Unknown

Hand-Painted Paper Collage Attributed to Sven Markelius for Illums Bolighus

circa 1960s

Large scale serigraph by Gene Davis 'Black Witch Series' on archival paper signed and numbered in pencil, 24 of 150. Executed in 1974, 72" x 45" in the original frame with plexiglass...

Gene Davis Large Scale Lithograph on Archival paper Signed and numbered in pencil. Titled Yankee Doodle and executed in 1972. Original frame with plexiglass. Printed by Fine Creati...

Rufino Tamayo (1899-1991) SANDÍA #2 "Watermelon" Color lithograph, 1969, on Rives BFK paper, signed in pencil, from Mujeres, printed by Atelier Desjobert, Paris, published by Touchs...

"The Great Narrows' by Irwin Whitaker - 1985, enamel on copper plate from the series 'Canyons, Arches & Gorges. Enamel measures 16.25 x 10.25, Frame measures 20.25 x 14.25. Excellent...

Amitabh Sengupta - Untitled - 13 x 19 inches (unframed size) Digital Graphics on Paper Inclusive of shipment in roll form. Style : In Amitabh SenGupta's works TIME is depicted in va...

On the Faultline, Abstract Digital Manipulation Print on Paper, 2021 12" x 16" (HxW) printed on archival paper This work features an image of a desert mirage, digitally manipulated and abstracted in geometric shapes of orange and blue. Artist commentary: We recently drove out to Joshua Tree National Park. A stunning place to see desert plants...

Yvaral (Jean-Pierre Vasarely) Lithograph - 1978 Signed by the artist in pencil Numbered in pencil by the artist XXII/C Annotated in pencil 77 x 77 cms 890 euros

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 30. Paper size is 35 inches h x 47 inches w with an image size of 32 inches h x 44 inches w. Born in Mexico City in 1950, Ricardo Mazal moved to Barcelona Spain in 1986, and since 1990 has lived and worked in New York City, as well as Santa Fe New Mexico. Mazal’s work explores the process of visual perception as it takes form in the human consciousness. His paintings depict the passage of time, not by illustrating events but by leaving their residue to dissipate in space like a still photograph of a speeding object blurred to abstraction. In the last decade he has been honored with ten individual museum exhibitions, including a retrospective at the Museo de Arte Moderno in Mexico City and the Museo de Arte Contemporaneo (MARCO) in Monterrey. He has also shown at the Museo Nacional de Anthropologia, Mexico City and the Scottsdale Museum of Contemporary Art. KORA follows the direction begun by La Tumba de La Reina Roja (The tomb of the Red Queen...