Medium: Woodcut
Dimensions: 15 x 12 inches (image) 23 3/4 x 20 inches (frame)
Signature: Signed
Artist details: American, 1937 - 2012
Date finished: 1996
Edition: of 75
Reference: LD 262

Available framed. Please inquire.

Recommended by Rebecca (Gallery Associate):

Lockwood Dennis has always been a favorite artist of mine. He was a wonderful, lovely, full-of-mischief kind of person, with a twinkle in his eye. He was also one of the most hardworking artists I have ever met. I was very sad to hear of his passing in 2012, just before I rejoined Davidson Galleries in 2013. 'Hat & Boots' is a testament to Lockwood Dennis' humor and care for the unique features of a place. This piece lovingly remembers the playful, absurd roadside attractions of the old US. When I lived in Arizona for two years, I hung my Lockwood Dennis prints where I could see them every day. They brought me comfort, memories of home, and sometimes a hearty chuckle.

Medium: Woodcut
Dimensions: 15 x 12 inches (image) 23 3/4 x 20 inches (frame)
Signature: Signed
Artist details: American, 1937 - 2012
Date finished: 1995
Edition: of 49
Reference: LD 256

Recommended by Rebecca (Gallery Associate):

Lockwood Dennis has always been a favorite artist of mine. He was a wonderful, lovely, full-of-mischief kind of person, with a twinkle in his eye. He was also one of the most hardworking artists I have ever met. I was very sad to hear of his passing in 2012, just before I rejoined Davidson Galleries in 2013. '1st Ave S. Bridge' is a testament to his ability to work within the confines of his medium and space. It’s dramatic and comforting at the same time. His use of burnt orange for the roof of the boat is genius. When I lived in Arizona for two years, I hung my Lockwood Dennis prints where I could see them every day. They brought me comfort, memories of home, and sometimes a hearty chuckle.  

Medium: Woodcut
Dimensions: 30 x 30 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1978
Edition: Proof, Edition of 100
Reference: Summers 149

Medium: Stone lithograph
Dimensions: 28 1/4 x 71 1/4 inches (Image) 32 3/4 x 77 inches (Sheet)
Signature: Signed
Artist details: British / American, 1957
Date finished: 2018
Edition: of 7, AP

Medium: Drypoint
Dimensions: 42 x 42 inches
Artist details: British / American, 1957
Date finished: 2017
Edition: of 6 EV
Condition: Printed on Mulberry Japanese paper, backed with Sekishu

Medium: Drypoint
Dimensions: 42 x 42 inches
Artist details: British / American, 1957
Date finished: 2017
Edition: of 6 EV
Condition: Printed on Mulberry Japanese paper, backed with Sekishu

Medium: Resist-ground etching, engraving
Dimensions: 25 x 40 inches
Signature: Signed
Artist details: American, 1930
Date finished: 2001
Edition: of 140

Recommended by Suzannah (Marketing and Communications Manager):

“Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.” - The Love Song of J Alfred Prufrock, by T.S. Eliot

"Peter Milton’s prints share many qualities with the poetry of T.S. Eliot: the grand scale, ghostly vignettes, shifting perspectives, and liminal worlds, as well as a penchant for subtle references to cats in their art. ‘Visions and Revisions’, the title of which is taken from a line in “The Love Song of J Alfred Prufrock”, portrays a party that appears to be in full swing with many figures dancing and socializing. However something in the scene is fractured; the figures are spread far apart, some fading into nothingness, and many staring directly out of the paper at you, the viewer. “The Love Song of J. Alfred Prufrock” tells a story from the perspective of a shy and anxious man who is contemplating attending a party and all the dooms and horrors that will befall him there. I imagine that the viewer is Prufrock, all at once subjected to“the eternal Footman” who holds your hat and coat, among the people “who come and go/talking of Michelangelo,” all while being observed by the woman who is misunderstood and misunderstands you, saying “that is not what I meant at all.” Both the poem and this print convey a powerful sense of disorientation in the midst of frivolity. This print is a haunting and faithful translation of a touchstone modernist poem from verse into visual art."

Medium: Etching, engraving
Dimensions: 20 x 36 inches
Signature: Signed
Artist details: American, 1930
Date finished: 1977
Edition: 74/160

Medium: Monotype
Dimensions: 22 x 30 inches (image), 27 X 34 inches (sheet)
Artist details: American, 1971
Date finished: 2011

Medium: Drypoint and chine-collé
Dimensions: 30 inches diameter, 42 1/2  x 37 3/4 inches (sheet)
Signature: Signed
Artist details: British/American, 1957
Edition: 3/3 EV
Condition: Extremely faint discoloration on lower left hand edge of paper. Very minor cockling on right and left edge of paper. All far away from the image.

Medium: Drypoint and chine-collé
Dimensions: 30 inches diameter (Image), 42 1/2  x 37 3/4 inches (sheet)
Artist details: British/American, 1957
Edition: 3/3 EV
Condition: Extremely faint discoloration on sheet's edge, well away from the image

Medium: Drypoint and chine-collé
Dimensions: 30 inches diameter (Image), 42 1/2  x 37 3/4 inches (sheet)
Artist details: British/American, 1957
Edition: 3/3 EV
Condition: Extremely faint toning on edge of sheet, well away from the image. 

Medium: Drypoint on Gampi
Dimensions: 25 1/2 inches diameter
Artist details: British/American, 1957
Date finished: 2016
Edition: 1/1

After Piranesi was printed during the artist's fellowship residency in Vermont in 2016. Underneath the arches on the south bank of the Thames in London, Robinson's hometown, there is an oversized tile mural which reproduces the original etching of Piranesi’s depiction of the construction of Blackfriars bridge 1766. Interested in how scale can change and distort one's visual relationship to an object or place, (the original etching is 16 x 24 inches), Robinson focused on a section of the enlarged image as a starting point to create an abstracted homage to one of her heroes in print, Piranesi. The resulting print, created in a small varied edition of 4 unique images, is a combination of drypoint and monotype printed on gampi tissue, a material that references both the strength of the subject matter and its fragility. The gampi is then seamed together and backed with sekishu paper for added strength.