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A late 18th century silhouette drawing, of James Stannard, Born June 25th 1765 died November 2nd 1792, 13 x 11.5 cm, and two Mauchlinware string dispensers (3)

1715 | height: 21 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience potteryLot descriptionKnown as "Versatoio", this unique apothecary syrup jar comes from Liguria, Italy and dates back to 1715. It is made of earthenware, a traditional type of ceramic material characterized by its fineness and light glaze. The surface of the vessel is decorated with typical blue floral motifs and geometric ornaments that refer to the Baroque decorative style popular in northern Italy in the 18th century. Fine drawing and markings on the surface show the high level of craftsmanship of the regional workshops. A striking detail is the initials "TF" which probably indicate the manufacturer or owner of the container. The container was not only used to store medicinal syrups, but was also a representative element of pharmacy decoration. This artefact is proof of the then emphasis on aesthetics even in objects of daily consumption, and at the same time a reference to the rich ceramic tradition of Liguria.condition report:https://drive.google.com/drive/folders/1KZeP-PvtoHZpxoIb49wlm8n0wl4CGUsl?usp=sharing

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Our Lady of Sorrows'Oil on copper. 57 x 42.5 cm.Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez

Luis Egidio Meléndez (Naples, 1716 – Madrid, 1780)"Still Life with Pears, Peaches, Grapes, and Melon"Oil on canvas. Relined.44 x 63 cm.This painting is an analogous version to the one kept in the Prado Museum, dated 1771 and of almost identical dimensions, 42 x 62 cm (Catalogue No. P000931).As stated in the Prado Museum biography of the artist: "A Spanish painter, born in Italy to a Spanish family of Asturian origin, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid alongside his father, then attended classes at the Preparatory Board of the Academy of San Fernando and was a pupil of Louis-Michel van Loo, mastering portrait technique, as demonstrated by his magnificent Self-Portrait (Musée du Louvre). His father’s expulsion from the board, and a probable conflict with Van Loo as a result, led to his dismissal from academic studies. He travelled to Italy and later returned to Spain, where he initially worked as a miniaturist, but his most significant contribution was in still life painting, becoming one of the most distinguished still-life painters in the history of the genre. His career belongs to the second half of the 18th century, a period when the century entered a decisive phase, gradually shaped during the reign of Philip V, both by the presence of foreigners at court and by the travels of Spaniards to Italy, along with projects to reorganise artistic education, an era that would reach its peak with Goya. Meléndez's paintings are generally characterised by great sobriety, executed with a solid sense of drawing and perfectionist realism, down to the smallest details. His ordered and clear compositions, with a taste for contrasts of light and shadow, possess an intensity that recalls the best achievements of Sánchez Cotán or Zurbarán."Reference bibliography:https://dbe.rah.es/biografias/16867/luis-egidio-melendez-de-riberahttps://www.museodelprado.es/aprende/enciclopedia/voz/melendez-luis-egidio/e99ecaad-8a11-4614-932f-960df1f833e4https://www.museobbaa.com/obra/bodegon-de-cocina/

Various antique related collectors books, to include Millers, Painting and Drawing, Teddy Bear Encyclopedia, Antiques Detective, etc., railway books, Grimsby Town 2006 calendar, Discovery of Britain, Royal Sevres China, and other books. (all under one table)

A silver and gold stick pin, France, late 19th century, designed as a bearded guardsman drawing a sword, possibly intended to represent D'Artagnan from the 'Three Musketeers', mounted in silver and gold, length 9.7cm, French assay mark for silver, French maker's mark F&B, fitted case stamped SJ Phillips

Edward Brian Seago RBA, ARWS, RWS (1910-1974) Watercolour drawing “Cattle on a Marsh”, signed, with Mandell's Gallery label verso and receipt dated 1986, 27cm x 36cm From the collection of the late Maurice Costley Edward Seago was born in Norwich, a self taught artist who is renowned for his portrayal of East Anglian scenes. Working in both watercolour and oil, his paintings are atmospheric and moody in an impressionistic and post-impressionistic style. During WWII he joined the army and worked on developing camouflage. He was extremely popular during his life time, exhibiting at some of London’s top galleries which included P & D Colnaghi where a queue would form along Bond Street to purchase one of his pictures. During his later career he travelled to paint with various patrons, to Venice, Gambia and to remote areas such as the Antarctic. His most famous patron was Queen Elizabeth, the Queen Mother, and many of his works are in the Royal Collection. Condition ReportOverall in good order. The paper is undulating slightly and does not sit flat, there are some small areas of faint brown discolouration to the sky, the mount has discoloured slightly. Uninspected out of frame. 

E Hardaker  Watercolour drawing  Game, pheasants beside wicker basket, inscribed to mount 'E Hardaker 1879', 49.5cm x 66.5cm 

ART Biography (SIGNED): Tracey Emin: Strangeland. 2005, 1st. Edn. DW. Signed by author, fine; Maggi Hambling: George Always: Portraits of George Melly. Liverpool, 2009, 1st. Edn. Inscribed & Signed; McEwen, John: JOHN BELLANY. With a Foreword by John Russell. Edinburgh, 1994, 1st. Edn. DW. Inscribed, dated 'Cork Street 1994' and Signed by Bellany. Fine; Turner, Jon Lys: The Visitors' Book. In Francis Bacon's Shadow: 1st. Edn. Dw. Inscribed & signed by author, PLUS a limited edition postcard, with a drawing; Peter Davies: Bratby. 1st. Edn. Signed copy, soft covers; fine; Wood, C: Wiiliam Powell Frith: A Painter and His World. 1st. Edn. DW, Signed, fine; Moynihan, John: Restless Lives: The Bohemian World of Rodrigo and Elinor Moynihan. 1st. Edn. DW, Signed, fine; & Sturgis, M: Walter Sickert: A Life. 1st. Edn. Dw. Inscribed and SIGNED, VG (8)

Mahogany cased set of drawing instruments, sealing wax set with seals and a Japanese lacquer jewellery box

Two antique drawing instruments or draughtsmans sets in wooden boxes

Edwardian mahogany upholstered three seater drawing room sofa

Framed small ink drawing of a self- portrait by Rembrandt with inscription to back purporting that it is by Jonathan Richardson (1667 - 1745) in 1733. No signature or monogram noted

Miscellaneous items including butter mould, glass bust of John Wesley, a school desk pencil sharpener, set of drawing instruments, etc

Antique drawing room chair with inlaid design throughout and open scrolled arms raised on tapering legs.

3 Artworks;Moira Maitland - Pencil drawing ''Pineapple'', signed.Oil on board Seascape, signed R.HPrint titled ''Sunbathers on the Beach, 1953, signed and dated 2010. Copy 1/10

A QUANTITY OF BOOKS AND EPHEMERA RELATING TO DAME ELISABETH FRINK, including a copy of 'The Odes of Horace' translated by James Michie and illustrated by Frink, signed by the artist to the frontispage and with a dedication "With love to Dorothy & Brian from Lis & Alex, Dec '87" to the flyleaf, together with the catalogue raisonné of drawing by Edward Lucie-Smith (two copies) and the catalogue raisonné of sculpture by Annette Ratuszniak, and a quantity of other volumes and promotional material, all relating to Frink, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1972, stylised study of combative roosters, signed and dated lower right, oil on canvas, 41cm x 63cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*LUCY HARWOOD (1893-1972) Suffolk landscape looking towards St. Mary's Church, Kersey, signed verso, oil on canvas, 43cm x 54cm,  Framed dimensions: 52cm x 62cmProvenance: A gift from the artist. Note: Harwood was born at Belstead near Ipswich and moved with her family to East Bergholt while still a young child. A botched medical operation left Harwood partially paralysed on her right-hand side and ended her ambition to be a professional pianist. Turning to art, rather than music, Harwood enrolled in the Slade School of Fine Art in London prior to the start of World War I. In 1937 she studied at the East Anglian School of Printing and Drawing in Dedham run by Cedric Morris. Harwood remained with the School when it re-located to Benton End at Hadleigh in 1940 and was associated with the School in various roles for many years.Working with her left hand only, Harwood created still-life and landscape paintings of Suffolk, in particular of the area around her home at Upper Layham but also of other parts of Britain and abroad.

*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm  Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1977, a stylised study of exotic birds, signed and dated lower left, beside the artist's thumbprint, oil on canvas, 43.5cm x 53.5cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

*ROBERT ORGAN (1933-2023) 'Walnuts and Plums', 2001, still life study of items on a tabletop in an interior, signed and dated verso, oil on canvas, 48.5cm x 71cm,  Framed dimensions: 64cm x 85.5cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Robert Organ was born in 1933, in Hutton in Somerset. He studied art at The Royal West of England College of Art and in 1952 won a place at the Slade School of Fine Art under the tutelage of George Sweet and Claude Rogers. Contemporaries of his were Francis Hewlett, Philip Sutton and Euan Uglow. In 1958 he married fellow artist Valerie Buston, professionally known as Valerie Barden, and they moved to Cornwall where he taught painting at Falmouth School of Art, alongside Francis Hewlett. After 12 years he moved to Devon to concentrate on his painting, he had also developed an interest in architecture, and he became a drawing tutor at the Architectural Association School of Architecture in London and a visiting tutor in Architecture at Bristol and Cambridge universities.  In 1986 he served as Artist in Residence at the Royal Albert Memorial Museum in Exeter.His work was exhibited widely, including Beaux Arts, Newlyn Orion Gallery, the Royal West of England Academy and Browse and Darby. His paintings are held in numerous public collections, including Royal Albert Memorial Museum, Godolphin House, University of Edinburgh and the Royal West of England Academy.

*KITTY HILLIER (b. 1984) Untitled, 2008, abstract composition, signed and dated in pencil verso, mixed media on plywood panel, with incised work throughout, 122cm x 106.5cm, Note: Born in Londoin 1984, Kitty grew up in rural Somerset. After completing her Foundation year at Falmouth Art School she gained a 1st class honours degree in Fine Art Painting at Bath School of Art in 2007. She won the Reveal Emerging Artist Award in 2009 and was awarded the SAW Abundance Commission in 2013, which included a two week residency at Stroud Valley Arts and site-specific installation at Cannington Gardens.In 2019 she was selected by Hospital Rooms to make two works for the MBU Exeter visitor flats, and in 2020 she became a co-director of CAMP, a member-led network for the creative and visual arts community in Cornwall and Devon. During lockdown, Kitty launched @artinthewindow, using the old shop window of her home to show other artists work, and she ran a drawing group (online and IRL) @pubsketching, encouraging everyone to discover the benefits of exploring experimental mark-making with the simplest of materials. With her non-directive approach to teaching, Kitty regularly leads workshops for the Youth Programme and adults at St Ives School of Painting; these sessions often lean towards building confidence, slow looking and loosening up, as Kitty shares parts of her own process of abstraction and belief in the importance of play.Selected as one of three artists to work on researcher and filmmaker Rachael Jones’ project: Moving Landscapes, and the Doorstep Residency in 2021, Kitty has most recently exhibited work at Grays Wharf, Newlyn Art Gallery Picture Room, Exeter Phoenix 333 Gallery and with ALMA at Newquay Orchard.Kitty lives and works from a studio at Islington Wharf, Penryn. Her work is held in private and corporate collections internationally.

FRANCISCO DOMINGOS ‘CHICO’ DA SILVA (1910-1985) 'Sem título (Untitled)'1978, a stylised study of a serpent, signed and dated lower right, beside the artist's thumbprint, oil on canvas, 63cm x 43cmProvenance: Purchased in Brazil in the 1970s,Private collection, Hampshire.Note: Chico da Silva was born surrounded by the Amazon rainforest in Alto Tejo, but while still a child he moved to Ceará, in northeastern Brazil, passing through some countryside cities until he settled in Fortaleza in 1935, where he lived until his death. While painting the whitewashed walls of the fishermen’s houses in Praia Formosa, his artistic production began. Da Silva gave shape and color to his drawings with pieces of charcoal, bricks, leaves, and other elements found around him.Jean-Pierre Chabloz, a Swiss critic and artist who moved to Brazil in 1940 because of World War II, traveled to Fortaleza for work in 1943, where he found da Silva’s drawings on a visit to the beach. This encounter had great relevance in the consolidation and dissemination of Chico da Silva’s work, opening doors for him to circulate in the main urban centers of Brazil, such as Rio de Janeiro and São Paulo, and throughout Europe, in cities such as Geneva, Neuchâtel, Lausanne, and Paris.In his gouaches and paintings, Chico da Silva represented mainly the creatures of the forest, such as Amazon birds and fish, as well as fanciful figures, such as dragons. His artworks give form to stories and mythologies from the oral tradition of the culture of Northern Brazil, in compositions marked by rich polychromy and by the graphic details of the drawing, composed of colourful wefts and lines. Given the originality of his style and compositions, he stood out in the context of the so-called Brazilian popular art and, in addition to achieving great commercial success during his lifetime, he attracted considerable interest from critics.Among the major exhibitions he has participated in are: Francisco da Silva, Galerie Pour L’Art, Lausanne, Switzerland, in 1950; Exposition d’Art Primitif et Moderne [Exhibition of Primitive and Modern Art], Musée d‘Ethnographie, Neuchâtel, Switzerland, in 1956; 8 Peintres Naïfs Brésiliens [8 Brazilian Naïve Painters], Galerie Jacques Massol, Paris, France, in 1965; 9ª São Paulo Art Biennial, Brazil, in 1967; Tradição e Ruptura: Síntese de Arte e Cultura Brasileiras [Tradition and Rupture: Synthesis of Brazilian Art and Culture], Fundação Bienal de São Paulo, Brazil, in 1984. In addition, in 1966 he received the Honourable Mention award for his participation in the 33rd Venice Biennale.Currently, his works are part of numerous public collections, among them: Museo del Barrio, New York, USA; Museu de Arte Moderna do Rio de Janeiro - MAM, Brasil; Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP, Brasil; and Musée International d'Art Naïf Anatole Jakovsky, Nice, France.

Angela Stead - oil on board A female nude study "In the Bathroom", labelled to verso, 34½" x 23" and one other sepia drawing of a female nude (2)

William Turner of Oxford (1789-1862)A Panoramic Welsh Landscape, inscribed 'Cader Idris in the artist's hand' according to label verso, grey wash drawing, 25 x 37cm Good overall, one small spot of foxing visible to the sky.

Continental school (17th century)A lady seated upon a chair, pencil, 17.5 x 10cm; and a further sepia chalk drawing of a classical female figure, 19 x 14cm (2)

GEORGE HERBERT KITCHIN (c.1870-1951) THREE SKETCH BOOKS one titled 'Wales and Norway' and dated 1892, recording events and details of his summer holiday in text, drawing and watercolour, 13cm high x 18cm wide, one 'Northumberland 1915-1916', featuring numerous architectural studies, 14cm high x 23cm wide, and another similar (3)Note: George Herbert Kitchin was an architect and antiquarian. He designed and laid the arts and crafts garden at his home Compton End, Winchester, as featured in ‘Country Life’, 23 August 1919, 240-48.

λ&nbspAUGUSTUS JOHN (BRITISH 1878-1961) GYPSY MOTHER AND CHILD Pencil, ink and wash Signed and dated 1943 (lower right) 48.5 x 33.5cm (19 x 13 in.)Provenance: Private Collection, The Hon. Captain James Smith, London Private Collection, New York Macmillan & Perrin Gallery, Toronto (September 1981) Sale, John Goodwin Auctions, Malvern, sale date unknown Private Collection, Hampshire (acquired from the above)Exhibited: London, The Leicester Galleries, The Works of Augustus John, 1943, no. 46John made numerous studies of mothers with babies and children during the years before World War I and of Irish peasant families during his visit to Galway in 1915. It is most likely that this drawing dates from this period, but, as was often the case, was signed later for the 1943 Leicester Galleries exhibition. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Unexamined out of glazed frame. Some very light scattered marks of spotting around the edges, most notable to the left extreme edge. Slight undulation to the sheet. Condition Report Disclaimer

PAUL NASH (BRITISH 1889-1946) STUDY IN PALE TONES: THE POND AT OXENBRIDGE, IDEN IN RYE, SUSSEX Pencil, watercolour and coloured crayon Signed and dated 1921 (lower right); further signed, titled and dated 1921 (verso) 59 x 40cm (23 x 15½ in.)Provenance: Mrs Paul Nash, Oxford The Leicester Galleries, London Private Collection, Geoffrey Jellicoe (acquired at the 1952 exhibition) Sale, Christie's, London, 4 June 1999, lot 2 Sale, John Nicholson Auctioneers, Haslemere, 11 October 2014, lot 401 Private Collection, Hampshire (acquired frome the above sale)Exhibited: London, New English Art Club, January 1923, no.181 London, The Leicester Galleries, New Year Exhibition, January 1952, no.25Literature: Andrew Causey, Paul Nash, Oxford, 1980, no. 373 The present work is one of the earliest depictions of Oxenbridge farmhouse in the village of Iden in East Sussex. Paul and his wife Margaret moved to nearby Dymchurch in 1921, the same year as this drawing. Nash's mental health was severely impacted by his wartime experience and this was a period characterised by inner turmoil and subsequent recuperation. Study in Pale Tones, the Pond at Oxenbridge is a break from the desolation of Nash's wartime works and a move towards the romantic depictions of the English landscape that characterised his work between in the decade that followed. Oxenbridge Farm in Iden was owned by close friends of the Nashes, Bertram and Kitty Buchanan. Bertram had also served as a war artist and they were frequent visitors to the farm which became a recurrent subject of many of Nash's 1920s works , including Fig. 1, Oxenbridge Pond, 1927-28 (Birmingham City Museums & Art Gallery). From Dymchurch, the Nashes moved to Oxenbridge Cottage in 1925, staying there until they left for Rye in 1930.    Condition Report: Please contact the department on pictures@dreweatts.com for the treatment report. Condition Report Disclaimer

λ&nbspPIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer

ARR Patrick Hughes (b.1939) Man Listening, signed and dated '73 lower right, ink drawing, 50 x 75 cm (i), frame 55.5 x 81 cmCondition:The artwork is a drawing on paper, framed under glazing - not examined external to the frame. The sheet has some tears at the lower left edge/margin and to the end of the title in the lower left margin, there is a further tear to the top left corner. There is damp and water damage to the sheet down the left hand side from being stored in a cellar. Some faint, small sized spots of foxing are visible to the sheet. Frame has general wear and tear. Additional images have been uploaded to the catalogue for examination.

ARR Wendy Murphy (b.1956) Rowing Boat, signed and dated '85 lower right, charcoal 34.5 x 57 cm, frame 59 x 83 cm, together with a charcoal drawing of a valley village in a storm and timber framed buildings, by the same hand (3)

Vincent Cartwright Vickers (1879-1939)Woodland Scenewith birds and foliagemonogrammed lower rightwatercolour with pen and ink26cm x 20cmwith a second watercolour drawing by the same artist, depicting a crocodile, measuring 15cm x 25cm (2) Lot 108, Sotheby's, 12th November 1998 Framed and glazed. The frame and mounting are in poor condition. The main watercolour bears some wear, principally fading to the colours and undulation below the glazing.

Stephen Jenner (1796-)"They are Kings, but shall die like men"The flight from Acton Hallsignedtwo satirical watercolour drawings31cm x 25cm and 25cm x 31cm (2) Framed. Both drawing bear extensive wear, including foxing, spotting and cockling to the sheets.

'Proposed Type 5 House - Silver End Garden Village', elevation and plan, 'Drawing No. /2/23 15th November 1927, scale of Eight feet to an Inch', for Sir John Burnet & Partners Architects London, pencil and coloured pencil, by F McManus, Thomas Smith Tait's personal assistant, 36.5 x 46cm, framed 51.5 x 56.5cm Provenance: From the descendants of Thomas Smith Tait (1882-1954).Condition ReportMounted and framed. Tear to the centre of the edge on the base of the paper. Apperas to be pasted down.

A D. Maria style cupboardWith four small glass-paneled doors, three drawing boards, two drawers, and three large drawersInterior with shelvesPortugal, 19th century216x248x58 cm

John Berney Crome (1794-1842) pencil drawing, a mill on a river, signed and inscribed verso, dated 1834, 8.5cm x 12cm, in embossed mount, together with a 18th century Classical engraving, in glazed gilt frame

Nine framed prints and engravings, depicting English hunting scenes, to include, a drawing and engraving by Henry Alken, with an aquatint by E Duncan entitled To The Crack Riders of England. (9 items)

L.W Burley Jnr, Surrealism Transport and Industrial Scene, pastel drawing, signed lower right, 30 x 50.5cm.

Drawing Instruments, in a fitted Rosewood box.

A interesting early Flemish (?) drawing A monk at prayer for the soul of the departed gentleman ink and wash 6¼ x 7¼in. (16 x 18.5cm)  Condition: Poor condition, acidic discolouration, fading

A VICTORIAN OVAL GILTWOOD OVERMANTLE MIRROR BY C.NOSOTTI, 19TH CENTURY The rope-twist surround with tied cresting, supported by dolphins with looped tails and a channelled scrolled base, metal label to reverse `C.NOSOTTI, CARVER & GILDER, UPHOLSTER & CABINET MAKER, 398 & 399 OXFORD ST' 170cm high, 180cm wideIt is believed the firm of C. Nosotti began in 1822 as evidenced by an early Victorian mirror sold Christie's, London, 9 December 1992, lot 402 bearing the label 'C. Nosotti, House ... Looking Glass Manufacturer 397.398 Oxford Street 399.399, established 1822.' In 1829, Francis Nosotti, looking glass and picture frame maker, is listed at 298 Oxford St, while Andrea Charles Nosotti is listed at 2 Dean St., Soho, from 1835-40, trading as carver, gilder, upholsterer and cabinet maker. Almost certainly born in Milan, Andrea Charles Nosotti's high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave's drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales and he later collaborated with the firm Howard and Sons. Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The mirrors replaced.Condition Report Disclaimer

A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 With upholstered seats and backs and padded arms, on cabriole legs, regilt Each 97cm high Provenance: Possibly supplied to Philip Yorke, 2nd Earl of Hardwicke (1720-1790), for Wimpole Hall, Cambridgeshire, Wrest Park, Bedfordshire or St. James's Square, London, thence by descent Illustrated: The Connoisseur, May 1965, p.4Sets of giltwood Louis XV-style chairs were fashionable in Britain from the 1750s onwards with the publication of Thomas Chippendale's first edition of the Director (1754), which featured several designs for 'French chairs' (plates XVII, XVIII, XIX, XX). Chippendale's contemporary, John Linnell, was also making chairs derived from French patterns (Victoria & Albert Museum, E.59-1929; E.85-1929; E.102-1929). The 1835 inventory for Wimpole Hall, Cambridge, included two large sets of such chairs including: '8 Gilt Framed Cabriole Elbow Chairs stuffed seats & backs & Elbows covered to match' (No. 49, Red Drawing Room). A comparable set at Wimpole was probably commissioned by Philip, 2nd Earl Hardwicke, between 1777-80 when a new Eating Room and a Grand State Dining Room was added to the mansion; this set sold Sotheby's New York, 23 October 1998, lot 341. At Wrest Park, the 1917 sale of the contents of the mansion show that three sets of carved and gilt fauteuils in the Louis XV-style were sold (Wrest Park: Contents of the Mansion, Messrs. Foster, 10/9/1917 and four following days, lots 65, 77, 155). Condition Report: Good, structurally secure with wear and tear consistent with age and use. Overall in `country house condition'. There is general wear to the gilding and small chips revealing the red bole and gesso beneath, and in places there is considerable build-up of surface dirt. The upholstery in fair condition, worn, faded and in need of a clean. The undersides, seat rails etc with a yellow wash overall including to the later screwed corner blocks. Some old worm in the rails, now inactive. The insides of the rails with redundant screw holes for attaching a tourniquet (associated with the making of the chairs). Formerly with corner braces, now replaced with shaped blocks.Chair C upholstery is particularly worn and faded, the webbing failing. Chair D the gilding cracked and peeling on the chair back, with batten carrying holes to the rails. Chair F with more extensive losses to gilding on front right leg.  Condition Report Disclaimer

19TH CENTURY SCHOOL "Study of old woman in lace-trimmed cap in a parlour", watercolour, unsigned, 26.5 cm x 23 cm, 19TH CENTURY SCHOOL "Chronological tables of the English History of the Instruction of Youth", black and white engraving, 40 cm x 57 cm, J FITZGERALD "Elizabeth Fort and Old Saint Finbar's", pencil drawing heightened with colour and white, signed lower right and housed in a verre eglomise frame, 25 cm x 36 cm, a box containing three carved wood and gilt picture frames, each containing miniature portraits / prints, a 19th Century sand picture depicting a "Row of alms type houses", 11 cm x 17.5 cm, together with other various pictures and prints (23)

A composed four-piece drawing room suite, comprising Chesterfield type sofa, 70cm high, 181cm wide, 91cm deep; wing chair; pair of elbow chairs (4)

A late Victorian three-piece drawing room suite, comprising chaise longue and a pair of elbow chairs, the chaise longue 72cm high, 170cm wide, 70cm deep (3)

Classical Artist around 1800, lady drawing with gentlemen in landscape with roman monuments in distance . Oil on canvas. Framed. 40 x 60 cm.

A 19th century needlework of a cat; a pen and ink line drawing; a half length watercolour of a Turkish man etc.

From the estate of CAPTAIN E. GASKELL, 255874, Royal Engineers, an oak boxed set of drawing instruments with various sections including compasses, rulers etc.

A Louis XV style gilt three piece drawing room suite in gilt and cream upholstery with three seater settee and two high back armchairs Condition report:Not good enough for daily use, the joints are definitely quite slack.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

A 19th century Louis XV gilt framed 5 piece drawing room suite in green brocade comprising 3 seater sofa and 4 armchairs.

After Robert Tomlin, 'The Black is Back',  110/500 limited edition print, Timothy O'Brien, Maltese shackleton 882/1000; two other prints, one signed, and a pastel drawing of a plane + Les Vowler signed mounted 'Red Eagle' print, Timothy O'Brien 'Operation Heliotrope' 128/250, unframed.  Paul Whitehouse, signed 'Lightening F2' print and another.

English Political Caricature by M. Dorothy George 2 volumes, 'To 1792' and '1793-1832', along with 'Pen Drawing and Pen Draughtsmen' by Joseph Pennell, (3).

Utagawa Kunisada, a lady holding a rope, colour woodblock, signed with artist's seal, 13.5" x 9" (34.5 x 23cm), along with a gold ink drawing of a galloping horse by another hand, (2).

After George Cruikshank (1792-1878) Etching Two hand-coloured etched caricatures "The Blue Devils", published by G Humphrey, Jan. 10th 1823, framed and glazed, mount aperture 20cm x 24.5cm and "Inconveniences of a Crowded Drawing Room", published Aug. 1st by Thomas Mclean 1835, framed and glazed, image size 27.5cm x 40cm, together with a further 19th century caricature (3) Condition Report Browning to edges, some brown areas on prints, accretions behind glass. Blue devils has title cut out from bottom of print. Some fading/discolouration. General wear and tear.

Charles Edwin Baldock (1876-1941) Pen and ink drawing 'Carlton-in-Lindrick, Near Worksop', sheep on a woodland track, church in distance, signed and dated 1930 lower left, framed and glazed, image size 16.5cm x 21.5cm

Harry Furniss (1854-1925) Pen and ink Historical cartoon depicting two men in a fight, one with the other in a headlock, in the background two horses, one in armour being held by a footman the other with its ears back, signed lower right, mount aperture 18 x 11 cm, framed and glazed (41 x 31 cm) typewritten note verso 'Copy of inscription in pencil to back of drawing' between Grosvenor and Jack Feeny