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Lot 73
Craigie Aitchison CBA RSA (1926-2009) Limited edition artist's proof screenprint “Candy Dead”, signed verso 2002, 30cm x 25cm From the collection of the late Maurice Costley. Maurice and Craigie were acquainted, a postcard from Craigie to Maurice asking after his health (following an operation) is included in lot 74 Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Lot 294
Peter Blake (SIGNED): One Man Show, by Marco Livingstone. This is a special edition, which incorporates a new screenprint, Roxy 2, produced by the artist in an edition of 100 SIGNED, in envelope, exclusively for this publication and packaged with the book in a slipcase. Both book and print are Signed. FINE.
Lot 183
*STANLEY DONWOOD (b. 1968) 'Operation Phantom Fury', 2005, signed, dated, titled and inscribed "To Simon from Stanley" in pencil to the margin, artist's proof six-colour screenprint on 270gsm acid-free archival stock, aside from the edition of 200, the image 55cm x 40cm, Framed dimensions: 79cm x 61cmNote: Stanley Donwood is an English artist and writer best known for his collaborations with the band Radiohead, for whom he has created all of their album covers since 1995. Donwood, born Dan Rickwood on October 29th 1968 in Essex, studied at the University of Exeter where he met Radiohead frontman Thom Yorke, beginning a creative partnership that has lasted over a quarter of a century. Yorke stated on meeting Donwood “When I met him, first day, he sat there with a book, totally aloof. I thought, I’m either really going to hate this bloke or I’m going to end up working with him forever. One of the two.”Donwood remarked on the work offered here "What we have here is some kind of hateful monster orchestrating a rain of incendiaries upon a burning city. Operation Phantom Fury was the codename given to the US military assault on the Iraqi city of Falluja in November 2004. You can read as much or as little into this picture as you like."
Lot 145
*NORMAN STEVENS (1937-1988) ‘Laurel Tree, Nettlecombe Court’, 1985, signed, titled, dated and numbered 93/150 in pencil to the margin, screenprint, printed by Brad Faine at Coriander Studio, London, and published by Christie's Contemporary Art, London, the image 63.5cm x 79cm, Framed dimensions: 84.5cm x 98.7cmProvenance: Purchased from Redfern Gallery, St. James's, London, 17th May 1985 The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024). Note: Lifelong friends with David Hockney, Norman Stevens was described as "one of the most particular and distinguished painters and printmakers of his generation" by William Packer. His prizewinning prints were the focus of solo exhibitions at the Arnolfini and Tate during the 1970s, and a posthumous retrospective was held at the Royal Academy of Arts in 2014.
Lot 702
§ Frances Walker CBE, RSA, RSW (1930-) Raised Beachsigned 'F.Walker' (lower right); inscribed 'B.A.T'screenprint with hand-colouring54.5 x 62.5cmPossibly slightly faded and with a light layer of surface dirt along the top edge. There is one deep crease located at the top right edge of the work (photographed), this crease has resulted in a small loss of media. This is a hand-coloured work so it is difficult to assess whether the work has faded or whether the artist has opted for a more muted palette.
Lot 697
§ Dame Elisabeth Frink CH, RA (1930-1993) Red Dogstamped 'Proof'; aside from the edition of 70; inscribed and signed 'Red Dog - Frink' to the reversescreenprint, printed by Curwen Studio, Chilford, unframed76 x 56cmProvenance: Collection of the late Samuel Alper, OBE (1924-2002)Perhaps very slightly toned, though this is even and uniform in appearance throughout. One negligible instance of foxing on the right hand side of the print, otherwise in very nice, clean condition. Please note, this is signed in pencil to the reverse.
Lot 717
§ Peter Blake CBE, RDI, RA (1932-) Bobbie Rainbowsigned 'Peter blake' (lower right); numbered 613/2000screenprint on tin, unframed66 x 44cmThis work is unframed. Each corner with a hole punch. With light surface scratches and resulting negligible losses throughout, the most notable of which is across the 'N' in 'Rainbow'/ See additional images.
Lot 716
§ David Hockney OM, CH, RA (1937-) Remember That You Cannot Look At the Sun or Death for Very Longnumbered 2688/3000 to the reverselithograph printed in colours with screenprint in yellow, printed and published by Circa, London, unframed89.5 x 25.5cmProvenance:With Circa Economy, London, with the accompanying Certificate of Authenticity
Lot 706
§ Patrick Caulfield CBE, RA (1936-2005) Wine Glassessigned to the reverse; artist's proof, aside from the numbered edition of 75screenprint35.5 x 30.5cmNot examined out of the frame. Appears to be stuck down at the corners with some undulation resulting along the edges, most notable along the right hand edge. The top left corner with a negligible knock and the centre of the lower edge with a futher small knock. Beneath the glazing there are some thunderflies, most of these are located in the mount, though some are on the image itself. This has left some associated accretions on the image, which are light in colour and circular in shape, see image three.
Lot 152
ARR After Bridget Riley (b.1931) Elongated Triangles 1, 1971, screenprint, 96.8 x 27.3 cm (image), frame 102 x 43 cmAccording to the Bridget Riley The Complete Prints the screeprint should measure 97 x 27.4 cm (image) and 102.1 x 42.5 cm (Sheet). Please note this print lot 152 is not signed nor numbered Condition:The print is framed under glazing - not examined external to the frame. The sheet appears in generally good condition, no obvious tears, losses or creasing. There is some ageing to the sheet (browning) and some spots of foxing (see images). There is some dirt etc underneath the glass. The frame has general wear and tear
Lot 120
ARR After Bridget Riley (b.1931) Elongated Triangles 1, 1971, screenprint, 96.8 x 27.3 cm (image), frame 102 x 43 cmAccording to the Bridget Riley The Complete Prints the screeprint should measure 97 x 27.4 cm (image) and 102.1 x 42.5 cm (Sheet). Please note this example lot 120 is not signed nor numbered. Condition:The print is framed under glazing, not examined external to the frame. The sheet appears to be free from any obvious tears or losses. There is some ageing (browning) of the sheet- predominantly to the edges (see photographs). There are a few, sparsly distributed spots of foxing. The colours are bright and well preserved. The frame has general wear and tear.
Lot 3
ARR Robyn Denny (British 1930-2014) Glass 2 (From There) 1971, screenprint, 24.5 x 30.4 cm (SH), frame 35 x 31.4 cmCondition:The print is framed under plastic glazing - not examined external to the frame. The sheet appears to be free of losses, tears or creasing. There is some brown staining which is likely caused by the backing behind the sheet (see images). This staining does not appear to have extended into the print area itself but is present to the edges and margin. The colours are crisp and well preserved, no obvious deterioration.
Lot 199
ARR After Bridget Riley (b.1931) Print for Chicago 8, 1971, screenprint, 51.7 x 38.3 cm (image), frame 67 x 53 cmAccording to Bridget Riley, The Complete Prints, the print should measure 51.7 x 38.3 cm (image) and 61 x 46 cm (sheet). Please note lot 199 is not numbered or signed. Condition:The print is framed under glazing, not examined external to the frame. The sheet has ageing (browning) throughout and some water damage to the edges (see images). There are some sparsly distributed spots of foxing to the sheet and a couple of small holes inside the print main area (see images). There is general wear and tear to the frame
Lot 136
ARR Peter Schmidt (German 1931-1980) Cycloid I, 1966, signed and numbered 14/60 lower right, screenprint, 76.5 x 51 cm (SH)Condition:The print is unframed. The sheet is free from tears. It has previously been stuck down in the four corners - to the verso of the right lower corner the paper is thinner where it has been removed previously (see image). There are some handling marks in the corners, a small stain line present in the centre of the oval. The print colours are crisp and well preserved.
Lot 1
ARR Peter Schmidt (German 1931-1980) Cycloid I, signed and numbered 13/60 lower right, blind stamped lower left, screenprint, 76.5 x 51 cm (SH)Condition:The print is unframed, the sheet is in overall good condition - no losses or tears. There are some creases to the corners (see images). The print colours are crisp and well preserved, stable.
Lot 101
ARR Peter Schmidt (German 1931-1980) Cycloid IV, 1966, signed and numbered 15/50 lower right, screenprint, 76 x 51 cm (SH) Condition:The print is unframed. The sheet is in overall good condition, no tears are present. There are some handling marks around the edges- around the upper edge and top right, including a stain to the upper right edge. There is some slight crumping to the sheet at the top. Blind stamp is present to the lower left with a small crease to the corner. A crease to the bottom-centre edge. Please see additional photographs. The print itself has crisp colours and well preserved, stable.
Lot 193
ARR Peter Schmidt (German 1931-1980) Cycloid I, 1966 signed and numbered 27/60 lower right, blind stamped lower left, screenprint, 76.5 x 51 cm (SH)Condition:The sheet is in overall good condition - there is a small tear to the lower-centre edge (see image). Some minor handling marks to the edges but otherwise free of damage or losses. The print is unframed. The print has crisp colours that are well preserved and stable
Lot 28
Y Le Gun (British Collective, b. 2004-)Upside Down CatScreenprint in coloursNumbered in pencil 1/50Framed and glazed LE GUN was founded in 2004 by a group of MA graduates from the Communication Art and Design course at the Royal College of Art, London. LE GUN is an independent narrative illustration publication and provides a common ground for both emerging and established artists, illustrators, writers and poets. Since the 2004 inception of LE GUN, the group’s core – Neal Fox, Matthew Appleton, Bill Bragg, Chris Bianchi, Alex Wright, and Robert Greene – has produced five issues of the publication. They have initiated countless projects in Europe, including installations, shows, and design work. Deftly combining low-brow humor and irreverence with arcane references and homages to the likes of Baudelaire and Max Ernst, their wildly imaginative work is sometimes shocking and subversive, sometimes haunting and moving, and always intricately detailed, personal, surreal, and honest. The members of the collective live and work by Andre Breton’s words “The man who can’t visualize a horse galloping on a tomato is an idiot.”Measures approx. 96cm x 63cm (37.7" x 24.8")
Lot 123
DENIS MITCHELL (BRITISH 1912-1993) & PETER LANYON (BRITISH 1918-1964) TWO DESIGNS FOR PORTHIA PRINTS - HEALS TABLE MATS Screenprint, signed ‘Denis Mitchell’ in print lower right, and a companion, screenprint, signed ‘Lanyon’ upper left (2) each sheet 44cm x 57cm (17.25in x 22.5in) From the Estate of an important St Ives artist.
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13765 item(s)/page