ROSE WINDOW, a Woodcut Signed, Dated 1969 by Pietilä, Tuulikki - 1969

London: Kelpra Studio, 1967. Single sheet.. Very Good. Harold Cohen. Richard H. Silk Screen by Harold Cohen, 1967. Portrait of Richard Hamilton printed in silver ink. Numbered 32 of 50 copies, printed by Chris Prater at Kelpra Studios, London 1967.Printed on thick wove paper with the imprint of the Kelpra Studio on verso.In very good condition, with narrow margins as published. This is one from the set of eight prints that Harold Cohen made of his friend and teacher, Richard Hamilton, who Cohen met whilst at the Royal College of Art. Sheet size 649 x 737mm

London: Design Research Uni, 1973. Very Good +. Sandra Blow. Lithograph with screen printing by Sandra Blow, made in 1973. Printed in six colours on a sheet of white wove paper published by Design Research Unit, London. Number 4 of a possible 20 copies. Signed in plate only,not by hand. The blue square does have a small white printing mark, else in very good condition; Sheet size 255 x 301mmReference: Basford 07. (I understand from my source, that there were 20 copies which were numbered.)

28 costume engravings by W. Hollar including the title page. Overall in good condition, unexamined out of the frame. Framed and glazed.

London: Phaidon Press, 1952. Two volumes bound in publisher's black cloth with gilt lettering, top edges gilt. Near Fine, slight toning at end pages Vol. I, in Near Fine jackets, a few small edge tears and small chips. In Very Good slipcase, the case sun toned and lacking the title plate from front cover. Each volume with its own errata slip laid in. The complete set in dust jackets and slipcase, uncommon thus. A heavy set, priority and international mail will require added shipping charges - please inquire before ordering. . First Edition. Cloth. Near Fine/Near Fine. Folio - over 12" - 15" tall.

Orig. lithograph, 1894. Size; 226 x 142mm. A good impression on wove paper, the full sheet, small margins all round, as supplementary published in La Revue Blanche (N° 30, April 1894). - Traces at the verso from old mounting to a passe-partout (see second picture), but else in good condition. - Salomon 9; Bremen 1965, Roussel, Gr. 9. -Paris 1968, Orangerie des Tuileries, "Vuillard, Roussel", n° 218: "La date de cette lithographie (1894) apporte un précieux point de repère dans l'histoire de la gravure française à la fin du XIXème siècle. Entre l'art de Redon et celui de Munch, 'Noli me tangere' constitue un relai particulièrement significatif... les noirs profonds, chargés d'angoisse, d'Odilon Redon, sont assurément à l'origine de cette oeuvre troublante. Les premiers bois de Munch furent gravés à Paris en 1895. Or 'Noli me tangere' étant paru en 1894... Munch n'a pu l'ignorer. (...) Tandis que Munch approfondira jusqu'au paroxysme ce climat angoissant, Roussel se dirigera vers son… Read More

London: Kelpra Studio, 1967. Single sheet.. Very Good. Harold Cohen. Richard H. Silk Screen by Harold Cohen, 1967. Portrait of Richard Hamilton printed in silver ink. Numbered 32 of 50 copies, printed by Chris Prater at Kelpra Studios, London 1967.Printed on thick wove paper with the imprint of the Kelpra Studio on verso.In very good condition, with narrow margins as published. This is one from the set of eight prints that Harold Cohen made of his friend and teacher, Richard Hamilton, who Cohen met whilst at the Royal College of Art. Sheet size 649 x 737mm

London: Design Research Uni, 1973. Very Good +. Sandra Blow. Lithograph with screen printing by Sandra Blow, made in 1973. Printed in six colours on a sheet of white wove paper published by Design Research Unit, London. Number 4 of a possible 20 copies. Signed in plate only,not by hand. The blue square does have a small white printing mark, else in very good condition; Sheet size 255 x 301mmReference: Basford 07. (I understand from my source, that there were 20 copies which were numbered.)

28 costume engravings by W. Hollar including the title page. Overall in good condition, unexamined out of the frame. Framed and glazed.

London: Phaidon Press, 1952. Two volumes bound in publisher's black cloth with gilt lettering, top edges gilt. Near Fine, slight toning at end pages Vol. I, in Near Fine jackets, a few small edge tears and small chips. In Very Good slipcase, the case sun toned and lacking the title plate from front cover. Each volume with its own errata slip laid in. The complete set in dust jackets and slipcase, uncommon thus. A heavy set, priority and international mail will require added shipping charges - please inquire before ordering. . First Edition. Cloth. Near Fine/Near Fine. Folio - over 12" - 15" tall.

Orig. lithograph, 1894. Size; 226 x 142mm. A good impression on wove paper, the full sheet, small margins all round, as supplementary published in La Revue Blanche (N° 30, April 1894). - Traces at the verso from old mounting to a passe-partout (see second picture), but else in good condition. - Salomon 9; Bremen 1965, Roussel, Gr. 9. -Paris 1968, Orangerie des Tuileries, "Vuillard, Roussel", n° 218: "La date de cette lithographie (1894) apporte un précieux point de repère dans l'histoire de la gravure française à la fin du XIXème siècle. Entre l'art de Redon et celui de Munch, 'Noli me tangere' constitue un relai particulièrement significatif... les noirs profonds, chargés d'angoisse, d'Odilon Redon, sont assurément à l'origine de cette oeuvre troublante. Les premiers bois de Munch furent gravés à Paris en 1895. Or 'Noli me tangere' étant paru en 1894... Munch n'a pu l'ignorer. (...) Tandis que Munch approfondira jusqu'au paroxysme ce climat angoissant, Roussel se dirigera vers son… Read More