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Osborne Samuel Gallery

London, UK

Prints have always been an integral part of our activities at Osborne Samuel. Most of us at the gallery began our careers in the world of original prints and thus there has always been a passion for them. We were founding members of the International Fine Print Dealers Association and have always exhibited at the annual IFPDA Print Fair – in person or online during the pandemic. We specialise in post war primarily British Prints and have curated important museum exhibitions such as the Dulwich Picture Gallery exhibition, Cutting Edge: Modernist British Print Making, an exhibition focusing on the Grosvenor School and have collaborated in the highly acclaimed Rhythms of Modern Life held at the Museum of Fine Arts, Boston which then toured to the Metropolitan Museum of Art and the Wolfsonian. After the past two years we are thrilled to be back in New York once again at the IFPDA Print Fair and once again bring rare and exceptional works.

Image:

Rush Hour, Sybil Andrews, 1930

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In 2021 Leslie and Johanna Garfield donated the most significant collection of British prints to the Metropolitan Museum of Art – this encompassed a lifetime of collecting and a close association with Gordon Samuel at Osborne Samuel. From November 2021 – January 2022 the Metropolitan Museum of Art exhibited a group of the works from the collection in an exhibition entitled Modern Times: British Prints 1913 – 1949.

Our booth this year at the IFPDA highlights many of the Avant-Garde and Modernist British Prints from this collection. It covers the tumultuous war years, when ‘numerous British artists and expatriates linked to Vorticism, Futurism, and the Grosvenor School of Modern Art turned to printmaking to convey the vibrancy and innovation, as well as the destruction and turmoil, of contemporary life. Their subjects — which included factories and underground trains, war-torn landscapes and “dazzle ships,” leisure activities, and the countryside as both idealized rural landscape and one transformed by urban expansion — reveal an interest in speed, motion, labour, industrialization, technology, and modernity. In addition to traditional printmaking methods, artists embraced new techniques, such as the colour linocut, which represented the artists’ democratic aspirations for both art making and collecting.'¹

¹ https://www.metmuseum.org/exhibitions/listings/2021/modern-times

Tania Sutton, Director

Sybil Andrews

Rush Hour

1930

21 x 27.5 cm (8 ¼ x 10 ¾ in)

Linocut

Signed, titled and numbered. Reference: Coppel SA 9

Edition of 50

CRW Nevinson

Cornish Landscape

1918

28.8 x 37.5 cm (11 ¼ x 14 ¾ in)

Lithograph

Private collection, US

Signed in pencil. Reference: Black 45

Edition of 25

Edward Wadsworth

Harbour of Flushing

1914

26 x 21.6 cm (10 ¼ x 8 ½ in)

Woodcut

Signed and dated 1914 in pencil. Reference: Green. W/D 2

Harbour of Flushing, Edward Wadsworth, 1914

Cornish Landscape, CRW Nevinson, 1918

Claude Flight

Paris Omnibus

1923

21.6 x 27.9 cm (8 ½ x 11 in)

Linocut

Private collection, Canada

Signed and numbered in pencil. Reference: Coppel CF10

Edition of 50

Cyril Power

The Tube Station

1932

25.8 x 29.5 cm (10 ¼ x 11 ½ in)

Linocut

Private collection, UK

Signed, titled and numbered lower right. Reference: Coppel CEP 32

Edition of 60

Harbour of Flushing, Edward Wadsworth, 1914