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Still-life Prints For Sale
Period: 19th Century
Period: 18th Century and Earlier
Still Life - Etching by Carlo Oraty - 18th Century
Located in Roma, IT
Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century.
Signed on the plate.
Good conditions.
The etching belongs to the p...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Still Life - Etching by Giacomo Casanova - 18th Century
Located in Roma, IT
Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Giacomo Casanova in the 18th Century.
Signed on the plate.
Good conditions.
The etching belongs to ...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Still Life - Etching by Giovanni Morghen - 18th Century
Located in Roma, IT
Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Morghen in the 18th Century.
Signed on the plate.
Good conditions.
The etching belongs to ...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Still Life - Etching by Nicola Fiorillo - 18th Century
Located in Roma, IT
Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century.
Signed on the plate.
Good conditions.
The etching belongs to t...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Oil Lamp to Hang - Etching by Filippo de Grado - 18th Century
Located in Roma, IT
Oil Lamp to Hang is an Etching realized by Filippo de Grado (1705-1780).
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità ...
Category
18th Century Old Masters Still-life Prints
Materials
Etching
Surgical Objects and Oil Lamp - Etching by Nicola Vanni - 18th Century
Located in Roma, IT
Surgical Objects and Oil Lamp from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century.
Signed on the plate.
Good conditions with some ...
Category
18th Century Old Masters Still-life Prints
Materials
Etching
Ancient Roman Still Life - Etching by Niccolò Cesarano - 18th Century
Located in Roma, IT
Still Life from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Cataneo in the 18th Century.
Signed on the plate.
Good conditions.
The etching be...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Ananus Sclvestris ( Pineapple ) N. 110 mezzotint engraving with hand coloring
Located in Paonia, CO
Johann Wilhelm Weinmann
Ananus Sclvestris ( Pineapple ) N. 110
mezzotint engraving with hand coloring
paper size 15.50 x 9.50
image size 13 x 8.25
Ananus Sclvestris ( Pineapple ) N....
Category
1730s Still-life Prints
Materials
Mezzotint
Vase de Fleurs - Etching by Louis Lemaire - 1870s
Located in Roma, IT
Vase de Fleurs is an original artwork realized by Louis Lemaire in 1870. Original etching on paper.
Artist's proof, before letter.
Good conditions, e...
Category
1870s Still-life Prints
Materials
Etching
Ancient Roman Statues - Original Etching by Niccolò Vanni - 18th Century
Located in Roma, IT
Ancient Roman Statues, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by Nicolò Vanni in the 18th century.
Signed on the plate....
Category
18th Century Modern Still-life Prints
Materials
Etching
Ancient Roman Fresco - Original Etching by Francesco Cepparuli - 18th Century
Located in Roma, IT
Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by Cepparuli after Nicolò Vanni in the 18th century.
Signe...
Category
18th Century Modern Still-life Prints
Materials
Etching
Lantana aculeata (Common Lantana) /// Pancrace Bessa Flower Plant Botanical Art
Located in Saint Augustine, FL
Artist: (after) Pancrace Bessa (French, 1772-1846)
Title: "Lantana aculeata (Common Lantana)" (T.6. No. 38)
Portfolio: Traité des Arbres et Arbustes que l'on Cultive en France en Ple...
Category
Early 1800s Old Masters Still-life Prints
Materials
Watercolor, Engraving
Group of Eight Exotic Fruit.
Located in London, GB
[CHINESE SCHOOL].
Group of Eight Exotic Fruit.
19th century, c.1880.
Group of eight watercolour and gouache pith papers of Exotic Fruits, edged in turquoise silk ribbon and laid ...
Category
1880s Naturalistic Still-life Prints
Materials
Watercolor
GALLESIO. A Group of Six Grapes.
Located in London, GB
Six hand-coloured plates of Grapes, printed in colour and finished by hand. Framed and glazed, overall size: 42.5 by 57.5cm. Pomona Italiana Ossia Trattato Degli Alberi Fruttiferi...
Category
1810s Naturalistic Still-life Prints
Materials
Handmade Paper, Engraving
Antiche urne cinerarie e lampade
Located in Roma, IT
From the Piranesi's series “Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal cav. Gio. Batt. Piranesi pubblicati l’anno MDCCLXXIIX” (1778). Antiche urne cinerarie e lampade" is an artist proof, printed on contemporary laid paper, large margins, representing antique marble cinerary urns - “found into antique graves...
Category
1770s Old Masters Still-life Prints
Materials
Etching
Corn-flag Copper coloured, Gladiolus securiger Plate 383
Located in Columbia, MO
Corn-flag Copper coloured, Gladiolus securiger Plate 383
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Cassia corymbosa (Argentine senna) /// Pancrace Bessa Flower Plant Botanical Art
Located in Saint Augustine, FL
Artist: (after) Pancrace Bessa (French, 1772-1846)
Title: "Cassia corymbosa (Argentine senna)" (T.6. No. 32)
Portfolio: Traité des Arbres et Arbustes que l'on Cultive en France en Pl...
Category
Early 1800s Old Masters Still-life Prints
Materials
Watercolor, Engraving
Set of Four Color Engravings from "Herbier de la France" by Pierre Bulliard
Located in Saint Augustine, FL
Artist: Pierre Bulliard (French, 1742-1793)
Title: "La Gratiole Officinale (Grace of God)", "La Digitale Jaune (Yellow Foxglove)", "La Renoncule Acre (Acre Buttercup)", and "La Cheli...
Category
1780s Old Masters Still-life Prints
Materials
Laid Paper, Engraving, Intaglio
Set of Two Hand-Colored Lithographs from Roscoe's "Monandrian Plants" /// Botany
Located in Saint Augustine, FL
Artist: William Roscoe (English, 1753-1831)
Titles: "Hedychium Glaucum" and "Zingiber Elatum"
Portfolio: Monandrian Plants of the order Scitamineae, Chiefly Drawn from Living Specime...
Category
1820s Victorian Still-life Prints
Materials
Watercolor, Lithograph
Abolboda; Elodea (Waterweeds); Lepidosperma (Hoary Rapier-Sedge) /// Botanical
Located in Saint Augustine, FL
Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788)
Title: "Abolboda; Elodea (Waterweeds); Lepidosperma (Hoary Rapier-Sedge)" (Triandrie Monogynie, Plate 905)
Portfoli...
Category
1740s Naturalistic Still-life Prints
Materials
Watercolor, Engraving, Laid Paper, Intaglio
Brunfelsia American, Brunfelsia americana Plate 393
Located in Columbia, MO
Brunfelsia American, Brunfelsia americana Plate 393
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Marvel of Peru Common, Mirabilis jalapa Plate 371
Located in Columbia, MO
Marvel of Peru Common, Mirabilis jalapa Plate 371
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Cyrilla Scarlet-flowered, Cyrilla pulchella Plate 374
Located in Columbia, MO
Cyrilla Scarlet-flowered, Cyrilla pulchella Plate 374
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
19th century color lithograph still life vase flowers
Located in Milwaukee, WI
The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly.
16 x 11 inches, artwork
22.5 x 18.25 inches, frame
Entitled bottom center
Signed in the stone, lower left "Lith. and Pub. by N. Currier"
Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y."
Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249
Framed to conservation standards using 100 percent rag matting, housed in a lemon gold moulding.
Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton.
A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America.
Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper.
In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business.
The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’
Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier.
Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published.
The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years.
In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death.
The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day.
Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives.
In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss.
Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife.
Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends.
Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production.
Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes.
Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier).
Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907.
Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey.
In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...
Category
1840s Romantic Still-life Prints
Materials
Watercolor, Lithograph
Lonicera Pyrenaica (Pyrenean honeysuckle) /// Pierre-Joseph Redouté Botanical
Located in Saint Augustine, FL
Artist: (after) Pierre-Joseph Redouté (French, 1759-1840)
Title: "Lonicera Pyrenaica (Pyrenean honeysuckle)" (No. 15 page 53)
Portfolio: Traité des Arbres et Arbustes que l'on Cultiv...
Category
Early 1800s Old Masters Still-life Prints
Materials
Watercolor, Engraving
Glaucium Phoenicium (Red Horned-Poppy) /// James Sowerby Botanical Flower Plant
Located in Saint Augustine, FL
Artist: James Sowerby (English, 1757-1822)
Title: "Glaucium Phoenicium (Red Horned-Poppy)" (Vol. 7, Plate 1433)
Portfolio: English Botany; or, Coloured Figures of British Plants
Year...
Category
Early 1800s Victorian Still-life Prints
Materials
Watercolor, Engraving, Intaglio
“The Graduate” Fine Art Print by Laurent Durieux Lithograph Pop Art Contemporary
Located in Draper, UT
Size: 36,5 x 30 cm / 14,37 x 11,81 inches
Limited Edition of 206/300
Signed and numbered by Laurent Durieux
Category
15th Century and Earlier Pop Art Still-life Prints
Materials
Lithograph
Set of Three Hand-Colored Lithographs from Roscoe's "Monandrian Plants"
Located in Saint Augustine, FL
Artist: William Roscoe (English, 1753-1831)
Title: "Phrynium Myrosma", "Costus Maculatus", and "Kaempferia Galanga (Aromatic Ginger)"
Portfolio: Monandrian Plants of the order Scitam...
Category
1820s Victorian Still-life Prints
Materials
Watercolor, Lithograph
Toad-flax Clammy, Antirrhinum viscosum Plate 368
Located in Columbia, MO
Toad-flax Clammy, Antirrhinum viscosum Plate 368
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Roella Prickly, Roella ciliata Plate 378
Located in Columbia, MO
Roella Prickly, Roella ciliata Plate 378
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Fig-marigold Showy, Mesembryanthem spectabile Plate 396
Located in Columbia, MO
Fig-marigold Showy, Mesembryanthem spectabile Plate 396
1797
Hand-colored etching
Ed. 1st ed.
9 x 5.25 inches
Category
1790s Naturalistic Still-life Prints
Materials
Etching
Sizgium Jambolanum ( black plum ) 'Fleurs, fruits..... by Hoola van Nooten
Located in Paonia, CO
Sizgium Jambolanum is from the 'Fleurs, fruits et feuillages choisis de la flore et de la Pomone de l' Ile de Java peints d'après nature' by Berthe Hoola Van Nooten...
Category
19th Century Realist Still-life Prints
Materials
Lithograph
POITEAU/TURPIN. Traité des arbres fruitiers: A Set of Four Apples
By POITEAU, A. and P. TURPIN.
Located in London, GB
POITEAU, A. and P. TURPIN.
Traité des arbres fruitiers: A Set of Four Apples
H. Perronneau for T. Delachausée, Paris, 1807-1835.
A set of Four Apples, fine stipple-engrave...
Category
Early 1800s Naturalistic Still-life Prints
Materials
Engraving, Handmade Paper, Watercolor
Kaempferia rotunda, antique botanical purple orchid flower engraving
Located in Melbourne, Victoria
Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Engraving
Marica caerulea, antique botanical purple flower engraving
Located in Melbourne, Victoria
Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Engraving
Gesneria Cooperi, antique botanical red flower engraving
Located in Melbourne, Victoria
Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Engraving
"The Country Stable" 18th Century Antique Mezzotint Engraving by William Ward
Located in Carmel, CA
"The Country Stable" After a painting by George Morland. 1763-1804. - Mezzotint engraving by William Ward. 1766-1826.
Print: 20.75" x 26" - With Frame: 28.5" x 34"
Published: March...
Category
Late 18th Century Realist Still-life Prints
Materials
Engraving, Mezzotint
Bouquet of Flowers
By Cornelis Ploos van Amstel
Located in New York, NY
A supberb impression of this extremely scarce and early color etching after Jan van Huysum. With the artist's ink stamp.
Category
1770s Dutch School Still-life Prints
Materials
Etching, Color
Ferns - Platycerium Alcicorne, antique fern botanical colour woodblock print
Located in Melbourne, Victoria
Antique 19th century fern colour woodblock by Benjamin Fawcett after AF Lydon. From Edward J. Lowe’s 'Ferns: British and Exotic', 1867.
Accompanied by a sheet of descriptive text.
...
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Lithograph
Geaster Hygrometricus, Leuba antique mushroom fungi food chromolithograph print
Located in Melbourne, Victoria
'1-7 Geaster Hygrometricus 8-14 Bovista Nigrescens'
Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scient...
Category
Late 19th Century Naturalistic Still-life Prints
Materials
Lithograph
Agaricus Campestris, Leuba antique mushroom fungi food chromolithograph print
Located in Melbourne, Victoria
'Agaricus Campestris'
Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scientific na...
Category
Late 19th Century Naturalistic Still-life Prints
Materials
Lithograph
Craterellus Clavatus, Leuba antique mushroom fungi chromolithograph print
Located in Melbourne, Victoria
'Craterellus Clavatus'
Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scientific n...
Category
Late 19th Century Naturalistic Still-life Prints
Materials
Lithograph
Cyrilla Pulchella Scarlet-Flowered Cyrilla /// English Botanical Flower Print
Located in Saint Augustine, FL
Artist: William Curtis (English, 1746-1799)
Title: "Cyrilla Pulchella Scarlet-Flowered Cyrilla" (Vol. 11, Plate 374)
Portfolio: The Botanical Magazine; or, Flower-Garden Displayed
Ye...
Category
1790s Victorian Still-life Prints
Materials
Watercolor, Engraving, Intaglio
Onicidium Phymatochilum, antique orchid botanical lithograph print, 1860
Located in Melbourne, Victoria
'Onicidium Phymatochilum – Wart-tipped Phymatochilum'
Orchid lithograph with original hand-colouring , 1860, by Walter Hood Fitch (1817-1892).
25cm by 1...
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Lithograph
Araucaria Excelsa (Norfolk Island Pine), antique Australian botanical lithograph
Located in Melbourne, Victoria
Araucaria Excelsa - Norfolk Island Pine, native to Norfolk Island, Australia.
From 'Flore des serres et des jardins de l'Europe' by Charles Lemaire an...
Category
Mid-19th Century Naturalistic Still-life Prints
Materials
Lithograph
Antique Italian Copper Engraving - Male Statue with Snake
Located in Houston, TX
Fine antique copper line engraving of a Roman style male statue, reaching an outstretched arm towards a snake, circa 1850.
Original artwork on paper displ...
Category
19th Century Still-life Prints
Materials
Ink, Paper
Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, ...
Located in Fairlawn, OH
Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, and the Russselet de Rheims, or Gross Russelet varities).
Aquatint, engraving with some st...
Category
Early 1800s English School Still-life Prints
Materials
Aquatint
“The Graduate” Fine Art Print by Laurent Durieux Lithograph Pop Art Contemporary
Located in Draper, UT
Size: 36,5 x 30 cm / 14,37 x 11,81 inches
Limited Edition of 206/300
Signed and numbered by Laurent Durieux
Category
15th Century and Earlier Still-life Prints
Materials
Lithograph
Baccharis (Baccharises); Chrysocoma (Golden Bitter Bush) /// Botanical Botany
Located in Saint Augustine, FL
Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788)
Title: "Baccharis (Baccharises); Chrysocoma (Golden Bitter Bush)" (Syngenesie; Polygamie, Plate 698)
Portfolio: His...
Category
1740s Naturalistic Still-life Prints
Materials
Intaglio, Laid Paper, Watercolor, Engraving
Ballota (Horehound); Marrubium (White Horehound) /// Botanical Botany Plants Art
Located in Saint Augustine, FL
Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788)
Title: "Ballota (Horehound); Marrubium (White Horehound)" (Didynamie, Gymospermie, Plate 508)
Portfolio: Histoire N...
Category
1740s Naturalistic Still-life Prints
Materials
Watercolor, Engraving, Laid Paper, Intaglio
Heinrich Ulrich after Paul Mair, Guard of Emperor Rudolph, Soldier, Landsknecht
Located in Greven, DE
Heinrich Ulrich (aka Heinrich Ullrich) (fl.1567–1621)
“Soldier with Hellebarde”, 1598, out of the series, “The Guard of Emperor Rudolph” (aka “Old German Soldiers...
Category
16th Century Renaissance Still-life Prints
Materials
Engraving
Still Life Fresco - Etching by Vincenzo Campana - 18th Century
Located in Roma, IT
Still Life Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Vincenzo Campana in the 18th Century.
Signed on the plate.
Good conditions with slight foldin...
Category
18th Century Modern Still-life Prints
Materials
Etching
Roman Temple With Shepard - Etching by Giussepe Aloja - 18th Century
Located in Roma, IT
Roman Temple With Shepard from "Antiquities of Herculaneum" is an etching on paper realized by Giussepe Aloja in the 18th Century.
Signed on the plate.
Good conditions and aged wit...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Roman Style Still - Etching by Carlo Oraty - 18th Century
Located in Roma, IT
Roman Style Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century.
Signed on the plate.
Good conditions and aged with some...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Tragic Mask Pompeian Style - Original Etching by Nicola Fiorillo - 18th Century
Located in Roma, IT
Tragic Mask Pompeian Style from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century.
Signed on the plate.
Good conditions.
The etch...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Roman Still Life Fresco - Original Etching - 18th Century
Located in Roma, IT
Roman Still Life Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Various Authors in the 18th Century.
Good conditions.
The etching belongs to the print ...
Category
Late 18th Century Old Masters Still-life Prints
Materials
Etching
Oil Lamp to Hang - Etching by Filippo de Grado - 18th Century
Located in Roma, IT
Oil Lamp to Hang is an Etching realized by Filippo de Grado (1705-1780).
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità ...
Category
18th Century Old Masters Still-life Prints
Materials
Etching
Oil Lamp With Decoration - Etching by Filippo de Grado - 18th Century
Located in Roma, IT
Oil Lamp With Decoration is an Etching realized by Filippo de Grado (1705-1780).
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le An...
Category
18th Century Old Masters Still-life Prints
Materials
Etching
Still-Life Prints and Other Still-Life Wall Art for Sale on 1stDibs
As part of the wall decor in your living room, dining room or elsewhere, original still-life prints and other still-life wall art can look sophisticated alongside your well-curated decorative objects and can help set the mood in a space.
Still-life art, which includes work produced in media such as painting, photography, video and more, is a popular genre in Western art. However, the depiction of still life in color goes back to Ancient Egypt, where paintings on the interior walls of tombs portrayed the objects — such as food — that a person would take into the afterlife. Ancient Greek and Roman mosaics and pottery also often depicted food. Indeed, popular still-life prints often feature food, flowers or man-made objects. By definition, still-life art represents anything that is considered inanimate.
During the Middle Ages, the still life genre was adapted by artists who illustrated religious manuscripts. A common theme of these still-life paintings is the reminder that life is fleeting. This is especially true of vanitas, a kind of still life with roots in the Netherlands during the 17th century, which was built on themes such as death and decay and featured skulls and objects such as rotten fruit. In northern Europe during the 1600s, painters consulted botanical texts to accurately depict the flowers that were the subject of their work.
While early examples were primarily figurative, you can find still lifes that belong to different schools and styles of painting and printmaking, such as Cubism, Impressionism and contemporary art.
Leonardo da Vinci’s penchant for observing phenomena in nature and filling notebooks with drawings and notes helped him improve as an artist of still-life paintings. Vincent van Gogh, an artist who made a couple of the most expensive paintings ever sold, carried out rich experiments with color over the course of painting hundreds of still lifes, and we can argue that Campbell’s Soup Cans (1961–62) by Andy Warhol counts as still-life art.
Still-life art enthusiasts and collectors of Warhol prints have lots of reasons to love the cultural icon — when Warhol brought the image of a Campbell’s soup can out of the supermarket and into the studio, in 1961, he secured his legacy as a radical contemporary artist. After Warhol painted the soup cans, he realized that he could more readily achieve the mass-produced aesthetic he was seeking with silkscreens, also called screen-prints, and he began experimenting with silkscreening on canvas. He used the technique to print paintings of Coke bottles and dollar bills (both in 1962), as well as his treasured Brillo box sculptures (1964).
When shopping for a still-life print, think about how it makes you feel and how the artist chose to represent its subject. When buying any art for your home, choose pieces that you connect with. If you’re shopping online, read the description of the work to learn about the artist and check the price and shipping information. Make sure that the works you choose complement or relate to your overall theme and furniture style. Artwork can either fit into your room’s color scheme or serve as an accent piece. Introduce new textures to a space by choosing an oil still-life painting.
On 1stDibs, the collection of still-life prints and other still-life wall art includes works by Jonas Wood, Alex Katz, Nina Tsoriti and many more.