RAVI ZUPA, THRILLING 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa
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RAVI ZUPA, KEEP MOVING 3 colour screenprint, created in 2020, signed28cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa
RAVI ZUPA, TOGETHER AGAIN 3 colour screenprint on paper, signed, created in 202028cm x 43cmRavi Zupa considers books the best way to experience art. He has spent decades studying books about the art, mythology, religion, and history of cultures from across geography and time. Entirely self-taught, Zupa looks to works by German Renaissance printmakers, Flemish primitives, abstract expressionists, Japanese woodblock artists, and Mughal painters for inspiration. He also frequently incorporates religious iconography from Europe, Asia, and Pre-Columbian Latin America with revolutionary propaganda from around the world. With a distaste for ironic art or the thoughtless appropriation of culture, he integrates seemingly unrelated images in search of something universal. Zupa does not create any of his art digitally; everything comes from his own hand. Instagram: raviamarzupa
Four Cornish School screenprints:Margo Maeckelberghe (1932-2014)High Sky, 1980screenprint, signed and titled in pencil l.l., dated '80 and numbered 48/100image 34.5 x 49.5cm, paper 42 x 56cmFrom the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Prints from Cornwall, cat.54, John Graham Fine Arts, Harlow, June 1983;Jane O’Malley (b.1944)Blue & Orange Fruit 1980screenprint, signed in pencil l.l., and numbered 48/100image 32 x 46cm, paper 42 x 55cm,framed 52 x 67cm From the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Prints from Cornwall, cat.52, John Graham Fine Arts, Harlow, June 1983Graham, John, The Graham Collection, p.11, Gibberd Gallery, Harlow 2006;Tony O’Malley (1913-2003)Grey & Green Abstract,1980screenprint, signed in pencilimage 37.5 x 50cm, paper 42 x 56cm, framed 52 x 67cm;From the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Prints from Cornwall, cat.55, John Graham Fine Arts, Harlow, June 1983;Roy Walker (1936-2001)Twist,1980screenprint, image 31 x 44.5cm, paper 55.5 x 42cmframed, 67 x 52cmFrom the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Sea Aspects, cat.44, John Graham Fine Arts, Harlow, July 1983 Roy Walker: Directions, cat.29, John Graham Fine Arts, Harlow, January–February 1984John Graham Collection nos. 15, 250, 20 and 253 (4)Provenance: The Estate of John Graham (1927-2021), Harlow.Condition ReportFramed, with labels to the backs.
Three Cornish School screenprints:Tom Cross (1931-2009)In a Window, 1980screenprint, signed l.l., titled and dated 1980, numbered 48/100image 51.5 x 39cm, paper 56 x 42cm, framed, 67 x 52cm overallFrom the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Prints from Cornwall, cat.49, John Graham Fine Arts, Harlow, June 1983John Emanuel (b.1930)Torso,1980screenprint, signed in pencil l.l., dated '80 and numbered 48/100image 40 x 29.5cm, paper 55.5 x 42cm,framed, 67 x 52cm overallFrom the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Prints from Cornwall, cat.56, John Graham Fine Arts, Harlow, June 1983 Nudes, cat.1, John Graham Fine Arts, Harlow, July 1984Bob Crossley (1912-2010)Orange & Blue Abstract,1980screenprint, signed in pencil, l.l, dated '80 and numbered 48/100, image 37.5 x 25cm, paper 56 x 42cm,framed, 67 x 52cm overallFrom the portfolio Ten Prints, printed by Ken Tindill and Christine Woodhead; published by the Penwith Print Workshop, November 1980Exhibited: Prints from Cornwall, cat.51, John Graham Fine Arts, Harlow, June 1983John Graham Collection, inv.16, 14 and 249 (3)Provenance: The Estate of John Graham (1927-2021), Harlow.Condition ReportSome brown spotting to the image - not viewed out of the frame. Crossley brown paper. Framed, with labels to the backs.
*LIN JAMMET (1958-2017) 'Summer', 'Autumn' and 'Winter' 1997, signed, dated and numbered 29/50 in pencil to the margin, screenprint in colours printed at Gresham Studio and with their blindstamp, each 97 x 74cm (sheet) (unframed) (3)The son of Elisabeth Frink and architect Michel Jammet, Lin Jammet started printmaking in the 1970s under Julian Trevelyan who was close friends with his mother.In the 1980s Jammet worked in freelance and editorial illustration. In 1993, he returned to printmaking, producing a series of Lithographs with Curwen Chilford Prints and later a body of screen prints and etchings with Gresham Studio near Cambridge.Inspirations include both Napoleonic wars as well as landscape around Corbes, in the foothills of the Cevennes in the south of France where he grew up.
* Bawden (Edward, 1903-1989). Day and Night, screenprint on heavy cotton, triptych design of pointed ovals, with vase of flowers in the centre, flanked by plants and insects, initialled lower right, Warner Fabrics label on verso, 63.5 x 116.5 cm (25 x 46 ins), framed (67.5 x 120 cm) QTY: (1)
AR * Piper (John, 1903-1992). Cascade Bridge, Halswell, 1987, colour screenprint on wove paper, published by Marlborough Fine Art, London in an edition of 70 impressions, signed and numbered 16/70 in pencil, image size 460 x 677 mm (18 1/2 x 26 5/8 ins), with margins, framed and glazedQTY: (1)NOTE:Levinson 397.
* Various Artists. Artist's Choice Portfolio, 1987, comprising Michael Heindorf (1949-), The Baron in the Trees, colour lithograph, John Golding, Essai, lithograph, Alf Dunn, In Vacant or in Pensive Mood, colour screenprint & lithograph, Michael Vaughan, Death and the Maiden, etching, and Leonard Rosoman, Ship Series - Man Blown in the Wind, colour lithograph, published in an edition of 48 sets by the Royal College of Art in 1987, each signed and numbered 18/48, sheet size 29.5 x 30 cm (11 5/8 x 11 3/4 ins) and similar, each framed and glazed, together withBlake (Peter, 1932-). Composition, circa 1986, pen and crayon, signed upper left margin, mount aperture 8.5 x 13 cm (3 3/8 x 5 1/8 ins), framed and glazed (21.5 x 25.5 cm), together with a signed copy of Peter Blake by Marina Vaizey, London: Weidenfeld and Nicolson, 1986, ink inscription to half-title 'To Mervyn Peter Blake R.A. Nov 14. 86', together with a copy of an invitation to celebrate the work of Peter Blake on Thursday 28th November 1985QTY: (8)
▴ John Piper CH (1903-1992)'St Germain-de-l'lvret' (Levinson 357)screenprint in colours, 1983, on Arches wove paperimage 45.7 x 66.8cmProvenance: Purchased from Babbington Gallery.Condition ReportFramed: 68 x 89cmNot examined out of glazed frame but appears to be in good condition. There is a small crack in the glazing in the top right corner.
▴ Bridget Riley CH (b.1931)'Silvered 2' (21 Reds, 21 Blues, 24 Turquoise, 24 Yellows, 9 Blacks, 8 Whites)screenprint in colours, signed and dated 'Bridget Riley 1981' in pencil l.r., inscribed with title l.l., numbered '33/75'sheet 105 x 92cmAn icon of Modern British Art, Bridget Riley burst on to the scene in the 1960s with her signature Op Art style. Initially her work was dominated by black and white geometric patterns, but by 1967 she had begun to experiment with colour and produced her first striped painting. Following a trip to Egypt in the early 1980s, Riley was inspired by the colours and effects of hieroglyphics and began to incorporate that in her work. We can see this influence in the palette used for her 1981 ‘Silvered 2’.Condition ReportFramed:117.5cm x 104cmNot viewed out of glazed frame. Light cockling but appears to be in otherwise good condition. Presents well overall and is ready to hang.
Jim Dine (American, b.1935) 'Nine Views of Winter #4' woodcut, screenprint and hand-painting, signed and dated 'J Dine 1985' in pencil l.l., and numbered '23/24' sheet 133 x 94cm Condition ReportFramed: 140 x 101cm The sheet is cockled with pinholes to the edges. There are some small thunderbugs trapped between the print and the glazing. Very slight times staining to the edges which are deckled. The work appears to have been stuck down by the corners and in the middle of the left and right edges. Not viewed out of glazed frame.
▴ Sir Terry Frost RA (1915-2013) 'Newlyn Rhythm' screenprint in colours, Hors Commerce, signed and dated 'Terry Frost 82' in pencil l.r., inscribed 'H/C' l.l. sheet 49.5 x 64cm Condition ReportFramed: 57.5 x 72cm There is a small area of light creasing with very slight rubbing to the blue background in the centre of the right edge, however this does not affect overall enjoyment of the print. Not viewed out of glazed frame.
▴ John Hoyland RA (1934-2011)Untitled, 2000screenprint in colours, artist's proof, signed in pencil and dated '2000' l.r., inscribed 'A/P' l.l.sheet 63 x 50.5cmCondition ReportFramed: 68 x 55.5cmVery light rippling to the bottom of the sheet. The right hand edge is deckled. There is a faint vertical brown mark to the centre of the top edge but the printed area is unaffected and appears to be in good condition. Not viewed out of glazed frame.
▴ John Hoyland RA (1934-2011)'The Red Boat'screenprint in colours, artist's proof, signed and dated '99' in pencil l.r., inscribed 'A/P' l.l.sheet 28 x 24cmThis print was specially created for a limited edition catalogue for the exhibition 'John Hoyland' at the Royal Academy of Arts, London, 30 September to 31 October 1999.Condition ReportFramed: 47.5 x 42cmThere are some small thunderbugs trapped behind the glazing on the margins of the print but the printed area is unaffected. There is a small brown speck to the yellow printed area in the top left corner, please see images. The sheet is lightly cockled. Not viewed out of glazed frame.
▴ John Piper CH (1903-1992)'Death in Venice III' (Levinson 227)screenprint in colours, 1973, signed 'John Piper' in pencil l.r., numbered '65/70'image 78 x 68cmProvenance: With Waterhouse & Dodd, Cork Street, London.Condition ReportFramed: 97 x 88cmThe printed area has deckled edges without margins and appears to have been stuck down to the sheet behind with small pieces of tape.The sheet behind measures 80 x 70cm. Not viewed out of glazed frame however the printed area appears to be in good condition overall.
▴ John Piper CH (1903-1992)'Besse, Dordogne' (Levinson 188)screenprint in colours, 1968, signed 'John Piper' in pencil l.r., and numbered '46/70'image 77.5 x 58cmProvenance: With Waterhouse & Dodd, Cork Street, London.Condition ReportFramed: 108 x 85cmWell presented and ready to hang. Not viewed out of glazed frame but appears to be in good condition.
A collection of psychedelia and counter-culture posters, comprising: Ronald Slabbers, 'Eat Flowers', printed by Verkerke Reprodukties, Ede, Holland, c.1960s, unsigned, 74 x 52cm; Santiago, 'Zodiac', printed by Verkerke Reprodukties, Bennekom, Holland, c.1960s, unsigned, 70 x 55cm; Gunilla Rudling, two untitled posters of nude females with flowing hair in bright colours, printed by Malifax, 1967, unsigned, each 71 x 50cm; Peter J. Everall, 'Picnic' and 'New Image', two black and white posters printed by Athena Reproductions, London, 1970, unsigned, each 82 x 55.5cm; Unknown Artist, screenprint in red and green of a metamorphic devil or faun emerging from a tree surrounded with foliage and between two candles, unsigned, 84.5 x 41cm; Unknown Artist, screenprint of a buddha against a purple backdrop, unsigned, 86.5 x 65cm, all unframed (8)
Bill Ogden, American, 1943-2022, 'Palm Springs', 1969, offset lithograph, 87 x 53cm, together with an offset lithograph with overlaid screenprint of the calendar year for 1971 for Sound Spectrum, 89 x 50cm, both unframed (2)Footnotes: Nathan William 'Bill' Ogden was one of the early progenitors of the Visionary Art movement in 1960s California, and is best known for his 'surf art' posters including his work for the 1974 surf movie Forgotten Island of Santosha.
Andrew Aarons (British, 20th century) THREE NEWMARKET HORSE RACING PRINTS screenprints, i) The July Course, signed & dated 1984, numbered 45/125 ii) Warren Hill II, signed & dated 1985, inscribed Trial Proof iii) Palace House Stables, signed & dated 1983, numbered 22/125 sold together with: iv) a fourth horse racing screenprint titled Out of the Gates, Chester, signed Neery, dated '87 and numbered 18/150 all mounted ready for framing, various sizes, the largest 84 by 64cm., all in good condition
Andy Warhol "Mickey Mouse†Screenprint from Myth Portfolio USA 1981. Screenprint in colors with diamond dust on Lenox Museum board. Unsigned and Unnumbered Printer's proof (outside the edition). Size: 38" x 38" (sheet). Printer: Rupert Jasen Smith, New York. Published by Ronald Feldman Fine Arts, Inc., New York. Stamp to verso "Copyright Andy Warhol 1981, publisher Ronald Feldman, Fine Arts Inc. New York" and printers Blind stamp.
Javier Calleja (b.1971)Once In My Life (Diptych)Two hybrid UV flatbed pigment prints with screenprint in red, 2023, numbered from the edition of 980, with the artist's blindstamp, printed and published by Avant Arte, Amsterdam, with the accompanying certificates of authenticity, tote bag and gloves, on Somerset wove paper, the full sheets printed to the edges, each sheet 537 x 550mm (21 1/8 x 21 5/8in)
δ Michael Craig-Martin (b.1941)PaintingScreenprint in colours, 1999, signed and dated in pencil verso, numbered from the edition of 50 in Roman Numerals verso, published by Alan Cristea Gallery, London, on wove paper, the full sheet printed to the edges, sheet 375 x 477mm (14 3/4 x 18 7/8in)Provenance: With Alan Cristea Gallery, London.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Roy Lichtenstein (1923-1997)Sweet Dreams Baby! (Corlett 39)Screenprint in colours, 1965, signed and numbered from the edition of 200 in pencil, as included in the portfolio 11 Pop Artists Volume III, printed by Knickerbocker Machine and Foundry, Inc, New York, published by Original Editions, New York, on wove paper, with full margins, sheet 956 x 701mm (37 5/8 x 27 5/8in) (framed)
δ Julian Opie (b.1958)Winter Landscape (Cristea 46)Screenprint in colours, 2003, signed and numbered from the edition of 50 verso, printed by Advanced Graphics, published by Alan Cristea Gallery, London, on Somerset wove paper, the full sheet printed to the egdes, sheet 300 x 660mm (11 7/8 x 26in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Robyn Denny (1930-2015)DreamScreenprint in colours, 1972, signed, dated and inscribed 'artist's proof' in pencil, aside from the edition of 100, as included in '14 BIG Prints', printed by Advanced Graphics, published by Bernard Jacobson Gallery, London, on wove paper, the full sheet printed to the edges, sheet 1015 x 1520mm (40 x 59 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Ai Weiwei (b.1957)Middle Finger BlackScreenprint with foiling in white gold leaf, 2023, signed in pencil, numbered from the edition of 100, printed and published by Avante Arte, Amsterdam, with the accompanying certificate of authenticity, on Somerset wove paper, the full sheet 600 x 600mm (23 5/8 x 23 5/8in)
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