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FRANCIS TOWNE (1739-1816) FROM POWDERHAM PARK, 1780 Inscribed verso 89 From Powderham Park, pen and black ink with grey wash and pencil 23.5 x 33.5cm. * Powderham Castle, on the west bank of the river Exe, dates back to c.1400 and was built to the instructions of Sir Philip Courtenay (1355-1406). Considerable extensions were added in the 18th- and 19th centuries, some in the newly fashionable neo-Gothic style under the supervision of Charles Fowler. Powderham was besieged during the Wars of the Roses (1455) and again during the Civil War (1646) when it was used as a Royalist garrison and was attacked by Parliamentarians. Severe structural damage resulted in further renovations. The Castle is the home of the Earls of Devon. Towne's long associations with Devon have led biographers to believe that he was Devonian by birth but records show that he was born in Isleworth, the son of a grain merchant. William, 2nd Viscount Courtenay (1742-1788) was Towne's principal patron in the 1770's and, having abandoned London in search of rich provincial patronage in a less competitive milieu, Towne could not have wished for a more impassioned supporter. Lord Courtenay was a distinguished figure in Devon society and he admired the more informal style of Towne's works that embraced the new idea of `retirement`. These more localised subjects were distinct from the ambitious Italianate compositions of Richard Wilson: in this drawing, the empty grassland in the foreground and the soft low Devon slopes beyond the Exe are wholly at odds with Wilson's themes of soaring grandeur and suggest a concern for the `place` above the Romanticised compositions that had given Wilson such eminence. In addition, Towne's meticulously neat and clean penwork complements this painstaking concern for topographical accuracy. Provenance: London, Spink, £65 (label on backboard) ++ Foxing; light staining

•JOHN PEMBERTON (Fl.c.1952-1954) TWO SKETCHBOOKS, A CAHIER OF WASH DRAWINGS (1952) AND A FURTHER DRAWING The sketchbooks comprising a total of 45 leaves, most with 2-4 designs on each leaf, principally pen and ink, some with white, on a sepia wash background, both books signed on the inside cover, one dated 1954; the cahier of 13 leaves, each signed and dated 52; various sizes (4 items) ++ Generally fair-good

Herbert Railton (1857-1911) Clerkenwell Green, ink drawing, 15 x 22.5cms, signed and dated 1891; two XIX Century maps of Middlesex and Surrey, Preston Cribb Norwich Cathedral print. (4)

CIRCLE OF LEONARDO DA VINCI, 1452 - 1519, PEN AND INK DRAWING Anatomical study, the male form, a similar drawing can be found in 'De Humani Corporis Fabrica (on the fabric of the human body)' by Andreas Vesalius, 1514 - 1564, having a 17th Century Italian double number collectors mark, number '35', signed lower right and to reverse 'Leonardo Da Vinci'. (16.5cm x 29cm)

LOUIS WAIN (1860-1939); an ink and watercolour wash drawing, a black and a white cat on a swing with green background, signed lower right, 39 x 29cm, framed and glazed. CONDITION REPORT: Areas of foxing to the upper right portion of the image. From a private collection in the Altrincham area.

*JOANNE PEMBERTON LONGMAN (1918-1973) DOG STUDIES signed with initials and dated l.l.: JPL/1965 pen and ink together with "Study of Pigeons" European School brown ink, "Study of a Donkey" Circle of John Frederick Herring the Younger, "On forbidden territory" watercolour initialled and dated E.I.P 1904, and "Setter and Black Cock" drawing in the manner of James Ward various sizes framed (5)

H G Bowring (exhibited 1920-1929). Sepia pen and ink drawing of a cliff look out post, signed lower right, 24cm x 17cm, glazed and gilt framed.

Phillipp Louis Parwzel - family group in a cottage interior, sepia and pen and ink drawing, signed and dated 1796 to lower left corner, mounted and glazed in a gilt and white painted frame, Erich Beckmann gallery label verso, 17 x 13 2/8

A collection of drawings, watercolours and signed engravings, mounted in an album to include a pen and ink drawing of machine gunners signed A Reich, watercolour of birds signed in pencil Fliessen, a pencil study of a tree trunk signed Buchholz and others

Pen & Ink drawing 'Salutation Inn' Ambleside

AN INK AND WASH DRAWING OF A VILLAGE inscribed 'Bramwell, '47' and a 19th century Continental watercolour street scene

Alan Halliday, ink and watercolour drawing, 'Stephan' 1989, 75 x 56cm

A leather and chamois leather instrument Roll with strap and buckle of Drawing Instruments by Threadwell Meeks of London with various compasses, ink, drawing pens, pencils, dividers, rulers, etc. along with a cased UPT, British made UPT gauge, a Vulcan boxwood folding 24" Rule with sliding brass extension by J. Rabone & Sons of Birmingham

Kelmscott Press.- Sire Degrevaunt, edited by F.S.Ellis, one of 350 copies on Flower paper, printed in red and black in Chaucer type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, Sydney Cockerell's copy with his contemporary ink inscription on front free endpaper and cut signatures of William Morris and Edward Burne Jones tipped to rear endpaper, original holland-backed boards, upper cover titled in black, uncut, spine a little browned and spotted, [Peterson A47], 8vo, Kelmscott Press, 1896 [issued 1897]. ⁂ A popular story with Morris; Burne-Jones had painted a mural of The Wedding Procession of Sire Degrevaunt in Morris's drawing room at the Red House back in 1860. Sir Sydney C.Cockerell (1867-1962), secretary to the Kelmscott Press and William Morris's executor, responsible for completing the outstanding Kelmscott Press books after Morris's death. He later became director of the Fitzwilliam Museum, Cambridge.

Potter (Beatrix) The Tale of Two Bad Mice, first edition, first or second printing, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, occasional very light marking, ink gift inscription dated 1905 to half-title, original grey boards with mounted colour illustration, spine slightly faded and chipped at foot, small chip to head of spine, minor bumping to corners, still overall a very good and unusually sharp copy, [Linder p.424; Quinby 7], 16mo, 1904. ⁂ One of the most difficult titles in the series to find in first edition and good condition. The Tale of Two Bad Mice was jointly inspired by a pet mouse of Potter's and by Norman Warne's construction of a dollhouse for his niece. Potter adopted the mouse after it was caught in a trap and named in Hunca Munca. Hunca Munca turned out to be quite personable and proved a good drawing model for Potter, her cleanly habits even provided an inspiration for her fictional counterpart. Sadly Hunca Munca died after falling from a chandelier after playing with Potter.

Spanish Cavalry.- Extracto de la tactica de Cavalleria Sobre el Cavallo y montura, manuscript in Spanish, on paper, title and 19pp., 5 folding pen and ink drawings of a horse and equipment, 1 folding drawing with small tears at edge, original wrappers, ink stains on lower wrapper, slightly browned, sm. 4to, [c. 1750].

Sonnerat (Pierre, 1745-1814), Striped Bass, pen and brown ink, watercolour, on thick laid paper, with indistinct text-based watermark, with brown ink and wash ruled border, signed lower left, inscribed 'aspro' upper left, 180 x 255 mm. (7 1/8 x 10 in), light browning with faint burn marks from mount, [probably circa 1770-1780] Provenance: Private collection, UK. ⁂ Pierre Sonnerat was a French naturalist and explorer and made several voyages to southeast Asia, India, and China from 1774-1781. He published several books on his travels, including 'Voyage à la Nouvelle-Guinée' (1776) and 'Voyage aux Indes orientales et à la Chine, fait depuis 1774 jusqu'à 1781' (1782). We have been unable to trace any other record, or another comparative example, of an original drawing or watercolour by his hand.

Portsmouth to Madras.- Baldwin (John Timins, Captain, Madras Artillery, died at Sholopore, India, married Barbara Moore Campbell, third daughter of Archibald Campbell, of Melfort, Argyleshire, d. 1891, 1805-46) Journal kept by Captain J.T. Baldwin Madras Artillery during a vouage to India in the year 1835 [&] Original verses written on visiting home after a few years absence; Original verses on visiting Newgate after seven years Transportation; Extracts from the Lady Flora Gazette of Saturday 26th September 1835 etc., autograph manuscript, together 186pp., 6pp. Contents and Index, small pen and ink sketch of a prisoner in Newgate Gaol, full-page pencil drawing of a building in India (small tears and tipped-in with tape), both by J.T. Baldwin, typescript page of Contents inserted first p. soiled, 20th century ink inscription on front free endpaper, later endpapers, 20th century cloth, 4to, 1835-36. ⁂ A personable and lively diary of a long sea voyage from Portsmouth to Madras. Baldwin, a Scot travelled on the Lady Flora, captained by Robert Ford from Portsmouth in 1835. Amongst the other passengers was Charles Edward Faber (1807?-68), Madras Engineers. In the diary Faber lends Baldwin a poem, The Knights of St John (Oxford prize poem) by his brother, Frederick William Faber (1814-63), Church of England clergyman and Roman Catholic priest. Faber recounts the exploits of a friend, Sir John Campbell, "they reached Bombay in safety: and pitched their tents on the Esplanade, where they had arranged matters to their satisfaction; when they received notice from a Peon to quit; the ground being wanted for some particular occasion by Mr. Elphinstone [Mountstuart Elphinstone (1779-1859), administrator in India], the Governor. What did Campbell do but pen a note to the Govr. forthwith... and concluded by requesting permission to remain where they were... Mr. Elphinstone... expressing regret that they should have been molested; requested they would condescend to take up their quarters at Government House... begged they would occupy any part of the Esplanade they pleased." Faber went on to build a road up Singapore's second highest hill, renamed Mount Faber in his honour in 1845. Pastimes included playing music with the other passengers (Baldwin played the flute), creating a newspaper (which causes arguments), crosses the equator, topsail breaks etc. Includes an account of meeting a ship from New South Wales. "Monday 14th. Another week has passed finding us still in nearly the same place and the little wind we had yesterday has disappeared. About 11 0c we descried a sail... bearing down towards us... she proved to be the Mary from New South Wales to Calcutta... . Dickinson had arrived at Sydney and had been sent up to the penal settlement. It appears they now allow educated convicts to remain at Head Quarters. As long as he conducts himself properly, he will not be obliged to labour, altho' the Governor could oblige him to do so for three years if he chose."

Seymour (James, 1702-1752) A postilion on horseback carrying a coiled post horn, pen and brown ink, on laid paper with watermark of [?]royal coat of arms, numbered '109' in pencil verso, 175 x 230 mm. (6 3/4 x 9 in), the corners trimmed, light spotting and minor browning, exposure lines visible under mount, horizontal and vertical folds Provenance: Possibly Warwick Castle (as part of an album of 197 drawings), with Spink's, London (who dispersed the album); Anonymous sale; Sir John Clement Witt [L.2228b]; Thence by descent Exhibited: Possibly, Spink's, London, An Exhibition of Drawings by James Seymour, November 1936, unknown number ⁂ For a comparative work, probably from the same album, see: Sotheby's, 'Galleria Portatile'- The Ralph Holland Collection', 5th July 2013, lot 375. Saleroom notice: We are grateful to Richard Wills for kindly confirming that the present drawing will be included in his catalogue raisonné on Seymour; he has also suggested that the drawing may be a possible study for a painting of a huntsman, circa 1740 (Private collection, UK), and that the drawing was exhibited in the William Drummond Exhibition in Covent Garden "The Ingenious Mr Seymour", June 8th - July 22nd, 1978, no. 19, as on loan from a Private Collection.

Hayter (Sir George, 1792-1871) Portrait of an Arabian stallion with decorative halter, pen and brown ink, signed with monogram and dated '1830' lower right, on cream wove paper, without watermark, later inscribed 'G. Hayter' in pencil lower right, 235 x 175 mm. (9 1/4 x 6 7/8 in), minor surface dirt, inset into paper mount Provenance: Sale. Sotheby's auction (label on reverse); Sir John Clement Witt [L.2228b]; Thence by descent ⁂ The influence on the present drawing of Van Dyck, specifically his painting 'Charles I (1600-1649) with M. de St Antoine' (Royal Collection Trust, no. RCIN 405322), is without doubt, yet the flourishes of dramatic line, and the ability to reinterpret the dynamic movement of Van Dyck's horse into pen and ink, is the achievement of Sir George Hayter alone.

Richmond (William Blake, 1842-1921) The Arcadian Shepherd, 1858, pen and brown ink, on wove paper without watermark, signed with monogram on tree trunk and dated '1858', 145 x 185 mm. (5 3/4 x 7 1/4 in), several inscribed attributions and inscriptions verso, light spotting and surface dirt, unframed Provenance: The artist's family and thence by descent; With Abbot & Holder, London (circa 1990) Literature: cf. Mrs A. M. W. Stirling, The Richmond Papers, London, 1926, pp. 99-100 Simon Reynolds, Sir William Blake Richmond: an artist's life, 1842-1921, 1995, p. 14, see note 15, p. 364 ⁂ The young William Blake Richmond executed the present drawing aged only 15, and would have done so while enrolled in the Royal Academy Schools, London, where he studied for three years. As a drawing from 1858 the nature of the work at first appears as an anachronism, but in reality the drawing serves to illustrate the "poetic" spell that the artist was under after having grown up with the early work of his father, and his father's contemporaries. For a loosely associated work by George Richmond, albeit in a reproductive medium, see the line engraving 'The Shepherd' (see Tate, ref.: N04064); similarly see the wood-engravings by Edward Calvert, the artist arguably closest to Blake Richmond's aesthetic in this drawing, and the Virgil woodcuts by William Blake. "If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of [my father's] contemporaries - Calvert, Blake and others, whose shadows are substance still to me." [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling, op. cit., p. 28]

Fraser (Claud Lovat, 1890-1921) 'How strange it seems - & you?', original drawing in coloured chalks, on wove paper mounted on larger sheet, c.180 x 160mm., titled, signed and dated in ink below on mount, framed and glazed (c.300 x 210mm), 1912.

Fraser (Claud Lovat, 1890-1921) Capitalists, original drawing in pen & ink and watercolour, on buff card, c.135 x 130mm., titled in ink in lower left margin, pasted into hinged aperture mount, inscribed on verso in faint pencil with artist's name and ?date, [?1918].

REISS GEORGE F. A collection of 14 mounted wood engravings, some of views around Kendal, other botanical. Mainly ltd. eds. Late 1920's to early 1960's; also a pen & ink drawing of "A bit of Old Kendal" by another hand & a ltd. ed. engraving of a fairground by Harold Albert Maddick (purchased at retrospective 50th Exhibition of the Society of Wood Engravers). (16).

English School (19th century) - Elegantly dressed figures with a dog in a parkland setting, indistinctly initialled, possibly CL, black and white pen and ink drawing, a preparatory unfinished study, 2.5" x 3.5" *Possibly a page from a small sketchbook

After W.Stanfield Sturgess (20th century) - 'Start for the Regimental Challenge Cup' and 'The Winners Comparing Notes', each inscribed, etchings with watercolour tinting, each 6.5" x 9" (2); together with a large group of various decorative pictures, including a black and white aquatint of a boat in rough seas, a watercolour signed, E.S. Reilly - an ancient arched doorway, two others by the same artist, a print of a Country House in Staffordshire, an old print of Hereford Cathedral, oriental reproductions of Branches of blossom, other pictures of various textile, and designs for textile, various unframed pictures including a black and white ink drawing by T.C.Black - a young boy in a Chemist's shop, pencil drawings by Len Brooks, other watercolours and old prints, various sizes (a collection)

Henry William Bunbury (1750-1811) - Figures merrymaking in an inn, pencil, pen and ink (a preparatory unfinished sketch), 9.25" x 10.5", possibly a study for a painting; together with a stipple engraving depicting the artist, seated holding the drawing for the 'Long Minuet of Bath', inscribed with the artist's name within the mount, oval, 12.75" x 10.25" (2)

After Bartholomew Breenbergh (1599/1600-c.1659) - Classical ruins with arches and vegetation, inscribed on a later label verso, ink and brown wash, 15" x 22" **Said to be inscribed on the mount and numbered 986, F.D. Lugdt (Marques de, Collection). According to John Geer of the British Museum, a copy of a drawing by Breengurgh, of the original. The right hand half was in the possession of Mr Rudolf of Netherhall Gardens, Hampstead, N.W.3 in 1960 (a photo is in the print room at the British Museum)

A pen and ink drawing, by Antoni Sulek - "Figure with lance on horseback", signed, inscribed and dated '73.

A pen and ink drawing, by Antoni Sulek - "Bearded man with monocle", signed and dated '77.

English School A FLEET OF THREE AND TWO-MASTED WARSHIPS IN ROUGH SEAS OFF THE COAST Monochrome wash, indistinctly initialled GHH(?), 19 x 30cm, another similar picture by the same hand, 18 x 22cm, an unsigned pen and ink drawing of sailing ships in rough seas, 15 x 22cm and another of a three-masted sailing ship, 17 x 25cm, (4).

Lucy Wilkinson (living) A Cornish chough with a quill pen and a scroll pen and ink, signed with initials lower right 12 x 15cm Note: The arms of St Edmund Hall include four Cornish choughs and this drawing was used to illustrate 'Chatter of Choughs - A St Edmund Hall Anthology of Poems and Essays' (published 2001) together with English school, late 20th century A naked woman kneeling, feeding a baby pen, ink and brown wash 22 x 19cm (2)

•JOHN BYRNE (Scottish b. 1940) FOLIO COMPRISING 6 SHEETS - W. 45TH ST LOOKING TOWARDS 9TH AV. SNOW 6 FEB '83, STUDY OF A COW, TOPIARY COMPOSITION, BUILDINGS SKYLINE, BIRDS AND FOUNTAIN, HANGING CARCASSES/FIGURES ON PUNTS/LONDON COCKOLD'S FIGURE - EIGHT VIGNETTES Pencil, 32 x 48cm (12 1/2 x 19"), watercolour, 5.5 x 8cm (2 1/4 x 3"), Ink drawing 24 x 24cm (9 1/2 x 9 1/2"), ink drawing, 28 x 24cm (11 x 9 1/2"), watercolour, 12 x 14cm (4 3/4 x 5 1/2"), pencil (8 on one sheet), sheet signed once, each 10 x 9cm (4 x 3 1/2") (6)

Herbert Railton (1857-1911) Clerkenwell Green Ink Drawing, 15 x 22.5 cms, signed and dated 1891.

H. P. Burke. 'Trinity College, silkscreen, artists proof; Roger Alsop, 'Elgoods Brewery, Wisbech', pen and ink drawing; Allan Sibley, 'Georgian House, Cottenham, etching and aquatint; Royal College of Arms, linocut (4)

Railwayana - F.M. Bedford, 'Lord of the Isles' inscribed GWR, dated 1851, pen and ink drawing

DANTE GABRIEL ROSSETTI (1828-1882) CASSANDRA mounted photograph albumen print, shaded in pencil by Rosetti inscribed lower right by the artist's brother William Michael Rossetti (1829-1915) To Mary Allport and dated 1898, further signed inscription verso By Dante G. Rossetti - Cassandra. The subject is Cassandra prophesying the death of Hector as he goes off for his fatal encounter with Achilles - Deiphobus is remonstrating with her - Helen is equipping Paris for the Fight and looks up angered at some words of Cassandra reflecting up her - Andromache Astyanax, Priam and Hecuba are present. Hector calling across Cassandra and her prophecy of doom is giving the work of command to the Trojan captain in the background, sword in hand. The pen and ink drawing was executed in 1860-61 and DGR wrote 2 sonnets for it. Its owner is Col Gillum, New Barnet. This photographic print used to belong DGR himself and came to me after his death. The pencil-tinting traceable on some parts of it, must I suppose be his own doing, with a spirit to experimenting as to some difference in the chairoscuro (signed) W.M.R., laid down on the original mount, 20 x 28cm Colonel William Gillum owned D G Rossetti's drawing of Cassandra, which he bequeathed to the British Museum in 1910. G Rossetti never developed the drawing into a painting. ++A most interesting association item provenanced directly to the artist's brother and in fine condition with some typical light time staining/browning to the card mount. No loss or restoration

Artist: Samuel BassettTitle: Today I ate your StormSize: 47.5 x 44 x 4.5cmMedium: Acrylic & Ink CollageSamuel BassettBorn in St Ives, Samuel studied at Falmouth University and The Arts Institute Bournemouth. He currently works from studio space in the recently renovated prestigious Porthmeor Studios in St Ives.He has been a lecturer at Truro Penwith College since 2011 and has also held experimental drawing classes and artist workshops at The Exchange and Newlyn Art Gallery. His work has been included in many exhibitions including The Exchange, Penzance and he is represented by Millennium Gallery St. Ives.Samuel recently founded LETH projects a curatorial platform for emergent arts in Cornwall, is a participant in the arts collective TAP, and is a partner in BUCCA a gallery for emergent arts in Cornwall. Bassett is an artist with boundless energy enthusiasm and has an integral and honest art language where he displays a scattered image of his inner monologue, mapping a truly active mind searching for the meaning of life. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

IRINA VALERIANOVNA SHTENBERG (RUSSIAN 1905-1985)36 Designs for a Full Deck of Playing Cards, watercolor, gouache and India ink on papereach drawing approximately 25 x 20 cm (9 7/8 x 7 7/8 in.)each signed

VASILY SITNIKOV (RUSSIAN 1915-1987)Standing Nude. A double-sided drawing, 1964pencil and ink on paper81 x 59 cm (31 7/8 x 23 1/4 in.)inscribed upper right 1964-[10?]-27 Moscow; with a crossed out study on reverse, with a Ministry of Culture export approval stamp, further dated 26 October 1964 on reverse

A 19th century circular gilt framed ink and wash drawing of two girls and a caged linnet, 22cm diameter. Condition Report. To be used as a guide only. Good condition.

George Jackson (1898-1974) ''Holy Trinity, Ripon'', signed, inscribed and dated 1934, charcoal and coloured chalks, together with 8 further unframed pen and ink and watercolour studies including landscape views, a 1936 drawing of a harbour, a 1937 sketch of children playing a beck ( possibly Sandsend), a church interior etc. Provenance: Vendor's Grandmother was George Jackson's cousin

FOLLOWER OF PICASSO Figure study, pen, ink and grey wash drawing, indistinctly signed and dated ?76 verso, 16.5 x 24cm; and another similar but smaller study by the same hand, 20 x 14cm (2)

ATTRIBUTED TO GIOVANNI BATTISTA TROTTI IL MALOSSO (1555-1619) Study of Moses, brown ink drawing, stamped with collector's mark, 12.5 x 7.5cm

James Ward R.A. (1769-1859) Portrait of the Cossack Tamorfait Carnborlof Signed, dated July 1814 and inscribed Cossack/Tamorfait Carnborlof/King Street Barracks also inscribed It was stated that this man killed 14 Frenchmen one morn. 9 before breakfast Pencil, inscribed in ink 28.5 x 22cm; 11¼ x 8½in Provenance: A study for a figure in an oil painting commissioned by the Duke of Northumberland titled Portraits of Prince Platoff~s favourite charger and of Four of his Cossacks exhibited RA 1815 (no.148). Ward depicted this soldier on at least two other occasions. There is a drawing of him in the Fitzwilliam Museum, Cambridge and another in the collection of the Duke of Wellington General condition report One or two fox marks otherwise good condition

Jack Cox, study of a Norfolk coastal scene, signed pen and ink drawing, 12.5cm x 25cm

Watercolour, oriental fisherman in reed boats by moonlight, together with a pair of watercolours, Lake District scenes and an ink drawing of a figure wearing a harlequin costume, signed indistinctly

A mahogany box with Windsor and Newton ink sets, and a cased A.G Thornton draughtsman's set and other drawing tools (qty)

Gilt framed pen and ink drawing depicting Whitby by J Freeman

Gilt Framed pen and ink drawing depicting Whitby Bridge by J Freeman 70

A signed pen and ink drawing, lady at the piano, a garden thermometer, notebook carrier and an embroidery panel of a gun-dog

In the style of Louis Wain, ink drawing, a scowling cat holding a mug marked Milk, 11ins x 8ins

Percy Kelly, pen and ink drawing for a Christmas card design. 12.5 cm x 17.5 cm. ARR CONDITION REPORT: The card is in reasonable condition. It is a little rough at all edges and there is a crease in the bottom right hand corner and down the spine. There is minor discolouration and very minor foxing. The paper itself is a little dirty and creased in places but there is no significant problematic damage.

A pen and ink drawing, by Antoni Sulek - Two soldiers and a civilian, signed and dated '73.

A pen and ink drawing, circle of George Barker - Portrait of T.E. Lawrence.

Jack Butler Yeats, R.H.A. (1871 - 1957)"The Streams of Bunclody," Indian ink, signed upper right (on beam) approx. 20cms x 15cms (8" x 6"), with manuscript notes in blue pencil at base in Jack B. Yeats handwriting "The Streams of Bunclody - To Block Maker, Please Keep Drawing Clean." (1)* The above drawing was used for "A Broadside No. 1 (new Series) 1935 ed. by W.B. Yeats, and also F.R. Higgins "A Little Book of Drawing (January 1935).

Edmund Kapp pen and ink drawing titled Waiting, signed bottom right, 12.5 x 8.5cm

Geoffrey Key (1941-), "Pierrot Study II", signed and dated 11.7.01, titled on artist's label verso, ink, 38 x 25.5cm.; 15 x 10in, together with a signed copy of Clowns: Paintings and Drawings by Geoffrey Key, 2001. * This drawing is illustrated on page 29 of Clowns: Paintings and Drawings by Geoffrey Key, 2001. Artists' Resale Right ("droit de suite") may apply to this lot.Condition Report: The drawing is in very good, original condition with strong colours and no obvious faults to report.  The drawing is framed and glazed as can be seen.  The drawing is on the artist’s hand made paper.

*Castello (Bernardo, 1557-1629). The Angel Gabriel appears to Godfrey of Bouillon (from Tasso's Gerusalemme Liberata), circa 1590s, pen & brown ink on laid paper, with grey wash, heightened with white, 262 x 190 mm (10.3 x 7.45 ins, laid down on 18th century laid paper, with border in black ink, cream and grey wash, inscribed in ink to lower right corner of the border J:B, and inscribed in brown ink below Bernardo Castelli. No. 3, additionally inscribed in an 18th century hand in brown ink to verso 'J:B. No. 851. 10 1/4 x 7 1/2' and 'Genoese, was a Disciple of Luca Cangiagi, & the Father of Valerio. He died in 1629. aged 72. J:B.', with later mount Provenance: Private collection, Oxfordshire. The present drawing has remained unnoticed in the collection of the family of the owner since the 1930s. An important artist of the Genoese School, Bernardo Castello was a pupil of Luca Cambiaso (1527-1585). Castello's fame was established following the publication of his illustrations for Tasso's epic poem Gerusalemme Liberata, which was published in Genoa in 1590, with further editions in 1604, 1615 and 1617. The artist painted scenes from Tasso's epic in several Genoese palaces, including the Palazzo de Franchi, Villa Centurione, and the Palazzo Scassi at San Pierdarena. The present drawing, a fine, highly-finished example of his work, appears to show the main character Godfrey of Bouillon on horseback, with his armies, at the moment of the appearance of the Angel Gabriel above urging the hero to lead the crusade to liberate Jerusalem. (1)

Floris (Frans, 1519/20-1570). Moses showing the tablet of the Ten Commandments, with scenes in the background of Moses receiving the commandments, the dance round the Golden Calf, and Moses breaking the tablets, pen, brown ink, and grey wash on pale cream laid paper, indistinct watermark (similar to Briquet 1054 and 1379), sheet size 184 x 287 mm (7.25 x 11.3 ins), tipped onto old blue backing paper, and contained in a mid-19th century album containing early prints and engravings on the subject of idols, idolatry, and idol worship, with extensive handwritten notes on the subject of idolatry, all mounted in the album, a few prints loose, original dark green cloth gilt, rubbed and some wear, with upper cover detached, bookplate of Robert Crewe-Milnes, 1st Marquess of Crewe to front pastedown, folio (349 x 265 mm, 13.75 x 10.5 ins) Provenance: Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945), Liberal politican, statesman and writer. Aside from the drawing by Floris, the album contains 120 engravings and etchings, mostly dating from the 17th, 18th and early 19th century, and includes 7 etchings by Maarten van Heemskerck (1498-1574), several by Pierre Lombart after Francis Cleyn (taken from Ogilby's Virgil of 1654), Jan Luyken (1649-1712), Jean Jacques Lagrenée (1739-1821) Sacrifice to Pan, Pietro Bartoli (1635-1700) Apollini Sacrum, & Dianae Sacrum, Jakob Gottlieb Thelot (1708-1760), etc. (1)