Prints and Drawings

A large predominantly charcoal black artwork hung on a blue wall. This work depicts a park bench on the lower right, grass along the bottom, trees toward the top, and a figure on the left - all of which are in a contrasting white tone emerging from the black.
Lizzie King, Belonging, 2021
A colourful screenprint with a red, blue and yellow patern on a black background, in a white frame.
Cecile Elstein, The Sisyphus Suite, 1979-80
Layers of cyan, magenta, and yellow hand carved marks form the image of a mans face.
Gwilym Hughes, Salford Faces, 2018
A pink, black, white, and yellow abstract print.
Joey Collins, Gathering of Strangers, 2018
landscape, semi abstract,
Connal, Penninsula, 1970
litho print poster demonstrating print technique, patterns,
Alan Whitehead, Litho, 1979
print poster showing different intaglio printmaking techniques
Paul Ritchie, Intaglio, 1979
landscape, docks
Harold Riley, Manchester Docks from Mode Wheel 1962
blue and red, semi abstract, boat
Charles Bartlett, MN33, 1970
abstract, with repeated drawn pattern
Richard Riley, Untitled, 1980
abstract print, mask or face like
Alan Whitehead, Untitled, 1980
(face and flower) semi abstract print, face and flower
Kip Gresham, Untitled, 1980
print poster using different print techniques, pig, patterns, figures, animal, pigsaw, jigsaw
Michael Green, Pig Saw, 1979
semi abstract, cube, light and shadows
Paul Mason, Interior III, 1979
black and white, semi abstract interior, sketched
Paul Mason, Interior 2, 1979
abstract, furniture
Paul Mason, Lounge 1, 1979
semi abstract, furniture
Paul Mason, Lounge II, 1979
Abstract screenprint, arch, lines, rainbow shape, grey and pink
Pat Eason, Untitled (Grey) chopped, 1980
Abstract screenprint, arch, lines, rainbow shape, grey and pink
Pat Eason, Untitled (Pink), 1980
landscape, silhouette of church, town
Harold Riley, View of St. Luke's Church, Seedley, 1975
abstract print, blue and orange
John Bradbury, Breakwater, 1982
long abstract print, green white and black
Richard Brooks, ...and the nuclear age..., 1981
red apples, branch, fruit, food, nature, tree, red, black,
Ruth Roland, Red Apples, 1975
woman, portrait, pencil, face
John Cavanagh, Beautiful Woman (Hilda), 1991
cinema interior, room
Harold Riley, The Cinema Interior, 1975
portrait of elderly lady
Harold Riley, Hannah Smith, who at 109 was the oldest woman in Britain, 1971
manchester view, salford, cityscape, town
Harold Riley, View of Manchester from Salford, 1975
man, figure, body, morgue
Harold Riley, Man from the Canal, 1977
semi abstract interior, black and white, light and shadow
Paul Mason, Interior 1, 1979
Dark print, drinks glass, shadow
Peta Cole, Untitled (glasses), 1980
semi abtract print, blue green, jug and bottle
Peta Cole, Untitled, 1975
Dark black print, jug on table
Peta Cole, Untitled, 1979
Dark black print, jug, shadow
Peta Cole, Untitled, 1979
abstract shapes on gold brown background
Cecile Elstein, Small Offering, 1980
abstract, green lilac and blue
Richard Riley, Untitled, 1981
abstract, large pink rectangle
Richard Riley, Interior II / Two Screens, 1981
abstract, green lilac and blue
Richard Riley, Interior, 1981
abstract with grid, snakes and ladders, grey
Richard Riley, Untitled, 1979
bright red abstract, splatter
Kip Gresham, All Things, 1981
abstract with figure, circles
Kip Gresham, The Microbe Man, 1981
abstract, orange
Kip Gresham, Reserved for the Dons, 1981
semi abstract, brown, orange
Kip Gresham, Tie, flower, scalpel, 1981
Poster of silkscreen printing, process, abstract, horses,
Kip Gresham, Bradford Printset (Silkscreen), 1980
Semi abstract landscape, brown and green print
Matthew Hilton, Landscape Picture, 1981
semi abstract colourful print, figures, rainbow colour
Matthew Hilton, A Tribute to Benny Hill, 1981
green hedgerow, semi abstract
Adrian Henri, Hedgerow, 1981
black print of one man band with dogs, with text underneath: Jack Hall had a dancing dog band, his dogs were called Jip, Joey, Jim, Jason, Jock, Jeff and Jacob. He played in the pubs, clubs and on the streets
Harold Riley, Mr Hall's Dancing Dog Band, 1980
Landscape
Derek Wilkinson, Winter Reflection - Rydal, nd
man, figure performing, black yellow and blue
Howard Walmsley, Untitled, 1979
screenprint black and white photos, city
S Webster, Images of Bath, 1980
pixellated portrait of male soldier
G. Tucker, Monty, nd
two figure silhouettes, stairs
Tony Heward, Untitled,1981
abstract print in dark brown
Julie Blore, Untitled, 1979
red ladder, dark background
Julie Blore, Untitled, 1980
abstract, blue pink and red, waves
Julie Blore, Untitled, 1980
two figures, dance moves, dancing
Graham Nixon, Natty Casuals, 1980
Two figures dancing, diagram
Graham Nixon, Jive Turkey, 1980
town, bridge, pastel, blue
David Wild, View of Calderdale Burnley, 1987
Large Munich poster, olympics, sports, ' olympische spiele munchen 1972 '
Paul Wunderlich, Munich Poster 1972, 1972
large olympic poster 'olympische spiele munchen 1972' olympics, semi-abstract figure, sport
Horst Antes, Munich Poster 1972, 1972
study of woman, mixed media, figure, flowers. unfinished with paint marks to edges
John Cavannagh, Marguerites, 1983
male, portrait, head
Harold Riley, Head of Man, 1970
white sky, clouds, trees, field
Phillip Greenwood, White Sky, nd
flag, nude women, crescent moon, star, semi abstract,
Michael Ward, Flag, 1980
watch mechanism
William Home Lizars, Watch mechanism Plate 13 / watch print, nd
landscape, seascape
Bernard Green, Aber Eiddy, Pembrokeshire, 1981
birds, rocks, semi-abstract, brown, cliffs, flight
Clifford Wilkinson, Birds in Flight, 1970
sketched figures
Alberto Giacometti, Atelier 60 (seated man and sculpture), 1961
temple, animals, skyline, building, bull, print
Julian Trevelyan, Hindu Temple, 1968
coloured shapes and face, figure, semi abstract
Fernand Leger, La Femme au Foudrier, 1959
architecture, inside priory, windows
Valerie Thornton, Benham Priory, 1978
abstract, artists proof
Dennis Hawkins, Como Se Llama Uds?, 1971
geometric abstract, lines, red purple blue
Peter Hedegaard, Untitled (abstract), 1972
abstract, lines, technology, pastel colours, roads
Eduardo Paolozzi, Selasa, 1975
abstract geometrical
Robyn Denny, Six Miniatures (on Blue), 1975
abstract geometrical
Robyn Denny, Six Miniatures (on green), 1975
Shoot, football, collage, goals, stars
Alan Whitehead, Shoot, 1969
red yellow and blue, semi abstract, waves, embossed
Carmen Gracia, In the Life's Stream, 1974
Street Scene of Salford Cross and Market Square, Figure in foreground pushing Wheelbarrow. Half timbered buildings
H G James, Salford Cross, 1850
Semi Abstract, Black and White Birds in flight, Clouds
Berenice Sydney, Sky Flight, 1974
abstract lines, blue, orange, ocean, sunset
Dennis Hawkins, And in the Evening the Ocean Came Towards Them, 1973
Driver in car viewing a motorway accident. Figure by side of vehicle at side of road and speed limit signs visible
Harold Riley, Motorway Accident, M62 Manchester, 1976
A screenprint with text in the centre reading 'Souvenir of Normandy - Adrian Henri' in all caps. Above this is a scretch of two trees surrounded by grass. And below the text is a reproduction of a french logo. Along the bottom of the print reads 'Printed by the Manchester Print Workshop in 5 editions of 30 impressions on hand made Barcham Green papers, each with a colophon. 1981'.
Adrian Henri, Souvenir of Normandy, 1981
An abstract print depicts a blue diamond on a colourful red and yellow background
Kip Gresham, Lupin Diamond, 1981
An abstract print with thin red 'teeth' on both the left and right, extending horizontally onto a cyan centre.
Keith Richardson-Jones, Counterpoint 2, 1970
A layered, abstract screenprint with a cream-y yellow background. A cresent shaped newspaper cutting and a blue and white patern forma circle in the centre encompasing overlaping shapes of grey, reds, cream and blue. In the lower centre of the design is a simple figure, sat and looking out at the viewer.
Cecile Elstein, A Letter from Mrs Gould, 1981
A blue-hued snowy street scene shows a group of figures walking up a street lined with redbrick houses towards an illuminated carousel sitting in the top left corner of the image. The scene is viewed from above, as if from the roof of a building in the bottom right.
Harold Riley, The Christmas Roundabout, Salford, 1980
A black and white print shows the artist stood in overlaping triplicate, with his feet apart, holding a pistol at waist height, pointed towards the viewer. He is dressed as Sid Vicious, impersonating Elvis.
Gavin Turk, Silver Triple Pop, 2009
A colourful, overlaping print shows a dotted, orange still-image of Che Guevara from a reel of film, encased in a frame reading 'Tilson' and 'Clip-o-matic' against a black background.
Joe Tilson, Clip-o-Matic Che (Vallegrande Bolivia, October 10th), 1969
A screenprint showing an abstracted dog, with a white face, brown ears, and no features, against a dark navy background.
Gilberte Brilliant, Hausser les Épaules, 1965
A square abstract screenprint in muted earth-y tones, createing overlaping paterns.
Peter Green, Candy Night 1, 1969
R Smallman, Totem, 1970
Several chairs are placed in a hallway.
Lizzie King and Craig Tattersall, Allerton to New Adelphi, 2015
A man sits on the ground with a mask.
Rachel Goodyear, Unable to Stop because they were too close to the line, 2006
An abstract bring of squares of various shades of yellow
He Xiangyu, Untitled (yellow abstract), 2018
The picture depicts a girl wearing a robot costume of many colors.
Lu Yang, The Great Adventure of Material World #1, 2019
This is a photo of a letter with a few lines written.
Yan Xing, Letter to Mr Robert Peckham, 2012
A woman in a green soldier's uniform lies with her breasts exposed in a pile of red medallions.
Tian Taiquan, Totem Recollection 3, 2007
a bright blue square with a white 'washing line' drawn across the top. A rainbow, folded in half, is pegged on to the line.
Patrick Hughes, Wet Rainbow, 1979
A square paper with rough edges. In the centre a drawing of a heart shape in thick black lines, surrounded with cross hatched lines. In the background, blue and green colours are spray painted.
Jim Dine, A Sunny Woodcut, 1982
A woodcut panel shows a depiction of the artist. The artist has carved the outline of the form into the wood, and used black and white pigments to build in shadow and highlight, particularly on the hands. The right hand touching the figure's cheek, and the left hand clasped round the right wrist.
Albert Adams, Self Portrait, 1958
A print depicting a monkey, atop the shoulders of a figure. Both have their arms crossed in front of them. The monkies hands are tinted pink, the other figure wears a yellow tie with green stripes.
Albert Adams, The Circus (Portfolio of Artists' Proofs), 2006
A white page with small lettering in the centre in black and red ink, reads anagrams of the phrase 'the war on terror'
Thomson & Craighead, The War on Terror, 2016
A print depicting a monkey, atop the shoulders of a figure. Both have their arms crossed in front of them. The monkies hands are tinted pink, the other figure wears a yellow tie with green stripes.
Albert Adams, The Circus (Portfolio), 2006
A landscape format black rectangle, with a very small image of planet earth in the centre.
Mishka Henner, Selfie, 2017
An expressive drawing depicts a semi-abstracted figure. contrast between blocks of black, and places left blank, define the figure's form. The figure's head is bent in towards a block od darkness, their features obscured, only the ear visible. Their head, torso, and right elbow are represented through gently blurred diagonal lines, suggestive of movement.
Albert Adams, Figure Study, 1977
An expressive drawing depicts an animal, profile, with it's head facing left, walking on all fours. The animal's head has been obscured in a large black blurry smudge. The animal has spots on his front leg, and it's form is defined through the shadows around the joins and limbs. Below the animal is a shadow, and behind the figure, thin delicate verticle lines serve as a backdrop to the animal's form
Albert Adams, Animal Study, 1977
A charcoal sketch shows two figures sat together, their legs appear to be touching, while the space between them forms a V shape. The figure on the left is darker, shaded with soft blurred marks. The figure on the left is depicted through shorter, sharper lines.
Albert Adams, Study for Two figures at Rondebosch Fountain, 2001
A delicate etching depicts a monkey with an open, screaming mouth, and dark eyes. The monkey is attached from the top of it's head, through spindly twisting cables, to a machine behind. A skeleton is turned, profile to the viewer, to control the machine. In the background, the image is framed by a rectangle grid, like a jail cell.
Albert Adams, Skeleton Electrocuting an Ape, Date Not Known
A delicate etching depicts a monkey with an open, screaming mouth, and dark eyes. The monkey is attached from the top of it's head, through spindly twisting cables, to a machine behind. A skeleton is turned, profile to the viewer, to control the machine. In the background, the image is framed by a rectangle grid, like a jail cell.
Albert Adams, Skeleton Electrocuting an Ape, Date Not Known
A print depicting the artist. The torso is turned away at 90 degrees from the viewer, but hte figure, shown from shoulder up, makes looks out towards the viewer. The forms of the face are represented with thin lines, like contour lines, suggesting the high points of the face such as the cheek bones. The eyes are left pale, without irises.
Albert Adams, Self Portrait, 1956
An expresive print depicts a reclining female nude, using painterly fluid lines. The figure lays with her arms above her head, on a pale background. surrounding the nude are soft, organic, darker shapes suggesting an outdoor setting with clouds and long grass.
Albert Adams, Female Nude, 1960
An expressive print depicts the artist. Shown from the shoulders up, the figure faces the viewer. The features are defined using bold, painterly lines. The eyebrows appear to be raised, giving the face a forlorn, weary expression.
Albert Adams, Self Portrait, 1960
An etching depicting the artist. From the shoulders up, the artist is depicted through small, soft lines, looking towards the viewer, with his face turned slightly away. The details of the features are soft, and the right side of their face shaded.
Albert Adams, Self Portrait, 1956
A simple monotone print, depicting a stylised self portrait of the artist. The image has a thick black boarder, and shows a round head, with prominent nose, two small eyes, and small mouth. On the cheek there is a large black, vertical smudge and the neck and torso are also depicted by only smudges.
Albert Adams, Self Portrait, 1958
A monotone print depicting the artist. The image looks down at the artist from above, showing his head and shoulders. His hair is parted at the side, and bold lines are used to draw the artists features, including his eyes, nose, mouth, and ear.
Albert Adams, Self Portrait, 1960
A monotone print, with a dark background a simple pale lines, depicts two male figures sat together. The figure on the left appears to be looking down, watching the figure on the right. On the right the figure has a disproportionally large hand. and is sat, with his knees appart.
Albert Adams, Saul and David, 1956
A monotone print using simple lines depicts a wide eyed, harrowed figure from the nose up, looking in through bars above him to see a skull in a dark corner. A bird files above the figure's head, also looking in through one small black eye.
Albert Adams, Prisoner, bird & skull (Incarceration), 1999
A monocrome print depicting a simple figure, riding a horse. The figure and horse both have drawn, skeletal faces, with exposed teeth. The figure has mitten-like hands, and their upper body is depicted by a dark smudge.
Albert Adams, Man on a Rocking Horse, 2001
A charcoal drawing depicting an abstracted locust, using bold, energetic lines and dots. The locust spands the page diagonally, it's head towards the top left corner, and it's tail towards the bottom right.
Albert Adams, Locust, 2001
A charcoal drawing depicts an abstracted locust, using thick, energetic lines, dots, and smudges.
Albert Adams, Locust 2, 2001
An etching with a dark grey background, depicts an oldfashioned oil lamp burning. The flame at the center is the brightest park of the image, the outlines and details of the lamp redered through dark lines.
Albert Adams, Lamp (Incarceration), 2002
A pencil drawing depicting a shopping trolley, with large, dark, bulky contents. The trolley stands out from the plae background, a square shadow beneath it.
Albert Adams, Laden Trolley, 2002
A textured etching shows a figure looking downwards towards the left hand corner of the image. He has dark hair, sideburns, a beard and mustache.
Albert Adams, Head (Final State), Date Not Known
A textured etching shows a figure from the shoulders up. The face is blank and featureless,, turning inwards towards the figure's shoulder, depicted in one curved line. The hair is textured and detailed.
Albert Adams, Head (1st State), Date Not Known
An expressive charcoal drawing shows two figures, trying to balence on a tightrope. One figure stands doubled over in the centre of the image, while the other sits off to the left of the drawing, facing away.
Albert Adams, Figures on a Tightrope, 2001
A detailed, monotone etching depicts a shaded figure, with a distorted head, obscured with black smudges. A cord trails down from above the figure's head, and circles around above the figure's chest.
Albert Adams, Figure with a Power Cord, date not known.
An expressive etching, depicting faceless figures outlined in black against a natural yellowed background.
Albert Adams, Deposition, 1955
An expressive etching depicts the outlined figures of two naked men, holding long sticks. Their forms are illuminated, surrounded by dark crosshatching.
Albert Adams, Deposition, 1955
A pale etching depicts a figure, suspended as if crucified, his body contorted, being attended to by a hooded figure.
Albert Adams, Crucifixion, 1955
Two distorted figures are depicted through thin scratchy lines, black against a natural yellowed background. Harsh lines protrude from the top right corner, pointing towards the figures.
Albert Adams, Crucifixion, 1955
A monotype print with a black background depicting a distorted face with open mouth and pointed nose. The features are depicted through thin white lines.
Albert Adams, Crucifixion, 1960
A monotype print with a black background depicting a distorted face. Thin pale lines show the outline of the figure’s head. The forehead and cheek bones are exaggerated, highlighted white. The face has wide whited over eyes, and an open screaming mouth.
Albert Adams, Crucifixion, 1960
A monotype print depicting Christ on the cross with minimal lines. In the bottom right a figure reaches up towards him.
Albert Adams, Christ with Veronica, 1956
A monotype print depicting Christ on the cross with minimal lines. In the bottom right a figure reaches up towards him.
Albert Adams, Christ with Veronica, 1956
An etching depicting the destorted profile ofa figure, from the neck up, hanging upsidown into the center of the work. The head is boxed in, and lines protrude from the figure's wide eye and open mouth.
Albert Adams, The Prisoner (Incarceration) Cell Window, 2002
Large working drawing of arm or hand, ink on paper pinned together
Albert Adams, Arm (detail of Crucifixion), 1960
a preparatory sketch showing a crouching skeleton of an unknow animal
Albert Adams, Crouching Skeleton, 2004
a preparatory sketch showing a two intertwined figures walking on a tightrope
Albert Adams, Ape on a Man on a Tightrope, 2001
a print showing an ape performing a handstand on a tightrope
Albert Adams, Ape on a Tightrope, c.2000-2006
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man (Study 3), 2001
a preparatory sketch showing a large ape riding on the shoulders of a naked male figure
Albert Adams, Ape on a Standing Man (Study 2), 2001
a print showing an ape riding on the back of a skeletal figure - it's not clear whether the figure is human or not.
Albert Adams, Ape on a Crouching Skeleton, 2004.
a preparatory sketch showing a large ape riding on the shoulders of a naked male figure.
Albert Adams, Ape on a Standing Man (Study 1), 2001
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
an etching showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
a rough sketch in charcoal on white paper. The quickly drawn lines show a jumble of limbs and we an vaguely make out a primate figure on the back of a crouching man.
Albert Adams, Ape on a Man on a Tightrope, 2001.
A preparatory sketch on cream coloured paper, showing the skeleton of a crouching, four-legged animal.
Albert Adams, Crouching Skeleton, 2004
A pencil sketch on cream paper, depicting a headless figure lent upright against a wall.
Albert Adams, Abu Ghraib, 2004
Sarah Hardacre, Forget Mermaids, 2012
Sarah Hardacre, Arms Open to Welcome the Sun, 2012
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 54, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 45, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 62, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 53, 2016
A colour print depicting a tiled pool with diving board. Ripples in the water are represented by darker blue short curved lines.
David Hockney, Pool Made with Paper and Blue Ink for Book, 1980
an abstract print showing curved, angular shapes in blue, violet, red, green and orange.
Bridget Riley, Carnival, 2000
an abstract geometric painting in green, blue, beige and orange
Bridget Riley, Frieze, 2000.
An abstract print, consisting of curved white lines on a black background
Peter Cunliffe, Grey Poem 1 (CD98), 1990
abstract print in colour, showing swirling patterns in light brown, and patches of yellow, red and blue
Kip Gresham, Happy Cat, 1981
Black and White abstract screenprint, showing three circular patterns and the silhouette of a hand
Kip Gresham, Speed and Magic, 1979
print depicting a busy room, with cats, pigs, and people playing cards. In a pop art style.
Steve Currie, The Pathology of Perception, 1979
John Piper, Hautbois Church, 1983
Colour print showing a view over ploughed fields, with coastline and blue sky in the distance
John Brunsdon, View Towards Beachy Head
A print showing an arable landscape of recently ploughed fields under a clear blue sky.
Michael Fairclough, Predannach Moor, Spring Ploughing, 1970.
Elizabeth Frink, Shearwater, 1975
a colour print showing a cityscape reflected in a window
Brendan Neiland, Millbank, 1974
A print showing a square in venice and the front of a building. There are some stalls to the right of the building, and there is a raised feature in the centre of the square. The building has a large door on the ground floor, and three levels of windows.
Richard Beer, Venice, 1975
A drawing in black and white, showing a figure riding a monocycle on a tightrope
Albert Adams, Monocyclist on a Tightrope
A black and white image showing a lit oil lamp on a table.
Albert Adams, Lamp (Incarceration), 2002
a print depicting an ape doing a handstand on a tightrope. Around the ape there are dots of various colours.
Albert Adams, Ape on a Tightrope, 2006
Abstract painting with bright vertical stripes of, teal, yellow, purple, and red, intersected by angled stripes of blue, teal, and purple.
Alan Dickinson, Drawing, 1971.
An abstract print, with one large bold black organic shape below four smaller ones. Faint black lines surround the shapes. The shapes are aligned with beige pockets of colour, surrounded by two muted shades of blue.
Peter Green, Sea Solar Blue, 1970.
An abstract teal blue print with pale delicate swirls in the bottom left corner, and rectangular shapes in shades of teal, blue, and accenting yellow, warping around a small oval pocket of plain blue in the middle.
Charles Bartlett, Blue Foreshore, 1970.
An etching of a dark body of water meeting a bank halfway up the image. The surface of the water covered in lily pads in different ochre shades. Three large trees stand over the water, with dark thin branches set against a pale sky.
Philip Greenwood, Poolside, 1973.
A blue etching depicts a round white plate on the left, with three white circular objects on it, at the centre bottom of the images is a tall white glass, and on the right, a deep blue vase with a tall neck and large round base.
William Scott, Blue Still Life, 1975
A monotone etching depicting the artist from the shoulders up, a mixed race man, with his head tilted towards the viewer.
Albert Adams, Self Portrait, 1956