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Lot 27
Senape. Vedute del Museo Borbonico in Napoli view of the National Archaeoligical Museum in Naples pen drawing in blue and black ink on draughtsman`s paper 200 x 270mm. 2 horizontal tears in upper right attached to support [19th century]; with a drawing by Porcher in a monochrome wash and another by a different hand(3)
Lot 483
Sheppard (Guy) A group of ten designs including ink caricatures of Serge Grigorieff and Vera Nemchinova 1938; a gouache costume design for “The Wedding Ring” 1942; an ink drawing symbolising the English Ballet for the first issue of “Arabesq” 1943; two gouache set designs for “The Wild Duck” 1960 another for “Dr. Faustus” all but the last signed and dated; and three others two framed and glazed v.s.(10)
Lot 508
Fashion.- Original and printed designs including four grisaille drawings to illustrate women`s evening gowns and day wear one signed “Arthur” c.1900; a watercolour drawing of a Viennese interior titled “Aus Wimzahl 1920”; a full-size design in pencil gold and silver for the decorated bodice of an art-deco evening gown with illustration of the whole dress; three gouache designs for gowns and trouser suits apparently by the Atelier Madame Leonie Paris c.1925; an ink and wash illustration of two women`s evening gowns signed “Ravenshoe” c.1925; two large gouche designs for patterned fabrics France c.1930; and seven others fifteen framed and glazed v.s. (20)
Lot 1314
An Exact Diurnall of the Parliament Ladyes, pen and ink drawing on paper, 8.3cm by 12.7cm, in a 19th century ebonised glazed frame, label verso inscribed Musicians Benevolent Fund Dinner 27th April 1927 Given to me on this occasion by Mrs Oliphant Devitt, née Brown-Morison K.M.A., also pencil titled An Exact Diurnall of the Parliament of Ladyes L121 King`s Pamphlets E386/4; and A Brass Pedestal Measuring Cup, 19th century, the semi-ovoid bowl on a single knopped stem and circular foot, 8cm high Both the picture and cup were reputedly purchased at the Menzies Castle, Scotland sale, and it was said the communion cup had a connection with Mary Queen of Scots.
Lot 462
Ricci (Bartolomeo). Considerationi Sopra Tutta la Vita di N.S. Giesu Christo..., Revista dall’auttore e migliorata, Rome: Bartolomeo Zanetti, 1610, eng. title close-trimmed to image at head & foot (with loss to margins) and with small hole & fraying, 160 full-page eng. illusts., juvenile ink drawing to verso of final leaf of text, leaf A1 with closed-tear to lower edge of plate mark, small hole at foot of leaf O2, some light dampstaining and few marks etc., contemp. blind dec. morocco, lacks clasps and wear to spine and board edges, 8vo (1)
Lot 80
Arthur William Devis (1763-1822). Fashionably dressed lady with muff and fur-trimmed costume. Pen and ink over pencil, with touches of watercolour. Signed Devis at lower right. 19 x 14cm (7 1/2 x 5 1/2 in). Most likely a drawing for a fashion plate as, having been released from the debtors’ prison, Devis became involved with producing some of the earliest designs for La Belle Assemblee magazine, which began in 1806, the period to which this costume belongs.
Lot 83
Benjamin Robert Haydon (1786-1846). Romeo and Juliet. Pen and ink drawing. Manuscript extract from Shakespeare’s play, in Haydon’s hand, on the verso. 23 x 18.5cm (9 x 7 1/4 in). Standing male nude figure study, with inset study of an arm. Pen and ink drawing. Signed in ink at lower right. 22.5 x 18cm (8 7/8 x 7 in). Sir William Allan PRSA (1782-1850). Pencil drawing inscribed The Regent Murray shot by Hamilton of Bothwellhaugh. Signed with initials at upper right, the sheet addressed to Madame Dufresne in Paris, and postmarked 1825, on the verso. 20 x 25cm (8 x 9 3/4 in); and with 3 portrait studies of male heads, 2 in pencil, 1 in charcoal, by various hands, all unframed (6). These 6 drawings, and the following 2 lots, were extracted from an album originally belonging to Elizabeth Dufresne, a neighbour of Sir David Wilkie in Rathbone Place, London, whose circle of mainly Scottish friends included William Allan. She modelled as the mother in Wilkie’s famous work, The Blind Fiddler. Benjamin Haydon was also associated with this group, as was the French emigré artist, Dufresne, whose marriage to Liz was short-lived, ending with her departure for France. Haydon wrote affectionately of her and this period of their association in his autobiography, where he even refers to them reading Shakespeare together. “Liz was as interesting a girl as you would wish to see and very likely to make a strong impression on any one who knew her: however, I kept clear, and she ultimately married the Frenchman”. It is probable the three portraits included in this lot are of related figures, and two have been tentatively identified as Wilkie and William Hazlitt.
Lot 84
Benjamin Robert Haydon (1786-1846). Christ’s Triumphal Entry into Jerusalem. Pen and ink drawing on wove paper. Unframed. 18.5 x 23cm (7 1/4 x 9 in). The finished painting of this subject (now in Mount St Mary’s Seminary, Cincinnati, Ohio) took Haydon six years to complete, from 1814 to 1820, during which time he ran up huge debts as it absorbed all his attention. It is regarded as perhaps the best of his monumental history paintings, and this was the period of his greatest self-belief, further fuelled by the adulation of his literary friends, including Wordsworth (see following lot). Haydon wrote on its completion “Never have I had such irresistible and perpetual urgings of future greatness”. This drawing was extracted from the same album belonging to Elizabeth Dufresne as the preceding lot.
Lot 85
Benjamin Robert Haydon (1786-1846) after William Wordsworth (1770-1850). Sonnett addressed to B.R. Haydon by W. Wordsworth - Dec 27, 1815. Manuscript transcript in Haydon’s hand, of the poem High is our calling, Friend!, headed as above, with a drawing of a hand below. Pen and ink on wove paper. Unframed 18 x 11.5cm (7 x 4 1/2 in). This sonnet was one of three dedicated by Wordsworth to Haydon. It was originally written on December 21st, 1815, and Haydon later wrote in his autobiography, “Now, reader! was not this glorious?” During this period, he was also the recipient of four poems by Keats and one by Elizabeth Browning, amongst others. This transcript by Haydon, written within days of receiving the original (present whereabouts unknown), was found in an album belonging to his friend Elizabeth Dufresne (see preceding lots). The hand represented below may be Wordsworth’s, as Haydon drew it on other occasions, or his own. Or possibly simply the hand of ‘Creative Art’.
Lot 93
Attributed to Jerzy Faczynski (1917-1994). Projected view of the Festival of Britain site, c.1950. Pen and black ink on tracing paper, with overdrawing in blue ink. Titled Festival of Britain London 1951 below. Unframed. 19 x 25.5cm (7 1/2 x 10 in). Originally intended as a centenary celebration of the first world fair, the Great Exhibition of 1851, the Festival of Britain became more a statement of post-war national identity and pride. The architect appointed to oversee the whole project was Sir Hugh Casson, who brought in countless young architects and designers to work on the various elements. This drawing shows a perspective view across the Thames, including the Dome of Discovery, the Lion and Unicorn Pavillion, and the shot tower, drawn in black ink. But it is centred on the famous Skylon structure, by Philip Powell & Hidalgo Moya, here added in blue ink, in two alternative positions in relation to the dome, with the steel-framed radio beacon on top of the shot tower, itself the only pre-existing structure on the site, similarly inked in.
Lot 181
* French School. Pastorale landscape with animals, shepherd playing a flute, and a young maid spinning wool, early 18th c. pen, ink and wash drawing, on laid paper, 138 x 140mm (5.5 x 5.5ins), together with two other early 18th c. drawings of similar size, probably English School, including one scene of a gamblers in a tavern, in the manner of Thomas Rowlandson, and another of a huntsman in a landscape berating his dog (3)
Lot 195
* Ruskin (John). Notes by Mr. Ruskin. Part I. On his Drawings by the Late J.M.W. Turner, R.A. Part II. On His Own Handiwork Illustrative of Turner. The above being exhibited at The Fine Art Society’s Galleries, 148, New Bond Street. 1878, 11th thousand, revised edition, [1878], Ruskin’s own copy, with his ms. ink and pencil annotations, orig. printed wrappers, dusty and a little marked, front cover detached and frayed (at one time attached with brown tape still present at gutter of title), upper margin of front cover with ms. note in Ruskin’s hand ‘Mine - with Guardian reviewinside’ (review no longer present), ‘With the Author’s Compliments’ slip tipped-in oninside front cover, 8vo, together with Ruskin’s own green morocco-backed blank drawing book, approx. forty blank leaves of coloured paper, upper hinge broken, folio, plus a large cloth portfolio containing fifteen blank sheets of drawing paper which belonged to Ruskin, plus an armorial seal, possibly Italian, the ivory seal in engraved silver setting, with carved agate handle, length 70mm (2.75ins), plus an amethyst and gold watch key, the stone engraved with a flower and ‘To You’ (in reverse), length 20mm (.75ins), and a small amethyst and gold drop earring, both of which belonged to Ruskin’s mother, plus a small quantity of related catalogues and ephemera (6)
Lot 318
* Nelson (Harold, 1871-1948). “Memories”, oval pen & ink drawing, of a Pre-Raphaelitesque lady with flowing locks, sitting amongst tree roots beside a stream, with initial ‘N’ in lower right-hand corner, trimmed to image and oval mounted, framed and glazed, with old ms. title label on verso, 201 x 125mm (8 x 5ins). Harold Nelson was an artist, illustrator, designer of bookplates, etcher, and lecturer. He studied at both the Lambeth School of Art and the Central School of Arts and Design. Nelson was strongly influenced by Albrecht Durer and William Morris, and was prolific as a ‘black and white artist’ specialising in medieval illustrations in a Pre-Raphaelite, Arts and Crafts and Art Nouveau style. (1)
Lot 137
Mayer (Joseph, collector of antiquities 3pp., 4to, 68 Lord Street, Liverpool, 23rd November 1846, regarding a dispute about payment for a drawing, "You have known me many years & I am sure in the whole time you never knew me to do anything but what was honourable as far as lay in my power, but I was surprised to hear from you opinions that I should pay a sum of money for a Drawing I am sure you would say when you see it is quite contrary to the order given & you were so instrumental a party in writing that order - which was the only letter I have written about it - the contents of which you might remember so well" and his dispute with Mr Meadows, tipped-in on card; and 4 other pieces relating to Mayer, including 3 pen and ink drawings of a Jack, v.s.(5 pieces)
Lot 448
Shepard (Ernest H.) `He swung off the path and plu original pen and ink drawing highlighted in places with body white, slight oxidization to the white pigment, signed by the artist in lower right hand corner, depicting Mole in woods, p.39 of Wind in the Willows, image c. 254 x 172mm., matted framed and glazed, [Guildford, c. 1931] § Grahame (Kenneth) The Wind in the Willows, presentation copy, `To Pauline [Baynes] / with love from Kip / Sept 9th 1959, on the half-title and signed again by the artist on the title, illustrations by E.H.Shepard in colour and black and white, original cloth, dust-jacket, some foxing to jacket, 8vo, 1959. (2) Memo/Condition report note: Under the mount the annotation in pencil below the image reads ‘page 53 “Then the pattering began”, “Wind in the Willows”. On the verso of the image the artist has written, E.H.Shepard Long Meadow Longdown Guildford.
Lot 518
* Sir Osbert Lancaster CBE 1908-1986- "Is Mr Peter Wilson Aware....."; original artwork illustration possibly intended for publication, pen and coloured ink, signed and with typed caption, 25x14cm: Early 20th Century- Humorous caricature of an academic figure; pen and black ink, inscribed verso, (2) (part unframed) Note: A Cartoonist, author, art critic and stage designer, best known for his cartoons published in the The Daily Express. He initially worked with Betjeman at the Architectural Review In 1936 he published Progress at Pelvis Bay, the first of his many books of social and architectural satire. In 1939 he became cartoonist at the Daily Express, where he pioneered the Pocket Cartoon, a topical single-panel single-column drawing appearing on the front page, since imitated in several British newspapers. In these he sympathetically mocked the British upper classes, personified by his characters William (8th Earl of Littlehampton, formerly Viscount Draynflete) and his wife Maudie. During his Express career he drew some 10,000 cartoons over a period of 40 years
Lot 578
Attributed to Henry Pierce Bone 1779-1855- "The Feast of Thyestes"; pen and black/brown ink and black crayon on buff paper, inscribed below, Note: In 1799 young artists from the circle of Dr Monro founded a sketching club. headed by Thomas Girtin, they called themselves the brothers and there first meeting took place on the 20th May 1799 at the lodgings of Robert Ker porter at 16 Great Newport Street, in the old old painting of Sir Joshua Reynolds. Its aims as inscribed on the back of a drawing by Louis Francia, "Was to establish a school of historic landscape painting the subjects being designs from poetick passages", its first members being J C Denham, Robert Ker: Porter, T Girtin, T Underwood, G Samuel and L Francia other members included H P Bone, Dr T Monro, T Unwins, J S Cotman, C Varley, (all the Varley`s) J Cristall and others. The treatment and handling of this particular subject is reminiscent to that of a drawing by Bone "The Stoning of Stephen". pl.14, source: Jean Hamilton, V&A publ. 1971 "The Sketching Society".(LP)
Lot 903
SIR ROLAND ALGERNON PENROSE, CBE (1900-1984) SAILOR ink and gouache, 15.5 x 14cm Painted at Cassis c1923. Provenance: Acquired directly from the artist by Bonamy Dobree (1891-1974) and his wife Valentine (1893-1974); their daughter, the musician Georgina Dobree (1930-2008) The authenticity of this work has been confirmed (on the basis of first hand inspection) by Anthony Penrose. Mr Penrose has observed (private correspondence) that the present, recently discovered early work by Roland Penrose is closely related to another gouache, "The Pequod" (sold by the descendants of Penrose`s secretary, Joyce Reeves, Christie`s 6 December, 2007, lot 62) one of the earliest British Surrealist pictures. He draws attention, in particular, to the same treatment of the sea and cobblestones in both works. Penrose, who came from a Quaker family was captivated by the novel Moby Dick, largely set on board Captain Ahab`s old ship "The Pequod" and drawing on a rich source of Nantucket Quaker heritage. Since the title of the present work is unrecorded, it is likely also to have been inspired by Melville`s famous story. In 1923 Roland Penrose, arrived in Cassis with his friend, the Greek painter and collagist Jean `Yanko` Varda (1893-1971) whom he had met in Paris (Roland Penrose Scrapbook 1900-1981, Thames & Hudson, 1981, pp28-33). Varda, too was enthralled by the Moby Dick story which provided the theme for many of his mosaics and other works. Penrose and Varda were clearly very fond of the Dobrees and the four friends appear together in a photograph taken at Larrau in 1923 (Penrose. op cit, plt 50). The work will be included in Anthony Penrose`s forthcoming Catalogue Raisonné. In fine condition
Lot 906
GERALD LESLIE BROCKHURST, RA, RE (1890-1978) WOMAN IN A HAT signed, dated 1916 and dedicated to E Adams, pencil and bistre wash, 42 x 30cm A prodigiously talented draughtsman and etcher, G L Brockhurst lived in Ireland from 1915 to 1920. There, this lovely drawing of his muse and first wife Anais Folïn, whom he married in 1914, was drawn. In Ireland the Brockhursts were introduced to Augustus John and his circle by Oliver St John Gogarty (1878-1957). Drawn shortly after returning from travelling in Italy, where Brockhurst studied the great art of the cinquecento, the influence of John, too, with whom he formed an immediate and permanent bond, is apparent. The present hitherto unknown drawing, until recently for many years in Southern Africa, still retains its Belfast framer`s label. Mellors & Kirk is very grateful for the assistance of Professor Kenneth McConkey in the cataloguing of this lot. In good condition with several spots of foxing, in plain oak chamfered frame but preserving what is likely to be the original backboard bearing indistinct inscription and printed trade label of William Rodman & Co Ltd 41 Donegal Place Belfast, inscribed in ink 9640.18 and railway label - & NWRY Birmingham
Lot 301
John Lennon A rare oversized drawing in black ink, a double self-portrait caricature of John Lennon and Yoko Ono, above a skyscape with a sun and four clouds and the slogan Montreal 1969, inscribed by John in large black letters Joy Merry and Gay, Love and Peace from John Lennon additionally signed by Yoko Ono, the artwork drafted by Lennon in Suite 1742 at the Queen Elizabeth Hotel, Montreal, Canada, during John and Yoko's historic Bed-In for Peace, 26 May - 2 June, 1969; the artwork with inscription and drawing by Lennon on piece of white card in large format for display purposes, same card and similar dimensions as placard wall displays, presented to the Lennons' close friend Norman Seaman, hand drafted and personally dedicated to his daughters, the card -- 20¼x25¼in. (51.5x5x64cm.), trimmed, with attached mount; accompanied by a letter concerning the provenance, the artwork having remained in the family ever since (2) View on Christie's.com
Lot 960
18x "Tom Finney Story" pen and ink football drawing stories covering the period from 1947 -1949 - incl PNE Cup games, England (10) v Portugal (0) 1947 which incl Portugal substitutes (illegal at that time) to try and stop the onslaught plus other International and FA Cup games most are signed with either the monogram or R Bond -overall 9 x 10.5"
Lot 961
18x "Tom Finney Story" pen and ink various football drawing stories covering the 1950`s featuring the World Cup and other internationals Ðto incl the vital match against Scotland who needed to beat England to win a trip to the World Cup, the World Cup in Brazil, the game against Argentina losing for the first time at Wembley et al most are signed with either the monogram or R Bond - overall 9 x 10.5" plus 3x single strip captions (21)
Lot 962
8x "Tom Finney Story" pen and ink football drawing stories covering the 1950/51 Preston North End Div II championship winning season: opposition included Barnsley, Southampton, West Ham, Swansea, Birmingham City, Queens Park Rangers, Leicester, Blackburn Rovers et al and including the PNE team line up - most are signed with either the monogram or R Bond - overall 9 x 10.5
Lot 965
12x "Tom Finney Story" pen and ink football drawing stories covering the 1950s period: to include reaching the FA Cup Final 1954, the England game against Hungary which England lost 7-1, 1954 World Cup in reaching the quarter-finals et al most are signed with either the monogram or R Bond - overall 9 x 10.5 -4x with some marks and stains - most are signed with either the monogram or R Bond - overall 9 x 10.5
Lot 1040
Cedric Lockwood Morris (1889-1982) pen and ink study entitled Paris Night Club, signed and dated 1924 in glazed frame, 34.5cm x 23.5cm Provenance: From the collection of the secretary at the East Anglian School of Painting and Drawing - Benton End Quantity of foxing, the backing board has woodworm which has resulted in approx 18 holes appearing in the image Condition: Quantity of foxing, the backing board has woodworm which has resulted in approx 18 holes appearing in the image
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