Emma Reynolds Art

Colorful Lithograph of Horse Race – Jockey on Norse No. 6 by Serge Medjisky, original poster: Linen-backed printer's proof without text of the horse race. In the lower right are the ...

Medium: etching and aquatint Edition of 250 Year: 2014 Image Size: 9 x 12 inches Signed, titled and numbered by the artist. Inspired by a scene of seven Canadian Geese in Lake Padde...

This surreal acrylic painting by Gozo depicts a red bear standing beneath a red moon in a serene blue landscape. A flock of birds sweeps across the tranquil sky, creating a sense of ...

This artwork titled "The City 's Conscience" 2006 is an original color serigraph by Ukrainian/American artist Anatole Krasnyansky. It is hand signed and numbered 45/495 in black ink by the artist. The artwork size is 24 x 17.5 inches, framed size is 29.5 x 23 inches. Custom framed in a wooden black and gold frame, with fabric liner. It is in excellent condition. About the artist: Anatole Krasnyansky (born in 1930; Kiev, Ukraine) is a Ukrainian-American artist who has gained prominence by pioneering a new watercolor technique. Krasnyansky added paper texture as a component of his watercolors. With this new process, Krasnyansky added texture and depth to the watercolor medium and expanded its expressive possibilities to a level usually associated with oil painting. Biography He was born in Kiev, growing up and living during the times when Ukraine was a part of the U.S.S.R. Krasnyansky received master's degrees in fine art and architecture. He found that the freedom of expression that he needed in his artwork could not be found within the strictures of the Soviet Union and moved to the United States in 1975. In the U.S., Krasnyansky found valuable use for his knowledge of architecture, design and his imagination. and found success in multiple artistic pursuits. Almost surreal, Krasnyansky’s figures are recognizable form while incorporating elements of his Eastern heritage, the cubist ideas of Picasso and Braque, and as well as American culture. Accomplishments Krasnyansky began working as a scenic artist for ABC and CBS, including the production of two Academy Awards shows. He became a set designer for Universal Studios (credits including The Blues Brothers and Battlestar Galactica...

This is an original 19th century duotone lithograph entitled "Bazaar of the Coppersmiths, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publis...

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...

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...

Sidewalk Cafe, 2016; Giclée print in colours on 350gsm Hahnemühle Museum Etching wove paper signed and numbered in pencil Edition of 295 printed by GTZ Fine Art Editions, New York, ...

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...

Chama Canyon is a limited edition hand-pulled serigraph no. 225 /260 in excellent condition. It is signed in pencil and published by Aspen Mountain Graphics. sheet size 14 x 18 image 12 x 16 For American artist William Hook ( b. 1948- ) art was a central focus in his family home and he began his career in art at an early age.. He studied at several prestigious art schools in the US and abroad. His work has been featured in magazines such as Southwest Art, Art of the West, U. S. Art, American Artist and Focus Santa Fe. The book… Leading the West… by Donald Hagerty features William Hook as one of the most notable influences on the western art scene. Publishers Harper-Collins and North Light have included his work in numerous books written about the contemporary art process in Europe and America. Hook’s paintings can be found in the permanent collections of the Denver Art Museum, the Tucson Art Museum, the University of New Mexico, the FORBES Museum, NYC, and the Genesee Museum, NY as well as in many corporate and private collections. His work has also been featured in prints for the New Mexico Symphony, Music from Angel Fire...

La Jolla Thomas McKnight, American (1941) Date: 1987 Screenprint, signed and numbered in pencil Edition of AP 6/40 Image Size: 26 x 29 inches Frame Size: 37 x 39 inches

Printer’s ink from rubber stamp on vélin d’Arches Satine paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publi...