Princess 1996

Screenprint in sixteen colours on Arches Brite White paper, 760 x 555mm (sheet), 400 x 624mm (image). Signed, titled and numbered in pencil 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

SOLD

Winter Fields 2002

Etching on somerset wove paper, 410 × 500mm (sheet), 148 × 208mm (image). Signed, dated and inscribed in pencil, an artist’s proof aside from the edition of 20. Printed at Stoneman Graphics, Cornwall, published by Austin Desmond Contemporary Books, London. Excellent condition, framed to conservation standards, shadow-float mounted in a diagonal, painted black wooden frame. Classic St Ives imagery with Mackenzie’s trademark red sun and Lanyon-esque field shapes as viewed from above. Collection: Jerwood Collection. Provenance: acquired directly from the artist’s estate.

SOLD

Cuthbert Cockalorum 1996

Screenprint in four colours on T H Saunders Waterford paper 760 x 555mm (sheet). Signed, dated and numbered in pencil 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 in pencil 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.

SOLD

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, framed to conservation standards. 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.

SOLD

A Grammar of Ornament 1976

Screenprint on Somerset textured paper, 1010 x 710mm (sheet), 812 x 534mm (image). Signed and numbered in pencil 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. The Tom Phillips estate website 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.’ Excellent condition, unframed. 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 inpencil, 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 ‘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 un-numbered archive proof). Cat ref. Levinson 134

SOLD

Warkton, Northamptonshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins, 820 x 595mm (sheet), 693 x 490mm (image). Signed in pencil, 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. Sub-titled a monument by Vangelder, 1775, this image evokes the ‘stage set’ monument inside St Edmund’s church, 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 un-numbered archive proof). Cat ref. Levinson 125

SOLD

Llan-y-Blodwell, Shropshire 1964

Lithograph on Barcham Green Crisbrook paper with full margins, 820 x 595mm (sheet), 666 x 457mm (image). Signed in pencil, 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 technique he’s used to depict the pew. Collection: Tate Gallery (also an un-numbered archive proof). Cat ref. Levinson 128

£1,350