Cecil Collins (British, 1908-1989) The Voice of The Fool, 1944 This edition limited to 30 copies was drawn and printed by Cecil Collins for this friends. Screenprint on paper Signed and numbered 22 in pencil by the artist Framed and glazed Measures approx. 40cm x 32cm (16" x 12.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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Beryl Cook (British, 1926-2008) Street Market Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped FDA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Beryl Cook (British, 1926-2008) Two On A Stool Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped ECA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Emma Lawrenson (b.1973) 'Folded', screenprint, edition of 5, signed and dated 2012 to the lower right, approximately 56cm x 76cmProvenance: Royal Academy of Art Summer Exhibition 2013, no. 372.Literature: Summer exhibition 2013 list of works, The 245th Royal Academy of Arts Summer Exhibition, Royal Academy of Arts (London), RA Collection: Book, record number 17/3085, London: RA Publications, [2013], Exhibition of the Royal Academy. Old labels attached to the back of the frame. The back of the frame has been drawn on in white. The frame with signs of wear consistent with age and use. Potential water damage/staining or natural imperfections of the wood evident on the frame.
20th Century School 'Untitled: Geometric design', screenprint, numbered 14/45, indistinctly signed in pencil lower right, 149cm x 100cm 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.
Josef Albers (1888-1976)'SP-VI', screenprint, numbered 45/125, signed and dated 1967 in pencil lower right, 60cm x 60cm Overall minimal display wear and some scuffs to the frame. Some marks in places, possibly moisture to the underside of the glass. Please see images for further details. We have no further provenance for this lot.
Guy de Cointet (French, 1934-1983). Screenprint on paper titled "A Page from My Intimate Journal (Part I)" depicting a jumble of block letters on a white background, 1974. Pencil signed and dated along the lower right; numbered 14/50 alon the lower left. With a certificate of authenticity from Cirrus Editions.Sight; height: 29 1/4 in x width: 21 1/2 in. Matted; height: 33 3/4 in x width: 25 1/2 in.Condition:There are no major tears, creases, or losses. Light wear to the deckled edges. The sheet is toned throughout; some acidic burn along the edges. The work is hinged with framer's tape along the corners of the verso to a non-acidic mat. Housed under a non-acidic mat. The work is not framed.
Pavel Tchelitchew (Russian, 1898-1957) Skull colour screenprint, signed and dated 1949 to plate 19 x 13 3/8 in (48.25 x 34 cm), veneered wooden frame (64.5 x 47.5 cm) * Condition: Not examined out of frame. Toning to paper and water mark to lower right corner around signature and some water spotting to upper margin. Scattered spotting and surface dirt. Sheet slightly cockled. Possibly a little faded.
Frank Stella (American, b. 1936). Lithograph and screenprint on paper titled "Sinjerli Variation Squared with Colored Ground 1A," depicting the artist's signature geometric protractor composition with a painterly quality on a mustard yellow ground. The geometric circle is comprised of interlocking shapes in a rainbow of colors. Executed in 1981, this work is number six of ten artist's proofs along with a further edition of 61. Pencil signed, numbered, and dated along the lower left.Provenance: Private Connecticut Collection, 1988; Private Minnesota Collection.Reference: Richard H. Axsom, "Frank Stella Prints: A Catalogue Raisonne," New York 2016, cat. no. 130, pp. 217-218, illustrated in color.Lot Essay:By the age of 25, Stella was already being recognized for his talents, being included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College as well as "Sixteen Americans" at the Museum of Modern Art in New York all before 1960. By 1961 he had moved on from illusionistic space to flat and often irregular shapes, which would become his artistic signature. His works became increasingly minimalistic during this time, though he would extend into three-dimensional space in the 1970s and 80s, which he would self-describe as maximalist.The "Sinjerli" series was based on a painting done during his "Protractor Series" executed between 1967-71. Sinjerli was an ancient Anatolian city that reached its zenith in the 14th century BCE. The fortified citadel was surrounded by a nearly perfect double-walled circle, whose symmetry and geometry inspired the "Sinjerli Variation" series. With each subsequent work, he introduced a subtle new variation, experimenting with unique color combinations and mediums.In addition to numerous solo and group exhibitions throughout the world, his works are held in the collections of prestigious institutions such as the Hirshhorn Museum, the Whitney, the Toledo Museum of Art, LACMA, the Guggenheim, MoMA, and many others. In 2009, he was awarded the National Medal of Arts by President Barack Obama.Sight; height: 31 3/4 in x width: 31 3/4 in. Framed; height: 39 1/2 in x width: 39 1/2 in.
Andy Warhol (American, 1928-1987). Screenprint on paper from the "Sunset" series, 1972. The present work, depicted with a gold sun on a blue and green background, is one of 632 unique prints created for the Hotel Marquette in Minneapolis, Minnesota. Pencil signed and numbered 106/470 along the verso; stamped "Hotel Marquette Prints" along the verso.Provenance: Printed for the Hotel Marquette, Minneapolis, MN; Lesch Gallery, Minneapolis; Private Minnesota Collection.Lot Essay:Andy Warhol, born Andrew Warhola in 1928 in Pittsburgh, Pennsylvania, became a leading figure in the art movement known as Pop Art. As a child, Warhol was frequently kept home from school due to a chronic illness. During this time, Warhol immersed himself drawing and became captivated by the visual culture of the time, surrounded by snapshots of culture and celebrity in comic books, magazines, and commonplace items, laying the foundation for a later fascination with the intersection of artistic expression and commercial success.Warhol pursued formal art education at the Carnegie Institute of Technology and found initial success as a commercial illustrator in New York City during the 1950s. However, it was in the 1960s that Warhol catapulted to fame with the emergence of Pop Art. His Campbell's Soup Cans, Marilyn Monroe portraits, and Coca-Cola bottle paintings became iconic symbols of the movement. Warhol's unique approach drew inspiration from commercialism, mass media, and consumer culture, making him a distinctive voice in the 20th-century art scene alongside contemporaries like Roy Lichtenstein and Jasper Johns. His innovative studios, particularly "The Factory," served as avant-garde hubs of creativity, attracting diverse talents. Here, Warhol embraced screen printing, a technique that allowed for mass production of art. This method became a hallmark of his work, enabling him to blur the boundaries between art and consumer culture.In 1972, Warhol designed the Sunset series, 632 screenprints of a sunset, for the Hotel Marquette in Minneapolis, Minnesota. With their vivid colors and bold composition, the Sunset prints demonstrated Warhol's ability to elevate mundane subjects into captivating, mass-produced art, embodying his fascination with the intersection of art and commerce. In this particular print, the golden orb, haloed in a soft white, overlaid on a gradient of gray-blue and beige evokes a universality of place and beauty--an aesthetic experience and natural phenomena--that implores the viewer to consider the elemental nature of the scene, while also considering its present form: one among a series 632 similar prints. The Sunset series thus encapsulates Warhol's ability to merge high art with commercial culture while prompting reflection on the deeper implications of our consumer-driven world.In the decades since his passing in 1987, Andy Warhol’s legacy endures and his impact is evident in contemporary art, where artists continue to draw inspiration from his fusion of art, media, and consumerism. Warhol’s ability to capture the zeitgeist of his era and challenge artistic conventions ensures that his influence remains a lasting force, shaping the trajectory of art and culture well into the 21st century.Sight; height: 32 3/4 in x width: 32 3/4 in. Framed; height: 40 in x width: 40 in.
David Shrigley (British 1968-), 'I've Got Your Lipstick', 2021, screenprint in colours on wove paper, numbered from an edition of 125 in pencil verso, published by DING DONG Takuhaibin; sheet: 76 x 56cmARR sheet: 76 x 56cm In Excellent Condition No knocks, tears, or creases to the sheet This work has been stored flat and never been framed In Excellent Condition
Thierry Noir (French 1958-), 'Yes Or Noir', 2003, screenprint in colours on wove paper, signed and numbered from an edition of 100 in pencil; sheet: 50 x 60cmARR sheet: 50 x 60cm In very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.
David Shrigley (British 1968-), 'Just Fly Away', 2022, screenprint in colours on Somerset Tub Sized 410gsm Paper, signed and numbered from an edition of 125 in pencil verso, published by Stephen Friedman Gallery; sheet: 76 x 56cm ARR sheet: 76 x 56cm In Very Good Condition No knocks, tears, or creases to the sheet This work has been stored flat and never been framed In Very Good Condition
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 70cm (Framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 50 x 70cm (Framed) Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In good condition No visible tears to the sheet Some minor scratches shown to the black background of the sheet, visible upon close inspection Minor markings to the left hand side and upper right hand section of the sheet There is some wear shown around the edges of the sheet and some markings around the grey border Minor crease to the lower middle edge of the sheet and to the right of the main image There is some light waving/creasing to the sheet, visible in raking light This work has been framed in a black frame with a black mount and mylar corners have been used This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Vhils (Portuguese 1987-), 'Layers #1016', 2022, unique, screenprint in colours on wove paper, signed and numbered 1/1 in pencil, from a project of 2803 unique digital editions; sheet: 70 x 50cmIn very good condition No visible knocks, tears or creases to the sheetMinor markings around the black border of the sheet and some minor markings to the sheet verso, visible upon close inspection This work has currently stored flat and has not been framed.
John Piper (British 1903-1992), 'Lower Brockhampton', 1983, screenprint in colours on Arches paper, signed and inscribed AP in pencil, the main edition was 75; 72.5 x 72.5cm inc frameARR 72.5 x 72.5cm inc frame In very good condition No visible knocks, tears or creases to the sheet One minor mark to the lower left hand edge of the sheets white border, visible upon close inspection This work has been framed in a wooden frame with a white/black layered mount This work has not been examined outside of the frame.
David Shrigley (British 1968-), 'Stop Panicking', 2021, screenprint in colours on 410gsm Somerset Satin Tub Sized paper, signed, dated, and numbered from an edition of 125 in pencil verso, published by Jealous Gallery; sheet: 75.5 x 56cm (Framed)ARR sheet: 75.5 x 56cm (Framed) In very good condition No visible knocks, tears or creases to the sheet This work has been framed in a white frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Tracey Emin (British 1963-), 'Everybody Needs A Place To Think', 2002, screenprint on linen handkerchief, signed and dated, from an edition of 1500, commissioned by the BBC; handkerchief: 54 x 54cmARR In very good condition No visible rips or tears to the fabric No stains to the material Three horizontal folds and three vertical folds to the fabric, as originally issued This work has been stored folded.
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12816 item(s)/page