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

£145

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

£1,200

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

£850

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

£1,100

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.

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

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.

£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.

£875

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.

Black Coast 1958

Lithograph on wove paper with full margins, 485 × 325mm (image size). Signed, dated and numbered from the edition of 50. Printed at the Curwen Studio, St Ives 1958. Very good condition, unframed.

Literature: Bryan Wynter (Michael Bird p.20) Stamley Jones and the Curwen Studio (p.75)

£2,450

A rare lithograph from Wynter, who met his wife-to-be, Monica, studio assistant to Stanley Jones during, the proofing.