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Neil Gaiman (British 1960-): Portrait of David Bowie, coloured pencil drawing signed 13cm x 8cm (unframed)

JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL, FRSE pastel, chalk and pencil on paper, signed and dated 1918, titled label versomounted, framed and under glass (original mount and frame)image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso.Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work.The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).

† FELIKS TOPOLSKI (Polish, 1907-1989); a pencil drawing of a female, signed in pencil lower right and dated January 67, 34 x 23.5cm, framed and glazed.

Robert Tomlin - Two Formula 1 prints for HP, both signed and dated '2000', one Artist's proof with pencil drawing of Johnny Herbert below, largest frame: 60 x 70 cm (2)

▲ Clifford Cyril Webb (1895-1972) 'Cheetah & Black Buck' 'Legend', woodcut, both signed in pencil and titled, 15 x 19cm and 20.5 x 24cm (2)Webb was drawing master at Birmingham School of Art. He also exhibited at the R.A., R.B.A., R.E. and R.O.I. 29cm x 30.5cm. Condition ReportFramed, mounted and glazed - images good. Frames dirty.

2 Artworks;Z.Spiron - Coloured pencil drawing ''Nude Still life'', signed and date 1998.Red chalk still life, signed.

Hale (Kathleen) A Collection of correspondence and original sketches, comprising 2 sketches titled 'Savage drawing' and 'Bella Plus', in pen and pencil, 1 autograph letter signed and 2 typed letters signed to Tom Maschler her publisher, 7pp., Oxford, 20 August 1970 - 29 June 1972, discussing potential works for publication and the presence of the sketches, folds, some loss to page margins (5 pieces) *** An interesting group -  the "savage" sketches entitled 'The Gay Seventies Hostel' are figures of six elderly and infirm guests therein, with a list of the Matron's rules, beginning: "All Inmates to be in bed by 9:30pm. No " " [inmates] to steal the 2nd helpings at meal times from less alert inmates." Below the images Hale notes "A savage drawing - one aspect of me seldom seen. Destroy it." The other sketch appears to be a draft for the contents and title-pages for a book introducing a new, teddy-bear character called "Bella Plush". 

* 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).

Selection of high quality drawings and paintings, attribution from previous owner. Ludwig Richter (1803-1884) illustration in pencil ‘The moon and splendour of the stars exult god in the still night’._ Harold John Stanley (1817-1867) pencil drawing._ Carl Krenek (1880-1948) watercolour, 9x10cm, Alpengluhen [the pink or yellow tint on mountain tops], framed._ also 3 framed 18th century watercolour landscapes._ (6)

Ilona Keserü (b.1933)Baroque Drawing, 196511/23, signed and numbered in pencil (in the margin)lithograph74 x 60cm, unframed. Discolouration to paper, stain bottom right corner as well as other smaller marks and stains. Creases to paper. See photos.

Bernard Cohen (British 1933-) Untitled Signed and dated 1975, gouache and pencil. 29 x 29cm (framed 54.5 x 53.5cm) From the collection of Prunella CloughExhibited: Bernard Cohen - Thirty Five Years of Drawing, Ben Uri Gallery, London, 7 November - 18 December 1994 Artists’ Resale Right (“droit de suite”) may apply to this lot. The painting is in very good, original condition. There are one or two minor spots of foxing across the paper. The painting is ornately framed and glazed.

Bernard Meadows R.A. (British 1915-2005) Study of a head Initialled and dated '39, watercolour pencil.22 x 16.5cm (framed 37 x 30cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There is a small tear in the lower right-hand corner of the drawing and there are minor undulations running across the paper. The drawing has slipped slightly towards the left in its frame. The drawing is framed and glazed. The frame has one or two very minor scuffs commensurate with age.

A set of four pictures, one watercolour depicting a young girl with ringlets, orange beaded necklace, in a blue and white dress with lace trim, another watercolour depicting a young girl with ringlets, orange necklace in a black dress with black lace trim and holding a red and blue speckle scarf, a pencil drawing of a lady with ringlets and in dress with ruffed cuffs and a pencil and watercolour drawing of an old lady seated with bonnet and dress with ruffed cuffs, signature indistinguishable, dated April 1840 in pencil, all same glazed and framed

ARR Tristram Hillier RA (1905-1983) Study of The Alcazaba of Almería, signed and personally dedicated lower left, titled with annotations to lower right, pencil drawing, 25.5 x 35.5 cm, frame 44 x 53 cmNotes: This drawing is possibly a study for Hillier's painting of Almería in the Nottingham Castle collection, showing the fortifcations of the Moorish Alcazaba in Almería, Southern SpainProvenance: private collection South East England, the drawing was personally dedicated and gifted to the vendor's father whilst working at Arthur Tooth Gallery, London Condition: The drawing is a work on paper, framed under glazing. The sheet appears in generally good condition; no obvious rips, tears or losses, there is some general ageing (yellowing) of the sheet but otherwise appears stable. There are pencil annotations in the margin which are currently covered by the mount. The mount has foxing and there are spores on the inside of the glass which need cleaning. There is some cockling to the sheet visible at the top but does not appear major. The frame has wear and tear

Attributed to Sir Alfred James Munnings (1878-1959) - Seated Gent (trainer) - A pencil on paper sketch drawing of gentleman in hat. Depicted in profile seated with hands on lap. Signed with initial to lower right. Unframed. Measures approx. 46cm x 32cm.

Christopher Wood (English, 1901-1930) Landscape with trees (Hampstead)pencil drawingRedfern Gallery label verso30.5 x 45cm Pencil on off white paper which perhaps has seen some slight discolouration particularly down the left side, otherwise signs of dirt are on the glass rather than the work, plain blue card mount, slim glazed wooden frame, 1985 Redfern Gallery label verso, title given 'Landscape with trees (Hampstead?)/PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

ITALIAN OLD MASTER SCHOOL: A 17TH CENTURY PENCIL DRAWING WITH BROWN INK, WASH AND TRACES OF WHITE HEIGHTENING DEPICTING HERCULES AND OMPHALE24cm x 18cmMounted on paper.

18TH CENTURY ITALIAN OLD MASTER: A RED CHALK DRAWING DEPICTING FIGURES WITH A CITY IN THE BACKGROUND24cm x 20cmInscribed indistinctly in pencil to verso.

17TH CENTURY ITALIAN OLD MASTER SCHOOL: A BROWN INK DRAWING ON PAPER DEPICTING THE HEAD OF A MAN FROM BEHINDInscribed to verso in pencil with a price '£17-0-0'.The drawing 5.2cm x 4cm. Stuck down on paper.

AFTER HANS HOLBEIN THE YOUNGER (GERMAN DIED 1543): A PENCIL DRAWING WITH COLOUR ON PAPER 'ELIZABETH, LADY VAUX'Inscribed in brown ink to top right hand side.13.2cm x 11.2cm

CIRCLE OF THOMAS GAINSBOROUGH R.A. (1727-1788): A PENCIL DRAWING ON PAPER DEPICTING A SEATED FIGURE WITH A DOG23cm x 19cm

CIRCLE OF GIOVANNI FRANCESCO GRIMALDI (ITALIAN 1606-1680): A BROWN INK LANDSCAPE DRAWING ON PAPERAttributed in pencil to verso.19cm x 17cm

AN 18TH CENTURY OR EARLIER PENCIL AND WASH DRAWING 'CESARO'Inscribed in pencil to bottom 'Cesaro'.28cm x 21cmStuck down to paper on corners.

AN INTERESTING PEN DRAWING OF A GENTLEMAN'S PROFILE SIGNED INDISTINCTLYInscribed in pencil bottom right 'bought at Milan 1892'.26cm x 17cm

AFTER JEAN AUGUSTE DOMINIQUE INGRES (1780-1867): A PENCIL DRAWING 'MME JOSEPH BALZE'Inscribesd in pencil bottom left. Inscribed on the mount.19cm x 15cmFramed and glazed39cm x 35cm

AFTER RAOUL DUFY (FRENCH 1877-1953): A PENCIL DRAWING DEPICTING A NUDE LADY 'NU AGENOUILLE'26cm x 19cmFramed and glazed.40cm x 35cm

IN THE MANNER OF CAMILLE PISSARRO (DANISH/FRENCH 1830-1903): A PENCIL DRAWING ON PAPER DEPICTING A HORSE AND CART WITH FIGURES AND A HOUSE\Sheet size 25cm x 19cmActual drawing 19cm x 14cm approximately.Inscribed bottom right 'Camille Pissarro'.Lightly taped down on card to top.Various pencil numeral inscriptions throughout.

HERBERT MARKIEWICZ (1900-1962): THREE PENCIL DRAWINGS FROM HIS STUDIO (3)Largest drawing 44cm x 33cmFramed and glazed, largest frame 62cm x 51cm

A PENCIL AND CHARCOAL DRAWING ON PAPER HEIGHTENED WITH WHITE DEPICTING A LADY32cm x 21cmFramed and glazed 47cm x 39cm

A PENCIL DRAWING ON PAPER DEPICTING A GENTLEMAN GATHERING STICKS23cm x 18cmFramed and glazed.37cm x 32cm

A GROUP OF THREE PENCIL SKETCHES WITH WATERCOLOUR AND WHITE HEIGHTENING DEPICTING 18TH CENTURY FRENCH FURNITURELargest drawing 39cm x 23cmTwo mounted in fine matching frames and glazed.The other framed but with broken glass.

A COLLECTION OF LANDSCAPE WATERCOLOURS, PENCIL DRAWING OF CATS, OIL PAINTING DEPICTING SHIPS (10)Each framed, mostly glazed.Largest frame 73cm x 58cm

A PENCIL DRAWING 'ALBERT JONES, THE OLD CHELSEA CLOCK MENDER' BY FREDERICK DAVISOld label to verso 'Artists of Chelsea'.37cm x 28cmFramed and glazed 53cm x 43cm

▲ Fletcher Sibthorp (b.1967) 'Chroma I', 2007screenprint in colours, 2012, signed 'Fletcher Sibthorp' in pencil l.r., and numbered '129/150'image 89 x 89cm,sold with a copy of 'Passion: Fletcher Sibthorp - Paintings, Drawing and Studies 1998-2005', published by Buckingham Fine Art Publishers (2)Condition ReportFramed: 123 x 122cmAppears to be in good condition. There is a faint dark mark to the pink area of background in the lower left quarter and it is unclear if this is an original part of the print, please refer to illustration. Well presented and ready to hang. Not viewed out of glazed frame. Light surface scuffs to the slipcase of the book.

Connel Pringle, Somerset House, the west front, pencil and ink drawing and three unframed drawings.

Color serigraph with areas of gold foil representing a sanguine drawing of a seated nude looking at the viewer. Martin Broadbent included Greco Roman architecture in the background, with flowers and Classical lettering. Signature in pencil on lower right: Broadbent. Title on lower center: "Harmony II." In pencil on lower left side: Artist's Proof, Trial State. Housed in a heavy gilded frame with a thick off-white cloth. Sight size: 16"L x 23"H. Frame size: 29.25"L x 36.25"H x 2"W. Artist: Martin BroadbentIssued: c. 1995Edition Number: Artist's Proof, Trial StateCountry of Origin: EnglandCondition: Age related wear.

Tim Brough, Reclining Nude, pencil drawing, signed and dated 2001, 18 x 34cm. A Mead and one other nude study prints (3).

Eugene Boudin (1824-1898) – Pencil drawing – Sketch of fishing boats pulled up onto sand with two annotations in centre, signature to verso, paper, 5ins x 3.5ins, framed and glazed. Note: Signed in ink to verso.

Kent School (20th Century) - Pencil drawing - Reclining nude woman, signed and dated March 85, 11ins x 18ins, in gilt frame and glazed

Bryan INGHAM (1936-1997) Two works  Brahms, Prussia Cove, 1995, pencil on paper, inscribed and dated, 30 x 21xm, framed 40 x 31cmSchubert Octet, Prussia Cove, 1995, pencil on paper, inscribed and dated, further pencil drawing to verso, 30 x 20cm, framed 40 x 31cm(2) The Artist's Estate

Keith Haring, American 1958-1990 -  Untitled, 1981; marker on plastic wrapped around acrylic and coloured pencil on paper, signed and dated on the reverse 'Haring Sept. 81', 48 x 37.3 cm Provenance: Tony Shafrazi Gallery, New York (according to the previous cataloguing of the work); private collection, California, purchased from the above in 1981; Sotheby's, London, Contemporary Art Day Auction, 8th March 2018, lot 127; private collection, purchased from the above Note:Haring decided to be represented by Shafrazi in the early 1980s and had his first solo show at the gallery in 1982. This work is a classic example of Haring's visual language. Drawing on plastic wrap over an existing drawing is demonstrative of his playful and experimental nature, akin to the subway drawings he began creating prolifically during this time.

Cildo Meireles, Brazilian b.1948 - Drawing 1, 2001; watercolour and pencil on paper, signed with initials and dated lower left 'C.M. 2001', also signed and dated on the reverse 'Cildo Meireles 2001', 19 x 24 cm (unframed) (VAT Charged on the Hammer Price) Provenance:private collection, gifted by the Artist; Phillips, London, New Now, 15th December 2020, lot 146; private collection, UKNote:despite the Expressionistic quality of the present lot, Meireles is one of Brazil's most established Conceptual artists. Much of his work is politically charged and calls on the viewer to interact with the work.Meireles was the first Brazilian artist to be given a full retrospective by the Tate in London in 2008. His work been included in major exhibitions including the Venice Biennale (1976, 2003, 2005, 2009); São Paulo Bienniale (1981, 1989, 1998, 2010); Documenta, Germany (1992, 2002); and Istanbul, Turkey (2003, 2015). His imposing installation of 800 radios, entitled 'Babel' is on permanent display in the Tate Modern, London.

Maurice Sumray, British 1920-2004 - Drawing for Painting, 1994; pencil on paper, signed and dated lower right 'Maurice Sumray 1994', 27 x 19 cm (ARR) Note: inscribed with title on a label attached to the reverse of the frame 

Laurence Stephen Lowry RA (1887-1976), a pencil drawing of a street scene, with church spire typical back to back figures cat and dogs. 38 cm x 28 cm, framed, signed and dated 1960, with J Davey & Sons Bridge Street Deansgate Manchester label verso. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them. CONDITION REPORT: The picture is perfectly flat with no undulation or creasing. We can see no evidence of damage, no repairs and no restoration. There is no foxing. The paper is a uniform off white/cream colour. There is perhaps a slight hint of some discolouration in the top left-hand corner where the paper meets the mount but this is very faint. There is also a very faint arch of discolouration to the left of the pencil line that looks like an S in the sky area. This may however simply be felt pen as it is a similar colour to the lines to the church spire and around the hats and central figure. There is a very small area of very minor discolouration just below the angled section of the roof line on the right-hand side, again this is very faint.

Laurence Stephen Lowry RA (1887-1976), a pencil drawing "St Mary's Street Oldham". 26 cm x 36 cm, framed signed and dated 1960, label verso "St Mary's Street Oldham". Visited spot with him when he made this sketch later he painted the same scene. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them.

Laurence Stephen Lowry RA (1887-1976), a pencil head and shoulders portrait of a gentleman with moustache. 37 cm x 27 cm, framed, signed and dated 1960 and with J Davey & Sons Limited Duke Street Liverpool label verso. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them.

Laurence Stephen Lowry RA (1887-1976), an early pencil drawing of a landscape. 18.5 cm x 27 cm, framed, signed and dated 1929. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them.

Laurence Stephen Lowry RA (1887-1976), a pen and pencil drawing of a man wearing a hat and with pond yacht. 18.5 cm x 20 cm, framed. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them. CONDITION REPORT: The painting is framed and glazed and there is nothing on the back of the frame. It does look as if there is another doodle or part drawing on the reverse of the drawing image to the left of the pond yacht. We cannot tell whether this is just a few lines or not. The main image is a little yellowed around the extremities and the paper on which it is drawn is slightly creased in places particularly around the bottom right-hand corner. The surface of the drawing is also a little dirty in places but there is no foxing or anything of that nature. The mount is yellowed. The frame is a simple moulded frame which is in reasonably good condition.

Laurence Stephen Lowry RA (1887-1976), pencil drawing on paper "Maryport - The Estuary", signed L S Lowry 1960, framed and mounted. 36 cm x 25 cm. Provenance: Sotheby's 1998, label verso Richard Green 147 New Bond Street London. Castlegate House Gallery Cockermouth (see illustration). ARR

Bill Wilkinson, pencil drawing of "The Back of Skiddaw", signed Bill Wilkinson '98. 95 x 62 cm in glazed frame.

Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005. 

Peter Biegel (British 1913-1987) - The Apprentice, pencil drawing, signed with initials lower right, titled upper right, 12.5cm x 16.5cm, within a wooden frame.

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.

Brown (Lancelot (Capability), 1716-1783), Manner of. Design for a three-arched bridge terminating in a sheet of water and set in a tree-lined landscape, pen and inks, wash, some pencil under-drawing, on laid paper with watermark of a Strasbourg bend and lily with initials 'VG', sheet 200 x 365 mm (7 7/8 x 14 1/4 in), under glass, some spotting and minor surface dirt, old folds and handling creases, associated toning in places, framed, [probably late 18th century]Provenance:Collection of John and Eileen Harris

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.

Rawlins (Thomas J., fl.1837-1860) View of front of Alton Towers, Staffordshire, point of the brush, watercolour, heightened with white, pencil under-drawing, signed lower right, image 350 x 425 mm (13 3/4 x 16 3/4 in), under glass, minor spotting and surface dirt, framed, [1860]Illustrated:The Illustrated London News, April 21, 1860, p. 372Provenance:Collection of John and Eileen Harris*** The many Gothic Revival alterations and additions to Alton Towers were designed by Augustus Pugin (1812-1852), and carried out from 1837 until the time of his death In 1857. In 1859 the Alton Towers estate was inherited by the 18th Earl of Shrewsbury, who two years earlier had succeeded to the earldom. In celebration of his inheritance, the earl held a procession through Staffordshire in April 1860. Beginning in Uttoxeter, it stretched over a mile with up to 40,000 people in the grounds of Alton Towers at the end. It was presumably this event, which led The Illustrated London News to commission Rawlins to illustrate the Gothic Revival house for them in April 1860.Pugin is principally remembered for his pioneering role in the Gothic Revival style of architecture, and his work culminated in designing the interior of the Palace of Westminster in Westminster, London, and its renowned clock tower, the Elizabeth Tower (formerly St. Stephen's Tower), which houses the bell known as Big Ben.

*** 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. 

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.