Hockney, David (b.1937)
David Hockney is widely acknowledged to be Britain’s greatest living artist. He is especially celebrated for his vital contribution to the graphic arts and his playful, experimental approach to image making.
Turner, J.M.W. (1775-1851)
Joseph Mallord William Turner was an English Romantic painter and printmaker. Championed by the great art critic John Ruskin, he was renowned for having elevated the subject of landscape to an eminence rivalling history painting.
Palmer, Samuel (1805-1881)
Painter and printmaker Samuel Palmer is celebrated for his Blakean pastoral visions of rural England, especially those from his early years in Shoreham in Kent. He is particularly admired for the small body of masterly etchings he produced in latter years.
Nevinson, C.R.W. (1889-1946)
British artist C.R.W. Nevinson is most famous for his striking depictions of the First World War, especially his earlier dynamic Futurist-influenced masterpieces executed in both painting and print.
Wood, Jonas (b.1977)
LA-based artist Jonas Wood’s signature style incorporates flattened forms, intricate patterns and bright, seductive colours. His paintings and prints source their subjects from his personal life and memories, as well as art history and found items.
Wadsworth, Edward (1889-1949)
The English artist Edward Wadsworth is best known for his association with the Vorticist movement and the visually striking woodcuts and paintings he produced of dazzle ships during the First World War.
House, Gordon (1932-2004)
Welsh-born abstract artist and graphic designer Gordon House was a pivotal figure in the British art scene of the 1960s. He was instrumental in introducing the new generation of artists to screenprinting at the seminal Kelpra studio in London.
Calvert, Edward (1799-1883)
English visionary artist Edward Calvert was heavily inspired by William Blake and was a member of the artistic group ‘The Ancients’, alongside Samuel Palmer and George Richmond. He is acclaimed for his exquisite early wood and copper engravings.
Mai 68 Movement (1968)
The posters produced during the Mai 68 movement in France represent one of the most potent and striking graphic revolutions in history. They remain fierce symbols of art at the service of insurrection.
Roussel, Theodore (1847-1926)
French-born painter and printmaker Theodore Roussel was one of the pioneers of colour etching in England. James McNeill Whistler was a lifelong friend and mentor, the two often worked side-by-side and together experimented with printmaking.
Warhol, Andy (1928-1987)
American Pop artist Andy Warhol is famous for his prints and paintings that take their imagery from the worlds of celebrity culture and advertising, breaking down the traditional boundaries between the consumer and fine art spheres.
Artwork Focus
From the Magical to the Moral: David Hockney’s Grimms Fairy Tales
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Hockney, David
Home
1969
Etching
Image Size/Plate: 44.5 x 32 cm
Sheet: 62 x 46 cm
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Hockney, David
The Rose and the Rose Stalk
1969
Etching
Image Size/Plate: 27.8 x 12 cm
Sheet: 45 x 41 cm
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Hockney, David
The Boy Hidden in a Fish
1969
Etching & Aquatint
Image Size/Plate: 23.1 x 26.8 cm
Sheet: 45 x 41 cm
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Hockney, David
The Boy Hidden in an Egg
1969
Etching, Aquatint & Drypoint
Image Size/Plate: 19.8 x 17 cm
Sheet: 31 x 32 cm
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Hockney, David
A Black Cat Leaping
1969
Etching & Aquatint
Image Size/Plate: 23.5 x 27 cm
Sheet: 45 x 41 cm
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Hockney, David
Inside the Castle
1969
Etching & Aquatint
Image: 25.5 x 26.3 cm
Paper: 54 x 41 cm
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Hockney, David
Cold Water About to Hit the Prince
1969
Etching & Aquatint
Image Size/Plate: 38.5 x 27 cm
Paper: 62 x 46 cm
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Hockney, David
Rapunzel Growing in the Garden
1969
Etching & Aquatint
Image Size/Plate: 44 x 32.7 cm
Sheet: 62 x 46 cm
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Hockney, David
The Tower had one Window
1969
Etching & Aquatint
Image Size/Plate: 33.5 x 15 cm
Sheet: 62 x 46 cm
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Hockney, David
Pleading for the Child
1969
Etching
Image Size/Plate: 26.7 x 25.5 cm
Paper: 62 x 46 cm
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Hockney, David
The Older Rapunzel
1969
Etching and Aquatint
ReservedImage Size/Plate: 22 x 24.5 cm
Sheet: 45 x 41 cm
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Hockney, David
He Tore Himself in Two
1969
Etching and Aquatint
Image Size/Plate: 44.7 x 32.4 cm
Paper: 62 x 46 cm
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Hockney, David
The Bell Tower
1969
Etching and Aquatint
Image Size/Plate: 26.5 x 16.5 cm
Sheet: 45 x 41 cm
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Hockney, David
A Room Full of Straw
1969
Etching and Aquatint
Image Size/Plate: 25 x 22 cm
Paper: 45 x 41 cm
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Hockney, David
Gold
1969
Etching
Image Size/Plate: 34.3 x 26 cm
Paper: 62 x 46 cm
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Hockney, David
The Princess After Many Years in the Glass Mountain
1969
Etching, softground etching & aquatint
Image Size/Plate: 45 x 32 cm
Paper: 62 x 46 cm
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Hockney, David
The Princess in Her Tower
1969
Etching & Aquatint
Image Size/Plate: 44.7 x 32.3 cm
Sheet: 62 x 46 cm
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Hockney, David
The Princess Searching
1969
Etching & Aquatint
Image Size/Plate: 26.7 x 17 cm
Sheet: 45 x 41 cm
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Hockney, David
The Cook
1969
Etching & Aquatint
Image Size/Plate: 18.5 x 19.8 cm
Sheet: 31 x 32 cm
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Hockney, David
Old RInkrank Threatens the Princess
1969
Etching and Aquatint
Image Size/Plate: 23 x 26.8 cm
Paper: 45 x 41 cm
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Hockney, David
The Enchantress With the Baby Rapunzel
1969
Etching and Aquatint
Image Size/Plate: 27 x 23.1 cm
Sheet: 45 x 41 cm
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Hockney, David
Riding Around on a Cooking Spoon
1969
Etching, Aquatint & Drypoint
Image Size/Plate: 16.4 x 25.2 cm
Paper: 45 x 41 cm
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Hockney, David
Corpses on Fire
1969
Etching, Aquatint & Drypoint
Image Size/Plate: 25.8 x 24.5 cm
Sheet: 45 x 41 cm
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Hockney, David
Straw on the Left, Gold on the Right
1969
Etching
Image Size/Plate: 15 x 24.4 cm
Paper: 45 x 41 cm
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Hockney, David
The Enchantress in her Garden
1969
Etching & Aquatint
Image: 23.2 x 13 cm
Sheet: 45 x 41 cm
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Hockney, David
Catherina Dorothea Viehmann
1969
Etching & Aquatint
Image Size/Plate: 28 x 22.5 cm
Sheet: 62 x 46 cm
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Hockney, David
Digging Up Glass
1969
Etching & Aquatint
Image Size/Plate: 13 x 11 cm
Paper: 31 x 32 cm
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Hockney, David
The Carpenter’s Bench, a Knife and Fire
1969
Etching, Aquatint & Drypoint
Image Size/Plate: 15.3 x 17.2 cm
Sheet: 31 x 32 cm
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Hockney, David
The Lathe and Fire
1969
Etching, Aquatint & Drypoint
Image Size/Plate: 15.1 x 16.4 cm
Sheet: 31 x 32 cm
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Hockney, David
The Lake
1969
Etching and Aquatint
Image Size/Plate: 44.2 x 31.8 cm
Sheet: 62 x 46 cm
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Hockney, David
A Wooded Landscape
1969
Etching and Aquatint
Image Size/Plate: 39 x 27 cm
Sheet: 62 x 46 cm
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Hockney, David
The Haunted Castle
1969
Etching & Aquatint
Image Size/Plate: 34.2 x 20.5 cm
Sheet: 62 x 46 cm
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Hockney, David
Rapunzel, Rapunzel, Let Down Your Hair
1969
Etching & Aquatint
Image Size/Plate: 25.8 x 24.3 cm
Sheet: 45 x 41 cm
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Hockney, David
The Sexton Disguised as a Ghost
1969
Etching and Aquatint
Image Size/Plate: 23 x 26.8 cm
Sheet: 45 x 41 cm
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Hockney, David
The Glass Mountain
1969
Etching
Image Size/Plate: 44 x 32.5 cm
Paper: 62 x 46 cm
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Hockney, David
The Sexton Disguised as a Ghost Stood as Still as Stone
1969
Etching & Aquatint
Image Size/Plate: 44.5 x 32.2 cm
Sheet: 62 x 46 cm
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Hockney, David
The Pot Boiling
1969
Etching & Aquatint
Image Size/Plate: 17.5 x 20 cm
Sheet: 31 x 32 cm
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Hockney, David
The Glass Mountain Shattered
1969
Etching & Aquatint
Image Size/Plate: 23 x 26.7 cm
Sheet: 45 x 40 cm
Hilary Gerrish started his career in art dealing in 1972, as a partner in N.W. Lott and H.J. Gerrish. He worked from their gallery in London’s St. James’s until 1985, at which point he went independent and created Gerrish Fine Art. The company has since developed into a family business.
Journal
Hockney’s Visual References
In this article we will explore some of the visual sources Hockney drew upon and quoted in his Grimm’s Fairytale etchings of 1969.
Read more about Hockney’s Visual ReferencesA-Z of Printmaking
An illustrated guide to the key terminology you should know when buying an original print.
Read more about A-Z of PrintmakingCaring for Prints
Advice on how to care for your collection from leading conservator Heather Norville-Day.
Read more about Caring for PrintsCollecting Prints
A useful Q & A detailing all the essential things to consider when starting to collect prints.
Read more about Collecting PrintsJOIN OUR COMMUNITY
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Catalogues
David Hockney Six Fairy Tales from the Brothers Grimm
“They’re fascinating, the little stories, told in a very very simple, direct, straightforward language and style; it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral. My choice of stories was occasionally influenced by how I might illustrate them … I included other stories simply because they were strange.” – David Hockney
Our latest catalogue presents all 39 etchings from the rare portfolio edition of David Hockney’s ‘Six Fairytales from the Brothers Grimm’ (1969). Delve into the history of one of Hockney’s greatest print projects and read about the individual stories behind each etching.
JOHN ALLIN PAINTINGS: Memories of the East End
John Allin was born into a Jewish family in Hackney, in 1934, in the heart of London’s bustling East End. The ‘London Lowry’ or ‘Pied Painter of Hackney’, as he was affectionately known in the press, showed natural artistic flair as a child, it was however during a brief stint in prison, for a minor offence receiving stolen shirts, that he attended art classes and began painting in earnest. His mentor, the artist Sotirakis Charalambou, remarked that after prison John was keen to continue with his painting, and that he supported him in this endeavour, with the pair often painting side-by-side: “I never taught him because I don’t believe in teaching but I encouraged him, I thought he was extremely talented and it was just a question of finding the confidence in his talent”.
F. L. GRIGGS: Lost England
Featuring a previously unpublished essay about Griggs, by the great Samuel Palmer scholar Raymond Lister, this catalogue offers for sale forty-nine works by the artist, making it the largest commercial exhibition dedicated to him since his death, in 1938. The Lister essay was previously commissioned by my father, and his former business partner Nick Lott, to be included in an earlier catalogue of Griggs’s work, compiled by Michael Gullick, in 1981. Owing to unforeseen circumstances it was never published.
This catalogue confirms Gerrish Fine Art’s continued interest in F. L. Griggs, now recognised for having created, what are now regarded as, some of the most potent and magical British Romantic prints of the twentieth century.
The present catalogue is dedicated to two Griggs devotees; Ashley Barker and Nick Lott.
C. F. TUNNICLIFFE: Wood Engravings from the Collection of author Henry Williamson
This important collection includes over 100 original wood engravings designed by C. F. Tunnicliffe as illustrations for five of Williamson’s books: ‘Tarka The Otter’ (1932), ‘The Old Stag and Other Hunting Stories’ (1933), ‘The Star-born’ (1933), ‘The Lone Swallows and Other Essays of Boyhood and Youth’ (1933) and ‘The Peregrine’s Saga and Other Wild Tales’ (1934). These prints are among the first impressions taken from the blocks and are from the collection of the author. Impressions of these prints are extremely rare, and although in some cases editions of 50 were declared, these were not fulfilled. These prints provide a fascinating insight into English country life between the wars, and demonstrate Tunnicliffe’s expertise in capturing the birds and animals for which he is best known, as well as his mastery of the wood engraving medium.
MODERN BRITISH: Sculpture, Painting & Print
Gerrish Fine Art is proud to present our latest catalogue of Modern British sculpture, painting and printmaking. The catalogue features sculpture by Barbara Hepworth, F.E. McWilliam, Leon Underwood, Reg Butler and Bernard Meadows, alongside paintings by Paul Nash, John Nash, Alan Reynolds, John Wells, Kenneth Rowntree and Alexander Mackenzie, and prints by Edward Wadsworth and C.R.W. Nevinson.
DAVID HOCKNEY: Etchings for Cavafy
Gerrish Fine Art is delighted to present a catalogue of the rare set of all thirteen etchings for David Hockney’s ‘Cavafy’ suite, one of only 25 sets on large sheets of vellum paper, along with two unpublished preparatory proofs.
A LIFE IN PRINTS: The Collection of Bernard Cook
This catalogue is a tribute to the extraordinary career of master screenprinter Bernard Cook. It represents his personal archive of the editions he collaborated on at the White Ink and Serigraphic studios, as well as works he was gifted by the many artists he encountered on his journey.
Bernard commenced his printing career at the young age of 16; straight from school he entered a print studio in Islington, where he began learning the ropes of his trade. He went on to join the pioneering printers G&B Arts, formed in 1950 by John Gorman and Lionel Bart. Based in Shelford Place in Stoke Newington, it was at G&B that Bernard started to specialise in screenprinting.
A BRAVE NEW WORLD: British Art in the 20th Century
We are delighted to share with you our latest catalogue of 20th Century British Art, presenting 72 works from two major European private collections, which have been built up over the past fifty years. The catalogue features many of the great names of Modern British Art: Henri Gaudia-Brzeska, David Bomberg, Edward Wadsworth, Percy Wyndham Lewis, Paul Nash, Edward Mcknight Kauffer, C R W Nevinson, Claude Shepperson, Gerald Spencer Pryse, Eric Gill, Edward Gordon Craig, Sybil Andrews, Claude Flight, Cyril Power, John Buckland Wright, John Banting, Edward Bawden, Eric Ravilious, Barnett Freedman, Stanley William Hayter, Ben Nicholson, Graham Sutherland, Frank Auerbach and Henry Moore.
J. M. W. TURNER: Rare Proofs & Touched Engravings
In the early 1970s I became interested in original artist’s printmaking. I was aware of the great Turner as a painter, and watercolourist, but had no idea that he was a prolific printmaker.
The very first example I purchased was from Craddock and Barnard, the famous Museum Street dealership in London. Little did I imagine that I would end up having accumulated an array of such significance, in all likelihood to be the largest privately held collection in the world, comprising over a thousand works, and comparable to many of the museum print holdings, of Turner.
SAMUEL PALMER: Going to Evening Church
In this watercolour, Palmer depicts a breathtaking landscape, basking in the warm glow of a late summer evening. Dreamlike in its conception, this rural idyll forms the backdrop to a bucolic scene of country folk making their way across a bountiful cornfield towards a church, the spire of which can be seen towering above the trees. The sea below reflects the last glories of sunset. In the background, a cliff line rises to meet with wispy clouds and a phantasmagorical evening sky, whose pinks, vermilions, yellows and purples contrast harmoniously with the calm sea, which stretches below into the distance.
GUSTAVE LE GRAY (1820-1884): The Seascapes
Gustave Le Gray is one of the most celebrated pioneers of nineteenth century photography, renowned for both his influential technical innovations and his artistic ambitions within the field. The seascapes are among his most acclaimed public successes and made his reputation. Le Gray’s marine views were produced between 1856 and 1858, in three different locations: The coast of Normandy (1856), the Mediterranean (1857) and Brittany (1858). Our collection comprises masterpieces from the first two years and includes three of his great icons: ‘The Brig’ (1856), ‘The Breaking Wave’ (1857) and ‘The Great Wave, Sète’ (1857).
NEW CODES TO FOLLOW: Prints by Gordon House
This exhibition at the LeRoy Neiman Gallery at Columbia University in New York, considers the career of British artist Gordon House (1932–2004) through a focused survey of the artist’s screenprints, etchings, and lithographs.
Gordon House was born in Pontardawe, South Wales in 1932. His achievements in graphic design have had a lasting impact on twentieth century British visual identity. Breaking boundaries between typography and fine art compelled House to collaborate with artists—including Peter Blake and Richard Hamilton—when designing iconic album covers for the Beatles. His radical approach to printmaking continued throughout his life as he expanded upon the concept of the screen or matrix.
VAKA VALO: Dream Diary
This is an ongoing project that began in 2006 after a chance encounter with the ouija board in a garage. Summer was hot that year and I remember sister yelling for me to keep away from her room.
We used to make ouija boards ourselves and we used to share a dream diary. First I would have it for several weeks, recording what I remember from the fever dreams during that time of my illness, then sister would borrow it and record her dreams, then I, and so forth.
One day, I saw a few of the pages were missing, but she said she did not take them. I believed her. She could lie, but she wouldn’t lie about this. It was too serious of a matter. To both of us.
GORDON HOUSE: Prints & Watercolours
Gerrish Fine Art is delighted to share a catalogue of prints and watercolours, by British artist Gordon House, dating from 1978-1986.
“Gordon House was one of the artists principally responsible for the renaissance in printmaking that developed in Great Britain during the 1960s. He was the best of guides, particularly for painters and sculptors entering the printmaking field for the first time. Not only did he understand thoroughly the technical side of printing but he was able to formulate important visual ideas in terms solely of print. He avoided reproducing images from drawing or from other artistic media and instead thought directly and integrally through ink and presses.” – Gene Baro
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