People Still-life Prints

This piece titled "(Love's) Ring of Fire" is a limited edition piece by Kate VanVliet and is made from intaglio with aquatint, soft ground, and drypoint on Rives BFK. This piece is a...

Silkscreen Image Size H 50 x 66cm Framed Size H 73 x 88cm Edition of 100 Image size: Height: 50cm (19.69 in) Width: 66cm (25.98 in) Complete size of sheet (sheet sizes may vary) He...

Image of a young woman, pondering a question over a cup of coffee. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and i...

Artist: John Grillo, American (1917 - 2014) Title: Guitarra Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 25 Image Size: 22 x 29.5 inches Size:...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 From the rare additional suite of 100 aside from the edition of ...

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...

Original c. 1930 "La Bretagne Pittoresque Lannion" Vintage French Travel Poster – Rare Art Deco France Wall Décor. Archivally linen-backed and in B+ to A- condition. There was a tear...

Rizzie, Dan (American, born 1951) Flowering Tree 1998 Lithograph printed in colors on wave paper, Hand signed in pencil, dated, and numbered 6/25, unframed Provenance: acquired fro...

This is an early 18th century hand-colored copperplate engraving of the anatomy of a Cedar Flower citrus fruit by Johann Christoph Volkhamer, entitled "Cedro di fiore e Sugo doppia (...

Vicki McKenna’s “Hydrangea/Remembrance” is a 8 x 10 inches (image size), 14 x 16 inches (matted size), handcrafted, platinum/palladium, photographic print. The contemporary black an...

Artist: Isabelle Planté Title: Le Cirque Magique - Year: 1998 Print : Lithograph on wove paper Size: 35'' x 24'' inches image size 26.5" x 21" inches Edition: Signed in pencil a...

La Bouteille is a lithograph after a graphic work first realized by Georges Braque in 1911. Good conditions. This print is from the portfolio Derrière Le Miroir No. 138 p.7. Edited...

ZDZISŁAW WIATR (born 1960) He graduated from the Academy of Fine Arts in Cracow, at the Faculty of Graphic Arts in Katowice, where in 1986 he received a diploma with the honourable m...

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 ...

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

A celadon decorated Chinese vase with flowers, with a full moon and clouds in the background. Intaglio print with Chine Colle, signed, titled and numbered by the artist. While the i...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

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...

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 evocative 1950 original lithograph by celebrated New Mexico artist Kenneth Miller Adams offers a hauntingly beautiful moonlit view of the iconic San Francisco de Asís Mission Ch...

Un Coin de Cuisine is an artwork realized by Charles Meryon in the 1870s. Etching. Image size:24x31. Good conditions. Realized for the "Société des Aquafortistes. Born on the i...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 056 Subject: Malibu Cliffs, Framed Size: 21" x 17" x 0.8''inch, 53x23x2cm, Ready to Hang, Wooden Frame. Glass, Plastic Wra...

ABOUT THE ARTIST: Gaia Barnatan explores surreal, dreamlike spaces through the medium of digital collage. Her work aims to create a sense of balance, playfulness and curiosity, and e...

Still Life is a Photolithograph print, reproducing the original watercolor by Giorgio Morandi created in 1932. The signature by the artist is perfectly reproduced on the plate and d...

large format still life photographs capturing a series of fantastical creatures made of found objects and organic materials CREATURE I by Christian Stoll 48 x 68 inches (122 x 173...

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

A series of ghostly Morning Glory blooms set against a rich black background. These moon-toned flowers are rendered as a screenprint by Lowell Blair Nesbitt. This print is signed and...

This framed original 18th century etching is entitled "Fregio antico di marmo con Ippogrifi, nel cortile del palazzo della Valle" (Ancient Marble Frieze with Hippogriffs in the Courtyard of The Palace of the Valley). The etching is by Giovanni Battista Piranesi, published in Rome in 1778. It is from Piranesi's monumental work "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones...

The picture evoked sun, good mood and happiness, taken during a hot summer day. Will be printed on fine art paper, signed, with gallery certificate. Framing available as well.

The ever-quirky Philip Evergood has composed a print that is at once a World War II image (The New York Times on the table has the headline 'Japs Bomb P...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - Vase de Fleurs, Medium: Lithograph on Arches (unsigned), Image Size: 21 x 17 inches, Size: 29 x 22 in. (73.66 x 55.88 cm)

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

Monotype ev edition 1/3 with hand coloring. The plate (image of ballet slippers) is 15 x 14 inches and the overall paper size is 23 1/2 x 22 inches. Kim Frohsin spent 12 years workin...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

Bruce Helander 1997 - 1998 Love Letters Four Signed Limited Edition Lithographs with Mixed Media Collage Each Lithograph is 21 x 17 in

Peter Doig (British, b. 1959). Lapeyrouse Wall, 2004 Etching and aquatint printed on wove paper Signed and dated in pencil by the artist Edition 24/30 Published by the artist With fu...

'220. Hydnum Erinaceus 221. Hydnum coralloides 222. Hydnum repandum' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Suisse et Belgique," an atlas of French, Swiss, and Belgian fungi, illustrated by chromolithographs from watercolours by the illustrator Aimé...

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 ...

This piece titled "Tending to a Perishing Bloom" is an original print by Samantha Mendoza and is made by woodcut relief. This piece measures 38"h x 26...

6088 NewOrleans Jazz and heritage festival serigraph #7067/12.500

"The Fern Gatherers" After a painting by George Morland. 1763-1804. - Mezzotint engraving by John Raphael Smith. 1752-1812. Print: 20.75" x 26" - With Frame: 28" x 33.5" Published:...

ZDZISŁAW WIATR (born 1960) He graduated from the Academy of Fine Arts in Cracow, at the Faculty of Graphic Arts in Katowice, where in 1986 he received a diploma with the honourable m...

Still Life is an original print in etching technique on cardboard, signed by Vairo Mongatti, in 1980s. In very good conditions, Hand-signed of the lower right. Numbered 104/120 of ...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Guitariste (Guitarist), from the album, Picasso, Oeuvres 1920-1926, 1926, originates from the 1926 editi...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensively beautiful body of works exploring the botanical splendor of the natural world and vibrant color palette of Italian origin flowers with highly detailed captures. Flora Italiana ( Papavero Arancio Piene ) bright orange poppy flower petals 40 x 30 inches (102 x 76cm) signed edition of 25 64 x 48 inches (162 x 122cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ___________________ About the artist Linda Rosewall’s artistic path was cemented during her childhood. She was inspired by her farther, an accomplished musician and composer who raised his six children as a performing family act. The experience of traveling the United States and Canada in a small airplane piloted by her father provided the opportunity for Linda to capture these moments on her small Kodak Instamatic Camera. At the age of 18, she enrolled at Columbia College of Fine Arts Chicago. During her studies, Linda apprenticed under photographer Norman Bilisko and later worked with Dennis Manarchy...

CREATURE II by Christian Stoll from a series of still life photographs capturing fantastical creatures made of found objects and organic materials ( 48 x 68" / 122 x 173cm ) editio...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 018 Subject: Grand Canyon, Framed Size: 17.5" x 24.5" x 0.8''inch, 44x62x2cm, Ready to Hang, Wooden Frame. All works are...

a series of large scale observations on French master paintings and their opulent gilded frames GILDED DRAMA by Frank Schott 60 x 48 inches ...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

By: Yuji Hiratsuka Medium: Intaglio and Chine Colle Year: 2024 Image Size: 16 x 11 inches Edition: 15 A Japanese celadon decorated vase with flowers hiding the face of a young woman...

Shan Fannin's (US based) "Ferrari F2002" is an limited edition giclée print that depicts a Ferrari F2002. Born 1969 in California, artist Shannon “Shan” Fannin brings vehicles to li...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensively beautiful body of works exploring the botanica...

Image dimensions: 21 x 16 cm. Still Life is a magnificent original offset print, reproducing the original watercolor by Giorgio Morandi of 1962. Even the signature is perfectly rep...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensely beautiful body of works exploring t...

This is an early 18th century hand-colored copperplate engraving of lemons by Johann Christoph Volkhamer entitled "Cedro a Ditela o Multiforme" from his publication "Nurmbergische He...

Fine Art Print, Hahneumhle paper, limited edition.

This exquisite lithograph and pochoir after Albert Gleizes (1881–1953), titled Les Baigneuses (The Bathers), from the album L'Art Cubiste, Theories et Realisations, Etude Critique (C...