We found 9734 price guide item(s) matching your search

*TERRY HALPIN WATERCOLOUR DRAWING 'COUNTRY INN' SIGNED AND DATED 1997, 11" X 14 1/2" TOGETHER WITH FRAMED PRINT 'RE-UNION', FRAMED SAMPLER ETC, QUANTITY OF PICTURES AND PRINTS VARIOUS, ATTRIBUTED TO ARABELLA PIGOTT, SUITE OF THREE WATERCOLOUR DRAWINGS, STABLE SCENES WITH HORSES, JOHN LYONS, INDIAN INK, GRAPHITE AND CRAYON ON PAPER, "THE COUPLE", VERNON WARD, COLOUR PRINT REPRODUCTION OF AN OIL PAINTING, DUCKS IN FLIGHT AND RALPH SWEENEY, ARTIST SIGNED COLOUR PRINT, NIKKI, AND PHIL TAYLOR SIGNED PRINT, 'MASK, 3 LOOSE PRINTS BY J WALCZAK, PORTRAITS, SINATRA ETC

Robert Gillmor (b. 1936), Birds on Conifer Branch, pen and ink drawing, signed lower right, 12cms; Enbee painting on felt - Study of cats head 24.5 x 29cms, signed lower right; Another, larger, of dog. (3)

§ Bettina Shaw-Lawrence (British, b.1921) Portrait of David Kentish, asleep signed lower right "Shaw-Lawrence" pen, ink and wash 35 x 42cm (14 x 16in) Other Notes: Bettina Shaw-Lawrence and Lucian Freud were great friends and lovers. They met in 1939 at the Cafe Royal in Regent Street after Bettina had returned from studying in Paris under Fernand Leger to study at Cedric Morris' s East Anglian School of Painting and Drawing at Benton End, Essex. At the same time as she met Freud, Bettina also met the art student and later actor, David Kentish, with whom she also became romantically involved, leading to a complex relationship between the three of them. Bettina writes of the time with Freud: "We were not in love but we were lovers, briefly ... we had this lovely barn at Benton End where we used to make love and then watch the dogfights in the sky". At one point, tensions came to a head between the three of them over a sweater which David had given to Bettina, resulting in a fist fight between Freud and Kentish - after which Bettina and Kentish were thrown out of the School ('Breakfast with Lucian: A Portrait of the Artist' by Geordie Greig, 2015, p.70) In late 1939, Bettina, Freud and Kentish spent a period of time living in Capel Curig, Wales. The three of them drew numerous studies and portraits of each other throughout their friendship - both Freud and Kentish executed portraits of Bettina for her 20th birthday, however Bettina was never given these portraits. They were kept in the school warehouse by Cedric Morris. Bettina Shaw-Lawrence held her first exhibition at the Leicester Galleries with John Aldridge in October 1947, and throughout her career exhibited at the Leicester Galleries, Reid & Lefèvre Gallery and the Léger Gallery. A little crinkling and a tear top left-hand edge. No glass in the frame.

Chinese School (20th century), mountain landscape, ink drawing on tissue paper, stamped and signed, paper wrapper from Yanjing Studio, Peking, boxed, 54cm by 100cm

Reginald Gammon: Pen & ink drawing of an old man

An Indian circular drawing of a man, 19th century, pen and ink on paper with gilt detailing, seated beside a tree drinking from a beaker, a bird in flight above, 9cm. diameter, lacquered wood frame.

ATEO J. CASADIO (1905-1987) - 'Young Guitarist', oil on canvas, signed and dated 1984, bears 'Artists in Essex Exhibition' label verso, 82cm x 61cm together with an ink preparatory drawing (2)

School of Tiepolo Ink Wash On Paper "Old Master Drawing". Unsigned. Toning or in good condition. Measures 9-1/2" x 7-1/2", frame measures 15-3/4" x 13". Shipping $55.00 (estimate $500-$700)

Albert Rousseau, Canadian (1908-1982) Ink Drawing "Quebec" Signed Lower Right. Depicts a sail boat in open waters near Chateau Frontenac. Good condition. Measures 13-1/2" H x 10-1/2" W (sight), frame 21-1/4" H x 17-1/2" W. Shipping $85.00 (estimate $100-$200)

ALBUM OF CARTOONS Broadwood (Lucy Etheldred) 4to unlettered morocco album of 36 original pen & ink and watercolour drawings c.1893, pasted to rectos (only) of card mounts, illustrating Broadwood's own whimsical verses and rhymes, f.f.e.p. inscribed 'JM Broadwood from my dear daughter Lucy 1893'. Featuring a plethora of inventive creatures and characters, aimed mainly at a juvenile audience, the only monotone drawing is an animated talking piano; several blanks at rear. Rubbed and bumped binding, half of block detached from backstrip, card stock browned with some small chips and nicks to leading edges, colour well preserved. Broadwood was a musician and folk-song collector, great-granddaughter of the founder of the piano firm Broadwood. An important link between the musical establishment and the late 19th century folk-song revival, she was also a talented artist, as the present drawings ably demonstrate. A unique collection, apparently unpublished.

Percival A. Bates. Angel, ink drawing, 24cm x 11cm

[VENICE] RANDAL FRANK: (1852-1917) British Artist, protégé of Ruskin. A.L.S., Frank, four pages, 8vo, Venice, 8th September 1898, to his Aunt. Randall wishes his aunt many happy returns then further writes 'I was very much out of sorts on leaving Turin' but that he was now in Venice 'were friends are not lacking'. Continuing 'Venice this third visit seems more beautiful than ever. … it is like coming home to find myself with the same surroundings.' Explaining 'I suppose now I shall remain until the winter arrives to drive me back to Paris and later London. There are decidedly fewer English and American visitors this season. The former probably on account of the troubles during Spring and the latter of the war, though Germans are not conspicuous by their absence although their favourite month is usually October and then we are to have the Kaiser for a few days previous to his going to Constantinople, Palestine and Egypt.' Adding that has also been a 'big fire at the maritime docks… The petroleum stores show how or other caught fire and were burning for four whole days and nights… Fortunately there was no wind at the time else Venice might have been totally destroyed.' The letter contains two 3 x 4 pen & ink drawings by Randal, the first of 'Palaces. Canalgrande', the second, 'St. Marks Church'. Minor are related wear, three horizontal creases that do not affect text or signature. VGThe first drawing is a preliminary sketch that would develop into 'The Grand Canal at St. John Chrysostom, Venice', which Randal exhibited at the Royal Academy 1901

BATEMAN H.M.: (1887-1970) British Artist & Cartoonist. An original black pen and ink sketch signed by Bateman on a 12mo page removed from an autograph album, n.p., 1932, the image depicting a content man in a head and shoulders pose wearing a hat and smoking a cigarette. Signed and dated by Bateman at the base of the page. Together with a small selection of other original pen, ink and pencil drawings etc., by other artists including Tom Purvis (2), entertainer Harry Hemsley (original watercolour drawing of baby Horace) etc. G to VG, 5

HOCKNEY DAVID: (1937- ) British Artist. Signed colour 4 x 6 postcard, being a reproduction of the artist's crayon drawing entitled Celia (1977). Signed by Hockney in black ink with his name alone to a clear area at the head of the image. Together with a second signed colour 6 x 4 postcard, being a reproduction of his crayon drawing entitled The Luxor Hotel (1978). Signed in blue ink with his name alone to a clear area at the base of the image. Hockney has also penned his name and address, at Pembroke Gardens, to the verso in black ink. VG, 2

CHESTERTON G. K.: (1874-1936) English Writer. Signed 6 ½ x 10 reproduction pencil caricature of Chesterton by artist Edmond X. Kapp, the drawing, an exaggerated depiction of the critic's enlarged hand holding his stomach and laughing, tears rolling down a bloated face. Signed in fountain pen ink below the border of the image. The drawing has been affixed to a slightly larger piece of cream card and covered by an opaque piece of tissue paper. To the verso is printed '7 AUGUSTUS JOHN', below which it is signed 'Augustus John' [picture not present]. With creasing and one small tear to the right edge, not affecting picture or signature, otherwise, GEdmond Xavier Kapp (1890-1978) British Portrait Painter, Draughtsman and Caricaturist. Kapp published at least two books portrait reproductions and the present example comes from Personalities: Twenty-Four Drawings (1920), where it is number 6, captioned 'As he would have us think him'.

A large collection of WWI period postcards, approximately 170, including six Bamforth song cards, sixteen Bruce Bairnsfather, eight embroidered and one pen and ink drawing

SIR JOHN GILBERT R.A., P.R.W.S. (1817-1897) A classical frieze of cavorting figures and satyr, pen and ink drawing on paper, (see provenance label verso: ex collection Sir Murray R.S.A.) in gilt, mounted and glazed frame, 3.5cm x 12.5cm

OLIVE CARLETON SMYTH (SCOTTISH 1880 - 1933),CATHLIN CLUTHA AGUS OSCARpen, ink and heightened with gold on vellum, signed20.5cm x 25cmMounted, framed and under glass.Notes: This drawing shows Cathlin Clutha with Oscar. Cath'lin of Clu'tha, daughter of Cathmol. Duth-Carmor of Cluba had slain Cathmol in battle, and carried off Cathlin by force, but she contrived to make her escape and craved aid of Fingal. Ossian and Oscar were selected to espouse her cause, and when they reached Rathcol (where Duth-Carmor lived), Ossian re- signed the command of the battle to his son Oscar. Oscar and Duth-Carmor met in combat, and the latter fell. The victor carried the mail and helmet of Duth-Carmor to Cathlin, and Cathlin said, " Take the mail and place it high in Selma's hall, that you may remember the helpless in a distant land."OSSIAN is the narrator and purported author of a cycle of epic poems published by the Scottish poet James Macpherson from 1760. Macpherson claimed to have collected word-of-mouth material in Gaelic, said to be from ancient sources, and that the work was his translation of that material. Ossian is based on Oisín, son of Finn or Fionn mac Cumhaill, anglicised to Finn McCool, a legendary bard who is a character in Irish mythology. Contemporary critics were divided in their view of the work's authenticity, but the consensus since is that Macpherson framed the poems himself, based on old folk tales he had collected. The work was internationally popular, translated into all the literary languages of Europe and was influential both in the development of the Romantic movement and the Gaelic revival.Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. She was appointed Head Of Design at the GSA in 1933. Her work rarely appears at auction but 'PYTHEUS BUYS AMBER' a tempera and gold paint on vellum (34 by 40cm., 13¼ by 15½in) sold at Sotheby's, London 13.10.2012 lot 136 for £43,250 (premium).Smythe's work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes.

Mainly known for his poster production and his initial futurist period, Venna creates this football scene with quick and volumetric strokes, influenced by the return to order.Indian ink drawing on paper, browning, 8,66 x 11,02 in.

John Wheatley,ink drawing on vellum, Crossing The Road 1908, signed and dated 1978, 9.5" x 7.5", framed.

A FRAMED PRINT OF AN ORIGINAL PEN AND INK DRAWING OF ST. PAULS FROM LUDGATE HILL, SIGNED LEILA BOTHROYD (1157)

*Manuscript playing cards. A set of fifty-two pictorial cards, late 19th century, fifty-two cards, each with pen & ink or pencil drawing (a number with touches of watercolour), two pencil illustrations overdrawn in biro in a later hand, each with the names of several prominent figures in neat manuscript, versos blank, a few with minor staining, 90 x 62mm (3.5 x 2.5ins), together with a pack of 19th century Spanish-suited playing cards, thirty-nine cards (lacking the six of coins), with blue ink stamp 'Pelliero Bengaglia, Genova', versos with dotted blue pattern (two with backing paper lacking) With illustrations such as Stephenson's Rocket, a sailing ship, flags, an anchor, snowdrops, scales, scientific instruments, a palette, and Brunel's Royal Albert Bridge. The names mentioned include writers, scientists, missionaries, astronomers, artists, architects, naval men, statesmen and historians, for example, Dickens, Nelson, Napier, Livingstone, Wordsworth, Tennyson, Wellington, Landseer, Turner, Soane, Pugin and Peel. (2)

*Manner of David Cox (1783-1859). Rustic lanscape with figures by a cottage and church tower, 19th century pen, brown ink and brown wash on paper, signed 'David Cox' lower left, 132 x 193 mm (5.2 x 7.6 ins), together with other various prints and watercolours, including Charles Ir, Roy d'Angleterre, by B. Audran after Van der Werff, framed and glazed, an etched portrait of Alphonse Legros by William Strang, unsigned, a group of 17 watercolour studies of flowers by Margaret Warren, signed with initials and dated 1948-55, loose in old portfolio boards, an original Victorian Christmas greetings watercolour of dog roses, incorporating a handwritten manuscript copy of the poem beginning The Chimes! The Chimes! The Christmas Chimes..., a pen & ink drawing of Hammersmith Bridge by Rosemary Clanchy, 1978, a study of mushrooms in coloured chalk by Penelope Makins, Lady Harvey, a portrait of Lord William Bentinck, Governor General of India after Sir Thomas Lawrence, several framed, various sizes (24)

[Vickers, Vincent Cartwright]. The Google Book, written and illustrated by V.C.V., 1st edition, J. & E. Bumpus, [1913], thirty-four mounted colour plates (including Finis tailpiece), first third of volume with worming to upper and lower margins, on one occasion just touching a platemark, half-title inscribed in pencil by the author 'By V.C.V. 1913' and title-page with his name inked in, all edges gilt, contemporary citron crushed morocco by Bumpus, signed on front turn-in, slightly damp-stained at foot of spine and adjacent return, raised bands, gilt lettered direct in second and third compartments, remainder gilt panelled, covers panelled with onlays, gilt fillets, and dotted rolls, single fillets on edges and turn-ins, folio, contained in original half morocco solander box, worn, with upper side etached Provenance: The current owner is the great grandson of the artist. Limited edition of 100 copies, this unnumbered and annotated both in ink and pencil by Vickers 'Specially bound Volume for "The Author" V.C. Vickers', with the author's monogram and date 1913 also in ink, and pencilled address 'Newsells Park, Royston, Herts' in the author's hand. Vickers, an accomplished artist and noted humourist, who had a particular penchant for drawing birds, apparently pioneered the use of the word 'Google' decades before it became the name of a well-known search engine. In his book the Google monster sleeps in a pool in a beautiful garden by day, and preys on the various fantastical birds of Google land by night. His ingenious illustrations, with their accompanying witty verses, have titles such as: Great Skull-Headed Ston Trot, The Gogo (or Camel Bird), The Whatnot, The Little Gadwot, The Great McDoo or Dewar Bird, The Shivver-Doodle, The Flabbytoes, The Lemonsqueezer and The Soft-Nosed Wollop. (1)

Lancaster (Osbert, 1908-1986). An original pen, ink & watercolour drawing of five Drayneflete characters to half title of the book Drayneflete Revealed, published John Murray, 1949, depicting a kneeling boy presenting flowers to a stout lady, accompanied by her husband dressed in military uniform and her children before a marquee, inscribed in black ink beneath "to Phyllis with much love from Joan & Ham. Christmas. 49", sheet size 22 x 14.5 cm, the book in original cloth in worn dust jacket, 8vo (1)

‡ Keith Vaughan (1912-1977) Figure studies c.1950 Signed with studio stamp initials Pencil 18.5 x 10.75cm Provenance: Professor John Ball (1931-2010), Private Collection This life-drawing of a model was probably a dancer. Vaughan often attended the ballet and was personally acquainted with several classical dancers. He took many photographs during live performances at Sadler's Wells Ballet, which later became the Royal Ballet. Several of these have survived. ++Two or three, small fox marks or ink stains otherwise good condition

Edith Oenome Sommerville, 1858 - 1949Pen, Ink & Watercolour: "Hulla, Hulla, Hulla,..... All the dogs ran to the Roar," approx. 22cms x 165cms (8 3/4" x 6 1/2"), illustration, signed with initials, and signed and inscribed on reverse, mounted.* This drawing is an illustration from 'A Patrick's Day Hunt,' & appears on page 19.Provenance: The Coghill Family by descent to the present owner.

Original WatercoloursClarke (Harry) RHA [1889-1931] An original ink and watercolour Drawing showing a set of four narrow stained glass windows of saints in their regalia, designed c. 1912, overall circa 7" x 8", framed and glazed.An attractive composition, presumably a drawing for a set of windows for some client, untraced, possibly never executed in glass. (1)

Plunkett (Grace) [1888-1955] 'Lady Gregory / Sighing for New Worlds to Kiltartanise'. Original ink drawing, 10 ins x 7 ins, signed, showing Lady Gregory standing on a globe looking to the horizon. A well known drawing, published in one of Plunkett's books of caricatures.Grace Plunkett, nee Gifford, married Joseph Mary Plunkett, signatory to the 1916 Proclamation, shortly before his execution. (1)

Alternative Design for O'Connell Monument, 1864Daly (Malachy) A fully worked and very competent submission for the O'Connell Monument competition, 1864, submitted by Malachy Daly from a Rome address, including an attractive and very detailed drawing with watercolour of the elevation facing Carlisle [now O'Connell] Bridge, scale 1/2 inch to a foot [circa 38" x 21", two sheets joined together], with attendant side-figures and lettering, signed; also a smaller sketch, 19" x 9" a detailed plan in ink and watercolour, 16" x 14 1/2" and the printed competition prospectus.Daly's entry is numbered 29. he was not successful; indeed no entry was selected, and the commission was awarded to John Henry Foley, who declined to submit himself to competition. Foley was soon very busy with the Prince Albert Memorial in London, and the O'Connell memorial was eventually completed by his assistant. Daly was of Co. Galway stock. (1)

*TERRY HALPIN WATERCOLOUR DRAWING 'COUNTRY INN' SIGNED AND DATED 1997, 11" X 14 1/2" TOGETHER WITH FRAMED PRINT 'RE-UNION', FRAMED SAMPLER ETC, QUANTITY OF PICTURES AND PRINTS VARIOUS, ATTRIBUTED TO ARABELLA PIGOTT, SUITE OF THREE WATERCOLOUR DRAWINGS, STABLE SCENES WITH HORSES, JOHN LYONS, INDIAN INK, GRAPHITE AND CRAYON ON PAPER, "THE COUPLE", VERNON WARD, COLOUR PRINT REPRODUCTION OF AN OIL PAINTING, DUCKS IN FLIGHT AND RALPH SWEENEY, ARTIST SIGNED COLOUR PRINT, NIKKI, AND PHIL TAYLOR SIGNED PRINT, 'MASK, 3 LOOSE PRINTS BY J WALCZAK, PORTRAITS, SINATRA ETC

Harold Robert Millar (Scottish, born 1869 – 1942) pen and ink drawing depicting prisoner with captors, signed H.R Millar, dated 1898

ADAMS MARCUS: (1875-1959) British Society Photographer, noted for his portraits of children. An interesting archive of letters, personal papers, original photographs and drawings etc., previously belonging to Adams, featuring correspondence between Adams and his sitters, most notably the young Princess Elizabeth, the future Queen Elizabeth II, and quite possibly including the earliest signature of the monarch (aged 3 years) to have ever appeared at auction. The archive includes – (i)                 An extremely early, bold pencil signature (‘Elizabeth’) by Princess Elizabeth, at just 3 years of age and most likely executed with the assistance of her nurse, Clara Knight (1879-1946), known as ‘Allah’ within the Royal household, at the foot of an A.L.S. C Knight, by Knight, one page, 8vo, Piccadilly, 18th December 1929, to Marcus Adams, announcing ‘Your beautiful holly has made us look like Xmas already! The Princess says I am to say “Thank you very much for your lovely holly”. I don’t think I have ever seen such wonderful berries’.(ii)               A remarkable and charming series of three folio sheets of paper removed from Marcus Adams’ sketchbook and featuring a series of bold pencil sketches and doodles accomplished by the three year old Princess Elizabeth, with the assistance of the photographer, the first image is open to interpretation and depicts the head and neck of what could either be described as a somewhat fierce looking animal with cat like features, or a human with a rather angry stare, annotated by Adams ‘Drawn by Marcus Adams July 31st 1929 with the aid of Princess Lillybet (sic) in the children’s studio, London’, the outline of the drawing, including the ears, most likely in the hand of the Princess and the facial features, in particular the eyes, most likely in the hand of Adams. A long arched line appears above the drawing, again annotated by Adams, ‘This line was drawn by Princess Lillybet (sic) July 31st 1929’, the page also featuring the surname ‘Adams’ written in capital letters, evidently by the photographer himself. The second page features a pencil list in the hand of Adams (including ‘Bulbs, Seeds, Roses, Sweetpeas’ and other garden and household items) over which appear a series of drawings of animal heads, most resembling cats, again evidently drawn principally by Adams in an attempt to teach the young Princess how to draw, but also with some less well accomplished drawings of animal heads, undoubtedly the efforts of the Princess. The third page features a pencil drawing by Adams of a large country house and gardens, with a sole figure walking across the lawn and with a large tree in the foreground, the page featuring a series of somewhat random and bolder pencil lines, scribbles and circles etc., obviously the work of the young Princess. The name Lilybet appears at the base of the page, in the hand of Adams, and is heavily crossed through in pencil, presumably by the Princess.(iii)             A rare, early A.L.S., Elizabeth, one page, 8vo, Piccadilly, 18th December 1933, to Marcus Adams (‘Dear Mr. Adams’), stating, in full, ‘Ever so many thanks for the lovely holly you sent me today, and the Xmas cards. Wishing you a very happy xmas, from Elizabeth’. Accompanied by the original envelope hand addressed by the Princess. Some light overall staining and soiling, slightly affecting the text and signature.(iv)              A fascinating autograph manuscript signed (‘Marcus Adams’) by Adams entitled ‘Notes’ on my contacts with the Royal Family from 1928 to present day, nine pages, 4to, n.p., 1958, stating, in part, ‘…the curtain is completely raised to reveal the understanding of prophecy. The world will be awakened to realise the importance of this age and how vital the birth of Princess Elizabeth is in the fulfilment of things come…For this reason I appreciate… and feel highly honoured to have had the opportunity of making exclusive portrait records of the early life of this important personality……I have produced a series of portraits that convey the dignity of Royalty combined with a standard that justify my efforts, they are not just mere snapshots taken in a careless and casual fashion that may be news today and forgotten soon after… but never reach the standard of dignity that the Royal family deserve…Events can be recalled at the time of the Coronation of King George, when in one day over 200 called at the studio for press copies… to say nothing for the telephone calls… It was estimated that one particular group was produced… to some thousand million imprints. Besides the actual press there was always a constant request for right to reproduce… on mugs, jigsaw puzzles, handkerchiefs… babies rattles, almanacs, these all had be considered on their own merits, if any doubt was involved it was always referred to the Controllers of the Palace …I well remember on one occasion at Windsor the leading cable got so warmed up it showed signs of burning…I recall an incident that happened during the sitting my assistant whispered to me that the focussing screen had smashed. I met the circumstance calmly by taking two stamps from my wallet and sticking it together. The King who was always alert, remarked What’s the trouble Adams, Oh only the screen is broken and I am mending the bits with two of your fathers portraits, they acted in a perfect fashion and we can proceed with all speed….I was working with the late Queen Mary and Princess Elizabeth, she was in a great hurry, so I lost no time… After I had finished my part Her Majesty turned to Mr. [Bertram] Park and said, As Marcus Adams has been so quick I can spare you time to make some pictures of me, which dress would you like best… Thus Mr. Parks made some interesting studies, whilst I acted as his assistant. She [Elizabeth] was a child and I treated her as a child… a sitting would last about an hour. During one sitting complete with baby Margaret and the parents: my son tells me I exposed about 300 plates, it was probably the most difficult task I had encountered…’ Stapled within stiff card wrappers bearing the ink title and signature of Adams to the front cover.(v)                A.L.S., Marcus Adams “Gollywog”, one page, 4to, Swallowfield, Berkshire, Christmas 1931, to ‘H.R. Princess Elizabeth’, stating, in full, ‘A sprig of Holly and a big wish for a very Happy jolly & Bright Xmas from the Hills of Oxfordshire and the sender’.(vi)              A collection of ten folio pages removed from a scrapbook belonging to Adams and with various A.Ls.S., T.Ls.S., autograph notes, a few pencil drawings, some original photographs by Adams, Bertram Park and Howard Coster (some loose and most neatly laid down to pages) etc., all relating to the photographer’s work with the British Royal family and others, 1929-34,(vii)            A collection of correspondence comprising around 60 A.Ls.S., T.Ls.S., a few telegrams etc., from various individuals, most ladies-in-waiting to various members of the British Royal family but also including some other notable individuals, all to Marcus Adams or his son Gilbert Adams, late 1920s-1990, most on the subject of photographs, thanking Adams for prints or arranging appointments etc.,An exceptional archive of material containing several extremely rare examples of the autograph of the young Queen Elizabeth II in various forms. Some age wear, generally G to VG, Qty. Owing to restrictions imposed by the-saleroom the complete catalogue description can not be shown here. Please contact the auctioneers for further details.  

A George Cunningham Pen and Ink Drawing of Grindleford Landmarks, in three section 14.5x57cms overall, mounted and presented in single frame, signed and dated 1991, with Extensive History of Subject by George to verso, under glaze.

ALISTAIR ANDERSON; charcoal drawing, a moored fishing vessel, signed, 28 x 49cm, framed and glazed, D. B. SELBY; pen and ink drawing, moored fishing vessel, signed, 50 x 39cm, framed and glazed, two decorative oils, both framed (4). (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.

JR MARKLAND; ink drawing "Southern Railway - R.E.L. Maunsell's Class V" station with two locomotives, signed and dated lower right, 1980, titled and inscribed upper right "No.915 Brighton and No.930 Radley", 33 x 42cm, framed and glazed, also a quantity of unframed prints by the same artist, some signed in pencil. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.

KEITH VAUGHAN [1912-77]. View from a Window, 1941. Ink and wash drawing. Studio stamp initials on reverse. 13 x 21 cm. Provenance: artist's estate; Prof. John Ball collection [friend and big collector of Vaughan's work]; private collection, UK. [good condition - unexamined out of frame].

EUAN UGLOW [1932-2000]. Chinese, 1986. Ink seal inprint and drawing on card. Signed Euan. 15 x 11 cm. Unframed. Provenance: private collection, UK - acquired directly from the artist. Literature: 'Euan Uglow', catalogue raisonne, C. Lampert, 2007, Yale Univ. Press, no.515. One of Uglow's handmade Christmas cards. [good condition].

GRAHAM SUTHERLAND [1903-80]. Small Boulder, 1940. Ink drawing. Titled and dated by the artist on the reverse of the drawing [see photo]. 13 x 21 cm [overall including frame 26 x 33 cm]. Provenance: Gift from the artist to Julian Andrews, 1982; private collection, UK. Study for the painting 'Small Boulder', 1940. [good condition - slight soft creasing at top edge - slight marks in corners and top and left edge, probably from old tape remains on reverse - unexamined out of frame].

KEITH VAUGHAN [1912-77]. Two Engine Stokers, 1955. Ink. Studio stamp initials on reverse of drawing. 25 x 20 cm [overall including frame 42 x 37 cm]. Provenance: Prunella Clough [the artist] collection; private collection, UK. [good condition - unexamined out of frame].

KEITH VAUGHAN [1912-77]. Saplings, 1940. Ink drawing. Inscribed 'Shere 1940'. Studio stamp initials lower left. 12.2 x 16.7 cm. Provenance: artist's estate; Prof. John Ball [friend and big collector of Vaughan's work]; private collection, UK. [good condition - unexamined out of frame].

A Collection of Pens and Writing Accessories, pens include Mentmore, Unique, Westminster presentation set etc., also three cased drawing sets, nine packs of quill pens and fifteen ink bottles

A Victorian vellum treasure's account book, from the Witton Lane Primitive Methodist Chapel, with extensive ink MS. tabulations from 1862-1927, including payments for cleaning services, the organist's and further salaries, aid, drawing, painting, printing, concert proceeds, prizes, coal and gas, carpentry, etc., titled front board, tall 4to This accounts book could relate to two Primitive Methodist chapels in Victorian England: as the foundation stone for the chapel at Witton Park, County Durham, was not laid until 1883 it is more likely that the accounts inscribed herein relate to Witton-le-Wear in the same county. Though the Witton-le-Wear chapel itself was opened in 1901, there had been an organised Methodist presence in the village since 1822 unlike Witton Park.

A Queen Elizabeth I hand written indenture on vellum,with inset ink drawing of the queen, dated 1560, 18" x 27" framed

* Charles Knight [1901-1990]-Rock in a Silver Sea, North Cornwall:-signedwatercolour, pen and ink drawing 28 x 38cm.

Charles B. Newhouse [fl.1830/40]-The Plough Hotel Cheltenham Mail Coach:A coaching scene:-two, watercolours heightened with white and gum Arabiclargest 24 x 36cm, *Provenance - Direct Family Descent, together with one other unframed watercolour of a stag and a pen and ink drawing titled Modern Travelling. [4]

Ferrari 365 BB Original Pininfarina Coachwork Drawing Well-executed original coachwork drawing of the 'Berlinetta Boxer', pen and ink, highlighted in acrylic, over green art paper, completed by Sante of Pininfarina. Professionally framed/glazed in gold to a high standard. 50x36cm

French School, 18th centuryPORTRAIT OF A SCHOLAR, SEATED WITH HIS BOOKSBlack and white chalks55 x 44cm;Manner of Hans Holbein the YoungerPORTRAIT OF A LADY, FULL LENGTHBrown ink and grey washes23 x 14cm;an 18th century red chalk drawing of a king33 x 20cm;and a 19th century pen and ink drawing ofAN ELDERLY COUPLESigned Georg (?)15.5 x 21.5cm (4)

Manner of Giovanni Battista TiepoloSTUDY OF A FEMALE FIGURERed and black chalk, oval17 x 14cm;Follower of Sebastiano RicciDEATH OF LUCRETIABrown ink and grey washes12.5 x 9cm;a pen and ink and watercolour drawing of ST PAUL;and two drawings of COMMEDIA DELL'ARTE figures (5)

Dean Ormston Judge Dredd Original pen & ink comic art drawing on card based on the 2000 AD British comics. Measuring 7" x 10". Dean Ormston is a British born comic book artist who has worked on 2000 AD and DC Comics Vertigo.

1794-1795. A rectangular paper with the watermark of PIETER DE VRIES COMP, ink drawing of a scene from ancient Greek or Roman vase with Cupid (Eros), seated woman, reclining young man holding a staff and two young men standing on a side; numbered 4.1. to the upper right corner. 4 grams, 38.7 x 24.2cm (15 1/4 x 9 1/2"). From an old German collection. Sir William Hamilton (1730-1803) was a Scottish diplomat, antiquarian and archaeologist. During the archaeological excavations in Apulia and Sicily he obtained two large collections of Greek vases. Both collections were published: the first collection in the issue entitled Collection of Etruscan, Greek, and Roman antiquities from the cabinet of the Honble. Wm. Hamilton, His Britannick Maiesty's envoy extraordinary at the Court of Naples. (1766-76); the second collection was published in 1793-1803. Hamilton used a German painter Johann Heinrich Wilhelm Tischbein (1751-1829) as the artist for his second issue. He made 240 illustrations, which were printed in four volumes. As a director of an art academy, he used the help of his students to get precise images by copying vase painting several times. Drawings were made on high-quality Dutch paper, some with the watermark PIETER DE VRIES COMP, acquired from the De Morgenstar paper mill. That paper was produced only during the years 1794-1803, which fits with the time of printing the drawings. . Fine condition.

Basil Blackshaw HRHA RUA (1932-2016)Jockey Adjusting the Girthpen & ink drawing with watercolour wash signed & titled on reverse 34 x 29½cm (13 x 11in)Provenance: Zoltan Lewinter Frankl (label verso); Sale of Collection of the Late Peter J Rankin, Ross's, Belfast; Private Collection

A PEN AND INK WORKING DRAWING by Caproni Vizzola, of an autobus, the drawing dated 30/1/48, 43cm x 69cm together with a further working drawing of an autobus by the same draughtsman dated 12/5/50, 33cm x 51cm (2)

David Henderson (Contemporary)'Abstract'Watercolour, unframed, signed and dated '1989 lower right, 70 x 96cm, together with a collection of prints, to include a limited edition signed print of 'Brothers' by W McArthur '89, 6/8, a limited edition signed print of 'Crackpotside, Swaledale' by Frances St Clair Miller, 14/75, a print of 'North Sea Spectrum' by Molly Bullock, a Sesame Street poster etc, and Barry Smith 'Oisellerie Victoria' watercolour, signed lower left, mounted but unframed, 15 x 13cm, together with a small ink drawing of 'Ships at Sea', a pottery picture of 'Flowers' in frame, a white painted gesso picture frame, 21 x 40cm (inside frame), and an Eastern needlepoint picture of 'Elephants and Tiger' (16)

A PENCIL DRAWING OF BIRMINGHAM, together with a pen and ink stained glass window design, and an engraving 'The Plan of Birmingham, Survey'd in the year 1731', all unframed, largest 47 cm x 124 cm (3)

A pencil charcoal and ink fashion drawing. 29 cm x 20 cm, framed, signed in pencil.

‡ Dorte Clara Dodo Burgner (1907-1998) Two Women in Tweed a pen and ink fashion study with white highlighter, annotated in pencil, the reverse with a pencil drawing, unsigned 36 x 23.5cm (image)

A pen and ink drawing on card, titled 'Call to the Colors', featuring Jack Brabham, dated '4/1/60', depicting signal flags and cartoon sketches of sports racing cards, signed 'Lare Hubenthae L.A. Examiner for Jack Brabham with every good wish for your continued success', approx 35cm x 44cm.

William Lionel Wyllie (1851-1931) - Pen and ink drawing - "Waterloo Bridge from the Surrey Side", 3.625ins x 5.5ins, apparently unsigned, in modern ebonised frame and glazed Provenance: Wilson's Antiques - 45-47 New Broadway, Tarring Road, Worthing, West Sussex, BN11 4HS - Purchased 4th November 2014,(Invoice No. 10023)

19th Century pen and ink drawing, classical study of a man in a robe, indistinctly signed