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Vincenzo Dandini (1607-1675)Martyrdom of Saint Lucy (recto); Figure study (verso)Black ink over pencil on thin laid paper, inscribed 'Vita Vincenzio/ Sata Lucia, Vergine' and initialled 'V.D.V', further inscription and attribution lower left, sheet 182 x 130 mm (7 1/4 x 5 1/4 in), small losses and handling creases, surface dirt (unframed)Together with 3 other drawings:Follower of Pietro da Cortona (1596-1669), Christ before Pilate, black ink and red wash, sheet 220 x 305 mm (8 5/8 x 12 in) (unframed); and with an Italian School (18th century) black chalk drawing of two figures seated, with inscription to mount of 'Albano', possibly after Francesco Albani (unframed); and with a Venetian School black chalk drawing of a Penitent Saint Jerome with a Lion (unframed) (4)

Andrea Sacchi (c.1599-1661), Follower of.Study of the head and torso of a male nudeBlack chalk, heightened with white, on grey-brownish oatmeal laid paper without watermark, sheet 155 x 180 mm (6 1/8 x 7 1/8 in), inscribed with French attribution in pencil verso (unframed)Provenance:Albert van Loock (1917-2011) [Lugt 3751]Private collection, LondonTogether with another drawing:Parma School (16th century)Two puttoRed chalk on cream laid paper without watermark, sheet 120 x 105 mm (4 3/4 x 4 1/8 in), ink inscription to lower right corner, small repairs, surface dirt and damp-stains (unframed)

L.S. Lowry R.A. (British 1887-1976) "The Football Match" Signed and numbered 537/850 in pencil in the margin, with publisher's blind stamp, limited edition print from an original pencil drawing.26.5 x 37cm (framed 45.5 x 56cm)Artists' Resale Right (droit de suite) may apply to this lot.The print is in good, original condition. The paper has browned universally across the sheet and there is some time staining and browning around the edges of the paper near the mount board. There are some spots of foxing and browning across the paper. The print is framed and glazed. The original metal frame has some minor scracthes and knocks commensurate with age.

Trevor Grimshaw (British 1947-2001) Abstract cityscape Signed and numbered 3/15 in pencil, print and graphite drawing.13.5 x 12cm (framed 27.5 x 25.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The artwork is in very good, original condition with no obvious faults to report. The artwork is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

KYFFIN WILLIAMS (1918-2006) ink and mono watercolour wash drawing of a isolated farmstead, signing in pencil in initials, framed and glazed, The w/c measures 17 x 23cm ARR may apply to this item

Attributed to Laura KNIGHT (1877-1970) pencil sketch of ballet dancers, bears signature, framed and glazed,The drawing measures 29 x 39cm

Terence Lambert, 'Atlantic Salmon taking a Fly', pencil drawing, signed, 27 1/4in x 9 1/4in

Manner of James Ward RA (British, 1769-1859), study of two horses fighting, pencil, monogrammed lower left, 12 x 18.5cm, framed and glazed, with a second pencil drawing by a different hand depicting a townscape, 11 x 16cm, framed and glazed. (2)

William Scott R.A. (British, 1913-1989)Egypt Series Drawing No. II signed and dated 'W. Scott 74' (lower left)pencil, pastel, charcoal and gouache58 x 79 cm. (22 3/4 x 31 1/8 in.)Footnotes:ProvenanceWith Gimpel Fils, 1974, where acquired byThe Design Research UnitPrivate Collection, U.K.ExhibitedBristol, Arnolfini Gallery, William Scott: Drawings, Paintings & Prints, 15 June–3 August 1974, cat.no.25London, Gimpel Fils, William Scott: Recent Painting, 3-28 September 1974, cat.no.39LiteratureLou Klepac (ed.), William Scott: Drawings, David Anderson, New York, 1975, pl.64 (ill.b&w)The present work relates to a series of five oil paintings which Scott executed in 1972. Scott presented the third of the series to the Ulster Museum in 1975 and at that time wrote to the museum stating 'the title Egypt, series No.3 is a continuation of the development of an interest in Egyptian Art which dates back to many years ago when I first became aware of the strange mystery that Egyptian Art possessed. When I first arrived in London I spent a great deal of time at the British Museum and I became especially interested in the manner in which forms, hieroglyphic symbols and patterns were related on a flat picture plane - with a message that seemed made for all eternity' (William Scott quoted in Sarah Whitfield, William Scott, Catalogue Raisonné of Oil Paintings, 1969-1989 Volume 4, Thames & Hudson, London, 2013, p.100).This work is registered in the William Scott Archive as number 1200.We are grateful to the William Scott Foundation for their 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

ERLER, Georg(1871 Dresden - 1950 Bad Reichenhall) Darstellung des Neumarktes mit Rathaus und St. Aegidienkirche in OschatzMit Deckfarben teilkolorierte Kohlezeichnung. Bleistiftsignatur. [19]31.Passepartoutausschnitt: 53,5 x 37 cm. Gerahmt & hinter Glas72 x 58 cm. Beschriftet "Oschatz Sommer 31" Linke untere Ecke mit kleinem Fleck.Deutscher Maler und Grafiker. Ein Großteils seines Werkes wurde beim Bombenangriff auf Dresden 1945 zerstört. ERLER, Georg(1871 Dresden - 1950 Bad Reichenhall) Depiction of the Neumarkt with town hall and St. Aegidien church in OschatzCharcoal drawing partially colored with opaque colors. Pencil signature. [19]31.Passepartout cut-out: 53.5 x 37 cm. Framed & behind glass72 x 58 cm. Inscribed "Oschatz Summer 31" Lower left corner with small spot.German painter and graphic artist. Much of his work was destroyed in the bombing of Dresden in 1945.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

RITTER, H Detailreiche Zeichnung eines Giebelfragments mit PuttoBleistiftzeichnung auf Büttenpapier, Wasserzeichen "VD&T". Bleistiftsignatur. Datiert: "Kassel 1900".Blatt: 43,5 x 58,5 cm. Gerahmt & hinter Glas52 x 62,5 cm.Blatt lichtgebräunt, etwas stockfleckig und griffspurig, linker Randbereich knickspurig und rissig. RITTER, H Detailed drawing of a gable fragment with puttoPencil drawing on laid paper, watermark "VD&T". Pencil signature. Dated: "Kassel 1900".Sheet: 43.5 x 58.5 cm. Framed & behind glass52 x 62.5 cm.Sheet light browned, some foxing and grip, left margin creased and cracked.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

BRÜNING, Max(1887 Delitzsch - 1968 Lindau) Weiblicher Akt vor ovalem SpiegelRadierung in Sepia. Bleistiftsignatur.Platte: 33,8 x 16,8 cm. Gerahmt & hinter Glas59 x 39 cm. Deutscher Maler und Grafiker, persönlicher Zeichenlehrer des Kronprinzen Wilhelm (ab 1919 Wilhelm von Preußen). Bei einem Bombenangriff auf Berlin im Jahr 1943 wurden ca. 300 seiner Radierplatten vernichtet, die in der Kunstkupferstecherei Schütz verwahrt waren. BRÜNING, Max(1887 Delitzsch - 1968 Lindau) Female nude before oval mirrorEtching in sepia. Pencil signature.Plate: 33.8 x 16.8 cm. Framed & behind glass59 x 39 cm. German painter and graphic artist, personal drawing teacher of Crown Prince Wilhelm (from 1919 Wilhelm of Prussia). During a bombing raid on Berlin in 1943, about 300 of his etching plates were destroyed, which were stored in the Kunstkupferstecherei Schütz.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

BRÜNING, Max(1887 Delitzsch - 1968 Lindau) Rückenansicht eines liegenden weiblichen AktesRadierung in Sepia. Bleistiftsignatur.Druckplatte: 13,5 x 28,5 cm. 25 x 39,5 cm.Blatt etwas lichtgebräunt.Deutscher Maler und Grafiker, persönlicher Zeichenlehrer des Kronprinzen Wilhelm (ab 1919 Wilhelm von Preußen). Bei einem Bombenangriff auf Berlin im Jahr 1943 wurden ca. 300 seiner Radierplatten vernichtet, die in der Kunstkupferstecherei Schütz verwahrt waren. BRÜNING, Max(1887 Delitzsch - 1968 Lindau) Back view of a reclining female nudeEtching in sepia. Pencil signature.Print plate: 13.5 x 28.5 cm. 25 x 39,5 cm.Sheet somewhat light browned.German painter and graphic artist, personal drawing teacher of Crown Prince Wilhelm (from 1919 Wilhelm of Prussia). During a bombing raid on Berlin in 1943, about 300 of his etching plates were destroyed, which were stored in the Kunstkupferstecherei Schütz.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

 Undeutlich signiert: "Paris - Picassos [Tod ?]"Bleistiftzeichnung. Bleistiftsignatur. Datiert: "16. April 73".Blatt: 42 x 55,6 cm.Etwas griffspurig. Indistinctly signed: "Paris - Picasso's [Death ?]"Pencil drawing. Pencil signature. Dated: "April 16, 73."Sheet: 42 x 55.6 cm.Somewhat grip-marked.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

DOKOUPIL, Jiri Georg(*1954 Krnov) Unikat: "Venus von Weimar"Stiftzeichnung. Stiftsignatur. 1997.27,9 x 20 cm. Widmung und Zeichnung auf dem Schmutzblatt des Ausstellungskataloges "Der Ring des Nibelungen" der Kunstsammlungen zu Weimar Deutsch-tschechischer Maler, Zeichner und Grafiker. Er gehört zu den Vertretern der Jungen Wilden der 1980er Jahre. Er gestaltete die Wände des Bankettsaals im Hotel Elephant in Weimar mit einem 14-teiligen, großformatigen Bilderzyklus zu Richard Wagners "Ring des Nibelungen". DOKOUPIL, Jiri Georg(*1954 Krnov) Unique: "Venus of Weimar"Pencil drawing. Pen signature. 1997.27.9 x 20 cm.Dedication and drawing on the dirty sheet of the exhibition catalog "The Ring of the Nibelung" of the Kunstsammlungen zu Weimar German-Czech painter, draftsman and graphic artist. He is one of the representatives of the Junge Wilden of the 1980s. He designed the walls of the banquet hall at the Hotel Elephant in Weimar with a 14-part, large-format picture cycle on Richard Wagner's "Ring of the Nibelung".*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "Spekulant auf Heldentod"Lithografie auf Bütten. Im Druck signiert, verso violetter Stempel "Nachlass A Paul Weber" mit Bleistiftsignatur "Christian Weber", roter Stempel "Clan-Presse". 1986. Auflage der Nachlassblätter für die Griffelkunst-Vereinigung.Blatt: 64 x 52 cm. Nach einer Zeichnung von 1934 Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. "Ich folge einem Drang und empfinde es als meine Aufgabe, daß ich das, was mich bewegt, bedrückt, mit Sorge erfüllt oder auch amüsiert und belustigt, sichtbar mache, es gestalte. Zumeist kann ich mich wie ein Chronist an die Tatsachen halten. Das aber ist die Gabe: in Bildern zu denken." (Zitat: APW, 1967, gesehen auf https://www.weber-museum.de/html).Literatur : Vgl. Dorsch WVZ 2266. WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "Speculator on Heroic Death"Lithograph on laid paper. Signed in print, purple stamp on verso "Estate A Paul Weber" with pencil signature "Christian Weber", red stamp "Clan Press". 1986th edition of the estate sheets for the stylus art association.Sheet: 64 x 52 cm.After a drawing from 1934 German lithographer, draftsman and painter, he received the Grand Federal Cross of Merit in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "audience" in his honor as part of the series "German painting of the 20th century". "I follow an urge and feel it as my task that I make visible what moves me, depresses me, fills me with concern or also amuses and amuses me, create it. For the most part, I can stick to the facts like a chronicler. But that is the gift: to think in pictures." (Quote: APW, 1967, seen on https://www.weber-museum.de/html).Literature : Cf. Dorsch WVZ 2266.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HAGLUND, Nils(1939 - 1990) Surrealistisches WerkFarboffsetdruck. Bleistiftsignatur. Exemplar: 30/200. Blatt: 64 x 45 cm. Schwedischer Maler und Bildhauer. "In seinen Werken veranschaulicht der Künstler die Symbiose von Mensch und Technik in der modernen Welt. Seine Werkzeuge sind das Reißbrett und das Lineal. Mit Fineliner und Farbe, meist Öl oder Aquarell, sind die Kompositionen in ausgeprägter Akribie angelegt und zeigen ein erprobtes Spiel zwischen Realität und Symbolwelt." (Steve Lombardi über NH, www.sl-modern-art.com). HAGLUND, Nils(1939 - 1990) Surrealist workColor offset print. Pencil signature. Copy: 30/200. Sheet: 64 x 45 cm. Swedish painter and sculptor. "In his works the artist illustrates the symbiosis of man and technology in the modern world. His tools are the drawing board and the ruler. With fineliner and paint, mostly oil or watercolor, the compositions are laid out in marked meticulousness and show a tested play between reality and the symbolic world." (Steve Lombardi via NH, www.sl-modern-art.com). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Undeutlich signiert: Abstrakte Szene "Für Horst"Tuschzeichnung. Bleistiftsignatur. [19]68. Abbildung: 26,5 x 37,5 cm. Gerahmt & hinter Glas46 x 55 cm. Unclearly signed: Abstract scene "For Horst"Ink drawing. Pencil signature. [19]68. Image: 26.5 x 37.5 cm. Framed & behind glass46 x 55 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SCHLEGEL, Friedrich August(1828 Heidersdorf - 1895 Dresden) Landschaft mit Bäuerin am SeeuferAquarell. Links unten Bleistiftsignatur. Passepartoutausschnitt 15 x 22,5 cm. Gerahmt & hinter Glas32 x 40 cm. Staffagefigur auf einem Weg im Sonnenschein nahe dem See im Gebirge Deutscher Maler, Schüler von Ludwig Richter an der Meissener Mal- und Zeichenschule, tätig in Dresden. Literatur : Thieme/Becker. SCHLEGEL, Friedrich August(1828 Heidersdorf - 1895 Dresden) Landscape with peasant woman at the lakesideWatercolor. Lower left pencil signature. Passepartout cutout 15 x 22.5 cm. Framed & behind glass32 x 40 cm. Staffage figure on a path in the sunshine near the lake in the mountains German painter, student of Ludwig Richter at the Meissen School of Painting and Drawing, active in Dresden. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

3 BildnisminiaturenUm 1800. Dezente Tuschezeichnung mit Bleistift, 2x Gouache; je verglaster Goldrahmen mit Schleifenbekönung. Maximal 7 x 5,5 cm, Rahmen 12 x 9 cm. Knabenbildnis im Profil verso "Emanuel de Ema nuel T..." bezeichnet. / Österreichischer Offizier um 1800 in weißer Uniform. / Damenbildnis mit Spitzentuch und -haube Bleistiftschraffur evtl. nachträglich, Damenbildnis mit Schäden, der große Rahmen angebrochen. 3 portrait miniaturesAround 1800. Decent ink drawing with pencil, 2x gouache; each glazed gold frame with bow decoration. Maximum 7 x 5.5 cm, frame 12 x 9 cm. Boy portrait in profile verso "Emanuel de Ema nuel T..." inscribed. / Austrian officer around 1800 in white uniform. / Lady portrait with lace cloth and bonnet Pencil hatching possibly later, lady portrait with damage, the large frame broken. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

[AUSTEN (JANE)] – ADMIRAL SIR FRANCIS WILLIAM AUSTEN & CASSANDRA ELIZA AUSTENAlbum relating to Jane Austen's elder brother Admiral Sir Francis William Austen (1774-1865) and his daughter Cassandra Eliza Austen (1814-1849), containing some 73 landscape and maritime watercolours and drawings depicting scenes in the West Indies, Bermuda and Canada, comprising c.12 topographical reliefs probably by Francis ('Porto Santo', 'Peak of Teneriffe at Sunset April 3rd', 'St Lucia', 'Souffriere Mountain, St Vincent', 'Guadaloupe'); and 12 signed with the initials 'C.E.A.' and many dated ('St Pierre, Martinique, Feb 14 1846. French Steamer Styx', 'Port Royal at Sunset March 19 47', 'Halifax from the road to Point Pleasant, Sept 3rd 47', 'Kingston and Port Royal, Jamaica'); further drawings of shipping ('HMS Illustrious & Persian/ Bermuda', ''HMS Pickle') and landscapes abroad ('Clarence Hill Bermuda May 27 1845' (2), 'Shultzs Inn Great Lake Halifax', 'Quebec') and at home ('Godmersham Church', 'Godmersham Park, Kent') with a portrait of a young gentleman; plus 45 photographs of European landscapes etc., twentieth-century ownership inscriptions in pencil on inner front board, pencil, pen and watercolour, half calf, marbled boards, worn, drawings 175 x 254mm. and smaller, album 225 x 300mm.), [1845-1848]; with document dated 9 March 1860 confirming the position of the Austen family plot in Brompton Cemetery ('No.9669 on the plan of the said cemetery') and official Notice of Intestacy of Martha Austen nee Lloyd (first wife of Francis William Austen), dated 3 April 1843Footnotes:JANE AUSTEN'S NIECE RECORDS TRAVELS WITH HER FATHER IN THE WEST INDIES AND CANADA. Admiral Sir Francis William Austen, brother of Jane Austen, enjoyed a long and distinguished career in the Navy during the Revolutionary and Napoleonic Wars, and his memoir, offered in the present sale, describes in detail the many actions he encountered. After peace with France he served as Commander in Chief of the North America and West Indies Station from 1845-1848, when the scenes in this album were painted. In his memoir he describes at length the various places visited during this appointment including Bermuda, Nova Scotia and a Saratoga, where he found the men coarse and the women lacking modesty and decorum. Francis, by his own volition, enjoyed considerable talents in the area of topographical drawing and it is supposed that those drawings in the album are his ('...Capt A from a very early period of his Naval Life had given great attention to Hydrography, never missing an opportunity of doing something of the sort wherever he went...'). Many of the other works are likely to be by his unmarried daughter Cassandra Eliza (1814-1849), who travelled with him, along with her sister Fanny. Indeed, his ship Vindictive (1844-1848) could well be described as a 'family ship', with his sons Herbert and George and his cousin Charles Jnr, also taking positions on board. The artist who painted these delicate watercolours was described in far from glowing terms by a young Lieutenant, William King-Hall in his diary: '...An amused and amusing witness... Cassandra, a woman of forty features as 'Miss Vindictive' and the 'atmosphere' on board was 'dangerous'. If the ship's captain (Michael Seymour) were to leave 'Cass would be the Adl. and commanding officer'... In a later entry when the Vindictive had reached Bermuda, he observed that 'She is the Mistress of the Ship, influences the Adl. in every way, and in fact, I imagine will soon be Commander in Chief'. Such, he commented, were the 'evils of a Family Ship'...' (Brian Southam, Jane Austen and the Navy, 2000, p.320). Also of note in the album are two delicate pencil sketches of Godmersham, the seat of Edward Austen Knight, Jane Austen's eldest brother.A pencil inscription on the front paste-down by a descendant and dated February 1972 erroneously attributes the signed watercolours to Cassandra Esten Austen (1808-1897), daughter of Francis' other 'sailor brother', Charles, and great favourite of Jane Austen, not to be confused of course with her aunt Cassandra Elizabeth (1773-1845), Jane Austen's sister. Cassandra Esten also accompanied her father on his voyages and by all accounts had a similar childhood and upbringing as her cousin Cassandra Eliza (see 'Cassandra Esten Austen, Naval Childhood during the Napoleonic Wars', online blog by Sheila Johnson Kindred).Provenance: Admiral Sir Francis William Austen (1774-1865); his son Rev. Edward Thomas Austen (1820-1908); thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

SCHUBERT (FRANZ)TELTSCHER (JOSEF) Portrait drawing of Schubert, Anselm Hüttenbrenner and Johann Baptist Jenger, black and red chalk on paper, tipped onto mount with 2 small tabs on reverse, 160 x 206mm., [c.1827]Footnotes:ONE OF A SMALL NUMBER OF SCHUBERT LIFETIME PORTRAITS: JOSEF TELTSCHER'S 'DIE DREI FREUNDE' REDISCOVERED.The image of the 'three friends', Schubert, Anselm Hüttenbrenner and Johann Baptist Jenger, is well known and often considered to include one of the most accurate depictions of Schubert. The exact dating of this portrait remains unclear, as does its relationship to Teltscher's lithographs of Schubert on his own, but it was certainly drawn during Schubert's last two years, which were spent largely in Vienna but with one excursion to Graz in September 1827. It was a period of great creativity and compositional innovation, the composer reaching new artistic heights with works such as the Winterreise cycle, the Impromptus, the Piano Trio No. 2 and the two last symphonies. It was also a period with huge ups and downs in terms of his physical and mental health, his pecuniary situation, and his social life. Luckily Schubert had a circle of close friends and advocates around him, and the frequent 'Schubertiads', were immensely important in sustaining him through the difficult times and in fuelling his creativity.Two of Schubert's closest friends from Graz were the composer Anselm Hüttenbrenner, a friend of Beethoven, and his brother Josef. Anselm wrote his memoirs of Schubert in 1854, and though he admitted that many names had slipped his memory and that he had burned his Vienna diary, he stated that he had 'made Schubert's acquaintance in the year 1815 at the Imperial Court Kapellmeister Salieri's [sic]... we visited each other very frequently, are fond of one another, and became intimate friends and brothers' (Schubert. Memoirs by His Friends, edited by Otto Erich Deutsch, 1958, p.178). Schubert composed a fine set of variations on a theme of Anselm's, who also helped him by arranging symphonies for piano and handling some of his affairs. It was Hüttenbrenner's requiem in C minor that was chosen to be performed at Schubert's memorial service on 23 December 1828.The third of the 'friends' is Johann Baptist Jenger, composer, musician and board member of the influential Gesellschaft der Musikfreunde in Vienna. Like the Hüttenbrenner brothers in Graz, he worked hard to make Schubert's works known in Vienna, and he also arranged the trip to Graz in 1827 to introduce him to the pianist Marie Pachler and her husband Karl, a trip that was postponed from 1826 because Schubert didn't have the money. An entry from Karl Pachler's cash-book dated 16 September 1827: 'several Schubertiads were held in the Pachler house. But for the most part Schubert had to be his own singer... and he frequently played pianoforte duets with Jenger' (Otto Deutsch, Schubert: A Documentary Biography, translated by Eric Blom, 1946).The artist Josef Eduard Teltscher was also an integral member of the Schubert circle of friends. Born in Prague in 1801, he was considered a very gifted portrait painter, but little is known about him before he came to Vienna, where from 1825 to 1829 he mainly devoted himself to the relatively new process of lithography, working from his studio. After Schubert's death, Teltscher went to live with the Pachlers in Graz, developing his own technique of watercolour miniatures to some acclaim, but in 1837 he was to drown during a trip to Greece which he had undertaken with Jenger. Amongst the sketchbooks he left is one containing his pencil drawings of the dying Beethoven on his bed in March 1827, now held at the British Library (Stefan Zweig MS 207). Some accounts state that Schubert was also present with the Hüttenbrenner brothers, but there is no evidence to suggest the two great composers ever met, although Schubert was one of the torch-bearers at Beethoven's funeral.Given that Teltscher was devoting himself to the art of lithography at the time, it is not surprising that his first recorded portrait of Schubert is a lithograph which can be dated to late 1825 from the diaries of the Viennese salonière Sophie Müller. Numerous extracts from these are quoted by Deutsch, including 'In the evening... there was singing... Teltscher brought Schubert lithographed' (11 January 1826, op. cit., p.503), and 'Teltscher, Jenger and Hüttenbrenner came at midday; they brought me the lithographed portrait of Schubert' (24 January, p.505). The following day Jenger and Schubert returned again for dinner, and the latter 'sang new songs' - this on the same day as the first rehearsal of the Death and the Maiden quartet at the home of the violinists Karl and Franz Hacker, two years after it was composed (p.506).According to Maurice J.E. Brown (Essay on Schubert, 1966), the lithograph referred to was the one published by Mansfeld & Co. after Schubert's death, adding that 'copies of the original pressings and of the two later editions are extremely rare'. However, in her 1993 article on the Teltscher portraits ('Schubert und der Maler Josef Teltscher,' in: Schubert durch die Brille, 11 June 1993, pp.118-132), Rita Steblin suggests that the one published in 1828 is a second version dating from that year. Whether it was made in 1825 or 1828, it was the image chosen by his friends to sell in aid of raising funds for Schubert's memorial, and as their abiding memory of him. Certainly, the Wiener allgemeine Theaterzeitung of April 23, 1829 considered it the most successful in 'depicting the true character of Schubert, that of an innocent, childlike, pious and upright spirit'.The present chalk portrait of 'Die Drei Freunde' is generally described as having been drawn in around 1827. Deutsch dated it to that year because Hüttenbrenner visited Vienna in March, but he used to make the journey frequently and the drawing may equally have been made in 1828, the year the resulting lithograph was published by Mansfeld & Co.Although Teltscher had produced lithographs all of the three friends individually, Rita Steblin points out that he clearly drew Hüttenbrenner and Jenger anew for this portrait, both men appearing slightly older, and speculates that the same might be true of Schubert ('Ist es dann nicht wahrscheinlich, dass Teltscher auch Schubert neu ge­zeichnet hat?').Provenance:According to different accounts the portrait was either drawn for Karl von Schönstein, or was bought by him after the composer's death. Schönstein (1797-1876) was one of the Esterhazy circle and considered the finest singer of Schubert's songs - the 'Schöne Müllerin' were dedicated to him. By 1892, when the drawing was photographed in order to make the colour print by which it is generally know, it was in the possession of his niece Ida von Schweitzer (née von Keyle), of Lengefeld near Krems, Schubert having been a frequent visitor to the family. The drawing was included in the 1897 Vienna Schubert Exhibition and subsequently hung at the family home at Gneixendorf; in 1966 it was recorded as being in the possession of Baron Otto von Schweitzer of Sterbfritz-bei-Schlüchtern in Germany. Despite often being described as 'lost', it has passed down by descent to the present owners.Illustrated: Otto Erich Deutsch, Schubert: A Documentary Biography, translated by Eric Blom, 1946, plate XXVIII.For further information on this lot please visit Bonhams.com

R. D. Tongue, Circa 1844, a pencil drawing of figures approaching a country house, signed, along with two further pencil sketched heightened in white, and three further 19th Century water scenes of landscape views, all around 11" x 16" (28 x 40cm), all unframed, (6).

§ Peter Arno (1904-1968) 'I refuse madam! It's too hot to pull down the shades!' grey wash and black crayon with traces of pencil, signed at foot in white bodycolour, mounted, framed and glazed, mount aperture 39 x 31cm, calligraphic caption in black ink to mount, old gallery label on backboardNote: Note: Peter Arno began drawing for the New Yorker a few months after its foundation in 1925, and went on to produce almost 100 covers and countless cartoons, his style becoming emblematic of the magazine's sophisticated brand of humour. He was remembered in the title of a 2016 biography as 'The New Yorker's Greatest Cartoonist'.

WW2 Battle of Britain. Sgt James Lacey Signed 6 x 4 inch Original Pencil Drawing of a Fighter Jet, Signed in blue biro. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Disegno e matita. Anno esecuzione 1989. Archivi Bruno Caruso Palermo. Opera pubblicata sul catalogo a cura di L. La Rocca "Bruno Caruso - L'uomo, le origini, l'impegno sociale, la bellezza, la fede" Ed. La Rocca. Palermo. 2016. p. 153, Cm 30x21Drawing and pencil. Year of execution 1989. Bruno Caruso Palermo archives. Work published in the catalog edited by L. La Rocca "Bruno Caruso - The man, his origins, social commitment, beauty, faith" Ed. La Rocca. Palermo. 2016. p. 153, 30x21 cm

Disegno a matita. Anno esecuzione 1989. Archivi Bruno Caruso Palermo. Opera pubblicata sul catalogo a cura di L. La Rocca "Bruno Caruso - L'uomo, le origini, l'impegno sociale, la bellezza, la fede" Ed. La Rocca. Palermo. 2016. p. 152, Cm 26x25Pencil drawing. Year of execution 1989. Bruno Caruso Palermo archives. Work published in the catalog edited by L. La Rocca "Bruno Caruso - The man, his origins, social commitment, beauty, faith" Ed. La Rocca. Palermo. 2016. p. 152, cm 26x25

Disegno a matita. Anno di esecuzione 1988. Archivi Bruno Caruso Palermo. Opera pubblicata sul catalogo a cura di L. La Rocca "Bruno Caruso - L'uomo, le origini, l'impegno sociale, la bellezza, la fede" Ed. La Rocca. Palermo. 2016. p. 148. Cm 29,5x24,5Pencil drawing. Year of execution 1988. Bruno Caruso Palermo archives. Work published in the catalog edited by L. La Rocca "Bruno Caruso - The man, his origins, social commitment, beauty, faith" Ed. La Rocca. Palermo. 2016. p. 148. 29.5x24.5cm

WILLIAM S. TAYLOR (BRITISH, 1920-2010) (2)Ballet Dancerssigned 'WS Taylor' (lower right)pencil and watercolour43 x 34cmARRtogether with study of a female nude, chalk drawing, attributed to George Dawson(2)ProvenanceAbbott & Holder, London, from whom acquired by the parents of the present owner;Thence by descent

ROBERT SARGENT AUSTIN (BRITISH, 1895-1973) (2)Portrait of a mancoloured chalks28.5 x 22cmARRProvenanceThe Artist's Estate;Abbott & Holder, London, from whom acquired by the parents of the present owner;Thence by descentTogether with portrait of a lady, seated, a pencil drawing by George Adolphus StoreyProvenanceAbbott & Holder, London, from whom acquired by the parents of the present owner;Thence by descent(2)

FRENCH? 19th century pencil drawing of a skirmish, indistinct signature, 15 x 15cm framed.

Norah Wellings’ pencil drawing exercise for The John Hassall Correspondence Art School course 1923, comprising two sheets of paper, the first with an older and younger ladies head, the second with three studies of babies with a typed letter from John Hassall about Lesson 12 giving feed back on the drawings —15in. (38cm.) width of largest sheet - it is easy to see the start of Norah’s doll design skills within these portraits

A Framed Pencil and Chalk Drawing of Mother and Child By Diane Mitchell 1995, 32.5x16cms

A Framed Pencil and Charcoal drawing of Sandra Bullock by Michelle Ann, 29x40cms

Epsin-Hempsall : December, pencil drawing, signed lower right, 28 cm x 34 cm, framed.

† RONALD WOODHOUSE (1897-1987); pencil drawing of a terrier 'Tammy', signed and dated 1934, 35 x 25cm.

Three theatrical watercolour drawing sketches by Motley (XX), each signed and dated in pencil lower right, circa 1950, each featuring James Grout, two in 'A Midsummer Night's Dream'  and one in 'Bartholomew Fair' Together with an unattributed pencil and watercolour sketch of a gentleman, inscribed 'Pistol' verso,  32cm x 46cm maximum (4)

2 women and a man. Pencil drawing. 25 x 33.5 cm. Stamp on verso 'Prof O.R. Schatz, Wien II, Gr. Mohreng 3b (...)'.

Dusseldorf, Joe Jones/Tone Deaf Music, undated (1987). Grey cardboard cover with mounted label featuring a handwritten title 'Garden Party Joe Jones'. Spiral bound, 30 x 21 cm, 34 pp., printed b/w on tracing paper and white stock. On 26 June 1983, Joe Jones set up a solar orchestra in Erik Andersch's garden in Düsseldorf. Guests were invited for a dinner party to enjoy the musical event. The music performance was recorded and documented by various photographs that were published as an artists' book in an edition of 15 copies. This is one of the copies, which includes an original colour marker drawing on tracing paper, signed and numbered '1/15 Joe Jones' in pencil. Photos by Eric Andersch & Sons. Fluxus artist Takako Saito is spotted among the guests. Scarce and delightful item in very good condition.

CIRCLE OF HABLOT KNIGHT BROWNE 'PHIZ' (1815-1882) A DRAWING FOR AN ILLUSTRATION, depicting a figure on horseback being attacked while another figure is on his knees, unsigned, pencil on paper, approximate size 11cm x 14cm, Condition Report: foxing and a finger print towards the top edge, mount stained, glass missing from frame (Provenance: The Arnold Fellows Collection)

Camiel D'HAVE (1926-1980)Drawing in pencil, signed and dated 69 and 2 etchings.Tekening in potlood, getekend en gedateerd 69 en 2 etsen.36 x 44.5 & 24.5 x 19.5 cm

Edward Brian Seago (1910-1974) - pencil drawing book illustration for I Walked by Night by Lilias Rider Haggard (chapter 9), signed lower right, 12.5 x 17.5cm; together with two others for the same book, being chapters 5 and 10, also signed lower right, 12 x 18cm and 18 x 11.5cm (She tucked many a bird under her coat for me) (3)

Edward Brian Seago (1910-1974) - 'I ride one of the Flying Ponies', pencil drawing book illustration for Rabbit Skin Cap by George Baldry (chapter IX), signed lower right, 16 x 18cm; together with another for the same book being chapter XI 'The farmer and maid', signed lower right, 16 x 18cm (2), sold with two books; Ranson, Ron, Edward Seago, published by David & Charles, Newton Abbot, London, in association with Spink & Son Ltd and Co Kerr Gallery, one volume; and Goodman, Jean, Edward Seago the other side of the canvas, published by William Collins Sons & Co Ltd, one volume (4)

Laurence Stephen Lowry RBA, RA (1887-1976)"A Family Group"Signed, inscribed and dedicated "To Leslie Anthony", dated 13 September 1966, pencil and biro, 18cm by 18cmProvenance: Mr Anthony, Manager of the Seaburn Hotel SunderlandChristie's South Kensington, 20th Century British Art, Thursday 13 July 2000, lot 117Exhibited: Sunderland Museum and Art Gallery, no.68Literature: "L.S. Lowry in the North East" by Juliet Horsley for Tyne and Wear Museums Service 1989, p.50Sold together with four letters from L S Lowry to Mr Anthony at the Seaburn Hotel and a copy of "L.S. Lowry in the North East" by Juliet Horsley for Tyne and Wear Museums Service 1989The work is drawn on the back of a book page. The paper is hinged at the top corners with tape. Very slight time staining to the paper and the odd minor handling crease. The areas of biro have faded. These include the text, signature and areas of the drawing such as the figure's legs and arms right hand side, the central figure's head and hat and the head and arms of the left figures. Some light surface dirt trapped under the glass.

A collection of prints & drawings comprising: John Samuel Templeton (Irish, fl. 1830-1857), a detailed 19th-century pencil drawing of Dublin Castle, showing Bedford Tower & Gate of the Upper Court (inscribed & signed in ink verso), 21cm by 28.5cm, toning and two small holes at l.r.; a 19th-century ink drawing of a cavalry soldier mounting a horse, unsigned, 24cm by 33cm, wove paper bearing watermark (Prince of Wales's Feathers), tears to edges; nine aquatint etchings of Alpine views (five hand-coloured), Zurich: Leuthold & Dikenmann, c.1800-1850; six soft-ground etchings by Henry Alken (one hand-coloured), depicting horses & hounds, London: Thomas McLean, 1824; two engraved botanical plates, London: J. Wilkes & G. Jones, 1807 & 1813 (19)

HM King Charles III. An original illustration of birds [carmine bee-eaters] produced by a very young Charles, c. 1953-55 [approximately six years of age], probably for his father, Prince Philip, in colour crayon & pencil, signed 'Charles' l.r., with a first attempt in pencil verso. A vibrant and competent drawing displaying a sure hand. 30cm by 32cmProvenance: By descent of Henry Ramsay Maule (1915-1981), author and journalist who for 21 years was a British Correspondent for New York Daily News specialising in stories relating to the Royal Family. Maule collected and formed a personal archive during the 1950s to 1970s

David Hockney OM CH RA,British b. 1937- iPad Drawing 'No. 281', 23rd July, 2010;8-colour inkjet print on cotton-fibre archival paper,signed, dated and numbered 109/250 in pencil,loose (as issued), contained in the original pink paper wrappers and cloth-covered board,sheet: 55.8 x 43.2 cm,(unframed)(ARR)

British School 19th century, portrait of a young lady, three quarter length seated wearing a white dress and writing a journal, watercolour oval. 17 x 13 cm, together with a late 19th century watercolour portrait of a Scottish lady, a 19th century watercolour of a young lady in a rural landscape and an oval pencil drawing of a young gentleman dated 1858 (4).

Ernest Howard SHEPARD (1879-1976) Figures Pencil drawing, 25x18cm Provenance with Abbbott & Holder and Mary Knox, the artist's daughter

Paul MOUNT (1922-2009) Landscape  Graphite and ink on paper21 x 30cmTogether with an abstract landscape in pencil, 30 x 21.5cm, and an early ink drawing of a horse by a tree, signed and dated '50 to verso, 30.5 x 21cmThe artist's estate.

John Randall BRATBY (1928-1992) Looking Up from Beauport Sunken Garden  Coloured pencil and graphite drawing on paperSigned and inscribed35 x 25.5cmThere are some small foxing marks present on this piece, these are located in the bottom right and top left hand corner (please see additional image). Along with this there are marks to the surface of the work, this can particularly be found in the lower left hand corner (please see additional image).

PAUL SANDBY RA (BRITISH CIRCA 1725-1809) WINDSOR FROM SNOW HILLpen and grey ink and watercolour on laid paper watermarked with the Strasburg Lily; a pencil drawing of a landscape - verso11.5 x 24.7cm; 4 1/2 x 9 3/4in30.5 x 43cm; 12 x 16 7/8in (framed)(2)Property from an EstateProvenance:Private collection, U.S.A. (until 1993)Thomas Agnew & Sons, London Nigel Jacques (purchased from the above circa 1993) Windsor Castle and the surrounding area was a favourite subject for Sandby throughout his career. In 1765 his brother Thomas was appointed Deputy Ranger of Windsor Great Park and took up residence in the Deputy Ranger's House (now Royal Lodge) in about 1770. Paul Sandby regularly visited his brother and his family at Windsor, especially after 1782, when Paul's son Thomas Paul married his cousin, Thomas's daughter Harriot.Offered together with a view of Tivoli by Richard Cooper Junior (British 1740-1820), signed R Cooper del lower right, pencil, pen and brown ink and grey wash over pencil on laid paper, oval 29.5 x 24cm; 11 5/8 x 9 1/2in; 44.5 x 51.5cm; 17 1/2 x 20 1/4in (framed); Provenance: Guy Peppiatt Fine Art Ltd

A mixed lot of framed and unframed prints, calendars and other items to include a French signed pencil drawing of a seated man holding a pip, signed J. Lefebre 20 January 1948Location:

AR * Ardizzone (Edward, 1900-1979). Original drawing for 'The Man Who Pretended to Eat' by Eleanor Farjeon, black ink on thick wove paper, depicting a craftsman wearing an apron, one arm resting on a workbench, gazing down on a small boy looking up at him, publisher's notes, including title, in pencil to margin, sheet size 196 x 294 mm, mountedQTY: (1)NOTE:This illustration appears on p.37 of Kaleidoscope, a collection of short stories written by Eleanor Farjeon and illustrated by Edward Ardizzone, published in 1963.

AR * Shepard (Ernest Howard, 1879-1976). Not Out 25, original illustration for Punch, pencil drawing on sketchbook page, depicting a springbok in cricket attire ready to bat, an umpire standing behind, sheet size 37 x 25 cm, Sally Hunter Fine Art label to verso, mounted, framed and glazed (51 x 39 cm) QTY: (1)NOTE:According to the Sally Hunt Fine Art label to verso the artwork was exhibited in the Drawings and Illustrations by E. H. Shepard at Medici Gallery, November 2011, no 183. Provenance: Estate of the artist.

* Hearsey (Hyder Young, 1782-1840). View of Almora, Uttar Pradesh, Northern India, circa 1815, watercolour with pencil, and pen and brown ink on Whatman laid paper (watermarked J Whatman 1804), inscribed (presumably by the artist) to lower blank margin: ALMORAH No.4, left blank margin with contemporary paper restrengthening to verso, 33.5 x 53.5 cm (13 1/4 x 21 ins), hinged to upper margin in modern window mount, with modern pencil note to backing card, 'English School, very early 19th century, view in Northern India, inscribed below the drawing, paper watermarked Whatman 1804, note in book from which these were taken stated that they were drawn during Col. Moercheson's survey', framed and glazedQTY: (1)NOTE:Provenance: Private Collection, Gloucestershire, UK.Almora, the capital of Kumaon, sits on a saddle-ridge of the Himalayas, 5494 feet above sea level. The town was captured by the Gurkhas in 1790, who constructed a fort on the eastern extremity of the ridge. Almora was the scene of a British victory which terminated the war with Nepal in April 1815, and which resulted in the evacuation of Kumaon by the Gurkhas and the annexation of the province by the British. The British Library holds a number of watercolour views by Hyder Hearsey of the lower reaches of the Himalayas, including two which are captioned Almorah No.1 and Almorah No.5, as in the present work. Two similar views of Almora, also on the same scale, were offered at Christie's, London, Exploration and Travel with Visions of India, 21 September 2000, lot 283.Hyder Young Hearsey was the son of Captain Harry Hearsey, an English officer in the Maratha service who fell at the head of his cavalry regiment in the battle of Merta, in 1790. Hyder was educated in England, and at an early age followed in his father's footsteps, being appointed a cadet in the Maratha service before his seventeenth birthday, and receiving promotion a few months later to the rank of ensign, for good service in the field. He was kindly treated by General Perron, the French commander-in-chief of the Maratha army, but, like other Englishmen in that service, soon found his position uncomfortable, and entered the army of the celebrated George Thomas, Raja of Hansi. With the outbreak of the Nepal War in 1814, Lord Moira, Governor General, decided to attack Kumaon as a diversion from a number of unsuccessful advances towards Kathmandu. Hearsey was in command of a small body of irregulars and advanced in February 1815 from Pilibhit up the Kali into the hills, capturing Champavat in March 1815. Underestimating the fighting power of the Gurkhas, he was wounded, captured and imprisoned at Almora until its surrender at the end of April 1815. Hearsey accompanied two expeditions, through the hill country and in to Tibet, to discover the source of the Ganges. The first was in 1808 with Lieutenant Webb and Captain Raper. During the second, in 1812, he and William Moorcroft became the first Europeans to reach the sacred lake of Manasarowar.

Sharp-Ayres (H. M. E., Mrs.), Mirror Painting in the Italian style, a practical manual of instruction for amateurs, London: L. Upcott Gill, 1886, decorative head & tailpieces, illustrated advertisements at rear, original printed wrappers, spine torn with loss, some spotting to covers, 8vo, together with:Fielding (Newton Smith). What to sketch with; or, hints on the use of water colours, oil colours, coloured crayons, black and white chalks, and black lead pencil, London: J. Barnard & Son, [1856], colour frontispiece, illustrated advertisements at rear, toning and spotting, sewing weak, D1 loose and with few short closed tears to gutter margin, original printed wrappers, lacking spine, 8vo (only two UK institutional locations found),Page (James), Guide for Drawing the Acanthus, and every description of Ornamental Foliage, London: Atchley and Co., 1850, engraved frontispiece, plates and illustrations, some toning, original cloth, 12mo,Martel (Charles), On the Materials used in Painting, with a few remarks on varnishing and cleaning pictures, London: George Rowney and Company, 1859, original printed wrappers, lacking spine, covers lightly rubbed, 8vo,Enfield (William), [The] Young Artist's Assistan[t] or elements of the Fine Arts, 5th edition, London: Simpkin and Marshall [& others], 1822, engraved frontispiece, title torn with some text loss, sewing weak and contents loose, few marks, original printed boards, lacking spine, worn, 8vo, and Delamotte (F.), The Book of Ornamental Alphabets Ancient and Mediaeval..., 4th edition, London: E. & F. N. Spon, 1862, scattered spotting, original cloth, extremities rubbed, oblong 8vo, with Nathan (Maude), The Decoration of Leather, from the French of Georges de Recy, London: Archibald Constable & Co Ltd., 1905, photogravure frontispiece and plates, old library bookplates and labels to endpapers, top edge gilt, original cloth, rebacked, 8vo, plus other painting and artist related practical guides and reference, mostly mid-late 19th-century publications, many in original printed wrappersQTY: (17)

Ray Leaning original pencil drawing, signed and dated 1999, black framed and glazed. Frame size approx. 53cm x 44cm.

LAURENCE STEPHEN LOWRY (1887-1976) Landscape, pencil drawing, signed, 8 1/2" x 5", unframed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT) Provenance; originally from the estate of Mary Morgan Lloyd of Liverpool, a friend of the artistGood condition

18THC DRAWING, PENCIL & WATERCOLOUR, OF FATHER WITH HIS CHILDREN, UNFRAMED 15” X 9”