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MORGAN MICHELE: (1920-2016) French film Actress. Attractive signed 9.5 x 12 drawing by Morgan on a Canson drawing paper. Morgan draws four roses in black ink to different parts of the sheet. Signed `M. Morgan´ in black ink to the bottom right corner. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. EX    

VERTES MARCEL: (1895-1961) French costume Designer of Hungarian-Jewish origins. Vertes won two Academy Awards for Art Direction and Costume Design on the 1952 film Moulin Rouge. Well remembered for his mural works in the Carlyle Hotel and Waldorf Astoria in New York. A very attractive bold black ink drawing by Vertes, to an 8.5 x 10.5 (21,5 x 27 cm) page removed from an autograph album, being a woman seated and drawing herself a sign stating `A bord de l´Andrea Doria´ in French ("On board the Andrea Doria"). Above the lady´s head Vertes inscribes the drawing `To Madame Chaliapin´. Signed `Vertes´ at the base, adding the date in his hand, May 1956. The present autograph was obtained by Marina Chaliapin during her cruise trip on board the Andre Doria in May 1956. Only two months later, on 26th July 1956, the Andrea Doria sunk after a collision near Nantucket Island. Small overall minor age toning to edges, otherwise VG   The SS Andrea Doria was an Italian ocean liner, the largest, fastest and safest Italian ship of all times, an icon of national Pride. Its first Genoa-New York trip took place in 1953. On July 1956, the Andrea Doria sunk after suffering a collision with the Stockholm, a passenger liner of the Swedish American liner. Most passengers were rescued and 46 died.  Provenance: The present page originates from the personal autograph album of Marina Chaliapin (1912-2009), the daughter of Russian opera singer Feodor Chaliapin (1873-1938), widely regarded as one of the finest bass singers of the 20th century, and his mistress Marina Petsold (1882-1964) who became the singer's second wife in 1927. Chaliapin's daughter was married to Luigi Freddi (1895-1977) the Italian journalist and politician who edited the journal Il Popolo d'Italia and who was also hugely influential in Italian political cinema in the second half of the 1930s and beginning of the 1940s

[CHALIAPIN MARINA]: (1912-2009) Russian ballerina & actress, daughter of Feodor Chaliapin and wife of Luigi Freddi, the Italian Minister of Culture. Marina Chaliapin was crowned Miss. Russia in 1931. The personal autograph album of Marina Chaliapin, the leather bound 4to album containing 48 signatures (most with personal inscriptions to Chaliapin) by a variety of famous individuals including musicians, singers, actors, artists etc., including (in order of appearance) Feodor Chaliapin (1873-1938, Russian opera singer; signed Daddy and with a lengthy inscription in Cyrillic, in part, 'To my dear daughter Marinka - Words, words…where to find them…. No! I have to sum up my life, multiply my love, fuse my feelings, to share all this with you….. Then, I will maybe get to what I want to say…', Kitzbuhel, 1st August 1934), Fritz Kreisler (1875-1962, Austrian-born American violinist and composer; dated at Salzburg, 22nd August 1935), Charles B. Cochran (1872-1951, English theatrical manager and impresario; 'To the daughter of my greatest hero, Charles B Cochran', 1935), Gianna Pederzini (1900-1988, Italian mezzo-soprano; April 1936), Louis Jouvet (1887-1951, French actor & theatre director), Max Dearly (1874-1943, French actor; Salzburg, July 1936), Lotte Lehmann (1888-1976, German soprano; Salzburg, 1936), Bronislaw Huberman (1882-1947, Polish violinist; August 1936), Hannes Schneider (1890-1955, Austrian ski instructor), Joseph Paul-Boncour (1873-1972, French Prime Minister 1932-33), Luigi Freddi (1895-1977, Italian journalist and politician, husband of Marina Chaliapin; Venice, August 1937), Ugo Ojetti (1871-1946, Italian writer, journalist & art critic; Venice, August 1937), Vittorio Cini (1885-1977, Italian entrepreneur and politician), Italo Balbo (1896-1940, Italian fascist politician, Marshal of the Air Force 1929-33 and Governor-General of Italian Libya 1934-40), Rouben Mamoulian (1897-1987, Russian-born American film director; a fine example in Cyrillic, 1937), Luis Trenker (1892-1990, Austro-Hungarian film producer, director & actor; November 1938), Trilussa (1871-1950, Italian poet, writer & journalist; 1942), Edward VIII (1894-1972, King of the United Kingdom January - December 1936. Later Duke of Windsor; A.N.S., Edward P, as Prince of Wales, in pencil, on a small oblong 12mo card, n.p., n.d., in full, 'With many thanks for a most charming evening from Edward P', neatly laid down to the page), Massimo Bontempelli (1878-1960, Italian poet, playwright, novelist & composer; A.M.Q.S., being two bars of music which he identifies as being from Monescia), Eleonora Duse (1858-1924, Italian actress; A.N., unsigned, on her personal printed visiting card, in Italian, neatly laid down to the page), Issay Dobrowen (1891-1953, Russian-Norwegian pianist, composer & conductor; Rome, 1946), Alexander Borovsky (1889-1968, Russian-American pianist; 1946), Tullio Serafin (1878-1968, Italian conductor; A.M.Q.S., being several bars of music, with words beneath, marked Proprio cosi ('Just like that') in his hand and with a further sentiment in his hand, Musica - ragione di vita ('Music - reason for life'), Rome, 31st October 1947), Gino Cervi (1901-1974, Italian actor famous for his performances as 'Peppone' in the Don Camillo movies of the 1950s and 1960s, and later as the detective Maigret), Akim Tamiroff (1899-1972, Russian-born American actor), Paul Robeson (1898-1976, American singer and actor; ink signature on a small piece a little crudely cut from a printed programme for Black Boy, neatly laid down), Tullio Carminati (1894-1971, Italian actor), Ronald Colman (1891-1958, English actor, Academy Award winner), Umberto Spadaro (1904-1981, Italian actor), Renato Rascel (1912-1991, Italian actor & singer), David Lichine (1910-1972, Russian-American ballet dancer and choreographer; 1953), Jean Cocteau (1889-1963, French poet, playwright, novelist, designer & artist), Jose Greco (1918-2000, Italian-born American flamenco dancer; the page also signed by his sister Norina Greco, and Nila Amparo), Gina Cigna (1900-2001, French-Italian soprano), Oswald Mosley (1896-1980, British politician, leader of the British Union of Fascists), Witold Malcuzynski (1914-1977, Polish pianist; A.M.Q.S., being several bars from an unidentified work, November 1961), Earl Warren (1891-1974, American jurist and politician who led the Warren Commission that investigated the 1963 assassination of John F. Kennedy), Roloff Beny (1924-1984, Canadian photographer; an original black ink drawing of several long, elegant leaves, inscribed 'For Marina, Remembering “Death is a name for Beauty not in use”, with admiration and affection, Roloff Beny', April 1981) etc. The vast majority of the signatures are on individual leaves, and most are neatly annotated to the lower corners in ink by Marina Chaliapin. Her Ex-Libris plate appears to the front free endpaper and her initials ('M.F.C.') are stamped to the upper right corner of the front cover. An interesting collection of signatures with fine provenance. Some very light, extremely minor age wear and slight age toning at the edges of the pages, the covers slightly worn and stained. VG 

SAINT THE: An unusual pair of ink signatures by both Leslie Charteris (1907-1993, British-Chinese author of adventure fiction, creator of Simon Templar, alias 'The Saint') and Roger Moore (1927-2017, English actor, famous for his screen roles as Simon Templar in The Saint (1962-69) and as James Bond in seven films, 1973-85) individually to the lower half of a 4to page removed from an album. Charteris has signed and inscribed the page in black ink, 'A Jean - SAINTceres remerciements, Leslie Charteris', adding the date, 16th February 1970, and a red ink drawing of The Saint in his hand alongside his signature, and immediately beneath Moore has signed his name in black ink, 'Merci bien, Roger Moore', also adding an ink drawing of The Saint in his hand alongside his signature. An unidentified signature appears at the head of the page. A wonderful and rare combination of signatures, which together could be neatly excised from the page if so desired. VG   Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

BUFFET BERNARD: (1928-1999) French painter. A blue pen and ink sketch drawn and signed by Buffet at the head of a 4to page removed from an album, the image depicting a sunflower. Signed by Buffet alongside the drawing and dated 13th July 1958 in his hand. The page also bears nine other signatures to the recto and verso including Annabel Buffet, wife of the artist (dated 29th December 1958 in her hand, in the same month as their marriage), Gerard Philipe (1922-1959, French actor), Clarence Stein (1882-1975, American urban planner, architect & writer), his wife Aline MacMahon (1899-1991, American actress), Alain Cuny (1908-1994, French actor) etc. The signatures of Buffet and his wife could be neatly excised from the page if so desired. VG Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

DALI SALVADOR: (1904-1989) Spanish Surrealist Painter. A very good vintage signature with drawing by Dali. Attractively and flamboyantly signed 'Dali´, with his typically large signature, to a 7.5 x 9.5 (19,5 x 24,7 cm) page removed from an autograph album. Dali has boldly drawn in blue ink a shooting star to the heading and a large sketch of an ant beneath. Dated to the bottom right corner, 1959, in his hand. To the verso the autograph album page bears few unidentified signatures. Small overall minor age toning, with one stain, not affecting the signature or drawing. G     Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

STEINBECK JOHN: (1902-1968) American author, Nobel Prize winner for Literature, 1962. A charming and amusing fountain pen ink drawing and sentiment signed by Steinbeck to the head of a 4to page removed from an album, n.p. (Avignon), n.d. (annotated 20th November 1961 in another hand to the upper right corner). In bold blue fountain pen ink Steinbeck has penned a sentiment, in French, 'J'y suis, J'y mange, J'y reste' (translation 'I am here, I eat here, I rest here'), adding his signature beneath, immediately followed by an amusing ink sketch of a large, round flying pig, beneath which Steinbeck has added the French phrase Ci-git, usually used to precede a name on a tombstone. The lower half of the page bears a blue ink signature and sentiment ('With very pleasant memories of lovely Avignon, Byron Janis') by Byron Janis (1928-    , American pianist), dated November 1961 in his hand. A rare and attractive example of Steinbeck's signature, which could be neatly excised from the page if so desired. VG   Pigasus, the flying pig, was used by John Steinbeck throughout his life as a trademark symbol of himself, earthbound but aspiring.  Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

PICASSO PABLO: (1881-1973) Spanish Painter, a co-founder of the Cubist movement. A rare slim small 8vo colour printed admittance ticket to a bullfight signed by Picasso, the event taking place at the Plaza Toros de Nimes on Sunday, 24th May 1953 and the ticket (marked Premiere B, Rang 1) featuring a colour illustration to the centre of two toreros. Signed ('Picasso') by Picasso in blue ink to the upper border and dated 24th May 1953 in his hand. Very slightly irregularly torn to the lower edge. Together with a printed 4to souvenir programme issued for the centenary of the Feria de Nimes 1853-1953, featuring various images and printed text relating to bullfights and various toreros, including Antonio Ordonez, the blank inside front cover featuring a good, original bold black crayon drawing executed and signed by Edouard Pignon, the image depicting a bull. Signed and inscribed by Pignon at the base of the image. Some light overall age wear, about VG, 2     Signed souvenirs by Picasso related to his great passion for bullfighting are rare and desirable and, as Paloma Alarco of Madrid's Thyssen-Bornemisza Museo Nacional so accurately observed, 'The close relationship between the world of bullfighting and Picasso's oeuvre is unquestionable. From his childhood days in Malaga, where his father often took him to the bullring, he was greatly fascinated by the national sport. In addition to the artistic possibilities of the bullfight…..Picasso regarded it as an expression of Spanishness'. Picasso regularly attended the Plaza Toros at Nimes from the autumn of 1947 until 1955, quite often with the bullfighting chronicler Andre Castel, as well as Picasso's lover at the time, Francoise Gilot, the surrealist writer Michel Leiris, and his friend Jean Cocteau. Edouard Pignon (1905-1993) French artist, a friend of Picasso with whom he shared a workshop in Vallauris from 1951-52.

Picasso’s Christmas dinner PICASSO PABLO: (1881-1973) Spanish Painter. An exceptional illustrated A.L.S., Olga et Picasso (also signing on behalf of his first wife), to one side of a picture postcard depicting a Christmas winter scene to the recto, Paris, 2nd January 1919, to Mr & Mrs [Henri] Defossé, at the Coliseum Theatre in London, in French. At the head of the letter Picasso has executed a wonderful, charming original pen and ink drawing of a Christmas dinner, apparently for four people with a turkey, two bottles of wine accompanied by four glasses and several bunches of grapes and other fruits laid out on a table. A decorative, dark flowing line adorns the upper part of the exquisite drawing with the year 1919 at the head. Beneath his drawing Picasso writes a brief message to his friends, presenting them with the Christmas dinner, 'Dear friends, here you have, with this well-served table, our best wishes', also adding the address of his Parisian home and workshop at Rue la Boetie in his hand beneath his signature. Such detailed original ink drawings by Picasso, particularly from this earlier stage of his career, rarely appear at auction and the present example is enhanced by an interesting association. Some very minor, light age wear, otherwise VG  Henri Defossé (1883-1956) French Conductor, Pianist & Composer. Sergei Diaghilev's favourite conductor, Defossé was chosen to lead the Ballets Russe at London's Coliseum Theatre in 1918 & 1919.  Olga Khokhlova (1891-1955) Russian Ballet Dancer, the first wife of Pablo Picasso and one of his early artistic muses. Khokhlova first met Picasso whilst dancing in Diaghilev's Parade in 1917 for which the artist had designed the set and costumes. They married in July 1918 and in July the following year they travelled to London together for the performance of Diaghilev's Le Tricorne for which Picasso had again designed the costumes and stage.

BESTALL ALFRED: (1892-1986) British illustrator and writer who submitted Rupert Bear stories for the London Daily Express from 1935-65. A fine, rare original black pen and ink drawing signed by Bestall, on a large 8vo page removed from an autograph album, n.p., n.d. (c.1930s/40s). Bestall has drawn a charming full-length image of Rupert Bear happily walking with a rucksack on his back and wearing his familiar checked trousers and matching scarf. Signed ('A. E. Bestall') by the artist at the foot of his drawing. Some very light, extremely minor age wear and a few very insignificant spots of foxing. VG    

'Now would'ja mind turnin' your head…..’ AVERY TEX: (1908-1980) American animator and director, known for producing and directing animated cartoons during the Golden Age of American animation and for his crucial role in the creation and evolution of many famous characters including Bugs Bunny, Daffy Duck, Porky Pig, Elmer Fudd, Droopy and others. A wonderful original vintage pen, ink and watercolour drawing executed and signed by Avery on a folio sheet of light art card, n.p., 1932. Avery has drawn a young baby boy, with bright blonde hair, standing in a full-length pose, with an angry expression on his face, directed at the viewer, as he tries to fix a white cloth diaper around his groin. With an ink caption at the base, 'Now would'ja mind turnin' your head so's I can get this thing on?'. Signed and dated by Avery at the foot of the drawing. Autographs of Avery are extremely rare in any form, and examples of original art work from this early period of his career are very seldom encountered and are highly desirable. Very slightly irregularly trimmed edges and with a few light stains and minor age wear, otherwise VG    At the time of creating the current drawing Avery was employed with the Walter Lantz Studio where he worked on most of the Oswald the Lucky Rabbit cartoons from 1931-35.

HUGO VICTOR:(1802-1885) French Poet and Novelist. Unusual sketch by Hugo, to a 3 x 4.5 clipped page. The black ink drawing showing a man, standing in a profile pose, with his hands in his trousers pockets and wearing a hat. Edges slightly uneven. Very small overall minor age wear and few extremely small stains, otherwise G

MILLER HENRY: (1891-1980) American writer and artist. An original black pen and ink drawing executed and signed by Miller, one page, 4to, n.p., 25th February 1961. Miller's abstract illustration is composed of five drawings including the face of a man, a mandolin, and a series of musical notes. Signed and dated by Miller at the foot of the drawing. A pencil note in an unidentified hand to the verso indicates that the artwork was published on page eight of the literary magazine Rhinoz Eros III. A couple of very small, minor rust stains to the edges, otherwise VG    

BOTVINNIK MIKHAIL: (1911-1995) Russian Scientist and chess Grandmaster. World Chess Champion 1948-57, 1958-60 & 1961-63. A pioneer of computer chess. His pupils include World Champions Karpov, Kasparov and Kramnik. Signed F.D.C., `M.Botvinnik´, in Cyrillic, 8vo postcard, 20th July 1994. The document commemorates the 70th Fide anniversary and shows a drawing portrait of Botvinnik in a head and shoulders pose playing chess. Signed in bold black ink to a clear area of the front postcard, neatly affixed to the inside of a folding white stiff. VG 

A group of twenty-five jasper chess pieces, 19th centuryAfter the Wedgwood set modelled by John Flaxman junior, thirteen in blue jasper and twelve in white, contained within a wooden box, 4.5cm to 8.3cm high (25)Footnotes:These models are to be seen in a pen, ink and wash drawing in the Wedgwood Museum, signed 'J Flaxman Invt et Delint', illustrated by Robin Reilly, Wedgwood Jasper (1994), p.188, pl.246. In 1785, Flaxman invoiced Wedgwood the sum of six guineas for the drawing, which may have been intended for display purposes in the London showrooms in Greek Street. The Oven Book shows that the figures were in production by December 1783. On 5 February 1784, Flaxman wrote to Wedgwood 'I return you many thanks, for the liberal praise you bestow on my chess figure'.For further information on this lot please visit Bonhams.com

17TH/18TH CENTURY FLEMISH SCHOOL; pen and black ink drawing 'Old Lady and One-Legged Bore', depicting an elderly lady with basket and tattered cloak sat on a rock, with one-legged man with crutches walking off to the distance, drawing on paper, 16 x 18cm, later framed in a modern gilt wood frame, frame size 34 x 34cm.

JOY KIRTON SMITH; colour lithograph 'Repose III', limited edition no.145/495, signed and numbered in pencil to the margin, 29 x 20cm, unframed, together with a gouache and ink drawing by Janet Dominy 'In an Old Tuscan Garden', signed, 30 x 24cm, framed and glazed (2).

PEN AND INK DRAWING OF PILGRIMS IN A MONASTERY BY EDMUND SULLIVAN SIGNED

CONJURING. - [Angelo J. LEWIS.] 'Professor HOFFMAN'. Drawing-Room Amusements and Evening Party Entertainments. London: George Routledge and Sons, 1883. First edition, 8vo (182 x 117mm.) Frontispiece with tissue-guard, numerous illustrations. (Minor spotting to preliminaries.) Original blue cloth with pictorial gilt, red and blue (small paper labels affixed to upper cover and spine (weakening of upper hinge, rubbing to extremities). Provenance: 'Magic Circle Library' (paper labels mounted to both pastedowns, stamps to title-page and leaf B1, cancelled stamp in ink on the front pastedown, dated 1987). - And a further four volumes related to magic (including 'Puzzles Old and New', [circa 1893], 8vo, and 'Magical Titbits', 1911, 8vo). Provenance: by descent, from the estate of Barry Murray (5).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Arthur Moreland, 'The Candidate' initialled, pen and ink cartoon, 17.5x26cm,the mount inscribed in pencil "Original drawing for Punch, Nov 26 1919" full title with caption and signed by the artist.

Alfred Wainwright (1907-1991), an original pen and ink drawing "Gimmer Crag", 20 cm x 17 cm, framed, signed. ARR (see illustration).

Alfred Wainwright (1907-1991), an original pen and ink drawing "Croglin Church", 20 cm x 17 cm, framed, signed. ARR (see illustration).

Hermann Hesse Fünf Gedichte. Eigenhändiges Gedichtmanuskript. Montagnola 1944. - Originalmanuskript des malenden Dichters - Illustriert mit reizvollen Aquarellen - Mit einem Begleitbrief an den Schriftsteller Hans Grossrieder Die hübschen Aquarelle mit Tessiner Landschaftsansichten jeweils auf der ersten Seite des gefalteten Doppelblatts, auf der dritten Seite das eigenhändig geschriebene Gedicht. - Hesse schrieb solche Gedichtsammlungen in mehreren Exemplaren und schenkte sie Freunden oder verkaufte sie an Bewunderer seiner Werke. Die Manuskripte sind allesamt besondere Einzelstücke, die in der Auswahl der Gedichte und Illustrationen variieren. Hier enthalten die Gedichte: Zunachten - Voll Blüten - Flötenspiel - Vergänglichkeit - September. Mit einem maschinenschriftlichen Begleitbrief m. U. an den Schweizer Schriftsteller und Übersetzer Hans Grossrieder (1912-1990), datiert 7. März 1944. 'Sie haben mir mit diesem liebevollen und so schön und klar gearbeiteten Essay eine Freude gemacht, während die meisten Äußerungen der Presse über mich mir eher etwas Verlegenheit bereiten, weil sie weder ein echtes Verstehen noch einen exakten Ausdruck anstreben .. Um Ihnen .. zu zeigen, daß ich mich Ihrer lieben Gabe freue und mich dankbar zeigen möchte, habe ich für Sie in diesen Tagen eine kleine anspruchslose Handarbeit gemacht, wie ich sie je und je für Freunde und zum eigenen Vergnügen mache ..' - Auf einem Doppelblatt, am Kopf mit einer Zeichnung von Günther Böhmer (Hesse zeitunglesend in seinem Arbeitszimmer). Einband: 5 lose Doppelblätter (Gedichte) und 1 Doppelblatt (Brief) in Umschlag mit aquarelliertem Titel. Blattgröße 21 : 15 cm. - ILLUSTRATION: Mit aquarelliertem Titel und 5 aquarellierten Federzeichnungen. Illustrated original manuscript with accompanying letter to the Swiss author Hans Grossrieder. - ZUSTAND: Vorderumschlag am Unterrand mit schwacher Knickspur und dort minimal fleckig, sonst sehr gut erhalten. - Set of 5 poems, each with pen and ink drawing in watercolors. Together in orig. wrappers with autograph title and watercolor border. Sheet size 21 : 16 cm. - Wrappers with faint crease at lower margin. Fine and well-preserved set. Dieses Objekt wird regelbesteuert angeboten (R).

***Ronald Searle (1920-2011) - Ink drawing - Molesworth confronted by a customs officer, signed, inscribed and dated July 1956, 9.25ins x 12.25ins, framed and glazed Provenance: This was won as a first prize by the vendor

Viet cong / Veitnam War interest ink drawing, depicting a soldier carrying a Mosin Nagant rifle, dated 1965.

Danube, Hungary & Serbia.- Gutch (John Wheeley Gough, Queen's Messenger, 1808-62).- Album of travels along the Danube, Hungary & Serbia, pen and ink and watercolours of landscapes, houses and peasant costumes, manuscript captions and notes in ink and pencil, 71pp., a few ff. excised at beginning and end, original calf-backed boards, rubbed, slightly rubbed, corners bumped, tear at head of spine, Mandar bookticket, 120 x 190mm., April-May 1845.⁂ Drawings include: "Beach on the Danube near Presburg"; "Tracking a boat on the Danube near Gunya... 22 horses some pulling our way some another a scene of noise & confusion"; "Buda or Ofan on the Danube"; "Hungarian Shepherd"; "A Slavonian Hungarian Peasant"; "The English Messengers house at Alexnitza [Aleksinac] formerly that of the Turkish Pacha"; "A Servian Tatar"; "Travelling in Servia 200 miles in 27 hours..."; "Sweti Stevân Monastery of St Stephen"; "Bulgarian Peasants at Alexnitza 10 May 1845"; "The Commandant's house at Alexnitza"; "Alexnitza - The Guard house & gate separating Servia & Turkey" etc.Provenance: Gutch, previously a surgeon, travelled to Serbia in the 1840s as a Queen's Messenger, a courier employed by the Foreign Office and still in existence to this day. One of the pictures depicts Gutch drawing the English Messengers House at Aleksinac with the aid of a camera lucida.

Africa.- Constitution of the Colony of Sierra Leone, and its Dependencies, William Henry Savage's copy with his ink annotations and his name on title, interleaved with blank leaves, some water-staining, one leaf with tear, contemporary half calf, worn, gilt-lettered red morocco label to upper cover, upper cover detached, folio, Freetown, Sierra Leone, Printed by Joseph Mitton, 1822.⁂ Savage was born in London to an African father and English mother. He was initially a slave trader but by 1820 had begun trading in produce for Freetown. He arrived in Freetown as a schoolmaster and later became a public notary. The annotations point to his involvement with the drawing up of the constitution and is particularly concerned with providing the nascent colony with a workable legal framework - "No Law made in the colony inflicting imprisonment 3 months shall be of force until approved by His Majesty."

Architecture.- Malton the Elder (Thomas, English architectural draughtsman and writer on geometry, 1726-1801) Perspective studies of capitals and urns, pen and brown and greyish black inks, point of the brush, monochrome wash, on laid paper without visible watermark, ruled brown ink border, sheet 305 x 220 mm (12 x 8 3/4 in), tipped at edges onto window mount support, minor surface dirt and light browning, unframed, [circa 1770-1775]Provenance:Purchased by the present owners circa 1980sPrivate collection, South West England⁂ An original sheet of preliminary designs for plate XXII of Malton's 'A Compleat Treatise On Perspective, In Theory And Practice', published in 1775. Another comparable perspective drawing by Malton was previously sold by Colnaghi in 1979, and it would appear that the present sheet came from the same source. The Colnaghi sheet was a perspective drawing of a desk and chair, and was sold at Christie's New York in 2011 [see Old Master & 19th Century Paintings, Drawings & Watercolors Part II, 26th January 2011, lot 302]. Tate hold two perspective drawings by J.M.W. Turner, which are copies after sections of the present sheet; Turner used these for his lectures as Professor of Perspective at the Royal Academy, circa 1810 [see acc.no D17096/ Turner Bequest CXCV 125 and D17073/ Turner Bequest CXCV 103].

Architecture.- Adam (Robert, Scottish Neoclassical architect, interior designer and furniture designer, 1728-1792) Unexecuted design for a chimneypiece, for William Maule, 1st Earl of Panmure, pen and greyish-black ink with monochrome wash, inscribed 'Robt. Adam Architect' and dated '1762' in the lower left corner, probably in Adam's hand, further inscribed 'Design of a Chimney piece for The Right Hon. The Earl of Panmure' in brown ink in the upper centre, with scale and dimensions, on laid paper with large Britannia watermark, sheet 365 x 445 mm (14 1/4 x 17 1/2 in), under glass, laid onto support, old folds with some minor splitting, several repaired tears to edges, minor surface dirt, framed, 1762.Provenance:Purchased by the present owners circa 1980sPrivate collection, South West EnglandLiterature:cf. A.T. Bolton,The architecture of Robert and James Adam, 1922, Vol. II, index p. 26⁂ Original design by the leading proponent of the Neoclassical style in 18th-century interior design. Architectural drawings by Robert Adam rarely appear on the open market, despite having produced a significant number. The reason for this being that the vast majority were purchased by Sir John Soane in 1833 for the vast sum of £200, and are now held in the Soane Museum, London. The Soane Museum also hold another drawing of the same chimneypiece, possibly a studio copy after the present work, which is slightly smaller and without a scale, which they have attributed to Agostino Brunias (active 1763-1779) [see acc. no. SM Adam volume 22/71].

Architecture.- Byres (James, Scottish artist, lived mainly in Rome, Grand Tour "cicerone" and art dealer, 1734-1817) Plan of a Temple, built by Cardinal Albani in his Villa near Rome, pen and grey inks, grey wash, with scale and brown ink inscription underneath, ruled black ink border, on laid paper, sheet 730 x 490 mm (28 3/4 x 19 1/4 in), under glass, minor surface dirt, framed, [circa 1780s]; together with another sheet with side profiles of the same temple, pen and inks, watercolours washes, ruled black ink border, sheet 490 x 720 mm (19 1/4 x 28 1/4 in), under glass, some marginal repairs to tears, minor surface dirt, framed, [circa 1780s] (2)Provenance:Purchased by the present owners circa 1980sPrivate collection, South West England ⁂ A large and highly finished drawing of a Temple from Villa Albani, considered to be an 18th-century masterpiece. The Villa was a vast architectural complex completed in 1763 by the Italian architect, Carlo Marchionni (1702-1786), and the project was heavily influenced by Giovanni Battista Nolli, Giovanni Battista Piranesi and Johann Joachim Winckelmann; the latter curating the collection of antiquities housed in the Villa. The Villa was to serve as an important source of inspiration for the neoclassical architecture of Sir John Soane and Robert Adam, both of whom visited while on Grand Tours.

Architecture.- Soane (Sir John), Office of. Four sheets of architectural plans for Sir William Milner's Bruton Street house, including 'Sections of Withdrawing Room', 'Plan of the Ground Floor of House in Bruton Street, with the proposed alterations & additions', 'Plan of the One Pair Floor of House in Bruton Street. With the proposed alterations & additions', and another without descriptive annotation but is a variant plan of the ground floor with proposed alterations for the same house, pen and greyish-black ink, brown ink, grey and brownish-red wash, each inscribed with dimensions and client information 'Sir William Milner Bart.', all with ruled ink and wash border, various laid papers, three sheets measure 565 x 440 mm (22 1/4 x 17 1/4 in), all with watermarks of 'J. Whatman', and one sheet 595 x 480 mm (23 1/2 x 18 7/8 in), with watermark of 'Portal & Bridges' with countermark of the Strasbourg Lily', old central folds, handling creases, minor surface dirt, some spotting and browning, unframed, [circa 1790]; together with four further original architectural plans, two likely from the Soane Office of an unidentified building on the same stock of 'J. Whatman' paper as the previous mentioned, and two by a different hand inscribed 'Woolley Park. Seat of Godfrey Wentworth Esq. by George Woodhead [?] 1814', pen and inks, various sizes between 300 x 365 mm (11 3/4 x 14 1/4 in) and 360 x 520 mm (14 1/8 x 20 1/2 in), some surface dirt and staining, handling creases, nicks and tears to extremities, one larger repaired tear, all unframed, [circa 1790 to 1814] (8)Literature:[Bruton Street] cf. P. Dean, Sir John Soane and London, 2006, p. 193⁂ Sir John Soane's Museum, London, hold an associated drawing for the same Bruton Street house project showing a 'Plan of the Hall Floor' [see SM 40/1/20], but without the ink and wash borders, and on a slightly larger sheet. The description from the Soane Museum suggests Soane had attempted to help his client sell the house, albeit without much success, passing the property on to his other potentially interested clients. Soane made upgrades to the property in 1789 before again advertising the property for sale, with the present four sheets showing the suggested alterations.

A Chinese ink and wash drawing of bamboo, with Chinese script and red seal marks, approx 28cm x 36cm

KAREN LORENZ (Contemporary Cornwall artist) A framed original pen and ink drawing of a cat, signed and dated Lorenz 2011, 20cm x 29cm

MICHAEL REES (b.1962) A framed original pen and ink drawing titled "Hybrid" and signed bottom left. Image size 15cm x 20cm

COLIN SELF (b.1941) (ARR) A framed and glazed pen, ink and tape drawing titled, 'Dandelion' with applied Dandelion head and seeds. Pencil signed bottom right and dated 17.1.1997. Paper size 50.5cm x 40.5cm

ZORAC PETROVIC (XX) A large abstract surrealist pen and ink drawing, signed and dated 1955 with additional text verso a/f.

Brian Pollard (Association of British Naïve Artists), ink drawing, Mousehole & Mounts Bay, May 2021, framed and glazed, overall size 36cm x 30cm.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Countryside/ Les derniers rayons du soleil inscrit avec dédicace 'For Peter en souvenir of Edipsos with all my love Nico./ Barbaras Birthday Feb.22.1960.' (au verso) ink et gouache sur papier46 x 66cm (18 1/8 x 26in).Peint en 1958.inscribed with dedication (on the reverse) ink and gouache on paperFootnotes:ProvenanceThe artist's collection. A gift from the artist to Lady Nöel Evelyn 'Peter' Norton, London.Thence by descent to the present owner. ExposéNew York, Alexander Iolas Gallery (as per label on the reverse). LittératureGhika, Paintings, Drawings, Sculpture, C. Zervos, S. Spender, P. Leigh Fermor ed., Lund Humphries editions, London 1964, no. 12 (listed and illustrated).Drawing from indigenous sources, ranging from icon painting to folk art and Karaghiozi shadow-puppet theatre, Ghika formulated a distinctive artistic premise related to post-cubist explorations. Moreover, the tender convolutions and fragile gestures so evident here allude to the mystical world of oriental calligraphy and its constant flow of brush and pen. In 1958, the year he painted Countryside, the artist visited the USA at the invitation of the State Department and returned to Greece by way of the Far East. As noted by art critic S. Spender, the drawings of India and Japan Ghika did in 1958 are of particular importance because they established a connection between far-eastern art and Ghika's sensibility which was partly Oriental.'1 1 S. Spender, 'Ghika' in Ghika, Paintings, Drawings, Sculpture, Boston Book and Art Shop, Boston 1965, p. 23.Puisant dans des sources indigènes, qui vont de la peinture d'icônes jusqu'à l'art naïf et au théâtre d'ombres de Karaghiozi, Ghika a formulé un postulat artistique distinctif, relié à des explorations post-cubistes. En outre, les convolutions tendres et la gestuelle fragile, si évidents ici, font allusion au monde mystique de la calligraphie orientale et à son mouvement constant du pinceau et de la plume. En 1958, année où il a peint Countryside l'artiste s'est rendu aux États-Unis à l'invitation du Département d'État, et est rentré en Grèce en passant par l'Extrême-Orient. Comme le note le critique d'art S. Spender, les dessins que Ghika a réalisés sur l'Inde et le Japon en 1958 revêtent une importance particulière car ils créent un lien entre l'art extrême-oriental et la sensibilité de Ghika, qui était en partie orientale. »This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Eric Hosking Library. Collection of modern ornithology and natural history titles inscribed by the author or illustrator to Eric Hosking, including:1) Green (Roland, 1890-1972). How I Draw Birds. A Practical Guide for the Bird-Watcher, 1st edition, London: Adam and Charles Black, 1951. 4to, original cloth, dust jacket, inscribed by the author 'Best wishes, to my old & valued friend Eric, Roland Green', and illustrated by him with an original pencil-drawing of a bald eagle to front pastedown and a pen-and-ink sketch of a wader to front free endpaper, 2) Kirkman (F. B., 1869-1945). British Birds, 1st edition, London: T. Nelson & Sons, Ltd, 1935. 4to, original cloth, dust jacket (toned on spine, a few spots and tears), inscribed 'E. J. Hosking, from F. B. Kirkman',3) Hollom (P. A. D., 1912-2014). The Popular Handbook of Rarer British Birds, 1st edition, London: H. F. & G. Witherby, 1960. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes for a successful conclusion to our Bulgarian adventure, Phil Hollom, June 1960', 4) Smith (Stuart, 1906-1963). How to Study Birds. Photographs by the Author, Eric Hosking, and A. G. Britten, 1st edition, London: Collins, 1945. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes and thanks, November 1945, Stuart Smith',5) Steyn (Peter, c.1936-?). Hunters of the African Sky, 1st edition, Winchester: Struik, 1990. Folio, original cloth, dust jacket, inscribed 'For Eric and Dorothy who share my love for these magnificent hunters of the African sky, all best wishes, Peter Steyn',and 34 others, including James Fisher, The Birds of Britain, 1942, Desmond Nethersole-Thompson, The Snow Bunting, 1966, 3 further works by Peter Steyn, 3 by Heather Angel, 2 by J. Morton Boyd, and similar, most works in lot with bookplate of Eric Hosking (qty: 39)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)

AN INDIAN MINIATURE INK DRAWING 19TH CENTURY Depicting a nobleman riding a composite horse consisting of various animals, he carries a spear in one hand and clutches the horse's reins in the other, the drawing, predominantly in puce with highlights in body colour, an inscription to the reverse, framed and glazed, 15.5cm x 11.5cm. Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

A fine pressed card pen and pencil work needle book, the cover in ink 'E.S.M. Phillipps - Jany. 17th 1835' beside a drawing of a church and a laurel wreath inscribed 'dd EJMP ovo natali de', the reverse with a pen drawing of a sailing ship, the interior with four flannels one stitched with a gilt brass bodkin, tied pink ribbon spine, 12 x 8cms. A Connoisseur's Collection

PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... 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

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Mabel Augusta Kingwell (1890-1924) HEAD AND SHOULDERS OF A GREY HORSE Signed watercolour heightened in white, on brown paper, 22 x 25cm, together with a pen and ink drawing 'Away from the Hurdle', signed, dated 1920, 20 x 30cm, the reverse having a pencil sketch of horses landing, having jumped a fence, (2).

John Cameron Cutler (1937 - ) - Four Figures, signed and dated 58, brush and ink on buff paper, 25 x 15cm Good condition. Note: glass spattered with paint, drawing unaffected

Keith Vaughan (1912-1977)/Three Figures/ink drawing, 12cm x 16.5cm/Provenance: Tib Lane Gallery, Manchester, receipt of purchase dated June 1999 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

18th Century Italian School/Corpus Christi/Old Master style drawing/pen and ink heightened in white, 24cm x 18cm/Provenance: from the Estates of Lord & Lady Charteris CONDITION REPORT: Condition information is not usually provided in the description of the lot, but is available upon request. Further images and some condition reports can be viewed on our online catalogue at www.chorleys.com

Eileen Soper (1905-1990) pen and ink drawing - Chimney Pot, together with an etching - Xmas Greetings 1921, in glazed gilt frames (2) Provenance: Chris Beetles Ltd., London, 29th January 2014

Phyllis Ginger (1907-2005) pen and ink drawing - The Paddle Steamer, unframed, 40cm x 29cm Provenance: Chris Beetles Ltd., London

Early 20th century pen and ink drawing - L'isle sur La Sorgue, titled in pencil and signed with monogram, 23cm x 16cm, mounted

*Mervyn Peake (1911-1968) Study of a nude lying down signed 'Peake' l.l., pen and ink 40 x 44cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

*Mervyn Peake (1911-1968) Seated nude pen and ink 40 x 24.5cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

*Mervyn Peake (1911-1968) An artist at his easel; Study of two figures two, pen and ink 31 x 24cm and 23 x 17.5cm, both unframed (2) Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Mervyn Peake was one of Raymond Bradshaw’s tutors at the Westminster School of Art, where Bradshaw studied from 1936 to 1938. This drawing was acquired by Bradshaw after a life drawing session. *Artist's Resale Right may apply to this lot. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

Attributed to Mark Gertler (1891-1939) Sketch of a woman in profile with inscription by another hand 'Drawn by Mark Gertler', pencil, pen and ink 12 x 8cm, unframed Provenance: From the estate of the artist Raymond Henry Bradshaw (1918-1997). Gertler was one of Raymond Bradshaw's tutors at the Westminster School of Art, where Bradshaw studied 1936 to 1938. This drawing dates from this period. Bradshaw completed his studies just one year before Gertler tragically committed suicide. Follow this link for more information about the collection: https://www.sworder.co.uk/news/the-raymond-bradshaw-studio-collection/?pc=3948

Peter Samuelson (1912-1996) 'Mozart Concerto' watercolour, pen and ink 19.5 x 24.5cm; together with two further works by the artist 'Liapunov, exceedingly dull piano concerto; 'Violin Concerto in B Minor, Saint-Saens' both inscribed as titled, watercolour, pen and ink both 26 x 20.5cm, unframed (3) Peter Samuelson was educated at Eton, but left school aged fifteen. He spent several seasons drawing from the Ballet Russe de Monte Carlo, learning to capture movement with an immediacy of line. His love of music was lifelong and he spent much time watching orchestras rehearse and perform, especially while working for the Dutch Radio Times where he had priveliged access to radio studios. Samueson wrote of his 'Musical Fantasies' series, 'they are ‘always done under the immediate influence from the radio at speed, almost unconsciously, they are unashamed in their iconoclasm, with surrealistic elements unchecked.’ Samuelson liked to sign 'Pierre' or in back to front mirror writing. Read more about the artist on our website: https://www.sworder.co.uk/news/peter-samuelson--an-artist-disinterested-in-the-art-world/?pc=3948

Estate of Dave Prowse - Star Wars - Bobby Blakey (Official Star Wars Artist) - Darth Vadegg - ink on paper drawing of Darth Vader in egg form. Signed and titled to the lower edge. Gifted to Prowse by Blakey. 28cm x 22cm (approx). 

Trajan St Ines (1902 - 1995), pen and ink drawing, tiger, signed and inscribed, 33cm x 24cm, framedVery light foxing, no tears

Fireworks and Water-clocks.- Bate (John) [The Mysteries of Nature and Art], 4 parts in 1, third edition, lacking general title and next preliminary leaf and T4, divisional title with woodcut vignette or device, numerous woodcut illustrations, some full-page, several outer margins at beginning and end repaired, soiling and some ink scribbling, some water-staining, later calf, rubbed, 4to, [1654]; sold not subject to return⁂ The parts are titled: Of Water-works; The composing of all manner of Fier-Works For Triumph and Recreation; The Excellent Arts and Sciences of Drawing, Colouring, Limming, Paynting, Graving, and Etching; Extravagants...Medicines for severall Maladies.

NO RESERVE Ex-collection of Minto Wilson.- Blooteling (Abraham) Portrait of Hieronymus van Beverningk, mayor of Gouda, after Nicolaas Maes, etching with mezzotint, 415 x 307 mm (16 1/4 x 12 1/8 in), scattered spotting and browning, surface dirt, framed, [circa 1679]; toegther with six further framed prints, including two portrait mezzotints, one after Reynolds by McArdell, another engraved portrait, two engraved views of Durham, another of Sissinghurst, and with an original pen and ink with wash drawing of 'Rosewell House, Kingsmead Square, Bath', various sizes, all framed and glazed, 18th and 19th century (8).

Pen and ink drawing of polish cities by Antoni Sulek, both signed and dated by the artist, framed