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.
£675
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 multi-layered, yet serene, almost zen-like image, that feels very in tune with the tastes for colours and design today.
Self-portrait 1984
Etching on wove paper with YPDL blindstamp 380 × 284mm (sheet size), 175 × 120mm (plate size). Signed, dated and numbered in pencil from the edition of 20. Published by the artist, Newlyn. Excellent condition, framed to conservation standards, edges showing.
Exhibited: Red with Black on the Side 2022 Cat. 29. Reference: Kemp 88
£820
Terry made few self-portraits and settled on etching as his preferred medium, producing four images, of which this was his last and most successful. Like Rembrandt, Terry knew that a self-portrait drawn from looking in a mirror would be naturally ‘righted’ through the process of printing and so had the ability to produce a truer image when perceived by others.
Umea 1969-1976
Etching and aquatint with collage and hand-colouring on wove paper, 350 × 255mm (image size), signed, dated and inscribed in pencil. No edition, unique. Printed by the artist in Umea, Sweden 1969 (where he taught at a Summer School); added pencil, crayon and collage in Newlyn 1976. Excellent condition, framed to conservation standards in a hand painted and waxed white wood frame.
Reference: Red with Black on the Side (Cat.14 2022; Kemp 52) Provenance: the artist’s studio
£1,350
This is an excellent example of how Terry returned to favourite or unresolved ideas, year after year, especially utilising printmaking as a springboard from which to experiment.
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.
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
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.
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, probably unique. Good condition, framed to conservation standards in a black wood frame.
Provenance: bought directly from Terry by the late William Desmond. Exhibited: Red with Black on the Side, Austin Desmond Fine Art 2022 (cat.5)
£720
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.
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.
Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 105
£1,450
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.
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.
Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 99
£1,250
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.
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.
Provenance: acquired directly from the publisher. Collections: Tate Gallery, British Museum, Government Art Collection, Fitzwilliam Museum. Reference: Kemp 102
£1,250
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.
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.
Provenance: the artist’s estate. Reference: Kemp 7. Collection: Tate Gallery
£1,750
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.
Composition in Black and Grey 1956
Lithograph on wove paper 560 × 595mm (sheet size). Signed and numbered in pencil from the edition of 30. Printed by the artist at Bath Academy of Art, Corsham 1956, while he was a tutor there (1955-76). Very good condition, unframed.
Exhibited: Fine Art Society British Prints 2004 (cat. 12). Provenance: Redfern Gallery, London.
£500
One of only six prints Heath made during the 1950s. Quite rare. When exhibited at the Fine Art Society it had a price tag of £2,000. In the photograph you may be able to see some slight cockling to the paper and an indentation running below the image, the lithograph was drawn on stone and this is entirely commensurate with the printing process.
Rangatira II 1969
Screenprint on T H Sauders wove paper, 775 × 585mm (sheet size). Signed and numbered from the edition of 60. Printed at Kelpra Studio, London and published by Marlborough Fine Art as part of the Opposing Forms portfolio of twelve screenprints, 1970. Excellent condition, framed to conservation standards, edges showing in a plain white, St Ives style box frame.
Collections: Tate Gallery; Hepworth, Wakefield; Government Art Collection
£5,950
Rangatira is a Maori word meaning a person or thing that brings people together through wisdom. Inspired by prehistoric structures and the natural landscape of Cornwall, this stirring image from Hepworth evokes a totemic figure with views through to the sea and sky. Her assured use of line serves to connect her work in two dimensions to that of her sculpture. Difficult to see from the photograph, but the base colour of this screenprint is the most wonderful pink.
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.
Reference: Heenk 118
£5,500
Part of a series of four, A-D, from the same plates in different colourways. Exceptional work and technically very demanding.
Bouquet 1983
Etching and aquatint on wove paper 980 × 790mm (image), 1210 × 910mm (sheet). Signed, dated and numbered from the edition of 60. Printed by Jack Shirreff at 107 Workshop, Wiltshire. Published by Waddington Graphics, London. Very good condition, unframed.
£980
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.
Reference: Beaumont 39
£1,200
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.
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.
Reference: Beaumont 36
£1,200
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.
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.
Reference: Beaumont 97
£875
Absolutely sumptuous background colour, I love this playful image, Bert combining his trade mark 'X's with a network of London streets.
