Ink Mixed Media

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Title: Guide 32 color screenprint on 100% rag handmade, shaped deckle edged paper. with applied glitter. hand signed in pencil, stamped and numbered from edition of 33. Sandy Kinnee...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Bettina Mauel expresses dynamism and sensuality in her paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people in motion, capturing th...

Abstraction 30x21, ink/collage

PVB-7600 is part of Eric Mack's ongoing body of work utilizing multi-media, complex compositions, and a grid centered around urban design. Using a grid to create the framework of the painting, Mack has utilized paper adhered by a matte medium to create graphic imagery of text and color blocks on top of a canvas dyed in ink. This painting is gallery wrapped with canvas on top of stretcher bars. Mack's paintings have been described as "intellect on top of emotion". Eric Mack (b.1976, Charleston) creates mathematically based renderings with a distinct post-modern twist. Works are informed with super imposed grids, patterns, and portals. Layered surfaces are created with paint, found objects, natural fibers, and synthetic substrates that explore the systems of our visual world. Collections include High Museum Atlanta...

"Loose Strokes on Sky Blue" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes th...

Size includes Mat. Without its 8" X 4". Card pictured after painting not included. Dongkuk Ahn (1937-2013), better known as Don Ahn, was a South Korean artist and t'ai chi master who resided in New York City. Don Ahn (Ahn Dong Kuk) was born in Seoul, Korea. He studied at Seoul University (BFA), graduate student at Miami University, Oxford Ohio 1962, Pratt Institute (MFA), and New York University (Ph. D, Art History). Don Ahn was a pioneer of Korean art in America. In the 1950s he was the first Korean artist to move permanently to the US and receive recognition here, beginning with the 1952 exhibition of his work at the Kilbride Bradley Gallery in Minneapolis, the very first exhibition of Korean contemporary art in America. He belongs to the generation of Korean Abstract artists that include Kim Whan-Ki, Park Se-Bo, Lee Ufan, Chung Sang-Hwa, Yun Hyong-Keun and Ha Chong-Hyun. He was also a student of the T'ai Chi grandmaster Cheng Man-ch'ing in New York City. Ahn's work is greatly influenced by nature, specifically the cycles of nature as in Zen and other Eastern philosophies. Ascribing to the Eastern belief that nature is central to everything that exists, Ahn paints natural forms and environments, which he abstracts into brushstrokes, drips, and splatters. Titles of his paintings reference trees, wind, and water, and include Broken Branch in the Rain, Old Zen Tree, and Wind, Rain, & Ocean. His swirls and drips portray the rapid, random, and untamed effects of natural forces. Another influence or concept in Ahn's work is the dragon, a good and powerful figure from Korean and Chinese mythology, whose movements and forms Ahn suggests in whimsical ribbon-like marks and trails of paint. In Korean folk tales, dragons show goodwill to humans by sending clouds and rain, and they tend to live in lakes, rivers, and oceans. Paying tribute to this Folkloric legacy, Ahn's paintings bear titles such as Brown Dragon and Yellow Dragon, as well as titles using names of underwater creatures and habitats, like Phantasy in the Deep Sea. Ahn's ink and acrylic paintings on canvas are reminiscent of Chinese Zen Calligraphy and paintings, with their quick brushstrokes and elegant compositions. Composed of swipes and spatters that course across the pictorial field, these works blend Eastern brush painting with Abstract Expressionist "action painting." Ahn has had numerous solo and group exhibitions in the U.S. and abroad, including the solo shows Dragons & Oceans at Ewha Gallery, Seoul, South Korea in 2007, and Zen & Void at Walter Wickiser Gallery, New York, NY in 2004. His work is in private and public collections, including The Museum of Modern Art, New York, the Dayton Art Museum, Ohio, and the Evansville Museum, Indiana. Awards and honors include First Prize (in painting) from the Dayton Art Museum Ohio Regional Art Annual in 1963, the Pratt Graduate Fellowship in 1963, First Prize (in etching) from East Coast Printmaker's Annual in 1964, and the McDowell Artist Fellowship in 1964. Selected solo exhibitions 2014 Don Ahn: Spirit, BBCN Bank, New York, NY 2014 Don Ahn (1937-2013), Walter Wickiser Gallery, New York, NY 2012 Paintings From 1968 Through 2005, Walter Wickiser Gallery, New York, NY 2007 Dragons & Oceans, Ewha Gallery, Seoul, South Korea 2004 Zen & Vold, Walter Wickiser Gallery, New York, NY 1975 Lotus Gallery, New York, NY 1972 Green Mountain Gallery, New York, NY 1972 Westbeth Gallery, New York, NY 1971 Westbeth Gallery, New York, NY 1971 Dalhousie Gallery, Nova Scotia, Canada 1969 Downey Museum, Los Angeles, CA 1965 Evansville Museum, Evansville, IN 1963 Dayton Art Museum, Dayton, OH 1952 Kilbride Bradley Gallery, Minneapolis, MN 1950 Korean Do-Su-Kwan Gallery, Seoul, South Korea Selected group exhibitions 2013 Coloring Time, Korean Cultural Service, New York, NY 2013 Friends, Walter Wickiser Gallery, New York, NY 2011 Friends, Walter Wickiser Gallery, New York, NY 2011 Art Toronto, Toronto, Canada 2011 Art Chicago, Chicago, IL 2010 Art Toronto, Toronto, Canada 2002 Eastern Essence, Gary Snyder Gallery, New York, NY 2001 Abstract Expressionism, Gary Snyder Gallery, New York, NY 1999 Pleiades Gallery, Seoul University Alumni show, New York, NY 1999 Korean New York Art Society Show, Jersey City, NJ 1999 Fukuoka Asian Art Museum Fukuoka, Japan 1999 Artist of the Third Millennium, Walter Wickiser Gallery, New York, NY 1998 Kaohsiung Museum Of Fine Arts, Taipei, Taiwan 1997 Chicago Institute Of Art, Chicago, IL 1997 Zimmerli Museum, Rutgers University 1997 Asian Tradition & Modern Expression: 1945 - 1970, Zimmerli Museum, Rutgers University 1976 Lotus Gallery, New York 1972 Westbeth Gallery, New York, NY 1971 US National Print Biennial, Museum Of Modern Art, Tokyo, Japan 1969 Cooper Union, faculty show, New York, NY 1968 6th Invitational International Print Biennial, Museum Of Modern Art, Tokyo, Japan 1967 International Print Biennial, Grenchen, Switzerland 1967 Audubon, National Annual, New York, NY 1966 Society of American Graphic Artists, National Annual, New York, NY 1966 Ball State College, National, Drawing and Sculpture, Muncie, IN 1966 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY 1965 Traveling U.S. Print Show, Pratt Graphic Arts Center, New York, NY 1964 New York, Institute of Technology, faculty show New York, NY 1964 Evansville Museum, Indiana 1964 East Coast Printmakers, Village Art Center, New York, NY 1963 Ohio Regional Art Show, Dayton Art Institute, OH 1963 Drawing and Prints from the collection of J.Johnson, Cincinnati Museum of Art, OH 1962 Seattle...

Paper size is 14 x 10 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before...

Steve Sorman has had over 80 solo artist exhibitions throughout the United States . I have included, just for reference, some images of his museum show so that you can see the body...

Judy Rifka, American, 1945 Laborde Head Mixed Media on Canvas (acrylic paint and ink) 1989 Hand signed, titled, and dated verso 30 X 24 inches Provenance: The Estate of Theodore A Bonin. (Ted Bonin was a principal in Alexander and Bonin, a New York gallery known for its diverse slate of conceptual artists. He started at Marlborough gallery London in the 60s, then in partnership with Brooke Alexander. In its stable were a host of esteemed artists: Willie Cole, Rita McBride, John Ahearn, Paul Thek...

*Card pictured after painting not included. Dongkuk Ahn (1937-2013), better known as Don Ahn, was a South Korean artist and t'ai chi master who resided in New York City. Don Ahn (A...

Untitled III XII Charcoal, ink and paper collage, 1987 Initialed "R. C." and dated '87 verso in pencil From: Libor II Mono Logo Provenance: Janie C. Lee Master Drawings, New York (partial label) From: Libor II Mono Logo Exhibited: Collages and Drawings by Roberto Caracciolo and Chuck Dugan...

Untitled (Blue) Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 30" I am a visual artist whose work investigates small and large -scale abstraction primarily in t...

This is a one of a kind original painting by southern California artist, Kathleen Kane Murrell. Its dimensions are 36" x 36" x 2.1". It is acrylic on canvas, painted, plexiglass, ink...

This unframed, signed, limited edition pigment print by artist John Fincher exists in an edition of 40. Paper size is 30"h x 24"w with an image size of 22"h...

Mixed media with frame and "passe-partout" Total size with the frame: 60x50x2 cm

David Hare Cronus View from the Cave, 1971 Graphite, Ink wash, Paper Collage on Paper on Board 25 x 33 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Emerging artist Urte Truskauskaite is currently studying at the Vilnius Academy of Arts. Her work explores outdated technologies—old computers, calculators, and their components—as a...

This unframed, signed, limited edition pigment print by artist John Fincher exists in an edition of 40. Paper size is 30"h x 24"w with an image size of 22"h...

Mirror to the Sun III Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primaril...

Mirror to the Sun V Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium...

False Bar II Oil, bitumen, graphite, sand, dry pigment on paper laid on canvas 38" x 50" I am a visual artist whose work investigates small and large -scale abstraction primarily i...

Title: Non Scientific Time 32 color screenprint on 100% rag handmade, shaped deckle edged paper. hand signed in pencil, stamped and numbered. Sandy Kinnee is known for paper making...

Maggie Laporte Banks. Hay Bluff and the Black Mountains. Acrylic, Indian ink and carborundum on a linen canvas. Size: H 53cm x W 73 cm x D 6cm Sold in a wooden white frame. (Please n...

Valley House Gallery recently presented "Listening in the Silence" — our first solo exhibition of work by Chaco Terada, a native of Japan who has called Dallas home since 1992. Born ...

East Village Art: From 1978 for 8 years Berlin worked frenetically,at street level, his finger on the pulse of this great city creating The Manhattan Collection. Living & moving in...

Drawing / Geometric Abstraction / Mythology and Religion / Bright and Vivid Colors / Black and White Enamel, ink, colored pencil and alcohol ink on paper....

Frost Flowers is an original circa 1965 mixed media drawing by celebrated Denver-based artist Edward Marecak. Executed in pastel and ink on paper, thi...

Katherine Filice — A View From the Moon No. 5 Ink, paper, chalk & oil stick on canvas, 33 × 48 in (2025) Framed: 40.5 × 54.5 × 2.5 in A large striking work from her ongoing A View F...

"Fallen Angels Always Rise No. 2" (2021) is part of Katherine Filice’s evocative mixed-media series that explores the tensions between collapse and renewal, absence and reformation. ...

Willard MacGregor (American, b. 1901-1993), Abstract Composition, Crayon and Ink Wash on Paper, 1983, signed lower left, giltwood frame. Image: 12" H x 8.75" W; frame: 17.5" H x 13....

"Where The Dogwoods Bloom" is a 16.25 x 11.75 x 3-inch sculptural piece made with ink, paper, bark, embers, and found natural elements. Deeply rooted in the forest, Katherine Filice ...

This unframed, signed, limited edition pigment print by artist John Fincher exists in an edition of 40. Paper size is 30"h x 24"w with an image size of 22"h...

2022 Acrylic , alcohol ink , paper. One of a kind piece of art. On the canvas unfolds a marvelous world: magnificent butterflies, as if dancing in the stream of air. The grace of ea...

Colorful geometric abstract mixed media painting by modern artist Don Shaw. The work features primary colored shapes intertwined with a crouching pink figure. Signed and dated in fro...

Artist : Kory Twaddle Title : First Floor Systems Materials : Acrylic, tempera, gouache, paintbrushes, and mixed media on drawing paper pad back with spiral Date : 2018 Dimensions ...

Primarily an experimenter, Goldberg’s work is a collection of variations on the theme of water in movement, through drawings, paintings and sculptures She works primarily in resins ...

Jessica Gatlin uses the process of letter pressing to create these pieces on paper that have been mounted to a small panel. An exercise in language and rule making. Partly intuitive...

J. Ivcevich portrays urban deterioration and grit in much of his work. Taking inspiration from the abstract forms found in shredded advertisement posters around New York, Ivcevich ph...

J. Ivcevich portrays urban deterioration and grit in much of his work. Taking inspiration from the abstract forms found in shredded advertisement posters around New York, Ivcevich ph...

Myril Adler Untitled c.1960s Intaglio etching collage, ink on paper 3"x6" mahogany wood gallery frame 8.25"x11.25" Estate stamp lower right Myril Adler, was born on September 22, 1...

Myril Adler Untitled c.1960s Intaglio etching collage, ink on paper 3.75"x2" site unframed Signed in ink lower right Myril Adler, was born on September 22...

Steven H. Rehfeld (American, born 1954) "Blue No. 1" 2008-2009 Oil paint, paper, newsprint, glue, ink, resin, mixed media, canvas, stretcher bars The artist signed the back of the pa...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

From the Artist's new series of Kate Moss works where a new techniques is used. Kate #7#3 is a plywood cut (cut using a drill, different drill bits used to form the different size...

Ink on paper, this intricate pen & ink work is reflective of the artists interest in the psychological state and the complex interactions within the human psyche.

This unframed, signed, limited edition pigment print by artist Dara Mark exists in an edition of 40. Paper size is 36"h x 24"w with an image size of 30"h x 18.5"w. “New Mexico artist Dara Mark’s work possesses an ordered, calm beauty that sets it apart. Her patterned, abstract paintings take advantage of the flowing effects produced by her materials…and recall the natural world, which, like her paintings, is a grand mixture of the ordered and the random.” American Artist Watercolor Magazine Mark studied at Yale and the University of California at Santa Barbara. She has received artist grants from the Arts Councils of Missouri and California and the Santa Barbara County Arts Commission and has shown in museums including The Albuquerque Museum, Los Angeles Municipal Gallery and the Palm Springs Art...

Tethered to the Echos of You Ink, Charcoal, Embers & Natural Mixed Media on Buried Canvas by Katherine Filice Tethered to the Echos of You is a 39.5 x 27 x 3‑inch work on buried canv...

Anthony Caro (1924-2013) was an influential and innovative British sculptor. Caro played a pivotal role in the development of twentieth-century sculpture introducing abstraction thro...

This unframed, signed, limited edition pigment print by artist John Fincher exists in an edition of 40. Paper size is 30"h x 24"w with an image size of 22"h...

David Hare Cronus Asleep in the Cave, 1971 Acrylic, ink wash, graphite, paper collage on paper on board 26 x 35 inches “Freedom is what we want,” David Hare boldly stated in 1965, b...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Tentativi is a beautiful artwork realized by  Maurizio Gracceva  in the 2021. Colored ink on paper.  Hand signed by the artist. Title, date, techinique and sign on the back. Auth...

Per lo più distesi is a beautiful artwork realized by  Maurizio Gracceva  in the 2022. Ink on paper.  Hand signed by the artist. Title, date, techinique and sign on the back. Aut...

This powerful work on paper is a singular piece from the "Sum of Destructions" series by Bryan Ryley. This entire series of twelve works, along with a monumental painting of the same...

ink, flashe on paper

ink, pastel on paper

ink, pastel on paper