Benjamin Thomas Taylor Prints and Multiples

This architectural drawing of a Suburban Villa in the countryside near Paris, France is from a 1872 book titled Private Architecture In the XIX Century Under Napoleon III. Second Series. New Houses Of Paris And Surroundings. This book was dedicated to Baron Haussmann, the name who is credited with transforming Paris' slums into the thriving metropolitan center we know today. The architect listed for this floor plan...

Artist: Billy Al Bengston – American (1934-2022) Title: Untitled Year: 1990 Medium: Lithograph, silkscreen on Arches paper Sight size: 19.5 x 25.5 inches. Sheet size: 24 x 30 inches. Signature: Signed lower right Publisher: Cirrus Editions, Ltd., Los Angeles, CA Edition: 250 This one: 120/250 Condition: Excellent This print is by Billy Al Bengston. It depicts what looks like a coyote staring out at the horizon on a full moon night. This print was created at the same time Bengston was creating his Moon paintings. The print has dark colors. As a result, my photographs are imperfect; they have a bit of glare. The print is in excellent condition. It is attached by two hinges to a matboard measuring 26 x 32 inches and has a Plexiglas frame. The frame is in fair condition with some light scratches. Billy Al Bengston (June 7, 1934 – October 8, 2022) was an American visual artist and sculptor who lived and worked in Venice, California, and Honolulu, Hawaii. Bengston was probably best known for work he created that reflected California's "Kustom" car and motorcycle culture. He pioneered the use of sprayed layers of automobile lacquer in fine art and often used colors that were psychedelic and shapes that were mandala-like. ARTnews referred to Bengston as a "giant of Los Angeles's postwar art scene." Early life and education Bengston was born in Dodge City, Kansas, on June 7, 1934. His family relocated to Los Angeles in 1948. He attended Los Angeles City College in 1952. Subsequently, he studied painting under Richard Diebenkorn and Saburo Hasegawa at the California College of Arts and Crafts, in Oakland, California, in 1955 and returned to Los Angeles to study at Otis Art Institute in 1956. Career Bengston began showing with the Ferus Gallery in Los Angeles (founded and run by Walter Hopps and Edward Kienholz, and later Irving Blum), having five shows between 1958 and 1963. As a fixture at the gallery, he was among a cohort of artists that included Kienholz, Ed Ruscha, Larry Bell, Kenneth Price, Ed Moses, and Robert Irwin. (The gallery closed in 1966.) In a 2018 article in Vanity Fair, Bengston recalled that he and Irwin hung the 32 pieces in Andy Warhol's Campbell's soup-can paintings show at Ferus in 1962. He notably described the atmosphere of Ferus as a "macho intellectual gang bang". After seeing the work of Jasper Johns at the 1958 Venice Biennale he adopted the motif of a set of sergeant's stripes. This recurring chevron image was painted with industrial materials and techniques associated with the decoration of motorcycle fuel tanks and surfboards. According to Grace Glueck of The New York Times, Bengston "was among the first to ditch traditional oil paint on canvas, opting instead for sprayed layers of automobile lacquer on aluminum in soft colors, achieving a highly reflective, translucent surface." Bengston encouraged viewers in the early 1960s to associate his art with motorcycle subculture; on the cover of a 1961 catalogue for a Ferus show, he was seen straddling a motorcycle. (He also competed in motocross competitions.) "When I painted these motorcycle paintings...

Delicate print of Fishing and sailboats on the Wharf In San Francisco from the collection of Patricia Pearce by one of her contemporaries or students, at the College of San Mateo, sh...

A signed etching by the justifiably famous New Orleans French Quarter artist Eugene Loving, in an edition of 200. It depicts in wonderful detail one of ...

Tracey Emin I Love You/I Love Your Soul/I Love Your Smile, ca. 2010 100% Cotton Beach Towel 60 × 70 inches (folded it's 25 x 30 inches) Signed in plate, authorized printed...

In "Late Night", Frederick Mershimer created a winter scene where Berkeley Place meets Seventh Avenue in Brooklyn's Park Slope. This image, the seventh in t...

Robert Longo Three Strikes, You're Out (Triptych), 1990 Silkscreen and Color Photograph (C-Print) on Aluminum and Lead Plates 9 4/5 × 23 3/5 inches Edition 120/200 Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's and publishers printed name & copyright Unframed Three Strikes You're Out was created in 1990 by Robert Longo exclusively for the mixed-media box-edition Contemporary Archeology, Pandora Part Three. The works were executed by jennifer Cox for Publishing House Bebert in an edition of 200, numbered and signed copies. This work is assembled as triptych and consists of two aluminium plates. Both aluminium plates show a color photograph of a cloud with silkscreened red X, the lead plate only showing the red X Total size is: 9.8 inches by 23.6 inches Individual Metal Plate Sizes: 9.8 x 9.1 in (2) / 9.8 x 5.1 (1) Unframed Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's printed name and copyright mark, along with the publisher - Publishing House Bebert, Rotterdam. Robert Longo Biography: Robert Longo was born in 1953 in Brooklyn and grew up in Long Island, New York. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the U.S. invasion of Cambodia. One of those killed was a former classmate of Longo’s, and his body was shown in a Pulitzer Prize-winning photograph that was seen across the world. The event shocked Longo, triggering his interest in political activism and media imagery. In 1972, Longo received a grant to study restoration and art history in Florence. While touring the museums of Europe, he realized he wanted to make, rather than restore art. In 1973, Longo enrolled at Buffalo State College, where he worked for artists Paul Sharits and Hollis Frampton, who introduced him to structuralist filmmaking. Along with Charles Clough, Longo also co-founded Hallwalls (1974–ongoing), an alternative non-profit art exhibition space where he organized shows and talks with artists such as John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra. At Buffalo State, Longo started a friendship–that still exists to this day–with Cindy Sherman, and in 1977 the two moved to New York together, where Longo began working as a studio assistant to Vito Acconci and Dennis Oppenheim. That year he was included in the exhibition Pictures at Artist’s Space, curated by Douglas Crimp, which showcased work by a group of five young artists who were engaged with the politics of image-making, drawing from advertisements, newspapers, film, and television. The “Pictures Generation,” as they became known, included artists such as Cindy Sherman, Richard Prince, Louise Lawler, David Salle, and drew from semiotics and poststructuralist theory to investigate the way meaning is made and circulated in modern society. Their work often critiqued the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media. At his first solo show at Metro Pictures in 1981, Longo presented his charcoal and graphite Men in the Cities drawings, which instantly became icons of the “Pictures Generation,” and some of the most recognizable artworks of the 1980s. Longo performed in New York rock clubs with the band Menthol Wars with Richard Prince, throughout the 1980s. During that period, he also designed numerous album covers, including Glenn Branca’s The Ascension (1981) and The Replacements’ Tim (1985). In 1986, he directed his first music video for New Order’s chart-topping song Bizarre Love Triangle, and the following year directed The One I Love, a video for R.E.M.’s first hit single. Longo began working with diverse materials at increasingly ambitious scales. His Combines series, first exhibited in 1983, incorporated materials such as paint, graphite, wood, plaster, cast bronze, and steel in works that were part-painting, part-sculptural reliefs. Using Sergei Eisenstein...

La Jolla Thomas McKnight, American (1941) Date: 1987 Screenprint, signed and numbered in pencil Edition of AP 6/40 Image Size: 26 x 29 inches Frame Size: 37 x 39 inches

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. ...

silkscreen Two colours on Fine Art paper. Interior Photography, Romantic, Abandoned place, Nature, Window Work Title : Piscine Végétale Rose Artist : Marie Vandooren...

ABOUT THIS ARTIST: Ana Popescu is a French visual artist born in Romania. Her work has a modern charm, celebrating interior and exterior spaces with color ...

"Verbindunden-Verletzungen" ("Injuries-Connections") is an original screen print on hand-made Japanese paper from 1998 by internationally acclaimed German ZERO group artist Günther U...