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AN ANTIQUE PRINTED MAP BY W. F. MAYERS, London / Hong Kong 1867. MAP OF FOOCHOW. Lithograph uncoloured. William Frederick Mayers was one of a number of British Consular officials active in the major ports and towns in the Far East during the mid-nineteenth century. His work 'Treaty Ports Of China and Japan' was a source of much valuable information for visitors whether in the pursuit of trade or as tourists, and included detailed folding maps of many of those trading ports featured. This map shows in good detail the town of Foochow, Fuzhou in the Province of Fujian, situated on the east coast. Numbered and lettered keys identify 24 'Residences', ie important foreign trade offices, missions etc and 26 "Hong's" or marketplaces. 295 by 150mm (11.5 by 6 inches). Printed in light scarlet ink on thin rice paper with backing to old fold weakness but very acceptable.

*HENRY MOORE OH CH FBA (1898-1986) 'Four Reclining Figures: Caves' 1974, signed and inscribed "For Poole College - from Henry Moore" in pencil to the margin, lithograph, the image 45cm x 59.5cmProvenance: The Collection of Bournemouth & Poole College.

MILTON GLASER (1929-2020) 'Nude with Blots' titled, signed and dated 1980 and numbered 117/200 in pencil to the margin, lithograph, the image 55cm x 44cmMilton Glaser was an American graphic designer. His most notable designs include the I Love New York logo, a 1966 poster for Bob Dylan, and the logos for DC Comics, Stony Brook University and Brooklyn Brewery.Provenance: The Collection of Bournemouth & Poole College.

*CERI RICHARDS (1903-1971) 'The Green Metaphor' from "Twelve Lithographs for Six Poems by Dylan Thomas" (1965), signed and dated in pencil lower right, numbered 18/50 in pencil lower left, lithograph, published by Curwen Press, 79cm x 59cm (sheet)Provenance: The Collection of Bournemouth & Poole College.

*GRAHAM SUTHERLAND OM (1903-1980) 'Balancing Form' 1972, signed and numbered 67/90 in pencil to the margin, lithograph, the image 42.5cm x 35.75cmProvenance: The Collection of Bournemouth & Poole College.

*GEORGE GUEST (B. 1939) 'White Gate' signed, titled and numbered 150/150 in pencil to the margin, lithograph, the image 32.5cm x 46.5cmProvenance: The Collection of Bournemouth & Poole College.

*ANTHONY GREEN (B. 1939) 'Mary' conceived for the Royal Academy Summer Exhibition, 5th May - 29th July 1973, signed dated and numbered 41/250 in pencil to the margin, lithograph, 82cm x 55cmProvenance: The Collection of Bournemouth & Poole College.

*JEAN STILL (20th Century) 'Migration' signed, titled and numbered 1/10 in pencil to the margin, lithograph, 60cm x 88cmProvenance: The Collection of Bournemouth & Poole College.

*CHRISTOPHER CASTLE (B. 1946) 'Dolmen' signed, titled and numbered 4/4 in pencil, lithograph, 65cm x 50.5cmProvenance: The Collection of Bournemouth & Poole College.

*JAKE SUTTON (B. 1947) 'Timeless Quality on Building' figures on the Royal Crescent, Bath, a limited edition to commemorate the Centenary of Ernest Ireland Construction (1898-1998), signed and numbered 102/350 in pencil, titled in plate, lithograph, 31cm x 37cmProvenance: The Collection of Bournemouth & Poole College.

*CHRIS CRABTREE (B. 1948) 'Great City' signed, dated 75 and numbered 13/45 in pencil to the margin, lithograph, the image 52cm x 64cmProvenance: The Collection of Bournemouth & Poole College.

AFTER HENRI DE TOULOUSE LAUTREC (1864-1901) 'Clownesse au Cochon' from the series 'Au Cirque', signed in plate lower right beside a Librairie de France (LDF) blindstamp, lithograph, the sheet 33cm x 23cmProvenance: Purchased from Christie's on the 19th of April 2011, Lot 218, as part of the complete folio. From the collection of an International Designer.

*AUGUSTUS JOHN (1876-1961) 'The Tinkers' signed and dated 1920 in pencil to the margin, lithograph, the image 29.5cm x 36cm

ETHEL GABAIN (1883-1950) 'A Lady and her Knitting' signed in pencil, lithograph on thin Japan, from the edition of 24, 43.5cm x 28cmFrom the collection of an International Designer

*LAURENCE STEPHEN LOWRY (1887-1976) 'Landscape with farm buildings' signed in pencil to the margin lower right, Fine Art Trade Guild blindstamp lower left equating to 698, limited edition offset lithograph from the edition of 850 printed in 1974 by Venture Prints Limited of Bristol, the image 40cm x 50cmProvenance: Duke's Auctioneers, 26th September 2019, lot 265From the collection of an International Designer

*LAURENCE STEPHEN LOWRY (1887-1976) 'Peel Park, Salford' signed in pencil to the margin lower right, Fine Art Trade Guild blindstamp lower left equating to 571, limited edition offset lithograph from the edition of 850 printed in 1975 by Venture Prints Limited of Bristol, the image 38cm x 76cmFrom the collection of an International Designer

*MAN RAY (Emmanuel Radnitzky 1890-1976) 'L'Incompris' (The Misunderstood) signed and numbered 36/90 in pencil to the margin, lithograph in colours, the image 60.5cm x 45.5cmProvenance: Duke's Auctioneers, 19th March 2020, lot 49.From the collection of an International Designer

*JOHN SKEAPING (1901-1980) 'Mare and Foal' A Schools Print 1945, SP1, lithograph, printed in England at the Baynard Press for School Prints Ltd, London, 49cm x 73cm

*JOHN PIPER (1903-1992) 'Long Melford Church' (Levinson 336) signed and numbered 179/275 in pencil to the margin, coloured lithograph on T.H. Saunders 250gsm paper, printed by Curwen Studio and published by Canon Rubber Co. in 1982, the image 46cm x 61cm

*RONALD SEARLE (1920-2011) 'The Guru' signed and dated in pencil lower right, titled and numbered 45/99 in pencil lower left, lithograph, 65cm x 49.5cm

*SUZANNE RUNACHER (1912-?) 'Forteresse' signed, titled and numbered 80/135 in ink to the margin, lithograph, the image 69cm x 46cmProvenance: The Collection of Bournemouth & Poole College.

CHAGALL, MARC FERNAND MOURLOT u. CHARLES SORLIER: Chagall Lithograph. Bände I-IV (von VI; deutsche Ausg.). Monte Carlo: A. Sauret 1960-74. 32,4 x 24,5 cm. Mit zus. 28 OrLithographien (davon 22 farbig, 4 auf Umschl.) und zahlr. weiteren Illustrationen. OrLn. mit illustr. OrUmschlägen. (Bd. III mit priv. hs. Eintrag auf den fliegenden Vorsatzblatt).Cramer 43; 56; 77; 94. Mourlot 281-292, 391-402, 577-578, 729-730.

South America.- Brazil.- Steinmann (Johan Jacob) Souvenirs de Rio de Janeiro, lithograph title with vignette borders on brown paper, 12 exceptionally fine hand-coloured aquatint plates extensively heightened with gum arabic, all mounted on the same brown paper, ruled pen and ink borders with manuscript caption beneath, a couple with minor soiling, loosely inserted mounted hand-coloured lithograph copy of one of the plates with printed caption,contemporary black half morocco, gilt, by Carss & Co., Glasgow, spine lettered in gilt, rubbed, oblong 4to, Paris, chez Rittner & Goupil, 1837.⁂ A stunning suite of Brazilian views with the most exceptional quality of colouring. Few copies have appeared at auction and the date appears to vary from 1835 to this of 1837.Provenance: Alexander Rowand (bookplate).

Audubon (John James) The Birds of America, 8 vol., half-titles, 500 hand-coloured lithograph plates, very occasional trimming to caption or imprint, without the biography of Audubon in vol.1, vol.1 half-title and front free endpapers detached, contemporary red half morocco over marbled boards, gilt, g.e., occasional rubbing to joints and extremities, [Nissen IVB 52 for earlier Lockwood editions; Anker 19 for similar]; Ayer/Zimmer 25-26], 8vo, New York, George R. Lockwood, [c.1889].⁂ After Audubon's death his sons, Victor and John, issued several editions of the Birds of America. In these editions the background of the plates is coloured. The text, with a few alterations, is the same as in Ornithological Biography, 1831-39. The plates of the original 8vo edition, with the exception of 17, were the same as those in the folio edition whose figures were reduced by means of a camera lucida by John W. Audubon. In the present edition some of the plates are stated to have been redrawn.

China.- North-China Daily News & Herald (publisher) Map of Shanghai, large English map focussing on the Shanghai International Settlement and the French Concession area, with 'Chinese City located underneath, with certain sites also identified outside of the settlement, including the Siccawei (Zikawei) Observatory and the Shanghai Jewish Club, with numerous businesses, schools, wharves, police stations, public works, and churches identified, and an inset "plan shewing the rubicon road system" in the upper left corner, lithograph printed in colours, 780 x 1540 mm (30 3/4 x 60 1/2 in), mounted on archival support, old folds with some associated splitting repaired, surface dirt, rolled, printed by Waterlow & Sons, 1918⁂ The North-China Daily News was an English-language newspaper in Shanghai, China.

China.- T'ou-sè-wè (Orphanage & Mission Press, Shanghai publisher) Plan de la Concession Francaise - Changhai, map of the developing Shanghai French Concession, showing from Nan Yang University across to the Hunagpu River in the east, including 'Shanghai City' in the lower right quadrant, with contemporary ink inscription in a French hand identifying a 'Dépot' in the lower centre of the map, lithograph printed in colours, sheet 355 x 750 mm (14 x 29 1/2 in), mounted on archival support, old folds with some minor splitting repaired, some spotting and surface dirt, unframed, rolled, Shanghai, 1927⁂ Scarce. We cannot trace any other known impressions of this map having been offered at auction.

Gould (John) The Birds of Great Britain, 3 vol. (of 5), first edition, 191 hand-coloured lithograph plates, most heightened with gum arabic, by Gould, H. C. Richter, Joseph Wolf and William Hart, bookplates to vol.2 & 3 pastedowns, Goshawk text page with portion of loss to lower margin (not affecting text), few tears to text leaves or very occasionally to plate margins (though not affecting text or image, of which some repaired neatly with tape verso), vol.3 hinge broken to final plate but contents holding firm, even foxing and browning to some endpapers or preliminary pages, occasional scattered spots to plates, but in general clean and bright copies, vol.1 contemporary dark green morocco, ornate gilt border panelling with inner gilt dentelles, upper cover joint cracking but holding firm, extremities rather rubbed, vol.2 & 3 uniformly bound in dark brown morocco, covers lightly marked, extremities rubbed, spines faded, [Ayer & Zimmer p.261; Fine Bird Books, p.78; Wood p.365; Nissen 372], folio, [1862-] 1873.

Switzerland.- Anonymous (probably circa 1820s) [Panorama of the Alps and shores of Lake Geneva], panoramic view from the north shore, specifically the jetty of Ouchy, beginning with the view just west of Lausanne, following clockwise towards the east, south, and as far west as The Jura Mountains behind Geneva [the city itself being obscured], with engraved key pasted to the roll identifying towns and alpine peaks, lithograph with full hand-colouring, on 9 sheets conjoined, total length 75 x 3520 mm (29 1/2 x 138 1/2 in), neatly fixed and presented on linen as one rolled panorama, minor handling creases, a few nicks to extremities, minor surface dirt, marbled paper to end, presented in green cloth tube with printed label to lid that reads 'Panorama du Lac de Genève pris de la Jettée d'Ouchy', n.d., [circa 1820s]⁂ Impressive panorama measuring over 3 1/2 metres in length, identifying numerous peaks along the coast of Lake Geneva, as well as in Haute-Savoie, France.

* STIK (BRITISH b. 1979),HOLDING HANDS, BLUE limited edition colour lithograph on wove paper, signed image size 50cm x 50cm, overall size 58cm x 58cmFramed and under glass.Condition is good overall, with no visible signs of restoration, damage, or known issues.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),THE MOMENT HAS ARRIVEDlithograph on 200g Munken Lynx paperimage size 74cm x 54cm, overall size 86.5cm x 66.6cmFramed and under glass.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),I DID NOT ASK TO BE A BIRDlithograph on 200g Munken Lynx paperimage size 74cm x 54cm, overall size 86.5cm x 66.6cmFramed and under glass.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),WHEN LIFE GIVES YOU A LEMONlithograph on 200g Munken Lynx paperoverall size 74cm x 54cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),SOME OF MY BEST FRIENDS ARE PIGSlithograph on 200g Munken Lynx paperoverall size 74cm x 54cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),IF YOU DON'T LIKE TOMATOES lithograph on 200g Munken Lynx paperoverall size 74cm x 54cmUnframed.

* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932)lithograph on paper, signed in pencil, titled and dated 1932image size 31.5cm x 27.5cm, overall 44cm x 33cmUnframed. This lot includes a copy of the 2004 edition of the book Hannah Frank, A Glasgow Artist, Drawings and Sculpture.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* HANNAH FRANK (SCOTTISH 1908 - 2008),JOBlithograph on paper, signed in pencilimage size 34cm x 27cm, overall size 52cm x 39cm Mounted, framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* JOHN BYRNE RSA (SCOTTISH b. 1940),THE TRAVERSE THEATRE COMPANY PRESENTS THE LOVELIEST NIGHT OF THE YEAR lithograph on paper, hand signed in inkimage size 64cm x 23cm, overall size 83cm x 41cm Mounted, framed and under glass.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),I MEAN NO DISRESPECT limited edition lithograph printed on 200g Munken Lynx paper by Narayana Press in Denmark, from an edition of 250 overall size 70cm x 50cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),MONKEY ISN'T THINKING ABOUT YOUlimited edition lithograph printed on 200g Munken Lynx paper by Narayana Press in Denmark, from an edition of 250 overall size 70cm x 50cmUnframed.

* LAURENCE STEPHEN LOWRY RBA RA (BRITISH 1887 - 1976),THE HARBOURoffset lithograph on paper, signed in pencilwith Fine Art Trade Guild stamps, from a limited edition of 850, published by Venture Prints in 1972image size 40cm x 56cm, overall size 65cm x 79cm Mounted, framed and under glass.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),LIFE IS VERY GOODlithograph on 200g Munken Lynx paperimage size 74cm x 54cm, overall size 86.5cm x 66.6cmFramed and under glass.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),CHOCOLATE IS NOT THE PROBLEMlithograph on 200g Munken Lynx paperimage size 79cm x 59cm, overall size 86.5cm x 66.6cmFramed and under glass.

* DAVID HOCKNEY OM CH RA (BRITISH b. 1937),OLYMPISCHE SPIELE MÜNCHENlithograph poster of 'The Diver' commissioned for the 1972 Summer Olympic Gamesimage size 98cm x 62cm, overall size 105cm x 69cm Framed and under glass.Condition is good overall, with no visible signs of restoration, damage, or known issues. 

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),FROG (FRONT OF), FROG (BACK OF) lithograph on 200g Munken Lynx paper image size 79cm x 59cm, overall size 88cm x 67cmMounted, framed and under glass.

WILLIAM SIMPSON (1823-1899) 'Sentinel of the Zouaves, before Sevastopol' a soldier standing guard at a French battery with snow-covered cannons and Zouaves carrying bundles of wood to a camp in the background, signed and dated 1855 lower right, watercolour over pencil, 23cm x 33.5cmThis work is the original study for the lithograph reproduced in Simpson's important work on the Crimean War 'The Seat of War in the East' (2 volumes, Colnaghi, 1855-6).Provenance: P & D Colnaghi The Maas GalleryPrivate Collection During the Crimean War, William Simpson became a pioneer war artist. Commissioned by the printsellers P & D Colnaghi, he recorded the naval battles in the Baltic Sea and then went on to Balaklava in November 1854 to make accurate sketches on the spot. The drawings which he made during that terrible winter were submitted to Lord Raglan, sent home to England, and shown to Queen Victoria by the Minister of War, the Duke of Newcastle. After the fall of Sevastopol he was attached to the Duke's party of exploration in Circassia. On his return to England, Simpson, complete with a brown beard long enough to button into his waistcoat, had an audience with the Queen, during which he showed her his sketches and was much impressed by her grasp of every detail of the war. Eighty of his Crimean drawings, including the lot offered here, were lithographed in 'The Seat of War in the East' which was dedicated with permission to Queen Victoria, whose patronage he enjoyed for the rest of his life. When the original watercolours were exhibited at Colnaghi's gallery, Lord Elcho and other MPs called for them to be bought by the nation as an historic record of the war. On the advice of Sir Charles Eastlake, this proposal was rejected and the watercolours were sold off separately.

WILLIAM SIMPSON (1823-1899) 'Pilgrims at Gangootree, 1862' signed and dated lower right, titled lower left, watercolour over pencil, 25cm x 34cmThis work is the original study for the lithograph reproduced in Simpson's important work on post-mutiny India 'India: Ancient and Modern'' (Day & Son, 1867).Provenance: Day & Son The Maas GalleryPrivate CollectionFamed for his pictures of the Crimean war theatre, Simpson was commissioned to illustrate a work on India that was to rival David Roberts's "Holy Land". He arrived in Calcutta in 1859 and joined the party of the Governor-General, Lord Canning, on a tour of the area where the mutiny had taken place. Over three years he visited much of the subcontinent, including the Himalayas, Kashmir, Ceylon, Tibet and its Buddhist temples, and upon his return submitted 250 watercolours to his publishers. However, in the wake of the Panic of 1866, the wealthy English patrons and subscribers on whom Day & Son had banked shrunk away from so costly an undertaking, and the publisher - already under pressure since cheaper wood engravings had turned chromolithographs into a luxury - issued a series of merely 50 chromolithographed plates. Simpson's original watercolours, much to the artist's chagrin, were ultimately sold off as bankrupt stock. The work remains a magnificent achievement, presenting a detailed and wide-ranging representation of India immediately after the Sepoy Rebellion. The Gangotri is the source of the River Ganges, sacred to Hindus who make pilgrimages to the icy waters that spring from the mouth of the Gangotri glacier in the high passes of the Himalayas. The actual source is a few kilometres from the town of Gangotri. According to popular Hindu legend, Goddess Ganga descended here when Lord Shiva released the mighty river from the locks of his hair.

Jasper Johns offset lithograph 0 through 0 Whitney museum of American art 91 cm x 72 cm size including frame

William Louis Walton - an antique lithograph circa 1843 titled 'N.E view of Gloucester Cathedral' 23 x 28cm

Michael Farrell (1940 - 2000)Miss O'Murphy d'Apres BoucherLithograph, 46 x 46cm (18 x 18")Signed and dated (19)'78Edition 8/45

Birger Sandzen (Swedish/American, 1871-1954). Lithograph on paper titled "The Bend of the River," depicting a forest landscape with a river. Pencil signed along the lower right; signed in plate along the lower center; pencil titled along the lower left.Sight; height: 9 1/2 in x width: 12 1/2 in. Framed; height: 18 in x width: 21 in.

Birger Sandzen (Swedish/American, 1871-1954). Lithograph on paper titled "Summer Landscape," depicting a forest landscape. Pencil signed along the lower left; signed in plate along the lower left; pencil titled along the lower right.Sight; height: 10 1/2 in x width: 12 in. Framed; height: 19 in x width: 23 in.

Pierre-Auguste Renoir (French, 1841-1919). Lithograph on laid paper titled Le Chapeau Epinglé (2eme planche) (Pinning the Hat) (Delteil 30; Stella 30), depicting two women, one affixing a pin to the hat of the other. Signed in plate along the lower left. 1897.From the edition of 100 printed in black (aside from the editions of 50 printed in sanguine and 50 printed in brown), published/printed by Vollard/Auguste Clot, Paris, with margins, framed.Sight; Height: 25 1/4 in x width: 20 3/4 in. Framed; Height: 42 3/4 in x width: 35 1/2 in.

Grant Wood (American, 1891-1942). Lithograph on paper titled "Approaching Storm," 1940. Depicting farmers in the field as a looming storm approaches the group. Signed in pencil along the lower right. From the edition of 250; published by Associated American Artists, New York.Sight; height: 12 3/4 in x width: 9 1/2 in. Framed; height: 20 3/4 in x width: 17 in.

Wanda Gag (American,1893-1946). Lithograph on paper titled "Wagon House," 1929, depicting a two-story house against a cloudy sky with trees lining a passing road. Pencil signed and dated along the lower right margin.Sight; Height: 13 in x width: 10 1/2 in. Framed; Height: 19 1/4 in x width: 16 1/4 in.

Michel Delacroix (French, b. 1933). Group of four French "naif" or naive style lithographs depicting scenes of Parisian street life including:One lithograph titled "Sept Heures du Matin" signed along the lower right; numbered 39/280 along the lower left.One lithograph titled "La Belle de Jour" signed along the lower right; numbered 93/200 along the lower left.One lithograph titled "Arc de Triomphe" signed along the lower right; numbered 27/28 along the lower left.One lithograph titled "Montmartre," signed in plate along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Sight) height ranges from 15 3/4 in to 25 1/2 in; width ranges from 11 3/4 in to 35 1/2 in. (Framed) height ranges from 22 in to 35 1/2 in; width ranges from 18 in to 39 in.

Sunol Alvar (Spanish, b. 1935). Group of three lithographs and one etching including:One lithograph titled "Reve du Village," signed along the lower right; numbered 6/285 along the lower left.One lithograph titled "La Muse et les Reveuses," signed along the lower right; numbered 80/225 along the lower left.One lithograph depicting a dove and two wome, one playing a flute; signed along the lower right; numbered 196/225 along the lower left.One etching depicting a woman and a child holding a branch; signed along the lower right; artist proof numbered 71/75.Provenance: Distinguished corporate collection, Minnesota.(Sight) height ranges from 20 in to 40 in; width ranges from 20 in to 29 in. (Framed) height ranges from 32 1/2 in to 53 in; width ranges from 33 in to 42 in.

Christo (American/Bulgarian, 1935-2020). Lithograph on paper titled "The Paris Review," 1982. Pencil signed and numbered 244/250 along the lower margin. Further signed in plate below the pencil signature.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 35 1/2 in x width: 24 in. Framed; height: 45 in x width: 33 1/2 in.

Lee Bjorklund (American, b. 1941). Color lithograph with hand-colored stencils on paper titled "Site Drawn #15," depicting an abstracted structure in shades of gray and silver. Pencil signed and dated 1978 along the lower right. Numbered 49/79 along the lower left.Unframed; height: 42 3/4 in x width: 30 1/2 in. Framed; height: 47 1/2 in x width: 34 3/4 in.

Earl Biss (Crow, 1947-1998). Lithograph titled "Crazy Dogs in the Sun," depicting a group of figures on horses amongst a snowy riverside landscape. Signed in pencil along the upper right; titled along the lower margin; numbered 75/175 along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 24 in x width: 31 1/2 in. Framed; height: 36 in x width: 44 in.

Earl Biss (Crow, 1947-1998). Lithograph titled "Chief of Paradise III," depicting four figures on horses against a vast blue sky. Signed in pencil along the upper right; inscribed illegibly along the lower left corner.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 21 1/2 in x width: 35 1/2 in. Framed; height: 34 in x width: 48 in.