Linocut Animal Prints

NORBERTINE VON BRESSLERN-ROTH (1891 1978) KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928 Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16” In excellent condition and full ...

David Shrigley I am the Moth, You are the Flame, 2022 Linocut on Somerset Tub Sized 300gsm paper Signed by the artist and numbered 65 x 50 cm (25 5/8 x 19 3/4 in) Edition 23 of 100 ...

Mr. C (Cat) Linocut, 1984 Signed in pencil (see photo) Edition: 250 (209/250) (see photo) Published by Associated American Artists, New York, NY Reference: AAA/Czestochowski 1984.009...

A North Carolina native, the African-American Romare Bearden spent most of his career in New York City. For several decades he was a social worker in Harlem. But of course he traveled widely, read and studied with great care, and created a phenomenal body of work. This 1971 lithograph is a good example of his oeuvre -- far reaching though it may be. It speaks to his skill and knowledge of contemporary printmaking while featuring a complex subject representative of his interests. A lush jungles is packed with flora and fauna. 'Green Snake' is part of the title and there is a particularly winsome reptile showing up so well on the sand-colored border between the dense forest and the aquamarine water. There are of course many other land and sea animals showing themselves -- even a curious ginger cat...

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...

A dynamic mid 20th century copy of a lithograph that depicts Englishmen on horseback giving chase with a pack of beagle-type dogs running in the background. by John Frederick Herring...

Eyvind Earle (1916-2000) Three Horses (Version 2), 1987 Serigraph in colors on black wove paper Edition 46/100 Signed and editioned in blue pencil along lower edge 21 1/4 x 40- /8 in...

Tiger, 2023 5-colour hybrid print on 260g Rives handmade paper 27 3/5 × 27 3/5 in 70 × 70 cm Edition of 500 It comes with a COA from the publishers Gerhard Richter’s prints are a ...

David Shrigley
 White Elephant, 2021 Linocut on 300gsm Somerset paper.
 Paper size: 44 x 57 cm hand-signed and numbered by the artist edition of 100 published by Schafer Editions and...

In Pequod, artist Jos Sances offers a visually powerful interpretation of a climactic moment from Herman Melville’s Moby-Dick. Rendered with meticulous detail, the scene depicts the ...

Black ink on buff Japanese rice paper. This image came from watching the sea birds on Kauai, Hawaii soaring along the bluffs on the north shore and diving for fish in the sea. Fishi...

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. ...