Untitled (Purple, Red and Green)
Signed, edition of 20.
Colour woodcut, linocut red, dark and light blue, brown, black, yellow, green, orange, purple ink. Edition of 20, proofs; numbered and signed. Press and hand printed.
MR: Tate GAllery Colour and matrix change, however slightly, throughout the proofs and edition of this print. Yellow rather than orange finds its place in 4/20 (Tate Gallery) Additional 'cross' appears in 9/20 and a dark blue instead of purple printing is used for the two 'mitre' shapes. The top stretch of sky explores tonal layers of printing in blue and grey-brown.
'Although devoid of obvious subject the image is suggestive of an animal or bird. The rectangular shape on the right which might be a head contains an 'H' shape which appears in Rothenstein's subsequent emblematic works... The circle, perhaps as an eye, The shape enclosed by the 'H' reminded the artist of a bishop's mitre'
Rothenstein printed most of the editions himself on his giant Columbian press. Colours often varied.
Colour woodcut, linocut red, dark and light blue, brown, black, yellow, green, orange, purple ink. Edition of 20, proofs; numbered and signed. Press and hand printed.
MR: Tate GAllery Colour and matrix change, however slightly, throughout the proofs and edition of this print. Yellow rather than orange finds its place in 4/20 (Tate Gallery) Additional 'cross' appears in 9/20 and a dark blue instead of purple printing is used for the two 'mitre' shapes. The top stretch of sky explores tonal layers of printing in blue and grey-brown.
'Although devoid of obvious subject the image is suggestive of an animal or bird. The rectangular shape on the right which might be a head contains an 'H' shape which appears in Rothenstein's subsequent emblematic works... The circle, perhaps as an eye, The shape enclosed by the 'H' reminded the artist of a bishop's mitre'
Rothenstein printed most of the editions himself on his giant Columbian press. Colours often varied.
$2,355.40
Untitled (Purple, Red and Green)—
$2,355.40
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Description
Signed, edition of 20.
Colour woodcut, linocut red, dark and light blue, brown, black, yellow, green, orange, purple ink. Edition of 20, proofs; numbered and signed. Press and hand printed.
MR: Tate GAllery Colour and matrix change, however slightly, throughout the proofs and edition of this print. Yellow rather than orange finds its place in 4/20 (Tate Gallery) Additional 'cross' appears in 9/20 and a dark blue instead of purple printing is used for the two 'mitre' shapes. The top stretch of sky explores tonal layers of printing in blue and grey-brown.
'Although devoid of obvious subject the image is suggestive of an animal or bird. The rectangular shape on the right which might be a head contains an 'H' shape which appears in Rothenstein's subsequent emblematic works... The circle, perhaps as an eye, The shape enclosed by the 'H' reminded the artist of a bishop's mitre'
Rothenstein printed most of the editions himself on his giant Columbian press. Colours often varied.
Colour woodcut, linocut red, dark and light blue, brown, black, yellow, green, orange, purple ink. Edition of 20, proofs; numbered and signed. Press and hand printed.
MR: Tate GAllery Colour and matrix change, however slightly, throughout the proofs and edition of this print. Yellow rather than orange finds its place in 4/20 (Tate Gallery) Additional 'cross' appears in 9/20 and a dark blue instead of purple printing is used for the two 'mitre' shapes. The top stretch of sky explores tonal layers of printing in blue and grey-brown.
'Although devoid of obvious subject the image is suggestive of an animal or bird. The rectangular shape on the right which might be a head contains an 'H' shape which appears in Rothenstein's subsequent emblematic works... The circle, perhaps as an eye, The shape enclosed by the 'H' reminded the artist of a bishop's mitre'
Rothenstein printed most of the editions himself on his giant Columbian press. Colours often varied.
