Dunhuang Series 1 1988

Lithograph on Somerset textured paper 544 × 750mm (sheet). Signed, dated, titled and numbered in pencil from the edition of 30. Published and printed at Curwen Studio, London 1988. Excellent condition, unframed. Lim is currently undergoing something of a resurrection: a couple of years ago she had a room at Tate Britain dedicated to her prints and sculpture, last year saw a solo exhibition at The Hepworth in Wakefield and next year will witness a major retrospective in her birthplace of Singapore. Collection: Tate Gallery

£975

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

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

Christmas Book 1948

Offset lithograph on newsprint, 185 x 155mm (image), 315 × 25mm (sheet). Printed inscription: Specially drawn for THE LISTENER by John Minton. Published by The British Broadcasting Corporation, London December 9th 1948 No. 1037. Good original condition, newsprint yellowed slightly commensurate with age, stable now, framed to conservation standards in a hand painted black diagonal wood frame, the entire sheet, bound as issued, intact below the mount. The image was commissioned for the front cover of The Listener magazine, the original drawing long lost, a few printed examples like this have survived, though quite rare.

£475

Pallas Heads 1973

Lithograph on Arches wove paper. 346 x 279mm image, 654 x 501mm sheet. Signed in pencil, an archive proof aside from the edition of 50 printed by Stanley Jones at Curwen Studio, published by Pallas Gallery Ltd, London. Excellent condition, framed to conservation standards in a pewter-foiled wooden scoop frame. Moore found inspiration for this image from early Mexican sculpture, which he noted in The Writings of Henry Moore (Henry Moore Foundation) as being 'true and right'. Reference: Cramer 289. Collections: Tate Gallery; Auckland Art Gallery; Queensland Art Gallery; Cleveland Museum of Arts. Provenance: the Stanley Jones Archive

£1,250

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

Mozart’s Balls 1981

Etching with hand additions by the artist in pencil on handmade Ford Mill paper. 148 × 102mm (plate), 221 × 158mm (sheet). Signed, dated, titled and inscribed in pencil. Good original condition, unframed. The etching is inscribed ‘For Monica’, Monica Pidgeon (1913-2009), the pivotal figure in modern interior design and architecture, fellow Scot and friend to Paolozzi. The circles have been added to the etching by Paolozzi, presumably to reference, humorously or otherwise, the famous Austrian chocolates. In any case this is a very interesting and certainly unique piece.

£375

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

£375

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

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

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, framed to conservation standards, edges showing in a hand painted brown sustainable wood frame. 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 to depict the pew. Collection: Tate Gallery (also an archive proof). Cat ref. Levinson 128

£1,350

Leaping Cataract, Victoria Falls 1974

Aquatint from two steel-faced copper plates on R K Burt mould-made paper, 202 × 120mm (plate size). Signed and numbered in pencil from the edition of 50, printed at J C Editions, published by Editions Alecto Limited with blindstamps and EA number verso. Excellent condition, framed to conservation standards in a white wash wood frame. Charming little gem of an image, acting as a pair to Victoria Falls (also for sale on this site with the matching edition number), part of Procktor’s South African Series. He notes in the Redfern catalogue: ‘I wanted to get the intensity and translucency of the rainbow… The thinness of each separate rainbow colour proved difficult to print.’ As a result, the intensity of the colours vary throughout the edition as Procktor continued to experiment. Exhibited: Redfern Gallery, 1974. Reference: Redfern 49. Collection: Tate Gallery

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