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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.

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)

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).

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

Henry Bone R.A. (British, 1755-1834)Lady Elizabeth Berkeley née Carey (1576-1635), holding a fan and wearing a black velvet dress with white lace ruff and cuffs, pearls at her neck, three long strands of jewelled linking and a jewelled badge at her shoulder. Enamel on copper, gilt-wood frame, the reverse inscribed (presumably a transcript of the inscription on the counter-enamel) Elizabeth Carey - afterwards/ Lady Berkley/ Painted by Henry Bone R.A./ Enamel=painter to His Majesty/ and Enamel painter to His R.H./ the Duke of York &c &c after/ the Original in the possession/ of the Rt. Honble Countess Berkeley/ Berkeley House/ London/ Jany 1826/ No.15 Berners St./ London. Rectangular, 180mm (7 1/16in) highFootnotes:Provenance:The Collection of Lady Lanesborough, previously at Swithland Hall, Leicestershire Lyon & Turnbull, 14 January 2015, Lot 24Bone's preparatory drawing, squared in ink for transfer, and inscribed From Lady Berkeley Daughter of Lord Hunsdon/ from Berkeley House 1825, is in the collection of the National Portrait Gallery (NPG D17152). The portrait derives from an oil portrait after Marcus Gheeraerts at Berkeley Castle.Elizabeth Carey was the only child of George Carey, 2nd Baron Hunsdon and Elizabeth Spencer. She was a courtier and patroness of the Arts. She married Sir Thomas Berkeley in 1596, aged 19. Her family were patrons of Shakespeare's theatre company, and her wedding has been put forward as one of the possible occasions when A Midsummer Night's Dream was performed for the first time in public. The couple had a daughter, Theophila Berkeley (1596–1643) and a son, George Berkeley, 8th Baron Berkeley (1601-1658). Like her mother, Elizabeth was a highly educated woman and patron of the arts. Due to her husband's financial irresponsibility she took over responsibility for the management of their household. When Sir Thomas died aged 37 in 1611, Elizabeth paid off his many outstanding debts. In 1622, she married secondly, Sir Thomas Chamberlain, a Justice of the King's Bench.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. (British, 1755-1834)Baroness Anne Hunsdon née Morgan (circa 1529-1607), holding a fan of feathers, wearing a large white ruff and black dress embellished with the roses of the Carey coat of arms, slashed at the bodice and sleeves to reveal white, her thumb looped through her long strands of pearls, her red hair upswept beneath a delicate pearl headdress and finished with pearl and ruby jewels. Enamel on copper, inscribed on the counter-enamel Lady H, a handwritten label (possibly concealing a further inscription), reads Lady Hudson/ by H. Bone/ From/ the Collection of/ John Swaby Esqr, unframed. Rectangular, 214mm (8 7/16in) highFootnotes:Bone's preparatory drawing, squared in ink for transfer and inscribed Lady Hunsdon - wife of Henry Carey/ Lord Hunsdon -/ Margt - Salisbury, From Hatfield = House, is in the collection of the National Portrait Gallery (inv. NPG D17151). The original portrait was painted by a follower of George Gower and is displayed at Hatfield House.In 1545, Anne married Henry Carey (1526-1596), son of Sir William Carey and Mary Boleyn, the elder sister of Queen Consort Anne Boleyn. As Carey's mother had once been the mistress of King Henry VIII, there were many at court who speculated that he was in fact, the King's illegitimate son.Carey was created Baron Hunsdon on 13 January 1559 and Anne was styled Baroness Hunsdon. Following her elevation to the rank of a peer's wife, Anne was appointed a Lady of the Privy Chamber to Queen Elizabeth I, who was also her husband's first cousin and held the couple in high regard. When Henry died Elizabeth I paid for his funeral expenses and gave Anne a gift of £400 in addition to an annual pension of £200 from the Exchequer. Shortly before Henry's death, Elizabeth appointed Anne to the office of Keeper of Somerset House, a royal residence where the Queen had lived prior to her accession to the throne. Anne held the post for the remainder of her life. She is buried in Westminster Abbey.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. (British, 1755-1834)Robert, 4th Earl of Buckinghamshire (1760-1816), seated in a red upholstered chair, wearing brown coat with silver buttons, white waistcoat and black breeches, his right hand resting on letters addressed to Lord Hobart. Enamel on copper, signed on the obverse HBone., signed, dated and inscribed on the counter-enamel Lord Hobart. Painted by Henry Bone Sep.r 1800 Enamel Painter to H. R. H. the Prince of Wales, after John Hoppner RA Portrait Painter to H. R. H. the Prince of Wales., gilt-wood and plaster frame with foliate corners, the inside of the wood frame with trade card 'Mr Bone Hanover Street. [.....] Square'. Rectangular, 142mm (5 9/16in) highFootnotes:Provenance:Sarah, Countess of Ripon and by direct descent to Bertie Gordon (in 1867)Katherine Gordon, widow of the latterBertie Gordon's nephew, Arthur Gordon of Ellon Castle (in 1901)Christie's, London, 7 December 2004, lot 120 The sitter entered the Army in 1776 and served in the American war. He was lord-lieutenant of Ireland in 1784 and was elected M. P. for Portarlington and for Armagh in the Irish Parliament and for Bramber and Lincoln in the English Parliament. In 1793, Hobart resigned his secretaryship and was made an English privy councillor and in October was appointed governor of the Presidency of Madras in 1794. In 1798, he was called to the House of Lords as Baron Hobart of Blicking and in 1801 was made Secretary of State for War and the Colonies 1801-1804. Hobart, the capital of Tasmania is named after him. In 1804, he succeeded his father in the peerage and joined Pitt's administration as chancellor of the Duchy of Lancaster and was joint Post Master General from 1806-1807. He married Margaretta, widow of Thomas Adderley of Innishannon and had a daughter, Sarah Albinia (d. 1867) who married 1st Earl of Ripon. He married secondly, Eleanor Agnes, daughter of 1st Baron Auckland.The original portrait by John Hoppner is on loan to the National Gallery, no. 3892.Bone's preparatory drawing, squared in ink for transfer and inscribed Lord Hobart after Hoppner 1800 is in the collection of the National Portrait Gallery (NPG D17274).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. (British, 1755-1834)A pair of enamels: Henry Hope (1736-1811), in double-breasted navy jacket with black tabbed lapel, yellow stand-collar waistcoat, white frilled cravat, powdered hair; together with his niece and heiress, Ann Goddard Hope (1763-1820), in white muslin wrap-front dress with classically-inspired shoulder loops, white double-frilled collar, a sheer white turban in her dark brown hair. Enamel on copper, both signed on the obverse HBone and inscribed, signed and dated on the counter-enamels Henry Hope Esq. Henry Bone pinx.t Oct.r 1802. and 'M.rs Williams Hope Henry Bone pinx.t Dec.r 1802., respectively, gilt-mounted rectangular black frames. Oval, 56mm (2 3/16in) high (2)Footnotes:Provenance:Helfried Krug Collection, Mülheim, nos. 57 and 58, by 1972 until 1993;Lempertz, Cologne, 13 May 1993, lot 172;Christie's, London, 9 December 2008, lot 29Exhibited:Freunde des Museums sammeln, Museum Folkwang, Essen, 1972, nos. 148 and 149.Literature:Walker, R.Henry Bone's Pencil Drawings in the National Portrait Gallery, The Walpole Society, LXI, 1999, p. 330, no. 269Bone's preparatory drawing for the enamel of Anne, squared in ink for transfer and inscribed Mrs Williams Hope 1803, is in the collection of the National Portrait Gallery (inv. NPG D17328).Henry Hope, born in Boston, Mass., was, together with his first cousin John Hope and Thomas and Adrian Hope, director of the renowned banking house Hope & Co. John Williams (1757-1839), a young clerk from Cornwall joined the firm and married Anne Goddard, the younger daughter of Henry Hope's sister Henrietta, in 1782. Thus John Williams became a partner in the bank and added the name Hope to his own. The Hope family were important patrons of Henry Bone (see R. Walker, op. cit., pp. 330-331, nos. 268-286) and several versions of the present enamels are recorded (he: The Metropolitan Museum, New York (accession number: 24.80.521); Phillips, London, 11 December 1985, lot 332; Phillips, London, 8 July 1997, lot 172; she: Sotheby's, London, 6 June 1996, lot 135; Bonhams, London, 22 April 1998, lot 135). For a version of 1804, see exhibition catalogue Thomas Hope: Regency Designer, The Bard Graduate Center, New York, and Victoria & Albert Museum, London, 2008, no. 6, colour ill. p. 273. This exhibition catalogue (p. 6, fig. 1-2) features a large scale family portrait by Benjamin West, also of 1802, depicting Henry Hope, his sister Henrietta, his heir Anne and John Williams Hope with their five children.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. (British, 1755-1834)An Officer, called Captain James Poole Oates, wearing scarlet uniform with silver epaulettes and white standing collar, a white sword belt with silver badge across his chest. Enamel on copper, signed on the obverse HBone, gilded frame, the reverse glazed to reveal locks of hair decorated with gold wire and seed pearls on opalescent glass. Oval, 77mm (3 1/16in) highFootnotes:Henry Bone's rectangular preparatory drawing of the full portrait, squared in ink for transfer and with the oval of the final enamel visible, is inscribed Capn Oates, is in the collection of the National Portrait Gallery (NPG D17770). The gallery record suggests that the sitter is a Mark Oates, a Captain in the Royal Marines and that the original portrait was by John Opie. It is not recorded where the identification of the sitter as Captain James Poole Oates derives from, but there an officer of this name, born, 17 Mar 1766 is recorded as having served in the military in the East Indies.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. (British, 1755-1834)Elizabeth Fiennes de Clinton (née Lady Elizabeth Fitzgerald), Countess of Lincoln (c.1528-1589), wearing elaborately embroidered black and red dress with sleeves slashed to reveal white and gold, gold chain necklaces, black jewelled cross at her throat, ruff and embroidered red cap in her hair. Enamel on copper, signed, dated and inscribed on the counter-enamel The Fair Geraldine./ Lady Elizabeth Fitzgerald, Daughter of/ the Earl of Kildare, & third Wife of/ the Lord High Admiral the Earl/ of Lincoln/ London May 1819. July/ Painted by Henry Bone R.A./ Enamel Painter in Ordinary/ to His Majesty, & Enamel painter/ to His Royal Highness The/ Prince Regent after the Original/ in Gallery of His Grace The Duke/ of Bedford - Woburn Abbey/ Bedfordshire, gilded composition frame. Rectangular, 129mm (5 1/16in) highFootnotes:Elizabeth Fiennes de Clinton, née Lady Elizabeth Fitzgerald, was born into the prominent Fitzgerald family. Elizabeth entered Princess Elizabeth's household in 1539, possibly as a maid of honour but ostensibly to be raised alongside her cousin. She was only 9 or 10 years old at the time while the princess was about 6-years-old. While in the princess's household, Elizabeth made an impression, it seems, particularly on Henry Howard, Earl of Surrey, who wrote a sonnet, From Tuscan cam my ladies worthi race in praise of her as his Fair Geraldine. In 1580, she married Edward Fiennes de Clinton, the 2nd Earl of Lincoln, thus becoming the Countess of Lincoln. Bone's preparatory drawing, squared in ink for transfer and inscribed Countess of Lincoln (the fair Geraldine)/ after the original in the Collection/ of H. G the Duke of Bedford Woburn/ Abbey Nov.r 1818 is in the collection of the National Portrait Gallery (no. NPG D17178). The prototype for the present lot is in the collection of the National Gallery of Ireland (NGI.1195).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)Edmund Ludlow Esq, wearing blue coat over white waistcoat, stock and cravat. Enamel on copper, signed, dated and inscribed on the counter-enamel Edmund Ludlow Esq/ Painted by Henry Bone ARA/ Enamel painter to His RH/ the Prince of Wales after/ John Opie RA/ July 1804, ormolu slip and rectangular gilt-metal mount. Oval, 83mm (3 1/4in) highFootnotes:Provenance: Private Collection, SwitzerlandKoller Auctions, 28 March 2019, lot 1166Bone's preparatory drawing, squared in ink for transfer and inscribed after Opie Mr Edmund Ludlow/ 1804, is in the collection of the National Portrait Gallery (NPG D17597).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. (British, 1755-1834)Princess Sophia Matilda of Gloucester (1773-1884) seated before a red curtain wearing a white dress with ruff collar, and pearl waistband, she wears pearl choker and several strands of pearls in her brown upswept hair. Enamel on copper, signed on the obverse, signed, dated and inscribed on the counter-enamel Her Royal Highness The/Princess Sophia of Gloucester./London March 1803/Painted by Henry Bone, A.R.A.,/Enamel Painter to HRH The/Prince of Wales. After a/ Picture/ by Sir William Beechey, portrait/Painter to her majesty, original ormolu frame surmounted with crown, the border with raised laurel leaves. Rectangular, 140mm (5 1/2in) highFootnotes:Provenance:Bonhams, London, 22 April 1998, lot 141Bone's preparatory drawing, squared in ink for transfer and inscribed Princess Sophia Matilda of Gloucester/ After Beechey 1801, is in the collection of the National Portrait Gallery (inv. NPG D17282).Princess Sophia Matilda of Gloucester was the niece of George III, daughter of his brother Prince William Henry, Duke of Gloucester, and Maria, Countess Dowager of Waldegrave. Sophia was considered as a potential bride for her first cousin Prince William, Duke of Clarence and St Andrews (who later ruled as King William IV), but she expressed no enthusiasm for the match and remained unmarried.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. (British, 1755-1834)Francis Beaumont (1584-1616), dramatist in the English Renaissance theatre, wearing black silk robe over purple doublet and white lace collar, his left hand on his hip, his right hand outstretched with two fingers bent. Enamel on copper, signed on the obverse HBone, signed, dated and inscribed on the counter-enamel Francis Beaumont - Dramatic Poet/ Born at Grace Dieu in Leicestershire/ an Ancient Seat of the Family in 1585/ or 1586 - Died March 1615-/ Educated at Cambridge-/ Admitted a Student in the Inner Temple/ The inseperable [sic] companion of Fletcher/ Their joint Plays were published in 10 Vols/ His sole Works - The Masque od the Inner/ Temple & Grays Inn - A Poem the Herma-/ =phrodite - a Poetical Epistle to Ben Jonson/ Verse to his friend Master John Fletcher/ and other Poems./ London Feby 1816/ Painted by Henry Bone R.A. Enamel painter/ in Ordinary to His Majesty & Enamel painter/ To H.R.H. the Prince Regent after the/ Original in the Collection of his Grace/ the Duke of Dorset/ Knole - Kent, gilded composition frame. Rectangular, 18mm (11/16in) highFootnotes:Provenance:Purchased in January 1995Bone's preparatory drawing, squared in ink for transfer and inscribed Beaumont the Poet/ Septr 1815 from Duke of Dorset, Knowle, is in the collection of the National Portrait Gallery (NPG D17160).Francis Beaumont was the son of Sir Francis Beaumont of Grace Dieu, a justice of the common pleas and Anne, the daughter of Sir George Pierrepont. After a short career in law, he was quickly attracted to the theatre and became a student of poet and playwright Ben Jonson. Beaumont's first work was Salmacis and Hermaphroditus, in 1602 and by 1605, Beaumont had written commendatory verses to Volpone one of Ben Jonson's masterpieces. Soon after, he met John Fletcher and together they formed one of the most dynamic and productive of writing teams that English theatre has ever produced. In 1609, the two collaborated in earnest on Philaster. The play was performed by the King's Men at the Globe Theatre and at Blackfriars. It was a great success. Their careers were now well and truly launched and into the bargain they had ignited and captured a public taste for tragicomedy. There is an account that at the time the two men shared everything. They lived together in a house on the Bankside in Southwark, ' they also lived together in Bankside, sharing clothes and having 'one wench in the house between them.' Or as another account puts it 'sharing everything in the closest intimacy.'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. (British, 1755-1834)Sir Henry Sidney (1529–1586), standing before green drapery, a marble pillar to his left, wearing black stockings and dark brown breeches slashed to reveal black, black embroidered doublet with ermine trim to the shoulder, white collar and cuffs, ermine waistcoat, black hat with red and gold embroidered trim and large black plume, gold collar of the Order of the Garter, black belt and sword belt with gold clasps, his decorated sword hilt at his right hip, his right hand upon his hip, his left hand resting on the base of the plinth and holding a piece of green material trimmed with gold . Enamel on copper, signed on the obverse HBone., inscribed on the counter-enamel Henry Sydney, Educated with Edward VI in the/ third Yr of his reign he Knighted him & made/ him first Gentleman of his Bed Chamber - Sent/ Sent afr to France - Edward died in his arms.-/ Sent to Ireland by 2. Mary - Made Lord Justice -/ Queen Elizabeth in 1564 made him a Knight/ of the Garter - Lord President of Wales - Deputy/ of Ireland, (which Offices he held at the same time)/ Ambafr to France, Scotland &c &c Died May 1586/ aged 57 years.-/ On the Original picture,/ Sir Henry Sydney Ano dni 1573. 20 die Tulli die/ nativitatis & ætatis suce 44.-/ London/ July-1823/ Painted by Henry Bone RA Enamel-painter/ to His Majesty & Enl. painter to His R.H. the/ Duke of York &c &c - after the Original/ in the Collection of the Earl of Egremont/ Petworth - Sussex.-, gilt-metal mount engraved ENAMEL. HBONE. R.A., gilded composition frame. Rectangular, 212mm (8 3/8in) highFootnotes:Provenance:Bonhams, London, 23 November 2011, lot 6Henry Sidney was an English soldier, diplomat, and courtier, known for his significant contributions during the Elizabethan era. He was born into a prominent family, the son of Sir Henry Sidney and Lady Mary Dudley, and the brother of the celebrated poet Sir Philip Sidney. Henry was appointed as the English ambassador to the Netherlands, where he worked on maintaining alliances and navigating the complex political landscape of Europe.Another version of the present enamel is in the collection at Kingston Lacey, Dorset (NT 1250543) and the original painting is at Petworth House (PET/P/498). Bone's preparatory drawing, squared in ink for transfer and inscribed Sr Henry Sydney after the Original/ in the Collection of the Earl of Egremont and annotated in pencil Nov 1822, is in the collection of the National Portrait Gallery (NPG D17113).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. (British, 1755-1834)Robert Milligan, seated before a red curtain and pillar background, wearing a brown jacket with yellow waistcoat and white stock, his hair en queue . Enamel of copper, signed, dated and inscribed on the counter-enamel Robert Milligan Esq., Born at Dumfries NB. 19 Aug 1746. Died at Rosslyn Hampstead, Middx, 21st May 1809. Painted by Henry Bone R.A. Enamel painter in ordinary to His Majesty and Enamel painter to HR.H The Prince Regent, after the original by Abbot, gilt metal easel frame stamped H.J. Hatfield and Sons Ltd., London.. Rectangular, 133mm (5 1/4in) highFootnotes:Provenance:Purchased from Ellison Fine Art, October 23, 2006Robert Milligan (c.1749-1809) was a wealthy merchant and ship owner whose family had extensive sugar plantations in Jamaica. He left Jamaica in 1779 to establish himself in London, where he headed a group of powerful businessmen who planned and built West India Docks, which was to have a monopoly on the import into London of West Indian produce such as sugar, rum and coffee for a period of 21 years. The Docks' foundation stone was laid in July 1800, when Milligan was Deputy Chairman of the West India Dock Company - his strong connections with the political establishment of the day were evident from those attending the ceremony, the stone being laid by Lord Chancellor Lord Loughborough and Prime Minister William Pitt the Younger as well as Company chairman George Hibbert and himself. A statue of Milligan by sculptor Richard Westmacott stands in front of the Museum in Docklands on West India Quay. Bone's preparatory drawing, squared in ink for transfer and inscribed Mr Milligan after Abbot/ for Miss M. Feby 1810 is in the collection of the National Portrait Gallery (NPG D17643). It is assumed that the original painting was by Lemuel Francis Abbott, most famous for his portraits of Admiral Lord Nelson.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. (British, 1755-1834)Prince Frederick, Duke of York and Albany (1763-1827) decorated with the breast star of the Order of the Garter and collar of the Order of the Bath, wearing his scarlet Field Marshal's uniform beneath a white silk-lined black velvet mantle. Enamel on copper, signed on the obverse, HBone, signed and inscribed on the counter-enamel, His RH the late/ Duke of York &c &c &c/ London/ Febry 1827/ Painted by Henry Bone RA &c &c/ Enamel Painter to His Majesty/ and to the late Duke/ of York after/ Sr Thos Lawrence PRA, ormolu slip and rectangular gilded composition frame with scrolling foliate and floral motifs. Oval, 165mm (6 1/2in) highFootnotes:Provenance:(Possibly) The artist; his sale, Christie's, London, 7 June 1836, lot 29;Christie's London, 2 June 2020, lot 47Bone's preparatory drawing, squared in ink for transfer and inscribed HRH the Duke of York after/ Sr T. Lawrence for HR the Princess/ Sophia April 1821, is in the collection of the National Portrait Gallery (NPG D17427).This impressively large enamel, housed in the original presentation frame, is one of several derivations by Bone after Sir Thomas Lawrence's full-length portrait in the Waterloo Chamber in Windsor Castle.Bone's first version of the present portrait (of rectangular format) was enamelled for Princess Sophia in 1821. This was exhibited at the Royal Academy, London in 1822 and is possibly the same enamel, dated October 1821, sold at Christie's, 28 November 1978 (lot 58). Bone's squared-up drawing for this example is in the National Portrait Gallery Library, London and is inscribed '...for H.R.H. the Princess Sophia - April 1821.'The current work was executed the month after Frederick's death, likely from cardio-vascular disease, at the home of the Duke of Rutland in January 1827. A small head and shoulders example dated February 1827 is in the Royal Collection (RCIN 421865), which was possibly acquired from the Duke of York's own collection.Frederick was the second son of King George III and Queen Charlotte. In 1784, he was created Duke of York and Albany and Earl of Ulster. He married, in 1791, Fredericka Charlotte (Hohenzollern), Princess Royal of Prussia; their marriage was childless. He was Colonel of several regiments and was created Field Marshal (1795) and Commander in Chief (1795-1809) and (1811-27). Frederick was the 'The Grand Old Duke of York,' celebrated in the nursery rhyme for marching his men up to the top of the hill and marching them down, a commentary on his unsuccessful Flanders campaign of 1793-99.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

(ar) An Ed McLachlan cartoon featuring Winnie the Pooh, Piglet and Christopher Robin, 1993, pen and ink drawing on card featuring Winnie the Pooh taking an Extra Strong Lager from a fridge and Piglet saying to Christoper Robin ‘Er…Pooh’s just gone in for a little something’, signed and dated McLachlan (with apologies) 2/6/93, in clip frame —11 ¾in. (30cm.) x 10in. (25.5cm.)

An important Ernest Shepard letter and Teddy Growler drawing, ‘Lodsworth 212 - WOODMANCOT LODSWORTH Nr. PETWORTH - 26 October ’71 - Dear Karena, Thank you for telling me about Emma, as I too had a Teddy Bear many years ago. He belonged to my son & we called him “Growler”. I say “Him” and I suppose you call Emma “Her” - Though I can’t see the difference & I bought Growler 60 years ago at a shop in my London and my children called him that because when you tilted him forwards he growled. He remained in the family for many years and when my son Graham, grew up and married, he and his wife gave “Growler” to their daughter Minette. Tell your brother that I am an old Pauline. I have 2 years at the old school in Hammersmith Road from 1894 to 1896 my brother Cyril was there at the same time and I had two special friends named Ritchie and Collison-Morley we all joined up when war started in 1914. They joined the infantry and I joined the gunners. All three were killed (my brother in the Somme battle). I was more fortunate and only suffered from gas. All my drawings for “Pooh bear” are from sketches I made of “Growler”. When the second war came my son and his wife decided that she should go to Canada for safety, they went and took “Growler’ with them. There in Montreal, poor Growler was savaged by and dog and died. Please ask Emma to shed a tear for him, my son, Graham, joined the navy and in Sept, 1943, while guarding a convoy in the Atlantic, his corvette was sunk by torpedo and went down with all hands. I am glad to know that Nicholas is good at cricket and plays for school and Eastbourne. I don’t know if I have the time to draw “Emma”, I will send you a drawing of “Growler”, as I remember him. Perhaps that will do. Yours sincerely, Ernest H. Shephard’ - the two sided letter 7in. (17.5cm.) high x 5 ¼in. (13.5cm.) wide with envelope addressed to ‘Miss Karena Elphinstone, 9 Westleigh Avenue, Putney Hill, London, SW15; and ink, pencil and water colour illustration of Growler standing holding a ‘Hunny’ pot, inscribed ‘Teddy Growler’ and signs ‘Ernest Shephard 1971’ —5 ¼in. (13cm.) high x 4 ¼in. (10.7cm.) wide - purchased from Sotheby’s May 1999 and is sold with a copy of the catalogue and a clipping from the Antique Trade Gazette about the lot and auction - Karena Elphinstone aged 10 wrote to Shephard about her bear ‘Emma’ in 1971, resulting him answering with this detailed and sometimes sad letter, his son’s bear is believed to have been a Steiff Teddy Bear from around 1908/10, which gave Pooh his very distinctive look and making this sketch is so important in the Teddy Bear and Winnie the Pooh world - see Some of our Favourite Bears by Ian Pout, page 27

(ar) A Fred Banbery original pen, ink and watercolour Paddington illustration, 1975, ‘Please Look After This Bear’, featuring Paddington raising his hat with suitcase and famous luggage tag, preliminary drawing for Michael Bond’s Paddington Bear, London, Collins, 1975, back cover —5 ¼in. (13.5cm.) x 3 ¼ in. (8.5cm.); Provenance from the Estate of Fred Banbery, exhibited The British Art of Illustration 1800-1999, sold by Chris Beetles, St. James’s, London

COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A good original blue ink drawing signed and inscribed by Cocteau on a plain 4 x 6 card, n.p., 1959. With just a few simple lines Cocteau has drawn an attractive profile study of young man´s head, in the artist´s characteristic style. Signed and inscribed at the foot of the card, ´Pour Rainer, Souvenir de Jean Cocteau´, adding his familiar star and the year, 1959, beneath his signature. Some extremely light, very minor foxing and one small trace of former mounting to the verso, VG

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An extraordinary collective illustrated A.L.S. by Picasso and his circle of friends, four pages, 8vo, Cafe de Flore, Paris, 15th January 1936, to Paul and Nusch Eluard, in a mixture of French, Spanish and Catalan. The scene for this meeting of great artistic talent is set at the head of the first page in the hand of Yvonne Zervos, 'l'heure de la soupe a l'oignon, Mercredi, 15 Janvier 1936, Cafe Flore' (Translation: 'Time for onion soup.....') beneath which Picasso writes 'Recuerdos a la blanquita, Picasso' (Translation: 'Regards to the white girl, Picasso'), and over the four pages follows a wonderful series of autograph sentiments and messages to Paul and Nush Eluard, beginning on the first page with Luis Fernandez 'Viva tu madre chiquita!! Ole, Ole, caramba!!......Baxant de la font del gat una noia, una noie, baxant de la font del gat una noia y Eluard si pregunta com se diu Marieta, Marieta, si pregunta com se diu marieta del ull vin! Com vos deia Fontanellas lo rei esta molt fotut! Lo qui gui a ens ha sigut es un manso sense equellas.....Fernandez' (written in multiple passages to the first and fourth sides of the bifolium in Catalan, roughly translated as 'Long live your little mother!! Ole, Ole, dammit!!......A girl coming down from the cat's fountain, a girl, a girl coming down from the cat's fountain and Eluard if you ask what Marieta's name is, Marieta, if you ask what Marieta's name is from the eye wine! As Fontanellas told you, the king is very fucked up! The one who guides us has been a meek man without them', and signed twice), Roberta Gonzalez 'Yo tambien, Roberta Gonzalez' (Translation: 'Me too'), Esther Fernandez her signature followed by the sentence 'Ne pas oublier la tarjeta postal con una vaca espanola' (Translation, from a mixture of French and Spanish, 'Don't forget the postcard with a Spanish cow'), Julio Gonzalez 'Ballen la Gardana, J. Gonzalez' (Translation from Catalan 'They dance the Gardana'), and also signed a second time with his name alone to the first page, Yvonne Zervos 'Los abrazo a los dos, Yvonne, Cafe Creme' (Translation: 'Hugs to you both....'), Jaime Sabartes 'mas recuerdos, J Sabartes' (Translation: 'More memories....'), Christian Zervos 'Un gros baiser a (?) malgre le rouge. Christian' (Translation: 'A big kiss to the (?) despite the red.....') and also with two further messages across other pages, 'On aimerait quand meme que vous soyiez avec.....de Flore chez Graff avec un arriere petit de gratinee Zervos, Man Ray attendez-moi!....... J'espere que vous reverrez la seine et la reste' (Translation: 'We'd still like you to be with .....de Flore at Graff with a little gratinee Zervos, Man Ray wait for me!...... I hope you'll see the Seine and the rest of it again') and '......Prononcez bien Vendredi les oveilles amies vous enconteront et moi je penserai aux bons moments passes a Vicozere, Chris. Zervos' (Translation: '.......Get the pronunciation right Friday, the friendly ears will greet you and I'll be thinking about the good times at Vicozere'), to the second page Yvonne Zerbos writes a further message, ‘Nous pensons toujours a vous vous etes, toujours avec nous. Man est tres triste!!!!! nous aussi Yvonne. Vendredi criez tres fort........Cafe Crème. Monte la dessus et tu verras Montmartre et le cafe Flore’ (Translation: ‘We are always thinking of you, you are always with us. Man is very sad!!!!! us too Yvonne. Friday shout out loud........Cafe Crème. Go up there and you'll see Montmartre and the cafe Flore’), as does Luis Fernandez once more in Catalan ‘Vina Ros! Puja aqui dalt!.....Bona nit tinguem!! estiguem bonets!!.....’ (Translation: ‘Come Ros! Get up here!.....Have a good night!! let's be nice!!.....’), alongside which Dora Maar has drawn an exquisite pen and ink image of an eye with two teardrops falling from the corner, adding the words ‘Devinez de qui?’ (Translation: ‘Guess who?), which is followed by a second greeting signed by Jaime Sabartes ‘Saluda a los del centro excursionista de Catalunya a la lliga regionalista......y todos los que encuentre por la Ramblas’ (Translation from Catalan: ‘Say hello to those at the hiking centre from Catalonia to the regionalist league…..and everyone you find on the Ramblas’), the third page features entries by Leonor Fini ‘Vous aimez toujours et les gros porcs tendres……..? Vous en avez vu des noirs en Espagne? Leonor’ (Translation: ‘Do you still like big, tender pigs……..? Have you seen any black ones in Spain?’) and also signed by Fini with her first name only to the right margin of the first page, Man Ray ‘C'etait triste de rentrer tout seul lundi soir de V- Beziers! Je vous embrasse tous les deux, et j'espere vous trouverez des bons amis et amies! Affectueusement, Man’ (Translation: ‘It was sad to come back alone on Monday evening from V- Beziers! Love to you both, and I hope you find some good friends! Affectionately….’), and at the foot of the page Pablo Picasso has drawn and signed a pen and ink image of a winged love heart, also incorporating the horns of a bull, and with a Cupid’s arrow piercing through the centre from right to left, signing his name (‘Picasso’) in bold black ink beneath. A series of ink hatched lines also appear beneath the drawing, partially obscuring the signature of Dora Maar. The page concludes with a series of ten question marks in the hand of Roberta Gonzalez, and with her signature beneath. The letter ends with a final message signed by Yvonne Zervos at the foot of the fourth page, ‘Cora et Elfe vous embrasse chaque jour je forme au voeux pour que vous soyiez tous les deux tres heureux la-pas!!! Yvonne. Pikina aux vins de France fabrique par Picon et cie’ (Translation: ‘Cora and Elfe kiss you every day and I hope you're both very happy! Yvonne. Pikina with French wines made by Picon and company’). Accompanied by the original envelope hand addressed by Christian Zervos to the Eluards in care of the home of Josep Maria Sert in Barcelona, and further annotated and signed by Man Ray with his initials to the verso, ‘avec la salive de C.Z. (M.R.)’ (Translation: ‘With the saliva of C.Z…..’). A truly exceptional and magnificent autograph letter, beautifully enhanced by the drawings (which could indeed be interpreted as ‘self-portraits’) in the hands of Pablo Picasso and his lover, Dora Maar. Some very light, extremely minor age toning, VG  OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.   

GIRODET DE ROUSSY-TRIOSON ANNE-LOUIS: (1767-1824) French painter who participated in the early Romantic movement and is remembered for his precise and clear style and for his paintings of members of the Napoleonic family. A fine original pencil drawing executed and signed by Girodet, one page, 8vo (approximately 15.5 x 21.5 cm), n.p., n.d. (1815). The artist has drawn an accomplished and amusing caricature of Napoleon in a full-length pose, wearing military regalia including his familiar bicorne, descending the steps of a dais and with his throne visible in the background. The Emperor has his head turned in profile towards a Phrygian cap which rests atop a long pole in Napoleon´s grip, and in his other hand, cunningly concealed behind his back, the Emperor holds the Imperial crown. Signed (´Girodet´) in pencil to the lower right at the base of the drawing. To the verso appears a second drawing by Girodet, also executed in pencil, the preparatory drawing, already reasonably well-developed, also depicting Napoleon, although this time in a head and shoulders study, his face turned to the left, and with more realistic features with no intention of caricature, his features outlined, his gaze weary, and his head bare. Numbered 144 in ink to the upper left corner of the verso. With the small circular stamp of the Coutan-Hauguet-Schubert-Milliet Collection (Lugt 464) to the lower left corner of the recto. Some light foxing, largely evident to the edges of the paper, and with some minor traces of former mounting (including a small strip of tape) to the edges and corners of the verso. GGirodet was one of Napoleon´s official painters, before bcoming one of his fiercest caricaturists. Thus, the famous full-length painting of Napoleon I in his coronation robes, created by Girodet in around 1812, contrasts with his drawn caricatures, which were the delight of English newspapers. The present drawing is evidently in the latter vein, demonstrating Napoleon´s duplicity in swapping the Imperial crown for the Revolutionary bonnet for propaganda purposes. The present drawing was engraved in etching by Pierre-Marc Bassompierre Gaston in August 1815 with the caption Et l´on revient toujours/A ses premiers amours (Translation: ´And you always come back to your first love´). Girodet´s drawing was originally acquired by the French fabric merchant and art collector Louis Joseph Auguste Coutan (1779-1830), and thence by inheritance to his wife, Lucienne Hauguet (1788-1838), and thence her brother, Ferdinand Hauguet (d. 1860), and thence by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) then his wife, née M.T. Schubert and his sister-in-law, Mme G. Milliet.It is understood that the present drawing will be included in the artist's catalogue raisonné currently being prepared by Madame Sidonie Lemeux-Fraitot.

PHOTOGRAPHERS: Sebastiao Salgado (1944- ) Brazilian social documentary photographer and photojournalist. Black ink signature and inscription on an 8vo white card, dated at Paris, 24th October 2016, in his hand and with a magazine photograph neatly affixed above the signature, the image depicting Salgado standing in a half-length pose; Raymond Depardon (1942- ) French photographer, photojournalist and documentary filmmaker. Black ink signature (´Depardon´) and inscription on an 8vo white card, dated June 2012 in his hand and also with a small ink drawing of a camera and tripod directed at the sun in his hand. With a magazine photograph neatly affixed to the upper half of the card, the image depicting Depardon standing outdoors in a three-quarter length pose, holding a camera in one hand as he engages in conversation with a gentleman standing before him. About VG, 2

NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). The personal Album Amicorum belonging to Nadar, and later presented to his son, containing over sixty signatures by a wide variety of famous individuals, some of whom sat for the photographer, many of the entries accompanied by sentiments of appreciation for Nadar, and some with original drawings, paintings, or musical and literary quotations. The large oblong folio album commences with an entry signed by Nadar, gifting the album to his son, Paul, ´En accord plus que parfait, a tous points de vues avec mon adoree Sainte, et en toute reconnaissance emue, je legue cet album a l´admirable enfant, qui de nous deux, nous donna toujours tout sans jamais rien recevoir, Nadar´ (Translation: ´In more than perfect agreement, from every point of view, with my beloved Saint, and with deep gratitude, I bequeath this album to the admirable child who, between the two of us, always gave us everything without ever receiving anything, Nadar´), further adding the words ´A la connaissance et reconnaissance de tous ceux qui nous ont approches´ (Translation: ´To the knowledge and gratitude of all those who have approached us´) beneath his signature. The album continues with entries by various luminaries including (in order of their appearance within the album) Anatole France (1844-1924) French poet and novelist, Nobel Prize winner for Literature, 1921, a warm appreciation, ´Nadar est le meilleur des hommes, le plus inventif et le plus courageux, le plus tendre, le plus fier, et le plus charmant. Si nous avions garde la puissance de creer des personnages mythiques. Nadar serait en France ce que Didale [Daedalus] fut chez les grecs antiques´ (Translation: ´Nadar is the best of men, the most inventive and courageous, the most tender, proud and charming. If only we had kept the power to create mythical characters. Nadar would be to France what Didale [Daedalus] was to the ancient Greeks´), dated at Paris, 14th December 1903; Elie Metchnikoff (1845-1916) Russian zoologist and immunologist, Nobel Prize winner for Physiology or Medicine in 1908, ´Hommage bien devouee a Monsieur Nadar a qui je souhaite une bonne et heureuse nouvelle annee´ (Translation: ´A well-deserved tribute to Monsieur Nadar, to whom I wish a happy new year´) dated 31st December 1909; Jules Arsene Arnaud Claretie (1840-1913) French journalist, drama critic and director of the Théâtre-Français, ´A Nadar la Bonte, Vieille affection devouee, On parle tant des "professeurs d´energie" Nadar, mon ami de toujours, ne professa pas, il prouva et il agit-il agirait encore´ (Translation: ´To Nadar the Good, Old devoted affection, We talk so much about "professors of energy" Nadar, my lifelong friend, did not profess, he proved and he acted - he would act again´); his son Georges Claretie (1875-1936) French lawyer and man of letters, ´A Monsieur Nadar, que j´ai aime depuis que mon pere m´a parle de sa bonte, de son courage, de son energie, c´est a dire depuis toujours, et que j´aime encore plus depuis que je le connais davantage´ (Translation: ´To Monsieur Nadar, whom I have loved ever since my father told me about his kindness, courage and energy, in other words since I can remember, and whom I love even more now that I know him better´);Paul Rolier (1844-1918) French engineer and aeronaut, pilot of the balloon La Ville d´Orleans which inadvertently made the first flight across the North Sea from France to Norway on 24th November 1870 during the Siege of Paris,´Souvenir reconnaissant d´un aeronaute du Siege a son illustre collegue, le fondateur des Ballons de Paris....´ (Translation: ´A grateful souvenir from a Siege aeronaut to his illustrious colleague, the founder of the Ballons de Paris....´); and his fellow aeronaut Henri Bergeron, ´Deux mots d´admiration a mon maitre, Nadar! qui est pour moi l´eternel ideal que je ne saurai jamais attiendre´ (Translation: ´Two words of admiration for my master, Nadar! who is for me the eternal ideal that I will never be able to attain´);  Victor Hugo (1802-1885) French novelist, poet and dramatist, ´Et s´il n´en reste qu´un, je serai celui-la´ (Translation: ´And if there's only one left, I'll be the one´); Charles Garnier (1825-1898) French architect of the Opera de Monte Carlo, the Palais Garnier in Paris, and other buildings, three amusing passages of text signed by Garnier, adding a simple ink drawing of a house and trees beneath his signature, 27th August 1877; Aime Laussedat (1819-1907) French scientist, astronomer and photographer, ´J´ai connu, au cours de ma longue existence beaucoup de braves gars. Je n´en ai connu nide meilleur nide plus charmante que mon vieil ami Nadar´ (Translation: ´I've known a lot of good guys in my long life. I have known none better or more charming than my old friend Nadar´), the same page also featuring an entry by Nadar himself, signed with his initial N, being a Rime batelée, and at the foot writing 'Je transcris de memoire, par a peu pres, cet exercice prosodique en souvenir de son auteur, notre bon et modeste Eug. [Ernest] Prarond, poete Abbevillois.....´ (Translation: ´I am transcribing this prosodic exercise from memory, more or less, in memory of its author, our good and modest Eug. [Ernest] Prarond, poet from Abbevillois.....´); Theophile Steinlen (1859-1923) Swiss-born French Art Nouveau painter and printmaker, a wonderful original pencil drawing of a happy, content black cat, lying in profile, signed by Steinlen in pencil and further inscribed ´A mon cher grand et bon Nadar, Beaux - indifferents - egoistes et tranquilles il y a des jours on l´on se prend a desirer - presque - d´etre comme eux´ (Translation; ´To my dear great and good Nadar, Beautiful - indifferent - egotistical and quiet, there are days when you find yourself wishing - almost - that you were like them´); and others. A remarkable album containing an impressive selection of signatures by a fascinating range of individuals, all of whom held Nadar in high esteem. All of the signatures are to the rectos of the pages (which measure approximately 50 x 36 cm each, and are paginated 1-44, 46-51, and 53-65, including some blank pages and an incomplete table of contents) and a number of pages bear multiple entries. The album is attractively bound in half-red shagreen with Nadar´s decorative gilt stamped initial N to the front board and spine, the latter of which is also gilt stamped Album., also featuring silk moire endpapers (some dampstaining to the edges) and all edges gilt. Contained in the attractive original dark red decorative slipcase. A few minor tears to the edges of some of the pages and with light overall age wear, generally about VGOWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION. 

LAGERFELD KARL: (1933-2019) German fashion designer. An excellent original self-portrait signed by Lagerfeld, one page, 4to, n.p., n.d. (1980s). On a sheet of Chanel printed stationery (featuring the interlocking CC monogram of Coco Chanel which Lagerfeld integrated into a style pattern for the House of Chanel in the 1980s) Lagerfeld has executed a self-portrait in various pastels, the image showing him in a head and shoulders pose with his signature white hair, wearing a black jacket and tie, white shirt with high-starched detachable collars and his familiar black sunglasses. Signed with his name alone in black ink to the base of the drawing, adding a red outline (essentially a second signature) to his name to attractively create the effect of a red ´shadow´. A rare and highly desirable signed self-portrait. VG

HUNT TIM: (1943- ) British biochemist and molecular physiologist, Nobel Prize winner for Physiology or Medicine, 2001. Signed colour 8 x 10 photograph of Hunt in a full-length pose, jumping slightly off the ground whilst holding a large scientific drawing entitled The Cell Cycle, the image used as part of science photographer Volker Steger´s series Sketches of Science which has appeared in print in several editions and also formed the basis of an exhibition at the Nobel Prize Museum in Stockholm. Signed by Hunt in bold black ink with his name alone to a light area at the base of the image. EX

HERGÉ: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics “The Adventures of Tintin”. An excellent T.L.S., Hergé, one page, folio, Bruxelles, 21st October 1970, on the Studios Hergé attractive printed stationery, to his editor Monsieur Louis-Robert Casterman, in French. The letter bears at the heading the black embossed letters of “Studios Hergé” alongside a printed drawing of Tintin and Milou. Hergé explains to his correspondent that he sends attached a copy of the letter they spoke about over the telephone, and states in part `Voulez-vous examiner les conclusions émises sur un sujet dont nous aurons à nous entretenir encore dans le prochain avenir?´ (Translation "Do you want to examine the conclusions reached on a subject which we will have to discuss again in the near future?") Signed in bold black ink at the base of the letter. With binding holes to the left border, not affecting the text. Upper edge very slightly trimmed, otherwise G

DALI SALVADOR: (1904-1989) Spanish surrealist artist. An 8vo half-title page removed from an edition of Dali’s novel Hidden Faces, signed and inscribed in black fountain pen ink by the artist, ‘Pour la Marquise et Marquis de la Falaise, Hommage tres afectueux de Salvador Dali’ and dated 1945 in his hand. To the upper right corner of the page Dali has added an original pen and ink drawing in his hand, the intricate image depicting a horse rider, with spear in hand, galloping towards a small hill, above which floats a mysterious object, and with a shooting star in the skies. Again signed (‘Salvador Dali’) by Dali in a miniscule hand immediately beneath the drawing. The printed title of the novel has also been inked over in Dali’s hand. Irregularly trimmed to the left edge and with some light overall creasing and damp staining, GHenry de La Falaise (1898-1972) Marquis de La Coudraye. French nobleman, translator, film director, producer, actor and war hero. The Marquis was married three times, to the film actresses Gloria Swanson (from 1925-32) and Constance Bennett (from 1931-40) and lastly to the Colonbian socialite Emma ‘Emmita’ Rodriguez Restrepo de Roeder (from 1940 until his death). Hidden Faces (1944) was Dali’s only novel and describes the intrigues of a group of eccentric aristocrats whose extravagant lifestyle symbolises the decadence of the 1930s. Variously set in Paris, rural France, Casablanca and Palm Springs, the characters include the Comte de Grandsailles and Solange de Cleda (who pursue an ultimately doomed love affair) as well as aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica’s sometime lover Betka, and a disfigured United States fighter pilot, Baba.