639 results for "ellsworth kelly"

Bael, Disorder, 2024 Acrylic on wood panel 30 x 30 cm (11.81 x 11.81 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. H...

Saul Steinberg Derrière le Miroir: A lithographic cover published c. 1970. Well suited for framing. A fantastic vintage Saul Steinberg collectible within reach. Lithograph in color...

Acrylic and pencil on paper painting Signed and dated in graphite on acrylic on the front Evocative mixed media painting on paper of The Brooklyn Bridge as part of the artist's City ...

Alexander Calder Lithographic cover c. 1975 from Derrière le miroir: Lithographic cover in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of u...

Andy Warhol Most Wanted Men announcement 1967: Published on the occasion of Andy Warhol's Most Wanted exhibition at Rudolf Zwirner Galerie: Sep-Oct 1967 (having traveled from Galerie...

Saul Steinberg Derrière le Miroir: A lithographic cover published c. 1969. Well suited for framing. A fantastic vintage Saul Steinberg collectible within reach. Lithograph in color...

This painting is a large-scale example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly div...

Robert Indiana (after) Pop Art: Selections from the Museum of Modern Art, 1999 Offset lithograph poster on poster board Autographed, dated and inscribed "for Patricia and Larry" in ...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

'Chili Pepper Lipstick' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, lin...

Jack Youngerman Untitled Study #26, 1967 Gouache painting on paper (with original JL Hudson and PACE Gallery labels) Hand signed and dated '67 on the front; J.L. Hudson Gallery Label...

Al Dickstein New York school Abstract Geometric work. Came in with small collection of his work including signed letters and a signed card and some monogrammed pieces. Signed and ins...

ROBERT INDIANA Hirshhorn Museum & Sculpture Garden Opening Exhibition (Signed & Numbered Edition), 1974 Lithograph on wove paper 32 × 26 inches Signed and numbered 4/100 in pencil on...

Robert Indiana Early Sculpture 1960-1962 Hardback monograph housed in slipcase Introduction by William Katz Published by Salama-Caro Gallery, London, 1991 Autographed and dedicate o...

Tingle (Abstract Painting) Acrylic and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at th...

Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have a...

Robert Indiana (after) Vintage Stable Gallery exhibition poster (autographed), 1962 Silkscreen on wove paper Autographed in the artist's shorthand signature with a love doodle on the...

Robert Indiana An Honest Man Has Been President: Homage to Jimmy Carter (Sheehan, 112), 1980 Color silkscreen on off white wove paper 23 1/2 × 19 3/5 inches Pencil signed and numbere...

Jules Olitski 2002 “Delight Green” Acrylic on Canvas Signed and Dated Verso Private Collection New York City Fresh from a private collection New York! Color Field painter, Jules ...

Artist: Raoul Ubac (1910–1985) Title: Proximity of the Murmur (Proximité du murmure) Year: December 1971 Medium: Lithograph on velin paper Paper Size: 15 x 11 inches (38.1 x 27.94 cm...

Robert Indiana Love Is God, 2014 Silkscreen on 2 ply Rising Museum Board Published by Gary Lichtenstein Editions 32 × 32 inches Hand signed and numbered 33/50 in graphite pencil on the front Unframed One of the most profound Robert Indiana silkscreens...

Offset lithograph invitation card - 2 sided Hand signed by Helen Frankenthaler in ink on the verso A collectors' item when hand signed by the artist Published by the Milwaukee Art Mu...

Soothe 1 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecti...

'Spring Bud Bay Leaf' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all...

'Licorice Coral' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly d...

'Guava Kiwi Melon' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Vintage Saul Steinberg Lithograph c. 1970 from Derrière le miroir: Medium & Dimensions: Lithograph in colors. 15 x 22 inches. Condition: Fold-li...

Artist: Joan Miro (1893–1983) Title: Overweavings (Sobreteixims) Year: April 1973 Medium: Lithograph on velin paper Paper Size: 15 x 22 inches (38.1 x 55.88 cm), with centerfold, as issued Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Maeght Editeur, Paris Printer: Imprimerie Arte, Paris Catalogue raisonne reference: Miro, Joan, et al. Joan Miro Lithographe. Maeght, 1972–1992, illustration 889-891; Cramer, Patrick. Joan Miro: The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1989, illustration 167 Notes: This exquisite lithograph by Joan Miro (1893–1983), titled Sobreteixims (Overweavings), originates from the April 1973 folio Derriere le Miroir, No. 203, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Arte, Paris, 1973. The composition reflects Miro’s late exploration of materiality, sign, and gesture, where dense textures and symbolic forms converge into a powerful synthesis of abstraction, surface, and poetic invention. Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the twentieth century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned simultaneously as an exhibition catalogue and as an autonomous work of art, featuring original lithographs printed directly from the artists stones or plates alongside essays, poems, and critical texts. Over more than three decades, Derriere le Miroir produced over 250 issues and presented an extraordinary range of artists including Henri Matisse, Marc Chagall, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Antoni Tapies, Pierre Alechinsky, Pol Bury, Bram van Velde, and many others. Printed by master ateliers such as Mourlot and Arte, the series established new standards of excellence in modern lithography and graphic design. Closely linked to exhibitions at Galerie Maeght, each issue served as a lasting document of postwar modernism, uniting image, text, and philosophy into a uniquely influential publication that remains among the most important and collectible achievements in twentieth century art publishing. JOAN MIRO (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the twentieth century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for approximately 37 million USD at Sothebys London on June 19, 2012. Joan Miro Sobreteixims...

ART, poster for Colby College Museum exhibition (autographed and inscribed by Robert Indiana), 1973 Offset lithograph poster Autographed and inscribed by the artist on the front 35 × 23 inches This uniquely signed and inscribed poster was published on the occasion of an exhibition at Colby College Art Museum from September 16 - November 3, 1973, featuring new acquisitions...

Soothe 1 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecti...

Artist: (after) Robert Indiana (American, 1928-2018) Title: "Louisiana Museum of Modern Art (LOVE)" Year: 1972 (First edition) Medium: Original Screenprint, Exhibition Poster on heav...

Robert Indiana Pax, Paix, Shalom (The Peace Print), 2004 Silkscreen in 4 colors on rives BFK paper Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the f...

Shift 3 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

"Blown Glass" vase is a light beautiful wisp of blown glass infused with a milky white and blue fog of color and bold splashes of red. The vase has a long elegant neck and round body. Herb Babcock known as a Michigan Glass Artist began as a metal sculptor. He studied glass blowing in 1969 and created a series of Glass Image Vessels in 1974. Eventually he began to combine metal and glass in sculpture. The Pillared Series, which includes glass, steel and stone, began in 1989. Herb received both his BFA and his MFA in Sculpture: his bachelor’s degree from the Cleveland Institute of Art and his master’s from the Cranbrook Academy of Art Bloomfield Hills, Michigan. Cranbrook was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), and Morris Brose...

Bael, Forest, 2024 Acrylic on wood panel 40 x 30 cm (15.75 x 11.81 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He...

Bael, Chrysanthemum, 2024 Acrylic on wood panel 40 x 40 cm (15.75 x 15.75 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bae...

Bael, Liques, 2024 Acrylic on canvas 100 x 100 cm (39.7 x 39.7 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He live...

Bael, Quies, 2024 Acrylic on wood panel 100 x 100 cm (39.7 x 39.7 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He l...

"Split Rail" Acrylic on linen over panel. 12 x 9" 2018 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion ...

Robert Indiana Preparatory drawing for "American Art since 1960", 1970 Signed lower left, dated lower right Colored pencil on paper 11 x 8 1/2 inches Provenance Gifted by the artist...

James Rosenquist Art Gallery, from the Estate of Nina Castelli and the Collection of Ileana Sonnabend (Glenn, 41), 1971 Color lithograph on Rives BFK paper 30 × 22 1/2 inches Edition...

This offset lithograph card is boldly signed in black marker on the image part of the card by James Rosenquist. It depicts Rosenquist's opus magnus "Fahrenheit 1982", his 1982 colore...

"Green Compression" Acrylic on canvas over shaped panel. 20"diameter. 2020 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into th...

Watercolor/work on paper - Unframed. It is a “drawing” of color with a brush, line with a needle and thread and pattern and repetition. It is intuitive and playful. Holly Miller...

Robert Indiana RUYI, Figure 8, original drawing on Robert Indiana's blind stamped paper Original drawing in ink and marker On paper bearing Robert Indiana's personal blind stamp from...

ROBERT INDIANA Santa Fe Opera (Hand signed, numbered), 1976 Silkscreen on wove paper 37 1/2 × 27 inches Edition AP 7/50 Hand Signed and dated lower rig...

Artist: Joan Miro (1893–1983) Title: Album 19, Plate 5 (Album 19, Plaque 5) Year: 1960 Medium: Lithograph on velin paper Paper Size: 15 x 11 inches (38.1 x 27.94 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Maeght Editeur, Paris Printer: Imprimerie Arte, Paris Catalogue raisonne reference: Miro, Joan, et al. Joan Miro Lithographe. Maeght, 1972–1992, illustration 316 Notes: This exquisite lithograph by Joan Miro (1893–1983), titled Album 19, Plaque 5 (Album 19, Plate 5), originates from 1960 and was published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Arte, Paris. The composition exemplifies Miro’s lyrical abstraction and poetic engagement with gesture, symbolism, and the expressive possibilities of line and color. In Album 19, Plaque 5 (Album 19, Plate 5), the artist transforms spontaneous marks and biomorphic forms into a highly personal visual language, creating an enigmatic interplay between abstraction, movement, and dream imagery. The result is a poetic interpretation of imagination and subconscious experience seen through the lens of modern abstraction. Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the twentieth century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned simultaneously as an exhibition catalogue and as an autonomous work of art, featuring original lithographs printed directly from the artists stones or plates alongside essays, poems, and critical texts. Over more than three decades, Derriere le Miroir produced over 250 issues and presented an extraordinary range of artists including Henri Matisse, Marc Chagall, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Antoni Tapies, Pierre Alechinsky, Pol Bury, Bram van Velde, and many others. Printed by master ateliers such as Mourlot and Arte, the series established new standards of excellence in modern lithography and graphic design. Closely linked to exhibitions at Galerie Maeght, each issue served as a lasting document of postwar modernism, uniting image, text, and philosophy into a uniquely influential publication that remains among the most important and collectible achievements in twentieth century art publishing. JOAN MIRO (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the twentieth century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d’Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro’s inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro’s work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (Painting (Blue Star)) (1927), which sold for approximately 37 million USD at Sothebys, London, on June 19, 2012. Joan Miro Album 19...

Shout 2 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

Crash 2 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

Oil paint on heavy paper. (this might possibly be acrylic paint) This does not appear to be signed. Joan Kahn (USA 1953-) grew up in New York City; Princeton, New Jersey; and Vermont; in an environment that patronized the arts. At home her father, a professor, and mother, a state economist and homemaker, collected nineteenth and twentieth century drawings and prints, Middle eastern rugs, and ceramics, pewter, and old tools. Her grandfather, Max Westfield, was an academically trained portrait painter and her great uncle was a well-known gallery owner and art dealer in pre-World War II Germany. One of the influential experiences of Joan’s youth was visiting her grandfather in his studio in Tennessee where the family had first immigrated. Growing up near New York, and spending a year in Paris during high school, provided formative visits to museums and galleries. Joan was academically talented in grade and high school, but after her father’s death during her first years at university she found herself concentrating on studio and history of art. It was a subject above others absorbed and concentrated her focus. Influential in Joan’s development and later work are the historic movements of the Bauhaus and Modernist design and architecture, geometric art and design of diverse cultures, Color Field Painting. Many artists have had a impact on her work, such as Paul Klee, Piet Mondrian, Sonia Delaunay, Mark Rothko, Ad Reinhardt, Antoni Tapies, David Smith, John McLaughlin, Tony Smith, Louise Nevelson, Robert Mangold, Ellsworth Kelly, Agnes Martin, Valerie Jaudon, Jasper Johns, James Turrell, Robert Irwin, Vija Celmins, Caio Fonseca, Peter Halley, Ed Moses, Juan Usle, and Nancy Haynes...

"Daffodils" is a naturalist landscape featuring hues of yellow, orange, green, and blue. Carlyle is inspired by the works of Claude Monet, Edouard Vuillard, Henri Matisse, Walter In...

Blue Water Dots (Abstract Painting) Watercolor / work on paper - Unframed This work on paper is made with thread and watercolor. It is a “drawing” of color with a brush, line wit...

Robert Indiana All White Love, 2000 Signed lower right, dated lower left Artist's marker on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collec...

Artist: Joan Miro (1893–1983) Title: Overweavings (Sobreteixims) Year: April 1973 Medium: Lithograph on velin paper Paper Size: 15 x 22 inches (38.1 x 55.88 cm), with centerfold, as issued Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Maeght Editeur, Paris Printer: Imprimerie Arte, Paris Catalogue raisonne reference: Miro, Joan, et al. Joan Miro Lithographe. Maeght, 1972–1992, illustration 889-891; Cramer, Patrick. Joan Miro: The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1989, illustration 167 Notes: This exquisite lithograph by Joan Miro (1893–1983), titled Sobreteixims (Overweavings), originates from the April 1973 folio Derriere le Miroir, No. 203, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Arte, Paris, 1973. The composition reflects Miro’s late exploration of materiality, sign, and gesture, where dense textures and symbolic forms converge into a powerful synthesis of abstraction, surface, and poetic invention. Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the twentieth century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned simultaneously as an exhibition catalogue and as an autonomous work of art, featuring original lithographs printed directly from the artists stones or plates alongside essays, poems, and critical texts. Over more than three decades, Derriere le Miroir produced over 250 issues and presented an extraordinary range of artists including Henri Matisse, Marc Chagall, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Antoni Tapies, Pierre Alechinsky, Pol Bury, Bram van Velde, and many others. Printed by master ateliers such as Mourlot and Arte, the series established new standards of excellence in modern lithography and graphic design. Closely linked to exhibitions at Galerie Maeght, each issue served as a lasting document of postwar modernism, uniting image, text, and philosophy into a uniquely influential publication that remains among the most important and collectible achievements in twentieth century art publishing. JOAN MIRO (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the twentieth century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for approximately 37 million USD at Sothebys London on June 19, 2012. Joan Miro Sobreteixims...

Robert Indiana 19 Love , circa 1973 Artist's marker on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine. Private Collection, New ...

"White Stripe" Acrylic on canvas. 48 x 48" overall (triangular-shaped canvas) 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

Robert Indiana The Golden Future of America (Sheehan, 92), 1976 Silkscreen on Arches paper Signed and dated in pencil, lower right; numbered 13/175, in pencil, lower left. Also bears...

"Three Points" Acrylic on linen over panel. 18 x 14" 2018 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotio...