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Italy, Germany & England.- [Kershaw (Rev Edmund Dickie, son of Samuel Kershaw, domestic chaplain to Lord Lamington 1860-85, of Lamington House, Clydesdale, of Southam, Warwickshire, 1829-1902)] Album of drawings of views in Italy, Germany and England, 67 accomplished pen and ink drawings on 61pp., 3 monochrome watercolours and 1 drawing loosely inserted, original half morocco album, gilt, corners rubbed, gilt spine, head and tail of spine chipped, drawings v.s., album 4to, 1863-70.⁂ Rome ("Ruined Aquaducts in the Campagna near Rome Decer. 7th 1863... Helene [Kershaw's wife] and Augustus Hare"), Tyrol, Winchester, Dunstable Priory, Beaulieu Abbey, Glastonbury Abbey, Stonehenge, Treves Cathedral, Dausenau, Limburgh Cathedral, Arnstein Church, Taplow Rectory, Beaconsfield Church, Bishops Tawton Vicarage, Tavistock Church, Chittlehampton Church, Lynmouth, Clovelly, Stoneleigh Abbey etc.Augustus Hare (1834-1903), author.

* Shepherd (David, 1931-2017). Messerschmitt 109E in the reflector sight, pen and ink drawing, signed lower right, two light creases, 12 x 12 cm mount aperture, framed and glazed, with a certificate of authenticity from Studio Prints Gallery, Frome, England to verso, signed by the gallery director and Air Vice Marshal Johnnie Johnson, frame size 40 x 39 cm, together with a copy of the paperback edition of J. E. 'Johnnie' Johnson's Full Circle, The Story of Air Fighting, London: Cassell Military Paperbacks, 2001, plus six colour prints after David Shepherd (Afternoon Flight, Victor; Reverse Thrust at Beihan, West Aden Protectorate; VC10 Lift-Off, El-Adem; 654 Squadron Auster Mark III in Tunisia 1943; 653 Squadron Beaver taking off from Dhala Airstrip, The Radfan 1964; 656 Squadron Auster Mark IX in North Malaya 1962), all published by Picton Publishing, 1985, in an edition of 850 impressions, each signed in pencil by the artist, unframed, sheet size 45 x 64 cmQTY: (8)NOTE:Original illustration by David Shepherd for the paperback edition of Full Circle, The Story of Air Fighting (London: Cassell Military Paperbacks, 2001) by Air Vice-Marshal J.E. Johnson CBE, DSO, DFC, page 129.The illustration is featured on page 129 of the hardbound publication.

* Shepherd (David, 1931-2017). Focke-Wulf 190 in Gyroscopic sight (ii), pen and ink drawing, signed lower right, 9 x 9.5 cm mount aperture, framed and glazed, with a certificate of authenticity from Studio Prints Gallery, Frome, England to verso, signed by the gallery director and Air Vice Marshal Johnnie Johnson, frame size 37 x 36.5 cm, together with a copy of the paperback edition of J. E. 'Johnnie' Johnson's Full Circle, The Story of Air Fighting, London: Cassell Military Paperbacks, 2001, plus six colour prints after David Shepherd (Afternoon Flight, Victor; Reverse Thrust at Beihan, West Aden Protectorate; VC10 Lift-Off, El-Adem; 654 Squadron Auster Mark III in Tunisia 1943; 653 Squadron Beaver taking off from Dhala Airstrip, The Radfan 1964; 656 Squadron Auster Mark IX in North Malaya 1962), all published by Picton Publishing, 1985, in an edition of 850 impressions, each signed in pencil by the artist, unframed, sheet size 45 x 64 cmQTY: (8)NOTE:Original illustration by David Shepherd for the paperback edition of Full Circle, The Story of Air Fighting (London: Cassell Military Paperbacks, 2001) by Air Vice-Marshal J.E. Johnson CBE, DSO, DFC, page 260.The illustration is featured on page 260 of the hardbound publication.

Antique pen and ink drawing of a tramp with walking stick with Lamb in oval stamped to bottom right hand corner - frame 45cm x 37cm

Jean (John) Taudevin pen & ink drawing, Mount Crevet and Vale Castle, Guernsey, 1829, 4 x 5 5/8in. (10.2 x 14.3cm.), together with 'View from the old harbour to Castle Cornet', and another. (3)

Stravinsky (Igor, 1882-1971). Russian composer. Autograph Musical Quotation Signed, ’Igor Stravinsky’, Paris, 2 February 1936, being 3 bars on two staves, of the solo piano part from the third movement of his Concerto for Piano and Wind Instruments, signed with place and date below, black ink on cream paper, minor creasing and a few light marks, 100 x 160 mmQTY: (1)NOTE:Stravinsky’s Concerto for Piano and Wind Instruments was written in 1923/24 and revised in 1950. The concerto was to prove one of Stravinsky’s most important works of the 1920s, by virtue of the fact that he played it almost everywhere he went. It therefore became the one genuinely modern score of his that was widely known in that decade. The music is notated on staves drawn by Stravinsky on a blank sheet. For this purpose, the composer used ‘a certain instrument with little wheels invented by him for drawing the stave lines’ (C. F. Ramuz, Souvenirs sur I. Stravinsky, 1946, p. 77).

* Karsh (Yousuf, 1908-2002). Portrait of the photographer by Guy Le Querrec (born 1941), c. 1970, vintage gelatin silver print, three-quarter length, Karsh about to take a photograph with his camera on a tripod in a drawing room, image 208 x 140 mm, photographer's ink name stamp to verso, corner-mounted in modern aperture mountQTY: (1)

After Jacob Ludwig Salomon Bartholdy,  German 1779-1825- Kleftis of the Morea; pencil, pen and ink, and watercolour on paper, inscribed 'Kleftis of the Morea' (lower edge), 19 x 13.2 cm. (mounted / unframed). Provenance:  Private Collection, UK. Note:  The present drawing is copied from an illustration in Bartholdy's 'Voyage en Grèce', published in 1807, the original of which bears the caption 'Soldat Albanais, de ceux qui sont établis en Morée', or 'Albanian soldier of the Peloponnese'. This version interprets its subject in a different manner, describing the figure as a 'Kleftis', a term used to denote a bandit or insurgent who lived in the Greek countryside during the rule of the Ottoman Empire.  Bartholdy was a Prussian diplomat and art patron, who produced his 'Voyage en Grèce' after his travels around Greece and Turkey in 1803-04. 

Giovanni Paolo Panini,  Italian 1691-1765- View of Piazza Colonna with the Column of Marcus Aurelius, Rome; black chalk, pen and grey ink and watercolour on laid paper, watermark fragment fleur-de-lys with a crown, signed with initials ‘G.P.P.’ and indistinctly inscribed (lower left), further inscribed 'P.H.' (lower right), 25.3 x 36 cm. Provenance:  William Esdaile (1758-1837), London;  His sale, Christie's, London, 20 June 1840, lot 450 (2 gns to Hogarth).  Unidentified collector's mark P. H. (L. 2084).  Lore and Rudolf Heinemann, New York;  Their sale, Christie's, London, 1 July 1997, lot 75.  with Kate de Rothschild, London (Master Drawings, July 2001, no.11, illustrated).  Private Collection, Europe. Exhibited:  New York, The Pierpont Morgan Library & Museum, 'Drawings from the Collection of Lore and Rudolf Heinemann', 1973, no.32, illustrated. Note:  By contrast with his extensive output of capricci, Panini’s detailed topographical ‘vedute’ of Rome like this view are rare. In this drawing, several important symbols of modern Rome can be identified around Piazza Colonna: the Palazzo Chigi and the Curia Innocenziana to the right, the Residenza di Monsignor Vicegerente at the centre, and the Chiesa dei Santi Bartolomeo e Alessandro dei Bergamaschi to the left. The same view appears in Panini’s painting ‘Modern Rome’, pendant to Ancient Rome, both in the Louvre [no.R.F. 1944-22; F. Arisi, ‘Gian Paolo Panini, e i fasti della Roma del’700’, Rome, 1986, no.500, ill.]. Other versions of these well-known views can be found in the Metropolitan Museum of Art, New York [nos 52.63.1 and 52.63.2], the latter showing the Piazza Colonna from a different viewpoint, and in the Museum of Fine Arts, Boston [no.1975.805], also showing the Piazza Colonna from a different angle. 

Santi di Tito,  Italian 1536-1603- Study for an altarpiece: Confirmation of the Order of Saint Francis; black chalk, pen and brown ink and wash on laid paper, bears number '10' (lower right), with a description of the scene in Italian and a black chalk sketch of a church interior both verso, 27.3 x 19.6 cm. Provenance:  Anon. sale, Christie's, Rome, 12 November 1974, lot 25. Note:  Di Tito studied under Bronzino (1503-1572) and Alessandro Allori (1535-1607) and was one of the founders of the Accademia del Disegno in Florence in 1563. He is often described as a Proto-Baroque painter, with his approach revealing something of a departure from the more stylised and exaggerated forms of the Mannerist movement. His pupils also went on to become prominent early proponents of the Baroque style, including Ludovico Cardi (1559-1613), known as 'Cigoli', and the sculptor Francesco Mochi (1580-1654). Di Tito's other pupils Domenico Passignano (1559-1638) and Gregorio Pagani (1559 -1605) each painted compositions that appear to closely relate to the present drawing, notably Pagani's 'lunette' fresco of Pope Honorius III approving the Order of St Dominic at the church of Santa Maria Novella, Florence, which shows the lasting influence of Di Tito's style on the works of the next generation of artists.  Di Tito completed a number of significant commissions including two altarpieces for the Santa Croce in Florence, and works for the Studiolo of Francesco I in the Palazzo Vecchio, also in Florence. The present work, a design for an altar reredos, appears to depict the moment in which Pope Innocent III (1161-1216) approved the statutes of the Order of the Franciscans, presented by Saint Francis (c.1181-1226), leading to the foundation of the Franciscan Order in 1210. The fluidly drawn figures and simple, confidently rendered architecture recall further drawings by Di Tito, such as a preparatory sketch for his 'Nebuchadnezzar' fresco cycle (illustrated S. L. Giovannoni and M. Collareta, 'Disegni di Santi di Tito', 1985, no.7734F. Fig.1), which Di Tito painted at the Palazzetto del Belvedere of Innocent VIII Cibo, now the Gregorian Etruscan Museum, Vatican City.  Another drawing which shows distinct similarities to the present lot, particularly in terms of the handling of the 'agitated' draperies as well as the treatment of the hands and the facial features, is Di Tito's study of the 'Agony in the Garden' which was published in W. M. Griswold and L. Wolk-Simon, 'Sixteenth Century Italian Drawings in New York Collections', Metropolitan Museum of Art, NYC, 1994, cat.31, p.36. We are grateful to Professor Elizabeth Pilliod for her assistance with the cataloguing of this lot. 

Consisting of ink drawing signed Henri Toulouse-Lautrec (1864 - 1901) entitled Horse and lithography on Japanese paper entitled Lassitude, dimensions 27 x 20 cm, including certificate.

Peter van Straaten (1935-2016)Artist in the attic, "Yes, but damn, you said I had talent at the time" ink drawing 25x17 cm

Thomas Austen Brown (1857-1924)Ink and wash drawing titled 'Early Night Summers' Rue de Montreuil, Etaples', signed with a monogram and dated 1918.[Frame 63cm x 54cm]

DONG SHOUPING (Chinese b. 1904-1997) Landscape Inscribed and signed, with two seals of the artist Dated Spring, yichou year (1985) Scroll and mounted, ink on paper 95cm x 43 cm (37.5" x 17") 董寿平  一九八八年作 题：乙丑 (1985）董寿平写于北京 鈐印：壽平、壽平書畫， Dong Shouping (董寿平; 1904-1997) was a renowned contemporary painter and calligrapher. Formerly known as Dong Gyu, later renamed Shou ping. Born in Shangxi province Hongdong County Du Shu village, Dong Shouping was born to a reputable family, Emperor Dong Jitang of Qing Dynasty famous calligrapher, his grandfather Dong Zhihuan Qing Hanlin. He was influenced by his family in calligraphy and painting, and especially admired at the beginning of the Qing Dynasty the works of painter Yun Shouping, then renamed Shou ping. At the age of 16, Dong Shouping attended the Beijing world language school after the turn of the Department of economics of Nankai University, tianjin. In 1926 he graduated from Burapha University in Beijing and settled in Beijing in 1928. In 1931 he began selling paintings for a living, 1938 articles to Xi'an, back to Chengdu, Sichuan writers have Lin Shan Yu appreciation, to praise to make the name well known in Chengdu, held the first day, in 1939 moved to Sichuan Province Guanxian Dujiangyan Guan Yu Lei, living there for 12 years. In 1941 he donated to support the Anti Japanese war. After the liberation, Dong Shouping returned to Beijing in 1950, Ren Rong Bao Zhai editing, 1952 will hide all the books donated by Shanxi provincial museum. To travel around the China sketch, creating more than. In 1979, Rong Bao Zhai consultants identity to Japan, and lectured at University of the Arts in Tokyo, painting demonstration. He is currently a member of the CPPCC National Committee, director of the China Calligrapher's Association, honorary president of Beijing research China painting. In 1979 the people's Fine Arts Publishing House of the "Dong Shouping" painting series. Dong Shouping started at a young age for art, will develop a reading habit of drawing, half day, he be learned in books, there is a profound knowledge, good at the broad and profound ancient Chinese art and modern techniques of combining. His picture has not only poetry and painting artistic conception, which has the literati scroll temperament, layout composition rich philosophy. He also acquired a hand hanging Book stunts, commended for the artists at home and abroad.

F J Barron, the coal seller, original pen and ink drawing, signed, sheet 36cm x 23cm, framedFoxing and paper discolouration, modern frame and mount

Outstanding ink and crayon drawing on ecru paper made with bold color markers and bright crayons attributed to Pop Expressionist artist Jean-Michel Basquiat. This artwork depicts Basquiat's self-portrait with black, red, and brown erect hair, pupil-less eyes that are crossed out, a brown triangular nose, an extended ear, and a red and cream wide open mouth with uneven white teeth. Below the blue crown, Basquiat included the words: Temple, Spine, Anus, Duct. A blue dressed character adorned with a black clown nose and clenched teeth faces Basquiat's iconic graffiti tag SAMO written in black marker and partially covered by a red line. Signed on the lower center in green: Jean Michel Basquiat. Stamped on verso: This will certify that it is the oblation of the Authentication Committee of the Estate of Jean-Michel Basquiat it is a genuine work by JEAN-MICHEL BASQUIAT. Signed in black marker: SAMO in between Basquiat's crown design, a skull and four dollar signs. Housed in a black frame with a caramel brown mat. Frame size: 15.80"L x 19.75"H x 0.75"W. Artwork dimensions: 8.75"L x 13.50"H. Artist: Jean-Michel Basquiat (American, 1960-1988)Issued: c. 1980Country of Origin: United StatesCondition: Age related wear.

John Newman (American, b. 1952). Pencil, charcoal, and ink on paper abstract geometric drawing in vibrant and bright colors, 1989. Pencil signed along the lower center.Provenance: John Berggruen Gallery, San Francisco; Private Minnesota collection.Sight; height: 80 in x width: 59 in. Framed; height: 84 in x width: 64 in. />Condition: The colors are bold and bright. Due to the artistic process it is difficult to determine what is original to the production of the artwork and what is not. There is undulation to the sheet throughout. There are networks of pinholes in all four corners. There are areas with framer's tape along the edges. Along the lower right edge there is a tear. There are scuffs and creases throughout. Some of the pastel pigment has lifted from the paper and adhered to the plexiglass. The artwork is floated in the frame; framed under plexiglass; wear to the frame; not inspected out of frame.

Irene Rice Pereira (American, 1902-1971). Ink drawing on paper depicting a nude dancing figure, 1957. Dated December 9, 1957 along the lower right. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 1/8 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Irene Rice Pereira (American, 1902-1971). Pen and ink drawing on paper depicting figure and abstract shapes with vines, 1966. Signed and dated along the lower right. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

* Chinese School. Album of pen and black ink drawings of Chinese trades and professions, circa 1830-50, a collection of 49 pen and black ink drawings on rice paper, depicting various trades, occupations and pastimes, each with caption in Chinese characters to upper right corner, some chips and losses (mostly affecting sheet edges), some yellowing and occasional spots or stains (mainly towards front and rear of album), each sheet originally tipped at corners (some also at centres of sides) to an album leaf, some with one (or more) edging strips of blue silk, most sheets partially or fully split away from support (due to expansion of album leaves), the splits mainly affecting blank areas and captions, the first drawing (man selling hand fans) detached with losses to both sides of image, final image with long vertical split centrally, the sheets 31 x 19 cm and similar, stitching strained, original decorative cloth covered boards, extremely worn, front cover detached, 4toQTY: (1)NOTE:Probably produced as a souvenir album for export, the trades and occupations depicted include a scribe, selling firecrackers, chopping firewood, selling shoes, a lady embroidering, chiselling lock parts, playing three games, selling horseshoes, carrying tea, selling mooncakes, carrying mountain water, cooking fermented wine, selling dove and duck eggs, beating tin shapes, sweeping word boards, etc.

Mark Huskinson (1935-2018). Abandon Hope All Ye Who Enter Here, golfing scene, watercolour, pen and ink drawing, signed, titled and dated (20)07, 25cm x 39cm. Artist label verso, Golding Young and Mawer Lot 103 22/04/15.

John Hopkinson (b.1941). Workman, ink drawing (4), signed, 27cm x 27cm.

Mark Huskinson (1935-2018). Lunch "To Get One's Eyes In", shooting scene, watercolour, pen and ink drawing, signed, 34cm x 24cm. Artist label verso.

[TURING (ALAN)]TURING (ETHEL SARA) 'Dawn at Bethlehem', watercolour on card, toning, signed on the image ('E.S. Turing'), mounted, framed and glazed, label on verso with title in blue ink, and 'Drawing Room' in another hand, image to view 240 x 340mm., [c.1936-37]Footnotes:A watercolour view of Bethlehem by Alan Turing's mother Sara, executed during a tour of Palestine she undertook in late 1936 to early 1937.Following her schooling at Cheltenham Ladies' College Sara spent six months at the Sorbonne to study music and art, after which she returned to India for seven years, spending her time 'driving out in carriages to leave visiting cards, painting in water-colours...' (Andrew Hodges, Alan Turing: The Enigma, 1983), prior to marriage to Julius Turing in 1907. By 1917, with her husband abroad for work and her first son John at boarding school, she was living in St. Leonards, Sussex 'with only Alan [aged five] about her... Church-going was one of her favourite pastimes... [and] Alan was dragged every Sunday for the communion service... Mrs Turing also pressed on with her water-colours, for which she enjoyed a definite talent' (Hodges, idem).Provenance: Sara Turing (1881-1976); possibly Alan Turing; Robin Gandy (1919-1995), mathematician, close friend and executor of Alan Turing; bequeathed to Wolfson College, Oxford.For further information on this lot please visit Bonhams.com

[HUGHES (TED)]The New Poetry. A Selection Selected and Introduced by A. Alvarez, FIRST EDITION, PRESENTATION COPY INSCRIBED BY TED HUGHES TO HIS PARENTS, 'To Mom & Dad with love Ted May 24th 1962' on the half-title publisher's wrappers [Sagar/Tabor B11], Penguin Books, 1962--MOOREHEAD (ALAN) Cooper's Creek, TED HUGHES' COPY COPIOUSLY MARKED-UP in margins and with underlinings in blue and black pen, with a note from Frieda Hughes tipped-in ('Daddy commissioned to write the script & hated it. It fell through eventually'), pictorial wrappers (creased, a few short tears), Four Square, 1965--A full-page drawing by Hughes depicting a coiled snake, tethered ass, mountains, small bird and phantastical star-burst, pencil with a few purple ink additions, sheet 265 x 200mm., [undated]; Original carbons for three poems ('The Black Beast', 'Second Bedtime Story' and 'Magical Dangers'), the first 2 with address 'Ted Hughes, Court Green, North Tawton, Devon' in upper right corner, sheet sizes 255 x 205mm., 1960s (6)Footnotes:INSCRIBED BY HUGHES TO HIS PARENTS - Al Alvarez was the influential poetry editor for The Observer, an enthusiastic early champion of Hughes, describing him as 'a poet of the first importance' in his review of Lupercal (1960), and including more of his poems (twenty-one) in his anthology than any other poet, thus establishing Hughes as one of the best known English poets of his generation. The three carbon copies of poems were evidently written at Court Green, North Tawton at the home Hughes shared with his wife, Sylvia Plath. With an eye to making money, rather than through literary ambition, at this time Hughes turned his hand to script writing, one of which was an adaption of Alan Moorehead's Cooper's Creek in conjunction with the anthropologist and film maker Robert Gardner, a project that failed chiefly, as Frieda Hughes notes, due to the fact her father 'hated it'.Provenance: Frieda Hughes.For further information on this lot please visit Bonhams.com

ANONYMOUS. (Mythological scene (Prometheus stealing fire from Zeus?)). Manner of Abr. Bloemaert, Southern Netherlands?, 16th c. Drawing in brown ink and brown wash on laid paper. 149 x 185 mm. Hinged to older mount. Under passepartout.

ANONYMOUS. (Salvator Mundi). Southern Netherlands?, 17th c. Drawing in grey ink and grey wash on laid paper. 303 x 203 mm. -- Added by the same hand in the same technique: (John the Evangelist). 299 x 201 mm. -- Both hinged to mounts. Under passepartouts.

BLEULER, Johann Ludwig ("Louis") (1792-1850). "Vue de la ville d'Arnheim, vers Bom[m]el". N.d. Or. gouache on paper (based on an aquatint?). Signed (?) in ink in lower right margin "Louis Bleuler à Schafhouse en Suisse". W. caption in ms. and numbered in ink '45' (?) in right upper corner. Framed, glazed and under passepartout. NOTE: The Swiss landscape painter Louis Bleuler started his own publishing company in Schaffhausen. Beginning in 1827, he worked on a sequence of prints featuring landscapes and vedute along the Rhein; a project that would occupy him until his death. Our view of Arnhem is an original colour drawing (of which more copies - practically similar - seem to exist) which strongly resembles the smaller print that was published in his 'Voyage pittoresque aux bords du Rhin et de la Suisse' in 1845.

Baccio Bandinelli (Florence 1488-1560)Deux études de figures masculines (recto); Etude d'un taureau (verso)plume et encre brune (recto); sanguine (verso)pen and brown ink (recto); red chalk (verso) 43.3 x 27cm (17 1/16 x 10 5/8in).Footnotes:Provenance:The art market, Lyon, 1979, where purchased by Christian Adrien Collection, Neuilly-sur-SeinePrivate Collection, EuropeExhibited:Rennes, musée des Beaux-Arts, Dessins de la collection Christian et Isabelle Adrien, 21 March – 2 August, 2012, no 2 (note by Françoise Viatte)Literature:F. Viatte, Musée du Louvre, départment des Arts graphiques. Inventaire général des dessins italiens, vol. IX, Baccio Bandinelli, dessins, sculptures, peinture, Paris, 2011, p. 126, under nO 20, p. 206, no 86;P. Rosenburg et al, Dessins de la collection Christian et Isabelle Adrien, Paris, 2012, no 2 (note by Françoise Viatte)This sheet, rich in expressive force and drawn on both sides, represents, on the recto, two studies of the same standing man seen both in profile and slightly turning away. Executed by the Florentine artist Baccio Bandinelli, heir to Michelangelo's (1475-1564) visual legacy later the sixteenth century, it demonstrates his remarkable skill in rendering the body, its torsion and its muscular structure. Aided by the precise but repeated lines along with the parallel and crosshatching typical of the artist, here Bandinelli literally sculpts the figures on paper.As mentioned by Françoise Viatte in the catalogue of the exhibition dedicated to the Christian Adrien Collection of Old Master Drawings in 2012 (see literature), Bandinelli treated this type of drawing, which does not appear to be 'after the Antique', as a studio exercise, to work out poses, gestures, and the movement of figures within a spatial context. Not necessarily intended as preparation for a final composition, these types of studies are difficult to date. However, according to Viatte, the somewhat dry execution of the present lot resembles the artist's late projects, such as the studies made in preparation for the decoration of the choir of the Duomo of Florence, where the artist worked from 1547 onwards.There are numerous studies by the artist that, in terms of technique, style, and format, could be compared to the present work. They are preserved at the Ambrosiana Library, Milan (Cod. F. 269), the Louvre (RF 491), and the British Museum (the latter probably related to the work in the Louvre, Inv. 111).According to Françoise Viatte, for the study of the torso, Bandinelli may have used a small plaster model, like those seen on the upper shelf in his studio in Enea Vico's engraving of the Accademia di Bandinelli(see British Museum No.7.40.14).The verso of the drawing shows a study of a bull in red chalk and appears to be unconnected to the recto. This latter study reveals stylistic affinities with the works of his contemporaries, such Rosso Fiorentino (1495-1540) and Francesco Salviati (1510-153).For further information on this lot please visit Bonhams.com

A youth reading a poem in a garden Qajar Persia, 19th Centurypen and ink with some watercolour on paper, laid down within the illuminated borders of a large album page, one line of text written in nasta'liq, above this a rectangular panel containing flowers, wide outer borders with naturalistic floral decoration in gold on a light pink ground drawing 155 x 106 mm.; album page 465 x 303 mm.Footnotes:ProvenancePrivate collection, London.Modelled on the paintings of youths produced during the reign of Shah 'Abbas II (reg. 1642-60): for instance, a work by Muhammad Qasim, circa 1650 in the Aga Khan Collection (see S. R. Canby, Princes, Poets and Paladins, London 1998, pp. 78-79, no. 52).The line of text in the upper panel is from a manuscript on how to write each letter of the alphabet in nasta'liq when joined to other letters (in this case, parts of the letter ta).Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

ROMAN SCHOOL (LATE 18TH CENTURY) DRAWING OF A ROMAN CINERARY URN IN ORIENTAL ALABASTER, KNOWN AS THE URN OF LIVILLA Watercolour, pencil, and ink Inscribed 'English fecit for the vase' (lower right); further extensively inscribed (lower centre) 91 x 56.5cm (35¾ x 22 in.)Provenance: Mr. R. Doughty, Leominster, United KingdomThe ancient Roman urn of Livilla was discovered in 1777 in the remains of the Mausoleum of Augustus and takes its name from six travertine funerary cippi - the fragments of which are reproduced in the lower section of the present sheet - each bearing the name of a member of the Imperial family, and the nearest to the urn was that of Julia Livilla (c. 18-41 A.D.). She was the sister of Caligula, daughter of Germanicus and great-granddaughter of Augustus. Given the prominent location where the urn was found, its imposing size and exquisite material, it is possible that it did once contain Livilla's ashes, or those of another member of the imperial family. The urn is in the Vatican Museums and is most probably carved of Alabastro di Palombara, often referred to as Oriental, or Egyptian, alabaster. The lustrous patterns and changing hues of the alabaster's rings and veining have been so meticulously recorded , that it was most likely made in Rome, in the presence of the object. The inscription and scale in English indicates that it was made for a British audience, likely a Grand Tourist visiting the Eternal City. The art historian Professor Cinzia Sicca has suggested that given the date of the excavation of the Urn of Livilla and its presence in Rome, our sheet could have been commissioned by an agent such as the prominent antiquary Thomas Jenkins (c. 1722-1798), who employed draughtsmen including Claude François Nicole (c. 1700-1783), Nicolas Mosman (1727-1787) or Friedrich Anders (born c. 1734), all of whom specialised in drawings recording antiquities. Professor Sicca has also suggested that the present work may have served as the model for two drawings of the Urn of Livilla in the collection of the London Society of Antiquaries and perhaps the former was owned by a member of the Society, who offered to have it studied and copied. It is interesting to note that, like the present watercolour, the drawing in the Society of Antiquaries (Classical Antiquities Album 10) illustrates the alabaster urn without any cracks on its surface, nor the inscription added at the behest of pope Pius VI at its base, characteristics that reinforce the potential connection between the two drawings. Condition Report: There is a horizontal folding crease running along the centre of the sheet. Various repaired tears to the edges of the sheet, together with some further creasing. Some spots of discolouration scattered throughout. Under glass, unexamined out of frame.Condition Report Disclaimer

EDWARD TENNYSON REED (1860-1933) 'JOSEPH FIRST EARL OF BIRMINGHAM', depicting an imagined coat of arms featuring Joseph Chamberlain and President Kruger of Transvaal, initialled lower left, description of the coat of arms mounted below, pen and ink on paper, approximate size of drawing 15cm x 16cm, Condition Report: some discolouration to the paper, dirty marks in places, mount damaged, drawing is loose in the mount (PROVENANCE: The Arnold Fellows Collection)

20th cent. Belgian ink drawing - signed Alice Frey and dated 1970 || FREY ALICE (1895 - 1981) pentekening : "Drie meisjes" - 27 x 35 getekend en gedateerd 1970

early 19th Cent. ink drawing attributed to Bartolomeo Pinelli with three collector's stamps maybe a study for the work at the Thorvaldsen Museum (n° D625) || PINELLI BARTOLOMEO (1871 - 1835) inkttekening van omstreeks 1815/20 : "De zondvloed" - 33 x 42 met drie verzamelaarsmerken mogelijk een voorafgaande schets voor een werk in het Thorvaldsen Museum (n° D625) toegeschreven aan

17th Cent. ink drawing - with monogram attributed to Philips Wouwerman || WOUWERMAN PHILIPS (1619 - 1668) gewassen inkttekening (op licht getint papier) : "Valkenjacht" - 54 x 69 gemonogrammeerd / toegeschreven aan prov : de huidige eigenaar kocht het in 1967 bij Van Herck

mid 20th Cent. Belgian ink drawing - signed Englebert Van Anderlecht, dated 1957 and numbered 298 on the back || VAN ANDERLECHT ENGLEBERT (1918 - 1961) inkttekening met een krachtig uitgewerkte compositie met vogelkop - 36 x 27 op verso getekend, gedateerd 1957 en genummerd 298 prov : vroegere collectie van professor Jean Christophe

illegibly signed ink drawing || Onleesbaar getekende pentekening : "Geanimeerd stadszicht (Gent ?)" - 13 x 13

20th Cent. Belgian ink drawing - signed Henri De Cocker || DE COCKER HENRI (1908 - 1978) pentekening : "Geanimeerd dorpszicht" - 26 x 34 getekend

Framed Signed Ink Drawing of a Surrealist Classical scene with Plinth and Sculpture, 43 x 43cm

LABYRINTH (1986) - Hand-drawn Martin Asbury Storyboards for the Escher Staircase SequenceA collection of storyboards, hand-drawn by Martin Asbury, from the production of Jim Henson's fantasy film Labyrinth. The lot comprises seven pages featuring 33 storyboards depicting moments from the climactic Escher staircase sequence.Rendered in pencil and ink, each drawing features a brief description, notes on camera angles and directional arrows. Tippex is applied to some images on one page, and the lot displays some marks from production use. Dimensions (each sheet): 30 cm x 21 cm (11 3/4" x 8 1/4")Sold without copyright; see copyright notice in the Buyer's Guide.Estimate: £1,000 - 2,000 M View all lots from LABYRINTH (1986)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

LABYRINTH (1986) - Martin Asbury Hand-drawn Pencil-and-ink Storyboard Sheet for Humongous Detatching From DoorA storyboard sheet hand-drawn by Martin Asbury from the production of Jim Henson's fantasy film Labyrinth. Labelled "143" and "4", the lot comprises one page featuring three storyboards showing Humongous, the giant robot that guarded Goblin City, detached from the gates in front of Sarah (Jennifer Connelly), Ludo, Sir Didymus and Ambrosius. Each pencil and ink drawing features a brief description, notes on camera angles and directional arrows. Tippex is applied to the middle storyboard. Dimensions: 29.5 cm x 21 cm (11 1/2" x 8 1/4")Sold without copyright; see copyright notice in the Buyer's Guide.Estimate: £800 - 1,600 M View all lots from LABYRINTH (1986)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

Bremer Presse.- Grossmann (Rudolf) Ritter Gluck, number 65 of 65 portfolios, with an original pen & ink drawing and 18 signed hand-coloured woodcuts after Grossmann, all on Japon with blind-stamp to lower right corner and tipped into paper mounts, loose as issued in original cloth-backed board portfolio, numbered label to upper cover, worn and stained, one flap detached, folio, [Munich], Marées-Gesellschaft, [1920].⁂ Issued both separately and as part of the Bremer Presse special edition of E.T.A.Hoffmann's Ritter Gluck. The original drawing is for one of the woodcuts which mostly depict musicians.

* HANNAH FRANK (SCOTTISH 1908 - 2008), RED FLOWERS (1929) lithograph on paper, signed and dated 2005 in pencil framed and under glass image size 37cm x 24.5cm, overall size 49cm x 34cm Comment: "Red Flowers" is the rarest of the Hannah Frank signed prints and so far as we can ascertain the only other example to have appeared at auction was sold by us in May 2012. Hannah recorded in her diary that she completed "Red Flowers" on Monday 27th May 1929 and that she sent it to Gilbert Highet on Wednesday 29th. Highet had been editor of GUM (Glasgow University Magazine) but by 1929 he had moved to Oxford and had become involved with The University News, in which he unsuccessfully attempted to have published two of Frank's illustrations, Red Flowers and Sorcery. The former was deemed to be of such high quality as to command a price that the University News could not afford. Highet himself bought Sorcery for 25/- and had it framed, remarking in correspondence with Frank, that he thought this drawing 'underpriced'. Somnia and Vana Spes were also enthusiastically received, but not published as the magazine, intended as a commercial venture, ran into publishing problems. "Red Flowers" was pubished in the Glasgow University Magazine in October 1929. It is documented as HFDS plate 47 on page 68 of "Hannah Frank, A Glasgow Glasgow Artist, Drawings & Sculpture " (second edition) and the original drawing is in the Hannah Frank Collection. Gilbert Highet was a Scottish American classicist, academic writer, intellectual critic, and literary historian (Gilbert Highet - Wikipedia). Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 but beaten in January 2023 in Edinburgh by a single print achieving £900 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

Two small studies of huntsman on horseback to include a signed ink study signed 'Mark Haskins' ? and a print after Gilbert Holiday (2)Provenance: Heydon Grange, NorfolkThe ink drawing has no visible signs of marking or damage, with a clean signature in the lower. The Gilbert Holiday print of a huntsman on a horse has discoloured slightly with a small foxing spot just below the mount in the top section

A PORTRAIT OF A RULER, JODHPUR, RAJASTHAN, INDIA, LATE 18TH CENTURY ink drawing with gouache on paper, laid on ruled and gold painted card mount, old Christie's auction label on the reverse, 15.3 x 8cm (image); 28.2 x 18.2cm (card mount)

JANGARH SINGH SHYAM, INDIAN, (1962-2001) drawing of an aeroplane, dated 1998, black ink on paper, signed and dated, framedProvenance: Private collection, London. Acquired Galerie Herve Perdriole, Paris, 2015.Jangarh Singh Shyam came from a tribal community in the forested region of Central India. He was discovered by the well known artist J. Swaminathan in the 1980s when he was looking for works of art for his museum of rural and urban art. Despite at first struggling with the transition from rural to urban life, Jangarh was tempted to move to Bhopal, where materials, facilities and money enabled him to explore his creativity. For other drawings by this artist sold in these rooms, see 9th November 2022, lot 138; 26th April 2023, lots 219 & 220. See also Sheikh 1998, pp. 16-33, for a detailed discussion of his work and an image of another painting of an aeroplane by the artist, in this case, a mural in Vidhan Bhavan in Bhopal, painted in 1996.

JANGARH SINGH SHYAM, INDIAN, (1962-2001) Two Birds by a Tree, black ink drawing on paper, signed and dated 1996, 55 x 71cmProvenance: Private collection, Western England. Acquired directly from the artist by the vendor at the Crafts Museum in Delhi in the 1990s when working at the British High Commission.

JANGARH SINGH SHYAM, INDIAN, (1962-2001) A Flower, ink drawing on paper, signed and dated 1990, framed, 35.5 x 28cmProvenance: Private collection, London. Acquired Michell CritesSee footnote to lot 668

A MAIDEN AT A SAIVITE SHRINE, BUNDI OR KOTA, RAJASTHAN, LATE 18TH CENTURY ink drawing with watercolour on paper, the woman kneeling before the lingam making offerings, 22 x 15cm

A pencil and ink cartoon of the Rolling Stones guitarist 'Keith Richards', signed 'Gerald Scarfe' in ink lower right, together with a signed TIME magazine cover featuring the artist's drawing of John Kenneth Galbraith, and other related piecesLocation:

CHARLIE ADLARD [1966 -]. The Joker. ink on card drawing [on cover of part-blank comic], unique; signed. 26 x 17 cm - frame 35 x 25 cm. Provenance: The artist; private collection, UK. Adlard is a famous UK comic artist - best known for his 'Walking Dead' comic art drawings, which were the original source for the popular TV series [several]. His original comic drawings have sold for over $15,000 in US auctions. He has also provided drawings for Marvel and DC comics.The comic cover is printed part-blank to enable artists to add drawings.[Very good condition]. Buyers premium 20% + vat payable. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price..

CHARLIE ADLARD [1966 -]. The Flash. ink on card drawing [on cover of part-blank comic], unique; signed. 26 x 17 cm - frame 35 x 25 cm. Provenance: The artist; private collection, UK. Adlard is a famous UK comic artist - best known for his 'Walking Dead' comic drawings - the original source for the very popular 'The Walking Dead' TV series. His original comic drawings have sold for over $15,000 in US auctions.The cover is printed part-blank to enable artists to add drawings.[very good condition]. Buyers premium 20% + VAT.

CHARLIE ADLARD [1966 -]. Negan and Lucille - The Walking Dead. ink on card drawing [on cover of part blank original comic], unique; signed. 26 x 17 cm - frame 35 x 25 cm. Provenance: The artist; private collection, UK. Adlard is a famous UK comic book artist, best known for his 'Walking Dead' comic drawings, which were the original source for the popular TV series 'The Walking Dead'. Negan is one of the most popular characters. His drawings have sold for over $15,000 in US auctions. He has also produced drawings for Marvel and DC.The card cover is printed part-blank to enable artists to add drawings. [very good condition]. buyers premium 20% + VAT..

A collection of five unframed pictures, including French Riviera scene initialled M.A.N. dated 1923 watercolour; Tuscany scene, signed D. Davids; a pen and ink study of a park garden; after Barney "Seal's Sculpture" charcoal drawing of a sinister head entitled "Portrait of Evil"; and surrealist ink drawing M. Barter 1977

CIRCLE OF ROBERT BLEMMELL SCHNEBBELIE (CIRCA 1785-1849) 'St JOHN FREE SCHOOL, BATTERSEA', a drawing depicting a horse and cart calling at the front entrance, titled and dated 1809, ink and watercolour on paper, approximate size 12.5cm x 9.5cm, Condition Report: spot of foxing and some paper discolouration, frame marked (PROVENANCE: The Arnold Fellows Collection)

These large preliminary studies in graphite, India ink, and gouache on BFK Rives brown paper were made by Art Nouveau and Art Deco designer and craftsman Rene Lalique. The upper drawing is painted with browns and red with white highlights depict daisies with a row of rubies. On the second sheet, the drawings are left in their initial stages with Lalique using heavy graphite marks to emphasize specific areas. These drawings have not been seen publicly. They are unique studies of museum quality acquired directly from the private collection of the descendants of Rene Lalique. Housed in a natural color wooden frame. Frame size: 9.80"L x 13.40"H x 0.75"W. Artworks dimensions: upper sheet 8.50"L x 8.90"H; lower sheet: 8.50"L x 3.10"H. Artist: Rene Jules Lalique (French, 1860-1945)Issued: c. 1895Country of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition: Good.

This beautiful preparatory jewelry design in graphite, India ink, and watercolor on BFK Rives brown paper was made by Art Nouveau and Art Deco designer and craftsman Rene Lalique. It depicts a woman whose flowing hair morphs into a jewelry piece that wraps around her head. Lalique included a massive gemstone on a headdress painted with subtle washes of mauves. This drawing has never been seen publicly. It is a unique study of museum quality as it was acquired directly from the private collection of the descendants of Rene Lalique. Housed in a natural color wooden frame. Frame size: 9.80"L x 13.40"H x 0.75"W. Artwork dimensions: 8.50"L x 11.80"H Artist: Rene Jules Lalique (French, 1860-1945)Issued: c. 1895Country of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition: Age related wear.

SAKAI DOITSU (1845-1913) AND AFTER OGATA KORIN (1658-1716)Mount Horai Meiji era (1868-1912), late 19th/early 20th centuryTwo outsize kakejiku (hanging scrolls), ink, colours, gold, and gofun (calcified crushed shell gesso) on silk in silk mounts, each with an almost identical view of Mount Horai (the legendary realm of the immortals supposedly located off the coast of China), with cranes, moon, pines, and crashing waves, each with signature at lower left Hokkyo Korin and seals Hoshuku and Korin, one also signed in gold paint to the left of the Korin signature Uge-an Doitsu kore o mosu (Copied by Uge-an Doitsu); with an outer lacquered box containing two fitted wood tomobako storage boxes, one inscribed outside Horai no zu Ogata Korin hitsu ippuku (A Scroll of Horai by Ogata Korin), the reverse with signature Seisei Kiitsu shi, and with a spurious certificate by Sakai Hoshuku attributing one of the scrolls to Ogata Korin, dated spring 1931, the other wood box without inscriptions. Each overall: 216cm x 90.5cm (85in x 35 5/8in); image: 133cm x 71.5cm (52 3/8in x 28 1/8in) (6).Footnotes:The background to this attractive and elaborate forgery—clearly drawing its inspiration from classic mages by Ogata Korin such as the celebrated Waves at Matsushima screen in the Museum of Fine Arts, Boston or images in woodblock-printed publications such as Korin hyakuzu (100 Designs by Korin, 1815-1826)—seems to be that someone, perhaps Sakai Dōitsu himself, prepared the 'original' painting and then did a copy in order to make the original seem more authentic. To cap things off, Sakai Hoshuku prepared a spurious certificate in 1931 that perhaps reflects the fragile, even desperate, art market conditions that obtained in Japan especially after the Wall Street crash. Whatever their precise origins, the two scrolls are splendid examples of the second revival of the Rinpa style that took place in the mid-Meiji era.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Railwayana - pen and ink and watercolour drawing of GWR Great Western Railway Company Iron Duke, dated 1861, A/F; a collection of press photographs relating to WWII; and other ephemera

Various pictures and prints including framed maps, pen and ink drawing, pencil portrait, needlework picture, etc.