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315264 Los(e)/Seite
Los 105
δ Damien Hirst (b. 1965)The Empresses. H10-1. Wu ZetianLaminated giclée print in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 2853 in pen on publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 112
δ James McQueen (b. 1977)Meet Me at the Bottom of the BottleMixed-media print in colours with hand-embellishments, 2022, signed in pencil and numbered from the edition of 95, published by Washington Green Fine Art Publishing, Birmingham, with the accompanying certificate of authenticity, the full sheet printed to the edges, on Somerset wove paper, sheet 1015 x 680mm (40 7/8 x 26 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 113
δ James McQueen (b. 1977)If You Ever Leave Me, I'm Coming With YouMixed-media print in colours with hand-embellishments, 2022, signed in pencil, numbered from the edition of 95, published by Washington Green Fine Art Publishing, Birmingham, with the accompanying certificate of authenticity, the full sheet printed to the edges, sheet 1015 x 675mm (39 7/8 x 26 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 114
δ James McQueen (b.1977)Give Me Solutions Not Fucking ProblemsMixed-media print in colours with hand-embellishments, 2022, signed in pencil and numbered from the edition of 195, published by Washington Green Fine Art Publishing, Birmingham, with the accompanying certificate of authenticity, on wove paper, sheet 1015 x 675mm (40 x 26 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 115
δ James McQueen (b.1977)You Snooze You LoseMixed-media print in colours with hand-embellishments, 2022, signed in pencil and numbered from the edition of 195, published by Washington Green Fine Art Publishing, Birmingham, with the accompanying certificate of authenticity, on wove paper, sheet 1020 x 680mm (40 1/4 x 26 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 62
δ David Hockney (b. 1937)California SceneOffset lithograph printed in colours, 1966, published by Petersburg Press, New York, on wove paper, the full sheet, sheet 506 x 402mm (19 7/8 x 15 3/4in)Provenance:John Kasmin, London."This colorful California landscape by David Hockney depicts a red, tree-lined house in the background. Palm trees shoot up in the foreground, and two clouds are sketched in light blue. The ground is marked by bold stripes of black and jungle green.We published many David Hockney limited edition etchings, lithographs and books from the early 1960's through the early 1980's. We know of only 4 copies of this print which were probably proofs, never editioned." - Petersburg Pressδ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 63
δ David Hockney (b. 1937)1st British International Print Biennale Poster (Baggott 14)Offset lithograph printed in colours, 1969, signed in pencil, from the edition of unknown but presumably small size, printed by Curwen Studio, Cambridge, published by Bradford City Art Gallery, on TH Saunders wove paper, the full sheet printed to the edges, sheet 780 x 587mm (30 1/2 x 22 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 87
δ Anish Kapoor (b.1954)Breathing BlueDigital print in colours, 2020, numbered from the edition of 100 verso, published by Hospital Rooms, London, on wove paper, the full sheet printed to the edges, sheet 297 x 420mm (11 7/8 x 16 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 88
δ Chris Levine (b. 1960)Lightness of Being/Freedom editionGiclée print in colours on aluminum composite panel, 2021, signed in ink on label affixed verso, numbered from the edition of 1000 verso, published by Dominic Guerrini Fine Art, London, overall 900 x 700mm (35 3/8 x 30 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 97
δ Damien Hirst (b. 1965)Science Xmas Butterfly (Emerald Green & Chilli Red)Foilblock print in colours, 2010, signed, dedicated and numbered from the edition of 150 in pencil, with the red Happy Christmas rubber stamp, published by Other Criteria, London, on Arches 88 wove paper, with full margins, sheet 720 x 510mm., 28 3/8 x 20 1/8 in.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 98
δ Damien Hirst (b.1965)For the Love of God (Lenticular)Lenticular print in colours, 2012, signed in white ink, numbered from the edition of 5000 in black pen verso, published by Other Criteria and Paul Stolper, London, the full sheet printed to the edges, sheet 600 x 400mm (23 5/8 x 15 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 62
FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Los desastres de la guerra" (79 etchings).First edition. 1863. Published by the Real Academia de Nobles Artes de San Fernando. MadridEdition of 80 etchings on Guarro paper (79 etchings, copy number 47 is missing).Numbered and titled copies in plate.Hard cover.Presents marks of use and deterioration due to the passage of time.Size: 17,5 x 22 cm (print), 24 x 34 cm (paper), 25 x 37 x 6 cm (book).Belonging to the book published by the Real Academia de Bellas Artes de San Fernando of the collection of prints, the first edition of "Los desastres de la guerra" (1923). This first edition appeared in 1863, and others followed in 1892, 1903 and 1906, this one being the most sought after and sought after.Edition of prints in which Francisco de Goya reflected the horror unleashed during the War of Independence, which began in 1808. Enrique Lafuente Ferrari's contribution to the study of Goya's Disasters of War is considered fundamental. To him we owe the first attempt, with scientific criteria, to systematise the analysis of the Disasters, becoming an obligatory point of reference in subsequent studies."The Disasters of War", a work from the Aragonese painter's last period, have become over time a series of timeless prints that can be applied to any war in the world. Death, torture, hunger, disease, lack of solidarity... these are all disasters that are part of any war, showing the bitterest side of the human being. Goya began to engrave the plates around 1810, after returning from the front, and finished the series in 1815. "The Disasters" give free rein to one of the fundamental aesthetic categories of modernity: pathos. Unlike most of his contemporaries, Goya did not set up a systematic, serial chronicle of events, but transformed or eliminated the anecdotal in order to arrive at a universal vision.They exemplify a world in crisis, understood in the sense of change. Conceptually, they reveal the fissures of a socio-political structure based on an impeded stratification of the strata, and of a system of values based on the immobilism of customs and the tyrannical religious oppression of consciences.Aesthetically, they anticipate modern sensibility and the shift towards an art dominated by subjectivity and creative freedom. Biographically, the Caprichos appear in one of the most decisive decades in Goya's life and artistic production. This is why successive generations of writers, artists and intellectuals over the last two centuries have been unable to ignore its status as a symbol: a symbol of the end of the Ancien Régime, of the change in taste between Classicist and Romantic aesthetics, and of the crisis that occurred in the biography and art of a universal creator.The historiography specialising in Goya has established a sequence of events supposedly determining the creation of the Caprichos. This sequence appears to be characterised by a progressive departure from normative art and a consequent approach to the domain of invention. This new conception of art is linked to the biographical episodes of the serious illness that left him deaf, his intimate relations with the Duchess of Alba and his ties of friendship with the circle of enlightened intellectuals. The conclusion is that Goya needed a series of satirical prints that would provide a multiple response to his inventive perception of art, his progressive isolation, his distrust of human beings and his social concerns rooted in the Enlightenment.
Los 58
Roy Lichtenstein (1923-1997)Fish and Sky, from Ten from Leo Castelli (Corlett 50) Screenprint on silver gelatin photographic print mounted on three-dimensional lenticular offset lithograph, 1967, on white composition board with window mount (as issued), signed and numbered 49/200 in pencil (there were also 25 lettered proofs A-Y), published by Tanglewood Press, Inc., New York, with their ink stamp on the reverse, the full sheet, framedImage 282 x 357mm. (11 x 14in.); Sheet 604 x 508mm. (23 3/4 x 20in.)For further information on this lot please visit Bonhams.com
Los 7
Christopher Richard Wynne Nevinson A.R.A (1889-1946)Swooping Down on a Taube (Black 21; Leicester Galleries 28) Lithograph, 1917, on Holbein wove paper, signed in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, framed Image 402 x 300mm. (15 3/4 x 11 3/4in.); Sheet 478 x 390mm. (18 3/4 x 15 3/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century, most celebrated as a chronicler of modern warfare and a master of multiple print techniques. He was held in high esteem by contemporaries such as Walter Sickert and Paul Nash for his acute eye for detail, feeling for composition and technical skill. His experiences as an ambulance driver and medical orderly at the Front imbued his work with a strong emotional intensity and his depictions are regarded as some of the most powerful images of World War I.His first major exhibition held at Leicester Galleries in Autumn 1916 was a critical and commercial success and would lead to his commission as an official war artist in 1917. The Ministry of Information commissioned him to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. These works were taken on tour around the country to boost morale and were sold to raise funds for the war effort.The Building Aircraft lithographs detail the process from manufacture, to assembly and finally to flight. Nevinson was particularly interested in aerial combat, which would play an important new role during the First World War and he produced three images of aircraft in flight. In preparation for the series, Nevinson was taken on his first flight in June 1917 and commented 'the whole newness of vision and the excitement of it infected my work and gave it an enthusiasm which can be felt'.In Banking at 4,000 feet he uses variations in tone and steep diagonals to convey the drama and exhilaration of flight, which is literally a white-knuckle ride as indicated by the hand gripping the side of the aircraft. He invites the viewer to share the experience of being in the air by placing them in the cockpit.Swooping down on a Taube depicts a British Sopwith Camel attacking a German Taube. Taube means dove and the plane was named for its bird-like profile. Nevinson conveys a sense of movement and tension using the sweeping arc of the plane's trajectory set against the strong diagonals, representing rays of light, emanating from the searchlights below. He added scratch marks through the crayon to create highlights which intensify the drama.The immediacy of these images and the unusual viewpoints proved popular with visitors to the Fine Art Society exhibition, with one critic commenting that the artist 'contrives to make the visitor almost giddy' and another that he had 'the power of expressing sensations rather than visual facts'.For further information on this lot please visit Bonhams.com
Los 80
Julian Opie (born 1958)Shahnoza dancing naked (Cristea 123) Inkjet print with lenticular acrylic, 2008, signed in felt-tip pen and numbered 38/45 on a gallery label affixed verso, published by Alan Cristea Gallery, London, in the original aluminium frame specified by the artistOverall 996 x 467mm. (39 3/16 x 18 3/8in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 91
Damien Hirst (born 1965)Politeness, from The Virtues (H9-4) Laminated giclée print in colours, 2021, on aluminium panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 220/1549, published by Heni Editions, London, housed within the original packagingOverall 1200 x 960mm. (47 1/4 x 37 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 92
Damien Hirst (born 1965)Control, from The Virtues (H9-8) Laminated giclée print in colours, 2021, on aluminium panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 677/862, published by Heni Editions, London, the full sheet printed to the edges, framedSheet 1200 x 960mm. (47 1/4 x 37 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 93
Damien Hirst (born 1965)Justice, from The Virtues (H9-3) Laminated giclée print in colours, 2021, on aluminium panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 645/1005, published by Heni Editions, London, the full sheet printed to the edges, framedSheet 1200 x 960mm. (47 1/4 x 37 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 94
Damien Hirst (born 1965)Loyalty, from The Virtues (H9-7) Laminated giclée print in colours, 2021, on aluminium panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 843/1067, published by Heni Editions, London, the full sheet printed to the edges, framedSheet 1200 x 960mm. (47 1/4 x 37 3/4in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 97
Ai Weiwei (born 1957)The Papercut Portfolio The complete portfolio of eight papercuts, 2019, on wove paper, with title page, colophon and text, stamp-numbered 161 on the colophon, from the edition of 250, each print signed in pencil, published by Taschen, London, the sheets loose (as issued), each papercut contained in an envelope, all contained within the original red clothbound clamshell portfolioEach 600 x 600mm. (23 5/8 x 23 5/8in.); Portfolio 650 x 645 x 80mm. (25 5/8 x 25 3/8 x 3 1/8 in.)Footnotes:Papercutting is an ancient Chinese art and the intricately cut papers are used for festivals, religious ceremonies and everyday decoration. In his Papercut portfolio, Ai Weiwei incorporates many aspects of his life and work, referencing links between contemporary and traditional culture with images of Neolithic vases branded with the Coca-Cola logo, his stay in New York from 1982 to 1993 with a view of the Manhattan skyline, his return to Beijing with sculptures made from antique items such as chairs and chandeliers and his challenges to authority with an obscene gesture directed towards the walls of the Forbidden City.The vibrant red is associated with good fortune in Chinese culture and can also be seen as an allusion to politics, one of many dichotomies present in the artist's work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 3631
SIGNED BOOKS. - Geoff HURST. 1966 and All That. London: Headline, 2001. Limited edition, this being number 1075 of 1100 copies signed by Geoff Hurst, 8vo (233 x 146mm.) Photographic illustrations. (Toning.) Original blue cloth, g.e., slipcase. Note: includes a signed print celebrating publication of the book. - And a further twenty-six volumes related to sport, all signed (including George Best's 'Scoring at Half-Time', 2003, 8vo) (27).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 66A
TWO FINE PRINTS OF AYRTON SENNAThe first, a highly evocative colour print of Senna in the driver's seat shortly before the start of his last race at Imola in 1994. Dimensions 40.5cm wide x 50.5cm high.The second, from the Senna Foundation, a black and white portrait depicting Ayrton standing in his race suit, posing with helmet. Dimensions 61cm wide x 85cm high.
Los 307
A Japanese woodblock print,Meiji period, (1868-1912), after Utagawa Kuniyoshi, of a lady seated under a lantern,34 x 23cm, andthree further examples,20th century, depicting ladies,28 x 19cm, framed and glazed (4)Condition ReportKuniyoshi - chips and cracks to frame. Print with cockling, creasing, staining and foxing.The other three - all with foxing and staining marks.Not examined out of frames.
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315264 Los(e)/Seite