Drawing Still-life Prints

This piece is a giclee on Hahnemuhle 350gsm Museum paper, created by Bob Dylan in 2013. It is from Dylan's series entitled The Drawn Blank Series. Bob Dylan is known as one of the mo...

Botanical print. Plate-signed. Measures 22.25 x 16.375 in. Unframed. Printed in Italy. Good Condition.

Framed 19 x 17.75 in No. 202 in the Catalogue Raisonne of Chagall's lithographs This lithograph was created by Chagall especially for this edition of the book "Chagall" by Jacques ...

Screen print on wove paper. Hand signed lower right by Tom Wesselmann. Hand numbered 10/82 lower right (there were also 8 artist's proofs). Sheet size: 39.12 x 27.5 inches. Frame...

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),...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 (from the rare Suite) Catalogue raisonné: Michler-Löpsinger 778-...

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...

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 : ...

Dancer is an artwork realized by the Italian artist  Renato Guttuso  (Bagheria, 1911 – Rome, 1987) in 1954. Phototype print. Good condition. Italian title on the back "Ballerina"....

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 ...

Salvador Dali - Original Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : Field 68-6 (p. 40-41). Salvador Dal...

Salvador Dali - The Violet Boot - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : Field ...

This is a rare 17th century engraving of a plant entitled "Citamerdu" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 21 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Citamerdu plant, also known as Tinospora cordifolia plant or Amrita and Guduchi. It is a deciduous plant with heart-shaped leaves, greenish flowers, and pea-shaped fruits. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper, watermarked with an elaborate crown design. The sheet measures 15.75" high by 18.75" wide. There is a central fold, as issued. There are a few small spots, but the print is otherwise in excellent condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van...

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...

Andrew Scott, Firework, 2024 Giclée on 310 gsm Etching Rag Paper with hand burnt mount board 45 x 33 cm (17 7/10 × 13 in) Edition 227 of 250 Framed in open-grain black wood Signed a...

Clinton Adams, 'September Still Life', lithograph, 1956, edition 20. A superb impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches);...

This etching by Dimitrios Galanis , Greek early 20th century artist is part of my private collection and there is only one available. Dimitrios Galanis was a good friend of Picasso. ...

Greetings card hand written in pencil, with a phototype print sgne "Chem 1953". Very good condition.

Paul Cezanne Still life, Roses in a vase, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 53.5 x 41.5 cm (c. 21 x 16.5 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),...

Lithograph and stencil on vélin papier a la cuve du moulin richard de bas specialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued....

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),...

Monotype ev edition 1/3 with hand coloring. The plate (image of ballet slippers) is 15 x 14 inches and the overall paper size is 23 1/2 x 22 inches. Kim Frohsin spent 12 years workin...

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

Artist/Designer; Manufacturer: Philip Guston (1913-1980) Marking(s); notes: signed, blind stamp; ed. 39/50; 1980 Country of origin; materials: Canadian-American; lithograph Dimension...

"Silberfächer - Silver Fan" is an original Seriograph by renowned zero artist Hans Mack. The work depicts in a silver gelatin print a silver fan. Originally signed and numbered. 1...

It's wonderful for us to have work by Christo (1935-2020). He and Jeanne-Claude were the most international of artists while NYC based. In particular this lithograph, Wrapped Armchai...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwd...

This is a rare 17th century engraving of a plant entitled "Amolago" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 16 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Amolago plant, a large leafed plant, possibly corresponding to the present day aglaonema plant. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper. The sheet measures 14.75" high by 17.25" wide. There is a central fold, as issued. There are a few tiny spots and there is minimal irregularity of the left edge of the paper where the print was previously bound in the 17th century publication. The print is otherwise in very good condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van...

"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, ...

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...

This evocative 1950 original lithograph by celebrated New Mexico artist Kenneth Miller Adams offers a hauntingly beautiful moonlit view of the iconic San Francisco de Asís Mission Ch...

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),...

ARTIST: Salvador Dali TITLE: Florals Erotic Lily MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 MEAS...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Euphorbia (Spurge)" (Dodecandrie, Trigynie, Plate 411) Portfolio: Histoire Naturelle Year: 1749-1789 Medium...

Salvador Dali - The Torso - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : Field 68-6 (...

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...

The Bottle is an original lithograph realized in 1944. Black and white lithograph. Hand signed, numbered and dated. Edition of 55/60. Signature on plate.

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),...

ZDZISŁAW WIATR (born 1960) He graduated from the Academy of Fine Arts in Cracow, at the Faculty of Graphic Arts in Katowice, where in 1986 he received a diploma with the honourable m...

Murex I, Diamond drypoint by Jakob Demus. In the 1986-1988 period Demus immersed himself in the depiction of flowers, and it was then that the most important works in this genre wer...

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),...

'Atragene Capensis - Cape Atragene' Native of the Cape of Good Hope. Original copper-line engraving with original hand-colouring from Henry Andrews' 'The Botanist's Repository', 1...

As a uniform of toil, a symbol of status, or a protective accessory, the bandana is an archetype of Americana. Western heroes like John Wayne wore them around their necks in a flouri...

Salvador Dali - Woman on Horse - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

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

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...

Signed, titled and numbered by the artist. This intaglio print shows an orchard combined with the classical architectural imagery that often accompany Smith-Harrison's portraits of ...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwdrivers assume a visceral symbolism. Curvilinear handles evoke the contours of limbs or bones, and even metal points and blades seem organic under Dine’s thoughtful hand. In this series of dry point prints...

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...

This is a rare 17th century engraving of a plant entitled "Pee-amerdu" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 19 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Pee-amerdu plant, a large leafed plant climbing plant off the Malabar Coast in India. The plant is noted for its medicinal uses. It may be related to Tinospora species. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked watermarked paper. The sheet measures 14.88" high by 18.75" wide. There is a central fold, as issued. There are a few faint smudges, a spot in the upper margin and there is minimal irregularity of the left edge of the paper where the print was previously bound in the 17th century publication. The print is otherwise in very good condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van Rheede tot Drakenstein...

Burke Libaire is a Charleston based visual artist and designer. She began her career in New York City, translating her love of art and architecture into the world of interior design ...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

Signed edition 71/ 99 Line engraving in Arches paper Image size 19 x 11 1/in Paper size 26 x 19 1/2 in. Matted 29.5 x 21 Inches

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

ARTIST: Salvador Dali TITLE: FlorDali/Les Fruits Cherries MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Jean Schneider, Basel EDITION NUMBER: 109/200 MEASUREMENTS: 22" x 30" ...

“Breakfast” is a colored etching and drypoint by American artist, Wayne Thiebaud from 1995. The work is edition 22/50 and is signed lower right, "Thiebaud 1995” Wayne Thiebaud's Bre...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Convolvulus Major Folio Subrotundo Purpureg Albo, B. Convolvulus Major...