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Jacques Callot (1592-1635), a pen and brown ink drawing of a military exercise with drummers in the foreground, mounted in a velour and gilt window with the artist's name on a brass plaque and notes to the reverse. H.18 W.30cm.

An original black and red ink, and graphite drawing on paper by artist Rudolf Herrmann, depicting a caricature of an old gentleman sitting inside a safe with a shelf full of bags dripping a red liquid. Signature on lower right. Artist: Rudolf Herrmann (German, 1879-1963)Dimensions: 11.75"L x 13.75"HCondition: Age related wear. Soiling on lower part of paper. Time stained.

An antique engraving printed in black ink, colored by hand on wove paper after William H. Barlett's drawing, Faneuil Hall, engraved by H. Griffiths. It was published in London for the Proprietors by Geo. Virtue, 26 Ivy Lane, 1838. Artist name on lower left. Engraver name on lower right. Housed in a wooden frame with an off-white mat. Sight size: 8"L x 7"H. Frame dimensions: 13.5"L x 0.75"W x 12.25"H. Artwork can be unframed and rolled for shipment. Artist: After William H. Bartlett (British, 1809-1854)Issued: 19th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear. Foxing throughout margin. Small scratches on lower edge of frame.

A mixed group of engravings pen and ink, and pencil drawings to include a pen and ink and wash and a pencil and wash drawing of a 19th century cabinet, a print of a drawing of a third cabinet, Leonard Howells - Market Day, Wigan, unframed engraving, James B Lee - At Port St Mary I.O.M, engraving, Florence M Wilkins - cottages overlooking Ghyll Bank - print on scraperboard, and othersLocation:If there is no condition report shown, please request

Charles Mozley (1914-1991), a signed and dated ink drawing on paper titled 'Woman on Green Background' 1978. Framed and glazed with a note to the reverse. H.76 L.53cm

Carel Weight (1908-1997), a signed ink and wash drawing on paper, circus scene titled 'Fat Lady'. Framed and glazed. H.53.5 L.36.5

Arthur John Ferrier (1891-1973), a signed ink drawing titled 'Convoyed'. Framed and glazed. H.53.5 L.49.5cm

A group of 19th century engravings and other pictures, a pen and ink drawing, watercolour etc.

Grenfell (Julian, 1888-1915). British soldier and poet of the First World War. Autograph Annotated Copy of The Ethics of Aristotle, by John Burnet, London: Methuen & Co., 1900, lii, 502 pp., plus 40-page publisher’s catalogue at rear, Greek text with English commentary including double-column footnotes, heavily annotated and underscored by Grenfell in pencil and sometimes ink, a few additional manuscript notes on paper slips using Balliol notepaper pasted in, one slip with a drawing of two horses, boldly signed and dated in grey watercolour to front pastedown, ‘Julian Grenfell, Balliol, 1908’, with signature repeated to upper cover in the same brush, upper hinges cracked with old paper adhesion remains to front free endpaper, untrimmed, original cloth, rubbed, lower cover slightly damp-marked, large 8voQTY: (1)NOTE:A rare autograph ‘manuscript’ by this short-lived soldier and war poet of World War I.Grenfell was educated at Eton and Balliol College, Oxford. He was commissioned into the British Army in 1907 and eventually attached to the 1st (Royal) Dragoons in 1910. Initially sent out to India, he then moved with his regiment to South Africa. By 1914 he was seeking help to leave the army and return to Britain, having decided to move to a career in politics. Whilst fighting on the Western Front, Grenfell became aware that lives were being regularly lost to German snipers. Using hunting skills he had developed at Panshanger, he taught his men how to crawl through No Man’s Land unseen, ‘steering by the stars’ in order to attack the German frontline trenches and gain intelligence. For this, he was awarded the Distinguished Service Order in the 1915 New Year Honours. On 13 May 1915, while Grenfell stood talking with a General Campbell, a shell landed nearby, injuring both men. Grenfell suffered extensive skull fracture, and underlying brain injury. He died from encephalitis on the afternoon of 26 May, aged just 27. The news of his death, precipitated the publication of his most famous poem ‘Into Battle’ in The Times. Today, Grenfell is most remembered for this poem, the closing lines of which read; ‘The thundering line of battle stands, And in the air Death moans and sings; But Day shall clasp him with strong hands, And Night shall fold him in soft wings.’ Winston Churchill chose other lines from the same poem for his collection of war speeches, Into Battle, the lines being set on the title-page of all copies from the sixth printing in April 1941. On 11 November 1985, Grenfell was among 16 Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner.

* Boyle (Eleanor Vere, 1825-1916). Six original illustrations to Child's Play, circa 1852, a group of six fine original pen and black ink illustrations on thin card, four heightened with brown ink, each with handwritten caption or verse, including a design for the titlepage: Child's Play, E.V.B. with a quotation below ' "Deep meaning lieth oft in childish play" Schiller.', the other illustrations depicting Wee Willie Winkie, Here we are on Tom Tickler's ground, Cuckoo, Mary, Mary, quite contrary, and I had a little Castle upon the sea-side, some minor or light soiling (mainly to sheet edges), generally in good condition, each 248 x 177 mm (9 3/4 x 7 ins)QTY: (6)NOTE:Six of the seventeen drawings Eleanor Vere Boyle executed for Child's Play, issued by Addey & Co. in 1852. This first edition of Eleanor Vere Boyle's first book, a collection of illustrated nursery rhymes, was issued with monochrome illustrations after her original drawings printed by the anastatic process. Comparison with the later and inferior colour wood-engraved Sampson Low edition of 1859 shows how much more of the artist's detailed penwork is preserved in the original edition. Considered one of the most important female illustrators of the mid 19th century, Boyle moved in artistic circles which included the painters Charles Eastlake, Thomas Landseer, and Sir William Boxall (1800-1879), later director of the National Gallery (1866 to 1874), who was also Eleanor's painting tutor.An exhibition of EVB's original drawings and watercolours, entitled Sketches, Dreams and Drawings, was held at the Glass Studio at Leighton House in April 1902. In the preface to the catalogue, William Hardinge commented ‘To those who have once come under this magic, it is a spell as unmistakable as Blake’s or Rossetti’s.’ (page 118). EVB was indeed a mystic and visionary who admired greatly Blake, describing his art in an undated letter to her close friend Lady Eastlake: 'Blake is marvellous as only he can be. In some (many) of his drawings there is a feeling, a grasp of imagination as impossible for the present day mind to understand as to imitate – the feeling in them is as fine as possible – but I can understand how the people sneer, and say ‘he was mad’.' (unpublished letter formerly in the collection of Margaret de Wend Fenton, great-great granddaughter of EVB).Another original drawing for the same publication was sold in these rooms in June 2024 (Modern Literature, Private Press, Original Book Art, Pop-Up Books, Playing Cards & Games, 20 June, 2024, lot 549) along with two smaller related sketches, and some proof engravings after the illustrations, which were contained in a contemporary album inscribed by Eleanor Vere Boyle to her friend and art tutor Sir William Boxall. The present works originate from the same private collection.

AR * Peake (Mervyn, 1911-1968). Illustrated Autograph Letter Signed, ‘Mervyn’, no place or date, [?Sark, 1947], to David, in sepia ink, sending some money and mentioning mutual friends, Christmas plans and hearing [Mary Norton’s] ‘Magic Bedknob’ on the radio, ‘Finance seems sticky. Here are two miserably little cheque-lets, but £100 ought to be forthcoming any moment. The snag is Xmas … We heard Mary's “magic” bed-knob on the wireless the other night. Awfully well done. Love to Chick and Wendy from us both’, with a large fantastical long-billed creature playing a semi-circular grand piano drawn to the upper half of the page with text below and the caption, ‘“Let me see - how did that passage go?”’ written at the top, a few minor marks and some slight splitting along folds, 1 page, 4to (225 x 175 mm), tipped onto paper, mount aperture, together with a small pencil drawing of a man’s head on paper, attributed to Mervyn Peake, water stain to lower left area of image, 95 x 73 mm, both framed and glazedQTY: (2)NOTE:The recipient of the letter was most likely William Eric Davis MBE, (1908-1996), better known by his professional name David Davis. He was a British radio executive and broadcaster, working as a voice actor and storyteller. He was the head of the BBC Children's Hour. An accomplished pianist, he joined Children’s Hour as a staff accompanist in 1935. He soon began to perform as a reader too and became Head of Children’s Hour in 1953. He was married to Barbara Sleigh, a children’s writer and broadcaster herself. Mary Norton’s Magic Bedknob was broadcast as a BBC Children’s Hour serial in 1947 and it is likely that Davis was involved in at least one role, possibly as the storyteller. At this date Mervyn Peake and his wife Maeve were living on Sark.

Hughes (Ted). The Hawk in the Rain, 1st edition, London: Faber and Faber, 1957, 'The Hawk in the Rain' in full in blue ink to front free endpaper, each poem dated with a location in blue ink at foot of page, 'Wind' with neat correction adding 'black' so third line in second stanza reads 'Blade-light, luminous, black and emerald', pen and ink drawing of a serpent and unpublished poem in blue ink to rear free endpaper, original blue cloth, yellow lettering to spine, dust jacket, original promotional wraparound band, spine slightly faded with a few small nicks to head and tail, 8vo, contained in blue cloth drop-back box with red morocco spine label lettered in giltQTY: (1)NOTE:Sagar/Tabor A1a.An extensively inscribed copy of Hughes' first book, with manuscript poems to both endpapers (the latter unpublished), a pen and ink sketch of a serpent, a manuscript correction to the poem 'Wind' and each poem given a date and location, all in Hughes' hand.

* Animal Farm. Three original animations from Animal Farm, circa 1954, comprising: 2 original colour cells on acetate, one showing Napoleon and Snowball, with A 2/35 63 notes in black ink to lower margin, the other showing Old Major, with notes C 2/22 37 in black ink to lower margin, and a pencil drawing on paper of Boxer and Benjamin lining up with five cows and a goat, looking ready to charge, with pencil notes 3/9 5 to lower margin, sheet size 24.5 x 30 cm, two in clip frames QTY: (3)

* Wain (Louis, 1860-1939). Profile of a cat’s head with bow-tie, no date, c.1911, pen and ink on a manilla envelope, signed ‘Louis Wain’ beneath, the unused envelope somewhat browned and creased, torn with loss at foot, well away from the drawing and signature, 220 x 100 mmQTY: (1)NOTE:An accompanying manuscript provenance note indicates that this was obtained by James Thomas Benjamin when he was employed by George Newnes limited in the Strand, London, c. 1911. ‘One day when I was about five years old, Louis Wain called at my father’s office on business. During the course of conversation my father asked Louis Wain if he would kindly draw a cat for his young son (referring to me [Ernest Ainsworth Benjamin]) and he obligingly drew it on a manilla envelope as you can see. This is the original and it has been in my possession ever since’, signed by Ernest Benjamin and dated 2 March 1989.

Circle of Beham - 16thC. pen drawing of a coat of arms with winged helmet / Description: This high quality drawing from a German artist from the circle of Sebald Beham dates from the mid of the 16th century and shows a coat of arms showing two shields surrounded by acanthus leaves and with a winged helmet on top. Although probably based on a woodcut by Sebald Beham (Hollstein III, p.280) the design of the drawing is very similar to the Weapon of Albrecht Dürer from 1523 (Meder 288, Panofsky 374) The form of the shield, the position of the helmet with similar wings and especially the position and detail of the acanthus leaves. / Dimensions: 31,60 x 20,50 cm / Condition: High quality black pen drawing in impressive format on fine laid early watermarked laid paper trimmed to the subject. General good condition with no stains, a small closed central tear and a few small defects against the top margin. / Literature: Compare with Sebald Beham (Hollstein III, p.280) ----- Compare with the Weapon of Albrecht Dürer from 1523 (Meder 288, Panofsky 374) / Medium: Ink drawing /Circa: Ca. 1525-1550

Anthonie van Borssom, Cornelis Ploos van Amstel - Church interior - 1774 / Description: Interior of a church with an artist sketching, an artist seated at the foot of a pillar, a lady and gentleman walking behind at right, coats of arms hanging on three pillars; after a drawing by Anthonie van Borssom of 1630 (formerly attributed to Pieter Saenredam); from a series of forty-six print drawings (published in separate sets between 1765-1787). Etched in 1774 and published in 1774 . On the backside the coat of arms of Ploos van Amstel (Lugt. 2034) and inscribed by Ploos van Amstel, in pencil: "P. Saenredam: del. 1630. Ploos van Amstel I.C. F: 1774". Etching and roulette done by his cooperator Bernard Schreuder in Ploos van Amstel's technique to create a crayon-manner result almost equal to the drawing. The design was attributed to Pietrz. Jansz. Saenredam but then a drawing came up signed by the Amsterdam born artist Van Borssom. Drawing now in the British Museum (1912,1214.7) / Dimensions: 19,10 x 15,10 cm / Condition: Top quality original print drawing in excellent condition on laid paper. Tipped with left side only on a part of the original square thick laid paper sheet , with hand drawn frame border in washed ink. / Literature: Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, pp.264-265, no.21. / Medium: Hand colored etching /Circa: 1774

A pen and ink drawing attributed to Paul Sharp, together with a print after R.G. Gorman.

A collection of original artworks depicting animals: Julia Manning (British, Contemporary), 'Autumn Watch', limited edition colour print of a hare, No. 60/100, signed l.r., 24.5 by 24.5cm, together with a Joanna Hull 'Raven' monoprint, signed l.r., 30 by 29.5cm, together with original paintings and an ink drawing of a sheep, stylised white horse, and cow with calf, all framed (5)

Fred Yates (1922-2008) ink drawing on a paper, 'Cast', framed and glazed, subject size 14cm x 19cm, overall size 29cm x 34cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Rooftops', framed and glazed, overall size 39cm x 48cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'The Cats Whiskers', framed and glazed, overall size 47cm x 60cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Yellow House', framed and glazed, overall size 43cm x 48cm.

ATTRIBUTED TO GEORGE LESLIE HUNTER (SCOTTISH 1877 - 1931), LANDSCAPE pen and ink on paper, signed 'L Hunter' mounted, framed and under glassimage size 20cm x 28cm, overall size 50cm x 55cm Note: George Leslie Hunter (7 August 1877 – 7 December 1931), was christened simply George Hunter, but he adopted the name Leslie in San Francisco, and Leslie Hunter, became his professional name. Showing an aptitude for drawing at an early age, he was largely self-taught, receiving only elementary painting lessons from a family acquaintance. A Scottish painter, he also spent fifteen formative years from the age of fifteen in the USA, mainly in California. He was later regarded as one of the four artists of the Scottish Colourists group of painters. Following his youth in California, he returned to Scotland, painting and drawing there and in Paris. Subsequently, he travelled widely in Europe, especially in the South of France, but also in the Netherlands, the Pas de Calais and Italy. Hunter painted a variety of still-lifes, landscapes and portraits, and his paintings are critically acclaimed for their treatment of light and the effects of light. They became popular with more progressive critics and collectors during his lifetime and have grown to command high prices since his death, becoming among the most popular in Scotland. One hundred of his paintings are held in UK public collections.

A PRINCE HOLDING FLOWERS ATTRIBUTED TO SAHIB RAM INDIA, RAJASTHAN, INDIA, CIRCA 1790 ink and gouache on paper, areas heightened with white and coloured pigments, the prince stands facing left holding a flower in each of his hands, dressed in a flaring pleated skirt secured by a patka, bedecked in pearls, emeralds and rubies, his turban adorned by a sarpech and two feathered aigrettes, a halo around his head   29.5cm x 21.5cm Not many paintings from Jaipur are in Western collections, largely because its royal collections were not dispersed, as were those in other states in Rajasthan and the Punjab Hills. Jaipur, which was known as Amber until the new capital city was founded by Jai Singh II in 1727, lacks a continuous history of painting. The Hindu rajas of Jaipur were amongst the first to extend cooperation to the Mughals, with Raja Bhar Mal (r. 1548-1575) giving his daughter in marriage to the Mughal emperor Akbar (r. 1556-1605), and his granddaughter to Jahangir (r. 1605-1627). Raja Man Singh was more than an ally of the Mughals; he became Akbar’s trusted general. Early painting in Jaipur was heavily modelled on the Mughal pattern.A more characteristic Jaipur style emerged during the eighteenth century, when painting flourished during the reign of Maharaja Sawai Pratap Singh (1778-1803), a scholar, poet, ardent Vaishnavite and devotee of Krishna, whom he was meant to resemble in likeness.Under the patronage of Pratap Singh, the Jaipur school of painting entered a new and dynamic phase, with his atelier consisting of more than fifty artists.  The greatest master was Sahib Ram, the Chief Royal Painter at Jaipur to whom the present drawing is attributed.Sahib Ram began his long career circa 1740, and would remain active throughout the second half of the eighteenth century until 1803. His earliest works were produced under the reign of Sawai Jai Singh II (1699-1743).Sahib Ram’s most celebrated paintings, now in the Maharaja of Jaipur Museum, include a coloured bust portrait of Pratap Singh dated 1793, a full-size portrait of Pratap Singh also dated 1793, and a mural painting of Radha and Krishna dancing, accompanied by nineteen gopis.Two large drawings attributed to Sahib Ram, preparatory studies for the mural painting of Radha and Krishna in Jaipur, depicting a “Singer and Sarangi Player” and the “Head of Krishna”, are in the Metropolitan Museum of Art, New York. These drawings, in a style similar to the present drawing, are published in Steven Kossak, Indian Court Painting: 16th-19th Century, 1997, pp. 119-121, cat. nos. 74 and 75.For more information about Sahib Ram see Ritu Pratap, The Panorama of Jaipur Paintings, New Delhi, 1996, pp. 183-84.

NUDE FEMALE FIGURES INSIDE THE ZENANA INDIA, RAJASTHAN, KOTAH, EARLY 18TH CENTURY pen, ink and opaque watercolour on paper, depicting two nude girls within an elaborate palace setting, mounted, glazed and framed; this lot includes a drawing, ink, pencil and gouache on paper, depicting a young maiden holding a flower facing to the left, unframed 17.5cm x 10.5cm Formerly, the Stuart Cary Welch Collection (1928-2008). Sotheby’s, London, Cary Welch Collection, Part II, 31 May 2011, lot 33.Exhibited:Loaned anonymously to the Fogg Art Museum, Harvard University, 1983, accession no. 200.1983. This delicate and rather unusual drawing brings to prominence the two nude girls. They are the only part of the composition that are painted, so their pink complexions and hennaed hands stand out against the extravagant palace architecture. The girl at the centre of the picture is stretching with her arms above her head. The girl below is seated in a chair. Their naked bodies and casual postures suggest that they are relaxing within the most private area of the zenana.   

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pastel and ink mixed media drawing of The Giant by Richard Bazley. Signed to the bottom corner. Measuring approximately A4 in size. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

Brice Marden (American, born 1938)Muses and Meres (Gemini 63.2-8) The complete set of seven lithographs and etchings in colours, Muses with Graphite with pencil drawing, 2001, on Somerset Satin white paper, each signed, dated and numbered 19/45 in pencil (there were also ten artist's proofs), printed and published by Gemini G.E.L., Los Angeles, with their blindstamp and ink stamp, the full sheetsEach image 436 x 664mm (17 1/8 x 26 1/8in)Each sheet 561 x 765mm (22 x 30 1/8in)(7)Footnotes:Comprising:63.2 Eagles Mere Muses63.3 Red Line Muses63.4 Greyer Muses63.5 Line Muses63.6 Muses With Graphite63.7 Beyond Eagles Mere63.8 Beyond Eagles Mere 2ProvenanceProperty from the Morgan Collection, Australia.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

GEORGE WEISSBORT (1928 - 2013). Interior pen and ink drawing, old man in a chair. Signed. 5.5" x 8.5" (14 x 22cms).

Circle of Gerald Festus Kelly, a drawing of a matador, ink, 11" x 16", (28 x 40.5cms) (unframed).

A signed and dated ink drawing on paper titled 'Spent Pods' 1995, by Robert De Quin. Framed and glazed with notes to the reverse. H.52 W.59cm.

Lyonel Feininger 1871 New York - 1956 New York Vorüberziehende Schauer. 1923. Aquarell über Tuschfederzeichnung. Links unten signiert, rechts unten datiert '19. April 1923' sowie mittig betitelt. Auf Japanpapier. 25,4 x 34,3 cm (10 x 13,5 in), Blattgröße. [AR]. • Ungemein fein nuanciertes, dramatisches Seestück aus Feiningers früher Bauhaus-Zeit. • Im wegweisend prismatisch-kubistischen Stil des Künstlers. • Die Strände der Ostsee werden zu Beginn der 1920er Jahre zum Hauptmotiv seiner Meerlandschaften. • Früh ausgestellt in der Einzelausstellung in der Nationalgalerie Berlin. • Seit mehr als 60 Jahren in Familienbesitz. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1932-07-31-24 registriert ist, bestätigt. Ein Zertifikat liegt der Arbeit bei. PROVENIENZ: Julia Feininger, Dessau/Berlin/New York (Geschenk des Künstlers). Andreas Feininger, New York (als Geschenk vom Vorgenannten erhalten, bis 1962: Stuttgarter Kunstkabinett). Privatsammlung Süddeutschland. Seither in Familienbesitz. AUSSTELLUNG: Lyonel Feininger, Ausstellung zum 60. Geburtstag, Nationalgalerie Berlin, 19.9.1931-31.1.1932, Kat.-Nr. 68, S. 26. Lyonel Feininger, Kestner-Gesellschaft Hannover, 28.1.-6.3.1932, Kat.-Nr. 73. LITERATUR: Willi Wolfradt, Lyonel Feininger, Junge Kunst, Band 47, Leipzig 1924, Abb. 30. Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart, 3./4.5.1962, 37. Auktion, Los 101 (m. Abb. Tafel 181, verso auf der Rahmenrückwand m. Etikett). Aufrufzeit: 07.12.2024 - ca. 15.29 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Vorüberziehende Schauer. 1923. Watercolor over India ink drawing. Signed lower left, dated '19. April 1923' lower right as well as titled bottom center. On Japanese paper. 25.4 x 34.3 cm (10 x 13.5 in), size of sheet. [AR]. • An exceptionally subtly nuanced, dramatic seascape from Feininger's early Bauhaus period. • In the artist's characteristic prismatic-cubist style. • The Baltic Sea beaches were the main motif of his seascapes from the early 1920s. • Exhibited early on in a solo show at the Nationalgalerie Berlin. • Family-owned for more than 60 years. Achim Moeller, Director of the Lyonel Feininger Project LLC, New York - Berlin, has confirmed the authenticity of this work, which is registered in the archive of the Lyonel Feininger Project under the number 1932-07-31-24. The work is accompanied by a certificate of authenticity. PROVENANCE: Julia Feininger, Dessau/Berlin/New York (gifted from the artist). Andreas Feininger, New York (gifted from the above, until 1962: Stuttgarter Kunstkabinett). Private collection, Southern Germany. Ever since family-owned. EXHIBITION: Lyonel Feininger, Ausstellung zum 60. Geburtstag, Nationalgalerie, Berlin, September 19, 1931 - January 31, 1932, cat. no. 68, p. 26. Lyonel Feininger, Kestner-Gesellschaft, Hanover, January 28 - March 6, 1932, cat. no. 73. LITERATURE: Willi Wolfradt, Lyonel Feininger, Junge Kunst, vol. 47, Leipzig 1924, ill. 30. Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart, May 3 and 4, 1962, 37th auction, lot 101 (illustrated on plate 181, with a label on the reverse of the frame). Called up: December 7, 2024 - ca. 15.29 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Henri Matisse 1869 Le Cateau/Nordfrankreich - 1954 Cimiez bei Nizza Odalisque, Nice 1931. 1931. Tuschfederzeichnung. Rechts unten monogrammiert. Auf Velin von Arches (mit dem Wasserzeichen 'MBM'). 28 x 38,1 cm (11 x 15 in), Blattgröße. Bis zum 26. Januar 2025 zeigt die Fondation Beyeler in Riehen/Basel die erste Henri-Matisse-Retrospektive in der Schweiz und im deutschsprachigen Raum seit fast 20 Jahren, in der auch die sinnlichen Gemälden der Nizza-Periode und der 1930er Jahre enthalten sind. [CH]. • Der Akt gehört zu den bedeutendsten Motiven im Schaffen von Henri Matisse. • Seine feinen, filigranen Zeichnungen beweisen die große Macht der Linie: Mit wenigen konturierenden Strichen erschafft Matisse eine eindrucksvolle Körperlichkeit und emotionale Stimmungshaltung. • Vergleichbare Zeichnungen aus den späten 1920er und 1930er Jahren befinden sich u. a. in den Sammlungen des Centre Pompidou, Paris, des Art Institute of Chicago, des Museum of Modern Art und des Metropolitan Museum of Art in New York. Mit einer Fotoexpertise von Wanda de Guébriant, Paris, vom 8. März 1988. Das Werk ist in den Archives Matisse unter der Nummer U 134 verzeichnet. PROVENIENZ: Nachlass des Künstlers. Privatsammlung Paris. Privatsammlung Paris (mindestens seit 1988). Privatsammlung Mailand. Privatsammlung Deutschland Privatsammlung Hessen (2014 vom Vorgenannten erworben). LITERATUR: Guy Martinot, Yves Savignat, Denis Antoine, Pontoise, 15.12.2001, Los 220 A. Aufrufzeit: 07.12.2024 - ca. 15.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONHenri Matisse 1869 Le Cateau/Nordfrankreich - 1954 Cimiez bei Nizza Odalisque, Nice 1931. 1931. Pen and India ink drawing. Monogrammed lower right. On Arches wove paper (with the watermark 'MBM'). 28 x 38.1 cm (11 x 15 in), size of sheet. Until January 26, 2025, the Fondation Beyeler in Riehen/Basel presents the first Henri Matisse retrospective in Switzerland and in the German-speaking area in almost 20 years, which also includes his sensual paintings from the Nice period and the 1930s. [CH]. • The nude is one of the most significant subjects in Henri Matisse's work. • His delicate and filigree drawings demonstrate the incredible power of the line: with just a few contouring strokes, Matisse creates a striking physicality and emotional atmosphere. • Comparable drawings from the late 1920s and 1930s can be found in the collections of the Centre Pompidou, Paris, the Art Institute of Chicago, the Museum of Modern Art, and the Metropolitan Museum of Art in New York, among others. Accompanied by a photo-certificate issued by Wanda de Guébriant, Paris, dated March 8, 1988. The work is registered in the Archives Matisse under the number U 134. PROVENANCE: Private collection, Paris. Private collection, Milan. Private collection, Germany. Private collection, Hesse (acquired from the above in 2014). LITERATURE: Guy Martinot, Yves Savignat, Denis Antoine, Pontoise, December 15, 2001, lot 220 A. Called up: December 7, 2024 - ca. 15.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Thomas Ranft. (1945 Königsee). Ohne Titel. 2001. Aquarell über Federzeichnung auf Japan. 21 x 15 cm. Signiert und datiert. In Punkten auf Unterlage montiert, im Passepartout freistehend sowie unter Glas gerahmt. - Nur vereinzelter kleiner Braunfleck. Insgesamt in sehr guter Erhaltung. Filigrane, in zartem Kolorit gehaltene Zeichnung in intimem Format. Watercolour over pen and ink drawing on Japan. Signed and dated. Spot-mounted to underlying mat, framed free-standing under glass. - Only isolated small brown stain. All in all in a very well preserved condition. Filigree, delicately coloured drawing in an intimate format.

Direkte Auktion - - Alicia Valladares. (1997 Mexico City). all my friends are bears.2022. Tinte auf transparentem Papier in transparentem Objektrahmen mit Magneten. 10 x 13 cm (15 x 20,5 cm). - Verso Plexiglas kaum sichtbar mit kleinem Kratzer. Insgesamt sehr gut. Interessante, sich überlagernde Zeichnung in rot mit raffinierter, transparenter Rahmung. \plain\f2\fs16\cf0\b Alicia Valladares\plain\f2\fs16\cf0 lebt und arbeitet in Mexiko-Stadt. Valladares künstlerisches Arbeiten basiert auf der Erforschung digitaler Wahrnehmung im Internetzeitalter: Konsum-Algorithmen von Bildern werden von Valladares systematisch hinterfragt und auf ihre stereotype, emotionale und ästhetische Struktur hin untersucht. In ihrer künstlerischen Technik bedient sie sich sowohl an klassischen Medien wie Malerei und Zeichnung und verleiht ihnen durch die Verwendung von Expoxit-Harzen eine digitale Entfremdung. In ihren Bildwelten zeigt Valladares fiktionale Schlachten in stellaren und irdischen Feldern. Vieles erinnert an die Ästhetik von pixeligen Videospielen, sozusagen an eine nostalgische Digitalität, wobei ihre Themen tief im Jetzt verwurzelt sind. all my friends are bears. 2022. ink on transparent paper in transparent object frame with magnets. - Verso plexiglass barely visible with small scratch. Overall very good. Interesting, overlapping drawing in red with refined, transparent framing. -m \plain\f2\fs16\cf0\b Alicia Valladares\plain\f2\fs16\cf0 lives and works in Mexico City. Valladares' artistic work is based on the exploration of digital perception in the internet age: Valladares systematically scrutinises the consumption algorithms of images and examines their stereotypical, emotional and aesthetic structure. In her artistic technique, she makes use of classic media such as painting and drawing and lends them a digital alienation through the use of Expoxit resins. In her visual worlds, Valladares depicts fictional battles in stellar and terrestrial fields. Much is reminiscent of the aesthetics of pixelated video games, a nostalgic digitality, so to speak, although her themes are deeply rooted in the present.

Bernard Schultze. (1915 Schneidemühl - 2005 Köln). Von Gold umstrahlt. 1981. Aquarell über Federzeichnung auf Fabriano Roma Bütten (mit Wz.). 48 x 65 cm. Signiert, datiert und bezeichnet. - Blatt technikbedingt leicht gewellt, verso leicht atelierspurig. Insgesamt sehr gut. Bewegte, feinlinige Kompositon in frischem Kolorit. Provenienz: Sammlung Werner Timm, Berlin. - Als wichtiger Vertreter des Informel zeichnen sich die Werke Schultzes durch betont spontane und gestische Ausdrucksformen sowie den Verzicht auf klare, strukturierte Kompositionen aus, um dem Betrachter eine direkte und emotionale Auseinandersetzuung mit der Kunst zu ermöglichen. - Schultzes dynamische Aquarelle, komponiert aus organischen Formen, vermitteln in Verbindung mit den prächtigen Farben, beinahe Farbexplosionen, den Eindruck ungebändigter Kreativität und spiegeln das Interesse des Künstlers an surrealen Welten wieder, in welchen er Natur und Fantasie zu chaotisch anmutenden Strukturen verschmelzen lässt. Watercolour over pen and ink drawing on Fabriano Roma laid paper (with watermark). Signed, dated and inscribed. - Sheet slightly wavy due to technique, slight studio marks on verso. Very good overall. Dynamic, fine-lined composition, the colours fresh. - Provenance: Collection Werner Timm, Berlin. - As an important protagonist of Art Informel, Schultze's works are characterized by emphatically spontaneous and gestural forms of expression and the absence of clear, structured compositions in order to enable the viewer to engage directly and emotionally with the art. - Schultze's dynamic watercolour drawings, composed of organic forms, in combination with the magnificent colours, almost colour explosions, create the impression of unbridled creativity and reflect the artist's interest in surreal worlds, in which he merges nature and fantasy into seemingly chaotic structures.

Max Neumann. (1949 Saarbrücken). o.T. (Figuren). 1990. Mischtechnik mit Aquarell und Gouache über Federzeichnung. 87 x 59 cm. Signiert und datiert "März 1990". Verso mit weiterer Federzeichnung - Rückseitig etw. atelierspurig, im oberen Rand mit punktuellen Spuren vorheriger Montierung, technikbedingt leicht gewellt, untere rechte Ecke minimal knickspurig. Insgesamt gut. Großformatige, ausdrucksstarke Zeichnung, das Kolorit frisch. Die stark abstrahierte und auf wesentliche Linien und Flächen reduzierte menschliche Figur ist ein charakteristisches Motiv im Werk von Max Neumann. Die anonymisierten, beinahe schemenhaften Darstellungen von Körpern erzeugen eine intensive, aber auch rätselhafte Atmosphäre. Die gezeigte, überlängte Figur scheint mit den dünnen Konturen und dem transparenten Kolorit in ihrer Anonymität versinken zu wollen, die zentrale Platzierung sowie die Präsentation auf einer Art Sockel sorgen in Verbindung mit der kräftigen roten Farbfläche für eine visuelle Unterbrechnung und fesseln den Blick des Betrachters an die rätselhafte Erscheinung. Mixed media with watercolour and gouache over pen and ink drawing. Signed and dated 'März 1990'. Verso with further pen and ink drawing - Some studio marks and traces of previous mounting in the upper margin on the reverse, slightly wavy due to the technique, lower right corner minimally creased. Good overall. Expressive drawing in large format, the colours appearing fresh.

antique Japanese drawing in ink on rice paper with two figures and a dog where the background mountains are filled in with a storyAntieke Japanse inkttekening op rijstpapier met de voorstelling van en hond en twee figuren met als achtergrond en verhaal in de vorm van de bergen die in de achtergrond liggen - 26 x 34

Sambo Sermon, an early 19th century ink drawing and inscription, framed and glazed, the reverse of the frame inscribed 'drawings and paintings from Victorian Scrap Book 1820's-1850's paper water marks 1823-1830'. 15 x 17.5 cm.

SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859-1930) A HIGHLAND FUNERAL Signed and dated '82, pen and ink and bodycolour 22.5cm x 35.5cm (9in x 14in) This sketch may well be a preparatory drawing for one of Guthrie's most celebrated paintings ‘A Funeral Service in the Highlands’ (1882) in the collection of Kelvingrove Art Gallery and Museum, Glasgow (1060).

* HANNAH FRANK (SCOTTISH 1908 - 2008), THE TALE WAS WILD AND DREAR pen and ink on paper, signed and dated 1927mounted, framed and under glassimage size 41cm x 31cm, overall size 68cm x 56cmComment: This is the original pen & ink artwork by Hannah Frank. Provenance: Private collection, Edinburgh.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).The most recent original pen and ink drawing we've sold was lot 153 9th May 2024 which sold for £2600 (hammer).

§ A finely bound sketch book, circa 1997-1998, containing seven signed ink drawings. One drawing by each of the following artists Mary Fedden (1), Eric Atkinson (1), David Lewis (1), Michael Kenny (1), Derek Hyatt (1), Ansel Krut (1) and one further indistinctly signed sketch, each page size 21 x 26cm. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of £1,000 GBP, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information. Condition Report: Very good

A striking original drawing by Spanish contemporary post conceptual artist Robert Molla, titled Barbadillo en Minowa 5, created using sumi ink, graphite, and gouache on cream-colored graph paper. It depicts a geisha holding a teapot, her face obscured by a deep red oval, as she listens to a conversation between two Manga characters partially hidden behind a shoji door, while artwork by Manuel Barbadillo appears in the middle, to whom Molla pays homage. This work draws inspiration from Japanese floating world iconography and ukiyo-e woodcuts, while the use of graph paper pays tribute to the 1960's and 70's artists whose work incorporated the grid, exploring both its freedoms and constraints. Artist signature, date, and title on lower right. Housed in a wooden shadowbox with a white background. Artwork dimensions: 15.5"L x 11.75"H. Frame dimensions: 18.75"L x 1.75"W x 14.75"H. Artwork can be unframed and rolled for shipment. Artist: Roberto Molla (Spanish, b. 1966)Issued: 2008Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.

One of a kind watercolor and black ink drawing on paper glued on board by American Abstract Expressionist Betty Parsons. Sent by the artist to the Truman Gallery, New York. Artist: Betty Bierne Parsons (American, 1900-1982)Issued: c. 1970Dimensions: 4"L x 6"HCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2000. Condition: Good condition.

Set of two miniature mixed media miniatures by Miami-based recording artist Dino Felipe who works with a variety of genres and creates most of his own album covers. The set includes an original ink drawing with a list of words on verso, and one polaroid photograph of buttocks with a phone number and words. Each is set on a small canvas board ready for hanging. Signature and date on each artwork: Dino 06, and Dino Felipe 2002. Each artwork dimensions: 4"L x 5"H. Artist: Dino Felipe (Cuban/American b. 1978)Issued: 2002 and 2006Dimensions: See DescriptionCountry of Origin: Cuba/United StatesCondition: Age related wear.

Original Surrealist ink and color markers drawing on paper depicting a deformed head with teeth hanging along the side and a ruler pushed through the face. Made by Miami-based recording artist Dino Felipe who works with a variety of media and creates most of his own album covers. Signature and date on lower right: Dino 2003. Housed in a wooden frame. Artwork dimensions: 9.5"L x 7.75"H. Frame dimensions: 11.5"L x 0.75"W x 9.5"H. Artist: Dino Felipe (Cuban/American b. 1978)Issued: 2003Dimensions: See DescriptionCondition: Age related wear.

Glimmering Perfect Are The Non Releavant (sic) Super Structures is an original drawing made with color silkscreen ink applied on paper by American Abstract Graphic style artist Mark Price. He depicts a dystopian machine with outstretched arms, mirrors, mechanical parts, and flames shooting out from the techno-human entity. Signature, title and date on verso (hidden by frame): Mark Price 2009 Glimmering Perfect Are The Non Releavant (sic) Super Structures. Housed in a white wooden frame. Artwork dimensions: 38"L x 25"H. Frame dimensions: 41"L x 29"H x 1.25"W. Artist: Mark Price (American 20th-21st century)Issued: 2009Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

An alluring original drawing by Spanish contemporary post conceptual artist Robert Molla, titled Barbadillo en Minowa 3, created using sumi ink, graphite, and gouache on cream-colored graph paper. It depicts an explicit scene in a brothel, with a mysterious Manga character partially hidden as a voyeur behind a door. An artwork by Manuel Barbadillo appears in the upper right corner, to whom Molla pays homage. This work draws inspiration from Japanese floating world iconography and ukiyo-e woodblock prints, while the use of graph paper pays tribute to the 1960's and 70's artist's whose work incorporated the grid, exploring both its freedoms and constraints. Artist signature, date, and title on lower right. Housed in a wooden shadowbox with a white background. Artwork dimensions: 15.5"L x 11.75"H. Frame dimensions: 18.75"L x 1.75"W x 14.75"H. Artwork can be unframed and rolled for shipment. Artist: Roberto Molla (Spanish, b. 1966)Issued: 2008Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.

Hyped Display of Sick Mirrors is an original drawing made with color silkscreen ink applied on paper by American Abstract Graphic style artist Mark Price. He applies shades of baby and fluorescent pinks, silver, ocher and light yellows onto black contours to form a dystopia. Faceless torsos with humanoid arms that hold mirrors emerge out of tubular weapons shooting blobs of flames that result in a tense merging between technology and humans. Signature, title and date on verso (hidden by frame): Mark Price 2009 Hyped Display of Sick Mirrors. Housed in a white wooden frame. Artwork dimensions: 22"L x 29"H. Frame dimensions: 25.50"L x 33.25"H x 1.25"W. Artist: Mark Price (American 20th-21st century)Issued: 2009Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

PABLO PICASSO (1881-1973)Le peintre et son modèle signé et daté '21.5.70 Picasso' (en haut à droite) ; daté '21.5.70' (au revers)plume et encre sur cartonExécuté le 21 mai 1970signed and dated '21.5.70 Picasso' (upper right) ; dated '21.5.70' (on reverse)pen and ink on paperExecuted on May 21st 197027.8 x 21.9 cm. 10 15/16 x 8 5/8 in.Footnotes:ProvenanceSala Gaspar, Barcelone.Collection partculière, France (acquis en 1971).Collection partculière, Paris (par descendance). ExpositionBarcelone, Sala Gaspar, Picasso pintura dibujo, no. 16 (illustré np.).BibliographieC. Zervos, Pablo Picasso, Vol. 32, Oeuvres de 1970, Paris, 1977, no. 77 (illustré p. 34).Le Peintre et son modèle de Pablo Picasso, réalisé en 1970, est une œuvre qui illustre parfaitement l'obsession de l'artiste pour la relation entre le créateur et sa muse. Dans ce dessin, Picasso utilise des formes géométriques et des plans différents pour exprimer la dynamique entre le peintre et sa muse.Le personnage du peintre, souvent interprété comme un reflet de lui-même, se tient à droite du dessin, tandis que le modèle, figure féminine prédominante, à gauche, est à la fois l'objet de son regard et une partie intégrante de son processus créatif. Les traits arrondis et triangulaires et les perspectives déformées du modèle soulignent la complexité de la relation artistique.Picasso utilise un contraste stylistique entre les traits du peintre, dessiné de façon plus classique, et ceux du modèle, dans lesquels on reconnaît la touche cubiste, avec des formes disproportionnées, inversées ou déséquilibrées. Le modèle se cache le visage à l'approche du pinceau vers son buste. Son œil et son sourire, timides et amusés, transparaissent entre ses mains, créant un décalage avec le visage sérieux et concentré du peintre. Seules les mains de ce dernier s'agrandissent de façon disproportionnée lorsqu'elles s'approchent du modèle.Ce dessin évoque également les thèmes de l'intimité et de la vulnérabilité. La femme, bien que représentée de manière stylisée, semble à la fois exposée et puissante, mettant en lumière le contraste entre l'artiste et son sujet. En choisissant des lignes audacieuses, Picasso capte l'énergie et la passion qui animent cette interaction.En somme, Le Peintre et son modèle est une réflexion sur le processus créatif, la perception et la connexion entre l'artiste et son sujet, un thème cher à Picasso tout au long de sa carrière.Pablo Picasso's Le Peintre et son modèle created in 1970, is a work that perfectly illustrates the artist's obsession with the relationship between the creator and his muse. In this drawing, Picasso uses geometric shapes and different planes to express the dynamic between the painter and his muse.The painter's figure, often interpreted as a reflection of himself, stands on the right of the drawing, while the model, a predominantly female figure, on the left, is both the object of his gaze and an integral part of his creative process. The model's rounded, triangular features and distorted perspective underline the complexity of the artistic relationship.Picasso used a stylistic contrast between the painter's features, drawn in a more classical manner, and those of the model, in which we can recognise the Cubist touch, with disproportionate, inverted or unbalanced shapes. The model hides her face as the brush approaches her bust. Her eyes and smile, shy and amused, show through her hands, creating a discrepancy with the painter's serious, concentrated face. Only the painter's hands grow disproportionately large as they approach the model.The drawing also evokes themes of intimacy and vulnerability. The woman, though depicted in a stylised way, seems both exposed and powerful, highlighting the contrast between the artist and her subject. By choosing bold lines, Picasso captures the energy and passion that drive this interaction.In sum, The Painter and His Model is a reflection on the creative process, perception and the connection between artist and subject, a theme dear to Picasso throughout his career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

THEOPHILE ALEXANDRE STEINLEN (1859-1923)Sur le boul'vard signé 'Steinlen' (en bas à droite)crayon de couleur, gouache et encre sur papier signed 'Steinlen' (lower right)coloured crayon, gouache and ink on paper42.4 x 24.1 cm.16 11/16 x 9 1/2 in.Footnotes:Nous remercions Mesdames Claude Orset et Elisabeth Maréchaux Laurentin de nous avoir confirmé que ce dessin figurait dans les archives Steinlen en vue de la publication du catalogue raisonné de l'oeuvre de Théophile Alexandre Steinlen. We would like to thank Claude Orset and Elisabeth Maréchaux Laurentin for confirming that this drawing was in the Steinlen archives with a view to the publication of the catalogue raisonné of the work of Théophile Alexandre Steinlen. ProvenanceCollection Dr. Sali Guggenheim, Suisse.Kunsthandel Ivo Bouwman, La Haye.Collection John et Johanna Meulkens, Pays-Bas (acquis auprès de celle-ci en novembre 1995).ExpositionLa Haye, Ivo Bouwman, 20 drawings for Gil Blas illustré 1892-1895, 3 novembre - 19 novembre 1995 no. 17 (illustré) ; (puis a voyagé à Londres, Stoppenbach & Delestre). A servi d'illustration pour une chanson écrite par A. Cellarius et mise en musique par Felix Chaudoir. Cette oeuvre est accompagnée d'une lithographie (37 x 25 cm.) tiré du journal Gil Blas. Used as an illustration for a song written by A. Cellarius and set to music by Felix Chaudoir. This work is accompanied by a lithographe (37 x 25 cm.) from Gil Blas magazine.For further information on this lot please visit Bonhams.com

Pierre Bonnard (French 1867-1947)Reclining female nudePen and ink on Théâtre des Pantins letter paper20.1 x 13.3cmProvenance:Kyra Gerard and Alfred Ayrton;JPL Fine Arts, London;Sotheby's, New York, Impressionist and Modern Art, 9 October 1996, lot 57;The Collection of Michael and Henrietta GoughExhibited:New York, The American Federation of Arts, Bonnard: Drawings from 1893-1946, 1972-1974, no.6;Geneva, Museé d'art et d'histoire, Dessins de Pierre Bonnard, April-September 1976;London, Arts Council of Great Britain, Drawing by Bonnard, 1984-1985, no.6

SIR STANLEY SPENCER: (British, 1891 - 1959): A framed and glazed ink drawing on paper entitled 'Woman with Fennel' depicting a woman holding fennel. Labelled verso. Provenance Bernard Jacobson Gallery. NOEL CHANAN COLLECTION. Approx. 17 cms x 20 cms (ss). PROVENANCE: NOEL CHANAN. Est. £800 - £1200.

SECOND WORLD WAR DISTINGUISHED SERVICE CROSS GROUPING. Second World War Distinguished Service Cross grouping, D.S.C. hallmarked London, 1942, stamped 'S.G.' for Garrard & Co Ltd, London, engraved '1941' to the reverse, 1939-1945 Star, Africa Star, 1939-1945 British War Medal, Naval general Service Medal (1918) (LIEUT. G.D NUTT D.S.C. R.N.), Geoffrey Dyson Nutt was born on 3rd July 1916 at Cleethorpes, Lincolnshire, he attended Hymers College in the East Riding of Yorkshire, on leaving he obtained his civilian Flying License with Hull Aero Club, he joined the Territorial Army as an officer being granted his commission in 1934, he later went on to join the Royal Navy in the Fleet Air Arm in 1938 and obtained his commission as Sub Lieutenant in 1940, trained as an Observer he served on the Aircraft Carrier HMS Glorious with 812 NAS (Naval Air Squadron), leaving the ship a few weeks before she was sunk with a huge loss in lives to join 767 NAS, a training squadron, he served with 767 Sqn. near Toulon in the South of France where it took on operational duties including a bombing raid on Genoa in Italy, with the fall of France the squadron evacuated to Algeria and was split, one part, including Nutt, going to Malta where it formed 830 NAS based at St. Angelo, the squadron carried out torpedo attacks on Italian merchant shipping and Italian Navy vessels, and bombing raids on port installations in Sicily and Libya, it was during one of these raids that the Swordfish aircraft on which Nutt was the Observer, was shot down at Zwara near Tripoli on 6th May 1941, he was captured, unwounded, along with the pilot Lt. N.K. Campbell, the Air Gunner, P.O. William Gracie Tennant died of wounds, a newspaper article at the time reads in part, '.. his parents have just received a letter from him in which he says his plane came down in the Mediterranean and after swimming and floating for some time he was washed ashore on a rocky part of the coast. He managed to escape without a scratch however, being protected from the rocks by his bulky flying kit. The Pilot was picked up the next morning little the worse, but the Air gunner was dead when found. Lieut. Nutt states that he was kindly treated when found by Italian soldiers..', Nutt was awarded the D.S.C. in the Birthday Honours List, London Gazette 1st July 1941, page 3745, his Prisoner of War Questionnaire filled out after he was liberated shows is POW number as 3292, after capture he was incarcerated at Camp 17, Rezzanello, Italy between 7/41-4/42, Camp 35 at Padula 4/42-7/43, Camp 19 at Bologna 7/43-9/43, Milag (Marine-Internierten Lager- Naval Internment Camp) & Marlag (Marinelager- Naval POW Camp), Marlag (O) Westertimke, Germany 10/43-4/45, Oflag 10c Lubeck 4/45-2/5/45, it also shows he was interrogated for two days at Tripoli after capture and that he made several escape attempts, 'Escaped with a large number of other officers at 0430 9th September 1943 when the Germans took over the camp at Bologna, Italy. The Italians after some hesitation opened a gate at the rear of the camp. I was recaptured in a wood at 1030 the same day.On 26th May 1944 I hid in one of a number of large cupboards which were being transported from my camp in Germany by lorry. Lorry searched at main gate and I was discovered. Two months previously I helped to construct a tunnel which fell in on reaching a trench which had been dug by the Germans around the camp.', after the war Nutt was offered the chance to remain on the active list in the Royal Navy which he accepted, serving on until 1958 with the Communications Branch, he married in 1950 and passed away in 2003, also with ephemera including, Kings Letter on Buckingham Palace headed notepaper forwarding his award (D.S.C.) to him, with facsimile signature of King George VI, Air Ministry Certificate of Competency and License to Fly Private Flying Machines to Geoffrey Dyson Nutt dated 6.2.1936, Aviation Certificate number 13551 to Geoffrey Dyson Nutt issued by Royal Aero Club, 119 Piccadilly, London, dated 26.5.1936, Territorial Army Officers Commission to 2nd Lieutenant Geoffrey Dyson Nutt, East Riding Heavy Brigade, Royal Artillery with facsimile signature of King George V, dated 9th August 1934, Royal Navy Officers Commission as Sub Lieutenant to Geoffrey Dyson Nutt, dated 15th June 1940 with seniority shown as 4th July 1939, with facsimile signature of King George VI, Watch Keepers Certificate to Lt. Nutt from Captain, HMS Victorious dated 8.6.1946, letter (torn in to 4 pieces) from Honours & Awards Branch, Admiralty, dated 19.6.1946 informing Nutt that his D.S.C. together with Kings letter was forwarded to HMS Victorious on 8th May 1946, letter from Admiralty to Nutt re decision to accept retention on Active List in R.N. dated 15.8.1946, letter from Admiralty acknowledging Nutts marriage dated 20.11.1950, CV to Lt. Cdr G.D. Nutt with summery of qualifications and experience, letter of appreciation to Nutt from Officer Commanding Communications Branch on his retirement dated 3.6.1958, quantity of pre and post WW2 Commanding Officers annual report slips, hand written notes, stapled together, listing courses and ships drafts in R.N. sea time, correspondence between Nutt and Admiralty, etc from 4th July 1938, letter from HMS Centurion re confirmation of entitlement to WW2 campaign medalsBaptism Card to Geoffrey Dyson Nutt dated 5th August 1916, University of London GSE (General School Examination) Certificate for six subjects to G.D. Nutt dated July 1933, University of London Matriculation Certificate to G.D. Nutt dated January 1935, reference letter for Nutt from the Headmaster, Hymers College, Hull dated 22.3.33, song sheet-the Hymers College School Song, ink and watercolour drawing of the Hymers College school crest signed 'G.D. Nutt, February 1st 1929', Confirmation Certificate to Geoffrey Dyson Nutt dated 30.3.1933, etc, (qty).

† SCHOLA S ZACCARIA; a signed print and ink drawing, figures in masquerade, signed, and a signed limited edition print, 64/500, signed, largest 61 x 45cm, both framed and glazed (2).

Frederick William Fairholt (c.1813-1866) The Roman Wall near Housesteads, Northumberland, ink sketch, 10.5 x 17.5 cm, frame, 27 x 27 cm, together with another drawing of The Court House in Carlisle, by the same hand (2), also Joseph Yelverton Dawbarn (1856-1943) Sheep in Winter, signed lower left, watercolour, 8 x 10 cm, frame 24 x 26 cm (total 3)

Circle of Edward Lear (British, 1812-1888) Hoopoe birdsbears signature lower left 'Edward Lear'pencil and ink 20 x 15cmThis present composition appears in printed form in Charles Knight's 'Museum of Animated Nature', circa 1860.In overall good condition. There are no visible signs of foxing or spotting. The drawing has been produced on a blue prepared paper, however, where the paper has been in contact with the mount, the paper has discoloured from this quite heavily. There is a diagonal crease in the lower left corner. The signature is in pencil and is rather faint. There are no visible signs of tears or rips. Unexamined out of the frameFrame size: 43cm x 37.5cm

A Sri Lankan batik picture of an elephant (97cm x 75cm overall), together with two maps (North East Africa & Arabia from a Bartholomew Atlas) and an ink and watercolour drawing of Preston Public Hall, all framed and glazed.

Dijkstra, Johannes (Johan) (Groningen 1896-1978) "Seated female nude", signed with studio stamp r.o, ink drawing/paper, h 63 x w 40 cm.

Henry Bone R.A. (British, 1755-1834)John Hope Esq (1737-1784), profile to the left, wearing black coat, white lace cravat and stock, his powdered hair worn en queue and tied with black ribbon. Enamel on copper, signed, dated and inscribed on the counter-enamel, John Hope Esq. London June 1811. Painted by Hy Bone R.A./ Enamel Painter to His Majesty the Prince Regent, after a miniature, gilt-metal laurel leaf mount. Oval, 73mm (2 7/8in) highFootnotes:Provenance:Chiswick Auctions, 20 March 2018, lot 65Bone's preparatory drawing, squared in ink for transfer and inscribed Mr J Hope 1811, is in the collection of the National Portrait Gallery (NPG D17672).John Hope, also known as Jan Hope, was a wealthy Dutch banker, participating in Hope & Co., a member of the city council and an art collector. In 1770 he was appointed as manager of the Dutch East India Company. He is also known for his Groenendaal Park in Heemstede, where he summered on his estate. Shortly before he died he bought the nearby estate of Bosbeek, which became one of the first examples of a large garden in the 'English Style' in the Netherlands.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (1755-1834)Murrough O'Brien, 1st Marquess of Thomond KP, PC (1726-1808), 5th Earl of Inchiquin (1777-1800), wearing purple coat, white waistcoat, pale blue sash and breast star of the Order of Saint Patrick, white chemise, stock and frilled cravat, his hair powdered. Enamel on copper, Inscribed 'The Most Noble the 1st Marquess Thomond / London Jan 1808 / Painted by Henry Bone ARA / (illegible text) to H.R.H Prince of Wales after Hoppen R.A.', gilded composition frame . Oval, 135mm (5 5/16in) highFootnotes:Provenance:Brightwells, Leominster, 30 January, 2003.Another undated version of the present lot was sold Bonhams, Oxford, 13 March 2013, lot 325.Bone's preparatory drawing, squared in ink for transfer and inscribed Marquis of Thomond 1808 July 1 , is in the collection of the National Portrait Gallery (inv. NPG D17279).Murrough O'Brien joined the Grenadier Guards and was an officer in Germany, where he carried colours at the Battle of Lauffeld in 1747. He retired in 1756 and entered the Irish House of Commons for County Clare in the following year. Because of his support for the Act of Union of Great Britain and Ireland, in 1800 he was created Marquess of Thomond and in 1802, Baron Thomond, of Taplow Court in the County of Buckingham. He had a close relationship with King George III. In 1783 he was one of the Founding Knights of the Order of St Patrick. He was also a drinker, called a ''six bottle man', and a gambler.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com