David Bowie

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Margot Glass' miniature watercolor and graphite envelopes are reminiscent of love notes and pen pals. Her array of diminutive, jewel-toned envelopes remind us of the delicacy and poe...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

The latest watercolors from Ray Kass strike a balance between audacity and contemplation. Drawing from the Tibetan Buddhist tradition of the Tsakli - sets of miniature paintings feat...

Kathleen Beausoleil lives and works in Fair Haven, NJ. Primarily working in oil paint, her works focus on what it means to be a social being. Beausoleil received a 2022 Fellowship fr...

We are thrilled to present one of our first works on paper of 2023 by Dina Brodsky - the striking Raven, in her signature tondo format. Like most of her miniature works, the charm ex...

Margot Glass reimagines color and tone, using luminescent ink to translate vivid shades into bursts of white-gold. Ever-interested in fragility and ephemerality, Glass lingers over t...

In her photorealist graphite drawing "Toke," Mary Reilly elegantly merges weed culture with high art. Her drawing is a graphic homage to cannabis culture. Mary Reilly works with both...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from leaf to bud, s...

Ever-interested in delicate and often toiling labor, David Morrison’s newest body of work stems from his practice as a master gardener. David’s methodical cultivation of irises and b...

Artist David Morrison creates hyperrealistic, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and also by working f...

Artist David Morrison creates hyperrealistic, yet abstracted, finely detailed pencil drawings of found natural objects, both by observing the object itself under magnification, and a...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Flit, is an abstract geometric black ink drawing on white paper, 2022. The work is hand-drawn by the artist without any ruler or straight edge. She works organically from the center,...

Incorporating vintage pages sourced from a 1946 Rand-McNally World Atlas, Carol Wax’s ongoing Map series addresses the void between natural and political b...

Framed: 10.5 x 10.5 in. In her ink on paper miniature still life, Tree No. 120, July 30, 2016, Dina Brodsky replicates the texture of the tree bark in uncompromising detail. Brodsk...

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Kathleen Beausoleil lives and works in Fair Haven, NJ. Primarily working in oil paint, her works focus on what it means to be a social being. Beausoleil received a 2022 Fellowship fr...

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

David Morrison challenges the idea of what is cherished in nature by celebrating the beauty of the over-looked and the imperfect. Found broken branches, a peeling sycamore tree, bug-...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

Margot Glass’s rendering of detail demands close attention. Her play with positive and negative space—the almost imperceptible shade of translucence between leaf veins, or the rich p...

Dina Brodsky's realist gouache on paper animal miniature, "Parrots," 2018, depicts a pair of multi-hued Parrots perched on a small branch. The bird's brilliantly saturated yellow, li...

Original watercolor on paper painting by Samuel Bolton Colburn (1909-1993) of a small farm situated in a valley near the mountains. Presented in a custom frame, outer dimensions meas...

Figurative chalk drawing of flying bird silhouettes on vintage collaged book pages 'Crowded Sky' by Louise Laplante in 2022 chalk on vintage collaged cranberry cultivation manual pages 42 x 48 1/2 inches unframed, 46 x 52.5 inches in natural wood frame with non-glare plexi This graphic, figurative drawing in green, black, orange and blue chalk with collaged pages from an antique cranberry cultivation manual was created by Louise Laplante in 2022. The vivid silhouettes of flying birds and feathers flutter in place and provide colorful contrast against a background of vintage manual pages. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The figurative chalk drawing is framed with a light wood frame and has non-glare plexi. About the artist: Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years. Artist Statement: My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not. It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image. Artist Resume: Education MA in Fine Art, State University of New York at Albany, New York BFA, College of New Rochelle, New Rochelle, New York Studied, Art Institute of Boston, Boston, Massachusetts Exhibitions 2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York 2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York Shelter, A.P.E. Gallery, Northampton, Massachusetts Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont 2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island Blanche Ames National, Borderlands, North Easton, Massachusetts Five Points Biennial, Five Points Gallery, Torrington, Connecticut A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, New York 2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York 2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts Drawing, Carrie Haddad Gallery, Hudson, New York Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut 2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut New England Collective V, Galatea Fine Art, Boston, Massachusetts Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts 2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York 2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York Drawing, b.j. spoke gallery, Huntington, New York Strange Glue, Thompson Gallery, Weston, Massachusetts Silhouette, A.P.E., Northampton, Massachusetts The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island 2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York Paperworks, Paper City Studios, Holyoke, Massachusetts Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts 2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery, Springfield Technical Community College, Springfield, Massachusetts 2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York 2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts Artists and Books, Art Complex Museum, Duxbury, Massachusetts One Night, Pivot Gallery, Florence, Massachusetts 2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire Salon, Clark Gallery, Lincoln, Massachusetts 2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Salon, Clark Gallery, Lincoln, Massachusetts 2004 On Paper, Carrie Haddad Gallery, Hudson, New York Encaustics, Carrie Haddad Gallery, Hudson, New York New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts 2003 Hart Gallery...

Figurative chalk drawing of black Greyhound dog and red birds on vintage collaged book pages 'The Searchers' by Louise Laplante in 2022 chalk on vintage collaged book pages 28 x 46 1/2 inches unframed, 32 x 52 inches in natural wood frame with non-glare plexi This graphic, figurative drawing in black chalk with collaged antique...

Figurative chalk drawing of flying bird silhouettes in retro colors on vintage collaged book pages 'An Organization of Birds' by Louise Laplante in 2022 chalk on vintage collaged cranberry cultivation manual pages 48 x 41 inches unframed, 52 x 45 inches in natural wood frame with non-glare plexi Louise Laplante bridges the past and present with mixed media drawings made with figurative charcoal silhouettes juxtaposed on collaged sheets of vintage paper. Finding beauty in forgotten or discarded sheets of ephemera, Laplante uses it as a guide for playful compositions of stenciled birds in mid-flight, drifting feathers, or taxidermized deer heads in rich pastel. A final burst of wistful linework glides over the pastel forms, accentuating her subject’s movement while adding another layer of texture. In this particular work, the artist cleverly draws an organized formation of birds over an almanac of vintage pages of numerical data. A departure from her typical greyscale palette, the artist introduces retro shades of brick red, forest green, cadet blue, and mustard yellow. The vivid silhouettes of flying birds flutter in place and provide colorful contrast against a background of vintage papers. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The figurative chalk drawing is framed with a light wood frame and has non-glare plexi. About the artist: Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years. Artist Statement: My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not. It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image. Artist Resume: Education MA in Fine Art, State University of New York at Albany, New York BFA, College of New Rochelle, New Rochelle, New York Studied, Art Institute of Boston, Boston, Massachusetts Exhibitions 2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York 2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York Shelter, A.P.E. Gallery, Northampton, Massachusetts Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont 2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island Blanche Ames National, Borderlands, North Easton, Massachusetts Five Points Biennial, Five Points Gallery, Torrington, Connecticut A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, New York 2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York 2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts Drawing, Carrie Haddad Gallery, Hudson, New York Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut 2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut New England Collective V, Galatea Fine Art, Boston, Massachusetts Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts 2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York 2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York Drawing, b.j. spoke gallery, Huntington, New York Strange Glue, Thompson Gallery, Weston, Massachusetts Silhouette, A.P.E., Northampton, Massachusetts The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island 2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York Paperworks, Paper City Studios, Holyoke, Massachusetts Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts 2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery, Springfield Technical Community College, Springfield, Massachusetts 2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York 2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts Artists and Books, Art Complex Museum, Duxbury, Massachusetts One Night, Pivot Gallery, Florence, Massachusetts 2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire Salon, Clark Gallery, Lincoln, Massachusetts 2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Salon, Clark Gallery, Lincoln, Massachusetts 2004 On Paper, Carrie Haddad Gallery, Hudson, New York Encaustics, Carrie Haddad Gallery, Hudson, New York New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts 2003 Hart Gallery...

Gestural abstract painting on paper with gold metallic powders, pastel green, and rust colored enamel paint "Fresh Marks", made in 2022 by Hudson Valley painter, Bruce Murphy Enamel...

Ky Anderson Three Lean, 2021 acrylic and ink on watercolor paper 30 x 22 in. (and360) This original acrylic and ink painting on watercolor paper by Ky Anderson features geometric sh...

Marilla Palmer Waiting for Iris, 2022 watercolor, pressed petals, foil, velvet, sequin, Durabrite print on Arches Hot Press paper 15 x 11 in. (pal212) This original artwork by Maril...

1935 American Modernist watercolor on paper by Frank "Pancho" Gates (1904-1998). An abstract scene of a mining town in the mountains, completed in colors of red, green, yellow, and black. Presented in a custom frame with all archival materials, outside dimensions measure 14 ¼ x 17 ¼ inches. Image size measures 8 ¾ x 11 ¾ inches. Painting is clean and in good condition, has had restoration work - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: A Colorado modernist artist and theater set designer, he grew up in Edgewater, Colorado, near the Manhattan Beach Theater and the winter quarters of the Denver Post’s Sells-Floto Circus which he frequented as a youngster. These two places introduced him early on to the theater. Additionally, his father toured the United States in a wire walking act with the Barnum and Bailey Circus. Gates began his association with the theater in 1919 when just out of high school. He initially worked with scenic artist, Jack Stein, at the old Tabor Theater in the Tabor Grand Opera House (demolished in 1964) in downtown Denver. Soon after that, he became an assistant scenic artist to George Bradford Ashworth, a famous New York stage set designer, who during the summer designed sets for the Elitch Gardens Theater in northwest Denver. Gates later produced the sets there until 1928. He was offered a scholarship to Colorado A & M College (now Colorado State University) in Fort Collins but declined because of his growing commitment to the theater. He followed his tenure at Elitch’s with positions at the Denham Theater in Denver and the Palm Theater in Pueblo. Upon returning to Denver, he became a free-lance artist for studios producing scenery for stage shows at the city’s Tabor, Denver, Paramount, Alladin, Rivoli, Broadway, Orpheum and Empress Theaters. He moved to California, perfecting his craft at the Pasadena Playhouse, a training school for young actors and actresses pursuing stardom in the movies. Later associated with the Technicolor Corporation, he helped to produce the film used in early color movies such as Becky Sharp (1935) and the Garden of Allah...

B.J.O. NORDFELDT (Swedish/American 1878 – 1955) (WINDMILL AND WORKERS). c.1900. Color pastel on colored paper, unsigned. 22 ¼ x 15”. Sheet: 24 ½ x 18 ¼”. In 1900 Nordfeldt studied ...

ADOLF DEHN (1895 – 1968) ORIGINAL ART FOR THE COVER OF THE NEW MASSES, c.1930. Original ink drawing. Signed in ink lower right. Sheet and image 19 1/2 x 15...

CLARK HOBART (1868 – 1948) COLONIAL DAMES Monotype signed and titled in pencil Hobart was an early 20 c. California painter. He was on the forefront ...

KARL YENS (1868 – 1945) (FLOWERS) 1919 Color monotype signed, dated and annotated: “monotype 1919.” 17 ½” x 11 ½” Monotypes are unique works of art that fall between printmaking a...

JOSEPH PENNELL (1857 - 1926) STREET ACAPULCO 1901-08. Color pastel and gouache drawing on blue paper. Signed and titled in pencil in his early signature. Image, 10 x 14 inches to j...

DAVID ROSE (1910 – 2006) LEONARD WEINGLASS - ELLSBERG TRIAL, 1973 Color marking pen on tracing paper. Image 12 ½ x 11 inches, sheet 15 x 18 ½ inches. Very fresh, in good condition with bright colors save for horizontal creases at the lower sheet edge slightly into the image and a few other soft creases. Leonard Weinglass along with Leonard Boudin were attorneys for Anthony Russo and Daniel Ellsberg at the Pentagon Papers Trial in 1973. Upon his death in 2011 the NY Times called Weinglass, “perhaps the nation’s pre-eminent progressive defense lawyer, who represented political renegades Provenance: Directly from the artist David Rose to this dealer in the late 1980’s. I knew David as an artist and friend as we both lived in Los Angeles. It has been in temperature and humidity storage since its acquisition. The Ellsberg Trial was the beginning of a long career for Rose as a court reporter Rose’s papers are in Special Collections of USC, The University of Southern California. The Online Archives of California Rose Biography states: Rose's courtroom career began in 1973 with the trial of Daniel Ellsberg, the former defense analyst who released the Pentagon Papers regarding the Viet Nam War to the New York Times. (Rose received an Emmy Award nomination for his coverage of the Pentagon Papers trial.) Rose's sketches of this trial-- along with all those that would follow through the next twenty-five years-- appeared in television news broadcasts and newspapers all over the world. He saw himself as a reporter-- but with colored pencils and sketchpads as his tools. He tried to capture the emotions in the courtroom-- the tension, anger, and the body language that conveyed them. Over the years, Rose's art depicted the trials of some of the most famous-- and infamous-- personalities to make the news: Klaus Barbie (the Butcher of Lyon), Patty Hearst, Sirhan Sirhan, John Z. DeLorean, Rodney King, Imelda Marcos, Huey Newton...

EDWARD HAGEDORN (AMERICAN 1902 – 1982) UNTITLED MOUNTAINS, ca 1935 Tempera, Unsigned. Image 18 x 24 inches. See also 1stdibs item LU411312750272 for another example form the follow...

EDWARD HAGEDORN (AMERICAN 1902 – 1982) DEBRIS, ca. 1930 Large Ink Drawing - Study for the Print. Image 16 1/2 x 22 1/2 inches, sheet 17 1/2 x 28 inches. Ink wash, on blank side of...

THOMAS HILL McKAY (1875-1941) ARCH ROCK - SANTA MONICA, CA c. 1925-30 Watercolor, signed lower right. Sheet 14 x 18 inches.. Additional full sheet study on verso.. Generally good c...

GERHARD MARCKS (1889 1981) (SEATED WOMAN WITH TOGA) 1933. Graphite on wove paper, signed, dated, 14 ¼” x 7”. Sheet 15” x 10”. S...

KARL SCHRAG (German - American 1912 - 1995) SELF PORTRAIT IN THE GERMAN MANNER, 1991 Monotype, Signed titled, dated and annotated "Monotype with touches of Oil color, I /I" Plate an...

CYRIL POWER (British 1872-1951) STUDIES FOR THE COLOR LINOCUT REVOLUTION II, 1931 Pencil on thin wove paper. Unsigned. Consists of two 3 inch square pencil drawings on one sheet of thin wove paper 10 x 7 3/8 inches. Preliminary studies for Power's Grosvenor School...

QUEEN MARY, LONG BEACH, CA - ORIGINAL ARTIST DESIGN FOR THE PLACEMENT OF THE SHIP Watercolor and gouache on board, 20 x 36 inches. Signed and dated by the artist - Segroves, 1969. The original artist concept for the placement in Long Beach Harbor in 1969. Subsequently revised several times. The Queen after extensive renovation has just reopened to the public on December 14, 2022 Much larger than the Titanic, At 1,019 feet long and 81,000 tons (310 meters and 73,500 metric tons), the Queen Mary was one of the largest and most elegant ships of the early 20th century. From Wikipedia: The RMS Queen Mary is a retired British ocean liner that sailed primarily on the North Atlantic Ocean from 1936 to 1967 for the Cunard-White Star Line and built by John...

JUNE WAYNE (1918 - 2011) A WINTER - SEEMING SUMMER'S NIGHT, 1957 From the John Donne Series. (Conway 122, Basket 106: Gilmour 50) Lithograph signed, title...

EDWARD HAGEDORN (AMERICAN 1902 – 1982) PLUNGING COMET - Large Ink and graphite drawing. Signed, titled and dated in pencil. Image, 16 x 22, Sheet 22 1/2 x 28 1/2 inches See also ...

JOSEPH PENNELL (1857 - 1926) ACAPULCO 1901-08. Colored pastel and gouache drawing on blue paper. Signed and titled in pencil in his early signature. Image 10 x 14 inches to just ab...

This portrait of a woman in a green blouse shows Jorge Alzaga's beautiful skill with pastels. The way Alzaga used pastel adds a certain kind of softness to the portrait while still a...

This is a mixed media work on paper. The pictorial space is bifurcated in two, each space extending beyond the page. One space is a blend of blue and turquoise; the other space is ye...

Mary Finlayson "Spring Equinox 3" Flashe, Gouache, Spray Paint, Oil Stick on Canvas 25.25 x 21.25 inches, framed Mary Finlayson’s interest in painting ...

Mary Finlayson "Spring Equinox Diptych" Flashe, Gouache, Spray Paint, Oil Stick on Canvas Total Diptych Size: 25.125 x 42.125 inches, framed Mary Finla...

America Martin "Man with Blossoms" Ink on Paper 33.5” x 31” Framed AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angeles. America is ...

EDWARD HAGEDORN (AMERICAN 1902 – 1982) VOLCANO c. 1935 Thick tempera, SIGNED at the upper right corner,. Sheet & image 18 1/2 x 25 inches. Provenance: Hagedorn estate, Around the...

The murder of John Lennon. The birth of my children. Nixon’s resignation. Brain surgery. Driven by the desire to express myself, and leave a physical record of my life and times, I’v...