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Laurence Stephen Lowry R.A. (British, 1887-1976) Going to the Match Offset lithograph in colours, 1972, on wove paper, signed in pencil, from the edition of 300, printed by Max Jaffé, Vienna, published by the Medici Society, London, with the Fine Art Trade Guild blindstamp, with full margins, framedImage 531 x 686mm (20 7/8 x 27in)Sheet 643 x 786mm (25 1/4 x 30 7/8in)

£25,000 - £35,000

Coming soon

Léonard Tsuguharu Foujita (Japanese/French, 1886-1968) Fillette au chat Lithograph, 1927, on Japon paper, signed and numbered X 10/10 in blck ink, one of ten proofs aside from the edition of 50, published by Éditions Artistiques Apollo, Paris, with margins, framedImage 300 x 240mm (11 7/8 x 9 1/2in)Sheet 570 x 450mm (22 1/2 x 17 3/4in)

£1,500 - £2,000

Coming soon

The Connor Brothers (British, born 1968) We Are All in the Gutter, from Pulp Fiction Giclée print in colours with screenprint varnish, 2017, on Somerset wove paper, signed, dated and inscribed 'AP' in pencil, an artists' proof aside from the edition of 50, printed by Jealous Studio, published by the artists, London, with full margins, unframedSheet 415 x 290mm (16 3/8 x 11 3/8in)

£600 - £800

Coming soon

David Shrigley (British, born 1968) Leap into the void Screenprint in colours, 2023, on Somerset wove paper, signed with the initials, dated and numbered 9/125 in pencil verso, printed and published by Jealous Gallery & Print Studio, London, the full sheetSheet 550 x 550mm (21 5/8 x 21 5/8in)

£800 - £1,200

Coming soon

John Piper C.H. (British, 1903-1992) Gaddesby, Leicestershire: medieval stonework, Plate III from A Retrospect of Churches Lithograph in colours, 1964, on wove paper, signed and numbered 5/70 in pencil (there were also five copies maked 'A-E'), printed by Curwen Studio, published by Marlborough Fine Art, London, with full margins, framedImage 672 x 472mm (26 7/16 x 18 9/16in)Sheet 820 x 595mm (32 1/4 x 23 3/8in)

£500 - £700

Coming soon

Louis Marcoussis (Polish/French, 1878-1941) Viareggio Drypoint, 1926, on Ingres d'Arches MBM wove paper, a very good impression of the second (final) state, printing with rich burr and a strong plate tone, signed and numbered 48/50 in pencil (there were also a few artist's proofs), published by Jeanne Bucher, Paris, the full sheet, framedPlate 278 x 217mm (11 x 10 7/8in)Sheet 505 x 330mm (19 7/8 x 13in)

£1,000 - £1,500

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Sarah Morris (American/British, born 1967) Big Ben Screenprint in colours with screenprint varnish, 2011, Somerset wove paper, signed, dated and numbered 141/200 in pencil verso, published by Counter Editions, London, the full sheetSheet 760 x 600mm (30 x 23 5/8in) image 1

Lot 219^AR

Sarah Morris
(American/British, born 1967)
Big Ben

Prints & Multiples: featuring an Important Collection of Works by Henry Moore

27 June – 9 July 2025, 13:00 BST

Online, London, Knightsbridge

£500 - £700

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Sarah Morris (American/British, born 1967)

Big Ben
Screenprint in colours with screenprint varnish, 2011, Somerset wove paper, signed, dated and numbered 141/200 in pencil verso, published by Counter Editions, London, the full sheet

Sheet 760 x 600mm (30 x 23 5/8in)

Footnotes

Since the mid-1990s Sarah Morris has been creating complex, geometric, abstract paintings derived from cityscapes and architectural detail, signs and symbols. To celebrate the 2012 London Paralympic Games Morris created an abstract representation of one of the city's most iconic landmarks - Big Ben. The grids and vivid colours create a sense of dynamism and also evoke images of athletic tracks, swimming lanes, and field markings.
- Counter Editions

Variations on the colour palette of this work were used when Sarah Morris was invited by Art on the Underground to create the twelfth commission at Gloucester Road Underground station. 'Big Ben' was a site-specific response to the architecture of the station and the city of London, the dynamic motive spanning eighteen arches across the entire length of the disused platform.

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