SERIGRAPHS: These are hand made fine art prints. Want to know exactly how they are made, then check out this Wildwood link!

 

GICLEES: Giclée, (commonly pronounced "zhee-CLAY"), is an invented term for the process of making fine art prints from a digital source using ink-jet printing. The word “giclée” (from the French verb gicler meaning "to squirt, to spray"), was originally applied to fine art prints created on Iris printers in a process invented in the early 1990s, but has since come to mean any high quality ink-jet print.

All our giclees are printed on Somerset heavyweight enhanced archival paper. We use Epson Ultrachrome inks. For more information about Ultrachrome inks, go to this link. The giclees are rich and saturated color, with a guaranteed color fastness of 75 years.

The whole idea behind releasing giclee editions is to make Robert's most well-known images available to those who didn't get a chance to buy the serigraphs, which are now sold out. There are also many people who love the images regardless whether or not Robert has signed them.

 

ETCHINGS: The etching process is an incredibly detailed and laborious medium, but it gives a rich and beautiful image which seldom sell for less than $500. You have an excellent opportunity to buy one of Crumb's famous pieces for less than art school students sell their etchings. Click this link to learn how Wildwood's etchings are created.

 

See also: A selection of non-Crumb prints from Wildwood Serigraphs, including Japanese prints, John Tenniel, and a book cover by Lynda Barry.

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ALL ARTWORK IS COPYRIGHT ROBERT CRUMB UNLESS OTHERWISE NOTED



The Official R.Crumb Site
1150 Spaight Street
Madison, WI 53703
alexanderwood@sbcglobal.net

Our current editions of R.Crumb Serigraphs, Etchings and Giclees.
See also SPECIAL OFFERS for rare and out of print editions.

Check WILDWOOD PRINTS for non-Crumb prints by Wildwood Serigraphs.

KEEP ON TRUCKIN

KOT Print

Each year I go through all of Crumb's work looking for images to print as etching editions. Once I get some prospective pieces together, I call him up and we discuss which images we should publish. But this year is the first year that Robert called me and told me he had an image he wanted us to publish as an etching edition. A friend of Robert's had given him a photograph of a blues musician playing on Maxwell Street (Chicago) in the mid-60's. It inspired Robert to do an ink drawing of the photograph. Crumb was so pleased with the way it turned out, he suggested it as the next etching edition.

So we're both very pleased to present the latest Crumb etching edition of 40 prints. It's of the blues busker Blind Arvella Gray. I don't think he was a well-known or famous blues player, although if you Google him some clips do appear. Rather, it's the image itself, and how well Crumb has captured a sunny day in America in the mid-60's.

There are 40 prints in the edition, with an additional 8 Artist's proofs and 3 printer proofs. The paper size is 12" x 13". The embossed area is 8.75" x 8.25". The image size is 8" x 7". None of the prints were customized with a special Crumb nick-name. Each print comes with our guarantee for your complete satisfaction. Release date is Tuesday, September 19th, 2017.

An interesting side note: the store in the background (Radio-TV-Records Mart) had a backroom where Muddy Waters, Little Walter and Jimmy Young all recorded their first demos in Chicago. This according to a web page dedicated to the memory of the store owner, Bernard Abrams.

$420 Each
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SERIGRAPHS

n 2002, Crumb created a new illustration for the cover of The Complete Crumb, Volume 16. This year, he enlarged that drawing (and edited other elements) to create our new serigraph edition. This is an edition of 90 prints using 17 colors. The image size is 12" x 11." The white paper is 19" x 18." Each print comes with a certificate of authenticity and your complete satisfaction or your money back. Signed by Robert Crumb. Below is the copy Crumb wrote for the certificate:

Jelly Roll Morton's Voodoo Curse
This drawing was originally made for the cover of
The Complete Crumb, Volume 16 (2002), which contained a story of the same name, which in turn originally appeared in an issue of Raw Magazine (issue #7, 1985). This story was my graphic adaptation from a segment of the book Mister Jelly Roll by Alan Lomax, published in 1950. In this book, Lomax transcribed Jelly Roll Morton himself telling his own life story, recorded by Lomax for the Library of Congress circa 1940. These recordings of Jelly Roll Morton, in which he intermittently plays tunes on the piano and talks, are now commercially available to the public in a multi-volume set.

Jelly Roll Morton was born in New Orleans in the early 1880's of "Creole" parentage. Morton claimed that he "invented" jazz music in the year 1902. Although an arrogant, overbearing character, Morton was, in fact, a superior musician, composer and band leader. His career culminated in the late 1920's, a period in which he recorded many jazz masterpieces, mostly his own compositions, piano solos as well as small and large band performances.

Morton's supreme self-confidence began to falter around 1930 and bit by bit the trappings of worldly success fell away from him. His music publishing business failed, he suffered loss of prestige among his colleagues, his personal life went all to pieces. He attributed these misfortunes to the "underground forces" of Voodoo – the power of curses, spells, rituals, powders and potions imbued with the psychic power to cause him harm or bring bad luck. New Orleans, where he came from, had a very strong tradition of "Black Arts." Superstition? Who can say? I wouldn't presume.

-- R. Crumb, Southern France, 2014

$340 Each
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In the early 90's, Crumb collaborated with author David Mairowitz to create an "Introducing Kafka" book. However, the original watercolor illustration that Crumb painted for the cover of the book (he sent to England where the publisher was located) was never returned, and has been missing since. This wonderful portrait was used for the first several editions, but subsequently never used again as the publisher went out of business and succeeding publishers had neither the artwork nor films to use that portrait again. I had always admired the skill and beauty of the portrait, but given the book's small size, a reproduction would be nearly impossible. Surely a photographic reproduction (for instance, a giclee print) would only enlarge the mechanical dots that were created in the offset printing process when the book was printed.

But I have taken the many, many hours necessary to enlarge, trace and manipulate (with Photoshop and by hand) all the different shades of green and grey required to recreate this beautiful watercolor into a serigraph edition. 34 colors were used to capture Crumb's watercolor portrait, creating an edition of 120 prints, all numbered, dated and signed by Crumb. He has also titled each piece, under the center of the portrait, "Kafka."

The cream archival rag paper is 11 inches by 16.5 inches.The image size is 8.25" x 10.25". Each print comes with our unconditional guarantee for your complete satisfaction or your money back.

Crumb talks about the illustration:

This portrait of Franz Kafka was done originally in the early 1990s for the cover of a book called Kafka for Beginners, written by my friend David Mairowitz, profusely illustrated by me, and published by Icon Books in England as one in a long series of “for Beginners” books. These books were meant to be an introduction to historically significant figures such as Carl Marx, Sigmund Freud, Charles Darwin, Voltaire and so on. All the books were profusely illustrated by various artists, with minimal text. When Mairowitz first approached me with the proposal that I illustrate his text for the book, I had never read anything by Kafka. I knew nothing about him or his writings. I agreed to take it on mainly because of the $10,000 dollar advance being offered by the publisher. I needed the money, plain and simple.

Then I started reading Kafka, the short stories, the novels. I got deep into it and found myself profoundly identifying with the author. I felt a kinship, a closeness with him, though he died in 1924. It was strange, eerie even, but it made illustrating his work and scenes from his life a much more enjoyable occupation than it might have been otherwise.

In the process of getting so close, so tight with Kafka while graphically interpreting his work, I developed my own theory about his writing. Well who knows? It’s possible that Kafka scholars have come up with the same theory. How would I know? Kafka had a full time desk job in an insurance company office and did his writing mostly at night. He lived at home with his parents, had to get up early to go to work. He was constantly sleep deprived. In his best writing “K” stumbles through a dreamlike world. I think Kafka was probably often very drowsy while he sat at his desk late in the night. He was half asleep, in the hypnagogic state as he wrote. I imagine his head nodding forward, his eyelids heavy, forcing himself to keep writing, the text getting stranger and stranger. The conscious mind when fully awake simply doesn’t allow this kind of free association. Kafka was hip enough to recognize this hypnagogic writing as a good thing, and obviously let it stand as he had written it. Part of what’s called “genius” by society is just the quirky, odd-ball gift some people have of trusting what comes out of their subconscious minds. Not a good quality for getting through life, but good for the art.

- R. Crumb  Southern France  October, 2013

$375 Each
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Wildwood Serigraphs and rcrumb.com are exclusively releasing Crumb's Bijou Funnies #6 as our new signed serigraph edition. First published as a comic by Kitchen Sink in September 1971, Bijou #6 may not be Crumb's most famous cover, but it could be one of Crumb's most historically accurate narratives of the early '70s, a time that transformed Western civilization forever — Women's Lib! Aside from the social significance, which Crumb imbues with his own humor, the graphic implementation of the ray background is unique for Crumb covers, and works nicely with his playful masthead.

Publisher Alex Wood says, "If I had ten bucks every time I heard a customer complain how badly he wanted to buy Crumb's artwork but it wasn't exactly wife-friendly, I'd be flying to Bali first class. But now, here we have a classic Crumb print, and guess what fellas? Now you can finally buy a Crumb print for the wife." You buy it for whatever reason — the reason we printed it is because we like it, it's Crumb, and it's great.

The signed and limited edition of 100 is printed on archival cream paper 20" x 25." The image is 14" x 18." It's a 21 color serigraph, and each print is accompanied by a Certificate of Authenticity.

To read what Crumb wrote for the certificate, visit the latest Crumb on Crumb feature.

$325 Each
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Wildwood Serigraphs is proud to release this 170 print serigraph edition signed by both Robert Crumb and Harvey Pekar. Throughout most of the 1970's, Crumb illustrated many stories written and published by Harvey Pekar (released in his American Splendor comic book). These stories were collected and later published as a book in the mid-1990's, with this image as its cover.

Each Wildwood prints comes with our full guarantee for your complete satisfaction or your money back.

Paper Size: 22" x 30"
Image Size: 14.5" x 20"

$350 Each
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KEEP ON TRUCKIN

KOT Print

Robert Crumb and Wildwood Serigraphs are pleased to announce the release of the limited and signed Keep On Truckin' serigraph edition. This year, 2017, marks the 50th anniversary of the creation of this iconic image (summer of '67). There are 95 prints in this edition, with 10 artist proofs and 3 printer proofs. It was printed with 13 colors using 12 screens. The 100% cotton rag archival paper is 25.5 inches wide and 19 inches tall. The image size is 19" by almost 12". Each serigraph is numbered, signed and dated by Crumb in pencil. He has custom signed several of the prints as well. Each print is accompanied with a certificate of authenticity written by Crumb, and your satisfaction is guaranteed by Wildwood Serigraphs.

SOLD OUT


GICLEES


In 2017, Robert Crumb revised his color rough and design of Robert Johnson, and we carried out his instructions dutifully so now,
finally, he's pleased with his Robert Johnson Hell Hounds On My Trail edition. This giclee edition is printed with archival Epson Ultrachrome inks on Somerset archival paper. The paper is 18 x 24 inches. The image is 14 x 19 inches. The edition sells for $90, the extra ten dollars being collected for royalties due the Delta Haze Corporation. There are 300 prints in the edition, and each one comes with your complete satisfaction or your money back.

$90 Each
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KEEP ON TRUCKIN

KOT Print

For those of you who were not able to purchase the Keep On Truckin' serigraph (it sold out in four days), we're releasing the 50th Anniversary unsigned giclee edition. The image size (21.5" x 12.5") is slightly larger than the serigraph version, and the colors are almost exactly the same. The 24" x 16" archival paper is 255 gram Somerset Velvet. The inks used are also archival - Epson's Ultrachrome ink. There are 300 prints in this edition, and each one comes with our unconditional guaranty for your complete satisfaction or your money back.

$80 Each
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Because of the many requests for this image, we're pleased to release a new giclee edition of San Francisco Comics. Drawn for the cover of San Francisco Comics (#3) in 1970, this image was later used to create a signed limited edition serigraph in 2009. That edition sold out several years ago, and we're now releasing a new unsigned version of it. The giclee edition is slightly smaller with brighter grass and a more pale hippie skin.

300 in the edition. Paper size: 17" x 24". Image size 13" x 18". Printed on Somerset Velvet 255 gram archival paper with Epson archival Ultrachrome inks. Your complete satisfaction is guaranteed.

Paper size: 18" x 26", Image size: 12" x 18"
Edition limited to 160 signed & numbered serigraphs.
Printed on Rives BFK 100% archival rag. Wildwood Serigraphs guarantees your complete satisfaction, or your money back.

$80 Each
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Zap

This cover image was originally printed with three colors (black, process yellow and process blue) in 1968, but a full color serigraph edition was released by Kitchen Sink in 1992. However, Crumb wasn't very happy with the final colors in that print, so he was adamant that his color instructions be closely followed for this new edition. He wanted the top of the image and car to match the original comic cover. Alex tried talking him into putting a light blue, metallic sheen in the radiator, but he wanted it white, so we followed his instructions. The unsigned edition is limited to 300 prints.

The paper is, as always, Somerset Velvet 255 gram archival stock. The inks we use are simply the best inks available — Epson Ultrachrome inks. The paper size is 17" x 24". The image size is 14" x 18.5". Every Wildwood print, is unconditionally guaranteed for your complete satisfaction or your money back.


$80 Each
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Crumb's Twas Ever Thus was originally created and published in 1969, on the back cover of Changes #3, a hippie magazine published in Oakland, California. Soon after, it became more popular when it was printed as a poster. In 2008 we printed this image, with some color revisions, as a signed serigraph edition. Now, based upon that sold-out serigraph edition, we're releasing a new giclee edition of Crumb's Twas Ever Thus. The image size is 15" x 18.5". The Somerset enhanced archival white paper is 18" x 24". The giclee prints are shipped in indestructible tubes. Every print from Wildwood Serigraphs comes with our unconditional guarantee for your complete satisfaction or your money back. Unsigned edition limited to 300 prints.

$80 Each
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The Heroes Of The Blues limited giclee edition has been digitally remastered from the artwork of the serigraph edition published in 2010, which is now sold out. 16 colors were used in that serigraph, the unusually large number of screens being necessary to mix and simulate the colors specified by Crumb. Still, some compromises had to be made due to the nature of the screening process. But with this new giclee edition, each color was matched without any limitations, resulting in a print truer to Crumb's original intentions.

The image size in both editions is the same: 16.5 inches wide by 25 inches tall. The Somerset Velvet 255 archival paper is 22 inches by 29 inches. This paper is white, as opposed to the cream of the serigraph edition, and a cream border is printed on each card.

The unsigned edition is limited to 300 prints, and its color and detail are outstanding. Your complete satisfaction is guaranteed or your money back. If you missed the opportunity to buy a print from the serigraph edition, here is your chance to purchase and enjoy some of Crumb's best portraits, celebrating America's musical heritage.

$90 Each
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In 1982, Crumb created 36 watercolor portraits of early jazz musicians for Yazoo Records, which published them as a deck of trading cards. Thirty years later, Robert has selected 25 of those portraits (listed below) and we present them, arranged 5 x 5, in a new display print titled Early Hot Jazz Greats. Unlike the images in the 2011 Heroes Of The Blues edition, Crumb did not want the jazz portraits printed with a card border. This way, each image is larger, so the subtlety and detail of the watercolors is more apparent. It's also for this reason that we chose the medium of gicleé (inkjet printing) for the edition. Serigraphy would never have been able to capture the beauty and subtlety each portrait possesses. A beautiful, rich and vibrant edition was created, and you have our guarantee for your complete satisfaction or your money back.

There are 140 prints in the edition, plus 14 artist proofs and 3 printer proofs. The white Somerset Velvet Enhanced Matte archival paper is 22" x 30." The image size is 17" x 24", printed with Epson's archival K3 Ultrachrome inks. Each print will be numbered, signed and dated by Robert Crumb in Chicago this week, and the edition will be released on Friday, May 18th. (click image to enlarge)

The Images:

First Row: King Oliver, Thomas "Fats" Waller, "Bix" Beiderbecke, Earl Hines, Coleman Hawkins
Second Row: Jimmy Blythe, Frank Trumbauer, Sidney Bechet, Bennie Mozen, Jabbo Smith
Third Row: "Muggsy" Spanier, Joe Venuti, Louis Armstrong, Mary Lou Williams, Benny Goodman
Fourth Row: Freddy Keppard, Ernest "Punch" Miller, "Jelly Roll" Morton, Jack Teagarden, "Duke" Ellington
Fifth Row: Fletcher Henderson, Johnny Dodds, Eddie Lang, "Tiny" Parham, Jimmy Noone

$380 Each
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In 1971, Crumb wrote and illustrated his Mr. Natural #2 comic book. In 2005, Crumb reworked the cover illustration and it was released as a limited serigraph edition later that year. This limited giclee edition is based upon that serigraph edition with minor changes. There are 300 prints in this hand-numbered giclee edition, printed on Somerset Velvet 255 gram enhanced paper using Epson Ultrachrome archival inks. The white paper is 17" x 24". The image size is 13" x 18-3/4".

Each print has an unconditional guarantee for your complete satisfaction or your money back.

$80 Each
Buy Me

The illustration was originally done in 1975 as a cover for Arcade Magazine No.2, published by Griffith and Spiegelman. In the early 2000s, Crumb reworked the illustration for a French anthology. This reworked illustration was used for a Wildwood Serigraphs edition released in 2005 which sold out in about a year. This giclee edition is based upon that serigraph edition, with a slight modification to the blend, which was made even smoother. All the colors are extremely rich and vibrant. It's one of the most successful giclee prints we've produced. This is the quintessential Crumb image: the appreciation for the beauty of nature; the horror of its cruelty and mercilessness; and of course a sexy female with big legs!

Paper Size: 18" x 24"
Image Size: 13.5" x 19"

Edition limited to 300 giclees. Printed on Somerset Velvet 100% archival enhanced matte. Inks are archival Epson Ultrachrome inks.

Follow this link to read what Crumb wrote for the Certificate of Authenticity which accompanied each serigraph print in 2005.

$80 Each
Buy Me

Mystic Funnies is a new giclee print based on the cover of Mystic Funnies #1, published in 1997, and the sold-out serigraph edition released in 1998.

There are 300 giclees in this limited edition, each one numbered in pencil. The paper is Somerset Velvet 255 gram archival paper. The inks used areEpson Ultrachrome inks.

The paper size is 18" x 24". The image size is slightly larger than 13" x 19". Each print comes with our guarantee for your satisfaction or your money back.

$80 Each
Buy Me

Our latest print is based on R.Crumb's Head Comix, a collection originally published in 1970 by Ballantine Books. (Robert bought his first house up in Potter Valley with the advance for the book.) The famous cover was released as a serigraph edition (200 prints) in 2001. It's been sold out for years, but now we're giving anyone who wants this image the opportunity to buy a new giclee version for only $80.

The giclee edition, again limited to 200 prints, is printed on Somerset Velvet archival paper, using Epson archival Ulrachrome inks. Paper size is 18 inches wide, 24 inches tall. Image size is 15 inches wide by 20 inches tall. All of our prints have a guarantee for your satisfaction or your money back.

$80 Each
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Based upon the serigraph edition of 2004,
Cradle To Grave is enhanced and given a more saturated look. The last panel, with Crumb's supervision, was given a sunset coloring.

There are 300 prints in this edition. each numbered in pencil. The paper size is 17 x 24 inches. The image size is 13 x 19.75 inches. The paper used is Somerset Velvet 255 gram enhanced white archival paper. The inks used are Epson Ultrachrome inks. Both the inks and paper are the best quality available, and R.Crumb.com guarantees your complete satisfaction.

$80 Each
Buy Me

This Fritz The Cat Numbered and Limited Giclee Edition of 300 is based upon the Wildwood Serigraph edition of 2001. It's richly saturated on Somerset Velvet 255 gram archival paper. All of Wildwood's Giclee Editions use Epson's Ultrachrome Inks which have excellent pigment content and density. Using the best paper and inks gives us a beautiful print which we guarantee will completely satisfy you or your money back no questions asked.

Paper Size: 18" x 24"
Image Size: 15" x 19"

$80 Each
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This Robert Crumb giclee print, Footsy, is based on Wildwood's 1994 serigraph edition. This deep, rich, saturated print is guaranteed to satisfy any and all of your expectations. The paper is an archival Somerset Velvet 255 gram paper. The inks used are archival Ultrachrome inks from Epson.

Paper Size: 18" x 24"
Image Size: 14.5" x 20"

$80 Each
Buy Me

We released Crumb’s classic Cheap Thrills as a giclee edition. Each print is from an unsigned edition of 500. We try and sell our giclee prints for $90 each, but as Big Brother and Holding Company and the Estate of Janis Joplin must be paid royalties for the use of their names and likeness, we must increase the Cheap Thrills giclees to $120. The detail and color vibrancy is extraordinary.

Click here for the history of Cheap Thrills.

Paper Size: 23" x 24"
Image Size: 17" x 17"

$120 Each
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This first Giclée edition, printed on Somerset Velvet archival 255 gram paper (100% acid-free cotton), offers the spectacular vibrancy, detail and saturation for which giclée prints are known. There are 500 numbered prints in this The Music Never Stopped edition, each selling for only $90 each.

Paper Size: 22" x 24"
Image Size: 18" x 18"

$90 Each
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We are releasing Crumb’s Harmonica Blues album cover as an unsigned numbered giclee edition. Each print is from a numbered edition of 500. The detail and color vibrancy is extraordinary.

Paper- Somerset Velvet 100 acid-Free Archival White 255 Gram

Paper Size: 23" x 24"
Image Size: 18" x 18"

$90
Buy Me

A new giclee limited edition of one of Crumb's most famous splash pages. This edition is based on the Wildwood Serigraph edition done in 1995, with subtle changes. There are 300 prints in this unsigned, numbered edition, all printed with vibrant, archival Ultrachrome ink. Paper used is Somerset Velvet archival paper.

Your complete satisfaction or your money back.

Paper Size: 17" x 24"
Image Size: 13" x 20"

$80 Each
Buy Me


ETCHINGS

ETCHINGS
LE MONDE SELON CRUMB

rcrumb.com is proud to announce the release of our new Crumb etching edition. This illustration was originally drawn in 1991 as poster for a comic show in Angouleme, France. At the top of the poster are the French words "Le Monde Selon Crumb" which translates to The World According to Crumb. These are some of the characters exploding from his head: Devil Girl, Flakey Foont, Stan Schnooter, a Ruff-Tuff Cream-puff, Fritz the Cat, Patricia Pig, Angelfood McSpade, the Id, Eggs Ackley, Doggo, the Vulture Demoness, Snoid and last but not least, Mr. Natural.

It's interesting that Mr. Natural is saying "Nov Shmoz K' Pop" in this etching because there was speculation that Crumb's Mr. Natural character was influenced by Gene Ahern's character The Little Hitchhiker found in the funny papers in the 1930's and '40's. The Little Hitchhiker would only speak in Slavic-sounding gibberish, and he indeed did say "Nov Shmoz Ka Pop." But after speaking with Robert about this, he told me he was not consciously influenced by Ahern's character when he created Mr. Natural in 1966. According to Crumb, he was drawing in his sketchbook while in Chicago listening to the radio when the DJ referred to someone who wore their hair in the then fashionable "afro" hair style as "Mr. Natural." So many years later, as a joke, Robert drew Mr. Natural saying "Nov Shmoz K' Pop" after he reread Don Fiene's theory (written in his book R. Crumb Checklist) about when and how Mr. Natural was created. Complicated and perhaps unimportant, but I'm just trying to keep everything straight!

This 40 print edition is numbered, signed and dated by Crumb. The white Hahnemuhle paper is 12 by 14 inches. The embossed area is 8 x 9.75 inches. The image is 7 x 8.5 inches. Your complete satisfaction is guaranteed.

SOLD OUT