Original linocut by the listed German Expressionist artist and printmaker Heinke Jenkins (1937 - 2023) created in 1967 in an edition of just 10 prints.

Titled "Between Stations" depicting groups of destitute women huddled in groups on a railway station platform, two monumental and implacable arches towering over them.

Signed and dated 1967 in pencil lower right margin, titled and numbered 4/10 lower left. The backing card is also signed and inscribed by the artist and priced at £14 (the equivalent of £330 in todays money)

Linocut printed in five colours on grey tone wove paper. In a mahogany frame with new conservation mount and backing, glazed. 

Print in excellent original condition, the sheet very clean (see photos). Frame some nicks scratches and stains, mount new (see photos).

Block size 35.5cm x 46cm (maximum, the block is irregular), frame size 52cm x 65cm. 

Come with our Certificate of Authenticity, guaranteed authentic and original.

Delivered ready to hang.

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Heinke Jenkins 1937 – 2023

German born printmaker and illustrator.

Heinke Jenkins was born in Heilbronn and brought up in war-time Germany where she later studied at Stuttgart College for Graphic and Illustration before moving permanently to England in 1961. She was elected a member of the Royal Birmingham Society of Artists, 1967, the Liverpool Academy, 1969, and the Society of Wood Engravers, 1971. During the 1960s and 70s she exhibited in numerous printmaking shows including 'Art of the Printmakers', Curwen Gallery, Birmingham, 1967, and at the RSPEE, 1967 and 1972. She also showed at the Royal Academy in 1969. She created expressionist linocuts, usually incorporating figures, inspired by the suffering she observed in, and after, the war in Germany. She illustrated the poems of John Cotton, published in a limited edition of 'Priapus' issue 7 late 1960s, and the title page of Julian White's 'Crows Fall', Cape Goliard Press. She lived in Sutton Coldfield in later life.

Her work reflects the suffering she experienced and witnessed in Germany during and after the war. Gaunt faced figures crowded together or moving in groups. She continued to explore the way we treat our fellow man, and her recent work was affected by migrant journeys. Her specialism was in linocuts, and this medium supported her representation of man’s inhumanity.