Monotype Mixed Media

Inspired by the beauty of the of the Pacific in the Islands, this beautiful abstract original work "And The Orchestra Played" by master print maker Linda Whittemore displays rich pas...

Rich blues and sea greens are streaked with pearlescent accents that play across this beautiful abstract original work "Between matter and Spirit IV" by master print maker Linda Whit...

Brilliantly colored nixed media monotypes of opposing faces in profile by American artist Kismine Varner, circa 1990. Original one-of-a-kind work of art on paper displayed on a wh...

Landscape with beach chair or lawn chair in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum and Rodney Graham. BAXTER& has exhibited throughout Canada and internationally in the United States, China, Korea, Japan, and Europe including at the Guggenheim New York, The National Gallery of Canada & the Canadian Cultural Center in Paris, France, Los Angeles Museum of Contemporary Art, Museum of Modern Art, New York & the Tate Modern, London. In 2011, BAXTER&’s work was compiled into a major retrospective IAIN BAXTER&: 1958--‐2011, organized by the Art Gallery of Ontario & The Museum of Contemporary Art Chicago. His work can be found in collections including the National Gallery of Canada, the Art Gallery of Ontario, The Museum of Modern Art, New York, The Vancouver Art Gallery, the F.R.A.C Art Museum in Bretagne, France, the Gemeentemuseum in The Hague, The Netherlands, the Los Angeles County Museum of Art, & the Tate Modern, London. He is a Member of the Royal Canadian Academy. His work was included in the seminal Made of Plastic show that included Abe Ajay...

Lanscape with waffle iron in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum and Rodney Graham...

Gelatin monotype with acrylic paint on white BFK Rives Printmaking Paper. Approx. image size: 3" x 9" Paper size: 10" x 14" At the core of the dialogue between the artist and the ...

This intaglio mixed media unique monoprint is on heavy hand made paper with beautiful deckled edges on all sides. it is a Surrealist image with Outer Space and planets. This monotyp...

Turning Over A New Leaf is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. These small, one of a kind prints mak...

Landscape with refrigerator in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum and Rodney Graham. BAXTER& has exhibited throughout Canada and internationally in the United States, China, Korea, Japan, and Europe including at the Guggenheim New York, The National Gallery of Canada & the Canadian Cultural Center in Paris, France, Los Angeles Museum of Contemporary Art, Museum of Modern Art, New York & the Tate Modern, London. In 2011, BAXTER&’s work was compiled into a major retrospective IAIN BAXTER&: 1958--‐2011, organized by the Art Gallery of Ontario & The Museum of Contemporary Art Chicago. His work can be found in collections including the National Gallery of Canada, the Art Gallery of Ontario, The Museum of Modern Art, New York, The Vancouver Art Gallery, the F.R.A.C Art Museum in Bretagne, France, the Gemeentemuseum in The Hague, The Netherlands, the Los Angeles County Museum of Art, & the Tate Modern, London. He is a Member of the Royal Canadian Academy. His work was included in the seminal Made of Plastic show that included Abe Ajay...

Landscape with framed house in bright vibrant colors. Iain Baxter& (the artist recently added the ampersand to his name) is recognized as Canada’s pioneering conceptual artist. For over forty years, Baxter& has continually produced works that question the role of art as commodity and as a medium for cultural commentary. Among his many innovations, Baxter& was the first artist to adopt a corporate persona: in 1966, he formed the N.E. Thing Company. NETCO output ranged from conceptual, satirical, vacuum-formed still lives to post-modern appropriations of famous artworks. His recent work includes neon signs, ‘animal preserves’, a grocery cart of ‘GMO’s’ (genetically modified organisms) and installations using obsolete technology.) He is a painter, photographer, sculptor, mixed media artist, installationist, film & video maker, interventionist & performance artist who has been a forerunner of conceptual art in Canada. BAXTER& has been considered the Marshall McLuhan of Visual Arts in Canada. Continuous themes in his work include information technology, landscape, art as commodity, & environmental & ecological concerns. These prominent themes throughout BAXTER&‘s work are often met with wit, parody, satire & word-play. Through his art, teaching, and mentorship, BAXTER& has widely influenced Canadian art, creating new movements such as the Vancouver School of Photo-conceptualism and blurring the lines between private and public through his N.E. Thing Co. among many other impactful projects. He has also directly influenced major Canadian artists, including Stan Douglas, Ian Wallace, Jeff Wall, Roy Arden, Ken Lum and Rodney Graham. BAXTER& has exhibited throughout Canada and internationally in the United States, China, Korea, Japan, and Europe including at the Guggenheim New York, The National Gallery of Canada & the Canadian Cultural Center in Paris, France, Los Angeles Museum of Contemporary Art, Museum of Modern Art, New York & the Tate Modern, London. In 2011, BAXTER&’s work was compiled into a major retrospective IAIN BAXTER&: 1958--‐2011, organized by the Art Gallery of Ontario & The Museum of Contemporary Art Chicago. His work can be found in collections including the National Gallery of Canada, the Art Gallery of Ontario, The Museum of Modern Art, New York, The Vancouver Art Gallery, the F.R.A.C Art Museum in Bretagne, France, the Gemeentemuseum in The Hague, The Netherlands, the Los Angeles County Museum of Art, & the Tate Modern, London. He is a Member of the Royal Canadian Academy. His work was included in the seminal Made of Plastic show that included Abe Ajay...

Printmaking composite with Japanese paper, pencil and silver leaf on white BFK Rives Printmaking Paper. Paper: 22" x 22" Frame: 25" x 25" At the core of the dialogue between the a...

Mixed media composite (acrylics, sumi ink and pencil on mylar, fused with Monotype mounted with white thread stitching) on white BFK Rives Printmaking Paper Paper: 15" x 19" At the...

Mixed media composite (oil, coffee and gouache) on white BFK Rives Printmaking Paper. The circles are hand-cut and shaped to reveal the underside of the paper, as well as the bottom ...

This monotype with collage was created by Filipino Contemporary artist Unson Merino. It is signed and titled in pencil, and the image size is ...

Robin Winters (American, born 1950), Untitled (Red Face) from "Cherry Block Series" 1986, monotype, pencil signed and dated lower right, plate: 6"h x 8.5"w, overall (with frame): 22.25"h x 18.25"w. Provenance: Property from a Private Collection, San Francisco. Winters was invited to make monotypes at Experimental Workshop in San Francisco, (they printed Richard Bosman, Sam Francis, Claire Falkenstein, Deborah Oropallo and Kenneth Noland and many more greats). Winters chose to paint on wood blocks rather than the more usual metal plates in order to capture the organic quality of the natural material. He exploited a salient characteristic of the monoprint in Ghost Story by adding new painted elements onto the increasingly faint ghost images that result from successive impressions from a single block. In so doing he achieved the effect of transparent layers of color and shadow imagery. Winters's brightly-colored monotypes portray an array of figures and landscapes (and an occasional still-life) that, although can be seen in the context of a general trend away from abstraction that has marked the 1980s, defy strict stylistic categorization. They are neither realistic nor abstract, psychological self-examinations nor narrative fictions, but they contain elements of all of these approaches. Like Jonathan Borofsky, Winters derives much of his subject matter from dreams, believing that through his private fears and obsessions he can touch similar emotions in others. Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three-part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat). Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. Winters was traveling in 1975 and 1976, spending time in North Africa and in Europe. At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one-person exhibition, at the Konrad Fischer Gallery in Dusseldorf. Returning to New York in 1976, Winters teamed up with a group of artists to form Collaborative Projects (Colab), a rather anarchistic organization dedicated to artistic collaboration and the creation of art that questioned social values.. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

This unique print is 1 of 3 in the series. The Rustling I is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. The...

Friedel Dzubas (1915-1994) was a Berlin-born American abstract painter. He was emphatically associated with both the New York School and the Color Field movement. Dzubas studied ar...

This unique print is 1 of 5 in the series. TumbleWeed 05 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. Thes...

This unique print is 1 of 3 in the series. Behind Bars No. 1 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. ...

From my ongoing series, 'Portable Landscape or Landscape for the Traveler.' Before European contact, the Lenape Manhattan's original inhabitants called the island Manahatta, which me...

Friedel Dzubas (1915-1994) was a Berlin-born American abstract painter. He was associated with both the New York School and the Color Field movement. Dzubas studied art in Germany ...

“Robber” by artist Mary Spencer is a 22.5 x 30 inch surreal mixed media painting on paper with dominant colors of blue, red and green. The painting is signed on the front and back. ...

Barbara Hocker sees her life’s vocation as being an ambassador for the natural world through her art. Nature is facing many challenges right now. Hock...

This artwork titled "Too Far II" 2004 is an original mixed media (color monotype and pencil drawing) by noted Swiss artist Francois Burland b.1958. It is hand signed, dated, numbered 1/1 and dedicated in pencil by the artist. The subject size is 7.75 x 10.5, including the pencil drawing is 10.75 x 13 inches, sheet size is 13 x 19.75 inches, framed size is 21 x 28 inches. Custom framed in a wooden black frame, with white matting. It is in excellent condition. About the artist: François Burland (1958) was born in Lausanne (Switzerland). He began drawing in self-taught fashion at the end of his adolescence. He undertook a first trip to Egypt's Sinai Peninsula at the age of twenty. A few years later, he encountered the Tuaregs in the Sahara Desert. Enthused by their nomadic lifestyle, he began returning to the region regularly over some thirty years. During his long stays with the Tuaregs, he shared their daily life, including their dromedaries and witchcraft, but also their 4x4s, mobiles and kalachnikovs. This creator has produced an abundant and varied oeuvre. Depending on each series and on his inspiration of the day, he avails himself of a number of techniques and materials. For his drawings, he prefers to use wrapping paper as a support: he applies pastels, colored pencil and white chalk to very large surfaces. His creations bring to mind shamanic art...

This artwork titled "Too Far" 2004 is an original mixed media (color monotype and pencil drawing) by noted Swiss artist Francois Burland b.1958. It is hand signed, dated, numbered 1/1 and dedicated in pencil by the artist. The subject size is 7.75 x 10.5, including the pencil drawing is 9.5 x 13.5 inches, sheet size is 13 x 19.75 inches, framed size is 21 x 28 inches. Custom framed in a wooden black frame, with white matting. It is in excellent condition. About the artist: François Burland (1958) was born in Lausanne (Switzerland). He began drawing in self-taught fashion at the end of his adolescence. He undertook a first trip to Egypt's Sinai Peninsula at the age of twenty. A few years later, he encountered the Tuaregs in the Sahara Desert. Enthused by their nomadic lifestyle, he began returning to the region regularly over some thirty years. During his long stays with the Tuaregs, he shared their daily life, including their dromedaries and witchcraft, but also their 4x4s, mobiles and kalachnikovs. This creator has produced an abundant and varied oeuvre. Depending on each series and on his inspiration of the day, he avails himself of a number of techniques and materials. For his drawings, he prefers to use wrapping paper as a support: he applies pastels, colored pencil and white chalk to very large surfaces. His creations bring to mind shamanic art...

Alain Kirili (French/American, 1946-2021), Post-Minimalist Composition, Mixed Media on Paper, with collage elements, signed to reverse, wood frame. Image: 29.5" H x 41" W; frame; 32"...

An abstract mixed media piece using raw walnut monotype, akua on Fabriano Rosaspina 220 gsm paper.

A raw walnut monotype using akua on Fabriano Rosaspina 220 gsm paper.

A raw walnut monotype using akua on Fabriano Rosaspina 220 gsm paper.

A raw walnut monotype using akua on Frabriano Rosaspina 220 gsm paper.

This abstract work on paper is one of a kind, in which artist Deborah Sibony incorporates multiple techniques: screen print with a monotype and graphite...

Certification of Authenticity stamped verso; additionally accompanied by old exhibition label. Provenance: 28th Annual Exhibition of Art, San Francisco Women Artists, San Francisco...

Sam Francis’s Untitled (1981) exemplifies his mastery in blending vibrant color with dynamic form. The composition features a central block of deep red, surrounded by splashes and sp...

Cool tans, blues, and greens are streaked with pearlescent accents that play across this beautiful abstract original work "Motion Formed 'D'" by master print maker Linda Whittemore. This mixed media viscosity monotype displays all of the unique skill and painterly touch of the artist, who draws her inspiration from the natural beauty that surrounds her on her home of Maui. Linda works in a printmaking style called viscosity monotype, although she is trained in the traditional form of Intaglio printmaking. Her works are a story of color and mood, She continues to paint scenes around the island of Maui and further abstracts them in her studio using the printmaking process. Often, watercolor plein aire paintings are a prelude to her original monotypes. “It’s all a process, one medium leads to the next. We create from what we know or don’t know. My paintings are who I am.” Linda also has enjoyed painting the figure for many years. Linda began a life long relationship with watercolor painting at the age of eight. She studied two full years with the past president of the Watercolor Society, Roger Armstrong, as well as other teachers like Chris Sullivan, Hiroke Morinue, Richard Nelson...

Katherine’s delicate and evocative monotypes portray nature’s flora in all its glory, from the most organic trees and branches to airily etched florals. They are the result of a per...

Katherine’s delicate and evocative monotypes portray nature’s flora in all its glory, from the most organic trees and branches to airily etched florals. They are the result of a perfect (and complicated!) marriage of technical expertise and Katherine’s innate ability to create these light-filled, contemplative pieces. "These works are one of a kind. All are hybrids of different techniques, tied together by being created on an etching press...

Monotype on white BFK Rives Printmaking Paper. Could pair with "OrangeBlast(L)" Approx image size: 16" x 16" Paper: 22.5" x 22.5" At the core of the dialogue between the artist and...

Leaf collagraph with embossing on white BFK Rives Printmaking Paper. Approx. image size: 3" x 3" Paper size: 10" x 8" At the core of the dialogue between the artist and the work ...

Leaf collagraph with embossing on white BFK Rives Printmaking Paper. Approx. image size: 3" x 3" Paper size: 10" x 8" At the core of the dialogue between the artist and the work ...

Watercolor monotype with chine collé, coffee and oil stick on white BFK Rives Printmaking Paper. Paper: 15" x 11" Frame: 19" x 15" At the core of the dialogue between the artist ...

This unique print is 1 of 5 in the series. TumbleWeed 03 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. Thes...

This unique print is 1 of 5 in the series. TumbleWeed 01 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. Thes...

Mind Over Matter is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. These small,...

This unique print is 1 of 3 in the series. The Rustling III is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. T...

This unique print is 1 of 3 in the series. The Rustling II is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. Th...

This unique print is 1 of 3 in the series. Behind Bars No. 2 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. ...

This unique print is 1 of 3 in the series. Behind Bars No. 3 is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. ...

This abstract work on paper is one of a kind, in which artist Deborah Sibony incorporates multiple techniques: screen print with a monotype and graphite...

Oil Monotype w/ Wool Fiber, Japanese Paper, Ink Transfer, Clothing Tag, Metal Leaf and Coffee Hand pulled on white BFK Rives Printmaking Paper Edition: Unique

This semi-abstract landscape with bold colors is a one of a kind work on paper This work comes framed. This work is part of Deborah Sibony's Bay Bridge...

Monotype with chine collé on white BFK Rives Printmaking Paper. Approx image size: 20" x 15.75" Paper: 30" x 22" At the core of the dialogue between the artist and the work is an ...

Monotype on white BFK Rives Printmaking Paper. Could pair with "OrangeBlast(R)" Approx image size: 16" x 16" Paper: 22.5" x 22.5" At the core of the dialogue between the artist and...

From my ongoing series, 'Portable Landscape or Landscape for the Traveler.' Before European contact, the Lenape Manhattan's original inhabitants called the island Manahatta, which me...

From my ongoing series, 'Portable Landscape or Landscape for the Traveler.' Before European contact, the Lenape Manhattan's original inhabitants called the island Manahatta, which me...

Contemporary collage by Anne-Joëlle Galley. Anne-Joëlle’s works predominantly with collage, collage-paintings, paintings, and monotypes. The artist studied in Europe, joining various painting ateliers and art courses such as Sotheby’s and ICA - Institute of Contemporary Art/Christies in London.  In the late 90s’, she enrolled at “The Art Students’ League of New York”, where she first became involved with printmaking. Galley uses various techniques and materials, and color remains her signature.  The artist has participated in more than 50 group and solo exhibitions in the US, Mexico, Italy, England, Switzerland, Spain, and Romania. In 2005, she was selected to participate in the I Biennale of Etching and Graphic Work organized by the Cultural Council of Cáceres’ Town Hall, in Spain. That year, she also participated in the Arad International Biennale of Contemporary Art (Arad, Romania). In 2007, she participated in the Florence Biennale of Contemporary Art in Italy. More recently, in 2019, she was invited to participate in the Exhibition “Where I come from: The Works and Influences of Charles Criner...

"Landscape In Transition III" is a semi-abstract landscape with bold colors, a one of a kind work on paper This work comes framed. This work is part of Deborah Sibony...

This is a monotype collage made from original monotypes that were then cut up into this abstract composition. I like using found objects and textures in my prints to create unique shapes and forms to be used in my collages. Monotype collage on Rives BFK 280 gsm printmaking paper...

This original monotype was made from found textures and objects to make this unique landscape. This monotype is printed on Rives BFK 280 gsm Printmaking Paper...

This original monotype was made from found textures and objects to make this unique landscape. This monotype is printed on Rives BFK 280 gsm Printmaking Paper...

This original monotype was created using a series of found objects manipulated into these natural-like forms. This print is part of a series that can be purchased as a series or by t...