Jenna Burlingham Gallery Prints and Multiples

Untitled (Abstract), Aquatint Painting by Johnny Friedlaender, 1960 Additional information: Medium: 76.2 x 57.1 cm 30 x 22 1/2 in Signed and numbered 92/95 in pencil

Marc's Dogs, from IAA, Lithograph in Colours on Wove Paper Painting by Harvey Daniels 1936-2013, 1975 Additional information: Medium: Lithograph in colours on wove paper 26 3/4 x 18...

Mariposa Nocturna by Alan Reynolds, 1967 Additional information: Medium: etching and aquatint 57 x 45 cm 22 1/2 x 17 3/4 in signed, dated, numbered and ...

Untitled (Paintbrush) by Michael Rothenstein, 1974 circa Additional information: Medium: lithograph 40.6 x 61 cm 16 x 24 in signed in pencil Michael Rothenstein was born in 1908 in...

Untitled VII by Victor Pasmore, 1990 Additional information: Medium: screenprint 73.2 x 103.5 cm 28 7/8 x 40 3/4 in signed with initials, dated and numbered 61/70 in pencil Victor ...

Swing IV by Herbert Oehm, 1972 Additional information: Medium: screenprint 72 x 72 cm 28 3/8 x 28 3/8 in signed and numbered 66/175 in pencil Herbert Oehm is a German Postwar & Con...

Pencils and Colours by Michael Rothenstein Additional information: Medium: screenprint 46 x 29 cm 18 1/8 x 11 3/8 in signed in pencil Michael Rothenstein was born in 1908 in London...

Paint Tube by Michael Rothenstein Additional information: Medium: screenprint 41 x 27 cm 16 1/8 x 10 5/8 in signed with initials in pencil Michael Rothenstein was born in 1908 in L...

I, from Sensory World by Victor Pasmore, 1996 Additional information: Medium: etching and aquatint 29.5 x 29 cm 11 5/8 x 11 3/8 in signed with initials and numbered I/III in pencil ...

Swing III (Big Drop) by Herbert Oehm, 1972 Additional information: Medium: screenprint 72 x 72 cm 28 3/8 x 28 3/8 in signed and numbered in pencil Herbert Oehm is a German Postwar ...

Cottage with a Horse by Michael Rothenstein, 1958 circa Additional information: Medium: linocut in colours 18 3/4 x 27 3/8 in 47.7 x 69.4 cm signed and numbered 3/10 in pencil Mich...

Grey Centre by Breon O'Casey, 1998 Additional information: Medium: linocut 64 x 44 cm 25 1/4 x 17 3/8 in signed, dated, titled and inscribed AP/1 in pencil Born in London 1928, Bre...

Untitled I (Abstract in Blue, Green and Purple) by Victor Pasmore, 1988 Additional information: Medium: screenprint 57 x 84 cm 22 1/2 x 33 1/8 in signed, dated and numbered in penci...

Senza Titolo 11 by Victor Pasmore, 1989 Additional information: Medium: etching with aquatint 40 x 57 cm 15 3/4 x 22 1/2 in signed with initials, dated and numbered 78/90 in pencil ...

New Moon by Keith Purser, 2020 Additional information: Medium: monoprint 22.9 x 17.8 cm 9 x 7 in signed with initials, titled and dated Keith Purser lives and works on the edge of ...

Bits and Pieces No.7 by Wendy Pasmore, 1988 Additional information: Medium: screenprint on heavy paper 18 1/4 x 20 1/8 in 46.2 x 51 cm signed with initials, dated and numbered 4/50 ...

Northern Lass, from Europaeische Graphik VII by Patrick Procktor, 1971 Additional information: Medium: lithograph 65 x 50 cm 25 5/8 x 19 3/4 in signed Patrick Procktor was born in ...

Image by Victor Pasmore, 1974 Additional information: Medium: etching, aquatint and screenprint 92 x 65 cm 36 1/4 x 25 5/8 in signed with initials Victor Pasmore was a British pain...

Chanson d'Automne (Autumn Song) by Kenneth Rowntree, 1984 Additional information: Medium: screenprint 67 x 49.5 cm 26 3/8 x 19 1/2 in signed and numbered in pencil Kenneth Rowntree...

Nursery Frieze II by John Piper, 1936 Additional information: Medium: lithograph 45.7 x 119.4 cm 18 x 47 in signed and dated John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen...

Metropole Hotel from West Pier, from Brighton Aquatint by John Piper, 1939 Additional information: Medium: etching with aquatint 30 x 38 cm 11 3/4 x 15 in John Piper was a painter of architecture, landscape and abstract compositions, a designer for the theatre and of stained-glass windows, and a writer on the arts. Piper was born in 1903 in Epsom, Surrey, the son of a solicitor. Throughout his childhood, he regularly visited Italy, and by 1924 he had published a book of poems and his own illustrations. He worked in his father's office in Westminster until 1928 when he began studying at the Richmond and Kingston Schools of Art. This was followed by two years study at the Royal College of Art. In 1927 he exhibited with David Birch at the Arlington gallery, and in 1931 with Clarice Moffat, P. F. Millard, and his first wife Eileen Holding...

Untitled IX by Victor Pasmore, 1990 Additional information: Medium:screenprint 73.4 x 104 cm 28 7/8 x 41 in signed with initials, dated and numbered 70/70 in pencil Victor Pasmore ...

Black Pagoda (For Joan Baez) (Sidey 184) by Michael Rothenstein, 1969 Additional information: Medium: screenprint with woodcut and half tone blocks on J Green 29 x 23 in 73.7 x 58.4...

Untitled (Bits and Pieces No.5) by Wendy Pasmore, 1988 Additional information: Medium: screenprint on heavy paper 18 1/4 x 19 1/8 in 46.2 x 48.5 cm signed with initials, dated and n...

Untitled, from Sensory World by Victor Pasmore, 1996 Additional information: Medium: etching with aquatint 44 x 58.5 cm 17 3/8 x 23 1/8 in signed with initials, dated and numbered 4...

Boiling Crabs by Richard Swaby Platt, 1954 Additional information: Medium: lithograph in colours on wove 30 x 43 cm 11 3/4 x 16 7/8 in Richard Swaby Platt, ARCA was a painter, lith...

Cock's Head by Michael Rothenstein, 1959 Additional information: Medium: linocut with applied texture 72.4 x 47.9 cm 28 1/2 x 18 7/8 in signed and numbered in pencil Michael Rothen...

Rush, from IAA by Michael Rothenstein, 1975 Additional information: Medium: photo-screenprint and stencil on J Green paper (unframed) 26 3/4 x 18 7/8 in 68 x 48 cm signed and number...

Wild Boar, from Images by Elisabeth Frink, 1967 Additional information: Medium: lithograph 79 x 59 cm 31 1/8 x 23 1/4 in signed and inscribed 'D' in pencil Dame Elisabeth Jean Frank was an English sculptor and printmaker. Born in Thurlow, Suffolk, Frink studied at the Guildford School of Art (1946–1949), under Willi Soukop...

Nature morte (Still life) by Henri Hayden, 1969 Additional information: Medium: lithograph 50.5 x 66 cm 19 7/8 x 26 in signed, dated and numbered 18/75 in pencil Henri Hayden was a...

Universe I by Mark Francis, 2015 Additional information: Medium: archival inkjet 106 x 88 cm 41 3/4 x 34 5/8 in signed, titled, dated and numbered in pencil

Bull, from Images by Elisabeth Frink, 1967 Additional information: Medium: lithograph 79 x 59 cm 31 1/8 x 23 1/4 in signed and inscribed 'D' in pencil Dame Elisabeth Jean Frank was an English sculptor and printmaker. Born in Thurlow, Suffolk, Frink studied at the Guildford School of Art (1946–1949), under Willi Soukop...

Variations on Six (Blue on Black) by Clifford Ellis, 1953 Additional information: Medium: lithograph 85 x 64.5 cm 33 1/2 x 25 3/8 in Clifford Ellis was born in Bognor Regis, West S...

Swimming, Mother and Child by Tom Hammick, 1998 Additional information: Medium: etching 38.1 x 27.9 cm 15 x 11 in signed, dated and inscribed AP in pencil Camberwell College of Art, MA Printmaking (1990-92), Camberwell College of Art, BA Hons Fine Art (1987-90), University of Manchester, BA Hons Art History (1982-85). Hammick's first solo show was at Eton College in 1992, and was followed by shows at Redfern Gallery, Salisbury Museum and Brighton Museum, as well as shows in Paris, France, and regularly across Canada, The Artist had a three-month residency at The Art Gallery of Newfoundland and Labrador (AGNL), now 'The Rooms', during which he visited the national parks of Terra Nova and Gross Morn, as well as many of the remote costal areas along the eastern shore. Coupled with his time spent in the South Pacific, Hammick can be seen as a lover of grand and remote coastal landscapes. His art deals not only with the dramatic terrain but the frontier mentality of lives imposing civilisation on to wilderness. Having always been a keen printmaker, Hammick is currently the Senior Lecturer in Fine Art, Painting and Printmaking at the University of Brighton. Hammick's work is included in many public and private collections, including that of Deutsche Bank. A monograph on Hammick was published in 2015 by Lund Humphries. "Colour and space dominate. He favours velvety midnight blues, flamingo pinks, and cool greens and greys, a palette not dissimilar to that of the Scottish artist Craigie Aitchison...

Fishes by Anthony Gross, 1951 Additional information: Medium: etching 24 x 34 cm 9 1/2 x 13 3/8 in signed, titled and numbered in pencil English painter and printmaker. He trained ...

Horse's Head by Elisabeth Frink, 1970 Additional information: Medium: lithograph 39 x 58.5 cm 15 3/8 x 23 1/8 in signed and numbered 36/60 in pencil Dame Elisabeth Jean Frank was an English sculptor and printmaker. Born in Thurlow, Suffolk, Frink studied at the Guildford School of Art (1946–1949), under Willi Soukop...

Honfleur by Alistair Grant, 1956 Additional information: Medium: lithograph 61 x 48 cm 24 x 18 7/8 in signed and dated in pencil Alistair Grant was a printmaker, painter and illust...

One Two Three (Red and Blue) by Robert Goodnough, 1968 Additional information: Medium: screenprint 56 x 76 cm 22 1/8 x 29 7/8 in signed, dated and numbered in pencil Robert Goodnou...

Winter Grasses by Anthony Gross, 1972 Additional information: Medium: etching 39 x 52 cm 15 3/8 x 20 1/2 in signed, titled and dated English painter and printmaker. He trained in L...

Orbis by Paul Feiler, 1968 Additional information: Medium: aquatint on textured wove paper 5 3/4 x 4 in 14.6 x 10 cm signed, dated and inscribed "AP" in pencil Paul Feiler was a Ge...

Universe IV (Blue) by Mark Francis, 2015 Additional information: Medium: archival inkjet 106 x 88 cm 41 3/4 x 34 5/8 in signed, titled, dated and numbered 10/10

La Lampe à pétrole (The Oil Lamp) by Henri Hayden, 1962 Additional information: Medium: lithograph 38.5 x 56.5 cm 15 1/8 x 22 1/4 in signed, dated and numbered 135/150 in pencil He...

Untitled (Striped Swimsuit) by Tom Hammick, 1998 Additional information: Medium: etching 38.1 x 27.9 cm 15 x 11 in signed, dated and inscribed AP in pencil Camberwell College of Art, MA Printmaking (1990-92), Camberwell College of Art, BA Hons Fine Art (1987-90), University of Manchester, BA Hons Art History (1982-85). Hammick's first solo show was at Eton College in 1992, and was followed by shows at Redfern Gallery, Salisbury Museum and Brighton Museum, as well as shows in Paris, France, and regularly across Canada, The Artist had a three-month residency at The Art Gallery of Newfoundland and Labrador (AGNL), now 'The Rooms', during which he visited the national parks of Terra Nova and Gross Morn, as well as many of the remote costal areas along the eastern shore. Coupled with his time spent in the South Pacific, Hammick can be seen as a lover of grand and remote coastal landscapes. His art deals not only with the dramatic terrain but the frontier mentality of lives imposing civilisation on to wilderness. Having always been a keen printmaker, Hammick is currently the Senior Lecturer in Fine Art, Painting and Printmaking at the University of Brighton. Hammick's work is included in many public and private collections, including that of Deutsche Bank. A monograph on Hammick was published in 2015 by Lund Humphries. "Colour and space dominate. He favours velvety midnight blues, flamingo pinks, and cool greens and greys, a palette not dissimilar to that of the Scottish artist Craigie Aitchison...

Universe IV (Blue) by Mark Francis, 2015 Additional information: Medium: archival inkjet 106 x 88 cm 41 3/4 x 34 5/8 in

Rav 3 by Brian Fielding, 1981 Additional information: Medium: screenprint 61 x 48.3 cm 24 x 19 in signed, titled, dated and numbered in pencil Brian F...

One Two Three (Cobalt Blue) by Robert Goodnough, 1968 Additional information: Medium: screenprint 56 x 76 cm 22 1/8 x 29 7/8 in signed, dated and numbered in pencil Robert Goodnoug...

Dog, from Images by Elisabeth Frink, 1967 Additional information: Medium: lithograph 79 x 59 cm 31 1/8 x 23 1/4 in signed and inscribed 'D' in pencil Dame Elisabeth Jean Frank was an English sculptor and printmaker. Born in Thurlow, Suffolk, Frink studied at the Guildford School of Art (1946–1949), under Willi Soukop...

Adytum S II by Paul Feiler, 1973 Additional information: Medium: screenprint 79 x 59 cm 31 1/8 x 23 1/4 in signed, titled, dated and numbered /75 in pencil Paul Feiler was a German...

Eva's House by Alistair Grant, 1956 Additional information: Medium: lithograph 35 x 52 cm 13 3/4 x 20 1/2 in signed and dated Alistair Grant was a printmaker, painter and illustrat...

Sea Gulls and Soldiers, Dover by Anthony Gross, 1940 Additional information: Medium: etching 29 x 41 cm 11 3/8 x 16 1/8 in signed, titled and dated in pencil English painter and pr...

Rav 4 by Brian Fielding, 1982 circa Additional information: Medium: lithograph 76.5 x 58 cm 30 1/8 x 22 7/8 in signed, titled and inscribed AP in penci...

Universe III by Mark Francis, 2015 Additional information: Medium: archival inkjet 106 x 88 cm 41 3/4 x 34 5/8 in signed, titled, dated and numbered in pencil

Nature morte a la Pipe (Still life with a Pipe) by Henri Hayden, 1968 Additional information: Medium: lithograph 65.5 x 48.5 cm 25 3/4 x 19 1/8 in signed, dated and numbered 61/90 ...

Untitled (Bikini) by Tom Hammick, 1998 Additional information: Medium: etching 38.1 x 27.9 cm 15 x 11 in signed, dated and inscribed AP in pencil Camberwell College of Art, MA Printmaking (1990-92), Camberwell College of Art, BA Hons Fine Art (1987-90), University of Manchester, BA Hons Art History (1982-85). Hammick's first solo show was at Eton College in 1992, and was followed by shows at Redfern Gallery, Salisbury Museum and Brighton Museum, as well as shows in Paris, France, and regularly across Canada, The Artist had a three-month residency at The Art Gallery of Newfoundland and Labrador (AGNL), now 'The Rooms', during which he visited the national parks of Terra Nova and Gross Morn, as well as many of the remote costal areas along the eastern shore. Coupled with his time spent in the South Pacific, Hammick can be seen as a lover of grand and remote coastal landscapes. His art deals not only with the dramatic terrain but the frontier mentality of lives imposing civilisation on to wilderness. Having always been a keen printmaker, Hammick is currently the Senior Lecturer in Fine Art, Painting and Printmaking at the University of Brighton. Hammick's work is included in many public and private collections, including that of Deutsche Bank. A monograph on Hammick was published in 2015 by Lund Humphries. "Colour and space dominate. He favours velvety midnight blues, flamingo pinks, and cool greens and greys, a palette not dissimilar to that of the Scottish artist Craigie Aitchison...

The Clifford Suite I by Peter Stroud, 1972 Additional information: Medium: screenprint 38 x 42.5 cm 15 x 16 3/4 in signed, dated and numbered in pencil

Interval by Richard Smith, 1969 Additional information: Medium:lithograph in six colours on three sheets 15 3/4 x 15 in 40 x 38 cm signed and numbered 18/75 in pencil; titled and in...

Liknon by Joe Tilson, 1994 Additional information: Medium: screenprint, woodblock and etching on BFK Rives paper 57.1 x 76.2 cm 22 1/2 x 30 in signed, dated, numbered II/XXV and ins...

Kew Gardens, from London Parks by Julian Trevelyan, 1969-70 Additional information: Medium: etching and aquatint (unframed) 58.5 x 77 cm 23 1/8 x 30 1/4 in signed, titled and number...

Fishermen (Old Seaweed Hoist) by Keith Vaughan, 1956 Additional information: Medium: screenprint on rayon 38 x 59.5 cm 15 x 23.4 in Keith Vaughan was a British painter and writer. ...

Sun Curtain by Richard Smith, 1971 Additional information: Medium: lithograph on two sheets 64 x 92 cm 25 1/4 x 36 1/4 in signed and dated in the plate Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...