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Lot 1755
§ § John Piper (British, 1903-1992) Pyrton Manor, 1978 artist's proof, screenprint on Arches stamped signature, ??/70, printed by Kelpra Studio, published by CCA Galleries, London visible sheet, 47 x 75cm. Condition- good Looks to be in good condition with strong colours, a quantity of insect dirt trapped beneath the glass that looks to be loose and should brush away, glazed gilt frame with CCA label verso."Due to past issues with items being damaged in transit, we regret to inform you that we are unable to offer packing and posting services on all lots in this sale. This is non-negotiable. All items must be collected in person, or external packing companies can be recommended. Thank you for your understanding."
Lot 1754
§ § John Piper (British, 1903-1992), screenprint, Harlaxton Hall (L.372) 1984, signed in pencil, 4/90 54 x 78cm. Condition - fair/good Probably with even ground paper discolouration, but otherwise looks to be in good order, colours remain strong, measurement given is for visible sheet, under glass in a slim aluminium frame. Mount and frame good."Due to past issues with items being damaged in transit, we regret to inform you that we are unable to offer packing and posting services on all lots in this sale. This is non-negotiable. All items must be collected in person, or external packing companies can be recommended. Thank you for your understanding."
Lot 194
ALASDAIR GRAY (SCOTTISH 1934-2019) INSIDE THE BOX OF BONE... Screenprint, 14/50, with personal inscription to Brian Smith around the edge of the image ‘The 14th of 50 . . . By Alasdair Gray’ 72cm x 43.5cm (28.25in x 17.25in) This print was a gift from the artist to the current owner's father, Brian Smith, a close friend of the artist. Having met in the 1960s, Brian features in Roger Glass’ A Secretary’s Biography, and their friendship endured throughout Brian's life, with Alasdair ultimately providing the eulogy at Brian's funeral. The families also remained close, with Brian's wife sitting for a portrait by Gray and her eczema inspiring the ‘dragon skin’ in Lanark.
Lot 31
(ARR) Robyn Denny (British, 1930-2014)Untitled, from Suite 66 No. IV, 1966Screenprint in colours on paperLimited edition numbered 68 of 75Signed lower right in pecilFramed & glazedMeasures approx. 87cm x 61cm (34" x 24") including frame.With original invoice from Editions Alecto Limited, Kelso Place London, from purchase in 1967.
Lot 24
(ARR) Paul Huxley (British, b. 1938)Untitled N. 8, 1973Screenprint in colours on wove paperLimited edition number 31 of 150Published by Christie's Contemporary ArtFramed & glazedMeasures approx. 74cm x 74cm (29" x 29") including frame.With certificate of authenticity from Christie's. Signed by Director, Chritie's Contemporary Art.
Lot 4
(ARR) D*Face (British, 1978- )Drive By Shouting (LA edition), 2017Limited edition Screenprint in 15 colours on 410gsm cotton paperSigned and numbered 48 of 150 in pencil.Framed & glazed. Dean Stockton, better known as D*Face, born in 1978 in London, is an English street artist who is recognised as one of the most prolific contemporary urban artists of his generation. D*Face grew up in London and developed an interest in drawing and graffiti in his childhood. As a teenager D*Face was fascinated by the USA, the American Dream, skateboarding and drawing. He discovered street art when he was 15 while discovering Henry Chalfant‘s coverage of subway graffiti in New York City in Spraycan and Subway Art and also Thrasher magazine’s coverage of skateboard deck graphics. The artist also credits his influences to Shepard Fairey‘s « Obey Giant » art campaign, Jim Philips, hip hop and punk music as well as popular animated cartoons. D*Face was the owner and curator for the Outside Institute, London's first contemporary art gallery to focus on street art. In 2005 the Outside Institute moved and re-branded to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on her album cover of Bionic. In 2024, D*Face collaborated with the newly launched art'otel London Hoxton, a hotel known for its strong emphasis on blending hospitality with contemporary art. As part of this partnership, D*Face infused his vibrant and rebellious street art style into various spaces throughout the hotel, creating bespoke murals, sculptures, and installations. The hotel, located in London’s creative hub of Hoxton, positions itself as a cultural landmark where art takes centre stage, with D*Face’s work playing a key role in shaping its distinct artistic identity and offering guests an immersive visual experience. Measures approx. 32cm x 82cm (12.5" x 32") excluding frame. 62cm x 116cm including frame.
Lot 102
screenprint on paper, titled and dated 1975 labels verso, published for P.S.A. Supplies Division by Editions Alecto mounted, framed and under glass image size 68cm x 95cm, overall size 76cm x 103cm Label verso: Open Eye Gallery, Edinburgh. Note: British abstract painter, printmaker, and designer. He was born at Abinger, Surrey, and studied at St Martin's School of Art and the Royal College of Art, 1951–7. He was among the young British painters enormously impressed by the scale and energy of Abstract Expressionist painting. Early paintings such as Red Beat 6 (1958) combined gestural handling with lettering: like the Pop artists, Denny was fascinated by the qualities of urban space. In 1959, alongside Richard Smith and Ralph Rumney (1934–2002), a painter with connections to the Situationist International, he mounted ‘Place’ at the Institute of Contemporary Arts in London. The paintings were organized in a kind of maze which forced the viewer up close against them. In 1960 he helped organize the first ‘Situation’ exhibition, a landmark in British abstract art. One of the pictures he showed there is Baby is Three (1960, Tate), which is typical of the calm, meditational character of his work. The title derives from a science fiction story. In his work of the early 1960s he used very soft, muted colours applied with an immaculate flat finish within a subtle geometrical framework which tends to suggest doorways or other architectural features. Later his brushwork became more painterly. In 1973 he became the youngest artist ever to be given a Tate Gallery retrospective. He received many public commissions, including a series of vitreous enamel panels at Embankment Underground Station in London.
Lot 138
Babacar SOW (Né en 1990)Reflections in color.2024.Sérigraphie couleur sur papier, réhaussé à la poussière de diamants. Signée et numérotée par l’artiste.Edition de 10 exemplaires.60 x 60 cmScreenprint on paper with diamond dust. Signed by the artist and accompanied by a signed certificate of authenticity.
Lot 568
After Andy Warhol (American 1928-1987) Marilyn (burgundy) Screenprint in colours on wove Numbered 86/100 in pencil, and stamped with artist's signature Stamped Leo Castelli, New York, stamped 530 West 25th Street New York on a loose inset Published by Leo Castelli Gallery, New York, in collaboration with George Israel Editeur, bearing their blind stamp on a loose inset Dimensions: (Frame) 26.5 in. (H) x 23.5 in. (W) (Image) 17 in. (H) x 14.25 in. (W)
Lot 222
Andy Warhol (American, 1928-1987) 'Campbell's soup I, Beef', 1968. Signed and numbered 129/250 to verso, Halcyon gallery labels to verso, screenprint on paper, 88.5 x 58.5 cm, mounted in a black and silver frame. With an extensive folder of paperwork.Provenance: From the estate of an English gentleman, who purchased the work from the Halcyon gallery in 2022 for £145,000. With Certificate of authenticity.Note: Andy Warhol, the trailblazer of Pop Art, famously remarked, “once you ‘got’ Pop, you could never seea sign the same way again. And once you thought Pop, you could never see America the same way again.” His Campbell’s Soup series marked a groundbreaking shift in modern art, challenging the traditional divide between high and low culture by featuring mass-consumed objects and commonplace advertising imagery. Through the appropriation of Campbell’s Soup imagery, inspired by his own visual experience of modern life, Warhol demonstrated how an ordinary object can transcend its everyday nature to become a work of art within the still-life genre.
Lot 102
After Andy Warhol (American, 1928-1987). Screenprint in colors on paper from Warhol's "Marilyn" series depicting Warhol's signature portrait of Marilyn Monroe. With two stamps from The Andy Warhol Foundation for the Visual Arts, Inc. along the verso.Height: 36 in x width: 36 in.Condition: The colors are bold and bright. There are no tears, creases, or losses. The work is not framed.
Lot 89
Josef Albers (German, 1888-1976). Screenprint in colors on Mohawk superfine Bristol paper titled "Full," from the "Homage to the Square" portfolio, 1962. Depicting a geometric composition of concentric squares of blue, purple, and red.The full suite includes the following prints: Wide Light, Thaw, Tenuous, Equivocal, Patina, Shielded, Full, Reserved, Joy, and Aura. The portfolio has text by Richard Lippold and is signed and numbered on the colophon only.Sight; height: 16 3/4 in x width: 16 3/4 in. Framed; height: 17 1/4 in x width: 17 1/4 in x depth: 1 in.Condition: The sheet is toned. There are a few scattered spots of foxing throughout. No visible tears, losses, or restorations. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 47
DAMIEN HIRST (BRITISH 1965-) FOR THE LOVE OF GOD - 2009 Screenprint with diamond dust, 366/1000, signed and numbered in white pencil, printed by Coriander Studios, published by Other Criteria, London; with the accompanying book ‘For The Love of God: The Making of the Diamond Skull, Damien Hirst’ published by Other Criteria/White Cube (2) the sheet 33cm x 24cm (13in x 9.5in)
Lot 59
PATRICK HERON C.B.E. (BRITISH 1920-1999) NO. 13: RED AND UMBER WITH ORANGE & ICE GREEN, JANUARY 1977, FROM 'SHAPES OF COLOUR' - 1977 Screenprint, 31/50, signed and numbered in pencil to margin; with NO. 14: MINI FEBRUARY V: 1974 printed on the other side of the sheet, as issued, also signed and numbered in pencil to margin, printed by Kelpra Studio, published by Kelpra Editions and Waddington & Tooth Graphics, London the sheet 50cm x 35cm (19.75in x 13.75in) The sheet has been mounted such that either side can be displayed in the frame.
Lot 53
WILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004), AFTER WATER DANCE (PORTHMEOR) VII - 2007 Screenprint, 53/100, numbered in pencil, with the Wilhelmina Barns-Graham Trust inkstamp verso, published by Graal Press, with their blindstamp; with the accompanying hardcover book ‘The Prints of Wilhelmina Barns-Graham: A Complete Catalogue’ by Ann V. Gunn, housed together in grey slipbox, as issued (2) the sheet 19.5cm x 26cm (7.75in x 10.25in), unframed The Wilhelmina Barns-Graham Trust, where acquired by the current owner
Lot 80
PAULA REGO R.A. (BRITISH/PORTUGESE 1935-2022) THE UPSIDE-DOWN WORLD - THE JUSTICE OF ANIMALS (ROSENTHAL 106) Screenprint, A/P, signed, editioned and dedicated ‘Dear Colette, Happy Christmas’ in pencil to margin, published by Antonio Inverno, with his blindstamp the sheet 35cm x 25cm (13.75in x 9.75in), unframed Gift of the Artist to Colette Morey de Morand; and thence by descent to the current owner
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14868 item(s)/page