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A FRAMED AND GLAZED JAPANESE WOODBLOCK PRINT OF A FLORAL FABRIC PATTERN, TOGETHER WITH A PEN DRAWING OF A GEISHA, TWO PAPYRUS PICTURES AND FOUR ROYAL HORTICULTURAL SOCIETY DIARIES WITH INSET FLORAL PRINTS (8)

Louis Wain (British 1860-1939), six cats and a girl, probably Diana, walking up a path towards a sunset, for the plate 'The party trotted out of the wood' on page 80 of the book 'Madame Tabby's Establishment', by Kari, published in 1886, signed, pen and ink drawing, 18cm x 22.5cmFootnote: This pen and ink sketch must have been one of the sketches used for the illustation on page 80 of the book 'Madame Tabby's Establishment', by Kari, published in 1886. Louis Wain was the illustrator for this book.Condition report: Ok. Unexamined out of frame.Frame - stained and with scratches and gilding rubbed/scratched in places.the item is framed under glazing, not examined external to the frame. There is a drawing pin sized hole in the back of the central cat. There is some general ageing of the paper but the surface appears stable. There are some minor, isolated spots of foxing to the mount and general wear and tear to the frame.

Attributed to Joseph Nash (1809-1878), coloured mezzotint, after the original drawing by David Wilkie (1785-1841), "The Muleteer". 46 x 31 cm in later gilt frame and glazed with Kufa Gallery label verso.

Alfred Wainwright (1907-1991), an original pen and ink drawing "Langdale Pikes from Lang How Tarns", original sketch for plate 234 of Lakeland Mountain Drawings Volume III. 18 cm x 22.5 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Green Crag Warnscale", original sketch for plate 157 A Second Lakeland Sketchbook. 17 cm x 14.5 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Silver How", original sketch 122 Lakeland Mountain Drawings Vol II. 18 cm x 22.5 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Ben Avon from the South", original sketch for plate 333 Scottish Mountain Drawings Vol. V The Eastern Highlands. 15 cm x 19.5 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Beinn Airidh Chare", original sketch for plate 43 Scottish Mountain Drawings Vol. I, Northern Highlands. 12.5 cm x 17 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Faochaig and Aonach Buidhe", original sketch for plate 103 Scottish Mountain Drawings Vol II North West Highlands. 12.5 cm x 20 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Bidein Druin Nan Ramh and Sgurr A' Mhadaidh", original sketch for plate 397 Scottish Mountain Drawings Vol VI The Islands. 15 cm x 20 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Garbh Bheinn", original sketch for plate 148 Scottish Mountain Drawings Vol II North West Highlands, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "The Black Cuillin from Elgol", original sketch for plate 418 Scottish Mountain Drawings Vol VI the Islands, 15 cm x 19.5 cm, framed, signed. ARR (see illustration).

Memoirs of Miles Byrne, Chef de Bataillon in the Service of France – Edited by his Widow. Three vols – complete (Paris and New York, 1863). This is a wonderful set in fine binding of this very scarce first edition. Half-leather and finely pebbled cloth binding, marbled endpapers and edges. The frontispiece portrait of Byrne is from a drawing by his wife. Byrne of Monaseed was a leader of the Wexford insurgents in the 1798 Rebellion. He continued a guerrilla campaign in Wicklow until 1803, leaving Ireland for France after the failed Emmet Rising. In exile he served in Napoleon’s Irish Legion.

Framed drawing of Ross O'Carroll Kelly signed by the artist and Ross

Framed drawing of Ross O'Carroll Kelly signed by the artist and Ross

Framed drawing of Ross O'Carroll Kelly signed by the artist and Ross

Drawing from Memory – The Life of the Irish Artist Gladys McCabe, Susan Stairs, Shortall-Stairs Publications, 2004, Signed by Gladys McCabe, First Edition, in D/J with protective mylar cover, as new. Robert Ballagh, Ciaran Carty, Magill, 1986, First Edition, in D/J, as new condition. Carty outlines “ Ballagh’s Dublin suburban childhood, his student days, his interlude as a showband guitarist and his adventures in the art world.” (2)

Heaney, Seamus. Spelling It Out. Loughcrew: The Gallery Press, 2009. First Edition. 8vo. Brown stitched wrappers, title printed on upper cover. Essay in honour of Brian Friel on his eightieth birthday. Drawing by basil Blackshaw. Fine.

REMIZOV A.M. (1877-1957), AUTHOR’S DRAWING With trimmed eyes: A book of knots and twists of memory. Paris: YMCA-Press, 1951

Superb old master etching of an engraving after a Claude Loraine drawing, inscribed to plate, framed,The etching measures 21 x 26 cm

Six Alpine scene watercolours and drawing, all by differing artists, all framed (6)

19THC OVAL CHALK DRAWING, PORTRAIT OF A SKYE TERRIER AND INSCRIBED GRIZZLE & DATED 1891

ARCHIPENKO, ALEXANDER1887 Kiew - 1964 New YorkTitel: Zwei Figuren. Datierung: 1949. Technik: Tusche auf leichtem KartonMaße: 57,5 x 35,5cm.Bezeichnung: Signiert und bezeichnet unterhalb der Darstellung links: Archipenko N.Y. Bezeichnet verso: No 5, By Archipenko, New York 1949, Drawing in Indian Ink (Tusche-Zeichnung), 73. Provenienz:- Privatsammlung HessenLiteratur:- Archipenko, Alexander: Archipenko - Fifty Creative Years 1908-1958, New York 1960, Abb.-Nr. 251 (hier mit abweichender Datierung: 1950). Erläuterungen zum KatalogAlexander Archipenko USA Kubismus Bauhaus Moderne Kunst Unikate 1940er Figur / Figuren Papierarbeit Tusche Frau ARCHIPENKO, ALEXANDER1887 Kiev - 1964 New YorkTitel: Zwei Figuren. Date: 1949. Technique: India ink. thin cardMeasurement: 57,5 x 35,5cm.Notation: Signed and inscribed below the depiction left: Archipenko N.Y. Inscribed verso: No 5, By Archipenko, New York 1949, Drawing in Indian Ink (Tusche-Zeichnung), 73. Provenance:- Private collection Hesse Literature:- Archipenko, Alexander: Archipenko - Fifty Creative Years 1908-1958, New York 1960, ill.-no. 251 (here with different date: 1950). Explanations to the Catalogue

GRAMATTÉ, WALTER1897 Berlin - 1929 HamburgTitel: "Jacqueline Forzane". Datierung: 1922. Technik: Aquarell über Bleistiftzeichnung auf Velin. Maße: 47 x 36cm. Bezeichnung: Signiert und datiert oben rechts: Walter Gramatté, Paris Janner 1922. Hier zudem betitelt. Bezeichnet verso: Jacqueline Forzane, Paris 1922, Gramatte, Unverkäuflich. Dazu die Nummern: 28) 120. Rahmen/Sockel: Passepartout. Die Dargestellte (geb. 1891) war eine französische Schauspielerin, die u.a. 1926 in dem Film "Nana" (Regie: Jean Renoir) zu sehen war. Zudem trat Sie in einem Film von Karl Lagerfeld über Coco Chanel in Erscheinung. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Eckhardt, Ferdinand: Walter Gramatté, Werkverzeichnis, Bd. 1, Bilder und Aquarelle, Winnipeg 1981, WVZ.-Nr. A.120. Erläuterungen zum KatalogWalter Gramatté Deutschland Neue Sachlichkeit Moderne Kunst Unikate 1920er Künstlerporträt Papierarbeit Mischtechnik Frau GRAMATTÉ, WALTER1897 Berlin - 1929 HamburgTitle: "Jacqueline Forzane". Date: 1922. Technique: Watercolour over pencil drawing on vellum. Measurement: 47 x 36cm. Notation: Signed and dated upper right: Walter Gramatté, Paris Janner 1922. Here in addition titled. Inscribed verso: Jacqueline Forzane, Paris 1922, Gramatte, Unverkäuflich. To this the numbers: 28) 120. Frame/Pedestal: Mat. The depicted (born 1891) was a French actress who appeared in the 1926 film "Nana" (Regie: Jean Renoir), among others. Additionally she appeared in a film by Karl Lagerfeld about Coco Chanel. Provenance:- Private collection North Rhine-Westphalia Literature:- Eckhardt, Ferdinand: Walter Gramatté, Werkverzeichnis, vol. 1, Bilder und Aquarelle, Winnipeg 1981, cat. rais. no. A.120. Explanations to the Catalogue

KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitel: Straßenszene am Abend. Datierung: Um 1914. Technik: Braune und schwarze Tusche über Grafitzeichnung auf Skizzenbuchblatt. Darstellungsmaß: 20,5 x 16cm. Bezeichnung: Nachlassstempel des Künstlers. Rahmen/Sockel: Modellrahmen. Provenienz: - Galerie Nierendorf, Berlin- Wolfgang Wittrock Kunsthandel, Berlin- Sammlung Prof. Dr. Thomas Olbricht, EssenAusstellungen:- Brücke-Museum, Berlin 1972, Nr. 22- Galerie Aurel Scheibler, Berlin 2013Literatur:- Das Kunstblatt, Sonderheft E. L. Kirchner, hrsg. von Paul Westheim, Potsdam 1923, Heft 3, S. 65-79- Magdalena M. Moeller: Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, München 1993, Abb. Nr. 25- Gerd Presler: Ernst Ludwig Kirchner. Die Skizzenbücher, "Ekstase des ersten Sehens", Karlsruhe/Davos 1996, S. 231Dieses Blatt mit Rotschnitt und abgerundeten Ecken entnahm der Künstler 1913 seinem Skizzenbuch mit der Nummer 37. Kirchner hat bald danach die Bleistiftzeichnung mit brauner uind schwarzer Tusche überarbeitet und weitergeführt. So entstand ein eigenständiges, von seinem Entstehungsort im Skizzenbuch unabhängiges Werk, das nach Kirchners Tod 1938 bei der Katalogisierung seines Nachlasses im Kunstmuseum Basel als Einzelstück einen Nachlassstempel und eine Nachlassnummer erhielt. Die Straßenszenen, die Kirchner zwischen 1912 und 1914 schuf, zählen heute zu den Höhepunkten seines Schaffens. Magdalena M. Moeller schrieb: "Mit seinen "Straßenszenen" ist Kirchner der erste deutsche Maler des modernen Lebens." Dieses Blatt nimmt - das mag der Grund sein für Kirchners Weiterbearbeitung - den nervösen, hektischen Rhythmus der Metropole auf in den hart gesetzten Tuschfederschraffuren des Mittelgrundes. Im Kontrast dazu füllen die mit einem Tuschpinsel aufgetragenen Flächen den Hintergrund.Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Unterstützung. Erläuterungen zum KatalogErnst Ludwig Kirchner Deutschland Expressionismus Die Brücke Moderne Kunst Unikate 1910er Straßenszene Papierarbeit Mischtechnik Figur / Figuren KIRCHNER, ERNST LUDWIG1880 Aschaffenburg - 1938 Frauenkirch/DavosTitle: Straßenszene am Abend. Date: Ca. 1914. Technique: Brown and black India Ink on graphite drawing on Sketchpad sheet. Depiction Size: 20,5 x 16cm. Notation: Estate stamp of the artist. Frame/Pedestal: Craftman's frame. Provenance: - Galerie Nierendorf, Berlin- Wolfgang Wittrock art dealer, Berlin- Collection Prof. Dr. Thomas Olbricht, EssenExhibition:- Brücke-Museum, Berlin 1972, number 22- Galerie Aurel Scheibler, Berlin 2013Literature:- Das Kunstblatt, Sonderheft E. L. Kirchner, published by Paul Westheim, Potsdam 1923, Issue 3, p. 65-79- Magdalena M. Moeller: Ernst Ludwig Kirchner. Die Straßenszenen 1913-1915, Munich 1993, ill. number 25- Gerd Presler: Ernst Ludwig Kirchner. Die Skizzenbücher, "Ekstase des ersten Sehens", Karlsruhe/Davos 1996, p. 231The artist took this sheet with red edges and rounded corners 1913 from his sketch book with the number 37. Kirchner soon thereafter worked over the pencil drawing with brown and black India ink and followed on. A stand alone work, independent from its sketchbook creation, was thus created. After Kirchner's death in 1938 it received, as a unique piece, an estate stamp and estate number, after cataloguing of his estate at Kunstmuseum Basel.We thank Prof. Dr. Dr. Gerd Presler for the kind support. Explanations to the Catalogue

BEUYS, JOSEPH1921 Krefeld - 1986 DüsseldorfTitel: Ohne Titel. Untertitel: Zwei Zeichnungen. Datierung: Ca. 1950er Jahre. Beschreibung: Jeweils: Bleistift auf Papier. 12 x 17cm. Zusammen auf einem Blatt montiert (29,5 x 21cm). Teilweise unleserlich bezeichnet verso auf der oberen Zeichnung. Signiert und datiert verso auf dem Montageblatt: Beuys um 1950. Rahmen/Sockel: Rahmen. Provenienz:- Galerie Karsten Greve, Köln (Bezeichnet auf der Rahmenrückseite)Zum Werk von Joseph Beuys fühlte sich das Ehepaar Lauffs besonders hingezogen, so dass bereits im ersten Jahr des Sammlungsaufbaus 1968, beratend durch Herrn Dr. Wember, die ersten Werke des Künstlers gekauft wurden und Beuys seit Beginn neben Yves Klein eine Schlüsselfigur in der Sammlung darstellt.Als eine zentrale Figur der Nachkriegskunst hatte Beuys die künstlerische Praxis neu definiert, insbesondere im Medium der Skulptur. Die Sammlung Lauffs umfasste rund 20 Werke des Künstlers, darunter eine Gruppe von Skulpturen, die die Familie dem Kaiser Wilhelm Museum in Krefeld übertragen hat. In den sogenannten Beuys-Räumen sind unter anderem das Werk "Barraque D'Dull Odde" (1961-67) dauerhaft zu sehen. Neben dem skulpturalen Werk erwarben Helga und Walther Lauffs auch eine außergewöhnliche Auswahl an Zeichnungen."Wir kannten Beuys bereits, denn wir hatten ihn in Krefeld oft im Museum oder bei Dr. Wember getroffen und waren gemeinsam essen gegangen. Es hatte sich daraus auch eine gute Freundschaft entwickelt (.)." Helga Lauffs. Erläuterungen zum KatalogJoseph Beuys Deutschland Fluxus Aktionskunst Happening Nachkriegskunst Unikate 1950er Abstrakt Papierarbeit Bleistift BEUYS, JOSEPH1921 Krefeld - 1986 DüsseldorfTitle: Untitled. Subtitle: Two Drawings. Date: Ca. 1950s. Description: Each: Pencil on paper. 12 x 17cm. Mounted together on one sheet (29,5 x 21cm). Partially illegibly inscribed verso on the upper drawing. Signed and dated verso on mounting sheet: Beuys ca. 1950.Frame/Pedestal: Framed. Provenance:- Galerie Karsten Greve, Cologne (inscribed on the frame backside). Explanations to the Catalogue

BOURGEOIS, LOUISE1911 Paris - 2010 New YorkTitel: The Good Mother. Untertitel: 6-teilige Serie. Datierung: 2007. Technik: Jeweils: Pinkfarbene Tuschpinselzeichnung auf leichtem Karton. Maße: 24 x 20cm. Bezeichnung: Monogrammiert unten rechts: LB. Verso zweifach nummeriert von fremder Hand von 1 bis 6 sowie BOUR-14061.01 bis 06. Rahmen/Sockel: Einzeln gerahmt (Kastenrahmen). Zu dem Werk liegt ein Zertifikat der Galerie Karsten Greve, Köln, vom 14. April 2010 in Kopie vor. Provenienz: - Galerie Karsten Greve, Köln (Aufkleber)Louise Bourgeois setzt sich in ihrem einzigartigen Oeuvre mit dem weiblichen Körper auseinander und dabei häufig mit dem Thema Mutterschaft. Das Motiv der Spinne taucht in diesem Zusammenhang als Symbol der beschützenden Mutter in ihrem Werk auf. Denn einer Spinne gleich, verwebte die Mutter der Künstlerin, eine gelernte Weberin, Fäden zu Teppichen. Auch Bourgeois half in der Werkstatt der Eltern bei der Restaurierung von Tapisserien. Die junge Louise zeichnete Vorlagen für fehlende Teppichstücke und fand so früh zur Zeichnung als darstellendes Mittel. Neben ihren bahnbrechenden Installationen und Skulpturen entstanden daher immer auch feine Zeichnungen. Der Webfaden könnte metaphorisch also auch für eine Linie stehen. Bourgeois' Verhältnis zum Vater war geprägt vom Ringen um Anerkennung und von Ablehnung, da er ihre Mutter im eigenen Haus betrog. Zur Mutter wiederum verband sie eine innige Beziehung. Die Künstlerin umsorgte und pflegte die kränkliche Frau.Auf dem hier vorgestellten 6-teiligen Werk gelingt es der Künstlerin in wenigen Pinselstrichen das Verhältnis von Mutter und Kind in all seiner Emotionalität und Komplexität darzustellen. Brüste und Bauch definieren dabei den weiblich-gerundeten Körper einer Mutter. Die Brüste stehen für Nahrung und Wärme, der Bauch als Quelle des Lebens für den Schutzraum. In einigen der Zeichnungen hält die Mutterfigur die Arme über das Kind ausgebreitet und bietet ihm so ebenfalls Schutz, einem Dach gleich, unter welchem der Sprössling Zuflucht findet. Das Kind ist dabei stets der Mutter zugewandt oder ist direkt mit ihr verbunden. In einigen der Darstellungen scheint es sogar freudig neben der Mutter emporzuspringen. Die Farbe Pink taucht die Szenerien darüber hinaus in ein warmes Ambiente und unterstreicht die durch Zuneigung, aber auch Abhängigkeit geprägte Verbindung.Das Werk entstand 2007, drei Jahre vor dem Tod der Künstlerin, als sie im hohen Alter von 96 Jahren das Mutter-Kind-Verhältnis noch einmal reflektierte. Der Titel "The Good Mother" zeigt wie positiv und prägend die Beziehung der Künstlerin zu ihrer Mutter war und wie sie selbst diese Rolle gegenüber ihren beiden Söhnen auszufüllen versuchte. Erläuterungen zum KatalogLouise Bourgeois Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Tusche Mutter und Kind BOURGEOIS, LOUISE1911 Paris - 2010 New YorkTitle: The Good Mother. Subtitle: 6-part series. Date: 2007. Technique: Each: pink India ink brush drawing on thin card. Measurement: 24 x 20cm. Notation: Monogrammed lower right: LB. Verso numbered twice by a hand other than that of the artist from 1 to 6 as well as BOUR-14061.01 to 06. Frame/Pedestal: Framed individually (cabinet frame). For this work a certificate from Galerie Karsten Greve, Cologne, dated 14 April 2010 is available.Provenance: - Galerie Karsten Greve, Cologne (label). Explanations to the Catalogue

WOLS (ALFRED OTTO WOLFGANG SCHULZE)1913 Berlin - 1951 ParisTitel: "La Foule". Datierung: 1943. Technik: Aquarell über Tuschfederzeichnung und Deckweiß auf Velin. Maße: 18,5 x 13cm. Bezeichnung: Signiert unten rechts: WOLS. Von Grety Wols bezeichnet, betitelt und datiert verso: No 1020 "La Foule" (13 x 18) 1943 (faite á Dieulefit (Drôme). Rahmen/Sockel: Rahmen. Zu diesem Werk liegt eine Expertise von Dr. Ewald Rathke, Frankfurt a.M., vom 13. September 1998 in Kopie vor. Wir danken Herrn Dr. Ewald Rathke für die freundliche wissenschaftliche Unterstützung.Provenienz:- Betty Barman, Brüssel- Harry Torczyner, New York- Sammlung Prof. Dr. Thomas Olbricht, EssenAusstellungen:- Musée d'Ixelles, 1961- Kunsthaus Zürich, 1990- Kunstsammlung Nordrhein-Westfalen, Düsseldorf 1990Literatur:- Ausst.-Kat.: L'Ecole de Paris dans les collections belges, Musée d'Ixelles 1961, Kat.-Nr. 157Obwohl zu Lebzeiten beinahe unentdeckt, ist Wols während seiner kurzen Schaffenszeit von nur knapp zwei Jahrzehnten einer der bedeutendsten Wegbereiter der expressiven Abstraktion nach 1945 in Europa und ein wichtiger Vertreter von Tachismus und Informel. Inspirationen für seine poetischen wie explosiven Werke findet er bei den Surrealisten und Bauhaus-Meistern. Bekannt ist der Künstler vor allem durch seine Aquarelle und Grafiken, denen er sich ab 1939 insbesondere widmet. Zunächst gestaltet er mittels feiner Linien und spinnenhaften Kratzspuren wie von selbst gewachsene, fantastische Fabelwesen und surrealistische Traumgespinste, die der Dingwelt noch verbunden sind. Dann beginnt er, die geschlossenen Gegenstandsformen zu öffnen und zunehmend aufzulösen. Im Vorantreiben der Autonomisierung der Linie von einem bestimmten Motiv gelangt er schließlich zu völlig abstrakten und ambivalenten Formen. Dabei integriert er ganz bewusst den Zufall als Gestaltungsmittel in seine Kompositionen, um Gedanken, Improvisationen und psychische Regungen im Bild festzuhalten. Aus dieser Spontaneität heraus schafft Wols mehrdeutige, (alp)traumhafte Vexierbilder, die zu immer neuen Assoziationen anregen - auch zur Realität. So können etwa Steine scheinbar lebendig werden, Augen aus üppigen Pflanzen blicken, Würmer menschliche Formen annehmen oder Tiere sich aus Wurzelwerk bilden. Erläuterungen zum KatalogWOLS (Alfred Otto Wolfgang Schulze) Deutschland Nouvelle École de Paris Tachismus Nachkriegskunst Unikate 1940er Abstrakt Papierarbeit Mischtechnik Figur / Figuren WOLS (ALFRED OTTO WOLFGANG SCHULZE)1913 Berlin - 1951 ParisTitle: "La Foule". Date: 1943. Technique: Watercolour over India ink pen drawing and opaque white on vellum. Measurement: 18,5 x 13cm. Notation: Signed lower right: WOLS. Inscribed, titled and dated by Grety Wols verso: No 1020 "La Foule" (13 x 18) 1943 (faite á Dieulefit (Drôme). Frame/Pedestal: Framed. A certificate by Dr. Ewald Rathke, Frankfurt a.M., dated 13 September 1998 of this work is available as a copy. We thank Dr. Ewald Rathke for his kind scientific support.Provenance:- Betty Barman, Brussels- Harry Torczyner, New York- Collection Prof. Dr. Thomas Olbricht, EssenExhibitions:- Musée d'Ixelles, 1961- Kunsthaus Zurich, 1990- Kunstsammlung North Rhine-Westphalia, Düsseldorf 1990Literature:- Exhib. cat.: L'Ecole de Paris dans les collections belges, Musée d'Ixelles 1961, cat.no. 157. Explanations to the Catalogue

A good selection of books on drawing, oils, water colours including 'The Historical Techniques of the Great Masters' etc

A cased set of fish servers by William Angus of Liverpool; another set; a selection of ceramics; candlesticks and other metalware; an early 20th century set of drawing instruments in mahogany case, by A G Thornton Ltd, Manchester

KVY - Stockport street scene pastel drawing monogrammed 28 x 22cm framed and glazed; D. Galon, Ailean Donan Castle Scotland etching 16 x 18 framed and glazed

Y A PAIR OF REGENCY ORMOLU-MOUNTED ROSEWOOD AND PARCEL-GILT CHIFFONIERSCIRCA 1805-10, ATTRIBUTED TO JAMES NEWTON, THE BASES ORIGINALLY DECORATED TO SIMULATE PORPHYRYEach with rectangular grey bardiglio marble top mounted with a single-tier mirror-backed superstructure with pierced three-quarter gallery and on trellis-filled and turned end-supports, the frieze centred by a flowerhead mount flanked by stylised anthemia, on turned part-reeded front supports with lotus-leaf head and foot, the pilaster back-supports linked by a mirror, on plinth base, lacking three back pilaster mouldings and the X-frame brass gallery to one end, the front-supports previously part-bronzed122cm high, 117cm wide, 38cm deep Provenance: Commissioned for St. James's Square, London by George Byng Esq. M.P. (d.1847) and by descent. Two Late Regency Collectors Philip John Miles and George Byng 1815-45, Christie's, London, 9 June 2005, lot 48. Purchased from the above sale by Robert Kime on behalf of Tim and Virginia Hoare (£19,833) Literature: St. James's Square 1847 Inventory, 'LARGE DRAWING ROOM a console table on rosewood plinth carved and gilt legs & pilasters statuary marble slab & silvered plate glass back -2 pier tables to correspond with console' These bookcases were originally supplied by Newton with pier mirrors and a corresponding narrower bookcase en suite, all of which are listed first in the 1847 Inventory above. The narrower bookcase remains in a Private Collection.Designed in the French-Grecian manner popularised by Thomas Hope's Household Furniture and Interior Decoration, 1807, these plinth-supported and mirror-backed bookshelves, with reeded-columnettes and galleried superstructure, relate to patterns for 'Chiffoniers' and 'Drawing Room' pier tables published in George Smith's Collection of Designs for Household Furniture, 1808, pls. 114 and 122. The flowered palmette and columnettes relate to Hope's patterns for a pedestal and a candelabrum illustrated op. cit., pls. XXI and XXII.An almost identical pair of chiffoniers, labelled by James Newton and Son, 63 Wardour Street, Soho, was sold from the collection of Maureen, Marchioness of Dufferin and Ava, at Christie's, 25 March 1999, lot 320 (£28,750), whilst a further pair of side cabinets almost en suite was sold at Christie's London, 21 April 2005 lot 209 (£36,000).  Established in Wardour Street in the late 1780s by James Newton Senior, the firm of James Newton and Son specialised in the production of Regency furniture in the latest 'Grecian' taste, and their clients included the Earl of Exeter at Burghley House, Lincolnshire and the Lords Brownlow at Belton House, Lincolnshire. Newton's work is discussed by Giles Ellwood, 'James Newton', Furniture History Society Journal, 1995 (pp.128 - 205).Condition Report: Marks, knocks, scratches, and abrasions commensurate with age and use. Some old splits and chips. The tops and superstructures could be associated to the bases. The bases are later black painted (they were probably originally painted to simulate porphyry or were veneered). The paint has some flaking, chips, and losses. Rubbing and spotting to the surface of ormolu and gilt metal elements. Some mounts may be later associated. The mirror plates with the expected depletion, sparkle, losses, and grey areas.Mirror plates are possibly old replacements. The marble tops with chips and nibbles to the edges. Some rubbing, flaking, chips, and losses to parcel gilt elements. Elements have been re-gilded and re-freshed at some point. One chiffonier with some minor evidence of old worm to the underside of the top. Later screws securing backboards. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

ROSEWOOD CASED VINTAGE DRAWING INSTRUMENT SET, base metal 50 year calendar, quantity of vintage advertising tins ETC

A Collection of Various China and other items to comprise Plates, Wade, Castell Drawing Set Etc

A Pair of Hogarth Framed Hunting Prints, "Shayer's English Fox Hunting", Drawing Cover and Full Cry, Each 50x35cm

A pencil drawing of the Eddystone Lighthouse together with two fleet review pictures

FIVE SETS OF EARLY CHINESE COMICSChina, Macao. Five sets of modern early comics (manhua) with 2, 4 or 8 volumes inside. Executed mostly in black print, with multi-coloured covers. Chinese humorous and narrative drawing began to take on characteristics of Western-defined cartoons of the period at the juncture of the 19th and 20th cent. Growing dissatisfaction with Qing dynasty reign and revolution in 1911 increased the contact with the outside world that brought in different ideas and modern printing technology, including lithography.Condition: Traces of age and wear. Discolorations, some creases, stains and tears mostly around the margins of the covers but also on some pages of the comic books. Provenance:Private collection of a German artist and collector living in Southeast Asia. Weight: 294 gDimensions: 13 cm x 9 cm

* A Selection of Various Drawing Instrument Sets, some sets by Kern, Switzerland, most incomplete (a lot) Note: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.

An Unusual Drawing Instrument, German, c.1930, label for 'Dr Graw Berlin 35W, Potsdamerstr 89, constructed of aluminum with connecting strings - purpose unknown

A Copeland Spode Italian pattern teapot, saucers and a plate; a wooden watch stand; a lacquered panel; drawing instruments; Susie Cooper teaware; salad servers etc.

A 19th Century drawing contained in birds eye maple frame AF

Olga Geoghegan (b.1965) Me, My Mother, Sister and Grandmother, 2015 oil on canvas 100 x 70 cm Olga Geoghegan’s haunting and enigmatic oil paintings often begin with memories of her early childhood in the north of the then Soviet Union. These were the scenes and characters that she carried with her when, aged ten, she left the town of Ukhta behind and travelled a thousand miles to take up a place at the Leningrad Academy of Art’s special art school. She later also graduated from the St Petersburg Academy of Art, founded in 1764 by Catherine the Great. One of her graduation projects was a design for Shostakovich’s opera Lady Macbeth of Mtsensk. She also worked for a time at the Mariinsky (formerly Kirov) Opera and Ballet Theatre – so Barefoot Opera’s mission is especially close to her heart. In the early 1990s, Geoghegan was one of the first Russian painters to be invited to exhibit in Western Europe, with exhibitions in London and Vienna. She has since moved to London, where she has had many exhibitions (including at the Royal Drawing School and Messum’s), as well as shows in Scotland, Switzerland, Spain, USA and Russia

Laetitia Yhap (b.1941) Conversation, 1981 Liquitex on printed Vilene 58 x 76 cm Hastings Museum and Art Gallery is celebrating Laetitia Yhap’s 80 years of ‘Vital Life’ and work this year with an exhibition of her paintings and drawings chronicling the working lives of the town’s fisherman.* Born in London during the Blitz to an Austrian mother and Chinese father, Yhap studied at Camberwell School of Arts and Crafts and in 1962 travelled to Italy for a year on a Leverhulme Scholarship studying Renaissance art and architecture. On her return, she was a postgraduate student at the Slade School of Fine Art in London before moving to Hastings. She recalls: “I had arrived in Hastings in 1967 and was making large scale watercolour and tempera paintings which excluded the human presence. For me the only way to understand the extraordinary world and work of the fishermen, was to do it the slow way by drawing from direct observation out of doors. I did not possess a camera and it would not have occurred to me to use one. The first 18 months of research was spent entirely and exclusively drawing. Later, as I became familiar with the scene, I made paintings and more complete drawings could be developed. It was always important to me that the people I depicted were recognisable.” Yhap is represented in public collections including the Arts Council of Great Britain, the British Council, the Contemporary Art Society, the Government Art Collection, Hastings Museum and Art Gallery, Hove Museum and Art Gallery, New Hall Cambridge, the Nuffield Foundation, Rugby Museum, South East Arts Collection, Tate, Unilever, University College London and the Walker Art Gallery in Liverpool. * My Vital Life: Laetitia Yhap at 80 at the Hastings Museum & Art Gallery. The Covid-19 pandemic necessitated a digital version of the exhibition and the artist’s gallery tour can be viewed on the website. However, now selected watercolour paintings and drawings will be on view in Museum’s Walkway Gallery until 2 January 2022. 

Tom Hammick (b.1963) Moonlight (3rd Sea Interlude), 2018 Edition variable reduction woodcut, E.V 11/15 70 x 53 cm Tom Hammick is a British painter and printmaker who gives painting and printmaking equal importance in his practice, with each process feeding the other, both informed by a wide range of source materials distilled through drawing. He prints in London and paints in East Sussex, where he is also Senior Lecturer in Fine Art Painting and Printmaking at the University of Brighton. “With a visionary understanding of the printmaking medium and a beautiful Technicolored palette, he weaves together references to opera, poetry, cinema, architecture, myth and memory,” writes Nerissa Tayson, curator at Glyndebourne Opera House where Hammick has been associate artist since 2019. Hammick has exhibited widely in the UK as well as in the USA, France, Canada, Singapore and Ireland. His awards include the V&A Prize at the International Print Biennale, Newcastle, UK in 2016. His prints are held by many institutions, including the British Museum (Prints and Drawings Collection); Victoria and Albert Museum (Prints Collections); Yale Centre for British Art, USA; the Chinese Academy of Fine Art; the Bibliothèque nationale de France, Paris; the Library of Congress Print Collection, USA. 

Charlotte Snook Presentation of the Portrait of Maria de Medici, after Rubens, 2020 oil on board 30 x 25 cm Charlotte Snook is a British figurative painter who uses her knowledge of art history and a contemporary understanding of human nature to make images in jewel-like oils. She starts with Breugel, Poussin, Claude and 17th-century Flemish art, but her dislocated scenes are often filled with barely supressed, violent energy. Indeed, her work allows for the apocalyptic nature of the world. “They are concerned with a loss of paradise,” Snook told artist-curator Alan Rankle. “It’s all about the painting: light, colour, contrast, the composition and brushstrokes. I try to set a narrative without there being one.” Born in Middlesex, Snook studied at Hornsey College of Art and gained her MA in Painting at the Royal College of Art. In her academic career, she has taught at art schools and universities throughout England, and from 2001-09 was Senior Lecturer in Visual Communication (Foundation) at Central Saint Martins, London. She lives and works in Hastings. Snook’s work has been included in the Jerwood Drawing Prize (1995-99), the Hunting Prize and the Garrick/Milne Prize. Solo exhibitions include Rare Affairs at the Basement Gallery, Boise, Idaho, USA; Hastings Museum and Art Gallery; and St Anne’s Galleries, Lewes. 

Sally Cole (b.1949) Walking West, 2018 oil on canvas 122 x 152 cm Sally Cole is a painter and printmaker dedicated to responding directly to and recording the landscape, in particular the earth and the sky and where they meet. She works outdoors in all weathers, often revisiting the same location in different seasons to develop each work. “For the past eight years I have spent at least two months of the year drawing and painting in Pembrokeshire, working as close to the edge of the cliffs as I can safely get.” Cole has undertaken several important residencies, including in 2019 with the Earthskin Trust in New Zealand, where she spent a month in isolation on Piha beach, on the North Island; the Trust has invited her to return, when possible, to continue her Embodied Land project. In 2020, she was artist in residence at Oriel y Parc, St Davids, Pembrokeshire and in September will take up her residence at Cill Rialaig Project, Ireland, the most western point in Europe. “I seem to be drawn to the western points of the compass. In Pembrokeshire, New Zealand and Ireland. When walking the Pembrokeshire coastal path, I find I gravitate to the west. I sit on the cliffs to draw always looking west.” Cole, who studied at Chelsea School of Art in London, is now based in Hastings, where she has a studio in the heart of Hastings Country Park. 

Siobhan Stanley Still Life with Peppers, 2016 oil on canvas 40 x 50 cm Before Dublin-born artist Siobhan Stanley studied painting, she was a soloist with Sadler’s Wells Royal Ballet for 15 years prior to joining Rambert Ballet Company; she then spent eight years as an actor. So it was not surprising that, as a visual artist, she chose to position her contemporary themes and human subjects within the historical setting of Shakespeare’s world. However, instead of drawing directly on the plays, in the series Communion, Stanley has reimagined the lives of black merchants in Elizabethan society, a significant group but rarely painted at the time, to subvert formal representations of power and wealth. Since 2011, Stanley has studied painting in Italy at the Florence Academy of Art and at the Cecil Studios, at the London Fine Art Studio and the London Atelier of Representational Art. She has exhibited work at Leighton House, London, and at BlackShed Gallery, East Sussex. After many years in London, she is now based in Hastings. 

Tom Hammick (b.1963) Sunday Morning (2nd Sea Interlude), 2018 Edition variable reduction woodcut, E.V 11/15 70 x 53 cm Tom Hammick is a British painter and printmaker who gives painting and printmaking equal importance in his practice, with each process feeding the other, both informed by a wide range of source materials distilled through drawing. He prints in London and paints in East Sussex, where he is also Senior Lecturer in Fine Art Painting and Printmaking at the University of Brighton. “With a visionary understanding of the printmaking medium and a beautiful Technicolored palette, he weaves together references to opera, poetry, cinema, architecture, myth and memory,” writes Nerissa Tayson, curator at Glyndebourne Opera House where Hammick has been associate artist since 2019. Hammick has exhibited widely in the UK as well as in the USA, France, Canada, Singapore and Ireland. His awards include the V&A Prize at the International Print Biennale, Newcastle, UK in 2016. His prints are held by many institutions, including the British Museum (Prints and Drawings Collection); Victoria and Albert Museum (Prints Collections); Yale Centre for British Art, USA; the Chinese Academy of Fine Art; the Bibliothèque nationale de France, Paris; the Library of Congress Print Collection, USA.

AFTER JAN TOOROP (Dutch/Indonesian 1858-1928) 'The Prayer - Self Portrait', lithograph, by Vorst & Tas Amsterdam, after the 1927 drawing held at the Stedelijk Museum, Amsterdam, 65cm x 55cm, framed and glazed.

Titled "Beach Cliffs", watercolor, signed lower right. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 14 1/2 x 16 1/2 in. Sight size: 7 x 9 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Opera House of Central City, Colorado, charcoal on paper, signed lower right. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 20 1/2 x 16 in. Sight size: 13 x 9 in. Please note that all sales are final. No refunds will be given under any circumstances.

Titled "Long's Peak", watercolor, signed lower left. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 16 x 19 in. Sight size: 9 x 13 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Watercolor sketch of windswept trees in mountainous landscape, signed lower right and dated 1940. Boardman Robinson, noted for his cartoons, paintings, and murals, was born in 1876 in Somerset, Nova Scotia, Canada. His childhood years were spent in Wales, but he later moved to the United States to attend the Massachusetts Art School. Robinson then studied in Paris where he was influenced by the political cartoonist Honore Daumier. He returned to New York City and became famous as a cartoonist and illustrator for various newspapers and magazines. Robinson's black crayon with ink washes was his distinctive style, and he established the grease crayon as a potent implement for drawing editorial cartoons. Overall size: 15 1/2 x 13 in. Sight size: 8 x 6 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Danish drawing by artist named Harekelinger. Signed in the lower right. Overall size: 16 x 13 in. Sight size: 13 3/4 x 10 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

Steve Devenyns (b 1953) Wyoming/Colorado artist. Signed lower right and dated '91. Equestrian subject oil on board. A western artist of oil and pencil drawing, he reflects his many experiences living the life of a Wyoming cowboy. In 1991, he received the Museum Purchase Award at Frontier Days in Cheyenne, and his work has been featured in a number of magazines including "Southwest Art" and "Art of the West." Overall size: 15 x 12 1/2 in. Sight size: 7 1/2 x 5 in. Please note that all sales are final. No refunds will be given under any circumstances.

William Alexander Coulter (1849 - 1936) born in Ireland, Important San Francisco self-taught artist. Signed lower right and dated 1890, oil on board. Titled "Golden Gate - San Francisco Bay." This painting was used by the US Postal service to make the plate for the "Golden Gate 20 cent Carmine Rose" The stamp was originally issued May 1 1923. The Golden Gate Bridge as it exists today was completed in 1937. Diego Salazar gold leaf frame. William Alexander Coulter was born on March 7, 1849 in Glenariff, Ireland where his father was captain in the Coast Guard. At age thirteen the younger Coulter went to sea and for seven years his apprenticeship allowed him to learn every detail of the ships on which he sailed. He had a natural gift for drawing and color and during his off-duty hours aboard ship he sketched and painted. After arriving in San Francisco in 1869, he worked as a sailmaker while continuing to paint in his leisure, and by 1874 was regularly exhibiting with the San Francisco Art Association. Coulter was for the most part self-taught except for a period of three years in the late 1870s when he studied in Europe with marine artists Vilhelm Melbey, Francois Musin, and Jacob Jacobsen. One of his most important commissions was done between 1909-20 when he painted five 16' x 18' mural panels for the Assembly Room of the Merchants Exchange Building. This room was the center of all the trading and maritime business of the day on the West Coast. Overall: 17 x 19 in. Sight: 9 3/4 x 11 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

Salvador Dali (1904 - 1989) French / Spain artist. Surrealist lithograph, edition 20/25. Signed in pencil lower right. Dali gives freer, more immediate expression to his fantasy than his odes in his paintings. The lithographic medium, like drawing, lends itself to spontaneous, direct expression. The resultant images register the artist’s unstudied gestures. Overall size: 28 x 25 1/2 in. Sight size: 11 1/2 x 10 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Salvador Dali (1904 - 1989) French / Spain artist. Surrealist lithograph, edition 20/25. Signed in pencil lower right. Dali gives freer, more immediate expression to his fantasy than his odes in his paintings. The lithographic medium, like drawing, lends itself to spontaneous, direct expression. The resultant images register the artist’s unstudied gestures. Overall size: 28 x 25 1/2 in. Sight size: 11 1/2 x 10 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Salvador Dali (1904 - 1989) French / Spain artist. Surrealist lithograph, edition 20/25. Signed in pencil lower right. Dali gives freer, more immediate expression to his fantasy than his odes in his paintings. The lithographic medium, like drawing, lends itself to spontaneous, direct expression. The resultant images register the artist’s unstudied gestures. Overall size: 28 x 25 1/2 in. Sight size: 13 x 10 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Man guiding horses, 19th century oil on board, signed lower right. Ignaz Ellminger was an Austrian landscape painter, dialect poet, and drawing teacher, trained at the Academy of Fine Arts in Vienna. Overall size: 13 3/4 x 17 3/4 in. Sight size: 6 x 10 in. Please note that all sales are final. No refunds will be given under any circumstances.