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Cy Twombly (American 1928-2011), 'Three Notes from Salalah Poster', 2008, offset lithograph in colours on wove paper, from an unknown edition, published by Gagosian Gallery; sheet: 76 x 56cmsheet: 76 x 56cmIn good condition No visible knocks or tears to the sheetSome light handling creases to the sheet, visible upon close inspection Some staining/marks to the sheet, believed to be from the time of production and not considered damage Deckled edges in good condition This work has been stored rolled and has not been framed.

Andy Warhol & Jean-Michel Basquiat (Collaboration), 'Warhol-Basquiat 1985 Limited Edition Poster (30th Anniversary Edition)', 2015, offset lithograph in colors on paper, signed and numbered in ink by gallery owner Tony Shafrazi from an edition of 300, Published by Tony Shafrazi Gallery, New York; sheet: 47 x 30.5cmsheet: 47 x 30.5cmIn Very Good ConditionNo knocks, tears, or creases to the sheetThis work has been stored flat and never been framedIn very Good Condition

Takashi Murakami (Japanese 1962-), 'DOB (White), 2004, offset lithograph in colours on wove paper, signed, dated and numbered from an edition of 300; sheet: 69 x 69cm (framed) sheet: 69 x 69cm (framed) In very good condition No visible knocks, tears or creases to the sheet Very light mark to the upper right hand corner of the sheet and some minor 'matter' to the upper edge of the sheet, visible upon close inspection This work has been framed in a white frame and has been float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.

Robert Indiana (American 1928-2018), 'Book Of Love', 1996, offset lithograph on fine art paper, signed, dated and numbered in roman numerals from the edition of 50, sheet; 66 x 50.8 cmsheet; 66 x 50.8 cmIn very good condition No visible knocks, tears or creases to the sheetExtremely minor imperfections to right hand corners and lower left hand extreme edge of the sheet, visible upon very close inspectionThere are a couple of very minor 'speckles' to the lower right section of the sheets white background, and very light markings verso This work has been stored flat and has not been framed.

David Hockney (British 1937-), 'Little Boodge' 1993, offset lithograph on wove paper, bearing the Artists Copyright verso; sheet: 28 x 42cmARR sheet: 28 x 42cm In very good condition No knocks, tears or creases to the sheet Minor colour variation to the sheet edges, due to the age of the work This work has been stored flat and has never been framed.

Harland Miller (British 1964-), 'York So Good They Named It Once', 2020, offset lithograph in colours on paper, York Art Gallery exhibition poster; sheet: 84 x 55.5cmARR sheet: 84 x 55.5cm In very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.

Stik (British 1979-), 'Holding Hands (Orange)', 2020, offset lithograph in colours on wove paper, signed in black ink, accompanied by a copy of Hackney Today, sheet; 50 x 50 cmARR sheet; 50 x 50 cm

Takashi Murakami (Japanese 1962-), 'Flower Ball (3D) Sunflower', 2011, offset lithograph on wove paper, signed and numbered from an edition of 300 in silver pen, published by Kaikai Kiki Co. Ltd; sheet: 71cm diameter (framed)sheet: 71cm diameter (framed)In very good conditionNo tears or creases to the sheetThere are some minor knocks in sections around the extreme outer edge of the sheet, visible upon very close inspectionMinor scratches can be seen to the silver border at the bottom of the sheet, visible upon close inspectionFramed in a black frame, float mounted leaving all edges visibleThis work has not been examined outside of the frame.

Stik (British 1979-), 'Don't Panic', 2013, offset lithograph in colours on wove paper, signed in black ink; sheet: 60 x 42cmARR sheet: 60 x 42cm In very good condition No knocks, tears or creases to the sheet Very light markings to the white border, visible upon close inspection Two horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.

Fernando Botero (Colombian 1932-), 'La Toilette', 1983, offset lithograph in colours on wove paper, signed and numbered from an edition of 200 in pencil, published by Harry N. Abrams Editions, New York; 52 x 41.5cm inc frame52 x 41.5cm inc frame

Title: Golden Eagle and Imperial Eagle. High-quality lithograph prints on paper. Largest print depicts a golden eagle on a rocky precipice, second smaller print is a portrait of an imperial eagle's head. Includes original Regency House Art Inc. protective print folders with short bios about the artist inside. Each print is signed illegibly in pencil beneath the printed artist's signature and has The Regency House Art. Inc markings. Largest print measures 22"L x 21"W. Artist: Guy CoheleachIssued: 1974Condition: Age related wear; minor stain to left edge to Golden Eagle print. Discolored strip running from top to bottom of left edge of Imperial Eagle print.

Ostricart is an outstanding monochrome lithograph on cream wove paper by American painter and printmaker Ellen Lanyon whose composition features a powerful ostrich harnessed to a two-wheeled cart as the jockey prepares for the race. Housed in a black frame. Signature and date in graphite on lower right: Ellen Lanyon 68. Title on lower left: Ostricart. Edition on lower center: 5/100. Sight size: 13.50"L x 17.50"H. Frame size: 16.75"L x 20.75"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Ellen Lanyon (American 1926-2013)Issued: 1968Dimensions: See DescriptionEdition Number: 5 of 100Country of Origin: United StatesCondition: Age related wear.

Large original color lithograph entitled Le Fifre (The Fifer) after French artist Edouard Manet's original 1866 oil painting made in a Realist style influenced by Diego Velazquez's artworks. Signature in plate: Manet. Signature in graphite on lower right below plate: A. Beniard? Housed in a copper gilt color wooden frame with a white mat. Sight size: 12"L x 20"H. Frame size: 21.50"L x 29.50"H x 1"W. Artist: After Edouard Manet (French 1832-1883)Issued: c. 1950Country of Origin: FranceCondition: Age related wear.

Large color lithograph exhibition poster for Kandinsky: The Improvisations, held in 1981 at the National Gallery of Art, Washington. It features Kandinsky's Improvisation 31 (Sea Battle) with his name printed in gold letters. Housed in a gold metallic frame. Sight dimensions: 23.50"L x 37"H. Frame size: 25"L x 38.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Wassily Kandinsky (Russian, 1866-1944)Issued: 1981Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Jaffa is a color lithograph on wove paper by Neo-Romantic artist Zamy Steynovitz who has depicted a young boy playing the flute to a flock of sheep in the ancient city of Jaffa. Signature in graphite on lower right: Steynovitz. Edition number on lower left: 188/700. Housed in an ornate gilded wood frame with a white mat. Sight size: 24"L x 21.50"H. Frame size: 34"L x 31.50"H x 1.50"W. Artist: Zamy Steynovitz (Polish-Israeli 1951-2000)Issued: c. 1990Edition Number: 188 of 700Country of Origin: Poland/IsraelCondition: Age related wear.

Beautiful 1955 color lithograph exhibition poster for Kandinsky: Oeuvres de 1910 a 1920, Periode Dramatique, held at Galerie Maeght in Paris. Signature in plate on lower left: K. Housed in a silver metallic frame with a dark Indian red mat. Sight dimensions: 14.50"L x 21.50"H. Frame size: 21"L x 28.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Wassily Kandinsky (Russian, 1866-1944)Issued: 1955Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.

BIRKENSHAW [John] Crimple Valley Viaduct. York and North Midland Railway Harrogate-Branch. Original hand coloured lithograph. 1847. Gibson & Co Lith, Artists & Printers York, Aug 1847. Framed and Glazed. Railway interest. Frame Size; 51cm x 45cm. Print see; 33cm x 27cm.

The History of Freemasonry, its Antiquities, Symbols, Constitutions, Customs, Etc. Embracing an Investigation of the Records of the Organisations of the Fraternity in England, Scotland, Ireland, British Colonies, France, Germany, and the United States. Derived from Official Sources. By Robert Free Gould. Late 19th [c1880-1890s]. Three volume set. Large 4to’s bound in period half Morocco, titles in gilt to the spines. Title and freemasonry gilt stamp to t he upper boards. Coloured lithograph plates. Frontispiece’s. Extremities to the boards heavily rubbed, some library markings.

CHINA. China and the Chinese by William C. Milne. C1859. London Routledge, Warne & Routledge. In the original plum cloth binding, with gilt stamped borders, central illustration, and decorated spine. All page edges in gilt. 8vo. Waxed end blanks, half title [browned]. Short closed tear to p423. 469pp with 7 lithograph plates lacking 2 plates]. **William Charles Milne(born April 22, 1815, died May 25, 1863) was a missionary to China in the 19th century. He was the son of missionary William Milne. Rare in commerce.

GARDENING. Horticulture. Natural History. Group of 18 volumes which include; History of British Ferns and Allied plants, by Edward Newman. 1844. Illustrated, orig green cloth. A Manual of British Butterflies and Moths. H. T. Stainton. Vol 1. 1857. Cassell’s Popular Gardening edited by D. T. Fish. C1880s. Colour lithograph frontispiece, woodcuts to text. 4to in period half calf. British Ferns and their Allies, by Thomas Moore. London, George Routledge. Orig decorative boards, and others. [18].

CZYNSKI, Jean. Histoire Et Tableau De La Russie. C1835, 2vol. Paris Pilout. 4to, Bound in the original quarter calf. With 24 stone lithograph plates to vol 1 and a further 24 to vol 2 [48 complete]. French text. Some chipping to the joints, some foxing to the plates. Pagination continuous. Scarce set. **Jan Kazimierz Czyński (1801–1867) was a Polish independence activist, lawyer by education, writer and publicist, fighter for the emancipation of the Jews, trade supporter, utopian socialist, and radical democrat. He went into exile after the Russian government issued a bounty for his capture. Rarely seen

AFRICA. LIVINGSTONE [David]. The Life and Explorations of David Livingstone. C1880. Large 4to, pebbled red cloth , decorated in back and gilt, With coloured lithograph frontis, title and coloured plates throughout. With 5 others, In Darkest Africa or the Quest, Rescue and Retreat of Emin Governor of Equatoria. By Henry Stanley, 1890. New York, Charles Scribners. 2 vol set, Orig green cloth, Illustrations, maps, vol 1 in poor condition, uncollated. Kiswahili Instruction book for the East Africa Command, c1942 and two others. [6]

A Large First World War Recruiting Poster No.124 "Join the brave throng that go marching along" by Gerald Wood, with the half length portraits of six smiling soldiers, in landscape format, coloured lithograph, Published by the Parliamentary Recruiting Committee, London, printed on two sheets by Beck & Inchbold Ltd., Leeds & London, 47cm by 233cm, in a glazed oak frame.Fold marks, small tears above the hat of the soldier seen second on the left. Some shadowing to the soldiers third and fourth from the left. Colours bright.

Tamamura Hokuto (1893-1951) The Spirit of Wine, Shuten Doji, woodblock print, and: Katsuji Koizumi (1883-1945 and others) Lists of Sketches of Birds - Chorui Shasei Zufu - Greater Hill-Mynah, lithograph, circa 1927-1938 37 x 31.5cm; nine others including those by or after Saburosuke Okada, Sohei Yamaguchi, Masanobu and others (some are copies) (11)Provenance:Collection of Professor Malcolm Budd, philosopher and collector

Militaria, a collection of items belonging to Major E. W. Denny, 13th Hussars, comprising Busby by Jones, Chalk & Dawson, and plume in tin case; a pen lithograph listing the campaigns and members of 13th Hussars, dated 1899; a caricature of a Guardsman in First World War uniform, tropical use pith helmet, and leather and embroidered dispatch pouchplease see image of inside of hat

An interesting coloured lithograph of Napoleon, surrounded by various images related to his lifetime around, 65.7cm x 53cm, framed and glazed; together with a watercolour of a ship scene by Charles A Cooke, and various other framed pictures and prints

A Fender 'Mustang' electric bass guitar, circa 1972Body: Solid, metallic red with applied yellow racing stripes, pearloid scratchplate, Serial No.375760Neck: MapleFingerboard: Rosewood, inlaid pearloid dots, 19 fretsHeadstock: Solid, lithograph Fender decals, Fender steel machine headsPickups: 2 Plebe passiveBridge: 4-saddle MustangControls: 1 master volume, 1 master toneSize: 41.75" overall, scale length 29"Accompaniments: Period hard caseProvenance:The Neil Jackson collection.Footnote:The original Mustang Bass was introduced in 1966 as a companion to the Mustang guitar range, though as a single-pickup model. It featured a fully intonating bridge (separate saddles for each string) and a mute function. It was the last original Fender bass designed by Leo Fender in 1965. Livery was presented in solid nitrocellulose colours until 1968 when Fender began using the more modern and durable polyester finish. In 1969, they were released with 'competition' finishes, including racing stripes as in the present lot. Sunburst finishes were also added to the range. The bass remained in production until 1981 when it was discontinued.Condition:Immediately playable.  Some signs of age and use including chips and scratches.  Some varnish wear to the bottom edge of the neck.  Case fair but noticeably worn.

The First Snow of Winter' signed, dated '05 and numbered 36/75 in pencil, colour lithograph 62 x 80cm (24.5in x 31.5in).

Georges Rouault (French, 1871-1958) Tete De Jeunne Fille' lithograph c.1939 35 x 25cm (14 x 10in) Label to reverse for Goldmark Gallery, Uppingham, Rutland LE15 95Q.

An Art Nouveau poster 'Bal Au Moulin Rouge Place Blanche'framed, 79 x 59;together with a Bedford Music Hall 1867 playbill, in a modern frame, 96 x 35cm;Carl Toms (1927-1999)The Royal Opera House, Covent Garden, lithograph, signed in pencil, framed 78 x 60cm (3)

After Henry Burn (English, b.1807). Northampton from Huntsbury Hill, lithograph, 35.5cm x 51cm, an ink study of glassware, signed Charlton, '66, 36.5cm x 25.5cm, and an abstract print. (3)

Richard Lindner (German/American, 1901-1978). Lithograph titled "Washington Holiday" depicting two figures as seen through a window from "An American Portrait, Volume II: Not Songs of Loyalty Alone," 1975. Pencil signed along the lower right; numbered 130/175 along the lower left. In a silver metallic frame.Provenance: Unicorn Galleries, Minneapolis, ca. 1980; Private Minnesota Collection.Sight; height: 24 in x width: 18 1/2 in. Framed; height: 34 in x width: 28 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations. There is one area that fluorecsces under UV light along the lower center; however due to its complete roundness, this is likely part of the artisitc process and a result of a compound within the pigment. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Doug Argue (American, b. 1962). Lithograph on paper depicting figures aboard a ship, possibly depicting the arrival of the Mayflower. Pencil signed and editioned A.P. along the verso.Height: 29 3/4 in x width: 22 1/4 in.Condition: The colors are bold and deep. There are no tears, major creases, or losses. There are light handling marks throughout. Light soiling to the verso. There are a few spots of soiling to the recto as well. The work is not framed.

Mabel Wellington Jack (American, 1899-1975). Lithograph on paper titled "Farm Lad" depicting a figure standing next to a fire on a darkened landscape, ca. 1935. Pencil signed and titled along the lower margin; inscribed "Federal Art Project NYC WPA" along the lower left.Mabel Wellington Jack produced many of her artworks for the New York City Federal Art Project.Sight; height: 13 1/2 in x width: 10 1/2 in. Framed; height: 21 in x width: 17 in x depth: 1/2 in.Condition: There are no visible tears, losses, or restorations. The sheet is toned. There is matburn along the perimeter of the margins. There is a slight undulation to the sheet throughout. Framed under glass and an acidic mat. Light wear to the frame. The work has not been inspected out of frame.

Fernand Leger (French, 1881-1955). Lithograph titled "Le Campeur" depicting five figures gathered at a pool or beach, 1976. Pencil signed along the lower right; numbered "H.C." along the lower left. Initialed and dated 1953 in print along the lower right; inscribed in print "Henri Deschamps Grav. Lith. Mourlot Imp. 1976" in print along the lower center of the image.Sight; height: 31 in x width: 23 in. Framed; height: 38 in x 29 1/2 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Ulrike Muller (Austrian, b. 1971). Lithograph on Arches cover white paper titled "Print (Franza)" depicting a bold, curving line of red bisecting two fields of black, 2013. Signed and dated along a card along the verso. From the BAM + NADA portfolio. From an edition of 75 produced by The Brooklyn Academy of Music in collaboration with the New Art Dealers Alliance.Height: 20 in x width: 16 in.Condition: The colors are bold and bright. There are no tears, creases, losses, or repairs. Light wear along the deckled edges. The work is not framed.

Saul Raskin (Russian/American, 1878-1966). Lithograph on paper titled "David Streets" depicting a crowded street or alley, possibly in Jerusalem. Pencil signed and signed in print along the lower left; titled along the lower right.Sight; height: 13 1/4 in x width: 9 3/4 in. Framed; height: 22 1/4 in x width: 17 1/4 in x depth: 1 in.Condition: There are no visible tears, creases, or restorations. The sheet is toned. The work is housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Robert Natkin (American, 1930-2010). Lithograph on paper depicting overlapping abstract forms in pastels of purple, pink, and blue, 1986. Pencil signed, dated, and numbered 52/90 along the lower left.Lot Essay:Robert Natkin spent his early years in Chicago, renovating and operating the Wells Street Gallery with his wife Judy Dolnick, also an artist. In the late 1950s, they moved to New York and then in 1970 to Redding, Connecticut, where he would spend the rest of his life. His work has been associated with abstract expressionism, color field painting, as well as Lyrical Abstraction.He was described as mischievous in his obituary in the New York Times, having once purportedly licked a Vermeer painting in the Frick collection. He also once removed a Nicolas Poussin painting from the wall in the Art Institute of Chicago and replaced it with his own, hiding the Poussin behind a velvet curtain, before switching it back when his replacement went unnoticed. His playful nature lent itself to equally playful canvases. The shapes in the present work seemingly bounce off of one another and are interspersed with polka dots and lines that heighten the energy of the painting.His use of cloth and netting as stencils led New York Times journalist John Russell to comment in 1978 that his artworks had a “worked-over look that suggests that the painting has been traversed over and over by a very small truck that has just had its tires retreaded.†This texture can be spotted throughout the present work in the net-like patterns that weave through the composition.His artworks are held in the collections of the Art Institute of Chicago, The Metropolitan Museum of Art, The Fogg Art Museum, Centre Pompidou in Paris, the Museum of Modern Art, and the Whitney Museum of American Art among many other prestigious collections.Sight; height: 31 in x width: 43 in. Framed; height: 42 in x width: 54 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Suzanne Caporael (American, b. 1949). Lithograph with hand painting on paper titled "Sapelo Island Creek, Georgia" depicting a geometric scene with orange and blue squares, 2003. Pencil signed and dated along the lower right; editioned 13/30 along the lower left.Height: 19 in x width: 14 in.Condition: There are no tears, creases, losses, or restorations. The colors are bold and bright. The work is not framed.

Henri de Toulouse-Lautrec (French, 1864-1901). Lithograph on paper titled "Aristide Bruant" from the suite "Le Cafe Concert" depicting a figure standing against a darkened background. With a certificate of authenticity from Merrill Chase Galleries. Certificate number 482641. Pencil inscription along the verso "482641 MRO 124" matching the COA number.Provenance: Merrill Chase Galleries; Private Minnesota Collection.Unframed; height: 17 1/2 in x width: 12 3/4 in. Framed; height: 20 1/2 in x width: 17 1/2 in x depth: 1 in.Condition: There are no major tears, losses, or restorations. The sheet is toned. There are light creases and handling marks along the extreme edges, and there are minute dark accretions throughout the margins. The sheet is affixed to an acidic mat and there is a perimeter of matburn along the edges of the work. Framed under glass. Light wear to the frame.

Salvador Dali (Spanish, 1904-1989). Lithograph on paper print depicting a surreal landscape with a floating head and a snake, 1971. Embossed "Dali" and crown form along the lower right. Signature and date along the lower center.Sight; height: 23 in x width: 18 1/2 in. Framed; height: 38 in x width: 32 1/2 in x depth: 2 1/2 in.Condition: The colors are bold and deep. There are no visible tears, losses, or restorations when viewed under UV light. There is a minute crease along the lower left. There is an undulation to the sheet. Minute accretions throughout, likely original to the artistic process. Signs of light wear along the extreme upper edge. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Max Papart (French, 1911-1994). Large lithograph on paper depicting a composition of bright colors juxtaposed with a seascape and a musical arrangement. Pencil signed along the lower right; numbered H.C. VI/XV (6/15) along the lower left.Sight; height: 34 in x width: 27 in. Framed; height: 46 in x width: 39 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are visible tears, creases, losses, or restorations when viewed under UV light. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Italo Scanga (Italian/American, 1932-2001). Lithograph print on Rives BFK paper titled "Golden Statue" depicting a scene with trees, figures, mountains, and chickens against abstract backgrounds, 1994. Pencil signed and dated along the lower right; editioned 8/30 along the lower left. Pencil marked "TP-1593-327" along the verso.Height: 30 in x width: 22 in.Condition: The colors are bold and bright. There are no tears, creases, losses, or restorations. Light wear along the deckled edges. The work is not framed.

George Morrison (Ojibwe, 1919-2000). Lithograph on paper titled "Red Cube" depicting undulating interlocking forms, reminiscent of the artist's found driftwood collages, 1983. Pencil signed and dated along the lower right. Titled and editioned "Artist Proof" along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 3/4 in x width: 22 1/4 in. Framed; height: 34 1/2 in x width: 26 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations. Very light undulation to the sheet. The sheet is floated in frame. Framed under glass. Some wear to the frame.

Irving Petlin (American, 1934-2018). Lithograph on paper titled "Joseph and His Houses" depicting the Biblical figure striding towards three houses while holding a fourth, 1981. Pencil signed along the lower right; numbered 29/104 along the lower left.Unframed; height: 30 in x width: 20 in. Framed; height: 32 in x width: 22 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. Framed under glass; light wear to the frame. Not inspected out of frame.

Fritz William Scholder V (American/La Jolla Band of Luiseno Indian, 1937-2005). Color lithograph on paper titled "Kachina Dancers" depicting a group of figures in a line with adobe houses in the background, 1970-71. Pencil signed along the lower right; editioned "Artist Proof" along the lower left.Scholder spent much of his early life moving throughout the Midwest, living in Minnesota, South Dakota, and Wisconsin. At seventeen, he attended the Mid-West Art and Music Camp at the University of Kansas where he studied with Robert B. Green. As a freshman at Wisconsin State University, he studied with Arthur Kruk, James Grittner, and Michael Gorski. In 1957 he followed his family to Sacramento, California where he studied with Wayne Thiebaud. He has met and worked with numerous designers and artists including Lloyd Kiva New, Charles Loloma, Max Cole, John Heric, and Bruce McGrew.His works often show the harsh, realistic side of Native Americans' lives and deaths including the effects of alcohol. His unique experience as a figure who never lived on or around other Native Americans allowed for a fresh perspective on Native American art, though it was sometimes controversial. He fused together Expressionism, Color Field, and Pop art to convey his perspective on his subjects.Unframed; height: 22 1/4 in x width: 30 1/2 in. Framed; height: 31 1/2 in x width: 39 1/2 in x depth: 3/4 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or repairs. Light wear along the deckled edge. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Currier and Ives, United States. Hand-colored lithograph titled "An American Farm Scene: In the Olden Time," depicting a rural scene with three cows at the edge of a pond.Provenance: Distinguished Corporate Collection, Ohio.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0145, page 20.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 8 1/2 in x width: 12 5/8 in. Margins; top: 1/2 in x bottom: 1 in x left: 5/8 in x right: 1/2 in. Sheet; height: 10 in x width: 13 3/4 in.Condition: The sheet is toned. Some areas of light foxing throughout and uneven coloration to the sheet. There is some wear along the edges. There are some frits/chips along the upper left edge. There are three tears along the upper right edge; repaired with framer's tape along the verso. There are three tears along the lower edge; evidence of restoration when viewed under UV light and from the verso. Two further areas with evidence of restoration along the lower edge; one of these areas with some skimming (lower left corner). Evidence of a small area of restoration along the upper center edge. Some soiling to the verso. Three pieces of framer's tape affixed to the verso: one mentioned previously in this report, one on each upper left and right corner. There are six repairs visible along the edges, previously mentioned in this report. It appears that the print has been trimmed in the margins somewhat as evidenced by margin measurements and the closeness of the bottom text to the edge of the sheet. The work is not framed.

Philip Pearlstein (American, 1924-2022). Lithograph on paper titled "Model in Kimono on Plastic Chair" depicting a Modernist Realist nude woman in a colorful robe, 2001. Pencil signed and dated along the lower right; titled and numbered 20/30 along the lower left. Printed by Landfall Press, Chicago; ink stamp along the verso.Height: 19 1/2 in x width: 25 in.Condition: The colors are bold and bright. There are no rips, tears, losses, or restorations. The work is not framed.

Jeanette Pasin Sloan (American, b. 1946). Color lithograph titled "Black Star" depicting a highly reflective still life, 1998. Pencil signed and dated along the lower right; titled along the lower center; numbered 1/20 along the lower left.Height: 21 in x width: 22 in.Condition: There are no tears, creases, losses, or restorations. The colors are bold and bright. Light wear along the deckled edges. The work is not framed.

Frank Stella (American, 1936-2024). Lithograph on paper titled "Cipango" from the "Multicolored Square I" series, 1972. Depicting a square in bright, primary colors. Pencil signed, dated, and numbered 41/100 along the lower right.Sight: height: 16 in x width: 22 in. Framed; height: 17 1/4 in x width: 23 1/4 in x depth: 1 1/2 in.Condition: There are no visible tears, creases, losses, or restorations. The colors are bold and bright. There are signs of extremely light wear along the edges. The work is floated in frame. There is a slight undulation to the sheet. Framed under plexiglass; some wear and light scuffs to the plexiglass. Light wear to the frame. Not inspected out of frame.

David Levine (American, 1926-2009). Group of nine lithographs depicting caricatures of popular and well-known figures in history including Picasso, Freud, Lyndon B. Johnson, and more. Framed together in sets of three. With a label from Vern Carver Gallery affixed to the versos. Each lithograph is signed and dated, ca. 1960s, in plate along the lower edge.(Each) Sight; height: 9 in x width: 6 in. Framed; height: 32 in x width: 9 3/4 in x depth: 3/4 in.Condition: There are no visible tears, creases, losses, or restorations. The works are housed under acidic mats. Framed under glass; light wear to the frame. Not inspected out of frame.

A small groups of good framed watercolours, 1 Lithograph. To include an ink drawing depiction Romeo and Juliet.

Bernard Leach (1887-1979), design for a Cornish tile, lithograph, signed in pencil and numbered 50/100, image size 14.75" x 18" (38 x 46cm), unframed, a/f.

Robert Graham (1938-2008), female nude studies, probably a lithograph, signed and dated 1971 in pencil, numbered 52/100, 26" x 55" (66 x 140cm), unframed, rolled, a/f.

Josef Herman (1911-2000), 'On the Way Home', lithograph, signed in pencil and numbered 92/100, image size 13.5" x 16.5" (34 x 42cm), unframed.

Emil Hanselmann, Circa 1886, a lithograph featuring a gorilla, monkeys and lemurs,12" x 14" (30 x 36cm), along with a print of a gorilla, numbered 101/595, 17" x 14" (43 x 36cm), a print of Eddie after Pio Abad, signed and numbered 31/50, 13" x 9.5" (33 x 24cm), a signed print of a family of Gorillas by Joel Kirk, and two further Gorilla related prints, (5).

A Large late Victorian lithograph of Trafalgar Square, 15" x 19" (38 x 48cm).

Mary Fedden (1915-2012), 'Chiswick', lithograph in colours, printed signature, image size 19" x 13.5" (48 x 34cm).

Brandling (Henry Charles) Views in the North of France, 11 (of 12) unbound large folio hand-coloured tinted lithographs, with list of subscribers and text pages loose [Abbey, Travel 98], the pages 44cm x 60cm; together with Nash (Joseph) The Mansions of England in the Olden Time, London: T. M. McLean, 1839, large folio, original cloth with leather spine, 25 plates (2)Ombersley Court, WorcestershireUnbound, some fold marks and toning to pages, losses to some text pages, foxing to edges of plates and Caudebec page a little torn not affecting the lithograph, minor foxing to lithographic images, 11 of 12 plates present, text pages not collated

*Marc Chagall (Russian-French, 1887-1985) -The Little Red Horse (Le Cheval Rouge) - 1975 -Colour lithograph -Numbered 15/50 and signed in pencil lower margin35 x 30cm - 54.5 x 50cm framed