{"title":"International","description":"","products":[{"product_id":"figure-by-a-river","title":"Figure by a River","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLin Jammet (\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003e1958 – 2017)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-US;\" lang=\"EN-US\"\u003eLin Jammet was the son of renowned English sculptor Elisabeth Frink and French Architect Michel Jammet. He grew up in the foothills of the Cevennes in Southern France. Primarily a print maker, his work included both lithographs and screen prints. Jammet’s early works date from the 1970’s where\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003ehe collaborated with family friend and experience artist Julian Trevelyan. 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He was born in Hampstead, London, on 19 March 1908, the youngest of four children to the celebrated artist Sir William Rothenstein and his wife Alice Knewstub.\u003c\/p\u003e\n\u003cp\u003eHe was home-schooled and studied art at Chelsea Polytechnic and later at the Central School of Arts and Crafts. Affected by lingering depression, Rothenstein did little art making during the late 1920s and early 1930s. Despite this, he had his first one-man show at the Warren Gallery, London, in 1931.\u003c\/p\u003e\n\u003cp\u003eDuring the late 1930s, the artist's output was mainly Neo-Romantic landscapes. In 1940, he was commissioned to paint topographical watercolours of endangered sites in Sussex for the Recording Britain organised by the Pilgrim Trust. In the early 1940s, he moved to Ethel House, in the north Essex village of Great Bardfield. The artist held his first (of many) one-man shows at the famous Redfern Gallery, London, in 1942. During this time, he became increasingly fascinated by printmaking.\u003c\/p\u003e\n\u003cp\u003eAt Great Bardfield, there was a small resident art community that included John Aldridge, Edward Bawden and Kenneth Rowntree. In the early 1950s, several more artists (including George Chapman, Stanley Clifford-Smith, Audrey Cruddas and Marianne Straub) moved to the village, making it one of Britain's most artistically creative spots.\u003c\/p\u003e\n\u003cp\u003eRothenstein was important in organising the Great Bardfield Artists exhibitions during the 1950s. Thanks to his contacts in the art world (his older brother, Sir John Rothenstein, was the current head of the Tate Gallery), these exhibitions became nationally known and attracted thousands of visitors.\u003c\/p\u003e\n\u003cp\u003eFrom the mid-1950s, Rothenstein almost abandoned painting in preference to printmaking, which included linocuts and etchings. 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He studied at the Glasgow School of Art, under Anthony Caro, and Phillip King at St. Martin’s School of Art in London.\u003c\/p\u003e\n\u003cp\u003eWorking across performance, sculpture, photography, and painting, he consistently challenges art world hierarchies using sharp satire and subtle subversions. 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He studied at the Glasgow School of Art, under Anthony Caro, and Phillip King at St. Martin’s School of Art in London.\u003c\/p\u003e\n\u003cp\u003eWorking across performance, sculpture, photography, and painting, he consistently challenges art world hierarchies using sharp satire and subtle subversions. McLean’s work employs the formal language and aesthetics of work he parodies, thereby confusing traditional understands of authenticity, skill, and sincerity for his audience.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eImage Dimensions: \u003c\/strong\u003e\u003cspan\u003e570mm W x 610mm H\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed\u003c\/p\u003e","brand":"Bruce McLean","offers":[{"title":"Default Title","offer_id":47503408234651,"sku":null,"price":900.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0459\/7183\/2987\/files\/Bruce-McLean-Room-for-Mismanagement-02.jpg?v=1762407800"},{"product_id":"marilyn-monroe-11-24","title":"Marilyn Monroe 11.24","description":"\u003cp\u003eIn 1967 Warhol began work on his now iconic \u003cem\u003eMarilyn\u003c\/em\u003e series, immediately following the death of Marilyn Monroe. He produced 10 variations of the image, which was from a 1953 publicity shot for the film \u003cem\u003eNiagara\u003c\/em\u003e, each with its own colour combinations in each portfolio. There were only 250 portfolios ever produced, which has led to these works becoming some of the most sought after in the art world, with the suite of prints reaching over $1.5 million at auction. The prints were published by Factory Additions and were printed onto board 36” by 36” square. Unfortunately due to the printing techniques and paper Warhol was using in the 60’s, it is rare to find an original 1967 \u003cem\u003eMarilyn\u003c\/em\u003e without an issue with condition. \u003c\/p\u003e\n\u003cp\u003eIn 1970 Warhol began discussions with two anonymous Belgian friends regarding a second series of prints, with the idea behind this partnership being a commentary on mass production - one of the themes of Warhol’s art. At some point during these talks, the collaboration fell apart, for reasons that remain unknown. But by this point, the Belgians already had the original Factory photo negatives (which the stencils are made from) and the colour codes required to make the stencils and the prints. \u003cem\u003eSunday B Morning\u003c\/em\u003e began printing regardless and the prints were released in 1970 with a black stamp on the back that read \u003cem\u003eFill In Your Own Signature\u003c\/em\u003e. There is a debate as to whether that idea was originally Warhol’s, and it seems likely given his \u003cem\u003eFamous for 15 Minutes\u003c\/em\u003e concepts. History also stands divided as to whether or not Warhol was pleased with the prints - it did after all, fit in with his ideas on mass production. Warhol randomly signed some of the \u003cem\u003eSunday B Morning\u003c\/em\u003e prints ‘This is not by me. Andy Warhol’, which only stood to make them more desirable.\u003cbr\u003e\u003cbr\u003eToday, the black stamp\u003cem\u003e 1970 Sunday B Mornings\u003c\/em\u003e are recognised as part of Warhol’s print raisonne and \u003cem\u003eSunday B Morning\u003c\/em\u003e continue to produce screen prints from these original Factory photo negative stencils. The prints are still produced in the same Belgian studio and since the 1980s have featured a blue stamp on the back. They are in every way identical to the original Factory Additions series, and The Art Hound Gallery are proud to be able to offer the affordable way to own an original Warhol screenprint. 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Willson’s art education was extensive: he studied at Huddersfield School of Art from 1966-67, Bradford College of Art from 1969-70, Stourbridge College of Art from 1970-73, and finally, the Slade School in London until 1975. Upon leaving the school, he was awarded a Prix de Rome Scholarship in etching and engraving from 1975-76.\u003c\/p\u003e\n\u003cp\u003eSoon after graduating, he established Palm Tree Editions in Camden in 1978, where he printed the graphic works of such major artists as Lucian Freud, R B Kitaj, et al. In addition to his own prints, his artistic style soon developed into a distinctive body of work. He has exhibited at home and internationally, and his work is also represented in numerous public collections, including the Tate Gallery, Victoria \u0026amp; Albert Museum, and the British Council Collection.\u003c\/p\u003e\n\u003cp\u003eAs an artist, he distinguished himself by choosing complex, emotional subject matter. 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He became commercially successful in the 1970s.\u003c\/p\u003e\n\u003cp\u003eBorn in Gradara, in the Province of Pesaro and Urbino on the Adriatic Coast in 1935, the son of a railway attendant, Bruni started painting as a young boy. He was initially a pupil of Giuliano Vanghi; from 1953 to 1959 he attended the Art Institute in Pesaro. He then moved to London, where he became interested in pop art. In 1960, after an exhibit of his work at London's John Whibley Gallery, and after meeting a girl from Hamburg, he moved there to live with her and enrolled at the Hochschule für bildende Künste Hamburg. He has lived in the city ever since and visits his hometown regularly.\u003c\/p\u003e\n\u003cp\u003eIn the 1970s, Bruno Bruni established himself as a renowned draftsman, lithographer, painter, and sculptor in the international art world. In 1977, he won the International Senefeld Competition for Lithography. 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