New York City - Still-life Prints

This silkscreen with enamel inks and flocking on 2-ply museum board was created by the artist in 2012. Signed, dated and numbered in pencil, from the edition of 50.

Artist: Janet Fish, American (1938 - ) Title: Still Life with Fruits Year: 1992 Medium: Screenprint, signed, numbered, and dated in pencil Edition: 75 Image Size: 36 x 42 inches Siz...

This beautiful modernist aquatint etching was realized by the esteemed Indian artist Kaiko Moti, circa 1975. It offers an abstracted and stylized tree branch (presumably that of a Ch...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Multicolor Iris Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 35/40 Size: 36 x 25 in. (9...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Blue Iris Lowell Blair Nesbitt, American (1933–1993) Date:...

Ira Moskowitz, Polish/American (1912 - 2001) - Sacre Couer, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 33 in. x 24 in. (83.82 cm x 60.9...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Flowers on Blue Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 40 Image Size: 30 x 26.25 i...

A bright and vibrant still life by pop artist Hunt Slonem. The silkscreen print is hand-signed and numbered in pencil, nicely framed. Spell III by Hunt Slonem, American (1951) Date:...

Artist: Hunt Slonem, American (1951 - ) Title: Purple Spell Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 29 Size: 22 x 30 inches

Artist: Will Mentor, American (1958 - ) Title: Cubist Composition Year: 1990 Medium: Etching and Aquatint, signed and numbered in pencil Edition: 13/75 Paper Size: 33.5 x 24 in. (8...

This reproduction of the Magritte painting is the only authorized and approved copy in its current format. It has been sanctioned by the appropriate authorities managing Magritte’s e...

Donald Sultan's 'Seven Silvers Jan. 24, 2024' is a masterful color silkscreen featuring enamel inks, flocking, and tar-like textures, limited to an edition of 30. Donald Sułtan Seve...

Artist: Hunt Slonem, American (1951 - ) Title: My Parents Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 24 x 30 inches Size: 26 in. x 3...

Artist: Mike McKenzie, American (1954 - ) Title: Cream of Crop - Campbell's Soup (Warhol Chef) Year: circa 1992 Medium: Screenprint, signed and numbered in pencil Edition: 15/30 Size...

Artist: Charles Bell, American (1935 - 1995) Title: Little Italy Year: 1981 Medium: Screenprint on White Somerset Satin, signed and numbered in pencil Edi...

Artist: Andrew Lord, British (1950 - ) Title: Teapot Year: 1987 Medium: Lithograph, Signed and numbered in pencil Edition: PP II Size: 44 in. x 30 in. (111.76 cm x 76.2 cm)

Artist: Hunt Slonem, American (1951 - ) Title: Iron Flamingo Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 30 Size: 26 in....

Signed edition 74/ 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

THOMAS NOZKOWSKI Mostly Mozart (Hand signed and inscribed), 2007 Offset Lithograph. Hand signed dated 2016 and inscribed to Kevin 29 × 35 inches Personally signed and dedicated by No...

Colorful abstract geometric and playful screenprint in pink, red, green, yellow, tan, and blue. From a portfolio produced to commemorate the Kelpra Studio Exhibition at the Tate Gall...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Birds of Paradise (Yellow) Lowell Blair Nesbitt, American ...

Mary Faulconer, American (1912 - 2011) - Butterfly Cup, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 16 x 11 inches, Size...

Mary Faulconer, American (1912 - 2011) - Fall Ferns, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 13 x 18 inches, Size: ...

These colored engravings are from Edward Joseph Lowe's 1861 book "Beautiful Leaved Plants. Being a Description of the Most Beautiful Leaved Plants ...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: If you were to buy a Goyard bag and have it monogrammed you would cho...

Double Poppies Yellow 2025 
Color silkscreen with enamel inks, flocking and sand on Rising 4-ply museum board 
Sheet size: 52.5 x 30 inches (133 x 76 cm)
 Image size: 48.5 x 26 inche...

Hotel St. Gothard Zurich. 1917. Color lithograph, On linen. 50 x 36" Otto Baumberger’s first posters were created in 1911. However, his most productive period for posters was from the 1920s to the mid-1930s. He created about 230 posters in all, many of which he lithographed himself. An important representative of Swiss Expressionism...

Donald Sultan Fruits and Flowers II and III Lemon, Apricots and Pears; Yellow Roses; and Lilies from Fruits and Flowers II 65/125 Yellow Peppers; Pomegranates; Acanthus; Five Lemon...

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

Artist: Ben Shahn, American (1898 - 1969) Title: The Sea Itself from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 ...

Artist: Robert Rauschenberg Title: Features from Currents, #57 Year: 1970 Medium: Hand-Printed Screenprint on Aqua B 844 Paper, signed and numbered in pencil Edition: 50 Paper Size:...

ABOUT THE ARTIST: Marc Dennis is an American artist renowned for his paintings of subtly staged and slightly voyeuristic images of contemporary American culture. Interested in the tr...

Scarce Collectible - one of only 100 hand signed lithographs from the Deluxe Edition of the 1 Cent Life Portfolio, acquired from the Estate of Robert Indiana: Tom Wesselmann Deluxe ...

Lowell Nesbitt Gorgeous silkscreen on wove paper Signed, dated and numbered AP 1/8 on the front This is a gorgeous violet/periwinkle colored print Matted and framed in the original v...

This reproduction of Pots de Fleurs by Gérard Gasiorowski, numbered 115/116, is a finely crafted piece that beautifully captures the essence of the original work exhibited at the pre...

Pots de Fleurs showcases Gasiorowski’s distinct style, where the floral subjects are rendered with an expressive use of color and texture, breathing life into the composition. The fl...

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...

Donald Baechler (American, 1956-2022), "Untitled (from Flower Quad A)", Stenciled Pigmented Handmade Linen Paper, 2011, one from a set of four, signed in pencil and dated lower right...

Jonas Wood Large Shelf Life (Hand Signed), 2018 Limited edition offset lithograph (uniquely hand signed by the artist) 23 × 23 inches Boldly signed and dated in black marker on the f...

"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, ...

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)

ABOUT THE ARTIST: Marc Dennis is an American artist renowned for his paintings of subtly staged and slightly voyeuristic images of contemporary American culture. Interested in the tr...

Reproduction of Paint Cans by Wayne Thiebaud exemplifies the artist's masterful ability to elevate everyday objects into vibrant works of art. Known for his bold use of color, textur...

"La Nouvelle" is from Christoph Trew's Hortus Nitidissimis omnem per annum superbiens Floribus ... Der das ganze Jahr hindurch im schönsten Flor stehende B...

Leonardo da Vinci "Nature Studies from the Royal Library at Windsor Castle" The J. Paul Getty Museum, November 15, 1980 - February 15, 1981 Exhibition Poste...

Created by Surrealist Fanny Brennan from 1992-96, Still Life with Pear is a lithograph in colors on wove paper. Hand-monogrammed in pencil and numbered from the edition of 250, the a...

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

ABOUT THIS PIECE: Dennis is known for his hyper naturalistic, highly detailed and obsessively delineated paintings that explore the subversive potential of beauty and pleasure. Fresh...

Double Decoy Hunt Slonem, American (1951) Date: 1980 Screenprint, signed and numbered in pencil Edition AP 30 Image Size: 22 x 26.5 inches Size: 26 in. x 30.5 in. (66.04 cm x 77.47 c...

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

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...

Kiki Smith Toxicology, 2009 Linotype and engraving in black, gray, and yellow on white wove paper. Printed from a magnesium engraving on Vandercook cylinder presses. Hand signed by ...

Wayne Ensrud, American (1934 - ) - Quiet Sunday, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 30 x 25 inches, Size: 33 in. x 2...

Wayne Ensrud, American (1934 - ) - Untitled Flowers 18, Year: 1980, Medium: Hand-Painted Lithograph, signed lower right, Edition: I/I, Size: 35 in. x 26 in. (88.9 cm x 66.04 cm)

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...

Clark, A.H. The Lotus. Ca 1890.Original Lithograph. 22 3/4 x 13" sheet, 26 1/2 x 17" on linen. Rare.

"Sunny Day" Color Nature Photography by Shooting Star Designs Archival pigment print on museum fine art paper Edition of 7 Includes certificate of authenticity. Signed and numbered ...

Lithograph and screenprint with collage (silver foil) Prints are different sizes: 36 1/2 x 68 inches (92.7 x 172.7 cm) and 36 5/8 x 64 inches (93 x 162.6 cm) Published by Multiples...

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...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: As a kid the ice cream truck was a nei...