Sam Francis

Untitled, 1984

106.7 X 73 inch

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Cash for Tolls 2 (from Rusty Signs)

Ed Ruscha's Cash for Tolls 1, 2014 mixographia print, features rust-textured surface with bold text in block letters, mimicking a corroded metal sign.

Mixographia print on handmade paper // Cash for Tolls 1 (from Rusty Signs) by Ed Ruscha, created in 2014, is part of the artist’s Rusty Signs series, showcasing his fascination with language and the aesthetic of aged surfaces. This mixographia print on handmade paper gives the appearance of rusted metal, mimicking the texture and color of corroded signs. The phrase CASH FOR TOOLS is etched in bold, block letters, creating a striking visual and conceptual impact. Ruscha’s use of weathered textures and industrial themes contrasts with the everyday language of the sign, inviting viewers to contemplate the mundane and its transformation into art. Limited to an edition of 50 with 10 artist proofs, the work is a testament to Ruscha's ability to blend text, materiality, and conceptual thought, turning the familiar into an object of aesthetic and philosophical intrigue.

Artwork Copyright © Ed Ruscha

Cash for Tolls 1 (from Rusty Signs), 2014

form

Medium

Edition

Mixographia print on handmade paper // Cash for Tolls 1 (from Rusty Signs) by Ed Ruscha, created in 2014, is part of the artist’s Rusty Signs series, showcasing his fascination with language and the aesthetic of aged surfaces. This mixographia print on handmade paper gives the appearance of rusted metal, mimicking the texture and color of corroded signs. The phrase CASH FOR TOOLS is etched in bold, block letters, creating a striking visual and conceptual impact. Ruscha’s use of weathered textures and industrial themes contrasts with the everyday language of the sign, inviting viewers to contemplate the mundane and its transformation into art. Limited to an edition of 50 with 10 artist proofs, the work is a testament to Ruscha's ability to blend text, materiality, and conceptual thought, turning the familiar into an object of aesthetic and philosophical intrigue.

Artwork Copyright © Ed Ruscha

Ed Ruscha

Sponge Puddle, 2015

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Lithograph

USD 42,000 - 50,000

Ed Ruscha

History Kids, 2013

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Ed Ruscha

Wall Rocket, 2013

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Lithograph

USD 70,000 - 80,000

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Zoot Suit, 2014

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USD 15,500

Ed Ruscha

Wen Out For Cigrets N Never Came Back, 2017

Sculpture / Object

Bronze

USD 150,000 - 170,000

Ed Ruscha

Jet Baby, 2011

Limited Edition Print

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Ed Ruscha

Periods, 2013

Limited Edition Print

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Ed Ruscha

GOD, 2010

Limited Edition Print

Photograph

EUR 6,000

Ed Ruscha

Castiron Calendar, 2023

Limited Edition Print

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Ed Ruscha

Now, 1990

Limited Edition Print

Lithograph

USD 60,000 - 70,000

Ed Ruscha

Evil [Not For Sale], 1973

Limited Edition Print

Screen-print

Inquire For Price

Ed Ruscha

Cash For Tolls 1 (from Rusty Signs), 2014

Limited Edition Print

Mixed Media

USD 20,000 - 25,000

Ed Ruscha

Cash For Tolls 2 (from Rusty Signs), 2014

Limited Edition Print

Mixed Media

USD 20,000 - 25,000

Ed Ruscha

Dead End II (from Rusty Signs), 2014

Limited Edition Print

Mixed Media

USD 20,000 - 25,000

Ed Ruscha

Dead End III (from Rusty Signs), 2014

Limited Edition Print

Mixed Media

USD 20,000 - 25,000

Ed Ruscha

For Sale 17 Acres (from Rusty Signs), 2014

Limited Edition Print

Mixed Media

USD 20,000 - 25,000

Ed Ruscha

Sin, 1970

Limited Edition Print

Lithograph

USD 20,000 - 30,000

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Angel, 2014

Limited Edition Print

Lithograph

USD 14,800

Ed Ruscha

Blue Suds, 1971

Limited Edition Print

Screen-print

USD 9,600

Ed Ruscha

Mysteries, 2021

Limited Edition Print

Lithograph

USD 75,000 - 85,000

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Ex Libris, 2018

Limited Edition Print

Lithograph

USD 6,100

Ed Ruscha

Open Book With Worm Holes, 2012

Limited Edition Print

Lithograph

USD 12,000

Ed Ruscha

New Wood, Old Wood, 2007

Limited Edition Print

Mixed Media

USD 13,200

Ed Ruscha

Books, 2001

Limited Edition Print

Photograph

USD 18,000

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What is New Topographics?

New Topographics is a term coined in 1975 by curator William Jenkins to describe a group of photographers whose work focused on formal black-and-white images of urban and industrial landscapes. Jenkins initially described their aesthetic as banal, but the photographers themselves argued that their compositions were as significant as those of natural landscapes, emphasizing the beauty in everyday, man-made environments.

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