David Hockney

Hotel Acatlán: Second Day, from Moving Focus (T.G. 283, M.C.A.T. 270)

1984-85

1980 Lithograph in colors on Arches Cover paper Sheet: 10 1/2 x 9 in. Edition of 1000 Signed, dated and numbered in pencil, lower margin Framed, excellent condition

2019 Inkjet print in colors, on wove paper 34 x 43 in. (86.4 x 109.2 cm) Edition of 35 Signed, dated and numbered in pencil, lower margin

2013 Lithograph in colors, on wove paper Sheet: 29 x 28 in. (73.7 x 71.1 cm) Edition of 60 Signed, dated and numbered in pencil, lower margin Unframed, mint condition

1964 Offset lithograph in colors, on wove paper Sheet: 23 1/8 x 23 1/8 in. Edition of 300 Signed and dated in ballpoint pen, lower right Unframed, pristine condition

1990 Lithograph, screenprint on paper and metalised PVC on paper S. 59 1/8 x 75 in. (150.2 x 190.5 cm) Edition of 68 Signed, dated and numbered in pencil, lower margin

2005 Set of two lithographs in colors, on wove paper Sheet: 11 4/5 x 8 9/10 in., each Edition of 72/100 Each signed, dated and numbered in pencil, lower margin Framed, excellent cond...

The Sea and the Sky is an original Contemporary Artwork realized in 1974 by Claudio Cintoli, with the pseudonym of Marcanciel Stupro. Plate-signed on the center. Numbered on the lo...

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...

Tonto-Condo, 1983, published by Shark's Ink, Lyons, Colorado (Knestrick, 96). Hand signed and numbered by the artist in pencil. Three-dimensional color lithographic construction with...

Hand signed and numbered by the artist. Published by Tsumura Art Association., Tokyo, Japan and printed by Joseph Kleineman, NY. Artwork is in excellent condition. Edition of 150....

Hand signed, dated and inscribed "PP Study" by the artist. Hand embellished by the artist. A unique variation. Artwork is in excellent condition. Certificate of Authenticity includ...

A classic Rosenquist pop art composition with gold, turquoise, purple, pink, blue, green and yellow. Characteristically surreal and graphic, Rainbow incorporates bold geometric forms with painterly washes of color and airbrush texture. Rosenquist's signature gleaming metallic chrome texture can be seen on an inverted fork behind the glass of a golden window. Paper 25.25 x 30.25 in. / 64 x 77 cm Image 17 x 21.5 in. / 43 x 54.5 cm Lithograph with screenprint on cream-coloured Hodgkinson handmade Wookey Hole paper. Edition of 75 with 8 color trial proofs: this impression 8/8. Signed and dated 1972 lower right in pencil; titled, numbered 8/8 and labeled Color Trial Proof lower left in pencil. This graphic, colorful scene is based on Rosenquist’s 1962 oil painting of the same name, collected in the Museum Ludwig in Cologne. The artist used real glass and wood to construct windows for the original painting – here, house siding is abstracted to bold, black horizontal lines, and the window glass is printed in dark gold ink. At the top of the composition, a window with shutters pushed open is colored in turquoise, with sharp black shadows. The left-hand window pane is shattered, and to the right, the outline of an oversized...