Hugh Kepets Prints and Multiples

Rene Genis (French 1922-2004) Still Life. Mainly oranges and browns, fruits and flowers, against a background of browns with a pitcher central. The browns contain a subtle mixture ...

Jonas Wood Large Shelf Life (Hand Signed), 2018 Limited edition offset lithograph (uniquely hand signed by the artist) 23 × 23 inches Boldly signed and dated in black marker on the f...

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)

It's wonderful for us to have work by Christo (1935-2020). He and Jeanne-Claude were the most international of artists while NYC based. In particular this lithograph, Wrapped Armchai...

Ira Moskowitz, Polish/American (1912 - 2001) - L'Amour, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 33 in. x 24 in. (83.82 cm x 60.96 cm...

Iris With Evian Bottle (Poster) David Hockney, a prominent British artist, is celebrated for his versatile and innovative contributions to 20th-century art. Known for his vivid use...

Offset lithograph Edition 248 of 300 60 x 60 cm (23.6 x 23.6 in) Signed and numbered on the front Mint Published by Kaikai Kiki Co. Ltd

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...

Eric Avery Bluebonnet: Texas State Flower, 1988 Lithograph on paper with full margins and deckled edges Hand signed, numbered and titled on the lower front ...

Mary Frank Rosh Hashanah 5741, 1980 Lithograph on arches paper with deckled edges Hand signed and numbered 9 from the limited edition of 71 by the artist on the front 15 × 18 inches ...

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...

Donald Sultan (American, b. 1951) "Fish (From Fruit and Flowers Portfolio)" 1990 Screenprint in colors on Arches 88 paper Pencil initialed, titled, and dated left of image Edition 61...