We found 15200 price guide item(s) matching your search

Charles McCall (1907 -1989) Ink and pencil drawing - Languedoc, signed, 26cm x 24cm, in glazed frame.

Le Corbusier - Étude pour La Pêcheuse d'HuitresOriginal pencil drawing on paper, not signed, but recognized as authentic verbally by Mr. Eric Mouchet. Good condition. Paper dimensions : 27 x 20.5 cm. Frame dimensions : 50 x 36 cm.Dessin original au crayon sur papier, non signé, mais reconnu authentique verbalement par M. Eric Mouchet. Bon état. Dimensions papier : 27 x 20,5 cm. Dimensions cadre : 50 x 36 cm.

ERTÉ (FRENCH, 1892-1990) 'L'INVITATION AU VOYAGE; LES SLEEPINGS' DRAWING; 1937 Gouache Signed (lower right); titled, dated and stamped with studio stamp (reverse) 27cm x 37cm UnframedProvenance: Acquired directly from the artist and by descent Condition Report: Few surface marks to paper outside of picture and faint pencil guidelines to sides of picture. Jagged bottom and right side edges. Label residue to reverse. Please see additional images.Condition Report Disclaimer

λ ERTÉ (FRENCH, 1892-1990) 'SYNCOPATION' DRAWING; 1945 Gouache Signed (lower right); titled, dated and stamped with studio stamp (reverse) 27cm x 37cm UnframedProvenance: Acquired directly from the artist and by descent. Condition Report: Slight wear to edges,some surface marks, two spots of black paint to bottom- likely when made, small burn mark to right, hole punched on left with three uniform holes, and small loss of paper to top right corner. Actual drawing presents well with some mild horizontal fold lines. Some pencil marks to reverse likely when made and surface dirt consistent with age. Please see additional images.Condition Report Disclaimer

IDA JOHN (NEE NETTLESHIP) (1877-1907) "Mary Alice Forster Barrington Ward, daughter of A.L. Smith, Dean of Balliol College", a portrait study, pencil, unsigned, inscribed verso "... by Ida John, daughter of J.T. Nettleship, Artist, niece of R.L. Nettleship, Philosopher and wife of Augustus John, Artist, who did the drawing from a photograph for A.D. Derbyshire, son of S.J. Derbyshire, Doctor of Medicine ...", 15 cm x 10 cm

ATTRIBUTED TO JOHN FREDERICK LEWIS (BRITISH 1805-1876) ON THE GRAND CANAL, VENICE Pencil, watercolour and bodycolour Titled and dated '18 July 42' (lower left) 27.5 x 60.5cm (10¾ x 23¾ in.) Provenance: Thomas Agnew & Sons Ltd, London, no. 26960 Measurements do not include the frame unless specified. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: Please Note: All Lots In This Auction Are Not Available To View Unexamined out of glazed frame. The drawing is composed of two sheets; the smaller one to the right measures approximately 17cm in width. There is discolouration to the sheet along the join. The paper is yellowing with extensive areas of mould, which are clearly visible across the sheet. A few hardly noticeable abrasions are present to the lower right. High resolution images are available upon request, please contact the department directly at pictures@dreweatts.com PLEASE NOTE: ALL LOTS ARE LOCATED SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA.    Condition Report Disclaimer

Jesse Mockrin (American, b.1981) Untitledsigned and dated 'J. Mockrin 2019' l.r. with further inscriptions, pencil 18.5 x 24.5cmCondition ReportFramed: 24 x 30cmA little light smudging. There is rippling to the left edge of the drawing on the right side of the page. A very small crease at the top of the right edge. Appears to be stuck down in the corners. Not viewed out of glazed frame. Please see additional images.

▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.

▲ Roger Hilton (1911-1975) Untitled (Drawing III)pencil and black chalk12.5 x 20cmProvenance: With Michael Parkin Fine Art, London; Andrew Best Esq.;the property of a private collector. Exhibited: Michael Parkin Fine Art, London, 'Another Pair of Eyes', 1983, catalogue no. 27.Condition ReportFramed: 25.5 x 33cmExecuted on dark orange paper with some areas of fading and discolouration to the upper centre, the top half of the right edge, and in the lower left corner. A little smudging in the lower left quarter. A small light coloured spot on the raised leg, centre right. Not viewed out of glazed frame.

▲ Edward Burra (1905-1976) The processionwith 'E J Burra' estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso65 x 50cm, unframedProvenance: Sotheby's, London, 'Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners', 3 July 2002, lot 256;the property of a private collector.Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain's dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre.His undated drawing 'The Procession' showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, red-skinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.Condition ReportThere are several very small, repaired tears to the upper edge. A few light spots of foxing starting to emerge. Very light surface dirt. There is a little pale yellow discolouration in the lower right corner.

▲ Ben Nicholson OM (1894-1982) 'Kos' signed, inscribed and dated 'NICHOLSON'/April 59/(Kos)' on the backboard, pencil and wash 48 x 35.5cm Provenance: With Galerie Charles Lienhard, Zurich; Sotheby's, London, 6 December 1984, lot 658; Sotheby's, London, '20th Century British Art', 13 July 2007, lot 4; the property of a private collector. Exhibited: Château des Rohan, Strasbourg, 'La Grande Aventure de l'Art du XXe Siècle', June - September 1963, catalogue no. 191. Ben Nicholson's extensive travels throughout his life significantly influenced his artistic development. In 1959, he embarked on a Swan Hellenic tour to Greece, which included numerous stops. This journey proved to be particularly inspiring for Nicholson, as he was deeply moved by the simplistic beauty of Cycladic figurines and Greek architecture. Nicholson's experiences in Greece enriched his artistic vision, leading to a more sculptural approach in his compositions. He began to incorporate subdued colours and a controlled palette, reflecting the serene landscapes and architectural forms he encountered. This influence is evident in the present work and also inspired his pure-white carved reliefs, which became a hallmark of his style. Condition ReportFramed: 75 x 62cm The drawing is mounted on a board. A little time staining with a small brown mark to the top edge, centre left, possibly tape residue (?). The wash is faint. A tiny fold in the extreme lower right corner. Please see additional images. Not viewed out of glazed frame.

▲ Roger Hilton (1911-1975) Untitled, 1972-1973conté24 x 19cmProvenance: Barry Flanagan, London;the property of a private collector.Condition ReportFramed: 41.5 x 36cmThere are some fine colourless lines/ indentations across the work which appear to pressure marks from another drawing, please refer to illustration. A couple of very small brown marks. Light pencil cross hatching to the upper edge, centre left. Very slight rippling to the sheet visible under raking light. Presents well overall and ready to hang. Not viewed out of glazed frame.

Christopher Wood (1901-1930) 'á Madame Laloy amicalement' signed, inscribed with title, and dated 'Christopher Wood/1926' u.l., pencil 49 x 32cm Provenance: Sotheby’s, London, ‘Drawings and Watercolours from the Collection of the Late Sir John and Lady Witt', 19 February 1987, lot 393. This portrait depicts Madame Laloy, the wife of musicologist Louis Laloy, and most likely dates from the spring of 1926, when Christopher Wood was most friendly with them. In a letter to his mother in March 1926, Wood expressed an ambition to design a ballet with Laloy and, later that year, he met Laloy and the French composer Georges Auric in London, to discuss designing scenery for a Chinese play. Previously, Wood had been commissioned by Diaghilev to create designs for his 1926 production of 'Romeo and Juliet', however, these were later replaced with designs by Miró and Ernst. This period marks a shift in Wood's work. His view of his French connections began to change and he began to turn his attentions away from the ballet. It was at this moment that the character of Wood's work would start to develop, moving away from the modernist influences of Cocteau, Picasso and Diaghilev. By August 1926, Wood's work was influenced by his friendship with Ben and Winifred Nicholson. This new outlook would shape his work in Cornwall and Brittany over the next four years. The drawing offered for sale showcases Wood's minimalist approach to line, capturing form with just the essential details. Condition ReportFramed: 66 x 47cm Time staining. Creasing around the edges. A little dirt and discolouration along the top edge. Not viewed out of glazed frame.

Manner of John Fulleylove, Abbeville, inscribed pencil drawing, paper creased, 36x26cm.

York Racecourse Collection - Framed pencil drawing of Simeon Templeman by J.F.Herring (1795-1865), 29.7cm x 38.8cm

An original pencil drawing of the Unicorn Inn Malvern by Frederick A Barrribal, framed and signed bottom right, titled " An Ancient landmark of Malvern

Alois Kolb (1875-1942) Richard Strauss - Symphonische Dichtungen; a suite of ten etchings and one original pencil drawingnine etchings and the drawing signed, loose as issued and in original illustrated half-cloth portfolio, published by Radierungen, Leipzig, 192456 x 45.5cm the folioProvenance:With Carol Manheim, London

Victorian raised floral card mounts, one with Loch Elive watercolour dated 1848, another with a pencil drawing of Rickling Church dated 1861, and 22 smaller cards with Cambridge College crests pasted to the centres

Stanley SPENCER (1891-1959) Sketch for Sandham Memorial Chapel Pencil on paper, inscriptions to verso, 24 x 19cm, 46 x 33cm framed.Stanley Spencer Studio Sale stamp to verso.Inscribed to verso 'drawing of soldiers picking up white stones for long picture of Todorovo, Macedonia'.Sketches for Sandham Memorial Chapel, Hampshire. Sandham Memorial Chapel was commissioned by Mary and Louis Behrend as a memorial to Mary’s brother, Lieutentant Henry Willoughby Sandham, who died at the end of World War One. It was designed by Lionel Pearson in the 1920s and was built to accommodate a series of paintings by Stanley Spencer inspired by his own experiences of the war. Created to honour the 'forgotten dead' who were not remembered on any official memorials, the series chronicles Spencer’s everyday experiences as a medical orderly and soldier on the Salonika front.

Alfred WALLIS (1855-1942) Steamships, St Ives, 1941/2 Graphite on paper, 26 x 40cm, framed 42 x 55.5cmExhibited - Arts Council Touring Exhibition, 1968, part of exhibit no. 170 ' Derwent Scrapbook - Scrapbook in soft covers 16 x 11 (inches) - Ex collection Sven Berlin - There are 34 pencil and blue crayon drawings. - Executed in Madron Workhouse, 1941-2 - (lent by) Denis Mitchell. Esq.' (the original catalogue for this exhibition is included in the sale of this lot)Provenance -Ben Nicholson gifted the sketchbook to Alfred Wallis;acquired by Sven Berlin;Denis Mitchell (lent to the Arts Council, 1968);with 'Gillie' Wills Lane Gallery, St Ives, where acquired by the present owner in 1998 This important drawing has all the characteristics of a classic Alfred Wallis. The condition is far from perfect, it has browned paper and foxing. In the extreme lower left there is a tear.

Vibrant and expressive limited edition print by Paul Kostabi, numbered 24/30 and hand-signed in pencil by the artist. The composition features a highly stylized portrait of American writer and screenwriter Nathanael West with an intense, chaotic energy, characterized by bold colors, dripping paint, and dynamic linework. The piece embodies Kostabi's neo-expressionist style, drawing inspiration from street art and punk aesthetics. Overlaid text, including the name Nathanael West, adds a literary reference to the work, reinforcing the artist's engagement with cultural and intellectual themes. Paul Kostabi, known for his raw, emotive visual language, has been a significant figure in contemporary urban and outsider art movements. His work is collected internationally, and he remains an influential force in the art world.Artist: Paul Kostabi (American, b. 1962)Issued: c. 2000Dimensions: 17.25"L x 24"HCountry of Origin: USACondition: Age related wear.

FRENCH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, POSSIBLY A SELF-PORTRAIT Pencil and coloured chalks 24 x 18cm (9¼ x 7 in.) Provenance: Day and Faber, London (as French School, circa 1740). Condition Report: Drawing : 24 x 18cm, framed: 35.5 x 31cmSome light discolouration to the buff coloured sheet, together with some brown spots of foxing and surface dirt scattered throughout. Light undulation to the sheet under the glazed frame. Overall the colours are good considering the age of the work.Unexamined out of glazed frame.Condition Report Disclaimer

* Games (Abram, 1914-1996). London. Regent's Park, 1976, colour lithographic poster for London Zoo, with black and yellow geometric shapes placed to create the shape of a tiger, 101 x 63.5 cm, together with a lithographic letterpress poster for London Underground headed ‘Your Ticket Please!’, c. 1970s, 98 x 58 cm, both rolled, near fine; plus 2 New Zealand Greenpeace posters with artwork by Nigel Brown and Pamela Wolfe; Paris, 11 May 1968, using a photograph by Guy Kopalowicz; Freshwater Fishes of New England; a modern reprint of a plan of Hammersmith by John Salter, 1830, various sizes, all rolled, VG+; plus a large drawing of a Native American woman, c. 1970s, pen, pencil and watercolour on the back of a sheet of wallpaper, titled ‘Fleur de Prairie’, unsigned, rolled, some marginal fraying and tearsQTY: (8)

Late 17th Century drawing of a Male Dancer, pencil and charcoal on brown paper, 8.5cm x 4.8cm, framed and glazed (1)

William Henry Pike RBA (1846-1908) Watercolour Continental rural scene of figures and dwelling by river, signed lower left, framed and glazed, mount aperture 19.5cm x 3.5cm, together with a William Thomas Hawksworth (1853-1935) pencil and ink drawing of Portsmouth harbour, framed and glazed, mount aperture 17.5cm x 24cm, a Christopher Arnold (b.1955) watercolour "Sun and Rain, Grand Havre", signed lower right, framed and glazed, mount aperture 12.5cm x 17cm and a pastel sketch by Carole North, "Langstone Harbour Sunrise", signed lower right, framed and glazed, mount aperture 22.5cm x 31.5cm (4)

A Collection of Vintage Drawing and Pencil Sets, Dip Pen Set Etc

Michael Hill, 20th/21st century - Study of a Reclining Nude, signed and dated '14, watercolour and ink, 27.5 x 43cm; Janet Hill, 20th c - Reclining Nude 3, attributed and titled to verso, oil on canvas, laid on board, 50 x 75cm; and a pencil drawing of a standing nude, indistinctly signed, 54 x 30cm, (3) Mixed condition, generally good

Three artworks to include an early 19th century pencil drawing of figures and a ruin on a lake in a mountainous landscape, a Continental school watercolour village in an alpine landscape, and an early 20th century pencil and watercolour study of Lake Lucerne 1907, signed to the lower right. All framed and glazed with labels to the reverse. H.39 W.50.5cm

NUDE PENCIL DRAWING ULI. NIMPTSCH

After Romano Stefanelli (Italian, 1931-2016), a large print of a nude female brushing her hair, from an original pencil drawing, seemingly signed in pencil, Halcyon Gallery label verso, 92cm x 71cm

After Romano Stefanelli (Italian, 1931-2016), a large print of a nude female, from an original pencil drawing, seemingly signed in pencil, Halcyon Gallery label verso, 91cm x 73cm

After Pietro Annigoni (1910-1988), a high quality print of a female nude after the original pencil drawing, possibly signed in ink, Halcyon Gallery label verso, 76cm x 64cm

R O Lenkiewicz (1941 - 2002) celebrated artist of South West England who often dealt with difficult social issues through themes in his work such as vagrancy and alcoholism. A pencil sketch portrait of a young boy, signed lower right and inscribed verso 'Brenda Taylor' - 'Drawing made in September 1974 for Brenda's Father's Birthday' - 'Reframed October 2002', image size 39 x 26cm, f & g

Original charcoal and pencil drawing on paper featuring an illustration of a lady laying down in bed and a gentleman smoking at her side. Signed. Joan Cardona i Llados (June 30, 1877 – September 16, 1958) was a Spanish painter and illustrator associated with the Modernist movement. Born in Barcelona, he studied at the Escola de la Llotja, where he developed his skills in painting and drawing. While he initially focused on landscape painting, evolving from Impressionism to Post-Impressionism, he gained greater recognition as a draftsman and illustrator. Cardona was heavily influenced by French artists such as Henri de Toulouse-Lautrec and Théophile Steinlen, which is reflected in his realistic yet expressive style. In 1900, he moved to Paris, where he became well known for his depictions of female figures, both Parisian and Spanish, in a manner reminiscent of Hermenegildo Anglada Camarasa. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. His work was featured in numerous publications, including Catalan magazines such as Hispania, El Gato Negro, and La Ilustració Catalana, as well as French (Le Rire, La Vie Parisienne) and German (Jugend, Simplicissimus) periodicals. His illustrations captured the vibrant and sometimes bohemian life of the early 20th century. Poor condition, paper losses, several large tears, staining, foxing, pinholes, blue pencil mark on top left corner. Country of issue: Spain, designer: Joan Cardona Llados, size (cm): 54x44, year of printing: 1900s.

Matthew Houghton, head and shoulders portrait of a young lady, pen and pencil drawing in a decorative gilt frame.

A framed pencil drawing of a young lady, signed by artist V.M.Rowles, dated 1915

18th century, glade with dancing muses, drawing sepia, signed and another pencil drawing 17cm x 23cm max (2)Shipping £38.00 plus vat (UK Only)

A FRAMED MEMORIES OF WILMSLOW LIMITED EDITION PRINT 235/750 BY STUART MOORE TOGETHER WITH A PENCIL DRAWING OF AN OWL

A SIGNED WILLIAM ORPEN, 1910, PENCIL DRAWING PRINT TITLED 'THE DRAUGHTSMAN AND HIS MODEL' 43CM X 57CM

A SIGNED WILLIAM ORPEN, 1913, PENCIL DRAWING PRINT TITLED 'AFTER BATHING' 43CM X 57CM

Three portraits; a pen and ink drawing of a man seated (unsigned), a pencil portrait titled 'J Ruskin Esq' and a pencil and watercolour picture of a man seated (indistinctly signed to lower right), all framed and glazed.

Claire Minter Kemp (British, 20th/21st century), 'Elegant', pencil and watercolour drawing, elephant balancing on a stool, 13cm x 17cm, signed, framed and glazed, 30cm x 34.5cm.

John Kyffin Williams (Welsh, 1918-2006), pencil drawing, cave with stream, 17.5cm x 11.5cm, signed 'K W' to lower left, 'Drawing, Lomond Scotland' is written on the back of the mount, framed and glazed, 35cm x 29cm. UK mainland P&P £28+VAT

Pencil and wash drawing 'mast ship at ankor'. Indistinct writing along the bottom, date '1851'. 9cm x 14cm. Framed and glazed

British School, 19th century - A cut-out pencil and ink drawing of a dog chained outside a doghouse, inscribed below: 'A Portrait - drawn from life, Sweep. property of F.D. Whiting[?]', 15 x 20.5 cm, framed

(ARR) D*Face (British, 1978-)Sweet Nothings, 2013Screen print in colours on 410gsm paperSigned and numbered 55 of 75 in pencilMounted, framed & glazed Dean Stockton, better known as D*Face, born in 1978 in London, is an English street artist who is recognised as one of the most prolific contemporary urban artists of his generation. D*Face grew up in London and developed an interest in drawing and graffiti in his childhood. As a teenager D*Face was fascinated by the USA, the American Dream, skateboarding and drawing. He discovered street art when he was 15 while discovering Henry Chalfant‘s coverage of subway graffiti in New York City in Spraycan and Subway Art and also Thrasher magazine’s coverage of skateboard deck graphics. The artist also credits his influences to Shepard Fairey‘s « Obey Giant » art campaign, Jim Philips, hip hop and punk music as well as popular animated cartoons. D*Face was the owner and curator for the Outside Institute, London's first contemporary art gallery to focus on street art. In 2005 the Outside Institute moved and re-branded to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on her album cover of Bionic. In 2024, D*Face collaborated with the newly launched art'otel London Hoxton, a hotel known for its strong emphasis on blending hospitality with contemporary art. As part of this partnership, D*Face infused his vibrant and rebellious street art style into various spaces throughout the hotel, creating bespoke murals, sculptures, and installations. The hotel, located in London’s creative hub of Hoxton, positions itself as a cultural landmark where art takes centre stage, with D*Face’s work playing a key role in shaping its distinct artistic identity and offering guests an immersive visual experience.Measures approx. 51cm x 61cm (20" x 32") excluding frame. Approx. 83cm x114cm including frame.

(ARR) D*Face (British, 1978- )Drive By Shouting (LA edition), 2017Limited edition Screenprint in 15 colours on 410gsm cotton paperSigned and numbered 48 of 150 in pencil.Framed & glazed. Dean Stockton, better known as D*Face, born in 1978 in London, is an English street artist who is recognised as one of the most prolific contemporary urban artists of his generation. D*Face grew up in London and developed an interest in drawing and graffiti in his childhood. As a teenager D*Face was fascinated by the USA, the American Dream, skateboarding and drawing. He discovered street art when he was 15 while discovering Henry Chalfant‘s coverage of subway graffiti in New York City in Spraycan and Subway Art and also Thrasher magazine’s coverage of skateboard deck graphics. The artist also credits his influences to Shepard Fairey‘s « Obey Giant » art campaign, Jim Philips, hip hop and punk music as well as popular animated cartoons. D*Face was the owner and curator for the Outside Institute, London's first contemporary art gallery to focus on street art. In 2005 the Outside Institute moved and re-branded to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on her album cover of Bionic. In 2024, D*Face collaborated with the newly launched art'otel London Hoxton, a hotel known for its strong emphasis on blending hospitality with contemporary art. As part of this partnership, D*Face infused his vibrant and rebellious street art style into various spaces throughout the hotel, creating bespoke murals, sculptures, and installations. The hotel, located in London’s creative hub of Hoxton, positions itself as a cultural landmark where art takes centre stage, with D*Face’s work playing a key role in shaping its distinct artistic identity and offering guests an immersive visual experience. Measures approx. 32cm x 82cm (12.5" x 32") excluding frame. 62cm x 116cm including frame.

JOHN FLOWER (1795-1861): A PENCIL DRAWING ON PAPER DEPICTING WENLOCK ABBEY, SHROPSHIRE, JUNE 1824Pupil of De Wint.34cm x 25.5cmFramed and glazed 52cm x 43cm.

ALFRED CROWDY LOVETT C.B.E (BRITISH 1862-1919): A WATERCOLOUR PAINTING ON PAPER DEPICTING A PORTRAIT OF AN INDIAN POTTER CIRCA 1880'SThe potter making earthenware pots on a wheel, in watercolour on board, witha. pencil drawing to verso of similar subject.27cm x 18cmMounted 41cm x 28.5cmAlfred Lovett was an army officer commissioned into the Gloucestershire Regiment in 1883, and he was promoted through the ranks to Brigadier General. He was posted to India with his regiment as a lieutenant in 1883, initially in Karachi. He then moved to Poona, Ahmedmagar, Bombay and Narisabad. He commanded the 1st Battalion, the Gloucestershire Regiment with the BEF in 1914. He was appointed Brigade Commander in the First Division and made Companion of the Order of the Bath, and awarded CBE in 1919.While in India, Lovett illustrated an important book written by Major Macmunn, 'Armies of India' published originally in London by A&C Black in 1911.Lovett died from illness aged 57 years old and is buried in Scarborough Manor Road Cemetry, North Yorkshire.He was a very talented artist, painting landscapes, Indian Army uniforms and soldiers and his work is held in the Royal Academy.Provenance: British Private Collection.

NIGEL LOVETT (BRITISH B.1900): A PENCIL/CHALK DRAWING ON PAPER DEPICTING A HUNT IN PROGRESS, INSCRIBED 'HUNTSMAN PLEASE'The drawing on French greyish Mogolfier stamped paper32cm x 23cmMounted 40cm x 29cmNigel Lovett was the son of the late Brigadier General Alfred Crowdy Lovett, and was an officer of The Gloucestershire Regiment, as well as a talented painter stationed among other places in Continental Europe, Egypt and Singapore.An Impressionist and Modern painter, he depicted scenes of a sporting nature as well as everyday life, landscapes, portraits and military subjects.He retired from the army in the 1950's and continued his love of painting until the 1980's.

WILLIAM BARNES WOLLEN (BRITISH 1857-1936): A FINE WATERCOLOUR PAINTING ON PAPER OF THE KING EMPEROR GEORGE V INSPECTING HIS TROOPS AND HIS INDIAN CAVALRY CORPS DURING HIS VISIT TO INDIAThe painting in overall good condition, signed.44cm x 37cmMounted 60cm x 46.5cmAnother pencil drawing to verso.Born in Leipzig, Germany, Wollen was educated at University Collega nd at the Slade. He exhibited pictures of historical subjects and events at the R.A, the National Watercolour Society and elsewhere. His first military painting in 1881 was of the storming of the Motee Mahail in Lucknow, India, to a great acclaim. He was elected member of teh Royal Institute of Painters in watercolours in 1888. He covered the South African Boer War and after a highly successful career he died in London aged 79.

MAURITZ FREDERICK HENDRIK DE HAAS (AMERICAN 1832-1895): A PENCIL DRAWING ON PAPER DEPICTING A SHIP17cm x 12cmFramed.

A SMALL QUANTITY OF 20TH CENTURY PICTURES, to include a ceramic panel depicting stylised thistles, initialled and dated (19)69 bottom right, approximate size 33cm x 20cm, two Derek Caister watercolour landscapes, an indistinctly signed mountainous sunset landscape, an unsigned coastal landscape, a pencil drawing of a vagrant, receipt verso indicates the artist is Wallace Spence, together with three needlework pictures

Pencil / Charcoal Drawing Portrait of Hermann Goering, A well drawn portrait of Reichsmarshall Hermann Goering. Period looking piece but mounted in a modern frame. Very nicely drawn with good detailing. Drawing itself is 39cm x 27cm.

CHRISTOPHER HOBBS. THE DRAWING ROOM AT GREAT CUMBERLAND PLACE. pencil and watercolour heightened in white, 76cm x 101cm, hand painted frame.

C. Franks (Fife Artist)5 Artworks;Two Watercolours ''Aircrafts'', signed and dated 1996.Two Ink ''Aircraft'' drawings, signed and dated 2000.Pencil Drawing ''Aircraft Pilot'', signed and dated 1992.

John Bratby RA (1928-1992) "Hardy Road, Blackheath, 1968", pencil drawing, signed, 26cm x 39cm, ebonised frame, mounted and glazed

Robert Bailey (20th century); Big Surprise for Luke; pencil drawing; signed and framed; 86cm x 67cm  ARR may apply

Robert Bailey (20th century); To Seek Out (Star Trek related); coloured drawing pencil on paper; signed and paper; 69cm x 82cm ARR may apply

Robert Bailey (20th century); Dramatic Introduction; (Star Wars related); coloured pencil drawing on paper; signed and titled; framed; 107cm x 71cm ARR may apply