Lucian Freud

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 50.
Printed on wove paper by Marc Balakjian at Studio Prints, London.
Co-published by James Kirkman, London and Brooke Alexander, New York.
(Treves 37)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 20.
Printed on BFK Rives White paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 66)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 46.
Printed on Somerset Satin White paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 85)

Etching and drypoint.
Initialled in pencil and inscribed 'B.A.T.'
A unique impression of the first state before the sitter's head was revised.
Printed on wove paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 96)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 30.
Printed on Arches paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 73)

Etching and drypoint.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 30.
Printed on Arches paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 73)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 40.
Printed on T. H. S. Saunders paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 70)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 46.
Printed on Somerset White paper by Marc Balakjian at Studio Prints, London.
Published by Acquavella LLC, New York.
(Treves 110)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 25.
Printed on Somerset Satin White paper by Marc Balakjian at Studio Prints, London.
Published by James Kirkman, London and Brooke Alexander, New York.
(Treves 55)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 46.
Printed on Somerset White paper by Marc Balakjian at Studio Prints, London.
Published by Acquavella LLC, New York.
(Treves 112)

Etching.
Initialled in pencil and inscribed 'B.A.T.'
The Bon à tirer impression before the edition of 46.
Printed on Somerset Textured White paper by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 82)

Etching.
Signed in pencil and inscribed PP 2/2.
A proof impression aside from the edition of 80.
Printed by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 90)

Etching.
Signed in pencil and inscribed 'working proof'. A proof impression aside from the edition of 50.
Printed by Marc Balakjian at Studio Prints, London.
Published by James Kirkman, London and Brooke Alexander, New York.
(Treves 40)

Etching.
Signed in pencil and inscribed PP 2/2. A proof impression aside from the edition of 46.
Printed by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 91)

Etching.
Signed in pencil and inscribed PP 2/2. A proof impression aside from the edition of 40.
Printed by Marc Balakjian at Studio Prints, London.
Published by James Kirkman, London and Brooke Alexander, New York.
(Treves 48)

Etching.
Signed in pencil and inscribed PP 2/2. A proof impression aside from the edition of 50.
Printed by Marc Balakjian at Studio Prints, London.
Published by Matthew Marks Gallery, New York.
(Treves 78)