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Click here to subscribeDavid Shrigley (British 1968-), 'Balance The Ball On Your Nose', 2022, screenprint in colours on 410gsm Somerset Satin Tub Sized paper, signed and numbered from an edition of 125 in pencil verso, published by Shrig Shop; sheet: 75 x 56cmARRsheet: 75 x 56cmIn excellent conditionNo knocks, tears or creases on the sheet This work has been stored flat and has never been framed.
Thierry Noir (French 1958-), 'JAZZ', 2015, screenprint in colours on 410gsm Somerset Satin paper, signed and numbered from an edition of 50 in pencil, published by Howard Griffin Gallery; sheet: 101 x 67cmARRsheet: 101 x 67cmIn excellent conditionNo knocks, tears or creases to the sheetThis work has been stored rolled and has never been framed.
David Shrigley (British 1968-), 'Untitled (You Are Special)', 2018, screenprint in colours on 410gsm Somerset Tub Sized paper, signed, dated, and numbered from an edition of 125 in pencil verso, published by Stephen Friedman Gallery; sheet: 76 x 56cmARRsheet: 76 x 56cmIn good condition No knocks or creases to the print 5cm professionally repaired tear in top right of print, visible under normal viewing conditions This work has been stored flat.
Mehdi Ghadyanloo (Iranian 1981-), 'Escape To Destiny', 2016, hand-embellished screenprint in colours on wove paper, signed and numbered from an edition of 25 in pencil; sheet: 68 x 68cmsheet: 68 x 68cmIn very good conditionNo knocks, tears or creases to the sheetMinor printing irregularity at the top right edge of print, visible upon close inspectionThis work has been stored flat and has not been framed.
Banksy (British 1974-), 'Banksquiat (Grey)', 2019, screenprint in colours on grey card, signed and numbered from an edition of 300 in pencil, published by the Artist; sheet: 70 x 70cm (Framed)ARRsheet: 70 x 70cm (Framed)Provenance: This work is accompanied by a Pest Control Certificate Of AuthenticityIn Excellent ConditionNo knocks, tears, or creases to the sheetThis work has been framed to a good standard in a black frame using Museum Glass 99% UV Protective Tru VueThis work has not been examined out of the frameIn Excellent ConditionProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity and the original number GDP Grey Tag
David Shrigley (British 1968-), 'A Gap In The Clouds', 2020, screenprint in colours on 410gsm Somerset Tub Sized paper, signed and numbered from an edition of 120 in pencil verso, published by Jealous Gallery; sheet: 75 x 55cmARRsheet: 75 x 55cmIn excellent conditionNo knocks, tears or creases to the sheetThis work has been stored flat and has never been framed.
Mehdi Ghadyanloo (Iranian 1981-), 'An Illusion Of Happiness', 2016, hand-embellished screenprint in colours on wove paper, signed and numbered from an edition of 50 in pencil; sheet: 81 x 81cmsheet: 81 x 81cmIn Very Good ConditionNo knocks, tears, or creases to the sheetThis work has been stored flat and never been framedIn Very Good Condition
Banksy (British 1974-), 'GDP Flower Thrower', 2019, screenprint on 50gsm paper; sheet: 76.5 x 57.5cmARRsheet: 76.5 x 57.5cmIn good conditionNo knocks or tears to the sheetThere are a number of creases/waving to the sheets, however, please note this is as a result of the screening process as the works are executed on very low stock paper and is not considered damage, this is reflective of all GDP prints This work has been stored flat and has not been framed.
Roby Dwi Antono (Indonesian 1990-), 'Bulan', 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 has never been framedIn Excellent Condition
Jonas Wood (American 1977-), 'Untitled (Orchid II)', 2015, screenprint in colours on Arches 88 paper, signed, dated and numbered from an edition of 50 in pencil, published by Cirrus Editions; sheet: 37.5 x 30.2cm37.5 x 30.2cmIn Excellent ConditionNo visible knocks, tears, or creases to the sheetThis work has been stored flat and never been framedIn Excellent Condition
Δ John Piper CH (1903-1992)'Binham Abbey' (Levinson 318)screenprint in colours, 1981, signed 'John Piper' in pencil l.r., artist's proof outside of the edition of 70plate 55 x 76cmCondition ReportFramed size: 79 x 99cmUnexamined out of glazed frame, appears to be in good condition. Well-presented and ready to hang.
▴ John Piper CH (1903-1992)'Wymondham, Norfolk' (Levinson, 324)screenprint in colours, 1981, signed 'John Piper' in pencil l.r. and numbered 33/70 l.l.55 x 76cmCondition ReportFramed size: 80.5 x 100.5cmUnexamined out of glazed frame, staining to the mount and foxing throughout in margins and across the image too, wave to the sheet, please refer to images online.
▴ Victor Pasmore (1908-1998)'Points of Contact No.18'screenprint in colours, signed with initials and dated 'VP/73' in pencil l.r. and inscribed 'A/P' l.l., also signed and inscribed in pencil verso, artist's proof aside from the edition of 70, printed by Kelpra Studio, published by Marlborough Graphicsplate 56 x 39.5cmsheet 83.4 x 60cmProvenance: Austin/Desmond Contemporary Books, Bloomsbury, 1991.Condition ReportFramed size: 89 x 74cmViewed out of glazed frame, water damage to mount but this has not gone through to the sheet. Some time staining to margins and some dots of foxing, some pale brown marks at edges, please refer to images, the printed area is bold and bright and the immediate border around the image is fairly clean and bright. Slight rippling to sheet. Re-mounting the work would hide many of its condition notes.
▴ Bryan Pearce (1929-2007)'St Ives from Fernlea Terrace', 2005screenprint in colours, signed and dated 'Bryan Pearce/05' in pencil l.r., and numbered 43/75 l.l.48.5 x 58.5cmCondition ReportFramed size: 70.5 x 79cmUnexamined out of glazed frame, appears to be in good condition and is well presented, ready to hang.
▴ Sir Peter Blake (b.1932)'M is for Marilyn Monroe'screenprint in colours, from the Alphabet Series, 1991, signed 'Peter Blake', inscribed with title and numbered 23/95 in pencilsheet 103 x 99cm, unframedCondition ReportSmall rub with dot-sized dent in lower centre margin, please refer to images. A couple of light marks verso, light handling creases, otherwise in good order.
▴ Damien Hirst (b.1965)'The Independent (RED)', 2008screenprint in colours, signed 'D Hirst' in pencil l.c., also signed by Bono, numbered 179/300, co-published by Other Criteria, London and The Independent67 x 51cmProvenance: Acquired from The Independent, 19 December 2007.Sold with a letter detailing the purchase of the print from The Independent to the vendor.On 16 May 2006, The Independent published a special edition of the paper known as its RED edition. This was guest edited by Bono (of U2) and the front page was designed by Damien Hirst. The iconic front cover was recreated as a limited edition print and readers could apply to buy one of the prints. Funds raised from sales were donated to the Global Fund to help fight Aids.Condition ReportFramed size: 75 x 57cmUnexamined out of the frame, appears to be loosely attached at corners to backing, slight wave to the sheet, but generally appears to be in good condition.
▴ Mark Wallinger (b.1959)'Ghost', 2001screenprint, signed 'M Wallinger' in pencil l.r., numbered 366/500 verso, with Whitechapel stamp verso, published by Whitechapel Art Gallery for the artist's 'No Man's Land' exhibition 16 Nov 2001-13 Jan 2002image 51 x 44cmProvenance: Acquired from Whitechapel Art Gallery, 4 Dec. 2001.Condition ReportFramed size: 58.5 x 51.5cmViewed out of frame, two small nicks from staples used by framer at left margin, very minor and only noticeable on close observation, overall in good condition.
▴ The Connor Brothers (b.1968)'I Don't Want to Belong to Any Club That Would Have Me As a Member' (Red)screenprint in colours, signed and dated 'Connor Brothers 19' in pencil l.r. and numbered 33/50 l.l.100 x 68cmCondition ReportFramed size: 111 x 78.5cm.Unexamined out of glazed frame, appears to be in good condition.
▴ Banksy (b.1974)'Laugh Now, But One Day We'll Be In Charge'screenprint in colours on vinyl sleeve, with vinyl record, signed in plate l.r. and numbered 0507 verso31.5 x 31.5cmCondition ReportFramed size: 48.5 x 48.5cmExamined out of glazed frame, there is some creasing to record sleeve in a curve along edge of record, more so to side not visible in frame, a tiny speck of dirt and small lines indented, these are hardly noticeable. Record is also contained within frame. Spine of the record reads 'DJDM Keep it Real/Laugh Now PC2'.
*PETER CHASE (Contemporary) 'In the Street' signed, dated '77, titled and numbered 1/10 in pencil to the margin, screenprint, 44cm x 39cm; together with three smaller etchings by Chase: 'See Ya Mate', 'Back Street Madonna', and 'A Secret Place' (4)Provenance: The Collection of Bournemouth & Poole College.
*JOHN PIPER (1908-1992) 'Garn Fawr, Pembrokeshire' (Levinson 192) signed and inscribed 'proof' in pencil to the margin, screenprint on J. Green 233lb paper, printed by Kelpra Studio in 1968 and published by Marlborough Fine Art in 1968, the image 42cm x 64cmProvenance: Private family collection, Dorset
Dame Elisabeth Frink R.A. (1930-1993) British, 'Green Man (Red)', screenprint in colours, 1992, on wove, signed and numbered 67/70 in pencil, 55.5 cm x 51.5 cm framed and glazed.Private collectionThe print is loose in the mount, and will require attention to fix. No apparent damage to the print itself.
Louise Nevelson (American, 1899-1988). Screenprint on acetate over serigraph on glossy white wove paper titled "I Do Like To Be Beside the Seaside," from the portfolio "Facade," 1966. Faintly pencil signed and dated along the lower right; inscribed "Artist's Proof" along the lower left. Titled and with a poem by British poet Edith Sitwell printed along the verso. This work depicting an abstract collage of Nevelson's own sculptures inspired by Sitwell's poetry.Lot Essay: Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger-than-life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.Louise Nevelson was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumber yard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items. When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League. Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied. In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant. In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her. She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry.Sight; height: 22 3/4 in x width: 17 1/4 in. Framed; height: 23 1/2 in x width: 18 in.
Bridget Riley (British, born 1931)Untitled (based on Primitive Blaze) signed, dated and numbered 29/40 in pencil screenprint, 1962, on wove paper45.7 x 45.7cm (18 x 18in).published by the artist, LondonFootnotes:LiteratureTommasini & Gubay, Bridget Riley, The Complete Prints 1962-2020, The Bridget Riley Art Foundation and Thames & Hudson Ltd., London, 2020 (BRS.3).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
Bridget Riley (British, born 1931)One Small Step signed, titled, dated and numbered 183/300 in pencilscreenprint in colours, 2009, on wove paper44.1 x 29.1cm (17 3/8 x 11 7/16in).printed by Artizan Editions, HoveFootnotes:LiteratureTommasini & Gubay, Bridget Riley, The Complete Prints 1962-2020, The Bridget Riley Art Foundation and Thames & Hudson Ltd., London, 2020 (BRS.70).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
A signed colour photograph of Her Majesty Queen Elizabeth II, the Official Portrait taken by Peter Grugeon for the 1977 Silver Jubilee, signed and dated 1981, in a gilt black leather frame. image 28 x 23 cm. overall 37 x 27 cm. Taken by Peter Grugeon in 1975. One of the most popular images taken of the Queen. Used many times in different versions including portraits, engravings, postcards and our bank notes to this day. Also used by Andy Warhol for his famous screenprint.The Queen is depicted wearing Grand Duchess Vladimirs' tiara (smuggled out of Russia during the revolution), Queen Victoria's Golden Jubilee necklace, Queen Alexandra's wedding earrings and garter sash.Provenance; formerly the property of Sir Michael Newington, HM Ambassador to Brazil 1987-1992.**CONDITION REPORT**Possibly very slightly faded but still of fair colour.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.
LEIBOVITZ, EDWARD (1946), signed l.r. Jewish scenes, screenprint, edition 16/150, 66,5 x 44,5 cm, set of 4, including folder. (Leibovitz is known for his glassworks like the windows in the Portugese Synagogue in Antwerp) (4x)LEIBOVITZ, EDWARD (1946), gesign. r.o. Joodse scenes, zeefdruk, editie 16/150, 66,5 x 44,5 cm, set van 4, inclusief map (Leibowitz is bekend om zijn glaskunst, oa. de ramen van de Portugese Synagoge in Antwerpen) (4x)
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