England - Abstract Prints

Graham Fransella Mirror Limited Edition 4 Panel Etching Artist Proof Sheet Size: H 71cm x W 90cm x D 0.1cm Total Size: H 142cm x W 180cm x D 0.1cm Min...

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 ...

Robert Motherwell Elegy Black Black 1983 Lithograph in colors, on TGL handmade paper, Edition of 98< AP XI/XVI 38.1 x 95.9 cms (15 x 37 4/5 ins) extract from the catalogue raisonné...

Laing was born in Newcastle upon Tyne. He grew up during World War II and experienced the Battle of Britain as young boy. He attended the Royal Military Academy Sandhurst and served...

Untitled (Pink and Black) by Stephen Buckley, 1999 Additional information: Medium: etching with aquatint 64.5 x 49.5 cm 25 3/8 x 19 1/2 in signed, dated and numbered in pencil Stephen Buckley is a British abstract artist. Buckley was born in Leicester. He studied Fine Art under Richard Hamilton at Kings College, Durham University (1962-1967), where he was involved in the reconstruction of Marcel Duchamp's "Large Glass", and then at the University of Reading (1967-1979) under Terry Frost and Claude Rodgers. A group of notable commissions in the early 1970s, from clients including Leith's Restaurant, gave Buckley a strong start to his career. These were followed by a solo exhibtion in Milan in 1973 and another at Kettle's Yard the following year. Solo shows were subsequently held at the Museum of Modern Art, Oxford (1975), Waddington Galleries (1976), Arnolfini Gallery, Bristol (1977), and Arts Council of Northern Ireland (1985) among many others. His teaching career began at Canterbury College of Art (1969-70), before heading to Leeds, The Royal College of Art, and nine years at the Chelsea School of Art (1971-80). He was Artist in Residence at Kings College, Cambridge from 1972-74. In 1994, Buckley was appointed Professor of Fine Art at the University of Reading and Professor Emeritus in 2009. A monograph on Buckley was published in 1989, written by Marco Livingstone. His work has been compared to that of Richard Smith. The work of Buckley is part of public collections and museums worldwide, including the British Council, Government Art, Kettle's Yard, Aberdeen Gallery, Berwick-upon-Tweed Borough Museum and Art Gallery, BUPA House, City Art Gallery, Bristol, City Art Gallery, Huddersfield, Derby Museum and Art Gallery, Leicester Museum, National Art Gallery of Wales, Cardiff, Reading Museum, Southampton City Art Gallery, Swindon Museum and Art Gallery, Tate Britain, London, Victoria and Albert Museum, London, Walker Art Gallery, Liverpool, Whitworth Art Gallery, Manchester. His work is also part of international collections including The Metropolitan Museum of Art, New York, Miami Art Museum, Miami, Florida, Yale Center for British Art, New Haven, Connecticut; Museo de la Solidaridad Salvador Allende...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Indian View E by Howard Hodgkin, 1971 Additional information: Medium: screenprint in colours on J Green, printed to the edges 22 3/4 x 30 1/2 in 57.7 x 77.5 cm signed, dated and numbered 8/75 in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

GEORGE SHERINGHAM (1884-1937) The Wave Signed and numbered 2 Stencil print with 9 plates, designed and cut by the artist, fan shaped 23 by 42 cm., 9 by 16 ½ in. (frame size 37.5 by 22 cm., 14 ¾ by 8 ¾ in.) Sheringham was born in London and studied at the Slade under Henry Tonks and later in Venice, Brussels, Berlin and Paris where he held his first one-man exhibition in 1905. On his return to London he initially supported himself with poster designs and teaching. His first exhibition of fan designs was held at the Ryder Gallery in 1909 followed by another in the following year. With enthusiastic reviews in Studio he had launched his career as a decorative designer, theatrical designer and illustrator. He illustrated books by Max Beerbohm and Cyrus MacMillan. In 1921 he collaborated with his brother Hugh on a book about fishing, The Book of the Fly Rod. He wrote Drawing in Pen and Pencil (1922), with James Laver, Design in the Theatre (1927) and with Rupert Mason and R Boyd Morrison he edited Robes of Thespis, Costume Designs by Modern Artists (1928). As a decorator, Sheringham designed the music room at 40 Devonshire House...

Robert Motherwell Paris Suite II (Summer) 1980 Lithograph on J.B. Green handmade paper, Edition of 60 49.2 x 41 cms (19 1/2 x 16 ins) RM17034 CR 265 Sign...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Screenprint, in colours, 1972, on Gemini rag Board, signed, dated and numbered 53 from the edition of 75, published by Gemini G.E.L., Los Angeles., sheet: 51.4 × 203.5 cm. (20 1/4 x 80 1/8 in.), framed: 52.4 x 204.5 cm. (20.6 x 80.5 in.) The three large scale, extended horizontal screenprints of the ‘Race Track Series’ are named after horse-racing tracks in Southern California and Mexico : Del Mar (San Diego County), Los Alamitos...

Untitled II, from Waddington Suite by Robyn Denny, 1968-9 Additional information: Medium: screenprint 61 x 53.4 cm 24 1/8 x 21 1/8 in signed and numbered 71/75 in pencil Robyn Denn...

Lithograph on Rives BFK paper 61.6 x 43.18 cms (24 1/4 x 17 inches) Edition of 100

Silo by Julian Trevelyan, 1974 Additional information: Medium: etching with hand-colouring 28 x 38 cm 11 x 15 in signed, titled and numbered in pencil

Pochoir printed in colours on Arches paper after a collage from 1916-17, published in 1973. One of five exemplaire’s d’artiste aside from an edition of 100. Signed by the artist with...

Laing was born in Newcastle upon Tyne. He grew up during World War II and experienced the Battle of Britain as young boy. He attended the Royal Military Academy Sandhurst and served...

Laing was born in Newcastle upon Tyne. He grew up during World War II and experienced the Battle of Britain as young boy. He attended the Royal Military Academy Sandhurst and served...

Edition of 50 58.5 x 79 cms (23 x 31 ins)

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 80, in the lower left image. It was pr...

This original etching and aquatint in colours is hand signed by the artist in pencil "Sam Francis" at the lower right margin. It is also hand inscribed in pencil “CTP” [Colour Trial...

This original etching is hand signed in pencil by the artist “Chillida” at the lower left margin. It is also hand numbered in pencil from the edition of 100, at the lower right margi...

Twentieth Century Untitled Abstract Limited Edition Stone Lithograph Joan Miro Originally in a catalogue and consequently there is slight evidence of a fold in the centre. We have h...

EDUARDO CHILLIDA 1924-2002 1924 - San Sebastián - 2002 (Spanish/Basque) Title: Place I Leku I, 1969 Technique: Original Hand Signed and Numbered Etching on Chiffon de Mandeure Wo...

Adytum S II, 1973 signed, dated, titled and numbered in pencil screenprint 31 1/2 x 22 7/8 in 80 x 58 cm

Fiji Rose by Philip Sutton, 1973 Additional information: Medium:lithograph 87 x 68 cm 34 1/4 x 26 3/4 in signed, dated, titled and inscribed AP in pencil Philip Sutton is a British...

Betwixt and Between by John Hoyland, 1982 Additional information: Medium: screenprint 55 1/2 x 40 7/8 in 141 x 103.8 cm signed and dated in pencil

This original screenprint in colours is hand signed in pencil by the artist “Vasarely” in the lower right margin. It is also hand numbered in pencil from the edition of 138, at the l...

I, from Thomas Suite by Robyn Denny, 1975 Additional information: Medium: screenprint 90 x 64 cm 35 3/8 x 25 1/4 in signed, dated and numbered in pencil Robyn Denny was one of a gr...

I (Royal), from The Paradise Suite by Robyn Denny, 1969 Additional information: Medium: screenprint, to the edges 86.4 x 66 cm 34 x 26 in signed, dated and numbered 33/75 in pencil ...

Lithograph in colors on wove paper 43.2 x 55.9 cms (17 x 22 ins) Edition of 38

This piece is a large acrylic art piece on canvas (40x30").My hope is that my art comforts and inspires those around me through my bold, colorful abstract art.During a near death exp...

Robert Motherwell Black Sounds 1984 Lithograph, relief print, and collage 99.1 x 63.5 cms (39 x 25 ins) RM14197

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 80, in the lower left image. It was pr...

Aquatint on BFK Rives paper, 1962, signed and numbered ‘ea’ from the edition of 60, printed by Atelier Goerges Leblanc, Paris, published by Galleria Schwarz, Milan, sheet: 254 x 190 ...

Woodcut printed in colours, 2018. Signed in pencil, numbered from the edition of 15.

Harold Cohen # 091208.16 2009 Digital print on paper, Edition of 25 53.3 x 91.2 cms (21 x 35 7/8 ins) HC12023

ATO>MIC #11, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Framed: custom made frame with anti-reflective art glass Print size: 23 x 18 cm Framed: 38 x 35.5 cm Unique Series: ATO>MIC Signed and dated in pencil on print's verso Certificate of Authenticity provided "At first glance the viewer may only see geometric spherical shapes with added lines and rectangles on tea toned Silver Gelatin paper. "The supremacy of pure artistic feeling" rather than the visual depiction of objects assign to the art movement of Suprematism comes to one's mind. Similarly, like a giant of abstract art Kasimir Malevich, Jackson wants the viewer to look further, deeper than one might usually. The feeling of 'sensation' of the ATO>MIC prints, the sharpness of the forms, the intensity defying its size to condensed 9 x 7 inches' paper, make it all the more dramatic to look at. It takes the viewer to another level of fantastical world of creation." Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G...

CONSTELLATION SUITE #6, 2021 Archival Pigment Print on Hahnemühle 100% Cotton Fine Art Paper, Custom framed 45 x 35 cm All prints from an Edition of 9 Series: Constellations All aro...

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...

Lithograph from a stone using red cosmetic lipstick, printed in black, with hand colouring in raw Sienna and carthame red gouache. On buff Velin Arches mould-made paper (250 gsm) Han...

Relief by Kim Lim, 1993 Additional information: Medium: lithograph 51.3 x 76 cm 20 1/4 x 29 7/8 in signed, dated and numbered in pencil Kim Lim was born in Singapore and spent much of her early childhood in Penang and Malacca. After her schooling in Singapore, Lim knew that she wanted to become an artist, and at eighteen, she enrolled at St. Martin's in London, where she spent two years concentrating mainly on wood carving. She then transferred to the Slade, where taught by the etcher Anthony Gross and lithographer Stanley Jones, she developed a strong commitment to print making. On journeys back to Singapore she stopped off in Europe and India, soaking up the art 'like a sponge'. These were the experiences that confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: " I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength." In Greece she was entranced by Cycladic sculpture. Of Chinese art she was moved most by early Shang bronzes, Han sculpture, Sung pottery...

Woodcut, 2020. Signed in pencil, numbered from the edition of 15.

A delightful etching with aquatint by Tom Phillips CBE RA. Print: Etching with aquatint, 10/10 Framed size: 22 x 42cm Mounting: Raised-float mounted Framing: Museum-grade maple fram...

The goal isn't to replicate the real world - it is to show where the real world and the process meet - sometimes pushing towards the real world, sometimes pushing towards the process - but never completely at either extreme. - (the Artist: Mike G Jackson) NEW YORK CITY AND THE HUDSON 2020 "After spending time in New York and producing work that showed the city from the viewpoint of being on the inside, I wanted to show the city from the outside looking in. I wanted to try and capture the city and water using bold shapes - building up the scene piece by piece. Making the sky and sea from rectangles to make them a whole with the city structures." - Mike G Jackson Unique 4 x Prints, Selenium toned Silver Gelatine Luminogram Print, Hand printed in the darkroom, Framed Dimensions: 32 x 24 inches (82 x 62 cm approx including frame); can be framed separately or in one frame upon request Frame: Mounted on aluminium Dibond, custom made hardwood frame (framing options available upon request; colour and various material options) finish with antireflective UV protective AR Art Glass Mounting and framing of this work will be done after the purchase so the framing options like framing colour for example can be made according to specifications of the client; matt or gloss, black, white, metallic etc OFFER! Free Shipping worldwide: the work would be crated for protection and shipped by professional art shipping company; front door delivery; complementary delivery and install available in London area About the Artist: Michael Jackson (b.1966) is an experimental photographer based in North Dorset, England. He studied art at West Dean College in Sussex, then apprenticed under landscape painter Christopher W Baker and later discovered his passion for photography. He moved away from working with traditional camera techniques in 2015 and is currently progressing the Luminogram process into new directions in which he has become regarded as a leading practitioner. Past awards and accolades include being named a Finalist for the Hasselblad Masters Award (2008, 2009, 2010) and winner of the 2013 Chris Beetles Award. His work has been exhibited internationally and is part of various private and public art and photography collections including The National Art Gallery in Washington, USA. Michael Jackson’s Luminograms are a very special piece of photographic art. Not a photograph in itself but a creative medium of its own. Each one is meticulously crafted by Michael in his darkroom. There are many structured stages to go through before the photographic paper can be hand developed and permanently fixed. Once Michael is happy with a finished Luminogram print it’s then toned in Selenium, which not only intensifies the prints tonality, but also increases the prints archival quality. Traditional photographic darkroom printing techniques have an unquestionable pedigree when it comes to the life expectancy of a photograph. Each Luminogram is unique and only one Silver Gelatin Print is produced of each image. The images reveal themselves with a 3D quality; viewed in the flesh the abstracted surreal forms within the paper come alive to the viewer. Michael Jackson’s Luminograms were exhibited for the first time at MMX Gallery in 2016; The Self Representation of Light exhibition and the following year at Photo London 2017 as well as next Photo London editions. The Luminogram work was also paired with theologian Edwin A. Abbott in a book published by 21st Editions, titled after the author’s famous work ‘FLATLAND’ and premiered in November at the Grand Palais in Paris, for Paris Photo 2017. Other recent group exhibitions include Light + Metal, PhotoEye Gallery, (USA) and Unbound 7, Candela Gallery, (USA), ATO>MIC, MMX Gallery, London 2022. “Mike Jackson...

Free Wheeler (Variation IV) by Alan Davie, 2000 Additional information: Medium: screenprint 75.5 x 86 cm (unframed) 29 3/4 x 33 7/8 in signed, dated and numbered in pencil Alan Dav...

This original lithograph in colours is hand signed in pencil by the artist "Miró" at the lower right margin It is also hand numbered in pencil, from the edition of 100 at the lower l...

Digital Print on 310g Photo Rag paper 31 1/2 × 23 3/5 in 80 × 60 cm Edition of 100 hand-signed by the artist Camilla Engström is a contemporary Swedish artist and illustrator celeb...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Cosmic Signals No.1 by Alan Davie, 2001 Additional information: Medium: screenprint 75.5 x 87 cm (unframed) 29 3/4 x 34 1/4 in signed, dated and numbered in pencil Alan Davie is on...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...

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...

X (ENG7) by Richard Allen, 1971 Additional information: Medium: screenprint 56 x 56 cm 22 x 22 in signed, dated, titled and numbered 8/35 in pencil Richard Allen was an Abstract ar...

The original studies from the 'Africa Suite' were a group of ten works selected from a series of ink-on-paper drawings from the same year. The large autom...

Four Bar Rhythm, 2020 Idris Khan Screenprint in colours with varnish overlay On 410gsm Somerset Satin White paper Signed and numbered from the edition of 125 Sheet: 56 × 43.5 cm (22...

Cosmic Signals No.4 by Alan Davie, 2001 Additional information: Medium: screenprint 75 x 86.5 cm (unframed) 29 1/2 x 34 in signed, dated and numbered in pencil Alan Davie is one of...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

A fantastic signed and framed screenprint by Harold Cohen, credited as one of the first digital artists. Derrynan IV features in the Tate collection. Year: 1967 Framed size: 75.5cm...

Sam Francis Untitled 1995 Etching in colours, Edition of 35 53.3 x 45.7 cms (21 x 18 ins) SF17887

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...