We found 15174 price guide item(s) matching your search

A pencil drawing titled Campo S.Marguerita, Christa Gaa (1937-1992). Size 7x 8 1/4.To verso: This drawing was done by my late wife, signed by Ken Howard. Labels from the New Grafton gallery, Barnes, London

A Gift for Jack B. Yeats [Yeats, Jack B.] George A. Birmingham.  Spanish Gold. L. 1908, First Edn., Jack Yeats’ copy, with his characteristic signature within a drawing of a smoking pipe on front pastedown, and with gift inscription from his sisters on f.f.e.p. dated August 29th 1908. The story concerns treasure buried on an island, and would certainly have appealed to Jack, with pencil notes and numbers throughout (probably Jack B. Yeats notes)  Spine a little dulled, o.w.v.g. (1)

English Naive School, 19th century A naive Gothic-style drawing of three women, c.1830 inscribed l.l. 'Gilmore July 19-30', and verso 'The Hon Mrs Childers nee Eardly and her daughters Selena and Joanna', with decorative 'S. S. Folker, Brighton' framer's label, pencil 28 x 23cm

Humpback Whales limited edition print 652 / 850 from an original drawing, signed in pencil by Gary Hodges (Born 1954)  94cm x 41cm

A 19th century pencil drawing, lady and dog along with a 19th century print, both framed and glazed. H.20 W.17cm

JOHN LEECH (BRITISH 1817-1864) FOR PUNCH MAGAZINE: A PENCIL DRAWING ON PAPER 'JUST KILTED - A SCENE AT BLAIR ATHOL', Circa 1844. Along with an identical print below. Drawing 18cm x 16cm Mounted in a frame and glazed. 49cm x 32cm

SIR JOHN TENNIEL (BRITISH 1820-1914) FOR PUNCH MAGAZINE, IMPORTANT BRITISH AND IRISH HISTORY: A PENCIL DRAWING ON PAPER 'HOME RULE' WITH AN IDENTICAL PRINT BELOW, The cartoon depicting Prime Minister Gladstone rowing a boat named 'Home Rule Bill' through 'Amendments' icebergs. Initialled bottom left and dated 1893. 20cm x 16cm each. Mounted in a frame and glazed. 49cm x 32cm

WILLIAM COLLINGWOOD (1854-1932): A PENCIL DRAWING AND WATERCOLOUR PAINTING ON PAPER DEPICTING A FIGURE IN A SAIL BOAT OAT ON A RIVER, 20cm x 15cm Mounted in a frame and glazed. 29cm x 24cm

RUSKIN SPEAR C.B.E, R.A: A PENCIL DRAWING ON PAPER TITLED 'CAT LOOKING AT CANARY', 20cm x 17cm Mounted in a frame and glazed. 34cm x 32cm

This superb, limited edition Giclée fine-art print of renowned motoring artist Emma Capener's pencil drawing of legendary racing driver Jim Clark will be auctioned in aid of the Jim Clark Trust at our Gold Cup Sale at Oulton Park on 28 July. It's a fitting location to offer this magnificent artwork, as Jim Clark won the Oulton Park Gold Cup in 1963, and the Historic Formula Junior drivers will be battling it out for the Jim Clark Cup at this year's Gold Cup weekend. The extraordinarily-detailed drawing shows Jim Clark at the Dutch GP at Zandvoort in 1966. Each limited edition print includes the artist's signature, is numbered and comes with a certificate of authenticity. The print going under the Hampson hammer is number 25, reflecting the number of F1 race wins Jim Clark achieved in his, tragically, all-too-short career. The Jim Clark Trust is dedicated to promoting and celebrating the story of Jim Clark who won the Formula One Championshipin 1963 & 1965 and the 1965 Indianapolis 500, all with Team Lotus. The charity was formed in 2015 to help support, fund and operate the new Jim Clark Motorsport Museum. The origins of the Trust date back to the original Jim Clark Memorial Room opened in 1969 by Jim’s parents James and Helen, and is still run by relatives of the Clark family. The Jim Clark Cafe Bistro and Jim Clark Trail are operated by the Trust with profits going to charity to enhance the experience of visitors to the Museum and support tourism, culture and economic benefits in the Scottish Borders… the place Jim Clark cherished and called home. Its charitable aims focus on Heritage, Education and Inspiration.

An original pencil drawing of The Garrick Inn and Harvard House Stratford upon Avon. Glazed and framed 

A pencil drawing Leslie Gunston together with a watercolour, mountainous lake scene signed Kingsley and a further 19th century watercolour.

* Levin (Julo, 1901-1943). Dünenlandschaft an der Ostsee (Dune Landscape on the Baltic Sea), watercolour with traces of pencil on paper, signed lower right, mount aperture 455 x 580 mm (18 x 22 7/8 ins), framed and glazed (68.5 x 80 cm)QTY: (1)NOTE:Provenance: Pommersche Kunstauktion, Koserow, Germany, Kunst - Hälfe des 20.Jahrhunderts, 23 May 2015, lot 36.Julo (or Julius) Levin was born into a Jewish family in Stettin, Poland. He studied art first at the Essen School of Applied Arts and then at the Munich School of Applied Arts. In 1923 he moved to the Düsseldorf Art Academy, where he completed his studies, joining the Young Rhineland (Das Junge Rheinland) group of artists, and later also joining the Rhine Secession in Düsseldorf. Whilst exhibiting with both of these groups, Levin also joined the Association of Revolutionary Visual Artists of Germany (Assoziation revolutionärer bildender Künstler Deutschlands), which was closely allied with the German Communist Party. During the late 1930s, Levin taught drawing at various schools in Düsseldorf and then in Berlin, but in 1941 these schools were closed and Levin had to undertake forced labour. On 7 April 1943 Levin was arrested, and a few days later deporated to Auschwitz, where he died.

* Callot (Jacques, Nancy 1592-1635). Tuscan Farmyard, pen and brown ink on vellum, sheet size 119 x 168 mm (4 3/4 x 6 5/8 ins), a few surface marks, sheet reinforced to verso with thin strips of paper to outer edges, traces of adhesive to the left margin verso, inscribed in a later hand in pencil 'Callot' and printed collector's mark of A. Gluenstein (Lugt 123) to centre of the sheet verso, framed and glazedQTY: (1)NOTE:Provenance: Adolf Glüenstein (1849-1918), Hamburg (Lugt 123); Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Adolf Glüenstein began, at the age of just 18 or 19, to form a collection of drawings and watercolours by both modern and old masters, which eventually comprised 400 old master drawings and 1200 modern works. After his death part of his collection was sold by C. G. Boerner in Leipzig from 1918 onwards; several drawings from this collection are described in Boerner's list XXXVII Handzeichnungen alter Meister des XV. bis XVIII. Jahrhunderts.Accompanying this drawing is a photograph of Chatsworth Drawing Album 20 (Callot, number 362) attributed to Francois Collignon after Callot of the same subject, bearing an inscription to lower left 'J. Calot inven et fe' (not in Callot's hand). The photograph is accompanied by a sheet of printed notes on the Collignon drawing by Michael Jaffé in red ink. His comment reads: 'the finely drawn original, presumably intended as a finished model for an etching or engraving, was offered at Christie's, London sale 15 December 1992 (162, as circle of Callot), pen and brown ink on vellum, 116 x 165 mm, inscribed 'Callot' verso, from the collection of A. Glüenstein (L. 123). The heavy penwork of the Devonshire drawing, imitating Callot's finer and more various strokes, and missing the sprightliness and wit of his figures, indicates a less brilliant follower. The same farmyard, seen from a different angle, appears in Callot's etching La Fattoria (Lieure, no. 219). The original model was recognised as such by the compiler before the sale. It was now in an English private collection. Callot's inventions of the finest execution were drawn on vellum rather than white paper for luxurious effect, e. g. also the Distant view of Toul, with the arms of Porcellets and Designs for the festival floats and participants for 'La Guerra d'Amore'. A further pen, brown ink and brown wash drawing on laid paper was offered at auction by Dorotheum, Vienna, Master Drawings, 10 April 2019. lot 103, which the auction house suggested could be by an Italian artist from the circle of Remigio Cantagallina, executed after an original composition by Callot.Literature: For the similar work attributed to Collignon at Chatsworth, see Michael Jaffé, The Devonshire Collection of Northern European Drawings, Umberto Allemandi, 2002, Volume V (French Artists), number 1665.

* Attributed to Domenichino (Domenico Zampieri, 1581-1641). Falling Putto, red chalk on laid paper, laid down on a sheet of 18th century laid backing paper (watermarked), with pencil triple rule outer border, inscribed in brown ink in an 18th century hand 'Domenichino' lower right, and 'Carlo' lower left, some surface marks and light soiling, minor loss to extreme upper left corner, and scratch towards lower left margin, with minimal loss, sheet size 246 x 201 mm (9.7 x 7.9 ins), backing sheet 31 x 26.5 cm (12.2 x 10.5 ins)QTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.The early inscription 'Carlo' on the backing paper may refer to Carlo Maratta (1625-1713) as a previous owner of this drawing. Fellow artist Maratta famously owned a substantial collection of Domenichino's drawings, purchased from that artist's pupil Francesco Raspantini. In turn, Maratta sold part of his collection, mainly drawings and cartoons, to Giovanni Francesco Albani, later Pope Clement XI, who tried to prevent their sale abroad. They were eventually acquired from Alessandro Albani by King George III of England and reside today in the collection at Windsor Castle.

* Martin (Frank, 1921-2005). Studies of Barbara Stanwyck (American actress, model and dancer), pencil drawing, double study on single sheet, signed in ink bottom right and titled bottom left, mount aperture 38cm x 27.5cm (15" x 10.7"), framed and glazed, together with a second single pencil study of Barbara Stanwyck by the same artist, signed bottom right and titled bottom left, dated circa 1931, mount aperture measures 33cm x 26cm (13" x 10.5"), some slippage in mount revealing time toning, framed and glazedQTY: (2)

Joan Miro (Spanish (Catalan), 1893-1983). Aquatint and etching on Guarro paper depicting an abstract composition in bright colors, plate 5 from the "Espriu" Suite, 1974. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 33 3/4 in x width: 27 1/2 in. Framed; height: 45 1/2 in x width: 39 in x depth: 1 in.Condition: The print is in good condition with bold and bright colors. The print is hinged along the top edge of the verso. The print has some foxing overall, most prevalent along the upper right corner. There are three ‘U’ shaped creases along the center of the composition. Framed under plexiglass. The frame has some wear. The paper backing of the frame has been cut along three edges to allow for inspection.

Chris Larson (American, 20th/21st c). Graphite drawing on paper titled "Untitled #1 (Optical Rural Resolution in Deep Blue)" depicting a series of abstracted buildings, 2017-18. Signed and dated along the verso. With an "Axonometric" exhibition booklet; the booklet is pencil signed and numbered 40/100 along an inner page.Sight; height: 30 in x width: 40 in. Framed; height: 34 in x width: 44 in x depth: 1 1/4 in.Condition: There are no major tears, losses, or restorations. Undulation along the lower corners. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Brad Widness (American, 20th/21st c). Collagraph and polystyrene relief plate titled "Vessel #1" depicting a vessel in an abstract form, 2003. Pencil signed and dated along the lower right; titled along the lower right; editioned S/P along the lower center.Brad Widness was born in Sioux Falls, South Dakota, and taught drawing, printmaking, watercolor, design, and digital media at Minnesota State University, Mankato, as well as January interim courses at Gustavus in Bookmaking, and a Bookmaking workshop at the Minnesota Center for Book Arts in Minneapolis. Brad’s work has been selected for many juried regional and national exhibitions, and his work is included in numerous printmaking portfolios and traveling exhibits around the country. Highlights from the last ten years include participating in an invitational exhibition at the MAPC Conference in Minneapolis, receiving a McKnight Fellowship, and having work selected from an open portfolio review for exhibit at the Highpoint Center for Printmaking.Sight; height: 13 1/2 in x width: 8 in. Framed; height: 23 1/2 in x width: 16 3/4 in x depth: 1 1/2 in.Condition: The item is in good condition with no visible tears, creases, or losses. When inspected under UV light, there is no visible sign of restoration. To the upper right quadrant, there is minor foxing. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.

After LS Lowry Coffins House pencil drawing, 36cm x 28.5cm

Brutalist School (20th century)Abstract Figureindistinctly signed, dated '79, pencil drawing, 40cm x 30cm

Campbell (Lady Colin). The Lady's Dressing-Room, translated from the French of Baroness Staffe, 1st English Language edition, London: Cassell & Company, 1892, advertisements to the front & rear, some light toning & spotting, original gilt decorated light blue cloth, spine rubbed & marked , boards slightly rubbed to head & foot, 8vo, together with:Madison (Arthur J. S.), Hints on Rescue Work. A Handbook for missionarie, superintendents of homes, committees, clergy, and others, 1st edition, London: Reformatory and Refuge Union, circa 1890, tear to the rear pastedown, some light toning throughout, original gilt decorated plum cloth, boards & spine slightly faded & rubbed to head & foot, crease to the rear board, 8vo, plusA Member of the Aristocracy, Society Small Talk or What to Say and When to Say it, 2nd edition, London: Frederick Warne and Co., circa 1895, gutters cracked, period unrelated pencil drawing to the front endpaper, some minor toning, lacking rear endpaper, original gilt decorated cloth, boards & spine slightly rubbed, 8vo, and other 19th & 20th century miscellaneous literature, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (5 shelves)

Barrington. Barber, pencil drawing, of a lodge house,  signed and dated 1983. Award willing author of drawing tuition books. 36cm x 49cm

John Wilson Carmichael(1799-1868)"Filey Bridge Looking Towards Flambro (Flamborough) Head",signed JWC,pencil drawing and brown wash,35.5 x 35.5cms, in frame.

An antique silver card case, including silver pencil, Birmingham 1918 marks, 104.4g. CONDITION REPORT: This is in good condition, there are no dents or damages to mention. It is not engraved to the front. The interior lining is a little discoloured in areas and the drawing plate is a little worn but mostly good. Dimensions are 10 cm x 7 cm.

A rolled up signed drawing called "The Last Line-Up" 75cm's x 60cm's when extended, featuring drawings of photos of the Manchester United players lining up in Belgrade on the 5th February 1958 at the Red Star Belgrade match the day before the Munich air crash. It is a limited edition 644/1958 and has been signed in pencil by Harry Gregg, Albert Scanlon, Ken Morgan Ray Wood and Jackie Blanchflower with a printed signature of Matt Busby.

SVEN BERLIN. Two drawings: 'Germinate! Germinate! The Becoming', a pencil drawing, 19.5 x 12cm. To the reverse, titled & also noted, 'For Part III, The Becoming', initialled 'S' & dated '39. Also, a pen & ink drawing, 'Women In Prayer', initialled 'S' & dated '37. Paper size, 25.5 x 20.5cm. Condition Report: Both drawings are tipped-in to age-spotted mount board. The circular lines around the second mark are spotted with foxing.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

SVEN BERLIN. Portrait of a Man. (Possibly an early self portrait). Ink drawing. Signed 'SVEN' & dated '38. Paper size, 38 x 28cm. Also, one other possible self portrait in pencil & wash. Initialled 'S' & dated Feb '38. (To the reverse of this, a pencil sketch of a tree trunk). Size 23 x 21cm. Condition Report: The larger portrait is badly foxed throughout and the mount is also age spotted. The smaller portrait is in much better condition, with only two or three foxing spots.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

JACK PENDER. * Mousehole Fisherman. Pencil drawing. Signed & dated '89. 9 x 14.5cm. Condition Report: Some minor foxing on surface and around edges, otherwise in reasonable condition.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

† JACK MILLAR (1921-2006); a folio containing approximately twenty watercolour and pencil drawing sketches.Condition Report: NB A framed newspaper cutting of Jack Millar's obituary, from The Independent 4 December 2006, is available at Lot 384 in this sale.

A pair of 19th century etchings of cherubs, both 21 x 28cm, framed and glazed and an indistinctly signed pencil drawing, interior scene of reclining female, 15.5 x 18cm, framed and glazed (3).

† JOHN FRYE BOURNE (1912-1991); pencil drawing, study of a man, 12 x 8.5cm, framed and glazed, and a pencil drawing, study of a female, 12 x 8cm, framed and glazed.Provenance: John Frye Bourne was a very interesting artist who, at sixteen, was the youngest student since JMW Turner to be accepted at the RA Schools. After leaving there, he had a British Institution Scholarship and worked for a period with Sir Gerald Kelly, later president of the RA, but decided to set up independently as a society portrait painter from his family home in Harpenden, Hertfordshire.

A pencil drawing titled " Toms Boatyard Polruan Cornwall 1956" signed and dated Gerry Facey 1982 bottom right (72cm x 50cm)

A pencil drawing in circular frame (Dia18cm)

A framed portrait miniature of a Lady, printed on silk, in a decorative gilt metal frame, 20.2 x 14.75cm overall; a 19th century miniature portrait of the Madonna, printed and hand coloured on white glass, 10.2 x 7.8cm (velvet framed, worn); a well executed pencil drawing on card of a lady and child in historic dress, 13 x 9cm (framed); and a c.1900 red chalk drawing of a lady titled 'To Ida from S.G.D' (framed).

Yosl Bergner - 'Toys' - pencil drawing and watercolor on paper, signed, dimensions: 30x40 cm. Frame dimensions: 53X63 cm. Period: 20th century

'Bedouin women' - Shimshon Holzman, pencil drawing and watercolor on paper, signed, *Pasperto stains Image size: 34x48 cm Frame size: 48X65 cm Period: 20th century

Military.- Eschauzier (Samuel) Attributed to. An album of 65 original uniform studies of British Army Officers, presumably studies intended to be engraved for publication, watercolour, over pencil, some heightened with gum arabic, neatly mounted recto/verso on album leaf mounts, each drawing approx. 170 x 150 mm (6 3/4 x 5 7/8 in), some inscribed in pencil, scattered minor browning and surface dirt, some abrasions to sheets, half calf, letter to front free endpaper dated '11/4/44' on 'Royal United Service Institution, Whitehall' paper that suggests the attribution to Eschauzier by 'Godfrey Brennan, Uniforms Committee', and with Royal bookplate of Prince Henry, with crown and entwined initials HG, the name GLOUCESTER and his 'Honi Soit Qui Mal Y Pense' motto to front paste down, spine splitting, worn, 4to, [probably circa 1830s]Provenance:Prince Henry, Duke of Gloucester (1900-1974)

India.- Primrose (Gen. James Maurice, British Army commander in India, diarist, artist, 1819-1892) Collection of 24 original drawings from his time in India with the 43rd Regiment of Foot, circa 1855 to 1864, including drawings of temples and landscapes from "Benares" and the River Ganges in Uttar Pradesh, Sispara in eastern Kerala, the Nilgiri Mountains in western Tamil Nadu, the Lord Rama temple 'Dichpally Ramalayam' in Nizamabad, Kalpi in Uttar Pradesh, Mahabaleshwar south of Mumbai, and other locations not identified, the majority dated and inscribed, watercolours, some with pencil under-drawing, various sizes between approx. 105 x 145 mm (4 1/4 x 5 3/4 in) and 280 x 380 mm (11 x 15 in), all but five drawings mounted on loose album leaves of varying size, the two smallest drawings presented on one mount, some scattered spotting and browning throughout, a few with minor areas of toning, one or two tears affecting the watercolours, the mounts generally with rough edges, small nicks and losses, minor handling creases, all loose and unframed, circa 1855-1864 (24)Provenance:General James Maurice Primrose (1819-1892); thence by descent to the present owners.Literature:cf. Jackson, Dr. Caroline, General James Primrose: Reconstructing a Life, 2019*** Important collection of original watercolours of India by a British Army Major, later General, and the first opportunity to acquire the watercolours on the open market. Undertaken just before The Indian Rebellion of 1857, during, and in the years following. Primrose arrived in India in February 1855 as a Captain, stationed in Bangalore, but was quickly promoted to Major. Family legend records that Primrose and his recent wife travelled from Bangalore to Kalpi in 1857-1858 (while leading the head of the 43rd), during which his eldest daughter was reportedly born. Several sheets in the present group confirm they were already in Kalpi and its environs by 1858. In mid-summer 1859, Primrose was commanding a field column stationed in Saugor, but by October he was commanding a column of the Bundelkhund Field force; however, by this point the rebels were dispersing into distant hills and jungle. Primrose and his family moved to various administrative appointments in India until 1870, when he was stationed in Egypt.    

A charming 19th century pencil drawing. Of a boy pouring water onto cat, titled A mischievous little boy, 12cm x 10.5cm.Areas of accretion to the face of the drawing or possibly from absorption of the adhering substance from the mount. The frame has scratches and rubbing to the gilt. Frame dimenesions 50.5cm x 42cm.

A framed 2004 pencil drawing portrait of a reclining woman - signed and dated

C. Rex-James (Plymouth artist): a set of ten framed ink and pencil drawing portraits of classic film stars including Tyrone Power, Robert Taylor, Mickey Rooney, Hedy Lamar and Clarke Gable, etc. - all signed bar one

Sir Stanley Spencer R.A. (British, 1891-1959)Two Women Conversing Over a Fence indistinctly signed, dated and inscribed 'Stanley Spencer/1939.' (lower right)pencil and coloured pencil on paper, squared for transfer31.5 x 22cm (12 3/8 x 8 11/16in).Footnotes:ProvenanceWith The Piccadilly Gallery, London, where acquired by the family of the present owner, September 1978Private Collection, U.K.ExhibitedLondon, The Piccadilly Gallery, Sir Stanley Spencer, R.A. 1891-1951: A Collection of Paintings and Drawings, 19 September-14 October 1978, no. 48, illustratedThe present lot is thought to be a preparatory drawing executed for Spencer's Church House scheme. After completing Sandham Memorial Chapel in 1932, Spencer planned a series of fifty works to decorate an imagined building. No patron stepped forward to support the venture, and Church House was never executed. From 1932 onwards, the majority of figurative pieces by the artist were part of this series, which continued to evolve and change over the remaining years of the artist's life. The theme and composition of Two Women Conversing Over a Fence are comparable to Spencer's earlier 1936 painting Neighbours. Neighbours is part of the Domestic Scenes series, and depicts the Artist's sister Annie handing a gift over the hedge, a scene which is echoed in the meeting of the two figures over the fence in Two Women Conversing Over a Fence.We are grateful to Carolyn Leder for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Louis William Wain (British, 1860-1939)Sunday Night inscribed 'SUNDAY NIGHT./NOW TELL HIM WHO I AM.' (on sheet verso)pencil on paper17 x 25.5cm (6 11/16 x 10 1/16in).with a further drawing of a cat, on the reverse, by the same handFor further information on this lot please visit Bonhams.com

Ken Kiff (British, 1935-2001)Drawing Back a Curtain signed 'Ken Kiff' (lower left)watercolour and pencil on paper14 x 18.5cm (5 1/2 x 7 5/16in).Painted in 1979Footnotes:ProvenanceWith Nicola Jacobs Gallery, London, where acquired by Mr Simon Jonathan BlondThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Michael Ayrton (British, 1921-1975)Minotaur signed and dated 'michael ayrton/29.11.1963' (lower right)pen and ink and ink on paper47.5 x 38cm (18 11/16 x 14 15/16in).together with a further pencil on paper, Moses, by the same hand(2)Footnotes:ProvenanceThe Artist, by whom gifted to the present ownerPrivate Collection, U.K.Minotaur shows a drawing of a comparatively early stage in Ayrton's conception of the creature which would come to define, for many, his reputation as a sculptor. At this stage the head, while unmistakably bovine, still retains traces of humanity, so that we see the creation of the Minotaur as process: man-becoming-bull. Later Ayrton came to understand the tragedy of the Minotaur as starting from birth, in a series of etchings that take the story from the womb to the prison of the maze, but here we see the shift taking place in adulthood; a process of man-becoming-bull which is both angry and anguished.Moses depicts a sketch of the Moses carved by Giovanni Pisano for the Baptistry at Pisa in the 13th century. Pisano was a huge influence on Ayrton, who credited his own decision to move from painting into sculpture to the overwhelming effect of his first encounter with his work. In the late 1960s (when there was still no standard work on Pisano in English), he and Henry Moore conceived a monumental work which would illustrate and illuminate Pisano's work through photographs and text; during the course of its preparation they exhaustively studied, measured and took photographs from every angle, and the book was finally published in 1969. This sketch, therefore, is one small token of an admiration which spanned the whole of Ayrton's career as a sculptor.We are grateful to Dr Justine Hopkins for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

TWO FRAMED PENCIL DRAWING OF A CAT BY GILL WALLS

Attributed to Henry Bonaventure Monnier, pencil drawing, soldiers and other figures in a town square, signed Monnier and dated 1831, 13.5 x 16.5cm, in a silvered frame

Attributed to Joseph Louis Hippolyte Bellange, pencil drawing, soldiers in a mountain landscape, unsigned, 17 x 14cm, in a silvered frame

18th / 19th Century pencil drawing heightened with white, Napoleonic soldier figure studies, signed with monogram in red E.C.? 23 x 15cm, together with a similar drawing, 21 x 14.5cm

Charcoal drawing, study of a seated lady, another sketch verso, signed Henry Haley, 24 x 30cm, together with four other various unframed watercolours and a pencil drawing

Shaun Corby, small pencil drawing, head and shoulder study of a man and woman, signed and indistinctly dated, 15 x 10cm together with six other various pencil and watercolour portraits, including a seated Arab boy signed with initials C.L.H, the largest 35 x 16cm

After William Morris (British, 1834-1896) -Portrait of Jane Morris, née Burden -Etching 9.5 x 7.5cm -Inscribed lower right 'yours affectionately J.M. (Jane Morris) -This print is after the drawing of Jane Burden which William Morris produced in 1858, during their engagement period and before they were married in 1859. The handwriting of the dedication is consistent with that found in Jane Morris' correspondence.After Dante Gabriel Rossetti (British, 1828-1882) -Intended frontispiece to Rossetti's Early Italian Poets, 1861, issued as a Christmas Card -Engraving -15.5 x 10.5cm -Inscribed below 'From a drawing on a zinc plate by D G Rossetti, intended for the title page of The Early Italian Poets, 1861' and 'With best wishes from Mr & Mrs Sydney G Cockerell, Christmas 1907' The copy of this engraving gifted to the Fitzwilliam Museum, Cambridge by the Cockerell in 1908.Circle of Edward Burne-Jones (British, 1833-1898) -Study of a reclining woman and her draperies (perhaps Jane Morris) -Pencil drawing -24.5 x 35cm -Possibly after a study for Burne-Jones' cycle 'The Legend of Briar Rose' (1885-1890) -Provenance: The property of Lorraine Angela Cormell Price (1944-2023) who was the granddaughter of Cormell Price (1835-1910) inaugural Head of the United Services College in Westward Ho! from 1874. Cormell Price attended King Edward's School in Birmingham where he met Edward Burne-Jones. In Oxford they met William Morris and the three became lifelong friends. Cormell Price was known as 'Uncle Crom' by the children of the celebrated Burne-Jones and Morris households, and later was confidant to Jane Morris and her daughters Jenny and May, and to Burne-Jones' son Philip. In his role as Head of the United Services College Price became mentor to Rudyard Kipling (himself a relative of Burne-Jones) and was immortalised in Kipling's 'Stalky & Co'. On his retirement from the USC in 1894 Price married his housekeeper, Emma Hopper, and they had two children: Edward (Lorraine's father) and Dorothy. On Price's death Kipling and his wife took on the costs of educating Edward and Dorothy and the families remained in touch throughout their lives.Lorraine inherited books and pictures from her parents, and also an invaluable archive of personal papers relating to the Burne-Jones and Morris circles. Lorraine bequeathed the archive to the Bodleian Library, and its contents will be made available to readers and researchers in due course. (3)

John Linnell (British, 1792-1882) -A woman collecting water below a wooden bridge -Pencil drawing heightened with white -35 x 24.5cm -Signed lower left -Inscribed lower right 'Near Heavitree Devon 1858 (?)' -Together with another signed drawing heightened with white by the same hand of a fisherman casting in a woodland pond (2)

Fanny Musgrave, 19th century, pencil drawing - Rural Church, 23cm x 35cm, in glazed gilt frame NB: Musgrave was a pupil of John Sell Cotman

Five Art Works, Gary Anderson - Pencil drawing Titled 'An Advocate', Signed. Silhouette of a Gentleman.Late 19th century Etching Titled " The Last Judgement" By William Strang.Original Etching ''Volendam'' , Signed and dated August 1910 NF - Silk Needle work of a gathering in the billiard room.

Hilary McElderyColoured pencil and graphite drawing titled 'Twist', dated 2009.[Frame 43x28cm]

Herbert St. John Jones (British 1872-1939) Portrait of a horse and groom in a stable Signed, pencil.17.5 x 23cm (framed 29 x 34cm)The drawing is in very good, original condition. There are some minor spots of foxing across the paper and one or two dents and undulations across the sheet. The drawing is framed and glazed. There are some stains along the lower edge of the mount board. The frame has some minor scuffs and knocks commensurate with age.

John Shelton (1923 - 1993) 'Audrie' dated 1942/3. This sketch was completed during the artists time at the Burslem School of Art, at which time he was known by John R. Hancock. Pencil on paper. Framed behind glass. Included is the label from the original frame which reads 'Burlsem School of Art / John R Hancock / School of Engraving / Head Life Drawing (Audrie C? 1942-3'. Height: 22cm Width: 39cm

Steve O'Connell (21st Century British) Lazy Days I, Unsigned, Pencil drawing, 19.5cm x 19cm; With a futher Continental landscape etching and aquatint, signed in pencil indistinctly and numbered edition 16/30,19cm x 13cm (2)