modern and contemporary prints, art and photobooks€¦ · London sw3 6hs uk 020 7591 0220 eu 00 44 7591 0220 usa 011 44 7591 0220 catalogue 140 VAT no. gb 701 5578 50 Peter Harrington

modern and contemporary prints, art and photobooks

Peter Harringtonl o n d o n

Front cover photograph of Muhammad Ali by Howard L. Bingham, item 1

This page Christmas photograph by Bill Owens, item 51

Back cover shoes by Andy Warhol, item 61

Design: Nigel BentsPhotography: Ruth Segarra

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All items from this catalogue are on exhibition at Fulham Road

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Modern and contemporary prints, art and photobooks

Christmas 2017: Peter Harrington4

1Muhammad Ali; Howard C. Bingham; Jeff KoonsGOAT – Greatest of All Time: A Tribute to Muhammad Ali. Cologne: Taschen, 2001Folio. Original pink leather spine, the colour of Ali’s first Cadillac, with white silk boards. Titles to front cover in pink leather and black. Housed in a silk-covered clamshell box illustrated with Neil Leifer’s 1966 photo of Ali vs Williams. With 4 photographic silver gelatin prints and multiple sculpture. Together with the original packing boxes. Over 3,000 images done in 8 colour printing process on Galaxi Keramik 200 gsm semi-matte paper. Excellent condition.

first edition, “champ’s edition”. One of 1,000 copies, signed by Muhammad Ali and Jeff Koons, with four silver gelatin prints signed by Muhammad Ali and the photographer Howard L. Bingham, as issued. Weighing in at 34kgs, the book is part of a multiple-part sculpture, by Koons, featuring one of his most enduring motifs — the inflatable. Measuring 175 × 170 cm, the sculpture comprises two inflatables (a dolphin and a car tyre), together with a stool. For Koons, the inflatables are a symbol of life and death: “I think of the inflatables as anthropomorphic, we are ourselves inflatables, we take a breath, we expand, we contract, our last breath in life, our deflation”.£10,000 [120276]

All items are fully described and photographed at peterharrington.co.uk 5


2Nobuyoshi ArakiAraki. Cologne: Taschen, 2002Large folio. Original light pink cloth, titles to spine and front board white, pink floral endpapers. Housed in the original pink clamshell box. With the original cardboard packing box, publisher’s promotional leaflet and publisher’s subscriber’s card. Photographs, some folding throughout. An excellent copy.

first edition, signed limited issue, number 829 of 2,500 copies signed by the artist. This impressive retrospective condenses decades of Araki’s work into around 1,000 photographs, together with an interview by Jérôme Sans, a short biography, and an extensive bibliography.£2,000 [119799]

3Francis Bacon Three Studies for a Self-Portrait. Paris: Editions de la Différence, 1981Lithograph in colours on Arches wove paper. Each image size: 32.5 × 28 cm. Sheet size: 47.3 × 103.5 cm. Light toning to recto showing edges of previous mount, otherwise a bright impression, tape to extreme edges of verso. Presented in a dark wooden frame with UV acrylic window. From an edition of 150, signed by the artist in pencil lower right, numbered lower left. This lithograph is after a triptych oil painting on canvas, 1979–80, currently held by the Metropolitan Museum of Art, New York. Sabatier 15.

£40,000 [120040]


4(Francis Bacon) Martin Harrison (ed.) Catalogue Raisonné. [London:] The Estate of Francis Bacon, 20165 volumes, quarto. Original dark grey cloth, titles to spines and front covers black, pale grey endpapers. Housed in the black cloth slipcase, as issued. With 800 illustrations. A fine set.

first edition of this magnificent publication of Bacon’s entire oeuvre, including many works which were never published or publicly exhibited. The only previous catalogue raisonné of Bacon’s works, published in 1964, was substantially incomplete, featuring only a third of Bacon’s work and just 27 colour reproductions.£1,250 [116270]


5Jean-Michel Basquiat Zurich: Edition Bischofberger, 1985Quarto. Original red cloth. With the dust jacket. Monochrome portrait of Basquiat (by Jeannette Montgomery), 15 colour plates (one double-folded). Spine just slightly rolled. An excellent copy.

first and signed limited edition, number 190 of 1,000 copies, signed boldly by the artist on the page opposite his portrait. This is the catalogue for the exhibition held at the Gallery Bruno Bischofberger, Zurich, January and February 1985. Bischofberger was one of Basquiat’s most enthusiastic promoters, and was responsible for introducing him to Warhol in 1982. “Typical of the new scene was the Zurich-based dealer and collector Bruno Bischofberger, who dealt Andy Warhol’s work and who briefly took on the exclusive rights for Jean-Michel Basquiat. Once a month he flew Concorde to New York, where he went on whirlwind shopping sprees, buying art in previously unprecedented volumes from galleries and studios” (Leonhard Emmerling, Jean-Michel Basquiat, 2003, p. 9).£3,500 [117731]

6Peter Beard Eyelids of Morning. The Mingled Destinies of Crocodiles and Men. Being a Description of the Origins, History and Prospects of Lake Rudolf, Its Peoples, Deserts, Rivers, Mountains and Weather. San Francisco: Chronicle Books, 1990Octavo. Original photographic wrappers, titles to spine and front cover white. Photographs throughout. Spine a little creased, extremities lightly rubbed, slipcase just starting to split at top. An excellent copy.

first edition thus, presentation copy, elaborately inscribed by Beard with original ink drawings and hand print on the front free endpaper and inside wrapper: “To Larry with inestimables from Lake Rudolf and beyond hurry over. We wish you. All Best Wishes as ever, Peter Beard”, together with a note “Had Lyme disease”, a quote from Job 41:18, “By his sneesings [sic] a light doth shine, and his eyes are like the Eyelids of Morning”, and dated 21 April 1991. The recipient was Larry Wilson, a noted firearms author and close friend of Peter Beard. Beard and Wilson collaborated on six books on firearms.£1,500 [118363]


7(Peter Beard, ed.) Isak Dinesen & Kamante Longing for Darkness. Kamante’s Tales from Out of Africa. With original photographs (January 1914–July 1931) and quotations from Isak Dinesen (Karen Blixen). New York and London: Harcourt Brace Jovanovich, 1975Tall quarto. Original black boards, titles to spine in white, image of Blixen printed to front board, tan endpapers. With the dust jacket. Illustrations and black and white photographic reproductions throughout. Bookseller’s sticker to rear pastedown. Boards a little rubbed, creased and bumped at extremities. A very good copy in the lightly rubbed and creased jacket with some loss at tail of spine and with tape repair to verso.

first edition, presentation copy, inscribed by Beard, together with an elaborate ink drawing across the front pastedown and front free endpaper, “Warmest Greetings Peter Beard”. Beard has drawn a humorous Hog Ranch scene with a swimmer evading alligators as the sun sets against a distant mountain range, shouting “Larry. Hurry over to Hoggers as soon as possible”. From the library of Larry Wilson (see previous item). The American artist and photographer Beard was inspired to visit Africa, photograph its wild animals, and eventually buy a home there, after reading Blixen’s Out of Africa. This book, compiled by Beard, combines Kamante’s watercolours and his version of the events of Out of Africa (translated and handwritten

by his sons) with Blixen’s notes and previously unpublished photographs by Blixen, Beard, and others.£1,750 [118625]

8(Peter Beard) Giles TurleThe Art of the Maasai. 300 Newly Discovered Objects and Works of Art. New York: Alfred A. Knopf 1992Quarto. Original dark orange cloth, titles to front board and spine gilt, design to front board stamped in blind, publisher’s device to back board stamped in blind, map endpapers. With the photographic dust jacket. 195 photographs, 80 in colour, by Peter Beard. An excellent copy in the slightly rubbed jacket with short nick to head of spine.

first edition, presentation copy, inscribed by Beard on the title page (“Special edition for Larry W. from the author. Peter Beard. Jan 1, ’93”), together with original ink drawings, Beard’s finger print, and an original photograph; it is additionally inscribed by Victoria Wilson, editor at Knopf, on the front free endpaper, “To Larry Wilson from Vicky Wilson @ Knopf – Happy New Year & all best W ’92–’93”, together with the author’s compliment slip loosely laid in. (See item 6 for details of the recipient).£1,250 [118319]



9Basilius Besler Cinera cum flore. Eichstatt: 1640Copperplate engraving. Later hand-colour. Plate mark size: 48.5 × 40 cm. Mounted size: 73 × 64 cm. Very good condition. A wonderful life size botanical print of an artichoke in flower from Besler’s epic work, the Hortus Eystettensis. Besler was a Nuremberg apothecary commissioned in 1600 by Konrad, the Bishop Prince of Eichstatt, to engrave the contents of his extensive gardens. The resulting 374 plates (illustrating more than a thousand flowers), were arranged according to the yearly seasons. When the book was first published in 1613, it was the largest book ever printed, and the scarce, coloured versions of the prints sold for ten times the price of those sold in black and white. Besler worked on the drawings for almost 16 years, supervising a team of at least six engravers. The impressive size and scope of these elaborately produced copper engravings make the Hortus Eystettensis one of the most ambitious and stunning publications in the entire history of botanical illustration.

£1,450 [120492]

10Basilius Besler I. Hyacinthus orientalis flore purpueo albus. II. Hyacinthus orientalis flore niveo. III. Hycinthus orientalis flore cinereo albus. IV. Hyacinthus parvus stellatus vernus. Eichstatt: c.1613Copperplate engraving of hyacinths. Later hand-colour. Plate mark size: 48.5 × 40 cm. Mounted size: 73 × 64 cm. Very good condition.

£1,375 [120499]

11Basilius Besler Latbyris sylvestris. Lachryma jobi. Latbyris narbonensis. Eichstatt: c.1613Copperplate engraving of the narrow-leaved pea, Job’s Tears, and Narbonne vetch. Later hand-colour. Plate mark size: 48.5 × 40 cm. Mounted size: 73 × 64 cm. Good condition. Visible text show through.

£1,375 [120497]


12Muirhead Bone The Western Front. Drawings. With an introduction by General Sir Douglas Haig. London: Published by authority of the War Office from the Offices of “Country Life,” Ltd., November 1916 – October 191710 volumes, small quarto. Original illustrated wrappers. With the illustrated dust jackets. Housed in a black flat-back cloth box. 20 plates (some in colour) to each volume, with an additional vignette in the text in each. A superb set, all sound, clean and fresh with only a few small nicks and marks around the edges of the books, the dust jackets having themselves received only fairly minor dust soiling, some fore edges a little marked, and some nicks and tears around the edges – the only exception being part 8, which is somewhat spotted, and a few bumped ends with commensurate chipping to jacket. Nonetheless a remarkable survival, excellent condition overall.

first edition, complete as published in the original monthly parts, with the rare dust jackets, of Muirhead

Bone’s Western Front series, which contains the first iterations of over 200 of his war images, selections from which were then reproduced in separate “deluxe” portfolios like the War Drawings. In 1916 William Rothenstein, a friend of Bone and a fellow member of the Society of Twelve, proposed that an artist should be sent to the front to record the War, and Bone was chosen for the task. He arrived in August 1916 at the height of the Somme Offensive and toured the Southern battlefields working rapidly in various media – pencil, pen, charcoal and chalk – sending back over 150 finished drawings by October. “He recorded mostly life behind the lines illustrating the settings for war rather than battle scenes – the work of the medical services, encampments, soldiers of duty, soldiers marching, landscapes and ruined towns … The detail and accuracy of Bone’s drawings provided an authentic, eyewitness record of the immense logistic efforts of the Somme, one that proved immensely popular and resulted in more artists being commissioned” (IWM).£1,750 [116280]


13David Bowie & Mick RockThe Rise of David Bowie 1972–1973. Cologne: Taschen, 2015Folio. Original blue paper boards, titles to spine white, hologram of several pictures of David Bowie to front board. Housed in a blue clamshell box. With the original pink cardboard packing box and the unopened shrink wrap. Photographs and illustrations throughout. An excellent copy, the shrink wrap a little torn, but still unopened.

first edition, signed limited issue, one of 1,972 copies signed by both Bowie and Rock. A unique collection by Bowie’s official photographer and videographer, featuring many iconic images from the year Bowie launched his album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. £3,000 [120042]

14Bill BrandtThe English at Home. Introduced by Raymond Mortimer. London: B. T. Batsford Ltd, 1936Quarto. Original laminated photographic boards, spine and front cover lettered in red, photographic endpapers. With 63 plates. Spine sunned, joints starting, boards toned, some wear to extremities. A very good copy.

first edition. Brandt’s first book moves across social classes as well as between rural and urban milieus. “Mr. Brandt shows himself not only to be an artist but an anthropologist. He seems to have wandered about England with the detached curiosity of a man investigating the customs of some remote and unfamiliar tribe” (Raymond Mortimer, Introduction). The majority of the photographs printed in this volume appeared here for the first time.Parr & Badger I, p. 138; Roth 101, p. 90.

£400 [121917]


15Brassaï [Gyula Halász] The Secret Paris of the 30’s [sic]. Translated from the French by Richard Miller. New York: Pantheon Books, 1976Quarto. Original black cloth, titles to spine in silver and front board in blind. With the dust jacket. Illustrations from photos by Brassaï.

first u.s. edition, presentation copy, inscribed by the photographer to fellow photographer Paul Ickovic on the front free endpaper: “Pour Paul Ickovic, bien amicalement, Brassaï. New York le 16 Sept 1976”. The book was originally published in French by Gallimard in Paris earlier the same year.£750 [119095]

16Morten Buch Vase I. Copenhagen: Edition Copenhagen, 2015Original lithograph on 250gsm Velin d’Arches paper. Sheet size: 100 × 70 cm. Excellent condition. Presented in a black gloss frame. From an edition of 38, signed by the artist in pencil lower right, numbered lower left.

£800 [117427]


17Morten Buch Vase II. Copenhagen: Edition Copenhagen, 2015Original lithograph on 250gsm Velin d’Arches paper. Sheet size: 100 × 70 cm. Excellent condition. Presented in a black gloss frame. From an edition of 38, signed by Buch in pencil lower right, numbered lower left.

£800 [117428]

18Alexander Calder Autobiographie. Traduction de Jean Davidson. Paris: Maeght Éditeur, 1972Quarto. Original orange-red cloth, titles to spine and front board black, pictorial endpapers. With the photographic dust jacket. Photographs and illustrations, some double-paged, throughout. An excellent copy in the lightly rubbed jacket, with two small nicks and one short tear.

first edition, presentation copy, inscribed by the author on the front free endpaper: “To John Curtis, in his doghouse, greetings, & good wishes, Sandy Calder. 16 Mar 1973. Saché”. Although Calder specialised in abstract hanging wire construction, often connected to motors, he is best known for his unpowered works that relied on currents to set them in motion.£2,250 [119733]


19Julia Margaret Cameron Alfred, Lord Tennyson and His Friends. A Series of 25 Portraits and Frontispiece in Photogravure from the Negatives. Reminiscences by Anne Thackeray Ritchie. With an Introduction by H. H. Hay Cameron. London: T. Fisher Unwin, 1893Folio (455 × 375 mm). Original full vellum, titles to front cover gilt, green coated endpapers, edges untrimmed. Frontispiece designed by W. A. Smith, and 25 plates, with captioned tissue-guards printed in red. Boards very lightly soiled, minor wear to very tips, foxing to prelims. An excellent copy.

first and limited edition, number 10 of 400 copies only, one of perhaps as few as 10 deluxe copies bound in full vellum and additionally signed by Henry Herschel Hay Cameron. This

posthumous collection, a collaboration between Julia’s youngest son Henry and the novelist Anne Thackeray Ritchie (1837–1919), includes four photogravures of Alfred Tennyson, including the 1865 photograph he is said to have liked best, dubbed The Dirty Monk. Other subjects include Tennyson’s wife and sons, Julia Margaret Cameron herself, Anne Thackeray Ritchie, Robert Browning, and Charles Darwin. Cameron knew Tennyson well and in 1860 had moved to Freshwater, Isle of Wight, to become his neighbour. After she took up photography in 1863, Tennyson, despite being described as “a reluctant model”, was persuaded to sit for her on many occasions. Cameron was later invited by the poet to illustrate his Idylls of the King (1874). “Cameron’s photographs demonstrate a psychological intimacy and intensity that is compellingly modern” (Parr & Badger). The majority of copies of this limited edition are in a gilt decorative cloth binding. We can trace no other signed copy in commerce, and only one other copy in a vellum binding appears in auction records, sold in 1994. The highest numbered copy known to us, number 18, was bound in the usual cloth, and so it seems likely that perhaps only as few as the first 10 or 12 copies were bound in vellum. Parr & Badger 1, p. 69; Julian Cox & Colin Ford, Julia Margaret Cameron: The Complete Photographs, p. 531.

£7,500 [119935]


20Larry Clark 1992. New York & Cologne: Thea Westreich; Gisela Capitain. 1992Quarto. Original photographic wrappers, titles to spine black. Black and white photographs throughout. Crease to lower corner of front wrapper, spine darkened, wrappers a little soiled. An excellent copy of a fragile production.

first and only edition, presentation copy, inscribed by the photographer to the inside of the rear wrapper: “To Diego Cortez – Larry Clark. New York City, 1992”. The recipient is the noted American art curator Diego Cortez. Loosely inserted is a folded poster announcing the Larry Clark exhibition at the Fraenkel Gallery, San Francisco, from 18 February to 27 March 1993. One of an edition of 1,000.£2,250 [119849]

21Jean Cocteau Profile. 1963Original drawing in marker pen with dedication in blue ink on La Couronne watermarked wove paper. Sheet size: 27 × 21 cm. Horizontal fold, otherwise in excellent condition. Inscribed by the artist,“J’ai toujours considéré madame Helena Rubenstein comme une idole possédant les secrets de jouvence. Je serai donc heurueux de saluer son oeuvre et de la répandre autour de moi, Jean Cocteau”, and dated “15 mai 1963”. Helena Rubinstein (1872–1965) was a Polish American businesswoman, art collector, and philanthropist. She made her fortune as a cosmetics entrepreneur, which made her one of the world’s wealthiest women.

£2,000 [121655]


22Salvador Dalí L’Arbre de vie. Nice: Editions d’art de Francony, 1974Drypoint etching in colours on Lana paper. Plate size: 26.5 × 20.8 cm. Sheet size: 56 × 45 cm. Excellent condition. Presented in a handmade white gold leaf frame with UV Perspex. From an edition of 225, signed by the artist in pencil lower right, numbered lower left. One of nine prints from Le paradis terrestre (The Earthly Paradise) portfolio.Field 74–11. Michler & Lopsinger 704–13(e).

£1,500 [119175]

23Salvador Dalí La Tentation. Nice: Editions d’art de Francony, 1974Drypoint etching in colours on Lana paper. Plate size: 26.5 × 20.8 cm. Sheet size: 56 × 45 cm. Excellent condition. Presented in a handmade white gold leaf frame with UV Perspex. From an edition of 225, signed by the artist in pencil lower right, numbered lower left. One of nine prints from Le paradis terrestre (The Earthly Paradise) portfolio.Field 74–11. Michler & Lopsinger 704–13(e).

£1,500 [119170]


24Salvador Dalí Bleuet. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121911]

25Salvador Dalí Cœur couronne et miroir. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121909]


26Salvador Dalí La Cravate et la montre. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121913]

27Salvador Dalí Eventail des aveurs. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121910]


28Salvador Dalí Il pleut. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121915]

29Salvador Dalí Paysage. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121916]


30Salvador Dalí Poèmes retrouvés. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121914]

31Salvador Dalí Poèms à Madeleine. Milan: Torcular Edizions d’Arte, 1979Etching with drypoint printed in colours and hand-colouring in watercolour on Japan Nacré paper. Plate size: 11 x 15 cm. Sheet size: 39 x 28 cm. Excellent condition. Presented in a white gold leaf frame with acrylic window. Edition of 95. Signed in pencil lower right by Dali, numbered lower left. One of eight prints from the Huit Poésies portfolio.

£1,750 [121912]


32James FergussonTree and Serpent Worship: or Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ. From the Sculptures of the Buddhist Topes at Sanchi and Amravati. London: India Museum, W. H. Allen and Co., 1868Folio (334 × 240 mm). Publisher’s red half hard-grain morocco on green sand-grained cloth, title gilt to the spine, neatly rebacked with the original spine laid down, large Naga Raja disk gilt to the front board, top edge gilt, marbled endpapers. Lithographic decorative title after a drawing of the northern gateway at Sanchi by Lieut-Col. Maisey and 40 other similar plates after Maisey, 57 mounted albumen prints by W. Griggs and Lieut. Waterhouse, 2 of them across two pages, a double-page coloured plan, a full-page tinted map, and numerous wood-engravings to the text. Joints and spine ends professionally repaired. Mild mottling to boards, text block occasionally lightly browned, some spotting and marginal finger-soiling, some of the albumen prints a little pale as often, but overall very good.

first edition, with the bookplate of Edward Burne-Jones and also that of his former school friend, Wilfred Lucas Heeley of the Indian Civil Service. Burne-Jones’s style does not betray any immediately obvious Indian influence, although he was related by marriage to John Lockwood Kipling, a great champion of Indian art, whose pen and ink studies were first shown, with sample wares, at international exhibitions in London (1871, 1872), Vienna (1873), and Paris (1878); in 1880 they went on display in the new India section of the South Kensington Museum. A strong serpentine theme can, however, be detected running through Burne-Jones’s work, famously in his The Doom Fulfilled (Perseus slaying the Sea Serpent); in the windows of St Margaret’s, Rottingdean; his portrayal of Sidonia von Bork with her robe patterned with “branching and knotted snakes, black upon the golden stuff ”; and most suggestively the pencil sketch Serpent Women Around Globe at the Art Institute of Chicago (The Leonora Hall Gurley Memorial Collection, 1922.1121) which seems to refer to the various serpent discs discussed in the present work.Gernsheim, Incunabula, 419.

£3,750 [120060]


33Terry Frost Timberaine J. London: Paragon Press, 2001Triptych consisting of 3 woodcuts on heavy card. Each sheet size: 104.8 × 50 cm. Excellent condition. Proof aside from the edition of 16, each sheet signed and dated in pencil by the artist on the verso lower right. Each print is numbered 1–3 in the verso upper right corner to indicate the sequence.

£4,000 [118972]


34Antony 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 float-mounted in a deep ash frame with conservation mount and Perspex. From an edition of 40, signed, dated and numbered by the artist on the verso.

£10,000 [119570]

35Damien Hirst Schizophrenogenesis. London: Paul Stolper and Other Criteria, 2017Octavo. Original illustrated boards sealed in a blister pack. Illustrated throughout with images from the Schizophrenogenesis exhibition. Excellent condition. Presented in a mirrored acrylic presentation box.

first and signed limited edition. One of 400 copies signed by the artist on the front cover.£1,250 [117872]


36Robert Lockhart Hobson Catalogue of the Leonard Gow Collection of Chinese Porcelain. London: George W. Jones, 1931Large quarto (320 × 240 mm). Original orange niger by Sangorski and Sutcliffe, raised bands to spine, ruled in brown either side, title to second compartment and date to foot gilt, gilt crest to front board, broad turn-ins ruled in gilt, top edge gilt, others untrimmed. 86 photographic plates in colour and monochrome, numbered 1–85 (number 48 used twice), one folding, all with tissue guards captioned in red; title page and section headings in “Civilité” type in the style of Robert Granjon, woodcut floral borders after a design attributed to Granjon, rubricated figurative initials. Spine slightly faded, a few scuffs to raised bands, ring-mark to front board, a few other spots, a hint of rubbing to corners, tan-burn to endpapers from turn-ins, tissue guard for plate 45 slightly creased, contents very crisp and fresh. A very good copy.

first edition, number 46 of 300 copies signed by Gow on the colophon leaf. Gow (1859–1936), a Scottish shipping magnate, amassed an exceptional collection of Chinese porcelain, mainly from the Kangxi period (1661–1722), which he kept at Camis Eskan,

his country house in Helensburgh on Loch Lomond. The collection “gained international recognition through a series of ten articles by R. L. Hobson in Burlington Magazine and through Hobson’s catalogue, which Gow published privately in a limited edition of three hundred copies in 1931 … Just months after his death in 1936, an exhibition of Gow’s entire collection was held at Kelvingrove Museum and Art Gallery in Glasgow. Alfred H. Caspary of New York purchased the greater part of Gow’s collection of Chinese porcelain in 1937 and bequeathed more than four hundred pieces to the Philadelphia Museum of Art as the Alfred and Margaret Caspary Memorial Gift in 1955. Sotheby’s auctioned the remainder of Gow’s Chinese collection in 1943” (Freer Sackler, online). Hobson (1872–1941) was keeper of ceramics and ethnographer at the British Museum from 1921, and keeper of oriental antiquities from 1934 to 1938. Copies of his catalogue have also been noted in red cloth and in pigskin.£3,000 [121388]


37Robert Lockhart Hobson The Wares of the Ming Dynasty. London: Benn Brothers, Limited, 1923Quarto in eights (290 × 218 mm). Original brown pigskin, spine lettered in gilt, bird and branch motif gilt to front board, top edge gilt, others untrimmed. Photographic colour frontispiece with captioned tissue-guard, 9 similar plates as chapter frontispieces, 50 half-tone plates to rear. Publisher’s prospectus laid in. Extremities lightly rubbed, mild foxing and marginal browning to endpapers, rear inner hinge cracked but sound, a few trivial spots to text. A very good copy.

first edition, signed limited issue, one of six copies marked “not for sale” and set aside from an edition of 256 copies signed by the author, specially bound in pigskin, and printed on English handmade paper. (See previous item for Hobson.) A sequel to this work, The Later Ceramic Wares of China, was published in 1925.£2,500 [121469]

38Robert Lockhart Hobson The Later Ceramic Wares of China. Being the Blue and White, Famille Verte, Famille Rose, Monochromes, etc., of the K’ang Hsi, Yung Chêng, Chi’en Lung and Other Periods of the Ch’ing Dynasty. London: Ernest Benn, Limited, 1925Quarto in eights (288 × 215 mm). Original brown pigskin, spine lettered in gilt, floral roundel gilt to front cover, top edge gilt, others untrimmed. Photographic colour frontispiece and 29 similar plates of which 9 folding (plates XIV and XV are on one folding sheet), 50 half-tone plates. Extremities lightly rubbed, a few trivial scuffs and marks to sides, inner hinges reinforced, occasional very light foxing to plates versos. A very good copy.

first edition, signed limited issue, number 135 of 250 copies signed by the author, and extra-illustrated with a suite of five plates not issued with the trade edition. (See item 36 for Hobson.) This work was intended as a sequel to his Wares of the Ming Dynasty, published in 1923.£2,500 [121474]


39David Hockney A Bigger Book; [together with] Untitled 346 [Tulips]. Cologne: Taschen, 2016Elephant folio (70 × 50 cm). Original illustrated boards, titles to front cover and spine in white. With the dust jacket. Together with the bookstand designed by Marc Newson. Accompanied by an 8–colour ink-jet drawing of tulips on cotton-fibre archival paper (sheet size: 56 × 43.2 cm). All housed in the original packing box. Illustrated by Hockney with 13 fold-outs. All in excellent condition.

signed limited “art” edition, “b” issue: one of 250 copies signed by the artist and accompanied by Untitled 346, a print from Hockney’s 2010 iPad flower drawing series, signed and dated by the artist lower right, numbered lower left. (There were four “Art Editions”, A, B, C and D, each of these limited to 250 copies and accompanied by one of a series of four prints on paper.) Hockney takes stock of more than 60 years of work, from his teenage days at the Bradford School of Art, through his breakthrough in 1960s Swinging London, life by Los Angeles pools in the 1970s, up to his recent extensive series of portraits, iPad drawings, and Yorkshire landscapes.£12,500 [114982]

40David Hockney Kaisarion and all His Beauty. London: Royal College of Art, 1961Zinc plate etching with aquatint printed in black and red on J. Whatman paper. Plate size: 49 × 27.5 cm. Sheet size: 69.5 × 49.3 cm. Excellent condition. Presented in a white gold leaf frame with conservation mount and UV Perspex. One of approximately 50, signed and dated by the artist lower right in pencil. Hockney, an admirer of Constantine Cavafy’s work, based this print on Cavafy’s poem Alexandrian King.SAC 8; Tokyo 8.

£20,000 [120122]

41(David Hockney) Stephen Spender (ed.) Hockney’s Alphabet. London: Faber and Faber for the Aids Crisis Trust, 1991Folio. Original yellow cloth, titles to spine gilt on blue ground, yellow endpapers. Housed in the publisher’s grey cloth slipcase. With 27 colour illustrations. A couple of faint marks to boards; an excellent, bright copy.

first and signed limited edition, signed by hockney and spender, and specially bound in yellow buckram. This work was a collaborative effort created to raise money for the AIDS Crisis Trust. Spender invited several British and American writers to contribute with texts that could accompany Hockney’s specially drawn alphabet. The written contributions are by Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Anthony Burgess, Margaret Drabble, T. S. Eliot, Patrick Leigh Fermor, William Golding, Seamus Heaney, David Hockney, Ted Hughes, Kazuo Ishiguro, Erica Jong,


Doris Lessing, Norman Mailer, Ian McEwan, Arthur Miller, Iris Murdoch, Nigel Nicolson, John Julius Norwich, Joyce Carol Oates, V. S. Pritchett, Craig Raine, Susan Sontag, Stephen Spender, Paul Theroux, John Updike, and Gore Vidal. Norman Mailer declined his invitation, but his “letter refusing seemed such a good model for Polite Rejection” that it was nonetheless published as his contribution (Preface).£600 [119711]


42William HogarthThe Life and Works. Including the Analysis of Beauty and Five Day’s Peregrination. Edited from the texts by John Nichols, George Steevens, and Samuel Ireland, with a new critical introduction by John LaFarge, and a chronological catalogue raisonné by Austin Dobson. The steel and copper plate impressions are from the engravings by Armstrong, Cook, Engleheart, Holl, Mottroam, Radclyffe, Romney, etc. Philadelphia: George Barrie & Son, 190010 volumes, octavo (245 × 170 mm). Publisher’s presentation binding of brown crushed morocco, spine in compartments with raised bands, titles gilt, and white and brown rosette onlays, full morocco doublures decorated in gilt and multicoloured onlay, brown silk moiré endpapers, edges gilt. Housed in custom brown cloth slipcases. Text printed in red and black, frontispieces and 167 engravings, each in three states (India paper; japon; papier de Chine) including 21 double-page spreads, an additional 6 sepia plates on papier de Chine in vol. 8, all with tissue guards, some captioned, with black and white illustrations to text. An extract from “Modern Bookbinding Practically Considered” entitled “How to open a new book” is laid into volumes 1, 2, 8 and 9. Slight rubbing to slipcase extremities; an excellent set.

the commemorative edition, number 10 of ten extra-illustrated copies, printed and specially bound by the

publishers ad personam for Alice S. Timayenis, with her name printed on the limitation page in each volume and signed by the publishers on a tipped-in leaf at the front of volume I. This extra-illustrated set features the plates in three states: printed on India paper, Japanese vellum, and papier de Chine. Alice Timayenis was the wife of Greek consul Demosthenes Timayenis. A limited edition of 1,000 copies was also issued, with the plates printed on India paper only. £5,000 [118680]

43William KentridgePage. Copenhagen: Edition Copenhagen, 2016Original lithograph on 2 sheets of 300 gm Velin d’Arches paper. Total sheet size: 138 × 100 cm. Excellent condition. Presented float-mounted in a dark grey wood frame with acrylic window. From an edition of 24, signed by the artist lower right, numbered lower left.

£15,000 [120530]




44L. S. LowryThe Old Steps, Stockport. London: Ganymed Original Editions, 1969Original stone lithograph in two colours on heavy wove paper. Sheet size: 62 × 48 cm. Image size: 196 × 237 cm. Excellent condition. Presented in a gilt wooden frame, with the original Ganymed label attached to the back. Signed by the artist in pencil lower right. This copy unnumbered, aside from the edition of 75. Printed from the stone by M. E. Wolsenberger, A. G. Zurich.

£15,000 [119833]

45L. S. LowryCrime Lake. Adam Collection Ltd., 1971Sheet size: 57.8 × 70.7 cm. Image size: 45.7 × 60.3 cm. Colour offset lithograph on wove paper. Residue of adhesive tape to the extreme upper edge from previous hinging, hidden by the mount. A lovely bright image. Presented in a lime-waxed frame with conservation mount & UV Perspex. From an edition of 500, signed by the artist in pencil lower right, Fine Art Trade Guild blindstamp to lower left. After an original oil painting on canvas from 1942.

£5,000 [120170]


46L. S. LowryThe Harbour. Bristol: Venture Prints, 1972Colour offset lithograph on wove paper. Image size: 40.7 × 55.8 cm. Sheet size: 54.6 × 68.7 cm. Small tape residue to extreme top corners otherwise in excellent condition. From an edition of 850, signed by the artist in pencil lower right, Fine Art Trade Guild blindstamp to lower left. After an original oil painting of Maryport harbour in West Cumbria executed in 1957.

£3,000 [121602]

47L. S. LowryMill Scene. London: The Observer, [1970s]Colour offset lithograph on wove paper. Image size: 35 × 45 cm. Sheet size: 46 × 55.7 cm. Excellent condition. Presented in a lime-waxed frame with conservation mount and acrylic. From an edition of 750, signed by the artist in pencil lower right, this edition unnumbered and without a blindstamp or text by the The Observer. After an original oil painting executed in 1959.

£6,000 [120517]




48Sally Mann Photographs and Poetry. South Dennis, MA: 21st Editions, 2005Folio. Original buff paper covered boards, titles to front board in silver, fore edge and bottom edge untrimmed, printed with letterpress on handmade cotton rag paper, patterned endpapers. Housed in the original buff raw silk clamshell box with titles to cover. Illustrated throughout with 10 full page black and white platinum prints each initialled by Mann lower right. Together with one free standing platinum print signed by Mann lower right (image sizes: 25.2 x 18.7 cm, sheet sizes: 35.3 x 30.2 cm.) An excellent copy.

first and only edition. Number 25 of 100 numbered and 10 lettered copies signed by Mann on the colophon; each of the 10 bound prints are initialled and the free-standing print is signed. A collection of stunning and provocative photographs, each accompanied by a poem, by the controversial photographer whom Times Magazine named “America’s Best Photographer” in 2001. 21st Editions received the 3rd Annual Lucie Award for Photographic Book Publisher of the Year for this publication.£14,000 [121623]

49(Michelangelo) John Addington SymondsThe Life of Michelangelo Buonarroti. Based on the Studies in the Archives of the Buonarroti family at Florence. With etched portrait and fifty reproductions of the works of the master. In two volumes. London: John C. Nimmo, 18932 volumes, large octavo (228 × 166 mm). Near-contemporary blue half morocco for Bumpus of Oxford Street, blue cloth sides, titles gilt to blue morocco label to front covers and to spines gilt in compartments, top edges gilt, others untrimmed, blue marbled endpapers, purple silk page markers, original covers bound in at rear. Title pages in red and black, frontispieces and 48 plates with tissue guards, a folding chart and 6 tables. With the bookplate of politician and mechanic Sir David Lionel Goldsmid-Stern-Salomons (1851–1925), dated 1908, to the front pastedowns. Bookseller’s catalogue label to front free binder’s blank. A couple of tiny scratches to boards, faint mark to front board of vol. 2, foxing to edges, offsetting to endpapers, an excellent set.

first edition of Symonds’s “monumental biography of Michelangelo” (ODNB). Symonds’s popular works of “history of art embodied a theory of sexual liberation … As his Italian studies progressed, critics rebuked him for unearthing ‘scandals’ and ‘filth’; publication of his discovery in the Buonarroti archives that Michelangelo’s poems and letters had been deliberately altered so as to obscure masculine love was deemed mischievous” (ODNB).£650 [119835]



50Andrew MillarUnder Daylight’s Wing. London: Andrew Millar, 2017Photograph collage of 6 polaroids with hand-applied 24k gold leaf and acrylic. Each Polaroid is presented within its own window display mount. Total sheet size 27.6 × 16.9 cm. Excellent condition. Presented float-mounted in the artist’s black wooden frame. From a total edition of 1, signed lower left in marker pen by the artist, numbered lower right.

£750 [120882]

51Bill Owens Suburbia; Our Kind of People; Working. San Francisco; New York; Straight Arrow Books; Simon and Schuster, 1973–73 works, octavo. Original orange or white photographic wrappers, titles to spine black, titles to front boards black and white. With the original grey cloth slipcase. Black and white photographs throughout. Spines just lightly sunned, wrappers very mildly rubbed. An excellent set.

signed limited edition. Number 35 of 40 copies, each volume numbered and signed by the photographer on the half-title. With

an original photograph, signed by Owens, in a folder with Owens’s embossed blindstamp and numbered to match.

£3,000 [121013]

52Irving Penn Flowers. New York: Harmony Books, 1980Quarto. Original cream cloth, titles to spine in black. With the photographic dust jacket. 74 full page illustrations printed by offset lithograph in six colours on Kromekote stock art paper. Dust jacket mildly tanned. An excellent copy.

first edition, inscribed by the author on the half-title, “For Andrew French, Irving Penn. N.Y. 1989”. £750 [116979]



53Pablo PicassoGarçon et dormeuse à la chandelle. Paris: Ambroise Vollard, 1934Etching, scraper, burin engraving, and aquatint on Montval laid paper with Picasso and Montval watermark. Plate size 35 × 25 cm. Sheet size 44.5 × 34 cm. Excellent condition. Presented in a white gold leaf frame with acrylic. From an edition of 260, signed by the artist in pencil lower right. This is one of 100 etchings from the Vollard Suite which were in the neoclassical style, produced from 1930–37 for the art dealer Ambroise Vollard. Bloch 226; Baer 440; Coppel 26.

£30,000 [121645]

54Pablo PicassoPortrait de Vollard III. Paris: Ambroise Vollard, 1937Drypoint etching on Montval laid paper with Vollard watermark. Plate size 35 × 25 cm. Sheet size 44.5 × 34 cm. Excellent condition. Presented float-mounted in a white gold leaf frame. From an edition of 260, signed by the artist in pencil lower right. One of 100 etchings from the Vollard Suite which were in the neoclassical style and were produced from 1930–37 for the art dealer Ambroise Vollard. Bloch 233; Baer 619; Coppel 98.

£9,000 [121468]


55Ludwig Pietsch Contemporary German Art. At the Centenary Festival of the Royal Academy of Arts, Berlin. Translated by N. D’Anvers. London: George Bell & Sons, 18882 vols. in one, large quarto (295 × 222 mm). Contemporary brown morocco, spine lettered and decorated in gilt in compartments, red inlay decoration to spine, decorative gilt frames to covers, red silk moiré doublures, gilt turn-ins and edges, fore edge painting. Title pages printed in red and black. With 84 photogravure plates with captioned tissue guards and numerous further illustrations to the text. Booklabel to first binder’s blank. Spine lightly faded, minor wear to extremities, scratches and small abrasion to foot of front

cover, slight fraying to silk moiré endpapers, occasional faint foxing; a very good copy.

first edition in english, this copy with a fore edge painting. One of 1,000 copies of this richly illustrated work, originally published in German in 1886 to accompany the Centenary exhibition held that year. This collection showcases the work of over 130 German artists, depicting religious scenes, landscapes, genre paintings, and portraiture. Each profile is accompanied by an insightful biographical sketch by renowned illustrator and art critic Ludwig Pietsch (1824–1911). Pietsch was a close friend of a number of artists and sculptors including Reinhold Begas and Adolph Menzel, whose art features in volume I. The translator was Nancy R. E. Bell under her pseudonym, N. D’Anvers. Bell was a prolific author and translator, writing extensively on the history of art and providing guides to numerous collections. Amy von Lintel, “Nancy Bell’s Elementary History of Art and the British Origins of Popular Art History”, Nineteenth Century Art Worldwide, vol. 14, issue 2, Summer 2015.

£750 [121109]

56(Egon Schiele) Jane Kallir Egon Schiele: The Complete Works. Including a Biography and a Catalogue Raisonné. With an Essay by Wolfgang G. Fischer. London: Thames & Hudson, 1990Quarto. Original orange cloth, titles to spine gilt, gilt vignette to front cover, black endpapers. With the dust jacket. With 3075 illustrations, 94 in colour. A fine copy.

first uk edition, published simultaneously in London, New York, Milan, Amsterdam and Madrid. £250 [117444]

57David ShrigleyAnother Task For You. London: Jealous Gallery and Enitharmon Editions, 2017Six-colour screen print on Somerset White 410gsm paper. Sheet size: 75 × 56 cm. Excellent condition. Presented float-mounted in a black box frame. Artist’s proof aside from the edition of 100, initialled, dated and numbered by the artist in pencil on the verso. This print forms part of a series entitled “The Print and the Poem”.

£3,o00 [122288]



58Ralph SteadmanLost Chapter. Lexington, KT: Petro III Graphics, 2005Screen print in three colours on white Rising Stonehenge deckle edge paper. Sheet size: 76 × 56 cm. Excellent condition. Presented in a black stained ash frame with UV preventive glass. Artist’s proof aside from the edition of 53, signed by the artist in pencil lower right.

£1,200 [63052]

59Ralph SteadmanLet’s Party. Lexington: Petro III Graphics, 2006Two-colour screen print on white Rising Stonehenge deckle edge paper. Sheet size: 76 × 56 cm. Excellent condition. Presented in a black box frame with conservation glass and mount. From an edition of 250, signed by the artist in pencil lower right, numbered lower left.

£1,250 [118968]


60(Trompe l’œil) Album of twelve fine watercolours of feathers painted on silk. [c.1920]Small album (c.190 × 190 mm), card wrappers covered in white silk with woven semi-abstract design, corded edging to the wraps, initials “F.R.” embroidered to the front panel which is decorated with a bow, ties frayed. 12 pieces of cream silk (16 × 16 cm), including fringed edges, each with a meticulously painted group of two or three brightly coloured feathers, and

each protected by a fold of bark-textured crepe paper. The album slightly soiled, a few spots of discolouration to the silks, one with a split around two-thirds of the length, the image unaffected, but overall extremely well-preserved. A superb collection of brilliantly rendered, almost photo-realist paintings of feathers; exquisitely finely coloured, and subtly highlighted and shaded, the sheen of the silk supporting the illusion, suggesting the natural translucence and lustre of the subject. Perhaps originally a wedding gift (the pattern of the cloth employs stylised bells and roses), it is surprising that this collection has remained together.

£4,500 [121347]


61Andy WarholA la Recherche du Shoe Perdu. New York: Andy Warhol, 195518 offset lithographs on wove paper hand-coloured by Warhol and friends with Dr. Martin’s aniline watercolor dye. 16 sheets 24.8 × 34.9 cm; 1 sheet 51.1 × 66.6 cm; 1 sheet 63.5 × 48.3 cm. Excellent condition. Presented in hand-made white gold leaf frames with UV filtered acrylic glass.

rare complete portfolio. It was issued as 17 unbound sheets enclosed in printed covers, with calligraphy by Warhol’s mother, Julia Warhola. While the captions are printed in Julia Warhola’s distinctive hand, the title on the cover is hand-written in ink and reads ‘A La Pecherche [sic] du Shoe Perdu…’. This mistake may indicate that this particular portfolio is one of the earlier ones Warhola titled. The lithographs were privately printed in New York and the sheets then hand-coloured using Dr. Martin’s aniline watercolor dye by Warhol and his friends at his “colouring parties”. This portfolio also contains one extra double-sized illustration of a boot with no caption (a boot of the same style was used by Warhol for a separate work, “Gee, Merrie Shoes” for an exhibition at the Bodley Gallery in New York the following year). Few surviving portfolios have a complete set of all the plates, and many do not include the larger boot plate.Feldman & Schellmann IV.69A–84A, IV.85.

£200,000 [117751]




62Andy WarholMarilyn Monroe Tate Gallery Poster. London: Tate Gallery, 1971Four colour process lithograph on art paper. Sheet size: 76 × 51 cm. Very good condition. Presented in a black frame with conservation mount and glass. Signed by the artist lower left, edition unknown. This poster was issued to coincide with the exhibition at the Tate Gallery, London which ran from 17 February to 28 March 1971.

£6,000 [119423]

63Andy WarholExposures. New York: Andy Warhol Books/Grosset & Dunlap, 1979Quarto (285 × 235 mm). Original black cloth, spine lettered in gilt. With the dust jacket. 360 black and white photographic illustrations. Somewhat shaken, faint offsetting from inscription, dust jacket extremities creased with a few small tears, overall in excellent condition.

first edition, inscribed by the artist, together with an original drawing of a heart, on the half-title, and signed again by him on the front panel of the dust jacket. Exposures was Warhol’s first photography book and a collaborative effort with his friend Bob Colacello.£1,500 [118679]



63Andy WarholCommittee 2000. Munich: Committee 2000, 1982Screen print on Lenox Museum Board. Sheet size: 76.2 × 50.8 cm. Excellent condition. Presented in a white gold leaf frame with conservation mount and UV Perspex. From an edition of 2,000, signed and numbered by the artist in pencil lower right, printer’s blindstamp lower left. It was published to raise funds for the Committee 2000 which works on projects to commemorate the year 2000. Stamped on the verso in red, "copyright Andy Warhol 1982".Feldman & Schellmann II.289.

£8,500 [120125]

64Ronnie Wood How Can It Be? Guildford: Genesis Publications Ltd, 2015Octavo. Original brown calf, titles to front board and spine gilt, gilt roll, grey patterned endpapers, edges gilt. Housed in the original pictorial clamshell box and blue cloth bag. With the original cardboard packing box. Copiously illustrated. Rubbed as issued to resemble the original diary. An excellent copy.

first edition, signed limited issue. Number 203 of 350 deluxe copies, signed by Ronnie Wood, of a total edition of 1,965 copies. Together with a print numbered and signed by Wood, and facsimile ephemera, including night club tickets, a poster and a photograph. Within the clamshell box is a pull-out tray holding a 45rpm record featuring “How Can It Be?” Also accompanied by the trade hardback edition of the diary, and a promotional poster and flyer. The book reproduces Ronnie Wood’s diary, kept during the year 1965, when he had just joined his first group, The Birds.£1,250 [120966]

Christmas 2017: Peter Harrington48 www.peterharringtongallery.com

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modern and contemporary prints, art and photobooks€¦ · London sw3 6hs uk 020 7591 0220 eu 00 44 7591 0220 usa 011 44 7591 0220 catalogue 140 VAT no. gb 701 5578 50 Peter Harrington