Grayson Perry

The American Dream (Orange/Black, special colour version)

Grayson Perry The American Dream (Mauve/Blue), 2021 colour etching from three plates on one sheet, special colour version 109.6 x 239.8 cm edition of 7

Peter Doig 1959 - Two People at Night (indigo), 2016 Edition of 30 signed, numbered and dated lower margin etching with gravure, spitbite 63.5 x 94.6 cm 25 ...

David Hockney Spilt Ink with Tests, 2019 signed in pencil and dated ‘19 art edition (1-100): 11-colour inkjet print on cotton-fiber archival paper book: hardcover, 2 volumes in a cla...

KAWS Untitled (limited edition blanket) blue, 2019 100% cashmere 130 x 180 cm Edition of 85

Jeff Koons Gazing Ball (Manet Olympia), 2017 Signed and dated lower margin Archival pigment print on Innova rag paper, glass Image Dimensions: 33 5/8 x 4...

David Shrigley Untitled, 2019 screenprint on Somerset Tub sized 410gsm edition of 125 76 x 56 cm 29 7/8 x 22 1/8 in

Etching with relief printing Edition of 45/50 Signed on the front, numbered on the back Mint Published by Manifold Editions, 2021 Our mission is to connect art collectors to opportu...

Aquatint on Marais wove paper Edition of 25 Signed and numbered 25/25 in pencil lower right Duthuit 794

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

Pissarro, Camille. COUPLE DE PAYSANS. D.125. Etching and aquatint on laid paper. Unsigned. From the posthumous edition of 10 printed in 1923. 4 3/4 x 3 1/8 inches, 118 x 78 mm. (plat...

Etching and aquatint in colours, 1964, on Richard de Bas wove paper, signed in pencil and numbered 41/50 from the edition of 50, printed by Pennequin for Atelier Crommelynck, publish...