Individual Artworks

Oak framed, signed original etching.  The print was made to accompany a selection of the poems of Jean Cocteau,Tempest of Stars, in translations by Jeremy Reed and was one of five etchings.

Oak framed, signed original etching of the title page from the artist's book Tempest of Stars.  The print was made to accompany a selection of the poems of Jean Cocteau, in translations by Jeremy Reed and was one of five etchings.

Swarm Framed etching from Bugs portfolio, published by the Byam Shaw School of Art in London in 2000   In Fiona Banner's etching, Swarm, an amorphous cloud of impenetrable blackness hovers against a white background. It is like a black hole teeming with insects. The print eloquently conveys the unquantifiable and unbounded nature of the insect realm. Banner's work is one of a portfolio of ten prints collectively entitled Bugs. The portfolio was published by the Byam Shaw School of Art in London.   Text from Tate website

Tony Bevan RA (born 1951) is among the foremost figurative artists in the UK. A graduate of Goldsmiths College and the Slade School of Art, he has worked in London since 1976, exhibiting worldwide and having important shows at the ICA, London (1987-8), the Staatsgalerie Moderner Kunst, Munich (1989), Whitechapel Art Gallery (1993), Abbot Hall Art Gallery (1999 and 2003), the Israel Museum, Jerusalem (2003), IVAM, Valencia (2005), and National Portrait Gallery, London (2011). His work is in many international collections, including the British Museum; Israel Museum; Metropolitan Museum, New York; Moderna Museet, Stockholm; Museum of Modern Art, New York; Tate; Toledo Museum, USA; Whitworth...

Pigeons with Pelican is from a set of nine prints published in 1994 by the Byam Shaw School of Art to raise funds for scholarships and bursaries. The artists each contributed an image depicting one of the birds of London. The purpose was not to produce an ornithological record but to provide a unifying theme through which the individual temperaments and styles of this group of distinguished artists (among them Craigie Aitchison, Patrick Caulfield, Prunella Clough and Paula Rego) could be expressed. Jeffery Camp RA, a Senior Academician who in his work and writings championed the art of drawing, presents...

Description: Drawing of a butterfly and tile featuring St Jude from a 16th century ceramic stove from the Museum of London Collection. Medium: Coloured pencil on paper Image Size: 30.5cm x 22.9cm Frame Size: 40cm x 30cm

Description: Portland vase with roses Medium: Coloured pencil on paper Image Size: 30.5cm x 22.9cm Frame Size: 40cm x 30cm

Description: 6th Century BC Greek jug with flowers Medium: Coloured pencil on paper Image Size: 30.5cm x 22.9cm Frame Size: 40cm x 30cm

This etching, from Jim Dine's Eight Little Nude series of 1982, was published by Pace Editions, New York, in an edition of 30 signed, numbered and dated by the artist. It is a softground etching with drypoint and aquatint in colours, printed on BFK Rives. Dine’s reputation as one of the preeminent American printmakers of the post-war period was established in the early 1960s and he has produced an astonishing body of graphic work up to the present day, often working with master printmakers such as Ken Tyler in Los Angeles and New York, Kurt Zein in Vienna and particularly the...

With 17 original etchings by Jim Dine, Kali is among the most ambitious books yet published by Enitharmon. Dine, one of the greatest living printmakers, admired particularly for his innovative etchings and woodcuts, has revitalised European traditions stretching back to antiquity since he returned to drawing the figure from life in the 1970s. Kali was conceived during an intensive period of printmaking and writing in the summer of 1998. The bound and slipcased book contains a sequence of new poems by Dine and 16 original etchings covering a wide range of his best-known current motifs and some images introduced here for the first...

Duane Michals (born 1932) was seventy when he conceived the extended sequence of photographs and poetic texts that constitute The House I Once Called Home. Just a few years after the death of his mother, he returned to his native Pittsburgh to revisit the house in which he was born and brought up. Its deteriorated state proved a poignant focus for his memories, prompting reveries on mortality and the succession of generations that found form both verbally and visually. For four decades Michals has been one of America's most consistently individual and original voices in photography. Rejecting the documentary emphasis of much...

"Handkerchief Seller was derived from my time spent in Mumbai while I was studying there. It was fascinating to see the energy and struggle for survival in this big cosmopolitan city. People were selling literally anything they could get their hands on, to sustain themselves and their families. While walking from the railway station to art school every day, I observed this woman selling handkerchiefs in her upside down umbrella on the footpath. Her muted colour sari, her worn out feet, scattered newspaper nearby and her conditioned harsh reality were all visible on her sunburnt face. This was a striking visual...

“Death Goes Shopping is an etching telling a story that I dreamt up. I drew everything from a set that I made. I had been to see an exhibition in Antwerp, and there they have the most beautiful lace dresses you can imagine. I bought a lot of them. It struck me that they were like little bridal gowns, and when I got back to my studio in London I made some dolls and put the dresses on them. I made up a story that they were kept in chains and that they were going to be sold: marketed and loaded onto a cart, like...

'Slavery, in different forms, in different places, in different times links these photographs. In 1997, when I took the photograph of the garbage-collecting children in Karachi, I was not thinking of them as slaves, I was thinking of them as part of a process where waste is re-cycled, plastics, metals collected, sorted, melted down, transformed, re-used. A good thing. Only later did I start to think about whether they had any choice in the matter, if they had other realistic options in order to survive, whether they were physically intimidated into doing what they do. I don't really know the answer,...

Gavin Turk's lithograph, Metamorphosis, is accompanied by a short text: 'As he awoke one morning from uneasy dreams he found himself transformed into a gigantic insect.' Quoting Kafka, Turk presents a comically anthropomorphized insect, standing upright on two legs, with arms poised as if about to reach for a pair of pistols in a bizarre insectoid shoot-out. Turk's print is one of a portfolio of ten prints collectively entitled Bugs. The portfolio was published by the Byam Shaw School of Art in London. Produced as a fundraiser, the proceeds from the portfolio sales were dedicated to providing bursaries to support Byam Shaw students from overseas, particularly those from Latin...

Adornment shows female figures set in the interior of a central London house. 'I gave my first series of lithographs the title Initiations to reflect that working with the medium of lithography was a new venture for me. In terms of mark-making, lithography is the printmaking process closest to painting, but it still presented a completely different way of building an image. I had to consider how, through overlaying transparent layers of colour, I could use a relatively limited palette to build complex scenes. The prints in the set were diverse in subject matter, reflecting a shift in subject in my...

'Nocturnes brings together recent family subjects touching on themes of women’s domestic labour, with night scenes which have been a recurring motif in my work for over a decade. Depicting everyday activities, from my daughter watching tv before dinner, to my mum seen washing dishes or taking the bins out late on a midsummer’s night, to the darkened space of a bedroom, lit only by the streetlights outside the window, where my sister in law, Lisa, feeds her baby.  The medium of lithography offers particularly rewarding results for building up the atmosphere and rich colour needed to depict these nocturnal scenes...

'Nocturnes brings together recent family subjects touching on themes of women’s domestic labour, with night scenes which have been a recurring motif in my work for over a decade. Depicting everyday activities, from my daughter watching tv before dinner, to my mum seen washing dishes or taking the bins out late on a midsummer’s night, to the darkened space of a bedroom, lit only by the streetlights outside the window, where my sister in law, Lisa, feeds her baby.  The medium of lithography offers particularly rewarding results for building up the atmosphere and rich colour needed to depict these nocturnal scenes...

' Nocturnes brings together recent family subjects touching on themes of women’s domestic labour, with night scenes which have been a recurring motif in my work for over a decade. Depicting everyday activities, from my daughter watching tv before dinner, to my mum seen washing dishes or taking the bins out late on a midsummer’s night, to the darkened space of a bedroom, lit only by the streetlights outside the window, where my sister in law, Lisa, feeds her baby.  The medium of lithography offers particularly rewarding results for building up the atmosphere and rich colour needed to depict these nocturnal...

'Nocturnes brings together recent family subjects touching on themes of women’s domestic labour, with night scenes which have been a recurring motif in my work for over a decade. Depicting everyday activities, from my daughter watching tv before dinner, to my mum seen washing dishes or taking the bins out late on a midsummer’s night, to the darkened space of a bedroom, lit only by the streetlights outside the window, where my sister in law, Lisa, feeds her baby.  The medium of lithography offers particularly rewarding results for building up the atmosphere and rich colour needed to depict these nocturnal scenes...

'Nocturnes brings together recent family subjects touching on themes of women’s domestic labour, with night scenes which have been a recurring motif in my work for over a decade. Depicting everyday activities, from my daughter watching tv before dinner, to my mum seen washing dishes or taking the bins out late on a midsummer’s night, to the darkened space of a bedroom, lit only by the streetlights outside the window, where my sister in law, Lisa, feeds her baby.  The medium of lithography offers particularly rewarding results for building up the atmosphere and rich colour needed to depict these nocturnal scenes...