🔎 medium:"Black ink" | Mia

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portrait of George Floyd in black inside an irregularly shaped dark form — George Floyd, In Memorium 2020, 2020
David Barthold

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Sheriff I Deliver Ramerrez, the Highway Man to Your Charge. Justice Must Be Done., Nicolas Africano — Sheriff I Deliver Ramerrez, the Highway Man to Your Charge. Justice Must Be Done., 1963
Nicolas Africano

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Untitled, Robert Kushner — Untitled, 1973
Robert Kushner

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Untitled (New York), George Morrison — Untitled (New York), 1954
George Morrison

G261

cathedral with many buttresses, embellished spires; smaller brick buildings at each side; stone wall near bottom of cathedral; very small human figures in foreground — Cathedral at Parma, 1927
Robert Sargent Austin

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vertical formal; black roughly triangular form at top, with line extending downward along left edge of sheet; some black and grey ink spots in lower section — Untitled (Sketch), 1966
Sam Francis

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one of two lithographs, variant mottling — Cadillac Chopsticks (Cadillac Shape), 1985
Robert Moskowitz

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Black ink pen inscription on a "Hello / my name is" decal adhered to a plastic ziplock bag — [AYO comics case] He's alright, but he's not real, 2006
Darryl Ayo; Publisher: Darryl Ayo

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Woodcut trace monotyped in oil-based black ink on three sheets of paper from two basswood blocks carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Constellation, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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A hard-ground etching of a floating figure with well-articulated legs and abstracted upper body printed in black ink. — Anvil, 2010
Chloe Piene; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Wholeness and Well-Being, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink on two sheets of sekishu paper from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with two additional sheets of sekishu paper using wheat starch and trimmed to size. — Fence Lines, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Waiting in Line, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a hand baren. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — How Do I Say Goodbye, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Hoarder, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Bananas, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Woodcut trace monotyped in oil-based black ink from a basswood block carved by the artist. The block was inked with a standard roller and inked with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size. — Reclining Arms, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

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Woodcut trace monotyped in oil-based black ink on three sheets of paper from a basswood block carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were joined and backed with three additional sheets of paper using wheat starch and trimmed to size. — Separatist, 2014
Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Fabricator: Paul Mullowney Printing, San Francisco; Publisher: Highpoint Editions, Minneapolis

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image of a man with a hat, two bandaged hands, and a cane or stick in the middle of the sheet with cursive writing in German filling the rest of the page; sheet has been folded in half from a larger sheet of paper — Dream, 1917
Walter Gramatté

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three figures sit around a table that has glasses, plates, and utensils on the top; the figure in the center is a nude woman; she is flanked by two men — Brothel (III), 1916
Walter Gramatté

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five heads clustered together titled in various directions; fingers from a hand in the lower left corner of the image — Listening, 1919
Walter Gramatté

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small image of three people huddled together in the middle of the sheet with cursive writing in German filling the rest of the page; sheet has been folded in half from a larger sheet of paper — Nostalgia, 1917
Walter Gramatté

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recto: operating scene with doctors, nurses, and other attendants; verso: numbered list with prices written in German in pencil and crossed out — Operation, 1921 (?)
Walter Gramatté

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figure crouched in bottom half of image with diagonal bands of solid black and striped black lines alternating in the background — Logo, c. 1919
Walter Gramatté

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row of trees drawn in a sketchy style in black ink — Landscape (Trees), 1917
Walter Gramatté

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man on left side of image sits with shoulders hunched and legs bent and slightly raised; woman on the right is on her side with her arms thrown across the lap of the figure on the left — The Paralyzed, 1918
Walter Gramatté

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large circular building with a chimney in the center and a ramp with a cart leading to a door on the second floor of the structure — Brick Kiln, 1916
Walter Gramatté

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Sketchily drawn landscape with tall tree on right side of image — Storm, 1915
Walter Gramatté

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one sheet with two drawings of a house with trees separated by a crease in the middle of the sheet; the house on the left has a fence around it with hills and trees in the background and one large tree to the right of the house; the house on the right has a path leading from the door and one large tree in front of it with multiple rows of trees behind it — Landscape with House, 1922 (?)
Walter Gramatté

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house in upper right of image surrounded by trees and other foliage; part of a path is seen in the lower left corner and in the lower right corner a portion of an outdoor bench — Dr. Rauert's House (II), 1922
Walter Gramatté

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Untitled, George Morrison; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis — Untitled, 1987
George Morrison; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

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seventh in a series of 19 drawings — Ex, 1974
Gendron Jensen

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ninth in a series of 19 drawings — Recedent, 1974
Gendron Jensen

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image of a single, leafless tree rendered in faded transparent black ink; many thin delicate branches extend outward; simple, white background; certificate of authenticiy in a plastic sleeve on bottom center on back of frame — Study No. 1 for “New Amalgam”, 2016
Roxy Paine

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image of an empty wine glass standing on small, heavily shaded plate with scalloped edge — The Wine Glass, 1859
James Abbott McNeill Whistler

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male figure standing on pedestal; PL arm across chest; PR hand above pillar-like stand with hole in center — Figure Study of Mucius Scaevola, 18th century
Unknown French, 18th century

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rough sketch; flowers in center; 2 birds UL; figure at right side — Still-Life with Flowers, 20th century
Achille Emile Othon Friesz

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writhing, twisted cluster of male demons and male human figures with one female at L; winged putti at top L; prominent winged demon figure at top R — Fall of the Rebel Angels, 18th century
Unknown French, 18th century; Artist: After Raymond Lafage

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nymphs, satyrs and men dancing; figure L of center playing 2 pipes; 2 putti--one riding a goat, the other feeding the goat grapes--L; nymph playing cymbals at L — A Bacchanal (recto), 17th century
After Raymond Lafage

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Untitled, Agatha Wojciechowsky — Untitled, 1973-1974
Agatha Wojciechowsky

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still life on table in foreground; woman in back on right; window on left — Woman with Still Life, 1944
Henri Matisse

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The Unsafe Tenement, James Abbott McNeill Whistler; Printer: Auguste Delâtre — The Unsafe Tenement, 1858
James Abbott McNeill Whistler; Printer: Auguste Delâtre

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Boy with left hand on hip — Ragamuffin, 20th century
Max Unold

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Landscape with person in a boat, foreground, trees and buildings behind — La Point de l'Ile de Beaute (Nogent sur Marne), 1923
Henri Vergé-Serrat

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seventeenth in a series of 19 drawings — Praeconia, 1974
Gendron Jensen

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tenth in a series of 19 drawings — Vetera, 1974
Gendron Jensen

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fifteenth in a series of 19 drawings — Et, 1974
Gendron Jensen

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eighth in a series of 19 drawings — Sonent, 1974
Gendron Jensen

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sixteenth in a series of 19 drawings — Opera!, 1974
Gendron Jensen

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Landscape with Trees, Bob Brown — Landscape with Trees, c. 1930-1940
Bob Brown

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Robert and Fifth, Robert W. Peterson — Robert and Fifth, c. 1948
Robert W. Peterson

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fourth in a series of 19 drawings — Sint, 1974
Gendron Jensen

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Voces, Gendron Jensen — Voces, 1974
Gendron Jensen

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White Sails, Francis Chapin — White Sails, 20th century
Francis Chapin

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fifth in a series of 19 drawings — Gaudia, 1974
Gendron Jensen

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Pair of knee-high, lace-up boots on L; hanging whip on R; curtain skirt around borders; other nondescript images in light blue graphite throughout — Drawing for curtain for 'The Pancake Eater', 1980
Red Grooms

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Purchased from the 27th Annual Twin City Exhibit. — Contrasts (Procathedral in Minneapolis), 1941
Edmund M. Kopietz

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Five insects — Insects, c. 1805
Unknown

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Volks Cafe-Haus, Adolf Dehn — Volks Cafe-Haus, 1923
Adolf Dehn

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The Kiss, John Wesley — The Kiss, 1964
John Wesley

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Untitled (Farm Scene), Bennet A. Swanson — Untitled (Farm Scene), April 4, 1922
Bennet A. Swanson

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second in a series of 19 drawings — Solemniis, 1974
Gendron Jensen

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third in a series of 19 drawings — Juncta, 1974
Gendron Jensen

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twelfth in a series of 19 drawings — Omnia, 1974
Gendron Jensen

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Nova, Gendron Jensen — Nova, 1974
Gendron Jensen

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Clown Head, Earl Potvin — Clown Head, c. 1947-1949
Earl Potvin

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eleventh in a series of 19 drawings — Sint, 1974
Gendron Jensen

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Praecordiis, Gendron Jensen — Praecordiis, 1974
Gendron Jensen

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sixth in a series of 19 drawings — Et, 1974
Gendron Jensen

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Corda, Gendron Jensen — Corda, 1974
Gendron Jensen

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portrait of a man with wavy hair and wide eyes; mounted to white board — Self-Portrait, 1935
Pierre Daura

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The Unsafe Tenement, James Abbott McNeill Whistler — The Unsafe Tenement, 1858
James Abbott McNeill Whistler

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London Series I: Untitled (Black), Robert Motherwell; Printer: Kelpra Studio, Ltd., London , London (Chris Prater); Publisher: Marlborough Graphics, New York — London Series I: Untitled (Black), 1970
Robert Motherwell; Printer: Kelpra Studio, Ltd., London , London (Chris Prater); Publisher: Marlborough Graphics, New York

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Untitled, Ellsworth Kelly; Printer: Styria Studio, New York; Publisher: Experiments in Art and Technology, Inc. (E.A.T.), New York — Untitled, 1973
Ellsworth Kelly; Printer: Styria Studio, New York; Publisher: Experiments in Art and Technology, Inc. (E.A.T.), New York

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abstract image with ovoid forms and wavy lines; black, blue, grey, red and dark rose; received in distressed wood frame — Black Ravine, 1949
George Morrison

G261

ruins of castle at right and center on bluff; cows, dog and figures, LLC and LRC; seated figure and standing figure in front of archway at right edge — Vue du Tombeau de Cecilia Metella à Capo di Bove, 1780
Jean Jacques de Boissieu

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Loose leaf, text and illustration of a hand holding a mini zine screenprinted with a heavy coating of black ink on wove paper — Grünkern Produkte, late 20th-early 21st century
GRRRR

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woman's head on top half of sheet; eyes drawn in thick black ink and mouth is turned slightly downward — Hull (Sonia Gramatté), 1927
Walter Gramatté

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recto: miscellaneous figures and other objects and a list of numbers; verso: a printed program for July of a list of performers — Several Pen Sketches, 1922
Walter Gramatté

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In Hyde Park, Joseph Pennell — In Hyde Park, 1904
Joseph Pennell

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abstracted image of shore line; waves or clouds at top; horizontal lines at center — The Beach (The Shore--Hastings), 1873
James Abbott McNeill Whistler

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Head Piece from Cathedral at Lucca, Joseph Pennell — Head Piece from Cathedral at Lucca, 1883
Joseph Pennell

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Gargoyle/Finial/Torch-holder, Joseph Pennell — Gargoyle/Finial/Torch-holder, c. 1883
Joseph Pennell

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On the Coast of Brittany, Adolf Dehn — On the Coast of Brittany, 1927
Adolf Dehn

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Old Man, Géza Bene — Old Man, 1922
Géza Bene

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Plan of the Intended Botanic Garden, London, Unknown British, 18th century — Plan of the Intended Botanic Garden, London, 18th century
Unknown British, 18th century

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Normal Desires, Bruce Nauman; Publisher: Cirrus Editions, Ltd., Los Angeles; Printer: Ed Hamilton — Normal Desires, 1973
Bruce Nauman; Publisher: Cirrus Editions, Ltd., Los Angeles; Printer: Ed Hamilton

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The Rag Gatherers, James Abbott McNeill Whistler — The Rag Gatherers, 1858
James Abbott McNeill Whistler

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5 scenes no. 11-15 — Cast of Characters, 1965
José Luis Cuévas; Printer: Tamarind Lithography Workshop, Los Angeles (now Albuquerque, N.M.); Printer: Kinji Akagawa; Publisher: Tamarind Lithography Workshop, Los Angeles (now Albuquerque, N.M.)

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nude woman with wide eyes, holding a small bouquet of flowers, with flowers in her hair; snake holding an apple in its mouth in tree, R; 2 peacocks, LLC — Eve in the Garden of Eden, 20th century
Jaroslav Vodiajzc

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nymphs, satyrs and humans surround a status of Ceres with scythe and wheat sheaves; figures dance, play music and make offerings; clearing at L; mounted on a board — Bacchanal with a Statue of Ceres, 1794
Paul Gregoire

G317

blue path between trees leading toward a yellow and orange house; thick black outlines; abstracted style — En marchant vers la maison, 20th century
Guy Charon

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standing figure with bent knees being held by the neck from behind by a tall robed figure with a gun; mounted to another sheet — Figure Attacking Soldier, c. 1916-1918
Maximilien Luce

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view from inside ruins of forum, with broken-off columns; tall column with sculpture of standing figure at center; Classical buildings in middle ground beyond ruins — Forum of Trajan, Rome, 1827
Antonio Acquaroni

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3/4-length study of a bare-chested young woman, with a white cloth around her waist and long dark hair, leaning her head to the PR, standing in front of a window with city buildings visible behind her — Female Nude Standing Before a Window, 1956
Paul Delvaux

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ant, wearing a cap and glasses and holding a pipe, standing in a doorway; grasshopper, wearing a scarf and holding a cello on its back, standing on a cobblestone path in the snow leading up to doorway — The Ant and the Grasshopper, 20th century
Richard Holzschuh

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The Husband Lost at Sea (Fragment), T.L. Solien — The Husband Lost at Sea (Fragment), 1985
T.L. Solien

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large, gnarled tree trunk with twisted, gnarled roots — Tree, 20th-21st century
Zeng Xiaojun

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abstract image of flowers, branches and leaves in black and white; from the de luxe edition of "The World of Gilbert & George: The Storyboard" — Untitled, 2001
Gilbert & George (Gilbert Prousch & George Passmore)

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nude striding figure holding a sheaf of wheat in front of body beneath PL arm, with a scythe in PR hand; sheaves of wheat at left, uncut wheat at right — Harvester, 1921
Rockwell Kent

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Stab stitched binding, xerographic illustration of 4 seated dogs printed on wove paper covers inscribed in black ink marker; 36 pp. — Carlo's NMVI, late 20th-early 21st century
Carlo Quispe; Publisher: Carlo Quispe

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