London Original Print Fair 2014
24 April - 27 April 2014
Main Galleries, Burlington House
24 April 10am – 6pm
Friday 25 April 10am – 10pm
26 - 27 April 10am – 6pm
£12 including catalogue. Concessions available. Friends of the RA go free.
Friends of the RA go free
This April, the London Original Print Fair returns for its 29th year at the Royal Academy.
With some 50 international exhibitors, the four-day show offers a wonderful opportunity to see and buy original prints, from the earliest Renaissance woodcuts to the latest editions by contemporary masters.
Showcasing galleries, dealers and print publishers from across the UK, Europe and USA, LOPF is the perfect place to engage with experts and artists. This year to coincide with Renaissance Impressions in The Sackler Wing of Galleries, a number of old master exhibitors at LOPF feature chiaroscuro woodcuts on their stands. All prints are for sale, by artists such as Rembrandt, Goya and Picasso to Francis Bacon, David Hockney RA and Grayson Perry RA.
24 April 10am – 6pm
Friday 25 April 10am – 10pm
26 - 27 April 10am – 6pm
£12 including catalogue. Concessions available. Friends of the RA go free.
Friends of the RA go free
Supported by Towry, the Wealth Advisors
The exhibition features an exciting programme of artists’ talks and demonstrations. Further details available shortly at londonprintfair.com.
Inside the Print Fair
Also on
Norman Stevens ARA: Selected Prints
In the Tennant Gallery and Council Room
26 Feb - 25 May 2014
This spring we present the much admired prints of Norman Stevens ARA, an artist who originally trained as a painter alongside John Loker, David Hockney RA and David Oxtoby in the 1950s at Bradford College of Art.
A master of the medium, Stevens taught himself printmaking in the early 1970s and in the process, found an art form that perfectly suited his meticulous and subtle approach. Exploring the landscape and built environment, his prints make use of colour, light and shade to powerful and often haunting effect. Human presence is always suggested but never shown, a quality that the art critic, William Packer, has likened to a ‘game of hide-and-seek with the real world’.