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* Hubert Andrew Freeth [1912-1986]- Piccadilly,:- signed and dated 1978 bottom left mixed media, pen and ink drawing 30 x 41cm.

Willem Van De Velde The Younger [1633-1707]-Boats at anchor in a calm sea, two rowing boats in the foreground,:-signed with initials (partially lost) bottom leftgrey wash and brown ink drawing, 14 x 16.6cm.*Provenance. Sothebys Old Master Drawing Sale 18th February 1991, lot 142.With P & D Colnaghi & Co. Ltd.

* Charles Knight [1901-1990]- Ploughed field and wooded bank,:- signed with a monogram watercolour, pen and ink drawing, 27.5 x 37.5cm.

Brian Seaton, pen and ink drawing, Richmond, signed and dated 1952, 25cm x 35cm, framedGood condition

Petra Borner Floral Face Blue, 2021 Ink and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Petra Börner is a Swedish artist who lives and works in London, where she also studied fashion at Central Saint Martin's. Driven by a desire to draw and illustrate from a young age, her award-winning work feature through collaborations with clients worldwide, but her main focus has grown into creating and exhibiting her personal work. She explores her work through a range of media including work on paper, painting, ceramics and short films, but at the heart of her practice is a passion for drawing. Her determined lines spell an emotive narrative, absorbed from her surroundings, often referencing natural themes. Education 1995 - 1999 BA- Hons Fashion Design with Marketing Central St Martins College, UK 1994 - 1995 Foundation in Fashion Design Cavendish College of Art and Design, UK Exhibitions 2020 Petra's Draw 24 UK (Charity Event) 2020 Secret 7 NOW Gallery, UK (Group) 2020 Art Life Fest, Moscow, Russia (Art Fair) 2020 Couvert Royal Academy of Arts, UK (RA Edition) 2020 Drawn to the line Tecknings Museet, Sweden (Duo) 2019 ING Discerning Eye Mall Galleries, UK (Group) 2019 Islington Square Partnership Editions, UK (Group) 2019 Prints Only Horsebridge Arts Centre, UK (Group) 2018 Secret 7 Greenwich Peninsula, UK (Group) 2017 December Portefoin, France (Group) 2017 FIGAF 2 Fashion Illustration Gallery, UK (Art Fair) Gallery Representation Partnership Edition (non exclusive) About the postcard artworks These three paintings are part of larger series; Power Flower and Floral Faces. Inspired by natural power and the fine line between fragility and perseverance, the work was created as a celebration of the natural world.  

Petra Borner Floral Face Purple, 2021 Ink and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Petra Börner is a Swedish artist who lives and works in London, where she also studied fashion at Central Saint Martin's. Driven by a desire to draw and illustrate from a young age, her award-winning work feature through collaborations with clients worldwide, but her main focus has grown into creating and exhibiting her personal work. She explores her work through a range of media including work on paper, painting, ceramics and short films, but at the heart of her practice is a passion for drawing. Her determined lines spell an emotive narrative, absorbed from her surroundings, often referencing natural themes. Education 1995 - 1999 BA- Hons Fashion Design with Marketing Central St Martins College, UK 1994 - 1995 Foundation in Fashion Design Cavendish College of Art and Design, UK Exhibitions 2020 Petra's Draw 24 UK (Charity Event) 2020 Secret 7 NOW Gallery, UK (Group) 2020 Art Life Fest, Moscow, Russia (Art Fair) 2020 Couvert Royal Academy of Arts, UK (RA Edition) 2020 Drawn to the line Tecknings Museet, Sweden (Duo) 2019 ING Discerning Eye Mall Galleries, UK (Group) 2019 Islington Square Partnership Editions, UK (Group) 2019 Prints Only Horsebridge Arts Centre, UK (Group) 2018 Secret 7 Greenwich Peninsula, UK (Group) 2017 December Portefoin, France (Group) 2017 FIGAF 2 Fashion Illustration Gallery, UK (Art Fair) Gallery Representation Partnership Edition (non exclusive) About the postcard artworks These three paintings are part of larger series; Power Flower and Floral Faces. Inspired by natural power and the fine line between fragility and perseverance, the work was created as a celebration of the natural world.  

Petra Borner Power Flower Mini, 2021 Ink and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Petra Börner is a Swedish artist who lives and works in London, where she also studied fashion at Central Saint Martin's. Driven by a desire to draw and illustrate from a young age, her award-winning work feature through collaborations with clients worldwide, but her main focus has grown into creating and exhibiting her personal work. She explores her work through a range of media including work on paper, painting, ceramics and short films, but at the heart of her practice is a passion for drawing. Her determined lines spell an emotive narrative, absorbed from her surroundings, often referencing natural themes. Education 1995 - 1999 BA- Hons Fashion Design with Marketing Central St Martins College, UK 1994 - 1995 Foundation in Fashion Design Cavendish College of Art and Design, UK Exhibitions 2020 Petra's Draw 24 UK (Charity Event) 2020 Secret 7 NOW Gallery, UK (Group) 2020 Art Life Fest, Moscow, Russia (Art Fair) 2020 Couvert Royal Academy of Arts, UK (RA Edition) 2020 Drawn to the line Tecknings Museet, Sweden (Duo) 2019 ING Discerning Eye Mall Galleries, UK (Group) 2019 Islington Square Partnership Editions, UK (Group) 2019 Prints Only Horsebridge Arts Centre, UK (Group) 2018 Secret 7 Greenwich Peninsula, UK (Group) 2017 December Portefoin, France (Group) 2017 FIGAF 2 Fashion Illustration Gallery, UK (Art Fair) Gallery Representation Partnership Edition (non exclusive) About the postcard artworks These three paintings are part of larger series; Power Flower and Floral Faces. Inspired by natural power and the fine line between fragility and perseverance, the work was created as a celebration of the natural world.  

Josh Dorman Ex Equidae, 2021 Ink, Acrylic, Antique Collage and Resin on Paper Signed on front and verso 10 x 15cm (3¾ x 5¾ in.) Josh Dorman was born in Baltimore, Maryland, 1966. He lives and works in New York City and in the Catskills Mountains. He received his MFA from Queens College, Flushing, NY and his BA from Skidmore College, Saratoga Springs, NY. His work is represented by Ryan Lee Gallery in New York City, Koplin Del Rio in Seattle, and John Martin Gallery in London.   Education BA Skidmore College, Saratoga Springs, NY 1988 MFA Queens College, Flushing, NY 1992   Exhibitions   Dorman's work is in private collections around the world and U.S. museums including the Minneapolis Institute of Art, The Springfield Museum, The Tang Museum, The Butler Institute, and the Naples Museum. He's had one-person institutional exhibitions at the Longview Museum of Fine Art in Texas, 2019, the Craft and Folk Art Museum in Los Angeles, 2008, and Hallwalls in Buffalo, 2007. He's been included in numerous group-shows including: The Drawing Center, Torrance Art Museum, Katonah Museum, Swarthmore College Museum, Weatherspoon Museum, and The National Academy. His shows have been reviewed in ArtNews, Art in America, LA Times, BOMB Magazine, The Paris Review, Modern Painters, ArtForum, and The New Yorker, and he's been the subject of essays by acclaimed authors Paul Auster, Michael Chabon and Nam Le. From 2009 to 2014, Dorman created seven animated short films to accompany Anna Clyne's The Violin, (DVD available on VMA Records). He's executed public art installations at One New York Plaza in New York City and at Century House Historical Society in Rosendale, NY. In 2009, he received a grant from the New York Foundation for the Arts, and he has been awarded residencies at the MacDowell Colony, Yaddo, I-Park, Millay Colony and Art Omi. John Martin Gallery, London, UK. Ryan Lee Gallery, New York City. Koplin Del Rio, Seattle, WAMy paintings emerge from a liminal state, placing form next to form. My studio overflows with musty textbooks, player piano scrolls, antique maps and diagrams from which I cull imagery. The meaning of my art is in your mind. I'm equally an observer as the pieces come together and the worlds develop. After generating fields of visual detritus, I bury and excavate, wandering between flesh, fog, feather, metal, glass, bone, water, flower, rock. My work is an examination and an escape. A joyful apocalypse.    

Josh Dorman What We've Lost (Mini), 2021 Ink, Acrylic, Antique Collage and Resin on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.)   Josh Dorman was born in Baltimore, Maryland, 1966. He lives and works in New York City and in the Catskills Mountains. He received his MFA from Queens College, Flushing, NY and his BA from Skidmore College, Saratoga Springs, NY. His work is represented by Ryan Lee Gallery in New York City, Koplin Del Rio in Seattle, and John Martin Gallery in London.   Education BA Skidmore College, Saratoga Springs, NY 1988 MFA Queens College, Flushing, NY 1992   Exhibitions   Dorman's work is in private collections around the world and U.S. museums including the Minneapolis Institute of Art, The Springfield Museum, The Tang Museum, The Butler Institute, and the Naples Museum. He's had one-person institutional exhibitions at the Longview Museum of Fine Art in Texas, 2019, the Craft and Folk Art Museum in Los Angeles, 2008, and Hallwalls in Buffalo, 2007. He's been included in numerous group-shows including: The Drawing Center, Torrance Art Museum, Katonah Museum, Swarthmore College Museum, Weatherspoon Museum, and The National Academy. His shows have been reviewed in ArtNews, Art in America, LA Times, BOMB Magazine, The Paris Review, Modern Painters, ArtForum, and The New Yorker, and he's been the subject of essays by acclaimed authors Paul Auster, Michael Chabon and Nam Le. From 2009 to 2014, Dorman created seven animated short films to accompany Anna Clyne's The Violin, (DVD available on VMA Records). He's executed public art installations at One New York Plaza in New York City and at Century House Historical Society in Rosendale, NY. In 2009, he received a grant from the New York Foundation for the Arts, and he has been awarded residencies at the MacDowell Colony, Yaddo, I-Park, Millay Colony and Art Omi. John Martin Gallery, London, UK. Ryan Lee Gallery, New York City. Koplin Del Rio, Seattle, WAMy paintings emerge from a liminal state, placing form next to form. My studio overflows with musty textbooks, player piano scrolls, antique maps and diagrams from which I cull imagery. The meaning of my art is in your mind. I'm equally an observer as the pieces come together and the worlds develop. After generating fields of visual detritus, I bury and excavate, wandering between flesh, fog, feather, metal, glass, bone, water, flower, rock. My work is an examination and an escape. A joyful apocalypse.      

Willemien Bardawil Rosé Soirée, 2021 Watercolour and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Willemien is an artist based in London. She has formerly specialised in fashion which is translated through her use of colour and print. She is constantly inspired by the current world around her, yet consistently looks back to art of the past for influence. Her compositions and themes are often influenced by ancient Greek or Roman sculptures and Renaissance and Romantic periods. She reinterprets these classical forms in a playful and feminine way within the modern context of today, focusing on exploring the female form living her most joy. She works primarily in watercolour, ink and pastel to achieve her fluid style, however at times uses acrylic and oil on canvas for larger commissions. Formally she is trained in drawing by the Ruskin school of art in Oxford and Royal drawing school in London, but her very unique aesthetic is entirely self taught.  

Willemien Bardawil Rosé Soirée for two, 2021 Watercolour and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Willemien is an artist based in London. She has formerly specialised in fashion which is translated through her use of colour and print. She is constantly inspired by the current world around her, yet consistently looks back to art of the past for influence. Her compositions and themes are often influenced by ancient Greek or Roman sculptures and Renaissance and Romantic periods. She reinterprets these classical forms in a playful and feminine way within the modern context of today, focusing on exploring the female form living her most joy. She works primarily in watercolour, ink and pastel to achieve her fluid style, however at times uses acrylic and oil on canvas for larger commissions. Formally she is trained in drawing by the Ruskin school of art in Oxford and Royal drawing school in London, but her very unique aesthetic is entirely self taught.  

David Webb Galata (Grey), 2021 Ink on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.)   David Webb (B. 1973) has exhibited his paintings, drawings and prints extensively in the United Kingdom and internationally. His work is in numerous private and corporate collections worldwide. Public collections include the National Library of Wales, Aberystwyth, the Fitzwilliam Museum, Cambridge, and Kasser Mochary Foundation, New Jersey. Since 2006 David has been awarded painting residencies at the Triangle Arts Association, New York City and at Yaddo, Saratoga Springs, New York; as well as a full fellowship at the Vermont Studio Center. He is also a Fellow of Macdowell, New Hampshire. He has been commissioned to design and make several stained glass windows including for the new Methodist Church in Stoke Newington, London, and a suite of windows for the Bonsall collection, London. David has been based at A.P.T. Studios in Deptford, London, since 2003. He is a visiting Lecturer in Fine Art at the Cyprus College of Art and has been teaching painting and drawing part-time at The Conservatoire, Blackheath, since 1999. 2001-2002 Postgraduate Diploma Fine Art. Cyprus College of Art 1998-2000 MA Fine Art. Canterbury Christ Church University 1994-1997 BA (Hons) Fine Art. School of Art, Aberystwyth University 1992-1993 Foundation Course in Art. Hastings College of Art Solo shows 2017 The Back of Us Is a Mountain. Classroom, Coventry 2014 Freedom Street. Royal Over-Seas League, London 2013 Fragmentarium. dalla Rosa Gallery, London 2012 Tourist Smoking Room. Transition Gallery, London Two-person shows 2016 After the Primitives: Emily Speed and David Webb. dalla Rosa Gallery, London 2014 Hinterland: Rachel Busby and David Webb. Exeter Phoenix 2014 Necessary Monsters: Lee Grandjean and David Webb. University of Greenwich Group shows 2020 Indian Spring. Kapil Jariwala, London 2018 Shape Recognition. Eagle Gallery / dalla Rosa Gallery, London 2017 Counterpoints. Eagle Gallery, London 2015 Hommage and Transcription. Kapil Jariwala, London 2014 Infinity : One. dalla Rosa Gallery, London 2013 Chromatology. Cornaro Institute, Larnaca, Cyprus 2013 Panel Paintings. Eagle Gallery, London 2013 10 Years Too Late. Institut Fur Alles Mogliche, Berlin 2012 Summer Exhibition. Royal Academy of Arts, London 2010 Fade Away. Transition Gallery, London 2010 Exeter Contemporary Open. Exeter Phoenix 2009 There and Everywhere. Transition Gallery, London 2009 Jerwood Contemporary Painters. Jerwood Space, London 2008 Jerwood Drawing Prize. Jerwood Space, London 2007 Building Picturing. The Painting Center, New York 2004 Fourth International Biennial. Gyumri Centre for Contemporary Art, Armenia Awards 2011 Gihon River Collective Fellowship Award 2009 Jerwood Contemporary Painters Award winner 2002 Florence Trust Residency Award Kakopetria (Orange)' and 'Galata (Grey)' are inspired by two Byzantine painted churches located in the villages of Kakopetria and Galata in the Troodos Mountains, Cyprus. They're about shape, colour, location, heat and geometry.  

David Webb Kakopetria (Orange), 2021 Ink on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) David Webb (B. 1973) has exhibited his paintings, drawings and prints extensively in the United Kingdom and internationally. His work is in numerous private and corporate collections worldwide. Public collections include the National Library of Wales, Aberystwyth, the Fitzwilliam Museum, Cambridge, and Kasser Mochary Foundation, New Jersey. Since 2006 David has been awarded painting residencies at the Triangle Arts Association, New York City and at Yaddo, Saratoga Springs, New York; as well as a full fellowship at the Vermont Studio Center. He is also a Fellow of Macdowell, New Hampshire. He has been commissioned to design and make several stained glass windows including for the new Methodist Church in Stoke Newington, London, and a suite of windows for the Bonsall collection, London. David has been based at A.P.T. Studios in Deptford, London, since 2003. He is a visiting Lecturer in Fine Art at the Cyprus College of Art and has been teaching painting and drawing part-time at The Conservatoire, Blackheath, since 1999. 2001-2002 Postgraduate Diploma Fine Art. Cyprus College of Art 1998-2000 MA Fine Art. Canterbury Christ Church University 1994-1997 BA (Hons) Fine Art. School of Art, Aberystwyth University 1992-1993 Foundation Course in Art. Hastings College of Art Solo shows 2017 The Back of Us Is a Mountain. Classroom, Coventry 2014 Freedom Street. Royal Over-Seas League, London 2013 Fragmentarium. dalla Rosa Gallery, London 2012 Tourist Smoking Room. Transition Gallery, London Two-person shows 2016 After the Primitives: Emily Speed and David Webb. dalla Rosa Gallery, London 2014 Hinterland: Rachel Busby and David Webb. Exeter Phoenix 2014 Necessary Monsters: Lee Grandjean and David Webb. University of Greenwich Group shows 2020 Indian Spring. Kapil Jariwala, London 2018 Shape Recognition. Eagle Gallery / dalla Rosa Gallery, London 2017 Counterpoints. Eagle Gallery, London 2015 Hommage and Transcription. Kapil Jariwala, London 2014 Infinity : One. dalla Rosa Gallery, London 2013 Chromatology. Cornaro Institute, Larnaca, Cyprus 2013 Panel Paintings. Eagle Gallery, London 2013 10 Years Too Late. Institut Fur Alles Mogliche, Berlin 2012 Summer Exhibition. Royal Academy of Arts, London 2010 Fade Away. Transition Gallery, London 2010 Exeter Contemporary Open. Exeter Phoenix 2009 There and Everywhere. Transition Gallery, London 2009 Jerwood Contemporary Painters. Jerwood Space, London 2008 Jerwood Drawing Prize. Jerwood Space, London 2007 Building Picturing. The Painting Center, New York 2004 Fourth International Biennial. Gyumri Centre for Contemporary Art, Armenia Awards 2011 Gihon River Collective Fellowship Award 2009 Jerwood Contemporary Painters Award winner 2002 Florence Trust Residency Award Kakopetria (Orange)' and 'Galata (Grey)' are inspired by two Byzantine painted churches located in the villages of Kakopetria and Galata in the Troodos Mountains, Cyprus. They're about shape, colour, location, heat and geometry.  

Jonathan S. Hooper Pentire Head and Newland Island (North Cornwall), 2021 Ink on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Cornish painter and sculptor Bodmin Grammer School Falmouth School of Art (foundation) Nottingham University BSc structural engineering Imperial College MSc DICSe The Nine British Art, 9 Bury Street, St James's, LONDON   About the Postcards These simple line drawings are representative of the preliminary, underlying drawing used in my painting practice. The single continuous line alludes to the process of walking or forging pathways and the interconnectedness of the features of landscape.  

Ilga Leimanis Silver Linings, Warrior Clouds, 2021 Liquid Metal, Ink, Marker, Pastel and Paper on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Ilga Leimanis is a visual artist, educator and author based in London. She studied art history and painting at Concordia University in her native Montreal, Canada and painting and drawing at the Art Academy of Latvia. Ilga works at education institutions such as University of the Arts London and advises companies and organisations internationally in drawing, sketching and creative practice. Ilga's visual arts practice explores contemporary issues of identity, collaboration and inter- disciplinary. In addition to her solo practice, Ilga works collaboratively on two different projects: Ortelius Drew (2008-19) and Architecture of Conversation (2015-present). She is a member of Five Years, and artist-run gallery in London and contributes to its programming. Ilga founded Drawn in London, a monthly urban sketching group in 2007. She is the author of Sketching Perspective published by The Crowood Press (2021), three chapters in Creative Sketching Workshop (2015) and co-author of "Drawing as an Inclusive Practice" in Inclusion and Intersectionality in Visual Arts Education (2019). 2020 Around and Around, Copper Beech Café North Dulwich, London, UK 2019 Excess All Areas, Five Years, London, UK. 2017 Rooted in Limbo, Five Years, London, UK. 2015 Bang Your Head: Architecture of Conversation, Five Years, London, UK. (Architecture of Conversation) 2014popUp & popOFF, flutter_, London, UK. (Ortelius Drew) 2012A Plotted Affair, A Collaboration with Rochelle Fry, Five Years, London, UK. (Ortelius Drew) 2009 Profiles: Friendship in the Digital Age, Gallery Istaba, with interdisciplinary seminar at e-text-textiles, Riga, Latvia. 2008Take Off, Dokhuis Gallery, Amsterdam. (Ortelius Drew)   About the Postcards   Silver Linings, Warrior Clouds (2021) This new body of work builds on two previous series: 'Excess All Areas' (2019) where I was interested in exploring excess: overflowing vessels pour forth their contents and offer a vehicle to visualise the rhythm and energy of overflow and inundation. 'Around and Around' (2020) was an attempt to visualise journeys into and across slippery spaces. This new work returns to representation, these are recognisably clouds, their volumes punctured with slivers of paper woven into and through the surface. I see these slivers as dynamic lines, swords or daggers: ready to fight, but they can also been seen as mending a whole, the holding together of both sides of the cloud. The clouds and their silver linings represent possibility and hope.  

Davina Jackson On Our Way Home, 2021 Ink and Goucahe on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Davina Jackson is a British , figurative artist and currently works from her studio at Kingsgate Workshops in london . She studied at Central St Martin's , The Byam Shaw and completed her post graduate masters at The Royal Academy Schools where she was awarded the Gold Medal prize for painting . She is a regular exhibitor at The Royal Academy Summer Exhibition and The Discerning Eye and has had 4 solo exhibitions in the last 5 years , one in Trieste , Italy that was curated by Edward -Lucie Smith . Her recent solo show at The Pontone Gallery in London was an exhibition of works exploring the fate of humanity through different interpretations of allegorical Greek Myths. Davina's work centres around the figure, portraying intimate moments and fragments of memory. She likes to sculpt and simplify the bodies, preferring to explore the essence of a pose or mood and her inspiration lies in storytelling , poetry and the theatre as well as her own personal experiences , especially as a mother and woman . Davina has been the recipient of numerous awards throughout her artistic career in painting and drawing . 1989-1990 Foundation in Art and Design, Central/St Martins 1991-1994 BA. (Hons) Fine Art - Painting, The Byam Shaw School of Art 1994 -1997 Masters Fine Art, The Royal Academy Schools 2020 The Sunday Times Watercolour competition The Royal Academy Summer/Winter show 2019 Solo Exhibition , Close To The Sun, The Pontone Gallery , London The Discerning Eye The Mall Galleries, London Solo show , Moor House, Moorgate,London 2018 Group Exhibition, British Painters - Imagined Worlds, Pontone Gallery, London The Discerning Eye, Drawing Bursary , The Mall Galleries British Art Fair Saatchi Gallery, showing with the Boundary Gallery 2017 Solo Exhibition - The Woland Club Art Gallery, Porto Piccollo, Italy (curated by Edward Lucie-Smith in collaboration with the Pontone Gallery) Group Exhibition - Winter Show Part 2, The Albermarle Gallery Art London - Business Design Centre
 2016 Solo Exhibition - A Sculptor in Paint, The Albermarle Gallery
 Group Exhibition - Highgate Contemporary Art Gallery summer show
 The Boundary Gallery and Fine Art Consultancy, Highgate Contemporary Art Gallery 2015 The Royal Academy Summer Exhibition , The Royal Academy of Arts
 2014 Microtopia - Group Show, Kingsgate Gallery The Discerning Eye, Drawing Bursary - The Mall Galleries 2012 The Royal Academy Summer Show ,The Royal Academy of Arts 2006 Group Exhibition, The Boundary Gallery 2004 Solo Show, Ars Vivendi - Geneva, Switzerland 20th Century Perspectives - Burlington Fine Art The Hunting Prize - Royal College of Art (Also showed in 2003, 2002, and 2001) The Modern and the New - Ben Uri Gallery   Representation The Albemarle Gallery and The Boundary Gallery   About the Postcards I have submitted 3 works for Art on a Postcard that touch on different subject matter that I explore in my work, but all of which are essentially about the inner world.  

Sherry Kerlin Little Girl Holding Doll's Head, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) I am an exhibiting artist who lives and works in New York City.   Education   Chicago Art Institute and a BFA in Painting and Printmaking from the Kansas City Art Institute   Exhibitions   New York Foundation for the Arts (award in Drawing)   Gallery Representation   Van Rensberg Gallery (Australia) and Louisa Warfield Art Consultancy (UK)   About the postcard artwork   The postcard is an ink drawing on acid free paper; it is a portrait of a little girl holding a doll's head  

Davina Jackson Resting Figure, 2021 Pigment, Ink and Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Davina Jackson is a British , figurative artist and currently works from her studio at Kingsgate Workshops in london . She studied at Central St Martin's , The Byam Shaw and completed her post graduate masters at The Royal Academy Schools where she was awarded the Gold Medal prize for painting . She is a regular exhibitor at The Royal Academy Summer Exhibition and The Discerning Eye and has had 4 solo exhibitions in the last 5 years , one in Trieste , Italy that was curated by Edward -Lucie Smith . Her recent solo show at The Pontone Gallery in London was an exhibition of works exploring the fate of humanity through different interpretations of allegorical Greek Myths. Davina's work centres around the figure, portraying intimate moments and fragments of memory. She likes to sculpt and simplify the bodies, preferring to explore the essence of a pose or mood and her inspiration lies in storytelling , poetry and the theatre as well as her own personal experiences , especially as a mother and woman . Davina has been the recipient of numerous awards throughout her artistic career in painting and drawing . 1989-1990 Foundation in Art and Design, Central/St Martins 1991-1994 BA. (Hons) Fine Art - Painting, The Byam Shaw School of Art 1994 -1997 Masters Fine Art, The Royal Academy Schools 2020 The Sunday Times Watercolour competition The Royal Academy Summer/Winter show 2019 Solo Exhibition , Close To The Sun, The Pontone Gallery , London The Discerning Eye The Mall Galleries, London Solo show , Moor House, Moorgate,London 2018 Group Exhibition, British Painters - Imagined Worlds, Pontone Gallery, London The Discerning Eye, Drawing Bursary , The Mall Galleries British Art Fair Saatchi Gallery, showing with the Boundary Gallery 2017 Solo Exhibition - The Woland Club Art Gallery, Porto Piccollo, Italy (curated by Edward Lucie-Smith in collaboration with the Pontone Gallery) Group Exhibition - Winter Show Part 2, The Albermarle Gallery Art London - Business Design Centre
 2016 Solo Exhibition - A Sculptor in Paint, The Albermarle Gallery
 Group Exhibition - Highgate Contemporary Art Gallery summer show
 The Boundary Gallery and Fine Art Consultancy, Highgate Contemporary Art Gallery 2015 The Royal Academy Summer Exhibition , The Royal Academy of Arts
 2014 Microtopia - Group Show, Kingsgate Gallery The Discerning Eye, Drawing Bursary - The Mall Galleries 2012 The Royal Academy Summer Show ,The Royal Academy of Arts 2006 Group Exhibition, The Boundary Gallery 2004 Solo Show, Ars Vivendi - Geneva, Switzerland 20th Century Perspectives - Burlington Fine Art The Hunting Prize - Royal College of Art (Also showed in 2003, 2002, and 2001) The Modern and the New - Ben Uri Gallery   Representation The Albemarle Gallery and The Boundary Gallery   About the Postcards I have submitted 3 works for Art on a Postcard that touch on different subject matter that I explore in my work, but all of which are essentially about the inner world.  

Davina Jackson Icarus Dreams, 2021 Ink, Watercolour and Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Davina Jackson is a British , figurative artist and currently works from her studio at Kingsgate Workshops in london . She studied at Central St Martin's , The Byam Shaw and completed her post graduate masters at The Royal Academy Schools where she was awarded the Gold Medal prize for painting . She is a regular exhibitor at The Royal Academy Summer Exhibition and The Discerning Eye and has had 4 solo exhibitions in the last 5 years , one in Trieste , Italy that was curated by Edward -Lucie Smith . Her recent solo show at The Pontone Gallery in London was an exhibition of works exploring the fate of humanity through different interpretations of allegorical Greek Myths. Davina's work centres around the figure, portraying intimate moments and fragments of memory. She likes to sculpt and simplify the bodies, preferring to explore the essence of a pose or mood and her inspiration lies in storytelling , poetry and the theatre as well as her own personal experiences , especially as a mother and woman . Davina has been the recipient of numerous awards throughout her artistic career in painting and drawing . 1989-1990 Foundation in Art and Design, Central/St Martins 1991-1994 BA. (Hons) Fine Art - Painting, The Byam Shaw School of Art 1994 -1997 Masters Fine Art, The Royal Academy Schools 2020 The Sunday Times Watercolour competition The Royal Academy Summer/Winter show 2019 Solo Exhibition , Close To The Sun, The Pontone Gallery , London The Discerning Eye The Mall Galleries, London Solo show , Moor House, Moorgate,London 2018 Group Exhibition, British Painters - Imagined Worlds, Pontone Gallery, London The Discerning Eye, Drawing Bursary , The Mall Galleries British Art Fair Saatchi Gallery, showing with the Boundary Gallery 2017 Solo Exhibition - The Woland Club Art Gallery, Porto Piccollo, Italy (curated by Edward Lucie-Smith in collaboration with the Pontone Gallery) Group Exhibition - Winter Show Part 2, The Albermarle Gallery Art London - Business Design Centre
 2016 Solo Exhibition - A Sculptor in Paint, The Albermarle Gallery
 Group Exhibition - Highgate Contemporary Art Gallery summer show
 The Boundary Gallery and Fine Art Consultancy, Highgate Contemporary Art Gallery 2015 The Royal Academy Summer Exhibition , The Royal Academy of Arts
 2014 Microtopia - Group Show, Kingsgate Gallery The Discerning Eye, Drawing Bursary - The Mall Galleries 2012 The Royal Academy Summer Show ,The Royal Academy of Arts 2006 Group Exhibition, The Boundary Gallery 2004 Solo Show, Ars Vivendi - Geneva, Switzerland 20th Century Perspectives - Burlington Fine Art The Hunting Prize - Royal College of Art (Also showed in 2003, 2002, and 2001) The Modern and the New - Ben Uri Gallery   Representation The Albemarle Gallery and The Boundary Gallery   About the Postcards I have submitted 3 works for Art on a Postcard that touch on different subject matter that I explore in my work, but all of which are essentially about the inner world.  

Yuriko Kawase Leaf, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind.   About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter.   Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA   2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.    

Yuriko Kawase Leaf, 2021 Pigment on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind.   About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter.   Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA   2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.    

Yuriko Kawase Feather, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind.   About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter.   Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA   2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.    

Yuriko Kawase A Star Plant, 2021 Sumi Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Yuriko Kawase is a sumi-e artist based in Tokyo, Japan. Her art is expressed through equal parts sumi, water, paper, and inspiration, seeking to offer a simple worldview that is gentle, yet impressive; strong, yet delicate - a style that remains quietly in one's mind.   About the postcard artworks Sumi + water + paper = very simple. (Sometimes I use pigments) Sumi's paintings I draw are a unique world. There is no composition or draft because I write it all at once with inspiration. Cut out the space-time at that time and put Sumi soaked in water on the paper from the brush. Sumi who got the life spreads on the fibers and begins to swim. The blurred color leaves a rich gradation on the paper. The color changes over time and she Sumi calms her down. Distortion is Sumi's own work, and the end of the collaboration with water permeates the paper and is there. The simple and delicate style remains quiet in your mind. A gentle, minimal but strong message will be downloaded to the viewer's mind. About learned painting by myself. living by drawing with the support of people all over the world who like my paintings. The only art supplies are sumi, water and paper. I've loved drawing since I was a kid. The paintings have always saved me from reality. It was like opening the door from a storm and providing a shelter.   Exhibitions 2019 ' February New York Pleiades Gallery Smiley Exhibition April Los Angeles Gallery Art House Early Summer Exhibition September Spain Madrid Biennale 2019 Textiles Division October New York Van Der Plus Gallery Harvest Moon Exhibition November Participated in the Russian magazine "Alpha Magazine" 2019-2020' first issue No. 4 "Overcoming Fear" as the first Japanese painter. Besides, he is the product design of Holmes & Marchant the product design of IKEA   2020 ' April The exhibition at Gallery Mona Lisa in Paris, France was canceled due to Covid19. July Japan ink painting and poetry collection "Octavia 598" will be on sale for a limited time.　 End of sale. October: Currently participating in an online gallery in the "Gallery M & A　 Art Agent" art book in Sweden P17. Until mid-January hhttps://gallerym.se/art-magazine/ December San Francisco art magazine "Venti Journal" Contributed a statement about the definition of works and art and the production of works in the first issue No. 3. 2021' January Cooperated in providing the artwork" Feather "to the British charity" DrawFor "#DrawForYoungLives. The proceeds of the work will be used to help prevent suicide among young people in the UK. Hampstead Art School in London, England. My work will be an issue in the online class of Foundation students.    

Shezad Dawood Overcast but Beautiful Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Shezad Dawood Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.Shezad Dawood was born in London in 1974 and trained at Central St Martin's and the Royal College of Art before completing his PhD at Leeds Metropolitan University. Dawood is a Senior Research Fellow in Experimental Media at the University of Westminster. He lives and works in London. 2004 - 2008 Leeds Metropolitan University PhD (Fine Art) 2000 - 2003 Royal College of Art, London MPhil Fine Art (Photography) 1998 - 2000 Royal College of Art, London MA Fine Art (Photography) Unit B1, Ink Court 419 Wick Lane London E3 2PW Phone: 0208 880 7690 studio@shezaddawood.com www.shezaddawood.com 1994 - 1997 Central St Martin's College of Art & Design, London BA (Hons) Critical Fine Art Practice (First Class)Recent solo exhibitions include: Timothy Taylor, London (2020-21), Kai Art Center, Tallinn (2020), New Art Exchange, Nottingham (2020), The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi'an, China (both 2014), Modern Art Oxford (2012). Group exhibitions include: Guggenheim, New York (2021), Southbank Centre, London (2020-21) Boghossian Foundation - Villa Empain (2020), WIELS Bruxelles (2020), Manifesta 13 (2020), Lahore Biennial (2020), Dhaka Art Summit (2020), Sharjah Biennial 14, UAE (2019) - Jury Prize for Encroachments; Gwangju Biennale, Gwangju, South Korea (2018); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Triennial: Altermodern (2009), and the Venice Biennale (2009). Selected collections include Tate; UBS; LACMA, Los Angeles; National Gallery of Canada; Government Art Collection, UK; US Government Art Collection; The British Museum, London; Sharjah Art Foundation; Kiran Nadar, Delhi; Rubin Museum of Art, New York; and Mathaf, Doha. His film works have been screened internationally, including at the ICA, London; MoMA, New York and at various film festivals including CPH:DOX, Oberhausen, Aesthetica (winner of Artist's Film Prize 2015); his 2013 Feature Film, Piercing Brightness, was released theatrically and on Blu-Ray/DVD by Soda Pictures.Timothy Taylor, London; Jhaveri Contemporary, Mumbai; Barakat Contemporary, Seoul; The RYDER, Madrid. Continuing a series of pencil and watercolour studies drawing on my time spent on Fogo Island in Newfoundland in 2018 and 2019, exploring a convergence of textile traditions, esoterica and the sea.  

Shezad Dawood On a Clear Day, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Shezad Dawood Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.Shezad Dawood was born in London in 1974 and trained at Central St Martin's and the Royal College of Art before completing his PhD at Leeds Metropolitan University. Dawood is a Senior Research Fellow in Experimental Media at the University of Westminster. He lives and works in London. 2004 - 2008 Leeds Metropolitan University PhD (Fine Art) 2000 - 2003 Royal College of Art, London MPhil Fine Art (Photography) 1998 - 2000 Royal College of Art, London MA Fine Art (Photography) Unit B1, Ink Court 419 Wick Lane London E3 2PW Phone: 0208 880 7690 studio@shezaddawood.com www.shezaddawood.com 1994 - 1997 Central St Martin's College of Art & Design, London BA (Hons) Critical Fine Art Practice (First Class)Recent solo exhibitions include: Timothy Taylor, London (2020-21), Kai Art Center, Tallinn (2020), New Art Exchange, Nottingham (2020), The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi'an, China (both 2014), Modern Art Oxford (2012). Group exhibitions include: Guggenheim, New York (2021), Southbank Centre, London (2020-21) Boghossian Foundation - Villa Empain (2020), WIELS Bruxelles (2020), Manifesta 13 (2020), Lahore Biennial (2020), Dhaka Art Summit (2020), Sharjah Biennial 14, UAE (2019) - Jury Prize for Encroachments; Gwangju Biennale, Gwangju, South Korea (2018); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Triennial: Altermodern (2009), and the Venice Biennale (2009). Selected collections include Tate; UBS; LACMA, Los Angeles; National Gallery of Canada; Government Art Collection, UK; US Government Art Collection; The British Museum, London; Sharjah Art Foundation; Kiran Nadar, Delhi; Rubin Museum of Art, New York; and Mathaf, Doha. His film works have been screened internationally, including at the ICA, London; MoMA, New York and at various film festivals including CPH:DOX, Oberhausen, Aesthetica (winner of Artist's Film Prize 2015); his 2013 Feature Film, Piercing Brightness, was released theatrically and on Blu-Ray/DVD by Soda Pictures.Timothy Taylor, London; Jhaveri Contemporary, Mumbai; Barakat Contemporary, Seoul; The RYDER, Madrid. Continuing a series of pencil and watercolour studies drawing on my time spent on Fogo Island in Newfoundland in 2018 and 2019, exploring a convergence of textile traditions, esoterica and the sea.  

Anonym.: Heilige Kommunion (italienisch). Feder in Braun über Rötel auf Bütten. (Um 1650). 26,5 x 19,5 cm. Verso bezeichnet "Domenichino". Ränder berieben mit vereinzelten Ausrisschen, Ecken mit leichten Griffknicken. Zwei braune Fleckchen innerhalb der Darstellung. Verso mit Resten alter Montierung. - Privatbesitz, Süddeutschland. - Italian Holy Communion Brown ink over red chalk drawing on laid paper. (Around 1650). 26.5 x 19.5 cm. Inscribed on the reverse "Domenichino". D

Cocteau (Jean) Morceaux Choisis, first edition, number 49 of 65 copies, signed presentation inscription from the author "J'offre lest systemes nerveux, au docteaur Jansion, avec ma gratitude profonde. Jean 1933" with an original ink and wash drawing of a youth in profile signed "Jean" to half-title, original wrappers, with additional ink drawing to upper cover, some light smudging to drawings, light browning to spine, some light finger-soiling to covers, 8vo, Paris, Librairie Gallimard, 1932.⁂ A charming presentation copy, apparently to the author's doctor, with two fine drawings.

Ɵ Rules of the Confraternity of the Cross, in Italian, manuscript on paper [Italy, dated Rome, 13 October 1570] To view a video of this lot, click here. 12 leaves (plus a pastedown and an endleaf at front and back reused from original paperstock), complete, collation: i-iii4, single column of about 27 lines in an italic hand, catchwords on every page and contemporary foliation, titles in capitals, frontispiece with line-drawing of the Cross and the instruments of the Passion, text ending with calligraphic flourishes, watermark of anchor with a circle topped by a six-pointed star (a common type with several Italian examples, see Briquet nos. 477-96, ranging there from c. 1500 to 1565), 'Serra Petrona' in faded ink on frontispiece in contemporary hand (see below), these leaves once kept rolled up and lightly folded at their vertical midpoint, thus small holes and wear there, small spots and stains, else good condition, 260 by 193mm.; in a remboîtage binding, retooled with arms of Catherine de Medici, this most probably in the nineteenth century (see below), scuffs, stains and penmarks, nineteenth-century English armorial bookplate (but this much more foxed than surrounding sixteenth-paper; see below)Sotheby's, 5 December 2000, lot 58.These confraternity rules must have been written in 1570 for a new member of the confraternity, perhaps in Rome, and then stored among his archives and papers, rolled up and slightly flattened, probably in the castle of Serrapetrona, near Camerino in central eastern Italy. Then, three centuries later, they were put into the current binding, with that produced from a blind-tooled binding for a book half the size of these leaves (traces of elaborate tooling on front board), taken off its original volume for its antique leather, turned sideways (hence the dark stain from the original spine running horizontally across the present boards), its original tooling flattened out as much as possible, and then retooled in gilt with floral borders around the crowned arms of Catherine de Medici. The added armorial bookplate of the little-known English collector John Nicholls Browne (part owner of Grenfell, Brown & Co., and recorded as acting for them in a legal dispute in 1837; his bookplate elsewhere recorded by E.R.J. Gambier Howe, Catalogue of British and American Bookplates Bequeathed to the Trustees of the British Museum by Sir Augustus Woolaston Franks, I, 1903, no. 4065) may have come from the volume the leather was reclaimed from, and might suggest a date and place for this forged binding. The nineteenth century saw other attempts to forge Catherine de Medici bindings: see that by Louis Hagué, made c. 1822, and now Folger Library, 227-140q.

Adriana Johanna Wilhelmina (Jeanne) Oosting Bieruma (1898-1995)Trees in landscape, ink drawing 32x45 cm

Ink drawing of two donkeys, signed Huang Zhou (1925-1997), 44 x 33 cm, outer dimensions 78 x 63 cm

Smit, Rob, signed, abstract, drawing in ink 50 x 34 cm.SMIT, ROB (1941), ges. en gedat. 1987 l.b., abstract, pentekening (genummerd 37) 50 x 34 cm.

Joseph Dixon, watercolour, street scene, 11ins x 8.25ins, together with Strickland, watercolour, Still life,  21ins x 14ins and an ink drawing

Victoria and Albert Museum Dept of Circulation - Binder of prints - Selection of unframed mounts of famous works of arts and rare textiles - Leonardo Da Vinci - John Constable, etc, the binder having original receipt to inner front board ' Guernsey, 1956, 25 mounts', each board with attached title of works and ' LENT BY THE VICTORIA AND ALBERT MUSEUM'. comprising - HORSE'S HEAD, from the original drawing by Pisanello (c. 1395-1455); FARMYARD WITH FIGURES IA A LANDSCAPE, pen and Indian ink, Francis Barlow (1626-1702); A BEAR, pen and ink, Sinibaldo Scorza (1589-1702); HORSE LYING DOWN, pen and bistre, Hans Baldung (1470/6-1552); STUDIES OF CATS, pen and ink with touches of wash, over black chalk, Leonardo Da Vinci (1452-1519); STUDY OF CAT, charcoal, T. A. Steinlen (1859-1923); THE ZEBRA OF THE EMPEROR JEHANGIR, Mughal miniature painting, Ustad Mansur (1620); TREES IN LEICESTERSHIRE, pencil, John Constable (1776-1837); IRIS, watercolour, Johann Walther the Elder (worked c.1637-1650); A HARE, water and body colour, Albright Durer (1471-1528); RECUMBENT NUDE, brush, Bernard Meadows; RECUMBENT NUDE, chalk, Ruskin Spear; STANDING NUDE, pencil drawing, Ceri Richards; MOTHER AND CHILD, pen and ink and wash, Francesco Barbieri (1591-1666); MALE NUDE SEEN FROM THE BACK, red chalk, Leonardo Da Vinci (1452-1519); STUDY OF NUDE, pencil, Hilaire Germain Edgar Degas (1834-1917); A MODEL, chalk drawing, Georges-Pierre Seurat (1859-1891); STUDIES OF A MALE NUDE, pencil drawing, Jean-Auguste-Dominique Ingres (1780-1867), together with prints of rare textiles to include Byzantine, 10th century, silk tissue; scarf, silk and gold brocade, Polish, 18th century, etc etc. (quantity) * Fascintating visual view of copies of some of the rarest works by the best artists ever known. ** The prints pasted down to card, mostly very good condition, boards and cover with light wear, stains and broken clasp.

Irish School (20th century) - 'Wade's Road over the Corrieyairack Pass near Garva-Beg' signed with the artist's initials R. G. also inscribed pen and ink drawing, 5.5" x 9.25"; together with a further two examples by the same artist, one depicting a man on a donkey beside thatched cottage, another figure and chickens nearby, also signed with the artist's initials and a further example of a lady harvesting wheat, signed with the artist's initials and extensively inscribed, pen and ink drawings, 5.5" x 9.25", 6" x 7.5" and 6" x 4" respectively (3)

Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

Watercolours & Pen and Ink Drawings. 2nd Lieut. Later Captain John Bryant. Well executed drawing of British troops marching dated 12th September 1914 another in colour entitled "Harvest" showing British troops having shot down German infantry in a (Belgian?) Town, three others, one probably from World War Two. In addition Bryant's "Officer's Record of Services " Commission dated 1903 "Isle of Wight Princess Beatric's Volunteer Battalion. The Hampshire Regiment, Photograph in uniform and later probably WWII, with his wife, Summary of service and programme from "Mons" the History of the Immortal Retreat" c.1924. c 11 items

Sir Rutherford Alcock (British, 1809-1897)A Panoramic view of Fuzhou sepia wash over pencil, pen and ink on paper 24 x 33.5cmProvenance: Martyn Gregory Gallery, from whom acquired by Roger Moss in 1996Exhibited: London, Martyn Gregory, 'The China Trade', 1996, cat. 69, no. 13Rutherford Alcock developed an interest in the arts at an early age and found time to practise in the studio of the sculptor, Sir Francis Chantrey, whilst pursuing his medical studies. In 1832-8 he served in the Peninsular Campaign as a medical officer in the Anglo-Portuguese force. Whilst in Spain, he contracted a rheumatic fever which left his hands partially paralysed. He never recovered the use of his thumbs which led him to give up his career as a surgeon in favour of that of a diplomat. The present drawing is a unique first-hand record of Fuzhou. Alcock was one of the first British Consuls to be sent out to China under the terms of the Treaty of Nanking (1842). In 1845, he took up the difficult post of Consul at Fuzhou - a 'treaty port' at which for the first few years almost no foreign trade was conducted, apart from the offshore commerce of opium. In autumn 1846, he sailed aboard HMS Sapphire to Shanghai where he remained as Consul for ten years. He later became Minister Plenipotentiary to Japan. In 1865, he was posted to Peking, succeeding Sir Frederick Bruce as Minister to China.

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Hand-drawn Ron Cobb Brak and Osric's guard concept sketches from the production of John Milius' fantasy adventure Conan the Barbarian. King Osric (Max Von Sydow) captured Conan (Arnold Schwarzenegger) and his companions. Pig-faced mutant Brak did not appear in the produced film. These sketches, one rendered in ink and graphite on drawing paper labeled "BRAK" and one rendered in pencil on sketch paper, were made by production designer Cobb. They are in good overall condition with creasing, pinholes, tape residue, and a torn corner. Dimensions (Brak): 24" x 19" (61 cm x 48.5 cm); (guard): 12" x 16" (40.75 cm x 30.5 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $800 - 1,200

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Hand-illustrated Jack Johnson Edward drawing concept artwork from Tim Burton's fantasy romance film Edward Scissorhands. In flashbacks, the Inventor's (Vincent Price) illustrations hung on the walls when he read to Edward Scissorhands (Johnny Depp). This preliminary concept illustration of Edward's head, legs, and scissor hand with a cutaway view of the interior mechanisms of one leg and a separate anatomical closeup of a human hand is rendered in ink, marker, and colored pencil on rice paper by illustrator Johnson. It is in good overall condition with some wear, including creasing. Dimensions: 17" x 14" (43.25 cm x 35.75 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $700 - 900

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A VFX shot concept sketch hand-drawn by director Steven Spielberg for his sci-fi classic E.T. the Extra-Terrestrial. Spielberg kept notes of his ideas for certain shots throughout production. This concept sketch for a key VFX shot featuring E.T.'s spaceship leaving earth at the film's finale is rendered in ink and graphite on lined paper labeled "grows in intensity during hover (not stop)." Also included are a sticky note labeled "RV-4 SS Note ET" and a manila folder labeled "SS ET Drawing." The lot is in good overall condition with minor tearing to the sketch. Dimensions: 13.25" x 8.5" (33.75 cm x 21.75 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $1,000 - 1,500

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. 11 hand-drawn storyboards from the production of Jim Henson's children's TV series Fraggle Rock. Each page consists of six printed panels featuring an initial blue pencil sketch overlaid with a final graphite drawing. "Marvel Productions, LTD" is printed along the top of each page, and two of the pages are stamped in red ink with "Revised, Aug 5 1987." There are minor signs of edgewear, discoloration and Tippex applied to one page, but the set remains in good overall condition. Dimensions (each sheet): 14" x 8.5" (35.5 cm x 21.5 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $1,200 - 1,800

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Hand-illustrated John Bell Bug ship concept art from the production of Barry Sonnenfeld's sci-fi comedy Men in Black. Agents J (Will Smith) and K (Tommy Lee Jones) stopped The Bug (Vincent D'Onofrio) from destroying Earth with its spaceships. This concept illustration of "The Ship (Version 1)" is rendered in graphite, colored pencil, and ink on manila drawing paper dated "8-95" and signed by John Bell, whose designs helped shape the film's signature visual style. It is in good overall condition with various color splotches and edge wear. Dimensions: 11" x 17" (28 cm x 43.25 cm) Sold without copyright; see notice in the Buyer's Guide. δ Estimate: $600 - 800

Group of mostly 19th century English School watercolours and pencil drawings to include a pen and ink drawing of Spains Hall, Victorian pen and ink political cartoon, landscapes and other views, many signed, all unframed - 20 in total

Konkrete Kunst - - Ivan Serpa. (1923 - 1973). o.T. 1964. Tuschezeichnung auf chamoisfarbenem Papier. 33,5 x 25 cm. Signiert, datiert und betitelt, verso m. Werksangaben v. fremder Hand. Punktuell auf Unterlage und unter Passepartout montiert. - Teils m. wenigen, kleinen Fleckchen u. leichteren Gebrauchsspuren. Verso m. Atelierspuren. Insgesamt im ordentlichen Zustand. Abgebildet in: "Kaleidoskop der Moderne. Chagall, Miró, Picasso und die Avantgarde", S. 296. Hg. Katharina Uhl. Ausst.-Kat. Staatliches Museum Schwerin, 2015. Ink drawing on buff paper. Signed, dated and titled, on the verso with inscriptions by another hand. Spot mounted on backing and under passepartout. - Partly with a few small stains and slight signs of wear. At the back side with traces of studio work. At all in a good condition. - Illustrated in: "Kaleidoskop der Moderne. Chagall, Miró, Picasso und die Avantgarde", p. 296. Ed. Katharina Uhl. Exhibit. cat. Staatliches Museum Schwerin, 2015.

Georg Birnbacher(Um 1885 Gumbinnen/Ostpreußen - 1917 Königsberg)Sammlung von 8 Arbeiten aus der Zeit der Weimarer Republik. Mit 4 Originalen und 5 Graphiken. Mit Graphit- u. Tuschzeichnung bzw. Lithographie u. Radierung, je auf Papier. Blattmaße von 25 x 22 cm bis 31 x 24 cm. Merheitlich signiert, wenige in Platte, einige datiert. Teils auf Unterlage punktuell montiert. - Papier teils altersbedingt etw. gebräunt und m. bestoßenen Kanten. Ordentlicher Zustand. Collection of 8 works from the time of the Weimar Republic. With 4 originals and 5 prints. With graphite and ink drawing resp. lithography and etching, each on paper. Mostly signed, a few in plate, some dated. Partly mounted on a backing. - Paper partly browned due to its age and with bumped edges. Neat condition.

Alfonso Fraile(1930 Marchena - 1988 Madrid)o.T. 1966. Tuschezeichnung auf festem Papier. 70 x 50 cm. Signiert und datiert. - Ränder bestoßen. Mit kurzem horizontalen Einrissen, Motiv nicht betroffen. Unten und am linken Rand knickspurig. Oberflächliche Kratzspur mit leichtem Farbabrieb. Ink drawing on strong paper. Signed and dated. - Margins bumped. With short horizontal tears, motif not affected. At lower and left margin creased. Superficial scratch mark with slight colour abrasion.

Sir Ronald Searle CBE RDI (British 1920-2011) - Busy street scene at Shepherd Market, London W1, sepia ink caricature drawing on paper, signed, dated 1952, 25.5 x 36cm approx, framed

Nicholas Bentley (British 1907-1978) - Pen and ink caricature drawing of colonial type officers smoking pipes beneath palm trees, pen and ink on paper, signed, 13 x 20cm approx, unframed

Original vintage advertising poster / blotter for Cadum Soap, promoting special edition collector’s soaps which contained cards of Disney characters. Text reads: Collectors - Each Cadum Soap contains a super image from a Walt Disney cartoon. Full set of 24 colour images. The poster shows a bar of Cadum soap in a wrapper with the Cadum logo of a young baby on it, in front of a drawing of Snow White from the Walt Disney animation Snow White and the Seven Dwarfs (1937). A smaller drawing shows a stack of the collector’s cards. Characters featured on the cards included Mickey Mouse - Pinocchio - Pluto - Donald Duck. Pink background, red writing. Horizontal. Very good condition, minor staining on edge, ink stamp on reverse. Country of issue: France, designer: Unknown, size (cm): 11.5x16, year of printing: 1950s

J Cooke (early 20th Century)You're coming along with wi me when things settle a bitpencil and ink drawing, 6 x 5. 2/8 "signed & dated: J Cooke, 5 Buller St 30.10.18

Shakespeare (William).- Original Portrait of Shakespeare by an Italian artist, in the possession of Mr. Rawdon Brown at Venice April 27 1851..., oval pencil drawing, on wove paper, ink manuscript title along left margin, manuscript watercolour text under portrait reading:"Scoti Lanza [shake spear] dramer ingli [English playwright] London 21 luglio [July] 1604", 360 x 293mm., 1851.⁂ Manuscript note: "Original Portrait of Shakespeare by an Italian artist, in the possession of Mr Rawdon Brown at Venice April 27 1851 height 29 ½ greatest width 22 ¼ inches this drawing has preserved the likeness & character of the picture admirably. The writing is a facsimile that on the back of the portrait apparently written by the painter." This copy portrait bears a strong resemblance to the Droushout portrait. The original oil painting is now owned by the Royal Shakespeare Company, and a pencil copy similar to the above is in the National Archive showing that there were at least two pencil drawings taken.Rawdon Brown (1806-83), historian and antiquary.

WINE[J.(S.)] The Vineyard: Being a Treatise Shewing I. The Nature and Method of Planting, Manuring, Cultivating and Dressing of Vines in Foreign-parts. II Proper Directions for Drawing, Pressing.. and Curing all Defects in the Wine. III. An Easy and Familiar Method of Planting and Raising Vines in England, to the Greatest Perfection... Being Observations Made by a Gentleman in his Travels, FIRST EDITION, engraved frontispiece after R. Cooper, one woodcut illustration in the text, woodcut endpiece on final leaf, dampstain to lower fore-corner of the opening few leaves and upper fore-corner of the last few, small hole to frontispiece, final leaf with a 9 holes touching letters, endpapers loose, early ink annotation ('Marbled leath.r on back cutt edge') on blank recto of frontispiece, contemporary calf-backed boards (with losses to spine and much of the marbled papers on sides) [Henrey 870; Kress 3727; Simon BG 1580; cf. Bitting p.616, second edition, 1732], 8vo, W. Mears, 1727Footnotes:An important treatise on all aspects of viniculture, including the first detailed description in English of wine making in Champagne, and in which the author refutes the long-held notion that 'the raising of vines, to any tolerable perfection in England, was altogether impracticable...[arguing instead] that vine-yards are easily reconcileable to the temper and soil of our climate'.Provenance: Hen[ry] Balguy, early ownership inscription on title, with a correction to the text (relating to a quote from Homer's Odyssey) on p.179. Possibly Henry Balguy (1674-1737), of Derwent Hall in Derbyshire.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FABRI (ALESSANDRO)Diversarum nationum ornatus [-Diversarum nationum habitus], vol. 1 and 2 (of 3) bound in 1 vol., engraved decorative title-page to each volume, 8pp. letterpress dedication to Battista Dotto (cropped touching first line of text on each page), 193 engraved plates only, including 189 of costumes (misbound, some unnumbered or numbered erratically), without the engraved dedication to Dotto or any overlays, most with additional ink numeral either in blank border or over original printed numeral, one with crude pencil drawing of a man in the margin, one with small ink annotation, approximately 14 with some light dampstains or toning, one cropped at outer margin not touching image, occasional spot or mark, full page of eighteenth century ink notes written in Spanish on the blank verso of first title and 2 non-costume plates, nineteenth century calf, gilt morocco spine labels, lacks upper cover, lower cover near detached with tape repairs [USTC 828580; Brunet II, 1151; Cicognara 1643, 'rara e copiosa collezione'; Colas I, 1021; Lipperheide Aa39; Vinet 2094, 'recueil fort intéressant, mais très difficile à trouver'], 8vo, [Padua, 1593], sold not subject to returnFootnotes:RARE AND CHARMING SIXTEENTH CENTURY COSTUME BOOK PRESENTED BY EDWARD BURNE-JONES, with only one other copy traced on Rare Book Hub. The majority of the plates depict single figures in costumes from Europe (Moscow, England, Finland, Greece, etc), Turkey, Arabia and the Americas (4, including inhabitants of Virginia), with a series of Venetian carnival costumes, a series of officials of the Holy Roman Empire, a few portraits of Paduans, and 4 views (bull fight, gondola, bird shoot on a lake, and the procession of the Doge). The engravings are based on those in Pietro Bertelli's more common Diversarum nationum habitus (Padua, 1589-96). The plate count called for these parts is variable in the standard bibliographies.Provenance: Edward Burne-Jones (1833-1898), presented by him to Sir Edward Aurelian Ridsdale (1864-1923), with inscription 'Ridsdale, Rottingdean 1896. From Sir E. Burne-Jones - my friend and neighbour'. Ridsdale, from 1906-1910 Liberal Member of Parliament for Brighton, lived at Rottingdean, Sussex where from 1880 until his death Burne-Jones also lived for part of the year. In 1893 he painted a portrait of Ridsdale; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PLATH (SYLVIA)Uncollected Poems, 9 copies, FIRST EDITION, LIMITED TO 150 COPIES, THESE COPIES SPECIALLY INSCRIBED AND LETTERED BY TED HUGHES ('Ted Hughes, Feb. 1966. D [or other letter] of 13 copies) inside upper cover, facsimile of the manuscript of 'Half-Moon' (i.e. 'Thalidomide') printed on pink paper, publisher's stiff wrappers, dust-jacket printed with a drawing of 'Wuthering Heights' by Plath on the upper cover, a couple with a few light spots [cf. Tabor A6], 8vo, Turret Books, 1965 [but 1966]--HUGHES (TED) Animal Poems, 4 copies, FIRST EDITION, LIMITED TO 100 COPIES, 2 COPIES SIGNED BY THE AUTHOR 'Ted Hughes, 25th Sept. 1971' on the front free endpaper, ink smudge on one page of one of the signed copies, contents loose in original printed salmon-pink textured wrappers [Sagar/Tabor A13], small 4to, [Crediton, Richard Gilbertson, 1967]; and a copy of Plath's The Magic Mirror, Embers Handpress, 1989, THIS COPY SIGNED BY TED HUGHES (14)Footnotes:Nine copies from thirteen special 'lettered' copies (from 'D' to ''L') signed by Ted Hughes of Plath's Uncollected Poem. There is no mention of these copies in Stephen Tabor's Plath bibliography. According to the blurb these twelve poems in the collection 'represent an intermediate stage in Sylvia Plath's development as a poet... [a] connecting link between the poems to be found in the The Colossus... and those in her posthumous volume, Ariel'. Hughes's Animal Poems were published in a an edition of 100 copies, but the Sagar/Tabor bibliography suggests that some of the proposed edition were never printed.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DRINKWATER (JOHN)HARDY (THOMAS) Photographic postcard of a plaster bust of Hardy depicted in profile, inscribed in ink on the image ('To John Drinkwater:/ Thomas Hardy'), postcard 122 x 85mm.; with the remaining papers from the collection of John Drinkwater, including the unfinished manuscript for English Poetry written in two manuscript notebooks both with ownership inscriptions ('The Property of John Drinkwater/North Hall/Mortimer Crescent...'), with chapters on 'The Nature and Function of Poetry', 'Poetry and Prose', 'Elizabethan Lyric', 'Poetry and Narrative' etc., with annotations and corrections by the author, written on verso only, 120 numbered leaves in two volumes, 4to (225 x 170mm.); two manuscript notebooks with ownership inscriptions ('The Property of John Drinkwater...'), the first volume entitled 'Being the Third Book of an Autobiography/ by/ John Drinkwater' (unfinished), written on verso only, 67 numbered leaves, folio (322 x 200mm.); drawings including sketch by Edwin Lutyens of two horses signed and inscribed to Ann Penelope Drinkwater, January [19]37, tipped into a menu inscribed 'Penny Darling/ At this dinner I got Sir Edwin Lutyens to/ draw a special little drawing for you. Daddy.' and miniature watercolour painting by Abigail Brown Tompkins; various typed notes and essays by Drinkwater; pamphlets and privately printed material, several with John Drinkwater's ownership inscription; collection of printed menus some annotated, including menu for 'Dinner of Welcome for the Indian Cricket Team', 27 April 1939 signed by various English captains and the All India cricket team such as C.B. Fry, Douglas Jardine, Syed Wazir Ali and others; quantity of theatre programmes, many for Drinkwater's own productions including Bird in Hand, A Man's House and his translation of Mussolini's Napoleon: The Hundred Days; other printed ephemera and personal papers including passports, driving licence etc., family indentures, press cuttings, and much else, early 20th century (quantity)Footnotes:'BEING THE THIRD BOOK OF AN AUTOBIOGRAPHY': the manuscript for the third volume of Drinkwater's autobiography intended to accompany the two volumes already published, Inheritance of 1931 and Discovery of 1932. Dated 'Begun Pepys House/ August 2nd 1933/ J.D.', it tantalisingly stops mid-sentence ('...I realised anew how good a poet Blunden is himself. Vita Sackville West...').The collection also includes Drinkwater's unfinished manuscript (dated '3.ix.35') for what was to be English Poetry: An Unfinished History, published posthumously by Methuen in 1938: 'When a Poet writes poetry he can scarcely fail to interest. And the author of this posthumous volume was not only a poet but no mean critic too. As a result, his approach to English Poetry is not a work of merely casual interest: it is illuminating. No one could fail to be enriched and delighted by its discriminating enthusiasms, its happy quotations, and the no less happy judgements, discoveries, definitions and phrases which it gives us... This premature ending is deeply regretted. But, fortunately for us, the first five chapters are devoted to general and personal observations, and are so full of references to the intervening and modern periods that we can genuinely claim to have here a fair impression of Drinkwater's view of the whole panorama of English Poetry' (routledge.com). Provenance: John Drinkwater (1882-1937); his daughter Penelope Ann and thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WORLD WAR IPapers of Captain Duncan Warrand (1877-1946) of the 2nd Seaforth Highlanders, comprising:i) Series of some 72 letters and 8 postcards from Duncan Warrand, the majority to his sister Carrie ('Dearest C', 'D.C.'), three to his brother Redmond ('Dear Redmond'), long, detailed letters written from the trenches and latterly from his billet in Rouen, including one seven-page letter written on Christmas Day 1914, describing the famous truce ('...Later on Wednesday night there was much shouting and singing in the German lines... Last night no sniping took place... The Germans lit fires and just sang on. So some of our sergeants and men went up to their lines returning with boxes of cigars! They have no drink... The officer who spoke to our Sgt was an American German, recalled in the war, who was heartily sick of it. He said they would not fire today... it may be partly due to the thick mist which was surely sent by Providence to give us a peaceful Xmas... Our opponents are Saxons and Bavarians and have so far proved themselves gentlemen. About 11 o'clock this morning I went outside the lines and we were all busy mending wire entanglements... We were right out in the field and could see the Germans walking about just as we were... And how lovely it was this morning! The star in the East so bright & clear... picked a bit of ivy... off a tree to commemorate this extraordinary Xmas of peace in war... At this point Sgt Smith looked in to say that a large number of Germans were walking about on our left and talking freely with our men and what was to be done... Tall men in grey coats fraternising with the men... what Bishops & Clergy could not do, the troops have done for themselves...'); other letters much concerned with asking for supplies ('...Please send me a box of cigarettes as the ones here are 'orrid... 'Bromo'!... some soup tablets for dissolving in hot water... shirts, khaki hosetops, cardigans... safety matches... shortbread, plum pudding etc... everything to be packed in oiled canvas... candles are difficult to come by... Colgate toothpaste... I wonder if mince pies would travel in a tin box?... a bottle of Worcester Sauce...'); reporting on troop movements as far as the censor allows ('...seems no harm in saying we are now in Belgium and not far from (2 miles south) of Messines...') and on 18 December 1914 includes a drawing of their position ('...without mentioning any names...'); with vivid descriptions of the horrors of war ('...continued action throughout the night... The trenches are awful, knee deep in mud... higher up the road there is destruction on all sides, houses in ruin, large shell holes and broken trees... I saw a hand and arm today just outside, who knows what unfortunate man it belonged to...'); the constant threat of being fired upon ('...planted shells all around us... They made a horrid whizzy noise when they really mean business... One falling bullet just grazed my ear yesterday...'); conditions in the trenches ('...It has rained incessantly... the trenches are ghastly... this place is called 'The Piggeries'... we are nearly all crawling – it's disgusting but a fact...'); news of mutual friends ('...I hear Patrick Grant was shot in the jaw...'), family news and talk of home ('...I wish the dogs could come out here...'), suggesting '...you might keep these rotten letters... my collection of letters to you are the best diary I can keep...'; the majority with envelopes, c.230pp., dust-staining, some small tears and other signs of wear, mostly 8vo (210 x 134mm.), 2nd Seaforth Highlanders, British Expeditionary Force, Grand Hôtel de la Poste, Rouen, 6 January 1914 to 20 January 1917 ii) Five pocket diaries 1914-1918, containing intermittent entries in pen and ink on the weather and various engagements, accounts and other notes (2 April 1917 noting 'Brigadeer General F.J. de Gex Base Cdnt has died suddenly of heart failure while sitting in the lounge after lunch at the Hotel des Postes. A very good man.'; 26 March 1918 'The great German attack causes anxiety'; 11 November 1918 'Guns fired to announce armistice signed. Crowds begin at once... have to walk through Trafalgar Square. Pouring rain. Cheerful crowds...'), calf, worn, four c.150 x 95mm., one 100 x 70mm.; with another notebook including lists and brief entries for 11 August to 18 November 1914 regarding training, drills etc. iii) Various papers including: hand drawn and annotated map of the trenches south of the river Douve, depicting troop positions, annotated 'Issued in Trenches/ 1914. DW', purple, red and blue pencil, 200 x 320mm.; carbon copy of 'Standing Order re Trenches', 5 pages, lined paper torn from notebook, 8vo (196 x 145mm.), dated 23 January 1915; with various ephemera such as photographs including one of his sister Carrie, mimeographed concert programmes 1917-18, trench whistle engraved with Aldershot Stores/Aldershot/Patent on original? cord; two printed folding maps, linen backed, one of Belgium, depicting the area around Ypres, the other of St Yves with trench positions marked as of 14 November 1915, (440 x 575mm.), in an envelope annotated 'This is not the map I had in the trenches, but shows very clearly the position we held at Seaforth Farm', etc.Footnotes:'THIS EXTRAORDINARY XMAS OF PEACE IN WAR'.The men of the 2nd Seaforth Highlanders were engaged in several important actions on the Western Front including the Battle of Messines in 1914, the second Battle of Ypres in 1915 and Passchendaele in 1917. These letters illustrate one soldier's experience in the trenches during 1914 into 1915 including the famous Christmas Truce of that year. They paint an evocative picture: '...On Wednesday we were shelled by 'Little Willie', a most elusive and persistent piece of small artillery... Then they sent about 25 large howitzer shells right over... a big hole in the ground about the size of a large dog basket... They are at it now, like continuous thunderclaps... The officers and men's dugouts are just little caves made into the sides of the trenches about 6ft by 5ft... The floor is covered in deep straw... One can see the Germans now and again moving about in their trenches at dawn and dusk. They snipe us and we snipe them... I have not changed my socks since Tuesday or had my shirt off... I hope they may run short of shells soon... When this poor country will recover goodness knows... I feel like a rabbit going to ground by day and walking about at night... Yesterday (17th) we were ordered to fire at the trenches ahead... By afternoon their guns replied... The noise was deafening... We lost only 3 men, all by rifle fire... I was plastered in mud from head to foot... We are standing by...'.Warrand returned to Rouen in the spring of 1915 to take up the duties of a staff officer, billeted in the Grand Hôtel de la Poste and later with a French widow and her family. Part of his duties involved sorting out the personal effects of those killed in action – in one of his final letters he reflects '...I often wonder if anything matters: foolish young souls pass through here full of spirits & then their belongings come back a few days afterwards – white label with blue stripe & that means they have done with life here...'. This collection has been retained in the family until now.For further information on this lot please visit Bonhams.com

[BARLOW (WILLIAM)]The Navigator's Supply. Conteining many things of Principall Importance Belonging to Navigation, with the Description and Use of Diverse Instruments Framed Chiefly for that Purpose; but Serving also for Sundry other of Cosmography in Generall: the Particular Instruments are Specified on the next Page, FIRST EDITION, early issue with a blank space left for the vignette below title and without the 7 plates, woodcut initials and ornaments, page numbers added in an early ink hand, some dampstaining mainly to the first few leaves, a few others soiled, first line of title supplied in old printed facsimile, several scattered leaves with single or small wormholes towards foot of page, clean tear to H2 without loss, late eighteenth century russia, gilt rule and blind-roll border on sides, spine gilt with raised bands, small paper label at foot of spine with Scott reference number '47', extremities slightly rubbed, upper joint a little weak [ESTC S100864], 4to (190 x 123mm.), G. Bishop, R. Newbery, and R. Barker, 1597Footnotes:RARE FIRST EDITION OF BARLOW'S IMPORTANT WORK ON NAVIGATION. According to the 1974 Scott Library catalogue (see below), the present copy is an early issue before the addition of the title vignette and the folding plates. It is the only such copy we have traced in auction records, although ESTC and other some institutional listings make no mention of the plates.To William Barlow (died 1625, correspondent of William Gilbert) is owed the discovery of the difference between iron and steel for magnetic purposes, improvements in the hanging of compasses at sea, and finding the proper way of touching magnetic needles. His first book, The Navigator's Supply gives descriptions of several new navigational instruments and compasses. 'William Barlow uses the 'nonnius' devised by Pedro Nunez more than fifty years previously and gives a graphical method for drawing a Mercator network... He describes a number of new navigating and surveying instruments and summarizes his own contribution to the study of magnetism' (Taylor, Mathematical Practitioners, pp.334-5).Provenance: John Scott (Scottish engineer and shipbuilder, 1830-1903); Scott Library Collection, presented by his son to the Institution of Naval Architects in 1930, printed donation label; 'A Selection from the Scott Library', Christies, 4 December 1974, lot 36.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

PUGILISM: early 19thc sepia pen and ink drawing, depicting boxing match with assembled crowd, approx 29 x 35cm laid onto card, indistinctly signed lower right with date March 20 1817. (1)

WORLD WAR II ESCAPE PLAN: 'Sectional Drawing of Escape Tunnel - Harry...': pencil drawn cross section showing POW camp buildings and tunnel beneath ground, associated ventilation shafts and tunnel network, points of interest noted in blue ink, no date or details of artist, backed onto yellow card, some creasing and stain upper left, approx 21 x 34cm. (1)

Robert Lenkiewicz (1941-2002), ‘Reflection in Dark Window by Large Curtain’ inscribed, further signed, inscribed and dated 1975? On an accompanying note, pen and ink drawing on paper, 9cm x 13cm.