PDF

BLOOMSBURY
AUCTIONS
london
EDITIONS & WORKS ON PAPER

Wednesday 2nd December 2015
Part of The Stanley Gibbons Group plc
IMPORTANT NOTICES
Please see Conditions of Business and Conditions of Sale at the back of this catalogue
Bloomsbury Auctions is a trading name of Greenfield Auctions Limited. Greenfield Auctions Limited is registered in England,
company number: 07546217, registered office: 399 Strand, London WC2R 0LX.
Description and Condition of Lots
Prospective buyers must satisfy themselves concerning the condition of
the goods and the matters referred to in the catalogue description, in
accordance with section 6 of the Conditions of Sale and Business. Solely
as a convenience, Bloomsbury Auctions may provide condition reports.
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 (made either orally or in writing), make reference to
damage and/or restoration. We provide this information for guidance
only and the absence of such a reference does not imply that an item is
free from defects or restoration, nor does a reference to particular defects
imply the absence of any others.
Collation of Books
If, on collation, any NAMED items in this catalogue prove defective, in
text or illustration, the purchaser may reject the lot provided he returns
it within fourteen days stating the defect in writing. This however will
not apply in the case of un-named items, periodicals, autograph letters,
manuscripts, music, maps, atlases, prints or drawings, nor in respect of
damage to bindings, stains, foxing, marginal wormholes or other defects
not affecting the completeness of the text, nor in respect of lack of list
of plates, inserted advertisements, cancels or subsequently published
volumes, supplements, appendices or plates or error in the enumerating
of the plates, nor in respect of defects mentioned in the catalogue or
announced at the time of sale.
Storage Charges
Purchasers are advised that a storage charge of 1.00 per lot per day may
be levied on all purchases not cleared within five working days of the sale.
Commission Bids
Bloomsbury will execute bids on your behalf if you are unable to attend
the sale. Commission or absentee bids are accepted either directly at
reception, or can be sent by post, fax, email, telephone or via the website:
www.bloomsburyauctions.com. Bloomsbury will add these bids to the
auctioneers sale book and will undertake to purchase the lots on your
behalf as cheaply as allowed by other bids and reserves. Bloomsbury
does not accept liability for failing to execute commission bids, or for any
errors or omissions.
Shipping
Bloomsbury Auctions can accommodate shipping for certain items,
please contact our Shipping Department for more information.
International Buyers are responsible for all import/export duties and
taxes. An invoice stating the actual purchase price will accompany all
international purchases.
Export Licences
A licence from the Museums, Libraries & Archives Council will be required
before items of certain kinds may be exported from the United Kingdom.
Any item containing ivory will require a CITES licence before it can be
exported from the EU.
Payment
Payment will be accepted, if you are a successful bidder, by Debit Card
drawn on a UK bank and registered to a UK billing address. There is no
additional charge for puchases made with these cards, in cash up to
12,000 (subject to relevant money laundering regulations), by bank
transfer direct into our bank account, Bank Details: Natwest, 214 High
Holborn, London WC1V 7BX. Account Name: Bloomsbury Auctions Clients
Limited. A/C: 26702975 Sort Code: 60-30-06 BIC: NWBK GB 2L IBAN: GB82
NWBK 6030 0626702975 or by all major UK issued credit cards registered
to a UK billing address with the exception of American Express and Diners
Club. A surcharge of 3% is payable on all payments made by credit card.
This surcharge does not apply to debit card payments. Payment may also
be made by Sterling personal cheques drawn on a UK bank account but

Bloomsbury regrets that purchases paid for by this method cannot be
collected until your cheque has cleared.
Artists Resale Rights (Droit de Suite)
Lots marked with an delta symbol () are subject to the Artists
Resale Right Law.The buyer agrees to pay Bloomsbury Auctions an
amount equal to the resale royalty and we will pay such amount to the
artists collecting agent. Resale royalty applies where the Hammer price is
1,000 Euros or more and the amount cannot be more than 12,500 Euros
per lot.The amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euros)
4.00%
3.00%
1.00%
0.50%
0.25%
up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the purposes of

calculating the resale royalty the Pounds Sterling/ Euro rate of exchange
will be the European Central Bank reference rate on the day of the sale.
VAT
Zero-rated items such as books, unframed maps and albums are not
subject to VAT on the buyers premium. Eligible items such as manuscripts,
prints, photographs, drawings, framed maps, paintings, pens and
other objects are subject to VAT on the buyers premium as part of the
auctioneers margin scheme at a rate of 24%. This will be invoiced at a rate
inclusive of premium and VAT. Lots with an asterisk (*) in the catalogue are
subject to VAT on the hammer price as well as the buyers premium. Lots
marked with a double asterisk (**) have been imported from outside the
EU to be sold at auction and therefore the buyer must pay the import VAT
at the rate of 5% on the Hammer Price and the Buyers Premium.
Valuations
We undertake valuations for Probate and Insurance, fees being agreed
by prior arrangement. If items are subsequently consigned for sale, the
fees will be refunded.
Annual Catalogue Subscriptions
UK Overseas
Full subscription (approx. 80 sales)

All Visual Arts (approx 22. sales)
19th Century and earlier Pictures & Prints (approx. 14 sales)
Modern & Contemporary Prints (approx. 4 sales)
Photographs (approx. 2 sales)
Books, Manuscripts and Maps (approx. 20 sales)
Antique Furniture: including Garden Statuary, Rugs & Textiles (approx. 10 sales)
Jewellery, Silver & Watches: including Vintage Pens
and Luxury Accessories (approx. 8 sales)
Asian Art: Ceramics & Works of Art (approx. 4 sales)
Ceramics & Decorative Arts (approx 3. sales)
Clocks & Scientific Instruments (approx. 4 sales)
Fine Wine, Port & Champagne (approx. 6 sales)
Medals and Militaria (approx. 3 sales)
Transport: including Railwayana and other collectibles (approx. 3 sales)
450
200
130
50
25
200
120
600
300
200
80
40
300
170
90
40
25
35
20
25
25
130
55
40
45
30
40
40
Opening hours: We are open Monday to Friday 9.30am to 5.30pm

Live Internet Bidding
To register for free live bidding or to follow the sale online please visit
bloomsburyauctions.com/live. Live online bidding is also available for
an additional fee of 3% of the hammer price (plus VAT, if applicable) on
the-saleroom.com, liveauctioneers.com and invaluable.com. Selected
auctions are listed on theauctionroom.com for pre-sale commission
bidding execution at no extra cost. Bloomsbury Auctions does not
accept liability for any failure of these services.
BLOOMSBURY
AUCTIONS
LONDON
EDITIONS &
WORKS ON PAPER
Wednesday 2nd December 2015
Sale No. 36193
Session I: 10.30 am (Lot 1-150)
Session II: 1.30pm (Lot 151-end)
For Bidding and Sale Information:
+ 44 20 7495 9494 | info@bloomsburyauctions.com
Specialists
Shane Xu, Head of Sale
sxu@bloomsburyauctions.com
Alexander Hayter, Consultant
ahayter@bloomsburyauctions.com
Cataloguers
Phoebe Wilkinson
pwilkinson@bloomsburyauctions.com
Ellie Meyer
emeyer@bloomsburyauctions.com
Free online bidding is available at

bloomsburyauctions.com/live
The Bloomsbury Auctions bidding platform allows you to watch,
listen and bid from anywhere in the world.
To register to bid:
Existing clients should visit the website and create a new login,
which will be verified against their existing account.
New clients should send us two forms of identification
(one to be photographic) along with their registration.
Once verified, clients will be able to bid in all future auctions.
Illustrations Front cover: lot 285 | Back cover: lot 421
Viewing
Sunday 29th November 2015
11.00 am - 4.00 pm
Monday 30th November 2015
9.30 am - 5.30 pm
Tuesday 1st December 2015
9.30 am - 7.30 pm
Day of Sale from 9.30 am
Catalogues 10 (12 by post)
For information on buyers premium charges please refer to
Commission Charges on the Important Notices page opposite
Bloomsbury Auctions
Bloomsbury House
24 Maddox Street, London W1S 1PP
Tel: +44 (0) 20 7495 9494
Fax: +44 (0) 20 7495 9499
info@bloomsburyauctions.com
www.bloomsburyauctions.com
LONDON
MODERN BRITISH
www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494
LONDON
1
Craigie Aitchison (1926-2009)
Daffodils & Candlesticks
screenprint in colours, 1998, signed in white ink,
inscribed AP XIII/XV, an artists proof aside from the
edition of 75, on wove paper, the full sheet printed to
the edges, sheet 694 x 562 mm (27 1/4 x 22 1/8 in)
3
Norman Ackroyd (b.1938)
St Kilda - Stac Lee and Stac an Armin etching with
aquatint, 1990, signed, titled and dated in pencil,
numbered 18/90, on wove paper, with full margins,
sheet 585 x 755 mm (23 x 29 3/4 in)
150 - 200
250 - 350
2
Craigie Aitchison (1926-2009)
Birds
lithograph printed in colours, 1996, signed and dated
in black ink, numbered 83/100, on wove paper, with
full margins, sheet 282 x 232 mm (11 1/8 x 9 1/8 in)
4
John Banting (1902-1972)
Siamese Triplets; Negro Guitarist
two linocuts, 1932-35, each signed and dated in
pencil, numbered 37/45 and 6/45 respectively,
published by Alexander Postan Ltd, London, each on
wove paper, with full margins,
overall size 225 x 275 mm (8 7/8 x 10 7/8 in)
600 - 800
300 - 500
3
LONDON
5
George Bissill (1896-1973)
Crucifixion
woodcut, signed in pencil, numbered 7/15,
on tissue thin Japon paper, with full margins,
sheet 171 x 127 mm (6 3/4 x 5 in)
7
John Buckland-Wright (1897-1954)
La Danseuse Kham Luong No. II
wood-engraving, 1936, signed, titled, dated and
inscribed for Chas 1.1.37. in pencil, numbered 4/30,
on tissue thin Japon paper, with full margins,
sheet 200 x 137 mm (7 7/8 x 5 3/8 in)
200 - 300
300 - 500
6
Horace Asher Brodzky (1885-1969)
The Expulsion
linocut printed in black, 1919, signed in pencil,
sheet 331 x 219 mm (13 x 8 5/8 in)
250 - 350
8
Nu Couch (+ 1 work)
two engravings, c.1940, each signed in pencil, the first
numbered 4/30, both on wove paper,
with full margins, 30 x 115 mm (1 1/4 x 4 1/2 in) and
63 x 52 mm (2 1/2 x 2 in)
300 - 500
LONDON
11
10
12
9
Susanna (+ 1 work)
two engravings, c.1930, each signed in pencil, the
first numbered 17/30, each on wove paper, with full
margins, 123 x 90 mm (4 7/8 x 3 1/2 in) and 140 x 100
mm (5 1/2 x 4 in)
11
Lynn Chadwick (1914-2003)
Homage to Picasso
in pencil, numbered 63/80, published by PropylenVerlag, Berlin, on Rives paper, the full sheet printed to
the edges, sheet 770 x 560 mm (30 1/4 x 22 in)
300 - 500
300 - 500
10
Lynn Chadwick (1914-2003)
Hammacher
lithograph printed in colours, 1971, signed and
dated in pencil, a proof aside from the edition of 90,
published by Erke Presse, St. Gallen, Switzerland, on
BFK Rives paper, the full sheet printed to the edges,
sheet 765 x 560 mm (30 1/8 x 22 in)
12
Graham Clarke (b.1941)
British Butterflies
etching with hand-colouring, signed in pencil,
inscribed Artists Proof, on wove paper, with full
margins, 210 x 360 mm (8 1/4 x 14 1/8)
200 - 300
300 - 500
5
LONDON
15
13
13
Henry Cliffe (1919-1983)
Birds
three lithographs with extensive hand colouring in
watercolour, 1951, one signed and dated in black ink,
each on wove paper, with margins,
each 520x 315 mm (20 1/2 x 12 3/8 in)
400 - 600
14
from the Music suite
three lithographs printed in colours, 1964, each
signed and dated in pencil, numbered 20/50, 45/50
and 12/50 respectively, each on wove paper, with full
margins, each sheet 575 x 800 mm (22 5/8 x 31 1/2 in)
300 - 500
15
three lithographs printed in colours, 1964, each signed
and dated in pencil, numbered or inscribed variously,
each on wove paper, with full margins, each sheet
575 x 800 mm (22 5/8 x 31 1/2 in)
14
6
300 - 500
LONDON
16
16
three lithographs printed in colours, 1964, two signed
and dated in pencil, numbered 8/50 and inscribed
Artists Proof 1 respectively, each on wove paper,
with full margins, each sheet 575 x 800 mm
(22 5/8 x 31 1/2 in)
17
300 - 500
17
three lithographs printed in colours, 1964, two
signed and dated in pencil, numbered 5/50 and 7/50
respectively, each on wove paper, with full margins,
each sheet 575 x 800 mm (22 5/8 x 31 1/2 in)
300 - 500
18
Untitled
a collection of lithographic greeting cards,
each on wove paper, overall size 215 x 370 mm
(8 1/2 x 14 1/2 in)
300 - 500
18
7
LONDON
19
22
20
21
19
Beryl Cook (1926-2008)
Gare du Nord
screenprint in colours, signed and titled in pencil,
sheet 916 x 615 mm (36 x 24 1/4 in)
21
Alan Davie (1920-2014)
Celtic Dreamboat III
lithograph printed in colours, 1965, signed in pencil,
numbered 72/75, on wove paper, with margins,
570 x 800 mm (22 1/2 x 31 1/2 in)
300 - 500
200 - 300
20
Alan Davie (1920-2014)
Celtic Dreamboat II
570 x 800 mm (22 1/2 x 31 1/2 in)
22
Mary Fedden (1915-2012)
Untitled
etching with hand-colouring in watercolour, signed
in pencil, numbered 63/100, on wove paper, with full
margins, sheet 254 x 204 mm (10 x 8 in)
200 - 300
400 - 600
LONDON
23
24
23
Paul Feiler (b.1918)
Ambit S V
screenprint in colours, 1973, signed and dated in
pencil, numbered 3/20, on wove paper, with full
margins, 489 x 485 mm (19 1/4 x 19 1/8 in)
24
Ian Hamilton Finlay (1925-2006)
I - inshore fishing vessel; P - pocket battleship
two gelatin silver prints, each signed on the mount,
on smooth wove paper, with full margins,
sheet 405 x 305 mm (15 7/8 x 12 in)
300 - 500
400 - 600
25
Elisabeth Frink (1930-1993)
Spinning Man II (W.3)
lithograph, 1965, signed and dated in pencil,
numbered 5/50, from the Spinning Man series, printed
by Curwen Studio, published by Curwen Prints,
London, on wove paper, the full sheet printed to the
edges, sheet 575 x 805 mm (22 5/8 x 31 5/8 in)
300 - 500
25
LONDON
28
26
27
29
26
Sir Terry Frost (1915-2003)
Black and Red Solid II (K.39)
lithograph printed in colours, 1967, signed in
pencil, numbered 44/75, printed by Stanley Jones
at the Curwen Studio, London, published by Leslie
Waddington Prints, London, on Kent paper, with full
margins, 623 x 436 mm (24 1/2 x 17 1/4 in)
28
Robert Gibbings (1889-1958)
Industrial Scene
wood-engraving, signed and inscribed 5.50 in pencil,
on wove paper, with margins,
200 x 207 mm (7 7/8 x 8 1/8 in)
500 - 700
27
William Gear (1915-1997)
Composition
in pencil, numbered 4/30, on wove paper, with full
margins, 360 x 520 mm (14 1/8 x 20 1/2 in)
29
Duncan Grant (1885-1978);
F. E. McWilliam (1909-1992)
Interior; Women of Belfast
two lithographs printed in colours, 1973, each signed
in pencil, numbered 46/90, from the Penwith Portfolio,
each on wove paper, with full margins,
sheet 775 x 570 mm (30 1/2 x 22 1/2 in)
400 - 600
200 - 300
10
150 - 200
LONDON
30
Robert Gibbings (1889-1958)
From Twelve Wood Engravings; The Mill
eight wood-engravings, 1919-1921,
one signed in pencil, from the edition of 125,
printed by Baynard Press, London, published by the
artist, each on wove paper, with full margins,
1,200 - 1,800
11
LONDON
31
32
31
Anthony Gross (1905-1984)
Anmering Park
etching with drypoint, 1924, signed, titled and dated
in pencil, on wove paper, with margins,
162 x 250 mm (6 3/8 x 9 7/8 in)
32
Cote de la Vierge, Fecamp
etching with drypoint, 1924, signed, titled and dated
140 x 360 mm (5 1/2 x 14 1/8 in)
400 - 600
400 - 600
12
LONDON
33
Rue Chat qui Peche
etching with drypoint, 1924,
signed, titled and dated in pencil,
220 x 240 mm (8 3/4 x 9 1/2 in)
400 - 600
34
Pont Neuf, Toulouse
etching, 1929, signed,
titled and dated in pencil,
the only known print from this plate,
150 x 300 mm (5 7/8 x 11 7/8 in)
33
500 - 700
34
13
LONDON
35
37
36
38
35
Sortie dUsine No 1
etching, 1930, signed and titled in pencil, numbered
19/40, on Laid paper, with margins,
240 x 310 mm (9 1/2 x 12 1/4 in)
37
La Route de Sainte Livrade
37/50, on laid paper, with margins,
200 x 281 mm (7 7/8 x 11 1/8 in)
400 - 600
400 - 600
36
Armourers Shop
11/50, on wove paper, with full margins,
195 x 290 mm (7 5/8 x 11 3/8 in)
38
11 OClock Parade
etching, 1940, on wove paper,
with margins,
162 x 258 mm (6 3/8 x 9 7/8 in)
200 - 300
400 - 600
14
LONDON
39
41
40
42
39
Coloured Undergrowth
etching with extensive hand-colouring, signed and
titled in pencil, numbered 198/200, on wove paper,
with margins, 250 x 380 mm (9 7/8 x 15 in)
41
Feuillages au Bord de Leau
etching, signed and titled in pencil, numbered 18/50,
250 x 375 mm (9 7/8 x 14 3/4 in)
300 - 500
400 - 600
40
Paysage du Lot
etching with yellow wash, 1951, signed and titled in
pencil, inscribed VII/LX, on wove paper, with margins,
250 x 345 mm (9 7/8 x 13 1/2 in)
42
Summit
etching and engraving, 1957, signed in pencil,
353 x 443 mm (14 x 17 3/8 in)
300 - 500
300 - 500
15
LONDON
43
45
44
46
43
Chiarava/Tumult
etching, 1960, signed and titled in pencil, inscribed
artists proof, on wove paper, with margins,
352 x 455 mm (13 7/8 x 17 7/8 in)
45
A Lombre dun Noyer
287 x 345 mm (11 1/4 x 13 1/2 in)
400 - 600
300 - 500
44
La Foule, Praire des Filtres
31/40, on wove paper, with margins,
150 x 300 mm (6 x 11 3/4 in)
46
Monsieur Bernedes Vineyard
etching, 1974, signed, titled and inscribed Trial 1/4,
a proof aside from the edition of 50, on wove paper,
with full margins, 250 x 350 mm (9 7/8 x 13 3/4 in)
400 - 600
300 - 500
16
LONDON
47
49
50
48
47
Salisbury Cathedral
etching, 1976, signed, titled and inscribed Homage to
Constable in pencil, on wove paper, with full margins,
270 x 344 (10 5/8 x 13 1/2 in)
300 - 500
48
Little Serignac Landscape
etching, 1978 signed and titled in pencil, numbered
230 x 367 mm (9 x 14 1/2 in)
300 - 500
49
The Snow Maiden
pen, ink and wash on paper,
inscribed Anthony Gross the Snow Maiden,
sheet 360 x 235 mm (14 1/8 x 9 1/4 in)
Provenance:
Private Collector, UK
200 - 300
50
Evening Light
pencil and watercolour on paper, signed and inscribed
Evening Light, Port of Cannes in pencil,
sheet 375 x 555 mm (14 3/4 x 21 7/8 in)
Provenance:
Private Collector, UK
600 - 800
17
LONDON
51
53
51
Sam Haile (1909-1948)
Untitled
woodcut, on tissue paper, with margins,
100 x 130 mm (4 x 5 1/8 in)
100 - 150
52
Stanley William Hayter (1901-1988)
Greeting card for 1950-51 (B.&M.195)
the engraving, 1951, signed and dated in pencil,
the edition was circa 100, on wove paper,
with full margins,
120 x 83 mm (4 3/4 x 3 1/4 in)
300 - 500
53
Jeu dEau (B&M. 208)
engraving with soft-ground etching printed in colours,
1953, signed, dated and titled in pencil, numbered
90/200, printed by Atelier, published by LOeuvre
Gravee, Zurich, on Lauriat paper, with margins,
397 x 328 mm (15 5/8 x 12 7/8 in)
700 - 900
52
18
LONDON
54
54
Swimmers (B.&M.344)
etching and soft-ground etching printed in colours,
1970, signed, titled, dated and inscribed Essai in
pencil, a proof aside from the edition of 100, published
by A.B. Lubin, New York, on BFK Rives paper, with
margins, 486 x 590 mm (19 1/8 x 23 1/4 in)
55
250 - 350
55
Scrap Book (B.&M.421)
engraving with soft-ground etching printed in colours,
1981, signed and titled in pencil, numbered 87/100,
printed by Hector Saunier, published by Ediciones
Poligrafa S.A., Barcelona, Spain, on BFK Rives paper,
with margins, 597 x 494 mm (23 1/2 x 19 1/2 in)
250 - 350
56
Francis Kelly (b.1929)
Vineyard
three etchings, one signed and titled in pencil,
inscribed Artists Proof, each on wove paper, with full
margins, each 250 x 300 mm (9 3/4 x 11 3/4 in)
100 - 150
56
19
LONDON
57
58
57
Laurence Stephen Lowry (1887-1976)(after)
Deal Beach
offset lithograph printed in colours, 1973, signed in
pencil, from the edition of 850, published by Venture
Prints Ltd, Bristol, on wove paper, with margins,
260 x 510 mm (10 1/4 x 20 1/8 in)
58
** Laurence Stephen Lowry (1887-1976)(after)
Landscape with Farm Buildings
pencil, from the edition of 850, published by Venture
Prints Ltd, Bristol, with the Fine Arts Trade Guild
blindstamp, on wove paper, with margins,
400 x 499mm (15 3/4 x 19 5/8 in)
800 - 1,200
700 - 900
20
LONDON
59
The Pond
offset lithograph printed in colours, 1974, signed
in pencil, the edition was 850, printed by the Beric
Press, London, published by Mainstone Publications,
London, with the Fine Art Trade Guild blindstamp, on
430 x 575 mm (17 x 22 5/8 in)
500 - 700
60
** Laurence Stephen Lowry (1887-1976)(after)
The Football Match
offset lithograph, signed in pencil, numbered 229/850,
250 x 360 mm (9 7/8 x 14 1/8 in)
59
1,000 - 1,500
60
21
LONDON
61
The Family
offset lithograph printed in colours, signed in blue
biro, with the Fine Art Trade Guild blindstamp,
265 x 210 mm (10 3/8 x 8 1/4 in)
300 - 500
61
62
Three Men And a Cat
offset lithograph printed in colours, signed in blue
biro, with the Fine Art Trade Guild blindstamp,
250 x 215 mm (9 7/8 x 8 1/2 in)
300 - 500
62
22
LONDON
63
63
Robert Medley (1905-1994)
Campsite
five lithographs printed in colours, published by
Contemporary Lithographs Ltd., London,
each sheet 585 x 840 mm (23 x 33 in)
400 - 600
64
Henry Moore (1898-1986)
Two Black Forms Metal Figures (C.307)
numbered 28/80, printed by Curwen Prints Ltd.,
London, published by Gerald Cramer, Geneva, on T H
Saunders paper, with full margins,
318 x 264 mm (12 1/2 in x 10 3/8)
64
500 - 800
23
LONDON
65
La Poesie (C.315,317-325)
the portfolio, 1973-1975, comprising ten lithographs
printed in colours, each initialled in pencil,
with signed justification, printed by Curwen Prints Ltd.,
London, published by Art et Poesie, Paris,
each on Arches paper, loose as issued,
housed in original printed boards and slipcase,
6,000 - 8,000
24
LONDON
65
25
LONDON
66
Mother and Child and Reclining Figures (C.377)
etching and aquatint, 1974, a printers proof aside
from the edition of 145, printed by Atelier Lacourire
et Frlaut, Paris, published by Editions Georges Visat,
Paris, on wove paper, with full margins,
276 x 264 mm (10 7/8 x 10 3/8 in)
200 - 300
67
Half Figure (C.503)
etching, 1979, signed in pencil, numbered 11/50,
printed by Michael Rand, London, published by
Raymond Spencer Company Ltd for The Henry Moore
Foundation, on wove paper, with full margins,
125 x 125 mm (4 7/8 x 4 7/8 in)
66
300 - 500
67
26
LONDON
68
Head of a Girl Section Line (c.602)
lithographic crayon on transfer paper, signed and
dated 80, with Head of a Girl Section Line (c.602),
etching with aquatint, 1981, a proof aside from the
edition of 50, printed by Michael Rand, London,
published by the Raymond Spencer Company Ltd for
the Henry Moore Foundation, Much Hadham,
on wove paper, with full margins,
sheet 208 x 153 mm (8 1/8 x6 in)
& 197 x 150 mm (7 3/4 x 5 7/8 in)
1,500 - 2,500
27
LONDON
69
Head Study I (After Andrea Pisano), 1980
crayon on paper, signed and dated 80
11 1/4 x 9 1/8 in., 28.5 x 25.1 cm
This work is accompanied by a certificate of
authenticity by The Henry Moore Foundation, dated
9th April 2015.
1,000 - 2,000
28
LONDON
70
C.R.W Nevinson (1889-1946)(after)
Banking at 4000 feet
offset lithograph printed in colours, c.1918, signed
in pencil, bound as issued in the book The Great
War: Fourth Year: Paintings by C.R.W. Nevinson, with
an introductory essay by J.E. Crawford Flitch, printed
by Garden City Press Ltd., Letchworth, published by
Grant Richards Ltd., London, bound as issued in brown
boards, overall size 290 x 228mm (11 1/2 x 9 in)
700 - 900
71
C.R.W Nevinson (1889-1946)(after)
Column on the March
offset lithograph printed in colours, c.1917, signed in
pencil, included in the book Modern War: Paintings
by C.R.W. Nevinson, with an introductory essay by P.G.
Konody, printed by Garden City Press Ltd., Letchworth,
published by Grant Richards Ltd., London,
bound as issued in green boards,
overall size 293 x 228mm (11 1/2 x 9 in)
70
700 - 900
71
29
LONDON
72
73
72
Sidney Nolan (1917-1992)
Burke and Wills Expedition I
screenprint in colours, 1975, signed and inscribed HC
in pencil, a proof aside from the edition of 60,
sheet 740 x 825 mm (29 1/8 x 32 1/2 in)
300 - 500
73
Sidney Nolan (1917-1992)
Burke and Wills Expedition II
screenprint in colours, 1975, signed and inscribed HC
in pencil, an artists proof aside from the edition of 60,
the full sheet 740 x 825 mm (29 1/8 x 32 1/2 in)
300 - 500
74
74
Victor Pasmore (1908-1998)
Points of Contact (B&L. 26(6)
screenprint in colours, 1972, initialled and dated in
pencil, a proof aside from the edition of 60, printed by
Kelpra Studio, published by Marlborough Graphics,
London, on Japan paper, with full margins,
635 x 450 mm (25 x 17 7/8 in)
500 - 700
30
LONDON
75
76
77
75
Points of Contact No.21 (B&L. 36)
screenprint in colours, 1974, signed, dated and
inscribed AP in pencil, an artists proof aside from the
edition of 70, printed by Kelpra Studio, London,
sheet 735 x 520 mm (28 7/8 x 20 1/2 in)
77
John Piper (1903-1992)
English, Scottish and Welsh Landscape (L.37,38,41,42,45, 48)
six lithographs printed in colours, 1944, unsigned and
unnumbered as published, from the series of twelve
as included in the book English, Scottish and Welsh
Landscape, printed by Curwen Press, published by
Frederick Muller, on lithographic cartridge paper, with
margins, each 120 x 180 mm (4 3/4 x 7 1/8 in)
200 - 300
300 - 500
76
Points of Contact (B&L. 48 A,B,D)
five screenprints in colours, 1974, bearing pencil
signatures, printed by Kelpra Studio, London,
500 - 700
31
LONDON
78
80
79
81
78
Garn Fawr, Pembrokeshire (L.192)
screenprint in colours, 1968, signed in pencil,
numbered 33/70, printed by Kelpra Studio with their
drystamp, printed by Marlborough Fine Art, London,
425 x 641 mm (16 3/4 x 25 1/4 in)
80
Wymondham, Norfolk (L.324)
screenprint in colours, 1981, signed in pencil, inscribed
A/P, an artists proof aside from the edition of 70,
printed by Kelpra Studio with their blindstamp,
published by Marlborough Fine Art, London, on
Arches paper, with full margins,
557 x 766 mm (21 7/8 x 30 1/8 in)
600 - 800
800 - 1,200
79
Ettington Park (L.273) screenprint in colours, 1977,
signed in pencil, numbered 69/75, Plate II from the
Victorian Dream Palaces portfolio, printed by Kelpra
Studio, published by Marlborough Fine Art, London,
on Arches paper, with full margins,
521 x 698 mm (20 1/2 x 27 1/2 in)
81
Sunflowers (L.420)
etching and aquatint printed in colours, 1989, signed
and inscribed A/P in pencil, an artists proof aside from
the edition of 70, printed by Kelpra Studio, published
by National Art-Collections Fund, London, on Arches
paper, with margins, 400 x 548 mm (15 3/4 x 21 1/2 in)
600 - 900
600 - 900
32
LONDON
82
84
83
85
82
John Piper (1903-1992)(after)
Slopes of Glyder Fawr
lithograph printed in colours, on wove paper,
with margins, sheet 560 x 717 mm (22 x 28 1/4 in)
150 - 200
83
Graham Sutherland (1903-1980)
Sheet of Studies (T.116)
numbered 138/200, published by Cercle Graphique
Europen, Amsterdam, on wove paper,
the full sheet printed to the edges,
sheet 560 x 770 mm (22 x 30 1/4 in)
400 - 600
84
Graham Sutherland (1903-1980)
Predatory Form (T.57)
lithograph, 1953, signed in pencil, numbered 13/50,
printed by Fernand Mourlot, Paris, published by the
Redfern Gallery, London, on wove paper, with full
margins, 755 x 540 mm (29 3/4 x 21 1/4 in)
200 - 300
85
William Tillyer (b.1938)
Chest; Feed Trough, Figure 1, Sofa & Bowl
five etchings with aquatint, 1972-74, each signed,
titled and dated in pencil, one inscribed AP, an artists
proof aside from the edition, two numbered from the
edition of 60, the other numbered 73/90, each on
wove paper, with full margins, various sizes
200 - 300
33
LONDON
86
87
88
87
Julian Trevelyan (1910-1988)
Father Thames (T.220)
etching with aquatint printed in colours, signed in
margins, 358 x 473 mm (14 x 18 5/8 in)
34
89
200 - 300
86
Thames Regatta (T.64)
lithograph printed in colours, 1951, published for
School Prints and A.I.A, from the fourth series of
School Prints, also issued as Festival of Britain prints,
sheet 493 x 760 mm (19 1/2 x 30 in)
88
Richmond (T.226)
etching with aquatint printed in colours, 1969, signed
and titled in pencil, numbered 4/75, from the Thames
Suite, printed by Geoffrey Beardsall and Dorothea Wight,
published by London Graphics, on wove paper, with full
margins, sheet 790 x 580 mm (31 1/8 x 22 7/8 in)
300 - 500
400 - 600
LONDON
89
Tower Bridge (T.228)
etching with aquatint printed in colours, 1969,
signed and titled in pencil, numbered 10/75,
from the Thames Suite, printed by Geoffrey
Beardsall and Dorothea Wight, published by
London Graphics, on wove paper paper, with
full margins, sheet 585 x 765 mm (23 x 30 1/8 in)
400 - 600
90
Westminster (T.229)
etching with aquatint printed in colours,
1969, signed, titled and inscribed Artists
Proof in pencil, a proof aside from the
edition of 75, from the Thames Suite,
printed by Geoffrey Beardsall and Dorothea
Wight, published by London Graphics,
sheet 585 x 775 mm (23 x 30 1/2 in)
90
400 - 600
91
Windsor (T.230)
1969, signed, titled and inscribed Artists
Proof in pencil, a proof aside from the
edition of 75, from the Thames Suite,
printed by Geoffrey Beardsall and Dorothea
Wight, published by London Graphics, on
sheet 585 x 770 mm (23 x 30 1/4 in)
91
400 - 600
92
Islam (T.270)
etching, 1973, signed and titled in pencil,
numbered 41/52, printed by Studio Prints,
published by Leslie Waddington, London,
on T.H Saunders paper, with full margins,
sheet 585 x 775 mm (23 x 30 1/2 in)
400 - 600
92
35
LONDON
93
James Abbott McNeill Whistler (1834-1903)
Fumette (K.13)
etching, 1858, printed by Delatre, Paris,
on laid paper, with margins160 x 110mm
(6 1/4 x 4 3/8)
800 - 1,200
94
The Music Room (K.33)
etching, 1859, on laid paper, with margins,
143 x 215mm (5 5/8 x 8 1/2 in)
800 - 1,200
93
94
36
LONDON
95
96
95
Eagle Wharf (K.41)
137 x 215mm (5 3/8 x 8 1/2)
96
Barges on the Thames at Billingsgate (K.47)
152 x 228mm (6 x 9 in)
800 - 1,200
800 - 1,200
37
LONDON
97
97
Hurlingham (K.181)
etching with drypoint, 1879, on laid paper,
with margins,140 x 200 mm (5 1/2 x 7 7/8 in)
800 - 1,200
98
Avigdor Arikha (1929-2010)
Samuel Beckett Seated
etching, 1972, signed and inscribed LXIV/C
209 x 105 mm (8 1/4 x 4 1/7 in)
98
38
250 - 350
LONDON
CONTINENTAL
39
LONDON
99
Karel Appel (1921-2006)
Ttes Volantes
lithograph printed in colours,
signed and inscribed E.A in pencil,
an artists proof aside from the edition
of 125, on wove paper, with margins,
635 x 510 mm (25 x 20 in)
200 - 300
99
100
Pierre Bonnard (1867-1947)
Le Bain
lithograph, circa 1925,
with the printed signature,
from the edition of 50,
published by Galerie des Peintres
Graveurs, Paris, with their blindstamp,
on Chine volant paper,
with full margins, sheet 367 x 272 mm
(14 1/2 x 10 3/4 in)
1,000 - 1,500
100
40
LONDON
102
101
Fernando Botero (b.1932)
Mujer Fumando
lithograph printed in colours, 1965,
an unsigned proof aside from the edtion of 150,
410 x 335 mm (16 1/8 x 13 1/8 in)
400 - 600
102
Georges Braque (1882-1963)
Apples and Leaves / Pommes et Feuilles
numbered 15/30, printed and published by Mourlot,
Paris, on Arches paper, with margins,
305 x 450 mm (12 x 17 5/8 in)
2,500 - 3,500
101
41
LONDON
103
The Dance
etching with aquatint, 1934, signed in pencil, from the
edition of 250, on wove paper, with full margins, as
included in the book Georges Braque, with title-page,
text and reproductions, published by Chroniques du
Jour, Paris, A. Zwemmer, London and E. Weyne, New
York, bound as issued in orginal red boards,
overall size 280 x 226 mm (11 x 8 7/8 in)
3,000 - 5,000
42
LONDON
104
Georges Braque (1882-1963)(after)
Les Marguerites
circa 1950, signed in pencil,
numbered 252/300,
625 x 420mm (24 5/8 x 16 1/2 in)
1,000 - 1,200
105
Georges Braque (1882-1963)(after)
The Glass and the Apple from Ten Works
lithograph printed in colours, 1963, signed
in pencil, numbered 108/120, printed and
published by Mourlot, Paris, on Arches
paper, with margins, together with the
portfolio, 1963, comprising ten collotypes,
numbered 7/200, published by Phoebus
Editions and Oldbourne Press, Basel
and London, with title-page, text and
justification, bound as issued in original
boards, overall size 500 x 370 mm
(19 5/8 x 14 1/2 in)
1,800 - 2,200
104
105
43
LONDON
106
107
106
Serge Brignoni (1903-2002)
Still life
etching with extensive hand-colouring and
collage elements, 1932, signed and dated
in pencil lower right on the mount,
on wove paper, laid on mount,
sheet 210 x 300 mm (8 1/2 x 11 7/8 in)
Provenance:
A gift from the artist to Julian Trevelyan.
A gift from the above to the present owner
400 - 600
107
Bernard Buffet (1928-1999)
Dany
etching, 1966, signed in pencil, numbered
92/100, on Arches paper, with margins,
492 x 445 mm (19v1/4 x 17 1/2 in)
400 - 600
108
Massimo Campigli (1895-1971)
Le Passeggiatrici (M.T.167)
lithograph printed in colours, 1957, signed
and dated in pencil, numbered 158/200,
published by LOeuvre Grave, Paris, on BFK
Rives paper, with margins,
sheet 545 x 440 mm (21 1/2 x 14 1/4 in)
108
1,000 - 1,200
44
LONDON
109
110
109
Marc Chagall (1887-1985)
Lcuyre (M.153) 1956
lithograph printed in colours, 1956, the
edition was 2000, from Derrire le Miroir,
published by Maeght, Paris,
folded as issued, on wove paper,
sheet 375 x 535 mm (14 3/4 x 21 in)
200 - 300
110
LOffrande (M.291)
lithograph, 1960, printed by Mourlot, Paris,
published by Andr Seuret, Pairs, on Arches
paper, with full margins, sheet 475 x 320mm
(18 5/8 x 12 5/8in)
300 - 400
111
Le Couple devant LArbre (M.292)
lithograph, 1960, printed by Mourlot, Paris,
published by Andr Seuret, Paris, on Arches
paper, with full margins, 310 x 240mm
(12 2/8 x 9 1/2)
300 - 400
111
45
LONDON
112
Frontispiece from Exodus (M.444)
from the edition of 20, (there was also an edition of
250 printed on Arches), published by L. Amiel, Paris,
on Japan paper, with margins,
444 x 320 mm (17 1/2 x 12 5/8 in)
1,500 - 2,000
46
LONDON
113
113
Marc Chagall (1887-1985)(after)
Chagall et la Bible (Moses and the Tablets of the Law),
Muse Rath - Genve (M.362)
lithographic poster printed in colours, 1962, printed by
Mourlot, Paris, on wove paper, with full margins,
sheet 756 x 540 mm (29 3/4 x 21 1/4 in)
114
200 - 300
114
La Ruche de Montparnasse; LAnge du Jugement
two lithographic posters printed in colours,
1974-79, both printed by Mourlot, Paris,
each sheet 760 x 523 mm (30 x 20 5/8 in)
200 - 300
115
Song of Songs; La Ruche de Montparnasse
two offset lithographic posters printed in colours,
1975 -79, both printed by Mourlot, Paris,
200 - 300
115
47
LONDON
116
118
116
Le Corbusier (1887-1965)
Untitled
three lithographs printed in colours, 1938,
from Oeuvre Plastique, Peintures et Dessins,
published by Albert Moranc, Paris,
each on wove paper, the full sheet printed to the
100 - 150
117
Lovis Corinth (1858-1925)
Frau und Krieger (S.158)
lithograph, 1914, signed and inscribed Probedruck in
pencil, a trial proof aside from the published edition of
50, published by Fritz Gurlitt, Berlin, on laid paper,
with full margins,
sheet 551 x 422 mm (21 3/4 x 16 5/8 in)
300 - 500
117
118
Andr Cottavoz (1922-2012)
Mon Paris
the complete portfolio, 1985, comprising six
lithographs printed in colours, each signed in
pencil, numbered 91/175, with title-page, text and
justification, published by Editions la Collection
Francaise, Paris, on Arches paper, the sheets loose as
issued within the orginal red cloth covered portfolio
box, the title printed on the uppers,
250 - 350
48
LONDON
119
119
Salvador Dal (1904-1989)
Tour de France Cycliste (M.&L.66A)
the rare etching, 1959, signed in blue ink verso,
numbered 6/20, published by J.Foret, Paris,
152 x 200 mm (6 x 7 7/8 in)
This work is accompained by a certificate of
authenticity signed by the publisher.
800 - 1,200
120
Piet (M.&L.81E)
heliogravure, 1960,
signed and inscribed XL/C in pencil,
published by P. Agrillet, Paris,
on Japan paper, with margins,
355 x 247 mm (14 x 9 3/4 in)
800 - 1,000
120
49
LONDON
121
121
Homme Figuier (M.&L.345b)
lithograph printed in colours, 1969-70, signed in pencil,
numbered LV/CL, from Flordali (Les Fruits), printed by Ateliers
Rigal, Paris, on Auvergne paper, with margins,
565 x 370 mm (22 1/4 x 14 1/2 in)
1,200 - 1,800
122
La Femme au Coussins (M.&L.387)
etching with extensive hand-colouring in watercolour,
1969-70, signed in pencil, numbered VIII/C, from Hippies,
published by P.Agrillet, Paris, on Japan paper, with margins,
394 x 320 mm (15 1/2 x 12 5/8 in)
122
50
700 - 900
LONDON
123
123
Le Roi Marc (M.&L.407)
etching with drypoint printed in colours, 1970,
signed in pencil, numbered XVII/XXV,
from Tristram and Iseult, printed by Ateliers Rigal,
Paris, on BFK Rives paper, with margins,
400 x 265 mm (15 3/4 x 10 1/2 in)
124
500 - 700
124
Les Chvaliers de Roi Arthur (M.&L.418)
signed in pencil, numbered XVII/XXV,
Paris, on BFK Rives paper, with margins,
400 x 265 mm (15 3/4 x 10 1/2 in)
500 - 700
125
Iseult aux blanches Mains (M.&L.422)
signed in pencil, numbered 34/125,
Paris, on BFK Rives paper, with full margins,
400 x 265 mm (15 3/4 x 10 1/2 in)
350 - 450
125
51
LONDON
128
126
126
Iseult et Brangaine (M.&L.423)
etching with drypoint printed in colours, 1970, signed
in pencil, numbered XVII/XXV, from Tristram and Iseult,
printed by Ateliers Rigal, Paris, on BFK Rives paper, with
full margins, 400 x 265 mm (15 3/4 x 10 1/2 in)
500 - 700
127
Reuben (M.&L.620;F.72-6)
etching with stencil printed in colours, 1973, signed
and inscribed EA in pencil, an artists proof aside from
the edition, from The Tribes of Israel, printed by Ateliers
Rigal, Paris, on wove paper, with margins,
505 x 370 mm (19 7/8 x 14 5/8 in)
700 - 900
128
Asher (M.&L.626;F.72-6)
etching with stencil printed in colours, 1973, signed
and inscribed EA in pencil, an artists proof aside from
the edition, from The Tribes of Israel, printed by Ateliers
Rigal, Paris, on wove paper, with margins,
505 x 370 mm (19 7/8 x 14 5/8 in)
127
52
700 - 900
LONDON
129
La Qute du Graal (M.&L.778-789, f.75-9)
the portfolio of 12 etchings printed in colours,
1975, each signed in pencil, numbered 61/249,
published by Pamela Verlag and Oeuvres Graphiques
Contemporaines, Paris, on Arches paper, with full
margins, loose as issued in the original creamcoloured leather boards and matching red slipcase,
each sheet 475 x 300 mm (18 3/4 x 12 in)
4,000 - 6,000
53
LONDON
130
132
133
131
La Doulureuse Garde (M.&L.782)
in pencil, numbered 146/249, from La Quete du Graal,
Contemporaines, Paris, on wove paper, with margins,
265 x 395 mm (10 1/2 x 15 1/2 in)
400 - 600
131
132
La Dame De Malehaut (M.&L.783)
395 x 265 mm (15 1/2 x 10 1/2 in)
400 - 600
130
La Tombe De Lancelot (M.&L.780)
395 x 265 mm (15 1/2 x 10 1/2 in)
133
Le Tournoi de Galore (M.&L.784)
395 x 265 mm (15 1/2 x 10 1/2 in)
400 - 600
400 - 600
54
LONDON
134
134
Le Detroit De Gadelore (M.&L.786)
395 x 265 mm (15 1/2 x 10 1/2 in)
135
400 - 600
135
Le Noir Chevalier (M.&L.787)
395 x 265 mm (15 1/2 x 10 1/2 in)
400 - 600
136
Lancelot et Galahaut (M.&L.789)
395 x 265 mm (15 1/2 x 10 1/2 in)
400 - 600
136
55
LONDON
137
Venus de las Constellation with Picador
(M.&L.790)
etching with drypoint, 1975,
signed and inscribed EA in pencil,
an artists proof aside from the edition,
published by Ateliers Rigal, Paris,
sheet 760 x 560 mm (29 7/8 x 22 in)
800 - 1,200
137
138
139
138
Los Cabaleros (M.&L.799)
etching with aquatint printed in colour, 1975, from La
Vida es Sueno, on wove paper, with margins,
220 x 325 mm (8 5/8 x 12 3/4 in)
139
Salvador Dal (1904-1989)(after)
Epris dune folle passion pour Endymion (M.&L.933)
etching printed in colours, 1979, signed in pencil,
inscribed XX/L, from Lart daimer, on Japan paper, with
300 - 400
300 - 500
56
LONDON
140
140
Batrice (M.&L.1142)
lithograph printed in colour, 1964, signed and
inscribed epreuve dartiste in blue crayon, an artists
proof aside from the edition of 125, on BFK Rives
paper, with margins, sheet 760 x 560 mm (30 x 22 in)
141
600 - 800
141
On the Shores of Freedom (M&L.1203; F.68-1)
inscribed Epreuve dartiste in pencil, an artists proof
aside from the edition, from Aliyah, published by
Shorewood Press, New York, on wove paper, with full
400 - 600
142
Eternal Covenant: Circumcision (M&L.1216; F.68-1)
inscribed Epreuve dArtiste in pencil, an artists proof
aside from the edition, from Aliyah, published by
Shorewood Press, New York, on Arches paper, with full
400 - 600
142
57
LONDON
143
144
145
144
Winter (M.&L.1362)
inscribed EA in pencil, an artists proof aside from the
edition of 195, from The Four Seasons, published by Les
Heures Claires, Paris, on wove paper, with margins,
405 x 565 mm (16 x 22 1/4 in)
600 - 800
143
Autumn (M.&L.1360)
inscribed EA in pencil, an artists proof aside from the
edition of 195, from The Four Seasons, published by Les
Heures Claires, Paris,
563 x 410 mm (22 1/8 x 16 1/8 in)
145
Daphne (M.&L.1480)
lithograph printed in colours, 1975-76, signed in
pencil, numbered 85/250, from Time Suite, published
by Levine & Levine, on wove paper, the full sheet
printed to the edges, sheet 750 x 540 mm
(29 1/2 x 21 1/4 in)
600 - 800
600 - 800
58
LONDON
146
147
146
The Path to Wisdom (Drawer)(M.&L.1554)
lithograph printed in colours, 1978-79, signed in
pencil, numbered G 23/125, from Dali Retrospective,
published by Levine & Levine, on wove paper, with full
margins, 580 x 430 mm (22 7/8 x 17 in)
600 - 800
147
from the Knights of the Round Table
495 x 460 mm (19 1/2 x 18 1/8 in)
400 - 600
148
from the Knights of the Round Table
495 x 460 mm (19 1/2 x 18 1/8 in)
148
400 - 600
59
LONDON
149
150
151
150
Maurice de Vlaminck (1876-1958)
Maisons Rustiques Valmondois
lithograph, c.1925-26, signed in pencil, numbered
from the edition of 35, on wove paper, with full
margins, 240 x 340 mm (9 1/2 x 13 3/8 in)
149
Henri de Toulouse-Lautrec (1864-1901)(after)
Douze Lithograhies
the album,1948, comprising twelve lithographs
printed in colours, each with blindstamp, lacking titlepage, text and justification, printed by Mourlot, Paris,
published by Librairie Gruend, Paris, on wove paper,
the sheets loose in beige card folder,
overall size 535 x 365mm (21 x 14 3/8 in)
151
Sonia Delaunay (1885-1979)
Composition
lithograph printed in colours, 1916-71, signed and
dated in pencil, inscribed E.A VII, a proof aside from the
edition, on wove paper, with full margins,
560 x 360 mm (22 1/8 x 14 1/8 in)
500 - 700
700 - 900
60
200 - 300
LONDON
152
153
152
Raoul Dufy (1877-1953)
Baie de Sainte Adresse and Anemones
two lithographs printed in colours, 1935 and 1942,
numbered 98/250 and 105/250 respectively, printed
and published by A.D.A.G.P. Paris, 2004, with their
blindstamp, on B.F.K. Rives paper, both with full
margins, 430 x 838mm (16 7/8 x 33) and 542 x 720
mm (21 3/8 x 28 3/8in)
400 - 600
154
153
La Baigneuse
lithograph printed in colours, c.1920, on wove paper,
154
La Fee Electricite (VI-X)
five lithographs printed in colours, 1953, from the set
of 10, each on thick wove paper, with margins,
250 - 350
800 - 1,200
61
LONDON
155
Max Ernst (1891-1976)
The Caramel Bird / LOiseau Caramel
the portfolio, 1969, comprising three
lithographs with embossing printed
in colours, each signed in pencil,
numbered 12/150, published by
Editions du Soleil Noir, on Arches
paper, with margins, including a
booklet LOiseau Caramel with text in
French by Robert Lebel, housed in a
silk portfolio case with perspex lid,
overall size 340 x 240 mm
(13 3/8 x 9 1/2 in)
2,000 - 3,000
62
LONDON
156
Max Ernst (1891-1976)
Affiche Pour le Surralisme
570 x 446 mm (22 1/2 x 17 5/8 in)
1,000 - 1,500
156
157
Max Ernst (1891-1976)
Untilted
etching with aquatint printed in
colours, 1976, signed in pencil,
numbered XI/XLV, as inluded in La
Mysticit Charnelle de Ren Crevel,
published by ditions Georges Visat,
Paris, on wove paper,
with full margins,
sheet 380 x 285 mm (15 x 11 1/4 in)
300 - 500
157
63
LONDON
158
M. C. Escher (1898-1972)
Air
woodcut printed in colours, 1954,
signed in pencil, inscribed Eigendruck
an artists proof from The Strens Cards,
168 x 155 mm (7 1/8 x 6 1/8 in)
1,000 - 1,500
158
159
M. C. Escher (1898-1972)
Fire
signed in pencil, inscribed Eigendruck
an artists proof from The Strens Cards,
sheet 168 x 155 mm (7 1/8 x 6 1/8 in)
1,000 - 1,500
159
64
LONDON
160
Shoichi Hasegawa (b.1929)
Silence
etching with aquatint and engraving printed in
colours, signed in pencil, numbered 28/30,
410 x 315 mm (16 1/8 x 12 3/8 in)
100 - 150
161
Paul Csar Helleu (1859-1927)
Madame Helleu with Sculpture
etching with drypoint, signed in pencil, with collectors
rubber stamp, on laid paper, with margins,
315 x 260 mm (12 3/8 x 10 1/4 in)
1,500 - 2,000
160
161
65
LONDON
164
162
Friedensreich Hundertwasser (1928-2000)
The Wall (K.74)
woodcut printed in colours, 1979, an artists proof
aside the edition of 210, on Japan paper,
300 - 400
162
163
Marie Laurencin (1885 - 1956)(after)
Girl with Mandolin
etching with hand-colouring in watercolour,
signed and inscribed Eau Forte Originale in pencil,
200 x 170 mm (7 7/8 x 6 3/4 in)
300 - 500
164
Fernand Lger (1881-1955)
Nature Morte Aux Fruits (S.18)
numbered from the edition of 75, on wove paper,
163
66
1,500 - 2,000
LONDON
165
Fernand Lger (1881-1955)(after)
Les Constructeurs
lithograph printed in colours, c.1955,
sheet 475 x 615 mm (18 3/4 x 24 1/4 in)
200 - 300
166
Jean Lurat (1892-1966)
Still Life
gouache and ink on paper, signed lower centre,
288 x 395 mm, (11 1/4 x 15 5/8 in)
Provenance:
165
1,500 - 2,000
166
67
LONDON
167
Ren Magritte (1898-1967)(after)
Les Enfants Trouves
the portfolio, 1968, comprising nine of the twelve
lithographs printed in colours, each sheet signed in
pencil by Fernand Mourlot, numbered 2/350, with
title-page, text and justification, all on BFK Rives
paper, with full margins, loose as issued, in the original
red linen covered solander box with a lithographic
illustration pasted to the lid,
overall size 460 x 610 mm (18 1/2 x 24 in)
4,000 - 6,000
68
LONDON
167
69
LONDON
168
Aristide Maillol (1861-1944)
Young In Two Women in the Grass /
Deux Femmes dans lHerbedian
Girl / Jeune Hindoue
lithograph, 1926, initialled in pencil,
Henri Petiet Editeuron with their
dry stamp, on White Verg Montval
paper, with margins,
195 x 250 mm (7 1/2 x 9 3/4 in)
700 - 900
168
169
169
Marino Marini (1901-1980)
The Cry; Invocazione (G. L86 & S1)
printed by Emil Matthieu, Zurich,
published LOEuvre Gravee, ZurichParis, on BKF Rives paper, with full
margins, together with a serigraph
printed in colours, 1966, printed
and published by Toninelli Arte
Moderna, Milan, on wove paper,
(24 5/8 x 35 3/8 in)
500 - 700
170
Cavallo in Armonia (G.A219)
etching and aquatint printed in
colours, 1978, signed in pencil,
numbered 16/125, printed by
Grafica dei Greci, Rome, on
Magnani paper, with full margins,
sheet 493 x 670 mm
(19 1/2 x 26 3/8 in)
170
70
400 - 600
LONDON
172
171
Rider and Horse - Yellow and Orange
510 x 320 mm (20 x 12 1/2 in)
200 - 300
171
172
Andr Masson (1896-1987)
Tribute to Michelangelo
sheet 796 x 595 mm (31 3/8 x 23 1/2 in)
250 - 350
173
Andr Masson (1896-1987)
Untitled
etching with aquatint, signed in pencil,
numbered 4/20, on wove paper,
with full margins,
197 x 247 mm (7 3/4 x 9 3/4 in)
300 - 500
173
71
LONDON
174
174
Henri Matisse (1869-1954)(after)
The Dancer
lithograph printed in colours, 1949, from the Schools
Prints European Series, printed by W.S.Cowell Ltd.,
published by Schools Prints Ltd., London, on wove
paper, with margins,
sheet 495 x 750 mm (19 1/2 x 29 1/2 in)
400 - 600
175
Henri Matisse (1869-1954)(after)
Dina Vierny Matisse Dessins
offset lithographic poster printed in colours, 1970,
printed by Mourlot, Paris, on Arches paper, with full
margins, sheet 762 x 575 mm (30 x 22 5/8 in)
175
72
200 - 300
LONDON
176
176
Joan Mir (1893-1983)
Figure with Red Sun I (M. 93)
in pencil, numbered 32/40, published by Maeght,
Paris, on Arches paper, with full margins,
sheet 640 x 500 mm (25 1/8 x 19 5/8 in)
2,000 - 3,000
177
Joan Mir (1893-1983)
Le Lzard Aux Plumes Dor (M.461)
lithograph printed in colours, 1967, from Le Lzard aux
Plumes Dor, on Japan paper, with margins,
sheet 355 x 500 mm (14 x 19 3/4 in)
177
300 - 400
73
LONDON
178
Joan Mir (1893-1983)
The Essences of the Earth (M.506-514)
nine lithographs mostly printed in colours, 1968,
each signed in pencil, inscribed E.A or H.C respectively,
proofs aside from the edition, printed by Mourlot,
Paris, published by Polgrafa, Barcelona,
on Japon nacre paper, with full margins,
each sheet 500 x 355 mm (19 5/8 x 13 14 in)
10,000 - 15,000
74
LONDON
178
75
LONDON
179
Joan Mir (1893-1983)
Homenatge a Joan Prats/ Tribute to Joan Prats (M.713)
numbered 33/75, published by La Poligrafa S.A.,
Barcelona, on wove paper, with full margins,
545 x 745 mm (21 1/2 x 29 3/8 in)
2,000 - 3,000
76
LONDON
181
182
181
Joan Mir (1893-1983)
Texte von James Johnson Sweeney (Auf Persisch)
(C.934-940)
seven lithographs printed in colours, 1974, from the
edition of 1500, printed by La Poligrafa, S.A, Barcelona,
on wove paper, the full sheet printed to the edges,
180
600 - 800
180
Joan Mir (1893-1983)(after)
From Lithographie I (M.860,865,866)
proofs aside from the edition, printed by Mourlot,
Paris, each on wove paper, the full sheets printed to
the edges, various sizes
182
Joan Mir (1893-1983)
From. Saccades (see CB.77)
etching with aquatint printed in colours, 1947-62, the
edition was 125, on wove paper, with full margins,
419 x 320 mm (16 1/2 x 12 5/8 in)
250 - 350
200 - 300
77
LONDON
183
Joan Mir (1893-1983)
Barcelona III (D.594)
etching with aquatint and carborundum printed in
colours, 1972, signed in pencil, numbered 45/50, on
wove paper, the full sheet printed to the edges,
700 x 1040 mm (27 1/2 x 41 in)
3,000 - 5,000
78
LONDON
184
184
Joan Mir (1893-1983)
Greeting Card from Aime Maeght
etching printed in colours, 1951, signed in pencil and
dedicated in blue ink verso, numbered 37/45, printed
at Atelier 17, Paris, published by Maeght, Paris, on
sheet 125 x 154 mm ( 4 7/8 x 6 1/8 in)
Note: The dedication verso written in French reads: My
dear daughter First of all I wish you all the best for the
new year 1961. I hope you wish the same for me. Here
it doesnt go well this difficult disease goes worse I am
having terrible days and nights suffering a dreadful
pain. Take care of yourself and stay in Cannes I will write
to you again more thoroughly. My love from Paris
1,500 - 2,500
185
Joan Mir (1893-1983)
Lt, from Verve Vol. 1, No. 3
pochoir in colours, 1938, with text on the verso,
published by Triade Editeur, Paris, on wove paper,
350 x 260 mm (13 1/2 x 10 1/4)
300 - 400
185
79
LONDON
187
187
Joan Mir (1893-1983)
from Flux de lAimant, Plate VII,
etching, 1964, initialled in pencil, numbered 5/75,
published by Maeght diteur, Paris, on BFK Rives
paper, the full sheet, 485 x 585 mm (19 1/8 x 23 in)
700 - 900
188
188
Joan Mir (1893-1983)(after)
115 Bank Street New York
Mourlot, Paris, on wove paper, with margins,
sheet 710 x 530 mm (28 x 20 7/8 in)
200 - 300
189
Richard Mortensen (1910-1993)
Une Semaine avec Andre Breton
the portfolio, 1991, comprising seven screenprints in
colours, each signed and dated in pencil, numbered
77/100, with justification page, published by Galerie
BelArt, Switzerland, on wove paper, loose as issued in
orginal cardboard folder,
189
80
400 - 600
LONDON
190
Renato Paresce (1886-1937)
Still Life With Goblet
watercolour and gouache on paper, 1926, signed and
dated lower right, indistinctly inscribed lower left,
305 x 451 mm (12 1/8 x 17 3/4 in)
Provenance:
1,500 - 2,000
81
LONDON
192
191
Pablo Picasso (1881-1973)
Composition au verre pied (B.431)
lithograph, 1947, artists proof aside from the edition
of 50, from Dans lAtelier de Picasso,
sheet 445 x 330 mm (17 1/2 x 13 in)
400 - 600
192
LAtelier de Cannes (B.794)
lithograph printed in colours, 1958, printed and
published by Mourlot, Paris on Arches paper,
450 x 320 mm (17 3/4 x 12 5/8 in)
191
82
1,800 - 2,200
LONDON
193
193
Un pome dans chaque livre de Paul Eluard (C.109)
237 x 155 mm (9 3/8 x 6 1/8 in)
1,500 - 2,000
194
La Petite Corrida
from Hommage Picasso, published by XXieme Sicle,
Paris, on wove paper, with margins,
sheet 318 x 248 mm (12 1/2 x 9 3/4 in)
600 - 800
194
83
LONDON
195
Plat Visage
white earthenware clay plate, 1965,
numbered 20/100 on the reverse in black ink,
engraved Madoura Plein Feu the publishers stamp,
diametre 275 mm (10 3/4 in)
4,000 - 6,000
84
LONDON
196
198
197
199
196
Pablo Picasso (1881-1973)(after)
60 Years of Graphic Works (CZW.55)
printed by Mourlot, Paris, on wove paper, with full
198
Collages Aquarelles Gouaches (CZW.143)
printed by Mourlot, Paris, on wove paper, the full sheet
printed to the edges,
sheet 665 x 475 mm (26 1/4 x 18 3/4 in)
400 - 600
250 - 350
197
Muse des Arts Dcoratifs (CZW.105)
199
Antonio Machado (CZW.156)
lithographic poster printed in colours, 1959,
printed by Mourlot, on wove paper, with margins,
625 x 450 mm (24 5/8 x 17 3/4)
250 - 350
350 - 450
85
LONDON
200
202
201
203
200
45 Linoleums Graves (CZW.174)
202
La Peinture Francaise (CZW.280)
sheet 750 x 515 mm (29 1/2 x 20 1/4 in)
400 - 500
200 - 300
201
Peintures Vauvenargues (CZW.206)
offset lithograph printed in colours, 1962, printed by
Mourlot, Paris, on wove paper, with full margins,
sheet 700 x 500 mm (27 1/2 x 19 3/4 in)
203
Cramiques (CZW.319)
offset lithographic poster printed in colours, 1967-68,
printed by Mourlot Paris, on wove paper,
sheet 670 x 484 mm (26 3/8 x 19 in)
200 - 300
250 - 350
86
LONDON
204
205
206
204
Picasso daujourdhui; Arles Muse Rattu (CZW.340)
two offset lithographic posters printed in colours,
1969-71, both printed by Mourlot, Paris,
200 - 300
205
172 Dessins Rcenzs; Arles Muse Rattu;
Exposition de Lithographies (CZW.446)
three offset lithographic posters printed in colours,
1971-73, each printed by Mourlot, Paris,
each on wove paper with full margins,
200 - 300
207
206
LHomme a la Fraise (CZW.448)
Mourlot, Paris, on Arches paper, with full margins,
sheet 680 x 505 mm (26 3/4 x 19 7/8 in)
207
Maternit
offset lithograph printed in colours, 1963, published by
Editions Combat de la Paix, Paris, on Arches paper, with
full margins, sheet 900 x 627 mm (35 3/8 x 24 3/4 in)
200 - 300
1,500 - 2,000
87
LONDON
208
LArrivee de Chevalier
numbered 72/350, printed by Mourlot, Paris,
460 x 745 mm (18 1/8 x 19 1/4 in)
2,000 - 3,000
88
LONDON
210
209
Nudes
two lithographs, 1969, printed by Mourlot, Paris,
each on Arches paper, with full margins,
250 - 350
210
Le Gout du Bonheur
1970,
two plates from the portfolio of 71 lithographs,
with text, from the edition of 666, published by Carl
Schnemann, Bremen, all on Arches paper, with full
margins, the sheets loose as issued within the original
grey linen folding portfolio box,
the title printed in black on the uppers,
500 - 700
209
89
LONDON
211
214
212
213
211
Man Ray (1890-1976)
Main Bleue
etching and aquatint printed in colour, 1971, signed
in pencil, numbered 9/100, on Arches paper, with full
margins, 495 x 395 mm (15 1/2 x 19 1/2 in)
213
Pierre-Auguste Renoir (1841-1919)
Baigneuse Debout
167 x 110 mm (6 5/8 x 4 1/4 in)
300 - 500
300 - 500
90
212
Man Ray (1890-1976)
Magie de Limage
in pencil, numbered VII/XXX, on Japon paper, with full
margins, 495 x 395 mm (19 1/2 x 15 1/2 in)
214
Christian Rohlfs (1849-1938)
The Return of the Prodigal Son
woodcut, 1916, signed and titled in pencil, stamped
Verbindung zur Forderung deutscher Kunst vormals
Verbindung fur historische Kunst, on thin laid paper,
300 - 500
300 - 500
LONDON
215
217
216
218
215
Rufino Tamayo (1899-1991)
Personaje En La Ventana
numbered 49/99, from 15 aquafuerte, published by
Ediciones Poligrafa, Barcelona, on Guarro paper,
sheet 750 x 555 mm 29 1/2 x 21 7/8 in)
217
Victor Vasarely (1906-1997)
Composition Cintique
screenprint on plexiglass and wove paper, 1973,
signed in white pen on the original frame,
300 - 500
218
Composition pour Jean-Clarence Lambert
screenprint with embossing, 1967, signed in pencil,
numbered 128/150, from Code, published by Le Soleil
Noir, Paris, on wove paper, with full margins,
sheet 380 x 275 mm (15 x 10 3/4 in)
216
Maurice Utrillo (1883-1955)
La Petite Rue de Montmartre
pochoir in colours, 1967, with stamp signature,
numbered 14/20 in pencil, on wove paper, with
margins, sheet 315 x 260 mm (12 3/8 x 10 1/4 in
400 - 600
100 - 150
500 - 700
91
LONDON
219
Cristal
495 x 655 mm (19 1/2 x 22 1/4 in)
300 - 500
220
Hommage Jean-Sebastien Bach
screenprint in colours, 1973, signed and inscribed
F.V.34/60 in pencil, on thick wove paper, with full
margins, 520 x 520 mm (20 1/2 x 20 1/2 in)
300 - 500
219
221
Tigers; Artistic Study of Movement
two screenprints in colours, 1931-38,
each signed and inscribed F.V. in pencil,
orginiated in the Foundation of Vasarely,
numbered 9/40 and 6/50 respectively,
each 444 x 662 mm (17 1/2 x 26 1/8 in)
and 395 x 445 mm (15 1/2 x 17 1/2 in)
400 - 600
220
221
92
LONDON
222
223
222
Untitled
screenprint in colours, signed in pencil, numbered
sheet 560 x 435 mm (22 x 17 1/8 in)
200 - 300
223
Vertigo
475 x 475 mm (18 3/4 x 18 3/4 in)
600 - 800
224
Victor Vasarely (19061997)
Chillion
numbered 8/90, on wove paper with full margins,
600 x 425 mm (23 5/8 x 16 3/4 in)
300 - 500
224
93
LONDON
225
Various Artists.
From Paroles Peintes Volumes I-V
thirty-four etchings with aquatint, most printed in
colours, 1962-67, the edition was 228,
all on wove paper, with full margins,
1,200 - 1,500
94
LONDON
226
226
Various Artists
La Mysticit Charnelle de Ren Crevel
the set of nine etchings with aquatint printed in
colours, 1976, each sheet signed in pencil, numbered
99/100 or 32/100, from La Mysticit Charnelle de Ren
Crevel, printed by Ateliers Georges Visaton, published
by ditions Georges Visat, Paris, on Arches paper, with
full margins, sheet 380 x 285 mm (15 x 11 1/4 in)
Artists include Camille Bryen, Jorge Camacho, Robert
Couturier, Arpad Szenes and Vladimir Velickovic.
300 - 500
227
Various Artists
Musee Galeria (+ 2 works)
three offset lithographic posters printed in colours,
1963-65, each printed by Mourlot, Paris, on wove
paper, with full margins, overall size 770 x 535 mm
(30 3/8 x 21 1/8 in)
300 - 500
227
95
LONDON
228
229
228
Various Artists
The Tower (+ 4 works)
five lithographs printed in colours, 1948-69,
each signed, on wove paper,
This lot includes works by the following artists:
Helena Markson, Henri Michaux, Charles Rollier and
Constantin Terechkovitch.
229
Various Artists
Untitled (+6 works) seven works of various media,
each on wove paper, with margins,
This lot includes works by: Bruno Krauskopf, Bert
Grotjohann and John Craig,
200 - 300
100 - 150
96
LONDON
ARTISTS BOOKS
97
LONDON
230
232
231
233
230
Braque Lithographe
the book, 1963, comprising one lithograph printed in
colours, with title-page, text and justification, printed
by Andre Sauret, published by Mourlot, Paris,
bound as issued with original printed wrappers,
320 x 250 mm (12 1/2 x 9 7/8 in)
232
Derrire le Miroir No.225 & No.235
the two publications, 1977-1979, comprising three
lithographs printed in colours, on wove paper, with
text and reproductions, published by Maeght Editeur,
Paris, loose as issued, 380 x 280 mm (15 x 11 in)
250 - 350
150 - 200
231
Derrire le Miroir No.198
the publication, 1972, comprising two lithographs
printed in colours, on wove paper, each with title-page,
text and justification, published by Maeght, Paris, the
full sheets loose as issued in the original printed covers,
233
Derrire le Miroir No.235 & No. 246
the two publications, 1979-1981, comprising two
lithographs printed in colours, on wove paper,
each with title-page, text and justification,
published by Maeght, Paris, the full sheets loose
as issued in the original printed covers,
150 - 250
250 - 350
98
LONDON
235
234
Le Ballet
the book, 1969, comprising one lithograph printed
in colours, on wove paper, with title-page, text and
justification, published by Siecle, Paris, bound as
issued in the original boards and wrappers
with cardboard slipcase,
overall size 370 x 270mm (14 1/2 x 10 5/8 in)
300 - 500
235
Chagall
the book, 1957, comprising thirteen lithographs
mostly printed in colours, on wove paper, with titlepage, text and justification, printed by Mourlot Freres,
Paris, published by Maeght Editeur, Paris, bound as
issued within the orginal lithographed wrappers,
1,000 - 1,500
234
99
LONDON
236
236
Lithographs I-IV
four volumes of the catalogue raisonn, 195773, comprising twenty-four lithographs mostly
printed in colours, on wove paper, printed and
published by Mourlot, Paris, the German and English
editions, bound as issued in the orginal boards with
lithographed wrappers,
overall size 330 x 253 mm (13 x 10 in)
2,000 - 3,000
237
The Ceramics and Sculptures of Chagall;
Die Biblische Botschaft
two books, 1972, comprising two lithographs printed
in colours, on wove paper, each with title-page, text
and reproductions, published by Editions Andre
Sauret, Monaco and Herausgeben Von Weber, Geneva
respectively, bound as issued in orginal printed
wrappers, overall size 330 x 254 mm (13 x 10 in)
237
100
150 - 250
LONDON
239
238
Vitraux pour Jerusalem
the book, 1962, comprising two lithographs printed
in colours, on wove paper, with title-page, text and
reproductions, the French edition, published by Andre
Sauret, Monaco, bound as issued in the original paper
wrappers, overall size 335 x 250 mm (13 1/4 x 9 7/8 in)
600 - 800
239
Chagall Lithographe I.
the incomplete deluxe edition of the book, 1960,
comprising 12 lithographs mostly printed in colours,
on Arches paper, with title-page, text and justification,
printed by Mourlot, Paris, published by Andre Seuret,
Paris, bound as issued in the original boards and
matching slipcase,
overall size 330 x 255 mm, (13 x 10 in.)
2,000 - 3,000
238
101
LONDON
240
Illustrations for the Bible
the book, 1956, comprising twenty-nine lithographs
mostly printed in colours, on wove paper, with titlepage, text and reproductions, published by Harcourt,
Brace and Company, New York, bound as issued in the
original printed boards,
2,000 - 2,500
102
LONDON
241
La Divine Comdie (M.&L.1039-1138)
the book in six volumes, 1960, comprising 100
woodcuts printed in colours, on wove paper, with
title-pages, text and justification in French, published
by Arti e Scienze, Salani, Italy, the sheets loose
as issued within the original printed boards and
matching slipcases, each 355 x 280 mm (14 x 11 in)
2,500 - 3,500
103
LONDON
242
244
243
245
242
Masuo Ikeda (1934-1997)
Gennaio A Kyoto
the book, 1972, comprising two aquatints printed
in colours, on wove paper, with title-page and text,
published by MArte Edizioni, Milan, loose as issued
within original boards and the original blue slipcase,
244
Henri Matisse (1869-1954)
Loeuvre Grave Vol.1 & 2
two volumes of the catalogue raisonn, 1983, with
title-page, text and reproductions, published by
Claude Duthuit diteur, Paris, bound as issued in
original orange cloth boards,
400 - 600
200 - 300
243
Les Fauves
the book, 1949, with title-page, text and
reproductions, on wove paper, published by Editions
des Trois Collines, Geneva, bound as issued, within the
original lithographed wrappers,
325 x 245 mm (12 3/4 x 9 5/8 in)
245
Verve No.4
the publication, 1939, comprising a double-page
lithograph printed in colours, on wove paper, with
title-page, text and reproductions, published by
Teriade, Paris, bound as issued in the original printed
wrappers, overall size 355 x 265 mm (14 x 10 1/2 in)
300 - 400
300 - 500
104
LONDON
246
246
Verve Vol.IX, No.s 35 & 36
the publication, 1958, comprising forty lithographs
mostly printed in colours, with title-page, text and
reproductions, published by Editions de la Revue Verve,
Paris, the sheets bound as issued within the original
illustrated boards, the title printed in red on the uppers,
2,500 - 3,500
247
Derrire Le Miroir No.46
the publication, 1952, comprising ten lithographs, on
wove paper, with title-page and text, published by
Maeght, Paris, loose as issued in original wrappers,
380 x 280 mm (15 x 11 in)
150 - 200
247
105
LONDON
248
Portraits
the book, 1954, comprising one
lithograph, on wove paper, with
title-page, text and justification
in French, published by Andr
Sauret, Monte Carlo, bound as
issued in paper-covered boards
and slipcase,
320 x 250 mm (12 1/2 x 9 7/8 in)
1,000 - 1,200
248
249
(after)
Jazz
the book, 2004, a facsimile of
the 1947 edition, comprising
twenty lithographs after Matisse
printed in colours, on Lana Royal
paper, with title-page, text and
justification, on wove paper,
printed by Mourlot and Ferreri,
Paris, published by ditions
Anthse, Paris, loose as issued in
the orginal linen-covered boards
and matching slipcase,
410 x 318mm (16 1/8 x 12 1/4in)
249
106
700 - 900
LONDON
250
252
252A
251
250
Joan Mir (1893-1983)
Lenfance dUbu (M.998-1021)
the incomplete portfolio, 1975, comprising eighteen
lithographs printed in colours, printed and published
by Mourlot, Paris, each on wove paper, the full sheets
printed to the edges, printed and published by
Mourlot, Paris loose as issused in original linen box,
overall size 357 x 530 mm (14 x 20 7/8)
252
Joan Mir (1893-1983)
Joan Mir
the book, 1956, comprising seven lithographs printed
in colours, with title-page, text and justification,
published by Maeght Editeur, Paris,
bound as issued in the original printed wrappers,
235 x 205 mm (9 1/4 x 8 1/8 in)
300 - 400
600 - 800
251
Joan Mir (1893-1983)
Lithographs I-IV
the four volumes, 1972-1982, comprising thirty-two
lithographs printed in colours, each on wove paper,
with title-page, text and justification, Vol. 1-3 in
Spanish, Vol.4 in German, printed by Maeght, Paris,
published by Ediciones Poligrafa, Barcelona, bound
as issued in the original boards within lithographed
wrappers, overall size 330 x 260mm (13 x 10 1/4 in)
252A
Joan Mir (1893-1983)
Lithographs Vol. II.
the book, 1975, comprising eleven lithographs
printed in colours, on wove paper, with title-page,
text and justification, the English edition, printed by
Maeght, Paris, published by Leon Amiel Publisher,
New York, bound as issused in the original boards with
lithographed wrappers,
200 - 300
600 - 800
107
LONDON
253
253
A Los Toros (B.1014-1017)
the book, 1961, comprising four lithographs, one
printed in colours, on wove paper, with the title-page,
text and justification, the German edition, published by
Andr Sauret Editeur, Monte Carlo, bound as issued in
the grey linen-covered boards and red paper covered
slipcase, overall size 260 x 330 mm (10 1/4 x 13 in)
1,500 - 2,000
254
Hommage Pablo Picasso
the book, 1971, a special issue of XXe siecle,
comprising one lithograph printed in colours,
published by SPADEM, Paris, bound as issued in the
original boards and printed paper wrappers,
254
108
250 - 350
LONDON
255
255
Les Djeuners
the book, 1962, comprising one etching printed in
colours as the cover, on wove paper, with title-page,
text and justification, printed by Limprimerie Arnera,
Valllauris, published by Galerie Madoura, Cannes,
bound as issued in the original paper cover,
273 x 215 mm (10 3/4 x 8 1/2 in)
256
257
300 - 500
256
LAge de Soleil
the book, 1950, comprising one heliogravure, on
wove paper, with title-page, text and justification,
the edition was 1000, published by Aux Depens de
Lauteur, Paris, bound as issued in original printed
paper wrappers, 285 x 230 mm (11 1/4 x 9 in)
257
Verve No.29/30
the publication, 1954, comprising sixteen lithographs
printed in colours, on wove paper, with title-page, text
and reproductions, published by Teriade, Paris, bound
as issued in the original printed wrappers,
365 x 270mm (14 1/4 x 10 5/8 in)
300 - 500
600 - 800
109
LONDON
260
258
258
Man Ray (1890-1976)
Alphabet Pour Adultes
the portfolio, 1970, comprising thirty six lithographs,
lacking the rayograph, on Arches paper, with margins,
with title-page and signed text, published by Editions
Pierre Belfond, Paris, loose as issued, housed in the
original red cloth covered porfolio box,
200 - 300
259
Ceri Richards (1903-1971)
Elegiac Sonnet
the book, 1970, comprising two aquatints printed
in colours, on wove paper, with title-page and text,
published by MArte Edizioni, Milan, loose as issued
within original boards, with the original yellow
slipcase, 395 x 300mm (15 1/2 x 11 7/8in)
400 - 600
260
Mose Kisling (1891-1953)(after)
Lpope Bohmienne
the portfolio, 1959, comprising one etching,
numbered 104/130, six wood engraved vignettes and
twelve colour reproductions, with title-page, text by
Hron de Villefosse and justification, loose as issued,
housed in the original cloth covered porfolio case,
259
110
500 - 700
LONDON
262
261
261
Various Artists
Verve Volume I, Numbers One - Four
the four issues of the publication,1937-1939, comprising
original lithographs mostly printed in colours by artists
including Chagall, Klee, Mir, Matisse, Masson and
Kandinsky, each with title-page, text and reproductions,
printed by Mourlot Frres, Paris, published by E. Triade,
Paris, each within the original printed covers,
263
500 - 700
262
Various Artsits
Verve No. 2.
the publication, 1938, comprising four lithographs
printed in colours by Wassily Kandinsky and Andr
Masson, on wove paper, with title-page, text and
reproductions, published by Teriade, Paris, bound as
issued in the orginal printed wrappers,
263
Various Artists
Verve No. 5/6
the publication, 1939, comprising six lithographs
printed in colours, by artists including Braque, Rouault,
Lger, Matisse, Klee and Bonnard, on wove paper,
with title-page, text and reproductions, published by
Teriade, Paris, bound as issued in the original printed
wrappers, 355 x 265 mm (14 x 10 1/2 in)
250 - 350
150 - 200
111
LONDON
264
266
267
265
Various Artists
Derriere le Miroir No.250
the publication, 1982, comprising twenty-four
lithographs printed mostly in colours, by artists
including Saul Steinberg, Marc Chagall, Joan Miro,
Antoni Tapies, Ellsworth Kelly, and Eduardo Chillida,
on wove paper, with title-page, text and justification,
published by Maeght, Paris, the full sheets, bound as
published in the original lithographed wrappers,
250 - 350
265
266
Various Artists
XX Sicle No.14 Nouvelles Situations de Lart
Contemporain
the book, 1960, comprising three lithographs by Chagall,
Alechinsky and Fiedler, published by Cahiers dArt, Paris,
all on wove paper, bound as issued in the original boards,
200 - 300
264
Various Artists
Derrire le Miroir No.119
the publication, 1960, comprising eleven lithographs
mostly printed in colours by artists including Braque,
Chagall, Kandinsky and Lger, on wove paper, with
title-page, text and reproductions, loose as issued
within original lithographed wrappers,
267
Various Artists
XXe Sicle No.15 The Revolution of Color
the book, 1960, including one lithograph by Miro
printed in colours, on wove paper, with title-page, text
and reproductions, published by Tudor Publishing Co.,
New York, bound as issued within the original boards,
250 - 350
150 - 200
112
LONDON
269
268
268
Various Artists
Derrire le Miroir: Dix ans dedition
the book, 1946-1956, comprising two lithographs
printed in colours, and two etchings, by artists
including Chagall, Miro and Giacometti, on wove
paper, published by Maeght Editeur, Paris, bound as
issued within the original lithographed wrappers,
700 - 900
269
Various Artists
Derrire le Miroir No.107-109
the publication, 1958, comprising five lithographs
mostly printed in colours, by artists including Braque,
Chagall and Miro, on wove paper, with title-page,
published by Maeght Editeur, Paris, loose as issued in
the original wrappers, 380 x 280 mm (15 x 11 in)
700 - 900
270
270
Various Artists
A Meme La Pierre Fernand Mourlot Lithographe
the complete portfolio, 1982, comprising various
lithographs mostly printed in colours, on wove paper,
each sheet printed to the edges, with title page, text
and justification, published by Pierre Bordas, Paris,
loose as issued in original lithographed wrappers,
housed in original cloth covered case with title printed
in brown on the uppers, overall size 335 x 265 mm
(13 1/4 x 10 1/2 in)
Including works after Dubuffet, Picasso, Mattise,
Leger, Chagall, Derain, Braque, Calder, Esteve, Delvaux,
Cocteau and Prevert
200 - 300
113
LONDON
271
272
271
Various Artists
Douze Lithographies
the incomplete portfolio, 1953, comprising five of the
twelve lithographs printed in colours, by Calliyannis,
Carrey, Sauer, Turan and Wendt, each signed and
inscribed epreuve dartiste in pencil, an artists proof
aside from the edition, with title-page, text and
justification, presented by R.V.Gindertael, Paris, loose as
issued housed in the original stiff paper folio,
200 - 300
272
Various Artists
Kunstler fr Athiopien Portfolio
the incomplete portfolio, 1990, comprising four offset
lithographs printed in colours, each signed in pencil, on
wove paper, numbered 20/100 on the accompanying
edition note, published by Politischen Club Colonia fr
Studien und Aktionen zum Frieden e.v., Cologne, for
the Menschen fr Menschen foundation by Karl-Heinz
Bhm, loose as issued in cardboard folder, each sheet
602 x 800 mm (23 3/4 x 31 1/2 in)
273
273
Various Artists
La Mysticite Charnelle de Rene Crevel
the incomplete portfolio, 1976, comprising eleven
etchings with aquatint and one lithograph printed
in colours, each signed in pencil, numbered 96/100,
on Arches, with full margins, with title-page, text
in French and justification, published by ditions
Georges Visat, Paris, the sheets loose as issued within
the original boards and matching slipcase,
overall size 410 x 300 cm. (16 1/8 x 11 3/4 in)
This lot includes works by the following artists:

Hans-Peter Adamski, Karl Marx, C.O. Paeffgen and
Rune Mields.
This lot includes the following artists: Camille Bryen,

Jorge Camacho, Robert Courturier, Sonia Delaunay,
Max Ernst, Andre Masson, Sebatian Matta, Vladimir
Vlickovic, Man Ray, Arpad Szenes, Dorothea Tanning,
Viera da Silva
200 - 300
800 - 1,200
114
LONDON
274
275
274
Artsits
Dopo il Surrealismo
the incomplete portfolio, 1973, comprising ten
etchings, eight with aquatint and one lithograph, each
sheet signed in pencil, numbered 138/150 or LVIII/
LXX, with justification and introduction by Wieland
Schmied, published by Pantheon Press, Rome, loose as
issued in the orginal blue linen portfolio box,
275
Various Artists
Centenaire de la Statue de la Libert
the complete portfolio, 1986, comprising six
lithographs printed in colours, each signed in pencil,
numbered 48/250, on Arches paper, with title-page,
text and justification, printed by Mourlot, Paris, with
their blindstamp, loose as issued in the original blue
linen portfolio, with title embossed in gilt on the
uppers, overall size 775 x 555 mm (30 1/2 x 21 5/8 in)
This lot includes works by the following artists: Peter

Ackermann, Erich Brauer, Uwe Bremer, Jorge Castillo,
Salvador Dal, Johnny Friedlnder, Ernst Fuchs, Alfred
Hrdlicka, Andr Masson, Friedrich Meckseper, Bernard
Schultze.
Including works by Michel Dubre, Michel Lecoste,

Hugh de Saint-Morland, Eric Schlimberger, Eric Gaudin
and Katia Schmitt.
1,000 - 1,500
276 No Lot
300 - 400
115
LONDON
CONTEMPORARY
116
LONDON
277
Yaacov Agam (b.1928)
Spirit of America
screenprint in colours, 1976, signed and inscribed
37/75 AP in blue felt-tip pen, an artists proof aside
from the edition, on plexiglass, with full margins,
225 x 225 mm (8 7/8 x 8 7/8 in)
500 - 700
117
LONDON
278
Arman (1928-2005)
Chessboard from: Hommage
Marcel Duchamp
screenprint in colours, 1973,
on a chessboard, signed in black
ink, numberd 28/100,
published by the Philadelphia
Museum of Art,
415 x 420 mm (16 1/4 x 16 1/2 in)
300 - 500
278
279
Jennifer Allora & Guillermo
Calzadilla
Untitled
pigment print in colours, 2013,
signed in pencil, numbered from
the edition of 50, on Japanese
watercolour paper,
with full margins,
sheet 770 x 1080 mm
(30 3/8 x 42 1/2 in)
500 - 700
279
118
LONDON
280
Frank Auerbach (b.1931)
Head of Julia
etching, 2001, signed and dated in pencil, numbered
31/150, printed by Mark Balakjian at Studio Prints,
London, produced in collaboration with Malborough
Graphics, London, on Somerset paper, with full
margins, as included in the limited edition of the book
Frank Auerbach: Paintings and Drawings 1954-2001
accompanying the artists exhibition at the Royal
Academy of Arts, London, bound as issued,
800 - 1,200
119
LONDON
281
Charming Baker (b.1964)
Bird III
screenprint in colours with hand drawn
element, 2013, signed in pencil,
numbered 13/125,
650 x 540 mm (25 1/2 x 21 1/4 in)
1,000 - 1,500
120
LONDON
282
Charming Baker (b.1964)
Try not to always think of the worst
screenprint in colours with hand applied gold
leaf, 2013, signed in pencil, numbered 13/20,
985 x 720 mm (38 3/4 x 28 3/8 in)
2,000 - 3,000
121
LONDON
283
Banksy (b.1974)
Flying Copper
screenprint in colours, 2004, numbered 297/600 in
pencil, published by Pictures on Walls, London, on
sheet 995 x 695 mm (39 1/8 x 27 3/8 in)
Authenticated by Pest Control Office
Accompanied by a certificate of authenticity
from Pest Control Office
2,000 - 3,000
122
LONDON
284
Banksy (b.1974)
Gangsta Rat
screenprint in colours, 2004, numbered 320/350 in
pencil, published by Pictures on Walls, London,
with their blindstamp, on wove paper, with full
This work has been authenticated by
Pest Control Office, London
from Pest Control Office, London
3,000 - 5,000
123
LONDON
285
Banksy (b.1974)
Girl with Balloon
screenprint in colours, 2004, numbered 220/600,
published by Pictures on Walls, London, with their
blindstamp, on wove paper, with full margins,
sheet 700 x 500 mm (27 1/2 x 19 3/4 in)
15,000 - 20,000
124
LONDON
125
LONDON
286
Banksy (b.1974)
Grannies
sheet 565 x 765 mm (22 1/4 x 30 1/8 in)
Pest Control Office.
from Pest Control Office.
2,500 - 3,500
126
LONDON
287
Banksy (b.1974)
Happy Choppers
screenprint in colours, 2003, signed and dated in black
ink, numbered 50/750, published by Pictures on Walls,
London, on wove paper, with full margins,
sheet 700 x 500 mm (27 1/2 x 19 3/4 in)
This work has been authenticated
by Pest Control Office.
6,000 - 8,000
127
LONDON
288
Banksy (b.1974)
HMV Dog
screenprint, 2003, with the red stamped signature,
numbered 338/600, published by Pictures on Walls,
290 x 440 mm (11 3/8 x 17 1/4 in)
3,000 - 4,000
128
LONDON
289
Banksy (b.1974)
Laugh Now
published by Pictures on Walls, London, on wove
paper, the full sheet printed to the edges,
sheet 698 x 498 mm (27 1/2 x 19 5/8 in)
from Pest Control Office, London.
3,000 - 5,000
129
LONDON
290
Banksy (b.1974)
Love Rat
pencil, numbered 64/150, published by Pictures
on Walls, London, with their blindstamp,
on wove paper, with full margins, s
heet 490 x 342 mm (19 1/4 x 13 1/2 in)
10,000 - 15,000
130
LONDON
131
LONDON
291
Banksy (b.1974)
Morons
560 x 760 mm (22 x 29 7/8 in )
3,000 - 5,000
132
LONDON
292
Banksy (b.1974)
Pulp Fiction
published by Pictures on Walls, London,
sheet 500 x 700 mm (19 3/4 x 27 1/2 in)
3,000 - 5,000
133
LONDON
293
Banksy (b.1974)
Toxic Mary
published by Pictures on Walls, London, on wove
sheet 700 x 500 mm (27 1/2 x 19 3/4 in)
2,500 - 3,500
134
LONDON
294
294
Banksy (b.1974)
Weston Super-Mare
published by Pictures on Walls, London,
sheet 350 x 1000 mm (13 3/4 x 39 3/8 in)
6,000 - 8,000
294A
Various Artists
Pax Britannica
the complete portfolio, 2004, comprising
twenty-six prints of various media,
each signed, the edition was 100,
published by Aquarium Gallery, London,
on various papers, in the original black portfolio,
The portfolio includes prints by - Banksy, Steve
Bell, James Boswell, Alexander de Cadenet.
Sir Anthony Caro, James Cauty, Billy Childish,
David Gentleman, Richard Hamilton, Clifford
Harper, Brian Jones, John Keane, Peter Kennard,
Alan Kitching, Jenny Matthews, Paul Mattsson,
Antonio Pacitti, Jamie Reid, Martin Rowson,
Ralph Steadman, S.T.O.T, 21stC and Gee Vaucher.
3,000 - 5,000
294A
135
LONDON
295
295
Peter Blake (b1932)
I LOVE YOU
screenprint in colours, 2013, signed and inscribed A/P
2 in pencil, an artisits proof aside from the edition of
200, on thick wove paper, the full sheet printed to the
edges , sheet 296 x 420 mm (11 5/8 x 16 1/2 in)
296
300 - 500
296
Peter Blake (b.1932)
Babe Rainbow
screenprint in colours on tin, 1967, the full sheet printed
to the edges, sheet 650 x 435 mm (25 5/8 x 17 7/8 in)
300 - 500
297
Hogarth Dog
ink jet print in colours, 2015, signed in pencil,
numbered 77/200, published by Dark Matter Studio,
sheet 295 x 210 mm (11 5/8 x 8 1/4 in)
150 - 200
136
297
LONDON
299
298
Summer Days
signed in pencil, numbered
154/175, published by CCA
Galleries, London,
890 x 440 mm (35 x 17 3/8 in)
1,500-2,000
299
Tattooed Man
ink jet print in colours, 2015,
published by Dark Matter Studio,
London, on wove paper,
with full margins,
sheet 285 x 210 mm
(11 1/4 x 8 1/4 in)
298
200 - 300
137
LONDON
300
The American Trilogy Elvis
three screenrpints in colours, two with diamond
dust, 2012, each signed in pencil, numbered 60/150,
published by CCA Galleries, London, with their
blindstamp, each on wove paper, with full margins,
4,000 - 6,000
138
LONDON
302
303
305
302
The Dead Came Out In Their Sunday Best
numbered 123/250, published by the National
Museum of Wales, on stiff wove paper, with full
margins, 250 x 200 mm (9 7/8 x 7 7/8 in)
400 - 600
303
Mark Boyle (1934-2005)
Brighton Poetry Exhibition Poster
on card, the full sheet printed to the edges,
sheet 765 x 510 mm (30 1/8 x 20 1/8 in)
304
100 - 150
304
Cecily Brown (b.1969)
Untitled 1
archival pigment print in colours, 2012,
sheet 358 x 280 mm (14 1/4 x 11 in)
305
Simon Bull (b.1958)
Rising Dawn
giclee print with hand finishing, signed in black ink,
numbered 3/150, on canvas,
1065 x 710 mm (41 7/8 x 28 in)
This work is accompanied by a certificate of

authenticity signed by the artist.
300 - 500
100 - 150
139
LONDON
306
308
307
309
306
Alexander Calder (1898-1976)
From Flying Colours
308
Anthony Caro (1924-2013)
Belt Buckle-Momart Christmas Card
cast bronze belt-buckle, 1993, inscribed with the
publication details verso,
110 x 70 mm (4 3/8 x 2 3/4 in)
250 - 350
200 - 300
307
Alexander Calder (1898-1976)(after)
115 Bank Street NY
Mourlot, Paris, on BFK Rives paper, with margins,
sheet 710 x 530 mm (28 x 20 7/8 in)
309
Christo (b. 1935)
Wrapped Monument to Leonardo,
Project Piazza Della Scala, Milano
numbered 159/999, on wove paper, the full sheet
sheet 741 x 553 mm (29 1/8 x 21 3/4 in)
200 - 300
600 - 800
140
LONDON
310
312
311
313
310
Mat Collishaw (b.1966)
Insecticide 28
chromogenic print, 2012, signed in black felt tip
pen verso, numbered 44/100, on Epson paper, with
margins, 400 x 400 mm (15 3/4 x 15 3/4 in)
312
Insecticide 38
chromogenic print, 2012, signed in black felt tip pen
verso, numbered 1/100, on Epson paper, with margins,
400 x 400 mm (15 3/4 x 15 3/4 in)
300 - 500
300 - 500
311
Insecticide 35
chromogenic print, 2012, signed in black felt tip verso,
numbered 46/100, on Epson paper, with margins,
400 x 400 mm (15 3/4 x 15 3/4 in)
313
Blowback
chromogenic print, 2015, signed in black felt tip pen
verso, numbered 7/100, on Epson paper, with margins,
sheet 540 x 422 mm (21 1/4 x 16 5/8 in)
300 - 500
300 - 500
141
LONDON
314
315
314
D*Face
No More Heroes (Blue)
580 x 950 mm (22 7/8 x 37 3/8 in)
200 - 300
315
Peter Davies (b.1970)
Fun One Hundred
published by Eyestorm, London,
840 x 600 mm (33 x 23 5/8 in)
400 - 600
316
316
Ian Davenport (b.1966)
Colourplan Series - Royal Blue
etching with chine colle printed in
colours, 2011, signed and dated
in pencil, numbered 3/30,
sheet 830 x 800 mm (32 5/8 x 31 1/2 in)
1,500 - 2,000
142
LONDON
317
317
Peter Doig (b.1959)
Canoe
aquatint printed in colours, 2008, signed and dated
in pencil, numbered 32/500, on wove paper, the full
sheet printed to the edges,
sheet 595 x 750 mm (23 3/4 x 29 1/2 in)
800 - 1,200
318
Peter Doig (b.1959)
Imaginary Boys
pigment print in colours, 2013, signed and dated in
pencil, numbered 134/500, on wove paper, the full
sheet 864 x 639 mm (34 x 25 1/8 in)
800 - 1,200
318
143
LONDON
321
319
319
Peter Doig (b.1959)
Man by a River (from Black Palms)
signed and dated in pencil, from the edition of 119,
published by Griffelkunst-Vereinigung, Hamburg,
on Zerkall paper, with full margins,
sheet 535 x 382 mm (21 x 15 in)
400 - 600
320
Peter Doig (b.1959)
Masqueraders
giclee and screenprint in colours, 2006, signed in
pencil, numbered 93/250, on Somerset Velvet wove
sheet 635 x 517 mm (25 x 20 3/8 in)
300 - 500
320
321
Csar Domela (1900-1992)
10 Constructivist Studies
the portfolio comprising ten screenprints, 1973, each
signed in pencil, numbered 17/130, published by
Galerie Bargera, Koln, with signed justification, on
wove paper, with margins, loose as issued, housed in
original printed cardboard folder,
350 x 260 mm (13 3/4 x 10 1/4 in)
1,000 - 2,000
144
LONDON
322
324
323
325
322
Tracey Emin (b.1963)
Dragon Fly
polymer gravure etching, 2010, signed, titled and
dated in pencil, numbered 17/100, on laid paper, with
324
For You
dated in pencil, numbered 219/300, on wove paper,
with full margins, sheet 200 x 247 mm (7 7/8 x 9 3/4 in)
200 - 300
200 - 300
323
Exploration of the Soul
the book, 1994, signed in black ballpoint pen,
numbered 422/1000, with title-page, text and two
photo reproductions, bound as issued in original
cardboard cover, 155 x 160 mm (6 1/8 x 6 1/4 in)
325
Moth
dated in pencil, numbered 21/100, on laid paper, with
200 - 300
200 - 300
145
LONDON
326
327
328
326
No Idea
polymer gravure, 2010, signed in pencil, numbered
86/200, published by Emin International, London,
on Japanese Misumi paper, with full margins,
389 x 485 mm (15 1/4 x 19 1/8 in)
328
When I Think About Sex
lithograph, 2005, signed and dated in pencil, the
edition was 1000, published by the White Cube
Gallery, London, on thin wove paper, with full margins,
sheet 590 x 840 mm (23 1/4 x 33 in)
300 - 500
500 - 700
327
Tiny Golden Hearts
dated in pencil, numbered 17/100, on laid paper,
300 - 500
146
LONDON
329
331
330
332
329
Shepard Fairey (b.1970)
Duality of Humanity I
615 x 460 mm (24 1/4 x 18 1/8 in)
331
Barry Flanagan (1941-2009)
Atlantic Moon
eight linocuts printed in colours, 1976-83,
each signed and dated in pencil, printed by Colin
Dyer, published by Waddington Graphics, London,
200 - 300
330
Shepard Fairey (b.1970)
Peace Bomber
screenprint, 2009, signed and dated in pencil,
sheet 915 x 610 mm (36 x 24 in)
200 - 300
700 - 900
332
Cob Study; Field Day
two etchings, 1983, both signed in pencil, numbered
51/75 and inscribed AP 9/9 in pencil respectively, an
artists proof aside from the edition of 27, published by
Waddington Graphics, London, each on wove paper, with
full margins, each sheet 285 x 385 mm (11 1/4 x 15 1/8 in)
200 - 300
147
LONDON
333
335
334
336
333
David Sylvester
etching, 2003, signed and dated in pencil, numbered
sheet 342 x 410 mm (13 1/2 x 16 1/8 in)
335
Jessicas Forearm
four etchings, 2003-2008, each signed and dated in
pencil, numbered variously, on wove paper, with full
margins, together with one screenprint, signed and
inscribed G.S.L 1 in pencil, on wove paper, with full
margins, overall size 310 x 305 mm (12 1/4 x 12 in)
300 - 500
334
Explic A Me
etching with aquatint, signed and inscribed AP 6/10
in pencil, an artists proof aside from the edition,
sheet 455 x 375 mm (17 7/8 x 14 3/4 in)
200 - 300
500 - 700
336
Milieu
aquatint printed in colours, 1994, signed and inscribed
AP 1/10 in pencil, an artists proof aside from the
edition of 40, on Arches paper, with full margins,
sheet 630 x 690 mm (24 3/4 x 27 1/8 in)
300 - 500
148
LONDON
338
337
339
337
Nijinski
and inscribed AP 6/10 in pencil, an artists proof aside
from the edition, on wove paper, with full margins,
sheet 590 x 455 mm (23 1/4 x 17 7/8 in)
338
Reclining Nude; Resting Nude; Sleeping Nude
three lithographs, 1990, each signed and dated in
pencil, numbered from the edition of 6, published by
Waddington Graphics, London, on Arches paper, with full
300 - 500
200 - 300
339
Storyboard
etching, 1984, signed, titled and dated in pencil,
numbered 33/40, on Arches paper, with full margins,
sheet 380 x 570 mm (15 x 22 1/2 in)
200 - 300
149
LONDON
340
Lucio Fontana (1899-1968)
The Magnetic Seven / Il Sette
Magnetico
etching, 1968, signed in pencil,
Giergio Upiglio, published by
Galleria Arturo Schwarz, Milano,
355 x 230 cm (13 7/8 x 9 in)
1,500 - 2,000
341
Mark Francis (b.1962)
Orbital
lithograph printed in colours
with spot varnish, 2001, signed and
dated in pencil, numbered 20/150,
on wove paper, the full sheet
sheet 750 x 595 mm
(29 1/2 x 23 1/2 in)
400 - 600
340
342
Nicholas Garland (b.1935)
Annabels
the complete portfolio, 1985,
comprising fourteen linocuts,
one with extensive hand-colouring
in red, each signed in pencil,
numbered 225/250, with title page,
introduction by Lucian Freud, and
justification, each sheet loose, on
mould-made Velin Arches 300 gsm
paper, within the original black
cardboard box, overall size
527 x 406 mm (20 3/4 x 16 in)
300 - 500
341
150
342
LONDON
343
345
344
346
343
David Gentleman (b.1930)
Endell Street
numbered 22/70, from Covent Garden Suite, printed by
Curwen Studio, on wove paper, with margins,
sheet 490 x 775 mm (19 1/4 x 30 1/2 in)
345
Antony Gormley (b.1950)
Brain Field
lithograph printed with linseed oil, 2007, signed, dated
and numbered 18/40 verso, published by Editions
Copenhagen, Denmark and World House Editions,
Middlebury, Connecticut, on Arches paper, with full
margins, sheet 690 x 1000mm (27 1/8 x 39 3/8 in)
100 - 150
800 - 1,200
344
Body
pigment print in colours, 2014, signed, titled and
dated verso, numbered 95/250, on thick wove paper,
with full margins, sheet 280 x 217 mm (11 x 8 1/2 in)
346
Domain
etching, 2013, signed, titled, dated and numbered
25/100 in pencil verso, on wove paper, with full
margins, sheet 380 x 303 mm (15 x 12 in)
700 - 900
1,500 - 2,000
151
LONDON
347
Horizon field
etching, 2010, signed, dated and inscribed HF in
pencil verso, numbered 41/80, printed by Thumbprint
Editions, London, on BFK Rives paper, with full margins,
324 x 498 mm (12 3/4 x 19 5/8 in)
3,000 - 4,000
152
LONDON
349
348
Shared Visions
pigment print, 2011, signed in pencil,
numbered 95/150, published by Oak Tree Fine Press,
700 - 900
349
Singularity
lithograph, 2007, signed and dated in pencil verso,
numbered 12/40, printed by Editions Copenhagen,
Copenhagen, co-published by Editions Copenhagen,
Copenhagen and World House Editions, Connecticut,
on two sheets of Arches paper, with full margins,
sheet 690 x 1000 mm (27 1/8 x 39 3/8 in)
1,000 - 1,500
348
153
LONDON
350
Sublimate
etching with aquatint, 2008, signed and dated in
pencil, numbered 20/60 verso, on BFK Rives paper,
2,500 - 3,500
154
LONDON
351
352
351
Richard Hamilton (1922-2011)
Kent State (L.77)
numbered 457/5000, printed by the artist and Dieter
Dietz at Dietz Offizin, Lengmoos, Bavaria, published by
Dorothea Leonhart, Munich, on Schoeller Durex paper,
250 - 350
352
Richard Hamilton (1922-2011)
Hugh Gaitskell as a Famous Monster
of Filmland (1963)(L.135)
screenprint and collotype printed in colours, 1982,
signed in pencil, numbered 62/100, published by
Waddington Graphics, London, on wove paper, with
1,000 - 1,500
353
Keith Haring (1958-1990)
Shopping Bag from Tokyos Haring Pop Shop
printed plastic bag, 1987, signed, dated and with a
drawing of a dog in black felt-tip pen,
482 x 42 mm (19 x 16 1/2 in)
353
700 - 900
155
LONDON
354
Damien Hirst (b.1965)
Ala-His
signed in pencil, on wove paper,
with full margins,
sheet 295 x 230 mm (11 5/8 x 9 1/8 in)
2,500 - 3,000
156
LONDON
355
Ala-Met
signed in pencil, published by The Paragon Press,
with full margins, sheet 802 x 635 mm (31 5/8 x 25 in)
6,000 - 8,000
157
LONDON
356
Amnoitic Fluid Red
screenprint in colours,
2012, signed in pencil,
numbered 4/55 verso,
published by The Paragon Press,
on Somerset paper, t
he full sheet printed to the edges,
sheet 310 x 310 mm (12 1/4 x 12 1/4 in)
2,500 - 3,000
356
357
Equilin Blue
on Somerset paper,
sheet 310 x 310 mm (12 1/4 x 12 1/4 in)
2,500 - 3,000
357
158
LONDON
358
Meparticin Orange
on Somerset paper,
sheet 310 x 310 mm (12 1/4 x 12 1/4 in)
2,500 - 3,000
358
359
Quisqualic Pink
on Somerset paper,
sheet 310 x 310 mm (12 1/4 x 12 1/4 in)
2,500 - 3,000
359
159
LONDON
360
Glycine Cresol Red
signed in pencil,
on Somerset paper,
sheet 260 x 260 mm (10 1/8 x 10 1/8 in)
3,000 - 5,000
360
361
Ferric Ammonium Citrate Purple
and Orange screenprint in colours,
on Somerset paper,
sheet 155 x 385 mm (6 1/8 x 15 1/8 in)
1,500 - 2,000
361
160
LONDON
362
Meprobamate
screenprint in colours with glaze, 2011, signed in
pencil, numbered 84/150, published by Other Criteria,
sheet 700 x 940 mm (28 x 37 in)
5,000 - 7,000
161
LONDON
363
For The Love of God
signed in white pencil,
numbered 1329/1700,
published by Other Criteria,
327 x 242 mm (12 7/8 x 9 1/2 in)
800 - 1,200
363
364
New Beginnings Green
signed in pencil,
on wove paper,
sheet 660 x 490 mm (26 x 19 1/4 in)
3,500 - 4,500
364
162
LONDON
365
I Saw the Half of the Moon
etching printed in colours, 2002,
signed in pencil, the edition was 68,
from In a Spin, the Action of the World
on Things I portfolio, published by
Charles Booth-Clibborn under his imprint,
The Paragon Press, London,
sheet 910 x 710 mm (35 3/4 x 28 in)
1,800 - 2,200
365
366
Wheel within a wheel
etching printed in colours, 2002,
signed in pencil, the edition was 68,
from In a Spin, the Action of the World
on Things I portfolio, published by
Charles Booth-Clibborn under his imprint,
The Paragon Press, London,
sheet 910 x 710 mm (35 3/4 x 28 in)
1,500 - 2,000
366
163
LONDON
367
369
368
Spinning Wheel
the edition was 68, from In a Spin, the Action of the
World on Things I portfolio, published by Charles
Booth-Clibborn under his imprint, The Paragon Press,
sheet 910 x 710 mm (35 3/4 x 28 in)
368
1,500 - 2,000
367
Ring-a-ring of roses
sheet 910 x 710 mm (35 3/4 x 28 in)
369
Circles in the sand
sheet 910 x 710 mm (35 3/4 x 28 in)
1,500 - 2,000
1,500 - 2,000
164
LONDON
370
The Elusive Truth
the set of four offset lithographic
posters printed in colours, 2005,
each signed in ball-point pen,
from the edition of 100 on occasion
of the artists exhibition, The Elusive
Truth, Gagosian Gallery, New York,
all on smooth wove paper,
the full sheets printed,
each sheet 990 x 700 mm
(39 x 27 1/2 in)
600 - 800
370
371
David Hockney (b.1937)
Rapunzel (T. 78)
the leporello, 1969, comprising
six etchings with aquatint in-text,
signed and numbered 99/100 in
pencil on the title-page, on wove
paper, loose as issued, housed in
grey linen covered portfolio cover,
(18 1/2 x 12 3/4 in)
600 - 800
371
165
LONDON
372
Riding around on a Cooking-Spoon (T.104)
etching with aquatint, 1969, signed in pencil,
numbered 61/100, from Illustrations for Six Fairy Tales
From the Brothers Grimm, printed by the Print Shop,
Amsterdam, Published by Petersburg Press, London,
on Hodgkinson handmade paper, with full margins,
160 x 250 mm (6 3/8 x 9 7/8 in)
1,200 - 1,800
166
LONDON
374
373
Portrait of Felix Mann (S.A.C.113)
lithograph, 1969, signed and inscribed P.P. in pencil, a
printers proof aside from the edition of 65, on Arches
sheet 655 x 370 mm (25 3/4 x 14 1/2 in)
800 - 1,200
374
The Poet (T.190)
etching and aquatint printed in colours, 1976-77,
signed in pencil, numbered 52/200, from The Blue
Guitar, published by Petersburg Press, London and
New York, on wove paper, with full margins
350 x 428 mm (13 3/4 x 16 7/8 in)
800 - 1,200
373
167
LONDON
375
Small Dogs (T.344)
and dated in pencil, inscribed AP III/XV, an artists proof
aside from the edition of 80, printed by Maurice Payne,
Los Angeles, published by George Mulder, Lococo
Mulder Inc./David Hockney, on Arches paper,
with full margins,260 x 410 mm (10 1/4 x 16 1/8 in)
6,000 - 8,000
168
LONDON
376
My Parents
chromogenic print, 1975, signed in ink, numbered
20/80, published by Sonnabend Editions, New York,
on photographic paper, with margins,
sheet 270 x 205 mm (10 5/8 x 8 1/8 in)
500 - 700
377
Hockneys Alphabet
the book, 1991, signed by the artist and the
editor Stephen Spender, with title-page, text and
reproductions, printed by Westerham Press, Kent,
published by Faber and Faber for the Aids Crisis Trust,
London, bound as issued in yellow buckram,
400 - 600
378
Howard Hodgkin (b.1932)
Nick (H.Please see p.172)
soft-ground etching with aquatint, 1977, signed,
dated and inscribed Stage Proof in pencil, aside from
the edition of 100, printed by Maurice Payne at the
Petersburg Studios, London, published by Petersburg
Press, London & New York, on wove paper, with full
margins, sheet 660 x 796 mm (26 x 31 3/8 in)
376
600 - 800
378
377
169
LONDON
379
Gary Hume (b.1962)
Untitled 01 (from Sister Troop)
collaged screenprint in colours on brushed aluminium
card, 2009, signed and dated in pencil, from the
edition of 60, published by the Paragon Press, London,
on Somerset Satin paper, with full margins,
655 x 340 mm (25 3/4 x 13 3/8 in)
3,000 - 4,000
170
LONDON
380
Gary Hume (b.1962)
600 x 337 mm (23 5/8 x 13 1/4 in)
3,000 - 4,000
171
LONDON
381
Gary Hume (b.1962)
600 x 530 mm (23 5/8 x 20 7/8 in)
3,000 - 4,000
172
LONDON
382
Gary Hume (b.1962)
595 x 470 mm (23 3/8 x 18 1/2 in)
3,000 - 4,000
173
LONDON
383
Gary Hume (b.1962)
London Fields
linocut printed in colours, 2012, signed, titled and
dated in pencil, from the edition of 56, published by
the Paragon Press, London, on 410gsm Somerset Satin
paper, with full margins, sheet 1338 x 970 mm
(52 5/8 x 38 1/4 in)
6,000 - 8,000
174
LONDON
384
Gary Hume (b.1962)
collaged screenprint in colours
on brushed aluminium card, 2009,
signed and dated in pencil,
from the edition of 60, published by
the Paragon Press, London,
on Somerset Satin paper,
with full margins,
600 x 420 mm (23 5/8 x 16 1/2 in)
2,000 - 3,000
384
385
Gary Hume (b.1962)
One Thousand Windows
acrylic on paper in a frame designed
by the artist, 2013, signed,
titled, dated and numbered 382
verso, on wove paper, the full sheet,
(14 1/2 x 12 3/8 in)
300 - 500
385
175
LONDON
386
386
Jrg Immendorff (1945-2007)
Ohne Titel
screenprint in colours, 2012, signed in pencil, inscribed
e.a., an artists proof aside from the edition of 100, on
Hahnemhle wove paper, with full margins,
sheet 1070 x 785 mm (42 1/8 x 30 7/8 in)
300 - 500
387
Robert Indiana (b.1928)
The Book of Love
the incomplete portfolio, comprising twelve
embossings in colours with accompanying poems,
1997, each signed in pencil, numbered 170/200, with
title-page and justification, printed by Freeman Burks,
published by Michael McKenzie, on A.N.W. Crestwood
Museum Edition paper, with full margins, the sheets
loose as issued in original brown paper-covered
portfolio, each sheet 610 x 508 mm (24 x 20 in)
1,000 - 1,500
176
387
LONDON
389
388
388
Jasper Johns (b.1930)
Numerals (Small)
etching with aquatint, 1969, signed and dated in
pencil, numbered 24/40, from 1st Etchings, 2nd state,
printed by Universal Limited Art Editions, New York,
118 x 95 mm (4 5/8 x 3 3/4 in)
390
2,000 - 3,000
389
Painting With Two Balls, Die Graphik
screenprint printed in colours, 1971, published by
Kunsthalle Bern, on wove paper, with margins,
sheet 1000 x 700 mm (39 3/4 x 27 1/2 in)
390
Philadelphia Museum of Art Poster
published by Philadelphia Museum of Art,
sheet 895 x 605 mm (35 1/4 x 23 3/4 in)
600 - 800
200 - 300
177
LONDON
391
Periscope II
numbered 17/28, published by Gemini G.E.L.,
Los Angeles, on wove paper, with full margins,
1275 x 915 mm (50 1/4 x 36 in)
6,000 - 8,000
178
LONDON
393
392
392
Allen Jones (b.1937)
That is the Question (L.21)
lithograph printed in colours with offset lithographic
element, 1964, signed, titled and dated in pencil,
numbered 22/50, printed and published by the Royal
College of Art, London, on wove paper,
with full margins, 482 x 355 mm (19 x 14 in)
394
500 - 700
393
Totem (L.80 a-b)
lithograph printed in colours on two sheets as
published, 1979, signed and dated in pencil,
numbered 11/15, printed by Jack Lemon, Landfall
Press, Chicago, published by Waddington Graphics,
London, on wove paper, the full sheets printed to the
edges, overall 660 x 960 mm (26 x 37 3/4 in)
500 - 700
395
394
The Forest (from Islands)(l.102.a)
in pencil, inscribed A.P., 7/10, an artists proof aside
from the edition of 60, printed by Toby Michel, Angeles
Press, Los Angeles, published by Waddington Graphics,
London, on Arches paper, the full sheet printed to the
edges, 750 x 1065 mm (29 1/2 x 41 7/8 in)
395
The Promontory (from Islands)(l.102.d)
in pencil, inscribed A.P., 7/10, an artists proof aside
from the edition of 60, printed by Toby Michel, Angeles
Press, Los Angeles, published by Waddington Graphics,
London, on Arches paper, the full sheet printed to the
edges, 750 x 1065 mm (29 1/2 x 41 7/8 in)
400 - 600
400 - 600
179
LONDON
396
Anish Kapoor (b.1954)
Untitled (Ring object)
sterling silver ring with red lacquer,
2003, signed in black ink on accompanying
certificate, numbered 58/75,
published by Kunsthaus Bregenz,
produced by Schellmann,
housed in the original black box as issued,
40 x 25 mm (1 5/8 x 1 in)
1,000 - 1,500
180
LONDON
397
KAWS (b.1974)
Imaginary Friends Invitation
offset lithograph printed in colours,
2012, signed and dated in black felt-tip pen,
the invitation of the Imaginary Friends
Exhibition at Galerie Perrotin, Paris,
on card, the full sheet printed to the edges,
overall 170 x 210 mm (6 3/4 x 8 1/4 in)
800 - 1,200
397
398
Idris Khan (b.1978)
Over and Over and Over
screenprint, 2013, signed and dated in
pencil, numbered 34/80,
461 x 291 mm (18 1/8 x 11 1/2 in)
800 - 1,200
398
181
LONDON
399
R. B. Kitaj (1932-2007)
Errata
screenprint in colours, 1963/4,
signed in black ink, numbered
10/40, printed by Craddock &
Craddock Ltd., London,
742 x 505 mm (29 1/4 x 19 7/8 in)
500 - 700
399
400
R. B. Kitaj (1932-2007)
Chris [Prater] (R.226)
screenprint in blue, 1980,
signed in pencil, from the series
Kelpra Studio/Tate Gallery Portfolio,
published by Kelpra Studio with
their blindstamp, on wove paper,
with full margins,
sheet 750 x 603 mm
(29 1/2 x 23 3/4 in)
200 - 300
400
182
LONDON
401
Jeff Koons (b.1955)(after)
Bear and Policeman
1993, signed, dated and inscribed
To beauty in simple things in silver
felt-tip pen, on glossy wove paper,
sheet 840 x 600 mm
(33 x 23 2/3 in)
1,000 - 1,500
401
402
Jeff Koons (b.1955)
Koons
the book, 2007, signed in black
pen, numbered 0204 from the
edition of 1800, published by
Taschen, housed in the original
red canvas clamshell box,
with title embossed on the
uppers and spine,
(19 1/4 x 14 3/4 in)
1,000 - 1,500
402
183
LONDON
403
403
Yayoi Kusama (b.1929)
Pumpkin 2000 (K.298)
screenprint in colour, 2000, signed, titled and dated
in pencil, numbered from the edition of 200, printed
by K2 Screen, London, published by the Serpentine
Gallery, London, on 270 gsm colorplan paper, with full
margins, 300 x 350 mm (11 7/8 x 13 3/4 in)
3,000 - 5,000
404
Yayoi Kusama (b.1929)
Pumpkin
painted ceramic sculpture, inscribed YAYOI KUSAMA
on the base, housed in the orginal blue cardboard box
with the title printed in silver on the uppers,
overall size 107 x 125 x 125 mm (4 1/4 x 4 7/8 x 4 7/8 in)
404
184
300 - 500
LONDON
405
405
Yoshitomo Nara (b.1959)
Universal Soldier
numbered 138/400, for the calendar of the
Department of Painting and Printmaking,
Tokyo University of the Arts, on wove paper, with full
1,500 - 2,000
406
Yoshitomo Nara (b.1959)
Mori Girl
resin, wood and plastic, 2012, the edition was 1000,
housed in the original cardboard box,
overall 140 x 90 x 90 mm (5 1/2 x 3 1/2 x 3 1/2 in)
800 - 1,200
406
185
LONDON
407
Gerald Laing (1936-2011)
Jean Harlow
screenprint in colours with
platinum leaf and silver-dollar
foil, 2011, signed, titled and dated
in pencil, numbered 75/200,
published by St. Pancras Editions,
London, with their blindstamp,
1050 x 710 mm (41 1/4 x 28 in)
700 - 900
407
408
Chris Levine (b. 1960)
Sequence 1, from Superstar
numbered 74/300 verso, printed
by Chaudigital, London, with their
inkstamp verso, on wove paper,
with margins,
600 - 800
408
186
LONDON
409
Sol LeWitt (1928-2007)
from Colours with Lines in Four
Directions
printed by Watanabe Studio Ltd.,
New York, on wove paper,
with full margins,
sheet 1194 x 1194 mm (47 x 47 in)
800 - 1,200
409
410
from Colours with Lines in Four
Directions
printed by Watanabe Studio Ltd.,
with full margins,
sheet 1194 x 1194 mm (47 x 47 in)
800 - 1,200
410
187
LONDON
411
Forms Derived from a Cube
printed by Watanabe Studios,
with full margins,
sheet 813 x 813 (32 x 32 in)
1,000 - 1,500
411
411A
with full margins,
sheet 813 x 813 (32 x 32 in)
1,000 - 1,500
411A
188
LONDON
411B
with full margins,
sheet 813 x 813 (32 x 32 in)
1,000 - 1,500
411B
412
a collection of fifteen books on the
artist, including Sunrise & Sunset
at Praino, 1980, published by
Rizzoli International Publications,
New York and Fotografia, 1980,
all bound as issued in the original
boards and wrappers,
(12 1/4 x 12 1/4 in)
100 - 150
412
189
LONDON
413
Roy Lichtenstein (1923-1997)
Mirror no 5, from Mirror Series (C.110)
lithograph with screenprint in colours, 1972,
printed and published by Gemini G.E.L., Los Angeles,
870 x 616 mm (34 1/4 x 24 1/4 in)
3,000 - 5,000
190
LONDON
414
Mirror no 8, from Mirror Series (C.113)
lithograph with screenprint in colours, 1972,
printed and published by Gemini G.E.L., Los Angeles,
sheet 1038 x 1346 mm (40 7/8 x 53 in)
3,000 - 5,000
191
LONDON
415
Red Apple (C.196)
woodcut printed in colours, 1983, signed, dated and
inscribed AP 13/14 in pencil, an artists proof aside
from the edition of 60, from the Seven Apple Woodcuts
series, printed and published by Petersburg Press Inc.,
London and New York, on handmade Iwano Kizuki
Hosho wove paper, with full margins,
sheet 772 x 930 mm (30 3/8 x 36 5/8 in)
5,000 - 7,000
192
LONDON
416
417
416
Roy Lichtenstein (1923-1997)(after)
Brushstroke (C.II.15)
signed in pencil, published by Poster Originals, Ltd.,
New York, on smooth wove paper,
417
Roy Lichtenstein (1923-1997)(after)
As I Opened Fire
the set of three offset lithographs printed in colours,
1966, from the edition of unknown size, printed by
Drukkerij Luii & Co., Amsterdam, published by Stedelijk
Museum, Amsterdam, each on wove paper, with full
1,500 - 2,000
300 - 500
193
LONDON
418
420
418
Antony Micallef (b.1975)
Giant Freak
published by the Curwen Press, Chilford,
sheet 490 x 445 mm (19 1/4 x 17 1/2 in)
700 - 900
419
Girl Tokyo
published by Eyestorm, London, on wove paper,
sheet 1000 x 730 mm (39 3/8 x 28 3/4 in)
700 - 900
419
420
Shibuya Crossing
published by the Curwen Press, Chilford,
sheet 490 x 445 mm (19 1/4 x 17 1/2 in)
700 - 900
194
LONDON
421
Harland Miller (b.1964)
Love Conquers Nothing
giclee print in colours, 2011, signed in pencil,
numbered 27/35, published by Other Criteria, London,
on wove paper, the full sheet printed to the edges,
sheet 420 x 336 mm (16 1/2 x 13 1/4 in)
2,500 - 3,000
195
LONDON
422
Vik Muniz (b.1961)
The Football Player
signed in pencil, numbered
on Japanese watercolour paper,
with full margins,
sheet 830 x 1117 mm (32 5/8 x 44 in)
500 - 700
422
423
Vik Muniz (b.1961)
Untitled (Pel)
chromogenic print, 2003,
signed by Pele in black ink,
sheet 610 x 455 mm (24 x 17 7/8 in)
800 - 1,200
423
196
LONDON
424
425
424
Takashi Murakami (b.1962)
An Homage to Monogold 1960 A
black ink, numbered 109/300, published by Kaikai Kiki
Co., Ltd., Tokyo, on smooth wove paper, the full sheet
printed to the edges, 737 x 530 mm (29 x 20 7/8 in)
600 - 800
425
An Homage to Monopink 1960 B
silver ink, numbered 129/300, published by Kaikai Kiki
printed to the edges, 737 x 530 mm (29 x 20 7/8 in)
600 - 800
426
Acupuncture/Flowers
silver ink, numbered 85/300, published by Kaikai Kiki
printed to the edges, 680 x 680 mm (26 3/4 x 26 3/4)
426
600 - 800
197
LONDON
427
Hypha Will Cover the World Little
by Little...
2007, signed in felt-tip pen,
Kaikai Kiki Co., Ltd., Tokyo,
on smooth wove paper, the full
sheet printed to the edges, sheet
640 x 1296 mm (25 1/4 x 50 7/8 in)
427
700 - 900
428
Kansei: Like The Rivers Flow
offset lithograph printed in
colours, 2010, signed in silver ink,
numbered 103/300, published
by Kaikai Kiki Co., Ltd., Tokyo, on
smooth wove paper, the full sheet
printed to the edges, diameter 707
mm (27 7/8)
600 - 800
428
429
Kiki with Moss
2003, signed in silver ink, numbered
87/200, published by Kaikai Kiki Co.,
Ltd., Tokyo, on smooth wove paper,
690 x 690 mm (27 1/8 x 27 1/8 in)
700 - 900
429
198
LONDON
430
Surprise!
offset lithograph printed in
colours, 2009, signed in silver pen,
smooth wove paper, the full sheet
720 x 720 mm (28 3/8 x 28 3/8 in)
400 - 600
431
Of Chinese Lions, Peonies, Skulls,
and Fountains
2012, signed in silver felt-tip pen,
smooth wove paper, with margins,
sheet 710 x 1400 mm
(28 x 55 1/8 in)
430
700 - 900
431
199
LONDON
432
Reversed Double Helix
offset lithograph printed in colours, 2005, signed
and dated in blue ink, numbered 161/300, published
by Takashi Murakami/Kai Kai Kiki Co., Ltd., Japan, on
smooth wove paper, the full sheet printed to the
700 - 900
433
Reversed Double Helix - black head brown body
offset lithograph printed in colours with glitter, 2005,
signed in silver ink, numbered 159/300, published by
Kaikai Kiki Co., Ltd., Tokyo, on smooth wove paper, full
1032 x 730 mm (40 5/8 x 28 3/4)
600 - 800
432
434
Pom & Me
felt-tip pen, numbered 98/300, published by Kaikai
Kiki Co., Ltd., Tokyo, on smooth wove paper,
sheet 703 x 550 mm (27 3/4 x 21 5/8 in)
500 - 700
433
200
434
LONDON
435
Murakami
the book, 2007, signed and dedicated with a drawing
by the artist in black ink on the title-page, with essays
by Dick Hebdige, Midori Matsui, Scott Rothkopf,
Paul Schimmel, Mika Yoshitake and reproductions,
published by the Museum of Contemporary Art,
Los Angeles, and Rizzoli International Publications Inc.,
New York, bound as issued in the original boards
and printed wrappers, overall size 325 x 250 mm
(12 3/4 x 9 3/4 in)
800 - 1,200
201
LONDON
436
Julian Opie (b.1958)
Galloping Horse
inlaid and overlaid acrylic, 2013,
from the series of three, signed in black ink,
numbered 23/35, one from the series of three,
613 x 1000 mm (24 1/8 x 39 3/8 in)
7,000 - 9,000
202
LONDON
437
Julian Opie (b.1958)
Galloping Horse
inlaid and overlaid acrylic, 2013,
from the series of three,signed in black ink,
numbered 23/35, one from the series of three,
613 x 1000 mm (24 1/8 x 39 3/8 in)
7,000 - 9,000
203
LONDON
438
Angel Otero (b.1981)
Untitled (SK-PH)
pigment and screenprint in
colours with silver leaf, 2015,
with full margins,
420 x 325 mm (16 1/2 x 13 in)
1,000 - 1,500
439
Ana Maria Pacheco (b.1943)
Study I
etching, 1994, signed, titled and
dated in pencil, numbered 35/50,
385 x 605 mm (15 1/8 x 23 7/8 in)
200 - 300
438
440
Sir Eduardo Paolozzi (1924-2005)
Untitled
engraving with aquatint, 1962,
signed, in pencil, numbered 6/60,
261 x 191 mm (10 1/4 x 7 1/2 in)
400 - 600
439
204
440
LONDON
441
441
Cornelia Parker (b.1956)
Pornographic Drawing
lithograph, 2000, signed and dated in
pencil, numbered 8/200, published
by Serpentine Gallery, London,
sheet 455 x 420 mm (17 7/8 x 16 1/2 in)
442
200 - 300
442
A.R. Penck (b.1939)
Mother and Child
signed and inscribed e.a. in pencil, an
artists proof aside from the edition,
on Fabriano paper, with full margins,
615 x 715 mm (24 1/4 x 28 1/8 in)
300 - 400
443
Enoc Perez (b.1967)
Hearst Tower
lithograph with extensive handcolouring, 2012, signed, dated and
inscribed H.C in pencil, an hors
commerce impression aside from
the edition of 20, on wove paper, the
full sheet printed to the edges, sheet
1000 x 700 mm (39 3/8 x 27 1/2 in)
2,000 - 3,000
444 No Lot
443
205
LONDON
445
Niki de Saint Phalle (1930-2002)
The Clown
etching and aquatint with extensive
hand-colouring in watercolour, 1998,
signed and inscribed A.P II in pencil, an
artists proof aside from the edition of 40,
published by Lapis Press, Los Angeles, on
wove paper, with full margins, sheet 357
x 305 mm (14 x 12 in)
700 - 1,000
445
446
Richard Pinkney (b.1938)
& Ian Tyson (b.1933)
Letters from the Black Palace Numbers I-IIIII
the publication comprising six
screenprints in colours, 1971, each
signed and dated in pencil, inscribed A/P,
an artists proof aside from the edition
of 75, with title-page and justification,
printed by Circle Press, Guildford and
Kelpra Studio Ltd., London, published by
Tetrad Press, London, on Barcham Green
paper, each with full margins, together
with the incomplete publication Spare
Parts, by Ian Tyson, comprising six of
eight screenprints in colours, 1971,
published by Tetrad Press, London, each
on wove paper, with full margins,overall
size 255 x 307 mm (10 x 12 1/8 in)
446
206
200 - 300
LONDON
447
448
447
Richard Pinkney (b.1938) & Ian Tyson (b.1933)
Variation 1
screenprint in colours, 1968, signed, titled and dated
in pencil, inscribed AP, an artists proof aside from the
edition, on wove paper, with full margins, together
with Spare Parts, by Ian Tyson, the publication
comprising eight screenprints in colours, 1971, each
signed in pencil, from the edition of 75, published by
Tetrad Press, London, each on wove paper, with full
margins, overall size 398 x 398 mm (15 3/4 x 15 3/4 in)
449
200 - 300
448
Arthur Luiz Piza (b.1928)
Compositions
four etchings with aquatint and embossing printed in
colours, circa 1993, each sheet signed in pencil, from
an unknown edition, on wove paper, with full margins,
449
Nicholas Pope (b.1949)
Untitled
screenprint in colours, 2002, initialled and dated in
pencil, numbered 22/38, on wove paper, with margins,
sheet 800 x 1100 mm (31 1/2 x 43 1/4 in)
300 - 500
100 - 150
207
LONDON
450
450
Richard Prince (b.1949)
Dude Ranch Nurse
lithograph printed in colours with collage and
graphite additions, 2008, signed in pencil, numbered
84/96, published by Serpentine Gallery, London,
sheet 480 x 607 mm (19 7/8 x 23 7/8 in)
2,500 - 3,500
451
Untitled
archival pigment print, 2014, numbered 63/100 verso,
published by The Song Cave, New York,
sheet 280 x 216 mm (11 x 8 1/2 in)
300 - 500
451
208
LONDON
452
Untitled (from Adult Comedy Action Drama)
c-print in colours, 1995, signed and dated in blue
ballpoint pen, numbered G/26, on Kodak Professional
paper, with full margins,
sheet 456 x 566 mm (17 3/4 x 22 1/4 in)
3,000 - 5,000
209
LONDON
453
Marc Quinn (b.1964)
Internal Labyrinth
sheet 1400 x 920 mm (55 1/7 x 36 1/4 in)
3,000 - 5,000
210
LONDON
454
Marc Quinn (b.1964)
Internal Labyrinth Monochrome
pigment print, 2012,
signed and dated in pencil, numbered 4/20,
sheet 1400 x 920 mm (55 1/7 x 36 1/4 in)
3,000 - 5,000
211
LONDON
455
455
Marc Quinn (b.1964)
Sea of Tranquillity
pigment print, 2010, signed and dated in pencil,
numbered 4/59, published by The Paragon Press,
London, on Somerset paper, with margins,
650 x 1000 mm (25 5/8 x 39 3/8 in)
1,000 - 1,500
456
Marc Quinn (b.1964)
Plate 6, from the Portraits of Landscapes
pigment print in colours, 2007, signed in pencil verso,
numbered from the edition of 59, published by
Charles Booth-Clibborn under his imprint The Paragon
Press, London, on Somerset Velvet Enhanced paper,
sheet 1000 x 750 mm (39 3/8 x 29 1/2 in)
500 - 700
456
212
LONDON
457
Mel Ramos (b.1935)
Miss.Comfort Creme
numbered XXIV, an artists proof
aside from the edition of 200, from
11 Pop Artists:Volume 3, published
by Original Editions, New York,
on wove paper, the full sheet
1005 x 760 mm (39 1/2 x 30 in)
1,500 - 2,000
457
458
Mel Ramos (b.1935)
Partagas
signed and inscribed PC 8/10 in
pencil, aside from the edition of
100, printed by Accent Studios,
Los Angeles, with their blindstamp,
published by Robert Bane, Los
Angeles, with thier dry-stamp, on
470 x 470 mm (18 1/2 x 18 1/2 in)
1,000 - 1,500
458
213
LONDON
459
Mel Ramos (b.1935)
Phantom Lady
screenprint in colours, 1989, signed and inscribed PC
in pencil, numbered 8/10, printed by Accent Studios,
Los Angeles, with their blindstamp, published by
Robert Bane, Los Angeles,
with thier dry-stamp, on wove paper, with full margins,
775 x 610 mm (30 1/2 x 24 in)
1,000 - 1,500
460
Mel Ramos (b.1935)
Velasquez Vision
lithograph printed in colours, signed and inscribed 17/P
32/35 in pencil, a proof aside from the edition of 250,
published by Atelier Dumas Inc., New York, with their
407 x 600 mm (16 x 23 5/8 in)
459
500 - 700
460
461
Jamie Reid (b.1947)
Fuck Forever
published by the Artificial Gallery, New York City, with
their blind stamp, on wove paper, with full margins,
sheet 1013 x 740 mm
(39 1/2 x 29 1/8 in)
1,000 - 1,500
214
461
LONDON
462
463
464
462
David Rayson (b.1966)
One Day
the portfolio of ten screenprints in colours, 2006, each
signed in pencil verso, numbered 4/30, published by
artHester and the Print Studio, Cambridge, on wove
465
464
Paula Rego (b.1935)
Untitled
painted ceramic tile, signed in black ink verso,
produced by Ratton Ceramica, Portugal,
50 - 100
600 - 800
463
Paula Rego (b.1935)
Homem
numbered 123/150, produced by Ratton Ceramica,
Portugal, overall size 142 x 142 mm (5 5/8 x 5 5/8 in)
465
Paula Rego (b.1935)
Leaping Woman
numbered 110/150, produced by Ratton Ceramica,
Portugal, overall size 142 x 142 mm (5 5/8 x 5 5/8 in)
100 - 150
100 - 150
215
LONDON
466
Gerhard Richter (b.1932)
Bagdad (P10)
diasec-mounted chromogenic print on aluminium,
2014, numbered on the reverse from the edition of
500, published by Heni Productions, London
(19 1/2 x 15 3/4 in)
4,000 - 6,000
216
LONDON
467
Ed Ruscha (b.1937)
Angel
lithograph printed in colours, 2006, signed, dated and
inscribed XIV/XX in pencil, published by Tamarind
Institute, University of New Mexico, with their
blindstamp, on BFK Rives paper, with full margins,
sheet 508 x 407 mm (20 x 16 in)
4,000 - 6,000
217
LONDON
468
469
470
471
469
Colin Self (b.1941)
Cockerel (from Power & Beauty Volume One)
screenprint in colours, 1968, signed and titled in white
ink, inscribed Artists Proof 6, aside from the edition of
75, on wove paper, the full sheet printed to the edges,
sheet 1045 x 675 mm (41 1/8 x 26 1/2 in)
200 - 300
470
Colin Self (b.1941)
Out of Focus Object and Flowers No.1 (Provincial image)
etching and aquatint printed in colours, 1968, signed, titled
and dated in pencil, numbered 6/75, on wove paper, with
200 - 300
471
Colin Self (b.1941)
Out Of Focus Object and Flowers No 3 (The 1940s)
and dated in pencil, inscribed B.A.T, from the edition of
75, on wove paper, with full margins,
sheet 1010 x 700 mm (40 x 27 1/2 in)
472
200 - 300
468
Colin Self (b.1941)
Flowers
etching, 1968, signed, dated and inscribed 5/12 Artists
Proof in pencil, on wove paper, with full margins,
300 x 250 mm (11 3/4 x 9 7/8 in)
472
Colin Self (b.1941)
Poster Poem: Electric Chair (with Christopher Logue)
offset lithograph printed in colours, 1968,
on wove paper, with margins, sheet 975 x 400 mm
(38 3/8 x 15 3/4 in)
200 - 300
300 - 500
218
LONDON
473
Richard Serra (1939)
Axis
the book, 1990, signed in black
felt-tip pen, printed by Hans
Kock, Bielefeld, published by
Kunsthalle Bielefeld und die
Autoren, bound as issued, in
original soft cover, 300 x 210
mm (11 7/8 x 8 1/4 in)
100 - 150
473
474
474
John Stezaker (b.1949)
Recto -Verso
photo-lithograph printed
in colours, 2012, signed and
dated verso, numbered 62/100,
printed by Paupers Press,
London, on 300gsm Somerset
paper, the full sheet printed
to the edges,
sheet 653 x 510 mm
(21 3/4 x 20 1/8 in)
700 - 900
475
Antoni Tpies (1923-2012)
Untitled
lithograph printed in colours,
1987, signed and inscribed
H.C in pencil, an artists proof
aside from the edition of 100,
published by Erker-Presse, St.
Gallen, with their blindstamp,
on Rives paper, with full
margins, 610 x 450 mm
(24 x 17 3/4 in)
1,000 - 1,500
475
219
LONDON
477
476
478
476
Chu Teh-Chun (1920-2014)
Composition
lithograph printed in colours, signed in English and
Chinese in pencil, inscribed E.A., an artists proof aside
from the edition of 90, published by Del Arco Paris
Editions, Paris, with their blindstamp, on wove paper,
with full margins, sheet 756 x 560 mm (29 3/4 x 22 in)
477
Hock-Aun Teh (b.1950)
Lets Have a Drink
sheet 798 x 1075 mm (31 3/8 x 42 1/4 in)
1,500 - 2,500
478
Hock-Aun Teh (b.1950)
Birthday Surprise
770 x 1120 mm (30 1/4 x 44 1/8 in)
400 - 600
400 - 600
220
LONDON
481
479
480
479
Joe Tilson (b.1928)
Grania
screenprint with lithograph printed in colours with
twine at each corner, 1994, signed and dated in pencil,
numbered 35/50, on two sheets of hand-made paper,
sheet 775 x 570 mm (30 1/2 x 22 1/2 in)
482
481
David Tremlett (b.1945)
New Pastel Drawing/Idea for a Wall
1440 x 380 mm (56 3/4 x 15 in)
400 - 600
500 - 700
480
Niele Toroni (b.1937)
a collection of books on the artist, including 1,2,3,4,5,
signed in ball-point pen, numbered VI/XXV, published
by Imschoot, Belguim, bound as issued in the original
boards and wrappers,
482
David Tremlett (b.1945)
Neerslachtig: Deprime: D
offset lithograph printed in black and silver, 1990,
signed, dated and inscribed For Richard in pencil,
sheet 840 x 593 mm (33 x 23 3/8 in)
100 - 150
100 - 150
221
LONDON
483
Gavin Turk (b.1967)
Triple Pop (Silver)
screenprint in black and silver,
2009, signed and dated in pencil,
Counter Editions, London,
sheet 1000 x 700 mm
(39 3/8 x 27 1/2 in)
500 - 700
483
484
Ian Tyson (b.1933)
Untitled
inscribed E/A 05/07, an artists
proof aside from the edition, on
together with a suite of six
screenprints in colours, with
justification, 1973, each signed,
titled and dated in pencil, each
Kelpra Studio Ltd, London, each
(37 x 25 1/4 in)
500 - 700
484
222
LONDON
485
Various artists
A collection of nine Momart Christmas Cards
nine multiples in various media, 1993-2005,
comprising works by Damien Hirst signed in white
wax crayon, Tracey Emin, David Hockney, Gary Hume
signed in blue pen verso, Mark Wallinger signed in
pencil, Howard Hodgkin, Lucian Freud, Antony Caro,
and Paul McDevitt signed in blue pen, five with
accompanying justification, all published by Momart,
London, various sizes
1,500 - 2,000
223
LONDON
486
Various Artists
Abstraction Creation Art Non-Figuratif
the portfolio, 1973, comprising 30 lithographs printed in colours, each
signed in pencil or with stamped signature, numbered 66/150, with
title page, text and justification, published by Atelier Arcay, Michel Caza,
Michel Cass, Fernand Mourlot, Hans Burle & Franco Sciardelli, each on
wove paper in original plastic folder, housed in the original portfolio box
with title printed in black on the uppers, overall size 890 x 750 mm
(35 1/2 x 29 1/2 in)
Including works by Arp, Bill, Calder, Delaunay S., Domela, Erni, Fischli,
Foltyn, Gorin, Helion, Kandinsky, Kerg, Kupka, Melotti, Moholy-Nagy,
Mondrian, Okamoto, Pevsner, Reggiani, Schiess, Stazewski, Strzeminski,
Taeuber-Arp, Van Doesburg, Vantongerloo, Veronesi, Vezelay, Villeri,
Vordemberge-Gildewart and Vulliamy.
3,000 - 5,000
224
LONDON
487
Various Artists
Twelve Artists
a set of six of twelve works in various
media, 1996, each signed in pencil,
numbered 36/100, from The Royal
College of Art Centenary Year Portfolio
of Prints, published by the Printmaking
Course of the Royal College of Art,
each on wove paper, the full sheets,
(22 x 30 1/8 in)
487
Including works by Tim Mara, Chris

Orr, Freya Payne, Kate Whiteford, Alf
Dunn and Rosalind Kunath.
300 - 500
488
Andy Warhol (1928-1987)
La Grande Passion Poster
c.1984, with the rubber stamp of
Andy Warhol Art Authentication
Board verso numbered 03.0799,
on stiff wove paper, with full
margins, sheet 993 x 945 mm
(39 1/8 x 37 1/4 in)
1,500 - 2,000
488
225
LONDON
489
Andy Warhol (1928-1987)(after)
Flowers (Sunday B. Morning)
the complete set of ten screenprints in colours,
each with the Sunday B. Morning rubber stamp verso,
on stiff wove paper, the full sheets printed to the
edges, each sheet 915 x 915 mm (36 x 36 in)
1,000 - 1,500
226
LONDON
490
Andy Warhol (1928-1987)(after)
Marilyn Monroe II (Sunday B. Morning)
the set of ten screenprints in colours, each with the
Sunday B. Morning rubber stamp verso, on stiff wove
paper, the full sheets printed to the edges,
1,000 - 1,500
227
LONDON
491
491
Ai Weiwei (b.1957)
Next To You
screeprint, 2012, signed in pencil, numbered 124/200,
sheet 840 x 840 mm (33 x 33 in)
2,000 - 3,000
492
Tom Wesselmann (1931-2004)
Great American Foot
492
228
600 - 800
LONDON
493
Gillian Wise (b.1936)
Quartet Red
screenprint with felt tip, 1974, signed,
dated and titled in pencil, numbered 8/50,
sheet 845 x 595 mm (33 1/4 x 23 3/8 in)
400 - 600
494
Zao Wou-Ki (1921-2013)
Lorchide
screenprint in colour on porcelain plate, 1986, signed
and dated in black ink, stamped verso as a tribute
to the twentieth birthday of the BSN corporation,
published by Editions Ateliers de Segries, Moustiers,
France, diameter 250 x 250 mm (9 7/8 x 9 7/8 in)
800 - 1,200
493
494
229
LONDON
495
495
Zao Wou-Ki (1921-2013)
Ltang / The Pond
etching with aquatint, 1972, signed in pencil,
numbered 2/3, printed by Bellini, Paris, published by
Editions Galanis, Paris, on Japan paper, with margins,
260 x 230 mm (10 1/4 x 9 in)
1,000 - 1,500
496
496
Zao Wou-Ki (1921-2013)
Untitled (Agerup 239)
screenprint in colours, 1973, signed and inscribed EA.
in pencil, an artists proof aside from the edition of 250,
printed and published by Carl van der Voort Gallery,
Ibiza, on wove paper, the full sheet printed to the
200 - 300
230
LONDON
497
Zao Wou-Ki (1921-2013)
Untitled (R.169)
in pencil, numbered 61/95, published by Grald
Cramer, Geneva, on Rives BFK, with full margins,
470 x 420 mm (18 1/2 x 16 1/2 in)
2,500 - 3,500
231
LONDON
498
JR (b.1983)
Mafia
initalled and dated in brown pen,
with full margins,
415 x 615 mm (16 3/8 x 24 1/4 in)
700 - 900
498
499
Jonathan Yeo (b.1970)
Kevin Spacey and Richard III
inkjet print in colours, 2011,
on wove paper,
sheet 560 x 560 mm (22 x 22 in)
1,800 - 2,200
499
232
LONDON
500
Russell Young (b.1960)
Sid Vicious
from Mugshot Series,
published by Bankrobber Gallery,
with full margins,
953 x 735 mm (37 1/2 x 28 7/8 in)
800 - 1,200
500
501
Russell Young (b.1960)
Kate Moss (as Myra Hindley)
946 x 673 mm (37 1/4 x 26 1/2 in)
1,200 - 1,800
501
233
INDEX
A

Aitchison, Craigie
1, 2
Ackroyd, Norman
3
Agam, Yaacov
277
Allora, Jennifer; Calzadilla, Guillermo
279
Appel, Karel
99
Arikha, Avigdor
98
Arman 278
Auerbach, Frank
280
B
Baker, Charming
281, 282
Banksy
283, 284, 285, 286, 287, 288, 289, 290,

291, 292, 293, 294
Banting, John
4
Bissill, George
5
Blake, Peter
295, 296, 297, 298, 299, 300, 302
Bonnard, Pierre
100
Botero, Fernando
101
Boyle, Mark
303
Braque, Georges
102, 103, 104, 105, 230
Brignoni, Serge
106
Brodzky, Horace Asher
6
Brown, Cecily
304
Buckland-Wright, John
7, 8, 9
Buffet, Bernard
107
Bull, Simon
305
C
Calder, Alexander
306, 307
Campigli, Massimo
108
Caro, Anthony
308
Chadwick, Lynn
10, 11
Chagall, Marc
109, 110, 111, 112, 113, 114, 115,

231, 232, 233, 234, 235, 236,

237, 238, 239, 240
Christo 309
Clarke, Graham
12
Cliffe, Henry
13, 14, 15, 16, 17, 18
Collishaw, Mat
310, 311, 312, 313
Cook, Beryl
19
Corinth, Lovis
117
Cottavoz, Andr
118
D
D*Face 314
Dal, Salvador
119, 120, 121, 122, 123, 124, 125, 126,

127, 128, 129, 130, 131, 132, 133, 134,

135, 136, 137, 138, 139, 140, 141, 142,

143, 144, 145, 146, 147, 148, 241
Davenport, Ian
316
Davie, Alan
20, 21
Davies, Peter
315
Delaunay, Sonia
151
Doig, Peter
317, 318, 319, 320
Domela, Csar
321
Dufy, Raoul
152, 153, 154
E
Emin, Tracey
322, 323, 324, 325, 326, 327, 328
Ernst, Max
155, 156, 157
Escher, M. C.
158, 159
F
Fairey, Shepard
329, 330
Fedden, Mary
22
Feiler, Paul
23
Finlay, Ian Hamilton
24
Flanagan, Barry
331, 332, 333, 334, 335,

336, 337, 338, 339
Fontana, Lucio
340
Francis, Mark
341
Frink, Elisabeth
25
Frost, Sir Terry
26
G
Garland, Nicholas
342
Gear, William
27
Gentleman, David
343
Gibbings, Robert
28, 30
Gormley, Antony
344, 345, 346, 347, 348, 349, 350
Grant, Duncan; McWilliam, F.E.
29
Gross, Anthony
31, 32, 33, 34, 35, 36, 37, 38, 39, 40,

41, 42, 43, 44, 45, 46, 47, 48, 49, 50
H
Haile, Sam
51
Hamilton, Richard
351, 352
Haring, Keith
353
Hasegawa, Shoichi
160
Hayter, Stanley William
52, 53, 54, 55
Helleu, Paul Csar
161
Hirst, Damien
354, 355, 356, 357, 358, 359, 360, 361,

362, 363, 364, 365, 366, 367, 368, 369, 370
Hockney, David
371, 372, 373, 374, 375, 376, 377
Hodgkin, Howard
378
Hume, Gary
379, 380, 381, 382, 383, 384, 385
Hundertwasser, Friedensreich
162
I
Ikeda, Masuo
242
Immendorff, Jrg
386
Indiana, Robert
387
J
Johns, Jasper
388, 389, 390, 391
Jones, Allen
392, 393, 394, 395
JR 498
K
Kapoor, Anish
396
KAWS 397
Kelly, Francis
56, 57, 58, 59, 60, 61, 62,
Khan, Idris
398
Kisling, Mose
260
Kitaj, R. B.
399, 400
Koons, Jeff
401, 402
Kusama, Yayoi
403, 404
L
Laing, Gerald
407
Laurencin, Marie
163
Le Corbusier
116
Lger, Fernand
164, 165
Levine, Chris
408
LeWitt, Sol
409, 410, 411, 411A, 411B, 412
Lichtenstein, Roy
413, 414, 415, 416, 417
Lowry, Laurence Stephen
57, 58, 59, 60, 61, 62
Lurat, Jean
166
M
Magritte, Ren
167
Maillol, Aristide
168
Marini, Marino
169, 170, 171
Masson, Andr
172, 173
Matisse, Henri
174, 175, 243, 244, 245,

246, 247, 248, 249
Medley, Robert
63
Micallef, Antony
418, 419, 420
Miller, Harland
421
Mir, Joan 176, 177, 178, 179, 180, 181, 182, 183, 184,

185, 187, 188, 250, 251, 252, 252A
Moore, Henry
64, 65, 66, 67, 68, 69
Mortensen, Richard
189
Muniz, Vik
422, 423
Murakami, Takashi
424, 425, 426, 427, 428, 429,

430, 431, 432, 433, 434, 435
N
Nara, Yoshitomo
405, 406
Nevinson, C.R.W
70, 71
Nolan, Sidney
72, 73
O
Opie, Julian
436, 437
Otero, Angel
438
P
Pacheco, Ana Maria
439
Paolozzi, Sir Eduardo
440
Paresce, Renato
190
Parker, Cornelia
441
Pasmore, Victor
74, 75, 76
Penck, A.R.
442
Perez, Enoc
443
Phalle, Niki de Saint
445
Picasso, Pablo 191, 192, 193, 194, 195, 196, 197, 198,

199, 200, 201, 202, 203, 204, 205, 206,

207, 208, 209, 210, 253, 254, 255, 256, 257
Pinkney, Richard
446, 447
Piper, John
77, 78, 79, 80, 81, 82
Piza, Arthur Luiz
448
Pope, Nicholas
449
Prince, Richard
450, 451, 452
Q
Quinn, Marc
453, 454, 455, 456,
R
Ramos, Mel
457, 458, 459, 460
Ray, Man
211, 212, 258
Rayson, David
462
Rego, Paula
463, 464, 465
Reid, Jamie
461
Renoir, Pierre-Auguste
213
Richards, Ceri
259
Richter, Gerhard
466
Rohlfs, Christian
214
Ruscha, Ed
467
S
Self, Colin
468, 469, 470, 471, 472
Serra, Richard
473
Stezaker, John
474
Sutherland, Graham
83, 84
T
Tamayo, Rufino
215
Tpies, Antoni
475
Teh-Chun, Chu
476
Teh, Hock-Aun
477, 478
Tillyer, William
85
Tilson, Joe
479
Toroni, Niele
480
Toulouse-Lautrec, Henri de
149
Tremlett, David
481, 482
Trevelyan, Julian
86, 87, 88, 89, 90, 91, 92
Turk, Gavin
483
Tyson, Ian
484
U
Utrillo, Maurice
216
V
Various Artists. 225, 226, 227, 228, 229, 261, 262, 263,

264, 265, 266, 267, 268, 269, 270, 271,

272, 273, 274, 275, 294, 485, 486, 487
Vasarely, Victor 217, 218, 219, 220, 221, 222, 223, 224
Vlaminck, Maurice de
150
W
Warhol, Andy
488, 489, 490
Weiwei, Ai
491
Wesselmann, Tom
492
Whistler, James Abbott McNeill
93, 94, 95, 96, 97
Wise, Gillian
493
Wou-Ki, Zao
494, 495, 496, 497
Y
Yeo , Jonathan
499
Young, Russell
500, 501
GLOSSARY OF PRINTMAKING TERMS

AQUATINT
At etching process in which tone is created by treating
a plate with fine particles of acid-resistant material
(like powdered resin) and then placing the plate in an
acid bath. The acid bites into the plate between the
grains of resin and, when printed, the mass of tine spots
produces a textured area with tonal effects similar to
watercolour wash.
ARTIST PROOF/ EPREUVE DARTISTE/ PROVA
DARTISTA
Impressions printed especially for the artist and
excluded from the numbering of an edition, but exactly
like the editioned prints in every other respect. Usually
appears as A.P.E.A. or P.A.
BLINDSTAMP
The embossed, inked, or stamped symbol used by
printers and print workshops, usually in the margin of
the paper as a mark of identification.
BON TIRER/ RIGHT TO PRINT
The proof approved by the artist which establishes the
standard for all of the other prints in the edition.
BURR
When using a drypoint needle or other engraving tool to
draw directly into a metal plate, small, fine pieces of metal
are raised up on both sides of the scored line. This burr
holds additional ink during the printing process and gives
the lines a valvety or fuzzy texture. Burr is very delicate and
consequently is easily worn down during the pressures of
the printing process. Early pulls or impressions taken from
such plates are characterized by rich burr
CANCELLATION PROOF
When the edition is complete, the matrix a block,
plate, stone, mylar or other is effaced, crossed out or
otherwise cancelled. An impression is then taken from
this matrix, showing that the plate has been cancelled.
This ensures that no further un-cancelled impressions
can be pulled.
CARBORUNDUM
The trade name for silicon carbide, carborundum began
its use in printmaking as an abrasive which was used in
effacing lithographic stones. The particles, when mixed
together with glue can also be used to draw on a plate
sometimes creating a raised surface which is then
inked and printed with the ink being held in the spaces
between the particles. The resulting prints are often
textured due to the raised areas of the printing surface.
CATALOGUE RAISONN
A scholarly catalogue which should include all the
known works by an artist at the time of publication.
Essential information by which works are identified is
included.
CHINE APPLIQU/ CHINE COLL
A method of adhering a thin paper, sometimes of a
different colour or texture, onto a larger, heavier sheet
during the printing process using glue or water to
dampen and coat the papers.
COLOPHON/ JUSTIFICATION
A note, usually at the end of a book or portfplio of
prints, giving all or some of the following information;
name of work, author, printer, place of printing, date,
size of edition.
DECKLE EDGE
The natural, untrimmed edge of handmade paper
usually slightly uneven and sometimes slightly thinker
than the rest of the sheet.
DRYPOINT
An intaglio process in which a plate is marked or incised
directly with a needle. The drypoint line can look very
much like an etched line but is usually lighter and
characterized by the existence of burr.
EDITION
The total number of impressions pulled of a single
image or set of images from the same matrix. To this
number the artist usually authorizes the addition of a
small number of artists printers, publishers and other
proofs.
EMBOSSING
A process used to create a raised surface or raised
element, but printed without ink.
ENGRAVING
An intaglio process in which a plate is marked or
incised directly with a burin or other metal-marking
tool. No acid is used in this process since the design

is dug out by hand. An engraved line can range from
very deep and wide, to lighter and thinner and is often
characterized by a pointed end signaling the exit of the
v shaped burin from the metal.
ETCHING
An intaglio process in which a plate is treated with an
acidresistant ground. The artist then draws through
the ground. The artist then draws through the ground
with carious tools to expose the metal. The plate is
then immersed in an acid bath where the acid bites or
chemically dissolves the exposed lines. The metal plate
is therefore carved or etched by the acid rather than
by a tool directly in the metal.
FOUL-BITING
When the acid-resistant ground on a metal plate does
not keep the acid entirely out, irregularities can appear.
These bitten areas will, when the plate is printed, catch
ink and appear as spots or oddly inked areas.
FRONTISPIECE
Illustration in a book opposite the title page.
HELIOGRAVURE
A method of making a photo-etched or photogravure
plate using an aquatint texture directly on the plate to
create tone.
HORS-COMMERCE/ H.C.
Meaning outside of the commercial edition, these
proofs, not originally intended for sale, are excluded
from the numbering of an edition, but are otherwise
exactly like the editioned prints in
every other respect.
INTAGLIO
All matrices which have either been cut into or bitten
into. The resulting dug out lines are printed. Intaglio
processes include etching, aquatint, engraving,
mezzotint and metal engravings, among others.
LINOCUT/ LINOLEUM CUT
A relief process, like a woodcut, where the artist carves
the design out of the linoleum or linoleum mounted
onto wood. What remains is printed, rather than what
is cut away.
LITHOGRAPHY
A planographic printing process where a drawing
is made directly on a stone or other smooth matrix
with greasy materials such as lithographic crayon. The
surface is then dampened with water, which is repelled
by the greasy areas. The surface is then rolled with
greasy printing ink which adheres only to the greasy
areas and is itself repelled by the areas which have
water. The drawn image is then printed.
MASTER PRINTER
A highly skilled printer who works very closely with the
artist to produce the edition.
MATRIX
The base from which the print is made. This can be
anything a standard metal plate or lithographic stone,
a potato or vinyl record, a stencil anything from which
you print.
MEZZOTINT
An intaglio method in which the entire surface of the
plate is roughened by a spiked tool (rocker) so that,
if inked, the entire plate would print in solid black. The
artist then works from black to white by scraping (or
burnishing) out areas to produce lighter tones.
MONOTYPE
A unique image printed from an unworked, smooth,
metal or glass surface painted in ink by the artist.
MONOPRINT
A print which has as its base an etching, lithography
or woodcut and which is then uniquely altered by
monotype colouring, unique inking, or choices in
paper colour.
OFFSET PRINTING
Method of printing in which the inked image from a
lithographic stone, a metal plate or other matrix is first
transferred to an intermediary such as a rubber cylinder
or blanket and then to paper, thus creating an image in
the same direction as the original.
PHOTO-ETCHING / PHOTOGRAVURE
An intaglio process in which an image is produced on
an etching plate by photographic means. (See also
Heliogravure)
PHOTO-LITHOGRAPH
A process in which an image is produced on a
lithographic plate by photographic means.
PLANOGRAPHIC PRINT
Printing from a flat surface. Planographic processes
include lithography and some forms of commercial
printing.
PLATE MARK
The imprint in the paper resulting from the edge of a
metal plate being pushed into it during the pressure of
the printing process.
PLATE TONE
A veil of ink intentionally left on the surface of the plate
during printing which creates delicate areas of tone
or shading.
POCHOIR
A printing process using stencils, originally used to
simulate hand-colouring.
PRINTERS PROOFS
Impressions printed especially for the printer(s) and
excluded from the numbering of an edition, but exactly
like the editioned prints in every other respect. Usually
appears as P.P.
PROGRESSIVE PROOFS
Series of proofs taken to show each individual colour
plate and each combination of them culminating in the
final, complete version
PUBLISHER
The person or entity who subsidizes and often initiates
the making of a print edition or portfolio and who also
disseminates the prints.
RELIEF PRINTING
When the image is printed from the raised or uncarved
portion of the matrix. Relief processes include
woodcuts and linocuts, among others.
SCREENPRINT / SILKSCREEN
A printing process using stencils to block out areas
which are then printed through silk, nylon or metal
mesh.
SOFT-GROUND ETCHING
An etching technique where a soft ground is laid on
the metal plate. The artist draws onto a piece of paper
which is laid down on top of the ground. The ground
adheres to the paper here the pencil or other tool has
pressed down into it through the paper and pulls away
when the paper is lifted. The resulting marked plate is
placed in an acid-bath where the acid bites into the
more exposed areas where the ground has been lifted.
The line created is often soft and grainy.
STATE
An impression taken from the plate at a particular
moment or stage of development and distinguished
from impressions taken at other times during that
process. The final State is the state from which editions
are generally pulled, although some artists pull several
impressions in each state.
STEEL FACING
When a metal intaglio plate is covered with a thin
deposit of steel using electrolysis creating a much
harder surface which can accommodate larger
numbers of printings before wear becomes evident.
TRIAL PROOF
An early poof, often incorporating artists revisions and
changes and generally not identical to the numbered,
editioned prints. Also referred to as Working Proof.
TUSCHE
Grease in stick or liquid form used principally for
drawing in lithography.
WATERMARK
Design in the paper seen when held against the light. A
manufacturers mark, it is used to trace the origin and
date of the paper.
WAXTYPE
A process like screenprinting where pigmented
beeswax is used rather than traditional printers ink.
WOODCUT
A relief technique where the image or design is left
raised above what is carved out of the wood. What is
not carved is printed.
Now welcoming Consignments for Spring 2016
Modern & Contemporary Prints
Richard Serra (b.1939)

Promenade Notebook Drawing
the set of five etchings, 2009
Sold for 18,032
(including Buyers premium)
London: Bloomsbury House, 24 Maddox Street, Mayfair W1S 1PP

For more information on how to consign to a future auction or for a free valuation,
please contact: Shane Xu | sxu@bloomsburyauctions.com | +44 (0) 20 7495 9494
w w w. d r e w e a t t s . c o m | w w w. b l o o m s b u r y a u c t i o n s. c o m | w w w. m a l l e t t a n t i q u e s. c o m
These Conditions of Sale and Business constitute the contract between Dreweatts and Bloomsbury Auctions (the Auctioneer) and the seller,
on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.
INFORMATION FOR BUYERS

1. Introduction. The following informative notes are intended to assist
Buyers, particularlythose inexperienced or new to our salerooms. All
sales are conducted on our printed Conditions of Sale which are
readily available for inspection and normally accompany catalogues.
Our staff will be happy to help you if there is anything you do not fully
understand.
2. Agency. As auctioneers we usually contract as agents for the seller
whose identity, for reasons of confidentiality, is not normally disclosed.
Accordingly if you buy your primary contract is with the seller.
3. Estimates. Estimates are designed to help buyers gauge what sort
of sum might be involved for the purchase of a particular lot. The
lower estimate may represent the reserve price and certainly will
not be below it. Estimates do not include the Buyers Premium or VAT
(where chargeable). Estimates are prepared some time before the sale
and may be altered by announcement before the sale. They are in no
sense definitive.
4. Buyers Premium. The Buyer agrees to pay a buyers premium on the
hammer price of each lot purchased. The buyers premium is charged
per lot at24% of the hammer price (28.8% including VAT) up to and
including 150,000, 18%(21.6% including VAT)of the hammer price
from 150,001 up to and including 1,000,000, and 12% of the
hammer price (14.4% including VAT) in excess of 1,000,001. VAT at the
prevailing rate of 20% is added to all of these premiums and additional
charges as defined below.
5.

VAT. (*) indicates that VAT is payable by the purchaser at the standard
rate (presently 20%) on the hammer price as well as being an element
in the buyers premium. This imposition of VAT is likely to be because
the seller is registered for VAT within the European Union and is not
operating the Dealers Margin Scheme or because VAT is due at 20%
on importation into the UK. The double symbol (**) indicates that the
lot has been imported from outside the European Union and the
present position is that these lots are liable to a reduced rate of VAT
(5%) on the gross lot price (i.e. both the hammer price and the buyers
premium). Lots which appear without either of the above symbols
indicate that no VAT is payable on the hammer price. This is because
such lots are sold using the Auctioneers Margin Scheme and it should
be noted that the VAT included within the Premium is not recoverable
as input tax.
6.

Descriptions and Conditions. Condition reports are provided on

our website or upon request. The absence of a report does not imply
that a lot is without imperfections. The detail in a report will reflect the
estimated value of the lot, and large numbers of such requests
received shortly before the sale may not receive a response to all
lots. Members of staff are not trained restorers or conservators and,
particularly for higher value lots, you should obtain an opinion from
such a professional. We recommend that you always view a lot in person.
We are, primarily, agents for the seller. We are dependent on

information provided by the seller and whilst we may inspect lots
and act reasonably in taking a general view about them we are
normally unable to carry out a detailed or any examination of lots
in order to ascertain their condition in the way in which it would be
wise for a buyer to do. Intending buyers have ample opportunity for
inspection of goods and, therefore, accept responsibility for
inspecting and investigating lots in which they may be interested.
Please note carefully the exclusion of liability for the condition of lots
contained in the Conditions of Sale. Neither the seller nor we, as the
auctioneers, accept any responsibility for their condition. In particular,
mechanical objects of any age are not guaranteed to be in working
order. However, in so far as we have examined the goods and make
a representation about their condition, we shall be liable for any
defect which that examination ought to have revealed to the
auctioneer but which would not have been revealed to the buyer had
the buyer examined the goods. Additionally, in specified circumstances
lots misdescribed because they are deliberate forgeries may be returned
and repayment made. There is a 3 week time limit. (The expression
deliberate forgery is defined in our Conditions of Sale).
7. Electrical goods. These are sold as antiques only and if bought for
use must be checked over for compliance with safety regulations by a
qualified electrician first.
8. Export of goods. Buyers intending to export goods should ascertain
(a) whether an export licence is required and (b) whether there is any
specific prohibition on importing goods of that character because,
e.g. they may contain prohibited materials such as ivory. Ask us if
you need help.
9.

Bidding. Bidders may be required to register before the sale

commences and lots will be invoiced to the name and address on the
registration form. Some form of identification may be required if you
are unknown to us. Please enquire in advance about our arrangements
for telephone bidding.
10. Commission bidding. Commission bids may be left with the

auctioneers indicating the maximum amount to be bid excluding
buyers premium. They will be executed as cheaply as possible
having regard to the reserve (if any) and competing bids. If two buyers
submit identical commission bids the auctioneers may prefer the first
bid received. Please enquire in advance about our arrangements for
the leaving of commission bids by telephone or fax.
11. Methods of Payment. The following methods of payment are acceptable.

Debit Card drawn on a UK bank and registered to a UK billing address.

There is no additional charge for purchases made with these cards.
Bank transfer direct into our bank account, all transfers must state
the relevant sale number, lot number and your bid / paddle number. If
transferring from a foreign currency, the amount we receive must
be the total due in pounds sterling (after currency conversion and the
deduction of any bank charges). Our bank details can be found on the
front or your invoice or in the sale catalogue under Important Notices.
Sterling cash payments of up to 12,000 (subject to money laundering

regulations). All major UK issued credit cards registered to a UK billing
address with the exception of American Express and Diners Club. A
surcharge of 3% is payable on all payments made by credit cards.
Sterling personal cheques drawn on a UK bank account and made
payable to Bloomsbury Auctions. It will be necessary to allow at least six
working days for the cheque to clear before collecting your purchases.
12. Collection and storage. Please note what the Conditions of Sale state
about collection and storage. It is important that goods are paid
for and collected promptly. Any delay may involve the buyer in paying
storage charges.
13. Droit de suite royalty charges. From 1st January 2012 all UK art
market professionals (which includes but is not limited to; auctioneers,
dealers, galleries, agents and other intermediaries) are required to
collect a royalty payment for all works of art that have been produced
by qualifying artists each time a work is re-sold during the artists
lifetime and for a period up to 70 years following the artists death. This
payment is only calculated on qualifying works of art which are sold
for a hammer price more than the UK sterling equivalent of EURO
1,000 the UK sterling equivalent will fluctuate in line with prevailing
exchange rates.
It is entirely the responsibility of the buye to acquaint himself
with the precise EURO to UK Sterling exchange rate on the day of the
237
sale in this regard, and the auctioneer accepts no responsibility

whatsoever if the qualifying rate is different to the rate indicated.
All items in this catalogue that are marked with are potentially
qualifying items, and the royalty charge will be applied if the hammer
price achieved is more than the UK sterling equivalent of EURO 1,000.
The royalty charge will be added to all relevant buyers invoices, and
must be paid before items can be cleared. All royalty charges are
passed on to the Design and Artists Copyright Society (DACS), no
handling costs or additional fees with respect to these charges will be
retained by the auctioneers.
The royalty charge that will be applied to qualifying items which

achieve a hammer price of more than the UK sterling equivalent of
EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is
4%. For qualifying items that sell for more than the UK sterling
equivalent of EURO 50,000 a sliding scale of royalty charges will apply
for a complete list of the royalty charges and threshold levels, please
see www.dacs.org.uk. There is no VAT payable on this royalty charge.
9. Reserves.
(a) You are entitled to place prior to the auction a reserve on any lot
consigned, being the minimum hammer price at which that lot
may be sold Reserves must be reasonable and we may decline to offer
goods which in our opinion would be subject to an unreasonably
high reserve (in which case goods carry the storage and loss and
damage warranty charges stipulated in these Terms of Consignment

(b) A reserve once set cannot be changed except with our consent.
(c) Where a reserve has been placed only we may bid on your behalf
and only up to the reserve (if any) and you may in no circumstances
bid personally.

(d) Reserves are not usually accepted for lots expected to realise below 100
TERMS OF CONSIGNMENT FOR SELLERS
10. Electrical items. These are subject to detailed statutory safety controls.
Where such items are accepted for sale you accept responsibility for
the cost of testing by external contractors. Goods not certified as safe
by an electrician (unless antiques) will not be accepted for sale. They
must be removed at your expense on your being notified. We reserve
the right to dispose of unsafe goods as refuse, at your expense.
1. Interpretation. In these Terms the words you, yours, etc. refer to the
Seller and if the consignment of goods to us is made by an agent
we assume that the Seller has authorised the consignment and that
the consignor has the Sellers authority to contract. Similarly the
words we, us, etc. refer to the Auctioneers.
11. Soft furnishings. Soft furnishings. The sale of soft furnishings is strictly
regulated by statute law in the interests of fire safety. Goods found to
infringe safety regulations will not be offered and must be removed at
your expense. We reserve the right to dispose of unsafe goods as
refuse, at your expense.
2.

Warranty. The Seller warrants that possession in the lots can be

transferred to the Buyer with good and marketable title, free from any
third party right and encumbrances, claims or potential claims. The
Seller has provided all information concerning the items ownership,
condition and provenance, attribution, authenticity, import or export
history and of any concerns expressed by third parties concerning the same.
3. All commissions and fees are subject to VAT at the prevailing rate.
4. Commission is charged to sellers at the following rates:- please
enquire at our salerooms.
5.

Removal costs. Items for sale must be consigned to the saleroom by

any stated deadline and at your expense. We may be able to assist you
with this process but any liability incurred to a carrier for haulage
charges is solely your responsibility.
6. Loss and damage of goods.

(a) Loss and Damage Warranty - Dreweatts is not authorised by the
FSA to provide insurance to its clients, and does not do so. However
Dreweatts for its own protection, assumes liability for property
consigned to it at the lower pre-sale estimate until the hammer
falls. To justify accepting liability, Dreweatts makes a charge of 1.5%
of the hammer price plus VAT, subject to a minimum charge of
1.50, or if unsold 1.5% of our lower estimate. The liability assumed by
Dreweatts shall be limited to the lower pre-sale estimate or the
hammer price if the lot is sold.
(b) If the owner of the goods consigned instructs us in writing not to
take such action, the goods then remain entirely at the owners risk
unless and until the property in them passes to the Buyer or they are
collected by or on behalf of the owner, and clause 6 (a) is inapplicable.
7. Illustrations. The cost of any illustrations is borne by you. If we
consider that the Lot should be illustrated your permission will be
asked first. The copyright in respect of such illustrations shall be the
property of us, the auctioneers, as is the text of the catalogue.
8. Minimum bids and our discretion. Goods will normally be offered
subject to a reserve agreed between us before the sale in accordance
with clause 9. We may sell Lots below the reserve provided we
account to you for the same sale proceeds as you would have
received had the reserve been the hammer price. If you specifically give
us a discretion we may accept a bid of up to 10% below the formal reserve.
238
The rights of disposal referred to in clause 10 and 11 are subject to the

provisions of The Torts (Interference with Goods) Act 1977, Schedule
1, a copy of which is available for inspection on request
12. Descriptions. Please assist us with accurate information as to the

provenance etc. of goods where this is relevant. There is strict liability
for the accuracy of descriptions under modern consumer legislation
and in some circumstances responsibility lies with sellers if inaccuracies
occur. We will assume that you have approved the catalogue
description of your lots unless informed to the contrary. Where we
are obliged to return the price to the buyer when the lot is a
deliberate forgery under Condition 15 of the Conditions of Sale
and we have accounted to you for the proceeds of sale you agree to
reimburse us the sale proceeds.
13. Unsold. Unsold. If an item is unsold it may at our discretion be re offered at a future sale. Where in our opinion an item is unsaleable
you must collect such items from the saleroom promptly on being so
informed. Otherwise, storage charges may be incurred. We reserve
the right to charge for storage in these circumstances at a reasonable
daily rate.
14. Withdrawn and bought in items. These are liable to incur a charge of
15% commission, 1.5 % Loss and Damage Warranty and any other
costs incurred including but not limited to illustration and restoration
fees all of these charges being subject to VAT on being bought in or
withdrawn after being catalogued.
15. Conditions of Sale. You agree that all goods will be sold on our
Conditions of Sale. In particular you undertake that you have the right
to sell the goods either as owner or agent for the owner. You
undertake to compensate us and any buyer or third party for all
losses liabilities and expenses incurred in respect of and as a result of
any breach of this undertaking. We will also, at our discretion, and
as far as practicable, confirm that an item consigned for sale does not
appear on the Art Loss register, which is administered by an
independent third party.
16. Authority to deduct commission and expenses and retain premium
and interest.
(a) You authorise us to deduct commission at the stated rate and all
expenses incurred for your account from the hammer price and
consent to our right to retain beneficially the premium paid by the
buyer in accordance with our Conditions of Sale and any interest

earned on the sale proceeds until the date of settlement.
(b) You authorise us in our discretion to negotiate a sale by private

treaty not later than the close of business 48 hours after the day of
sale in the case of lots unsold at auction, in which case the same
charges will be payable as if such lots had been sold at auction and
so far as appropriate these Terms apply.
17. Warehousing. We disclaim all liability for goods delivered to our
saleroom without sufficient sale instructions and reserve the right to
make minimum warehousing charge of 10 per lot per day. Unsold
lots are subject to the same charges if you do not remove them within
a reasonable time of notification. If not removed within three
weeks we reserve the right to sell them and defray charges from any
net proceeds of sale or at your expense to consign them to the local
authority for disposal.
18. Settlement. After sale settlement of the net sum due to you normally
takes place within 28 days of the sale (by crossed cheque to the seller)
unless the buyer has not paid for the goods. In this case no settlement
will then be made but we will take your instructions in the light of our
Conditions of Sale. You authorise any sums owed by you to us on other
transactions to be deducted from the sale proceeds. You must note the
liability to reimburse the proceeds of sale to us as under the
circumstances provided for in Condition 12 above. You should therefore
bear this potential liability in mind before parting with the proceeds of
sale until the expiry of 28 days from the date of sale.
room to view or bid;
(b) the maker of the highest bid accepted by the auctioneer conducting
the sale shall be the buyer at the hammer price and any dispute
about a bid shall be settled at the auctioneers absolute discretion
by reoffering the Lot during the course of the auction or otherwise.
The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.
(2) Our right to bid on behalf of the seller is expressly reserved up to the
amount of any reserve and the right to refuse any bid is also
reserved.
3. Increments. Bidding increments shall be at the auctioneers sole
discretion.
4. The purchase price. together with a premium thereon of 28.8% which
shall include VAT on the premium at the rate imposed by law. The buyer
will also be liable for any royalties payable under Droit de Suite as set
out under Information for Buyers.
5. Value Added Tax. Value Added Tax on the hammer price is imposed by
law on all items affixed with an asterisk or double asterisk. Value Added
Tax is charged at the appropriate rate prevailing by law at the date of
sale and is payable by buyers of relevant Lots. (Please refer to
Information for Buyers for a brief explanation of the VAT position).
6. Payment

(1) Immediately a Lot is sold you will:
CONDITIONS OF SALE
(a) give to us, if requested, proof of identity, and

(b) pay to us the total amount due or in such other way as is agreed by us.
Bloomsbury Auctions carries on business with bidders, buyers and all those
present in the auction room prior to or in connection with a sale on the
following General Conditions and on such other terms, conditions and
notices as may be referred to herein.
(2) Any payments by you to us may be applied by us towards any sums

owing from you to us on any account whatever without regard to
any directions of you or your agent, whether express or implied.
1. Definitions

In these Conditions:
(a) auctioneer means the firm of Bloomsbury Auctions or its

authorised auctioneer, as appropriate;
(b) deliberate forgery means an imitation made with the intention
of deceiving as to authorship, origin, date, age, period, culture or
source but which is unequivocally described in the catalogue as being
the work of a particular creator and which at the date of the sale had
a value materially less than it would have had if it had been in
accordance with the description;
(c) hammer price means the level of bidding reached (at or above any
reserve) when the auctioneer brings down the hammer;
(d) terms of consignment means the stipulated terms and rates of
commission on which Bloomsbury accepts instructions from sellers
or their agents;
(e) total amount due means the hammer price in respect of the lot
sold together with any premium, Value Added Tax chargeable
and any additional charges payable by a defaulting buyer under
these Conditions;
(f ) sale proceeds means the net amount due to the seller, being the
hammer price of the lot sold less commission at the stated rate,
Value Added Tax chargeable and any other amounts due to us by
the seller in whatever capacity and however arising;

(g) You, Your, etc. refer to the buyer as identified in Condition 2.
(h) The singular includes the plural and vice versa as appropriate.
2. Bidding procedures and the Buyer

(a) Bidders are required to register their particulars before bidding and
to satisfy any security arrangements before entering the auction
(3) Buyers who utilise the services of ATG Live Auctions or any other
live internet services are hereby informed that the payment method
details that are provided to ATG Live Auctions or any other live
internet services as part of the process of registration will, in the absence
of compliance with paragraph (1) of this clause, be utilised by us to
settle any amounts owing by such buyers to us.
7. Title and collection of purchases
(1) The ownership of any Lots purchased shall not pass to you until you
have made payment in full to us of the total amount due.
(2) You shall at your own risk and expense take away any lots that you
have purchased and paid for not later than 3 working days following
the day of the auction or upon the clearance of any cheque used for
payment after which you shall be responsible for any removal,
storage and insurance charges.

(3) No purchase can be claimed or removed until it has been paid for.
(4) Bloomsbury Auctions can accommodate packing and shipping for

certain items. For lots they are unable to provide this service for,
successful buyers must make these arrangements independently,
though the saleroom may be able to suggest specialist shipping
companies who can advise buyers, this advice is not a
recommendation and the saleroom is not liable for any aspect of the
packaging and shipping process. Please note that the cost of
packaging and shipping depends on the size/weight of the item(s)
purchased, insurance requirements, and the shipping destination,
not on the value of the item(s) purchased. Please note that any
items not collected within one week of the sale date may be
automatically removed to commercial storage and subject to a
storage charge.
8. Remedies for non-payment or failure to collect purchases

(1) If any Lot is not paid for in full and taken away in accordance with
239
these Conditions or if there is any other breach of these Conditions,

we, as agent for the seller and on our own behalf, shall at our
absolute discretion and without prejudice to any other rights we
may have, be entitled to exercise one or more of the following rights\
and remedies:

(a) to proceed against you for damages for breach of contract;
(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;
(c) to resell the Lot (by auction or private treaty) in which case you shall
be responsible for any resulting deficiency in the total amount due
(after crediting any part payment and adding any resale costs). Any
surplus so arising shall belong to the seller;
(d) to remove, store and insure the Lot at your expense and, in the case
of storage, either at our premises or elsewhere;
(e) to charge interest at a rate not exceeding 1.5% per month on the
total amount due to the extent it remains unpaid for more than 3
working days after the sale;
(f ) to retain that or any other Lot sold to you until you pay the total
amount due;
(g) to reject or ignore bids from you or your agent at future auctions or
to impose conditions before any such bids shall be accepted;
(h) to apply any proceeds of sale of other Lots due or in future becoming
due to you towards the settlement of the total amount due and to
exercise a lien (that is a right to retain possession of ) any of your
property in our possession for any purpose until the debt due is satisfied.
(2) We shall, as agent for the seller and on our own behalf pursue
these rights and remedies only so far as is reasonable to make
appropriate recovery in respect of breach of these conditions
9.

Third party liability. All members of the public on our premises are
there at their own risk and must note the lay-out of the accommodation
and security arrangements. Accordingly neither the auctioneer nor our
employees or agents shall incur liability for death or personal injury
(except as required by law by reason of our negligence) or similarly for
the safety of the property of persons visiting prior to or at a sale.
10. Commission bids. Whilst prospective buyers are/\strongly advised

to attend the auction and are always responsible for any decision to
bid for a particular Lot and shall be assumed to have carefully inspected
and satisfied themselves as to its condition we will if so instructed
clearly and in writing execute bids on their behalf. Neither the
auctioneer nor our employees or agents shall be responsible for any
failure to do so.

Where two or more commission bids at the same level are recorded we
reserve the right in our absolute discretion to prefer the first bid so made.
11. Warranty of title and availability. The seller warrants to the auctioneer
and you that the seller is the true owner of the property consigned or
is properly authorised by the true owner to consign for sale and is able
to transfer good and marketable title to the property free from any third
party claims.
12. Agency. The auctioneer normally acts as agent only and disclaims any
responsibility for default by sellers or buyers.
13. Terms of sale. The seller acknowledges that Lots are sold subject to
the stipulations of these Conditions in their entirety and on the Terms
of Consignment as notified to the consignor at the time of the entry of
the Lot.
14. Descriptions and condition
(1) Whilst we seek to describe lots accurately, it may be impractical for
us to carry out exhaustive due diligence on each lot. Prospective
buyers are given ample opportunities to view and inspect before
any sale and they (and any independent experts on their behalf )
must satisfy themselves as to the accuracy of any description applied
240
to a lot. Prospective buyers also bid on the understanding

that, inevitably, representations or statements by us as to authorship,
genuineness, origin, date, age, provenance, condition or estimated
selling price involve matters of opinion. We undertake that any
such opinion shall be honestly and reasonably held and accept
liability for opinions given negligently or fraudulently. Subject to the
foregoing neither we the auctioneer nor our employees or agents
nor the seller accept liability for the correctness of such opinions and
all conditions and warranties, whether relating to description,
condition or quality of lots, express, implied or statutory, are hereby
excluded. This Condition is subject to the next following Condition
concerning deliberate forgeries and applies save as provided for in
paragraph 6 information to buyers.
(2) Private treaty sales made under these Conditions are deemed to be
sales by auction for purposes of consumer legislation.
15. Forgeries. Notwithstanding the preceding Condition, any Lot which
proves to be a deliberate forgery (as defined) may be returned to us
by you within 21 days of the auction provided it is in the same
condition as when bought, and is accompanied by particulars
identifying it from the relevant catalogue description and a written
statement of defects. If we are satisfied from the evidence presented
that the Lot is a deliberate forgery we shall refund the money paid by you
for the Lot including any buyers premium provided that (1) if the catalogue
description reflected the accepted view of scholars and experts as at
the date of sale or
(2) you personally are not able to transfer a good and marketable title to
us, you shall have no rights under this condition.
The right of return provided by this Condition is additional to any
right or remedy provided by law or by these Conditions of Sale.
General
16. We shall have the right at our discretion, to refuse admission to our
premises or attendance at our auctions by any person.
17. (1) Any right to compensation for losses liabilities and expenses
incurred in respect of and as a result of any breach of these
Conditions and any exclusions provided by them shall be available
to the seller and/or the auctioneer as appropriate.
(2) Such rights and exclusions shall extend to and be deemed to be for
the benefit of employees and agents of the seller and/or the auctioneer
who may themselves enforce them.
18. Any notice to any buyer, seller, bidder or viewer may be given by first
class mail, email or Swiftmail in which case it shall be deemed to have
been received by the addressee 48 hours after posting.
19. Special terms may be used in catalogue descriptions of particular
classes of items in which case the descriptions must be interpreted in
accordance with any glossary appearing at the commencement of the
catalogue.
20.
Any indulgence extended to bidders, buyers or sellers by us
notwithstanding the strict terms of these Conditions or of the Terms
of Consignment shall affect the position at the relevant time only and
in respect of that particular concession only; in all other respects these
Conditions shall be construed as having full force and effect.
21. English law applies to the interpretation of these Conditions.
GROUP DEPARTMENTS
LONDON MADDOX STREET
Bloomsbury House
24 Maddox Street
London, W1S 1PP
Tel: +44 (0) 20 7495 9494
info@bloomsburyauctions.com
BOOKS AND MANUSCRIPTS

Rupert Powell Deputy Chairman (Bloomsbury Auctions), Travel, Natural History & Science
Dido Arthur Director, Art & Architecture, Private Press & Illustrated
Justin Phillips Director, Continental & Early Printing
Simon Luterbacher Director, Manuscripts & English Literature
Clive Moss Director, Childrens Books
Max Hasler Modern First Editions
Roxana Kashani Middle Eastern Books & Manuscripts
Michael Heseltine Consultant
Stephen Massey Senior International Consultant
Dr Timothy Bolton Head of Western Manuscripts and Miniatures
MODERN AND CONTEMPORARY ART AND

PRINTS
Shane Xu Specialist
Alexander Hayter Consultant
Phoebe Wilkinson Cataloguer
Carolin Rodler
PICTURES AND MAPS

James Harvey International Head of Traditional Art
Robert Hall Director
Richard Carroll Specialist
VINTAGE POSTERS
Richard Barclay Consultant
PHOTOGRAPHS
Sarah Wheeler Associate Director
John Cumming Consultant
Justine Gruser Cataloguer
MEDALS AND MILITARIA

David Kirk
AUTOGRAPHS AND MEMORABILIA
Lydia Wilkinson
Valentina Borghi
LONDON 399 STRAND

399 Strand
London WC2R 0LX
Tel: +44 (0) 20 7930 6879
info@baldwin.co.uk
NEWBURY DONNINGTON PRIORY

Donnington Priory
Newbury, Berkshire, RG14 2JE
Tel: +44 (0) 1635 553 553
donnington@dnfa.com
NUMISMATICS
Edward Baldwin Chairman of Baldwins, European, Russian, Colonial and Oriental Coins
Stephen Hill Director, English hammered and milled Coins
Seth Freeman Director, Banknotes and Tokens
Graham Byfield Indian & Islamic Coins & Commemorative Medals
Paul Hill Ancient Greek, Roman and Byzantine Coins
Andre de Clermont Islamic, Indian & South American Coins
David Kirk Military Medals and English hammered and milled Coins
Caroline Holmes Numismatic Books
Julie Lecoindre World Coins
Randy Weir Consultant, Canada
Ma Tak Wo Consultant, Hong Kong
Daniel Fearon Commemorative Medals, Consultant
Peter Donald Byzantine Coins, Consultant
Peter Brooks Consultant, Australia
PHILATELICS
Rick Warren Director, UK & World Stamps
Tim Francis Director, UK & World Stamps
Colin Avery UK & World Stamps
Heather Babington Smith Mixtures
Olivia Odell Autographs
Peter Elwood Approvals
ASIAN CERAMICS AND WORKS OF ART

Mark Newstead Head of Asian and European Ceramics and Works of Art
JEWELLERY, SILVER, WATCHES AND OBJECTS

OF VERTU
James Nicholson Deputy Chairman (Dreweatts)
David Rees Director, Silver & Objects of Vertu
Ian Pickford Silver Consultant
Nick Mann
Alexandra Francis
Tessa Parry
CLOCKS AND SCIENTIFIC INSTRUMENTS

Leighton Gillibrand Director
COUNTRY SPORTING
Geoffrey Stafford Charles Director
DECORATIVE ARTS
David Rees Director
ENGLISH AND CONTINENTAL CERAMICS
Mark Newstead Head of Asian and European Ceramics and Works of Art
Geoffrey Stafford Charles Director
FURNITURE AND CARPETS
Will Richards Deputy Chairman (Dreweatts)
Richard Madley Senior Director
Cristian Beadman Associate Director
Ben Brown Associate Director
Emma Terry Associate Director
Elaine Binning Consultant
ROME / MILAN
For further information, please contact:
Dott. Luciana Scarpa
Tel: +39 388 8813070
roma@bloomsburyauctions.com
PICTURES
James Harvey International Head of Traditional Art
Richard Carroll
Henry Bailey
STEAM MODEL ENGINEERING
Michael Matthews Consultant
WINE
Chris Hambleton Consultant
Jack Chapman
We are pleased to continue our joint venture in Italy. Together with Philobiblon Auctions, a subsidiary of the highly
respected antiquarian books and manuscripts dealership, we are able to offer a first class service throughout Italy
from premises in both Rome and Milan. We have Italian speaking specialists in all major departments and offer a
regular calendar of both valuation events and sales in Rome and Milan.
WE ALSO OPERATE FROM THE FOLLOWING SALEROOMS:

GODALMING:

Baverstock House, 93 High St., Godalming, Surrey GU7 1AL.

Tel: +44 (0) 1483 423 567 | godalming@dnfa.com
Part of The Stanley Gibbons Group plc

PDF

Caricato da

Informazioni sul documento

Descrizione originale:

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

PDF

Caricato da

Copyright:

Formati disponibili

BLOOMSBURY

EDITIONS & WORKS ON PAPER

Part of The Stanley Gibbons Group plc

be made by Sterling personal cheques drawn on a UK bank account but

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of

Full subscription (approx. 80 sales)

Opening hours: We are open Monday to Friday 9.30am to 5.30pm

Free online bidding is available at

Illustrations Front cover: lot 285 | Back cover: lot 421

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

This lot includes works by the following artists:

This lot includes the following artists: Camille Bryen,

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

This lot includes works by the following artists: Peter

Including works by Michel Dubre, Michel Lecoste,

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494

www.bloomsburyauctions.com tel. +44 (0) 20 7495 9494