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AFTER ERNEST MONTAUT (FRENCH, 1878-1909) 'Latham sur monoplan Antoinette', coloured lithograph with pochoir colouring, early 20th century, 42cm x 87.5cm, laid down to card, unframed.

AFTER ERNEST MONTAUT (FRENCH, 1878-1909) The Coupe de Salon, 1904, from '10 ans de courses, les marques victorieuses 1897-1907', coloured lithograph with pochoir colouring, early 20th century, 21cm x 33.5cm, inclusive of margins, unframed.

AFTER ERNEST MONTAUT (FRENCH, 1878-1909) The Paris to Toulouse Race, 1900, from '10 ans de courses, les marques victorieuses 1897-1907', depicting Alfred Levegh in the Mors (1348km in 20 hrs & 50 mins.), coloured lithograph, early 20th century, 21cm x 33.5cm, inclusive of margins, unframed.

AFTER ERNEST MONTAUT (FRENCH, 1878-1909) The Paris to Amsterdam Race, 1898, from '10 ans de courses, les marques victorieuses 1897-1907', depicting Fernand Charron in the Panhard et Levassor, coloured lithograph, early 20th century, 21cm x 33cm, inclusive of margins, unframed.

Frederick Calvert (c. 1790 - 1844) Sailing Craft in Mount's Bay, Cornwall c.1825oil on canvas 61 x 92cm (24 x 36.2in)Collection of Princess Duleep Singh; Private Collection; Thence by Descent This dramatic canvas by Frederick Calvert depicts sailing vessels near St. Michael's Mount, a tidal island in Mount's Bay, Cornwall. The view is taken from the north shore; to the left is the island, surmounted by castle and abbey, while in the far distance is the Lizard peninsula, the most southerly point on the English coast. In the foreground, a three-masted lugger, with crew and passengers, heels over in a strong south-westerly wind as it heads out across the bay, while in the background a larger trading brig approaches, probably making towards Newlyn. There are several white sails on the horizon, while in the distance a sloop, beyond the lugger, is heading out to sea. Exposed to southerly gales, Mount's Bay is by no means a safe anchorage and there have been many shipwrecks there over the years. In his marine paintings, Calvert often combined a variety of sailing craft, including fishing smacks, men-o-war and trading vessels. He specialised in scenes of impending storms and choppy seas, with ships heeling over in strong winds; his skies are characterised by contrasts of dark rainclouds and blue patches of sky. Often, he depicted ships running for shelter; there is a sense of urgency as they seek refuge from oncoming storms. Although Calvert painted mainly along the south coast of England, at locations such as Ramsgate, the Needles, the Isle of Wight and Dover, he also produced scenes set in Irish coastal waters. His skies and seas are finely painted, and the compositions, and contrasts of light and shade, add drama to his work. Born in Cork around 1790, Frederick Calvert may have been related to the John Calvert, who appears in the list of Cork freemen 1710-1841, described as a 'cotton manufacturer'. In 1807, Frederick's aquatint view of the newly-constructed Parliament Bridge in Cork was published (coll. National Library of Ireland), and five years later he exhibited View near Rathfarnham at the Society of Artists in Dublin. In 1815 he showed two Dublin scenes at the Hibernian Society's exhibition. Around that time, he moved to England, publishing four aquatints of the interior of Tintern Abbey in Wye valley, a ruin made famous in the Romantic era by William Wordsworth and JMW Turner. Several of these aquatints are in the National Library of Wales; one shows the exterior of the Abbey, while another depicts sightseers wandering amidst ivy-clad ruins, admiring the nave and south window. Both images have lines of poetry inscribed underneath. In 1815 also, Calvert's three-part book, Lessons on Landscape in Three Parts: Consisting of Pencilling, Shadowing, and Colouring was published. Maintaining that 'the rules of Art are as simple as the lessons of Nature', Calvert's manual was intended to help amateur painters achieve more professional results, He continued to exhibit in Ireland, and in 1821 his views of Wicklow were included in an "Exhibition of Works by Old Masters, Artists and Amateurs" held in Limerick. The following year he published The Forest Illustrated (coll. V & A), a series of lithographs depicting ash, oak and fir trees, as seen in both winter and summer. His lithograph print On the River Lea, County Cork (NLI) was published in London in 1824, while a fine lithograph of Killarney (NLI), after an original drawing by Dr. John Hume, Dean of Kerry, dates from four years later. By then Calvert was settled in London, with a studio on Pall Mall, where he exhibited views of Dover Castle and Broughton Castle. He began to specialise in marine paintings in the 1830's, showing works at the Royal Hibernian Academy and the Belfast Association of Artists. Over the following two decades he exhibited mainly at the British Institution, and with the Society of British Artists at Suffolk Street. His books include Picturesque Views of Staffordshire (1830), containing thirty-nine plates, engraved on steel by T. Radclyffe, and Picturesque Views of Shropshire (1831), with thirty-four engravings. These were produced in association with William West. Calvert also contributed papers and illustrations to the Archaeological Journal. Works by him are in the British Museum, the National Maritime Museum in Greenwich, the V & A, Walker Art Gallery, and several regional museums including Bristol and Lancashire. His Shipping in Dublin Bay is in Calke Abbey, while his Lobstermen hauling in their pots off a French coast was shown at the Gorry Gallery, Dublin, in 2013. Apart from three prints in the National Library, Calvert does not appear to be represented in any Irish national collection. The date of his death is not known, but was probably around 1844: He is not to be confused with a Suffolk artist of the same name, a clergyman who died in 1855. Peter Murray, October 2018

Hans Arp (1886-1966) German/French Coulisses de Foret (Wings of the Forest) 1955lithograph in colours (from an edition of 300)signed lower right 36¼ x 31cm (14.3 x 12.2in)Collection of the late Lee Snodgrass, Colorado; Thence by Descent Arntz 330 Born in Strasbourg in 1886, Hans Arp, or Jean Arp as he is also known, was a Franco-German sculptor, painter, poet and print-maker who, after studying art in Weimar, went on to Paris, where he studied at the Academie Julian. A committed Modernist, Arp sought refuge in Switzerland during World War I, and in 1916 became a founding member of the Dada movement. Four years later, along with Max Ernst and Alfred Grünwald, he set up the Cologne Dada group, and in 1922 married a fellow-artist, Sophie Taeuber. Arp was also associated with the Surrealists in Paris, participating in their first exhibition at the Galérie Pierre in 1925. The following year, he and Taeuber settled in the Paris suburb of Meudon. In 1931, he parted company with the Surrealists, to found Abstraction-Création. During the 1930's, Arp produced sculptures in bronze and stone as well as collage works and bas-reliefs. In 1942 he fled from Meudon to Zurich, to escape the German occupation, and spent the rest of World War II in Switzerland. In 1949, he had an exhibition at the Buchholz Gallery in New York and the following year was commissioned to make a relief sculpture for the Harvard University Graduate Center in Cambridge MA. Arp was also commissioned to make a mural at the UNESCO building in Paris. A retrospective of his work was held at MoMA in New York in 1958, and another at the Musée Nationale d'Art Moderne in Paris, in 1962. During the 1950's and 60's, Arp worked on editions of lithographs and woodcuts, in which he explored the possibilities of what at first glance appear to be the simplest of abstract motifs. However, his playful imagination enabled him to create infinite variations, using just two or three solid areas of colour. These were produced as limited editions, in etchings, serigraphs, woodcuts and lithographs. The colour lithograph Coulisses de Foret was produced in 1955, in an edition of 300, for the Kestner Gesellschaft Hannover (Kestner Society, Hannover). [Catalogue raisonne, Wvz. Arntz, Nr. 330c] This print is also in the collections of the Fine Arts Museums of San Francisco, and the Museum of Fine Arts in Boston. Peter Murray, October 2018

P Hoback, contemporary British School, 'Autum Cats, 1994', lithograph, signed in pencil lower right, H.48cm W.63cm, unframed

20th century Continental School, 'Horse Race', lithograph, signed in pencil and dated 60, numbered 24/30, H.40cm W.55cm

20th century Continental School, architectural study, offset lithograph, H.45cm W.63cm

Josef Herman (British, 1911–2000), 'Bird', lithograph, signed in pencil and numbered 20/50, 30cm x 36cm

Mel Ramos (b. 1935), 'Spark Plug', lithograph in colours, signed in pencil, edition of 2500, framed

HENRY MOORE, rare lithograph 'Standing figures', 1951 suite: Jazz, printed in Paris, 31cm x 24cm.

ANDY WARHOL 'Flowers', lithograph with signature in the plate 1282/2400, CMOA stamp verso, 60cm x 60cm, framed.

HENRI MATISSE 'Fleurs de Neige', original lithograph from the 1954 edition after Matisse's cut outs, printed by Mourlot, 35cm x 20cm, framed and glazed.

MARC CHAGALL 'Lovers in Paris', 1981, offset lithograph, printed by Maeght, 35cm x 23cm, framed and glazed.

HENRI MATISSE 'Nuit de Noel', original lithograph from the 1954 edition after Matisse's cut outs, printed by Mourlot, 35cm x 20cm, framed and glazed.

ALBERTO GIACOMETTI 'Standing figure', lithograph signed in stone and framed, 62cm x 37cm.

Original Vintage Advertising Poster – Lithograph Epinal Print no 19 – Caricature. Image of Don Quihote and Sancho Panza. The Ingenious Nobleman Sir Quixote of La Mancha (El Ingenioso Hidalgo Don Quijote de la Mancha, or just Don Quixote is a Spanish novel by Miguel de Cervantes. Published in two parts, in 1605 and 1615, Don Quixote is the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and the earliest canonical novel, it regularly appears high on lists of the greatest works of fiction ever published, such as the Bokklubben World Library collection that cites Don Quixote as the authors' choice for the "best literary work ever written". Country: France or Germany. Year: 1800s. Artist: Harburger. Size (cm): 39x47.5 (Horizontal). Fair condition, folds and tears in margins.

Original Vintage Advertising Poster – Lithograph Epinal Print no 24 – Hunter and Rabbit smoking a pipe with a rifle - Caricature. Country: France or Germany. Year: 1800s. Artist: Unknown. Size (cm): 36x40 (Horizontal) Good condition, folds and minor tears in margins.

Original Vintage Advertising Poster – Lithograph Epinal Print no 29. Politically incorrect caricature images of a black servant in a livery serving coffee and a Turkish merchant smoking a long pipe with a gun tucked under his belt. Country: France or Germant. Year: 1800s. Artist: Unknown. Size (cm): 40x49 (Horizontal). Fair condition, folds and tears in margins.

Original vintage advertising poster promoting Eugene Tompkins production of The Black Crook featuring an illustration of a woman dancing with a tambourine next to a man in a suit with a bowler hat and a monocle. Jules Cheret (31 May 1836 – 23 September 1932) was a French painter and lithographer who became a master of Belle Époque poster art. He has been called the father of the modern poster. The Black Crook is a work of musical theatre first produced, with great success, in New York in 1866 based on a book by Charles M. Barras (1826–1873). The music, selected and arranged by Thomas Baker, consists mostly of adaptations, but it included some new songs composed for the piece, notably "You Naughty, Naughty Men". The story is a Faustian melodramatic romantic comedy, but the production became famous for its spectacular special effects and skimpy costumes. Lithograph printed by The Strobridge Lith Co. Fair condition, fold marks , several tears and creases, paper losses and punched holes in margin, several stains, backed on old linen. Country: USA Designer: Jules Cheret Year: 1872 Size (cm) 98x72

Poster designed by Fix Masseau (Pierre Felix Masseau, 1905-1994) featuring an elegant Art Deco image of a steam train pulling into a station with ETAT written on the red bumper in front of the train. Official lithograph re-issue from the 1932 original by Studio Editions, printed by Bedos, Paris. Excellent condition. Country: France, year: 1982, artist: Fix-Masseau, size(cm): 99x62.

Original Lithograph poster by Maud Stamm, "Perfecting the Swing" copyright 1908 The Gray Lith Co NY. No 80 A depicts a young woman in the midst of her golf swing. Excellent condition, light stain in top left corner.  Country: USA Year:1908 Size:(cm)32.5x25.5

Original vintage lithograph poster issued in the Russian Empire to raise funds for the war effort in World War One: ??????? ????? - ??? ??? ?????? (military loans - all for victory). Great image of a machine gunner in a snowy landscape. Excellent condition. Country: Russia, year: 1910s, artist: Unknown, size(cm): 61x51.5.

Dutch Amsterdam City Award poster style Certificate to H. G. C. Haavekost for faithful devotion and services. Great design by Albert Klijn in De Stijl style, the certificate was designed and printed in 1929. The name an some of the text was added to this certificate in 1936. De Stij Dutch for "The Style", also known as Neoplasticism, was a Dutch artistic movement founded in 1917 in Leiden. De Stijl consisted of artists and architects. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors. Albert Klijn ( Amsterdam , 5 April 1895 - there, 29 November 1981 ) was a Dutch painter , draftsman and graphic designer who received his education at the Arts and Crafts School Quellinus Amsterdam . He then went on to work as a typographer and as a designer of posters and advertising commissions for, among others, Lindeteves-Stokvis and Philips in Eindhoven . Lithograph printed by Stadsdrukkerij. Country: Netherlands. Year: 1929. Artist: Unknown. Size (cm): 32.5x49 (Horizontal) Fair condition, staining, creases, backed on cardboard.

Melvin Buckley - Royal Air Force 'Against all Odds', lithograph, signed and numbered in pencil to the margin 189/1850, 43 x 65cm

Cecil Aldin - City gates, lithograph, signed in pencil to the margin, 51 x 26cm; after Joshua Reynolds portrait engraving of John, earl of Rothes, Lord Leslie & Banbreigh; and a reproduction map of the world (3)

An early 20th century lithograph printed novelty moneybox in the form of a lighthhouse, printed bible Churchmens Missionary Society, a Light to Lighten the Gentiles, marked verso Beady MS, height 18.5cm

Framed, unsigned lithograph, Gothic tower-part, Leipzig, 26cm x 19cm, with unframed, unsigned oil on canvas, portrait of male with hat, 25cm x 19cm.

EDWARD ARDIZONNE for Guinness - The Fattest Woman in the World, lithograph, signed in the stone, published by The Curwen Press, 1956, framed, 53cm x 79cm

EDWARD LA DELL for Guinness - 'Newmarket', lithograph, signed in the stone, published by The Curwen Press, 1956, framed, 53cm x 79cm

A Bing O gauge tinplate station with lithograph advertising for 'Drink Liptons Tea, a similar platform station 'Robin Starch', 'Lux', a wooden station Coventry and another with a sign for Hastings Bathing (4)

W INSULL, DUDLEY (PUBLISHER) - Interior View of the Court Yard Dudley Castle, lithograph, published c.1860, framed, 23cm x 35cm also the companion, Dudley Castle taken from Kates Hill. (2)

* Compagne Generale Transaerienne, Billancourt, Paris, circa 1909, colour lithograph poster (the upper sheet only of a 2-sheet conjoined poster), showing an early airship with passengers and crew over a setting sun, some careful repairs and light creases to margins, lined backed, image size 71.5 x 113cm, sheet size 77.5 x 116.5cm The lower portion would show a Mediterranean bay below. (1)

Edward Ardizonne (1900-1979) 'Shelter Scene' lithograph in colours published by National Gallery and printed by the Baynard Press 65cm x 98cm unframed Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Herbert Thomas Dicksee (British 1862-1942): Lady in a Doorway, drypoint etching signed in pencil, after Jean Corot, 'The Ferryman' and 'L'allée des Arbres', two Grafton Proof polychrome prints, Sunset off the Coast, lithograph signed by Julius Olsson, Theatrical Scene, lithograph signed by Doris Zinkeisen etc max 51cm x 66cm framed and unframed (8) Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Edward King Redmore (British 1860-1941): Coastal Landscape, oval oil on board signed, After John Leech, 'Mr. Briggs goes out with the Brighton Harriers', lithograph and one other max 22cm x 26cm (3) Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

California Gold Rush.- Ready Money! A New Song dedicated to Nobody, addressed to Every Body, illustrated sheet music cover, lithograph, 34 x 24.5cm., small losses and minor defects at edges, London, c.1850

Circus.- The Bowdens. Acrobates Cyclistes Excentriques, Extraordinaires Cascadeurs, large colour lithograph poster, sheet 89 x 124 cm. (35 x 49 in.), old folds, several clean tears at edges, small portion missing at top left, Paris, Affiches Louis Galice, c.1922⁂ Bowden was the stage name of trick cyclist Georges Bazot (1884-1973). He worked with various partners and as "Loriot" also performed as a clown.

Camus (Albert) Oeuvres Complètes, 7 vol., number 165 of 200 copies with a signed and numbered lithograph by Garbell, illustrations by Garbell and others, loose as issued in original wrappers with original vellum-backed chemise and slip-case, Paris, 1962-65; and another 7 volume set of the same, limited to 4,800, 4to (14)

George Laporte, limited edition colour lithograph, Le Silence Breton, unframed, with certificate, 19.75ins x 15ins (D)

*@Sutherland (Graham, 1903-1980). Three Figures in a Garden, 1953, colour lithograph on wove paper, printed by Mourlot, published by William Heinemann Ltd., a proof aside from the published edition of 125, signed and inscribed in brown ink by the artist lower right 'To Judy & Nigel Temple with friendship Graham Sutherland, 29. X. 61', some light paper discolouration, sheet size 298 x 215mm (11.75 x 8.5ins), framed and glazed Tassi 55. (1)

*@Restall (Frank Percy, 1897-circa 1965). London's Tramways. Travel in Comfort by Tram, [1923], colour lithograph poster, printed by Vincent Brooks, Day & Son Ltd., London, some light browning to sheet edges, otherwise generally in good condition, not laid down, 73 x 36 cm (28.5 x 14 ins), clip-mounted (1)

*Frink (Elisabeth, 1930-1993). Menelaus and Helen, 1974, colour lithograph, numbered 17/30, titled and signed in pencil at foot, sheet size 56.5 x 38.5 cm (22.25 x 15.25 ins), framed and glazed, Waddington Graphics, gallery label to verso Wiseman 100. (1)

Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil lower right, sheet size 285 x 220 mm (11.3 x 8.7 ins), as issued in Modern War Paintings by C.R.W. Nevinson, with an introductory essay by P. G. Konody, 1st edition, Grant Richards Ltd., 1917, monochrome plates, faint ink stamp to verso of frontispiece, plates and few leaves of text, label removed from front pastedown, untrimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, gilt library number at foot of spine, in original blue dust jacket, with some fading, long closed tear repaired to verso with adhesive tape, some wear to extremities of dust jacket and manuscript library number at foot of spine, 4to (1)

*Fry (Roger, 1866-1934). St. Jacques, Dieppe, 1927, lithograph on paper, small puncture to upper left corner, sheet size 64 x 42 cm (25.25 x 16.5 ins), together with Interior of Cluny, lithograph on paper, minor discolouration to top margin, sheet size 61 x 42.5 cm (24 x 16.75 ins), plus two other lithographs by Roger Fry of French architecture, including one of medieval dwellings titled 'La Charit‚', the other a study of an old farmhouse with geese in the foreground, all framed and glazed (4)

*Nevinson (Christopher Richard Wynne, 1889-1946). Assembling Parts, 1917, lithograph on wove paper, one of 100 unsigned impressions, from the set of six lithographs produced by Nevinson entitled Building Aircraft, for the series The Great War: Britain's Efforts and Ideals, commissioned by the British Department of Information, published by the Fine Art Society, London, 1918, image size 402 x 303 cm (15.8 x 12 ins), sheet size 510 x 379 cm Black 17. Published in an edition of 200 signed and 100 unsigned impressions. (1)

*Richards (Ceri, 1903-1971). Trafalgar Square, 1962, colour lithograph printed by Curwen Studio, published by Editions Alecto, signed, dated, and numbered 19 from the edition of 100, sheet size 57 x 80 cm (22.5 x 31.5 ins), framed and glazed (1)

*Autograph Letters by French & Italian Artists. Nine autograph letters or notes signed by Antonio Canova (1757-1822), Jean Auguste Dominique Ingres (1780-1867), Eugene Delacroix (1798-1863), Paul Delaroche (1797-1856), Gustave Dore (1832-1883), Jean-Leon Gerome (1824-1904), Jean Baptiste Isabey (1767-1855), Eugene Meissonier (1815-1891) and Horace Vernet (1789-1863), circa 1815-70, consisting of a pencil presentation inscription by Antonio Canova attached to an engraved profile portrait of the sculptor (dated 1812), 'A Sua Eccellenza Milord Penrose Ammiraglio del Mediterraneo, Canova' [Sir Charles Vinicombe Penrose, Commander in Chief of the Mediterranean Fleet, Autumn 1814-May 1815 and May 1816-1819], a signed letter from Ingres to Victor Chaugi, Rue de Seine, Paris, dated 31 Juillet 1850, postponing an invitation to lunch as he will have to go to the countryside, a signed note by Eugene Delacroix to Eugene Cheradame, dated Paris 7 aout 1846, acknowledging receipt of 4000 francs 'pour prix de mon tableau representant un naufrage', a signed undated letter on blue paper from Gustave Dore to 'Mon cher Capitaine' outlining arrangements for them both to attend an invitation from a lady, a letter from Jean-Leon Gerome to Madame Millais, dated London 1er janvier 1870, regretting that he cannot accompany his wife as he must take advantage of the weather, while 'le Fog, l'affreux Fog, l'ennemi des peintres ne vient pas changer en nuit obscure la lumiere crepusculaire qui fait le charme de ce pays', a letter from Paul Delaroche to an unnamed recipient, dated 7 novembre 1831 'Monsieur, J'ai ete bien vraiment contrarie lorsque j'ai appris par la lettre que vous m'avez fait l'honneur de m'ecrire que vous vous etiez inutilement donne la peine de passer plusieurs fois chez moi. Le dessin dont Monsieur Feuillet vous a parle n'est plus a moi, et je regret de ne pouvoir dans un moment m'occuper de vous pour faire un autre' , a letter with remains of seal from J. B. Isabey to Monsieur John Gamble, 7 Surry Square, Kent Road, London, dated Jeudi 31 octobre 1822, referring to a lithograph requested by him which cannot be made ready as he will be in the studio for the next four months, a short note from Ernest Meissonier to Monsieur Giroux circa 1859, a letter on pale blue paper from Horace Vernet to Monsieur le Ministre, requesting an audience with him tomorrow morning regarding 'une affaire qui m'interesse vivement', each mounted on modern white backing paper (9)

*Fans. A Spanish hand-painted fan, by Carmen Monreal, Valencia, mid-late 20th century, folding fan, the fabric leaf and pierced ebonised sticks with gouache painting, heightened with bodycolour, of a young girl in a long white dress decorated with blue ribbons, with flowers in her hair, carrying two baskets of fruit and flowers, flanked by trees, a country church with spire, fruit, and trailing floral and foliate decoration, edged with lace embellished with sequins, signed, 27cm (10.5ins), framed and glazed, together with two other decorative folding fans, one with hand-coloured and gilt lithograph of a pastoral group listening to a lute player (some short splits in fold edges), mounted on pierced and gilded bone sticks, outer guard stick of mother-of-pearl (some neat repairs), the other of black fabric and lace, hand-painted with flowers, both framed and glazed (3)

*Frink (Elisabeth, 1930-1993). 'Nausicaa', 1974, colour lithograph, numbered 12/30, titled and signed in pencil at foot, sheet size 56.5 x 38.5 cm (22.25 x 15.25 ins), framed and glazed, Waddington Graphics, gallery label to verso Wiseman 94. (1)

*@Aitchison (Craigie, 1926-2009). Birds, 1996, colour lithograph, from the published edition of 100, signed and dated in pink pen, numbered in pencil 87/100, with margins, image size 26 x 20.8 cm (10.25 x 8.25 ins), framed and glazed (1)

*Frink (Elisabeth, 1930-1993). The Great Bow, 1974, colour lithograph, numbered 26/30, titled and signed at foot, sheet size 56.5 x 38.5 cm (22.25 x 15.25 ins), framed and glazed, Waddington Graphics gallery label to verso Wiseman 101. (1)

*@Banksy (1974-). Save or Delete, 2002, offset lithograph colour poster on recycled paper for Greenpeace, design by Third Planet International, Poster, 42 x 59 cm (16.5 x 23.25 ins), together with set of 8 unused colour stickersposter was banned for use by Disney (2)

*Lichtenstein (Roy, 1923-1997). Foot Medication, 1963, offset lithograph poster for an exhibition of drawings at Leo Castelli Gallery, New York, 58 x 43cm (23 x 17ins), central vertical and horizontal folds, VG (1)

*Chagall (Marc, 1887-1985). Exhibition poster for The Song of Songs, 1975, colour lithograph printed by Charles Sorlier, at the Atelier Mourlot, Paris, sheet size 57.5 x 46cm (22.5 x 18.25ins), unframed (1)

Pierre Celice (French, b. 1932) Orange OvalLtd edition coloured lithograph Signed in pencil lower right Number 5/7565 x 50cm

Pierre Celice (French, b. 1932) Lilac FieldsLtd edition coloured lithograph Signed and dated ’68 in pencil lower right Number 69/7550 x 39cm

Henri Hayden (Polish, 1883-1970)Blue LandscapeLtd edition coloured lithograph Signed and dated 1968 in pencil lower rightNumber 31/7550 x 36cm

Pierre Celice (French, b. 1932) The EyeLtd edition coloured lithograph Signed and dated ’68 in pencil lower right Number 1/7553 x 38cm