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Antique pastel drawing depicting woodland area with estate house in the background. [67x51cm]

Three various artworks;T.W.WlsonOriginal charcoal drawing 'Ben Lomond and Luss Straits -Loch Lomond', signed and dated 1932. [41x57cm]David DuncanEngraving depicting riverscape (possibly loch Tummel), signed. [40x28cm]M. CraigFramed print depicting Glasgow University. [50x60cm]

Newton Haydn 'Tony' Stubbing (1921-1983)"Gaeta, Ballet d'Anna Ricarda, Paris '55"Signed, inscribed and dated 1955, pencil drawing, together with a watercolour of cattle watering attributed to William Sidney Cooper. signed and dated 1879, an engraving of Manchester, and two engravings of fencing

A Bachmann A4 Pacific locomotive with OO gauge mahogany display stand and a BR drawing of HST Cab Profile

A framed and mounted Charcoal drawing titled "St. Marine, Brittany", signed lower right J. Jackson, depicting ladies washing clothes, 16" x 23".

Three framed and mounted Engravings; 'Clifford Castle' engraved by J. Storer from a drawing by H.S.A. Horton, 'Hay' and 'Hay Church' drawn by H. Gastineau engraved by J. Hinchliffe.

A framed pencil drawing of a Hereford Bull, unsigned, 17 3/4" x 14".

OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.

‡ RAY DENTON pastel on paper - life drawing, seated nude, signed, 30 x 23cms, PHILIP WATKINS oil on panel - entitled verso, 'Back Lane', signed, signed and dated 2005 verso, 34 x 28cms, and JEAN HARPER watercolour and pencil - entitled 'Evening', signed, 24 x 22cmsProvenance: private collection CardiffComments: Denton and Harper framed and glazed, Watkins framed, all three ready to hang

ASSORTED COLLECTIBLE TITLES, including BAGNOLD (ENID), 'Letters to Frank Harris and Other Friends', ed. by R.P. Lister, T, limited edition no. 94/400 copies, signed by the author, clothbound, in original slipcase, 8vo, The Whittington Press, Gloucestershire, 1980; MORRIS (WILLIAM), 'An Address Delivered by William Morris...Prizes to Students...Birmingham Municipal School of Art.... Feb. 21 1894', quarter cloth binding over paper boards, 8vo, London, Chiswick Press, 1898, with insert from the Chiswick Press explaining their ownership of the type the address was printed in (staining to end pages, foxing to insert, minor foxing to page edges); THESIGER (WILFRED), The Marsh Arabs. 1st edition, clothbound, gilt lettering on spine, in original dust wrapper, 8vo, London, Longmans, Green and Co. Ltd, 1964, (spine bumped) together with Arabian Sands, 1st edition, clothbound, gilt lettering on spine, in original dust wrapper, in plastic protective sleeve, 8vo, London, Longmans, Green and Co. Ltd. 1959 (spine minorly worn, both inserted with newspaper cuttings about Wilfred Thesiger); TOMLINSON (H.M), The Sea and the Jungle, limited edition no. 195/515, signed by author, clothbound, gilt lettering to spine, 8vo, London, The Camelot Press, 1930; MOOREHEAD (ALAN), 12 ASSORTED WORKS, comprising 'No Room in the Ark', Hamish Hamilton, 1959, clothbound with lettering to spine, in original dust wrapper, 8vo, 'Rum Jungle', first edition, London, Hamish Hamilton, 1953, clothbound, with gilt lettering to spine, with original dust wrapper, 8vo, 'The Villa Diana', first edition, London, Hamish Hamilton, 1951, clothbound, with gilt lettering to spine, 8vo, 'The Traitors: The Double Life of Fuchs Pontecorvo and Nunn May', first edition, London, Hamish Hamilton, 1952, clothbound, gilt lettering to spine, in original dust wrapper, 8vo, 'The White Nile', first edition, London, Hamish Hamilton, 1960, clothbound, with original dust wrapper, 8vo, 'Cooper's Creek', first edition, London, Hamish Hamilton, 1963, paper half bound, with original dust wrapper, 8vo, 'The Blue Nile', first edition, London, Hamish Hamilton, 1962, paperbound, gilt lettering to spine, in original dust wrapper, 8vo, 'A Summer Night', first edition, London, Hamish Hamilton, 1954, paperbound, in original dust wrapper, 12mo, 'The Fatal Impact', first edition, London, Hamish Hamilton, 1966, paperbound, gilt lettering to spine, 'Montgomery', first edition, London, Hamish Hamilton, 1946, clothbound, 8vo, 'The End in Africa', first edition, London, Hamish Hamilton, 1943, clothbound, 8vo, and CASSON (HUGH), Diary. Paperbound, gilt lettering to spine, in original dust wrapper, with drawing and two hand signed letters from Casson, dated '82 and '83 respectively, 8vo, London, Macmillan, 1981; together with WILLIAMS (KYFFIN) Across the Straits: An Autobiography, signed by author, clothbound, gilt lettering to spine, 8vo. London, Duckworth, 1973 ('No Room in the Ark' dust wrapper bumped with minor tears to bottom, 'Rum Jungle' dust wrapper worn, 'The Traitors' dust wrapper worn and ripped top and bottom, 'The White Nile' dust wrapper bumped, small tear to top front, 'Cooper's Creek' dust wrapper worn with minor tears, spine faded, 'The Blue Nile' dust wrapper bumped, minor foxing, ' A Summer Night' dust jacket worn with minor tear to front, 'Across the Straits' cloth cover with some mould stains) (qty)Provenance: private collection south Wales.

Rolls-Royce Merlin Engines Collection Includes Rolls-Royce Aero Engines - Preliminary Performance Data for the Merlin R.M.6.S.M. Merlin Two-Stage Two-Speed Engine - Maintenance Manual, Rolls-Royce Instruction School Merlin 500 Course Notes 1952, Cutaway Drawing Merlin XX (The Aeroplane), Quarter Scale Merlin Project, Rolls-Royce Merlin 620 and 720 series Aero-Engines, Rolls-Royce Merlin 620 Series Aero Engine, Rolls-Royce Aero-Engines Merlin 61 - Running and Maintenance Notes, good condition. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

Felix Ziem (1821 Beaume - 1911 Paris)"Le Bragos retourné". OriginaltitelFischerboote in der Lagune von Venedig, in der rechten oberen Ecke kleine Studie eines Fischers. Ziem gehörte zur Schule von Barbizon, debütierte 1849 auf dem Salon in Paris und gehörte danach zu den regelmäßigen Ausstellern. 1860 ließ sich Ziem im Künstlerviertel Montmartre nieder. Lieblingsmotiv Ziems war Venedig, wohin er 1841-1892 alljährlich reiste. Lavierte Sepiazeichnung/Papier. Unterhalb sign. bez. u. dat. 1874(?). Gebräunt. 19,8 cm x 28,2 cm (Passepartoutausschnitt). Rahmen.Sepia wash drawing on paper. Light staining. Titled, inscribed and dated 1874(?).

Milo Manara (Italian, b. 1945) II Gioco - First Edition Colourprint on paper Signed bottom right by the artist 38 x 28cm  (15" x 11") Milo Manara (Italian, b 1945) was a well-known illustrator of adult graphic novels, began his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", (an erotic version of "Gulliver's Travels"). Manara is still active and drawing in Italy. Since 2008 the record price for this artist at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Phillips (British, b 1937-2022) A Humument - A collection of 3 different editions of "A Humument" comprising The First edition 1980, signed. The First revised edition, published 1987, signed The Second revised edition 1997 which is limited, numbered 68/100 along with a hand coloured print signed and numbered by the artist.  Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shoichi Hasegawa (Japanese, b. 1929) Splendeurs sous-marines Etching on Moulin de Gue paper Signed and titled in pencil on margins Numbered EA 3/25 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shoichi Hasegawa (Japanese, b. 1929) Riviere Bleue Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 37/110 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lionel Friedland (b. 1938) Midnight Spinney, 2012 Screen print Signed and numbered 4/21 to the bottom Accompanied with gallery certificate of authenticity Framed and glazed 65 x 47cm (25.5" x 18.5") Lionel Friedland studied architecture at the University of Witwatersrand, Johannesburg graduating in 1962. Having spent a year working in Cape Town Friedland emigrated to London in 1963. Friedland has worked on numerous projects in London and further afield. Later in his career he founded Pentarch Ltd which specialised in housing, healthcare and urban studies. Since 2000, Friedland has focused increasingly on fine art and drawing using the techniques he employed as an architect. His artwork is inspired by his interests, places he has visited and people he meets.  This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Milo Manara (Italian, b. 1945) Il Pittore e la Modella after Klimt (The painter and the model) Colourprint on paper Signed bottom right by the artist 38 x 28 cm  (15" x 11") Milo Manara (Italian, b.1945) is a well-known illustrator of adult graphic novels, having commenced his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", (an erotic version of "Gulliver's Travels"). Manara is still active and drawing in Italy. Since 2008 the record price for this artist at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Phillips (British, b. 1937-2022)  Sing through the Hushed Ear, 1992  Screenprint proof Signed and numbered 46/50 Framed and glazed Original label to Angela Flowers Gallery PLC, London 22 x 15cm (8 2/3" x 6")  Together with the first edition (1912) of  "A HUMAN DOCUMENT"  book by W.H. Mallock (British, b. 1849-1923) Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Milo Manara (Italian b 1945) Aphrodite - 2003 Colourprint on paper Numbered 183/200 in pencil Signed bottom right by the artist 38 x 28 cm  (15" x 11") Milo Manara (Italian, b 1945) is a well-known illustrator of adult graphic novels, having commenced his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", an erotic version of "Gulliver's Travels". Manara is still active and drawing in Italy. Since 2008 the record price for Manara at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lionel Friedland (b. 1938) Bird Table, 2012 Screen print Signed and numbered 1/21 to the bottom Accompanied with gallery certificate of authenticity Framed and glazed 65 x 47cm (25.5" x 18.5") Lionel Friedland studied architecture at the University of Witwatersrand, Johannesburg graduating in 1962. Having spent a year working in Cape Town Friedland emigrated to London in 1963. Friedland has worked on numerous projects in London and further afield. Later in his career he founded Pentarch Ltd which specialised in housing, healthcare and urban studies. Since 2000, Friedland has focused increasingly on fine art and drawing using the techniques he employed as an architect. His artwork is inspired by his interests, places he has visited and people he meets.  This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Mackenzie Thorpe (British, b 1956) Seasons - Spring, Summer, Autumn, Winter, 2007 Lithography on paper Signed, titled and numbered 95/550 - Published by Washing Green with Certificate of Authenticity Mounted  35 x 35cm (13.5" x 13.5") Mackenzie Thorpe (British, b.1956) was born in Middlesbrough, North Yorkshire, as the first of seven children. Thorpe's father worked as a laborer and his mother worked as a nurse. During Thorpe's early years, he used whatever items he could find to express himself artistically. He often used materials such as crayons, cigarette boxes, and pencil stubs to create artwork; he even resorted to taking his mother's eye shadow and lipstick out of her make-up bag. Following in the footsteps of other family members, Thorpe started out working as a laborer in the town shipyards. After encouragement from a friend, he decided to feed his passion for painting and drawing and began to pursue a career as an artist. In 1977, Thorpe enrolled in the Cleveland College of Art and Design, where he studied under the mentorship of Tom Wall (British, 1941–1992). He then went on to study at the Byam Shaw College of Art in London, where he earned a Fine Arts degree. Thorpe continued to live in London after he graduated in 1982, in order to work with disadvantaged children in the city. Later he moved back to North Yorkshire with his wife and children in order to provide a better life for them. Upon returning, he set up a studio and a gallery in Richmond. Much of Thorpe's artwork portrays a wide range of emotions through portrait-style depictions of animals and humans. In 2000, he won the Best Selling Published Artist award from the Fine Art Trade Guild. In that same year, he also received an honorary Master of Arts degree from Teesside University in his hometown. In 2005, he created the Mackenzie Thorpe Foundation, which supports a number of worthy causes. In the fall of 2006, he put together an outdoor exhibition in Kansas City, MO, that featured large sculptures. Thorpe plans to produce similar exhibitions in Australia, the United Kingdom, and New Zealand. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Milo Manara (Italian, b. 1945) Indian Summer Colourprint on paper Signed bottom right by the artist 38 x 28cm  (15" x 11") Milo Manara (Italian, b 1945) is a well-known illustrator of adult graphic novels, began his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", (an erotic version of "Gulliver's Travels"). Manara is still active and drawing in Italy. Since 2008 the record price for this artist at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Milo Manara (Italian, b. 1945) The Fantasm  Colourprint on paper Signed bottom right by the artist 38 x 28cm  (15" x 11") Milo Manara (Italian, b.1945) is a well-known illustrator of adult graphic novels, began his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", (an erotic version of "Gulliver's Travels"). Manara is still active and drawing in Italy. Since 2008 the record price for this artist at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Milo Manara (Italian, b. 1945) Erotic Tarot Colourprint on paper Signed bottom right by the artist 29 x  20cm  (11.5" x 8") Milo Manara (Italian, b 1945) is a well-known illustrator of adult graphic novels, having commenced his career working on fumetti, the cheap illustrated paperbacks popular in 1950-60s Italy. In 1976, his career took off after his work for the illustrated magazine Pilote. He also became known for his work designing posters for the films of Federico Fellini. The two later collaborated on comic books versions of some of Fellini's films. In the 1980s, Manara turned towards the field of erotic graphic novels, writing and illustrating such titles as "Click!", "Butterscotch", and "Gullivera", (an erotic version of "Gulliver's Travels"). Manara is still active and drawing in Italy. Since 2008 the record price for this artist at auction is 57,958 USD for EL GAUCHO , NORMA (ESPAGNE), sold at Christie's Paris in 2014. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

James Lee Byars (American,1932 -1997) 1,000,000 dollar Gold pencil on black crumpled paper Framed in black  46 x 46cm (18" x 18") In 1986, James Lee Byars "The Figure of Death" was sold for USD761,000. In 2015, Untitled, ink painting on Japanese rice paper was sold for USD125,000. James Lee Byars, one of the most widely recognised American artists from the 1960s to the present, influenced an entire generation of artists in the fields of conceptual and performance art. Born in Detroit in 1932, Byars was always fascinated by Japanese culture, which exerted a deep influence on his artistic practice throughout his life. He lived and worked nomadically, moving between different places and cities, including Detroit, Kyoto, New York, Los Angeles, Berlin, Bern, Venice, and Cairo. Throughout his oeuvre, Byars combined motifs and symbols from Eastern traditions and civilisations, such as elements of Nô theatre and Zen Buddhism, with a deep knowledge of Western art and philosophy, offering a unique personal view on reality and its physical and spiritual entities. Making use of different media, like installation, sculpture, performance, drawing, and speech, the artist created a mystical-aesthetic reflection on the ideas of perfection and cyclicity, and on the human figure—its representation and dematerialization—often involving visitors directly in temporary actions or large-scale interventions. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Mixed media drawing in charcoal, ink, and white chalk pastel depicting an abstracted scene of religious figures with a candelabra. Signed by artist in lower right corner in black ink. Mounted to heavy white mat board. Artist: Robert M. GatrellDimensions: 17"W x 13"H

Untitled. Pastel on paper drawing depicting an intimate creek-side forest scene in the impressionist style. Blue matte border with a textured wood frame. Artist signature on Verso. Includes certificate of authenticity signed by artist. Deann Prosia is an American artist based in New Jersey and is known for her works in etching, watercolor, and pastels. Sight size: 9.5"W x 7.5"H; frame: 12.75"W x 10.75"H x 1"D. Artist: Deann Prosia

Large framed acrylic on board painting of a surreal interior scene. Depicts a potted sunflower flanked by an artist's drawing board with leaves of sketches flowing in the wind and an open window framing a stormy sky. Signed by the artist in the lower left corner. White canvas matte with carved wood frame. Matt Lively is an American painter, muralist, and sculptor based in Richmond, Virginia. Sight size: 29.5"W x 34.5"H; frame: 36"W x 41"H x 2"D. Artist: Matt Lively

An emerald and diamond cluster ring, An emerald and diamond cluster ring, the circular shape emerald weighing approx. 0.50ct within a brilliant cut diamond surround and shoulders, estimated total diamond weight 0.40ct, ring size N1/2, gross weight 2.8g.Overall condition good to fairScratches, discolouration and abrasion in keeping with occasional wearA couple of diamonds drawing slightly more colour than others face up, visible with magnification

Beardsley (Aubrey).- Malory (Sir Thomas) [Le Morte Darthur] The Birth, Life and Acts of King Arthur..., 2 vol. in the original 12 parts, one of 1500 sets on ordinary paper, from an edition limited to 1800, 2 photogravure frontispieces, plates, illustrations and decorations by Aubrey Beardsley, with note to Subscribers leaf in part XII but without Directions to Binder leaf, exceptionally clean with virtually none of the usual offsetting, original pictorial grey-green wrappers, uncut, a superb set, [Lasner 22], 4to, 1893-94.⁂ Beardsley's first major commission and an early masterpiece, produced when he was only 20 years old. The young artist met the publisher J.M. Dent who was looking for someone to illustrate an edition of Morte d'Arthur. On seeing Beardsley's trial drawing 'The Achieving of the Sangreal' the publisher was reputedly rendered speechless by its quality. Duly commissioned, Beardsley produced a body of work which took the medievalism of the Pre-Raphaelites and married it to his own bizarre imagination and Japanese-influenced style, making his reputation. They are among the most stunning illustrations he ever produced.

Bosse (Abraham) Traicté des Manieres de Graver en Taille Douce Sur l'Airin, first edition, 21 full-page engraved plates on 14 ff. including 2 additional engraved titles, dedication f., and 16 engraved plates, most printed on rectos and versos of the leaves, numbers 5 and 6 repeated as usual, front endpapers browned at margins and front endpapers working loose, contemporary speckled calf, joints cracked but holding firm, corners rubbed, 8vo, Paris, Bosse, 1645.⁂ Scarce first edition of the first treatise on intaglio printmaking. Bosse was a prolific engraver and author of several works on the arts of painting, drawing, and perspective. His treatise on the intaglio techniques, dedicated to "Messieurs les Amateurs" of the arts of engraving and etching, contains a lengthy and detailed series of instructions touching every aspect of engraving with a burin and etching on both hard- and soft-grounds.

America.- Acosta (Jose de ) The Naturall and Morall Historie of the East and West Indies, first edition in English, A1 present (blank except for signature 'A'), title with woodcut device, woodcut initials and decorations, final blank leaf b4 missing, a few pencil annotations, occasional foxing and soiling, later tree calf, covers detached and backstrip missing, 4to, [Arents Tobacco 67; Church 328; Hill p.3; Howgego A7; JCB (3) II:24; Sabin 131; STC 94], Printed by Val. Sims for Edward Blount and William Aspley, 1604.⁂ "The most convincing, detailed, and reliable account of the riches and new things of America...His work opened the eyes of the rest of Europe to the great wealth that Spain was drawing from America. Eventually Spain grew more secretive in these matters" (Hill).A Spanish Jesuit by training, Acosta first travelled to the Americas in 1570. In addition to notes on the natural history of the places he visited, including Peru (where he crossed the Andes), Panama, and Mexico, Acosta also describes Incan and Aztec customs and natural geographical features, such as tides, lakes, rivers, and mineral resources. He also established several universities in South America, where native languages were carefully studied and recorded, and was responsible for bringing a printing press to Peru in the 1570s.One of two variants, this omitting "the R.F." before the author's name on title.Provenance: William Horton (ink inscription on A1); 'Jo. [?]Hyam Coll. Gon et Cai' (ink inscription on A1).

Sweden.- Lindebladh (Swedish, active c.1720) and others. Collection of 15 original drawings and plans for shipbuilding and various associated architectural projects, including within the Karlscrona shipyard, including 3 signed and dated plans by Lindebladh from 1721, an original drawing after a plan by Fredrik Henrik af Chapman, indistinctly signed but dated 1778, an unsigned plan for the dock's lock entrance dated 1721, and two variant cross sections of a battery ship, one dated 'Strasbourg 1784', with two architectural plans for barrel storage, pen and inks, watercolours, some pencil, on various papers, various sizes between 440 x 280 mm (17 1/4 x 11 in), some losses, splits to old folds, handling creases, surface dirt and light browning, all unframed, [mainly 18th century or slightly later] (15)Provenance:Some with Carl Råbergh-Mannerskantz (1747-1817)Carl Axel Mannerskantz (1809-1888)Värnanäs Manor, Hallstorps socken, Småland, Sweden; by descent.⁂ This collection of plans and drawings may have been informed and collected by an engineer and architect working in the circle of Fredrik Henrik af Chapman, who in 1765 had begun to undertake his Architectura Navalis Mercatoria publication. Chapman's book contained 62 illustrations of ships and smaller vessels, both Swedish and foreign designs. Some of these were Chapman's own designs, but many were also types that he had seen during visits to foreign countries.

Sweden.- Råbergh-Mannerskantz (Carl, 1749-1830) and others. Collection of 24 original manuscript maps, and office copies of manuscript maps, with many including military battle plans, including: 8 manuscript maps and plans in Carl Råbergh's hand, with 3 signed and dated; 3 detailed maps and battle plans in the hand of Erasmus Heerman Rustmastar[?], two signed and dated; a large detailed manuscript map of 'Glasholmen' by the Land Surveyor to King Gustav III, dated 1791 but after another map from 1707; and other maps and plans by various anonymous Swedish cartographers, pen and inks, watercolours, some pencil under-drawing, on various 18th century papers and later, various sizes from 310 x 470 mm (12 1/4 x 18 1/2 in) to 910 x 580 mm (35 3/4 x 22 3/4 in), numerous nicks and tears, old folds and handling creases, some surface dirt and browning, all unframed, [mainly late 18th century, or slightly later]Provenance:Some with Carl Råbergh-Mannerskantz (1747-1817)Carl Axel Mannerskantz (1809-1888)Värnanäs Manor, Hallstorps socken, Småland, Sweden; by descent.⁂ There are records for one of the draughtsman featured in the present lot, that of Major Carl Råbergh (1747-1817), who was known to have worked as a Fortification Officer in the Swedish military, but resigned in 1790 following his purchase of the Värnanäs estate in Halltorp, Kalm, in 1789. Both his father and his son, Carl Axel Mannerskantz (1809-1888), were at points involved with Swedish military's Fortifications Office. It has also been recorded that Råbergh undertook a Grand Tour in 1783 with another Swedish officer, Mikael Hisinger (1758-1829); the tour was partly funded by a grant given to Råbergh by the Swedish Army.The Vasa Architectural Collection, Sweden, hold four original maps and plans by Carl Råbergh that closely conform to many examples within the present group [see museum acc. no. V399, V405, V406, V420].

*** Please note the description of this lot has changed.Smith (Col. Robert, of the Bengal Engineers, artist, architect and engineer, 1787-1873) Two views of Government House, Barrackpore, near Calcutta, two works, brush and ink, traces of pencil under-drawing, each image approx. 315 x 565 mm (12 3/8 x 22 1/4 in), both laid onto contemporary mounts with ruled ink and wash borders, hinged into mounts, both inscribed 'Calcutta' verso, unframed, [circa 1800 or slightly later] (2)Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.*** We are very grateful to Chares Greig for suggesting the correct attribution for the two works to the artist Colonel Robert Smith (1787-1873) after first-hand inspection.

Kotah School 19th Century A drawing of a raja on horseback Property of an academic collector Dimensions

Aert Schouman (Dordrecht, 1710 - 1792, The Hague) Dutch School An over door of a pheasant and a kingfisher in a landscape Oil on canvas Aert Schouman started his painting career as a pupil of Adriaan van der Burg to whom he was apprenticed for eight years. He came from the town of Dordrecht and was head of the Guild there from 1742 until his death. However, he moved to The Hague in 1748 becoming regent of the Drawing School there in 1751 and it is here that he really spent the majority of his working life. He is known to have been in Middelburg in 1761 and in Great Britain in 1765. His founding of the 'Confrerie' in The Hague (of which he was headman from 1752 - 62) encouraged a blossoming art scene in both Dordrecht and his adoptive city.  Schouman specialised in pictures of birds in the manner of Hondecoeter and Weenix but with more flamboyant (and typically 18th Century) colouring and composition. But he was also a prodigious talent in many other areas such as glass engraving and printmaking, as well as a collector and dealer. His most celebrated works of this type are his depictions of scenes from Ovid's Metamorphosis. His thriving studio produced a number of talented Dordrecht painters and his pupils included Joris Ponse, Jan van Os, Jacobus Vonck, and Martinus Schouman. Provenance: Private collection, The Netherlands Dimensions: (Canvas) 15 in. (H) x 36 in. (W) (Frame) 21 in. (H) x 39 in. (W)

Jean-Baptiste Pillement (1728 - 1808) A pair of idyllic landscapes with cattle Oil on canvas The canvases notable for their exquisite condition In carved and gilded frames with rococo pediments  Provenance: in the family collection by the 1920s One of the most influential decorative and ornamental draughtsmen working in Europe in the second half of the 18th century, Jean Pillement was an equally gifted painter, producing pastoral landscapes, marines, flowerpieces, animal subjects and chinoiseries. A pupil of Daniel Sarrabat in Lyon, Pillement was a precocious talent and, by the age of fifteen, was working as a designer at the Gobelins tapestry factory in Paris. In 1745, aged seventeen, he left France for Spain. He was to spend three years in Madrid, and this was to be the first in a long series of travels throughout Europe over the next forty years. After a period spent working in Lisbon, where he was offered, and declined, the title of Painter to the King, Pillement spent the next few years working in London, between 1754 and 1762. His pastoral scenes, seascapes and picturesque views found an appreciative audience in England. A popular and re¬spected member of artistic society in London, he counted among his patrons the influential connoisseur and actor David Garrick. It was in England in the late 1750’s that some of his ornamental designs were first engraved and published - Pillement himself recorded that more than three hundred prints after his drawings were done while he was working in London - and where he established himself as a fashionable decorative painter. Pillement continued to travel extensively during the 1760’s, receiving several prestigious commissions. After returned briefly to Paris in 1761, he spent some time in Italy before travelling to Vienna, where he worked to develop a method of printing coloured designs on textiles. He executed ten paintings for the Kaiserhof in Vienna for the Prince of Liechtenstein and was ap¬pointed court painter to King Stanislas August Poniatowski of Poland, for whom he decorated rooms in the Royal Castle and the palace of Ujazdów in War¬saw between 1765 and 1767. Back in France and appointed peintre de la reine in 1778, Pillement painted three decorative canvases for Marie Antoinette’s Petit Trianon at Versailles; the only real instance in his long career of an official French commission. For much of the 1780’s he worked in Portugal - where he founded a school of drawing - and Spain, and it was during this period that he produced some of his finest landscape drawings. Returning to France in 1789, he abandoned Paris during the Revolution and spent much of the decade of the 1790’s working in the small town of Pezénas in the southern province of Languedoc. Property of a Distinguished Family Dimensions: (Canvas) 22 in. (H) x 29.5 in (W) (Frame) 27 in. (H) x 35.5 (W)

LANG FRITZ: (1890-1976) Austro-Hungarian born film director whose works include the ground-breaking futuristic Metropolis (1927) and the influential film noir precursor M (1931). An interesting Autograph Manuscript, unsigned (although with his surname LANG and initials F.L. appearing at various stages within the text), fifteen pages (separate leaves), 4to, n.p. (Los Angeles), 2nd March - 11th April n.y. (c.1966). The manuscript, written in English, represents Lang's daily planner whilst making a visit to Los Angeles in the company of the German-French film critic and writer Lotte Eisner, with various events and meetings etc. recorded in a tabular form and divided between day and evening, including telephoning Mary Pickford upon his arrival, receiving calls from Josef von Sternberg ('picked me up at 1 for lunch') and King Vidor, contacting William Wyler, Alfred Hitchcock, Edith Head, Gene Kelly ('will call when he has time'), Billy Wilder, Mervyn LeRoy, George Cukor, Stanley Kramer, John Ford, Lewis Milestone, Vincente Minelli and others, and also including various notes recording his daily activities, 'working on Bogdanovich's interview', 'playing Wartime Underground records of Lang', '10am Dr for Typhoid and Cholera shots', 'Luft called re Sol Lesser rendezvous', 'Staff of LA County Museum debating Homage to Renoir', 'to Larry Edmonds Bookshop….would like to exchange in Paris posters etc., afterwards to Academy Theatre at Melrose Ave', 'Lotte looked at articles and pictures of Fritz Lang', 'Lotte called Arthur Knight: will bring a drawing by Chaplin', 'David Raskin called: he gave “Chaplin drawing” to Arthur Knight but would like to get from C.F. a letter with valuation (to subtract it from his income tax). He will look for a music score of a Chaplin film' etc., and noting the names of various restaurants where they dined in the evenings, and the occasional film they have seen, including Our Man Flint. The final page features a list of expenses incurred by Lang during the trip. Many of the events and names are underlined or circled in bold red ink. A fascinating document illustrating the connections Lang maintained in Hollywood with some of film's legendary directors, producers and actors. Some light age wear, generally VG

MARTI JOSE & ESTRADA PALMA TOMAS: José Martí (1853-1895) Cuban Poet, Writer and Revolutionary Philosopher. Martí is considered a national hero as well as a leading figure in Latin American literature. He became a symbol for Cuba's fight for independence in the 19th century, and is referred to as the ''Apostle of Cuban Independence''; & Tomas Estrada Palma (1835-1908) First President of Cuba 1902-1906, and previously during the Ten Year´s War. Remembered for allowing the Platt Amendment which ensured American dominance over Cuba. An exceptional and very attractive multiple D.S., `José Martí´, and `T. Estrada Palma´, two pages, large folio, New York, 20th January 1895, to Frederick W. Ramsden, in Spanish. The partially printed document bears the printed heading of the New York delegation of the Cuban Revolutionary party, being a title given to contributors in favour of the cause, a patriotic assistance fundraising to finance the war in favour of the Independence and for the Freedom of Cuba. The attractive document, printed in red ink, bears palms and a coat of arms to the front page. The document is signed by Marti and Estrada Palma in their capacity as delegates and is also signed by Gonzalo de Quesada as Secretary of the delegation. The lengthy handwritten text, is a manifesto in favour of Cuban Independence and freedom, against the Spanish occupancy and slavery, concluding with the motto ''Homeland and Freedom''. The document bears beneath the signatures a large black paper seal affixed of the Delegation of the Cuban Revolutionary Party. Small overall minor age wear, with small remnants of a former red wax seal to the lower edge. G to VG The present document is signed by Jose Marti on 20th 1895, only one week before drawing up the Uprising order. A month later, on 24th February, the uprising took place, and three months later Marti was killed at the battle of Dos Rios only a month after having returned to Cuba. Gonzalo de Quesada y Arostegui (1868-1915) was the key architect of Cuba´s Independence Movement with Jose Marti. Appointed Special Commissioner of Cuba to the United States in 1900. He later entered the diplomatic service, becoming minister to the United States. De Quesada authored ''A History of Free Cuba'' (1898) and ''Cuba'' (1905). He also edited Marti's literary works 1900-11.

SAGAN FRANCOISE: (1935-2004) French playwright, novelist, screenwriter and lyricist. An illustrated autograph manuscript, unsigned, seven pages, 4to, n.p., n.d. (mid-1950s), in French. The working manuscript, with some revisions, is for the song La Valse, the lyrics demonstrating the beauty and simplicity of melancholic and timeless romances, ‘Il passait/ dans les yeux/ Quand tu valsais/ Quelque chose/ Quelque chose/ Que j’ignorais/ Un regret/ Un oubli/ Oui mais de qui/ Ah dis-moi/……Il passait/Sur ta bouche/ Quand tu valsais/ Quelque chose/ Quelque chose/ Que j’ignorais/ Un baiser/ La folie/ Oui mas de qui/ Ah dis-moi’, the chorus including the lines ‘Valse, valse, mon pauvre amour/ Passe, passe mon pauvre amour’. The manuscript comprises several successive versions of the song, each increasingly elaborate, and at the conclusion Sagan has translated a couple of lines into English, ‘….there was in your eyes when you were waltzing’. Perhaps as a part of Sagan’s creative process, whilst in search of inspiration, the manuscript is decorated with a number of sketches and doodles including, to the first page, a profile head and study of a man, somewhat reminiscent of Michel Magne (who composed the music and arrangements for La Valse) and, to the penultimate page, a series of six drawings of a lady’s head in profile, some realistic and others stylised. The final page features a more abstract drawing by Sagan, evocative of seaweed. The pages are stapled together at the upper left corner, where there is also a slight paperclip rust stain. VG Francoise Sagan wrote the lyrics to a number of songs performed by Annabel Buffet and Juliette Greco in the mid to late 1950s, one of the most famous being La Valse which was recorded in 1956 to music composed by the French film and experimental music composer Michel Magne (1930-1984).

ARMAN: (1928-2005) Armand Fernandez. French-born American artist. Black ink signature and inscription, in French, to the base of a 5 x 7 white card, with a neatly affixed colour photograph of one of Arman’s artworks, typical of one of his Accumulations, above the signature. To the left of his signature the artist has drawn a small ink drawing of a paint tube. VG

MCCAY WINSOR: (c.1866/71-1934) American cartoonist and animator, remembered for the comic strip Little Nemo (1905-14, 1924-26) and the animated film Gertie the Dinosaur (1914). A good original black pen and ink drawing signed by McCay, one page, oblong 8vo, n.p., n.d. Within a black bordered box McCay has drawn an ink sketch (with feint pencil lines beneath) of the cigar smoking clown Flip, companion of Nemo, in a head and shoulders pose wearing his top hat. Boldly signed by McCay with his artist's signature and adding Thanks in his hand beneath. Three file holes to the upper edge, not affecting the drawing or signature, VG

THE TWELVE TASKS OF ASTERIX: An original brown ink concept drawing by animator Harold Whitaker, unsigned, on a 15 x 5 sheet of drawing paper, n.p., n.d. (mid-1970s). The drawings were created for the animated feature film The Twelve Tasks of Asterix (1976), and show a series of images depicting a large strongman going through the process of lifting a barbell. Together with a second, smaller drawing intended as an overlay to the final image in the larger series, being a more accomplished image of the strongman having successfully raised the barbell to his chest. A few light, minor tape stains, otherwise VG Harold Whitaker (1920-2013) British animator whose credits include Animal Farm (1954). The Twelve Tales of Asterix (1976) was the third animated feature film in the Asterix franchise and the only film to be based on an original screenplay. Today it is considered a cult classic.

LUCE MAXIMILIEN: (1858-1941) French neo-impressionist artist. A good illustrated A.L.S., Luce, three pages, 8vo, n.p., n.d. (‘Mercredi’), to his son Frederick, in French. Luce writes a largely social letter to his son, sending news and mentioning various individuals, in part, ‘J'ai vendu part l'intermediaire de M. Grandhomme le marchand de gravures de la rue St Peres quelques petits panneaux et dessins a un de ses amateurs......j'en profite pour faire des projets de dessins de baigneurs.....Je n'ai pas encore de nouvelles de Signac.....Je ne te parle pas de la guerre. Quelle triste affaire que les evenements russes’ (Translation: ‘I sold through Mr. Grandhomme, the engraving dealer on Rue St Peres, some small panels and drawings to one of his enthusiasts….I took the opportunity to do drawing projects of bathers….I haven’t heard from Signac yet….I’m not talking to you about the war. What a sad affair the Russian events are’). To the final page Luce has drawn three pen and ink sketches, occupying almost the entire space, the first two depicting a man with his two small children, in one carrying one of them on his shoulders and holding the hand of the other, and in the second carrying one of the infants in his arms as the other walks alongside. The third, larger drawing shows the father and children enjoying themselves at the edge of the sea, and with a small boat in the background. Some age wear and overall creasing, about G

BELLMER HANS: (1902-1975) German Surrealist artist and photographer. A good A.L.S., with his initial H, one page, 4to, Castres, 12th March 1946, to [Joe Bousquet] (‘Mon tres cher ami’), in French. Bellmer states that he has not heard from his friend since returning to Castres, observing ‘C'est peut-etre de ma faute: comment repondre a mes lettres de desarroi et de desespoir?’ (Translation: ‘It may be my fault: how to respond to my letters of dismay and despair?’) and continues ‘J'ai retrouve un peu mon equilibre, ayant reussi a forcer mon epouse de me rendre les objets et les documents voles etc…… Tout cela est plus odieux que j'aurais jamais pu le croire: l'imagination ignore ce plan. Il faut etre concierge, flic, canaille pour y nager sans consternation’ (Translation: ‘I regained my balance a little, having succeeded in forcing my wife to give me back the stolen objects and documents etc……All this is more odious than I could ever have believed: the imagination ignores this plan. You have to be a janitor, a cop, a scoundrel to swim there without consternation’), further adding ‘Je suis desole de penser que je n'ai pas encore fait le dessin-frontispiece que vous m'avez demande: depuis que je vous ai quitte, la derniere fois a carcassonne, je n'ai plus touche a un crayon. Je ne sais plus ce que c'est dessiner. Mais des le moment ou je touche a un crayon, ce sera pour vous’ (Translation: ‘I’m sorry to think that I haven’t yet done the drawing-frontispiece that you asked me to: since I left you, the last time in Carcassonne, I haven’t touched a pencil. I don’t know what drawing is anymore. But the moment I touch a pencil, it will be for you’), Bellmer also writes despairingly of his book Les Jeux, ‘j'ai des soucis permanents......La fabrication est compliquee, les difficultes sont partout, mais, surtout, mon editeur n'a ni argent, ni initiative. Etant oblige de passer sans cesse a Paris, d'y depenser des sommes incroyables, enfin, a ce compte-la j'aurais pu faire le livre tout seul’ (Translation: ‘I have permanent worries……The production is complicated, the difficulties are everywhere, but, above all, my publisher has neither money nor initiative. Being obliged to constantly go to Paris, to spend incredible sums there, well, on this account I could have written the book alone’) and asks if his correspondent has received a copy of Evidence du Surrealisme. A couple of very minor, light creases, VG Joe Bousquet (1897-1950) French poet, often associated with Surrealism.

LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An attractive original blue pencil drawing by Le Corbusier, unsigned, one page, 4to, n.p., n.d. The drawing, perhaps a preliminary sketch for a painting, is typical of the Purist style which Le Corbusier co-created with Amedee Ozenfant, in which objects are represented as basic forms without detail. To the verso appear twelve lines of ink text in the architect’s hand, in French, with numerous corrections, in full, `Ceci est un galet - et non pas un plan de ville - avec son fleuve en dehors des murailles – l´artère impériale l´aurait traverse – doublant d´une volonté d´homme – le “chemin des ânes”, nonchalant – venu d´une province – et qui s´en v avers une – autre province. La Plage, inépuisablement offre des galets´ (Translation: ‘This is a pebble - and not a city plan - with its river outside the walls - the imperial artery would have crossed it - doubling with a man's will - the "donkey path", lazy - coming from a province – and which goes to – another province. The Beach, inexhaustibly offers pebbles’). VG

LLOYD HAROLD: (1893-1971) American film comedian. Vintage signed and inscribed 10 x 8 photograph of Lloyd standing in a full-length pose, in costume as Harold Diddlebock, surrounded by various other actors, many thrusting papers towards the actor, in a scene from the American comedy film The Sin of Harold Diddlebock (1947) which was to be the last film Lloyd starred in. Signed in blue fountain pen ink by Lloyd to a largely light area at the head of the image, further adding a small drawing of his trademark spectacles in his hand beneath his signature. Some light corner and surface creasing, largely to the white borders. About VG

COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A remarkable autograph manuscript signed, Jean Cocteau, seven pages (rectos only), 4to, Paris, March 1922, in French. Cocteau’s manuscript is entitled Marie Laurencin, and represents a glowing appreciation of the French painter, commencing with a beautiful description of how Cocteau imagines her features would be recorded in her passport, noting her hair, black eyes, and pearl grey complexion, as well as several special features. ‘chevaux, colombes. eventails, plumes d'autruches…..yeux myopes’ (Translation: ‘horses, doves, fans, ostrich feathers….myopic eyes’, continuing ‘Mais elle ne veut pas qu'on dise qu'elle est myope. Elle trouve la myopie honteuse et le face a main la gene comme une bequille d'infirme. Pourtant il faudrait parler de ce nuage qui met les distances entre sa personne et le reste du monde, qui fait d'elle un aveugle et un caniche. Mais jamais on n'avait vu un aussi joli aveugle dirige par un caniche aussi savant’ (Translation: ‘But she doesn’t want people to say she’s short-sighted. She finds myopia shameful and face-to-hand discomfort like a cripple’s crutch. Yet we should talk about this cloud which puts distances between her person and the rest of the world, which makes her blind and a poodle. But we had never seen such a pretty blind man led by such a knowledgeable poodle’). Cocteau follows with a sestet –Une etoile d'amour, Une etoile d'ivresse, Les amants, les maitresses, Aiment la nuit et le jour, Un poete m'a dit qu'il etait une etoile, Ou l'on aime toujours.  And compares the stars to a calligram by Guillaume Apollinaire, ‘Sans doute il est trop tard pour parler encore d'elle serions nous tentes de dire, apris l'image que nous en donnent les poetes avec lesquels notre ame a toujours vecu. Jamais trop tard, il est vrai la douce lumiere Laurencin, si elle brille pour les uns est encore en route vers les autres’ Cocteau then writes of Laurencin’s paintings. ‘Un tableau de Marie Laurencin regarde, ecoute, comme les chevreuils. Si une personne qui n'aime pas les betes s'approche, si un chasseur e'paule son arme, le tableau disparait. Nous avons la joie d'etre de ceux qui les caressent. Car Marie Laurencin aime les poetes. Elle n'aime que les poetes. Et moi qui l'ai connue bien apres Salmon, Apollinaire, Fleuret, Moreas. j'ai eu la surprise d'un homme du nord qui verrait une rose, en chair et en os, apres avoir entendu parler d'elle dans Ronsard et dans les catalogues de fleurs. Il serait donc ridicule de vous apprendre que Marie Laurencin porte un nom delicieux qui rime avec sein, dessin, coussin, clavecin, assassin; qu'elle fait penser a Watteau, a Goya, aux liaisons dangereuses, aux livres de Madame de Segur et aux fables de la Fontaine, que licornes lechent son eventail qui ne montre que des yeux comme un volet espagnol, que ses couleurs favorites sont le bleu le gris et le rose, que sa peinture n'est pas de la peinture litteraire mais de la peinture de grand peintre et de grand poete, qu'il ne faut pas confondre avec la peinture poetique. Du reste, Marie Laurencin est un poete. Ecoutez plutot: Roi d'Espagne prenez votre manteau, Et un couteau, Au jardin zoologique, Il ya a un tigre paralytique, mais royal, et le regarder fait mal. Vous retrouverez dans cette petite piece ecrite pendant la guerre a Madrid, l'intonation d'une aristocrate’ (Translation: ‘A painting by Marie Laurencin looks, listens, like deer. If a person who does not like animals approaches, if a hunter shoulders his weapon, the picture disappears. We have the joy of being among those who caress them. Because Marie Laurencin loves poets. She only likes poets. And I know her well after Salmon, Apollinaire, Fleuret, Moreas. I had the surprise of a man from the north who would see a rose, in the flesh, after having heard about it in Ronsard and in flower catalogues. It would therefore be ridiculous to tell you that Marie Laurencin has a delicious name that rhymes with sein, dessin, coussin, clavecin, assassin; that she makes us think of Watteau, of Goya, of dangerous liaisons, of the books of Madame de Segur and the fables of La Fontaine, that unicorns lick her fan which only shows eyes like a Spanish shutter, that her favourite colours are the blue, grey and pink, that her painting is not literary painting, but the painting of a great painter and a great poet, which should not be confused with poetic painting. Besides, Marie Laurencin is a poet. Listen instead: King of Spain take your coat, and a knife. In the zoological garden, there is a paralytic tiger, but royal, and looking at it hurts. You will find in this little piece written during the war in Madrid, the intonation of an aristocrat’). Cocteau also makes reference to the paintings of Picasso, ‘La toile, en apparence, la plus hautaine de Picasso met en branle nos curiosites. Nous cherchons quels objets la motivent. Nous y entrons. Nous collaborons. Peu a peu son univers commande. Nous admettons qu'il reorganise la notre. Alors, devenus familiers de son oeuvre, nous ne sommes plus timides. Mais ici nous voila genes comme par l'ooeil d'un chien qui nous regarde, comme par une conversation avec un enfant ou avec une reine. Le privilige qui nous vaut de ne pas mettre l'animal en fuite, de ne pas faire crier l'enfant, d'etre admis en presence auguste, ne brise pas la glace. Peut-etre que tous ces personnages de conte de fees n'attendent qu'un geste irrespectueux pour sortir du charme. Ils peuvent attendre: nul ne l'ose’ Cocteau concludes by recounting the circumstances when Laurencin painted his portrait, ‘Maintenant, je vais vous raconter comment Marie Laurencin peignait mon portrait......C'est le genre des oiseaux qui nidifient. De temps en temps ils transportent une brindille. Marie Laurencin chante. Elle se leve. Elle me montre un exercice de gymnastique. Elle tourne dans la chambre. Elle cherche de l'essence. Elle ne trouve pas ses tubes…..elle essaye une robe, elle ecrit une lettre et l'attache du cou d'un pigeon voyageur. Elle cherche un numero de telephone…….Le nid est fait. Le tour est joue. Ou se trouve en presence d'une oeuvre forte, grave, d'un equilibre et d'une poesie deconcertants’  The manuscript is loosely bound in the original paper wrappers, with Cocteau’s title to the front, ‘Marie Laurencin par Jean Cocteau’, also adding a small drawing of a pink heart beneath his name. Also included within the manuscript are two frontispiece illustrations, the first an oval monochrome photograph by Man Ray of Marie Laurencin’s 1921 portrait of Cocteau, the silver gelatin print measuring 19.5 x 16 cm, and the second a charming self-portrait by Laurencin, executed in pencil and showing her in a pensive head and shoulders pose, with a pink scarf and matching lipstick. Signed (‘Marie Laurencin’) in pencil at the foot of the portrait and dated 1923 in her hand. A wonderful manuscript, enhanced by Laurencin’s self-portrait and Man Ray’s photograph. Some light overall age wear and a few small areas of paper loss to the upper left corners of some pages, otherwise VG OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE CONTACT IAA EUROPE FOR FURTHER INFORMATION.  

NAPOLEON I: (1769-1821) Emperor of the French 1804-14, 1815. An unusual, rare pen and ink drawing executed in Napoleon's hand, unsigned, on a small irregularly trimmed oblong 12mo piece (12 x 7 cm at its widest and highest points), n.p. (Longwood House, Saint Helena), n.d. (c.1816). In bold, dark fountain pen ink the exiled Emperor has drawn a neat series of abstract geometric doodles. The piece is also annotated in Napoleon's hand with around eight random words, in English, including left, on, can, call and the. An interesting and attractive piece demonstrating Napoleon's desire to master English. Neatly mounted to a slim oblong 8vo page removed from an album. About VG In his Le Memorial de Sainte-Helene the French cartographer and author Emmanuel, comte de Las Cases, who informally acted as Napoleon's secretary whilst the Emperor was exiled on Saint Helena, devotes several passages to Napoleon's wish to learn English, noting that on 16th January 1816 'At about three o'clock, the Emperor summoned me for conversation while he was washing and dressing….He happened to remark that it was scandalous that he could not yet read English….and then ordered me to force him to take a lesson every day'. The first lesson took place the following day, on 17th January, Las Cases observing 'Today the Emperor took his first English lesson. Since my main aim was to make him able to read the newspapers without difficulty, the first lesson consisted only in making him acquainted with an English gazette'. For further information please refer to the interesting essay Napoleon's English Lessons by Peter Hicks at Napoleon.org which also features fascinating illustrations, including a larger page of very similar doodles in the hand of Napoleon.

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

DISNEY WALT: (1901-1966) American animator, Academy Award winner. An excellent, original pencil drawing signed by Walt Disney, one page, 4to, n.p. (Burbank. California), n.d. (1940s). Disney has executed a swift, although highly appealing, image of the head of Mickey Mouse, undoubtedly his most famous creation. Boldly signed ('Walt Disney') with a large signature immediately beneath the sketch. Matted in pale brown within an oval aperture alongside a photograph of Disney in a smiling head and shoulders pose and attractively framed and glazed in a modern decorative frame to an overall size of 20.5 x 14.5. A wonderful original drawing, both rare and highly desirable. One light, minor stain to the head of the page, not affecting the image or signature, VGProvenance: Accompanied by a typed letter of provenance signed by Michael Miller, dated 22nd March 2023 and stating, in part, 'My mother, Suzanne (Suzie) Miller started working at Walt Disney Studios in Burbank, California on the 21st of October 1940. She worked there until 1944 in the eight wing animation building, and would work around artists, animators and story men…..Walt's office was also used for conferences with directors, animators, artists and any creative team would share ideas in order to create the next big Disney hit. After a meeting, my mother asked Walt for a signature, and Walt kindly smiled and drew this sketch of Mickey and signed it in pencil. She kept it since the 1940's and was then given to me, Michael Miller (her son)'.

COCTEAU JEAN: (1889-1963) French poet, playwright, novelist, artist, filmmaker and critic. A good original bold pencil drawing signed by Cocteau, executed on an 8vo sheet of heavy tracing paper, n.p., 1950. The image is a line-drawing depicting a hand, pointing upwards, with the index finger extended, the middle finger half folded, and the ring finger and little finger folded against the palm. Signed by Cocteau in pencil, adding his familiar star beneath his signature. Irregularly trimmed to one edge, otherwise VG The drawing was originally created by Cocteau and sent to Pierre Beres in order to illustrate an article by Rene Etiemble which appeared in Art de France (1962). Pierre Beres (1913-2008) Russian-born French bookseller, antiquarian book collector, publisher and art collector. Rene Etiemble (1909-2002) French essayist, scholar and novelist.

AFTER ANGELICA KAUFFMAN (1741-1807) 'Her Grace the Dutchess of Devonshire and Viscountess Duncannon' pencil, sepia and watercolour, 26.5cm x 20cmThe label to the reverse reads:  “Pencil drawing… purchased at the Longford Hall Sale (Coke…). This drawing is identically copied from the picture by Angelica Kauffman in Earl Spencer’s collection at Althorp. The Althorp picture however contains a third figure, that of John 2nd Earl Spencer, brother of the ladies appearing on this drawing”. The content of Longford Hall was sold in 1908 and the property and land was sold in 1935.  Longford Hall was at one point owned by the Coke family.

Five works on applied art techniques. C. R. Leslie. 'Hand-Book for Young Painters,' second edition, full red leather with ornate gilt embossed decorations, school prize from Bristol School of Art label to pastedown, gilt edge, blind stamp to title page, plates, John Murray, London, 1870; Donald MacFarlane. 'Pastel Drawing,' from Foulsham'sEasy Method Drawing Series, pictorial thin card wraps with advertisement for 'Smoke Ring Cigarettes', pp.64, some toning but in a vg condition, W. Foulsham & Co, London, n.d; Pedro J. Lemos. 'Applied Art. Drawing, Painting, Design and Handicraft,' reprint, decorative original cloth, printed pastedown, owner inscription to dedication, illustrated throughout, vg, Pacific Press Publishing Association, California, 1933; With two others. (5)

(Occult) BLAVATSKY, H.P. 'The Secret Doctrine: The Synthesis of Science, Religion, Philosophy' Third and revised edition, three volumes with separate index, original cloth with gilt tooled decorations to front boards, rubbed to extremities, ex libris label to pastedown 'Leonarda', half title loose to volume one, spotting to endpapers title pages and edge of text block, otherwise VG, The Theosophical Publishing Society, London and Benares, 1911. (4)Originally published in 1888. This work presents a comprehensive and complex exploration of esoteric spirituality, metaphysics, cosmology, and the origins of human knowledge. Blavatsky aims to reconcile science, religion, and philosophy by proposing a grand narrative of the universe's evolution, drawing from ancient wisdom traditions, comparative mythology, and her own interpretations of spiritual insights.

(Penmanship and French songs) An early 20th century exercise of ornate fonts, titles and boarders. Twenty seven leaves of handwritten music scores and lyrics to recto and verso, the first leaf with a graphite drawing of a French villa, the progression of skill from the first leaf to the last is evident with rear leaves showing a very strong artistic hand, in brown thin card wraps, an engrossing work, [c.1920].

Penzance Interest A substantial map of Penzance, annotated for the redesign of the harbour and docks , 1877 Penzance Harbour and Docks, Contract No.1, Drawing No.1, paper backed onto linen, surveyed in 1877 by Lieut H. R. G. Georges, Levelled by Capt W. Wynne, Ordnance Survey Office, Southampton, 120cm x 198cm.A unique map, used as a working document to establish the harbour from the dry dock that it was initially to the harbour layout, which we largely see today. With handwritten annotations indicating areas to be paved in granite (violet), macadamized (burnt sienna), merely filled up (pink), the areas of the harbour to be deepened (green) and the site of the new graving dock (yellow). Signed by John Matthews Jnr (responsible for the design of a number of lighthouses including Pendeen Watch and Beachy Head), the (then) mayor of Penzance, Charles Campbell Ross (1849-1920 whose familial home is now Morrab Gardens and Morrab Library) and other surveyors and engineers involved with the redesign of the harbour and docks. Though the map has suffered some loss and damage, it does not detract from the historical importance of the piece. Together with two maps from the same period of Pezance Harbour and surroundings without annotations and a print onto card of Penzance depicting the area before the harbour was modernised and before the building of the lido.

(Occultism) CROWLEY, Aleister. 'Magick. In Theory and Practice By The Master Therion,' Original red cloth, slight sun bleaching to spine but otherwise vg, pp.436, vg text block with some very light finger soiling and graphite underlining, published for subscribers only, the Lecram Press, Paris, 1929.This seminal work is a comprehensive guide to the philosophy and practice of ceremonial magick; drawing from various esoteric traditions. Crowley seeks to demystify magick and provide practical instructions for its application, all while advocating for a scientific and rational approach to the occult.There were several variant issues of the first hardbound edition. 'Magick' was originally issued in four parts; each in paper wrappers with an additional colour plate. However, he was dissatisfied with this design and had the plate removed, a new title page prepared, and most copies dis-bound and sent to Britain. They were then rebound in a durable cloth or buckram to make this; the 'Subscriber's Edition'. Although the title page has the date of 1929, the book did not actually appear until 1930, of which this is a very good copy. Scarce.