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Charles "Snaffles" Johnson Payne (1884–1967)"The Finest View in Europe",pencil signed,colour lithograph, with printed remarque,42 x 67cms, framed.

Charles "Snaffles" Johnson Payne (1884–1967)"The Worst View in Europe",pencil signed,colour lithograph, with printed remarque,42 x 67cms, framed.

Charles "Snaffles" Johnson Payne (1884–1967)"Swagger - But a Workman",pencil signed,colour lithograph, with printed remarque,41 x 37cms, framed.

Charles "Snaffles" Johnson Payne (1884–1967)"Roadsters",hand-tinted lithograph,48 x 89cms, framed.

(Trees), Henry John Elwes & Augustine Henry: 'The Trees of Great Britain & Ireland', Edinburgh, Privately Printed, 1906-1913, 5 volumes (of 7) only (11 parts of 15 in total including index, lacks volume 2 parts I & II and volume 3 parts I & II), 4 colour & 1 photogravure portrait frontispieces, 5 coloured title pages + 260 leaves of plates of trees (of which 239 photogravure and 21 lithograph), some plates in volume I part II with light marginal soiling, else plates generally VGC, large 4to, the 10 parts + index part + prospectus all in original printed wraps (some slightly worn/soiled), housed in 5 original portfolios, each cloth backed printed paper covered boards (worn and soiled), ribbon ties (5)

(Marc Chagall), Abraham Sutzveker: 'Siberia. A Poem', translated from the Yiddish by Jacob Sonntag, London, Abelard-Schuman Ltd, 1960, 1st edition, preface & 9 full page lithograph illustrations Marc Chagall, 46,[2]pp, folio, original blue cloth, spine lettered in silver, pictorial dust wrapper (21s net price intact). Other copies retailing and on copac/JISC library hub all state publication date of 1961, however this copy states "first published 1960" verso of title page, and bearing no indication elsewhere in this copy of it being the later date of 1961

William Nicholson: 'The Book of Blokes', London, Faber & Faber, [1929], 1st edition, [60]pp, dedication leaf + 29 full page colour lithograph portrait sketch illustrations by Nicholson as called for, 8vo (19 x 13cm), original black pictorial paper covered boards. With an autograph postcard signed and with pen & ink sketch by Paul Cox (b.1959), artist and illustrator, loosely inserted. Scarce

(William Nicholson), 'The Owl. A Miscellany', May 1919, No.1, 1st edition, literary journal edited by Robert Graves, and with contributions by Thomas Hardy, John Masefield, Pamela Bianco, Robert Graves, Siegfried Sassoon, William Orpen, W.H. Davies, Nancy Nicholson, Max Beerbohm, Randolph Caldecott, George Belcher, John Galsworthy, L. Pearsall Smith etc., 10 full page lithograph plates by Pamela Bianco, Nancy Nicholson, Randolph Caldecott, George Belcher etc, and printed by Vincent Brooks, Day & Son Ltd (some of the illustrations listed in contents page attributed to the artists, others with title of plate/illustration listed, but no artist stated, plates 2 & 10, 'Fable, One' & 'Fable, Two', appear reminiscent of William Nicholson?), 29[2]pp, large 4to, original stitched pictorial wrappers by William Nicholson

Walter de la Mare, 16 titles, including: 'The Traveller', illustrated John Piper, L, Faber, 1946, 1st edition, 4 lithograph plates by Piper as called for, original cloth, dust wrapper (large part loss to rear panel), together with a duplicate copy of the same title, ex Repton School Library, original cloth, 'A Child's Day', L, Constable, 1912, 1st edition, 24 mounted plates as called for, 4to, original cloth boards, mounted illustration to front cover, 'Peacock Pie', L, Constable, 1924, 16 coloured plates by Claud Lovat Fraser as called for, original cloth gilt, 'Ding Dong Bell', L, Selwyn & Blount, 1924, 1st edition, original cloth, dust wrapper, 'The Fleeting', L, Constable, 1933, 1st edition, orig. cloth, d/w (worn), 'News', illustrated Barnett Freedman', 1930, Ariel Poem No.31, coloured frontis by Freedman, [4]pp, original stitched pictorial wraps by Barnett Freedman, 'Self to Self', illustrated Blair Hughes-Stanton, L, Faber & Gwyer, 1928, Ariel Poem No. 11, black & white frontis by Hughes-Stanton, [4]pp, original stitched pictorial wraps by Hughes-Stanton, 'Inward Companion', L, Faber, 1950, 1st edition, orig. cloth, d/w, + 7 others (16)

Eight assorted children's titles, including Bernard & Elinor Darwin: 'Tootleoo Two', London, Nonesuch Press, c.1927, 20 colour plates as called for, oblong 4to, original pictorial paper covered boards; Brothers Grimm; Hans Fischer (illustrated): 'The Adventures of Chanticleer and Partlet', L, Cassell, [1947], colour litho illustrated leaves throughout, oblong folio, original cloth backed pictorial paper covered boards (worn); 2 titles written and illustrated by Roger Duvoisin: 'A for the Ark', London, 1961, 1st UK edition, 'Petunia, I Love You', London, 1966, 1st UK edition, each with colour illustrated leaves throughout, each original pictorial boards, dust wrappers; Charles Vildrac: 'Les Lunettes du Lion', illustrated Edy Legrand, Paris, Paul Hartmann, 1932, frontis, title page, numerous full page and in text lithograph illustrations in four colours by Legrand as called for, plus colour litho EP's/front pastedowns by him, 4to, original cloth backed pictorial paper covered boards; Harry Rountree & S.H. Hamer: 'Archibald's Amazing Adventure', L, Cassell, 1905, 1st edition, 4 coloured plates plus full page & in text black & white ills. as called for, original cloth backed pictorial paper covered boards; plus 2 others (8)

Seven various Victorian illustrated titles, including [Elizabeth Tuckett]: 'How We Spent the Summer, or a "Voyage en Zigzag" in Switzerland and Tyrol, with some Members of the Alpine Club, from the Sketch book of one of the Party', London, Longmans et al, 1864, 1st edition, 43 lithograph illustrated leaves comprising illustrated title page, "Dramatis Personae" leaf + map + 40 numbered illustrated leaves, oblong folio, original pictorial paper covered boards, rebacked (not recent); Miss Brown: 'The Foreign Tour of the Misses Brown Jones and Robinson, being the History of what They Saw and Did at Biarritz & in the Pyrenees', London, Bickers, [1878], 1st edition, lithograph title page + 49 numbered lithograph illustrated leaves as called for, 4to, original cloth backed pictorial paper covered boards; 'The Golden Harp', L, Routledge, 1864, 52 engraved ills. by J.D. Watson, T. Dalziel and J. Wolf engraved by the Brothers Dalziel, orig. blindstamped cloth gilt; E.H. Knatchbull-Hugessen: 'The Mountain Sprite's Kingdom and Other Stories', L, Routledge, 1881, 1st edition, black & white ills. by Ernest Griset as called for, orig. pictorial cloth gilt; Mrs S.C. Hall: 'The Prince of the Fair Family, A Fairy Tale', Chapman & Hall, [1867], original pictorial cloth gilt, all edges gilt; Charles Welsh (intro.): 'The Butterfly's Ball and the Grasshopper's Feast; The Peacock "At Home"; The Lion's Masquerade; The Elephant's Ball', Griffith & Farran, 1883, 4 works bound in 1, facsimiles of the editions of 1807/08, 4to, contemporary half calf gilt, each with printed wraps bound in at end; Charles Kingsley: 'The Heroes; Or, Greek Fairy Tales for my Children', Cambridge, Macmillan, 1856, 1st edition, 8 plates, original decorative cloth gilt (7)

(Tartarus Press), Gustav Meyrink: 'The Golem', Tartarus Press, 2004, limited edition (one of 300 copies only), 25 lithograph illustrations by Hugo Steiner-Prag, original cloth lettered in silver (fine), dust wrapper (VGC or better, £30 price intact). Gustav Meyrink's masterful expressionist horror of the Prague ghetto, first published in serial form from December 1913 to August 1914. This Tartarus Press limited edition translated by Mike Mitchell, and published marking the centenary of the publication of the final instalment of The Golem in August 1914. An enduring piece of modernist fantasy

(India, Sri Lanka), S.M. Edwardes: 'By-Ways of Bombay', illustrated M.V. Dhurandhar, Bombay, D.B. Taraporevala, 1912, 2nd edition, 20 black & white illustrations as called for, original cloth gilt; 'Illustrated and Descriptive Guide to Bombay and the Surrounding Districts. With a Map of Bombay', Bombay, The Times Press, 1909, 74pp, illustrations from photos and illustrated period adverts throughout, original printed wraps; Edward Stanford Ltd (published): 'Ceylon', fine and highly detailed colour lithograph folding map, dissected and backed onto linen, circa 1896, 'London Atlas Series', approx 63 x 52cm, folding into original red cloth binding, printed paper label to front cover; Flora Annie Steel: 'Tales from the Punjab', illustrated J. Lockwood Kipling, L, Macmillan, 1894, frontis + full page & in text black & white ills., original decorative cloth gilt (rubbed/worn) (4)

Francis Stone: 'Picturesque views of all the Bridges Belonging to the County of Norfolk in a series of Eighty-Four Prints in Lithography', [1830], 1st edition, lithograph title + 83 (of 84) litho plates by Engelman after Francis Stone, lacks 'Harpham' plate, 'Larlingford 1' supplied loose at front, bound in 2 modern cloth volumes, original brown card wraps for the 4 parts bound in (wrap for part 1 without printed label). From the collection of Father Peter Harris (2)

Kenneth Leech, limited edition lithograph, harvest moon, 141/200, 59cm x 65cm overall, framed, and watercolour, abstract, house study, unsigned, 53cm x 59cm overall, framed

Lithograph, beached fishing boats, image 21cm x 43cm, 37cm x 59cm overall, framed

Banksy (British b.1974)Put A Menu Through This Letterbox And I Will Never Eat Your Food AgainOffset lithograph print on Starliner backed paste-up sticker back6.5 x 6.5 cm (2.5 x 2.5 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b.1974)Authorised Graffiti Area (016/BNK/5Y)Offset lithograph print on Starliner backed paste-up sticker back15 x 10.5 cm (6 x 4.5 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b.1974)Graffiti Artists Must Report To Reception Before Starting Work (BNK/5Y 020)Offset lithograph print on Starliner backed paste-up sticker back15 x 10.5 cm (6 x 4.5 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b.1974)Police Car (BNK/5Y 023)Offset lithograph print on Starliner backed paste-up sticker back13 x 13 cm (5 x 5 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b.1974)Towing Tank (BNK/5Y 025)Offset lithograph print on Starliner backed paste-up sticker back9 x 12 cm (3.5 x 4.8 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b.1974)Petrol Head (BNK/5Y 027)Offset lithograph print on Starliner backed paste-up sticker back10.5 x 12.5 cm (4.5 x 4.8 in)Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Banksy (British b. 1974)Clown (Large)Offset lithograph print on Oracal backed paste-up sticker back45 cm (17.5 in) diameterBanksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Andy Warhol (American b. 1926) Marilyn Monroe, 1986 Lithograph in colours Signed in plate and numbered 1510/2400 in pencil Produced by the Carnegie Museum Of Art, Pittsburgh 60 x 60 cm (23.5 x 23.5 in) Andy Warhol born Andrew Warhola Jr. August 6, 1928 – February 22, 1987 was an American visual artist, film director, and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).

Banksy (British b.1974) Tesco Value Petrol Bomb, 2011 Offset lithograph in colour on smooth woven paper Signed in plate  From an un-numbered edition of 2000 50 x 40 cm (19 x 15 in) Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.

Massimo Campigli (Italian b. 1895)En Bateau (On a Boat), 1955Colour LithographSigned in pencil with E. A. for French Artist's Proof64 x 49cm (25 x 19.5inch)This lithograph was bought from Henri Cazer 'Sources' 49 Rue de Seine Paris 6e in December 1968. He had a small collection which included the 'Ricepickers' (Les Rizieres), now in Amsterdam and 'Windows' (sold in 2021 at Christie's Amsterdam). These were the personal copies of the artist who was a good friend of Cazer. Campigli had lived in Paris but returned to Italy in 1968 leaving his collection to be sold. Thus it is not numbered, it is signed E.A. (épreuve d'artiste) artist's proof. It was cleaned in November 2000 and reframed.

Alfred Manessier (French B. 1911) Poisson (Fish), 1953Colour Lithograph on Swamp PaperSigned in pencil with E. A. for French Artist's ProofArtist's Proof n. XII of XX (12 of 20)55 x 46cm (21.5 x 18in)The lithograph depicting a stylised fish enclosed in geometrical shapes with layered designs in light blue, orange and cobalt blue. The print signed in pencil to the bottom right, on the bottom left reading: "H.C. epreuve d'artiste XII/XX". 

Alfred Manessier (French b. 1911)Février en Hollande (Other designation: Grand paysage hollandais), 1956Colour Lithograph on paperSigned in pencilEdition No. 65 of 17567 x 47cm (26.5 x 18.5in)The lithograph depicting an abstract representation of "February in Holland" according to the artist.

James Cauty (British b. 1956) Dead Dad 1, 2007 Lithograph poster, part of the Operation Magic Kingdom series Unsigned, open edition 70 x 48 cm (27 x 19 in) Over a diverse and productive career Cauty has distinguished himself as a musician, record producer, artist and cultural provocateur through fusions of high art, low art and popularist mediums to spectacular effect. As a teenager Cauty drew the intricate multi-million selling Lord of the Rings poster for British retailer Athena. With Alex Patterson as The Orb and with Bill Drummond as The KLF and the Justified Ancients of Mu Mu, Cauty co-wrote and produced a string of global top ten hits. As The K-Foundation, Cauty and Drummond staged a series of seminal actions including the 1994 K Foundation Art Award for Worst Artist of the Year and the K Foundation Burn A Million Quid. From experimental sonic weapons (the Advanced Acoustic Armaments), to anti-Iraq war postage stamps (Stamps of Mass Destruction), and model making (Riot In A Jam Jar and the Aftermath Dislocation Principle) Cauty’s work combines dissent, cultural subversion and gleeful level of high humour. His roguish and voluble approach has earned him a cult following for work that remains radical, responsive and darkly comical. He produces work that draws on and responds to contemporary culture, sampling it and selling it back as recorded realities. In 2013 Cauty completed The Aftermath Dislocation Principle (ADP), a vast 1:87 scale-model landscape (equivalent to 1 sq mile in miniature) which has been completely looted, destroyed, burnt and is devoid of life apart from 3000 or so model police that attend this apocalyptic aftermath. In 2015 the ADP was installed in Banksy’s Dismaland in Weston Super Mare.

Martin Holt, tennis cartoon, coloured lithograph, signed and numbered in pencil. H.53 W.62cm.

Gabriel Kuri, Mexican (1970), offset lithograph on 100gsm paper of a Banana advertising poster, signed, edition 60/60. H.55.5 W.42cm

Lehmann c1912 German, Oh My,  Alabama Jigger tinplate clockwork toy. Tinplate construction, lithograph decoration, clockwork mechanism in base, when wound the figure dances around. CONDITION REPORT: At time of cataloguing, the mechanism wound Ok, sold as un tested. the lithograph is good but does have age related wear. Supplied without the original box. 

A fine and rare second quarter of the 19th century gilt brass carriage timepieceJames F. Cole, No. 1 Maddox St., Regent Street, LondonThe case surmounted by a stylised facetted Greek key handle with four ribbed mushroom finials above slender Doric columns to octagonal feet, the sides, top and front panels all engine turned, the rear panel patinated and with rotating winding shutter. The 1.75-inch engine-turned silvered Roman dial with subsidiary seconds and slender blued steel moon hands reading against the finely textured centre. The going barrel movement with underslung English lever platform escapement, cut and compensated bimetallic balance, the backplate signed James F. Cole No 1 Maddox Stt Regent Street. 13cms (5ins) highFootnotes:Based on the address on the backplate, this clock was likely made between about 1829-1835. James Ferguson Cole was born around 1798 in Nether Stowey, Somerset to Catherine and James Cole, the latter of whom was a clockmaker, and known throughout the village as 'Conjuror Cole'. It also seems that the family were personally acquainted with both William Wordsworth and Samuel Taylor Coleridge. The Coles had two more children after James, Thomas (born around 1800) and Elizabeth (born around 1808). Both James Ferguson and Thomas became clockmakers, presumably being apprenticed to their father, with evidence that at least James Ferguson began his apprenticeship at 11 years old. According to some sources, James Ferguson was named after the self-taught Scottish astronomer of the same name, who published books and travelled Britain explaining the concepts of Astronomy to lay people. He also made orreries and clocks, eventually becoming a Fellow of the Royal Society. James Ferguson Cole certainly lived up to his namesake and became renowned for his mechanical skill and dexterity; he took out his first patent, for a form of pivoted detent escapement, at the age of 23. Thomas Cole would be lauded for his fine cases and dials, though does not seem to have achieved the same mechanical superiority as his brother.The Cole family moved out of Nether Stowey in 1811, eventually settling in London by 1818. Clocks are known from James Ferguson beginning around 1821, when he seems to have established his own premises, seemingly working out of Hans Place, Chelsea. There is some confusion around this address, it is possible this was the family home. Later in 1821, though, Cole moved to 10 Park Lane, Piccadilly. It does also seem that both brothers were making clocks beginning in their mid-teens, though this was likely done as part of their apprenticeship.Beginning in 1823 the brothers formed a partnership at 3 New Bond Street and began making clocks together. They were responsible for producing some of the most complicated carriage clocks available, which included standard complications such as moon phase and days of the week, and more advanced complications such as perpetual calendar and daily times for sunrise and sunset. They also made watches and chronometers at this time. It is unclear when the partnership dissolved, or why, with the date of dissolution being variously given as 1829, up to 1832. James Ferguson's first shop, after Thomas Cole's departure, was located at 1 Maddox Street, Regent Street, where he stayed until about 1835, then moving to 9 Motcomb Street, Belgrave Sq. Throughout this period he advertised as a chronometer and clock maker. Around 1846, he moved again, this time to 30 Granville Square. At some point, possibly around the time of his move to Belgrave Sq. or a bit after, he married Charlotte Wyatt. The couple would have four children together: James Ferguson Cole Junior, Mortimer George Cole, Ada Martha Cole, and Jessie Cole. Both James Ferguson Junior and Mortimer would become horologists. Ada was a painter, miniaturist, and lithographer who exhibited her work at the Royal Academy. She also printed lithograph portraits, most well-known being of the chronometer maker William James Frodsham. It is unclear if she was or was related to the photographer Ada Cole, who was an early campaigner for animal rights. Cole continued to make high-quality, complicated pieces, relocating first to 20 Devonshire Street and then 11 Great James Street during the 1850's, while his place of residence remained 5 Queen Square Bloomsbury.James Ferguson became quite involved with the British Horological Institute from the beginning, becoming Vice President in 1859. Through his involvement, professional watchmakers began to share information with each other, when previously they had kept the most inconsequential of workshop procedure to themselves, fearing competition from others. For decades afterwards it would be said that 'he broke the ' Conspiracy ' of secrecy' amongst watchmakers. Despite this he relinquished the post in 1862, having become sick of the continual bickering and politicking at council meetings. Another BHI member, however, suggested that it was Cole's 'peculiarity of temperament' which caused the unrest during the meetings. Regardless, in 1875, Cole was commissioned by the BHI, for the sum of £100, to write a series of articles which, taken together, would form a Treatise on Isochronism. It was said that this was partially done to prevent the still new British Horological Institute from appearing antagonistic towards Cole; his possibly forced resignation was warned as being 'no compliment to such an eminent man and also bad taste'. The reviews of the Treatise, after it was published in 1877 were mixed with some members commenting it 'was difficult to criticise [the Treatise] because it contained more language than fact' and others protesting Cole's assertion that flat watchsprings demanded on overcoil if they were to keep accurate time. Some defended the Treatise, including a watchmaker named Joyce Murray, who had been practicing for over three decades. Murray claimed that Cole's Treatise was 'the most valuable work on the subject extant'. Murray further stated that 'Had it been published 30 or 40 years ago, when we began to adjust lever watches, the saving of time and mental labour would have been enormous.' This might suggest that politics and personality clashes biased some reviewers.Cole refused to debate the merits of his Treatise with the various BHI members. He died shortly after, in January 1880, though he continued to practice his horological skills until a few years before his death. James Ferguson Jr. moved into his house, Belvedere (later Tower) House, Bexley Heath, and lived there until 1935. In his obituary, James Ferguson Cole Snr.'s, it was noted that he was one of the foremost practical horologists of his time, and in his particular field of study (springing and timing) he was without equal. Paul M. Chamberlain was well-acquainted with James Ferguson Cole Junior, and his summary of James Ferguson Cole Snr. is probably the most apt: 'Exemplary in his private life, a devoted husband and father, brilliant as artist and scientist, he was in every way fitted to rank with the illustrious men of his time.'Good, R. (2001) 'James Ferguson Cole, Maker Extraordinaire', Horological Journal, Vol. 143(5), pgs. 166-170Murray, J. (1877) 'Letters to the Editor', The Horological Journal, Vol. 19 (6), p. 84Donovan, D. (1975) 'Thomas Cole, Clockmaker 1800-1864. Part 1: The Cole Family', Antiquarian Horology, Vol. 9 (2), pgs. 186-189.Cronin, K. (2016) The Ada Cole Story. Available at: https://unboundproject.org/the-ada-cole-story/British Horological Institute (1958) 'The Rumbustious Days when the Institute was Formed', Horological Journal, Vol. 100 (9), pgs. 566-568.Royal Collection Trust (2022) Astronomy explained upon Sir Isaac Newton's principles and made easy to those who have not studied mathematics / James Ferguson. 1756. Available at: https://www.rct.uk/collection/1090094/astronomy-explained-upon-sir-isaac-newtons-principle... For further information on this lot please visit Bonhams.com

AFTER BERNARD DUNSTON (1920-2017) NUDE BY LAMPLIGHT ‡ Signed lithograph 15/50 24.5cm x 26cmExhibited at the Mall Galleries in 1986

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Centenary of the Centre Excursionista de Catalunya", 1976.Lithograph on Arches vellum, copy 50/100. Avant la lettre edition.Signed and justified by hand.Centre Excursionista de Catalunya, publisher, Barcelona.Artistic lithographs Damià Caus, printer, Barcelona.Size: 79 x 71 cm; 103 x 84 cm (frame).Joan Miró trained in Barcelona, and made his individual debut in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry into visual art, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry into visual art, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Pierre Bonnard (1867-1947) Poster for the bulletin de la vie Artistique Signed in the plate One of very few recorded copies before the addition of text Lithograph and blue pastel on paper Provenance: Paul Proute, Paris, C.1976 Literature: Bonnard Lithographie, Claude Roger-Marx, Andrey Sauret, Moore-Carlo, 1952 number 76. Illustrated page 145. Dimensions: (Framed) 31.25 (H) X 23.5 in. (W)

Marc Chagall (1887-1985), 'Esther', colour lithograph, 13.75" x 10" (35 x 25cm).

Marc Chagall (1887-1985), 'Ahasuerus Sends Vashti Away', colour lithograph, 13.75" x 10" (35 x 25cm).

After Andrew Picken (1815-1845), 'Mount House Madeira', lithograph, published by Day and Haghe, 19th Century, 10.75" x 15" (27 x 38cm), along with a tourist map of Madeira, 18.5" x 21.5" (47 x 54cm), (2).

Anatoli Lvovich Kaplan, A Russian Judaica lithograph, signed in pencil, 18.5" x 15" (47 x 38cm), unframed.

After Guillaume, 'Ambigu Comique', colour lithograph, with Maitres de L'Affiche blindstamp, 11.5" x 7.25", (28.5x18.5cm).

Andy Warhol (1928-1987) 'Uncle Sam', lithograph on Arches paper numbered 81/100 and signed, published by Georges Israel Editeur, Paris, publishers blind stamp with Leo Castelli, New York verso, 22.5" x 15", (57x38cm) (unframed).

After Lieutenant Edward Parker Bedwell RN (British, 1828-1882), The Reception of Her Majesty the Queen & HRH Prince Albert on the Victoria Pier September 3rd 1846", hand coloured lithograph "drawn from nature and lithographed by Lieut. B.P. Bedwell RN", printed by A. Bry in 1848, 28 ¼ x 37 ¼in. (71.8 x 94.6cm.), maple veneered frame with gilt slip., Time stained.

The design for Saumarez Park Manor, Guernsey by the architect Ernest Newton, titled ‘House at Guernsey for The Honble. J. Saumarez’, pub. The Building News, Dec. 5 1884, photo-lithograph by James Akerman, 16 x 12in. (40.7 x 61cm.). * Original fold to centre. Light time staining to margins. Small handling creases.

After John Gould (British, 1804-1881), Coloured lithograph of the exotic bird Phlogophilus Hemilleucurus (Ecuadorian Hummingbird), lithographed by Henry Constantine Richter (British 1821-1902), Walter & Cohen Imp., 19 ¼ x 12 ¼in. (48.9 x 31.1cm).,

Thomas Goldsworth Dutton (British, c1819-1891) after Philip John Ouless (Jersey, 1817-1885), The Naval Review at Spithead 23rd April 1856, black and white lithograph, 21 x 30in. (53.3 x 76.2cm.).. *

Lieutenant Edward Parker Bedwell (fl.1828-1882)., “The Reception of Her Majesty the Queen and his Royal Highness Prince Albert on the Victoria Pier Sept. 3 1846 by the Lieutenant Governor, Authorities, and Loyal Inhabitants of the Island of Jersey to whom this lithograph Is respectfully dedicated by their obedient humble servant E.P. Bedwell”, hand coloured lithograph, titled and inscribed below “drawn from nature and lithographed by Lieut. E.P. Bedwell, R.N. and printed by A. Bry”, 19th century swept frame, 28 ½ x 37 ¼ in. (72.4 x 94.6cm.).. *

Edmund Blampied R.E., R.B.A. (Jersey, 1886-1966), Vraicing off a Martello Tower, Jersey, lithograph, signed in the print and dated 1965 and signed in ink lower right “Blampied”, framed, 5¾ x 7¾ in. (14.6 x 19.7cm.).. * Multiple vertical creases and a significant water mark lower half.

Henri Walter (French, mid 19th century), after Philip John Ouless (Jersey, 1817-1885)., “Jersey Races, held on the Gorey Race Ground, The 25th July 1849”, hand coloured lithograph laid on canvas with stretcher, published by Decan, late 19th century maple frame, 21 x 28in. (53.3 x 71.1cm.).. * Time stained and several vertical fractures in the paper.

A large framed lithograph after Henri Matisse, 59 x 74cm.

DANNY FERGUSON Shamrock Street East, signed, charcoal, 25 x 30cm and WILLIAM NICHOLSON Cathedral entrance, signed, lithograph, 40 x 29cm (2) Condition Report:Available upon request

Eric James Melon (British 1925-2014), Persephone Returns to the Realm of The Dead Accompanied by Musicians, monochrome lithograph, signed, dated 1978 and inscribed with title 5/25. 31 cm x 20 cm (SH), together with an etching depicting Natalie Clein, young musician of the year 1994, signed by the artist in the margin and a further etching by the same hand of a young lady, in addition a collection of pamphlets and exhibition programmes relating to the artist. ARR

Theophile Alexandre Steinlen (1859-1923), "L' adieu" signed in pencil 92/100, inscribed with the title in the margin, lithograph. 57 x 43 cm (SH).

Laurence Stephen Lowry RBA RA, British 1887-1976, The two brothers, 1972; offset lithograph on wove, signed in pencil, edition of 850, bearing the Fine art Trade Guild's blindstamp, published by The Adam Collection in 1972printed in Austria by Max Jaffeimage: 60.5 x 30.2 cm, (framed) (ARR)Please refer to department for condition report

Laurence Stephen Lowry RBA RA, British 1887-1976, Market Scene in a Northern Town, 1939; offset lithograph on wove, signed in pencil, edition of 750, published by Patrick Seale Prints Ltd., London, in collaboration with Salford Museum and Art gallery, 1973, sheet: 60.2 x 75.5 cm, (framed)(ARR) Please refer to department for condition report

Sir Antony Gormley OBE RA, British b.1950- Singularity, 2007; lithograph in black on wove, signed, dated, titled and numbered 3/40 in pencil verso, sheet: 99.5 x 68.6 cm, (unframed) (ARR) Please refer to department for condition report

Sir Antony Gormley OBE RA, British b.1950- Brain Field, 2007; lithograph on wove, signed, dated, and numbered 9/40 in pencil verso, sheet 99.5 x 69 cm, (unframed) (ARR) Please refer to department for condition report

Sir Eduardo Paolozzi CBE RA, Scottish 1924-2005, 5. See Mom? A Baby’s Life is not all Sunshine, from Bunk; 29. Merry Xmas with T-1 Space Suits, from Bunk, 1972; two screenprints with lithograph on wove, each signed and numbered 1/50 in pencil, sheet: 36.2 x 22.2cm; 38.5 x 28 cm, (framed) (ARR) (2) Note: for similar examples, see Tate Britain, accession nos. P02024 and P02049.Please refer to department for condition report

Sir Howard Hodgkin CH CBE, British 1932-2017, Birthday Party, 1977-8; lithograph printed in sepia and green with hand colouring in two shades of blue gouache on velin Archers mould-made wove, signed, dated and numbered 45/50, printing began at Solo Press Inc., New York, 1977, subsequently torn down and hand-coloured at Sky Editions, London, 1978, published by Bernard Jacobson Ltd., London, sheet: 40 x 51.5 cm, (framed) (ARR) Literature: Heenk 37 Please refer to department for condition report

Laurence Stephen Lowry RBA RA, British 1887-1976, The two brothers, 1972; offset lithograph on wove, signed in pencil, edition of 850, bearing the Fine art Trade Guild's blindstamp, published by The Adam Collection in 1972, printed in Austria by Max Jaffe, image: 60.5 x 30.2 cm, (framed) (ARR)Please refer to department for condition report