Continental US - Still-life Prints

A contemporary photograph of 2Pacs iconic "Miami Vice" soundtrack cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These ic...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

A pochoir after Georges Braque from 1957. A still life sketch of a pair of apples. Artist: (after) Georges Braque Title: Les Pommes from the Espace...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Three Irises on Green Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 40 Image Size: 20 x 44 inche...

Nicole Dikon lives and works between Oahu and Mississippi. Her work spans various media and practices, including woodcut printmaking, writing poetry, making artist books, installing ...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

French Iris I Reducutve color woodcut, 1982 Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arn...

Artist: Judy Rifka, American (1945 - ) Title: Still Life Year: 1986 Medium: Woodcut, signed and numbered in pencil Edition: 13/46 Image: 29 x 21 inches Size: 37 x 28 in. (93.9...

Artist: Donald Sultan Title: Wallflower 10 Portfolio: Wallflowers Medium: Screenprint on paper Date: 2008 Edition: 106/190 Frame Size: 29 3/8" x 26 3/4" Sheet Size: 24 1/4" x 21 1/2"...

"ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper Framin...

"Ali" is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller im...

Artist: Melanie Greene, American Title: Summer (Blue Corsage) Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 50 Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: Richard Bernstein Title: Diamond Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 200, AP 30 Size: 26 in. x 30.5 in. (66.04 cm x 77.47 cm) Frame Size: 32...

Flower and Pot Color mezzotint, 1983 Signed, numbered, and dated in pencil John Szoke Graphics blindstamp, lower right Edition: 150 (100/150) Image si...

Lithograph on Saunders Waterford, St Cuthberts Mill paper. Paper size: 22 x 30 inches. Inscription: Hand signed and numbered, 111/200, as issued. Notes: Published and printed in an e...

Artist: Charles Bell, American (1935 - 1995) Title: Little Italy Year: 1981 Medium: Silkscreen on White Somerset Satin, signed and numbered in pencil Edit...

Robert Cottingham's Rolling Stock series is a significant part of his artistic portfolio, focusing on railroad imagery. The series features hand-colored etchings, collographs, and mo...

Designer & Manufacturer: Steven Klein (b. 1965) Markings/Notes: signed, marking(s); ed. 1/5; 2004 Country of Origin & Materials: American; chromogenic print on aluminum Dimensions...

Artist: Donald Sultan Title: Yellow Poppies, Aug 17, 2022 Portfolio: 2022 Poppies Portfolio Medium: Silkscreen with overprinted flocking on 4-ply Rising M...

"Brando" is a photomosaic artwork by Destro. Exhibition Poster from series "The ICONS" The first release in a series mosaic works called "Icons". Destro has created large prints w...

Lithograph on Saunders Waterford, St Cuthberts Mill paper. Paper size: 21.75 x 29.5 inches. Inscription: Hand signed and numbered, 145/200, as issued. Notes: Published by Atelier Dum...

Artist: David Nguyen, Vietnamese, (1977- ) Title: Flowers Fifteen Year: 2008 Medium: Lithograph, Signed and Numbered in Pencil Edition: AP 3/17 Size: 36 x 24 inches Frame Size: 41 ...

Artist: Hunt Slonem, American (1951 - ) Title: Spell III Year: 1980 Medium: Serigraph, signed and numbered in pencil Image Size: 19 x 23.5 inches Size: 22 in. x 30 in. (55.88 c...

"Brando" is a photomosaic artwork by Destro. Exhibition Poster from series "The ICONS" The first release in a series mosaic works called "Icons". Destro has created large prints w...

Artist: Hunt Slonem, American (1951 - ) Title: Purple Spell Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 29 Size: 22 x 30 inches

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Yellow Flowers Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 32 x 40 inch...

Etching and aquatint on paper. Hand signed and titled lower front by Roy Fairchild-Woodard. Hand numbered 126/385 lower left. Artwork size 29 x 22 inches. Artwork is in excellent...

STEVE REOUTT (Chinese-American, 1938-2008) “Spring Bouquet”, Portal Gallery Sausalito Poster 28 x 20 in Unframed Publishing Information: Portal Publicat...

Artist: Hunt Slonem, American (1951 - ) Title: Pocahontas Pillow II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Size: 26 x 29 inches

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...

Monotype EV edition variée 5/7, with heavy hand coloring using mixed media / colored pencils, The original monotype features a young woman wearing tube socks and feathered gloves. Im...

Francis Tailleux was French born in Paris 1913-1981. He created his own style . He was influence by Gruber, Marchand and Tal-Coat. He ha many solo exhibitions in France, London and t...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 115, 1959. Published by Aimé Maeght, Éditeur, Paris; pr...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Expressing the talent and skill of Braque’s graphic works, this piece illustrates the artist’s remarkable ability to create imaginative abstract still lives. In this sense, Braque ha...

Michelle Stuart is an American artist whose work references a range of influences, from history to astronomy and botany, as well as her extensive travels to ancient archaeological sites. Stuart studied in Mexico, France, and at The New School for Social Research in New York. Since the 1960s, Stuart has created a multifaceted body of work including large-scale earth works...

Edition of 150.

A hand-colored copperplate engraving entitled "Leucoium bulbosum autumnale tenufolium (Autumn Snowflake); Colchicum vulgare Polyanthos; Colchicum biflorum; Colchicum vulgare album; C...

RUSS ELLIOTT (American, b. 1932) Poster 28.75 x 35.5 in. Unframed Plate signed Copyright 1974 New York Graphic Society, Ltd. Printed in Switzerland. Good/Fair Condition-indentation...

Artist: Hunt Slonem, American (1951 - ) Title: Anaconda II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 22 Image Size: 26.5 x 18 inches Size: 30 in....

"Marley was sometimes fiery, sometimes joyful, sometimes contemplative, but always visionary and poetic. I love this intimate, thoughtful moment Dennis captured and I’m honored to tr...

Artist: Jonathan Singer (American, b. 1949) Title: Botanica Magnifica Year: circa 2010 Medium: Digital Photograph on Metal Image Size: 45 x 40 in. (114.3 x 101.6 cm)

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Quivisia; Portesia" (Octandreie, Monogynie, Plate 302) Portfolio: Histoire Naturelle Year: 1749-1789 Medium: Original Hand-Colored Engraving on laid paper Limited edition: Unknown Printer: Imprimerie Nationale, Paris, France Publisher: Georges-Louis Leclerc, Comte de Buffon, Paris, France Framing: Not framed, but beautifully double matted with hand decorated archival French matting...

2000 Tony Awards Poster Signed by Celebrity Presenters Autographed Broadway Offered is the 2000 Tony Awards poster signed by the presenters, including: Matthew Broderick, Kristen Chenoweth, Kelsey Grammer, Jane Krakowski, Bernadette Peters, Ann Reinking...

Lithograph on Saunders Waterford, St Cuthberts Mill paper. Paper size: 21 x 29 inches. Inscription: Hand signed and numbered, A.P., as issued. Notes: Published by Atelier Dumas Inc.,...

Yellow Poppies is a natural companion for Red Poppies, March 21, 2012 and is equally strong installed solo. The multi-layered cropped poppies bleed to the...

Aaron Fink (American, b. 1955) Etching on paper titled "Untitled (Colored Pipe)," Depicting an abstracted pipe with bright pink smoke floating from the bowl. Hand signed in pencil and dated 1987 along the lower right; numbered 25/50 along the lower left. Provenance: Distinguished corporate collection, Minnesota. Unframed; 22.5 X 30 inches Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers...

These colored engravings are from Edward Joseph Lowe's 1861 book "Beautiful Leaved Plants. Being a Description of the Most Beautiful Leaved Plants ...

Rock and Roll is a lithograph on paper, initialed lower right 'BD', 9.5 x 9" image size. From the edition of 395, numbered LXXXV/C (there were also 275 Arabic and 20 AP), framed in a...

Holiday Greeting Card for Madame R. G. Michel & Family (Carriage Clock, Vase & Flowers) Etching & color aquatint, 1986 Signed in pencil lower right Printed on BFK Rives paper Annapi...

Barton, John Murray. PORTRAIT OF A VASE. Color Woodcut, 1959. Edition of 100. Titled, numbered 1/100, signed and dated in pencil. 23 5/8 x 7 3/4 inches (image), 11 1/2 x 27 inches (s...

A lithograph print by Lowell Nesbitt from 1975. A colorful still life that combines both organic and geometric elements. Still Life with Grapes Lowell Blair Nesbitt, American (1933–...

Poster. Measures 28.5 x 35.5 in. Unframed. Copyright 1977 New York Graphic Society Ltd. Printed in Italy. Good Condition.

"Anthunium" is an original color serigraph by Hunt Slonem. The artist signed and dated the piece in the lower right and wrote the edition number, AP 3/30, in the lower left. This piece depicts a still life with patterned pillows and plants. 19 3/4"x 24 1/8"image 22"x 30"paper 29 1/8" x 33 1/2" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

Rufino Tamayo, Mexican (1899 - 1991) - Bodegon, Portfolio: Rufino Tamayo 15 aquafuertes, Year: 1980, Medium: Etching, signed and numbered in crayon, Edition: 16/99, Size: 22 x 3...

Hand signed and numbered by the artist. From Les Diners De Gala. Photo lithograph with a separate original engraving titled Spoon on Crutches. Image size...

Acrylic and silkscreen ink on paper 101.5 by 151.5 cm. 40 by 59⅝ in. framed: 112 by 161.6 cm. 44⅛ by 63⅝ in. Executed in 1980. Stamped by The Estate of Andy Warhol and The Andy Warh...

'Flowers' is an original linocut by Wisconsin-based artist Schomer Lichtner. The composition presents a scattered floral still life amongst abstracted shadows and forms, rendered with Lichtner's quintessential abstract sensibilities. This print is one from a series that each depict abstracted subjects in black silhouette, taking pleasure in the materiality of the linocut technique. The free forms of the flower resemble the lyrical mid-century works of the French artist Henri Matisse, which combined with these material concerns demonstrate Lichter's modern sensibilities. The prints from this series are unusual because of how below the image, Lichtner also includes his Chinese seal and a linocut remarque of a cow, each of which act as an additional signature of the artist on the artwork. Linocut in black and red on Permalife white wove paper 4 x 5.25 inches, image 11.5 x 8.75 inches, sheet 16.5 x 13.63 inches, frame Signed in pencil, below image, lower right. Edition 1/100 in pencil, below image, lower left. Chinese signature stamp in red, below image, lower right. Remaque of a cow in red, below image, lower right. Permalife watermark to paper. Framed to conservation standards in a shadow-box style mounting, using 100 percent rag matting, museum glass, and housed in a silver-finish wood moulding. Overall excellent condition with no creases or discoloration. Milwaukee artist Schomer Lichtner was well known for his whimsical cows and ballerinas and abstract imagery. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows...