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19th century watercolour in the manner of Edward Lear - Sketch on the road to Tivoli, ex Fry Gallery

19th c. watercolour sketch of Ben Nevis 1853 by General Charles Dumbleton, Bengal Lancers (1824-1916)

ARR JOHN STEVEN DEWS (b.1949) *ARRHull Deep Sea Trawler, pencil, signed and inscribed '1980 Amoco calendar sketch eleven' verso,19 x 29cm.

Bayer [Herbert], Gropius [Walter] and Gropius [Ise]: Bauhaus 1919-1928, published by George Allen & Unwin, London 1939, (spine absent); Moore [Henry]: Shelter Sketch Book, coloured plates after original drawings, facsimile signatures and October 1940 to front (2).

Kearsley's Arms of the Peers, Peeresses and C. of England, Scotland and Ireland, c.1800, gilt tooled black calf binding; Old Christmas Sketch Book of Washington Irving, illus. by R. Caldecott, pub. London, Macmillan and Co, 1876, publishers gilt tooled green cloth. (2)

Watercolour sketch of a seated gentleman, unsigned.[Frame 52x49cm]

Collection of Four titles to include; Knox, James 'Hairdrie Historial Sketch' [Hairdrie, 1921] MacDonald 'The Roman Wall In Scotland' [Oxford,1934] Home, Logan 'History of The Logan Family' [Edinburgh, 1934] Napier, Robert 'John Thomson of Duddingston' [1919]

MARIS RUDOLFS LIEPA (1936-1989) | HANDWRITTEN SIGNATURE WITH DRAWING (RUSSIA / RUSSIAN) | 1975 | profession: Ballet | country: Russia / Lithuania | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten signature on a paper card | Lot information | Signature of the famous Latvian ballet dancer Maris Rudolfs Liepa, accompanied by a simple sketch of ballet dancers. Liepa was one of the most significant dancers of his generation, a long-time soloist at the Bolshoi Theatre in Moscow, and one of the most prominent figures in 20th-century classical ballet. This unique artifact not only captures his signature but also includes a personal artistic element, making it an exceptional collectible item.

WLASTIMIL HOFMAN (1881-1970) | HANDWRITTEN SIGNATURE AND PORTRAIT SKETCH (POLAND / POLISH) | 1935 and 1967 | profession: Painter | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Original pen drawing and handwritten signature | Lot information | Set containing an original handwritten signature of Wlastimil Hofman, dated 1935, Krakow, and a hand-drawn self-portrait, signed and dated 12. II. 1967.The sketch, made in blue ink, portrays Hofman in a contemplative pose.Wlastimil Hofman was a renowned Polish painter of Czech origin, a representative of Symbolism and the Young Poland movement. A student of Jacek Malczewski, his work was characterized by spiritual themes and poetic stylization.After World War II, he lived and worked in Szklarska Poreba, where he became a respected figure in the Polish art scene.

VYACHESLAV MIKHAILOVICH ZAITSEV (1938-2023) | AUTOGRAPHS AND SKETCH (RUSSIA / RUSSIAN) | Vyacheslav Mikhailovich Zaitsev (Вячеслав Михайлович Зайцев) | profession: Fashion designer | country: Russia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Hand drawn fashion sketch and newspaper clipping with autograph and dedication | Lot information |Hand-drawn fashion sketch and newspaper clipping with autographs and dedications. This set includes an original fashion sketch and a newspaper clipping, both signed and accompanied by personal dedications from a prominent Russian fashion designer, painter, graphic artist, and theater costume designer. Dedication text: "С уважением к Вашей прекрасной профессииПрага"("With respect to your beautiful professionPrague")The second card contains a thank you message:"Спасибо за карткуПрага"("Thank you for the postcardPrague")The author was considered one of the most significant fashion designers of the Soviet Union, often compared to Christian Dior and Yves Saint Laurent. His work influenced the Soviet fashion scene and theater costumes, known for its elegance, modern style, and attention to detail.

VYACHESLAV MIKHAILOVICH ZAITSEV (1938-2023) | HANDWRITTEN DEDICATION AND FASHION SKETCH (RUSSIA / RUSSIAN) | Vyacheslav Mikhailovich Zaitsev (Вячеслав Михайлович Зайцев) | profession: Fashion designer | country: Russia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten dedication and fashion sketch | Lot information |Set containing the original dedication and fashion sketch, both signed by the renowned Russian fashion designer Vyacheslav Mikhailovich Zaitsev, one of the most prominent creators of Soviet and Russian fashion. Zaitsev was often compared to Christian Dior and Yves Saint Laurent, and his work defined Soviet fashion from the 1960s onwards. Text of the dedication:"Искренне рад был нести Вашу золотую брошу Спасибо за сердечный прием Прага 5. IX."Translation in English:"I was sincerely glad to carry your golden brooch Thank you for the warm reception Prague, 5th September."The second card contains a hand-drawn fashion sketch, signed by Vyacheslav Zaitsev, and marked with "Prague".

Y  A GEORGE III MAHOGANY SIDEBOARD OF ARC-EN-ARBALÈTE FORM CIRCA 1780, AFTER A DESIGN BY THOMAS SHERATON Of arc-en-arbalète form, with 'plum pudding' mahogany top, decorated overall with tulipwood crossbanding, and unusual satyr handles 93cm high, 192.5cm, 60.5cm deep Provenance: Thomas Sidebotham, Stockport, Lancashire A handwritten provenance and restoration note, dated 1947, is provided with this lot.For a sketch of a sideboard by Thomas Sheraton that shares many similarities to this present lot see, Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design, The Printed Sources, Antiques Collectors' Club Ltd, 1990, fig 29, p 285. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Both sides with significant damage, see images. The left side with significant cracks, cracking and splits, a section of timber to the bottom of this side is detached and broken but present. The interior of the compartment to the right side with its floor and shelf detached but present. Handles replaced, various chips, splits and losses to veneers throughout. No keys present but all locks are open. The right side drawer was previously fitted with divisions, these are now lacking Some evidence of old worm. Please see all additional images as a visual reference to condition. Condition Report Disclaimer

Y A REGENCY ROSEWOOD METAMORPHIC LIBRARY TABLE AND MUSIC OR READING STAND ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged and strut top with an inset hinged book rest, the height adjustable As a table 74cm high, 68.5cm wide, 46cm deep; as a slope top stand at maximum height 128cm high This writing-table relates to a pattern illustrated in Gillows General Sketch Book, 1810, p. 51. A related brass inlaid rosewood reading table by Gillows, was supplied to William Powlett, 2nd Baron Bolton (1782-1850) for Hackwood, and sold by the Estate of the 2nd Viscount Camrose, Hackwood Park, Hampshire, Christie's house Sale, 20th-22nd April 1998, Lot 20 (£21,850 inc. BP). Another almost identical table sold Christie's, London, Important English Furniture, 2nd May 2002, Lot 151 (£13,145 inc. BP). Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The ormolu mounts stamped under a coronet 'B S & P PATENT'.Observations include: the top has a slight upward bow; the old 'varnish' type finish is removed to two places on the top; the hinged book rest does not quite hinge flush (only apparent on close inspection) and there is a crack to the top to one side; some replaced crossbanded veneers; the casters and cappings with wear and some staining; metal braces to the underside of the legs.A high quality piece of metamorphic furniture with stamped casters.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

Y  A REGENCY GONCALO ALVES LIBRARY TABLE ATTRIBUTED TO GILLOWS, CIRCA 1820 With two concealed frieze drawers to one side 75cm high, 155.5cm wide, 93.5cm deep Provenance: Property of a Lady Close variants of this pattern appear in the Gillows Estimate Sketch Book for 24 September 1824, no. 3371, and 10 October 1828, no. 3684, one for a Mr Dagmall and the other to Captain Armitage. A galleried version of this table, with baize-lined top, was supplied in 1822 to William, 4th Earl Fitzwilliam (d. 1833) for Wentworth Woodhouse, Yorkshire, and sold in the Wentworth sale, Christie's, London,8th July 1998, lot 83. A closely related table sold Christies, London, Important English Furniture, 13th Sep 2007, lot 1160 (£12,500). Condition Report: Marks, knocks, scratches and abrasions commensurate of age and use. The leather inset top has been replaced and bears some stains, marks and scratches. With minor loss to the veneers and some old repairs, however in generally good presentable condition. The mahogany lined drawers in good original order. Please see all additional images as a visual reference to condition.Condition Report Disclaimer

Y A REGENCY MAHOGANY SECRETAIRE DESK ATTRIBUTED TO GILLOWS, CIRCA 1820 The fall front with turned ebony handles enclosing a baize inset writing slide over a central recess flanked by six hinged lidded compartments, each inlaid with an engraved ivory oval plaque 91cm high, 119cm wide, 61cm deepProvenance: Private Collection, Worcestershire The present lot is similar in its overall form to various kneehole and pedestal desk designs which appear in the Gillows Estimate Sketch Books circa 1800. A fine example of one of these pedestal desks can be seen in S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol.II, 2008, pl. GG28, p. 377. One notably refined feature that recurs on a large proportion of this type of furniture produced by Gillows, and also on the above model, is the addition of six hinged and lidded compartments each inlaid with an oval ivory plaque. Please note, Dreweatts have applied for a de minimis exemption certificate for the ivory in this lot (Ref: PX3NJV7W)

Y A REGENCY ROSEWOOD CHAMBER TABLE ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged section enclosing a pen tray and divisions for inkwells, veneered and moulded to all sides 74cm high, 69cm wide, 48cm deep The offered lot is most unusual being of Brazilian rosewood rather than the more common mahogany models. A sketch for this type of table appears in Gillows Estimate Sketch Books, dated 1810, and called by them a 'chamber writing-table' (No. 344/144, p. 11, Westminster City Archives). Gillows supplied four tables of this pattern in 1811 to T.W. Egerton for Tatton Park, Cheshire (N. Goodison and J. Hardy, 'Gillows at Tatton Park, Cheshire', Furniture History, 1970, pp. 28, 30, 32 and 35, pl. 16B). A nearly identical table sold Christie's London, 27th April 2006. Lot 328 (£11,400 incl. BP) and a rosewood example at the same venue, 19th July 2022 lot 217, (£15,120 incl. BP). 

A REGENCY MAHOGANY LIBRARY BERGERE ARMCHAIR ATTRIBUTED TO GILLOWS, CIRCA 1810 106cm high, 66cm wide, 81cm deep The caned bergere of this form named the 'Ashburnham' chair, features in Gillows 1803 Estimate Sketch Book, no. 1721 (City of Westminster Archive). Sketches of similar chairs appear in the firm's early 19th century room plans preserved at the Victoria and Albert Museum. Saleroom Notice: Please note, the estimate and description have been updated and differ from the printed in the catalogue. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use.Some old chips, splits and minor lossesThe caning has been replaced and is in good, tight condition.The leather squab seat and upholstered arms are in good clean condition Overall in good clean and presentable condition.Please see all additional images as a visual reference to condition.Condition Report Disclaimer

A copy of The Aeroplane Spotter, July 3rd 1941, with bulletin of The Royal Observer Corp Club. including articles on The Fieseler Storch and The Bristol Blenhem, together with a facsimile copy of The Daily Sketch for VE Day May 8th 1945, and WWII The Story of a World at War, Cawthorne N, 2009, and a Battle of Britain memorial flight commemorative photograph from 2015.

Calligraphy & Penmanship Richards (William H.) Manuscript Ornamental Album entitled 'Manuscript Ornamental Album comprising Specimens in Penmanship and Drawing' folio, dated 1847, including ink penmanship of title, unrelated title design, Ode to Spring, a page of decorative devices, and map of England and Wales with coloured borders inscribed W. H. Richards 1847, sample book pages with vignettes, an architectural plan and elevation and several pencil sketches including one further pasted and one loose, some signed W. H. Richards and dated, the pasted portrait sketch inscribed Jenny Lind 1847

Richard Stone and Eric Morecambe signed and autographed lithograph - Pencil sketch for Portrait of Eric Morecambe, circa 1978, 44.5cm x 34.5cm, in glazed frame. Provenance: this was a gift from Richard Stone to his framer at the time.

Kate Greenaway (1846-1901) pencil sketch - Out for a Walk, 7.5cm x 5cm, in glazed frame

Edward Bouverie Hoyton (1900-1988) two Cornish coastal watercolours, 38cm x 50cm and 34cm x 44cm, the smaller watercolour also has a watercolour sketch on the reverse side showing a mountain and lake scene, unframed (2)

Attrib. Sam Woolley of York (British 18th/19th century): Caricature of Mr Melvin as Tom Shuffleton in in the comedy 'John Bull; Or, The Englishman's Fireside' by George Colman the Younger, original watercolour and ink sketch inscribed 'Pray Sir, are you a Methodist Preacher in want of a Congregation?' dated c.1804, 36cm x 20cmNotes: the engraving, which is near identical save the text to the bottom, was drawn and etched by Woolley and dated 1804, it is likely this is a preliminary study for the piece.

Smilby - Francis Wilford-Smith (1927-2009), a preparatory sketch for Playboy magazine, Dinner's Ready Honey - and Fixed How You Like It, signed, watercolour and ink, 38cm x 28cm; two others (3)

Emmanuel Ted** (Continental School, 19th century) Profile Portrait of a Saint after the Old Masters signed, pencil sketch, 22.5cm x 15cm

An early 19th Century sketch / notebook, the front page inscribed "Berhia Russell Edinburgh September 9th 1825" containing numerous sketches in pencil and or watercolour and scripts , some original some copied, together with a Victorian scrapbook containing scraps, postcards, etc., "Series of Prints of English History designed as Ornaments for the Apartments in which receive the first rudiments of their education", published John Marshall Cheapside, one volume and WILL FALCONER "The Shipwreck - a Poem", published London Joseph Wenman 1783 (4)

After Peter Smith (British, b.1967) Giclee print on paper & pencil on paper "Thank You", artist's proof, signed, titled and numbered 1/9 within margin, together with an original pencil sketch mounted within same frame, framed and glazed, mount aperture 61cm x 121.5cm

° ° [Brighton Interest] Merrifield, Mrs. - A Sketch of the Natural History of Brighton and Its Vicinity, original cloth, 1860; Kebbell, William. The Climate of Brighton, original cloth, 1859; Martin, Henry. The History of Brighton and Environs, 1871; Erredge, J.A. History of Brighthelmston, 1862; all original cloth (4)

° ° Furley, Robert - A History of the Weald of Kent ... also, a Sketch of the Physical Features of the District, by Henry Mackeson. first edition. 2 vols (but published as 3). 6 folded maps (some with part colour); original gilt pictorial and black decorated green cloth. Ashford: Henry Igglesden and London ... 1871-74

Artist unknown, 20th century watercolour sketch, harbour scene, indistinctly signed and entitled in pencil, within a card mount and moulded frame, under glass 26cm x 36.5cm & 42cm x 51cm overall.

EDWARD LEAR (BRITISH 1812-1888) A MOUNTAINOUS LANDSCAPE WITH FIGURES SEATED BY A SHRINE; SKETCH OF A TOMB WITH CLASSICAL FRIEZE WITH MOUNTAINS BEYOND (I & II) signed and dated E. Lear 15 March / 1848 lower right (i) each pen and brown inkeach 9.5 x 12cm; 3 3/4 x 4 3/4ineach 23 x 24cm; 9 x 9 1/2in (framed)(2)Lear developed a passion for travelling and in 1837 he moved to Rome, where he lived for a decade. In the spring of 1848 Lear left Rome, spending some months travelling around the Mediterranean. He visited Malta, Corfu, Athens, Turkey, Albania and Egypt, returning to Greece a year late.

BERNARD MYERS (BRITISH 1925-2007) ⊕ SIX SKETCH BOOKS, DEPICTING PARIS SITES, BOATING SCENES, COUNTRYSIDE VIEWS, ARCHITECTURE AND ANIMALSone signed with initials on the front leaf; one signed and inscribed with the artist's studio address 22 Bolton Studios on the front and back leaves; one signed and inscribed with the artist's address 50 Scarsdale Villas W8 on the front leafpencil, pastel, pen and ink, watercolour and wash on paper11 x 16.5cm; 4 1/2 x 6 1/2in (smallest) 18 x 26cm; 7 1/4 x 10 1/4in (largest)(6)

BERNARD MYERS (BRITISH 1925-2007) ⊕ SIX SKETCH BOOKS, DEPICTING CROWD SCENES, CYCLING FIGURE STUDIES, CITY AND LANDSCAPES ACROSS BRITAIN AND AEROPLANES one signed Bernard Myers and inscribed with the Royal College of Art address on the cover; three signed and inscribed with the artist's studio address 22 Bolton Studios on the front and back leavespencil, pastel, pen and ink, watercolour and wash on paper14 x 10cm; 5 1/2 x 4in (smallest)20.5 x 23.5cm; 8 x 9 1/4in (largest)(6)

BERNARD MYERS (BRITISH 1925-2007) ⊕ SIX SKETCH BOOKS, DEPICTING COUNTRYSIDE VIEWS, VIEWS OF PARIS, FLOWERS AND ANIMALStwo signed on the front leaf; one inscribed with the artist's studio address 22 Bolton Studios on the front leafpencil, pastel, pen and ink, oil, watercolour, gouache and wash on paper13 x 18.5cm; 5 x 7 3/4in (smallest)19 x 26; 7 1/2 x 10 1/4in (largest)(6)

Turn of the century Royal Worcester oval plaque, hand painted by Harry Davis, depicting a farmyard scene with pigs and piglets watering at a stone trough, with farm and buildings in the background, signed H Davis, with puce printed mark verso, date code for 1900, plaque 14.5cm x 23cm, overall 30cm x 38.5cmNote: Pigs are a rare subject to see on Royal Worcester. Harry Davis was the only artist approved to paint them.Most known examples show the same composition, based upon a sketch done by the artist during a single visit to a local farm.Condition Report: Plaque in good general overall condition, however very small paint loss to right hand side of drain in lower centre of plaque. Frame has been re-gilded and has some repairs and losses.Please note that the plaque has not been inspected out of the frame.

Liberty & Co. London - circa. 1890s ‘The Wykeham’ settle or bench, reeded frame and rush seat, on turned supports united by turned stretchersThe promotional sketch for ‘The Wykeham’ range can be seen in the ‘Liberty & Co. Handbook of Sketches, 1889’ p.49. It is also reproduced in Daryl Bennett’s ‘Liberty’s Furniture 1875-1915 […]’ p.106. Referred to as ‘The Wykenham: ‘oaken furniture’’. See images. Dimensions: Height: 87cm  Length/Width: 151cm  Depth/Diameter: 65cm

A sketch by the Famous 1960's Irish singer Val Doonican  Who went on of course to do the Val Doonican show which ran for 21 years from 1965 to 1986 The print is signed by Val Doonican and dated 1985  lower right, as well as a personal hand written note and signature by the singer " To our artisan friends , Many Thanks  Sincerely Val Doonican 1992 " The print is of an autumn woodland scene with bridge inside mount measurements 29 cm x 40 cm  Condition Good View all pictures

Frank Reynolds (1876-1953) - Foresight, pencil sketch heightened in white on drawing board, unframed, 32x24cm, together with a copy of Winter's Pie dated 1912, in which the sketch appears on page 76 (2)Very poor, cover is loose. Binding falling apart. Back cover missing pages with browning to edges and some foxing in places.

Oil sketch - Morning Mist by Liz Sherburne 1968 - 74cm x 52cm

Advertising enamel sign DAILY SKETCH ½d - THERE FIRST - THE PREMIER PICTURE PAPER. In very good condition with some restoration mainly by the paper. Measures 30in x 20in.

Fortunino Matania RI (1881-1963) Italian "La donna tiene in mano un diadema" - Study of an ancient Roman painted interior Inscribed, mixed media, together with two further extensively inscribed sheets of studies depicting "Centurione" & "Tziaire" recto and an emperor verso, "Phaleratus" & "Sineifer" recto another Roman military costume study to verso, a further signed pencil sketch depicting a dancing classical maiden playing a tambourine with pipe players in the background and four further unframed predominantly watercolour works on a figurative and similar subject matter, 45.5cm by 27.5cm, various other sizes (8)Provenance: From a collection of sketches and drawings from the studio of Fortunino Matania Private Collection, North Yorkshire

John Constable (1776-1837)Dedham Vale looking towards Langham, c.1809-14Oil on millboard laid onto canvas, 31.5cm by 39cm (12 x 15 3/8 inches)Provenance: Ann Durning Holt (1899-1980), either acquired by her on the art market during her lifetime, or possibly to her by descent from her father Sir Richard Durning Holt (1868-1941), nephew of the distinguished Liverpudlian collector, George Holt (1825-1896); by descent to the current owner.Dedham Vale looking towards Langham is an impressive and vigorous early plein-air sketch by John Constable which has not previously been recorded in the Constable literature. It bears a close relationship to the painting, Dedham Vale, c.1825, in Munich Bayerische Staatsgemäldesammlungen, Neue Pinakothek; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, 1984, no 25.39; see fig. 001). Constable is well known for his commitment to making oil sketches in the open air - an exercise he first embarked on in 1802 and continued to practice until as late in his career as 1829. In 1802 he was still a young man undertaking his artistic training in London at the Royal Academy Schools but had already decided that he wanted to specialize in landscape painting. However, that year he decided he no longer wished to imitate the work of earlier landscape artists but rather to turn to ‘Nature herself’. He resolved to return to his home in East Bergholt in Suffolk and make some ‘laborious studies from nature’ (John Constable’s Correspondence II, 1964, Suffolk Records Society, Ipswich, p.32; letter to John Dunthorne, 29 May 1802). Determined, then, to paint his native Suffolk scenes – being those with which he had the greatest attachment – Constable at first made slow progress with this new procedure. However, by around 1810 he had developed a colourful and highly expressive oil sketching style. Moreover, until 1816 when he married and moved permanently to London, he continued to make many, usually quite small, plein-air sketches of the scenery in and around East Bergholt. These consisted mainly of panoramic vistas over Dedham Vale, more often than not, like this example, looking westwards from the Suffolk side of the Vale, more enclosed views taken in the lanes nearby, or scenes in and around Flatford where his father owned a mill for grinding corn. Occasionally Constable dated these plein-air oil sketches. Otherwise, as is the case with Dedham Vale, they can usually be broadly dated on the basis of style or on the support which Constable used when painting them. Dedham Vale looking towards Langham is painted on board (and subsequently laid down onto canvas). Constable is known to have started using millboard for plein-air work from around 1809. Although he continued to use this support at intervals during his career, his most frequent use of board for oil sketching was generally in these earlier years, and especially around the period 1809-10. Furthermore, with its relatively smoothly applied brushstrokes, Dedham Vale looking towards Langham is close in style to other oil sketches Constable made around 1809 at Epsom and at Malvern Hall in Warwickshire (see, for example, Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, nos. 09.08, 09.18 and 09.19). This sketch, by comparison with the latter examples, is notable for the more dramatic way in which he handles light and shade. Rays of sunlight can be seen bursting through cloud and sharply illuminating stretches of Dedham Vale in the middle and far distance. Meanwhile, a tiny touch of white paint indicates the tower of Langham Church close to the horizon on the right. These on-the-spot sketches would often prove useful to Constable many years later when he was working in his London studio and planning new pictures for exhibition or sale. Rarely now able to spare time for visits to Suffolk, he would often turn to his earlier sketches for inspiration. Around the mid-1820s Constable used this sketch to serve as the basis of the aforementioned painting of Dedham Vale now in Munich, which shows the same stretch of the Vale, albeit somewhat extended on the left, and the tower of Langham Church in the same position on the far right. The biggest difference between the two works is in the extensive foreground which Constable added to the Munich picture, and into which he inserted a couple of seated figures (one of whom is seen pointing to the view) as well as a few animals such as donkeys and cows. Constable even incorporated into the Munich picture the idea of the sun bursting through cloud, albeit now positioning this feature further to the left. Constable’s expressive use of light and shade (‘chiaroscuro’) lends animation to his landscapes and was something he wrote about in a letterpress accompanying the publication in 1830-32 of a series of mezzotints from his work known as English Landscape. By 1836 he was even arguing (in a draft for a lecture) that chiaroscuro was the very ‘soul and medium of art’.NoteThere is another oil sketch recorded in the Constable literature similar to this one, in oil on paper set onto panel, which Graham Reynolds described as being ‘somewhat damaged’ (The Early Paintings, op.cit, no.08.58). Meanwhile, Ian Fleming-Williams referred to this sketch as ‘puzzling in the extreme’, as it shows Langham church in the wrong place (The Burlington Magazine, vo.130. no.1025, August 1988, p.654; review of Constable exhibition at Salander-Reilly Galleries, New York). Given this discrepancy, and also the recent appearance of this sketch from the Holt collection, perhaps the attribution of R.08.58 should now be re-evaluated.Anne Lyles, 2025We are grateful to Anne Lyles for her assistance with this catalogue entry.The board is backed with a canvas on stretcher, which has four keys missing. It is not possible to see if/how the board is adhered to the canvas. Please click HERE for the condition report on this lot

A pencil sketch Print of College Street, Gloucester, Griffin 1971, along with an etching sketch print of Gloucester Cathedral, T Carwys,1946.

A small quantity of Prints to include The Moulin Rouge by Bernadette Voz, two Yorkshire landscapes by W. Heaton Cooper, pencil sketch of Cats and a framed and mounted watercolour depicting Loch landscape by H. Kerr, etc.

Alexander Jamieson (Scottish 1873-1937): 'Palermo Harbour', oil sketch on panel, inscribed and titled verso 37cm x 46cm (unframed)Condition Report:Some loss of paint round edges, otherwise appears stable, no splits

Modern British (Mid 20th century): The Seasons, two watercolours over pencil on paper unsigned, mounted as one on mahogany panel overall 22cm x 28cmProvenance: by the same hand as 'A Design for a Student's Common Room' sold by David Duggleby Ltd 17th June 2022, Lot 214; 'Sketch Design for a Mural Decoration of an 18th century Country House', David Duggleby Ltd 17th March 2023, Lot 76 and 'Design for an Altarpiece in a Church', triptych gouache David Duggleby Ltd 21st June 2024, Lot 227Condition Report: Good overall condition

Richard DeMarco (Scottish 1930-), Newhaven Harbour Edinburgh, pen sketch, signed and dated 1970, titled bottom left, in a glazed frame. (27cmx37cm)

Jack Firth RSW RGI (1917-2010), Sir Robin Philipson, pencil sketch,unsigned, in a glazed wooden frame. Provenance - Open Eye Gallery Label verso. (28cmx13cm)

Read Cottrill, Europa House, an artists sketch, circa 1970, watercolour, signed, 38 x 61cm.

After Frederick Drummond Niblett 'Nibs' (1861-1928); Portrait of Harry Coleman, a Wool Merchant (1863-1927), ink sketch on paper with body colour, signed 'DAN' to the bottom right, H-57cm x 40.

Jean Gout, A 19th century bronze of the artist Salvator Rosa (1615-1673), seated with sketch book and pen, inscribed to base, 34cm high

Two Early 20th Century Autograph and Sketch Albums. Inlcudes many notable and good quality sketches, a deep sea diver dated 1924 amongst others. (2)

After William Walton (British, fl.1834-1855) from a sketch by E. Hill 'Hawkstone Park, Shropshire, The Seat of Sir Rowland Hill Bart.' lithograph 9 7/8 x 13¾in (25 x 35cm), gilt frame (49 x 57cm)

Ghislaine Howard Cordelia with Bryn, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ghislaine Howard is widely recognised as a painter of powerful and expressive means, whose art charts and interprets shared human experience. Named as a Woman of the Year 2008 for her contribution to art and society, she has published and exhibited widely and has work in many public and private collections, including the Royal Collection. Exhibitions of her work have taken place at numerous prestigious venues including Manchester Art Gallery, Canterbury Cathedral, Imperial War Museum North and the British Museum. Education 1972-1976 BA in Fine Art, University of Newcastle upon Tyne. Solo Exhibitions 2025 Taking Care, Bolton, Bolton Museum and Art Gallery, Bolton, England 2024 The Fragile Thread, Contemporary Six, Manchester, England Empathy, Headquarters of UK Med, Elliot House, Manchester, England Seven Acts, St Stephen's House, Oxford, England 2023 The 365 Series, Keele University Chapel, Keele England The Human Touch, Bolton Hospice, Bolton, England Group Exhibitions 2024 Acts of Creation, The Arnolfini, Bristol, England Death of the Liferoom, The Whitworth, Manchester, England Drawing the Unspeakable, Towner Museum, Eastbourne, England 2023 Rogue Women, Rogue Studios, Manchester, England Modern British, Contemporary Six, Manchester, England Awards 2008 Named as a 'Woman of the Year' by The Women of the Year Foundation Gallery Representation Contemporary Six, Manchester, England Trent Art, Stoke on Trent, England Callaghan Fine Paintings, Shrewsbury, England Collect Art, Lymm, England Public Collections The Whitworth Art Gallery, Manchester, England Manchester Art Gallery, Manchester, England The Royal Collection, London, England The Methodist Art Collection, Oxford, England Salford Art Gallery, Salford. England Statement about AOAP Submitted Artwork 'Cordelia with Bryn' is an intimate painting of my daughter with her first child. The motif of parent and child is one that recurs throughout my whole career as a painter - from making paintings based on my own experience of pregnancy and motherhood to creating a body of work in 1993 'A Shared Experience', that charted the whole experience of hospital birth and was described as 'groundbreaking, the first of its kind'. It's been a privilege to revisit this aspect of my work with my own children and grandchildren. Brothers: A painting that developed from a quick sketch made in a chapel in Padua. I was touched by the sight of a young man who had difficulty walking, being helped through the chapel by another. I am drawn to such moments of human interaction: such simple everyday acts of kindness are a central theme of my work. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Stella Kapezanou Thorny and Nutrient Sketch , 2024 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Stella Kapezanou is a Greek visual artist known for her vibrant, ironic, and complex paintings that explore themes of identity, capitalism, consumerism, and societal expectations. Born in Athens, she studied at the Athens School of Fine Arts and completed her MA at Chelsea College of Arts in London. Her works often feature psychologically charged portraits and intimate social settings, blending elements of humor, mythology, and art history. Stella employs the tableau vivant technique, carefully orchestrating and photographing scenes before transferring them to canvas, often enriched with symbolic and surreal elements. Her large-scale works are characterized by their bold, warm palettes, intricate compositions, and exploration of femininity, power, and vulnerability. She is also a Fulbright Fellow and has exhibited internationally, including solo shows in Greece, the UK, Cyprus, and the U.S. Her work has been part of significant collections worldwide and is known for its caustic humor, playful critique of modern life, and empowering depictions of the female form. Alongside her paintings, she creates ceramic sculptures that echo the themes of her visual narratives. Education 2016-2017 MA Fine Arts, Chelsea College of Arts, London, UK 2011-2015 MFA, Athens School of Fine Arts, Athens, GR Solo Exhibitions 2024 Naughty Miniatures, Apodec project space, Thessaloniki, GR Corn Maidens (duo exhibition), The Opening Gallery, NY, USA 2022 Let Them Stare, The Edit Gallery, Limassol, CY 2021 Theodoros & Laskarina exclusive, Fougaro, Nafplio, GR 2020 Baby One More Time, Evripides Gallery, Athens, GR 2019 Just a Few Drops of Pink Coppertone, Fougaro, Nafplio, GR Single's Party, The Edit Gallery, Limassol, CY 2018 Brit Pond, Evripides Gallery, Athens, GR From Heavens with Love, The Palm Tree Gallery, London, UK Group Exhibitions 2024 The Art of Now, The Edit Gallery, Nicosia, CY Unapologetic WomXn, Palazzo Bembo, Venice, IT 2023 Sunburn, Studio West Gallery, London, UK Stigma, Dromokaitio Psychiatric Hospital, Athens, GR Now Women, Fougaro, Nafplio, GR 2022 Contemporary Now, The Edit Gallery, Nicosia, CY 2021 Art on Boards | The Skate Project, Zoumboulakis Galleries, Athens, GR Lusus Naturae, BcmA Gallery, Berlin, DE Reclaiming, The Edit Gallery, Limassol, CY 2020 iAR project 2020, Akaretler Gallery, Istanbul, TR 2019 Love is a Dog from Hell, Frissiras Museum, Athens, GR Three Pillars, Chelsea Gallery, London, UK 2018 ArtLab Munich, Galerie Benjamin Eck, Munich, DE Awards 2024 Creator of the Visual Identity for the 65th Thessaloniki International Film Festival (TIFF'65) Santa Fe Art Institute's International Thematic Residency on Sovereignty, New Mexico, USA Fulbright Artist Fellowship Award for participation in the SFAI program, USA 2023 CARV Residency, Argaka, CY 2020 Istanbul Artist Residency (iAR), Istanbul, TR 2019 AucArt LAB Residency, London, UK 2018 ACS Studio Prize 2018 Finalist, London, UK Cass Art Prize, London, UK Gallery Representation Skoufa Gallery, Athens, Greece The Edit Gallery, Limassol, Cyprus Statement about AOAP Submitted Artwork This drawing by Stella Kapezanou, is part of her Thorny and Nutrient series. The work depicts prickly pear cactuses with fruits resembling female breasts, serving as an homage to contemporary women-protected by sharp spines yet embodying tenderness and vitality. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ghislaine Howard Brothers, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ghislaine Howard is widely recognised as a painter of powerful and expressive means, whose art charts and interprets shared human experience. Named as a Woman of the Year 2008 for her contribution to art and society, she has published and exhibited widely and has work in many public and private collections, including the Royal Collection. Exhibitions of her work have taken place at numerous prestigious venues including Manchester Art Gallery, Canterbury Cathedral, Imperial War Museum North and the British Museum. Education 1972-1976 BA in Fine Art, University of Newcastle upon Tyne. Solo Exhibitions 2025 Taking Care, Bolton, Bolton Museum and Art Gallery, Bolton, England 2024 The Fragile Thread, Contemporary Six, Manchester, England Empathy, Headquarters of UK Med, Elliot House, Manchester, England Seven Acts, St Stephen's House, Oxford, England 2023 The 365 Series, Keele University Chapel, Keele England The Human Touch, Bolton Hospice, Bolton, England Group Exhibitions 2024 Acts of Creation, The Arnolfini, Bristol, England Death of the Liferoom, The Whitworth, Manchester, England Drawing the Unspeakable, Towner Museum, Eastbourne, England 2023 Rogue Women, Rogue Studios, Manchester, England Modern British, Contemporary Six, Manchester, England Awards 2008 Named as a 'Woman of the Year' by The Women of the Year Foundation Gallery Representation Contemporary Six, Manchester, England Trent Art, Stoke on Trent, England Callaghan Fine Paintings, Shrewsbury, England Collect Art, Lymm, England Public Collections The Whitworth Art Gallery, Manchester, England Manchester Art Gallery, Manchester, England The Royal Collection, London, England The Methodist Art Collection, Oxford, England Salford Art Gallery, Salford. England Statement about AOAP Submitted Artwork 'Cordelia with Bryn' is an intimate painting of my daughter with her first child. The motif of parent and child is one that recurs throughout my whole career as a painter - from making paintings based on my own experience of pregnancy and motherhood to creating a body of work in 1993 'A Shared Experience', that charted the whole experience of hospital birth and was described as 'groundbreaking, the first of its kind'. It's been a privilege to revisit this aspect of my work with my own children and grandchildren. Brothers: A painting that developed from a quick sketch made in a chapel in Padua. I was touched by the sight of a young man who had difficulty walking, being helped through the chapel by another. I am drawn to such moments of human interaction: such simple everyday acts of kindness are a central theme of my work. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Pretty Japanese Dragon, painted on board (24 x 18inches) plus a gilt framed sketch in poor condition (24 x 19 inches) See photos

* ROBERT HENDERSON BLYTH (BRITISH 1919 - 1970), VILLAGE watercolour on paper, signedmounted, framed and under glassimage size 27cm x 35.5cm, overall size 52cm x 56cmNote: Born in Glasgow he studied at the Glasgow School of Art from 1934 to 1939. In 1941, Henderson Blyth joined the Royal Army Medical Corps and served with them until the end of the Second World War. During the war, Henderson Blyth continued to paint and sketch despite being on active service, producing works often influenced by his experiences. Four paintings produced from this period were acquired by the War Artists' Advisory Committee. In 1946, Henderson Blyth began teaching at the Edinburgh School of Art and became an artist in residence at the acclaimed Hospitalfield House. In 1954, Henderson Blyth moved to Aberdeen to take a post at Gray's School of Art, where he became Head of Drawing in 1960, a post he maintained until his death in 1970. The Scottish Arts Council organised a memorial exhibition to Blyth which toured Scotland during 1972. 35 of his paintings are held in UK public collections.

Susan Shaw (Soord) - A collection of artist's sketch and study books featuring life studies, animal studies and landscapes, dating from the 1960s to the late 20th Century.

Clarice Cliff & Graham Sutherland - An Art in Industry Globe shape tea cup, saucer and side plate circa 1934, decorated with an abstract design of black sketch lines over a pale blue ground with grey banded borders, artists signature and Bizarre mark, largest plate width 20cm. (3) NB - This was designed artist Graham Sutherland for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.