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Introduced at San Diego Comic Con in 2013, Tom Whalen's interpretation of the cult 1960's "Batman" TV series was a huge success with his distinctive drawing style perfectly suiting the subject matter and, although caricatures, the actors are easily recognisable. I particularly like how Whalen has drawn the Batmobile. This limited edition screenprint is hand-numbered #103/350 and printed on a high quality heavy stock art paper that allows the colours to 'pop' from the paper.Hand-Numbered #103/35018" 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: Tom Whalen£100 - 200VAT Status: Ω

§ IAN HAMILTON FINLAY (SCOTTISH 1925-2006) FAX, IDLING ITS SAILSScreenprint, and another screenprint by the same artist 'Poverty, pitted with larks' (Dimensions: 17cm x 89cm (6.75in x 35in)) (Qty: 2)Biography: Ian Hamilton Finlay was a Scottish artist and writer. Trained at Glasgow School of Art, following the war, he spent a period working as a shepherd and started to write poems. With time, he began to compose poetry and inscribe them into stone; the resulting sculptures are often incorporated into the natural environment. Many of them are situated within Little Sparta, his master-work, a five-acre garden he developed with his wife, near the Pentland Hills outside of Edinburgh. Gardening and art happily cohabit here, and the expanse of land is full of his sculptural work. In 2004, Little Sparta was voted most important Scottish work of art, by a panel of artists and arts professionals, ahead of Charles Rennie Mackintosh’s Glasgow School of Art and Henry Raeburn’s The Skating Minister. Finlay was prolific, endlessly creative and collaborative. Printmaking was a large part of his artistic practice, often made in collaboration with other artists, writers and technicians and involving both text and visual elements. Finlay was nominated for the Turner Prize in 1985.

§ RAY RICHARDSON (BRITISH B.1964) A PLACE YOU CAN'T PLACE - 2016Screenprint, P.P., signed, dated, titled and editioned in pencil to margin, unframed and two further screenprints by the same artist: 'Friday Street' and 'Mandatomyass' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 3)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.

§ THE CONNOR BROTHERS (BRITISH B.1968) EVERY SAINT HAS A PAST AND EVERY SINNER HAS A FUTURE - 2020Screenprint, 40/50, signed, numbered and dated in pencil to margin, unframed (Dimensions: 75cm x 50cm (29.5in x 19.75in), full sheet)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.

§ HOWARD HODGKIN C.H, C.B.E. (BRITISH 1932-2017) UNTITLED (BRUSHSTROKE) - 2010Screenprint, 30/75, signed with initials, numbered and dated in pencil to margin, in original oak wood frame selected by the artist (Dimensions: 36cm x 25cm (14.25in x 9.75in))Note: This series of prints was gifted by the artist to The Art Fund 'Brushstrokes' series, it was distributed to key donors to the fund. Biography: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith, London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art, followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to an extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford, and in 1992 he was knighted for his services to the arts.

§ MOYNA FLANNIGAN (SCOTTISH B.1963) MR. LUCKYScreenprint, P/P I, aside from an edition of 40, signed, titled and editioned in pencil to margin, unframed and a further signed etching by the artist 'The Blind House 2' (Dimensions: 43cm x 45.5cm (17in x 18in)) (Qty: 2)Biography: Moyna Flannigan lives and works in Edinburgh. She trained at Edinburgh College of Art and the Yale University School of Art, and has taught at both ECA and the Glasgow School of Art. She has exhibited extensively internationally and her work is included in public collections across Europe. She painted in an abstract style for a period, before returning to a figurative approach around 1995. She is probably best-known for her portraits, but has recently started to work with collage elements too. Flannigan does not rely on preparatory drawings or working from models, preferring to develop her visual ideas directly on the canvas.

§ BANKSY (BRITISH B.1974) RAT RADAR DIRTY FUNKER (BROWN)Screenprint on record sleeve with vinyl record, unframed (Dimensions: 30.5cm x 30.5cm (12in x 12in))Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).

KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (YELLOW) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.

§ LIL NEILSON (SCOTTISH 1938-1998) BLUE CRUSADER IIIScreenprint, U/P, 1995, signed, dated, titled and editioned in pencil to margin (Dimensions: 29cm x 41.5cm (11.5in x 16.25in), image size)Biography: Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60 including a post-diploma year under Alberto Morrocco and was awarded a travelling scholarship to France and Italy. On her return she joined Joan Eardley in Catterline as they had become friends during her time at Hospitalfields. During this time Neilson also worked backstage at theatres such as the Traverse in Edinburgh before returning to Catterline to help nurse Eardley in the New Year of 1963. After Eardley’s death Neilson bought No.2 South Side, Catterline and made her home in one half and her studio in the other. It is clear that Neilson’s work owed a great debt to Eardley both technically and her choice of subject matter but at the same time there is little doubt that in her best work she created paintings which were very much ‘Neilson’

JESUS RAFAEL SOTO (VENEZUELAN 1923-2005) UNTITLED (MULTI-COLOUR)Screenprint, 30/120, signed and editioned in pencil to margin, with printed paper slip, unframed (Dimensions: 69cm x 69cm (27.25in x 27.25in), full sheet)Biography: Jesús Rafael Soto was a Venezuelan op and kinetic artist, a sculptor and a painter. Soto was born in 1923 in Ciudad Bolívar, Venezuela. He studied at the Escuela de artes plásticas in Caracas from 1942-1947 and then worked as director of the Escuela de bellas artes in Maracaibo, Venezuela, until 1950. At this time, he moved to Paris, where he befriended Yaacov Agam, Jean Tinguely, and Victor Vasarely, as well as artists involved with the Galerie Denise René. Soto participated in Le mouvement (The Movement) at Galerie Denise René in 1955, which was the exhibition that effectively launched Kinetic art. While his early work is illusionistic in style, Soto began to experiment with geometric and organic forms in his paintings and sculpture, moving toward abstraction by the end of the 1950s. By 1965 he had returned to his affinity for geometry and also began making linear, kinetic constructions. Major exhibitions of Soto’s work were held around the world at Signals Gallery, London in 1965, the Museum of Contemporary Art, Chicago in 1971, the Solomon R. Guggenheim Museum, New York in 1974, and Musée national d’art moderne, Centre Georges Pompidou, Paris in 1979. These exhibitions each consisted of kinetic installations of plastic string or nylon thread, which transformed the gallery spaces into a constructed environment. The spectator’s experience within these spaces, which was often deliberately unsettling, was central to the work’s meaning. Soto was commissioned in 1969 to create two murals for the UNESCO buildings in Paris. Several more public commissions followed in the coming years, including two in Venezuela. The Museo de arte moderno Jesús Soto opened in 1973 in Soto’s city of Ciudad Bolívar. The museum houses work by Soto along with works by international avant-garde artists he admired, including Jean Arp, Kazimir Malevich, and Man Ray. Today, his works can be found in other important international collections, including Tate (London), Museum Ludwig (Germany), Centre Georges Pompidou (Paris), Galleria Nazionale d’Arte Moderna (Roma) and MoMA (New York).

§ WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) ORANGE AND RED ON PINK - 1960-91Screenprint, 17/70, signed and numbered in pencil (Dimensions: 76cm x 48cm (29.75in x 19in), full sheet)Provenance: The Scottish Gallery, Edinburgh Biography: Born in St Andrews in 1912, Wilhelmina Barns-Graham's artistic career would span over seven decades, constantly driven by fresh inspiration and an overwhelming creative impulse. During her lifetime she would struggle with the critical eclipse of her work in favour of fellow members of the St Ives School with which her name has become inextricably linked. Undaunted, however, she would continue to produce work of astounding beauty until the last months of her long and full life, and is now recognised as one of the greatest British artists of the 21st century. Barns-Graham divided her time between Cornwall and Fife, and so too her artistic influences and training were fed both by her training at Edinburgh School of Art, and by the fertile creative atmosphere of St Ives. Here from 1940 she would meet and befriend the leaders of the new School; Ben Nicholson, Barbara Hepworth and Naum Gabo. Artistic osmosis was inevitable in this small Cornish town which would become renowned internationally as the seat of Modernism in Britain, yet Barns-Graham would soon develop her own clear pictorial vocabulary. Alongside her later more abstract work, Wilhelmina found constant inspiration in the landscape across Britain. Barns-Graham visited Orkney several times throughout the 1980's, and indeed on an earlier trip she had delighted in the natural geological slab patterns of Warbeth's beach, recreating them in some of her works. Art historians have seen 1988 as the beginning of a final phase in Barns-Graham's development, a late burst of creativity that would last until the end of her life. Having been reminded of her own mortality by a period of severe illness, her work would attain a higher pitch of urgency and freedom of expression. In these later works, we see the masterly draughtsmanship and skilful manipulation of line for which Barns-Graham had first garnered critical praise.

§ JAMES HUGONIN (BRITISH B.1950) ODE - FOR BASIL BUNTING, 1986Four screenprinted images, from an edition of 90, H/C/IX, each in a paper folder and accompanied by letterpress text in paper folder and all enclosed in slipcase, each screenprint signed with initials and editioned in pencil verso, letterpress text signed (Dimensions: 30.5cm x 25cm (12in x 9.75in)) (Qty: 4)Biography: James Hugonin was born in Barnard Castle, County Durham in 1950. He studied at Winchester School of Art, West Surrey College of Art and Design and Chelsea School of Art. In his work, he explores the movement of light across a space, and its constant rhythmic change. His work is easily identifiable given the grid structure which he imposes over many of his paintings, which he claims, paradoxically, frees him from the constraints of painting. He has had a series of solo shows but has also been part of several group exhibitions across the UK. Hugonin lives and works in Northumberland, in a studio of his own design.

§ VICTOR VASARELY (HUNGARIAN/FRENCH 1906-1997) NOVAEScreenprint, mounted on cardboard, unframed (Dimensions: 58cm x 49cm (22.75in x 19.25in), full sheet)Biography Victor Vasarely was born in Hungary and although initially he spent two years studying medicine he joined the Podolini-Volkmann Academy in 1927. It was during this period that Vasarely first heard of the German Bauhaus school of crafts and fine art. To that end he enrolled in the Bauhaus Muhely Academy in which the basic concepts of the teaching were that all the arts should achieve a unity of purpose based on the cube, the rectangle and the circle. In 1930 Vasarely moved to Paris where much of his work was for advertising agencies. In 1944 Vasarely had his first important exhibition at the Denise René Gallery and it’s success encouraged Vasarely to devote himself to painting. In the late 40’s Vasarely began to move from paintings that were abstract but evolved from representational images to abstract works that were entirely composed of geometric shapes. During the 50’s and 60’s Vasarely began to develop this approach further and he finally achieved international recognition when he exhibited at MOMA alongside other important artists such as Bridget Riley. Vasarely‘s later work explored every aspect of what was to be known as Op Art including distorting and warping images and creating complex three dimensional structures. He was made an honorary citizen of New York Grand Officier de l’Ordre National du Mérite.

§ IAN HAMILTON FINLAY (SCOTTISH 1925-2006) ZIMMERIT-HAUNTING WOOD NYMPHScreenprint, and another screenprint by the same artist 'Pastor of Oaks/Shepherd of Stones' (Dimensions: 34.5cm x 89cm (13.5in x 35in)) (Qty: 2)Biography: Ian Hamilton Finlay was a Scottish artist and writer. Trained at Glasgow School of Art, following the war, he spent a period working as a shepherd and started to write poems. With time, he began to compose poetry and inscribe them into stone; the resulting sculptures are often incorporated into the natural environment. Many of them are situated within Little Sparta, his master-work, a five-acre garden he developed with his wife, near the Pentland Hills outside of Edinburgh. Gardening and art happily cohabit here, and the expanse of land is full of his sculptural work. In 2004, Little Sparta was voted most important Scottish work of art, by a panel of artists and arts professionals, ahead of Charles Rennie Mackintosh’s Glasgow School of Art and Henry Raeburn’s The Skating Minister. Finlay was prolific, endlessly creative and collaborative. Printmaking was a large part of his artistic practice, often made in collaboration with other artists, writers and technicians and involving both text and visual elements. Finlay was nominated for the Turner Prize in 1985.

§ RAY RICHARDSON (BRITISH B.1964) PASTIME PARADISE - 2016Screenprint, PP, signed, dated and editioned in pencil to margin, unframed and another screenprint by the same artist 'Dreamtime' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 2)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.

§ ASHLEY COOK (SCOTTISH CONTEMPORARY) FORGET YOUR TROUBLES - COME ON GET HAPPYScreenprint, P/P, signed, titled and editioned in pencil to margin, unframed and three further screenprints by the same artist: 'Process or Progress?', 'Forces that lurk behind everyday life' and 'Life's Rich Tapestry' (Dimensions: 48cm x 48cm (18.75in x 18.75in)) (Qty: 4)Biography Ashley Cook graduated from Glasgow School of Art in 1986 with a degree in Fine Art and received a Postgraduate degree in Printmaking the following year. She became the Screenprinting technician at GSA after graduating, then went on to lecture in Printmaking until 1995. Cook's work is narrative driven, focusing on the human form and creating illusionist, dreamlike environments from various sources, with the titles having a central position. She works with a mixture of found images and her own autographic and photographic images, which she reuses and manipulates across her work. Cook now lives and works in Glasgow and makes limited edition prints at Glasgow Print Studio. She has won several international awards and has undertaken artist residencies in Canada, Iceland, USA, Mexico, Spain and West Africa. Cook has work in prestigious collections nationally and internationally including: the Scottish Arts Council; The BBC, Kelvingrove Museum & Art Gallery, Glasgow; The Vaasa Museum, Finland and Galeria Otra Vez, Los Angeles.

§ JULIAN OPIE (BRITISH B.1958) WOMAN TAKING OFF MAN'S SHIRT (CRISTEA P.244)Screenprint, 2003, from an unknown edition size, published by K21 Kunstammlung Nordrhein-Westfalen, unframed (Dimensions: 100cm x 60cm (39.25in x 23.5in))Biography: Julian Opie graduated from Goldsmiths School of Art in 1983 where he was taught by Michael Craig-Martin. Opie has exhibited widely in the U.K. and internationally with major museum shows in Germany, Spain, Italy, China, Japan and India. He is represented by a number of major galleries worldwide and has been involved in a variety of public projects globally. This includes work in Tokyo, Prague, Seoul, London, Hong Kong and New York to name but a few. In addition, Opie’s work is to be found in many public art collections including, Tate, British Museum, Victoria & Albert, National Portrait Gallery, MOMA, and many others both here and abroad. He has also held a variety of one-man shows at major commercial galleries from Tokyo to Mumbai.

§ BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH B.1963) MAKE ART NOT WAR - 2005Screenprint, no. 77, signed, dated and numbered in red ink, unframed (Dimensions: 91cm x 62cm (35.75in x 24.5in), full sheet)Biography: Bob and Roberta Smith’s real name is Patrick Brill. He assumed the pseudonym whilst living and working for a short time with his sister Roberta. Trained at Goldsmiths College he is an artist, writer, author, musician and art education advocate. Smith is well known for painting slogans in brightly coloured lettering on banners and discarded boards of wood. The slogans are generally of a humorous nature covering art, politics and culture. In addition to painting Smith is a well known speaker on Arts education, an artist member of the Tate board and a musician with a group he founded The Ken Ardley Playboys. He has exhibited widely both here and abroad and his work is to be found in collections such as Tate, Arts Council and Southampton City Museum and Art Gallery.

KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (GREEN) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.

§ IAN HAMILTON FINLAY (SCOTTISH 1925-2006) SOMEONE SOMEWHERE WANTS A CABLE FROM YOUScreenprint, pub. by Wild Hawthorn Press, signed in print by Ian Hamilton Finlay and Jim Nicholson (Dimensions: 57cm x 77cm (22.5in x 30.25in), sheet size)Biography: Ian Hamilton Finlay was a Scottish artist and writer. Trained at Glasgow School of Art, following the war, he spent a period working as a shepherd and started to write poems. With time, he began to compose poetry and inscribe them into stone; the resulting sculptures are often incorporated into the natural environment. Many of them are situated within Little Sparta, his master-work, a five-acre garden he developed with his wife, near the Pentland Hills outside of Edinburgh. Gardening and art happily cohabit here, and the expanse of land is full of his sculptural work. In 2004, Little Sparta was voted most important Scottish work of art, by a panel of artists and arts professionals, ahead of Charles Rennie Mackintosh’s Glasgow School of Art and Henry Raeburn’s The Skating Minister. Finlay was prolific, endlessly creative and collaborative. Printmaking was a large part of his artistic practice, often made in collaboration with other artists, writers and technicians and involving both text and visual elements. Finlay was nominated for the Turner Prize in 1985.

§ JOE TILSON R.A. (BRITISH B.1928) JAN PALACH - 1969Screenprint with further print affixed with two large paperclips, 72/200, signed, dated and editioned in pencil, unframed (Dimensions: 66cm x 53cm (26in x 20.75in), full sheet)Biography: Joseph Charles Tilson RA (born 24 August 1928 in London) is an English pop art painter, sculptor and printmaker. Tilson served in the Royal Air Force before going on to study in London at St Martin's School of Art and the Royal College of Art. It was here that he received the Rome Prize, which took him to Italy for a year. Upon his return to London, he taught at St Martin's School of Art, and subsequently taught at the Slade School of Fine Art, University College London and The School of Visual Arts, New York and the Hochschule fur Bildende Kunste, Hamburg. In 1961 he exhibited at the Paris Biennale. Tilson's early work had been in a realist style but quickly moved to abstraction and by the early 1960s had begun to produce pieces in brightly coloured wood reminiscent of children’s' toys. His screenprints often transform this imagery into a two-dimensional format or provide a commentary to his oeuvre. One of the leading figures in the Pop Art movement in Britain, Tilson helped set the tone for the visual language of the Swinging Sixties.

KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (PINK) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.

§ CRAIGIE AITCHISON C.B.E., R.A., R.S.A. (SCOTTISH 1926-2009) CRUCIFIXION - 2001Screenprint, 5/75, signed, numbered and dated verso (Dimensions: 138cm x 108cm (54.25in x 42.5in))Biography: Craigie Aitchison was a Scottish artist and printmaker, noted for his intense use of colour. Aitchison studied Law at Edinburgh and London's Middle Temple before becoming an artist. He started painting in 1950 and went on to study at the Slade School of Art in London in 1952. He was elected to the Royal Academy of Arts in 1978, he won a number of awards over his lifetime including The Jerwood Prize and in 1999 was awarded a CBE.

Keith Haring (1958-1990)Pop Shop III (See. Littmann p.145)Screenprint in colours, 1987, signed, dated and numbered from the edition of 200 in pencil, on wove paper, with full margins, sheet 305 x 380mm (12 x 15in) (unframed)

Keith Haring (1958-1990)Bad Boys, One plate (See. Littmann p.57)Screenprint in colours, 1986, signed, dated and numbered from the edition of 30 in pencil, on BFK Rives paper, published by Bèbert, Amsterdam, with full margins, sheet 647 x 498mm (25 1/2 x 19 1/2in) (unframed)

Keith Haring (1958-1990)Montreux 1983 (Prestel 8)Screenprint in colours, 1983, on thick wove paper, printed by Albin Uldry, Bern, the full sheet printed to the edges, 700 x 1000mm (27 1/2 x 39 3/8in) (unframed)

Keith Haring (1958-1990)Montreux 1983 (Prestel 9)Screenprint in colours, 1983, on thick wove paper, printed by Albin Uldry, Bern, the full sheet printed to the edges, 700 x 1000mm (27 1/2 x 39 3/8in) (unframed)

Keith Haring (1958-1990)Montreux 1983 (Prestel 10)Screenprint in colours, 1983, on thick wove paper, printed by Albin Uldry, Bern, the full sheet printed to the edges, 700 x 1000mm (27 1/2 x 39 3/8in) (unframed)

Andy Warhol (1928-1987) & Keith Haring (1958-1990)20th Montreux Jazz Festival (Marechal 47)Screenprint in colours, 1986, on thick wove paper, printed by Albin Uldry, Bern, the full sheet printed to the edges, 1000 x 700mm (39 3/4 x 27 1/2in) (unframed)

Andy Warhol (1928-1987)Flash - November 22 (Feldman and Schellmann 11.36)Screenprint in colours, 1963, signed in blue ball-point pen and numbered from the edition of 200 verso, on wove paper, published by Racolin Press, New York, the full sheet printed to the edges, 565 x 559mm (22 ¼ x 22in) (unframed)

Andy Warhol (1928-1987)Ingrid Bergman. The Nun (Feldman & Schellmann 314)Screenprint in colours, 1983, signed, dated and numbered from the edition of 250 in pencil, on Lenox Museum board, printed by Rupert Jasen Smith, New York, with his blindstamp, published by Galerie Börjeson, Malmö, with their blindstamp verso, the full sheet printed to the edges, sheet 964 x 964mm (36 x 36in) (framed)

δ Dieter Roth (1930-1998)Cologne (Köln) (Dobke 134)Unique screenprint in colours, 1970, signed and dated in pencil, one of 110 unique colour variants, on firm yellow wove paper, printed by Hartmut Kaminski, published by Dieter Roth, Düsseldorf, the full sheet printed near to the edges, 700 x 1000mm (27 5/8 x 39 3/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Raymond Pettibon (b.1957)Untitled (We Still Have Something Easy to Destroy)Screenprint, signed and numbered from the edition of 120 in pencil, on wove paper, the full sheet, 915 x 610mm (36 x 24in) (framed)

Nicolas Party (b.1980)Flowers and a Few ColoursScreenprint in colours, 2013, signed and numbered from the edition of 40 in pencil, on wove paper, published by Glasgow Print Studio, Glasgow, the full sheet, 915 x 720mm (36 x 28 2/5in) (unframed)

δ Niki de Saint Phalle (1930-2002)Nana Power - In a Bath With YouScreenprint in colours, 1970, signed in pencil, numbered from the edition of 115, on wove paper, with full margins, sheet 686 x 508mm (27 x 20in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cy Twombly (1928-2001)Untitled (Bastian 38)Lithograph with screenprint in colours, 1973, a proof aside from the edition of 300, on wove paper, as included in the portfolio The New York Collection for Stockholm, printed by Styria Studios, with their rubber stamp verso, published by Experiments in Art and Technology Inc., New York, the full sheet printed to the edges, sheet 305 x 229mm (12 x 9in) (framed)

Louise Bourgeois (1911-2010) (after)Be CalmScreenprint and machine embroidery on linen, 2005, numbered from the edition of 1000 in black ink, with the artist's printed copyright, published by Tate, London, and Third Drawer Down, Melbourne, housed within the original publisher's packing envelope, 690 x 480mm (27 x 19in) (unframed)

Lawrence Weiner (b.1942)Learn to ReadScreenprint in colours on cloth, 2019, signed and numbered from the edition of 25 in black ink, published by Printed Matter, New York, sheet 460 x 460mm (18 x 18in) (multiple)

Faile (1975 & 1976)Visions VictoireScreenprint in colours, 2017, signed and numbered from the edition of 300 in pencil, on Coventry Rag wove paper, with full margins, sheet 990 x 700mm (39 x 27 3/5in) (unframed)

δ Invader (b.1969)Rubik Kubrick The Shining (Jack)Screenprint in colours, 2007, signed and dated in pencil, numbered from the edition of 150, on wove paper, with full margins, sheet 700 x 500mm (27 1/2 x 19 5/8 in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ D*Face (b.1978)Canis Servo Regina (Dog Save The Queen)Screenprint in colours, 2006, signed and numbered from the edition of 80 in pencil, on wove paper, published by Pictures On Walls, London, sheet 700 x 500mm (27 1/2 x 19 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Swoon (b.1977)MonicaScreenprint in colours with hand-colouring, 2010, signed and numbered from the edition of 2 in pencil, on heavy wove paper, published by Black Rat Projects, London, with margins, sheet 730 x 680mm (28 3/4 x 26 3/4in) (unframed)

δ Craigie Aitchison (1926-2009)Daffodils and Candlestick (Lambirth & Peck 46)Screenprint in colours, 2001, signed and numbered from the edition of 75 in white ink, on wove paper, printed by Coriander Studios, UK, published by Jonathan Stone, the image, 500 x 385mm (19 5/8 x 15 1/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Patrick Hughes (b.1939)Untitled (Rainbow Vase)Screenprint in colours, signed and numbered from the edition of 25 in pencil, on wove paper, with margins, image 270 x 185mm (10 5/8 x 7 1/4in) (framed)Saleroom notice: Please note this is an archival pigment print with hand coloured rainbows.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ R.B. Kitaj (1932-2007)Der Russische Revolutionsfilm (Ramkalawon 79)Screenprint in colours, 1969-1970, initialled in pencil, from the edition of 150, on J. Green wove paper, printed at Kelpra Studio, London, published by Marlborough AG, Shellenberg, with margins, image 770 x 575mm (30 1/4 x 22 5/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ R.B. Kitaj (1932-2007)His Every Poor, Defeated, Loser's, Hopeless Move, Loser Buried (Ed Dorn) (Ramkalawon 46)Screenprint and collage in colours, 1966, signed and numbered from the edition of 70 in pencil, on brown paper, printed by Kelpra Studio, published by Marlborough Fine Art, London, the full sheet, 765 x 506mm (30 x 19 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Victor Pasmore (1908-1988)Untitled 7 (Lynton G65)Screenprint in colours, 1990, initialled, dated and numbered from the edition of 70 in pencil, on Arches paper, printed by Kelpra Studio, published by Marlborough Graphics, Ltd, London, with full margins, sheet 732 x 1035mm (28 3/4 x 40 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

NO RESERVE δ Victor Pasmore (1908-1988)Apollo II (Lynton G32)Screenprint in colours, 1985, signed, dated and numbered from the edition of 70 in pencil, on Arches wove paper, printed by Kelpra Studio, published by Marlborough Graphics, London, the full sheet, 420 x 525mm (16 1/2 x 20 5/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Victor Pasmore (1908-1988)Points of Contact No. 25 (Bowness & Lambertini 48c)Screenprint in colours, 1974, signed, dated and inscribed 'AP' in pencil, an artist's proof aside from the edition of 70, on wove paper, printed by Kelpra Studio, published by Marlborough Graphics, London, sheet 975 x 655mm (38 3/8 x 25 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ John Piper (1903-1992)Duchene Fountain, Blenheim (Levinson 418)Screenprint in colours, 1989, signed and numbered from the edition of 100 in pencil, on Velin Arches paper, printed by Kelpra Studio, London, published by CCA Galleries, Tilford, with full margins, sheet 583 x 780mm (22 7/8 x 30 7/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Peter Blake (b.1932)Babe RainbowScreenprint on pressed tin, 1968, from the edition of 10,000, the full sheet printed to the edges, 660 x 440mm (26 x 17 ¼in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Peter Blake (b.1932)Red Nose Day 2019Screenprint in colours, 2019, signed, titled, dated and numbered from the edition of 150 in pencil, on Somerset Tub White paper, printed by Coriander Press, London, with full margins, sheet 620 x 600mm (24 3/8 x 23 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Julian Opie (b.1958)Woman Taking Off Man's Shirt (Cristea 244)Screenprint in colours, 2003, from the edition of an unknown size, published by K21 Kunstammlung Nordrhein-Westfalen, Dusseldorf, with full margins, sheet 1000 x 600mm (39 3/8 x 23 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Bridget Riley (b.1931)Intervals I Screenprint in colours, 2019, signed, dated and numbered from the edition of 120 in pencil, on wove paper, published by the Scottish National Gallery, Edinburgh, the full sheet, 512 x 406mm (20 1/5 x 16in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Bridget Riley (b.1931)Around (Schubert 78)Screenprint in colours, 2011, signed, titled, dated and numbered from the edition of 120 in pencil, printed and published by Angus Wade at Artizan Editions, Hove, with full margin, sheet 556 x 400mm (21 7/8 x15 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Gillian Ayres (b.1930)UntitledScreenprint, signed and numbered from the edition of 65 in pencil, on wove paper, the full sheet, 330 x 330mm (13 x 13in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Tracey Emin (b.1963)Foundlings and Fledglings - Our Angels of this EarthTransfer screenprint on white china teapot, 2007, from the edition of 1000, published by Other Criteria, London, housed within the original publisher's box, height 190mm (7 1/2in) (multiple)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Damien Hirst (b.1965)For the Love of GodScreenprint in colours with diamond dust, 2009, signed and numbered from the edition of 1000 in white pencil, on wove paper, printed by Coriander Studios, published by Other Criteria, London, the full sheet printed to the edges, 325 x 240mm (12 4/5 x 9 2/5in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Damien Hirst (b.1965)MeprobamateScreenprint in colors, 2011, signed and numbered from the edition of 150 in pencil, Somerset Tub Sized paper, published by Other Criteria, London, with their blindstamp, with full margins, sheet 700 x 940mm (27 1/2 x 36 5/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ David Shrigley (b.1968)I Cannot Live Without YouScreenprint in colours, 2019, signed and numbered from the edition of 125 in pencil, on wove paper, printed and published by Jealous Gallery, London, the full sheet, 760 x 560mm (30 x 22in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.