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WORKS ON PAPER
EXHIBITION CATALOGUE
31ST AUGUST - 18TH SEPTEMBER 2016
CONTENTS
AFTER FRANCIS BACON PETER BLAKE GEORGE BRAQUE BERNARD BUFFET MARC CHAGALL JEAN COCTEAU SALVADOR DALI TRACEY EMIN ALBERTO GIACOMETTI DAMIEN HIRST DAVID HOCKNEY
SAM TAYLOR JONHSON ROY LITCHENSTEIN HENRI MATISSE JOAN MIRO EDDIE PEAKE
GRAYSON PERRY PABLO PICASSO AFTER PABLO PICASSO CAMILLE PISSARRO PIERRE AUGUSTE RENOIR
BENJAMIN SENIOR DAVID SHRIGLEY ANTHONY WILLIAMS NICHOLAS C WILLIAMS ROY WRIGHT OLYMPIC COLLECTION CONTACT 3-5
6-12
13-15
16-19
20-22
23-24
25-40
41-48
49-51
52-56
57-59
60-61
62-64
65-67
68-74
75-76
77-83
84-106
107-109
110-112
113-115
116-117
118-119
120-126
127-135
136-141
142-145
146
2
AFTER FRANCIS BACON
1909 - 1992
3
GRAND PALAIS EXHIBITION POSTER
1972
MEDIUM: Original lithograph, signed by the artist in
pencil
PAPER SIZE: 43 x 72 cm
NOTE: When Bacon exhibited at the Grand Palais a large
number of posters were made on thin poster paper. A
small number, exact quantity unknown, were made on
thicker paper by Kelpra Press Studios. Francis Bacon
signed a few copies of this and ours is an example. We
are uncertain as to the exact number which were signed.
4
GRAND PALAIS EXHIBITION POSTER
1972
5
PETER BLAKE
b. 1932
6
AFRICAN QUEEN 2010
MEDIUM: Hand-coloured etching
EDITION SIZE: 30
PAPER SIZE: 40 x 33.5 cm
7
TATTOOED MAN 1974-78
MEDIUM: Woodblock print, working proof signed in
pencil
8
BEARDED LADY 1974-78
pencil
PAPER SIZE: 25.5 x 19 cm
9
MIDGET 1974-78
pencil
10
FATBOY 1974-78
pencil
11
GIANT 1974-78
pencil
PAPER SIZE: 25.5 x 19.5 cm
12
GEORGE BRAQUE
1882 - 1963
13
POISSONS
1950
MEDIUM: Original drawing in China ink, signed by the
artist ‘G Braque’.
PUBLIC EXHIBITIONS: Turin, Italy: Bibliothèque
Nazionale Universitana, Piazza Carlo Alberto - 6/2/2015
- 8/3/2015 and Tirana, Albania: Museo Nazionale Storico
(Muzeut Hitorik Kobbetar (MHK) 8/4/2015 - 10/5/2015
NOTE: Braque and Picasso are jointly credited with
the invention of Cubism in the early years of the 20th
century. Braque was nowhere like as prolific as Picasso
and his later works rarely have cubist aspects. This item
is an interesting diversion from this rule: the fishes in
this drawing are linked to a background which recedes
in form and content as we climb up the image so that at
the very top they themselves become cubist and recede
into the background.
14
FEUILLAGE EN COULEURS
1956
MEDIUM: Etching in colour, signed by the artist in pencil
REFERENCE AVAILABLE
15
BERNARD BUFFET
1928 - 1999
16
LA CAFETIERE
1955
MEDIUM: Original lithograph in 4 colours, signed by the
artist in pencil
EDITION SIZE: 300 plus 30 artist proofs
PUBLIC COLLECTIONS: Bibliothèque Nationale, Paris,
France
REFERENCE AVAILABLE
17
BOUQUET D’ANÉMONES ORANGES
MEDIUM: Original lithograph in colour, signed by the
artist in pencil
France
REFERENCE AVAILABLE
18
MARGUERITES DANS UN MAZAGRAN
1985
MEDIUM: Original lithograph in 6 colours, signed by the
artist in pencil
France
REFERENCE AVAILABLE
19
MARC CHAGALL
1887 - 1985
20
SELF PORTRAIT
1960
pencil
EDITION SIZE: 40 signed and numbered copies, plus 1
HC - A Hors Commerce proof
NOTES: Mourlot published volume 1 of a catalogue
raisonne of the lithographs by Marc Chagall in 1960.
Included in the text and cover of this work were 15
unsigned original Lithographs by the artist each without
a margin. In addition to this, there were 100 deluxe
editions of the volume, each containing a portfolio of 12
lithographs (signed and numbered). This lithograph is
from the deluxe edition.
REFERENCES AVAILABLE
21
YIZKOR
1946
MEDIUM: Original drawing in brown ink on paper,
signed and dated by the artist “Chagall, Paris”
AUTHENTICITY: The buyer obtains a certificate from the
Comite Chagall dated in Paris 16th March 2016, Archive
number 2016011
NOTES: Yizkor, inscribed on the drawing in Hebrew
above left, is a special memorial prayer for the dead
which is received in the synagogue four times a year
following the Torah reading: on the last day of Passover,
on the second day of Shavuot, on Shemini Atzeret and
on Yom Kippur. Yizkor, in Hebrew, means “Remember”. It
is not only the first word of the prayer, it also represents
it’s overall theme. In this prayer, we implore God to
remember the soul of our relatives and friends who have
passed on. The drawing was made only one year after
the end of the Second World War and doubtless reflects
Chagall’s admiration and respect for a writer and scholar
of Judaism. The Angel of the Lord can be seen above
right. Perhaps the figures emerging from a door on the
left are indeed those who should be remembered having
perished in the Holocaust in the only too recent conflict.
In 1946 all would have been aware of these tragic events.
22
JEAN COCTEAU
1889 - 1963
23
JEUNE GARCON A LA COLLERETTE JAUNE ET BLANCHE
1955
MEDIUM: Original coloured pastel drawing on Canson
blue paper, signed and dated by the artist “Jean” with
a star beneath signature. On the reverse of this piece is
a cut down larger drawing of a Harlequin cut in two, the
bottom part of which can be seen with a signature and
star dated 1955. Inscribed in pencil verso: (Inv A129362 Chenve No 1366) - 122”. We are unsure of the relevance
of this.
AUTHENTICITY: A certificate from the Jean Cocteau
expert, Annie Guedras, comes with this item dated at
Perigueux 3rd December 2014
24
SALVADOR DALI
1904 - 1989
25
A CAUCAS RACE AND A LONG TALE
1969
MEDIUM: Heliogravure in colours, made after original
gouache, signed by the artist in pencil
EDITION SIZE: Artists proof. Field says that there was
an edition of 100 on this paper with several artists proofs
signed of which our example is one. There were also
proofs on Japan nacre paper and 4 made on parchment.
NOTE: This was part of a portfolio entitled “Alice in
Wonderland, with texts by Lewis Carrol . The plates
made illustrate the works “Alice in Wonderland” and
“Through the Looking Glass”.
REFERENCE AVAILABLE
26
A MOCK TURTLE’S STORY
1969
MEDIUM: Heliogravure in colours, made after original
gouache, signed by the artist in pencil
EDITION SIZE: Artists proof. Field says that there was
an edition of 100 on this paper with several artists proofs
signed of which our example is one. There were also
proofs on Japan nacre paper and 4 made on parchment.
NOTE: This was part of a portfolio entitled “Alice in
Wonderland, with texts by Lewis Carrol . The plates
made illustrate the works “Alice in Wonderland” and
“Through the Looking Glass”.
REFERENCE AVAILABLE
27
COMBAT DES CAVALIERS
1962
MEDIUM: Original Etching and Aquatint in colours, on
Japan paper, 1975, signed and dated in the plate 1962
EDITION SIZE: According to Field the total edition, on
different papers, was approximately 311
NOTE: Larger etchings were issued in a portfolio
entitled “Calderon: La vie est un song” which consisted
of 12 works and was published in 1971. Field states
(page 138) that Dali’s secretary, Captain Moore, provided
the publisher, Carlos Galofre (Editorial Subirana, Galerie
Surrealsitea), 16 copper plates to the artist on which
to make a second edition with Spanish Text on smaller
paper and these was published in 1975.
28
COMBAT DES CAVALIERS
1962
LE DECAMERON
1972
MEDIUM: Complete portfolio comprising of 10 original drypoint etchings in colours, on wove paper, loose as
issued, within the original red leather boards with metal front, plate signed by Dali, housed in the red portfolio
box, 1972, each signed in pencil, with title page, text and justification in italian.
EDITION SIZE: The justification states that the edition consisted of 25 proofs numbered I to XXV and a further
edition of 125 proofs numbered from 1 to 125. Our portfolio comes from the first group but all the proofs are
signed and not numbered. The Colophon states this is number XXV. The signed prints are linked to pages of text.
This was printed on a number of different papers. The information Prestel takes from the Charles Sahli catalogue.
Presumably these figures relate to editions made in total for different countries:
There were 15 artists proofs. Prestel fails to mention the paper.
124 proofs on Arches paper
150 proof on Richard de Bas paper
150 proofs on Rives paper
175 proofs on Japan Nacre paper
150 proofs on Johannot paper
30
LE DECAMERON
1972
The 10 drypoint etchings are entitled as follows:
1. Le peche partages (The shared sin) - Prestel 552/Field 72-A
2. La Fiancee du roi de Garbe (The betrothed of the king of Algarve) - Prestel 553/Field 72-B
3. Le Diable en enfer (The devil in hell) - Prestel 554/Field 72-C
4. L’Ange Gabriel (The angel Gabriel) - Prestel 555 / Field 72-D
5. L’Enfer de beautes cruelles (The hell of cruel beauties) - Prestel 556/Field 72-E
6. La Femme adultiere (The woman taken in adultery) - Prestel 557/Field 72-F
7. Le Tonneau (The Tun) - Prestel 558/Field 72-G
8. Blancheflower (Blanchflower) - Prestel 559/Field 72-H
9. La Jument de compere Pierre (Comrade Pierre’s Mare) - Prestel 560/Field 72-I
10. La Ressuscitee - (The woman restored to life) - Prestel 561/Field 72-J
31
LE DECAMERON
1972
32
LE DECAMERON
1972
33
LE DECAMERON
1972
34
LE DECAMERON
1972
35
LE DECAMERON
1972
36
LE NEUROLOGISTE
1977
MEDIUM: China ink and pen on cardboard, in 4 different colours; brown, black, red & green, signed in red felt pen
to centre “Dali”, dated in the centre to right “1977” signed a second time in China ink lower centre “Dali”.
EXHIBITIONS: This work of art was included in an exhibition of unpublished Salvador Dali drawings which took
place in “La Galeria Barcelona Dondo” (Whose Director was Jaime Gil Aluja), Barcelona, in 1988. We have a
photocopy of the article published in “El periódico” on 9th June 1988, in which this drawing illustrated being
described as “Uno de los dibujos indictor de Salvador Dali”. The show consisted of 48 works in total
AUTHENTICITY: The work has been shown to Nicolas Descharnes, the Internationally renowned Dali expert
who confirms authenticity. The certificate is dated 22nd January 2016. We have a photocopy of the Certificate
of Authenticity dated 1989, issued by D. Enrique Sabater, Salvador Dali’s secretary from 1968 to 1980. This is a
document signed by the Notary Public Ramon Coll Figa and bearing stamps to the value of 30 Pesetas.
NOTE: This drawing is of similar style, colour and composition to the three franc stamp, designed by Dali in 1978,
for Postes de Francia, which went on sale through the French postal service in November 1979, according to
Robert Descharnes, in “Dalí: la obra y el hombre”, (Dali, the work and the man) published by Tusquets, 1984, page
412. Dali was profoundly interested in the subject matter of psychology. He had a great admiration for Freud who
he met on several occasions.
37
LE NEUROLOGISTE
1977
38
FUTBOL
1979
MEDIUM: Original Drawing, pencil on cardboard, 1979,
signed and dated “GDALI 1979” at centre right
AUTHENTICITY: This is accompanied by a certificate
of authenticity from Robert Descharnes dated at Paris,
23rd May, 2004, archive number D-3816. From private
collection Gerone.
NOTE: This comes from a series called “Sports” which
Dali made for the Olympic Games and our drawing is
a study for the medal made for the American Olympic
Committee. Dali made a series of studies illustrating
sport as a theme including golf, swimming and tennis.
Sold with the above are two examples of: 1984 Silver
USA Olympics Medal by Salvador Dali - Weight: 1.05 oz containing 46.65 grams of .999 silver.
39
FUTBOL
1979
40
TRACEY EMIN
b. 1963
41
TRUE LOVE ALWAYS WINS
2016
MEDIUM: Lithographic print in four colours, signed,
numbered and dated by the artist
EDITION SIZE: 300
NOTE: True Love Always Wins was created to celebrate
Team GB’s participation in the 2016 Olympic Summer
Games in Rio de Janeiro, Brazil. Tracey’s lithograph
features Rio’s iconic statue Christ The Redeemer.
The snaking mountain road symbolises the winding
journey to achieve true love, represented by Christ’s
outstretched arms at the summit. The work carries
particular poignancy given Tracey’s recent marriage to
a rock: true love may not be what one expects, but it
will always prevail. True Love Always Wins encapsulates
the optimism and positive energy that drives Team
GB athletes and their supporters, and acts as an
inspirational statement of hope and faith for all.
42
INSIDE YOUR HEART
2014
MEDIUM: Lithographin print in two colours, signed and
dated by the artist in pencil
EDITION SIZE: 100
NOTE: Tracey Emin has created three lithographic
prints which have arisen from a major body of new work,
‘The Last Great Adventure Is You’, her much acclaimed
solo show at the White Cube. Working directly with the
printer and building the image through a series of hand
drawn plates, Emin’s new prints for Counter reflect her
ongoing commitment to truthful self-observation, both
emotional and corporeal. The more familiar scratchy,
monoprint style has evolved into fluid, fuller lines, and
the figure is now more woman than girl. Time is making
its mark, and having long ago offered herself up as
mirror to her life with a particular kind of honesty, her
ageing as an artist is something from which there is no
turning back.
43
INSIDE YOUR HEART
2014
44
MORE OF YOU
2014
MEDIUM: Lithographic print in two colours, signed and
EDITION SIZE: 100
turning back.
45
I THINK OF YOU
2014
MEDIUM: Lithographic print in two colours, signed and
EDITION SIZE: 100
turning back.
46
IN MY HEAD
2015
MEDIUM: Polymer gravure, signed and dated by the
artist in pencil
EDITION SIZE: 50
NOTE: Released with ‘Right Here’ at The Other Art Fair
London in October 2015. A limited edition of 50, these
polymer gravures are taken from two original gouache
paintings (‘Right Here’ and ‘In My Head’) made by Tracey
Emin during the summer of 2015
47
RIGHT HERE
2015
MEDIUM: Polymer gravure, signed and dated by the
artist in pencil
EDITION SIZE: 50
NOTE: Released with ‘Right Here’ at The Other Art Fair
London in October 2015. A limited edition of 50, these
polymer gravures are taken from two original gouache
paintings (‘Right Here’ and ‘In My Head’) made by Tracey
Emin during the summer of 2015
48
ALBERTO GIACOMETTI
1901 - 1966
49
BUST II
1960
MEDIUM: Original Lithograph, 1960, on BFK Rives
watermarked paper, with full margins, signed by the
artist in pencil
EDITION SIZE: 150
Giacometti met Yvonne Marguerite Poiraudeau in a bar.
She called herself Caroline and she was 21 years old
whilst the artist was 58. Caroline was particularly adept
at using her eyes seductively and soon she began to
pose for the artist. Wanting a part of her that no one
else could touch, he purchased the bottom of one of
her feet as his exclusive terrain. He made a number of
portraits of her. Herbert Lust suggests that this may
have been Giacometti’s favourite among his lithographs
because it was released in the largest signed and
numbered edition of any of his prints. The work was also
included in “Derriere le miroir” in an edition of 1500
unsigned lithographs on lighter different paper but with
no margins.
REFERENCE AVAILABLE
50
RIMBAUD VU PAR LES PEINTRES
1960
MEDIUM: Limited edition etching, 1962, on wove paper,
signed in pencil
EDITION SIZE: 97
PAPER SIZE: 49 x 37 cm.
REFERENCE AVAILABLE
51
DAMIEN HIRST
b. 1965
52
IT’S A BEAUTIFUL DAY 04 (GREEN)
2013
MEDIUM: Polymer gravure block print, signed and
numbered by the artist
EDITION SIZE: 55
NOTE: Hirst’s butterfly etchings are rendered here in
fine detail, appearing from their black backgrounds
like encased species in the enthusiast’s collection.
Having been depicted in art, embedded in resin and
characterized in literature for many centuries, the
butterfly has wide significance as a symbol of love,
regeneration, fortune, freedom, spirituality and death,
several of which are referenced in the etchings’ titles.
Part of the heritage and visual identity of Hirst’s work
since his early days, they are the newest additions to one
of his most popular motifs.
53
IT’S A BEAUTIFUL DAY 06 (PURPLE)
2013
MEDIUM: Polymer gravure block print, signed and
numbered by the artist
EDITION SIZE: 55
54
TO BEGIN 2008
MEDIUM: Original etching
EDITION SIZE: 75
55
TO BEGIN 2008
56
DAVID HOCKNEY
b. 1937
57
STILL LIFE WITH CURTAINS
1986
MEDIUM: Home-made print executed on an office colour
copy machine, 1986, in 4 colours (Black, Blue, Red, Grey),
on 100% rag Arches Text 120g paper, signed and dated
lower right, Artists chop mark (DH in Circle) lower right.
EDITION SIZE: 48
NOTE: No stranger to controversy David Hockney has
pioneered a number of trends over the years some
of which have been picked up by the mainstream
movements and some of which were not. In the 1980’s
he started working with “Faxed Art”, Polaroid prints
and “Home Made Prints”, of which this is an example.
He used an office photocopy machine and produced
prints in editions. There are a number of different
editions of this over of different subjects. Since Hockney
never made the matrix from which this was created it is
properly described as “after” David Hockney.
REFERENCE AVAILABLE
58
STILL LIFE WITH CURTAINS
1986
59
SAM TAYLOR-JOHNSON
b. 1967
60
WANDERER ABOVE THE SEA OF DREAMS
2016
MEDIUM: Twenty-six colour screenprint, signed,
EDITION SIZE: 100
NOTE: Sam Taylor-Johnson, suspended in mid-air by
balloons: Wanderer Above the Sea of Dreams draws
on the classic motif of Taylor-Johnson’s earlier Self
Portrait Suspended series, transposed here onto surreal,
dream-like desert setting. Wanderer Above the Sea of
Dreams continues Taylor-Johnson’s ongoing exploration
of weight and gravity, and marks the prolific artist and
filmmaker’s first foray into photo collage. In a playful nod
to the buoyant energy of the 2016 Olympic host country,
the balloons bear the design of the Brazilian flag. TaylorJohnson shot the craggy desert background on location
in the US, giving an American twist to Rio’s iconic
Sugarloaf Mountain.
61
ROY LICHTENSTEIN
1923 - 1997
62
UNTITLED
(SEA) 1896
MEDIUM: Original screenprint, signed by the artist in
pencil
EDITION SIZE: 175
63
ILLUSTRATION FOR “PASSAGE DU NORD-OUEST”
1992
MEDIUM: Original etching and aquatint, signed and
EDITION SIZE: 80
NOTE: This is the seventh print from a suite entitled “La
Nouvelle Chute de l’Amerique” (The new fall of America)
which took the form of an unbound book. The edition
consisted of suites coming from the book which were
initiated and those made separately in Suites (which our
example is) which were signed by the artist (the latter
being more desirable).
REFERENCE AVAILABLE
64
HENRI MATISSE
1869 - 1954
65
FEMME ALLONGÉE
1977
MEDIUM: Original Etching in colours, 1925, on Chine
Appliqué , on Velin Arches, paper paper, signed in the
plate and dated 1925, signed also by the artist in pencil
lower right on the margin.
EDITION SIZE: 100
France
NOTE: This comes from an album made under the
direction of Madame V Raking and W Walter of
the Editions Quatre Chemins. It consisted of 64
reproductions of drawings made by Matisse between
1898 and 1925. The work was made for an exhibition of
the artists drawings which took place at the time.
REFERENCE AVAILABLE
66
LE GRAND COLLIER
1929
MEDIUM: Original Etching,1929, on Purfil Mariais
watermarked paper, with full margins, signed by the
artist in pencil.
EDITION SIZE: 25
PUBLIC COLLECTIONS: Bibliotheque Nationale, Paris &
University of California
REFERENCE AVAILABLE
67
JOAN MIRO
1893 - 1983
68
SIGNATURE DRAWING
1973
MEDIUM: Original drawing, 1972/63, on Guarro paper
watermarked “Sala Gaspar” in wax crayons, in colours,
Dark Blue, Red, Yellow, Purple
and Black, 1973, signed (obviously) by the artist in crayon
AUTHENTICITY: A certificate from ADOM (The Miro
expertise committee) is available.
It states: “L’ADOM certifie que l’oeuvre reproduite sur
cette photo est une oeuvre authentique
de Joan Miro: portfolio “Barcelona Mitro (page de
portfolio : Barcelona Miro 1972 - 1973”,
Sala Gaspar, Barcelona 1973), 71 x 105 cms, signee dans
le design, au centre”
Paris le 27 Janvier 2016”
NOTE: In 1972/3 Sala Gaspar published a portfolio of 13
engravings in etching, aquatint and carborundum. These
were provided in a Hessian-covered portfolio case.
Cramer reports that: of the 60 Portfolios made “10
copies with the etchings, numbered from 1/40 to 50/50
and a colour pencil drawing with Miro’s large signature
the recto of the first leaf of a sheet of Guarro folded in
half”. This present item is one of these 10 large drawings
and is numbered accordingly.
69
SIGNATURE DRAWING
1973
70
FEMME
1977
MEDIUM: Original drawing in wax crayon on pink paper,
14/VII1977, signed by the artist in ink, dated and titled
on the reverse. The right edge of the drawing has been
torn iregularly by the artist.
AUTHENTICITY: The buyer obtains an original certificate
from ADOM (Association pour la defence de l’oeuvre do
Joan Miro), the authenticating body for this artists works,
dated December 2013. It consists of seven members,
under the presidency of Ariane Lelong-Mainaud,
including the direct descendants of the painter and the
greatest specialists of his work.
NOTE: The tear on the right of the drawing is very
typical of Miro’s works of this period and is an
interesting facet of what he did. In his celebrated
exhibition at the Grand Palais in 1974 the artist
included many such works which became the subject of
considerable controversy. The artist,
throughout his career, brought his art to the brink of
annihilation and back again. Some of the
canvases on display in the Barcelona Miro Museum have
been burned with very little of the original art
surviving. Miro considered this an important aspect of
the surrealist ethic.
71
LE MARTEAU SANS MAITRE
1976
MEDIUM: Original etching with aquatint in colour,
signed by the artist.
EDITION SIZE: HC 25
NOTE: The etching was published in the page book “Le
Marteaux sans Maitre” by Rene Char in 1976. It came in a
portfolio of 26 etchings all printed in colours.
72
NOUS AVONS
1959
MEDIUM: Original etching and aquatint, in colours, grey,
red, blue and black on rives paper, signed by the artist in
pencil.
EDITION SIZE: 50
PAPER SIZE: 32.5 X 50 cm
NOTE: This was part of a suite of etchings entitled
“Nous avons” which illustrated a work by Rene Char.
Under the title “Fusees” the editors made a series of
etchings with larger margins each being signed and
numbered. Each portfolio has 15 etchings of which our
present example is one.
73
NOUS AVONS
1959
74
EDDIE PEAKE
b. 1981
75
SWEAT
2016
MEDIUM: Screenprint with solvent based ink in three
colour blend, signed & numbered by the artist on
reverse
EDITION SIZE: 100
NOTE: Sweat’s eye-popping fluorescent tones and
vivid graphic style reference the acid-hued slogans of
Nineties rave culture. Peake’s prose poem “JOLTING
BODY W. SWEATY SKIN / A SHEEN OF SWEAT, /
IRIDESCENT IN / TWILIGHT” ambiguously references
both sex and athletics. This sensual ambiguity reflects
Peake’s on-going exploration of human bodies as both
sculptural objects and personal subjects. The screen
print combines glossy blended colour with scrawling
matte text created using pieces of masking tape, in
a style reminiscent of Peake’s spray-painted works on
steel. Each individual print varies slightly, with wider or
narrower blends of colour, reflecting the hand-crafted
nature of the screenprinting process.
76
GRAYSON PERRY
b. 1960
77
THE ISLAND OF BAD ART
2013
MEDIUM: Etching, signed by the artist
EDITION SIZE: 80
NOTE: This etching depicts an ‘island of bad
art’ resembling Venice, home to the celebrated
contemporary art biennale.
78
THE MAP OF NOWHERE
2008
MEDIUM: Etching, signed by the artist
EDITION SIZE: 15
NOTE: The third etching by Turner prizewinner Grayson Perry, produced from 5 plates. Each etching is signed
and numbered by the artist on the reverse. Perry’s map combines a diagram of the artist’s body with a medieval
map of the world. Map of Nowhere is based on the Ebstorf mappa mundi (a Medieval European map of the
world) which was destroyed during World War II. It showed Jesus as the body of the world, with his head, hands
and feet marking four equidistant points around the circle. Another starting point for this print was Sir Thomas
More’s Utopia. Utopia is a pun on the Greek au topos meaning ‘no place’. “Perry spikes the tradition with
contemporary social comment. Within a circular scheme, like the Ebstorf Map, or the existent Hereford Mappa
Mundi, he presents a flattened-out analysis of his world - from jibes about current affairs to the touchstones of
his personal life. Where the Ebstorf Map has the world unfolding around Jerusalem, Perry’s personal world view
encompasses a cacophony of ideas and preoccupations, with ‘Doubt’ right at the centre. The artist’s alter ego
Claire gets a sainthood, while people pray at the churches of global corporations: Microsoft, Starbucks, Tesco’s.
Tabloid cliches abound, each attached to a figure or building: ‘the new black’, ‘kidults’, ‘binge drinking’, havingit-all’. Top right, the ‘free-market-economy’ floats untethered, preempting the credit crunch that was to take
hold in the autumn of 2008. All-over labels demand that the map is read - or quizzed - close up. This is a clearly
articulated satire, and while Perry adopts a medieval confusion of scale and proportion, the diagrammatic style
is as adamant as its religious forerunners. Beneath, there is a drawing of figures on a pilgrimage, set in a realistic
landscape. They are at final staging post before making their way up to a monastery at the top of a mountain
beyond, which is hit by a beam of light, coming from the artist’s bottom. The print has a stormy quality to it. “I
don’t like the plate being wiped too clean in the printing process; I like it to have a sort of antique, dirty look.”
(Grayson Perry).
79
THE MAP OF NOWHERE
2008
80
SIX SNAPSHOTS OF JULIE 03
2015
MEDIUM: Woodcut print, signed by the artist on front
and numbered on reverse
EDITION SIZE: 48
81
2015
EDITION SIZE: 48
82
2015
EDITION SIZE: 48
83
PABLO PICASSO
1871 - 1973
84
PIGMENTS ROUGES DANS UN PANIER
1957
MEDIUM: Coloured crayons on paper, dark green, light green, yellow, blue and red, dated 14/9/1957, dedicated
“Pour Gilberte Duclaud, son ami” and signed by the artist in blue crayon. The drawing was originally folded into
quarters and posted to the recipient which accounts for folds vertically and horizontally across the piece. On
the reverse of the frame can be seen the envelope in which it was posted addressed to Gilberte Duclaud. The
envelope is stamped and dated 16/9/1957. Picasso wrote the address in coloured crayons which is a work of art in
itself.
AUTHENTICITY:The work comes with a certificate of authenticity by Claude Picasso. There is also a signed
certificate from Gilberte Ducloud dated, Paris, 5th June, 1986. This certifies that the drawing was given to her as a
present by Picasso to thank her for the many exhibitions in Cannes between 1957 and also in 1967.
NOTE: Gilberte Duclaud, Director of Galerie 65, was the author of a book entitled “Ces peinters nos amis” which
was published in the same year as this drawing was made. The book was published by Galerie 65. On the front
cover it had a colour lithograph entitled “Dans l’atelier de Picasso” which had been printed by Mourlot Freezers.
The book dealt with a number of different artists such as Buffet, Daboval, Dali, Pons, Mane Katz, Tinges and of
course, Pablo Picasso. Gilbert Ducloud was a considerable literary figure and had been painted in the 1920’s by
Theofile Steinlen. The work may have had some sort of recognition of a quarrel. Red peppers obviously are very
piquant and the artist, who loved metaphor, may have been making some sort of barbed comment with his gift to
Gilberte. If this was the case it was patched up because we know that Picasso went on to make further exhibitions
at her Gallery thereafter.
85
PIGMENTS ROUGES DANS UN PANIER
1957
86
DAVID ET BETHSABEE D’APRES CRANACH
1949
multi coloured crayon
EDITION SIZE: 50
NOTE: This is a very complex subject which has been
treated by various authorities in different ways. Picasso
Project gives a list of 10 different states plus 2 additional
ones annotated 10a and 10b. It is explained that
for the states 10a & 10b on the 29/5/1949 the 6th State
was transferred to a stone from the original zinc.
Bloch gives this work as a totally new lithograph. He
describes the four states from which he claims editions
of 50 were pulled : states 1 (B.439) , 2 (B.440_ , 4 (B.441)
and State 1 of the new lithograph (B.442)
which was transferred from zinc to stone (The present
work). Mourlot follows Bloch in calling the present
work the First state having annotated all 10 states
previously.
87
COUPLE D’AMOUREUX
1968
MEDIUM: Original etching signed by the artist in pencil
EDITION SIZE: 50
PUBLIC EXHIBITONS: Picasso Erotique: (Galerie
nationale du Jeu de Paume, Paris, 19/20 février - 20
Mai, 2001; Musée des Beaux-Arts de Montréal, 14 juin
- 16 septembre, 2001; Museu Picasso, Barcelona, 15/25
octubre, 2001 - 20/27 enero, 2002).
NOTE: A sub-series, consisting of 25 etchings,
from the 347 etchings made by Picasso in 1968 deals
with the love affair between the Renaissance artist
Raphael and Fornarina. According to some Raphael
was a “very amorous man and affectionate towards
the ladies” and is said to have painted portraits of his
mistress. According to some Raphael was so in love with
his mistress that he could not focus on his painting if
separated from her and she had to be smuggled into
live with him in secret so that he could complete his
frescoes at the Villa Farnesina. According to others she
was also smuggled in to the Vatican also where he was
making other frescoes for Pope Leo X. Picasso takes up
the story as part of his hommage to the Renaissance
artist and gives it a pornographic rendering. This series
are amongst Picasso’s most pornographic works from
a series which is not devoid of other, less explicit,
examples of this oeuvre.
88
COUPLE D’AMOUREUX
1968
L’ITALIENNE FEMME AU LIVRE
1918-1919
MEDIUM: Original etching signed by the artist in pencil
EDITION SIZE: 50
NOTE: This was issued in the book “Le Tricorne”. The etching was supplied loose in a japan folder with title on
the front cover and printers address on the back, colophon and grey number on the inside flap. This etching was
the result of a co-operation with the Russian Ballet Master: Serge Diagalev who had been thinking of creating
a Spanish ballet since 1916. Through his friend Igor Stravinsky he met the young Spanish Composer, Manuel de
Falla and requested him to make the score for his new ballet. Diagalev went on to commission Picasso to design
the sets and costumes for the ballet which was called “Le Tricorne” after the three cornered hat worn by the
hero in the plot. Picasso and his wife Olga travelled to London and were in England for three months working
on the project. Picasso created twenty different studies for the stage sets and the designs finally chosen were
illustrated in the album containing our etching. The ballet was performed for the first time in London in 1919 and
the following year it had it’s premier in Paris. The album was in fact published by Paul Rosenburg who by this time
had become Picasso’s official dealer (Kahnweiller had lost his money by the French government requisitioning
his business in the aftermath of the first World War. Faced with this tragedy the young art dealer was unable to
pay Picasso’s money owed to him. The unforgiving artist, at this point, deserted his former patron, protector and
friend). It happens that some of the documentation surrounding this etching is still to be found in the archives but is in no way complete. There is a letter from Paul Rosenburg to Picasso dated 21/9/1919 suggesting an edition
of 15 examples to be sold at 75 Francs per work. In the event this project was not fulfilled and the etching was
created to accompany the album described above. The Italian of the etching represents a character in the ballet
and also a superb portrait of a similar theme was made in 1919.
90
L’ITALIENNE FEMME AU LIVRE
1918-1919
COMPOSITION AU VASE DE FLEURS
1947
MEDIUM: Original lithograph, printed in three colours,
grey, red and black. Dated in the stone in reverse and
signed by the artist in pencil
EDITION SIZE: 50
PUBLIC COLLECTIONS: Museum of Modern Art,
(MOMA) New York
92
LE COLOMBE VOLANT
(A L’ARC-EN-CIEL) 1952
MEDIUM: Original chalk drawn lithograph in 8 colours, black, yellow, green, rose, ochre, light brown, grey and
blue, signed by the artist in the stone and also signed by the artist in pencil, lower right.
EDITION SIZE: 200 with 38 artist proofs
PUBLIC EXHIBITONS: Picasso: Peace and Freedom (Tate Liverpool, 21 May - 30 August, 2010;
Albertina,Vienna, 22 September - 16 January, 2011;
Kunsthaus Zürich, 15 October, 20 / 10 - 30 January, 2011).
NOTE: In the aftermath of the Second World War Picasso joined the communist party and was active in promoting
its activities through his art. The Newspaper “Le Patriot” was a supporter of this ideology and Picasso made a
number of lithographs and linocuts which were published by this organisation amongst which was our work. This
was sold to raise funds for the communist party. The poster was made, using the earlier lithograph, to raise
funds and awareness for the Disarmament summit conference to be held in Paris in May 1960 - the conference
in fact never took place. La Colombe - The Dove is one of the most famous themes in Picasso’s art of the 1950’s.
He was asked to make an image to express the ideals and aims of the new ‘Peace Conference’ which would
bring together all the European nations in the aftermath of the war - the forerunner of the United Nations. His
image of the ‘Dove of Peace’ was to become one of the most famous symbols of the era. Picasso made a number
of versions of the Dove composition in connection with this project, amongst them the versions of the ‘Dove
surrounded by Linked Hands’, and of the ‘Dove with the Ear of Corn’ (picking up from the Bible story of Noah’s
Ark), and then a group of compositions with the Dove against a rainbow of colours. The version above belongs to
this group. The lithograph was originally drawn on the stone in October 1952 but apart from c.5 proofs no edition
was printed at that date; in May 1960 Picasso returned to the image and, using transfer paper, added colours for
the background. The edition of 200 signed impressions was then printed. Subsequently the image was used again
to embellish a poster for the 1960 Peace Conference.
93
LE COLOMBE VOLANT (A L’ARC-EN-CIEL) 1952
94
NU A LA CHAISE
1954
MEDIUM: Original lithograph in 4 colours, blue, green,
violet and black. Each executed with lithographic crayon
on transfer paper, then transferred to stone, dated in the
stone above right, signed by the artist in pencil.
EDITION SIZE: 50
NOTE: We currently have in our possession a signed
photograph by Andre Villers entitled “Picasso en
Popeye” which shows a humorous depiction of the artist
dressed up as Popeye the Sailor Man with his fancy
hat and beard. It is a very well known work. In the
background, middle right, it can be seen that a copy of
our lithograph, unframed, is hanging on the wall.
95
BATTLE OF THE CENTAURS III
1959
MEDIUM: Original lithograph, crayon on zinc
EDITION SIZE: 50
PUBLIC COLLECTIONS: Museu Picasso, Barcelona.
Sabartés Collection
NOTE: This piece was part of a series of prints along the
same theme that the artist made at this time. He was
then heavily involved in the Peace Movement and this
may well have reflected his views on war.
96
THE PAINTER AND HIS EASEL
1962
MEDIUM: Original lithograph in 8 colours, crayon on transfer paper transferred to stone. Dated in the stone,
signed by the artist in pencil.
EDITION SIZE: This is a rare item from the edition of 10 on Japan Nacre paper. There were also: 20 copies on
Arches wove numbered 11/30 with an unsigned suite of 120 copies, numbered 31/150 on Arches wove, plus an
additional 30 copies hors commerce
PUBLIC COLLECTIONS: Kunstmuseum Picasso, Münster. (Inv 837.353)
NOTE: This was part of a portfolio entitled “Regards sur Paris”. Ten writers -all members of the Academie
Goncourt - contributed essays to this book which presents the different sights and scenes of Paris. Each text
is illustrated by a different artist with 2 full page and 1 double page Lithograph. The author of the work, Pierre
Dumouchelles, called Mac Orlan, was born in 1893 and particularly qualified to describe his city having lived
in the “Bateau Levoir” from 1906 to 1912. The year he left Picasso also gave up his studio there. In 1962, half a
century later, Picasso illustrated Mac Orlands text about their old quarter with three lithographs of which this
example is one.
97
THE PAINTER AND HIS EASEL
1962
98
THE PAINTER AND HIS MODEL
1962
MEDIUM: Original lithograph in 8 colours, crayon on transfer paper transferred to stone. Dated in the stone,
signed by the artist in pencil.
EDITION SIZE: This is a rare item from the edition of 10 on Japan Nacre paper. There were also: 20 copies on
Arches wove numbered 11/30 with an unsigned suite of 120 copies, numbered 31/150 on Arches wove, plus an
additional 30 copies hors commerce
PUBLIC COLLECTIONS: Kunstmuseum Picasso, Münster. (Inv 839.354)
NOTE: This was part of a portfolio entitled “Regards sur Paris”. Ten writers - all members of the Academie
Goncourt - contributed essays to this book which presents the different sights and scenes of Paris. Each text
is illustrated by a different artist with 2 full page and 1 double page Lithograph. The author of the work, Pierre
Dumouchelles, called Mac Orlan, was born in 1893 and particularly qualified to describe his city having lived
in the “Bateau Levoir” from 1906 to 1912. The year he left Picasso also gave up his studio there. In 1962, half a
century later, Picasso illustrated Mac Orlands text about their old quarter with three lithographs of which this
example is one.
99
THE PAINTER AND HIS MODEL
1962
100
DANS L’ARGILE DE PICASSO
1957
MEDIUM: Original Linocut, printed in colours, Wrappers
with the Linocut on the front cover and lettering on the
back cover, undated and unsigned. The back of the book
(visible through a window mount) reads “Imprimerie
Arena AV. G-Clemenceau Vallauris A-M. Depot Legal
Troisieme Trimester 1957”
EDITION SIZE: 50
PUBLIC COLLECTIONS: Museu Picasso, Barcelona.
Sabartés Collection
NOTE: This was part of a series of prints along the same
theme that the artist made at this time. He was then
heavily involved in the Peace Movement and this may
well have reflected his views on war.
101
FLUTISTE AND PERFORMING GOAT
1959
MEDIUM: Original linocut, signed in pencil by the artist
and dated in the lino.
EDITION SIZE: Book edition of 2000 copies
NOTE: It was Tristan Tzara who introduced Picasso
to the Art Dealer Bergguren in 1950 from which a
warm friendship developed. This was to be the third
catalogue Bergruen made devoted to Picasso and was
made to be the front cover of the work “Picasso, 60 and
de Gravures” published by Berggruen in 1959. In it are
reproductions of 409 prints made between 1904 and
1963. The piece shows a goat standing on it’s hind legs
before a seated flute player.
102
DIURNALS
1961
MEDIUM: Original linocut, signed in pencil by the artist.
EDITION SIZE: 100
NOTE: This work was included in the deluxe version of
the book “Diurnes” which was a collaboration between
Picasso, the photographer Andre Villers and the poet
Jacques Prevert. Originally the linocut was presented
in a cloth-covered portfolio with tie strings with a
reproduction of the title in Picasso’s hand on the front.
A selection of works including Picasso’s original cutouts, Villers photographs and Perverts manuscripts
were exhibited together at Galerie Madoura, Cannes
and at Galerie Berggruen, Paris (Berggruen was also
the Publisher of the book). The book was cleverly
constructed by Picasso’s cut-outs being photographed
by Villers in a surrealistic fashion and Prevert, letting his
eyes wander from image to image, giving a delightful
account of there visual promenade. The title “Diurnes”
evokes figurative beings who only live for a day and
Prevert tells the story of 30 “ephemeris” from sunrise to
sunset. The linocut represents a seated woman,
103
FEMME NUE CUEILLANT DES FLEURS
1962
MEDIUM: Original linocut in three colours, beige, brown
and black, signed by the artist in pencil
EDITION SIZE: 50
104
PORTRAIT DE FAMILLE INGRESQUE
1962
MEDIUM: Original linocut in two colours brown and black, signed by the artist in pencil
EDITION SIZE: 50
PUBLIC COLLECTIONS: Metropolitan Museum of Art, New York
NOTE: In some works this item is entitled “Family Scene” or “scene familier”. Picasso was a great admirer of
the artist Jean-Auguste-Dominique Ingres (1780 - 1867). Picasso made a large number of works “after” the artists
who had influenced him and this falls into that category. A recent exhibition “Picasso Challenging the Past” at the
National Gallery, London, dealt with this theme in depth. The painting to which this refers is called “The Forestier
Family” and was a family portrait of Ingres fiance, Julie Forestier with her parents and Uncle. This is a genuine
romantic memento. Ingres drew the family portrait when he had to leave his fiancée Julie and spend four years at
the French Academy in Rome (the Villa Medici) after winning the Prix de Rome in 1801. Once he had left, the pair
decided to separate. Ingres married Madeleine Chapelle, a young milliner, in 1813. Julie Forestier did not marry
and her misadventure even inspired her to write a short novel, “Emma ou la fiancée” . After they had broken up,
she returned the drawing to Ingres, who made one (or two) copies. The Louvre has some thirty graphite portraits
in which the artist captures the features of the model and also the character. That of the Forestier Family is one of
the best known on account of both the skill in the placing of the different figures and the delicacy of the drawing.
Picasso’s treatment of the subject is radically different from the original work by Ingres - as one would expect to
be the case.
105
PORTRAIT DE FAMILLE INGRESQUE
1962
106
AFTER PABLO PICASSO
1871 - 1973
107
MAYA EN TABLIER
MEDIUM: Original linocut in three colours, beige, brown and black, signed by the artist in pincil
EDITION SIZE: 200
NOTE: This exquisite portrait, done of Picasso’s first daughter, Maya Picasso, exudes a personal, loving charm
in which only a father can relate of his children. A playful, childlike nostalgia is forever evoked with this work,
not only capturing Maya at age 3, but also capturing a time in Picasso’s life in which he was deeply inspired by
his own family. Set against a bright spring green background, Maya is portrayed here wearing a red and white
checkered pinafore, with her hair in pigtails on either side. The colours in this work are at the forefront of Picasso’s
intention here, using incredibly vibrant colour combinations that merely enhance and divulge Maya’s own personal
character and innocence. Sun yellows, lapis blues, and brilliant reds are a further testament to Picasso’s creativity
and innovation. The grand scale of this portrait cannot be ignored, helping the colours to explode into our space,
allowing Maya’s own childlike sentiment to be contagious to all who view and admire her. Based on an original oil
work dating to 1938, this work has been printed by Fernand Mourlot under the supervision of Pablo Picasso.
108
MAYA EN TABLIER
109
CAMILLE PISSARRO
1830 - 1903
110
EUGENE DUTUIT ROAD, ROUEN
1896
MEDIUM: Original lithograph, signed by the artist in pencil
EDITION SIZE: 200
NOTE: In his old age the artist suffered from a recurring eye infection that prevented him from working outdoors
except in warm weather. As a result of this he often painted outdoor scenes while sitting by the window of a hotel
room. He moved around France and possibly this lithograph was done in this way. There exist quite a number of
lithographs made in Rouen dating from this period.
The Road whose name this lithograph bears, Eugene Duthuit, was born in 1807 in Marseilles and died in Rouen
in 1886. He was a notable historian and collector of art. The road itself still exists and is in the historic centre of
the town, boasting some excellent medieval timbered buildings as can be seen from our lithograph. The Medieval
church of Saint-Maclou is seen in the background.
CONDITION: Minor defects as would be expected from a work more then 100 years old. Professionally repaired
tear, approximately 3 mms, to right edge of sheet above centre. Repaired page loss at lower left sheet corner
approximately 5 mms; line of discolouration along right sheet edge, at widest approximately 3 mms. Indentation,
vertical length of sheet in the paper on left hand margin (probably due to original paper defect). None of the
above are serious and once framed will not be visible under the mount.
REFERENCE AVAILABLE
111
EUGENE DUTUIT ROAD, ROUEN
1896
112
PIERRE AUGUSTE RENOIR
1841 - 1919
113
FEMME NU COUCHE, TOURNE A DROIT
1906
MEDIUM: Drypoint etching
NOTE: The theme of the reclining nude is one which
Renoir returned to again and again in the course of his
long career. This etching, on the front cover of the book,
is very typical of this oeuvre.
REFERENCE AVAILABLE
114
FEMME NU COUCHE, TOURNE A DROIT
1906
115
BENJAMIN SENIOR
b. 1982
116
STROKE TEMPO
2016
MEDIUM: Seven colour lithographic print, signed &
numbered by the artist on reverse
EDITION SIZE: 100
NOTE: Benjamin Senior’s paintings capture people at
rest and play, distilling dynamic movements into serene,
quasi-classical scenes. Senior’s tranquil depictions
of the habits of health - here, competitive swimming
- are based on observational drawing rather than
photography. This approach allows for a dreamy vision in
which the patterns and geometries of everyday life are
foregrounded, from the contours of the body in motion,
to the swirling forms of interior design. The title Stroke
Tempo alludes to the rhythmic pace of the swimmer:
peaceful yet energetic, much like Senior’s work.
117
DAVID SHRIGLEY
b. 1968
118
LIFE IS FANTASTIC
2016
MEDIUM: Eight colour screenprint, signed, numbered
and dated by the artist
EDITION SIZE: 125
NOTE: Life Is Fantastic features one of David Shrigley’s
most familiar motifs: a cartoonishly cheerful thumbs-up,
combined here with a ludicrously oversized, bubblegumpink ice cream cone. The form of the ice cream riffs
on the Olympic torch, which has represented the
positive values associated with the Games since ancient
Greek times. In classic Shrigley style, Life Is Fantastic
is a light-heartedly satirical yet ultimately optimistic
representation of the Olympic spirit. Anti-monumental
and child-like, it recalls Shrigley’s commission for
Trafalgar Square’s Fourth Plinth: a 10-metre high bronze
thumbs-up titled Really Good (2016).
119
ANTHONY WILLIAMS
b. 1964
120
STUDY FOR ANTONIA WITH CLENCHED HAND
2016
MEDIUM: Charcoal drawing
121
RECLINING FIGURE
2016
122
STUDY OF EMMA ON THE BARCELONA CHAIR
2016
123
NAKED PORTRAIT
2016
124
STUDY FOR PROFILE OF EMMA
2016
MEDIUM: Pencil drawing
125
STUDY FOR EMMA
2016
MEDIUM: Pencil drawing
126
NICHOLAS C WILLIAMS
b. 1961
127
RECLINING FEMALE NUDE LOOKING UP
2016
MEDIUM: Sanguine pencil on toned paper with white
heightening around figure
128
RECLINING FEMALE NUDE WITH BLUE
2016
MEDIUM: Pencil on toned paper with watercolour
129
RECLINING FEMALE NUDE ON RIGHT SIDE FACING AWAY
2016
MEDIUM: Sanguine pencil on toned paper
130
RECLINING FEMALE NUDE WITH BLUE TOP
2016
MEDIUM: Sanguine pencil on toned paper with
watercolour wash and white heightening
131
RECLINING FEMALE NUDE WITH BLUE TOP
2016
MEDIUM: Sanguine pencil on toned paper with
watercolour wash and white heightening
132
RECLINING FEMALE NUDE WITH BLUE
2016
MEDIUM: Sanguine, watercolour
133
STANDING FEMALE NUDE
2016
MEDIUM: Pencil and watercolour
PAPER SIZE: 27.5 x 16.7.8 cm
134
KNEELING FEMALE NUDE STRETCHING FORWARD
2016
MEDIUM: Pencil on toned paper with watercolour
135
ROY WRIGHT
136
AFTER THE LEAVES HAVE FALLEN
2015
137
SILVER BIRCH, LATE SUMMER
2015
138
IN SEPTEMBER
2015
139
OAK IN MID SUMMER
2016
140
SUMMER OAK
2015
141
OLYMPIC COLLECTION
2016
Official limited edition prints for Team GB at the Rio
2016 Olympic Games. The eight contributing artists
are: Tracey Emin, Anne Hardy, Howard Hodgkin, Sarah
Jones, Eddie Peake, Benjamin Senior, David Shrigley,
and Sam Taylor-Johnson. The artists were asked to
create unique images in celebration of Rio and Brazil,
with the spirit of Team GB as their inspiration. Since
1912, prints and posters have been commissioned for
each of the Games, creating celebratory and inspiring
meetings of art and sport.
142
OLYMPIC COLLECTION
2016
143
OLYMPIC COLLECTION
2016
144
OLYMPIC COLLECTION
2016
ARTIST: Sam Taylor-Johnson
TITLE: Wanderer Above The Sea Of Dreams
MEDIUM: Twenty-six colour screenprint, signed,
EDITION SIZE: 100
NOTE: See Page 45
ARTIST: David Shrigley
TITLE: Life Is Fantastic
MEDIUM: Eight colour screenprint, signed, numbered
and dated by the artist
EDITION SIZE: 125
NOTE: See page 94
ARTIST: Tracey Emin
TITLE: True Love Always Wins
MEDIUM: Lithographic print in four colours, signed,
EDITION SIZE: 300
NOTE: See page 30
ARTIST: Eddie Peake
TITLE: Sweat
MEDIUM: Screenprint with solvent based ink in three
colour blend, signed & numbered by the artist on
reverse
EDITION SIZE: 100
NOTE: See Page 60
ARTIST: Benjamin Senoir
TITLE: Stroke Tempo
MEDIUM: Seven colour lithographic print, signed &
numbered by the artist on reverse
EDITION SIZE: 100
NOTE: See Page 92
145
CONTACT
PADSTOW
8-9 Drang
Padstow
Cornwall
PL28 8BL
United Kingdom
enquiries@thedranggallery.com
+44 (0) 1841 533114
SALCOMBE
83 Fore Street
Salcombe
South Hams of Devon
TQ8 8BY
salcombe@thedranggallery.com
+44 (0) 1548 844004
146

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Transcription

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