{"title":"Best of Britain","description":"\u003cdiv class=\"Box-sc-15se88d-0 Flex-sc-cw39ct-0 hjmkxT\" display=\"flex\"\u003e\n\u003cdiv class=\"Box-sc-15se88d-0 Text-sc-18gcpao-0 cVWovJ\" font-family=\"sans\"\u003e\n\u003cdiv class=\"Box-sc-15se88d-0 Text-sc-18gcpao-0 cVWovJ\" font-family=\"sans\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp\u003eBritish art has played a crucial role in shaping modern and contemporary visual culture by continually questioning how art responds to social change, identity, and power. From the post-war period onward, British artists have navigated the tension between tradition and innovation, often combining intellectual rigor with wit, skepticism, and emotional intensity.\u003c\/p\u003e\n\u003cp\u003eIn the aftermath of World War II, figures such as \u003ca href=\"https:\/\/www.caviar20.com\/products\/henry-moore-mother-and-child-pl-6-etching-1987?_pos=1\u0026amp;_sid=983348068\u0026amp;_ss=r\"\u003e\u003cstrong\u003eHenry Moore\u003c\/strong\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/www.caviar20.com\/products\/anthony-caro?_pos=1\u0026amp;_sid=4024fa737\u0026amp;_ss=r\"\u003e\u003cstrong\u003eSir Anthony Caro\u003c\/strong\u003e\u003c\/a\u003e redefined sculpture, moving away from monumentality toward abstraction and direct engagement with space. At the same time, painters like \u003ca href=\"https:\/\/www.caviar20.com\/products\/lucian-freud-the-new-yorker-etching-2006?_pos=1\u0026amp;_sid=10f24c081\u0026amp;_ss=r\"\u003e\u003cstrong\u003eLucian Freud\u003c\/strong\u003e\u003c\/a\u003e asserted the enduring relevance of the human figure, presenting the body with uncompromising psychological realism.\u003c\/p\u003e\n\u003cp\u003eThe rise of consumer culture in the mid-20th century gave birth to British Pop Art, led by \u003ca href=\"https:\/\/www.caviar20.com\/products\/richard-hamilton-toaster-lithograph-1967\"\u003e\u003cstrong\u003eRichard Hamilton\u003c\/strong\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/www.caviar20.com\/products\/david-hockney-serenade-etching-1976-77?_pos=1\u0026amp;_sid=546ab666b\u0026amp;_ss=r\"\u003e\u003cstrong\u003eDavid Hockney\u003c\/strong\u003e\u003c\/a\u003e, who explored mass media, technology, and personal identity. Artists such as \u003ca href=\"https:\/\/www.caviar20.com\/products\/bridget-riley-coloured-greys-screenprint-1972\"\u003e\u003cstrong\u003eBridget Riley\u003c\/strong\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/www.caviar20.com\/products\/howard-hodgkin-red-listening-ear-1986?_pos=1\u0026amp;_sid=47c5bcf52\u0026amp;_ss=r\"\u003e\u003cstrong\u003eHoward Hodgkin\u003c\/strong\u003e\u003c\/a\u003e expanded abstraction into investigations of perception, memory, and emotional experience.\u003c\/p\u003e\n\u003cp\u003eIn the 1990s, British art gained renewed international prominence through the Young British Artists (YBAs), including \u003ca href=\"https:\/\/www.caviar20.com\/products\/damien-hirst-psilocybin-2013?_pos=3\u0026amp;_sid=8170766cf\u0026amp;_ss=r\"\u003e\u003cstrong\u003eDamien Hirst\u003c\/strong\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/www.caviar20.com\/products\/chris-ofili-use-your-heart-2005?_pos=1\u0026amp;_sid=f639c05cd\u0026amp;_ss=r\"\u003e\u003cstrong\u003eChris Ofili\u003c\/strong\u003e\u003c\/a\u003e, whose work challenged traditional materials, institutions, and assumptions about beauty, belief, race, and the art market. Contemporary figures such as \u003ca href=\"https:\/\/www.caviar20.com\/products\/peter-doig-muldenberg-etching-2001?_pos=1\u0026amp;_sid=202f6d8fb\u0026amp;_ss=r\"\u003e\u003cstrong\u003ePeter Doig\u003c\/strong\u003e\u003c\/a\u003e, \u003ca href=\"https:\/\/www.caviar20.com\/products\/banksy-welcome-mat-2019\"\u003e\u003cstrong\u003eBanksy\u003c\/strong\u003e\u003c\/a\u003e, and \u003ca href=\"https:\/\/www.caviar20.com\/products\/harland-miller-whatever-youre-doing-silkscreen-2014?_pos=1\u0026amp;_sid=44b05b637\u0026amp;_ss=r\"\u003e\u003cstrong\u003eHarland Miller\u003c\/strong\u003e\u003c\/a\u003e continue this legacy, combining painting, street culture, and text to reflect on memory, politics, and popular culture.\u003c\/p\u003e\n\u003cp\u003eTogether, these artists demonstrate how British art has remained influential by continually reinventing its forms while critically engaging with the cultural conditions of its time.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","products":[{"product_id":"peter-doig-muldenberg-etching-2001","title":"PETER DOIG \"MULDENBERG\" ETCHING, 2001","description":"\u003cp\u003eIn 2007, \u003ca title=\"Toronto art gallery collection featuring prints, editions, and photography by famous contemporary artist Peter Doig.\" href=\"https:\/\/www.caviar20.com\/collections\/peter-doig\" data-mce-href=\"https:\/\/www.caviar20.com\/collections\/peter-doig\"\u003ePeter Doig\u003c\/a\u003e (b. 1959) became a household name when his painting “White Canoe” sold for $11.3 million at auction, setting the record at the time for the highest auction price by a living European artist. And if that number sounds surprising, his paintings continue to surpass that record; most recently in \u003ca href=\"https:\/\/www.theglobeandmail.com\/news\/national\/artist-peter-doigs-painting-sets-new-record-at-auction\/article24385600\/\" title='Famous contemporary artist Peter Doig sets auction record in 2021 for his figurative painting. Peter Doig \"Swamped\" Oil on canvas, 1991.' data-mce-href=\"https:\/\/www.theglobeandmail.com\/news\/national\/artist-peter-doigs-painting-sets-new-record-at-auction\/article24385600\/\"\u003eNovember 2021, when \"Swamped\" sold for $39.8 million at auction\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSales records aside, by the age of 50,\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eDoig\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ehad major retrospectives at the Tate Britain, the Paris Museum of Modern Art, and the Montreal Museum of Fine Art. Needless to say, he is an artist with major international acclaim. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCreated in 2001, Peter Doig's 100 Years Ago series encapsulates the artist’s recurring exploration of memory, nostalgia, and the realm between reality and imagination. Comprised of eight etchings, this series reconstructs the past through fragmented memories, drawing inspiration from eclectic ephemera.\u003c\/p\u003e\n\u003cp\u003eEach piece in the series builds on Doig's signature motifs, including canoes, recreation, and vast, atmospheric landscapes, while infusing the compositions with a dreamlike quality.\u003c\/p\u003e\n\u003cp\u003eRendered in a muted reds, \"Muldenberg\" depicts a postcard view of a German dam complete with a winding stone fortress that creates a barrier between land and water. \u003c\/p\u003e\n\u003cp\u003eIn a departure from his distinct brand of expressionism, \"Muldenberg\" introduces a more restrained approach, both in its simplified composition and use of a monochromatic palette. Instead, the work highlights Doig's fascination and strong reliance on reference images and ephemera, a significant pillar in the artist's creative process. \u003c\/p\u003e\n\u003cp\u003eOver the course of his career, Doig has created a limited number of editioned works. This piece is from the first chapter of the artist's career, reflecting his early explorations of memory and place. It is also a noticeably smaller edition compared to some of his other later prints. \u003c\/p\u003e\n\u003cp\u003eDoig's works can be found in prominent public collections globally, including the Tate Modern (London), the Art Institute of Chicago, the Centre Pompidou (Paris), and the National Gallery of Canada. This rare print can be found in several important collections including the \u003ca href=\"https:\/\/philamuseum.org\/collection\/object\/132138\" title=\"Peter Doig Muldenberg Philadelphia Museum of Art\"\u003ePhiladelphia Museum of Art\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\" data-mce-fragment=\"1\" data-mce-href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e or call\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"tel:4167041720\" data-mce-fragment=\"1\" data-mce-href=\"tel:4167041720\"\u003e+1.416.704.1720\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eVisit our Toronto gallery on\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca title=\"Contact information for Caviar20, Toronto fine art gallery\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003eThursdays or by appointment\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" href=\"mailto:troy@caviar20.com\" data-mce-fragment=\"1\" data-mce-href=\"mailto:troy@caviar20.com\" data-mce-style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/a\u003e\u003cspan\u003e\u003c\/span\u003e\"Muldenberg\" from the series \"100 Years Ago\"\u003c\/p\u003e\n\u003cp\u003e2001\u003c\/p\u003e\n\u003cp\u003eColor Etching\u003c\/p\u003e\n\u003cp\u003eSigned and numbered by the artist, bottom right\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 46\u003c\/p\u003e\n\u003cp\u003e52.5\"H \u003cmeta charset=\"utf-8\"\u003e38\"W (work)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e55.25\"W 41\"H (framed) \u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e","brand":"Peter Doig","offers":[{"title":"Default Title","offer_id":45790935187692,"sku":"10-24","price":13500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Peter-Doig-MULDENBERG-FROM-100-YEARS-AGO_thumbnail.jpg?v=1727954300"},{"product_id":"harland-miller-whatever-youre-doing-silkscreen-2014","title":"HARLAND MILLER \"ME\" MIXED MEDIA, 2019","description":"\u003cp\u003eBorn in Yorkshire, England in 1964, Harland Miller is a critically acclaimed writer and artist. \u003cmeta charset=\"utf-8\"\u003e In both endeavors, books are central to Miller's practice. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eAfter exhibiting art throughout the 80s and 90s, Miller released his first novel \u003ci\u003eSlow Down Arthur, Stick to Thirty \u003c\/i\u003ein 2000 to critical acclaim. Resuming his artistic practice shortly after, Miller began to include visual or textual references to writing and literature in his painting. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eBest known for reimagining vintage Penguin book covers, Miller combines satirical, existential, and introspective phrases with rich backdrops and bold typography. The results raise important questions about the absurdity of modern anxieties. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe artist often employs a palette that enhances the title's \"commercial\" allure, while juxtaposing the weight of the underlying themes. His evocative representations take on a life of their own, capturing the physicality of the books through densely layered fields of color and rich brushstrokes that highlight evidence of their wear and tear. These subtle details prompt the viewer to consider who might have read the book, whether it had mass appeal, and why.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Me\" is a quintessential example of the artist's signature aesthetic, yet somewhat of a departure from his signature content. The layered letters \"M\" and \"E\" consume the composition, dissolving and resurfacing through dynamic brushstrokes of fuscia, bubble gum pink, lime green, chartreuse, periwinkle, and cobalt accents. The ballooning typography overwhelms the surface of the work, making the word \"ME\" an inescapable sole focus, with little room for any other competing ideas. This layering of letters recalls Jasper Johns' approach with numbers. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eLike the best of his work, the curious title remains vague, leaving the viewer to wonder whether the book offers an opportunity for self-exploration, or perhaps, a rabbit hole of self-indulgence and obsession. Miller's signature banner runs along the bottom of the book cover, denoting himself as the author or \"expert.\" Self-help has never looked so colorful, promising, and easy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\" data-mce-href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e or call +1.416.704.1720\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eVisit our Toronto gallery on \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" data-mce-href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003e\u003cspan\u003eThursdays or by appointment\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Me\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 2019 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWatercolour and oil on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned by the artist, lower margin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e20\"H 14.25\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e23\"H 17\"W (framed) \u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eProvenance: White Cube (London) \u003c\/p\u003e","brand":"Harland Miller","offers":[{"title":"Default Title","offer_id":45870098186476,"sku":"11-24","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Harland-Miller-Me-2019_thumbnail.jpg?v=1730484118"},{"product_id":"lucian-freud-the-new-yorker-etching-2006","title":"LUCIAN FREUD \"THE NEW YORKER\" ETCHING, 2006","description":"\u003cp\u003eLucian Freud (1922-2011) was a seminal figure in 20th-century British art, celebrated for his raw and psychologically charged exploration of the human form. \u003c\/p\u003e\n\u003cp\u003eWith his distinctive figurative intensity, Freud captured friends, family, and lovers in a signature brand of realism that he refined over a \u003cmeta charset=\"utf-8\"\u003eseven-decade long career. The artist revitalized traditional portraiture in England by imbuing his images with visceral complexity and exposing his subjects in harsh, often unsettling poses that reveal their vulnerability. \u003c\/p\u003e\n\u003cp\u003eFreud's style is renowned for its striking emphasis on texture and physicality. His portraits are remarkably unsentimental and veer on harsh. Perhaps the most defining characteristic of his oeuvre is the artist's bold mastery of light and shadow. Freud accentuates every detail of his subjects with frenetic strokes and dramatic contrasts, carving out contours and imperfections with deliberate unflinching precision.\u003c\/p\u003e\n\u003cp\u003eAlthough Freud produced several prints early in his career, he took a 30-year hiatus before reconnecting with the medium in 1982. As with the rest of his practice, each etching demanded months of work and many sittings, deepening the intrigue and complexity of his printmaking.  \u003c\/p\u003e\n\u003cp\u003eCompleted in the last chapter of his career, \"The New Yorker\" offers a pared-back example of the artist's signature aesthetic. Freud captures his subject in a quiet moment of contemplation, his lips pursed and eyes lost in thought. Soft, undulated shadows ripple through the man's face, emphasizing his deep and pensive expression. \u003c\/p\u003e\n\u003cp\u003eThis work embodies Freud's unparalleled ability to merge realism with psychological depth, leaving a poignant impression of vulnerability and introspection.\u003c\/p\u003e\n\u003cp\u003e\"The New Yorker\" is related to an oil painting by the artist, \"\u003cspan\u003eNew Yorker in a Blue Shirt\" 2006.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eToday, Freud's work can be found in prominent collections across the globe, including the National Gallery of Canada (Ottawa), Stedelijk Museum (Amsterdam), and the National Portrait Gallery, to name a few.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e or call +1.416.704.1720\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eVisit our Toronto gallery on \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003e\u003cspan class=\"s2\"\u003eThursdays or by appointment\u003c\/span\u003e\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e\"The New Yorker\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e2006\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eEtching on Somerset paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eInitialed and numbered by artist, lower margin \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003eFrom an edition of 46\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e14\"H 14\"W (image)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e29\"H 22.25\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eFramed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eVery good condition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003ePublished by Acquavella LLC, New York\u003c\/span\u003e\u003c\/p\u003e","brand":"Lucian Freud","offers":[{"title":"Default Title","offer_id":46140445327596,"sku":"01-25","price":27500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Lucien-Freud-The-New-Yorker-2006_thumbnail.jpg?v=1738187394"},{"product_id":"lucian-freud-donegal-man-etching-2006","title":"LUCIAN FREUD \"DONEGAL MAN\" ETCHING, 2006","description":"\u003cp\u003eLucian Freud (1922-2011) was a seminal figure in 20th-century British art, celebrated for his raw and psychologically charged exploration of the human form. \u003c\/p\u003e\n\u003cp\u003eWith his distinctive figurative intensity, Freud captured friends, family, and lovers in a signature brand of realism that he refined over a \u003cmeta charset=\"utf-8\"\u003eseven-decade long career. The artist revitalized traditional portraiture in England by imbuing his images with visceral complexity and exposing his subjects in harsh, often unsettling poses that reveal their vulnerability. \u003c\/p\u003e\n\u003cp\u003eFreud's style is renowned for its striking emphasis on texture and physicality. His portraits are remarkably unsentimental and veer on harsh. Perhaps the most defining characteristic of his oeuvre is the artist's bold mastery of light and shadow. Freud accentuates every detail of his subjects with frenetic strokes and dramatic contrasts, carving out contours and imperfections with deliberate unflinching precision.\u003c\/p\u003e\n\u003cp\u003eAlthough Freud produced several prints early in his career, he took a 30-year hiatus before reconnecting with the medium in 1982. As with the rest of his practice, each etching demanded months of work and many sittings, deepening the intrigue and complexity of his printmaking.  \u003c\/p\u003e\n\u003cp\u003eCompleted in the last chapter of his career, \"Donegal Man\" offers a pared-back example of the artist's signature aesthetic. Freud captures his subject in a quiet moment of contemplation, his eyes distant, lost in thought. Soft, undulated shadows ripple through the man's face, emphasizing his deep and pensive expression. \u003c\/p\u003e\n\u003cp\u003eThe sitter, Pat Doherty, was painted by the artist twice, enduring 185 three-hour sittings to complete both works. \u003c\/p\u003e\n\u003cp\u003eThis work, along with Freud’s relentless dedication to his process, embodies the artist's unparalleled ability to merge realism with psychological depth. The result is a poignant impression of vulnerability and introspection.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eToday, Freud's work can be found in prominent collections across the globe, including the National Gallery of Canada (Ottawa), Stedelijk Museum (Amsterdam), and the National Portrait Gallery, to name a few.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e or call +1.416.704.1720\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eVisit our Toronto gallery on \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003e\u003cspan class=\"s2\"\u003eThursdays or by appointment\u003c\/span\u003e\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e\"Donegal Man\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e2006\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eEtching on Somerset paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eInitialed and numbered by artist, lower margin \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eFrom an edition of 46\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e17.75\"H 15\"W (image)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003e26.25\"H 22.5\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eFramed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003eVery good condition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s1\"\u003ePublished by Acquavella LLC, New York\u003c\/span\u003e\u003c\/p\u003e","brand":"Lucian Freud","offers":[{"title":"Default Title","offer_id":46140487500012,"sku":"01-25","price":21500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Lucien-Freud-Donegal-man-2007_thumbnail.jpg?v=1738188816"},{"product_id":"peter-doig-subban-and-nolan-etching-2017","title":"PETER DOIG \"SUBBAN AND NOLAN\" ETCHING, 2017","description":"\u003cp\u003e\u003ca title=\"Peter Doig prints Caviar20\" href=\"https:\/\/www.caviar20.com\/collections\/peter-doig\"\u003ePeter Doig\u003c\/a\u003e (b. 1959) is widely considered to be one of the most successful contemporary figurative painters. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBlending diverse references with personal experiences, his paintings explore memory, place, leisure and sport. Both ambiguous and specific in mood, \u003cem data-end=\"210\" data-start=\"199\"\u003eSubban and Nolan\u003c\/em\u003e reflects this mix of the personal and universal, encapsulating the ideas that shape Doig's ongoing practice.\u003c\/p\u003e\n\u003cp\u003eThis work is a key example of Doig's dreamlike approach to image-making. Three enigmatic players, partially obscured, are captured mid-action, during a hockey game. It's a scene any Canadian or hockey fan would know, evoking a sense of familiarity and nostalgia. The figures are realized amongst light blotches and rings, emphasizing the impressionistic quality of the image, and emulating melted ice and rink markings. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWhile Doig was born in Scotland, he spent his childhood and adolescence in Canada. During these formative years, he developed a love for winter sports, saying \"Hockey is a priority in my life\". He is a devoted fan of the Montreal Canadians -- whose logo is pictured but abstracted in this etching. \u003c\/p\u003e\n\u003cp\u003eDoig is one of the few top-tier contemporary artists to regularly depict sport in his oeuvre. He frequently reduces elements of machismo or competition, instead prioritizing the atmospheric environments and their distinctive temperatures where they occur. For the artist national identity is often connected to sport and leisure. Doig has depicted skiers, hikers and cricket players at different points during his career. \u003c\/p\u003e\n\u003cp\u003eIn 2007, Doig became a household name when his painting “White Canoe” sold for $11.3 million at auction, setting the record at the time for the highest auction price by a living artist. By the age of 50, \u003cspan\u003ehe\u003c\/span\u003e had major retrospectives at the Tate Britain, the Paris Museum of Modern Art, and the Montreal Museum of Fine Art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eQuestions about this piece? \u003ca href=\"mailto:info@caviar20.com\"\u003e\u003cspan class=\"s1\"\u003eContact us\u003c\/span\u003e\u003c\/a\u003e or call \u003ca href=\"tel:+1.416.704.1720\"\u003e\u003cspan class=\"s1\"\u003e+1.416.704.1720\u003c\/span\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVisit our Toronto gallery on \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003e\u003cspan class=\"s1\"\u003eThursdays or by appointment\u003c\/span\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Subban and Nolan\"\u003c\/p\u003e\n\u003cp\u003e2017\u003c\/p\u003e\n\u003cp\u003eEtching with Spitbite\u003c\/p\u003e\n\u003cp\u003eSigned, dated, and numbered by the artist in silver ink along bottom edge\u003c\/p\u003e\n\u003cp\u003eEdition of 20\u003c\/p\u003e\n\u003cp\u003e24\"H 18\"W (sheet)\u003c\/p\u003e\n\u003cp\u003e26.75\"H 20.75\"W (framed)\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cem\u003eArs Publicata,\u003c\/em\u003e Peter Doig Editions, 2014.03\u003c\/p\u003e","brand":"Peter Doig","offers":[{"title":"Default Title","offer_id":46414038237420,"sku":"06-25","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Peter-Doig-Subban-_-Noland-_Hockey-Players__Thumbnail.jpg?v=1749136890"},{"product_id":"howard-hodgkin-books-for-the-paris-review-etching-1997","title":"HOWARD HODGKIN \"BOOKS FOR THE PARIS REVIEW\" ETCHING, 1997","description":"\u003cp\u003eHoward Hodgkin (1932-2017) was a renowned British painter and printmaker and an acclaimed \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003efigure of twentieth-century abstraction. \u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eDrawing inspiration from everyday life, he rendered sentimental motifs through a unique (and fluctuating) synthesis of abstract and representational styles. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHodgkin's printmaking methods were ambitious, spontaneous, and experimental. By layering different techniques, he was able to create complex painterly expressions in his multiples. Hodgkin enjoyed creating commissions - this image was made for the Paris Review, a New York cultural journal. \u003c\/p\u003e\n\u003cp\u003e\"Books for the Paris Review\" is a wonderful example of Hodgkin's unique printmaking methods. One of the techniques used, carborundum, partly embosses the paper when printed, giving the work a relief-like characteristic. Starting with several kinds of etching as a base, each print gets hand-coloured with ultramarine blue, green, and cadmium red. This hand-colouring technique is highly-admired by the artist and integral to his printmaking process. He employs an assistant to do the hand-colouring under close supervision to avoid any temptations at altering repeated imagery.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSwirling, brush-like marks printed in black are overlaid by a frame-like veil of cadmium red. Two bold strokes of green and ultramarine blue lay in its centre, slightly translucent and textured in their application. This red shape emulates Hodgkin's characteristic frame-within-a-picture device, where he would often incorporate a pictorial frame. \u003c\/p\u003e\n\u003cp\u003eLike many of Hodgkin's paintings, his print has a patiently layered, gestural quality. Unlike many of his pieces, the title \"Books for the Paris Review\" does not allude to aspects of his daily life (such as a meal eaten, a mood experienced, or a moment recalled). Despite this, it is probable that the inspiration for the image originated in a memory, event, or moment that he then imaginatively transformed.\u003c\/p\u003e\n\u003cp\u003eThis print is in the permanent collection of \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/hodgkin-books-for-the-paris-review-p20221\" rel=\"noopener\" target=\"_blank\"\u003ethe Tate.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992.\u003ci\u003e \u003c\/i\u003eToday, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Books for the Paris Review\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1997-99\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitialed \"HH\" numbered \"49\/80\" and dated \"97\" by artist in pencil, lower edge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e15\"H 16.25\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e21.5\"H 22.75\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLift-ground etching and aquatint from three copper plates, with carborundum from one aluminum plate, printed in three shades of grey and two shades of black, with hand colouring in ultramarine blue, green, and cadmium red acrylic. On 100% cotton paper from Two Rivers paper mill, Watchet, Somerset (350 gsm), hand made by Jim Patterson.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProofed by the artist and Jack Shirreff. Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait at the 107 Workshop, Wiltshire. Hand coloured by Jack Shirreff.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by the Paris Review, New York, 1998\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOverall good condition. Full report available on request.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cbr\u003eHeenk 100\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003eHoward Hodgkin: Small Prints\u003c\/i\u003e\u003cspan\u003e, exhibition catalogue, Alan Cristea Gallery, London 2001, reproduced (colour) p.6\u003c\/span\u003e\u003cbr\u003e\u003ci\u003eHoward Hodgkin: Venetian Views 1995\u003c\/i\u003e\u003cspan\u003e, exhibition catalogue, Alan Cristea Gallery, London 1995\u003c\/span\u003e\u003cbr\u003e\u003ci\u003eHoward Hodgkin: Prints 1977-1983\u003c\/i\u003e\u003cspan\u003e, exhibition catalogue, Tate Gallery, London 1985\u003c\/span\u003e\u003c\/p\u003e","brand":"Howard Hodgkin","offers":[{"title":"Default Title","offer_id":46527782519020,"sku":"05-25","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Howard-Hodgkin-Abstract-MWI8B-99436CB_Thumbnail.jpg?v=1749153421"},{"product_id":"anthony-caro","title":"ANTHONY CARO \"UNTITLED (ABSTRACT)\" INK \u0026 COLLAGE, 1963","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAnthony Caro (1924-2013) was an influential and innovative British sculptor. Caro played a pivotal role in the development of twentieth-century sculpture \u003c\/span\u003e\u003cspan\u003eintroducing abstraction through assemblages of metal using industrial and discarded components. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCaro studied engineering in London before training as a sculptor. He worked as an assistant to \u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/products\/henry-moore-title-sculpture-year?_pos=1\u0026amp;_sid=2aa1adc07\u0026amp;_ss=r\" target=\"_blank\"\u003eHenry Moore\u003c\/a\u003e\u003cspan\u003e from 1951-53. Caro is credited with numerous stylistic innovations such as placing his pieces directly on the ground.  His first solo show at the Whitechapel Gallery, London, in 1963, amplified his artistic voice, liberating ideas of what sculpture was and could be.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAfter travelling to the United States and meeting vanguard American artists such as David Smith (who was working with welded steel) Caro moved away from cast bronze and started working with steel beams, rods, plates, and tubes. He welded these objects into non-narrative compositions, later painting his works in flat, bold hues. \u003c\/p\u003e\n\u003cp\u003eAlthough steel was his preferred medium, Caro experimented with wood, paper, and lead. This bold and extremely rare work on paper was created in the same year as his first solo show. Caviar20 has a strong interest and focus in works on paper by sculptors. Unlike Henry Moore and many of his contemporaries, including Louise Nevelson or Bernar Venet, Caro made almost no editioned works and very rarely released drawings. This is an incredibly rare two-dimensional work that expresses the ideas and aesthetics that Caro would incorporate in his sculptural language.\u003c\/p\u003e\n\u003cp\u003eTwo vertical pieces of textured paper are arranged on a larger, slightly warmer sheet, adorned with thick, opaque, black brushstrokes. Sprays of ink fall away from the shapes, emphasizing the gestural movement and force with which they were applied. Between these segments is a sliver of primary blue, yellow, and red. While it's a two-dimensional work, the forms seem to expand off the page, pulsating with energy and confidence.\u003c\/p\u003e\n\u003cp\u003eAnthony Caro has had retrospectives at the MoMA, New York; the MCA, Tokyo; Tate Britain, London; among others. Major institutions across the globe hold his work in their permanent collections. He was knighted in 1987 and received the Order of Merit in May 2000. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Untitled (Abstract)\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1963\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInk and collage on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned \"Caro\" and dated \"7\/29\/63\" in pencil, upper right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e25.5\"H 19.5\"W (sheet)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e31.5\"H 25.5\"W (framed) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNewly framed with museum glass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition\u003c\/span\u003e\u003c\/p\u003e","brand":"Anthony Caro","offers":[{"title":"Default Title","offer_id":46527862964460,"sku":"06-25","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Anthony-Caro-Untitled-_abstract_-1963_Thumbnail.jpg?v=1749224266"},{"product_id":"anthony-caro-catalan-tap-dance-sculpture-1987-88","title":"ANTHONY CARO \"CATALAN TAP DANCE\" SCULPTURE, 1987","description":"\u003cp\u003eAnthony Caro (1924-2013) was an influential and innovative British sculptor. Caro played a pivotal role in the development of twentieth-century sculpture \u003cmeta charset=\"utf-8\"\u003eintroducing abstraction through assemblages of metal using industrial and discarded components. \u003c\/p\u003e\n\u003cp\u003eCaro studied engineering in London before training as a sculptor. He worked as an assistant to \u003ca href=\"https:\/\/www.caviar20.com\/products\/henry-moore-title-sculpture-year?_pos=1\u0026amp;_sid=2aa1adc07\u0026amp;_ss=r\" rel=\"noopener\" target=\"_blank\"\u003eHenry Moore\u003c\/a\u003e from 1951-53. Caro is credited with numerous stylistic innovations such as placing his pieces directly on the ground.  His first solo show at the Whitechapel Gallery, London, in 1963, amplified his artistic voice, liberating ideas of what sculpture was and could be.\u003c\/p\u003e\n\u003cp\u003eAfter travelling to the United States and meeting vanguard American artists--notably David Smith who worked with welded steel--Caro moved away from cast bronze and started working with steel beams, rods, plates, and tubes. He welded these objects into non-narrative compositions, later painting his works in flat, bold hues. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis energetic sculpture is part of Caro's Catalan series. Using steel elements from his workshop in Barcelona, he created a series of 33 table sculptures. Based on various aspects of Catalan culture, the pieces evoke the graceful, airy atmosphere of Gaudí and Catalan Art Nouveau. A selection of these were exhibited at the Sala de Exposiciones del Banco Bilbao Vizcaya, Barcelona, in 1989.\u003c\/p\u003e\n\u003cp\u003eRhythmically articulated, \"Catalan Tap Dance\" is a balanced expression of elegant energy. With strong vertical anchors, sweeping beams, and wooden nodules on its extremities, the sculpture leads our gaze through the sequence of its dance. Coming to life from different angles, the sculpture is imbued with lyricism and freed from spatial constraints. It embodies the metalwork design and vibrant culture of Barcelona.\u003c\/p\u003e\n\u003cp\u003eAnthony Caro has had retrospectives at the MoMA, New York; the MCA, Tokyo; Tate Britain, London; among others. Major institutions across the globe hold his work in their permanent collections. He was nighted in 1987 and received the Order of Merit in May 2000. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Catalan Tap-dance\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1987-88\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSteel and wood, rusted and waxed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e43\"H 37\"W 20\"D \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature: Dieter Blume, Anthony Caro Catalogue Raisonné Vol. VII, cat. no. 1830, illustrated pp. 26, 113.\u003c\/span\u003e\u003c\/p\u003e","brand":"Anthony Caro","offers":[{"title":"Default Title","offer_id":46529556185324,"sku":"06-25","price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Anthony-Caro-Catalan-Tap-dance-1987-1988_Thumbnail.jpg?v=1749226801"},{"product_id":"damien-hirst-ring-a-ring-of-roses-etching-2002","title":"DAMIEN HIRST \"RING-A-RING OF ROSES\" ETCHING, 2002","description":"\u003cp\u003eDamien Hirst (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp\u003e(In)famous internationally for encapsulating a tiger shark in a tank of formaldehyde, Hirst is the most successful and prolific artist from the group known as the Young British Artists (YBAs). Themes of mortality and decay continue to pervade his practice, evident in installations resembling mirrored pharmacy cabinets and molecular examination of narcotics.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSince the mid-1990s, Hirst has worked in an abstract mode, pouring paint onto rotating canvases mounted on a spin machine installed in his studio. For this series of etchings (\u003cem\u003eIn a Spin, the Action of the World on Things\u003c\/em\u003e), he attached copperplates to the machine and inscribed them as they spun. He used needles, screwdrivers, and other sharp tools in a performance-like ritual that extended over several days.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe concentric-circle format of the prints, as well as the portfolio’s title, was inspired by a long-exposure photograph Hirst took of the night sky, capturing the stars in an abstract pattern. His deep engagement with contemporary music also informs the series—from the images’ echoes of grooved vinyl LPs to the Pop-song lyrics appearing on many of the sheets.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis etching is layered with concentric rings at its centre. The rings wobble slightly, evoking the feeling of dizziness that comes with spinning around in circles. Around the round cluster of lines, dashes, and marks lies an expanse of blank page. This choice allows for the central component to continue growing, spinning, and moving in the viewer's imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"Ring a Ring of Roses,\" also known as \"Ring Around the Rosie,\" is a children's nursery rhyme and game in which players hold hands and walk or skip in a circle until the song ends, at which point they fall down. \u003cmeta charset=\"utf-8\"\u003eAlthough the rhyme is widely known, its origins remain debated; the enduring theory linking it to the Black Death is the most notable... a typical nod to mortality from Hirst.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Ring-a-ring of roses\"\u003c\/p\u003e\n\u003cp\u003eOne from a portfolio of twenty three etchings, \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn a Spin, the Action of the World on Things, \u003c\/em\u003eVolume 1\u003c\/p\u003e\n\u003cp\u003e2002\u003c\/p\u003e\n\u003cp\u003eEtching in colors on firm wove paper by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHahnemühle\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by the Paragon Press, London\u003c\/p\u003e\n\u003cp\u003ePrinted by Hope (Sufferance) Press, London\u003c\/p\u003e\n\u003cp\u003eSigned in pencil, lower right\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 68\u003c\/p\u003e\n\u003cp\u003e36\"H 27.5\"W  (sheet)\u003c\/p\u003e\n\u003cp\u003e38\"H 30\"W (framed)\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLullien, Etienne\/Simm, Florian-Oliver (ed.): Contemporary Art in Print. The publications of Charles Booth-Clibborn and his imprint, The Paragon Press 2001-2006, London 2006, p. 81.\u003c\/span\u003e\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":46934258450668,"sku":"10-25","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Ring-a-ring-of-roses-etching-2002_01_f6923d37-b323-4fa1-a7eb-e2bd0862b8ff.jpg?v=1761858730"},{"product_id":"chris-ofili-use-your-heart-2005","title":"CHRIS OFILI \"USE YOUR HEART\" 2005","description":"\u003cp class=\"p1\"\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/chris-ofili\"\u003eChris Ofili\u003c\/a\u003e (b. 1968) is renowned for his vibrant, multi-layered works that celebrate Afrocentrism through both figurative and abstract approaches. He came to prominence in the 1990's as both a YBA (Young British Artist) and \u003ca href=\"https:\/\/news.artnet.com\/art-world\/art-bites-rudy-giuliani-brooklyn-museum-2466186\" title=\"Artnet news Chris Ofili Brooklyn Museum scandal\"\u003ethe scandal surrounding his painting \"The Holy Virgin Mary\" exhibited at the Brooklyn Museum in 1999\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOfili’s oeuvre is rich with kaleidoscopic compositions realized through unconventional mediums such as beads, glitter, map pins, and most notoriously, elephant dung. His work often includes obscured imagery, intricate symbolism, and diverse cultural references that contribute to a larger narrative.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eOfili produced this print in a limited edition as a fundraiser in the aftermath of Hurricane Katrina. It was sold for one night only at a benefit in New York, which many contemporary artists contributed to.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis work features two stylized figures in profile, engaged in an intimate moment. They are depicted in deep navy, against a slightly reflective silver page. Musical staffs add visual depth to the background, anchoring notes and lyrics that float above the figures: \"You will not lose, not if you use your heart.\"  \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOfili’s work combines painterly and cultural elements to play on ideas of beauty while carrying messages about black culture, history, and exoticism. His art draws on a range of sources—including jazz and hip-hop music, the Bible, and the works of artist and poet William Blake—and can be understood physically as well as metaphorically.\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eOfili was the recipient of the Turner Prize in 1998. His work is celebrated in public collections across the globe including the Tate (London), Studio Museum Harlem (New York), and the San Fransisco Museum of Art.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\"Use Your Heart\"\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e2005\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eScreenprint\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSigned and dated by the artist, lower left\u003c\/p\u003e\n\u003cp\u003eFrom an unknown edition (likely 100 examples) \u003c\/p\u003e\n\u003cp\u003e33\"H 23.5\"W (work)\u003c\/p\u003e\n\u003cp\u003e37\"H 27.25\"W (framed)\u003c\/p\u003e\n\u003cp\u003eDetailed condition report by request. Very good condition\u003c\/p\u003e","brand":"Chris Ofili","offers":[{"title":"Default Title","offer_id":46961370923244,"sku":"10-25","price":1850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Chris-Ofili-Exhibition-Poster_01.jpg?v=1764272760"},{"product_id":"damien-hirst-for-the-love-of-god-laugh-screenprint-2007","title":"DAMIEN HIRST \"FOR THE LOVE OF GOD, LAUGH\" SCREENPRINT, 2007","description":"\u003cp\u003eDamien Hirst (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp\u003e(In)famous internationally for encapsulating a tiger shark in a tank of formaldehyde, Hirst is the most successful and prolific artist from the group known as the Young British Artists (YBAs). Themes of mortality and decay continue to pervade his practice, evident in installations resembling mirrored pharmacy cabinets and molecular examination of narcotics.\u003c\/p\u003e\n\u003cp data-start=\"178\" data-end=\"892\"\u003eContinuing Hirst's contemplation of the dilemmas of human existence, \"For the love of God, Laugh\" rebels against mortality by transforming the human skull into a glittering object of desire. Coated with diamond dust, the print depicts Hirst’s sculptural work \u003cem data-start=\"475\" data-end=\"496\"\u003eFor the Love of God\u003c\/em\u003e (2007), a platinum cast of an eighteenth-century human skull encrusted with 8,601 diamonds.\u003c\/p\u003e\n\u003cp data-start=\"178\" data-end=\"892\"\u003eA familiar motif in memento mori still lifes, the skull is a haunting symbol of contemplation and foreboding. Our attention is drawn to its vacant smile—with teeth remaining as the only element not covered by diamonds\u003cmeta charset=\"utf-8\"\u003e—introducing a sardonic humour and sense of defiance that suggests a momentary triumph over decay.\u003c\/p\u003e\n\u003cp data-start=\"894\" data-end=\"1461\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eA consistent aspect of Hirst’s practice gestures toward the value we place on art and life, and the various ways we confront the inevitability of death—physically, culturally, and philosophically. This screenprint of his notorious diamond skull crystallizes those concerns with particular clarity, its dazzling surface heightening the tension between allure and impermanence. Hirst’s unmistakable dark wit threads through the work, turning an object traditionally associated with mortality into a radiant, almost seductive emblem of both transcendence and futility.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"For the Love of God, Laugh\"\u003c\/p\u003e\n\u003cp\u003eLondon, 2007\u003c\/p\u003e\n\u003cp\u003eScreenprint in colors with glazes and diamont dust on wove paper\u003c\/p\u003e\n\u003cp\u003eSigned in black felt-tip pen and numbered 233\/250 in pencil on verso\u003c\/p\u003e\n\u003cp\u003ePublished by Other Criteria, London\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 250\u003c\/p\u003e\n\u003cp\u003e39.5\"H 29.5\"W  (sheet)\u003c\/p\u003e\n\u003cp\u003e43\"H 33\"W (framed)\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eProvenance: White Cube Gallery, London\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47036902211820,"sku":"11-25","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-For-the-Love-of-god-Laugh_01.jpg?v=1764346868"},{"product_id":"henry-moore-mother-and-child-pl-6-etching-1987","title":"HENRY MOORE \"MOTHER AND CHILD - PL 6\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.). \u003cmeta charset=\"utf-8\"\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa. \u003cmeta charset=\"utf-8\"\u003e\u003ca title=\"Henry Moore prints exhibition tour organized by the British Council\" href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. A mother lays on the floor, holding a seated child in her outstretched arms. She gazes at her offspring, frozen in this precious moment. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\" title=\"The Archer Henry Moore\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate Six, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 6,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia on Arches wove paper, 1983\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 (+ 15 AP, 10 HC)\u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e4\"H 5\"W (plate)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003e17.5\"H 15.5\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 706\u003c\/p\u003e\n\u003cp\u003eReference: CGM 706\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47037519266028,"sku":"11-25","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL-6_01.jpg?v=1771530961"},{"product_id":"henry-moore-mother-and-child-pl-8-etching-1983","title":"HENRY MOORE \"MOTHER AND CHILD - PL 8\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.).\u003cspan\u003e \u003c\/span\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa.\u003cspan\u003e \u003c\/span\u003e\u003ca title=\"Henry Moore prints exhibition tour organized by the British Council\" href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. A mother sits on a pedestal, holding a standing child on her lap. She gazes at her offspring, frozen in this precious moment. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\" title=\"The Archer Henry Moore\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO). \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate Eight, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 8,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia, 1983, on Arches wove paper\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 \u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e17.5\"H 15.5\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 708\u003c\/p\u003e\n\u003cp\u003eReference: CGM 708\u003c\/p\u003e\n\u003cp\u003eNote: Framed images coming soon.\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47037849108716,"sku":"11-25","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL-8_01.jpg?v=1771531036"},{"product_id":"damien-hirst-psilocybin-2013","title":"DAMIEN HIRST \"PSILOCYBIN\" 2013","description":"\u003cp data-end=\"373\" data-start=\"248\"\u003eDamien Hirst (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp data-end=\"735\" data-start=\"375\"\u003e(In)famous internationally for encapsulating a tiger shark in a tank of formaldehyde, Hirst is the most successful and prolific artist from the group known as the Young British Artists (YBAs). Themes of mortality and decay continue to pervade his practice, evident in installations resembling mirrored pharmacy cabinets and molecular examinations of narcotics.\u003c\/p\u003e\n\u003cp data-end=\"1240\" data-start=\"737\"\u003e\u003cem data-end=\"766\" data-start=\"754\"\u003e\"\u003c\/em\u003ePsilocybin\u003cem data-end=\"766\" data-start=\"754\"\u003e\" \u003c\/em\u003edepicts a grid of vividly coloured spots set against a pristine white ground. Produced using lenticular technology, the work introduces subtle movement: as the viewer shifts position, the dots appear to slide laterally, animating what might otherwise read as a static composition.\u003c\/p\u003e\n\u003cp data-end=\"1240\" data-start=\"737\"\u003eThe print is based on Hirst’s celebrated \"Spot\" paintings, a series of more than 1,400 works that employ coloured dots arranged in strict grid formations. The \"Spot\" works began in the late 1980's, but became iconic and reveered in the late nineties. They gave the illusion of being mechanically produced despite being painted. Some of the composition of colors were random, others calculated, and some (such as this work) are based on the chemical structure of narcotics and pharmaceuticals.\u003c\/p\u003e\n\u003cp data-end=\"1817\" data-start=\"1242\"\u003e\"Psilocybin\" deploys a visual language that is immediately bright and playful, yet charged with a sharp, cynical satire. Here, movement itself becomes a vehicle for meaning. At his most effective, Hirst layers complexity beneath apparent simplicity, and this lenticular edition is no exception.\u003c\/p\u003e\n\u003cp\u003eThis is a classic and iconic Damien Hirst from the 2000s in a domestically sized scale. It is an ideal work for a young collector. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Psilocybin\"\u003c\/p\u003e\n\u003cp\u003eLondon, 2013\u003c\/p\u003e\n\u003cp\u003eLenticular panel and digital print in colors on PETG plastic\u003c\/p\u003e\n\u003cp\u003eSigned and numbered 73\/100 in red marker, lower edge\u003c\/p\u003e\n\u003cp\u003ePublished by Other Criteria, London\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 100\u003c\/p\u003e\n\u003cp\u003e23\"H 15\"W  (work)\u003c\/p\u003e\n\u003cp\u003e24\"H 16\"W (framed)\u003c\/p\u003e\n\u003cp\u003eIn artist's original frame with UV filtering perspex glazing\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47132443377900,"sku":"12-25","price":21500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Psilocybin-lenticular_01.jpg?v=1766251418"},{"product_id":"howard-hodgkin-two-to-go-lithograph-1981-82","title":"HOWARD HODGKIN \"TWO TO GO\" LITHOGRAPH, 1981-82","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eHoward Hodgkin (1932–2017) was a renowned British painter and printmaker and a central figure in twentieth-century abstraction. Drawing inspiration from everyday life, he rendered sentimental motifs through a shifting synthesis of abstract and representational styles.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eHodgkin's printmaking methods were ambitious, spontaneous, and experimental. Rather than using the medium merely to replicate his paintings, he treated it as an essential site for experimentation, exploring colour, texture, and form with the same emotional intensity that defined his painted work. From the 1970s onward, his prints combined multiple techniques, including hand-colouring and layered processes, creating compositions that were as expressive and painterly as they were formally inventive.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Two to Go\" \u003c\/span\u003e(often paired with its companion print\u003cspan\u003e \u003c\/span\u003e\"\u003ca href=\"https:\/\/www.caviar20.com%20%E2%80%BA%20products%20%E2%80%BA%20howard-hodgkin-one-down-lithograph-1981-82\"\u003eOne Down\u003c\/a\u003e\") is one of the few monochrome works in Hodgkin’s print output from this period. The layering of printed marks and hand-applied gouache creates a rich, tapestry-like effect. Full of movement and vigour, the marks highlight a central form, punctuated by opaque black dots and a sheer white overlay. \u003c\/p\u003e\n\u003cp\u003eThrough his prints, Hodgkin demonstrates that abstraction can carry the weight of memory, emotion, and lived experience, further solidifying his legacy as an artist who blurred the line between image and feeling.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992.\u003ci\u003e \u003c\/i\u003eToday, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \"Two to Go\" is in the permanent collection of the \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/64674\"\u003eMoMa\u003c\/a\u003e, and the University of Kentucky \u003ca href=\"https:\/\/howard-hodgkin.com\/collection\/kentucky\"\u003eArt Museum\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Two to Go\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1981-82\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNumbered \"82\/100\" lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitialed \"HH\" and dated \"81\" lower centre\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition: 100 + 25 APs\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e36\"H 48\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e43.25\"H 55.25\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLithograph from three aluminum plates printed in classic black, transparent grey and violet black, with hand colouring in gouache (four different greys), on buff Velin Arches mould-made paper (300 gsm).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProofed and printed by Judith Solodkin at Solo Press Inc., New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHand-coloured by Cinda Sparling, New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Bernard Jacobson, Ltd., London, 1982\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature: \u003c\/span\u003e\u003cspan\u003eHeenk 66; exh. cat. Tate Gallery, London, 1985, cat. number 43.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNote: The original owner of the print has stated that the frames were painted by Hodgkin (which he was known to do), but confirmation is pending.\u003c\/span\u003e\u003c\/p\u003e","brand":"Howard Hodgkin","offers":[{"title":"Default Title","offer_id":47132462285036,"sku":null,"price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Howard-Hodgkin-Two-to-Go-1981-82_01.jpg?v=1766253633"},{"product_id":"howard-hodgkin-one-down-lithograph-1981-82","title":"HOWARD HODGKIN \"ONE DOWN\" LITHOGRAPH, 1981-82","description":"\u003cp\u003eHoward Hodgkin (1932–2017) was a renowned British painter and printmaker, and a central figure in twentieth-century abstraction. Drawing inspiration from everyday life, he rendered sentimental motifs through a shifting synthesis of abstract and representational styles.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eHodgkin's printmaking methods were ambitious, spontaneous, and experimental. Rather than using the medium merely to replicate his paintings, he treated it as an essential site for experimentation; exploring colour, texture, and form with the same emotional intensity that defined his painted work. From the 1970s onward, his prints combined multiple techniques, including hand-colouring and layered processes, creating compositions that were as expressive and painterly as they were formally inventive.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"One Down\" \u003c\/span\u003e(often paired with its companion print\u003cspan\u003e \u003c\/span\u003e\"\u003ca href=\"https:\/\/www.caviar20.com%20%E2%80%BA%20products%20%E2%80%BA%20howard-hodgkin-two-to-go-lithograph-1981-82\"\u003eTwo to Go\u003c\/a\u003e\") is one of the few monochrome works in Hodgkin’s print output from this period. The layering of printed marks and hand-applied gouache creates a rich, tapestry-like effect. Full of movement and vigour, black dots and dashes highlight a central form, overlaid with grey-washes in differing levels of opacity creating a sense of pictorial depth.\u003c\/p\u003e\n\u003cp\u003eThrough his prints, Hodgkin demonstrates that abstraction can carry the weight of memory, emotion, and lived experience, further solidifying his legacy as an artist who blurred the line between image and feeling.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992.\u003ci\u003e \u003c\/i\u003eToday, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"One down\" is in the permanent collection of the \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/64674\"\u003eMoMa\u003c\/a\u003e, and the University of Kentucky \u003ca href=\"https:\/\/howard-hodgkin.com\/collection\/kentucky\"\u003eArt Museum\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"One down\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1981-82\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNumbered \"43\/100\" lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitialed \"HH\" and dated \"81\" lower centre\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition: 100 + 25 APs\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e36\"H 48\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e43.25\"H 55.25\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLithograph from three aluminum plates printed in classic black, transparent brown\/black and violet black, with hand colouring in gouache (three different greys), on buff Velin Arches mould-made paper (300 gsm).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProofed and printed by Judith Solodkin at Solo Press Inc., New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHand-coloured by Cinda Sparling, New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Bernard Jacobson, Ltd., London, 1982\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature: \u003c\/span\u003e\u003cspan\u003eHeenk 65\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNote: The original owner of the print has stated that the frames were painted by Hodgkin (which he was known to do), but confirmation is pending.\u003c\/span\u003e\u003c\/p\u003e","brand":"Howard Hodgkin","offers":[{"title":"Default Title","offer_id":47132470051052,"sku":"01-26","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Howard-Hodgkin-One-Down-1981-82_01.jpg?v=1766254463"},{"product_id":"howard-hodgkin-red-listening-ear-1986","title":"HOWARD HODGKIN \"RED LISTENING EAR\" 1986","description":"\u003cp\u003eHoward Hodgkin (1932-2017) was a renowned British painter and printmaker and an acclaimed \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003efigure of twentieth-century abstraction. \u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eDrawing inspiration from everyday life, he rendered sentimental motifs through a unique (and fluctuating) synthesis of abstract and representational styles. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eThough Hodgkin is best known for his vivid, large-scale paintings, his work in print reveals an equally rich perspective on his artistic development. From the 1970s onward, he approached printmaking with the same exuberance and emotional intensity that characterizes his painted practice. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHodgkin's printmaking methods were ambitious, spontaneous, and experimental. By layering different techniques, he was able to create complex painterly expressions in his multiples. \u003c\/p\u003e\n\u003cp\u003e\"Red Listening Ear\" is a wonderful example of Hodgkin's unique printmaking methods. One of the techniques used, carborundum, partly embosses the paper when printed, giving the work a relief-like characteristic. This hand-colouring technique is highly-admired by the artist and integral to his printmaking process. He employs an assistant to do the hand-colouring under close supervision to avoid any temptations at altering repeated imagery.\u003c\/p\u003e\n\u003cp\u003eLike many of Hodgkin's paintings, his print has a patiently layered, gestural quality. More than a mere mechanical reproduction, this print is a tactile artwork that embodies the artist's personal responses to memories, places, and emotions.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992.\u003ci\u003e \u003c\/i\u003eToday, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Red Listening Ear\" (also called Listening Ear)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1986\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNumbered \"54\/100\" lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitialed \"HH\" and dated \"86\" lower centre\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition: 100 + 25 APs\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e18.5\"H 25.25\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e25.25\"H 32.25\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIntaglio print with carborundum from three aluminum plates printed in two shades of black and two shades of red ochre and chrome yellow (mixed), with hand colouring in alizarin red egg tempera, on TH Saunders NOT paper (240 gsm).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrinted and hand coloured by Jack Shirreff at the 107 Workshop, Wiltshire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Bernard Jacobson, Ltd., London, 1986\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature: \u003c\/span\u003e\u003cspan\u003eHeenk 74.\u003c\/span\u003e\u003c\/p\u003e","brand":"Howard Hodgkin","offers":[{"title":"Default Title","offer_id":47132513173740,"sku":"12-25","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Howard-Hodgkin-Listening-Ear-Red-1986_01.jpg?v=1766262742"},{"product_id":"damien-hirst-spin-mint-2023","title":"DAMIEN HIRST \"THE BEAUTIFUL PAINTINGS\" 2023","description":"\u003cp\u003eDamien Hirst (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp\u003eBuilding on the legacy of his celebrated\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpin Paintings\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks a new chapter in Hirst’s engagement with abstraction, extending the logic of chance and controlled chaos into the digital realm. Created using generative and machine-learning algorithms, the series blurs the boundary between physical and digital production, allowing for endless variation within a tightly defined system.\u003c\/p\u003e\n\u003cp\u003eCollectors were welcomed to choose a small palette of digital colors and a format. Hirst then applied these selections to a program to create a unique printed spin painting. The project was a fascinating series that promoted collaboration, accessibility and a new form of patronage for the internet era. All underscoring Hirst’s sustained interest in authorship, reproducibility, and the evolving status of the art object.\u003c\/p\u003e\n\u003cp\u003ePrinted on canvas and mounted on a stretcher, the physical works are hand-signed by the artist, reaffirming the presence of the hand within a technologically driven process. Poetic, often enigmatic titles further animate the series, reinforcing Hirst’s enduring preoccupation with beauty, impermanence, and repetition within an ever-expanding contemporary framework.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Beautiful, Equally Capacious, Too Keenly Studied, Vast And Brilliant Collapser Painting\"\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2023\u003c\/p\u003e\n\u003cp\u003eGiclée print on poly-cotton artist canvas mounted on a birch plywood stretcher\u003c\/p\u003e\n\u003cp\u003eSigned on face\u003c\/p\u003e\n\u003cp\u003ePublished by HENI Editions\u003c\/p\u003e\n\u003cp\u003eHENI Editions catalogue no. H12-4\u003c\/p\u003e\n\u003cp\u003eHENI edition no. H12-4-922\u003c\/p\u003e\n\u003cp\u003e9\" diameter\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47211613061356,"sku":"01-26","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Beautiful-Equally-Capacious-2023_MintSpin__01.jpg?v=1768326484"},{"product_id":"damien-hirst-the-beautiful-paintings-2023","title":"DAMIEN HIRST \"THE BEAUTIFUL PAINTINGS\" 2023","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/damien-hirst\"\u003eDamien Hirst\u003c\/a\u003e (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp\u003eBuilding on the legacy of his celebrated\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpin Paintings\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks a new chapter in Hirst’s engagement with abstraction, extending the logic of chance and controlled chaos into the digital realm. Created using generative and machine-learning algorithms, the series blurs the boundary between physical and digital production, allowing for endless variation within a tightly defined system.\u003c\/p\u003e\n\u003cp\u003eCollectors were welcomed to choose a small palette of digital colors and a format. Hirst then applied these selections to a program to create a unique printed spin painting. The project was a fascinating series that promoted collaboration, accessibility and a new form of patronage for the internet era. All underscoring Hirst’s sustained interest in authorship, reproducibility, and the evolving status of the art object.\u003c\/p\u003e\n\u003cp\u003ePrinted on canvas and mounted on a stretcher, the physical works are hand-signed by the artist, reaffirming the presence of the hand within a technologically driven process. Poetic, often enigmatic titles further animate the series, reinforcing Hirst’s enduring preoccupation with beauty, impermanence, and repetition within an ever-expanding contemporary framework.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Beautiful, Utterly Brilliant, Exceedingly Disagreeable, Strange Star Cluster Painting\"\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2023\u003c\/p\u003e\n\u003cp\u003eGiclée print on poly-cotton artist canvas mounted on a birch plywood stretcher\u003c\/p\u003e\n\u003cp\u003eSigned on face\u003c\/p\u003e\n\u003cp\u003ePublished by HENI Editions\u003c\/p\u003e\n\u003cp\u003eHENI Editions catalogue no. H12-4\u003c\/p\u003e\n\u003cp\u003eHENI edition no. H12-4-989\u003c\/p\u003e\n\u003cp\u003e9\" diameter\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47211653923052,"sku":"01-26","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Beautiful-Star-Cluster-2023_01.jpg?v=1768326628"},{"product_id":"damien-hirst-the-beautiful-paintings-2024","title":"DAMIEN HIRST \"THE BEAUTIFUL PAINTINGS\" 2023","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/damien-hirst\"\u003eDamien Hirst\u003c\/a\u003e (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era.\u003c\/p\u003e\n\u003cp\u003eBuilding on the legacy of his celebrated\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpin Paintings\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks a new chapter in Hirst’s engagement with abstraction, extending the logic of chance and controlled chaos into the digital realm. Created using generative and machine-learning algorithms, the series blurs the boundary between physical and digital production, allowing for endless variation within a tightly defined system.\u003c\/p\u003e\n\u003cp\u003eCollectors were welcomed to choose a small palette of digital colors and a format. Hirst then applied these selections to a program to create a unique printed spin painting. The project was a fascinating series that promoted collaboration, accessibility and a new form of patronage for the internet era. All underscoring Hirst’s sustained interest in authorship, reproducibility, and the evolving status of the art object.\u003c\/p\u003e\n\u003cp\u003ePrinted on canvas and mounted on a stretcher, the physical works are hand-signed by the artist, reaffirming the presence of the hand within a technologically driven process. Poetic, often enigmatic titles further animate the series, reinforcing Hirst’s enduring preoccupation with beauty, impermanence, and repetition within an ever-expanding contemporary framework.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener noreferrer\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Beautiful, Proudly Accented Tourbillon Painting\"\u003c\/p\u003e\n\u003cp\u003eFrom \u003cem\u003eThe Beautiful Paintings\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2023\u003c\/p\u003e\n\u003cp\u003eGiclée print on poly-cotton artist canvas mounted on a birch plywood stretcher\u003c\/p\u003e\n\u003cp\u003eSigned on face (unique)\u003c\/p\u003e\n\u003cp\u003ePublished by HENI Editions\u003c\/p\u003e\n\u003cp\u003eHENI Editions catalogue no. H12-7\u003c\/p\u003e\n\u003cp\u003eHENI edition no. H12-7-127\u003c\/p\u003e\n\u003cp\u003e16\"H 16\"W\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47211657822444,"sku":"01-26","price":4950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Tourbillion-2023_01.jpg?v=1768326858"},{"product_id":"david-hockney-serenade-etching-1976-77","title":"DAVID HOCKNEY \"SERENADE\" ETCHING, 1976","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/david-hockney\"\u003eDavid Hockney\u003c\/a\u003e (b. 1937) is one of the most influential British artists of the twentieth century and is arguably the most important European contributor to the Pop Art movement of the 1960s.\u003c\/p\u003e\n\u003cp\u003eHockney has experimented with and mastered numerous art mediums, having worked with photography, collage, drawing, painting, set design, and printmaking. His style has evolved during his lengthy career, yet his work is always identifiable for a certain optimism and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eje ne sais quoi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ejoy.\u003c\/p\u003e\n\u003cp\u003eIn 1976 Hockney produced a suite of twenty etchings entitled “The Blue Guitar: Etchings by David Hockney Who Was Inspired by Wallace Stevens Who Was Inspired by Pablo Picasso.” \u003cmeta charset=\"utf-8\"\u003eCreated at the studio of master printer Aldo Crommelynck—who had previously collaborated with Picasso—the series translates the themes of Wallace Stevens’s poem \u003cem data-start=\"1078\" data-end=\"1108\"\u003eThe Man with the Blue Guitar\u003c\/em\u003e into visual form rather than literal illustration.\u003c\/p\u003e\n\u003cp\u003eMost of the suite's imagery illustrates Hockney's appreciation of Picasso. He often contrasts Picasso's phases within the same work, distinguishing the styles with different colours. \"Serenade\" is a fascinating amalgamation of a respect for art history and an acknowledgement of inspiration combined with innovation and a personal approach to an existing subject.  \u003c\/p\u003e\n\u003cp\u003eThis print can be found in the permanent collections of the \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/200735?association=portfolios\u0026amp;page=1\u0026amp;parent_id=69121\u0026amp;sov_referrer=association\"\u003eMoMA\u003c\/a\u003e, New York; the \u003ca href=\"https:\/\/www.nga.gov\/artworks\/72318-serenade\"\u003eNational Gallery\u003c\/a\u003e, Washington; and the \u003ca href=\"https:\/\/www.artic.edu\/artworks\/131316\/serenade-from-the-blue-guitar\"\u003eArt Institute of Chicago\u003c\/a\u003e, among others.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\" rel=\"noopener\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Serenade\" from \u003cem\u003eThe Blue Guitar\u003c\/em\u003e portfolio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1976-77, published 1977\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEtching and aquatint from a portfolio of twenty etchings (eighteen with aquatint and one with drypoint)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned in pencil, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNumbered \"149\/200\" in pencil, lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Petersburg Press, London and New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrinted by Maurice Payne, Petersburg Press, London and New York\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e20.5\"H 18\"W (sheet)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e23.5\"H 20.25\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLiterature:\u003cbr\u003e1991: \u003cem\u003eArt for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art.\u003c\/em\u003e Exh. cat. National Gallery of Art, Washington, 1991: p.460.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1996: Tokyo-to Gendai Bijutsukan. \u003cem\u003eDavid Hockney: Prints 1954-1995. \u003c\/em\u003eTokyo, Japan: Museum of Contemporary Art and Tankosha Publishing Co., 1996, no. 196.\u003c\/span\u003e\u003c\/p\u003e","brand":"David Hockney","offers":[{"title":"Default Title","offer_id":47212455592172,"sku":"01-26","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_David-Hockney-Serenade-1976-77_01.jpg?v=1768490476"},{"product_id":"ben-nicholson-turkish-sundial-and-column-etching-1967","title":"BEN NICHOLSON \"TURKISH SUNDIAL AND COLUMN\" ETCHING, 1967","description":"\u003cp data-end=\"542\" data-start=\"139\"\u003eBen Nicholson (1894–1982) was a leading figure in British Modernism. His innovative approach to abstract composition shaped painting and sculpture in the 20th Century.\u003c\/p\u003e\n\u003cp data-end=\"542\" data-start=\"139\"\u003eNicholson was interested in exploring how flat simple shapes of pure color could create the illusion of depth and greater forms. While his early work drew on Constructivism and Cubism, he quickly developed a distinctive style that combined abstraction and representation. He experimented with color, form, and texture, forging a visual language that set him apart from his peers.\u003c\/p\u003e\n\u003cp data-end=\"881\" data-start=\"544\"\u003eHe gained prominence through the Seven and Five Society, where he championed a shift toward pure abstraction. Alongside Barbara Hepworth (\u003cmeta charset=\"utf-8\"\u003ehis ex-wife) and Henry Moore, Nicholson was central to British Modernist sculpture. \u003cmeta charset=\"utf-8\"\u003eBeyond his own work, he influenced younger artists as a teacher and mentor.\u003c\/p\u003e\n\u003cp data-end=\"1139\" data-start=\"883\"\u003eNicholson experimented widely across media and techniques. His prints, like his paintings and reliefs, show a minimalist sensibility and a keen understanding of spatial dynamics. \u003c\/p\u003e\n\u003cp data-end=\"1371\" data-start=\"1141\"\u003e\"Turkish Sundial and Column\" exemplifies his aesthetic explorations. This etching comes from a portfolio of ten works, each exploring Greek and Turkish forms. The lines of the column and sundial are applied with differing perspectives, creating an effect of movement and depth. The plate's shape and form comes into play in this composition, emphasizing the illustrated elements.\u003c\/p\u003e\n\u003cp\u003eThis print can be found in the permanent collection of the \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/nicholson-turkish-sundial-column-p02014\"\u003eTate\u003c\/a\u003e, London; the \u003ca href=\"https:\/\/www.nationalgalleries.org\/art-and-artists\/94548\/1967-turkish-sundial-and-column\"\u003eNational Galleries of Scotland\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us,\u003c\/a\u003e\u003cspan\u003e call 416.704.1720, or \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto gallery\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Turkish Sundial and Column\"\u003c\/p\u003e\n\u003cp\u003eFrom \"Greek and Turkish Forms,\" a suite of 10 etchings\u003c\/p\u003e\n\u003cp\u003eEngland, 1967\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEtching on wove paper\u003c\/p\u003e\n\u003cp\u003eSigned, dated, and numbered \"35\/50\" in pencil, lower right\u003c\/p\u003e\n\u003cp\u003ePublished by Ganymed Original Editions Ltd and Marlborough Fine Art Ltd, London\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePrinted by Atelier Lafranca, Lugano, with their blindstamp\u003c\/p\u003e\n\u003cp\u003e8.5\"H 9\"W (plate)\u003c\/p\u003e\n\u003cp\u003e14.75\"H 12.5\"W (sheet)\u003c\/p\u003e\n\u003cp\u003e15.75\"H 13.5\"W (framed)\u003c\/p\u003e\n\u003cp\u003eOverall good condition. Full report available on request.\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003cem\u003eThe Tate Gallery: Acquisitions 1968-69\u003c\/em\u003e, London, 1969\u003c\/p\u003e","brand":"Ben Nicholson","offers":[{"title":"Default Title","offer_id":47218760679660,"sku":"01-26","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Ben-Nicholson-Turkish-Sundial-and-Column-1967_01.jpg?v=1768497079"},{"product_id":"bridget-riley-coloured-greys-screenprint-1972","title":"BRIDGET RILEY \"COLOURED GREYS\" SCREENPRINT, 1972","description":"\u003cp class=\"p1\"\u003eBridget Riley (b. 1931) is an influential British abstract painter who came to prominence in the 1960's as the Op Art movement emerged.\u003c\/p\u003e\n\u003cp\u003eRiley first gained international recognition in 1965 when her work was exhibited in the MoMA group-exhibition \u003ca title=\"Bridget Riley MoMA the Responsive Eye\" href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/2914\"\u003e\"The Responsive Eye.\"\u003c\/a\u003e Her artwork creates illusions of movement from strict graphic patterns. She was one of the only women working in this genre and her practice evolved alongsideVictor Vasarely, Richard Anuszkiewicz, Frank Stella, and Ellsworth Kelly to mention a few.  \u003c\/p\u003e\n\u003cdiv class=\"flex flex-col text-sm\"\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:902e11da-23ce-4e16-86e3-90d346d1a427-1\" data-testid=\"conversation-turn-4\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"800f22c9-2086-4662-afca-9f073599903e\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word light markdown-new-styling\"\u003e\n\u003cp data-start=\"0\" data-end=\"593\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eWorking with purely abstract, geometric forms, Op artists developed visual patterns designed to stimulate the optic nerves, generating the illusion of complex three-dimensional space on an otherwise flat surface. In her early work, Riley often relied on black and white or restricted monochrome palettes to achieve these effects, frequently producing series focused on a single motif.\u003c\/p\u003e\n\u003cp data-start=\"0\" data-end=\"593\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eIn \u003cem data-start=\"440\" data-end=\"456\"\u003eColoured Greys\u003c\/em\u003e, color is restrained and subtle, yet essential to the play of light and movement, suggesting rhythms and shifts reminiscent of the sea.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003cp\u003eIn 1968, Riley represented Great Britain at the Venice Biennale where she became the first woman to win the International Prize for painting. \u003c\/p\u003e\n\u003cp\u003e\"Coloured Greys\" is held in the permanent collections of the \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/riley-coloured-greys-i-p01578\"\u003eTate\u003c\/a\u003e, London; the \u003ca href=\"https:\/\/buffaloakg.org\/artworks\/p19754-coloured-greys-i\"\u003eBuffalo AKG Art Museum\u003c\/a\u003e; the \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O157083\/coloured-greys-i-print-riley-bridget\/\"\u003eVictoria \u0026amp; Albert Museum\u003c\/a\u003e, London; the \u003ca href=\"https:\/\/walkerart.org\/collections\/artworks\/coloured-greys\"\u003eWalker Art Center\u003c\/a\u003e, Minneapolis; among others.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto Gallery\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Coloured Greys I\" \u003c\/p\u003e\n\u003cp\u003eEngland, 1972\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eColored screenprint on wove paper\u003c\/p\u003e\n\u003cp\u003ePrinted by Kelpra Studio, London\u003c\/p\u003e\n\u003cp\u003eTitled and numbered in pencil, lower left\u003c\/p\u003e\n\u003cp\u003eSigned and dated in pencil, lower right\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 125\u003c\/p\u003e\n\u003cp\u003e29.25\"H 27.5\"W (sheet)\u003c\/p\u003e\n\u003cp\u003eVery good condition.\u003c\/p\u003e\n\u003cp\u003eArtwork is framed in a period plexi-box. Minor wear to plexi typical of age. \u003c\/p\u003e\n\u003cp\u003eReference: KS 16\u003c\/p\u003e","brand":"Bridget Riley","offers":[{"title":"Default Title","offer_id":47256037261548,"sku":"02-26","price":21500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Bridget-Riley-Coloured-Greys-1972_01.jpg?v=1769528524"},{"product_id":"banksy-welcome-mat-2019","title":"BANKSY \"WELCOME MAT\" 2019","description":"\u003cp\u003eBanksy (b. 1974) is a pseudonymous street-artist and political activist whose real name and identity remain the subject of speculation.\u003c\/p\u003e\n\u003cp data-start=\"131\" data-end=\"633\"\u003e\"Welcome Mat\" is a sculptural\/ephemera work created as part of Banksy's Gross Domestic Product™ project–a collection of deliberately ironic products designed to critique consumer culture, authorship, and the commercialization of politically-engaged art (Gross Domestic Product\u003cmeta charset=\"utf-8\"\u003e™...where art irritates life). The mat is crafted from\u003cstrong data-start=\"454\" data-end=\"524\" data-is-only-node=\"\"\u003e \u003c\/strong\u003epieces of salvaged life vests found on Mediterranean beaches, which were once worn by refugees attempting perilous sea crossings. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"635\" data-end=\"1153\"\u003eMaterials that once symbolized protection now lie flattened into a domestic object, literally turning the language of hospitality back on the viewer while evoking the harsh reality of forced migration. To create this edition, Banksy collaborated with Love Welcomes, an organization who works with women in detainment camps in Greece. They helped fabricate the mats by hand, and proceeds were donated to local refugee services.\u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eWhile superficially resembling a benign household item, \"Welcome Mat\" continues Banksy’s long‑standing engagement with political and social critique through irony, compassion, and unexpected materials. In typical fashion, he subverts a familiar symbol (the doormat’s call to hospitality) to raise awareness of global injustice and human displacement.\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto Gallery\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003e\"Welcome Mat\"\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003e2019\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eFrom \u003cmeta charset=\"utf-8\"\u003eGross Domestic Product\u003cmeta charset=\"utf-8\"\u003e™ collection\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eNumbered Tag, verso (Item no. #2826)\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eMixed media: hand-stitched mat with salvaged fabric\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eProduced in collaboration with Love Welcomes\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003e16\"H 27.25\"W 1.5\"D (work)\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eVery good condition\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1549\"\u003eIncludes original packaging\u003c\/p\u003e","brand":"Banksy","offers":[{"title":"Default Title","offer_id":47256334827756,"sku":"01-26","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Banksy-Welcome-Mat_01.jpg?v=1769547689"},{"product_id":"richard-hamilton-toaster-lithograph-1967","title":"RICHARD HAMILTON \"TOASTER\" LITHOGRAPH, 1967","description":"\u003cp\u003eRichard Hamilton (1922-2011) is widely regarded as one of the founding fathers of Pop Art.\u003c\/p\u003e\n\u003cp\u003eInspired by common domestic or industrial objects and the visual language of mass production, Hamilton's work explored the relationship between fine art, consumer culture, and modern design.\u003c\/p\u003e\n\u003cp\u003eThis evocative print is inspired by the Braun toaster, designed by Dieter Rams – who Hamilton held in high regard. \u003cmeta charset=\"utf-8\"\u003eFor Hamilton, the Braun toaster embodied a modern ideal: clarity, function, restraint, and a refined technological elegance. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\"Toaster\" was the first print in which Hamilton combined multiple printing processes on a single work. The grey and black background is offset printed, while the toaster’s casing, its cast shadow, and the artist’s name—replacing the Braun logo—are screenprinted. A strip of metallic polyester is overlaid, simulating the object's reflective nature.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe artwork’s title appears above five paragraphs set in Braun’s signature typeface. Hamilton adapts text from the company's brochures to describe his print rather than the object represented therein. In this work, Hamilton reminds potential \"consumers\" that the product being advertised is his print–not the toaster. It is worth considering how other artists during the 1960's (including Andy Warhol, Vija Celmins and Iain Baxter) created works depicting household objects. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe toaster–especially this specific model–is a recurring motif in Hamilton's oeuvre. This print exemplifies Hamilton’s enduring exploration of how design, technology, and popular culture intersect within the realm of art. This work is a true paradigm of (British) Pop Art. \u003c\/p\u003e\n\u003cp\u003eThis print is held in the permanent collections of \u003ca href=\"https:\/\/www.metmuseum.org\/fr\/art\/collection\/search\/394659\"\u003ethe MET\u003c\/a\u003e, New York; \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/hamilton-toaster-p04253\"\u003ethe Tate\u003c\/a\u003e, London; \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto Gallery\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Toaster\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUK, 1967\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOffset lithograph in four colors, screenprinted from four stencils, with collaged metalized polyester on T H Saunders paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned and numbered in pencil, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition: 43\/75 (+7 APs)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by the artist, with full margins\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrinted by Kelpra Studio, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e35\"H 25\"W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e40\"H 29.5\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVery good condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCatalogue Raisonné: Lulin 63 (p. 79)\u003c\/span\u003e\u003c\/p\u003e","brand":"Caviar20","offers":[{"title":"Default Title","offer_id":47258615087340,"sku":"02-26","price":19500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Richard-Hamilton-Toaster_01_51a3457d-6b4b-4feb-9b89-4d714c7f46a6.jpg?v=1771354354"},{"product_id":"henry-moore-mother-and-child-pl-1-etching-1983","title":"HENRY MOORE \"MOTHER AND CHILD - PL 1\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.). \u003cmeta charset=\"utf-8\"\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa. \u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\" title=\"Henry Moore prints exhibition tour organized by the British Council\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca title=\"The Archer Henry Moore\" href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate One, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 1,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia on Arches wove paper, 1983\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 (+ 15 AP, 10 HC)\u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e4\"H 5\"W (plate)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 701\u003c\/p\u003e\n\u003cp\u003eReference: CGM 701\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47259294073068,"sku":"01-26","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL1_01_42081ccb-8ffe-45c3-ae7e-fd58dd838a09.jpg?v=1769809593"},{"product_id":"henry-moore-mother-and-child-pl-3-etching-1983","title":"HENRY MOORE \"MOTHER AND CHILD - PL 3\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.). \u003cmeta charset=\"utf-8\"\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa. \u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\" title=\"Henry Moore prints exhibition tour organized by the British Council\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca title=\"The Archer Henry Moore\" href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate Three, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 3,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia on Arches wove paper, 1983\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 (+ 15 AP, 10 HC)\u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e4\"H 5\"W (plate)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 703\u003c\/p\u003e\n\u003cp\u003eReference: CGM 703\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47259430846700,"sku":"01-26","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL3_01_a465af33-a86a-4c62-b22c-ecf83cc379f5.jpg?v=1769809823"},{"product_id":"henry-moore-mother-and-child-pl-5-etching-1983","title":"HENRY MOORE \"MOTHER AND CHILD - PL 5\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.). \u003cmeta charset=\"utf-8\"\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa. \u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\" title=\"Henry Moore prints exhibition tour organized by the British Council\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca title=\"The Archer Henry Moore\" href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate Five, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 5,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia on Arches wove paper, 1983\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 (+ 15 AP, 10 HC)\u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e4\"H 5\"W (plate)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 705\u003c\/p\u003e\n\u003cp\u003eReference: CGM 705\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47259464859884,"sku":"01-26","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL5_01_9d31668b-0138-4815-a7ec-4d9301c96b9d.jpg?v=1769809864"},{"product_id":"damien-hirst-dumpling-last-supper-screenprint-1999","title":"DAMIEN HIRST \"DUMPLING: LAST SUPPER\" SCREENPRINT, 1999","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/damien-hirst\"\u003eDamien Hirst\u003c\/a\u003e is arguably the most successful living British artist. \u003c\/span\u003eSince the late 1980s, he has created installations, sculptures, paintings, prints, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. He established his reputation, as both an artist and curator, in the 1990's with a new generation of creators knowns as the Young British Artists (YBAs).\u003c\/p\u003e\n\u003cp\u003eHirst has become one of the art worlds' most recognized, discussed, and collected provocateurs. His earlier work, like his iconic sharks suspended in formaldehyde tanks incite strong, visceral responses that divide audiences on both sides of the pond.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Dumpling\" is one of thirteen screenprints from Hirst’s \u003cem\u003eThe Last Supper\u003c\/em\u003e series. Within the grouping, Hirst mimics pharmaceutical packaging but replaces the names of a medications with that of common British foods. The series \u003cspan\u003eis one of several\u003c\/span\u003e\u003cspan\u003e commissioned from British artists by Charles Booth-Clibborn, and published by his imprint, The Paragon Press, London.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese oversized prints questions our credulous nature towards pharmaceuticals, suggesting that our trust and dependency toward modern medicine is akin to blind faith in religion. The number of prints in the suite echoes the number of disciples present at The Last Supper – demonstrating Hirst's attention to detail and intentionality throughout his oevre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"1154\" data-start=\"767\"\u003eBy drawing connections between religion and medicine, Hirst suggests that we now place our trust in the latter and consume medication as unquestioningly as food. Drawing a further comparison between the mass commercialization of pharmaceuticals and fast food, Hirst highlights the omnipresence of both industries, as well as their physiological consequences, which often go unrecognized.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHirst first began including medical imagery and motifs in his work  as early as the 1980s. This work is exemplary of Hirst’s critical analysis of big pharma and his commitment to subverting and questioning its widespread acceptance...with his unmistakable cheeky British humor. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Dumpling\" is held in the permanent collections of the \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/98979\"\u003eMoMA\u003c\/a\u003e, New York; the \u003ca href=\"https:\/\/www.thebroad.org\/art\/damien-hirst\/last-supper\"\u003eBroad\u003c\/a\u003e, LA; the \u003ca href=\"https:\/\/www.nationalgalleries.org\/art-and-artists\/85753\"\u003eNational Galleries\u003c\/a\u003e, UK; the \u003ca href=\"https:\/\/www.kemperart.org\/artist\/damien-hirst\"\u003eKemper Museum of Contemporary Art\u003c\/a\u003e; the \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/hirst-dumpling-p11647\"\u003eTate\u003c\/a\u003e, London; the \u003ca href=\"https:\/\/www.nga.gov\/artworks\/173080-dumplings\"\u003eNational Gallery\u003c\/a\u003e, Washington, DC; and the \u003ca href=\"https:\/\/www.ngv.vic.gov.au\/explore\/collection\/work\/74310\/\"\u003eNational Gallery of Victoria\u003c\/a\u003e, Australia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Dumpling\" from \u003cem\u003eThe Last Supper\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eEngland, 1999\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eColor screenprint on Somerset wove paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSigned in pencil, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrom an edition of 150\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePrinted at \u003cmeta charset=\"utf-8\"\u003eCoriander Studio, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePublished by Paragon Press, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e60.5”H 40”W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e64.25\"H 44\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003eFramed with plexiglass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVery good condition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLiterature: \u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\u003cspan\u003e- Damien Hirst\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, exh. cat., Tate Modern, London, 2012, p.233 (illustrated)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e- Jeffrey Sherwin, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFrom France to England, British Surrealism Opened Up\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Bradford, 2014, p. 132 (illustrated)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47300890558700,"sku":"02-26","price":18500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Dumpling_01_6a89fede-9dcd-438c-9ee0-a525cd754543.jpg?v=1770920816"},{"product_id":"damien-hirst-corned-beef-last-supper-screenprint-1999","title":"DAMIEN HIRST \"CORNED BEEF: LAST SUPPER\" SCREENPRINT, 1999","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003ca href=\"https:\/\/www.caviar20.com\/collections\/damien-hirst\"\u003eDamien Hirst\u003c\/a\u003e is arguably Britains most successful living artist. \u003c\/span\u003eSince the late 1980s, he has created installations, sculptures, paintings, prints, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. He established his reputation, as both an artist and curator, in the 1990's with a new generation of creators knowns as the Young British Artists (YBAs).\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHirst has become one of the art worlds' most recognized, discussed, and collected provocateurs. His earlier work, like his iconic sharks suspended in formaldehyde tanks incite strong, visceral responses that divide audiences on both sides of the pond. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Corned Beef\" is one of thirteen screenprints from Hirst’s \u003cem\u003eThe Last Supper\u003c\/em\u003e series. Within the grouping, Hirst mimics pharmaceutical packaging but replaces the name of a medication with that of common British foods. The series \u003cspan\u003eis one of several\u003c\/span\u003e\u003cspan\u003e commissioned from British artists by Charles Booth-Clibborn, and published by his imprint, The Paragon Press, London.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThese oversized prints questions our credulous nature towards pharmaceuticals, suggesting that our trust and dependency toward modern medicine is akin to blind faith in religion. The number of prints in the suite echoes the number of disciples present at The Last Supper – demonstrating Hirst's attention to detail and intentionality throughout his oevre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"1154\" data-start=\"767\"\u003eBy drawing connections between religion and medicine, Hirst suggests that we now place our trust in the latter and consume medication as unquestioningly as food. Drawing a further comparison between the mass commercialization of pharmaceuticals and fast food, Hirst highlights the omnipresence of both industries, as well as their physiological consequences, which often go unrecognized.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHirst first began including medical imagery and motifs in his work  as early as the 1980s. This work is exemplary of Hirst’s critical analysis of big pharma and his commitment to subverting and questioning its widespread acceptance...with his unmistakable cheeky British humor. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Corned Beef\" is held in the permanent collections of the \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/98985\"\u003eMoMA\u003c\/a\u003e, New York; \u003cmeta charset=\"utf-8\"\u003ethe \u003ca href=\"https:\/\/www.thebroad.org\/art\/damien-hirst\/last-supper\"\u003eBroad\u003c\/a\u003e, LA; the \u003ca href=\"https:\/\/www.nationalgalleries.org\/art-and-artists\/85753\"\u003eNational Galleries\u003c\/a\u003e, UK; the \u003ca href=\"https:\/\/www.tate.org.uk\/art\/artworks\/hirst-corned-beef-p11653\"\u003eTate\u003c\/a\u003e, London; the \u003ca href=\"https:\/\/www.nga.gov\/artworks\/173080-dumplings\"\u003eNational Gallery\u003c\/a\u003e, Washington, DC; and the \u003ca href=\"Corned%20beef,%20Damien%20HIRST%20%20NGV%20https:\/\/www.ngv.vic.gov.au%20%E2%80%BA%20explore%20%E2%80%BA%20collection%20%E2%80%BA%20work\"\u003eNational Gallery of Victoria\u003c\/a\u003e, Australia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:info@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or \u003ca rel=\"noopener\" href=\"https:\/\/www.caviar20.com\/pages\/contact\" target=\"_blank\"\u003evisit our Toronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Corned Beef\" from \u003cem\u003eThe Last Supper\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eEngland, 1999\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eColor screenprint on Somerset wove paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSigned in pencil, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrom an edition of 150\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003ePrinted at \u003cmeta charset=\"utf-8\"\u003eCoriander Studio, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePublished by Paragon Press, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e60.5”H 40”W (work)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e64.25\"H 44\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003eFramed with plexiglass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVery good condition\u003c\/span\u003e\u003c\/p\u003e","brand":"Damien Hirst","offers":[{"title":"Default Title","offer_id":47300973986028,"sku":"02-26","price":18500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Damien-Hirst-Corned-Beef_01.jpg?v=1770923257"},{"product_id":"henry-moore-three-piece-reclining-figure-bronze-1963","title":"HENRY MOORE \"THREE PIECE RECLINING FIGURE\" BRONZE, 1963","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003ePRICE ON REQUEST\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHenry Moore (1898-1986) is one of the most revered and influential British artists of the 20th century, and one of the most important Modernist sculptors. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhile he worked in a number of different media and styles, Moore is best known for his revolutionary work in bronze sculpture. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor public spaces as well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe human figure is an essential motif in Moore’s oeuvre, a theme that he continuously explored throughout his illustrious career. \u003c\/span\u003eThis piece is a fantastic example of Moore’s work in bronze, albeit on a much more intimate scale.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFeaturing a segmented reclining figure, this piece is indicative of Moore’s exploration with composition and flow. Like the best of Moore’s work, the unusual proportions exist in harmony, maintaining an unexpected semblance of balance and continuity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eToday, Moore’s work is enjoyed across the globe with public sculptures spanning across 38 countries. His legacy is preserved by the Henry Moore Foundation, a registered charity in support of the arts, located in Perry Green, Hertfordshire where the artist lived and worked for 40 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca title=\"The Archer Henry Moore\" href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e, call +1.416.704.1720, or\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto Gallery\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Three Piece Reclining Figure\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e1963 (cast 1977)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eBronze\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdition 5 of 9\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e4.5\"H 8.75\"W 4.75\"D \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003eVery good condition\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLiterature:\u003cbr\u003eHenry Moore Complete Sculpture 1915-1986\u003cbr\u003eHenry Moore Catalogue Raisonné: 1960-1969\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47301145592044,"sku":"02-26","price":999999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Henry-Moore-Sculpture-icon.jpg?v=1770927249"},{"product_id":"henry-moore-mother-and-child-pl-4-etching-1983","title":"HENRY MOORE \"MOTHER AND CHILD - PL 4\" ETCHING, 1983","description":"\u003cp\u003eHenry Moore (1898-1986) is one of the most important Modernist sculptors. His large-scale semi-abstract sculptures can be seen not only in institutions around the world, but in many outdoor\/public spaces as well.\u003c\/p\u003e\n\u003cp\u003eMoore's aesthetic, whether expressed on paper or in three-dimensions, is simultaneously elegant yet slightly primitive. Moore's creations suggest they have been either reduced by time or the forces of nature but also demonstrate the artist's mastery at the stylization of the human body. \u003c\/p\u003e\n\u003cp\u003eCaviar20 has a particular interest in sculptors who included printmaking as part of their process (Jean Arp, Louise Bourgeois, Kosso Eloul etc.). \u003cmeta charset=\"utf-8\"\u003eHenry Moore is one of the leading 20th century sculptors\/printmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDuring his lifetime, Moore created over 700 etchings, lithographs, etc., exploring all aspects of printmaking. The practice of printmaking was completely correspondent to his sculptures. He would explore the form or character in one medium and either later realize it in the other medium or vice versa. \u003cmeta charset=\"utf-8\"\u003e\u003ca title=\"Henry Moore prints exhibition tour organized by the British Council\" href=\"https:\/\/www.youtube.com\/watch?v=w_uxBC_8tGk\"\u003eTo learn more about Henry Moore's prints we recommend this video tour of an exhibition of Henry Moore's prints that was organized by the British Council.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis etching is one of eight from Moore's \u003cem\u003eMother and Child\u003c\/em\u003e portfolio. The figures are portrayed in Moore's sculptural style, their length and fullness coming through their two-dimensional portrayal.\u003c\/p\u003e\n\u003cp\u003eOn the title page of the portfolio, Moore includes a short descriptive text to describe his thoughts and reasoning behind the titular archetype:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cem\u003eThe Mother and Child idea is one of my two or three obsessions. The subject itself is eternal and unending, a small form in relation to a big form, the big form protecting the small one and so on. It is such a rich subject, both humanly and compositionally, that I will always go on using it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor art lovers in Toronto, Henry Moore has a special relevancy and connection. The Art Gallery of Ontario has the world's largest collection of Moore's work, including over 900 works, mostly donated by the artist in the early 1970's. Furthermore, Toronto has two major public Moore sculptures\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/www.thestar.com\/entertainment\/2013\/04\/03\/henry_moores_threeway_piece_no_2_a_reminder_of_a_bygone_toronto.html\" title=\"The Archer Henry Moore\"\u003e\"The Archer\" (in front of City Hall)\u003c\/a\u003e, and \"Large Two Forms\" (in Grange Park, behind the AGO).\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eQuestions about this piece? \u003ca href=\"mailto:troy@caviar20.com\"\u003e\u003cspan class=\"s4\"\u003eContact us,\u003c\/span\u003e\u003c\/a\u003e call +1.416.704.1720, or visit our \u003ca href=\"https:\/\/tbz8zgjjkz7m1km8-742712.shopifypreview.com\/pages\/contact\"\u003eToronto gallery\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003ePlate Four, from \u003cem\u003eMother and Child\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned, inscribed \"PL 4,\" and numbered \"50\/50\" in pencil, lower edge of plate\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eSigned in plate, lower right\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEtching in sepia on Arches wove paper, 1983\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEmbossed with printers blindstamp\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 50 (+ 15 AP, 10 HC)\u003c\/p\u003e\n\u003cp\u003ePrinted by James Collyer and James Crossley, London\u003c\/p\u003e\n\u003cp\u003ePublished by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, 1987\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e4\"H 5\"W (plate)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e15\"H 12.75\"W (sheet)\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e17.5\"H 15.5\"W (framed)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Cramer 704\u003c\/p\u003e\n\u003cp\u003eReference: CGM 704\u003c\/p\u003e","brand":"Henry Moore","offers":[{"title":"Default Title","offer_id":47321703514348,"sku":"02-26","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Henry-Moore-Mother-and-Child-PL-4_01.jpg?v=1771531145"},{"product_id":"francis-bacon-second-version-tryptych-1944-lithograph-1989","title":"FRANCIS BACON \"SECOND VERSION, TRIPTYCH 1944\" LITHOGRAPH, 1989","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eFrancis Bacon (1909-1992) is one of the most distinctive, provocative, and influential painters of the 20th century.  He is a true disrupter in the canon of Art History. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eHis singular aesthetic was an intersection between abstraction and expressionistic portraiture. While the subjects in his paintings were often identified, distinctive features were typically smeared and distorted, often reflecting their inner turmoil or the artist's conflicting emotions related to his subject.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\"Second Version of Triptych, 1944\" is a 1988 reworking of \u003ca rel=\"noopener\" href=\"https:\/\/www.tate.org.uk\/art\/artworks\/bacon-three-studies-for-figures-at-the-base-of-a-crucifixion-n06171\" target=\"_blank\"\u003e\u003cem\u003eThree Studies for Figures at the Base of a Crucifixion\u003c\/em\u003e\u003c\/a\u003e. Created at the age of 78, it was the artist's last triptych. While the focal figures in the Second Version are comparable to the first, they are smaller on the larger canvases, plunged into a deep void. \u003c\/span\u003e\u003cspan class=\"s1\"\u003eBacon also changed the orange background to a deep crimson\/rust red, heightening the sense of inherent violence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe distorted anthropomorphic creatures howl and scream, echoing the version he created during the Second World War. These figures recall the vengeful Greek Furies and Christian crucifixion imagery. Punishing those who go against the natural order, the Greek Furies are a pointed representation from Bacon, reflecting the horrors of war, the Holocaust, and a world order in flux.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVisceral and haunting, each \"figure\" maintains their independence and awful intensity. Harrowing postures, gnawing teeth, contorted limbs, and bulbous masses evoke a characteristic nightmarish essence that remains \u003cmeta charset=\"utf-8\"\u003eever present in Bacon's oeuvre.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThis set of three lithographs was produced one year after the painting, at a time when Bacon's work was being shown globally. \u003cmeta charset=\"utf-8\"\u003eAs an intentional reworking of one of his most important paintings, this artwork would be a notable addition to any collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003eOver the years, this triptych of lithographs have regularly been split up, with each element being sold independently. It is increasingly rare to find a complete triptych like this one on the secondary market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eToday, Bacon's canvases fetch astounding prices at auction, achieving a record of $142.4 million in 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eQuestions about this piece? \u003c\/span\u003e\u003ca href=\"mailto:troy@caviar20.com\"\u003eContact us\u003c\/a\u003e\u003cspan\u003e, call +1.416.704.1720, or\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.caviar20.com\/pages\/contact\"\u003evisit our Toronto Gallery\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003c\/span\u003eSecond Version, Triptych 1944\"\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eParis, 1989\u003c\/p\u003e\n\u003cp\u003eThe complete set of three lithographs in colors on Arches wove paper\u003c\/p\u003e\n\u003cp\u003eSigned and numbered \"34\/60\" in pencil, lower edge (each sheet)\u003c\/p\u003e\n\u003cp\u003eFrom an edition of 60\u003c\/p\u003e\n\u003cp\u003ePublished by Michael Archimbaud for Librairie Séguier for IRCAM, Centre Pompidou, Paris, the full sheets\u003c\/p\u003e\n\u003cp\u003ePrinted by Art Estampe\u003c\/p\u003e\n\u003cp\u003e29.75\"H 22\"W (each sheet)\u003c\/p\u003e\n\u003cp\u003e36.25\"H 29.25\"W (each frame)\u003c\/p\u003e\n\u003cp\u003eVery good condition\u003c\/p\u003e\n\u003cp\u003eLiterature: Bruno Sabatier, \u003cem\u003eFrancis Bacon: The Graphic Work,\u003c\/em\u003e no. 24.\u003c\/p\u003e\n\u003cp\u003eReference: Sabatier 24\u003c\/p\u003e","brand":"Francis Bacon","offers":[{"title":"Default Title","offer_id":47384385356012,"sku":"03-26","price":36000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/files\/Caviar20_Francis-Bacon-Triptych_001.jpg?v=1776189473"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0074\/2712\/collections\/3._Caviar20_Bridget-Riley-Coloured-Greys-1972_07.jpg?v=1770076301","url":"https:\/\/www.caviar20.com\/collections\/best-of-britain.oembed","provider":"Caviar20","version":"1.0","type":"link"}