Fred Taylor

Fred Taylor Lincoln LNER Railway Poster 1930 - Early English Architecture

1930

This print was commissioned by The Hardy Society for the official launch of the Thomas Hardy visitor centre. ’Hardy's Cottage’ By David Humphreys Medium - Lithograph Edition - 19/200...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

A fine impression with good margins published by Associated American Artists.

A fine impression of this very popular image with full margins (smaller on top and bottom) published by Associated American Artists.

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...

This piece is part of my private collection since the 1970's. It is an original color lithograph signed and numbered by the Japanese artist Shungo Sekiguchi. In 1935 Shungo Sekiguchi...

This etching by Dimitrios Galanis , Greek early 20th century artist is part of my private collection and there is only one available. Dimitrios Galanis was a good friend of Picasso. ...

A fine Raymond John 'Jack' Coutu (1924-2017) ARE, ARCA. color lithograph/ engraving. 'Tree Root'. 6th of a 50 handmade edition by the artist.. circa 1959. Well listed Modern Artist. Signed and presented in the original framing. Raymond John "Jack" Coutu ARE ARCA (13 September 1924 – 17 May 2017) was an English printmaker, sculptor, etcher, engraver, carver, watercolourist and teacher. He was influenced by Oriental art.Jack Coutu was born Raymond John Coutu at Farnham, Surrey, England, and was educated at Farnham Grammar School.[ On leaving school in 1940, he worked at Abbott of Farnham, a coachbuilding company in Farnham, where his father Bert Coutu was also employed painting coats of arms and heraldic shields. In 1942, at the age of 18 during World War II, he joined the Royal Corps of Signals, where after training he served in Ceylon (now Sri Lanka), India, and Singapore. At the end of WWII, he was in Kure, Japan, in the Hiroshima Prefecture. From 1947 to 1951, Coutu studied at the Farnham School of Art, followed by the Royal College of Art in London from 1951 to 1954 and the Central School of Art from 1951 to 1955. At the Central School of Art, Merlin Evans was an influence on Coutu's printmaking. Coutu taught printmaking at the Central School of Art from 1957 to 1965 and then at the West Surrey College of Art and Design in Farnham from 1965 to 1985. In 1968, he started to carve netsuke (as practised in Japan) and he joined the Netsuke Kenkyukai Society, based in the United StatesHe is also a member of the Royal Society of Painter-Etchers and Engravers and the Printmakers Council. Jack Coutu has exhibited at the Royal Academy in London, netsuke conventions, jointly with Michael Rothenstein...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 1/25 lower left in pencil. This print features small sketches of heads resting on forearms. Moore experimented with different angles, appearing to practice for the composition for Lullaby: Sleeping Head, which depicts a shadowy figure supporting the head of a sleeping woman. Lullaby: Sketches is a rare window into Moore’s process of composing an image. Delicate, single-line arms and hair reveal the sculptor’s equal talent as a draftsman. The imagery for Lullaby Sketches was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Lullaby Sketches is one of a group of lithographs...

One of a series of 18 lithographs drawn by the artist fo¬r the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Printed in inky black, this print features a shadowy landscape. Brush sweeps to the left, and the sky is drawn with long horizontal lines. In the bottom half of the composition, the ground looks rocky, perhaps dotted with shrubs. Windswept Landscape displays Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Windswept Landscape is one of a group of lithographs...