Lincoln Grey

Portrait of Flower "Light" (Edn 5) print, unframed

2019

This is a beautiful serigraph by the noted artist Robert Heindel (1938 - 2005). This piece is the only one left of a serigraph "#2 From the Set Design f...

This is an original Murakami limited edition offset print, signed and numbered. This beautiful print has a silver sheen (contrasting texture from the flower prints) interspersed amid...

This is a beautiful very small limited edition of only 10 - screen print. This is the only piece left and it is a beautiful no. 10/10. We love this piece because it imagines the fasc...

This is an original Murakami print. Sold unframed. Brand new. Handsigned and numbered out of 300 editions. Buyer protection by both 1stdibs and gallery. LAST ONE - one of the iconic...

Katie Eleanor, St Medard and the Devil II, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovin...

Katie Eleanor, St Medard and the Devil, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovingly...

Katie Eleanor, ‘Your Hand, Your Tongue III’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Handcoloured portrait of otherworldly lovers, immobilised in marble, dancing in blooming meadows. A whimsical tale of adoration, Ursa and her spiritual partner take visual cues from Titania and Bottom in Dieterle and Reinhartd’s 1936 interpretation of A Midsummer Nights Dream. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: URSA LOVES YOU, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...