions. The materials and techniques he employs require extensive knowledge and familiarity with the medium, enabling...

Tom Sime experiments with wax to create organic biomorphic compositions. The materials and techniques he employs require extensive knowledge and familiarity with the medium, enabling...

Rose Agathe Steiner, has reserved us an exclusivity! His creations on aerosol cans. Unique work. This work, dedicated to Naomie Campbell, bears the number...

Rose Agathe Steiner, has reserved us an exclusivity! His creations on aerosol cans. Unique work. This work, dedicated to Naomie Campbell, bears the number 05. Double signature of the...

Rose Agathe Steiner, has reserved us an exclusivity! His creations on aerosol cans. Unique work. This work, dedicated to Naomie Campbell, carries the N° 03. Double signature of the a...

An artwork on paper by New York artist Miranda Maher. Black archival ink on pale blue archival paper with historical Audubon images of American birds, mounted on Arches paper. Miran...

Abstract painting created with ink extracted from ball-point pens.

Mixed media work of art by New York artist Miranda Maher. Maps reprinted on Washi paper and mounted on 250 gm2 watercolor paper. Overlaying elements: India ink and marble paper. Ma...

Information Superhighway, Original Contemporary Abstract Expressionist Drawing 16" x 20" Ink with Silverpoint, Paint, and Metal Foil on Paper Panel This highly geometric abstract ex...

About the piece: - Single white mat. 20Hx16W - Acrylic ink and watercolor on paper, 2021 Words that describe this piece:abstract, intuitive, outsider, bright, yellow, gold Artist ...

12"x9" mixed media collage: acrylic, metallic watercolor and papers, ink, collage dressmaking patterns, framing options available. Linda Ganjian's artwork captivates with its ornat...

22’’ x 30" mixed media collage: ink, watercolor, origami paper, gold foil, pattern-making paper on paper, framing options available. Linda Ganjian's artwork captivates with its or...

Original mixed media composition by French contemporary artist Richard Texier (born 1955), titled “Paysages à Délices”, executed in 1986. This highly expressive work combines ink, w...

Signed card and COA

Signed label and COA

Turbulence IV 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Lidzie Alvisa Jiménez (Havana in 1969), one of the most recognized conceptual artists in Cuba, studied from the elementary level to the ISA (Superior Institute of Art), graduating in...

Imani Bilal is a contemporary abstract painter and poet based in Jersey City, New Jersey. Her work is deeply inspired by the many states of the human condition and is rooted in her spiritual (Islamic) practices. As she explains, “I strive to convey the notion of Tawheed (oneness), the idea of primordial matter, chaos, and calm; of all things sharing a source and being connected to an infinite mound, inclusive of the human experience.” Her language is versatile and her approach, unconventional, working with acrylic, ink, and resin to articulate emotion and promote connectivity through color and movement. Bilal, who has been experimenting with paint since childhood, has developed a unique process of her own. She often paints while seated on the floor to pour her whole body into the composition, using her hands, mouth, and found objects to create an array of effects that become part of an intricate yet fluid work of art. Bilal’s first solo show in New York City, Fingerprints of Ruh (2020), curated by Nemo Librizzi, was met with enthusiasm and led to gallery representation by Chase Contemporary Gallery and recently, Mazlish Gallery...

Elfi Schuselka (Austrian, b. 1940), Two Abstract Compositions, Mixed Media on Canvas, each stamped "Studio Elfi Schuselka" to verso, unframed. 6" H x 8" W x 0.75" D. Provenance: From...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

1947 Bristol Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1947 Bristol vintage red car. Antique car stamp ...

1924 Bugotte Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1924 Bugotte vintage blue car. Antique car stamp ...

1904 Renault Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a blue vintage 1904 Renault car. Antique car stamp ...

1939 Lagonda Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a vintage 1939 Lagonda car. Antique car stamp Artis...

Illustration of a Red Buick Super Vintage Car - from the Antique Automotive Stamp Series A couple stands next to the red car in front of a mid-cent...

The Artist captures a "caught moment" of cloths blowing in the wind. It's being witnessed by an inquisitive bird, while be ducklings and a cute kitty cat accompany her. Signed lower...

Signed Lower Right

Signed Lower Left Frame: Antiqued, Black & Gilt presentation with 3 1/2"-wide Archival Mat. Condtion: Excellent original condition. 1/2-circle stain at top-center of image (above wr...

Ink on board Board size: 8 x 8.5 inches Framed size: 24 x 23 inches Signed and dated 11-24-89 (United Feature Syndicate Inc., 1989) Provenance: Private collection, USA

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper

Beeswax, ink, metallic powder on vintage hand made paper