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Takashi Murakami (b.1962) We Are the Jocular ClanOffset lithograph printed in colours, 2018, signed in silver ballpoint pen, numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, on smooth wove paper, the full sheet printed to the edges, diameter 500mm (19 5/8in)

Salvador Dalí (1904-1989) Plate 11, from Les Songes drolatiques de Pantagruel (Field 73-7K; M&L 1422)Lithograph printed in colours, 1973, signed in pencil, numbered from the edition of 250, printed by Grapholith, published by Carpentier, Paris, on Japan paper, with full margins, sheet 760 x 540mm (29 7/8 x 21 1/4in) With the Dali Trade authentication and signature in pencil verso

Chris Ofili (b.1968)The Merry Widow poster with Afro Eclipse 1, 2003Offset lithograph printed in colours, 2024, signed in black ink, one of few signed copies, aside from the unsigned edition of 150, published by King & McGaw, Newhaven, on Monte Carlo wove paper, with the blindstamp commemorating the 90th anniversary of Glyndebourne, the full sheet printed to the edges, sheet 900 x 600mm (35 3/8 x 23 5/8in)

Henry Moore (1898-1986)Reclining Figure, Architectural Background III (Cramer 456) Lithograph, 1977, signed in pencil, numbered from the edition of 50, printed by Curwen Studio, London, co-published by Galerie Patrick Cramer, Geneva, and Galleri Haaken, Oslo, on TH Saunders wove paper, with full margins, sheet 470 x 527mm (18 1/2 x 20 3/4in)

Takashi Murakami (b.1962)With Reverence, I Lay Myself Before you - Korin - ChrysanthemumOffset lithograph printed in colours, 2010, signed, dated and numbered from the edition of 300 in ink, on wove paper, published by Kaikai Kiki Co. Ltd, Japan, the full sheet printed to the edges, sheet diameter 711mm (28in)

Salvador Dalí (1904-1989)The Doctor, from L'aventure médicale (Field 80-4A; M&L1575g)Lithograph printed in colours, 1980, signed in pencil, numbered from edition G of 125, published by Levine & Levine for Grafos Verlag, on Arches paper, with full margins, sheet 754 x 540mm (29 3/4 x 21 1/4in)

Salvador Dalí (1904-1989) Rembrandt 'Portrait du peintre par lui-même', from Changes in Great Masterpieces (Field 74-2E; M&L 1474) Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 350, published by Sidney Lucas, New York, with the Phyllis Lucas copyright ink stamp verso, on wove paper, with full margins, sheet 840 x 630mm (33 x 24 3/4in) With the Dali Trade authentication inscription and signature in pencil verso.

Paul Cézanne (1839-1906) after.Le Déjeuner sur L'Herbe (Cherpin 9; Leymarie-Melot 9)Lithograph printed in colours, 1894 printed in 1914, printed by Auguste Clot, Paris, on chine-volant paper, with full margins, sheet 360 x 440mm (14 1/8 x 17 1/4in) The present work was produced in homage to Claude Monet's painting of the same title and the lithograph was intended to be published by Vollard in his Album d'Estampes de la Galerie Vollard. Cezanne supervised the production of the maquette, however for unknown reasons the work was not published by Vollard, and it remained unprinted until 1914 when the current edition was pulled by the master printer Auguste Clot.

Terry Frost (1915-2003)Blues (Kemp 47)Lithograph printed in colours, 1969, signed and dated in pencil, numbered from the edition of 75, printed by Emil Matthieu Atelier, Zurich, published by Leslie Waddington Prints, London, on Arches wove paper, with wide margins, sheet 615 x 565mm (24 1/4 x 22 1/4in)

Alice Neel (1900-1984)Portrait of John Rothschild (Man with Pipe)Lithograph printed in colours, 1980, signed pencil, numbered from the edition of 150, on Arches paper, with full margins, sheet 700 x 540mm., 27 ½ x 21 ¼ in.

Andy Warhol (1928-1987)Calves Head Giant IV, from Wild Raspberries (See Feldman & Schellmann IV.129a) Offset lithograph extensively hand-finished with watercolour, 1959, on laid paper, the full sheet 432 x 279mm (17 x 11in) Provenance: Guy Hepner, New York.

Henry Moore (1898-1986)Six Reclining Figures on Green Ground (Cramer 61) Lithograph printed in colours, 1966, signed and dated in pencil, numbered from the edition of 50, printed by J E Wolfensberger, Zurich, published by the artist, Much Hadham, on Japon nacré paper, with full margins, sheet 770 x 565mm (30 1/4 x 22 1/4in)

Laurence Stephen Lowry (1887-1976)The Fever VanLithograph printed in colours, 1972, signed in blue biro, from the edition of 700, printed by Botton Fine Arts, published by Mainstone Publications, Norwich, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 571 x 658mm (22 1/2 x 25 7/8in)

Salvador Dalí (1904-1989)Velasquez 'Le reddition de Breda', from Changes in Great Masterpieces (Field 74-2B; M&L 1473)Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 350, published by Sidney Lucas, New York, and with the Phyllis Lucas copyright stamp verso, on wove paper, with full margins, sheet 743 x 782mm (29 1/4 x 30 3/4in)With the Dali Trade authentication inscription and signature in pencil verso.

Sonia Delauney (1885-1979)CibleLithograph printed in colours, circa 1970, signed in pencil, numbered from the edition of 75, on wove paper, with full margins, sheet 760 x 560mm (29 7/8 x 22in)

Salvador Dalí (1904-1989)Two of Swords, from Lyle Stuart Tarot Prints (Field 78-1C; Not in M&L)Lithograph printed in colours, 1978, signed in pencil, numbered from the edition of 250, published by Lyle Stuart, New York, on BFK Rives wove paper, with full margins, sheet 760 x 485mm (With the Dali Trade authentication inscription and signature in pencil verso

Graham Sutherland (1903-1980)Praying MantisLithograph printed in colours, 1963, signed in pencil, numbered from the edition of 65, printed by Emil Matthieu, Zurich, published by Galerie Wolfgang Ketterer, Munich, on wove paper, the full sheet printed to the edges, sheet 655 x 502mm (25 3/4 x 19 3/4in)

Takashi Murakami (b.1962)Inside the SoulOffset lithograph printed in colours with cold stamp and high gloss varnishing, 2022, signed in silver marker, numbered from the edition of 300, published by Kaikai Kiki Co. Ltd., Tokyo, on wove paper, the full sheet printed to the edge, sheet diameter 710mm (28in)

Salvador Dalí (1904-1989)Raphael: Le Mariage de la Vierge, from Changes in Great Masterpieces (Field 74-2C; M&L 1477)Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 350, published by Sidney Lucas, New York, with the Phyllis Lucas copyright ink stamp verso, on wove paper, with full margins, sheet 900 x 560mm (35 1/2 x 22in)With the Dali Trade authentication inscription and signature in pencil verso.

Salvador Dalí (1904-1989) Les Délices Petits Martyrs, from Les Dîners de Gala (Field 77-5K; M&L 1341) Lithograph printed in colours, 1977, signed and inscribed 'AP' in pencil, one of 50 artist's proofs aside from the edition of 195, printed by Draeger/Bellini, published by Jean Lavigne, Paris, on BFK Rives paper, with full margins, sheet 554 x 744mm (21 3/4 x 29 1/4in)With the Dali Trade authentication inscription and signature in pencil verso. Dated (01/25/2024).

Salvador Dalí (1904-1989)We Shall Go Up At Once and Possess It, from Aaliyah (Field 68-1J; M&L 1202a)Lithograph printed in colours, 1968, signed in pencil, numbered from the edition of 250, printed by Mourlot, Paris, published by Shorewood Publishers, New York, on Arches paper, with full margins, sheet 647 x 497mm (25 1/2 x 19 1/2in)

Takashi Murakami (b.1962)Let Us Devote Our HeartsOffset lithograph printed in colours with cold stamp and high gloss varnishing, 2022, signed in silver marker, numbered from the edition of 300, published by Kaikai Kiki Co. Ltd., Tokyo, on wove paper, the full sheet printed to the edge, sheet diameter 710mm (28in)

Salvador Dalí (1904-1989)Renaissance (Field 78-9; M&L 1561)Lithograph printed in colours hand-finished with watercolour, 1978, signed in pencil, numbered from the edition of 250, printed by Dumas, published by Levine & Levine for DALART, New York, with the DALART blindstamp, on Arches paper, with full margins, sheet 760 x 560mm (in)

Christo (b.1935)Wrapped Reichstag ProjectOffset lithograph printed in colours, 1994-1995, published by Nouvelles Images S.A. Editeurs, Lombreuil, on wove paper, the full sheet printed to the edges, sheet 618 x 980mm (24 1/4 x 38 3/8in)

NOURLOT FRERES AFTER ARISTIDE MAILLOL. FRENCH 1861-1944. Verve No 5-6. 1939. Lithograph 13½" x 9¾". Unframed.

LOCAL INTEREST ANTIQUARIAN BOOK. ROBERTS, George, 'History and Antiquities of the Borough of Lyme Regis and Charmouth', London, Bagster (etc.), 1834. Front board detached and spine weak but present, Map/lithograph present and attached to front board. Rear board becoming detached. Litho. of 'Ichthyosaurus' present. Text block looks to be complete. A rare book.

Worthington George Smith (British, 1835-1917), botanical study Masdevallia Nycterina (Dracula Orchid), colour lithograph plate, Floral Magazine, published by L. Reeve & Co. London together with eight Horto Van Houtteano (Belgian, 1810-1876), botanical studies including Nepenthes (Pitcher Plants) and Amorphophallus Campanulatus (flowering Elephant Foot Yam) colour lithograph plates, 25 by 34cm

Horto Van Houtteano (Belgian, 1810-1876), botanical studies, six colour lithograph plates, 25 by 34cm, together with six 20th century botanical studies (Calluna), flowering heather varieties, watercolour on paper, 22 by 15cm, framed (7)

Dynamic Forces Greg & Tim Hildebrandt The Lord of the Rings signed lithograph prints x2, to include The Return of Gandalf and Siege II, both Limited Edition of 10,000, with certificates. Good Plus to Excellent. See photo. 

Dynamic Forces Greg & Tim Hildebrandt The Return of Gandalf signed lithograph print, Limited Edition of 10,000, with certificate, Good Plus to Excellent. Also includes Greg & Tim Hildebrandt The Fellowship lithograph print, Good Plus to Excellent. See photo. 

Dynamic Forces Greg & Tim Hildebrandt Siege II signed lithograph print, Limited Edition of 10,000, with certificate, Good Plus to Excellent. See photo. 

Park (Mungo). The Journal of a Mission to the Interior of Africa, in the Year 1805..., 1st edition, London: John Murray, 1815, half-title discarded, folding engraved map frontispiece, title page torn to margins and lined to verso, occasional dust-soiling and few marks, modern half calf, 4to, together with:Parry (William Edward). Journal of a Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific; performed in the years 1819-20, in His Majesty's Ships Hecla and Griper, 1st edition, London: John Murray, 1821, 13 plates (including 8 uncoloured aquatint and 5 engraved), 7 engraved maps (4 folding), library ink stamp to title page, all maps and plates and some leaves of text, occasional dust-soiling and few marks, lacking free endpapers, 20th-century half cloth, dust-soiled, 4to,Lawrence (Walter R.). The Valley of Kashmir, 1st edition, London: Henry Frowde, 1895, folding lithograph map, monochrome plates, bookplate, original cloth-backed boards, cloth browned, 4to,D'Orleans (Prince Henri). From Tonkin to India, by the Sources of the Irawadi, January '95-January '96, Translated by Hamley Bent, M.A., Illustrated by G. Vuillier, 1st edition, London: Methuen, 1898, wood-engraved frontispiece and illustrations (some full-page), folding lithograph map, top edge gilt, endpapers renewed, original gilt-blocked dark green cloth, rebacked preserving original spine, extremities rubbed, large 8vo,Prescott (William H.). History of the Conquest of Mexico, with a preliminary view of the ancient Mexican Civilization, and the Life of the Conqueror, Hernando Cortés, 3 volumes, 1st edition, London: Richard Bentley, 1843, engraved portrait frontispieces, 2 folding maps and one plate, plus Prescott (William H.). History of the Conquest of Peru, with a preliminary view of the Civilization of the Incas, 2 vols., 2nd edition, London: Richard Bentley, 1847, engraved frontispieces, occasional spotting, top edge gilt, late 19th/early 20th-century navy blue half calf by Bumpus Ltd., 8voQTY: (9)

Buckland (William). Geology and Mineralogy Considered with Reference to Natural Theology, a New Edition, with additions by Professor Owen, Professor Phillips, Robert Brown and Memoir of the author, edited by Francis T. Buckland, 2 volumes, London: George Routledge & Co., 1858, engraved portrait frontispiece to volume 1, 90 lithograph plates (including hand-coloured folding geological plan and 8 folding plates), some folding and hand-coloured, contemporary tree calf by J. B. Hawes of Cambridge, elaborate gilt decorated spines with contrasting morocco labels, 8voQTY: (2)

Morris (Francis Orpen). A Natural History of British Moths, 4 volumes, 1st edition, London: Longman, Green, Longman, and Roberts, 1861-70, 132 hand-coloured lithograph plates, some volumes with occasional damp-staining to first and last leaves and margins, armorial bookplate of Jain Ramsay of Kildalton to upper pastedowns, top edge gilt, 20th-century dark green half morocco gilt (for William Brown of Edinburgh), 8voQTY: (4)

Bennett (George W.). An Illustrated History of British Guiana, compiled from various authorities, 1st edition, Georgetown, Demerara: Richardson and Co., 1866, 36 albumen prints numbered 1-44 (including frontispiece, some albumen prints with multiple images) mounted on 35 leaves including several views, some plates faded, browning to text, scattered spotting to text and some plates, endpapers renewed, original gilt-blocked green cloth, rebacked preserving spine, some mottling to boards, large 8vo, together with:Edwards (Amelia B.). A Thousand Miles up the Nile, 1st edition, London: Longmans, Green, & Co., 1877, half-title with early ownership signature Edward Bostock, wood-engraved frontispiece, folding lithograph map, wood-engraved plates and vignette illustrations, endpapers with later cloth hinges, original red cloth with gilt-blocked decoration in black and gilt, rebacked, preserving original spine, board corners rubbed, large 8voQTY: (2)

Morris (Francis Orpen). A Natural History of the Nests and Eggs of British Birds, 3 volumes, 3rd edition, London: George Bell and Sons, 1892, 251 chromolithograph plates, some light spotting, title printed in red & black, advertisement leaves tipped-in after pastedown to volume 1, contemporary ownership ticket to front pastedown, original cloth gilt in bright condition, a few small marks, 4to, together with:A History of British Butterflies, London: John C. Nimmo, 1893, 79 hand-coloured lithograph plates plus 2 pages of black & white illustrations, title in red & black, light spotting in areas, contemporary ownership inscription of Sidney Joicey of Longhurst to half-title, advertisement leaves tipped-in after pastedown, original green cloth gilt, head and foot of spine a little rubbed, corners bumped, 4toA Natural History of British Moths, 4 volumes, London: George Bell and Sons, 1872, 132 (only) hand-coloured lithograph plates, titles printed in red & black, occasional light spotting, text block cracked in a few places, original green cloth gilt, spines a little faded and bumped at head and foot, joints rubbed, a few minor marks to boards, 8vo QTY: (8)

Barr (Alfred H., Jr.). Matisse, His Art and His Public, 1st edition, New York: Museum of Modern Art, 1951, colour frontispiece, numerous plates and illustrations to text, original rust-red quarter cloth over black boards, colour lithograph dustwrappe ( designed by Matisse for this publication), frayed and chipped with a slight loss to head and foot of spine and edges, 4to, together withGaleries Georges Petit. Henri-Matisse, Exposition organiseé au profit de l'Orphelinat des Arts, Paris: Galeries Georges Petit, 16 Juin-25 Juillet 1931, monochrome photogravure plates, untrimmed, original printed card wrappers, rubbed and some wear to head and foot of spine, 4to, plusKawashima (R.). Matisse (Nouvelles Editions Selectionnées des Grands Peintres Occidentaux), Toyoko: Atelier-Sha Editeur, 1936, photogravure frontispiece, 6 colour plates and 30 monochrome plates, text in Japanese, original printed cream boards, a little rubbed and some marks, in original publisher's printed slipcase, small 4to, and other early 20th century exhibition catalogues and books on Matisse, including: André Gide, Jeunesse, Neuchatel et Paris: Ides et Calendes, 1945, original printed wrappers with design to upper wrapper by Matisse, Adolphe Basler, Henri Matisse (Junge Kunst 46), Leipzig, 1924, Exposition Henri-Matisse, Paris: Bernheim-Jeune, 6 Mai au 20 Mai 1924, Henri Matisse par Marcel Sembat (Les Peintres Francais Nouvaux 1), 1920, Henri Matisse, mit geleitwort von Prof. Hans Purrmann, Galerien Thannhauser, Munich, 1930, Oeuvres Récentes de Henri-Matisse, Paris: Paul Rosenberg, 1-29 Juin 1937, Alexander Romm, Matisse, A Social Critique, translated by Jack Chen, New York, 1947, Henri Matisse, Lucerne, Musée des Beaux-Arts, 9 Juillet-2 October 1949, (some ink annotations throughout), and Rétrospective Henri Matisse, Paris, Musée National d'Art Moderne, 28 Juillet-18 Novembre 1956, mostly original printed wrappers (one or two volumes bound in cloth or boards), mostly slim 8vo/4toQTY: (11)

* Ackermann (Rudolph, publisher). Eight Legal Aquatints: Old Bailey, Court of Exchequer, Court of Chancery, Doctors Commons, Bow Street Office, Court of Kings Bench, Court of Common Pleas & [Guildhall] Examination of a Bankrupt [before his Creditors...,] 1808, eight aquatints by J. Bluck, J. C. Stadler and J. Hill after A. C. Pugin and T. Rowlandson, originally published in 'The Microcosm of London', the print of the Guildhall with some abrasion to the title causing loss to the letters, each approximately 230 x 275 mm, uniformly mounted, together with 'The House of Commons' from the same series, mounted, framed and glazed, with Riviere (Charles). Conservative Club & St James's Palace, Paris: circa 1860, tint stone lithograph, title repeated in French, 205 x 275 mm, mounted, framed and glazed, plus Strype (John). The Parish of St James's Westminster taken from the last survey with Corrections, circa 1720, uncoloured engraved ward plan originally published in John Stow's 'A Survey of London', old folds, one repaired marginal closed tear affecting the printed image, 370 x 305 mm, mounted, framed and glazedQTY: (11)

* Gould (John & Elizabeth). Snow Goose [1832 - 37], lithograph with contemporary hand-colouring, originally published in 'The Birds of Europe', 350 x 525 mm, mounted, framed and glazed, together with Botaurus Stellaris [1862 - 73], lithograph with contemporary hand-colouring, originally published in 'The Birds of Great Britain', 350 x 515 mm, mounted, framed and glazed, with Selby (John Prideaux). Black Scoter Male [1821 - 34], etching with contemporary hand-colouring, originally published in 'Illustrations of British Ornithology', 380 x 535 mm, verre eglomisé mount, framed and glazed, plus Keulemans (J. G.). Harlequin Duck, Red-Necked Grebe, Scaup, Velvet Scoter, Long-tailed Duck [and] King Eider [1881 - 96], six lithographs of ducks and waterfowl, all with contemporary hand-colouring, each approximately 270 x 225 mm, uniformly mounted, and Foster (W. after). Fourteen prints of Birds, circa 1890, chromolithographs, each approximately 135 x 215 mm, uniformly mounted, framed and glazedQTY: (23)

Humphreys (Henry Noel). The Coinage of the British Empire: An Outline of the Progress of the Coinage in Great Britain and Her Dependencies, from the Earliest Period to the Present Time, 1854, 1st edition, London: Nathaniel Cooke, 1854, twelve chromolithograph plates including frontispiece (plates with some offsetting to facing leaf of text), and twelve uncoloured lithograph plates at rear, marbled endpapers, all edges gilt, original publisher's black papier-maché binding, both sides pierced, showing a red silk background, outer corners minimally chipped with very slight loss to upper outer corners, one or two marks elsewhere, together with The Origin and Progress of the Art of Writing: a connected narrative of the development of the art...and its subsequent progress to the present day, 2nd edition, London: Day and Son, 1855, chromolithograph frontispiece and twelve chromolithograph plates, fifteen uncoloured lithograph plates, some woodcut illustrations to text, occasional, mostly light, spotting, all edges gilt, original publisher's papier-maché binding, both sides pierced showing a red silk background, leather spine lettered in gilt (some light stains), a few cracks, small chip to lower outer corner of upper cover, both volumes generally in good condition, large 8vo (27 x 18cm and similar) QTY: (2)NOTE:McLean, Victorian Book Design & Colour Printing (1972), pp.210-13 (both works illustrated): 'Supreme examples of Victorian Gothic and perhaps the biggest triumph of all the ingenuities of Victorian commercial book-binding'.

This stunning offset lithograph, Rebel Sons of Erin, captures the valor of the 10th Tennessee Infantry Regiment, a Confederate unit composed of Irish Americans during the Civil War. It highlights their unique uniforms, Lieutenant Colonel Randal W. McGavock's personal battle flag, and their courageous stand at Erin Hollow during the 1862 Fort Donelson Campaign under their iconic green regimental flag. Certificate of Authenticity included. Frame size 33.5"L x 1.25"W x 22.75"H. Sight size 27.25"L x 16.5"H. Artist signed in the lower right corner. Artist: Mort KunstlerIssued: 1996Dimensions: See DescriptionEdition Number: 758 of 1750Condition: Age related wear.

Limited edition color lithograph on paper entitled Coming Home by American artist Tom Freeman who depicts clipper ships sailing toward the sunset. Signature and edition number in graphite on lower part: Tom Freeman 535/1000. Comes with original Greenwich Workshop envelope that includes a biography, edition number and lithograph information. Housed in a silver grey wood frame with a beige mat. Sight size: 27"L x 14"H. Frame dimensions: 35.25"L x 22.25"H x 1.50"W. Artist: Tom Freeman (American, b. 1952)Issued: c. 1980Dimensions: See DescriptionEdition Number: 535 of 1000Country of Origin: United StatesCondition: Age related wear.

Croupade is an original color lithograph on shimmery silk featuring a rider on a Lipizzaner stallion made after Joseph Plank's original. Signature and date on lower right: J. Plank, Linz, 1959. Title on lower center: Croupade. Written in graphite on lower left: Wien, illegible. Housed in a gilt and Empire blue frame with an off-white mat. Sight dimensions: 8.50"L x 10.75"H. Frame size: 15"L x 17"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Joseph Plank (Austrian 1894-1977)Issued: 1959Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Capriole is an original color lithograph on shimmery silk featuring a rider on a Lipizzaner stallion made after Joseph Plank's original painting. Signature in plate on lower right: J. Plank. Title on lower left: Capriole. Written in graphite on lower left: Wien, illegible. Housed in a gilt and Empire blue frame with an off-white mat. Sight dimensions: 10.75"L x 8"H. Frame size: 17"L x 15"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: After Joseph Plank (Austrian 1894-1977)Issued: c. 1958Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Limited edition color lithograph on paper entitled Racing In by American artist Tom Freeman who depicts clippers in full sail. Signature and edition number in graphite on lower part: Tom Freeman 321/1000. Comes with original Greenwich Workshop envelope that includes a biography, edition number and lithograph information. Housed in a grey wood frame with a grey mat. Sight size: 26"L x 19"H. Frame dimensions: 34.50"L x 28.75"H x 1.50"W. Artwork can be unframed and rolled for shipment. Artist: Tom Freeman (American, b. 1952)Issued: c. 1980Dimensions: See DescriptionEdition Number: 321 of 1000Country of Origin: United StatesCondition: Age related wear.

A vintage color lithograph on paper titled Pintails by wildlife artist Randy McGovern, depicting two ducks swimming. Printed in a limited edition of 980. Published by McGovern Wildlife Collection, Ltd. Artist signature in graphite on lower right side. Edition number in graphite on lower left side: 644 of 980. Artist: Randy McGovern (American, 20th century)Issued: 1986Dimensions: 14"L x 11.5"HEdition Number: 644 of 980Condition: Age related wear. Small creases around margin.

Levade is an original color lithograph on shimmery silk featuring a rider on a Lipizzaner stallion, made after Joseph Plank's original. Signature and date on lower right: J. Plank 1958. Title on lower center: Levade. Written in graphite on lower left: Wien, illegible. Housed in a gilt and Empire blue frame with an off-white mat. Sight dimensions: 10.75"L x 8"H. Frame size: 17"L x 15"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: After Joseph Plank (Austrian 1894-1977)Issued: 1958Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Levade is an original color lithograph on shimmery silk featuring a rider on a Lipizzaner stallion, made after Joseph Plank's original. Signature on lower right: J. Plank. Title on lower left: Levade. Written in graphite on lower left: Wien, illegible. Housed in a gilt and Empire blue frame with an off-white mat. Sight dimensions: 8.50"L x 10.75"H. Frame size: 15"L x 17"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: After Joseph Plank (Austrian 1894-1977)Issued: c. 1958Dimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

Limited edition color lithograph on paper by pilot and artist Craig Kodera who said: I paint what I see... my office window is at 35,000 feet. Springtime Flying in the Rockies is based on Kodera's original painting. Signature, date and edition number in graphite on lower right: Kodera 1987, 349/550. Comes with original Greenwich Workshop envelope that includes a biography, edition number and artwork information. Housed in a black frame with a taupe mat. Sight size: 12"L x 9"H. Frame dimensions: 19"L x 16"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Craig Francis Kodera (American, 1956-2021)Issued: 1987Dimensions: See DescriptionEdition Number: 349 of 550Country of Origin: United StatesCondition: Age related wear.

This stunning offset lithograph, printed and framed with archival materials, depicts the Battle of Gettysburg on July 3, 1863. The artist aimed to create a unique and original portrayal of the battle, distinct from their previous work The High Water Mark. By shifting the perspective and focusing on a pivotal moment of hand-to-hand combat, the artist offers a fresh and memorable interpretation of this iconic historical event. Certificate of Authenticity included. Frame size 35.5"L x 1.25"W x 23.25"H. Sight size 28.5"L x 16.25"H. Artist signed. Artist: Mort KunstlerIssued: 1993Dimensions: See DescriptionEdition Number: 451 of 1500Condition: Age related wear.

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 frameIn very good condition No visible, tears or creases to the sheet One very minor dink to the lower left-hand corner, visible under close inspection This work has been framed in a black frame and has been float mounted, leaving all corners and edges of the sheet visibleThis work has not been examined outside of the frame.

Keith Haring (American 1958-1990), ‘Crack Down!’, 1986, offset lithograph in colours on paper, produced as part of The Crack-Down Fund, New York; 58 x 45.5cm inc frame58 x 45.5cm inc frame

Cy Twombly (American 1928-2011), 'Yvon Lambert Oct 1980', 1980/2019, offset lithograph in colours on wove paper, published by Yvon Lambert Gallery; sheet: 69.9 x 48.3cmsheet: 69.9 x 48.3cm

Stik (British 1979-), 'Holding Hands (Orange)', 2020, offset lithograph in colours on wove paper, signed in black ink; sheet: 50 x 50cmARR sheet: 50 x 50cm In very good condition No knocks or tears to the sheet There are some light handling creases to the sheet, visible in raking light Some minor markings to the sheet verso, potentially from time of production One horizontal and one vertical fold to the sheet, as originally issued Stored flat, not framed.

Tracey Emin (British 1963-), 'More Of You', 2014, lithograph on 300gsm Somerset paper, signed and numbered from an edition of 100 in pencil; sheet: 90 x 70.5 cmARR sheet: 90 x 70.5 cm In very good condition No knocks, tears, or creases to the sheet One extremely minor mark verso, potentially from time of production. This is not visible recto. This work has been stored flat and has not been framed.

Charlotte Keates (British 1990-), 'Lions Gate Portal', 2022, lithograph in colours on wove paper, signed and numbered from an edition of 1000 verso, published by AD Germany; sheet: 50.2 x 40cmARR sheet: 50.2 x 40cm

David Hockney (British 1937-), 'Little Boodge' 1993, offset lithograph on wove paper, bearing the Artists Copyright verso; sheet: 28 x 42cm (framed)ARR sheet: 28 x 42cm In very good condition No visible knocks, tears or creases to the sheet Framed in a wooden frame This work has not been examined outside of the frame.

Katherine Bernhardt (American 1975-), 'Swimmers', 2022, lithograph in colours on 300gsm Somerset Velvet White paper, signed, titled, dated, and numbered from an edition of 175 in pencil, published by Counter Editions; sheet: 60 x 76cmsheet: 60 x 76cm

Kaws (American 1974-), 'Tokion Neo Graffiti Project', 1999, offset lithograph in colours on paper, sheet; 61 x 46cmsheet; 61 x 46cm

Andy Warhol (American 1928-1987), 'Neuschwanstein', 1987, Offset lithograph & silkscreen on varick rag paper, from an edition of 1200 + 250APs, bearing the Artist's printed signature lower left, jointly published by Edition Schellmann, Maximilian Verlag & Sabine Knust ; sheet: 91 x 62cm sheet: 91 x 62cm Literature: Editions Schellmann 1969-89 P.294 The second edition of Neuschwanstein, jointly published by Edition Schellmann, Maximilian Verlag & Sabine Knust. An offset lithograph and screen print, printed in 1987 by Andy Warhols 'Master Printer' Rupert Jasen Smith. Bearing the printers 'S' blind stamp/embossment mark.ProvenanceEstate of Andy WarholAndy Warhol Foundation for the Visual ArtsBlind stamped Rupert Jasen SmithWith unique estate archive numbering in pencil to verso In very good condition No knocks, tears or creases to the sheet Markings verso, these are from time of production and are not considered damage. This work has been stored flat and has not been framed.