Sims Reed Gallery is located alongside Sims Reed Rare Books, in the heart of London’s St. James’s. The gallery specialises in modern, post-war and contemporary original prints and works on paper. Founded in 1995, the gallery has since grown to hold an extensive inventory of works by leading artists of the 20th century alongside major contemporary artists. These include David Hockney, Bridget Riley, Andy Warhol, Roy Lichtenstein, Richard Estes, Joan Miró and Pablo Picasso.
Bridget Riley, Untitled (Fragment 2). Screenprint on plexiglas, 1965.
We are pleased this year to present new modern and contemporary works which focus on the diverse techniques of printmaking. From Abstraction to Pop these works highlight the artist’s desires and interests to explore this medium, pushing the boundaries of what could be created on paper and establishing these works as a fundamental part of their ever evolving practice.
Sims Reed Gallery
Untitled Fragment 2
67.4 x 83.9 cm
Screenprint on plexiglas.
Signed in pencil (in reverse from back) and numbered. Printed by Kelpra Studio, London. Published by Robert Fraser Gallery, London. (Schubert 5b).
Op paintings of the sixties evolved from Riley’s desire to demonstrate that ‘there are some absolutes. Black is not white’. Even so, something happens at the intersection of black and white. There is a zone of dynamic mystery there that is anything but absolute’ – Dave Hickey writing on Riley. These early black and white works explore perception and sensation, evoking depth and movement on paper.
Numbered from the edition of 75.
A Picture of Two Chairs (from the Moving Focus Series)
48 x 55.9 cm
Lithograph and etching printed in colours.
Printed on HMP hand-made paper and published by Tyler Graphics, Los Angeles, with their blindstamp. (Tokyo 286).
In the mid-1970s, shortly after moving to California, David Hockney began his working relationship with master printer Kenneth Tyler. It was with Tyler, that Hockney created the Moving Focus series, which remains his largest and most ambitious series of colour lithographs which combined etching, screenprinting or collage with a new method of layering transparent mylar sheets. Hockney’s fascination with Cubism, explored in his photographic collages, was at play in his experimentation with perspective, combining the Renaissance tradition of fixed-viewpoint painting with the Eastern aesthetic of multiple, narrative viewpoints within the same picture. The acknowledgement of the flatness of picture plane along with the exaggeration of perspective and foreshortening present in underscore Hockney's questioning of the traditional western values in composition.
From the 'Moving Focus' series. Signed and dated in pencil, numbered from the edition of 80.
Trace sur la Paroi: I
74 x 104.8 cm
Etching and aquatint printed in colours.
Printed on Mandeure rag paper by Arte Adrien Maeght, Paris. Published by Maeght editeur, Paris. (Dupin 440).
‘I try to apply colours like words that shape poems, like notes that shape music’. Joan Miró.
Signed in pencil, numbered from the edition of 75.
Fruit and Bowl
85 x 59.4 cm
Screenprint in colours.
From the mid-1970s Caulfield incorporated more realistic elements into his works; with certain areas depicted with precise detail and other areas executed with looser strokes. Caulfield later returned to his earlier, more stripped and pared down style. Often portraying a few simple objects in an interior, he used flat areas of simple colour, often dominated by a single hue and surrounded by bold black outlines.
Signed in pencil, numbered from the edition of 100. Published by Waddington Graphics, London with their blindstamp verso. (Dempsey 60).
Bridget Riley in her studio, 1960s © 2010 Bridget Riley.
50.8 x 70.8 cm
Lithograph printed in colours.
Printed on Arches paper by Cirrus Editions, Los Angeles. Published by Cirrus Editions, Los Angeles, and Brooke Alexander, Inc., New York. (Engberg 43).
Ed Ruscha has been painting, drawing and printing words on paper, canvas and in lithographs since the early 1960s. The artist began with simple, single word-works, such as Comics, from 1961, and Oof, from 1962, drawing inspiration from cartoon strips and other pop sources. As Ruscha stated, ‘Some words are found ready-made, some are from dreams, some come from newspapers’. He moved on to multiple-word combinations in the following decade, with more obscure combinations, Ruscha combined this extension of subject with a concordant development of materials; such as egg yolk; blueberry, tobacco juice, mint-leaf stains and gun powder. “Sometimes found words are the most pure because they have nothing to do with you,” Ruscha explains. “I take things as I find them. A lot of these things come from the noise of everyday life.”
Signed and dated in pencil, numbered from the edition of 90.
David Hockney in the print studio. © Getty Images.
Pierrot (Massine en Pierrot)
19.4 x 14.6 cm
Signed in pencil, from the edition of 20 to 25. With wide margins (the version issued with Max Jacob's book 'Le Phanérogame' in December 1918 was on smaller paper). Printed on laid paper by Les Presses Eugène Delâtre, Paris, with the Eugène Delâtre watermark. Published by Max Jacob, Paris. (Bloch 33; Baer 55; Cramer 5). This copy from the distinguished collection of Douglas Cooper, a friend of the artist and art historian (showing his collector's mark) recto.
57.2 x 52.1 cm
Signed and dated in pencil, numbered from the edition of 75. Printed by Maurice Payne, London. Published by Petersburg Press, London. (Scottish Art Council 64).