Decor Still-life Prints

Relish by Ralph Goings, American (1928–2016) Date: circa 1990 Screenprint, Signed and numbered in pencil Edition of 195,AP 55 Size: 25 in. x 38 in. (63.5 cm x 96.52 cm)

From the Stoneman collection Arturo DI Stefano has shown work in many galleries worldwide including: *Purdy Hicks Gallery London 1998-99, *Eastbourne Clark Gallery, Florida 1991, ...

Untitled (Poem Flowers) Lowell Blair Nesbitt, American (1933–1993) Date: 1974 Screenprint, signed and numbered in pencil Edition of 29/100 Size: 23.5 x 33.5 in. (59.69 x 85.09 cm)

Floating by Elaine Marshall [2014] limited_edition etching and aquatint Edition number 28 Image size: H:21 cm x W:20 cm Complete Size of Unframed W...

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

'O'Tannenbaum' (Artist's #30129) is an original color silkscreen print by Ruth Grotenrath, signed by the artist on verso. Influenced by the works of Expressionists like Henri Matisse and the woodblock prints of early modern Japanese artists like Katsushika Hokusai, Ruth Grotenrath's 'O'Tannenbaum' combines the expressive use of color of the former with the precision of the latter to create a Christmas card that is as vibrant as it is subtle. Depicting a pine tree decked with ornaments and stockings, Grotenrath has rendered the tree-topping star as a ball of flames to analogize the warmth and spirit of the holiday season. Original color silkscreen 6.625 x 4 inches, silkscreen 14.375 x 11.375 inches, frame Signed in screen on verso inside-letter Framed to conservation standards using archival materials including 100 percent rag matting and mounting materials, Museum Glass to inhibit UV damage and reduce glare, and housed in a gold finish wood frame. "The paintings of Ruth...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form found in Asian art. Some prints also include gold leaf, recalling the extensive use of gold on Japanese folding screens, and in early Renaissance painting...

Artist: Andrew Lord, British (1950 - ) Title: Teapot Year: 1987 Medium: Lithograph, Signed and numbered in pencil Edition: PP II Size: 44 in. x 30 in. (111.76 cm x 76.2 cm)

Waterlily pool by Elaine Marshall [2012] Signed by the artist Etching and aquatint Edition of 5 Image size: H:17 cm x W:20 cm Complete Size of Unframed...

still-life print of 2 plastic bottles soap ground and spit bite aquatints with aquatint edition of 25 signed in light pencil with edition number, titl...

(There’s A Place) Pensao Amor, Lisbon [2021] limited edition Digital on 315gsm etching paper Edition of 200 Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look I think the name suggests that this cosy little bar served a slightly more risqué purpose once upon a time. Johnny Bull...

Barton, John Murray. PORTRAIT OF A VASE. Color Woodcut, 1959. Edition of 100. Titled, numbered 1/100, signed and dated in pencil. 23 5/8 x 7 3/4 inches (image), 11 1/2 x 27 inches (s...

Large Shelf Still Life Offset Lithograph Poster 2017 Excellent condition. The back of the print has the artist's name, title, date and exhibition on the reverse. 23 × 23 in (58.5 × 58.5 cm). Notes: Executed in 2017, this piece is from an edition of unknown size and is published on the occasion of Shio Kusaka...

Clare Halifax F is for Flamingo Limited Edition 3 colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto somerset satin ...

Clare Halifax D is for Dog Limited Edition 3 Colour Silkscreen Print Edition of 100 Image Size: H 35cm x W 35cm Sheet Size: H 37cm x W 38cm x D 0.1cm Sold Unframed (Please note that ...

Window-No. 25 Color mezzotint, September 2009 Signed, titled and numbered in pencil (see photos) Edition: 70 (16/70) Provenance: Ninion and Sheldon Landy Collection, Donors of Art In...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 9.05 x 6.69 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Poster. Measures 31.75 x 39.75 inches Unframed. Copyright 1965 New York Graphic Society Ltd. Printed in Holland. Image is in Good/Fair Condition-indentation in the upper part of imag...

Pair of reproductive prints after Jean le Pautre’s engravings after Claude Ballin, 1670s, heightened with gouache and gold, on Fabriano wove paper, a deckle edge at bottom. 22 x 14 3...

Work : Original Etching, Gravure, Edition of 9. Handmade artwork. Ready to Hang. Medium : Etching and Aquatint Artist : Deniz Bayav Subject : Sen Karanfile Eğilimlisin (Title) Sign...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

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) ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

Etching and aquatint on vélin Magnani Pescia paper. Paper size: 22.625 x 39.625 inches. Inscription: Hand signed and numbered, 62/78, as issued. Notes: Published by Multiples, Inc., ...

Monotype and lithograph in colours, on Somerset Satin paper, with full margins Edition of 30 61.3 x 48.7 cm (24 x 19.2 in) Framed 68 x 55.5 x 4 cm, 26.8 x 21.9 x 1.6 in Signed, numbe...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IX, N° 35-36...

Although I spent 10 years as a traditional printmaker using a press, my botanical cyanotypes are each one-of-a-kind slow cameraless photographs made outdoors using natural light. The...

Patrick Caulfield Sue Ware Jar, 1990 Screenprint on paper sheet: 107.2 x 81.1 cm image: 79.4 × 53.3 cm Edition of 45 + 10 AP Patrick Caulfield was a British painter and printmaker, ...

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...

Charles Pachter (b. 1942) is one of the most collected and cherished Canadian artists. His iconic, uplifting, and patriotic images have independently earned their place in the nation's museums and the Canadian art canon. The barn, along with Queen Elizabeth and the Moose, forms a triad of icons that Charles Pachter has repeatedly visited over the course of his career. Playful and a touch irreverent, Pachter's charming imagery presents a new narrative on Canadiana. The artist’s vast body of work includes painting, sculpture, printmaking, and drawing. Pachter’s works are widely sought-after and are an ideal selection for starting or continuing a collection of 20th-century Canadian art. Pachter's confident colors, sharp lines, and graphic qualities are instantly recognizable and continue to be a mainstay throughout his oeuvre. Here with an image of the classic TTC (Toronto Transit Commission) streetcars, this work epitomizes Pacther’s version of Canadian Pop Art...

Hand signed in red pencil and numbered. Dated in plate. Edition 14/50. On Arches Wove Paper. Excellent condition. Reference: Bloch n.443; Mourlot 86.

"The Rose" is an original intaglio print by Fred Reichman. It depicts a single rose on a hazy blue and beige background. 8 1/8" x 8" art Fred Reichman ...

31" x 18" Unframed Limited Edition Giclee Artist Proof of 135 Hand Signed by Thomas Arvid

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...

Hino creates a still life of a lotus from an edition of 65. A prominent figure in Buddhist and Egyptian culture, and native flower for both India and Vietnam, the lotus holds enormous symbolic weight. It spans various thousand-year-old Eastern cultures and yet, is still considered one of the most sacred flowers today. So what is it about this mysterious blossom that people find so enrapturing? Its colorful bloom is an obvious suspect, but the lotus also has a life cycle unlike any other. With its roots based in mud, it submerges every night into murky river water, and—undeterred by its dirty environment—it miraculously re-blooms the next morning without residue on its petals. Although cultures have their own interpretations of this daily process, there is a general consensus among ancient texts...

Still life is an original modern artwork realizeb by Gino Severini in 1964/65. Original LIthograph in 10 colors. Hand signed and numbered on the lower margin. Edition of II/XV. R...

Artist: Ben Shahn, American (1898 - 1969) Title: The Sea Itself from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 ...

Medium: Etching Year: 2010 Image Size: 16.5 x 11.5 inches Edition of 20, signed and titled by the artist McCleary was born in Santa Monica, California. He graduated from Loyola High...

Rose in Blue Glass Vase Photograph of Found Objects Printed in Cyanotype 10" x 8" image on 14" x 11" paper, edition of 5 19 x 15 inches matted and framed Wire backing, ready to hang Signed on front Available in additional sizes Other available sizes: 20" x 16" image on 24" x 18" paper, edition of 5 40" x 32", edition of 5 Contemporary still life cyanotype photograph of delicate rose poised in a blue glass vase. David Sokosh is a storyteller with a unique ability to internalize, synthesize, and recollect. If one of his tenderly photographed stills lifes was a tiny window into the workings of his mind, then on the other side you would discover a trove of collected treasures. Vintage teacups...

This piece titled "Watch for the Next Bloom" is an original print by Jun Lee and is made by reduction woodcut. This piece measures 35"h x 26"w framed...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form foun...

This piece titled "Weed Wreath (edition 5/6)" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is the fifth in an edition of...

William Ross Abrams, 'The Green Sugarbowl', color woodcut, 1949, edition 24. Signed, titled, dated, and annotated 'Artist’s proof' in pencil. A fin...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº1 + Year: 2021 + Edition Size: 20 + St...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IX, N° 35-36...

Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Au Temps de Paris Seine, 1964. Published by Pierre ...

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s. This butter yellow cyanotype sta...

"Double Vision Bar Scene" is an exclusive handprinted unique cyanotype made by layering paper cutouts of bottle silhouettes and wine glasses using uv...

This piece titled "Weed Wreath (edition 2/6)" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is the second in an edition o...

Though this may look like a woodcut or screen print, it is a kind of photography. Cyanotypes are a 19th century alternative (cameraless) photographic process. This monotype was print...

Well-knowned as an architect and an archaeologist, undoubtedly Giovanni Battista Piranesi, is the most important engraver of the 18th century: the leading artist in this field in the...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

Uses and Customs - Etruscan Painting is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of th...

Paul Cezanne The green jug, 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) Image size : 20...

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...

Flowers / Bouquet / Flora 29.75 x 29.75 inches framed Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale...

Colour linocut, limited edition (13/16), titled, signed and dated in pencil. 2009. Aileen Brown is a Melbournian printmaker. Since 1983 she has worked e...

Romantic Mid-century French lithograph of table setting in front of window, circa 1960. Title lower left. Signed lower right. 67/150 Original artwork on paper displayed on a white ...