Oversized Still-life Prints

Large scale black and white stunning abstracted floral still life with sweeping brushstrokes and draped cloth. Lush and painterly composition for minimalist, contemporary and modern ...

Artist: Knox Martin, American (1923 - ) Title: Flowers 3 Year: 1981 Medium: Screenprint on Heavy Hand-Made Paper, signed in pencil Edition: 300, HC Paper Size: 42 x 30 inches Prin...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Three Irises on Yellow Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 200 Image Size: 15.25 x 36 in...

Unframed. Two 40h x 26w inch monotypes. Signed on the back by the artist. Images of the prints framed are just to give a sense of how much wall they would cover once framed with a...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Lilium Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 30 x 39 inches Size: 37 x 45...

A colorful still-life etching of Pomegranates and pips on a table by Canadian artist, Norman Laliberte. The print is hand-signed and numbered 61/99 in pencil. The image measures 35 x...

This charming large-scale 1973 screen print depicting various English cookies in sharp, masterful detail by Marc Foster Grant (American, b. 1947) is perfect for a bakery or biscuit l...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Flowers Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 85/200 Image Size: 24 x 40 inches...

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...

Christian Furr How My Heart Sings- Jouissance Green - Blue Glissando Speculo I, 2022 Hand-finished monoprint, Acrylic paint with diamond dust on canvas Signed verso Dated 10 Jan 2023...

Adored by collectors and art lovers around the globe, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-makin...

Monotype 44 x 30.5 inches unframed 47 x 34 inches framed

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

A series of ghostly Morning Glory blooms set against a rich black background. These moon-toned flowers are rendered as a screenprint by Lowell Blair Nesbitt. This print is signed and...

Artist: Ray Charles White (Canadian 1961 - ) Title: Lillias Year: 2005 Medium: Screenprinted Enamel on Anodized Aluminum (Nine Panels), each signed ...

Buds Color lithograph, 1980 Signed, titled, and editioned in pencil by the artist Publisher: Art Matters Printer: Bud Shark, Shark's Ink, Lyons, CO Condition: Excellent Image: 31-1/8 x 41-1/4" (79 x 104.7 cm.) "An Abstract Expressionist when he left the Art Institute of Chicago in 1956, Beal has since become a dedicated realist who sees art as a potentially powerful moral force. He has great regard for Platonic ideals of truth, beauty, and goodness, and admires both the realism of seventeenth-century Dutch painting and the compositional authority of Renaissance art. Since moving to New York in the late 1950s with his wife, painter Sondra Freckelton, Beal has painted still lifes, portraits, and landscapes, although in recent years his most ambitious undertakings have been large-scale allegories and myths. In describing his approach, Beal calls himself a "life painter" and says he is committed to human over aesthetic concerns. Yet his intricate complexes of figures and surface patterns, along with his adroit handling of space, reveal his sophisticated, accomplished sense of composition. Virginia M. Mecklenburg Biography Jack Beal (1931-2013) was born and raised in Richmond, Virginia. He briefly attended the College of William and Mary, studying biology, but dropped out after two years. A decision to take evening art classes lead to his attending the Art Institute of Chicago, where he studied from the old masters in the Institute’s collection and with Isobel Steele MacKinnon, a student of Hans Hoffman. His classmates there included Red Grooms, Richard Estes, Claes Oldenberg and Robert Barnes, and while abstract expressionism remained “the only valid way to paint,” it was a style that all would eventually reject. In 1956 Beal left the Art Institute and moved to New York with the aim of finding success as a painter, eventually becoming one of the first artists to settle in the SoHo neighborhood. A turning point came in 1962 when, spending the summer in upstate New York, Beal decided to begin painting outdoors. Dissatisfied with abstract painting, he “wanted to give Art one more try” and in working from nature “fell in love with painting all over again.” Over the next few years Beal worked toward a balance between expressionistic paint handling and realistic, narrative pictures. Clement Greenberg’s pronouncement around this time, that the figure was no longer a valid subject was taken as a challenge by many artists, Beal included. His subsequent adoption of the female nude - modeled by his wife, the artist Sondra Freckelton - was a break-through. Though the paintings retained the sensuousness of his earlier canvases, the rigorous formality of their composition and the masterful treatment of light and shadow offered a new approach to realist painting. Indeed, Beal was not alone in this transformation; friends and colleagues in New York were coming to similar conclusions and the group, who included painters such as Philip Pearlstein, Alfred Leslie, Yvonne Jacquette, Alex Katz, Jack Tworkov, Nell Blaine and Fairfield Porter, would eventually be considered the ‘New Realists.’ With the resurgence of figurative painting, Beal distinguished himself for his skillful handling of color and modeling as well as what was later described as his “pushing of representational forms to their interface with abstraction”. Through the later half of the 1960s, while his subject matter remained unchanged, his paintings were increasingly given over to wide areas of flat color. In 1969, he exhibited a series of Table Paintings which, with their hard-edge style and near complete abstraction of the form, were a radical departure for Beal. So radical in fact, he was accosted by fellow realist painters Alfred Leslie and Sidney Tillim, who berated him “for betraying realism and betraying [himself], for moving away from ‘the true path’.” The incident had its intended effect and Beal did return to a more naturalistic and humanistic style, eventually abandoning the nude in favor of increasingly allegorical portraits. In 1974, the United States General Services Administration commissioned Beal to produce a series of murals for the U.S. Department of Labor headquarters in Washington D.C. The result was The History of Labor, four, 12 x 13 foot paintings in the vein of George Caleb Bingham, each illustrating a century of American development. Following the completion of the murals in 1977, Beal continued to make use of narrative in his paintings, with portraiture and self-portraiture as a means of exploring moral and didactic themes. He and Sondra had purchased an old mill in upstate New York in 1974 and after extensive renovations, it became their permanent residence. Unsurprisingly, many of his later paintings are pastoral scenes based on his rural surroundings or still lives including flowers which they grew on the property. In 1986, Beal was commissioned by the Art in Transit Initiative to create a large-scale mural as part of the redevelopment of the Times Square Subway Station. The proposed mosaic mural, The Return of Spring, took over fifteen years to complete, with the two, 7 x 20 foot sections finally installed in 2001 and 2005. Together they update the Greek myth of Persephone with a New York setting, showing her abduction by Hades, initiating the arrival of winter, and her release, bringing the bountiful return of spring. Beal was a founder of the Artist’s Choice Museum, New York and the New York Academy of Art as well as the recipient of numerous grants and awards, including honorary degrees from the Art Institute of Boston and the Hollins College...

Howard Hodgkin Tropical Fruit, 1981 Colour screenprint on Velin Arches paper, signed with initials, dated and numbered 69/100 in pencil 78.5 x 93.8 cm - Sheet 91.4 x 106.3 cm - Frame...

Many places, many times intermingle in the work of Roberto Juarez. His life is so much a part of his work, that each new body of work introduces subjects, styles and motifs that see...

Monotype 47 x 34 inches framed

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works exploring the botanical splendor of Italian flowers with highly detailed captures Flora Italiana ( Waratah Red ) 64 x 48 inches (162 x 122cm) signed edition of 7 40 x 30 inches (102 x 76cm) signed edition of 25 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ___________________ About the artist Linda Rosewall’s artistic path was cemented during her childhood. She was inspired by her farther, an accomplished musician and composer who raised his six children as a performing family act. The experience of traveling the United States and Canada in a small airplane piloted by her father provided the opportunity for Linda to capture these moments on her small Kodak Instamatic Camera. At the age of 18, she enrolled at Columbia College of Fine Arts Chicago. During her studies, Linda apprenticed under photographer Norman Bilisko and later worked with Dennis Manarchy...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensely beautiful body of works exploring the botanical ...

For Gene Swenon (State II) is an aquatint etching on paper, 22.75 x 39.75 inches, signed 'Rosenquist' and dated 1978 lower right; numbered 67/78 and titled lower left. From the edit...

Six pinhole camera Chromogenic prints (Each unique) Signed and dated, verso 24 x 20 inches, each 24 x 120 inches, overall $10,000.00 + $1500.00 mounting/framing This artwork is offe...

Artist: Alex Katz Title: Peonies (from Flowers Portfolio) Year: 2021 Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper Edition: 86/100; signed and num...

This print depicts the famous view from Manhattan’s Rockefeller Centre, including the Empire State Building nestled amongst the New York skyline. Clare Halifax, is available online and in our gallery with Wychwood Art. Clare Halifax is offering exclusive Cotswold screen prints with Wychwood Art as well as scenes of London and Oxford. Clare Halifax graduated from the University of Loughborough in 2000 with a BA Hons in Printed Textile design...

Artist: Scott Sandell, American (1953 - ) Title: Club Montauk Medium: Mixed Media on Thin Wove Paper, signed, titled Size: 57.5 x 37 in. (146.05 x 93.98 cm)

Allan Forsyth MAGNOLIA ANGELIC Limited Edition Floral Print Archival Chromagenic Photographic Print Edition of 25 Artwork Size: H 76cm x W 228cm x D 2cm Diasec Framed and Ready to Ha...

Niagara Ellen Lanyon, American (1926–2013) Date: 1989 Lithograph, signed and numbered in pencil Edition 38/50 Size: 31.5 x 47 in. (80.01 x 119.38 cm)

Artist: Judy Rifka, American (1945 - ) Title: Still Life Year: 1986 Medium: Woodcut, signed and numbered in pencil Edition: 13/46 Image: 29 x 21 inches Size: 37 x 28 in. (93.9...

Artist: David Nguyen, Vietnamese, (1977- ) Title: Flowers Fifteen Year: 2008 Medium: Lithograph, Signed and Numbered in Pencil Edition: AP 3/17 Size: 36 x 24 inches Frame Size: 41 ...

Oil on aluminium bespoke commission. A statment floral piece to be the focal point of any large wall. Helen Brough paintings available at Wychwood Art online and in the gallery. Hel...

Double Poppies Aqua 2025 
Color silkscreen with enamel inks, flocking and sand on Rising 4-ply museum board 
Sheet size: 52.5 x 30 inches (133 x 76 cm)
 Image size: 48.5 x 26 inches ...

21" x 43" Unframed Limited Edition Giclee Artist Proof of 75 Hand Signed by Thomas Arvid

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Bluebird Year: 1981 Medium: Serigraph, Signed and Numbered in Pencil Edition: AP 5/25 Image Size: 27.5 x 35.5 inches Fram...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Yellow Flowers Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 32 x 40 inch...

Artist: Alex Katz Title: Goldenrod (from Flowers Portfolio) Year: 2021 Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper Edition: 86/100; signed and ...

Artist: Alex Katz Title: Azaleas on Yellow (from Flowers Portfolio) Year: 2021 Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper Edition: 86/100; sig...

AS FAR AS A VISTA, is part of a series of works that consider the decorative and escapist role of the landscape in the home. When seeking beauty in the world to distract us, delight ...

AS FAR AS A VIEW, is part of a series of works that consider the decorative and escapist role of the landscape in the home. When seeking beauty in the world to distract us, delight us, and bring us into our own world, we seek something that stirs within us a memory or a dream. Traditionally, tapestries are a storytelling media as well as décor. This particular work is constructed from commercially printed tapestries acquired from a Chinese supplier during the pandemic. These tell a story of arrested, yet ample, desire. On one side of the piece we see a sunrise from a beach with palm trees. Gently folded over to the right is a second tapestry. In this the artist has chose to expose the desaturated backside which obscures slightly the third tapestry landscape of beach scene around midday. It brings to mind the passage of time much like time lapse photography...

Title: Butinage Size: 97x130 cm (without frame) / $3,000 - 112x144cm (with frame) / $3,400 Printed art print on Epson printer with Epson pigment inks. This art print is the number ...

Hamburger, Jorg/Georg Staehelin. Kunstoff-Objekte 1860-1969, 1984 " Offset.

This photograph captures the timeless beauty of an aged 18th-century Italian fresco painting. The artwork features potted orange trees, their vibrant green foliage and citrus fruits providing a striking contrast. Set against the backdrop of an expansive Italian countryside, the landscape unfolds with rolling hills and distant vistas. The significance of the orange trees in the fresco is deeply rooted in the historical context of 18th-century Italy. During this period, the cultivation of citrus fruits, including oranges, became a symbol of prosperity and luxury. Italy, with its favorable climate, was a prime location for cultivating oranges, and their presence in frescoes often represented affluence, abundance, and the beauty of the Italian landscape. Fidel Santos...

Enhance your collection with this exquisite pair of 19th-century Neoclassical black and white etchings by the renowned Italian artist Giovanni Battista Piranesi. These highly detaile...

1918. Color lithograph. On Linen. Julius de Praetere (Jules de Prater) was a Belgian painter, graphic designer, university lecturer and publisher in the field arts and textile de...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity t...

Poster. Measures 23 x 41.5 in. Unframed. Copyright New York Graphic Society. Printed in Switzerland. Image is in Good Condition. White border has significant signs of wear due to age...

Adored by collectors and art lovers around the globe, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-makin...

"Fast Sketch Still Life with Abstract" abstract serigraph of a bowl of fruit with flower by artist Tom Wesselmann. Published by International Images. Printed by Steve Maiorano, Scree...

Untitled (Nr. 0951) Black & White Photography 36" x 44" in Ed. 1/12 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culm...

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–...

Artist: Alex Katz Title: Red Dogwood 1 from Flowers portfolio Year: 2021 Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper Edition: 100; signed and nu...

Etching, aquatint and sugarlift print of a Still-Life on a table. Edition of 100.

"Untitled (Nr. 0983)" Black & White Photography 36" x 44" Ed. of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culm...

Black Triangle (State I) is an aquatint etching with pochoir on paper, 22.75 x 39.75 inches, signed 'James Rosenquist' and dated 1978 lower right; numbered 33/78 and titled lower le...

Still Life – But Not as We Know It 5 is one of a series of 12 unique color variations of this title. The digital pigment print with diamond dust on canvas is signed and titled on the...

This elegant work by Fidel Santos captures a delicate antique Renaissance wood carving of white lilies. Despite the visible signs of aging—cra...

This work of art is not a photo and not a painting, Joe Doyle, who passed away this year, was a digital master that created this image in which he uses digital mapping and his exten...

"The Gloves Left Behind 33 of 138" (2019) by Sophy Brown is an original mixed media collage on paper depicting a collection of gloves at different angles a...

"The Gloves Left Behind 27 of 138" (2019) by Sophy Brown is an original mixed media collage on paper depicting a collection of gloves at different angles a...

44" x 14.5" Unframed Limited Edition Giclee Artist Proof of 95 Hand Signed by Thomas Arvid