Gallery of the Masters Still-life Prints

Wanderlust Goes South, vintage book spines photograph from Richard Heeps' Norfolk series. Browsing second hand book shops on holidays by the seaside is always a joy, you never know w...

Richard Bernstein Diamond Ring - 1977 Print - Silkscreen on Heavy Paper Paper : 30'' x 26'' inches image size : 28" x 23 ½" inches Edition: Signed in pencil, titled, dated and marked...

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...

This three-panel limited edition print by Natasha Lelenco forms part of her celebrated series The Dinners, a body of work exploring domestic rituals, identity, and psychological presence. Edition 7 of 25, this configuration features three archetypal characters—mother, father, and grandfather—each seated before an elaborately patterned floral backdrop inspired by Eastern European textile...

This large-format seven-panel installation by Natasha Lelenco, titled The Dinners (Edition 9/25), explores themes of queer identity, isolation, and collective rituals in the aftermat...

Rio Osmarin shows boats on the canal Rio de S. Provolo o de l'Osmarin in Venice) It was created in 2006 and this impression is #31 of 75 It is signed, titled, numbered and dated by...

Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg. While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting. Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked. Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium. Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print. There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers. But making mezzotints was not a paying job. Marchant and his South African wife...

In "Still Night", Frederick Mershimer depicts a row of brownstone houses on Seventh Avenue near Flatbush Avenue between Park and Stirling Places. Mershimer remembers that as he was ...

A play on words provides the title for this image -- a circle created out of the deconstructed parts of Singer IV This image is #37 from an edition of only 50, referenced as Firos 78...

Artist: Roy Lichtenstein Title: Rose, Cover from 1 Cent Life (Rose) Screenprint in green over yellow linen and (1 Cent Life) Screenprint in pink over blue lettering on board of unbound book Year: 1964 Medium: Silkscreen on linen on heavy board Size Edition : 2000 Dimensions: 16.31" x 25.32" (Full cover) Dimensions of Image: 16.31 x 11.88 References : Corlett # III.3 Provenance: Private Collection, Berlin Printed by Maurice Beaudet in Paris and published by E. W. Kornfeld, of Bern, Switzerland. Edition of 2000, unsigned as issued in the regular edition of Walasse Ting's '1¢ Life' portfolio of 1964. Superb impression with good strong colors. This iconic piece was executed by Lichtenstein and printed onto stiff paperboard to serve as the front cover of 1 Cent Life, published in 1964 by Kornfeld in an edition of 2000. The image is printed to the edge of the board, with the Lichtenstein silkscreen...

Screen print on wove paper. Hand signed lower right by Tom Wesselmann. Hand numbered 10/82 lower right (there were also 8 artist's proofs). Sheet size: 39.12 x 27.5 inches. Frame...

"Nature Morte a la Mandole" is a Lithograph from the artist Marcel Mouly. The piece is pencil-signed by the artist. It measures approximately 21.25 x 29 inches. The date of creation ...