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* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),I LIKE EXISTING limited edition lithograph on paperoverall size 71cm x 50.5cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),I'M IN THE MIDST OF IT limited edition lithograph on paperoverall size 71cm x 50.5cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),OCCUPY THE SPACE YOU ARE GIVEN limited edition lithograph on paperoverall size 71cm x 50.5cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),DO NOT FUCK ABOUT WITH IT, I MEAN NO DISRESPECT, I'VE RECEIVED A CLONK TO THE HEAD and ANY DIRECTION IS FINE limited edition lithograph printed on 200g Munken Lynx paper by Narayana Press in Denmark, from an edition of 250 image size 70cm x 50cm each, overall size 73cm x 43cm eachFramed and under glass (4).

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),RASPBERRY SODA CURED MY INSANITY limited edition lithograph on paperoverall size 71cm x 50.5cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),WHEN LIFE GIVES YOU A LEMONlithograph on 200g Munken Lynx paperoverall size 74cm x 54cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),PEOPLE EXPECT SO MUCH FROM ME lithograph on 200g Munken Lynx paperimage size 74cm x 54cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),TORNADO OF NONSENSElithograph on 200g Munken Lynx paperimage size 79cm x 59cmUnframed.

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),IT WAS WORTHWHILE DOING THISlithograph on 200g Munken Lynx paperimage size 79cm x 59cmUnframed.

* JOHN BYRNE RSA (SCOTTISH b. 1940),DUELISTSlimited edition lithograph on paper, signed, titled and numbered 24/100image size 41cm x 44cm, overall size 60cm x 65cm Framed and under glass.

* HANNAH FRANK (SCOTTISH 1908 - 2008),HEADwood engraving on paper, dated 1932 in the plate, signed in pencilimage size 10cm x 8cm, overall size 28cm x 24cmMounted, framed and under glass.Comment: an extremely rare wood engraving by Hannah Frank and believed to be the first offered at auction anywhere.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* TOM PHILLIPS CBE RA (BRITISH 1937 - 2022),BRUNNHILDElimited edition lithograph on paper, signed and numbered 35/275image size 40cm x 58cm, overall size 50cm x 68cm Framed and under glass.Note: Tom Phillips attended drawing classes and lectures on Renaissance iconography at Ruskin alongside his studies in English at St Catherine's College, Oxford. Taught by Frank Auerbach in 1961 at Camberwell School of Art, Phillips's first solo exhibition in London was in 1965 at the Artists International Association Gallery, followed by an exhibition with Angela Flowers in 1970. Phillips taught at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972, and in 1969 he won the John Moores Prize. In 1966 Phillips resolved to dedicate himself to making art out of the first secondhand book he could find for threepence on Peckham Rye. Thus began A Humument, the longest of Phillips's extended serial projects. A Humument is a radical 'treatment' of a forgotten Victorian novel by means of collage, cut-up ornament and other techniques, creating new works of art and poetic text from the original pages.. On the fiftieth anniversary of its inception in 2016, Phillips completed the sixth and final version of this work – each version with successively more pages reworked, until his original work had itself been completely transformed. Phillips received many commissions for site-specific artworks including tapestries for St Catherine's, Oxford, sculpture for the Imperial War Museum, street mosaics for his native Peckham, and ornament and memorials for sacred spaces, including both Westminster Cathedral and Westminster Abbey. Phillips's portrait subjects have included Samuel Beckett as well as friends such as Iris Murdoch, Sir Harrison Birtwistle, Richard Morphet, and the Monty Python team. In 1989, he became only the second artist to have a retrospective of his portraits at the National Portrait Gallery. Fifteen years later, he also went on to curate We Are The People, an exhibition at the NPG of his large collection of postcard photographic portraits. Phillips received the Frances Williams Memorial Prize in 1983 for his illustration and new translation of Dante's Inferno. He also made a TV version of the Inferno with Peter Greenaway which won them jointly as directors the Italia prize. Elected to the Royal Academy in 1984, Phillips went on to chair the Academy's Library and its Exhibition Committee from 1995 to 2007, He curated the RA’s exhibition Africa: The Art of a Continent (1995) which travelled to the Martin Gropius Bau, Berlin and the Guggenheim, New York. Serving as a Trustee for the National Portrait Gallery and British Museum, Phillips was made a Commander of the British Empire for services to the Arts in 2002. In 2005, he was appointed Slade Professor of Fine Art at the University of Oxford, and between 2005 and 2011 he was invited as an annual Director's Visitor to the Institute for Advanced Study in Princeton. Oxford's Bodleian Library took over Tom Phillips's archive and with them he published his postcard collection in a series of books. Phillips's collaboration with Tarik O'Regan on an operatic version of Conrad's Heart of Darkness, for which he provided the libretto, was premiered at the Royal Opera House's Linbury Theatre at the end of 2011. Tom Phillips lived and worked in London.

* JOHN BYRNE RSA (SCOTTISH b. 1940),PIERROT (2002)lithograph on paperimage size 26cm x 26cm, overall size 45cm x 45cm Framed and under glass.

* JOHN BYRNE RSA (SCOTTISH b. 1940),SELF PORTRAIT lithograph on paperimage size 36cm x 26cm, overall size 54cm x 44cm Framed and under glass.

* JOHN BYRNE RSA (SCOTTISH b. 1940),THE SLAB BOYSlithograph on paper image size 45cm x 36cm, overall size 64cm x 54cm Framed and under glass.

* DAVID HOCKNEY OM CH RA (BRITISH b. 1937),OLYMPISCHE SPIELE MÜNCHENlithograph poster of 'The Diver' commissioned for the 1972 Summer Olympic Gamesimage size 98cm x 62cm, overall size 105cm x 69cm Framed and under glass.Condition is good overall, with no visible or known issues or damage.

Natural History, Ornithology. Kennedy (Alexander W.M. Clark, "An Eton Boy"),  The Birds of Berkshire and Buckinghamshire: A Contribution to the Natural History of the Two Counties, signed and inscribed presentation copy from the author to another naturalist with ALS, sole edition, Eton: Ingalton and Drake, London: Simpkin, Marshall, and Company, 1868, half-title, photographically-illustrated with 4 hand-coloured albumen prints mounted on card, some contemporaneous ink manuscript annotations and marginalia, gutter splits but holding, original publisher's pictorial green cloth gilt by Burn & Co., their ticket, slight stable split to spine, uncut edges, 8vo, [&] Harting (James Edmund, F.Z.S.), The Birds of Middlesex [...], sole edition, London: John Van Voorst, 1866, lithograph frontispiece, in-text illustrations, original publisher's pictorial green cloth gilt, uncut edges, 8vo, (2).  Provenance: 2nd: James Edmund Harting (1841 - 1928), ornithologist and naturalist. Presented to him by Kennedy, inscribed and with loosely-inserted ALS, and with Hartings' armorial bookplate to recto pastedown; the annotations and marginalia presumably Harting's.

Travel, Russia. Oliphant (Laurence), The Russian Shores of the Black Sea in the Autumn of 1852, with a Voyage Down the Volga, and a Tour Through the Country of the Don Cossacks, second edition – revised and enlarged, Edinburgh and London: William Blackwood and Sons, 1853, lithograph frontispiece, repaired folding map, in-text illustrations, original publisher’s cloth gilt, relaid back with slight chipped loss, refreshed endpapers, 8vo.

Æsop, L'Estrange (Sir Robert, translator), & Roberts (Rachel, A.R.C.A., editor), Twelve Fables, ?unique copy, sole edition thus, [Bristol]: West of England College of Art, 1947, printed by S.D. Taylor in Perpetua Titling and Caslon Old Face type, 8 chromolithographs (including frontispiece), further in-text lithograph illustrations, designed and lithographed by Anne Rees-Mogg, June P. Bevington, Marjory Paterson, Joan E. Thackway, and Jean I. Trower, original green cloth, upper-cover with printed paper title label, all edges cut, pictorial lithographed endpapers with trees and the two-tone eponymous diphthong: Æ, 4to (29cm x 22.5cm). Provenance: 1) "For George Butler to remind him of Donald Milner [(1898–1993), OBE, ARCA, RWA, President of the Royal West of England Academy (1974–1979)] and the National Diploma in Design Examinations 1946-1948", ink MS inscription to ffep; 2) "Unique", pencil inscription below.

Agriculture. Drawings and Plans of the Lawes Testimonial Laboratory, Rothamsted, Herts., [London]: F. Dangerfield, Lith[ographer], n.d. [c. 1860], 2 tinted lithograph plates and 2 lithograph floor plans, each with some slight and stable marginal tears, upper-left margin of plates stained but not affecting images, plans toned, original red cloth over printed paper wrappers, loosely-inserted in a contemporaneous plum moiré silk folio, oblong royal folio (37cm x 54cm).

Art. Prout's Elementary Drawing Book, London: Charles Tilt, n.d. [1840], lithograph plates, original publisher's purple cloth gilt, oblong 8vo, Harding's Drawing Book 1847, London: David Bogue, 1847, lithograph plates, publisher's green cloth, 8vo, Delamatte, The Art of Sketching from Nature, second edition, London: George Bell and Sons, 1888, tipped-in plates, original cloth (disbound), 8vo, (3).

Early Lithography. Nicholson (Francis), Lithographic Impressions from Sketches of British Scenery, sole edition, London: Published by Rodwell & Martin, 1821, 33 lithograph named-view topographical plates printed by Charles Joseph Hullmandel, bound with a further 2 plates printed by Hullmandel but not after Nicholson, foxing in places to some of the plates, a few with stains but not affecting the image, contemporary quarter-calf over boards, worn, rubbed and chipped, perished spine, the upper-cover split at the gutter, the lower-cover with some movement, royal folio (50cm x 35cm).

Harding (James Duffield, illustrator), Sketches of Home and Abroad, London: Charles Tilt, n.d. [1836], tinted lithograph title, dedication leaf, and 51 tinted lithographed plates, named within the plate, the margins titled in pencil by a contemporaneous hand, the contents with alternating foxing throughout, loosely-inserted naive Grand Tour named-view of Mount Vesuvius and the Bay of Naples, titled in ink manuscript and executed in body colour, original green morocco over floral relief cloth boards, elephant folio (56cm x 38cm). Provenance: the Seymour family of Thrumpton Hall, near Nottingham.

Local Interest. Briggs (John Joseph, F.R.S.L.), The Trent and other Poems, sole edition, Derby: Bemrose, 1859, lithograph title-page, [bound with] The History of Melbourne, second edition, Derby: Bemrose and Son, n.d. [1852], each with plates, first title stained in places, contemporaneous quarter-calf gilt over marbled boards, marbled edges and endpapers, 8vo, Hall (Dr Spencer), Days in Derbyshire, first edition, 1863, original green cloth gilt, 8vo, Pape's Newcastle-under-Lyme in Tudor and Early Stuart Times, 1938, cloth, 8vo, another two books on Derbyshire geology and Matlock, a collection of Victorian albumen prints of Nottinghamshire country houses, their interiors and estate, as well as views of Nottingham, (6).

Topography and Antiquarianism. Bell (T.), The Ruins of Liveden; with Historical Notices of the Family of Tresham, and its connexion (sic) with The Gunpowder Plot […], To which is added a Legendary Poem, sole edition, London: Whittaker and Co., et al., 1847, lithograph plates, fold-out family pedigree, original cloth (worn, chipped), 4to, Local Interest, including Wylie (William Howie), The Nottingham Hand-Book, and Guide to Places of Interest in the Environs, first edition, Nottingham: C.N. Wright, 1852, fold-out panorama frontispiece, plates, original cloth, 8vo, further Nottingham and Nottinghamshire interest, including Lord Byron and Newstead Abbey, Scotland, The Ballads and Songs of Ayrshire, Illustrated with Sketches, Historical, Traditional, Narrative and Biographical, Series I & II as one, Ayr: Published for the Editor by John Dick, 1846-47, separate title-pages, original boards (chipped spine), 8vo, others Scottish interest, two volumes of Fosbrooke’s works on Gloucester and Gloucestershire, 1807 & 1819, unexamined, quarter-morocco, 4to, architecture, including learned societies’ reports and papers, some volumes of which are ex-lib, etc., (23).

Topography, Ireland: (Stuart, A.B.), Historical Memoirs of the City of Armagh […], sole edition, Newry: Printed for Alexander Wilkinson, 1819, engraved plates, last third of the text block with damp-staining and worm trails to lower-margin, but not affecting text, contemporary calf gilt, blue-stained edges, 8vo, other topographical works, including [Barker (Matthew Henry)], Walks Round Nottingham by a Wanderer, first edition, London: Effingham Wilson, 1835, title-page with wood-engraving, lithograph plates, contemporary quarter-calf over marbled boards (spine defective), label to pastedown: C.W. Briggs (Genuine Antiques), 10 Leicester Rd., Loughboro’, 8vo, White’s Lincolnshire, 1872, cloth, 4to, Finch (Pearl), Burley-on-the-Hill, Rutland, two-volume set, sole edition, London: John Bale, Sons & Danielsson, Ltd., 1901,  some repairs, original publisher’s vellum, 4to, Travel, Pfeiffer’s Iceland, second edition, 1853, contemporary green calf, 8vo, etc., (7).

Miscellaneous. Three late Victorian/early Edwardian albums of crests and monograms, decorative and architectural lithograph-printed pages illustrated with clipped armorial and other devices from the writing-paper of aristocratic and gentry families, 'establishment' institutions, including public schools, universities, army regiments and further military bodies, etc., various leather and cloth bindings (the diced calf oblong 4to disbound), mixed sizes, The Humorous Travelogue of a Rotterdam Banker in London, 1925, approx. [75]ff pages of Dutch ink manuscript, written by Theo Waller and possibly his wife Constance Clara Caroline Jacqueline Andre de la Porte, the whole prefixed by their itinerary, which, while in London, included the celebrated musical 'No No Nanette' (the only English passage in the account), tipped-in ephemera, etc., original cloth, 8vo, a Victorian Neo-Gothic chip-carved oak desk blotter/folio, c. 1890, (5).

Music and Ballads. 18th century and later, including 'The Banks of Banna', n.d. [second-half 18th century], 16 lines of manuscript libretto, 'The Dandies', n.d. [contemporary to the broadside ballad in the Bodleian, Norwich, 1780-1830], 25 lines of MS, 'To the Tune of good Queen Bess', n.d. [early 19th century, ?1805-1821], 33 lines, including references to the late "immortal Lord Nelson" and the house of Brunswick, 'Bonnie Jamie./ (For Music)/By E. Willis Fletcher', n.d., the 28 lines of MS probably not in the florist-musician's hand, 'Triumphant Music', by Felicia Hemans, n.d. [first-second quarter 19th century], 34 line manuscript verse in another's hand, Wales, Sir Watkin Williams Wynn Baronet attained his Majority on the 22nd: May 1841/Written and sung at the Public Dinner in Oswestry on the Occasion by T.N.P. Air "Jerry Jones", 2ff, lithograph-printed, mounted, with verse by John Jebb, Bishop of Limerick, transcribed by Mrs Sarah Parker, dated 1837, (6).

Lawrence Rushton Colour Lithograph Print - pencil signed by the Artist. Limited edition titled 'Reflections', Limited No 13/850 copies. Mounted & Framed behind glass, Print size 24''x 17'' Overall size including frame 30'' x 23''.

A walnut Symphonion, playing 7.5" discs on a one-piece comb, hinged cover with lithograph to verso, 27.5cm wide overall, serial no. 399624, c.1900, sixteen discs

Horst Antes, Omaggio a Michelangelo, 1975 lithograph in colours on BFK Rives paper, signed, 135/200. H.106 W.85cm.

Beryl Cook (1926-2008), Shoe Shop, limited edition lithograph. H.48 W.38cm.

Peter Blake (b. 1932), Study for a Poster for Frankenstein, limited edition lithograph 27/48, signed and numbered in pencil, bearing labels verso. H.42.5 W.42.5cm

Marc Chagall, Woman with Horse, 1969 lithograph on paper printed by Mourlot, unsigned. H.46 W.38cm

Richard Wentworth, Red Eight (from the Portfolio 'Artists Choice' 1987), 1987, Lithograph. H.42.5 W.42.5cm

After Pablo Picasso, Visage Cobalt, lithograph. H.30 W.40CM

After Pablo Picasso (1881-1973),Visage Brun, lithograph. H.30 W.40cm

Henri Cassiers (1848 - 1944), coloured lithograph, Dutch market scene, framed. H.53 W.111cm

Henri Cassiers (1848 - 1944), coloured lithograph, Dutch Harbour scene, framed. H.53 W.113cm

Marc Chagall, Le Grand Cirque , 1961, Offset Lithographic Exhibition Poster, Lithograph Signed by the artist with a dedication bottom right ''Pour M.vJ Liverant, Marc Chagall, 1979'. H.100 W.70cm.

Giuseppe Capogrossi (Italian 1900-1972) 'Quarzo', original lithograph, 1970, hand signed, edition number 28/99, excellent condition, unframed. 50cm x 69cm.

Giuseppe Capogrossi (Italian 1900-1972), 'Opale 4', lithograph 1971-72, hand signed, marked 'HC', excellent condition, unframed.

FRANCIS BACON (Dublin, 1909- Madrid, 1992)."Study for a Portrait of John Edwards", 1986.Lithograph, copy 165/180.Signed and justified in pencil.Provenance: acquired at the Galería Alejandro Sales, Barcelona, in 2004. Presents label on the back of the Gallery.Measurements: 67.9 x 49 cm; 97 x 70 cm (frame).Francis Bacon is the author of some of the most striking and unprecedented paintings in contemporary art. His style, obsessive, tormented and heartbreaking, is a clear document of the harshness that Europe experienced after the Second World War. His works are currently fetching stratospheric figures at international auctions, making him one of the most sought-after artists on the art market. A reflection of this is the triptych "Three Studies by Lucian Freud (1969)", which in 2013 reached a record sale price of 142 million dollars at public auction, making it one of the three most expensive works in history. Some of his works can be seen in the most important art galleries in the world, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía."Portrait of John Edwards" defines in the most emphatic terms what Bacon's art was all about. Its protagonist is John Edwards, a young Londoner whom Bacon considered his only "genuine friend" and therefore heir to his expensive fortune. This inheritance consisted, in addition to real estate, of a number of paintings valued at 16 million euros. The two personalities met in 1976 in a shop in Soho, and soon began a strong friendship whose bonds were reflected in the more than 20 canvases that Edwards starred in. As in the present work, Bacon immortalised his close friend as a discomposed, isolated, disturbing and spiritual figure who, far from seeking a concrete resemblance to the character, delved into the spirituality of the person depicted. It reveals the abstraction, fragmentation and distortion that defined Bacon's style, a consequence of the life events that made his existence a fervent time bomb waiting to explode.Born in Dublin to English parents, Francis Bacon began painting as a self-taught artist. When he was only 17, the Paul Rosemberg gallery opened its doors to the painter. There he became acquainted with the work of Picasso, an artist he would admire throughout his career. Like Picasso, other painters made an impression on Bacon's work: Velázquez (whose version of Pope Innocent X he painted, producing at least 40 "popes") and Nicolas Poussin, whose "The Massacre of the Innocents" aroused intense emotion in him. In 1945 he exhibited in London, together with the English artists Henry Moore and Graham Sutherland, his painting "Three Studies for Figures at the Foot of a Crucifixion", a triptych which, according to Bacon himself, marked the starting point of his career. By 1945 he had developed his own unmistakable style. In 1949, the Museum of Modern Art in New York (MOMA) bought an impressive work of his entitled "Painting 146". In 1956 he was invited to represent Britain at the Venice Biennale alongside Ben Nicholson and Lucian Freud. With his work, Bacon decided that the subject of his paintings would be both life in death and death in life. He sought to express his vital condition, which was also linked to his self-destructive side. Michel Leiris suggested to him that masochism, sadism and similar manifestations were really just ways of feeling more human. Portraits and self-portraits constitute an important part of his paintings. Bacon made portraits without poses taken from life, developed from photographs. He portrayed his intimate companions and friends as well as famous people: Peter Lacy, George Dyer and John Edwards, Henrietta Moraes, Isabel Rawsthorne, Muriel Belcher, Lucian Freud, Peter Beard and Michel Leiris, as well as Hitler, Pius XII and Mick Jagger. Some of his works can be seen in the world's most important art galleries, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía.

MIGUEL BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Figura acostada", 1987.Lithograph, copy 76/100.Signed, dated and justified by hand.Size: 56 x 75 cm; 64 x 82 cm (frame).Berrocal began his training at the School of Arts and Crafts in Madrid, as a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

Mixed items to include a Viktor Stretti lithograph, Capodimonte, 19th century Vienna porcelain basket and other itemsLocation:

Tipp & Co (Germany) Pre-War Tinplate Lorry, lithograph tin body, TC 753, working clockwork mechanism, with key , in very good original condition L 4 ” (10 cms).

Tipp & Co (Germany) Pre-War Tinplate Citroen Car, lithograph tin body, working clockwork mechanism, with key , in good original condition L 3 ½ ” (8.5 cms).

Peter Blake (British b.1932), 'Bobbie Rainbow', 2001, lithograph in colours on tin, signed and numbered 1887 from an  edition of 2000 in pen, published by Pallant House; 44cm x 66cm 

MELANIE LE BROCQUY (IRISH 1919-2018) BOTANICAL SCENES  Lithograph, signed lower right, inscribed (2/10), dated (19)82, 18 x 19cm, 20 x 26cm (2) Available upon request

Pablo Picasso - 'Côte d'Azur', lithograph in colours on wove paper, printed by Mourlot 1962, 99cm x 65cm, within a gilt composition frame with applied plaque.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

David Shrigley - 'The Moment has Arrived', offset lithograph, published by Shrig Shop circa 2021, 80cm x 60cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Robert Martin, after Wenceslaus Hollar - 'A View of London Bridge in the Year 1647, from an Engraving by Hollar', 19th century lithograph, 36cm x 57cm, within a maple and gilt frame, together with three similar lithographs from the same series.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Ordnance Survey of England and Wales (publishers) - 'Geological Survey of Great Britain, Sussex', electrotype lithograph in 15 sections with near period hand-colouring, folding and backed onto linen, published circa 1893, overall 69cm x 102.5cm, within cloth covered boards, together with 38 similar geological maps, the majority of Home Counties interest.This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

James Abbot McNeil Whistler - La Robe Rouge (The Red Dress), stone lithograph, with The Studio blindstamp, 24m x 19cm, within a gilt frame. Note: published in The Studio (6), no.32, November 15, 1895.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Louis Haghe, after Benjamin Ferrey - 'High Street Lymington Hants', 19th century stone lithograph with later hand-colouring, 34.5cm x 45.5cm, within a verre églomisé mount and Hogarth style frame, together with a similar print by the same hands.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Ernest Montaut - 'Circuit des Ardennes Belges 1906', lithograph in colours, published by Mabileau & Cie, Paris, 1906, 44cm x 89cm, together with a similar lithograph by the same hand.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Government of India (publishers) - 'Manipuri Dancer India' (Travel Poster), lithograph in colours, printed by Glasgow Printing Co circa 1959, sheet size 101cm x 63cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Blanche McManus Mansfield - 'Legends of the Rhine', 19th century lithograph in colours, published circa 1895, sheet size 51cm x 38.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.