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Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.
Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.
Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.
Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.
Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.
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The Underbelly of Grotte Print - Limited Edition of 1

Margo Levittoux

Italy

Printmaking, Linocuts on Paper

Size: 31.5 W x 39.4 H x 0.4 D in

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$2,210

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About The Artwork

Linocut on Okawara Japanese paper of the village of Grotte di Castro in Italy seen from the bottom of a deep moat encircling the village, with long stems of vines and ivy and fig trees tumbling, climbing and twining up and down the stone walls.

Details & Dimensions

Printmaking:Linocuts on Paper

Artist Produced Limited Edition of:1

Size:31.5 W x 39.4 H x 0.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

www.levittoux.com margo_levittoux on Instagram I am a painter living in Italy. I studied painting in Warsaw and in London but mostly in the galleries and at the side of the road. Just as in the conversation, there is a secondary silent dialogue in which the real exchange of feelings takes place, so in painting, there is a rich background of unstated knowledge, a tapestry that is never unrolled.

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