Shoichi Hasegawa

MONTPARNASSE AU MATIN

1977

Royce, Richard (American, born 1941). AU FOND. Intagio print in colors, 1967. Edition of 40. printed on BFK Rives paper. Titled, numbered 6/40, and signed and dated, all in pencil. 1...

Peterdi, Gabor (American, born Hungary, 19150-2001) . BLOOMING ICE. Combined technique (intaglio and screenprint) in six colors, 1965. P.228. Edition of 25. 20 x 32 inches, 504 x 813...

Yoshida, Masao (Japanese, born 1934.) UNTITLED. Aquatint with soft-ground etching, 1963. Edition of 30, printed on Arches paper. Signed, dated, and numbered 21/30 in pencil. 30 X 22...

Monson, Jim American, 1943- ). ICARUS. Etching in two colors, 1972. Monson 30. Edition of 30, signed,titled and numbered "6/30," all in pencil. Pritned on BFK Rives paper. There wer...

Hewitt, Charlie. UNTITLED COMPOSITION. Woodcut, not dated, but circa 1995. Edition of 100. Signed and numbered in pencil. 20 x 24 inches. In excellent condition.

Hewitt, Charlie. UNTITLED COMPOSITION. Woodcut, not dated, but circa 1995. Edition of 100. Signed and numbered in pencil. 16 x 20 inches. In excellent condition.

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art Gallery of Ontario, Toronto, Canada 1976 R.C.A.Printmakers,Waddington Gallery,London 1988 'Exhibition Road',R.C.A,London 1989 Berkeley Square Gallery, London 1989,90 Austin Desmond Gallery, london 1990 Scottish Gallery, London 1991 Big Little Picture-Show,W.Jackson,London 1992 'Winter Seen III',W.Jackson Gallery,London 1993 1 st Egyptian Print Triennale, Giza, Egypt 1994 Art '94, london, with Art First La Galerie du Touquet (with Alain Morcot) 1995 Art...

Color softground etching with aquatint and spitbite aquatint. Edition 50