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Penny Goring For Better Or Worser Ink and Felt Tip Pen on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Penny Goring is a London-based artist and poet who makes sculptures, drawings, paintings, videos and poems that are explorations of the contemporary state of emergency.   Education Kingston University, BA (Hons) Fine Art (Painting), 1994. London College of Fashion, Fashion Writing, 1981.   Select Exhibitions/Awards Selected gallery exhibitions include: Tate St. Ives, UK, Museum of Modern Art, Warsaw, Campoli Presti, Paris, and Arcadia Missa, London. Goring has performed her poetry at many venues, including: South London Gallery, London, Pogo Bar/KW Institute, Berlin. Upcoming solo exhibition: ICA, London, June - September 2022.   Gallery Representation Arcadia Missa   Statement about AOAP Submitted Artwork For AOAP Goring created a unique version of a drawing from her ART HELL series, 2019-20, which is comprised of 55 ART HELL drawings.

Runayker Night Comes To A Running Sea Indian Ink and Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Practicing artist since 1958. Teaching experience includes visiting lecturer in painting and studio practice, honours degree course at the now renamed Ruskin Cambridge School of Art for four years. Education Camberwell School of Arts and Crafts. NDD painting and weaving as secondary subject - 1954 to 1958. Followed by 2 years life drawing with Merlin Evans at Central School of Art. Tate Gallery, 'Modern and Contemporary Art Course', distinction in curating. Tate Gallery, 'Ways to Wander the Gallery' Triarchy Press, editors Clare Qualma and Claire Hind - 2018 (from the artists course of same name)   Select Exhibitions/Awards 2000 Millennium British artists in New York. Exhibition and talk at Whitechapel Art Gallery as opening seminar of ESRC 'Cultural Narratives and ways of Knowing'. Talk and exhibition University of East London 'Nomadic lines in becoming a woman artist's, convener Maria Tamboukou. Paper on M. Tamboukou. 'Places by water:poetic enquiries' Three women artists, three approaches. Academia.com   Gallery Representation Linchpin Gallery - now closed   Statement about AOAP Submitted Artwork Living by the sea, waves and rhythm permeate thinking by osmosis. These drawings also hold other hidden experiences which surface occasionally from my history of weaving threads. These were resurrected during the Annie Albers wonderful show at Tate Modern and oceans of histories, the warp and weft of space/time.

Olivia Kemp In the Green Garden Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Olivia Kemp is a British artist and draughtswoman working with pen and ink. She makes complex and detailed drawings, sometimes expansive, imagined and surreal. Since her "Richard Ford Award" residency in the Museo del Prado in 2015; much of her work is inspired by art history and the classic painters. Kemp and her work have featured on BBC R4 Front Row, Marie Claire, The Evening Standard, Colnaghi Foundation Lates, Mashable, Colossal and many more.   Education BA (Hons) Fine Art: Painting, Winchester School of Art, 2011 MA Drawing, Wimbledon College of Art (UAL) 2013 The Drawing Year, Postgraduate Programme, Royal Drawing School 2014.   Select Exhibitions/Awards Detail - solo exhibition - Galeria F&deO - Madrid 2021 Fieldwork - solo exhibition - James Freeman Gallery - London 2020 Prince And Patron - Royal Collection Exhibition - Buckingham Palace - London 2018 Where The Land Lies - solo exhibition - Browse & Darby - London 2017 Art For Guernsey - solo exhibition - Guernsey 2017 Drawings from The Royal Drawing School - Christies - New York 2016 Gallery Representation James Freeman Gallery   Statement about AOAP Submitted Artwork This drawing is of a friend of the artist. During the 2020 Kemp had her friends send photos of themselves for her to draw from. This is worked up from one of those photographs, inspired by images of the venus and graces.

Anastasia Lopoukhine Someone's Hands Pen on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Anastasia Lopoukhine is a French-Russian artist educated in the UK, the US and Russia. Anastasia makes large scale pen and ink drawings, sometimes adding watercolour and oil pastel to build a sense of tactility. The detailed nature of the process gives Anastasia's work an intensity, often lifted with a hint of wry humour. Her approach is that of a narrator inspired by events in history or by personal experiences in different corners of the world. Anastasia holds an MAScot from the University of Edinburgh in History and Russian studies and an MFA from the New York Academy of Art, where she majored in Drawing and Printmaking. Over the past decade Anastasia has participated in group exhibitions and auctions in London, Moscow and New York.   Education Stowe School, UK: 2009-2014 The University of Edinburgh, UK: MAScot, 2015-2019 The New York Academy of Art, US: MFA, 2019-2021.   Select Exhibitions/Awards TriBeCa Ball, New York, 2020/2021 Réaction Exhibition, London, 2020 Susan Eley Fine Art, Online Show 'Ghost of Presence', New York, September 2021 The Russian Artist Fund, Group Show at the Museum of Applied Arts, Moscow, October 2021 The Christmas Group Show, A3 Gallery, Moscow 17 December 2021 - 17 January 2022   Statement about AOAP Submitted Artwork I wanted to draw what was around me when I opened the envelope with the cards: my favorite chair at my friend's house and my boyfriend's hands. I drew both in pen for that is my medium of choice.

Katarina Ranković Personal Fleet Pen Drawing on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

Katarina Ranković Stage Moose Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

Helen Walsh Spotty Feather Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am fascinated by the natural world, our connection to it and our place within it. I am interested in our desire to transcend, to move beyond what we know. The cycle of the seasons and of life change accordingly and I am interested in moving my practice forward through exploring this dichotomy. Birds and feathers are an important element in my creative practice. I'm inspired by the way they move, their plumage, their otherness. They are freer; their ability to fly suggests a means of escape, implying there is something to escape from. They are symbols of transcendence, linking the physical to the spiritual world. This theme occurs in myths and stories across cultures and throughout history. In my practice they represent us, our spirits and a desire to transcend and change. Drawing is a central element of my practice, it is the starting point and a means of creation in itself. I use drawing to research, explore and explain. Drawing is an excellent method of communication and I use a variety of drawing techniques in my participatory practice to support participants to explore and develop ideas. Increasing awareness of our impact on the environment and our responsibilities draws me to work more with natural materials. Creating my own dyes from responsibly foraged materials connects my work to the land; adding another layer to the spiral of connection. Education BA (Hons) Embroidery, Manchester Metropolitan University   Select Exhibitions/Awards Scottish Drawing Competition Exhibition 2021 (Paisley Art Institute) Whither Shall I Wander? 2020-21 (Wildfowl and Wetlands Trust Caerlaverock) Stitched Art is Art 2019 (Society for Embroidered Work, London) Draw the Line 2017 (Surface Gallery, Nottingham) Wingspan 2017 (Farfield Mill, Sedbergh)   Statement about AOAP Submitted Artwork Feathers (and birds) fascinate me; intricate, beautiful and so seemingly delicate yet incredibly strong. Drawing feathers allows me to explore this dichotomy and our relationship with the natural world.

DICK KET (1902 - 1940)."Dutch City View", 1928.Ink drawing on paper.Informative annotation on the back.Signed and dated in the lower right-hand corner.Provenance: Private collection Mallorca.Size: 27.5 x 23 cm; 39.5 x 45 cm (frame).Although Ket's first paintings are impressionist in style, he was decisively influenced by the art of Neue Sachlichkeit in 1929 and, from then on, he painted in a magical realist style. His meticulously composed and rendered still lifes feature favourite objects such as bottles, an empty bowl, eggs and musical instruments. Ket juxtaposed these objects in angular arrangements, seen from a high viewpoint, their cast shadows creating emphatic diagonals. These compositions reveal the influence of Cubism filtered through Cassandre's posters, which are frequently depicted in Ket's paintings. Another source of inspiration came from early Dutch painting, which Ket admired for its atmosphere of austere reverence that he called its "intrusive" quality. Ket completed approximately 140 paintings, including forty self-portraits. As a result of his technical experimentation with different formulations and additives to the glaze medium, some of his paintings are not completely dry after six decades. In his self-portraits the progressive symptoms of his physical deterioration are evident. Museums housing works by Dick Ket include the Rijksmuseum in Amsterdam, the Arnhem Museum and the Boijmans Van Beuningen Museum in Rotterdam.

French School, probably early 19th Century, Cattle by a well, ink drawing with wash, 14x24cm; and another drawing, indistinctly signed, and dated 1836. (2)

Edward Tucker, watercolour, shipping off a harbour mouth, signed, 9.5ins x 13.5ins, gilt framed together with a late 18th / early 19th Century English school ink drawing of a group of figures talking and dancing, unsigned, 6.25ins x 7.5ins, gilt framed

Comprising (1) James Bourne ink and wash panoramic view entitled 'Neath town', 12 x 33cms, (2) Primitive 19th Century school titled to mount 'The Old Green Dragon Hotel, Cadoxton, Neath (C.1825)', 25 x 31.5cms (3) James Ward pencil drawing titled with annotations of Neath, Wales, signed, 16 x 34cms, (4) Attributed to Elizabeth Blaquiere, pen and ink, titled to back 'Neath Abbey', 16 x 10cms, (5) Thomas Girtin watercolour, titled to mount 'Melincourt waterfall, Vale of Neath', 33 x 23cmsdeceased estate Neath/Port Talbot collection, Cardiff/Carmarthen office consignment Condition report: Comments: each framed and glazed, please examine

Two Rotring technical drawing pen sets and inks and approximately twenty-five spare nibs and eight Staedtler technical drawing pens and ink

David Evans (British 20th/21st century) "One Horse Town", signed, titled on verso, pen and ink.75cm x 54.5cm (29.5in x 21.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

'MAPLE TREE AND BIRD', BY XIE ZHILIU (1910-1997)China. Ink and watercolors on paper. Finely painted with a white-crested long-tailed bird perched on a gnarled maple branch bearing red, worm-eaten leaves and dense buds, the bird's head turned to one side. With a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Xie Zhiliu' and dated April of the Guiwei year (corresponding to 1943), with two seals, 'Xie zhi' and 'Zhiliu'.Provenance: From an English private collection.Condition: Very good condition with minor wear, soiling, foxing, and creasing, the watercolors lightly smudged in some areas.Dimensions: Image size 64 x 35 cm, Size incl. mounting 203 x 48.5 cmXie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine, and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.Auction result comparison: Compare a closely related painting by Xie Zhiliu at Bonhams Hong Kong in Fine Chinese Paintings on 1 June 2021, lot 850, sold for HKD 114,750. 謝稚柳（1910-1997）《翠羽清秋圖》中國。紙本設色立軸。黑嘴白頭翁倚立於枝頭，神色靈動而又機警，貼近自然。秋葉的凋零，盡顯簡約之美。款識：翠羽釵梁欹鬢橫，粉痕凝夜動幽情。鏡台銀帶都無色，試上瓊樓有月明。癸未四月為挺秋先生法家雅教，謝稚柳稚榆林窟下。鈴印：謝稚，稚柳 來源：英國私人收藏。品相：狀況極好，有輕微磨損、汙漬和摺痕。尺寸：畫面64 x 35 厘米，總203 x 48.5 厘米 拍賣結果比較：比較一件謝稚柳畫作，見香港邦翰思Fine Chinese Paintings 2021年6月1日 lot 850, 售價HKD 114,750。

A RARE DRAWING OF AN ELEPHANT ESCAPING CAPTIVITY, KOTA SCHOOLIndia, Rajasthan, c. 1840. Ink and watercolors on paper. The mighty animal is depicted in a dynamic posture with its front leg raised still bearing the remnants of a broken chain. A bell is attached to its back. Finely executed with sensitive eyes.Published: Maggs Bros., Oriental Miniatures and Illumination, Bulletin No. 30, January 1979, Plate XXI. Provenance: Maggs Bros., Berkeley Square, London, 11 March 1979. English private collection, acquired from the above. The reverse with a typed paper label, 'Kotah, c. 1840. Pen drawing of an elephant, touched with colour. Purchased from Maggs Bros., Berkely Square, London, 11 March 1979. Illustrated in Maggs bulletin no. 30 of January 1979, Plate XXI'. With the original Maggs Bros. description for this lot, cut out and mounted by the previous owner, '[36] Kotah Artist: c. 1840. An elephant stands with his front foot tethered to a post [sic]. Pen drawing touched with colour, on paper: 51/2 x 61/4 in. £185. [See Plate XXI] Edges frayed, just affecting tail of elephant; slight staining.' Maggs Bros. Ltd. is one of the longest-established antiquarian booksellers in the world, established in 1853 by Uriah Maggs, born c. 1828 in Midsomer Norton, Somerset. Maggs Bros. sold the penis of Napoleon Bonaparte in 1924, and pulled off the greatest bookselling coup of the inter-war period, when in 1932 they successfully negotiated with the government of Soviet Russia to acquire not only a Gutenberg Bible, but also the celebrated Codex Sinaiticus. All four of Uriah's sons eventually joined the business, taking over on his retirement in 1894. Maggs Bros. is still under family ownership, and as of 2018 was managed by Edward Maggs.Condition: Good condition with minor wear, soiling, staining, creasing, minimal tears to edges, few small losses.Dimensions: Image size 15.5 x 13.5 cm, total size 33 x 30.5 cm (including frame). Matted and framed behind glass.Auction result comparison: Compare a related Kota School miniature painting of a running elephant at Sotheby's London, 24 October 2017, lot 326, sold for GBP 12,500.

Harold Riley (British 1934-) Two Jewish men walking, signed and dated '68, ink and pastel.20cm x 25.5cm (8in x 10in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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.

Harold Riley (British 1934-) Study of Lowry painting a man on top of his drawing, signed and dated 2002 in ink in the margin, artist's proof, lithograph.image size 35cm x 25.5cm (13.75in x 10in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Geoffrey Woolsey Birks (British 1929-1993) "Hillborough Mill", signed and dated '76, titled on verso, watercolour and ink.8.5cm x 12.5cm (3.25in x 5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

William (Bill) Papas (British 1927-2000) "The River Irwell, Manchester", signed and titled, ink drawing.47cm x 74cm (18.5in x 29in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Geoffrey Key (British 1941-) "Seated Figure", signed and dated 20.3.78, titled on gallery label - 'Pitcairn Galleries, Knutsford' verso, ink drawing,40.5cm x 27.5cm (16in x 10.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in good, original condition. The ink has faded universally across the drawing. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-) Portrait of a lady, signed and indistinctly dated '70, ink and pastel.42cm x 24cm (16.5in x 9.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The drawing is in fair, original condition. The ink has faded universally across the drawing. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Attributed to William Charles Ross (1794-1860). The Three Graces, pencil on grey paper, depicting 3 bare-footed young ladies in flowing diaphanous gowns, with pencil attribution on verso, sheet size 26.8 x 18cm (10 1/2 x 7ins), together with 2 others attributed to the same artist: a pencil drawing on grey paper of a small child standing on her seated mother's lap, captioned 'Poor Mamma - Poor Mamma', top blank margin with a crease, image size 15.5 x 14.3cm (6 1/8 x 5 5/8ins), sheet size 23.7 x 18cm (9 3/8 x 7ins); and a watercolour on paper of a young lady seated drawing at an easel, slightly creased and dusty to edges, sheet size 13.3 x 12cm (5 1/4 x 4 3/4ins), plus 20 other watercolours and drawings, mostly British, 18th or 19th century, including a watercolour on paper of a seated young lady wearing a large hat attributed to William Henry Bunbury, with black circular ink stamp of Thomas Esmond Lowensky lower left (Lugt 2420a), 2 small pencil drawings on paper attributed to William Hoare, each of a slumbering child, a pencil and sepia watercolour on cardof a historical beheading scene, attributed to Alfred Elmore, 2 sepia watercolours on laid paper depicting scenes from 'Tom Jones' attributed to John Wright, and a pencil sketch on paper of a gentleman seated at a table, attributed to William MulreadyQty: (21)

Detaille (Edouard, 1848-1912). Caricatural self-portrait, pen & ink on wove paper, full-length portrait of a gentleman in mililtary costume, initialled in pencil lower right, sheet size 22 x 13cm (8 5/8 x 5 1/8ins), mounted, together with a pencil drawing on wove paper by Detaille, depicting a mounted officer, with the artist's initial ink stamp lower left, and partial watermark of Laroche Joubert, a few small nicks to edges, sheet size 28.1 x 15.2cm (11 1/8 x 6ins), together with:Colin (Alexandre Marie, 1798-1875). Portrait of a Swiss peasant girl, pen, ink and monochrome wash on card, depicting a young lady wearing national costume, including a fan-shaped headdress, signed lower left, sheet size 13.6 x 7cm (5 3/8 x 2 6/8ins), mounted,Léandre (Charles, 1862-1934). Girl with a Lily, pen, ink, and monochrome wash on paper, half-length portrait, profile to right, of a young lady holding a lily flower to her nose, signed to lower margin, red ink stamp of Gustav Engelbrecht lower right (Lugt 1148), partially toned, sheet size 28 x 20cm (11 x 7 7/8ins), mounted, and 4 other drawings, comprising 2 by Théodore Gérard, 1 by Pierre Luc Charles Cicero, and 1 by Charles Jouas, each mountedQty: (8)Footnote:

Donadoni (Stefano, 1844-1911). Arco di Costantino, watercolour, depicting the Arch of Constantine in Rome, signed and titled in red lower right, lightly toned, 16.3 x 26.9cm (6 3/8 x 10 5/8ins), mounted, framed and glazed (29.1 x 38.7cm), together with:Ouvrié (Justin, 1806-1879). A ruined fortification, 1835, watercolour, depicting a large building with classical features and a round tower, with figures, signed and dated lower right, 4.3 x 8.2cm (1 5/8 x 3 2/8ins), mounted, framed, and glazed (33.8 x 37.2cm), and 4 other Continental views, comprising a watercolour of Florence, and 3 monochrome watercolours (Agrigento, Sicily; a view possibly of Malta attributed to François Louis Thomas Francia; and a view of ruins titled 'Baths of Caracalla', dated 1852), plus 3 pen & ink drawings of Siracusa, Sicily, by Salvadore Politi, one dated 1845, a panoramic pencil sketch of Naples from St. Lucia, dated 1831, a pencil drawing entitled 'Chaine du Mont Blanc', and a pen, ink, and watercolour panorama entitled 'Vue de la Cascade et du Cirque de Gavarnie' Qty: (12)

Lear (Edward, 1812-1888). Saint Moritz, Switzerland, watercolour on grey paper, depicting a panoramic landscape, with a village nestling at the foot of a range of snow-topped mountains, trees in the foreground to the left, and clouds gathering overhead, annotated in brown ink by the artist lower right '101.H.', with pencilled title 'St. Maurice' to verso also in the artist's hand, and additional sketches by the artist to verso of a standing man and seated woman in Swiss costume, as well as a small sketch of a panoramic landscape, 15.5 x 23.9cm (6 1/8 x 9 3/8ins), mounted, framed and glazed (33.4 x 41.7cm), backboard with typed label detailing Sotheby's provenance and printed label of The Rowley Gallery, LondonQty: (1)Footnote: Provenance: Sotheby's, July 29th, 1971.This drawing is almost certainly one of a number dating from Edward Lear’s tour of Europe in the summer of 1837. On July 10th that year the artist boarded the Antwerp packet, accompanied by his sister, Ann, who travelled with him as far as Brussels. On leaving Belgium Lear travelled through Luxembourg, Germany and Switzerland, reaching the Italian lakes by the autumn, arriving in Florence in November and Rome in December. In 2012 Christie's sold a drawing of Sion in Switzerland by Lear, dated 17th September 1837, which, like the present work, was annotated with an 'H' to the lower right corner (Christie's, London, Old Master & Early British Drawings and Watercolours, 3rd July 2012, lot 156).We are grateful to Charles Nugent, former curator of British Drawings at the Whitworth Art Gallery, Manchester, and author of Edward Lear the Landscape Artist: Tours of Ireland and the English Lakes, 1835 & 1836, for assistance with this catalogue description.

After Anthony van Dyck (1599-1641). Madonna and Child with female saints, late 17th century, pen and brown ink on laid paper, some surface abrasion and pale dampstaining to left side, upper right area with two tears (one 7.5cm), small loss to upper edge, partially laid on thin board, sheet size 26.4 x 18.0cm (10 3/8 x 7 1/8 ins), board verso with old inscription in red crayon 'Van Dyck (17 S Flamand)', together with Italian School. Giardino a S:'to' Gio'vanni' Laterano, mid 18th century, black chalk on laid paper, numbered '42' to upper left corner, verso with ink manuscript title relating to a different drawing (no.43), some pale foxing, sheet size 14.9 x 21.0 cm (5 7/8 x 8 1/4 ins), window mounted, copy of ink manuscript title (for no.42) on separate loose piece of paper, framed and glazed (26.5 x 32.5cm), with other miscellaneous prints and drawings, mostly 19th and 20th century, including a black chalk drawing 'Rocks on the Isle of Wight coast' by Thomas Monro (1759-1833), framed and glazed; two English pen & ink figure studies, one in the manner of George Romney, with grey wash and remnant of red wax seal to lower left corner; a 20th century print of Putti from Pompeii, framed and glazed, etc.Qty: (27)

Pissarro (Camille, 1830-1903). Drawing of a putto corbel, pencil on wove paper, laid down on thin card and corners rounded, depicting a carved wood corbel in the shape of a putto holding an urn on its head, artist's initial ink stamp lower right, upper blank margin with small piece missing and 1.5cm closed tear, some light marginal staining (mostly to right-hand edge), sheet size 12.4 x 10cm (4 7/8 x 4ins)Qty: (1)Footnote: Lugt 613e (noting that Camille Pissarro used this ink stamp only on works executed by himself, never on works by other artists in his collection).

Read (Harold Hope, 1881-1959). Beach Scenes and Figures, 8 watercolours, comprising 4 pen, ink, and watercolour drawings of humorous crowded beach scenes, a similar watercolour of figures in a park, a pen, ink, and monochrome wash drawing of figures gathered around an infant, a self-portrait in pastels, and an oil painting of a man smoking a pipe, with a woman and other figures behind, smallest 19.4 x 23.2 cm (7 5/8 x 9 1/8 ins), largest 26.7 x 36.4cm (10 1/2 x 14 1/4 ins), all mounted, with matching glazed frames (largest 41.6 x 51.5 cm), self-portrait with glass crackedQty: (8)

Attributed to Stefano della Bella (1610-1664). Fantasia di Animali, fine pen and brown ink on laid paper, depicting griffins guarding a martial cartouche, a hunting dog chasing a hare on the first tier; two eagles supporting a banner with a Roman trophy on the second tier; and two chained dogs, a dog eating grapes and a Roman trophy, lined with laid paper with a pen and ink border in brown and rose ink, with an indistinct watermark, sheet size 12.2 x 20.4 cm (4 3/4 x 8 ins) framed and glazed (39 x 31.3 cm)Qty: (1)Footnote: Provenance: Unidentified owner (partial printed collector's mark of intertwined initials LL or LZ within a black oval, not in Lugt); Weschler's Auctioneers, Washington DC, where purchased in 1972 for $80.We are grateful to Dr Peter Fuhring of the Fondation Custodia, Frits Lugt Collection for pointing out that all the different elements of the drawing are inspired by three etchings from the series of 16 by Stefano della Bella, Ornamenti et fregi e fogliami, published in Paris shortly after 1647 (see A. de Vesme and P. Massar, Stefano della Bella, Catalogue Raisonné, New York, 1971, numbers 990, 992, and 995). The drawings are in the same direction as the etchings.

Attributed to Luca Giordano (Naples 1634-1705). Women preparing fish in a kitchen, circa 1680, pen and brown ink with traces of black chalk, on firm laid paper, bearing inscriptions in pen and brown ink, 'Jordan' and 'No 73' lower left, and '360 r' lower right, a further, apparently crossed out inscription in the lower right corner, a few minor losses touched in with brown ink, sheet size 31 x 44.1 cm (12 1/4 x 17 3/8 ins), framed (50 x 65.3 cm)Qty: (1)Footnote: Provenance: Charles Robert Rudolf (1884-1974); Colnaghi, London; A.J. Mackenzie Stuart, Edinburgh; Day & Faber, London (their label, verso); Christie's, London, Old Master and British Drawings and Watercolours, 7 July 2015, lot 16.Literature: O. Ferrari and G. Scavizzi, Luca Giordano: L'opera completa, Naples, 1992, D79.Exhibited: London, Colnaghi, Exhibition of Old Master Drawings, 1967, number 21, illustrated; Edinburgh, Merchants' Hall, Italian 17th century drawings from British private collections, 1972, number 63, illustrated (Scottish Arts Council label to verso)A similar inscription to the one on the present drawing ('Jordan', 'Nº. 73' and '360 r') can be found in The Triumph of Cybele by Giordano dated to his Spanish period, circa 1697, in pen and brown ink lower right 'Jorda/N.º 72. 324Ps, 4 . . . Rs [?].' now in the Metropolitan Museum of Art, New York (inv. 63.76.4; J. Bean, 100 European Drawings in the Metropolitan Museum of Art, 1964, 38). Like the present drawing, the Metropolitan example is executed in brush and brown over black chalk. Another version of the present drawing, of women preparing fish in a kitchen with a cat stealing fish from a table, in pen and brown ink and grey-brown wash over black chalk and grey wash and measuring 32.4 x 44.8 cm. is in the British Museum (inv. 1950,1111.41; O. Ferrari and G. Scavizzi, op. cit., no. D79).

Humphrey (Ozias, 1742-1810). Portrait of Edward Leveson Gower, 1782, pencil, red and black chalks and charcoal on paper, inscribed and dated by the artist in pen and brown ink ‘Master Edward Leveson Gower AO:1782’ to verso (visible in window mount on the backboard), laid onto the mount, the paper incised to make an oval at top and incised to just beneath the inscription verso, discoloured under the mount, pen and ink inscription faintly visible recto, 17.8 x 15.3 cm (7 x 6 ins) where incised, full sheet size 21.2 x 15.5 cm (8 3/4 x 6 1/8 ins), framed and glazed Qty: (1)Footnote: Provenance: The artist; bequeathed by him to a member of the Longman family; collection of A.G. Fisher Esq., 25 George Street, Hanover Square, London; with Thomas Agnew & Sons Ltd. (their label stock number 10336 on reverse); collection of Arthur Jaffé OBE (1880–1954), and thence by descent.Exhibited: Agnew’s, 66th Annual Exhibition, February to March 1939, number 116.Literature: George C. Williamson, Life and Works of Ozias Humphrey, R.A., 1918, p. 240 (illustrated). According to G.C. Williamson, this work was one of a collection of drawings, mostly signed, inscribed and dated, which were given by the artist to the Longman family, and subsequently passed on to Mr A.G. Fisher of George Street, Hanover Square. Williamson also states that the work is a preparatory drawing for a painting.

Attributed to Bernardino India (Verona 1528-1590). Striding Angel, pen and red-brown ink, brush and brown wash on laid paper, with an inked-in borderline, laid to the mount at the edges, some foxing, 19.2 x 12.3 cm (7 5/8 x 4 3/4 ins), framed (45 x 36 cm), with Christie's stencil to verso PV657Qty: (1)Footnote: Provenance: With Crispian Riley-Smith (exhibition label verso).This drawing is characteristic of the draftsmanship of Bernardino India, who developed a mannerist style after Giulio Romano and Parmigianino. The dramatic chiaroscuro washes, and treatment of the facial features half in shadow and half in light, is comparable to Design for a Wall Decoration over an Arched Doorway with Grimani Arms, held at the Metropolitan Museum of Art (accession no. 1974.389), and Angels making music in the clouds: design for a lunette, at Christie's New York, 31st January 2013, lot 38.

CRUZEIRO SEIXAS (1920-2020)A noite sem fim indistinctly signed (lower left)gouache, watercolour, brush, pen and India ink and pencil on paper30.5 x 42.9cm (12 x 16 7/8in).Executed in 1977Footnotes:ProvenanceThe artist's collection.Acquired from the above by the present owner.ExhibitedLisbon, Perve Galeria, Homenagem a Cruzeiro Seixas, 9 February – 24 March 2012.Lisbon, Freedom House - Mário Cesariny, Real-Surreal, 27 June – 21 July 2013.Lisbon, Freedom House - Mário Cesariny, Colaborativamente, 25 April – 30 June 2018.Lisbon, Sociedade Nacional de Belas-Artes, Núcleo Cadávre Exquis, 3 – 31 December 2020.Lisbon, Freedom House - Mário Cesariny, Construir o Nada Perfeito, 19 September 2020 – 15 May 2021.Surrealism is a truly global movement, albeit one with localised offshoots that are enlightened by their own indigenous mythologies, natural phenomena and national politics. For Os Surrealistas, the Surrealists of Portugal, Cruzeiro Seixas was of central significance. An artistic shapeshifter possessing innumerable skills across painting, sculpture, drawing, poetry, scenography, curation and collage, Seixas delivered to the movement unique and diverse invocations of André Breton's philosophies. Beyond Portugal, Seixas also lived a peripatetic life, travelling throughout Africa, India and Asia while enlisted in the merchant navy from 1950 – 1964. Momentous in this regard was his period in Angola, during which he collected indigenous artworks, contributed fervently to his own practice (see, for example, lot 36), and curated landmark exhibitions of Modern Portuguese art.Seixas' work has been described as a 'poetics of the fantastic', as he weaves together central Surrealist paradoxes: dream and nightmare, sacred and profane, sex and death, body and soul. His works achieve atmospheres that strike both tranquillity and anxiety, overlaying sublime nocturnal environments with alien vegetation, hollow architecture, celestial phenomena, ghosts, monsters, and youthful human bodies with zoomorphic heads. In tone and imagery, his influences from Salvador Dalí, Giorgio de Chirico, William Blake, Arthur Rimbaud and Hieronymus Bosch ring true. Like his forebears, Seixas was able to deftly hint at the existence of some narrative, while at the same time obscuring it beneath eerie layers of outlandish imagery. Yet despite this disquiet and distortion, Seixas generates tonal harmonies with bold and comforting colour fields, such as the seductive midnight blue in A noite sem fim (lot 34) and the shining golden feathery flame in Untitled (lot 37). The jagged, re-worked and highly expressive cut-outs of his collaging practice (as in Untitled, lot 35) display his overarching fascination with exploring the subconscious potential of the unexpected. Seixas was not only a hero to Os Surrealistas but was also the last of his movement. In the late 1990s he established the Portuguese Surrealism Centre in collaboration with the Cupertino de Miranda family, to whom he donated his collection. He passed away in 2020 at the age of 99, after which he was honoured in a resplendent array of global exhibitions, including in 2021 at the United Nations Educational, Scientific and Cultural Organization (UNESCO) in Paris.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

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled, 1980s.Four ink drawings on paper.All of them signed, two dated (1983 and 1989).Size: 54 x 38 cm; 63 x 46 cm (frame).In parallel to his brilliant poetic career, Rafael Alberti entered the world of painting and drawing, with an avant-garde vocation, exhibiting already in early times in the Salón de Otoño and the Ateneo de Madrid. He was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his plastic work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled (Harlequin with Painted Face), ca. 1955.Gouache and ink on laid paper.Signed on the back.Work referenced in Joan Ponç's online catalogue.Measurements: 67 x 49 cm; 69 x 51 cm (frame).In this composition, which represents a harlequin with his face painted, a character he painted on numerous occasions, Joan Ponç's imaginary is synthesised in all its splendour. During the 1950s, the period in which he lived in Brazil and to which this painting belongs, Ponç's plastic universe had already been nourished by premonitory visions and hunches, giving shape to a clairvoyant, mystical and existential language. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A 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).

A pen and ink drawing of a European rugby player, circa 1920s,depicting the rugby player in match kit holding a rugby ball in front of the posts, the jersey bearing entwined letters SUS, no visible signature mounted, glazed and framed, overall 57.5 by 41cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.

Original watercolour of England's amateur international footballer G.O. Smith by C S Landlaw, dated 1910,pencil and watercolour depicting Gilbert Oswald Smith in football uniform of blue and navy, signed and dated by the artist lower right, mounted, glazed and framed, overall 38 by 26cm; sold together with a pen, ink and watercolour drawing of Newcastle United's Albert Shepherd by Amos Ramsbottom (British, 1889-1967), circa 1910, in full black and white striped club kit, with title below, mounted, glazed and framed, overall 36 by 27cm., (2)Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.

Charles Edmond Brock (British, 1870-1938) A Country Cricket Match, circa 1920s, pen and ink drawing, depicting gentlemen on the village green playing cricket. Left margin signed by artist, lower margin bears handwritten note HEADING FOR Y.M.C.A. BOOK, mounted, glazed and framed, overall size 33 by 36cm.  Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.   

Drawing depicting the cricketers W G Grace, KS Ranjitsinhji and Johnny Briggs, circa 1890s.Pen and ink drawing of the three cricketers in the dressing room talking to the MCC committee members, with caption in pencil below WHEN WG GRACE, RANJITSINHJI & BRIGGS INTERVIEW THE COMMITTEE THERE WAS A STORMY SCENE, initialled RIP by the artist right margin.  Mounted, glazed and framed, overall size 50 by 47cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.

Kerwin Maegraith (Australian, 1903-70) original bodyline caricature artwork of the M.C.C. squad and management tour to Australia, 1932.Pen and ink drawing of 19 caricatures of the M.C.C. squad and management with names below each profile, signed by artist lower right and dated 1932, with pencil inscription ENGLAND'S ASHES SQUAD SEEN THROUGH AN AUSTRALIAN CARTOONISTS EYES, KERWIN MAEGRAITH OF ADELAIDE. Mounted above legend, glazed and framed, overall size 105 by 72cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.

Frank Reynolds (British, 1876-1953) "The Glorious Uncertainty of Cricket", circa 1930s. Pen and ink drawing, depicting schoolgirls playing cricket with a female onlooker seated chatting with a girl holding a bat, lower margin bears title and caption in pencil THE GLORIOUS UNCERTAINTY OF CRICKET, SMALL WHO'S WHO OF THE SCHOOOL, THIS IS PHYLLIS JONES & SHE'S ... A GOOD BAT, BUT ... WEAK ON THE LEG SIDE, signed by artist lower right, mounted, glazed and framed, overall 39 by 46cm.  Title and caption slightly rubbed out.  Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT. 

Adrian Daintrey RWA (British, 1902-1988) "Lord's Cricket Ground" drawing, circa 1960s. Pen, ink and wash drawing of Lord's cricket ground looking towards the pavilion and Warner Stand from the Mound, with a match in progress. Signed lower right, mounted, glazed and framed, overall size 52 by 63cm.  Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT. 

* STIK (BRITISH b. 1979),DOODLE DRAWINGink on paper, signedimage size 10cm x 11cm, overall size 34cm x 32cm Mounted, framed and under glass. Note: The book 'Organizing for Creative People' by Sheila Chandra, foreword by STIK is included in this lot, from which the drawing came from.

Ink drawing on paper 29x19 cm, framed 54x44 cm The 1960 painting is exhibited in the collection Azienda Provinciale Turismo di Catania. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.

STEPHEN GOVIER: Pen and ink line drawing depicting Wingfield Castle, signed lower left and dated 1977, 28cm x 34cm, framed and glazed

A framed watercolour of the White Star liner 'Suecia' with tug in attendance, signed 'H L Harvey 1932', a framed watercolour and ink drawing of the Lydia Eva moored at South Quay, Gt Yarmouth, signed 'Judith Lamle 1975' plus an oil on board of a sailing ship at sea

A late 19th century morocco drawing-room album, compiled from 1880 into the first-half of the 20th century by various individuals, some leaves hand-scrivened and illuminated, inscribed with verse and illustrated with 18th century and later pictures and prints, including botanical, architectural, topographical, travel, fashion, Arthur Rackham, and other subjects, some of which have been later hand-coloured, contemporary green morocco, outlined and panelled in gilt, all-edges gilt, gilt turn-ins, decorative endpapers, folio (34cm x 26.5cm), (1); a Regency artist's sketchbook, illustrated in pencil with 29 scenes, titled and dated 1817 in ink MS, disbound, oblong 4to, (1); Modern British, an early 20th century art student's anatomical sketchbook, executed in pencil by Petherick, Slade, University College, and enclosing drawings and preparatory studies of the male and female form, some nudes, cloth over board sketchbook, supplied by Newman of Soho Square, 8vo, (1); Leaves from T.L. Rowbotham's Sketch Book, Part 1, London: Printed and Published by George Rowney & Com:py, [n.d., c. 1870], original printed title-label and chromolithographs laid onto later leaves, institutional quarter-morocco over cloth, gilt-lettered and blocked in blind, folio (39cm x 29cm), [4]

A late Victorian and later lady's illustrated drawing-room commonplace-friendship album, the property of Kath: Ada Campbell, inscribed in ink manuscript from 1889, colourful paper leaves illustrated with accomplished pen-and-ink caricatures and cartoons, a herbarium leaf of dried flora and foliage, watercolour and pencil still lives enclosing passages from belles-lettres, other leaves of prose and verse, friends' sentiments, loosely inserted mounted watercolour: "Corsica/as seen from Cannes before sunrise Jan:ry 1866/distant 155 miles"; cut-paper still life, mounted; other loosely-inserted ephemera, contemporary black roan gilt, all-edges gilt, 4to, [1]

A post-Regency/early Victorian lady's scrap album-commonplace book, compiled by E.H.W., monogrammed and engraved title-page, illustrated with three cut watercolours of butterflies, topographical and portrait engravings and lithographs, and inscribed in ink manuscript with a 3pp poem 'To Her Royal Highness the Duchess of Kent/August 17. 1834' by Lady Flora Hastings, contemporary morocco, tooled and blocked in blind, all-edges gilt, 8vo, (1); an early 20th century album, partially-illustrated with watercolours and one pen-and-ink drawing, red roan gilt, 8vo, (1), [2]

Album Orné, a post-Regency/early Victorian lady's illustrated drawing-room commonplace-friendship album, [n.d., c. 1835 and onwards], including a full-length portrait silhouette of the Duke of Wellington, dressed in uniform, before the Brighton Pavilion; an Oriental pith paper painting of exotic butterflies and insects; two Chinese pith paper paintings, portraits of Mandarins, one of which holds a ruyi sceptre, Qing dynasty, 19th century; watercolour still lives of flowers and botanical specimens; figural pencil studies; a Gothic Revival hand-scrivened and illuminated paper leaf, The Virgin's Cradle Hymn; ink manuscript inscriptions, including the Lord's Prayer in miniature; passages from the Psalms and other literature; tipped-in and pasted-in portrait and other prints, some-proto brail, including The Blind Man's Bride; etc., loose contents, the colour paper leaves printed with decorative borders, others pierced and reticulated, contemporary maroon morocco gilt, the covers with a printed paper onlay, printed 'lace' endpapers, 4to, [1]

Manuscripts - Friendly Society, Ancient Order of Foresters, membership certificate, William Barnes, Brother Forester of Court No. 1819, 21st February 1850, witnessed and signed in ink manuscript by the London Executive Council, architectural chromolithograph-printed sheet trophies of archery and Masonic devices, 41.5cm x 29cm, rectangular rosewood frame with gilt inset, (1); an early 19th century lady's drawing-room commonplace-scrap book, illustrated with engravings and pencil drawings, inscribed with ink manuscript, disbound contemporary calf over marbled boards, 4to, (1); an early-mid 19th century newspaper album, comprising clippings from contemporary newspapers and periodicals, contemporary quarter-sheep over marbled boards, 4to, (1); later MS transcript of an earlier 17th century inquisition, (1), [4]

Miscellaneous - a late Victorian illustrated drawing-room album, 22pp of card leaves illustrated in watercolour, pen-and-ink, and charcoal with landscapes, still lives, figural and other tableaux, anthropomorphic and humorous pigs, occasionally inscribed in ink MS, contemporary diced calf (tired, chipped), all-edges gilt, moiré endpapers, 4to, (1); a Victorian MS inventory, List of Linen at Coachouse, July 187*, 4pp only, inscribed in an earlier 19th century notebook of quarter-calf over marbled boards, 4to, (1); Cecil Edward Tattersall (1877-1957), of the Victoria & Albert Museum, 4pp ALS, dated 30 March, 1925, addressed to Colonel ?Gramstoin on their antique collecting, and including a list of antique textiles, if bought and at what prices, (1), [3]

Children's and Juvenile Books - Didactic Sammelband, Pinnock's Catechism, five titles in one volume: 1) Astronomy, London: G & W.B. Whittaker, 1822; 2), Electricity, second edition, London: Pinnock and Maunder, [n.d.]; 3) Mythology, eleventh edition, London: G. & W.B. Whittaker, 1822; 4); Navigation, fourth edition, London: G. & W.B. Whittaker, 1822; 5) Heraldry, fourth edition, London: Pinnock and Maunder, [n.d.], contemporary quarter-calf over marbled boards, 12mo, (1); two further volumes of Pinnock's Catechisms, Perspective, 1823, & Drawing, 1824, later bound en suite, 8vo, (2); [Taylor (Ann)], Rural Scenes, or A Peep into the Country/For Children, second edition, London: Darton, Harvey & Darton, [n.d., c. 1820], lacking frontispiece, pp: [ii], 60, illustrated with 29 wood-engraved plates, contemporary red roan gilt over marbled boards, 8vo, (1); [Hughes (Mary)], Stories for Children; Chiefly Confined to Words of Two Syllables, second edition, London: William Darton, 1822, engraved frontispiece, contemporary red roan gilt over marbled boards, blue-stained edges, 8vo in 6s, (1); [Attributed to Fenn (Ellenor), psued. Lovechild (Mrs)], Rational Sports/In Dialogues Passing Among the Children of a Family [...], second edition, London: John Marshall and Co., [n.d., ?1783/1784], lacking some signatures, contemporary marbled boards, fragments of sheep back, contemporary ink MS ownership inscription: Miss Sparrow, another later: Charlotte Chetwynd, 8voo, (1); Bayley (William), Bagman's Bioscope, Bath: Edward Barrett [...], 1824, contemporary quarter-calf over boards, 12mo, (1); [Taylor: (Ann) & (Jane)], Original Poems, for Infant Minds [..., volume I only, eighteenth edition, London: 1818, contemporary green roan gilt over marbled boards, blue-speckled edges, 8vo in 6s, (1); Croxall's The Fables of Æsop [...], London: T. Allman, [n.d., c. 1853], illustrated rebound, (1); The Dairyman's Daughter, London: 1816, rebound, (1); others; chapbooks; [23]

19THC PEN, INK AND PASTEL DRAWING OF WINDMILLS BESIDE A STREAM

CARTON OF MISC F/G PICTURES INCL; ONE OF ST. MICHAELS MOUNT, CORNWALL BY BIRKET FOSTER, A MAP OF THE WORLD & A PEN & INK DRAWING OF AN OTTER BY P. PARKER 1976

19th century school - A set of three monochrome studies of male heads, two in pencil and one in ink, the pencil examples both signed Philip and dated 1880, the ink example signed with monogram P E and dated 1880 (in one frame) maximum size of individual drawing 14 x 11 cm approximately, together with a further pen and ink study of a cobbler also signed Philip and dated 1880, 17.5 x 14.5 cm also framed (2)

Horst Janssen (Hamburg 1929 - Hamburg 1995). Kopie. Aquarellierte Federzeichnung, 33,5 x 20 cm, dat. 12.5.77, ungerahmt. - Literatur: Das Werk ist mit Abb. publiziert: H. J.: Vriederich. Briefe an Viola, 1986, S. 19. - Provenienz: Sammlung Viola Rackow. - J. war als Zeichner und Graphiker einer der bedeutendsten deutschen Künstler der Moderne. Er studierte an der Landeskunstschule in Hamburg und in der Klasse für Freie und Angewandte Graphik bei A. Mahlau. In seinem experimentierfreudigen Werk verschmelzen traditionell-graphische Elemente der klassischen Moderne wie Dubuffet und Ensor mit den Alten Meistern wie Rembrandt und Goya und erhalten eine individuelle Prägung. Mus.: Hamburg (Kunsthalle), Oldenburg u.a. Lit.: Der Neue Rump, S. Blessin: H. J. Leben und Werk u.a. Janssen, Horst (Hamburg 1929 - Hamburg 1995). Kopie. Watercolour and pen and ink drawing, 33,5 x 20 cm, dat. 12.5.77, unframed. - Literature: The artwork is published with ill. in: H. J.: Vriederich. Briefe an Viola, 1986, p. 19. - Provenance: Collection Viola Rackow. - One of the most important modern German draughtsmen and graphic artists. J. studied at the Hamburg Landeskunstschule in A. Mahlau's classes of liberal and applied arts. He merged the traditions of the Old Masters and the achievements of modernism to create his own pictorial language. Mus.: Hamburg (Kunsthalle), Oldenburg a. others. Lit.: Der Neue Rump, Blessin: H. J. Leben und Werk a. others.

Horst Janssen (Hamburg 1929 - Hamburg 1995). Guten Morgen Liebes. Aquarell, Federzeichnung und Kugelschreiber, beidseitig beschriftet, 50 x 32,5 cm, dat. 3.1.78, ungerahmt. - Literatur: Das Werk ist mit Abb. publiziert: H. J.: Vriederich. Briefe an Viola, 1986, S. 84. - Provenienz: Sammlung Viola Rackow. - J. war als Zeichner und Graphiker einer der bedeutendsten deutschen Künstler der Moderne. Er studierte an der Landeskunstschule in Hamburg und in der Klasse für Freie und Angewandte Graphik bei A. Mahlau. In seinem experimentierfreudigen Werk verschmelzen traditionell-graphische Elemente der klassischen Moderne wie Dubuffet und Ensor mit den Alten Meistern wie Rembrandt und Goya und erhalten eine individuelle Prägung. Mus.: Hamburg (Kunsthalle), Oldenburg u.a. Lit.: Der Neue Rump, S. Blessin: H. J. Leben und Werk u.a. Janssen, Horst (Hamburg 1929 - Hamburg 1995). Guten Morgen Liebes. Watercolour, pen and ink drawing and biro, 50 x 32 cm, dat. 3.1.78, unframed. - Literature: The artwork is published with ill. in: H. J.: Vriederich. Briefe an Viola, 1986, p. 84. - Provenance: Collection Viola Rackow. - One of the most important modern German draughtsmen and graphic artists. J. studied at the Hamburg Landeskunstschule in A. Mahlau's classes of liberal and applied arts. He merged the traditions of the Old Masters and the achievements of modernism to create his own pictorial language. Mus.: Hamburg (Kunsthalle), Oldenburg a. others. Lit.: Der Neue Rump, Blessin: H. J. Leben und Werk a. others.

Horst Janssen (Hamburg 1929 - Hamburg 1995). Sonntag - Vriederich. Aquarell und Federzeichnung, 32 x 39,5 cm, dat. 28.8.77, ungerahmt. - Literatur: Das Werk ist mit Abb. publiziert: H. J.: Vriederich. Briefe an Viola, 1986, S. 56f. - Provenienz: Sammlung Viola Rackow. - J. war als Zeichner und Graphiker einer der bedeutendsten deutschen Künstler der Moderne. Er studierte an der Landeskunstschule in Hamburg und in der Klasse für Freie und Angewandte Graphik bei A. Mahlau. In seinem experimentierfreudigen Werk verschmelzen traditionell-graphische Elemente der klassischen Moderne wie Dubuffet und Ensor mit den Alten Meistern wie Rembrandt und Goya und erhalten eine individuelle Prägung. Mus.: Hamburg (Kunsthalle), Oldenburg u.a. Lit.: Der Neue Rump, S. Blessin: H. J. Leben und Werk u.a. Janssen, Horst (Hamburg 1929 - Hamburg 1995). Sonntag - Vriederich. Watercolour and pen and ink drawing, 32 x 39,5 cm, dat. 28.8.77, unframed. - Literature: The artwork is published with ill. in: H. J.: Vriederich. Briefe an Viola, 1986, p. 56s. - Provenance: Collection Viola Rackow. - One of the most important modern German draughtsmen and graphic artists. J. studied at the Hamburg Landeskunstschule in A. Mahlau's classes of liberal and applied arts. He merged the traditions of the Old Masters and the achievements of modernism to create his own pictorial language. Mus.: Hamburg (Kunsthalle), Oldenburg a. others. Lit.: Der Neue Rump, Blessin: H. J. Leben und Werk a. others.

Horst Janssen (Hamburg 1929 - Hamburg 1995). nämlich: ich will wer sein. Aquarell und Federzeichnung, beidseitig beschriftet, 30 x 20,5 cm, num. 3, ungerahmt. - Literatur: Das Werk ist mit Abb. publiziert: H. J.: Vriederich. Briefe an Viola, 1986, S. 76. - Provenienz: Sammlung Viola Rackow. - J. war als Zeichner und Graphiker einer der bedeutendsten deutschen Künstler der Moderne. Er studierte an der Landeskunstschule in Hamburg und in der Klasse für Freie und Angewandte Graphik bei A. Mahlau. In seinem experimentierfreudigen Werk verschmelzen traditionell-graphische Elemente der klassischen Moderne wie Dubuffet und Ensor mit den Alten Meistern wie Rembrandt und Goya und erhalten eine individuelle Prägung. Mus.: Hamburg (Kunsthalle), Oldenburg u.a. Lit.: Der Neue Rump, S. Blessin: H. J. Leben und Werk u.a. Janssen, Horst (Hamburg 1929 - Hamburg 1995). nämlich: ich will wer sein. Watercolour and pen and ink drawing, 30 x 20,5 cm, unframed. - Provenance: Collection Viola Rackow. - One of the most important modern German draughtsmen and graphic artists. J. studied at the Hamburg Landeskunstschule in A. Mahlau's classes of liberal and applied arts. He merged the traditions of the Old Masters and the achievements of modernism to create his own pictorial language. Mus.: Hamburg (Kunsthalle), Oldenburg a. others. Lit.: Der Neue Rump, Blessin: H. J. Leben und Werk a. others.