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Lot 629
Y BRIDGET RILEY (b.1931)Poster Poem 'Descending' 1968, screenprint, 29 1/2" x 29 1/2", framed and glazed (Illustrated) (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: This print has not been examined outside of its frame. There are small creases and folds to numerous parts of the margin
Lot 86
Original color screenprint on laid paper entitled Clocks of Time by American Abstract Expressionist artist Betty Parsons. She paints brightly colored warm and cool organic shapes within vertical and horizontal lines that seemingly divide the passage of time. Signature and date on lower right: Betty B Parsons, 78. Edition number on lower left: A.P. (Artist Proof) 14/20.Artist: Betty Bierne Parsons (American, 1900-1982)Issued: 1978Dimensions: 21.25"L x 29.5"HCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2000. Condition: Good condition.
Lot 585
ROBYN DENNY (BRITISH 1930-2014) ⊕ † THE HEAVENLY SUITE Bsigned, dated and numbered Denny '71 10/65. lower rightscreenprint on untrimmed paper81.5 x 74.5cm; 32 x 29 1/4inunframedThere is rubbing along the edges in places. There is a minor tear in the right-centre vertical edge with some associated delamination to the paper; however, all elements are intact and stable. There is some minor creasing to the lower right and upper left corners, visible only under close inspection. There corners of the paper have delaminated but this does not affect the appearence of the work and all elements are intact and stable. This would benefit from some light gluingOtherwise this work is in good original condition. This work is unframed.
Lot 572
JAMES GAVIN (SCOTTISH B.1928) ⊕ HEPHAESTUSsigned James Gavin 70 lower right; titled and numbered Hephaestus 3/10 lower leftscreenprint on paper52.5 x 45cm; 20 3/4 x 17 3/4in77 x 69cm; 30 1/4 x 27in (framed)Property from a London CollectionProvenanceAcquired from the artist by the present owner circa 1970 ExhibitedCarlisle, Border Gallery, Recent Paintings by James Gavin, 1970Gavin studied Fine Art at Edinburgh College of Art in the late 1950s, and had a number of solo exhibitions in the north during the 1960s, notably at 57 Gallery, Edinburgh (1961), ESU Gallery, Edinburgh (1964), Scottish Gallery, Edinburgh (1965 & 1967), Laing Gallery Annexe, Newcastle (1967) and the Richard Demarco Gallery, Edinburgh (1968) as well as at the Border Gallery, Carlisle where the present work was exhibited in 1970.offered for sale without reserve
Lot 673
PETER PHILLIPS (BRITISH B.1939) ⊕ UNTITLED (FROM THE PNEUMATIC SERIES)signed, inscribed and dated Peter Phillips 1968 Printers Proof lower right marginscreenprint in colours on paper61 x 95.5cm; 24 x 37 1/2in 69 x 103.5cm; 27 1/4 x 40 3/4in (framed)ProvenanceAcquired from the artist by the present owner circa 2008
Lot 675
MICHAEL HEINDORFF (GERMAN B.1949) ⊕ † TASSO'S TREES each signed Michael Heindorff lower right; numbered 16/100 lower left (i); numbered 16/100 lower left (ii); numbered 53/100 lower right (iii); numbered 84/100 lower left (iv); numbered 48/100 lower left (v); numbered 24/100 lower right (vi); numbered 19/100 lower left (vii)each screenprint on thick wove papereach 91.5 x 68.5cm; 36 x 27inall unframed(7) Executed in 1977.
Lot 581
ROBYN DENNY (BRITISH 1930-2014) ⊕ † ALL THROUGH THE DAY IIsigned, dated and numbered Denny '70 Artist's Proof XXIV / XXV lower rightscreenprint on paper72.5 x 76cm; 28 1/2 x 30inunframedThere are some minor dogears to the corners, visible only under close inspection. A very small section of the print has been abraded to the extreme upper left and lower right corners and the paper below has slightly delaminated; however, all elements are intact and stable. There is some minor rubbing to the edges in places. There are two creases to the lower left corner and upper right-centre horizontal edge. Otherwise this work is in good original condition. This work is unframed.
Lot 583
ROBYN DENNY (BRITISH 1930-2014) ⊕ † ALL THROUGH THE DAY IIIsigned, dated and numbered Denny '70 Artist's Proof XXIV / XXV lower rightscreenprint on paper72.5 x 76cm; 28 1/2 x 30inunframedsold for £1,200 in 2024There is a minor tear to the lower left corner; however, all elements are intact and stable. There are small creases to the lower and upper right corners and in the right-centre vertical edge visible only under close inspection. There is very minor rubbing to the edges in places. There are some faint surface marks along the right vertical edge, likely from handling. Otherwise this work is in good original condition. This work is unframed.
Lot 102
* ROBYN DENNY BRITISH 1930 - 2014), SIX MINIATURES 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 121
* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), WE WANTED TO BLEED THE SILENCE screenprint on paper, from the 1973 edition of 200, published by Petersberg Press and Waddington mounted, framed and under glass image size 40cm x 35cm, overall size 58cm x 52cm Label verso: Open Eye Gallery, Edinburgh. Note: British painter and printmaker, born in London, where he studied at Chelsea School of Art, 1956–9, and the *Royal College of Art, 1959–63. In 1963 he began teaching at Chelsea School of Art and in 1965 he had his first one-man exhibition at the Robert Fraser Gallery, London. His work has been linked with *Pop art, although when introducing his work in 1964 he invoked, not the currently fashionable mass media theorists, but the Catholic poet and mystic Gerard Manley Hopkins. However, his work shared with artists such as Peter *Blake and David *Hockney a sense that the imagery was ‘in quotation marks’, so undermining the division between abstract and figurative art. The flat colour and black outlines of his painting (in his early work the impersonal surface was achieved by the use of gloss paint on board) were sometimes compared to Roy *Lichtenstein, although the American painter's work was unknown to him when Caulfield first established his style.The principal sources of his work lay in *Cubism. He looked to *Léger and especially *Gris, to whom he paid tribute in an early imaginary portrait and more subtly in Santa Margherita Ligure (1964). In this work he draws on the way in which Gris combined interior and exterior within the same plane. Discussing his painting in the 1964 *New Generation catalogue, David Thompson argued that Caulfield was interested in ‘devalued’ motifs, the way in which a painting by Delacroix or a device from Cubism or early abstraction could become ‘vulgarized’. When these early pictures are seen in the light of Caulfield's painting over the subsequent 40 years this seems to be putting things in reverse. What Caulfield was actually doing was using a highly accessible and apparently simple pictorial language, not out of irony, but to achieve effects of the utmost refinement. Although on the surface his style changed comparatively little, the uses to which he put it were extraordinarily varied. Some commentators have detected in his later work a strong sense of melancholy and mortality communicated through the pristine surfaces. He took up *screenprinting in 1964 and the following year won a prize for graphics at the Paris *Biennale. Subsequently print was an important part of his output. He also made designs for the Royal Ballet. An exhibition was devoted to his work at the Tate Gallery, London, in 1981 and another at the Hayward Gallery in 1999, but he never achieved the international reputation many of his admirers believed that he deserved.
Lot 117
* VICTOR VASARELY (HUNGARIAN/FRENCH 1908 - 1997), CODE, LE SOLEIL NOIR limited edition screenprint on paper, signed and numbered 125/150, from the Book of Poems with Jean Clarence Lambert, dated 1967 label versomounted, framed and under glass image size 38cm x 28cm, overall size 48cm x 36cm Label verso: Open Eye Gallery, Edinburgh.Note: Hungarian-born painter, sculptor, and designer who settled in Paris in 1930 and became a French citizen in 1959, the main originator and one of the leading practitioners of *Op art. He studied in Budapest at the Poldini-Volkman Academy of Painting and the Mühely School (known as the *Bauhaus of Budapest) before he settled in Paris in 1930. For the next decade he worked mainly as a commercial artist, particularly on the designing of posters, showing a keen interest in visual tricks and space illusions. From 1943 he turned to painting and he had his first one-man exhibition in 1944, at Denise *René's gallery. About three years later he adopted the method of geometrical abstraction for which he is best known. Typically he created a hallucinatory impression of movement through visual ambiguity, using alternating positive–negative shapes in such a way as to suggest underlying secondary shapes. His fascination with the idea of movement led him to experiment with *Kinetic art and he also collaborated with architects in such works as his relief in aluminium for Caracas University (1954), and the French Pavilion at ‘Expo '67’ in Montreal, hoping to create a kind of urban folk art. From 1961 Vasarely lived mainly in the South of France, where he founded two museums devoted to his work—the Fondation Vasarely at Aix-en-Provence, which he designed himself, and the Château and Musée Vasarely at Gordes (both are now closed). There are two Vasarely museums in Hungary, in Budapest and his birthplace Pecs. According to his obituary in The Times, ‘To him the artist was simply an artisan who creates his artefacts at will and in volume, so that they can be accessible to the ordinary person’.
Lot 390
§ Charles Uzzell Edwards A.K.A. Pure Evil (Welsh, 1968-) The Great Animal Hunt; from the Ghosts of Gone Birds suitesigned 'Pure Evil' (lower right); numbered A/Pscreenprint, unframed39.5 x 47.5cm;together with Le Gun (Bill Bragg, Chris Bianchi, Neal Fox, Robert Rubbish, Steph von Reiswitz, Alex Wright and Matthew Appleton) (British, Contemporary)The Tragic Demise of the White Gallinule; from the Ghosts of Gone Birds suitesigned and dated 'LE GUN 2011' (lower right); numbered 47/125screenprint, unframed37.5 x 43.5cm (2)
Lot 39
MERTON OF THE MOVIES (CORLETT 61)Color screenprint, 1968, on silver foil, signed and numbered 48/450 in pencil, printed by Fine Creations, Inc., New York, co-published by Lincoln Center/List Poster and Print Program and H.K.L. Ltd., New York and Boston, the full sheet, framed.Sheet 30 x 20 inches; 762 x 508 mm.Frame 37 1/2 x 25 1/4 inches; 953 x 641 mm.Some rubbing, light scratches and handling creases (most discernible in raking light), some printers ink or soiling at bottom sheet edge and verso, some wear and tiny/very small ink losses at and near bottom left sheet edge, hinged with a few pieces of Japan tape at sheet edges verso to top mat (four now detached), framed with glass.Some rubbing, light scratches and handling creases (most discernible in raking light), some printers ink or soiling at bottom sheet edge and verso, some wear and tiny/very small ink losses at and near bottom left sheet edge, hinged with a few pieces of Japan tape at sheet edges verso to top mat (four now detached), framed with glass.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 37
SOUPER DRESSColor screenprint on cellulose and cotton paper A-line dress, 1966-67, with the original label, from an edition of unknown size, manufactured by Campbell's Soup Company, Camden, New Jersey, unframed.38 1/8 x 23 inches; 968 x 584 mm.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 75
ROBERT MOTHERWELL: NEW COLLAGES AT THE WHITNEY MUSEUM OF AMERICAN ART (BANACH APPENDIX 22A)Color screenprint, 1968, on J. Perrigot Arches Special MBM paper, signed with initials and numbered 54/100 in pencil, printed by Maurel Studio, New York, published by Whitney Museum of American Art, New York, with full margins, framed.Sheet 29 5/8 x 22 inches; 752 x 559 mm.Frame 29 3/4 x 22 1/4 inches; 756 x 565 mm.Some unobtrusive handling creases (most visible in raking light), some almost imperceptible matstain at extreme sheet edges, some minor printer's(?) ink at sheet edges and verso, framed with glass.Some unobtrusive handling creases (most visible in raking light), some almost imperceptible matstain at extreme sheet edges, some minor printer's(?) ink at sheet edges and verso, framed with glass.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 38
American, 1934-2013MarilynSigned and dated Louis Waldon 1997 on the reverse; also stamped Louis Waldon / Andy Warhol's Factory / The Super Star Years 1966-69 on the reverse Acrylic and screenprint on canvas40 x 40 inches Unframed Please Note the condition report was updated on 12/16 at2:45 PM.Canvas slightly slack on stretchers. There is thin horizontal partially indented line at center right. Scattered light brown spots on the reverse. Some surface soiling. Wear along the edges.Canvas slightly slack on stretchers. There is thin horizontal partially indented line at center right. Scattered light brown spots on the reverse. Some surface soiling. Wear along the edges.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 767
HENDRIX JIMI: (1942-1970) American rock guitarist and singer. A rare and highly attractive vintage signed 19.5 x 30 concert poster promoting a performance by the Jimi Hendrix Experience at the Fillmore Auditorium, 20th to 26th June (1967), the psychedelic screenprint poster, printed in blue, pink and orange against a metallic gold background, was designed by the British graphic design artists Michael English and Nigel Waymouth (Hapshash and the Coloured Coat) and features an image of Hendrix as a Native American chief with a hunting bow in one hand and a peace pipe in the other. Printed in England and published by Osiris Visions Ltd. of Westbourne Terrace, London (OA103; understood to be the third of four editions issued in the United Kingdom, with Yarrowstalks also obtaining a license to reprint the poster in America). Signed by Hendrix in black ink with his name alone to the base of the poster. A contemporary printed label from the art gallery Galerie de la Gravure (Malmo, Sweden) is neatly attached to the upper left corner and bears a handwritten note, in Swedish, indicating that Mrs. Platerud will collect it in hand. Rolled and with light overall surface creasing and a couple of small, minor tears to the edges. A very light, extremely minor stain only very slightly affects the conclusion of the signature, GProvenance: The poster was originally acquired by the Swedish collector of rock and pop posters, Ingeborg Platerud. In the late 1960s Platerud worked at the Sergelbokhandeln, a bookstore, and is understood to have obtained the signature when she met Hendrix at a nearby record store (Hendrix is known to have performed in Sweden in May and September of 1967, as well as January of both 1968 & 1969, and August 1970, just 19 days before his tragic death).
Lot 494
AR Frost (Terry, 1915-2003). Untilted (Laced III), 1994, screenprint in colours, on two sheets of Arches paper, stitched together with leather cord, printed by Coriander Studio, London in an edition of 100 impressions, signed and dated in pencil, and numbered 58/100, sheet size 260 x 540 mm (10 1/4 x 21 1/4 ins), as issued in the deluxe edition of Terry Frost, A personal narrative by David Lewis, Scolar Press, 1994, the book signed by the artist in ink to half-title, and numbered 58/100 to verso of title, numerous colour and monochrome illustrations, original black cloth, spine lettered in gilt, in dustwrapper, the screen print protected in a separate black card folder, all contained in original publisher's red cloth slipcase, 4toQTY: (1)NOTE:Kemp 138.
Lot 421
* Ellis (Clifford, 1907-1985 and Rosemary, 1910-1998). Teignmouth, colour lithograph on wove paper, initialled 'C & R E' in the plate, the full sheet, image size 56 x 44.5 cm (22 x 17 1/2 ins), sheet size 76 x 50.5 cm (30 x 19 3/4 ins), framed and glazed (86.5 x 65.5 cm) together with Elliot (Geoffrey, 1935-). Royal Pavilion, Brighton, 1968, screenprint in colours on T H Saunders Hot Press wove paper, signed, titled and numbered 34/75 in pencil, the full sheet, image size 44 x 58.5 cm (17 1/4 x 23 ins), framed and glazed (59.5 x 73.5 cm) plus Beck (Paul, 1922-). St Mary's Church, Saffron Walden, 1970s, linocut on paper, an artist's proof, signed, titled and numbered 'AP 3' in pencil, image size 53 x 39.8 cm (20 3/4 x 15 3/4 ins), framed and glazed (75 x 61 cm)QTY: (3)NOTE:Another impression of Paul Beck's St Mary's Church, Saffron Walden is held by the Fry Art Gallery, Saffron Walden (catalogue number: Coll. 1519).
Lot 498
* Bellany (John, 1942-2013). Untitled (Red Earth), 1995, screenprint in maroon on wove paper, signed and numbered 19/20 in pencil, sheet size 75 x 56 cm (29 2/3 x 22 ins), framed and glazed (83.5 x 54 cm), together with:Penwith Print Room. A Spring Collection, 1978, four (of the ten) prints from the portfolio issued by Penwith Print Room, includes Storm Moon by Roy Walker, etching on Grosvenor Chater 'Royal Cornwall' paper, signed, titled, dated and numbered 26/75 in pencil, the full sheet, plate size 24 x 17.5 cm (9 1/2 x 6 3/4 ins), sheet size 52 x 39 cm, together with prints by Helen Feiler ‘Reflections’, Alyson Stoneman ‘Lamorna Spring’ and Lieke Ritman ‘Jollytown Barn’, all signed, all the full sheet, each sheet 52 x 39 cm, contained in the original board folio with title sheet printed in red and black ink, plus:Rothenstein (Michael, 1908-1993). Rip I, 1967, colour linocut and woodcut on wove paper, laid down on card, from the edition of 35 impressions, signed and numbered twenty four and twenty five, a few marks, sheet size 74 x 60.5 cm (29 x 24 ins), andIngham (Bryan, 1936-1997). Landscape with Flowers in Vase, mixed media etching, enhanced with pen and ink, on paper, plate size measures 32.5 x 47.5 cm (12 3/4 x 18 4/5 ins), framed, overall measures 53.5 x 69.5 cm (21 x 27 2/5 ins) QTY: (7)NOTE:Sidey, The Prints of Michael Rothenstein (1993), 172a.
Lot 479
AR * Piper (John, 1903-1992). The Grotto, Halswell, Somerset, 1987, screenprint in colours on Arches wove paper, signed and numbered 47/70 in pencil, printed by Kelpra Studios and published by Marlborough Fine Art, London, Goldmark Gallery label to frame verso, mount aperture 48 x 63 cm (19 x 24 3/4 ins), framed and glazed (73 x 86 cm)QTY: (1)NOTE:Levinson 396.
Lot 487
AR * Palmer (Simon, 1956-). Drawing Across the Ocre, colour screenprint, showing a path climbing up a hill in the countryside, a figure walking through a field, signed, titled and numbered 92/150 in pencil to lower margin, image size 63 x 49.5 cm (24 3/4 x 19 1/2 ins), framed and glazed (84 x 67 cm)QTY: (1)
Lot 483
AR * Blow (Sandra, 1925-2006). Cambridge, 1990, colour screenprint on wove paper with deckled edges, signed and inscribed 'A Gift For' in pencil to lower margin, an artist's proof aside the numbered edition of 100, paper with blind embossed 'Y' to lower right corner, sheet size 55 x 75 cm (21 5/8 x 29 1/2 ins), framed and glazed (64.5 x 85 cm)QTY: (1)
Lot 443
* Brunsdon (John, 1933-2014). Pembroke II, 1969, etching with aquatint on wove paper, signed, titled and numbered 14/45 in pencil, the full sheet, image size 40.5 x 30 cm (16 x 12 ins), sheet size 57 x 39 cm (22 1/2 x 15 1/2 ins), plus Hilton (Matthew, 1948-). Dora, screenprint in colours on wove paper, signed, titled and numbered 'P.P.III', one of three printer's proofs aside from the edition of 100, the full sheet, sheet size 60 x 51 cm (23 3/4 x 20 ins), together with prints by or after Ronald Searle, Alistair Grant, W Meadows and one other indistinctly signed, the largest sheet 57 x 77 cm (22 1/2 x 30 3/4 ins), all unframedQTY: (6)
Lot 164
Patrick Caulfield (British, 1936-2005) 'Water jug 1982'screenprint in colours on wovesigned in pencil, 32/80, printed at Kelpra Studio, London, published by Waddington Graphics, London, with their blind stamp79 x 57cm Main image of good colour and in good order, signs of white dirt spots are on the glass not the work, paper slightly undulating and held in a floating mount, a fair amount of foxing showing in the white margin, full sheet 102 x 77cm., under glass in an ebonise frame with Lynne Stern Associates label verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 175
§ § John Piper (British, 1903-1992) The Red House, Painswick (L.398)screenprint, 1987, printed in colours, on Archessigned in pencil, a part from the edition of 70 copies45 x 60cm In good clean condition, slight undulation across the bottom, plain card mount and glazed bleached frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 170
§ § Bryan Pearce (British, 1929-2006) St Michaels Mountscreenprint on wovesigned in pencil and dated 1980, 65/7549.5 x 64cm, unframed Colours remain good and print in good clean condition but acid showing around the mount, visible sheet 51.5 x 66cm, plain card mount and card backing board only.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 209
▲ Patrick Caulfield RA (1936-2005) 'Tulips' screenprint, 1973, signed 'Patrick Caulfield' and numbered '54/72' l.r., published by Waddington Graphics, Londonsheet 68 x 90cm, unframedCondition ReportFoxing and smudges to margins. Dirty marks to the right edge. Light cockling to the edges. A light crease to the bottom left corner. The printed area appears to be in good condition.
Lot 214
▲ Patrick Caulfield RA (1936-2005) 'Ah! This Life is so Everyday'screenprint in colours, 1973, from 'Some Poems of Jules La Forgue'sheet 40.5 x 35cm, unframedCondition ReportThere is a circular area 6cm in diameter to the left of the blue shapes where under certain lighting conditions the black ink appears patchy and uneven. Minor scuffs to the extreme top right edge.
Lot 68
▲ Sir Peter Blake RA (b.1932) 'Gettin' In Over My Head'screenprint in colours, 2010, signed 'Peter Blake' in pencil l.r., numbered '41/250'sheet 68 x 66cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.A print of the album cover artwork created for Brian Wilson's seventh solo album, 'Gettin In Over My Head'.Condition ReportAppears to be in good condition.
Lot 215
▲ Patrick Caulfield RA (1936-2005) 'Occasional Table' (Cristea 29)screenprint in colours, 1972, signed 'Caulfield' in pencil l.r., and numbered '455/500', printed by Kelpra Studios and published by Observer Art, Londonsheet 64 x 79cm, unframedCondition ReportLight surface scratches visible under raking light. Faint dirty marks and foxing to the margins. Damp and mould spots to the lower edge which cross into the printed area, please refer to illustration. Minor handling creases. The colours are bright and the print is crisp.
Lot 237
▲ John Piper CH (1903-1992) ‘The Geffrye Museum’ (Levinson 379)screenprint in colours, 1985, signed 'John Piper' in pencil l.r., and numbered '12/100', printed by Kelpro Studio, London, published by the Friends of Geffrye Museumimage 46 x 63cmCondition ReportFramed: 58.5 x 75cmAppears to be in good condition. Not viewed out of glazed frame.
Lot 212
▲ Patrick Caulfield RA (1936-2005) 'Napkin and Onion' screenprint in colours, signed 'Patrick Caulfield' and numbered '22/72' in pencil l.r.sheet 100 x 74cm, unframedCondition ReportCreases in all four corners, as well as heavily damaged margin with multiple tears on the edges, please refer to images. Dirty marks and multiple curved indent marks from handling. A small abrasion to the pink and black stripe on the right side, lower centre. A semi-circular scratch to the pink ink at the lower edge, centre left. Please see additional condition images.
Lot 55
▲ Blek le Rat (French, b.1951) 'David with Kalashnikoff', 2007screenprint, signed 'Blek le Rat' in pencil l.r., and numbered '45/200'70.5 x 51.5cmProvenance: With Goldmark Gallery, Rutland.Condition ReportFramed: 78 x 59cmAppears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.
Lot 70
▲ Sir Peter Blake RA (b.1932) ‘Best Wishes for Gilbert and George’, screenprint in colours, signed 'Peter Blake' in pencil l.r., numbered '34/50'image 25 x 19cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 38.5 x 31.5cmAppears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.
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