Eames Fine Art Gallery
58 Bermondsey Street
London SE1 3UD
“What could show greater seriousness and concentration than a child playing an elaborate game”
- Stanley William Hayter
This quote is from Stanley William Hayter’s seminal ’New Ways in Gravure’ that was first published in 1949 at a time when abstraction was emerging as the major preoccupation of avant-garde artists in the US, Europe and the UK. Hayter, founder of the hugely influential printmaking studio Atelier 17 seized on the possibilities of this moment to argue that printmaking was the ideal medium for the exploration of abstraction and could provide fresh potential for a revolution in image making. In the decades that followed a significant number of leading abstract artists made printmaking a central part of their practice. Prominent exponents including Joan Miró, Barbara Hepworth, John Hoyland, Victor Pasmore, Patrick Heron and Howard Hodgkin conducted a sustained exploration of the possibilities of print to create an extraordinary body of abstract graphic work.
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The premise of Hayter’s argument was that the printmaking process was intrinsically suited to an exploration of abstraction. Making a print demands the deconstruction of an idea into its constituent formal parts: line, tone, colour, texture and then challenges the artist to navigate between these elements to construct an image, layer upon layer until a final outcome is arrived at. This would clearly have exciting implications for any artist interested in abstraction however printmaking’s potential for the unexpected – the ‘happy accident’ – that puts complete control of the image just out of reach adds another rich dimension. Print is a capricious artform and while this might be considered by some artists to have alarming implications for creative control, in the right hands, it is an exciting provocation to the artistic imagination. When aligned to the almost infinite variety of mark-making that printmaking allows, the prospect opens up to explore an image that ‘grows’ organically rather than simply marching towards a pre-conceived idea. The process itself therefore becomes the artwork with exciting possibilities for the adventurous artist that painting alone cannot deliver to the same degree. As Hayter put it with his characteristic relish: “I feel that in undertaking any graphic work, the artist places himself in a position to allow miracles to happen to him.”Serious Play is an examination of how different artists harnessed a wide variety of printmaking techniques to deepen their investigations into abstraction. It is story of creative discovery and one which was often conducted in the company of Master printmakers who flourished during the period; highly skilled specialists such as Nigel Oxley, Stanley Jones, Kip Gresham and Robert Dutrou who could navigate the mysteries of carborundum, aquatint, silkscreen, lithography and help chart new territory for these techniques.The show features works spanning the late 1950s to the present day from artists including Joan Miró, Barbara Hepworth, Patrick Heron, Victor Pasmore, John Hoyland, Terry Frost and Barrington Tobin.
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Barbara Hepworth
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Joan Miró
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Howard Hodgkin
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Howard HodgkinSnow, 1995FramedPOA
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Howard HodgkinIn an Empty Room, 1990-91FramedPOA
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Howard HodgkinAfter Degas, 1990-91FramedPOA
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Howard HodgkinTwo to Go, 1981-1982FramedPOA
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Howard HodgkinCardo’s Bar (Red), 1979FramedSold
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Howard HodgkinA Furnished Room, 1977FramedPOA
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Howard HodgkinYou Again, 2001FramedPOA
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Howard HodgkinEye, 2000FramedPOA
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Terry Frost
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Patrick Heron
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Patrick HeronSmall Horizon with Orange, Lime, Lemon and Cherry, 1957Framed£2,950.00
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Patrick HeronJune Mini 5, 1968Framed£2,500.00
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Patrick HeronYellow Diagonal, 1978Framed£2,500.00
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Patrick HeronMini Mini, 1972Framed£2,200.00
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Patrick HeronSecond Vertical Screenprint, 1976Framed£2,950.00
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Patrick HeronVertical Light , 1957Framed£2,950.00
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Patrick HeronKatherine Christmas, 1976Framed£1,900.00
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Patrick HeronSusanna Christmas, 1976Framed£1,900.00
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Patrick HeronBlue with Lime, Umber, Dull Red and Orange in Violet, 1976Framed£2,500.00
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Patrick HeronRed in Umber with Orange and Ice-Green , 1977Framed£2,500.00
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Patrick HeronTwo Greens with Violet and Blue, 1976Framed£2,500.00
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"Print is a capricious artform and while this might be considered by some artists to have alarming implications for creative control, in the right hands, it is an exciting provocation to the artistic imagination"
Vincent Eames, 2025
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Victor Pasmore
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Victor PasmoreThe Image in Search of Itself, 1977FramedSold
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Victor PasmoreThe Image in Search of Itself (I), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (II), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (III), 1977Framed£1,740.00
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Victor PasmoreThe Image in Search of Itself (IV), 1977FramedSold
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Victor PasmoreThe Image in Search of Itself (V), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (VI), 1977Framed£1,740.00
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Victor PasmoreThe Image in Search of Itself (VII), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (VIII), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (IX), 1977Framed£1,740.00
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Victor PasmoreThe Image in Search of Itself (X), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (XI), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (XII), 1977Framed£1,740.00
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Victor PasmoreThe Image in Search of Itself (XIII), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (XIV), 1977Framed£1,100.00
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Victor PasmoreThe Image in Search of Itself (XV), 1977FramedSold
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John Hoyland
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John HoylandUntitled (June 1983), 1983Framed£6,300.00
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John HoylandOld Lover, 1983Frame£6,300.00
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John HoylandTrickster (Stage Proof), 1979Framed£2,500.00
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John HoylandTrace (Stage Proof), 1979Framed£2,500.00
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John HoylandThe 8th Street Series 24, 1978Framed£12,300.00
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John HoylandUntitled 11, 1978FramedSold
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John HoylandUntitled, 1992Framed£8,000.00
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John HoylandUntitled, 1993Framed£9,000.00
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Barrington Tobin