Art by Medium: Rag Paper

Amsterdam II is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade and is b...

“Innerbloom” Photography 24" x 24" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancholy series...

Amsterdam I is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade and is bo...

These are two separate 11 x 8.5 inch (45 x 60 cm) hand-printed original cyanotype photographs sold sold together. They are the same image but one is printed from the negative and the...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

“Inner Space” Portrait Photography 24" x 24" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag Not framed. Ships in tube. From "Unbearable Lightness...

The photograph Toshio Shibata, #189 Yunoyani Village, Nigata Prefecture, 1989 by Japanese photographer Toshio Shibata is hand-signed (on recto) by the photographer. The 13" x 19" pri...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

Parrot, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

"Free Fallin" Photography 18" x 27" in Edition of 24 by Larsen Sotelo Not framed. Ships in a tube Signed and numbered by the artist. Comes with COA Available sizes: Edition of 24...

A contemporary photograph of a Greco-Roman statue in Ostia Antica, former Old Port of Rome, in a Pictorialist style, the photograph captures the spirit of Ancient Rome. In the Cities series by Roberta Fineberg, Roman God...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. Tape residue marks on back. James Floyd Clymer ( 1893-1982...

Boy with Calf, 1996 by Jean-Michell Voge, is a contemporary color print 19" x 13" of a nomadic tribal child from the Surma tribe, painted from head to toe, posing with a calf with mu...

Golfam Jozdani Shadows of Peace III 2025 Oil Pastel on Fine Paper Size: 11 x 8.5 inches (28 x 22 cm) Signed and dated in pencil COA provided *Framing Options available - Please Inqu...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

"Secret Menu" Nude Photography 40" x 60" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 24: 18" x 27" inch Edition of 15...

Elizabeth Osborne (American/Philadelphia, b. 1936) Manchester #4, 1988. Watercolor painting on paper. Signed and dated l.l. Sight: 8 3/4" x 11 3/4". Frame: 17" x 20". Provenance: Purchased from Jane Haslem Gallery in 1990. From the collection of Nancy Elizabeth Stanley. 1936, born Philadelphia, Pennsylvania 1959, BFA, University of Pennsylvania, Philadelphia, Pennsylvania 1954-58, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania SOLO EXHIBITIONS Berry Campbell, New York, Elizabeth Osborne: A Retrospective, 2022. Locks Gallery, Philadelphia, Pennsylvania, Reflections: Painting Memory, 2017. Locks Gallery, Philadelphia, Pennsylvania, Watercolors: Five Decades, 2017. The Delaware Art Museum, Wilmington, Delaware, Elizabeth Osborne: The 1960s, 2016. Luther W. Brady Art Gallery, George Washington University, Washington, D.C., Color Bloc: Paintings by Elizabeth Osborne, 2015. The James A. Michener Art Museum, Doylestown, Pennsylvania, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne, 2015. (Traveled to The Lancaster Museum of Art, Lancaster, Pennsylvania, 2016.) Locks Gallery, Philadelphia, Pennsylvania, Luminous Gestures: New Works by Elizabeth Osborne, 2013. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: Watercolors, 2011. Locks Gallery, Philadelphia, Pennsylvania, New Work, 2011. The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, Elizabeth Osborne: The Color of Light, 2009. Locks Gallery, Philadelphia, Pennsylvania, Figurative ‘60s, 2007. Locks Gallery, Philadelphia, Pennsylvania, Floating Landscapes: 1971-1979, 2006. J. Cacciola Galleries, New York, Works on Paper, 2006. The Print Center, Philadelphia, Pennsylvania, Recent Prints, 2005. Locks Gallery, Philadelphia, Pennsylvania, 2004. Locks Gallery, Philadelphia, Pennsylvania, Elizabeth Osborne: 30 Years, Works on Paper, 2002. Locks Gallery, Philadelphia, Pennsylvania, Vantage, 2000. Old Main Art Museum, Northern Arizona University, Flagstaff, Arizona, 1998. Locks Gallery, Philadelphia, Pennsylvania, 1997. Locks Gallery, Philadelphia, Pennsylvania, 1994. Jane Haslem Gallery, Washington, D.C., 1994. North Dakota Museum of Art, Grand Forks, North Dakota, 1993-94. Locks Gallery, Philadelphia, Pennsylvania, 1992. Arronson Gallery, The University of Arts, Philadelphia, Pennsylvania, Watercolors, 1991. University of the Arts, Philadelphia, Pennsylvania, 1990. Marian Locks Gallery, Philadelphia, Pennsylvania, 1988. Fischbach Gallery, New York, 1988. Fischbach Gallery, New York, 1984. Fischbach Gallery, New York, 1982. Fischbach Gallery, New York, 1980. Marian Locks Gallery, Philadelphia, Pennsylvania, 1978. Marian Locks Gallery, Philadelphia, Pennsylvania, 1976. Gimpel & Weitzenhoffer, Ltd., New York, 1977. Gimpel & Weitzenhoffer, Ltd., New York, 1974. Marian Locks Gallery, Philadelphia, Pennsylvania, Landscapes, 1972. Makler Gallery, Philadelphia, Pennsylvania, 1970. American Consulate, Sao Paulo, Brazil, 1969. Peale Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1967. Perakis Gallery, Philadelphia, Pennsylvania, 1963. GROUP EXHIBITIONS Avery Galleries, Bryn Mawr, Pennsylvania, The Women of the Pennsylvania Academy of the Fine Arts: Past to Present, 2024. Berry Campbell, New York, Perseverance, 2024. Locks Gallery, Philadelphia, Pennsylvania, From Dusk Till Dawn, 2015. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, “Something Clicked in Philly”: David Lynch and His Contemporaries, 2014. Locks Gallery, Philadelphia, Pennsylvania, It’s Not the Numbers, 2014. Locks Gallery, Philadelphia, Pennsylvania, Works on Paper, 2013. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, The Female Gaze: Women Artists Making Their World, 2013. Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville, Pennsylvania, Four Visions/Four Painters: Murray Dessner...

Birch tree branches hang illuminated by t pale blue glow against a deep midnight sky. Neither woodcut nor screen print, this is a double-exposure cyanotype. That means different part...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 2 of 5. Kristin Moore says o...

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s, but the artist altered the ratio...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

Weeping Condo 38.5 x 22 image size: 36" x 19.5" Artists proof printed on 100% cotton rag monochromatic Panoramic Dark. mysterious vintage work by Esteban Chavez

This contemporary geometric abstract drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. The ordered symmetry of the layered diagonal...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper

"She is Succulent 2" Photography 36" x 24" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 24: 27" x 18" inch Edition o...

This is the mini studio proof of the larger hand-printed photograph of the same name. These iconic Monterey pines can be found all up and down the coast of northern California from S...

Raccoon Watching Fish, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: This series was captured on a local Texas ranch, where the land stretches wide and the longhorns...

"Not from Hollywood" Photography 60" x 40" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish C...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: This series was captured on a local Texas ranch, where the land stretches wide and the longhorns...

Roberta Fineberg’s Black and White Canals, Amsterdam, 2024 renders the Dutch urban landscape with the crispness of an etching. In the artist's Cities series the photograph is 20" x 1...

Forget the Destination, 2023 by a.muse is a one-of-a-kind work on paper. The art is a visual poem on wanderlust, inviting viewers to embrace the unknown. For a traveler without a map...

Photographer Roberta Fineberg captures an afternoon sun shower near the Piazza Navona in Rome. A figure holds a pink umbrella in sunlight appearing in between buildings in a narrow R...

Man & Woman, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

“Study in Grace III” is an intimate graphite portrait that honors the quiet eloquence of the human form — a meditation on beauty, memory, and time. Drawn over forty years ago, the pi...

Turtle, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

'Bloom Cluster' London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. The photograph is signed front and bac...

From the transformative to the ephemeral, the birth and death of a butterfly with a broken wing is reimagined in a photo series by Roberta Fineberg inspired by a poem by the 13th Century Persian poet Rumi who wrote: ‘Whatever you know, or don’t - only love is real...

Bright with pastel colors Live Composition I, 2024 by African American artist Bai is a 30” x 22” abstract acrylic and oil pastel original work on paper. Rendered in a primitive art...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

'Bloom Cluster' London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. The photograph is signed front and bac...

Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tool...

Breathing In the Spirit of Shohaku Soga, 2003 by Eikoh Hosoe is a contemporary color photograph of Kazuo Ohno, a Butoh dancer. Hosoe's theatrical image is hand-signed on recto (front...

Vicki McKenna’s “Hydrangea/Remembrance” is a 8 x 10 inches (image size), 14 x 16 inches (matted size), handcrafted, platinum/palladium, photographic print. The contemporary black an...

Gorgeous image of woman titled Executive Action by Olivia De Berardinis. Famous for her full page monthly images of pinups, fantasy models and erotic art she created for Playboy maga...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Sumo, Tokyo, 2009 by Jean-Michel (JM) Voge is a contemporary color photograph 23.5" x 16.5" printed on handmade Awagami Japanese paper by the artist. The archival pigment print is: E...

The subject wears a tribal mouthpiece lip plate and carries a rooster in her arms. Rooster, 1996 by Jean-Michel Voge, is a contemporary color photograph of a villager, a female nomad...

9 x 12 inch images, matted at 16 x 20 inches, limited edition of 5, starting at $1,200 12 x 16 inch images matted at 20 x 24 inches, limited edition of 5, starting at $1,600 Each suc...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

Orazio De Gennaro's Terra Bruciata (Scorched Earth) is an 11 x 13-inch abstract painting on paper mounted on a board. Unframed. The artist works with n...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...