Stone and Press Gallery

10th Anniversary New Orleans Jazz and Heritage Festival Poster, 1979 by John Martinez Fifth in the series by John Martinez. The grand marshal returns for the Jazz Festival's 10th an...

New Orleans Jazz and Heritage Festival 1980 by Phillip Collier (1950 - ) Sixth in the series by Phillip Collier. The crescent moon symbol lights a soft rain of musical notes as the ...

Souto named this image Bambalina (backstage). It is an exclusive publication of Stone and Press Gallery. Francisco Souto was born in Venezuela. He received a BFA from Herron Schoo...

Francisco Souto has created his self portrait working on the plate of a mezzotint. This is impression #14 from an edition of only 23. Souto received a BFA from Herron School of Art ...

A signed Certificate of Authority will be included with all photographs. A nude young man is seen rising from the sea after his swim. This impression is printed on Hahnemuhle archi...

Mikio Watanabe created "Confident", a side view of a sensuous female nude, exclusively for Stone and Press Gallery. The 2004 black and white mezzotint was issued in an edition of on...

Discover the warmth and depth of "Strangelove," an oil painting on linen by Alessandro Tomassetti. This artwork shows a person not facing the artist, wrapped up in ribbons, against a...

Rad Husak, a contemporary process-driven mixed media artist, was born in Poland in 1984. With a Master’s degree from the Royal College of Art, his practice is firmly situated in the ...

Radek Husak, a contemporary process-driven mixed media artist, was born in Poland in 1984. With a Master’s degree from the Royal College of Art, his practice is firmly situated in th...

XGen 2 / chromatic variation 5 is taken from a new set of drawings designed to explore, and riff on, the energy contained within a simple X form. I hope the edition captures some of the kinetic energy and life contained within the essence of the original form too. This is impression #23, a ten color pigment print on Hahnemuhle 340 gsm photo paper. The study builds on a simple X shaped grid that generates the underlying drawing, which I overlaid with experimental mark making, building up layers of texture and colour to work the piece up into something a little more painterly than many of my previous editions have been. I like the idea that the ink seems quite fluid, but also sits on a fairly rigid geometric grid. That combination would be hard to achieve off system I think, and as ever, I really enjoy seeing if I can make the digital speak with a little more soul, and just generally feel more haptic than might otherwise be the case. A lot of the joy, for me, is in the unexpected overlaps and misalignments in the final drawings. I feel there’s something of Sean Scully’s style here too, I’m drawn to his works, but always with a slight scepticism. I tend to feel there’s something a little suspect about that bravura level of underworking, but really I think I’m just envious of the raw confidence he brings to his mark making! Chuck Elliott (b. 1967, Camberwell, London) is a pioneer of digitally generated art. He claims to have used the first Apple Macintosh...

This is number 1 from a limited edition of 12. London-based Photographer and Graphic designer Omer Ga'ash, graduated from Bezalel Academy of Art and De...

In "Still Night", Frederick Mershimer depicts a row of brownstone houses on Seventh Avenue near Flatbush Avenue between Park and Stirling Places. Mershimer remembers that as he was ...