Tri-State Area - Still-life Prints

This print of a violin replicated several times in black and red across the composition is indicative of Arman's classic technique of recomposition. Transferring the image across the...

Still Life #2 by Juan Manuel Gomez-Quiroz, Chilean (1939–2021) Date: 1981 Etching, signed, titled, numbered and dated in pencil Edition of 65 Image Size: 19.75 x 29 inches Size: 26.2...

Based on Rosenquist’s 1961 grisaille oil painting Flower Garden, this work arranges a still life using an advertisement for gloves with part of an athlete’s torso. A number 1 can be ...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

PINK HOUSE is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arche...

RECEIVING HAND is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. RECEIVING HAND a finely detailed hand drawn example of Fantastic Realism...

Harry McCormick, American (1942 - ) - The Landmark Tavern II. Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: AP 60, Size: 26 x 31 in. (66.04 x 78.74 cm)

Artist: Lowell Nesbitt (1933-1993) Title: Waterlilies Year: 1981 Edition: 42/200, plus proofs. Medium: Silkscreen on Arches paper Size: 23.25 x 41.5 inches Condition: Good Inscriptio...

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 plate size ( 9 x 6 in. / 23 x 15 cm.) are the same. This drypoint comes from the archive of the publisher Petersburg Press. Signed by the artist, numbered 7/10, and dated 1972 lower center in pencil. Edition 10: this impression 7/10. Here, the blade of a hand saw...

Artist: Ben Shahn, American (1898 - 1969) Title: To Parents One Had to Hurt from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 2...

Still Life #2 Juan Manuel Gomez-Quiroz Chilean (1939–2021) Date: 1981 Hand-Colored Etching, signed, titled, numbered and dated in pencil Edition of 19/65 Image Size: 19.75 x 29 inc...

Artist: Omar Rayo Title: My Size Year: 1969 Medium: Intaglio Etching with Collage, signed and numbered in pencil Edition: 50, 10 APs Paper Size: 29 x 22 inches (73.7 x 60 cm) Refer...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

Aubrey Schwartz, American (1928 - 2019) - Wild Flowers IV, Year: 1966, Medium: Etching, signed and numbered in pencil, Edition: 100, Image Size: 4.75 x 3.75 inches, Size: 14 x 10 in...

Morris Broderson, American (1928 - 2011) - Roses, Portfolio: The Atelier Portfolios, Number One: Morris Broderson, Year: 1961, Medium: Lithograph, signed and dated in the plate lo...

This original serigraph poster was designed for an in-store advertising campaign and printed in 1982. It is part of an unnumbered edition featuring collage-style images intended for ...

Artist: Lowell Nesbitt (1933-1993) Title: Rose Year: 1980 Edition: 92/175, plus proofs. Medium: Silkscreen on Arches paper Size: 29 x 29 inches Condition: Good Inscription: Signed an...

Still Life with Sugars Ralph Goings American (1928–2016) Date: 1981 Screenprint, signed and numbered in pencil Edition of AP 34/40 Image Size: 19 x 20 inches Size: 22 in. x 23 in. ...

Artist: Arman, French (1929 - 2005) Title: Manches de violons bleus Year: 1987 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: EA Image: 14 x 13.25 i...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

Aubrey Schwartz, American (1928 - 2019) - Wild Flowers I, Year: 1966, Medium: Etching, signed and numbered in pencil, Edition: 28/100, Image Size: 4.75 x 3.75 inches, Size: 14 x 10...

Aubrey Schwartz, American (1928 - 2019) - Wild Flowers VIII, Year: 1966, Medium: Etching, signed and numbered in pencil, Edition: 28/100, Image Size: 4.75 x 3.75 inches, Size: 14 x...

This high-quality reproduction of La Bouteille de Rhum by Georges Braque is a striking example of early Cubism, a movement co-founded by Braque and Pablo Picasso. The limited edition...

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...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

Series: Submerged Garden C Print Limited Edition of 12 Available Sizes: 36" x 24" 45" x 30" 54" x 36" 60" x 40" 72" x 48" This photograph will be printed once payment has been re...

Artist: Donald Sultan, American (1951 - ) Title: Squash Year: 1991 Medium: Screenprint, signed and numbered in pencil Edition: 125 Image Size: 12 x 12 inches Size: 23 x 22 in. (58.42...

Artist: Lowell Nesbitt (1933-1993) Title: Violent Monochrome Year: 1980 Edition: 56/200, plus proofs. Medium: Silkscreen on Arches paper Size: 31.5 x 31 inches Condition: Good Inscri...

'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...

ABOUT THE ARTIST: Gaia Barnatan explores surreal, dreamlike spaces through the medium of digital collage. Her work aims to create a sense of balance, pla...

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...

ABOUT THIS PIECE: This series explores the color and composition of our most recognizable form of transportation. A photographer and art director, Thomas Eigel brings an inspired eye...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His fav...

"Kitchen Cat" by Molly Craig 2021 Digital painting print, interiors, still life, animal, cat art, figurative, emerging artist; yellow kitchen with black an...

Artist: Hunt Slonem, American (1951 - ) Title: Ocelot Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 27.5 x 24 inches Size: 31 in. x 26.5 in. (78.7...

SURVIVOR TREE is an original, hand drawn limited edition lithograph(not a photo reproduction or digital print) printed in khaki grey ink using traditional hand lithography techniques on white archival printmaking paper 100% acid free. SURVIVOR TREE is a highly detailed fantasy tree portrait, meticulously drawn with its roots clinging to a circular platform suspended in the air. SURVIVOR TREE is masterfully expressed with fine pencil markings that create the intricate foliage crown, massive trunk, and multi-fingered roots. SURVIVOR TREE is truly an imaginative, surreal tree portrait presenting a mysterious lone tree surviving in time and space . Superb quality, hand crafted original lithograph, very fine impression. Print size - 23 x 28.5 inches, unframed, excellent condition, pencil signed by Hanna Kay...

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...

ABOUT THE ARTIST: Brandon currently lives in New York, New York, though his heart remains in Los Angeles. He studied at New York University's Stern School of Business, receiving a ma...

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...

Artist: Cesar Title: Automobile Compression Year: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300; 40 AP Image Size: 30 x 22 inches; 76.2 x 55.88 cm Pape...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: The Velveteen Rabbit by Margery Williams was one of my favorite boo...

ABOUT THIS PIECE: Untitled (Balloons) is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interestin...

ABOUT THIS PIECE: Sugar High is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of col...

JEWISH SYMBOLS is an original hand drawn, limited edition lithograph by Marius Sznajderman (Born-Paris, France 1926-2018) printed in colors on white archival printmaking paper, 100% acid-free, using traditional hand lithography printmaking methods. JEWISH SYMBOLS is an expressive modern abstract color still life composition depicting symbols from the Jewish faith including a menorah, roosters, Magen David(star), Aron Kodesh...

Series: Submerged Garden C Print Limited Edition of 12 Available Sizes: 24" x 36" 30" x 45" 36" x 54" 40" x 60" 48" x 78" This photograph will be printed once payment has been re...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His favorite subjects are time,...

ABOUT THIS ARTIST: Ezequiel Montero Swinnen is a visual artist from La Pampa, Argentina. His work is based across photography, video and installation. His favorite subjects are time,...

ABOUT THIS PIECE: "The Glitter Diet playfully pokes fun at the staples of the American Diet and the glamorization of mass-produced food in our society. Your food pyramid just got an ...

Artist: Janet Fish, American (1938 - ) Title: Pears and Autumn Leaves Year: 1988 Medium: Lithograph, signed and numbered in pencil Edition: 60 Paper Size: 38.5 x 29 inches

HOMAGE TO DE CHIRICO is an original, hand drawn, stone lithograph by the Italian artist Antonio Recalcati (1938-2022) printed in Paris France c. 1973 using hand lithography techniques on archival printmaking paper, 100% acid free. HOMAGE TO DE CHIRICO presents a pop art style, surreal landscape depicting an ancient Roman monument and empty town square with a lone shadowy figure visible in the upper window; a mysterious still life arrangement is set in the foreground featuring a sandwich on a roll and drinking goblet positioned in the center. HOMAGE TO DE CHIRICO is very intriguing and somewhat amusing composition that keeps us guessing. Print size - 20.25 x 28.75 in., unframed, very good condition, vivid colors, pencil signed by Antonio Recalcati, Printer's Proof dedicated "Pour Joseph" In 1973, Paris Recalcati painted a series of pictures titled “The Boheme de Chirico”. It is an unconventional and ironic reading of the great Giorgio de Chirico. The metaphysical monuments in the squares are transformed into physical objects such as a sandwich, macaroni dish, Parma ham, etc. The exhibition at the “Galérie Mathias Fels” in Paris received great success from the critics. The text in the exhibition catalogue is by Alain Jouffroy. President Georges Pompidou, had sent a jeep from Élysée Palace to have some paintings to view. Recalcati took up the theme of "ham" several times, for example in a painting from 1973, "La bohème de Chirico, place d'Italie" or in the work "Jambon de Paris" from 1972. Recalcati often exhibited in the 1970's in Italy, Paris, Caracas, and New York. During this time the 'Ham series' was created. About the artist - Antonio Recalcati (2 May 1938 – 4 December 2022) was an Italian painter and sculptor, born in a working-class family in Bresso, a suburb of Milan. Born in 1938 in Bresso, near Milan, who died on 4 December 2022, Antonio Recalcati was a major artist of the second half of the 20th century. Known first as a painter of the New Figuration in Paris, he was later more closely related to the movement of the Narrative Figuration. Without an artistic background, he was noted in the first half of the 1960s by his "Imprections" (Impronte), paintings made by applying directly to the canvas and in oil his own body or empty clothes (shirts, underpants, body jerseys). This process is then of total originality. It carries an unprecedented expressionist charge, and it becomes enigmatic when combined with abstract shapes or narrative devices (space of the canvas separated into several boxes, such as a page of comics). Exhibited both in Italy; in Paris in the salons and galleries (Gallery Mathias Fels, gallery Claude Levin, Galerie André Schoeller); in Brussels (Fragmy Gallery, Lanzberg Gallery); in New York (Odissey gallery); he participates in historical exhibitions such as: (Paris, 1964); and , During these same years, he befriended poets (Jacques Prévert) and novelists (Dino Buzatti), and he participated – with other artists such as Gilles Aillaud, Eduardo Arroyo, and Jean-Jacques Lebel – in several collective works that had become emblematic of the commitment of a new generation of painters: Grand Tableau...

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

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...

This lithographic poster was designed after a gouache by Raoul Dufy, "Le Grand Concert" 1948, for the second Festival of Painting and Sculpture in 1957 in the town of Vichy, France, which was sponsored by the Lions Club...

ABOUT THIS PIECE: CRÈME DE LA CRÈME is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interestin...

Series: Submerged Garden C Print Limited Edition of 12 Available Sizes: 36" x 24" 45" x 30" 54" x 36" 60" x 40" 72" x 48" This photograph will be printed once payment has been re...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: As a kid the ice cream truck was a nei...