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19th century brown ink drawing of a female head, possibly Galatea and monogrammed indistinctly, framed under glass, 11 x 18cm

Michael Zichy 1827-1906 zugeschrieben Biblische Szene, Pinselzeichnung in schwarzer und grauer Tusche, monogrammiert Zichy 1872, gerahmt mit Glas und Passpartout, 48 x 48 cm. | Michael Zichy (1827-1906) attributed Biblical scene, brush drawing in black and gray ink, monogrammed Zichy 1872, framed with glass and mount, 48 x 48 cm.

Noel Spencer, Pen and ink drawing, Costessey Hill, Norwich

FOLLOWER OF THOMAS ROWLANDSON TWO WOMEN, ONE HOLDING A FAN, THE OTHER WEARING A LARGE FEATHERED HAT Pen, watercolour and wash 20.5 x 16.5cm (8 x 6¼ in.) Together with a pen, ink and wash drawing of three figures, two female, one male, 25.5 x 15cm (2)

ROBERT RAUSCHENBERG (1925-2008)Night Walk (Urban Bourbon) 1988 signed and dated 88; dated and numbered 88.194 on the reverseacrylic and silkscreen ink on enamelled aluminium 121.7 by 183.5 cm. 47 15/16 by 72 1/4 in. Footnotes:This work is registered in the archives of the Robert Rauschenberg Foundation, New York, under RRF 88.194.ProvenanceGuy Pieters Gallery, Knokke-HeistAcquired directly from the above by the present owner circa 1989Night Walk (Urban Bourbon) from 1988 is a superbly atmospheric example from the celebrated Urban Bourbon series of paintings on metal that Robert Rauschenberg created between 1988 and 1996. Having travelled widely throughout his life, Rauschenberg participated in numerous international ventures and believed in the power of art as a catalyst for positive social change. From 1984 to 1991 he embarked on the ROCI project, the Rauschenberg Overseas Culture Interchange, intended to spark a dialogue and achieve mutual understanding through creative work. The project was an expression of his long-term commitment to human rights and on a trip to Chile in 1984 Rauschenberg visited a copper mine and foundry where he learned from artist Benito Rojo about the potential of tarnishing agents on copper. He liked the metal's warm reflective qualities, explaining that, 'the metal carries the image instead of the opposite way around, where the paint is the image on the surface.' (the artist in: Galerie Thaddaeus Ropac press release, BOREALIS 1988-92, www.ropac.net, 21 September 2021). Between 1985 and 1995 Rauschenberg went on to create fifteen different series of metal paintings including Urban Bourbon, all on varying supports that incorporated brass, aluminium and copper. The images featured in Night Walk (Urban Bourbon) have been taken from this trip to Chile, although much of the subject matter is familiar and appears in the artist's work throughout his career.Rauschenberg didn't want his paintings to be didactic; rather they are a collection of motifs that lead the viewer on their own journey, and are subject to the viewer's own thoughts, perceptions, and feelings. Photography and printmaking were two of his abiding interests, allowing him to document and reflect the countries he visited and the world around him, and the photographs used in his work are taken by the artist – often on his extensive travels. The title of the present work - Night Walk (Urban Bourbon) – alludes to the dark blue and black background that emphasises the silkscreened and somewhat familiar, everyday imagery of a commercial sign, a classical sculpture, the petals of a rose, a row of open windows and the lattice of patio chairs. The stark contrast of the images overlapping, cropped and interspersed with swift gestural brushstrokes, set against the bi-tonal background conjures up the feeling of a walk at dusk or in the night, when familiar shapes appear from and disappear into the shadows and become less recognisable. The Urban Bourbon works are paintings with expressionistic brushwork and silkscreened images on enamelled, mirrored and anodised aluminium. The title may reference an exchange between Rauschenberg and Willem de Kooning, where the latter artist was offered a bottle of Jack Daniel's by the former in exchange for participating in the now legendary Erased de Kooning Drawing (1953). The rhyme of 'urban' and 'bourbon' also reflects Rauschenberg's appreciation of wordplay. Works from the popular series can be found in the collections of some of the world's most esteemed institutions such as The Albertina Museum in Vienna; ARoS Aarhus Kunstmuseum in Denmark; Fondation Beyeler, Riehen; Los Angeles County Museum of Art; Museum of Contemporary Art and the Whitney Museum of American Art, New York amongst others.Over the course of his 60-year career, Rauschenberg worked in a wide range of media including painting, sculpture, fabric collage, printmaking, photography and performance, challenging gestural abstract painting at a time where Abstract Expressionism was the dominant creative philosophy in America. Studying at the famed Black Mountain College under the tutelage of Josef Albers, he quickly rose to be one of the most influential and experimental artists of his time, a progenitor of practically every post-war artistic development since Abstract Expressionism and the first American to win the Golden Lion, the top prize at the Venice Biennale in 1964. Today, his works are highly sought after internationally, and Night Walk (Urban Bourbon) incorporates some of the artist's most recognisable and iconic techniques. With its juxtaposition between two different modes of paint application: gestural brushstrokes and mechanically reproduced imagery; the artist bridges the gap between Pop Art and Abstract Expressionism and wonderfully demonstrates his skill and keen eye for how imagery in modern media culture could be propagated, transformed and composed.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

LUCIAN FREUD (1922-2011)Encarnacion 'in the Square' 1968 titled and variously inscribedink, pencil and gouache on paper39.7 by 37.8 cm. 15 5/8 by 14 7/8 in. This work was executed in 1968. Footnotes:We are grateful to Annie Freud and Catherine Lampert for their assistance in cataloguing this lot.ProvenanceCollection of the artist, London Raymond Jones Collection, London Acquired directly from the above by the present owner in the 1980sLucian Freud's Encarnacion 'in the Square' tells an intimate and revealing story of the artist's relationship with his daughter, Annie Freud, and those sitters closest to the late master. It is a piece that carefully illustrates the devotion and creative dialogue he shared with the child of his first wife, Kitty Epstein. As a stirring and captivating study from an artist whose demeanour as a cold and fastidious portraitist preceded him, it is a rare and historical insight into the life of one of the greatest painters of the twentieth century.Executed as a poster for a synonymous theatrical performance that Annie performed in 1968, the present work is testament to Freud at his most fatherly and involved, in many respects. Attending Annie's performances, Freud conferred extensive feedback, as analytical as one might expect from the grandson of Sigmund Freud. In conversation with the sitter (Sept 2022), Annie commented of the play: 'It was a monologue, although there was another silent role on the stage. Encarnacion was the name of the blind woman I played. It tells the story of a woman who relives her whole life with her husband, Olo, the moment a car hits her on the Square of the town where she lives. Dad came to every night of the play and gave me detailed comments after each performance.' In Encarnacion 'in the Square', Freud lays bare a wonderfully crisp silhouette, delivered with an economy and sense of the human form that he is so renowned for. Remarkably, the piece was sold by Lucian to another famed sitter, Raymond Jones, who notably appears in Naked Man with Rat (1977-78), now in The State Art Collection of Australia.Over the course of his career Freud's output was consistently defined by the women in his life, and those images of his daughters stand as some of the most accomplished and celebrated works the artist produced. Presented here for sale, Encarnacion 'in the Square' is a unique example of Freud's ink drawing that captures his daughter Annie in a quite extraordinary context, boasting a wonderfully personal origin and significant provenance to complement its elegant execution.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Charles Keene (1823-1891)Reading the Newspaper, pen and ink drawing, 20 x 12cmJ S Maas & Co, London, label verso

Charles Keene (1823-1891)Three figures in an open carriage, pen and ink drawing, 9 x 11cmwith Abbott and Holder

Attributed to GAETANO GANDOLFI (San Matteo Della Decima near Bologna 1734-1802)  The Four Ages of a Man  Italian 'Old Master' type ink drawing, signed lower right 'Gaet Gandolfi', 14cm x 19cm.

Anonymer Künstler.: Engel kniet mit verschränkten Armen vor einem Feuer, vor ihm liegt ein Korb und im Hintergrund ist eine Siedlung zu erkennen. Rötelzeichnung auf Bütten, Einfassungslinie in Tusche und darunter in Tusche bez. mit korrigierter Datierung J. Tischbein 1765' Wohl vom 18. Jhdt. Blattmaße 24 x 28 cm, hinter Pp. 37 x 50 cm. Artist of the 18th century, angel kneels with folded arms in front of a fire, in front of him lies a basket and in the background a settlement can be seen. Red chalk drawing on handmade paper, edging line in ink and inscribed below in ink with corrected date ''J. Tischbein 1765'', somewhat stained, sheet dimensions 24 x 28 cm, behind passepartout 37 x 50 cm. D

Maratti, Carlo.: (1625 Camerano - 1713 Rom). Enthauptung einer Märtyrerin, große, vielfigurige Szenerie mit der Knienden jungen Frau und einem ihre Hand haltenden Mönch, umgeben von römischen Soldaten und einer im Vordergrund liegenden Leiter als Attribut. Rötelzeichnung auf Bütten, u. li. in Tusche alt bez. "Carl Maratti 24", Nadellöcher in den Ecken, vertikale Quetschfältchen, 40 x 31,5 cm, hinter Pp. 59 x 49 cm. Carlo Maratti (1625-1713) (attrib.), Beheading of a Martyr, large, multi-figured scene with the kneeling young woman and a monk holding her hand, surrounded by Roman soldiers and a ladder lying in the foreground as attribute. Red chalk drawing on handmade paper, lower left inscribed in old ink ''Carl Maratti 24'', pinholes in the corners, vertical box pleats, 40 x 31,5 cm, behind passepartout 59 x 49 cm. D

PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NETHERLANDISH SCHOOL. A MALE SAINT, SAVAGE ANIMALS AT HIS SIDE, STANDING IN A STREAM IN A WOODLAND CLEARING. Pen and ink and grey wash, possibly 17th Century, 17.2 x 13cm.; with an etching, `Seated Woman` by Comte de Caylus (Anne Claude Philippe de Tubieres), after Parmigianino, c.1730, image 12.5 x 9.5cm. (2) Provenance: (Drawing) Sir Thomas Lawrence (Lugt 2445); (Etching) Sir John St Aubyn (Lugt 1534). * The drawing with old creases where formerly folded; the etching with tears at left edge, some wear, foxing. **BP 22.5% inc VAT + Lot Fee of £8

JOHN VARLEY (1778-1842). WESTMINSTER BRIDGE AND THE ABBEY BEYOND. Bears inscription `By Varley`, pencil, 6.5 x 15.5cm; with an ink drawing in the style of Thomas Girtin, `Landing Place, Weymouth` inscribed and numbered `39`, ink, 8 x 14.5cm. (2) Provenance: London, Folio Fine Art Ltd. * Each needs a light clean. **BP 22.5% inc VAT + Lot Fee of £8

EDMUND BLAMPIED (1886-1966). AS A YOUNG GIRL I WAS CONSIDERED VERY BEAUTIFUL. (d) Signed and dated 1931, inscribed `nonsense drawing` and further inscribed with title, watercolour with pen and ink, 29 x 24.5cm., Provenance: London, Walter Bull & Sanders Ltd. * Good condition. **BP 22.5% inc VAT + Lot Fee of £8

* Joseph Appleby & Sons Ltd, millers. A presentation photograph album for Joseph Appleby & Sons, 1890s, 15 albumen print photographs, c. 1867-91, printed 1890s, images include Enfield Mill - Old view, 1867, House front, 1892, Canal front, 1891, Yard view, 1891; Blackburn Mill - Front view, 1891, Canal front, 1891, Old view, 1877; Bootle Mill - Carolina Street, 1891; Bridgewater Mill - Bridgewater front, 1891, Jamaica Street, 1891; Wiltshire Grange - Exterior view, Billiard room, Drawing Room; Enfield Cotton Mill 1891 - Exterior view, images 24 x 29 cm or the reverse, mounted to album leaf rectos with neat ink captions to lower mounts, some spotting throughout, original half morocco gilt, heavily rubbed, some loss at head and foot of spine, oblong folio, together with an archive of related ephemera including an accounts ledger, c. 1879-1901 with Edgar Appleby's name gilt-titled to upper cover, a manuscript and typed copy letters book, c. 1900-1918, covers badly damp stained, plus an assorted collection of legal papers and related, c. 1900-1930 including 2 small accounts books for the executors of Edgar ApplebyQTY: (a carton)NOTE:The history of this family milling empire goes back to 1841 when Joseph Appleby settled at Enfield Mills. After Joseph's death in 1878 the business of the firm was continued and enlarged by his two sons, Edgar and Arthur, under the name of Joseph Appleby & Sons.

Sir Francis Rose, British 1909-1979 - Andorra; ink and offset drawing on paper, signed lower right 'Francis Rose', 51 x 36.7 cm (ARR) Please refer to department for condition report

Antoni Clave, Spanish 1913-2005 - Stage design for Roland Petit's 'Carmen', c.1949; gouache, coloured chalks, pen and black ink on paper, 38.5 x 60 cm (ARR) Note: This dynamic work by Antoni Clave is an original stage design for Roland Petit's ballet from Georges Bizet's opera 'Carmen', first performed in London at the Prince's Theatre in 1949. This celebrated production was renowned for its Spanish style and blend of the classical and modern, and remains one of Petit's most performed productions. Clave had produced numerous set designs in the 1940s and 50s, and was eventually nominated for two Academy Awards for his designs for Charles Vidor's 1952 film 'Hans Christian Anderson'. Like other works from this series of designs, Clave offsets bold strokes of pure colour against the black of the sheet, creating a dramatic and energetic scene. The simplified, yet direct, drawing of the figures is highly characteristic of the artist and shows the influence of his friend and fellow Spaniard Pablo Picasso and the forms of Cubism on his work. Clave has works in major public collections across the world, including Museo Nacional de Arte Reina Sofia Museo, Madrid, British Museum, London and Musee d'Art Moderne de Paris. During his lifetime he exhibited with important galleries including Arthur Tooth & Sons, London in 1955 and the Picasso Museum, Antibes in 1958 and won a prize at the Venice Biennale in 1956. In 2022, the Palazzo Franchetti held the exhibition 'The Spirit of the Warrior' devoted to the artist's work to coincide with the Venice Biennale. Please refer to department for condition report

Jean-Louis Forain, French 1852-1931 - A drawing of a nude woman; ink and wash on paper, watermark with artist's name underneath the mount 'J. L. Forain', 17.7 x 13.8 cm Provenance: with Brod Gallery, London (according to the label attached to the reverse of the frame) Please refer to department for condition report

A Victorian Windsor & Newton 'Extra Handsome' mahogany watercolour box,circa 1870-1880, the mahogany box inlaid with a brass sunburst to the lid, opening to reveal trays and compartments with 36 cakes of paint, bottles of ink, porcelain paint trays, with two cut glass water pots, and two cut glass bottles, with assorted paintbrushes and tools, to the front with a concealed drawer of porcelain palettes and paint trays, the inside of the lid with a gilt leather insert inscribed 'Winsor & Newton Limited, manufacturer's by appointment to Her Majesty and to T.R.H The Prince and Princess of Wales, Rathbone Place London England', 37.5cm wide,27.5cm deep, 10cm high, together with a copy of Practical Directions for Portrait Painting in Watercolours,1875, by Mrs. Merrifield, fifteenth edition, published by Winsor & Newton, to the back featuring the contemporary Winsor & Newton List of Colours & Materials for Water Colour Painting, Oil Painting, Pencil Drawing &c., see p. 9 for an illustrated example of the 'Extra Handsome' boxCondition ReportSome of the cakes of paint with cracks. Overall internally with minimal signs of use. Some of the tools possibly later. The accompanying book with wear and stains. The frontispiece with fading. Minor chips and crazing to the porcelain palettes and trays. 

Sir George Clausen [1852-1944]-Landscape sketch,:- signed bottom rightchalk drawing, ink and wash on paper, 24 x 30cm, together with three watercolours by William Tatton Winter [1855-1928] of a South Downs Mill, signed and dated 1910, 35 x 39cm, a Horse, Cart and Hayricks, signed, 26 x 36cm, Cothertstone Mill, Yorkshire, signed bottom right, 32 x 29cm, with one other of Horse and Wagon on the brow of a hill. [5]Please see website for further images of this lot www.bhandl.co.uk

Indonesian School early 20th Century-View to a pagoda archway, figures in the foreground,:-indistinctly signed, watercolour, pen and ink drawing, 42 x 30cm, in a carved and parcel giltwood frame.

John Leech (1817-1864)"A Gentleman of Leisure"Signed, ink drawing, 19cm by 13.5cmProvenance: Appleby Brothers Ltd., London, Winter Exhibition, 1964

Sir Hugh Casson PRA (1910-1999)"Upper Wallop"Signed and inscribed, ink, together with a further pen and ink drawing of figure studies by the same hand, 11.5cm by 15cm and 18cm by 12cm (2)

Emmanuel Levy (British 1900-1986) "Still Life" Signed, titled on gallery label - 'Gateway Gallery' verso, ink wash drawing.20.5cm x 32.5cm (8in x 12.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Geoffrey Key (British 1941-) "Snooker Players" Signed and dated 7.12.90, titled on artist's label verso, ink and wash.25.5cm x 21cm (10in x 8.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. The ink has discoloured slightly across the drawing and there are some minor spots of foxing across the paper. The drawing is framed and glazed.

Pen and ink drawing of figures and coastal watercolour

Schwimmer, Max. 1895 Leipzig - 1960 ebd.Teufel/ Mephisto. Tuschfederzeichnung, aquarelliert, sign., BA 16 x 11 cm, hinter Glas gerahmt. Ra. 42,5 x 34,5 cm Devil/ Mephisto, ink drawing/ watercolour, signed, framed with glass. Cutout 16 x 11 cm, frame 42,5 x 34,5 cm

Heckroth, Hein (1901 Gießen - 1970 Alkmaar)Rokoko-Pärchen. Tuschfederzeichnung, 1962. Unten rechts signiert, datiert, ortsbezeichnet "Frankfurt" und mit einer persönlichen Widmung versehen. Oben rechts bezeichnet. Im Passepartout hinter Glas gerahmt. 37,5 x 28,5 cm (BA), 65 x 52 cm (Ra). Sehr gleichmäßig lichtgebräunt. Etwas wellig. Leicht erotische Szene nach einer Porzellanfigurengruppe aus dem 18. Jh. Rokoko-Couple. Ink drawing, 1962. Signed, dated and located Francfort bottom right, also with dedication by the artist. Framed behind glass. Tanned brownish very even, a bit wavy. Erotic scene after a porcelain figure from 18th century.

Torre, Macedonio de la (1893 Usquil - 1981 Lima)Zugeschrieben. Peruanische Landschaft. Lavierte Tuschezeichnung. In Blei unten rechts signiert. Rückseitig von fremder Hand mit Nachnamen und Lokalisierung Lima (Peru) bezeichnet. Im Passepartout hinter Glas gerahmt. 15,5 x 18 cm (BA), 50 x 37 cm (Ra). Deutlich gebräunt, Passepartout fleckig. Fernblick über eine baumbestandene Ebene zu entfernten Gipfeln der Anden. Attributed. Peruvian landscape. Washed ink drawing. Signed (?) in pencil bottom right. Backside with note on artist's name and place Peru. Framed behind glass. Tanned brown very clearly. Passepartout with stains.

Heckroth, Hein (1901 Gießen - 1970 Alkmaar)Bühnenraum-Skizze. Tuschezeichnung, 1931. In Blei unten rechts signiert, datiert und bezeichnet "Düf Skizze" (Düsseldorf, Skizze). Im Passepartout hinter Glas gerahmt. 18 x 26 cm (BA), 37 x 50 cm (Ra). Passepartout deutlich stockfleckig, Blatt lichtgebräunt. Leicht perspektivisch angelegte Bühnengestaltung mit diversen sich auftürmenden Architekturen und einer Staffagefigur. Sketch of a theater stage. Ink drawing, 1931. Signed and dated in pencil bottom right, also located Dusseldorf. Framed behind glass. Passepartout with strong foxing, sketch tanned by the sunlight. Design for an architectural stage concept.

Heckroth, Hein (1901 Gießen - 1970 Alkmaar)Zwei weibliche Akte, halb liegend. Aquarellierte Federzeichnung, 1962. Unten rechts signiert, datiert, ortsbezeichnet "München" und mit persönlicher Widmung des Künstlers versehen. Im Passepartout hinter Glas gerahmt. 31 x 39 cm (BA), 51 x 64 cm (Ra). Etwas angestaubt und wellig. Zartlinige, nur angedeutete, sinnliche Zeichnung, die an die Illustrationen Max Schwimmers erinnert. Two female nudes, nearly lying. Ink drawing and watercolours, 1962. Signed, dated and located Munich bottom right, also with personal dedication by the artist. Framed behind glass. A bit dusty and wavy. Very fine lined drawing reminding of the illustrations by Max Schwimmer.

Spanischer KünstlerGruppe spanischer Republikaner während des Spanischen Bürgerkriegs (1936-39). Gouachierte Federzeichnung. Unten rechts in Tusche ligiert monogrammiert VA (?)sowie bezeichnet "[1]936" und "Málaga". Im Passepartout hinter Glas gerahmt. 22 x 15 cm (BA), 38 x 30 cm (Ra). Passepartout stark fleckig, insgesamt angeschmutzt. Bewegte Schilderung einer bewaffneten Zivilistengruppe mit Flagge der Interbrigaden, rechts ein fragmentarischer Schriftzug erkennbar. Spanish artist. Group of spanish republicans during the Spanish Civil War 1936-39. Ink drawing with watercolour. Monogrammed bottom right VA (?) and noted. Framed behind glass. Framing with stains, spots and dirty.

Heckroth, Hein (1901 Gießen - 1970 Alkmaar)"Hommage à Poussin" (Liegendes Paar). Federzeichnung, 1962. Signiert und datiert unten rechts, betitelt unten links. Hinter Glas gerahmt. 30 x 38 cm (Bl), 70 x 50 cm (Ra). Lichtrandig und angebräunt. Sinnlich reduzierte Schilderung eines halb aufgestützt liegenden Paares als Akt, wohl in Referenz auf die freizügige und doch phantasievoll anregende Erotik in den Werken des französischen Barockmalers Nicolas Poussin. Kompositorisch erinnert das Blatt ebenso an Künstler-Modell-Szenen von Pablo Picasso, v.a. aus der Suite Vollard. Hommage à Poussin (Resting couple). Ink drawing, 1962. Signed and dated bottom right, titled left. Framed behind glass. Tanned by the sunlight. Erotic reference to the Baroque paintings by Nicolas Poussin, also reminding of artist-and-model-scenes by Picasso.

Acht Blatt China, 20. Jh.Seidenpapier, Tusche. Unterschiedliche idyllische Dorfszenerien am Wasser (Darstellungen von einem Fischer, einer Wassermühle, Brücken, Kranichen und Vegetation). Rechts- und linksseitig gelocht, in der Mitte gefaltet. Ein Blatt rechts oben fleckig. 30,5 x 43,5 cm Ebenso eine Zeichnung eines Amurparadiesschnäppers auf einem blühenden Ast, auf Pappe aufgeklebt. Rückseitig mit retuschiert. 27,5 x 34 cm. Eight sheets China, 20th century. Silk paper, ink. Various idyllic village scenes at the water (depictions of a fisherman, a water mill, bridges, cranes and vegetation). Perforated at the right and left side, folded in the middle. One sheet stained at upper right. Also a drawing of a amur paradise flycatcher on a flowering branch, glued on cardboard. Retouched on the reverse.

Walter Macdade, circa 1957, an ink drawing of two females in bikinis, signed and dated, 10.75" x 8" (27 x 20cm).

ADRIAN HILL (active 1923); pen and ink sketch, 'Notre Dame Paris', signed, titled and dated 1923 lower right, approx 17.3 x 24cm, mounted and a sepia coloured pen and ink architectural sketch, indistinctly signed lower right, approx 28.3 x 40cm (image has slipped in mount), framed and glazed (2). CONDITION REPORT: The second drawing has slipped in the mount.

WILLIAM CROSBIE RSA RGI (1915-1999) MALE AND FEMALE NUDE, IN INTERIOR  Ink drawing, 18 x 29cm  Condition Report:Available upon request

WILLIAM CROSBIE RSA RGI (1915-1999) LE MATIN PETERSFIELD  Ink drawing, signed lower right, inscribed, 19 x 29cm Condition Report:Available upon request

Faber, Johann (Groningen 1902-1979) "Groninger landscape", signed in full l.r., ink drawing/paper, h 27.5 x w 45.5 cm. Hereby two etchings by the same artist, tot. 3x (P).

Elzer, Ruurd (Sneek 1915 - 1995 Groningen) "Haven te Rotterdam", signed in full l.r. and 1950, ink drawing/paper, h 22 x w 33 cm.

Vries de, Jannes (Meppel 1901 -1986 Groningen) "Harbour with fishing ships", signed in full l.r. and '62, ink drawing/paper, h 35.5 x w 51.5 cm.

Altink, Jan (Groningen 1885-1975) "Groningen landscape", signed in full l.r., chalk drawing/ink/paper, h 26.5 x w 43 cm. Hereby another one by the same artist (P), tot. 2x.

TANGKA REPRÉSENTANT VAJRADHARA ET LES QUATRE-VINGT-QUATRE MAHASIDDHASTIBET, XVIE SIÈCLEDistemper on cloth; verso with an ink drawing of a stupa and a Tibetan, 'om, ah, hum' incantation behind the central figure.Himalayan Art Resources item no. 89904 Image: 76 x 59.5 cm (29 7/8 x 23 3/8 in.);With silks: 117 x 75 cm (46 x 29 1/2 in.)Footnotes:A THANGKA OF VAJRADHARA AND THE EIGHTY-FOUR MAHASIDDHASTIBET, 16TH CENTURY西藏 十六世紀 金剛總持與八十四大成就者唐卡Provenance:With Claude de Marteau, Brussels, by 1970'sThe thangka depicts the Primordial Buddha, Vajradhara, seated on an elaborate throne defended by roaring snow lions and surrounded by registers of individualized portraits of the Eighty-Four Mahasiddhas. The linear arrangement of these canonical Tantric masters, the bold, opaque aureoles behind most, and the overall predominance of red betray a Newari style of painting adopted throughout Tibet up to and including the 16th century (c.f. Jackson, The Nepalese Legacy in Tibetan Painting, 2010, p. XX, fig. 0.3). Meanwhile, the inclusion of mountains and rivers staging a few mahasiddhas speaks to the Tibetan thangka painter's growing affinity with the Chinese landscape painting tradition.For further information on this lot please visit Bonhams.com

▴ Joan Warburton (1920-1996)Sailors at the barsigned with initials and dated 1941 l.r., pen and ink20 x 24.5cmProvenance: The estate of the artist;with Sally Hunter Fine Art.Condition ReportFramed size 36.5 x 40.5cmNot viewed out of glazed frame. Some spots of foxing at lower part of drawing and rippling to sheet, a knock to frame along top edge. Please see images.

After John William Waterhouse (1849-1917) - Ink drawing - "Hylas and the Nymphs", indistinctly signed, 8ins x 13.25ins, in gilt moulded frame and glazed

ARR Tracey Emin (born 1963) - Ink drawing - "My Cat Docket", signed, dated 2005 and titled in pencil, 11.625ins x 8.25ins, framed and glazed Provenance: Bonhams London, Auction 27th June 2013, Lot 54Condition ReportThis lot has not been inspected out of its frame. It appears to be in good condition with no obvious damage/loss/restoration. 

*SVEN BERLIN (1911-1999) Full length drawing of a woman monogrammed, ink on paper, 78cm x 29cm (unframed)Provenance: The Collection of Bournemouth & Poole College.

Die cut booklet published by Raphael Tuck & Sons - No. 818, To the Dog Show. Pen and ink drawing of child signed Robert Landells, and two other early 19th c. watercolours

Unusual 19th c. pen and ink drawing of a man carrying an archery bow with three ladies and an Indo-Persian romantic colour print of a man on an elephant courting a lady on a balcony

Raymond Allen Jackson (1927-1997) pen, watercolour and black ink cartoon drawing by JAK, signed and inscribed in pencil "Ever since Alfie learned to read he's given up coming out mugging with the lads". Overall size in frame 54cm x 63.5cm.

Hilda Bernstein (1915-2006) Original pen and ink drawing depicting a scene from Soromas Native Reserve in Apartheid South Africa/Namibia. Signed to lower right and dated 1981 - Original artist sticker to back. Overall size in frame 54cm x 38.5cm.

English landscape.- Newbery (William, artist and friend of John Constable, 1787-1838) Two albums containing 40 drawings and watercolours, and 6 etchings, including many landscapes of Sussex, views of the environs of the artist's home at of Heathfield Park, views in Oxford, Walthamstow, Lewes, some maritime scenes, a few studies after drawings by Crotch, a mezzotint with etching of Tivoli with inscription underneath that reads 'done in mezzotint [?] an etching by W. Newbery about 1838/ from a sketch by [?] PGS/ from one by J. Malchair/ probably from some Italian drawing...', and others similar, all neatly presented on album leaves, many leaves missing, some pages cut, of those that remain many with ink inscriptions and annotations underneath that are likely by William Crotch, various sizes, surface dirt, vol. 1 with manuscript note to front pastedown that reads 'Bequeathed to W. Crotch Kennington 1838/ by my dear friend W. Newbery/ by whom/ these were drawn', half calf, marbled boards, spines gilt, Cambridge Binding Guild stamps to inside covers, rubbed and worn, large 4to, mainly circa 1800-1820Provenance: William Crotch (English composer and organist, 1775-1847);Dawson Turner (patron of John Sell Cotman, 1775-1858);Sale. Sotheby's, London 1991⁂ Newbery was a friend of Dr. William Crotch, whom the present albums were originally bequeathed to, as well as John Constable. He was also a pupil of John Malchair and lived in Heathfield, Sussex. Newbery was well connected with the artistic circles of his day, and was a member of 'The Great Society' of Oxford and is likely to have known J.M.W Turner who also painted views of Heathfield Park, while the Newbery's lived there. The present album includes a landscape of Heathfield Park dated 'Aug. 19 1809', and shows a wooded landscape with two men, one of whom appears to be seated drawing.

Durrell (Gerald) My Family and Other Animals, first edition, signed presentation inscription from the author "With thanks for helping our bears" with a drawing of a bear below, ink ownership and gift inscription to endpaper "Elizabeth Maxtone Graham from Patrick Maxtone Graham who started me on all the Durrell Books 1957", original boards, spine sunned with a few splash marks, dust-jacket, price-clipped, light sunning to spine, spine ends and corners a little chipped, light spotting extremities a little toned, a very good copy, 8vo, 1956.⁂ Durrell's classic memoir of his childhood in Greece, rare signed, especially so with such a charming inscription.

South America.- Conquest of Peru.- Cieza De León (Pedro de) Parte primera de la chronica del Peru. Que tracta la demarcacion de sus provincias: la descripcion dellas. Las fundaciones de las nuevas ciudades. Los ritos y costumbres de los indios, y otras cosas estrañas dignas de ser sabidas, first edition, collation: ✠6 2✠4 a-q8 r6, largely double-column, title with large woodcut royal arms within woodcut border, 42 woodcuts in the text (some repetitions), and woodcut initials, author's signature to r6 verso, the odd ink note to margin in an early hand, title upper and inner margins restored and repaired tear to foot, title and first 2 gathering with repair and restorations to fore-margins and upper corner, a few other small marginal repairs and 1 or 2 neat repairs to text, light foxing and marginal damp-staining towards end, the odd patch of light staining and some light soiling or browning, but a crisp copy generally, contemporary vellum with manuscript lettering to spine, remains of ink inscriptions to lower cover, endpapers renewed, folio (292 x 200mm.), Seville, Martín de Montesdoca, 1553.⁂ The first edition of this excessively rare chronicle. We can trace only three copies offered either at auction or in dealer's catalogues, and no copy other than this since 1951."One of the most remarkable literary productions of the age of the Spanish Conquest in America. It is, in fact, the only book which exhibits the 'physical aspect of the country as it existed under the elaborate culture of the Incas'." - Sabin.The author of this history was one of the greatest authorities on Peru, where he spent 16 years. He started the work at Popayan in 1541 and finished it in Lima in 1550; the full chronicle consisted of four volumes, of which only the first was published, and deals with the geography, history and ethnology of Peru. Apart from the famous woodcut and description of the silver mines of Potosi, engraved after an original drawing made by the author, the woodcuts depict the everyday life of the conquistadors with the Indians, boats on Lake Titicaca, the building of a city, Quechua Indians dealing with the devil, a human sacrifice, a Spanish and an Indian in front of the city of Cuzco etc... It also contains the first extended description of the Peruvian guanaco, or llama, and of the pepper-tree, or mollé, and the commercial and medicinal uses of its fruits.Literature: Sabin, 13044; Medina (BHA), 157; Escudero (Séville), 555; Streit, II, 644; JCB (3) I:175; Field, 314;Johnson, The Book in the Americas, 32; Delgado-Gomez, Spanish Historical Writing about the New World, 26;Alden, 553/20; Maggs, Bibliotheca Americana (1926), p. 59, n° 3967; Quoted by Salvá, n° 3293, but never seen by him.

Singapore, Ambon, Penang and Kuala Lumpur.- Album of views of Asia, 47 photographs and 1 water-colour drawing laid down to 25 ff., 1 to a page, 275 x 210 mm (11 x 8 1/2 in) or smaller, black & white or sepia, ruled with border and captioned in manuscript below, some light marks or foxing, hinge broken in places, contemporary ink ownership name to front free endpaper, original blind-stamped cloth, worn and stained, oblong 8vo, c.1890s.⁂ A very attractive and varied album with large photographs of Singapore, Penang and Kuala Lumpur. Including captioned views of ships H. M. Schroefstoomschip and H M Korvet van Galen, as well as views of Ambon (the governorate of the Dutch East India Company), Atjeh, Batavia, and Penang.

Clarke Stained Glass StudioA Study for a Stained Glass Window Ink and watercolour, 23 x 6.3cm (9 x 2½")UnframedTogether with 'The History of a Great House' - Origin of John Jameson Whiskey, with Drawing by Harry Clarke, published by Maunsel & Roberts, Ltd. 1924. (2)

John Ward Lockwood (American, 1894-1963). Pen and ink drawing on paper mounted to masonite board titled "Talpa Valley," 1962. Depicting Talpa in Taos, New Mexico. Signed and dated along the lower right.Exhibition History: The University of Texas - Art Museum, "Lockwood Exhibition," 1967; Amon Carter Museum, Fort Worth, Texas, "Ward Lockwood Retrospective," November 22, 1967 - January 14, 1968Sight; height: 11 in x width: 19 1/4 in. Framed; height: 18 in x width: 25 1/2 in.

Gill, Eric (1882-1940) Collection of original cartoons and lettering specimens, c.1915-27 evidently intended for projection via magic lantern (all lettering in reverse), 15 in total, watercolours with outlining in pencil or ink, on rectos of postcards, most 8.8 x 14cm (a few smaller), 5 annotated on verso by Gill's daughter Petra Tegetmeier 'This lettering is [/This is a drawing] by my father Eric Gill, Petra Tegetmeier', the remainder with labels reading 'Original drawing by Eric Gill, from the Gill family collection', subjects comprising: self-portrait (caption 'Eric the sculptor'); The Adoration of the Shepherds; nude portrait probably of Gill's daughter Elizabeth (captioned 'Eliz. washing at Fribourg', additional annotation by Gill at head, 'from memory of Eliz. seen washing at Fribourg, EG Oct. 10 '21'); dragon (captioned 'TERROR'); starry night; lone star; crying baby (captioned 'I wish father had never married mother'); caricature with caption 'Call yourself a Benedictine?'; caricature with caption 'The Spanish grande and a little bit of homespun'; and 4 lettering specimensNote: Note: Eric Gill's enthusiasm for using a magic lantern (also known as an epidiascope or mirrorscope) to entertain his young family is mentioned in Fiona MacCarthy's biography of Gill, where it is linked to the character of Gill's own upbringing: 'Eric Gill’s was a Victorian childhood in its mixture of terror and sentimentality. His own characteristic combination of the serious and frolicsome, noted by David Jones … was very much part of his Victorian inheritance. He shared his father’s fascination for the mechanical world as well as the spiritual. They both loved a contraption: a telescope; a microscope; the mirrorscope which so delighted Gill’s own children’ (p. 20).Provenance: Property of an English collector.

Phil May (1864-1903), Gentlemen of The Temperance Society, pen and ink, signed and dated 1893, 36cm x 25cm Provenance: This drawing was presented by Phil May to his great friend and confidante Major Claude Schneider (1862-1923) who appears third from the left smoking a cigar. Phil May is the figure second from the left. The four gentlemen were returning from a lengthy dinner at a London Club. Thence by descent