Alpha 137 Gallery Still-life Prints

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...

René Magritte Magritte at Galerie Alexandre Iolas, Milan, Italy, ca. 1980 Offset lithograph lettering and silkscreen poster on thin wove paper ...

Jasper Johns Sun on Six, 2000 Color linoleum cut on Gampi Torinoko paper Pencil signed, dated and numbered 4/26 on the front Published by Z Press, Calais, Vermont Frame included: ele...

Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...

Arnold Iger Lily (Readers Digest Association Art Collection), 1988 Intaglio (Hand Signed, Dated, Titled, Numbered & Framed) Signed in pencil lower right recto Numbered "77/350" on lo...

Judy Chicago Through the Flower, 1991 Silkscreen on Stonehenge natural white paper with deckled edges Publisher: Unified Arts, Albuquerque, New Mexico Signed, titled and numbered 24/...

Kazuhisa Honda Sleepless Night, 1981 Color mezzotint on Rives BFK watermarked paper Signed, dated, titled and numbered 18/50 on the front 14 × 19 inches Unframed Accompanied by COA i...

Don Nice New York, New York (hand signed and inscribed by Don Nice), 1984 Rare offset lithograph poster (signed and inscribed from Don Nice to Dick Polich) Signed and inscribed in gr...

James Rosenquist Nails, from Monochromes at the New Gallery, 1975 Limited edition lithograph and offset lithograph (pencil signed and numbered) Signed and numbered 10/100 in graphite...

Ed Baynard Blue Vase on Antique Paper, 2002 Pochoir and relief in colors on vintage handmade paper Signed, dated and numbered lower right ‘AP 3/4 Ed Baynard 02’. This work is artist'...

Georgia O'Keeffe, Red Poppy poster, with Friendship Quote, 1987 "Still - in a way - nobody sees a flower - it is so small - we haven't time- and to see takes time, like to have a fr...

Lowell Nesbitt Untitled Flower, 1975 Etching on wove paper Hand signed, numbered AP and dated on the front 24 × 19 inches Unframed Poignant and exquisitely rendered etching of a flow...

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...

Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...

John Baldessari JBCRIAL1VY-98 (Unique Variant, Hand Signed), 1998 Ink jet print on paper. - Unique Variant Hand signed by John Baldessari on the front 1 of 96 similar works completed...

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...

Jim Dine Metropolitan Opera Centennial 1883-1983 poster, 1983 Offset lithograph poster; unsigned 46 × 29 inches Unframed This limited edition poster was pu...

Walasse Ting 丁雄泉 Abstract Expressionist Flower, 1969 Color lithograph with publisher's blindstamp Pencil signed, dated, and numbered IV/XV by Walasse Ting on the front 23 × 30 inche...

Nora Speyer Untitled, from the Long Point Gallery Portfolio, 1988 Lithograph on paper with deckled edges Hand signed, numbered 22/30 and dated on lower front 22 × 15 inches Unframed Hand signed, numbered 22/30 and dated on lower front Publisher: Long Point Gallery, Inc., Provincetown, Massachusetts; Printer: Bruce Porter from Trestle Editions Limited, New York Rarely to market, this stunning 1988 woodcut was created by Nora Speyer as part of a portfolio produced for sale by Long Point Gallery, an artist's cooperative in Provincetown, Massachusetts. Superb provenance as it is was acquired from the original Long Point Portfolio. This will be the first time the work will be removed from the portfolio. It is hand signed and numbered from a very small edition of only 30; it is in fine condition, unframed and never framed, and housed in the original portfolio box, with the original colophon page, which also included works by 11 other artists. For reference and provenance we have included an image of the colophon page from the complete portfolio. About Nora Speyer: The most exciting place to me is where I can communicate with the greatest number of artists. I can't live without some artists around. I'm not saying artists are likable. They can be very objectionable, but they are still my world. Nora Speyer Born in Pittsburgh, Speyer enrolled at Temple University's Tyler School of Art when she was sixteen. It was there she became roommates with Lillian Lent...

Jim Dine Kenneth Koch Homage (Oh Scarf of Paradise, Blue Sky is Bread to the Scarf), 1966 Color lithograph on blue grey wove paper with deckled edges 37 × 24 1/2 inches Pencil signed...

Gael Stack Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered. Printer's and Publisher's Blindstamp. Unframed. Hand signed and numbered on the lower recto (front) with printer's and publisher's blindstamp. Edition 38/50 20 × 15 inches Publisher Little Egypt Enterprises, Houston, TX Provenance Art Against AIDS Portfolio, numbered 38/50 This beautiful limited edition woodcut by Gael Stack was published in 1988 as part of the Art Against Aids portfolio, numbered 38/50. Superb provenance as it is was acquired from the original Art Against AIDS Portfolio published in Houston, Texas. This will be the first time the work will be removed from the portfolio. The late 1980s was the height of the AIDS epidemic, and this was one of many efforts by the creative community to raise funds to assist in fighting this deadly scourge that disproportionately affected the artistic community. Measurements: 20 x 15 inches (sheet) 8 1/4 x 12 inches(image) The complete Art Against AIDS Portfolio is comprised of 10 prints, in black and white and color, from 10 artists. About Gael Stack: Gael Stack is a Texas painter. She lives in Houston and has work in the permanent collections of several museums. Stack has worked as a professor at the University of Houston...

John Moore (b.1941) Place Setting, 1979 Lithograph on wove paper Hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front 17 × 22 inches Unframed This elegant still life lithograph is hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front. About John Moore: John Moore is an acclaimed contemporary realist painter...

Lowell Nesbitt Red Rose, 1985 Silkscreen on wove paper Signed, dated, and numbered AP 9/25 by Lowell Nesbitt on the front 24 × 24 inches Unframed Hand signed,...

Audrey Flack A Course in Miracles, 1984 Kodachrome 35mm Color Dye Transfer Print Dry mounted to 4 ply 100% cotton fiber board\ Hand signed and titled by Audrey Flack on the front 20 ...

Jasper Johns Recent Still Life (Hand signed and dated by Jasper Johns), 1966 Collotype. Hand signed and dated by Jasper Johns Edition of 2100 (this work is, exceptionally, hand signed & dated by Johns; the regular edition is not) Signed and dated lower right front by Jasper Johns in graphite pencil August, 27, 2008 Provenance: Estate of artist and noted collector Rick Collar Framed This scarce early (1966) limited edition collotype was published on the occasion of the exhibition "Recent Still Life" at the Museum of Art, Rhode Island School of Design. The regular unsigned edition was 2100, and the official signed edition was 100; however, exceptionally, Jasper Johns signed...

THOMAS NOZKOWSKI Mostly Mozart (Hand signed and inscribed), 2007 Offset Lithograph. Hand signed dated 2016 and inscribed to Kevin 29 × 35 inches Personally signed and dedicated by No...

Joseph Beuys Blatt auf Karteikarte (from Columbus: In Search of a New Tomorrow), 1992 Color silkscreen on vellum parchment paper, held in original portfolio sleeve Signed by Eva Beuys, the Executor of the Beuys estate, in blue ink on the reverse and annotated P.P.; and bears publisher's blind stamp 30 × 22 3/4 inches Held in the original, removable portfolio sleeve (see photograph) Originally published by Domberger in collaboration with Artists Unlimited for Nature to support the conservation of the tropical rainforest. The text says: 1000 Stk. hh DIN A4 EVP 33,00 M This is one of five Printers Proofs aside from the regular edition of 100, signed by Eva Beuys, the Executor of the Beuys estate, and annotated PP on the front, with the publisher's blind stamp, from the original portfolio Columbus: In Search of a New Tomorrow, housed in the rarely seen original protective sleeve. The portfolio was created to raise funds to help save the rainforest. “Before the world is changed it would perhaps be more appropriate not to destroy it” - Paul Claudel This color silkscreen signed and annotated on the reverse by the artist's widow is Joseph Beuys contribution to the portfolio, "Columbus: in Search of a New Tomorrow" - to raise funds and awareness about saving the Rainforest. 35 artist from around the world were invited to contribute mainly silkscreens, but also photography, literature, drama and music. This ambitious project was sponsored by His Majesty King Juan Carlos of Spain and Mr. Hoet, manager of “documenta IX”. Besides Beuys, other artists who participated in this portfolio are: Kenny Scharf, Max Bill, Sandro Chia, Eduardo Chillida, Joe Cocker, Christo, Hanne Darboven...

Andy Warhol (after) Flowers, Galerie Sonnabend announcement invitation card, 1970 Offset lithograph on smooth card, addressed with postmark 7 1/5 × 7 1/5 inches Unframed Instead of observing flowers in nature, Andy Warhol found his botanical inspiration in a 1964 issue of Modern Photography. He transformed a photograph of hibiscus blossoms into a technicolor series of silkscreens, each simply titled Flowers and debuted at the influential Leo Castelli Gallery later that same year. Silkscreens from that exhibition have since sold for over $2 million at auction. While they evoke the Flower Power movement of the 1960s, Warhol’s Flowers have also be interpreted as a symbol of mourning, as the artist created these works just after President John F. Kennedy’s assassination...

Kiki Smith Toxicology, 2009 Linotype and engraving in black, gray, and yellow on white wove paper. Printed from a magnesium engraving on Vandercook cylinder presses. Hand signed by ...

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...

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 ...

Paula Scher Summer, ca. 1987 Silkscreen in Colors on Rives BFK Paper. 36 × 29 3/5 inches Edition 81/190 Signed in graphite lower right margin front; numbered 81/190 in graphite lower...

Joe Tilson Mnemonic Device, 1975 Silkscreen with hand coloring on Thin Bamboo Wood Sheet 21 1/4 × 19 1/2 inches Edition 96/100 Hand signed and numbered from an edition of 100 on rect...