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Churchman's (W.A & A.C), Cigarettes - Stars Of Variety (unproduced series c1946) - Original Artwork - Ted Ray - an original over-painted photograph artwork, completed by artists at Mardon, Son & Hall for production of the cigarette card series. Accompanied by two letters from Ray dated 1946, one giving permission for use of a photograph, the other admiring the sketch. Artwork size: 8.5x4.5", approx. Ted Ray (1905 – 1977) was an English comedian of the 1940s, 1950s and 1960s, on radio and television. His BBC radio show Ray's a Laugh ran for 12 years.

Military Crimean War interest. 1855 The Campaign in the Crimea: an Historical Sketch, by George Brackenbury, illustrated by Forty Plates by William Simpson. Along with 1856 second series of the same. Publ. Paul and Dominic Colnaghi and Co. Publisher's original cloth binding, each rebacked, the second series with the original spine and boards laid down. Decorative gilt boards & spines, renewed endpapers. Light bumping to extremities, odd spot to the pages. 4to.

A large quantity of assorted ephemera, to include Coronation Record Number George V and Queen Mary book, theatre programmes London Illustrated News and 'The Sketch' magazine.

WW1 German Ephemera: Framed sketch of Paul von Hindenburg 32 x 26 cms, War in 100 pictures book , uniform studio card wearing the Iron Cross and two related books. 5 items

Property of the Late Countess Haig, Richard Box?, A study of Delphinium’s, pencil sketch, signed and dated 1992 bottom right, framed. (19cmx26cm)

Collection of assorted paper ephemera and school sketch books of Ernest Beaton of Nether Compton and a watercolour of East Mill, Bridport

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, printed sketch of a smiling female nude, image 13.5 cm x 19 cm, together with 'Terry keeps his clips on', a study of a man with his hands clasped, ink on paper, 30.5 cm x 23.5 cm, a block print of a woman with exposed intestines, poster paint on card, image 21 cm x 14.5 cm, and a large abstract ink sketch, ink on paper, 55.5 cm x 38 cm. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, a still life of flowers in a vase accompanied by two wine glasses, watercolour and pen on paper, 21 cm x 15.5 cm, together with a small portrait of a smiling devil, ink and crayon on paper, 13 cm x 14.5 cm, a further sketch, and an abstract portrait of a man, ink on card, 24 cm x 17 cm. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, portrait of a couple, soft pastel on card, 24.5 cm x 32 cm, a sketch of a face, soft pastel on paper, 31.5 cm x 24.5 cm, and a sketch of a six-limbed figure, soft pastel on paper, 58.5 cm x 30 cm. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Humphrey Ocean RA (b.1951), Portrait sketch of Vivian Stanshall, pen and ink, signed and dated 29th July 1980, 29 cm x 20.5 cm framed and glazed. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, an abstract nude figure with raised arms in front of a rolling green landscape, mixed media on paper, 37.5 cm x 24.5 cm, a bust-length sketch of a figure with three boats in the background, soft pastel on paper, 37.5 cm x 24.5 cm, a sketch of an anthropomorphic figure, soft pastel on paper, 40 cm x 30 cm, and a work depicting a bearded man bent on all fours, mixed media on paper, 42 cm x 30 cm, all unsigned. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, an engraving with later shading, pencil signed to the margin, 28 cm x 21 cm, together with a portrait sketch, two coloured prints and a small collage. This lot, along with all others in the sale, has been consigned for sale by Vivian's son, Rupert. Please see the following article on our website for further background.https://www.dawsonsauctions.co.uk/news-item/dawsons-announce-sale-of-selected-items-from-the-collection-of-vivian-stanshall/?pc=16https://en.wikipedia.org/wiki/Vivian_Stanshall

Jane Worship (pupil of John Sell Cotman), 'Gorliston Church', charcoal sketch, signed and dated 1836, 26x36cm, unframed, mounted with acid free museum grade conservation board. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).

Miles Edmund Cotman, after John Sell Cotman, 'The Old Collegiate House at Conway', pencil sketch on paper, signed and dated Sept 25 1826, unframed.

Attributed to John Sell Cotman (1814-1878), 'Granville', pencil sketch on paper, unsigned, 20x41.5cm, plus 'Granville Castle and Port of Granville' (after John Sell Cotman), sepia brown wash drawing, unsigned, titled in another hand on the painted sheet, 34x55cm, plus Vincent Brooks (London), after John Sell Cotman, 'Town and Port of Granville', lithograph, published 1873, framed and glazed. (3)Three versions of the same scene all labelled verso by Eastwood Lodge (formerly a hotel near Norwich). From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Sworders, 2008.Conservation: Ellison, 2010.

Attributed to John Sell Cotman (1782-1842), Pencil sketch of Two Cottages, bears a signature, J.S.Cotman, in a later hand on verso,13x22.5cm, unframed, mounted. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Dominic Winter, 2008.Conservation: Ellison, 2009.

Miles Edmund Cotman (British,1810-1858), after John Sell Cotman, 'Col. Harvey's Meadow, Thorpe, nr Norwich, lithograph, unsigned and undated, but known to have been issued in 1843 (Kitson, page 366), taken after a chalk sketch by J.S. Cotman dated 'Oct 2 1841: one of twelve lithographs, 28x42cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Trumpington Gallery, 2001, stamped on backboard,

Attributed to John Sell Cotman (1782-1842), Pencil sketch of a Church Tower among Trees, bears a signature, J.S.Cotman, in a later hand. On verso, carries multiple doodles with ink soaked through to show base of tower, recto; also a small pencil sketch verso perhaps of the same tower,13x22cm, unframed, mounted.

Fanny Musgrave (pupil of J.S.Cotman), Building with a gentleman figure leaning against a wall, pencil sketch, signed and dated 18/11/51, sketch from sketchbook dated 1851, 25x30cm, unframed, mounted with acid free museum grade conservation board. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Yesteryear Prints.

Attributed to John Sell Cotman (1782-1842), Sketch of Riverside Cottage and sailing boat, bears a signature, J.S.Cotman in a later hand on verso,13x22.5cm, unframed, mounted. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Dominic Winter, 2008.Conservation: Ellison, 2009.

Miles Edmund Cotman (British,1810-1858), after John Sell Cotman, 'Kimberley (a Falgate)', lithograph, unsigned, undated, but known to have been issued in 1843 (Kitson, page 366), taken after a chalk sketch by J.S.Cotman, 35x51cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife (nee Judy),Coservation: Ellison, 2005, 2008.

Classical relief sketch, pencil drawing on paper, unsigned, 40cm x 74cm, framedEven paper discolouration, no foxing, frame has a few very minor chips

ARTHUR WARDLE (BRITISH, 1864-1949)Spaniel oil on linen laid on card; sketch of leopards (verso) 27 x 22cm Provenance Property of the artist, thence by family descentCondition ReportThe card is sound and the linen well adhered to the card.  Light surface stain, lower left and off the upper right border.  No sign of retouching visible under ultraviolet light.

Hay (Margaret “Peggie”) & Charles Kirkpatrick Sharpe, Scottish antiquary and artist, ?1781-1851. [Collection of recipes], manuscript, 95pp. excluding blanks written in the 1750s and 30 18th & 19th century manuscript receipts from various sources loosely inserted, also ink sketch by ?Sharpe loosely inserted and with prose composition at end, original calf, double gilt line borders, rubbed, joints splitting, gilt spine, rubbed, sm. 4to (695 x 155mm.), [c. 1750 – 19th century].  *** 18th century recipes include: “To make Orange Wine”; “To pickle Kidney or French Beanes”; “To pickle Colly-Flowers”; “To make Apple Cream at any Time”; “To make tender Curds”; “To make Lady Abergraves Cheese”; “To make a thick Cream Cheese”; “A Receipt to make Gooseberry Vinegar many degrees better than any we have from abroad, and makes better punch than lemons or any other fruit”; “To make Ratafia Bisket”; “To make a Christmas Cake”; “To dry Warden Pears, and Pound Pears”; “To make a Remedy for the Stone”; “A Medicine for one that has a Cough, and is Threatened with a Consumption”; “A Cure for Sun-burning in the hands or Face” etc.

Cecil Collins (1908-1999), Sketch for the Resurrection of Christ, signed 'Cecil Collins' and dated 1958 (lower left), inscribed label verso, and inscribed on the backboard 'Sprint 1958, 35 Selwyn Gardens Cambridge', pencil, watercolour and chalk, 29 x 22 cm, framed and glazed 46 x 38 cm Exhibited: Cecil Collins Retrospective Exhibition (1936 - 1968) Hamet Gallery, Cork Street, London (no.45) November 1972; Purchased by The Rt. Hon. Lord Croft 17th November 1972 (label verso); Christie's - 20th Century British Art 16 July 2008 lot 86Illustrated: William Anderson, The Quest for the Great Happiness (plates 56 & 57) This work is sealed in the frame and glazed, it has not been removed from the frame for inspection. Paper has a perforated edge down the left side. Very slight loss to the paper lower right. Paper might be mounted onto the grey paper beneath at the corners. Overall apperance good and ready to hang.

Evie Hone HRHA (1894-1955) The Descent of the Holy Spirit - a sketch for the East Window in Tara Church, Co. Meath Watercolour, 82 x 45cm (32¼ x 17¾") Signed This unusually large sketch is the final design for the two-light east window by Evie Hone in the historic Church of St. Patrick on the Hill of Tara in Co. Meath. It was her first important commission after officially joining An Túr Gloine in 1935, but from where she had been working since 1933. As a loose, quickly painted sketch it is remarkably close, in terms of design and colouring, to the final window. It was only Hone’s third window and a departure from her earlier work in glass which reflects more directly An Túr Gloine’s house style of rich decorative effects and narrative detail.At Tara, Hone portrays the story of The Descent of the Holy Spirit as a frieze of monumental apostolic figures receiving divine instruction through red tongues of fire carried on rays of golden light that pierce billowing silvery blue clouds set against a patchwork of abstract geometric shapes. The window is regarded as Hone’s first mature work. She believed it was one of her best windows and is known to have visited it not long before she died. She exhibited the sketch widely and it was included in her first major solo show at the Dawson Gallery in November 1941. The cartoons were included in the posthumous retrospective held in Dublin in 1958. Only one other sketch is known to survive, an earlier, much smaller design housed in Church of Ireland Theological Institute (formerly the Divinity Hostel) in Dublin, which also holds the final cartoons. The window cost £250, was fixed on the 28 May 1936 and unveiled and dedicated on Whitsun Sunday just three days later.Joseph McBrinn, February 2024

Group of six etchings including:Two hand-colored etchings from an Augsburg coat of arms book titled "Portner" and "Langenmantel," ca. 16th century.One etching depicting a sketch-like landscape of two figures on horseback approaching a town with a tower rising in the background.One etching by the Master of the Die (Italian, active 1530-1560) after Michiel Coxie (Dutch, 1499-1592) and published by Antonio Salamanca. Etching depicting the story of Psyche and Cupid as told by Apuleius. Plate 28 from a collection of 32, ca. 1530-60.Innocente Migliavacca (Italian, d. 1856). Hand-colored etching depicting Dante crossing the river Styx.After Pierre Francois Hugues (French, 1719-1805). Hand-colored etching depicting a bearded Dionysus seated with a thyrsus and Pan wom a komast cup.Height ranges from 6 in to 14 1/2 in; width ranges from 6 3/4 in to 15 in.Condition:There is wear throughout all prints including some toning, areas of foxing or soiling, creases, and small losses. Five of the works are not framed. The orange and black print has not been examined out of frame.

Batty (Captain Robert) An Historical Sketch of the Campaign of 1815, second edition, 6 folding engraved battle-plans with partial hand-colouring, 5 folding letterpress tables, later red half morocco, gilt, corners rubbed, [c.f. Bobins 345], 8vo, 1820. 

Dura (Gaetano) Gruppe di Costumi Napoletani, 10 hand-coloured lithographed plates only (of 33), one or two loose, old cloth-backed boards, with original upper wrapper printed in gold bound in, gilt-stamped roan label to upper cover, rubbed and soiled, lower corners bumped, [Colas 919], oblong 4to, Naples, Gatt & Dura, [c.1835]. *** Including scenes of ascent and descent of Vesuvius, fruit-sellers, street porters, fishermen, a pasta stall and a water kiosk.Gaetano Dura (1805-78) was a Neapolitan sketch artist and lithographer who began as a landscape artist and lithographer and quickly rose to prominence as one of the first Neapolitan masters of the relatively new artistic medium. His illustrations of Neapolitan theatrical and street scenes are now regarded as unparalleled depictions of local life.

Bracebridge (Selina) [Panoramic Sketch of Athens], hand-coloured lithographed panorama, c.2,700 x 270mm., linen reinforcements at folds, a few neat repairs to extremities, folding concertina-style into modern morocco-backed cloth, binding detached, [Abbey, Life 545; Bobins 1593; Blackmer 193], 4to, 1839. *** Bracebridge published another panorama of Athens in 1836, rather than a second edition however, this version is based on an entirely new sketch taken from a site directly opposite the Acropolis.

Alken (Henry) [Sporting Anecdotes], 16 hand-coloured etchings, Alken's original pencil drawing of 'plate 4' bound-in, Alken's original watercolour sketch of 'plate 12' bound-in, interleaved with blanks, one with ink annotations, 5 plates with marginal tears (repaired), disbound, housed in modern red morocco-backed box, [Bobins IV, 1384; Siltzer, p.62 calls for 18 plates, but also some with different titles than cited in this copy], oblong folio, R. Ackermann, [1833-37].

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Parliament of the Yard signed and dated 'Betty Swanwick 85' (lower left)pencil on paper73 x 34.5cm (28 3/4 x 13 9/16in).together with a further preparatory sketch, The Parliament of the Yard Study for the Main Figure, by the same hand(2)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 6 June-23 August 1987, no. 843London, Royal Academy of Arts, Summer Exhibition, 9 June-19 August 1990, no. 758London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 38London, Chris Beetles Gallery, Betty Swanwick: Artist and Visionary Launch, 25 November 2008 LiteratureB. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 2P. Rossmore, Betty Swanwick. Another World, The Artist, June 1990, p. 44 P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 93 and 128, no. D95b'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Study of the Artist's Cat Bewick signed, dedicated and inscribed with Artist's address 'Greetings from Betty Swanwick Caxton Cottage Frog Lane Tunbridge Wells Kent TN1 1YT' (to lower edge)pencil on paper12 x 17.5cm (4 3/4 x 6 7/8in).Executed in the 1980stogether with a further pencil on paper, study of the Artist's dog Louis Swanwick, by the same hand(2)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 134, illustrated'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987 Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Sir Quentin Blake (British, born 1932)James and the Giant Green Grasshopper signed with initials 'QB' (lower left)pen and ink and watercolour on paper8.5 x 8cm (3 3/8 x 3 1/8in).together with a further watercolour and pen and ink on paper, The Diary 1998, by the same hand(2)Footnotes:ProvenanceWith Chris Beetles Gallery, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureR. Dahl, The Roald Dahl Omnibus, James and the Giant Peach, Gallimard, Paris The Diary 1998 is a preliminary sketch for the front cover of R. Dahl, The Roald Dahl Diary 1998, Puffin, London, 1998.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

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Key of the Kingdom pencil on paper54.5 x 21cm (21 7/16 x 8 1/4in).together with two further preparatory sketches for The Fields of Ennor and So They Ran Both Together(3)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 128, no. D96 (as the associated drawing Figure Study for 'The Key of the Kingdom')'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Wilderness Regained pencil on paper27.5 x 35.5cm (10 13/16 x 14in).Executed circa 1974Footnotes:ProvenanceSale; Bonhams, London, 31 January 1990, lot 37 (as Sketch of a Woman with Serpents)Private Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, pp. 117-118, no. D57 (as the associated drawing Seated Figure in a Hat)In the Artist's sale record for the watercolour The Wilderness Regained, Betty Swanwick describes how the piece was 'inspired by the arbutus tree in the garden at Tidebrook.' (P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 117)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Pandora signed and dated 'Betty Swanwick 78' (lower left); further signed, titled and inscribed with Artist's address 'BETTY SWANWICK/CAXTON COTTAGE, FROG LANE,/TUNBRIDGE WELLS KENT PANDORA' (to backboard)watercolour and pencil on paper62 x 51cm (24 7/16 x 20 1/16in).Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 19 May-12 August 1979, no. 140London, Royal Academy of Arts, Summer Exhibition, 9 June-19 August 1990, no. 755 (memorial display)London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 24LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 59 and 120, no. D70a'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Keith Vaughan (British, 1912-1977)Farm Land stamped with estate stamp 'K.V.' (on sheet verso)pencil on paper20 x 25.5cm (7 7/8 x 10 1/16in).Executed circa 1955Footnotes:ProvenanceWith Anthony Hepworth Fine Art, London, 19 March 2015, where acquired by the present owner Private Collection, U.K.Vaughan made many drawings throughout his career, life drawings, drawings for paintings, compositional studies, erotic images (which he called his 'Grafitti [sic] Drawings'), sketches made 'in situ', and fully finished presentation drawings which he called 'table drawings'. Early on he evolved a habit of carrying around small notebooks and sketch books in which to jot down visual information and motifs which caught his eye or which he thought might be useful in terms of his painting. The present work is one such drawing, probably made on a walk, or sitting in his car. In an interview in 1962 he discussed what he considered his approach to drawing and painting:'I make drawings from life. I also make drawings for developing ideas. The activity of drawing with me is now entirely independent of the activity of painting. I don't find that I can make preparatory drawings. I think partly because if you make preparatory drawings, then you never really get involved with the actual working out of the problem in terms of the painting. You tend to refer to the drawing for the solution to a problem which concerns the painting and this always leads you down the wrong track because you are trying to reproduce something you have done in the drawing. And so, though I still do a lot of drawings, they are an entirely independent activity. The thing about drawing is that it requires no special situation and the interruption between the activity of the imagination and the act of drawing is at a minimum. It is the nearest possible extension to one's natural faculties. You can draw anywhere; you can draw in the open, in the back of a car, in bed or in an armchair. You can't paint like that. Painting is a dress parade affair. You have got to be standing up in a particular place in a certain light and you have got to have both your hands free to manipulate a considerable quantity of equipment.'(Anthony Carter Interviews Keith Vaughan, BBC Transmission, broadcast unknown. Transcript, 1962) We are grateful to Gerard Hastings 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

Betty Swanwick (British, 1915-1989)Feeding the Flocks watercolour and pencil on paper54.5 x 71.5cm (21 7/16 x 28 1/8in).Executed circa 1983Footnotes:ProvenanceThe Artist, from whom commissioned by the present owner, 1982Private Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 28 May-28 August 1983, no. 125London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 20 LiteratureRoyal Academy Summer Exhibition Illustrated, 1983, p. 68B. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 8P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 90 and 127, no. D91aIn the Artist's sales record book, Swanwick describes how the piece was 'based on drawings on visits to Hastings. Help on the boats given me by Maurice Wilson so generously he made little drawings of fishing boats amazingly accurately done by him from memory whilst having a cup of tea at Caxton College.' P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 127)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Edward Burra (British, 1905-1976)Sketch of a Woman signed 'E J Burra' (lower right)pen and ink on paper25.5 x 20.5cm (10 1/16 x 8 1/16in).Footnotes:ProvenanceThe Artist, by whom gifted toWilliam Chappell, by whom gifted toPrivate CollectionAcquired from the above by the present ownerThis 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

Betty Swanwick (British, 1915-1989)The Black Shepherd signed and dated 'Betty Swanwick 87' (lower left)pencil on paper30 x 71cm (11 13/16 x 27 15/16in).Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 14 May-17 August 1988, no. 819 London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 32London, Chris Beetles Gallery, Betty Swanwick: Artist and Visionary Launch, 25 November 2008 LiteratureB. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 3P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 129, no. D101cIn her sales record book, Betty Swanwick describes how the work was produced 'in honour of Louis Armstrong. The favourite musician of my parrot JOBO.' (P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 129)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

A collection of artist related items and books to include box sets of Derwent pencils, sketch pads and other items, Location:

A Chinese watercolour 'Medicine Man' by Chaw Chow. Born 1920, together with a sketch, exhibition invitations and other ephemera, 48 x 73cm, image size 32 x 43cm.

The Retrospective Exhibition of Shoji Hamada, The National Museum of Modern Art, Tokyo, 1977; James A. Michener. The Hokusai Sketch-Books, Selections From The Manga. (2)The Hamada catalogue is a little dog-eared

Keith Vaughan (1912-1977) 'Study of a figure', pencil sketch, with artist studio stamp lower right, 14.5cm x 9.5cm Overall display wear, marks and scuffs in places. Large stains and watermarks to the mount. Minimal foxing and creasing to the paper. Would require reframing.

Marie Anne Ichanson (b.1889) 'View of Venice', watercolour and pencil sketch, signed lower right, 28cm x 38cm Overall scuffs, marks and display wear to the frame. Watermarks and discolouration to the mount. The watercolour itself ok, with possible minor foxing, but may also be deliberate. Not noticeable.

Attributed to Uli Nimptsch (1897-1977) 'Seated figure', pencil sketch, unsigned, 44cm x 49cm Overall display scuffs and minimal wear to the frame. The paper itself is wrinkled/creased in places, otherwise seems ok.

R Clover (20th Century School) 'Castle Combe, Cotswolds', pen sketch, signed lower centre, 19cm x 23cm The frame with some losses and display wear. Some staining to the mount on the far left hand outer edge. Very minor foxing to the mount. The drawing itself seems ok.

Attributed to Charles Edward Stewart (1822-1894) 'Study of a horse', oil on panel, unsigned, 29.5cm x 22.5cmNote: There is a handwritten note on the back of the frame which reads 'This sketch was painted by C E Stewart and given to Mrs W Dickson'. Overall scuffs, wear, marks and scratches to the frame. There is some wear and small marks to the painting itself. Would benefit from a gentle clean.

Sale Item: MULL SKETCH BY S BARR Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 17.5% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%

Golfing 'Lucky Bastard' sketch, (54/200), signed Tim. Not available for in-house P&P

Dressed in red with black bonnet, carrying tray of small figurines around her neck. Made for The Sketch magazine in the 1920's. Royal Doulton backstamp. Issued: c. 1920Dimensions: 4"L x 2.75"W x 7.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Paul Cadmus (American, 1904-1999). Crayon on green paper drawing depicting a sketch of David with the head of Goliath. Signed along the lower right. The verso with a partial sketch of a nude male torso and head.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 12 in x width: 8 1/2 in.Condition:The colors are bold and bright. There are no tears, losses, or restorations. There are a few light handling creases. The work is not framed.

A framed 19th century black and white watercolour study of a waterfall unattributed a framed pencil sketch and four framed 19th century prints and engravings (6)

A framed pencil sketch study of two Terrier signed in pencil. 42x46cm

Laurence Stephen Lowry, R.A. (1887-1976), 'Industrial Sketch', figures in an Industrial Landscape, Oil on Board, Signed L S Lowry and dated 1953, 7" x 14.5" (18 x 36.5cm), Provenance: Purchased at The Lefevre Gallery, London in 1953.Please note: there will be no online bidding available for this lot, bidding is by telephone bid, commission bid or in person at the saleroom, this must be arranged with our office prior to the morning of the sale.

Francis Newton Souza (1924-2002), a pair of ink drawings, head studies of male figures, inscribed verso 'Portrait Drawing of Deben Bhattacharya, Bramin Prince-Namid, as an architect in London 1950's', mounted in a common frame, each sketch 9.75" x 8.75" (25 x 19.5cm).

A REGENCY MAHOGANY DRESSING TABLE ATTRIBUTED TO GILLOWS, CIRCA 1820 Finished on all sides 82cm high, 129cm wide, 68cm deepAn almost identical dressing table made by the craftsman James Whiteside is shown in Gillows' Estimate Sketch Books, folio no. 3312, dated December 30, 1823. A closely related dressing table was sold Christie's, South Kensington, 19th July 2013, Lot 476 (£6,875). Condition Report: Overall there are some marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits and old repairs Of pleasing colour and patina overall Some additional staining and ink marks to the internal drawers Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition.Condition Report Disclaimer

Y&nbspA REGENCY ROSEWOOD AND GILT BRASS MOUNTED SOFA TABLE ATTRIBUTED TO GILLOWS, CIRCA 1810 73cm high, 93cm wide, 61cm deep This elegant sofa table can be attributed to Gillows of London and Lancaster who made particular use of this type of downswept end-supports on many of their tables. A closely related calamander writing-table by Gillows, has almost identical ends filled with spindles above a lozenge panel and relates to a sketch dated 1818 in their Estimate Sketch Books, number 2079 (G. Wills, Craftsmen and Cabinet-Makers of Classic English Furniture, Edinburgh, 1974, pp. 117-118, figs. 108-109). An almost identical sofa table was sold, Christie's, New York, Important English Furniture, 18th October 2005, Lot 353 ($36,000). Condition Report: Table in very tidy/presentable order overall. It bear the the marks knocks, scratches and abrasions commensurate with age and use. The expected minor old chips and splits. Some slight sun fading to timber of top. No key present but both locks are open. Some old veneer repairs in places - see images for details. Very slight warping to one hinged leaf. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A LOUIS XVI ORMOLU MANTEL CLOCK, AFTER A DESIGN BY FRANCOIS VION LATE 18TH CENTURY The case with flambeau urn surmount above laurel draped cylindrical case, supported by an Italian style lion with star decorated ball, ribbon tied laurel draped profile medallion of Louis XVI to the plinth The 6" enamelled dial with Roman numerals and Arabic chapter rings, supporting an unsigned French 8 day movement, striking on a bell, outer countwheel strike, with pendulum and key 64cm high overall, 37cm wide For a closely comparable Louis XVI clock, see Christie's, London, The Collection of the Marquis and Marquise De Ravanel, 22nd Nov 2007, Lot 129, (£36,500). Another version of this model of clock can be seen in J. Augarde, Les Ouvriers du Temps: La Pendule à Paris de Louis XVI à Napoleon Premier, Geneva, 1996, p. 54, fig. 36. A sketch for a related clock, by François Vion, is in the Bibliothèque Doucet, Paris (H. Ottomeyer & P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, fig. 3.11.6).  Condition Report: Movement is in clean condition, the going train is in running however the strike train is currently not working most likely due to a pinion (pivoted via a cock behind the countwheel) becoming mis-aligned and jamming. This should be a relatively straightforward repair for a suitably qualified clockmaker. The pendulum has later Brocot regulation to the suspension (was most likely previously silk suspension) hence the backcock is probably a replacement. The dial has a small edge cracks at II and IX, and slight enamel chips adjacent to the edge screws at XI, III and VII; there is also a small enamel chip to the right hand winding hole, hands appear undamaged but may be 19th century replacements.The case is in fine original condition with fine thick original gilding. The surface has overall noticeable darkening through build-up of dirt as well as some tarnishing of the bronze coming through. There is some edge wear and the rear of the base has thinner gilding which has discoloured more noticeably than the front and sides. There is a small casting 'blow-through' to the movement drum support at the rear and the the platform supporting the urn surmount has a slight casting depression towards the front right hand corner.As catalogued clock has winding key and a 19th century pendulum.Condition Report Disclaimer