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Deutsche Nachkriegsmoderne Norbert Prangenberg (1949 Rommerskirchen - 2012 Krefeld)o.T. 1989. Mischtechnik mit Aquarell über Bleistift auf leichtem Velin. 29,5 x 41,5 cm. Verso signiert, datiert und ortsbezeichnet sowie weiterer, skizzenartiger Zeichnung. - Technikbedingt leicht gewellt, insgesamt gut erhalten. Die Farben frisch. Mixed media with watercolour over pencil on light wove paper. Signed, dated and localized on verso, here also with further sketch-like drawing. - Slightly wavy due to technique, overall well preserved. The colours appearing fresh and luminous.

Minimalismus - - Lee Ufan. 5 monochromatische Aquarelle sowie eine Umrisszeichnung in Bleistift, in: Un Poléoscope. Poème en proses et en poèmes. 1990. Je auf Richard de Bas-Bütten (m. Wz.). 33 x 25 cm (Blattgröße). Die Aquarelle signiert bzw. monogrammiert, datiert und nummeriert, die Umrisszeichnung betitelt, im Impressum abermals signiert und nummeriert. Auf gefalteten Doppelblatt lose in Orig.-Umschlag, in Leinenchemise. - Mit einem Text von Michel Deguy. - Doppelblatt sowie Umschlag in äußersten Rändern ganz leicht gebräunt, Papier ganz leicht gewellt, vereinzelter, blassdunkler winziger Fleck, Umschlagrückseite und -rücken mit sehr wenigen blassbraunen kleinen Flecken, insgesamt gut. KW Koopm K 338. - FRBNF47420363. - Provenienz: Privatbesitz Paris. - Eines von lediglich 17 seriell-unikatären Exemplaren. - Eine magische Poesie spricht aus Lee Ufans Arbeiten, die rhythmisierte Monochromie mit Bewegung verbinden. Der zwischen Paris, New York und Japan lebende koreanische Künstler konzentriert sich in seinem minimalistischen Werk seit den 1970er Jahren auf die Ausführung des einen einzigen Pinselstrichs, zieht ihn enorm kraftvoll über Leinwand und Papier. Nach tiefer Meditation, so wirkt es, taucht er den breiten Pinsel in Ozeanblau und setzt zum Malen in einem Akt höchsten künstlerischen Ausdrucks an, bis dieser keine Farbe mehr abgibt. In meisterlicher Reduktion wird die dahinfließende Farbe zum bildlichen Mediator, zeigt Aktion und Prozessualität. Die Bewegung von des Künstlers Hand zeigt eine Verbindung zwischen Körper und Zeitlichkeit auf und setzt Pinselstrich und Bildgrund in eine dialektische Beziehung zueinander. Es ist der malerischen Abdruck Ufans, dessen Spur unmittelbar in aller Materialität erfahrbar wird. In "Un Poléoscope" zeigt sich Ufan für die fernöstliche Ausgabe in Zusammenarbeit mit dem französischen Dichter Michel Deguy entstandenen Künstlerbuchs verantwortlich, zwei weitere Ausgaben sind mit Illustrationen von Lucio Pozzi und David Jones bekannt. Vorliegendes Portfolio aus dem Frühwerk des Künstlers wird erstmalig dem deutschen Auktionsmarkt zugeführt. Lediglich ein weiteres Exemplar in der Koopman Collection, Amsterdam, ist für uns nachweisbar. 5 monochromatic watercolours as well as an outline drawing in pencil, in: Un Poléoscope. Poème en proses et en poèmes. 1990. On Richard de Bas laid paper (with watermark). Watercolours signed or rather monogrammed, dated and numbered, pencil drawing titled, signed and numbered again in imprint. On folded double sheet lose in original cover, in linen chemise. - With text by Michel Deguy. - Double sheet as well as cover in outermost margins very slightly browned, paper very slightly buckled, isolated, pale-dark tiny stain, cover's back and spine with very few faint-brown small stains, all in all good. - Provenance: Private collection, Paris. - One of only 17 serial-unique copies. - A magical poetry speaks from Lee Ufan's works, which combine rhythmised monochrome with movement. Since the 1970s, the Korean artist, who lives between Paris, New York and Japan, has focussed on the execution of a single brushstroke in his minimalist work, drawing it across canvas and paper with enormous power. After deep meditation, it seems, he dips the broad brush in ocean blue and begins to paint in an act of supreme artistic expression until it no longer gives off any colour. In a masterly reduction, the flowing colour becomes a pictorial mediator, showing action and processuality. The movement of the artist's hand reveals a connection between body and temporality and places brushstroke and picture ground in a dialectical relationship to one another. It is the painterly imprint of Ufan, whose trace can be directly experienced in all its materiality. In 'Un Poléoscope', Ufan is responsible for the Far Eastern edition of the artist's book created in collaboration with the French poet Michel Deguy; two further editions are known with illustrations by Lucio Pozzi and David Jones. This portfolio from the artist's early work is being presented to the German auction market for the first time. Only one other copy in the Koopman Collection, Amsterdam, is known to us.

Christo (d. i. Chr. Javacheff). (1935 Gabrovo/Bulgarien - 2020 New York). Store Front (Mandarin yellow from "Red Devil" enamel). 1965. Zeichnung in Mischtechnik mit Collage, Bleistift, Ölkreide und Emailfarbe auf Zeichenpergament. 71 x 56,5 cm. Signiert, datiert, bezeichnet sowie mit weiteren Annotationen in Bleistift. Mit Heftklammern auf Karton sowie mit Nägeln auf Holzplatte montiert. In Plexiglasbox präsentiert. - Papierbedingt zart angebräunt, im Blattrand leicht lichtrandig, hier auch die Montierung durchscheinend, etwas gebrauchsspurig sowie technikbedingt leicht fleckig, die untere linke Ecke mit kleinem Abriss sowie Unterlegkarton mit schwachen Wasserrand. Insgesamt gut. Die Farben in frischer Erhaltung. Detailliert ausgearbeitete Entwurfszeichnug sowie für die Erschließung des Gesamtwerkes Christos ausgesprochen bedeutende Arbeit. Unsere Arbeit dem Christo & Jeanne Claude Archiv in New York bekannt, wir danken für die freundliche Bestätigung der Authentizität. - In den frühen sechziger Jahren begannen Christo und Jeanne-Claude die Arbeit an den Store Front Projects, zu jener Zeit noch in Paris. Aus kleinen Vitrinen und Schränkchen, welche Christo überwiegend auf Flohmärkten erstand, entstanden die ersten Show Cases, indem beispielsweise die Scheiben mit Packpapier verklebt, oder Metallschränkchen mit einer Glühbirne versehen wurden. Nach ihrer Emigration nach New York im Jahr 1964 führten sie die Arbeiten an dem Projekt weiter, wobei die beiden Künstler die Dimensionen der entstehenden Objekte veränderten. Aus metallenen Gerüsten und architektonischen Elementen entsteht nun das Store Front Project, für welches die bereits genutzten Elemente des Verhüllens durch Stoffe und Packpapier weiter eingesetzt werden. Wie für alle seiner Projekte fertigte Christo sehr exakte Vorzeichnungen uns Skizzen an, wie auch die uns vorliegende Arbeit beispielhaft belegt. Die detaillierte, in warmtoniger Emaillefarbe kolorierte Konstruktionszeichnung führt dem Betrachter vor Augen, dass die Künstler neben der Abschottung durch Verklebungen bei den Store Fronts zudem Wert darauf legen, die äußeren architektonischen Strukturen zu betonen. Der hier entstehende, für den Betrachter deutlich wahrnehmbare spannungsvolle Dialog zwischen Innen und Außen wurde in ausgeführter Form hierdurch verstärkt, dass die Store Fronts stets in einem geschlossenen Raum ausgestellt waren und sich hierdurch der gesamte Ausdruck des Raumes sowie die Wahrnehmung dessen veränderte. Die Store Fronts, so präsent sie in einem Raum platziert waren, blieben doch von ihrer Umgebung abgeschottet und schufen eine klare Distanz zum Betrachter. Ein nun vergleichender Blick auf die späteren, monumentalen Landart-Projekte des Künstlerduos zeigt, dass diese bereits in den Store Front Projects mit der Erschaffung neuer sowie der Veränderung bereits bestehender Räume und deren Umgebungen ihren Anfang fanden. - Weiterführend bzw. vgl. hierzu: Matthias Koddenberg, "Beyond Sculpture: Christo's Store Fronts and Indoor Installation". In: Cahiers d'Art, Paris, September 2020. Drawing in mixed media with collage, pencil, oil pastel and enamel colour on parchment paper. 71 x 56.5 cm. Signed, dated, inscribed and with further annotations in pencil. Mounted with staples on cardboard and with nails on wooden board. Presented in a plexiglas box. - Delicately browned due to paper, slightly light-stained in the margin, the mounting lightly showing through, with slight traces of use and minimally stained due to the technique, the lower left corner with a small loss and the backing card with faint waterstain. Good overall. The colours in fresh condition. Detailed design drawing and an exceptionally important work for the understanding of Christo's oeuvre. - Our work is registered with the Christo & Jeanne Claude Archive in New York, we thank them for kindly confirming its authenticity. - Christo and Jeanne-Claude began working on the Store Front Projects in the early 1960s, while still living in Paris back then. They created their first Show Cases from small display cabinets and cupboards, which Christo mainly found at flea markets, for example by gluing packing paper to the panes or fitting metal cabinets with a light bulb. After emigrating to New York in 1964, the two artists continued to work on the project, changing the dimensions of the objects they created. The Store Front Project was now realised from metal scaffolding and architectural elements, for which the already established elements of wrapping with fabric and packing paper were used further. As with all of his projects, Christo made very precise preparatory drawings and sketches, as exemplified by our work. The detailed construction drawing, coloured in warm-toned enamel paint, clearly indicates that, in addition to sealing off the store fronts with adhesive bonding, the artists also attach great importance to emphasising the external architectural structures. The resulting tense dialogue between interior and exterior, which is clearly perceptible to the viewer, was reinforced by the fact that the Store Fronts were always exhibited in a closed room, thereby changing the entire expression of the room and the perception of it. The Store Fronts, as central as they were placed in a room, remained isolated from their surroundings and created a clear distance to the observer. A comparative look at the artist duo's later, monumental land art projects shows that they already originated in the Store Front Projects with the creation of new spaces and the alteration of existing structures and their surroundings. - Cf: Matthias Koddenberg, 'Beyond Sculpture: Christo's Store Fronts and Indoor Installation'. In: Cahiers d'Art, Paris, September 2020.

Camille Jean-Baptiste Corot (French 1796-1875) - Auvers, Rue du Village, pencil drawing heightened with white chalks, with studio stamp lower right and exhibition label verso for Arhut Tooth & Sons Ltd of Bruton Street, London, for their Anthology Exhibition, June 1949, 15 x 23.5cm

Of Ethnological interest, rare to auction, a pencil Drawing of an indigenous woman in a grass skirt, inscribed "Trobriand" and "Papua" and "1921", 8 3/4" x 15", some small scuffs and tears, signed by the artist Ellis Luciano Silas; Australian war artist who spent four years in New Guinea (1921-1924), much of his art from this time residing in the British Museum.

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

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE AT LA PETITE FARANDOLE, CAP D'ANTIBES (MARGARET MORRIS) Charcoal 20cm x 15cm (8in x 6in) Margaret Morris;Christie's Edinburgh, The Scottish Sale, 1st November 2001, lot 106;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 142;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED MAN Conté 20cm x 12cm (8in x 4.75in) 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1864-1961) PROMENADING FIGURE WITH HAT (WITHIN A SKETCHBOOK CONTAINING APPROXIMATELY 35 DRAWINGS) Conté, one of approximately 35 drawings within a blue-covered sketchbook  21cm x 13.5cm (8.25in x 5.25in) Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN ON A BALCONY (ANNE ESTELLE RICE) Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 143;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) THE BROAD-BRIMMED HAT Charcoal 17.5cm x 12cm (7in x 4.75in) Exhibited: The Scottish Gallery, Edinburgh, The Scottish Colourists, November 2000, no.25.2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE, TAZZA AND FRUIT Inscribed, charcoal on brown paper 30.5cm x 23cm (12in x 9in) Sotheby's Hopetoun House, Fine Paintings, 15th April 2002, lot 167;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

ANNE ESTELLE RICE (AMERICAN 1877-1959) LANDSCAPE WITH TREES Signed, coloured pencil on paper, mounted on cardboard 30.5cm x 23cm (12in x 9in) Hollis Taggart Galleries, New York;Sotheby's Hopetoun House, Scottish Pictures 18th April 2005, lot 120 where incorrectly catalogued as John Duncan Fergusson;Private Collection, Scotland.Exhibited:Hollis Taggart Galleries, New York, The Expressive Fauvism of Anne Estelle Rice, 29 April - 26 July 1997, cat.no. 31 (as ‘Untitled Landscape with Trees’), repr.col.p.42, pl.12 This work has been dated c.1918-20.Groves of trees, particularly those with rhythmically undulating and expressive trunks, feature in several of Anne Estelle Rice’s sketchbooks and paintings. Sinuous tree trunks appear as framing devices in early frieze-like compositions such as Station of Montgeron of 1908-09 but in the drawings and paintings made in Cassis in the South of France and in Corsica, both first visited in 1913, their repeating, muscular forms animate the composition like figures in a landscape. Rice would have been familiar with the comparably undulant trees of André Derain and his Fauve contemporaries, as well as those of Vincent van Gogh who inspired them.  In this rare large-scale coloured drawing, the forms of trees are stylized further into repeating patterns of supple verticals, mounded canopies and fan-shaped ferns or shrubs, and the palette restricted to blue, yellow and green. The sheet was executed after World War One when Rice was based in London - she had married the British critic O. Raymond Drey in 1913. From early April to mid-July in 1918, she was working around Looe in Cornwall, where the artist, now pregnant, was joined by Katherine Mansfield and painted the writer’s portrait. Later in the summer, she moved on to Cromer and Wroxham on the Norfolk Broads. There were no funds for a studio during her challenging war and early post-war years. Rice did what she could during spring and summer trips, concentrating on small scale works on paper – drawings and watercolours – that could be made on the kitchen table, and often re-using motifs from earlier sketches. 

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". 

Trevor Grimshaw (British 1947-2001) "Rain and Steam, Ardwick" Signed, titled and dated 11:30 May 31st 1972 in pencil in the margin, graphite.image size 20 x 25cm (paper size 25 x 35cm)From the Estate of the Artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. There are some areas of discolouration, foxing, and creasing found across the page. The drawing is unframed.

L.S. Lowry R.A. (British 1887-1976) "Great Ancoats Street" Signed and numbered 179/850 in pencil in the margin, with publisher's blind stamp, limited edition print from an original pencil drawing.29 x 38.5cm (framed 51.5 x 61cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are some subtle undulations running vertically across the paper. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Terry Allen (British 1950-) "Penny Lane, Stockport" Signed, pencil drawing.47.5 x 97cm (framed 63 x 111.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately reframed and glazed. The frame has one or two minor scuffs and knocks commensurate with age.

Peter LANYON (1918-1964) Clevedon Study VII (1964)Charcoal and pencil on paper, titled verso, 40X50cm, framed 59.5X68cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024 This work is in good condition, we can see no foxing and no damage or repair. There is some creasing to the lower margin. The work is unsigned but to verso is the official estate facsimile signature. This drawing has not been examined out of the glazed frame.

* 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).

Roy Lichtenstein, 1923 New York – 1997 ebendaSTUDY FOR A TEMPLE (1968)Zeichnung, Farbstift und Bleistift auf Papier.23 cm x 17,5 cm.Vorderseitig signiert und datiert.Eine antike Tempelfront bestehend aus dorischen Säulen, ist durch Risse vom Verfall gezeichnet. Lichtenstein versteht es den Kontrast zwischen Motiv und Medium zu überwinden. Durch seine knallbunten Gemälde und Graphiken, die Comic-Strips gleichen, kreierte Roy Lichtenstein eine völlig neue Ästhetik und dies zu der Zeit, in welcher der Abstrakte Expressionismus in der Kunstwelt vorherrschte. Lichtenstein betonte bewusst die Künstlichkeit seiner Bilder und benutzte flache, einfarbige Punkte, die er per Hand mit Hilfe von Farbe und Schablonen herstellte, so dass der Eindruck einer Rasterung entsteht. In der klassischen Perfektion des vorliegenden Werks schwelgt Lichtenstein in der dramatischen Manipulation des Raums, denn das Nebeneinander von Flächigkeit und Tiefe führt unseren Blick auf der Bildebene durch den flächigen blauen und gelben Hintergrund hinauf zur trotzigen skulpturalen Plastizität des Tempels. In seiner konkreten Silhouette hebt sich die grafische Kühnheit des Bauwerks mit entschlossener Klarheit von der hypnotischen Energie der hinteren Bildebene ab.Lichtenstein untersuchte in seinem Werk die Beziehung zwischen Kunst und Populärkultur und verwandelte sorgfältig ausgewählte Bilder aus zeitgenössischen Magazinen, Zeitungen und dem Stadtbild in monumentale Ikonen. Der Künstler sagte dazu, dass er seine Bilder wie programmiert aussehen lassen möchte. Die Fähigkeit eines Bildes, zu kommunizieren, übte eine große Faszination auf Lichtenstein aus. Sein Werk basiert auf einer umfassenden Erforschung dessen, was ein Bild für den Künstler und den Betrachter ausmacht, was sich in dem von ihm verwendeten Vokabular und den von ihm gewählten Formen ausdrückt. Seine künstlerische Sprache ist von universeller, unmittelbarer Anziehungskraft: eine kühle und mechanische Ästhetik, die sich durch graphische Präzision und kompositorische Klarheit auszeichnet. Lichtenstein wollte darauf hinweisen, wie wichtig es für den modernen Menschen ist, den Unterschied zwischen Bild und Wirklichkeit zu kennen.Im Laufe seiner langen Karriere hat der Künstler nur sehr wenige fertige Zeichnungen angefertigt. Diese Studie ist der Vorläufer der Lithografie Temple, die im Rahmen der Tempel und Ruinen Reihe entstanden ist. Lichtenstein war ein Bewunderer von Gesimsen – horizontale architektonische Strukturen auf Säulen – ursprünglich aus der klassischen griechischen Architektur stammend. In den 1970er Jahren entdeckte Lichtenstein Gebälk an Gebäudefassaden rund um die Wall Street und Lower Manhattan. Diese Beobachtungen inspirierten den Künstler und wurden der Ursprung der Gebälkserie, die für seine Arbeitspraxis einzigartig war. Anders als in den 1960er Jahren, als Lichtenstein sich auf Comics, Cartoons und Werbung bezog, schuf er in diesen späteren Fällen sein eigenes Quellenmaterial, indem er lokale Beispiele der New Yorker Architektur fotografierte. 1970, als er die Spiegelserie fortsetzte, begann er, sich mit dem Thema des Gebälks zu beschäftigen. Das Gebälk ist ein architektonisches Element, das einem Band oder einer Leiste ähnelt, die waagerecht über den Säulen eines Gebäudes liegt. Ursprünglich stammt das Motiv aus der Architektur des antiken Griechenlands und war auch in Amerika im Beaux-Arts- und griechisch-römischen Revival-Stil des frühen zwanzigsten Jahrhunderts, der für öffentliche Gebäude wie Museen und Bibliotheken verwendet wurde, weit verbreitet.Provenienz:Privatsammlung, New York.Kunsthandel, Deutschland.Privatsammlung, Deutschland. (1420516) (1) (10)Roy Lichtenstein, 1923 New York – 1997 ibid.STUDY FOR A TEMPLE (1968)Drawing, coloured pencil and pencil on paper23 cm x 17.5 cmSigned and dated on the frontAn ancient temple front consisting of Doric coloumns is marked by cracks from decay. Lichtenstein knows how to unite the contrast between motif and medium. Through his brightly colored paintings and graphics that resemble comic strips, Roy Lichtenstein created a completely new aesthetic at the time when Abstract Expressionism was dominant in the art world. Lichtenstein deliberately emphasized the artificiality of his paintings, using flat, monochromatic dots that he made by hand using paint and stencils, creating the impression of a grid. In the classical perfection of the present work, Lichtenstein revels in the dramatic manipulation of space, as the juxtaposition of flatness and depth leads our eye up the picture plane through the flat blue and yellow background to the defiant sculptural plasticity of the temple. In its concrete silhouette, the graphic boldness of the structure stands out with determined clarity against the hypnotic energy of the back picture plane.Lichtenstein’s work explored the relationship between art and popular culture, transforming carefully selected images from contemporary magazines and newspapers into monumental icons. In the artist’s words, “I want my pictures to look as if they have been programmed, I want to hide the traces of my hand.” The ability of an image to communicate held a great fascination for Lichtenstein. His work is based on an extensive exploration of what constitutes an image for the artist and the viewer, expressed in the vocabulary he uses and the forms he chooses. His artistic language has a universal, immediate appeal: a cool and mechanical aesthetic characterized by graphic precision and compositional clarity. Lichtenstein wanted to point out how important it is for modern man to know the difference between image and reality.Throughout his long career, the artist made very few finished drawings. This study is the precursor to the Temple lithograph, which was created as part of the Temples and Ruins series. Lichtenstein was an admirer of cornices – horizontal architectural structures on columns – originally derived from classical Greek architecture. In the 1970s, Lichtenstein discovered entablatures on building facades around Wall Street and lower Manhattan. These observations inspired the artist and became the origin of Gebälkserie, which was truly unique to his working practice. Unlike the 1960s, when Lichtenstein referenced comics, cartoons, and advertisements, in these later cases he created his own source material by photographing local examples of New York architecture. In 1970, as he continued the mirror series, he began to explore the theme of entablature. The entablature is an architectural element that resembles a band or molding that lies horizontally across the columns of a building. The entablature is an architectural element that resembles a band or ledge that lies horizontally above the columns of a building. The motif originated in the architecture of ancient Greece and was also widely used in America in the Beaux-Arts and Greco-Roman Revival styles of the early twentieth century, which were used for public buildings such as museums and libraries.Provenance:Private Collection, New York.Art Trade, Germany.German Private Collection.

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 selection of six framed pictures and prints to include a pencil drawing of Hadley Church, Hertfordshire by F Tomlins. Various sizes. Est. £20 - £30.

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

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

§ Leonard Russell Squirrell RWS (British, 1893-1979) King's College, Cambridge, from The Backs signed lower left 'L.R.Squirrell' and dated 1941 watercolour 25.5 x 47cm; together with a pencil study of the same subject, with colour annotations, 19 x 21.5cm (2) Watercolour in very good, clean condition with no damages to the paper apparent.  Colours vibrant.  Signature clear.  Unexamined out of frame.  The frame with light wear, total size 50 x 70cm.Pencil drawing with scuffs and small damages to the paper as illustrated.  Unexamined out of frame.  Framed size 33 x 37cm.

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.

Henry Bone R.A. (British, 1755-1834)An Allegory showing the Effects of War, dramatically painted with the naked bejewelled Venus pleading with Mars and surrounded by putti and martial victims. Enamel on copper, signed, dated and inscribed on the counter-enamel Painted by Henry Bone RA Enamel painter in Ordinary to His Majesty, and Enamel painter to His Royal Highnefs the Prince Regent after the Original by Rubens in the/ Collection of Arthur Champernowne Esquire/ size of the Original picture/ 305/s inches by 20 inches' and 'Purchased by George Bowles Esquire/ May 28 1813. The possessor of the Enamel/ *(18 inches by 16) * Bacchus & Ariadne after Titian 1811, gilt-metal mount, giltwood frame . Rectangular, 279mm (11in) highFootnotes:Provenance:George Bowles, of Cavendish Square;Sotheby's, London, 27 May 2005, lot 62 George Bowles, of Cavendish Square, London, was an enthusiastic collector of Henry Bone enamels. Inscriptions on the artist's extant preparatory drawings show that between 1803 and 1813 Bowles acquired eight works. Seven of these were after Old Masters, whilst one was a copy of Andrew Plimer's The Rushout Sisters, themselves nieces of Bowles. The most celebrated was the copy of Bacchus and Ariadne, referred to by Bone in the inscription on the present enamel, for which Bowles paid a record price of 2200 gns in 1811 (sold Sotheby's London, 6 November 1986, lot 124 (£13,500). The price is an indication of the high esteem in which Bone's contemporaries held his work. George, Prince of Wales, later King George IV, was one of the most avid collectors, often directly commissioning works that were then mounted in ormolu or gilt-wood frames for the decoration of Carlton House. Interestingly both the King and Bowles owned copies by Bone of Cantarini's Holy Family with an angel (1803). The original version of An Allegory showing the Effects of War, painted by Sir Peter Paul Rubens, circa 1637/8, is in the collection of the Palazzo Pitti, Florence. Bone based the present enamel on a reduced copy of the composition from the Champernowne collection which was later acquired by the National Gallery, London, in 1859 (inv. no. 279). Henry Bone's squared preparatory drawing, dated 'Jany 1813,' is in the National Portrait Gallery Library (Bone Drawings, vol. II, 35, see R. Walker, Henry Bone's Pencil Drawings, Walpole Society, vol. LXI, 1999, cat no.664, fig. 185).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (British, 1755-1834)A pair of enamels: Henry Hope (1736-1811), in double-breasted navy jacket with black tabbed lapel, yellow stand-collar waistcoat, white frilled cravat, powdered hair; together with his niece and heiress, Ann Goddard Hope (1763-1820), in white muslin wrap-front dress with classically-inspired shoulder loops, white double-frilled collar, a sheer white turban in her dark brown hair. Enamel on copper, both signed on the obverse HBone and inscribed, signed and dated on the counter-enamels Henry Hope Esq. Henry Bone pinx.t Oct.r 1802. and 'M.rs Williams Hope Henry Bone pinx.t Dec.r 1802., respectively, gilt-mounted rectangular black frames. Oval, 56mm (2 3/16in) high (2)Footnotes:Provenance:Helfried Krug Collection, Mülheim, nos. 57 and 58, by 1972 until 1993;Lempertz, Cologne, 13 May 1993, lot 172;Christie's, London, 9 December 2008, lot 29Exhibited:Freunde des Museums sammeln, Museum Folkwang, Essen, 1972, nos. 148 and 149.Literature:Walker, R.Henry Bone's Pencil Drawings in the National Portrait Gallery, The Walpole Society, LXI, 1999, p. 330, no. 269Bone's preparatory drawing for the enamel of Anne, squared in ink for transfer and inscribed Mrs Williams Hope 1803, is in the collection of the National Portrait Gallery (inv. NPG D17328).Henry Hope, born in Boston, Mass., was, together with his first cousin John Hope and Thomas and Adrian Hope, director of the renowned banking house Hope & Co. John Williams (1757-1839), a young clerk from Cornwall joined the firm and married Anne Goddard, the younger daughter of Henry Hope's sister Henrietta, in 1782. Thus John Williams became a partner in the bank and added the name Hope to his own. The Hope family were important patrons of Henry Bone (see R. Walker, op. cit., pp. 330-331, nos. 268-286) and several versions of the present enamels are recorded (he: The Metropolitan Museum, New York (accession number: 24.80.521); Phillips, London, 11 December 1985, lot 332; Phillips, London, 8 July 1997, lot 172; she: Sotheby's, London, 6 June 1996, lot 135; Bonhams, London, 22 April 1998, lot 135). For a version of 1804, see exhibition catalogue Thomas Hope: Regency Designer, The Bard Graduate Center, New York, and Victoria & Albert Museum, London, 2008, no. 6, colour ill. p. 273. This exhibition catalogue (p. 6, fig. 1-2) features a large scale family portrait by Benjamin West, also of 1802, depicting Henry Hope, his sister Henrietta, his heir Anne and John Williams Hope with their five children.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (British, 1755-1834)Thomas Sackville, 1st Earl of Dorset (1536-1608), wearing tall black hat and black doublet embroidered with gold, white cuffs and pleated ruff, a brown fur stole around his shoulders, the badge of the Order of the Garter on a blue ribbon around his neck, holding a long white staff in his right hand. Enamel on copper, signed on the obverse HBone, signed, dated and inscribed on the counter-enamel Tho.s Sackville Baron Buckhurst, first Earl/ of Dorset Died suddenly [sic] 1608/ A Privy Councellor Knight of the Most/ Noble Order of the Garter - Lord High/ Treasurer of England.-/ 1601 Lord Steward on the Trials of the/ Earls of Essex and Southampton/ Created an Earl by James first.-/ London Oct.r 1814/ Painted by Henry Bone R.A. Enamel painter/ in Ordinary to His Majesty and Enamel painter/ to H.R.H. the Prince Regent after the Original/ in the Collection of His the [sic] Duke of Dorset/ Knole - Kent, carved gilded wood frame. Rectangular, 200mm (7 7/8in) highFootnotes:Provenance: Bonhams, London, 20 May 2009, lot 24Literature:Richard Walker, Henry Bone's Pencil Drawings, The Walpole Society, Volume LXI, 1999, p.323The present work is after the portrait of Sackville attributed to John de Critz the Elder, dated 1601, which is currently in the collection of the National Portrait Gallery, London (NPG 4024). Bone's pencil drawing, squared for transfer, and inscribed Thos Lord Brockhurst 1st Earl of Dorset/ from the original at Knole - Novr - 16 - 1813, is also in the collection of the National Portrait Gallery (NPG D17132).The sitter was the son of Richard Sackville and his wife, Winifred Brydges. Both his parents were extremely well-connected - his father served as Chancellor of the Exchequer whilst his mother was the daughter of the Lord Mayor of London. In addition, he could claim kinship with Henry VIII's ill-fated queen, Anne Boleyn. In 1555, Sackville married Cecily Baker and the pair had seven children. Whilst on a visit to Rome in the mid-1560s, he was detained for a fortnight as a prisoner; although whether this punishment was on account of debt or some other misdemeanour is unclear. Whatever the reason, it did not prevent him from being elevated to the peerage as Baron Buckhurst in 1567. Upon his return to England, Sackville entered into the service of the crown and, in 1571, he was sent on a diplomatic mission to France. The ostensible purpose of the trip was to congratulate King Charles IX on his marriage to a daughter of the Austrian Emperor. However, it seems likely that he also entered into negotiations connected with the proposed alliance of Elizabeth I with Charles' brother, the Duke of Anjou.In 1572, Sackville was one of the peers who sat in on the trial of the Duke of Norfolk for high treason (he was found guilty and subsequently beheaded). This was but one of a number of occasions when he found himself caught up in the domestic turmoil of the period. In 1586, for example, he was chosen to convey to Mary, Queen of Scots, the tidings of her imminent execution. His reward for the completion of this unhappy duty was an appointment to the position of Ambassador to the United Provinces. Although he generally acquitted himself well, the Queen's favourite, the Earl of Leicester, used his influence to have him recalled and he found himself placed under a form of house-arrest for having presumed to criticise Elizabeth's own abilities as a diplomat. However, in the closing years of the 16th century, he returned to favour, succeeding Lord Burghley as Lord High Treasurer in 1599, besides assuming the chancellorship of the University of Oxford.In addition to his career as statesman, Sackville was also a writer of some note. Together with Thomas Norton, he co-authored the 1561 play Gorboduc, which was the first English drama to be written in blank verse and which dealt with the consequences of political rivalry. Two years later, he made a contribution to the Mirror for Magistrates, with his poem entitled Complaint of Henry, Duke of Buckingham. However, his first truly significant work was Induction, in which he describes a poet's harrowing journey into Hell, where he encounters all manner of allegorical figures representing suffering and despair.In 1608, Sackville (who had latterly been created Earl of Dorset by the new king, James I) had a massive stroke whilst seated at the council table and died quite suddenly. His remains were buried in Westminster Abbey.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (British, 1755-1834)Sir Henry Sidney (1529–1586), standing before green drapery, a marble pillar to his left, wearing black stockings and dark brown breeches slashed to reveal black, black embroidered doublet with ermine trim to the shoulder, white collar and cuffs, ermine waistcoat, black hat with red and gold embroidered trim and large black plume, gold collar of the Order of the Garter, black belt and sword belt with gold clasps, his decorated sword hilt at his right hip, his right hand upon his hip, his left hand resting on the base of the plinth and holding a piece of green material trimmed with gold . Enamel on copper, signed on the obverse HBone., inscribed on the counter-enamel Henry Sydney, Educated with Edward VI in the/ third Yr of his reign he Knighted him & made/ him first Gentleman of his Bed Chamber - Sent/ Sent afr to France - Edward died in his arms.-/ Sent to Ireland by 2. Mary - Made Lord Justice -/ Queen Elizabeth in 1564 made him a Knight/ of the Garter - Lord President of Wales - Deputy/ of Ireland, (which Offices he held at the same time)/ Ambafr to France, Scotland &c &c Died May 1586/ aged 57 years.-/ On the Original picture,/ Sir Henry Sydney Ano dni 1573. 20 die Tulli die/ nativitatis & ætatis suce 44.-/ London/ July-1823/ Painted by Henry Bone RA Enamel-painter/ to His Majesty & Enl. painter to His R.H. the/ Duke of York &c &c - after the Original/ in the Collection of the Earl of Egremont/ Petworth - Sussex.-, gilt-metal mount engraved ENAMEL. HBONE. R.A., gilded composition frame. Rectangular, 212mm (8 3/8in) highFootnotes:Provenance:Bonhams, London, 23 November 2011, lot 6Henry Sidney was an English soldier, diplomat, and courtier, known for his significant contributions during the Elizabethan era. He was born into a prominent family, the son of Sir Henry Sidney and Lady Mary Dudley, and the brother of the celebrated poet Sir Philip Sidney. Henry was appointed as the English ambassador to the Netherlands, where he worked on maintaining alliances and navigating the complex political landscape of Europe.Another version of the present enamel is in the collection at Kingston Lacey, Dorset (NT 1250543) and the original painting is at Petworth House (PET/P/498). Bone's preparatory drawing, squared in ink for transfer and inscribed Sr Henry Sydney after the Original/ in the Collection of the Earl of Egremont and annotated in pencil Nov 1822, is in the collection of the National Portrait Gallery (NPG D17113).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Henry Bone R.A. (British, 1755-1834)Edward Coke (1552–1634), wearing white fur trimmed red robes, ruff and black cap, he holds his gloves in his right hand, his left hand resting on a skull. Enamel on copper, signed on the obverse HBone, inscribed on the counter-enamel Sir Edward Coke, Lord Chief Justice,/ Recorder of the City of Norwich &c./ Ot. Septr 3, 1634 æt. 83/ London April 1813-/ Painted by Henry Bone RA Enamel/ Painter in Ordinary to His Majesty-/ and Enamel painter to HRH the/ Prince Regent after the Original in/ the Town Hall of Norwich, gilded composition frame. Rectangular, 200mm (7 7/8in) highFootnotes:Provenance:Bonhams, London, 25 November 2009, lot 120Literature:Richard Walker, Henry Bone's Pencil Drawings, The Walpole Society, Volume LXI, 1999, p.320Bone's pencil drawing, squared for transfer and inscribed Sr. Edwd. Coke Ld. Chief Justice/ Recorder of Norwich 1587/ from the Town Hall of Norwich/ Novr 1812 is in the National Portrait Gallery (NPG D17128).Edward Coke developed ties with Lord Burghley, and after a succession of minor positions, he was appointed Solicitor General by Elizabeth I in 1592. She named him speaker of the House of Commons the following year, and in 1594 chose him over Francis Bacon to be attorney general. As Attorney General he conducted several trials of treason, prosecuting the Earls of Essex and Southampton, Sir Walter Raleigh and the conspirators in the Gunpowder Plot in 1605. When his first wife died, he married Elizabeth Cecil, granddaughter of Lord Burghley and niece of Robert Cecil, the most influential minister of the Queen and, for a while, James I.Coke was a champion of Common Law and held the belief that it was more powerful than the King, which upset James I. He stated that 'the King cannot change any part of the common law nor create any offence by proclamation which was not an offence before.' James appointed Coke Lord Chief Justice of the Court of King's Bench, believing that he would be bound to look after the King's interests, but Coke continued to maintain the supremacy of the common law. The Privy Council brought several charges against Coke and on 14 November 1616 he was dismissed. By 1617 Coke was back in the Privy Council and in the Star Chamber. He re-entered Parliament, opposed Prince Charles' proposed marriage to a Spanish princess and took part in drawing up bribery charges against Francis Bacon.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

MODIGLIANI AMEDEO: (1884-1920) Italian painter and sculptor. A fine original graphite drawing signed by Modigliani, one page, oblong folio (approximately 42.5 x 26.5 cm), n.p. (Paris), n.d (c.1913). The attractive drawing is executed on a page which appears to have been neatly removed from a sktechbook and depicts a human figure, either a woman or child, sleeping peacefully and with their head turned towards the observer. Signed (´Modigliani´) by the artist in pencil to the lower right corner and inscribed in his hand to the verso, ´A Madame Hastings´. A rare original signed drawing with an excellent association. Glazed to both sides. VGThe present drawing is an enchanting example of one of Modigliani´s sketches from his Cariatide series and illustrates the complex working process that lay behind each of the artist’s three-dimensional projects in stone. Creating countless drawings and sketches before ever taking his hammer to a block, studies such as the present example offered Modigliani a forum in which to experiment and visualise his ideas before translating them into sculptural form. In its fusion of these two strands, sculpture and drawing, the Cariatide series represents an intriguing crossover work, straddling the intersection between Modigliani’s two principal creative impulses. From 1910 to 1913, he dedicated himself to sculpture, of which only twenty-five examples have survived. With the high cost of limestone, the material was precious and thus drawing became integral to his process, with the walls of his studio punctuated with the architectural studies of heads. Modigliani’s unreliable income also required him to move frequently from one studio to another and each time the drawings would be rehung. As a draughtsman, Modigliani focused on a narrow range of themes including idol-like heads and his intense preoccupation with sculptural form was the dominant force in his work. He became obsessed with the caryatid both as a sensual figure and as a functional architectural element. During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost—destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.Provenance: The present drawing was gifted by the artist to his lover Beatrice Hastings (1879-1943) English writer, literary critic, poet and theosophist. The two shared an apartment in Montparnasse and Hastings modelled for fourteen of Modigliani´s paintings including Seated Nude (1916). Hastings was also the friend and lover of both Katherine Mansfield and Wyndham Lewis. The drawing was later sold as part of the Collection of Monsieur F. (auction at Hotel Drouot, 22nd November 1922, lot 14) and subsequently formed part of the Collection of Monsieur Coste.

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

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

HANNA BILL (1910-2001) American animator, the co-creator of Tom and Jerry and, with Joe Barbera, the co-founder of the animation studio and production company Hanna-Barbera. An original pencil drawing signed by Hanna, to a 6 x 4 sheet of paper, n.p., n.d., the image being a head and shoulders study of Fred Flintstone. Signed (´Bill Hanna´) immediately beneath the drawing. Together with a second original pencil drawing signed by Hanna, to a 4.5 x 7 sheet of paper, n.p., n.d., the image being a head and shoulders study of Barney Rubble, Fred Flintstone´s best friend. Signed (´Bill Hanna´) immediately beneath the drawing. Some light, minor age toning to the edges of the second drawing, G to VG, 2

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.