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δ Bambi (b.1982)Monadonna- PlumScreenprint in colours, signed and numbered from the edition of 50 in pencil, published by Hyde Image, Ltd, London, on wove paper, with full margins, sheet 610 x 510mm (24 x 20in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ BluHeadquartersScreenprint in colours, 2008, signed in pencil, numbered from the edition of 150, printed and published by Pictures on Walls, London, with their blindstamp, on wove paper, the full sheet printed to the edges, sheet 745 x 556mm (29 3/8 x 21 7/8 in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

NO RESERVE Death NYC (b.1979)Sonic the HedgehogScreenprint in colours, 2020, signed and numbered from the edition of 100 in pencil, on wove paper, the full sheet, 448 x 318mm (17 5/8 x 12 1/2in) (unframed)

δ Ben Eine (b.1970)Moniker PrintScreenprint in colours, 2011,signed and dated in pencil, numbered from the edition of 175, on wove paper, with full margins, 520 x 370mm (20 ½ x 14 ¾ in) (framed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Ben Eine (b.1970)Revolution (White)Screenprint in colours, 2014, signed and dated in pencil, numbered from the edition of 50, printed by the artist, published by Elephants and Castles, with their blindstamps, on Coventry Rag paper, with full margins, sheet 700 x 640mm (27 5/8 x 25 ¼ in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

The Porthmeor Portfolio Eight original prints by Bryan Pearce, John Emanuel, Ralph Freeman, Naomi Frears, Sax Impey, Steve Dove, Roy Conn, and Richard Nott 3/50, each print signed and numbered in pencil in presentation portfolio; together with a Bob Crossley screenprint which was given to the first 20 purchasers of the portfolio. Information: The portfolio was produced to raise funds for the renovation of Porthmeor Studios. 

Albert Irvin (1922-2015) Star II, 1993 7/125, signed, titled, numbered, and dated in pencil (in the margin) screenprint with woodblock 68 x 93cm. Provenance: Wiseman Originals Ltd., London.

Peter Blake (b.1932) L is for Love, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Peter Blake (b.1932) N is for Nude, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Peter Blake (b.1932) Y is for Yacht, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Peter Blake (b.1932) B is for Boxer, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Peter Blake (b.1932) J is for James Dean, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Brendan Neiland (b.1941) West Central II, 1976 signed, titled, dated, and numbered in pencil (in the margin) screenprint 68 x 88.5cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson. 

John Piper (1903-1992) The Pebble Alcove, Stowe (Levinson 386), 1986 1/70, signed and numbered in pencil (in the margin) screenprint 67 x 49cm.

Jeffery Edwards (b.1945) The Morning After, 1973 53/85, signed, titled, dated, and numbered in pencil (in the margin) screenprint 64 x 74cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Ronald Brooks Kitaj (1932-2007) The Most Important Film Ever Made, 1972 69/70, signed and numbered in pencil (lower right) screenprint 69 x 103cm, unframed.

Ronald Brooks Kitaj (1932-2007) Boss Tweed, 1972 67/70, signed and numbered in pencil (lower right) screenprint 75 x 55cm, unframed.

Ronald Brooks Kitaj (1932-2007) Chris Prater, 1980 artist's proof, signed in pencil (in the margin) screenprint 75 x 61cm, unframed.

Boyd & Evans (b.1944 and b.1945) Passing Through, 1980 115/125, signed, dated, and numbered in pencil (in the margin) screenprint 38 x 89cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Richard Long (b.1945) A Climb up the Avon Gorge, 1995 36/50, signed and numbered in pencil (lower) screenprint 67 x 55cm.

Peter Blake (b.1932) W is for Wrestler, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

Peter Blake (b.1932) Bentley, 2016 130/150, signed and numbered in pencil (in the margin) screenprint 37 x 30cm.

Gerd Winner (b.1936) Underground Holborn, 1970 67/75, signed and numbered in pencil (in the margin) screenprint 97 x 70cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.  

Gerd Winner (b.1936) Mince Wall, 1978 66/75, signed and numbered in pencil (in the margin) screenprint 99 x 71cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Tom Phillips (b.1937) Ten Views of the Union Jack, 1976 screenprint published by Editions Alecto 97 x 56cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Tess Jaray (b.1937) Untitled, 1967 artist's proof, signed in pencil (in the margin) screenprint 56 x 63cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Tsuyoshi Yayanagi (b.1933) Robe Otee, 1975 13/15, signed, titled, numbered, and dated in pencil (in the margin) screenprint 79 x 55cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.

Norman Stevens (1937-1988) A Corner of Crathes Castle Garden, 1982 115/125, signed, titled, dated, and numbered in pencil (in the margin) screenprint 80 x 94cm, unframed. Provenance: From the collection of Bill Jordan. Bill Jordan founded the Jordan Gallery in the 1970s. The short-lived venture was a vibrant hub of modern art in the 70s and 80s, situated in Camden Lock, London. The Gallery exhibited many artists of the period, including David Hockney, Henry Moore, Patrick Hughes, Allen Jones, Ceri Richards, and Joe Tilson.  

Tracey Emin (b.1963) Foundlings and Fledglings - Our Angels of this Earth teapot, 2007 transfer screenprint on white china, from the edition of 200 19cm high.

Gillian Ayres (1930-2018) Lorenzo the Magnificent and Niccolo the Gear, 1967 47/75, signed, numbered, and dated in pencil (lower left) screenprint 75 x 55cm.

John Piper (1903-1992) Eye and Camera: Blue to Yellow, 1967 stamped signature (lower right) screenprint 49 x 67cm. Provenance: Solar House, Oxfordshire. Solar House was designed by architect Jack Bonnington (1928-2020) in the 1960s. The furniture and lighting were purchased new when the house was built, with a focus on the most innovative designers of the period to compliment the cutting-edge look of the house.

Peter Blake (b.1932) V is for Valentine, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed. 

Peter Blake (b.1932) Z is for Zebra, 1991 44/95, signed, numbered, and titled in pencil (in the margin) screenprint 102 x 77.5cm, unframed.

John McLean (1939-2019) Untitled, 1995 from the Mountjoy suite 38/40, signed, numbered, and dated in pencil (in the margin) screenprint 75 x 56cm, unframed.

John McLean (1939-2019) Untitled, 1995 from the Mountjoy suite 33/40, signed, numbered, and dated in pencil (in the margin) screenprint 75 x 56cm, unframed.

Peter Sedgley (b.1930) Counter Point '64, 2000 11//150, signed, dated, titled, and numbered in pencil (in the margin) screenprint 68 x 67cm, unframed.

Victor Pasmore (1908-1998) Untitled 11, 1991 18/30, signed, dated, and numbered in pencil (in the margin) screenprint 77 x 111cm.

Patrick Caulfield (1936-2005) She'll have forgotten her scarf, 1973 from an edition of 200 screenprint 40 x 35cm.

Patrick Caulfield (1936-2005) You'll be sick if you spend all your time indoors, 1973 from an edition of 200 screenprint 40 x 35cm.

Patrick Caulfield (1936-2005) Vessel, 1987 8/35, signed, numbered, and titled in pencil (in the margin) screenprint 116 x 88cm, unframed.

Patrick Hughes (b.1939) Déjà Vu, 1976 artist's proof 2/10, signed, titled, and dated in pencil (in the margin) screenprint 68 x 102cm, unframed.

Brendan Neiland (b.1941) Glencoe 72/100, signed, titled, and numbered in pencil screenprint 80 x 59cm, unframed.  

* Reginald James Lloyd [1926-2020]-Figure drawing,:- signed and dated 1969mixed media, 45 x 30cm,together with a screenprint of a river scene with Palladian building, signed and dated 1968, numbered 2/25, image 36 x 46cm. [2]

*Tom Phillips [b.1937] -Schism & Skin Game,:- screenprint, signed and numbered 46/75 in pencil in the margin, Advanced Graphics London blindstampsheet size 75 x 54cm.

* Cozette de Charmoy [b.1938] - Balloons,:- screenprint,signed and dated '83, inscribed with title and numbered 58/85sheet size 79 x 62cm.

* John Patrick Reynolds [Contemporary]-Dennis the Menace,:-screenprint, signed and numbered A/P 1/244 x 33cm.

Donald Hamilton Fraser, Dancer rehearsing Juliet, 1989, signed and numbered in pencil 7/295, screenprint, 71cm x 53cm.Footnote: Provenance: CCA Galleries, Dover St, London, purchased 1995.

(See English version below)Tom Wesselmann (Cincinnati, Ohio 1931 – 2004 New York). Thames Scene with Power Station. 1990Paravent mit beidseitiger Farbseriegrafie. 203 × 267 × 5,5 cm ( 79 ⅞ × 105 ⅛ × 2 ⅛ in.). Signiert, nummeriert und mit Prägestempeln. Eines von 30 nummerierten Exemplaren. Hrsg. von International Images. [3293]Provenienz: Privatsammlung, HessenZustandsbericht: Ex. 1/30. Harmonischer Gesamteindruck. Die Farben der Seriegrafie frisch und leuchtend. Das Holz des Paravents stellenweise bestoßen und mit FarbverlustenWir berechnen auf den Hammerpreis 30% Aufgeld.Tom Wesselmann (Cincinnati, Ohio 1931 – 2004 New York). Thames Scene with Power Station. 1990Folding screen with double-sided screenprint. 203 × 267 × 5,5 cm ( 79 ⅞ × 105 ⅛ × 2 ⅛ in.). Signed, numbered and stamped.One of 30 numbered copies. Edition International Images. [3293]Provenance: Private Collection, HesseCondition report: No. 1/30. Harmonious overall appearance. The colours of the screenprint are fresh and luminous. The wood of the screen is bumped in places and with some losses of paintWe charge 30% premium on the hammerprice.

CHARMING BAKER (British b.1964) 'Try not to always think the worst', 2013, 21 colour screenprint on Somerset satin white paper, acrylic on paper, signed in pencil, with artist's embossing, 102.5cm x 76.5cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

Jean Lauthe (French 1918-1982),Abstract shapes,signed in pencil and numbered 14/40,screenprint,57 x 44 cm CONDITION REPORT: Frame and glazing loose. Discolouration.

Jacuf (1960's School),An abstract study of boats,signed and numbered 58/120,screenprint,47 x 45 cm

Caron (Late 20th Century),Red shapes and black lines,signed and dated '91,screenprint,73 x 54 cm,together with two others in the same series CONDITION REPORT: Unframed.

Janet Preston (Northern-Irish),'Engineers',signed and numbered 6/10,screenprint,82 x 60 cm*The artist is an associate lecturer in Fine & Applied Art at the University of Ulster, Belfast. She has been the recipient of several awards from the Arts Council for Northern Ireland and British Council. CONDITION REPORT: Dimensions for image only. The screenprint has come slightly loose from the boxing but the condition is fine. Glazing good. Hangs nicely.

Mark Petty (contemporary)'Goodbye Blue Mondays', Alice on a bomb,signed and inscribed,screenprint with diamond dust, gloss varnish, metallic ink and hand-painted glitter,unframed or mounted, 90 x 60 cm*Please Note: VAT will be added to the hammer price of this lot

After Andy Warhol (American 1928-1987) "Marilyn, 11.25 (Green)", 2012, from the edition of 2500, on Archival Museum Board, published by Sunday B Morning, with their rubber stamps in blue ink verso, screenprint in colours.sheet size 91.5cm x 91.5cm (36in x 36in)Condition report:The print is in good, original condition with strong colours and no obvious faults to report. The print is unframed.

Peter Blake C.B.E., R.D.I., R.A. (British 1932-) "Babe Rainbow", 1968, from the edition of 10,000, with printed text on verso, the full sheet printed to the edges, screenprint on pressed tin.66cm x 44cm (26in x 17.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no major visible scratching. The print is unframed.

Peter Blake C.B.E., R.D.I., R.A. (British 1932-) "The Beatles, 1962", signed and numbered 324/500 in pencil in the margin, 2012, on Somerset wove paper, published by Pallant House Gallery, Chichester, with full margins, screenprint in colours, unframed.sheet size 71cm x 55.5cm (28in x 21.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.

Chris Levine (Canadian-British 1960-) X Marks the Spot 1 (Yellow/Red), 2018, signed but unnumbered edition of 25, published by Jealous Gallery, with full margins, one colour screenprint with glitter overlay on somerset satin radiant white 410gsm paper.sheet size 30cm x 30cm (11.75in x 11.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed with all original packaging.

Pure Evil (British 1968-) "New Logo For The Favela Looting Team", 2015, signed and numbered in pencil, with embossed stamp, on 330 gsm Fedrigoni paper, screenprint in colours.sheet size 72cm x 72cm (28.25in x 28.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is unframed.

Brendan Neiland (RA b.1941) Limited edition screenprint Reflections of a car bonnet, signed lower left, no.15/60, 1972, 67cm x 94cm