Totnes: James Cauty: 2007. First Edition. Limited Edition Print on 315 gsm archival paper. Edition of 21 stamped, and initialled in pencil with AP (which probably stands for Artist's Proof). The Gift of Life, OMK Page Edition. 'Operation Magic Kingdom' was a billboard and street poster campaign in London (2007) against the Iraq war. This was also released as stamps and prints. OMK blind stamped and hand numbered in pencil to front. Has official CNPD red stamp on verso. With 4 binding holes in the left hand margin. Dimensions: 35,8 cm x 30.5cm. Excellent condition. Currently protected in archival film. James (Jimmy) Cauty, was formerly a musician with the band 'The Orb', and was a member of 'KLF'. More recently, he has been an artist, creating works of dissent, and working alongside artists such as Banksy and Billy Childish. He has been involved in Steve Lowe's L-13 Light Industrial workshop. He created the gift shop at Banksy's 'Dismaland'. His work also toured as part of the ADP (Aftermath Dislocation Principle) Riot Tour.

London: Thos McLean, 1830. First Edition. Sketch #37 in the political sketches series. The king reads a bill by candle light. "It seems pretty evident that the Windsor correspondent of the Morning Herald meant only to pay a compliment to His Majesty's eyesight, which, at the age of sixty-nine, must have been pretty good if he could read the newspaper by candle-light, without the aid of glasses ; but the writer, in order to give his compliment the greater force, has almost left His Majesty in the dark ; for gloomy, indeed, must be any of the lofty rooms of Windsor- Castle, if lighted only by a single candle. H. B. has caught a very humorous view of the compliment, and made it apply, not to optics, but to domestic economy ; and here is George IV., the luxurious George IV.-the Comus of Carlton-House--the restorer of Windsor- Castle at the expense of a million of money-the builder of Buckingham Palace and the Pavilion at Brighton : he who never calculated the cost of whatever might promote his indulgence or gratify his taste :-here is this dignified, splendour loving
Monarch, reading a newspaper by the light of a single mutton-fat ; and reading, too, the market prices of butcher's meat, with a view to check the bills of the purveyors to the royal household. Dionysius at Corinth, or Timon in his cave, hardly present a more violent contrast." (Thomas McLean, An Illustrative Key to the Political Sketches of H.B.). Nice clean image. Pasted onto a mustard card backing. Backing card has been trimmed to 2.5cm around the plate. Print is 28cm x 32cm. Backing card is 32cm x 37cm. Also held under a temporary white passe partout. Conforms to the National Portrait Gallery copy Ref: NPG D40972 King George IV. John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity.

London: Thomas Tegg. Isaac Cruikshank after Woodward. First edition. Approximately 1807. Framed in a later black and gilt frame under glass. Title etched below image. Date of publication from British Museum catalogue. Plate numbered "295" in upper right corner. Plate from: Woodward, G.M. Caricature magazine, or Hudibrastic mirror. London : Thomas Tegg, [1808?], v. 4. Also issued separately. Visible plate: 26.5cm x 36.5cm. Frame: 43cm x 52cm. The plate is a little darkened, and with a couple of very light creases to the corner. But the hand colouring is very good, and the plate still worthy of display. Frame is a little dated, and with slight handling, but sound. Can be shipped without frame if required. "A grotesque old doctor, with carbuncled nose, approaches a lady, bowing low and holding out a clumsy petticoat. He says: "Mrs Jenny said your Ladyship complain'd of being cold about the loins - so I have Just stept in with a warm flannel petticoat." She is seated beside a tea-table, and throws up her arms, flinching back in horror; she says: "I have no loins fellow! do you want to make a monster of me?!!" She wears a high-waisted, short-sleeved dress, under which her legs are defined. Her little dog barks at the doctor. A large urn and a small cup (overturned) and saucer, are the only objects on the table." (British Museum online catalogue).

. Isaac Cruikshank d'après Woodward. Première édition. Vers 1807. Encadré dans un cadre noir et doré sous verre. Titre gravé sous l'image. La date de publication est tirée du catalogue du British Museum. Planche numérotée "295" dans le coin supérieur droit. Planche tirée de : Woodward, G.M. Caricature magazine, or Hudibrastic mirror. Londres : Thomas Tegg, [1808 ?], v. 4. Également publié séparément. Plaque visible : 26.5cm x 36.5cm. Cadre : 43cm x 52cm. La plaque est un peu assombrie et présente quelques plis très légers dans le coin. Mais la coloration à la main est très bonne et l'assiette est encore digne d'être exposée. Le cadre est un peu daté et a subi de légères manipulations, mais il est en bon état. Peut être expédié sans cadre si nécessaire. "Un vieux médecin grotesque, avec un nez en escarboucle, s'approche d'une dame en s'inclinant et en lui tendant un jupon maladroit. Il dit : "Mme Jenny a dit que Madame se plaignait d'avoir froid aux reins - je viens donc d'apporter un jupon de flanelle chaud." Elle est assise à côté d'une table à thé et lève les bras en arrière, frémissant d'horreur ; elle dit : "Je n'ai pas de reins, mon ami ! Voulez-vous faire de moi un monstre ?!!" Elle porte une robe à taille haute et à manches courtes, sous laquelle ses jambes se dessinent. Son petit chien aboie contre le médecin. Une grande urne et une petite tasse (renversée) avec sa soucoupe sont les seuls objets posés sur la table". (Catalogue en ligne du British Museum).

London: J. Debrett, 1793. Second edition. A nice copy of this open letter to his constituents, from the political radical Charles James Fox. It argued his radical position and opposition to war with France. Significant here, as France declared war on the United Kingdom six days later. Although this copy seems to lack the half title and a blank, as it begins with the title page, and the next leaf has the signature B, our copy follows the pagination of OCLC 6595972. So we assume that the second edition had no half title. Contents themselves are complete. To the end is a single leaf of advertisements from Debretts, end with a hanging "the" indicating there should be a second leaf (here lacking). Sewn with twine (as with all other copies we have seen). The covers have a little marking and edgewear, but inside, the contents are clean and tidy throughout. [ii], 43, [1]. pages. Charles James Fox, a radical Whig reformer, was first elected for a rotten borough in 1768 whilst he was still underage. He first represented the significant borough of Westminster in 1780, and remained their member of parliament until his death in 1806. 20cm x 11.5cm. Conforms to WorldCat / OCLC: 6595972.

. Deuxième édition. Bel exemplaire de cette lettre ouverte adressée à ses électeurs par le radical Charles James Fox. Il y défend sa position radicale et son opposition à la guerre avec la France. Cette lettre est importante car la France déclara la guerre au Royaume-Uni six jours plus tard. Bien que cet exemplaire semble dépourvu de la moitié du titre et d'un blanc, puisqu'il commence par la page de titre, et que le feuillet suivant porte la signature B, notre exemplaire suit la pagination de l'OCLC 6595972. Nous supposons donc que la deuxième édition n'avait pas de demi-titre. La table des matières est complète. A la fin se trouve un seul feuillet de publicité de Debretts, avec un "the" suspendu indiquant qu'il devrait y avoir un deuxième feuillet (ici manquant). Cousu avec de la ficelle (comme pour tous les autres exemplaires que nous avons vus). Les couvertures ont un peu de marques et d'usure, mais à l'intérieur, le contenu est propre et bien rangé. [ii], 43, [1]. pages. Charles James Fox, un réformateur Whig radical, a été élu pour la première fois pour un borough pourri en 1768 alors qu'il était encore mineur. Il représenta pour la première fois l'important borough de Westminster en 1780, et resta leur membre du parlement jusqu'à sa mort en 1806. 20 cm x 11,5 cm. Conforme à WorldCat / OCLC : 6595972.

London: Robert Cribb, 1798. An attractive re-issue of Nutter's caricature after Boyne. Stipple-engraving, printed in colours and finished by hand. This is the re-issue with the title in English and French below. Closely cropped, with the titles protruding to the base of the print. Some small closed tears repeaired to the real. Attractive colouring. The debtor (left), a fashionably dressed man, stands meditatively at the end of a long table, stroking his chin, and looking at a bill to which one of the creditors, a butcher, points angrily: "[Squan]der Dr [to] Bluff Beef Mutton &c. £70". The butcher, a stout man wearing over-sleeves to the elbow, is seated at the table. Facing him is a well-dressed creditor wearing spurred top-boots who points to his bill: "Seven Qrs Rent due Lady day last... £140. 0s. Repairs &c. as Pr Ordy go. £230. 0. 0." Ten other creditors sit and stand round the table and are grouped (right) at its far end. A stout man stands at the end of the table facing the debtor and holding a schedule of debts: "T Squander Debts Certain 200 Uncertain 500 Due to Thos Squander 700 Against 1500. Debtr 800". On the table is a paper of "[Memora]ndums [F]aro 20 EO 50 Phaeton Ponies 100 Lottery Insurance 75". A tailor looks gloomily at his bill: "Snip Tay[lor]". A stout man (right) sits looking at a dog feeding from a bowl. Another dog (left) pulls at the coat-tails of his master, the debtor. On the wall which forms a background is a framed "Perspective View of the Kings Bench". Above it is a bust portrait of Lord Mansfield. A scarce item. The British museum holds an uncoloured version of the first issue (without French title) #1866,1114.625. We can find no copies of this version available. 43cm x 50.5cm

. Réédition attrayante de la caricature de Nutter d'après Boyne. Gravure au poinçon, imprimée en couleurs et finie à la main. Il s'agit de la réédition avec le titre en anglais et en français en dessous. Coupé de près, avec les titres dépassant à la base de l'impression. Quelques petites déchirures fermées réparées au réel. Couleurs attrayantes. Le débiteur (à gauche), un homme habillé à la mode, se tient debout, méditatif, au bout d'une longue table, se caressant le menton et regardant une facture que l'un des créanciers, un boucher, montre du doigt avec colère : "Squan]der Dr [to] Bluff Beef Mutton &c. £70". Le boucher, un homme corpulent portant des manches jusqu'au coude, est assis à la table. Face à lui, un créancier bien habillé, portant des hauts-de-chausses à éperons, montre sa facture : "Seven Qrs Rent due Lady day last... £140. 0s. Réparations &c. comme Pr Ordy go. £230. 0. 0." Dix autres créanciers sont assis et debout autour de la table et sont regroupés (à droite) à l'extrémité de celle-ci. Un homme corpulent se tient à l'extrémité de la table, face au débiteur, et tient un tableau des dettes : "T Squander Debts Certain 200 Uncertain 500 Due to Thos Squander 700 Against 1500. Debtr 800". Sur la table se trouve un papier de "[Memora]ndums [F]aro 20 EO 50 Phaeton Ponies 100 Lottery Insurance 75". Un tailleur regarde sa facture d'un air sombre : "Snip Tay[lor]". Un homme corpulent (à droite) est assis et regarde un chien qui se nourrit dans une gamelle. Un autre chien (à gauche) tire sur la queue de son maître, le débiteur. Sur le mur qui forme l'arrière-plan se trouve une "Vue en perspective du banc des rois" encadrée. Au-dessus se trouve un portrait en buste de Lord Mansfield. Une pièce rare. Le British Museum possède une version non colorisée de la première édition (sans titre français) #1866,1114.625. Nous n'avons trouvé aucune copie de cette version disponible. 43cm x 50.5cm

London: Thos McLean, 1833. A nice copy of this political satire by Doyle. #261 in Doyle's series of political sketches. Sir John Cam Hobhouse had been forced to resign his posts as both MP for Westminster and Secretary of State for Ireland on a minor point of principle. He expected to be re-confirmed in the post but Colonel Evans (Sir de Lacy Evans), as represented in the sketch, stepped in, and snatched away the seat for Westminster; and the re-appointment to the office of Irish Secretary was postponed sine die. Sir F. Burdett, though stretching out his arm as if to save him, sees that assistance is in vain ; and the phlegmatic Lord Althorp, behind, appears to be saying, " Never mind, let him go." Print is 29cm x 37.5cm. It is pasted onto a mustard backing sheet of 35cm x 50cm. Both are in good, clean condition, with just a touch of light foxing to the satire. Small embossed stamp of authenticity (by Thos. McClean) to the lower left. A very nice copy. John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity. See McClean, Thos. An Illustrative Key to the Political Sketches of H.B. #CCLXI. British Museum ref: 1856,0510.397.

. Un bel exemplaire de cette satire politique de Doyle. #Numéro 261 de la série de sketches politiques de Doyle. Sir John Cam Hobhouse avait été contraint de démissionner de ses postes de député de Westminster et de secrétaire d'État à l'Irlande pour une question de principe mineure. Il s'attendait à être reconduit dans ses fonctions, mais le colonel Evans (Sir de Lacy Evans), représenté dans l'esquisse, s'est interposé et a arraché le siège de Westminster ; la reconduction au poste de secrétaire d'État pour l'Irlande a été reportée sine die. Sir F. Burdett, bien qu'il tende le bras comme pour le sauver, voit que l'aide est vaine ; et le flegmatique Lord Althorp, derrière, semble dire : "Peu importe, laissons-le partir". L'estampe mesure 29 cm x 37,5 cm. Elle est collée sur un support moutarde de 35cm x 50cm. Les deux sont en bon état, propres, avec juste une légère rousseur sur la satire. Petit cachet d'authenticité gaufré (par Thos. McClean) en bas à gauche. Un très bel exemplaire. John Doyle est né à Dublin et s'est installé à Londres en 1822 où il a d'abord travaillé comme lithographe portraitiste. En 1827, Doyle a commencé à publier des gravures politiques de manière anonyme. De 1829 à 1851, Doyle publia sa célèbre série Political Sketches, signant ses œuvres des initiales "HB" pour cacher son identité. Voir McClean, Thos, An Illustrative Key to the Political Sketches of H.B. #CCLXI. British Museum ref : 1856,0510.397.

London: Thos McLean, 1833. First edition. H.. Sketches No 251. Dated Aug 31st 1831. Image is 28.5cm x 37cm. Sheet is 35.5cm x 51.5cm. Neat an clean plate, with very fractional foxing (barely noticeable) pasted onto a mustard backing sheet. This is in good order, with a little darkening and edge wear to the right edge only. In its original uncoloured state. National Portrait Gallery Ref: NPG D41086.

"An Illustrative key to the Political Sketches of H.B......" (1861). P96. Lords Brougham and Plunket, on their return to London, from a visit to Windsor Castle, were caught in a fog and lost their way, chiefly, it was said, in consequence of the efforts which the postillions had been making to fortify themselves against the weather. Lord Brougham has mounted the ample shoulders of Lord Plunket, to take an observation, on the principle mentioned by Swift, who says, "It is with human intellects as it is with liquors, the lightest is ever at the top." The appearance of the drivers bears testimony to the fact that strong ale has had something to do with the disaster; and for the solution of the riddle of " Reform Bill," whose ale appears to have done the mischief.

John Doyle (1797–1868), known by the pen name H.B., was an influential Irish caricaturist, political cartoonist, painter, and lithographer. He is considered a pioneer of "polite caricature," a style that avoided grotesque exaggerations and instead relied on wit and subtle humor to critique political figures and events. His work marked a departure from the harsh satire of earlier artists like James Gillray and Thomas Rowlandson. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity.

John Hayward. A plate from "Human Passions Delineated" first edition, published in Manchester in 1773. A nice plate, satirising the poor Jack Tar who was cheated by his employer. Uncoloured. Plate is in good clean condition. A very small closed tear to the bottom edge. Overall though a very nice copy of a scarce item. print is 13cm x 20cm. Sheet is 19cm x 24cm. OCLC: 5105702 (whole book). We have a number of different plates from this work, and can offer discounts for multiple purchases.

. Une planche tirée de la première édition de "Human Passions Delineated", publiée à Manchester en 1773. Une belle planche, satirisant le pauvre Jack Tar qui a été trompé par son employeur. Elle n'est pas colorée. La plaque est en bon état de propreté. Une très petite déchirure fermée sur le bord inférieur. Dans l'ensemble, il s'agit d'un très bel exemplaire d'une pièce rare. L'estampe mesure 13 cm x 20 cm. La feuille mesure 19 cm x 24 cm. OCLC : 5105702 (livre entier). Nous avons un certain nombre de planches différentes de cet ouvrage, et nous pouvons offrir des réductions pour des achats multiples.

London: G. Tregear, 1835. A nice copy of this hand coloured lithograph, showing a poor man in ragged clothes, with a ragged umbrella which doesn't protect him from the rain. The implication from the spelling is that he is a drinker. Printed to the top right, it states this is Tregear's Flights of humor #8. First published in 1831. Firstsearch / Copac states that this is Flights of humour #7. It seems that this is a slightly later printing of the series. Good attractive colours, with strong contrast. The stiff card is slightly darkened / marked to the background, but is still a nice copy of this scarce caricature. The print is 29.5cm x 23.5cm. This is slightly smaller that the first issue. Otherwise conforms to OCLC: 1238037496. Two small pieces of fixing tape to the rear.

. Bel exemplaire de cette lithographie coloriée à la main, représentant un pauvre homme en haillons, avec un parapluie en haillons qui ne le protège pas de la pluie. L'orthographe laisse entendre qu'il s'agit d'un buveur. En haut à droite, il est indiqué qu'il s'agit du numéro 8 des "Flights of humor" de Tregear. Publié pour la première fois en 1831. Firstsearch / Copac indique qu'il s'agit de Flights of humour #7. Il semble qu'il s'agisse d'une impression légèrement plus tardive de la série. Belles couleurs attrayantes, avec un fort contraste. La carte rigide est légèrement assombrie / marquée à l'arrière-plan, mais reste un bel exemplaire de cette caricature rare. L'impression mesure 29,5 cm x 23,5 cm. Elle est légèrement plus petite que la première édition. Sinon, elle est conforme à l'OCLC : 1238037496. Deux petits morceaux de ruban adhésif au dos.

London: T. Warner, 1727. First edition, second issue without the words "Conjugal Lewdness" in the main title. Daniel Defoe (ca. 1660-1731) published this essay under the original title of "Conjugal Lewdness or Matrimonial Whoredom" (1717) before being asked to rename it for the sake of propriety. This copy shows the cancel title mounted to a stub (as it should be!) Contemporary full calf, gold-tooled filets, fleurons on boards and coat of arms of Earl Stanley on upper board, ribbed spine with gold-tooling, inner filets in gold-tooling, all edged gilt. Boards have been repaired and the spine re-laid onto the back. Internally clean and tidy throughout, with just a touch of foxing to the pages. vi, [2], 406 pp. 195 x 125mm (7¾ x 5 inches).

Despite changing the title, Defoe's text is unchanged. In this essay "concerning the Use and Abuse of the marriage bed", Defoe deals with contraception and compares it with infanticide, "the diabolical practice of attempting to prevent childbearing by physical preparations". He also maintains that marriage should be a state of equality and companionship, and considers the fatal consequences of clandestine or forced marriages, unequal matches etc.

The coat of arms with the motto "Honi soit qui mal y pense" are from the Earl of Derby, Edward Stanley (1799-1869), member of the Order of the Garter. Ex-libris of "G.O.M."

London: Not Identified, 1906. A reprint of an address by Sir John Forrest. Reprinted from the Australian Trading World. Soft brown covers. These are quite chipped with significant loss to the edges (but all text is present). Internally clean and tidy throughout, if fractionally darkened. 210 by 140mm (8¼ by 5½ inches). Conforms to FirstSearch / OCLC: 216601857. Sir John Forrest (1847–1918) was an Australian explorer and politician. He was the first premier of Western Australia (1890–1901) and a long-serving cabinet minister in federal politics. At the time of this address, he was the Treasurer of the federal government.

. Réimpression d'un discours de Sir John Forrest. Réimpression de l'Australian Trading World. Couvertures souples de couleur marron. Celles-ci sont assez ébréchées avec une perte significative sur les bords (mais tout le texte est présent). L'intérieur est propre et bien rangé, même s'il est légèrement assombri. 210 x 140 mm (8¼ x 5½ pouces). Conforme à FirstSearch / OCLC : 216601857. Sir John Forrest (1847-1918) était un explorateur et un homme politique australien. Il fut le premier premier ministre de l'Australie occidentale (1890-1901) et un ministre de longue date dans la politique fédérale. Au moment de cette allocution, il était trésorier du gouvernement fédéral.

New York: Universal Negro Improvement Association. Second edition. This is a scarce 1966 reprint of the original pamphlet (there was also a third edition in 1969). Original soft cream covers, these have a little darkening to them only. Internally, the work is sound, with just a little marking to the final page. Owner's name in ink to the corner of the first page. 12 pages including the covers. (9 pages of text inside). The UNIA-ACL (African Communities League) was founded in 1914 by Marcus Garvey and his wife Amy Ashwood Garvey in Kingston, Jamaica. He moved it to Harlem, New York in 1916 where its influence grew substantially. The UNIA's influence waned after Garvey's conviction for mail fraud in 1923 and his subsequent deportation from the United States in 1927, but it was still a major influence in the organisation and inspiration for future black nationalist organisations. His position was firmly separatist. Garvey died in London in 1940, aged 52.

London: Sherwood, Jones, and Co, 1824. First Edition. Original hardback drab boards, with more recent paper quarter paper backing. Attractive book plate of Mary Clarkson Bagby (born Mary Clarkson- Allen in 1896, in Baltimore, U.S.A) to the front. Mary lived in various locations due to her husband's diplomatic and military career, including a notable period in China after World War I. This book obviously remained in the family, as it also bears the name Mary G. Duyvendak - Allen written to the front in neat ink handwriting.

Internally clean. Bound in after Preface is a single leaf manuscript copy of a letter from George Colman dated February 1824, citing its inclusion in the memoirs of Sir William Knighton, 1838. This must have been bound in when the book was rebacked. lvi, [ii], [4], [1] - 169 [1]. 16. (Sherwood New Works dated January 1824) pp. 240 x 150 mm (9½ x 6 inches).

Martin Archer Shee was an Irish-born painter and writer. This play was first performed in 1824 at the Theatre Royal, Covent Garden, London. Set in Poland, it centres on the character Alasco, a Polish nobleman involved in a dramatic struggle against tyranny, persecution, and oppression. The play is notable not just for its content but for the controversy surrounding its production. The Lord Chamberlain, who was responsible for licensing plays in Britain, initially refused to license this play for performance at Drury Lane Theatre due to its perceived political radicalism and revolutionary themes. This decision was likely influenced by the authorities' fear of plays that might incite unrest or challenge the established order, especially in the wake of the French Revolution and ongoing political agitation in Europe. The refusal to license Alasco sparked public debate about censorship and the limits of artistic expression. Eventually, the play was performed at Covent Garden after some changes were made to the text. The incident highlighted the tension between creative freedom and government control in the early 19th century. In summary, Alasco is remembered as a tragedy that became a symbol of the struggles over censorship and free expression in British theatre history.

. q

Boston: Russell & Cutler, 1808. First edition. Pamphlet, disbound. Title with printer's vignette, "vote of the town", text. There is an owner's inscription on the title leaf. (Isaac Porter from Wm. Porter). There is some browning and foxing throughout (heavier towards the end); the first and last leaf are detached, the rest of the pamphlet loosely bound together. 19, [i] pp. 205 x 130 mm (8 x 5 inches).

Orations were given annually in Boston, often called "municipal Orations"; typically two or more addresses were given. The impetus for the tradition of municipal orations in Boston stemmed from an act passed at a town meeting in March 1783, when it was decided that the annual celebration of commemorating the Boston Massacre of March 5, 1770, be replaced with a yearly Independence Day celebration. The local newspaper reported following this oration:

"The Repertory tells us that Mr. Ritchie delivered an excellent Oration. So much the better for Mr. Ritchie! The Oration was doubtless federal, else it could not have been excellent, and it must have abused the President, else it could not have been federal, and it was delivered on the anniversary of independence, a fit federal occasion for abusing the government of our choice! " (American Mercury, 11 August 1808, 2)

Totnes: James Cauty, 2005. First Edition. Limited Edition Print onto 315 gsm archival paper. Edition of 65 stamped and numbered (this is 06/65). Part of the 'Stamps of Mass Destruction' campaign also released as stamps and prints. Stamped and hand numbered in ink to front. "Cautese National Postal Disservice" certificate inclused. Has the "C.N.P.D. Stamps of Mass Destruction Limited Edition". This is one of James Cauty's famous anti-occupation of Iraq protest prints. These stamps were the subject of a legal action in 2003 by Royal Mail alleging copyright infringement. Dimensions: 32.8 x 30.5 cm. Excellent condition. Currently protected in archival film. James (Jimmy) Cauty, was formerly a musician with the band 'The Orb', and was a member of 'KLF'. More recently, he has been an artist, creating works of dissent, and working alongside artists such as Banksy and Billy Childish. He has been involved in Steve Lowe's L-13 Light Industrial workshop. He created the gift shop at Banksy's 'Dismaland'. His work also toured as part of the ADP (Aftermath Dislocation Principle) Riot Tour.