Graphics Still-life Prints

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...

A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it t...

ARTIST: Salvador Dali TITLE: Le Sacre du Printemps MEDIUM: Lithograph on Japon Paper SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: 22.25" x 30" YEAR: 1966 FRAMED: No ...

Lithograph on Saunders Waterford, St Cuthberts Mill paper. Paper size: 22 x 30 inches. Inscription: Hand signed and numbered, 111/200, as issued. Notes: Published and printed in an e...

By Raoul Dufy 34.5" x 34.5" Silk Screen Print on wearable scarf

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: Melanie Greene, American Title: Summer (Blue Corsage) Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 50 Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: Hunt Slonem, American (1951 - ) Title: Pocahontas Pillow II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Size: 26 x 29 inches

Poster. Measures 33 x 27 in. Unframed. Plate-signed. Copyright 1971 New York Graphic Society, Ltd. Printed in USA. Excellent/Good Condition.

Victor Spahn, French (1949 - ) - Flower Scene, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: EA, Size: 30 x 21.5 in. (76.2 x 54.61 cm)

This artwork "Un Vase de Fleurs III (Flowers in a Vase)" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Frederic Menguy, 1927-2007. It is...

Edition of 40. Archival Fine Art Giclée Print available 75 cm x 60 cm : £800 Hugh Turvey is a British artist and photographer who uses x-ray technology t...

Wayne Ensrud, American (1934 - ) - Multicolor Bouquet, Medium: Lithograph with Hand-Coloring, signed in pencil, Image Size: 35 x 24 inches, Size: 37 x 36 in. (93.98 x 91.44 cm), D...

This artwork "Un Vase de Fleurs (Flowers in a Vase)" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Frederic Menguy, 1927-2007. It is han...

This pair of monotypes contain the silhouette of a single branch of the native Californian Bay laurel. Although they look like screen prints or block prints these are cyanotypes, a f...

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 and stencil on vélin de Rives paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Dignimont, 1946. Published by Éditi...

David Lee, Chinese (1944 - ) - Pink Roses (8), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29 x 21 in. (73.66 x 53.34 cm), Descript...

David Lee, Chinese (1944 - ) - Purple Flowers (21), 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)...

David Lee, Chinese (1944 - ) - Red Flowers (3), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm), Descrip...

Wayne Ensrud, American (1934 - ) - Wildflowers (on Yellow), Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 45, Size: 35 in. x 25 in. (88.9 cm x 63.5 cm)

Wayne Ensrud, American (1934 - ) - Quiet Sunday, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 30 x 25 inches, Size: 33 in. x 2...

David Lee, Chinese (1944 - ) - Red and Pink Flowers (5), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 275, Size: 20 x 25 in. (50.8 x 63.5 cm), ...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Roses Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 40 Image Size: 28 x 20 inches Size: 35 ...

This edition was commissioned in 1997 to celebrate 'Lincoln Center Festival'. The edition of 108 is signed and numbered in graphite by the artist. This print comes directly from the publisher, Lincoln Center Editions...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Botanical lithograph with original hand-colouring , 1873, by Walter Hood Fitch (1817-1892). 145mm by 235mm (sheet) Walter Hood Fitch was a Scottish...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Giclée print on Canvas. Hand painted finishing with original brushstroke and oil paints. Rhododendron blooms in May always tell us - that summer is already here - it's near! The pos...

This long narrow blue and white monotype was made by carefully arranging hundreds of individual flowers of fresh-cut Dutch clover growing wild. This unique print is the same size as ...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Botanical lithograph with original hand-colouring , 1873, by Walter Hood Fitch (1817-1892). 145mm by 235mm (sheet) Walter Hood Fitch was a Scottish botani...

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...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Lettr...

Although this looks like a screen print or woodcut, it is actually a form of 19th-century photography, a cyanotype. This pale blue-gray is a very difficult color to achieve with the ...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left with edition number and limitation, '80/80'; also inscribed, lower left, 'Garci...

Maurice de VLAMINCK Wild Red and White flowers Woodcut and embossing (Atelier Raymond Jacquet) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : W...

This artwork "Un Vase de Fleurs II (Flowers in a Vase)" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Frederic Menguy, 1927-2007. It is ...

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...

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...

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...

Still Life is a lithograph realized by Ibrahim Kodra in the 1980s. Hand-signed on the lower right, Numbered, edition of 150 prints. Good conditions. Ibrahim Likmetaj Kodra (22 Apr...

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...

6-layer screenprint on white paper with a white border 40 x 40 cm Edition of 50 Chris Keegan is a British illustrator and artist known for his intricate and vibrant works that blend...

'Flower Piece' shows the artist, John Billmyer, to be a highly accomplished wood engraver. There are endless patterns and created details -- all executed flawlessly. Mostly made up o...

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 - ) - Untitled Flowers 18, 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 - ) - Untitled - Bouquet, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, I/I, Image Size: 27 x 22 inches, Size: ...

Wayne Ensrud, American (1934 - ) - Red Bouquet, Year: 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 27 x 19 inches, Size: 34 in. x 23...

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...