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PALESTINE – COLT ARCHAEOLOGICAL EXPEDITION 1936-1937Collection of thirteen elevations and ground plans depicting the excavations at Sbaitah and Auja Hafir, including 'Sbaitah – The Church in the Centre of Town', 'Auja Hafir. The Byzantine Citadel 1935-36', 'Auja Hafir. Plan of Hellenistic Building Lower Level', others depicting the Fort and Church at Auja Hafir, the bathhouse at Sbaitah and an unidentified drawing of the cross section of a basilica depicting figures, etc., drawn by Welbury Kendall, ARIBA, with some measured by Hubert E. Bird, pen, ink and wash on Whatman drawing board, one on paper, dust-staining and a few marks, corners bumped, ten landscape, three portrait, the majority 670 x 994mm., Sbaitah [Shivta] and Auja Hafir, 1935-1937Footnotes:Harris Dunscombe Colt (1901-1973), a scion of the Colt revolver family, was one of the '...exclusive group of people who worked with that archaeological giant, Sir Flinders Petrie... [and] it was inevitable he would be caught up in the web being spun by British archaeologists in the Middle East. The 1930's were an intense period of British participation in, perhaps even domination of the Palestinian archaeological scene... At that time other archaeologists must have thought Colt somewhat eccentric: not for him the choice of a well known massive tell, but some Byzantine ruins called S'beita in the desert south of Beersheba... [and] another forgotten city in the Negev Auja-el-Hafir which had suffered much damage under the Turks...' (Obituary, Bennett, C.-M., Levant, 7:1, iii-v).C. L. Woolley and T.E. Lawrence had already surveyed the site at S'beita on behalf of the Palestine Exploration Fund in 1914 and, despite Colt's being the only large scale excavation there, it would appear his findings at S'beita were never fully published other than a report by Colin Baly, one of the team members. Much of the material from the excavations including dig notes and photographs were destroyed by insurgents in 1938 when Colt's house was attacked. Only the lintel bearing the inscription in ancient Greek 'With good luck. Colt built (this house) with his own money' survived. However, Colt's suitcase, left unclaimed after leaving in 1938, was recently discovered in lost property at the port of Haifa and was found to contain many important artefacts from the site hitherto thought lost. The contents of the suitcase are now on display at the Hecht Museum at the University of Haifa. Shivta was declared a UNESCO World Heritage Site in June 2005.Colt's important work at Auja Hafir proved it to be the Byzantine city of Nessana as shown by discoveries of papyri at the site including a collection of Greek church records and a group of Arab administrative texts, both dating from the seventh century. Colt gave up field archaeology at the outbreak of war in 1939 to set up the Colt Archaeological Institute and its publishing arm, under which his findings at Auja Hafir were published in three volumes in 1962. Welbury Kendall, the architect who drew up these plans, was involved with the British School of Archaeology in Jerusalem and worked with Colt on both sites.For further information on this lot please visit Bonhams.com

Abraham van Diepenbeeck (Flemish, 1596-1675)Dominicans at the Foot of the Crosspen and ink with brown and grey wash, squared up in red, on buff paper34 x 24cmProvenance: Private collection, Vienna.The present squared up drawing is a first sketch for Deepenbeeck’s masterpiece, 'Dominicans at the Foot of the Cross', now in the Louvre, preceding the more elaborate design also now in the Louvre, which Deepenbeeck painted en grisaille on panel.We thank Dr Bert Schepers of the Rubenianum, Antwerp, for confirming the attribution to Abraham van Diepenbeeck.Condition report: Some browning and discolouration. Various inscriptions to the lower edge.

A pen and ink drawing signed

H. PROUD - A WATERCOLOUR SEASCAPE, signed lower left, along with an ink drawing of a building signed "Gallikez" (?) (2)

NO RESERVE Palmer-Jones (William John) China cabinet design, pen and black ink on wove paper, extensively inscribed in pencil verso by artist with address and annotations regarding the study, 335 x 220 mm (13 1/4 x 8 3/4 in), hinged into mount, minor surface dirt and browning, [early to mid-20th century]; together with another pen and ink architectural study by Palmer-Jones and six facsimile prints, and with four other original illustrations by various hands, including a Christmas card design with deer by Esme Eve (b.1920), two original black ink book illustrations by Faith Jacques for A. Ransome's 'Old Russian Tales', signed and dated in pencil '1971', and one further drawing of dancers signed 'Albina '93', various sizes, all hinged into mounts, unframed, 20th century (12)

Ink and Water Drawing Of A Man, Artist Unknown - Signature unreadable, dated '07', 63 x 50 cmProvenance: Personal collection of the late M.Woodford - A local antique and vintage dealer from Bath. 

* Dodsley (Robert, circa 1681-1749). An illustrated manuscript volume of Biblical meditations and verses, circa 1720s, 198 pages of neat copperplate manuscript in brown ink within red ruled borders, chapters variously titled 'Upon the Creation', 'On Cain and Abel', 'On Noah's Flood', 'On the Tower of Babel', 'On the Burning of Sodom', 'On Abraham Offering Isaac', 'On Death', 'On Judgment', 'On Heaven', 'On Hell', and 16 original full-page watercolours, most with decorative borders, including 10 with overlays (a few of the flaps splitting at hinge, one flap missing), several different complete and partial watermarks, including Danish royal cipher with crown and initials GR (Heawood 3236), and Strasburg lily with crown (similar to Heawood 1806), intermittent light toning and dust-soiling, some illustrations offset to text, occasional minor edge-fraying, contemporary inscription in brown ink to front pastedown ‘Robert Dodsley his Book’, and some of the plates additionally signed 'Rob: Dodsley', hinges split, untrimmed, original calf-backed boards, rubbed and extremities worn, manuscript label in a mid-late 19th century hand at head of upper cover 'lent by Mrs Dodsley Skegby Hall', 4to (25.5 x 19.5cm)Qty: (1)NOTESProvenance: Robert Dodsley (baptised 1681-1750); John Dodsley, son of the aforementioned Robert, and brother of writer and publisher Robert Dodsley (1704-1764); thence by descent. Literature: Ralph Straus, Robert Dodsley, Poet, Publisher, & Playwright, John Lane, 1910, pages 6-8. A remarkable illustrated volume of Biblical meditations and verses by Robert Dodsley, father of the poet, playwright and publisher of the same name, who was a protégé of Daniel Defoe and Alexander Pope, and a friend and patron of Samuel Johnson. According to our analysis of watermarks in the paper, this manuscript would appear to date from around 1720 to 1730. Heawood 3236, although undated, suggests a date of manufacture within the reign of George I (1714-1727), and Heawood 1806 is found on publications dating between 1722 and 1727. The volume has remained in the ownership of the original family for around 300 years, and has therefore come onto the market for the first time in its history. The Dodsley family lived at Skegby Hall, Nottinghamshire from 1820 until the 1930s. Robert Dodsley senior was a schoolmaster at the Free School in Mansfield, Nottinghamshire. He married three times and had 14 children. Robert's first marriage was to Mary Cousen (born circa 1680), by whom he had his namesake the publisher, his second to Mary Merryweather (born circa 1690), and his third to Sarah Dakyn (born circa 1720), the daughter of John Dakyn, solicitor and steward of the manor. The Dictionary of National Biography claims Dodsley was "a little deformed man, who, having had a large family by one wife, married when seventy-five a young girl of seventeen, by whom he had a child." However, in 1737 he appeared before Thomas Berdmore, surrogate, and "alleged that he intended to marry with Sarah Dakyn of the Parish of Mansfield", giving his age as "above fifty-five", suggesting a smaller, though still large, age difference. This manuscript volume is mentioned in a biography of Robert Dodsley junior by Ralph Straus published in 1910, in which it is described as being in the possession of the family: "[it] is ornamented with coloured drawings and picturesque borders, crude all of them, but not devoid of interest. In the main its contents are original, and show no contemptible style of diction." There are two illustrations for each of the following subjects: Adam & Eve, Cain and Abel, Noah's Flood, Tower of Babel, Burning of Sodom, and Abraham & Isaac; and one drawing for each of the following themes: Death, Judgement, Heaven, and Hell. In each case the Biblical story or scripture reference is related, after which the writer poses questions and expounds upon the subject. The illustrations elucidate further, and the use of flaps to reveal a consequence or conclusion beneath emphasises the didactic nature of the text. Thus it seems highly feasible that the book was painstakingly compiled by Robert Dodsley for the instruction of his pupils or his own children, or perhaps both.

* Household Interiors. Four paintings of household interiors, c. 1890s, pen, ink and watercolour studies on wove paper, depicting a hallway, drawing room, dining room and bedroom, unsigned, 21 x 31 cm, mounted, framed & glazed, 35.5 x 45.5 cmQty: (4)NOTESThe paintings are believed to be by May Louise Frith (b.1851) or Mary Fanny Frith (b.1855), daughters of the artist William Powell Frith (1819-1909). For a short time, they ran the Spinning Wheel furniture & antique shop at 18 Fulham Road, London which was in operation from c.1890 to c.1895. The business also undertook art decoration and design. In the 1891 census, their occupations were described as 'decorating furniture' and in 1901 they were both listed as 'directors'. William Powell Frith famously depicted his daughters Alice, Louise & Fanny in the painting 'The Fair Toxophilites 1872' (oil on canvas, Royal Albert Memorial Museum, Exeter). Provenance: By descent of the grandson of Alice Frith (1853-1931, sister to May Louise Frith & Mary Fanny Frith).

ATTRIBUTED TO GASPARE GABRIELLI (FL.1805-1830) Ruins - Study Ink and sepia, 16 x 21.5cm Inscribed by Homan Potterton verso 'This is by Gabrielli and is from the same sketchbook as the drawing in the National Gallery' Gabrielli was brought to Ireland by Lord Cloncurry to decorate rooms at Lyons Demesne in Co. Kildare. While working there he married Lady Cloncurry’s maid and this may have influenced him in staying in Ireland after completing the Lyons project. The paintings there were ‘The Bay of Naples’ and ‘The Bay of Dublin’ as well as ‘Views of Herculaneum’. He also painted similar decorative work at Tandragee Castle for the Duke of Manchester and the painted walls in the drawing room of No. 41 North Great George’s Street in Dublin. Practicing in Dublin as a landscape painter he exhibited numerous works in various exhibitions up to 1814 and his landscapes were described in a notice of the exhibition of the Hibernian Society of Artists that year as “decidedly pre-eminent” and according to Strickland he was placed as a landscape painter above Thomas Sautelle Roberts. He was a keen draughtsman and produced many drawings taken while touring the country, several of which were engraved including ‘Carlow Castle’ and ‘Drimnagh Castle’, both used to illustrate Cromwell’s “Excursions through Ireland” in 1820. William Spencer Cavendish, 6th Duke of Devonshire is quoted as suggesting that Gabrielli ‘repaired to Rome’ in 1814 to paint landscapes, some of which were returned to Ireland but Gabrielli himself does not appear to have returned. His date of death is unknown.

Italian School, 1873 ? Caricature of a Gentleman, with inscription Sketched by Sig. Monti Sept 1873, pen, brush and brown ink, 18 x 14cm and a caricature of, probably, the auctioneer James Christie, 'Ticking the Fancy!', hand coloured etching [1799], published by A Beugo 1801 (2) Drawing ? old re-touched hole on leg. Caricature ? exposure stained. Both long undisturbed in the present frames

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

Late 18th / early 19th Century English school, pencil and ink drawing, herdsman in a landscape, 8.75ins x 12.25ins approximately, gilt framed

Stephen Tennant (friend of Rex Whistler and Cecil Beaton), two ink and watercolour designs for the cover of his unpublished book ' Lascar ', the first of two faces and a standing figure, the other entitled ' June Flowers, Poems, Sonnets and Madricals ', 9.25ins x 7.75ins and 9.75ins x 7ins respectivelyBoth are quite dirty and have foxing with a couple of tears to the edges and some creases.One drawing per sheet

TWO BOXES OF ARTISTS MATERIALS, including four boxes of Windsor & Newton oil paints, two wooden artists palettes, plastic letter/number stencils, a leather cased Pickett 'All Metal slide rule', a pocket GKN circular calculator drawing pens and ink (two boxes)

A COLLECTION OF MISCELLANEOUS ITEMS, to include postcards, mainly British and foreign topographical, greeting cards and correspondence (1940's onwards), school report, trade cards, wooden money box in the form of a house, wooden matchbox holder in the form of an elephant, onyx cased mantel clock, assorted perpetual calendars, Kaleidoscope, boxed triangular ruler, toffee hammer, bottle opener, assorted bottles of ink, drawing pens, dog ? comb etc (three boxes and loose)

A RARE MEIJI PERIOD BOOK OF JAPANESE CLAN SYMBOLS Printed in black and white, the front with title in Japanese and with indistinct ink translation. A manuscript of patterns 'mon' clan symbols by Murakami Masatake published in Meiji 18 - around 1885. The cover states this is a complete volume. The top row from R - L shows designs of flowers/leafy vines; the lower three rows from R - L show how the drawing of the flower is transfigured, modified into clan crests. With additional books also. Provenance: From the collection of Charles Holme (1848-1923), writer, critic and founder of The Studio magazine, and thence by descent. Mr Holme acquired the book during a trip to Japan in the 1880s. Condition: No obvious condition issues

Original vintage advertising poster for a drawing and watercolour exhibition: XIIIe Salon du Dessin et de la Peinture a l’Eau at the Musee d’Art Modern de le Ville de Paris. The featured image by Cluseau is an abstract yellow, blue, grey and red design. The Salon du Dessin et de la Peinture a l’Eau was founded in 1949 and held annual exhibitions in Paris, featuring works in a variety of paper-based medium including pencil, charcoal, pastel, ink, watercolour and gouache. Good condition, creasing, tears. Country of issue: France, designer: Cluseau, size (cm): 64x49, year of printing: 1961

Original vintage advertising poster for a drawing and watercolour exhibition: XVe Salon du Dessin et de la Peinture a l’Eau at the Musee d’Art Modern de le Ville de Paris. The featured artwork is a colourful painting of a face surrounded by plants. Text is below the image in grey, green and black. The Salon du Dessin et de la Peinture a l’Eau was founded in 1949 and held annual exhibitions in Paris, featuring works in a variety of paper-based medium including pencil, charcoal, pastel, ink, watercolour and gouache. Very good condition, minor creasing, minor staining. Country of issue: France, designer: Unknown, size (cm): 64x49, year of printing: 1963

Original vintage advertising poster for a drawing and watercolour exhibition: XXe Salon du Dessin et de la Peinture a l’Eau at the Salles d’Exposition Wilson. The design features a lithograph by Andre Planson (1898-1981), showing a nude woman with black hair wearing an unbuttoned white blouse, reclining on a pink chair and eating a yellow fruit. Text is below the image in orange, red and black. The Salon du Dessin et de la Peinture a l’Eau was founded in 1949 and held annual exhibitions in Paris, featuring works in a variety of paper-based medium including pencil, charcoal, pastel, ink, watercolour and gouache. Good condition, staining, tears, creasing. Country of issue: France, designer: Andre Planson, size (cm): 64x50, year of printing: 1969

20th century school - Still life with butterfly, watercolour, monogrammed EHR, 31 x 22cm; one other still life with wildflowers watercolour; and a topographical ink drawing (3)

19th century school - The Water Girl, oil on panel, 14x10cm, together with a 19th century print, travellers at rest (2)*CHANGE TO CAT. FROM INK DRAWING TO PRINT *

A large pen and ink study of a life drawing class with male model, 22 1/2" x 30 1/2"

After Wilfred OwenOld House, Oswestrybears signature, pen and ink drawing, 17.5cm x 24.5cm

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

A mid-19th century lady's sketch and perspective album, Miss Calv***, O*eston Cottage, March 25th 1841, illustrated in pencil with architecture, including cottages, shapes etc., original wrappers, oblong, 4to, (1); a later 19th century drawing-room album, well-illustrated in pen-and-ink and watercolour with sketches, cartoons, etc., and inscribed in manuscript with sentiment and messages, contemporary diced calf over bevelled boards (disbound), all-edges gilt, moiré endpapers, 4to, (1); another similar, smaller and later, 1917, oblong 8vo, disbound, oblong 8vo, (1); etc., [4]

Water Buffalo and Sugar Cane Modinagar India - Ink touched with chalk. The theme made me think of India the relationship between man and beast, the importance of this majestic animal to the people of India. Also the fragility of a rural community. I was drawing in India for 4 months during a teaching residency with the drawing school, loved watching these animals and hope they last for ever.

Blackshore Southwold - Ink. This is a view typical of Southwold harbour - a location which I have painted for many years. It is a drawing done with a fountain pen equipped with a ‘fude’ nib, using a mix of waterproof black ink and a water-soluble black ink (Diamine ‘Earl Grey’) which bleeds into slightly pink and blue hues when water is added.

Eostre - Pen & alcohol ink, pencil & pastel. Eostre is the Germanic goddess of dawn and awakening, celebrated at the spring equinox, reinforcing the pattern of life. She is believed to appear in the shape of a hare. In my drawing she is seen against a stylised representation of the sun whose rays are pattern upon pattern. I have used pen, alcohol ink, pencil and pastel pencils. It seems appropriate to have her helping to raise money for the World Land Trust.

Pakefield Pooches - Ink & watercolour. Wandering around Pakefield with my sketchbook, drawing whatever catches my eye..and of course the area is so friendly and conducive to dog walking, the result is many canine sketches!… so this postcard gives an impression of some of our 4 legged friends on their daily walks around the promenade.

Crow in a Crown - Pen & ink. This piece is a loose expressive mixed media drawing reflecting into a small window of the rhythms and patterns of nature, wildflowers and grasses seen along paths and verges around our beautiful countryside.

Original 'Hair' artwork drawn and initialled by Barry Windsor-Smith (1987) published in his book, Barry Windsor-Smith Opus Volume 2, with letter to prospective purchaser noting that 'I mounted and matted the drawing myself'. And Fantastic Islands illustrated folder. Artwork in matte frame 18 x 9 ins. Indian ink on paper

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) A NAUGHTY BOY Pen and ink drawing, signed, 15 x 13cm Condition Report: Available upon request

•DONALD BAIN (SCOTTISH 1904-1979) HEAD STUDY Ink drawing, signed with initials and dated 47, 23 x 31cm Condition Report: Available upon request

•RUDY ERNST (20TH CENTURY) ABSTRACT DRAWING ink, signed with monogram and inscribed and dated 88, 15 x 10cm and another by the same hand Wildlife, 16 x 12cm (2) Condition Report: Available upon request

•CHARLES PULSFORD ARSA (SCOTTISH 1912-1989) ABSTRACT DRAWING Ink and watercolour, unframed, 37 x 47cm Condition Report: Available upon request

•DONALD BAIN (SCOTTISH 1904-1979) ABSTRACT DRAWING ink, 4 x 13cm, Johnstone, Dream City signed, inscribed and number, 28/40, 13 x 18cm (2) Condition Report: Available upon request

•A COLLECTION TO INCLUDE DRAWINGS AND A BOOK ROBERT LEISHMAN 'Bob', inscribed, pen and ink drawing, 13 x 17cm JESSIE ,M KING Budding Life, Gowans and Gray Ltd SCOTTISH SCHOOL (19 CENTURY) Mother and Child Pencil and sanguin, 22 x 14cm Condition Report: Available upon request

Graeme, detailed pen and ink drawing, interior study, signed and dated 1969, 16" x 11", framedGood condition

Phil May (1864 - 1903), pen and ink drawing, Songs And Their Singers, signed and dated 1897, 7.5" x 5.5", framedSlight paper discolouration around the edges and a few small fox marks, mount is foxed and stained, original frame

Harry Rowntree, pen and ink drawing, dog chasing a cat, signed, 5.5" x 4.5", framed1 fox mark just above the cat, even paper discolouration

Aldin (Cecil) Old Manor Houses, number 112 of 380 copies signed by author, with his original drawing of a seated terrier, tipped-in colour frontispiece and 11 tipped-in colour plates, captioned tissue-guards, illustrations, scattered faint spotting, previous owner's ink inscription to front free endpaper, original vellum-backed boards, gilt, scattered light spotting as usual, fractional bumping to spine head, dust-jacket, 2 short tears with tiny loss to spine foot, lightly browned, a little rubbed, slight creasing to edges, [1923]; and another copy of the same but lacking dust-jacket, 4to (2).⁂ Scarce in the original dust-jacket.

Map of Cumberland, pen and ink drawing of a shepherd and sheep etc

P.R. Walker (19thC/20thC). Old Houses Holborn, ink drawing, signed, titled and dated 1910, 32cm x 33.5cm.

18thC/19thC School. Picking flowers, ink drawing, 23cm x 17cm and sevent other items (8).

CERI RICHARDS R.A. [1903-71]. Costers Dancing, 1952. Pencil, coloured crayon and ink on wove paper. Signed and dated 1952 in ink. A preparatory drawing for the lithograph included in the RCA Coronation Suite. 35.4 x 50.5cm [image size]. Unframed. [Some time staining to sheet and minor handling creases]. Buyers premium of 20% + VAT is payable. This lot is stored in London and can be collected or shipped from there.

FRANK AUERBACH [1931 - ]. Elephant & Rider. ink & crayon on paper [dedicated by the artist in ink]. 12 x 18 cm [overall including frame 30 x 35 cm]. Provenance: Juliet Yardley Mills [JYM] collection - acquired directly from the artist; private collection, UK. JYM was one of Auerbach's favourite models and he gave her several of his drawings between 1957 and 1997. A chance to buy a drawing by this famous artist, whose work often sells for £millions, at a very modest price. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%

A Framed Sepia Pen and Ink Drawing of a Canal, 34x25cm

A David Linley Furniture English Oak desk, rectangular top on tapering square legs, inlaid with brown oak banding, two long central drawers flanked by two banks of graduated drawers, each with herringbone oak fronts and brown oak knobs, with original pen and ink original presentation drawing, stamped David Linley to drawer, 190cm x 90cm (top) 78cm. high Provenance Property of a lady with title.

A collection of assorted framed cartoon sketches and watercolours, including 'The Autograph of Shermund' "Barbara Shermund", Russell Partridge Brockbank depicting a man taking the inside leg measurement, an original ink cartoon by Maskee - Bill Beckett of the Dublin opinion - self portrait; Fred May (1891 - 1976) original watercolour cartoon depicting a Nun; Perry Hutton Fearon pen and ink cartoon entitled 'Drawing my first cartoon'; Michael Ffolkes watercolour cartoon depicting a dragon with a large fork; an original coloured ink drawing 'Saying Goodnight to Elmer by Rowel B. Friers (1920 - 1998) signed; Anthony Gilbert portrait caricature, a 1923 caricature of a man smoking a pipe; Dennis Mallet ink cartoon sketch; Brian Walker cartoon dated August 1952, James Boswell pencil sketch cartoon, a further Michael Ffolkes (Brian Davis) pen and ink cartoon sketch depicting a design for a programme cover for a meeting of Architects with the caption of "I still say it'll cost too much excess baggage even with the aluminium roof"; Bud Blake (1918 - 2005) American cartoonist - an original signed Tiger cartoon with the captions "Now that we've chosen up sides we can play the game" and "I thought choosing up sides was the game", signed to lower right; a framed collage depicting two various pen and ink cartoon sketches and a letter from Golders Green, a cartoon by 'Roy Ullyett' depicting a self caricature featuring a horse and jockey jumping over his handlebar moustache, etc, all mounted and framed (one box)

Quantity of artist's drawing materials, to include paper, pens, ink etc.

A bone scale of 'horizontal equivalents', various drawing instruments, rules, a pair of leather-covered Vesta and ink pot and other items.

Late 19th century English school - lion study, ink drawing, monogrammed HN, framed as a circle, dia. 8.5cm

A small framed Ink drawing of farmhouse courtyard, initialled E.F.D., dated '98 along with small framed etching of Merthyr Tydvil.

A hardback folio 'Views of the Lakes in Cumberland and Westmorland' engraved from drawings made by Joseph Farington, R.A., a pen, ink and watercolour drawing of Madura, India 1941, together with an antique framed and glazed (later) hand-coloured map of Oxfordshire (17th/18th century), other framed and glazed works, a facsimile of the Victoria Falls, Zambezi etc. by Thomas Baines, F.R.G.S (only prelims, prints missing) and two Baxter prints (one framed)

17TH CENTURY AND LATER CARVED OAK COURT CUPBOARD, the top with moulded edge with a rosette and scroll carved frieze with chequer border, the overhanging top supported by two bulbous turned pillars, recessed cupboard enclosed by two lozenge carved panel doors within three lozenge and rosette notch carved panels, the base with cupboard enclosed by two panelled doors with lozenge and rosette carved panels, flanked by carved roundel and plain panels, on stump feet, the reverse bearing The Palace of Holyroodhouse inventory numbers 0252 and 1799, also a paper label, typed in red ink 'Holyrood Amenity Trust, No. 52', 197cm wide, 130cm high, 58cm deep PROVENANCE: The Palace of Holyroodhouse, Edinburgh Sold Christie's and Edmiston's Ltd. 24th February 1982, Lot 52 Sold Christie's Scotland 14th May 1997, Lot 379 EXHIBITED: Treasures from Scottish Houses, 21st Edinburgh International Festival, Royal Scottish Museum, Edinburgh, August-September, 1967, No. 104. Described in the catalogue as 'Court Cupboard. English or Scottish; Dated 1694, Oak. Recessed Upper stage with two panelled doors enclosing cupboards and turned pilasters supporting projecting cornice. Lower stage with two larger panelled doors enclosing cupboards. All door panels and friezes carved with floral and geometric motifs. Initials 'LH' and dated 1694 on upper corner pillars'. Lent by The Holyrood Amenity Trust from Holyroodhouse. A photograph exists with the cupboard in situ in State Room No. 26 - The King's Drawing Room, circa 1931

Framed art work to include a pen and ink drawing of Hampton Court by Marten Van der Loo, an etching by Frans Wesselman, two batics by Sarah Tucker, two Baxter prints, an oil on board etc together with an Atlas de Geographie by Niox and DarsyLocation: RWF

* Armour (George Denholm, 1864-1949). Trials of a Gentleman Rider, pen & ink drawing on paper, signed lower right with presentation inscription dated 22 November 1930, pencil title and humorous caption at foot, framed and glazed, 29 x 36 cm, together with 2 pen & ink cartoons by Bertram Prance (1889-1968), including one initialled and dated for Punch in 1927 by E.H. Shepard, plus 2 others similar including one with watercolour and wash, plus 2 printed cartoons and a sheet with pencil and wash figure studies by Brian Thomas, all framed and glazedQty: (8)

* Watercolours and drawings. A collection of 115 watercolours and drawings, on paper or thin card, mid 19th-early 20th century, comprising 72 watercolours or wash (some with pencil or pen & ink), 8 pen & ink (some with pencil, one with watercolour), and 35 pencil, some heightened with white bodycolour, several signed or initialled, a few with titles or inscribed on verso, one pencil & watercolour sketch captioned 'Place for embarking Elephants on the Island of "Karativoo" [sic] - (or Amsterdam) - opposite Ceylon, March 22nd 1837', one pencil and wash on paper of Tynemouth lighthouse, mounted on paper (signed and dated in pencil J.W. Carmichael 1864, beneath drawing), mount paper with additional early ink manuscript annotation: 'by J.W. Carmichael of Newcastle on Tyne. Sent to Mr. Davison of Hartlepool, being a reduction of a fine drawing of Tynemouth lighthouse by T.M. Richardson', a few with some creasing or minor edge fraying, occasional mostly minor marks or spots, one with closed edge tear, 3 with losses to lower edge, smallest sheet size 8.6 x 12.5 cm, largest sheet size 37.8 x 30.8 cm, many mounted, plus 26 various prints, including etchings, and two Flemish early to mid 19th century oil on tin interior scenes, one showing an barber-surgeon's shop, with a man attending to a patient's foot, and another man being shaved at a table in the background, some marks and surface scratches with loss, the other depicting an interior with old man seated on a bed with a harp, and girl with a tambourine looking on in the background, a few small scratches with slight loss, both with 19th century auction stencil to verso 34 YC, each 25 x 21.5 cm, contained loosely in a card folderQty: (141)NOTESArtists include: Frederick Adcock, Donald Hughes, Edward C. Booth, A. S. Hartrick (entitled 'On the beach, Rostrevor, and dated '95'), and J. W. Carmichael.

Four pen and ink drawings, to include Grove Terrace, 1887, Bath, 1887, and Drawing Room, February 1890. (4)

Currently missing one sketch of two cows (was part of Lot 487 April) English school, late 19th/early 20th centuryA girl with a cow in a landscapepencil and wash18 x 16cmtogether with eight other works:(8)two further pencil studies of cattle; Philip Pimlott (British, 1871-1960), Sunset over an Estuary, signed and dated ‘Philip Pimlott 1927’ (lower right), pencil, watercolour and wash, 26 x 34cm; Walter Bromley, Study of a lady in a garden, watercolour 18 x 16cm; Susan Jameson (British, b. 1944), Lily pond, numbered, titled, signed and dated in pencil ‘34/75 Lily Pond Susan E Jameson 71’ (in lower margin), etching in colour, 58 x 39cm; The Enchantment and The Seekers, a pair of etchings by M*** Dobson,; and a pen and ink drawing of a statuette(9)