A collection of early 20th century prints comprising Atom, etching and aquatint by Harry Sternberg; The artist's daughter, etching and drypoint by [J. Kohl]; an engraving of a country road by John F. Greenwood; a lithograph of an armaments factory by Sir George Clausen; Les Amoures du Rossignol et de la Rose, engraving by [Roger Hieillared]; two engravings and six lithographs in green by [Fritz Eudell] depicting designs on Greek and Etruscan mirrors of mythological scenes, and two other engravings by the same hand; a lithograph of two women on a beach by an unidentified artist; all of the above signed in pencil; and Fa Marhali, a lithograph with re-working in ink and white paint, by F. Staeger, in varying conditions S. 515 x 385mm. (and smaller) (17)
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Willi Baumeister (1889-1955) Visieren (Sitzende Figur) (Spielmann 75) lithograph, 1921-22, on wove paper, signed in pencil, from the edition of 100 (there was also an edition of ten on japon), the full sheet, restored tears at left and right upper sheet edges, pale associated discoloration, two very short tears at the extreme right sheet edge, other blemishes L., S. 488 x 350mm.
Max Beckmann (1884-1950) Sarika mit Zigarette (Hofmaier 229) lithograph, 1922, on wove paper, signed in pencil, from the edition of 200, published by Verlag R. Piper & Co., Munich, the full sheet, pale mount staining at the sheet edges, soft creasing, otherwise in good condition L., S. 710 x 493mm.
Georges Braque (1882-1963) Le Rapace, from Lettera Amorosa (V. 187) lithograph in yellow, grey and dark grey, 1963, on Rives, signed in pencil, inscribed Epreuve d'essai, aside from the numbered edition of 75 (there were also fifteen artists proofs), published by E. Engelberts, Geneva, the full sheet, in good condition L., S. 318 x 251mm.
Bernard Buffet (1928-1999) Le Cafetire (S. 14) lithograph in colours, 1955, on laid paper, signed and dedicated Pour Sarine et Sauveur in pencil, inscribed 'E.A. 1 etat', aside from the numbered edition of 300, a long tear (120mm) in the upper image, several short tears in the margins at the sheet edges, a long diagonal crease in the left of the image, overall soft creasing, glued to the backing at the upper and lower sheet edges L. 680 x 490mm., S. 740 x 510mm.
Bernard Buffet Le Clown Jojo, from Mon Cirque (S. 184) lithograph in colours, 1968, on Arches, signed in black ink, numbered 84/120 (there were also a few artist's proofs), published by F. Mourlot, Paris, with full margins, a pale red mark at the extreme right sheet edge, otherwise in very good condition L. 680 x 475mm., S. 715 x 510mm.
Edward Bawden Borough, from Six London Markets lithograph in colours, 1967, on wove paper, signed and titled in pencil, numbered 51/75, published by the Curwen Press, with margins, discoloration to the extreme sheet edges, a very pale moisture stain in the lower margin, otherwise in good condition, framed L. 460 x 610mm., S. 585 x 770mm.
Reg Butler (1913-1981) [Girl] lithograph, 1963, on Arches, signed and dated in pencil, numbered 19/65, with margins, light-staining, backing staining to the reverse, otherwise in good condition L. 610 x 460mm., S. 660 x 505mm.; and [Sunset] by Michael Rothenstein, woodcut in colours, signed in pencil (2)
![Alexander Calder [Pyramids] lithograph in colours, circa 1970, on wove paper, signed in pencil, numbered XXII/L, printed t](http://lot-images.atgmedia.com/SR/10058/2307177/61-6-10058_468x382.jpg)
![Alexander Calder [Pyramids and Spirals] lithograph in colours, circa 1970, on wove paper, signed in pencil, numbered 51/95](http://lot-images.atgmedia.com/SR/10058/2307177/62-6-10058_468x382.jpg)
Charles Sourlier after Marc Chagall Paris l'Opera (Sorlier 96) lithograph in colours, 1965, on wove paper, from the edition of 5000, published by the French Tourist Bureau, Paris, printed to the edges of the full sheet, a soft handling crease to the right sheet edge, otherwise in good condition L., S. 630 x 990mm.
Marc Chagall (1887-1985) Four plates, from Dessins pour la Bible (Mourlot 236, 237, 240 and 246) lithographs in colours, 1960, on wove paper, printed to the edges of the full sheets, each with a lithograph in black on the reverse, published by Verve, Paris, in very good condition, M.240 framed L., S. 355 x 262mm
Marc Chagall Theoclymenus, from The Odyssea II (M. 816; Cramer 96) lithograph in colours, 1975, on Arches, from the edition of 250 (there were also twenty hors commerce copies and a signed edition of 30 on japon nacr), published by Mourlot, Paris, printed close to the edges of the full sheet, a few pale scattered fox marks at the sheet edges, otherwise in good condition L., S. 420 x 330 mm.
Marc Chagall In Hell, from The Odyssea II (M. 828; C. 96) lithograph in colours, 1975, on Arches, aside from the signed edition of 250 (there were also twenty hors commerce copies and a signed edition of 30 on japon nacr), published by Mourlot, Paris, printed close to the edges of the full sheet, pale foxing at the sheet edges, otherwise in good condition L., S. 420 x 329mm.
Marc Chagall Ulysses' bow, from The Odyssea II (M. 818) lithograph in colours, 1975, on Arches, from the edition of 250 (there were also twenty hors commerce copies and a signed edition of 30 on japon nacre), published by Mourlot, Paris, printed close to the edges of the full sheet, a few pale scattered fox marks and handling marks at the sheet edges, otherwise in good condition L., S. 420 x 330mm.
Giorgio de Chirico (1888-1978) Il Trovatore con lo spadino (Bora 199) lithograph in colours, 1975, on wove paper, signed and titled in pencil, numbered 71/90 (there was also an edition of 21 on japon and a few artist's proofs), with margins, a small pressure mark in the upper left margin, pale staining, the sheet edges taped to the mount on the reverse, otherwise in good condition L. 310 x 250mm., S. 495 x 350mm.
Giorgio de Chirico Il pensatore (B. 51) lithograph, 1969, on wove paper, signed, titled and dedicated ' Claude Imbert bien cordialement', inscribed 'E.A', an artist's proof aside from the numbered edition of 99, with margins, taped to the mount at the sheet edges on the reverse, otherwise in good condition L. 585 x 460mm., S. 700 x 505mm.
After Theo van Doesburg (1883-1931) Composition de Stijl lithograph in colours, on wove paper, dedicated pour Tho van Doesburg and Kelly van Doesburg in pencil, numbered 73/300, with margins, rubbing marks to the printed surface, pale mount-staining and scattered foxing, an unobtrusive stain at the upper left sheet corner, creasing at the sheet corners, otherwise generally in good condition L. 340 x 330mm., S. 637 x 488mm
Max Ernst Plates XVII and XVII, from Wunderhorn (S&L. 135) lithographs in colours, 1970, on japon nacre, each signed in pencil, numbered 16/69 and 61/69 respectively (there was also an edition of fifteen numbered in Roman numerals), published by Manus Presse, Stuttgart, the full sheets, in very good condition, framed L., S. 325 x 245mm.; and a lithograph in colours, signed in pencil, numbered 8/20 (3)
![Foujita Tsuguji (1886-1968) [Jeune fille au chat] lithograph in colours, on BFK Rives, signed in pencil, numbered 187/220,](http://lot-images.atgmedia.com/SR/10058/2307177/84A-6-10058_468x382.jpg)
Dame Barbara Hepworth Mycenae (Marlborough 62) lithograph in red and black with embossing, 1969, on wove paper, signed in pencil, numbered 22/60 (there were also 30 numbered X1-X30), the full sheet, occasional pale scattered foxing and soft creasing to the sheet, otherwise in good condition L. 630 x 470mm., S. 810 x 580mm.
Dame Barbara Hepworth Genesis lithograph in colours, 1969, on wove paper, signed in pencil, numbered 22/60, with margins, a short tear at the left sheet edge, occasional soft creasing and a few pale scattered fox marks in the left margin, otherwise in good condition L. 530 x 720mm., S. 580 x 810mm.
Dame Barbara Hepworth Oblique Forms lithograph in pale blue, ochre and black, 1969, on wove paper, signed in pencil, numbered 22/60, with margins, a horizontal pressure mark at the extreme lower sheet edge, a small pale stain at the extreme right sheet edge, otherwise in good condition L. 455 x 595mm., S. 585 x 820mm.
Barbara Hepworth One plate, from The Aegean Suite lithograph in red and black, 1970-71, on wove paper, signed in pencil, numbered 46/60 (there were also twelve numbered in Roman numerals), with full margins, a long diagonal crease to the left image, a tiny tear at the upper left sheet corner, remains of old tape at the sheet corners on the reverse, otherwise generally in good condition, framed L. 543 x 765mm., S. 575 x 800mm.
Wassily Kandinsky (1866-1944) Schwarze Linien (Roetel 184) lithograph, 1924, on wove paper, signed in pencil, numbered 42/50, printed by the Staatlichen Bauhauses, Weimar, with full margins, time-staining, a tear (6cm) extending slightly into the image, staining in the image, other blemishes L. 250 x 220mm., S. 340 x 270mm.
After Fernand Leger (1881-1955) Sculptures Polychromes (Mourlot 33) lithograph in colours, 1953, on Arches, hors texte, signed in pencil, numbered 1/50 (Mourlot records a poster edition of 700 only), published by Galerie L. Carr, with margins, a little surface dirt in the upper image, otherwise in good condition L. 590 x 438mm., S. 640 x 480mm.
Henri Matisse (1869-1954) Arabesque (Duthuit & Matisse 449) lithograph, 1924, on Chine, signed in pencil, numbered 47/50 (there were also ten artist's proofs), with margins, laid to the backing, with occasional associated creasing, a repaired tear at the upper sheet edge extending into the image, pale mount-staining L. 485 x 320mm., S. 617 x 457mm.
After Henri Matisse Bal de L'Ecole des Arts Dcoratifs (Mourlot 43) lithograph in colours, 1951, with numbering 25/175 (Mourlot records an edition of 1500), laid to the backing, several splits and short tears to the sheet, creases in the upper image, other blemishes, framed L. 720 x 550mm., S. 800 x 610mm.
Joan Miro (1893-1983) Plate 18, from Album 19 (Mourlot 329) lithograph, 1961, on Arches, initialled in pencil, numbered 72/75 (there were also fifteen in Roman numerals), published by Maeght, Paris, printed to the edges of the full sheet, very pale discoloration at the sheet edges, the upper sheet edge taped to the mount on the reverse, otherwise in good condition, framed L., S. 665 x 510mm.
Joan Miro Plate 19, from Album 19 (M. 330) lithograph, 1961, on Arches, initialled in pencil, numbered 72/75 (there were also fifteen in Roman numerals), published by Maeght, Paris, printed to the edges of the full sheet, very pale discoloration at the sheet edges, the upper sheet edge taped to the mount on the reverse, otherwise in good condition, framed L., S. 665 x 510mm.
Joan Miro Plate 10, from Album 19, (M. 321) lithograph in red, blue and black, 1961, on Velin-Rives, signed in black ink, numbered 72/75, (there were also fifteen in Roman numerals), published by Maeght, Paris, printed to the edges of the full sheet, a very short tear at the extreme left sheet edge, pale bands of discoloration at the upper and right sheet edges, otherwise in good condition L., S. 665 x 510mm.
Joan Miro Plate 11, from Album 19 (M. 322) lithograph in blue, red and black, 1961, on Arches, initialled in pencil, numbered 72/75 (there were also fifteen in Roman numerals), published by Maeght, Paris, printed to the edges of the full sheet, very pale discoloration at the sheet edges, the upper sheet edge taped to the mount on the reverse, otherwise in good condition, framed L., S. 510 x 665mm.
Joan Miro One plate, from Le Lzard aux Plumes D'or (M. 522) lithograph in colours, 1967, on japon nacr, signed in pencil, inscribed E.A., published by Broder, Paris, printed to the edges of the full sheet, remains of old tape to the upper sheet edge on the reverse, an unobtrusive rubbing mark in the image, otherwise in good condition L., S. 410 x 560mm.
Joan Miro Homage Aux Prix Nobel (M. 1094) (C. 224) lithograph in colours, 1976, on Arches, signed in pencil, an E.A. aside from the numbered edition of 100 (there were also 43 hors commerce copies), published by Galerie Brjeson, Malm, printed to the edges of the full sheet, minor soft creasing at the extreme upper sheet corners, otherwise in very good condition L., S. 760 x 560mm.
Joan Miro Joan Miro Graphics (M. 502) lithograph in colours, 1966, on Arches, hors texte, a printer's proof aside from the signed edition of 150, published by Philadelphia Museum of Art, with margins, a short tear at the lower sheet edge, otherwise in good condition L. 650 x 500mm., S. 760 x 560mm.
Henry Moore (1898-1986) Six reclining Figures (Cramer 49) lithograph, 1963, on Arches, signed and dated in pencil, numbered 17/50 (there were also a few artist's proofs), published by Henry Moore, Much Hadham, the full sheet, two pin holes at the left and right of the image, pale discoloration at the extreme sheet edges, overall soft creasing to the sheet, remains of old tape and mount staining to the reverse, otherwise in good condition L., S. 504 x 650mm
Henry Moore Two reclining figures with river background (C. 52) lithograph in colours, 1963, on Oriental paper, signed and dated in pencil, numbered 11/50 (there were also ten artist's proofs), published by G. Cramer, Geneva, with margins, staining at the lower right sheet edge, a hard crease in the right margin extending slightly into the image, other soft creasing, a few vertical marks in the left margin, remains of old tape at the extreme upper sheet edge L. 368 x 697mm., S. 500 x 818mm
Henry Moore Four reclining figures (C.282) lithograph in colours, 1973, on T H Saunders, signed and dated in pencil, numbered 88/90 (there were also fifteen artist's proofs), published by Propylen Verlag, Berlin and Pantheon Press, Rome, with full margins, a light pressure mark at the upper right and left sheet corners, a very pale rubbing mark in the upper margin extending slightly into the image, otherwise in very good condition L. 422 x 630mm., S. 552 x 765mm
Henry Moore Seven Reclining Figures (C. 495) lithograph in colours, 1978, on T.H. Saunders, signed in pencil, inscribed XIV/XV, an artist's proof aside from the edition of 50, published by R. Spencer for The Henry Moore Foundation, Much Hadham, 1980, with full margins, dark light-staining, glued to the mount at three sheet corners, framed L. 311 x 384mm., S. 455 x 600mm.
Henry Moore Sculptures - Dark Interior (C. 373) lithograph in grey and black, 1973, on TH Saunders, signed in pencil, numbered 47/75 in pencil (there were also fifteen artist's proofs), with full margins, pale light-staining, the upper sheet edge taped to the backing on the reverse, otherwise in good condition, framed L. 254 x 340mm., S. 435 x 505mm.
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