Michael Knigin Art

Keith Haring at Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s announcement for two Keith Haring exhibitions: Keith Haring at Tony Shafrazi Gallery, October 26...

Bright orange leaps up like flames, or swaying grass, over which hovers a large-eyed bee sketched in black and orange. Over the fire-red in neat handwriting Ron Padgett...

Keith Haring Secret Pastures 1984: Keith Haring illustrated oversized announcement for the historic, "Secret Pastures" show at The Brookl...

Andy Warhol (after) Flowers, Galerie Sonnabend announcement invitation card, 1970 Offset lithograph on smooth card, addressed with postmark 7 1/5 × 7 1/5 inches Unframed Instead of observing flowers in nature, Andy Warhol found his botanical inspiration in a 1964 issue of Modern Photography. He transformed a photograph of hibiscus blossoms into a technicolor series of silkscreens, each simply titled Flowers and debuted at the influential Leo Castelli Gallery later that same year. Silkscreens from that exhibition have since sold for over $2 million at auction. While they evoke the Flower Power movement of the 1960s, Warhol’s Flowers have also be interpreted as a symbol of mourning, as the artist created these works just after President John F. Kennedy’s assassination...

Roy Lichtenstein at Modern Art Pavilion, Seattle Art Museum Limited Edition poster, 1976 Offset lithograph Limited Edition of 1000 22 1/2 × 28 inches Unframed Publisher Seattle Art ...

Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Palm Springs Desert Museum (Still Life with Longhorn Skull and Cactus)" Year: 1982 Medium: Original Offset-Lithograph, ...

Turtle is an original artwork realized by Carlo Quattrucci in 1971. Hand Signed and dated on the lower right margin. Numbered on the lower left. Edition of 70 pieces plus some Arti...

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...

Walasse Ting Grasshoppers - 1981 Print - Lithograph on Arches Archival Paper   22'' x 30'' Edition: Signed in pencil and marked 170/200 Walasse Ting (DING XIONGQUAN) (October 13, 19...

Keith Haring Tony Shafrazi 1982: set of 4 printed works: A set of four double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony...

Edition of 300. Murakami signed and numbered in silver marker pen along the lower right edge. Offset lithograph with cold foil stamp and high gloss varnishing on UV paper—diameter si...