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Ray Annenberg - Whitefriars - An original master drawing design in ink on paper for Knobbly range vase and bowl, pattern numbers 9843 and 9846, 37.5cm x 25.5cm, framed.

Colin Bywater - Whitefriars - An original master drawing design in ink on tracing paper for Cirrus range vase, pattern number 9889, 21cm x 21cm, framed.

Geoffrey Baxter - Whitefriars - An original master drawing design in ink on tracing paper for Dimple range vases, pattern numbers 9863, 9864 and 9867, 38.5cm x 25.5cm, framed.

[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)

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.

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

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

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

* 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.

* 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.'  

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.

* Stothard (Thomas, 1755-1834). The Laurel and the Reed, & The Sunflower and the Ivy, together two pen, ink and grey wash original drawings on laid paper, sheet size 82 x102 mm and 91 x 94 mm (3 1/4 x 4 ins and 3 5/8 x 3 3/4 ins respectively), window-mounted, together with another pen, ink, grey and black wash drawing in the manner of Thomas Stothard, of an older and younger man inside a chapel, sheet size 176 x 102 mm (7 x 4 ins)QTY: (3)

* Wilson (Richard, 1713-1782). Villa Negroni, Rome, black chalk on pale blue-grey laid paper, inscribed by the artist to lower edge 'Villa Negroni', some light overall spotting, sheet size 170 x 200 mm, mounted (along extreme left margin only) to early 20th-century card with brown wash ruled framing border, with early 20th-century ink inscription to verso, giving the artist's name and the title of the work, together with an account of the history of the villa, plus a reference to another drawing of the same villa by J. Henderson in the British Museum ('no. 54 in album'), card mount 585 x 420 mmQTY: (1)NOTE:Provenance: John Bulloch Souter (1890-1971), painter, sculptor and printmaker, born in Aberdeen; thence by descent.A similarly sized drawing of the Villa Negroni by Richard Wilson on the same blue-grey paper, measuring 222 x 194 mm, was sold at Christies, London, Old Master and British Drawings and Watercolours including works from the Collection of Jeon Bonna, 2 July 2019, lot 200.The Villa Negroni once stood near the Baths of Diocletian, at Rome. Only the Casino now remains at the south-west corner of the Piazza delle Terme. This was built by Domenico Fontana in 1580 for Cardinal Felice Berutti, afterwards Pope Sixtus V.

* Daumier (Honoré, 1808-1879). Head of a Lawyer reading, pen and grey ink on pale cream laid paper, mount stained, tipped-on to card mount, some marks and minor soiling to outer blank areas, a strip of paper (10 x 188 mm) was taken from the blank top of the sheet and remounted to the lower edge (at the instigation of Patricia Milne-Henderson) in 1961, sheet size 145 x 188 mm (5 3/4 x 7 1/2 ins), mountedQTY: (1)NOTE:Provenance: Claude Roger-Marx (1888-1977) French critic, art historian and collector, and editor of the Gazette des Beaux-Arts, with pencil inscription to card mount 'Daumier / ex col. Roger Marx'; Madame Claude Roger-Marx; M. R. Schweitzer, 205 East 54th Street, New York by 1961; by whom sold to Patricia Milne-Henderson, later Mrs. Michael Jaffé (1935-2018) January 16th 1962 (according to the original dated invoice); thence by descent.A group of original letters relating to this drawing accompanies the lot: correspondence and invoice from Schweitzer to Ms. Milne-Henderson (December 1961-January 1962), a letter of valuation for this drawing from W. Feilchenfelt of Sotheby's, dated 13 August 1965, a letter from K. E. Maison, stating he would like to include the work in his forthcoming catalogue raisonné, dated 16 September 1965, and copy of Patricia Milne-Henderson's reply, dated October 10, 1965.An inscription to the verso of the card mount, in Patricia Jaffé's hand, reads: "Sketch - probably intended for a lawyer. Bought by Pat Milne-Henderson 1960/61 in Boston (Mass). It is listed in the catalogue raisonné by K.E. Maison - in the Appendix or Addendum."Literature: K. E . Maison, Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings, 2 volumes, New York Graphic Society, 1967.

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]. 

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. 

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 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.

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...'

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). 

Eight modern pictures including a pen and ink drawing by John Furnival, an unattributed oil on board, harbour scene, indistinctly signed lower right and dated 62, 25 x 35cm, unframed, two unattributed oils on canvas, two watercolours and two colour prints (8).

Travel. Henrietta Matilda Crompton (1793-1881), Switzerland, via a tour of the Rhine, 1836, accompanied by her brother Robert Edward Crompton (1805-1840) and their sister Caroline Rachel (1809-1885), an album of 67 en plein air illustrations, of which 45 are watercolour &/or sepia wash, 8 pen-and-ink, and 14 pencil drawings, the last repaired and with some chipped losses, mostly full-page format, but for 5 double-page panoramas, named &/or annotated throughout, including glaciers, mountains and alpine scenes, as well as named-view of Fribourg with its suspension bridge, some urban topography, slightly later 19th c 4pp ALS loosely-inserted and 3pp note, recto pastedown with contemporary and slightly later manuscript inscriptions dated 1836 & 1878 respectively, contemporary roan over marbled boards, split with loose/loosening contents, oblong folio (27 x 37.5cm)Henrietta Matilda Crompton and her eight siblings were born into a rich banking family, of Esholt Hall, Yorkshire, and upon the death of their father each inherited the considerable sum of £11,000. Henrietta never married and spent a comfortable life travelling, making excursions to the Yorkshire coast, visiting friends' country houses, and occasionally taking longer trips to Picturesque parts of the United Kingdom and Europe (such as this case); this leisured travel allowed the lady to pursue her talent for drawing, having taken lessons throughout her long life, from renowned artists Copley Feilding, David Cox, and others. Three of HMC's sketchbooks are present in the collections of the Yale Center for British Art.

Manner of Samuel Metford - Portrait Silhouette of a Lady, half-length and in profile, wearing a ribbon-tied bonnet and collar, indistinctly inscribed in pencil to verso, black ink on paper, picked-out in gilt and white gouache, oval, 8 x 5.5cm, a similar early 19th c portrait silhouette of a lady, half-length and in profile, wearing a ribbon-tied lace cap and broad collar, black ink on paper, picked-out in gilt, 10 x 8cm, framed early 19th c Neoclassical stipple engraving, pencil drawing, etc, (5) The portrait silhouettes generally good, the rest of the lot in mixed, 'country house' condition. All unexamined out of their frames, themselves with some wear &/or worn losses in places.

Lot to include two prints, the first of Windy Arbour colliery, another of a spinning mill and an ink drawing entitled Winter At Benthall Church, all mounted and framed under glass, largest approximately 31 cm x 41 cm. [3]. [W] ALL ITEMS MUST BE PAID FOR AND COLLECTED/SHIPPED BY CLOSE OF BUSINESS ON WED 12TH MARCH

A pencil drawing of a young girls, unframed together with an ink drawing of sheep by Diana Brown.

Nevinson (Christopher Richard Wynne, painter and printmaker, 1889-1946) Autograph Letter signed to "Dear Sir", 2pp., 250 x 200mm., on paper with embossed heading 4 Downside Crescent, Hampstead N.W., 13th October 1916, "Thank you for your letter. Nearly all my pictures are coming out in book form, so they are not available for your purposes; but the drawing "When Harry Tate Came Down" is free...As the drawing is sold & the exhibition closes shortly, I must ask you to make your reproduction with all speed...at present I am overwhelmed with work...", some nicks or short tears to extremities, folds; and 3 A.L.s from Scottish artist James McBey to Charles Sessler, 1934-35, one with ink drawing depicting Sessler's "conquest of Time", v.s. (4 pieces)

UNATTRIBUTED; a pencil and ink drawing of a Continental street scene, 36 x 24cm, a further ink drawing and two maps (4).

UNATTRIBUTED; an early 20th century ink drawing of theatre costume, a further print and watercolours of theatrical scenes and figures, and a print after an original poster for Theatre Royal Edinburgh (qty).

Watercolour, Continental panoramic landscape, farm buildings, dated '72, 63cm x 80cm overall, framed, and watercolour, figure on a country lane, a gouache, busy street scene, and a pen and ink drawing, figures on a cart, all framed (4)

AFTER GIOVANNI FRANCESCO DI NICCOLO LUTERI, CALLED DOSSO DOSSI SAINT WILLIAM, DUKE OF AQUITAINE Pen and ink, wash, heightened with red and white bodycolour, on thick laid paper Bears inscription '1536 Julio' with small head study (verso) 21.5 x 18.6cm (8¼ x 7¼ in.) Provenance: Piasa, Paris, Important Old Master Drawings, 23 March 2001, lot 6 After the painting held in the Royal Collection, London (RCIN 405775). Condition Report: Recto: Unexamined out of glazed frame. The drawing presents small tears to the upper edge as well as abrasions with associated loss. There is a crease, approximately 3cm in length, to the lower right corner and minor abrasions along the right edge. The edges of the paper are lifting. A few scattered superficial scratches to the fingers, lip and the visage. Verso: Unexamined out of glazed frame. Surface dirt throughout which has settled along two horizontal and two vertical lines. Scattered staining throughout. Condition Report Disclaimer

A late 19th century pen and ink drawing of Potala at Lhasa. There is a personal message & three Chinese characters '爱利司' and on reserve. Mounted framed and glazed.Measures approx. 45cm H x 65cm WA present by a Chinese amban to a British officer in late 19th century, by repute.十九世纪2一位昂邦大臣赠予英国官员。

This original drawing after Al Hirschfeld (1903-2003) depicts the legendary Judy Garland in his signature caricature style. Rendered in black ink, the artwork captures Garlands' unmistakable charm and presence with Hirschfeld's masterful use of bold lines and elegant simplicity. Known for his ability to encapsulate the essence of his subjects, Garland is presented with a dynamic flair, reflecting her enduring legacy as a Hollywood and Broadway icon. A unique detail of this artwork is a reference to Hirschfeld's playful inclusion of his daughter's name, "Nina," which appears subtly hidden on the center of Garland's sleeve. Hirschfeld often incorporated "Nina" into his works as a tribute to his daughter, creating a delightful Easter egg for admirers of his art. Al Hirschfeld is one of the most celebrated caricaturists of the 20th century. Over a career spanning 75 years, he chronicled the world of entertainment, capturing its most iconic figures with wit and elegance. His works appeared in The New York Times and other major publications, earning him the title of "The Line King." Hirschfeld's practice of incorporating "Nina" into his works became a charming tradition, challenging viewers to spot the hidden name. Judy Garland (1922-1969) remains a beloved figure in entertainment history, known for her captivating performances in The Wizard of Oz, A Star is Born, and numerous live concerts. A cultural icon, Garland's portrayal in this artwork encapsulates her vibrant personality and timeless appeal. Framed in an Art Deco style black frame with a grey and black mat. Artwork dimensions: 27.50"L x 30"H. Frame dimensions: 37"L x 39"H x 1.50"W. Artwork can be unframed and rolled for shipment.Artist: (After) Al Hirschfeld (American 1903-2003)Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

A COLOURED DRAWING OF A KINNARA, THAILAND, 19TH CENTURY watercolour with ink on paper, the mythical deity depicted in a hilly wooded landscape accompanied by two young devotees wearing leaf skirts and bearing fruit, and a pair of birds in the sky above, inscribed captions in English and Thai, framed, 38 x 30.5cm (inside mount)Fragmentary condition, has been consolidated by conservation paper, tears and holes particularly in upper left and upper right

20th Cent. Belgian drawing in ink - signed and dated 1969DELPORTE CHARLES (1928 - 2012) ovale tekening met mans- en vrouwenhoofd - 38,5 x 28,5 getekend en gedateerd 1969

20th Cent. Ukrainian ink drawing - signed Serge Fotinsky and dated 1927FOTINSKY SERGE (1887 - 1971) (UA) inkttekening op papier : "Drie havenarbeiders" - 32 x 25 getekend en gedateerd 1927

Ghosts and demonology.- Le Loyer (Pierre) A Treatise of Specters or straunge Sights, Visions, and Apparitions appearing sensibly unto men. Wherein is delivered, the Nature of Spirites, Angels, and Divels...also of Witches, Sorcerers, Enchanters, and such like, first edition in English, lacking A2&3, a2&3, 2C4 and all after 2O3 (final 2ff. and errata f.), title with contemporary ownership names to head, frayed at edges and with short tear into imprint, early ink drawing of demon-like figure to title verso with some show-through, few marginal ink annotations, trimmed very occasionally affecting headline or printed side-note, some chips and tears with occasional small text loss (more substantial to a4 & 2D2), some soiling and light staining, browning, some leaves loose, backstrip worn, lacking covers, [STC 15448], Val. S. for Mathew Lownes, 1605; and 3 others 17th century, defective, v.s. (4); sold not subject to return.  *** Le Loyer's classic work on ghosts, demons and other spirits and superstitions, first published in France in the same year. The three other defective works are The Phoenix of these late times (1637), an account of the Grub Street recluse Henry Welby; A Century of the Names and Scantlings of such Inventions (1663), an unusual compendium of inventions by the Marquis of Worcester; and the rare second edition of Head's Proteus Redevivus: or The Art of Wheedling (1679). A limited number of printed catalogues are available to purchase for this auction. UK: £35 (incl. postage) Rest of World: £50 (incl. postage) Please contact info@forumauctions.co.uk to place an order.

John Buckland Wright (1897-1954) Seated Nudecatalogue no.25, from drawing book dated 1934-36, stamped verso with studio stamppen, ink and pencil14 x 10cmProvenance:With Blond Fine Art Limited, London

§ Edward Burra CBE (1905-1976) A double-sided drawing; one side with studies of a seated man, the reverse with two male figures, one in orthodox boxing stancesigned and dated 'F.Burra / Februar[y] 1924' (lower right)ink and coloured pencil26 x 36.5cm

Dr. Hook - Original pen and ink drawing of Dr. Hook Pleasure and Pain box set, mounted, glazed and framed, approx 17 x 13 inches.

After George Cruickshank (British, 1792-1878). ‘Quite too ‘Shockingly’ Shocking’, a late 19th Century school drawing, pen and ink, signed and dated 1893 to lower right, 19.5cm x 28.5cm, mounted in the gilt frame.

Richard Wintzer (1866-1952) Portrait of a Young Woman at a Bathing Machine signed, dated 04, ink drawing, 29cm x 21cm

Books and documents – Uranian interest: Chubb (Ralph): Flames of Sunrise, 2 pp, large 4to. decorated on recto with a half-tone portrait of the author at the age of twelve in herald's costume. Printed on coated stock. paperclip indentation; A Sibylline Book 2pp large 4to, decorated on recto with one lithograph and printed on handmade paper; The Heavenly Cupid or The True Paradise of Loves, printed on handmade paper. 2pp large 4to. Decorated with one lithograph; books by Ralph Chubb, list printed on handmade paper, 10 books and their details, decorated with one lithograph; order form (unused) for The Heavenly Cupid with illustrations from four pages, incl. opinions about Chubb's work as artist and poet; order form (unused) for Water Cherubs with illustrations from title page, bound book and a full page, 2pp, incl opinions about Water Cherubs; a prospectus, 2pp, incl. drawing of Chubb by Stanley Spencer inviting a visit to Fair Oak Cottage 'if you wish to acquire a book or a picture'; The Children of Dawn, original maquette (1947) for a page in this book, ink and pencil, with colour illustration of naked boy and seascape, margins showing Chubb's holograph pencil notes minutely detailing colour requirements for printing 5 x 7.75in (12.7 x 19.7cm) framed; The Child of Dawn or The Book of the Manchild, prospectus, 2pp large 4to decorated with one lithograph, printed on handmade paper & framed; Water Cherubs, prospectus 2pp large 4to, decorated with one hand-coloured lithograph, printed on handmade paper and framed. Autumn Leaves – two fragments’ (1940) 17pp with 14 lithographic illus., original paper & grey d. w. lettered black, no. 21/24 copies as part of an edition of 39 also O’Connor (John), The Boy and the Heron. (1977) wood engravings by author, also signed by him, no. 22/100 including signed framed print on Japanese paper, original wax protective paper over cover with printed title The Boy and the Heron’, all printed at the Foulis Archive Press in 12pt on Basingwerk Parchment (qty)

Edmund Gillingwater: 'An Historical Account of the Ancient Town of Lowestoft, in the County of Suffolk. To which is added some cursory remarks on the adjoining parishes and a general account of the island of Lothingland.', London & Norwich, [1790], 1st edition, profusely extra illustrated copy, containing eight well executed watercolours circa early 1900's including fishing trawler (LT124) with tug boat "Rainbow" alongside and rowing boat in foreground, approx. size 21 x 27.5cm, watercolour of Lowestoft beach looking southwards with cliffs, fishing boats on beach, and boats at sea visible, approx. size 20 x 27cm, watercolour of Great Yarmouth beach and pier, approx. 14 x 22cm, watercolour of Lake Lothing/Lowestoft harbour, with fishing trawlers, rowing boat, warehouses, customs house and first bridge visible, approx. 16 x 23cm, four watercolours, all by same artist and dated 1910, "Low Light Lowestoft" depicting the low lighthouse and beach looking northwards, "On the Waveney" depicting broadland river scene with wherry, "Pakefield" depicting cottages at low cliff edge and beach looking northwards towards Lowestoft, "Lowestoft" depicting harbour entrance with boats visible, all approx. 13 x 19cm, large pencil drawing of St. Benet's Abbey app. 27 x 21cm, well executed pencil drawing of Pakefield Church dated 1897 and signed by artist, app. 16 x 25cm, pencil sketch depicting the wreck of the brig "Julian Heinrich" off Lowestoft, app. 11 x 18cm, large folding engraving 'A Perspective View of Lowestoft from the N.E. Battery by Powles/Cook, 1790, plus approximately 200 further items bound in or loosely inserted, mainly engraved views, prints, maps, items of ephemera, some folding mas/plates, some hand coloured views, some engravings from Stark's 'Rivers of Norfolk', some cuttings and relevant manuscript pen & ink notes by the compiler, Madoc Llewellyn Powell (1875-1952), of the Powell family of Lavengro Lodge, Oulton Broad, built in the late 19th century on the site of the earlier Oulton Cottage, which was the home of the author George Borrow, large 4to, thick 19th century half calf gilt. An excellent grangerized copy of Lowestoft born historian and topographer Edmund Gillingwater's (1736-1813) history of Lowestoft & environs

Stunning unsigned Victorian pen and ink scene of a gentleman browsing outside a bookshop, possibly for a Dickens book illustration, modern frame and is glazed,The drawing measures 20 x 15 cm

*** REOFFER £40-£80 MAY COIN AUCTION *** Complete Top Half of an Iron Age Rotary ‘Beehive’ Quern Stone (top half) c500 BC. With old ink drawing showing how it worked. Approximately 21cm high, 28cm diameter at base. 18kg.

5 alte Rollbilder. Pflanzenstillleben, Tuschzeichnung auf Seide, (165 x 54 cm). / Junge geschmückt Frau zwischen Blüten. Farbholzschnitt auf Papier. (136 x 37 cm). / Gelehrter auf Kranich. Wohl Malerei auf Papier. (155 x 38 cm). / Gelehrter, wohl Tusche auf Seide. (114 x 54 cm). / Landschaft mit See und Bergen, wohl Tuschzeichnung auf Papier. Im beschrifteten Holzkasten. (206 x 25 cm). Alle mit unterschiedlich starken Alters- und Gebrauchsspuren. Aufrufzeit 27. | Feb. 2025 | voraussichtlich 12:28 Uhr (CET)5 old scroll pictures. Plant still life, ink drawing on silk, (165 x 54 cm). / Young adorned woman between flowers. Color woodcut on paper. (136 x 37 cm). / Scholar on a crane. Probably painting on paper. (155 x 38 cm). / Scholar, probably ink on silk. (114 x 54 cm). / Landscape with lake and mountains, probably ink drawing on paper. In an inscribed wooden box. (206 x 25 cm). All with varying traces of age and use. Call time 27 | Feb. 2025 | probably 12:28 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HENGELER, Adolf(1863 -1927) Die KunstexpertenGroßformatige Tuschzeichnung. Handsignatur. 1894. 45 x 33 cm. Gerahmt & hinter Glas : 82 x 65 cm / 6,5 kg. Der Professor an der Münchner Kunstakademie arbeitete sehr viel für die Zeitschrift "Fliegende Blätter". Aufrufzeit 01. | März 2025 | voraussichtlich 10:37 Uhr (CET) HENGELER, Adolf(1863 -1927) The art expertsLarge-format ink drawing. Hand signature. 1894. 45 x 33 cm. Framed & behind glass : 82 x 65 cm / 6,5 kg. The professor at the Munich Art Academy worked a lot for the magazine "Fliegende Blätter". Call time 01 | March 2025 | probably 10:37 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Sammlung 53x Luxuspapier in alter Schatulle. Mitte bis Ende 19. Jh. Zumeist geprägte Farblithografien, teils kaschiert. Schatulle 9 x 28 x 22 cm. Teils recht große Farblithografien (meist Mädchen, 1x mit Werbung für Zichorienkaffee von Bériot, Lille), etliche Kulissenaufsteller, einige Oblaten, 4 Aquarelle, davon 1x mit Naturmaterialien (Landschaften/Küsten) zumeist in geprägten Papierrahmen, 2 Sandbilder (Landschaften) in geprägten Papierrahmen, 1 Tuschzeichnung in der Art von Scherenschnitten, 2 geprägte englische Todesanzeigen (1878 bzw. 1879). In Schatulle mit teils geprägtem Kunstleder. Teils Alters-/Gebrauchsspuren, teils kleinere Fehlstellen. Ohne Schlüssel. Aufrufzeit 26. | Feb. 2025 | voraussichtlich 16:28 Uhr (CET)Collection 53x luxury paper in old box. Mid to late 19th century Mostly embossed color lithographs, partly laminated. Box 9 x 28 x 22 cm. Partly quite large color lithographs (mostly girls, 1x with advertisement for chicory coffee by Bériot, Lille), several backdrop displays, some wafers, 4 watercolors, 1x of which with natural materials (landscapes/coasts) mostly in embossed paper frames, 2 sand paintings (landscapes) in embossed paper frames, 1 ink drawing in the manner of silhouettes, 2 embossed English obituaries (1878 and 1879). In box with partly embossed leatherette. Some signs of age/use, some minor losses. Without key. Call time 26 | Feb. 2025 | probably 16:28 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SIR HUGH CASSON (1910-1999): A PEN, INK AND WASH DRAWING ON PAPER 'TITE STREET, CHELSEA'28cm x 21cmFramed and glazed 51cm x 41cm

CALVERT RICHARD JONES (1804-1877): A MARINE SCENE, POSSIBLY INK DRAWING OR ETCHING, BOATS BY LIGHTHOUSE36cm x 34cmFramed and glazed 50cm x 35cm

Large quatity of various drawing instruments and accessories, vintage ink bottles, grooming kit, volt-meter, magnets, stencils, etc all unchecked

An architectural drawing of the Parthenon du St Genevieve pen, ink and wash74 x 56cm

Three artworks to include a 19th century genre oil painting on board possibly by Karl Girardet with a signature to the lower left along with another oil on board depicting a rural landscape and an ink and wash drawing on paper depicting a lady painting at an easel. H.31 W.23cm

John Harris (1811-1865) Two coloured engravings from R Ackermann's Costumes of the Volunteer Corps  60th The King's Royal Rifle Corps, after H. Martens, published 31 October 1856 by Ackermann's, 32.7cm x 23.4cm  Pattern of the Rifle Uniform after the drawing by Orlando Norie, engraved by J Harris, plate no.3  After Thomas Rowlandson (1756-1827) Two handcoloured engravings Shoulder Arms, London & Westminster Dismounted Light Horse Volunteer, and another on horseback, published June 1798 at Ackermann's, 22.5cm x 18cm  19th century school  Ink on paper Sketches of rural life, a figure on a horse and cart, a caricature of a woman holding an umbrella and a woman with a broom, framed, unglazed, 21 x 28.5cm (5)