Decor Still-life Prints

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s. This butter yellow cyanotype sta...

Artist: George Braque – French (1882-1963) Title: Les Marguerites (Daisies) Year: circa 1952 Medium: Color etching and aquatint Publisher: Maeght, Paris (bears Maeght blindstamp in ...

Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale, her pieces combine elements of oil painting, folk art ...

Signed, titled, and numbered from the edition of 15. Japanese still life with vase and flowers on a table. While the images have some resemblance t...

Stamped on the Verso of the print and in Mint Condition. From the David Kordansky Gallery show in 2017. Very rare poster that has been stored flat since purchase. One of his most ...

Blue Hydrangea - image bled to plate size ~ 39 x 29 - printed on 100% cotton rag - edition 3/5 Architectural elements

Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Au Temps de Paris Seine, 1964. Published by Pierre ...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Tournesol (The Sunflower), from Carnets intimes (Private Sketchbooks), Verve, Vol. VIII, No. 31–32, originates f...

Le Repos is an original lithograph realized by Georges Braque (After) (Argenteuil, 1882 - Paris, 1963) in 1967. Original Lithograph on paper. Published by Maeght Editeur, Paris. Credits printed on rear. Mint Conditions. Georges Braque (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s Les Demoiselles...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts and different exposures using uv-light. Details: + Title: Asian Totem...

"Night Moves" - Abstract Etching in Ink on Paper (Artist's Proof) Textural abstract print by Doris Ann Warner (American, 1925-2010). This piece is composed of overlapping fabric patt...

Jack Hofflander, American (1920 - 2003) - Flowers, Medium: Screenprint, numbered in pencil, Edition: TP, Image Size: 18.5 x 26 inches, Size: 21 x 28 in. (53.34 x 71.12 cm), Des...

Mary Faulconer, American (1912 - 2011) - Pencil Box, Year: 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 22 x 30 in. (55.88 x 76.2 cm), Descripti...

Mary Faulconer, American (1912 - 2011) - White Iris, Year: circa 1980, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 250, AP 35, Image Size: 24 x 18 inches, Size: ...

Medium: Etching Year: 2019 Image Size: 10 x 8.25 inches Edition of 20, signed and titled by the artist McCleary was born in Santa Monica, California. He graduated from Loyola High S...

Oil Lamp to Hang is an Etching realized by Filippo de Grado (1705-1780). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les Anémones (The Anemones), from the album Vlaminck, originates from the 1958 edition published by Andre Saur...

Image dimensions: 24.5 x 31.5 cm. Ciclamini su Fondo Scuro ("Cyclamens on a Dark Background") is an original artwork realized by Luigi Bartolini in 1941.  Very precious watercolor...

Still life etching by Doris Ann Warner (American, 1925-2010). Several ornate bottles are arranged on a shelf. There is a splatter effect in this piece, c...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

Oil Lamp With Decoration is an Etching realized by Giovanni Battista Casanova (1735-1810). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original tit...

Roman Still Life Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century. Signed on the plate. Good conditions with some folding...

Still Life Fresco With Birds from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century. Signed on the plate. Good conditions with som...

Roman Temple Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century. Signed on the plate. Good conditions. The etching belongs...

Waterlily pool by Elaine Marshall [2012] Signed by the artist Etching and aquatint Edition of 5 Image size: H:17 cm x W:20 cm Complete Size of Unframed...

Still life etching with jars by Doris Ann Warner (American, 1925-2010). Four jars sit on a countertop. Overlapping fabric patterns like cheesecloth are used to create shadows and tex...

Still Life is an Original Lithograph realized by André Utter (1886-1948). Good condition included a white cardboard passpartout (55x37.5 cm). Hand signed and dedicated by the artis...

Artist: Francesco Scavullo Title: Roses and Poppies in Spotted Vase (Black) Year: 1987 Medium: Screenprint on Lennox Museum Board, Signed and dated in Pencil, numbered verso Edition:...

Artist: Bill Sullivan Title: Flowers Medium: Serigraph Signed: Hand Signed Edition: Edition of 200 Measurements: 22" x 30" Condition: Excellent. This piece has been stored in a ...

Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by an anonymous artist in the 18th century. ...

Still Life is an original artwork realized in the mid-20th Century. A beautiful mixed colored oil on canvas on a vivid red colored background. Hand signed on the lower right margin.

Ex Libris Dolezal is an original Contemporary Artwork realized in the mid-20th Century. Original Ex Libris. Original B/W woodcut print on ivory-colored paper. The work is glued...

The Drape is a vintage offset realized after a drawing by Renato Guttuso, in 1980s. The picture is in very good conditions, hand-signed by the artist on the lower margin. Image Dim...

Still-Life 02 is an offset print realized after the Sicilian artist Renato Guttuso, 1980s. Very good conditions. Renato Guttuso (Bagheria, Palermo 1912 - Rome,1987) was a famous I...

Cherry is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. Ed...

Artist: Francisco Scavullo Title: Roses and Poppies in Spotted Vase (Red) Year: 1987 Medium: Screenprint, signed and dated l.r. in pencil Edition: 73/75 (verso) Size: 36 x 36 inches ...

Signed and numbered from the edition of 10. Printed on chine colle. Yuji Hiratsuka was born 1954 in Osaka, Japan. In 1985 he moved to the United States to pursue graduate degrees in...

This piece titled "Weed Wreath (edition 5/6)" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is the fifth in an edition of...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form found in Asian art. Some prints also include gold leaf, recalling the extensive use of gold on Japanese folding screens, and in early Renaissance painting...

Untitled (Poem Flowers) Lowell Blair Nesbitt, American (1933–1993) Date: 1974 Screenprint, signed and numbered in pencil Edition of 29/100 Size: 23.5 x 33.5 in. (59.69 x 85.09 cm)

Photogram on Polaroid Type 809 (Unique) Signed, titled, and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Brian Buckley’s work has alway...

"Orange Leaves" (2000) by Kate Breakey is a limited-edition archival pigment print that is hand colored using pencil and pastel that depicts a vase of wilted plants with orange leave...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Buds Color lithograph, 1980 Signed, titled, and editioned in pencil by the artist Publisher: Art Matters Printer: Bud Shark, Shark's Ink, Lyons, CO Condition: Excellent Image: 31-1/8 x 41-1/4" (79 x 104.7 cm.) "An Abstract Expressionist when he left the Art Institute of Chicago in 1956, Beal has since become a dedicated realist who sees art as a potentially powerful moral force. He has great regard for Platonic ideals of truth, beauty, and goodness, and admires both the realism of seventeenth-century Dutch painting and the compositional authority of Renaissance art. Since moving to New York in the late 1950s with his wife, painter Sondra Freckelton, Beal has painted still lifes, portraits, and landscapes, although in recent years his most ambitious undertakings have been large-scale allegories and myths. In describing his approach, Beal calls himself a "life painter" and says he is committed to human over aesthetic concerns. Yet his intricate complexes of figures and surface patterns, along with his adroit handling of space, reveal his sophisticated, accomplished sense of composition. Virginia M. Mecklenburg Biography Jack Beal (1931-2013) was born and raised in Richmond, Virginia. He briefly attended the College of William and Mary, studying biology, but dropped out after two years. A decision to take evening art classes lead to his attending the Art Institute of Chicago, where he studied from the old masters in the Institute’s collection and with Isobel Steele MacKinnon, a student of Hans Hoffman. His classmates there included Red Grooms, Richard Estes, Claes Oldenberg and Robert Barnes, and while abstract expressionism remained “the only valid way to paint,” it was a style that all would eventually reject. In 1956 Beal left the Art Institute and moved to New York with the aim of finding success as a painter, eventually becoming one of the first artists to settle in the SoHo neighborhood. A turning point came in 1962 when, spending the summer in upstate New York, Beal decided to begin painting outdoors. Dissatisfied with abstract painting, he “wanted to give Art one more try” and in working from nature “fell in love with painting all over again.” Over the next few years Beal worked toward a balance between expressionistic paint handling and realistic, narrative pictures. Clement Greenberg’s pronouncement around this time, that the figure was no longer a valid subject was taken as a challenge by many artists, Beal included. His subsequent adoption of the female nude - modeled by his wife, the artist Sondra Freckelton - was a break-through. Though the paintings retained the sensuousness of his earlier canvases, the rigorous formality of their composition and the masterful treatment of light and shadow offered a new approach to realist painting. Indeed, Beal was not alone in this transformation; friends and colleagues in New York were coming to similar conclusions and the group, who included painters such as Philip Pearlstein, Alfred Leslie, Yvonne Jacquette, Alex Katz, Jack Tworkov, Nell Blaine and Fairfield Porter, would eventually be considered the ‘New Realists.’ With the resurgence of figurative painting, Beal distinguished himself for his skillful handling of color and modeling as well as what was later described as his “pushing of representational forms to their interface with abstraction”. Through the later half of the 1960s, while his subject matter remained unchanged, his paintings were increasingly given over to wide areas of flat color. In 1969, he exhibited a series of Table Paintings which, with their hard-edge style and near complete abstraction of the form, were a radical departure for Beal. So radical in fact, he was accosted by fellow realist painters Alfred Leslie and Sidney Tillim, who berated him “for betraying realism and betraying [himself], for moving away from ‘the true path’.” The incident had its intended effect and Beal did return to a more naturalistic and humanistic style, eventually abandoning the nude in favor of increasingly allegorical portraits. In 1974, the United States General Services Administration commissioned Beal to produce a series of murals for the U.S. Department of Labor headquarters in Washington D.C. The result was The History of Labor, four, 12 x 13 foot paintings in the vein of George Caleb Bingham, each illustrating a century of American development. Following the completion of the murals in 1977, Beal continued to make use of narrative in his paintings, with portraiture and self-portraiture as a means of exploring moral and didactic themes. He and Sondra had purchased an old mill in upstate New York in 1974 and after extensive renovations, it became their permanent residence. Unsurprisingly, many of his later paintings are pastoral scenes based on his rural surroundings or still lives including flowers which they grew on the property. In 1986, Beal was commissioned by the Art in Transit Initiative to create a large-scale mural as part of the redevelopment of the Times Square Subway Station. The proposed mosaic mural, The Return of Spring, took over fifteen years to complete, with the two, 7 x 20 foot sections finally installed in 2001 and 2005. Together they update the Greek myth of Persephone with a New York setting, showing her abduction by Hades, initiating the arrival of winter, and her release, bringing the bountiful return of spring. Beal was a founder of the Artist’s Choice Museum, New York and the New York Academy of Art as well as the recipient of numerous grants and awards, including honorary degrees from the Art Institute of Boston and the Hollins College...

Hugh Kepets has lived and worked in New York for the past three decades. He has had numerous one-person shows of his paintings, drawings and prints in New York, Chicago, Boston, Phil...

Relish by Ralph Goings, American (1928–2016) Date: circa 1990 Screenprint, Signed and numbered in pencil Edition of 195,AP 55 Size: 25 in. x 38 in. (63.5 cm x 96.52 cm)

"Wounded Fruit" is an original color aquatint by Dan Mitchell Allison. It depicts a banana behind a window with an arrow through it. There are also color names written on the piece. It recalls Rene Magritte's early surreal explorations of objects and text. The artist signed the piece in the lower right. It is edition 39/40. 15 1/2" x 19 1/2" art 22 1/4" x 26" frame Born in Houston, Texas in 1953, the printmaker and painter continues to live and work there, still remaining an integral part of the lively Houston art scene while garnering attention throughout the United States, as well as overseas. Allison's prints are included in major museum and private collections throughout the world, including the U.S., Europe and Asia. He has gained renown for his innovative painting with the surface subtleties of printmaking and has established an international reputation for printmaking that places him in league with some of the most important late 20th century artists to have worked in the print medium. Achieving worldwide critical acclaim for his printmaking, Allison was the recipient of the prestigious 1987 Grand Prix award for the 17th Biennial of Graphic Art sponsored by the Ljubljana Museum of Modern Art in the former Republic of Yugoslavia. The artist's award winning, three panel collagraphic triptych, "Between Heaven and Earth," was selected from more than 1800 entries submitted from 57 countries. Past recipients of Ljubljana print award honors include Joan Miro, Karl Appel, Jasper Johns, Robert Rauschenberg, Frank Stella, James Rosenquist, David Hockney, Victor Vasarely, Antonio Berni...

Tyger, Tyger, Burning Bright… by Kate Willows [2016] limited_edition Ink on paper. Edition number 40 Image size: H:20 cm x W:30 cm Sold Unframed Plea...

(There’s A Place) Pensao Amor, Lisbon [2021] limited edition Digital on 315gsm etching paper Edition of 200 Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look I think the name suggests that this cosy little bar served a slightly more risqué purpose once upon a time. Johnny Bull...

Cloud II by Simon Tozer [2021] Cloud 2 is a limited edition screenprint by artist Simon Tozer. This is one of an ongoing series of seascapes and sky images that have clouds as their...

This exquisite lithograph after Fernand Leger (1881–1955), titled La Femme et l’Enfant (The Woman and the Child), 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: La Femme et l’Enfant (The Woman and the Child), 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 La Femme et l’Enfant 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

Nuthatch by Kate Heiss [2022] limited_edition Oil based inks on 300gsm Somerset velvet Paper Edition number 30 Image size: H:20 cm x W:15 cm Complete Size of Unframed Work: H:30 cm x W:25 cm x D:1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look. This print linocut print features a nuthatch perched in an oak tree amongst the acorns and autumn Leaves. A linocut print is a relief printing technique where lino is cut, inked and rolled to create an inverse relief print, generating the image as seen. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge...

Still Life with Net Curtain is a unique monoprint by Rosemary Farrer. The simplistic shapes and contrasting colours give the work a layered effect. The prints are in no way copies of...

Vicky Oldfield Cups in a Row Limited Edition Collagraph Print Edition of 20 Hand Coloured Collagraph with Chine Colle Solf Unframed Free Shipping Cups in a Row is a limited edition ...

Niagara Ellen Lanyon, American (1926–2013) Date: 1989 Lithograph, signed and numbered in pencil Edition 38/50 Size: 31.5 x 47 in. (80.01 x 119.38 cm)