Rhino Prints and Multiples

'Katzen' (Cats) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

"Surreal Portrait of Mr. Cabbage on Purple Background" is a limited edition high-quality Dibond direct UV Print, part of the "Fetiches" series by Natasha Lelenco. This intriguing piece combines Lelenco’s distinctive style of anthropomorphic portraiture with surrealism, featuring a figure with a cabbage head wearing a yellow hat against a vibrant purple background. The piece reflects the artist’s exploration of biophilia, where humanity is portrayed as an integral part of nature rather than its focal point. Each print, numbered 25 of 25, captures a fusion of botanical and anthropomorphic elements, resulting in a visually arresting and conceptually rich artwork. Lelenco has carefully hand-finished each print, adding subtle details and enhancing the vivid colors. The prints are varnished, signed, and numbered on the back, and come ready to hang with a system that creates the illusion of the artwork floating on the wall. Customers can also choose to frame the piece if desired. The artwork presents a surreal and whimsical figure with a cabbage for a head, flanked by insects and adorned with a yellow beanie, all set against a bold purple background. This blend of natural elements and surrealist imagery makes the piece both visually striking and thought-provoking, encouraging viewers to contemplate the deeper connections between nature, identity, and the absurd. The high-quality Dibond direct UV Print, finished and varnished by the artist herself, ensures durability and brilliant color retention, making this piece a lasting and valuable addition to any art collection. As with all pieces in the "Fetiches" series, this edition can stand alone or be combined with others to create a cohesive display. Natasha Lelenco’s "Fetiches" series skillfully merges portraiture and surrealism, utilizing a meticulous accumulation of botanical and anthropomorphic forms. These elements are interwoven with thematic explorations that delve into biophilia, kitsch aesthetics, and the surreal. Drawing from her personal history, Lelenco constructs a dialogue between memory and imagination, bringing new life to fragments of the past to challenge conventional narratives. The psychological depth and classical influences in her work create a seamless blend between Renaissance portraiture and contemporary expression. Her "Fetiches" series notably echoes the artistic legacy of Italian painter Giuseppe Arcimboldo, solidifying its place in the realm of contemporary art. Keywords: Mr. Cabbage, Surreal Portrait, Purple Background, Cabbage Head, Biophilia, Anthropomorphic Art...

Henri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958 In 1941 Matisse underwent abdominal surgery after which he found painting to be physically taxing. Increasi...

"Floral Portrait with Camellia and Insects on Green Background" is a limited edition high-quality Dibond direct UV Print, part of the "Fetiches" series by Natasha Lelenco. Known for ...

Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg. While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting. Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked. Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium. Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print. There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers. But making mezzotints was not a paying job. Marchant and his South African wife...

"The Scar by China Miéville is a novel which has been a part of my life for many years, and has travelled as my companion through since adolescence. I've attempted to depict the Avan...

22 Colour Screenprint with Varnish Overlay on Somerset Tub Sized 410gsm Paper Edition 47 of 125 76 x 56 cm (29.5 x 22 in) Signed, numbered and dated on the back Mint. Minor imper...

Marcel Gromaire (1892-1971) - The Painter. 1943, paper, lithograph, 56x46 cm

Will Barnet The Book, from the 1776 USA 1976: Bicentennial Prints portfolio, 1975 Silkscreen in colors on white Arches wove paper Pencil signed, titled and numbered 65/75 on the fron...

'Einsiedlerkrebse' (Hermit crabs) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

Original collotype lithograph of Gustav Kilmt’s Seated woman with shawl, published in the 1922 Handzeichnungen portfolio by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwork is presented in archival rag mat and arrives accompanied by a certificate of authenticity. Klimt’s mastery of depth is most evident in the gentleness of his linework. Without the aid of shadow or the subtlety of values, the gestures of line allow the viewer a sense of a three-dimensional person or object. The meticulous lithographic process used to create Klimt’s Handzeichnungen portfolio ensures exceptionally crisp markings bearing a strong resemblance to the original sketches. This series showcases the quintessence behind Klimt’s signature visual style. This artwork arrives accompanied by a certificate of authenticity. Century Guild has curated collections of Gustav Klimt’s printed...

Screenprint in colors with glitter on heavy wove paper. Hand signed in pencil verso, numbered from the edition of 150 verso with artists copyright inkstamp. Published by Other Crite...