Marcel Fiorini Prints and Multiples

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

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...

Bicycle Shop by Julian Trevelyan, 1937 Additional information: Medium: etching with hand colouring 28.5 x 38.5 cm 11 1/4 x 15 1/8 in signed, titled, dated and numbered 19/25 in penc...

This is an abstract etching and aquatint by American artist James Rosenquist with colorful red, blue, green, and yellow shapes. It is signed and dated in pencil. Edition 57/78 17 3/...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Maravillas con Variaciones Acrosticas en el jardin de Miro (Number 22) Year: 1975 Medium: Lithograph, signed in the plate Edition: 150...

Artist: Harry Hoehn, American (1917 - 1974) Title: Untitled Year: circa 1963 Medium: Aquatint Etching, Signed and numbered in pencil Edition: 18/50 Image Size: 17.5 x 23 inches ...

Decorative motifs of the French Renaissance is a vintage chromolithograph realized by an anonymous artist of the early 20th Century. Good conditions. The artwork represents Decorat...

Collotype in colours with collage and hand-colouring Edition 24 of 98 75.8 x 55.8 cm (29.8 x 22 in) Signed with initials and numbered on the front Condition upon request Published by...

John Baldessari The Sprinters, 1982 Limited Edition Offset Lithograph on Parson's Diploma paper Signed in graphite pencil on the front. Accompanied by letter of authenticity from the...

Stephen A. Davis, American (1945 - ) - Untitled 25, Year: 1999, Medium: Lithograph with hand colored pastel, signed and dated in pencil lower right, Image Size: 23 x 16 inches, Si...

Alan Davie Guli Wall, 1971 Lithograph on Rives BFK Paper with Deckled Edges Hand signed, numbered 26/200 and dated on the lower front 20 × 25 1/2 inches Unframed This whimsical mid-century modern hand signed, dated and numbered print by renowned Scottish-born British Pop artist Alan Davie published in 1971 was chosen to be included in the 1975 portfolio for the Swiss Society for Fine Arts (Grafikmappe des Schweizerischen Kunstvereins) as part of an international portfolio of 27 prints by world renowned artists including Jasper Johns, Christo, Valerio Adami, Shusaku Arakawa, Robert Cottingham, Richard Paul Lohse, Gerhard Richter, Dieter Roth, Pierre Tal Coat and many others.. Hand signed and numbered from the edition of 200. Unframed and in fine condition. This vintage European print...

Color etching of modernist scene made up of layered images of a keyhole and entryway in Venice, Italy by California artist Katherine Chang Liu (American, 20th century). Signed "K "Li...