CLARK & DUBOURG LITHOGRAPHS NAPOLEONIC BATTLES 1818

3 Antique French Napoleonic Battle Scene Lithographs.

One by H. Alken titled 'The Death', Clark and Dubourg Sculp., and one Herring's Fox-Hunting Scenes titled 'Breaking Cover' Foxing Overall: 33-1/2"h x 27-1/2"w and 30-1/2"h x 42-1/2"w Sight: 20-3/4"h x

Clark Battle Fitz-GeraldAmerican, (1917-2004)Negro Head, 1937-47carved black walnutProperty from the Saint Louis Art Museum, sold to benefit the Acquisitions fundThis piece was featured in the 1974 Ex

Artist: Salvador Dali. Medium: Original Lithograph. Title: Battle for Jerusalem Hills. Size: 24" x 17". Measures approx. 35" x 28" (framed). Signature: Signed and numbered in pencil. Certificate of Au

English Hussar James J. Fraser's Sabre with Engraved Napoleonic Wars Battle Honorsearly 19th century, the weapon being a Mameluke sabre with a clipped back curved blade, iron cross guard with round fi

Ed Clark, Untitled, Signed Lithograph, AP. Provenance: Private Philadelphia Estate. Frame: 29.5" x 41.5" Scene: 23.5" x 28.5"

Large Oil Painting Extensive Sea Battle War Ships Off Trafalgar By James Hardy 1 Fine Large Seascape Art Marine Oil Painting Naval Ships Maritime Napoleonic War Extensive Sea Battle Off Trafalgar Coas

ED CLARK (1926 - 2019) Untitled. Color lithograph on wove paper, 2000. 876x914 mm; 34½x36 inches, full margin. Signed and numbered 7/25 in pencil, lower margin.

Milton Clark Avery (1885-1965). Signed. Lithograph. 1955. Measures 7.5 inches high x 9.5 inches wide in a 5.5 inch frame.

4 Kurz & Allison Lithograph Circa 1907 Revolutionary War Scene. (1) Battle of Lexington - April 19th 1775. (1) John Paul Jones Captures the Countess & Serapis, Sept. 23th 1779. (1) Napoleon at Waterlo

4 Kurz & Allison Lithograph Circa 1907 Revolutionary War Scene. (1) Battle of Lexington - April 19th 1775. (1) John Paul Jones Captures the Countess & Serapis, Sept. 23th 1779. (1) Napoleon at Waterlo

After F. Hartwich (19th Century) An interview of Napoleon III with Count Bismarck after the Battle of Sedan, 1870, hand coloured lithograph, 19" x 23.5", (48 x 59 cm) (unframed).

STUDIES OF THE MALE BACK, triptych, 1987, three color lithographs, each signed in pencil and inscribed H. C. (Hors Commerce), aside from the numbered edition 99, images 23 5/8 x 17 5/8”, sheets 31 3

CURRIER & IVES, 1971, five color lithographs with collage, each signed and numbered in pencil from the edition of 250, published by Phylis Lucas New York with stamps on verso, sheets 21 ½ x 30&

DE L’ORIGINE DES ESPECES, 1971, portfolio of ten color lithographs, each signed and numbered 147/180 in pencil, printed by Mourlot, published by XXe Siecle and Leon Amiel, sheets 20 x 14 ¼&rd

TRILOGY OF LOVE (M.1501, 1502, 1503; F.76-3.A, 76-3.B, 76-3.C), 1976-77, the portfolio of three color lithographs on Japan paper, each signed in pencil and numbered XXXV/C Roman numeral (35/100), shee

AUDEN POEMS (C.245, 246, 248, 250, 253, 254, 256, 259, 260, 262, 265-273), 1974, the complete portfolio of eighteen handprinted lithographs, each signed and numbered 51/75 in pencil, sheets 25 3/8 x 2

PEELING BACK, 1974, six of the same color offset lithographs on Strathmore paper, three signed dated and titled in pencil from the numbered edition of 95, three initialed and dated and titled in penci

STRAIGHT LINE OF THE SUN (L.187); SF.247), 1975, three of the same lithographs, each signed in pencil, artist’s proofs aside from the numbered edition 32, published by Gemini G. E. L. with blin

LES ILLUMINATIONS, 1949, double portfolio, with fifteen lithographs on thin chain laid paper each signed in pencil and inscribed Suite X, plus the same fifteen lithographs unsigned, aside from the num

VISIONS SURREALISTS ( M.1487, 1488, 1490; F.76-4-A, C, D) three color lithographs on Japan paper, each signed in pencil and from the numbered edition 100, sheets approximately 29 ¾ x 21 3/8”, print

PRISON FANTASIES II, 1973, portfolio of six color lithographs, each signed and numbered 237/250 in pencil, printed by Penn Atelier Graphics, sheets 22 ¼ x 15 ¼” in original slipcov

PRISON FANTASIES I, 1973, portfolio of six color lithographs, each signed and numbered 237/250 in pencil, printed by Penn Atelier Graphics, sheets 22 ¼ x 15 ¼” in original slipcove

EL HOMBRE CON UNA MANZANA from the series of fifteen lithographs aka The Watermelon Suite (P.141), 1973, color lithograph on Guarro paper, signed and numbered 75/75 in white pencil, published by Edici