We found 10863 price guide item(s) matching your search

A group of twenty-five jasper chess pieces, 19th centuryAfter the Wedgwood set modelled by John Flaxman junior, thirteen in blue jasper and twelve in white, contained within a wooden box, 4.5cm to 8.3cm high (25)Footnotes:These models are to be seen in a pen, ink and wash drawing in the Wedgwood Museum, signed 'J Flaxman Invt et Delint', illustrated by Robin Reilly, Wedgwood Jasper (1994), p.188, pl.246. In 1785, Flaxman invoiced Wedgwood the sum of six guineas for the drawing, which may have been intended for display purposes in the London showrooms in Greek Street. The Oven Book shows that the figures were in production by December 1783. On 5 February 1784, Flaxman wrote to Wedgwood 'I return you many thanks, for the liberal praise you bestow on my chess figure'.For further information on this lot please visit Bonhams.com

17TH/18TH CENTURY FLEMISH SCHOOL; pen and black ink drawing 'Old Lady and One-Legged Bore', depicting an elderly lady with basket and tattered cloak sat on a rock, with one-legged man with crutches walking off to the distance, drawing on paper, 16 x 18cm, later framed in a modern gilt wood frame, frame size 34 x 34cm.

JOY KIRTON SMITH; colour lithograph 'Repose III', limited edition no.145/495, signed and numbered in pencil to the margin, 29 x 20cm, unframed, together with a gouache and ink drawing by Janet Dominy 'In an Old Tuscan Garden', signed, 30 x 24cm, framed and glazed (2).

PEN AND INK DRAWING OF PILGRIMS IN A MONASTERY BY EDMUND SULLIVAN SIGNED

CONJURING. - [Angelo J. LEWIS.] 'Professor HOFFMAN'. Drawing-Room Amusements and Evening Party Entertainments. London: George Routledge and Sons, 1883. First edition, 8vo (182 x 117mm.) Frontispiece with tissue-guard, numerous illustrations. (Minor spotting to preliminaries.) Original blue cloth with pictorial gilt, red and blue (small paper labels affixed to upper cover and spine (weakening of upper hinge, rubbing to extremities). Provenance: 'Magic Circle Library' (paper labels mounted to both pastedowns, stamps to title-page and leaf B1, cancelled stamp in ink on the front pastedown, dated 1987). - And a further four volumes related to magic (including 'Puzzles Old and New', [circa 1893], 8vo, and 'Magical Titbits', 1911, 8vo). Provenance: by descent, from the estate of Barry Murray (5).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.

Arthur Moreland, 'The Candidate' initialled, pen and ink cartoon, 17.5x26cm,the mount inscribed in pencil "Original drawing for Punch, Nov 26 1919" full title with caption and signed by the artist.

Alfred Wainwright (1907-1991), an original pen and ink drawing "Gimmer Crag", 20 cm x 17 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Croglin Church", 20 cm x 17 cm, framed, signed. ARR (see illustration).

Hermann Hesse Fünf Gedichte. Eigenhändiges Gedichtmanuskript. Montagnola 1944. - Originalmanuskript des malenden Dichters - Illustriert mit reizvollen Aquarellen - Mit einem Begleitbrief an den Schriftsteller Hans Grossrieder Die hübschen Aquarelle mit Tessiner Landschaftsansichten jeweils auf der ersten Seite des gefalteten Doppelblatts, auf der dritten Seite das eigenhändig geschriebene Gedicht. - Hesse schrieb solche Gedichtsammlungen in mehreren Exemplaren und schenkte sie Freunden oder verkaufte sie an Bewunderer seiner Werke. Die Manuskripte sind allesamt besondere Einzelstücke, die in der Auswahl der Gedichte und Illustrationen variieren. Hier enthalten die Gedichte: Zunachten - Voll Blüten - Flötenspiel - Vergänglichkeit - September. Mit einem maschinenschriftlichen Begleitbrief m. U. an den Schweizer Schriftsteller und Übersetzer Hans Grossrieder (1912-1990), datiert 7. März 1944. 'Sie haben mir mit diesem liebevollen und so schön und klar gearbeiteten Essay eine Freude gemacht, während die meisten Äußerungen der Presse über mich mir eher etwas Verlegenheit bereiten, weil sie weder ein echtes Verstehen noch einen exakten Ausdruck anstreben .. Um Ihnen .. zu zeigen, daß ich mich Ihrer lieben Gabe freue und mich dankbar zeigen möchte, habe ich für Sie in diesen Tagen eine kleine anspruchslose Handarbeit gemacht, wie ich sie je und je für Freunde und zum eigenen Vergnügen mache ..' - Auf einem Doppelblatt, am Kopf mit einer Zeichnung von Günther Böhmer (Hesse zeitunglesend in seinem Arbeitszimmer). Einband: 5 lose Doppelblätter (Gedichte) und 1 Doppelblatt (Brief) in Umschlag mit aquarelliertem Titel. Blattgröße 21 : 15 cm. - ILLUSTRATION: Mit aquarelliertem Titel und 5 aquarellierten Federzeichnungen. Illustrated original manuscript with accompanying letter to the Swiss author Hans Grossrieder. - ZUSTAND: Vorderumschlag am Unterrand mit schwacher Knickspur und dort minimal fleckig, sonst sehr gut erhalten. - Set of 5 poems, each with pen and ink drawing in watercolors. Together in orig. wrappers with autograph title and watercolor border. Sheet size 21 : 16 cm. - Wrappers with faint crease at lower margin. Fine and well-preserved set. Dieses Objekt wird regelbesteuert angeboten (R).

***Ronald Searle (1920-2011) - Ink drawing - Molesworth confronted by a customs officer, signed, inscribed and dated July 1956, 9.25ins x 12.25ins, framed and glazed Provenance: This was won as a first prize by the vendor

Viet cong / Veitnam War interest ink drawing, depicting a soldier carrying a Mosin Nagant rifle, dated 1965.

Danube, Hungary & Serbia.- Gutch (John Wheeley Gough, Queen's Messenger, 1808-62).- Album of travels along the Danube, Hungary & Serbia, pen and ink and watercolours of landscapes, houses and peasant costumes, manuscript captions and notes in ink and pencil, 71pp., a few ff. excised at beginning and end, original calf-backed boards, rubbed, slightly rubbed, corners bumped, tear at head of spine, Mandar bookticket, 120 x 190mm., April-May 1845.⁂ Drawings include: "Beach on the Danube near Presburg"; "Tracking a boat on the Danube near Gunya... 22 horses some pulling our way some another a scene of noise & confusion"; "Buda or Ofan on the Danube"; "Hungarian Shepherd"; "A Slavonian Hungarian Peasant"; "The English Messengers house at Alexnitza [Aleksinac] formerly that of the Turkish Pacha"; "A Servian Tatar"; "Travelling in Servia 200 miles in 27 hours..."; "Sweti Stevân Monastery of St Stephen"; "Bulgarian Peasants at Alexnitza 10 May 1845"; "The Commandant's house at Alexnitza"; "Alexnitza - The Guard house & gate separating Servia & Turkey" etc.Provenance: Gutch, previously a surgeon, travelled to Serbia in the 1840s as a Queen's Messenger, a courier employed by the Foreign Office and still in existence to this day. One of the pictures depicts Gutch drawing the English Messengers House at Aleksinac with the aid of a camera lucida.

Africa.- Constitution of the Colony of Sierra Leone, and its Dependencies, William Henry Savage's copy with his ink annotations and his name on title, interleaved with blank leaves, some water-staining, one leaf with tear, contemporary half calf, worn, gilt-lettered red morocco label to upper cover, upper cover detached, folio, Freetown, Sierra Leone, Printed by Joseph Mitton, 1822.⁂ Savage was born in London to an African father and English mother. He was initially a slave trader but by 1820 had begun trading in produce for Freetown. He arrived in Freetown as a schoolmaster and later became a public notary. The annotations point to his involvement with the drawing up of the constitution and is particularly concerned with providing the nascent colony with a workable legal framework - "No Law made in the colony inflicting imprisonment 3 months shall be of force until approved by His Majesty."

Architecture.- Malton the Elder (Thomas, English architectural draughtsman and writer on geometry, 1726-1801) Perspective studies of capitals and urns, pen and brown and greyish black inks, point of the brush, monochrome wash, on laid paper without visible watermark, ruled brown ink border, sheet 305 x 220 mm (12 x 8 3/4 in), tipped at edges onto window mount support, minor surface dirt and light browning, unframed, [circa 1770-1775]Provenance:Purchased by the present owners circa 1980sPrivate collection, South West England⁂ An original sheet of preliminary designs for plate XXII of Malton's 'A Compleat Treatise On Perspective, In Theory And Practice', published in 1775. Another comparable perspective drawing by Malton was previously sold by Colnaghi in 1979, and it would appear that the present sheet came from the same source. The Colnaghi sheet was a perspective drawing of a desk and chair, and was sold at Christie's New York in 2011 [see Old Master & 19th Century Paintings, Drawings & Watercolors Part II, 26th January 2011, lot 302]. Tate hold two perspective drawings by J.M.W. Turner, which are copies after sections of the present sheet; Turner used these for his lectures as Professor of Perspective at the Royal Academy, circa 1810 [see acc.no D17096/ Turner Bequest CXCV 125 and D17073/ Turner Bequest CXCV 103].

Architecture.- Adam (Robert, Scottish Neoclassical architect, interior designer and furniture designer, 1728-1792) Unexecuted design for a chimneypiece, for William Maule, 1st Earl of Panmure, pen and greyish-black ink with monochrome wash, inscribed 'Robt. Adam Architect' and dated '1762' in the lower left corner, probably in Adam's hand, further inscribed 'Design of a Chimney piece for The Right Hon. The Earl of Panmure' in brown ink in the upper centre, with scale and dimensions, on laid paper with large Britannia watermark, sheet 365 x 445 mm (14 1/4 x 17 1/2 in), under glass, laid onto support, old folds with some minor splitting, several repaired tears to edges, minor surface dirt, framed, 1762.Provenance:Purchased by the present owners circa 1980sPrivate collection, South West EnglandLiterature:cf. A.T. Bolton,The architecture of Robert and James Adam, 1922, Vol. II, index p. 26⁂ Original design by the leading proponent of the Neoclassical style in 18th-century interior design. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number. The reason for this being that the vast majority were purchased by Sir John Soane in 1833 for the vast sum of £200, and are now held in the Soane Museum, London. The Soane Museum also hold another drawing of the same chimneypiece, possibly a studio copy after the present work, which is slightly smaller and without a scale, which they have attributed to Agostino Brunias (active 1763-1779) [see acc. no. SM Adam volume 22/71].

Architecture.- Byres (James, Scottish artist, lived mainly in Rome, Grand Tour "cicerone" and art dealer, 1734-1817) Plan of a Temple, built by Cardinal Albani in his Villa near Rome, pen and grey inks, grey wash, with scale and brown ink inscription underneath, ruled black ink border, on laid paper, sheet 730 x 490 mm (28 3/4 x 19 1/4 in), under glass, minor surface dirt, framed, [circa 1780s]; together with another sheet with side profiles of the same temple, pen and inks, watercolours washes, ruled black ink border, sheet 490 x 720 mm (19 1/4 x 28 1/4 in), under glass, some marginal repairs to tears, minor surface dirt, framed, [circa 1780s] (2)Provenance:Purchased by the present owners circa 1980sPrivate collection, South West England ⁂ A large and highly finished drawing of a Temple from Villa Albani, considered to be an 18th-century masterpiece. The Villa was a vast architectural complex completed in 1763 by the Italian architect, Carlo Marchionni (1702-1786), and the project was heavily influenced by Giovanni Battista Nolli, Giovanni Battista Piranesi and Johann Joachim Winckelmann; the latter curating the collection of antiquities housed in the Villa. The Villa was to serve as an important source of inspiration for the neoclassical architecture of Sir John Soane and Robert Adam, both of whom visited while on Grand Tours.

Architecture.- Soane (Sir John), Office of. Four sheets of architectural plans for Sir William Milner's Bruton Street house, including 'Sections of Withdrawing Room', 'Plan of the Ground Floor of House in Bruton Street, with the proposed alterations & additions', 'Plan of the One Pair Floor of House in Bruton Street. With the proposed alterations & additions', and another without descriptive annotation but is a variant plan of the ground floor with proposed alterations for the same house, pen and greyish-black ink, brown ink, grey and brownish-red wash, each inscribed with dimensions and client information 'Sir William Milner Bart.', all with ruled ink and wash border, various laid papers, three sheets measure 565 x 440 mm (22 1/4 x 17 1/4 in), all with watermarks of 'J. Whatman', and one sheet 595 x 480 mm (23 1/2 x 18 7/8 in), with watermark of 'Portal & Bridges' with countermark of the Strasbourg Lily', old central folds, handling creases, minor surface dirt, some spotting and browning, unframed, [circa 1790]; together with four further original architectural plans, two likely from the Soane Office of an unidentified building on the same stock of 'J. Whatman' paper as the previous mentioned, and two by a different hand inscribed 'Woolley Park. Seat of Godfrey Wentworth Esq. by George Woodhead [?] 1814', pen and inks, various sizes between 300 x 365 mm (11 3/4 x 14 1/4 in) and 360 x 520 mm (14 1/8 x 20 1/2 in), some surface dirt and staining, handling creases, nicks and tears to extremities, one larger repaired tear, all unframed, [circa 1790 to 1814] (8)Literature:[Bruton Street] cf. P. Dean, Sir John Soane and London, 2006, p. 193⁂ Sir John Soane's Museum, London, hold an associated drawing for the same Bruton Street house project showing a 'Plan of the Hall Floor' [see SM 40/1/20], but without the ink and wash borders, and on a slightly larger sheet. The description from the Soane Museum suggests Soane had attempted to help his client sell the house, albeit without much success, passing the property on to his other potentially interested clients. Soane made upgrades to the property in 1789 before again advertising the property for sale, with the present four sheets showing the suggested alterations.

A Chinese ink and wash drawing of bamboo, with Chinese script and red seal marks, approx 28cm x 36cm

KAREN LORENZ (Contemporary Cornwall artist) A framed original pen and ink drawing of a cat, signed and dated Lorenz 2011, 20cm x 29cm

MICHAEL REES (b.1962) A framed original pen and ink drawing titled "Hybrid" and signed bottom left. Image size 15cm x 20cm

COLIN SELF (b.1941) (ARR) A framed and glazed pen, ink and tape drawing titled, 'Dandelion' with applied Dandelion head and seeds. Pencil signed bottom right and dated 17.1.1997. Paper size 50.5cm x 40.5cm

ZORAC PETROVIC (XX) A large abstract surrealist pen and ink drawing, signed and dated 1955 with additional text verso a/f.

Brian Pollard (Association of British Naïve Artists), ink drawing, Mousehole & Mounts Bay, May 2021, framed and glazed, overall size 36cm x 30cm.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Countryside/ Les derniers rayons du soleil inscrit avec dédicace 'For Peter en souvenir of Edipsos with all my love Nico./ Barbaras Birthday Feb.22.1960.' (au verso) ink et gouache sur papier46 x 66cm (18 1/8 x 26in).Peint en 1958.inscribed with dedication (on the reverse) ink and gouache on paperFootnotes:ProvenanceThe artist's collection. A gift from the artist to Lady Nöel Evelyn 'Peter' Norton, London.Thence by descent to the present owner. ExposéNew York, Alexander Iolas Gallery (as per label on the reverse). LittératureGhika, Paintings, Drawings, Sculpture, C. Zervos, S. Spender, P. Leigh Fermor ed., Lund Humphries editions, London 1964, no. 12 (listed and illustrated).Drawing from indigenous sources, ranging from icon painting to folk art and Karaghiozi shadow-puppet theatre, Ghika formulated a distinctive artistic premise related to post-cubist explorations. Moreover, the tender convolutions and fragile gestures so evident here allude to the mystical world of oriental calligraphy and its constant flow of brush and pen. In 1958, the year he painted Countryside, the artist visited the USA at the invitation of the State Department and returned to Greece by way of the Far East. As noted by art critic S. Spender, the drawings of India and Japan Ghika did in 1958 are of particular importance because they established a connection between far-eastern art and Ghika's sensibility which was partly Oriental.'1 1 S. Spender, 'Ghika' in Ghika, Paintings, Drawings, Sculpture, Boston Book and Art Shop, Boston 1965, p. 23.Puisant dans des sources indigènes, qui vont de la peinture d'icônes jusqu'à l'art naïf et au théâtre d'ombres de Karaghiozi, Ghika a formulé un postulat artistique distinctif, relié à des explorations post-cubistes. En outre, les convolutions tendres et la gestuelle fragile, si évidents ici, font allusion au monde mystique de la calligraphie orientale et à son mouvement constant du pinceau et de la plume. En 1958, année où il a peint Countryside l'artiste s'est rendu aux États-Unis à l'invitation du Département d'État, et est rentré en Grèce en passant par l'Extrême-Orient. Comme le note le critique d'art S. Spender, les dessins que Ghika a réalisés sur l'Inde et le Japon en 1958 revêtent une importance particulière car ils créent un lien entre l'art extrême-oriental et la sensibilité de Ghika, qui était en partie orientale. »This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Eric Hosking Library. Collection of modern ornithology and natural history titles inscribed by the author or illustrator to Eric Hosking, including:1) Green (Roland, 1890-1972). How I Draw Birds. A Practical Guide for the Bird-Watcher, 1st edition, London: Adam and Charles Black, 1951. 4to, original cloth, dust jacket, inscribed by the author 'Best wishes, to my old & valued friend Eric, Roland Green', and illustrated by him with an original pencil-drawing of a bald eagle to front pastedown and a pen-and-ink sketch of a wader to front free endpaper, 2) Kirkman (F. B., 1869-1945). British Birds, 1st edition, London: T. Nelson & Sons, Ltd, 1935. 4to, original cloth, dust jacket (toned on spine, a few spots and tears), inscribed 'E. J. Hosking, from F. B. Kirkman',3) Hollom (P. A. D., 1912-2014). The Popular Handbook of Rarer British Birds, 1st edition, London: H. F. & G. Witherby, 1960. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes for a successful conclusion to our Bulgarian adventure, Phil Hollom, June 1960', 4) Smith (Stuart, 1906-1963). How to Study Birds. Photographs by the Author, Eric Hosking, and A. G. Britten, 1st edition, London: Collins, 1945. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes and thanks, November 1945, Stuart Smith',5) Steyn (Peter, c.1936-?). Hunters of the African Sky, 1st edition, Winchester: Struik, 1990. Folio, original cloth, dust jacket, inscribed 'For Eric and Dorothy who share my love for these magnificent hunters of the African sky, all best wishes, Peter Steyn',and 34 others, including James Fisher, The Birds of Britain, 1942, Desmond Nethersole-Thompson, The Snow Bunting, 1966, 3 further works by Peter Steyn, 3 by Heather Angel, 2 by J. Morton Boyd, and similar, most works in lot with bookplate of Eric Hosking (qty: 39)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)

AN INDIAN MINIATURE INK DRAWING 19TH CENTURY Depicting a nobleman riding a composite horse consisting of various animals, he carries a spear in one hand and clutches the horse's reins in the other, the drawing, predominantly in puce with highlights in body colour, an inscription to the reverse, framed and glazed, 15.5cm x 11.5cm. Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

A fine pressed card pen and pencil work needle book, the cover in ink 'E.S.M. Phillipps - Jany. 17th 1835' beside a drawing of a church and a laurel wreath inscribed 'dd EJMP ovo natali de', the reverse with a pen drawing of a sailing ship, the interior with four flannels one stitched with a gilt brass bodkin, tied pink ribbon spine, 12 x 8cms. A Connoisseur's Collection

PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... 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

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Mabel Augusta Kingwell (1890-1924) HEAD AND SHOULDERS OF A GREY HORSE Signed watercolour heightened in white, on brown paper, 22 x 25cm, together with a pen and ink drawing 'Away from the Hurdle', signed, dated 1920, 20 x 30cm, the reverse having a pencil sketch of horses landing, having jumped a fence, (2).

John Cameron Cutler (1937 - ) - Four Figures, signed and dated 58, brush and ink on buff paper, 25 x 15cm Good condition. Note: glass spattered with paint, drawing unaffected

Keith Vaughan (1912-1977)/Three Figures/ink drawing, 12cm x 16.5cm/Provenance: Tib Lane Gallery, Manchester, receipt of purchase dated June 1999 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

18th Century Italian School/Corpus Christi/Old Master style drawing/pen and ink heightened in white, 24cm x 18cm/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

Eileen Soper (1905-1990) pen and ink drawing - Chimney Pot, together with an etching - Xmas Greetings 1921, in glazed gilt frames (2) Provenance: Chris Beetles Ltd., London, 29th January 2014

Phyllis Ginger (1907-2005) pen and ink drawing - The Paddle Steamer, unframed, 40cm x 29cm Provenance: Chris Beetles Ltd., London

Early 20th century pen and ink drawing - L'isle sur La Sorgue, titled in pencil and signed with monogram, 23cm x 16cm, mounted

*Mervyn Peake (1911-1968) Study of a nude lying down signed 'Peake' l.l., pen and ink 40 x 44cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

*Mervyn Peake (1911-1968) Seated nude pen and ink 40 x 24.5cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

*Mervyn Peake (1911-1968) An artist at his easel; Study of two figures two, pen and ink 31 x 24cm and 23 x 17.5cm, both unframed (2) Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

Attributed to Mark Gertler (1891-1939) Sketch of a woman in profile with inscription by another hand 'Drawn by Mark Gertler', pencil, pen and ink 12 x 8cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Gertler was one of Raymond Bradshaw's tutors at the Westminster School of Art, where Bradshaw studied 1936 to 1938. This drawing dates from this period. Bradshaw completed his studies just one year before Gertler tragically committed suicide. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

Peter Samuelson (1912-1996) 'Mozart Concerto' watercolour, pen and ink 19.5 x 24.5cm; together with two further works by the artist 'Liapunov, exceedingly dull piano concerto; 'Violin Concerto in B Minor, Saint-Saens' both inscribed as titled, watercolour, pen and ink both 26 x 20.5cm, unframed (3) Peter Samuelson was educated at Eton, but left school aged fifteen. He spent several seasons drawing from the Ballet Russe de Monte Carlo, learning to capture movement with an immediacy of line. His love of music was lifelong and he spent much time watching orchestras rehearse and perform, especially while working for the Dutch Radio Times where he had priveliged access to radio studios. Samueson wrote of his 'Musical Fantasies' series, 'they are ‘always done under the immediate influence from the radio at speed, almost unconsciously, they are unashamed in their iconoclasm, with surrealistic elements unchecked.’ Samuelson liked to sign 'Pierre' or in back to front mirror writing. Read more about the artist on our website: https://www.sworder.co.uk/news/peter-samuelson--an-artist-disinterested-in-the-art-world/?pc=3948

Estate of Dave Prowse - Star Wars - Bobby Blakey (Official Star Wars Artist) - Darth Vadegg - ink on paper drawing of Darth Vader in egg form. Signed and titled to the lower edge. Gifted to Prowse by Blakey. 28cm x 22cm (approx). 

Trajan St Ines (1902 - 1995), pen and ink drawing, tiger, signed and inscribed, 33cm x 24cm, framedVery light foxing, no tears

Fireworks and Water-clocks.- Bate (John) [The Mysteries of Nature and Art], 4 parts in 1, third edition, lacking general title and next preliminary leaf and T4, divisional title with woodcut vignette or device, numerous woodcut illustrations, some full-page, several outer margins at beginning and end repaired, soiling and some ink scribbling, some water-staining, later calf, rubbed, 4to, [1654]; sold not subject to return⁂ The parts are titled: Of Water-works; The composing of all manner of Fier-Works For Triumph and Recreation; The Excellent Arts and Sciences of Drawing, Colouring, Limming, Paynting, Graving, and Etching; Extravagants...Medicines for severall Maladies.

NO RESERVE Ex-collection of Minto Wilson.- Blooteling (Abraham) Portrait of Hieronymus van Beverningk, mayor of Gouda, after Nicolaas Maes, etching with mezzotint, 415 x 307 mm (16 1/4 x 12 1/8 in), scattered spotting and browning, surface dirt, framed, [circa 1679]; toegther with six further framed prints, including two portrait mezzotints, one after Reynolds by McArdell, another engraved portrait, two engraved views of Durham, another of Sissinghurst, and with an original pen and ink with wash drawing of 'Rosewell House, Kingsmead Square, Bath', various sizes, all framed and glazed, 18th and 19th century (8).

Pen and ink drawing of polish cities by Antoni Sulek, both signed and dated by the artist, framed

The recumbent tiger with a shaped oval panel to its back, decorated with broad brush strokes in ochre, black and russet on a cream ground, the base unglazed, stencilled collection number 52200 to the baseLength: 33cmHeight: 9cmA similar tiger-form pillow, is illustrated by Jiena Huo in Fire and Earth: Chinese Ceramics (3500 B.C. - 1400 A.D.) in the Museum of East Asian Art, Cologne, 2008, p 187, no. 147, where it is dated Jin Dynasty, 12th century. The author notes that this type of pillow is probably from Changzhi, in Shanxi, where other pillows of this type have been found. This type of pillows were believed to protect against evil and to have helped women give birth to sons相似磁州窯虎枕見霍潔娜《火與土：中國早期陶瓷》科隆東亞藝術博物館 2008年，圖147 ，頁187。其作者認為此類型虎枕產於山西長治，用於保佑孕婦生得男孩不受邪惡侵擾。Another similar Cizhou tiger pillow was sold at Christie’s New York, 13th September, 2014 lot 835, Masterpieces of Cizhou Ware: The Linyushanren Collection另一相似虎枕見紐約佳士得2014年9月13日拍品835號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the tiger pillow is in good condition for its age. The base with a cleaned area and a number ‘52800' written in black ink. The cream pillow section well crazed, with a y-shaped hairline confined within this area, approx 10cm long. The left eye of the tiger with some glaze loss, revealing the buff body. Now patinated, overall the glaze finely crazed, with some discolouration. An area of glaze loss by the tigers front left paw, approx. 2.5cm, where it meets the base. 

Dennis the Menace - Creator Hank Ketchum, Signed card with ink drawing and signature (15x10cm), along with 41st Bing Crosby pro am Pebble Beach, USA Brochure Featuring Hank Ketchum.

KENNETH MORE – ‘REACH FOR THE SKY’, 1956, ‘THE ADMIRABLE CRICHTON’, 1957, ‘SINK THE BISMARK’, 1960 & ‘THE GREENGAGE SUMMER’, 1961 – DIRECTOR’S SCRIPTS, SCRAPBOOKS AND RELATED MATERIAL FOR FOUR FILMS STARRING KENNETH MORE (QTY)Comprising:-ReachFor The Sky, 1956: two director’s scripts, the first comprising 147 pp. of unboundmimeograph typescript, contained within a green hard cover folder, the frontwith cloth labels inscribed in an unknown hand LEWIS GILBERT / “REACH FORTHE SKY’, the title pages inscribed in ballpoint pen in an unknown hand LEWISGILBERT, dated August, 1955, some pages annotated in pencil inGilbert’s hand, some pages with script amendments on pink paper pasted to thepage; the second comprising 146 pp of mimeograph typescript bound in orangecard covers, the front printed REACH FOR THE SKY / Revised Script /27-5-1955, some pages annotated in pencil in Gilbert’s hand; a two-page‘Revised Shooting Schedule’, 4 November 1955, inscribed in an unknown hand inpencil on the first page Lewis Gilbert; an ‘Information Folder’, 103 pp.of mimeograph typescript bound in faded green paper covers, the front coverprinted with the document’s contents, including Who’s Who / PersonalityProfiles, Special Features, the title page annotated in pencil in Gilbert’shand, with a compliments slip from Zena Courtnee, Publicity Division, J. ArthurRank Organisation; a collection of publicity material including two WorldPremiere programmes, Odeon Leicester Square, 5 July 1956, a Gala Performanceprogramme, 19 July 1956, Odeon Brighton; 25 black and white publicity stillswith corresponding typescript paper labels (all detached), majority – 19 x 24cm.; eight black and white Front of House stills, all – 20 x 25 cm.; andrelated material; and two scrap books containing press cuttings, one containingfour black and white stills; a double-sided 12-inch acetate, the green SoundSystem label inscribed in blue ink in an unknown hand Reach For The Sky/ Reel 1 Music / Reel 14 Music (label partially torn on both sides) inoriginal paper cover, and later related material;-TheAdmirable Crichton, 1957: the director’s ‘Shooting Script’, 106 pp. ofmimeograph typescript bound in a red hard cover folder (pages have becomeloose) the front gilt-stamped DIRECTOR, the title page annotated inpencil in various hands with contact information, some pages annotated inpencil and ballpoint by Gilbert; a loose sheet of lined A4 paper attached tothe inside front cover, inscribed with a pencil drawing of a map roughly basedon the island of Grand Bermuda where the film was shot (the island being thebasis for the fictional South Seas island in the plot), the map inscribed withvarious locations including Jungle (Devonshire Marsh), Oyster Creek(Admiralty House Cave) and Bay of Arrival (Grape Bay); and adouble-sided 10-inch acetate, the Stage Sound label with typescriptdetails either side The Admirable Crichton / Music 1 / Music 2 / Music 3;-SinkThe Bismark!, 1960: the director’s ‘1st Draft Screenplay’, 116pp of mimeograph typescript bound in blue card covers, the front cover with typescriptpaper label,“SINK THE BISMARK” / 1st Draft Screenplay by EDMUNDH. NORTH, the title page dated October 24, 1958, unannotated; twosouvenir premiere programmes held inside blue velour hard covers with gold colouredthread, the covers gilt-stamped with the film’s title (gilt faded), thepremiere held in the presence of the Duke of Edinburgh (no date or locationgiven); a scrapbook of press cuttings, and related material; and-TheGreengage Summer, 1961: the director’s copy of the ‘Screenplay’, 146 pp. ofmimeograph typescript bound in black card covers, the front cover withtypescript paper label THE GREENGAGE SUMMER, the title page dated April30th, 1959, a few pages annotated in pencil in Gilbert’s hand; ablack and white still of Lewis and Hylda Gilbert filming with Kenneth More;four 12-inch acetates, variously labelled Titles, Dance 1, Dance 2, Dance 3;and a scrap book  (a lot)PhotographsSold Without CopyrightConditionReport: ReachFor The Sky Script,Aug 1955 – pages loose, edges discoloured and worn some with tears, the ‘to theright side; Script May 1955, overall good, covers worn with small tears;RevisedShooting Schedule: pages are very tatty, the second page with paper loss;Information Folder: overall good, lower right corner of cover missing;Publicity Material: overall very goodTheAdmirable Crichton Script– overall good, pages unbound and worn with age, interior metal binders withsome rusting; acetate: label torn, edges worn on vinyl revealing metal beneathSinkThe Bismark Script– overall good, front cover top right corner missing, some creasing, some rustto metal binding pins; souvenir programmes: the programmes inside the foldersare in very good condition, the folders showing some wear, the gilt on thecovers is faded, and the tassels on the gold string have unwoundGreengageSummerOverallvery goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

ANTONI TÀPIES (Barcelona, 1923-2012).Untitled, ca.1950.India ink on paper.Signed in the lower right corner.Attached certificate issued by the Comissió Tàpies with ref. T-9943.Measurements: 45,5 x 31 cm; 77 x 60 cm (frame).This important drawing by Tàpies belongs to the first stage of Dau al Set (1948-1955), years in which the artist was permeable to a diversity of avant-garde manifestations, especially surrealism and literature linked to the unconscious and magical realism. This is evident in this composition populated by objects of ambivalent interpretation and suggestive hermetic echoes: the pyramid, the solar eclipse, the crescent moon, the muse on the divan, the enigmatic being with a masculine body, the dragon with the Japanese theater mask... The coded clues branch out and intertwine in rich palimpsests, already hinting at the semantic and mystical deployment that will characterize Tàpies' painting.Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Maximilien Luce,Six studies, figures, on a single sheet,signed in ink, pencil drawing,18x25cm.

Adrian Keith Graham Hill,Four figures,signed and dated '50, pencil drawing,28x23cm;three other pencil drawings, by the same hand, Momentus Decision, 30x23cm; Folly, 30x22cm; Night Before the 'Op', 25x19cm; pen and ink drawing, Restless Day, 25x34cm; two unframed pencil drawings by the same hand, first one titled 'Probably Influenced by Weather Forecast' and 'A Little Dreamlike', sheet size of each 25x36cm; together with Adrian Hill, A Beginner's Book of Watercolour Painting, 1959.

Ɵ AN ARCHITECTURAL DRAWING OF THE CHIEF SECRETARY'S LODGE, PHOENIX PARK, DUBLINPencil, ink and watercolourInscribed to the front 'Plan of the Chief Secretary's House in the Phoenix Park'42cm x 54cm, unframed; and a smaller plan of the second floor (2)Catalogue Note:Now known as the Deerfield Residence, the home of the American Ambassador to Dublin, the house was begun in 1774 as the residence for Sir John Blaquiere, 1st Baron Blaquiere, then Chief Secretary for Ireland and taken over to become the Chief Secretary's Dublin residence in the late 18th century. Extensive renovations to the house and property were made by the U.S. Government in 1952. In the 1970s, the grounds were christened the name Deerfield by the wife of a United States ambassador on account of the number of deer who roam in the open parkland around the mansion.  Condition Report: Folded and some damage to the edges and general browning of the paperCondition Report Disclaimer

PHOTOGRAPHS: a group of fifteen items, including a small wedding photograph album, 1925. comprises: ALTON, PARIS: Sacheverell Sitwell and Georgia Doble's wedding photograph album, October 25, 1925. 8vo., (215 x 182mm), buff- coloured, decorative card covers, string ties, with the studio printed name and address lower right, Alton, 20 rue Gauthey, contains nine bromide prints (including oval inset image to front), mounted to single sides of eight brown card leaves, the images mostly 11 x 8cms, the album 21.5 x 18cm overall, with two small b/w. photographs of Reresby and Francis Sitwell loosely inserted, the images (Reresby), 15 x 19.3cm, (Francis), 19 x 6.5cm; A MODERN POET AND HIS BRIDE, The Sketch, 21 October, 1925. a reproduction b/w. photographic print, depicting Sacheverell Sitwell and his new bride Georgia Sitwell (nee Doble), in the doorway of St. George's Anglican Church, Paris, the image 23.5 x 18cm, printed label to verso,'The Illustrated London News Picture Library London, Ref. Sketch October 21st 1925'; FREDERICK. W. SCHMIDT. (German, active 1900s). Frederick Dawson, the Pianist, c.1930's. bromide print on photographer's grey card mount, manuscript title in pencil beneath, 'Frederick Dawson Esquire / the Pianist / (1868-1940)', further signed in pencil by the photographer lower right, 'F. W. Schmidt / Manchester', the image 23.8 x 18.8cm, within a paper folder with the studio printed stamp and address to front, F.W. Schmidt, 6 St. Ann's Square, Manchester, 43.5 x 27cm overall. Frederick Dawson, was a British pianist and teacher. Dawson was a child prodigy who by the age of ten could play the complete Bach 48 preludes and fugues. He studied with Anton Rubinstein, Halle and Dannreuther. Frederick Dawson pursued a successful career in his homeland and Europe, also touring with soprano Adelina Patti. He also taught at the Royal Manchester College of Music and at the Royal College of Music in London; EMIL OTTO HOPPE. (German, 1878 - 1972). Osbert Sitwell, 1918. bromide print part mounted on brown card, signed in black ink lower right, the image 19.3 x 14cm, numbered in pencil to verso of photograph 14697a / 2, photographer's printed label to verso of mount, titled and numbered in pencil '14697a Osbert Sitwell', with the studio address 7 Cromwell Place, South Kensington, 36 x 24.8cm overall. Emil Hoppé was the undisputed leader of pictorial portraiture in Europe, photographing many leading literary subjects and figures from the art world. In the early 1920s he was invited to photograph Queen Mary, King George, and members of the royal family. Emil Hoppe took on a lease in 1913 of 7 Cromwell Place, occupying all thirty-three rooms of the previous home of Sir John Everett Millais. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. 2.10; O.G. RYLANDER. Colonel Hon. Henry Hely Hutchinson, c. 1860s. two albumen prints mounted on card, one signed in pencil lower left, the images 19.5cm x 15cm, and 2.3 x 15cm, overall 48 x 355cm and 457 x 32.7cm. Colonel the Hon. Henry Hely Hutchinson (1790-1874) was the nephew of the celebrated General, Lord Hutchinson (later 2nd Earl of Donoughmore); ANON. Georgie Doble. ca. 1930s. two bromide prints, the first image - depicting the sitter in an evening dress wearing pearls, the image 30 x 24cm, (38.5 x 29.7cm overall within wood frame), the second image - pink-tinted, depicting Georgie wearing a scarf, the image 32.5 x 25cm., (45.5 x 37.8cm within a modern black frame) both framed and glazed; DR. GREGORY HARLIP. (Eastern European, active 1930s- 1950s). Lord Berners, c. 1940s. a black and white print, signed in the print lower right, 23.7 x 17.7cm, ink stamp to verso, 'Copyright by Harlip London'. Harlip was a photographic studio specialising in celebrity portraits, based at 161 New Bond Street, Mayfair, London, managed by Dr Gregory Harlip, and later his widow Madame Monte Harlip, both of Eastern European origin. Lord Berners (Sir Gerald Tyrwhitt Wilson, 14th Baron, 1883-1950), was a British composer, novelist, painter and aesthete. He established a close friendship with all three Sitwells. Lord Berners collaborated with Sacheverell in 1926, for the Diaghilev ballet, 'The Triumph of Neptune'. In 1931, Sacheverell dedicated his book 'Spanish Baroque Art' to Lord Berners; ANON. Pearl Argyle, c. 1935. a black and white photograph, depicting the young dancer with her arms behind her back, 21 x 15.9cm, framed and glazed. Pearl Argyle (1910-1947) was a dancer and actor. Her career included leading roles in productions for the Ballet Rambert and Vic-Wells Ballet (now the Royal Ballet). Frederick Ashton described her as 'the most beautiful woman of her generation'. Sacheverell Sitwell first met Pearl Argyle in 1933, and became infatuated by her beauty, and whilst aware he did not love her, Pearl relished in Sacheverell's sophistication and the influence he was able to wield in the ballet on her behalf. UNKNOWN. A Gentleman. bromide print, 'Clifford Coffin' in pencil to verso, 24.5 x 19.7cm; UNKNOWN: Jean Costa, c. 1940s. a black and white photograph, captioned in pencil to verso, 'M. Constantine Achillopoullo, Commonly known as A. Costa; or 'Soldat Jean Costa' of the Free French Army in Africa. Born (about) 1908. 22.2 x 19.5cm, within a clear protective sleeve, with NPG label; and a photographic print of a drawing of a lady by Augustus John, signed in the print, 24.5 x 17cm. (Qty. 15). Provenance: The Sitwell Family Collection, Weston Hall.  Condition Report:  Condition Report Disclaimer

GIOVANNI BATTISTA TIEPOLO (ITALIAN 1696-1770) A LARGE GROUP OF PUNCHINELLI Pen, ink and wash 23.9 x 37.5cm (9¼ x 14¾ in.) Provenance: The Henry Oppenheimer Collection Sale, Christie's, The Henry Oppenheimer Collection, 14th September, 1936, lot 185 (A) (part lot) Where purchased by Sir Osbert Sitwell, 5th Bt. And thence by descent. Literature: G. Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire, or Labor of Love?' in Satire in the Eighteenth Century, (J.D. Browning Ed.) New York, 1983, p. 138, fig. 5. G. Knox, 'The Punchinello drawings of Giambattista Tiepolo', in Interpretazioni Veneziane studi de storia dell'arte in oncore di Michelangelo Muraro, (D. Rosand Ed.) Venezia 1984, p. 441, fig.5. V. Sears Goldman, April 2012, 'The Most Beautiful Punchinelli in the World': A comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo, (unpublished doctoral dissertation), Princeton University, New Jersey, pp. 390-393, no. 4, fig. 4. We are grateful for Professor Bernard Aikema for confirming the authenticity of this work from a photograph. Catalogue Note: This drawing is from a distinctive group of documented Punchinello drawings by Giovanni Battista Tiepolo (1696-1770); related drawings by Tiepolo of the same period, depicting large groups of Punchinelli include: A large group of Punchinelli cooking (École des Beaux-Arts, Paris, no. 393); A large group of Punchinelli (private collection, Zurich); Punchinelli preparing a meal of gnocchi and parmesan cheese (Baron Dominique-Vivant Denon; Vivant-Denon sale, Pérignon, Paris, 1-19 May 1826, lot 543; most recently, Christie's, New York, 31 January 2013, lot 75, USD 542,500 inc. premium) (Sears Goldman, op. cit., pp. 393-397, no. 5; pp. 420-422, no. 10; pp. 423-429, no. 11). Punchinello was the buffoon character of the 17th century commedia dell'arte, a subject that Tiepolo embraced from the late 1720s through to the early 1760s, primarily in drawings, executing about thirty-six, but also in at least two paintings, and etchings. Tiepolo's interest in Punchinello was most likely stimulated when he was in Verona working on the illustrations for Scipione Maffei's Verona Illustrata (c. 1725). The drawing offered here dates from the early 1730s; it retains the fine delicate line of the earlier drawings but includes two tones of painterly wash, the wash less evenly applied than in slightly later drawings (Sears Goldman, op. cit., p. 376). Tiepolo, in contrast to his son Domenico, who shows Punchinelli engaged in everyday activities in his Divertimento per li Regazzi, portrays his Punchinelli making and eating gnocchi, and suffering from the excesses of overindulgence. The subject derives from a regional festival, venerdì gnoccolare, which took place in Verona on the last Friday of Carnival. Young boys from the poorest district of San Zeno, dressed up in costume, and gathered at the Palazzo del Podestà to invite the mayor to the town square for a glass of wine and a plate of gnocchi, followed by a town fiesta of eating and drinking until dawn. This drawing depicts a jumbled group of Punchinelli; two figures on the right are engaged in the cooking and presentation of gnocchi, but most have surrendered to the gnoccolonità that affects unlucky Punchinelli after the feast - several are drunken or ill (Sears Goldman, op. cit., p. 390). Some of the figures in this drawing can be found in other Tiepolo Punchinello drawings. For example, to the left of the drawing is a prostrate Punchinello with a protruding stomach lying on top of his hat; a similar Punchinello is depicted in Drunken Punchinello in the Musée de Picardie, Amiens (M.P. 975-6) and Two Punchinelli in the Fondazione Giorgio Cini, Venice (30.082). The Punchinello slumped over on the ground in the centre of the present drawing has its counterpart in Punchinelli cooking gnocchi (formerly Tito Miotti, Udine) and Three Punchinelli gathered around a gnocchi pot (Kennedy Onassis estate sale, Sotheby's, New York, 24 April 1996, lot 250). The composition of the present drawing is additionally related to a disegno di Pulcinella senza Pulcinella (c. 1724) by Tiepolo in the Staatliche Museen zu Berlin (inv. 11772). A toppled gnocchi pot or Punchinello hat, a wine flask, and a walking stick lie in the foreground. The use of scattered objects in the front appears in other Tiepolo drawings, for example, La folla e i serpenti, but in the world of Punchinello these symbols of the venerdì gnoccolare are represented differently: Punchinello's hat, a fallen quiver of arrows; the wine flask, a ceramic pot with a grotesque carved mask, Punchinello's walking stick suggesting a makeshift caduceus, a serpent-encircled staff (A. Rizzi, Mostra del Tiepolo: disegni e acqueforti, Milan, 1971, p. 17, no. 9; G. Vigni, Disegni del Tiepolo, 2nd ed., Trieste, 1972, pp. 53-54, no. 6). George Knox, the Tiepolo art historian, suggests that this drawing is among the earliest of the Punchinello drawings because of its fine line and delicate, even use of wash (Knox, op. cit., p. 441; G. Knox, Tiepolo: A Bicentenary Exhibition, no. 6). He further proposes that this drawing may be linked stylistically with the studies for the Villa Loschi at Biron, executed around 1734 (Knox, op. cit., p. 441). The present drawing, and others of this period, undoubtedly mark the moment that Tiepolo's draftsmanship assumes its mature form (G. Knox, Tiepolo: A Bicentenary Exhibition, 1770-1970; Drawings, mainly from American Collections, by Giambattista Tiepolo and the Members of His Circle, Cambridge, Mass., Fogg Art Museum, Harvard University, 1970, no. 13). Scipione Maffei (1675-1755), a Veronese writer, art critic and collector, was possibly the patron of the Punchinello works (Knox, op. cit., pp. 439-446). Tiepolo visited Verona twice, around 1730 when he worked with Maffei on Verona Illustrata, and nearly thirty years later in 1760 to paint the ceiling of the Palazzo Canossa. By the middle of the 18th century, however, Punchinelli drawings were collected outside Verona; in 1761, Count Francesco Algarotti's wrote to Pierre-Jean Mariette that he had 'les plus belles polichinelles du monde de la main de notre célèbre Tiepoletto' (Knox, 1984, op. cit., p. 444). Moreover, many artists made copies after Tiepolo's drawings, whether in pen and ink or as prints. Some of these were direct copies; others, such as the artist Georg Friedrich Schmidt's (1712-1775) 1751 etching, after Three Punchinellis cooking gnocchi, was based principally on the drawing but contributed new elements as well (Sears Goldman, op. cit., p. 364). Henry Oppenheimer, F.S.A. Click here for full description.

At Gueux Hairpin, French Grands Prix, Rheims, 1938 Mixed media. A large, vertical format, work, mounted but unframed. Image size 50 x 36.5cm. Signed Nevin 1938 lower left. The illustration was reproduced in The Motor for June 28, 1938, the relevant page being taped to the back of the artist's board. Together with an unsigned mixed media sketch for an oil painting by the artist of the 1906 Paris-Pekin Race, mounted but unframed, image size 30 x 42.5cm, and a framed, mounted and glazed vertical format pen-and-ink drawing on tinted paper inscribed Bon Jour! Monsieur Bugatti along the lower margin and signed Frederic Nevin, Molsheim 1926 lower right. There is a tear across the lower part, barely affecting the image, otherwise all three items are in good condition. (3)

Palmer Tyres An advertising colour Print, 45 x 35 cms; a Hupp-Yates Electric Car advertisement, 39 x 28 cms; a Strand Magazine colour printed cover for March 1905, 22 x 15 cms; A Napier limousine advertisement, 23 x 16 cms; and a 1979 pen and ink drawing entitled 'GD H.P. Locomotive, Winner 1908, Vanderbilt Cup Race, Driver Geo Robertson, signed E.A.P lower right, 9 x 14 cms, all framed and glazed (5)

Unframed Drawings A collection of seven horizontal format drawings in various media, including a mounted drawing incorporating a self-portrait of the artist and Rodney Walkerley, Sports Editor of The Motor, at Brooklands in 1938, signed Frederic Nevin lower right, image size 20 x 29cm. Good condition. Two other, mounted but unframed, drawings are of the 1930 RAC TT, including Alfas Nos. 9 (Campari) and 10 (Nuvolari), image size 22 x 29.5 cm, and an undated image of a scene from a Monaco Grand Prix, image size 36.5 x 43,5cm, the sheet with several crease marks. Four other drawings in large format are mounted on card, two of unidentified locations, the other a 1930s TT scene and a pen-and-ink drawing of a Bugatti in the 1925 Targa Florio, this signed Frederic Nevin lower right (the other three are unsigned). (7)

Old hand-coloured print of a house martin, ink drawing of a Fieldfare by Hilary Burn & painting of long-tailed tits by Peter Merrin

AFTER ARTHUR HENRY PATTERSON, TWO STUDIES - TURNSTONES, TOGETHER WITH INK DRAWING OF A NORWICH STREET SCENE, SIGNED HOLMES WINTER, F/G (3)