Unframed Still-life Prints

'1-2 Morchella Esculenta 3.5. Morchella Viridis' Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scientific...

Eight 18th century-era fashion plates from the portfolio Modes, by Madeleine Connat. Paris: Paris Etching Society, 1951. Each an engraving with hand coloring in watercolor on cream ...

Signed and numbered from the edition of 60. Image of a cowboy with an oversized hat. Throughout his 40 year career as an artist, Frank Romero has bee...

Cosmos Color woodcut with gauffage (embossing), January 1940 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: excellent Image size: 14 3/8 x 9 5/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Stramonia Aegyptiaca foetida semine pallido flore albo duplici triplicive...

Silkscreen Image Size H 22 x 22cm Framed Size H 47 x 45cm Edition of 100 Additional information: Screen print on Paper Edition of 100 22 H x 22 W cm (8.66 x 8.66 in) Sold unframed ...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

'Forced Shrubs' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

Bouteille de Vitre (Glass Bottle) is an original stone lithograph by Pablo Picasso, created as part of the first printing from Dans l’Atelier de Picasso. This lithograph, an after (d...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

Jean Navarre , French 1914-2000 was a French oil impressionist.

'1-3 Fistulina Hepatica 4-6 Boletus Chrysentheron' Antique Swiss mushroom / fungi chromolithograph, lithographed by H Furrer after Fritz Leuba. The print is titled with the scientif...

'Azaleas' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

sisterhood , 70x70cm, print on canvas Edition 20 pcs.

sisterhood , 70x70cm, print on canvas Edition 20 pcs.

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

'Hardy Phloxes' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N°4 (double) ...

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...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a proof outside the edition of 50 pri...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. This exquisite still life photo, shows a classy bouquet beautifully lit with soft light...

Poster-Bonsai Exhibition, Miki-San/Our Place, San Diego, September 1982. Published and distributed by Up Front Graphics Inc, San Diego. Printed in Hong Kong....

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Geniculata Wieder Kraief, B. Genipa seu Ganipaba". It is plate 531 in...

'275. Aleuria vesiculosa 276. Otidea onotica 277. Peziza aurantia 278. Mitrula paludosa' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Su...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

'African Boxthorn (Lycium horridum, Thurnberg)' Colour lithograph, 1909. Plate number printed at the top of the image.

Graceful interweaving of plants cucumber and tomatoes on the peach colors background. inspired by designs of William Morris - Limited edition giclee Print - with archival inks o...

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...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Castanea Equina, Chateignier amaire (Horse Chestnut)". It is plate 342 in...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Picasso, Oeuvres 1920-1926, 1926. Published and printed by Éditions ...

Limited edition of 15, fine art print, with a certificate, the item is a part of an alphabet created by Zoltán Salamon. The alphabet remained unfinished. This concretely is letter "S...

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...

Alex Katz Purple Irises on Red 2023 Archival pigment ink print, on Innova Etching Cotton Rag 315 gsm 24 x 30 inches (61 x 76 cm) unframed Signed and numbered edition of 100 Alex Kat...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

Metamorphosis Insectorum Surinamensium, Plate No. 58; Ice Cream Bean Plant, Cloudless Sulphur Butterfly and Caterpillar with Mot...

STILL LIFE WITH PEAR is a rarely seen, hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches paper, 100% acid-free. STILL LIFE WITH PEAR is an engaging miniature interior scene depicting a simple room where a white dish and yellow pear is positioned on a round wood table...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "a. Pisum Minus sine Putamine, b. Pisa Indicum". It is plate 819 in Weinma...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Convolvulus Major Folio Subrotundo Purpureg Albo, B. Convolvulus Major...

Shan Fannin’s 1967 Volkswagen Samba/Kombi Bus is an unframed limited edition giclée print on 230 gsm premium archival matte paper measuring 28 x 28 in (71.12 x 71.12 cm); image size ...

This etching is from my private collection of 20th Century artists. It is original, signed and numbered. Edouard Righetti (1921-2001) was a French post impressionist artist who speci...

Medium: Lithograph on vélin d'Arches paper Year: 1967 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Dunoyer de Segonzac...

Mary Faulconer, American (1912 - 2011) - Herbs on Pink Background, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 20 x 14.5...

This exquisite woodcut after Pablo Picasso (1881–1973) originates from the rare 1955 folio Helene chez Archimede (Helen at Archimedes), illustrations de Pablo Picasso. Published by N...

Lithograph on vélin paper. Paper Size: 9.65 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Léger, Fernand, and Lawrence Saphire. Ferna...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Glutinosum" (Clammy Houseleek), plate 1963, published in London in 1818 in William C...

A contemporary photograph of an AC/DC - Back In Black cassette tape. "They encapsulate an era instantly transporting the viewer to another time." - Destro Printed on Archival Paper...

Signed, titled artist proof. Edition of 135. Like much of his work, Royal Palm has atmosphere of the Mediterranean, but all of the elements are rooted in the artist's neighborhood. ...

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...

Discover a piece of history with our original WW1 antique military poster: Women Of America Work For Victory. This unique piece features a great kitchen de...

Medium: Etching and aquatint Year: 2016 Image Size: 15.5 x 8.25 inches Edition of 15, signed and titled by the artist McCleary was born in Santa Monica, California. He graduated fro...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Esula seu Tithyinalus Africanus SpinosusCera Effigie, B. Esula seu Ti...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

'176. Boletus piperatus 177. Boletus casteneus 178. Boletus bovinus' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Suisse et Belgique," a...

'168. Stropharia squamosa 170. Coprinus comatus Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Suisse et Belgique," an atlas of French, Sw...

'54. Hygrophorus chrysodon 55. Hygrophorus cossus 56. Hygrophorus hypothejus 57. Hygrophorus conicus' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons ...

Lithograph on vélin paper. Paper Size: 12.5 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Calder. Published and printed by Musée National d'A...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 157, 1966. Published by Aimé Maeght, Éditeur, Paris; pr...

Michelle Stuart is an American artist whose work references a range of influences, from history to astronomy and botany, as well as her extensive travels to ancient archaeological sites. Stuart studied in Mexico, France, and at The New School for Social Research in New York. Since the 1960s, Stuart has created a multifaceted body of work including large-scale earth works...