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William Gabriel Atkin [1897-1937]-Downbeat cafe interior,:- signed bottom leftpen, ink and watercolour drawing, 22 x 29.5cm,together with a small printed illustration by the same hand. [2]*Notes Please see website for further images of this lot www.bhandl.co.uk

Manner of Giovanni Paolo Pannini [late 18/19th Century]-Figures amongst classical ruins,:-pen, ink and wash drawing, 38.5 x 31.5cm.

Follower of Sam Prout, Gate Tower, ink and wash drawing, 21x26cm; a watercolour of farm animals; and a pencil drawing of a windmill. (3)

Sir George Hayter monogrammed ink drawing highlighted with white, head study of a lady with drapery, Abbot and Holder label verso, 7.5ins x 5.5ins

Ink and wash drawing, the infant Christ with monastic figure, together with two mixed media drawings, biblical studies, all unframed

A framed ink drawing of two horses entering a stable, unsigned. Measuring 33cm x 39cm.

Nelson Dawson (1859-1941), etchings and a drawing;1. 'Even Numbers Deal with the Enemy in Rear...Capt Neville; 3rd Dragoon Guards...', 16 x 12cm.2. 'Even Numbers Deal with the Enemy in Rear...Capt Neville; 3rd Dragoon Guards...', 16 x 12cm.3. Coloured etching, Military trophies, 20 x 24cm.4. Pen and ink, 'Vessels ...awaiting convoy - from an aeroplane Mar 17, 1918', 20 x 26cm.5. Coloured etching, 'U.S and British Admirals at Ostende bombardment', signed, 19 x 23cm.6. Etching, bi-plane ditched beside HMS Leven, 15 x 23cm.All unframed - the last of lot of the collection that we have been selling in recent months.

Hand signed by Herge in pen original vintage advertising poster for Les Adventures de Tintin. Tintin au Tibet / The Adventures of Tintin. Tintin in Tibet, by Belgian cartoonist Herge, Georges Prosper Remi (1907-1983) featuring a fun illustration of Tintin, Captain Haddock, and Sherpa named Tharkey all carrying large backpacks looking at Snowy following footsteps of a Yeti snowman on Gosain Than Massif in the Himalayas of Tibet, stylised black title writing on an orange background. Poor condition, several creases, several tears on edges and image, staining, signed and dated by artist with personalized message and drawing in blue ink. Country of issue: France, designer: Herge, size (cm): 61x43, year of printing: 1979.

Original vintage advertising poster for Andre Masson: Line unleashed, 8 July to 27 September 1987 at Hayward Gallery, London, featuring an automatic drawing in black ink and colourful patches by a French Surrealist artist Andre Masson (1896-1987). Good condition, folds, creasing, pinholes, tears on edges, minor staining. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1987.

KIRCHNER, ERNST LUDWIG (1880-1938), "Weg unter Bäumen", wohl im Park in Dresden, u.re. mit Bleistift signiert 'E L Kirchner' und undeutlich datiert '190?' (letzte Ziffer vom Passepartout verdeckt), Tuschpinselzeichnung/chamoisfarbenes Papier, HxB: Passepartoutausschnitt ca. 42x32,5 cm (62x51 cm mit Rahmen). Alters- und Knickspuren, gebräunt und leicht wellig. Im Passepartout mit Papier hinterlegt und mit Papierklebestreifen montiert, hinter Glas gerahmt (Rahmenleiste minim. beschädigt).| KIRCHNER, ERNST LUDWIG (1880-1938), "Path under trees", probably in the park in Dresden, signed in pencil 'E L Kirchner' and indistinctly dated '190?' (last digit covered by the passe-partout), ink brush drawing/chamois-colored paper, HxW: passe-partout cut-out approx. 42x32.5 cm (62x51 cm with frame). Signs of age and creases, browned and slightly wavy. Backed with paper in the passe-partout and mounted with paper adhesive strips, framed behind glass (frame bar minim. damaged).

Attrib: ARTHUR SWANNICK. BRITISH 1810-1874 On the canal between Stourbridge and Dudley. Sepia watercolour 5½' x 8'; together with a small pen and ink drawing of Ely Cathedral signed Gertrudo Leakey 1907. (2)

NICO VERBOOM (SOUTH AFRICAN, BORN 1927) - Seated nude with hands clasped, pen and ink drawing, signed and dated '83, unframed, 59cm x 41cm, also a monoprint signed Goldblum and four other unframed drawings and watercolours by South African artists. (6)

Lionel Edwards, pen & ink drawing, 19 x 29cms, framed

Paul Scheurich (1883-1945): La Société à la mode, encre et couleurs sur papier, 1935 Paul Scheurich (1883-1945): Coloured ink drawing of fashionable society, 1935Depicting fashionable couples in evening dress, 26.6 x 30 cm, signed Scheurich 35For further information on this lot please visit Bonhams.com

Robert Gemmel, watercolour of an elderly lady seated, watercolour on paper, signed lower right 'R Gemmel', 32 x 23cm, together with pen and ink drawing a market scene, attributed George Soper, 19 x 29cmCondition report: Both framedElderly lady: browning to the top left cornerMarket scene, quite browned and grubby, discolouration and the start of foxingSee pics

A PEN AND INK DRAWING OF A NUDE FEMALE SUBJECT ENTITLED 'HALFWAY BETWEEN HEAVEN AND WOOLWORTHS' SIGNED BY P. H. DOBSON

Sydney Maiden - 'Royal Albert Docks', watercolour and ink, signed, titled and dated Sept 1951, 33cm x 43.5cm, within a stained wood frame, together with another watercolour and a pencil drawing by the same hand.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Tony Hart - Morph, 20th century pen and ink, signed and dedicated, 84cm x 59cm, together with two photographs of the artist creating the drawing.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

From the Collection of Admiral Grindall, an Able Seaman aboard Captain Cook's Resolution during his second circumnavigation; thence by direct descent through his family.(Attributed to William Hodges, 1744 - 1797) A drawing with watercolour highlights of HMS Resolution. On paper. c. 1773. Unrestored. The drawing was executed during Captain Cook's second circumnavigation by William Hodges, who was aboard the Resolution in the capacity of the expedition's artist. Sold with associated note of provenance. Ink on paper. Inscribed: "The Resolution" "Captain Cook.." "My dr [?] Husband went / round the World in / the 2nd Voyage that / Cap..Cooke went."Dimensions:(Drawing) 4.5 cm (Diameter)

From the Collection of Admiral Grindall, an Able Seaman aboard Captain Cook?s Resolution during his second circumnavigation; thence by direct descent through his family.Attributed to Henry Roberts, 1756 - 1796. A drawing with watercolour highlights of HMS Resolution. On paper. c. 1773. Copiously inscribed to the reverse. Unrestored. This drawing was likely executed by Roberts, who was aboard the Resolution, while she was off the coast of Tahiti between August 16, 1773 and August 24, 1773 (cf. Georg Forster's account of the journey below). (in ink) "The Resolution Capt: Cooke"  (in pencil) "Forster Matara, Hodges Oreo, Grindall Terino, Sparrman Pamanee, George Teoree." These were the names given to members of the crew by the Tahitians whom they encountered as they were unable to pronounce the English names. This fact is documented in Georg Forster's A Voyage Round the World in His Majesty's Sloop, Resolution, commanded by Capt. James Cook, during the Years 1772, 3, 4, 5. Georg Forster, the celebrated naturalist, accompanied his father, Johann Reinhold Forster, on Cook's second circumnavigation aboard the Resolution. Forster's account of the journey, especially his observations of the people of Polynesia, was significant both as an ethnographic work and as a contribution to the bourgeoning genre of scientific travel literature. He was subsequently admitted to the Royal Society at the age of twenty-two.Dimensions:4 in (H) x 3 in (W)

Office of John Nash (1752-1835) - Two Italianate Villas for Sir James Murray Pulteney, the first inscribed verso "A house intended to be built in Scotland by Sir James Murray Pulteney. This view given to Mary Countess Harcourt. Sir James was the... friend of William Earl of Harcourt and his Countess... his death was occasioned by the...", the second inscribed verso "This is of a house... to be built by... [signed] Mary Harcourt", oil on paper laid on panel, 36.5 x 55cm, each with printed trade label of Baker Carver & Guilder to Her Majesty Thames Street Windsor, unframed (2) Provenance: Sir James Murray-Pulteney (1755-1811) by whom presumably commissioned from John Nash; William Harcourt, 3rd Earl Harcourt (1743-1830) and Mary Harcourt, nee Danby, Countess of Harcourt (1749-1833); acquired in the mid-20th century by the family of the present vendor.One or other of these newly discovered alternative perspective designs by Nash, differing in scale but not in style, was to be built at Clermont, Fifeshire for Sir James Murray Pulteney.The larger villa was to be closed modelled on Nash’s Cronkhill of 1802, the earliest example of an Italianate villa in England. This similarity is not surprising as Pulteney would have been familiar with the design of Cronkhill. That was originally intended to be a larger building and much closer to that in the present lot as is clearly evidenced by the drawing by Nash’s assistant George Stanley Repton (1756-1858), now in the Sir John Soane Museum, London. It is entirely possible that the present works, executed in pen, ink and thin oil on paper instead of pen, ink and watercolour, are also from the hand of Repton.Both the siting of Cronkhill at Atcham near the River Severn and the Wrekin, and the area around Clermont are not particularly mountainous but in country with relative ‘hills’.The soldier and politician General Sir James Murray-Pulteney, PC, 7th Baronet, was the son of Sir Robert Murray, 6th Baronet and his first wife Janet Murray. His lengthy military career included service in the American War of Independence in which he was injured at the Battle of Brandywine in 1777. He assumed the additional name of Pulteney when, in 1794, he married Laura Pulteney, 1st Baroness Bath (1766-1808), the daughter and heiress of his cousin Sir William Pulteney, 5th Baronet and MP for Shrewsbury (1729-1805).The familial link between Sir James Murray-Pulteney and Sir William Pulteney (his cousin and father-in-law) who’s home was only five miles distant from Lord Berwick’s Attingham Park, where not only Cronkhill, but the picturesque estate village of Atcham (c1797) was also built by Nash (a prolific visitor of his clients) is strongly suggestive of an introduction to  or recommendation of Nash.The present designs were almost certainly commissioned in the years immediately following the death of Sir William Pulteney. Sir James Murray Pulteney’s death in 1811 removed the raison d’etre for a house at Clermont.Her father, who also married an heiress and took her name, was said to be the wealthiest man in Great Britain. Remembered for his role in the development of Bath, he was a patron of the architect Robert Adam and the civil engineer and architect Thomas Telford. Sir William Pulteney purchased Shrewsbury Castle in 1775 as a family home. Thomas Telford was responsible for the improvements and alterations that swiftly followed. These included the building of ‘Laura’s Tower’, a picturesque folly of c1790 commissioned for his daughter (she who later married Sir James Murray-Pulteney) as a Summer or Tea house. Mary, Countess of Harcourt (1749-1833), nee Danby, was the daughter of a Yorkshire clergyman. She married, firstly, Thomas Lockhart and secondly, in 1778, General William Harcourt, 3rd Earl Harcourt (1743-1830). A pupil of Alexander Cozens, the countess was herself a keen and accomplished artist. The couple enjoyed a close friendship with the royal family and their various interests and activities were recounted by the diarist Joseph Farrington RA (1749-1821).Nash was by far the most successful, fashionable and subsequently controversial British architect of the regency. He worked throughout England, Wales and Ireland but it is surprising that he built hardly anything in Scotland. The influence of Nash's design for Cronkhill on the history of British architecture has long been recognised. Sources:Summerson (Sir John) - The Lift and Work of John Nash ArchitectWilliams (Gareth) - The Country Houses of ShropshireTyack (Geoffrey) - Cronkhill Shropshire, article in Country Life,  February 19 2004 Further potential sources (not examined)William Pulteney paper, Huntington Library, CaliforniaCorrespondence of Sir James Murray-Pulteney, his family and contemporaries (in 33 volumes), The Morgan Library, New York Condition ReportBoth require conservation but in basically good original condition, varnish dirty, paper lifting in places, panels sound

R & W Kerry (Fl. c1835-1850) - Portrait of Joseph Sunderland, signed and dated verso Messrs Kerry 1848 and inscribed Mr Joseph Sunderland's likeness, pen, ink and watercolour on card, 28 x 18cm, rosewood frame, sold with mourning card of Joseph Arthur Sunderland who died May 1st 1893 aged 37 years and was interred in the family grave at Yardley cemetery Birmingham Condition ReportGood condition in what is undoubtedly the original frame, the drawing slightly exposure stained/browned, not torn or restored

A pen and ink drawing 'Rugby match' and a unframed scene of London

School of Raphael Sanzio (Italian, 1483-1520) Madonna and Child with the Book Drawing in brown pen and ink on laid paper Inscribed recto and verso Sheet Size: 6.5 x 3 7/8 in. Overall Framed Size: 11.25 x 9.25 in. Framed behind glass.

Ballooning.- Anonymous (probably late 18th century) Original drawing of a "lost" print, showing an [imagined] flight in Barcelona 1678 with a piloted balloon based on the design of Franceso Lana de Terzi, pen and ink with traces of pencil, double ruled ink borderline, on laid paper without watermark, manuscript text underneath that reads 'Facsimile drawing of the Air Ship of Captain [Z]erez di Molina from the rare Print/ in the Viaggio [?] Don Balthazar y Zuniga. Barcelona 1679 in the British Museum/ "By which it appears the cylinders were [?inflated] and it ascended from the Plaza del Maria/ on May 15th 1678 to the height of 900 ft. when one of the cylinders burst, and the vessel came [down on] the tower of the Cathedral of Barcelona and the Captain was killed on the [?spot]', sheet 480 x 310 mm (18 7/8 x 12 1/4 in), several small nicks, handling creases, small losses to edges and abrasions, surface dirt, unframed, [18th century]Illustrated:Turnor, Hatton, Astra Castra. Experiments and Adventures in the Atmopshere, Chapman and Hall, 1865, illus. p. 34 ⁂ A presumed fantastical albeit sadly imagined event, with little information on the pilot or flight and with the technical requirements of the "boat ship" being beyond the capabilities of the 17th century. The print in the British Museum that the drawing purports to be after cannot be found. The aerial ship appears to be based on a design by the Father of Aeronautics, Francesco Lana de Terzi, and shares characteristics similar to that published in his Prodromo, 1670.

Ballooning.- Blanchard, François.- Küstner (A.W.) Blanchard 28te farth zu nurnberg den 12te November 1787, engraving, a good impression on laid paper with watermark of Strasbourg Lily, platemark 325 x 350 mm (12 3/4 x 13 3/4 in), sheet 335 x 370 mm (13 1/4 x 14 1/2 in), minor nicks to edges with small losses, handling creases and surface dirt inscribed 'No 22' in brown ink to upper edge, unframed, 1788Illustrated:Turnor, Hatton, Astra Castra. Experiments and Adventures in the Atmopshere, Chapman and Hall, 1865, illus. p. 246⁂ Scarce. After an original drawing showing a crowd watching Blanchard make his 28th ascent in a balloon above Nuremberg.

Ballooning.- St. Petersburg.- Anonymous (mid 19th century) Original drawing of a plan for a balloon flight by a Russian Prince above the port city, Kronstadt, showing a sailing ship hoisting 10 balloons attached by a line, each rising further than the last above the ship, the final a double balloon with drop line to the sea, pen and ink with watercolour, on thin prepared linen, sheet 410 x 980 mm (16 1/8 x 38 5/8 in), old folds and handling creases, some even toning and surface dirt, with manuscript note affixed to the reverse that reads 'The Colored Drawing is a [?bold] plan of that Prince/ de [?Commènes who, I told you, lays claim/ by historic right of descent, from Constantine to the throne of Constantinople. He has/ not been here [?very] lately but it is amusing/ to see his plan for overlooking Cronstadt!!/ Paris 1855', unframed, [mid 19th century]⁂ Highly unusual panoramic view of a planned balloon flight, with intriguing Russian association.

GEORGIAN SCRAP ALBUM: a fine late Georgian album of scraps, manuscript verse, watercolours and drawings, upper free endpaper inscribed 'a tribute of affection to Fanny ?Ansee from her sister on her birthday June 29th 1835': includes a well executed representation of hieroglyphics 'from an Egyptian painting found by Belzoni in Thebes', with related 17 line verse on opposing page: ink and watercolour drawing captioned 'Jem Holmes barn in Stopples Barn, Arundel Castle in the distance', dated 26th Sept 1826: another drawing in the same hand captioned 'Lane at John Page's Corner in Burpham', dated for the preceding day: small 4to album, original blind stamped brown morocco ornately gilt, aeg. (1)

Sven BERLIN (1911-1999)WarriorInk drawingSigned and dated '5940x29cmA second early ink drawing Fallen Warriorand a third ink drawing Trojan Head 57x49cm

Sven BERLIN (1911-1999)Boats, St Ives HarbourAn early ink drawing, circa 194515 x 19.5cm

Sven BERLIN (1911-1999)Smeatons Pier, St IvesAn early ink drawing, circa 194515 x 19.5cm

Sven BERLIN (1911-1999)FlyInk heightened with whiteSigned and dated '66Together with an ink drawing of a BisonMonogrammed and dated '5756x38cm and another of a camelCondition report: Overall this lot is in varying conditions. The ink fly drawing displays very slight surface marks and a small tear to the bottom right corner (please see image). The camel drawing has very few areas of concern. The larger piece in the lot, the bison, presents foxing throughout and discolouration to the page (please see image). There are a few areas of creasing, particularly at the bottom left and right-hand corners.The paper is flat

Sven BERLIN (1911-1999)FishThree ink drawings39x59cm and similarCondition report: Two of these drawings are in particularly good condition (please see the last two images), with minor marks. The remaining drawing (please see the first individual photo), appears to be the older of the three works and has slight yellowing to the page. Overall the three drawings are in good condition.

Sven BERLIN (1911-1999)Girl with GooseInk drawingSigned and dated 195858x38cm, an ink drawing Sisters signed 58x38cm and a smaller ink drawing Ducks 1958

MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG    

MORGAN MICHELE: (1920-2016) French film Actress. Attractive signed 5.5 x 8 drawing (13.5cm x 20cm) by Morgan, on a Canson drawing paper. Morgan draws several abstract geometrical figures, using several colours. Signed `M. Morgan´ in black ink to the bottom right corner. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. EX

DALI SALVADOR: (1904-1989) Spanish surrealist artist. Book signed and inscribed, being a softcover edition of Dali…Dali…Dali by Max Gerard, an abridged edition published by Harry N. Abrams, Inc., New York, 1974. Signed and inscribed by Dali in blue ink to the head of the first page of text, 'A Richman, Dali', and dated 1979 in his hand. Dali has cleverly incorporated a drawing into his signature, the initial D taking the form of a snail's shell as the mollusc glides along a leaf from which three droplets of water descend. Bound in the original colour illustrated paper covers and featuring many black-and-white and colour illustrations. Contained in a handsome custom designed dark navy-blue quarter leather and cloth clamshell box with a gilt stamped title to the spine. Some very light, minor age wear, VG

HARTUNG HANS: (1904-1989) German-French Painter of abstract style. An excellent and rare signed and inscribed abstract colour drawing by Hartung, one page, 9.5 x 11.5, to the title page of a catalogue, Antibes, 24th July 1984, in German. Hartung has drawn beneath the printed title "Hartung" a very attractive abstract image, using yellow and blue pencils. Signed and inscribed in bold black ink to the title page removed from the catalogue "Hartung", 10 x 12, by Pierre Descargues, published by Editions Cercle d´Art, 356 pages, Paris, 1977. Matted in white to an overall of 17 x 19. VG 

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

FAIZANT JACQUES: (1918-2006) French Cartoonist, best known for his caricatures in the newspaper Le Figaro and Match Point magazine. A colourful signed original sketch, Jacques Faizant, a bold and attractive signature, to the blank verso of an 8vo card bearing to the upper left corner his black embossed full name. The original ink drawing above his signature showing one of his comics roles, his French Marianne, France´s national symbol of liberty. VG

CHARTERIS LESLIE: (1907-1993) British-Chinese author of adventure fiction, creator of Simon Templar, alias The Saint. Signed colour 3.5 x 5 photograph of Charteris in a head and shoulders pose. Signed in red ink to the lower border, adding a small drawing of The Saint alongside his signature. VG

DICK PHILIP K.: (1928-1982) American science fiction writer. T.L.S., Love, Phil (with a small ink drawing of a love heart and arrow alongside his signature), one page, 4to, n.p. (Santa Ana, California), 14th January 1981, to Professor Patricia Warrick ('Dear Pat'). Dick commences his letter stating 'I was drawing up a list in my mind of the qualities or aspects or elements that I found in God or connected with God, and the list is awesome', continuing with his ten point list ('Absolute beauty (Pythagoras' kosmos.), Absolute reason (The Logos.) Absolute structure (The macrometasomakosmos.)…..Infinite time (eternity) Absolute and infinite love (agape)……Infinite kindness Infinite patience' etc.) and remarking 'As him extended in space or in his mind as a conception (either will do) world becomes infinitely beautiful and structured and lawful and orderly…..He manifests an absolutely wise rule in the form of law, the natura naturens of Spinoza (a term taken over from the Medieval Scholastics). Note that on this list I do not include absolute being (einai) or absolute consciousness, two of the three aspects of Brahman. For some reason I was not aware of them. That does not mean that they do not exist, but I would identify his absolute being with the absolute reality of the world-order (showing the influence of Spinoza on me)'. Dick concludes by adding 'This is an impressive list. Would it seem to you, from this list, that indeed it was God that I experienced? I would think so. The list seems to point to it'. A letter of interesting content. Accompanied by the original envelope. About EX

STEINBECK JOHN: (1902-1968) American author, Nobel Prize winner for Literature, 1962. A charming and amusing fountain pen ink drawing and sentiment signed by Steinbeck to the head of a 4to page removed from an album, n.p. (Avignon), n.d. (annotated 20th November 1961 in another hand to the upper right corner). In bold blue fountain pen ink Steinbeck has penned a sentiment, in French, 'J'y suis, J'y mange, J'y reste' (translation 'I am here, I eat here, I rest here'), adding his signature beneath, immediately followed by an amusing ink sketch of a large, round flying pig, beneath which Steinbeck has added the French phrase Ci-git, usually used to precede a name on a tombstone. The lower half of the page bears a blue ink signature and sentiment ('With very pleasant memories of lovely Avignon, Byron Janis') by Byron Janis (1928-    , American pianist), dated November 1961 in his hand. A rare and attractive example of Steinbeck's signature, which could be neatly excised from the page if so desired. VG Pigasus, the flying pig, was used by John Steinbeck throughout his life as a trademark symbol of himself, earthbound but aspiring.  Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

IRWIN JIM: (1930-1991) American astronaut, Apollo Lunar Module pilot of Apollo XV (1971). The eighth man to walk on the moon. Book signed and inscribed, being a paperback edition of To Rule the Night - The Discovery Voyage of Astronaut Jim Irwin, published by Holman Bible Publishers, Nashville, 1982. Signed and inscribed by Irwin in black ink to the half title page, 'Mary Rees, His Love From The Moon, Jim Irwin', also adding his mission title, Apollo 15, and a small drawing of a crescent moon in his hand beneath his signature. Some very light age wear, about VG

LEONOV ALEXEI: (1934-2019) Russian cosmonaut, the first person to conduct a spacewalk (1965). An original bold blue pen and ink drawing executed and signed by Leonov, on an oblong 4to sheet of white paper, the image depicting a bird in flight. Signed (perhaps deliberately in artistic manner) at the tail of the bird and dated in his hand. About EX

Will Owen, 'Bribery and Corruption', an ink cartoon drawing, signed, 13" x 10".

E Gambier Parry (of Highnam Court Gloucestershire interest) pencil drawing of a leaf detail on wood or stone carving, monogramed and dated 81, 28 x 38cm, coloured etching of the Passage, Arlingham River Severn, and seven further sketches and etchings to include F.H.White pen and ink study of Exeter

Scrap album. A scrap album containing 50 tipped-in illustrations, comprising: 33 hand-coloured aquatint plates after Thomas Rowlandson, taken from The English Dance of Death, 1815-1816, each trimmed and tipped-in, pencilled title to lower edges, some edge-chipping, some generally minor spots, marks, or surface abrasion, a few plates with (generally closed) tears, one plate with long central tear and laid down on thin card, pencilled verse couplet beneath each plate; 11 prints (3 by or after Jacques Callot, Jan Both and Adriaen van Ostade); 5 pencil drawings (including a sheet of hand studies); 1 pen & brown ink and brown wash copy of a 17th century English School drawing; 1 watercolour lakeside scene, various conditions, support leaves discoloured from adhesive, contemporary black half morocco, worn with loss to spine, 4to, together with: a second scrap album, with decorative title in pen & black ink and wash: 'Reis langs den Ryn, Frankfurt, Heidelberg, Munchen, Weenen, Tyrol, Salzburg, Dresden en de Sächsische Schweiz', 25 tipped-in views comprising: 3 watercolours (one two-tone), one sepia watercolour (with another to verso), 2 sepia watercolours over pencil, 19 pencil sketches, most views with pencilled title, some dated 1856, also one engraved view (spotted), and 4 albumen prints, contemporary cloth, front cover with date '1856', worn with some stains and marks, 4to, plus another album containing approximately 280 illustrations taken mainly from issues of The Weekly Freeman (1880-1886), a few from The Sphere (1910-1912), and a commemorative issue of The Sphere (May 28, 1910)Qty: (3)

Bagster (Samuel, 1772-1851). Publisher and author. A pair of half-plate daguerreotypes of Samuel Bagster and his wife Eunice (1777-1877), c. 1845-1850, the first showing Samuel and Eunice seated at a small table with some needlework in front of Eunice, the second similarly set with some blue tinting showing Samuel and Eunice full length and seated with their eldest daughter Eunice (1804-1878) standing next to her mother, Samuel reading a book, Eunice junior using knitting needles while her mother looks on, the first image with a little marginal solarisation, visible image area of each 132 x 94 mm, matching elliptical brass mats, glazed, original leather-covered hinged boards with bevelled edges and clasps, both somewhat scuffed, velvet pad to first daguerreotype missing from inside lid, together with a pair of one-sixth plate near-identical daguerreotypes of Mary Ellen & Cornelia Susannah Bagster (1844-1921 & 1846-1913), 1851, both portraits showing the two girls and a doll, both with some speckling and spider mould on plate and glass, bevelled wall frames with eye hooks [?Richard Beard studio], one with contemporary identification inscription to label at rear, 'Mary and Cornelia, taken 1851' and later inscription noting that the photograph of 'Mother and Aunt Cornie' was taken in Regent Street, London, 1851, plus 4 one-ninth plate daguerreotypes of Bagster family members, mid-1840s to early 1850s, including one in a wall frame with hook (with 'Beard Patentee' stamp) and pencil identification of subject as Aunt Emma Bagster [Emma Maria Dyson, 1814-1888; married Benjamin Bagster, 1812-1891], one of an unidentified Bagster woman and one of a younger girl, both with lids detached, the one of the girl with gilt stamp of 'Mayall, Argyll Place, 224 Regent Street' to base, the last ninth-plate daguerreotype of a young man, [1843?], possibly John Bagster (1802-1843, second son of Samuel the Elder and Eunice), his personal business card for S. Bagster & Sons (partly folded and split) with a lock of hair attached found loosely inserted in the caseQty: (8)Footnote:These are possibly the only two extant photographs of Samuel Bagster the Elder. The National Portrait Gallery owns a portrait of Bagster by John Linnell, drawn from life at Windsor, c. 1852, itself an 'improved' version of a sepia ink sketch still in the Bagster family collection. Another drawing with watercolour acquired by the NPG in the same lot at the Linnell Sale (Christie's, 15 March 1918, lot 82) was sold by the NPG Trustees to Sir John Lane. The family photographs in the following two lots all date from after Samuel's death in 1851 and therefore include no more images of him.

*Sir Jacob Epstein (1880-1959)Sketch for 'Day'signed 'Epstein' l.l., pencil, ink and wash57 x 42.5cmProvenance: The Redfern Gallery(?);Lady Epstein (Kathleen Esther Garman);with Obelisk Gallery, London, c.1965:Anon, Bonham's, London, 29 November 2005, lot 69.Sketch for 'Day' is a preparatory drawing of c.1929 for the monumental sculpture 'Day' commissioned along with its pair 'Night' for London Transport HQ (55 Broadway, a Grade 1 listed building close to St James's Park, London). The sculptures, completed in 1929, are amongst Epstein’s most celebrated and, at the time, controversial public works. On their unveiling, there was outcry over the explicit nudity of the boy, which led to the offer of resignation from the Managing Director of London Underground (UERL), which had commissioned the works. In the end, Epstein made a compromise - shortening the boy's penis - and the uproar was forgotten. The inscription verso, in (the elderly) Lady Epstein’s hand on an Obelisk Gallery label, states it was exhibited in 1927 at The Redfern Gallery - but this could be inaccurate as the commission for 'Day & Night' was received in 1928, and other 'Day' related studies are dated '28 or '29. See related Epstein studies in 'Jacob Epstein Sculpture and Drawings'. Leeds City Art Galleries, 1987, pp.224-5. (Lot 47, Modern and Contemporary Art - 05/04/2022).*Artist's Resale Right may apply to this lot.Condition report: overall: 89.5 x 70cm

A pen and ink drawing of the Close Gate, Winchester - signed AEC and dated '46 - sold with a quantity of prints including a limited edition John Trickett golden retriever, signed in pencil to margin

Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Flower Bomber' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm.  Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.

A large pen and ink drawing of garlic and chilli peppers, signed 'Guttyo' to the lower right, 35 by 50, framed and glazed, 71.5 by 92cm.

Lionel Edwards, pen & ink drawing, 19 x 29cms, framed

A collection of calligraphy and drawing equipment including a number of Chinese ink blocks

MARGARET LEE THOMPSON (BRITISH, 20TH CENTURY) (4)The crane and the fox from Aesop's fablessigned 'M Lee Thompson' (lower left)pen and ink15 x 10cmTogether with a pen and ink drawing of elephants watering by the same hand; a sketch by Dacres T C Belgrave and one further advertising sketch(4)

Daniell (Thomas, 1749-1840) and William Daniell (1769-1837). Mausoleum of Sultan Purveiz, near Allahabad, pencil worked up with watercolour, on laid paper with watermark of a Strasbourg lily, countermarked 'IV', and with the artist's characteristic ruled black ink border, sheet 413 x 630 mm (16 1/4 x 24 3/4 in), under glass, some signs of careful restoration to old handling creases and abrasion, faint exposure lines visible at extreme edge, framed, [circa 1790]Engraved:T. and W. Daniell, aquatint engraving, for Oriental Scenery, 1805, vol. 1, no. 22Literature:cf. Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William daniell 1786-1794, 1980, no. 68⁂ 'The remains of Sultan Purveiz, the son of the Emperor Jehangire, were here deposited about the year 1626. The simplicity of the general design of this Mausoleum, with its judicious and well-executed decorations, rank it among the the most correct examples of Indian architecture' [The Journal of William Daniell, c. 7, November 1789]An excellent example of a "field drawing" produced by Thomas Daniell and his nephew William while on their journey through India. The distinctive pencil under-drawing would have been produced on the spot, and then once back in England the two artists would have worked up the drawing in watercolour and brush and ink. For a comparative example showing the same handling of pencil cross-hatching and jagged delineation of foliage, see the watercolour 'Main Entrance of the Jami Mosque, Jaunpur' held in the Yale Centre for British Art (acc. no. B1977.14.6140, - with images here: https://collections.britishart.yale.edu/catalog/tms:9224].An aquatint based on the drawing was published as Plate 22 in the first volume of Oriental Scenery in 1798. The aquatint was published with the imprint that it was 'Drawn and Engraved by Thos. Daniell', however the nature of the under-drawing suggests his nephew William was closely involved; as with many of their finished watercolours, it is difficult to distinguish their individual contributions.

Pablo Picasso, 1881 Málaga – 1973 MouginsBUSTE DE FEMME Tuschzeichnung. 33,5 x 56,5 cm. Hinter Glas in vergoldetem Rahmen.Beigegeben eine handschriftliche Echtheitsbestätigung des Sohnes und Nachlassverwalters Claude Ruiz-Picasso auf Foto vom 21. September 2015. Tuschzeichnung mit handschriftlicher Widmung von Pablo Picassos an „Monsieur Georges Huguet“. Ferner mit Signatur „Je le peint de -Picasso“. Auf dem chamoisfarbenen Karton mehrere braune Schnipsel von Packklebestreifen. A.R.Anmerkung: 1957 schuf Picasso ein Litho-Poster in einer Auflage von 55 Originalexemplaren, mit Portrait von Manolo Huguet, den spanischen Bildhauer und Freund Picassos, gedruckt im Atelier Mourlot, anlässlich der Ausstellung im Musée D‘Art Moderne in Céret, Frankreich. Darüber hinaus fertigte Picasso ein weiteres Lithografie-Kopfbildnis „Huguet, Georges; Non vouloir“. Bei Georges Huguet handelt es sich wohl um den surrealistischen Autor, der am 25. Juni 2019 verschied. (1300555) (11)Pablo Picasso,1881 Málaga – 1973 MouginsBUST OF A WOMANInk drawing.33.5 x 56.5 cm.Handwritten certificate of authenticity by the son and executor of the estate Claude Ruiz-Picasso on photo dated 21 September 2015 is enclosed. Ink drawing with handwritten dedication by Pablo Picasso to “Monsieur Georges Huguet”. Also signed “Je le peint de -Picasso”. Several snippets of brown packing tape on the chamois-coloured cardboard.Notes:In 1957 Picasso created a limited edition lithograph poster of 55 originals, with a portrait of Manolo Huguet, the Spanish sculptor and his friend, printed by Atelier Mourlot for the exhibition at the Musée D’Art Moderne in Céret, France. In addition, Picasso made another lithograph head portrait “Huguet, Georges; Non vouloir”.

Mr Doodle (British 1994-), 'Untitled', unique inkl drawing on paper, signed 'Sam Cox' in black ink; 42 x 32cm inc frame ARR

A RARE FLORENTINE SCAGLIOLA PANEL BY LAMBERTO CRISTIANO GORI SIGNED AND DATED EITHER 1752 OR 1782 A Scagliola panel of an Italianate harbour scene, the foreground with merchants and portside figures, castle tower with soldiers beneath, ships beyond, signed to the side of a box slightly indistinctly, "Lambertus Cristianus Gori, Fec: Florenze Anno Dom 1782 (or 1752?)", ink inventory (?) number to reverse, in a later swept gilt frame, provenance as per handwritten note to versovisible panel 37 x 54.5cm, the frame 53 x 71cmProvenance:The collection of His Royal Highness Prince Georg of Denmark 1975Lamberto Cristiano Gori (1730-1801) was apprenticed to the monk Don Enrico Hugford of Vallombrosa, regarded as one of the leading exponents of the art of scagliola in the 18th century. John Fleming in his article 'The Hugfords of Florence' (Connoisseur, October 1955) writes that Hugford's work displays "technical brilliance, his hand revealed by the charming but unvarying colour scheme of salmon pink, pale blue, light sandy brown and smokey grey, which gives his panels the appearance of gouache paintings under thick glass, their surfaces being exceptionally smooth and translucent". In his technical mastery Gori rivalled his master but, unlike him, his work tended to be less inspired by known observable landscapes and more by a leaning toward capricci- freer extemporizing interpretations of the scenes around him.In his article 'Masters of the Art of Scagliola', Country Life, September 29, 1994, Jonathan Cook suggested that Gori was drawing more on the painterly styles of artists such as Vernet and Pannini. The imaginary Mediterranean view of this panel shows similarities in the soft colouring and in the treatment of the figures with the central scene on a pair of scagliola table tops at Woburn Abbey (Bedfordshire) dated 1762 and made also by Lamberto Cristiano Gori and commissioned by the Marquess of Tavistock, eldest son of the 4th Duke of Bedford. For a pair of harbour scenes with similar treatment of the water and buildings, signed by Lamberto Gori, see lot 39 from the "The Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais" sold Sotheby's, London, 3 May 2012, £27,500.Condition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.The later frame with losses, damage and repairs.The panel with what appears to be a slightly discoloured wash- pale yellow tea coloured. There are small areas where a whiter undercolour is visible - possibly from surface abrasion. Traces of prior framing evident from traces of gilding to edges of panel. Edges also showing nibbling and small loss- most noticeable to lower right hand corner that has section approx 1cm replacedPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer