Adytum Siii 1974

Screenprint on wove paper, 458 × 458mm (image). Signed, titled, dated and numbered in pencil from the edition of 75. Published by Redfern Gallery, London 1974. Very good condition, unframed. Incredibly difficult to do justice to in a photograph (especially on my website’s sludgy background), you really need to see it in the flesh. This is a serene, almost zen-like image, that feels very in tune with the tastes for colours and design today.

£620

Brown Figure, Newbattle 1957

Lithograph on handmade Barcham Green paper, 565 x 699mm(sheet), 425 x 565mm (image). Signed, dated and numbered in pencil from the edition of 30. Printed at Harley Bros, Edinburgh (with their ‘Two Hearts’ blindstamp lower right) and published by St George’s Gallery, London 1957. Very good condition, framed to conservation standards in a hand-painted matt grey-brown beveled sustainable wood frame. Important early lithograph by Terry, the first he made using a commercial firm of printers. Newbattle is a village he visited in 1957, seven 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

£1,650

Untitled (Two Graces) 1951

Linocut on thin Japanese paper backed onto conservation paper, 132 × 94mm (image). Signed and dated in pencil, no edition, extremely rare. Good condition, framed to conservation standards in a black wood frame. This delightful little linocut was pressed with the back of a spoon on Terry’s kitchen floor while he was trying to make ends meet in St Ives, working as an assistant to Barbara Hepworth. He was always fascinated by the compositional structure of the classical Three Graces sculpture and experimented with the form using his own shapes. Here he has chosen to show only two thirds of the block inked. Provenance: bought from Terry by the late William Desmond. Exhibited: Red with Black on the Side, Austin Desmond Fine Art 2022 (cat.5)

Was £750 Now £650

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 conservation 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 the inscribed date, and the extra colour in acrylic highlights the effervescent friendship Terry shared with him. 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

£2,200

Thamar Y Amnon (Tamar and Amnon) 1989

Etching and aquatint with hand-colouring 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 regular edition of 75 trimmed to the edge of the plate, as illustrated). Printed by Hugh Stoneman and Alan Cox at The Print Centre, London. Published by Austin Desmond Contemporary Books Ltd as part of the portfolio Eleven Poems by Federico Garcia Lorca. Excellent condition, framed to conservation standards in a hand-painted matt charcoal-brown beveled wood frame. The result 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 Old Testament story of the rape of Tamar by her half-brother Amnon, who was later pursued by Absolom (her true brother) and killed by archers. Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 105

£1,450

Cancion De Jinete (Rider’s Song) 1989

Etching and aquatint with hand-colouring 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 regular edition of 75 trimmed to the edge of the plate, as illustrated). Printed by Hugh Stoneman and Alan Cox at The Print Centre, London. Published by Austin Desmond Contemporary Books Ltd as part of the portfolio Eleven Poems by Federico Garcia Lorca. Excellent condition, unframed. The result of a 15-year love affair with the poems of Garcia Lorca, The Lorca Suite is probably Frost’s most important series of prints. Terry has used his own visual narrative to conjure the imagery of Lorca’s words, using his black suns to also represent olives (described by Lorca in the rider’s saddlebag) and crescent-shapes as hoof-marks. Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 99

£1,100

Variacón (Variations) 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 regular edition of 75 trimmed to the edge of the plate, as illustrated). Printed by Hugh Stoneman and Alan Cox at The Print Centre, London. Published by Austin Desmond Contemporary Books Ltd as part of the portfolio Eleven Poems by Federico Garcia Lorca. Excellent condition, unframed. The result 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 a verse in the poem Variacón, which reads when translated as The still waters of the air/under the bough of the echo./The still waters of the water/under a frond of stars./The still waters of your mouth/under a thicket of kisses. Frost has adapted his own visual vocabulary to chime with the imagery created in Lorca’s words: his semi-egg-shapes represent echoed stars and kisses, with waves and a whirlpool ‘mouth’ in the centre. Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 102

£1,350

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 rare original numbered impressions of Double Quay, Terry returned to the block, experimenting with different colour combinations and rotations over 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

£1,750

Two's Company D 2002

Sugar-lift etching, aquatint and carborundum with hand colouring on handmade Two Rivers Somerset paper. 385 x 460mm (image and sheet). Signed, dated in Roman numerals and numbered in pencil from the edition of 15 printed at 107 Workshop, Wiltshire. Published by Sir Elton John and Alan Cristea, London 2003. Excellent condition, framed to conservation standards, edges showing in a hand-painted white frame. Part of a series of four, A-D, from the same plates in different colourways. Exceptional work and technically very demanding. Reference: Heenk 118

£5,500

Merrion 1996

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered in pencil from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, unframed. A wonderfully energetic, free and colourful image from Bert. Merrion celebrates his time in Dublin, where he had a studio. NB. produced as a pair with O’Connell, also on this site. Ref. Beaumont 39

£1,200

O’Connell 1995

Screenprint with woodblock on Arches wove paper. 560 x 735mm (image), 730 x 920mm (sheet). Signed, titled and numbered in pencil from the edition of 225. Published and printed by Advanced Graphics, London. Excellent condition, unframed. 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. NB. produced as a pair with Merrion, also on this site. Ref. Beaumont 36

£1,200

Crosstown II 2013

Screenprint on wove paper, 438 x 605mm (sheet size), 285 x 438mm (image size). Signed, titled and numbered in pencil from the edition of 75. Published and printed by Advanced Graphics, London. Excellent condition, unframed. Absolutely sumptuous background colour, I love this playful image, Bert combining his trade mark 'X's with a network of London streets. Ref. Beaumont 97

£875