"Little Girl with Balloons" by Liu Ye is a charming screenprint that captures a sense of innocence and balance. The artwork features a young girl standing on a yellow balloon while holding a red balloon, her expression calm and composed. The background is a soft, muted grey, contrasting with the vivid colours of the balloons, enhancing their playful impact. Liu Ye's characteristic style often incorporates simple yet poignant imagery, focusing on themes of childhood and simplicity. This screenprint is emblematic of his work, blending a serene atmosphere with bright, captivating elements, inviting viewers into a delicate, dreamlike world.

Offered for sale in original HENI packaging Hand-signed by artist, verso COA Included (issued by authorized authenticating body)

Get Out While You Can by Banksy is a powerful screenprint that fuses sardonic wit with a warning about modern life’s disillusionments. Signed by the artist, the piece features stark, stencilled text against a minimalist background, commanding urgency and rebellion. Themes of escape, societal critique, and personal freedom are at the heart of the work, aligning seamlessly with Banksy’s wider artistic narrative. This artwork is emblematic of Banksy's typical style—bold, provocative, and sharply critical—making it a quintessential example within his acclaimed body of work.Accompanied by COA of Pest Control.

Banksy’s Welcome to Hell (Pink) is a striking screenprint that captures the artist’s signature blend of dark humour and stark social commentary. Rendered in bold pink tones, this piece confronts viewers with an anarchic message of rebellion and disillusionment. The motif of civil unrest and the critique of authority are prevalent here, recurring themes throughout Banksy’s oeuvre. Despite its vibrant colour, the artwork retains the raw, gritty tone that is typical of Banksy's style. As an unsigned edition, it remains a coveted and authentic piece within the artist’s body of politically charged works.Accompanied with COA of Pest Control.

Sarah Slappey’s Tied Up II – HPM (2020) is a sensuous and unsettling print that intertwines elegance with restraint. Featuring a tangle of elongated hands and limbs wrapped in red netting and delicate cords, the composition evokes themes of desire, entrapment, and the tensions of intimacy. The stylised, hyper-polished skin and soft gradients are hallmarks of Slappey's signature aesthetic, often exploring the grotesque and erotic through surreal, bodily forms. This work is very much in line with her broader oeuvre, which frequently blends sensuality with discomfort in uncanny yet alluring visual narratives.Signed by the artist, numbered and stamped by JRP | Next.

Lee Ufan’s In Milano 5 presents a rhythmic arrangement of bold, black brushstrokes scattered across a luminous white surface. The horizontal orientation and grounded placement of the marks evoke a subtle landscape, inviting contemplation of balance, silence, and the intervals between presence. Characteristic of Ufan’s minimalist and philosophical approach, the piece reflects his core concerns with spatial awareness and the dynamic between form and void. This work is highly representative of his established visual language, continuing his exploration of gesture as both an aesthetic and metaphysical act.

In Milano 3 (1992) by Lee Ufan is a minimalist print that elegantly explores repetition and gesture through the motif of the hat, rendered in rhythmic black and beige brushstrokes across a stark white surface. Measuring 155 x 91 cm and part of an edition of 50, this work continues Ufan’s lifelong meditation on presence and absence, material and void. The composition echoes his signature Relatum philosophy, yet the playful form of the hat suggests a more whimsical departure from his typically austere, meditative abstractions—marking this piece as a subtle but notable deviation within his broader oeuvre.

In Milano 1 (1992) by Lee Ufan is a serene and meditative print, characterised by minimalist gestures of black and beige brushstrokes dispersed across a white background. The composition evokes a sense of rhythm and spatial awareness, emblematic of Lee’s signature style rooted in the Mono-ha movement, which emphasised the relationship between materials and their environment. This artwork reflects Ufan’s consistent exploration of presence, absence, and the void, and is typical of his oeuvre—where restrained mark-making becomes a poetic act of contemplation and harmony. The print belongs to a limited edition of 50, reinforcing its rarity and collectability.

Lee Ufan’s In Milano 2 is a meditative exploration of space and gesture, marked by two solitary black brushstrokes placed delicately on a vast white ground. This work exemplifies the artist’s minimalist ethos and his philosophical focus on the interval between marks—a concept rooted in his Relatum theory. The piece conveys a profound sense of quietude and presence, echoing Lee’s consistent dedication to the relational dynamics of form and emptiness. In Milano 2 aligns closely with his wider body of work, maintaining the restrained yet potent visual language that defines his oeuvre.

Yayoi Kusama's Pumpkin (RT), created in 1996, exemplifies her iconic motif of pumpkins rendered in meticulous dot patterns. The central red pumpkin, set against a black, web-like background, exudes a sense of hypnotic repetition and infinite depth, hallmarks of Kusama's work. The piece reflects her lifelong exploration of themes such as obsession, nature, and the interplay of form and void. Pumpkins, a symbol of comfort from Kusama's childhood, recur throughout her oeuvre, embodying her blend of personal narrative with universal appeal. This work is quintessential Kusama, capturing her unique vision and compulsive dedication to pattern and form.

Harland Miller’s Hate’s Outta Date (Blue) (2022) is a screenprint that cleverly mimics the iconic Penguin paperback design, merging literary nostalgia with punchy contemporary messaging. Rendered in a cool palette of blues and creams, the work centres on bold, retro-style typography that delivers its titular phrase with wry optimism. The presence of the signature penguin adds a touch of familiarity and irony. Known for his fusion of text and image, Miller’s work often satirises the cultural authority of books, and this piece is no exception—typical of his acclaimed series blending humour, politics, and pop art sensibilities.

"Red Earth" by Loie Hollowell is a striking screenprint that exemplifies her exploration of abstract forms and vibrant colours. The artwork features a series of undulating, organic shapes that emanate from a central point, creating a sense of depth and movement. The rich hues of red, orange, and brown evoke the warm tones of the earth, while the textural gradients add a tactile quality to the print. Hollowell's work often delves into themes of landscape and the human body, blending them into abstract compositions. "Red Earth" is characteristic of her style, capturing the essence of natural forms through a bold and captivating visual language.

Chris Levine’s She’s Light (Kate Moss) (2014) is a mesmerising screenprint that captures the supermodel in an ethereal, almost meditative state. Her closed eyes, luminous skin, and striking red lips evoke a sense of tranquillity and transcendence, reflecting Levine’s fascination with light and perception. This work is part of Levine’s ongoing exploration of portraiture through advanced technology and laser imagery, much like his renowned depictions of Queen Elizabeth II. She’s Light aligns with his signature style, blending celebrity iconography with a spiritual, almost holographic quality, elevating the subject beyond the material world.

Signed and Numbered on Verso. Andy Warhol’s Cow is a quintessential example of his Pop Art aesthetic, elevating a seemingly mundane subject into a vibrant, iconic image. The artwork features a high-contrast, screen-printed cow in bold yellow against a bright blue background, creating a striking visual effect. This piece reflects Warhol’s fascination with mass production and consumer culture, as he transforms everyday imagery into captivating art. Cow deviates from Warhol’s celebrity portraits and soup cans, instead exploring the interplay of humour and absurdity in a rural motif. It highlights his ability to imbue ordinary subjects with unexpected charm and cultural significance.

Damien Hirst’s All You Need is Love showcases his iconic motif of butterflies, a recurring symbol in his work that reflects themes of beauty, fragility, and mortality. The piece presents an arrangement of vibrant butterflies—yellow, blue, and red—floating against a pale background, evoking a sense of lightness and transience. Typical of Hirst’s oeuvre, the artwork juxtaposes the ephemeral beauty of nature with deeper meditations on life and death. The butterflies, often associated with transformation and impermanence, capture his fascination with the cycle of existence, resonating with his broader explorations of art, science, and the passage of time.Signed in black ink and numbered in penci

David Hockney's My Window: Set of 4 captures serene moments observed from the artist's window, blending interior intimacy with the changing beauty of nature. The vibrant lithographs depict flowers in vases and glimpses of the outside world, including blossoming branches and vivid skies, rendered in Hockney's signature bold palette and simplified forms. These works reflect his fascination with light, colour, and the passage of time, recurring themes throughout his oeuvre. While characteristic of Hockney's focus on everyday scenes, these pieces feel deeply personal, celebrating the quiet yet profound connection between artist and surroundings.Unframed in its original box.

"Happy Choppers" is one of Banksy’s most iconic prints, first unveiled in 2003 at the artist’s Turf War exhibition. The print exemplifies Banksy’s signature blend of anti-authoritarian messaging and dark humor, combining elements of military imagery with subversive satire.The print depicts a group of military helicopters, armed and ready for combat, flying menacingly above. However, the twist lies in the absurdity of a single helicopter, painted with a pink bow on its head, softening the violent and aggressive appearance. This contrast between war machines and a lighthearted, almost childish adornment is typical of Banksy’s work, where he uses contradictions to provoke thought.Banksy is know