Archival Ink Prints and Multiples

Archival giclée print Edition of 70, Set of 8 Paper size: 57.2 x 56 cms (22 1/2 x 22 ins) Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins) Starting from a belief that all forms, and li...

Archival giclée print Edition of 70, Set of 8 Paper size: 57.2 x 56 cms (22 1/2 x 22 ins) Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins) Starting from a belief that all forms, and li...

Asymptote. 2023. Is an ongoing series working with Neuberg mathematical curvatures.

Apollonius. Proposition 78. 2023. Is an ongoing series working with Apollonius of Perga. Conic Sections geometry.

"In that I have selected a variety of mathematical / geometric concepts as the basis for the work, it is my intent to form a complex integration by graphing an x,y axis, asymptote sy...

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print used the Japanese Chine-Collee technique additionally.

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print also uses the Japanese technique Chine-Collee.

(15 3/8" X 20 1/2" ) archival pigment print, edition of 10 Ross Racine is an artist living in Montreal (Quebec), Canada, and New York. Racine's works are drawn freehand on a compute...

Historia, Memoria y Silencios (Unopened XV), 2009 Archival ink on cotton paper 16h x 16w in Edition of 5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened XII, 2009 Archival ink on cotton paper 16h x 16w in 1/5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened XIII, 2009 Archival ink on cotton paper 16h x 16w in Edition of 5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974...

Historia, Memoria y Silencios (Silencios) Unopened XI, 2009 Archival ink on cotton paper 16h x 16w in 1/5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and curren...

Historia, Memoria y Silencios (Silencios) Unopened VII, 2009 Archival Ink on Cotton Paper 16h x 16w in Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened III, 2009 Archival Ink on Cotton Paper 16h x 16w in Edition of 5 Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Historia, Memoria y Silencios (Silencios) Unopened V, 2009 Archival Ink on Cotton Paper 16h x 16w in Lorena Guillén Vaschetti was born in Rosario, Argentina in 1974 and currently lives and works in Buenos Aires. In 2000 Lorena received a degree in Architecture and Anthropology from University of Buenos Aires. Her work has been widely exhibited and published in the United States, South America, and Europe. Her first book, Historia, Memoria, y Silencios, Schilt 2011 was distinguished by PhotoEspana, 2012 and PDN as one of the Best Books of the Year. Her work is in the permanent museum collections of Brandts Museet for Fotokunst in Denmark, Museo de Bellas Artes of Rio de Janeiro, and the Southeast Museum of Photography in Florida. Lorena approaches photography as an anthropologist, and the simplicity of her work allows the viewer to bring in their own stories, conclusions, and realities to the images. Using the idea of memory as a foundation for her work, Lorena's photographic series dissect how we are in the present as a result of what we remember from the past. In her Historia, Memoria, y Silencio series the artist captures elements and artifacts recovered from a box of thrown out family photographs. In 2009, Lorena's mother threw away all of the family slides to protect her daughter from their family history. Lorena was able to recover only one box out of the many that her mother discarded. She re-photographed the contents from her perspective, choosing to leave the slides that were wrapped in packages unopened. Bound in elastic bands, and concealed in film cannisters...

Archival giclée print Edition of 70, Set of 8 Paper size: 57.2 x 56 cms (22 1/2 x 22 ins) Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins) Starting from a belief that all forms, and li...

Archival giclée print Edition of 70, Set of 8 Paper size: 57.2 x 56 cms (22 1/2 x 22 ins) Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins) Starting from a belief that all forms, and li...

Archival giclée print Edition of 70, Set of 8 Paper size: 57.2 x 56 cms (22 1/2 x 22 ins) Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins) Starting from a belief that all forms, and li...

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in brand new condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Series: Fairytale Chromogenic Print on Kodak Endura Luster Paper All available sizes & editions for each size of this photograph: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70"...

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Nick Thomm CHROMATIC - 4 Print Set (XL SIZE 36" x 48" PER PRINT). Limited Edition #43 of 50. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Cond...

Hand colored etching on Japon paper 25 x 20 in (63.50 x 50.80 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival pigment ink print, hand varnished on Innova Etching Cotton Rag 315 gsm 32 x 48 in (81.28 x 121.92 cm)

Archival Pigment Ink on Innova Etching Cotton Rag 315 gsm fine art paper 32 x 48 in (81.28 x 121.92 cm)

Archival Pigment Ink on Innova Etching Cotton Rag 315 gsm fine art paper 32 x 48 in (81.28 x 121.92 cm)

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Emilie Arnoux hails from Normandy, France. From a young age, she became fascinated by the ocean and the laid back lifestyle surf-culture engenders. Her work captures the divine energ...

Emilie Arnoux hails from Normandy, France. From a young age, she became fascinated by the ocean and the laid back lifestyle surf-culture engenders. Her work captures the divine energ...

Lyndon Barrois, Jr. Wet Dream Cousin, 2017 Ink on canvas, archival pigment print, oak frame Framed Dimensions (each): 24 x 24 inches (61 x 61 cm)

"Yellow Flags on White" is a new limited edition created by the American artist Alex Katz. It is a print characterized by its minimalist yet striking composition. The piece depicts a...

Yellow Flags on Brown, 2023