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•KAREL APPEL (DUTCH 1921-2006) FIVE EYES Lithograph in colours, signed and numbered 136/200, 56 x 76cm (22 x 30") (sheet) R B KITAJ (AMERICAN 1932 - 2007) Bacon I Screenprint, signed and numbered 8/70, 47 x 104cm (18 1/2 x 41") (sheet) ROGER BISSIERE (FRENCH 1886 - 1964) Untitled Lithograph, signed and numbered 87/150, 65.5 x 50cm (25 1/2 x 19 3/4") (sheet) POP ART SCHOOL (20TH CENTURY) Abstraction Screenprint, signed indistinctly and dated (19)68, 59.5 x 59.5cm (23 1/2 x 23 1/2") (sheet) (4) Condition Report: KAREL APPEL:. Generally creasing around the peripheries, two small areas staining towards left edge on upper and lower areas - lower one heavier and glue like in appearance. . . R B KITAJ:. General creasing around the peripheries, mostly upper, and score marks upper left corner area. Crease in paper intermittent across middle section due to rolling thick parchment. . ROGER BISSIERE:. General light creasing and slightly soiled around the peripheries. Creasing evident bottom right corner area of image and lower middle near the right edge. . POP ART (SCHOOL 20TH CENTURY):. Generally small areas of creasing throughout, and overall slight staining and soiling and abrasive damage to the paper around the peripheries, in particular the top left hand corner area.
Phillips (Tom) Dante's Inferno, one of 100 copies signed and numbered by Phillips with a signed limited edition screenprint loosely inserted, plates, original cloth, dust-jacket, housed in a slipcase, corners lightly rubbed, 1985; A Humument, vol. 1, one of 100 copies signed and numbered by Phillips, 11 signed colour plates, original paper wrappers, house in a drop-back box, a little rubbed and faded, Tetrad Press, 1970 Lesbia Waltz, number 16 of 50 signed by Phillips, original paper covers, Tetrad Press, 1971; and 2 others, by the same, v.s. (5)
[§] MARTIN BOYCE (SCOTTISH B.1967) NO BRILLIANTLY COLOURED BIRDS Signed and dated '09 in pencil to margin, numbered 22/40, screenprint, unframed 74cm x 102 cm (29in x 40in) Note: Martin Boyce developed this large scale print as part of his No Reflections installation for the Scottish Pavilion of the 2009 Venice Biennale. Continuing Boyce's interest in the ‘collapse of nature and architecture’ and interior and exterior forms, this print references the empty wooden interior of the artist's bird box sculpture in the vacated Italian Palazzo; the holes in which simultaneously suggest the form of a head or mask. During the development of this project Boyce drew from a short text he had written with an abandoned zoo in mind: ‘warm dry stone and palm leaves, no elephants, no giraffes, no penguins, no brilliantly coloured birds…’. This language of an abandoned garden is continued with the text 'No Brilliantly Coloured Birds' that tumbles out across the image. The form of the text stems from a central structural motif that forms a core of much of Boyce’s work. This motif is derived from an early black and white photograph of four geometric concrete trees sculpted by Joel and Jan Martel in 1925. (Text courtesy of Dundee Contemporary Arts)
R.B. Kitaj (1932-2007)Greetings Pablo Ruiz (Ramkalawon 165b)Screenprint in colours, 1972, signed and numbered from the edition of thirty in roman numerals in pencil, from Hommage a Picasso, on tissue-thin japan paper, printed by Kelpra Studios, London, published by Propylaen Verlag, Berlin, the full sheet printed to the edges, 762 x 533mm (30 x 21in) (unframed)
Bryan PEARCE St Ives with the Church and Harbour Screenprint Signed and dated '05Artists proof iii/xInscribed to the back by the artist 'To Sheila love from Bryan May 2005'Sight size 52 x 61cm Note - Sheila was Bryan's carer for eight years, she was with him when he did the preparatory sketches for the original work.
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