Continental US - Still-life Prints

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with bifold, as issued. Notes: From Derrière le miroir, N° 114, 1959. Published by Aimé Ma...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 121-122, 1960. Published by Aimé Maeght, Éditeur, Paris...

From an edition of 25. Photography and digital print of a dramatic orchid in a stone vase. Based in San Francisco, Mark Jenkins has spent the majority of his career working as a com...

"Butterfly Monarch #3" Print on Canvas 40x40 in Ed. of 75 by Mick Fleetwood Digital print on canvas Not framed Mick Fleetwood, the legendary drummer and founding member of Fleetwo...

The present print, "Victoria," is the most iconic example of the printmaking of Malvin Marr Albright, called Zsissly. The composition for the image comes from Albright's painting from about 1935, done while he was studying at the Art Institute of Chicago. We can see clearly in the image how he possesses the same skill for unsettling, magic realist images as his more famous twin brother Ivan Le Lorraine: The lady Victoria sits at a dining room table, surrounded by luxurious still-life objects. All the textures and surfaces of the image express a horror vacui as seen in his painted works, such as "The Trail of Time is Dust" at the Pennsylvania Academy of Fine Art. The door in this print recalls one of the more famous works by his brother, "That Which I Should Have Done I Did Not Do (The Door)" at the Art Institute of Chicago. 1947, after ca. 1935 original painting 8 1/2 x 13 inches, image 12 x 16 inches, sheet 16 1/4 x 20 1/2 frame Signed in pencil, lower right Title in pencil, lower left Published by Associated American Artists Inc. Unnumbered from the edition of 250 A painter and sculptor, Malvin Albright was born in Chicago, one of twin sons of Adam Emory Albright, famous Chicago figure painter of juvenile subjects, who often used Malvin and his brother Ivan Le Lorraine as models. Malvin's middle name, Marr, was after Wisconsin artist Carl von Marr...

Hugo Noske "Roses in a Vase" circa 1930 Original color woodcut on handmade paper Hand signed by the artist Paper size: 14.25 x 15 inches Image Size: 11.5 x 11.75 inches

Wayne Ensrud, American (1934 - ) - Untitled - Bouquet, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, I/I, Image Size: 27 x 22 inches, Size: ...

David Lee, Chinese (1944 - ) - Red Flowers (3), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 29 x 21 in. (73.66 x 53.34 cm), Descrip...

Picture of and ethereal barefoot angel surrounded by Shoes. Signed, titled Artist Proof, from the edition of 10. While the images have some resemblance to traditional Japanese Ukiyo-...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 465. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

14.75 x 17.75 inches, artwork 22.88 x 25.75 inches, frame Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art ...

Lithograph " Still life with Plums "numbered 195/275 and signed by Agostini Tony Agostini was a French painter who was born in 1916. Tony Agostini's work has been offered at aucti...

From an edition of 25. Photography and digital print. Based in San Francisco, Mark Jenkins has spent the majority of his career working as a commercial photographer and graphic desi...

Artist: Donald Sultan Title: Two Pears, a Lemon and an Egg Portfolio: 1994 Fruit and Flowers III Medium: Screenprint Date: 1994 Edition: 46/125 Frame Size: 29 3/4" x 28 3/4" Sheet Si...

"Campions" is an original color lithograph by Sheila Stafford. The artist signed the piece in the lower right and titled it and wrote the edition number (24/24) in the lower left - b...

JAN BRUEGHEL, THE ELDER (Flemish, 1568-1625). Poster/Print. Measures 38 x 29 in. Unframed. Copyright 1969 New York Graphic Society. Printed in USA. Fair/Mildly Distressed Condition- ...

PAUL DE LONGPRÉ (French, 1855-1911) The White Prince Poster/Print 22 x 17 in. Unframed Plate signed Copyright New York Graphic Society. Lithographe...

CAZALS, FREDERIC-AUGUSTE (1865 -1941) "Salon des Cent" Original Lithograph, c. 1894 Signed in stone, lower left; “F.A. Cazals, 94” Printed by Bourgerie & Cie, Paris Image size: 24...

Cliff Hanger (State II) is an aquatint etching on paper, 22.75 x 39.75 inches, signed 'Rosenquist' and dated 1978 lower right; titled in the image lower left, numbered 68/78 and ann...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Poster. Fischbach Gallery 1984. Published and Distributed by Modernart Editions INC. Measures 24.75 x 30.75 inches Unframed. Please note: secondary i...

Limited Edition Print 33/80. Edition 32/80 is also available. Pencil-signed by the artist (signature is illegible). Measures 15 x 11 inches and is unframed. The print is in Excellent...

Rock and Roll is a lithograph on paper, initialed lower right 'BD', 9.5 x 9" image size. From the edition of 395, numbered LXXXV/C (there were also 275 Arabic and 20 AP), framed in a...

Poster. Measures 19.5 x 27.75 inches and is Unframed. Good/Fair Condition-signs of wear consistent with age and handling.

"Counterpoise" is an original color lithograph by Jeanette Pasin-Sloan. It features a number of brightly colored hyper-realistic shining glassware. The artist signed the piece lower ...

Signed edition 44/ 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

One of several spectacular groupings of engravings fresh from a Bronxville Mansion. Ten Copperplate engravings by Benjamin Maund (British) in the finest gilt frames wonderfully matte...

Dialogue Nocturne is moody image of a group of owls in a nocturnal gathering, by Franco-Iranian artist Marjan Seyedin. In her works, the animal prese...

This is among the very few prints known by Spanner. It's the epitome of joie de vivre. It is signed, numbered, and annotated 'Hand print,' in pencil. The numbering indicates an edit...

Yellow Moon by Ellen Martin Print, outer pace, skyscapes, dark and bright vivid colors

BRIAN DAVIS (American, b. 1946) The Grunwald Center for the Graphic Arts, UCLA Poster 27.25 x 32.75 in. Unframed Publication Information: Mirage Editions, ...

Lights Place to Place by Kathleen Beausoleil Signed on front, lower right Print, Amusement Park, Ferris Wheel, Skyscapes, Landscape, Human Figure

Firemans Fair by Kathleen Beausoleil Signed on Front, lower right Print, Amusement Park, Human Figures, Black and White, Pop of color, Buildings, Landscapes

Karl Kasten, American (1916 - 2010) - Reliquary Lozingot, Year: 1968, Medium: Lithograph, signed, numbered and dated in pencil, Edition: 8/20, Size: 30 x 22 in. (76.2 x 55.88 cm)

Karl Kasten, American (1916 - 2010) - Amalfi, Year: 1968, Medium: Lithograph, signed, numbered and dated in color pencil, Edition: 11/20, Size: 18.5 x 21.5 in. (46.99 x 54.61 cm)

Limited Edition Print 86/90. Edition 87/90 is also available. Pencil-signed by the artist (artist signature is illegible). Measures 14.75 x 11 inches and is unframed. The print is in...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Hand signed & numbered by the artist. Sheet size: 18.5 x 23 in. Image size: 14 x 17.5 in. Edition of 300. Artwork is in excellent condition. Certificate of authenticity included....

This artwork titled "Trumpeteers" 1976 is an original wood engraving by Russian/American artist Leon Gilmour, 1907-1996. It is hand signed, titled, dated ...

"Silent Reality Everywhere" Print 53" × 40" inch Ed. 1/10 by Kate Garner Signed and numbered by the artist. Not framed. Ships in a tube. Kate Garner is an English photographer, fine artist, and singer. Garner has photographed a wide range of musicians and celebrities, including Dr. Dre, Leigh Bowery, JT LeRoy, Angelina Jolie, Cate Blanchett, Anne Hathaway, David Bowie, Cameron Diaz, PJ Harvey, John Galliano, Björk, and Kate Moss. Her work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, Elle, and The Sunday Times. Kate Garner was expelled from high school at the age of 16 and became a runaway who joined The Children Of God. To escape the grasp of the cult she hitchhiked from London through Eastern Europe to India in 1970, where she lived for a year as a traveler before being located by her parents. She attended art school at Blackpool in the North of England and later moved to London, where she began to both photograph and model for up-and-coming magazines such as The Face and i-D. Kate Garner first came widely into the public eye as one-third of the 1980s avant-garde, new wave pop project Haysi Fantayzee, along with other members Jeremy Healy and Paul Caplin. Emanating from street art scenes such as the Blitz Kids that were cropping up in London in the early 1980s, Haysi’s music combined reggae, country, and electro with political and sociological lyrics couched as nursery rhymes. Catapulted to stardom by their visual sensibilities, Haysi Fantayzee combined their extreme clothes sense – described as combining white Rasta, tribal chieftain, and Dickensian styles – with a quirky musical sound comparable to other new wave musical pop acts of the era, such as Bow Wow Wow...

This artwork titled "Keukenhof" 2000 is an original color wood block print by noted California artist Arnold A. Grossman, 1923-2016. It is signed, dated, titled and numbered 1/25 in...

HENRI-HORACE ROLAND DE LA PORTE (French, 1724-1793). Poster. Measures 25 x 28.75 in. Unframed. Copyright 1970 New York Society Ltd. Printed in U.S.A. Image is in Excellent/Good Condi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 116, 1959. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 167, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 211, 1974. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 211, 1974. Published by Aimé Maeght, Éditeur, Paris; pr...

Often seen as a minor accessory in a larger painting, few artists have thought fish worthy of depiction in their own right. In this piece, Braque (Argenteuil-sur-Seine, 1882- Paris, ...

Poster. Measures 31.75 x 39.75 inches Unframed. Copyright 1965 New York Graphic Society Ltd. Printed in Holland. Image is in Good/Fair Condition-indentation in the upper part of imag...

Featuring "Untitled" by Dale Chihuly, 1980. Photography: Ira Garber Photography. Design: Colophon/Images. 1981, Founders Society of The Detroit Institute...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 175, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 175, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 210, 1974. Published by Aim...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Bazaine. Estève. Lapique. Published by Galerie Louis Carré, Paris; ...

This beautiful monoprint by the noted San Francisco artist Gary Bukovnik (1947-) has a wonderful energy borne of bright colors and bold gestures. It is a beautiful abstract composit...

After Harnett by Kimberly Witham Print, Animal, Still-Life, Bird, Gothic, Dark Colors, Textured

Poster-Up Front Gallery November-December, 1981. Copyright 1981 Up Front Graphics, San Diego, CA. Measures 36 x 20 in. Unframed. Good/Fair Condition-shows signs of age and handling.

HALLELUJAH TO PEACE by the Israeli artist Moshe Castel (1909-1991) is a limited edition lithograph printed in 12 colors using traditional hand lithography techniques on archival Somerset paper 100% acid free. In HALLELUJAH TO PEACE, a three dimensional relief 3D effect is visible in the black writings and textural stone tablet achieved by using shades of dark blue gray and black with a bold cool red background accenting the stone tablet sacred writings. Castel creates a very aesthetically appealing and captivating contemporary interpretation of ancient Jewish symbolism. Print size - 21.75 x 29.5 inches, unframed, excellent condition, pencil signed by Moshe Castel Edition size - 150, plus proofs Year published - 1980 Printer - J K Fine Art Editions Co., NY Moshe Elazar Castel born in Jerusalem, Ottoman Palestine, in 1909, to Rabbi Yehuda Castel and his wife Rachel. The family was descended from Spanish Jews from Castile who immigrated to the Holy Land after the expulsion of the Jews from Spain in 1492. Castel attended his father’s school until the age of 13. He went on to study at the Bezalel Art School in Jerusalem, where he was encouraged by his teacher to study in Paris furthering his art education at the Academie Julian and Ecole de Louvre in Paris. He was greatly influenced by European masters Rembrandt, Velasquez, Delacroix and Courbert after spending his days copying their works hanging in the Louvre. Castel returned to Palestine at the onset of WWII. The subject of Castel’s early paintings were scenes of Sephardic Jews in the Holy Land. In 1947, Castel helped to found the "New Horizons" (Ofakim Hadashim) group together with Yosef Zaritsky, Yehezkel Streichman...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

Color monotype with collage.