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CHUIKOV, IVAN (B. 1935) Point of View II, from “Point of View” Series, signed and dated 1990, also further signed, inscribed “horizontal/Should be hangt [sic] this way.”, bears two drawings and dated on the reverse.Enamel on screenprint, laid on cardboard, 99.5 by 150 cm.Provenance: Acquired directly from the artist by Antonio Piccoli in 2000.Collection of the above, Italy.Important private collection, UK.Authenticity of the work has been confirmed by the artist.Exh

*CHAKHAL, GOR (B. 1961) Gor Chakhal No 6, diptych, each part signed, one inscribed in Cyrillic “chast verkhniaia/fototkan/foto: A. Bezukladnikov” and the other “chast nizhniaia”, and each dated 1990 on the canvas edge and the reverse respectively.One part is screenprint with oil and enamel on canvas, and the other oil and enamel on canvas, measuring 79.5 by 120 cm and 100 by 120 cm respectively.Provenance: Private collection, Italy. Important private collection, Switzerland.

*SOKOV, LEONID (1941–2018) Stalin and Marilyn Monroe at the Table, signed, inscribed “Special” and dated 1990.Acrylic, screenprint and gold foil on paper, 58 by 78.5 cm.Provenance: Private collection, USA.Related literature: For another version of the composition, see Leonid Sokov, Sculptures, Paintings, Objects, Installations, Documents, Articles, St Petersburg, Palace Editions, 1

TIM MARA (1948-1997), GLOVE, lithograph and screenprint in colours, 1995, on wove paper, along with 12 other prints by a selection of British printmakers, all framed. (13) Sheet 27cm by 27cm

Karel Anthony Nel (South African 1955-) IN-TACT screenprint with collage, signed, dated '86, numbered 74/100 and impressed with the Caversham Press chopmark 53 by 44cm

Rupert Jasen Smith (American, 1953 - 1989) Homage to Andy Warhol Pop Art Nikon Camera Screenprint Signed, Lower left and numbered 30/30 Image: 36 in. x 36 in.; Frame: 43 3/4 in. x 43 3/4 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Property of a Palm Beach estate. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Claud Lovat Fraser (British, 1890-1921)The Beggar's Opera, Lyric Theatre Poster 1920screenprint on paper 74 x 48cm (29 1/8 x 18 7/8in).

JOHN WARD (1917-2007), Middle Temple Hall, London, a black and green screenprint , signed and no. 28/100 in pencil with blind "ea" stamp. 56cm x 79cm. 

PATRICK SCOTT HRHA (1921-2014)Arcadi IIISilk screenprint on canvas, 60 x 60cmSigned and dated (19)74 Edition 15/25Provenance: With Taylor Galleries, Dublin.From the Antoinette & Patrick J. Murphy Collection.

ROBERT MOTHERWELL (1915-1991)St Michel IILithograph and screenprint, 153 x 45cmSigned and dated 1975/79Edition 9/46

Rachael Howard (b. 1969): 'Can't Breathe Without You', screenprint, hand-signed in pencil & numbered 23/100, 50 x 40 cm

Charming Baker (b. 1964): 'The Enemy Within', screenprint with bird hand-drawn in pencil, hand-signed & numbered 83/150, 53 x 44 cm

Niall Hennessy (b. 1941): Gainsborough's Garden, Summer, screenprint, hand-signed and numbered 5/15, image 28 x 41 cm; together with a 19th century watercolour of Conwy Castle, signed with initials (2)

PIERO DORAZIO (Italian 1927-2005), screenprint, hand signed and dated '84, numbered XXIX/XXX, with Stamperia d'Arte Roma embossing, 70cm x 115cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

AFTER BEN NICHOLSON, 1927, ABSTRACT, BY G & B ARTS, LTD, LONDON, PUB. TATE GALLERY, SCREENPRINT, 66.8 CM X 77.5 CM OVERALL. AFTER HENRI MATISSE, 'THE DANCER' BY W.S. COWELL LTD, PUB. SCHOOL PRESS, LTD, SCREEN PRINT, 49.3 CM X 75.5 CM AND AFTER GEORGES BRAQUE, 'THE BIRD', PUB. SCHOOL PRESS LTD., SCREEN PRINT, 49 CM X 76 CM (GLASS MISSING)

Signed and numbered 19/50 in pencil, screenprint with collage and hand-colouring in crayon on wove paper, printed at the Royal College of Art, London, unframed (Dimensions: 31.5cm x 33.5cm (12.37in x 13.25in))(31.5cm x 33.5cm (12.37in x 13.25in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.

37/500 and 253/2000 respectively, each signed and numbered in pen, screenprint on tin (Dimensions: 65cm x 43cm (25.5in x 17in) and 66cm x 44cm (26in x 17.25in), the latter unframed (2))(65cm x 43cm (25.5in x 17in) and 66cm x 44cm (26in x 17.25in), the latter unframed (2))Condition report: Babe Rainbow appears to be in sound condition with no major signs of damage or restoration. Some very small scuffs, and a scratch near the edge (upper right hand side). Bobbie Rainbow appears in sound condition with no major signs of restoration. A number of scuffs and scratches to lower quarter.

Gouache (Dimensions: 31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))(31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed and dated, ed. 70, screenprint, Curwen Studio (Dimensions: 60cm x 75cm (23.5in x 29.5in), unframed)(60cm x 75cm (23.5in x 29.5in), unframed)

Screenprint (Dimensions: 33cm x 45.5cm (13in x 18in))(33cm x 45.5cm (13in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Joseph Beuys Stripes From The House Of The Shaman signed coloured screenprint poster printed by Heinier Bastian from the original image of Andy Warhol, 72cm x 50cm 

δ Joseph Beuys (1921-1986)Blatt auf KarteikarteScreenprint in colours, 1992, signed by Eva Beuys the Executor of the Beuys estate in blue ink verso, numbered from the edition of 100 in pencil, on wove paper, as included in Columbus: In Search of a New Tomorrow, published by Edition Domberger, Filderstadt, with their blindstamp, the full sheet, 759 x 580mm (30 x 22 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Robert Whitman (b.1935)UntitledDouble-sided screenprint in colours, 1973, signed and numbered from the edition of 300 in pencil, on wove paper, printed by Styria Studios, published by Experiments in Art and Technology Inc., New York, with the printer's inkstamp verso, with full margins, sheet 229 x 305mm (9 x 12in) (unframed)

δ Julian Opie (b.1958)Woman taking off man's shirt (Cristea p.244)Screenprint in colours, 2003, from the edition of an unknown size, on wove paper, 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.

Shepard Fairey (b.1970)PedestalScreenprint in colours, 2012, signed and numbered from the edition of 450 in pencil, on wove paper, printed and published by Obey Giant, New York, with full margins, sheet 610 x 458mm (24 x 18in) (unframed)

Nick Walker (b.1969) & Various ArtistsFirst Great WestonScreenprint in colours, 2008, signed by each artist (apart from Banksy and Nick Walker) and numbered from the edition of 200 in pencil, published by Let Them Hang, Bristol, with margins, image 397 x 558mm (15 1/2 x 21 3/4in) (framed)Artists who participated:Mau Mau, Dicy, (Graham) Paris, Mr Jago, China Mike, Eco, Mudwig, Ziml, Will Barras, Richt, Darren Groucutt, Xenz, Banksy, Nick Walker, What Collective?, Sickboy.

Shepard Fairey (b.1970) and (Ernesto Yerena)Reforma Migratoria AhoraScreenprint in colours, 2009, signed and dated by both artists, and numbered from the edition of 450 in pencil, on cream wove paper, published by Obey Giant, New York, the full sheet, 610 x 460mm (24 x 18in) (unframed)

Shepard Fairey (b.1970)SSI (Sonic Solutions Incorporated) Mea Culpa (black)Screenprint in colours, 2008, signed, dated and numbered from the edition of 200 in pencil, on wove paper, published by Serigraphic Systems Inc., Portland, with full margins, sheet 610 x 457mm (24 x 18in) (unframed)

Shepard Fairey (b.1970)SSI (Sonic Solutions Incorporated) Mea Culpa (red/blue)Screenprint in colours, 2008, signed, dated and numbered from the edition of 100 in pencil, on wove paper, published by Serigraphic Systems Inc., Portland, with full margins, sheet 610 x 457mm (24 x 18in) (unframed)

δ TRXTR (b. 1954)Chameleon Miss Fit Screenprint in colours, 2013, signed and numbered from the edition of 100 in pencil, on wove paper, the full sheet, 610 x 480mm (24 x 48 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Bambi (b.1982)Top Fashion AccessoryScreenprint in colours, 2013, signed and inscribed 'A/P' in pencil, an artist's proof aside from the edition of 50, on Somerset wove paper, published by Hyde Image LTD., London, with their blindstamp, the full sheet, 750 x 540mm (29 1/2 x 21 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Bambi (b.1982)KissScreenprint in colours, 2013, signed and inscribed 'A/P' in pencil, an artist's proof aside from the edition of 50, on Somerset wove paper, published by Hyde Image LTD., London, with their blindstamp, the full sheet, 750 x 540mm (29 1/2 x 21 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Bambi (b.1982)Hero to ZeroScreenprint in colours, 2013, signed and inscribed 'A/P' in pencil, an artist's proof aside from the edition of 50, on Somerset wove paper, published by Hyde Image LTD., London, with their blindstamp, the full sheet, 750 x 540mm (29 1/2 x 21 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Pure Evil (b.1968)Audrey (Green)Screenprint in colours, 2013, signed and inscribed 'PP' in pencil, a printer's proof aside from the numbered edition of 100, on wove paper, printed and published by the artist, London, with margins, sheet 500 x 350mm (19 3/4 x 13 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 Joe Webb (b.1976)One day the Sun Will Kill us AllScreenprint in colours, 2016, signed and numbered from the edition of 55 in pencil, on Heritage wove paper, printed and published by Jealous Gallery, London, with margins, 500 x 650mm (19 3/4 x 25 1/2in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Joe Webb (b.1976)Candy Bomb (Red)Screenprint in colours, 2016, signed and numbered from the edition of 25 in pencil, on Somerset wove paper, printed and published by Jealous Gallery, London, with margins, 500 x 650mm (19 3/4 x 25 1/2in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ César Domela (1900-1992)Composition Screenprint with lithograph printed in colours, 1973, signed, dated 1936 and 1973, and numbered from the edition of 50 in roman numerals in pencil, from the artists' and collaborators' edition of 50 aside from the edition of 150, on wove paper, as included in 'Abstraction-Création: Art Non-Figuratif 1932-1936', published by Abstraction-Création, Paris, the full sheet, 832 x 658mm (32 3/4 x 25 7/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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, 1000 x 700mm (39 3/8 x 27 1/2in) (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, 1000 x 700mm (39 3/8 x 27 1/2in) (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, 1000 x 700mm (39 3/8 x 27 1/2in) (unframed)

δ John Piper (1903-1992)Babingley - Sepia Variation (Levinson 371)Screenprint in sepia, 1984, signed and numbered from the edition of 50 in pencil, on BFK Rives wove paper, printed at Kelpra Studio, London, published by Christie's Contemporary Art, London, with margins, image 445 x 595mm (17 3/4 x 23 3/8in) (framed)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.

*Chris Levine (Canadian-British, b.1960) X MARKS THE SPOT 4 Screenprint in colours with glitter overlay, 2018, from the edition of 25, signed in pencil, published by Jealous Gallery, with blindstamp, on Satin Radiant White 410gsm paper, the full sheet sheet 30 x 30cm, unframed *Artist's Resale Right may apply to this lot.

* PETER HOWSON OBE (SCOTTISH b 1958), BANDIT CHECKPOINT artist's proof screenprint, signed, titled and dated '94, and numbered A/P 1/X 106cm x 98cm Mounted, framed and under glass

* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), ANOTHER COMPLAINT OF LORD PIERROT, "AND WITH MY EYES BOLTING TOWARD THE UNCONSCIOUS" screenprint 40cm x 34.5cm Mounted, framed and under glass Label verso: The Open Eye Gallery, 75-79 Cumberland Street, Edinburgh. Note: Edition of 200. Printed 1973

ANDY WARHOL (USA 1928 - 1987) AND PIETRO PSAIER (ITALIAN 1936 - 2004), 'COVER UP IN DALLAS', KENNEDY ASSASSINATION screenprint, signed (PIETRO PSAIER), STAMPED "CERTIFIED THE FACTORY" 44.5cm x 104cm Framed and under glass.

A Japanese screenprint depicting bird upon a branch, with studio stamps and silk margin, 26 x 32cm

John Williams - Goods yard scene, screenprint, signed in pencil and numbered 17/100, 27 x 36cm

Gwen Webb - Poppies in a wheat field, screenprint; Catherine Cool - Chloe, artists proof print; J.B. Allen artists proof print; and one other (4)

§ Phil Ashcroft (PhlAsh) (British, b. 1970) Yeti over mount Fuji (2nd edition) signed and numbered 97/150 screenprint 58 x 41cm (23 x 16in)

Alexander Svet (Russian, 1966-2010) "Ilyich's Breakfast" signed, titled and dated 2007 lower right screenprint 69 x 97cm (27 x 38in)

§ Allen Jones (British, b.1937) "Kneeling Lady", from the series 'X Art Wall Collection', c.1972 colour screenprint on silver metallic wallpaper 115 x 52cm (45 x 20in) Unsigned.

FRASER HAXTON TAYLOR [1960 - ]. Crouched Woman, 1986. screenprint, edition of 150, signed and dated. Provenance: Curwen Gallery; private collection, UK. 105 x 90 cm sheet size - unframed. [very good condition]. Buyers premium 20% + vat payable.

CRAIGIE AITCHISON, R.A. [1926-2009]. Still Life on Vermillion, 2008. screenprint, edition of 85, signed in ink. 55 x 45 cm sheet size - unframed. Provenance: Jonathan Stone, publisher; private collection, UK. [very good condition]. Buyers premium 20% + vat payable.

COLIN SELF [1941 - ]. Power & Beauty 1, 1975. screenprint, edition of 75 [19/75], signed. 68 x 105 cm - unframed. [very good condition]. Buyers premium 20% + vat payable.

MICHAEL ROTHENSTEIN R.A. [1908-93]. U/T [Rainbow], 1972. woodcut & screenprint, artist's proof - not editioned, only a few printed, signed in pencil, Literature: Sidey 206. 30 x 39 cm [overall including frame 36 x 46 cm]. [Condition: very good - unexamined out of frame]. Buyers premium of 20% + VAT is payable..

MICHAEL ROTHENSTEIN R.A. [1908-93]. 3 Butterflies, 1981. screenprint, edition of 30 [27/30], signed in pencil, printed by Shelley Rose at Argos Studio. Literature: Sidey 2826. 20 x 25 cm [overall including frame 34 x 37 cm]. [very good condition - slight variation in paper toning, due to previous mount being closer to the image than the current mount - the paper is very slightly off-white, due to time toning, but not as dark as suggested in the photo - unexamined out of frame]. Buyers premium of 20% + VAT is payable..

Ivor Abrahams RA (British, 1935-2015). 'Privacy Plots V: Hedge and Street, 1970', Screenprint and flock fibre on paper signed in pencil and numbered 7/75 56cm x 78cm. Richard Tuff, 'Path to Sennen', Lithograph in colours, signed, titled and numbered 125 /250 in pencil, 70cm x 68cm. Another limited edition print 'Riviera III', 50cm x 61cm. And a watercolour, of a Mediterranean coastal coastal view (4)

ADOLPH GOTTLIEB (AMERICAN 1903-1974) Pink Ground, 1972 screenprint plate mark: 45 x 60.7 cm (17 3/4 x 23 7/8 in.) signed and dated lower left, inscribed with edition 66/150 lower right

DAVID MICHIE Poppies Against Blue, signed, screenprint, 29/30, 33 x 44cm Condition Report: Available upon request