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Jennifer Campbell Two framed Dollar landscapes Watercolour and ink drawing (2)

THOMAS ROWLANDSON Drinkers at a table. Ink drawing with watercolour. Signed. 11 x 18cm.

THOMAS WAY Lithograph. An etching by Lucy Hutin. Together with an ink drawing by Frank Illingworth.

Frazer (Eric) “Fairways Round the World” original drawing pen ink and wash image approx. 200x130mm. Harper`s Bazaar volume 4 no. 3 pp44/55 1931 § Armitage (J.C.) (Ionicus) “I can see it as a depressed industrial area getting regional aid for redevelopment as a holiday resort” original pen and ink drawing image approx. 130x250mm. n.p. n.d. § Jaques (Robin) `She`s Right` by Diarmid Cathie original artwork for dust-jacket multiple images and lettering pen ink and coloured wash for Collins apprx 220x170mm. 1953. (7)(6)

European School, early-mid 20th century- View of a terrace of elegant dwellings; oil on unstretchered canvas laid over board, 31x23cm: Luther, late 20th century- Venetian canal scene; pen and black ink and watercolour, signed, 37x55cm.: British School, late 18th/early 19th century- Portrait of Elizabeth Rutting; watercolour, possibly laid on panel, inscription to verso reads `Elizabeth wife of Joseph Rutting, married at St. Georges Hanover, 28th October 1778`, in a good Empire style gilt gesso moulded frame with fleur de lis detail, 9.7x9.3cm: William Radclyffe 1780/1783-1855- "The Remains of Old Magdalen Hall", after F MacKenzie, publ by J Parker, Oxford, November 1 1841; hand-coloured engraving, 25x32cm: Jim Muggleton, late 20th century- "Ponte Pietra, Verona"; brown felt tipped pen, signed, titled and dated 7/79, 31.5x49.5cm: together with one other similar felt tipped pen drawing titled `The Grand Canal Venice", signed and titled, 34x54.5cm., (6) (may be subject to Droit de Suite)

A cased draughtsman`s Instrument for drawing ink interrupted lines

Pen, ink and watercolour drawing D. Moor (Orlov) (1883-1946) Caricature of Ribakov, signed and titled, 37 x 28cm, unframed D. S. Moor was a well known cartoonist who made sketches of Tsarist ministers while working in Mamontov`s Printing Works. He was involved in the revolutionary movement 1905-6. He continued in newspaper graphics and produced patriotic and propagandist posters and political cartoons for Pravda, Izvestia, etc

Pen, ink and watercolour drawing D. Moor (Orlov) (1883-1946) Caricature of Chudakov, signed and titled, 34 x 55cm, unframed D. S. Moor was a well known cartoonist who made sketches of Tsarist ministers while working in Mamontov`s Printing Works. He was involved in the revolutionary movement 1905-6. He continued in newspaper graphics and produced patriotic and propagandist posters and political cartoons for Pravda, Izvestia, etc

Franklin White - `Leaning Figure`, sepia ink with touches of chalk and sanguine, signed recto, titled label verso, together with a pencil drawing by D. Grant, Study of a Fruit Bowl.

FIRMIN PETER: (1928- ) English Artist & Animator. A good original colour pen, ink and watercolour drawing of Tog and Mr. Pogle, two of the principal characters from the animated British Children`s television series Pogles` Wood, drawn and signed by Firmin on an oblong slim 4to white card, n.p., 2001. VG

HARRIS ROLF: (1930- ) Australian Painter, Musician and Television personality. A large, original 24 x 34 ink self caricature depicting Harris as a kangaroo. Harris has executed the Rolfaroo in pale pink ink and signed the drawing with his first name only at the base. Framed and glazed in a pale pink frame to an overall size of 25.5 x 35.5. Signed self caricatures by Harris of this size are scarce. About VG

[BLYTON ENID]: (1897-1968) British Children`s Writer. An original small colour pen, ink and watercolour drawing of Noddy, by an unidentified artist, showing him standing in a full length pose wearing his pink striped pyjamas, drawn on an irregularly clipped piece, being the original artwork for an illustration used on page 8 of You Funny Little Noddy by Enid Blyton, published by Sampson Low, Marston & Co. Ltd. and The Richards Press Ltd. Accompanied by a copy of the book. Some light age wear, G, 2

RUPERT BEAR: An original four panel drawing by artist John Harrold, being the original artwork for a Rupert Bear story by Alfred Bestall entitled The Kite which appeared in the Rupert Bear Annual of 1988, the black ink drawing on an acetate sheet mounted over the original watercolour drawings by Doris Campbell. Various annotations to the 13.5 x 15 artboard indicate that this page was published on page 71 of the annual. About VG

RUPERT BEAR: An original four panel drawing by artist John Harrold, being the original artwork for a Rupert Bear story by Alfred Bestall entitled The Kite which appeared in the Rupert Bear Annual of 1988, the black ink drawing on an acetate sheet mounted over the original watercolour drawings by Doris Campbell. Various annotations to the 13.5 x 15 artboard indicate that this page was published on page 70 of the annual. About VG

KESSELRING ALBERT: (1885-1960) German Luftwaffe Generalfeldmarschall of World War II. Signed 4.5 x 6 sepia photograph, being a reproduction of an artist`s pencil drawing of Kesselring in a semi-profile head and shoulders pose wearing his uniform and Knight`s Cross. Signed (`Kesselring`) in bold blue fountain pen ink with his name alone to a clear area at the base of the image. Accompanied by a facsimile A.L.S., November 1952. Together with Wilhelm List (1880-1971) German Field Marshal of World War II. Signed postcard photograph of List, in uniform, driving in the back of an open top car. Signed (`List, Feldmarschall`) in blue fountain pen ink to the image. Also including Eberhard von Mackensen (1889-1969) German General of World War II, Knight`s Cross of the Iron Cross winner with Oak Leaves. Bold blue fountain pen ink signature, with rank beneath, on a white card. VG to EX, 3

SULLIVAN PAT: (1887-1933) Australian Pioneer Animator and Film Producer, creator of Felix the Cat. An excellent, original black pen and ink sketch of Felix standing in a full length pose waving one paw, drawn and signed by Sullivan on a page removed from an autograph album. Above the drawing Sullivan has penned the words Cheerio from Felix, signing his name beneath and adding the date 1924 in his hand. Accompanied by a second page removed from an autograph album boldly signed in pencil by Marjorie Pat Sullivan and dated 1924 in her hand. Rare. About VG, 2

MAY PHIL: (1864-1903) English Caricaturist. An original black pen and ink sketch drawn and signed by May on an 8vo page removed from an album. The artist has drawn two sketches of young boys standing in full length poses, one looking thoroughly fed up and the other somewhat happier, entitled Two Points of View in May`s hand and signed at the base. Together with a second original black pen and ink sketch drawn and signed by May on a small 8vo page, being a profile head and shoulders drawing of a man wearing spectacles. Signed by May and dated 1903 in his hand. About VG, 2

HILL GRAHAM: (1929-1975) British Motor Racing Driver, Formula One World Champion 1962 & 1968. A large, original 14 x 20 pencil drawing by artist Duncan Robertson, the image depicting Hill in a head and shoulders pose wearing his racing helmet and goggles, signed in blue ink by Hill to a clear area at the base with his name alone. Also signed by the artist at the head and dated May 1969. VG

RINDT JOCHEN: (1942-1970) German Formula One Motor Racing Driver, World Champion, 1970. A large, original 14 x 20 pencil drawing by artist Duncan Robertson, the image depicting Rindt in a head and shoulders pose. Signed by Rindt with his name alone in blue ink to a clear area at the base. Also signed by the artist at the head and dated July 1969. Autographs of Rindt are rare in any form following his tragically early death at the age of 28 while driving in the practice session for the Italian Grand Prix. VG

MCLAREN BRUCE: (1937-1970) New Zealand Formula One Motor Racing Driver, Designer, Engineer & Inventor. A large, original 14 x 20 pencil drawing by artist Duncan Robertson, the image depicting McLaren in a smiling head and shoulders pose wearing his racing helmet and goggles. Signed by McLaren with his name alone in blue ink to a clear area at the base. Also signed by the artist at the head and dated July 1969. Autographs of McLaren are rare in any form following his tragically early death at the age of 32 when he crashed his car while testing at Goodwood. A couple of small tears towards the edges, one repaired with tape to the verso, about VG

Peter Howson OBE (b.1958) Seated Figure Drawing, ink and wash, signed and dated 2006, 15.5 x 10cm

* PETER HOWSON OBE The Ref Original Black ink drawing, signed Exhibition framed 17.5 x 14.5cm

* PETER HOWSON OBE Split Personality Original Black ink drawing, signed Exhibition framed 30 x 20cm

* PETER HOWSON OBE Studies of a Crippled Man Original Black ink drawing, signed Exhibition framed 30 x 20cm

* Roe (Fred, 1864-1947). A set of six original pen & ink illustrations for The Battle of Naseby, by Thomas Babington Macaulay, c. 1885-88,. six folio sheets of Whatman paper (with watermark dated 1885), manuscript text of the poem in brown ink with illustrations of Royalists and Roundheads, etc., three sheets signed, and one dated ‘88, some light soiling, folio (39 x 28 cm), together with one other similar pen and ink drawing of a soldier, and another similar pen, ink and grey wash drawing of a kneeling man with sword, signed and dated ‘85, both mounted (8)

Shepard (Ernest Howard, 1879-1976). ‘The profiteers nightmare “Spring refuses to be cornered”‘, for Manner & Modes, Punch Magazine, pen & ink drawing on artist’s board, of a gentleman in a pin-striped suit surrounded by blossom trees and gambolling lambs, with some correction fluid, signed to lower edge of image, Shepard’s name and address in the artist’s hand on reverse, sheet size 376 x 267 mm (14.75 x 10.5 ins) (1)

Peter Scott/Head of a Chimp/monogrammed lower left/ink drawing and biro, 56cm x 77cm (22" x 30.75")

Kathleen Scott/Boat Badge of HMS Victorious/bakelite, bronzed, 31cm (12.25") diameter, together with the original ink drawing of the design by Kathleen Scott/see illustration

ROBERT LENKIEWICZ signed pen and ink drawing `Rueben` (son of the artist) 37cm x 23cm

Felix Kelly (1917-1994) Pen & Ink drawing, Horse drawn carriage under a stone arch, 14.5"x 10,5", framed

* Browne (Gordon Frederick, 1858-1932). An original drawing of a woodman looking through some trees at a group of people making a camp fire, pen & ink on paper, margins dusty and foxed, initalled in lower right-hand corner, 197 x 262mm (7.5 x 10.5 ins), together with two small pen, ink, and wash drawings of figures, plus other various prints, incl. a collection of eight hand-col. litho. proof plts. of British mansions, Chapman & Hall, 1845-47, plus a folder of nine linocuts by C.R. Wheatley (a small folder)

* Searle (Ronald). ‘A little thumbed, otherwise an attractive copy’, n.d., c.1989, pen, ink and water colour drawing, signed by artist in lower left corner, title below image in separate mount aperture, 30.5 x 23cms (12 x 9 inches), mounted, framed and glazed. An original illustration for ‘Slightly Foxed but still Desirable’. Searle’s iconic book on the world of antiquarian book dealing and collecting. See lot 624. (1)

* Bell (Quentin, 1910-1996). Levity, pen & ink drawing, with brown and blue wash, 13.5 x 20.75cm (5.25 x 8.5 ins), framed and glazed, with Southover Gallery, Lewes to verso, dated March 1979 (1)

* Prints & drawings. A mixed collection of approx. eighty prints, watercolours and engravings, mostly 19th century, including watercolour sketch book, pencil and pen & ink drawings, silhouettes, engravings, lithographs and prints, including portraits, botany, topography and genre, with Burgess (J.H.), Burgess’s Drawing-Book of Scenery in the North of Ireland 3 pts. (of 6), pub. Marcus Ward, Belfast, 1851, eleven (only) b & w litho. views, some marginal fraying and dust soiling, occ. closed tears, orig. pubs. printed paper wrappers, slim oblong 4to (approx.80)

G Ryder `A view of Bridgnorth from the river` ink and wash drawing, signed, 26cm x 36cm

Henri Gaudier-Brzeska (1891-1915). Standing female nude, hands clasped. Pen and ink on paper. 38 x 22 cm (15 x 8 5/8 in) Drawn c.1912-13. Provenance: H S Ede;. Colnaghi, London;. Exhibited: Gillian Jason, London, 1989, Henri Gaudier-Brzeska, Drawings. For a similar drawing cf. Henri Gaudier-Brzeska, par Ezra Pound. Published: Tristram en co-edition avec Les Editions ARPAP et la Galerie Marwan Hoss, Paris, 1992

DDS Trevor Bell (b.1930). Grey piazza drawing, 1959. Ink and pencil on paper. Signed and dated 3.59 lower right. 46 x 35 cm (18 x 14 in)

Colin Carr : A rare interior scene in pen and ink drawing of an elderly lady sat aside a fire signed lower right 17 x 18.5cms.

Jacopo Negretti, Palma il Giovane (Venice circa 1548-1628) Venus discovering the dead Adonis black chalk, pen and brown ink, brown wash, white heightening, traces of oil paint (at the lower edge), on light brown paper, unframed 7 5/8 x 11 3/8 in. (19.5 x 29 cm.); and a drawing of A female figure, attributed to Palma Giovane (2) View on Christie's.com

Italian School, late 16th Century Sixteen sketches illustrating popular proverbs inscribed above each sketch with the corresponding proverb pen and brown ink 12 1/8 x 15 in. (30.8 x 38.2 cm.); and a drawing from the Bolognese School, 17th Century, showing a man beating a saddle, a bolting horse beyond (2) View on Christie's.com

Follower of Baccio Bandinelli A standing male nude, seen from behind, and a profile of a man (recto); Two draughtsmen and a sculptor (verso) inscribed 'DI BACIO' (recto) and further inscribed 'G O B' (verso) pen and brown ink, brown wash (recto); black chalk, pen and brown ink (verso) 16 1/8 x 9 3/8 in. (41.1 x 24 cm.); and a drawing of the Madonna and Child with Saint Anne and the infant Baptist, from the Italian School, 16th Century (2) View on Christie's.com

Italian School, 18th Century A cavalry melée in the midst of battle black chalk, pen and black ink, grey wash, watermark encircled crest 9½ x 12 3/8 in. (24 x 31.3 cm.); and four other drawings, including A battle scene, by the same hand, A nude warrior with a shield, by Giuseppe Bossi, A horseman with a dog, by Josef Israels and a drawing illustrating the ballad of Chevy Chase, from the 19th Century British School (5) View on Christie's.com

Francesco Guardi (Venice 1712-1793) A group of figures inscribed '2 L. [Luglio?] 1780' traces of black chalk, pen and brown ink, brown wash, on brown paper, unframed 4 x 11 1/8 in. (10.1 x 28.2 cm.); and a drawing of the Punta della Dogana by a Follower of Guardi (2) View on Christie's.com

Studio of Ludovico Cardi called Cigoli St. Joseph and the infant Christ Pen ink and wash 19 x 10cm; 7½ x 4in With a framed drawing of the crucifixion by an unknown hand trimmed and mounted 28 x 19½cm; 11 x 7¾in (2)++1. some markings to the margins a few small repairs with retouching 2. some staining and yellowing throughout* All lots marked with an asterisk are subject to VAT on the hammer price.‡ All marked lots may be subject to Droit de Suite / Artist`s Resale Right.For details please see www.woolleyandwallis.co.uk department page.All condition reports are a guide only and should be used as such.

William Heath Robinson (1872-1944) 'How to dispense with servants in the Drawing Room' signed 'W./Heath/Robinson' (lower left) and inscribed 'How to dispense with servants/in the Drawing Room.' (on the mount) pen and black ink and watercolour, paper laid onto board, unframed 17¾ x 12 5/8 in. (45.1 x 32 cm.) View on Christie's.com

Quentin Blake (b. 1932) 'Food Preparation': a preliminary drawing for The David Mellor Kitchen Guide signed 'Quentin Blake' (lower left) pen and black ink 6½ x 8 7/8 in. (16.5 x 22.5 cm.) View on Christie's.com

Peter Arno (1904-1968) 'I beg your pardon!' 'I beg YOUR pardon!' signed 'Peter/Arno' (lower right) and inscribed as title (upper left) pen and black ink and grey wash heightened with white, unframed 20 1/8 x 15 in. (51.2 x 38.1 cm.); and an unframed drawing of 'Army and Navy' by 'Anton' (2) View on Christie's.com

Percy Kelly, a pen and ink drawing, "Little Broughton". 3.5 ins x 4.5 ins, signed and dated 1953.

An early 19th century commonplace book, quarto red Morocco binding with gilt tooled "Miss Jackson" (split on front cover). The album contains verses (written at the desire of two young ladies), watercolours, pen and ink and pencil drawings, Valentine`s, examples of miniscule handwriting, a drawing of Leamington Church and bridge and much more, a few pages removed, otherwise in sound condition.

SHISHKIN, IVAN 1832-1898 View of Valaam Island. Kukko signed and dated 1860 Oil on canvas, 104.5 by 141 cm. Provenance: Acquired at the graduation exhibition at Academy of Arts in 1860. Private collection, USA. Private collection, Finland. Acquired from the above by the present owner.Authenticity has been confirmed by the expert V. Petrov.Authenticity has been confirmed by the expert E. Basner.Exhibited: Exhibition at the Imperial Academy of Fine Arts, St Petersburg, 1860, No. 25.Literature: Exhibition catalogue, Exhibition of the Imperial Academy of Fine Arts, St. Petersburg, Gottenfeld Publishers, 1860, No. 25, listed.Painted in 1860, View of Valaam Island. Kukko was Ivan Shishkin’s graduation piece for the Imperial Academy of Arts, where the work earned the large Gold Medal, first class, and became the first acknowledged masterpiece by the young artist. It is extremely rare for a work of such quality and importance to appear on the market.Immediately after the Academy exhibition of 1860, which showcased the work of the best graduates, View of Valaam Island was acquired by an American collector and since then has been thought lost. However every single monograph on this artist has mentioned this work and given a detailed account of the history of its creation. It is well known that, for three years in a row — from 1858 to 1860 — Shishkin spent the summer months on Valaam Island. In a letter to his parents in early 1858 the artist wrote that, at the Academy of Arts "They suggested to us two friends [Shishkin and Gine] that we should go to Valaam, on Lake Ladoga. There is a monastery, the location is magnificent and they often send our students there and there is rarely a year that no one goes. They often send students to harden them up. Because the nature there is so varied, so wild and therefore tough…"The variety and richness of Valaam’s nature had made it the northern Mecca for Russian landscape painters by the mid-19th century, and young artists coming to the island were bowled over. Its sunlit meadows, variety of grasses, gloomy pine thickets, impassable, wind-felled trees, precipitous rocks and the smooth surface of the lake stirred the imagination of the romantically-inclined Academy students. Shishkin’s letters to his parents show that his artistic interests became distinctly two-fold, focusing both on ordinary, everyday natural phenomena as well as nature’s more dramatic effects and stormy conditions. Very typical in this respect is his description, in a letter to his father, of the storm the artists experienced on the island in summer 1859: "The weather here is still horrible, the wind and rain are dreadful. Today some trees came down in front of us and also — such a shame — two enormous maples broke off, probably about 150 years old, and they brought down with them lots of young ones as well because they were on the great cliff above the garden… I’d never seen anything like it before — I couldn’t even conceive of such a thing."After the first summer spent on Valaam, Shishkin could already present three pen-and-ink drawings and eight oil paintings for the examination at the end of 1858. The drawings made a great impression on the academic board. Large, measuring up to 70 centimetres, they were immediately accepted for engraving. The members of the board said they had never received work of this kind from Academy students. Shishkin told his family in an exuberant letter that the "[Moscow] professors came and… wanted [the drawings] in Moscow… I agreed, of course." And, after the exhibition at the Academy of Arts, Shishkin’s drawings were sent to Moscow for exhibition there, after which they were all sold. In April 1859 Shishkin was awarded the Gold Medal second class for his picture Ravine on Valaam, and by early summer he had already been assigned a programme for his diploma picture, allowing him to make a bid for the large Gold Medal and the three-year travel bursary, followed by a further three years in Russia, all expenses paid, which went with it. Since the choice of location to work on his diploma programme was made by Shishkin himself, he went again — by his own admission, "without much thought" — to Valaam together with Gine.Shishkin’s letters and sketches are testament to the difficulty he had in finding a place on Valaam which might inspire him to create a masterpiece and also in making his choice of composition for the large painting which the artist intended for his Academy graduation piece. Even once he had found a suitably picturesque corner of the island, called in Finnish "Kukko" ("cockerel"), the artist simply could not decide whether to favour the gleaming surface of the water and the gaunt granite rock-face, or the mighty, virgin forest and the unfathomable extent of the skies.One version of his diploma composition is the pencil drawing Rocks on Valaam Island. Kukko (1859, the State Tretyakov Gallery). In this Shishkin portrays not the thicket but the shore. Before our eyes, fabulous rock formations rise majestically, the distribution of their mass geometrically regular, the contrasts of the Valaam landscape sharply delineated. Another sketch, Deciduous Forest on a Rocky Shore. Valaam (1859, the State Russian Museum), portrays thick forest undergrowth, growing profusely on primeval glacial boulders. It seems that the artist, having finished the first sketch, immediately started work on the next, trying to find the composition he needed. He wanted to reveal as convincingly as possible in his diploma work all the varied beauties of Valaam, to show on his canvas the uniqueness of the natural world on this extraordinary island. As well as the drawings, Shishkin did two painted versions of the landscape, presented in autumn 1860 at the exhibition of the Academy of Arts, View of a Place, Called “Kukko” in Finnish, on Valaam Island and another variant of the latter work. It was for these two landscapes that he was awarded the Gold Medal. One of these, the smaller (69 by 87 cm), is now in the collection of the State Russian Museum. The second — the larger (104 by 140 cm), and with the more interesting composition — we are now offering for auction. The theme Shishkin found for his diploma work is a total success. The dense, deciduous forest extends all the way to the lake, while a mighty ridge of reddish crags rears up nearby. This formula allowed the artist to show in the foreground forest thickets bathed in sunlight, age-old boulders nestling in their midst. Furthermore, he has used academic painting techniques to bring weight to the right-hand side of the picture, concentrating here the great, bulky mass of rock, and finally balancing the composition by opening up the space on the other side, where the mirror-like surface of the water becomes visible, and the broad expanse of sky above it. He has also introduced into both landscapes a modest genre motif to bring life to the composition. In our painting it is a boat at the shore with two figures, a monk-ferryman from the monastery and his passenger in a yellow waistcoat and black hat, in which we may choose to recognise one of the Academy artists on his way to a remote, wild corner for some plein air work. Indeed, Shishkin recounts how "for their more remote studies they took the boat, sometimes accompanied by Abbot Damaskin. When they left for home they would cover their unfinished studies with oil cloth and hide them under the rocks with their boxes and paints. So that

§ SLEPYSHEV, ANATOLY B. 1922 Village Scene and Drawing two works, each signed, one dated 1990, the other 1988 One oil on canvas, the other ink and watercolour on paper, one measuring 81 by 99.5 cm, the other 61 by 85.5 cm. Provenance: The Lili Brochetain collection, Paris.

* DAVID HOSIE Untitled-Composite (1987) ink and gouache on on five relief panels.. Framed under glass. 111cm x 80cm ( 43 1/2 x 31 1/2 inches) Note :David Hosie has been at the forefront of Scottish art since the mid 1980`s. Graduated ECA with an MA in 1986. Major awards include : BP National Portrait Exhibition 1996, Royal Glasgow Institute 1992, George Jackson Hutchison Award (for painting) 1986, Andrew Grant Major Award 1986, Andrew Grant Travelling Scholarship 1986, Richard Ford Award (Spanish Travelling Scholarship) 1985, Royal Academy London 1985. Tutor and Lecturer of Drawing and Painting, Glasgow School of Art, 1988-91. Edinburgh College of Art, 1993-2005. Visiting Lecturer, Duncan of Jordanstone in 1990 and Berkeley University, California, 1990. Major solo exhibitions including : London, New York, Chicago, Glasgow and Edinburgh. Numerous group exhibitions worldwide. Corporate collections include :The Scottish Arts Council, The Royal Scottish Academy, City Arts Centre (Edinburgh), Bank of England, Financial Services Authority, Robert Fleming & Co, Contemporary Arts Society, Unilever PLC, Bankers Trust, Electra PLC, Allied Breweries, Price Waterhouse, Arthur Andersen, WH Smith & Son Ltd, Gartmore Investment Management.

* PETER HOWSON OBE Demon Original drawing in black ink, signed Exhibition framed 29 x 20cm (11 ½ x 8 inches)

* PETER HOWSON OBE Miser Original drawing in black ink, signed Exhibition framed 29 x 20cm (11 ½ x 8 nches)

* PETER HOWSON OBE Loki Original drawing in blue black ink, signed Exhibition framed 20 x 29cm (8 x 11 ½ inches)

ZAMIRAILO, Viktor Dmitrevich (1868-1939). A pen and ink drawing for Evgenii Ivanov's Kot-Kolobrod i krysy [Tomcat and the Rats], 1928. Pen and ink on paper (155 x 220mm), a cat confronting a group of rats, captioned in ink 'ris.4 Dolgo kot i krycy staiali v takoe poze...', and another pencilled caption 'k rasskazu Kot-Kolobrod'. (Crease not affecting the image, light soiling on the verso.) Provenance: Lengiz Khudozhestvennoe Otdel (inventory stamp numbered 1725 in manuscript). Together with a first edition of Ivanov's book (Moscow: Gosudarstvennoe Izdatel'stvo, 1928) reproducing the drawing on page 9. Rats Collection 219 (for the edition). View on Christie's.com

Maugham (William Somerset) Of Human Bondage first edition first issue with error present on p.257 line 4 contemporary ink owner`s inscription on front free endpaper slight splitting to lower endpapers original green cloth blocked and lettered in gilt minor fraying to corner tips otherwise very good preserved in later morocco-backed cloth drop-back box lettered in gilt and with author`s device in gilt [Stott A21a] 8vo New York Doran 1915. *** The true first edition published a day before the UK edition. Drawing again considerably on the author`s own experiences this work`s merit was initially slow to be seen by many though Theodore Dreiser reviewing the book for The New Republic in December 1915 defined it as a “novel or biography or autobiography or social transcript of utmost importance” and its author as a “genius”. As Somerset Maugham`s reputation developed further however Of Human Bondage was soon given the reverence and canonical status it deserved.

HELEN LAYFIELD BRADLEY (1900-1979) MISS CARTER AND MR TAYLOR inscribed `Dear Me` said mother "Just look at Miss Carter insisting on walking as far as the Cemetery in all this rain", but dear Mr Taylor (the bank manager) soon brought her back under his Umbrella Aunt Frances said that she did it on purpose, and dated 1971, pen and brown ink, 24.5 x 26.5cm, unframed (2) Sold with the artist`s book And Miss Carter Wore Pink, one of the signed copies from the limited edition of fifty five in quarter reversed calf, each of which contained an original drawing by the artist, London: Jonathan Cape,1971. ++The drawing damp stained on the left hand side, visible in the catalogue illustration, the book similarly damp stained along the spine and calf binding which has penetrated to all the plates. The drawing should respond to conservation or could be cropped/mounted with little loss, the condition reflected in the estimate

A SET OF SCOTTISH GEORGE IV DRAWING INSTRUMENTS with engraved ivory 6 inch sector, boxwood scale, ebony parallel rule and brass compasses, dividers, spring bows and pen holder, each engraved with the initials AO, in fishskin case with brass button and printed trade label of P Hill 7 Union Place Back of Leith Walk Edinburgh, inscribed in ink with the date Jany 10 1818 and, in another`s hand £2.12.6., case 17cm h Peter Hill, Mathematical & Optical Instrument Maker (w. 1801-1828) traded from 6 Union Place from 1813-21 and No 7 from No 1820-1824. ++In good original condition

(Arthur binder).- Song of Songs (The) translated (Arthur binder).- Song of Songs (The) translated by Keith Bosley number iii of 6 deluxe copies printed on hand-made paper from Richard le Bas containing pieces of pressed flowers and bound by Arthur Johnson signed by the artist and translator from an edition limited to 206 printed in brown and black illustrations by Richard Kennedy printed in brown with a double-page signed original ink drawing by Kennedy of a loving couple bound in at beginning bound in brown goatskin by Arthur Johnson covers with swirling vertical lines in gilt and black around a flower of inlaid gold yellow orange red & crimson goatskin on upper cover titled in gilt up spine t.e.g. others uncut signed “A.J. 1977” in blind on rear turn-in cloth drop-back box 4to Andoversford Whittington Press 1976.