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

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

Hand-signed by artist, numbered lower right.

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.

Richard Hambleton’s Standing Shadow - Yellow & Red (2018) is another compelling piece from his renowned Shadowman series, continuing his exploration of the ghostly, enigmatic figures that became his artistic signature. This work, printed on Hahnemühle Photo Rag, preserves the rich texture and depth of Hambleton’s original painted works, which were often created in the streets of New York during the 1980s.Unlike the deep blues or blacks commonly associated with his Shadowman figures, the use of yellow and red in this piece adds a fiery, almost aggressive intensity. The contrast between the colors evokes a sense of heat, urgency, and movement, making the figure feel even more alive—almost

Richard Hambleton’s Standing Shadow - Blue (2018) is a striking continuation of his signature Shadowman series, characterized by haunting, spectral figures that seem to emerge from darkness. Printed on Hahnemühle Photo Rag, the piece retains the depth and texture of his original works, which often blurred the boundaries between street art and fine art.The dominant use of blue in this particular work adds a unique atmospheric quality, evoking mystery, isolation, and a ghostly presence. Hambleton’s Standing Shadow figures are known for their expressive energy, created through dynamic brushstrokes and splattered edges that suggest movement and depth. The elongated proportions of the figure in t

Chris Ofili’s Regal is a striking portrait that radiates dignity and strength. The figure, rendered in profile, is adorned with intricate patterns and a luminous pearl necklace, set against a swirling, textured background. The interplay of deep, earthy tones and vibrant colours in the clothing reflects Ofili’s exploration of cultural identity, heritage, and spirituality. This piece is emblematic of Ofili’s work, where a fusion of symbolism, ornamentation, and Afrocentric themes challenges perceptions of beauty and representation. The artwork’s meticulous detail and contemplative atmosphere underscore the artist’s commitment to celebrating Black identity and empowerment.

Takashi Murakami’s And Then And Then And Then And Then And Then And Then (Red) is a striking close-up of Mr. DOB, the artist’s emblematic character, rendered in vivid crimson against a distressed backdrop. The repeating title echoes both consumer repetition and the manic energy of pop culture overload. This work exemplifies Murakami’s Superflat aesthetic, fusing traditional Japanese techniques with the slick, commodified appeal of anime and manga. With its playful yet unsettling grin, this piece is typical of Murakami’s exploration of identity, mass production, and the thin line between cuteness and menace within globalised visual culture.

Takashi Murakami’s Para-kiti Dob is a vibrant, surreal composition featuring multiple iterations of his iconic character Mr. DOB, floating against a grey checkerboard backdrop. With its hypnotic layering of colour, form, and facial distortion, the piece reflects Murakami’s fascination with consumerism, otaku culture, and the aesthetics of kawaii and chaos. This work is quintessential within Murakami’s oeuvre, embodying his Superflat philosophy that blurs boundaries between high and low art. Para-kiti Dob continues his exploration of identity and mutation in a hyper-commercialised visual culture, delivered with pop precision and unsettling whimsy.