modern and contemporary prints, art and photobooks€¦ · 50 lantern slides of places associated...

modern and contemporary prints,

Peter Harringtonl o n d o n

art and photobooks

Christmas 2017: Peter Harrington2

Front cover: Coloured Greys [2]; Bridget Riley, item 63; back cover: Lightness of Being [Queen Elizabeth II.], Chris Levine, item 44.

Design: Nigel Bents; Photography: Ruth Segarra

Christmas 2018 opening hours:

Fulham Road

Mon 26 Nov – Sat 22 Dec Mon–Thu: 10am–7pm Fri & Sat: 10am–6pm Sun: closed

Sun 23 Dec – Wed 26 Dec: closed Thu 27 Dec – Sat 29 Dec: 10am–6pm Sun 30 Dec – Tue 1 Jan 2019: closed

Wed 2 Jan 2019: Normal business hours resume

Dover Street

Mon 26 Nov – Sat 22 Dec Mon–Fri: 10am–7pm Sat: 10am–6pm Sun: closed

Sun 23 Dec – Tue 1 Jan 2019: closed

We are exhibiting at these fairs:

1–2 February 2019pa sadenaRare Books LAPasadena Convention Center300 East Green StreetPasadena, CA 91101

8–10 Februaryoakl and52nd California International Antiquarian Book FairOakland Marriott City CenterOakland, CA 94607www.cabookfair.com

7–10 Marchnew yorkPark Avenue Armory643 Park AvenueNew York, NY 10065www.nyantiquarianbookfair.com

25–28 Aprill ond onLondon Original Print FairRoyal Academy of ArtsPiccadilly, w1j obdwww.londonoriginalprintfair.com

VAT no. gb 701 5578 50 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London SW19 7JY.

Registered in England and Wales No: 3609982

Modern and contemporary prints, art and photobooks

All items from this catalogue are on display at Fulham Road

chelseaPeter Harrington100 FulHam roadlondon sw3 6Hs

uk 020 7591 0220eu 00 44 20 7591 0220usa 011 44 20 7591 0220 www.peterharringtongallery.co.uk

mayfairPeter Harrington

43 dover streetlondon w1s 4FF

uk 020 3763 3220eu 00 44 20 3763 3220

usa 011 44 20 3763 3220


1 (Muhammad Ali) David KingPortrait II. London: Fior Photos, 1999Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black wooden frame with conservation acrylic glazing.

photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, Photograph by David King, 1974 -> 1999, photographer’s proof ”. David King’s photographs of Ali were taken in 1974 at his training camp in Deer Lake, Pennsylvania, when he was preparing for his world heavyweight title fight against George Foreman, held later that year in Kinshasa, Zaire, known as the “Rumble in the Jungle”. King documented everything in the lead up to the fight, from the intense sparring sessions to the quiet times he spent with his family and friends. King’s biography, I Am King: A Photographic Biography of Muhammad Ali, was published by Penguin in 1975.£1,750 [124640]

2 (Muhammad Ali) David KingPortrait III. London: Fior Photos, 1999Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black lacquer frame with conservation acrylic glazing.

photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, Photograph by David King, 1974 -> 1999, photographer’s proof ”. £1,750 [124639]

3 (Muhammad Ali) David KingPortrait V. London: Fior Photos, 1999Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black lacquer frame with conservation acrylic glazing.

one of an edition of 25, signed and numbered on the verso by king. £1,750 [124636]

All items are fully described and photographed at peterharrington.co.uk 3

4 (Muhammad Ali) David KingAli’s Back. London: Fior Photos, 1999Silver gelatine photograph hand printed by Mike Spry at Downtown Darkroom. Sheet size: 50.5 × 60.7 cm. Excellent condition. Presented in a black wooden frame with conservation acrylic glazing.

photographer’s proof aside from the edition of 25. Inscribed on the verso in pencil by King, “Muhammad Ali, Photograph by David King, 1974 -> 1999, photographer’s proof ”. £1,750 [124641]


5 Francis BaconThree Studies of the Male Back. Paris: Michael Peppiatt for Art International, 1987Three lithographs in colour on Arches wove paper. Image sizes: 60.5 × 45 cm. Sheet sizes: 80.8 × 59 cm. Excellent condition. Presented in three grey wash wooden frames with conservation acrylic glazing.

signed limited edition, number 20 of 99 prints, each plate signed by Bacon lower right in pencil, and numbered lower left. This triptych is after an oil on canvas executed in 1970 depicting Bacon’s lover George Dyer sitting in front of a mirror.Sabatier 21.

£50,000 [129709]


6 BanksyMonkey Queen. London: Pictures on Walls, 20043 colour screenprint on wove paper. Sheet size: 50 × 35 cm. Excellent condition. Presented float mounted in a white wooden frame with conservation acrylic glazing by Darbyshire.

signed limited edition, number 468 from an edition of 750. This work is accompanied with a Pest Control authentication certificate.£12,500 [127738]

7 BanksySoup Can (Original). London: Pictures on Walls, 20055 colour screenprint on wove paper. Sheet size: 50 × 35 cm. Small amount of stray silver ink to extreme top edge as published otherwise in excellent condition. Presented float mounted in a handmade white gold leaf frame with acrylic glazing.

signed limited edition, number 38 of 50, signed and dated by Banksy lower right, numbered lower left, with Pictures on Walls blind stamp lower left. This work is accompanied by a Pest Control authentication certificate.£27,500 [127735]


8 Peter Beard[Title in Japanese:] The Last Word from Paradise. Tokyo: Shueisha, 1979Quarto. Original white glossy paper covered boards, titles to spine and front board brown, pictorial map front endpapers, photographic rear endpapers. With the photographic dust jacket. With black and white photographs throughout, some folding. A near-fine copy in the lightly rubbed jacket.

first edition. It was published to coincide with the exhibition of the same name, held at the Seibu Museum of Art in Tokyo in March and April 1979.£600 [129888]

9 Cecil BeatonCecil Beaton’s Scrapbook. London: B. T. Batsford Ltd, 1937Quarto. Yellow cloth-backed floral wallpaper boards with green cloth tips, spine lettered in red, floral wallpaper endpapers. With the dust jacket. Illustrated throughout, printed in blue and black on white and pink paper. Many halftone photographic reproductions. Tiny discolouration at base of boards, some very faint foxing to contents, else a very good copy in the scarce dust jacket, chipped at extremities and to spine panel.

first edition. Featuring 34 studies on a wide variety of subjects, it was published in September 1937 to a fanfare of publicity over the inclusion of articles on the private lives of Hollywood film stars. It was published at the height of Beaton’s pre-war fame, and followed shortly after his two famous commissions for Wallis Simpson that year: her pre-wedding Vogue photoshoot in the scandalous “lobster” dress and the formal photographs of her wedding to the Duke of Windsor. £750 [126551]


10 Burton Y. BerryTeenage Styles and Trends 1967–71. A Retrospect. Lucerne: Privately printed by C. J. Bucher Ltd., 1972Quarto. Original photographic boards, titles to front board in white. With the original brown paper wrapper with Teenage printed in black to one edge. Housed in a silver flat-back cloth box with black lettering by the Chelsea Bindery. 63 full-paged black and white photographs. Spine just a touch rolled. An excellent copy.

first edition, with the scarce wrapper. A collection of photographs taken by retired American diplomat Burton Yost Berry in metropolitan cities worldwide in an attempt to capture the fashion of the “in” crowd.Parr & Badger III, pp. 77 & 80.

£5,000 [123974]

11 Werner Bischof24 Photographies. Avec une introduction de Manuel Gasser. Bern: L. M. Kohler, 1946Quarto. Publisher’s original white cloth-backed paper on boards portfolio, cloth ties, titles to front board in white. With 1 plate mounted to front cover of portfolio and 23 loose black and white plates housed inside. Just a hint of rubbing to extremities of plates. Near-fine in the lightly rubbed and slightly soiled portfolio.

first edition, first printing, featuring 24 photographs by the award-winning Swiss photographer and photojournalist. With an introduction by Manuel Gasser on a folded sheet.£750 [128751]


12 (Black Panthers; Huey P. Newton) Bill OliveHappy Birthday, Huey P. Newton ’69. Los Angeles: Earl Newman Posters, 1969Screen print on heavy wove paper. Sheet size: 89 × 58.5 cm. Presented in a hand-finished black frame with conservation acrylic glazing. Small amount of ink loss due to a printing fault in the screen printing process to extreme left edge otherwise in excellent condition.

Psychedelic poster celebrating the birthday of Huey P. Newton (1942–1989), the political and urban activist who co-founded the Black Panther Party in 1966 with Bobby Seale. Initially the Panthers were a community and grassroots organization seeking to break the cycle of poverty, drug abuse, and crime in the Bay Area; they became famous for organizing free breakfasts for schoolchildren. After Martin Luther King Jr.’s assassination in April 1968, some of the black community questioned the strategy of non-violent resistance and political agitation, favouring rhetoric and programmes that promoted African American separatism as well as the use of violence to obtain it. Newton was charged with two murders, although he was never convicted; he was also tried for embezzlement. He was killed in a West Oakland crack house after a dispute with a drug dealer. Not much is generally known about the artist, Bill Olive, who did a handful of other notable psychedelic posters during this period, other than he was an English artist, who had come to work for Earl Newman posters in Los Angeles, arriving in January 1968.£3,000 [127599]

13 (Brontë & Haworth photographs) Set of 43 lantern-slides. [Heckmondwike:] 190443 glass lantern-slides (82 × 82 mm). Housed in a wooden slide container (375 × 105 × 100 mm), with 50 numbered slots, and metal latch. Plates crisp and fresh, thin crack to glass of plate labelled “Moorseats, Hathersage”. Box a little scuffed and scratched, subsequent slide listings to paper label on inside of lid in pencil, “paid by cheque, thank you” faintly etched to lid of box, damage to dividers of slots numbered 41–3.

A beautiful set of lantern lecture slides of key locations and figures in the lives of the Brontë sisters. The majority of the plates are labelled in manuscript in ink, and are produced from an article in The Bookman, October 1904, with the text from The Bookman occasionally visible on the reverse of the plates. The photographs used in the article were by John James Stead, a local Brontë scholar, and it seems


possible that these plates were his, as the Brontë Society records a meeting at which Stead “exhibited a most interesting series of about 50 lantern slides of places associated with the lives of the Brontë sisters”, meaning this set is near complete.Stead was a founding member of the Brontë Society and an acquaintance of Ellen Nussey; Nussey is known to have given him her brother Henry’s diary, in which his proposal to Charlotte Brontë was noted, as well as one of the locks of Charlotte’s hair Nussey took at the funeral, which he later donated to the British Library. Stead was active in reconciling the dual demands for both literary criticisms of the Brontës and accurate biographical works, and in 1897 published the Chronology of the Principal Events in the Lives of the Brontës, a work still referenced by Brontë scholars. The plates feature locations that are thought to have inspired Charlotte Brontë’s Shirley and Jane Eyre, such

as Oakwell Hall and Hollows Cottage, as well as key locations from the Brontës’ lives, including two slides with photos from the Héger Pensionnat in Brussels. They also include engravings from the 1897 editions of Shirley and Jane Eyre by the illustrator F. H. Townsend, facsimile autographs by the sisters, and a section of the original manuscript of Jane Eyre.In 1907 Stead published a series of short articles in the Brontë Society Transactions, at least six of which correspond to images in these slides, and which can serve as lecture notes to the plates.£2,750 [129437]


14 (Die Brücke: Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, & Karl Schmidt-Rottluff ) Katalog zur Ausstellung der K. G. Brücke in Galerie Arnold, Dresden, Schloßstraße. September 1910. Dresden: Künstlergruppe Brücke, 1910Quarto. Original ochre wrappers with title and illustration in black to front cover. Housed in a black quarter morocco solander box with chemise by the Chelsea Bindery. With 20 original woodcuts printed on wove paper; 4 by Heckel including the front cover, 11 by Kirchner including 5 with mainly text, 3 by Pechstein and 2 by Schmidt-Rottluff. About 4cm loss to foot of spine and corresponding split to the lower joint, otherwise a very good bright copy.

first edition. Although the Brücke Group was originally formed in 1906, the exhibition at Galerie Arnold in 1910 was the first major show where they created a catalogue illustrated with original

woodcuts. Half of the woodcut illustrations are based on paintings by other members of the group.Bolliger & Kornfeld 42. Heckel; Dube 177–179. Kirchner; Dube 700–703, 721–726. Schmidt-Rottluff; Schapire 49–50.

£35,000 [126256]


15Edward Burne-JonesThe Flower Book. London: Henry Piazza et Cie, for the Fine Art Society, 1905Folio (320 × 262 mm). Original green morocco, titles to spine and front cover in gilt, frames to covers in gilt, top edge gilt, others untrimmed, grey endpapers. Housed in a green morocco-backed, cream velvet lined, folding box with metal clasp. Printed in red and green. With 38 colour plates and 4 pages of facsimile manuscript. A fine copy.

first edition, number 235 of 300 copies, initialled “F.A.S.” [Fine Art Society] on the limitation page. Burne-Jones (1833–1898) “began the series for his own pleasure in 1882, as a rest from more laborious

work”, and worked on the 38 roundels over the subsequent 16 years (Introduction). The roundels do not depict the flowers themselves, but were inspired by the folklore surrounding the flowers’ names. Much of the folklore was told to Burne-Jones by Lady Eleanor Leighton Warren, a close friend and long-term correspondent of the family. Burne-Jones wrote to Leighton Warren asking for further tales, noting that, “I want the name and the picture to be one soul together” (Memorials of Edward Burne-Jones, 1906, Vol. II p. 118). The roundels were worked in watercolour, gouache, and gold paint, and reproduced here by Piazza by hand-stencilling watercolour over collotypes using the pochoir technique. Notably striking plates include “The Witches’ Tree” (xv), which is a treatment of “The Beguiling of Merlin”, and “Meadow Sweet” (xxxv), which combines the ship from “The Sirens” with the central figures of “Arthur in Avalon”. Burne-Jones’s wife, Georgina, who was responsible for the publication, sold the original plates to the British Museum in 1909.£15,000 [128679]


16 (William Burroughs) Keith Haring & Brion GysinFault Lines. Munich & New York: Edition Schellmann, 1986Oblong quarto. Original red cloth, spine and front board lettered and decorated in gilt, fore edge untrimmed. With the publisher’s black card slipcase. With 52 full-page illustrations in black and white by the authors. A fine copy in a faintly rubbed slipcase.

signed limited edition, presentation copy, inscribed by Haring to William Burroughs on behalf of Brion Gysin who died just before the sheets were ready for signing: “For William with love – Keith & Brion 86†”. This is number 11 of 200 copies signed by Haring and with the posthumous stamped signature of Gysin.£3,750 [124279]

17 Gian Burrurini & Allen GinsbergLondon. Verona: Editrice SAF, 1969Quarto. Original grey boards, titles to front board gilt. With the photographic dust jacket. Black and white photographs throughout. Corners and spine somewhat bumped, boards a little marked. Internally a touch browned, but otherwise still clean. A very good copy in the slightly toned and nicked jacket.

first edition. Butturini’s photographs, together with a poem by Allen Ginsberg, depict “the poor and the working class who failed to make good in the 1960s, contrasting that with the tourist view”. Butturini, an Italian graphic artist who arrived in London on a work assignment in 1969, began photographing the capital, starting at Victoria station after encountering the heroin addicts there.Parr & Badger III, pp. 154–5.

£1,500 [127382]


18 Anthony Caro & David Pelham Leaf Pool 1996–2000. London: Bernard Jacobson Gallery, 2000Quarto. Original dark grey boards, titles to front cover in white. Housed in the heavy duty slipcase with locking device, titles to front cover and spine in white. This is a collaboration between the sculptor and award-winning designer and paper-engineer David Pelham with the book opening up into a wall mounted card sculpture (29.8 × 64.5 × 8.9 cm). It may be locked open and hung on a wall, displayed flat or kept as a book on a bookshelf. A few trivial smudges, else near-fine.

signed limited edition, number 103 from an edition of 500, signed and numbered by Caro in silver ink on the base of the sculpture.£2,500 [127385]

19 (Marc Chagall) Julien Cain The Lithographs of Chagall. Monte Carlo; Boston; New York: André Sauret; Boston Book and Art Shop Inc.; Crown Publisher’s Inc., 1960–866 volumes, large quarto. Original tan cloth, titles to front covers and spines in black. With the original lithographic pictorial dust jackets. Vol. II is housed in the publisher’s plain card slipcase. Text of vol. III in French. Profusely illustrated throughout and with 28 original lithographs by Chagall. With the bookplate of lawyer Israel Perry to the front pastedown of vol. V. Bookseller’s ticket to rear pastedown of vol. III. A near-fine set, with minor rubbing to extremities, in the jackets with nicks to spine ends, chip to head of spine of vol. I, with a couple of short closed tears to top edge. Chips to head of spine and rear panel of glassine to vol. III, closed tear to head of rear panel of vol. V.

first editions of the catalogue raisonné of Chagall’s lithographic work, a monumental feat of publishing which took more than two decades to complete. Volumes I and II contain 24 of the original lithographs, including their dust jackets, the remaining 22 of which are bound in as plates. Four original lithographs feature as the frontispieces and dust jackets of volumes III and IV.£4,500 [128730]


20 Salvador DalíSagittarius. Paris & New York: Leon Amiel, 1967Coloured lithograph after an original gouache on Arches paper. Sheet size: 72.8 × 51.8 cm. Excellent condition.

signed limited edition, number 118 from an edition of 250 on Arches paper, signed by Dalí in pencil lower right and numbered lower left. One of 12 plates from The Twelve Signs of the Zodiac portfolio.Field 67–6.

£3,750 [129899]

21 Salvador DalíScorpio. Paris & New York: Leon Amiel, 1967Coloured lithograph after an original gouache on Arches paper. Sheet size: 72.8 × 51.8 cm. Excellent condition.

signed limited edition, number 118 from an edition of 250 on Arches paper, signed by Dalí in pencil lower right and numbered lower left. One of 12 plates from The Twelve Signs of the Zodiac portfolio. Field 67–6.

£3,750 [129903]


22 Salvador DalíCapricorn. Paris & New York: Leon Amiel, 1967Coloured lithograph after an original gouache on Arches paper. Sheet size: 72.8 × 51.8 cm. Excellent condition.

signed limited edition, number 118 from an edition of 250 on Arches paper, signed in pencil by Dalí lower right and numbered lower left. One of 12 plates from The Twelve Signs of the Zodiac portfolio.Field 67–6.

£3,750 [129906]

23 Salvador DalíDalí. Edited and arranged by Max Gérard. Translated by Eleanor R. Morse. New York: Harry N. Abrams, Inc., 1968Quarto. Original pictorial cloth, spine lettered in white, pictorial endpapers. With the pictorial-gilt dust jacket. Copiously illustrated throughout in colour and toned gravure. Spine a touch rolled, light wear to extremities, edges a little stained. A very good copy in the somewhat worn, creased and scuffed jacket with one short tear to rear panel.

first edition in english, issued the same year as the French edition, no priority established. Boldly inscribed, together with an original drawing by the artist in pencil to Peter Owen on the verso of the front free endpaper. Peter Owen founded Peter Owen publishers in 1951 and went on to publish some of Dalí’s work. A splendid collection of Dalí’s work, produced under his supervision, in a beautiful pictorial-gilt dust jacket with The Persistence of Time inset on the front panel.£3,750 [126201]


24 Salvador DalíSommiel innocente. (Innocent Sleep.) Paris: Cercle de Bibliophilie du l’Automobile Club de France and Editions Francony, 1974Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing.

signed limited edition, number 3 of 20 on Arches, signed by Dalí in pencil lower right and numbered lower left. This is one of 10 prints from Le paradis perdu portfolio.Field 74–11A; Michler & Lopsinger 712(c).

£1,750 [129769]

25 Salvador DalíL’ange. (The Angel.) Paris: Cercle de Bibliophilie du l’Automobile Club de France and Editions Francony, 1974Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing.

signed limited edition, number 3 of 20 on Arches, signed in pencil lower right by Dalí, numbered lower left. One of 10 prints from Le paradis perdu portfolio.Field 74–11; Michler & Lopsinger 704(c).

£1,750 [129771]


26 Salvador DalíLe fuite de Satan. (The Flight of Satan.) Paris: Cercle de Bibliophilie du l’Automobile Club de France and Editions Francony, 1974Drypoint etching in colours on Vélin d’Arches paper. Plate size: 27 × 21 cm. Sheet size: 37.7 × 27.7 cm. Excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing.

signed limited edition, number 3 of 20 on Arches, signed in pencil lower right by Dalí, numbered lower left. One of 10 prints from Le paradis perdu portfolio.Field 74–11G; Michler & Lopsinger 713(c).

£1,750 [129773]

27 Salvador DalíLa Reine Iseult et sa fille. (Queen Isuelt and her Daughter.) Geneva: Pamela Verlag, 1970Drypoint etching printed in colours on BFK Rives wove paper. Plate size: 40 × 26.5 cm. Sheet size: 45 × 33 cm. Light toning to borders from previous mount otherwise in excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing.

signed limited edition, number xviii of 25 numbered in roman numerals aside from the edition of 125. Signed in pencil by Dalí lower left, numbered lower right, and with orange tree blind stamp lower left.Field 70–10M; Michler & Lopsinger 409b.

£1,500 [125605]


28 Bruce Davidson Brooklyn Gang. Santa Fe: Twin Palms Publisher, 1998Quarto. Original black cloth, titles to spine and front board yellow, green endpapers. With the photographic dust jacket. With 71 black and white photographs. A near-fine copy.

first edition, signed by the photographer on the title page. This is the first publication of the complete set of a series of photographs taken during the summer of 1959 by Magnum photographer Bruce Davidson. The photographs follow “The Jokers”, one of the many youth gangs in Brooklyn at a time when there were “an estimated thousand gang members in New York City”. The photographs are accompanied by a short text by the photographer and a longer interview with one of the former gang members.£600 [128726]

29 (Marcel Duchamp) George Hugnet La Septieme face du dé. Poëmes, découpages. Paris: Éditions Jeanne Bucher, 1936Quarto. Original hand-sewn green wrappers with titles and embossed photo illustration to front cover in black. Housed in a black cloth flat-back box by the Chelsea Bindery. Illustrated cover by Duchamp and 20 collage poems by Hugnet. Front cover lightly chipped to corners and edges, with grazing to the Man Ray image causing a slight loss, damp stain to head of back cover, internally a few light marks but predominantly a bright copy.


first edition, limited issue, number 164 of 250 copies, from a total edition of 296 copies. Duchamp’s cover combines a photograph by Man Ray of his readymade “Why Not Sneeze, Rose Selavy” with titles whose letters contain the names of many in the surrealist pantheon, including Sade, Freud, Rimbaud, Paracelsus, Swift, Heraclitus, Chaplin, Jarry, Uccello, and Saint-Just.Roth 101, p. 92; Schwarz 444.

£7,500 [127717]

30 Sébastian Girard Nothing but Home; [with] Desperate Cars; [and] Under House Arrest. Self-published, 2009–11Together 3 works, quarto. Original photographic paper covered-boards, titles to spines and front boards white. Colour photographs throughout all works. Minor shelf wear and light rubbing to extremities. Near-fine copies.

first editions, signed limited issues, Nothing but Home number 90 of 100 copies, Desperate Cars number 22 of 100 copies, and Under House Arrest number 81 of 100 copies. Each work has an original signed and matching numbered photograph loosely inserted.£750 [128740]

31 Guido Guidi Varianti. Tavagnacco, Italy: Art&, 1995Quarto. Original white wrappers, titles to spine black. With the dust jacket. With 97 full page photographs. Spine a little creased, shelf wear to extremities, front wrapper a touch soiled. A very good copy in the tanned and lightly soiled and rubbed jacket.

first edition, with text in English and Italian.£600 [129212]


32 Richard HamiltonSwingeing London 67 – poster. Milan: ED 912 Edizioni di Cultura Contemporenea, 1968Photo-offset lithograph in colours from 6 plates on Fabriano paper. Sheet size: 70.5 × 50 cm. Excellent condition. Presented in a lime wax ash frame.

signed limited edition, number 24 of 50, signed by Hamilton and numbered in pencil lower left. In 1967 Hamilton formed a collage from newspaper cuttings that had been amassed at art dealer Robert Fraser’s gallery after the arrest of Fraser and Mick Jagger for drug possession. The collage includes a photograph of Fraser and Mick Jagger handcuffed together in a police van taken by John Twine. This is the first use of the photograph by Hamilton in his various prints using this image.Verlag 69.

£15,000 [127177]

33 Richard HamiltonPalindrome. New York: Multiples Inc and Castelli Graphics, 1975Lenticular acrylic with collage, laminated on collotype in 5 colours on Chromolux paper, mounted as issued. Sheet size: 72.5 × 57.1 cm. The top edge of the lenticular looks as though it has damp staining but there is no damp staining to the attached mount, so presumably this is a production fault. Presented in a lime waxed ash frame.

signed limited edition, number 22 from an edition of 100, signed and numbered by Hamilton in black pen lower left. It was printed by Hamilton and Heinz Häfner at Eberhard Schreiber, Stuttgart, and photographed and laminated at Vari-Vue, Mount Vernon, New York.£6,000 [127176]


34 Keith HaringEight Ball. Kyoto: Kyoto Shoin International Co., 1989Large octavo. Original pictorial boards, titles to spine black, titles to front board red and black, red endpapers. Illustrated throughout. Extremities a touch bumped, boards a little rubbed and soiled. A very good copy, internally clean.

first edition, first printing, presentation copy, inscribed by Haring to fellow artist Sean Kalish: “For Sean – Thanks for the drawing. Our collaboration is really turning out great. Nice working with ya’. Keith xxx”, together with an original cartoon self-portrait by him. Haring and Kalish worked together in 1989 on a series of etchings.£3,000 [128741]

35 (Damien Hirst) Robert SabbagSnowblind. Edinburgh: Rebel Inc., 1998Octavo. Original glass mirror boards with sliver spine, titles to spine in blind. With the metal credit card-style bookmark and the rolled-up $100 bill as issued. Housed in the original printed slipcase. Book designed by Damien Hirst. A fine copy.

signed limited edition, number 595 of 1,000 copies signed by Damien Hirst, Robert Sabbag, and Howard Marks on the title page. Snowblind, Robert Sabbag’s account of the cocaine smuggler Zachary Swan, was originally published in 1976.£1,375 [129720]


36David HockneySecret Knowledge. Rediscovering the Lost Techniques of the Old Masters. London: Thames & Hudson, 2001Quarto. Original yellow cloth, spine lettered in black, dolphin design to front cover stamped in blind, pictorial endpapers. With the dust jacket. With 198 photographic plates. A fine copy in the dust jacket.

first edition, signed by the author on the half-title verso. From the collection of the Greek poet and publisher Nikos Stangos, who published Pictures by David Hockney in 1979, though unmarked as such. In Secret Knowledge, Hockney lays out his theories about how some of Western art’s most famous masterpieces, such as those by da Vinci, Caravaggio, Velázquez, and Van Eyck, were actually created. He offers fascinating insights into the history of art, including the concept that many Old Masters used mirrors and various optical devices to project images onto their canvasses and then traced the scenes.£750 [129739]


37 David Hockney & Stephen SpenderChina Diary. London: Thames and Hudson, 1982Quarto. Original red cloth, titles to spine and design to front cover gilt. With the original lithograph housed in a printed red folder. All housed in the publisher’s printed box. Illustrated with 158 watercolours, drawings, and photographs. Original 5 colour hand-drawn lithograph drawn on 1 lithographic stone and 4 aluminium plates on Somerset satin-finish mould-made rag paper, folded 3 times to form four paper panels. Sheet size 48 × 54 cm. Some staining and rubbing to box, else a near-fine copy.

first edition, signed limited issue, one of 1,000 unnumbered copies signed by Hockney and Spender, together with a print signed, numbered and dated by Hockney in pencil lower right, all as issued. Tokyo 234.

£2,500 [124986]

38 David Hockney; Stephen Spender (ed.) Hockney’s Alphabet. Written contributions edited by Stephen Spender. London: Faber and Faber for the AIDS Crisis Trust, 1991Folio. Original bright yellow buckram, spine lettered in gilt on a dark blue background, cream endpapers. Housed in the original light grey cloth slipcase. With 27 colour illustrations. A fine copy.

signed limited edition, specially bound in yellow buckram and signed by Hockney and Spender in green and red ink respectively. This work was a collaborative effort created to raise money for the AIDS Crisis Trust. Spender invited several British and American writers to contribute with texts that could accompany Hockney’s specially drawn alphabet. The written contributions are by Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney, David Hockney, Kazuo Ishiguro, Erica Jong, Doris Lessing, Norman Mailer, Ian McEwan, Arthur Miller, Iris Murdoch, Nigel Nicolson, John Julius Norwich, Joyce Carol Oates, V. S. Pritchett, Craig Raine, Susan Sontag, Stephen Spender, John Updike, Anthony Burgess, Ted Hughes, Paul Theroux, Gore Vidal, and T. S. Eliot. Norman Mailer declined his invitation, but his “letter refusing seemed such a good model for Polite Rejection” that it was nonetheless published as his contribution (Preface).£700 [126867]


39 Gustav Klimt Akt eines jungen Mädchens (Rot und Blaustift). [Nude of a young girl (red and blue pencil).] Vienna: Gilhofer & Ranschburg, 1919Collotype in colours on matt art paper tipped onto thin cream card with mount as issued. Sheet size: 52 × 32.6 cm. Some damp staining to the mount and small crease to top right corner otherwise in excellent condition. Presented in a white gold leaf frame with conservation acrylic glazing.

One of an edition of 500 (there were also 10 proofs). Printed by The Art Institution Max Jaffé in Vienna and issued as one of 25 prints from the portfolio Fünfundzwanzig Handzeichnungen.£2,500 [126017]

40 Gustav Klimt Akt, stehend, mit Tuch (rot getönt). [Nude, Standing, with Cloth (red tinted).] Vienna: Gilhofer & Ranschburg, 1919Collotype on matt art paper tipped onto thin cream card with mount as issued. Sheet size: 51.3 × 33.7 cm. Some damp staining to the mount and

small crease to top right corner otherwise in excellent condition. Presented in a white gold leaf frame with acrylic glazing.


41 Gustav Klimt Skizze zu einem Fries im Palais Stocklettes, Brüssel. [Sketch of a Frieze in the Palace Stock Lette, Brussels.] Vienna: Gilhofer & Ranschburg, 1919Collotype on matt art paper tipped onto thin cream card with mount as issued. Sheet size: 52.1 × 32.5 cm. Some damp staining to the mount otherwise in excellent condition. Presented in a white gold leaf frame with acrylic glazing.



42 (Oskar Kokoschka) Edith Hoffman Kokoschka. Life and Work. London: Faber and Faber Limited, 1947Octavo. Original yellow cloth, spine lettered in gilt on red ground. With the dust jacket. Tipped-in colour frontispiece, 4 tipped-in colour plates, 30 black and white plates, illustrations in the text. Spine very slightly darkened, extending onto edges of covers, spine ends and tips lightly rubbed. A very good copy in the chipped dust jacket, spine slightly faded, short closed tears, a little loss to ends of joints, 3 small rips and dark marking to rear panel.

first edition, presentation copy, inscribed by the artist to his sister, “For my beloved sister Biboschl at Xmas 1947 with thousand kisses from her brother Oskar, London, 16.xii.47”, on the front free endpaper. Berta Kokoschka (b.1889) is mentioned only briefly in this biography, “their [Oskar and brother Bohuslav] sister married a Czech and thus returned to the country from which the father came” (p. 26).£1,500 [125586]

43 David LaChapelle Artists and Prostitutes. London: Taschen, 2005Folio. Original pink and black cloth. Housed in contrasting black and pink solander box. A fine copy.

signed limited edition, number 692 of 2,500 copies signed by the photographer. A superb large-format Taschen publication showcasing the vibrant colour-saturated photography of David LaChapelle. Once dubbed the Fellini of photography, LaChapelle has worked for the most prestigious international publications and has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. The full-bleed colour illustrations are colour-separated and reproduced in Pan4C, a modern reproduction technique which provides unequalled intensity and colour range.£2,500 [127752]


44LEVINE, ChrisLightness of Being. [Queen Elizabeth II.] London: 20043D lenticular print. Sheet size: 68 x 48.6 cm. Framed size: 88.6 x 68.8 cm. Excellent condition. Presented in the artists white wooden frame inside a larger white wooden frame with UV protective glazing.

unnumbered aside from the edition of 200, signed in black felt tip on a label to the verso. To create the three-dimensional portrait, Chris Levine took over 10,000 images and 3D data-sets of the Queen

during two sittings at Buckingham Palace. The work depicts the Queen wearing the Diamond Diadem, created for George IV and worn by Her Majesty for the procession to her coronation in 1953.£30,000 [130446]

45 John Lennon & Yoko Ono; Bob GruenSometime in New York City. Guildford: Genesis Publications Limited in association with the estate of John Lennon, 1995Folio. Original black leather-backed silkscreened aluminium boards, spine lettered in silver, edges silver. With the original slipcase and housed in a silkscreened solander box with metal title plate to the lid. Illustrated throughout with photographs by Bob Gruen on 200gsm matt art paper with trace overlays. A fine copy.

signed limited edition, number 284 of 2,500 copies signed by Ono and Gruen from a total edition of 3,500.£750 [125314]


46 Roy Lichtenstein Haystack #2. Los Angeles: Gemini G.E.L., 1969Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Image size: 34 × 59.7 cm. Sheet size: 52.7 × 77.6 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing.

signed limited edition, number 64 of 100, signed and dated by Lichtenstein in pencil lower right, numbered lower left. G.E.L. blind stamp lower right.Corlett 66.

£14,500 [127387]

47 Roy Lichtenstein Haystack #5. Los Angeles: Gemini G.E.L., 1969Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Image size: 34.1 × 59.7 cm. Sheet size: 52.4 × 78.1 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing.


£14,500 [127388]

48 Roy Lichtenstein Haystack #3. Los Angeles: Gemini G.E.L., 1969Lithograph in 2 colours and screenprint in 1 colour on Rives BFK paper. Image size: 34.3 × 59.9 cm. Sheet size: 52.5 × 78.1 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing.


£14,500 [127389]

49 Roy Lichtenstein Haystack #7. Los Angeles: Gemini G.E.L., 1969Lithograph in black and embossing on Special Ajomari paper. Image size: 34.6 × 60 cm. Sheet size: 52.7 × 77.8 cm. Excellent condition. Presented in a light wooden box frame with conservation acrylic glazing.


£14,500 [127390]


50 Roy Lichtenstein The Solomon R. Guggenheim Museum. New York: The artist and Leo Castelli Gallery, 1969Screenprint in 4 colours on Rives paper. Image size: 58.7 cm diameter. Sheet size 73 × 73 cm. Colours attenuated. Presented float mounted in a handmade black wooden frame with conservation acrylic glazing.

signed limited edition, number 66 of 250, signed and dated by Lichtenstein in pencil lower right and numbered lower left. This image was created for Lichtenstein’s first solo exhibition in a New York museum and was also produced as a poster to advertise the show with typography encircling the image.Corlett 83.

£12,500 [125211]

51 Robert Mapplethorpe; Bruce ChatwinLady Lisa Lyon. New York: Viking Press, 1983Quarto. Original photographic wrappers, titles to spine and front wrapper black and white. Illustrated throughout. Tail of spine a little bumped, mild rubbing to extremities. A-near fine copy.

first edition, signed by mapplethorpe and inscribed by Lyon on the half-title, “for Bill, L.A. ‘83”.£750 [128760]


52 Eddie Martinez No Title 2. Copenhagen: Edition Copenhagen, 2015Original lithograph on 300 gsm Velin d’Arches paper. Sheet size: 69.5 × 49.5 cm. Excellent condition. Presented in a black wooden frame with acrylic glazing.

signed limited edition, number 74 of 80, signed by Martinez and dated lower right in pencil, numbered lower left. £1,250 [129290]

53 Eddie Martinez No Title 5. Copenhagen: Edition Copenhagen, 2016Original lithograph on 300 gsm Velin d’Arches paper. Sheet size: 69.5 × 92.5 cm. Excellent condition. Presented in a black wooden frame with acrylic glazing.

signed limited edition, number 48 of 60, initialled by Martinez and dated lower right in pencil, numbered lower left.£1,750 [129288]

54 Harland MillerArmageddon: Is It Too Much To Ask? London: Paragon Press, 2017Polymer gravure with photo-etching and wood block printing on Hahnemuhle Bright White 350 gsm paper. Sheet size: 180 × 119.5 cm. Excellent condition. Presented in a black wooden frame with acrylic glazing.

signed limited edition, one of 50, signed by Miller and numbered in pencil on the verso. Miller’s design is inspired by the op-art cover imagery of the popular psychology books from the 1960–70s. £25,000 [125606]


55 (Pablo Picasso) AristophanesLysistrata. A New Version by Gilbert Seldes. New York: The Limited Editions Club, 1934Quarto. Original pictorial patterned boards, spine and front cover lettered in white, fore and lower edges untrimmed. Housed in the original blue paper-covered slipcase and chemise. Illustrated by Picasso with 6 original etchings and 34 lithographed drawings. Spine a little sunned, else a fine copy in the box, neatly repaired to bottom edge, with 6 cm loss.

first and limited edition, number 1,103 of 1,500 copies signed by Picasso. This finely produced work features Picasso’s sensitive line drawings, which carefully “capture the braggadocio of both the men and women in the play” (Rutledge, p. 36).Rutledge, Harry C., The Guernica Bull: Studies in the Classical Tradition in the Twentieth Century (2008).

£5,750 [125683]

56 Pablo PicassoPortrait de Vollard I. Paris: Ambroise Vollard, 1937Aquatint on copper on Montval laid paper with Vollard watermark. Plate size: 35 × 25 cm. Sheet size: 44.5 × 34 cm. Light tape residue to verso from previous hinging otherwise in excellent condition. Presented in a gilt wooden frame.

first edition, one of 250, signed by picasso in red pencil lower right. This is one of 100 etchings in the neoclassical style from the Vollard Suite that Picasso produced from 1930 to 1937 for the art dealer Ambroise Vollard. Picasso produced 97 plates, rounded up with three portraits of the art dealer.Baer 617; Bloch 232; Coppel 99.

£12,500 [125744]


57 Pablo PicassoBuste de Femme avec Fichu. (Bust of a Woman with Kerchief.) Paris: Jacques Frelaut, 1939Copper aquatint with scraper and burin on Vergé Ancien deckle edged laid paper. Plate size: 25.8 × 22.2 cm. Sheet size: 52.2 × 39 cm. Excellent condition. Presented in a handmade white gold leaf frame with acrylic glazing.

second state, signed by picasso in pencil lower right. A test print by the printer Jacques Frelaut from 1960, this is a portrait of Dora Maar, the lover and muse of Picasso from 1935 to the early forties.Baer 672 IICa; Bloch 324.0.

£12,500 [125599]

58Pablo Picasso Femme dans un fauteuil et guitariste. Paris: Louis Leiris, 1959Linocut from one block in black, brown and beige on Arches paper. Image size: 53 × 63 cm. Sheet size: 62 × 75 cm. Paper cracked before printing but inked evenly over the cracks and unevenly varnished over the black with a black shiny oil based ink at time of printing. Condition as issued. Presented in a handmade gold leaf frame with conservation acrylic glazing.

signed limited edition, number 21 of 50, signed by Picasso in pencil lower right, numbered lower left. Printed by Hidalgo Arnéra, Vallauris.Baer 1232 IIB; Bloch 917; Kramer 30.

£48,000 [123550]


59 Pablo Picasso Le Déjeuner sur l’herbe d’aprés Edouard Manet. (The Luncheon on the Grass after Edouard Manet.) Paris: Galerie Louise Leiris, 1962Linocut from one block printed in black, brown and beige on Arches paper. Image size: 35 × 27 cm. Sheet size: 62.5 × 44.1 cm. Excellent condition. Presented float mounted in a handmade white gold leaf frame with acrylic glazing.

signed limited edition, number 33 of 50, signed by Picasso in pencil lower right, numbered lower left. Printed by Arnéra, Vallauris, this linocut is one of a series of radical reinterpretations of Manet’s famous painting, begun by Picasso in June 1954 and continued over the next decade.Baer 1328; Bloch 1096; Kramer 88.

£35,000 [126011]

60 Pablo Picasso Peintre barbu avec modèle nu et un spectateur. (Bearded Painter with Nude Model and a Spectator). Paris: Louis Leiris, 1963Dry point aquatint with burin on Vélin de Rives BFK watermarked paper. Plate size: 31.5 × 41.5 cm. Sheet size: 45.6 × 55.2 cm. Excellent condition. Presented in a handmade white gold leaf frame with conservation acrylic glazing.

signed limited edition, number 3 of 50, signed by Picasso in pencil lower right, numbered lower left.Baer 1116 IVB.b; Bloch 1122.

£15,000 [125609]


61 Pablo Picasso Peintre et sa toile, avec un Modèle. Paris: Galerie Louis Leiris, 1965Etching and aquatint on Richard de Bas paper. Plate size 27.1 × 37.6 cm. Sheet size 42 × 51 cm. Excellent condition. Presented in a handmade white gold leaf frame with acrylic glazing.

signed limited edition, number 26 of 50, signed by Picasso in pencil lower right, numbered lower left.Baer 1200 Bb1; Bloch 1218.

£13,500 [127727]

62 Pablo Picasso L’étreinte VI. Paris: Galerie Louis Leiris, 1967Aquatint on Vélin de Rives paper. Plate size 31.2 × 41.2 cm. Sheet size 45.1 × 55.2 cm. Excellent condition. Presented in a handmade white gold leaf frame with acrylic glazing.

signed limited edition, number 15 of 50, signed by Picasso in pencil lower right, numbered lower left. Baer 1108 IIIBb; Bloch 1218.

£12,500 [126012]


63 Bridget RileyColoured Greys [2]. London: Karsten Schubert, 1972Screenprint in colours on wove paper. Image size: 56.9 × 57.2 cm. Sheet size: 72.6 × 73.4 cm. Excellent condition. Presented float mounted in a white wooden frame with acrylic glazing.

signed limited edition, number 80 of 125, signed and dated by Riley in pencil lower right, titled and numbered lower left. Printed by Kelpra Studio, London.Schubert 17.

£10,000 [127741]

64 Denis Rouart, & Daniel WildensteinEdouard Manet: Catalogue raisonné. Tome I: Peintures. Paris: La Biblothèque des Arts, 1975Folio. Original red cloth, spine and front cover lettered in gilt. With the dust jacket. Portraiture frontispiece, 5 colour plates, black and white reproductions of Manet’s work throughout. Bookseller’s ticket tipped in front free endpaper, else a fine copy in the very slightly faded jacket.

first edition, the first of two works on Manet by Rouart and Wildenstein. The second work was Pastels, Acquerelles et Dessins, which was published in the same year.£750 [124932]


65 Egon SchieleBildnis Arthur Roessler. (Portrait of Arthur Roessler.) Vienna: Arthur Roessler, 1914Drypoint etching printed in black on thin yellowish Japan paper. Plate size: 24.2 × 32 cm. Sheet size: 31.8 × 39.2 cm. Excellent condition. Presented in a dark grey stained frame with conservation acrylic glazing.

signed limited edition, signed and dated by the artist in pencil lower right below the image, numbered lower left, and additionally signed in pencil lower right in the image by Roessler. This is number

14 from an unknown, but small edition, first state before steel facing. Kallir’s catalogue raisonné of Schiele’s works records four different impressions on various papers and in various sheet sizes, with the highest recorded limitation being 32. Roessler was a friend and advisor of Schiele and financed the artist’s printmaking by supplying the tools and plates he needed for etching. Schiele created his entire oeuvre of six drypoints in late spring and early summer 1914.Kallir 8a.

£35,000 [125608]


66 Pascal SébahAlbum of original photographs of Egypt; together with photographs of prominent Islamic sites in Spain by José Camino and Emilio Beauchy Cano. Egypt & Spain: c.1870sSquare quarto (317 × 290 mm). Contemporary dark brown half skiver rebacked, recent green morocco label, dark brown morocco-grain cloth sides, inner cloth hinges, marbled endpapers. Total of 98 full plate original albumen photographs (mainly 200 × 250 mm), all with identifying manuscript captions in English, mounted on thick card stock, linen hinges, 63 of Egyptian subjects, 29 Spanish, 6 of paintings. Corners professionally refurbished, occasional dust marking otherwise in very good condition.

Engrossing album of original albumen photographs, including a striking and extensive series of views taken at the most notable ancient Egyptian sites by the celebrated photographer Pascal Sébah (1823–1886), one of the most important commercial photographers of the period. Born in Istanbul, Sébah was of Syrian Catholic and

Armenian heritage and initially worked in collaboration with Henri Béchard. He established a studio in Istanbul in 1857, which came to be known as “El Chark” (The Orient), and after receiving medals at International Exhibitions in Paris, Vienna and Philadelphia opened a second atelier in Cairo in 1873. These finely detailed images display a rich tonal range and an adept handling of chiaroscuro; in addition, Sébah often used local people as scaling figures (staffage). The views of Spain concentrate on the superb Islamic sites at Seville and Cordoba, captioned in French in the negative. These are unsigned but we have identified them as the work of Emilio Beauchy Cano (1847–1928), a Sevillano who produced an important and extensive body of work documenting the sites and people of Andalusia. These are followed by a fine series of 14 images taken in and around the Alhambra by José Camino, who had a well-established photographic studio at the Plaza del Carmen. £5,000 [127124]


67 David ShrigleyI Am Currently On Fire. London: Jealous Gallery, 201815 colour screenprint with 2 varnish overlays on Somerset Tub Sized 410gsm paper. Sheet size: 75 × 56 cm. Excellent condition. Presented in a black wooden frame with conservation acrylic glazing.

signed limited edition, one of 100, initialled, dated, and numbered by the artist on verso in pencil.£3,000 [124631]

68 David ShrigleyI’m Sorry For Being Awful. London: Counter Editions, 201812 colour screenprint on Somerset Tub Sized 410 gsm paper. Sheet size: 76 × 56 cm. Excellent condition. Presented float mounted in a black wooden frame with conservation acrylic glazing.

signed limited edition, number 48 of 125, initialled, numbered, and dated by the artist on the verso. £3,500 [127220]

69 David ShrigleyShut Up. London: Counter Editions, 20184 colour screenprint on Somerset Tub Sized 410 gsm paper. Sheet size: 76 × 56 cm. Excellent condition. Presented float mounted in a black wooden frame with conservation acrylic glazing.

signed limited edition, number 48 of 125, initialled, numbered and dated by the artist on the verso.£3,500 [127222]

70 (Humphrey Spender; Bert Hardy; George Rodger) The Picture Post Portfolio. 1938–1957. London: The Hulton Picture Company, [1989]Folio. Original white card portfolio, panels printed in black and red. Housing 18 lithographic prints (360 × 250 mm) after original negatives taken for Picture Post, loose as issued. Portfolio a little marked and creased, occasional faint mark to top margins and verso of prints, not affecting images. A near-fine copy.

signed limited edition, number 23 of 500 copies, each plate signed by the photographer and accompanied by the certificate of


authenticity. This portfolio, produced to celebrate the photography of the magazine Picture Post (1938–1957), provides a stunning snapshot of English life in this period. The Picture Post, described as “a magazine of brilliant individuality”, featured some of the most notable photojournalism of the age, providing photographs from key conflicts of period and images documenting day-to-day life in England (Barker, p. 68). Often compared to America’s Life Magazine, the Picture Post photographic archive is now viewed as an important

historical resource. This portfolio includes two photographs each by: John Chillingworth, Bert Hardy, Thurston Hopkins, Raymond S. Kleboe, Frank Pocklington, Grace Robertson, George Rodger, Humphrey Spender, and Carl Sutton.Paul Barker, “Review: The Real Story of Picture Post”, Michael Hallett (RSA Journal, vol. 143, No. 5458, 1995).

£1,750 [127002]


71 Ralph SteadmanStill Life with Raspberry or The Bumper Book of Steadman. London: Rapp & Whiting Limited, 1969Quarto. Original brown cloth, spine lettered in gilt, brown illustrated endpapers. With the dust jacket. Illustrated throughout by Ralph Steadman. A near-fine copy in the lightly toned jacket, a few short closed tears to edges of panels, 40 mm and 30 mm closed tears to base of rear panel.

first edition, inscribed by the author to News at Ten anchor Reginald Bosanquet (1932–1984), “Still life at 10, to Reggie Ralph Steadman”, with an original pen-and-ink cartoon by Steadman of Bosanquet reading the news on the title page. “Reggie” Bosanquet (1932–1984) was a raffish British journalist and broadcaster, who anchored the News at Ten from 1967 to 1979. His colleague Anna

Ford recalled in 2007: “Reggie was a dear. I mean, you wouldn’t have chosen a man who had epilepsy, was an alcoholic, had had a stroke and wore a toupee to read the news, but the combination was absolute magic”. £1,250 [125226]

72 Ralph SteadmanSigmund Freud. London: The artist, 1979Original black cloth portfolio housing statement of limitation page, title page, and 7 screenprints on Somerset Waterleaf handmade paper. Sheet sizes: 56 × 76 cm. Light rubbing to corners of portfolio and light marking to extreme upper corner of each page with text, otherwise a bright copy.

signed limited edition, presentation copy, inscribed three times by Steadman to his close friend Tom Maschler, head of Jonathan Cape from 1960 to the 1980s, and his wife Regina: “Tom and Regina” in silver marker pen on the front cover; “To Tom, Regina” on the title page; and “For Tom and Regina in case you thought we’d forgotten, Love Ralph & Anna” on the limitation page. This is number 43 of 98 copies signed and numbered by Steadman.£3,750 [128791]


73 Ralph Steadman & Kurt Vonnegut[Modern Fiction and Art portfolio.] Lexington: University of Kentucky Art Museum and Petro III Graphics, 1999–2000Two screenprints: Red Shark by Steadman; Messenger by Vonnegut, on Coventry cotton paper, each 42.5 × 30.5 cm. Together with: Modern Fiction and Art: Prints by Contemporary Authors: slim quarto. Original wrappers, titles and illustration to front cover in black, green and blue. Statement of limitation

on glassine. Housed together in a black cloth portfolio, titles to front cover in silver. All in excellent condition.

portfolio number 10 of 50, both screenprints signed by the respective artist, together with the first edition of Modern Fiction and Art catalogue, signed and numbered by the curator Rachel Sadinsky, the publisher Joe Petro III, and Ralph Steadman and Kurt Vennegut.£2,000 [129943]


74 Henri de Toulouse-LautrecDébauche. (The Debaucher). Paris: Arnould, 1896Original lithograph in 3 colours on vellum handmade Japan paper. Image size: 24.5 × 32.3 cm. Sheet size: 38.3 × 55.9 cm. Tape residue to extreme upper edge from previous hinging otherwise an unfaded bright copy, much brighter than normally encountered. Presented in a handmade gold leaf frame with conservation acrylic glazing.

one of an edition of 50, with toulouse-lautrec’s red monogram stamp lower right. This is in the second state with the monogram on the stone lower right (there is only one known impression of the first state with an elephant monogram upper right). A third state of 100 was also issued with text.Adriani 191 I; Adhémar 212; Deltiel 178 I; Wittrock 167 II.

£50,000 [125760]

75 Mark Wallinger Mark. [London: Anthony Reynolds Gallery, 2011]Quarto. Original black cloth, titles to front cover hand-painted in white paint by Wallinger. Housed in the publisher’s 4mm thick acrylic slipcase. Fine in slipcase.

first edition, only printing, one of 150 copies. Each copy is individually hand-painted on the front cover by Wallinger.£700 [128996]

76 Aby Warburg (Abraham Moritz)Italienische Kunst und Internationale Astrologie im Palazzo Schifanoja zu Ferrara; [with:] Piero della Francesca’s Constantinsschlacht in der Aquarellcopie von Johann Anton Rambouse. Rome: Maglione & Strini, 1921–22Folio, in two parts, pp. 17, [1] blank; 4. Contemporary quarter parchment, brown paper boards, gilt letters to front panel of backstrip, probably bound for the author. 11 and 2 plates, the last in colour. Some pencilled marginalia by Binswanger, two text emendations likely authorial. Light browning to endleaves and margins, a very good copy.


first edition, presentation copy inscribed by Warburg to Ludwig Binswanger (1881–1966): “Seinem lieben und verehrten Dr Ludwig Binswanger, der ihn auf der Heimreise nach Hamburg begleitete, in aufrichtiger Dankbarkeit (“His dear and revered Dr Ludwig Binswanger, who accompanied him home to Hamburg, in sincere gratitude...”) [signed] Warburg, 16 Aug [1]924, 114 Heilwigstrasse”.This is a superb association copy: in 1921, suffering with schizophrenia-like symptoms, Warburg was admitted to Binswanger’s Bellevue Sanatorium in Kreuzlingen, on the Swiss shore of Lake Constance. Binswanger had worked and studied with some of the greatest psychiatrists of the era, including Carl Jung, Eugen Bleuler, and Sigmund Freud; his most illustrious patient was the dancer Vaslav Nijinsky. Binswanger’s therapeutic contribution to Warburg’s eventual recovery has been debated but, as this inscription confirms, Warburg was hugely grateful for his care. Their correspondence and friendship continued until Warburg’s death of a heart attack in 1929.One of the most influential art historians and cultural theorists of the 20th century, Aby Warburg (1866–1929) was the founder of the Warburg Institute – originally the Kulturwissenschaftliche Bibliothek Warburg, a professionally-run private library in his house at 114 Heilwigstraße, Hamburg, where an interdisciplinary community of scholars came together, among them Ernst Cassirer, Erwin Panofsky, Edgar Wind, and Raymond Klibansky. In 1933 the collection was transferred to London as the Warburg Institute, where it remains

as one of the world’s leading centres for studying the interaction of ideas, images and society.Warburg’s best-known single work is this study of the series of frescoes in the “Hall of the Months” at the Palazzo Schifanoia in Ferrara, Italy, painted by Francesco del Cossa, a lecture originally delivered at the Tenth International Art Historical Congress in Rome in 1912. “It marked Warburg’s undisputed leadership in this area of research, with his interpretation of the frescoes in Palazzo Schifanoja, in particular the Decans, the gods ruling 10-day periods . . . Warburg called them the ‘missing links’ between image and symbol and introduced his listeners to a new view of astrology, documenting the centuries-old peregrinations of images of the planets from the Mediterranean to the Middle East, Mesopotamia, Egypt, and from there to Spain. By documenting the route an astrological image took, he could present answers concerning the influence of classical antiquity on the artistic culture of Europe” (McEwan, Dorothea, “Aby Warburg’s (1866–1929) Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art History”, German Studies Review, vol. 29, no. 2, 2006, pp. 243–68). The artist and his frescoes provided much of the historical background to Ali Smith’s 2014 novel How to Be Both.£4,500 [128836]


77 Andy Warhol The Philosophy of Andy Warhol. (From A to B & Back Again). New York: Harcourt, Brace, Jovanovich, 1975Octavo. Original orange cloth-backed yellow boards, spine lettered in white and black, the artist’s initials to lower corner of front cover in black, black endpapers. With the dust jacket. A very good copy in the dust jacket, lightly rubbed and creased.

Second edition, signed by Warhol on the half-title. The work, Warhol’s loosely written autobiography, was first published earlier the same year. £750 [128782]

78 Andy Warhol Andy Warhol’s Interview. December 1977. Vol. VII No. 12. New York: Interview Enterprises, 1977Folio. Original wrappers, titles to front wrapper in pink, yellow, turquoise, orange, purple, red and green. Paper lightly toned as printed on newspaper stock.

first edition, signed by warhol on the front cover across a photo of Mick Jagger dressed as Father Christmas carrying Iman and Paul von Ravenstein in a sack over his shoulder. The cover is designed by Richard Bernstein who painted, sliced, and stencilled celebrity designs which graced the covers of over a decade’s worth of Interview magazine issues (from 1972 into the mid-1980s).£1,000 [125382]


79 Andy Warhol Marilyn Monroe. New York: Leo Castelli Graphics, 1981Screenprint on smooth wove card. Image size: 17.8 × 17.8 cm. Sheet size: 17.8 × 35.6 cm. Light rubbing to 2 patches of top edge otherwise in excellent condition. Presented in a white wooden box frame with conservation acrylic glazing.

signed limited edition, one of approximately 250, signed by Warhol right of image. Published as an announcement for the exhibition Andy Warhol: A Print Retrospective, this hand-printed screen print is known as the Marilyn Monroe Castelli Graphics invitation — a miniature version of Warhol’s famous Pink Marilyn Monroe screen print.Feldman & Schellmann II.31.

£8,000 [125781]

80 Kate WhitefordSitelines. London: Jane Hamlyn, 1989Folio. Title page, statement of limitation and four prints all housed in a grey cloth clamshell box, titles to cover blind-stamped. 4 screenprints in colour on Velin Arches 250 gsm paper. Image sizes: 23.9 × 18 cm. Sheet sizes: 51 × 42 cm. Box a little rubbed, internally all in excellent condition.

signed limited edition, number 18 of 35, each print signed by the artist lower right, numbered lower left. Published to coincide with the artist’s exhibition at the Frith Street Gallery, London, 10 November–9 December, 1989. In 1990 Whiteford represented Great Britain at the Venice Biennale as part of Three Scottish Sculptors, along with David Mach and Arthur Watson.£1,000 [123797]

Christmas 2017: Peter Harrington58www.peterharringtongallery.co.uk

modern and contemporary prints, art and photobooks€¦ · 50 lantern slides of places associated...

Documents