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Javier Calleja (Spanish 1971-), 'Si', 2024, screenprint in colours on wove paper, hand-finished with applied stickers, signed and numbered from an edition of 75 in pencil, published by Almine Rech; sheet: 47.7 x 61cmARR sheet: 47.7 x 61cm

Ai Weiwei (Chinese 1957-), 'Middle Finger In Red', 2023, screenprint in colours on 410gsm Somerset Tub Sized paper, signed and numbered from an edition of 1285 in pencil, published by Avant Arte; sheet: 60 x 60cmsheet: 60 x 60cmIn excellent conditionNo knocks, tears, or creases to the sheetThe work has been stored flat and never been framed

David Shrigley (British 1968-), 'Ignore The Ghosts', 2022, screenprint in colours on 410gsm Somerset Tub Sized Paper, signed, dated, and numbered from an edition of 125 in pencil verso, published by Jealous Gallery; sheet; 76 x 56cmARR sheet; 76 x 56cm

Invader (French 1969-), 'Camo (M-3C-M1)', 2024, screenprint in colours on Somerset Satin Cotton paper, signed, dated, and numbered from an edition of 100 in pencil, published by Heni Editions; 61 x 72cm (framed)ARR 61 x 72cm (framed)

Banksy (British 1974-), 'Weston Super Mare', 2003, screenprint in colours on wove paper, numbered from an edition of 750 in pencil, published by Pictures On Walls; sheet: 35 x 99.5cm; 62.5 x 126.5cm inc frameARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 35 x 99.5cm; 62.5 x 126.5cm inc frame Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In Very Good Condition No visible tears or creases to the sheet Edge wear/potential knock to the lower left corner of the sheet, away from the printed image One minor surface mark to the lower left white board, this is away from the printed image and does not take away from the work as a whole Framed to a good standard in a black frame and white mount Not examined out of the frame or under the mountProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity.

David Shrigley (British 1968-), 'Leap Into The Void', 2023, screenprint in colours on 410gsm Somerset Tub Sized paper, signed, dated and numbered from an edition of 125 in pencil verso, published by Jealous Gallery; sheet: 55 x 55cmARR sheet: 55 x 55cm In very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.

Schoony (British 1974-), 'Boy Soldier (Blue)', 2019, screenprint on wove paper, signed, dated, and numbered from an edition of 5 in pencil; sheet: 70 x 50cmARR sheet: 70 x 50cm

Ai Weiwei (Chinese 1957-), 'Guardian', 2024, screenprint in colours with a metallic glitter base layer on 410gsm Somerset Tub Sized Radiant White paper, signed in black ink and numbered from an edition of 1601 in pencil, published by Avant Arte; sheet: 60 x 60cmsheet: 60 x 60cm

BAST (American 1952-2021), 'Mickey', 2007, hand-embellished screenprint on wove paper, signed and numbered from a varied edition of 100 in pencil, published by Pictures On Walls; sheet: 76.5 x 57cmsheet: 76.5 x 57cmIn good condition No knocks or tears to the sheet One very handling crease to the lower left hand section and one minor crease to upper right hand corner, visible upon close inspection Deckled edges in good condition This work has been stored flat and has not been framed.

Banksy (British 1974-), ‘Flag (Silver)’, 2006, screenprint on silver cheomalux paper, numbered from an edition of 1000 in black pen verso, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity. In overall good condition No knocks or tears to the sheet There are some light handling creases shown to the sheet, most visible in raking light and to black background Minor surface marks to the black background on the left hand side/lower corner of the sheet, visible upon close inspection There are some vertical line markings with colours variation across the upper section of the sheet Extremely minor imperfection to upper right hand corner and very light scratch to upper left section, visible upon close inspection This work has been stored flat and has not been framed.Provenance: This work is accompanied by a Pest Control Certificate of Authenticity.

Banksy (British 1974-), ‘Trolleys (Colour)’, 2007, screenprint in colours on Arches, signed and numbered from an edition of 750 in pencil, published by Pictures On Walls; sheet: 56 x 76cmARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity sheet: 56 x 76cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity. In very good condition  No visible knocks, tears or creases to the sheet  Deckled edges in good condition  Extremely minor marking to the lower right hand corner of the sheet recto and lower edge verso, potentially from time of production  This work has been stored flat and has not been framed.  Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity

Roby Dwi Antono (Indonesian 1990-), 'Okta', 2022, screenprint in colours with curable UV inks on 410gsm Somerset Tub Sized Radiant White paper, signed and numbered from an edition of 200 in pencil, published by Avant Arte; sheet: 50 x 44cmsheet: 50 x 44cmIn Excellent ConditionNo knocks, tears, or creases to the sheetThis work has been stored flat in it's original Avant Arte Shipping Crate and never been framedAccompanied by an Avant Arte Certificate of AuthenticityIn Excellent Condition

Yayoi Kusama (Japanese 1929-), 'Pumpkin (S)', 1992, screenprint in colours on wove paper, signed, titled, dated, and numbered from an edition of 150 in pencil; sheet: 37.5 x 28cm (framed)sheet: 37.5 x 28cm (framed)In very good conditionNo visible knocks, tears or creases to the sheetDeckled edge in good condition Two mounting tabs attached to the upper edge of the sheet verso, for framingThis work has been framed in a white frame with a white mount This work has been examined inside and outside of the frame.

Banksy (British 1974-), 'Napalm', 2004, screenprint in colours on wove paper, signed, dated and numbered from an edition of 150 in pencil, published by Pictures On Walls; sheet: 50 x 70cmARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity. In very good condition No knocks or tears to the sheet Very minor crease to the right hand side of the sheet, mainly visible in raking light Some very faint markings around the sheets white border, including one small mark just above the numbering on right hand side. These can be visible upon very close inspection Extremely minor imperfections to corners and some light marking to upper edge of sheet verso, potentially from previous framing This work has been stored flat and is not currently framed.Provenance: This work is accompanied by a Pest Control Certificate of Authenticity.

Katherine Bradford (American 1942-), 'Person With Colours', 2024, screenprint in colours on 410gsm Somerset tub-sized satin radiant white paper, signed, dated, and numbered from an edition of 75 in pencil, published by Counter Editions; sheet: 76 x 60cm; 87 x 71cm inc framesheet: 76 x 60cm; 87 x 71cm inc frameIn very good conditionNo visible knocks, tears or creases to the sheet This work has been framed in a white frame and has been float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.

Salvador Dalí (1904-1989) Man and Sea (M&L1372a) Screenprint in colours, 1972, signed and inscribed 'EA' in pencil, aside from the edition of 200, published by Edition Olympia, Munich, on wove paper, with full margins, sheet 1190 x 840mm (46 3/4 x 33in)With handwritten dedication by Dali for Oberburgermeister (Mayor) Günther Bautzer who organised the 1972 Olympics Sailing Competitions in Kiel, Germany. 

Bridget Riley (b.1931) Magenta and Blue (Tommasini 48)Screenprint in colours, 2002, signed and dated in pencil, numbered from the edition of 75, printed by Artizan Editions, Hove, on wove paper, with full margins, sheet 1090 x 750 (42 7/8 x 29 1/2in)

Roy Lichtenstein (1923-1997)Landscape 2, from Ten Landscapes (Corlett 52) Screenprint on four-ply board with a translucent moiré overlay mounted on composition board, 1967, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 291 x 458mm (15 1/2 x 16 1/2in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

Robert Rauschenberg (1925-2008)Shoot from a Main Stem, from Suite of Nine PrintsOffset lithograph with screenprint in colours, 1979, signed and dated in pencil, numbered from the edition of 100, printed by Styria Studio, with their blindstamp, published by Multiples, Inc., New York, on wove paper, with full margins, sheet 780 x 585mm (30 1/2 x 23in)

A.R. Penck (1939-2017)Untitled (Peace)Screenprint in colours, 1996, signed and inscribed 'e.a.' in pencil, an artist’s proof aside from the edition of 90, on wove paper, with full margins, sheet 1250 x 1000mm (49 1/4 x 39 3/8)

Gavin Turk (b.1967)Triple Pop (Gold)Screenprint in black and gold, 2009, signed and dated in pencil, numbered from the edition of 100, printed by K2, published by Counter Editions, London, on Somerset Tub Sized wove paper, with full margins, sheet 1000 x 750mm (40 x 30in)

Robert Rauschenberg (1925-2008)From the Seat of Authority, from Suite of Nine PrintsOffset lithograph with screenprint in colours, 1979, signed and dated in pencil, numbered from the edition of 100, printed by Styria Studios, with their blindstamp, published by Multiples Inc., New York, on wove paper, with full margins, sheet 780 x 585mm (30 1/2 x 23in)

Frank Stella (1936-2024)Fortin de las Flores I (Axsom I.B)Screenprint in colours with graphite additions, 1967, initialled and dated in brown ink, numbered from the edition of 200, as included in the portfolio Ten From Leo Castelli, published by Tanglewood Press, Inc, New York, on English Vellum graph paper, with full margins, sheet 459 x 585mm (18 1/8 x 23in)

Ed Ruscha (b.1937)Life SizeUV pigment print in colours with screenprint in yellow and matte vanish, 2024, numbered from the total edition of 1863 in pencil, printed and published by Avant Arte, in association with the Los Angeles County Museum of Art, on Somerset Tub Sized Radiant White paper, with full margins, sheet 660 x 620mm (26 x 24 3/8in)

Andy Warhol (1928-1987)Queen Margrethe II of Denmark (Feldman & Schellmann II.343)Screenprint in colours, 1985, signed in pencil, numbered from the edition of 40, printed by Rupert Jasen Smith, New York, published by G. Mulder, Amsterdam, with the printer's blindstamp, as included in Reigning Queens, on Lenox Museum Board, the full sheet printed to the edges, sheet 1000 x 798mm (39 3/8 x 31 3/8in)

Andy Warhol (1928-1987)Flowers (Black and White) (Feldman & Schellmann II.105)Screenprint, 1974, initialled in pencil, further signed and numbered from the edition of 100 verso, printed by Alex Heinrici, published by Castelli Graphics and Multiples Inc., New York, on Arches paper, the full sheet printed to near the edges, sheet 1030 x 700mm (40 1/2 x 27 1/2in)

Robert Rauschenberg (1925-2008)Why You Can't Tell 1, from Suite of Nine PrintsOffset lithograph with screenprint in colours, 1979, signed and dated in pencil, numbered from the edition of 100, printed by Styria Studio, with their blindstamp, published by Multiples, Inc., New York, on wove paper, with full margins, sheet 780 x 585mm (30 1/2 x 23in)

Bridget Riley (b.1931)Intervals 3, Blue/Green (Not in Tommasini & Gubay)Screenprint in colours, 2021, signed, dated and titled in pencil, numbered from the edition of 75, printed by Sally Gimson, Artizan Editions, Forest of Dean, published by the artist, London, on wove paper, with full margins, sheet 550 x 375mm (21 5/8 x 14 3/4in)

Patrick Heron (1920-1999)Umber Disc and Red Edge: April, 1970Screenprint in colours, 1970, signed, dated and inscribed 'artist's proof' in pencil, aside from the edition of 100, printed by Kelpra Studio, London, 702 x 1010mm (27 5/8 x 39 3/4in)

Damien Hirst (b.1965)Till Death Do Us Part (Heavenly Peppermint Green, Silver Gloss, Racing Green) Screenprint in colors with foilblock and glaze, 2012, signed in pencil, numbered from the edition of 50, co-published by Other Criteria and Paul Stolper, London, on wove paper, with full margins, sheet 520 x 370mm (20 1/4 x 14 1/2in)

Andy Warhol (1928-1987)Ladies and Gentlemen (Feldman & Schellmann II.129)Screenprint in colours, 1975, an unsigned trial proof in a different combination of colours to the published edition, possibly unique, printed by Alexander Heinrici, New York, on Arches paper, with full margins, sheet 1070 x 728mm (42 1/8 x 28 5/8in)

Andy Warhol (1928-1987)Ingrid Bergman. Herself (Feldman and Schellmann II.313)Screenprint in colours, 1983, signed and numbered from the edition of 250 in pencil, printed by Rupert Jasen Smith, New York, published by Galerie Börjeson, Malmö, with his rubber stamp verso, on Lenox Museum Board, the full sheet printed to the edges, sheet, 965 x 965mm., 38 x 38in.

James Rosenquist (1933-2017)Miles, From America: The Third Century (Glenn 88)Screenprint in colours with pochoir, 1975, signed and dated in pencil, numbered from the edition of 200, printed and published by Graphicstudio/U.S.F., Tampa, on Arches paper, the full sheet printed to the edges, sheet 765 x 562mm (30 1/8 x 22 1/8in)

Roy Lichtenstein (1923-1997)Landscape 4, from Ten Landscapes (Corlett 54) Screenprint on opaque white Rowlux mounted on composition board, 1967, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 280 x 455mm (11 x 17 7/8in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

Terry Frost (1915-2003)Spring Spiral (Kemp 141)Screenprint in colours, 1995, signed, dated and inscribed ‘A/P III/XII’, an artist’s proof aside from the edition of 125, printed by Coriander Studio, London, published by Coriander Studio and Flower Graphics, London, on Arches paper, with full margins, sheet 877 x 865mm (34 1/2 x 34in)

Roy Lichtenstein (1923-1997)Landscape 3, from Ten Landscapes (Corlett 53) Screenprint on chromogenic photographic print mounted on composition board, 1967, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 304 x 420mm (12 x 16 1/2in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

John Piper (1903-1992)Canons Ashby, Northamptonshire (Levinson 350) Screenprint in colours, 1983, signed in pencil, numbered from the edition of 150, printed by Kelpra Studio, published by CCA and The National Trust, London, with the printer's blindstamp, on Arches paper, with margins, sheet 561 x 783mm (22 1/8 x 30 7/8in)

Bridget Riley (b.1931)About Lilac (Tommasini and Gubay 65)Screenprint in colours, 2007, signed, dated and titled in pencil, numbered from the edition of 75, printed by Artizan Editions, Hove, published by the artist, London, on Fabriano 5 wove paper, with full margins, sheet 489 x 800mm (19 1/4 x 31 1/2in)

Andy Warhol (1928-1987)Neuschwanstein (see Feldman & Schellmann II.372)Offset lithograph with screenprint in colours, 1987, with the stamped signature, from the edition of 1200, printed by Rupert Jasen Smith, New York, co-published by Edition Schellmann, Munich & New York, and Verlag Sabine Knust, Munich, with the printer's blindstamp, on Varick rag paper, annotated 'MISC 03.1340' by the Andy Warhol Foundation for the Visual Arts in pencil verso, the full sheet printed to near the edges, sheet 908 x 620mm (35 3/4 x 24 3/8in) Provenance:Estate of Andy Warhol Andy Warhol Foundation for the Visual Arts

Deborah Roberts (b.1962)One History Two Versions (Bullet Points)Screenprint in colours, 2019, signed and dated in pencil, numbered from the edition of 100, published by Stephen Friedman Gallery, London, on Somerset Tub Sized wove paper, with full margins, 590 x 419mm (23 3/8 x 16 1/2in)

Robert Rauschenberg (1925-2008)Back Out, from Suite of Nine PrintsOffset lithograph with screenprint in colours, 1979, signed and dated in pencil, numbered from the edition of 100, printed by Styria Studio, with their blindstamp, published by Multiples, Inc., New York, on wove paper, with full margins, sheet 780 x 585mm (30 1/2 x 23in)

Roy Lichtenstein (1923-1997)Landscape 6, from Ten Landscapes (Corlett 56) Screenprint on blue-green moiré Rowlux with chromogenic photographic print collage mounted on composition board, 1967, signed, dedicated and dated in pencil verso, inscribed 'AP' verso, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 331 x 413mm (13 x 16 1/4in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

Andy Warhol (1928-1987)Ladies and Gentlemen (Feldman & Schellmann II.127) Screenprint in colours, 1975, signed and dated in pencil verso, numbered from the edition of 250 verso, published by Mazzotta Editore, Milan, on wove paper, the full sheet printed to near the edges, sheet 945 x 647mm (37 1/4 x 25 1/2in)

Bridget Riley (b.1931)Intervals 3, Orange/Blue (Not in Tommasini & Gubay)Screenprint in colours, 2021, signed, dated and titled in pencil, numbered from the edition of 75, printed by Sally Gimson, Artizan Editions, Forest of Dean, published by the artist, London, on wove paper, with full margins, sheet 550 x 375mm (21 5/8 x 14 3/4in)

Andy Warhol (1928-1987)The Marx Brothers, from Ten Portraits of Jews of the Twentieth Century (Feldman & Schellmann II.232)Screenprint in colours, 1980, signed and inscribed 'AP' in pencil, numbered from the edition of 30 artist proofs, aside from the edition of 200, printed by Rupert Jasen Smith, published by Ronald Feldman Fine Arts Inc., New York, and Jonathan A Editions, Tel Aviv, with the printer's blindstamp, and the publisher's inkstamp verso, on Lenox Museum Board, the full sheet printed to near the edges, sheet 1000 x 809mm (39 3/8 x 31 7/8in)

Roy Lichtenstein (1923-1997)Landscape 10, from Ten Landscapes (Corlett 60) Screenprint on chromogenic photographic print and translucent moiré Rowlux collage mounted on composition board, 1967, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 391 x 420mm (15 3/8 x 16 1/2in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

Bridget Riley (b.1931)Blue and Pink (Tommasini and Gubay 47)Screenprint in colours, 2001, signed, titled, inscribed 'Artist's Proof' and dated in pencil, numbered from the artist's proof edition of 10, aside from the edition of 90, printed by Artizan Editions, Hove, published by the artist, London, on Somerset wove paper, with full margins, sheet 457 x 1340mm (18 x 52 3/4in)

Roy Lichtenstein (1923-1997)Landscape 9, from Ten Landscapes (Corlett 59)Screenprint with chromogenic photographic print collage mounted on composition board, 1967, a printer's proof aside from the edition of 100, printed by Fine Creations Inc., co-published by Original Editions and Leo Castelli Gallery, New York, the full sheet printed to the edges, sheet 333 x 411mm (13 1/8 x 16 1/4in) Ex. Coll Charles Cardinale, the Printer of the edition. One of the most adventurous print portfolios of the 1960s, 10 Landscapes utilised the new and exciting material Rowlux, a 3-dimensional moiré plastic sheeting, most often used as drum wraps. Roy Lichtenstein was the first artist to see possible artistic application of the material and worked closely with Fine Creations Inc’s., owner Charles Cardinale in the printing and production of the series. The portfolio was a commercial success, and Cardinale subsequently worked with both Salvador Dalí and Richard Linder who also used this revolutionary material in some of their graphic works.

Roy Lichtenstein (1923-1997)Seascape (1), from the New York Ten Portfolio (Corlett 36)Screenprint in colours on translucent Rowlux, 1965, signed in pencil verso, numbered from the edition of 200 verso, printed by Chiron Press, published by Tanglewood Press Inc., New York, the full sheet printed to the edges, sheet 431 x 556mm (17 x 21 7/8in)

Roy Lichtenstein (1923-1997)Bull VI, from the Bull Profile Series (Corlett 121)Lithograph, screenprint and line-cut printed in colours, 1973, signed and dated in pencil, numbered from the edition of 100, printed and published by Gemini G.E.L., Los Angeles, with their blindstamp, on Arjomari wove paper, with full margins, sheet 686 x 889mm (27 x 35in)

Andy Warhol (1928-1987)Mick Jagger (Feldman & Schellmann II.143)Screenprint in colours, 1975, an unsigned proof aside from the edition of 250, printed by Alexander Heinrici, New York, published by Seabird Editions, London, on Arches paper, the full sheet printed to the edges, sheet 1105 x 737mm (43 1/2 x 29in) Provenance:Ex. coll. Robert Fermor-Hesketh, owner of Seabird Editions, publisher of the Mick Jagger portfolioA gift from the above to the present owner

Roy Lichtenstein (1923-1997) after.The Poetry Project Symposium Poster (Corlett App. 11; Döring & Osten 50)Screenprint in colours, 1988, signed in pencil, from the edition of 128 signed impressions, the total edition was 200, printed by Brand X, published by Brooke Alexander Editions, New York, to benefit the Poetry Project, with full margins, sheet 1115 x 786mm (43 7/8 x 31in)

Bridget Riley (b.1931) Intervals 3, Green/Purple (Not in Tommasini & Gubay) Screenprint in colours, 2021, signed, dated and titled in pencil, numbered from the edition of 75, printed by Sally Gimson, Artizan Editions, Forest of Dean, published by the artist, London, on wove paper, with full margins, sheet 550 x 375mm (21 5/8 x 14 3/4in)

Andy Warhol (1928-1987)Electric Chair (Feldman & Schellmann II.82)Screenprint in colours, 1971, signed and dated in black ballpoint pen verso, numbered from the edition of 250 with rubber stamp, printed by Silkprint Kettnet, published by Bruno Bischofberger, Zurich, on wove paper, the full sheet printed to the edges, sheet 899 x 1215mm (35 3/8 x 47 7/8in)

John Piper (British 1903-1992)Stones and Bones XXV Signed Artists ProofScreenprint in colour printed on velin Arches 250gsm at kelpra studio, Together with a screenprint - Photographic view from the roof of Longleat, from the 'Stones and Bones' portfolio, 1978Artists resale rights may apply to this lot

Mary Lloyd JonesCanolbarthA limited edition screenprint Number 5/20Signed in pencil to the margin30 x 40cmMartin Tinney Gallery Label verso

ARR Peter Schmidt (German 1931-1980) Cycloid VI, signed and numbered 39/60 lower right, screenprint, 76.5 x 51 cm (SH)Condition:The print is unframed. The sheet is in very good condition, no obvious tears, creases or losses. The edges are crisp. The top left corner has a slight and faint crease- photographed- but barely visible. The colours are well preserved and the surface stable

JOHN PIPER (British 1903-1992) *ARR* Eye and Camera, Red, Blue and Yellow Screenprint, pencil signed lower right, 40cm x 60cm, frame 75cm x 92cm.

Feliks Topolski (1907-1989) 'Fountain Court', screenprint, numbered 96/125, dated 1989, signed lower right, 62cm x 41cmProvenance: With Christie's Contemporary Art (CCA) certificate of authenticity attached to the back of the frame, which also bears a Halcyon Gallery label. Overall wear, scratches and some blemishes to the wooden frame. Some dirt and marks to the top of the glass which would clean off. The print itself appears ok.

Patrick Heron (1920-1999)'Eagle's Nest, Zennor, 1978', 'Shapes of Colour' series, screenprint, unsigned, with watermark to the lower right, unframed, 15.5cm x 11.5cm, with three unassociated works, a watercolour study of a house interior, unsigned, unframed, 20.5cm x 25.5cm, a pencil study of a house interior, unsigned, unframed, 19cm x 25.5cm and a pastel study of a church interior, unsigned, unframed, 19cm x 28cm (3) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.