Ink Figurative Prints

Kcho (Alexis Leiva Machado), (Cuba, 1970) 'Fabelas', 2003 engraving, sugarlift on paper 28.8 x 41.3 in. (73 x 104.8 cm.) Ref: KCH-108

Raymond Pettibon, Kim Gordon Sonic Youth at Frankfurt Music Hall (Hand Signed by Raymond Pettibon and Kim Gordon), 1990 Offset Lithograph Poster Boldly signed, and dated 2016 in ink ...

"Reach Out" (2021) by SarahGrace Digital art print on archival paper, Figurative drawing, Portrait, Woman, Nude, Peach, Pink, Purple, Yellow, Gold, Blue Hand-signed by artist Framing...

"4 - U proof" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "4 - U proof" by Jim Crabb (American, b. 1947). This piece resembles a narrow, surreal...

Charming early 20th century chromolithograph of young Dutch girls with their older instructor titled, "Dutch Girls" by Bernhardt T. Wall (American, 1889-195...

Delightful black and white engraving of a small child peacefully sleeping in bed, circa 1930. Signed lower right. Original one-of-a-kind artwork on paper displayed on a white mat wi...

This commercial advertisement poster from 1930s Shanghai melds the meticulous detail of traditional Chinese painting with the craft of color lithography. Large companies often presented posters such as this to their clients to commemorate the Chinese New Year. This poster depicts a young woman luxuriously...

Whimsical and vivacious limited editions screen-print on paper depicting a smiling nude figure lounging on a beach next to a fantastical orange and purple striped iguana, with volcanos erupting in the distance and several airplanes flying through the night sky by Phoebe Cole...

Cancer, 2018, collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

Alexis Kcho Leiva (Cuba, 1970) 'Untitled (Triptych)', 2019 woodcut on paper Velin Arches 300 g. 44.7 x 93.4 in. (113.5 x 237 cm.) Edition of 30 ID: KCH-118 Unframed

Tracey Emin Strangeland (Hand signed, dated and inscribed by Tracey Emin), 2005 Hardback monograph with dust jacket (hand signed, dated and inscribed for Ann by Tracey Emin) Hand sig...

This piece titled "Cocaine Hurricane" is an original print by Raj Bunnag and is made from linocut. This piece measures 24.5"h x 44.5" without a frame. Raj Bunnag is an Thai America...

"Lope de Aguirre" Etching of Spanish Conquistador by Carlos Poveda (Costa Rican b.1940.) This dry point etching by Carlos Poveda depicts the notorious Spanish conquistador Lope de A...

Philip Treacy hardback book (hand signed by Philip Treacy), 2013 Hardback monograph with dust jacket (hand signed by legendary milliner Philip Treacy) hand signed by Philip Treacy on the half title page 11 × 8 1/2 × 1 inches Hand signed by Philip Treacy on the half title page. Book information: Publisher: Phaidon Press (February 5, 2013) English; Hardcover; 200 pages with over 200 photographs Review "Lovely... All the most iconic designs are here."―The Observer "How did one man change our minds on headgear? Philip Treacy by Kevin Davies celebrates [...] backroom moments of Treacy's career, no less striking than the headpieces he creates... The unseen stories behind all the 'moments'."―The Independent "An usually revealing insight into the designer's work."―Harper's Bazaar "Revealing [...] photos of Treacy at work. He looks determined and serious, but he has a kind face and he's never a poseur... In short, this is a cool book about a great guy."―VICE "The head-topper extraordinaire gets a tip of the cap in the new book... Featuring over 200 images of the milliner's museum-quality lids, including head-turning snaps of mega-fierce singer and Bond villainess Grace Jones."―InStyle "Inside the pages are 200 intimate pictures covering everything from Treacy's years at 69 Elizabeth Street to the scene backstage at fashion shows to the dignified funeral held for Treacy's beloved Jack Russell terrier, Mr. Pig."―The New York Times Style Magazine blog More about Philip Tracey...

This piece titled " "Untitled" Back Series" " is an original print by James Rose and is made from drawing/ monoprint. This piece measures 27"h x 21"w, signed by the artist, and is sh...

Print Offest Ink on Linen Size: 36W x 42Hx 2 D In Unmounted artwork Ships in a well-protected tube from Nigeria Signed on the front side and accompanied by a Certificate of Authentic...

This piece titled "Justine Kelley Untitled 1" is an original artwork by Justine Kelley made from silkscreen printing on paper This piece measures 22.75”h x 12.5”w. Justine Kelley is...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Twin Showcase, Lino-cut on German Ivory paper Edition: AP, 2005 Image size: 47 x 39 cm / Sheet size: 79 x 55 cm Unframed 'We belong where love finds us' Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

Print Offest Ink on Linen Ships in a well-protected tube from Nigeria Signed on the front side and accompanied by a Certificate of Authenticity.

Hugh Masekela, The Father of South African Jazz - Signed Lithograph Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a s...

Rigoberto Mena (Cuba, 1961) "Parece que fue ayer" (Seems was yesterday), 2010 Series: Bon a Tirer engraving, mixed media, chine colle on paper Guarro Super Alpha 250g. 15.8 x 15.8 in...

Shipping Procedure: FREE Shipping Worldwide Offest Ink on Linen. Unmounted artwork. Ships in a well-protected tube from Nigeria. Accompanied by a Certificate of Authenticity.  Ey...

This piece titled "Denial" is an original print by Samantha Mendoza and is made by woodcut relief. This piece measures 40"h x 26" framed, and is shipp...

"Enshoku Sanju-roku Kasen" (Thirty-six Enchanting Flowers) Woodblock on paper Elegant woodblock print by Toyohara Kunuchika (Japanese, 1835-1900). Three women are in talking with each other inside, while a man waits outside holding a bag of some kind. The colors in this piece are rich and saturated, primarily blues, greens, and purple. Mat size: 16"H x 20"W Paper size: 14.75"H x 9.88"W Born in 1835, Toyohara Kunichika grew up in the Kyobashi district of Edo in the midst of merchants and artisans. In 1848, at age 13, he was accepted as an apprentice into the studio of Utagawa Kunisada I...

This piece titled "Tending to a Perishing Bloom" is an original print by Samantha Mendoza and is made by woodcut relief. This piece measures 38"h x 26...

This piece titled "Malicious Compliance" is an original print by Reinaldo Gil Zambrano and is made from relief printing. This piece measures 30"h x 22"w unframed. Reinaldo Gil Zambr...

This particular Madonna is a symbolic version of the subject that is recurring in various periods of the Salvador Aulestia's artistic path. Inspire at the Madonna dell'acquanera (Th...

Alex Katz Alex Katz Black and White (Hand signed by Alex Katz), 2017 Hardback monograph with no dust jacket as issued (Hand signed by Alex Katz) Hand signed by Alex Katz on the first...

Namiko Prado Arai (Mexico, 1963) 'Untitled 4 (Buril)', 1998 engraving on paper Guarro Biblos 250g. 20.9 x 24.5 in. (53 x 62 cm.) ID: PRA-306 Hand-signed by author Unframed

Namiko Prado Arai (Mexico, 1963) 'Untitled 2 (Buril)', 1998 engraving on paper Guarro Biblos 250g. 20.9 x 24.5 in. (53 x 62 cm.) ID: PRA-304 Hand-signed by author Unframed

Robert Smith (United States, 1944) 'Last spring', 1972 engraving and etching on paper 21.7 x 29.6 in. (55 x 75 cm.) Edition of 75 Unframed ID: SMI1158-002-075 Hand-signed by author

Esteve Casanoves (Spain, 1954) 'La silla' (Chair), 2008 silkscreen on paper Velin Arches 300 g. 23.1 x 15.4 in. (58.5 x 39 cm.) Edition of 50 ID: CAE-301 Unframed

Rigoberto Mena (Cuba, 1961) 'El Jueves puede ser un gran día' (Thusday could be a great day), 2010 engraving, mixed media, chine colle on paper Guarro Super Alpha 250g. 15.8 x 15.8 i...

Kcho (Alexis Leiva Machado), (Cuba, 1970) 'Bote con espinas', 2003 engraving, sugarlift on paper 28.8 x 41.3 in. (73 x 104.8 cm.) Ref: KCH-109

Tosin Oyeniyi is Inspired by his unquenchable passion to preserve and project the African culture to the global arena. Through my craft, I am unrepentantly determined to give beauty to the sight; heal emotional wounds and injuries; emphasis on love; preach peaceful co-existence; highlight societal ills and injustices; advocate for the teeming poor; unite families and bind lesions that are occasioned by inevitable disagreements; educate the black youths...

"Derriere Le Miroir" is an original color lithograph created by the artist Saul Steinberg. Edition: 53/150 Artwork Size: 14"x 20" Frame Size: 33 1/8"x 25 5/8" From the Saul Steinb...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Plate 293 from Johanna Goodman's Catalogue of Imaginary Beings Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due...

Ecole de Peinture is a drawing in China Ink on paper realized by Adolphe Willette in the Late 19th Century . Good conditions. Hand-signed. The artwork is depicted through soft st...

ZOFIA ANNA MISIAK Zofia Anna Misiak is a contemporary painter from an artistic family. Her parents are Janina Żylińska and Stanisław Misiak. Zofia Anna Misiak graduated from the Acad...

Li Zhong-Liang, Chinese (1944 - ) - Horse Riding, Year: 1990, Medium: Acrylic, Watercolor and Ink on Laid Paper, signed and dated in ink, Size: 39.75 x 40.5 in. (100.97 x 102.87 cm)

Let’s come together Let’s learn to love one another Learn to love your brother Learn to love your sister Love your neighbor One eye can’t see One ear doesn’t hear One hand can’t cla...

Luis Miguel Valdes (Cuba, 1949) "Another sitting on the wall", 2024 monotype (monoprint) on paper 22.5 x 28.75 in. (57x73 cm.) Hand-signed by author ________________________________...

Fritz Scholder (United States, 1937-2005) 'Mystery portrait in Barcelona -1', 1982 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-006-000 Unframed

The Council says; Forget about where you come from As long as you’re a black man You’re an African if you come from Clarendon, Portland, Westmoreland… Don’t mind your nationality Yo...

Beautiful early 20th Century color linocut of abstracted man with leaves titled "Homme au Feuillage" (Man with Foliage) by French artist Jean Lucat (French, 1892 - 1966), circa 1950....

a series of observations on French master paintings and their opulent gilded frames GILDED DRAMA by Frank Schott 40 x 32 inches / 102 cm x 8...

Mel Ramos 50 Years of Pop Art (Hand signed, dated and inscribed to Nadine by Mel Ramos), 2010 Softback monograph with dust jacket (hand signed, dated and inscribed by Mel Ramos) Hand...

Plate 293 from Johanna Goodman's Catalogue of Imaginary Beings Giclée print on Archival Matte Paper with Archival Pigment Ink In 2017 Goodman was awarded the New York State Council...

Francisco Castro Leñero (Mexico, 1954) "Haz del Viento / Bco / Azul/" from serie "El exilio de los sentidos", 2004 Engraving, aquatint on paper...

Luis Camnitzer (Uruguay, 1937) 'La impresión', 1989 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: CAM1205-010-001_10 Hand-signed by author ____________...

"June A" - 1975 Surrealist Lithograph on Paper 1975 surrealist figurative lithograph on paper by Jim Crabb (American, b. 1947). Black spotted figures appear to be ascending upward, ...

HOME is where our story begins, the magic thing about home is that it feels good to leave, and it feels even better to come back. “Returning home again is clean water to my parched ...

Striking figurative abstract lithograph with skeleton by California artist I. Colon (20th Century). Numbered, titled, and signed along the bottom edge ("E.V. IV/X "Altered States ...

Morning Madness - Original Abstract Expressionist Lithograph Original black and white abstract geometric lithograph by Renee Flower (American). The image features a black and white ...

Shipping Procedure: FREE Shipping Worldwide Offest Ink on Linen. Unmounted artwork. Ships in a well-protected tube from Nigeria. Accompanied by a Certificate of Authenticity.  Ne...

"From John to John" - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a semi-abstracted style, depicting John F. Kennedy, Jr. saluting his father. Titled, numbered, dated, and signed along the bottom edge: "From John to John litho #46/50 Jan 64 Eugene Hawkins, Legend #412" Presented in a new black mat. Mat size: 20"H x 16"W Image size: 15"H x 11"W Eugene Hawkins (American, b. 1933) is a BIPOC artist...

By removing parts of the image, he explores the tension between what is present and what is omitted, focusing on the reasons behind these choices and their implications. The cutouts ...

ZOFIA ANNA MISIAK Zofia Anna Misiak is a contemporary painter from an artistic family. Her parents are Janina Żylińska and Stanisław Misiak. Zofia Anna Misiak graduated from the Acad...

Will Barnet: A Timeless World (hand signed, dated and warmly inscribed), 2000 Softback monograph with stiff wraps (hand signed, dated and warmly inscribed) Hand signed, dated and warmly inscribed to Margo by Will Barnet on the half title page 12 × 9 × 1/2 inches We believe the colleague Margo refers to renowned African American artist Margo Humphrey, who also worked at the Rutgers Center for Innovative Printmaking with Will Barnet. The full inscription reads: Sep 21 2000 To my colleague -Margo- with appreciation and affection Will Barnet Book information: Published by the Montclair Art Museum, New Jersey and Distributed by Rutgers University Press English; Paperback; 124 pages containing 43 color and 20 black-and-white illustrations Publisher's blurb: Painter and printmaker Will Barnet has actively participated in the New York art world for nearly 70 years. A leading figure in the Indian Space painting movement of the late 1940s, Barnet stressed the spatial structures of Northwest Coast Indian art. Throughout the 1950s and into the 1960s, he made a series of hardedged, totemic abstractions marked by their "all-positive" space, which he described as austere, classical expressions of Indian culture. He then moved on to new art forms in the 1960s and 1970s, creating a series of family and art world portraits that achieved a remarkable balance between the formal demands of abstraction and the humanist aspects of representation. Will Barnet: A Timeless World is the first substantial publications to unify Barnet's prodigious output. Art historian Gail Stavitsky provides an overview of this artist's entire career. Twig Johnson, the museum's curator of Native American Art, discusses the relationship of Barnet's work to this important indigenous artistic tradition. Jessica Nicoll, chief curator at the Portland Museum of Art, explores the profound impact of New England upon Barnet and his work. Many of Barnet's works are beautifully reproduced in this catalog, containing 43 color and 20 black-and-white illustrations. More about Will Barnet: Will Barnet was born in Beverly, Massachusetts in 1911. He has taught and exhibited widely over his more than seventy-five year career. His works are in the collection of virtually every American museum, including locally The Guggenheim Museum, The Metropolitan Museum of Art, The Museum of Modern Art, and The Whitney Museum of American. He is an elected member of the American Academy of Arts and Letters. In fall 2011 the National Academy Museum will present a retrospective exhibition being organized by Bruce Weber. Barnet is represented exclusively by Alexandre Gallery...