Blue and Pink 2001

Screenprint in two colours plus white underprint (to make it ‘zing!’) on Somerset Tub Satin paper, 457 x 1340mm (sheet), 280 x 1190mm (image). Signed, dated, titled and numbered from the edition of 90, printed by Sally Gimson at Artizan Editions, Hove. Excellent condition, framed to conservations standards in a white box frame. When asked about the inherent appeal of the curve in her later work, Riley likened it to contrapposto in life drawing: ‘Like a frozen movement, one side is protracted, the other relaxed... a kind of embrace.’ This image was inspired by Matisse’s La Danse 1909 (see image below). Fabulous thing, probably her most successful screenprint of the series. Collections: Tate Gallery; Kaiser Wilhelm Museum. Ref. BRS 47

£16,500

Child and Butterfly 1990

Woodcut on BFK Rives wove paper 1033 x 715mm (sheet), 910 x 610mm (image). Signed and numbered from the edition of 45. Printed by the artist and Anna Ellinson at Argus Studio, 1990. Excellent condition, framed to conservation standards in a plain, solid oak frame. This image is one of the early printings in which the blue and purple colours have not been over printed with black (much nicer – Rothenstein tended to go a bit mad with black in his later years). The butterfly represents a kite, Rothenstein’s idea that freedom is always tethered in some way. The little black parasol is his portent that happiness must always be followed by sadness. And the child is reminiscent of the unsettling figures in the woodcuts of Rothenstein’s hero, Edvard Munch. There is an awful a lot going on in this image, I absolutely love it! Exhibited: Royal Academy, 1990. Ref. Sidey 381

£975

Indian Doll 1986

Woodcut and lithograph on Somerset wove paper 560 x 760mm (sheet), 441 x 662mm (image). Signed and numbered 1 from the edition of 40. Printed at Curwen Studio, London 1986. Excellent condition, unframed. Apart from being the first from the edition, this woodcut is special because it involves the technique developed by Edward Bawden and Stanley Jones at the Curwen Studio in the 1960s, whereby wood blocks are greased and pressed onto lithographic plates in order to form a 'true' reflection of the image (Bawden did the same with lino blocks). This technique enables the overlay of colours using thinner inks to produce new tones (as in a lithograph), while at the same time retaining the texture of the wood grain obtained through a woodcut. This lithograph was acquired directly from the Curwen Archive. Ref. Sidey 354. Collection: Fry Art Gallery

£575

Turkey and Farm Machine III 1959

Linocut on buff cartridge paper 631 x 912mm (sheet), 563 x 865mm (image). Signed and numbered from the edition of 20 printed by the artist and Peter White, Great Bardfield 1959. Very good, original condition, framed to conservation standards in a solid wood, rounded frame. This is the largest and most successful of Rothenstein’s four images of a turkey perched on the saddle of an old sulky plow. Rothenstein himself notes in his print journal that this linocut is a ‘fine example of whipping-back during printing’, the colour overlays are particularly exquisite: there is cobalt blue in the feathers of the turkey and this particular example has an extra inking in lilac – difficult to discern from the photograph, but well worth the trip to see it in real life. Important linocut. Collections: Fry Art Gallery; Cuming Collection. Ref. Sidey 114 (illustrated pl xi).

£1,650

Standing Cockerel 1960

Linocut on wove paper 387 x 615mm (image), 515775mm (sheet). Signed and inscribed an artist’s proof aside from the edition of 50 which was never completed. Rare, perhaps only a handful of proofs extant. Printed by the artist, Great Bardfield. Good condition, framed. Lovely strong colours and nice scrapework to the linoblock, this is one of Rothentseins more painterly cockerels. They held a special fascination for him – he knew many by name from the farmyard that bordered his garden – the mythology of the cockerel in cultures across the world is well known. This one stands for majesty. Provenance: acquired directly from the artist by Pat Schaverien, a student of Rothenstein’s at the Slade. Reference: Sidey 121

£1,250

Flowing in the Right Direction 1971

Lithograph with hand colouring on Japanese paper 754 x 520mm (sheet), 520 x 320mm (image). Signed and numbered in Roman numerals from the special edition of 35. Printed at Curwen Studio, published by Wolfgang Ketterer, Munich as part of Europaeische Graphik VII. Excellent condition, unframed. The Tate describes Schmidt as a painter, theoretician and pioneering multimedia exhibitor of the 1960s and 70s. Through his associations with Brian Eno and Dieter Roth, among others, he has become something of a cult figure since his mysterious death on the island of Tenerife in 1980, aged just 49. Collection: Tate Gallery (their example doesn’t have orange).

£275

Two Lovers 1966

Lithograph on handmade Barcham Green paper 395 x 595mm. Signed, dated and numbered from the edition of 100. Published and printed by Curwen Prints, London 1966. Excellent condition, unframed. Collection: Tate Gallery

£175

Maize 1948

Lithograph on Lana ram’s head watermarked wove paper. 387 x 558mm (image), 508 x 662mm (sheet). Signed twice from the unnumbered edition of 60. Printed by Ravel, Paris a d published by Redfern Gallery, London. Very good condition, the colours are fresh and unfaded, framed to museum standards in a hand-washed bevelled grey wood frame. Sutherland’s first and most important stand-alone colour lithograph – you can see from the number of public collections it’s held in just how highly regarded this image is. It relates directly to the immediate post-war ‘Angst Landscape’ pieces Sutherland and other Neo-Romantics were producing at the time. Provenance: Hanover Gallery. Collections: Victoria & Albert Museum; British Council; Arts Council Collection; National Gallery of Scotland; Philadelphia Museum of Art; Carnegie Museum of Art; Bates Museum of Art; National Gallery of Victoria; National Gallery of New South Wales. Reference: Graham Sutherland Complete Graphic Work (Tassi 49)

£1,250

Turkish Eye 2018

Screenprint on hot-pressed wove paper 590 x 420mm. Image size: 320 x 310mm. Signed, dated and numbered from the edition of 29. Printed at the Royal Academy of Art, London. Excellent condition, unframed. Apart from the image and title being a play on words with the artist’s name, Turk is interested in mysticism – the Turkish Eye is a symbol of protection and the odd edition size is a prime number, associated with luck.

£720

Head (Blue and Red) 1956

Screenprint on Hayle Mill textured paper 750 x 550mm (sheet). Signed, dated and numbered from the edition of 30. Printed at John Coplans’ studio, London 1956. Good original condition, small nick and slight time staining to margins, framed to conservation standards, edges showing in a plain black frame. Rare and important. Sotheby’s auctioned a collection of works from Turnbull’s estate in 2020, among the lots were a couple of screenprinted Heads from 1956, each made well over £6,000 (and weren’t as nice as this one). A major survey of Turnbull’s work is being published by Lund Humphries later this year.

£4,500

Untitled (Constellation) 1961

Lithograph on BFK Rives wove paper 654 x 501mm (sheet), 505 x 391mm (image). Signed, dated ‘61 and numbered from the edition of 100. Probably published by Redfern Gallery, London 1961. Excellent condition, unframed. Frank Avray Wilson is Britain’s Jackson Pollock, employing the same ‘action’ style in his work, which can easily be seen in this spontaneous, bursting image.

£820