Still-life Prints

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...

Each a lithograph with hand coloring on watermarked Arches wove paper with a deckle edge. Each 16 1/4 x 12 1/4 (412 x 312 mm); sheet 26 x 19 3/4 inches (661 x 502 mm), each with full...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

"Newman" is an acrylic 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 o...

"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...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. This exquisite still life photo, shows a classy bouquet beautifully lit with soft light...

"Air Jordan" is an acrylic 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 hundre...

Artist: Donald Sultan Title: Aqua Double Poppies Portfolio: Double Poppies Medium: Silkscreen with enamel inks, flocking, and sand on Rising 4-ply museum board Date: 2025 Edition: 9/...

Image dimensions: 24.5 x 33.5 cm. Bottles Composition is an original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly repr...

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...

This is new release in the much anticipated series "The Music" by pop Artists Destro These iconic tapes have become more than just timeless music. They encapsulate an era instantly...

"Silver Daisy" Print on Aluminum 43 x 43 in Ed. of 15 by Mick Fleetwood Digital print on aluminum - ready to hang Mick Fleetwood, the legendary drummer and founding member of Flee...

"Platinum Daisy" Print on Aluminum 43 x 43 in Ed. of 15 by Mick Fleetwood Digital print on aluminum - ready to hang Mick Fleetwood, the legendary drummer and founding member of Fl...

Lithograph with hand coloring in watercolor on cream wove paper with a deckle edge, 8 3/4 x 12 1/2 inches (222 x 320 mm); sheet 15 1/4 x 20 7/8 inches (388 x 530 mm), full margins. I...

Back Cover, from Joan Miro by Jacques Prevert and Georges Ribemont-Dessaignes Artist: Joan Miro Editor: Maeght Year: 1956 Dimensions: 23 x 20 cm Refere...

Artist: Alex Katz Title: Purple Tulips 2 Year: 2021 Medium: Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper Edition: 100; signed...

Offset lithograph Edition 248 of 300 60 x 60 cm (23.6 x 23.6 in) Signed and numbered on the front Mint Published by Kaikai Kiki Co. Ltd

Print is singed, dated and numered. It comes from limited edition of 50 copies JOANNA WISZNIEWSKA DOMAŃSKA (born in 1946) graduated from the Academy of Fine Arts, Faculty of Graphic...

"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 Editio...

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...

"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: Lowell Blair Nesbitt, American (1933 - 1993) Title: Shoes Year: 1974 Medium: Etching, signed and numbered in pencil Edition: II 14 Image Size: 19 x 28 inches Size: 27.5 x 36 ...

Christopher Stott's prints are all sold UNFRAMED. Stott’s work is almost object portraiture, applying traditional still life compositions and lighting but ventures beyond time honor...

ARTIST: Salvador Dali TITLE: Florals Carnation Keys MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 ME...

This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. The print measures 36 x 24 inches total, with an image size of 32 x 20 in. and a 2 inch...

Print Sz: 11 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 16 3/4"W Publisher: Longman, Hurst, Rees, Orme & Brown Plate XLIX George Brookshaw, also known as G. Brown, was a notable Englis...

Carnations by Lisa Takahashi [2019] Limited Edition Linocut Edition of A/P Image size: H:29 cm x W:42 cm Complete Size of Unframed Work: H:39 cm x W:50 ...

'Sunflower' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur botanist. He was the Professor of Freehand...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Morte Au Morceau (Death in Pieces), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the heightened emotional tension and expressive force characteristic of Soutines painterly vision, capturing in lithographic form the dynamic structure and psychological intensity that define his mature still lifes. Executed as a lithograph on velin d'Arches paper, this work measures 20 x 26 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1899–1943) Title: Morte Au Morceau (Death in Pieces), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 20 x 26 inches Inscription: Signed in the plate and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a time when renewed international interest in the artist was expanding. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural drama of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

Untitled (Nr. 0006) Photography 18" x 24" Edition of 20 by Ben Cope Signed and numbered by the artist. Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off t...

LADDER is a rarely seen, hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archi...

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...

Sun and moon , 90x90cm, print on canvas.Edition 20 pcs. the sun and the moon symbolize dualism and the unity of opposites. The sun is often associated with masculinity, activity, st...

Etching on imitation Japan paper. Image dimension: 26.7x39 cm. Signed and dated in the lower right in pencil "Morandi 1945". Edition of 22/50, numbered in pencil. Ref. Vitali 111...

Laure Prouvost It's Spring, 2022 Medium: Archival pigment print Edition of 290: Hand-signed in pencil Dimensions: 34 3/5 × 25 3/5 in (88 × 65 cm) Condition: Excellent

Woodcut on wove paper Edition of 10 Signed and dated.

RATHBONE, Frederick A Large Jardiniere or Monteith. Jasper. Pl. XXXVII Published by Bernard Quartich, London 1898 Original chromolithograph by W. Griggs from Old Wedgewood, the D...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 48-49, 1952. Published by A...

"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...

This exquisite lithograph and pochoir after Henri Laurens (1885–1954), titled Nature morte (Still Life), from the album L'Art Cubiste, Theories et Realisations, Etude Critique (Cubis...

Guy Bardone Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions Guy Bardone was one of the great painters of the “Ecole de Paris” and of the second mid twenty century. Guy Bardone French, (1927 - ) Guy Bardone Guy Bardone was born in 1927 in Saint-Claude, on of the most beautiful old towns in France. His vocation as a painter was confirmed after admission to the Ecole National Supérieure des Arts Decoratifs in Paris. Here he trained under Brianchon, Cavailles and Desnoyer. He was awarded the prestigious Prix Félix Fénéon in 1952 which set wider horizons and allowed him entry into the Paris arena. Guy Bardone est né en 1927 à Saint-Claude (Jura). Après des études à l'école des Beaux-Arts de Lyon, il entre à l'école supérieure des arts décoratifs où il reçoit les enseignements de Brianchon, Cavaillès et Desnoyers. En 1950, il rencontre le critique George Besson qui l'encourage et le conseille. En 1952, il obtient le Prix Félix Fénéon et commence à exposer dans divers salons et expositions de groupe. il est sélectionné en 1953 à la très importante expositions de groupe "célébrités et révélations de la peinture contemporaine...

An image that originally appeared in an astrological calendar for the year 1766. Tokyo: Shuei-Sha, 1766. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 in...

"Newman" is an acrylic 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 o...

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...

This exquisite lithograph after Henri Matisse (1869–1954), titled La Palme (The Palm), from the folio Les Peintres mes amis (The Painters My Friends), originates from the 1965 editio...

Edmond Ceria, Brittany (Bretagne), 1953 — Original SNCF Travel Poster, Linen-Backed. An original 1953 French National Railroads (SNCF) travel poster for Brittany by Edmond Ceria (...

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...

Rose in Blue Glass Vase Photograph of Found Objects Printed in Cyanotype 10" x 8" image on 14" x 11" paper, edition of 5 19 x 15 inches matted and framed Wire backing, ready to hang Signed on front Available in additional sizes Other available sizes: 20" x 16" image on 24" x 18" paper, edition of 5 40" x 32", edition of 5 Contemporary still life cyanotype photograph of delicate rose poised in a blue glass vase. David Sokosh is a storyteller with a unique ability to internalize, synthesize, and recollect. If one of his tenderly photographed stills lifes was a tiny window into the workings of his mind, then on the other side you would discover a trove of collected treasures. Vintage teacups...

This exquisite lithograph after Rene Magritte (1898–1967), titled La Traversee Difficile (The Difficult Crossing), from the folio Les Enfants Trouves de Magritte (The Found Children ...

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...

Five Lemons A Pear and Egg : Fruits and Flowers Suite 1994 Print - Screen Print Paper size 22.75'' x 21.75'' inches Image size 12" x 12" inches Edition: signed in pencil, titled, d...

This is new release in the much anticipated series "The Music" by pop Artists Destro These iconic tapes have become more than just timeless music. They encapsulate an era instantly...

"Elvis by Warhol " is an acrylic 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 ...

Engraving on light weight laid paper with an small indiscernible, alphabetic watermark, 9 x 7 1/2 (230 x 188 mm); sheet 11 1/4 x 8 1/2 inches (284 x 215 mm), wide margins. In very go...

70x70cm, print on canvas Edition 20 pcs.

This exquisite lithograph by Alexander Calder (1898–1976), titled Porc qui pique (Prickly Pig), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeg...

Henry Evans (1918-1990) Pinot Chardonnay Print signed, numbered 103/160, dated 1974 Light exposure, adhesive in the corners 50.5 x 33 cm

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 037 Subject: Autumn Trees, Framed Size: 24.5" x 17.5" x 0.8''inch, 62x44x2cm, Ready to Hang, Wooden Frame. All works are...