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Lot 143
Andy Warhol (American 1928-1987), 'Superman, from Myths', 1981, screenprint in colours on Lenox Museum Board, un-signed and un-numbered test print, aside from the main edition of 200, published by Ronald Feldman Fine Arts, Inc., New York, stamped with the Publishers And Artist's Copyright stamp verso; sheet: 96.5 x 96.5cm
Lot 231
Banksy (British 1974-), 'Thrower (Grey)', 2019, triptych, screenprint in colours on 1500 micron board, signed and numbered from an edition of 300 in pencil to the Flower panel recto, numbered from an edition of 300 to the Thrower panel verso, numbered from an edition of 300 to the Hand panel verso, published by the Artist; panels: Flower: 74.8 x 55cm; Thrower: 91.8 x 61cm; Hand: 47 x 37.2cm ARR
Lot 138
* PAUL INSECT (B. 1971) 'Dead Elvis' 2006, limited edition (100) serigraph screenprint, published by Pictures on Walls, 59.5cm x 42cm. Paul Insect is a UK street artist famous for his solo show at the Lazarides Gallery 2007. Worked alongside Banksy at Cans Festival, Santsa Ghetto and the separation wall in Palestine. Damien Hirst is reportedly a big fan.
Lot 579
American Artists. The Poems by John Ashbery, Prints by Joan Mitchell, Salute by James Schuyler, Prints by Grace Hartigan, Permanently by Kenneth Koch, Prints by Alfred Leslie, & Odes by Frank O'Hara, Prints by Michael Goldberg, 4 volumes, New York, Tiber Press, 1960, each volume with three full-page colour screenprints, colour screenprint title page and front cover by Joan Mitchell, Grace Hartigan, Alfred Leslie, and Michael Goldberg respectively, original cloth-backed boards, a few minor marks to rear covers of 3 volumes, original acetate dust wrappers, all contained in original publisher's cloth slipcase, with original cardboard packaging (marked with limitation number), folio (sheet size 445 x 355 mm, 17.6 x 14 ins)Qty: (4)NOTESLimited edition, numbered 127 of 200 copies, each signed by author and artist. Important set of post-war American artist's books, featuring collaborations between four of the most influential American poets of the second half of the twentieth century, and four second-generation New York School painters. The collaborators all " lived in New York City where they knew one another well for a number of years and followed one another's work with involved interest. Tiber Press left the choice of partners in this project to the individuals themselves, and, in collaborating, the poet and painter were acknowledging awareness of some real relationship between their work " (from the prospectus).
Lot 93
BANKSY (born 1975)Trolleys, 2007 signed and numbered 623/750 in pencilscreenprint in colours56.5 x 76cm (22 1/4 x 29 15/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.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
Lot 24
JAMIE REID (born 1947)Old Queen (Red), 1997 signed, dated and numbered 87/200 in pencilscreenprint in red101.5 x 73.5cm (39 15/16 x 28 15/16in).Footnotes:British artist and anarchist Jamie Reid is probably best known for his work with The Sex Pistols, which includes the Cecil Beaton Silver Jubilee portrait of the Queen with a safety pin through her lip (artwork featured in this lot). His work features letters cut from newspaper headlines in the style of a ransom note, and his style is often considered a defining part of the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles Anarchy in the UK, and God Save The Queen. In 1997, Reid produced a series of screen prints, to mark the twentieth anniversary of the birth of punk rock.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
Lot 34
BANKSY (born 1975)Girl with Balloon, 2004 signed, dated, numbered 82/150 and further inscribed AP/DN in pencilscreenprint in colours60 x 50cm (23 5/8 x 19 11/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This lot has been inspected by Pest Control and the Certificate of Authenticity is in the process of being issued.Possibly one of the most iconic artworks of the 21st century, Banksy Girl with Balloon has acquired a notoriety to which few contemporary works can lay claim. A favourite with the public and collectors alike, it was elected 'Britain's favourite work of art' in a Samsung poll in 2017. Its fame is based not only on the minimal design, universal message and straightforward approach, but also on the various events punctuating the life of the artwork.Originally created as a stencil mural on Waterloo Bridge on the Southbank, London, in 2002, with the inscription There is Always Hope written nearby, the stencil was eventually painted over by the council. This was to be the fate of other murals of this image in various locations across London and none remain today. One of these, stencilled on a wall in Shoreditch, London, was removed in 2014, exhibited at the controversial exhibition Stealing Banksy? and eventually sold at auction. In the meantime, Banksy had created a limited edition print of the image in 2004, of which 150 were signed, such as the present impression. With the idea of making his stencil work accessible to all, the print was offered through the print house collective Pictures on Walls, who describe their first encounter with Banksy about producing a screenprint of Girl with Balloon as follows,Some idiot from Bristol came into the office after a night spraying the streets and showed us what he'd been up to. 'Maybe that would work as a print' - we thought, its only two colours, how could we screw that up?By 2007 the print was already making its first appearance at auction and, ironically, as Banksy's original stencils were removed from their walls one after the other, his prints proliferated, and his visibility and status increased.By 2014, there were not many people who did not know about Banksy, and who did not instantly recognize Girl with Balloon. In March that year, Banksy re-worked the original image at the occasion of the third anniversary of the Syrian conflict, with the little girl wearing a headscarf. The motif was also projected onto the Eiffel Tower and the Nelson's Column to raise awareness about the devastating conflict and remind us all that the image was, first and foremost, a symbol of hope, rallying support for the victims of the war. Celebrities joined the campaign which quickly went viral. In the context of this sale dedicated to Pop and Street Art, Banksy can be seen as following the example of Keith Haring, whose murals and print projects contained charged political messages (lot 10 –Untitled 2, from Free South Africa). On another level, he also follows in the steps of another iconic Pop artist, Andy Warhol, in the way he carefully and playfully handles his image and his success, never scared to remind everyone – and the art world in particular – of the irony with which he responds to his celebrity status. One of the most famous instances of this – an event that acted as the pinnacle to the renown of Girl with Balloon – occurred in 2018 when one version on canvas, moments after selling over £1M at auction, started to automatically self-destruct through a hidden shredding mechanism that had been placed in the frame by the artist years before. Making headlines the world over, appropriately renamed Love is in the Bin by Banksy afterwards, and happily kept by the new owner, the image went from a universal symbol of hope, to achieving a cult status as one of the best art stunts ever orchestrated. Today Girl with Balloon is the artist's most sought-after print.The symbolism of the work should not be overlooked. For his most recent project, a boat Banksy financed to rescue refugees in the Mediterranean Sea, it is a painting of the little girl again that adorns the boat, this time wearing a life vest and holding a heart-shaped buoy, with the same gesture as the Girl with Balloon. A reminder that hope remains the main message of this iconic work, which is also what gives it the timelessness that is essential to all great and iconic artworks. We are delighted to be offering both the present signed impression and an unsigned impression (lot 95) of this celebrated print in the sale.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
Lot 26
JAMIE REID (born 1947)Old Queen (Silver), 1997 signed, dated and numbered 101/200 in pencilscreenprint in silver101.5 x 73.5cm (39 15/16 x 28 15/16in).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
Lot 1
Andy Warhol (1928-1987)Vegetable Soup, from Campbell's Soup I, 1968 signed in ball-point pen and stamp-numbered 184/250 on the reversescreenprint in colours88.6 x 58.2cm (34 7/8 x 22 15/16in).Footnotes:LiteratureFeldman & Schellmann, Andy Warhol Prints 1962-1987, Fourth edition, 2003, no. II. 48, pg. 73For further information on this lot please visit Bonhams.com
Lot 35
BANKSY (born 1975)Donuts (Strawberry), 2009 signed in pink crayon, numbered 265/299screenprint in colours56 x 76 cm (22 1/16 x 29 15/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.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
Lot 38
SIR PETER BLAKE (born 1932)Sergeant Pepper's Lonely Hearts Club Band, 2007 signed and numbered 479/500 in pencilscreenprint in colours68 x 66.5cm (26 3/4 x 26 3/16in).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
Lot 56
Robert Indiana (1928-2018)The Book of Love, 1996 each screenprint signed, dated and numbered 17/200 in pencil, each poem initialled and dated in pencilthe set of 12 screenprints in colours and 12 poems with embossing on A.N.W. Crestwood Museum paper, loose (as issued) in the original brown paper-covered portfolio61 x 51cm (24 x 20 1/16in).Footnotes:Robert Indiana was one of the key figures of the Pop Art movement in America, acclaimed for his simple striking images, vivid use of colour and works employing words and numbers and best known for his iconic LOVE image. This was produced in a series of prints, paintings, sculptures and even stamps, which quickly pervaded popular consciousness in the 1960s and became one of the most recognizable images of Post-war art.A self-proclaimed 'American painter of signs', Indiana was inspired by the images of his Midwestern childhood, using the everyday symbols of roadside America such as highway road signs, billboards and commercial logos to create a bold, graphic style . Two held a particular resonance for the artist, the 'EAT' sign above the diner where his mother worked and 'PHILLIPS 66', the oil company his father worked for, with its striking red and green logo. Both were to influence his choice of colour and the incorporation of words and numbers into his work. The colours later used for Love were described by Indiana as 'the red and green of that sign against the blue Hoosier sky'.Arriving in New York in 1954, Indiana subscribed to the Hard-Edge school of painting, which employs sharp lines to separate blocks of colour and experiments with geometric shapes. He met and fell in love with Ellsworth Kelly who was an exponent of this technique and was a major influence on Indiana. Kelly's painting Red Blue Green (1963) is believed to be the partial inspiration for the Love colour palette. In New York Indiana joined a community of artists in Coenties Slip, an abandoned port in southeast Manhattan, whose warehouses provided materials which could be used in the creation of sculptural works. Here, he found some 19th Century brass stencils, which prompted him to start using numbers and words in his work and to create his own distinctive style.The first appearance of LOVE was a 1961 painting, 4-Star Love, in which four stars are stacked above the word 'Love', which would provide the inspiration for stacking the letters in the subsequent images. The next incarnation was the 1964 painting, Love Is God, inspired by the inscription 'God is Love' seen in the Christian Science churches he had attended with his mother. In 1964 the Museum of Modern Art in New York commissioned Indiana to design its Christmas card. Inspired by his paintings, he chose the word LOVE, with the LO and VE stacked on top of one another to fit the square format of the card and slanted the 'O' to create extra visual interest and kept to minimal vibrant colours. He offered several colour combinations and the museum chose the red letters on a blue and green background. The result was the best-selling Christmas card in the museum's history and the cementing of an iconic image in the public consciousness. It symbolized the timeless and universal emotions of affection, hope and optimism. For Indiana, the image carried a Christian message of brotherly love, but on a personal level, it was also an expression of his love for Ellsworth Kelly.The Book of Love Portfolio was the culmination of decades of work devoted to this subject, fulfilling the artist's passion for the interplay between words and images. It contains twelve screenprints in diverse colour combinations, which illustrate his twelve poems, written between 1958 and 1973. These contemplate the nature of love and forgiveness, and contain the idea of love as a driving force in artistic endeavour.LOVE was emblematic of the idealism and free-love of the 1960s. Indiana's mastery of colour and use of words to explore themes of identity and love meant that the work achieved a universal popularity and secured its status as an icon of 20th Century art.In the artist's own words, 'The LOVE is a concrete poem as far as I'm concerned. Just a one word poem. Love is a noun and a verb and so one must decide what my love is. It's a command, love, and it's a subject, love.'For further information on this lot please visit Bonhams.com
Lot 92
BANKSY (born 1975)Gold Flag, 2007 signed in black felt-tip pen, numbered 29/112 on the reversescreenprint on gold Chromalux paper50 x 70cm (19 11/16 x 27 9/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.Banksy, known for engaging with the political and social issues of the day, regularly uses his art to critique modern ideas inherent in our society. His satirical and often dark humour touches on key themes including; war, class, consumerism, capitalism and imperialism. In Gold Flag, Banksy directly references Joe Rosenthal's renowned photograph of U.S Soldiers raising the American Flag after seizing the island of Iwo Jima on Mount Suribachi on 9th February, 1945. The photograph, captured during world war II, won the Pulitzer Prize for Photography and was later used by sculptor, Felix de Wildon, to create the life-sized War Memorial in Virginia dedicated to all US marines who lost their lives serving their country. In Gold Flag, however, Banksy replaces the patriotic soldiers with a group of urban kids who clamber up and stand victoriously over a dilapidated car. The seizure of the prized hillside in Japan is replaced with the reclamation of a burned-out vehicle. The two girls, who proudly brandish the American flag over the car, are highlighted against a golden orb in what seems to be a world without adults. Banksy released Flags in two colours; editions of both gold and silver. The source of colour, often referred to as the sun or the moon, frames the children in an otherwise black deserted landscape. By using one singular colour, in this case gold on smooth wove metallic paper, the stark contrast creates a haunting and melancholy scene around the rebel children. Children are often a central motif in Banksy's work, used to symbolise the future as well as the severity of the issues being addressed. In Gold Flag, like in much of Banksy's art, its context is open to interpretation with some speculating that the children represent America's youth, still ambitious to achieve the 'American Dream'. Others suggest it might be a comment on the amount of money spent on war, leaving millions of men, women and children unsupported in ghettos or even a nod to the moon landing. Banksy, who once described his art as a form of underclass 'revenge' that allows power to be taken from the elite and given to the individual, once again leaves it up to the viewer to decide its meaning.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
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12813 item(s)/page