George Rodrigue

Pushin' Up Posies

1996

“The Devil in Me” (1991) 22x28, 31x37 framed as is. Among the first ever Blue Dogs, this early important original silkscreen is among the artist’s most t...

“A Number One Tiger Fan” (2011), Estate stamped with Estate COA The only LSU Blue Dog, this incredibly rare piece, estate stamped by the official estate of the artist, was created i...

“A Number One Tiger Fan” (2011), 14x18 unframed The only LSU Blue Dog, this incredibly rare piece, signed by the hand of the artist, was created in 2011 just two years before the ar...

See How My Garden Grows, (1996) by George Rodrigue An original hand pulled silkscreen by George Rodrigue, signed in paint pen "Rodrigue," and numbered in paint pen 57/90. This pie...

A one of a kind Rodrigue original print, created by the artist as a one of a kind work on his computer. After printing the file was destroyed. One of...

The Oak Tree defined Rodrigue’s early and beloved works, and this piece represented a return to his roots to create a stunning work in the color palate of the artist’s iconic Blue Do...

God Save the Green by Artist Harry Bunce is a limited edition print. An expressionistic piece, depicting a rabbit with the caption above 'God Save the Green'. Harry Bunce artist wit...

God Save the Green (II) limited_edition Original Print Edition number 10 Image size: H:72 cm x W:59 cm Complete Size of Unframed Work: H:72 cm x W:59 cm x D:0.5cm Sold Unframed Plea...

Three Eyes from the Icons series. Screen print in colors with embossing on Arches cover paper. Hand signed, dated and numbered by the executor of the Haring estate, Julia Gruen, in p...

Screen print in colors on Coventry rag paper. Titled and numbered on the front. On the reverse, estate stamped and hand numbered. Also hand signed by Julia Gruen, executor of the Keith Haring Foundation, Anthony Shriver, founder of the Best Buddies...

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...

Clare Halifax J is for (Blue) Jay Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that ...