This November Zimmer Stewart Gallery return to The Mill Studio in Ford near Arundel with a rare chance to see editions by some of the best in contemporary and Modern British printmakers.
The Master Printmakers exhibition includes a selection of limited edition lithographs, etchings, woodcuts and screen prints by Tracey Emin, Damien Hirst, Bridget Riley, Paula Rego, Peter Blake, Howard Hodgkin, Terry Frost, Edoardo Paolozzi and others.
James Stewart, the gallery’s curator said “This exciting exhibition has been a few years in the planning, and I am pleased that we can present these works together in the gallery space at The Mill Studio.”
The gallery will also show sculpture in bronze, stone and wood by Sussex artist Lawrence Dicks alongside the editions on the wall.
Curator, James Stewart continued “The abstract expressionist sculptures by Lawrence Dicks are organic and rhythmic drawing inspiration from natural phenomena.”
Below, in alphabetical order we provide images and text for the works exhibited.
Wayney by Craigie Aitchison - £6,250
Wayney is an etching with carborundum and collage by Craigie Aitchison, published in 2009 by Rabley Editions.
The subject, Wayney, is one of the artist's beloved Bedlington Terriers.
Aitchison has always loved dogs; his favoured breed being the Bedlington terrier, and in 1971 he purchased Wayney, who became his favourite.
Craigie Aitchison is a figurative painter and printmaker.
Known for his Mediterranean-inspired palette and simple compositions he combines elements of Italian Renaissance painting with the British visionary tradition. The resultant works are uniquely vibrant.
The print is 76 x 50 cm, in an edition of 50.
Olympic Symbol by Peter Blake - £2,500
Olympic Symbol' was created to celebrate Team GB's participation in the 2020 Olympic Summer Games in Tokyo, Japan.
Abstracting the Olympic Rings, Blake creates a complex geometric grid of vivid colours.
The resulting dynamic shapes evoke images of athletic tracks.
The heart symbol appearing in this print is one of many symbols that regularly appear in Blake's oeuvre.
Stars, targets, rainbows and hearts are prevalent in many of his early works, such as 'Love Wall' from 1961.
The symbols are reflective of the artist's signature style in colour, monochrome and shape.
70 x 60 cm
Edition of 150
Dressed Lobster by Patrick Caulfield - £1,000
This print 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.
Acquired by the Tate for their collection in 1984.
A framed screen print by Patrick Caulfield, from the Kelpra/Tate Gallery portfolio, printed at Kelpra Studio and published by Kelpra Editions and the Tate Gallery in an edition of 150, (60 × 75 cm). Inscribed ‘Patrick Caulfield 80’ bottom right
Dressed Lobster is one of many Still Life compositions by Patrick Caulfield. See also Still Life Ingredients (1976) but here he combines the image with a wall paper pattern background as also with Fruit and Bowl (1979-80). Perhaps this is also a reference to his interior paintings and also Picnic Set, screen print (1978).
From the mid-1970s Caulfield incorporated more realistic elements into his works; with certain areas depicted with precise detail and other areas executed with looser strokes. Caulfield later returned to his earlier, more stripped and pared down style. Often portraying a few simple objects in an interior, he used flat areas of simple colour, often dominated by a single hue and surrounded by bold black outlines.
He said “I was aiming at reducing the means by which one described things.”
Red Jug and Lamp by Patrick Caulfield - £1,400
A framed screen print by Patrick Caulfield, 1992,on wove paper, signed and inscribed from the 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.
Spurning the capacity for screen printing to assimilate photography and collage effects that excited his contemporaries Hamilton, Kitaj and Paolozzi, Patrick Caulfield liked the medium’s ability to lay down a heavier deposit of pigment, which provided a ‘richness of colour and body’.
These characteristics of the new (in 1964) medium perfectly suited Caulfield’s preference for graphic, linear exactitude and flat surfaces of pure undifferentiated colour.
[From Patrick Caulfield – Then Complete Prints – text by Wallace Stevens]
Jugs were a popular subject for the artist since the early 1970’s, here being set behind a lit glowing lamp, which provides some distortion of the jug form.
Caulfield’s had a preoccupation with light, being the “very element of the visual, it is the determinant of colour”.
I Do Not Recall Distinctly When it Began...I & II by the Chapman Brothers - £750 each
In their reworked illustrations from colouring books Jake and Dinos Chapman deliberately play off childhood innocence against the macabre and the sinister.
'I do not recall distinctly when it began, but it was months ago I & II' illustrate an imagined moment in the mind of a child.
In I, the idyllic image of a little boy and a fluffy bunny is subsumed into a nightmarish vision of decaying corpses and lurking monsters.
The bunny stands blissfully unaware of the gruesome one-eyed beast hovering over its shoulder, whilst a pair of eyes stares maniacally from a decomposing skull, drawing us deeper into the horror.
In II, 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.
Framed print from the 2010 edition of 125 by the Chapman Brothers, Jake and Dinos
Signed and numbered by the artist on the front
46 x 57 cm
Jim Dine: Entrada Drive - £750
´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. We also climbed into the Santa Monica Mountains on our bicycles, crossing Sunset Boulevard just where it goes into Pacific Palisades.
We did this every day, winding our way through more L.A. suburbia till we reached the fire trail into the mountains (where wilder animals than us live). We hardly ever saw a neighbour to make up stories about. Our landlady was called Denise de Graf. She was ever vigilant about our comings and goings. I also think we lived just to the north of the late Christopher Isherwood´s house but maybe I dreamt that. That winter all we thought about was our work and getting back to Paris.´ 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.
Jim Dine (born 1935) is an American artist, whose work includes painting, drawing, printmaking (in many forms including lithographs, etchings, gravure, intaglio, woodcuts, letterpress and linocuts), sculpture and photography; his early works encompassed assemblage and happenings, while in recent years his poetry output, both in publications and readings, has increased.
Dine has been associated with many art movements including Neo-Dada (use of collage and found objects), Abstract Expressionism (the gestural nature of his painting), and Pop Art (affixing everyday objects including tools, rope, articles of clothing and even a bathroom sink) to his canvases, yet he has avoided such classifications.
At the core of his art, regardless of the medium of the specific work, lies an intense autobiographical reflection, a relentless exploration and criticism of self through a number of personal motifs including: the heart, the bathrobe, tools, antique sculpture, and the character of Pinocchio (among flora, skulls, birds and figurative self-portraits).
Dine's approach is all-encompassing: "Dine's art has a stream of consciousness quality to its evolution, and is based on all aspects of his life—what he is reading, objects he comes upon in souvenir shops around the world, a serious study of art from every time and place that he understands as being useful to his own practice."
These Feelings Were True by Tracey Emin, £12,000
After The Shadow by Tracey Emin, £12,000
& Blue Madonna by Tracey Emin, £12,000
Published in 2020 these lithographs are from a series of eight powerful, evocative and moving self-portraits by Tracey Emin.
These extraordinary, intimate explorations of the self were created in the Counter Editions Margate studio.
See also, the 45 female faces in bronze relief on the main door panels at the National Portrait Gallery. These counterbalance the original 18 sculptural roundels on the gallery’s Portland stone exterior, which exclusively depict male figures such as Horace Walpole, Anthony van Dyck, and Joshua Reynolds. Tracey Emin used her own likeness as a rough template for the portraits. She said she ‘didn’t want to depict specific or identifiable figures.’
Tracey Emin and Edvard Munch’s major exhibition ‘The Loneliness of the Soul’ opened at the Royal Academy in May 2021.
Her current exhibition ‘I Followed you to the End’ is at the White Cube, Bermondsey until 10 November, including new paintings and sculptures that journey through love and loss, mortality and rebirth.
Drawing from a recent, transformative experience, Emin continues her exploration of life’s most profound and intimate moments, with renewed intensity.
Emin has been a major figure in contemporary art for over 25 years; Munch pioneered a radical new style known as Expressionism.
This exhibition firmly places Tracey Emin’s oeuvre within this context in contemporary art history.
These self-portrait lithographs on Somerset Velvet Warm White 400gsm, published by Counter Studio, Margate, is framed, signed, numbered and dated by the artist in an edition of just 50, this print is in mint condition.
These Feelings Were True - Two colour lithograph, 55 x 46 cm
After The Shadow - Two colour lithograph, 66 x 56 cm
Blue Madonna – Three colour lithograph, 66 x 56 cm
On My Knees by Tracey Emin (2021) - £7,500
Tracey Emin, along with seven other leading international artists, were asked to create a print to celebrate Tate Modern’s 21st anniversary.
For her Tate Modern 21 Years print Tracey Emin returns to one of most iconic motifs - the bed. Here a female nude figure kneels, head bowed.
A hesitant outline of another figure appears to be laying before her with the bed providing a shared space of private intimacy.
Many of her new paintings at her current White Cube exhibition ‘I Followed You to the End’ feature herself (we assume) in a bed.
This could be a reference to her ‘My Bed’ (1998) and also the fact that she has spent some time in bed recently getting over her recent cancer diagnosis.
A 4 Colour Lithograph on Somerset Velvet Warm White 400gsm.
Produced by Counter Studio in an edition of 100.
60 x 76 cm, unframed
Signed, titled, numbered and dated by the artist
No Time for Love by Tracey Emin - £14,000
A three Colour lithographic print on Somerset Velvet Warm White 400gsm. 86 x 69 cm, edition of 75. Signed, numbered and dated by the artist.
This print was published in support of the Oasis Womens’ Refuge, who offer safe temporary accommodation to self-defining women fleeing domestic abuse.
Showing an image of a women curled up, the text in red reads
“You went away and you knew the truth. There is no time left here-no time for love or surrender”
True Love Always Wins by Tracey Emin - £6,000
A framed four colour lithograph on Somerset 300 gsm velvet white paper, produced by Pauper Press in 2016.
Edition of 300, 76 x 60 cm, signed, numbered and dated by the artist.
True Love Always Wins was created to celebrate Team GB’s participation in the 2016 Olympic Summer Games in Rio de Janeiro, Brazil.
Tracey’s lithograph features Rio’s iconic statue Christ The Redeemer. The snaking mountain road symbolises the winding journey to achieve true love, represented by Christ’s outstretched arms at the summit.
The work carries particular poignancy given Tracey’s recent marriage to a rock: true love may not be what one expects, but it will always prevail.
True Love Always Wins encapsulates the optimism and positive energy that drives Team GB athletes and their supporters, and acts as an inspirational statement of hope and faith for all.
Timberaine E triptych by Terry Frost - £7,500
Terry Frost was known for creating rhythm in his works using colour blocks adjacent to each other.
Additionally, in this work he also wanted to represent the rain forest in abstract form, hence the title which is derived from 'Timber' and 'Rain'.
From the series of six triptychs (A-F), consisting of 3 woodcuts each & four triptychs
(G-J) consisting of 3 woodcuts each (50 x 105 cm).
Published by Paragon Press (2000-1).
Edition of 16. Each print signed and numbered by the artist on the reverse.
This set is framed in three custom made Perspex frames.
Individual prints of each triptych are also numbered 1-3 to indicate their order
Moon Lace I (1990) by Terry Frost - £3,500
A large monotype 100 x 66 cm
From 1962 Terry Frost started adding collage and even laces to his canvasses, (see Laced Grace, oil, canvas, collage, cord on canvas) and other related pieces.
He said "I did a whole series of laced paintings in gouache, on canvas and in lithograph, I think I was trying to tighten the form. I remember thinking I would like to use a spanner". (See also May 1962 (Stays) – referring to May West).
The Sun and Moon were also subjects he would return to throughout his career, it gave Terry frost the opportunity to work with circles, a recurring theme in his works.
This composition was recreated for his series of eight etchings in the SS Portfolio (2003), but there he called the print ‘Laced Sun’.Moon Lace I was exhibited in ‘Terry Frost: Monotypes for a 75th Birthday’, Austin Desmond Fine Art, Huxham, 1990
Signed and dated in pencil, on Waterford Ruff 356gsm paper, printed by Hugh Stoneman and Alan Cox at the Print Centre, London,
SS Portfolio by Sir Terry Frost, RA (2003) - £6,500
Published in 2003 the SS Portfolio of eight etchings 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.The set of 8 etchings with collé with a title page and cover sheet were published by Terry Frost and printed by Hugh Stoneman at Stoneman Graphics, Cornwall in an edition 30 in 2003.
The set is presented in a grey cloth bound portfolio with a foil blocked ‘SS’ design on the cover.‘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). NB - PZ refers to Penzance
The eight prints are:
1. SS – the eponymous etching
2. Laced Sun – referring to his ‘laced’ works from late 60’s
3. PZ & SS – St Ives and Penzance, boats and abstract suns
4. Two Models – a single line drawing as from early days studying
5. Madonna – a portrait
6. Delighted – a stylised abstracted portrait
7. Three Graces – a subject he returned to many times throughout his career
8. Ouzo and Black Olives – referring to happy times in Cyprus in 70’s
Edition of 30, each sheet 42 x 46 cm
Black for Lorca by Terry Frost - £1,500
An selection of Terry Frost prints would not be complete without one inspired by the poems of Federico Lorca.
Terry Frost was widely read, and enjoyed poetry, particularly the work of Federico Garcia Lorca. This might be surprising given his dark, sometimes despairing poems.
His 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.
We have chosen “Black for Lorca” from 1991, 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”
Published in 2001Framed etching & lithograph edition of 25, 58 x 42 cm
Madron Blue II, III & IV by Terry Frost - £850 each
Exhibited at the RA in 1998.
Madron is on a hill above Penzance, and was where Hugh Stoneman of Stoneman Graphics, Orchard Flower Farm, Madron Hill created many of Frost's prints including this series.
The composition is of two semi circles, or one bisected circle. Although abstract, the reference to the setting sun, reflected on water, as seen from the artist’s studio every day is unmistakable.
Framed etching with aquatint 30 x 30 cm from the Madron Suite.
Published in 1997 by Flowers Gallery. This is the only BAT (Bon a Tirer), proof.
The edition was just 20 with 1 PP and 7 AP's. Kemp Catalogue no 163.
House in Moonlight by Tom Hammick (2002) - £6,500
A rare framed reduction woodcut.
Tom Hammick said "Here in House in Moonlight I wanted to try to create the feeling of a house all lit up at Christmas like an advent calendar to emphasise the alienation felt as an outsider for those living on the streets.”
The idea came from looking at a lot of Edward Hopper paintings. Hopper himself enjoyed taking the elevated sections of the train round New York which enabled him to look into windows.
Tom Hammick received a Winston Churchill Fellowship (1998), a Robert Fraser Award (1999) and was a prize-winner in The Sussex Open (2003) and also the Jerwood Prize (2004). He won the Monotype Prize at Originals 09, London (2007), The Nexus Prize (2009) and the V&A Award at the International Print Biennale, Newcastle (2016).In recent years he has been Artist in Residence at Aldeburgh Music Festival, Snape Maltings (2018); Peacock Visual Arts, Aberdeen (2017); the ENO, London (2014 & 2015); St. John's Printshop, St. John's, New Foundland, Canada (2014); International Scuola de Grafica, Venice, Italy (2014); Glyndebourne (2007, 2009 & 2010); and Charleston (2008).
His printmaking output includes etching (with acquaint, chin collé, sugar lift), reduction woodcut sometimes with hand colouring and often in "edition variable".
105 x 83 cm number 9 from the edition of 10.
Canopy II (2018) by Tom Hammick - £6,500
This is an edition variable woodcut in a edition of just 12, Canopy I was an etching with aquatint produced in 2010.
The image shows a mother and child (we assume) in their garden under a wonderful canopy of cherry blossom.
The concept of a canopy of flora is one that Tom Hammick returns to often. In his recent work he shows gardens in full bloom, birds, and woodland.
Along with (sub-urban) houses he is concerned with domestic life in general.
As Julian bell wrote in Wall Window World, his book on Tom Hammick “The world is always more than you can see”
This is an apt description of Tom Hammick’s paintings and prints, they are bold and joyful but at the same time they look at subjects which could be seen as tender or anxious.
The artist describes his work as a metaphor to explore an imaginary and mythological dreamscape.
Tom Hammick is influenced by Matisse, and we can see this in his use of bright colours and textile detail.
It is no surprise that Tom Hammick has won many awards for his original printmaking, including the V&A Prize at the International print biennale, in 2016.
Print size 86 x 110 cm
Traverse by Tom Hammick - £6,000
This 2017 edition variable woodcut was one of the first of Hammick prints to look at the subject of skiing.
It shows a skier on the piste looking back at us the viewer.
The composition is comparatively minimal, but uses the woodgrain in the blocks to great effect, creating the illusion of snow.
See also, his monumental woodcut ‘Red Run’ (2019, 152 x 122 cm) and Rükenfigur (Ski Path) a 2024 woodcut.
Print size 120 x 79, edition of 14
Quinizarin by Damien Hirst - £8,000
This woodcut is from '40 Woodcut Spots', a series of prints published in 2011 by Paragon Press.
Damien Hirst’s minimalist Spot paintings are a defining feature of this controversial artist’s career. There are endless dots and colour combinations
Hirst has produced around 1400 spot paintings since the genesis of the format in 1988 for Freeze.
Damien Hirst now employs assistants to create the spot paintings. This was part of the artist’s aims towards creating works that appear to have been produced mechanically and without human intervention.
This simplicity is not to be underestimated however, with the meaning of Hirst's Spot Paintings being complex and multifaceted.
British-born and based Damien Hirst is one of the most successful and controversial artists of his generation. Pushing boundaries from the outset, Hirst put together the revolutionary exhibition called “Freeze” while studying art Goldsmith’s College at the University of London.
Soon after, he became a guiding figure of the Young British Arts (YBA) movement in the 1980s and 1990s, known for the use of unlikely materials and provocative concepts.
Printed on 410gsm Somerset White paper 20.6 x 50.8 cm, signed in pencil on the front, numbered 31/55 on the reverse (there were also 15 artist's proofs).
The Road to Rio by Howard Hodgkin - £3,000
Bold and euphoric, The Road To Rio captures the energy and spirit of Team GB at the Rio 2016 Olympic Games.
It follows his ‘Swimming’ screen print produced for the 2012 Olympic Games, and ‘Ice’ for the 2012 Winter Olympics.
Jungle-green, sand-yellow, and the blue of the Brazilian sky and sea are used in an exhilarating display of Hodgkin’s painterly genius. The assertive washes of colour achieve maximum expression with limited means: Hodgkin’s painterly restraint has increased with age.
This meticulously crafted screen-print is built up from twenty-two separate layers of colour.
The process creates both the thinnest translucent marks and the thickest textural strokes characteristic of Hodgkin’s work.
Howard Hodgkin's paintings and prints often refer to memories and private experiences, but deliberately avoid the illustrational.
Though his works often appear spontaneous, they are often the result of an extensive process of layering and over-painting.
An edition of this print is in the collection of Tate Gallery.
Framed print from the edition of 350
A 22 colour screen print using L.Cornelisson hand-ground light-fast pigments with Dubuit binders and Aqua Art matt varnishes, on St. Cuthbert's Mill Somerset White Satin 300gsm paper. Produced by King & McGaw, Newhaven. 76 x 60 cm (30 x 23.6 in)
Signed, numbered, and dated by the artist.
This Too Will Pass by Richard Long - £1,600
Richard Long created This Too Will Pass, 2021, a limited edition silkscreen print in support of Tate.
It is based on a new text work which is the result of a walk made during lockdown in 2020 in Bristol where he lives and works.
Using the familiar adage, “this too will pass”.
The artist is reminding us of the transitory nature of the human condition.
Against the backdrop of the Covid-19 pandemic and an extended period of national lockdown in the UK, the passing of time could be considered comforting or uplifting, indicated by Long’s inclusion of the words “Treasure” and “Spring”.
However, with time passing, we are also reminded of the fragility of human life, reflected in the words “Sorrow” and “Loss”.
Central to the work, signified by the contrasting bold red type and the central position, is the word “Walking”. In 2020, at a time when the UK government enforced a “Stay at home” policy, only allowing for a few essential activities such as outdoor exercise, the importance of walking has been felt by many.
Richard Long, who has been creating works around walking throughout this career, understands this importance, indicating in this work that walking is no less than a “Lifeline”.
Richard Long's art is grounded in his direct engagement with the landscape. Born in Bristol in 1945 he first came to prominence in the late 1960s and is part of an international generation of artists who extended the possibilities of sculpture beyond traditional materials and methods.
Richard Long's work is rooted in his love of nature and the experience of making solitary walks. Many of these take him through rural and remote areas in the South West of Britain where Long grew up and still lives today. Some walks follow a particular idea, such as walking a straight line for a predetermined distance, or picking up, carrying, and placing stones at certain intervals along the way.
Thus walking, as art, provides a simple way to explore relationships between time, distance, geography and measurement. Long has exhibited widely since his first solo show at the Konrad Fischer Gallery in Dusseldorf in 1968.
He represented Britain in the British Pavilion at the Venice Biennale in 1976 and was awarded the Turner Prize in 1989.
Edition of 100, each signed and numbered by the artist on an archival label on the reverse of the print.Size: 84 x 55.6 cm
Les Chants de Maldoror by Edoardo Paolozzi - £750
Les Chants de Maldoror, Ducasse print by Edoardo Paolozzi was published in the 1992 Royal College of Art portfolio "Six Artists".
An edition variable etching with extensive hand colouring, signed, numbered and dated in pencil - 33 x 51 cm, from the edition of 50.
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.
The Judgement by Paula Rego - £6,000
The Judgement by Paula Rego is a hand coloured, edition variable, etching published by the artist in 2020 from a plate originally created in 1991 in an edition of 50.
This is one of Rego’s more elaborate and enigmatic creations, full of references to other works. Executed at the same time as Crivelli’s Garden, her mural in the National Gallery Restaurant in London, it contains some of the same imagery, such as the head of Rudi Nassauer (also used for Joseph’s Dream 1990) and the use of Renaissance architecture.
The lion harks back to There was a Man of Double Deed 1989, and looks forward to the dog in Old Mother Hubbard 1994.
Although of modest size, it could in its complex organization and proliferation of images, be the cartoon for a tapestry or mural.
Rego also calls this work The Trial, but adds: “I’m not sure whose trial. I know that the judge is a ram, a recently married one because he’s got a wedding veil on his head. There’s a cart behind, the kind that you push along and exhibit at fairs. In it are performers, one of whom is Rudi patting his dog. And facing him is Mrs Death who later appears in Jane Eyre. And around it are various medieval and mythological figures.....I used the same kinds of devices for Crivelli’s Garden. Of having several things, several sizes, happening at once. There’s a stage within a stage.”
It is indeed a very inventive and theatrical work. A dinosaur-hippo disports itself in a pond in the background. A woman is involved in an intense relationship with the man on horseback. A man dressed like Dante, with a bird of prey on his left hand, is being gently restrained by a large lion. Here are great riches, beautifully deployed and bursting with life.
Paper size: 43 x 48 cm
Image size: 30 x 34 cm
La Mano Muerta by Paula Rego - £4,000
La Mano Muerta, or ‘Dead Hand’ is a framed etching with aquatint.
This print was published in 2020 from a plate originally drawn in 1962-4.
Due to its politically charged content, showing a decapitated Salazar, authoritarian Portuguese Prime Minister from 1932-68.
Edition of 17, signed and numbered by the artist.
image 18 x 24 cm, paper 31 x 36 cm
Meaning/significance of Dead Hand:
Death was the fee that servants had to pay to remain in fiefdom (enjoying land and protection) of the family for whom they worked.
This was typical feudal practice in the Middle Ages throughout Europe. This medieval tax demonstrates the exploitation of servants, who were not free even when their parents died, but they continued the work of their ancestors.
Kate Moss by Mario Testino - £8,000
Kate Moss, London, 2006 (2012), a rare iconic print which reflects the enduring relationship between photographer and model.
Mario Testino is the most prolific fashion photographer of our time. With shoots that have included Diana, Princess of Wales and Kate Moss and clients such as Vogue and Vanity Fair, Mario Testino continues to blur the divide between fashion photography and art.
Kate Moss has long been one of Testino's closest friends and remains one of his favourite muses. Kate Moss, London, 2006 is a classic Testino work, both capturing the intimacy of a seemingly unguarded or fleeting moment and also heightening a sense of glamour and super-reality.
Perched casually on a polished bathroom counter in a sheer, frothy black dress and a black mask pulled back and slightly askew, Kate seems caught unawares in the midst of some glamourous fête. It is precisely this contrast between the apparently incidental and the impossibly glamorous which makes Testino's images continually fascinating.
'Kate Moss, London, 2006' was released on the occasion of his major retrospective at the MFA in Boston, 2012.Framed print number 154 from the edition of 175
Digitally produced chromogenic c-type print on Fujiflex Crystal Archive Supergloss paper with a border
51 x 61 cm (20 x 24 in) Accompanied by a numbered and date certificate signed by the artist, on the reverse of the print.
Contact us if you have any questions or would like to enquire about the above works.
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