We found 14878 price guide item(s) matching your search
There are 14878 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
14878 item(s)/page
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
Lot 3
ANDY WARHOL (1928-1987)Untitled, from Muhammad Ali, 1978 signed, dated and numbered 137/150 in black felt-tip penscreenprint in colours101.6 x 76.2cm (40 x 30in).printed by Rupert Jasen Smith, published by Andy Warhol Enterprises, Inc., New York, with their ink stamp versoFootnotes:LiteratureFeldman & Schellmann, Andy Warhol Prints 1962-1987, Fourth edition, 2003, no. II.181, pg. 101For further information on this lot please visit Bonhams.com
Lot 2
Andy Warhol (1928-1987)Mao, 1972 signed in ball-point pen and stamp-numbered 233/250 on the reversescreenprint in colours91.4 x 91.4cm (36 x 36in).Footnotes:LiteratureFeldman & Schellmann, Andy Warhol Prints 1962-1987, Fourth edition, 2003, no. II.95, pg. 83'Since fashion is art now and Chinese is in fashion, I could make a lot of money... Mao would be really nutty not to believe in it, it'd just be fashion but the same portrait you can buy in the poster store.' Andy WarholFor further information on this lot please visit Bonhams.com
Lot 37
SIR PETER BLAKE (born 1932)Paul Weller Stanley Road, 2002 signed and numbered 21/250screenprint in colours66 x 68.5 cm (26 x 27in).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 95
BANKSY (born 1975)Sale Ends (V.2), 2017 signed and numbered 340/500 in pencilscreenprint in colours57 x 76.5cm (22 7/16 x 30 1/8in).published by Pictures on Walls, London, with their blindstampThis 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 6
ANDY WARHOL (1928-1987)Butterfly, from Vanishing Animals, 1986 with the The Estate of Andy Warhol and Authorized by the Andy Warhol Foundation for the Visual Arts ink stamps on the reversescreenprint in colours30.5 x 45.4cm (12 x 17 7/8in).This work is one of a small number of impressions.Footnotes:ProvenanceSale: Christie's, New York, Andy Warhol at Christie's Sold to Benefit the Andy Warhol Foundation for the Visual Arts, 12 November 2012, lot 488Acquired directly from the above by the present ownerLiteratureFeldman & Schellmann, Andy Warhol Prints 1962-1987, Fourth edition, 2003, no. IIIB. 64(b), pg. 283For further information on this lot please visit Bonhams.com
Lot 89
Invader (born 1969)Rubik Kubrick One - Clockwork Orange (Alex), 2006 signed, dated and inscribed in pencil by the artist, numbered 95/150screenprint in colours49.5 x 70cm (19 1/2 x 27 1/2in).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 94
BANKSY (born 1975)Girl with Balloon, 2004 numbered 320/600 in pencilscreenprint in black and red70 x 50cm (27 9/16 x 19 11/16in).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 43
Allen Jones (born 1937)Rehearsal, 2007 signed, dated and numbered 5/30 in pencilscreenprint in colours104 x 183cm (40 15/16 x 72 1/16in).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 57
Takashi Murakami (born 1962)Louis Vuitton Monogram Cherry, 2007 signed in black felt-tip pen on the reversescreenprint canvas on chassis 40.7 x 40.7cm (16 x 16in).This work is number 52 from an edition of 100 and is accompanied by a certificate of authenticity issued by Louis Vuitton and its original Louis Vuitton box.For further information on this lot please visit Bonhams.com
Lot 36
BANKSY (born 1975)Laugh Now, 2003 numbered 540/600 in pencilscreenprint in colours70 x 50cm (27 9/16 x 19 11/16in).published by 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 3024
Peter Kalkhof (German, 1933-2014). Retro screenprint depicting a cross, signed and numbered 4/10 in pencil, 1970, 47 x 47cm, framed. Numerous spots of dirt and marks to background, and one red fibre also present. Smudges to lower left by number.Paper has dropped down in frame so can see top edge.Crease and stains to lower right corner.Chips to frame.Minor white spots to cross from printing process.
Lot 3029
Mixed folder of contemporary prints, including a screenprint by Yvaral (1934-2002) (Son of Victor Vasarely) signed and numbered 72/200 in pencil, 75 x 75cm; a print titled 'Colour-Change', numbered 57/100, indistinctly signed and dated 73, image size 59.5 x 29.5cm; Marie Arbaretez, 'L'Exploratia de Sa Maman', etching, signed and numbered 24/100, 46 x 58cm; Jean Sariano screenprint of a fireplace in moonlight, 58 x 41cm; a limited edition serigraph published by Matalon Luciana, Milan, signed 'L. Matapon' () and numbered 70/99, 12 x 18cm; Steph Cony, 'Eloge a Philippe Druillet', etching, signed, titled and numbered IIB, 25 x 17cm; and other prints, etchings and lithographs, approximately 28 in total
Lot 3038
Julian Dyson (British, 1936-2003), 'Early Bird', limited edition screenprint, artists proof, signed, titled and dated 12.06.01 in pencil to lower margin, 35.5cm x 38.5cm and a limited edition lithograph by the same artist, 'Seabird', signed, titled, numbered 23/50 and dated 19.10.00 in pencil to lower margin, 41.5cm x 29.5cm
Lot 3044
Mike Owens (British, b.1955), three prints to include an abstract screenprint in colours, unframed, sheet size 56 x 76cm, an abstract figural monochromatic lithograph titled 'Six', numbered 5/9, signed and dated June 1980 in pencil to lower margin, sheet size 38 x 57cm, and another abstract monochromatic lithograph, sheet size 57 x 77cm (3)
Lot 3055
Chelsea School of Art, two portfolios of prints, one by Students and Staff of the Printmaking Department 1992, solander box comprising Christine W. Marshall, Untitled, etching, signed and numbered 12/30, 39 x 37.5cm; Fernanda Santos, 'Trace of Time', etching, titled, signed and numbered 12/34, 38 x 37cm; Deirdre Leyden, 'Our Symbols, Our Signs', lithograph, signed and numbered 12/30, 37 x 38cm; and Morgan Doyle, 'A Shadow of My Former Self', screenprint and etching, signed, titled and numbered 12/30 (4); the other box containing portfolio of prints from Printmaking Department 1990, comprising James Read, 'Bauble', etching; Margaret Regan, 'Cock on Pedestal', lithograph; Stuart Jebbitt, 'God's Gift to Women', lithograph and woodblock; Alexandra Ashton, 'Garden of Oysters', screenprint; Katherine Frajbis', 'Sutton Hoo: East by North East, etching; Clare Hennessy, 'Blind Entanglement', lithograph; Amanda Lewis, 'Witloof, screenprint; Volker Schoenwart, 'Box Open/Closed', screenprint; and Christine Blackburn, 'Electric Avenue, Brixton', etching, each signed, titled and numbered 31/35,(9) 2 boxes, total 13 prints
Lot 3084
Quantity of prints, original artworks and posters, to include Ryan Callanan (AKA RYCA) (British, b.1981), 'Bubblegirl', screenprint, signed in pencil, numbered 31/40, bearing Scrawl Collective blindstamp, 71 x 50cm; an etching of a dove by Leon De Bliquy (1943), signed and dated 81, numbered 79/100, 8 x 8cm; a poster for Grands Bal Ba-Ta-Clan, 65 x 50cm; a mixed media on cork by Aiva Kukulite, 81 x 54.5cm; and other original works and prints (16)
Lot 187
Andy Warhol (American, 1928-1987)Committee 2000 (Feldman & Schellmann II. 289) Screenprint in colours, 1982, on Lennox Museum Board, signed and numbered 260/2000 in pencil, printed by Rupert Jasen Smith, New York, published by Committee 2000, Munich, with the printer's blindstamp, the full sheet, 768 x 508mm (30 1/4 x 20in)(SH)For further information on this lot please visit Bonhams.com
Lot 209
Donald Sultan (American, born 1951)One plate, from 'Blues' Screenprint with flocking in colours, 2008, on 2-ply Museum Board, signed, titled, dated and numbered 22/75 in pencil, printed by Fine Art Printing, Ltd., Long Island City, published by Lococo Fine Art Publisher, St. Louis, the full sheet, 560 x 560mm (22 x 22in)(SH)For further information on this lot please visit Bonhams.com
Lot 101
Albert Irvin R.A. (British, 1922-2015)Merrion Screenprint with woodblock printed in colours, 1996, on wove, signed, titled, dated and numbered 127/225 in pencil, published by Advanced Graphics, London, with their blindstamp, the full sheet, 730 x 920mm (28 3/4 x 36 1/4in)(SH)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 103
Sir Terry Frost, R.A. (British, 1915-2003)Black Moon and Ochre (Kemp 152) Screenprint printed in colours, 1997, on Arches, signed and numbered 38/125 in pencil, printed by Coriander Studio, London, published by Innocent Fine Art, Bristol, Anderson O'Day, London and Coriander Studio, London, with margins, 856 x 724mm (33 3/4 x 28 1/4in)(I)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 104
Sir Terry Frost R.A. (British, 1915-2003)Suspended Red, Yellow and Black (Kemp 92) Screenprint in colours, 1987, on wove, signed, dated and inscribed 'A/P' in pencil, an artist's proof aside from the numbered edition of 75, printed and published by the Royal College of Art, London, the full sheet printed to the edges, 790 x 591mm (31 1/8 x 23 1/4in)(SH)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 199
Bridget Riley (born 1931)Light Between (Schubert 56) Screenprint in colours, 1982-2004, on wove, signed, titled, dated and numbered 54/75 in pencil, printed by Sally Gimson, published by Artizan Editions, Hove, with full margins, 760 x 610mm (29 7/8 x 24in)(SH)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 97
John Piper (British, 1903-1992)Sunningwell, Oxfordshire (Levinson 377) Screenprint in colours, 1985, on wove, signed and inscribed 'A/P' in pencil, one of fifteen artist's proof aside from the numbered edition of 70, printed by Kelpra Studio, London, published by Marlborough Fine Art, London, with the printer's blindstamp, the full sheet, 605 x 760mm (23 3/4 x 29 7/8in)(SH)(unframed)Footnotes:ProvenanceThe Orde Levinson Collection of Prints by John Piper; Christie's, London, South Kensington, 26 July 2001, sale 9179, lot 134.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 87
John Piper (British, 1903-1992)Corton Church, Suffolk (Levinson 203) Screenprint in colours, 1971, on J.Green, signed and numbered 18/75 in pencil, printed by Kelpra Studio, London, published by Marlborough Fine Art, London, with margins, 754 x 445mm (29 5/8 x 17 1/2in)(I)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 251
Harland Miller (British, born 1964)High on Hope Screenprint in colours, 2019, on Somerset White, signed and numbered 56/75 in pencil, printed by K2 Screen, London, published by Counter Editions, London, the full sheet, 760 x 600mm (29 7/8 x 23 5/8)(SH)(unframed)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
Loading...-
14878 item(s)/page