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SIMPSONS, THE (TV SERIES, 1989-PRESENT) - Pair of Homer and Bart Mid-Chase Original Production Cels - A highly collectable pair of original production cel setups from the episode "Homer Alone" (Season 3, Episode 15), brilliantly spoofing the classic Road Runner and Wile E. Coyote title gags from Warner Bros. animation.Pieces of this calibre, featuring Homer and Bart in iconic poses, paired in a single sequence, and layered with such referential cleverness, would have been snapped up instantly when released through the studio's original art programme. Today, they remain a standout acquisition for any serious collector of The Simpsons, the longest-running animation series in history.Presented with faux-scientific nameplates: "Homer (Homo Neanderthal'us)" and "Bart (Brat'us Don'thaveacow'us)", the two-setup scene captures the duo mid-chase through the house in wildly expressive, full-figure poses. It's a moment of pure Simpsons mischief, framed with visual wit and pop culture homage.Both setups feature original hand-painted cels from the era when The Simpsons were still produced using traditional animation methods (Seasons 1-13) before the switch to digital colouring and production. Each setup bears the official 20th Century Fox seal and comes in a blue-coloured mount. The lot is accompanied by two 20th Century Fox Studio Art certificates of authenticity. Dimensions (each mounted): 35.5 cm x 43.25 cm (14" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

THE LION KING (1994) - Simba Cel and Production Background - A dramatic setup comprising the hand-painted production background used in the making of The Lion King, paired with a unique, hand-painted cel of young Simba created by Disney artists expressly for the Sotheby's auction "The Art of The Lion King" held in New York in 1995.These hybrid setups are original production backgrounds from the film, matched with newly hand-painted cels crafted using traditional methods. Each cel was carefully chosen from the scene to complement and capture the emotional essence and impact of the moment.This particular setup depicts the tense moment just before the wildebeest stampede, a pivotal scene that showcases the film's dramatic storytelling and technical prowess. The composition emphasises the scale and vulnerability of young Simba. After The Little Mermaid, Disney transitioned to digital ink and paint processes, meaning traditional hand-painted cels were no longer part of the production pipeline. After decades of developing an animation art collector's market, Disney wanted to provide collectors with stunning, screen-used setups despite no production cels for the film actually existing.The setup bears the Walt Disney Company gold seal, authenticating it as an officially created and released artwork for this special auction. Dimensions (mounted): 66.75 cm x 82.5 cm (26.25" x 32.5")Additional Provenance: Lot 134, Sotheby's The Art of The Lion King Auction, 11th February 1995Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US

DISNEY'S HERCULES (1997) - Pain and Panic Original Concept Drawing - A detailed black pencil concept cleanup drawing featuring Pain and Panic, the mischievous minions of Hades from Walt Disney's Hercules.Due to Hercules being produced during the digital animation era, original pencil drawings like this remain the only tangible, hand-drawn elements used in the creation of the film, offering a rare look at the character development process.Drawn by studio artist Cody Reynolds, this full-figure composition captures the impish energy and contrast between the two characters: Pain's hunched, nervous posture and Panic's wide-eyed, frantic expression, mid-exchange over the Fates' eyeball.The lines are clean and expressive, typical of the refined "cleanup" phase where rough animation is translated into final line art for production reference or potential cel translation. The drawing also features the official Disney copyright red-coloured stamp in the lower right corner. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

GUNDAM FRANCHISE (1979-PRESENT) - Deathscythe Hell Original Production Cel and Hand-Painted Background - An original production cel featuring Deathscythe Hell created for Endless Waltz, the climactic conclusion to Gundam Wing. Deathscythe Hell's redesign for Endless Waltz has become one of the franchise's most celebrated: sleek, angular, and unapologetically cool.This original production cel captures Deathscythe Hell in dynamic form, preserving that bold, stylised energy that defined the 1990s Gundam. It is framed by an atmospheric, hand-painted sky background. While not a screen-matched pair, both elements originate from the studio and era, creating an authentic, layered display piece with real presence.Now, 30 years since Gundam Wing first aired, setups like this have become increasingly rare. These materials were working tools, never intended to survive. To find a cel of such an iconic mobile suit, and one presented with a production background, is a privilege. It brings together the art and immediacy of hand-drawn animation, frozen mid-action, before the digital era changed the process forever. Dimensions: 24 cm x 28 cm (9.5" x 11")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

THREE BOXES AND LOOSE PHOTOGRAPHIC EQUIPMENT, to include a box of over one hundred glass slides, themes to include art, history and landscapes, two x Nikon Coolpix 4300 digital cameras, an Olympus Camedia C-700 digital camera, 35mm cameras including an Olympus AF-1 Mini and Ricoh 500 RF, a Slik 88 tripod, photographic lights, etc (3 boxes + loose) (sd, untested)

THREE BOXES AND LOOSE CERAMICS AND SUNDRIES, to include a variety of crested ware, names include Shelly, W&R Carlton, vintage tan leather travel bag with brass colour metal clasps, a pair of white metal and ceramic knife rests, a pair of West Germany Jasba vases, Ashworth pitcher with pewter lid, Palissy art deco blue bird biscuit jar Rd No. 6931, a collection of vintage tea ware, also included a new small sink unit and mixer tap, two Sony handycams, and a Samsung digital camera, etc. (3 boxes + loose), (sd/af)

A striking pigment print on photographic paper by contemporary American artist Rick Wolfryd, signed and marked as an artist's proof (AP 4/5) on verso. This visually dynamic composition features a bold red and black symmetrical design, exemplifying Wolfryd's signature fusion of digital manipulation and conceptual art. The intricate details and layered imagery reflect his engagement with pop culture, surrealism, and abstract expressionism, creating a compelling visual dialogue. Presented in a sleek black frame with a white mat, this limited artist's proof enhances the collectible appeal of the piece. Rick Wolfryd is known for his bold and provocative visual language, blending digital manipulation, pop culture iconography, and conceptual elements to create thought-provoking compositions and sculptures. His works explore themes of identity, consumerism, and societal constructs through vibrant colors, layered textures, and intricate detailing. Wolfryd's artistic practice challenges conventional perspectives, drawing inspiration from surrealism, abstract expressionism, and neo-pop movements. His pieces have been exhibited in galleries and collections, earning recognition for their unique fusion of photography, digital art, and traditional printmaking techniques.Artist: Rick Wolfryd (American b. 1953)Dimensions: 33"L x 45"HCountry of Origin: USACondition: Age related wear.

AELHRA (AMERICAN, b. 1982) Unidentified 2016 A silk screen print on paper, edition 27/30, numbered, signed and dated by the artist along the lower margin, unmounted 61cm x 45.5cm Provenance: from a private London collection. Aelhra (pronounced alar-uh), Sarah Rocheleau, graduate of the University of Wisconsin-Madison and the University of Tennessee-Knoxville. Aelhra's layered images involving traditional printmaking techniques and digital processes explore human experience through themes such as identity, memory, sexuality and mortality. Her surreal and dreamlike aesthetics makes her work appeal to a wide audience and has been exhibited in galleries and museums across the United States, including the Museum of Contemporary Art in Jacksonville and the Honolulu Museum of Art. Aelhra also produced illustrations for magazines such as The New York Times and The Wall Street Journal.

AELHRA (AMERICAN, b. 1982) Unidentified 2012 A silk screen print on paper, edition 21/30, numbered, signed and dated by the artist along the lower margin, unmounted 61cm x 45.5cm Provenance: from a private London collection. PLEASE NOTE THIS LOT IS OFFERED WITHOUT RESERVE Aelhra (pronounced alar-uh), Sarah Rocheleau, graduate of the University of Wisconsin-Madison and the University of Tennessee-Knoxville. Aelhra's layered images involving traditional printmaking techniques and digital processes explore human experience through themes such as identity, memory, sexuality and mortality. Her surreal and dreamlike aesthetics makes her work appeal to a wide audience and has been exhibited in galleries and museums across the United States, including the Museum of Contemporary Art in Jacksonville and the Honolulu Museum of Art. Aelhra also produced illustrations for magazines such as The New York Times and The Wall Street Journal.

PlayStation 4 (PS4) Dungeons & Dragons: Dark Alliance (PAL) w/Steelbook, Art Book and Digital Soundtrack - Factory Sealed Item is factory sealed/brand new, however there is a very small breakage to the outer seal on the reverse side upper-corner of the box Provenance: Consigned by our client who formerly worked in the games industry

ZIMMERMANN, PETER1956 Freiburg i.Br.Titel: "Hood". Datierung: 2014. Technik: Epoxidharz auf Leinwand. Maße: 180 x 131cm. Bezeichnung: Signiert, datiert und betitelt verso oben rechts: P. Zimmermann 2014 'hood'. Zudem mit Werkangaben versehen. Provenienz:- Galerie Max Weber Six Friedrich, München- Privatsammlung Süddeutschland (von Vorheriger erworben)- Charakteristisches Werk mit ausdrucksstark strahlenden Farben- Großformatiges Gemälde von einnehmender PräsenzDas Oeuvre des 1956 geborenen Künstlers Peter Zimmermann ist äußerst vielfältig. Von 1978 bis 1983 studiert der Künstler an der Staatlichen Akademie der Bildenden Künste Stuttgart. Als Maler, Bildhauer und Objektkünstler zählt Zimmermann zu den Vertretern der "Appropriation Art" und der Medienkunst. Er beschäftigt sich in seinem Schaffen insbesondere mit dem Thema der Reproduktion und der Frage nach dem Verhältnis von Original und Kopie.Das großformatige Werk "Hood" ist ein besonders beeindruckendes Beispiel für Zimmermanns Epoxidharz-Arbeiten. Bei diesen werden Fotografien oder Filmstills digital vergrößert und bearbeitet, sodass die ursprüngliche Abbildung schwerlich erkennbar ist. Die daraus entstehenden Motive werden mit Epoxidharz in mehreren Schichten auf die Leinwand appliziert. Die Transparenz dieser Schichten ist auch in dem farbintensiven Werk "Hood" zu erkennen.Die glänzenden, amorphen Formen und visuellen Effekte regen uns hier zu unerschöpflichen Interpretationen an. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion. Erläuterungen zum Katalog Markus Linnenbrink Deutschland Abstraktion Zeitgenössische Kunst Unikate 2000er Abstrakt Gemälde Epoxidharz Farbe

Bob Dylan (b.1941)Woman In Red Lion Pub, from The Drawn Blank Series (2008)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941)Woman In Red Lion Pub, from The Drawn Blank Series (2008)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941) Train Tracks (Red) Digital pigment print in colours, 2014, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, on wove paper, with full margins, sheet 830 x 600 mm (31 3/4 x 23 1/2in)

Bob Dylan (b.1941) Hunan Province, from The Asia Series (2021)Digital pigment print in colours, 2021, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 762 x 672mm (30 x 26 1/2in)

The Connor Brothers (b.1968)I Can Resist Everything Except TemptationDigital pigment print in colours with screenprint varnish, 2021, signed, dated and inscribed 'PP' in pencil, aside from the edition of 150, published by DeMontfort Fine Art, London, on wove paper, with full margins, sheet 1200 x 760mm (47 x 30in)

Bob Dylan (b.1941)Man On A Bridge, from The Drawn Blank Series (2008)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941) Shanghai, from The Asia Series (2021)Digital pigment print in colours, 2021, signed in pencil' numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 762 x 672mm (30 x 26 1/2in)

Bob Dylan (b.1941)Man On A Bridge, from The Drawn Blank Series (2008)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941)Train Tracks, from The Drawn Blank Series (2008)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941) Opium, from The Asia Series (2021)Digital pigment print in colours, 2021, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 762 x 672mm (30 x 26 1/2in)

Bob Dylan (b.1941)Sunday Afternoon, from The Drawn Blank Series (2018) Digital pigment print in colours, 2018, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941)Two Sisters, from The Drawn Blank Series (2008) (Large)Digital pigment print in colours, 2008, signed in pencil, numbered from the edition of 195, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with their blindstamp, on Hahnemühle wove paper, with full margins, sheet 1400 x 1120mm (55 x 44in)

THREE BOXES AND LOOSE MISCELLANEOUS ITEMS, to include Old Hall stainless steel tea ware, large copper kettle, Chinese brass dragon bowl diameter 25.5cm, antique brass effect world globe height 27cm, selection of embroidered table linen, brown leather bridge set new sealed cards, a Lumix Panasonic DMC-TZ3 digital camera, Quest camera bag, selection of small handbags, framed pictures and wall art etc. (3 boxes + loose), (sd/af)

STEPHEN GWOKTCHO (UGANDAN B.1962) THE ELDERSsigned and dated GWOKTCHO S. / 7/09/02 lower rightacrylic on bark cloth50 x 72.5cm; 19 3/4 x 28 1/2in62.5 x 85.5cm; 24 1/2 x 33 3/4in (framed)Property of a Private Collector, ChiswickGwoktcho studied Fine Arts at Makerere University, Kampala and has been a senior lecturer at the School of Industrial and Fine Arts since 2018. As a teacher he sees his role as to 'equip the next generation with professional skills making them relevant in a digital and multimedia visual and competitive world'. He draws most of his images from the African lifestyles including wildlife and figurative scenes. Gwoktcho's work has featured in a number of AFRIKart exhibitions. His drawings, paintings and sculptures are to be found at the State House (Uganda) and held by a number of collectors worldwide. Previously he exhibited in the USA, Europe, Asia and widely in Africa. He portrays Africa as a land of life, encompassing rich and diverse cultures, and it is his ability to harness these ancient African art forms with modern expressive aesthetic that defines his work from a generation of contemporary artists.

ANIA SOLIMAN (EGYPTIAN/POLISH/AMERICAN B.1970) ⊕ ‡ UNTITLED acrylic, brush and ink and coloured pencil on paper 57 x 76cm; 22 1/2 x 30in unframed Property of a Private Collector, New York Provenance Sale, 16 Beaver Group, New York, Alwan Benefit Auction, 3 June 2004 Acquired at the above sale by the present owner Ania Soliman is an Egyptian/Polish/American artist who grew up in Baghdad and is currently based between Paris and New York. Her multidisciplinary practice spans large-scale drawings, paintings, text, performance, video and installation, often incorporating AI-generated imagery and archival materials. Soliman’s work explores cultural translation, the digital unconscious, and the tension between organic and technological forms. Soliman is able to transform her works into visually charged layered work through intricate proccess such as tracing, colouring, dripping, spraying and embellishing.She has exhibited internationally at venues such as Misk Art Institute, Riyadh (2024), Castello di Rivoli (2023, 2018), Kunsthaus Bregenz (2020), The Drawing Center in New York (2010, 2020), and the Whitney Biennial (2010), the 14 Istanbul Biennial (2015), the Museum der Kulturen in Basel (2014), among other venues. She attended Harvard College and Columbia University before participating in the Whitney independent Study Program. In 2010, she was awarded the Laurenz-Haus residency in Basel, Switzerland. Soliman's installation at Art Dubai 2025 explores the intersection of technology, nature, and memory. Titled Kahrabaa’, Arabic for ‘electricity’, the work was created during Beirut’s ongoing energy crisis, and reflects the deep connections between ecology, diaspora, and power systems.

A striking giclee screenprint by renowned street artist and designer Tristan Eaton, known for his dynamic fusion of pop culture, comic book aesthetics, and surrealist collage. This unique version from Women of Marvel: The Portrait Collection, in partnership with the comic industry titans Marvel Entertainment. is 1 of a kind from a series of 1,500 original fine-art prints consisting of 26 original hand-painted portraits and hundreds of layered design elements, making it a unique collectible series like no other. Handcrafted by the artist over months using spray paint on canvas, pen and ink, digital design, and custom print making, Eaton then used a custom algorithmic software to create 1500 surprising and beautiful works of art. The results rendering each piece totally unique and one of a kind.This limited edition of 1500 is a reinterpretation of Marvel's X-Men imagery, featuring a fragmented female portrait seamlessly integrated with bold comic-style illustrations, vivid color blocking, and layered typography. The work captures Eaton's signature technique of juxtaposing realism with abstract design elements, paying homage to both classic comic book artistry and contemporary street art. The composition is enhanced with a torn-edge presentation, a gold embossed seal, and a PSA authentication sticker. Eaton's distinct use of textures, halftones, and high-contrast black-and-white portraiture against vibrant pop-art hues makes this a compelling collector's piece for fans of both fine art and graphic illustration. On lower left: 1/1 # 1009. Artist: Tristan Eaton (American b. 1978)Issued: 2024Dimensions: 18"L x 23"HCountry of Origin: USACondition: Age related wear.

Vibrant and surreal, Erik Jones' Rebecca and Desera is a striking contemporary piece blending realism and abstraction. Erik Jones is an American artist known for his striking and vibrant work that blends realism with surrealism. His style often features a combination of portraiture, abstract forms, and geometric patterns. Jones is particularly celebrated for his use of bold colors and intricate, often futuristic compositions. His work explores themes of identity, beauty, and the human form, often blending these elements with fantastical or dreamlike settings. Jones' artistic influences range from comic book art to graphic design, with a keen focus on the blending of traditional and digital techniques. His use of sharp lines and vivid, high-contrast color schemes is a hallmark of his distinctive style. Over the years, he has garnered attention for his paintings and digital art, with his pieces being displayed in various galleries and exhibitions worldwide. In addition to his visual art, Erik Jones has also collaborated with brands and companies, including Nike, Sony, Red Bull and Marvel showcasing his versatility across different media. This signed and numbered limited-edition print captures his signature style, fusing hyperrealistic portraiture with expressive, bold colors. The composition presents two dynamic figures set against a naturalistic backdrop, showcasing Jones' mastery of movement and energy. Measures 36"L x 24"H. Print. Artist signed. Numbered 35 of 50.Artist: Erik JonesDimensions: See DescriptionCondition: Age related wear.

Marjorie Arnfield MBE (1930-2001)"Quarry Study", a vibrant, abstract depiction of an overgrown quarry, the scree topped with sprouting vegetation, mixed media, signed, titled verso, in painted box frame under glass, 48 cm x 37 cm overall[Arnfield was born in Newcastle upon Tyne, and attended Sunderland College of Art and King Edward VII College of Art, University of Durham. Her paintings consisted of abstract depictions of her extensive travels across the Mediterranean, as well as emotive mining scenes. She was awarded the MBE in 2000 for her "services to art", and a collection of her work was published on a CD-ROM titled "Marjorie Arnfield, A Digital Library" to celebrate what she had achieved through her art.]

This striking lithograph on paper by David Hockney entitled Celia In A Black Dress With White Flowers is part of a poster pulled for his 1980 exhibition at the Tate Gallery. The drawing portrays a contemplative figure adorned in a dark, high-collared garment, with a gracefully rendered white lily in the foreground. Hockney's signature minimalist style is evident in the delicate balance between fully realized detail and expressive negative space, allowing the viewer's imagination to engage with the scene. The work exudes an intimate, serene atmosphere, emblematic of Hockney's ability to capture both human presence and mood. David Hockney is one of the most celebrated contemporary artists of the 20th and 21st centuries. Born in Bradford, England, he emerged as a key figure in the British pop art movement during the 1960s. Hockney is renowned for his diverse artistic techniques, ranging from painting and printmaking to photography and digital art. His works are characterized by their vibrant colors, unique perspectives, and explorations of human relationships and landscapes. Artwork dimensions with frame: 17.75"L x 20.75"H x 1"W. Artwork can be unframed and rolled for shipment.Artist: David Hockney (American b. 1937) Issued: 1980Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

MÄRKLIN E-Lokomotive 'Krokodil', Neuauflage für 'Insider', Spur H0, braunes Guss Gehäuse, Art.-nr. '36159', SBB, digital, sehr gut erhalten im Orig.-Karton, Anleitung anbei, Fkt. nicht geprüft. Reste eines Klebeetiketts auf Inlay. Aus einer badischen Privatsammlung.| MÄRKLIN electric locomotive 'Crocodile', new edition for 'Insider', gauge H0, brown cast housing, item no. '36159', SBB, digital, very well preserved in original box, instructions included, function untested. From a private collection in Baden.

Robin Symes (British, 1939-2023)Folder of original drawings & sketches, 2013Colour pencil, ink, graphite pencil & more on paper, including digital artworks created using Paint software. To include sketches of portrait studies, still life scenes, country and city views etc.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

▲ Joseph Klibansky (Dutch, b.1984) 'Leap of Faith', 2019 polished bronze, signed 'Joseph Klibansky', numbered '20/20' and dated '09-09-2022' on top of backpack 45cm wide 80cm deep 69cm high 180cm high overall, on a white plinthSouth African-born Joseph Klibansky is a contemporary artist based in Amsterdam. Known for his innovative approach, Klibansky blends traditional artistic techniques with cutting-edge digital technology to create captivating works of art. His sculptures, often crafted from polished bronze, are celebrated for their reflective surfaces and playful yet thought-provoking themes. As in the present lot he often blends traditional craftsmanship with modern aesthetics. In 'Leap of Faith' we see a spaceman attempting to take 'one giant leap for mankind' but is weighed down by a crucifix on his back. The sculpture explores themes of courage, risk and transformation, which are often central to Klibansky's work.Condition ReportPlinth: 34 x 74 x 110cmPresents well overall. A little light surface dust and dirt. Tarnishing with light surface scuffs and scratches to the crucifix. Some tarnishing to spaceman. No obvious major condition issues visible on inspection. Please see additional condition images.

A sealed copy of Invader, a vinyl album by Andrew Sharpley, released under Test Recordings 08. Sharpley, a British composer, has a background in electronic music, and "Invader" reflects his interest in blending different genres, including ambient, experimental, and electronic music. The album draws on themes of technology, invasion, and digital culture, which are common threads in his work. The sound of "Invader" features intricate layers of synthesizers, glitchy beats, and atmospheric textures, which together evoke a sense of unease and contemplation. The title "Invader" can be interpreted in various ways, possibly referencing the idea of external forces invading a space—whether that be physical, digital, or psychological—and the ways in which technology can shape our experiences of the world. Sharpley’s work on "Invader" is noted for its cinematic quality, making it well-suited for listeners who enjoy music that engages with contemporary concerns surrounding technology, space, and the digital age. The album artwork features a striking urban nightscape with illuminated windows designed in the signature pixelated style reminiscent of the work of street artist Invader. This vinyl is an excellent addition for collectors of avant-garde music and urban-inspired album art.Artist: Andrew SharpleyIssued: 2021Dimensions: 12.5"HCountry of Origin: United StatesCondition: Age related wear.

Vibrant and dynamic mixed-media artwork with acrylic paint, diamond dust, and oil pen on canvas by internationally renowned Brazilian artist Romero Britto, titled Mother. Created in 2023, this piece showcases Britto's signature bold colors, graphic patterns, and joyful imagery, emphasizing themes of love and happiness. Featuring a stylized mother and child in a warm embrace, the composition is accentuated with gold and glitter detailing, adding texture and depth. The work incorporates acrylic paint, digital print, diamond dust, and oil pen on canvas, exemplifying Britto's signature Pop Art and Cubist-inspired aesthetic. Hand-signed by the artist in the upper left corner, the piece is accompanied by a certificate of authenticity from Britto Studios. Britto's art has been exhibited worldwide and remains highly sought after for its uplifting and contemporary appeal. Certificate of Authenticity included.Artist: Romero Britto (Brazilian, b. 1963)Issued: 2023Dimensions: 47"L x 37"HCountry of Origin: BrazilProvenance: RD/P Condition: Age related wear.

This signed and numbered limited edition digital print by Romero Britto, titled Tiffany's, is a stunning example of his signature bold lines, playful abstraction, and vibrant contemporary aesthetic. Britto, a pioneer of the Happy Art Movement, blends cubism, pop art, and graffiti-inspired elements to create visually striking compositions. This piece features a monochromatic design against a Tiffany blue background, with hand-embellished diamond dust on the lips, adding a shimmering, luxurious effect. Hand-signed by Britto in the lower right and numbered 5/90, this print is professionally framed in a sleek white frame with glass. Accompanied by a Certificate of Authenticity from Britto Studios, this collectible is a must-have for Britto enthusiasts and contemporary art collectors.Artist: Romero Britto (Brazilian, b. 1963)Issued: 2023Dimensions: 30"L x 36"HCountry of Origin: Brazil/United StatesCondition: Age related wear.

Vibrant and expressive, this limited edition digital print on canvas by celebrated Brazilian artist Romero Britto reimagines Rene Magritte's The Son of Man through the lens of Britto's signature pop art and neo-cubist style. Titled Mr. Magritte, this 2020 work captures the surrealist theme of the hidden self while infusing the composition with bold geometric patterns, swirling lines, and glittering embellishments. The apple-faced figure, clad in a vivid mosaic-like suit and hat, is surrounded by a whimsical, color-rich background featuring expressive hearts, clouds, and playful curvilinear forms. Executed in a limited edition of 100, this piece is hand-signed by the artist and numbered 34/100. Accompanied by a certificate of authenticity from Britto Studios, this work exemplifies Britto's signature visual language of joy, hope, and optimism. Romero Britto is a Brazilian artist known for his distinctive fusion of pop art, cubism, and graffiti-inspired aesthetics. Born in 1963 in Recife, Brazil, Britto displayed an early passion for art, drawing inspiration from the vibrant culture and colorful energy of his homeland. He later moved to Miami, where he gained international recognition for his bold, cheerful works that often depict themes of love, happiness, and hope. His instantly recognizable style, characterized by bright colors, dynamic patterns, and thick black outlines, has earned him worldwide acclaim, leading to collaborations with major brands, corporations, and charitable organizations. Britto's works have been exhibited in prestigious museums and galleries around the globe, and he is regarded as one of the most licensed artists in history. Through his Happy Art Movement, Britto seeks to inspire positivity and social good, reinforcing his belief that art is too important not to share.Artist: Romero Britto (Brazilian/American b. 1963)Issued: 2020Dimensions: 39.50"L x 49.50"HCountry of Origin: Brazil/United StatesCondition: Age related wear.

A striking giclee screenprint by renowned street artist and designer Tristan Eaton, known for his dynamic fusion of pop culture, comic book aesthetics, and surrealist collage. This unique version from Women of Marvel: The Portrait Collection, in partnership with the comic industry titans Marvel Entertainment. is 1 of a kind from a series of 1,500 original fine-art prints consisting of 26 original hand-painted portraits and hundreds of layered design elements, making it a unique collectible series like no other. Handcrafted by the artist over months using spray paint on canvas, pen and ink, digital design, and custom print making, Eaton then used a custom algorithmic software to create 1500 surprising and beautiful works of art. The results rendering each piece totally unique and one of a kind.This limited edition of 1500 is a reinterpretation of Marvel's X-Men imagery, featuring a fragmented female portrait seamlessly integrated with bold comic-style illustrations, vivid color blocking, and layered typography. The work captures Eaton's signature technique of juxtaposing realism with abstract design elements, paying homage to both classic comic book artistry and contemporary street art. The composition is enhanced with a torn-edge presentation, a gold embossed seal, and a PSA authentication sticker. Eaton's distinct use of textures, halftones, and high-contrast black-and-white portraiture against vibrant pop-art hues makes this a compelling collector's piece for fans of both fine art and graphic illustration. On lower left: 1/1 # 1009. Artist: Tristan Eaton (American b. 1978)Issued: 2024Dimensions: 18"L x 23"HCountry of Origin: USACondition: Age related wear.

A BROCADED SOGDIAN-REVIVAL SILK HANGING WITH AVIARY MOTIF Possibly Uzbekistan, Central Asia or Caucasus, 19th centuryThe rectangular hanging of cream-coloured silk, heavily brocaded in green and magenta silks, and gold and silver threads with supplementary wefts, the full length with a repeating motif in line with Sasanian-revival textiles produced in Sogdiana (modern-day Uzbekistan and Central Asia), featuring a haloed bird, possibly a mythical senmurv, in alternating rows within beaded roundels, interspersed with stylised floral grids, edged with woven metallic thread band, the panel a likely modern revival example harking back at models from the great past of the populations roaming along the trade routes of the Silk Road.255cm x 104cm For further reference and comparables of original 7th - 9th century Sogdian textiles: Mariachiara Gasparini, Sogdian Textiles Along the Silk Road, essay for the digital exhibition The Sogdians: Influencers on the Silk Roads at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. (last accessed: 21st March 2025). 255cm x 104cm Qty: 1

Registration No: 614 JGT Chassis No: 140SK MOT: Exempt1 of just 1,402 Phantom IIs understood to have been producedPresented in well preserved barn-find condition after some fourty years of lay-upOriginally coached by H.J. Mulliner in four-light sports saloon guise and then later rebodied by Dottridge BrosOffered without reserveIntroduced at the October 1929 Olympia Motor Show, the Phantom II was the last of the truly grand six-cylinder Rolls-Royces and the final one to be overseen throughout by F. Henry Royce himself. The chassis was completely new and, rather than the cantilever rear springs of its predecessors, it employed underslung semi-elliptic ones which, along with improvements to the drivetrain, allowed the frame to ride closer to the ground, improving handling. The power came from an updated version of the Phantom I engine, topped by a new aluminium alloy crossflow cylinder head, it was matched to a four-speed manual gearbox, bolted directly to the chassis rails. The four-wheel servo-assisted brake system of the Phantom I was continued, and all Phantom II chassis received lubrication set-up. The radiator was positioned aft of a reworked beam front axle, further adding to the model's fresh, low-slung appearance. The resulting elongated bonnet line together with short overhangs created an enticing platform for the coachbuilder's art, and proved conducive to elegant designs courtesy of the major carrozzerias of the day - e.g. James Young, Park Ward, Mulliner, Thrupp & Maberly etc. Capable of over 90mph, the Phantom II remained in production for six years, during which time some 1,402 are understood to have been made, plus 278 with yet sportier Continental specification. All but 125 of the total were equipped with right-hand drive.According to “The Rolls-Royce Phantom II and III” by Nick Whitaker and Steve Stuckey, chassis 140SK was originally bodied in four-light saloon coachwork by H.J. Mulliner and delivered to a Mrs H. Martineau. The V5C states that it was first registered in London as ‘614 JGT’ on the 13th February 1935 but the records show that it was “off-test” on the 1st October 1934. Thankfully, a side-profile photograph survives of the car in H.J. Mulliner form when new. Little is known of the history following its delivery, however some years later, post-World War II, the car was acquired by Harold White Funeral Directors of Chingford, Essex and was masterfully re-worked to Limousine specification by the esteemed Islington based coachbuilders, Dottridge Brothers post-war. Much of the original H.J. Mulliner line was kept intact including much of the front wings and waistline, however the door bottoms were extended downwards for ease of access and the roofline was raised to accommodate a glass partition. The car is said to have been used quite extensively during the 1950’s and 60’s for funeral work by Harold White before being put into dry storage once it had become redundant due to the business’ acquisition of a more modern Rolls-Royce limousine in the late 1960’s / 1970’s. 140SK was to become somewhat forgotten about during the following years until the proprietor passed away and it was bequeathed to the current generation of the family who still run the business today.Upon inspection, it was noted that the large proportion of the Phantom II has been preserved very well indeed thanks to the dry storage conditions that it has been pulled from and is largely complete. The paintwork is evidently period and could be a clean-up and preservation job, but the bodywork also appears to be solid. 140SK also retains its original engine numbered DK55 which appears to be seized from years of standing, but the car was pulled from its resting place with relative ease due to unseized brakes allowing it to roll freely. The interior is in largely intact condition, and it is thought that it could be preserved in this form with some TLC should a prospective buyer be so inclined. It should be noted that the history file could not be found by the vendor and a new V5C will need to be applied for although a digital record exists with the DVLA.So, the question for a prospective buyer that remains is what to do with the car? It could be enjoyed as a very fine and rare oily-rag machine in its current form or put back to work in the funeral trade after a restoration. Perhaps for the more eccentric it could be returned back to its original H.J. Mulliner styling? For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430

AFTER ANTON RAPHAEL MENGS SELF-PORTRAIT Watercolour and bodycolour Bears inscription 'Rafael Mengs / Pittore / Fatto di se stesso' (verso) 13 x 10cm (5 x 3¾ in.) Provenance: James Harris, 1st Earl of Malmesbury Sale, Christie's, London, 13 July 1984, lot 104 Literature: S. Roettgen, The Digital Catalogue Raisonné of Anton Raphael Mengs, 279/WK_05, as a copy After the painting in The Walker Art Gallery, Scotland Condition Report: The sheet has been laid down at the corners to a sheet of metal. The extreme edges with some wear commensurate with age. The left edge with some more substantial wear and small areas of loss. The lower edge with a small tear (approx. 2.5cm). The colours are generally good. There is some discolouration to the grey background area. Also with some spots of surface dirt, again this is mainly to the background areas. Some light craquelure scattered within the red pigment. Country of origin: Scotland (UK)Condition Report Disclaimer

TOM WESSELMANN (1931-2004)Nude, One Arm Down oil on cut-out aluminium177.8 x 228.6 x 20.3cm (70 x 90 x 8in).Executed in 1994Footnotes:This work is included in the Tom Wesselmann Digital Corpus published by the Wildenstein Plattner Institute, and will be included in the forthcoming Tom Wesselmann Digital Catalogue Raisonné.ProvenanceGalerie Terminus, Munich.Acquired from the above by the present owner. ExhibitedSanta Monica, Fred Hoffman Fine Art, Tom Wesselmann, A Survey: 1959-1995, 15 February - 13 April 1996. LiteratureS. Hunter, Tom Wesselmann, New York, 1994, no. 29 (illustrated p. 41).Grand in scale, Nude, One Arm Down portrays a reclining female figure in an alluring pose, her arm extending beyond the plane of the vibrant space constructed by the artist. Formed with minimal lines composed of curved, cut aluminium, the present work features Tom Wesselmann's signature use of negative space, transforming the erotic details of the female form into something entirely unique. Describing his own work, Wesselmann famously stated, 'A tit by itself loses titness. If she's on her back, the tit looks like a mountain' (quoted in Wesselmann's Fancy Footwork, Art Voices 5, no. 3, Summer 1966, p. 47). Here, the figure is distilled to the fundamental attributes ascribed to a female nude—hair, lips, breasts, and sex. While perceptibly erotic, the subject becomes depersonalised, shifting the viewer's focus from the overall figure to its individual characteristics. Nude, One Arm Down perfectly embodies Wesselmann's signature aesthetic: bold colours, painterly details, a lush interior setting with flowing drapery, and art historical reference—seen in the lower portion of a framed painting positioned at the top horizontal edge. This composition underscores the artist's mastery of painting, drawing, and sculpture, resulting in a dynamic and striking work of art.Wesselmann's female nudes are among the most celebrated and recognisable subjects in the 20th Century, most notably exemplified in his Great American Nude series, initiated in 1961. Nude, One Arm Down is an extension of this iconic series, maintaining its grand scale, vibrant palette, and compositional complexity while introducing a novel and innovative execution. In 1981, the artist began experimenting with translating his two-dimensional works into three-dimensional forms, transforming his drawings into cut steel and aluminium compositions. He explained, 'My original idea was to preserve the process and immediacy of my drawings from life, complete with the false lines and errors, and realize them in steel. It was as though the lines had just been miraculously drawn in steel' (Tom Wesselmann: New Metal Paintings, exh. cat., Sidney Janis Gallery, New York, 1992, n.p.). By incorporating the third dimension, Wesselmann intensified the two-dimensional experience of his paintings. Just as he employed negative space to create new forms, he used three-dimensionality as a tool to further enhance the viewer's interaction with the work.A native of Cincinnati, Wesselmann moved to New York to study at Cooper Union after serving as an aerial photography interpreter during the Korean War. During his military service, he sketched cartoons to uplift his spirits and soon discovered an affinity for drawing. Enrolling at Cooper Union in 1956, Wesselmann was immersed in the height of Abstract Expressionism, a movement that profoundly influenced his work. Particularly inspired by Willem de Kooning—whose influential series of 'Women' integrated figuration within abstraction—Wesselmann also drew from Henri Matisse's use of bold colours and expressive figures. However, he ultimately moved away from Abstract Expressionism, instead refining his practice through extensive nude figure drawing, a theme that would become central to his artistic career.Nude, One Arm Down serves as an exceptional example of Wesselmann's return to the Abstract Expressionist influences of his early career, featuring broad, sweeping swaths of colour in abstracted shapes that layer to create a complex dimensionality. Though appearing effortless and refined, the work is the result of an intricate process and meticulous fabrication. Wesselmann first constructed a small collage of coloured brushstrokes on clear plastic film, then transferred these compositions onto large, cut-out aluminium structures, exaggerating the layering effects of the plastic sheets. The extension of the picture plane heightens the viewer's engagement by introducing the third dimension. The juxtaposition of abstraction and figuration, along with the interplay between machine-made and hand-painted elements, culminates in a visually compelling and intricate composition on a monumental scale.Despite being considered a pioneer in one of the most significant artistic movements of the 20th century, Wesselmann resisted the Pop Art label. To him, his works were a personal exploration and discovery rather than a reflection of the consumerist themes and popular imagery typically associated with the movement. Wesselmann's artistic objective was one of continuous growth and transformation—a trajectory clearly evident throughout his extensive body of work. Transcending conventional categorization, Nude, One Arm Down exemplifies the artist's boundary-pushing and innovative approach.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

(ARR) Antwan Horfee (French, b 1984)Never Wanted ThisPhotocopy book Print on beige paperSigned and numbered 16/100 by artist Antwan Horfee (French, b1984) first gained recognition as an independent creative artist in Paris. Inspired by Avant-Garde art movements, he projects the action and performative aspect of his work outdoors into his gallery work, still using spray techniques for his abstracted and slightly distorted representations. He skilfully combines figurative and abstract elements, in works that are often critical about the contemporary art world and the art historical canon. The often surreal characters in his works, which are dominated by abstract gestures, are signs of an age of diversity, noise, abundance, and uncertainty. His intense dynamics and colour palette are symptomatic of a time when the flow of (digital) images is extensive and fast. Antwan Horfee is continuously experimenting with techniques, materials and bearers as potential trademarks of his time and generation. He combines fragile painting and drawing techniques with industrial materials such as plastic, which is created with the intention to stay unchanged for hundreds of years. He allows coincidences to affect his works in order to create an individual, nuanced and contemporary visual language.Measures approx. 39.5cm x 27cm (15 3/4" x 10 1/2")

Giovanni Maria Morandi, 1622 Florenz – 1717 Rom, zug.PORTRAIT DES LIVIO ODESCALCHI (1652-1713), HERZOG VON BRACCIANO, CERI UND SIRMIUMÖl auf Leinwand.221 x 193 cm.In vergoldetem Profilrahmen.Wir danken Francesco Petrucci für den Vorschlag zur Zuschreibung des vorliegenden Gemäldes auf der Grundlage einer digitalen Fotografie. Giovanni Maria Morandi wurde in Florenz geboren und ausgebildet, war aber vor allem in Rom als Portraitist tätig. Livio Odescalchi, hier in geharnischter Ganzfigur mit Marschallstab am Rande eines Schlachtfeldes gezeigt, war der Neffe von Benedetto Odescalchi, Papst Innozenz XI. Er kämpfte 1683 in der Schlacht von Wien, als die Heilige Liga die Türken besiegte, welche die Stadt belagerten. Im Jahr 1689 wurde Livio Odescalchi zum General der Chiesa Santa Romana ernannt und im selben Jahr wurde er aufgrund seiner Loyalität zu den Habsburgern von Kaiser Leopold I zum Reichsfürsten des Heiligen Römischen Reiches ernannt; 1713 verlieh ihm Karl III den Orden vom Goldenen Vlies. Ein Jugendportrait von Livio Odescalchi von Jacob Ferdinand Voet, das in der Walters Art Gallery in Baltimore aufbewahrt wird, kann als Beleg für die Identifizierung des Dargestellten auf dem vorliegenden Gemälde gelten. (1432081) (4) (10)Giovanni Maria Morandi,1622 Florence – 1717 Rome, attributedPORTRAIT OF LIVIO ODESCALACHI (1652-1713), DUKE OF BRACCIANO, CERI AND SIRMIUM Oil on canvas.221 x 193 cm.We would like to thank Francesco Petrucci for identifying the artist of the present painting based on a digital photograph.

Robert Silvers (American, b. 1968). Large c-print photomosaic on aluminum with Fuij crystal archive titled "American Flag" depicting the flag of the United States of America created from a digital collage of many smaller pictures of iconic American landmarks, 2004. With a label from Scott Richards Contemporary Art Gallery, San Francisco, along the verso. Editioned 1/6 and signed along the label.Height: 48 in x width: 74 in x depth: 1 1/2 in.Condition: There are no major dents, scratches, breaks, or restorations. Light wear to the edges. Dust gathered along the verso.

Bob Dylan (b.1941)Classic Car Show, Cleveland, from The Beaten Path (2016)Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in)

Bob Dylan (b.1941)Florida Country, from The Beaten Path Series (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in)

Bob Dylan (b.1941)  East L.A, Side Street, from The Beaten Path (2016)Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in)

Bob Dylan (b.1941) Favela Villa Candido, from The Brazil Series (2015)Digital pigment print in colours, 2015, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, with the accompanying certificate of authenticity, in association with Black Buffalo Artworks, on wove paper, with full margins, sheet 530 x 670mm 

Bob Dylan (b.1941)Ranchers, from The Brazil Series (2015)Digital pigment print in colours, 2015, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 650 x 430mm (25 1/2 x 17) 

Bob Dylan (b.1941)Train Tracks (Pink), from The Drawn Blank Series (2014) (medium format)Digital pigment print in colours, 2014, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 765 x 580mm (30 x 21 3/4in) 

Bob Dylan (b.1941)Brooklyn Heights, from The Beaten Path (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in)

Bob Dylan (b.1941)Woman In Red Lion Pub, from The Drawn Blank Series (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Ronnie Wood (b.1947)The Blue Smoke Suite (2012)The set of four digital pigment prints in colours, 2012, each signed in pencil, numbered from the edition of 150, printed and published by Washington Green Fine Art, Birmingham, with the accompanying certificate of authenticity, on wove paper, with full margins, each sheet 820 x 580mm (32 1/4 x 23in) (4)

Bob Dylan (b.1941)Vine Street, West L.A., from The Beaten Path Series (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 585 x 762mm (30 x 23in)

Bob Dylan (b.1941)Midnight Caller, from The Beaten Path Series (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in)

Bob Dylan (b.1941)Man On A Bridge, from The Drawn Blank Series (2016) Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)

Bob Dylan (b.1941)Endless Highway, from The Beaten Path (2016)Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 953 x 1270mm (37 1/2 x 50in)

Bob Dylan (b.1941)Holbrook Arizona, from The Beaten Path (2016)Digital pigment print in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, on wove paper, with full margins, sheet 585 x 762mm (23 x 30in) 

Bob Dylan (b.1941)Sunday Afternoon, from The Drawn Blank Series (2014)Digital pigment print in colours, 2014, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art, Birmingham, in association with Black Buffalo Artworks, with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)