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W.Appleby R.I. 1933, pencil and crayon portrait of a lady and other picturesThe oval portrait of the girl and boy appears to be an overpainted photograph

MARIE ANTOINETTE BOULLARD-DEVÉ (FRENCH, 1890-1970) - WOMAN SEATED CROSS-LEGGED Crayon on paper, signed lower middle Overall condition is very good. Minor foxing is present on the paper, noticeable only in the white sections and under certain lighting conditions. Provenance: Sotheby's Hong Kong - Modern and Contemporary Southeast Asian Paintings 5 Oct 2008, Lot 960, illustrated pg. 250 of catalogue;l Philip Ng Collection, Singapore 66 x 49 cm Ownership Statement: This item is offered for sale in the name of the owner, Philip Ng. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

BRIAN GRIMWOOD (BRITISH, B. 1948) - SIAPU MERSING, 1986 Pencil and crayon on paper, signed and dated lower right Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

This large original watercolor and crayon on grey paper depicts a white Spitz dog that Austrian illustrator Gertrud Purtscher-Kallabserene beautifully rendered in a Realist style. Signature on lower center: G. Purtscher-Kallabserene. Graphite tracing of a dog's head on verso. Artist: Gertrud Purtscher-Kallab (Austrian 1913-?)Issued: c. 1950Dimensions: 25"L x 19.50"HCountry of Origin: AustriaCondition: Age related wear.

Emmanuel Levy (British 1900-1986) Study of a dog Signed and dated '80, crayon.17.5 x 29.5cm (framed 38 x 50cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. There are one or two light creases and some spots of foxing and small areas of browning across the paper. The drawing is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Deenagh Miller (British, 20th century), female figures, signed l.r., dated 1985', pen and ink on paper, 40 by 50cm, together with Folaka Shoga (Nigerian-British, Contemporary), figures in swimming costumes at the beach, crayon on paper, 40 by 58cm, both framed Note: Folaka Shoga gained her reputation in the 1980s Black Art Movement, specifically the 'Black Women In View' group.

ANNA SEWELL: BLACK BEAUTY - THE AUTOBIOGRAPHY OF A HORSE, London, Jarrold and Sons, 1898. 47th Edition, 184th Thousand. . Bound in dark blue cloth board, embellished in gilt, black and yellow. Much wear to boards and edges, crayon and ink writing to title page

18thC English School. Head and shoulder portrait of Mozart, red crayon, 20.5cm x 14cm.

After L. S. Lowry (1887-1976) View of a Church signed, dated 1958, crayon, 16cm x 18cm

Airship Hindenberg.- Printed envelope sent via the "Hindenberg", ink manuscript note in German to upper corner, 3 postal stamps including one commemorating the Berlin Olympics, light toning to one edge, underlining in red crayon, c.125 x 160 mm., 1936.

Dennis Gilbert NEAC (British, b.1922-) Female nudes dancing unsignedpencil and crayon12cm x 17cm

GOLDSCHEIDER; a ceramic wall plaque in the form of a head and shoulders portrait of a lady, with hands together as if praying, held against her cheek, black ringlets and wearing a blue hooded outfit, impressed number 7579 5 90, 31 x 18cm.Condition Report: Scuffs to her forehead, especially almost like crayon marks, various marks and scratches, no chips or cracks, crazed all over.

† MAXWELL ASHBY ARMFIELD RWS (British, 1882-1972); watercolour and pencil, 'Tiger Lily', titled, dated 6.7.61 and attributed verso, 17 x 15cm, framed and glazed, and by the same artist pencil, pastel and crayon on paper, 'Flowers and Grapes in a Silver Jug', dated August 25th 1951, signed lower left, dated, titled and attributed verso, 20 x 14cm, framed and glazed (2). Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

E.H.Shepard - (1879 - 1976 - Illustrator - Winnie the Pooh) - An autograph Post Card note signed with initials to Muller on Red Cottage headed card, “Herewith also the other drawing for “In the Dark” The boy chasing the dragon could cover 2 pages if this poem is 4 pages long.” , shows crayon crossings and dated for 22nd June, 1927.

A.A.Milne - (1882-1956 - Author - Winnie the Pooh) - An autograph letter signed ‘A.A.Milne’ to Chamberlain, on Mallord Street headed paper  “I enclose new Christopher Robin Calendar. Shepard must do new drawings for April and September as the originals are very poor", 8vo, soiled and marked with crayon, dated January 13.

.A.Milne - (1882-1956 - Author - Winnie the Pooh) - Autograph notes in pencil and orange crayon on a typed sheet of contents for Now We Are Six together with the publishers typed copy letter thanking him for returning the list together with mention of “What about the idea of Christmas Cards?”, one side 4to and one side 8vo, stamped 'Received and Answered 15th June, 1927'.

AVERIL MARY BURLEIGH (BRITISH 1883–1949) SKATING WITH LANTERNS signed, pencil, crayon, watercolour, bodycolour and wash on paper 55.8cm x 75.5cm (22in x 29 ¾in) Christie's, London, 14 November 1986, lot 195;Sandra Lummis Fine Art, London, from whom acquired by Bernard Kelly.

JOHN PIPER (BRITISH 1903-1992) STUDY FOR WATSON HOUSE MURALS ink, crayon, oil, watercolour and gouache with wax resist on paper with collage elements  19.5cm x 17cm (7 5/8in x 6 ¾in) The following lots (260 – 275) represents the most complete collection of studies by John Piper for his landmark commission to decorate the exterior of Watson House in south-west London. After the nationalisation of the gas industry post-war, the newly-formed North Thames Gas Board redeveloped a site on the banks of the river that had previously been the offices of the Gas Light and Coke Company, building Watson House in 1959 – at the time a very modern statement in concrete and glass, created four years before Harold Wilson’s famous speech about Britain’s future fuelled by the ‘white heat of technology’. Although Piper had come to the fore in the 1930s, as part of a European-leaning British avant-garde that included Henry Moore, Barbara Hepworth and Ben Nicholson, by the late 50s he was still very much at the centre of the ‘new’ in Modern British Art, having created – alongside artists such as Graham Sutherland, John Craxton and Keith Vaughan  – a visual language that was inspired by natural forms but which excavated behind those forms to express human emotion and frailty. And Piper and Sutherland had just recently been engaged on the decorations of Basil Spence’s stunning modernist cathedral for Coventry, which opened in 1962 – the same year Piper was invited to create a 250ft long mural for the porte cochère of Watson House. The mural was to be entitled ‘The Spirit of Energy’ and consisted of 32 fibreglass panels – again a very modern material for an architectural setting (and according to Piper expert Frances Spalding, these murals are also believed to be the only example of Piper using fibre-glass moulds for external use). Piper’s preliminary studies anticipate the visual and tactile possibilities that fibreglass allows, not least a contrast between opacity and translucence – which in the studies is expressed in the interplay of opaque oil and bodycolour over translucent layers of wax and watercolour. The idea behind the commission – the expression of a metaphysical concept, ‘the spirit of energy’ – also allowed Piper to approach the work with the same freedom that he had applied to the windows at Coventry, whose purpose was to express equally metaphysical ideas of the divine. His work had never been so loose and abstract. As such, Piper’s work at Watson House – both the studies and the final panels themselves - represent a key moment in his career.  By the mid-1980s, the Gas Board had moved out of the building and it lay empty for a number of years. It was scheduled for demolition in the early 1990s, when Crispin Kelly – a developer and one of Bernard Kelly’s sons – acquired the site and redeveloped it, transforming the main block of laboratories into 70 apartments and the ground floor into spaces for artists’ and photographers’ studios. The architects Lifschutz Davidson oversaw the project, retaining the building’s mid-century character, including the double height spaces and large windows of the main building, giving London one of its earliest iterations of American-style industrial ‘lofts’.     Upon completion, Watson House was re-named ‘The Piper Building’, in honour of the creator of its unique and striking decoration – with Lifschutz Davidson adding electric sun blinds to the new steel balconies in a bright ‘Piper’ yellow to extend the artist’s imprint across the whole building.  The murals themselves were afforded Grade II listing in 2022, in recognition of their cultural significance.These wonderful, spirited gouaches, executed with Piper’s trademark bravura use of watercolour over a wax resist, were until recently displayed in the building’s foyer – on loan from Bernard Kelly’s collection - and though they have been seen by its many residents and those using the studio spaces, this is the first time they have been on public view. Having long been an admirer and collector of Piper’s work, it seemed very appropriate, then, that Bernard Kelly should take an apartment in the building that bears the artist’s name.  Bernard proceeded to buy not only more work by Piper but also paintings by his son Edward Piper and grandson Luke Piper - the latter being commissioned by Bernard to paint the view of Wandsworth Bridge from his apartment.

JOHN PIPER (BRITISH 1903-1992) THREE STUDIES STUDY FOR WATSON HOUSE MURALS crayon, pencil, watercolour and gouache with wax resist on paper 11.8cm x 9cm (4 5/8in x 3 ½in) each The following lots (260 – 275) represents the most complete collection of studies by John Piper for his landmark commission to decorate the exterior of Watson House in south-west London. After the nationalisation of the gas industry post-war, the newly-formed North Thames Gas Board redeveloped a site on the banks of the river that had previously been the offices of the Gas Light and Coke Company, building Watson House in 1959 – at the time a very modern statement in concrete and glass, created four years before Harold Wilson’s famous speech about Britain’s future fuelled by the ‘white heat of technology’. Although Piper had come to the fore in the 1930s, as part of a European-leaning British avant-garde that included Henry Moore, Barbara Hepworth and Ben Nicholson, by the late 50s he was still very much at the centre of the ‘new’ in Modern British Art, having created – alongside artists such as Graham Sutherland, John Craxton and Keith Vaughan  – a visual language that was inspired by natural forms but which excavated behind those forms to express human emotion and frailty. And Piper and Sutherland had just recently been engaged on the decorations of Basil Spence’s stunning modernist cathedral for Coventry, which opened in 1962 – the same year Piper was invited to create a 250ft long mural for the porte cochère of Watson House. The mural was to be entitled ‘The Spirit of Energy’ and consisted of 32 fibreglass panels – again a very modern material for an architectural setting (and according to Piper expert Frances Spalding, these murals are also believed to be the only example of Piper using fibre-glass moulds for external use). Piper’s preliminary studies anticipate the visual and tactile possibilities that fibreglass allows, not least a contrast between opacity and translucence – which in the studies is expressed in the interplay of opaque oil and bodycolour over translucent layers of wax and watercolour. The idea behind the commission – the expression of a metaphysical concept, ‘the spirit of energy’ – also allowed Piper to approach the work with the same freedom that he had applied to the windows at Coventry, whose purpose was to express equally metaphysical ideas of the divine. His work had never been so loose and abstract. As such, Piper’s work at Watson House – both the studies and the final panels themselves - represent a key moment in his career.  By the mid-1980s, the Gas Board had moved out of the building and it lay empty for a number of years. It was scheduled for demolition in the early 1990s, when Crispin Kelly – a developer and one of Bernard Kelly’s sons – acquired the site and redeveloped it, transforming the main block of laboratories into 70 apartments and the ground floor into spaces for artists’ and photographers’ studios. The architects Lifschutz Davidson oversaw the project, retaining the building’s mid-century character, including the double height spaces and large windows of the main building, giving London one of its earliest iterations of American-style industrial ‘lofts’.     Upon completion, Watson House was re-named ‘The Piper Building’, in honour of the creator of its unique and striking decoration – with Lifschutz Davidson adding electric sun blinds to the new steel balconies in a bright ‘Piper’ yellow to extend the artist’s imprint across the whole building.  The murals themselves were afforded Grade II listing in 2022, in recognition of their cultural significance.These wonderful, spirited gouaches, executed with Piper’s trademark bravura use of watercolour over a wax resist, were until recently displayed in the building’s foyer – on loan from Bernard Kelly’s collection - and though they have been seen by its many residents and those using the studio spaces, this is the first time they have been on public view. Having long been an admirer and collector of Piper’s work, it seemed very appropriate, then, that Bernard Kelly should take an apartment in the building that bears the artist’s name.  Bernard proceeded to buy not only more work by Piper but also paintings by his son Edward Piper and grandson Luke Piper - the latter being commissioned by Bernard to paint the view of Wandsworth Bridge from his apartment.

A Clarice Cliff crayon series plate, decorated with a castle on a hill Condition Report:Available upon request

GB - QV 1884 £1 brown-lilac, three crowns wmk, light trimmed perfs to right. Blue registered crayon mark. Huddersfield cds, plus boxed G.P.O. and (GHR)?, SG185 cat £3000

GB - small but interesting lot of QV to QE2. S/book of QV 1d Red imperfs and Plates (approx 200). 1891 £1 with a repaired tera with hinge, some 2cm in length, a blue crayon mark and three whole or part registered cancels. Official 9d Government Parcels (SG O67) FU. 1890 Fifty Years of Penny Post Card and envelope used. 2/6 Lilac Sg178 VFU Bedford pmk. 1880 6d grey SG147 Plate 17 (the better one). 1883/4 5/- two registered closely struck cancels (SG181). Light perf trim to one side. KEVII 2/6, two very different shades, both VFU - Windermere and Bridlington cancels. Jubilee 7d mm, 9d fu with Wisbech pmk. KGV 2/6 Seahorse chocolate brown Birmingham double ring pmk. 1911/12 unchecked 1/2d green and 1d red m, six KGVI definitive 1st Day Covers (1938/9), plus 1948 Olympic Games, two additional covers - 1971 Postal Strike Apollo 14, and Postage Due cover (Qty)

GB - QV £1 brown-lilac 1882, Maltese Cross wmk, blue crayon line, small 2mm tear to right side, SG129 cat £4000 Sold as seen

Circle of Charles Parrocel (1688-1752) French Study of a drummer Red conte crayon, 24.5cm by 15cmFor comparable see Ashmolean Museum, University of Oxford, Recto: "A Drummer seen from Behind", Verso: "A Turkish Horseman in profile to right" c.1726/27, accession no. WA1934.278Provenance: Harper Fine Paintings, Poynton 1998

Steven Spurrier RA (British, 1878-1961) Preparing in the kitchen in Chiswicksigned lower rightpencil and black crayon35.5 x 25cm

§ Terry Frost RA (British, 1915-2003) Ride to Cordobasigned, inscribed and dated ‘Collage Proof Ride to Cordoba 89-19 Terry Frost’ (lower margin)lithograph with wax crayon and collage on paper 55.5 x 37.5cmProvenance: The Collection of Lord Myners, former Chairman of the Board of Trustees at the Tate

Gilbert (18th/19th century): Portrait of a Georgian Lady with a Feather Plume, oval pencil and crayon signed and dated 1807, 22cm x 19cm

Peter Deighan (Irish, b.1941) Double portrait study of Eric Morecambe  red crayon heightened in white on brown paper, 44 x 58cm signed lower right, framed and glazed

Roy Ullyett (British 1914-2001) Cartoon depicting Eric Morecambe on a horse jumping a fence, a lady in horse riding attire beside fence and Ernie Wise in the background running with various captions, in clockwise order: TWO POINTS LUTON CAN DO WITH 'EM... SEAT (HE HAS ONE ON THE LUTON BOARD TOO)... RIDING HABIT...FILTHY HABIT PARKING HIS CHEWING GUM.. ERIC GOING FOR A CLEAR ROUND... ERNIE GOING TO AVOID HIS ROUND...ANOTHER BIT... STIRRUP CUP... BIT...  pen, ink and crayon, 35 x 24.5cm signed lower right, framed and glazed  ❧ from Upstairs Landing, Brachefield

A late 1930s crayon heightened photograph of the young Eric Bartholomew (Morecambe) aged 10 years old performing in white tie and tails, oval and framed in mirror setting, approx 46 x 36cm  Provenance: George and Sadie Bartholomew 

An early 20th Century crayon heightened photograph portrait of Eric Morecambe's grandfather William Robinson, Sadie's father, framed under bevelled glass approx 49 x 36cm 

Eric Morecambe's rough working ideas for films & sketches, 11 handwritten pages, 38 typed pages, including a crayon poster design by EM ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Peter Deighan (Irish, b.1941) Triple portrait study of Eric Morecambe  red crayon heightened in white on brown paper, 37 x 67cm signed lower right, framed and glazed CONDITION: Further details: creases to mount 

Three pictures to include: 1. Charles T Fox (19th Century) Vanner Abbey nr Dalgelley N. Wales, a sketch from nature, watercolour, 24 x 33cm, signed and dated 1896 lower right, framed and glazed 2. W Barkham, Rainy lake view, watercolour, 27 x 37cm, signed, framed 3. F Arnold, Misty Night, crayon, 24 x 34cm, signed and titled, framed and glazed (3)

Pastels and crayon on paper, a 20th century nude study, reclining figure, 62cm x 74cm overall, framed

Jenny Carré,Costume design, with two figures,crayon, gouache and watercolour with pencil notations,38x27cm.Note. Jenny Carré was a Parisian painter and theatrical designer, daughter of actor and playwright Albert Carre and singer Marguerite Giraud Carre, she was active as a designer of revue costumes from the late 1920's. She worked for the Casino de Paris, the Mogador Theater, the Concert Mayol, the Gaite Lyrique and the Ziegfeld Follies in New York.Condition report:Discoloured patches and two small tears to top. Staining and foxing various places. Fingerprint to left of left-hand-side figure. Pin holes to the bottom right. Please see additional uploaded images.

An 18th/19th century framed & glazed. chalk & crayon drawing on paper of figures dancing signed Watteau,

A 19th century finely drawn crayon portrait miniature group of six family members, many family details of the sitters to verso, framed and glazed, 17cm by 17cm

Valerie Doksansky, coloured crayon, owl in a tree, 31ins x 21ins, together with two other prints

Attributed to Leon Kossoff (1926 - 2019), Embankment Station and Hungerford Bridge 1994, charcoal and crayon on paper, unsigned, 98cm x 98cm, framed These 2 drawings have been kept in a private house in Hastings for the past 15 years.The present owner purchased them from a local art collector. They had been torn and discarded by the artist when he was clearing work from his studio.Both works have been seen in-person by the author of Kossoff's catalogue raisonne who stated that although they are certainly by Leon Kossoff, they were intended to be destroyed, as and such they could not be considered suitable for inclusion in the catalogue.The restoration of the 2 drawings has been a lengthy and expensive process, by a highly skilled paper conservator. The repaired tears are almost invisible except through very close inspection.The expert stated that the larger work is of 'Embankment Station and Hungerford Bridge', probably done in 1994 when Kossoff was painting this subject. There is a related painting on page 502 (entry 426) in the catalogue raisonne. Also a slightly larger drawing of the same subject in the catalogue "Leon Kossoff: London Landscapes", number 56.The second drawing of Christ Church Spitalfields was probably done between 1991-1992. Kossoff made 18 paintings of Christ Church between 1987 and 2000, and a significant number of drawings. The nearest comparison in the catalogue raisonne of oils is on page 464 (entry 464).Both drawings are catalogued as "attributed to Leon Kossoff" because they cannot be included in the artist's catalogue raisonne, and as such are sold "as seen" and without any guarantee.

Attributed to Leon Kossoff (1926 - 2019), Spitalfields circa 1991 - 1992, charcoal and crayon on paper, unsigned, 105cm x 72cm, framed These 2 drawings have been kept in a private house in Hastings for the past 15 years.The present owner purchased them from a local art collector. They had been torn and discarded by the artist when he was clearing work from his studio.Both works have been seen in-person by the author of Kossoff's catalogue raisonne who stated that although they are certainly by Leon Kossoff, they were intended to be destroyed, as and such they could not be considered suitable for inclusion in the catalogue.The restoration of the 2 drawings has been a lengthy and expensive process, by a highly skilled paper conservator. The repaired tears are almost invisible except through very close inspection.The expert stated that the larger work is of 'Embankment Station and Hungerford Bridge', probably done in 1994 when Kossoff was painting this subject. There is a related painting on page 502 (entry 426) in the catalogue raisonne. Also a slightly larger drawing of the same subject in the catalogue "Leon Kossoff: London Landscapes", number 56.The second drawing of Christ Church Spitalfields was probably done between 1991-1992. Kossoff made 18 paintings of Christ Church between 1987 and 2000, and a significant number of drawings. The nearest comparison in the catalogue raisonne of oils is on page 464 (entry 464).Both drawings are catalogued as "attributed to Leon Kossoff" because they cannot be included in the artist's catalogue raisonne, and as such are sold "as seen" and without any guarantee.

Washington Irving. 'The Sketch Book of Geoffrey Crayon, Esq.' Published by Baudry's European Library, Paris, 1836. (English Language edition). Publisher's boards, leather spine, titled in gilt. We combine shipping on all lots. Single book £5.99 UK, £6.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg in UK £12, EUROPE £39.99, ROW, £59.99

WILLIAM RUSSELL FLINT (1880-1969) 'THE BASKET OF DAFFODILS', a full length portrait study of a female figure holding a basket of flowers, signed and dated 24.3.67 lower left, titled, signed and dated verso, red conte crayon on paper, approximate size 44cm x 33cm, frame size 73cm x 57cm, Condition Report: light creases to the paper with two pinholes beside the signature, mount damaged (artist resale rights apply)

D*FACE (Né en 1978) « District 13… Drouot, Paris ! ». 2022. Lithographie en 9 couleurs. Signée « D*face » au crayon en bas à droite. Numéroté « 216/300 » au crayon en bas à gauche. Porte le cachet de l’atelier D*Face en bas à droite. Dimensions : 70 x 50 cm.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

René MAGRITTE (1898-1967), D’Après. Un séduisant navire d’eau de mer,1968. Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot. Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires. 44 x 60 cm.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Jeff KOONS (Né en 1955) Bourgeois Buste ,1995. Lithographie offset en couleurs. Signé en bas à droite au crayon. Edition de 50 exemplaires. 99,1 x 86,6 cm.

Maximilien LUCE (1858-1941) « Paysage à Nanterre ». Dessin au crayon gras contrecollé sur carton. Signé en bas à droite « Luce ». 15,5 x 11,5 cm. Non encadré.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Guido ZANOLETTI (Né en 1930) Composition abstraite Crayon et gouache sur papier marouflé sur bois. Signé en bas à droite et daté 1980 32 x 32 cm

KAWS (Né en 1974) Urge II,2020. Sérigraphie sur papier, signée et numérotée au crayon. Edition de 250 exemplaires. 28 x 21 cm.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Ivan Diomidovich CHASHNIKOV (1888-1971), Attribué à. Composition abstraite. Aquarelle et traits de crayon sur papier, porte une signature en cyrillique en bas à gauche. 15,2 x 23,2 cm

Robert-Antoine PINCHON (1886-1943) Ensemble de 9 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Maximilien LUCE (1858-1941) « Paysage » Dessin à l'encre et au crayon sur papier. Cachet « Luce » en bas à gauche 10,7 x 15,5 cm (quelques petites déchirures sur les bordures). Non encadré.

René MAGRITTE (1898-1967), D’Après. Les Grands Oiseaux sont ceux de l’Ile au Trésor,1968. Lithographie en couleur sur papier, signée dans la planche. Editeur Mourlot. Signé au crayon par Fernand Mourlot. Edition de 350 exemplaires. 31,5 x 48 cm.

Robert-Antoine PINCHON (1886-1943) Ensemble de 6 dessins au crayon sur papier, portant le cachet « Robert A.Pinchon » - Dimensions variables (feuilles de carnets- 6 x 8 cm environ) - Non encadrés.

Maximilien LUCE (1858-1941) « Paysage » Dessin à l'encre et au crayon sur papier. Cachet « Luce » en bas à droite. 11,5 x 15,8 cm. Non encadré.