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.

Provenance: Artist’s Studio Sale 2018

Was £225 Now £75

Best known for his sculpture, this image by Thursby relates to St Ives during his time as a member of the Penwith Society.

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.

Collections: British Council; National Gallery of Victoria. Provenance: the Printer’s archive. Ref. Di Martino p.149

Was £1,200 Now £600

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.

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.

Reference: Turner 152

Was £750 Now £500

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.

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, framed to conservation standards, edges showing, in a hand-painted matt grey diagonal sustainable wood frame.

Collection: Tate Gallery. Reference: Turner 248

Was £1,100 Now £875

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 provides a direct and clever focus from artist, through canvas, to subject.

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.

Collection: Tate Gallery. Reference Turner 251. Provenance: Private collection, London

£ RESERVED

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.

Turkish Eye 2018

Screenprint on hot-pressed wove paper, 590 x 420mm (sheet), 320mm (image diameter). Signed, dated and numbered in pencil from the edition of 29. Printed at the Royal Academy of Art, London. Excellent condition, unframed.

Provenance: acquired directly from the publisher

£720 (Not in Sale)

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.

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.

Was £120 Now £75

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.

Was £975 Now £750

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.

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.

Provenance: private collection UK

Was £2,450 Now £1,850

Wynter was the first artist to work at Curwen’s experimental St Mary’s studio in St Ives. He produced this lithograph along with one another, titled Phalanx, referring to the compact cohesion formed from a collection of similar strokes. Extremely rare and in completely original condition, this colour proof is vastly superior to its black-and-white cousin.