ORIGINAL PRINT SHOWCASE

 

4 to 25 March 2017

In this exhibition we exhibit a range of original prints by a number of established artists in a variety of mediums.

 

In addition to the ones highlighted below we also have works on hand by Peter Doig, Paula Rego, Anthony Frost and Howard Hodgkin.

 

An 'original print' is an edition where the print is the artwork and not a reproduction of another work. Usually the editions are low and the artist has had a hand in creating the work.

 

We have taken some time in putting this group of works, with the full background information as below and hope that you enjoy seeing the prints.

 

Brown Pot, Red Jug & Lamp and Dressed Lobster by Patrick Caulfield

 

Brown Pot, screen print, was published in 1980 in an edition of 80 by Advanced Graphics and Waddington Graphics.

 

Red Jug and Lamp, screen print in an edition of 150. Printed by Advanced Graphics, published by Waddington Graphics for the Serpentine Gallery to coincide with Patrick Caulfield's exhibition there in 1992.

 

Dressed Lobster screen print from the Kelpra/Tate Gallery portfolio, printed at Kelpra Studio and published by Kelpra Editions and the Tate Gallery in an edition of 150.

 

Dressed Lobster is from the portfolio of seven prints commissioned and published to celebrate the Kelpra Studio Exhibition at the Tate Gallery in 1980. The other artists were Gordon House, R.B. Kitaj, Victor Pasmore, John Piper, Joe Tilson and Gerd Winner.  The portfolio was acquired by the Tate for their collection in 1984.

 

Brown Jug, framed           £1,400

Red Jug and Lamp, unframed  £1,600

Dressed Lobster, framed     £1,600

 

 
I Do Not Recall Distinctly When It Began, But It Was Months Ago I & II by the Chapman Brothers

 

A pair of photogravure etchings published in 2010 from an edition of 125 by Jake and Dinos Chapman.

 

In their reworked illustrations from colouring books Jake and Dinos Chapman deliberately play off childhood innocence against the macabre and the sinister.

 

The prints illustrate an imagined moment in the mind of a child. The image of sweet, grinning children playing happily with pet rabbits is subsumed into a nightmarish vision of decaying corpses and lurking monsters. Disembodied eyes stare, fearful and bloodshot, whilst the rotting mouth of a monstrous creature growls through the horror.

 

The prints were published to coincide with the exhibition 'Jake or Dinos Chapman' at White Cube, London in 2010.

 

Jake & Dinos Chapman make iconoclastic sculpture, prints and installations that examine, with searing wit and energy, contemporary politics, religion and morality. They interrogate what we value as art, questioning the widely held view that the purpose of art is to be morally redemptive or socially edifying. They ask us to consider what we see as good or bad art –

whether ‘bad’ art really is made by or for bad people – and to probe the assumptions that underlie established aesthetic criteria.

 

They frequently employ subversive strategies through which they question the role of the artist and the complicity of the viewing audience.

 

 

Unframed each £850

Framed each   £950

 

 

Marriage of Reason and Squalor, Memoirs of My Writers Block & Introspastic by Jake Chapman

 

In his first work of fiction “Marriage…”, artist Jake Chapman slashes the romantic novel down to bare bone and constructs his own disfigured version from the slaughtered remains. This mercilessly subversive tale is illustrated by Chlamydia's watercolours entitled Visions of Morass, images inspired by the island as she struggles with her feelings of agony and ecstasy.

 

In Memoirs of My Writer's Block, Jake Chapman haunts the shady world of the professional ghostwriter, posing as fragile amateur scribbler Christabel Ludd, whose broken attempts at completing her novel are frustrated by an unshakeable writer's block. The story itself is that of Bao Xishun (once the world's tallest man), who uses his extremely long arms to fish pieces of plastic flotsam from the stomachs of some unfortunate dolphins, saving them from certain death. The bizarre narrative is made more so with each rewrite, from an 'ugly duckling' rendition through to a 'horror' version.

 

In his third novel, Jake Chapman returns to the parochial world of Chlamydia Love, the contagiously popular heroine from his first issue The Marriage of Reason and Squalor. Charged by The Someday Times to establish the truth about the rumoured rift between the Chapman brothers, she ventures deep into the hollow heart of the Cotswolds to interrogate the taller one, inadvertently revealing less than she intended.

 

Illustrated with works from the exhibition Jake or Dinos Chapman, the book explores the value and meaning of art, laying bare the inner turmoil that ensues when an artist is required to make art all by himself….

 

Deluxe special editions of 250, 100 and 100 with a hand coloured etching by Jake Chapman signed and numbered in a cloth bound Solander box.

 

 

Deluxe set with book and print unframed £395

 

Deluxe set with book and print framed £445

 

 
Entrada Drive by Jim Dine

 

Limited edition of 140 copies, this special signed edition of a book of photographs by Jim Dine comes with a signed Stone Lithograph print of a flower, 30 x 32 cm, in a box case.

 

"The winter in L.A. that year was kind of a “grey July.”

 

Diana and I lived at 234 Entrada Drive in January and February of 2001. These photographs are a memoir of what our eyes saw in our garden and when we walked to the Pacific Ocean." Jim Dine

 

Deluxe edition with lithograph, unframed £700

 

Deluxe edition with lithograph, framed £800

 

 

Birds, Laying with the Olive Trees and No Idea by Tracey Emin

 

Birds, lithograph in an edition of 300 was published in 2011 as part of a suite of prints for the 2012 Olympics (other prints were by Howard Hodgkin, Bob and Roberta Smith et al).

 

Layjng with the Olive Trees, lithograph in an edition of 150, was published to coincide with Emin’s retrospective exhibition 'Love is What You Want' at the Hayward Gallery. The lithographic print is close in style to both her early watercolours and to her more recent large-scale paintings.

 

'Laying with the Olive Trees' (2011) uses the repeated motif of the olive tree to bring a sense of life to the female figure lying in a state of deathly repose. Perhaps her thoughts are drifting to the rolling hills of olive groves in her much-visited Turkish-Cypriot homeland, or maybe Provence where the artist often spends her summers.

 

Emin describes the landscape as "a dream-like place - a cross between a desert and an ocean." In this landscape the prone, solitary female has an ambiguous presence: is she lying at the bottom of the sea, or simply lying asleep?

 

No Idea, a polymer gravure etching, on Japanese Misumi paper, from the edition of 200 was

published by Emin International, London, for her Royal Academy Exhibition in 2010. This print follows a mono print with the same title produced in 1998.

 

Monoprint drawing and printmaking, and in particular etching, have been an important part of Tracey Emin’s creative output since the beginning of her life as an artist. Indeed, her works on paper form the backbone of the intimate and diaristic approach to her art.

 

The immediacy of the line lends itself to the outpouring of dreams, memories and fantasies. Emin’s work is characterised by an honesty and directness that is often made poignant by her use of humour, using both image and text, and these qualities are especially vivid in her works on paper.

 

 

Birds, framed                         £5,000

Laying with the Olive Trees, framed   £1,750

No Idea, framed                       £850

 

 

The SS portfolio by Sir Terry Frost, RA

 

Published in 2003 these eight etchings with chinese tissue were presented in a cloth bound portfolio with a cover sheet and title page in an edition of 30 (each sheet is 42 x 46 cm). The portfolio was produced at the end of his sixty year career. The eight images both abstract and figurative, are personal to Terry Frost, previous works, his home in St Ives as well as favourite places.

 

“SS” relates to the letters in the registration number for all fishing boats from St Ives, Terry Frost would have seen it countless times on his walks to the quay, and it also featured in many paintings (& prints). See SS St Ives painting from 1966. (NB PZ refers to Penzance)

 

Laced Sun refers to his Laced Up paintings of 1960’s. See “May 1962 (Stays)” painting.

 

The Two Models, Madonna & Delighted relate back to Picasso’s line drawing of Stravinksy from the 1920’s, which exercised a singular fascination for Frost, this was to be a lifelong preoccupation with the emotional power of the drawn line.

 

He was already exploring lines, generating and defining shapes: the curve, circles, angles and arabesque. These created rhythm, counterpoint, interruption and repetition – concepts, which he would then spend the next sixty years developing.

 

Terry Frost had to draw the Three Graces by Rubens in the National Gallery whilst at art school, but then also painted the subject in abstract form in 1960.

 

Ouzo and Black Olives relates to a painting from 1992 (oil on canvas 170 x 104 cm) and Cyprus where Terry Frost taught at the Summer Art School in Lemba, run by Stass Paraskos.

 

 

Unframed set of 8 £8,000; Framed set of 8 £9,000

Unframed print £1,000; Framed print £1,125

 

 

Black for Lorca by Sir Terry Frost, RA

 

Published in 1991 this framed etching & lithograph is from the edition of 25 (58 x 42 cm).

 

Terry Frost was widely read, and enjoyed poetry, particularly the work of Federico Garcia Lorca. This might be surprising given the poet’s dark, sometimes despairing poems and the artist’s usual bright outlook on life. Lorca’s themes were violence, death and darkness as often as passion and life.

 

"I've been in love with Lorca's poetry for 15 years" Frost wrote in 1989, when he produced the Lorca Suite of etchings, after years of working on paintings and editions with Lorca in mind.

 

“Black for Lorca” was published three years after the “Eleven Poems by Federico Garcia Lorca” (the Lorca Suite). Unlike the earlier set of etchings, Black for Lorca is an etching and lithograph.

 

Terry Frost said “When you paint black, it must have colour” and this print illustrates that with its hints of blue.

 

 

Framed print £1,800

 

Camberwell Green by Sir Terry Frost, RA

 

An etching with woodblock and collage from an edition of 275, image size 38 x 33 cm.

 

This print was published by the artist and printed by Hugh Stoneman at Stoneman Graphics, Cornwall in support of The Big Issue in 2003.

 

Terry Frost attended the St. Ives School of Art before spending 1947-50 commuting to London in order to attend the Camberwell School of Art.

 

Framed print  £1,250

 
Wall Window World by Tom Hammick

 

This is the special 'deluxe' edition of the first book to survey the work of painter and printmaker Tom Hammick. It sets Hammick's art within the context of contemporary debates about painting while relating it to the two-centuries-old Romantic tradition.

 

Julian Bell explores in depth the artist's working processes, imagery and career to date, arguing that Hammick's work constitutes one of the richest imaginative achievements in late 20th- and early 21st-century British art.

 

The book comes in a embossed slipcase featuring one of Tom Hammick's works and includes the three-part colour etching "Fallout", created by the artist specially for this publication in an edition of just 60.

 

Many of Hammick’s pictures respond to the landscape of South-East England, where he has spent much of his life. Others are inspired by his encounter with the wilderness of Canada’s remote maritime provinces, a regularly revisited imaginative resource that has given his work much of its distinctive flavour. Hammick has spent three periods in Canada: as both a student and later visiting lecturer in Painting and Printmaking at Nova Scotia College of Art and Design, Halifax between 1989 and 2002, and in 2005 after being awarded a residency at the Art Gallery of Newfoundland and Labrador, now called the Rooms.

 

Informed by the author’s sustained contact with Hammick over many years, illustrated with over 120 carefully selected images, and produced in close collaboration with the artist, Tom Hammick: Wall, Window, World will appeal to the artist's collectors and wide popular audience, as well as students, art-world professionals and painting enthusiasts.

 

Deluxe book with three part print, unframed £750; framed £850

 

Standard edition of book £45

 

 

Les Chants de Maldoror, Ducasse by Eduardo Paolozzi

 

Les Chants de Maldoror, Ducasse print was published in the 1992 Royal College of Art portfolio "Six Artists". It is an edition variable etching with extensive hand colouring, signed, numbered and dated in pencil - 33 x 51 cm

 

Les Chants de Maldoror (The Songs of Maldoror) is a poetic novel (or a long prose poem) consisting of six cantos. It was written and published between 1868 and 1869 by the Comte de Lautréamont, the pseudonym of the Uruguayan-born French writer Isidore-Lucien Ducasse.

 

Many of the surrealists (Salvador Dalí, André Breton, Antonin Artaud, Marcel Duchamp, Man Ray, Max Ernst, etc.) during the early 20th century cited the novel as a major inspiration to their own works.

 

Framed price £600

 

The Headingly Series by John Walker

 

The Headingley series of lithographs are in a group of five similar abstract shapes with changing elements and colors (edition of 75). They were published in 1969 shortly after "Lesson 1" 1968, a canvas now in the collection of the Tate.

 

John Walker said "The trapezoidal canvas shape was meant to imply extent and stretch and the shape had to have structure. The vertical horizontal lines are to compartmentalize the picture to add linear tension and scale."

 

In the 1960s, 70s and 80s, Walker had numerous solo exhibitions in cities including London, Paris, New York, Amsterdam, and Hamburg. He was in the British Pavilion at the Venice Biennale in 1972, and in1985 there was a retrospective of his paintings at the Hayward Gallery, London, and a retrospective of his prints at the Tate Gallery, London. In 1985 he was shortlisted for the Turner Prize. He is currently Professor of Painting at Boston University.

 

 

Unframed each £500; Framed each £600

Unframed set of 5 £2,000; Framed set of 5 £2,500

29 Tarrant Street, Arundel,

West Sussex, BN18 9DG

Tel: 01903 882063

Open: 10-5 Tues-Sat

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contemporary art in Sussex

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