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Walt Disney (1901-1966). ‘Cinderella’. Autographed reproduction of an original colour animation cel drawing, Walt Disney Productions, Burbank, California, (c. 1950) -depicted Gus and Jaq, Cinderella’s loveable mouse friends, and boldly inscribed by Walt Disney in black crayon on lower right margin, ‘To Pat Osborne Best Wishes Walt Disney’, further annotated in pencil in an unknown hand beneath the image on left margin ‘From Cinderella’, the image 15 x 20cm within mount, printed label on reverse, 44 x 42cm overall, framed and glazed. Provenance:Personally gifted by American animator, film producer, Walt Disney, to the vendor’s mother, the Late Pat Osborne, who was a BBC producer and close friend of Walt Disney.Pat Osborne started working for the BBC as a typist at the age of 18 in 1936, until she left the company in the mid-1970s. Pat then began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business.Bold and clear signature, a few small marks to the cream mount, toning and rubbing to printed label on reverse, some scuffs to the frame, otherwise overall good condition.

ROSE HILTON (BRITISH 1931-2019) ⊕ ROSE HILTON (BRITISH 1931-2019)BEACH (2)signed Rose Hilton lower right; signed, titled and inscribed Beach (2) / oil sketch / Rose Hilton / 2014 on the reverseoil on canvas46 x 61cm; 18 x 24in55 x 70cm; 21 1/2 x 27 1/2in (framed)ROSE HILTON (LOTS 124-131) IntroductionYou have to give a lot to painting. It's not something you can just dash off. You have to take risks - risk ruining it. You have to know when to stop. Rose Hilton Rose Hilton, along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college's focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing. Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her 'Jesus of the art world'. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband. But following Hilton's death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work. The tranquility of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose's style. As Ian Collins noted 'Rose had alsways loved the intimacy and accessibility of Bonnard's brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved' (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically she focused on the shape of the person rather than their physical identity. Much of her later figure work is more abstract, the figurative not necessarily taking centre stage in the composition, but being one element of many.There are no apparent condition issues with this work and it is in good original condition. The work has been examined under ultraviolet light and there is no evidence of restoration. This work is held in an unglazed wooden frame and has not been examined out of frame.

Framed Richard Shirley Smith interior drawing. Study for mural decorations at Holland Park Hall, 1982, Signed in pencil 30.2cm x 54cm. Together with two related books.

Aled Pritchard Jones (b.1943) contemporary pastel drawing on paper 'Snowden Horseshoe from Llynau Mymbyr'. W 66cm, H 46cm. Oak frame 88cm x 70cm.

ROSS VIRGIL: (1907-1996) American cartoonist and animator, best known for his collaboration with Friz Freleng and for animating many of the Warner Bros. cartoons, particularly those featuring Bugs Bunny. A good original graphite and coloured pencils drawing executed and signed by Virgil Ross, one page (animation peg hole paper), folio (approximately 27 x 32 cm), n.p., n.d. (1990s). The attractive image depicts Bugs Bunny and Yosemite Sam walking in full-length poses together, each wearing costumes from the Merrie Melodies cartoon Hare Trimmed (1953). Signed by Ross in pencil with his name alone to the base. VG

LALIQUE RENE: (1860-1945) French jeweller and glass designer. A fine and attractive original preparatory drawing by Lalique, unsigned, one page, 4to, n.p. (Paris?), n.d. (c.1890-1900). The watercolour, gouache and pencil drawing, executed at the centre of a light brown sheet of BFK paper, represents Lalique´s design for a brooch in the shape of a rounded lozenge, reminiscent of a heart, and features a central figure of a naked female in a full-length pose, her feet resting atop an emerald, and her arms oustretched to form the outline of the jewellery. To her left and right appear several other entwined naked females. A small work of art in its own right, despite being a preparatory study, the majestic central figure, with her slender waist, shapely body and long, slender legs is typical of the Art Nouveau aesthetics which Lalique mastered. Loosely contained within a double cream matt and gold borders, the window displaying an area of approximately 6 x 15 cm (including the complete design). Some very light, minor age wear, VGProvenance: Previously with Artepolis of Nice, France, and with their printed exhibition title label Femme bras tendu affixed to the verso of the mount.

SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painters of his generation. A.L.S., John S. Sargent, two pages (written to the first and third sides of the bifolium), 8vo, n.p., n.d. (´Saturday´), to [Francis Derwent] Wood, in bold pencil. Sargent writes, in full, ´Thanks for the addresses. Miss Finch & Miss Phyllis Slough turned up & I have been drawing from them - and have also enjoyed the Belgian´. Some light dust staining and with a small area of paper loss to the upper left corner. GFrancis Derwent Wood (1871-1926) British sculptor.

[SHOSTAKOVICH DMITRI]: (1906-1975) Russian composer. A printed folio programme for the Shostakovich 75th Anniversary Concert at the Royal Festival Hall, London, 21st October 1981, individually signed to the front cover by Maxim Shostakovich (1938- ) Russian-American conductor and pianist, son of Dmitri Shostakovich, and Dmitri Shostakovich Jr. (1961- ) Russian-American pianist, son of Maxim and grandson of Dmitri Shostakovich. Maxim Shostakovich conducted the 75th Anniversary Concert at which Dmitri Shostakovich Jr. performed as a soloist alongside the London Philharmonic Orchestra. Both have signed with their names alone in blue inks beneath the front cover portrait of Dmitri Shostakovich, a reproduction of a drawing of the composer by his son, Maxim. Together with Mstislav Rostropovich (1927-2007) Russian cellist and conductor, a friend of Shostakovich who wrote an introduction to the 75th Anniversary Concert programme. Blue ink signatures (in both Cyrillic and Roman script) and inscription an oblong 8vo sheet of paper, dated 1979 in his hand (a few stains, only slightly affecting one of the signatures). Also including Yehudi Menuhin (1916-1999) American-born British violinist and conductor. A printed folio souvenir programme for the Golden Jubilee Concert - 50th Anniversary of the Concert Début of Yehudi Menuhin at the Royal Albert Hall, 4th November 1979, signed by Menuhin in blue ink with his name alone to a clear area of the front cover. Some light age wear, G to VG, 3

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

ROSS VIRGIL: (1907-1996) American cartoonist and animator, best known for his collaboration with Friz Freleng and for animating many of the Warner Bros. cartoons, particularly those featuring Bugs Bunny. A good original graphite and coloured pencils drawing executed and signed by Virgil Ross, one page (animation peg hole paper), oblong folio (approximately 32 x 27 cm), n.p., n.d. (1990s). The attractive image depicts Daffy Duck, in a dandy costume as the Scarlet Pumpernickel, standing opposite Sylvester the Cat, in costume as the villainous Grand Duke, with Porky Pig, in costume as the Lord High Chamberlain, standing alongside, from the Looney Tunes cartoon The Scarlet Pumpernickel (1950). Signed by Ross in pencil with his name alone to the base. VGThe Scarlet Pumpernickel was voted as one of the 50 Greatest Cartoons of all time by members of the animation field in 1994, and takes its title from the novel The Scarlet Pimpernel (1905).

ROSS VIRGIL: (1907-1996) American cartoonist and animator, best known for his collaboration with Friz Freleng and for animating many of the Warner Bros. cartoons, particularly those featuring Bugs Bunny. A good original graphite and coloured pencils drawing executed and signed by Virgil Ross, one page (animation peg hole paper), oblong folio (approximately 32 x 27 cm), n.p., n.d. (1990s). The attractive image depicts Elmer Fudd, in costume as the demigod Siegfried, in a loving embrace with Bugs Bunny, in costume as the beautiful Valkyrie Brunnhilde, from the Merrie Melodies cartoon What´s Opera, Doc? (1957). Signed by Ross in pencil with his name alone to the base. VGWhat´s Opera, Doc? is a parody of Richard Wagner´s operas and is widely regarded as the greatest animated cartoon that Warner Bros. ever released, and it has been ranked as such in the top 50 animated cartoons of all time

CALDER ALEXANDER: (1898-1976) American sculptor known for his innovative mobiles and monumental public sculptures. A brief illustrated A.L.S., Calder, to the verso of a picture postcard of one of the artist´s works, n.p. (Azay-le-Rideau), n.d. (September 1965), to Jean Leymarie, in French. Calder writes, in full, ´Merci de ton mot. C´etait tres gentil, Geneve. Nous partons dans 1 mois pour 2 [mois] d´Amerique´ (Translation: ´Thank you for your message. It was lovely, Geneva. We are leaving in a month for two [months] in America´). At the side of his message Calder has added a simple, yet attractive, pen and ink drawing of the Swiss national flag, with its federal white cross to the centre, flying at full-mast from its pole. VGJean Leymarie (1919-2006) French art historian, director of the Musée national d´Art moderne in Paris from 1968-73.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A printed small 4to exhibition catalogue for Picasso at the Durand-Ruel Galleries in New York, 3rd - 29th May 1948, featuring various paintings created by Picasso between 1939 and 1945, ten of them portraits of women and five still lifes, each reproduced in monochrome to a single page opposite a description of the work. To the front cover Picasso has executed an attractive original pencil, black and blue crayon drawing, the image showing a flute player seated serenely on the ground in a full-length profile pose, facing right and with his knees bent, playing a long flute which he holds to his lips with both hands. Around the fluid, simplistic and stylised figure (in black crayon) Picasso has added (in pencil and blue crayon) a horizon and arabesques which serve to illuminate the composition. Signed (´Picasso´) by the artist in pencil, above the printed title of the catalogue, and dated 5th September 1950 in his hand. A wonderful and highly desirable original drawing signed by Picasso. Some very light, extremely minor age wear, VGThe theme of the flautist recurred many times in Picasso´s works during his career, and the present drawing is somewhat reminiscent of The Flute Player (1962) in which Picasso also depicts the musician seated on the ground, in a full-length pose and with his knees bent, holding his flute to his mouth with both hands.

MARCEAU MARCEL: (1923-2007) French actor and mime artist. Signed and inscribed 8 x 10 photograph of Marceau in a half-length pose in costume as Bip the Clown. Signed in white fountain pen ink to the image, also adding his character name and a small drawing of a flower in his hand. VG

GIACOMETTI DIEGO: (1902-1985) Swiss sculptor and designer. Signed 4.5 x 6.5 photograph issued as a certificate of authenticity, the image depicting a medallion featuring a figure to the centre, being a work by Giacometti´s elder brother, Alberto Giacometti, signed to the verso in black ink with a statement in French, ´Cette medaille est l´oeuvre de mon frere Alberto Giacometti 1928-29, Diego Giacometti´ (Translation: ´This medallion is the work of my brother Alberto Giacometti 1928-29, Diego Giacometti´). The verso also features a couple of light pencil annotations in unidentified hands. Accompanied by four additional photographs of the medallion and Diego Giacometti´s statement (two each of the recto and verso) and a fifth slightly larger photograph of a pencil drawing by Alberto Giacometti. VG, 6

HERGE: (1907-1983) Georges Prosper Remi. Belgian cartoonist, best known as the creator of The Adventures of Tintin. An excellent original pencil drawing executed and signed by Herge, one page, small oblong 8vo (approximately 12 x 7.5 cm), n.p., n.d. (early 1960s). Herge's preparatory sketch depicts Tintin and Captain Haddock in three-quarter length poses together as they angrily watch a young girl, Miarka, running away from them (the girl having just bitten the Merchant Marine Captain's hand). Signed ('Hergé') in pencil to the left of the panel, the final version of which was published in the comic album Les Bijoux de la Castafiore (1963; The Castafiore Emerald) and had previously been serialised in the weekly Tintin magazine from July 1961 to September 1962. Rare and desirable in this form. Some very light, minor age wear, with remnants of former affixing to the verso, otherwise G In the published comic album version of Les Bijoux de la Castafiore the final version of the present drawing appears on page 2 (panel C1) with Captain Haddock declaring 'Mille milliards de mille sabords!' in an angry reaction to having just been bitten on the hand by Miarka, the young Romani girl. Les Bijoux de la Castafiore was the twenty-first volume in Herge's comic album series The Adventures of Tintin and is the only book in the series where the characters remain at Captain Haddock's family estate, Marlinspike Hall. The story has been described as 'the most surprising of Tintin's adventures'.

MUNNINGS ALFRED: (1878-1959) English painter, a member of the Newlyn School from 1912-14, and regarded as one of the finest painters of horses. A good collection of A.Ls.S. (5; one a brief illustrated message on a postcard), a T.L.S., five original pencil drawings, and a few pieces of printed ephemera. The autograph and typed letters signed Alfred Munnings, A. J. Munnings, and with his initials AJ, twelve pages (total), 4to and smaller, various places (Dedham, Essex & Withypool, Somerset), early to mid-1940s, to various correspondents including the portrait painter Maurice Codner. Munnings states, in part, ´I am not sure about the Tissot, as I told that secretary to remove the pictures if the raids started & they should have done so. How awful, that lovely [painting?] which nobody really cared for & which as Lutyens said was ruined by the overlighting of the chandeliers. What a hateful lot of buggers used that room.....& what a disagreable rascañ that Drysdale was wo stood in the way of everything. Damn him, what a pity he wasn´t in the drawing room when the bomb fell. My place in Chelsea has had it - windows out & all glass in frames broken......Winston in chair first dinner. Next Thursday Lord Gort in chair & they all give Winston a snuff box´ (to Maurice Codner, 30th September 1940, accompanied by the original envelope), ´I can´t tell you how glad I was to see that good notice of your work in The Times on Friday. You couldn´t want better and who ever the present (sic; President) is he is a more sane fellow than the last & I find him very good. Far better than the other old blighter - well - I was glad I read it out to Violet who never cares much about critics, & she was delighted. I´ve always seen you gradually gaining & burrowing in. You´re as undefeatable as the Hun. And to think you´re doing this in spite of the bombs & with only one eye......I´ve just written a line to Oswald Birley, poor fellow......I´m losing the will to work´ (to Maurice Codner, 4th November 1941, in pencil), ´What a pity that you could not remain at such a stage of brilliance for the rest of your natural life - or unnatural life, or whatever your present existence may be - Can´t you buy up a quantity of that same sherry & consume at intervals & go on flying through the air like a blazing comet?......Hunting all over England should be stopped. That´s my opinion. People who go wouldn´t if the hounds didn´t. Absolute not. Have you had time to go & see the exhibition of under 20 guinea pictures yet at Trafalgar Square? If not, go & let me know......You & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work.....trees galore & stone buildings & the rest & when it rained we´d do masterpieces indoors - big sitting rooms......write again my lad of wax - any f - g lately?´ (to Maurice Codner, n.d. [c. September 1942], in pencil), ´One day I´ll be round there. On Exmoor now, Army took my house at Dedham´ (to A. R. Blundell, 22nd March 1944), ´The man who did that plate of an old poplar tree is [a] great artist. If you can do such a thing as that although it is uncared for by the crowd is someone to be reckoned with. If only you could [do] an oil like that & as well!! It is superb. I saw it in Emmons´ house at Flatford Mill & looked & looked [at] it again having seen it in the R.A. It is equal to anything of its kind I know´ (to Blundell, 3rd January 1946; actually 1947), the postcard featuring an ink drawing by Munnings of a skier lying face down in the snow, with a mountain, trees and sun in the background, wishing the recipient a Happy Easter and hand addressed by Munnings to Mr. and Mrs. John Napper, April 1956. Together with five original pencil sketches by Munnings, one signed in full, three with initials, and one unsigned, the largest measuring approximately 20.5 x 16.5 cm, the majority depicting horses and one of a cow feeding her calves. All are matted and framed. Also including a small collection of ephemera etc. including printed illustrated 8vo booklets advertising new signed artist´s proofs of the works Going to the Meet, The Whip and A Little Piece of England, a catalogue for a Loan Collection of Pictures by Alfred Munnings exhibited at the Art Galleries of the Norwich Castle Museum, August - September 1928, etc. One letter with some tears and staining (only FR), generally G to about VG, Sml Qty.

LAGERFELD KARL: (1933-2019) German fashion designer. A wonderful original pencil and coloured crayon drawing executed and signed by Lagerfeld, one page, large 4to (approximately 19.5 x 28.5 cm), n.p., n.d. (1980s). On a sheet of Chanel printed stationery (featuring the interlocking CC monogram of Coco Chanel which Lagerfeld integrated into a style pattern for the House of Chanel in the 1980s) Lagerfeld has drawn an attractive full-length study of the slim Coco Chanel standing in profile, wearing a long skirt and matching jacket, and with a Chanel handbag hanging by its chain from her wrist. Lagerfeld has seemingly deliberately added more detail to the handbag, which features the interlocking CC monogram, reflecting on its importance as an iconic accessory of the Chanel brand. Lagerfeld has also prominently titled the drawing Gabrielle Chanel across the centre and added his signature at the base. Both Chanel´s name and Lagerfeld´s signature are written in black ink, adding a red outline (essentially a second signature) to both in order to attractively create the effect of a red ´shadow´. Matted in cream and framed and glazed in a plain black frame to an overall size of 12.5 x 16. A truly fabulous original drawing linking two of the 20th century´s most important fashion designers. VG

PROKOFIEV SERGEI: (1891-1953) Russian Composer. Unusual and attractive signed portrait of Prokofiev, one page, 9.5 x 12, the brown pencil drawing showing the Russian Composer in a profile head and shoulders pose. Boldly signed in pencil at the base `Serge Prokofieff´, also dated beneath 1932 in his hand. Matted in light grey, with extremely small crease to left corners, otherwise VG.

CALATRAVA SANTIAGO: (1951- ) Spanish-Swiss architect. Black ink signature (´Santiago Calatrava´) to the verso of a colour picture postcard featuring four images of buildings in Lisbon, Portugal, including the Gare do Oriente, designed by Calatrava. Alongside his signature the architect has added an original ink drawing of a dove. VG

DUFY RAOUL: (1877-1953) French Fauvist painter. A good printed folio folding menu for Le Diner de la Bonne Cuisine, to be served on 21st May 1935 at 9pm, in aid of the Cercle Ronsard, featuring a traditional oxtail stew (´Queue de Boeuf à l´ancienne´), fresh pea and parsley cream soup (´Crème de pois frais au cerfeuil´), stuffed suckling pig with sage (´Porcelet farci à la Sauge´) accompanied by asparagus, a Rouen-style duckling (´Caneton rouennais facon du Chef´), salad, and a dessert of pineapple with blackberries (´Ananas voiles aux Morères´), also including a wine and drinks list featuring Pouilly-Fuissé 1933, Chateau la Mission Haut-Brion 1923, various champagnes, a Fine Hennessy and more. The following three pages of the menu are dedicated to text, in French, relating to three of the courses, each featuring a printed drawing by Dufy at the base, including a fisherman at sea, a number of piglets feeding from a sow, and five ducks. The menu is signed and inscribed by Dufy in bold pencil to the front and at the head the artist has added two original pencil sketches in his hand of seashells. An attractively designed and printed menu, enhanced by Dufy´s original drawings. Some very light, extremely minor age wear, VGThe Cercle Ronsard was a charitable organisation associated with providing benefits for the unemployed.

λ DAME LAURA KNIGHT (BRITISH 1877-1970) TWO THEATRE STUDIES: SONJA HENIE AT THE BLACKPOOL ICE DOME & STUDY FOR "PAVLOVA TAKING A CALL" Black crayon, each study executed on two sheets of paper, the set framed as one Both signed (lower right) Each 19 x 30.5cm (7¼ x 12 in.) Overall (including frame): 68 x 53cm (26¾ x 20¾ in.) The top drawing, depicting Sonja Henie, dates in all probability from circa 1935. Knight executed five other works of Henie at the Blackpool Ice Dome, namely The Skater; Finale Skating Ballet exhibited at The Royal Society of Painters and Watercolours; Arabesque on Skate exhibited at the Royal Academy, London in 1965; Five Ballerinas exhibited at Eastbourne Fine Art in 1966 and The Skating Ballet exhibited at the Royal Watercolour Society in spring 1949. Sonja Henie (1912-1969) was a Norwegian figure skater and actress. At the time, Henie won more Olympic and world titles than any other female figure skater, achieving gold medals in 1928, 1932 and 1936. She was world champion ten times between 1927, when she was only 15, and 1936, and six times European Champion between 1931 and 1936. Henie is credited with being the first ice skater to adopt the short skirt costume in figure skating and made great use of dance choreography. She moved from competitive ice skating into films and in 1936 she joined 20th Century Fox studios in Hollywood. The lower drawing is a sketch and draft for Knight's well known ballet painting entitled Pavlova taking a call from 1920 which was exhibited at the Leicester Galleries in the same year. The present drawing can therefore be safely dated to the same period. We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot. The works will be included in the Laura Knight Catalogue Raisonne currently being prepared.  Condition Report: Each work is executed on two sheets. Unexamined out of glazed frame. SONJA HENIE AT THE BLACKPOOL ICE DOME There are gaps between the two sheets, where they don't completely align and the edge is not completely straight. Slight undulation to both sheets. Otherwise appears to be in good original condition. STUDY FOR "PAVLOVA TAKING A CALL" There are gaps between the two sheets. The edges are not straight or even and slightly fraying. Sheets are undulating most notable to the centre of the lower edge.  Condition Report Disclaimer

λ  DAME LAURA KNIGHT (BRITISH 1877-1970) THE REHEARSAL: RUTLAND BOUGHTON, GWEN FFRANGCON-DAVIES AND BARRY JACKSON Black chalk Signed with initials and inscribed Rutland Boughton, Barry V.J. + Gwen (lower left) 24.5 x 34.5cm (9½ x 13½ in.)The present work is a drawing backstage at Birmingham Repertory Theatre at the time of a rehearsal of The Immortal Hour, in 1921 or 1922, depicting Rutland Boughton, Barry Jackson and Gwen Ffrangcon Davies. The Immortal Hour was first performed on August 26 1914, at the inaugural Glastonbury Festival. The opera was composed by Rutland Boughton, the music teacher turned composer, and is based on a libretto by William Sharp, who also wrote under the pseudonym Fiona Macleod. The opera was revived by Barry Jackson's Birmingham Repertory Theatre Company in 1921 and was produced by him alternating at both his Birmingham Theatre and also The Regent Theatre, London for the next three years. This work is recorded in the Laura Knight Catalogue Raisonne currently being prepared by R. John Croft F.C.A. under catalogue number D#0245. The Immortal Hour is a musical drama that draws inspiration from Celtic folklore and mythology. The opera's success was due in part to the music, including the Faery Song, and the performance of Gwen Ffrangcon-Davies as Etain, which launched her acting career.  Rutland Boughton (1878-1960) was an English composer who became known in the early 20th century as a composer of symphonies, concertos, chamber music, opera and choral music. His best known work was The immortal Hour. Boughton is also remembered for establishing the first series of the Glastonbury Festivals. He was also an influential communist activist of the Communist Party of Great Britain.  Barry Jackson (1879-1961) was knighted in 1925. In 1913 he was the founder of the Birmingham Repertory Theatre, Birmingham, Director of the Malvern Theatre Festivals from 1929 to 1937, Director of the Shakespeare Memorial Theatre Stratford on Avon 1945/48. Jackson directed many plays for The Old Vic Theatre London, The Queens Theatre London, and The London Regent Theatre. Many famous actors gained early experience at the Birmingham Repertory company including Laurence Olivier, Peggy Ashcroft, Edith Evans, Stewart Grainger, Ralph Richardson and Protégées of Barry Jackson included John Gielgud, Cedric Hardwick and Gwen Ffrangcon Davies. Gwen Ffrangcon Davies (1891-1992) worked during her life in theatre, television, radio and film. Her first break came in 1914 when Rutland Boughton commissioned her to play in The Immortal Hour as Etain in his opera at Glastonbury Festival and she gained further fame as Juliet with John Gielgud as Romeo. Both Barry Jackson and Gwen Ffrangcon Davies became lifelong friends of the Knights and on occasion going on holiday together.   Condition Report: Examined out of the frame. The sheet is taped in the extreme corners to the backboard. There are three holes to the extreme left hand edge of the sheet, consistent with its removal from a sketchbook. Subject to the above the work appears to be in generally good condition. Condition Report Disclaimer

λ RAFAŁ OLBIŃSKI (POLISH B. 1943) CARMEN, NEW YORK CITY OPERA Charcoal Signed (lower left) 45 x 61cm (17½ x 24 in.)Provenance: Galerie van der Straeten, Amsterdam Acquired from the above by the present owner in 2000This work is the original drawing for Carmen, the opera by George Bizet based on the novel by Prosper Merimee in 1995 performed by the New York City Opera. Condition Report: Unexamined out of glazed frame. No obvious condition issues. Condition Report Disclaimer

λ KEITH VAUGHAN (BRITISH 1912-1977) A 'GRAFITTI' DRAWING Pencil Dated July 12/73 (upper right) 29 x 23cm (11¼ x 9 in.)Provenance: Abbott and Holder Ltd., LondonExhibited: London, Abbott and Holder, Keith Vaughan - Landscape and Figure Drawings including twenty of The 'Grafitti' Drawing series, 2009

A mixed lot to include a boxed vintage drawing set, a Royal Doulton and Royal Albert Country Roses miniature flower trinkets, a collection of glassware, collectors spoons, other itemsLocation: GRIf there is no condition report shown, please request

John 'Jack' Grandfield (1911 - 1949) - 'Hello Potter!' he said in an offhand way; Good evening, Miss West .Seeing some of the sights of Lisbon? - an illustrator drawing, watercolour wash and body colour, signed lower left, 68 x 42, mounted in a glazed black strip frameLocation:If there is no condition report, please request.

2 Large Albumen Print of French Art Classes, French(?), late 19th century showing students in life drawing class and still life drawing class, mounted on board, image 25cm x 29cm

Burr, G. D. [George Dominicus]. Instructions in Practical Surveying,Burr, G. D. [George Dominicus]. Instructions in Practical Surveying, Topographical Plan Drawing, and Sketching Ground Without Instruments. With Plates and Woodcuts. Second Edition. London: John Murray, 1847. Octavo (183 x 115 mm). Contemporary prize binding of green morocco, spine gilt in compartments, title, single-line rules, elaborate crests to boards, acorn and oak leaf roll to turn-ins, and all edges gilt, marbled endpapers. 5 folding plates on tissue, diagrams within the text. Prize and ownership bookplates to the front endpapers. Binding lightly rubbed with a few mild scuffs and some light wear at the extremities, a little faint spotting to the folding plates. Very good condition. Second edition with additions, first published in 1839. An attractively bound prize copy awarded by the Royal Military College at Sandhurst to Henry George White for "attention to, and progress in, military drawing." With White's later bookplate giving his rank as Major General.Author George Dominicus Burr (d. 1855) was for forty years an esteemed professor of military surveying at the Royal Military College, and it is presumably he himself who presented this prize volume. The contents cover practical surveying and military drawing for students with no prior knowledge of the art. The recipient, Major General Henry George White (1835-1906), "had a distinguished career in the British Army serving at the Crimean War (1854-56), in the Indian Mutiny (1858-59), in Cyprus (1878-79), and Bechuanaland in South Africa in the 1880s" (Irish National Inventory of Architectural Heritage). [Ref: 345] £350

Admiral Stuart Nicholson, Archive of Material & Documents,including: documents including Rear Admiral commission July 1912; 33 documents relating to various commissions aboard various ships between 1880 and 1912; Commission of rank of Rear Admiral; Royal Naval College Certificate for Rank of Lieutenant, 1885; an invitation to Buckingham palace for a party 28th May 1897; along with many other documents all relating to Admiral Stuart Nicholson, and a drawing instrument set with a white metal plaque to the lid engraved 'H.M.S. BRITANNIA 1st Admiralty Prize for Charts & Instruments Mr S Nicholson July 1880' brass bound case with lift out tray of German silver drawing instruments, a photographic prize medal engraved 'FOR PORTRAITURE ADMIRAL STUART NICHOLSON R.N. in a fitted caseAdmiral Stuart Nicholson, CB, MVO (1865-1936), was a distinguished officer of the Royal Navy whose career spanned over four decades, characterized by significant contributions to naval operations and strategy. Born on October 11, 1865, Nicholson entered the Navy in July 1878, marking the beginning of a lifelong dedication to naval service.Nicholson's early career was marked by participation in notable historical events, such as the Anglo-Egyptian War of 1882, where he was awarded the Egypt Medal and the Khedive's Star. His exemplary performance in these early roles led to a rapid rise through the ranks, with a notable assignment as a torpedo specialist—a role that leveraged his technical expertise and strategic acumen.One of the defining moments of his career came during the Benin Expedition of 1897. As part of this punitive expedition against the King of Benin, Nicholson was tasked with managing the water supply for the forces, a critical role that earned him a medal and a promotion to commander. This assignment underscored his ability to handle logistical challenges under pressure, further enhancing his reputation within naval circles.Throughout his career, Nicholson held several key positions, including Assistant Director of Naval Intelligence and Chief of Staff to Admiral Sir Edmund Poë in the Mediterranean. His leadership skills were particularly evident during World War I, where he commanded the 6th Battle Squadron of the Home Fleet. His efforts during the war were recognized with the prestigious appointment as a Member of the Royal Victorian Order by King Edward VII in 1908, and later, the award of the Companion of the Bath (CB) in 1916 for his indefatigable service.Upon retiring in 1920, Nicholson remained active, dedicating time to the Royal National Lifeboat Institution and pursuing his hobby in photography, which also supported charitable causes.Nicholson's life was not only marked by his naval career but also by his personal life, where he was a family man, married to Althea Badeley, and a father. His legacy in the Royal Navy is remembered for his strategic impact, leadership, and significant contributions to naval operations and intelligence. His collection of awards and medals serve as a testament to his distinguished service and commitment to his country.

Sir Thomas Lawrence, PRA FRS,  British 1769-1830- Portrait study of Mrs John Hodgkin; black, white, and sanguine chalk on canvas laid down on card, bears inscription on the reverse, bears label inscribed 'Sketch for a portrait (which was never finished) / of Mrs John Hodgkin / {nee Elizabeth Rickman / of Wellingham. Lewes. Sussex} / by Sir Thomas Lawrence. P.R.A / (given to me at Shelleys, Lewes, by my father / John Hodgkin in July 1873 / signed Alfred Hodgkin) / acquired by me from my brother Alfred Hodgkin / in 1896 signed Howard Hodgkin / Copied from Back of picture' attached to the backing board, 30.6 x 28.5 cm. Provenance:  Private Collection, UK. Note:  The present delicate drawing is a refined example of Lawrence's portrait studies, which the artist often produced as preparatory sketches for the large, flamboyant swagger portraits for which he is most renowned. Similarly delicate drawings include Lawrence's portrait studies of William Sotheby and Anne Wellesley, both of which are in the collection of London's National Portrait Gallery [NPG 3955 and NPG 2665 respectively].  The present work reputedly depicts Elizabeth Hodgkin, née Rickman, who was married to the calligrapher and grammarian John Hodgkin (1766-1845), the first important member of the prominent Quaker family. Significant descendants of John and Elizabeth include the physician Thomas Hodgkin (1798-1866), the physiologist Alan Hodgkin (1914-1998), and the artist Howard Hodgkin (1932-2017). 

After Annibale Carracci,  Italian 1560-1609- Cacciatore da lepri; pencil on card, 28.1 x 17.2 cm. (unframed). Provenance:  The collection of Peter and Ann Mactaggart: https://www.theguardian.com/artanddesign/2020/jun/22/peter-mactaggart-obituaryNote:  The present work is a copy after Simon Guillain's (1581-1658) engraving, produced c.1646, after an original drawing by Carracci in the collection of the Louvre [INV 7292]. 

After Jean-Baptiste Greuze,  French 1725-1805- Head study of a young girl; red chalk on paper, 29.3 x 20.9 cm. (unframed). Provenance:  Private Collection, UK. Note:  The present work is a copy after a drawing by Greuze which sold at Christie's, New York, on 28 January 2021, lot 38. 

Follower of François Boucher,  French 1703-1770- Putti surrounded by garlands, with an obelisk behind; black chalk heightened with white and sanguine chalk on blue paper, bears faint signature 'F. Boucher' (to the scroll, lower left), bears initials 'F.B' (lower right), bears collector's stamp (lower left), 29 x 24.6 cm. Note:  The present work, featuring plump putti in an imagined classical setting, is very much inspired by Boucher's compositions, recalling, for example, his 'La Cible d'Amour' of 1758, in the collection of the Louvre [INV 2715]. In particular, the central putto's position, with his face downturned and his arms outstretched, holding aloft a garland of flowers, is strikingly similar to that in the present drawing. 

British School,  mid 19th century- St Paul's Church, Barbados; pencil and wash on 'Whatman' watermarked paper, titled 'Church at Barbados - where Captn (Eustace) d'Eyncourt is buried' (on the mount), bears date '1842' (on the mount), and bears inscription 'EdE' demarcating Captain d'Eyncourt's tomb, 21.5 x 30.2 cm. Provenance:  Private Collection, Italy. Note:  This work has traditionally been attributed to Michel-Jean Cazabon (1813-1888), with whose oeuvre it bears stylistic similarities. Cazabon was, however, in Europe in 1842 and so the hand behind this charming drawing is yet to be identified. Captain Eustace Alexander Tennyson d'Eyncourt (1816-1842) was the son of the Right Honourable Charles Tennyson d'Eyncourt of Bayons Manor in Tealby, a British politician, landowner and Member of Parliament for Stamford and for Lambeth (as well as being known for his social pretensions and his graceless behaviour towards his nephew, the poet Alfred Lord Tennyson). Eustace was expelled from Sandhurst College after an affray with some of the inhabitants of nearby Bagshot. He subsequently gained a Commission in the 46th Regiment of Foot, serving at Maghera, County Derry, Ireland in August 1835 and Barbados in 1842. Tragically, he died of yellow fever, aged only 25, shortly after arriving in Barbados in 1842.  St Paul's Anglican Church is located along the south western coast of the island of Barbados in the parish of St Michael. Known as the 'Chapel in the Bay', the church was first built in 1831 by Bishop William Hart Coleridge. On August 11, 1831, a tremendous hurricane ravaged the island and St Paul’s Church was completely destroyed, except for one window. In a written account at the time, it was stated that 'St. Paul’s Chapel, so lately finished, and which for chaste design and architectural beauty was unequalled by any edifice in the island, was completely demolished, not the smallest portion of the walls remaining except the front part of the western porch.' This setback was met with determination by Bishop Coleridge and his St Paul’s flock to rebuild the church as soon as possible. Plans were soon made to build a larger church, and under the direction of architect Thomas Anglim, the church was rebuilt in 1833.

After Annibale Carracci,  Italian 1560-1609- Detail of 'Salmacis and Hermaphroditus' from 'The Loves of the Gods' on the vault of the Farnese Gallery, Rome; red chalk on laid paper, bears inscription 'A Carrachi' verso, 28.5 x 25 cm. Provenance:  Private Collection, Monaco. Note:  The present drawing is after a section from Carracci's monumental fresco cycle entitled 'The Loves of the Gods' which is located in the West Wing of the Farnese Gallery in Rome. This drawing focuses on the elaborate architectural illusions which render Carracci's fresco so striking, depicting one the trompe l'oeil medallions which line the edges of the fresco, in this case depicting a scene of 'Salmacis and Hermaphroditus', as they embrace and merge into one being. Beside these medallions are Atlas figures, originally painted 'en grisaille', who appear to hold the weight of the ceiling above them. 

After John Opie, RA,  British 1761-1807- The Murder of James I, King of Scotland; pen and black ink on paper, 45.8 x 58.8 cm. Provenance:  Collection of Nick Drummond, UK.  Private Collection, UK. Note:  Opie's original painting was made known to contemporaries through a print by Thomas Ryder I (1746-1810) and published by John Boydell (1719-1804). This drawing, however, most closely resembles a more pared-back print of 'The Murder of King James I' by Louis Marie Normand, known as Normand fils (1789-1874), after Opie, an illustration of which can be found in the Witt Library at the Courtauld [Courtauld_001956_Witt_030805_British_283595]. 

British School,  late 19th / early 20th century- Don Quixote wearing a hat and holding an open book; pencil on paper, indistinctly signed (lower right), 20.2 x 15.4 cm. ( VAT charged on Hammer Price)Note:  The present work depicts Don Quixote wearing the distinctive wide-brimmed hat with a semi-circular cut-out which is often associated with the character, and which is evident in illustrations of him by artists such as Savva Brodskiĭ (1923-1982). This drawing also particularly resembles Gustave Doré's (1832-1883) illustrations of Don Quixote, executed in 1863. 

Circle of Dante Gabriel Rossetti,  British 1828-1882- Portrait of a girl, in profile, with her chin resting on her hand; red chalk on blue paper, indistinctly signed and dated '1882' (upper right), 43.9 x 31.5 cm. Provenance:  Private Collection, UK (purchased from a dealer in Paris in 1982). Note:  The present work recalls the sensitively-handled drawings of introspective female figures by Rossetti, such as his study of Maria Leathart, which sold at Bonhams, London, on 29 March 2023, lot 43, or his drawing of Alice Boyd which sold at Dominic Winter, Gloucestershire, on 5 October 2017, lot 263. 

Circle of Frederic, Lord Leighton, PRA,   British 1830-1896- Study of a seated female figure, with her elbows resting on her knee; black and white chalk on blue paper, 28.5 x 27.3 cm. (unframed / mounted). Provenance:  The Fry Collection of Early Drawings and Watercolours.  Private Collection, UK. Note:  The present work recalls the numerous figure studies which Lord Leighton produced over the course of his career, exhibiting a particularly focus on the artist's depiction of the drapery of the sitters' clothes. Similar drawings by Leighton include a drawing which sold at Christie's, New York, on 27 January 2022, lot 216, and another which sold at Christie's, London, on 11 July 2018, lot 30. 

Circle of John Hamilton Mortimer,  British 1741-1779- Studies of figures in Classical dress; pen and brown ink on paper, bears possible initials 'HM [?]' (lower centre), 30.4 x 47 cm.; together with Circle of George Richmond, RA, British 1809-1896- Figure studies; pen and black ink on paper, 29.5 x 31.5 cm., two (2). (unframed / mounted). Note:  The first drawing is heavily reminiscent of Mortimer's sketches, often featuring figures with sharp, clearly defined profiles, and dressed in Classical costume - see for example his drawing in the British Museum [no.1861,0413.3].  The second work exhibits striking similarities to certain drawings by Richmond which reveal the artist's exploration of the depiction of the movement of the human figure. 

William Edward Dighton,  British 1822-1853- The Old Wall of the Temple and the Mount of Olives, Jerusalem; pencil and watercolour on paper, inscribed 'May 2nd / Mosque El Aksa, / and the Mount of Olives.' (lower left), 26.7 x 37.1 cm. Provenance:  Anon. sale, Sotheby's, London, 15 February 1990, lot 227 (£1,210).  Private Collection, UK. Note:  Dighton was a pupil of William James Müller (1812-1845) and Frederick Goodall (1822-1904), both prominent and influential Orientalist painters. He is recorded as having travelled to the Near East in 1852, visiting Egypt, Lebanon, and the Holy Land, and it is almost certainly from this trip that the present drawing originates. 

Attributed to Richard Livesay,  British 1750-1826- Portrait of a gentleman, traditionally held to be from the MacGuire family, seated half-length, wearing naval dress and a powdered wig; oil on canvas, 61.1 x 50.5 cm. Provenance:  [Possibly] Anon. sale, Phillips, London, 7 June 1971, lot 112 as 'English School'.  with the Sabin Galleries, London.  Private Collection, UK. Note:  Livesay was a pupil of Benjamin West (1728-1820), and began his career in London, exhibiting for the first time at the Royal Academy in 1776. Between 1777 and 1785 he lodged with Jane Hogarth, William Hogarth's wife, in Leicester Fields. Engaged by West to copy pictures at Windsor, Livesay moved there in around 1790, and gave lessons in drawing to some of the royal children. In 1796 he was appointed drawing-master to the Royal Naval Academy at Portsmouth, and lived in Portsea. On an address card which he issued at that time he described himself as 'Portrait, Landscape, and Marine Painter, Drawing-Master to the Royal Academy, Portsmouth, 61 Hanover Street, Portsea.' A portrait by Livesay of James Caulfeild, 1st Earl of Charlemont has a copy in the National Portrait Gallery, London [NPG 176]. The version in the National Gallery of Ireland [NGI.4051] is taken to be the original.The present work is a particularly finely executed example of Livesay's portraiture. One can certainly see a similarity to the style of his master Benjamin West and, of course, his position at the Royal Naval Academy at Portsmouth echoes with the uniform of the present sitter. The MacGuire family had estates in Newry, Co. Down, Northern Ireland.

Arthur Pond, after Agostino Carracci,  British 1701-1758, and Italian 1557-1602- Figures Kneeling in Prayer, from: Prints in Imitation of Drawings; etching, circa 1732-1736, in brown ink on laid paper, watermark Letters VI, a fine rich impression trimmed within the plate, 17.5 x 30.4 cm. (unframed / mounted). Provenance:  Private Collection, UK. Literature: Hake 1922 (Pond & Knapton's Imitations of Drawing ), no.6. Note:  See British Museum no.2006,U.1111. 

Circle of Sir John Everett Millais, PRA,  British 1829-1896- Studies, of a cockerel, a ballerina, and figures ascending a ladder; grey wash on paper, bears label with partially-indistinct inscription 'SIR JOHN EVERETT MILLAIS, Bart. / P.R.A. / 1829-1896. / an adolescent drawing: ... Sothebys fully attributed. / : purchased Henry Homan [?]' attached to the backing board, 18.2 x 20.1 cm. Provenance:  Private Collection, UK. Note:  The present work exhibits a striking resemblance to Millais' lively works of juvenalia, including his similarly surreal 'theatrical sketches' which sold at Bonhams, London, on 22 September 2015, lot 32. The loosely-handled technique of the present sketch also recalls his 'Portrait studies of George and Effie Millais', which sold at Christie's, London, on 11 July 2017, lot 17, and his study of 'The Artist and his Wife as Queen Victoria and Prince Albert', which sold at Christie's, London, on 28 February 2007, lot 27. 

Circle of Francesco Fontebasso,  Italian 1707-1769- Studies of two male nudes, reaching behind their backs; pen, brown ink, and wash on laid paper, 32 x 43.5 cm. Note:  The technique of the present drawing, particularly in the clearly delineated hatching, is extremely reminiscent of that of the Venetian artist Fontebasso.

Carl Joseph Begas, German 1794-1854- Portrait study of Felix Mendelssohn, aged twelve; black and white chalk on paper, 31.1 x 23.9 cm. Provenance: The sitter's family, and thence by descent. Note: The present work is a preparatory drawing for Begas’ portrait of the influential Romantic composer Felix Mendelssohn (1809-1847) at the age of 12, when he was already a celebrated musical prodigy. The final, full-size portrait, previously in the Märkisches Museum in Berlin, was destroyed by fire in 1945, making the present study a rare survivor, and a significant piece of musical history. This drawing may well have also informed another oil sketch of Mendelssohn by Begas, which was given to Dr Johann Ludwig Caspar (1796-1864), who had written the libretti for the operas Mendelssohn had composed when he was just eleven or twelve, and is now in the Bodleian Library, Oxford. The drawing also seems to have been the basis for a popular and widely-circulated oval-shaped engraving by August Weger (1823-1892). Around the same time, Begas also portrayed Felix‘s sister Fanny Mendelssohn in the collection of the Begas Haus Museum in Heinsberg [Inv. CI 5], with the painting almost serving as a counterpart to her brother‘s lost portrait. Begas studied under the French painter Baron Gros (1771-1835) and enjoyed success as a portraitist - see, for example, his charming portrait of ‘Mrs Gedicke’ in the Alte Nationalgalerie in Berlin [A II 694]. He later became a professor at the Prussian Academy of Arts, where his students included Joseph Petzl (1803-1871). The present work is particularly striking for the sensitivity of its handling, with the artist’s gentle shading and distinctive treatment of the hair clearly recalling another sketch by Begas which sold at Lempertz, Cologne, on 19 November 2011, lot 1403 (€4,320). We are grateful to Dr Wolfgang Cortjaens (Head of the Applied Arts and Graphics Collections, German Historical Museum, Berlin) for his assistance in preparing this catalogue entry. 

George Romney, British 1734-1802- Sketch of a lady, traditionally identified as Henrietta, Countess of Warwick, seated with her arm outstretched; pen and black ink on laid paper, bears artist's studio stamp numbered '53' in pencil verso, bears various later pencil inscriptions to card mount, 10.1 x 9.5 cm. (unframed / mounted)Provenance: with R. R. Sée (the latter day assistant of the French dealer Xavier Haas, who bought a huge number of the drawings and sketchbooks that surfaced in the sale of Romney's grand-daughter Elizabeth at Christie's in 1894). Found by the present owner in a dumpster in Hudson, New York, in 2024. Note: We are grateful to Alex Kidson for confirming the authenticity of the present work. This sketch is purportedly a preparatory work for Romney's finished portrait of the Countess of Warwick with her children, painted in 1787-89, which is in the Frick Collection in New York [no.1908.1.107]. However, Romney conceived a significant number of portraits of seated ladies and we cannot yet state with confidence which one this would have been a preliminary sketch for.The artist was known to have had many sitters over his artistic career (over 10,000 appointments are recorded with sitters in his diaries). He continuously experimented with compositions, creating countless preparatory drawings, sometimes including them in his finished compositions, but mostly experimenting for his own reference and pleasure. His sketches give a wonderful insight into his drawing technique where he is uninhibited by the dictates of eighteenth-century aesthetics. The present pen and ink drawing is rapidly executed with fluent lines. The inscription to the inside of the mount reads 'Sketch for Henrietta Countess of Warwick, born 1760, married as his 2nd wife, George 2nd Earl of Warwick in 1776, died 20 April 1838. She sat to Romney in 1777, 1782 and 1784...'

James Mahoney,  Irish c.1810-1879- The Blacksmith; pencil and watercolour on paper, signed 'J. Mahoney' (lower left), 16.8 x 26 cm. Provenance:  with Richard Haworth (1864-1946), 25 Preston Road, Blackburn. Note:  Mahoney studied painting and drawing in Rome, travelling largely around Italy and France before returning to his native Cork at the age of 32. The present work, depicting a tranquil pastoral scene in rural 19th-century Ireland, is an example of the work for which Mahoney is celebrated.

Vittorio Maria Bigari,  Italian 1692-1776- Studies of three female figures; pencil, pen, and brown ink on laid paper, signed 'Bigari' (upper left), 15.2 x 12 cm. Provenance:  Collection of Dr Richard P. Wunder, Vermont.  with Thomas Agnew & Sons, London, 1980 [no.43521].   The Collection of Professor W. M. Ballantyne (1922-2021), and thence by descent. Exhibited:  Vermont, Middlebury College, 'Architectural, Ornament, Landscape and Figure Drawings collected by Richard P. Wunder', 1975, no.117.  London, Thomas Agnew & Sons, 1980, no.18. Note:  Bigari was one of the most important decorative painters working in Bologna in the 18th century. His most famous decorative cycle is his series of frescoes in the Palazzo Aldrovandi and the Palazzo Ranuzzi, Bologna, which he was engaged on in the 1720s. The theatrical style of these late baroque frescoes is echoed in this drawing in which three elegant figures employ characteristically dramatic gestures. This sheet demonstrates how close Bigari's graphic style comes to that of his elder contemporary Donato Creti (1671-1749). 

Bryan (?) - vintage signed BandW 6x4 card, the image being of a drawing of the sender, inscribed 'To Eric, best wishes to one of the best things that ever came from Morecambe' and annotated 'WHY BOOTS??!!!' at the bottom of the card This item was sent to, and are from the collection of, Eric Morecambe. Item will come with a signed black and white photograph of Ernie Wise along with an unsigned colour photograph of Morecambe and Wise. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A miscellaneous collection of tech drawing equipment, Scout badges, silver plate, pocket telescope, Brownie camera, and opera glasses.

* Coulthard (Jack, 1930-2016). Città II, 1971, acrylic on board, Oxford Gallery label to frame verso, board size 100 x 100 cm (39 1/2 x 39 1/2 ins), in a slim contemporary wooden frame (103 x 103 cm)QTY: (1)NOTE:Provenance: Purchased by the present owner from the Oxford Gallery in 1971.Jack Coulthard was born at Baildon and attended school at Saltaire. After leaving school he studied drawing and painting at Leeds School of Art, graduating in the early 1950s. He taught at Somerset College of Art until 1970 when he left to work as a freelance painter for the remainder of his life.

* Green (William, 1760-1823). View of Grasmere Lake & Church, 1810, and View of Grasmere from Loughrigg Fell, circa 1810, two pencil sketches on wove paper, the first signed and dated in pencil, 1 or 2 folds, toned and a few marks, first with a few edge tears, 59 x 45.5 cm (17 1/2 x 23 ins) and 48.5 x 26 cm (10 1/4 x 19 ins) respectively, together with:Davidson (Caroline, active 1830s-1860s). View of Hever Castle, 1865, watercolour, signed and dated lower right, toned, 21.5 x 32.5 cm (8 1/2 x 12 7/8 ins), in original mount titled in ink (37 x 36 cm), plus:Petit (John Louis, 1801-1868). View from Westerham Hill, 1867, watercolour on textured paper, titled in pencil to verso and dated 27th August 1867, sheet size 28 x 39 cm (11 x 15 3/8 ins)QTY: (4)NOTE:The watercolour sketch by John Louis Petit came from the estate of the artist.English artist, poet and landscape painter William Green is best known for his views of the Lake District and the north of England. After opening two drawing schools in his native Manchester, and a brief spell in London, he settled in Ambleside in about 1800. He produced etchings as well as drawings and watercolours of the region, selling his prints for as much as 20 guineas a pair in his 'Exhibition and Sale Rooms' at Ambleside and Keswick. He compiled The Tourist's New Guide to the Lake District in 1819, and became friends with both William Wordsworth and Samuel Coleridge. Green’s tombstone in Grasmere churchyard bears an epitaph composed by Wordsworth who was a loyal patron over many years, buying numerous prints and copies of the The Tourist’s New Guide. As Wordsworth wrote, William Green ‘produced faithful representations of the country and lasting memorials of its more perishable features’.

AR * Leach (Bernard Howell, 1887-1979). Coptic Leopard, circa 1952, pen and ink on headed 'Black Mountain [College], N. C.' paper, a profile view of a richly patterned and decorated leopard with annotations, another drawing entitled 'Lifter' to sheet verso, fixed to floating mount board with tape to top margin to sheet verso, gallery label to frame verso, sheet size 10.5 x 13.8 cm (4 x 5 ins), framed and glazed (29.5 x 33 cm)QTY: (1)NOTE:Bernard Leach taught at Black Mountain College in North Carolina in the early 1950s, giving pottery seminars alongside Shoji Hamada.

* Eves (Reginald Grenville, 1876-1941). Portrait of Miss Marsham Townsend, 1919, charcoal drawing, boldly signed and dated by the artist below the image, 570 x 435 mm, framed and glazedQTY: (1)NOTE:Known for his portraits of celebrities, R. G. Eves studied at the Slade, where he was encouraged by John Singer Sargent. He exhibited at the R.A. from 1933 - 39 and was also an official war artist from 1940 to 1941.

AR * Thornton (Valerie, 1931-1991). Divinity School, Oxford, circa 1970, etching with aquatint, signed and numbered 48/50 in pencil, plate size 38.8 x 59.2 cm (15 1/4 x 23 1/4 ins), framed and glazed (69.5 x 89 cm)QTY: (1)NOTE:Provenance: Purchased by the present owner from the Oxford Gallery in 1973.Valerie Thornton was a London-born painter and printmaker, who began her art training in 1949 at the Byam Shaw School of Drawing and Painting. She was a member of the Philadelphia Print Club, the Printmakers Council, and was elected Fellow of the Royal Society of Painters-Etchers and Engravers.

* Cotman (John Sell, 1782-1842). South Door, Framlingham Earl Church, Norfolk, circa 1817, pencil on paper, inscribed 'Framlingham Earle' by the artist in pencil to lower left margin, some light scattered spots, 32 x 23 cm (12 1/2 x 9 ins) mount aperture, framed and glazedQTY: (1)NOTE:Provenance: Patricia Jaffé née Milne-Henderson (1935-2018), art historian.The original drawing for one of Cotman's series of 50 etchings of Norfolk subjects, all taken from his own drawings, entitled Specimens of Norman and Gothic Architecture in the County of Norfolk, published in Yarmouth between 1816 and 1818.

* Knight (Laura, 1877-1970). An archive of letters and sketches sent to Allardyce & Josephine Nicoll, 1938-1967, comprising: 18 pen & ink or biro sketches on 17 leaves, of dogs and people, some with typed captions tipped on, two on 'Wind's Acre' headed paper, some fraying and chipping to edges, sheet size largest 36.5 x 26.5 (14 1/4 x 10 1/2 ins), smallest 14 x 13 cm (5.5 x 5 1/8 ins), and a further 8 pen & ink or biro sketches on postcards or headed paper, mostly of angelic figures, together with 33 autograph letters signed from Laura Knight, comprising: 8 letters to Allardyce and Josephine, 11 letters to Josephine, 8 letters to Allardyce, and 6 to Allardyce and his second wife Maria, variously written on plain or headed paper, including a number written on red embossed headed paper '16, Langford Place', some written from the British Camp Hotel, Malvern, and 3 written from the Grand Hotel, Nuremberg, Germany, 4 with additional sketches, including one of Laura and Harold imbibing wine sent by the Nicolls, and another of Laura in bed whilst her new cleaning lady manically scrubs the floor, plus a portion only of 2 other letters from Laura to the Nicholls, an autograph letter signed from Harold Knight to Allardyce and Josephine (and a partial letter from him), and 18 other letters to Allardyce or Josie from other friends, including one from Arthur Pinero and a number from Sir Barry Jackson, several on 'The Birmingham Repertory Theatre Ltd.' headed paper, various sizesQTY: (approx. 80)NOTE:An important archive of letters and drawings sent by Dame Laura Knight to Allardyce and Josephine (known as Josie) Nicoll. The letters are full of warmth and appreciation for these closest of friends, whom Laura socialised and corresponded with over three decades.Allardyce Nicoll was a professor of Theatre History at the University of Birmingham, and he and Josie became friends with Laura Knight through their mutual involvement with the Malvern Festival. Their house, Wind's Acre in Colwall, was situated on the hillside to the west of the Herefordshire Beacon at Malvern. During WWII the Nicholls allowed Laura to design a beautiful studio in a detached two-storey outbuilding there, which had a huge window at the rear, where the artist painted her famous views of the Malvern Hills. One of the letters in this archive describes the renovation of the studio in October 1942, presumably whilst the Nicolls were absent from home, and in another (undated) she speaks of her gratitude at her friends' generosity: 'You can never have the vaguest idea of the grandeur of both yours and Allardyce's act in allowing me to use that heavenly studio. - Apart from the joy of being there, - but for it we would have been forced to go back to London into that awful bombing ...'.Laura's letters are wonderfully descriptive, with many passages painting a picture of people, animals and landscapes with her artist's eye. There are, of course, many references to her work as an artist. In one, dated 1938, she writes 'I am spending the days in a gypsy camp, having a grand time wading in paint', and in another of 1944 she says 'I hear my "Take-off" picture, the Bomber one, of which I told you, is hanging in the place of honour, the President's place at the R.A.' In 1945 she talks about the paintings she had embarked upon at the Skefko ball bearing factory: 'the work I have commenced here promises excitement and great interest. I think it may prove the most unusual and thrilling scheme of the kind I have done.' In 1949 she mentions the portrait she was painting of the then Princess Elizabeth: 'I go to Clarence House for another sitting from H.R.H. I do wish I could feel normal - tiresome to be so overawed, doesn't suit a hard job like doing a drawing - never easy at any time.'Various well-known people are mentioned in this archive, including Edwin Lutyens, whose election as the new President of the Royal Academy in 1938 was a great relief to Laura, John Birch, on whose behalf she wrote to The Times in an attempt to halt the destruction of Lamorna by commercial development, and Major Peter Casson (Deputy Assistant Adjutant General of the British War Crimes Executive, based at the Courthouse, Nuremberg), who became a firm friend, and a beneficiary in Laura's will.Peter Casson first met Laura Knight at Nuremberg. Laura was an official war artist during WWII, and at the age of 68, in January 1946, was commissioned to record the Nuremberg Trials in paint for the British Government War Records. Peter Casson was one of those responsible for the care and travel arrangements of the artist whilst at the Trials. Three of the letters herein were written during this fascinating period of Laura's life. She describes sitting in 'a little cubby hole of a press box, glassed-in front, right over, close to the 20 prisoners', and mentions Hess and Goering (the latter seems a 'jolly good fellow' but then there were 'glimpses of the ruthlessness in him'). She describes the 'utter desolation and horror' and the 'dreadful wounds' of the city of Nuremberg: walking through ruins from her luxurious hotel suite, picking her way 'over rubble, in the evenings, - sometimes in evening dress, in high heeled shoes...'. 'Being here', she writes, 'is the experience of a life-time - from the point of view of emotion: sorrow at such devastation and misery ...'. Musing on the problem of depicting such a subject she writes: 'What matters is -one's personal vision of any subject, and that must be the highest one can reach.'Other letters are filled with more prosaic concerns. In 1966, after her husband, Harold's, death, Laura writes: 'Although Harold is not here in bodily form, his spirit still hovers arround[sic]. I polish his end of the dining table every day - most especially.' In an undated letter the artist's humour shines through when she recalls that, after recounting an ecstatic greeting by Prime Minister Harold Wilson at the Royal Society's 30th Anniversary dinner, her companion housekeeper, Miss Worth, replied 'no wonder England is going to the dogs.'Even in later life, Laura Knight's drive to paint is evident; as busy as ever in her last years, painting, arranging exhibitions, attending dinners etc., she wrote in 1966 '... although I cannot again tramp miles with my paint box on my head, canvas and easel in hand, I still glory in the exquisite slush of paint ... to squeeze the fat tubes of lushious[sic] blue, red and yellow contents ... what a joy!' In a partial letter, undated but clearly written later on in her life, it is clear that Laura was still striving to produce her best work: '[I] work as a hard as usual - with perhaps ever greater joy and zest in the hope of doing something worth while before the book of Life closes its covers.'