Georg Baselitz’ etching für Niels consists of two plates: the right plate, a sugar lift aquatint, is a variation on Japanese painter and printmaker Katsushika Hokusai’s famous Self-portrait at the age of 83, an image Baselitz has been occupied with for years. The left plate, a line etching, depicts a hand, its fingers bent into a gesture. Although Baselitz was working purely from his imagination and did not aim at an accurate representation, he considers the image a representation of Niels Borch Jensen’s right hand.

In Lillen Tal R depicts a female nude against one of his signature interior backgrounds – two visual elements he has been working with for years. He combines the coarse structures of a woodcut with aquatint, creating a vibrantly coloured print with thick, graphic lines, marrying the female figure and its background into a graphic, complex network of shapes.

Matt Saunders’ print is based on photographs taken by painter Pierre Bonnard of his life-long companion, Marthe de Méligny. Saunders has long been interested in the intersection of painting and photography, particularly in the representation of the human figure in both media. Bonnard was among the first generation of painters with access to simple, hand-held cameras, and Marthe in the Garden reflects Saunders’ fascination with the camera as a painter’s tool.