Flower Prints and Multiples

Artist: Lowell Nesbitt (1933-1993) Title: Violent Monochrome Year: 1980 Edition: 56/200, plus proofs. Medium: Silkscreen on Arches paper Size: 31.5 x 31 inches Condition: Good Inscri...

ABOUT THIS ARTIST: Linda Westin, based in Stockholm, left photography and became a Ph.D. in neuroscience specialized in super-resolution fluorescence microscopy. Then she turned bac...

Rose is an oiginal artwork realized by François Langlois after Pierre-Joseph Redouté. Not signed. Original etching. Good conditions. The artwork ...

Artist: Ben Schonzeit, American (1942 - ) Title: Roses with Dutch Landscape Year: 1990 Medium: Lithograph, signed, dated, and numbered in pencil Edition: 66/72 Paper Size: 43 x 48 ...

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

Sunflowerfast 2 by Jen Stark Image size: 22 in. H x 14.75 in.W Screen print/ mounted on an acid free board 2004 _________ Jen Stark was born in Miami, Florida in 1983 and received he...

An Homage to Monopink, 1960A, 2012 by Takashi Murakami Offset print, numbered and signed by the artist 27 1/10 × 20 9/10 in 68.8 × 53 cm Edition 35/300 Takashi Murakami is best kno...

'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...

Henri Plisson, American (1908 - 2002) - Red Door, Medium: Screenprint, signed and numbered in pencil, Edition: 222/300, Image Size: 27.5 x 22 inches, Size: 33.25 x 27 in. (84.46 x 68...

Yellow Rose is a beautiful original black and white etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed, dated and numbered in Arabic numerals ...

Lithograph on Magnani-Pescia paper. Paper size 56cmx76cm, work size 43cmx65cm. Excellent condition, no defects. Pino Lancia - Born in Belgium in 1952, he lives and works in Rome. He...

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...

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...

Hollyhocks Color woodcut, 1953 Signed with the artist's stamp lower left Printer: Niimi Carver: Nagashima An early printing Condition: Excellent Image size: 15 1/2 x 10 3/8 inches "...

The print is a lithograph with a print run of 99 copies, in very good condition. The lithograph is numbered and hand signed by the artist in the lower margin on the front. The total ...

Artist: Donald Sultan Title: Wallflower 27 Portfolio: Wallflowers Medium: Screenprint on paper Date: 2008 Edition: 106/190 Frame Size: 31" x 28 1/2" Sheet Size: 24 1/4" x 21 1/2" Sig...

'Eriopsis Helenae', native orchid of Peru. Antique botanical lithograph with original hand-colouring , 1912, lithographed by John Nugent...

Amaryllis Waved-flowerd, Amaryllis undulatea Plate 369 1797 Hand-colored etching Ed. 1st ed. 9 x 5.25 inches

Dahlias Color woodcut, 1939 Unsigned (as usual) Format: oban Publisher: Takemura Hideo Stamp verso: "Made in Japan" Provenance: Robert O. Muller Biography Hodo Nishimura...

This is a hand-colored copper plate engraving depicting Ranunculus (Persian Buttercup) flowers from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This beautiful colorful engraving is printed on thick laid chain-linked paper. There is latin text on the verso. There are central horizontal creases and two small holes on the right and another in the left lower corner. It is otherwise in excellent condition. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

'Eulophia Virens – Greenish Eulophia' Orchid lithograph with original hand-colouring , 1866, by Walter Hood Fitch (1817-1892). Native orchid of Sri Lanka a...

Original. LOECHE-LES-BAINES (a.k.a. Leukerbad) vintage travel poster. Mounted on acid free archival linen. Very good condition. Suisse, Switzerland original travel poster. Loeche...

Woodcut Engraving on cream wove Montval paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Hélène Chez Archimède, 1955. Publis...

Artist: Ellen Gunn (1951- ) Title: St. Tropez Tulips Medium: Screenprint Image size: 11 x 14 inches Sheet size: 18 x 20 inches Signature: lower right Editi...

Chromolithograph, 1878. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior designers with st...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Pink and Yellow Irises Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 2...

A Lemon, Two Lemons is an original Contemporary artwork realized in the 1980s by the italian artist Leo Guida. Original Etching on cardboard. Numbered titled and hand-signed in pen...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Crinum Arenarium" (Water-Island Sand Crinum), plate 2355, published in London in 1822 in William...

'Albuca Minor' Original copper-line engraving with original hand-colouring. From 'Herbier general de l'amateur' by Jean Louis Auguste Loiseleur-Deslongchamps & Jean Claude Michel M...

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...

Moise KISLING Still-life with Cabbage and Garlic Original Lithograph On Arches vellum 38 x 28 cm (c. 15 x 11 inches) Excellent condition

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...

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...

Bernard CATHELIN Orchids Original lithograph, 1988 Handsigned in pencil Inscribed EA (épreuve d'artiste) aside the edition of 100 copies On Arches paper, size 40 x 31 (c. 15 8/10 x ...

'Schomburgkia leuddemani', orchid, native to Venezuela. Antique botanical lithograph with original hand-colouring , 1912, lithographed by John Nugent Fitch (1840–1927) after the watercolour by Matilda Smith (1854–1926). From Curtis' Botanical Magazine. Fold-out plate with two vertical folds as issued. 240mm by 300mm (sheet) Matilda Smith (1854–1926) was a botanical artist whose work appeared in Curtis's Botanical Magazine for over forty years. She became the first artist to depict New Zealand's flora in depth, the first official artist of the Royal Botanic Gardens at Kew, and the second woman to become an associate of the Linnaean Society. John Nugent Fitch was a British botanical...

"Yellow Flame" is a vibrant floral serigraph (screen print) by Robert Zakanitch, published by the Lincoln Center for the Performing Arts in 1979 and printed by Brand X in NYC. Part o...

Paper Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Image Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...

Offset print 4C process with cold stamp Edition of 300 Signed and numbered on the front Mint

Lowell Nesbitt Orchid, 1979 Silkscreen on wove paper Pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front Published by Charles Cardinale Fine Creations, Inc., with blind stamp on the front 25 × 25 inches Unframed This work is pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front. About Lowell Nesbitt. Lowell Nesbitt, who was born in Baltimore on Oct. 4, 1933, was a graduate of the Tyler School of Art at Temple University in Philadelphia and also attended the Royal College of Art in London, where he worked in stained glass & etching. In 1964, the Corcoran Gallery or Art in Washington gave him one of his first museum exhibitions, and by the mid 1970's he had decided to leave the museum a bequest of more than $1 million. But in 1989, he publicly revoked the bequest after the Corcoran canceled a disputed exhibition of photographs by Robert Mapplethorpe, who was an old friend. Mr. Nesbitt named the Phillips Collection as a beneficiary instead. He was frequently grouped with the Photo Realists, but his images were more interpretively distorted, somewhat loosely painted and boldly abbreviated. He had many subjects: studio interiors, articles of clothing, piles of shoes and groupings of fruits and vegetables. He also painted his dog, a Rottweiler named Echo, the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges. Despite such variety, Lowell Nesbitt was best known for gargantuan images or irises, roses, lilies and other flowers, which he often depicted in close up so that their petals seemed to fill the canvas. Dramatic, implicitly sexual and a little ominous, they earned the artist a popularity with the general public that tended to overshadow his reputation within the art world. In 1980, the United States Postal Service issued four stamps based on Mr. Nesbitt's floral paintings. He also served as the official artist for the space flights of Apollo 9...

ROI GEORGE PARTRIDGE (1888 - 1984) ALAMANDA. 1937-42 (White 242), Etching edition 27, Signed In pencil and in plate. 13 7/8 x 9 7/8 inches. On a cream toned paper with full margin...

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 ...

MARY TRAVIS (1893-1976)) LOTUS FLOWER c. 1935-40 White line color woodcut. Signed and titled in pencil. Small edition. 9 ¾” x 7 7/8”. Full sheet. Some creasing in the margins. Travis worked in Berkeley, California and was probably a follower of William S...

Cisco Jimenez (Mexico, 1959) 'Pañito', 2006 silkscreen, collage on paper 23.7 x 31.5 in. (60 x 80 cm.) Edition of 99 Unframed ID: JIM1752-001-109 Hand-signed by author in pencil

Color aquatints. Edition of 40

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

This is an original 1st octavo edition John James Audubon hand-colored lithograph entitled "Black-billed Cuckoo, 1. Male, 2, Female, Magnolia Grandiflora", No. 56, Plate 276 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts a female black-billed cuckoo perched on a branch of a magnolia tree reaching for a flying insect. The male appears to be in flight in front of magnolia leaves on the right, perhaps after the same insect. Magnolia flowers are depicted, as well. This original 1st octavo edition hand-colored Audubon Black-billed Cuckoo lithograph is in excellent condition, other than a few tiny spots in the upper margin and a tiny faint spot in the lower inscription area. The sheet measures 6.5" high by 10.13" wide. The original text pages, 300-302, from Audubon's 19th century publication are included with the lithograph. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

Vibrant cubist still life, a hand signed limited edition lithograph print by Fausto Maria Casotti (also known as Cauri) (Italian, b. 1924). Bold colors and blocky shapes characterize...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Cherry Blossoms is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Ut...

As a uniform of toil, a symbol of status, or a protective accessory, the bandana is an archetype of Americana. Western heroes like John Wayne wore them around their necks in a flouri...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 5, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 200, Size: 30 in. x 21.5 in. (76.2 cm x 54.61...

Colour linocut, limited edition, Artists Proof, titled, signed and dated in pencil. 2019. Aileen Brown is a Melbournian printmaker. Since 1983 she has w...

'Brachychiton Acerifolius', native to Australia. Antique botanical lithograph with original hand-colouring , 1912, lithographed by John ...

Hand signed and numbered. Edition of 350 prints. Near perfect conditions. From the suite "Alphabet". Edition 191/350.

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Colour linocut, limited edition (2/12), titled, signed and dated in pencil. 1999. Aileen Brown is a Melbournian printmaker. Since 1983 she has worked ex...

Lithograph on wove paper. Inscription: unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Lithographs of Chagall 1962-1968; publ...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Flowers Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 85/200 Image Size: 24 x 40 inches...