Ink Figurative Prints

Jose Bedia (Cuban, 1959) 'Animal Armado', 2019. Woodcut and serigraph. Limited edition of 30 Overall size: 118 x 199 cm. (46.5 x 78.3 in.). Surface: Feltmark Paper 300 g. Hand-signed...

Life is a never-ending stream of what you wish and work for, we wished and we’ve got you as our running stream of love, no matter what stages, it's continuous, it doesn't stop. Ship...

Alexis Kcho Leiva (Cuba, 1970) 'Untitled II', 2019 woodcut, silkscreen on paper Intaglio 300 g. 44.7 x 31.2 in. (113.5 x 79 cm.) Edition of 30 ID: KCH-120 Unframed

Jose Bedia (Cuba, 1959) 'Presencia Del Monte', 2019 silkscreen on paper 26 x 17.2 in. (66 x 43.5 cm.) Edition of 40 Unframed

"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...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Abstract Screen print (Serigraph) composition of Japanese fishing boats in two parts by an unknown artist (20th Century). Signed (possibly "Myketo") a...

Highly collectible and coveted item: Francis Bacon von [with] John Russell (Monograph, hand signed and inscribed twice by Francis Bacon), 1972 Hardback monograph with dust jacket (ha...

Fernando Aceves Humana (Mexico, 1969) 'Clase de dibujo primer día', 2007 woodcut on paper 17.8 x 22.5 in. (45 x 57 cm.) Edition of 20 ID: ACE-102 Unframed

"Eternal Problem" - 1924 Etching on Paper Etching on paper titled "Eternal Problem" by Elias M. Grossman (American, 1898-1947). A bearded rabbi is portrayed thinking with his hand p...

Sergio Hernández (Mexico, 1957) 'Corral III, 2011 silkscreen on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 10 Unframed

"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...

Absorbing black and white woodcut of a nude female figure in the water surrounded by sea life and small figures by French artist Colette Pettier, 1936. Signed, dated and numbered 49 ...

A set of 8 erotic early 20th Century wood engravings on arches paper, a limited edition, number 241 of 1000, by Andre Rouveyre. Produced by Kauffmann on...

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 ...

Warmly hued French lithograph of couples dancing and enjoying live music at elegant venue by artist Torrallardona, circa 1960. Signed lower right and...

Sergio Hernández (Mexico, 1957) 'Corral V, 2011 silkscreen on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 10 Unframed

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

Print Offest Ink on Linen Size: 34W x 26Hx 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...

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 ...

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 ...

Print Offest Ink on Linen Size: 32W x 39Hx 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...

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...

"lost + found" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "lost + found" by Jim Crabb (American, b. 1947). This piece features an arachnid-like...

Alexandra Ocasio-Cortez, the youngest woman to serve in Congress... Giclée print on Archival Matte Paper with Archival Pigment Ink. Johanna’s work has been featured in a wide varie...

Artist: Felix de Weldon (1907-2003) Title: The Lovers Year: 2001 Edition: 2/10 A.P. Medium: Lithograph with graphite ink on BFK Rives cream color paper Inscription: Signed & numbered...

Wonderful etching, originally page 365 in a book De L'amerique by Alain Manesson Mallet, circa 1683, depicts the artist's concept of the appearance and activities of the native occupants of America in graphic detail. Unsigned. Displayed in a black and giltwood frame. Image, 6.5"H x 4.5"L. 1683 Manesson Mallet "Bresiliens" Amerindians, Indigenous Native Brazilians, Brazil, South America, Antique Print...

Howard Kanovitz Looking at Me (Signed twice with heart drawing and inscription), 1981 Colour Lambda print on vellum Pencil signed and annotated Artist Proof (AP) by artist on the fro...

Procession Of A Daimyo - Original Woodblock Print Original woodblock print depicting the procession of a Daimyo. Ten Japanese soldiers are seen as they aid in transporting the Daimy...

Wonderful lithograph of Icarus whom flew too close to the Sun by Avant-Garde artist Romulo Macció (Argentine: 1931-11 March 2016), circa 2000. Signed bel...

Namiko Prado Arai (Mexico, 1963) 'Untitled 10 (Bruñidor)', 1998 engraving on paper Guarro Biblos 250g. 21.1 x 24.5 in. (53.5 x 62 cm.) ID: PRA-312 Hand-signed by author Unframed

Figurative ink drawing by Polish artist Leszek Rozga. This piece is signed by the artist. LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier i...

"Departure #7" - Lithograph on Paper Purple and tan lithograph depicting abstracted figures floating in space by Jim Crabb (American, b. 1947). Abstracted figures take up the page, ...

Namiko Prado Arai (Mexico, 1963) 'Untitled 12', 1998 engraving on paper Guarro Biblos 250g. 22.3 x 29.6 in. (56.5 x 75 cm.) ID: PRA-314 Hand-signed by author Unframed

"Kitchen Cat" by Molly Craig 2021 Digital painting print, interiors, still life, animal, cat art, figurative, emerging artist; yellow kitchen with black an...

Alejandro Pintado (Mexico, 1973) 'Recuerdo de una caminata', 2020 silkscreen on paper Guarro Biblos 250g. 17.1 x 15.9 in. (43.2 x 40.2 cm.) Edition of 50 ID: PIN-101

Paper applique kimono with red paper strips by Patricia A. Pearce (American, b. 1948). Numbered, titled, and signed along the bottom edge ("AP Kimono 4 Patricia A. Pearce"). No fra...

This poster from the 1930s melds the meticulous detail of traditional Chinese painting with the craft of color lithography—and a side of risque. The poster features a young woman dressed in a fur-trimmed coat with Western accessories...

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

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

Raul Anguiano (Mexican, 1915-2006) 'Desnudo doble', 2005 Etching, aquatint and sugarlift 103 x 73 cm. (40.6 x 28.7 in.) Edition of 50 Unframed Pristine condition Hand-signed in penc...

Louise Marler Tulip and Bees Archival Pigment Print Epson UltraChrome Archival Inks on White Metallic Archival Stock 2022 Edition: 10 Size: 20x16inches Signed and numbered by hand COA provided Ref.: 924802-1694 *Separate Edition of 10 in size 10x8in available. Please inquire within. ** Framing Options available. Please inquire within. Tags: Cut-out, collage, black and white, patterns, negative space, organic Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art...

Namiko Prado Arai (Mexico, 1963) 'Untitled 9 (Bruñidor)', 1998 engraving on paper Guarro Biblos 250g. 21.1 x 24.5 in. (53.5 x 62 cm.) ID: PRA-311 Hand-signed by author Unframed

Vintage Spanish lithographic print Measuring 19 x 23 inches overall and 14.5 x 18.5 image alone. In excellent original condition, ready to hang and enjoy.

Raul Anguiano (Mexico, 1915-2006) 'Retrato', 2001 aquatint on paper 15.6 x 12.6 in. (39.5 x 32 cm.) Edition of 50 ID: ANG-201 Unframed

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. 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...

"Neptune" (2021) by SarahGrace Digital art print on archival paper, Figurative drawing, Portrait, Woman, Nude, Purple, Pink and Blue-Purple Hand-signed by ...

Angel Ramírez (Cuba, 1954) 'El rey', 2001 silkscreen on paper Fabriano 300 g. 25.4 x 34.1 in. (64.5 x 86.5 cm.) Edition of 20 ID: RAM-101 Unframed

Isolina Limonta (Cuba, 1955) 'La Hoja', 2001 etching on paper Velin Arches 300 g. 29.6 x 21.5 in. (75 x 54.5 cm.) ID: LIM-201 Unframed

Louise Marler Aviation Garden Archival Pigment Print Epson UltraChrome Archival Inks on White Metallic Archival Stock 2022 Edition: 10 Size: 20x16inches Signed and numbered by hand COA provided Ref.: 924802-1701 *Separate Edition of 10 in size 10x8in available. Please inquire within. ** Framing Options available. Please inquire within. Tags: Cut-out, collage, black and white, patterns, negative space, organic Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art...

Demian Flores (Mexico, 1971) 'Defensa Personal', 2005 engraving on paper Guarro Super Alpha 250g. 27.6 x 39.4 in. (70 x 100 cm.) Edition of 99 Unframed ID: FLO-101 Hand-signed by author

Sergio Hernández (Mexico, 1957) 'Blue Butterflies', 2014 Engraving, etching, aquatint, sugarlift on paper 22.5 x 42 in. Series number: BAT (Bon a Tirer) Unframed ...

Jose Bedia (Cuba, 1959) 'Encanto De La Madre', 2019 silkscreen on paper Guarro Super Alpha 250g. 27.7 x 35.2 in. (70.3 x 89.3 cm.) Edition of 30 Unframed

Takashi Homma Tokyo (hand signed, inscribed in Japanese and dated by Takashi Homma), 2008 Softback monograph with dust jacket, roughcut and deckled edges...

Louise Marler Butterflies and Daisies Archival Pigment Print Epson UltraChrome Archival Inks on White Metallic Archival Stock 2022 Edition: 10 Size: 20x16inches Signed and numbered by hand COA provided Ref.: 924802-1699 *Separate Edition of 10 in size 10x8in available. Please inquire within. ** Framing Options available. Please inquire within. Tags: Cut-out, collage, black and white, patterns, negative space, organic Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art...

Louise Marler Energetic Influence Archival Pigment Print Epson UltraChrome Archival Inks on White Metallic Archival Stock 2022 Edition: 10 Size: 20x16inches Signed and numbered by hand COA provided Ref.: 924802-1695 *Separate Edition of 10 in size 10x8in available. Please inquire within. ** Framing Options available. Please inquire within. Tags: Cut-out, collage, black and white, patterns, negative space, organic Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art...

Pop Art portrait of a young Bob Dylan, a 1967 etching by Marc Foster Grant (American, 20th Century). Signed and dated "Marc Grant '67" lower right. Titled "...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

Louise Marler Carnation Wormhole Archival Pigment Print Epson UltraChrome Archival Inks on White Metallic Archival Stock 2022 Edition: 10 Size: 20x16inches Signed and numbered by hand COA provided Ref.: 924802-1696 *Separate Edition of 10 in size 10x8in available. Please inquire within. ** Framing Options available. Please inquire within. Tags: Cut-out, collage, black and white, patterns, negative space, organic Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art...

Vintage Spanish lithographic print Measuring 19 x 23 inches overall and 14.5 x 18.5 image alone. In excellent original condition, ready to hang and enjoy.