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![[§] CRAIG MACKAY (SCOTTISH B.1960) SHEIGRA, SUTHERLAND Signed and inscribed with title, photographic print 13cm x 12.5cm](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/59abb77e-c132-4335-f10e-4d51df7a75e3/468x382.jpg)
![[§] JOHN BYRNE R.S.A. (SCOTTISH B. 1940) WRITER'S CRAMP Signed, watercolour, ink and bodycolour 30cm x 22cm (11.75in x 8.](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/aba540b9-b30c-43b5-d2ba-fff0affb49fc/468x382.jpg)
Lot 123
[§] JOHN BYRNE R.S.A. (SCOTTISH B. 1940) WRITER'S CRAMP Signed, watercolour, ink and bodycolour 30cm x 22cm (11.75in x 8.75in) Note: An acclaimed illustrator, painter and playwright, John Byrne is one of Scotland's most diverse and accomplished artists. Byrne was born in 1940 in Paisley, and attended the Glasgow School of Art from 1958 to 1963. There he quickly excelled and was awarded the Bellahouston Award, the school's most prestigious painting prize. Byrne is also known for writing the award-winning television series Tutti Fruitti and the theatrical trilogy The Slab Boys. Other notable achievements include his album cover designs for The Beatles, Gerry Rafferty and Billy Connolly. His work appears in several collections both in Scotland and abroad, including the Scottish National Portrait Gallery and Kelvingrove Art Gallery. In 2007 Byrne was made a full member of the Royal Scottish Academy and is also an Honorary Fellow of the Glasgow School of Art. Byrne's debut play, Writer's Cramp, was one of the most successful and popular shows at the Edinburgh Fringe in 1977. Described as a satirical vision of the whole panorama of British postwar culture, the play follows the ill-fated career of the Scottish writer F S MCDade, from his boarding school experience through to World War II and various publishing misfortunes. In this watercolour, Byrne reflects the satirical nature of the play through the protagonist's exaggerated features and setting. Surrounded by a cluster of books, letters and cigarettes he appears to be deep in thought rather than at work. However, his sinister grin suggests that he has just arrived at an idea, leaving the viewer to speculate as to its nature. Byrne's success rests on his distinctive style and thought-provoking work inviting the viewer to engage with the narrative. This work is thought to be one of the few surviving pieces that were exhibited at the Glasgow Print Studio in the 1990's.
![[§] THOMAS RUFF (GERMAN B.1958) NUDE Signed and numbered 35/50 in pencil verso, pigment print, unframed 75cm x 60cm (25.5](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/17dd36e7-e208-4185-a58a-4f1671a36a54/468x382.jpg)
![[§] HENRI MATISSE (FRENCH 1869-1954) SEATED YOUNG WOMAN WITH A BOUQUET OF FLOWERS 1923, signed in pencil to margin and num](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/ac491f4f-b6ad-4810-d4d0-926e6f51d899/468x382.jpg)
Lot 31
[§] HENRI MATISSE (FRENCH 1869-1954) SEATED YOUNG WOMAN WITH A BOUQUET OF FLOWERS 1923, signed in pencil to margin and numbered 47/60, lithograph 29cm x 20.5cm (11.5in x 8in) Note: 'What I dream of is an art of balance, of purity and serenity devoid of troubling or disturbing subject matter...like a comforting influence, a mental balm - something like a good armchair in which one rests from physical fatigue.' Henri Matisse is generally considered one of the most important artists of the twentieth century, and a leading figure in modern art. He made prints throughout his career, starting working in lithography in 1906, and returning to it again and again. The offered work dates from a particularly productive period, when from 1922-25 Matisse created fifty lithographs, mainly of women and decorative patterns. Artistically, Matisse viewed printmaking as an extension of drawing, and thus a direct expression of the artist's thoughts. Formally, it was an opportunity to re-focus on line and composition. The painterly qualities of lithography particularly suited Matisse's technique, and his interest in rich detail and texture. In fact, Matisse preferred a version of lithography called transfer lithography where instead of drawing directly onto the stone, the artist was able to utilise transfer-paper, drawing directly onto the paper, the image was then transferred onto the stone and printed. This meant the image was not reversed and often the grain of paper was captured within the image. Seated Young Woman with a Bouquet of Flowers reflects Matisse's key interests in print-making. The subject is a young woman, surrounded by decorative patterns. He creates a bold composition, by angling different patterns against each other. There are the expected visual patterns - the floral pattern in the sitter's blouse, and on the vase, and the bold horizontal striping of the blinds behind her, but these are juxtaposed with patterning created by the artist to add depth and texture, his graphic mark-making in the table surface and the distant sky. It has been suggested that even when working in monochromatic prints, Matisse's works have the sense of being colourful. That is true here. We can easily imagine the bold colours that would feature in an oil painting version, especially in the bold patterning, yet the monochromatic simplicity allows Matisse's compositional insight, and ability to manipulate the qualities of lithography, to really shine.
Lot 61
FOLIO OF 16 MODERN BRITISH PRINTS AFTER ORIGINAL ARTWORKS ISSUED BY DESIGN RESEARCH UNIT, LONDON IN THE 1970S All bearing facsimile signatures, all unframed and in original folio sleeves, featuring the work of Enzo Mari; Deiter Rot; Ceri Richards; Donald Hamilton Fraser; Barbara Hepworth; John Hoyland (1975); Victor Pasmore; Joe Tilson (1971); Henry Moore; Ben Nicholson; Robyn Denny (1974); Kenneth Martin (1977); Patrick Heron (1976); Jean-Michel Folon; Sandra Blow (1973); Bridget Riley varying sizes Note: Donald Gardner, the owner of these prints was active as a designer in the advertising world through the historic years of the 1930's to the 1970's. He became a director of Stewarts advertising agency, along with Marcus "Brum" Brumwell. Brum and his wife Rene, along with Donald, mixed in the London social world of the 1950's and 1960's and knew figures as diverse as Ernst Freud, Harold Wilson and Judi Dench. Brum and Rene were especially friendly with the St Ives set, most notably Ben Nicolson and Barbara Hepworth. These prints are a series of intimate personal Christmas gifts to friends and colleagues. Each print was commissioned with the consent and input of the artist, may of whom were personal friends.
![[§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH B.1937) PAPER POOLS Signed and dated '80 and numbered 524/1000 in pencil, publ](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/8bc0f39e-d5ea-4b54-a5ad-60bf5cf98fc0/468x382.jpg)
Lot 79
[§] DAVID HOCKNEY O.M., C.H., R.A. (BRITISH B.1937) PAPER POOLS Signed and dated '80 and numbered 524/1000 in pencil, published by Tyler Graphics, Ltd., Mount Kisco, New York, bears blindstamp, on Arches Cover paper, lithograph; Together with 'Paper Pools', the accompanying book, signed by the artist in red ink and stamp numbered 524 on the justification, with blue canvas covers and original slipcase 27cm x 23cm (9in x 10.25in) Note: Think of David Hockney, and immediately picture the sunshine-soaked, boldly-hued scenes of California homes and swimming pools that he is widely known for. After formative years spent in comparatively dreary Yorkshire, Hockney was immediately captivated by the bold colours and widespread luxury of Los Angeles. Private swimming pools were an extravagance in the U.K., but in the City of Angels, Hockney found them everywhere: he had discovered a subject. Paper Pools is a book chronicling a very specific moment in Hockney's creative process, a short period in 1978 when on route to California from England, he made a de-tour to Tyler Graphics studios in upstate New York, to visit friend and previous collaborator Kenneth Tyler. Here he was introduced to a new medium, the paper pulp process. This involved dyeing wet pulped rags, which were applied in various ways to recently-created and still wet paper, until they were finally fully pressed and dried; there were opportunities for the artist to manipulate the application of colour at all stages. The result was a cross between paper-making, print-making and painting. Hockney found learning this new technique and its specific restrictions, creatively freeing. He realised the process could be very conducive to variations on a theme, and the swimming pool and the effects of different lights and movements on the water was captivating him once again - as he swam in and looked at Tyler's outdoor pool each day. In the resulting series, Paper Pools, Hockney creatively addresses a formal, and paradoxical problem: how to depict the elusive, ever-changing qualities of a body of water, in a flat, stationary, two-dimensional form. There is something conceptually satisfying in such a water-heavy process being used to attempt this. In these works, colour does not sit, it is fused, completely integrated into the medium. Water is the same; light and movement are subsumed into it, and thus its appearance and qualities change. The beautiful book fully illustrates this process, with a reflective text written by Hockney and accompanied by various illustrations - reference polariods he took of the swimming pool in different lights, line drawings capturing the physical process, reproductions of each work in the series as well as some in-process photographs; of the works still at the wet pulp stage before they were pressed. There is a vivid sense of the finished product, but also of the process that went into it: physical effort, litres of water, eclectic equipment, artistic imagination and a strong feeling of camaraderie. To celebrate the publication of the work, Hockney produced a six-colour, hand-drawn lithograph, which he signed and numbered. It revives his favoured subject, boldly depicting the swimming pool and diving board in strong colours. The gently rippling water is depicted with surface watery, wavy marks, overlaying the deeper, overlapping shadows - there is depth and movement, as Hockney manipulates different effects of lithographic mark-making. Paper Pools is a celebration of the artistic innovation and imagination of a very particular moment in Hockney's career, but also an encapsulation of some of the key themes and subjects of his wider oeuvre.
![[§] DAVID HOCKNEY O.M, C.H., R.A. (BRITISH B.1937) EXTENDING FEBRUARY, 1990 Signed and dated '90 in pencil, numbered 28/50](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/56a1ef5f-a739-45a9-f19e-8f08eb29833f/468x382.jpg)
![[§] SIR PETER BLAKE C.B.E., R.A. (BRITISH B. 1932) I LOVE YOU (CHUCK BERRY) Signed and inscribed with title and numbered 3](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/c0ebe4cf-a0fc-420f-c84b-d79076c97a34/468x382.jpg)
Lot 623
Kunisada I (1786-1864), by and after, Bandō Shūka I as the Servant Meshitsukai Ohatsu, script and seal marks, theatrical coloured woodblock print, [Published 1855], 35.5cm x 25cm, collector's MS label to verso; others, Asao Yoroku II as Yosobei and Kawarazaki Gonjuro I as Son Yonosuke; The Yugao Scene from Inaka Genji, from the Series "Eastern Magic Lantern Slides in Edo Purple, 1847-1852; another Japanese coloured woodblock print, possibly Hiroyuki Kataoka (4)
![A Regency Tunbridge ware Named-View sarcophagus shape work box, The Bridge & Castle at Tonbridge [Kent], Published at Wise's](https://cdn.globalauctionplatform.com/19e7d2d3-e23c-46af-805e-a8380088e701/5ba02b5f-8d3c-472d-b0f1-09e742a47c8e/468x382.jpg)
Lot 1069
A Regency Tunbridge ware Named-View sarcophagus shape work box, The Bridge & Castle at Tonbridge [Kent], Published at Wise's Manufactory, Tonbridge, label, the arched domed cover applied with a coloured topographical print, within a canted rectangular dart-and-egg frame, the whole within a barberpole marquetry and boxwood border, enclosing a paper-lined interior, the projecting rectangular base with skirted top above one long drawer, fitted with a naive mechanical spinning reel, pin cushion, thimble holder and further compartments, outlined throughout with stringing, bun feet, 21.5cm high, 22.5cm wide, c. 1820
Lot 220
The Isle of Man TT Centenary Collection TT 1907 - 2007 celebration set. Two black presentation box folder containing, official review 2 disc dvd, official limited edition 147/1000 hardback version of the 2007 TT programme and race guide together with race results booklet, a sealed reprinted 1907 souvenir programme (printed with an aged appearance), limited edition 147/1000 book titled authoritative day by day coverage of the 100th anniversary 2007 Isle of Man Tourist trophy, The Centenary of the Centenary of the Isle of Man TT Races official crown collection, limited edition pencil signed print by Geoff Duke and Peter Hearsey, Murray Walker signed print, deluxe postcard collection, first day cover, Riders stories and commentaries cd's, TT history dvd and TT100 hardback book. motorcycle racing interest.
Lot 19
Victorian walnut cased table top Polyphon musical disc player, the hinged cover with a central foliate marquetry panel, opening revealing a sepia print of cherubs playing. The comb movement playing 40cm discs (four included) with side winding handle. 52cm wide x 45cm deep x 25cm high. Condition Report. We have played 4 discs and to our untrained ears it sounds fine and plays well. pics of the combs have been added to the listing
Lot 100
AFTER DOUG HYDE (BRITISH B.1972), 'In The Dog House', a limited edition colour print, No.546/595, blind stamp, numbered, titled and signed in pencil, lacks certificate, approximately 88cm x 63cm, framed and glazed (Artists Resale Rights May Apply To This Lot)condition:the print is still in its protective wrapping from when it was originally framed and is undamaged
Lot 11
SIR TERRY FROST RA (BRITISH 1915-2003), 'Black Circle', a limited edition signed screen print, No.75/150, numbered and signed in pencil, unframed, approximately 40.5cm x 80.5cm (Artists Resale Rights May Apply To This Lot)condition:the print appears to be unmarked, the mount has some marks from handling, the corners are slightly damaged.
Lot 20
SIR TERRY FROST RA (BRITISH 1913-2003), Swing Rhythm, a limited edition colour screen print, No.26/70, numbered and signed in pencil, unmounted and unframed, areas are dirty, approximately 79cm x 103.5cm (Artists Resale Rights May Apply to This Lot)condition:the yellow stripe, big blue stripe and the borders of the print have dirty marks on them, there also appears to be a water stain in the top left hand corner, the damage is consistent with being unmounted and unframed.
Lot 22
AFTER DOUG HYDE (BRITISH B.1972), 'Looking After Love', a limited edition giclee print on canvas, No.227/495, signed and numbered lower right, with De Montfort Fine Art certificate, approximately 64.5cm square (Artists Resale Rights May Apply to This Lot)condition: The print appears to be free from damage but the frame has dirty marks on it
Lot 24
AFTER BERYL COOK (BRITISH 1926-2008), Clubbing in the rain, a limited edition print, published by the Alexander Gallery, No.265/650, numbered and signed in pencil, approximately 53.5cm x 38cm (Artists Resale Rights May Apply To This Lot)condition:The print is in as new condition, the frame has a couple of minor scratches to the front, the bottom edge has a deep scratch running front to back
Lot 29
AFTER PETER SMITH (BRITISH B.1967), 'Tunnel of Love', a limited edition print, No.189/295, numbered, titled and signed in pencil, with certificate, in card mount, unframed, approximately 54cm square (Artists Resale Rights May Apply To This Lot)condition:The print appears to be unmarked, the card mount has some dirty marks and a small indentation on the right hand side
Lot 38
SIR TERRY FROST RA (BRITISH, 1915-2003), 'Life is just a bowl of Cherries', a limited edition colour screen print, No.39/70, numbered, titled and signed in pencil, unmounted and unframed, approximately 82.5cm x 62cm (Artists Resale Rights May Apply To This Lot)condition:there is a small crease at the top right hand corner, it does not intrude into the image area.
Lot 43
SIR TERRY FROST RA (BRITISH 1915-2003), The Love Tree, a hand embellished limited edition screen print, No.2/85, numbered and signed in pencil, unmounted and unframed, approximately 102cm x 83cm, some water damage, dirty areas (Artists Resale Rights May Apply To This Lot)condition:the top edge of the print is water stained and has brown marks across the top edge, the photo of the reverse of the print shows the extent of the water damage more clearly
Lot 50
SIR TERRY FROST RA (BRITISH 1915-2003), Five Black Moons, a limited edition colour silk screen print, No.38/75, numbered and signed in pencil, in a card mount, approximately 94cm x 78.5cm (Artists Resale Rights May Apply To This Lot)condition:– the print appears to be free from damage, the mount has dirty marks in several places and the bottom right hand corner is creased, the top left hand edge has several indentations
Lot 65
AFTER LAURENCE STEPHEN LOWRY RA (BRITISH 1887-1976), The Notice Board, a colour print, signed in pencil to the margin lower right, bears blind stamp lower left, slipped out of position in the mount, image size approximately 40cm x 50cm (Artists Resale Rights May Apply To This Lot)condition:the print is not stuck down, there are marks indicating it has either moved several times or has been re-framed, it is behind glass and has not been removed to check for damage to the borders. Due to the age of the print the luminosity of the printing inks are not the same as a newly produced print. The borders are marked, signed in pencil, the blind stamp is initialled A.L.C.
Lot 66
AFTER LAURENCE STEPHEN LOWRY RA (BRITISH 1887-1976), The Football Match, a monochrome limited edition print, No.803/850, blind stamp, numbered and signed in pencil, double mounted and framed, image size approximately 26cm x 37cm (Artists Resale Rights Applicable To This Lot)condition:the print is framed and has not been removed to establish if it is stuck down, the print appears to be free from physical damage but the paper has got a yellowish tinge of the print, there is a blind stamp near to the print number
Lot 67
AFTER LAURENCE STEPHEN LOWRY RA (BRITISH 1887-1976), The Beach, Deal, published by Venture Prints Ltd, Bristol, bears Fine Art Guild blind stamp and signed in pencil to the margin, Frost and Reed label verso with title, approximately 29.5cm x 52.5cm (Artists Rights Are Applicable To This Lot)condition:the print is framed and has not been removed to establish if it is stuck down, the print does not have any visible rips or tears, there is no foxing to the print, lithographic inks of this period are not light fast so it must be assumed that some change has occurred to the original luminosity of the ink, there is a blind stamp and the initials B.D.D
Lot 78
AFTER MAL COWARD (BRITISH B.1948), 'SOD IT !', a limited edition print, No.363/850, numbered and signed in pencil, approximately 28.5cm x 35cm, together with after David Shepherd, 'Old Ben's Cottage', a limited edition print, No.1171/1500, numbered and signed in pencil, with blind stamp, approximately 22.5cm x 30cm (2)
Lot 8
AFTER PETER SMITH (BRITISH B.1967), 'Bunny My Honey', a limited edition print on box canvas, No.61/150, numbered and initialled lower right, certificate verso, approximately 82cm x 81cm (Artists Resale Rights May Apply To This Lot)condition: There is a dirty mark near the bottom left hand corner otherwise the print appears to be free from damage.
Lot 86
AFTER LAWRIE WILLIAMSON (BRITISH B.1932), Twenty Candles x 4, a limited edition giclee print of 200, un-numbered and unsigned, with certificate and 80th Birthday Exhibition invitation, approximately 18cm x 12.5cm, together with Susan Howells (Contemporary) Terraced Houses, mixed media, initialled lower right, approximately 20cm x 17.5cm and indistinctly signed a modern oil on board of villas in a Tuscan landscape, signed lower right, bears label for the Mayne Gallery verso, approximately 40.5cm x 20cm (3)
Lot 92
AFTER DOUG HYDE (BRITISH B.1972), 'The Terrible Two', a limited artist's proof edition monochrome giclee print on paper, No.13/60, blind stamp, numbered, titled and signed in pencil, De Montfort Fine Art certificate and biography attached verso, approximately 36cm x 45cm, framed and glazed (Artists Resale Rights May Apply To This Lot)
Lot 93
AFTER DOUG HYDE (BRITISH B.1972), 'Dreams Can Come True', a limited edition colour giclee print on paper, No.549/595, blind stamp, numbered, titled and signed in pencil, De Montfort Fine Art certificate and biography attached verso, approximately 48.5cm x 50cm, framed and glazed, (Artists Resale Rights May Apply To This lot)condition:the print is framed and behind glass, it appears to be free from damage, there are a couple of small marks to the frame
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314766 item(s)/page