Untitled (Relief on Olive Background) 1993

Lithograph on white wove paper with printed olive background 510 x 760mm (sheet). Signed and inscribed in pencil, a printer’s proof aside from the edition of 20. Printed at the Curwen Studio, Chilford. Very good condition, framed to conservation standards in a distressed grey bevelled wood frame. Singaporean by birth, but a naturalised British citizen after her marriage to the sculptor William Turnbull, Lim found inspiration from her travels in Asia. This piece relates to simple decorative motifs found on ancient Shang bronzes. Excellent provenance: from the Stanley Jones Archive (with blindstamp).

£1,275

Princess 1996

Screenprint in sixteen colours on Arches Brite White paper 760 x 555mm (sheet), 400 x 624mm (image). Signed, titled and numbered from the edition of 100 printed by Gresham Studio, Cambridge. Published by Jesus College, Cambridge as part of their Quincentennial Portfolio, 1996. Excellent condition, unframed. David Mach’s studio, just a short walk away from where I live, is crammed with thousands of cut-outs from books, catalogues, magazines, comics… photographs and drawings from everywhere and anywhere, all inventoried and carefully filed in drawers high to the ceiling, waiting their turn to be utilised in his collage work. This image was created by collaging hundreds of individual strips of the same photograph of Diana, Princess of Wales, hence the tile. Provenance: private collection UK

£375

Lucca 2002

Etching and aquatint on Arches wove paper 565 x 380 (sheet), 295 x 205mm (plate). Signed, dated and numbered in pencil from the edition of 20. Pritend at Stoneman Graphics, Cornwall. Published by Austin Desmond Contemporary Books Ltd, London. Excellent condition, unframed. During his time in St Ives, Mackenzie formed a close association with Ben Nicholson. This image clearly shares Nicholson’s influence and subject matter – both visited Tuscany on several occasions. The simplicity of form is combined with an ochre texture to provide a sense of age and human place. Provenance: acquired directly from the publisher

£650

Cuthbert Cockalorum 1996

Screenprint in four colours on T H Saunders Waterford paper 760 x 555mm (sheet). Signed, dated and numbered from the edition of 100 printed by Gresham Studio, Cambridge. Published by Jesus College, Cambridge as part of their Quincentennial Portfolio, 1996. Excellent condition, unframed. Very pleasing selection of shapes and colours, inspired by Matisse’s late cut-outs. I think there must be an in-joke going on with the title. Provenance: private collection UK

£375

Life, A Personal Journey 1981

Lithograph on B F K Rives wove paper printed to edges 877 x 598mm. Signed, dated and numbered from the small edition of 12. Printed at the Curwen Studio, Cambridge 1981. Excellent condition, unframed. Also titled Autoportrait. A rare print by this contemporary artist, whose early work is represented in the Saatchi collection. McGinn was still a student at the Royal College of Art when he made this lithograph. It’s a worrying, but at the same time hopeful image, if you look closely.

£275

Seated Mother and Child 1979

Etching on BFK Rives paper 308 x 235mm (sheet), 219 x 168mm (plate). Signed and numbered in Roman numerals from the artist’s edition of 25. Printed by the artist and Michael Rand, London. Published by Patrick Cramer and Raymond Spencer Co. Ltd to accompany the special edition of Henry Moore The Graphic Work Volume 3. Excellent condition, framed to museum standards in a pewter-effect scoop frame. Moore’s constant fascination with the Mother and Child absorbs a variety of sources, from neolithic carvings, to Moore’s self-confessed mother complex. This particular image derives from the Madonna and Child paintings of the Italian Renaissance, which Moore has been able to fuse with a very modern, self-assertive strength in both the figures. Reference: Cramer 518

£1,250

Head 1975

Lithograph on Japanese nacré paper 762 x 565mm (sheet size). Signed, dated and inscribed in pencil from the proof edition of 10. Printed at the Curwen Studio, London and published by Moore and Felia Léal, Paris 1976. Very good condition, unframed. An enigmatic image evoking ‘imprisoned beauty’. The inscription dedicates the lithograph to Felia Léal, the well known French translator, publisher and close friend to both Moore and Picasso. Reference: Cramer 364

£1,350

Long Horizontal Patmos 1967

Etching on wove paper. Irregular plate size: 145 x 340mm. Signed with intials and inscribed 'Modelo' (Italian for proof) lower right with the Lafranca blindstamp showing lower left. An early proof aside from the edition of 50. Printed by Francois Lafranca, Locarno 1967. Very good condition, framed, edges showing, to conservation standards in a plain wood frame. Provenance: Lafranca collection No. 50. The scene is a view of the monastery of St John the Theologian on the Greek island of Patmos. Reference: Lafranca 65 (note: this is the actual example photographed in the Lafranca catalogue, making it extra-special).

£3,750

A Grammar of Ornament 1976

Screenprint on Somerset textured paper 1010 x 710mm. Image size 812 x 534mm. Signed and numbered from the edition of 50, printed at Advanced Graphics and published by Waddington Galleries, London 1976 as number four in the artist’s A walk to the Studio series. Excellent condition, unframed. Tom Phillips is a senior Royal Academician and on his website he tells us: ‘The fourth of the prints is a tribute to a great Welshman, Owen Jones, whose monumental tome The Grammar of Ornament is (for those with strength enough to lift it down from the shelf) a treasure house of design and motif as well as a masterpiece of book production. Borrowing his format I have made an assemblage of the various pieces of ornamental paper that littered these streets in 1976 and have tried to treat them with the care that would have been their automatic right were they the sweet-wrappers of Babylon or the fancy paper-bags of Troy. These various unconsidered trifles are presented in their natural sizes and surrounded by a decorative border which is the much enlarged back of a humdrum playing card: although one of the cheapest kinds of plasticated card, the deliberate intricacy is still delicate and well-drawn on this scale.’ Collections: Tate Gallery, Government Art Collection; British Council; Blanton Museum of Art, Texas

£275

Llangloffan, Pembrokeshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins 595 x 820mm (sheet), 518 x 712mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, unframed. Really interesting use of photolithography in this image – Piper’s first use of the technique, which he visited subsequently, inspired by the success on this image, in his series of Welsh Chapels, 1966. Collections: Tate Gallery (also an archive proof); Victoria and Albert Museum. Cat ref. Levinson 140

£850

Leckhampstead, Berkshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet), 515 x 772mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, framed to conservation standards in contemporary matt black diagonla frame. Sub-titled ‘a Victorian church by S. S. Teulon’, this is probably the most striking image from the series. A nod to Piper’s abstract Seven and Five Society past. Collection: Tate Gallery (also an archive proof). Cat ref. Levinson 134

£1,450

Redenhall, Norfolk 1964

Lithograph on hand made Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, shadow-float mounted and framed to conservation standards in a hand painted grey, diagonally recessed, wooden frame. This fine depiction of the Church of the Assumption’s tower is classic Piper and displays many of the features that mark his shift away from surrealism of the 1930s to a Neo-Romantic more approach, aligning himself with artists such as John Minton, John Craxton and Graham Sutherland. Probably the most desirable of the series. Collections: Tate Gallery (also an archive proof); Albright Knox. Cat ref. Levinson 129

£1,350

Exton, Rutland 1964

Lithograph on Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet), 743 x 515mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, framed as illustrated, shadow-float mounted to conservation standards, edges showing, in a stained ash frame. Sub-titled a monument by Grinling Gibbons 1686, this ghostly image conjours the magnificent marble carving of Viscount Campden, his four wives and nineteen children at St Peter’s and St Paul’s church in Rutland. Collection: Tate Gallery (also an archive proof); Albright-Knox Art Gallery. Cat ref. Levinson 126

£750

Warkton, Northamptonshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet), 693 x 490mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, framed to conservation standards however you’d like it. Sub-titled a monument by Vangelder, 1775, this image evokes the stage set monument inside St Edmund’s church, Warkton, of the Duchess of Montagu with her children, visited by an angel. I love the shaft of turquoise light through the middle, heightening the theatrical feel. Collection: Tate Gallery (also an archive proof). Cat ref. Levinson 125

£950

Easton, Portland, Dorset 1964

Lithograph on Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet), 502 x 638mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, unframed. Sub-titled St George Reforne, an 18th-century church among the quarries, this image cleverly juxtaposes the quarried Portland stone in the foreground with the church and tombstones in the background. I love the different textures Piper has created on the hewn faces. Collection: Tate Gallery (also an archive proof). Cat ref. Levinson 137

£950

Llan-y-Blodwell, Shropshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins 820 x 595mm (sheet), 666 x 457mm (image). Signed, an archive proof aside from the edition of 70. Printed at Curwen Studio, London 1964 as part of Piper’s famous Retrospect of Churches portfolio of 25 lithographs. Excellent condition, unframed. Sub-titled ‘Mid 19th-century furnishing and painting’, Piper has chosen to home in on the Victorian decorative interior of the Norman church of St Michael and Archangel, which is generally noted more for its unusual tower. I love the woodblock work of the pew. Collection: Tate Gallery (also an archive proof). Cat ref. Levinson 128

£1,250