Lithograph Still-life Prints

Marilyn's Flowers II is an original hand drawn lithograph by Peter Max printed in an edition of 165, using traditional hand lithography techniques on archival paper, 100% acid free. Marilyn's Flowers II is a vibrant multicolor still life depicting an abstract floral arrangement of lush magenta pink blossoms, with warm red centers against a backdrop of brown and orange, with accents of blue, plum brown and black. The warm brown interior setting enhances the floating, freely drawn pop art cosmic flowers...

Cosmic Flowers is an original hand drawn lithograph by Peter Max printed using traditional hand lithography techniques on archival Arches paper, 100% aci...

Alford lives and paints on the Galisteo plain just southwest of Santa Fe. His home and studio are situated on a land swell from which the view can only be described as wholly open, e...

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...

Robert Beauchamp, American (1923 - 1995) - Green Flame, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 25, Image Size: 25 x 24.5 inches, Size: 33 in....

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

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...

Moise KISLING Table of Summer Fruits Original Lithograph On Arches vellum 28 x 38 cm (c. 11 x 15 inches) Very good condition

Original c. 1930 "La Bretagne Pittoresque Lannion" Vintage French Travel Poster – Rare Art Deco France Wall Décor. Archivally linen-backed and in B+ to A- condition. There was a tear...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

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...

'Cymbidium Eburneum – The Ivory Cymbidium' Orchid lithograph with original hand-colouring , 1859, by Walter Hood Fitch (1817-1892). 25cm by 15.5cm (sheet...

Lithograph on vélin paper. Paper Size: 12 x 9 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, View, Surrealism in Belgium, vol. VII, n°2, D...

This exquisite lithograph after Georges Braque (1882–1963), titled Cafe-Bar, originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les Reines-Marguerites (The Daisies), from the album Vlaminck, originates from the 1958 edition published by A...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

'262. Helvella pityophila 263. Helvella crispa 264. Helvella elastica' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Suisse et Belgique,"...

These works were printed in November 1967 by Fernand Mourlot, master lithographer in Paris.

Original Arabic Art – Spain vintage travel poster. Artist: Jose Ortega. Size: 24.5" x 39.5". C. 1950. Original vintage European travel poster...

Mary Frank Rosh Hashanah 5741, 1980 Lithograph on arches paper with deckled edges Hand signed and numbered 9 from the limited edition of 71 by the artist on the front 15 × 18 inches ...

Lithograph on vélin paper. Paper Size: 12.5 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Calder. Published and printed by Musée National d'A...

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...

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...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left, 'Epr. d' Artist' (Epreuve d'Artist / Artist's Proof); also indistinctly inscri...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

Flowers is a modern artwork realized by Renzo Vespignani in 1980. Mixed colored lithograph. Hand signed and dated on the lower margin. Numbered on the lower left. Artist's proof....

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...

A coloured lithograph of Buffet's famous work titled 'Pensees'. The piece depicts three pansies in black, red and yellow. The artist signature has been printed in the upper left corn...

This exquisite lithograph by Alexander Calder (1898–1976), titled Le bonnet phrygien (The Phrygian Cap), originates from the historic 1963 folio Derriere le Miroir, No. 141. Publishe...

This exquisite lithograph after Georges Braque (1882–1963), titled La Palette et le vase de fleurs (The Palette and the Vase of Flowers), from Carnets intimes (Private Sketchbooks), ...

This exquisite lithograph after Juan Gris (1887–1927), titled La Lampe (The Lamp), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), originates from the 1955 edit...

GARDEN FLOWERS is an original hand drawn lithograph enhanced with hand coloring by the renowned American Pop artist, Peter Max. GARDEN FLOWERS was created in 1979 printed using tradi...

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)

This lithograph, produced in an edition of 100, and signed and numbered by James Rosenquist, is offered by CLAMP in New York.

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 115, 1959. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 120, 1960. Published by Aimé Maeght, Éditeur, Paris; pr...

'Blattpflanzen II' (Leaf plants) German chromolithograph, circa 1895. 245mm by 305mm (sheet). Central vertical fold as issued.

This exquisite lithograph by Bernard Buffet (1928–1999), titled Violon et partition de Mozart (Violin and Mozart Score), from the folio Lettre a mon peintre Raoul Dufy (Letter to My ...

Botanical lithograph with original hand-colouring , 1873, by Walter Hood Fitch (1817-1892). 235mm by 145mm (sheet) Walter Hood Fitch was a Scottish botan...

Lithograph on Paper Page Size: 12.5 x 18 in. Frame Size: 19 x 24.75 Signed, bottom right, in pencil "Ancel Nunn" Numbered, bottom center, in pencil "77/90" Titled, bottom left, in pe...

Artist: James Rosenquist (1933-2017) Title: My Mind Is a Glass of Water, from Prints for Phoenix House (Glenn 58) Year: 1972 Medium: Color lithograph on Arches paper Edition: A.P. XX...

'Ornamentale Tatowierung' (Ornamental Tattooing) German chromolithograph. 1895. 240mm by 150mm (sheet)

This exquisite lithograph by Alexander Calder (1898–1976), titled La lune (The Moon), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeur...

"Astonishing, Health and Sunshine" triptych by artist Jim Dine. Three spitbite aquatint, drypoint and lithographs with additional hand coloring on Shiramibe paper mounted onto three ...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - Vase de Fleurs, Medium: Lithograph on Arches (unsigned), Image Size: 21 x 17 inches, Size: 29 x 22 in. (73.66 x 55.88 cm)

Daniel Serra-Badue was a Cuban artist working in New York City. His work is notable not only for the surrealist subject matter (a single egg in a wire basket in deep space) but for t...

Les Caprices Pinces Princiers (Princely Pliers Caprices) from the  series Les Diners de Gala  by Salvador Dali is one of 12 photolithographs of orn...

This exquisite lithograph after Fernand Leger (1881–1955), titled Nature morte (Still Life), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: Nature morte (Still Life), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for 39,241,000 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger Nature morte 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

Rizzie, Dan (American, born 1951) Flowering Tree 1998 Lithograph printed in colors on wave paper, Hand signed in pencil, dated, and numbered 6/25, unframed Provenance: acquired fro...

Artist: Ben Shahn, American (1898 - 1969) Title: The First Word of Verse Arises from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Siz...

'Seedling tuberous Rooted Begonias' Antique English flower botanical chromolithograph.

Jean-Antoine Watteau Winter – Spring 1841 Hand colored lithograph 14 x 19.5 inches Framed: 25 x 31 inches

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...

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),...

'Gloxinias' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

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....

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

PARROTS AND FLOWERS is an original hand drawn lithograph by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010) printed on archival Somerset printmakin...

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 unknown "Tomato Sauce I" c. 1960s Lithograph on paper 18.5"x23" unframed unsigned