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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

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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

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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

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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

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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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Property from an Important Private Collector, UK.

Lot 57^AR

Henry Moore O.M., C.H.
(British, 1898-1986)
Black Reclining Figure IV

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

27 June – 9 July 2025, 13:00 BST

Online, London, Knightsbridge

£600 - £800

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Henry Moore O.M., C.H. (British, 1898-1986)

Black Reclining Figure IV (Cramer 381)
Lithograph, 1974, on wove paper, signed and numbered 15/20 in pencil, printed by Curwen Prints Ltd., London, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, with full margins

Image 232 x 298mm (9 1/8 x 11 3/4in)
Sheet 293 x 405mm (11 1/2 x 15 7/8in)

Footnotes

'I have several themes which recur in my work over and over again. That is, like all artists, I have some obsessions and the reclining figure is one of those that recur most of all; the mother and child is another of the recurring themes, another is the form inside a form, leaving the mystery of the light in it, and leaving something to the imagination. This is one of the reclining figures and sometimes the idea is a sculptural idea. Most of my reclining figures have in my mind a sense of reality, so that I could make them into sculpture. Sometimes to make it more real still, I put the figure, the reclining figure, into a little bit of setting, into a landscape or a room or somewhere, just to give an atmosphere and give the other side the fact that it has got another side.'
— Henry Moore

Literature
Orde Levinson, Orde's conversation with Henry Moore, Song of the Wild Swan Ltd., Oxford, 2014, p.25.

Provenance
An Important Private Collection, UK.

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