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Lot 239
* DAVID SHRIGLEY, VIBES offset lithograph on paper, signed, unnumbered edition of 250, published for The Big Issue 70cm x 50 cm Mounted, framed and under glass Note: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including National Galleries of Scotland and Tate.
Lot 101
Pablo PICASSO (1881 - 1973). Madame Z, Jaqueline with flowers. 567 mm x 450 mm Blattgröße. Druck auf starkem Papier. Wohl Lithographie. Verso "6/500/55". Bei einem Zuschlag über 400,- € zuzüglich Folgerecht von 4%. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Pablo PICASSO (1881 - 1973). Madame Z, Jaqueline with flowers. 567mm x 450mm sheet size. Print on strong paper. Probably lithograph. Verso "6/500/55". With a surcharge of more than € 400 plus resale right of 4%. Shipping of this object by third party possible. A list of selected trustworthy shipping partners is included with every invoice. The auction house does not ship.
Lot 104
Johann Georg GEYGER (1921 - 2004). Abstrakte Komposition, 1957. 52,5 cm x 39,4 cm. Druck. Farblithographie. Rechts unten signiert. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Johann Georg GEYGER (1921 - 2004). Abstract composition, 1957. 52.5 cm x 39.4 cm. Print. Color lithograph. Signed lower right. Shipping of this object by a third-party provider possible. A list of selected trusted shipping partners is included with each invoice. The auction house does not ship.
Lot 106
Vincenzo Maria CORONELLI (1650 - 1718). 'Pianta della Citta e Fortezza D' ATENE Dedicata'' 45 cm x 61 cm der Ausschnitt. Lithographie. Rückseitig bezeichnet ''Vincenzo Maria CORONELLI (1650 - 1718)''. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Vincenzo Maria CORONELLI (1650 - 1718). 'Pianta della Citta e Fortezza D' ATENE Dedicata'' 45 cm x 61 cm the cutout. Lithograph. Inscribed on the reverse '' Vincenzo Maria CORONELLI (1650 - 1718) ''. Shipping of this object by third party possible. A list of selected trustworthy shipping partners is included with every invoice. The auction house does not ship.
Lot 92
Grundriss von Berlin mit nächster Umgebung 1850. 58 cm x 69 cm das Blatt. Kolorierte Karte. Wohl Lithographie. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Grundriss von Berlin mit nächster Umgebung 1850. 58 cm x 69 cm the sheet. Colored print. Probably lithograph. Shipping of this object by a third party provider possible. A list of selected trusted shipping partners is included with each invoice. The auction house does not ship.
Lot 99
Werner GILLES (1894 - 1961). Springender Tod. 22 cm x 29,5 cm. Farblithographie. Unten Mitte signiert. Links unten bezeichnet "Handdruck". Rechts Nummer 100?. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Werner GILLES (1894 - 1961). Springender Tod. 22 cm x 29,5 cm. Color lithograph. Signed lower center. Inscribed "Handdruck" lower left. Right number 100 ?. Shipping of this object by a third party provider possible. A list of selected trusted shipping partners is included with each invoice. The auction house does not ship.
Lot 694
Nicholson (William). London Types, William Heinemann, 1898, 12 colour lithograph plates, advertisement leaf at rear, light offsetting to text, occasional light marks to margins, endpapers spotted, hinges split, red edges, gutter percha perished and replaced with later stitching, original cloth-backed boards, soiled, head of spine frayed, edges showing, large 4toQty: (1)
Lot 734
ARR * Ardizzone (Edward, 1900-1979). Nicholas Nickleby, Ealing Studios, Graphic Reproductions Ltd., 1947, British quad colour lithograph poster, slightly edge-creased in places and a few short edge tears, small piece of clear adhesive tape to lower right corner, sheet size 74.3 x 100.3cm (29.25 x 39.5ins), mounted, framed and glazedQty: (1)NOTESOriginal film release poster by Edward Ardizzone for a British production of Dickens's famous novel, directed by Alberto Cavalcanti and starring Stanley Holloway, Derek Bond, Cedric Hardwicke and Mary Merrall.
Lot 756
Freedman (Barnett, 1901-1958, illustrator). A bound volume of proof lithographs for Anna Karenina by Leo Tolstoy, translated by Constance Garnett, printed for the members of The Limited Editions Club at the University Press, Cambridge, 1951, bound volume of proof lithographs only, containing colour lithograph frontispiece, 2 titlepages, and 58 colour lithograph illustrations, many printed recto and verso, top edge gilt, original quarter black cloth, spine lettered in gilt, with slipcase (some minor marks and light waterstain), 8vo, together with Mayne (Jonathan). Barnett Freedman (English Masters of Black and White), London, Art and Technics, 1948, inscribed 'to Humphrey from Barnett May 1948', torn and frayed dust wrapper, 8voQty: (2)NOTESPresentation copy from Barnett Freedman, with handwritten inscription to front blank: 'Proofs of Lithographs for Tolstoy's Anna Karenina, Limited Editions Club, U.S.A. Covers, Endpapers, Title - pages and Half titles, for Humphrey from Barnett, July 14 1953'. The artist is known to have had a few sets of proofs of his illustrations made for presentation to friends. A similar copy inscribed by the artist to another recipient was sold in these rooms in June 2018.
Lot 269
A rare and documented pair of Charles II joined oak forms or benches, circa 1674Each having a single-board top with square-rounded edge and applied under-edge moulding, the plain rails with applied lower edge moulding, on eight elegant baluster-turned legs, joined by capped stretchers all round, on turned feet, 315.5cm wide x 27.5cm deep x 56cm high, (124in wide x 10 1/2in deep x 22in high) (2)Footnotes:Provenance:The Worshipful Company of Stationers and Newspaper Makers, usually known as the Stationers' Company, London. Formed in 1403 and received a royal charter in 1557.An identical bench, but slightly shorter with six-legs, in the Stationers' Company Collection bears a brass label reading 'This bench was one of those supplied in 1674 by Mr. Coffen for use with the refectory tables, also still in the hall'. The Stationers' Company has occupied halls on three sites in the course of its History. In 1606 it moved to its present location when it purchased Abergavenny House from the widow of the Earl of Pembroke, and in 1611 it acquired the freehold. It was burnt down in the Great Fire of London of 1666 and replaced by the present hall on the same site between 1670 and 1673. The beautiful wooden screen on the south side is the work of Henry Ford – who charged the company £732 for woodwork (excluding the panelling) who may also have made the tables and benches still in use. The wainscoting was finished two years later by Stephen Colledge, known as the Protestant joiner on account of an anti-royalist pamphlet for which he was hanged at Oxford in 1681. 'Mr Coffen' has not been identified. The benches are shown furnishing Stationers' Hall in a lithograph by Thomas Robert Way (1861-1913) printed in Philip Norman's The Ancient Halls of the City Guilds (1901). One of the tables is illustrated in F. Litchfield, Illustrated History of Furniture: From the Earliest to the Present Time (1893).For further information on this lot please visit Bonhams.com
Lot 108
Lilford (Thomas Littleton Powys, 4th Baron). Coloured Figures of the Birds of the British Islands, 7 volumes, 1st edition, London: R. H. Porter, 1885 - 1897, photogravure portrait frontispiece to volume 1, 421 chromolithograph & hand-coloured lithograph plates after Foster, Lodge, Keulemans and Thorburn, all leaves and plates mounted on linen guards, occasional toning, some spotting mostly to margins, marbled endpapers, top edges gilt, remainder untrimmed, 20th century red half morocco by Birdsall of Northampton, gilt decorated spines, faded to spines, large 8vo, (25 x 16.5 cm)Qty: (7)
Lot 111
Loudon (Jane). British Wild Flowers, 1st edition, London: William Smith, 1846, advertisement leaf in red & green before half-title, 60 hand-coloured lithograph plates (including plate 7 as frontispiece with few small ink smudges), occasional light toning and minor spotting, contemporary inscription to front free endpaper, edges untrimmed, original gilt & blind decorated green cloth, joints split, small area of wear to cloth on lower cover with board showing, 4toQty: (1)
Lot 116
Morris (Francis Orpen). A History of British Birds, 6 volumes, 1st edition, London: Groombridge & Sons, 1851-57, 358 coloured engraved plates, together with: ibid., A Natural History of the Nests and Eggs of British Birds, 3 volumes, 1st edition, London: Groombridge & Sons, 1853-56, 223 chromolithograph plates, (Nissen, IVB, 646. Wood 472. Nissen only lists 223 panels, Wood however 225), ibid., A History of British Butterflies, London: Groombridge & Sons, 1857, 2 wood engraved plates and 71 lithograph plates coloured by hand, one plates detached, contemporary uniform red half calf gilt by Henderson & Perry of Birmingham, dark green morocco title labels to spines, extremities rubbed, spines faded, few marks, 8voQty: (10)
Lot 118
Neighbour (Alfred). The Apiary; or, Bees, Bee-Hives, and Bee Culture, 1st edition, London: Kent & Co, George Neighbour & Sons, 1865, half-title, wood engraved illustrations, light spotting mostly to first & last leaves, original blind-stamped dark green cloth, title in gilt to spine and upper board, 8vo, together with: Shuckard (William Edward), British Bees: An Introduction to the Study of the Natural History and Economy of the Bees Indigenous to the British Isles, 1st edition, London: Lovell Reeve & Co., 1866, half-title, 16 hand-coloured lithograph plates, ownership inscription to front pastedown, endpapers stained, original cloth, gilt bee design blocked to upper board, spine faded, 8vo, Root (A. I.), The A B C of Bee Culture: A Cyclopaedia of Every Thing Pertaining to the Care of the Honey-Bee, 8th thousand edition, revised by E. R. Root, Medino, Ohio: The A. I. Root Company, 1903, monochrome plates & illustrations, front pastedown with bookplate of William Richards of the British Bee-keepers Association, hinges split, original cloth with gilt bee design blocked to upper board, large 8vo, Sturges (Arthur M.), Practical Beekeeping, 1st edition, London: Cassell & Company, Ltd., 1924, half-title, colour frontispiece and monochrome plates, illustrations to text, original cloth, 8vo, M Quinby (M. & Root, Lyman C.), Quinby's New Bee-Keeping: the Mysteries of Bee-Keeping Explained ... Forming a Complete Guide to Successful Bee-Culture, New York: Orange Judd Company, 1909, wood engraved illustrations, hinges split, original cloth with gilt & blind blocked decoration, 8vo, and other 20th century bee-keeping reference & related, including some pamphletsQty: (approx. 30)
Lot 124
Rohweder (Joachim). Blütendiagramme nebst Längsschnittbildern von ausgewählten einheimischen Blütenpflanzen als vertretern der hauptabteilungen des natürlichen und des Linnéschen Pflanzensystems zur Einführung in das Verständnis des Blütenbaues und als Muster für das Diagramm-Zeichnen, Gotha, E.F. Thienemann, 1893, 16-page printed booklet of introductory text, and separate booklet of 24 colour lithograph plates of floral illustrations, loosely contained in original publisher's cloth portfolio with decorative printed upper cover, lightly marked to edges, small 4toQty: (1)NOTESGerman ornithologist and animal rights campaigner Joachim Rohweder (1841-1905) published the standard work on the birds of Schleswig-Holstein in 1875, and here provides pictorial floral illustrations and diagrams in an art-nouveau style, useful for both botanists and floral artists.
![Bristol. The New Bristol Directory, for the Year, 1792..., by John Reed, Bristol: Wm. Browne, Wm. Bulgin, et al., [1792], pp.](https://cdn.globalauctionplatform.com/c48d82bc-ed62-44d5-8378-ac9400f91885/5f1b5e4d-1baa-403b-9a17-aca601114463/468x382.jpg)
Lot 133
Bristol. The New Bristol Directory, for the Year, 1792..., by John Reed, Bristol: Wm. Browne, Wm. Bulgin, et al., [1792], pp. [4],84, scattered spotting, top edge gilt, remainder untrimmed, bookplate of Edward Greenfield Dogget & Hugh Greenfield Doggett to upper pastedown, late 19th century calf, spine lightly rubbed, 8vo, together with: Bristol Directories, Five directories for Bristol, including, Mathews's Annual Bristol Directory, and Commercial List, 29th edition, Bristol: Joseph Mathews, 1827, original boards, rebacked, 12mo; Mathews's Annual Bristol Directory..., 38th edition, Bristol: M. Mathews & Son, 1836, modern cloth-backed boards, 12mo; Mathews's Annual Bristol Directory, and Almanack, 44th edition, Bristol: M. Mathews & Son, 1842, original cloth, 12mo; Hunt & Co.'s City of Bristol, Clifton and Hotwells Directory, London: E. Hunt & Co., 1848, original cloth, 12mo; Mathews's Annual Bristol and Clifton Directory, and Almanack, 55th edition, Bristol: Mathew Mathews, 1853, double-page lithograph map, original cloth, joints split, 12mo, Mathews (Joseph), The Bristol Guide; being a complete Ancient and Modern History of the City of Bristol, 6th edition, Bristol: J. Mathews, 1825, engraved frontispiece, engraved map with closed tear, original cloth-backed boards, marked and some wear, 8vo, Duffield (C., publisher), The Historical and Local New Bath Guide..., Bath: C. Duffield, [1835?], folding engraved map and plan, 13 engraved plates and 34 engraved plates of trade advertisements, original cloth-backed printed boards (covers separated from text-block), slight wear to extremities, 8vo, Taylor (Anna, publisher, bookseller & stationer), The New Bath Guide; or, Useful Pocket Companion..., new edition, Bath: printed by R. Cruttwell, for A. Taylor, bookseller & stationer, 1796, bookseller's advert leaf at front, engraved portrait frontispiece, folding plan, and four plates, two illustrations to text, modern cloth-backed marbled boards, small 8vo, and other 18th - 20th century publications mostly relating to BristolQty: (31)
Lot 201
* British Topography. A good collection of approximately ninety views, mostly 19th century, engravings and lithographs including Arnout (Jules). Windsor Bridge and Castle, published Lemercier Paris, E. Gambert & Co. London & Emile Sentz, New York, circa 1850, lithograph with bright contemporary hand colouring, title repeated in French, slight mount staining, 320 x 440 mm, together with Knott (F., publisher). Nelson's Crescent and Royal Harbour Ramsgate [and] Wellington Crescent and Sands Ramsgate, printed by J. Newman and Co., circa 1850, a pair of hand-coloured lithographs, some mount staining and dust soiling each approximately 250 x 360 mm, with Hamble (Joseph R.). The Ruins of Byland Abbey Yorkshire, J. Deely, March 16th, 1812, aquatint with contemporary hand colouring, one marginal closed tear affecting image, 405 x 515 mm, plus Salter (J.). Torquay from Park Hill [and] Hesketh Crescent Torquay, circa 1840, pair of hand-coloured lithographs, slight spotting and toning, each approximately 270 x 400 mm, and Arnout (Jules). Greenwich Hospital near London, Lemercier, Paris, circa 1860, uncoloured lithograph, title repeated in French, slight dust soiling, 300 x 440 mm, with others similar, various sizes and conditionQty: (approx. 90)
![* Catlin (George). Buffalo Hunt, Surround, from Catlin's North American Indian Collection, [1844], lithograph with contempora](https://cdn.globalauctionplatform.com/c48d82bc-ed62-44d5-8378-ac9400f91885/0c95e35e-48b6-40d6-8108-ac95011fc3d1/468x382.jpg)
Lot 203
* Catlin (George). Buffalo Hunt, Surround, from Catlin's North American Indian Collection, [1844], lithograph with contemporary hand colouring, 360 x 480 mm, mountedQty: (1)NOTESGeorge Catlin in his 'North American Indian Portfolio', recognised that the existence and way of life of the North American Indian was doomed. The systemic genocide of the indigenous population of North America was on such a scale that by 1900 it was estimated that less than 20% of the population remained and in some areas, it was less than 2%. Catlin made a resolution to record "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". The images he left behind, show a sympathetic understanding of the people and their way of life which was soon to be swept away by a combination of war, disease and overt genocidal racism.
Lot 204
* Catlin (George). The War Dance from Catlin's North American Indian Collection, Day & Haghe, circa 1844, lithograph after McGahey with contemporary hand colouring, slight marginal dust soiling, 325 x 450 mm, mountedQty: (1)NOTESGeorge Catlin in his 'North American Indian Portfolio', recognised that the existence and way of life of the North American Indian was doomed. The systemic genocide of the indigenous population of North America was on such a scale that by 1900 it was estimated that less than 20% of the population remained and in some areas, it was less than 2%. Catlin made a resolution to record "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". The images he left behind, show a sympathetic understanding of the people and their way of life which was soon to be swept away by a combination of war, disease and overt genocidal racism.
Lot 210
* France. Arnout (Jules). Vue du Pont Neuf, printed by Lemercier, published in London by the Anaglyphic Company & in Paris by Jeannin, 15th July 1844, lithograph with bright contemporary hand colouring, slight spotting and dust soiling, some abrasion to margins but not affecting image, 325 x 445 mm, together with Parrott (William). Vue Sur la Seine et la Nouvelle façade de L'Hotel de Ville (Paris no. 3), F. Sinnett, Paris, circa 1850, lithograph with contemporary hand colouring, some abrasion to margins but not affecting image, 275 x 390 mm, with Sayer (Robert, Boydell J. & Laurie & Whittle, publishers). Five Vue d'Optique, The Bason of Apollo in the Garden at Versaille, A View of the Palace of Marli from ye Bottom of ye Great Parterre, The Palace of St. Cloud on the side of the Orange Garden, The Domes in the Garden at Versailles [and], A View of the Three Fountains in the Gardens of Versailles, 1755 - 1794, together five engraved views with contemporary hand colouring, each with titles repeated in French, slight marginal dust soiling, each approximately 260 x 475 mm, and Morier (F. publisher). Calais, Vue de l'Embarcadère (du Chemin de Fer), Paris, circa 1865, hand coloured lithograph, 145 x 220 mmQty: (8)
Lot 221
* Liverpool. MacCahey (J. lithographer), Old Shaw's Brow, This prospect respectfully dedicated to William Brown Esquire, through whose liberality the Inhabitants of Liverpool are possessed of that Magnificent Building, The Free Public Library, Thomas Dawson Esqr. Surgeon, Member of the Historic Society of Lancashire & Cheshire..., June 1860, panoramic tint stone lithograph after W. Herdman, slight spotting and staining, 375 x 800 mm, framed and glazedQty: (1)NOTESScarce. The Road is now known as William Brown Street. Originally a coaching road in the east of the city, and named after William Brown, a local MP and philanthropist, who in 1860 donated land in the area for the building of a library and museum.
Lot 225
* Payne (Charles Johnson, 'Snaffles'). The Gunner, "Good Hunting Old Sportsman", circa 1916, colour lithograph finished by hand, two uncoloured remarques, one of a bi-plane, the other of an officer leading a column of guns, snaffle bit blind stamp, overall size 430 x 330 mm, framed and glazedQty: (1)
Lot 228
* Railways. A collection of 54 prints and engravings, 19th century, engravings and lithographs of trains, railway buildings, cuttings and viaducts, including Oesterlein (A. lithographer). Crumlin Viaduct in Süd-Wales, circa 1860, tint stone lithograph after R. Baumeister, occasional repaired marginal closed tears, 350 x 550 mm, together with Ingrey & Madeley (lithographers). The Railway at Cheshunt in Hertfordshire; Invented by Henry R. Palmer, Civil-Engineer, circa 1850, hand-coloured lithograph narrow margins, laid on later paper, 125 x 280 mm, mounted, with Hake (W. after). The Opening of the Bristol and Exeter Railway as seen from Exwick Hill, circa 1844, hand coloured lithograph, narrow margins, 180 x 245 mm, mounted, with another uncoloured example, plus Davy (Henry). The Eastern Union Terminus, St Mary Stoke, Ipswich, Suffolk. This Railway was opened by the Directors on Thursday, June 11, 1846, uncoloured etching, some creasing and spotting, occasional repaired marginal closed tears, 180 x 260 mm, mounted, and Fordyce (W. publisher). Old Locomotive Engine, Constructed by the Late George Stephenson for Killingworth Colliery, circa 1860, uncoloured engraving, 200 x 260 mm, mounted, with Bourne (J. C.). Avon and Railway, Fox's Wood, printed C. F. Cheffins, circa 1850, hand coloured lithograph, small margins, 185 x 305 mm, plus others similar, various sizes and conditionQty: (54)
Lot 229
* Russia. Jacottet & Regamey, (lithographers), Pont Blagoweschensky, Lemercier, Paris, circa 1850, a hand-coloured lithograph of St Petersburg after P. J. Charlemagne, title repeated in Russian, 380 x 480 mm, together with Pluchart (Alexandre). The Residence of John Booker Esqr. His Britannic Majesty's Vice-Consol at Cronstadt in Russia, Quai de la Cour & L'Amirauté & Le Grand Théâtre Imperial, circa 1826, together four hand-coloured lithographs of St Petersburg after Alex Wagnon and others, each approximately 260 x 360 mm, mounted, with Vue des Bains de Nicolas d'Alexandre et de Hermolof aux eaux chaudes minerales du Caucafe, circa 1860, uncoloured lithograph on India wove, title and description in Russian and French, 410 x 500 mmQty: (6)
![* Sandwich Islands. Hayter (John), Tamehameha 2nd, His Majesty the King of the Sandwich Islands [and] Tamehamalu, Her Majesty](https://cdn.globalauctionplatform.com/c48d82bc-ed62-44d5-8378-ac9400f91885/5b594ef2-ad5b-4a95-853d-ac95011fd440/468x382.jpg)
Lot 230
* Sandwich Islands. Hayter (John), Tamehameha 2nd, His Majesty the King of the Sandwich Islands [and] Tamehamalu, Her Majesty the Queen of the Sandwich Islands, printed by Charles Hullmandel, published R. Ackermann, June 1824, a pair of uncoloured lithographs, trimmed and laid on near-contemporary paper, each approximately 320 x 215 mm, together with Gear (J. W.). Their Majesties King Rheo Rhio, Queen Kamehameha, Dame Poki of the Sandwich Islands and Suite, as they appeared at the Theatre Royal Drury Lane, printed Charles Hullmandel, published by the artist, June 4th 1824, uncoloured lithograph, trimmed and laid on near-contemporary paper, 285 x 315 mmQty: (3)NOTESThe King and Queen of the Sandwich Islands - the modern-day Hawaiian Islands - visited England in 1824, hoping to meet King George IV to ask that the islands be placed under the protection of the British Crown. The trip cost them their lives. The British press was fascinated by the royal party and although regarding them as 'exotic savages', avidly reported their visits to the theatre, the opera and exhibitions. Sadly both the King and Queen contracted measles - a disease they would never have been exposed to - and the queen died on July 8, 1824, at the age of 22, with the King dying a few days later on July 14, 1824, at the age of 27. King George would eventually grant an audience with the remaining members of the party and promised the Sandwich Islands protection against foreign aggression. On September 29, the frigate, HMS Blonde, left Portsmouth carrying the Sandwich Islanders and the remains of their late King and Queen back to their island home.
Lot 232
* Sporting prints. A collection of 26 prints, 17th - 19th century, including Barlow (Francis). Coursing Fallow Deer, Hare Hunting, Feasant (sic) Hawking, Partridge Hawking, River Fishing [and] Cony Catching, circa 1671, six uncoloured etchings after Barlow with one attributed to W. Hollar, tipped on to an old album page in three pairs, each approximately 170 x 230 mm, together with Jones (W. D., publisher). Eight humorous sporting prints, 1813, aquatints with contemporary hand colouring, tipped on to old album pages in pairs, each toned overall, each approximately 145 x 210 mm, with Alken (S.). Unkennelling, Hare Hunting, Rat Hunting, Ferreting Rabbits, The Marquis of Salisbury and the Noblemen and Gentlemen of the Harfield Hunt..., Stag at Bay, The Surrey Hunt, Col. Berkley..., of the Berkeley Hunt, Otter Hunting, Duck Hunting, Cock Fighting (Setting to) & Drawing a Badger, Sherwood, Jones & Co. 1823, twelve aquatints by P. Roberts, T. Sutherland, and J. Gelndah, all with contemporary hand colouring, tipped on to old album pages in pairs, each approximately 130 x 210 mm, plus Staines (F. W.). The Harriet Schooner R. Y. S. John Beardmore Esq., A. Hinton, Portsmouth, Ackermann & Co., circa 1850, tint stone lithograph, the title on either side of the coat of arms of John Beardmore, slight spotting, 340 x 430 mm, together with another approximately 100 excised album pages, many with multiple images to a sheet of sporting scenes, juvenalia, topography and genre scenes, various sizes and conditionQty: (approx. 125)
Lot 245
* Ballooning. A collection of 21 prints and engravings, mostly 19th century, aquatints, etching, engravings and lithographs, including Bonnington (R.). The Ascent of Mr Sadler the Celebrated British Aeronaut at Nottingham November 1st 1813, published by R. Bonnington, Nottingham, Jany. 17th, 1814, aquatint with contemporary hand colouring, 405 x 260 mm, together with Alvey (F. lithographer). The Vauxhall Royal Balloon, Formed of 2000 yards of silk and capable of ascending with Twenty Eight Persons, beside ballast and Apparatus..., First Ascent with 9 Persons made from Vauxhall September 9th 1836, William Spooner, circa 1836, uncoloured lithograph, upper right corner torn and repaired but not affecting image, one repaired marginal closed tear, slight dust soiling, 285 x 230 mm, with Lake (W. lithographer). The Ascent of the Royal Nassau Balloon from Vauxhall with the Parachute attached [and] The Fatal descent of the Parachute by which Mr Cocking lost his life. The Sketch taken by an Eye-witness, William Follit, Leicester Square & Reeves & Sons Cheapside, circa 1835, two hand-coloured lithographs on one sheet (as published), slight toning and dust soiling, 250 x 335 mm, plus Cauci (P. lithographer). A View in the Neighbourhood of Sevenoaks, selected by Mr T. R. Joliffe and Professor Cornillot for the scene of their first aerial ascent..., circa 1825, tint stone lithograph, some old tape and adhesion scarring to lower margin, not affecting title or image, very slight spotting to margins, 190 x 215 mm, and Murray (J. publisher). The ascent of Mr Sadler and Captn. Paget from Hackney, 12thg August 1811 from a drawing taken on the spot, August 19th [1811], uncoloured etching, 255 x 170 mm, with Pollard (R.). The Natives of Tornea Lapmark assembled at Enontekis to witness the launching of the first Balloon within the Arctic Circle, T. Cadell & W. Davies, 1819, uncoloured engraving after E. D. Clarke, 160 x 210 mm, plus Senell (J. publisher). View of the Ascent of Mr Lunardi's Celebrated Air Balloon from the Artillery Ground, Sept. 15th 1784, The European Magazine, Oct. 1784, uncoloured engraving, 230 x 170 mm, with others similar, various sizes and conditionQty: (21)
Lot 246
* Ballooning. Arnout (Jules), London. Charing Cross, The Strand, St James Park, View taken in Balloon, published Paris Lemercier and London, Gambart, Junin & Co. circa 1875, hand coloured lithograph, title repeated in French, 340 x 465 mm, together with Joubert (& fils, publisher). Experience Aerostatique Faite à Lyon en Janvier 1784 avec un Ballon de cent pieds de diamètre..., Lyon, circa 1784, uncoloured engraving, trimmed to image and laid on near-contemporary paper, 320 x 200 mm, with Vue d'optique. Experience de la Machine Areostatique de Mrs de Montgolfier d'Anonai en Vivarais..., circa 1782, engraving with contemporary hand colouring, title repeated in German, one central crease, 290 x 390 mm, plus another vue d'optique 'Alarme Générale des Habitants de Gonesse occasionée par la chûte du Ballon Areostatique de Mr de Mongolfe..., published Augsburg, circa 1782, engraving with contemporary hand colouring, 295 x 400 mm, with one other similarQty: (5)
Lot 249
* Brighton. Sutherland (Thomas), Brighton, England's Favourite Watering Place, circa 1825, uncoloured aquatint after George Atkinson, inset portrait of George IV and his brother the Duke of York, trimmed with loss of publication line, 300 x 450 mm, together with Nibbs (R. H.). The Chain Pier Brighton (from the Sea), W. Lane, Brighton, circa 1860, coloured lithograph, margins frayed and trimmed, 265 x 340 mm, with Grant (W. publisher). Panoramic View of Brighton East, No. 1, published Brighton, circa 1870, tint stone lithograph some staining and dust soiling to margins, 190 x 335 mm, plus Leppard (W. publisher). Brighton Town Hall and Market, circa 1825, hand-coloured aquatint, margins soiled and a little creased, 210 x 280 mm, and Bruce (J.). To Captn. S. Brown R.N. This plate representing the Entrance of the Chain Pier at Brighton is with permission respectfully dedicated..., circa 1830, aquatint with contemporary hand colouring, trimmed to neat line and laid on later paper, 265 x 395 mm, framed and glazed, with two others similarQty: (7)
Lot 251
* Burton on Trent. Needham (J. lithographer), To His Excellency Field Marshall the most Noble Henry William Marquis of Anglesea K. C. &c. &c. This View of Burton on Trent from the Tower of Stapenhill Church is respectfully dedicated..., published by the artist in Derby & W. B. Darley Burton on Trent, 1853, tint stone lithograph after H. L. Pratt, very slight spotting, largely confined to margins, 330 x 435 mm, together with Walton (W. L. lithographer). Burton on Trent, printed by C. Hullmandel and published by W. Wesley, Burton on Trent, circa 1850, hand coloured lithograph after K. Thomas, repaired closed tears, two affecting the image, slight staining, 320 x 435 mmQty: (2)
Lot 253
* China. Medland (Thomas), View of the Great Wall of China called Van-Lee-Tching, or Wall of Ten Thousand Lee taken near the Pass of Cou-Pe-Koo [and] View of the Tchin-Shan or Golden Island in the Yang-Tse-Kiang or Great River of China, G. Nicol, 1796, two uncoloured engravings after W. Alexander, each approximately 360 x 500 mm, together with Vue d'optique. Vue de Canton, Vue de Nankin [and] Vue de Lamcesu, Augsburg, circa 1780, together three engravings with contemporary hand-colouring, additional titles and explanatory text below images in French and German, slight creasing, each approximately 305 x 415 mm, mounted, with Pouncy (Benjamin Thomas). Chinese Barges of the Embassy passing through a Sluice on the Grand Canal [and] Chinese Military drawn out in Compliment to the British Embassador (sic), 1796, two hand-coloured engravings after W. Alexander, slight mount staining, each approximately 295 x 385 mm, plus Merian (Matthaus). Xuntien alias Quinzay, circa 1650, uncoloured birds-eye view of the city of Hangchow, 185 x 260 mm, mounted, and Ogilby (John). The Welcoming dor by the Lipu half an hour without the Towne Pecking. Welkomst door de Lipu een half uur buyten Pecking, The Royal Banquet [and] The Emperiall (sic) Palace where the Presents were received..., circa 1671, together three uncoloured engravings, slight spotting, each approximately 295 x 355 mm, with Thierry frères (publishers). Jonque Chinoise a Singapour, Paris, circa 1850, hand coloured lithograph on India wove, some mount staining, 260 x 320 mm, with another seven similar, various sizes and conditionQty: (19)NOTESThe first two described items and the two engravings by Pouncy were originally published for Sir George Staunton's 'An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China...,'
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