The London Original Print Fair ushered in its 30th edition last night with a busy celebration at the Royal Academy. As usual, the works on offer range from rare Renaissance woodcuts to colourful contemporary pieces – but the bias this year is definitely towards the latter. If you like British modernism you’re also in for a treat…We picked out a few stand-out exhibits from the crowd.
Alison Wilding at Karsten Schubert
Known for her sculptural works, Alison Wilding’s equally subtle and evocative etchings and photographic prints can be seen on the stand of Karsten Schubert (look out for her sunny Beach Fork from 2010), alongside a selection of Bridget Riley’s visually playful screen prints.
Richard Diebenkorn at Emanuel von Baeyer
Everything on Emanuel von Baeyer’s stand is worth hanging around for. Exceptional prints by Old Masters (such as Rembrandt) and modern radicals (Dubuffet) are pitted against contemporary pieces, including a fine muted watercolour by Diebenkorn – a fitting complement to the artist’s vibrant large-scale canvases in the galleries upstairs.
Ben Nicholson at Gerrish Fine Art
Michael Craig-Martin at Enitharmon Editions
Hot off the press (it arrived a few hours before the opening) is Michael Craig-Martin’s limited edition book, Drawing – a hefty catalogue of his deceptively simple, impressively precise line drawings. There are 300 in all, depicting a range of everyday objects from coat-hangers to condoms.
Prunella Clough at Flowers Gallery
Osborne Samuel, who are exhibiting nearby, recently opened an exhibition of Prunella Clough’s work in their Mayfair gallery. But to find her at the fair head to Flowers’ stand. Clough’s Shadow Play etchings from the early 1990s are quietly captivating – the pools of black ink seem imbued with meaning, but in the end they’re impossible to pin down.
Hockney vs. Moore at Sims Reed Gallery
Ravilious at Jennings Fine Art
Francis Bacon at Marlborough Graphics London
Francis Bacon is still capable of packing a punch; Triptych 1983 steals the show on Marlborough’s stand. Likely this has something to do with the artist’s striking use of blood orange, or else it his ability to create a dynamic sense of movement whilst holding his figures completely still.
Nancy Milner at the Royal Academy of Arts
Gillray after Piroli at the Royal Collection display
Compiled by Imelda Barnard and Maggie Gray