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Leeds Mail Coach Robbery.- Davies (W.P.) "A Brand plucked out of the Fire!" or A Brief Account of Robert Kendall...executed at Northampton, the 13th August, 1813, fifth edition, Northampton, 1813 bound with Griffin (Rev. Edward) Strictures upon a publication entitled "A Brand plucked out of the Fire!"..., Nottingham, 1813 and "Laicus". Observations on a pamphlet...entitled "A brand plucked out of the fire"!, Bedford, 1813 and Robbery of the Leeds Mail. An address to the public, occasioned by that part of the alleged "Refutation" published by the writer of Kendall's narrative..., Northampton, 1814 and Davies (W.P.) A Refutation of the Charges alleged against the writer of Kendall's Narrative..., Northampton, 1814 and Some account of the trial of Huffham White, Robert Kendall, and Mary Howes, (otherwise Taylor)..., Northampton, 1813 and Predestined Thief (The); or, A dialogue between a Calvinistic preacher and a thief condemned to the gallows..., 1814, together 7 works in 1 vol., some spotting and soiling, old library blind stamp to first title, engraved bookplate of George Chetwynd, later half calf, uncut, new spine label, 8vo et infra bound into 8vo⁂ A collection of seven pamphlets by participants in, witnesses to, or contemporary commentators on the notorious Leeds Mail Coach Robbery of October 1812. Robert Kendall and Huffham White removed sixteen bags of mail from an apparently moving coach, which continued for several miles before the robbery was discovered. Enquiries by Bow Street officers led to Bristol and then Liverpool, where Kendall and White were arrested after a violent struggle in the cellar of a house. After being found guilty at a 14-hour trial involving forty witnesses, White and Kendall were executed at Northampton in August, 1813. Kendall's conviction aroused some controversy when the Methodist minister W. P. Davies claimed that the verdict was unsafe, with the evidence against him being wholly circumstantial.

GHOST STORY: JAMES (Elizabeth Maria): 'The History of Jenny Spinner, the Ghost of Knebworth House, written by herself...', London, printed for the author, 1800 (but reprint c1857): inscribed from author to head of title 'June 16th 1857 - from E M J to her invisible friend..': publishers blind stamped blue cloth gilt, a little rubbed and bumped, block split from case at front and rear. Uncommon. (1)

FLEMING (Ian): 'Goldfinger', London, Jonathan Cape, 1959: FIRST EDITION: original black cloth with blind-stamped skull and gilt coins for eyes, dustjacket with design by Richard Chopping, priced at 15s (water stain to fore edge of lower panel, some wear to corners and edges), a very good copy internally in a good plus jacket, 8vo. (1)

ISLE OF WIGHT: COOKE (William): 'A New Picture of the Isle of Wight, illustrated with thirty-six plates, of the most beautiful and interesting views throughout the island...': London, printed by W Wilson, 1808: FIRST EDITION, hand-coloured map and 36 engraved plates, some foxing and browning, contemporary diced calf boards, recently rebacked: LONG (W H) 'A Dictionary of the Isle of Wight dialect, and of provincialisms used in the island...', London, Reeves & Turner, 1886: publishers blind stamped blue cloth, rubbed and bumped, 8vo: with 3 other books on the Isle of Wight. (5)

BINDINGS: MILITARY/NAVAL: GLEIG (G R): 'The Life of Arthur Duke of Wellington..', London, Longmans Green et al, 1890: New Edition. contemporary burgundy blind stamped morocco gilt, prize binding for King' College London with associated label, aeg, 8vo: FITCHETT (W H) 'Fights for the Flag', London, Smith Elder, 1898: contemporary full calf gilt with marbled sides, 8vo: with 10 others similar, all leather bound. (12)

SMILES (Samuel): 'Lives of the Engineers...', London, John Murray, 1861: 3 vols, publishers blind stamped red cloth, recased, backstrips rubbed and sunned, large 8vo: together with 7 other volumes by Smiles, all in calf bindings. (10)

WISE (John): 'The New Forest..its History and its Scenery', London, Henry Sotheran, 1880: 3rd edition. 8vo, publishers ornate blind stamped green cloth gilt, a little rubbed: together with E Lynn Linton's 'The Lake Country', 1864, in ornate publishers cloth by Leighton, large 8vo. (2)

VENABLES (Rev R LISTER): 'Domestic Scenes in Russia..': London, John Murray, 1856: 2nd edition: publishers blind stamped green cloth, chipped and worn, sm. 8vo: 'The Itineraries of William Wey, Fellow of Eton College': printed for The Roxburghe Club, London, 1857: contemporary morocco backed boards, scuffed, 4to: with a carton of misc. other books, largely 18th/early 20thc publications, various sizes and condition. (One Box)

George Cunnningham (Northern British, bn. 1924), by and after, On Mornings’ Tinsley, limited edition number 397/500 in pencil lower left margin, blind stamp, lithograph, 35cm x 51.5cm.

L. S. Lowry (1887-1976), after, Saint Mary’s, Beswick, signed in pencil lower right, limited edition print number 446/500, blind stamp lower left, 29cm x 39cm.

MUGAI: A RARE WOOD NETSUKE OF A BLIND FISHERMAN TAMING THE NAMAZUBy Mugai, signed Mugai 夢外Japan, late 18th to early 19th century, Edo period (1615-1868)An unusual and spirited carving, depicting a blind fisherman clad only in a fundoshi, his enlarged testicle slipping out, his face with an amusingly distorted expression, one eye closed and the other bulging, as he tries to tame the namazu with his tiny gourd - an amusingly futile attempt. The gigantic namazu appears to be smiling, the expressions of the two providing a humorous contrast. The namazu's eyes are inlays of black wood. Large, asymmetrical, and generously excavated himotoshi underneath and signed MUGAI - The artist is exceedingly rare with only very few examples recorded. The well-toned wood bearing a beautiful, dark patina.LENGTH 5.2 cmCondition: Very good condition, some fine age cracks and light surface scratches. Good patina.Provenance: From an old Swiss private collection, Geneve, purchased at Sotheby's, 16 July 1973, London, lot 153.Legend has it that certain types of catfish (namazu) are responsible for the earthquakes that plague the islands of Japan. When aroused, these creatures would contort their bodies in such a way that gigantic tremors shook the area for miles and miles. The Shinto deity Kadori Myojin usually attempts to prevent such catastrophe with the help of his magic gourd.

GYOKKEI: A WOOD NETSUKE OF A BLIND STONE LIFTER, MEIJIBy Gyokkei, signed Gyokkei 玉珪Japan, Tokyo, Meiji period (1868-1912)Depicting a crouching blind man trying to lift a boulder before him, wearing only a loincloth, his emaciated rib case visible, his inlaid eye popping out because of the strain of the weight. Two himotoshi to the underside, one of which shows a stained rim, and the signature plate GYOKKEI. HEIGHT 3.7 cm Condition: Very good condition with minimal traces of wear and age, and slight surface scratches. Provenance: Private collection, Belgium.

GYOKKEI: A WOOD NETSUKE OF A BLIND STONE LIFTER, MEIJIBy Gyokkei, signed Gyokkei 玉珪Japan, Tokyo, Meiji period (1868-1912)Carved as a crouching blind man attempting to lift a stone before him, dressed only in a loincloth, his emaciated rib case visible, his inlaid eye popping out because of the strain of the weight, some teeth inlaid as well. Two symmetrical himotoshi to the underside and the signature plate GYOKKEI. HEIGHT 3.5 cm Condition: Very good condition with minimal traces of wear and age, slight surface scratches, and two small nicks to the back of the loincloth. Provenance: Private collection, Belgium.

A George III mahogany tray top commode, the gallery with pierced handles and quatrefoils, over cupboard doors and pull out commode tray formed as two blind drawers, 53cm wide, 47cm deep, 74cm high

Germany World War 2 Military Badges, paperwork etc Comprising:Iron CrossRed, white and black swastika armbandYellow armband with three black spots denoting blind wearer and stamped with nazi eagleYellow and black skull and crossbone gas/mine warning pennants (x2)Pair of Luftwaffe swastika cloth badgesMiscellaneous other rank epaulletes etcSmall quantity of propaganda paperworkProvenance: acquired by vendor's father in WW2 from a crash site in Formby, Merseyside.

A George I provincial oak bureau bookcase, the top section with single shelf and 3 drawers (2 blind), the bureau section with fitted interior and a number of secret drawers, 107x206x55cm

An assortment of nine original costume sketches designed by Charles Knode for Braveheart (Icon Entertainment International, 1995).This collection includes pencil and wax sketched designs.Braveheart is a historical drama produced by, directed by, and starring Mel Gibson. The film, inspired by an epic poem by Blind Harry, follows Scottish warrior Sir William Wallace (Gibson) as he leads his country in an uprising in pursuance of freedom from the tyrannical English monarch. Charles Knode was a BAFTA Award-winning, Emmy Award-winning, and Oscar-nominated British costume designer best known for his work in Blade Runner (Warner Bros., 1982), Braveheart (Icon Productions, 1995), and Alice in Wonderland (NBC Studios, 1999).23.5 x 16.5 inches (Largest)

An April 2012 issue of Playboy magazine Braille Edition, part three out of four parts.The Library of Congress first began funding production of the magazine in Braille edition in 1970 for Playboy. The magazine would feature no advertisements or descriptions of images, but is made up of raised dots to help blind and vision impaired people to be able to learn spelling, grammar, and having a better understanding of the text on the page.11.25 x 11 inchesPROVENANCE From The Personal Collection of Playboy Editor, Stephen Randall

A typed letter on Kensington Palace stationary from HRH Diana, Princess of Wales to Michael F. Turner at Royal New Zealand Foundation for the Blind, inscribed "Dear Michael" and signed in Princess Diana's hand. The item is housed in its original envelope and comes together with a fax receipt of the same letter. In the note, dated 15th July, 1996, Princess Diana expresses regret that she can no longer serve as Patron of the organization. She writes:"As you know, my personal circumstances, in particular my marriage to The Prince of Wales, have been the subject of detailed conjecture in recent months, and this will soon be formalised in the normal legal manner.Although I am embarking upon the future with hope, I also do so with some trepidation since there are a number of matters which I shall need to resolve." The letter's date is auspicious: according to Andrew Morton's biography Diana, Her True Story (Michael O'Mara Books Limited, 2011), on July 15, 1996 "the Prince of Wales was granted a decree nisi. Six weeks later, on 28 August, the fairytale marriage ended with the issue of the decree absolute." 12 x 8.25 inches (overall)

An original period costume as seen worn by Irene Dunne as Anna Owens in the film  Anna And The King Of Siam (20th Century Fox 1946). A mid-19th century style full-length mauve day dress composed of a flocked polka-dot cotton fabric. The dress has a fitted boned bodice with a high neckline and a basque waist. The dainty design is enhanced by the ruffle mantle and three-tier ruffle skirt trimmed with black Chantilly lace (the lace trim is in poor condition due to age). The back has a hook-and-eye closure and blind snaps to fasten the dress. The fabric at the shoulders and tulle cuffs shows moderate wear with tears and holes due to age. Anna Owens is an English widow who travels to Bangkok with her son to teach the King of Siam's children and his numerous wives English. Anna educates the king's family on more than just the English language but also progressive ideals for the king and his son to implement on behalf of the country. Bonnie Cashin was the costume designer for the production, who went on to become a major innovator in American fashion. Her designs while being a creative director at Coach have become a part of the brand's heritage. Cashin's signiture turn-lock closures are still seen on the brand's handbags and ready-to-wear showcasing her influence and foresight as a designer. PROVENANCE Originally from The Collection of Debbie Reynolds

A 19th-century-style oyster-colored floor-length taffeta robe as seen worn by Greta Garbo in the film production Camille designed by legendary Hollywood costume designer Gilbert Adrian (Metro-Goldwyn-Meyer, 1936).An oyster-colored taffeta robe designed for Greta Garbo as Camille, full-length with an asymmetric hem and slight train. There is gathering below the bust to add volume and fullness to the design's drama. The dropped shoulder with full gigot sleeves tapers at the elbow into a fitted sleeve with a fanned box pleated cuff, both sleeves have blind snaps at the forearm to the wrist. There is a hook-and-eye extender/closure with a long sash to tie at the under-bust. There is a studio label on the interior right side seam reading “Metro-Goldwyn-Meyer, Name: Garbo, No. 938.”Gilbert Adrian is a celebrated costume designer who costumed The Women, The Wizard of Oz, and A Philadelphia Story. Adrian’s designs were luxurious but bold, befitting the stars who wore them; he was even credited in films as “Gowns by Adrian.” Adrian went on to produce a ready-to-wear line of suits and dresses, which sold at luxury retailers like Neiman Marcus. PROVENANCE Lot 187, Christies, Auction 1854 May 30, 2007.

An original sepia photograph of actress Greta Garbo in costume as "Yvonne Valbret" for her 1931 film Inspiration (M.G.M., 1931), signed by Garbo on the front in black ink.Taken by photographer Clarence Sinclair Bull, with his blind stamp to the lower right. Also with a stamp on the back that reads "Greta Garbo Metro-Goldwyn-Mayer," as well as "Clarence Sinclair Bull / Metro-Goldwyn-Mayer / No. B2046," and writing in blue pencil that reads "Vice President's Office."10.5 x 13.25 inches

A vintage gelatin silver portrait print on double-weight matte paper of Greta Garbo as Rita Cavallini in Romance (MGM, 1930) taken by photographer George Hurrell. Hurrell's photographer blind stamp to the lower right of the portait print.13 x 10 inchesPROVENANCE Lot 148, "Property From The Estate of Greta Garbo," Julien's Auctions (Sale #52), December 14, 2012

An original costume as seen worn by Joan Crawford as the title role character Harriet Craig (Columbia 1950).A pink and grey check-day dress composed of wool with three-quarter length sleeves and a fold-over collar with neck-tie. The fitted bodice with a high neckline is cut on the grain while the skirt is cut on the bias. The skirt is open and cut wide so there is volume similar to Dior’s New Look dresses. The tea-length hem-line, secretary bow tie, and pointed cuffs with contrasting fabric were popular design elements of the decade. The dress has a zip closure at the back with blind snaps at the left side of the collar to help put the garment on. A Columbia handwritten label reading “Joan Crawford." This dress is in good condition, there are several moth holes at the collar and the skirt. Joan Crawford plays an obsessive and controlling character who doesn't trust her husband and struggles to let those around her make their own decisions; she asserts her authority, sabotaging her husband's promotion, as well as other family members' lives causing them to exit her life at the end of the film, leaving her with only one thing to control her home. This dress is worn by Joan Crawford as Harriet Craig in the scene where she visits her mother in the nursing home at the beginning of the film.PROVENANCE Originally from The Collection of Debbie Reynolds

A lavender organdy cocktail dress worn by Grace Kelly in her Golden Globe-winning and Oscar-nominated role as the prim "Linda Nordley" in Mogambo (MGM, 1953).The custom-made garment, by legendary costume designer Helen Rose, has a fitted boned bodice with a sweetheart neckline, decorative fabric-covered buttons, and three-quarter sleeves with a full multi-layer skirt. The dress is cut on the bias, and the outer shell is a lovely lilac seersucker-silk-organza that references Dior's 1947 "New Look." A beautiful basque waistline emphasizes the volume of the four-layered skirt. The dress has two tiered-ruffled petticoats, with outer layers of dupioni silk and organza. The fitted under-bodice complements the draped neckline and sheer blouson outer layer. The dress has a zip closure and a button placket with blind snaps and hook-and-eyes to conceal the closure. Rose's design encapsulates elegance, femininity, and sophisticated glamour, which Grace Kelly was known for in Hollywood. A bias label typed “Grace Kelly P-777-2636” is present.Kelly as Linda Nordley wears the dress while at an uneasy dinner at the African base camp alongside her husband, Donald (Donald Sinden). At the dinner, Linda must navigate Eloise "Honey Bear" Kelly's verbal digs aimed at the secretive relationship forming between Linda and the group's leader, Victor Marswell (Clark Gable), whom Honey Bear still has feelings for.As the film is set on an African safari, this is the most elaborate costume worn by Kelly. Costume design by Helen Rose, who also designed Kelly’s wedding gown for the church ceremony at Monaco's Saint Nicholas Cathedral when she wed Prince Rainier III. The dress had professional conservation work performed by Museo de la Moda in Santiago, Chile.Includes a DVD of the film. PROVENANCE Lot 48, "TCM Presents... There's No Place Like Hollywood" Bonham's, New York, November 24, 2014

Postcard, Football, Arsenal, Alex James, RP, by Lambert Jackson, with blind stamp, (creased, gd)

Postcard, Football, scarce RP of Sheffield Wednesday away on tour in Sweden 1911, by Berghs of Goteborg, with blind stamp, annotated in pencil with names (corner rounding and toning to reverse o/w gd)

MAPPIN & WEBB LTD; an ornate brass carriage clock with a blind pierced face, the white enamelled dial set with Roman numerals and outer minute track, bevelled glass to the sides and top and fluted columns to each corner, 15 x 8 x 6cm, with key, boxed.Condition Report: -Not tested, no guarantee of working order.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/

VINYL RECORDS an excellent combination of vinyl records with blues folk and spoken word featuring rare pressings, collected by Jimmie MacGregor during his career, from across the world many bearing dedications to Jimmie MacGregor from the recording artists, such as Whistlebinkies, Les Dudaim, Billy Connolly, Bitter Withy, Martin Carthy, 7:84, Dylan Thomas, Zydeco Ceilidh Band, Sileas, Halsbrytarna & Inger Soderman, Sharon Collen, Bird Sounds in Close Up, The McCalmans, A.L. Lloyd, The Four Folk, Brian Freel, Gerry McFadden, The Goons, Gaberlunzie, Miriam Makeba, Django Reinhardt & Stephan Grappelly, Big Bill Broonzy, Pete Seeger, A recording of Authentic Jamaican Folk Songs   on Ritmo Musica Tropica No.506, Blind Lemon Jefferson etc. This is the record collection of Jimmie MacGregor MBE. Musician, writer, broadcaster and reflects his eclectic taste, interest and  contribution to traditional music. Please note the records by Jimmie MacGregor have been removed from this lot. Condition Report:Available upon request

Five Folio Society volumes: Nathaniel Hawthorne 'A Wonder Book for Girls and Boys, illus. Walter Crane' (2008); Richard Dawkins 'The Blind Watchmaker' (2007); Nesbit 'The Railway Children' (1999); Henry Williamson 'Tarka the Otter' (1995); Muriel Spark 'The Prime of Miss Jean Brodie' (1998) (with slip cases) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

EARLY GEORGE III MAHOGANY CHEST OF DRAWERS MID 18TH CENTURY the top with a moulded edge and canted corners above a pair of short drawers and three long graduated drawers flanked by blind-fret angles, raised on blind-fret carved bracket feetDimensions:102cm wide, 85cm high, 51cm deep

HISTORY AND ANTIQUITIES OF THE DEANERY OF CRAVEN IN THE WEST RIDING, Thomas D Whitaker, 1878, Joseph Dodgson, Leeds, 3rd edition, elaborate blind-stamped contemporary full leather binding. Large paper issue with hand coloured plates and extra image of Skipton Castle. Henry W Ripley bookplate (Est. plus 20% premium)

After David Donald (British, fl. C.1895-1925). The Basher at Prayer, etching, with blind stamp, 43cm x 28.5cm, and a print after Pablo Picasso (Spanish, 1881-1973) horse with a youth in blue, 54cm x 36cm. (2)

A GEORGE III CARVED MAHOGANY WING ARMCHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 99cm high, 63cm wide, 63cm deep overall Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the frame inscribed in pencil 'this here string seat', there is some evidence of worm; there are later corner braces to the inner seat rails; there are tack holes from previous upholstery; some knocks and cracks to the blind fret carving; later dark staining; repairs including traces of glue including to the stretcher area; there are holes to the underside of the legs presumably from previous casters.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

† SALVADOR DALI (1904-1989); a set of five limited edition colour prints including 'Purgatory 5' and 'Purgatory 31', both signed by the artist in pencil and no.8/25 and three others 'The Forest of Suicides', 'Christ en Croix' and 'Hell Canto 19', all five with blind stamp, each approx 32 x 24.5cm, framed and glazed.

Cecil Aldin (British 1870-1935), two prints from the Old English Inn series, comprising The Kings Head, Malmsbury and The Mermaid in Rye, both signed to the lower left and with blind stamps, framed, glazed and mounted, frame sizes 70cm x 59cm, together with a Print of The George Inn, Dorchester, Oxon, from the Old English Inn series, signed in pencil to the lower left and with a blind, stamp, gallery, label to verso, framed, glazed and mounted, frame size 59cm x 62cm (3)

Ian Fleming: 'Casino Royale', London, Jonathan Cape, 1957, 4th printing, [new edition], original black cloth lettered in red to spine, red heart blocked in blind to front cover, in a facsimile dust wrapper by Pat Marriott

(Mesmerism, Hypnotism, Animal Magnetism), a collection of sixteen titles, including John Ashburner: 'Notes and Studies in the Philosophy of Animal Magnetism and Spiritualism', London, H. Bailliere, 1867, 1st edition, original cloth gilt, rebacked, orig. backstrip retained, Carl Sextus: 'Hypnotism, Its Facts, Theories and Related Phenomena', Chicago, Carl Sextus, 1893, portrait frontis + numerous other b/w plates and ills. throughout, orig. cloth gilt, 'Library of Mesmerism and Psychology. Comprising Philosophy of Mesmerism; On Fascination; Electrical Psychology; The Macrocosm; Science of the Soul', New York, Fowler Wells, c.1885, 5 works in 1, orig. cloth gilt (worn), Albert Moll: 'Hypnotism', L, Walter Scott, 1890, orig. cloth gilt, Dr. August Forel: 'Hypnotism or Suggestion and Psychotherapy', L, Rebman, 1906, presentation copy blind stamp to title page, original cloth, plus 11 others similar (16)

Four framed Sturgeon prints, blind stamped and signed in the margin.

John Burnet after David Wilkie,The Blind Fiddler,colour print,49x62cm.

Laurence Stephen Lowry RBA RA, British 1887-1976, Old Town Hall, Middlesborough, 1959; offset lithograph in colours on wove, numbered 254/850 in pencil, published by the Adam Collection, with their blind stamp,image: 39.2 x 29.5 cm, (framed)(ARR)

Albert Irvin OBE RA,British 1922-2015,Concordia IV, 1997;screenprint with woodblock on wove, signed, dated, titled and numbered 151/195 in pencil, printed and published by Advanced Graphics, with their blind stamp, sheet: 52 x 68.5 cm,(framed)(ARR)

Robert Rauschenberg, American 1925-2008, Tap, 2004;  lithograph in colours on Rives BFK wove, monogrammed, dated and numbered 135/180 in pencil,  printed and published by Gemini G.E.L., Los Angeles, with their blind stamps,  sheet: 21 × 15.9 cm,  (unframed)

Robert Rauschenberg, American 1925-2008,Why You Can't Tell #1, 1979;screenprint in colours on wove,  signed, dated and numbered 89/100 in pencil,  published by Multiples, Inc., with the blind stamp of the printer Styria Studios, New York,  sheet: 77.8 x 59 cm,  (framed)  Provenance: with two Martin Lawrence Gallery labels to the reverse.

Sir Howard Hodgkin CH CBE,British 1932-2017,Snow, 1995;intaglio print with carborundum from two aluminium plates printed in orange and two shades of grey, with hand colouring in cadmium scarlet and cadmium yellow acrylic on 100% cotton Somerset (200 gsm) wove, monogrammed, dated and numbered 27/80 in pencil, printed and hand coloured by Jack Shirreff, published by the Metropolitan Museum of Art, New York, 1995, with their blind stamp,sheet: 28.5 x 36.5 cm, (framed)(ARR)

Salvador Dalí, Spanish 1904-1989, The Face of Mae West; lithograph in colours on BFK Rives paper, with artist's blind stamp, signed in black crayon, hand numbered in pencil, with G.Dali paper blind stamp, edition. [MLXXXVI] 1086 / 2000, 66 x 49.5 cm, (framed)(ARR)

Patrick Caulfield CBE RA, British 1936-2005, Bowl and Fruit, 1979; screenprint in colours on wove paper, signed and numbered 23/100 in pencil,published by Waddington Graphics, London, with their blind stamp, sheet: 83.5 x 59.4 cm,(framed)(ARR)

Tom Phillips CBE RA, British 1937-2022, Samuel Beckett, 1984; lithograph in colours on wove, signed and inscribed 'H.C. 2/5' in pencil, published by Waddington Graphics, with their blind stamp, sheet: 70.8 x 42.8 cm, (framed) (ARR)

Lennart Martin Jirlow,Swedish 1936-2020,Untitled; lithograph in colours on wove, signed and numbered 203/400 in pencil, with Mourlot, Paris and 'ASTRA' blind stamps, image: 61 x 46 cm, (framed)(ARR)

Hayden Kays, British b.1985-  Rainbow Mouth; inkjet print on wove, signed in pen with the artichoke blind stamp, 29.7 x 42 cm, (unframed) (ARR)  

Laurence Stephen Lowry RBA RA, British 1887-1976,Man Holding Child;offset lithograph in colours on wove, signed by the artist in pencil, with Fine Art Guild blind stamp,image: 45.2 x 71 cm,(framed)(ARR) 

Martin Whatson,Norwegian b. 1984-Sneak peak, 2021;giclée with 7 Colour Screen Print On 300 gsm Somerset satin wove,paper embossed around the curtain edge for a 3D effect with the graffiti in the background,blind-stamped by Martin Whatson & Graffitiprints,sheet: 62 x 25 cm,(unframed)(ARR)Note: together with COA issued by Graffiti Prints.

Martin Whatson,Norwegian b. 1984-The Crack, 2021;giclée with 7 colours screenprint on 300 gsm Somerset satin wove,paper embossed around the crack for a 3D effect with the graffiti in the background,blind-stamped by Martin Whatson & Graffitiprints,sheet: 50 x 25 cm,(unframed)(ARR)Note: together with COA issued by Graffiti Prints

John Humphrey Spender, British 1910-2005,A Bric a Brac Stall; silver gelatin photo on paper, stamped with the artist's blind stamp, image: 25 x 36.5 cm, (framed) (ARR) 

John Humphrey Spender, British 1910-2005,Destroyer, 1940;silver gelatin photo on paper, inscribed, dated and signed by the artist in pend and with his blind stamp, image: 27.3 x 36.5 cm,(framed) (ARR) 

Yoshitomo Nara, Japanese b.1959-In The Cloud, 2003; lithograph in colours on Arches wove, signed in pencil, dated and numbered 127/150 (total edition includes 29 artist's proofs), with the blind stamp of the publisher Kido Press Inc, Tokyo, sheet: 42.5 x 32.8 cm, (framed) 

Banksy, British, b.1974- Wall Sculpture (Love), 2018; cast resin sculpture with West Bank Separation wall fragment base, numbered '220' in black ink to resin base, overall: 12 cm high, (ARR)Note: this lot is accompanied by the original receipt from The Walled Off Hotel, with their blind stamp and ink stamp.

D*Face,British B.1978-Better Than Never, 2022;screenprint in colours on wove, signed and numbered 79/95 in pencil,with the artist's blind stamp, published by Corey Helford Gallery, Los Angeles, sheet: 87 x 70 cm, (unframed)(ARR)

Frank Auerbach, German/British b.1931- Leon Kossoff [Marlborough 11], 1980; etching on Arches wove, signed, dated, titled and numbered 28/50 in pencil, printed by Palm Tree Studios, with their blind stamp, published by Bernard Jacobson, London, plate: 15.1 x 13.5 cm, (unframed) (ARR)

Javier Calleja, Spanish b.1971- Once in My Life, diptych, 2023; hybrid UV flatbed pigment prints with screenprinted details on Somerset Tub Sized Radiant White 410gsm fine art paper, each with artist's blind stamp, 'Once' numbered from the edition of 980 in pencil, 'In My Life' numbered from the edition of 970 in pencil, published by Avant Arte, Amsterdam, each sheet: 53.7 x 55 cm, (unframed) (ARR)Note: together with black 'Once in My Life' tote bag and Avant Arte handling gloves. Each with a certificate of authenticity from Avant Arte.