Small Still-life Prints

: Original Andy Warhol Poster, Perrier sparkling water, 1983 (horizontal format). Description: The poster features three Perrier bottles seemingly floating in the air. The design is ...

Artist: Roy Lichtenstein Title: Spray Can Portfolio: 1¢ Life Medium: Lithograph on white wove paper Year: 1963 Edition: 1762/2000 Frame Size: 21 1/4" x 19 1/4" Sheet Size: 16" x 11 1...

Screenprint Edition of 30/100 45.4 x 52.8 cm (17.9 x 20.8 in) Signed, numbered, dated and titled on the front Artwork in excellent condition. Minor imperfections may appear due to th...

This is a hand-printed photograph using the 170-year-old cyanotype process. This is a negative (reversal of the dark and light tones) of the original photograph of a branch of a magn...

Artist: Mark Adams (American, 1925-2006) Title: Pink Poppy Year: 1980 Medium: Color aquatint Paper: Wove Image size: 11.25 x 8.5 inches Sheet size: 18 x 13.5 inches Framed size: 20....

"Elvis by Warhol " is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many ...

Artist: Alexander Calder Medium: Lithograph Title: Untitled from Derriere le Miroir #173 Portfolio: Derriere le Miroir #173 Year: 1968 Edition: Unnumbered Signed: Unsigned Sheet Size...

Lithograph in Colours on Vélin d'Arches paper. Edition: 350, plus proofs. Signed in the plate by the artist; hand signed in pencil by the printer, Fernand Mourlot. Good Condition; ne...

David Lee, Chinese (1944 - ) - White Orchid, Year: 1981, Medium: Poster, Size: 19 x 15 in. (48.26 x 38.1 cm), Description: Soft and bright, this rendering of flowers by David L...

Silkscreen on Mylar. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Published by the Wadsworth Athene...

The portfolio consists of six screen prints on Lenox museum board. Each hand-signed and numbered. Each print is unique. Printed by Rupert Jasen Smith, New York. Published by Andy War...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With one 1.5 inch inch tear across the area of the top-left corner, well outside of image area. Handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXXI, CXXII, CXXIII, & CXXIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold and stitch perforations, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From...

Erhu is a signed and numbered time-limited edition of giclée prints. The erhu, or spike fiddle, typically has two strings, but the instrument being played here is missing a tuning sp...

Signed lower right, in graphite, 'K. Suguira' for Kazutoshi Sugiura (Japanese, born 1938) and dated 1992. Titled lower left, in Kanji, 'Hanashōbu' (J...

Image dimensions: 24.5 x 33.5 cm. Bottles Composition is an original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly repr...

Printed on Canson Rag paper with the finest archival inks, these giclee prints offer a beautiful, affordable alternative to the originals. Offered fully framed complete with TruVu co...

UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 3 silkscreen layers and matte silkscreen varnish 60 × 50 cm Edition of 100 hand-signed and numbered by the arti...

Four magnificent copper engraved plates with hand-colour from "Hortus Eystettensis", one of the earliest and most famous works in the field. [Nuremberg and Eichstatt, 1640]. The Hortus Eystettensis is a pictorial record of the flowers grown in the greatest German garden of its time, that of Prince Bishop of Eichstatt, Johann Conrad von Gemmingen. The garden was begun by Joachim Camerarius in 1596 and, after his death in 1598, completed by Basil Besler...

Engaging French etching of dinner party scene, 1963. Signed lower right. 78/115 Original artwork on paper displayed on a white mat with a gold border....

This is a hand-colored copper plate engraving entitled "Ptarmica Vulgaris (Sneezewort), Papaver Spinosum (Mexican Poppy), Chrysocame Peregrina (Seaside Strawflower)", depicting flowering Sneezewort, Mexican Poppy and Seaside Strawberry plants respectively 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. This beautiful colorful engraving is printed on thin laid chain-linked paper. The left margin is thinner than the others and the left edge is somewhat irregular where the engraving was previously bound in the original publication. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 20" high and 16.38" 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...

Cedar (small), 2022 Screenprint on Somerset Velvet Antique 280gsm hand-signed and numbered 47.5 x 38 cm 52 x 45 cm - framed Edition of 150 To commemorate Ai Weiwei’s gift of a tree ...

Georgia O'Keeffe, Red Poppy poster, with Friendship Quote, 1987 "Still - in a way - nobody sees a flower - it is so small - we haven't time- and to see takes time, like to have a fr...

Jules CAVAILLES Fruits and Flowers on Red Background Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 33 x 50 cm (c. 13 x 20 in) Excellent cond...

This 17th century hand-colored engraving of a lemon entitled "Limon Lavrae", plate 219 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aureorum Cultura Etu...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 69-7...

Original Vultee "Vengeance" World War II, 1942, vintage spotter airplane poster. Original linen-backed U. S. Naval Aviation Training Division, Nov.,...

Original colored lithograph of a seaside village done in a post modernist style. Edition 46/175 in pencil lower left margin. Signed in pencil by the artist lower right margin. Circa...

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 with some folding and foxi...

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. This print is signed, numbered, dated, and...

Five Lemons A Pear and Egg : Fruits and Flowers Suite 1994 Print - Screen Print Paper size 22.75'' x 21.75'' inches Image size 12" x 12" inches Edition: signed in pencil, titled, d...

This is a rare 17th century engraving of a plant entitled "Citamerdu" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 21 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Citamerdu plant, also known as Tinospora cordifolia plant or Amrita and Guduchi. It is a deciduous plant with heart-shaped leaves, greenish flowers, and pea-shaped fruits. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper, watermarked with an elaborate crown design. The sheet measures 15.75" high by 18.75" wide. There is a central fold, as issued. There are a few small spots, but the print is otherwise in excellent condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van...

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...

This is a hand-colored copper plate engraving depicting Ranunculus (Persian Buttercup) flowers 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. This beautiful colorful engraving is printed on thick laid chain-linked paper. There is latin text on the verso. There are central horizontal creases and two small holes on the right and another in the left lower corner. It is otherwise in excellent condition. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

This is a hand-colored copper plate engraving entitled "Orobanche, Cicuta Maxima, Sparganium (Bur Reed, Water Hemlock, Broomrape) ", depicting a flowering Bur Reed, Water Hemlock, Broomrape plants 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. This beautiful colorful engraving is printed on thin laid chain-linked paper with wide margins. There us spotting and some discoloration, most prominently in the upper and lower margins. There is irregularity and some loss along the right paper edge. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 21.5" high and 17.25" 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...

Gorgeous still life lithograph of a a vibrant purple Iris made in the 1930's by artist unknown in the style of Georgia O'Keeffe.

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. This print is signed, numbered, dated, and...

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) ...

Masami Iwata, 'Flowers and Ko-Imari', color woodblock print, c. 1960, edition 250. Signed, and with the artist’s seal, lower right. A superb, painterly impression, with fresh colors,...

Artist: Nathaniel Wallich (Danish, 1786-1854) Title: "Salvia cana (Woolly Sage)" (Plate 116) Portfolio: Plantae Asiaticae Rariores; or, Descriptions and Figures of a Select Number of Unpublished East Indian Plants Year: 1830-1832 Medium: Original Hand-Colored Lithograph on J. Whatman paper Limited edition: 254 Printer: Engelmann, Graf, Coindet & Co., London, UK Publisher: Richard Taylor for Treuttel & Würtz, London, UK Reference: Nissen BBI No. 2099; Pritzel No. 9957; Stafleu-Cowan No. 16583; Dunthorne No. 326 Sheet size: 21.13" x 14.25" Condition: Some scattered tiny handling creases to sheet. Has been professionally stored away for decades. In excellent condition with strong colors Rare Notes: Provenance: private collection - Aspen, CO. Lithography by Maltese artist...

This is a hand-colored copperplate engraving entitled "Tulipa viridiscoloris, Fritillaria iuncifolns, Allium Vrsinum" depicting flowering tulip, fritillary and wild garlic plants fro...

This is a hand-colored copper plate engraving entitled "Chamemelum Romanum flore simplici (Chamomile), Cincus Sativus (False saffron, Safflower), Chamaemelum Romanum Flore (Roman Chamomile)", depicting flowering Chamomile, Safflower and Roman Chamomile plants respectively 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. This beautiful colorful engraving is printed on thin laid chain-linked paper with wide margins. There are a few small spots and some irregularity of the lower edge. There is some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.25" high and 17.38" 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...

Original WWII poster: Food Is a Weapon Don't Waste It!. Professional acid-free archival linen backed and ready to frame. Fine condition. Food is a weapon. Don't waste it! Buy wi...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Artist: Donald Sultan Title : Yellow Peppers   1993 Medium: Print - Screen Print Paper size : 22.75'' x 21.75'' inches Image size : 12" x 12" inches Edition: signed in pencil, title...

In "Still Night", Frederick Mershimer depicts a row of brownstone houses on Seventh Avenue near Flatbush Avenue between Park and Stirling Places. Mershimer remembers that as he was ...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

This framed hand-colored engraving entitled "February Bouquet" is from 'The Twelve Months of Flowers' by Henry Furber, published in London in 1730 by Robert Sayer and John King. Each of the twelve hand-colored engravings in the book were produced from paintings by Pieter Casteels (1684-1749) and engraved by Henry Fletcher (1710-1753). The book featured twelve detailed engravings of seasonal plants in bloom in the form of a bouquet. More than 400 different species of flowering plants were included with each plant numbered and accompanied by a list of the corresponding species names. Thirty-five species of flowers are depicted in this engraving in a bouquet sitting in an ornate attractive bowl. A few of the flowers lie loose on a table. The flower species are listed in a table in the lower portion of the plate, along with the month that these flowers are in bloom. This colorful print is presented in a gold-colored wood frame with a cream-colored double mat with a heather green inner mat. The frame measures 23.5" High, 19" wide and 1.63" deep. There are a few small frame abrasions, but the print is in very good condition. Robert Furber...

Joan Miro - L'Issue Dérobée - Original Aquatint 1974 Dimensions: 36 x 54 cm Edition: 220 Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187) Biography Joa...

This is a hand-colored copper plate engraving depicting flowering "Hyosciamus albus and Hyosciamus vulgaris" (Henbane) plants from Basilius Besler's landmark work, Hortus Eystettensi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 148, 1964. Published by Aim...

This lithograph is part of my private collection of School of Paris era artists. Eve Jean 1900-1968 was French and her work is very detailed and colorful. It is approved by the artis...

Artist: Ben Shahn, American (1898 - 1969) Title: Unexpected Meetings from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 1...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 85-86, 1956. Published by A...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Lithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris;...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 115, 1959. Published by Aim...

A hand-colored copper plate engraving depicting flowering "Melocactos" (Turk's Cap Cactus or Mother-in-law's Cushion), "Rosa Hiericontea aperta" (Rose of Jericho Unfolded), "Rosa Hie...