London Original Print Fair Online : Royal Academy 2020

Michael Parkin FA, London 
Private Collection, UK
Sally Hunter FA, UK
Osborne Samuel, London

Printed from 3 blocks in Chinese orange, spectrum red and Prussian blue

Redfern Gallery
Private Collection, UK

Stephen Coppel, Linocuts of the Machine Age , published by Scolar Press, 1995, no. SA 24
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue , published by Lund Humphries, no. 26

Printed from 3 blocks in venetian red, viridian & Chinese blue. 

Linocuts of the Machine Age , Stephen Coppel, published by Scolar Press, 1995, SA 39, p.117
Sybil Andrews Linocuts: A Complete Catalogue, Hana Leaper, published by Lund Humphries in association with Osborne Samuel, 2015, no. 41, p.86.

Printed from 4 blocks in raw sienna, red, viridian and Chinese blue.

Osborne Samuel, London

Contemporary Lithographs published two series of lithographs in 1937 and 1938. A leaflet published in early 1937 states, each lithograph has been drawn on the stones by artists at the works of the Curwen Press.’ Though all the other prints in the first series were indeed autolithographs, Bawden’s Cattle Market , the first print in the series, is self evidently transferred from a linocut. Curwen by then had been transferring Bawden’s linocut images to wallpapers and posters for more than ten years.

The Contemporary Lithographs leaflet referred to the edition of each lithograph as 400 copies, but the venture was not a commercial success and far fewer copies were made and sold.

Private Collection, Canada

Printed from 4 blocks in blue oil paint, crimson oil paint, viridian printing ink and black printing ink. 

Craig Hartley, Etchings of Lucian Freud: A Catalogue Raisonne 1946-1995, 1995, no.30
Craig Hartley, Freud and Auerbach Recent Work , Print Quarterly , Vol. 9 No. 1 (March 1992), p. 13 (Fig. 12)
Starr Figura (ed.), Lucian Freud: The Painter’s Etchings (New York: Museum of Modern Art, 2007), Cat. 31, p. 61

The sitter is the artist’s daughter Bella Freud

Lucian Freud made his first etching in Paris in 1946, using the wash-basin in his hotel room as an acid bath. Five small-scale etchings date from this decade, following which Freud ceased printmaking for thirty-four years. Thereafter, beguiled by its ‘ element of danger and mystery’ , he steadily created an impressive contribution to the medium.1

Freud’ s etchings from the mid-1980s onwards are distinguished by their size and technical command. Standing his copper plates upright on an easel, for the first time, he was able to work with greater force and fluidity. He claimed to find etching easier than drawing, candidly acknowledging the role that redrawing can play in printmaking. Sometimes Freud would ask the printer to erase sections, to crop an image or to scrap a final printing in favour of earlier proofs. Working closely with Marc Balakjian, at Studio Prints in Kentish Town, Freud was always present at the biting and proofing of his plates.

Bella (1987), a portrait of his daughter, is defined by dense hatching, marking the head’ s weight against the pillow, its wisps of hair and the face’ s contours. Freud sought further contrast within the image, however. Giving the printer a proof shaded with grey wash to indicate where ink should be left on the plate after wiping, the etching was reproofed until he was satisfied. Craig Hartley describes the result as ‘ seductively tonal’ , one of Freud’ s most beautiful portraits.2

Elsewhere, through the use of generic titles, Freud sought to deflect attention from his sitters’ identity. He remarked,

Many people are inclined to look at portraits not for the art in them but to see how they resemble people. This seems to me a profound misunderstanding.3

Portrait Head (2001) is more delicate than Bella in its use of line, its lack of background detail placing the strongly characterised face in relief. The sitter appears contemplative, perhaps weary, an effect emphasised compositionally by the downward pull of her scarf, loose hair and shadowed gaze. Reviewing MoMA’ s exhibition in 2008, which juxtaposed Freud’ s portrait paintings with his etchings, Donald Kuspit noted the latter’ s ‘ rough emotional urgency’ and tendency to be ‘ more individual – more uniquely themselves’ .4

1. Lucian Freud, in Starr Figura (ed.), Lucian Freud: The Painter’ s Etchings (New York: Museum of Modern Art, 2008), p. 15.

2. Craig Hartley, ‘ Freud and Auerbach Recent Work’ , Print Quarterly , Vol. 9, No. 1 (March 1992), p. 5.; also Hartley, The etchings of Lucian Freud: a catalogue raisonné 1946-1995 (Marlborough Graphics, 1995), p. 22.

3. Freud, in Freud at Work: Photographs by Bruce Bernard and David Dawson (Jonathan Cape, 2006), p. 32.

4. Donald Kuspit, ‘ Lucian Freud: Museum of Modern Art/Marlborough Graphics’ , Artforum International , Vol. 26, No. 7 (March 2008), p. 360-61.

The Artist
Mathew Marks Gallery, New York
Private Collection

Craig Hartley, Etchings of Lucian Freud: A Catalogue Raisonne 1946-1995, 1995, no.60
Lucian Freud: The Painter’s Etchings, Starr Figura & Glenn D. Lowry, published 2007, no.81
Lucian Freud Portraits , Sarah Howgate & Michael Auping, published 2012, no. 127
Sebastian Smee 29

Signed with initials and numbered
Total edition of 46, plus 12 artist’s proofs
This copy has been mistakenly numbered from the edition of 36, Matthew Marks has confirmed the authenticity of this copy and the error made at the time of publication.

107 Workshop, Wiltshire

D. Krut, William Kentridge Prints, Johannesburg and Iowa, 2006, pp. 66, 68-69.

In 1996 Kentridge embarked on a series of etchings to coincide with the centenary of Alfred Jarry’s Ubu Roi. In Ubu tells the Truth Kentridge transposed Jarry’s spiral-bellied comic anti-hero with the figure of a naked man based on photographs of Kentridge performing the part of Ubu in his studio. The series was the basis for a theatre production written and directed by the artist, Ubu & the Truth Commission (1997), which in turn was the genesis of The Sleeper prints. 

‘I had worked on a series of messy drawings of a naked man, sometimes enclosed by the white Ubu line drawing, trying to get some feel of the theatre production in them. With the first set of drypoints I had used a thumbprint and printed the heel of my hand to suggest the flesh texture. With the large drawings one has to pull shape and texture into the drawing on a larger scale. I wheeled a bicycle across the paper, hit it with charcoal-impregnated silk rope, invited children and cats to walk over it, spattered it freely with pigment. The Sleeper prints used a range of materials and objects placed on soft ground to try to effect the same damage upon the paper’ (William Kentridge, in: William Kentridge Prints, David Krut Publishing, Johannesburg and New York, 2006, p. 66)

Purchased direct from the Publisher, David Krut Fine Art Editions
Private Collection, USA

William Kentridge Prints, David Krut Publishing, 2006, p.66

Printed from 4 blocks in permanent blue, viridian green, ochre & pale chrome

Private Collection, UK

Gérald Cramer (ed.) Alistair Grant & David Mitchinson, Henry Moore. The Graphic Work, 1931-72, vol. I, London, 1973, no.14, illustrated.

Based on a drawing Standing Figures 1948.

Sir George Clausen (thence by direct descent to the previous owner)

Black, Jonathan. CRW Nevinson – The Complete Prints. London: Lund Humphries in association with Osborne Samuel, 2014. cat. no 15.

The Blue Wave was the first colour lithograph Nevinson produced and is now extremely rare. When first exhibited with the Friday Club in April 1917, the print was titled ‘Breakers’, and undoubtedly inspired by Hokusai’s colour woodcut, ‘The Great Wave off Kanagawa’. Where Hokusai gives distance from the rolling ocean to take in its enormous scale, Nevinson fills the field of view confronting the viewer as though they about to be consumed. An oil painting of the same subject is now in the collection of Yale British Art Center.

Private Collection, USA
Osborne Samuel, London

Linocuts of the Machine Age , Stephen Coppel, published by Scolar Press, 1995, CEP 16, p.94
Cyril Power Linocuts: A Complete Catalogue , by Philip Vann, published by Osborne Samuel & Lund Humphries, 2008, illustrated in colour, p.59, no.16

Cutting Edge: Modern British Print Making , Dulwich Picture Gallery, London, June – September 2019

Private collection, UK

Linocuts of the Machine Age , Stephen Coppel,
published by Scolar Press, 1995, CEP 32, p.99
Cyril Power Linocuts: A Complete Catalogue , by Philip Vann, published by Osborne Samuel & Lund Humphries, 2008, illustrated in colour p, 85
British Prints from the Machine Age; Rythms of Modern Life 1914 – 1939 , Clifford S. Ackley, published by Thames & Hudson, London, 2008, p. 105 (no. 49)

Museum of Fine Arts, Boston, January 30 – June 1 2008
Metropolitan Museum of Art, New York, September 23 – December 14, 2008
The Wolfsonian-Florida International University, November 21, 2009 – February 28, 2010

Printed from 5 blocks in yellow ochre, spectrum red, permanent blue, viridian and Chinese blue on buff oriental laid tissue.

By descent from the artist

Linocuts of the Machine Age, Stephen Coppel, published by Scolar Press in association with the National Gallery of Australia, 1995. Cat No CEP 35

Printed from 3 blocks in spectrum red, raw sienna, & viridian.

Stanley Jones, the Master Lithographer from Curwen who printed this lithograph for Scott

Printed from 3 blocks in dark blue, light brown & light blue.

Printed from 2 blocks in black and red on thin cream oriental laid paper.

Redfern Gallery / Jan-Feb 1986, British Prints:The Post-War Years 1945-1960, with essay by Gordon Samuel, Cat No 111 in b/w

Redfern Gallery, Summer Exhibition 1951, June-August 1951 (Including a selection of prints by The Society of London Painter-Printers), Cat No. 786