Still-life Prints

Image dimensions: 20.6 x 31 cm. Composition is a superb original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly reproduc...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Tulips 2 Lowell Blair Nesbitt, American (1933–1993) Date: ...

Untitled (Poem Flowers) Lowell Blair Nesbitt, American (1933–1993) Date: 1974 Screenprint, signed and numbered in pencil Edition of 29/100 Size: 23.5 x 33.5 in. (59.69 x 85.09 cm)

Paul Sarkisian (1928-) 1971 Green Satchel Lithograph Silkscreen Print on calendred BFK Rives fine art paper. small edition of 12 from Tamarind print workshop with their blindstamp. H...

Photorealist flower screenprint by American artist Lowell Blair Nesbitt, signed and numbered in pencil. Tiger Lily Lowell Blair Nesbitt, American (1933–1993) Date: 1978 Screenprint,...

Artist: Lowell Nesbitt, American (1933 - 1993) Title: Red Poppies Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 175 Image Size: 37.5 x 29.5 inches Paper Size...

Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...

—–---Pyramidal, -------Pyramidalis Plate 366 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

MIGHTY TREE I is an original limited edition lithograph(not a photo reproduction or digital print) printed in black ink from a hand drawn lithography stone using traditional hand lithography techniques on archival Arches paper 100% acid free. MIGHTY TREE I is a naturalistic tree portrait expressed as a three panel, horizontally placed composition. The tree is meticulously drawn using highly detailed pencil markings which create the intricate foliage crown, massive trunk, and multi-fingered roots. MIGHTY TREE I is truly an imaginative, surreal drawing of an uprooted tree that intrigues the viewer's gaze. Superb quality, hand crafted original lithograph, very fine impression. Print size - 21 x 29 inches, unframed, very good condition, pencil signed by Hanna Kay...

Craggula Tree, Crassula cotyledon Plate 384 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Artist: Pierre Bulliard (French, 1742-1793) Title: "Le Pied de Griffon (Griffin's Foot)", "La Laureole (The Laurel)", and "Le Cabaret d'Europe (The European Cabaret)" Portfolio: Herb...

Vervain Three-leaved, Verbena triphylla Plate 367 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Pair of rare Botanical Hand Colored Engravings about 1737-1745 Beautifully framed French hand painted mat, in gold leaf frame each print measure 9.5x14.5 Johann Wilhelm Weinmann (1...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 From the rare additional suite of 100 aside from the edition of ...

Paul Sarkisian (1928-) 1971 Blue Satchel or Mailbag Lithograph Silkscreen Print on calendred BFK Rives fine art paper. small edition of 12 from Tamarind print workshop with their bli...

Artist: Jack Beal, American (1931 - 2013) Title: Buds Year: circa 1975 Medium: Silkscreen, signed and numbered in pencil Edition: 50 Size: 31 in. x 41 in. (78.74 cm x 104.14 cm)

Presse Ludovico Mirri Mercante d’Quadri incontro al Palazzo Bernini a Roma No.42 is from a series of original engravings published by Lodovico Mirri in the late 18th century and engr...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Multicolor Iris Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 35/40 Size: 36 x 25 in. (9...

Bodegon 36 Juan Manuel Gomez-Quiroz, Chilean (1939) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 300, AP 40 Image Size: 25.5 x 17 inches Size: 29 in. x 20.5 ...

Poster. Measures 33 x 27 in. Unframed. Plate-signed. Copyright 1971 New York Graphic Society, Ltd. Printed in USA. Excellent/Good Condition.

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Atraphaxis (Shrub); Cabomba (Carolina Fanwort)" (Hexandrie, Digynie, Plate 265) Portfolio: Histoire Naturel...

Artist: Ben Schonzeit, American (1942 - ) Title: Lamps Year: 1979 Medium: Etching, signed and numbered in pencil Edition: 14/125 Image Size: 19.5 x 17 inches Size: 28 x 25 in. (71.12...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 212, published by Aimé Maeght, Éditeur, Paris; printed ...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Artist: Melanie Greene, American Title: Summer (Blue Corsage) Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 50 Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: Richard Bernstein Title: Diamond Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 200, AP 30 Size: 26 in. x 30.5 in. (66.04 cm x 77.47 cm) Frame Size: 32...

Village herdsman. 1979. Paper, linocut, 19x33 cm imprint size 8x25 cm total page size 19x33cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fict...

This is a hand-colored copper plate engraving entitled "Amaranthus Tricolor", depicting a flowering Amaranthus Tricolor plant from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. Amaranthus tricolor, known as edible amaranth, is a species of flowering plant in the genus Amaranthus. The plant is often cultivated for ornamental and culinary purposes. Cultivars have a striking yellow, red, and green foliage. It is known as Joseph's coat in some areas, after the biblical figure Joseph, who is said to have worn a coat of many colors. Amaranthus tricolor is one of several species of amaranth cultivated in warm regions across the world. This beautiful colorful engraving is printed on thin laid chain-linked paper with very wide margins. There is a short crease in the upper right corner, mild irregularity of the left, right and lower edges and some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.13" high and 17.13" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

RUSS ELLIOTT (American, b. 1932) Poster 28.75 x 35.5 in. Unframed Plate signed Copyright 1974 New York Graphic Society, Ltd. Printed in Switzerland. Good/Fair Condition-indentation...

Artist: Hunt Slonem, American (1951 - ) Title: Anaconda II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 22 Image Size: 26.5 x 18 inches Size: 30 in....

Poster. Measures 28.5 x 35.5 in. Unframed. Copyright 1977 New York Graphic Society Ltd. Printed in Italy. Good Condition.

A lithograph print by Lowell Nesbitt from 1975. A colorful still life that combines both organic and geometric elements. Still Life with Grapes Lowell Blair Nesbitt, American (1933–...

Paul Cezanne Still life, Roses in a vase, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 53.5 x 41.5 cm (c. 21 x 16.5 in) ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Epidendrum Aloe-leaved, Epdendrum aloides Plate 387 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Joan Miro - L'Issue Dérobée - Original Aquatint One plate from Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (D. 687-706; C. books 187) 1974 Dimensions: 36 x 54 cm Ed...

Personnages undated lithograph, artist proof (E.A) & signed by the artist 20,5 x 27,9 x 0,1 cm sold without frame about Jean Hélion (April 21, 1904 – October 27, 1987) Jean Hélion ...

Herbiers undated lithograph, artist proof (E.A) & signed by the artist 20,5 x 27,9 x 0,1 cm sold without frame about Jean Hélion (April 21, 1904 – October 27, 1987) Jean Hélion was...

One plate from the illustrated book Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 Original prints by Joan Miro (C. books 187) Edition: 220 Individual images are unsigne...

Hand signed, dated and numbered by the artist. From the Six Still Lifes Series. Lithograph and screenprint on rives BFK paper. Co-published by Multiples, Inc. and Castelli Graphics, ...

Artist/Designer; Manufacturer: Andy Warhol (American, 1928-1987) Marking(s); notes: signed; ed. 236/250; 1974 Materials: screenprint hand-colored with Dr. Martin's aniline watercolor...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Editi...

Joan Miro Miro Abstract Lithograph Artist: Joan Miro Plate III from “Miro Lithographs I” Medium: Lithograph on Rives vellum Year: 1972 Image Size: 10" x ...

An image that originally appeared in an astrological calendar for the year 1766. Tokyo: Shuei-Sha, 1766. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 in...

Calla Lily Jack Brusca, American (1939–1993) Date: 1978 Screenprint, signed and numbered in pencil Edition of 200, AP 30 Image Size: 23.5 x 23.5 inches Size...

6 x 6.5 inches, image 14.88 x 11 inches, paper 22.63 x 20.13 inches, frame Offset lithograph after the original drawing Framed to conservation standards using 100 percent silk-lined rag matting and museum glass, housed in a gold cassetta-style moulding with a gilded fillet insert Marc Chagall was born in Liozno, near Vitebsk, now in Belarus, the eldest of nine children in a close-knit Jewish family led by his father Khatskl (Zakhar) Shagal, a herring merchant, and his mother, Feige-Ite. This period of his life, described as happy though impoverished, appears in references throughout Chagall's work. The family home on Pokrovskaya Street is now the Marc Chagall Museum...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 from the rare Suite on Moulin Richard de Bas Paper Catalogue rai...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 (from the rare Suite) Catalogue raisonné: Michler-Löpsinger 778-...

Fine Art Print Hahnemuehle, editioned, Giovanni Battista Piranesi print in Verlag von AD Lehmann in Wien, end of the 19. century, SalamonArt certificate will be included.

Artist: James Sowerby (English, 1757-1822) Title: "Glaucium Violaccum (Violet Horned-Poppy)" (Vol. 3, Plate 201) Portfolio: English Botany; or, Coloured Figures of British Plants Year: 1794 (First edition) Medium: Original Hand-Colored Engraving on cream wove paper Limited edition: Unknown Printer: J. Davis...

Printer’s ink from rubber stamp on vélin de Rives BFK paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publishe...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe III Year: 1977 Edit...

Charles Pachter (b. 1942) is one of the most collected and cherished Canadian artists. His iconic, uplifting, and patriotic images have independently earned their place in the nation's museums and the Canadian art canon. The barn, along with Queen Elizabeth and the Moose, forms a triad of icons that Charles Pachter has repeatedly visited over the course of his career. Playful and a touch irreverent, Pachter's charming imagery presents a new narrative on Canadiana. The artist’s vast body of work includes painting, sculpture, printmaking, and drawing. Pachter’s works are widely sought-after and are an ideal selection for starting or continuing a collection of 20th-century Canadian art. Pachter's confident colors, sharp lines, and graphic qualities are instantly recognizable and continue to be a mainstay throughout his oeuvre. Here with an image of the classic TTC (Toronto Transit Commission) streetcars, this work epitomizes Pacther’s version of Canadian Pop Art...

This is an original antique colored botanical mezzotint and line engraving of flowering Red Sweet Peas which is finished with hand-coloring. It is entitled "Lathyrus Flore Majore Pur...

Paul Cezanne Still life, Fruits and wine, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 41.5 x 53.5 cm (c. 16.5 x 21 in) ...