Joseph Beuys

Joseph Beuys, Parteiendiktatur - Signed Shopping Bag, 1971, Fluxus

1971

Joseph Beuys (German, 1921-1986) So kann die Parteiendiktatur überwunden werden (How the dictatorship of the parties can be overcome), 1971 Medium: Printed polyethylene shopping bag ...

Damien Hirst (British, born 1965) Earth (from The Elements, H6-6), 2020 Medium: Diasec-mounted giclée print on aluminium composite panel Dimensions: 100 x 100 cm (39 3/8 x 39 3/8 in)...

Günther Fruhtrunk (German, 1923-1982) Zwischen Grün (Between Green), 1970 Medium: Screenprint on card Dimensions: 62 x 83 cm Edition of 150: Hand-signed, numbered and dated in pencil...

Sarah Morris (American, born 1967) London, 2012 Medium: Digital print on rag paper with glaze Dimensions: 38 x 30 cm (14 15/16 x 11 13/16 in) Edition of 200: Hand-signed and numbered...

Damien Hirst (British, born 1965) Fruitful, 2020 Medium: Laminated Giclee print on aluminium composite panel Dimensions: 39 x 39 cm Edition of 3308: Printed signature and edition num...

Günther Förg (Füssen 1952 – 2013 Freiburg) Six Rectangles, 1991 Medium: Woodcut in colors on card stock Dimensions: 56 x 80 cm (60 x 84 cm) Unknown edition size: Hand-signed and date...

Joshua Vides New View Signed and Numbered Water based gloss ink on 279g paper 18 x 24 in Edition of 125

The title of this poetic, abstract work is written across the top of the sheet. The hand-written cursive below reads: "David Shapiro / Told me he was going to / Carve his poems in st...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minimalist, contemporary and modern living spaces. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring on Stoneridge mould-made etching paper. This print is one of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), Those…Plants). The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, marigold orange contrasts beautifully with rich black ink. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Howard Hodgkin was introduced to the etching technique used in Artist and Model at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...