United Kingdom - Abstract Prints

Edition of 75, Set of 6 33 x 71 cms (13 x 28 ins)

Edition of 30, Set of 5 74.9 x 59.1 cms (29 1/2 x 23 1/4 ins)

46 x 74 cms (18.11 x 29.13 ins) Edition of 50

70.5 x 70 cms (27 3/4 x 27 1/2 ins) Edition of 80

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

This work is hand signed in pencil by the artist at the lower right corner "C. Buchheister". It is also hand numbered, titled and dated "Komposition Jaerve 1962 5/60" at the lower l...

ZAO WOU-KI 1921- 2013 Beijing 1921 -2013 Switzerland (Chinese) Title: Etching No. 325, 1986 Technique: Original Hand Signed, Numbered and Dated Etching and Aquatint in Colours on G...

Patrick Heron 1920-1999 Untitled, from Rothko Memorial Portfolio, 1972 screenprint 68.8 x 91.2 cm 27 1/8 x 35 7/8 in signed and numbered in pencil, edition of 75 Published in 1973 b...

The complete set of four lithographs in colours on Arches wove paper, 1986, each signed and dated in pencil, from the edition of 100 (plus 50 numbered with Roman numerals), in the or...

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 ...

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 ...

Desert Forms, from Aegean Suite by Barbara Hepworth, 1971 Additional information: Medium: lithograph with embossing 81 x 59 cm 31 7/8 x 23 1/4 in signed Barbara Hepworth was one of...

Julian and Alexis by Howard Hodgkin 1977-1978 Additional information: Medium: lithograph in colours with hand-colouring on Arches 70 x 102 cm 27 1/2 x 40 1/8 in signed, dated and numbered 19/30 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...

Put Out More Flags by Howard Hodgkin, 1992 Additional information: Medium: etching with aquatint, printed to the edges 42 x 52.5 cm 16 1/2 x 20 5/8 in signed with initials, dated and inscribed 'For Dave' 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...

Squares and Circles, from Twelve Lithographs by Barbara Hepworth, 1969 Additional information: Medium: lithograph 58 x 80 cm 22 7/8 x 31 1/2 in signed and numbered in pencil Barbar...

Six in Light Orange with Red in Yellow : April by Patrick Heron, 1970 Additional information: Medium: screenprint 71 x 101 cm 28 x 39 3/4 in signed, dat...

Street Palm by Howard Hodgkin, 1990-91 Additional information: Medium: intaglio print with carborundum from three aluminium plates printed in green, green and yellow (mixed), ultramarine blue and white (mixed), with hand-colouring in vermillion red egg tempera 160 x 137 cm 63 x 54 in signed with initials, numbered and dated 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...

Anish Kapoor, born in Mumbai, India, in 1954, is a globally renowned contemporary artist known for his groundbreaking sculptural works that explore form, color, and the manipulation ...

Skorpion - Scorpio By A.R. Penck A.R. Penck, born Ralf Winkler in Dresden, Germany, in 1939, was a trailblazing artist who made indelible contributions to the Neo-Expressionist mo...

Gerhard Richter (b. 1932) Cage Grid I (Complete Set) signed with initial and numbered ‘4/16 R.’ (on the reverse of panels A-O); signed and numbered ‘4/16 Richter’ (on the reverse of ...

Monoprint in colors on two sheets, 1988, signed in silver ink, from Salty Water/Fan Mail, on Arches wove paper, with the blindstamp of the publisher, Novak Graphics, Toronto.

Open-bite etching printed in dark, brownish black on fibrous Japan paper. Signed "R. Motherwell," or "Motherwell" in pencil, lower right. Numbered in pencil, lower right. Paper size:...

Hand-coloured etching

Zao Wou Ki À la Gloire de l'Image et Art Poétique (Ågerup 271-285), 1976 with the artist’s printed signature and date The portfolio, comprising 15 lithographs printed in colours on A...

Pochoir printed in colours, 1947. From: Jazz, Plate VI. From the book edition of 270. Printed on Arches paper by Edmond Vairel, Paris. Published by Teriade, Paris. (Duthuit Livre...

Signed in pencil, numbered from the edition of 75. Printed on Mandeure rag paper by Arte Adrien Maeght, Paris. Published by Maeght editeur, Paris. (Dupin 440).

Plate 1 from 'Judgements'. Signed in pencil, from the edition of 100. Printed on Arches wove paper by Atelier Georges Visat, Paris. Published by Blue Moon Gallery, New York. Plat...

Signed in pencil, from the edition of 85. Printed on Lana wove paper and published by Georges Visat, Paris. Plate: 42 x 32.7 cm. (Sabatier 194).

From 'Droites Libérées', a series which illustrated a poem by Henri Michaux. Signed in pencil, numbered in Roman numerals from XXV. From the suite on Japon nacré paper (the total e...

Signed in pencil, numbered from the edition of 150. Printed by Atelier Maeght, Levallois. Published by Maeght, Paris. (Koelen 60002).

Signed in pencil, numbered from the edition of 75. (Galfetti 289).

Signed in pencil, numbered from the edition of 75. Printed by Mourlot on wove paper. Published by Louis Broder, Paris. (Mourlot 658).

From Tristan Tzara's 'L'Arbre des voyageurs'. Signed and dated in pencil, a large paper proof. Inscribed 'Pour Henriette, en toute amitié'. Printed on wove paper and published by E...

Oil-based woodcut printed in colours. Signed in pencil and numbered from the edition of 40. Printed on Awa Kozo paper by Kevin Oster, Watanabe Studio Ltd., New York. Published by ...

The set of six linocuts printed in colours. Each signed in pencil, numbered from the edition of 50. Printed on Somerset Velvet Radiant White paper by Hidemi Nomura and Tsutomu Kjimo...

Soft-ground etching and aquatint, with hand-colouring, 1979-85. Signed and dated in pencil, numbered from the edition of 100. Printed on Hahnemühle mould-made paper by Atelier Crom...

Signed in pencil verso, numbered from the edition of 16. Printed on wove paper by Stoneman Graphics, Cornwall. Published by The Paragon Press, London. (Kemp 201).

Signed in pencil and inscribed. An arist's proof aside from the edition of approximately 20. Printed on cartridge paper by the artist's father, Roy C. Judd. Published by the artist. ...