We found 9697 price guide item(s) matching your search

Early 18th Century Drawing Instrument Etui, Benjamin Scott, English, early 18th Century, the rule & Protractor engraved 'Ben Scott, Londini Fecit' the small wooden etui covered in black leather, withe metal hinge with brass studs to lid, the set contains a small finely engraved protractor(10cm x 2.7cm), silver* instruments comprising of a small fixed pair of dividers with engraved joint, bigger set of dividers with interchangeable pencil holder, pen, wheel, an a ink pen with silver* handle, case height 11cm Footnote: according to Clifton Benjamin Scott worked 1712 at Exeter Exchange, Strand London, then 1718 - 1733 Mariner & Globe Exeter Exchange Strand London * Assumed silverFootnote: This lot contains ivory and has been registered in accordance with the Ivory Act (Section 10), Ref.SMBWSVT9Flints Auctions CANNOT ship this item out if the UK

Original artwork, Stanley Matthews, Blackpool & England, by Mickey Durling, 1956. Durling was a caricature artist who prepared the artwork for the Sunday Empire News Football card set. This original ink & watercolour drawing on card, 37cm x 24cm, shows an image of 'Stan' but does not form part of the trade card set. Signed & dated '56' in ink by Durling. (gd) (1)

Original artwork, Sam Bartram, Charlton Athletic, by Mickey Durling, 1956. Durling was a caricature artist who prepared the artwork for the Sunday Empire News Football card set. This original ink & watercolour drawing on card, 36cm x 24cm, shows an image of Sam Bartram but does not form part of the trade card set. Signed & dated '56' in ink by Durling. (gd) (1)

Original artwork, Billy Wright, Wolves & England by Mickey Durling, 1956. Durling was a caricature artist who prepared the artwork for the Sunday Empire News Football card set. This original ink & watercolour drawing on board, 38cm x 25cm, shows an image of Billy Wright but does not form part of the trade card set. Signed & dated '56' in ink by Durling. (gd) (1)

Original artwork, Roy Bentley, Chelsea & England, by Mickey Durling, 1956. Durling was a caricature artist who prepared the artwork for the Sunday Empire News Football card set. This original ink & watercolour drawing on board, 38m x 25cm, shows an image of Bentley but does not form part of the trade card set. Signed & dated '56' in ink by Durling. (gd) (1)

Original artwork, Tom Finney, Preston North End & England, by Mickey Durling, 1956. Durling was a caricature artist who prepared the artwork for the Sunday Empire News Football card set. This original ink & watercolour drawing on card, 37cm x 24cm, shows an image of Finney but does not form part of the trade card set. Signed & dated '56' in ink by Durling. (gd) (1)

English School, circa 1820s, ink and watercolour drawing 'House and Garden of No. 17, East Stockwall Street, Colchester', 24.5cm x 28cm, mounted

Italian School (19th century)Studies of Classical Figures,pen and ink drawing, 17cm x 25.5cm

Original Comic Book Artwork - A LEE SULLIVAN drawing for an audition to work on the ROBOCOP comic book for Marvel, with ink by Kim Denuder, signed to bottom - Lee Sullivan '89. 42cm x 30cmLee Sullivan is a British comic book artist known for his work on Marvel, Robocop and 2000AD Comics.

19th century ink and wash drawing of trees 'in the style of Rembrandt' by Dr Thomas Monro (1759-1833) together with a black chalk and wash landscape sketch by the same artist (2)

Miles Davis (American, 1926-1991). Time after time, mixed media drawing, signed lower right, inscribed and dated 1984 on reverse, 24 x 20cm. Framed and glazed. Davis was an American jazz trumpeter, bandleader, and composer. In 1984, Davis met 34-year-old sculptor Jo Gelbard who taught Davis how to paint; the two were frequent collaborators and were soon romantically involved.Condition Report: Under glass, ink possibly slightly faded, generally good appearance.

Architecture.- Sharpe (Edmund) [Original manuscript] Supplement to "Architectural Parallels" Containing Full-sized Mouldings, containing the full-sized mouldings of the Abbey Churches: Furness, Roche, Byland, Hexham, Jervaulx, Whitby, Fountains, Netley, Rievaulx, Bridlington, Tintern, St. Mary’s, York, Guisborough, Howden, and Selby, manuscript title and contents, comprising 59 manuscript watercolour wash outline drawings, pencil under-drawing and annotations, lacking drawing for plate 20, all but 10 on wove paper, the others on tracing tipped onto wove paper support, each sheet approx. 550 x 425 mm (21 1/2 x 16 3/4 in), handling creases, surface dirt and finger-soiling throughout, some spotting and repaired tears, without covers, presented in modern cloth portfolio, [circa 1848]; together with a disbound copy of Sharpe's 'Architectural Parallels...', folio, 1848; and another unrelated, folio (3)*** The present drawings were first outlined in pencil before an ink line was added to differentiate the edge of each of the mouldings, these were then finished with a coloured wash in order to fill out the image. These drawings where doubtless transferred to the lithograph plates at which stage the lithographs were supplied with letterpress. It is quite possible a number of the pencil drawings were made in situ as Sharpe was adept at using the the Robert Willis’ newly invented Cymagraph. With some practice and dexterity mouldings could for the first time be accurately reproduced, Sharpe had improved the design of the instrument and was clearly the first person to provide accurate drawings of the major ecclesiastical building in a printed work. It was somewhat fortuitous that the instrument was available at the time he was planning his Architectural Parallels.

Erotica & Sex.- Davenport (Jack) Aphrodisiacs and Anti-aphrodisiacs: Three Essays on the Powers of Reproduction, near contemporary calf-backed boards, a little rubbed, slight bumping to corners and extremities, privately published, 1869 § Burr (Timothy) Bisba, illustrations, original pictorial boards, slight bumping to corners and extremities, dust-jacket, rubbed, chipping and tears to edges, some small loss, New Jersey, 1965 § Smith (T. R., editor) Poetica Erotica, original boards, bumping to corners and extremities, New York, 1927; and others similar, including a twentieth century Persian pen and ink drawing of a woman and donkey copulating, v.s. (c.65).

Napoleon.- Anglo-Chinese School (19th century) The Briars St. Helena/ Emperor Napoleon: first residence; Emperor Napoleon expired in this House, two works, watercolour on pith, ruled black ink borderlines, lettering in margins above and below, each image approx. 115 x 180 mm (4 1/2 x 7 1/8 in), tears and small nicks, unframed, [circa 1825]; together with Swifts' engraved 'View of James Town, St. Helena', after Craig, a photographic reproduction of a drawing of Napoleon, dated '1817', and a rather damaged copy of Lieut. Reads' 'This Geographical Plan of The Islands & Forts of Saint Helena...', all unframed, 19th century (5)   

Frank Patterson 1871 – 1952. English Illustrator, Pen and Ink drawing 'Clarach Bay, Cardinganshire' Signed, circa 1920s. Patterson is best known for his pen and ink drawings of cycling in the early 20th century. Produced works for the cover of 'Cycling Magazine and other publications. 28cm x 21cm. Mounted and in black frame, Dimensions of frame 38cm x 31cm.

Frank Patterson 1871 – 1952. English Illustrator, Pen and Ink drawing 'At The West Arms Inn, Llanarmon Dyffryn Ceiriog' Signed and dated 1921. Patterson is best known for his pen and ink drawings of cycling in the early 20th century. Produced works for the cover of 'Cycling Magazine and other publications. 17cm x 21cm. Mounted and in black frame. In good condition. Slight discolouration, no foxing. Dimension of frame. 26.5cm x 30cm.

Jamini Roy (Indian, 1887-1972), figural study, ink drawing, signed in pen, H.16cm W.11cm

17th century, English School, brown pen ink drawing of a five arch bridge over a river. Information verso, image 12.5cm x 20cm, framed and glazed Condition Report: no rip holes or repairs, has come straight from a clearance not taken out of frame . No faults to report

† HAROLD FRANCIS RILEY DL DLITT FRCS DFA ATC (1934-2023); ink drawing, 'Freeway's Friend', drawing of a dog in a Salford street scene, with text, signed and dated 89, 20 x 15cm, framed and glazed.

† DAMIEN HIRST (born 1965); black ink drawing on thick cream card, 'Butterfly', signed, 21 x 30cm, with certificate of authenticity from Jonathan Morgan, unframed.

† GEOFFREY KEY (born 1941); ink drawing of a stylised head, inscribed 'Yours, Geoffrey', 9 x 14cm, framed and glazed.

† WILLIAM 'BILL' PAPAS (1927-2000); pen and ink drawing, 'A Special Night In Manchester', celebrating the Manchester United European Cup Win, 13th May 1968, signed, 45 x 27cm, framed and glazed.

A collection of eight pen and ink drawn cartoons, monogrammed "N S" mounted with inscriptions, various sizes, together with a framed ink drawing of a village street, 14cm x 11cm (9)

Matthäus Merian - Berg by Suttgart - Unknown Proof state (RRRR) / Description: Proof state unknown to Wüthrich (!). Very atmospheric etching showing the village of Berg by Stuttgard with the bridge over the Mühl canal flowing in the Neckar on the right. This etching (Wüthrich.528) in an extremely rare unfinished proof state, before adding of: 1. the small stork's nest, the dovecote and the sign on the the house to the left of the canal. 2. seven birds in the sky, 3. further additions on the roofs of the house on the right, 4. two walkers in the middle right on the horizon, 5. a plentitude of shrubbery added in bottom section and right bottom corner. 6. additional cross hatching adding shade in several parts for instance on the man front left. Still with still square plate borders. Wütrhrich describes two states, the second with added number, but this proof state is unknown to him, not described in his catalogue raisonné in 1966. This excellent early impression in unfinished proof state was only printed in a few copies and probably no other has been preserved. Merian married the daughter of Theodor de Bry in 1617 and worked for his father-in-law. In his early works in his twenties and thirties, he showed a great talent for free landscape etching after his own designs, close to his contemporains Jan van de Velde and other fine Dutch landscape artist but also influenced by Flemish artists such as the master of the small landscapes and even work after Jan Breughel the younger. His landscape art from his early period deserves more attention as it is far superior to his other work. / Dimensions: 13,80 x 17,10 cm / Condition: An early outstanding, richly inked and luminous impression on a full sheet of laid paper. Excellent condition with no folds, tears or stains. Old number in sepia ink in the upper right margin. An extremely rare proof state in an very early outstanding printing condition. / Literature: Wüthrich 1966-1996 (Merian) - 528 (proof state preceding state I) RRRR --- For the preparatory drawing by Merian for this etching see Wüthrich catalogue S.226 Abb.402. / Medium: Etching /Circa: Circa 1620-1622 360

Attributed to Henri Gaudier-Brzeska (French 1891-1915), ink drawing of a male nude, 40x25cm

Thomas Gainsborough (1727 – 1788) Cottage Door with shepherd and sheep c. 1785 Inscribed bottom left with a stamp: T.Gainsborough  Pen, ink and sepia wash with a stamped gold decorative border This late drawing is unrecorded in the literature. It belongs to a group of drawings, first produced in the late 1770s, of female figures and children at a cottage door anticipating a male figure who is generally bringing them firewood. The drawing on offer is presented with a decorative border stamped in gold leaf that suggests it was one of the few drawings that left the artist’s studio—the artist probably gave it to a friend, a colleague or to curry favour with a patron. The sheet is similar in technique to a pair of drawings in the Museum Boijmans van Beuningen in Rotterdam that have similar decorative stamped gold leaf borders. The Rotterdam drawings use sepia ink and the bare paper to create the forms and they are brought into focus with minimal oily linear chalk marks. In this newly-discovered drawing this detail is especially evident in the steps leading to the cottage, in the trees and the sheep and figures. Provenance: Sabin Galleries, 4 Cork Street, W1 Property of a nobleman Dimensions: (Frame) 15.5 in. (H) x 18.5 in. (W) (Paper) 9.5 in. (H) x 12 in. (W)

Signed, pen and ink and wash, en brunaille, unframed 30 x 40cm.; with two pen and black ink nude studies, signed in pencil,; and a charcoal study of a standing nude, signed `Phipps` (the artist's maiden name), various sizes, all unframed (4). *CR Principal item with rubbed damage upper left; the `Phipps` drawing with foxing, time staining and some creases.

A Victorian Satinwood Finger Plate with Pen and Ink Drawing of French Figure with Staff, Signed FH Norbury 1894, 28cms High

ALFRED WAINWRIGHT (BRITISH 1907-1991) 'SKIDDAW LITTLE MAN', a pen and ink drawing depicting a Lake District landscape with waterfall to the foreground, signed and titled to lower margin, approximate size 20cm x 17cm, Condition Report: light mount burn to the edges of the drawing (artist resale rights apply)

Willem Steelink II (Holland, Netherlands, 1856 - 1928) Pen and Ink Drawing depicting figures in an interior setting illuminated by a fireplace. Signed and dated 1886 lower right. Sight Size: 14.5 x 9 in.Overall size: 24 x 20 in.

18th /19th century Northern European School, a pen and ink drawing of peasants in a rural landscape, 14cm x 21.5cm, framed, badly foxed.

17th century, English School, brown pen ink drawing of a five arch bridge over a river. Information verso, image 12.5cm x 20cm, framed and glazed Condition Report: no rip holes or repairs, has come straight from a clearance not taken out of frame . No faults to report

ARR Laurence Stephen Lowry (1887-1976) - Pen and inkdrawing - Study of people and animals, signed and dated 1971, 8.5ins x 11.25ins, in gilt frame and glazed Provenance: J. Davey & Sons Ltd, 70 Bridge Street, Deansgate, Manchester, also at 44 Duke Street, Liverpool 1 Purchased from Sotheby's 14th March 1979 for £1000 Note: Handwritten label to verso: "L.S.Lowry. Study of people and animals. Pencil and indelible ink 8.5ins x 11.25ins. I bought this in 1979 at a sale at Sotheby's on 14th March, for £1000. Its always been a favourite." Note: Lowry considered drawing an art form in its own right. At Manchester Collage of Art he was taught to draw in a classical manner, and his life drawings from this period are technically excellent. However, during the 1920's he began to develop his own unique style, experimenting with subjects, different techniques of drawing and establishing a visual language that he would utilise and hone throughout his career. From the 1960's, towards the later stages in his life, Lowry's drawing became both less formal and colder and more critical towards his subjects. Figures became almost objects of ridicule, dressed in his characteristic baggy garments Selected pictures from the Peter Barkworth Collection This work has not been inspected out of its frame. It appears to be in good condition with no obvious damage/loss/restoration. Please Note: the background to this work is paler than that shown in the catalogue image.

Gavin Graham Pont (aka G.G. Laidler) (1908-1940) - Ink drawing - “Will your Grace Take the Tick or the Clear?”, 8.5ins x 5.75ins, framed and glazedNote: Handwritten label to verso: “PONT, Will your Grace take the thick or the clear, ink 8.5 x 5.75. This was the first cartoon drawing I bought – for pence at Abbott and Holder in the fifties” Selected pictures from the Peter Barkworth Collection

ARR Quentin Blake (Born 1932) - Pen and Ink - Illustration of Louis XIV and Charles VIII, preliminary drawing for a poster for Clark's shoes, signed and titled in artist's hand in ink, 7.75ins x 12ins, in distressed painted frame and glazed Provenance: Sworders, May/June '23, Lot 60 This work has not been inspected out of its frame. It appears to be in good condition with no obvious damage/loss/restoration

John BARNICOAT (1924-2013) Cornish Landscape, 1958 Oil on canvasSigned and dated 195861 x 51cmProvenance - The artist's estateJohn, brought up in Cornwall, was educated at King’s College, Taunton. At 19 he joined RNVR as a Naval Officer taking part in D-Day, Sword Beach. He read modern History at Lincoln College Oxford 1948-52 also the Ruskin School of Drawing. He studied painting at the Royal College of Art 1952-55, and became Senior Tutor at the RCA Painting School 1976-80. His first one-man exhibition was at Colette Allendy Galerie, Paris 1959.John Barnicoat was described in ‘Exhibition Road. Painters at the Royal College of Art.’ Edited by Paul Huxley (1988), as a ‘gifted painter and highly esteemed teacher and administrator and is widely regarded as one of the most thoughtful and influential voices in art education’.John was Head of Falmouth School of Art 1972-76; Head of Chelsea School of Art 1980-89. He wrote Posters a Concise History (Thames & Hudson 1972) translated into many languages and organised and curated exhibitions in the UK and Russia on the art of the poster.From a young boy in Cornwall, during the war and later, he made pen and ink drawings, and was a painter of oils and works on paper using tempera, conté and acrylic. He showed continuously with one-man shows at Galerie Colette Allendy Paris (1959) Molton Gallery (Annely Juda) (1962) one-man exhibitions at the Taranman Gallery (1977-83) including the London Group (1955-1996); and his work is represented in both government and private collections.After retirement in 1989, he made several series: drawings and oils of the bridges of London, oils of women’s heads, acrylic and conté works on paper and finally pen and wash drawings of two women, one of whom is being dressed.John's work has recently been exhibited with The Belgrave Gallery, St Ives 2017-2022. This work has pronounced ageing cracks. We believe it to be stable.

Book of Common Prayer. The Book of Common Prayer and Administration of the Sacraments..., Together with the Psalter or Psalms of David, Cambridge: John Field, 1663, title somewhat soiled, woodcut or typographical initials, bound with Apocrypha, lacking title, woodcut initials, bound with The Whole Book of Psalms, Cambridge: by John Field, 1663, woodcut printer's device to title, some light toning throughout, few minor spots or marks, Psalms H3 verso with early ink juvenile drawing, final printed leaf lightly soiled, later endpapers, 19th century mottled calf, rebacked, one corner recornered, some wear to extremities, 4to, together with: The Book of Common Prayer..., Together with the Psalter or Psalms of David, London: by the Assigns of John Bill, Thomas Newcomb, and Henry Hills, 1682, title somewhat marked and partly detached, with gutter and bottom margins sometime excised and infilled, a2 partly adhered to title verso (torn away), bound with Apocrypha, lacking title, woodcut initials, bound with The Whole Book of Psalms..., London: for the Company of Stationers, 1682, all parts ruled in red throughout, close-trimmed at head and foot (sometimes cropping running title or catch-word), lightly toned, occasional minor marks or spots, final printed page lightly soiled, later endpapers, front hinge cracked after a2, 19th century half calf, worn, hinges cracked and covers loose, 4to, plus 4 others, including 4 Books of Common Prayer: one Oxford, 1706, another Oxford, 1834; the 3rd London: 1731, with ink ownership signature Lady Catherine Murray on title, and front flyleaf with ink manuscript inscriptions regarding ownership by Lady Murray (1789), the Countess of Dunmore (1799) and the Duchess of Sussex (1804), the 4th London, 1824, and a copy of Historia Sacra, or, the Holy History, 2nd edition, London: for John Wyat, 1720, with etchings (including one by Sturt), some repairs, endpapers with ink manuscript inscriptions regarding the births and deaths of 2 families, various bindings, some defectiveQTY: (7)

Leonardo da Vinci. A Treatise on Painting, by Leonardo da Vinci. Translated from the Original Italian, and adorn'd with a great number of cuts. To which is prefix'd, The Author's Life; done from the last edition of the French, 1st English edition, London: Printed for J. Senex and W. Taylor, 1721, engraved portrait frontispiece, title printed in red and black, woodcut head-pieces, 35 engraved plates, including 3 folding, after Nicolas Poussin, one additional engraved plate bound in facing page 17 (Joconda by J. B. Michel after Leonardo, published by Boydell, March 25th 1775, close-trimmed to fore-edge, touching plate margin), 3pp. advertisements at end for Senex and Taylor, and a further 16-page catalogue of books printed for, and sold by W. Taylor at end, early owner's inscription in brown ink to verso of portrait frontispiece: 'Danl. Daulby Jun. Liverpool from M Turner, Novr. 9th 1789', and further ownership signature below in ink: 'Edward Walter, May 22d 1841', etched bookplate of Daniel Daulby to front pastedown, with further bookplate of Patricia Milne-Henderson above, endpapers with minor discolouration, a good, clean copy, contemporary panelled full calf, gilt-decorated spine with black morocco gilt title label (neatly rebacked retaining original spine), 8voQTY: (1)NOTE:Provenance: Daniel Daulby (1745/6-1798); Edward Walter; Patricia Jaffé, née Milne-Henderson (1925-2018).Daniel Daulby (1745/6-1798), a Liverpool brewer and collector of prints and drawings, was celebrated in his own lifetime as perhaps the greatest British collector of Rembrandt etchings, of which he published a catalogue: A Descriptive catalogue of the works of Rembrandt, and of his scholars Bol, Livens and van Vriet, compiled from the original etchings and from the catalogues of de Burgy, Gersaint, Helle and Glomy, Marcus and Yver (1796). Daulby was the brother-in-law of the historian, poet, art collector, lawyer, politician and philanthropist, William Roscoe. His posthumous sales took place at Thomas Vernon's, Liverpool on 12 August 1799 and eight following days; his prints were sold at Christie's on 14 May and three following days.ESTC T174885; Lowndes VII, 2774.First edition in English of Leonardo da Vinci's Trattato della Pittura, compiled from manuscripts written during his lifetime, but only first published in Italian in 1651. Da Vinci lays out his theories regarding anatomical drawing, perspective, and elements of composition for artists, in a text that was very influential in its attempt to define and understand the laws of painting within a scientific framework.

Framed watercolour, sailing boats on a river, 30cm x 36cm, signed, Argentinian drawing of dancers, ink and wash study, town scene, and a coloured print, lakeside scene (5)

Of Meteorology & Scientific Interest - Negretti & Zambra, London - An early 20th century within a glazed mahogany case with draw and brass fixtures within and cylinder syphon. Internal name plate reads Negretti & Zambra. Includes multiple graph paper and drawing ink. Measures 48CM x 32cm x 31.5cm. 

DONALDSON, Julia & SCHEFFLER, Axel (Illus.). The Smeds and The Smoos, first edition, first printing, SIGNED by Julia Donaldson & Axel Scheffler, featuring an ORIGINAL INK DRAWING of one of the characters by Scheffler, "Edinburgh, 24.8.19", internally fine, bumping around spine joints, wrappers near-fine, London: Alison Green Books, 2019

DONALDSON, Julia & SCHEFFLER, Axel (Illus.). The Gruffalo, 20th Anniversary Edition, 1st printing, SIGNED by Julia Donaldson & Axel Scheffler, featuring an ORIGINAL INK DRAWING of the mouse by Scheffler, "Edinburgh, 24.8.19", softcover with wrappers, in fine, unread condition, London: Macmillan, 2019

DONALDSON, Julia & SCHEFFLER, Axel (Illus.). Tabby McTat, first edition, first printing, SIGNED by Julia Donaldson & Axel Scheffler, featuring an ORIGINAL INK DRAWING of Tabby McTat by Scheffler, "Edinburgh, 24.8.2019", well-preserved, clean & bright, pencil price on ffep, some faint creasing to wrappers, London: Alison Green Books, 2009

DONALDSON, Julia & SCHEFFLER, Axel (Illus.). Tiddler: The Story-Telling Fish, first edition, first printing, SIGNED by Julia Donaldson & Axel Scheffler, featuring an ORIGINAL INK DRAWING of Tiddler by Scheffler, "Edinburgh 24/8/19", hardcover, unclipped dust-jacket, internally clean & bright, faint handling marks/creasing to endpapers and final leaf, erased pencil price on ffep, boards bold & vibrant, a little bumped at corners, wrappers lightly creased & very slightly faded at spine, London: Alison Green Books, 2007

DONALDSON, Julia & SCHEFFLER, Axel (Illus.). The Gruffalo, first edition, later printing, SIGNED by Axel Scheffler and featuring an ORIGINAL INK DRAWING of the mouse, "London, 1.12.2016", hardcover, together with another first edition of the same, later printing, this time SIGNED by Julia Donaldson, both books in fine, unread condition, London: Macmillan, 1999 (2)

After Rembrandt (Dutch, 1606-1669) Old Master ink, Landscape with kneeling figure, Erich Bretschneider, Leipzig label verso, 14.5 x 27cm Unexplained vertical line to centre affecting ink drawing and the mount; otherwise good.

FRED ARCHER (1915-1999), Farmer on a large Wheeled Gig off to Market, ink drawing, framed and glazed. 44 x 27.5 cm.

A. Reeve - St John's Street, Bury St Edmunds, woodblock print, signed, titled and numbered 4/10 in pencil to the margin, 22 x 30cm; together with a contemporary ink drawing of St John's Street in Bury St Edmunds; and a topographical colour engraving (3)

A Dominic Fels nude abstract pen and ink drawing

A collection of signed Comic Book posters, signed Berni Wrightson art prints and ephemera, some duplicates.1. Berni Wrightson: A Look Back Limited art print, 1978. Showcasing Wrightsons fantastic painted art of fantastical beats and monsters. Produced to promote the Berni Wrightson: A Look Back Artbook. Printed on thick card stock art paper. Signed and numbered by Wrightson in black ink, this copy being No. 172 / 300. Print dimensions: 59.5 x 46 cm.2. Berni Wrightson: Knight and Dragon pencil drawing print, Graphic Collectibles, 1987. Wrightson created this magnificent piece using his astonishing pencil shading technique. A classic Wrightson creation featuring a monstrous dragon meeting a noble mounted knight. Extremely detailed illustration. Signed and numbered by Wrightson in pencil at bottom of print, this copy being No. 173 / 350. Print dimensions: 66 x 51.5 cm.3. Bernie Wrightson (later use of his name cited on print): Captain Sternn promotional colour prints, Tundra publishing, 1992.Six (6) copies included in lot, each copy signed by Wrighton in black ink at lower right corner. Prints produced to advertise his creation Captain Sternn in 1992. Print dimensions: 65 x 38 cm.4. Elfquest fifteenth anniversary tour poster, Warp Graphic, 1993.Signed by creators and artists Richard and Wendy Pini in black ink.Poster dimensions: 40.5 cm x 28cm.5. Hollywood Classic Movie Monsters United States 32c scott 3168-3172 mvf 20 stamp sheet, 1997. Showcasing iconic Hollywood monsters such as Dracula, The Mummy, Frankenstein and more. Sheet comes frames in black frame behind glass & black card mount.6. R. Crumb 1994 calendar, Kitchen sink Press, 1993. Featuring classic covers from America foremost known underground comic artist.7. Geof Darrow The Big Guy and Rusty the Boy Robot Poster, Dark Horse, 1995. Huge oversize poster produced in 3 parts. Detailed in Darrow's trademark hyper-detail illustrative style. Still in original packaging. Folded. Full assembled poster dimensions: 37" x 66" (94cm x 167.6 cm)(12).Condition Report: 1. Print never displayed. No holes or tack marks. Print shows mild foxing from age and storage. Never folded or rolled.2. 4.5 cm tear to left hand side of print. Displays slight storage wear to edges. Never folded or rolled.3. Prints never displayed. No holes or tack marks. Prints shows very light to mild foxing from age and storage. Never folded or rolled.4. Perfect condition. No holes or tack marks. Never folded or rolled.5. Mint, never hinged condition.6. Mint, sealed.7. Mint. Shipping in original packaging.

Pen and ink line drawing of a seated nude, signed Bonneuf(?), 41x26cm

1615 The Bible, Geneva Version. Robert Barker 1615 imprint, lacking preliminary pages until that titled To The Christian Reader, signed T. Grashop. The defective Breeches She Bible, with She rather than He in Ruth 3:15. Contemp. full calf binding, worn with loss to the head & tail of the spine, leather very rubbed, edges bumped and lacking leather, front board with tooled decoration. Contemporary inscriptions to rear pastedown, contemporary ink drawing to final leaf. 4to.

A framed and glazed ink drawing on paper, Waiting, signed David Walter. H.68 W.50cm.

Ink drawing, framed and glazed, caricature figures in an Eastern interior setting, signed Maju 59. H.43 W.35cm.

Vivian Stanshall (1943-1995) British, founding member of the Bonzo Dog Doo-Dah Band, a portrait of a blonde boy, ink and pencil on paper, 18 cm x 13.5 cm, together with a drawing of a woman playing the piano titled 'Jangle Belle', mixed media on paper, 29.5 cm x 21 cm, and a mock cover for Juan Goytisolo's The Party's Over, card, 21.5 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, a side-length portrait of a woman in a green room, mixed media on card and wrapped in cellophane, 25 cm x 19 cm, together with a drawing titled 'In a way à manger', pen on paper, image 22.5 cm x 17 cm, and a lino-print of a menacing figure with outstretched arms, ink on paper, image 23cm x 10.5 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, an ink drawing of a recumbent man wearing a balaclava and blue sports shoes, mixed media on paper, 13 cm x 25 cm, a black and white print of the same image, paper backed on card, image 13 cm x 25 cm, a mixed media line drawing, mixed media on paper, image 21 cm x 30 cm, and a portrait of a man, mixed media on paper, 22.5 cm x 16 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 drawing inspired by Edgar Allen Poe's short story The Premature Burial, ink and pen on paper, 32.5 cm x 24 cm, together with a drawing of an opened mouth frog, mixed media on paper backed by card, 29.5 cm x 21 cm, and a painting of a giraffe enjoying a grassy landscape, mixed media on card, 42 cm x 27 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

After John Sell Cotman (British,1782-1842), 'South side of the South Gate, Yarmouth', pencil on paper, bears ink title and signature in another hand. These overwrite a partially erased pencil number 22, lower left, and undeciphered characters (possible signature), lower right. Attributed as a close pupil copy, with minor differences of a sepia wash drawing in Norwich Castle Museum, numbered 1677 for the Circulating Collection. 22x28cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).

Circle of Augustus John, study of a Continental woman, ink drawing on paper, unsigned, 28.5cm x 17cm, unframedGeneral paper discolouration, creasing and several light stains, a heavy horizontal crease through the centre