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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

PEN, INK AND WATERCOLOUR DRAWING OF A FRENCH BULLDOG

Stammbücher - - Album mit 39 prachtvollen Original-Zeichnungen. Frankreich und Deutschland, um 1820-1840. Verschiedene Techniken: Graphit, (lavierte) Federzeichnung, Aquarelle, Gouache. Kaschiert auf verschiedenfarbige Papier. Quer-4°. Roter Ldr. d. Zt. mit goldgepr. DTitel ("Aimée à Hermine"), reicher goldgepr. floraler Verzierung auf Deckeln und Rücken, Steh- und Innenkantenfileten, dreis. Goldschnitt, Vorsätze aus Moiré-Seide. (etwas berieben und beschabt, Ecken bestoßen). Im Einband von Alphonse Giroux, Paris. Mit seinem Etikett. - Teils mit hs. Bezeichnungen in französischer oder deutscher Sprache. - Enthält Zeichnungen sowohl deutscher als auch französischer Künstler u.a. Wilhelm Ahlborn, Carl Pescheck, Ernest de Courval, Henry de Montesquiou, F. de Brack, Borrel, Cherubini, E. Bonnaffé. Die Blätter zeigen u.a. Tivoli (monogrammiert H M), Dresden, das Château de Villers-Hélon, die Burg Coucy in Coucy-le-Château-Auffrique, die Prärie von Büyükdere (Türkei) sowie Landschaftsansichten, Porträts, Genreszenen, zwei versierte Kopien nach Correggio und Le Sueur und zusätzlich zwei Scherenschnitte. - Albumseiten teils lose oder gelockert. Teils etwas gebräunt und minimal fleckig. Insgesamt sehr gut erhalten. Album amicorum - Album with 39 magnificent original drawings. France and Germany, c. 1820-1840. Various techniques: Graphite, (washed) pen and ink drawing, watercolours, gouache. Laminated on different coloured paper. Cont. red leather with gilt title ("Aimée à Hermine"), rich gilt floral decoration on covers and spine, fillets on inner and outer edges, gilt edges, endpapers of moiré silk. (somewhat rubbed and scuffed, corners bumped). - Binding by Alphonse Giroux, Paris. With his label. - Partly with handwritten captions in French or German. - Contains drawings by German as well as French artists, among others Wilhelm Ahlborn, Carl Pescheck, Ernest de Courval, Henry de Montesquiou, F. de Brack, Borrel, Cherubini, E. Bonnaffé. The sheets show among others Tivoli (monogrammed H M), Dresden, the Château de Villers-Hélon and the castle of Coucy in Coucy-le-Château-Auffrique, the prairies of Büyükdere (Turkey) as well as landscape views, portraits, genre scenes, two accomplished copies after Correggio and Le Sueur and additionally two silhouettes. - Album pages partly loose or loosened. Partly a little bit browned and minimally stained. Altogether very well preserved.

Albert Baur (zugeschrieben). (1835 - 1906). Zwei Zeichnungen: Krönung von Karl I. von Ungarn am 27. August 1310 und Begräbnisszene einer christlichen Märtyrerin. Verschiedene Techniken: Lavierte Tuschfederzeichnung (teils gehöht) auf Karton und Feder, Graphit und Aquarelle auf Papier, auf Karton montiert. 15 x 19 cm und 19,5 x 15 cm (Sichtmaß, unter Passepartout montiert). Die Begräbnisszene laut einer hs. Notiz verso wohl bei der Galerie Paffrath, Düsseldorf, erworben. - Albert Baur, auch Albert Baur der Ältere genannt, war ein deutscher Maler der Düsseldorfer Schule. Er ist der Autor zahlreicher Dekorationen öffentlicher Einrichtungen. - Beide Zeichnungen leicht braunfleckig, insgesamt wohlerhalten. Two drawings. Different techniques: Washed ink pen drawing (partly heightened) on cardboard and pen and ink, graphite and watercolours on paper, mounted on cardboard. - One of drawings probably purchased from Galerie Paffrath, Düsseldorf, according to a handwritten notice verso. - Some brown spotting, overall well preserved.

Zoologica Specifica - - Wilhelm Kuhnert. (Kamel). Federzeichnung auf Papier. Blattmaße 24 x 28 cm. Signiert. Verso mit Spuren früherer Montierung. Sauberer Zustand. (Camel). Pen and ink drawing on paper. Signed. - With traces of former mounting on reverse. Clean condition.

Asien - - Sammlung von 9 Original-Graphiken und einer Original-Zeichnung. Überwiegend 19. Jh. Meist Holzschnitt auf Japan. Meist auf Unterlage und unter Passepartout montiert. Enthält: 1 Blatt von Hiroshige, Fujikawa, 1855. Mit Hinterlegungen und Anschmutzungen. - 1 Blatt von Nishikawa Sukenobu. - 1 Blatt wohl von Katsukawa Shunzan. - 1 Blatt von Toyohara Chikanobu. - 1 Blatt von Sugakudo Nakayama. - 1 Blatt wohl von Watanabe Shotei. - Eine anonym. Tuschezeichnungen mit buddhistischem Priester. - 3 Blätter wohl anonyme chinesische Künstler. - Teils gebräunt und mit kl. Randläsuren sowie etwas knitterig. Asia - Collection of 9 original prints and one original drawing. Mostly 19th century. Mostly woodcut on Japan. Mostly mounted on backing and under passepartout. - Contains 1 print by Hiroshige, Fujikawa, 1855. With backings and soiling. - 1 print by Nishikawa Sukenobu. - 1 print probably by Katsukawa Shunzan. - 1 print by Toyohara Chikanobu. - 1 print by Sugakudo Nakayama. - 1 print probably by Watanabe Shotei. - One anonymous ink drawings with Buddhist priest. - 3 sheets probably by anonymous Chinese artists. - Partly browned and with small marginal defects and a little bit creased.

Russland - - Jean-François Thomas de Thomon u.a.. Sammlung von neun russischen Architekturzeichnungen mir Darstellungen von Palästen. Um 1800-1830. Je Feder, Tusche und Aquarelle auf Papier. Blattmaße von 24,5 x 33 cm bis 43,5 x 79,5 cm. Die Sammlung enthält ein signiertes Blatt des russisch-französischen Architekten Jean-François Thomas de Thomon (1760-1813), welches das Erste Theater in Odessa (heutige Ukraine) darstellt. Das Gebäude im klassizistischen Stil wurde 1809 von ihm errichtet und brannte 1879 nieder. Eine weitere Zeichnung mit späterer hs. Bezeichnung in Graphit in italienischer Sprache: "Orangerie della casa Vorouzof". Gemeint ist wohl der Woronzow-Palast, ebenfalls in Odessa. Die prächtigste Zeichnung der Sammlung zeigt die nördliche Fassade des Alexanderpalastes in Zarskoje Selo (heutige Stadt Puschkin), der von Katharina der Großen für ihren Enkel und zukünftigen Kaiser Alexander I. zu dessen Hochzeit mit Louise von Baden in direkter Nachbarschaft zum Katharinenpalast erbaut wurde. Der klassizistische Flügelbau mit seinen charakteristischen, imposanten Säulen und Statuen wurde zwischen 1792-96 von dem berühmten italienischen Architekten Giacomo Quarenghi (1744-1817) errichtet, welcher in Russland ansässig war. Desweiteren enthält die Sammlung Zeichnungen mit Fassadenansichten von nicht identifizierten Palästen, davon einer zusätzlich mit Grundrissen der Etagen, sowie ein Palast im Stil der italienischen Renaissance. Die Zeichnung des Woronzow-Palastes mit Klappteil. - Meist mit Maßstab und teils mit hs. Beschriftungen in russischer oder französischer Sprache. - Meist mit Falzen und kl. Randläsuren sowie etwas angeschmutzt und knitterig. 1 Bl. mit hinterlegtem Einriss. Die Zeichnung des Theaters etwas wasserfleckig. Farben gut erhalten. Hochinteressante Sammlung zu russischer Architektur zur Zeit des Kaiserreichs. Russia - Collection of nine Russian architectural drawings depicting palaces. Around 1800-1830, each with pen, ink and watercolours on paper. - The collection contains a signed sheet by the Russian-French architect Jean-François Thomas de Thomon (1760-1813), depicting the First Theatre in Odessa (today's Ukraine). The building in the classicist style was erected by him in 1809 and burned down in 1879. Another drawing with later handwr. inscription in graphite in Italian: "Orangerie della casa Vorouzof". Certainly the Vorontsov Palace in Odessa. The most magnificent drawing in the collection shows the northern façade of the Alexander Palace in Tsarskoye Selo (today's city of Pushkin), which was built by Catherine the Great for her grandson and future Emperor Alexander I for his wedding to Louise von Baden in the direct vicinity of the Catherine Palace. The neo-classical wing building with its characteristic imposing columns and statues was built between 1792-96 by the famous Italian architect Giacomo Quarenghi (1744-1817), who was based in Russia. Furthermore, the collection contains drawings with facade views of unidentified palaces, one of them additionally with floor plans, as well as a palace in the style of the Italian Renaissance. One drawing with folding part. - Mostly with scale and partly with handwritten inscriptions in Russian or French. - Mostly with folds and small marginal defects as well as somewhat soiled and creased. One sheet with backed tear. The drawing of the theatre somewhat waterstained. Colours well preserved. Highly interesting collection on Russian architecture at the time of Empire.

Stammbücher - - Bedeutendes Album Amicorum der Adelsfamilie Borchgrave d'Altena. Mit über 60 Original-Zeichnungen. Um 1850. Quer-Folio. Prachtvoller dunkelroter Samteinband mit einer unter Glas und in goldenem Rahmen eingefasster Malerei sowie einer aufgelegten reich verzierten Bordüre mit 4 Miniatur-Hinterglas-Malereien. Dreis. Goldschnitt, goldene Schließe und Vorsätze aus Moiré-Seide. In einer mit Moiré-Seide ausstaffierten Ldr.-Kiste d. Zt. (Diese berieben und mit Defekten. Einband an den vorderen Gelenken etwas angeplatzt.) Das überaus prachtvolle Liber Amicorum ist auf dem Vorderdeckel mit künstlerisch hochinteressanten und feinen Malereien ausstaffiert: vier Hinterglas-Malereien mit Darstellungen von Schiffen und eine exquisite Scène galante im Stil des französischen Rokoko. Die erste Seite des Albums ist geziert von einer prächtigen in Gold und Silber gehöhten Original-Zeichnung mit dem Wappen der Familie Borchgrave d'Altena. Dabei handelt es sich um eine belgische Adelsfamilie aus Lüttich, die ursprünglich aus dem Herzogtum Brabant (Bois-le-Duc) stammt. Sie erhielt 1745 von Maximilian III. Joseph Kurfürst von Bayern und Vikar des Hl. Römischen Reiches den Titel des Reichsgrafen und wurde 1816 von König Wilhelm I. der Niederlande in den Adelsstand aufgenommen. Das Album vereint neben Zeichnungen verschiedener Familienmitglieder, u.a. Sophie und Gustave de Borchgrave d'Altena, auch bekanntere Künstler wie Francois Charette-Duval (1807-1895), Frans Keelhoff (1820-1891) oder Arthur du Passage (1838-1909). Weitere signierte Einträge stammen u.a. von Charles de Blanckart, L. Movignez, Pierre Pirgnet, Anatole d'Arschot, Gustave de Woelmont, Mathilde de Boch und Léon de Chasseval. Das Album deckt mit seinen Zeichnungen eine Vielzahl von Genres und Techniken ab, neben Aquarellen mit Blumen oder in Graphit, Kohle und Feder gezeichneten Landschaften finden sich auch Stadtansichten aus Brüssel sowie von Schlössern (u.a. Château de Leschy und de La Buissière) aber auch Schiffszeichnungen. Hervorzuheben sind jedoch vor allem fünf farbleuchentende Gouachen, die süditalienische Landschaften zeigen, insbesondere drei Ansichten des Vesuvs, darunter zwei bei Ausbruch des Vulkans. Ein weiterer Glanzpunkt des Albums stellt ein großformatiges Trompe-l'Oeil mit Zeichen- und Schreibinstrumenten dar, welches nicht signiert jedoch von hohem künstlerischen Interesse ist. Ferner beinhaltet sind zwei Gouachen auf chinesischem Markpapier. - Insbesondere die Graphiken teils etwas gebräunt bzw. braunfleckig. Die Scène galante auf dem VDeckel mit Braunfleck. Die Original-Zeichnungen größtenteils in sehr gutem Zustand. Important Album Amicorum of the noble family Borchgrave d'Altena. With over 60 original drawings. Circa 1850. Oblong-folio. Splendid dark red velvet binding with a painting set under glass and in a golden frame as well as an applied richly decorated border with 4 miniature reverse paintings on glass. Triple gilt edges, gilt clasp and endpapers of moiré silk. In a leather case decorated with moiré silk (The latter rubbed and with defects. Binding somewhat chipped at the front joints). - The extremely splendid Album Amicorum is decorated on the front cover with artistically highly interesting and fine paintings: four reverse glass paintings depicting ships and an exquisite scène galante in the style of the French rococo. The first page of the album is adorned with a magnificent original drawing heightened in gold and silver with the coat of arms of the Borchgrave d'Altena family. This is a Belgian noble family from Liège, originally from the Duchy of Brabant (Bois-le-Duc). The album contains drawings by various members of the family, including Sophie and Gustave de Borchgrave d'Altena, as well as more famous artists such as Francois Charette-Duval (1807-1895), Frans Keelhoff (1820-1891) and Arthur du Passage (1838-1909). Other signed entries are by Charles de Blanckart, L. Movignez, Pierre Pirgnet, Anatole d'Arschot, Gustave de Woelmont, Mathilde de Boch and Léon de Chasseval, among others. The album's drawings cover a wide range of genres and techniques; in addition to watercolours with flowers or landscapes drawn in graphite, charcoal and pen and ink, there are also city views of Brussels and of castles (including Château de Leschy and de La Buissière), but also ship drawings. Of particular note, however, are five colour-illuminated gouaches depicting southern Italian landscapes, especially three views of Mount Vesuvius, including two of the volcano erupting. Another highlight of the album is a large-format trompe-l'oeil with drawing and writing instruments, which is unsigned but of great artistic interest. Also included are two gouaches on Chinese plith paper. - Especially the prints partly somewhat browned and brown-stained. The scène galante on the front cover with brown stain. The original drawings mostly in very good condition.

*Edward Bawden (1903-1989) pen and ink drawing – Bank of Ireland, signed and dated 1963, 39.5cm x 80cm, in glazed frameProvenance: removed from Salmons, Fingringhoe

▴ Philippe Jullian (French, 1919-1977)A young musician at the virginals;verso, pencil sketches of a lutepen and ink and watercolour heightened with white26.5 x 20cmCondition ReportFramed size: 37.5 x 29.5cm. Viewed out of glazed frame, taped to mount along top edge, some time staining in margins, some annotations in margins and drawing verso, see images, watercolour itself generally appears to be in good order.

Augustus Edwin John (1878-1961) 'Rehearsals For A Play-(4)', pen/ink on paper, labeled 'Augustus John' below, inscribed 'signed on the back of the drawing' verso, also artist's name and title labeled verso, approx. 13 x 21 cm, mounted, framed and glazed

Two works on paper to include: Manner of Rembrandt Harmensz. Van Rijn (1606-1669) - pen and ink sketch of cupid wearing top hat signed 'Rembrandt f:' lower left and marked '10/6' in pencil lower right, on the back of a letter addressed to Charles Kirkpatrick Sharpe (1781-1851) inscribed: "Char. Kirkpatrick Sharpe Esq., West Nicolson Street, Edin...), bearing penny red postage stamp (c.1841) 20x25cm, together with; Charles Turner (1773-1857), 'Totness on the River Dart, Rivers of England, Plate II, London Published March 1 1825 by W. B. Cooke 9 Soho Square' after drawing by J. M. W. Turner (1775-1851), engraving on paper, inscribed in pencil 'from... presented by Turner?' lower right, indistinct pencil inscription verso, 24x27cm (2)

§ § Sir Alfred Munnings (1878-1959) Sketches for Alderman William Henry Woods, 1907ink on letterhead paper18 x 22 cm**CONDITION REPORT**Alderman William Henry Woods was a good friend of Alfred Munnings. Munnings stayed with him at his house Moore Park, Preston and at one time painted his coachman.This drawing is on letterhead paper Moore Park Avenue, Preston, to the front with sketches of men training a horse, to the back with a figure being thrown from a horse and inscribed later by another hand, and inside with the devil chasing a naked womanPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Hans ARP (1886 - 1966)? Haus mit Garten.21,5 cm x 27,3 cm im Ausschnitt. Wohl Zeichnung Tinte übermalt / coloriert mit Pastell. Verkauf wie ist. Kann auch nur ein Druck sein. Kann auch von anderer Hand sein. Ohne Gewähr und Garantie. Rechts unten mit Bleistift signiert. Unbedingt selbst ansehen. Alt gerahmt. Nicht ausgerahmt. Versand kann organisiert werden.Hans ARP (1886 - 1966)? House with garden. 21.5 cm x 27.3 cm in section. Probably drawing ink overpainted / colored with pastel. Sale as is. May also be just a print. May also be by another hand. Without warranty and guarantee. Signed in pencil lower right. Be sure to see for yourself. Old framed. Not unframed. Shipping can be organized.

Maurice Greiffenhagen (1862 - 1931), pen and ink drawing, policeman arresting a woman, possibly a Suffragette, signed, 29cm x 18cm, unframedLight foxing

Frank Owen Salisbury (1874 - 1962), pen and ink drawing, Classical figure, signed with monogram, 16cm x 15cm, mounted, provenance: The Fry Collection of Early British DrawingsSlight paper discolouration and a few tiny fox marks

A 1713 PRESENTATION INK DRAWING BY JOHN SHORTER TO JOHN HUDSON FEATURING A WHEEL OF CONCENTRIC RINGS CENTRED BY CHRIST AND FLANKED BY THE LYON OF JUSTICE AND THE LAMB OF MERCY, THE PAPER LAID ONTO TEXTILE.   49 x 39cms.

OLD MASTER SCHOOL , AN INTERESTING INK DRAWING OF TWO FIGURES MOUNTED BUT UNFRAMED 15 x 10 cms

SIR FRANK SHORT, RA, PPRE (1857–1945) - Study of a horse, pen and ink drawing, signed with initials, executed by the artist aged 15, unframed, 14cm x 23cm, also a quantity of humorous cartoons copied from Punch by Short.

Eugène Galien-Laloue, 1854 Paris– 1941 ChérencePorte Saint-Denis in ParisFeder und Gouache auf Papier19,5 x 32 cm.Links unten signiert „E. Galien-Laloue“.Im Passepartout, hinter Glas gerahmt.Galien-Laloue war in der Lage, die Atmosphäre besonders der französischen Hauptstadt um die Jahrhundertwende, eine Zeit, in der Automobile und Busse eingeführt wurden, perfekt einzufangen, weshalb er bei seinen Zeitgenossen äußerst beliebt war. Hier eine winterliche Szene mit nachmittäglichem Licht und elektrischer Beleuchtung der Schaufenster. Der Künstler hatte nicht nur den Namen Jaques Lievin als Pseudonym, sondern auch weitere Namen, darunter Louis Dupuy, M. Lenoir oder A. Michel. Der französische Maler war insbesondere für seine Pariser Straßenszenen aus der Zeit der Belle Époque bekannt. (1331188) (13)Eugène Galien-Laloue,1854 Paris – 1941 ChérencePORTE SAINT-DENIS IN PARISPen and ink drawing and gouache on paper. 19.5 x 32 cm.Signed “E. Galien-Laloue” lower left.

Dante Gabriel Rossetti (British, 1828-1882)Cartoon for a stained-glass window showing The Sermon on the Mount, made for All Saints, Selsley pen and ink and wash62.5 x 48.5cm (24 5/8 x 19 1/8in).Footnotes:ProvenanceGiven by the artist to Algernon Charles Swinburne.Theodore Watts-Dunton (at the death of the above in 1909); to his wife, Clara Reich, at his death in 1914.Thomas James Wise (gifted by the above); to his brother, Herbert Athal Wise, at his death in 1937; to his son, Leslie George Wise, of Durban, South Africa, at his death in 1951.Thence by descent to the present private collection, South Africa.ExhibitedSouth Africa, University of Natal, Old Masters of Yesteryear.The architect G.F. Bodley entrusted the making of stained glass for the church of All Saints at Selsley in Gloucestershire to Morris and Philip Webb. They in turn recruited Rossetti, who was asked to make a series of designs for glass in the chancel as well as for the glass to which the present cartoon is related, showing The Sermon on the Mount, in the church's south aisle. Others who were brought in on the project were Ford Madox Brown and Edward Burne-Jones. This was the first scheme of stained glass to be made by Morris, Marshall, Faulkner & Co., and was an important demonstration of how well these various designers could work together to create an effect of harmonious unity. For images and description of the completed scheme, see A. Charles Sewter, The Stained Glass of William Morris and his Circle, New Haven, 1974, two volumes, I, ills 33-6; II, pp. 171-3.In the present cartoon, as in the completed window, the standing figure of Christ is seen with hands raised as he preaches. Seated on the left of Christ, and to whom he faces, are the figures of the Virgin and Mary Magdalene, and behind them Saints John and James, while on the right, and to whom Christ turns his back, appear St Peter and Judas Iscariot. In the drawing, each of these figures is identified in capital letters within their haloes. Friends of the artist and family members modelled for the figures: Elizabeth Siddal may be recognised as having sat for the Virgin; Fanny Cornforth is immediately recognisable as the model for the Magdalene; the poet Algernon Swinburne appears as St John, and the painter Simeon Solomon for St James; George Meredith was supposedly the model for the figure of Christ; William Morris was caricatured with tousled hair and dense black beard as St Peter; while behind him the loathed art dealer Ernest Gambart, with whom Rossetti was at the time at odds in connection with his outstanding debt to the executors of Thomas Plint, was insultingly shown as Judas, his head resting on his hand as if in devious or angry pattern of thought, and facing away from Christ as if deliberately ignoring the words that were being spoken.Rossetti made two other preparatory drawings for the subject in c. 1861, now in Leeds City Art Gallery (Surtees 142a) and William Morris Gallery, Walthamstow (Surtees 142). The present drawing, of which neither Virginia Surtees and A. Charles Sewter were aware, appears to have been the final cartoon from which the stained-glass makers were to work.The design was reused in 1864 to provide a memorial window to a Miss Polidori (presumably a relation of Rossetti's mother Frances, née Polidori) in Christ Church, Albany Street.We are grateful to Christopher Newall for compiling this catalogue entry.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

SHONA KINLOCH (BRITISH b.1962)  DOG WITH WINGS  Ink drawing, signed lower right, dated (19)87, 20 x 24cm  Together with another framed work by Pat Adams, a further work and two large unframed prints by Mary Newcomb (5) Condition Report:Available upon request

TAYLOR (THOMAS GRIFFITH)With Scott: The Silver Lining, FIRST EDITION, FIRST ISSUE, AUTHOR'S PRESENTATION COPY inscribed 'To Theo Gardner, with congratulations from her Tropical 'Sledge mate' Griffith Taylor' on the title-page, WITH ADDITIONAL MATERIAL, including photograph of the author aboard 'Terra Nova', a self-portrait caricature ink sketch and annotated copy of Griffith's bookplate, 44 mostly photographic plates(one panoramic), 2 folding maps, illustrations in the text, publisher's pictorial cloth [Rosove 324.A1; Spence 1183; Taurus 81], 8vo, Smith, Elder, 1916Footnotes:FINE EXTRA-ILLUSTRATED PRESENTATION COPY of 'one of the most substantial accounts of Scott's Terra Nova expedition, and one of its finest book productions' (Taurus). Taylor accompanied the expedition as the geologist, and led the Western Party explorations.Additional materials, all tipped-into the cop, include; an albumen print photograph of the author on deck, captioned 'The rolling Terra Nova, Antarctica 1912... Theo from Grif' in ink on the verso; an ink self-portrait by Taylor captioned 'To Theo with apologies from her Long-headed friend... Prof. Griffith Taylor'; Taylor's bookplate depicting him and his sledge on the ice (1913), annotated in his hand identifying various features ('Cross to Scott', 'Our hut', 'Map of region we mapped', etc.); Taylor's original pen and ink drawing ('A characteristic portrait in a Blitz! 18.6.11'), pasted onto Commonwealth of Australia Meteorological Bureau headed paper gifting it to Theo (30/10/20) and bound opposite the printed version of the drawing on p.363.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

An ink and white paint drawing of an elderly man feeding a lady in bed. Signed lower right Colin Mo .. (?), dated '53 (?), 35cm x 23xm, glazed and framed

Xavier DE COCK (1818-1896)Ink drawing Cows with guardian on the waterfront, signed and dated 1894.Inkttekening Koeien met hoedster aan de waterkant, getekend en gedateerd 1894.18.5 x 12 cm This works remained in the possession of the descendants of Xavier De Cock to this day.Dit werk bleef tot op heden in bezit van de nazaten van Xavier De Cock.

Floris JESPERS (1889-1965)Ink drawing Landscape at dusk, signed.Inkttekening Landschap bij valavond, getekend.12 x 12 cm

Jan BURSSENS (1925-2002)Ink drawing, signed and dated 2-7-1971Inkttekening, gesigneerd en gedateerd 2-7-197135 x 25.5 cm

Gustave BUSCHMANN (1818-1852)Ink drawing Boerenfeest, signed and dated 1837.Inkttekening Boerenfeest, gesigneerd en gedateerd 1837.23 x 30.5 cm From the estate of the descendants of Xavier De CockUit de nalatenschap van de nazaten van Xavier De Cock

Xavier DE COCK (1818-1896)Ink drawing Scene in a pub, signed and dated 1895.On the back Xavier De Cock's handwriting 'Deurle, dessin à la plume'.Inkttekening Scène in een kroeg, getekend en gedateerd 1895.Achteraan handschrift Xavier De Cock 'Deurle, dessin à la plume'.20.5 x 16 cm This works remained in the possession of the descendants of Xavier De Cock to this day.Dit werk bleef tot op heden in bezit van de nazaten van Xavier De Cock. De Cock.

William Henry Caffyn (1870-1958) - At Kersey Priory, pastel, signed and dated 1937 lower left, 26 x 37.5cm; together with one other by the same hand - The Splash, Kersey, ink drawing, signed and dated 1938 lower left, 23.5 x 35cm (2)

Lionel Edwards, British (1878-1966), 'Having Come to the End of their Petrol', illustratio, ink drawing, signed in monogram and inscribed in pencil, 16cm x 24cm

A framed boxing related montage for the National Sporting Club Boxing-Dinner Evening at The Grosevenor House, London, Monday, 30th April, 1984, to celebrate the fiftieth birthday of Henry Cooper, the central page with a drawing of a spaceship in blue ink by Muhammad Ali with signature dated april 30-84, further signed by Henry Cooper, George Cooper and Harry Carpenter, flanked by details of the event to include the boxing card, menu and toasts, presented by Ind Coope, framed and glazed, 58 x 35cm.

Graham Kingsley Brown (British 1932-2011): Abstract Surreal Drawing, pen and ink signed with initials and dated '95, 14cm x 20cm Provenance: consigned by the artist's daughter - never previously been on the market.Condition Report:Very good condition - ready to hang

Attributed to Augustus Edwin John (1878-1961) - Allegorical study, ink and watercolour wash, unsigned, 24 x 29cm, with 'Laurie Baldwyn Gallery' information to rear dated '13th June 1971', the text states 'The pen and ink 'a compositional study' sold under my stock number is to the best of my knowledge and belief an authentic and original drawing by Augustus John and executed circa 1904-5.'

AN ARCHITECTURAL DRAWING OF MITCHELL, TOMS & CO'S NEW INN, LANGPORT, SOMERSET by Arthur Yeomans, Architect, Chard, black ink with watercolour and bodycolour, 54.5cm high, 76cm wide, framed and glazed. Condition Report : Some closed tears; foxed. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A very large framed and glazed pencil and ink work on paper. Titled 'KdF Kanal-Seebad Jersey', dated 2004. A reworked plan formulated by Albert Speer and Adolf Hitler to turn Jersey in the Channel Islands into a giant holiday resort, following a German victory in WWII. The drawing is countersigned with copies of Adolph Hitler and Albert Speer signatures, as well as KdF authentication stamps. H.161 W.300cm

American Cartoonist Walter Lantz Signed 4.5x3 inch Signature Card with Doodle Drawing. Signed in brown ink in 1983, Dedicated. Comes with Original Mailing Envelope. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Alexandre Nikolayevich Benois (1870-1960), Costume design for Nutcracker: 'Danse Orientale, Le Cafe I' with annotations, 1952, Black ink and watercolour over pencil, Signed 'Alexandre Benois' and dated '1952', 23cm x 15cm, (ARR) Provenance Arthur Tooth & Sons Ltd, London Footnote For similar design see Victoria & Albert Museum 'Design for the Nutcracker, in Nutcracker' by Alexandre Benois dated 1957. This drawing was made for the production of Tchaikovsky's Nutcracker first performed on 24 December by the Festival Ballet at the Royal Festival Hall, London. Alexandre Nikolayevich Benois was a significant figure in the Russian artistic scene of the early 20th century, working alongside Sergei Diaghilev and Leon Bakst to produce the magazine Mir iskusstva and its corresponding artistic movement, which sought to promote Art Nouveau within Russia. Yet it was as a designer for the Ballet Russes, under Diaghilev, for which Benois is probably best known. The present pieces, as costume designs, are therefore particularly compelling, serving as examples of Benois's most recognisable work.This work is in wooden gilded frame with a cream mount, there is some paint loss and scuff marks to the frame. The piece has not been examined out of the frame, it may or may not be stuck down. It is evident the page is creased in areas and there are marks to the surface. The page is slightly yellowed, which is what one would expect with a piece of this age. Overall this piece is in good condition.

Alexandre Nikolayevich Benois (1870-1960), Costume design for Nutcracker: 'Pas de Deux des Automates: Arlequin' with annotations, 1951, Black ink and watercolour over pencil Signed 'Alexandre Benois' and dated '1951', 23x15cm (ARR) Provenance Arthur Tooth & Sons Ltd, London Footnote For similar design see Victoria & Albert Museum 'Design for the Nutcracker, in Nutcracker' by Alexandre Benois dated 1957; this drawing was made for the production of Tchaikovsky's Nutcracker first performed on 24 December by the Festival Ballet at the Royal Festival Hall, London. Alexandre Nikolayevich Benois was a significant figure in the Russian artistic scene of the early 20th century, working alongside Sergei Diaghilev and Leon Bakst to produce the magazine Mir iskusstva and its corresponding artistic movement, which sought to promote Art Nouveau within Russia. Yet it was as a designer for the Ballet Russes, under Diaghilev, for which Benois is probably best known. The present pieces, as costume designs, are therefore particularly compelling, serving as examples of Benois's most recognisable work.This work is in a wooden gilded frame with a cream mount. The frame has minor scuff marks and some paint loss. The work has not been examined out of the frame, it may or may not be stuck down. The page itself has some creases an marks. The page is slightly yellowed, which is what one would expect with a piece of this age. There are watermarks most likely from the artist's hand, Overall the piece is in good condition.

Venetian School, 16th CenturyThe Last Supper bears signature and number 'Tintoretto 15/6' (lower left)black chalk, pen and brown ink, heightened with white chalk on brown paper, on a François Renaud mount27.8 x 51.7cm (10 15/16 x 20 3/8in).Footnotes:ProvenanceProbably the collection of Antoine Dezailler (1642-1716), thence by descent to his sonAntoine-Joseph Dezailler d'Argenville (1680-1765) (L.2951, bears his attribution 'Tintoretto' and the no. '666')Probably his sale, Paris, 18-28 January 1779, part of lot 163Francois Renaud (L. 1042)Unidentified collector C (L. 474 and L.3510, his numbers 'L.38 3d' and inscription 'Tintoretto' on the mount) Sale, Drouot, Paris, 6 December 1993, lot 8Private Collection, EuropeSale, Christie's, Paris, 22 June 2005, lot 1 (as attributed to Tintoretto)LiteratureJ. Labbé, L. Bicart-Sée, La collection de dessins d'Antoine-Joseph Dezallier d'Argenville, Paris, 1996, p. 143, cat. no. 666 The present drawing is related to Tintoretto's Last Supper from 1568-69, now in the Church of San Paolo, Venice.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

Italian School, circa 1600Design for a vase, after Polidoro da Caravaggio pen and brown ink and brown wash on laid paper32.3 x 17.1cm (12 11/16 x 6 3/4in).unframed together with two additional unframed drawings of vases by different hands (3)Footnotes:ProvenanceH. Schickman, 1969The Lodewijk Houthakker CollectionPrivate Collection, The NetherlandsLiteratureP. Fuhring, Design into Art, Drawings for Architecture and Ornament, The Lodewijk Houthakker Collection, London, 1989, vol. 1, p.342, cat. no. 526The present work is derived from an engraving by Alberto Cherubino, published in Rome in 1582. It follows the print in outline only with significant differences in the detail. A similar drawing, but in reverse, is in the Royal Academy, London.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

Giovanni Domenico Tiepolo (Venice 1727-1804)The Gathering of Manna signed 'D** Tiepolo' (lower centre)pencil, brown pen, ink and wash on paper27.2 x 38.2cm (10 11/16 x 15 1/16in).Footnotes:ProvenancePrivate Collection, USAThe present drawing relates to the upper left section of Giovanni Battista Tiepolo's altarpiece from 1740-42, in the Church of San Lorenzo, Verolanuova (oil on canvas, 1 x 5.25m).In this drawing Tiepolo uses to great effect the technique employed before him by his father, Giovanni Battista Tiepolo, of fluent pen outlines infilled with brown wash to give form, and accents of strong highlights created by leaving areas of bare paper.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

Hubert Robert (Paris 1733-1808)Figures strolling in the colonnade of the Palazzo Farnese at Caprarola signed and dated 'H.ROBERT 1770' (above door, lower right)black chalk, pen and black ink and grey wash on paper51.8 x 36.9cm (20 3/8 x 14 1/2in).Footnotes:ProvenanceSale, Christie's, London, 14 May 2009, lot 63A drawing in red chalk, showing the opposite view of the colonnade, was sold at Christie's, London on 3 April 1984, lot 84.For further information on this lot please visit Bonhams.com

Francis Newton Souza (India, 1924-2002)'Two Figures with Apples and Tomatoes', mixed media chemical drawing on paper (magazine page), signed and dated to upper left corner 'Souza, 75', framed and mounted, inscribed to mount with title and medium, further inscribed verso and bearing label inscribed 'Arts 38 (11)',overall 42 x 29cm, the page 27.25 x 21cm Condition: Unexamined out of frame - Overall condition apparently good, frame with some wear. Souza's process for these drawings involved using solvents which allowed the manipulation of the existing ink. This work was a gift from Souza - thence by descent.

Francis Newton Souza (India, 1924-2002)Untitled 'Still Life', 1969, mixed media, chemical drawing on paper, signed and dated to upper margin 'Souza 1969' and further signed in ink to lower margin 'Souza, 1969', framed and mounted,overall 37 x 29.5cm, within frame 25.5 x 18cm Condition: Overall condition good - Unexamined out of frame, some fading to signature on lower margin. This work was a gift from Souza - thence by descent.

HENRI GAUDIER BRZESKA (1891-1915); ink drawing, figures and two street lights, monogramed and dated '13 lower left, 23 x 34cm, framed and glazed.  Provenance: purchased from Ron Slaven who in turn purchased from Turner Fine Art, and a copy of a letter dated 4th February 2002 states that "The drawings belonged to M. Henry Downs of Smith & Co. of Bristol and Cardiff, and they were passed to Mrs A.E. Hunt of Ebury Court, Ebury St., London'. Sold with a copy of the receipt from Ron Slaven, dated 7th March 2004.Additional InformationOne slight damp spot to the lower left hand side of the image, otherwise image is clean and bright. Frame with some wear and scuffs to the gesso. 

Needlework. An album of darning squares, c1930, worked in coloured wool on gauze with different geometric patterns, mounted one or two to card leaves recto and verso (25.5 x 19cm) accompanied by captioned pen and ink drawing (50, on 18 leaves) Clean and good condition

* Fred Yates [1922-2008]-The Rag and Bone Man,:-original illustration from Sunday Best by Joyce Irwinpen and coloured ink drawing heightened with white on layered paper, 32 x 22.5cm.

Nuth [20/21st Century]-Dream on a starry night,:-signed, watercolour, pen and ink drawing, 74 x 55cm.

* Robert O Lenkiewicz [1941-2002]-Gentleman with Child, 17th Century Costume Piece,:-signed bottom rightpen, ink and wash drawing, 37.5 x 30cm.

Original vintage travel advertising poster for Puglia featuring an illustrated map with a compass, castles, cathedrals, food and wine, statues, and tourist places of interest like Ionian Sea. Puglia or Apulia has its capital in Bari, the region is known for Castel del Monte and the medieval town of Ostuni. Horizontal. Good condition, creasing, staining, ink drawing on reverse. Country of issue: Italy, designer: Vsevoldo Nicouline, size (cm): 24x29, year of printing: 1950s.

TV Star Jessie Wallace Signed 10x8 inch Colour Copy of Magazine Interview Page. Signed in black ink with Cat Drawing. Good condition Est.

A lovely poignant WWI autograph album. Quite sparse in entries but what is there is really quite lovely with unusual Royal Flying Corps interest. There is a lovely depiction of a WW1 era two seat fighter plane in pencil signed by W.F.Dow RFC. There is also a very appealing pen and ink drawing 'Somewhere in France' by George Holt of the Loyal North Lancs. regiment. A super little item, front cover detached.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled", 1976.Drawing for Luis Goytisolo's book "Eyes, circles, owls".Ink and felt-tip pen on paper.Signed and dated on the back.Frame with faults.Measurements: 20.5 x 13 cm; 49.5 x 39 cm (frame).Painter and draughtsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite caps", 1958-59.Ink on paper.Signed, dated and located in Brazil in the upper left-hand corner.Work published in the artist's online catalogue, n.1611. Measurements: 70 x 50 cm; 91 x 75 cm (frame).Painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Dancer. 1973.Ink drawing on inside page of the signature book of the hall of La Paloma, Barcelona.Authenticity certified by the Dalí Foundation in Figueres.Signed and dated at the bottom.Measurements: 28 x 20 cm.Original drawing by Salvador Dalí, dated 1973, of the legendary La Paloma nightclub, located in the Raval district of Barcelona. Dalí spent long hours sitting in one of the boxes, taking notes of the dancers. This unique testimony remains, one of his drawings sketched directly in one of the hall's signature books, together with period photographs of the Modernista-inspired interior.Salvador Dalí is undoubtedly one of the most important artistic personalities of the 20th century. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache that imitated Velázquez's and would become his personal hallmark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which showed scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Two Sailors", ca.1925.Pencil, graphite and blue pencil on paper.Attached certificate issued by Archives Descharnes (20/06/2022).Attached notary's note from Salvador Dalí Cusí, the artist's father.Signed in ink in the lower right-hand corner.Measurements: 22.1 x 15.9 cm.Drawing from Salvador Dalí's youth, probably done during his student period in the mid-1920s. The theme of sailors interested the avant-garde artists, as allegories of wandering souls, of bohemia, wandering from port to port, bearers of fleeting loves. Salvador Dalí is undoubtedly one of the most important artistic personalities of the 20th century. In his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache that imitated Velázquez's and would become his personal hallmark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which showed scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

Edward Brian Seago R.B.A, A.R.W.S, R.W.S (British, 1910-1974) The Lying-in-State of Sir Winston Churchill signed Edward Seago (top right), pen and ink drawing 26 x 34cm See provenance inscription verso 'Artist’s Resale Rights (ARR) may apply to this lot'