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Chambers (Sir William, 1723-1796) Design for decoration and furniture of the hall at The Hyde, Ingatestone, Essex, pen and greyish-black ink, grey wash, annotated in pencil and brown ink, with additional elements added in pencil, on laid paper with partial watermark of Strasbourg lily, sheet 273 x 380 mm (10 3/4 x 14 7/8 in), slightly rough edges, minor nicks to extremities, some browning and surface dirt, unframed, [circa 1760]; together with Chamber's bookplate, and a portrait of Chambers in soft-ground etching by a young William Daniell after George Dance, 1793, framed (3)Provenance:   Collection of John and Eileen HarrisLiterature:Harris, John, Sir William Chambers: Architect to George III, 1996, pp. 135-136, illus. fig. 191cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970Exhibited:Sir William Chambers: architect to George III, 1996-7, Courtauld Gallery, London and National Museum, Stockholm, no. 151*** Fine drawing showing the 'elevation of an end of the hall', with colour notes and materials intended to be used, such as 'portland stone' and 'Dead White'. Additional pencil sketches have been added in over the pen and ink, suggesting further elements to embellish the original design. Chambers started work on the great hall at The Hyde in 1761, where he fashioned out 5 rooms that partially housed the collection of antiquities collected by Thomas-Brand Hollis, now held in the Fitzwilliam Museum, Cambridge. Sir William Chambers RA was a Swedish-Scottish architect, based in London. Among his best-known works are Somerset House, and the pagoda at Kew. Chambers was a founder member of the Royal Academy. Said to have been the major rival of Adam in British Neoclassicism. Chambers was more international in outlook (his knighthood being originally a Swedish honour) and was influenced by continental when designing for British clients. A second visit to Paris in 1774 confirmed the French cast to his sober and conservative refined blend of Neoclassicism and Palladian conventions. 

Basoli (Antonio, 1774-1848) Design for the side elevation of a private chapel, probably for a ceremonial “Prospetto Laterale”, pen and grey ink, watercolour and gouache, heightened with gold, pencil under-drawing, sheet 705 x 485 mm (27 3/4 x 19 1/8 in), under glass, minor spotting and surface dirt, framed, [early 19th century]Provenance:Collection of John and Eileen Harris*** Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli.

Grandjean (Jean, 1752-1781) Two Arcadian views in Rome: Porta Salaria, and Monte Cavallo, Quirinal Hill, a pair, pen and grey ink, sepia wash, pencil under-drawing, both on laid paper with partial ruled black ink borderline, each sheet approx. 101 x 170 mm (4 x 6 3/4 in), minor nicks and handling creases, light surface dirt, unframed, [circa 1790 or slightly later] (2)Provenance:Hazlitt Gooden & FoxCollection of John and Eileen Harris

Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a seated boy in an interior [verso], double-sided drawing, numbered '44' verso, pen and brown ink, red chalk, brown wash, on laid paper without watermark, sheet 210 x 148 mm (8 1/4 x 5 3/4 in), under glass, framed, [17th century]Provenance:Collection of John and Eileen Harris*** Faint pencil inscription to reverse of frame suggests an attribution to 'Sabbatini', Nicola Sabbatini (1574-1654), however the sheet appears to be by Tassi, with another numbered drawing by the same hand sold at Christie's New York in 1996, (Old Master Drawings, January 10, 1996, lot 57], and fully given to the artist.

*** Please note, the description for this lot has been updated. Basoli (Antonio, 1774-1848) Design for the walls and ceiling of a room', pen and brown ink, watercolour, traces of pencil under-drawing, on wove paper without watermark, ruled brown ink borderline, numbered '2[?]7' in the upper right margin, 370 x 490 mm (14 1/2 x 19 1/4 in), under glass, affixed onto mount with old tape verso, some signs of surface dirt and minor toning, framed, [1821] Provenance: Collection of John and Eileen Harris Exhibited: The Age of Neo-classicism, Arts Council, Royal Academy and V&A, 9th Sept - 19th Nov 1972, cat. no. 1564 *** An exceptionally fine example, possibly one of Basoli's theatrical stage designs. Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli. 

English School (19th century) The British Chapel, Moscow, point of the brush and ink, watercolour, heightened with white, inscribed 'British Church at Mosco' and in another hand '1831-1876', on wove paper without watermark, sheet 300 x 360 mm (11 3/4 x 14 1/8 in), minor surface dirt and toning, unframed, [circa 1840s]Provenance:Collection of John and Eileen Harris*** The British chapel was established in 1828 on the current site of St. Andrew's, at 8 Voznesensky (Ascension) Lane, and remained until 1882, following which the chapel was demolished. The Rev. Charles Barton (or Burlton) was appointed by the Russia Company as chaplain in 1825, and the present drawing likely dates from just after 1840, at which point the portico was added. [cf. Ecclesiology Today, issue 57 (2019), pp 21–38]We are grateful to Dr James Bettley for his assistance in the cataloguing of this lot.

Whittell of Bodenham, Herefordshire (William, b. 1684, fl. 1705-9) Hampton Court com: Heref:, bird's-eye view of Hampton Court, Herefordshire, showing both house and gardens, pen and brown ink, on laid paper, signed indistinctly in the lower right corner, inscribed again in the lower margin 'W Whittell fecit', sheet 207 x 272 mm (8 1/18 x 10 3/4 in), carefully affixed onto slightly later laid paper, minor spotting and surface dirt, unframed, [circa 1700] Provenance: Surveys and maps commissioned by Thomas, Earl of Coningsby and his younger daughter, Lady Frances Coningsby 1698-1774; Collection of the Earl of Essex; Collection of Richard Arkwright Esq.; The Burrell Collection; Collection of Viscount Hereford, the then owner of the estate; Sabin Gallery, 1967; Collection of John and Eileen Harris Exhibited: Sabin Galleries, A Country House Portrayed: Hampton Court Herefordshire 1699-1840, 1973, cat. no. 6, illus. pl. IX *** Hampton Court in Herefordshire is one of the great houses of that county. The medieval house and its estate was purchased by Sir Humphrey Coningsby in 1510. His great grandson, Sir Thomas, made significant changes and developed the grounds in the early 17th century, but it was his great grandson King William lll's Paymaster General and Privy Councillor who transformed the house and gardens, circa 1690-1700. Not only that, he was sufficiently proud of his achievements to record these undertakings in large paintings by Leonard Knyff and John Stevens (now in the Paul Mellon Collection of British Art, New Haven), in these very rare drawings, and for the landed estate itself in the surveys bound into the Hampton Court Atlas (Herefordshire Archive and Record Centre).  Coningsby (1656-1729), who was made Earl Coningsby by William lll in 1693, employed the Royal architect William Talman and the Royal gardener George London (both of whom had been engaged on the remodelling of Hampton Court Palace) to carry out the work. The former provided a new façade and a suite of rooms for the south front and the latter laid out the very extensive parterres and a series of avenues radiating into the landscape. The drawing is the bird's eye view taken from the east, and shows that façade of the house, revealing its earlier origins, and provides a remarkable visual picture of London's gardens with their parterres, topiary, water features and alleys. You can also see the Orangery which is obscured by the house in Knyff's painting as that is taken from the south east (see John Harris, The Artist and the Country House, 1979, pp118-199).William Whittell is reputed to have come from the village of Bodenham, which is situated just south east of Hampton Court on the other side of the River Lugg.

Lewis (Charles, b.1748, fl.1760-1790) View of Pan's Lodge, Painswick, Gloucestershire, built by the late Benjamin Hyett Esq., pen and black ink, brown ink, ruled black ink borderline, inscribed underneath 'Pan's Lodge built by the late Benjamin Hyett Esq.', on laid paper with Pro Patria watermark, sheet 198 x 310 mm (7 3/4 x 12 1/4 in), laid onto paper support, extensive pencil inscriptions verso, surface dirt, minor spotting, unframed, [circa 1760-1780] Provenance: Sale. Sotheby's 22nd May, 1986, part of lot 219 (bought by William Drummond); Collection of John and Eileen Harris Literature: John Harris, 'Gardenesque': the case of Charles Greville's Garden at Gloucester", Journal of Garden History, vol. 1, no. 2, p. 169 Roger White and Tim Mowl, "Thomas Robins at Painswick", Journal of Garden History, vol. 4, no. 2, p. 169 and fig. 10 *** Pan's Lodge was a Gothic summer-house in the rococo gardens of Painswick House, which was built in the 1730s by Charles Hyett to escape the smog of Gloucester. The Painswick Rococo Garden was laid out by Charles's oldest son Benjamin Hyett II (1708-1762), the eighteenth-century garden creator and brother of Nicholas Hyett, constable and keeper of the Castle of Gloucester.  The Victoria and Albert Museum hold another drawing from the mid-to-late 18th century that also shows the Lodge designed by Hyett II, drawn by the little known but enigmatic artist Thomas Robins [see acc. no. E.1308:71-2001]. John Harris was particularly familiar with Robins having written the publication 'Gardens of Delight: the Rococo English landscape of Thomas Robins the elder', 1978.

Woolfe (John, Irish architect, employed by the Office of Works as a 'labourer in trust', d.1793) Colworth House, Bedfordshire, showing the addition of the wings, pen and black ink, watercolour, inscribed 'Front of Colworth' in the lower margin above the scale, ruled ink borderlines, sheet 150 x 265 mm (5 7/8 x 10 1/2 in), under glass, appears to be laid onto support, minor spotting, surface dirt and handling creases, framed, [circa 1771]Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Gifted to Howard Colvin (architectural historian, 1919-2007); whom gifted to John Harris;Collection of John and Eileen Harris*** Woolfe's drawing shows that the wings originally had giant arches in the centre and hipped roofs behind parapets, but have since been altered.'William Lee Antoine was born on 1764, the son of Sir William Lee (1726?-1778), chief justice of the King's Bench, and his wife Philadelphia Dyke, of Totteridge Park, Hertfordshire, England. As a young man, he acquired estates near Marlow, Buckinghamshire, and served as the borough's Whig representative in Parliament from 1790 to 1796. During the same time he lived primarily at Colworth House near Sharnbrook in Bedfordshire, which he had inherited from his distant cousin Richard Antoine. There he founded the Oakley Hunt with his neighbour Samuel Whitbread and served as its first master; he also represented Bedford in Parliament from 1802 to 1812. William Lee Antoine never married, and died on Sept. 11, 1815.' [Yale]

*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature:  P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold.  Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty]. 

Rude (François, 1784-1855), Attributed to. Design for monuments in Pere Lachaise cemetery, including that of Marshal André Masséna, Prince of Essling, Duke of Rivoli (d.1817), four works relating to sculpture by Rude, pen and brown ink over pencil under-drawing, various sizes but each sheet approx. 165 x 135 mm (6 1/2 x 5 1/4 in), or the reverse, some spotting and surface dirt, presented in one mount, framed, [circa 1820] Provenance:Collection of John and Eileen Harris*** André Masséna, Prince of Essling, Duke of Rivoli was a French military commander during the French Revolutionary Wars and the Napoleonic Wars, and was one of the original 18 Marshals of the Empire created by Napoleon I. Nicknamed l'Enfant chéri de la Victoire (the Dear Child of Victory), Masséna is considered to be one of the greatest generals of the Revolutionary and Napoleonic Wars.

Harwood (Francis, c.1727-1783) Design for an urn, from the sculptor's time in Rome, pen and brown ink, grey wash, pencil under-drawing, on laid paper, sheet 265 x 160 mm (10 3/8 x 6 1/4 in), tipped onto purple paper support with red wax holding it at corners, under glass, framed, [circa 1750s]Provenance:From the Cipriani and Joseph Wilton album of Roman Grand Tour drawings, circa 1750s;Sir Bruce Stirling Ingram, O.B.E., M.C., F.S.A. (1877-1963);Sotheby’s, 21st October 1964, part of lot. 196;Geoffrey Bennison (Interior decorator and art dealer, 1921-1984)Collection of John and Eileen Harris*** "Like his contemporary Christopher Hewetson, Harwood travelled to Italy in 1752, and after an initial stay in Rome went to Florence, where he lived from 1753 until his death. Although he was British, Harwood's exact place of birth is unknown, and little is known of his early career. He was, however, noted as being 'acquainted with Joseph Wilton, who was then working in Florence'... Harwood's work was wide-ranging; as well as producing busts and copies after the Antique, he also executed vases, chimneypieces and figures." [V&A]Two other drawings from the album, both drapery studies by Cipriani, are held in the British Museum (see nos. 2019,7015.53 and 2019,7015.54).

Thornhill (Sir James, 1675-1734) Portrait group of two architects and young boy, possibly Sir Christopher Wren and family, pen and brown ink, brown wash, red chalk, partial ink and chalk borderline, on laid paper without watermark, image 140 x 184 mm (5 1/4 x 7 1/4 in), sheet 185 x 232 mm (7 1/4 x 9 1/8 in), laid onto paper support, some handling creases, minor surface dirt, framed, [circa 1715]Provenance:Collection of John and Eileen Harris *** There are a number of similar drawings by Sir James Thornhill held in institutional collections that compare very closely with the present sheet, including 'Design for a portrait of an architect or a painter' [Yale Center for British Art, Paul Mellon Collection, acc. no. B1975.4.955], and 'Portrait of a Geographer, Wife, and Child' [Art Institute Chicago, acc. no. 1922.1604]. The Leonora Hall Gurley Memorial Collection, Art Institute Chicago, also holds a number of other single figure portrait studies in ink by Thornhill, which all appear to uphold the attribution.The most likely architect would be Sir Christopher Wren (1632-1723), his son Christopher Jnr (1675-1747), aged 39, and his grandson (another Christopher) who was born in 1711. The globe in the background could relate to the portrait of Sir Christopher Wren in the Sheldonian Theatre, Oxford, begun by Antonio Verrio before 1707 and completed by Sir Godfrey Kneller and Thornhill. Thornhill got the commission to decorate the dome of St Paul’s in 1714, which might provide an approximate date for this drawing if it does depict the Wrens.We are grateful to Charles Hind for his assistance in cataloguing the present drawing, and for his identification of the sitters.

Richardson (George, Scottish architectural and decorative draftsman, ca. 1738-1813) Design for a neoclassical ceiling, brush and ink, pen and ink, watercolour, some pencil under-drawing, on cream laid paper without watermark, with green wash border and background, 360 x 370 mm (14 1/4 x 14 1/2 in), minor spotting, light browning and surface dirt, framed, [circa 1770-1800]Provenance:   Collection of John and Eileen HarrisLiterature:cf. Richardson, George, A Collection of Ceilings, Decorated in The Style Of The Antique Grotesque, 1766, *** Finely detailed study, possibly an unused design for Richardson's A Collection of Ceilings, published in 1776. The Yale Collection for British Art hold another comparable original design [see acc. no. B1975.2.674].Richardson began life as a draughtsman in the office of Robert and James Adam, and accompanied James Adam on his Grand Tour from 1760 to 1763; it was here that Richardson gained first hand knowledge of the antique sources that were to form the basis of the Adam style. 

Marchetti (Marco, c.1528-1588), Attributed to. Design for the frieze decoration of the cove of a ceiling, with a view of the Colosseum, pen and brown ink, brown wash, 135 x 420 mm (5 1/4 x 16 1/2 in), under glass, laid onto old paper support, some old folds and possible splitting repaired, minor scuffs and abrasions, most notably to the far right of the sheet, minor spotting and browning, framed, [late 16th century]*** The Metropolitan Museum of Art, New York, hold a drawing by Marchetti that appears close to the present sheet, showing a Design for a wall elevation with a fireplace and door opening, and seems to uphold the traditionally understood attribution [see acc. no. 2014.754].  Marco Marchetti was a prolific draughtsman, and many of his drawings are held in major public collections. In particular, the Gabinetto Disegni e Stampe at the Uffizi in Florence offers a corpus of hundreds of pieces, mainly dating from the last twenty years of the artist's activity. 

Adam (Robert, 1728-1792) Preliminary design for an urn in the dining room at Osterley Park, Middlesex, pen and brown ink, brown wash, traces of black chalk under-drawing, signed and dated '1766', on fine laid paper with watermark initials 'GR', sheet 305 x 175 mm (12 x 6 7/8 in), under glass, very fine small splits within one or two of the heavily inked lines, handling creases, minor surface dirt, framed, 1766 Provenance:    Collection of John and Eileen HarrisLiterature: cf. Harris, Eileen, The Genius of Robert Adam: His Interiors, 2001, Chapter 10 "Osterley Park". Exhibited: Royal Academy and the V&A, Age of Neoclassicism, 1972 *** Exquisitely executed design for an urn in the dining room of Osterley Park; the 'palace of palaces' [Walpole]. A rare survival by the foremost Neoclassical architect of the 18th century. On his return from Italy in 1761 Robert Adam became a Fellow of the Royal Society, and thus established in practice, set out to revolutionize English domestic architecture. In place of the rigid grammar of the orders as described by Vitruvius and interpreted by Palladio, he substituted a new and elegant repertoire of architectural ornament based on a wide variety of classical sources ranging from antiquity to the Cinquecento. The success of the new style was immediate. The present drawing depicts a design for an urn that was intended to be one of a pair placed upon pedestals, made of carved, painted and gilded wood, with the finished examples attributed to John Linnell (1729-96) and still on display in the house today [see National Trust no. NT771750.3]. 'Osterely, Middlesex, was a botched Elizabethan pile when Adam came there in 1761; when he left in 1778 it was a 'palace of palaces... so improved and enriched that all the Percies and Seymours of Sion must die of envy' [op. cit. Harris, Eileen, 2001]. The original building on this site was a manor house built in the 1570s for banker Sir Thomas Gresham, who purchased the manor of Osterley in 1562. During the late 17th century, the estate was owned by Nicholas Barbon, a developer who mortgaged it to Child's Bank and then died in debt around 1698. As a result of a mortgage default, by the early 1710s, the estate came into the ownership of Sir Francis Child, the founder of Child's Bank. In 1761, Sir Francis's grandsons, Francis and Robert, employed the Scottish architect Robert Adam to remodel the house. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number, this being due to the vast majority (nearly 9,000) having been purchased directly from the Adam family by Sir John Soane in 1833; which now forms one of the principal treasures of the museum. Unlike a relatively steady and finished "Office hand", the present drawing shows a vigour and passion that can only be by the architect himself, and is a preliminary drawing of a raw idea taking shape and being refined. The Soane Collection hold three similar preliminary drawings for different commissions, which allow for an excellent comparison of Adam's hand; see 'Preliminary design for a ceiling for the hall, c. 1773' [SM Adam volume 8/33], 'Preliminary design for a chimneypiece and overmantel mirror frame', 1787 [SM Adam volume 24/195], and 'Preliminary design for a girandole for the drawing room', 1775 [SM Adam volume 6/30]. Eileen Harris is an internationally recognised Robert Adam scholar, publishing extensively on the subject for over 40 years.

Bolognese School (18th century) Design for a wall decoration or monument, with Hercules wrestling the Nemean lion, flanked by Doric columns, pen and brown ink, wash, pencil under-drawing and faint gridlines, on laid paper without watermark, sheet 358 x 255 mm (14 x 10 in), under glass, some spotting and minor browning, faint handling creases, framed, [mid-18th century]Provenance:Luigi Grassi (d. 1937) [Lugt 1171b]Possibly Grassi's sale, Sotheby's, London, 13th May, 1924;Anonymous sale;Collection of John and Eileen Harris*** The reliefs on the base of the monument include Hercules and Antaeus on the left, the Apotheosis of Hercules in the centre, and Hercules and Onphale or Jole on the right; the triumph of objects above include Mercury's caduceus, the spindle of Onphale, and a celestial globe. Suggested attributions include Ubaldo Gandolfi (1728-1781), and the artist's working in his circle. 

Roos (Alexander, c.1810-1881) Perspective of Hadzor Hall, Worcestershire, built for J.H. Galton 1827, pen and black ink, watercolour, over traces of pencil under-drawing, on wove paper, sheet 195 x 265 mm (7 3/8 x 10 1/2 in), under glass, framed, [circa 1830s]Provenance:Collection of John and Eileen HarrisLiterature: Richard Garnier, ‘Alexander Roos (c.1810-1881)’, Georgian Group Journal, vo.15, 2005, pp.11-68*** Alexander Roos (circa 1810-1881) was born in Rome and was both an architect and a landscape gardener. From around 1835 he worked in the UK, and he had an extensive architectural practice in Scotland in the 1840s. Hadzor Hall was built circa 1779, and refaced and extended in 1827 by Matthew Habershon, with additional mid-20th century alterations and additions.  

Spyers (John, worked as a draughtsman for ‘Capability’ Brown from 1746 to 1783) Design for a landscape garden with pond, point of the brush and ink, watercolour, on laid paper without watermark, double ruled ink borderline, sheet 220 x 308 mm (8 5/8 x 12 1/8 in), inset at edges into conservation paper mount with verso exposed, minor surface abrasion, unframed, [circa 1780]Provenance:Collection of John and Eileen HarrisLiterature:cf. Piotrovsky, Mikhail, The Hampton Court Albums of Catherine the Great: Containing drawings, mainly of the palace and its surrounds, by Capability Brown's draughtsman, Fontanka, 2016*** While the Yale collection and British Museum both have drawings by the same hand as the present sheet, both given to one James Spyers, it would appear likely that they are actually all by the draughtsman who worked for ‘Capability’ Brown between 1746 to 1783, called John Spyers. Until recently, very little was known of the artist, with only one drawing by John Spyers recorded in the Witt Library, which was with Agnew's in 1981, and closely compares with the present drawing.In the early 2000s, two albums of drawings of Hampton Court Palace by Capability Brown’s draughtsman, John Spyers, were discovered in the State Hermitage Museum, St. Petersburg. Now considered one of the most complete visual records of an historic landscape ever captured before photography, they were purchased by Catherine the Great in 1783 but lay forgotten for over 200 years. The albums were first published in 2016.

Francis Newton Souza (1924-2002), ink drawing, nude woman with a hand mirror, signed and dated 62. Framed and glazed. (Glass cracked). H.41 W.28cm

Jean Paulhan Le Berger d'Ècosse. Suivis de Les Passagers. La Pierre Philosophale. Paris, Presses du Livre Francais 1948. Mit 5 Orig.-Radierungen von Wols und einer Orig.-Zeichnung von Jean Paulhan. Erste Ausgabe. - 1 von 100 Exemplaren auf Vergé-Ingres. Mit den Originalradierungen Sonne, Baum, Schlieren, Kahle Landschaft und Gräser und Spirale. Die Kupferplatten der Radierungen wurden nach dem Druck zerstört. - Vortitel mit Orig.-Federzeichnung in Schwarz und Rot von Jean Paulhan mit eigh. Widmung 'pour Maurice Tesca, le 3. VII. 49'. EINBAND: Illustrierte Orig.-Broschur. 25 : 17 cm. - ILLUSTRATION: Mit 5 Orig.-Radierungen von Wols u. 1 Orig.-Zeichnung von Jean Paulhan. - PROVENIENZ: Privatsammlung Hessen. LITERATUR: Busch 37-41. - Grohmann XXXVII-XLI. - Monod 8900. - Weber (Kat. Kassel) 49. - Arnold 2212. - Maler machen Bücher 93. - Französ. Maler illustrieren Bücher. Kat. Stuttgart 1965, Nr. 193. First edition. 1 of 100 copies. Illustrated orig. wrappers. With 5 orig. etchings by Wols and dedication with orig. ink drawing by the author. - Slightly browned. Wrappers with tears. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000710 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000710 This lot can only be purchased subject to regular taxation (R).

Heinrich Zille 4 Bll. Straßenszenen. 3 Orig.-Kohlezeichnungen und 1 aquarellierte Orig.-Tuschezeichnung. 2 eigh. signiert, 2 mit Stempelsignatur 'Heinrich Zille' in Rot (Lugt 2676b). Um 1900. 3 auf Vélin, 1 auf festem Karton. Papierformat 22 : 14 cm bis 20,3 : 24,3 cm. Die kleine Sammlung von Zillezeichnungen zeigt 4 Paare beim Flanieren oder innig auf der Bank sitzend. Die schöne Tuschezeichnung mit einem in der Kälte auf der Bank zusammengerücktem Paar, sie eine Flasche haltend, während er gerade zu seiner in der Manteltasche greift. Die drei Kohlzeichnungen zeigen Arm in Arm laufende Paare von der Seite, von hinten und von vorne. - PROVENIENZ: 2 Zeichnungen mit Sammlerstempel Werner Eberhard Müller, Leipzig (Lugt 5075). - Seit ca. 20 Jahren in norddeutschem Privatbesitz. Small collection of Zille drawings shows 4 couples strolling or sitting intimately on the bench. 4 leaves with street scenes. 3 orig. charcoal drawings and 1 orig. colored ink drawing. 2 signed, 2 with stamp signature 'Heinrich Zille' in red (Lugt 2676b). - All 4 leaves mounted (1 detached), the charcoal drawings slightly dirty and with handling creases, the ink drawing (on cardboard) with small defect in the upper right corner. 2 drawings with collector's stamp Werner Eberhard Müller, Leipzig (Lugt 5075). - Privately owned in northern Germany for around 20 years. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000376 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000376 This lot can be purchased subject to differential or regular taxation.

Hermann Hesse Eigenhändiges Gedicht mit Orig.-Aquarell. Ohne Ort und Jahr (Montagnola, ca. 1940). 2 Seiten (Doppelblatt). Blattgröße 21 : 15 cm. Auf unbeschnittenem Bütten. Sehr schönes Doppelblatt mit aquarellierter Federzeichung und eigenhändigem Gedicht auf Büttenpapier. Mit dem Gedicht Frühlingstag . Wind im Gesträuch und Vogelpfiff, Und hoch im höchsten süssen Blau Ein stilles, stolzes Wolkenschiff .. Ich träume von einer blonden Frau, Ich träume von meiner Jugendzeit, Der hohe Himmel blau und weit Ist meiner Sehnsucht Wiege Dahin ich stillgesinnt Und selig warm Mit leisem Summen liege, So wie in seiner Mutter Arm Ein Kind. Das Aquarell zeigt eine Landschaft im Tessin, im Vordergrund ein Haus zwischen zwei Bäumen, dahinter ein See, in der Ferne blaue Berge. - Schöne Dichterhandschrift in frischem Zustand. Autograph poem with orig. watercolor ink drawing. 2 pp. Fine double-leaf on hand made paper. Sheet size 21 : 15 cm. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000607 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000607 This lot can only be purchased subject to regular taxation (R).

Heinrich Zille 4 Bll. Kinderszenen. 3 Orig.-Kohlezeichnungen und 1 Orig.-Tuschezeichnung mit Bleistift. 1 eigh. signiert, 2 mit Stempelsignatur 'Heinrich Zille' in Rot (Lugt 2676b). Um 1900. 3 auf dünnem Vélin, 1 auf festerem Papier, Papierformat 18,5-20 : 10,5-25,2 cm und 10,5 : 13,5 cm. Die vier kleinen Zillezeichnungen zeigen 3 Mütter mit Kindern auf dem Arm und ein kinderwagenschiebendes junges Mädchen. Die mit Bleistift hinterlegte Tuschezeichnung zeigt einen mit 4 Kleinkindern bevölkerten Kinderwagen, der von einem jungen Mädchen geschoben wird, im Hintergrund eine 'Probirstube'. Die drei Kohlezeichnungen mit Müttern unterschiedlichster Größe und verschiedensten Alters mit ihren Kindern auf dem Arm. - PROVENIENZ: Alle Zeichnungen mit Sammlerstempel Werner Eberhard Müller, Leipzig (Lugt 5075). - Seit 20 Jahren in nporddeutschem Privatbesitz. The 4 small Zille drawings show 3 mothers with children in their arms and a young girl pushing a stroller. 3 orig. charcoal drawings and 1 orig. ink drawing with pencil. 1 signed, 2 with stamp signature 'Heinrich Zille' in red (Lugt 2676b). Around 1900. 3 on thin wove paper, 1 on stronger paper, paper format 18.5-20 : 10.5-25.2 cm and 10.5 : 13.5 cm. - The 3 charcoal drawings mounted, 1 slightly light-margined, the other with 2 small brown spots. With collector's stamp Werner Eberhard Müller, Leipzig (Lugt 5075). - In Northern German private ownership for 20 years. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000377 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000377 This lot can be purchased subject to differential or regular taxation.

A design for theatre costume from Shakespeare’s Twelfth Night, ink and watercolour wash, signed monograms TG, dated ‘72 and a drawing of a chair with a bonnet, charcoal and chalk, indistinctly signed, largest 40 x 32cm. Condition - fair to good

JACANO (1923-1995), lot of 9 ink/pencil drawings for a revue, 1960s, signed and 1 drawing Lancia 1989JACANO (1923-1995), lot van 9 inkt/potlood tekeningen voor een revue, jaren '60, getekend en 1 tekening Lancia 1989

Jules DE BRUYCKER (1870-1945), ink and pencil drawing Market scene 1906Jules DE BRUYCKER (1870-1945), inkt- en potloodtekening Marktscène 190639.5 x 27 cm etiket Campo bevestigd door stichting De Bruycker

Glenluce Abbey.  Bound extract with pasted-in extra engs., the orig. illus., other extra illus. & a pen & ink drawing of the abbey dated 1843. Quarto. Nice half red morocco. Bookplate of Hew Hamilton Dalrymple.

America.- Pownall (Thomas) A Topographical Description of Such Parts of North America as are Contained in the (Annexed) Map of the Middle British Colonies, &c. in North America, first edition, folding engraved map frontispiece, partially hand-coloured in outline and linen-backed (2 very small points marked in red ink, light creasing and short tear at inner-edge with very small loss, few tears and slight wear to some old folds with fractional loss), slight offsetting and some surface soiling to title, final 2 leaves reinforced at gutter affecting few letters, soiling and some surface abrasion to final f. verso with loss to some words, scattered spotting, light browning, ex-library copy with small ink-stamps to title and K1 lower margin, modern half calf, abrasion where label removed from lower cover, folio (map 535 x 860mm.), for J. Almon, 1776. *** A view of the interior of America as it was understood in the year of American Independence. Pownall draws upon Lewis Evans' influential map and analysis of 1755, his map issued from the original Evans plate but with substantial additions. He extends it east of Philadelphia to encompass all of New England and bordering parts of Canada, drawing upon his own explorations into the interior of Vermont and Maine. The western portion is updated to include the route of Christopher Gist's 1750-51 trek through the unexplored areas of Kentucky, West Virginia and Ohio. The Appendix includes memoirs of other frontier explorers such as Lewis Evans (1743), Captain Anthony Von Schaik (1756) and Captain Harry Gordon (1766). 

Caldecott (Randolph, British artist and illustrator, 1846-1886) Artist's drawing manual with over 180 leaves of original designs, manuscript contents list to front of album with categories for subjects including 'Male Figures', 'Heads. Male', 'Feet', 'Figures Riding', and many others, some possibly traced after prints, some possibly original in conception, pen and inks on thin buff-coloured tracing paper, leaves of various sizes but each approx. 250 x 185 mm (9 7/8 x 7 1/4 in), watercolour drawing of putto pasted onto front pastedown, otherwise leaves mounted on stubs or laid onto blue-grey album leaves, some numbering throughout, many with rough edges, handling creases, a few loose, various prints inserted throughout, half calf, rubbed and very worn, 4to, [mid to late 18th century]; together with two further Caldecott sketchbooks, with 12 drawings to each, pen and ink and pencil, each leaf approx. 200 x 235 mm (7 7/8 x 9 1/4 in), white paper covers, both with red ink inscription to upper covers 'Sketch book of Randolph Caldecotts', oblong 4to, [mid to late 18th century] (3) 

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

Rob and Nick Carter, British 20th/21st Century,  Light Drawing Blue, XXII, 2005; unique cibachrome print mounted on aluminium, signed to a label on the reverse in ink by both artists, size: 221 x 112 cm, (framed)(ARR)

* Mitchell (R.J., 1895-1937). A Supermarine Aviation Works (Vickers) Limited signed letter dated 7 March 1933, the typed letter from Mitchell to Mr H.P Speake of Wolverhampton, reads 'Further to your application for a position on our Drawing Room Office Staff, we should be glad to know if you are still desirous of obtaining a position with us, and if so the salary you would require and when you would be able to commence duties with us', signed in ink by R.J. Mitchell, Director & Chief Designer, folded and foxed, the recipients address omitted, 25 x 20 cmQTY: (1)NOTE:Provenance: Mr H.P. Speake and thence by family descent. The vendor's father never took the job!

* WWI Trench / Battlefield Panoramas. An original WWI pen and ink drawing on waxed cloth formed in two parts and joined together, showing German and British front line, noting various locations including Oblong and Wieltue Farm, Calf Avenue, Kitchener's Wood, Canadian Dug Outs and Caliban Trench, various co-ordinates and some hand colouring, overall length 140 cm, together with another similar showing the Caliban Trench Reserve and the German Front Line with Bellevue Farm on the right, 51 cm long plus another titled 'View From Hasler House O.P.' showing Paschendale on the left and Zonnebe on the right, hand coloured, 55 cm long, all rolled and foxedQTY: (3)

A 19th century Persian Iranian manuscript fragment from the Shahnameh, or Book of Kings, by Ferdowsi. The fragment with central hand painted scene of Persian warriors, central warrior riding a horse whilst hunting a creature. The illustrated leaf framed by handwritten ink text in Farsi. Orange, black & gold border. Along with an Iranian 18th century pencil and ink drawing of a travelling dervish. The sketch depicting an itinerant fakir figure holding staff and bundle, dressed in robes and belt; the figure with Central Asian / Mongolian features. Cut from a larger manuscript album, with a clipping of the blue, green, gilt & orange coloured border beneath the traveller's bundle. Light spotting to upper left hand corner and the dervish's arms. Both mounted, framed & glazed.Manuscript fragment measures approx. 17.5cm x 10cm, sketch 21cm x 13cm at widest point, frames approx. 36cm x 26cm.

A 19th Century Folk Art watercolour and ink drawing of a Tiger, titled to lower section, 16 x 24cm, framed and glazed Further details: some discolouration to paper 

Henry Moore O.M., C.H. (British, 1898-1986)Figure Studies: Thirty-Nine Ideas for Sculpture and Drawing signed and dated 'Moore'38' (lower right) and variously inscribed (throughout)pencil, wax crayon, watercolour, gouache, pen and ink27.3 x 37.5 cm. (10 3/4 x 14 3/4 in.)Footnotes:ProvenanceFelix H. ManPrivate Collection, SwitzerlandWith Mercury Gallery, London (as Sketch Book Studies)Private Collection, AustraliaExhibitedChicago, Navy Pier, Art Chicago, 10-14 May 1996 (catalogue untraced)Literature Kenneth Clark, Henry Moore Drawings, Thames and Hudson, London, 1974, pp.128-129, cat.no.114, (ill.b&w)Ann Garrould (ed.), Henry Moore: Complete Drawings Volume 2, 1930-1939, Lund Humphries, London, 1998, p.213, cat.no.AG 38.56, HMF 1391, (ill.b&w)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

BRUNHOFF (JEAN DE)Le voyage de Babar, FIRST EDITION, AUTHOR'S PRESENTATION COPY, WITH FULL-PAGE PEN AND INK DRAWING OF BABAR IN A HAT SHOP opposite the title-page, and inscribed on title 'A monsieur et madame Gregory/en souvenir de Montana et de leur excellent traduction/hommage respectueux de l'auteur/Jean de Brunhoff', the original pen and ink illustration (image approx. 190 x 250mm.) depicting Babar in an overcoat talking to a shopkeeper holding up a hat, with 4-line caption below in distinctive cursive script ('Babar - Je voudrais un chapeau pour Mr. Gregory./Le vendeur - Voilà un modèle que je vous recommande./Babar - Très joli! Vous l'enverrez aujourd'hui/de ma part à Mr. Gregory au Chalet La Fenière.-', colour illustrations throughout, pictorial endpapers, contents shaken, occasional light foxing or toning, publisher's cloth-backed pictorial boards, worn and soiled with some abrasions, tears to spine with minor losses, folio, Paris, Editions du Jardin des Modes, [1932]Footnotes:RARE ORIGINAL PEN AND INK DRAWING OF BABAR IN A PRESENTATION COPY OF LE VOYAGE DE BABAR, the second in the series of Babar books. The illustration depicts Babar smartly dressed in overcoat, kerchief and hat in the interior of a milliner's, buying a hat from the shop assistant and requesting it be sent to 'Mr. Gregory au chalet La Fenière'. The book was gifted by Jean de Brunhoff (1899-1937) to the recipients as a souvenir of their meeting at Montana, Switzerland. From an early age de Brunhoff suffered from tuberculosis, and spent much of his time (and eventually dying aged thirty-seven) receiving treatment at a sanatorium in Crans-Montana. In Le voyage de Brunhoff depicts a resort based on the town (with 'Hotel Suisse') where Babar, Celeste and the Old Lady go for 'le bon air des montagnes et faire un peu de ski'.Provenance: Monsieur and Madame Gregory, gift inscription from the author; later inscription ('To my darlingest Winkie, with all my love, Bernard, 1971') beneath a tipped-in bookplate on the verso of the title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

John Varley, OWS,  British 1778-1842- View of Cheyne Walk, Chelsea; pen and ink on paper, signed 'J. Varley' (lower right), inscribed 'Chene Row Chelsea. / Outlined the reverse way' (lower edge), 32 x 41.2 cm. Provenance:  Private Collection, UK. Note:  The present drawing appears to be a version, executed in reverse, of a drawing by Varley depicting Cheyne Walk in Chelsea, which sold at Christie's, London, on 7 April 1998 (lot 48). 

Charles Cooper Henderson,  British 1803-1877- Scenes in Northern France, including Normandy and Boulogne, with rustic figures in regional costume; five pencil and watercolour drawings heightened with white on paper, each signed with monogram 'CHC' (four lower right, one lower left), one bears inscription 'Norman Market Peasants' verso, another bears inscription 'Drawing by Henderson / A French Fisherman / enjoying his pipe' verso, each approximately 13.7 x 19.2 cm.: together with a watercolour after Charles Cooper Henderson, by W.C. Cooper, 19th century- 'Hot Codlins'; pen, ink, and watercolour on paper, signed twice with initials 'W.C.C' (lower right), and inscribed twice 'W.C. Cooper / Jany 1833' verso, 18.7 x 14.7 cm., six altogether (6). 

After Charles Turner,  British 1773/74-1856- Her Late Royal Highness the Princess Charlotte Augusta; pencil on paper, bears 'BRISTOL PAPER' blindstamp (upper right), 55 x 45.6 cm.: Attributed to William Henry Bartlett, British 1809-1854- View of a church interior; pencil, brown ink, and wash on paper, inscribed 'W. Bartlett' so the mount, 20.2 x 15.2 cm.: British School, early 19th century- Portrait of a lady with two putti; coloured chalk on paper, 29 x 39 cm.: and After Louis de Carmontelle, La Duchesse de Chevreu; lithograph on card, 26 x 16 cm.: together with a black and white chalk sketch of a head and a drawing in brown ink heightened with white of two praying monks by various hands, seven altogether (7), (unframed). (VAT charged on the hammer price).

Michael Angelo Rooker, ARA,  British 1746-1801- View of Llanthony Abbey; graphite, grey and blue ink and wash on paper, inscribed 'Llanthony Abbey' verso, 24.1 x 42.2 cm. Provenance:  with Thomas Agnew & Sons, London.  Private Collection, UK. Note:  Rooker received training from his father, the artist Edward Rooker (c.1712-1774), alongside the landscape artist Paul Sandby (1731-1809). Rooker's skill as an architectural painter, for which he was best known, was likely further informed by his experience as a scene painter at the Haymarket Theatre, allowing him to depict streets and their surrounding buildings with convincing detail and depth. In 1788, he began to make annual tours of the country, producing a large number of watercolours and a few oil paintings of famous abbeys, architectural ruins and public buildings.  Another drawing of Llanthony Abbey by Rooker sold at Sotheby's, Glamorgan, on 19 October 1999 (lot 4). 

A MOUNTED FRAMED WATERCOLOUR TOGETHER WITH A FRAMED PEN AND INK DRAWING OF A ENGLISH SETTER SIGNED ARTHUR WARDLE

ARR A folio of modernist artworks in different media, to include a woodcut by John Farleigh, a pen and ink drawing by John Partridge, an etching of Edinburgh by Alexander Bryson Gillespie, among other artworks by a range of artists (1 folio)

Brian Stymest, 1934 - present, Original art work ink and pastel drawing of Danny La Rue, for Singalong party record sleeve.. 58cm x 61cm, complete with a copy of the sleeve and compilation record. (D)

China, drawing, 19th/ 20th century, depicting 3 men in a boat near rocks ink and watercolour, framed, 34,5 x 34 cm. [1]

WARHOL ANDY (1930 - 1987)Andy Warhol signed ink drawing with gold-leaf on very fine paper prov : estate of Todd Brassner New YorkWARHOL ANDY (1930 - 1987) tekening in inkt met goudblad (op zeer fijn papier) : "Vrouwenportret in profiel omringd door vogels" - 50 x 38 getekend prov : collectie van Todd Brassner - New York

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

CHAM (1819 – 1879) AND ENSOR JAMES (1860 - 1949)James Ensor signed ink drawing by CHAM with a satirical theme with two figures and a French textthe signature was certified by Frans Aerts dd 1993. Aerts was known as a gallery for works by James Ensor in Ostend and was called upon for expertise for the artist by Sotheby'sCHAM (1819 – 1879) EN ENSOR JAMES (1860 - 1949)pentekening met een satirische voorstelling met twee personages en met tekst "Faut-il que vous soyez riche pour oser avoir une tête comme ça!" - 8,5 x 18met een latere signatuur gezet door James Ensor, welke geattesteerd werd door Frans Aerts in 1993. Aerts stond bekend als handelaar van werken door Ensor in Oostende en deed voor Sotheby's expertises voor werken van Ensor

‡ SIR KYFFIN WILLIAMS RA ink drawing together with signed ephemera - Mott the sheepdog with the caption 'Here's a little doodle for you to use as you think fit', 30 x 21cms together with signed books, exhibition cards and posters (qty)Comments: viewing recommendedProvenance: private collection Denbighshire

STAR WARS: RETURN OF THE JEDI (1983) - Jabba the Hutt Skin and Hand-drawn Concept Drawing - A segment of Jabba the Hutt's skin and a hand-drawn concept drawing of the vile gangster from the production of Richard Marquand's Star Wars: Return of the Jedi.The skin is made of orange foam latex, while the drawing is rendered in pencil and black ink, and depicts Jabba reclining. The lot also includes a photograph of Jabba as he appeared in the film. The skin has dried up and crumbled over time, and no longer exists in a single piece. Dimensions: 26 cm x 21 cm (10.25" x 8.25")Estimate: £500 - 1,000 M Bidding for this lot will end on Sunday, November 17th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 14th, Friday, November 15th, or Saturday, November 16th.

BACK TO THE FUTURE PART II (1989) - Marty McFly (Michael J. Fox) Resizing Jacket Costume Designs - Marty McFly (Michael J. Fox) resizing jacket costume designs from the production of Robert Zemeckis' sci-fi adventure sequel Back to the Future Part II. Doc Brown (Christopher Lloyd) transported Marty to the year 2015 and gave him a futuristic ensemble to help him blend in, including a self-drying, auto-resizing jacket. The film's visual effects art director, John Bell, (Jurassic Park, Starship Troopers) hand-painted one of the concept designs for the jacket in watercolours. He has signed the piece in the bottom left corner, and dated it "3.89". Bell worked from original sketches by costume designer Joanna Johnston, three pages of which are also included in the lot. These sketches are rendered in pencil and ink on white paper, except for one that is printed, with hand-drawn red pencil embellishments to the jacket. They feature four different poses and angles of Marty, with annotations. The drawing labelled "Marty" is partially coloured and features sketches of specific jacket components. The three pages of sketches are stamped "Designed by Joanna Johnston". Dimensions (one piece): 40.5 cm x 29.75 cm (16" x 11.75")Sold without copyright; see copyright notice in the Buyer's Guide.Estimate: £3,000 - 6,000 M Bidding for this lot will end on Thursday, November 14th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Friday, November 15th, Saturday, November 16th or Sunday, November 17th.

ALIEN3 (1992) - Martin Asbury Hand-drawn "Molten Lead to Final Sequence" Storyboard Pages - A collection of Martin Asbury hand-drawn "Molten Lead to Final Sequence" storyboard pages from David Fincher's sci-fi horror sequel Alien 3. These four pages feature four illustrations each, rendered in pencil and ink. They depict part of the sequence where Ripley (Sigourney Weaver) and the prisoners lured the Xenomorph into a molten lead trap. Handwritten annotations accompany each drawing down the right side. Dimensions: 30 cm x 21.25 cm (11.75" x 8.25")Sold without copyright; see copyright notice in the Buyer's Guide.Estimate: £1,000 - 2,000 M Bidding for this lot will end on Saturday, November 16th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 14th, Friday, November 15th or Sunday, November 17th.

CLOSE ENCOUNTERS OF THE THIRD KIND (1977) - Douglas Trumbull Collection: Set of Four Hand-drawn George Jenson Devil's Tower FX Storyboards - Four hand-drawn special effects storyboards by production illustrator George Jenson for the production of Steven Spielberg's Close Encounters of the Third Kind. In the film, Claude Lacombe (Francois Truffaut) awaited the Mothership as Roy Neary (Richard Dreyfuss) and Jillian Guiler (Melinda Dillon) scaled Devil's Tower. This set comes from the collection of special photographic effects artist Douglas Trumbull.Created by Jenson to coordinate which VFX were needed in the landing sequence, it consists of four sheets of storyboards hand-rendered and numbered "#39," "#1540" and "#1540 Cont" in black ink and marker on illustration paper with handwritten annotations throughout. The sheets are hand-marked "M14," "M15," "M16," and "M17 " in graphite. They exhibit rough edges from where the pages were torn out of a spiral-bound drawing pad, pinholes in the corners, minor discolouration, and rough perforated edges. Dimensions: (each) 23 cm x 30 cm (9" x 11.75")Sold without copyright; see copyright notice in the Buyer's Guide.Visual effects pioneer Douglas Trumbull was born in Los Angeles in 1942. After abandoning architecture for technical drawing and cartooning, his talent for photorealism soon earned him work at Graphic Films, an esteemed Hollywood studio for which he designed groundbreaking cosmic effects for the 1964 New York World's Fair. After seeing Trumbull's work, director Stanley Kubrick hired him to create animations and VFX shots - including the iconic Star Gate sequence - for what would become his seminal masterpiece 2001: A Space Odyssey. From that film's success, Trumbull became one of the industry's most trusted photographic effects experts, designing and producing legendary screen moments in such sci-fi landmarks as Close Encounters of the Third Kind, Star Trek: The Motion Picture, and Blade Runner, all three of which earned him Academy Award® nominations. In addition to directing the cult classics Silent Running and Brainstorm, Trumbull later received a Scientific and Engineering Award for his high-speed photography process Showscan in 1993, one of two specialty awards given to him by the Academy of Motion Picture Arts and Sciences before his death in 2022. 60 years since he first made his mark on global cinema, Propstore today celebrates Douglas Trumbull by presenting a selection of rare memorabilia from his personal collection to the public.Estimate: £800 - 1,600 Ω Bidding for this lot will end on Saturday, November 16th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 14th, Friday, November 15th or Sunday, November 17th.

VMC: a framed ink drawing, depicting children playing in a garden with cat and frog - signed and dated 1980

A framed pen and ink drawing portrait of Montgomery - sold with a pencil portrait of George V and a further military figure portrait

Mette (Dutch artist): a silvered framed ink and wash drawing entitled 'Spaanse Zeep' (Spanish Soap) - signed and titled to the margin

George Leslie Hunter( Scottish Colourist 1877-1931) Mary Mounted ink drawing signed and inscribed 25cm x 20cm Provenance the sitter then family descent

DONALD MCGILL (1865-1962) - 'They've sacked me because they said I was redundant', 'What a shame! I'm sure no one would ever notice it!', watercolour cartoon, signed, inscribed verso, framed, 21cm x 16cm, frame size 42cm x 36cm, also another ink preparatory drawing 'Oh - er, Miss, can I change my shirt at this counter?' by the same hand. (2) Condition reports for each lot are available on our website.

Brad Widness (American, 20th/21st c). Acrylic and ink painting collage on paper on board painting titled "Through the door" depicting an industrial scene with a pink background, 2002.Brad Widness was born in Sioux Falls, South Dakota, and taught drawing, printmaking, watercolor, design, and digital media at Minnesota State University, Mankato, as well as January interim courses at Gustavus in Bookmaking, and a Bookmaking workshop at the Minnesota Center for Book Arts in Minneapolis. Brad’s work has been selected for many juried regional and national exhibitions, and his work is included in numerous printmaking portfolios and traveling exhibits around the country. Highlights from the last ten years include participating in an invitational exhibition at the MAPC Conference in Minneapolis, receiving a McKnight Fellowship, and having work selected from an open portfolio review for exhibit at the Highpoint Center for Printmaking.Unframed; height: 15 1/2 in x width: 24 1/2 in. Framed; height: 17 in x width: 26 in x depth: 2 1/2 in.Condition: The painting is in great condition with no visible losses or restoration under UV light. There is a vertical crack to the right as shown in the listing image. Along the extreme edge of the right margin, there is a minute dent. To the right, there is a dent to the board. To the lower left edge, there is a minute dent. Along the left side of the painting, there are several minute holes; please see the listing image. Very light wear to the frame.