Katie Edwards

Katie Edwards, Big Stick, Landscape Art, Animal Art, Dog Art, Affordable Art

Woodland Scene is a limited edition print by Tim Southall. Early morning sunshine shimmers in a tranquil woodland scene as two deer stroll undisturbed through the undergrowth. Often ...

Longing for your return by Emma Reynolds [2022] A celebration of the developing season as the swallows arrive. Additional Information: limited_edition Screenprint Edition number ...

Kate Heiss Sunflower Fields Linocut Edition of 30 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velvet Paper Signe...

Tim Southall – A quiet, reflective image of a forgotten time. This 10 colour silkscreen is printed on Somerset Velvet, a heavyweight 300 gram handmade paper from St Cuthbert’s Mill i...

limited_edition silkscreen print Edition number 50 Image size: H:30 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:50 cm x D:0.1cm Sold Unframed Please note that insitu ima...

Gormley’s Cat by Mychael Barratt [2022] limited_edition and hand signed by the artist Etching on Paper Edition number 100 Image size: H:22 cm x W:22 cm Complete Size of Unframed Wor...

Grandfather tree. 1982, Paper, linocut, print size 50x55 cm; total 65x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. ...

Tree of life. 1982, Paper, linocut, print size 50x56 cm; total 60x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The ...

Woodcocks return. 1970, Paper, linocut, print size 52x55 cm; total 70x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. ...

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...

Artist: Pablo Picasso Title: La Pique (I), Le Picador (II), Jeu de la Cape (III), Les Banderilles (IV) Portfolio: A Los Toros Avec Picasso Medium: Set of four transfer lithographs Ye...

It is a GICLEE PRINT with my original oil painting Pink Coral Underwater Art Signed by hand Olga Nikitina I give a hand touch to all my prints on canvas...