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Arthur WRAGG (1903-1976) Illustration from 'The Psalms of Modern Life'  Pen and ink on board, used as a double-page spread within the book, 26.5cm x 38cm; together with two further illustrations, one being Psalm 119: 'Where withal shall a young man cleanse his way?' illustrated in Judy Brook's biography on Arthur Wragg, p.59, each 26.5cm x 38cm. Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Two original illustrations from 'Psalms of Modern Life' Each pen and ink on card with graphite annotations, each 38cm x 27cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Works Published by The Polperro Press Including 'Be Glad (of the Ford), The Angler's Prayer and Tobacco, mostly pen and ink on board, signed and dated 1926, each 38cm x 26.5cm (11)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Frederick ROBERTS JOHNSON (1900-1986) Original works mostly landscape studies Mixed media, including graphite, ink and charcoal, largest 45cm x 58cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) 'Betrayal' from Wragg's book 'Jesus Wept' and illustrated in Judy Brook's biography. Pen and ink, titled, 29.5cm x 19.5cm, together with 'Wanted - A Statue', image size 22cm x 18cm. (2)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Eleven Works Mostly pen and ink or graphite. unsigned, largest 49.5cm x 71cm. (11)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) A large quantity of works Preparatory works for advertisements and book illustrations, together with figure studies, mostly graphite or ink on paper.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) The Lady of the Looking Glass Watercolour and ink, signed and titled, image size 43.5cm x 30cm, 50.5cm x 38cm including margin.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Five works Each pen and ink, inscribed, each 38cm x 26.5cm.Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

Arthur WRAGG (1903-1976) Three illustrations Pen and ink on card, each with graphite annotations, 38cm x 27cm (3)Frederick Roberts Johnson and Arthur Wragg, two friends who met whilst training to become commercial artists, moved together to Polperro in 1924, staying at 'The House on the Props'. They had somewhat contrasting styles which somehow sometimes overlapped; Wragg's style was likened to David Low and Victor 'Vicky Weisz, sharing within his lifetime the same respect and public interest as the two aforementioned. His work was also regularly compared to that of Aubrey Beardsley, though Wragg's own heroes were Cruickshank, Albrecht Durer and William Blake, the latter being someone he was also compared to within his lifetime. Wragg's first book was hugely successful, having to be reprinted three times in one year and it became Book of The Year in America.Frederick Roberts Johnson was a very succesful commercial artist and was often the one who usually went to London in search of commissions for the pair. He often used the name 'Essex' or 'Sax', drawing funnies for Punch, Everyman magazine and Tribune, as well as advertisements for Lyons Tea Shops and producing dustjacket book illustrations for various authors. His style was more varied and experimental, with impressionism, cubism and abstract examples of his work within the sale.

H. Willis (Mid 20th Century) - Study of a cockerel, ink and wash drawing, signed, framed, 55cm x 74cm, frame size 60cm x 78cm.

Untitled (Cadavre Exquis), 1992-93Signed and dated Immendorff 92 / David Salle / Koons '93 on the reverse Watercolor, ink and collage on paper 14 1/4 x 10 inches (36.2 x 25.4 cm)UnframedProvenanceThe Drawing Center, New York, The Return of the Cadavre Exquis, November 6 - December 18, 1993No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Comprehensive Archive of Lois Castellain: Original Artworks, Manuscripts, and Personal Papersfrom the Creator of Adolphus, The T.V. Horsethis collection comprises original artworks, manuscripts, and personal papers by Lois Castellain, author of the children's book, The T.V Horse (1964). Highlights include works in pencil, ink, crayon and pastel of character studies, scene illustrations, and hand drawn sketches for a proposed TV series and other manuscripts. Also featured is a copy of the book. Further works included are that of Castellain's Royal Drawing Society certificate (1928), awarded for her artistic achievements. Not all works visible in photo due to sheer volume. Extensive collection; scrapbooks of ideas, design drafts with hand written notes, photographs, reference images for her projects etc. (qty)Condition: Commensurate with age. Lots of works, mostly in good condition.Discovered in 2018/2019 at the Oast House on the Sharnden Manor Estate, Castellain's family home. These works were rescued by the conservation team that were dealing with the property.

Sir William Rothenstein (1872-1945) caricature drawing of Charles Rowley. pen and ink. 15 x 22 cm.

* Airship Ephemera. A collection of airship ephemera, including Reynold (Percy). "Zeppelinitis" 1915, original pen and ink drawing, showing a maid and housekeeper on the stairs, inscribed verso 'Zeppelenitsi, "Sarah! you might bring up my spectacles. I left them on the dining room table, and if a bomb should come I don't want them broken', signed and dated lower right, some light mainly marginal spotting and small tear and loss at lower left corner, 27.5 x 23.5 cm, unframed, a pencil colour drawing showing an RNAS officer by Roy 1928 showing 'Capt Percival Spencer' with parachutist descending from an air balloon, 26.5 x 18 cm, mount aperture and laid on card, unframed, Robinson (Lieutenant William Leefe, 1895-1918). Souvenir in Commemoration of Lieutenant W.L. Robinson's Great Feat of Destroying a Zeppelin on Sunday 3 September 1916, printed by S. Burgess, Strand, London, 34 x 35 cm, together with a tissue paper souvenir In Commemoration of Essex Aviation Display, 24 September 1932, printed by S. Burgess, Strand, London, 34 x 35 cm, airship photographs, brochures and other related itemsQTY: (12)NOTE:Provenance: The John Procter Airship Collection (the final lot).

* Whistler (Rex, 1905-1944). Illustrated Autograph Letter Signed, 'Rex Whistler', 2nd Battalion Welsh Guards, Pickering, Yorkshire, 10 April 1944, to James Minney, sending two more drawings for "A Place of One's Own" [drawings not present], 'I send you this time a more detailed suggestion for the entrance gate and the general appearance of the approach of the house from the road', with a pen and ink drawing of the gates on page two of the letter, continuing with further suggestions and ideas, the letter ending and signed in somewhat cramped form vertically at the head of page one, 2 pp., 8vo, together with three further autograph letters signed from Rex Whistler to James Minney, all on Battalion Welsh Guards stationery, all undated, circa 1944, one beginning, 'Of course I perfectly understand that you have had to rely upon others for so much of the designing for the film; I only wish I had been free to give it my whole and undivided attention and that I could have been more help to you...', a second letter saying he finds 'it a little difficult to suggest a definite figure, as I do not at all know how much - in the way of designs - you are going to require from me', and can only suggest that he take as a basis recent theatrical designing that he has done in the same way, and later, 'Of course I don't feel it makes much sense comparing the requirements of a play with those of a film...', the final letter saying that he is 'following these with a view of drawing room interior, and another part of the garden. Let me know which particular bits should be attended to first and I will concentrate on them', a few minor spots and one with a light damp mark to left margin, all 2 pages, 8vo, plus an unposted envelope addressed to James Minney, The Studios, Lime Grove, Shepherds Bush, in Rex Whistler's hand, and a group of four related black and white photographs of Rex Whistler's drawingsQTY: (9)NOTE:Rubeigh James Minney (1895-1979) was a British film producer, journalist, playwright, editor and author. This correspondence relates to A Place of One's Own, a 1945 British film directed by Bernard Knowles and produced by Minney, with stage designs by Whistler. The film was based on Osbert Sitwell's novel of the same name, published in 1942, and starred James Mason and Margaret Lockwood.

Stan Price (1919-2001) - 'Deben Angel', Southwold, signed, pen, ink and watercolour, 32.5 x 49cm Good condition, the drawing slightly slipped in the mount but undamaged

Carel Weight (1908-1997), a signed pencil, ink and wash drawing with an indistinct title. Framed and glazed. H.51.5 L.39cm

R. H. G. (possibly Zenia Yvonne Garner, British, 20th Century) - Scenes in Morocco and other studies - Seven watercolours on millboard and a pen and ink drawing (all unframed) - The largest 37.5 x 50cm - Some inscribed and monogrammed 'R.H.G.'

A group of six modern pictures comprising - *Leo Davey (1924-1987), Fisherman's catch, pen and ink drawing heightened with white, 36 x 26cm, signed bottom right - *Leo Davey (1924-1987), Half-length figure study, oil and wash on paper heightened with white, 24 x 17.5cm, signed and dated '59 bottom right - Marjorie Croft (19/ 20th Century), Olive Trees near Florence, 18 x 25cm, pastel, signed bottom left - Together with two modern ink wash portraits and a print (6)

A group of pictures comprising - After Ludwig Gruner (German, 1801-1882), Portion of a Painted ceiling in the Monastero Maggiore at Milan; Portion of a Painted ceiling by Bernard Luini XVIth. century; two plates from Specimens of Ornamental Art Selected from the Best Models of the Classical Epochs (pub. London, Thomas McLean, circa 1850), two colour lithographs, each sight 49 x 62cm (2); *John Pillow (20th century), Scottish Coastline, watercolour, signed, 28 x 43cm; 20th-century school India, ink drawing of a harbour view, 49.5 x 75cm; Contemporary School, African village scene, Watercolour, 35 x 54cm, Signed lower left (5)

A Rexel Speedguide Edge Binder, two ink rollers, a collection of desk stamps, Stolzenberg hole punch, 1950s/60s, and three technical drawing sets and accessories

Aquinas (Thomas, Saint) [Summae totius theologiae divi Thomae Aquinatis] Secunda secundæ Summae theologiae, i.e. part 3 only (of 5, complete in itself), double column, title with large woodcut printer's device, woodcut historiated and decorative initials, title with obliterated early inscriptions (causing a few small holes), a piece from outer margin, creased and detaching, some spotting / foxing and staining, lightly browned, hinges split, small early ink drawing of warship to final verso, later vellum over boards, worn, [EDIT 16 CNCE 32515], folio, Venice, Heirs of Girolamo Scoto, 1580. sold not subject to return. 

H. Beckers. A temple in Palestine, a street in Tunis, ink drawing - pair, attributed and titled verso, 17cm x 24cm and another pair CEW 1942 (4).

David Smith (British, 1920-1999) - Welsh Slate Quarry - Ink wash drawing - 36.5 x 54cm - 59.5 x 82.5cm framed - Signed and dated 1962 lower left -Born in Lowestoft, Suffolk to a fishing family, Smith went on to serve in the RAF. After the war he studied at the Slade and eventually joined the teaching faculty at the Chelsea School of Art, retiring in 1979. His work is underpinned by extensive voyages spanning as far as Japan and Antarctica, entailed by his various commissions. As a result, Smith was tasked with recording the lighthouses of England and Wales in the early 1980s.

*Edward Wolfe RA (South African/ British, 1897-1982) -A group of sketches of heads -Pen and ink and pencil drawings on nine sheets of paper including envelopes -The largest drawing 18 x 13.5cm -Some signed and inscribed -Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner

(ar) Joseph Lee (1901-1975), Original Motoring Cartoon, ink and pencil drawing, ''Ar! Say what you want about modern cars they'll never stand up to the old 'uns….... Don't put the stuff in 'em nowadays.'', signed 'Lee' to the lower middle, 33cm x 54cm, framed and glazed

(ar) S.G Farris, ink drawing of a Hawker Audax, 14cm x 18.5cm, framed and glazed

(ar) Joseph Lee (1901-1975), Original Motoring Cartoon, ink and pencil drawing, ''Congratulations, Sir! The bet so far… one hundred per cent. Inefficient!'', signed 'Lee' to the lower middle, with label 'presented to the Hendon Government Vehicle Testing Station with the compliments of the Editor of The Evening News', 40cmx 63cm overall, with original Sotheby's label to the reverse from a sale in December 1998

† BENNO SCHOTZ (Scottish, 1891-1984); pen and ink drawing, 'Youth 'gainst Time and Age', signed lower right, 22 x 31.5cm, framed and glazed.

† FELIKS TOPOLSKI (Polish, 1907-1989); a monogrammed ink drawing, portrait of gentleman, signed with initials 'F.T' lower right, 35 x 25.5cm, framed and glazed.

Attributed to George Chinnery, ink drawing, oriental figures near a waterside dwelling, 18 x 23cm, framed, numbered 54 to the bottom right hand corner and with Ledger Galleries label verso

Pen and ink drawing, study of a nightingale by Alan W. Seaby, bearing label verso, 12 x 10cm, together with two framed pairs of woodblock prints of birds, monogrammed D.R.

Early 18th Century, ink and wash drawing, figures with a chariot and other figures in attendance, 14 x 20cm

A signed ink drawing on paper depicting a knight in a fantastical forest scene along with an artist's proof etching titled 'Cornish Headland' 1984 with an indistinct signature to the lower right. H.45 W.29cm (ink drawing)

Two works on paper to include an early 19th century old master style ink and wash landscape drawing by Paul Sandby Munn (1773-1845), framed and glazed with an inscription to the reverse and another ink and wash drawing depicting a figure with horses in a rural setting. H.44 W.54cm (largest)

Nicolaas Syvert Bastert (1854-1939)Landscape with fallen tree, washed ink drawing 23x32 cm

Jannes de Vries (1901-1986)Veiled woman, back sticker with note "Algerian woman - visit Algeria - 1958", watercolor with ink drawing 47x27 cm

Augustus Welby Northmore Pugin (1812-1852): 'La Tour de Beurre, Rouen Cathedral', a pencil drawing, unsigned, titled verso with ink inscription 'La Tour de Beurre Rouen Cathedral by A. W. Pugin, 1831’, 18 by 26cm, gilt mount, glazed and in gilt composition frame, 38 by 47cm.Provenance: Estate of Ralph Robert Alford, son of Robert Edwin Alford, K.B.E, C.M.E, and Teresa, Lady Alford, nee Teresa Mary Margaret Knill, who was daughter of Mary Kathleen Knill, grand-daughter of Margaret Mary Knill (married to Henry Francis Purcell), and great-grand daughter of Jane Knill (married name: Jane Welby Pugin (1827-19090) who was the third wife of Augustus Welby Northmore Pugin, Teresa was niece of Margaret Eily Gladstone (third child of Margaret Mary Pugin).

A French, framed, mounted and signed pen and ink Drawing of old street scene, 13 1/2" x 16".

Whistler (Rex) Engravings...for Jonathan Swift's Gulliver's Travels, Introduction by Anthony Rota, out-of series copy (not for sale) from an edition limited to 100 copies on hand-made paper, this one of 26 unnumbered copies with one of the original copper plates, engraved title-vignette and 25 engraved sheets comprising 12 plates, 5 maps, 4 head- & 4 tail-pieces by Rex Whistler, the 12 plates hand-coloured, loose as issued, with copper plate in recessed panel inside rear board and printer's original paper wrapping featuring the engraving mounted inside front board (soiled), together in original half viridian morocco drop-back box, slight discolouration to spine, large 4to, Harrison's for H.M. Fletcher, 1970.*** Whistler's illustrated version of Swift's Gulliver's Travels was his magnum opus, first published by the Cresset Press in 1930 with 195 copies on hand-made paper and 10 on vellum, and one of the most magnificent English illustrated books of the 20th century. It was apparently inspired by Richard Bentley's Designs for Six Poems by Mr T.Gray of 1753 and Whistler drew the illustrations within elaborate rococo frames, each one different, many reflecting his love of Baroque architecture. He spent months on the detailed pen and ink drawings; according to his brother Laurence he sat up all night drawing one wheatsheaf. The original copper plates were bought by bookseller H.M.Fletcher who issued this suite of the illustrations in 1970.The copper plate is for for the map displaying "The Kingdoms of Laputa, Balnibarbi, Glubbdubdrib, Luggnagg and Japan".

Birds.- Edwards (George) A Natural History of Uncommon Birds, vol.1 only (of 4), hand-coloured etched frontispiece, title with engraved vignette, 52 etched plates, brightly hand-coloured "by the author... from prints revers'd", duplicate of plate no.32, contemporary ink inscription to front free endpaper, light foxing and offsetting, bookplate, contemporary calf, ruled in gilt, spine gilt, double red morocco spine label, rebacked preserving original backstrip, a few stains to covers, slightly rubbed, [Anker 124], folio, Printed for the author, 1743. *** The contemporary ink inscription states: "This very extraordinary set of Edwards's birds etc. was color'd by the author, at the special request of a late-celebrated naturalist, for whom it was finished with the greatest care & accuracy. As a proof of the superior excellence of this copy it may be necessary to observe that all the plates in the first volume are done from prints revers'd - the advantage of which is pointed out in page 17 of the Preface, & the difference may be satisfactorily ascertain'd by examining the plates No.32 - (there being one of each sort) & all the plates in the remaining 3 volumes are marked with manuscript numbers, the reason of which may be seen at page 124 of the 2nd volume. The gleanings also are uncommonly fine so that upon the whole it may be pronounced, an extraordinary copy of a very valuable work." Another modern pencil inscription reinforces that this is a 'special copy with the plates coloured by the author".This is therefore the first volume of an "extraordinary" set of an already "very valuable work", with exceptionally rare counterproofs and allegedly the author's personal hand-colouring. A counterproof results from a costly and time-consuming process whereby a print is taken directly from another that has just been printed. While the ink is still wet, a print is passed through a rolling press again with a clean sheet of paper to get a second copy. In 1765, Edwards wrote to the Earl of Bute, a patron of natural history, to describe how counter proofs from the prints he etched for "History of Uncommon Birds" fooled some viewers who mistook them for drawings: “In the course of My Labours I have taken of reversed Prints of my history of birds on Sett as a Curiosity and have Colourd them higer than ordinary to make them appear Somtings like Drawings, they have deceive som[sic] people in that respect they having no marks of the copper Plates.” Counterproofs produced a subtle and softer image resembling a drawing that could be hand-coloured to better display the nuance of plumage, colour, and anatomy of specimens without the boldness of an engraved line.The second volume with counterproofs is held by The Art Museums of Colonial Williamsburg. 

Study of a cellist, pen and ink drawing, signed Philomena, dated '74, 19cm x 29cm, framedGood condition

Graphite and ink on paper circular comic drawing depicting a woman using a rolling pin to hit a man wearing a pot on his head. Originally drawn for Nifty Gags and Comics, possibly for the cover. Unsigned.Height: 7 in x width: 6 1/2 in.Condition: The sheet has been trimmed in a circular fashion, likely original to the artist. Light soiling throughout. Inscriptions in the margins. The work is not framed.

Irene Rice Pereira (American, 1902-1971). Pen and ink drawing on paper titled "Phosphor - The Morning Star" depicting a figure surrounded by abstract shapes, 1966. Dated Feb. 1966 along the lower right; titled along the center. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 1/8 in.Condition: The colors are bold and bright and there are no major tears, creases, or restorations. The sheet is toned, especially along the extreme edges. The left edge is slightly uneven. There is a slight undulation along the lower edge of the sheet. Some soiling to the verso. The work is not framed.

Brad Widness (American, 20th/21st c). Ink, acrylic, and collage on paper on board painting titled "House" depicting a geometric form of a house, 2000. Signed, titled, and dated along the verso.Brad Widness was born in Sioux Falls, South Dakota, and taught drawing, printmaking, watercolor, design, and digital media at Minnesota State University, Mankato, as well as January interim courses at Gustavus in Bookmaking, and a Bookmaking workshop at the Minnesota Center for Book Arts in Minneapolis. Brad’s work has been selected for many juried regional and national exhibitions, and his work is included in numerous printmaking portfolios and traveling exhibits around the country. Highlights from the last ten years include participating in an invitational exhibition at the MAPC Conference in Minneapolis, receiving a McKnight Fellowship, and having work selected from an open portfolio review for exhibit at the Highpoint Center for Printmaking.Height: 24 in x width: 17 in x depth: 2 in.Condition: The colors are bold and deep. Due to the nature of the work, it is difficult to discern whether some of the rugged contours of the work, particularly along the left third, are chipped or intentionally rough; however, there are no major breaks, losses, or restorations. The work is not framed.

Martin E. Garrity (American, 20th c). Original graphite and ink comic drawing depicting an inebriated chicken captioned "Fried Chicken (Southern Style)". Pen signed "Garrity" along the verso. Originally for an August edition of Nifty Gags & Comics.Height: 10 in x width: 7 1/2 in.Condition: There are no rips, creases, or restorations. Light wear along the edges. Light soiling throughout. Inscriptions in the margins. The work is not framed.

Albert Magarian (American, 1915-1991). Ink on paper comic drawing depicting a skunk shopping at a perfume counter. Signed along the lower left; further ink-stamped along the verso. Likely originally for an August edition Nifty Comics & Gags, ca. 1950s-60s.Height: 13 in x width: 11 1/2 in.Condition: There are no tears, creases, or losses. Light soiling throughout as expected from a working comic. Inscriptions in the margins. The work is not framed.

Irene Rice Pereira (American, 1902-1971). Pen and ink drawing on paper depicting a figure surrounded by colorful abstract shapes, 1966. Dated Feb. 1966 along the lower right. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 1/8 in.Condition: The colors are bold and bright. The sheet is slightly toned, especially along the extreme edges. There are no major tears, creases, or restorations. The left edge is slightly uneven. The work is not framed.

Striking drawing on ivory paper made with bold color markers, ink pen, and white gouache attributed to Neo-Pop Expressionist artist Jean-Michel Basquiat. This artwork depicts one of Basquiat's synthetized Portraits filled with pink, orange, red, and black marker for the grill-like mouth, spiky short hair, and facial open contours. Signature on lower right: Basquiat with the iconic crown. Stamped on verso: This will certify that it is the oblation of the Authentication Committee of the Estate of Jean-Michel Basquiat it is a genuine work by JEAN-MICHEL BASQUIAT. Signed in brown crayon: J-M-B with crown design. Housed in a black frame with a ecru mat. Frame size: 16"L x 20"H x 0.75"W. Artwork dimensions: 8"L x 12"H. Artwork can be unframed and rolled for shipment. Artist: Attributed to Jean-Michel Basquiat (American, 1960-1988)Issued: c. 1980Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

A modernist style ink line drawing on paper, study of a seated nude, signed and dated Allan '68 in a gilt frame. H.63 W.43.5cm

English School, late 19th century, pen and ink drawing, a cathedral, probably Lincoln, indistinctly monogrammed, 15cm x 20cm, in glazed frame

Bernard Parkin caricature portraying the day Fred Winter became the first National Hunt trainer to win 100,000 in prize money for his owners in season 1973-74, signed, pen & ink, at Stratford 17th May 1974, also depicted is jockey Richard Pitman, Mr Mills the owner of 'Bladon', and racecourse officials and sponsors; sold with a smaller version of the drawing that was used by Stratford-on-Avon Racecourse as a greetings card, both framed, the first 38 by 49cm.; and three b& w photographs from the time, Richard Pitman & Blaydon in running, Dick Francis presenting the winning owner with his trophy, the other of winning connections in the enclosure, (a lot).

Original ink drawing on ecru paper by American painter Walter Greer who made the portrait of a bearded man facing down. Ink dedication on lower right side: Greer 8/9/61 Walters Art Gallery, to Billy (Billy Harris, dance critic for the New York Times.) Housed in a wooden frame with an off-white mat. Sight size: 7.50"L x 10"H. Frame size: 14"L x 17"H x 0.75"D. On verso: sticker J.J. Gillepsie Co. Fine Arts, Pittsburgh, Penna. In ink: Walter Greer Artist. Artist: Walter Marion Greer (American 1920-2016)Issued: 1961Country of Origin: United StatesCondition: Age related wear.

Harold Riley (British 1934-2023) "Study for 'The Blessing'" Signed, titled, dated '84 and dedicated, ink.20 x 14cm (framed 34 x 28cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. The ink has faded slightly. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-2023) "Madonna and Child" from Raphael Signed and dated '53, dedicated to Gerry + Kath, ink, watercolour and pastel.25 x 21cm (framed 40 x 35.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The original metal frame has some minor scuffs and scratches.

Geoffrey Key (British 1941-) "The Grooms" Signed and dated 1.9.89, titled on verso, ink and wash.29 x 26cm (framed 50.5 x 48cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There is a single minor spot of foxing found on the paper. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

* FIONA C GRAHAM, SPANISH GIRL WITH CATS pen and ink on paper, signed, titled label versomounted, framed and under glassimage size 36cm x 24cm, overall size 54cm x 41cm Artist's label versoNote: "Born in Glasgow in 1970, I started painting at an early age and after attending a night school course in life drawing at Glasgow School of Art went on to study History of Art at St Andrews University. After completing a business start up course in Glasgow I began painting professionally full time. Years of living in a vibrant city like Glasgow has had a huge influence on my work, very much a case of painting what I know and love. The people, the buildings and the inescapable weather are my inspiration and I'm always interested in the contrast between the grandeur and the grittiness within the city, the changing seasons and moods, the recognisable views versus the hidden gems, nooks and crannies, the lost past and the fast disappearing architecture. In an ever changing cityscape I can always find a new challenge to paint and try to look for beauty in the everyday, overlooked and ignored aspects of city life. In contrast to city subjects, family ties and happy childhood memories have given me a great affection for the East coast of Scotland and I enjoy trying to capture the unique light and sense of space of the coastline and again I'm drawn to buildings, people and their history and traditions.

B. IVORDAY, BRITISH, EARLY 20TH CENTURY, an architectural drawing of the Orangery, Versailles, after designs by Jules Hardouin Mansard, Architect, 1684-1686, illustrating the principal elevation South of the Orangery with sections to the East wing and the lesser Orangery, signed to bottom right, measured and drawn 1930, Ivor Day, 9 Saint Martins Road, Knowle, Bristol, pen and ink with watercolour wash on paper, in a rectangular oak frame, overall size frame 81 cm x 278 cm

GEORGE BARKER: 3 Titles: AT THURGARTON CHURCH - A POEM WITH DRAWINGS, London, Trigram Press, 1969. Presentation copy inscribed to penultimate page and with ink drawing to last page; TO AYLSHAM FAIR, London, Faber and Faber, 1970, first in original unclipped dustjacket; RUNES AND RHYMES AND TUNES AND CHIMES, London, Faber and Faber, 1969. First in original unclipped dustjacket, pres inscr to frontis (3)