Salvador Dalí was an icon of Surrealism, the 20th-century avant-garde movement that sought to release unconscious creative potential through art that featured dreamlike imagery. Dalí’s fantastical prints, paintings, sculptures, films, and writing helped cement the movement’s identity.

Kate in Blue Cafe is typical of Testino's trademark style, being at once both disarmingly nonchalant yet highly posed. This edition has been published to coincide with the exhibition 'Joshua Reynolds: The Creation of Celebrity, Tate Britain.

The limited edition silkscreen print beautifully illustrates the concept behind the Pavilion 2012 structure, which is based upon the forms of the eleven previous Serpentine Gallery Pavilions. Herzog & de Meuron and Ai Weiwei’s print features nine patterns, each demonstrating a different design aspect of their Pavilion.

Often imitated but never bettered, Bridget Riley is the undisputed master at simulating movement. The undulating wedges and loose sense of pattern contribute to this artwork’s calming rhythms.

One of five screen prints in colours, 1972, on Beckett High White paper, from the set of ten, unsigned, printed by Styria Studio, Inc. New York, with their stamp on the reverse, published by Castelli Graphics and Multiples, New York. Each stamped with artists monogram and the stamp of the estate Andy Warhol.

In the portraits of the Miaz Brothers, the true portraitist is not the artist with his technique, but the observer and his imagination. It is no longer about looking, but rather perceiving and interpreting. In a world that aims to construct an analytic past, present, and future based on detail and the technological reproduction of reality, where every fragment can be decoded according to standards that are closer to those of a machine than those of a human, the Miaz Brothers annihilate detail. They annihilate the mechanicalness of the portrait. In a world in which ever-more sophisticated algorithms are capable of mapping the entire global population thanks to automated systems of facial recognition, the Miaz Brothers turn the subjects of their portraits into an enigma, bestowing unto them an increasingly precious gift: anonymity.

One of 250 numbered copies signed by David Hockney and Stephen Spender. Drawings by David Hockney & written contributions (by 26 authors) edited by Stephen Spender. Grey paper over boards, vellum spine lettered in gilt.

The Hockney drawings illustrate each of the 27 contributions by various authors on a letter of the alphabet (a T.S Eliot piece is included for ‘Q’, along with that of Anthony Burgess), with a final piece by John Julius Norwich. 22 of these have also signed the book: Doris Lessing, William Boyd, Margaret Drabble, Martin Amis, William Golding, Patrick Leigh Fermor, Nigel Nicolson, Seamus Heaney, Douglas Adams, Julian Barnes, Craig Raine, Kazuo Ishiguro, Iris Murdoch, V.S. Pritchett, Erica Jong, Arthur Miller, John Julius Norwich, Susan Sontag, Joyce Carol Oates, John Updike, Norman Mailer, and Ian McEwan. (Not signing were Burgess and Eliot, of course, Ted Hughes, and Gore Vidal). Published by the Aids Crisis Trust to raise money for AIDS victims.

Avant-garde Chinese artist Zhang Xiaogang has gained worldwide recognition for his Surrealist influenced work, which deals intimately with notions of memory, family, history and political power. Born in the province of Yunnan, Zhang lived through many of the atrocities of Mao Zedong’s Cultural Revolution, including labor camps and “reeducation camps.” After the fall of the communist regime, Zhang.

Inspired by family photos from the Cultural Revolution period, as well as the European tradition of surrealism, Zhang Xiaogang’s paintings engage with the notion of identity within the Chinese culture of collectivism. Basing his work around the concept of ‘family’ –immediate, extended, and societal – Xiaogang’s portraits depict an endless genealogy of imagined forebears and progenitors, each unnervingly similar and distinguished by minute difference.

Drawing from the generic quality of formal photo studio poses and greyscale palette, Xiaogang’s figures are nameless and timeless: a series of individual histories represented within the strict confines of formula. The occasional splotches of color which interrupt his images create aberrant demarcations, reminiscent of birthmarks, aged film, social stigma, or a lingering sense of the sitter’s self-assertion.

One of eight cherry blossom prints by Damien Hirst, The Virtues, published by HENI Editions. The eight prints are each titled after one of The Eight Virtues of Bushidō according to Nitobe Inazō – Justice, Courage, Mercy, Politeness, Honesty, Honour, Loyalty, Control.

In 1900 Nitobe Inazō published a book, Bushidō: The Soul of Japan, which narrates for Western audiences the samurai code of ethics known as Bushidō. According to Nitobe, Bushidō literally translates to ‘Military-Knight-Ways’ and lists the ways in which fighting Japanese nobles were expected to maintain themselves in their daily and vocational lives. In Nitobe’s account this code is divided into eight virtues, which are responsible for customs such as the tea ceremony and behaviour like tranquillity even in the face of danger. Nitobe has stated his intention was to unveil the cultural similarities between Japan and the West, effectively concluding ‘that there are no East or West as far as human beings are concerned’.

Referencing Impressionism, Pointillism and Action Painting, the Cherry Blossoms are about the spontaneous joy of spring. Damien Hirst said “Cherry Blossoms are about beauty and life and death. They’re extreme – there’s something hopeful yet hopeless about them. They’re art but taken from nature. They’re about desire and how we process love and why we need it, but also these prints are about the momentary, the insane transience of beauty – a tree in full crazy blossom against a clear blue sky. How can you argue with that? It’s been so good to make these prints, to be completely lost in colour for a while. Blossoms are optimistic and bright yet fragile, just like we are and I hope that The Virtues can remind us to always try and get the most from life.”

This is me, both as artist and model in my studio. I wanted to make something in the tradition of the reclining nude. I’m hoping it will be popular with educated middle-class people who might enjoy spotting the art-historical references within it. Reclining Artist is both an idealized fantasy and also the messy reality. It is perhaps me expressing my desire to be a sex object and also show off my cultural capital and boyish paraphernalia. The sofa is draped in a test piece of my 2011 tapestry Map of Truths and Beliefs. Alan Measles, my teddy bear and metaphor for masculinity and god, appears as a sculpture, as an inflatable and on a dress hanging on the wall. The cat is called Kevin.

The Ai Weiwei MASK art project, launched on 21 May in collaboration with eBay for Charity. All of the proceeds will support COVID-19 humanitarian emergency efforts led by Human Rights Watch, Refugees International, and Médecins Sans Frontières/Doctors Without Borders (MSF). The project offered face coverings hand printed with iconic images of the artist’s life-long campaign for free speech and individual rights. The images are silk-screened by hand on non-surgical cloth face masks. The artworks are being made in the artist’s studio in Berlin. The COVID-19 pandemic is a humanitarian crisis. It challenges our understanding of the 21st century and warns of dangers ahead. It requires each individual to act, both alone and collectively”. Ai Weiwei MASK is curated as an independent project by Alexandra Munroe, Senior Curator, Asian Art and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum, who has collaborated with Ai on previous projects.

The most famously anonymous artist in the world, Banksy made the front pages when he auto-shredded Girl With Balloon during a 2018 Sotheby's auction. Known for his thought-provoking social commentary, Banksy's varied works include the Walled Off Hotel (with its view of the West Bank barrier), cover art for Blur's Think Tank album, and a gigantic graffiti piece about Brexit, in the UK port of Dover.

KAWS (b. 1974, Jersey City, New Jersey; lives and works in Brooklyn, New York) is renowned for his prolific body of work that straddles the worlds of art and design to include paintings, murals, graphic and product design, street art, and large-scale sculptures. Over the last two decades KAWS has built a successful career with work that consistently shows his formal agility as an artist, as well as his underlying wit, irreverence, and affection for our times. His refined graphic language revitalizes figuration with both big, bold gestures and playful intricacies.

KAWS often appropriates and draws inspiration from pop culture animations, forming a unique artistic vocabulary across mediums. Admired for his larger-than-life sculptures and hardedge paintings that emphasize line and color, KAWS’s cast of hybrid cartoon characters are the strongest examples of his exploration of humanity. As seen in his collaborations with global brands, the artist’s imagery possesses a sophisticated humor and reveals a thoughtful interplay with consumer products. With their broad appeal, KAWS’s artworks are highly sought-after by collectors inside and outside of the art world, establishing him as a uniquely prominent artist and influence in today’s culture.

The Pond is a quintessential example of one of Lowry’s urban landscapes. The composition includes many of the typical Lowryan elements such as smoke rising from factories and chimneys, houses with little balconies and a mass of his matchstick figures scurrying across the urban scene and public space. Lowry was interested in mapping the effects of the Industrial Revolution on the changing face of Victorian England, however through highlighting the darker side of this progress in terms of the constant fatigue and psychological pressure that comes with such an acceleration of all aspects of life and work. In fact, the artist himself considered The Pond to be his best industrial landscape. In his own words in a letter written in 1956: “This is a composite picture built up from a blank canvas. I hadn’t the slightest idea of what I was going to put in the canvas when I started the picture, but it eventually came out as you see it. This is the way I like working best”.

Michael Craig-Martin combines quotidian objects such as light bulbs, chairs, and umbrellas with everyday words. His pairing of language and image is based on both familiar and unexpected associations. In combining the word GO with a stopwatch Craig-Martin conveys with a sense of immediacy the excitement and anticipation experienced in the moments before the starter pistol is fired, and the roar of the crowd as they encourage their favourite Paralympian towards the finish line.

Map was produced on the occasion of the opening of the new Serpentine Sackler Gallery. Conceived as a map that connects the Serpentine Galleries’ two spaces, Craig-Martin has turned the parks surrounding the buildings, including Kensington Gardens, Hyde Park and the Serpentine Lake, into a multi-coloured,
playful landscape that is immediately recognisable
as a Michael Craig-Martin original.

Sir Peter Blake is known as the Godfather of British Pop Art, and is perhaps best known for his design of The Beatles ‘Sgt. Peppers’ album cover. Knighted in 2002, and an honorary doctor of the Royal College of Art, his work is represented in major collections across the globe.

Sir Peter Blake is known as the Godfather of British Pop Art, and is perhaps best known for his design of The Beatles ‘Sgt. Peppers’ album cover. Knighted in 2002, and an honorary doctor of the Royal College of Art, his work is represented in major collections across the globe.

Nude female figure seated on a chair, beside her is a young boy, to the left are five men near a table, 8 May 1968 II. 1968. This comes from the complete suite of 347 etchings, with varying intaglio techniques, executed by Picasso at Mougins, in the south of France, between 16 March and 5 October 1968, each signed in pencil and numbered 43/50. It was printed with Aldo and Piero Crommelynck and published by Galerie Louise Leiris, Paris.

This print is signed on the front in the lower right, numbered in the lower left from the edition of 25.

Damien Steven Hirst (born 7 June 1965) is an English artist, entrepreneur, and art collector. He is one of the Young British Artists (YBAs), who dominated the art scene in the UK during the 1990s. He is reportedly the United Kingdom’s richest living artist, with his wealth valued at £215M in the 2010 Sunday TimesRich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.

Death is a central theme in Hirst’s works. He became famous for a series of artworks in which dead animals (including a shark, a sheep and a cow) are preserved ”sometimes having been dissected”in formaldehyde. The best known of these was The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot (4.3 m) tiger shark immersed in formaldehyde in a clear display case. He has also made “spin paintings,” created on a spinning circular surface, and “spot paintings”, which are rows of randomly coloured circles created by his assistants.

In September 2008, Hirst made an unprecedented move for a living artist by selling a complete show, Beautiful Inside My Head Forever, at Sotheby’s by auction and bypassing his long-standing galleries. The auction raised £111 million ($198 million), breaking the record for a one-artist auction as well as Hirst’s own record with £10.3 million for The Golden Calf, an animal with 18-carat gold horns and hooves, preserved in formaldehyde.