Pencil More Prints

Artist: Roy Lichtenstein Title: Modern Head #5 Portfolio: Modern Head Series Medium: Embossed graphite with Strathmore die-cut paper overlay Date: 1970 Edition: 52/100 Frame Size: 29...

Sam Francis Untitled Abstract Expressionist print for the 1984 Olympics, 1982 Offset Lithograph on Parsons Diploma Parchment paper, hand signed with COA from publisher for Olympic Co...

Robert Bechtle '68 Oldsmobile, 1969 Color lithograph on wove paper. Unframed, with original label from the 1971 San Francisco Art Institute Centennial E...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

From the surface, the artwork of Edgar Plans appears playful and innocent with his “animal heroes” populating graffiti-inspired compositions in whimsical s...

Signed and numbered lithograph poster from the "Penergy" show in 1980 by Futzie Nutzle (American, b. 1942). Signed "Nutzle" on the right side and numbered "4/50" on the right. Presented in a simple metal frame with glass. Image size: 22.25"H x 17.25"W Artist Bruce Kleinsmith became Futzie Nutzle in 1967. Over the decades since, the NUTZLE signature came to signify a certain kind of drawing: crisp, decisive, often only a few lines without background on a white page. The lines describe a unique perspective on life—perhaps a view from that uncommon brain hemisphere from which Nutzle becomes Everyman and the view becomes simple. Born in Cleveland, raised in a blue collar town in Ohio, Kleinsmith worked as a laborer, tried on the art life in New York then arrived in the late 1960s in Santa Cruz where he and two friends, “henry humble” and “Spinny Walker,” tried to change the face of the modern cartoon. They reported every morning to their hippie home office, a converted chicken coop across from Dominican Hospital, and drew their alternative paper, The Balloon. From 1975 to 1980 Nutzle’s drawings appeared on the letters page of Rolling Stone. “Everyone then was working vertically, I began to work horizontally, because after all that’s the way we see things.” At the time, the only place for a horizontal drawing...