Chateau Palmer from Chateau Margaux 1986

Etching on wove paper, 120 × 150mm (image), 154 × 188mm (sheet). Signed, no edition, perhaps 20 or 30 pulled. Excellent condition, unframed. Thought to be produced in association with the Wine Arts portfolio 1989, another example appeared at Lyon & Turnbull Auctions in 2020 with an inscription and date, 1986 (it sold for £375). An absolute gem of a little etching from this master printmaker. Perfect condition, never been framed or mounted.

£295

Screen II 1962

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

£320

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, framed to conservation standards. 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

£475

Sunghrie III 2002

Screenprint in 15 colours on Velin Arches Blanc paper printed to edges, 580 x 760mm. Signed, dated and numbered in pencil from the edition of 75, printed at Graal Press, Edinburgh 2002. Excellent condition, unframed. The third and final Sunghrie (or Sunghari after the river in Northern China), this screenprint is the culmination of ideas inspired by Barns-Graham's fascination with Tibetan Buddhism. Collections: Tate Gallery; National Gallery of Scotland; St Andrew's University. Provenance: Barns-Graham Trust. Reference: Gunn 77

£1,850

London River, Gravesend 1936

Drypoint etching on cream wove paper 50 × 100mm (image), 255 × 380mm (sheet). Signed, inscribed with tile and numbered in pencil from the edition of 40. Published and printed in 1986 to accompany a Roland Batchelor retrospective exhibition at the Royal Academy the same year. Excellent condition, unframed. During the Second World War, Batchelor lost a series of un-proofed copper plates he etched in 1936. When they were found in 1984 Batchelor agreed to edition them for the first time, 50 years later. This was the only edition made.

£95 (see SECRET page)

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

£275

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

£275

Untitled (Millennium) 2000

Screenprint in 5 colours on Velin Arches paper. 410 × 510mm (image), 515 × 620mm (sheet). Signed, dated, a proof aside from the edition of 100 published by The Royal Academy, London as part of the Royal Academy of Arts Members Portfolio 2000. Excellent condition, unframed. Unusual yet satisfying colour choices from Blow – the flesh colour is actually a little more tanned in real life. Collection: Durham University. Reference: Sandra Blow Catalogue Raisonné of Prints (Basford 23) Provenance: Mick Stokes (printer) estate sale 2025

£875

The Freedom of the Seas 1917

Lithograph on buff cartridge paper 495 × 520mm (image). Signed in pencil from the un-numbered edition of 200. Printed by the artist and Francis Jackson, published by the Department of Information, London 1917 as part of the Ideals series of twelve lithographs among Britain’s Efforts and Ideals during the First World War. Very good original condition, framed to conservation standards. Brangwyn was among the top artists in Britain at the turn of the 19th century. His fast, expressive mark-making in lithographic crayon drawn directly onto the stone is utterly mesmeric and directly feeds into the action, the toil and desperation to triumph over adversity, which this image, a backdrop to war, so brilliantly conveys. In my opinion the best from the series and incredibly rare to find it in such great, untouched condition. Provenance: de-accessioned from the Imperial War Museum, 2024. Collections: Imperial War Museum; Museum of Wales; National Gallery of Scotland; Fitzwilliam Museum; Queensland Art Gallery and Museum; Tate Gallery; Cleveland Museum of Art; The Metropolitan Museum of Art. Quite simply, this is a museum-piece and art history combined.

POA

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. I think it likely another colour plate or two was originally intended to complete the image, however Butler was happy enough to sign this proof ‘as is’ and send it out into the world. The version of Italian Girl he chose to edition (Tate Gallery P06062) is a reclining figure in three colours. So, if you’re looking for something reasonably priced by one of the most important mid 20th century British sculptors, that no other collector, public or private, is likely to have, then this is the piece for you.

£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, who has the power? Their relationship is an enigmatic one.

£240

Close Up #3 1967

Lithograph on hot pressed paper printed to edges, 595 x 595mm (sheet). Signed, dated and numbered in pencil 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

£375

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

£1,500