![Artist: Pablo Picasso [d'apres] (Spanish, 1881 - 1973). Title: "May 20, 1964 #07 [from the suite 'Le Gout du Bonheur,' image](https://cdn.globalauctionplatform.com/47625889-d933-4379-98f6-ab50012f23ff/374594a9-a77f-4da1-8cd9-abce0157ef47/468x382.jpg)
Artist: Pablo Picasso [d'apres] (Spanish, 1881 - 1973). Title: "May 20, 1964 #07 [from the suite 'Le Gout du Bonheur,' image dated 20-5-64 VII, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 3/4 in. (327 x 248 mm).Lot Note(s): Signed in pencil, lower right; annotated in pencil (presumably in the artist's hand) lower left; dated in the plate, upper right. An artist’s proof (E.A. - epreuve d’artiste) aside from the edition of 666. Cream wove handmade rag Velin d' Arches paper, deckle edges three sides. Full margins, as issued. Fine impression. Fine, fresh condition, as issued, with rich, vibrant colors. Literature/catalogue raisonne: Goeppert/Cramer (GC/CR/CBK/CB/C) 148; Bloch (BB) 150. Provenance: the Estate of Guenther Dietz (German, 1919-1995), who printed the edition. Comment(s): An unsigned impression of this print was offered at $1,400 by 1stdibs, New York, New York, as of April 6, 2020. Although this work is often catalogued as a lithograph, or silkscreen, or pochoir, or photo-lithograph, in reality it is none of these. By 1964 Guenther Dietz, the printer, had created a unique fine printing system which involved the use of both lithographic plates and serigraphic screens. He and master printers from his company (Guenther Dietz Offizin Handpresse GmbH, Munich & Lengmoos, Germany) printed this work under the direct supervision and participation of Picasso himself. Dietz used grease crayon, lithographic tusche, lead pencil, and charcoal, among others, to create the matrixes and receive Picasso’s approval to print the edition (Cramer, ‘Livres’ 148). The plates and screens were destroyed after printing. Published by Harry N. Abrams, Inc., New York. Image copyright © Artists Rights Society (ARS), New York. [30031-2-1600]
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![Artist: Keith Haring (American, 1958 - 1990). Title: "Montreux [Jazz Festival] 1983 - Yellow Background/Pink Border". Medium:](https://cdn.globalauctionplatform.com/47625889-d933-4379-98f6-ab50012f23ff/57a1b3f4-c4a5-406c-b031-abce01582021/468x382.jpg)
Artist: Keith Haring (American, 1958 - 1990). Title: "Montreux [Jazz Festival] 1983 - Yellow Background/Pink Border". Medium: Original color silkscreen. Date: Composed 1983. Dimensions: Overall size: 39 3/8 x 27 9/16 in. (1000 x 700 mm). Image size: 38 1/2 x 25 in. (978 x 635 mm).Lot Note(s): Signed in black marker, lower right; signed and dated in the plate. Edition unknown. White wove paper. Full margins. Fine impression with vibrant colors. Overall very good to fine condition. Literature/catalogue raisonne: Gundel/von der Osten 27. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): A poster for the famous Jazz Festival's 17th annual performances, July 8-24, 1983. Image copyright © The Keith Haring Foundation. [26519-6-800]
![Artist: Romare Bearden (American, 1911-1988). Title: "Salome with the Head of John the Baptist [From: Prevelance of Ritual]".](https://cdn.globalauctionplatform.com/47625889-d933-4379-98f6-ab50012f23ff/58539cc2-2c82-4ec7-b7b9-abce01594435/468x382.jpg)
Artist: Romare Bearden (American, 1911-1988). Title: "Salome with the Head of John the Baptist [From: Prevelance of Ritual]". Medium: Original color silkscreen. Date: Composed 1974. Dimensions: Overall size: 8 1/2 x 11 in. (216 x 279 mm).Lot Note(s): Signed in pencil, lower right. Edition c100. Light cream wove paper. Full margins. Fine impression. Fine condition. Comment(s): A very rare Bearden silkscreen - only two auction records since 1985 located by Gordon’s: a sale for $1,375 at William Doyle Galleries, NYC, 11/11/2013, lot #12; and a sale for $1,380 at Swann Auction Galleries, NYC, 3/4/1999, lot #44. Published by Cordier & Ekstrom and Ives-Sillman for inclusion in their prospectus announcing the publication of the portfolio “Romare Bearden: Prevalence of Ritual.” A copy of the prospectus is included with this lot. Image copyright © Licensed by VAGA, New York, NY. [29831-2-1000]
GRAHAM ILLINGWORTH (BRITISH 1953), 'The Compromise Reached, The Reality Obtained', an artist proof of two figures wearing Japanese style robes, silkscreen print, signed lower right, mounted, framed and glazed, approximately 56cm x 76cm (condition: small chips to the corner edges of the frame) (Artists Resale Rights May Apply To This Lot)
"Safe is Where I'll Keep You" is the title of Todd Slater's 2012 screenprint for the character 'Treebeard'. Available directly from the artist at New York Comic Con 2012 this limited edition lithograph is hand-numbered #97 from a print run of 368 and has also been signed by the artist, Todd Slater. Printed By D&L Screenprinting using a seven colours silkscreen process, the example offered here displays in excellent flat and unfolded (as issued) high grade condition.Hand-Numberd #97/368 & Signed18" x 24" (46 x 61 cm)Condition: ExcellentUnrestored, rolled, flat and unfolded (as issued). Very minimal handling wear. It presents and displays to excellent effect.Artist: Todd Slater£100 - 200VAT Status: Ω
§ THE CONNOR BROTHERS (BRITISH B.1968) PRIDE IN PREJUDICE BY DONALD TRUMPHand-painted paperback book with silkscreen print, from the edition of 2, accompanied by signed certificate (Dimensions: 18cm x 11cm (7in x 4.25in))Biography The Connor Brothers, fictional twins Franklyn and Brendan Connor, were raised by ‘The Family’, a Christian cult that cut them off from modern society as children. At the age of 16, they escaped the cult and fled to Brooklyn together to become artists. This pseudonym initially allowed them to maintain anonymity, but they have since shed the fictional guise to align their work with social causes such as the European refugee crisis. The Brothers are known for their satirical and humorous work that explores emotion, truth and reality, and the need for distraction in contemporary society. Their ‘Pulp Fiction’ series recontextualises the artwork of 1950’s dime novel covers, centreing on images of vintage pin-up beauties, dishevelled heroes and old Hollywood starlets. The Brothers juxtapose these romantic subjects with unexpected, witty captions, giving the images new and disconcerting meanings.
SUNDAY B. MORNING (AMERICAN) CAMPBELL'S SOUPScreenprints, set of 9 with 'Published by Sunday b. Morning' and 'Fill in your own signature' blue ink stamps verso and one 'Golden Mushroom' with 'Fill in your own signature' in black ink, unframed (Dimensions: 89cm x 58.5cm (35in x 23in), full sheet) (Qty: 10)Biography: Sunday B Morning produce high quality silkscreen prints after works by Andy Warhol. The ‘Blue inks’ are the current editions and printed on museum board, they are stamped on the reverse with the original edition of 250 being numbered as well. Sunday B Morning first started producing prints in 1970 with a stamp on the reverse which read ‘Fill in your own signature’. It is not clear whether Warhol was pleased with the prints but he did sign one or two ‘This is not by me. Andy Warhol’ which only made them more desirable. Sunday B Morning continue to produce screen prints from the original Factory photo negative stencils.
Jesus Rafael Soto (Venezuelan, 1923 - 2005)Titled: Vibrations MetalliquesSigned "Soto" on a label affixed to the reverse.Numbered: (200/250) Medium: Silkscreen on aluminum with metal elements and nylon stringsJesús Rafael Soto was born in Ciudad Bolívar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto’'s work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements.Dimensions:10.5 x 11.75 x 5 in.
Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: Structure Cinetique (Sotomagie)Signed "Soto" on a label affixed to the reverse.Numbered: (61/100) Medium: Silkscreen on Plexiglas with metal rodsJesús Rafael Soto was born in Ciudad Bolívar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto’'s work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements.Dimensions: 13.5 x 13.5 x 7.5 in.
•JOSEF ALBERS (GERMAN-AMERICAN 1888-1976) HOMMAGE TO THE SQUARE - PORTFOLIO OF TEN WORKS Silkscreen, signed once and numbered 115 from the edition of 250 on the introduction leaf, in original cloth portfolio, each 28.2 x 28cm (11 x 11") (image), 43.2 x 43cm (17 x 17") (sheet) (10) Published in 1962 by Ives-Sillman, printing by R.H. Norton Co, and text by Richard Lippold Condition Report: No. 3 Tenuous:. Slight darkish area, top edge, left of centre, non abrasive to paper. . No.4 Equivocal:. Small stain mark in left margin, at middle. Two small stain marks in bottom margin, both left of centre. . No. 7 Shielded:. Small stain discolouration mark in bottom margin, located right. . Portfolio case:. Generally very light foxing spots over cloth front and back outside, very slight touches of same inside and around edges, being heavier and noticeable on the front in the area running down the left edge, on the back in the area running along at the top edge and bottom right corner and the verso area of the spine. Signs of handling discolouration front and back and discolouration top and bottom areas of spine. Cloth broken at seam, approx. 2.5cm, bottom and slightly broken at top seam. . Slip case:. General wear and tear around edges, front and back. Scratches, scrape and scuff areas mostly obvious verso of case. The case has separated along the top edge seam, and approx. 6cm, at bottom edge, it holds together as a whole.
•DAMON ROBERTS (b. c.1974) 'This is Acid' signed limited edition silk screen, the image 36cm x 30.25cm (unframed)Damon Roberts is a contemporary artist, screen printer, and man behind Glass Siren Studio, a print facility established to produce complex print works. Fascinated by music and album cover art, and inspired by artists Yves Klein and Bridget Riley, Roberts' aesthetic is fuelled by forms of tactility and dynamism. His practice over the last decade has tended towards the abstract and the experimental, where the energy of ideas fuses with the chance nature of trial and error, to produce a truly organic and meditative range of print works, each with a complex story to tell. Within Glass Siren Studio, Roberts has custom built his own printing press, where he hand produces each silkscreen, working with traditional inks and additives on paper as well as an array of personally developed specialist techniques. The process is intimate and intense, and each work of art is the product of a long and physically involved journey, from initial sketch to finished formProvenance: The Bob Cosford Collection of Contemporary and Street Art
ERNESTO YERENA (b. 1986) 'Ganas Dia De Los Muertos' Day of the Dead Calavera (skull), 2011, signed limited edition screenprint, edition of 300, 60cm x 45cmErnesto Yerena Montejano was born in El Centro, California, a mid- sized farming town bordering Mexicali, Baja California, Mexico. Fuelled by his cross-national upbringing, his art practice reflects his observations of the views and interactions between the Mexican communities living on both sides of the U.S.-Mexico border. The artist shares narratives of his conflicts of identity that he feels are kindred to what many Chicanos of these communities experience. Although Yerena identifies as Chicano he also strongly identifies as Native/Indigenous to this continent which is often seen in his work. His work depicts his frustrations with the oppression in his community as well as creating work in solidarity with the community in the defence of dignity and rights. Through his brazen imagery, the artist brings political concerns to light with subject matter that depicts cultural icons, rebels and everyday people voicing their stance against oppression. In 2008 Yerena created the Hecho Con Ganas (Made With Desire) publishing project in which he produces politically and socially conscience images that are produced in limited edition silkscreen prints. Highly recognized for his activism, Yerena is the founder and curator of the Alto Arizona Art campaign (2010) as well as a founding member of the We Are Human campaign (2009). Yerena has collaborated on many thought provoking projects which include artists Zack de la Rocha, Shepard Fairey, Manu Chao, Ana Tijoux, Philip Lumbang, Jaque Fragua, Diane Ovalle, Chuck D, and Mochilla.Provenance: The Bob Cosford Collection of Contemporary and Street Art
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.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
Doug Hyde (1972-) - Limited edition signed silkscreen print - 'Seven Days A Week', No.58/595, with certificate, signed in pencil lower right, 60.5cm x 82cm, framed and glazed, with De Montfort Fine Art label verso, in contemporary distressed frame Artist Resale Right may apply Condition: Slight ripple to the top and bottom edge of the print - **General condition consistent with age
1994 Gibson Centennial 100th Anniversary Les Paul Standard electric guitar, made in USA; Finish: tobacco sunburst, some lacquer imperfections to head face; Fretboard: rosewood; Frets: good; Electrics: working; Hardware: good; Case: original hard case; Overall condition: good *In 1994, Gibson released twelve Centennial Model guitars, each limited to 100 pieces, one for each year of the 100 years). The guitars feature a diamond inset to the headstock logo, diamond set to the gold plated top hat knobs embedded with 100 Year Anniversary logo, jewelled silver serial number embedded on the stop bar, 100th Anniversary twelfth fret inlay, 100 Year pickguard, each guitar serial numbered in series from 1894-1994 signifying each of Gibson's 100 years, gold plated anniversary Orville Gibson coin embedded to the back of the headstock, silkscreen anniversary headstock cover, leather case with outer covering, silk ribbon with 100th Anniversary logo and a jewelled 14ct gold signet ring with Gibson 100 Year Anniversary logo with matching serial number to the guitar Please note that this example is missing the personalised framed picture and certificate of authenticity Sold on behalf of 'Scale' Charity, who were gifted this guitar direct via a Gibson rep to help benefit the charity's work. 'Scale' (Sound Creation Advancing Learning and Education) is a charity who support children and adults with severe and profound learning difficulties through sound, music and colour
1994 Gibson Centennial 100th Anniversary Les Paul Classic Gold-top electric guitar, made in USA; Finish: gold top; Fretboard: rosewood; Frets: good; Electrics: working; Hardware: good; Case: original hard case; Overall condition: good *In 1994, Gibson released twelve Centennial Model guitars, each limited to 100 pieces, one for each year of the 100 years. The guitars feature a diamond inset to the headstock logo, diamond set to the gold plated top hat knobs embedded with 100 Year Anniversary logo, jewelled silver serial number embedded on the stop bar, 100th Anniversary twelfth fret inlay, 100 Year pickguard, each guitar serial numbered in series from 1894-1994 signifying each of Gibson's 100 years, gold plated anniversary Orville Gibson coin embedded to the back of the headstock, leather case with outer covering, silk ribbon with 100th Anniversary logo and a jewelled 14ct gold signet ring with Gibson 100 Year Anniversary logo with matching serial number to the guitar Please note that this example is missing the missing silkscreen anniversary headstock cover, certificate of authenticity and framed picture Sold on behalf of 'Scale' Charity, who were gifted this guitar direct from a Gibson rep to help benefit the charity's work. 'Scale' (Sound Creation Advancing Learning and Education) is a charity who support children and adults with severe and profound learning difficulties through sound, music and colour
Donald Hamilton Fraser R.A. (1929-2009), "Cape Wrath", signed and numbered 129/175 in pencil in the margin, silkscreen, image size 39.5 x 50cm, 15.5 x 19.75in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in very good, original condition with strong colours. There are one or two minor spots of foxing in the margins. The print is framed and glazed.
† JJ Adams (British, b 1978). 'God Save The Screenprint (Queen)', silkscreen print. 2017. Signed in pencil lower left, numbered 24/45 in pencil lower right. With COA. 50 x 40cm. Framed and glazed. Size in frame: 70 x 59cm. Please note that VAT is payable on top of the hammer price at 20% in addition to standard buyers' premium inc. VAT for this lot. .
† JJ Adams (British, b 1978). 'God Save The Screenprint (Queen)', silkscreen print. 2017. Signed in pencil lower left, numbered 24/45 in pencil lower right. With COA. 50 x 40cm. Framed and glazed. Size in frame: 70 x 59cm. Please note that VAT is payable on top of the hammer price at 20% in addition to standard buyers' premium inc. VAT for this lot.
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6275 Los(e)/Seite