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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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Property from an Important Private Collector, UK.

Lot 61^AR

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

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

27 June – 9 July 2025, 13:00 BST

Online, London, Knightsbridge

£700 - £1,000

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

Reclining Figure: Distorted (Cramer 509)
Etching, 1979, on Barcham Green wove paper, signed and numbered I/X in pencil, one of ten artist's proofs aside from the edition of 50, printed Michael Rand, London, published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Much Hadham, 1980, with full margins

Plate 227 x 281mm (8 7/8 x 11 1/8in)
Sheet 425 x 475mm (16 3/4 x 18 3/4in)

Footnotes

'If you draw well, you can etch well, because it is only using a finerpoint. The technical side of all these things is simple, it is not a problem, you can enjoy them, you can enjoy exploiting them and using their special qualities even to have an inspiration. You can get new ideas that you would not get otherwise. But the real fundamental ideas are based on drawing, and drawing is based on the understanding of three-dimensional form, and that is why sculptors really should be even more concerned with drawing than painters.'
— Henry Moore

Literature
Orde Levinson, Orde's conversation with Henry Moore, Song of the Wild Swan Ltd., Oxford, 2014, p.31.

Provenance
An Important Private Collection, UK.

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