Kate Heiss

'Starlight Stag' by Kate Heiss, Winter, Starlight, berries, nature, landscape

2020

Garden Blackcap by Kate Heiss [2021] limited_edition Linocut Edition number 30 Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.5cm Sold Unframe...

Swallows over the Ley by Ann Burnham [2021] Signed by the artist linocut Edition of 10 Image size: H:16cm cm x W:30cm cm Complete Size of Unframed Work: H:...

Mark A Pearce Olive Grove with Deer Limited Edition Reduction Linocut Edition of 60 Size: H 44cm x W 71cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indica...

Rob Barnes Tree Shadows Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free Shipp...

Rob Barnes Saltmarsh at Low Tide Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard F...

Rob Barnes The Owl Post Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free Shipping Please note that in situ images are purely an indication of how a piece may look. The Owl Post by Rob Barnes is a limited edition linocut print using a Key Block and a Reduction Block resulting in several layers of printing. This landscape with an owl as its main feature was inspired by seeing barn owls locally. Rob has an owl box...

Kenny Scharf American, b. 1958 Seeserpent 2017 Archival Pigment Inks on Moab Entrada Rag Bright 300 gsm fine art paper 12 2/5 × 16 9/10 in 31.5 × 43 cm Edition of 150 Colorful, cart...

"Silent Witness" is an original color lithograph by Michael Knigin. It features a realistic rendition of an Emperor Angelfish swimming in front of the New York skyline including the ...

Two artists: Shepard Fairey and C.R. Stecyk III The Pacific Ocean Park pier straddled a dividing line between the cities of Santa Monica and Los Angeles. It was in equal portions: a...

Kenny Scharf American, b. 1958 Seeserpent 2017 Archival Pigment Inks on Moab Entrada Rag Bright 300 gsm fine art paper 12 2/5 × 16 9/10 in 31.5 × 43 cm Edition of 150 Colorful, cart...

Billy Schenck (American, b. 1947) Hurry Sundown, 1985 Edition 19/60 Serigraph 21 x 38 inches Signed, Titled, Dated, and Numbered Lower Margin Billy Schenck is a contemporary artist ...

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...