Pastel Mixed Media

Kay Hartung’s “Bio Patterns 12” is a 20 x 20 x 1.5 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of b...

"Sledding by the Big Tree" is an original mixed media piece by Dan Muller. The artist used cut & pasted paper, watercolor, and pastel to create this colorful work. The artist signed the piece lower left. This artwork features four children sledding...

Kay Hartung’s “Bio Flow 23” is a 24 x 24 x 1.5 inch encaustic painting depicting floating microscopic forms. In colors of teal, rust, yellow green, and white, the composition creates...

Kay Hartung’s “Bio Flow 24” is a 30 x 30 x 1.5 inch encaustic and mixed media painting composed of microscopic forms moving and multiplying. In pastel colors of blue, green, ochre, p...

Kay Hartung’s “Bio Networks 5” is a 16 x 16 x 1.5 inch encaustic painting depicting floating microscopic forms on a highly patterned background. In colors of teal, ochre, grey, and w...

Kay Hartung’s “Bio Patterns 14” is a 18 x 18 x 1.5 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of r...

Kay Hartung’s “Bio Flow 22” is a 30 x 30 x 2.5 inch encaustic and mixed media painting composed of microscopic forms moving and multiplying. In colors of teal, purple, yellow, green ...

Kay Hartung’s “Bio Patterns 8” is a 20 x 20 x 2 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of blue...

Lili Ocean Part 1 Mixed media: acrylic, ink marker, pastel on paper, white frame under plexiglass. Malgosia Kiernozycka was born in Wroclaw, Po...

Leslie Zelamsky's "Point of Departure 3" is a 65.5 x 44 x 2.75 inch mixed-media painting on wood panel. The surface of this bold abstract piece contains two large areas of orange pai...

"Houses at Night" is an original mixed media painting by Dan Muller. The artist signed the piece lower right. The artist used cut & pasted paper, waterc...

Kay Hartung’s “Bio Patterns 17” is a 20 x 20 x 1.5 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of ...

Kay Hartung’s “Bio Patterns 11” is a 20 x 20 x 1.5 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of b...

Kay Hartung’s “Bio Patterns 10” is a 20 x 20 x 1.5 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of b...

Kay Hartung’s “Bio Patterns 7” is a 20 x 20 x 2 inch encaustic painting composed of transparent layers depicting microscopic forms on a richly patterned background. In colors of blue...

Arab women working. Black and white pastel on thick grey paper. Monogrammed. Provenance : granddaughter of the artist. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

Coloured inks and pastel on paper Signed Gestural abstraction Outsider art Artist’s statement : "Painting, for me, is an expressive endeavor in which one depicts the evolution of the various facets of the artistic self. There is, on each canvas, a tension where violence and stillness naturally coexist. By playing with different materials, I seek to establish a sort of unexpected dialogue between these states, and aspire to express this tension through profusion of color. The canvas is the stage that allows me to unite narration with the action of painting the fantastic—even the outrageous---and the everyday. I develop scenarios borrowed from the imagination, which join fantasy, even fables, with the everyday. Pulling threads from each domain, I bring together the mythical and the quotidian, so that the worlds of reality and fantasy merge. I rely on “creatures,” improbable little characters that could exist in some other realm or dimension. They materialize, issuing forth from the surprising, unbelievable and wondrous world of childhood. Human or animal, both find themselves entangled in inextricable and melancholic situations. These inextricable situations create distance; the humor comes through this breach. It is the absurdity of their predicaments that manifests the humor in the work. In each of my paintings, the sentiments are heightened by an intentional, provocative tone that transforms the work. An Otherness is attributed to objects; objects become personified, and by their very presence, they become witnesses or guinea pigs torn between and bound to their dilemma. The titles of my paintings, whether invented or quotations taken out of context, come from literature, theater, or song lyrics. Accident and chance are often major actors in my work.” Emmanuelle Messika BIOGRAPHY : Emmanuelle Messika was born in France in 1979. She works and lives in Paris. STUDIES 1999-2005 École Nationale Supérieure des Beaux-Arts de Paris Diplômée en Juin 2005 2004 Échange universitaire à Hunter College, New York NY, USA 1993-1999 Ateliers des Beaux-Arts de la Ville de Paris, Montparnasse PERSONAL EXHIBITIONS : 2019 Claire Corcia Gallery, Paris 2018 Claire Corcia Gallery, Paris Outsider Art Fair, Paris 2012 Art Contemporain Sèvres, "La Chartreuse", Sèvres 2011 Espace Seven, Galerie De Vos, Paris 2010 Les Trois Baudets, Paris Galerie Mariska Hammoudi, Paris Galerie Crous -Beaux-Arts, Paris L'Apparemment Café, Paris 2009 Espace Rachi, Paris 2008 Galerie Console, Paris 2007 Exposition Place du Québec, Mairie du sixième, Paris 2006 Galerie Eonnet-Dupuis, Paris 2005 Galerie Crous Beaux Arts, Paris 2004 The Mark Bar, "Bring your own flashlight", Brooklin, New York 2003 Le Glaz’art, Paris 2002 9 rue Dauphine, Paris 2001 Galerie Gauche, École des Beaux-Arts, Paris 2000 La grosse caisse, Paris La liberté, Paris GROUP SHOWS 2011 Chic Art Fair, Galerie Mariska Hammoudi Galerie De Vos, Espace Seven 2010 Galerie Mariska Hammoudi, Paris Chic Dessin, avec Cherry Gallery...

An important late 17th century pastel portrait depicting King Charles II of England. Edmund Ashfield (1640-1678) King Charles II, circa 1675 Paste...

Kay Hartung's "Bio Fusion 12" is a 16 x 16 x 1.5 inch abstract representation of microscopic forms painted in encaustic and pastel with embedded threads. In shades of green with a hi...

Artist: Jeffrey Maron, American (1949 - ) Title: Ahead of Tomorrow from Yesterday Year: 1992 Medium: Mixed Media, Watercolor, Pastel and Collage on Paper, Signed and dated Paper Siz...

Kay Hartung's "Bio Patterns 5" is a 16 x 16 inch abstract encaustic and pastel painting composed of geometric forms colliding and overlapping in blue, green, rust and grey on a light...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

canvas, collage, pastel, acrylic, photo transfers, 2016 Bifurcated sheets of canvas with torn edges suggest the beautiful open vistas now inaccessible to the residents of the Mott Haven and Port Morris areas of the South Bronx, abandoned and dominated by de-teriorating remains, rotting remnants of piers, New York State-owned power stations and City Waste transfer stations. The unusual materials and torn canvas edges convey with tactile sensibility the contradiction documented with photo-transferred images, layered with acrylic and pastel. Materials and image fuse revealing a broken South Bronx history, an urban renewal tragedy, an area once the retreat of choice for fresh air, heath and greenery. The shards of information and vistas evoke the former Port Morris harbor named after Governor Morris a signatory of the constitution. There barges once docked and youth once swam off a pier in the East River. Cunningham’s work centers upon time, transience and contradictions shown through images of the shifting urban present. Compelling environmental concerns juxtaposed against industry, ur-ban blight and the loss of the natural environment as well as her concern for her Bronx home area faced with gentrification drive her work. Linda Cunningham is a Bronx based artist with a long New York and international exhibition career. ODETTA, Bushwick, Brooklyn featured her work in a November two person exhibition and in the Harlem FLUX Art Fair, in 2015 and 2016. Her 2013 installation in No Longer Empty’s “This Side of Paradise,”at the Andrew Freedman House was installed at the Bronx Museum, 2014 in an exhibition sponsored by the Bronx Arts Alliance. The Bronx Museum displayed her sculptural installation ”Urban Regeneration” on its terrace, 2009/10. Exhibitions in Germany began with a Fulbright Senior Research Fellowship in Berlin and her monumental public sculptural installations & alternative memorials are permanently sited in Cologne, Kassel, Bad Hersfeld and Cornberg, Germany, Grounds for Sculpture, Hamilton, New Jersey and City of Sculpture, Hamilton, Ohio. Alternative memorials were sited at the CUNY Graduate Center across from Bryant Park, 1989-1995, in Tribeca and at UN Plaza, New York 1997-1998. Recent temporary public sculpture installations were at Westchester Sq., Bronx. NY, 2014 and Marcus Garvey...

Kay Hartung’s “Bio Patterns 3” is an encaustic painting that merges geometric forms with a fluid mottled background. In shades of blues, greens and grey, the hexagons float and colli...

Kay Hartung’s “Bio Flow 3” is a 16 x 16 inch mixed media painting incorporating encaustic and pastel composed of microscopic images actively forming connections in blues, greens and ...

Kay Hartung’s “Bio Networks 1” is a 12 x 12 x 1.5 inch encaustic painting depicting floating microscopic forms on a highly patterned background. In colors of rust, maroon, ochre, gre...

Coloured inks and pastel on paper Signed Gestural abstraction Outsider art Artist’s statement : "Painting, for me, is an expressive endeavor in which one depicts the evolution of the various facets of the artistic self. There is, on each canvas, a tension where violence and stillness naturally coexist. By playing with different materials, I seek to establish a sort of unexpected dialogue between these states, and aspire to express this tension through profusion of color. The canvas is the stage that allows me to unite narration with the action of painting the fantastic—even the outrageous---and the everyday. I develop scenarios borrowed from the imagination, which join fantasy, even fables, with the everyday. Pulling threads from each domain, I bring together the mythical and the quotidian, so that the worlds of reality and fantasy merge. I rely on “creatures,” improbable little characters that could exist in some other realm or dimension. They materialize, issuing forth from the surprising, unbelievable and wondrous world of childhood. Human or animal, both find themselves entangled in inextricable and melancholic situations. These inextricable situations create distance; the humor comes through this breach. It is the absurdity of their predicaments that manifests the humor in the work. In each of my paintings, the sentiments are heightened by an intentional, provocative tone that transforms the work. An Otherness is attributed to objects; objects become personified, and by their very presence, they become witnesses or guinea pigs torn between and bound to their dilemma. The titles of my paintings, whether invented or quotations taken out of context, come from literature, theater, or song lyrics. Accident and chance are often major actors in my work.” Emmanuelle Messika BIOGRAPHY : Emmanuelle Messika was born in France in 1979. She works and lives in Paris. STUDIES 1999-2005 École Nationale Supérieure des Beaux-Arts de Paris Diplômée en Juin 2005 2004 Échange universitaire à Hunter College, New York NY, USA 1993-1999 Ateliers des Beaux-Arts de la Ville de Paris, Montparnasse PERSONAL EXHIBITIONS : 2019 Claire Corcia Gallery, Paris 2018 Claire Corcia Gallery, Paris Outsider Art Fair, Paris 2012 Art Contemporain Sèvres, "La Chartreuse", Sèvres 2011 Espace Seven, Galerie De Vos, Paris 2010 Les Trois Baudets, Paris Galerie Mariska Hammoudi, Paris Galerie Crous -Beaux-Arts, Paris L'Apparemment Café, Paris 2009 Espace Rachi, Paris 2008 Galerie Console, Paris 2007 Exposition Place du Québec, Mairie du sixième, Paris 2006 Galerie Eonnet-Dupuis, Paris 2005 Galerie Crous Beaux Arts, Paris 2004 The Mark Bar, "Bring your own flashlight", Brooklin, New York 2003 Le Glaz’art, Paris 2002 9 rue Dauphine, Paris 2001 Galerie Gauche, École des Beaux-Arts, Paris 2000 La grosse caisse, Paris La liberté, Paris GROUP SHOWS 2011 Chic Art Fair, Galerie Mariska Hammoudi Galerie De Vos, Espace Seven 2010 Galerie Mariska Hammoudi, Paris Chic Dessin, avec Cherry Gallery...

Coloured inks and pastel on paper Signed Gestural abstraction Outsider art Artist’s statement : "Painting, for me, is an expressive endeavor in which one depicts the evolution of the various facets of the artistic self. There is, on each canvas, a tension where violence and stillness naturally coexist. By playing with different materials, I seek to establish a sort of unexpected dialogue between these states, and aspire to express this tension through profusion of color. The canvas is the stage that allows me to unite narration with the action of painting the fantastic—even the outrageous---and the everyday. I develop scenarios borrowed from the imagination, which join fantasy, even fables, with the everyday. Pulling threads from each domain, I bring together the mythical and the quotidian, so that the worlds of reality and fantasy merge. I rely on “creatures,” improbable little characters that could exist in some other realm or dimension. They materialize, issuing forth from the surprising, unbelievable and wondrous world of childhood. Human or animal, both find themselves entangled in inextricable and melancholic situations. These inextricable situations create distance; the humor comes through this breach. It is the absurdity of their predicaments that manifests the humor in the work. In each of my paintings, the sentiments are heightened by an intentional, provocative tone that transforms the work. An Otherness is attributed to objects; objects become personified, and by their very presence, they become witnesses or guinea pigs torn between and bound to their dilemma. The titles of my paintings, whether invented or quotations taken out of context, come from literature, theater, or song lyrics. Accident and chance are often major actors in my work.” Emmanuelle Messika BIOGRAPHY : Emmanuelle Messika was born in France in 1979. She works and lives in Paris. STUDIES 1999-2005 École Nationale Supérieure des Beaux-Arts de Paris Diplômée en Juin 2005 2004 Échange universitaire à Hunter College, New York NY, USA 1993-1999 Ateliers des Beaux-Arts de la Ville de Paris, Montparnasse PERSONAL EXHIBITIONS : 2019 Claire Corcia Gallery, Paris 2018 Claire Corcia Gallery, Paris Outsider Art Fair, Paris 2012 Art Contemporain Sèvres, "La Chartreuse", Sèvres 2011 Espace Seven, Galerie De Vos, Paris 2010 Les Trois Baudets, Paris Galerie Mariska Hammoudi, Paris Galerie Crous -Beaux-Arts, Paris L'Apparemment Café, Paris 2009 Espace Rachi, Paris 2008 Galerie Console, Paris 2007 Exposition Place du Québec, Mairie du sixième, Paris 2006 Galerie Eonnet-Dupuis, Paris 2005 Galerie Crous Beaux Arts, Paris 2004 The Mark Bar, "Bring your own flashlight", Brooklin, New York 2003 Le Glaz’art, Paris 2002 9 rue Dauphine, Paris 2001 Galerie Gauche, École des Beaux-Arts, Paris 2000 La grosse caisse, Paris La liberté, Paris GROUP SHOWS 2011 Chic Art Fair, Galerie Mariska Hammoudi Galerie De Vos, Espace Seven 2010 Galerie Mariska Hammoudi, Paris Chic Dessin, avec Cherry Gallery...

Kay Hartung’s “Cell Samples Grouping 1” is a collection of seven 4 and 6 inch petri dishes filled with encaustic medium and delicately painted with pastel. In varying colors some pie...

Mixed media monoprint with pastel, pencil, and oil based ink. 26.5 x 26.5 inches framed.

Pastel and watercolor on papier. Height: 26.97 in ( 68,5 cm ), Width: 19.09 in ( 48,5 cm ), Framed: 31.5 x 24.02 in ( 80 x 61 cm ) Zaza Tuschmalischvili ( born 15 May 1960 in Skra, Georgia ) is a Georgian painter...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Some Colde Night Mixed media: acrylic, ink marker, pastel on archival paper. Malgosia Kiernozycka was born in Wroclaw, Poland. She graduated high school at the School of Fine Arts a...

Color pencil and pastel on paper. Signed and dated top right : FGray? 1933. Described top left: " Wilfrabot" Image size: 13.19 x 9.69 in ( 33,5 x 24,6 cm ), Framed: 19.8 x 14.84 in ...

Pastel, colored pencil with collage elements Unsigned Condition: Repaired tear in the area of the moon, only visible from verso Pin holes in the corners and in the ...

Kay Hartung’s “Bio Flow 4” is composed of microscopic images multiplying and connecting. In colors of pink, green and gray, the painting simulates a fusion of cells. Painted with enc...

Kay Hartung’s "Bio Fusion 9" is composed of forms multiplying and connecting in colors of orange, yellow, and green. Cellular forms flow and migrate across the surface. Painted with ...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Ramanando Bandopadhayay - 8 x 10 inches ( Unframed ) Mixed media on paper We shall include shipping in frame form all across the world. Just hang and relish the work. Style : Lyrical and romantic, his work is typical of the Bengal School and reminiscent of Nandalal Bose...

A mixed media painting by Michael Platt from 1981. A representational image of a figure in a diverse color pallet. Platt creates artwork that centers on figurative explorations of li...

Pastel and graphite on paper, 1925, by Adolf Hölzel ( 1853-1934 ) Verso: stamp of the estate. Measurements: Image: Height: 5.51 in ( 14,5 cm ), Width: 4.53 in ( 11,5 cm ), Framed:...

Pastel and Gouache on Arches Paper Ryan Bradley is an artist who creates tightly rendered pastel drawings of attractive women’s faces that seem to be carved out of space. The compositions are large, with the longest part of the Arches paper averaging 52 inches. The hyperrealistic drawings...

John Steuart Curry (American, 1897-1946) Wisconsin Twilight, 1934 Signed Lower Left Gold Leafed Frame with Silk Mat and Gold Leafed Fillet 29 x 36.5 inches 41 x 46.5 inches with frame Born in Dunavant, Kansas on November 14, 1897, John Steuart Curry became the youngest member of the famed "Benton-Wood-Curry trio" of Regional Painters of the early 20th-century American Scene movement. He gained national reputation for his Kansas rural scenes of people terrorized by natural phenomena such as tornadoes, drab farm-house living conditions, religious gatherings such as prayer meeting and baptisms, and spirited animals who got out of control. A good example of his weather-related painting was Tornado Over Kansas, 1929, in the collection of the Muskegon Museum of Art in Muskegon, Michigan. In this scene, a family scurries for shelter, trying to outrun a funnel cloud headed for their home. The mother carries her baby, and the children rescue pets and toys. It was later said that Curry never directly experienced a tornado but had many scares from them as a child when his family, faced with frightening skies, made frequent trips to their fruit cellar. In 1933, Tornado Over Kansas received second prize at the Carnegie International Exhibit. He was especially focused on people who were down-to-earth, plain spoken and who were self reliantly making a living through hard physical labor challenged by harsh weather. In many of his paintings, he showed his disdain for racial discrimination and hatred, something he believed was psychologically poisonous. He did many murals dealing with land settlement and these themes of racial justice, and his, reflecting these themes, murals are in the Capitol Building in Kansas, the University of Wisconsin, Department of the Interior, and Department of Justice in Washington D.C. Curry was a descendant of many generations of farmers, whose American ancestors originally were from Scotland. Some of them immigrated to South Carolina, and later followed "the line of the frontier into the Mississippi Valley." The first born of five children, Curry said of his childhood: "I was raised on hard work and the shorter catechism---Up at four o'clock the year round, doing half a day's work before we rode to town on horseback to our lessons." From a young age, he was constantly drawing, an activity encouraged by his mother, who arranged art lessons for him from age 12. She also gave him his first glimpse of the Old Master painters through reproductions of their work she had collected on her honeymoon. Never of the studious nature, Curry quit the county high school in Winchester, Kansas and spent that summer as a railroad section-hand. His earnings provided him with enough money to buy a suit of clothes so that he could go to Kansas City and attend the Art Institute. A month later he moved to the Art Institute of Chicago, and remained there for two years, supporting himself by sweeping floors and acting as a bus-boy in the cafeteria. Upon America's declaration of war, Curry went to training camp, only to be sent home when it was discovered that he was still under age. In 1918 he enrolled at Geneva College, played football for two seasons, and spent the following five years training to earn his money as an illustrator of "blood-and-thunder" scenes for a popular western story magazine. In this capacity, he worked for illustrator Harvey Dunn in New Jersey from 1919 to 1926. He married and then persuaded art patron Seward Prosser to loan him $1000. 00,, which he used for one year of study in Paris in 1927. The year in Europe, which included study at the Academy Julian, reinforced his independent nature. He was much more impressed by the paintings of Rembrandt and Rubens than by the modernist American painters, many whom were adopting the 'isms' of abstract styles of French contemporary artists such as Pablo Picasso's Cubism and Max Ernst's Surrealism. Curry determined to paint American subjects without European models and to celebrate American patriotism and regional pride rather than lofty, remote ideals espoused by the academics. He returned to America penniless, and settling in Westport, Connecticut, swore that he would turn out a worthwhile picture or give up painting entirely. There in 1928 from memory he painted his first picture that became famous, Baptism in Kansas. Gertrude Vanderbilt Whitney bought it for her museum and subsidized him for two years at $50 a week. Baptism in Kansas was heralded nationally as work of a new American genre, but fellow Kansans were not impressed until much later when they realized the scope of his recognition. Purchased by Gertrude Vanderbilt Whitney, one of his key benefactors, Baptism launched his career as a regionalist. In 1930, he had his first one-man exhibition, held at the Whitney Studio Club, and was received enthusiastically by critics. Although he lived primarily in the East, he returned often to Kansas where he stayed at his parents' farm and sketched rural-life scenes. His first wife died, and he gave up his studio in Westport, and secluded himself in a drab New York City studio. He taught at the Cooper Union and the Art Students' League, and held a show of circus studies after touring New England with Ringling Bros.-Barnum & Bailey Circus. This tour and the resulting circus sketches and watercolors were inspired from his attendance in Kansas at many rural county fairs. Reportedly the circus people said they liked Curry but "quibbled over minor technical errors in his series of circus paintings." In 1934 he married Kathleen Shepard, returned to Westport, recovered his old enthusiasm, and painted one of his most famous paintings, Line Storm. Westport beginning to appreciate him, commissioned him to do a double mural for the local high school. Additionally, the United States government selected him to paint murals for the Department of Justice and the Department of Interior buildings in Washington, D.C. He was appointed Artist-in-Residence in the College of Agriculture, University of Wisconsin, in 1936. At $4,000 a year he had his studio on the campus, where he could mingle with students, but he conducted no formal classes. Curry also traveled occasionally to Arizona where he visited his parents who had a second home there and spent their winters. The Marianna Kistler Beach Museum of Art in Manhattan, Kansas, is the repository of the Curry archives including many paintings. According to Bill North, the Museum's Senior Curator, Curry "did produce a number of paintings and watercolors with Arizona subjects, some, certainly prior to 1940. Relatively little is known about this aspect of his life and work. I assume that many, if not all of Curry's Arizona paintings...

Susan Manchester’s drawings are meditations on the ephemeral nature of life, and they reflect the artist’s fascination with beauty in all its strangeness. Manchester has dedicated he...

John Altoon's work crosses a hybrid between abstract and figurative, influenced by Abstract Impressionism.

Artist: Hall, Stev’nn Title: Burnt Offering AP No. 2 Date: 2023 Medium: Photography, Oil, Ink and pastel with textured matte surface on birch panel...

Artist: Hall, Stev’nn Title: Hypnosis No. 3 (Tondo) Date: 2023 Medium: Photography, Oil, Ink and pastel with textured matte surface on birch panel Unframed Dimensions: 30" x 30"...

Artist: Hall, Stev’nn Title: Sacrifice No. 2, Tondo Date: 2022 Medium: Photography, Oil, Ink and pastel with textured matte surface on birch panel Unframed Dimensions: 42" x 42"...

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

Charcoal, pastel, gesso, and acrylic on paper

pastel on fabric (bathrobes) on wood panel with upholstery tacks