Screen Form 1973

Lithograph on T H Saunders wove paper 765 x 580mm (sheet). Signed and numbered from the edition of 90. Printed at Curwen Studio and published by the Penwith Society of Artists as part of the famous Penwith Portfolio. Good condition, slight tear to right hand margin, unframed. I rarely put on an interior decorator’s hat, but his will frame up very nicely in a driftwood-type frame and look great in a mid-century hallway (add about £185 for framing). Collection: Tate Gallery

£275

Screen II 1962

Lithograph on handmade barcham Green ppaper 758 X 578mm (sheet). Signed, dated and numbered from the edition of 50. Published and printed at the Curwen Studio, London 1963. Good condtion, unframed. This image relates directly to the screen forms Adams was sculpting in the early 1960s… the bronze illustrated below dates from 1961 and is almost the exact size of the lithograph (National Gallery of Victoria, Melbourne, Australia). Provenance: Curwen Gallery Archive. Collection: Tate Gallery

£575

Composition with Drawn Forms 1949

Lithograph on buff J Green handmade paper. 460 x 320mm (image), 571 x 452 (sheet). Signed, dated ‘49 and numbered from the edition of 25 in pencil. Printed at the Central School of Art and Design, London 1949. Exhibited at Redfern Gallery December 1949. Very good condition, framed to conservation standards, edges showing, in a stained oak frame. Printmaking was integral to Adams’ work as a sculptor. To fund his studies as a student he worked as an assistant in a printer’s workshop. This image was drawn directly onto stone and depicts two figures in abstracted line. It is one of Adams’ first lithographs – what a date to be producing this sort of work. Literature: Avant-Garde British Printmaking 1914-1960 (British Museum 1990) cat. 186

£720

Untitled (Trajectories) 1951

Engraving on wove paper with full margins. 300 x 89mm (image) 381 x 175mm (sheet). Signed, dated ‘51 and numbered 1 from the edition of 12 (the edition was never completed), printed by the artist on his Kimber press, Loughton, Essex 1951. Very good condition, unframed. Part of a series of engravings by Anton for an exhibition at Gimpel Fils Gallery. A copy of a letter to Buckland-Wright, explaining his unique engraving process is included in the sale. Provenance: estate of John Buckland-Wright

£425

Heralds 1953

Lithograph on cream hot-pressed paper 383 x 562mm (sheet). Signed and dated in pencil from the un-numbered edition of between 50 and 70. Published and printed at the Royal College of Art as part of the Coronation Suite. Very good condition, unframed. Robert Sargent Austin RA was best known as an etcher and engraver in black and white, this atypical lithograph shows him unafraid of colour and with his finger on the pulse of modern compositional design. One of the most successful images in this important suite. Collections: V&A; Government Art Collection; Cuming Museum; Museum of New Zealand

£375

Falcon Shore 1958

Lithograph on Barcham Green paper 435 x 650mm (image). Signed and numbered in pencil from the edition of 50. Printed at Harley Brothers, Edinburgh (with their two hearts blindstamp). Published by St George’s Gallery, London. Very good condition, unframed. Part of the Greek Suite, this image has a most unusual and beguiling colour pallette: at first glance it appears washed out, but the inks chosen were deliberately ‘chalky’ to produce this pre-pasteline effect, conjuring the heat and dryness of a Mediterranean summer. Among my favourite Ayrton prints. Provenance: the artist’s estate. Collections: Government Art Collection; Art Gallery of Western Australia

£750

Dunkirk 1940 1986

Lithograph on wove paper with full margins 363 x 562mm (image). Signed, titled and numbere in pencil from the edition of 75. Printed at the Curwen Studio and published by Hurtwood Press, London 1986. Excellent condition, unframed. An important war artist, Bawden drew this image directly onto a lithographic transfer plate, basing it on a watercolour he painted in 1940, currently in the Imperial War Museum. It was produced to accompany the book Edward Bawden War Artist, which was delayed in publishing until 1989 by Scolar Press. Collections: Imperial War Museum; Fry Art Gallery. Reference: Greenwood 176

£750

Conolly’s Folly 1971

Lithograph on T H Saunders wove paper with full margins. 651 x 467 (image). Signed, titled and numbered from the edition of 70. Printed by Stanley Jones at the Curwen Studio, and published by Curwen prints in 1971 as part of their Eight Follies portfolio. Excellent condition, unframed. Conolly’s Folly is an obelisk monument in County Kildare, built in 1740. This view from 1971 shows it in a dilapidated state before it was restored a few years later. Apart from a fascination with ruins and follies, the cynosure in this image for me is the figure standing in the top left arch – there’s something 1970s IRA about him. Collection Tate Gallery; Government Art Collection

£375

Tresham’s Triangular Lodge 1971

Lithograph on T H Saunders wove paper with full margins. Image size 651 x 467. Signed, titled and numbered from the edition of 70. Printed by Stanley Jones at the Curwen Studio, and published by Curwen prints in 1971 as part of their Eight Follies portfolio. Excellent condition, unframed. The Triangular Lodge was built in 1597 by Sir Thomas Tresham as a hunting lodge-come-puzzle house – the stone work displays all sorts of family, political and religious conundrums of the time. Its claim to fame today is that it was the meeting place of Tresham, Catesby, Fawkes and co. the infamous Gunpowder Plotters. The Lodge is located near Rushton in Northamptonshire, it has remained in good order over the centuries and is open to the public care of English Heritage – I’ve been there, it’s worth a visit. Tate Gallery; Government Art Collection

£375

Aurora 1996

Screenprint in seventeen colours on Fabriano Artistico paper 760 x 555mm (sheet). Signed and numbered from the edition of 100 printed by Gresham Studio, Cambridge. Published by Jesus College, Cambridge as part of their Quincentennial Portfolio, 1996. Excellent condition, unframed. Aurora was the Roman goddess of the dawn. Here Bellany has pictured her as a ‘North Sea Maiden’ and inscribed the margins of the sheet with oddments of Scottish fishermen folklore – he’s even drawn a little self-portrait in the top left corner. Provenance: private collection UK

£875

Sites , Worplesdon, Surrey 1936

Lithographic railway advertising poster 1020 x 1270mm (quad royal). Signed and dated in the plate by David William Burley. Issued by Southern Railway, printed by McCorquodale & Co. 1936. Very good condition, unframed. This is my first forray into the collectible world of vintage posters, I chose this one because of its very good original condition, fine colours and I believe it to be extremely rare – I can’t find any other examples having come up for sale, in fact the only other one appears in the Science Museum collection, which you can view online.

£820

Figure and English Newspaper 1955

Lithograph on cream cartridge paper 505 x 315mm (sheet). Signed, dated and numbered in pencil. Good original condition, unframed. Currently undergoing research. My instinct is that it is an early Pop image and quite rare, possibly printed at Bath Academy of Art, Corsham.

£475

Untitled (Italian Girl Head and Shoulders) 1963

Lithograph on wove paper 315 x 505mm (sheet), 265 x 365 (image). Signed, dated and inscribed ‘Proof’ in pencil. A rare uneditioned proof, printed at the Curwen Studio, London 1963. Very good condition, framed to conservation standards in a hand painted grey sustainable hardwood frame. An unusually demure image from Butler, although the pose, with one arm behind her head, is typical. If you’re looking for something reasonably priced by one of the most important mid-tewntieth-century British sculptors, that no other collector is likely to have (and, as far as I’m aware, no public collection either), then this is the piece.

£620

Standing Figure 1952

Etching on heavy wove paper 550 x 320mm (sheet), 360 x 150mm (image). Signed with initials, dated 1952 and numbered from the edition of 50. Published and printed to accompany the Robert Clatworthy monograph (Sansom 2012). Excellent condition, unframed. The title refers only to one figure, but there are clearly two in the image: the sculptor and his sculpture – but which is which? Their relationship has been fused with ambiguity.

£275

Close Up #3 1967

Lithograph on hot pressed paper printed to edges 595 x 595mm (sheet). Signed, dated and numbered from the edition of 75. Published and printed at the Curwen Studio, London 1967. Excellent condition, unframed. Very groovy piece of psychedelia! Collection: Tate Gallery

£475

Close Up #1-6 1967

The complete set of six lithographs on hot-pressed paper printed to edges 595 x 595mm each sheet. Individually signed, dated and numbered from the edition of 75. Published and printed at Curwen Studio, London 1967. Very good condition unframed. Cohen always liked to be at the cutting edge of technology in art. Close Up represents the artist's response to electron microscopy and combines groundbreaking techniques in lithography with his own brand of psychedelic Op Art. Seriously groovy 60s stuff. Collection: Tate Gallery

£1,250