We found 9737 price guide item(s) matching your search

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

David Linley, a pair of walnut and inlaid cabinets, late 20th century, each comprising a shaped cornice above dual retracting doors enclosing shelves, over a lower cupboard section, to one enclosing drawers, the other fitted for hi-fi equipment, stamped THE DAVID LINLEY CO, 1997 in a roundel, each 230cm high, 150cm wide, 74cm deep, and a pair of similar floor standing plinths, Together with Studio of David Linley, A prototype design drawing for these cabinets, ink and wash on paper, framed and glazed, 53cm high, 70cm wide overallProvenance: purchased in these rooms, previously removed from a Holland Park House 5th June 2019Condition Report: Please note a watercolour sketch of these cabinets is provided with this lot and has been updated to the main descriptionMarks, knocks, scratches, abrasions consistent with age and use in a domestic settingOld splits and cracks, some chips and losses, the lower corner of one of the doors has a crack through, one of the hinges the pin is detached from the barrels and is therefore weak. The retreating mechanism is stiff and will need some lubrication or attention prior to use - this can probably be done on disassembly or reassembly The top sections can be dismantled, this should be done carefully as the veneers are applied to an MDF type carcass and therefore is prone to chipping and marking (as has already happened due to previous movement)The doors to one are not level and again my need some work in the hanging (they attach to the aforementioned retreating actions.One handle missing to the interior drawers, the one fitted for hi-fi equipment has signs where this has been inserted and removedThese are probably best viewed in person prior to bidding.The internal shelves have not been inserted whilst at DreweattsPlease refer to additional images for visual reference to condition Condition Report Disclaimer

An Edward Jackson ink drawing, Boats at the Haven, Tynemouth, framed. Together with five other signed prints depicting Newcastle, Harrogate, Bamburgh etc.

* JOHN NICHOLSON (SCOTTISH 1921 - 2004),M.V. "SEA PRINCESS"oil on canvas, signed and titledimage size 45cm x 60cm, overall size 54cm x 69cm Framed.Note: John Nicholson was only five when his love affair with ships began. John was fascinated by the workings of a paddle steamer on a day trip to the Isle of Man in 1925 and he was still enjoying sailing on the paddle steamer PS Waverley 78 years later. Drawing was also an interest from a very young age and family holidays on the Clyde in the 1930s provided the subject matter for many of his early paintings. John served in WWII and spent four years as a POW. In the early 1950s he began receiving commissions. Pen and ink drawings appeared in several shipping magazines and from 1984 until 1987, John was commissioned to paint all new vessels to the Cal/Mac fleet. His attention to detail in all his pictures often led to extended correspondence with those wanting a painting of a ship in a particular livery or location. His regular trips to the Isle of Man resulted in a commission from Captain Jack Ronan to paint three Steam Packet ships for him. In 1993 he was commissioned to do a set of paintings of The Isle of Man Steam Packet ships for postage stamps issued by the Isle of Man Post Office. John was a renowned marine artist and his works will remain as a permanent memorial to his abiding interest in all things to do with the sea and, for more than 25 years, he provided the PS Waverley with artwork for their postcards, posters, timetables and advertisements - and all completely free of charge. Early in 1990, the publishers Hart, Maclagan & Will were printing their first book in The Memories of the Clyde series, The Duchess of Fife. They were searching for a suitable front-cover illustration and contact was made with John Nicholson. In 1992 the second title, Steamers of the Clyde, featured all 24 illustrations painted by John Nicholson. In 1994, Liners of the Clyde was published. This book contained illustrations of 24 liners all painted by John with his own authoritative descriptions. He followed this with another work on the steamers of the Clyde and Western Isles with the words provided by himself, Robin Boyd and Iain Quinn. We have only offered two examples of John Nicholson's work in recent years. Both were smaller watercolours (rather than oil paintings) and prices achieved were £200 & £420

Walker Original pen and ink drawing of bears on a Motorbike. [Frame- 48x60cm]

After Rex Whistler (1905-1944)Possible ink drawing depicting Hot air balloon. Showing tag to the back stating [REX WHISTLER- INK DRAWING] [Artwork 3.5x3.5cm], [Frame 20x20cm]

JEAN COCTEAU (1889-1963)Marin à la cigarette sur l'oreille signé et daté 1928encre sur papier 27 x 20.4cm (10 5/8 x 8 1/16in).Exécuté en 1928. Ce dessin est acccompagné du livre 25 dessins pour un dormeursigned and dated 1928ink on paper this drawing is accompanied by the book 25 dessins pour un dormeurFootnotes:Cette œuvre est accompagnée d'un certificat édité par Annie Guédras et est répertoriée sous le N°4282D.For further information on this lot please visit Bonhams.com

Ayres (Philip) Emblemata Amatoria...In Four Languages, first edition, engraved throughout, frontispiece, title, 2 leaves 'Sonnet', 44 plates with facing leaf of text, title with small piece missing from lower corner, some other leaves shaved close, touching edge of plate, several leaves misbound, some early ink annotations to blank versos, later red morocco, gilt, g.e., [Wing A4307; Landwehr Rom. 130; Praz p.263; Freeman p.205], 8vo, Sold by R. Bently...S. Tidmarch, 1683.⁂ "Its graceful four-lined poems in copper-plate hand required no intellectual effort to follow, the subject was love - the book was, in fact, admirably suited to the drawing-room and the ladies for whom it was destined." (Freeman)

Charles E Brock (1870-1938), seven early 20th century pen and ink cartoons, c. 29 x 38cm, (most mounted); a red chalk drawing dated 1903; and a Brock family group wedding photograph (all unframed) (9)

coloured pencils and pencil, with pencil annotations, inscribed indistinctly top left DESIGN FOR GAS FIRE/ 1/4 FULL SIZE/ C.F. ANNESLEY VOYSEY ARCHITECT FRIBA/ 73 ST JAMES ST SW1 and lower left OCTOBER 1926, 57.5cm x 45.5cm; together with a SMALLER PREPARATORY DRAWING, Pen and Ink on blue laid paper, pasted in to larger work, oak frame 57.5cm x 45.5cmProvenance: C.F.A. Voysey, until his death in 1941, thence by descentThe Fine Art Society, LondonFootnote: Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 78

A FRAMED AND GLAZED WATERCOLOUR OF A RIVER SCENE TOGETHER WITH A PEN AND INK DRAWING OF A COUNTRYSIDE SCENE ETC

PEN AND INK DRAWING LANDSCAPE T CARR

PEN AND INK DRAWING LANDSCAPE T CARR

John Minton (1917-1957)/King Before a Mirror/ink sketch, 26.5cm x 31.5cm, unframed/Note: the vendor's mother was taught by Minton while at Camberwell School of Arts, 1950. This drawing was executed as a very quick sketch during a lesson, by way of guidance to his pupil, who later inscribed 'By John Minton' in pencil 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.uk

Two handmade greeting cards by Frank Davies, pen ink and watercolour, one with stern view of RYS Terra Nova after the photograph by Herbert Ponting: to cover, poem to frontispiece and sketch of hut beneath Mt. Erebus 'A Merry Christmas 1915', the back inscribed 'To Ep With Best Wishes for happier Times to come, from Frank', the smaller card with drawing of a 'Glad Eye' penguin over text and dated 28th January 1915 'To Maidie from Dad', the interior with two small photographs of a ship and officers on deck, the back with a cartoon of a crying Inuit child 'An Arctic Wailer', both approximately 18cm. x 13cm. in size. Together with a copy of 'With Scott Before the Mast'

A charming mid-17th century raised and padded textile landscape picture of figures, animals, birds and insectsthe rear with allegedly provenance to Madam De Pompadour the bucolic scene depicting a central male figure drawing creatures towards him as he plays his harp, the two other figures of a shepherdess and lute player, the animals including a squirrel, a fish, a stag, a lion, a kingfisher, sheep and a butterfly, a townscape in the top right hand corner, within later giltwood frame, with remnants of old label inscribed in ink Marchioness de Pompadour, Mistress of Louis XV, died 1764, aged 44 53.5cm x 42.5cm overall approximately 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

Lionel Edwards, pair of framed ink drawings, ' My Gift a Bundle of Black and Tan ', and study of huntsmen and hounds, together with an ink drawing, hunting scene ( unframed ), one monogrammedAll three in general good original condition, no signs of damage or alterations, slight discolouration to paper as to be expected, paintings sold with no provenance, all three are 8ins x 11ins

Attributed to Thomas Rowlandson, ink drawing with watercolour washes ' The Elopement , 6.75ins x 8.75ins, gilt framed

142 WILLIAM STOBBS Good original pen and ink drawing of a mouse in an oriental cloak; C WALTER HODGES. good original pen & ink and colour of ship and tower; SCOULAR ANDERSON. Original pen & ink drawing of birthday celebrations. All well-known children's book illustrators, all to do with celebrating the hundredth birthday of Ruth Manning-Sanders, August 1988. Condition: please request a condition report if you require additional information regarding the condition of this lot Postage: £19.56 Please note that the postage quote is an estimate of the amount that we would charge to send the item to a buyer in the UK. If you are outside of the UK, or there is no estimate shown here, please contact postage@davidlay.co.uk for a bespoke quote.

India.- Great Trigonometrical Survey of India.- Surveyor General's Office (Calcutta, India) India, sixth edition, detailed map of India and Ceylon, with part of the Indochinese Peninsula, after the original drawing by Indian cartographer Sunawullah, lithograph printed in blue and brown ink, by Romanath Dass and Buloram Nath, with some additional hand-colouring and plotting of trade routes, sheet 600 x 640 mm (23 1/2 x 25 1/8 in), dissected and mounted on linen, edged with green-coloured silk/linen, some splitting to folds, scattered spotting and surface dirt, owners ink inscription in the upper left corner that reads 'Return to H.J. Thompson/ 19 Portman Square/ London W', additional index maps of India pasted on verso, one section with marbled ends, 1865.

Italian Old Master School (17th century)Landscape, A' Romainscribed and dated 1677, drawing in brown ink, red chalk and wash, 9cm x 15cm

JOHN KING (1929-2014) ARR, HUNTSMAN WITH HOUNDS, SIGNED PEN AND INK DRAWING. 25 x 35cms TOGETHER WITH A WATERCOLOUR OF A FARM POSSIBLY BY THE SAME HAND AND TWO PEN AND INK LANDSCAPES OF BRIXHAM SIGNED INDISTINCTLY, ALL UNFRAMED SIZES VARY.

PHIL MAY (1864 - 1903) TWO BROKERS WAITING FOR THE GLOBE DIVIDEND, SIGNED PEN AND INK DRAWING 29 x 22cms AND ANOTHER BY THE SAME HAND OF "MUSIC HALL TYPES" TOGETHER WITH A DRAWING BY A, TALBOT SMITH ENTITLED " A LITTLE KNOWLEDGE IS..."SIZES VARY (3)

A S Hartick: a mounted pen and ink drawing of a railway signalman at work, 14" x 10", and assorted other unframed watercolours and prints, in folder

ITALIAN SCHOOL, 18th CENTURY DESIGN FOR A EWER Pen and brown ink with brown wash, heightened with white, over a black chalk sketch, unframed 35 x 19cm. * A drawing showing a related design is in the Uffizi, Florence. The traditional attribution is to Polidoro da Caravaggio (1492-1543), but the style suggests an artist of the 1550-1575 period. A drawing attributed to Marco Marchetti (c.1528-1588) (Christchurch, Oxford) is similar but in reverse. Provenance: Kate de Rothschild, 1980 Exhibited: London, Kate de Rothschild, 1980, no.2 Literature: Peter Fuhring, Design into Art - Drawings for Architecture and Ornament, The Lodewijk Houthakker Collection, volume 1, (London 1989), p.353, no.543 ++ Laid onto support sheet at edges; a few spots of foxing; generally good

WALTER RICHARD SICKERT, ARA (1860-1942) MORNINGTON CRESCENT Signed and inscribed with title, pen and brown ink with black crayon 34.5 x 24cm. Provenance: London, Thos. Agnew & Sons Ltd (label on new backboard) * Dr Wendy Baron observes that this is almost certainly an independent drawing which does not relate specifically to any known painting. It was drawn at 6 Mornington Crescent, where Sickert lodged and painted in rooms on the ground floor from autumn 1905 onwards. In spring 1907 he was able to rent the first floor rooms to use as a studio. He kept his Mornington Crescent studio rooms until around 1912 but tended to use his many other Camden Town painting studios more from 1908-09 onwards. Stylistically, the drawing can most convincingly be dated c.1909, when Sickert drew and painted several isolated studies of the standing nude, often holding the metal footrail of a bed. At that period Sickert used broken dashes of pen and ink and rough hatching to emulate the broken crusty touch of his contemporary oil paintings and to convey the effect of reflected light breaking down the barriers between figure and furniture. The drawing probably represents the model called Sally, painted and drawn by Sickert in several works of c.1909. Her messy hair, and the way she holds her head (bent forward), are similar. We are very grateful to Dr. Wendy Baron for compiling this footnote. ++ Slight time-toning of the paper

JEAN BAPTISTE MAUZAISSE (1784-1844) AMBASSADEURS DU SULTAN TIPOO SAIB ADMIS A L'AUDIENCE DU ROY LE.10 AOUST MDCCLXXXVIII The Ambassadors are named in the lower margin as Mohammed Derviche Khan, Achbar Ali Khan and Mohammed Osmann Khan [sic], signed Mauzaisse, pencil with touches of brown ink, laid on original mount with ink title, unframed Subject 25 x 21.7cm; mount overall 32.5 x 28.5cm. * Tipu Sultan's chosen envoys,Muhammad Dervish Khan, Akbar Ali Khan and Muhammad Uthman Khan, were received by Louis XVI at Versailles in August 1788. Muhammad Dervish Khan was also painted by Vigee-Lebrun in the same year (Private Collection). Upon the Ambassadors' return to India, their failure to have achieved the desired alliance with the French resulted in their summary beheading by Tipu Sultan. Provenance: Unidentified collector's stamp ARD (Lugt 172); Collection of Niall Hobhouse ++ The drawing with a little foxing and in need of a light clean; the mount a little rubbed and worn

BEYER-PEACOCK & CO, MANCHESTER; a collection of six wooden numeral plate casting patterns, possibly cabside plate patterns, comprising 6024, 760, 1010, 449, 6021, 5938, the longest 52cm, (6).PROVENANCE: The Mr Adrian Bedson collection of railway items from Beyer-Peacock & Co, Manchester. Mr Bedson collected a large archive of documents, books, photographs, technical drawings, casting patterns and other items when Beyer-Peacock, a locomotive manufacturer based in Gorton, Greater Manchester, ceased trading in 1966.Additional InformationAll generally grubby and with general age wear at the edges, 6024 states in ink 'One of them alter 11161 (no 5620-2 to 5630)', 1010 is named in ink 'Two of them alter 11146', 760 inscribed in ink 'No. 620 to 649', plate 6021 inscribed in ink 'This plate used for nos 5619 & 5621 only', the digit two is incomplete on plate 6021, and the digit 8 is lacking to plate 5938. most of the plates with drawing pin hole size holes throughout.

* Carducho (Vicente, 1576-1638). Holy Family with Saint Catherine, Mary Magdalen and Saint Luke, circa 1630-1638, pen and black ink and brown wash on laid paper, laid down on somewhat rough canvas and retouched with oil, with inscription '2 R ... 14' and small red printed collector's mark of Charles Gasc (Lugt 542) to lower margin, inscription by Charles Gasc to canvas verso in brown ink: 'Cano (Alonzo Alexis) ne a Grenade le 19 Mars 1601 mort le 3 Octobre 1667, élève de Pacheco a Seville, de J. del Castillo et de Herrera. Dessin achete 10,20 a Seville en 1859. H=0m25 L=0m19.6 C. Gasc', additional late 19th century French printed label to verso of frame, giving the artist as:'Murillo (Esteban). Elève de Velazquez. Sainte Famille. Belle esquisse sur toile, qui a ete reproduite en grand', another collector's mark printed in black to lower edge of the frame verso of an anchor and caduceus within a circle, 26 x 21 cm (10 1/4 x 8 1/4 ins), gilt frameQty: (1)NOTESProvenance: Charles Gasc (circa 1818-after 1869), French collector of Old Master drawings, in collaboration with his brother Paul-Emile Gasc. Purchased in Seville in 1859 (see annotation to verso of the canvas); possibly sold Paris, Delbergue, 17 January 1865 (151 lots); Christie's London, Old Master and 19th Century Drawings, 3 July 2007, lot 74. Comparable, in composition, the present work is included in the catalogue raisonnaisé of Vicente Carducho: Chenel & Rebollo (2015), 60.3. Composition handling and physiognomy, to Carducho's drawing of The Holy Family with Saints (Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, 60.1) now in the Prado, which was made in preparation for a painting now in an English private collection (A.E. Pérez Sánchez and L. Boubli, Dessins Espagnols, Maîtres des XVIe et XVIIe siècles, Paris, Louvre, 1991, number 27). Literature: Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, CEEH/National Library of Spain, 2015, 60.3. See Laurence Lhinares, The Brothers Paul-Emile and Charles Gasc As Collector of Drawings, Master Drawings, volume 52, number 1, 2014, pages 95-110 for further information on Charles Gasc.

* Beaumont (George Howland, 1753-1827). In the Roman Campagna, pencil on pale blue-grey wove paper, some light spots, sheet size 23.5 x 40.5cm (91/4 x 16ins), laid down on later backing card, with printed label 'Beau 215' to lower left, window-mounted, together with seven other studies of Italian landscapes by Sir George Beaumont, in grey and brown pen, ink and wash, several on paper watermarked with a Strasburg Lily and paper manufacturer C & I Honig, all late 18th century, similar size, plus Pars, (William, 1742-1782). Alpine Landscape with castle above a village, 1775, pen, ink and grey wash on laid paper, with bunch of grapes watermark, dated '17 July 1775' to lower right corner, sheet size 21 x 33.5cm (81/4 x 131/4 ins) some restoration to upper outer corners (with minor loss to upper left corner), modern cream card, and Cooper (Richard, 1740 -1814). Rocca di Papa and Monte Cavo, with the Temple of Jupiter Laziale, circa 1770-1775, pen, brown ink and grey wash on laid paper, indisinctly inscribed in brown ink to upper margin with title by the artist, 278 x 420mm (11 x 161/2 ins), window-mounted, with 20th century pencil inscription, giving details of the composition to lower margin, plus another later 18th century English oval landscape depicting an artist seated drawing a river landscape with castle, on Whatman wove paper, 28 x 39.5cm (11 x 151/2 ins)Qty: (11)NOTESProvenance: Cyril & Shirley Fry; sold Chiswick Auctions 9 July 2021, lot 35. Sir George Howland Francis Beaumont, 12th Baronet descendant of the patron and collector Sir George Beaumont of Coleorton, Leicestershire, who sold some of his collection of drawings to the British Museum in 1973. The view of Rocca di Papa by Richard Cooper, depicts the view of the hillside village south of Rome with the Temple of Jupiter atop the Monte Cavo, which was destroyed in order to build a monastery between 1778 and 1784, by Henry Stuart (1725-1807), Cardinal Duke of York and an important supporter of the Jacobite Rebellion.

* Payne (William, 1755/60-circa 1830). Combe Martin, Devon, 1815, pen, black ink and watercolour on paper, depicting a beach with boats and figures mending nets and other tasks, signed towards centre of lower margin, mount aperture 20.8 x 29.4 cm (8 3/16 x 11 9/16 ins), framed and glazed (40.6 x 48.2 cm), Newman Fine Art gallery label on verso, mentioning inscription on verso of drawing, (unexamined out of frame)Qty: (1)

* School of Carlo Maratta (Camerano 1625-Rome 1713). Seated male figure, black chalk heightened with white, recto; and Group of Women and Children, verso, graphite on firm, fibrous grey-green laid paper, watermark Initials OW or OV, bearing inscription in pen and ink recto 'Carlo Maratta P...S (?)' and bearing the initials 'C-V' in pencil verso, in good condition, unobtrusive flattened creases where previously folded, an ink stain at left of subject recto, sheet size 20.5 x 26.8 cm. (8 x 10 5/8 ins.), framed and glazed 31.5 x 38 cmQty: (1)NOTESProvenance: Purchased from E. Plan in 1972 for $500; Private collection, Warwickshire, England. According to Margaret Morgan Grasselli of the National Gallery of Art, Washington, the Group of Women and Children on the reverse of this drawing is likely to be a studio copy, perhaps by one of Maratta's assistants or pupils.

* Circle of Pierfrancesco Mola (1612-1666), The Rest on the Flight into Egypt, pen, brown ink and brown wash on laid paper, sheet size 27.6 x 19.0 mm (10.9 x 7.5 ins), inlaid to 19th century backing paper with double rule outer framing border in brown ink, bearing initials and date '1726 / c.t.' in pen and brown ink verso, with the stamps of Heneage Finch, 4th Earl of Aylesford (Lugt 58), lower right corner of backing paper, and of Robert Low (Lugt 2222), at lower centre of backing paperQty: (1)NOTESProvenance: Heneage Finch, 4th Earl of Aylesford (1751-1812) Lugt 58; Robert Low (1838-1909) Lugt 2222; Mark Oliver (1899-1987) of Savile Gallery, London, thence by descent. Putatively, according to facsimile label on back board of frame: Giovanni Battista Tiepolo (1727-1804); Sommasco Convent, Santa Maria della Salute, Venice; Count Leopoldo Cicognara (1767-1834); Antonio Canova (1757- 1822); Francesco Posaro; Collection of Edward Cheney (1803-1884) of South Audley Street, London, and Badger Hall, Shropshire. The facsimile handwritten note by Edward Cheney on the back of the original frame (cf, Lugt 444) reads: "This collection was collected by G.B. Tiepolo himself and given by him and his son for the Library of the Sommasco Convent (S. Maria della Salute (at Venice) in which he was professed. At the suppression of the Convents the volumes fell into the hands of Cicognara by whom they were given in an exchange to Canova from whom they passed after his death to Maestro Canova his brother, by him they were sold to Sigr. Francesco Posaro & by him to me. E.C. Venice 1842". One of Cheney’s albums of Italian drawings, presumably purchased following the death of Robert Low in 1909, whose stamp is printed on the 19th century backing paper of the drawing, formed the basis of an exhibition of Tiepolo drawings in May 1928 at the Savile Gallery in London, run by Mark Oliver and Richard Edward Arnesby ('Ted') Wilson.

* Attributed to Giovanni Francesco Romanelli (1610-1662). Moses striking water from the rock, circa 1640-50, large-scale composition in pen and brown ink with brown wash over black chalk, on two conjoined sheets of laid paper, with watermark of an anchor within a circle with letters (J M ?) and star above (similar to Gravell Anchor 440.1 or 442.1), additional studies in black chalk of Carita Romana to verso, neat archival restorations to sheet edges and central crease, with some small losses, sheet size 390 x 532 mm (15.3 x 21 ins)Qty: (1)NOTESProvenance: Chiswick Auctions, Old Master Paintings and Drawings, 27 August 2020, lot 31. Drawings by Romanelli are often executed in pen and brown wash over black chalk, as here. The present work may relate to the series of four paintings on the life of Moses by Romanelli's teacher Pietro da Cortona, and Nicolas Poussin, commissioned by Amadeo dal Pozzo, Marchese di Voghera of Turin, a cousin to the scholar, antiquary and secretary to Cardinal Barberini, Cassiano dal Pozzo. For a similar work see Ciro Ferri (1634-1689), Moses striking water from the rock, black chalk, (Royal Collections Trust, Blunt & Cooke, The Roman Drawings of the XVII and XVIII Centuries in the Collection of Her Majesty the Queen at Windsor Castle, 1960, 125). An engraving after this drawing by the printmaker Pietro Aquila (1650-1692) was published by Giovanni Giacomo de Rossi in Rome in the 1670's. After first studying under Domenichino, Romanelli entered the studio of Pietro da Cortona, whose style greatly influenced his own. From 1631, while working as Cortona's assistant on the decoration of the Palazzo Barberini in Rome (purchased in 1625 by Maffeo Barberini, later Pope Urban VIII), Romanelli contributed to the major ceiling fresco of Divine Providence as well as the decoration of the private chapel, where the Adoration of the Shepherds is generally attributed to him in its entirety (1632-39). Pope Urban VIII also commissioned Romanelli for a number of other works intended for the Vatican: the St Peter Healing the Sick, now in the Museo Storico Artistico, Vatican (1636-37), the frescoes depicting the life of Matilda of Tuscany (for the Sala della Contessa Matilda,1637-42), and the ceiling fresco Pasce oves meas for the Galleria delle Carte Geografiche (1638). The Presentation of the Virgin in the Temple, painted in 1638-42 for the Cappella Colonna in St Peter's (now in Santa Maria degli Angeli), was the artist's first major public altarpiece. As superintendent of the Barberini tapestry manufactory, Romanelli also made cartoons for the series of seven tapestries of Putti with Swags, in imitation of Raphael's famous set of tapestries made for Leo X, as well as the cartoons for a second series of tapestries representing the Life of Christ, in the Palazzo Barberini, Rome (both series 1637-43).

* Castiglione (Giovanni Benedetto, 1609-1664). Man with beard and moustache wearing a turban, from the series Large Heads in Oriental Headdress, etching on laid paper, trimmed just inside the plate mark, extreme upper left corner torn (without loss), sheet size 180 x 150 mm (7.1 x 5.9 ins), window-mounted, together with: Young man sounding a trumpet, wearing a flat cap (from the series Small Studies of Heads in Oriental Headdress), etching on thin laid paper, trimmed just inside the plate mark, sheet size 102 x 77 mm (4 1/8 x 3 ins), laid down on old card, with ink inscription to verso 'Les petites tetes d'hommes coiffées à l'Orientale, BXX1, J.Kay, Lond 1826', with card mount, plus: Desplaces (Louis, 1682-1739). To The Memory of Sir Isaac Newton, circa 1741, etching by Desplaces, from a drawing by D.M. Fratta after Pittoni and Baleriani, depicting an allegorical tomb of Isaac Newton, with figures engaged in astronomical calculations, and observing a beam of light refracted into a mirror, trimmed to plate mark, 64 x 40 cm (25 1/4 x 15 3/4 ins), some marks and marginal creases, with short closed tear towards head of left margin, without loss, and three others: Hans Burgkmair, The Triumph of Maximilian I, 1516-18, woodcut on laid paper, from the series of 236 plates, watermark of a spread eagle within a circle (probably later 16th century), with old inscription in brown ink to upper right giving the title of the work, sheet size 382 x 367 mm (15 x 141/2 ins), and Jakob Schmutzer (1733-1811), portrait of Wenzel Anton Count Kaunitz, 1786, etching and engraving on laid paper, after Johann Baptist Hagenauer, trimmed to plate margins, and with some light overall toning, a few marks and margins reinforced with archival tape to verso, 45.5 x 44.5 cm (18 x 171/2 ins)Qty: (5)NOTESBartsch 51; Bellini (1982), 44 & 51 for the first two works

Robert Gillmor (B. 1936); pen and ink drawing, Pied Flycatchers From The Birdman by Henry Douglas-Home, signed and inscribed in pencil, 17 x 13 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

MATT GROENING (American, born 1954); ink drawing, ‘Homer Simpson’,(The Simpsons), signed and dated 2011, 27 x 21cm, unframed, with certificate of authenticity from Jonathan Morgan. 

HANRAC; two signed colour prints, 'In Love', signed and numbered 168/950, and another similar of a maiden seated on a jetty, signed and numbered 544/950, the largeer 61 x 51cm, with a Malcolm Bower limited edition print 'Starfish' and a pen and ink drawing of a rustic building (4).Additional InformationAll of the prints generally clean and bright, the pen and ink watercolour with some toning to the paper at the edge.

AN UNFRAMED NOVELTY PEN AND INK DRAWING OF AN ELEPHANT SIGNED WILFRED OWEN 1908 LOWER RIGHT SIZE- 16.5CM X 10.5CM

AFTER LAURENCE STEPHEN LOWRY - AN UNFRAMED PEN AND INK DRAWING OF A STREET SCENE, AND AN UNFRAMED PENCIL DRAWING OF A WOODLAND SCENE (2)

AFTER PABLO PICASSO - AN UNFRAMED PEN AND INK DRAWING OF A STATUE OVERALL SIZE- 40CM X 28CM

Michael Hutchings (British, 1918 - 2020), portrait of a seated man with cat. Ink on canvas. Signed and dated lower left 1992. Labelled verso. 43 x 63cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Pascale Marthine Tayou (Cameroonian, born 1967)Untitled I bears Goodman Gallery label (verso)ink drawing on poster 88 x 54cm (34 5/8 x 21 1/4in).For further information on this lot please visit Bonhams.com

Alan Davie (1920-2014), Opus D.04.118 Crosses for the Lost Dog, 2004, brush drawing, signed in ink upper right, H.20cm W.24cm Provenance: Gimpel Fils Gallery, London ARR

PEN AND INK DRAWING REAPING E.CULLY

Attributed to René Lalique (French 1860-1945), a design drawing for the 'Borneo' pattern, c.1930, unsigned, Brush and Ink over faint impression, squared in pencil, on paper, mounted, framed and glazed, Sheet 24 cm x 19 cm, frame 47.5 cm x 36 cm; together with a limited edition, 271/300, 1982 reprint of 'Catalogue des verreries de René Lalique' of 1932 and published by Kiya Gallery, Tokyo and Gallery '25, London, in presentation case, (2), Provenance Galerie Moderne, London. Note: 'Borneo' pattern vase, no.1056, was created 17th October 1930 and is a vase with flared plain neck, the body moulded with a frieze of birds perched amid serrated leaves. The vase is illustrated in Félix Marcilhac, ‘René Lalique 1860-1945 maitre-verrier, Catalogue Raisonnné de l’oeuvre de verre’, Les Editions de l’Amateur, Paris, Fourth Edition, 2011,  p. 450. Not removed from frame. Sheet with a few spots.

Tanya Moiseiwitsch (1914-2003), Costume design for Niece I, from Act III of Benjamin Britten's 'Peter Grimes', for the 1963 Sadler's Wells Tour, c.1963, Drawing-Watercolour, paper, pencil, pen and ink wash with watercolour, heightened with body colour, inscribed in top left corner and down the right side: “Peter Grimes, Niece I, Act III, Bodice to match skirt, Transparent long scarf dotted sequins, Black gloves, Same skirt, Pale pink stockings black clox (sic)”, framed and glazed, Sheet/Image 36 cm x 27.7 cmNot removed from the frame. Some ripple to the brown paper sheet - horizontally and some folds in top right corner. Has slipped in the mount.Christie's auction label on reverse for 'An Aristocratic Chateau on the Cote d'Azur' 14 July 2020, Lot 60 and an older Christie's' spot label - lot 178.

ED HILL; 'Sea Frolics', Signed ED Hill, dated 1927, Pen and ink drawing, mounted, framed and glazed, Image 31.5 cm x 22.8 cm; Frame 52 cm x 41.7 cm, Reputedly bought at Christie's South Kensington in the 1980s Not removed from the frame. Some aging/staining to the edge of the sheet. Frame with some wear.

Roger Clarke, ink and watercolour drawing. Feeding Pigeons, Trafalgar Sq. London, 1956. Signed on the mount and including a 1956 two shilling coin within the mount. Approx dimensions in frame 310mm x 410mm. VGC. £30-50

An ink drawing of a tattoo design depicting three skulls, and a print of a heart tattoo design

*RAOUL MILLAIS (1901-1999) 'Yearling' dual portrait of a horse, signed titled and dated '44, ink and wash on paper, 17cm x 10cm; together with another similar drawing of a horse, 'Stallion', signed and dated '43 lower left, 9.25cm x 14cm (2) Provenance: Both works with The Fine Art Society, New Bond Street, London

*M LANDER (20TH CENTURY) "Drawing for Confluence 2' Op-Art style composition, signed and dated June 1970 in ink to the margin, gouache on graph paper, 20cm x 20cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

MONOGRAMMIST 'M.H.' A drawing of a plant in a jar initialled and dated 1976 upper right, ink on paper, 26.5cm x 40.5cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

*GRAHAM SUTHERLAND (1903-1980) 'Warning Camp' pen and ink drawing, heightened with white, 12cm x 14.5cm, framed together with the resultant etching, signed in pencil to the margin, the image 12.5cm x 15.25cm Provenance: Kerrison Preston Esq. and by descent

A pen and ink drawing signed Judith Loncraine 34 x 37cm

Full title: Flemish school, follower of Pieter Bruegel the Elder, pen and brown ink on paper, 19th C.: a fantastic creature with a fishDescription: Dim.: 10,5 x 7 cmÊ Expert: Cabinet Rene Millet.Ê Ref.: The present drawing is a copy from a fragment of the 'Multae tribulationes justorum' engraving, by Pieter van der Heyden, after Pieter Bruegel (I), dated 1556. See the Rijksmuseum, object no. RP-P-1883-A-7318, for the original engraving. (link available on our website)Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

George Soper RA (British 1870-1942) Spindlewood Barn, signed pencil lower right, 4th state, woodcut, measurements 13 x 19 cm (PL) together with Winter Feed and the original double-sided carved wood block. Also includes a further carved woodblock with the image of a ploughteam of three horses and a farmer on one side and an unfinished image of a ploughhorse on the verso, measurements 12 x 18 cm, The End of the Day, signed pencil lower right, woodcut, a pencil drawing of three horses and an ink sketch of a woodworker dated 1923 by the same hand (total 7)Illustrated in Beetles, C. 1992, The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper, plates 461, 511, 537. Exhibited 'The Last Soper Show 10-27 September 2008Provenance: consigned from a significant private collection of wildlife art, purchased Chris Beetles Gallery, previous the estate of George and Eileen Soper

Indian watercolour and ink drawing, mythological scene. Framed and glazed. Image size 24 x 19cm.Condition Report: Can confirm this is an original image rather than a print, while the age is unclear.

European School 18th Century-Head of a child,:-pencil drawing, 'L' shaped brown ink initial top right 14 x 9.5cm.

Three framed maritime pen and watercolour drawings, comprising : two by Philip Denny, HM BRIC 'Waterwitch', 1945 and HM Frigate 'Pique', 1945, together with a similar drawing in ink and white body colour, by Nicolas Matthew Condy (1816-51), all framed, the two by Denny 22.5 cm x 18 cm (3)