San Francisco - Animal Prints

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...

This artwork "Two Horses" 1964, is an original color aquatint on paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered 107/120 in pencil by the artist. ...

This artwork titled "Impressionabilita" 1969, is an original color screen print on wove by noted Italian artist Marino Marini, 1901-1980. It is hand signed and numbered 93/125 in pen...

This artwork titled "Heron Moon" c.1990, is a color woodblock print on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed, titled and numbered 58/150 in pencil by the artist. The artwork (image) size is 8.5 x 21 inches, framed size is 15.75 x 28.25 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some small minor rubs, barely visible. About the artwork: This artwork required have 5 different carved wood blocks and 9 layers of colors to complete. About the artist: Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85). She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa. Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections. Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines. STUDIES: Yoshida Woodblock Print Studio Tokyo, 84-85 Nova Scotia College of Art & Design, Halifax, 74-75 BFA Ecole du Musee des Beaux Arts, Montreal, 74 Ontario College of Art, Toronto, 71-73 Mt. Allison University, 69-72 SELECTED SOLO SHOWS: 25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews. Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999. Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue) Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991 New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987. Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988 Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982 SELECTED GROUP SHOWS: "A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog "Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs "Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts...

This artwork titled "Starling" c.1990, is a color woodblock print on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed and numbered 82/150 in pencil by the artist. The artwork (image) size is 10 x 23.25 inches, framed size is 17.25 x 30.25 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some small minor rubs. About the artwork: This artwork required 3 different carved wood blocks and 7 layers of colors to complete. About the artist: Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85). She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa. Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections. Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines. STUDIES: Yoshida Woodblock Print Studio Tokyo, 84-85 Nova Scotia College of Art & Design, Halifax, 74-75 BFA Ecole du Musee des Beaux Arts, Montreal, 74 Ontario College of Art, Toronto, 71-73 Mt. Allison University, 69-72 SELECTED SOLO SHOWS: 25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews. Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999. Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue) Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991 New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987. Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988 Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982 SELECTED GROUP SHOWS: "A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog "Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs "Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts...

This artwork titled "Asagiri" c.1990, is a color woodblock print on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed and numbered 150/200 in pencil by the artist. The artwork (image) size is 11.25 x 23.25 inches, framed size is 18.65 x 30 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some small minor rubs, barely visible. About the artwork: This artwork required 7 different carved wood blocks and 21 layers of colors to complete. About the artist: Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85). She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa. Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections. Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines. STUDIES: Yoshida Woodblock Print Studio Tokyo, 84-85 Nova Scotia College of Art & Design, Halifax, 74-75 BFA Ecole du Musee des Beaux Arts, Montreal, 74 Ontario College of Art, Toronto, 71-73 Mt. Allison University, 69-72 SELECTED SOLO SHOWS: 25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews. Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999. Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue) Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991 New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987. Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988 Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982 SELECTED GROUP SHOWS: "A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog "Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs "Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts...

This artwork titled "Au Repos (At Rest)" 1983 is an original color lithograph on paper by noted Bolivian artist Graciela Rodo Boulanger, b.1935. It is hand signed and numbered 157/20...

Artist: Salvador Dali (Spanish surrealist, 1904-1989) Title: Le Caducee de Mars Alimente par la Boule de feu de Jupiter Year: 1974 Medium: Etching with embossing and color lithograph...

This artwork "leopard" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 366/750 in...

Harrison Begay: 1917-2012. Listed American Indian painter and printmaker. His given Navajo name was Haashke yah Niya. His screen prints have sold at auc...

This artwork titled "The Horsemen" 1935, is an original lithograph on paper by noted American artist William Gropper, 1897-1977. It is hand signed in pencil by the artist. The artwor...

This artwork titled "Leading the Remuda" c.1970 is an original lithograph on Wove paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 58/100 in pencil by the artist. The artwork (image) size is 12.25 x 17.35 inches, sheet size is 17.5 x 21.65 inches. It is in excellent condition About the artist: Tom Ryan was born Jan. 12, 1922, in Springfield, Ill., to William Martin Ryan — whose family immigrated to Illinois from Ireland in the 1880s — and Sarah Helen Behrens, whose ancestry predates the Revolutionary War. They had nine children — six boys and three girls. He began drawing before he went to school. "I was 4 years old and drawing airplanes, and an older brother was helping me," Ryan told the Reporter-Telegram in a 2002 interview at the Haley Library's going away party held in his honor. "Those were my first art lessons." He did not decide to be an artist until after his service in World War II. While in the U.S. Navy during the war, he "made quite a bit of money" drawing portraits of his shipmates and other servicemen. After being discharged in 1945, he picked up a Life magazine that carried an article about N.C. Wyeth. "I read the article, and I liked what I read, and I loved the pictures reproduced from his paintings in the article," Ryan said in 2002. "I decided then and there to be an artist." Following his graduation from the American Academy of Art, an education made possible through the GI Bill, he returned to Springfield where he married Jacqueline "Jacquie" Harvey, daughter of a local doctor. She died in 1998. The Ryans moved to New York City where he continued his studies at the Art Students League. During his second year at the Art Students League, he won a contest. His winning painting became the cover for Western writer Ernest Haycox's novel The Outlaw. "Every month after that I also received an assignment from this publisher, and they would be Western novels," Ryan said in 2002. "So that's what I did for the next six or seven years. Then I started exhibiting at the Latendorf Gallery on Madison Avenue. What I sold mainly were the book covers. They would be published and I would get paid by the publisher, and I'd take them to the gallery, and I'd get paid again." Ryan began making trips west in the late 1950s. He would stay three or four months painting, sketching and photographing scenes he'd need later. At that time, his works centered around historical events and places. "I particularly liked to do some of the trail drive things that I did, like the old longhorns," Ryan said in 2002. In the early 1960s, a work by Norman Rockwell and one by Ryan appeared in the same catalog. Rockwell, who was doing the Boy Scouts calendars for Brown and Bigelow, the premiere calendar publishing company in the United States, told the calendar company about Ryan. "The art director gave me a call and asked if I'd like to do a contemporary cowboy...

This artwork titled "Aggressive Muskox" 1984 is an original color etching with aquatint on Wove paper by noted Canadian/Inuit artist Pudlo Pudlat, 1916-1992. It is hand signed, title...

This artwork titled "Soaking Up" c.1970 is an original lithograph on Wove paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 68/100 in pencil by the artist. The artwork (image) size is 12.25 x 17.35 inches, sheet size is 17.5 x 21.65 inches. It is in excellent condition About the artist: Tom Ryan was born Jan. 12, 1922, in Springfield, Ill., to William Martin Ryan — whose family immigrated to Illinois from Ireland in the 1880s — and Sarah Helen Behrens, whose ancestry predates the Revolutionary War. They had nine children — six boys and three girls. He began drawing before he went to school. "I was 4 years old and drawing airplanes, and an older brother was helping me," Ryan told the Reporter-Telegram in a 2002 interview at the Haley Library's going away party held in his honor. "Those were my first art lessons." He did not decide to be an artist until after his service in World War II. While in the U.S. Navy during the war, he "made quite a bit of money" drawing portraits of his shipmates and other servicemen. After being discharged in 1945, he picked up a Life magazine that carried an article about N.C. Wyeth. "I read the article, and I liked what I read, and I loved the pictures reproduced from his paintings in the article," Ryan said in 2002. "I decided then and there to be an artist." Following his graduation from the American Academy of Art, an education made possible through the GI Bill, he returned to Springfield where he married Jacqueline "Jacquie" Harvey, daughter of a local doctor. She died in 1998. The Ryans moved to New York City where he continued his studies at the Art Students League. During his second year at the Art Students League, he won a contest. His winning painting became the cover for Western writer Ernest Haycox's novel The Outlaw. "Every month after that I also received an assignment from this publisher, and they would be Western novels," Ryan said in 2002. "So that's what I did for the next six or seven years. Then I started exhibiting at the Latendorf Gallery on Madison Avenue. What I sold mainly were the book covers. They would be published and I would get paid by the publisher, and I'd take them to the gallery, and I'd get paid again." Ryan began making trips west in the late 1950s. He would stay three or four months painting, sketching and photographing scenes he'd need later. At that time, his works centered around historical events and places. "I particularly liked to do some of the trail drive things that I did, like the old longhorns," Ryan said in 2002. In the early 1960s, a work by Norman Rockwell and one by Ryan appeared in the same catalog. Rockwell, who was doing the Boy Scouts calendars for Brown and Bigelow, the premiere calendar publishing company in the United States, told the calendar company about Ryan. "The art director gave me a call and asked if I'd like to do a contemporary cowboy...

'The Time of Reflection Fine Art Print ' is a contemporary bird fine art print by contemporary urban artist John Osgoodl. It measures 16 x 12 inches in ...

This artwork titled "Soaking Up" c.1970 is an original lithograph on paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 68/100 in penc...

'Velocity & Vibrancy Fine Art Print' is a hummingbird fine art print by contemporary urban artist John Osgoodl. It measures 10 x 8 inches. This piece is part of a limited edition col...

'Double Happiness Fine Art Print' is a limited edition koi fine art print by street artist Jeremy Novy. It measures 16 x 20 inches in size, with the printed image itself spanning 14 ...

'Circle of Life Fine Art Print' is a limited edition koi fine art print by street artist Jeremy Novy. It measures 16 x 20 inches in size, with the printed image itself spanning 14 x ...

Title: Brown Violet Ear or Petasophora Delphinae. Plate 229 from: A Monograph of the Trochilidae, or Family of Humming-birds. Drawn and lithographed by John Gould, Elizabeth Gould, H.C. Ritcher, and W. Hart. Published by John Gould. Printed by Hullmandel and Walton. London, 1849-61. Lithographs with original hand-color. Medium: Stone lithograph with hand coloring Sheet size: 21.5 x 14 inches Sight Size: 15 x 10.5 inches Condition: Good. This stone lithograph is immediately recognizable as a Gould Hummingbird print...

This artwork titled "Young Loons, 1990 is an original color lithograph by Canadian Inuit noted artist Pitaloosie Saila. 1942-2021. It is hand signed, titled, dated, located, described and numbered 34/50 in pencil by the artist. The subject size is 38.75 x 23.25 inches, sheet size is 44 x 30 inches, framed is 51.75 x 37.25 inches. Custom framed in a metal frame, with grey/blue backing. It is in excellent condition. About the artist: Pitaloosie was born in 1942 on the southwest coast of Baffin Island near what is now the community of Cape Dorset. She spent her childhood years in various hospitals in Quebec and Ontario for treatment of tuberculosis. She learnedEnglish during this time, and recalls the difficulty she experienced in relearning her native language upon her return to Baffin Island in 1957. She is now one of the few of her generation who speak both English and Inuktitut fluently. Pitaloosie began drawing in the early 1960’s, and quickly established herself as a versatile and intelligent graphic artist. Over the years, she has become a familiar presence in the Kinngait Studios, and her work has been included in annual print collections since 1968. Since the late 1960’s, Pitaloosie has made frequent trips to southern Canada to attend exhibitions and conferences. In 1967, she spent several weeks in Toronto while her husband, the well-known sculptor Pauta Saila, participated in an International Sculpture Symposium. Subsequently, she has visited Halifax, Toronto, Ottawa, Kansas City and Vermont. Her work has been featured in solo drawing exhibitions, and in 1977, Canada Post issued a stamp depicting her print, Fisherman’s Dream. Her 1985 lithograph entitled In the Hills represented the Northwest Territories in the centennial celebration of the National Parks of Canada. Amnesty International, the international human rights organization, selected a drawing by Pitaloosie entitled Mother and Child to use for their 1990 Christmas card. She was also one of nine featured artists in the acclaimed exhibition Isumavut: The Artistic Expression of Nine Cape Dorset Women, which opened at the Canadian Museum of Civilization in the fall of 1994 and continues to travel to other venues. Pitaloosie’s husband, Pauta, passed away in Cape Dorset in June of 2009 at the age of 93. In 2004, both she and Pauta were appointed members of the Royal Canadian Academy of the Arts, in recognition of their life’s work and contributions to Canadian art. Selected Exhibitions: • 2019 60/60, Feheley Fine Arts, Toronto • 2016 Pitaloosie Saila: A Print Retrospective, Feheley Fine Arts, Toronto • Toronto • 2003 The Inuit 2004 Sanaasimasiatok/Fine Works: Sculpture from Cape Dorset, Feheley Fine Arts, Icon: Selections from Private Collections, Feheley Fine Arts, Toronto • 1996-1997 Pitaloosie & Pauta, McMichael Canadian Art Collection, Kleinburg, ON • 1994 – 1995 Isumavut: The Artistic Expression of Nine Cape Dorset Women, Canadian Museum of History, Gatineau, QC • 1993 – 1994 Contemporary Inuit Drawings, Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA • 1991 – 1992 In Cape Dorset We Do It This Way: Three Decades of Inuit Printmaking, McMichael Canadian Art Collection, Kleinburg, ON • 1989 – 1991 Kenojuak Ashevak...

This artwork titled "Fish Become Birds" 1999 is an original colors stonecut on thin tissue paper by Canadian/ Inuit artist Kavavaow (Kavavau) Mannomee, b.1958. It is hand signed, titled, located, dated, described and numbered 4/50 in pencil by the artist. The subject size is 16 x 23.25 inches, sheet size is 24.5 x 29 inches. It is in excellent condition. About the artist: Qavavau born in Brandon, Manitoba in 1958 where his mother, Paunichea, was hospitalized for treatment of tuberculosis. He returned to Cape Dorset...

This artwork titled "Lettera Amorosa" 1963, is an original color lithograph on Japan nacre paper by renown French artist Georges Braque, 1882-1963. It is hand signed and numbered 42/...

Artist: Joseph Raffael (American, 1933-2021) Title: New Beginnings Date: 1982 Medium: Color lithograph Sheet size: 33.5 x 31.75 inches Framed Size 38 x ...

This artwork "Birds in the Tree" 1976 is a color offset lithograph by American wildlife artist Thomas Quinn, born 1938. It is hand signed, inscribed Arti...

This artwork titled "Faculty Meeting" c.1990 in an original etching with intensive hand coloring on B.F.K Rives paper by American artist Kelly Detweiler. It is hand signed, titled and numbered E.V 5/8 in pencil by the artist. The image size is 16 x 15.65 inches, sheet size is 24.35 x 22.25 inches. It is in excellent condition, the colors are fresh and bright, has never been framed. About the artist: Born in Twin Falls Idaho, his family immediately moved to Monte Vista, Colorado where he lived until age 12. Many of the idyllic memories of this childhood inform his imagination and enter into his work. Moving from a very small farming and ranching community, he was plunged into the crazed consumer culture of Southern California. He lived in La Mesa, California and watched as the entire face of America changed with Vietnam, rampant divorce, and then the summer of love. He attended Grossmont College and immersed himself in art. Seeking to escape the drug crazed beach culture, he set out for northern California. Kelly attended Cal State University at Hayward where he studied with Mel Ramos, Raymond Saunders, Harold Schlotzhauer, Misch Kohn, Kenji Nanao and Clayton Bailey...

This artwork titled "Feeding the Ravens" 1997 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 29/950 in pencil by the artist. The image size is 9.65 x 8.35 inches, sheet size is 13.85 x 12.25 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

This artwork "Wildcat" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 195/750 in...

This artwork "Cheveaux Tirant une Peniche (Horses pulling a Barge)" c.1920 is an original color etching with aquatint on Wove paper by French artist Ferdinand Jean Luigini, 1870-1943...

This artwork titled "Winter Dream" 1989 is an original stonecut on thin tissue paper by noted Canadian/Inuit artist Pudlo Pudlat, 1916-1992. It is hand signed, titled, dated. describ...

This artwork titled "Rabbit Series #2" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and numbered 7/50 in pencil by the artist. The sheet size is 25.5 x 19.5 inches is in excellent condition. About the artist: Radovan Kraguly...

This artwork "titled "Horses #1" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand signed and numbered 32/275 in pe...

This artwork "Landscape with Deer Herds" c.1970 is an original color lithograph by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand sig...

This artwork "titled "Horses #III" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand si...

This artwork titled "The protectress" 1997 is a original stone cut with stencil on thin paper by noted Canadian Inuit artist Kakulu Saggiaktok, 1940-2020. It is hand signed, titled, ...

This artwork "Woman with Three Goats" c.1960 is an original linocut on thin fiber paper by noted Turkish artist Nevzat Akoral, 1926-2016 It is signed in the plate as issue. The image...

This artwork "titled "Horses #IV" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand sig...

This artwork "Panda" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 37/750 in pe...

This artwork "titled "Horses #II" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand signed and numbered 32/275 in p...

This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...

Artist: Leonor Fini Title: La Grande Parade des Chats (The Great Parade of the Cats) Year: 1973 Medium: Color lithograph Edition: Numbered 1...

This artwork "titled "Horses #V" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand sign...

Prideaux John Selby "Bee Eaters European M&F" Hand Colored Etching c.1820s From Selby's Illustrations of British Ornithology Plate dimensions 15.5" wide x 22.25" high The frame me...

This artwork titled "Dancers" c.1990is a color offset lithograph by noted equine American artist Fred Stone, 1930-2018. It is hand signed in pencil by the a...

This artwork titled "Rabbit Series #3" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches, framed size is 26.75 x 20.75 inches. It is custom framed in a silver metal frame, with white backing. It is in excellent condition. About the artist: Radovan Kraguly...

This artwork titled "Prowling Leopard" 2003 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 64/425 in pencil by the artist. The image size is 26.5 x 35 inches, framed size is 40 x 48 inches. It is custom framed in a gold frame, with fabric matting and green/gold spacer. It is in excellent condition. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne...

This artwork titled "A Tire d'Aile" 1986 is an original color etching with aquatint on Arches paper by French artist Jean Solombre, 1948-2005. It is hand...

This artwork titled "Springtime in the North" c.1980, published 1996, is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. I...

This artwork titled "Beetles II (with electric lamp)" from the suite "Bestiary and some Correspondences" 1968 is an original color lithograph on Arches paper by renown British surrea...

This artwork titled "Pintail" c.1990 is a color lithograph by noted Wild life American artist Christopher Forrest, b.1946. It is hand signed, titled and numbered 86/300 in pencil by the artist. The image size is 17.5 x 22.85 inches, framed size is 27.35 x 32.5 inches. Custom framed in a oak frame, with light brown matting. It is in excellent condition About the artist: Born in Trenton, New Jersey, 1946 Interested in art from the age of 7, Christopher Forrest still speaks fondly of a set of colored pencils presented to him then by his parents; At 11, he won his first award for painting and started exhibiting in galleries. Along with his interest in art grew a keen attraction for the outdoors and the wildlife which thrived there. After considering schooling in art, Chris chose to study civil engineering. Upon graduation from Virginia Polytechnic Institute, Chris began a career as a commissioned officer in the United States Army Corps of Engineers. The Army provided Chris the opportunity to observe wildlife from the swamps of Florida to the lakes of Quebec, in addition to Europe and Viet Nam. In 1973, the Army sent Chris to graduate school at North Carolina State University, at this time Chris started to paint wildlife. Chris resigned from the Army in 1978 and took a position as an artist with Evergreen Publishing Co. He has produced more than thirty original graphic editions for Evergreen. His original graphics are handled by some 350 galleries in North America. He is currently General Manager at Evergreen. His work and articles about his work have appeared in numerous wildlife and art publications. Chris strongly believes in wildlife conservation and is a member of many conservationist organizations. His donated prints have raised a great deal of money for Ducks Unlimited, Newjersey, Audubon and Ward Foundations. In 1980 he realized one of his major professional goals. He was elected to membership in the Society of Animal Artists. "Creating a painting or graphic is an exciting adventure and challenge for me. Starting with the observation of the animal in the wilderness, I then approach the painting with the attitude that it will be my finest work." COLLECTIONS National Academy of Science, Washington, D.C. New Jersey State Museum, Trenton, N.J. Ferrum College, Ferrum, Va. Franklin Mint, Franklin Center, Pa. Parsons, Brinkerhoff, Quade & Douglas, consulting Engineers, N.Y.C. Fine Art Corporation of America, N.Y.C. Central Carolina Bank, Raleigh, N.C. Ward Foundation Museum, Salisbury, Md. New Jersey Audubon Society, Rancocas, N.J. I.B.M., Louisville, Ky. American World Airways (Pan Am), Miami, Fla. Baush & Lomb, Rochester, N.Y. Thermos, Norwich, Conn. Metro-Goldwyn Mayer, Ca. Ford Motor Co., Atlanta, Ga. Chemical Bank, N.Y.C. City Bank, N.Y.C. ONE-MAN SHOWS N.J. State Museum, Trenton, N.J. 1979 Palette Gallery, Cary, N.C., 1973,-74,-77,-78,-79 Lambertville House, Lambertvi lie, N.J., 1975-76 Triangle Art, Trenton, N.J., 1975 INVITATIONAL SHOWS Triangle Art Christmas Show, 1975 Golden Door Gallery Wildlife Show, New Hope, Pa., 1976 Ward Foundation Wildlife Art & Carving Exhibition, Salisbury and Ocean City, Md., 1976,-78,-79 Easton Waterfowl Art...

Artist: Man Ray (American, 1890-1976) Title: Mythologia Moderna II Year: 1969 Medium: Color lithograph Edition: numbered 46/175 in pencil Paper: Arches watermarked Image siz...

This artwork titled "Rabbit Series #1" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches is in excellent condition. About the artist: Radovan Kraguly...

This artwork titled "Rabbit Series #4" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches, framed size is 26.75 x 20.75 inches. It is custom framed in a silver metal frame, with white backing. It is in excellent condition. About the artist: Radovan Kraguly...

Artist: Leonor Fini Title: La Grande Parade des Chats (The Great Parade of the Cats) Year: 1973 Medium: Color lithograph Edition: Numbered 1...

Artist: Marc Chagall (Russian, 1887-1985) Title: From the suite "Les Fables De La Fontaine" Year: 1927 Medium: Original etching Edition: fom...

This artwork titled "Animals Board the Ark" c.1990 is a color lithograph with embossing by noted Israeli artist Amram Edgi b. 1939. It is hand signed, titled and numbered 852/950 in pencil by the artist. It is custom framed in a gold metal frame. It is in very good condition. About the artist: Amram Ebgi was born in Morocco in 1939. He has been considered a visionary whose imagination combines the warmth of sensitive feelings with light and the complexities of life with subtle structure. Devoting his life to art and spending more than 30 years in his Art Studio. Master Printmaker and Sculptor AMRAM EBGI has been creating beautiful Art for decades, bringing the deeply symbolic and beloved images of his rich Jewish Heritage. His intricately detailed masterpieces are bursting with the Colors of Life. EBGI is truly an Ambassador of the Arts, with his exquisite work commissioned by UNICEF; permanently displayed in the Museum Collections of Yale, Princeton and UCLA exhibited by museums and collected worldwide. One Man Shows 1998 (MAY) Ohev Shalom Congregation, Orlando 1998 (MAR) UJA Federation, Miami, FL 1997 (JUN) Turnberry Jewish Center, Aventura, FL 1997 (JAN) International Ketubah Expo, Museum of Florida 1996 (NOV) Schaarai Zedek, St. Petersburg, FL 1996 (FEB) Jerusalem 3000 Celebration, Jerusalem 1994 (SEPT) Fine Arts Gallery, Ardmore, PA 1994 (JUN) Carter Art Exhibition, Paris, France 1993 (JUN) Lucien Krief Gallery, Jerusalem 1992 (NOV) Nuance Art Gallery, Tampa, FL 1991 (JAN) J.C.C. of San Antonio, TX 1990 (MAR) Temple Beth Am, Miami, FL 1989 (DEC) J.C.C. of Houston, TX 1989 (DEC) Gallery Nicole, Sherman Oaks, CA 1989 (MAY) J.C.C. of Central Florida, Maitland, FL 1989 (MAY) Riverdale YM-YWHA, New York 1989 (JAN) J.C.C. of Rockville, MD 1988 (OCT) Memphis J.C.C., Memphis, TN 1988 (AUG) J.C.C. of Central Florida, Maitland, FL Museums Beit Ha-Shoah-Museum of Tolerance, Los Angeles Florida Gulf Coast Art...

John Gould: 1804-1881. British ornithologist who was the British equivalent of Audobon. He produced these incredible books of The Birds of Great Britain and The Birds of Australia am...

This artwork titled "Three Organic Forms" from the suite "Bestiary and some Correspondences" 1968 is an original lithograph on Arches paper by renown Bri...