New York City - Still-life Prints

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

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...

1997 Tony Awards Poster Signed by Celebrity Presenters Autographed Broadway. Offered is a 1997 Tony Awards poster signed by the presenters, includi...

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: 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

Artist: Juan Gris (after), Spanish (1887 - 1927) Title: Still Life with a Lemon Medium: Silkscreen, printed signature and date Image: 27 x 22 inches Size: 32 x 26 inches Frame: 37 x...

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–...

Wayne Ensrud, American (1934 - ) - Flower Flight, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 31 x 23 inches, Size: 36 in. x ...

Wayne Ensrud, American (1934 - ) - Untitled Flowers 17, Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Edition: I/I, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

Wayne Ensrud, American (1934 - ) - Quiet Sunday, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 30 x 25 inches, Size: 33 in. x 2...

Wayne Ensrud, American (1934 - ) - Untitled Flowers 18, Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Edition: I/I, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

Wayne Ensrud, American (1934 - ) - Multicolor Bouquet, Medium: Lithograph with Hand-Coloring, signed in pencil, Image Size: 35 x 24 inches, Size: 37 x 36 in. (93.98 x 91.44 cm), D...

Wayne Ensrud, American (1934 - ) - Untitled - Bouquet, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, I/I, Image Size: 27 x 22 inches, Size: ...

Wayne Ensrud, American (1934 - ) - Wildflowers (on Yellow) 2, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: I/I, Image Size: 29.5 x 20.5 inches, S...

Wayne Ensrud, American (1934 - ) - Red Bouquet, Year: 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 27 x 19 inches, Size: 34 in. x 23...

Wayne Ensrud, American (1934 - ) - Blue Table (variation), Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

Wayne Ensrud, American (1934 - ) - Blue Bouquet, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 27 x 22 inches, Size: 30 in. x 2...

Wayne Ensrud, American (1934 - ) - Wildflowers (on Yellow), Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 45, Size: 35 in. x 25 in. (88.9 cm x 63.5 cm)

Wayne Ensrud, American (1934 - ) - Blue Table 2, Year: circa 1980, Medium: Lithograph with Hand Coloring, signed in pencil, Size: 35.5 in. x 25 in. (90.17 cm x 63.5 cm), Descripti...

Wayne Ensrud, American (1934 - ) - Blue Table, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Size: 35.5 in. x 25 in. (90.17 cm x 63.5 cm)

David Lee, Chinese (1944 - ) - Tiger Lilies, Year: 1981, Medium: Poster, Size: 19 x 15 in. (48.26 x 38.1 cm), Description: Vibrant and hazy, this rendering of flowers by David ...

David Lee, Chinese (1944 - ) - Pink Roses (8), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29 x 21 in. (73.66 x 53.34 cm), Descript...

David Lee, Chinese (1944 - ) - White Peonies, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 59/275, Size: 25.5 x 20 in. (64.77 x 50.8 cm), Descr...

Lorna Patrick, American - Geraniums, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Image Size: 24 x 26 inches, Size: 32 x 42 in. (81.28 x 106.6...

David Lee, Chinese (1944 - ) - Magnolias (13), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, C, Size: 29 x 21 in. (73.66 x 53.34 cm), Descr...

David Lee, Chinese (1944 - ) - Locust Tree Flowers (15), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm)...

David Lee, Chinese (1944 - ) - Irises (17), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29 x 21 in. (73.66 x 53.34 cm), Description...

David Lee, Chinese (1944 - ) - White Bird and Flowers (12), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 21 x 29 in. (53.34 x 73.66 ...

David Lee, Chinese (1944 - ) - Purple Flowers (21), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 21 in. x 29 in. (53.34 cm x 73.66 cm)...

Lorna Patrick, American - Courtyard Garden, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Size: 31 x 42 in. (78.74 x 106.68 cm), Description: L...

David Lee, Chinese (1944 - ) - Bamboo, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm), Description: Da...

David Lee, Chinese (1944 - ) - Red Flowers (3), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm), Descrip...

David Lee, Chinese (1944 - ) - Fleurs et Papillon, Year: circa 1985, Medium: Poster, Image Size: 18 x 26 inches, Size: 22.75 x 31 in. (57.79 x 78.74 cm), Description: David Le...

David Lee, Chinese (1944 - ) - Magnolias (19), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, C, AP, Size: 21 x 29 in. (53.34 x 73.66 cm), D...

David Lee, Chinese (1944 - ) - Tropical Dream, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 21 in. x 29 in. (53.34 cm x 73.66 cm), Des...

Lorna Patrick, American - Four Cacti, Year: 1989, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Size: 33 x 40 in. (83.82 x 101.6 cm), Description: Placed a...

David Lee, Chinese (1944 - ) - Poppies (9), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 21 x 29 in. (53.34 x 73.66 cm), Description...

David Lee, Chinese (1944 - ) - White Orchid, Year: 1981, Medium: Poster, Size: 19 x 15 in. (48.26 x 38.1 cm), Description: Soft and bright, this rendering of flowers by David L...

David Lee, Chinese (1944 - ) - Red and Pink Flowers (5), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 275, Size: 20 x 25 in. (50.8 x 63.5 cm), ...

Karl Kasten, American (1916 - 2010) - Reliquary Paimpont, Year: 1968, Medium: Lithograph on Arches, signed, numbered and dated in pencil, Edition: 6/10, Size: 30 x 22 in. (76.2 x...

"The Seasons" is a compelling artwork by Jasper Johns that delves into artifacts and seasonal symbols to represent the epochs of life and the cycles of growth and aging. This piece, ...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Blue Iris Lowell Blair Nesbitt, American (1933–1993) Date:...

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...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Two Yellow Irises on Sage I Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 22.5 x ...

Mel Hunter, American (1927 - 2004) - Curious Visitor, Year: 1994, Medium: Lithograph, signed and numbered in pencil, Edition: 950, Size: 19 x 26 in. (48.26 x 66.04 cm), Descripti...

Vasilios Janopoulos, Greek (1953 - ) - Untitled IV, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 22 x 17 inches, Size: 28.5 in. ...

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...

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

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Iris on Blue III Year: 1981 Medium: Screenprint , signed and numbered in pencil Edition: 200 Image Size: 24 inches diamete...

The ever-quirky Philip Evergood has composed a print that is at once a World War II image (The New York Times on the table has the headline 'Japs Bomb P...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: If you were to buy a Goyard bag and have it monogrammed you would cho...

Vintage Poster for the Wilhelm/Mozer Delikatessen. Ref:Das fruhe Plakat 1357 Ludwig Holhwein.Plakate der Jahne 1906-40 Tavel VI Kat Nr. 23. Hohlwein began his career as graphic d...

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)

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...

This reproduction of Nature Morte Aux Bocaux by Nicolas de Staël is a compelling representation of the artist’s distinctive approach to still life, encapsulating the essence of his a...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Pink and Yellow Irises Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 2...

Artist: Muhammad Ali, American (1942 - ) Title: Under the Sun Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 500 Size: 22 x 30 in. (55.88 x 76.2 cm) Frame: 36 ...