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Karen Pawley (1965-) signed pastel, 'Daffodils', signed, framed and glazed, overall size 68cm x 57cm, together with two other Pawley pastel still lives, and a pastel drawing of a nude. Karen Pawley is a Contemporary Plymouth Artist. (4)

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Yellow House', framed and glazed, overall size 43cm x 48cm.

A vintage 'NOBEMA' drawing instruments geometry set

Mercedes F1 team limited edition signed technical drawing signed by Lewis Hamilton, Valtteri Bottas, Toto Wolff, James Allison and Hywel Thomas, 30 x 40cm with Mercedes COA.

Pair of Victorian walnut lady's and gentleman's drawing room chairs, arched cresting rail carved with cartouche and extending foliage, upholstered in floral pattern fabric, on foliate carved cabriole feetCondition Report: The nursing chair has later rear castors.Nursing chair - W55cm, H97cmArmchair - W70cm, H104cm

MARK WILLIAM LANGLOIS (BRITISH 1848 - 1924), BEGGING FOR SCRAPS oil on canvas, signedframed and under glassimage size 54cm x 43cm, overall size 79cm x 68cm Note: As the son of a goldsmith and art dealer, Langlois developed his drawing skills early on and created mainly oil paintings and watercolours with motifs of rural life in genre scenes and landscapes, which he also exhibited at the Royal Academy in London between 1862 and 1873. Four of his paintings are held in UK public collections.

JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.

ATTRIBUTED TO GEORGE LESLIE HUNTER (SCOTTISH 1877 - 1931), LANDSCAPE pen and ink on paper, signed 'L Hunter' mounted, framed and under glassimage size 20cm x 28cm, overall size 50cm x 55cm Note: George Leslie Hunter (7 August 1877 – 7 December 1931), was christened simply George Hunter, but he adopted the name Leslie in San Francisco, and Leslie Hunter, became his professional name. Showing an aptitude for drawing at an early age, he was largely self-taught, receiving only elementary painting lessons from a family acquaintance. A Scottish painter, he also spent fifteen formative years from the age of fifteen in the USA, mainly in California. He was later regarded as one of the four artists of the Scottish Colourists group of painters. Following his youth in California, he returned to Scotland, painting and drawing there and in Paris. Subsequently, he travelled widely in Europe, especially in the South of France, but also in the Netherlands, the Pas de Calais and Italy. Hunter painted a variety of still-lifes, landscapes and portraits, and his paintings are critically acclaimed for their treatment of light and the effects of light. They became popular with more progressive critics and collectors during his lifetime and have grown to command high prices since his death, becoming among the most popular in Scotland. One hundred of his paintings are held in UK public collections.

* LAURENCE BRADSHAW (BRITISH 1899 - 1978) PINE TREE pastel on paper, signed 'L H B' and dated '77mounted, framed and under glassimage size 41cm x 29cm, overall size 63cm x 49cm Note: Sculptor, painter, engraver, stage designer, author. Born in Liscard (Wallasey), Cheshire. According to his family and confirmed by his baptismal record, Laurence's father was Peter Bradshaw, a commercial traveller. However, based on the Census Returns, probably by 1901 and certainly by 1911 Laurence and his mother, Annie Henderson (born c.1866 or c.1871 in Scotland) were described as son and wife of John Bradshaw (born in Liverpool or Warrington, Lancashire c.1869), antique dealer and bookseller. It is presumed that Peter Bradshaw changed his name to John c.1900. Laurence started his higher education at the University of Liverpool during the First World War and then (c.1916) began studying painting at Liverpool School of Art with William Penn. He was advised to study sculpture as well and, after attending some classes in Liverpool (presumably under Charles John Allen then teacher of modelling), he completed his studies in London and Paris. In London, Bradshaw studied at Leon Underwood's Brook Green School of Drawing (dates uncertain). During the mid-1920s Bradshaw worked first as a pupil and then as an assistant to Sir Frank Brangwyn. One of Bradshaw's earliest commissions for sculpture was a series of low reliefs c.1928 for the Brompton Oratory (London) depicting the life of Saint Philip Neri founder of the Oratorian Order. Other commissions followed including: Radcliff Maternity Home (1935); Watford Town Hall; Cambridge Guild Hall; the County Offices in Winchester; and Worthing Town Hall. Private commissions were also an important part of his practice, over a long career he made many portrait busts of writers, politicians, poets, journalists and actors. His most famous work, however, was the memorial to Karl Marx in Highgate Cemetery (1956). This reflected his political beliefs. Bradshaw was a committed communist and worked actively in politics throughout his career.

WILLIAM LINNELL (BRITISH 1826 - 1906), FLOCKS FROM THE MOUNTAIN oil on canvas, signed and dated 1871, titled label verso framedimage size 102cm x 158cm, overall size 122cm x 178cm Handwritten labels verso Provenance: Private Scottish collection.Note: William Linnell was a British painter and draftsman. London born, he was the son of the painter John Linnell (1792-1882). Linnell is particularly noted for his 1840 drawing of Smugglerius, which is an écorché sculpture of a man posed in imitation of the ancient Roman sculpture known as the Dying Gaul. His work is held in the permanent collection of the Fitzwilliam Museum at Cambridge University, the Tate Museum in London, and the National Gallery of Art in Washington, D.C..

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.

WILLIAM STEWART MACGEORGE RSA (SCOTTISH 1861 - 1934), THE SHORES OF THE DEE, NEAR SOLWAY oil on canvas, signed, titled label versoframedimage size 41cm x 51cm, overall size 58cm x 68cmLabel verso: Ian MacNicol, Glasgow.Note: William Stewart MacGeorge was born in King Street, Castle Douglas on 1 April 1861. Like his friend E A Hornel, he was the son of a shoe-maker. His father was David MacGeorge who, according to the 1861 census, was the employer of three men and a boy. He attended the Free Church School in Castle Douglas, where a fellow pupil was S R Crockett. Crockett included his childhood friends as characters in his 1894 novel The Raiders, and captures MacGeorge’s happy disposition in the character Jerry McWhirter, “a roguish fellow that came to me to help with my land surveying but was keener to draw with colours on paper, the hues of the landscape and the sea. But he was dearest to us because of his continual merry heart, which did us good like a medicine.” MacGeorge entered the Trustees Academy in Edinburgh in 1880 along with fellow Galloway boys E A Hornel and Thomas Bromley Blacklock. In 1881 MacGeorge and Crockett were lodging together at 50 St Leonard Street (Edinburgh). MacGeorge was a successful student being a prize-winner in his second and third years at art school, and had a work shown in the Royal Scottish Academy in 1881. In 1883 MacGeorge and Hornel enrolled in Antwerp’s Academie Royale des Beaux-Arts, where MacGeorge again excelled under the rigorous discipline of Charles Verlat. On his return to Scotland, he enrolled in the RSA Life Schools in Edinburgh, where he continued his studies and embarked on his professional career. Thereafter, MacGeorge divided his life largely between Edinburgh and Galloway. He lived at 11 Melville Place, Edinburgh during the winter and had a studio in Kirkcudbright in the summer. Works such as A Galloway Peat Moss, displayed in the National Gallery of Scotland, is a fine example of a plein air realist work showing the influence of Jules Bastien–Lepage on Scottish artists while his Halloween, shown at the RSA in 1893, and to which he returned in his diploma work of 1911, is an example of his interest in childhood rituals. The painting was well received when shown later that year at the Paris Salon. W S MacGeorge was the most naturalistic of the Galloway artists. Informal scenes of children at play are typical of his work. Another favourite subject was the salmon fishers and their nets on the Dee at Kirkcudbright. Commenting on the RSA exhibition of 1910 The Studio observed, “One of the outstanding landscapes is Mr W S MacGeorge’s view of salmon fishers at dusk drawing their nets in the estuary of the Kirkcudbright Dee”. Relatively late in his life, MacGeorge married Mabel Victoria Elliot, a watercolour painter and widow of the artist Hugh Munro and settled at Gifford near Haddington. Ninety-nine of William Stewart MacGeorge's paintings are held in UK Public Collections.

BERNARD DE HOOG (DUTCH 1867 - 1943), COTTAGE INTERIOR oil on canvas, signedframed and under glassimage size 49cm x 39cm, overall size 76cm x 66cmNote: Dutch artist, Bernard De Hoog, produced a rich oeuvre of gentle interior scenes, which celebrated the everyday moments within family - particularly between mothers and their children. Newborns are cradled within their mother's arms while siblings read in rustic kitchens. In many respects, De Hoog’s work is comparable to the great Dutch painter, Jozef Israëls (1924-1911) and ultimately rooted within the traditions of the Dutch masters. During his time studying under the eminent Jan van Essen, he produced numerous copies of old masters while honing histechnique. It’s said that his career began through chance when working in an office for a merchant. Rather than figures in a ledger, the merchant discovered various sketches and drawings and was so impressed that he asked the young De Hoog to paint his wife. This, in turn, led to the artist’s tutelage under a drawing master and later, an academy. When we look back across his body of work, the consistent thread is a celebration of simple family life and the instinctive love between a mother and child. Misty sentimentalism majestically described with an impressionistic touch. In 1939, De Hoog’s work was shown in an exhibition at the Rijksmuseum, Amsterdam.

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.

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

RICHARD SERRA (AMERICAN 1938-2024) UNTITLED (DRAWING)signed RS lower rightpaintstick on paper25.9 x 28.3cm; 10 1/4 x 11 1/4in14.5 x 15cm; 36 x 38 1/2 in (framed)Property of a Private CollectorProvenanceA gift from the artist to the present owner in 2008 Executed in 2008 at the time of the artist's exhibition at Gagosian, Britannia Street, LondonSerra had employed black paintstick (compressed oil paint, wax, and pigment) as his preferred medium since 1971. Applied in the present work using broad, dense strokes, the paintstick conveys a strong sense of optical weight, acutely similar to the physical presence of his sculptures. Serra was an avid draughtsman, his drawings defying any metaphoric or emotive reading, instead expressing the notions of time, materiality, weight, and process that characterised his sculptural practice.

JEAN HUGO (FRENCH 1894-1984) ⊕ (i) ON THE QUAY (ii) BY THE CLIFFS (iii) ACROSS THE SOUND each signed Jean Hugo - (i) lower left, (ii) & (iii) lower right; (i) inscribed no. 103 on the reverse, (ii) inscribed no. 41 on the reverse, (iii) inscribed no. 113 on the reverse gouache on paper 4.8 x 8cm; 2 x 3 1/4in (i) & (iii) 8 x 4.8cm; 3 1/4 x 2in (ii) 55.5 x 23.5cm; 21 3/4 x 9 1/4in (three framed as one) Property from the Estate of Alexander Iolas Jean Hugo was the great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885). Brought up in a lively artistic environment, he began teaching himself drawing and poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War through the creative fervour of his years in Paris thereafter. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton and Jean Cocteau (see lot 68) among his friends. Works from the Estate of Alexander Iolas by Jean Hugo and Nikki de Saint Phalle (lots 44-52)Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector of both classical and modern art whose extraordinary influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s.As a young man Iolas defied family expectations of following in the path of his father to become a cotton dealer, instead he travelled widely throughout Europe pursuing a career in ballet before turning his attention to the arts. In 1935 he arrived in New York and launched himself into the city’s growing art scene as the manager of Hugo Gallery on East 55th Street. Founded by Elizabeth Arden alongside Robert Rothschild, the gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947.Five years later Iolas mounted the landmark show of the yet undiscovered artist Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked extensively together, with Iolas credited for commissioning one of Warhol’s final print epics Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding both his reputation and his market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens.Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), Iolas’ professional achievements are often interchangeable with extraordinary stories of a legend formed in part of his own making. His eye was informed by intuition rather than institution, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter.

EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) PORTRAIT OF A YOUNG WOMAN, THOUGHT TO BE ANNE MARIA JONES—RECTO; TWO CARICATURES OF WILLIAM MORRIS—VERSO inscribed POETA NON FIT verso coloured chalk and pencil on paper 50 x 35.5cm; 19 3/4 x 14in (sheet) 67 x 55cm; 26 1/4 x 21 3/4in (framed) Property from a London Collector Provenance Sir Edward Poynter RA (a gift from the artist. Poynter, 1836-1919, was an artist, served as the President of the Royal Academy from 1896-1918 and was the brother-in-law of Edward Coley Burne-Jones) Alfred Baldwin (a gift from the above. Baldwin, 1841-1908, was Poynter’s brother-in-law, a businessman and politician and the father of the future Prime Minister, Stanley Baldwin. Poynter, Burne-Jones and Baldwin all married daughters of George Browne Macdonald - Agnes, Georgina and Louisa respectively - to form part of a remarkable family circle; another Macdonald sister, Alice, married John Lockwood Kipling, father of Rudyard Kipling) Thence by descent to the present owner Anne Maria Jones (also known as Augusta or Gussie) was one of three sisters from Hull who made a living in London as artist’s models. Celebrated for her strong profile and wealth of golden hair, she posed for several important pictures by Burne-Jones in the 1860s, including the watercolour Astrologia of 1865 and the oil Princess Sabra in the Garden (Musée d’Orsay, Paris). Other artists for whom she sat included Albert Moore, James Abbott McNeill Whistler and members of the Pre-Raphaelite brotherhood. On the reverse of the present drawing are two humorous caricatures by Burne-Jones of his closest friend William Morris. One of the sketches is inscribed 'Poeta non Fit' (the poet is not yet done) and depicts the great designer and writer pompously leaning against a pedestal and orating to an unseen audience. The other sketch depicts him slumped in his chair and continuing to orate with little care about whether he is being listened to. Both Burne-Jones and Poynter were very fond of Morris but had also had to endure interminably long evenings in which he had insisted on reading to them at length from his epic poems and translations. Burne-Jones' wife Georgina admitted that she sometimes had to bite her fingers or stick pins in herself to ward off sleep when Morris was in a particularly verbal mood. The caricatures were clearly shared with Poynter to tease Morris. There are other examples in the British Museum which similarly poke fun at Morris and his speeches.

MICHAEL ANDREWS (BRITISH 1928-1995) ⊕ RECLINING NUDE, LIFE DRAWINGpencil on paper15.5 x 35cm; 6 1/4 x 14in26 x 45.5cm; 10 1/4 x 18in (framed)Property from a Private Collector, MiddlesexProvenanceEstate of the artist June Andrews (the artist's wife)A gift from the above to the present owner, the artist's accountantExecuted circa 1949-1953, when Andrews was a student at the Slade School of Art under William Colstream, Lucian Freud and Lawrence Gowing. Awarded a Rome Scholarship in Painting, after graduating Andrews spent six months in Italy at the British School in Rome. Upon his return Andrews divided his time between his native Norwich and London. His first two solo exhibitions were held at the Beaux Arts Gallery, London in 1958 and 1963. Together with Auerbach, Bacon, Freud, Hockney, Kitaj, and Kossoff, Andrews became associated with the so called 'School of London', a name coined by Kitaj to describe the heterogeneous group of painters that he brought together in the landmark exhibition The Human Clay at the Hayward Gallery in 1976. The group's shared interest was in figurative painting at a time when abstraction was in the ascendent and painting the human figure and naturalism was far from fashionable.

JOHN NASH (BRITISH 1893-1977) ⊕ LANDSCAPE UNDER SNOWsigned John Nash. lower leftwatercolour on paper52.5 x 36.5cm; 20 3/4 x 14 1/2in57 x 74cm; 22 1/2 x 29 1/4in (framed)Property from a Private Collector, West LondonProvenanceCommissioned from the artist by the grandfather of the present owner in the late 1950sExecuted in the 1950s, the current owner's grandfather commissioned Nash to paint the present subject after receiving a Christmas card from the artist of the view. Opening the Christmas missive he was immediately captured by the harmonious composition, the snow-capped trees, rolling hills blanketed by white powder and the mauve shadows cast across the landscape in the card, and asked Nash to develop the composition into a larger format. Nash duly obliged, scaling up the drawing and adding washes of watercolour to fully realise the image that has become a stand-alone depiction of an idyllic winter's morning.Four watercolours by John Nash from a Private Collection (lots 34-37) IntroductionPainter, wood engraver, lithographer and illustrator, Nash is best known much celebrated for his landscape paintings and observations of the natural world.As a boy he moved with his family from urban London to the Buckinghamshire countryside near Iver Heath, a village boasting a gentle terrain of rolling hills, acres of fields, and verdant trees which would inform his visual vocabulary for the rest of his life. Here Nash befriended fellow artist Claughton Pellew (1890-1966) who was to encourage his interests in watercolour and painting the natural world.Schooled at Wellington College, Berkshire, Nash was dissuaded from studying at art school by his brother Paul Nash (1889-1946) who was attending the Slade and found the rigid structure of formal training oppressive. Instead, John studied botany, an interest he had nurtured since childhood after winning a botany prize and subsequently calling himself an ‘artist plantsman’. During the First World War Nash served in the Artist's Rifles on the front lines, and although deterred from recording his experiences at the time, he began to materialise his experiences from memory when he returned to England in 1917. He was appointed an Official War Artist in 2018, the same year that he completed his oil Over the Top (Collection of the Imperial War Museum), of soldiers clambering from their trenches to engage with the enemy. That same year too Nash married Christine Kühlenthal whom he had met eighteenth months prior. Before he returned from the war, the couple pledged they would marry if he came back alive and, privately, that their shared life would be at once both intimate and free. In their ideal future, each might well have other ‘outside loves’ and their alliance was to be a convention-defying undertaking. Their wedding gave legal form to a relationship that would endure for fifty-eight years; a deep personal commitment, but not an acceptance of ties that bind.After the War Nash became the first art critic of the London Mercury magazine, held his first solo-exhibition at the Goupil Gallery in 1921, and associated with several small artistic circles including the London Group and the Cumberland Market Group in Camden. During the Second World War, Nash was again appointed a War Artist, this time serving as a Captain in the Royal Marines. After the War he and Christine moved to Essex. He joined the staff of the Royal College of Art, taught alongside Henry Collins, Cedric Morris, Lett Haines and Roderic Barrett at Colchester Art School and founded the Colchester Art Society of which he later became President.Throughout his married life his excursions into the countryside to work en plein air were frequently accompanied by his wife who would find suitable vistas. Nash would then make a sketch on the spot as the basis of a work that he would later complete in his studio. The support of the endlessly forbearing Christine would make possible a career of great richness spanning six decades. As John Rothenstein. art historian and Tate Director, recalled, half a haystack interested him as much as a mountain range, and half of his best works can be traced to locations within walking distance of his long-term homes in the Chilterns and the Stour Valley.

Mixed collectables to include two NPFA cast metal signs, drawing implements, a bridge box, a light box and other items Location: GIf there is no condition report shown, please request

A mixed lot to include W.H Harling London drawing instruments, mixed semi precious stones, trinkets, glass smoking pipe, pair of binoculars and other itemsLocation: If there is no condition report shown, please request

Collectables to include two hydrometers, a drawing set, a compass and a gun cleaning kitLocation: 1-3If there is no condition report shown, please request

An oak three-drawer toolbox and a collection of drawing instruments, rulers, etc

Surveying: Furnass (Rev. J.) The Practical Surveyor; being a Treatise on Surveying; designed for Schools, 8vo Newcastle 1809. Hf. title, fold. & other plans & maps, (hd. cold. in outline) text, illus., uncut, orig. boards. With paper slip 'With The Author's Compliments' tipped - in at front; also A Treatise on Practical Surveying and Topographical Plan Drawing, 8vo Lond. 1829, with 2 fold. plans, errata slip; Bound with, Burr (G.D.) A Short Essay on Sketching Ground without Instruments, Lond. 1830, text illus., & 6 fold. plts., a.e.g., in full green mor. gilt Prize Binding from Royal Military College. V. good. (2)

Trade cards, Singer Sewing Machines, a collection of approx. 40 advertising cards etc, various sizes inc. illustrated envelope, Company letter dated October 1896 enclosing a set of Costumes of All Nations cards (no cards included), miniature drawing book for Young Artists & others (mixed condition, fair/gd)

A Victorian rosewood drawing room chair, 91.5cm high, 66cm wide, the seat 54cm deep

L Knight Portrait of a Lady/Lady on reverse signed, pencil drawing, 32.5cm x 27cm

A Victorian low drawing room chair, c.1870

A Victorian mahogany library chair, 95cm high, 80cm wide, the seat 58cm deep; an Aesthetic Movement period walnut drawing room chair, 87cm high, 58cm wide, the seat 46cm deep (2)

King & Country - 'Crusader' Series - A Group of Boxed Sets. Comprising: Set Nos. MK030 'Saracen Drawing Sword'; MK031; MK035; MK040 & MK047. Conditions generally appear Near Mint overall, contained in generally Excellent set boxes. See Photo. 

A PRINCE HOLDING FLOWERS ATTRIBUTED TO SAHIB RAM INDIA, RAJASTHAN, INDIA, CIRCA 1790 ink and gouache on paper, areas heightened with white and coloured pigments, the prince stands facing left holding a flower in each of his hands, dressed in a flaring pleated skirt secured by a patka, bedecked in pearls, emeralds and rubies, his turban adorned by a sarpech and two feathered aigrettes, a halo around his head   29.5cm x 21.5cm Not many paintings from Jaipur are in Western collections, largely because its royal collections were not dispersed, as were those in other states in Rajasthan and the Punjab Hills. Jaipur, which was known as Amber until the new capital city was founded by Jai Singh II in 1727, lacks a continuous history of painting. The Hindu rajas of Jaipur were amongst the first to extend cooperation to the Mughals, with Raja Bhar Mal (r. 1548-1575) giving his daughter in marriage to the Mughal emperor Akbar (r. 1556-1605), and his granddaughter to Jahangir (r. 1605-1627). Raja Man Singh was more than an ally of the Mughals; he became Akbar’s trusted general. Early painting in Jaipur was heavily modelled on the Mughal pattern.A more characteristic Jaipur style emerged during the eighteenth century, when painting flourished during the reign of Maharaja Sawai Pratap Singh (1778-1803), a scholar, poet, ardent Vaishnavite and devotee of Krishna, whom he was meant to resemble in likeness.Under the patronage of Pratap Singh, the Jaipur school of painting entered a new and dynamic phase, with his atelier consisting of more than fifty artists.  The greatest master was Sahib Ram, the Chief Royal Painter at Jaipur to whom the present drawing is attributed.Sahib Ram began his long career circa 1740, and would remain active throughout the second half of the eighteenth century until 1803. His earliest works were produced under the reign of Sawai Jai Singh II (1699-1743).Sahib Ram’s most celebrated paintings, now in the Maharaja of Jaipur Museum, include a coloured bust portrait of Pratap Singh dated 1793, a full-size portrait of Pratap Singh also dated 1793, and a mural painting of Radha and Krishna dancing, accompanied by nineteen gopis.Two large drawings attributed to Sahib Ram, preparatory studies for the mural painting of Radha and Krishna in Jaipur, depicting a “Singer and Sarangi Player” and the “Head of Krishna”, are in the Metropolitan Museum of Art, New York. These drawings, in a style similar to the present drawing, are published in Steven Kossak, Indian Court Painting: 16th-19th Century, 1997, pp. 119-121, cat. nos. 74 and 75.For more information about Sahib Ram see Ritu Pratap, The Panorama of Jaipur Paintings, New Delhi, 1996, pp. 183-84.

NUDE FEMALE FIGURES INSIDE THE ZENANA INDIA, RAJASTHAN, KOTAH, EARLY 18TH CENTURY pen, ink and opaque watercolour on paper, depicting two nude girls within an elaborate palace setting, mounted, glazed and framed; this lot includes a drawing, ink, pencil and gouache on paper, depicting a young maiden holding a flower facing to the left, unframed 17.5cm x 10.5cm Formerly, the Stuart Cary Welch Collection (1928-2008). Sotheby’s, London, Cary Welch Collection, Part II, 31 May 2011, lot 33.Exhibited:Loaned anonymously to the Fogg Art Museum, Harvard University, 1983, accession no. 200.1983. This delicate and rather unusual drawing brings to prominence the two nude girls. They are the only part of the composition that are painted, so their pink complexions and hennaed hands stand out against the extravagant palace architecture. The girl at the centre of the picture is stretching with her arms above her head. The girl below is seated in a chair. Their naked bodies and casual postures suggest that they are relaxing within the most private area of the zenana.   

A box containing sundry items to include Victorian transfer decorated tiles, a Victorian needlework covered footstool, a pair of lights, a Baker leather covered three draw telescope together with an oak cutlery canteen and a mahogany jewellery box together with a small collection of silver plate to include Art Deco style lidded tureen, a pair of bottle coasters etc,a collection of prints and decorative pictures to include after CROCKSHANK "Incoveniences of a Croweded Drawing Room", various maple framed etc, a modern pine Canterbury and a small white painted wall mounted bookcase CONDITION REPORTS Telescope only - would not define as working, the parts seem to be ok, but when all together you can see light through it and some things at a certain distance but it looks very bubbled, almost like you are looking through bubble wrap. There are a couple dents to the drawers as well as scratches. The lenses need a good clean. The leather is scratched and worn. See images for more details.

A modern buttoned upholstered drawing room stool in the Victorian manner, raised on bobbin turned supports (bought approx. 19 years ago in the vicinity of Cirencester new), 107 cm wide x 107 cm deep x 40 cm high

Five boxes of assorted china, glassware, maps, etc., to include assorted Aynsley, Royal Worcester and Denby, together with various lighting, a mahogany cutlery canteen, umbrella stand, drawing board, etc.

Mike Hailwood charcoal/pencil drawing by M. Carleno/Carlerio 1970 (drawn for Gordon Church- former British club racer) 85x65 and  'Hailwood's Dream' by James King 72/1000 print 68x52cm

RG Reeve after H Alken. Four hunting related coloured engravings comprising Getting Away, The Fall Cry, Drawing the Cover, and The Death, 28cm x 37.5cm, together with further equestrian related pictures. (7)

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant. A recreation of a scene animated by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the character Hogarth, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pastel and ink mixed media drawing of The Giant by Richard Bazley. Signed to the bottom corner. Measuring approximately A4 in size. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.