1980s Still-life Prints

This black and white mezzotint is in an edition of 30. It is titled, numbered #1/30 and signed in pencil. Holly Downing is a painter and printmaker who has been making mezzotint e...

Signed, titled and numbered by the artist, edition of 30. This Imaginary building shows the move toward more elaborate landscape images Houtin started doing in the early 1980's. Fr...

Artist: Lowell Nesbitt (1933-1993) Title: Rose Year: 1980 Edition: 160/250, plus proofs. Medium: Silkscreen on Arches paper Size: 24.75 x 21.75 inches Condition: Good Inscription: Si...

Cosmic Flowers is an original hand drawn lithograph by Peter Max printed using traditional hand lithography techniques on archival Arches paper, 100% aci...

Artist: (after) Jim Dine (American, 1935-) Title: "Cape and Islands Chamber Music Festival (Jade Plant Still Life)" Series: Cape and Islands Chamber Music Festival Posters (First sea...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, Hommage à Aimé et Marguerite M...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Guitare Verre et Bouteille". The original painting was completed in 1919. In the 1970's afte...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

This is an artist's proof (xv/xv) of an early telephone that is signed and numbered by the artist in pencil Schkolnyk was born in Paris, France in 195...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Le Bouquet". The original painting was completed in 1958. In the 1...

Bernard BUFFET Small blue primrose Stone lithograph (printed in Mourlot workshop) Printed signature in the plate On Arches vellum c. 8 x 6" (20 x 15 cm) REFERENCE : Catalog raisonn...

Artist: Arman, French (1929 - 2005) Title: Manches de violons bleus Year: 1987 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: EA Image: 14 x 13.25 i...

Still Life is a screen print realized by the Italian artist Gianni Testa in 1986. Hand-signed  by the artist on the lower right. Numbered on the lower left. Edition 121/150. Very g...

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...

Carol Wax's "Singer Needle" is a mezzotint issued in an edition of 100. It was originally designed to illustrate the step by step mezzotint process in the Abrams publication: "The Mezzotint: History and Technique" authored by Carol Wax. It is FIROS #44 in the catalogue raisonne. This impression is #98 out of 100 Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

A bright and vibrant still life by pop artist Hunt Slonem. The silkscreen print is hand-signed and numbered in pencil, nicely framed. Spell III by Hunt Slonem, American (1951) Date:...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, Hommage à Aimé et Marguerite M...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Artist: Ralph Goings, American (1928 - 2016) Title: Unadilla Diner Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: AP 30 Image Size: 21 in. x 26 in. (53.34 cm x...

Homage to Jean Cocteau is a beautiful brown-ink lithograph on paper, realized in 1987 by the Italian artist Giancarlo Limoni. Hand-signed, dated, and titled "Omaggio a Cocteau/Limon...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Three Irises on Green Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 40 Image Size: 20 x 44 inche...

David Gilhooly (1943-2013) De Kooning Take Home Pizza, 1988 10 color lithograph on wove paper Edition 39/60 Signed and dated lower right Editioned and titled lower left Published by ...

Purpura and Dragon, Op. 211, Diamond drypoint by Jakob Demus. Demus said of this print: ""I found the shell in Naples, the Taoist dragon was inspired by the famous handscroll by Chen...

Carol Wax's mezzotint, "Made in China", explores the irony that glass, a transparent material alters perceptions of reality. This is the first instance in which Wax explores that iro...

Limited edition monochrome cyan drypoint etching of a potted plant and door by Barbara Cohn (American, 1923-2019). Numbered ("2/25"), titled ("Still Life with Door"), and hand signed...

Featuring two men seated at the counter of a diner, Ralph Goings’s depiction of a classic American establishment can be viewed as a prime example of photorealism. Although both figur...

Art nouveau style illustration by Curtis G. Leonardo (American, b. 1960). A rose with a few leaves sits in a wineglass, with a pencil at the base. The composition is slightly abstracted, with geometric shapes creating a backdrop for the still life. This piece has an art nouveau style, with heavy transparent outlines to the objects. Numbered, titled, signed, and dated along the bottom edge: 6/15 Simple Delight Curtis G. Leonardo '81 Presented in a new grey mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 15"H x 11"W Curtis G. Leonardo (American, b. 1960) grew up in San Leandro...

Wayne Ensrud, American (1934 - ) - Untitled Flowers 17, Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Edition: I/I, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

Wayne Ensrud, American (1934 - ) - Wildflowers (on Yellow) 2, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: I/I, Image Size: 29.5 x 20.5 inches, S...

Wayne Ensrud, American (1934 - ) - Blue Table (variation), Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

Wayne Ensrud, American (1934 - ) - Blue Bouquet, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 27 x 22 inches, Size: 30 in. x 2...

Wayne Ensrud, American (1934 - ) - Blue Table, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Size: 35.5 in. x 25 in. (90.17 cm x 63.5 cm)

Wayne Ensrud, American (1934 - ) - Blue Table 2, Year: circa 1980, Medium: Lithograph with Hand Coloring, signed in pencil, Size: 35.5 in. x 25 in. (90.17 cm x 63.5 cm), Descripti...

David Lee, Chinese (1944 - ) - Magnolias (13), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, C, Size: 29 x 21 in. (73.66 x 53.34 cm), Descr...

David Lee, Chinese (1944 - ) - Irises (17), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29 x 21 in. (73.66 x 53.34 cm), Description...

David Lee, Chinese (1944 - ) - White Bird and Flowers (12), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 21 x 29 in. (53.34 x 73.66 ...

David Lee, Chinese (1944 - ) - Locust Tree Flowers (15), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm)...

David Lee, Chinese (1944 - ) - White Peonies, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 59/275, Size: 25.5 x 20 in. (64.77 x 50.8 cm), Descr...

David Lee, Chinese (1944 - ) - Tiger Lilies, Year: 1981, Medium: Poster, Size: 19 x 15 in. (48.26 x 38.1 cm), Description: Vibrant and hazy, this rendering of flowers by David ...

Lorna Patrick, American - Courtyard Garden, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Size: 31 x 42 in. (78.74 x 106.68 cm), Description: L...

David Lee, Chinese (1944 - ) - Magnolias (19), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, C, AP, Size: 21 x 29 in. (53.34 x 73.66 cm), D...

David Lee, Chinese (1944 - ) - Bamboo, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm), Description: Da...

David Lee, Chinese (1944 - ) - Tropical Dream, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 21 in. x 29 in. (53.34 cm x 73.66 cm), Description: David Lee's beautiful depiction of Japanese plum blossoms...

Carol Wax's mezzotint, "Apple Peeler II", shows the simple tool influenced in part by Yves Tanguy. It was created in 1992 an edition of 50. This image is...

This beautiful monoprint by the noted San Francisco artist Gary Bukovnik (1947-) has a wonderful energy borne of bright colors and bold gestures. It is a beautiful abstract composition, improvisational, yet balanced and harmonious. The work measures 23.5”x9.75” the image, 29.5”x15.5 the sheet and 32.75”x18.75” framed. The print is signed and dated in the lower margin, “Gary Bukovnik 1987”. The print is mounted and floating on a linen backing, framed in a bleached wood frame and protected by Plexiglas. It is in excellent condition. The frame and Plexiglas are in fair-to good condition, with one very small chip on the left bar of the frame, which I have shown in the final photograph, as well as a few very light scratches in the Plexiglas (not over the image).. This exceptional art would look beautiful in a variety of settings – home or office. Born and educated in Cleveland, Gary Bukovnik has lived in San Francisco for more than a third of a century. Primarily using the media of watercolor, monotype, and lithograph, Bukovnik fuses sensual vitality with fluid yet powerful colorations, creating floral and culinary images of great depth, intensity, and size. In 2003 and 2005, invited Bukovnik was Visiting Artist at the American Academy in Rome in 2003 and 2005 and was an artist-in-residence at the Michigan Institute of Arts in Kalamazoo in 2010, as well as making a tour of exhibitions and watercolor demonstrations across Japan in 2010. Solo exhibitions include Caldwell Snyder...

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...

Artist: Ron Kleemann (1937-2014) Title: Straight Shot Year: 1980 Medium: Silkscreen on Somerset paper Edition: 225/250, plus proofs Size: 22 x 30 inches Condition: Good Inscription:...

This enchanting oil painting by Louis Letouche (1924-2015) captures a serene village fountain surrounded by a vibrant array of flowers, evoking the timeless charm of Salasc, a pictur...

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...

"Night Moves" - Abstract Etching in Ink on Paper (Artist's Proof) Textural abstract print by Doris Ann Warner (American, 1925-2010). This piece is composed of overlapping fabric patt...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Flowers on Blue Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 40 Image Size: 30 x 26.25 inc...

Artist: Francisco Scavullo Title: Flower Arrangement (Red) Year: 1987 Medium: Screenprint, signed and dated l.r. in pencil Edition: 73/75 (verso) Si...

Artist: Hunt Slonem, American (1951 - ) Title: Tribute Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 22 x 25 inches Size: 26 in. x 29....

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Red and Yellow Parrot Tulips Year: 1980 Medium: Serigraph, signed and numbered in pencil Edit...

Laurent Schkolnyk created this original mezzotint, L' Anais that is signed, titled and numbered #22 in an edition of 30. Since the fruit was so perishable, it became a symbol of lu...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...