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Lot 50
Reality Killed The Fairytale Star? 8 Color Screen Print on 300gsm Fine Art Paper is a striking screenprint by German street artist Kunstrasen who presents a bold juxtaposition of innocence and militancy. The artwork features a reclining Snow White, rendered in vibrant colors, alongside a monochromatic armed figure, evoking themes of societal contrasts and subverted narratives. Kunstrasen's signature stencil technique and pop culture appropriation reflect the influence of urban street art movements. The print is an artist proof (AP) and bears the embossed stamp of Graffiti Prints, a well-known publisher of contemporary urban artworks. Hand-signed and dated by the artist in pencil in the lower right corner. Framed in Black to Fit.Artist: Kunstrasen (German b. 1979)Issued: 2015Dimensions: 31"L x 23.25"HCountry of Origin: UKCondition: Very Good.
Lot 41
Original color screenprint on laid paper entitled Clocks of Time by American Abstract Expressionist artist Betty Parsons. She paints brightly colored warm and cool organic shapes within vertical and horizontal lines that seemingly divide the passage of time. Signature and date on lower right: Betty B Parsons, 78. Edition number on lower left: 61/180.Artist: Betty Bierne Parsons (American, 1900-1982)Issued: 1978Dimensions: 21.25"L x 29.75"HCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2000. Condition: Good condition.
Lot 65
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.
Lot 61
Limited edition letterpress screenprint by Shepard Fairey, numbered 172/450, hand-signed and dated in pencil and with artist's logo embossed on lower left. The artwork portrays a stylized soldier in profile, wearing a cap adorned with a red star, with his rifle transformed into a rose. The composition features Fairey's signature bold contrast of black, white, and red, incorporating graphic elements reminiscent of propaganda poster aesthetics. The print includes the artist's recognizable Obey emblem embossed in the lower left corner, reinforcing his exploration of themes related to authority, power, and resistance. Fairey, known for his street art and politically charged imagery, rose to prominence through his Obey Giant campaign and the iconic Hope poster for Barack Obama. This piece exemplifies his distinctive approach to socio-political commentary through visual art.Artist: Shepard Fairey (American, b. 1970)Issued: 2017Dimensions: 10"L x 13"HCountry of Origin: USACondition: Age related wear.
Lot 126
THEN CAME A FIRE AND BURNT THE STICK (AXSOM 175)Color lithograph, linocut and screenprint with hand-coloring and collage, 1984, on T.H. Saunders and hand-cut Somerset paper, signed, dated and numbered 48/60 in pencil, published by Waddington Graphics, London, the full sheet, framed.Sheet 52 1/2 x 52 1/4 inches; 1334 x 1327 mm.Frame 60 x 61 inches; 1524 x 1549 mm.In good condition, unexamined out of the frame.
Lot 113
LADIES AND GENTLEMAN (FELDMAN/SCHELLMAN II.128)Color screenprint, 1975, on Arches paper, signed with initials recto, signed and inscribed © p.p Andy Warhol editions in pencil verso, a printer's proof aside from the edition of 125, printed by Alexander Heinrici, New York, published by Luciano Anselmino, Milan, with full margins, framed.Image 38 1/4 x 26 7/8 inches; 972 x 683 mm.Sheet 43 1/2 x 28 7/8 inches; 1105 x 733 mm.Frame 46 3/4 x 32 inches; 1187 x 813 mm.
Lot 112
FLOWERS (BLACK AND WHITE) (FELDMAN/SCHELLMANN II.105)Screenprint, 1974, on wove paper, signed with initials recto, signed, numbered 187/250 and located NY in pencil and dedicated Happy Wedding / Love Andy in black crayon verso, co-published by Peter M. Brandt, Castelli Graphics and Multiples Inc., New York, and with their copyright ink stamp verso, with full margins, framed.Sheet 40 x 27 1/4 inches; 1016 x 692 mm.Frame 40 7/8 x 28 1/4 inches; 1038 x 718 mm.Pale lightstain and matstain, some unobtrusive foxing, handling creases and rippling and 3/4-inch diagonal (printer's?) crease at left sheet edge (mainly discernible in raking light), some light soiling (Andy Warhol or printer's thumbprint?) to the right of the vase at bottom, minor soiling verso, frame with glass.
Lot 118
AFRICA 3 (ENGBERG/BANACH 71; BELKNAP 42)Screenprint printed in black and cream, 1970, on J.B. Green paper, signed with initials and numbered 26/150 in pencil, with the artist's blindstamp, from the Africa Suite, published by Marlborough Graphics, Inc., New York, framed.Image 31 1/2 x 23 5/8 inches; 800 x 600 mm.Sheet 40 1/2 x 28 5/8 inches; 1029 x 727 mm.Frame 41 3/4 x 29 3/4 inches; 1060 x 756 mm.Provenance:Makler Gallery, PhiladelphiaPale timestain and minor soiling at extreme sheet edges, a few tiny foxing spots mainly in the margins, hinged at top sheet corners, framed with acrylic.
Lot 93
HERE COME MOSESColor screenprint, 2014, on wove paper, signed, dated 7/31/2014, titled and numbered 194/200 in pencil, printed by the Experimental Printmaking Institute, Lafayette College, Easton, Pennsylvania, published by The Print Club of New York, New York, and with their certificate of authenticity, with full margins, framed.Image 20 x 26 inches; 508 x 660 mm.Sheet 22 1/4 x 30 1/8 inches; 565 x 765 mm. Frame 28 1/8 x 35 7/8 inches; 714 x 911 mm.In good condition, unexamined out of the frame,
Lot 111
COW (FELDMAN/SCHELLMANN 11.11A)Color screenprint, 1971, on wallpaper, printed by Bill Miller's Wallpaper Studio, Inc., New York, published by Factory Additions, New York, for a Warhol exhibition at the Whitney Museum of American Art, New York, May 1 - June 13, 1971, unframed.Sheet 45 1/2 x 29 1/4 inches; 1156 x 743 mm.Provenance:Purchased by the present owner from the Whitney Museum of American Art in 1977. Pinholes at sheet corners, ome unobtrusive creasing most discernible in raking light, minor dust at sheet edges, the sheet has been stored rolled since purchased in 1977 and still rolls when not held open.
Lot 110
PARIS REVIEW (FELDMAN/SCHELLMANN II.18)Color screenprint with die-cut holes, 1967, on heavy cream wove paper, with the artist's ink stamp and numbered 70/150 in pencil, printed by Chiron Press, New York, published by the Paris Review, New York, framed.Sheet 37 x 27 1/8 inches; 940 x 689 mm.Frame 37 3/8 x 27 1/2 inches; 949 x 699 mm.
Lot 99
PEANUTSColor screenprint with solvent transfer, 1973, on wove paper, signed and numbered 2/20 in pencil, from Crops, published by Graphicstudio, University of South Florida, Tampa, and with their blindstamp, the full sheet, framed.Sheet approximately 60 x 38 inches; 1524 x 965 mm.Frame 60 1/8 x 38 3/8 inches; 1527 x 975 mm.Lightstain, some unobtrusive pinpoint foxing, minor rippling and two handling creases at sheet edges, unexamined out of the framed, framed with acrylic.
Lot 97
PORTRAIT OF HARTLEY STOCKTON NEELColor screenprint, 1981, on wove paper, signed, dated and numbered P.P. 1/6 in pencil, a printer's proof aside from the edition of 175, with full margins, framed.Image 28 7/16 x 22 1/16 inches; 722 x 560 mm.Sheet 33 3/8 x 26 1/16 inches; 848 x 662 mm.Frame 36 7/8 x 29 7/16 inches; 937 x 748 mm.Lightstain and matstain, hinged with tape along top sheet edge and right and left sheet corners (THE LEFT NOW DETACHED) verso to top mat, some printer's ink or soiling in the margins, some unobtrusive rubbing (discernible in raking light), framed with glass.
Lot 107
CAMPBELL'S SOUP CAN (TOMATO) (FELDMAN/SCHELLMAN 4A)Color screenprint on shopping bag, 1966, signed and dedicated To John in black marker, from the edition of unknown size, published by the Institute of Contemporary Art, Boston, framed.Image 16 5/8 x 9 1/2 inches; 422 x 241 mm.Overall 23 1/2 x 16 1/2 inches; 597 x 419 mm.Frame 30 1/2 x 23 3/8 inches; 775 x 594 mm.
Lot 89
CAROLINA MEMORIES (TIDINGS) (GELBURD/ROSENBERG 18)Color screenprint, 1970-72, on Arches paper, signed and inscribed AP in pencil, an artist's proof aside from the edition of 125, with full margins, framed.Image 16 x 23 3/4 inches; 406 x 603 mm.Sheet 22 1/4 x 29 1/8 inches; 565 x 740 mm.Frame 25 3/4 x 32 7/8 inches; 654 x 835 mm.
Lot 109
LINCOLN CENTER TICKET (FELDMAN/SCHELLMAN II.19)Color screenprint, 1967, on light wove paper, from the edition of 500, published by Lincoln Center List Poster and Print Program, New York, the full sheet, unframed.Sheet 45 x 24 1/4 inches; 1143 x 616 mm.Some unobtrusive rubbing and creasing (some associated hairline or other unobtrusive ink loss) most discernible in raking light, some light abrasion at sheet edges, the sheet has been stored rolled and still rolls when not held open.
Lot 5191
§ Tracey Emin (British b. 1963), 'Hades Hades Hades', screenprint, signed and indistinctly numbered, cotton sheet 41 x 52cm, framed by Darbyshire. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the hammer price is above the threshold of £1,000 GBP, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.
Lot 62
ANDY WARHOL. Jean Cocteau (Feldman & Schellmann II.329A), 1985. (d) Screenprint in colours on wove paper, signed in pencil and with the artist's inkstamp (recto), a bon a tirer (numbered 181/250), published by the artist to commemorate the opening of The Severin Wunderman Foundation, Irvine, printed by Rupert Jasen Smith, New York, the full sheet, 97.3 x 80.8cm. Comes with presentation card.
Lot 6
Sir Howard Hodgkin CH CBE (British 1932-2017)Red Flowers (2015)initials and dated in pencil, numbered 23/75 in pencil screenprint on Somerset mould-made Satin Rag paper, printed by King and McGaw for Tate, London 42.5 x 47 cm, framed and glazed 53.5 x 57.5 cm Affixed to mount verso. Visible sheet in good condition. There is a light 6 cm surface scratch centre left. Under glass and unexamined out of frame.
Lot 568
A mounted, framed and glazed limited edition screenprint of the 'Ziggy Stardust' cover image by Terry Pastor. Signed to lower border by David Bowie and Terry Pastor. Number 18 from an edition of 195. Image 675 x 695mm and framed to overall size 740x750mm. Purchased from the Kaleidoscope Gallery, Birmingham by the vendor. With gallery COA to verso.
Lot 189
Shepard Fairey - Kings of the Mic, 2013Screenprint on cream Speckletone paper, hand signed by Shepard Fairey, Z-Trip, and LL COOL J, numbered /500. Good condition, 61 x 46 cm.Sérigraphie sur papier Speckletone crème, signée à la main par Shepard Fairey, Z-Trip et LL COOL J, numérotée /500. Bon état, 61 x 46 cm.
Lot 97
* WILL MAW (BRITISH b. 1973), UNTITLED screenprint with monotype on papermounted, framed and under glassimage size 61cm x 51cm, overall size 98cm x 85cm Note: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
Lot 96
* WILL MAW (BRITISH b. 1973), THE LIGHTER TOUCH limited edition screenprint on paper, signed, titled and numbered 1/5mounted, framed and under glassimage size 109cm x 57cm, overall size 126cm x 73cmNote: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
Lot 99
* WILL MAW (BRITISH b. 1973), UNTITLED screenprint with monotypemounted, framed and under glassimage size 51cm x 61cm, overall size 85cm x 98cmNote: Will Maw was born in London in 1973 and grew up in Bristol. Maw studied at Glasgow School of Art from 1993 to 1996, including a three month residency at the School of Fine Art in Addis Ababa, Ethiopia. Living in Glasgow until 2006, he worked mainly through Glasgow Print Studio and exhibited nationally and internationally, curated print exhibitions from around the world travelling widely including two government funded artists residencies in Arizona. Collaborations with well known Scottish artists and printmakers were routine in what remains the largest workshop of its kind in the UK; exhibitions in Glasgow, London, Edinburgh and New York were on the regular calendar of events. In 2000 he organised an exhibition of his own work in Addis Ababa at the Alliance Francais. Working with Glasgow City Council, Maw organised and operated many community workshops and exhibitions through school groups, hospital groups and social centres staging exhibitions in various Glasgow Museums venues. The work produced won prizes and on one occasion was exhibited in the Tate Modern in London. In 2006 Maw moved to London. Within two months he was on the Royal Academy payroll and began to work for Advanced Graphics London producing screenprint editions. Shortly afterwards he enrolled at the Royal College of Art and left in 2009 after completing the Master of Arts course in Printmaking. Maw returned to Glasgow that year with an exhibition at the Compass Gallery, Glasgow. Having worked in print publishing workshops for fifteen years, Maw resolved in 2008 to establish an independent workshop to continue his own practice making artwork on paper as well as the ongoing existing collaborations, including the resolution of the ‘Pictosaurus’ Archive, an extensive collection of 14,000 pages of collected and categorised images compiled by the late Charlie Riddell. Following the completion of the RCA MA in 2009 and the completion of the monumental Histoire Naturelle series of prints, he coined Fountainwell as a working name for the studio producing artists prints, books and works on paper including the provision of print services to photographers, designers and writers. Maw's own creative work maintains a focus on exploring the diversity and multiplicity of printed media using collage and superimposition of often contradictory imagery. Increasingly the finished works have turned more towards books and manuscripts as documentary works, nurtured perhaps by a continuing contract with a conservation framers specialising in rare works on paper and fine prints from 17th to 20th century. Recent exhibitions include the Eagle Gallery ‘Natural Histories’ group exhibition, a one person show at North House Gallery and a permanent installation at The Hilton Green Park as well as various group shows in London and Glasgow.
Lot 178
* SIR EDUARDO PAOLOZZI KBE RA HRSA (SCOTTISH 1924 - 2005), BASH limited edition printer's proof screenprint on paper, signed, dated 1971 and inscribed 'p proof'unframedimage size 74cm x 50cm, sheet size 85cm x 60cmNote: (b Leith, Edinburgh, 7 Mar. 1924; d London, 22 Apr. 2005). British sculptor, printmaker, collagist, ceramicist, film-maker, designer, and writer, the son of Italian immigrant parents. His output was large and highly varied (in terms of style as well as technique), but he is remembered mainly for his early involvement with Pop art and for the large public sculptures he produced in his later years. He had his first one-man exhibition as a sculptor in 1947 and in the same year he began making collages, using cuttings from advertisements, American magazines, etc. (I was a Rich Man's Plaything, 1947, Tate, London). Paolozzi regarded these collages as ‘ready-made metaphors’ representing the popular dreams of the masses, and they have been seen as forerunners of Pop art (he eventually amassed a large collection of pulp literature, art, and artefacts, which he presented to the University of St Andrews). In 1947–50 he lived in Paris, where he was influenced by the legacy of Dada and Surrealism, and in the early 1950s he was a member of the Independent Group, the nursery of British Pop art. His sculpture moved freely between figuration and abstraction and made use of many different materials. During the 1950s it was characteristically heavy and bulky, often incorporating industrial components, showing his interest in technology as well as in popular culture. In the 1960s it became more colourful, including large totem-like figures made up from casts of pieces of machinery and often brightly painted. In the 1970s he made solemn machine-like forms and also box-like low reliefs, both small and large, in wood or bronze, sometimes made to hang on the wall, compartmented and filled with small carved items. By this time he was regarded as one of the major artists of the day and he received numerous public commissions. These included mosaic decorations for Tottenham Court Road underground station in London (installed 1983–5) and several large bronze sculptures, including Newton (1995) in the piazza in front of the British Library, London. Paolozzi was knighted in 1989 and was awarded many other honours. He taught at various art schools and universities in Britain, Europe, and the USA, but his obituary in The Times commented that ‘his gruff manner and combative personality ultimately worked to the detriment of his teaching career’. Six hundred and eighty of his works are held in UK public collections.Condition is good overall, with no visible or known issues.
Lot 22
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), EXPLAINING DNA screenprint on paper, signed, titled and dated '88mounted, framed and under glassimage size 20cm x 18cm, overall size 33cm x 30cm Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
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14910 item(s)/page