Like a Dancer 1957

Aquatint on wove paper 460 x 172mm. Signed, titled, dated '57 and inscribed as an artist's proof, the edition size is unknown. Note: this is the extremely rare first impression from 1957, not the 2006 Print Studio re-strike. Also interesting is another inscription in Evans' hand, dedicating the print to William Gardener, whose poem of the same title inspired the image. Excellent condition, framed to conservation standards in a silver-grey bevelled frame. Provenance: estate of William Gardener. Reference: The Graphic Work of Merlyn Evans (Victoria & Albert Museum) Cat.54

£820

Aduton SII 1973

Screenprint on wove paper. 460 x 460mm (image), signed, dated and inscribed with title in pencil. Published by Redfern Gallery, London 1973. Very good condition, unframed. By 1970 an extraordinary transformation had taken place in Feiler’s work. He had shifted from the abstract expressionist landscape-based painting that typified the 1950s and 60s St Ives movement and struck out on his own, Zen-like journey to reconcile the square and the circle through vibrations of colour. So many subtle colour overlays, this piece is incredibly difficult to photograph and really needs to be stared at, in the flesh, for a long time to be fully appreciated.

£850

Untitled 1996

Screenprint in fifteen colours on Moulin du Gue paper 760 x 555mm (sheet), 430 x 430mm (image). 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. An unusual image from Flanagan, the very popular Irish-Welsh Royal Academician perhaps more famous for his sculptures of hares. Provenance: private collection UK

RESERVED

La Luna Asoma 1989

Etching and aquatint on Somerset wove paper with full margins 755 x 565mm (sheet), 565 x 385mm (plate). Signed and numbered in pencil from the special (more desirable) untrimmed edition of 5 (there was a regularly edition of 75 trimmed to the edge of the plate). Printed by Hugh Stoneman and Alan Cox at The Print Centre, London. Published by Austin Desmond Contempoirary Books Ltd as part of the portfolio Eleven Poems by Federico Garcia Lorca. Excellent condition, unframed. The reult of a 15-year love affair with the poems of Garcia Lorca, The Lorca Suite is probably Frost’s most important series of prints. This image was inspired by the second verse of La Luna Asoma (The Moon Rising), translated, it reads ‘When the moon is out/ Water covers the land/ And the heart feels itself/ An island in infinity.’ Frost has adapted his own vocabulary of shapes (crescents, in this case) and colours (red and black) to chime with the moon, water and passion of the heart. Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 102

£1,350

Black, Purple and Blue 1969

Lithograph on Arches wove paper. 586 x 456mm (image), 765 x 570mm (sheet). Signed, dated and numbered from the edition of 75. Printed at Emil Matthieu Atelier, Zurich. Published by Leslie Waddington Prints, London. Excellent condition, framed to conservation standards in a St Ives style white box frame. The first of the Zurich Lithographs, which saw Terry consolidate his ‘forms to hold colour’ theory. Literature: Terry Frost p.213. Collections: Tate Gallery; Government Art Collection. Reference: Kemp 46

£2,350

Brown Figure, Newbattle 1957

Lithograph on handmade Barcham Green paper 565 x 699mm(sheet), 425 x 565mm (image). Signed, dated and numbered from the edition of 30. Printed at Harley Bros, Edinburgh (with their ‘Two Hearts’ blindstamp lower right) and published by St Gerge’s Gallery, London 1957. Very good condition, framed to conservation standards, floated, edges showing, in a plain wooden, hand painted white frame. Important early lithograph by Terry, the first he made using a commercial firm of printers. Newbattle is a village he visited in 1957, 7 miles outside Edinburgh. Exhibited: Contemporary British Printmakers, St George’s Gallery 1958; International Biennial of Contemporary Colour Lithography, Cincinnati Art Museum, 1958. Collections: British Museum; National Galleries of Scotland; Southwark Council Arts Collection. Ref. Kemp 25

£1,850

Untitled 1975

Lithograph with extensive additions by hand 486 x 686mm (sheet). Signed and dated 12.3.75 in pencil, unique. Very good condition, framed to conservations standards, edges showing in a white ‘St Ives’ box frame. The lithographic base of this image (black, blue and orange) is a tribute to Roger Hilton, who died just three weeks before, and the extra colour in acrylic highlights the effervescent friendship he shared with Terry. The image derives from a spontaneous line Terry drew the previous year, while copying out verse IV of T S Elliot’s poem Burnt Norton, Ref. Kemp 73 Literature: Terry Frost by David Lewis p.120

£2,750

Double Quay 1952

Linocut on buff wove paper 132 x 143mm (image). signed, dated and numbered from the edition of 50 (edition never completed). Printed by the artist “on my own little press”, St Ives, 1952. Excellent condition, framed to conservation standards. This is one of the the rare original impressions of Double Quay, Terry returned to the block, experimenting with different colour combinations and rotations for the next two years. The first proofing was something of a ‘Eureka’ moment for him – he simply rotated the lino block 180 degrees and printed it on top of itself – it became the inspiration for Blue Movement 1953, a huge oil now in the Vancouver Art Gallery, and shows how printmaking helped inform his work as a painter. Provenance: the artist’s estate. Reference: Kemp 7. Collection: Tate Gallery

£2,200

The Artist and Rosie 1988

Lithograph on BFK Rives wove paper with full margins 617 x 636mm (sheet), 560 x 560mm (image). Signed, dated '88, an archive proof aside from the editon of 75. Printed and published by the Curwen Studio, London 1988. Provenance: Curwen Archive. Perfect condition, never been framed or mounted in its life. The image is typical of the artist's subject matter, in many ways like Stanley Spencer, predominating scenes and experiences from his own domestic life (NB. Rosie’s the one not wearing a hat).

£175

Untitled (Ochre) 1975

Screenprint on wove paper, 855 x 655mm (sheet), 560 x 460mm (image). Signed, dated and numbered from the edition of 50. Published by Studio La Citta and printed by Francisco Sutton at Stamperia d’Arte Berardinelli, Verona 1975 as part of the Sutton Suite of three screenprints. Excellent condition, framed. 1975 marks the end of Hoyland’s cowboy life with Robert Motherwell in America and sees him settle firmly in England. His work from this period shows a transition from the rather staid 1960s blocks of colour to a looser, faster, freer style which was to inhabit his painting for the rest of his life. The Sutton Suite Ochre is Hoyland’s best and most desirable screenprint from this pivotal 1970s period.

£1,300

Tree of Life 1996

Screenprint in twenty colours on Lana Aquarelle paper 760 x 555mm (sheet), 615 x 461mm (image). Signed, dated 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, framed to conservation standards, shadow floated in a hand-painted grey bevelled wood frame. When I first met John Hoyland, this was the sort of vibrant image he was creating – completely in tune with his Rock ‘n’ Roll lifestyle – it very much reminds me of the floor of his studio, caked in bright splashes of paint. Provenance: private collection UK

£975

The Wave 1960

Linocut on wove paper 475 x 718mm (image). Signed, titled, dated and numbered from the edition of 36. Very good original condition, in it’s original frame, which could probably do with replacing [NB. the price reflects the cost of a new frame – please deduct £275 if you would like it kept in its original frame]. Fabulous, surreal, ambitious, colourful image from this master cutter, of a wave breaking over rocks – incredible movement and detail – without doubt his finest linocut. Another example was bought from the artist’s daughter by the British Museum in 2010. Very rare to find this in such good condition and with no fading to the colours.

£1,375

Merrion 1996

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, framed to conservation standards in a painted white box frame. A wonderfully enrgetic, free and colourful image from Bert. Merrion celebrates his time in Dublin, where he had a studio. Ref. Beaumont 39

£1,450

O’Connell 1995

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, framed to conservation standards in a painted white box frame. Typical Bert – an absolute explosion of colour, he created this image to accompany a major exhibition of his work at the Royal Hibernian Academy in 1995. Ref. Beaumont 36

£1,450

Holyrood 1987

Screenprint on Arches wove paper 1170 x 855mm (image), 1410 x 1080mm (sheet). Signed, titled, dated and numbered in pencil from the eedition of 95. Published and printed by Advanced Graphics, London. Excellent condition, unframed. Fabulous print, an absolute stunner, the colour combination is almost dibilitating it’s so wonderful, a centrepiece to build a room round, in fact it was the centrepiece around which the Royal Academy built a solo exhibition in 2011 called ‘From Holyrood to Stratford’. Thank you Bert (as he was affectionately known) you were one of Britains most exciting printmakers and this is one of your very best. Ref. Beaumont 26

£2,950