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 conservation 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 – 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 – the filling to a sandwich, if you like. Ref. Kemp 209

£975

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, single it out as unique. It is the best example of this image I have seen. Ref. Kemp 124

£975

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 Contempoirary 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 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

£2,350

Brown Figure, Newbattle 1957

Lithograph on handmade Barcham Green paper 565 x 699mm(sheet), 425 x 565mm (image). Signed, dated and numbered from the edition of 30. Printed at Harley Bros, Edinburgh (with their ‘Two Hearts’ blindstamp lower right) and published by St Gerge’s Gallery, London 1957. Very good condition, framed to conservation standards, floated, edges showing, in a plain wooden, hand painted white frame. 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

£1,850

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 conservations 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, and the extra colour in acrylic highlights the effervescent friendship he shared with Terry. 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 the rare original impressions of Double Quay, Terry returned to the block, experimenting with different colour combinations and rotations for 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

Magenta Disc, Red Edge: April 1970

Screenprint on wove paper 706 x 1060mm (sheet size). Signed and numbered in pencil from the edition of 100. Printed at Kelpra Studio, London 1970. Very good condition, framed to conservation standards, edges showing in a white St Ives style box frame. A genius with shape and colour, this is an excellent example of Heron's self-described 'wobbly hard-edge' work from the 1960s and 70s, which has since become instantly recognisable as his own. Collection: Tate Gallery

£4,750

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 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, driftwood-effect 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 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 marks the end of Hoyland’s cowboy life with Robert Motherwell in America and sees 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 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 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