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BRITISH, CONTEMPORARY ART - 'BRIGHT POPPIES GROW' Property from an Emerald Hill shophouse, the home of the interior designer behind ‘Galerie Cho Lon' Silkscreen, signed, titled and numbered 9/75 in pencil to the margin 50cm x 50cm Condition: No obvious condition issues

A.R. Penck (German, 1939-2017). Silkscreen on paper titled "What is Gravity?" depicting an abstracted figure surrounded by swirling shapes in brilliant shades of red, yellow, green, blue, and black. Pencil signed along the lower center and numbered 49/55 along the lower right. Unframed; Height: 27 1/2 in x width: 39 1/2 in. Framed; Height: 35 in x width: 46 in.

signed, dated and titled (to reverse), acrylic on canvas122cm x 122cm (48in x 48in)Provenance:Private Collection, Yorkshire, where acquired by the present vendor.Footnote: Iridescent Wave was used as the basis for the popular silkscreen print of the same name produced in 2004.

Christian Todie (born 1954)Sans titre signé serigraphie sur papier signed silkscreen on paper72.7 x 49.8 cm.28 3/4 x 19 11/16 in.Footnotes:ProvenanceCollection particulière, France (acquis auprès de l'artiste)Puis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)L'enlèvement d'Europe 1965 sérigraphie sur papier glacésilkscreen on glossy paper42 x 29.5 cm.16 9/16 x 11 5/8 in.Exécuté en 1965.Footnotes:ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

VICTOR VASARELY (1906-1997)Dia-Or signé, numéroté 101/ 200 avec le cachet Denise René Editeurserigraphie sur papiersigned, numbered 101/ 200 and stamped Denise René Editeursilkscreen on paper65 X 65 cm.25 9/16 x 25 9/16 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)Gabrielle d'Estrées 1965 signé et daté 65encre sérigraphique sur toilesigned and dated 65silkscreen on canvas 114 x 162.4 cm.44 7/8 x 63 15/16 in.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-GAB-65-18 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExpositionsNice, Musée d'art moderne et d'art contemporain de Nice - MAMAC, De Klein à Warhol - face-à-face France/Etats-Unis, 1997-1998, p. 85, un autre exemple de cette série illustré en couleursNice, Musée d'art moderne et d'art contemporain de Nice - MAMAC, Alain Jacquet: Camouflages et Trames, 2005, p. 97, un autre exemple de cette série illustré en couleursParis, Musée Marmottan Monet, La toilette, naissance de l'intime, 2015, p. 188-189, un autre exemple de cette série illustré en couleursL'œuvre d'Alain Jacquet a traversé les frontières historiques, conceptuelles et mondiales, pour s'affirmer comme l'une des plus influentes et inspirantes de la dernière moitié du vingtième siècle. Nous présentons aujourd'hui à la vente une sélection de six pièces fondatrices majeures qui définissent la carrière de Jacquet et le Pop Art européen dans son ensemble. Entre Portrait of a man (1964), La Source (1965), Gabrielle d'Estrées (1965), Thomas Eackin's Swimming Hole (1966-1968) et Le Pape Otto (1969-1970), ces œuvres remontent à une période décisive de la carrière de Jacquet, qui se situe au sommet du mouvement du Pop Art et consacre la transition avec la peinture expressionniste, en tant qu'école de pensée dominante. Elles représentent un microcosme de la période la plus prolifique de Jacquet, et, comme telles, ont ouvert la voie à une génération d'artistes contemporains pour qui l'appropriation est devenue leur raison d'être créative, particulièrement ceux de The Pictures Generation, notamment Barbara Kruger, David Salle et Richard Prince. L'importance et l'influence de Jacquet sont telles que ses œuvres sont présentes dans plus de 40 grands musées internationaux, y compris le Musée d'Art Moderne et Contemporain (MAMCO), Genève ; le Centre Georges Pompidou, Paris ; le Moderna Museet, Stockholm ; et le Smithsonian American Art Museum, Washington D.C. Associée au Nouveau Réalisme émergent, l'œuvre de Jacquet est toutefois demeurée distincte du groupe, adoptant un style combinant les variantes américaines et britanniques du Pop Art, le Conceptualisme de Duchamp et ce que Restany appellerait le Mec'Art, c'est-à-dire un art reposant sur le processus mécanique de sa production. Dès ses toutes premières œuvres, Jacquet a développé une fascination pour les jeux de mots, l'association et l'interprétation. Il voyait l'histoire de l'art comme une source inépuisable d'inspiration, sous-développée et sous-exploitée, et considérait que la technique de l'impression, et les immenses possibilités de reproduction qu'elle offre, permettaient de déconstruire et de reconstituer cette imagerie infinie.Le Pop Art américain et britannique incarnait l'optimisme de la société et la libération culturelle qui s'est répandue comme une traînée de poudre dès la fin des années 50 et pendant les années 60, du rock'n'roll aux hippies, au mouvement des droits civiques et à Hollywood. Les trames Ben-Day de Roy Lichtenstein, les collages de Robert Rauschenberg, et les sérigraphies de Marylin Monroe de Warhol – artistes que Jacquet a fréquentés en 1964 – ont écrit une nouvelle version du Roman américain, donnant l'image d'une culture redéfinie par son propre sens de la liberté. Jacquet était toutefois moins blasé dans son approche de la culture populaire. L'image imprimée et la structure atomique de ses composants pointillistes font au contraire l'objet d'un examen minutieux et d'un œil critique dans l'art de Jacquet. Les images gagnent dès lors en proportion et en lisibilité, en particulier dans le Portrait d'Homme, présenté ici. La géométrie et les couleurs primaires qui sous-tendent les techniques d'impression deviennent l'image dans sa totalité. Parmi ses contemporains, Jacquet est le plus proche du peintre allemand Sigmar Polke dans cette veine – les deux artistes réalisent des toiles qui exposent les trames et les points, où l'artiste prend le rôle d'un programmateur d'image, par opposition avec celui d'un peintre. L'une des œuvres les plus éminentes de Jacquet, Gabrielle d'Estrées, partage beaucoup avec l'une des œuvres les plus célèbres de Polke, Freundinnen (Girlfriends), à laquelle elle est antérieure, qui date de 1965/1966. S'inspirant d'un tableau anonyme de l'École de Fontainebleau datant du 16ème siècle, Jacquet transforme la peinture académique pour en faire un double portrait érotique et ludique, qui est superbement évocateur de l'esprit des années 1960. Vue de près, la trame somptueuse et microscopique de couleurs se fond dans la toile brute, laissant une étendue d'espace négatif en son centre, uniquement interrompue par les ombres des baigneuses nues de Jacquet. C'est ce va-et-vient constant entre l'abstraction et la figuration, l'historique et le contemporain, le visible et ce que Jacquet appelait le « camouflage », qui fait de Gabrielle d'Estrées une pièce fondatrice dans l'œuvre de l'artiste.Dans La Source, Jacquet fait une nouvelle démonstration éclatante de son sens exceptionnel de l'époque contemporaine. Peintes sur une structure gonflable, les toutes premières œuvres contemporaines de Jeff Koons en sont le corollaire évident ; Jacquet et Koons doivent tous deux beaucoup à la philosophie du readymade dont Duchamp a été le pionnier. S'inspirant du tableau du même nom de Jean Auguste Dominique Ingres, qui date de 1820-1856 et interprétant la composition en remplaçant la cruche par un jerrican d'essence et en faisant porter un masque de protection contre les produits dangereux à la jeune femme du tableau, Jacquet détourne l'œuvre néoclassique qui l'a inspiré pour lui donner une tournure industrielle – faisant ainsi un clin d'œil au titre de l'œuvre originale. En ré-imaginant ces icônes de l'histoire de l'art par le prisme du Pop Art européen, Jacquet produit une critique visuellement spectaculaire et complexe du mode de vie bourgeois, en utilisant une technique de « camouflage » qui dissimule et construit simultanément l'image, en faisant apparaître et disparaître tour à tour ses éléments constitutifs isolés et leur assemblage.Nous présentons ici à la vente six œuvres remarquables créées à l'apogée de la carrière d'Alain Jacquet, représentatives de sa série la plus importante d'œuvres de Mec'Art. Français émigré à New York quelque temps plus tard, Jacquet est reconnu comme un artiste majeur des deux côtés de l'Atlantique, comme en témoigne sa présence dans de prestigieuses collections publiques et privées. Son influence sur les générations d'artistes qui ont suivi est in... For further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)Thomas Eackin's swimming hole 1966/68 signé et daté 1966/68 au reversencre sérigraphique sur isorelsigned and dated 1966/68 on the reversesilkscreen on panel101.5 x 151.5 cm.39 15/16 x 59 5/8 in.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-TESH/ISO-66/68-2 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.ProvenanceGalerie Yvon Lambert, Paris (N° 1104)Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)La source (d'après Ingres) 1965 signé et daté 65sérigraphie sur matelas pneumatique gonflable montée sur plexiglasssigned and dated 65silkscreen on inflatable mounted on Perspex105 x 60 cm.41 5/16 x 23 5/8 in.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-GB-LS-65-2 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.Provenance Collection particulière, FrancePuis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)L'Echelle 1969 encre sérigraphique sur toilesilkscreen on canvas162 x 102.5 cm.63 3/4 x 40 3/16 in. Exécuté en 1969.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-LE-V-69-1 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.Provenance Collection particulière, FrancePuis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)Le Pape Otto 1969-1970 signé au reversencre sérigraphique sur toilesigned on the reversesilkscreen on canvas155 x 102 cm.61 x 40 3/16 in.Exécuté en 1969-1970.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-PO-69/70-6 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.Provenance Collection particulière, FrancePuis par descendance au propriétaire actuelExposition Nice, Musée d'art moderne et d'art contemporain de Nice - MAMAC, De Klein à Warhol - face-à-face France/Etats-Unis, 1997-1998, p. 86, un autre exemple de cette série illustré en couleursFor further information on this lot please visit Bonhams.com

Alain Jacquet (1939-2008)Portrait of a Man 1964 signé, titré et daté 1964 au reversencre sérigraphique sur toilesigned, titled and dated 1964 on the reversesilkscreen on canvas162 x 114 cm.63 3/4 x 44 7/8 in.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-PH-BOM-64-4 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelFor further information on this lot please visit Bonhams.com

Panagiotis Tetsis (Greek, 1925-2016), 'Shipyard', limited edition silkscreen print, signed and numbered 59/350 in pencil to lower margin, gallery label verso, framed and glazed, image size 20 x 75.5cm, together with another silkscreen by the same artist, signed and numbered 32/250 in pencil to lower margin, unframed and in folder, image size 21 x 65.5cm, and two rolled limited edition prints by the same artist, both pencil signed and numbered, 57.5 x 40cm and 39.5 x 89.5cm (4)

Joan Wilson (Contemporary British), 'October Fields', limited edition silkscreen print, titled, signed and numbered 8/37 in pencil, sheet size 48.5 x 55cm

Simon Claridge, Hepburn with Dove, Silkscreen on canvas with Diamond Dust, signed and numbered 115/150 Washington Green COA. image size 65cm x 50cmCondition Report: Very good condition, with no visible damage.

§ § Wilhelmina Barns-Graham CBE (British 1912-2004) Orange and Yellow Playing Games IIsigned and dated 'WBarnsGraham 1999.' (lower right); numbered 15/70 (lower left)silkscreen, published by Graal Press, Edinburgh, and bearing their blindstamp28 x 40cm Provenance: With Art First Contemporary Art, LondonCondition report: Not examined out of the frame, appears to be bonded to the backboard along all four sides. Each side with deckled edges. In overall good, clean condition. Framed dimensions: 48.5 x 60cm.

§ Jean Dewasne (French 1921-1999) Compositionsigned and numbered 'JDewasne 173/300' (lower right)silkscreen, unframed43 x 53cm;Karel Novosad (Czech 1944-)Strahlung - Radiationsigned and dated 'Novosad 79' (lower right); numbered 22/200 (lower left)lithograph, unframed55 x 28cm (2)

§ § Bridget Riley CH, CBE (British 1931-) Composition with Circles Isigned and dated 'Bridget Riley '98' (lower right); numbered XI/XL (lower left)silkscreen69 x 99cmCondition report: Not examined out of the frame. Appears in good overall condition. Minor undulation to surface, a few small specks below glass on the left hand side, otherwise in good, clean condition

§ Gered Mankowitz FRPS (British 1946-) Red Cage, Rolling Stones, 1999signed 'Gered Mankowitz' and embossed with Mankowitz Archive stamp (lower right); numbered 27/200 (lower left)silkscreen73 x 94.5cm

Peter Yates (1920-1982) - "Pigalle-Le Baiser Rouge", signed in pencil to the margins and editioned Artist's Proof, silkscreen, 35 x 50cms, unframed.

Patrick Hughes (b.1939) - Upturned Rainbows, signed, dated and editioned 43/75 in pencil, silkscreen, 75.5 x 101cms, in clip frame.

Ian Hamilton Finlay (1925-2006) - "Scottish Zulu", a collaboration with David Button, silkscreen print, published by Wild Hawthorne press, 35.5 x 44cms; together with "Catameringue", a collaboration with Peter Grant, screenprint, published by Wild Hawthrone Press, 35.5 x 44cms, unframed. (2)

λ K-Guy (British b. 1968) K-Guy vs. The Prodigy, Take Me To The Hospital Silkscreen and acrylic paint on reclaimed wood panel Signed, numbered and inscribed 1/1 artist proof (verso) 77 x 51.5cm (30¼ x 20¼ in.) Unframed SALEROOM NOTICE: Please note- this is NOT being sold together with a signed certificate of authenticity as previously stated Condition Report: Note- this is NOT being sold together with a signed certificate of authenticity as previously stated Condition Report Disclaimer

Royal Copenhagen - a bottle and stopper, depicting Fredericksborg Castle; Hans Hansen 'The Stag' 1960 plate; two florally painted vases; a Squirrel and an owl; a dish, three cups and saucers; a Norge Norway handpainted silkscreen folk art plate; and a Rosenthal fox; a studio pottery vase (13)

Robert Oscar Lenkiewicz (1941-2002) - "Painter with Esther - Aristotle/Phylis Theme Project 18", limited edition colour photo silkscreen, numbered 116/295, published by Washington Green, 3.5 x 61cms (image size), in frame.

Ray Crooke - "Fijian village" signed, inscribed and dated '91 in pencil to the margins and editioned 64/175, silkscreen, 47 x 72cms, in a marbled frame.

Robert Heindelb by and after, Shadows, signed in pencil, colour photo silkscreen, numbered 19/135, published by The Obsession of Dance Company, 1997, 69 x 69cm

Clemens Briels (Dutch, born 1946)/Untitled/signed and dated '95/inscribed II and numbered 229/250/silkscreen in colours, 69.5cm x 49.5cm overall CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Robert Rauschenberg (1925-2008)Intersection (Copperhead) 1989 signed and dated 89; numbered 89.46 on the reversesilkscreen ink, acrylic, enamel and tarnish on copper, in a bronze frame244 by 122 cm.96 1/16 by 48 1/16 in.Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 89.46.ProvenanceM. Knoedler & Co., New York (A 116778)Private Collection, LondonAcquired directly from the above by the present ownerExhibitedNew York, M. Knoedler & Co., Robert Rauschenberg: Works, 1989, no. 13, illustrated in colourWith its lustrous, subtly reflective copper surface and vivid blend of silkscreened and painted imagery, Intersection (Copperhead) from 1989 is a truly spectacular example from a celebrated series of paintings on metal created during Robert Rauschenberg's ROCI project. Over the course of his 60-year career, Rauschenberg worked in a wide range media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and with only two comparable works having been offered at auction in the past ten years, this is a rare opportunity to acquire a signature work by this singular artist.Robert Rauschenberg believed in the power of art as a catalyst for positive social change. He travelled widely throughout his life, participating in numerous international ventures and from 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange (ROCI) - pronounced 'Rocky,' like the name of his pet turtle. The project was an expression of his long-term commitment to human rights and intended to spark a dialogue and achieve mutual understanding through creative work. As part of the project, Rauschenberg explored diverse cultures and local art-making practices, steering him to countries where artistic experimentation had been suppressed, including Chile, China and Cuba. On his trip to Chile in 1984 Rauschenberg visited a copper mine and foundry and learned from artist Benito Rojo about the potential of tarnishing agents on copper. Mined locally and widely exported around the world, the material was not only of huge significance to the country, but by using it, Rauschenberg demonstrated his solidarity with the Chilean people during the rule of Dictator, President Augusto Pinochet. It also possessed warm reflective qualities that he liked for his own practice, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021) The Copperheads (1985/89) are a series of paintings using copper supports, tarnishing agents, acrylic, enamel and silkscreened photographs taken by the artist on his travels. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him. While the fourteen Copperheads made in 1985 are part of the larger series ROCI Chile, the present work belongs to the first of fifteen series of paintings on metal that Rauschenberg made between 1985 and 1996. With the addition of hand painted enamel, Intersection (Copperhead) is a melange of textures and shadow play, first captured in Rauschenberg's black and-white photographs and then transformed into graphic signs and bursts of colour on the copper surface. A painting that is suffused with the politics of the emergent globalization at the end of the 1980s, it wonderfully demonstrates the artist's adroitness and keen eye for imagery in modern media culture; how they could be propagated, transformed and composed. Set over a both lustrous and murky copper background, the eye is drawn upwards across the vertical pane to find a selection of five distinct images, each assigned a colour or colour combination. Some are more readily recognizable than others: the wheel of a bike for example is centrally positioned between stark letters at the top of the composition. Three small men are encased by the lamp of a traffic light, an image that was photographed in Chile and is clearly referenced in the work's title 'Intersection'. At the base, a yellow chair against a vibrant red background is serenely positioned between two windows and beautifully grounds the composition.Rauschenberg took the photograph of the bike and letters in Moscow; the image of the chair at the bottom of the composition was taken in either Captiva, Florida or the neighbouring Pine Island, near Rauschenberg's studio. Besides the reference to the prominently positioned traffic light, the title of the work also draws attention to the various layers of apparently unrelated imagery intersecting across the picture plane and the juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery. No specific narrative can be inferred from the figurative motifs and in some areas the imagery is dense, even overlapping, in others it is sparser, leaving part of the copper base bare, only broken up by incidental gestures, including wipes and drips, streaks, washes and spots.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. The present work is a truly magnificent example of some of the artists most recognizable techniques with an imposing and striking presence. Rauschenberg's impact on art history is still felt strongly today, with his works being incredibly popular and amongst the highlights of the most prestigious public and private collections around the globe, including the Centre Georges Pompidou, Paris; Guggenheim Bilbao, Bilbao; Louisiana Museum of Modern Art, Humlebaek; Moderna Museet, Stockholm; Stedelijk Museum in Amsterdam and New York's Museum of Modern Art.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

William Michael Rothenstein RA (1908-1993) ''Cockerel Turning Back'' Signed and numbered 27/50, silkscreen, together with a further silkscreen by the same hand ''Cockerel Turning Back II'', signed and numbered 9/15, 92.5cm by 79cm and 84cm by 73cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Charming Baker (b.1964) ''One or Two Cats'' (2016) Signed, inscribed, stamped and numbered, archival inkjet with silkscreen and varnish overlay, hand finished with a universal wax marker, 77cm by 63cm TO BE SOLD WITHOUT RESERVE Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Charming Baker (b.1964) ''Sorry'' (2015) Signed, inscribed and stamped A/P, archival inkjet with silkscreen overlay, 45.5cm by 44.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Sir Eduardo Paolozzi CBE, RA (1924-2005) Scottish ''BUNK- Refreshing and Delicious'' Signed, silkscreen of collage made 1947 - 1952, from the portfolio of 47 screenprints and lithographs, 38cm by 28cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Charming Baker (b.1964) ''The Wrong Brave Face'' (2016) Signed, inscribed, stamped and numbered 3/16, archival inkjet with silkscreen overlay and copper leaf, 76.5cm by 62.5cm TO BE SOLD WITHOUT RESERVE Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

NEW ORDER GIG & PROMO POSTERS x3. To include Berlin gig poster (60x84cm), Total promo poster (59x42cm slight creasing and ink loss) and a World In Motion "These Flames Can't Burn Any Higher" silkscreen print (64x96cm)A nice trio.

After Andy Warhol, 'Marilyn' - Sunday B. Morning, Blue Ink Series, colour silkscreen on museum board, circa 1970, 91cm by 91cm.

MACKENZIE THORPE (BRITISH 1956) 'THREE DOGS IN A BOAT', limited Roman numeral edition silkscreen print LXVII/C (67/100), signed to lower margin with certificate, approximate sizes: print 67cm x 74cm, frame 93cm x 98cm (condition: good) (ARR)

After Robert Delaunay (1885-1941), abstract composition, silkscreen in colours, editioned posthumously for the Stedelijk Museum, Amsterdam in 1957 from the original by Delaunay, housed in a white  glazed frame, 19cm wide x 26.5cm high

Connor Brothers (British Duo), ‘Call Me Anything But Ordinary’, 2018, giclee with silkscreen varnish on archival paper, signed, dated, and numbered from an edition of 60 in pencil; sheet: 42 x 29cm ARR

Connor Brothers (British Duo), 'Call Me Anything But Ordinary', 2020, hand-painted vintage paperback with silkscreen, signed and numbered from an edition of 2 plus 2 artist's proofs to the authenticity label verso; 27 x 20.5cm inc frame ARR

David Hockney (British 1937-), 'Remember That You Cannot Look At The Sun Or Death For Very Long', 2021, lithographic poster with a yellow silkscreen overlay on 170gsm paper, sheet: 25.4 x 89.4cm ARR

Connor Brothers (British Duo), 'All She Wanted Was To Be Someone's Most Precious Person', 2019, pigment print with silkscreen on wove paper, signed, dated, and numbered from an edition of 95; sheet: 125 x 75cm ARR *A stock image has been used, please contact Tate Ward for additional images*

Connor Brothers (British Duo), 'I've Had The Sort Of Day', 2020, hand-painted vintage paperback with silkscreen, signed and numbered from an edition of 2 plus 2 artist's proofs to the authenticity label verso; 27 x 20.5cm inc frame ARR

Connor Brothers (British Duo), 'I Can Resist Everything Except Temptation', 2021, giclee with silkscreen varnish on wove paper, signed, dated and numbered from an edition of 150 in pencil; 129 x 84cm inc frame ARR

Connor Brothers (British Duo), 'The Boundaries Of Our Reality', 2020, hand-painted vintage paperback with silkscreen, signed and numbered from an edition of 2 plus 2 artist's proofs to the authenticity label verso; 27 x 20.5cm inc frame ARR

Connor Brothers (British Duo), 'I Drink To Make Other People More Interesting', 2017, giclee with silkscreen varnish on wove paper, signed, dated, and numbered from an edition 100 in pencil; 51 x 37cm inc frame ARR

Takashi Murakami & Virgil Abloh, 'Kyoto Enso', 2018, silkscreen in colours on wove paper, signed and dated in pencil by both artists, numbered from an edition of 300; sheet: 46 x 38cm

Harland Miller (British 1964-), 'The Me I Never Knew', 2014, silkscreen print in colours on wove paper, signed, dated, and numbered from an edition of 50 in pencil, published by Other Criteria; 136 x 111cm inc frame ARR

RICARDO WOLFSON (Argentinian, b. 1950). “Fez”, coloured silkscreen print; signed, titled, & numbered 112/200 in pencil (framed & glazed: 29” x 22”); & another coloured print after ROGER-LUCIEN DUFOUR, framed & glazed, 23” x 25¼”.

§ Sandra Blow R.A. (1925-2006)Rilievo, 2005silkscreen on wove with collage elementsSigned in pencil, 69/8055 x 55cm.

Robert Heindel - Framed pencil signed silkscreen print - Protecting Veil No. 10. Limited Edition No. 97/185. Approx. 76cms x 76cms

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Red Barn II [medium version]". Medium: Color silkscreen . Date: Composed 1989. Dimensions: Overall size: 27 1/2 x 35 1/2 in. (698 x 902 mm). Image size: 20 x 25 3/8 in. (508 x 645 mm).Lot Note(s): Signed in pencil, lower right. White wove paper. The full sheet. Fine impression. Very good condition. Literature/catalogue raisonne: cf. Waldman 171. Comment(s): Poster image copyright © Estate of Roy Lichtenstein. [27408-6-300]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Puerto Rican Parrot". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 10 7/16 x 10 1/4 in. (265 x 260 mm).Lot Note(s): Signed in black marker, center right. Very light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Feldman/Schellmann IIIB.51.95. Comment(s): A proof from the lithograph edition of unknown size published in October of 1986, which was based on the "Vanishing Animals" silkscreen series of the same year. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28569-2-300]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Mongolian Wild Horse". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 10 7/16 x 10 1/8 in. (265 x 257 mm).Lot Note(s): Signed in black marker, lower left. Very light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Feldman/Schellmann IIIB.51.29. Comment(s): A proof from the lithograph edition of unknown size published in October of 1986, which was based on the "Vanishing Animals" silkscreen series of the same year. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28571-2-600]

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Merton of the Movies". Medium: Color silkscreen. Date: Composed 1968. Dimensions: Overall size: 30 x 20 in. (762 x 508 mm). Image size: 25 1/2 x 20 in. (648 x 508 mm).Lot Note(s): Signed in black marker, lower right. A proof aside from the edition of 450. White wove paper and silver foil. The full sheet. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett 61. Comment(s): Image copyright © Estate of Roy Lichtenstein. [26919-5-100]

Artist: Keith Haring (American, 1958 - 1990). Title: "Lucky Strike: White". Medium: Original color silkscreen. Date: Composed 1987. Dimensions: Overall size: 39 5/16 x 27 9/16 in. (999 x 700 mm). Image size: 38 x 25 3/4 in. (965 x 654 mm).Lot Note(s): Signed in black marker, lower left; signed and dated in the plate. Edition of 100?. White wove paper. Full margins. Fine impression with vibrant colors. Good condition; minor creasing in the image. Literature/catalogue raisonne: Gundel/von der Osten 50. Comment(s): Image copyright © The Keith Haring Foundation. [26513-6-800]

Artist: Keith Haring (American, 1958 - 1990). Title: "Lucky Strike: Blue". Medium: Original color silkscreen. Date: Composed 1987. Dimensions: Overall size: 39 5/16 x 27 9/16 in. (999 x 700 mm). Image size: 38 x 25 3/4 in. (965 x 654 mm).Lot Note(s): Signed in black marker, lower left; signed and dated in the plate. Edition of 100?. White wove paper. Full margins. Fine impression with vibrant colors. Good condition; minor creasing in the image. Literature/catalogue raisonne: Gundel/von der Osten 51. Comment(s): Image copyright © The Keith Haring Foundation. [26511-6-1200]

Artist: Andy Warhol (American, 1928 - 1987). Title: "La Plata River Dolphin". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 10 7/16 x 10 1/4 in. (265 x 260 mm).Lot Note(s): Signed in black marker, lower right. Very light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Feldman/Schellmann IIIB.51.17. Comment(s): A proof from the lithograph edition of unknown size published in October of 1986, which was based on the "Vanishing Animals" silkscreen series of the same year. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28574-2-400]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Komodo Dragon (Monitor Lizard)". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 10 3/8 x 10 3/8 in. (264 x 264 mm).Lot Note(s): Signed in black marker, lower right. Very light cream wove paper. Right margin slightly trimmed. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Feldman/Schellmann IIIB.51.53. Comment(s): A proof from the lithograph edition of unknown size published in October of 1986, which was based on the "Vanishing Animals" silkscreen series of the same year. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28564-2-400]

Artist: Andy Warhol (American, 1928 - 1987). Title: "California Condor". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 10 7/16 x 10 5/16 in. (265 x 262 mm).Lot Note(s): Signed in black marker, right center. Very light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Literature/catalogue raisonne: Feldman/Schellmann IIIB.51.11. Comment(s): A proof from the lithograph edition of unknown size published in October of 1986, which was based on the "Vanishing Animals" silkscreen series of the same year. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28572-2-300]