Cup and Pear 1995

Etching and aquatint with hand-colouring on wove paper, 170 × 130mm (image), 252 × 194mm (sheet). Signed and numbered in pencil from the edition of 100. Published by Scolar Press to accompany the the monograph Mary Fedden by Mel Gooding. Excellent condition, unframed. Mary coloured the first half of the edition in apple green and the second half of the edition in the less desirable yellow-green. Cup and Pear was printed as a pair with Stone, Jug and Sun (also for sale on this site, with matching number). Although married to the famous etcher Julian Trevelyan, whose etching press remained in their shared studio at Durham Wharf after his death in 1988, these two little gems, typical of Mary’s approach to still life, were the only etchings by her ever to be published.

SOLD

Stone, Jug and Sun 1995

Etching and aquatint with hand-colouring on wove paper, 170 × 130mm (image), 252 × 194mm (sheet). Signed and numbered in pencil from the edition of 100. Published by Scolar Press to accompany the the monograph Mary Fedden by Mel Gooding. Excellent condition, unframed. Mary coloured the first half of the edition with a pink sun and the second half of the edition with the harsher, less desirable red. Stone, Jug and Sun was printed as a pair with Cup and Pear (also for sale on this site, with matching number). Although married to the famous etcher Julian Trevelyan, whose etching press remained in their shared studio at Durham Wharf after his death in 1988, these two little gems, typical of Mary’s approach to still life, were the only etchings by her ever to be published.

SOLD

Red, Black and White with Cream 2000

Screenprint on Velin Arches Blanc printed to edges, 230 × 272mm. Signed, dated and numbered in pencil from the edition of 100. Printed at Advanced Graphics and published by Belgrave Gallery, London to accompany the book and exhibition Act & Image, 2000. Excellent condition, framed to museum standards, shadow-float-mounted in a white, St Ives style box frame. This is typical Terry with an added quirk. Difficult to make out in the photograph, but there’s an overlay of cement-coloured ink creating a bar between the two thicker black stripes, referenced in the title as ‘cream’. This idea was quite straightforward a way for Terry to bond an image together, like the filling to a sandwich, if you like. Ref. Kemp 209

SOLD

Bull Black 1991

Etching and aquatint with hand colouring in blue and cream on Somerset wove paper. 375 × 550mm (image), 585 × 760mm (sheet). Signed, dated, titled and numbered in pencil from the edition of 25, also inscibed ‘HC’ for ‘Hand Coloured’. Printed at the Print Centre, London. Excellent condition, framed in original flat black frame that ideally needs replacing. This is a very powerful and visceral image from Terry, quite unsettling in many ways and I don’t really want to describe its inspiration for fear of putting you off. Suffice to say it is an incarnation of passion and death – the Duende if you like. For me, the touches of blue Terry has added absolutely make this piece, purify it and single it out as unique. Without doubt the best example of this image I have seen. Ref. Kemp 124

£875

La Luna Asoma 1989

Etching and aquatint on Somerset wove paper with full margins, 755 x 565mm (sheet), 565 x 385mm (plate). Signed and numbered in pencil from the special (more desirable) untrimmed edition of 5 (there was a regularly edition of 75 trimmed to the edge of the plate). Printed by Hugh Stoneman and Alan Cox at The Print Centre, London. Published by Austin Desmond Contemporary Books Ltd as part of the portfolio Eleven Poems by Federico Garcia Lorca. Excellent condition, unframed. The result of a 15-year love affair with the poems of Garcia Lorca, The Lorca Suite is probably Frost’s most important series of prints. This image was inspired by the second verse of La Luna Asoma (The Moon Rising), translated, it reads ‘When the moon is out/ Water covers the land/ And the heart feels itself/ An island in infinity.’ Frost has adapted his own vocabulary of shapes (crescents, in this case) and colours (red and black) to chime with the moon, water and passion of the heart. Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 102

£1,450

Black, Purple and Blue 1969

Lithograph on Arches wove paper. 586 x 456mm (image), 765 x 570mm (sheet). Signed, dated and numbered in pencil from the edition of 75. Printed at Emil Matthieu Atelier, Zurich. Published by Leslie Waddington Prints, London. Excellent condition, framed to conservation standards in a St Ives style white box frame. The first of the Zurich Lithographs, which saw Terry consolidate his ‘forms to hold colour’ theory. Literature: Terry Frost p.213. Collections: Tate Gallery; Government Art Collection. Reference: Kemp 46

£2,200

Brown Figure, Newbattle 1957

Lithograph on handmade Barcham Green paper, 565 x 699mm(sheet), 425 x 565mm (image). Signed, dated and numbered in pencil from the edition of 30. Printed at Harley Bros, Edinburgh (with their ‘Two Hearts’ blindstamp lower right) and published by St George’s Gallery, London 1957. Very good condition, unframed, currently with my conservator for a light clean. Important early lithograph by Terry, the first he made using a commercial firm of printers. Newbattle is a village he visited in 1957, 7 miles outside Edinburgh. Exhibited: Contemporary British Printmakers, St George’s Gallery 1958; International Biennial of Contemporary Colour Lithography, Cincinnati Art Museum, 1958. Collections: British Museum; National Galleries of Scotland; Southwark Council Arts Collection. Ref. Kemp 25

£1,650

Untitled 1975

Lithograph with extensive additions by hand, 486 x 686mm (sheet). Signed and dated 12.3.75 in pencil, unique. Very good condition, framed to conservation standards, edges showing in a white ‘St Ives’ box frame. The lithographic base of this image (black, blue and orange) is a tribute to Roger Hilton, who died just three weeks before this date, and the extra colour in acrylic highlights the effervescent friendship Terry shared with him. The image derives from a spontaneous line Terry drew the previous year, while copying out verse IV of T S Elliot’s poem Burnt Norton, Ref. Kemp 73 Literature: Terry Frost by David Lewis p.120

£2,750

Double Quay 1952

Linocut on buff wove paper, 132 x 143mm (image). signed, dated and numbered from the edition of 50 (edition never completed). Printed by the artist “on my own little press”, St Ives, 1952. Excellent condition, framed to conservation standards. This is one of the rare original numbered impressions of Double Quay, Terry returned to the block, experimenting with different colour combinations and rotations over the next two years. The first proofing was something of a ‘Eureka’ moment for him – he simply rotated the lino block 180 degrees and printed it on top of itself – it became the inspiration for Blue Movement 1953, a huge oil now in the Vancouver Art Gallery, and shows how printmaking helped inform his work as a painter. Provenance: the artist’s estate. Reference: Kemp 7. Collection: Tate Gallery

£2,200

Wearing a Hat in the Bath 1972

Lithograph on thin Japanese paper, 305 × 365mm (sight size). Signed, inscribed 'Proof’ and dated in pencil. Good original condition, framed to conservation standards in a plain, dark wood frame. I’m yet to find out where Hilton printed this lithograph, although it is likely with the help of his friend and fellow artist, Peter Barton, with whom he published a handful of other lithographs, in small editions, in 1972 and 1974. This image, however, was never editioned, which makes it extremely rare. The figure in the bath is most likely Hilton himself, with a mirror in one hand and an outstretched arm to paint. Provenance: collection of the late Bridie Tobin

SOLD

Two Female Figures 1972

Lithograph on thin Japanese paper, 395 × 420mm (sight size). Signed, inscribed 'Artist’s Proof’ and dated in pencil. Very good original condition, framed to conservation standards in a plain, dark wood frame. I’m yet to find out where Hilton printed this lithograph, although it is likely with the help of his friend and fellow artist, Peter Barton, with whom he published a handful of other lithographs, in small editions, in 1972 and 1974. This image, however, was never editioned, which makes it extremely rare. Provenance: collection of the late Bridie Tobin

£1,300

Indian View H 1971

Screenprint on J Green mouldmade paper printed to edges, 580 × 776mm. Signed and numbered from the edition of 75. Printed at Kelpra Studio, published by Leslie Waddington, London. Excellent condition, unframed. Collections: Tate Gallery; Government Art Collection. Ref: Heenk 18

£1,500

Two's Company D 2002

Sugar-lift etching, aquatint and carborundum with hand colouring on handmade Two Rivers Somerset paper. 385 x 460mm (image and sheet). Signed, dated in Roman numerals and numbered in pencil from the edition of 15 printed at 107 Workshop, Wiltshire. Published by Sir Elton John and Alan Cristea, London 2003. Excellent condition, framed to conservation standards, edges showing in a hand-painted white frame. Part of a series of four, A-D, from the same plates in different colourways. Exceptional work and technically very demanding. Reference: Heenk 118

£5,500

Untitled (Ochre) 1975

Screenprint on wove paper, 855 x 655mm (sheet), 560 x 460mm (image). Signed, dated and numbered in pencil from the edition of 50. Published by Studio La Citta and printed by Francisco Sutton at Stamperia d’Arte Berardinelli, Verona 1975 as part of the Sutton Suite of three screenprints. Excellent condition, framed. 1975 marked the end of Hoyland’s cowboy life with Robert Motherwell in America and saw him settle firmly in England. His work from this period shows a transition from the rather staid 1960s blocks of colour to a looser, faster, freer style which was to inhabit his painting for the rest of his life. The Sutton Suite Ochre is Hoyland’s best and most desirable screenprint from this pivotal 1970s period.

£1,300

Merrion 1996

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered in pencil from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, unframed. A wonderfully energetic, free and colourful image from Bert. Merrion celebrates his time in Dublin, where he had a studio. NB. produced as a pair with O’Connell, also on this site. Ref. Beaumont 39

£1,000

O’Connell 1995

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered in pencil from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, unframed. Typical Bert – an absolute explosion of colour – he created this image to accompany a major exhibition of his work at the Royal Hibernian Academy in 1995. NB. produced as a pair with Merrion, also on this site. Ref. Beaumont 36

£1,000

Crosstown II 2013

Screenprint on wove paper, 438 x 605mm (sheet size), 285 x 438mm (image size). Signed, titled and numbered in pencil from the edition of 75. Published and printed by Advanced Graphics, London. Excellent condition, unframed. Absolutely sumptuous background colour, I love this playful image, Bert combining his trade mark 'X's with a network of London streets. Ref. Beaumont 97

£875