Two Macaws 1985

Woodcut with hand-colouring on Somerset wove paper, 623 × 409mm (image), 755 × 564mm (sheet). Signed and numbered in pencil from the edition of 18. Printed by the artist and Ann Wesley at Argus Studio, Stisted. Excellent condition, framed to conservation standards. As Tessa Sidey notes in her excellent catalogue raisonné The Prints of Michael Rothenstein, ‘hand-colouring varies throughout the edition’. This example has a particularly airy feel and even the harsh, German Expressionist-inspired female figure (Rothenstein’s daughter, Anne on a trip to Colchester zoo) is smiling. Ref. Sidey 346

£975

Child and Butterfly 1990

Woodcut on BFK Rives wove paper, 1033 x 715mm (sheet), 910 x 610mm (image). Signed and numbered in pencil 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 where the blue and purple colours have not been over-printed with black (Rothenstein tended to go a bit mad with black in his later years, this coulourway is much sweeter). The butterfly represents a kite, Rothenstein’s motif for the 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 reminds us of the unsettling figures in German Expressionist woodcuts, much admired by Rothenstein. There’s an awful a lot going on in this image and I absolutely love it! Exhibited: Royal Academy, 1990. Ref. Sidey 381

£1,350

Turkey and Farm Machine III 1959

Linocut on buff cartridge paper, 631 x 912mm (sheet), 563 x 865mm (image). Signed and numbered in pencil 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).

£2,200

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).

£375

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

Was £275, January Sale Price: £175

Insect 1963

Lithograph on Arches wove paper printed to edges 655 × 501mm (sheet). Signed and numbered in pencil from the edition of 65. Printed by Emil Matthieu, Zurich, published by Wolfgang Ketterer, Stuttgart (with their blindstamp). Very good original condition, newly framed to conservation standards, shadow float-mounted in a black diagonal wood frame. In the meantime, the price does not reflect these costs and who knows, you may like it the way it is. It’s a great image, exuberant and unsettling, very 60s, I could almost see it as a design on a Pucci print dress. Collections: National Gallery of Scotland; National Gallery of Victoria. Reference: Tassi 69

RESERVED

Aix-en-Provence 1971

Etching and aquatint from one steel plate on T H Saunders mouldmade paper. 350 × 479mm (image), 585 × 790mm (sheet). Signed, titled and inscribed in pencil, an artist’s proof aside from the edition of 65. Printed by Studio Prints and Published by Leslie Waddington, London 1972. Excellent condition, unframed. Part of the Provencal Suite of five etchings, this image shows Trevelyan painting Mont Sainte Victoire, just outside Aix. I love the tiny cross at the top, it somehow provides a focus to distill a special essence. Collection: Tate Gallery. Reference: Turner 248

£975

Harbour 1946

Offset lithograph on cartridge paper printed to edges, 495 x 760mm (sheet). Signed and dated in the plate. Printed by Baynard Press as part of the first series of School Prints (no.9) 1946. Very good condition, unframed. An extremely popular image from Trevelyan, at the height of his powers. Having made his name as a young surrealist in the 1930s, this Irish fishing harbour scene ('L' on a fishing boat signifies Limerick), shows him already at the forefront of post-war modernism. The famous School Print series is represented in dozens of public collections. Reference: Turner 61

£650

Turkish Eye 2018

Screenprint on hot-pressed wove paper, 590 x 420mm (sheet), 320 x 310mm (image). Signed, dated and numbered in pencil 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.

RESERVED

Untitled (Constellation) 1961

Lithograph on BFK Rives wove paper, 654 x 501mm (sheet), 505 x 391mm (image). Signed, dated ‘61 and numbered in pencil from the edition of 100. Probably published by Redfern Gallery, who represented him, to coincide with their 1961 exhibition. 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.

£875

Untitled (Red and Brown Phalanx) 1958

Lithograph on wove paper, 485 x325mm (image). Signed, dated and inscribed in pencil 'Artist's Proof', no edition. Proofed at St Mary's Studio, St Ives by Stanley Jones and Monica Harman (later to become Mrs Wynter). Very good, completely original condition, framed to conservation standards in a hand painted grey diagonal wood frame. Extremely rare, museum quality lithograph from Wynter, relating to his black and white Phalanx series. Provenance: private collection UK

£2,450