George Rodrigue

George's Sweet Inspirations

2000

George Rodrigue Angel Baby From the rare limited edition of 150 Original serigraph on paper Hand signed and numbered 2000 20x16 inches MINT CONDITION

Haystack #1, 1969 Lithograph and screenprint on Rives BFK paper Signed, dated and numbered in pencil Publisher: Gemini G.E.L., Los Angeles Literature: Corlett 65

Roy Lichtenstein Reflections on Minerva 1990 Lithograph, screenprint, relief, and metalized PVC collage with embossing on mold-made Somerset paper Signed, numbered, and dated in pen...

Frank Stella b.1936 Sanbornville (from the Eccentric Polygons series) 1974 lithograph and screenprint in colors on Arches 17¼ h × 22¼ w in (44 × 57 cm) Signed, dated and numbered to...

Frank Stella b.1936 Union (from the Eccentric Polygons series) 1974 lithograph and screenprint in colors on Arches 17¼ h × 22¼ w in (44 × 57 cm) Signed, dated and numbered to lower ...

KAWS Untitled from Urge (Grey) From the rare limited edition of 250 Original Screen print on paper Hand signed and numbered MINT Condition

Ed Ruscha (American, born 1937) Insect Slant (Ants), from Reality and Paradoxes, 1973 Medium: Lithograph and screenprint, on Rives BFK paper Dimensions: 55.9 x 76.2 cm (22 x 30 in) E...

Serpentine with Orchids, 2005 Four-color screenprint on Rives BFK. Edition: 50 + 7 artist’s proofs 28 x 22 (paper size) framed by Bark Frameworks. Michael Burton Mazur (1935-August ...

David Shrigley (British, b. 1968) I Hate Human Beings, 2021 Medium: Screenprint in colours, on wove paper Dimensions: 76 x 56 cm (29.9 x 22 in) Edition of 125: Hand signed and number...

Guillaume Corneille Complicite 1980 Print, Signed Lithograph on wove paper 25½ x 19½ " inches Signed in pencil and dated Cat added  by artist As a co-founder of the famed experimen...

'Couture' by Faile, 2022 24 x 26 Inches Archival pigment print on 280gsm Entrada Cotton Rag fine art paper. Limited Edition of 300 Hand-signed by the artist duo bottom right. Artist...

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...