Thomas McKnight Landscape Prints

Edition Details: Year: 2021 Class: Art Print Status: Official Numbered Run: 73/150 Technique: Screen Print Paper: Thick Cream Speckletone Size: 24 X 18 Markings: Numbered "Shepard F...

With hand-deckled edges. Obey publishing chop in lower left corner. "Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhyth...

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...

Gerhard Richter Seestück (bewölkt), 1969-2023 Hybrid print in five colours on 260g Rives handmade paper 70 x 70 cm unsigned edition of 500 Accompanied by the publisher's certificate...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

Artist: Peter Max (1937) Title: Umbrella Man (Retro Suite II) Year: 1994 Edition: A.P.; 300, plus proofs Medium: Silkscreen on Arches paper Size: 11 x 10.5 inches Condition: Excellen...

Bill Schenck Waco Serigraph 7/58 1981 Hand signed, date and numbered by Schenck in pencil. 25.75 inches H. x 25 inches W. 'Waco' is classic early example...

London Bestiary by Mychael Barratt Limited Edition Etching: Edition of 100 Image Size: H 66m x W 99.7cm Complete size of Sheet: H 76.9cm x W 112.1cm x D 0.1cm Signed and titled Sold ...

This is an original 19th century hand-colored lithograph entitled "Pyramids of Geezeh" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in Lon...

Artist: Peter Max (1937) Title: Cosmic Runner (Retro Suite I) Year: 1994 Edition: 137/300, plus proofs Medium: Silkscreen on Arches paper Size: 11 x 11 i...

"This Church of Consumption print deals with themes I've addressed pretty consistently over the years material obsession, patterns around social currency and status signifiers, and c...