Late 20th Century Still-life Prints

Artist: Janet Fish, American (1938 - ) Title: Bag of Bananas Year: 1996 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 100 Size: 24.5 x 30 in. (62.23 x 76.2 cm)

Aspen Trail- Fall, color etching,John Hogan, yellows, gold, landscape forest hand pulled limited edition color etching 22 x 30 paper size 18 x 24 image size unframed edition signed ...

Yayoi Kusama Standing in the Visionary Field (1979). Edition 46/100 Screenprint [13 screens, 13 colors, 13 runs] 40.8 x 52.2 cm (image) 50.8x 65 cm (sheet) Edition of 100 + 10 Artist Proofs Published in 1979 on Hakou-shi paper by Ishida Ryoichi (printer) Provenance: Art Factory Gallery, Setagaya-ku, Tokyo Shinwa Art Auction, Tokyo Publications: A specimen of the same edition is represented in full page at plate 2, page 12 of the Catalogue Raisonné of Kusama's prints: "Yayoi Kusama Prints 1979...

Yves GANNE (1931-2019) Peach Basket Original Lithograph Signed on pencil Numbered on 140 copies On vellum Arches 53.5 x 76 cm (c. 21.06 x 29.92 in) Very good condition, slight foxi...

In Trois Plants, François Houtin envisions a fantastical botanical specimen rising like an ornate tower of intertwined foliage and blossoms. Each element—stem, leaf, and tendril—is r...

"Shell Ginger" is an original color serigraph by Hunt Slonem. The artist signed the piece in the lower right, titled it lower center, and wrote the edition number (A.P. 16/30) in the lower left. It depicts a chair with an animal skin and plants. 25"x 20 3/8" image 30"x 22" paper 33 1/2 x 28 3/4" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

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

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Island of Yellow Flowers Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 32 x 40 inch...

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...

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...

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 ...

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.

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...

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...

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

“Nature creates nothing without the purpose” - Aristotele #flower; still life, flora, conceptual, transparency, prime colours, anthurium, red, yellow, green, warm colours, golden, se...

Combination Knit, mezzotint by Katsunori Hamanishi, rope, Japan, black and white edition number 8/30

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

ARTIST: Salvador Dali TITLE: Florals Tiger Lilies of The Theatre MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBE...

Amsterdam VI is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade and is b...

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

Signed lower right, in graphite, 'K. Suguira' for Kazutoshi Sugiura (Japanese, born 1938) and dated 1992. Titled lower left, in Kanji, 'Hanashōbu' (J...

Paul Cezanne The green jug, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 41.5 x 53.5 cm (c. 16.5 x 21 in) INFORMATION : ...

Flower is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. The state of preservation of the artwork is excellen...

This exquisite lithograph by Saul Steinberg (1914–1999), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Margueri...

In Portrait #1, François Houtin transforms botanical motifs into an elaborate fantasy of form and texture. Using fine, rhythmic lines, he constructs an imaginary figure that feels pa...

Future Garden is an original screen print realized by Leo Guida in 1976. Hand signed and dated. Edition of 50. Excellent condition. Leo Guida  (1992 - 2017). Sensitive to current...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left with edition number and limitation, '115/170'. Pierre Garcia-Fons left Spain d...

Original colored lithograph of a bouquet in teal by the well known French artist, Claude Gaveau. Edition 5/175 in pencil lower left margin. Signed in pencil by the artist lower right...

Lithograph realized by Ennio Morlotti in 1970s. Edition of 99. Hand signed and numbered in pencil. Very good condition. Includes a coeval wooden frame.   

Salvador Dalí (Spanish, 1904-1989) Date: Circa 1982 Medium: Offset lithograph in color on paper Edition: Limited edition, typically 100 copies; this one is numbered EA Signature:...

ARTIST: Salvador Dali TITLE: Florals Pirate's Gladioli MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 ...

Lithograph realized by Bruno Caruso in 1980s. Edition of 120. Hand signed and numbered in pencil. Excellent condition.

Bernard Buffet Crocus jaunes, 1987 Lithograph Hand signed low right Numbered 15/150 Image 67 x 50 cm Sheet 75 x 58 Framing is an option, will be framed with an aluminium frame, an a...

MIGHTY TREE II is an original hand drawn limited edition lithograph(not a photo reproduction or digital print) using traditional hand lithography techniques on archival Arches buff colored paper, 100% acid free. MIGHTY TREE II is a hyper-detailed tree drawing expressed as a three panel, horizontally placed composition printed in dark brown gray and pale green ink from a hand drawn lithography stone. The tree is meticulously drawn using highly detailed pencil markings which create the intricate foliage crown, massive trunk, and multi-fingered roots. MIGHTY TREE II is truly an imaginative, surrealist style triptych drawing of an uprooted age-old tree existing from another time. Superb quality, hand crafted original lithograph, very fine impression. Print size - 20.5 x 30 inches, unframed, very good condition, light handling, printer registration pin holes on left and right margin, pencil signed by Hanna Kay...

ARTIST: Salvador Dali TITLE: Florals Dahlias of Dali MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 M...

"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, ...

Screen print on paper realized by Franco Bocchi in 1980s. Hand signed and numbered in pencil. Edition of 200 prints. Excellent condition. Franco Bocchi was born in Cologne (BS) o...

COMPOSITION RED is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed using traditional hand lithography techniques on archival printmaking pap...

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...

Image dimensions: 20.6 x 31 cm. Composition is a superb original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly reproduc...

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

Lithograph, 1998. Signed by the artist and dated in pencil, lower right. Numbered 99/200 in pencil, lower left. Full margins. Overall sheet dimension is 15.25 x20 inches.

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 200, 1972. Published by Aim...

Yvonne CHEFFER DELOUIS Still Life with Hat Original lithograph Signed in pencil Numbered / 275 copies On vellum 58 x 76 cm (c. 22.8 x 29.9 in) Excellent condition

Pomegranates 1994 Print - Silkscreen Paper size 22.75'' x 21.75'' inches Image size 12" x 12" inches Edition: signed in pencil, titled, dated and marked 4/125 Donald Sultan The ...

This beautiful etching in colors is immediately recognizable as the work of Kaiko Moti, (1921-1989). It depicts Roses in a vase or chalice or large wine glass. The print measures 22...

Michel HENRY Bouquet of Yellow Flowers Original lithograph Handsigned in pencil Numbered on 275 copies On vellum 54 x 76 cm (c. 21.2 x 29.9 in) Excellent condition

Michel HENRY Blue Still Life Original screenprint Handsigned in pencil Justified EA (Artist Proof) On vellum 60 x 77 cm (c. 23.6 x 30.3 in) Excellent condition

Michel HENRY Still Life Overlooking the City Original silkscreen Unsigned On vellum 60 x 77 cm (c. 23.6 x 30.3 in) Excellent condition

Michel HENRY Still Life Overlooking the City Original silkscreen Handsigned in pencil Numbered on 250 copies On vellum 60 x 77 cm (c. 23.6 x 30.3 in) Excellent condition

Screen print on paper realized by Franco Bocchi in 1980s. Hand signed and numbered in pencil. Edition of 200 prints. Excellent condition. Franco Bocchi was born in Cologne (BS) o...

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

"Candle Light" is a lithograph signed, dated, titled and editioned in pencil. It is #2 from an edition of 65 and was an exclusive publication of Stone and Press. Shadow and light are...

ARTIST: Salvador Dali TITLE: Florals Anemone per Anti-Pasti MEDIUM: Etching on Heavy Arches Paper SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: 62/350 MEASUREMENTS: 29....

This exquisite lithograph by Renato Guttuso (1911–1987), titled Cesto e sega (Basket and Saw), from the album XXe siecle, Nouvelle serie, XLIIIe Annee, No. 57, Hommage a Guttuso, ori...

Lowell Nesbitt Red Rose, 1985 Silkscreen on wove paper Signed, dated, and numbered AP 9/25 by Lowell Nesbitt on the front 24 × 24 inches Unframed Hand signed, dated, and numbered AP ...