Cornish Harbour, Mousehole 1951

Lithograph on wove paper 328 × 407 (image), 449 × 569 (sheet). Signed and numbered in pencil from the edition of 60. Published by the Artist’s International Association for the Festival of Britain Exhibition in 1951. Excellent condition, framed to museum standards in a hidden-mitre, distressed gunmetal-effect wood frame. This is my and most others favourite William Scott print. Important, hard to come by and rare to find in such fabulous condition – no fading, the colours are as fresh as they were 75 years ago. The image is a perfect example of Scott’s evolution from Neo-Romantic to abstract, kick-started by his association with the St Ives School after the war. I absolutely love it! Reference: Archeus 5. Collections: Arts Council, Government Art Collection; Museum of New Zealand. Provenance: with The Fine Art Society, exhibited 1992

£7,500

Two Lovers 1966

Lithograph on handmade Barcham Green paper 395 x 595mm. Signed, dated and numbered from the edition of 100. Published and printed by Curwen Prints, London 1966. Excellent condition, unframed. Collection: Tate Gallery

£275

The Crab 1929

Linocut on thin, cream wove paper, 125 × 155mm (image), 218 × 177mm (sheet). Signed, dated, titled and numbered in pencil from the edition of 50 (unlikely to have been completed). Printed at Grosvenor School of Art, London 1929. Good condition, unframed. Extremely rare. Charming, vorticist-inspired image from one of the lesser known Grosvenor School linocutters working alongside Claude Flight, Sybil Andrews, Cyril Power and Ethel Spowers.

£425

Turning Bronzes I 1973

Linocut on buff cartridge paper. 343 × 429mm (image), 398 × 504mm (sheet). Signed, dated, titled and numbered in pencil from the edition of 27. Printed by the artist at Exeter College (where he was head of the Art School; also president of the Royal West of England Academy). Very good condition, unframed. Best known for his sculpture, this image by Thursby relates to St Ives during his time as a member of the Penwith Society. Provenance: Artist’s Studio Sale 2018

£175

Okeanos (Oceanus) 1984

Woodcut, etching with aquatint and carborundum on Arches wove paper printed to edges 1147 × 1038mm. Signed and dated, a printer’s proof aside from the edition of 40. Printed by master printer Jack Shirreff at 107 Workshop, Wiltshire. Published by Waddington Graphics, London as part of Tilson’s Mask series. Excellent condition, unframed. In Greek mythology, Okeanos was supreme god of all the oceans and all the rivers – a titan in fact – and this is truly a titanic print. The skill and technical achievement is wondrous. The background displays the grain of woodcut, the lines are etched, the blue aquatint and the painterly green carborundum. Another example of this print hung in Sir Sean Connery’s poolhouse in Porto Heli. Magnificent, it can be nothing but the centrepiece of any room. Collections: British Council; National Gallery of Victoria. Provenance: the Printer’s archive. Ref. Di Martino p.149

£1,200

Festivals 1986

The complete, unique set of five lift-ground etchings with aquatint, carborundum, collage and hand-colouring in acrylic mixed with sand. Each on heavy wove paper 415 × 375mm, printed to edges. Signed, dated and inscribed in pencil ‘OK to print’. Printed at 107 Workshop, Wiltshire. Excellent condition, unframed. The images depict the festivals of Dionysos and Persephone together with related ceremonial ephemera, such as a liknon (basket for sieving grain) and kore (statuette of young women) and eiresione (an olive or laurel branch, hung with cakes and fruit, ancestor to the modern Christmas tree). This is the first set of proofs, hand-coloured by the artist, not a studio assistant and approved in 1986, before the edition of 35 was pulled the following year. Very special indeed. Provenance: private collection of Jack Shirreff (Master Printer at 107 Workshop). Literature: Tilson: The Printed Works 1963-2009 (Enzo Di Martino p.154-155)

SOLD

Bedford School 1963

Lithograph on T H Saunders mouldmade paper, 462 × 562mm (image), 585 × 771mm (sheet). Signed, titled and numbered in pencil from the edition of 100. Printed by George Devenish and published by Bedford School, 1963. Very good condition, unframed. One of my favourite images by Trevelyan (Bedford are in the white shirts), this image was rare seen on the market until a couple of years ago, when a small, untouched cache of ‘leftover’ examples was unearthed. They have all found homes in private collections now, bar this, the last one in great original condition. Ref. Turner 152

£840

Aix-en-Provence 1971

Etching and aquatint from one steel plate on T H Saunders mouldmade paper. 350 × 479mm (image), 585 × 790mm (sheet). Signed, titled and inscribed in pencil, an artist’s proof aside from the edition of 65. Printed by Studio Prints and Published by Leslie Waddington, London 1972. Excellent condition, unframed. Part of the Provencal Suite of five etchings, this image shows Trevelyan painting Mont Sainte Victoire, just outside Aix. I love the tiny cross at the top, it somehow provides a focus to distill a special essence. Collection: Tate Gallery. Reference: Turner 248

£1,100

Fontaine de Vaucluse 1971

Etching and aquatint in four colours from three steel plates on T H Saunders mouldmade paper. 352 × 479 (image), 585 × 780mm (sheet). Signed, titled and inscribed an artist’s proof aside from the edition of 65. Printed by Studio Prints and published by Leslie Waddington, London. Excellent condition, framed to museum standards in a stained chestnut sustainable hardwood frame. This image is from Trevelyan’s Provençal Suite. It depicts pétanque players at night in the busy town square. The composition appears at first glance naive, but that is Trevelyan’s virtuosity. What seems simple and spontaneous is in fact a complex puzzle of shapes and motifs. I love the play of circles in the image and the birds in the trees – we know they’re roosting even though we can’t see the branches – imagine how unbalanced the composition would be without them. Collection: Tate Gallery. Reference Turner 251. Provenance: Private collection, London

£890

Turkish Eye 2018

Screenprint on hot-pressed wove paper, 590 x 420mm (sheet), 320 x 310mm (image). Signed, dated and numbered in pencil from the edition of 29. Printed at the Royal Academy of Art, London. Excellent condition, unframed. Apart from the image and title being a play on words with the artist’s name, Turk is interested in mysticism – the Turkish Eye is a symbol of protection and the odd edition size is a prime number, associated with luck.

£720

Keith Vaughan The Photographs

Softcover book by Gerard Hastings published by Pagham Press 2017. 162 pages, 200 b&w and colour illustrations, 225 × 190mm, good condition (cover has slight crease). Rare, out of print, hence its secondary market value on Abe Books is now over £200. Vaughan’s inspirational and poignant photographs relate directly to his paintings. This is a must-have for every enthusiast.

£120

Untitled (Constellation) 1961

Lithograph on BFK Rives wove paper, 654 x 501mm (sheet), 505 x 391mm (image). Signed, dated ‘61 and numbered in pencil from the edition of 100. Probably published by Redfern Gallery, who represented him, to coincide with their 1961 exhibition. Excellent condition, unframed. Frank Avray Wilson is Britain’s Jackson Pollock, employing the same ‘action’ style in his work, which can easily be seen in this spontaneous, bursting image.

£780

Untitled (Red and Brown Phalanx) 1958

Lithograph on wove paper, 485 x 325mm (image). Signed, dated and inscribed in pencil 'Artist's Proof', no edition. Proofed at St Mary's Studio, St Ives by Stanley Jones and Monica Harman (later to become Mrs Wynter). Very good, completely original condition, framed to conservation standards in a hand painted grey diagonal wood frame. Extremely rare, museum quality lithograph from Wynter, relating to his black and white Phalanx series. Provenance: private collection UK

£2,450