Damien Hirst’s PV110. Inviting Veil (2019) is an oil on card work that radiates with kaleidoscopic vibrancy. Composed of dense, impasto daubs in a spectrum of bright hues, the surface resembles a blooming, almost pixelated floral field. Each brushstroke appears deliberate yet spontaneous, contributing to an overall effect of visual rhythm and joyful chaos. Part of Hirst’s Veil Paintings series, this piece reinterprets the pointillist tradition through a contemporary lens, linking back to the artist’s ongoing exploration of colour, pattern, and perception. It departs from his clinical earlier works, embracing a more expressive, painterly mode within his diverse practice.

In the Line of Fire is a powerful black-and-white photograph by David Yarrow, capturing a lion mid-stride with arresting clarity and compositional precision. Shot in 2024, the work exemplifies Yarrow’s signature approach to wildlife photography—dramatic close-ups, high contrast, and emotive intensity. The lion’s direct gaze and the rising dust underscore themes of majesty, confrontation, and survival. Characteristic of Yarrow’s oeuvre, the image blends raw naturalism with cinematic grandeur, reflecting his ongoing mission to spotlight the vulnerability and dignity of Earth’s most iconic creatures through meticulously composed, large-format photography.Photographed in South Africa.

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.

Louis Fratino’s Moon Hug (2018) is an intimate and tender drawing capturing two male figures entwined in a loving embrace beneath a glowing moon. Rendered in soft pastels and rhythmic curves, the work conveys emotional depth through sensual forms and radiant colours. This piece reflects Fratino’s ongoing celebration of queer intimacy, identity, and vulnerability, often depicted with warmth and poetic symbolism. Characteristic of his oeuvre, Moon Hug continues his exploration of personal narratives and the male form, combining classical drawing techniques with contemporary, emotionally resonant subject matter. The small scale enhances its sense of privacy and closeness.Accompanied by Louis Fr

This vibrant, untitled work by Brazilian artist Chico da Silva captures a fantastical, serpent-like creature rendered in vivid, swirling colours and intricate patterns. Da Silva’s unique visual language, rooted in indigenous and folkloric symbolism, conveys a sense of mythical storytelling and primal energy. The stylised beast evokes Amazonian spirits and natural forces, blending surrealism with a deeply personal cosmology. Overall, this piece is emblematic of da Silva’s oeuvre, showcasing his hallmark technique of colour-pencil-like brushwork and rich textures, and his consistent exploration of nature, myth, and magic. It stands as a powerful expression of his visionary imagination and cult

Louis Fratino’s Head is a vivid and introspective portrait that captures the expressive power of the male face through bold lines and layered pastel tones. The artwork’s direct gaze and asymmetrical use of colour—particularly the split between light and shadow—imbue it with psychological complexity. Fratino’s handling of form and texture, combined with the intimate scale, is emblematic of his practice, where emotional resonance and queer identity are central. This portrait continues his exploration of individuality and human presence, marking it as a characteristic piece within his deeply personal and figuratively rich body of work.Accompanied by Louis Fratino COA.Provenance: Galerie Antoin

Louis Fratino’s Red Figure (2017) is a poised and intimate line drawing that portrays a nude male figure seated in a meditative pose, rendered in warm red ink. With delicate yet confident contour lines, Fratino conveys vulnerability, sensuality, and emotional presence through a minimalist composition. The intertwining limbs and stylised features suggest both classical influence and modern intimacy, echoing his broader interest in art history and queer identity. This work is typical of Fratino’s practice, where male figures are celebrated with tenderness and quiet introspection, using line as a vehicle for both aesthetic clarity and personal storytelling.Accompanied by Louis Fratino COA. Prov

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

A stark black spade with the words “Fucking Ace” dominates this minimalistic screen print, resembling a giant playing card. The work merges everyday objects with irreverent humour, embodying Shrigley’s signature commentary on the mundane. It’s a quintessential Shrigley piece, blending simplicity with cheeky subversion.Signed.

This screen print combines a naïve depiction of a guitar with a disembodied pink arm reaching towards it, accompanied by the ambiguous word “Don’t.” The piece engages with restraint and ambiguity, leaving interpretation open to the viewer. Shrigley’s typical playful yet thought-provoking approach is evident, though the composition feels slightly more surreal than his usual direct absurdity.Signed.

"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

Bäst’s Popeye (2008) is a vibrant and anarchic silkscreen print that collages pop culture references, street aesthetics, and gritty humour into a single chaotic figure. The work reimagines the iconic cartoon character with distorted features and a body made of layered graphics, text, and urban motifs. This satirical remix challenges consumerism and media imagery, in line with Bäst’s reputation as a Brooklyn-based street artist blending graffiti, Dada, and punk sensibilities. Popeye is emblematic of Bäst’s oeuvre, where appropriation and visual overload create a raw, confrontational commentary on contemporary visual culture.

Cosigned by Terry O'Neill and Faye Dunaway. 90x93 cm (incl. frame)This iconic photograph of Faye Dunaway by Terry O'Neill, taken the morning after her Oscar win for Network in 1977, perfectly captures the exhaustion and glory of Hollywood success. Dunaway is seated poolside at the Beverly Hills Hotel, draped in a silk robe, surrounded by newspapers reporting her triumph, with the Oscar statue prominently displayed. The composition blends glamour with a sense of quiet reflection, marking a moment of victory and solitude. O'Neill's ability to humanise his subjects while maintaining their mystique is evident here, making this image a standout in his oeuvre.

Mario Schifano’s Tutte Stelle presents a dynamic constellation of red and yellow stars scattered across a hazy, textured background, evoking cosmic wonder and abstraction. Created during his exploration of popular culture and symbols, the work reflects Schifano’s interest in blending minimalism with the graphic language of mass media. This painting is emblematic of Schifano’s oeuvre, where recurring themes of modernity and iconography are infused with a playful yet profound aesthetic. The piece epitomises his ability to merge conceptual depth with striking visual simplicity.

Okta by Roby Dwi Antono is a hauntingly ethereal piece that embodies the artist’s signature fusion of surrealism and emotional introspection. Rendered in a monochromatic palette, the figure’s oversized, glassy eyes and soft, shadowed features evoke a sense of melancholy and innocence. Antono explores themes of solitude, childhood, and existential reflection, often juxtaposing beauty with unease. The sombre atmosphere, enhanced by the blurred edges and textured shading, reflects the dreamlike quality typical of Antono’s work. Okta aligns with his broader oeuvre, which frequently focuses on enigmatic, childlike figures to provoke introspection and emotional resonance.

Imon Boy’s Nobody Cares (2023) is a sculpture that distils the artist’s signature blend of humour and melancholy into a three-dimensional form. Crafted in smooth, matte-finished materials, the rounded head with oversized ears, purple hair, and a solitary expression rests atop a wooden box adorned with childlike doodles and the titular phrase. The juxtaposition of playful visuals with the deadpan message evokes a sense of resigned irony. This work aligns with Imon Boy’s wider practice, where street art aesthetics and comic motifs explore themes of loneliness, digital detachment, and emotional authenticity with disarming sincerity.