New York City - 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...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

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...

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. This print is signed, numbered, dated, and...

A stunning blue screenprint of “Wallflowers” by Contemporary Master Donald Sultan, which can only be described as minimalist, with flair. Hand-signed and numbered from the edition of...

Double Decoy Hunt Slonem, American (1951) Date: 1980 Screenprint, signed and numbered in pencil Edition AP 30 Image Size: 22 x 26.5 inches Size: 26 in. x 30.5 in. (66.04 cm x 77.47 c...

Bouteille de Vitre (Glass Bottle) is an original stone lithograph by Pablo Picasso, created as part of the first printing from Dans l’Atelier de Picasso. This lithograph, an after (d...

Christine Ravaux, Belgian (1961 - 2021) - Ivy, Year: 2002, Medium: Mezzotint, signed, numbered and dated in pencil, Edition: 41/100, Image Size: 4.25 x 4.25 inches, Frame Size: ...

ABOUT THE ARTIST: Marc Dennis is an American artist renowned for his paintings of subtly staged and slightly voyeuristic images of contemporary American culture. Interested in the tr...

The piece titled Fleurs Décoratives by Georges Rouault from 1965 reflects his distinctive style of blending expressive brushwork and vivid colors. Rouault's floral compositions often...

Jean Hélion was a French painter (1904 - 1987) whose abstract work of the 1930's established him as a leading modernist. His mid-career rejection of abstraction was followed by nearl...

In 1990, the Cleveland Institute of Music commissioned artist Gary Bukovnik to create a poster featuring his work "California Still Life #40." Bu...

Sunflowers by Bernard Buffet, published by MaGraff, a French-Canadian publisher renowned for its fine editions in the early 1970s (now defunct). This reproduction, created as a scree...

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...

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

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...

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...

Artist: Robert Rauschenberg, American (1925 - 2008) Title: The Most Distant Visible Part of the Sea Year: 1979 Medium: Lithograph and Screenprint, Signed and numbered in pencil Editi...

ABOUT THIS PIECE: The Happy Life is about marriage, hence the white bouquet; family, hence the copulating and crawling insects; and the general aspects of life, such as change and gr...

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

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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 ...

"What I wish to show when I paint is the way I see things with my eyes and in my heart." -Raoul Dufy This lithograph was reproduced after a painting by Raoul Dufy entitled "L'Atelie...

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/...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

This lithographic poster was printed at the Atelier Mourlot in 1959 for an exhibition of Picasso's "50 Masterpieces" at the Musée Cantini in Marseille, Fran...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 6, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 75, Size: 29.5 in. x 21 in. (74.93 cm x 53.34...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwd...

Karl Kasten, American (1916 - 2010) - Reliquary L'Abbe, Year: circa 1968, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 6/20, Size: 30 x 22 in. (76.2 x 55...

Artist: Janet Fish, American (1938 - ) Title: Apples and Zinnias Year: 1995 Medium: Lithograph on Japon paper, signed and numbered in pencil Edition: 65 Imag...

ABOUT THIS PIECE: Disco is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interesting cropping. A...

Shunji Sakuyama, Japanese (1940 - ) - Cutting Board, Year: 1975, Medium: Woodcut on Arches, signed, numbered and dated in pencil, Edition: 47/50, Image Size: 13 x 17 inches, Size...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

This vintage exhibition poster reproduces Jim Dine’s 1970 lithograph Hammers, which is in the collection of the Museum of Contemporary Art, Chicago. It w...

Black Roses Donald Sultan, American (1951) Date: 2000 Screenprint on wove paper, Signed, titled, dated and numbered in pencil Edition of PP 2/4 Image Size: 32 x 44 inches Size: 38 x ...

Artist: Hunt Slonem, American (1951 - ) Title: Brussels Sprouts Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP Image Size: 19 x 19.5 inches ...

Jack Hofflander, American (1920 - 2003) - Floral Balloons, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 30 AP, Image Size: 30 x 22 inches, Size: ...

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Mary Faulconer, American (1912 - 2011) - Mustard for Blue Flowers, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 12 x 16.5...

ABOUT THIS PIECE: Musk of the Rose Blown is about the intimate relationships that abound amidst the natural world. Inspiration for this painting stemmed from my many walks along fore...

Artist: Ben Shahn, American (1898 - 1969) Title: The Sea Itself from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 ...

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...

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...

Andre Minaux, French (1923–1986) Date: circa 1975 Lithograph, signed and numbered in pencil Edition of EA Image Size: 22.5 x 16.5 inches Frame Size: 34 x 27 in...

Poster for Learning Through Art/ The Guggenheim Museum Children's Program. This map was created by children enrolled in Paloma Picasso's Learning Through Art Workshop. The Learning T...

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...

This photo-lithographic poster was printed at the Atelier Mourlot in Paris in 1982 with the permission of the Matisse estate to promote the works by Henri Matisse at the Galerie Dina...

This original lithographic poster was created for an exhibition of works at the Musée D'Art Moderne in Céret, France, in 1957. This portrait of Spanish Sculptor and Picasso friend, M...

Artist: Janet Fish, American (1938 - ) Title: Still Life with Fruits Year: 1992 Medium: Screenprint, signed, numbered, and dated in pencil Edition: 75 Image Size: 36 x 42 inches Siz...

Mary Faulconer, American (1912 - 2011) - Purple Pansies in Cup, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 14 x 10 inches, Si...

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

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Birds of Paradise (Yellow) Lowell Blair Nesbitt, American ...

Robert Rauschenberg Lily Scent, 1981 Lithograph 32 x 24 inches SPIII Signed

Norman Barr made mural on the NYC-WPA; this lithograph was made in the WPA workshop but was not published by the WPA. The next year he was in the Army! Thi...

Artist: Mihail Chemiakin, Russian (1943 - ) Title: Harlequin Year: Circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 68/78 Image Size: 18 x 25 inches Size: 21.5 x...

Josh Smith Untitled 2018 Xerox print (Edition of 50 + 10 APs) 11 x 8.5 inches

Artist: Ben Shahn, American (1898 - 1969) Title: Many Things from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 in....

'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...

Tall Vase with Glasses by Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed in pencil Edition of AP Image Size: 12 x 10 inches Frame ...

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...