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Click here to subscribeRUPERT BEAR: An original piece of artwork by artist John Harrold, being the original colour drawings (unsigned) for Rupert and the Iceberg which appeared in the Rupert Bear Annual of 1986, the black ink drawing on an acetate sheet mounted over the original watercolour drawings. Various annotations to the verso of the 11.5 x 12.5 artpaper indicate that it was published on page 100 of the annual. About VG
RUPERT BEAR: An original piece of artwork by artist John Harrold, being the original colour drawings (unsigned) for Rupert and the Worried Elves which appeared in the Rupert Bear Annual of 1986, the black ink drawing on an acetate sheet mounted over the original watercolour drawings. Various annotations to the verso of the 11.5 x 13.5 artpaper indicate that it was published on page 42 of the annual. About VG
POTTER BEATRIX: (1866-1943) English Author & Illustrator of children's books featuring animal characters including Peter Rabbit. A fine illustrated A.L.S., Beatrix Heelis, one page, small 4to, Castle Cottage, Sawrey, Ambleside, 9th January 1943, to Margaret Douglas ('My dear Hetty'). Potter commences 'Spot looks a sensible dog and very well set up on his legs, and strong enough to take care of himself', continuing to observe 'He looks a very suitable dog, for guard and company. A good broad chest - and a pleasing face - well marked', further commenting 'Tell him I approve of him and I approve of his whiskers!' and remarking 'I hope you won't clip him into an object when he is middle aged and stout?' At this point in her letter Potter has added an original ink drawing in her hand of Spot, depicting the long bearded dog looking rather handsome and pleased with himself as he gently walks along. In concluding Potter writes 'We were glad to hear that you and Ina are getting on all right. It's unpleasant weather - an awfully wild night…..but pleasantly surprised to see no worse snow, and thawing a bit. The roads are like glass. With love & all good wishes for New Year…..'. A charming letter, enhanced by Potter's original drawing, and quite desirable for it's discussion of Spot. Some extremely light, very minor age wear to the edges, not affecting the text or signature, VG Margaret 'Hetty' Douglas was the niece of Mrs. Bertram Potter (Mary Welsh Scott, who had married Beatrix Potter's brother in November 1902). The present letter would appear to be unpublished and is not included in Beatrix Potter's Letters a selection edited by Judy Taylor (1989)
Jack Butler Yeats RHA (1871-1957)A small archive comprising an envelope addressed to George O'Donnell; a drawing in ink inscribed 'There's a poet on the heath brother.'; three printed Christmas cards; and an invitation to a Waddington exhibition. (6)Provenance: Ruth Drumgoole; by descent to the late Mrs. Eileen Arkins.
ARDIZZONE (EDWARD)The complete original artwork for 'Tim to the Rescue', on 26 sheets, comprising: 23 original watercolours on 15 sheets (including cover design and title-page, 6 extending across 2 pages, each with Ardizzone's original pen and ink outline drawing on translucent overlay); 24 black and white pen and ink illustrations on 11 sheets (3 of the images pasted on, one near detached revealing variant version underneath), all with text in Ardizzone's hand, several textual corrections and amendments, an original ink sketch of a woman on the verso of the first sheet, most with small printed label ('Tim to the Rescue') on verso, 5 with larger label with return address of the Oxford University Press, sheet size 255 x 380mm., [c.1949]This lot is subject to Artist's Resale Right.
Stoutshanks (S., London-based satirist, fl. 1800-1830) A lithe pig swallow'd without grace, original drawing, pen and brown ink over graphite underdrawing, signed and dated in the lower right corner, on buff wove paper without watermark, sheet 240 x 340 mm. (9 1/2 x 13 1/2 in), some small nicks and loss to extremities, handling creases, unframed, 1828.
English School (19th century) The Itinerant Chancellor, original drawing after the 1833 caricature by Charles Jameson Grant, presumably illustrating the British statesman and High Lord Chancellor Henry Peter Brougham, 1st Baron Brougham and Vaux (1778-1868), pen and ink, watercolours and bodycolour, heightened with gold on wove paper without watermark, signed and dated 'MSM pinxt March 39' in the lower right corner, sheet 455 x 315 mm. (14 x 12 1/2 in), several old tears with repairs, handling crease, surface dirt, unframed, 1839.
‡ Bernard Leach CBE (1887-1979), attributed a Leach Pottery stoneware tile painted with a climbing kiln with smoking chimney, a farmer working the land in the foreground, impressed Leach Pottery seal marks to reverse, 10.2cm. square Provenance Mary Gibson-Horrocks, Literature Bernard Leach A Potter in Japan, Faber, page 107 for a pen and ink drawing by Bernard Leach of Hamada's small kiln, Mashiko, for comparison, and page 62 for illustrations of a Tamba Kiln.
Tom McGuinness (British 1926-2006), "Men", signed, titled and dated in pencil on mount board 69, pen, ink and watercolour. 8.5 cm x 6 cm (see illustration). CONDITION REPORT: This is definitely an ink and watercolour drawing. The picture is in extremely good condition. There are no issues with the ink or watercolour. It is well mounted and framed and could be enjoyed in its current state without the need for any remedial work.
Feininger, LyonelNew York 1871 - 1956"Straße in Treptow a. Rega". 1930. Watercolour over india ink pen drawing on Hahnemühle (watermark). 36 x 46.5cm. Signed and dated below the depiction: Feininger 26.8.30. Here titled as well. Craftman's frame. Achim Moeller, Director of the Lyonel Feininger Project LLC, New York - Berlin, has confirmed the authenticity of this work, which is registered in the archive of the Lyonel Feininger Project under the number 1623-09-25-19. This work has a certificate dated September 25, 2019.Provenance:- Moderne Galerie Otto Stangl, Munich (remnants of a label)- Private collection- Corporate collection Germany. Explanations to the CatalogueLyonel Feininger USA Modern Art 1930s Cityscape Works on paper Mixed mediaFeininger, LyonelNew York 1871 - 1956"Straße in Treptow a. Rega". 1930. Aquarell über Tuschfederzeichnung auf Hahnemühle (Wasserzeichen). 36 x 46,5cm. Signiert und datiert unterhalb der Darstellung: Feininger 26.8.30. Hier zudem betitelt. Modellrahmen. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York - Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1623-09-25-19 registriert ist, bestätigt. Zu diesem Werk liegt ein Zertifikat vom 25. September 2019 vor.Provenienz:- Moderne Galerie Otto Stangl, München (Reste eines Aufklebers)- Privatsammlung- Unternehmenssammlung DeutschlandTreptow an der Rega im polnischen Westpommern dient Lynoel Feiniger, der seine Sommermonate in den 1920er und 30er Jahre gerne an der nahe gelegenen Ostseeküste verbringt, als Inspiration für viele seiner Werke. So auch für das hier präsentierte Blatt. Jedoch nicht die Weite des Ozeans wählt er hier zum Bildsujet, sondern eine Ansicht der Stadt - ein ebenfalls beliebtes Bildthema des Künstlers. In seinem charakteristischen Stil skizziert Feininger die Architektur mittels kristallinen Strukturen und lässt durch seine dynamisch gesetzten Federstriche und Pinselzüge das gesamte Bildgefüge höchst lebendig werden. Durch die Braun- und Ockertöne der Häuser und das Blau des Himmels erwirkt er ein stimmungsvolles Bild, das uns die Sommerwärme in der Stadt erspüren lässt. Mit dem Spiel von Licht und Schatten verleiht er dem Werk darüber hinaus etwas Geheimnisvolles, fast schon Spannendes. So führt ein Weg aus der Hitze der Stadt zu einer Biegung, die unsere Neugier nährt - was wird uns hinter dieser Ecke wohl erwarten?. Erläuterungen zum KatalogLyonel Feininger USA Expressionismus Bauhaus Moderne Kunst Unikate 1930er Stadtansicht Papierarbeit Mischtechnik- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Feininger, LyonelNew York 1871 - 1956Untitled. (Landscape). 1946. Watercolour over india ink pen drawing on wove paper. 21 x 29.5cm. Signed and dated below the depiction: Feininger 1946. 17.IX. Craftman's frame. Achim Moeller, Director of the Lyonel Feininger Project LLC, New York - Berlin, has confirmed the authenticity of this work, which is registered in the archive of the Lyonel Feininger Project under the number 1622-09-25-19. This work has a certificate dated September 25, 2019.Provenance:- Willard Gallery, New York (former label)- Private collection Jane Wainwright, Boston- Mitchel-Innes & Nash, New York- Corporate collection GermanyExhibitions:- Willard Gallery, New York 1958- Museum of Fine Art, Boston - Loan from Mrs. Jane Wainwright, USA (former label). Explanations to the CatalogueLyonel Feininger USA Modern Art 1940s Harbour Works on paper Mixed media BoatsFeininger, LyonelNew York 1871 - 1956Ohne Titel. (Landscape). 1946. Aquarell über Tuschfederzeichnung auf Maschinenbütten. 21 x 29,5cm. Signiert und datiert unterhalb der Darstellung: Feininger 1946. 17.IX. Modellrahmen. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York - Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1622-09-25-19 registriert ist, bestätigt. Zu diesem Werk liegt ein Zertifikat vom 25. September 2019 vor. Provenienz:- Willard Gallery, New York (ehemaliger Aufkleber)- Privatsammlung Jane Wainwright, Boston- Mitchel-Innes & Nash, New York- Unternehmenssammlung DeutschlandAusstellungen:- Willard Gallery, New York 1958- Museum of Fine Art, Boston - Leihgabe von Mrs. Jane Wainwright, USA (ehemaliger Aufkleber). Erläuterungen zum KatalogLyonel Feininger USA Expressionismus Bauhaus Moderne Kunst Unikate 1940er Hafen Papierarbeit Mischtechnik Boote- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Tàpies, AntoniBarcelona 1923 - 2012Untitled. 1951. India ink and watercolour on thin cardboard. 33.5 x 50cm. Signed, inscribed and dated at the upper margin left: tàpies Paris 1951. Framed. Enclosed with the drawing is a certificate by the Commissió Tàpies, Barcelona. There the work is registered under the number T-9998.Provenance: - Collection Gustavo Camps, Barcelona- Private collection Munich/Portugal (bought from Gustavo Camps in the early 1960s in Barcelona)- Private collection Portugal (through succession). Explanations to the CatalogueAntoni Tàpies Spain Post-War Art Post War 1950s Surrealism Drawing Watercolour HorsesTàpies, AntoniBarcelona 1923 - 2012Ohne Titel. 1951. Tinte und Aquarell auf auf leichtem Karton. 33,5 x 50cm. Signiert, bezeichnet und datiert am oberen Rand links: tàpies Paris 1951. Rahmen. Der Zeichnung liegt ein Zertifikat der Commissió Tàpies, Barcelona bei. Das Werk ist dort unter der Nummer T-9998 erfasst.Provenienz: - Sammlung Gustavo Camps, Barcelona- Privatsammlung München/Portugal (von Gustavo Camps in den frühen 1960er Jahren in Barcelona erworben)- Privatsammlung Portugal (durch Erbfolge)Wir dürfen eintauchen in eine phantastische Bildwelt, erkennen links zwei abstrahierte Figuren, ein von rechts ins Bild galoppierendes, geflügeltes Pferd sowie Ähren, gebirgige Formationen und Windmühlen, die wir aus Landstrichen im spanischen Hinterland kennen. All dies sortiert Antoni Tapiès kulissenhaft auf der Bildfläche, mal überlappend, mal mit geschickt gestalteten Farbverläufen ineinander verschwimmend. Ornamente, Muster, Linien und Raster ergänzen diese gezielt absurde Komposition, die ganz der Tradition des Surrealismus verhaftet ist - einem Surrealismus, der Ende der 1940er Jahre in anderen europäischen Ländern schon längst seinen Zenit erreicht hatte. Es handelt sich um eines der ganz wenigen und sehr besonderen Werken aus dem Frühwerk des 1923 in Barcelona geborenen Katalanen und entstammt einer Zeit, die noch ganz von der surrealistischen Revolte gegen das franquistische Spanien geprägt ist. Erläuterungen zum KatalogAntoni Tàpies Spanien Informel Nachkriegskunst Unikate 1950er Surrealismus Zeichnung Aquarell Pferde- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Rhoades, Jason1965 in Newcastle, CA/USA - 2006 Los AngelesPerfect World. 48 drawings from the project "Perfect World". 2000. India ink, pencil, acrylic, c-print on paper. Between plexiglass panes with wall mounting. The verso plexiglass panes polychromed in different colours. Each 28 x 42cm. Provenance:- Corporate collection Germany. Explanations to the CatalogueJason Rhoades USA Contemporary Art 2000s Technique Drawing Mixed mediaRhoades, Jason1965 in Newcastle, CA/USA - 2006 Los AngelesPerfect World. 48 Zeichnungen aus dem Projekt "Perfect World". 2000. Tusche, Bleistift, Acryl, C-Print auf Papier. Zwischen Plexiglasplatten mit Wandmontage. Die rückseitigen Plexiglasplatten verschieden farblich gefasst. Jeweils 28 x 42cm. Provenienz:- Unternehmenssammlung DeutschlandBis zu seinem frühen Tod im Jahr 2006 im Alter von 41 Jahren führte Rhoades einen kontinuierlichen Angriff auf ästhetische Konventionen. Er konzipierte seine Arbeiten im Rahmen eines laufenden Projekts, in dem die Installationen kontinuierlich verändert und ergänzt wurden. In Hamburg realisierte Rhoades 1999 eine große Installation mit dem Titel Perfect World, bei der ein monumentales Gerüst eine mit großen Löchern durchsetzte Holzplattform trug, durch die unterhalb drapiertes Material sichtbar wurde. Rhoades verglich die Plattform mit dem Garten Eden, der prekär über der Hölle schwebte. Diese Zeichnungen sind ein Tagebuch der Installation und enthalten Diagramme, Skizzen, Fantasien und Telefonnummern. Die Plexiglasrahmen sind integraler Bestandteil der Arbeit und reflektieren Farbe an der Wand in einem subtilen Bezug zu den Minimal Artists wie Donald Judd oder Dan Flavin. Andere Zeichnungen dieses Projektes sind unter anderem im Besitz des MOMA in New York. Erläuterungen zum KatalogJason Rhoades USA Zeitgenössische Kunst Unikate 2000er Technik Zeichnung Mischtechnik- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR
Conundrums: Two fans, comprising a unique 18th century ivory fan, the gorge carved and pierced, the upper guards overlaid with slivers of pale pink/green mother of pearl, perhaps burgau, and edged with piqué work. The recto, in cream, is painted with a colourful bird and a spray of flowers, in strong blue, reds and green, with writing e.g. (''Why is a man in love like a lobster?'', and '' why is an old woman that cannot do anything like a young woman who can do everything?'') and a section of script to either side. Centre top, ''an occasional monologue spoken by Mr Garrick the last time of his performing towards increasing a fund for the relief of those who from their infirmities shall be obliged to retire from the stage''. To the left of the bird, ''Dr Doctor, Doctor Doctor''. Further ''A veteran seer! whose last act on the stage intreats your smiles for sickness and for age......''. A reference to Shakespeare. An apparent signature, in ink as seems the writing, ''Yours Zepper(?) Gallery''. The verso is likewise covered with conundrums to each side of the drawing. Guard length 11 inches or 28cm. T/w a light and airy French mid-18th century fan, tiny gold sequins bordering a central cartouche and two side vignettes, the focus being on a pretty lady in pink 18th century costume receiving flowers from her beau, the latter dressed in breeches and a long blue coat. The reserves are painted with butterflies, white doves, and a profusion of floral attributes and swags. The verso is plain. Guard length 11 inches or 28cm (2). The first fan is in good order and clean. Fan 2 has suffered, with splitting to the leaf (but just holding). Slight soiling.
Whistler (Rex) Engravings...for Jonathan Swift's Gulliver's Travels Printed from the Original Plates, Introduction by Anthony Rota, out-of series copy (not for sale) from an edition limited to 100 copies on hand-made paper, this one of 26 unnumbered copies with one of the original copper plates, engraved title-vignette and 25 engraved sheets comprising 12 plates, 5 maps, 4 head- & 4 tail-pieces by Rex Whistler, the 12 plates hand-coloured, loose as issued, with copper plate in recessed panel inside rear board and printer's original paper wrapping featuring the engraving mounted inside front board (soiled), a little oxidisation to plate and loose from panel, together in original half viridian morocco drop-back box, slight fading to spine, large 4to, Harrison's for H.M.Fletcher, 1970. ⁂ Whistler's illustrated version of Swift's Gulliver's Travels was his magnum opus, first published by the Cresset Press in 1930 with 195 copies on hand-made paper and 10 on vellum, and one of the most magnificent English illustrated books of the 20th century. It was apparently inspired by Richard Bentley's Designs for Six Poems by Mr T.Gray of 1753 and Whistler drew the illustrations within elaborate rococo frames, each one different, many reflecting his love of Baroque architecture. He spent months on the detailed pen and ink drawings; according to his brother Laurence he sat up all night drawing one wheatsheaf. The original copper plates were bought by bookseller H.M.Fletcher who issued this suite of the illustrations in 1970.The copper plate is for 'He cuts with his knife the cables that fasten the anchors, receiving above two hundred shots in his face and hands', from the Voyage to Lilliput.
Victorian tour albums.- Lee (Madelaine Smith Austin, wife of Henry Austin Lee, diplomat) 2 Tour albums of England, France, Russia and Egypt, together 129pp. excluding blanks, comprising: c. 500 signatures from various people in society including Mark Twain and Winston Churchill, c. 300 silver and albumen mounted photographs of estate parties and views, 20 watercolours, pen and ink sketches and drawings (including 2 by Lady Dorothy Stanley (1855-1926), painter and illustrator, wife of Sir H.M. Stanley), and 8 musical notations (including 4 by Jacques Blumenthal (1829-1908), German pianist and composer), some browning, first vol. several ff. loose, some with tears along inner margins, each vol. new endpapers, first vol. modern morocco-backed cloth, second vol. original half morocco, gilt, repaired, rebacked in modern morocco, 4to, 1892-98.⁂ Signatures, including: (1). Samuel L. Clemens signed as Mark Twain, Clemens writes: "This line is written by the 'real' one-but it can't be proven by the testimony of the next witness. Sincerely yours, Mark Twain Apl. 2/94," with Clemens drawing a downward pointing hand and immediately below, Edith Beaumont playfully identifies herself as "Next Witness," and a photograph of Clemens (2). Winston S. Churchill (3). Henry Morton Stanley autograph inscription quoting a couplet from Tennyson's Ode on the Death of the Duke of Wellington: "Not once or twice in our fair island-story/The path of duty was the way to glory." Stanley's favourite quote on his 1887 expedition up the Congo river (4). Adjacent page also features a photograph including Henry Morton Stanley, businessman Sir William Mackinnon, and explorer George Sutherland Mackenzie.Other signatures and inscriptions include: Signed prose manuscript by French novelist Paul Bourget; a poem signed by Irish politician Tim Healy; an autographed musical quotation by composer Alfred Scott-Gatty; Lord Salisbury, Joseph Chamberlain, Neville Chamberlain, Harry Cust, Phil May (with pen and ink drawing of a head).Photographs, including: Sudbury Hall (Derby), Quarr Abbey House (Isle of Wight), Sphinx and the Great Pyramid, St Petersburg, Moscow etc.A report in the Chicago Examine, 5 March 1911, repeats a newspaper article in the French newspaper L'Action Française, charging Lady Austin Lee with spying at the time of the Dreyfus Affair.
Jones (David [pseud. Dai Greatcoat], painter and poet, 1895-1974) 14 Autograph Letters signed (13 to Morag and 1 to Richard), annotated in several colours, together 37pp., folio & 4to, Harrow, 19th September 1952 - 6th January 1968, on a variety of subjects, including: the BBC broadcast of Jones' epic poem, The Anathemata, "Yes, all the music is settled for the B.B.C. version of Ana as they are doing it at 9 P.M. on Tuesday May 5th with a repeat on... May 7th * The cast... is in this weeks Radio Times [produced by Douglas Cleverdon and with Dylan Thomas in the cast as a Welsh speaker]... I've no idea what it will sound like... But they've taken a lot of trouble over it", academia, "Do you know that jolly nice joke about the text in one of Paul's epistles reading 'Know ye not that they which men in a race run all, but one receiveth the prize?' The suggested alternative is 'they which run in a race run, all but one receiveth the prize.' Typical childish don's jest, but it never ceases to amuse me", his artwork, "I'm trying to do a watercolour drawing of daffadills & other stuff in... inevitable glass goblet - very complicated drawing & it has not come to life yet", detailed expositions on Celtic and Anglo-Saxon history, "... touching Urien Rheged & his son Owein & Coel Hên... . So when some Saxon chap heard... that such a... wooded place was called by the Romano-Britons Ced, he took it for a place-name & called it Ced-wudu and this became Chetwood", and his knowledge of Welsh, "I don't really know any more Welsh than as you say of yourself. I wish I did, but I'm too old now to master it, however hard I try", with 2 painted inscriptions and a pencil drawing of a young woman in profile, folds, some small tears along folds at edges, slightly creased edges; and a small quantity of ephemera by or relating to David Jones, including: 2 Autograph notes signed to Morag from Jones on verso of photographs of Jones works, 4th January 1960 & 22nd December 1961, "The Latin bit of the main inscription is what the priest says when he's censing the altar at the Offertory at Mass: 'May the Lord kindle in us the fire of his love and the flame of eternal charity'"; 1 painted inscription and 1 pen and ink inscription; and 3 cards signed (2 photographs of painted inscriptions), v.s., v.d. (sm. qty).⁂ Provenance: By descent in the family.
Burton (Sir Richard Francis) Falconry in the Valley of the Indus, first edition, tinted lithographed frontispiece and 3 plates, 8pp. publisher's catalogue at end, half-title inscribed in Arabic at head and with a pencil drawing of the author's head imposed on to the body of a cat walking across a roof, captioned beneath in ink 'a faithful sketch of the Author', light foxing to plate margins, occasional spotting elsewhere, original cloth, spine ends worn, soiled, [Harting 66; Schwerdt I, p.90; Penzer p.41], 8vo, 1852.⁂ 'Well written' (Harting).
John Haydn Jones (1923-1997), "Crown Hotel, Nantwich", signed, titled and dated 1992 on artist's label verso, pen and ink drawing, 30.5 x 25cm, 12 x 10in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed.
Todd White (American, b.1969), Portrait of a lady holding a wine glass, signed, ink drawing, 32 x 24.5cm, 12.5 x 9.75in.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has the odd minor scuff and scratch commensurate with age.
Todd White (American, b.1969), "All in One Piece When Broken" (Head Final), signed and titled, with artist's blindstamp, dated 2006 on certificate of authenticity verso, ink drawing, 26.5 x 20.5cm, 10.5 x 8in.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has the odd minor scuff and knock.
Liam Spencer (1964-), "High Street", signed, titled and dated 2008 on verso, ink and wash, 18.5 x 25.5cm, 7.25 x 10in. Artists' Resale Right (droit de suite) may apply to this lot.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed.
Taken from a sketchbook dated 1912/1913, with pencil inscription from the family of the artist to Ronald Searle, pen and ink on paper (Dimensions: The sheet 23cm x 18cm (9in x 7in))(The sheet 23cm x 18cm (9in x 7in))Footnote: Note: The work is inscribed 'for Ronald Searle, To remember the placing of the Grosz plaque in Berlin on 6 December 1977, from Martin and Peter Grosz and his wife'. It is also inscribed by Ronald Searle to the reverse 'by George Grosz, taken from a sketchbook, dated 1912/1913, by Peter Grosz, Berlin, 7 December 1977, RS.'Condition report: The sheet appears sound, with no evidence of tears. Very faint line emanating from left hand side edge into paper, very slight colour differential, but not encroaching onto drawing. There are some faint, scattered spots of foxing in places, and some minor spots of slight staining. Subject to the above, the work appears to be in good overall condition.
Walterhausen rosewood Dolls House Rococo style drawing room suite, sofa with gold decorated scroll shaped back with padded green silk back, seat and armrests together with matching armchair and five chairs all with gold paper trim, with ink written stock reference to base of sofa and one chair ‘Box 1200, Kind 100 4/2, sofa 4 ¾” (12cm) high x 7 ½” (19cm) wide, condition: very good some minor wear to green silk.
WW2 Nagasaki Atom bomber Fred Olivi Co Pilot Bockscar 10 x 8 drawing around his hand in red ink with inscription and autograph in palm. He was crew member on what is, to date, the world's last A-bomb attack. Alternating with the B29's commanders, Major Charles Chuck Sweeney and Captain Donald Albury, Olivi was Bock's Car's third pilot. He had been commissioned as a second lieutenant just 12 months earlier. Military autograph. Good condition Est.
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