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catalogue 125

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Modern & Contemporary Prints

Karin Mamma Andersson

Absint. (Absinthe.) Edition Copenhagen, 2010Triptych. Original lithograph and woodcut on 250gsm Velin d’Arches paper. Each sheet size: 48.5 × 60.5 cm. Excellent condition. Presented in three acrylic box frames. Edition of 99. Signed in pencil lower right to the third sheet and numbered lower left on the first sheet.

£3,500 [97326]

1

2 Banksy, Steve Bell, James Boswell, Alexander de Cadenet, Anthony Caro, James Cauty, Billy Childish, David Gentleman, Richard Hamilton, Clifford Harper, Brian Jones, John Keane, Peter Kennard, Alan Kitching, Jenny Matthews, Paul Mattsson, Antonio Pacitti, Jamie Reid, Martin Rowson, Ralph Steadman, S.T.O.T.21stC., Gee Vaucher

Pax Britannica, A Hellish Peace. London: The Aquarium, 2004Title page and 24 giclée prints, statement by Ralph Steadman and page from the Hutton Report as burnt outside 10 Downing Street. Original black clamshell box. Sheet sizes: 29.7 × 21 cm or smaller. Unnumbered from an edition of 100. Each print signed by the respective artist apart from S.T.O.T.21stC which is rubber stamped. Banksy’s contribution is his “Wrong War” image, which was also used on placards during the “Stop the War” demonstrations in 2004.

£13,000 [108065]

3 Edward Bawden

Life Guards. 1953Original lithograph printed in colours on wove paper. Image size: 43.6 × 30.8 cm. Sheet size: 49.4 × 36.4 cm. Excellent condition. Presented in a handmade white gold leaf frame with UV protected glass. Edition of 50, unnumbered. Signed and dated in pencil lower right by Bawden. One of 40 prints published by the Royal College of Art and exhibited at the Victoria and Albert Museum as part of the Coronation Year exhibition in 1953. (Bacon & McGregor B.238)

£3,500 [98241]

4 Peter Blake

I Love London. London: Creatively Recycled Empire Limited, 201010 spot colour lithograph on 56% recycled tinplate. Sheet size: 81 × 62 cm. Excellent condition. Presented in a black box frame with UV preventive conservation glass. Edition of 75. Signed lower right by Blake, numbered lower left.

£3,500 [97628]

5 Peter Blake

Rainbow. London: Creatively Recycled Empire Limited, 201010 spot colour lithograph on 56% recycled tinplate. Sheet size: 81 × 62 cm. Excellent condition. Presented in a black box frame with UV conservation glass. Edition of 25. Signed in marker pen lower right by Blake, numbered lower left.

£3,250 [111843]

6 Salvador Dalí

Polyanthus tubarosa et cygnus vegetales. (Water-Hybiscus Swan.) Paris: Editions Graphiques Internationales, 1972Lithograph and acrylic on heavy Arches paper. Plate size: 56.5 × 38.5 cm. Sheet size: 74.7 × 55 cm. Some loss to the acrylic, mainly to the leaves, glue residue to the verso. Presented in a limed ash frame. Signed in pencil lower left “Bon a tirer, Dalí”. An edition of 350 was published with embossing and a pseudo botanical title beneath the image; this copy has built-up acrylic instead of embossing and no title beneath the image. (Field 72-7C)

£10,000 [87214]

7 Marcel Duchamp

DADA. 1916–1923. Texts by Tristan Tzara, Hans Arp, Richard Huelsenbeck and Jacques-Henry Levesque. New York: Sidney Janis, 1953Offset lithograph and screenprint exhibition poster/catalogue designed by Duchamp on tissue paper; folded version. Sheet size: 96.8 × 63.3 cm. A very bright copy with crumple marks. Presented in a black wooden frame. Duchamp produced the catalogue for the exhibition at the Sidney Janis Gallery, New York, which was assembled, curated and installed under his direction. The catalogue was distributed at the exhibition as a ball of crushed tissue. Duchamp also suggested a garbage bin be offered to visitors so that they could crumple up the catalogue and throw it away upon leaving the exhibition (our poster has crease marks suggesting this was the original fate of this piece). Duchamp considers this an original artwork; due to its ephemeral nature, it is rather uncommon. (Schwartz 543)

£5,750 [85763]

8 Tracey Emin

Sixty a Day Woman. London: Curwin Studio, 1986Lithograph printed in colours on wove paper. Sheet size: 55.5 × 76 cm. Excellent condition. Presented float-mounted in a gilt wooden frame. Edition of 18. Signed, numbered and dated in pencil by Emin. Emin’s first published print and signed T. K. Emin as with her earlier work.

£3,000 [109947]

9 M. C. Escher

Fire. Self printed, 1952Woodcut in yellow and orange printed from 2 blocks on wove paper. Sheet size 16.9 × 15.6 cm. Excellent condition. Unknown edition, proof without text. Signed lower left by Escher, inscribed “eigendruck” (“own print”) lower right. This image was commissioned by Eugène and Willy Strens for a New Year’s greetings card for 1955. Published as a card with letterpress text, the cards were unsigned. (J. L. Locher 384)

£6,000 [107498]

10 M. C. Escher

Ascending and Descending. Baarn: 1960Original lithograph on Simili Japon paper. Image size: 35.6 × 28.6 cm. Sheet size: 45.2 × 38.2 cm. Old hinging tape to verso of upper edge otherwise in excellent condition. Presented in a brown stained wooden frame with conservation glass. Edition of 56. Signed and numbered lower right in pencil by Escher. Ascending and Descending was influenced by and is an artistic implementation of the Penrose stairs, an impossible object devised by the mathematician Lionel Penrose. The characters that climb the impossible staircase represent a group of people that follow an inescapable destiny. Two other characters can be noticed on the lower levels of the building that do not participate in the ritual. Escher calls these two characters free people that do not like conformity. (J. L. Locher 435)

£28,000 [98815]

11 Elisabeth Frink

Rolling Over Horse. London: Waddington Graphics, 1980Etching with aquatint in two colours on Velin Arches paper. Sheet size 68 × 90 cm. Plate size: 54.5 × 69 cm. Minor toning to extreme edges otherwise in excellent condition. Presented in a hand finished stained oak frame with conservation glass and mount.Edition of 75. Signed in pencil lower right by Frink and numbered lower left. Kelpra Studio blindstamp lower right. (Wiseman 123)

£6,250 [105324]

12 Elisabeth Frink

Running Man. Chilford Hall Press and the Artist, 1988Sheet size: 77 × 56 cm. Screenprint in three colours on Lana Aquarelle paper. Old hinging tape to verso otherwise in excellent condition. Presented float-mounted in an obeche drift-wood style frame. Edition of 70. Signed and numbered in pencil lower right by Frink.

£3,750 [66811]

13 Antony Gormley

Feeling Material. London: Sadler’s Wells, 2006Sheet size: 74 × 57 cm. Image size: 49 × 34.5 cm. Etching on wove paper. Excellent condition. Presented float-mounted in a black frame with UV glass. Edition of 250. Signed and dated in pencil lower right by Gormley, numbered lower left.

£3,000 [75615]

14 Antony Gormley

History. Copenhagen: Editions Copenhagen, 2013Stone lithograph printed with ink and linseed oil on two sheets of 300gsm Velin d’Arches wove paper. Combined sheet size: 67.2 × 199.6 cm. Framed size: 84 × 215 cm. Excellent condition. Presented in waxed oak frame. Edition of 40. Signed, dated and numbered on the verso by Gormley.

£9,500 [93202]

15 Richard Hamilton

Swingeing London 67. London: Petersburg Press, 1968Hard ground etching, aquatint, embossing and photo-etching from 2 plates, metalic foil die-stamping, with collage on mould-made etching paper. Image Size: 34 × 55.6 cm. Sheet size: 57 × 73 cm. Excellent condition. Presented in a welded aluminium frame with UV protective glass. Edition of 70. Signed and numbered in pencil lower left by Hamilton. This print was printed, embossed and diestamped by Hamilton and Giorgio Upiglio in Milan with collage added by Hamilton in London. In February 1967 Fraser and Jagger were arrested for the possession of controlled drugs after a party at Keith Richards’s farmhouse in West Wittering, Sussex. Legal proceedings began in May 1967 and were adjourned until June to be heard in a higher court. A photograph by John Twine published in the Daily Sketch on 29 June, showing Robert Fraser and Mick Jagger being driven to court for sentencing handcuffed together in a prison van, was the source of this print. (Verlag 70)

£55,000 [91248]

16 Keith Haring

(Best Buddies) Pop Shop I. New York: Keith Haring, 1987Screenprint in 5 colours on heavy wove paper. Sheet size: 30.5 × 38 cm. Light cracking to purple in upper right corner, otherwise in excellent condition. Presented in a black wooden box frame with conservation glass. An inscribed copy aside from the edition of 200. Inscribed in black felt tip to the right hand margin by Haring, “Merry Christmas Carrie – Love – Keith.” (Littmann p. 83)

£10,000 [102908]

17 Keith Haring

Untitled. New York: Schellmann Art, 1989Screenprint on canvas. Sheet size: 20 × 20 cm. Excellent condition. Presented in a Darbyshire powder coated alloy frame with conservation glass. Artist’s proof aside from the edition of 60. Signed by Haring on a label attached to the verso of the canvas dated 23 September 1989. With a letter of authentication signed by the publisher, Jorg Schellmann. (Littmann p. 153)

£30,000 [109636]

18 Barbara Hepworth

Fragment. London: Marlborough Fine Art, 1971Original lithograph in colours and embosing on handmade wove paper with BH watermark. Sheet size: 81 × 59 cm Excellent condition. Presented in stained beech frame with UV filtered glass. Edition of 60. Signed in pencil lower right by Hepworth, numbered lower left. One of nine prints from the Aegean Suite portfolio, influenced by Hepworth’s fascination with geometric forms and sites associated with ancient Greek culture.

£3,750 [89164]

19 Damien Hirst

Bromphenol Blue. London: Paragon Press, 2005Aquatint in colours on 350 gsm Hahnemühle etching paper. Plate size: 38.1 × 58.4 cm. Sheet size: 76.4 × 93.3 cm Excellent condition. Presented in a white wood box frame. Edition of 65. Signed lower right by Damien Hirst and numbered on the verso. Each of the 96 different colours was applied by hand by the printer.

£17,500 [88257]

20 Damien Hirst

Emerge – Butterfly. Self published, 2009Etching in colours on wove paper. Sheet size: 44 × 41 cm. Excellent condition. Presented in a black wooden frame. Edition of 75. Signed in pencil lower right by Hirst, numbered lower left. With Hirst’s stamp lower left.

£5,000 [102905]

21 Damien Hirst

Mickey. London: Other Criteria, 2014Screenprint in 4 colours on wove paper. Sheet size: 87.5 × 70 cm. Excellent condition. Presented float-mounted in a white wooden frame. Edition of 250. Signed in pencil lower left by Hirst, numbered lower right. Other Criteria blind stamp lower right. At the request of Disney, Hirst remade Mickey Mouse as one of his iconic series of spot paintings. The original Mickey was conceived in 2012 as an oil painting to be auctioned in aid of Kids Company, a London-based charity established in 1996, providing practical, emotional and educational support to vulnerable inner-city children and young people.

£37,500 [111003]

22 Damien Hirst

The Sick Dead – Lime Green/Raven Black. London: Other Criteria and Paul Stolper, 2015Two colour foil block print on Somerset Tub Sized 410gsm paper. Sheet size: 72 × 51 cm. Excellent condition.Edition of 15. Signed in pencil lower right by Hirst, numbered lower left, blindstamp lower left.

£5,500 [100214]

23 David Hockney

Pool Made with Paper and Blue Ink for Book. London: Thames and Hudson, 1980Original 6-colour hand-drawn lithograph drawn on 3 limestone and 3 aluminium plates on Arches Cover mould-made paper. Sheet size: 26.7 × 22.8 cm. Excellent condition. Presented float-mounted in a white wooden frame with conservation mount and Perspex. Edition of 1000. Signed and dated in pencil by Hockney lower right, numbered lower left. (Tokyo 234)

£15,000 [109917]

24 David Hockney

Graffiti Palace, N.Y. Dec. 1982. 1982Collage made with colour photographs mounted on a blue grey board presented in the artist’s curved wooden frame. Sheet size: 124 × 148 cm. Excellent condition. Edition of 15. Titled, dated, numbered and signed in white paint lower middle. This image was first exhibited at the “David Hockney: New Work with a Camera” exhibition at the Richard Gray Gallery, Chicago, May 1983.

£28,000 [98828]

25 Patrick Hughes

Pablo. London: Flowers Gallery, 2013Hand-painted multiple with archival inkjet on card. Framed size: 52.5 × 117.5 × 20 cm Excellent condition. Presented in the artist’s clear acrylic box frame. Edition of 40. Signed in pencil lower right by Hughes, numbered lower left. Hughes' visually deceptive three-dimensional take on a gallery with paintings by Pablo Picasso.

£15,000 [106831]

26 Robert Indiana

Love. New York: American Image Editions, 1996Screenprint in 3 colours on ANW Crestwood Museum Edition paper. Sheet size: 60.5 × 50 cm. Excellent condition. Presented in an acrylic box frame. Edition of 200. Signed and dated in pencil lower right by Indiana, numbered lower left. One of twelve prints from the portfolio Book of Love. Accompanied with the corresponding signed and numbered poem by the artist, “To Draw a Straight Line”. Sheet size: 60.5 × 50 cm. Presented in a matching acrylic box frame.

£6,000 [93203]

27 Gerald Laing

The Kiss (Amy Winehouse & Blake Fielding-Civil). London: The Artist & Ocontemporary, 2007Screenprint with gold leaf on 400 gsm Velin Arches Blanc paper. Sheet size: 110.3 × 94 cm. Excellent condition. Presented in black ash frame with conservation UV protected glass. Edition of 90. Signed, dated, titled and numbered lower left by Laing.

£3,500 [93011]

28 Gerald Laing

KM (Kate Moss). London: The Artist & Ocontemporary, 2008Screenprint on 400 gsm Velin Arches Blanc paper. Sheet size: 98.5 × 65.5 cm. Excellent condition. Presented in an acrylic box frame. Edition of 90. Signed and dated in pencil lower left, titled and numbered lower right by Laing.

£3,000 [93010]

29 Roy Lichtenstein

Fish and Sky. New York: Tanglewood Press Inc., 1967Two colour screenprint on silver gelatin photographic print mounted on a lenticular offset lithograph on white compostion board with window mount. Image size: 27.9 × 35.5 cm. Mount size: 60.4 × 50.8 Excellent condition. Presented float-mounted in a light ash frame. Edition of 200. Signed on the mount in pencil lower right by Lichtenstein, numbered lower left, also signed on verso of image in pencil upper right. The mount is an integral part of the print. (Corlett 50)

£25,000 [87711]

Roy Lichtenstein

Bull III. Los Angeles: Gemini G.E.L., 1973Lithograph, screenprint and line-cut on Arjomari paper. Image size: 61.1 × 81.4 cm. Sheet size: 68.6 × 89 cm. Lightly toned to extreme edges otherwise in excellent condition. Presented in black ash frame with conservation mount and UV perspex. Edition of 100. Signed and dated in pencil lower right by Lichtenstein, numbered lower left. Publisher’s blind stamp lower right, and publisher’s workshop number to verso. Printed from three aluminium lithograph plates in yellow, red and blue, two screenprints in black and light blue, and one zinc line-cut in black. (Corlett 118)

£15,000 [102508]

30

31 Roy Lichtenstein

I Love Liberty. Los Angeles: The Artist and People for the American Way, Washington, DC, 1982Screenprint in four colours on Arches 88 paper. Image size: 82.3 × 53.6 cm. Sheet size: 97.5 × 68.8 cm. Excellent condition. Presented in a black wooden frame. Edition of 250. Signed, numbered, and dated in pencil lower right by Lichtenstein. The print was executed in conjunction with the I Love Liberty celebration, recorded on 22 February 1982 and broadcast on US television on 21 March. (Corlett 192)

£47,500 [109320]

32 Roy Lichtenstein

Untitled Head. Los Angeles: Gemini G.E.L., 1995Screenprint in eight colours on Lanaquerelle paper. Sheet size: 47.7 × 54.7 cm. Excellent condition. Presented float-mounted in a contemporary wooden frame with conservation plexiglass. Edition of 75. Signed, dated and numbered in pencil lower right by Lichtenstein, publisher’s blind stamp lower right. Screen sequence: 1 light yellow, 2 orange, 3 white, 4 pink, 5 bright yellow, 6 ultramarine blue, 7 sand, and 8 black. (Too late for Corlett)

£22,500 [110432]

33 L. S. Lowry

A Village on a Hill. London: Ganymed Original Editions. Printed at the studio of H. F. Grace., 1966Original two colour lithograph on heavy wove paper. Sheet size: 97.5 × 64 cm. Excellent condition. Presented in a white wooden frame with UV protective glass. Edition of 75. Signed and dated lower left in red felt tip by Lowry. This is Lowry’s first and largest work in lithography and was printed from a zinc plate.

£20,000 [111061]

34 L. S. Lowry

Mill Scene. London: The Observer, 1970sColour offset lithograph on wove paper. Image size: 35 × 45 cm. Sheet size: 46 × 55.7 cm. Skinning to edges of verso from previous framing otherwise a bright copy. Presented in a lime waxed frame with conservation mount and glass. Edition of 750. Signed in pencil lower right by Lowry. This edition was issued unnumbered and without a blindstamp or any text by the Sunday newspaper, The Observer. After an original oil painting excecuted in 1959.

£6,000 [110249]

35 L. S. Lowry

Going to the Match. London: Medici Society, 1972Colour offset lithograph on wove paper. Image size: 52.8 × 68.0 cm. Sheet size 64.3 × 78.5 cm. Sellotape residue to extreme top edge, light creasing to margins hidden by the mount. Presented in a lime wax frame with conservation mount and glass. Edition of 300. Signed in pencil lower right by Lowry, Fine Art Trade Guild blindstamp lower left. Reproduced from an original 1953 oil painting of football fans converging on Burnden Park, Bolton Wanderers’ old football stadium. Originally titled “Football Ground”, the painting won first prize in a competition organized by the Football Association. Lowry was very surprised when he heard about it as he did not know the picture had been entered. In 1999 the painting was bought by the Professional Footballers' Association for £1.9 million, a record price at the time for a Lowry.

£36,000 [110260]

36 L. S. Lowry

The Cart. Cheshire: Adam Collection Ltd, 1973Colour offset lithograph on heavy wove paper. Image size: 49.5 × 40 cm. Sheet size: 62 × 50 cm. Excellent condition. Presented in a contemporary gilt wood frame with conservation mount and glass. Edition of 850. Signed in pencil lower right by Lowry, Fine Art Trade Guild blindstamp lower left, stamp numbered lower left. An image after the painting executed in 1959.

£9,000 [109788]

37 L. S. Lowry

The Pond. Holt: J. H. Mainstone Print Publications, 1974Colour offset lithograph on heavy wove paper. Image size: 43 × 57.5 cm. Sheet size: 61 × 72.5 cm. Excellent condition. Presented in a lime wax frame with conservation glass. Edition of 850. Signed in pencil lower right by Lowry, Fine Art Trade Guild blindstamp lower left. Lithograph after an oil painting on canvas by Lowry from 1950. This image was used as a Christmas card by Prime Minister Harold Wilson in 1964.

£7,000 [108125]

38 René Magritte

Les travaux d’Alexandre (The Works of Alexander), from Il Surrealismo tra le due guerre (Surrealism Between the Two Wars). Milan: Galleria Schwarz, 1962Etching on C. M. Fabriano paper. Image size: 11.4 × 14.5 cm. Sheet size: 24.1 × 19.9 cm. Excellent condition. Presented in an ornate gilt frame with UV glass. Edition of 60. Signed and dated in pencil lower middle by Magritte, numbered lower left.

£12,000 [93014]

39 Harland Miller

Love Saves the Day. London: White Cube, 2014Fifteen colour screenprint on 410gsm Somerset paper. Sheet size: 146 × 105 cm. Excellent condition. Edition of 100. Signed in pencil lower right by Miller, numbered lower left. Harland Miller has reworked a rare design from the archive of Penguin Books; the Russian Review periodical, published in the 1940s. Miller has created a fictional paperback cover using the same design but has changed the colour to a cerise pink. The direct and optimistic statement, 'Love – Saves the Day' is unusual for the artist who frequently employs a dark and satirical turn of phrase to create works that are as unsettling as they are humorous. This cover has been painted in a gestural style which references the colour field paintings of American Abstract Expressionism. Miller says, ‘colour changes the way people read text – if you made the same work in green, people would read the text differently. The same text would have a very different meaning but you would never really know why.’

£7,000 [108124]

40 Takashi Murakami

Goldfish Colors (3D) Flower Ball. Tokyo: Kaikai Kiki, 2008Offset lithograph with foil stamp and high gloss varnishing on heavy wove paper. Diameter size: 71 cm. Excellent condition. Presented in a black lacquer frame with conservation mount and glass. Edition of 300. Signed and numbered in pen to lower right edge by Murakami.

£2,500 [92965]

41 Takashi Murakami

Lotus Flower (Pink). Tokyo: Kaikai Kiki Co. Ltd, 2008Offset lithograph with cold foil stamp and high gloss varnishing on UV paper. Diameter size: 71 cm. Excellent condition. Edition of 300. Signed and numbered in pen along lower right edge by Murakami.

£2,000 [89576]

42 C. R. W. Nevinson

The Road from Arras to Bapaume. 1918Original lithograph on Antique Deluxe laid paper. Image size 47.2 × 38.5 cm. Sheet size: 57 × 44.4 cm. Small repair to lower part of the sky, an excellent richly inked impression, untrimmed. Presented in hand-finished stained oak frame with UV conservation glass. Edition unknown but not exceeding 75 copies. Signed and dated lower right in pencil by Nevinson. First exhibited at the Leicester Galleries, London, March 1918. (Black 30 p. 130.)"I got back (to London in 1918) to find that a bomb had fallen on the printing works where my lithographs were kept and my stones were damaged. The reason for the extra ridge on my lithograph of the Arras-Bapaume Road is because I had to put it in to cover the injury done to my original stone" (Frances Carey & Anthony Griffiths, "Avant-Garde British Printmaking: 1914–1960", British Museum, London, 1990, p. 53). The lithograph is redrawn after the original oil painted in 1917, now in the Imperial War Museum.

£75,000 [93838]

43 Pablo Picasso

La Lecture. Paris: Galerie Simon, 1926Original lithograph on Van Gelder Zonen cream wove paper. Sheet size 63.1 × 48.1 cm. Image size: 32.8 × 24.5. Excellent condition. Presented in a white gold leaf frame with conservation glass and mount. Edition of 100. Signed in pencil lower right by Picasso, numbered lower left. (Bloch 75; Mourlot XXII)

£9,000 [107225]

44 Pablo Picasso

Tête de Femme. (Head of a Woman.) Paris: Louise Leiris, 1959–60Linocut in black, brown and beige from one block on Arches wove paper. Image size 65.7 × 54 cm. Sheet size: 75.6 × 62.5 cm. Excellent condition. One of 20 proofs aside from the edition of 50. Signed in pencil lower right by Picasso. Printed by Arnéra, Vallauris. Picasso began executing this linocut in 1959, however the date in the print reads 1956 because of an inversion of the number 9.(Bloch 947, Baer 1213, Kramer 6)

£35,000 [111217]

45 Pablo Picasso

Femme Assise en Pyjama de Plage II. (Seated Woman in Beach Pajamas II.) Paris: Berggruen, 1962Linocut in brown and tan on Vélin d'Arches paper. Image size 39 × 30 cm. Sheet size 54.5 × 43 cm. Excellent condition. Presented in a handmade gold leaf frame with UV preventive glass. Edition of 100. Signed in pencil lower right and numbered lower left by Picasso. This linocut was printed by Arnéra, Vallauris. (Bloch 1062; Baer 1276. Kramer 83)

£22,500 [96990]

46 Pablo Picasso

Le Déjeuner sur l’herbe, after Edouard Manet. Paris: Galerie Louise Leiris, 1962Linocut in brown, tan, black and white on Arches paper. Image size 35 × 27 cm. Sheet size 62.5 × 44.1 cm. Excellent condition. Presented in a handmade gold leaf frame with UV preventive glass. Edition of 50. Signed in pencil lower right by Picasso, numbered lower left. Printed by Arnéra, Vallauris. (Bloch 1096. Baer 1328. Kramer 88.)This linocut is one of a series of Picasso's radical reinterpretations of Manet's famous painting, begun in June 1954 and continued over the next decade. By this late stage, the "Conversationalist" has lost his hair, has clearly aged, and now resembles Picasso himself, in conversation with a Victorine who could be said to resemble his wife, Jacqueline.

£35,000 [96993]

47 Pablo Picasso

Le peintre à la palette. (Painter with his Palette.) Valluaris: Arnéra, 1963Linocut in black on Arches paper. Image size 64.2 × 53.2 cm. Sheet size: 75.2 × 62.2 cm. Excellent condition. Presented in a white gold leaf frame with conservation glass.Edition of 150. Signed in pencil lower right by Picasso, numbered lower left. (Bloch 1153. Baer 1342 IIIB. Kramer 103)

£22,500 [107957]

48 Pablo Picasso

Couple, from La Magie quotidienne. Paris: L. Border, 1968Etching on Japan ancient paper. Plate size 22.5 × 32.2 cm. Sheet size 35.6 × 50.5 cm. Framed size: 47.5 × 55 cm. Excellent condition. Presented in a handmade white gold leaf frame with conservation mount and glass. Edition of 15 in roman numerals aside from the edition of 188. Signed in pencil lower left by Picasso, numbered lower right. (Bloch 1460; Baer 1505)

£10,000 [111075]

49 Bridget Riley

Untitled. New York: Robert Feigen Gallery, 1965Offset lithograph on wove paper. Sheet size: 46.4 × 38 cm. Excellent condition. Presented in a handmade white gold leaf frame with UV preventive glass. Unknown edition. Signed upper right in pencil by Riley. Issued as a poster/invitation for Riley’s first exhibition at the Robert Feigen Gallery in New York, 2–27 March 1965. Many of these posters were folded and mailed with text on the verso as invitations; this one is unfolded without the text. It is unknown how many impressions were signed by Riley but they are uncommon.(Not in Schubert)

£15,000 [93205]

50 Bridget Riley

Bagatelle 1. London: Karsten Schubert, 2015Screenprint on wove paper. Image size: 36 × 71 cm. Sheet size: 52.5 × 82 cm Excellent condition. Presented in a white wooden frame with conservation glass. Edition of 75. Signed lower right by Riley, titled and numbered lower left.

£10,000 [103210]

51 Bridget Riley

Bagatelle 2. London: Karsten Schubert, 2015Screenprint on wove paper. Image size: 36 × 72 cm. Sheet size: 52.5 × 82 cm Excellent condition. Presented in a white wooden frame with conservation glass. Edition of 75. Signed lower right by Riley, titled and numbered lower left.

£10,000 [103211]

52 Ralph Steadman

Patriotic Primate. Lexington, KT: Petro III Graphics, 1997Screenprint in three colours with hand-drawn wax crayon in red, blue, orange, and purple by Steadman on white Coventry cotton paper. Sheet size: 97 × 127 cm. Excellent condition. Edition of 9. Signed in pencil lower right by Steadman, titled lower centre and numbered lower left.

£4,750 [77794]

53 Ralph Steadman

Large Lizard Lounge (Colour). Lexington, KT: Petro III Graphics, 1997Screenprint in nine colours on white Coventry cotton paper. Sheet size: 97 × 127 cm. Excellent condition.Edition of 77. Signed and dated in pencil lower right by Steadman, titled lower centre and numbered lower left.

£5,000 [93789]

54 Ralph Steadman

Gonzo Guernica. Lexington, KT: Petro III Graphics, 2012Triptych. Screenprint in black on 320 gsm White Coventry 100% cotton paper. Sheet sizes: Left & right sheets 124.6 × 96.5 cm. Middle sheet: 124.6 × 78.1 cm. Total sheet size: 373.8 × 271.1 cm. Excellent condition.Edition of 59. Signed in pencil lower right by Ralph Steadman on the left sheet, titled on the right sheet and numbered on the middle sheet.

£5,750 [88454]

Ralph Steadman

Going Home. (Dr. Hunter S. Thompson’s Gonzo Memorial Fist.) Lexington, KT: Petro III Graphics, 2005Five colour screenprint on white Rising Stonehenge deckle edge paper. Sheet size: 76 × 56 cm. Excellent condition. Presented in a black wooden box frame with conservation glass. Artist’s proof in five colours aside from the edition of 36 issued in black. Signed in pencil by Steadman, Ed Bradley (CBS 60 minutes), Anita Thompson (HST’s wife), Johnny Depp, Kurt Vonnegut, Douglas Brinkley (writer), Deborah Fuller (HST’s assistant), Bill Murray, Laila Nabulsi (HST’s ex girlfriend), Jann Wenner (Rolling Stone publisher), Bob Braudis (Pitkin County Sheriff, Aspen), Juan Thompson (HST’s son), stamped with HST’s personal “Gonzo” rubber stamp, signed on the verso by the printer Joe Petro III. Hand-printed for the first memorial for HST, signed at Owl Farm, Woody Creek, Colorado in his "War Room" and at the Jerome Hotel in Aspen, Colorado.

£4,500 [103145]

55

56 Andy Warhol

Flowers. New York: Leo Castelli Gallery, 1964Offset lithograph on wove paper. Image size: 55.7 × 55.7 cm. Sheet size: 58.4 58.4 cm. Edges lightly toned otherwise very bright. Presented in a handmade white gold leaf frame with UV glass.Edition of approximately 300 unnumbered. Signed and dated in pen lower right by Warhol. Published to coincide with Warhol’s exhibition at the Leo Castelli Gallery, New York, November 21- December 17, 1964.(Feldman & Schellmann II.6)

£25,000 [91967]

57 Andy Warhol

Marilyn Monroe. New York: Factory Additions, 1967Screenprint on heavy wove paper: Sheet size: 91.4 × 91.3 cm. Framed Size: 101.5 × 101.5 cm. Small damp stain to verso of lower sheet edge, a very tiny closed tear to centre of right sheet edge, light scuff marks to edges caused from previous framing only visible on very close inspection. Presented in a conservation acrylic box frame. Edition of 250. Signed in pencil to verso lower left by Warhol, number stamped in black lower right. Printed by Aetna Silkscreen Products, Inc., New York. One of ten prints from Warhol’s iconic Marilyn Monroe portfolio. The image derives from a publicity photograph by Gene Kornman for the 1953 film Niagara. (Feldman & Schellmann II.29)

£100,000 [110019]

58 Andy Warhol

Electric Chair. Zurich: Bruno Bischofberger, 1971Screenprint on wove paper: Sheet size: 90.2 × 121.9 cm. Edition of 250. Signed and dated in ballpoint pen to verso lower left by Warhol. Numbered with a rubber stamp lower right. One of ten prints from Warhol’s iconic Electric Chairs portfolio. This image derives from a press service photograph from 13 January 1953 of the electric chair in the death chamber at Sing Sing Prison, Ossining, New York. Warhol’s first commission from a European publisher. (Feldman & Schellmann II.75)

£15,000 [111674]

59 Andy Warhol

Mao. New York: Castelli Graphics and Multiples, Inc., 1972Screenprint on Beckett High White paper: Sheet size: 91.7 × 91.4 cm. Framed size: 92 × 92 cm. A graphite mark towards the upper right sheet edge, a few hairline cracks as is usual with the Mao images due to the thickness of the ink, but much better than usually seen. Presented in a contemporary silver metal frame with acid free backing board and conservation Perspex. One of 50 artist’s proofs aside from the edition of 250. Signed and numbered in ball point pen to verso lower left by Warhol. Rubber stamp of the printer, Styria Studio, Inc., New York to lower right. One of ten prints from Warhol’s iconic Mao portfolio. The image derives from a photograph on the book cover of “Quotations of Chairman Mao Tse-Tung”. (Feldman & Schellmann II.96)

£60,000 [110025]

60 Andy Warhol

Cow. New York: Factory Additions, 1976Screenprint on wallpaper. Sheet size: 115.6 × 75.6 cm. Framed size: 118 × 76.2 cm. Excellent condition. Presented in an acrylic box frame by John Jones. Edition of approximately 100 unnumbered. Signed in felt pen lower right by Warhol. Originally published for an exhibition at the Modern Art Pavilion, Seattle Center, Seattle, Washington, November 1976 – January 1977. Printed by Bill Miller's Wallpaper Studio, Inc., New York. Approximately 100 were signed by Warhol in 1979.(Feldman & Schellmann 11.12A)

£17,500 [111671]

61 Andy Warhol

Shoes. New York: Andy Warhol, 1980Screenprint with diamond dust on Arches Aquarelle (Cold Pressed) paper. Sheet size: 101.8 × 151.2 cm. Minor ink loss where the sheet edge is deckled as is common with this work, otherwise in excellent condition. Presented float-mounted in an acrylic box frame. Edition of 60 signed and numbered in pencil by Warhol on verso and stamped in black “Andy Warhol 1980”, with the printer’s chop mark and papermaker’s watermark and chop mark. An edition of ten was also issued as part of the deluxe edition; apart from the limitation there is no difference between them. In terms of paper size, this is Warhol’s largest commercial print. (Feldman & Schellmann II.256)

£95,000 [100024]

62 Andy Warhol

Details of Renaissance Paintings (Paulo Uccelllo, St. George and the Dragon, 1460). Munich & New York: Editions Schellmann & Klüser, 1984Screenprint on Arches Aquarelle (Cold Pressed) paper: 63.5 × 94 cm. Excellent condition. Presented in a silver frame with Perspex. One of 4 hors-de-commerce impressions aside from the edition of 50. Signed and numbered in pencil lower left by Warhol. Stamped on the verso “Andy Warhol 1984, Editions Schellmann & Klüser, Munich/New York”. This image is based on Paolo Uccello’s painting St. George and the Dragon held in the National Gallery, London. (Feldman & Schellmann II 327)

£22,500 [93208]

63 Andy Warhol

Original proofs for the artwork on Love You Live. New York: Rolling Stone Records, 1977Two offset lithograph proofs on heavy card. Each sheet size 41.8 × 71 cm. Excellent condition. Presented float-mounted in two black wooden frames with conservation glass. Possibly unique proofs of the album cover artwork commissioned from Andy Warhol for the Rolling Stones album Love You Live. These proofs, which were purchased from the late Art Collins, President of Rolling Stones Records, are almost certainly the only set surviving that show the design as it was intended by Warhol, without the hand-drawn title and track-listing with which it was issued. “I told Jerry I thought Mick had ruined the Love You Live cover I did for them by writing all over it – it’s his handwriting, and he wrote so big. The kids who buy the album would have a good piece of art if he hadn’t spoiled it” (The Andy Warhol Diaries, 5 July 1978).

£15,000 [92424]

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