Edvard Munch: Technically Speaking @ Harvard Art Museums, Cambridge

Edvard Munch: Technically Speaking

Harvard Art Museums, Cambridge

March 7 - July 27, 2025

EDVARD MUNCH

Two Human Beings (The Lonely Ones), 1894

Etching and drypoint

Harvard Art Museums/Fogg Museum, 

The Philip and Lynn Straus Collection, 2023.559 

Photo © President and Fellows of Harvard College

EDVARD MUNCH

Two Human  Beings (The Lonely Ones), 1899 

Woodcut, printed in four colors of ink

Harvard Art Museums/Fogg Museum, 

The Philip and Lynn Straus Collection, 2023.602

Photo © President and Fellows of Harvard College

EDVARD MUNCH

Two Human Beings (The Lonely Ones), 1906–8.

Oil on canvas 

Harvard Art Museums/Busch-Reisinger Museum, 

The Philip and Lynn Straus Collection, 2023.551

Photo © President and Fellows of Harvard College

The Harvard Art Museums present an exhibition of works by Edvard Munch that examines the artist’s innovative techniques and the recurring themes across his paintings, woodcuts, lithographs, etchings, and combination prints. Highlighting the collaborative partnership between curatorial and conservation experts at the museums, the exhibition reveals new and ongoing technical research into Munch’s practice and shares recent discoveries about his materials and highly experimental methods. 

The exhibition showcases 70 works, primarily from the Harvard Art Museums collections. Thanks to a transformative gift from Philip A. and Lynn G. Straus, the museums now house one of the largest and most significant collections of artwork by Munch in the United States—a collection that is also distinctive for its technical variety. Key loans from the Munch Museum in Oslo include two paintings and eight examples of the artist’s materials used for printmaking, seven of which have never before been on display in the United States. 

Norwegian artist Edvard Munch (1863–1944) is well known for his innovative experiments in painting and printmaking. He often rendered the same subject matter in both mediums—repeatedly over decades—to investigate their distinctive possibilities. His highly expressive work deals with psychological themes of isolation, separation, anxiety, illness, and death, but also attraction and love. Technically Speaking explores Munch’s fascination with materiality, uncovers new avenues for thinking about his work, and delves into his unconventional techniques and the various themes he returned to again and again over many years.

“This exhibition showcases an exciting selection of Munch’s paintings and prints from a career that spanned more than 60 years,” said Elizabeth M. Rudy. “We are thrilled to present his work through a lens that is perfect for a university museum—one that reinforces our teaching and research mission—by sharing the results of our recent investigations into his techniques and materials.”

The exhibition begins with several iterations of Two Human Beings (The Lonely Ones), depicting a man and a woman standing at a shoreline, side by side yet isolated from one another. First painted by Munch in 1892 (a work later destroyed in an accident at sea), the motif is repeated in an etching from 1894 that depicts the original painting and five subsequent woodcuts that Munch produced between 1899 and 1917. The prints reveal the various intriguing woodcut and etching techniques the artist utilized and also show how he manipulated his jigsaw woodblocks to print different parts of a single work in different colors. They are displayed in the exhibition with the original steel-faced copperplate and jigsaw woodblock that were used to produce the prints. Two paintings on display continue the motif: the artist’s 1906–8 version from the Busch-Reisinger Museum’s collection is based on his woodcuts, and a later (final) version from around 1935, on loan from the Munch Museum, reverts to the composition of the couple used by Munch in his 1892 painting.

“Two Human Beings (The Lonely Ones) remains one of Munch’s most well-known subjects, and we are extremely fortunate to be able to trace his engagement with it over a period of more than 40 years and through nine works in our collections, supplemented by the generous loan of his last painting of the motif and two related matrices from the Munch Museum,” said Lynette Roth. “Together, they demonstrate the close relationship between painting and printmaking in Munch’s practice, his dedication to certain motifs over time, and his embrace of chance effects.”

Several other groupings highlight additional recurring themes in Munch’s work and how he experimented with their representation. Three woodcuts from the Woman’s Head against the Shore series show how Munch selectively printed his jigsaw woodblocks, omitting one of the pieces (the water) in one of the impressions. Four prints from The Kiss series—an etching and three woodcuts—portray a couple embracing in front of different backgrounds. Prints from Melancholy I and Melancholy III, on display with a rare example of Melancholy II, which Munch printed himself with his small hand-crank press, are shown with five of the artist’s original carved woodblocks. Four variations of Vampire II demonstrate how Munch sometimes combined lithographs with hand coloring and used woodblocks to add color as well. Also on display are three versions of Man’s Head in Woman’s Hair, including one used by Munch as a poster advertising an exhibition of his work at Diorama Hall in Kristiania (now Oslo).

Over the last several months, the works in the exhibition from Harvard’s collections have undergone technical study, including pigment analysis, selective treatments such as cleaning and varnish removal, and most of the prints were rematted and reframed. The painting Two Human Beings (1906–8) was varnished at some point in its history, which is not consistent with Munch’s practice of leaving his canvases without a unified glossy surface; this varnish has been removed. Train Smoke (1910) needed paint stabilization and cleaning to remove atmospheric grime, and Winter in Kragerø (1915) had its varnish removed to reveal a more vibrant snowy scene. This work was carried out by staff from the Straus Center for Conservation and Technical Studies, including Ellen Davis, Associate Paintings Conservator; Abby Schleicher, Assistant Paper Conservator; and Kate Smith, Senior Conservator of Paintings and Head of the Paintings Lab, and their findings are presented in the exhibition. Additionally, all six paintings on display from Harvard’s collections were reframed with new, historically accurate frames.

“Munch’s deep experimentations in painting and printmaking meant that he was constantly reworking his canvases and layering many different types of print techniques, which can become complicated to describe,” said Peter Murphy. “As research was underway and our conservators and curatorial team were deciphering how he created many of his works, I set out to break down the technical terms we were using in a friendly, digestible way. We hope that visitors will find the glossary useful, not only in the exhibition, but as something that can be kept and referenced beyond the show.”

The exhibition is curated by Elizabeth M. Rudy, Carl A. Weyerhaeuser Curator of Prints, and Lynette Roth, Daimler Curator of the Busch-Reisinger Museum; with Peter Murphy, Stefan Engelhorn Curatorial Fellow in the Busch-Reisinger Museum. This is the first major presentation at Harvard to examine Munch’s techniques and materials through the lens of the Strauses’ collection in 30 years, following the 1983 exhibition and publication Edvard Munch: Master Printmaker (organized by Charles W. Haxthausen and written by Elizabeth Prelinger) and Norma S. Steinberg’s 1995 exhibition and catalogue Munch in Color.

HARVARD ART MUSEUMS

32 Quincy Street, Cambridge, MA 02138

harvardartmuseums.org

Mexican Prints at the Vanguard @ The Met, NYC

Mexican Prints at the Vanguard 

Metropolitan Museum of Art, New York

September 12, 2024 – January 5, 2025 

Gabriel Fernández Ledesma (Mexican, 1900–1983)

Poster advertising an exhibition of work by young Mexican artists held in the Retiro Park, Madrid (detail), 1929 

Woodcut, letterpress 

The Metropolitan Museum of Art, New York, 

Gift of Gabriel Fernández Ledesma, 1930 (30.88.1)

Mexican Prints at the Vanguard at The Met Fifth Avenue, Galleries 691–93, explores the rich tradition of printmaking in Mexico—from the 18th century to the mid-20th century—through works drawn mainly from the Museum’s collection. Among the early works presented are those by Mexico’s best-known printmaker, José Guadalupe Posada, whose depictions of skeletons engaged in different activities helped establish a global identity for Mexican art. Following the Mexican Revolution (1910–1920), printmaking proved to be the ideal medium for artists wanting to address social and political concerns and voice resistance to the rise of fascism around the world. Artists also turned to printmaking to reproduce Mexican murals from the 1920s and to create exhibition posters, prints for the popular press, and portfolios celebrating Mexican dress and customs. 

Featuring over 130 works, including woodcuts, lithographs, and screen prints, by artists such as Posada, Diego Rivera, José Clemente Orozco, Elizabeth Catlett, and Leopoldo Méndez, the exhibition explores how prints were central to artistic identity and practice in Mexico and highlights their effectiveness in addressing social and political issues, a role of the graphic arts that continues today. The bulk of The Met’s expansive collection came through the French-born artist Jean Charlot, whose association with the Museum began in the late 1920s. Charlot donated many of his own prints and works by other artists to The Met, and in the mid-1940s acted on behalf of the Museum to acquire prints in Mexico. 

“This remarkable exhibition evokes the continued resonance of the graphic arts in Mexico and illuminates treasures of The Met collection—many of which have never been exhibited before,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Reflecting a vibrant tradition that is deeply imbued with political and social history, these works exemplify the extraordinary power of print as a medium and the importance of creative expression as response to specific cultural moments.”

Mark McDonald, Curator, Department of Drawings and Prints at The Met, said, “As a long-preferred medium for artists to challenge and support social and political issues, printmaking provides a rich visual record of Mexican history. This exhibition activates The Met’s unique ability to explore this visual history through its extensive holdings of Mexican prints in addition to highlighting a key moment in the Museum’s collecting practice.”

Among the exhibition’s featured works are prints that survive in unique impressions and have not been published, offering a singular glimpse into the breadth of printmaking in Mexico. These include a group of posters from the late 1920s that address public health, workers’ rights, and education. The collection demonstrates The Met’s early interest in Mexican art and culture at a time when there was growing international interest in the subject.

Mexican Prints at the Vanguard is presented in six chronologically organized sections across three galleries. It begins with an overview of the history of Mexican printmaking, emphasizing how prints were central to artistic and political expression in Mexico especially during the 20th century, and a description of how a large number of works came to be in The Met collection through the French-born artist Jean Charlot, who spent most of the 1920s in Mexico. 

The exhibition then explores early printmaking in Mexico starting in the mid-18th century, tracking its development through the end of the 19th century and demonstrating the range of purposes for which prints were used. The first prints created in Mexico in the mid-16th century were woodcuts and engravings for book illustration and devotional purposes; this continued until the mid-19th century, when lithography became the principal medium. In the second half of the 19th century, printed political caricature developed as a powerful tool to defend freedom of thought.

A section about artist José Guadalupe Posada and his contemporaries broadens the narrative of the growth of printmaking in the early 20th century and its many visual manifestations. Posada has often been described as the progenitor of printmaking in Mexico, with a career that spanned a period of tremendous social and political change. 

Next, the exhibition focuses on the Mexican Revolution as the defining event of modern Mexico that tremendously impacted society and artistic expression. The Revolution became the focus of social and political struggle that is most prominently reflected through prints, and interpretations of the Revolution continued to be refined and reinterpreted long after it ended. This section looks at the conflict from its origins and as memory, as well as how it became a reference point for social and political activism in Mexico that continues to this day.

In the post-Revolutionary period, prints became the essential medium for promoting artistic, social, and political values. Public art was key to a state-sponsored effort to establish a new cultural identity. Mural painting has received the most attention—mainly because it is an ambitious undertaking and because of the fame of the artists involved, such as Diego Rivera—but an equally remarkable revival of printmaking took place. Prints showcase Mexico’s political, social, and artistic depth. Woodcuts in particular represented new ideologies related to democracy, education, and the avant-garde. 

A section dedicated to the Taller de Gráfica Popular (Workshop of Popular Graphic Art), established in Mexico City in 1937, illuminates the workshop’s development into one of the important printmaking collectives of the 20th century, producing striking posters, flyers, and portfolios that address mainly social and political issues. 

The exhibition concludes with a look at printmaking in the 1940s and beyond, as the preoccupations of the artists associated with the Taller de Gráfica Popular slowly shifted to accommodate middle-class consumption. This section highlights materials including portfolios of limited-edition fine art prints that focus on Mexican dress and customs and children’s book illustrations to evoke the paths along which printmaking developed during the 1940s, often targeting an international market.

Printmaking continues to be widely practiced in Mexico. Inspired by earlier traditions and often referencing revolutionary heroes, symbols, and themes, new communities of artists continue to create remarkable posters and flyers for public display. 

Mexican Prints at the Vanguard is curated by Mark McDonald, Curator, Department of Drawings and Prints, The Met.

The Met Fifth Avenue

1000 Fifth Avenue, New York, NY 10028 

www.metmuseum.org

LOPF - London Original Print Fair 2024 @ Somerset House, Strand, London - Artists - Galleries - Artworks

London Original Print Fair 2024

Somerset House, Strand, London

21 – 24 March 2024

Peter Doig 

Brixton Ritzy, 2023 

Courtesy Paul Stolper

Peter Halley 

Color, Nine Times 2023 

Courtesy of Lito Editions

Ivor Abrahams 

Privacy Plot Hedge and Street, 1970 

Screenprint and flock fibre on paper 

Courtesy Bernard Jacobson Gallery 

London Original Print Fair (LOPF) announces the exhibitors and highlights from its 39th edition. Founded in 1985, LOPF is the UK capital’s longest running art fair, championing the art of original printmaking in all of its forms. With over forty exhibitors, including top international dealers, publishers and studios, visitors will be able to immerse themselves in over six centuries of printmaking, exploring and collecting works by the world’s greatest masters, alongside new pieces by rising talent, hot off the press. There will be something for everyone, including exciting new launches, special exhibitions, inspiring talks and live demonstrations. 

LOPF 2024: Two Special Highlights

Joe Tilson

Proscinemi for Dionysos, 1982

Soft gound etching and aquatint 

Paper and Image 102.4 x 152.6 cm, Edition of 60 

Courtesy Cristea Roberts Gallery

Joe Tilson

Metamorphosis of Daphne, 1987 

Lift ground etching with aquatint, woodcut and carborundum 

Paper and Image, 125.0 x 109.2 cm  Edition of 35

Courtesy Cristea Roberts Gallery

Joe Tilson

The Stones of Venice, Il campanile di San Francesco della Vigna 

Diptych, 2023 

Inkjet, screenprint and carborundum with hand-colouring 

Paper and Image, 139.9 x 77 cm

Courtesy Cristea Roberts Gallery

LOPF pays homage to the late Joe Tilson (1928-2023), a pioneer of the British Pop Art Movement. Joe Tilson was an early experimenter with printmaking in the 1960s, creating works that blurred the boundaries between two-and three-dimensional space, featuring additional sculptural or painted elements to make unique pieces from editioned series. The artist was a long-time exhibiting artist and supporter of LOPF, and this year’s tribute presentation by Cristea Roberts captures the artist's enduring legacy and passion for Venice with the display of one of his final works, 'The Stones of Venice, Il campanile di San Francesco della Vigna Diptych' (2023).

LOPF has also invited Norman Ackroyd, one of Britain’s most celebrated contemporary printmakers, to curate a special exhibition at the fair. It will feature a selection of Ackroyd’s own works, from his earliest prints to his latest editions.

2024 LOPF Exhibitors Highlights

NEW EXHIBITORS

Bharti Kher 

Mimesis 2023 

Bindis on 4 colour screenprint and 2 colour lithograph 

on Somerset Warm White 400gsm Edition of 26 5 in 

© Bharti Kher Courtesy the artist and Hauser & Wirth

LOPF 2024 will welcome new exhibitors to the fair, including Hauser & Wirth, bringing works by modern and contemporary artists from the UK and beyond, such as London-based artist Anj Smith and Bharti Kher. This follows Hauser & Wirth’s inauguration of a new dedicated Editions space in New York, reinforcing the gallery's commitment to prints and editions.

Bambo Sibiya 

The Bridge 

Stone lithograph 

Printed & Published at Atelier le Grand Village

Diane Victor

The girl who started the trouble 

Lithograph Manieure Noire 

Courtesy Atelier Le Grand Village

Mongezi Ncaphayi 

Unit Stru Stone lithograph 38.00 cm x 35.00 cm, 2019 

Courtesy Atelier Le Grand Village

They will be joined by Atelier Le Grand Village, a studio based in the south-west of France, which specialises in reviving the art of stone lithography, using faithfully restored old lithography presses. Working with artists from around the world, the Atelier will bring works from South African talents including Hanneke Benadé, Mongezi Ncaphayi, Bambo Sibiya and Diane Victor, who presents her manière noire stone lithograph triptych, together with the new book she recently published in France. Also featured will be American artists Michael Barnes, Kathryn Polk and Aaron Coleman, and French-Bulgarian artist Nina Kovacheva.

Anne-Carney Raines 

'Funbox'

Etching and linocut, Edition of 10, 28x31cm 

Courtesy Soho Revue

Soho Revue showcases intaglio and relief prints from their new studio established in May 2023. Championing primarily young, emerging, female artists working in the UK, with a particular focus on artists who innovate within traditional media, the display will feature works by Catherine Repko, Anne-Carney Raines, Olivia Sterling, Anne Ryan, and a series of etched tarot cards by Nooka Shepherd. 

Alberto Burri  

Untitled (Calvesi 49), 1973-76 

Courtesy Upsilon Gallery

Bernd Zimmer 

Cosmos II – B, 2003 

Lithograph in colors on wove paper 

Courtesy Upsilon Gallery

Willard Boepple 

6.5.14 H, from Big Lefts, 2014  

Courtesy Upsilon Gallery

Osvaldo Mariscotti

Melody I, 2018

Courtesy Upsilon Gallery

Stephen Bezas 

Lollipops 2, 2023 

Courtesy Upsilon Gallery

Joining from New York, and set to open their first UK space in the Spring, Upsilon Gallery will present new releases by Stephen Bezas and Osvaldo Mariscotti, alongside a rare 1967 offset lithograph by Cy Twombly, published by the prestigious Castelli gallery to commemorate the artist’s first exhibition of his now-iconic Blackboard paintings. Upsilon Gallery will also show works by Alberto Burri, Bernd Zimmer, Willard Boepple...

Rupert Whale in his studio (2), London, 2022 

© Rupert Whale, courtesy of Brook Street Gallery

Brook Street Gallery brings unique and low edition works by contemporary abstract artists Natalia Zarovnaya, Liudmila Krutikova, Mila Morton, and Rupert Whale, demonstrating a diverse array of printing techniques, including engraving, etching, dry point, carborundum, aquatint linocut, and ink drawings on Chinese rice paper. 

Nathalie Du Pasquier 

Pig Landscape 

1596mm x 980mm  

Giclee printed with archival ink 

onto Platinum Etching 290gsm paper 

Courtesy The Wrong Shop

Ronan Bouroullec 

L-Series, 04 

Black aluminium crop 

Courtesy The Wrong Shop

Rop Van Mierlo 

Frog  

Courtesy The Wrong Shop

The Wrong Shop highlights international contemporary artists and designers including Ronan Bouroullec, Nathalie Du Pasquier, Rop van Mierlo, Amelia Humber and Dan Levenson.

CONTEMPORARY ARTISTS

Harland Miller 

OUI XXL 

Courtesy Manifold Editions

Sarah Morris 

Lunar January 

Courtesy Manifold Editions

Gavin Turk 

Holy Eggs Yellow 

Courtesy Manifold Editions

Marc Quinn 

Raw Earth, 2023

Archival pigment print with screenprinting and silver leaf  

Edition of 50 , Circular sheet size, 90 x 90 cm 

Signed by the artist on the front 

Courtesy of Manifold Editions

LOPF 2024 is proud to welcome back so many exhibitors to the fair, featuring works by some of the most celebrated contemporary artists from around the globe. Manifold Editions will offer a selection of editions by Harland Miller, including a new edition launching Spring 2024. They are excited to reveal Marc Quinn’s new series of ‘Iris’ editions, crafted with intricate materials such as silver leaf, and soft white diamond dust, along with the latest editions by artists Boo Saville, Grayson Perry, Gavin Turk, Sarah Morris, Paul Morrison, and Christopher Le Brun. 

Rachel Jones 

!!!!!, 2023 

Courtesy Tate Editions

Tate will be showing new original prints by Jennifer Binnie, Caroline Coon, Richard Deacon, Antony Gormley, Georgie Hopton, Gary Hume, Rachel Jones and Thao Nguyen Phan amongst others.

TAG Fine Arts will release a new limited edition print by contemporary British artist Adam Dant, ‘The Life and Times of Somerset House, London’. This intricate large-scale printed map will explore the story of the London landmark, where LOPF is presented, in his signature visual narrative style rich with anecdote, incident and historical knowledge.

Annette Kierulf 

Evening light, 2022 

Woodcut, 63x91cm 

Courtesy Kunstverket Galleri

Tore Hasen 

2023 Woodcut 53x77cm 

Courtesy Kunstverket Galleri

Hanne Borchgrevink 

The house in the house III, 2023

Woodcut, 31x31cm 

Courtesy Kunstverket Galleri

Kunstverket Galleri will return from Oslo, showing works by Annette Kierulf for the first time at the fair, alongside new prints by Hanne Borchgrevink, Tore Hansen, and Ellen Karin Mæhlum. Each work will offer unique interpretations of the Nordic landscape using diverse techniques such as woodcut, carborundum and monotype. The works of Lars Lerin will also be featured, highlighting his unique printmaking approach that merges etching with watercolor, resulting in ethereal, glowing images.

Oisin Byrne 

Cut Flowers 2023, 2023

Screenprint, 102 x 102cm 

Printed by Advanced Graphics London

Following the success of his best-selling print at last year’s fair, Oisín Byrne will return with Advanced Graphics London, presenting three new works. The gallery will also reveal new pieces by renowned English travel painter Anthony Eyton RA. His pandemic creations were recently celebrated in a book by his daughter Sarah Eyton, available at the fair. 

PETER BLAKE 

GOING HOME UK, 2024 

Silkscreen on Paper 

Printed at Coriander Studios, CCA Galleries

CCA Galleries will display a selection of limited editions by Sir Peter Blake, Barbara Rae and more, along with unique monotypes by Bruce Mclean, and silkscreen prints by Henrik Simonsen.

Fiona Watson 

The Starry Messenger, 2023 

Etching 48 x 56 cm edition of 20 

Courtesy Glasgow Print Studio

Elizabeth Blackadder 

Irises, 2013

Etching Edition of 50, 52x72cm

Published by Glasgow Print Studio

Barbara Rae 

Night Clouds, 2022, 

Carborundum, Edition of 20, 89x89cm, 

Published by Glasgow Print Studio

Glasgow Print Studio, travelling from Scotland, is set to introduce fresh editions from leading Scottish artists, including Andrew Cranston, Fiona Watson, Barbara Rae or Elizabeth Blackadder. 

Dublin-based studio Stoney Road Press will bring new editions by artists Donald Teskey, Charles Tyrrell, Mark Joyce and Blaise Drummond, amongst others.

Katsunori Hamanishi

The Dragon Came 

Courtesy of Hanga Ten

Tadashi Nakayama

Road of the Butterflies 

Courtesy of Hanga Ten

LOPF 2024 welcomes several exhibitors bringing exciting contemporary Japanese artists. Hanga Ten will exhibit works showcasing diverse printing techniques from mezzotint to silkscreen and woodblock. They will introduce Katsunori Hamanishi’s newest mezzotint of a dragon, celebrating 2024 as the Year of the Dragon in Japan. They will also present two rare woodcut works from the early 1980s by Tadashi Nakayama, known for his extremely detailed technique sometimes utilising over twenty wooden blocks, multiple colours including gold and silver and many stages of printmaking. 

Kawakami Yoshiro 

Untitled, 2022 

80x60cm

Courtesy of Contemporary Toyko

Contemporary Tokyo will highlight the works of young artists Zoe, Hooly and Kawakami Yoshiro, whose aesthetic draws inspiration from Japanese animation and traditional dolls like the “kokeshi”, evoking the quintessentially Japanese concept of "kawaii” (endearing or cute quality).

Rosie Emerson  

'I have fallen a long way, clouds are flowering' 

Edition 5 

Courtesy Smithson Projects

LOPF consistently endeavors to showcase the work of printmakers worldwide who strive to explore and expand the limits of the medium. Smithson Projects will highlight works by contemporary artists who approach traditional printmaking techniques in innovative, and exceptional ways, such as Ines Fernandez de Cordova. Also on view will be Sarah Duncan, Gillian Garnica, Sophie Smallhorn, Hannah Ludnow, Gina Cross, Jayson Lilley and Julian Brown, along with Rosie Emerson’s delicate pieces adorned with bronze powders, gold leaf, and unusual materials like charcoal powder, ash, and sawdust. 

The artist-led gallery Verbatim will reveal unseen works by artists Maite Cascón, Jake Garfield, Thomas Gosebruch and Ellie Hayward, who uniquely handle the entire creation process of their work, a rare practice in the world of fine art printing.

Caroline Walker 

Nocturnes, EarlyEvening, 2023 

Lithograph, 53 x 43cm 

Courtesy Enitharmon 

Robert Clear

6th Century BC Greek Jug with Flowers 

Coloured pencil on paper, 30.5cm x 22.9cm 

Courtesy Enitharmon

Enitharmon will bring their signature artists’ books, in the tradition of the livre artiste, containing loose-leaf signed limited edition prints by such artists as Antony Gormley, Peter Blake and Duane Michals. The stand will also include Caroline Walker’s recent suite of four lithographs ‘Nocturnes’, along with four pieces by the emerging artist Robert Clear.

MASTERS MEET TODAY

Pablo Picasso

Still Life with Bottle, 1962 

Original Hand Signed and Numbered 

Linocut in Black on Arches Wove Paper 

Courtesy Gilden's Art Gallery

Joan Miro 

Pantagruel, 1979 

Etching, aquatint and knife scrapes 

Courtesy Gilden's Art Gallery

Georges Braque 

Nude Study (Nude), 1907-08

Etching 

Courtesy Gilden's Art Gallery

Francis Bacon 

Metropolitan Museum of Art, 1975 

Lithograph in colors on Arches paper 

Courtesy Gilden's Art Gallery

Roy Lichtenstein 

American Indian Theme VI, 1980 

Woodcut, 1980

Courtesy Gilden's Art Gallery

Visitors will discover a selection of prints by a global roster of Modern and Post-War Masters at Gilden's Arts’ stand, including a distinctive collection of linocuts by Pablo Picasso, and the monumental etching and aquatint “Pantagruel” by Joan Miro. Also on view will be other masters like Georges Braque, Francis Bacon or Roy Lichtenstein.

Liorah Tchiprout  

Hang My Portrait in the Great Hall of Your Heart, 2023  

Etching on Somerset textured paper in 'Newsprint' 

Edition of 14 

Courtesy Malborough Gallery

Longstanding exhibitor Marlborough Graphics will present works from the gallery’s historic roster of artists, with prints by established and emerging contemporary artists new to the gallery’s programme. Artists such as Gillian Ayres, Francis Bacon and Paula Rego, will be in dialogue with contemporary names including Vanessa da Silva, Jemima Stehli and Jimmy Merris, alongside a new body of work by Liorah Tchiprout, following the success of her first solo show at the gallery. 

Peter Harrington will offer signed and limited original prints and art books spanning from the late 1800s to the present day, by best-selling artists such as Salvador Dali, Tracey Emin, M. C. Escher, David Hockney, Yayoi Kusama, L. S. Lowry, Henri Matisse, Egon Schiele and Andy Warhol. 

Keisai Eisen, ca. 1830

Tsutaya, Nioteru of the Ogiya 

from the series 'Beauties of the Yoshiwara'

Courtesy Japan Print Gallery

Katsushika Hokusai, 1830-1831 

T'Tago Bay Near Ejiri on the Tokaido' 

from the series 'Thirty-Six Views of Mt. Fuji' 

Courtesy Japan Print Gallery

Unveiling a range of Japanese Ukiyo-e (Images of the Floating World) from the 18th to the 20th Century, Japan Print Gallery will offer works artists Keisai Eisen, Katsushika Hokusai, Kawase Hasui and Tsukioka Yoshitoshi. 

Elizabeth Harvey Lee will exhibit works traditionally hand-engraved, etched, cut in the wood, or drawn on stone, by artists such as Dutch 17th century printmaker Jan Van de Velde II and the masterful American artist John Taylor Arms, known for his exceptional technical skill in etching.

John Hoyland (1934 - 2011) 

Mirage (trial proof in orange), 1986 

Etching, 55 x 61 cm, Edition of 44 

Courtesy Eames Fine Art.

Eames Fine Art will present a curated mix featuring established and emerging artists, highlighted by a rare Francis Bacon, newly acquired Graham Sutherland pieces, and works by Mychael Barratt, Gail Brodholt, Jason Hicklin, John Hoyland and Susie Stone, whose vibrant, graphic screen prints rooted in her couture background, celebrate women and colour. 

Philip Sutton 

Pacific 1966 

Lithograph 50.5 x 50.5cm Edn 250

Courtesy Gwen Hughes

Barbara Hepworth 

Green Man 1972 

Lithograph 76 x 56cm Edn 200 

Courtesy Gwen Hughes

Henry Moore 

Reclining Figure with Red Stripe 1973 

Lithograph 275cm x 21cm Edn 250 

Courtesy Gwen Huges

David Hockney 

California Scene, 1966

Offset lithograph  

Courtesy Gwen Hughes

Gwen Hughes will return to the fair with prints by Philip Sutton, Victor Pasmore, Barbara Hepworth, Henry Moore and David Hockney

Terry Frost

Black, Purple and Blue 1969  

Lithograph 586 x 456 mm (image). 

Signed, dated and numbered in pencil 

from the edition of 75

Courtesy Dominic Kemp

Reg Butler 

Untitled (Italian Girl Head and Shoulders), 1963 

Courtesy Dominic Kemp

Dominic Kemp will bring prints by Sir Terry Frost, Robert Adams, Geoffrey Clarke, William Turnbull, Kim Lim and Reg Butler. 

Bridget Riley

Untitled Fragment 6, 1965 

Screenprint on plexiglass 

Signed and dated bottom left, Edition of 75 

Published by Robert Fraser Gallery 

Courtesy Austin/Desmond Fine Art

Austin/Desmond Fine Art will show prints by Lucian Freud and Bridget Riley, amongst others.

Cao Ou 曹欧 (b. 1987) 

Landscape Theatre Chessboard  “戏“山水-对阵, 2021 

Woodblock print with water soluble colour 

Edition of 30, 60x45cm 

Courtesy Muban Trust

Celebrating Chinese woodblock printmaking, Muban Educational Trust (MET) will bring an array of commissions dating from 1997 to the present, along with prints that were highlighted in The Muban Printmaking Award. Featured artists will include Cao Ou, Zheng Shuang, Wu Jide and Dr Weimin He.

Long & Ryle will exhibit a diverse collection of pieces from modern and contemporary British artists, including Irish printmaker Cliona Doyle, whose large format carborundum prints are influenced by Japanese screens and are created outdoors, directly from nature. They will also feature a new series of prints by Catalan artist Ramiro Fernandez Saus, using the intricate chine collé technique, along with works by preeminent landscape and figure painter David Inshaw.

Ahead of and alongside the physical fair, audiences can also explore and purchase original prints from exhibitors and many other international dealers and galleries through LOPF’s online Platform for Prints at londonoriginalprintfair.com.

Louis-Marin Bonnet 

The Woman Ta King Coffee  

Pastel manner engravings enhanced 

with applied gold leaf 

Courtesy Vistavka Fine Art

Full List of Exhibitors

Advanced Graphics London

Atelier le Grand Village

Austin Desmond

Bernard Jacobson

Brook Street Gallery

CCA Galleries

Contemporary Tokyo

Cristea Roberts

Dominic Kemp

Eames Fine Art

Elizabeth Harvey-Lee

Enitharmon

Gilden’s Arts Gallery

Glasgow Print Studio

Gwen Hughes

Hanga Ten

Hauser & Wirth

Hidden Gallery

Isaac & Ede

Japan Print Gallery

Julian Page

Kunstverket

Long & Ryle

Lyndsey Ingram

Manifold Editions

Marlborough Graphics

Muban Trust

Paul Stolper

Peter Harrington Gallery

RAW Editions

Redfern Gallery

Royal Society Painter Printmakers

Smithson Projects

Soho Revue

South London Gallery

Stoney Road

TAG Fine Art

Tate

The Wrong Shop

Upsilon Gallery

Verbatim

Vistavka Fine Art

LONDON ORIGINAL PRINT FAIR

Somerset House, Strand, London WC2R 1LA

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