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AEFFERDEN, Jan Baptist Alexander Frans Joseph v. (1767-1840), attrib. to. "Neckner Steinnach [Neckarsteinach] avec ses quatre Chateaux dont deux seulement habitables". N.d. Drawing on laid paper in brown/black ink and colour wash. 262 x 424 mm (paper size). Caption in pencil (A.F. v. A's hand?). (Upper left upper corner of image gone and replaced, several marginal splits and rep. 'disruptions'). Hinged to mount, framed and under glass. NOTE:Nice view on the four castles (Schadeck, Hinterburg, Mittelburg & Vorderburg) of Neckarsteinach. Cf. G. Venner 'Romantik an Maas und Rhein. Zeichnungen von Alexander Frans van Aefferden und dessen Sohn Joseph van Aefferden', 87 (et passim).

BALINESE DRAWING -- I PICTERA (?). Traditional mythological Balinese scene. N.d. Drawing in ink and colour wash. Unclearly signed. Framed & glazed. Uninspected out of frame.

BUIJS, Jacobus (1724-1801). River scene. N.d. Washed ink pen drawing in grey and sepia. 88 x 131 mm. Model for one of the engraved plates in 'Historie der Waereld' by J.F. Martinet, published in 1780-88. -- Added: 3 similar drawings of biblical scenes by the same, of which 2 signed by the artist ('Raising of Lazarus' and 'Let the Children come to me'). -- (4).

EEKMAN, Nicolaas Mathijs (1889-1973). Boy riding horse (?) on the back of his father/an older man. N.d. Drawing in black ink on laid paper. Signed and w. red monogram stamp. (Paper a bit foxed).

FOKKE, Simon (1712-1784). Dutch fleet sailing to Chatham. (Amst., 1767). Miniature washed ink pen drawing in grey and sepia. c. 80 x 55 mm. Hinged to mount, under passepartout. NOTE:Sailing ships under the command of Michiel de Ruyter sailing to Chatham in 1667, with some people cheering on the banks of the river Thames.

VINKELES, Reinier (1741-1816). Familiy scene in front of a house in the woods. N.d. Washed ink pen drawing in grey and sepia. c. 85 x 140 mm. Hinged to mount, under passepartout. NOTE:Most probably a model for an engraved book illustration.

WICART, Nicolaas (1748-1815). "'t Dorp Jaarsveld aan de Lek". N.d. Drawing in ink and ink wash on laid paper w. watermark. 296 x 442 mm (image size). Signed in left lower corner and annotated "ad vivum", titled in ms. on v°. (Some minor creasing in places, small tear in right upper corner, 2 marks (of former hinging to passepartout?) visible in upper margin, but in fine condition). NOTE:Dutch painter and draughtsman from Utrecht and mostly active there. View from the river bank on the town of Jaarsveld with boats sailing on the Lek in the foreground.

ALBUM AMICORUM of Claudine Bentinck. Manuscript on paper. In Dutch, Eastern Dutch dialect, French and English. Zwolle, 1879-1884. (51) lvs. W. a charming pen drawing in brown ink of an eye-doctor, examining a elegantly dressed young lady, a black pencil drawing of flowers, a pen drawing in black ink of an old church tower, & a fine watercolour of red flowers. Or. purple cloth with gilt title on front cover. NOTE:Charming album amicorum belonging to Claudine Sophie Barones Bentinck van Schoonheten (Zwolle 1865 - Eefde 1951). The album is entirely filled with contributions in poetry by members of her family and friends, adorned with several fine artistic contributions. Names occurring: C. v. Ittersum, Marie Barreaud, Evelyn Vaughan, Beatrice Melland, etc. A list with all the contributors is loosely inserted.

TROMPE L'OEIL -- "DEUGD OVERWINT ALLES". Multi-layered and moveable wedding gift with trompe l'oeil effects by (writing master?) Hendrik Bout, presented to his wife Catharina Elisabeth Corper. (Amsterdam, c. 1750). Moveable drawing of an 'altar' in colour wash and ink and w. a gold heightened monogram (that of Catharina Elisabeth Corper) in the centre. 220 x 290 mm. (Weak/split on folds, but in outstanding condition). NOTE:The drawing can be opened by way of folding out four triangular flaps which, once opened, reveal a similar 'altar' w. similar monogram heightened w. gold (that of Hendrik Bout). The triangular flaps form, when folded 180°, a large trompe l'oeil, consisting of fragments of text-leaves from religious books (Psalm book, Bible, etc.) with in the centre a representation of a calligrapher at work, much resembling the work of Jan Luyken. The top and bottom flaps can again be opened which then reveals the Lord's Prayer. All in all an exquisitely executed work of (writing) art and a charming example of a man's love for his wife for whom he wrote at the foot of the altar: "Leef, Catharina, Lang in Vreede; God die U, schonk, my ten GAE! Schenk U gunst, op 's werelds reede, En zyn Eeuwig' heil, hier naa".

TROMPE L'OEIL/BEDRIEGERTJE by H. Bruggink, "Custos, & Schoolmeester in 't Oldebroek", n.d. (c. 1800). Drawing in black and red ink on laid paper consisting of 10 leaves from books (i.a. from the Book of Psalms, Bartjens, Camper Almanach, etc.). 325 x 410 mm. Mounted within a passepartout.

BIESHEUVEL, J.M.A. Ere-admiraal Wyntham Cremer. Woubrugge, Avalon Pers, 1993. 15, (5) pp. Lge-8°. Owrps. NOTE:Printed in a limited and numbered edition of 34 copies on Hanemühle. Our copy nr. 6, signed by Biesheuvel and with a large drawing in ink underneath the colophon.

John Hopkinson (b.1941) - framed pen and ink drawing, signed lower left corner 28 cm x 36 cm (size including frame)

AUTOGRAPH ALBUM (early 20th. Century): With numerous highly skilled signed drawings, mostly water colours and some cartoons by: Ernest LINZELL (Water colour of Piglets with mother entitled; “Quick lunch restaurant”); Edwin S. Hope (Double-page ink drawing, inscribed and dated 1914), Plus another “Hot!” inscribed & signed twice: E. S. Hope; Geoffrey Williamson (1914, oriental drawing in ink); Frank McCann (May 15, 1914 of a ship “Outward bound”); L. East (1914, ink & colour); E.M. (two colour drawings, 1910 & 1912); Etc.

DOROTHY BRADFORD (1918-2008); pen and ink drawing, a nude study, signed and dated '78 to lower right, 36.5 x 20cm, together with an ink drawing of figures by the same artist, each framed and glazed (2). (D)Additional InformationThe study with heavy water damage to the mount but the main image appears fine. Knocks and scuffs to each of the frames.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Stefan Wewerka*, 2 Drawings (Pencil and ink)Stefan Wewerka*, (1928-2013)19692 Zeichnungen. 1969. Bleistift auf Papier und Tusche/ Mischtechnik auf festerem Papier. Blatt jeweils ca. 36 x 122 cm. (Rahmen 44 x 153 cm). Bleistiftzeichnung unten rechts mit Bleistift signiert und datiert: St. Wewerka 1969 im November. Stefan Wewerka*, 2 Drawings (Pencil and ink)Stefan Wewerka*, (1928-2013)19692 drawings. 1969. Pencil on paper and Indian ink / mixed media on stronger paper. Sheet each approx. 36 x 122 cm. (Frame 44 x 153 cm). Pencil drawing signed and dated in pencil lower right: St. Wewerka 1969 in November.

Rex Whistler (1905-1944)Original ink drawing depicting Hot air balloon. [Artwork 3.5x3.5cm], [Frame 20x20cm]

SHEPARD, Ernest HowardChinese courtroom scene with prisoners at the bar, pen and ink drawing [possibly for Punch Magazine], signed lower right 31 x 22.5cm

SHEPARD, Ernest HowardOwl Light, pen and ink drawing for Punch Magazine, with printed six verse poem to the centre, signed lower right, 31 x 23.5cm

John De Vaumorel, 1766-1809 (Jersey), ink and watercolour drawing, "British man of War", signed lower left, dated 1782 lower right, 21 x29cm in gilt frame, full provenance verso

Ginger Baker (British, 1939-2019): A Batá drum sketch logo for Batakoto,circa 1965,a black and white ink drawing of a native Batá drum by Ginger Baker, unframed, 23 1/4 x 16 1/2in (59cm x 41.9cm)Footnotes:Provenance:The Ginger Baker FamilyThe sketch was used as a preliminary work for Ginger Baker's Management agency in Nigeria. A native double-headed Batá drum, popular for use in entertainment as well as to convey messages, be it to gods, royalty, the past or to political figures.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Rolf WINKLER (1930-2001) "Stehender Akt" Zeichnung- Tusche / Feder auf Papier, 43,5 cm x 31 cm, verso bestätigt durch Christine Winkler und Nachlassstempel, im Passepartout montiert Rolf WINKLER (1930-2001) "Standing act" drawing - ink / pen on paper, 43.5 cm x 31 cm, verso confirmed by Christine Winkler and estate stamp, mounted in the passe-partout

Wolfgang FRANKENSTEIN (1918-2010) "sitzender weiblicher Akt" Zeichnung - Tusche / Feder, Blattmaß 48 cm x 38 cm, rechts unten handsigniert, datiert und mit Widmung 21.02.68 Wolfgang FRANKENSTEIN (1918-2010) "sitzender weiblicher Akt" drawing - ink / pen, sheet size 48 cm x 38 cm, handsigned, dated and dedicated at the lower right 21.02.68

Four framed pictures - comprising of three prints and one pen & ink drawing. To include, a pen & ink drawing of 'Stonegate' in York, signature indistinguishable as example. Pen & Ink: H: 26cm, W: 40cm. Condition good. Prints are signed - Dog by Pollanna Pickering & street scene - by Ray Street.

(See English version below)Christian Rohlfs (Niendorf 1849 – 1938 Hagen). Schreitende. Um 1915Tuschfeder auf Papier (aus einem Skizzenbuch). 16,2 × 9,5 cm ( 6 ⅜ × 3 ¾ in.). Unten mittig monogrammiert: CR. Mit einer Bestätigung der Galerie Utermann, Dortmund.–[3903] Provenienz: Ehemals Sammlung Prof. Paul VogtZustandsbericht: Schöner harmonischer Gesamteindruck. In der linken Blattkante Papierverlust (1,9 x 0,6 cm). Hier auch zwei vertikal entlang des Blattrandes verlaufende Einrisse (max. 4,5,cm), die beim Zeichenprozess entstanden sind - teilweise rückseitig mit Papierklebeband hinterlegt. Sonst die Blattkanten ohne Einrisse oder Fehlstellen. Vereinzelte winzige Papierausdünnungen, ebenfalls vom Zeichnen stammend. Das Blatt vorder- und rückseitig mit winzigen Stockfleckchen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig in den oberen Blattecken sowie am oberen und unteren rechten Rand jeweils kleine getrocknete transparente Klebereste einer ehemaligen Montierung, in den oberen Ecken jeweils ein Rest einer weiteren ehemaligen PapiermontierungWir berechnen auf den Hammerpreis 30% Aufgeld.Christian Rohlfs (Niendorf 1849 – 1938 Hagen). Walking lady. Circa 1915Pen and India ink on paper (from a sketchbook). 16,2 × 9,5 cm ( 6 ⅜ × 3 ¾ in.). Monogrammed in the lower centre: CR.With a confirmation of Galerie Utermann, Dortmund.–[3903]Provenance: Formerly collection Prof. Paul VogtCondition report: Fine harmonious overall appearance. A paper loss (1,9 x 0,6 cm) in the left sheet edge. Here also two vertical tears (max. 4,5,cm) along the sheet margin, that were produced during the drawing process - backed partially with paper tape on the reverse. Otherwise no tears or losses on the sheet edges. Isolated minuscule thinnings, also originating from the drawing process. The sheet has minuscule pinpoint foxing recto and verso. Ultraviolet light reveals no retouchings or repairs. On the reverse in the upper corners of the sheet, as well as at each of the upper and lower right margins, small dried transparent glue remnants of a former mount, in each of the upper corners, a remnant of another former paper mountWe charge 30% premium on the hammerprice.

A Maritime Scene with Beached Boats, ink drawing with white highlights, signed and dated bottom right, July '58 (17cm x 24cm)

BARNETT FREEDMAN CBE, RDE, (1901-1958) 'Village Chapel', black ink pen drawing, stamped signature, 19cm x 34cm, plain limed frame, mounted & glazed (British Painter, Commercial designer and book Illustrator - amongst other books he illustrated Seigf ried Sasson's 'Memoirs of an Infantry Officer' and George Borrow's 'Lavengro'. He designed Ealing Films logo and produced publicity for feature films) bears the gallery label to reverse 'The Rowley Gallery Ltd 86-87 Campden Street, London'

Great War period bon mot albums, one including a drawing of a British soldier in uniform, another with a pen and ink inscription from L/Cpl F G Lack, 1st Norfolk Regiment, Ypres

Keith Vaughan (British, 1912-1977)Studio, Hamilton Terrace signed and dated 'Keith Vaughan/48' (lower right)pen and ink and wash on paper31.5 x 24cm (12 3/8 x 9 7/16in).Footnotes:ProvenanceWith Mercury Gallery, London, where acquired by the family of the present owner, 11 June 1973, and thence by descentPrivate Collection, U.K.In September 1946 John Minton left his studio at Bedford Gardens, which he had shared for three years with Colquhoun and MacBryde, and took out a lease on two floors at 37 Hamilton Terrace in Maida Vale. He set up his studio in the largest room on the upper floor, which had a balcony, and persuaded Vaughan to take a room on the lower ground floor, which had French windows opening into the garden. The writer Alan Ross lived in the boiler room for a year and, later, the Australian painter Jack Pasmore stayed for a few months. Soon Hamilton Terrace superseded Bedford Gardens as a meeting place for painters, poets and writers. At the time Vaughan was teaching at Camberwell and Minton was teaching at the Central School of Art and their students visited for drawing classes and parties. Both artists worked in close proximity on their paintings, dust-jacket designs and illustrations, sharing commissions and ideas. To begin with the arrangement worked well but, within a few years, the noise from Minton's rowdy parties and student gatherings began to interfere, not only with Vaughan's work, but every aspect of his daily life. In 1952 Vaughan moved out to a new studio in Belsize Park and Minton bought a flat in Kensington. We are grateful to Gerard Hastings, whose forthcoming book Keith Vaughan: The Graphic Art will soon be published by Pagham Press, for compiling this catalogue note.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Penrhyn Du signed with initials 'KW' (lower right); titled 'Penrhyn du' (on sheet verso)ink and wash on paper29 x 41cm (11 7/16 x 16 1/8in).with a further pencil drawing of a farmer and sheepdog on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Gouache and ink drawing, beach scene with bathers, signed Lotiron, inscribed verso ' La Plage de Parame ', unframed, 11.5ins x 15.5ins

Tito Gobbi (Italian opera singer), pen and ink drawing ' The Station Commander ', signed and dated '28 to '46, 7.75ins x 6.75ins approximately, ebonised frame

Circle of Daniel Havell (British 1785-1826)/The South-West View of Eaton Hall Cheshire, the seat of Earl Grosvenor/pen and ink and watercolour, 19.5cm x 34cm/Note: the composition is similar to the aquatint by Havell after a drawing by George Batenham, published 1814

'FLOOR PLAN OF SHIP No.253': A ¼IN:1FT SCALE PROFILE LINE DRAWING FOR THE ARDMORE, BY BARCLAY, CURLE & CO., 1875 ink on conjoined sheets, inscribed to top as per title, lines, plating numbers, finely detailed figurehead, broadside, stern and keel profiles within inked border (rolled; right edge ragged) -- 21½ x 75in. (54.5 x 190.5cm.)Footnote: This 1149 ton full-rigged iron ship was wrecked on Alceste Reef, Gaspar Strait 20th May 1897 whilst in passage between Koh Sichang-Rio de Janeiro with a cargo of rice.Condition report: Fragile, right edge very ragged, also wear top and lower left corners; dirty overall.

Great Britain 1967 (July 24) FDI, Sir Francis Chichester Plymouth. FDI on a pen and ink drawing of his yacht by Leonard May. Nice item

Victorian English School ink and watercolour tromp l'oeil picture relating to the Challis family of Bury St Edmunds, 31cm x 46cm, together with an early 20th century watercolour of a dancing figure, 54cm x 75cm, also a pen and ink drawing of an elegant young lady, indistinctly signed, 25cm x 15cm, each unframed (3)Provenance: The Robert Barley Collection

European School, 19th pencil drawing - a classical head, 40cm x 29cm, together with a circle of Claude Joseph Vernet (1714-1789) French School ink and wash head of a horse, 10.5cm x 14cm (2)

*John Piper (1903-1992) pen and ink drawing Exeter Cathedral, signed in pencil, inscribed and dated Oct 1959, 20.5cm x 26cm, in glazed frameProvenance: The Lorna and Gordon Turner Collection

HARRY BUSH (1883-1957) Seated figures, pen and ink drawing, 15.5cm x 13.5cm, framed and glazed, overall 14.5cm x 39.5cm Provenance: Artist's studio sale 1984, studio stamp beneath mount Condition: in good condition

Hottenroth, Woldemar. 1802 Blasewitz bei Dresden - 1894 Wachwitz bei Dresden. I Salti del Diavolo. Landschaft bei Cassio (Prov. Parma, Italien). Zeichnung in Bleistift, in Tusche laviert, re. u. ortsbezeichnet. Verso v. fremder Hand bezeichnet ''aus dem Nachlass des Malers Woldemar Hottenroth um 1830'' und Eigentümervermerk. Im oberen Bereich (Himmel) partiell Stockflecken. 19,5 x 30,5 cm Hottenroth, Woldemar. 1802 Blasewitz near Dresden - 1894 Wachwitz near Dresden. I Salti del Diavolo. Landscape near Cassio (Prov. Parma, Italy). Drawing in pencil, washed in ink, at lower right inscribed with place. Verso inscribed by an unknown hand and owner's note. Partial foxing in the upper area (sky).

Wyzner, Krzysztof. Geb. 1949 Warschau Christus mit Dornenkrone. Tuschezeichnung, sign., 33,5 x 30 cm (Bl), hinter Blende mont. Wyzner, Krzysztof. Born 1949 Warsaw Christ with crown of thorns. Ink drawing, signed, mounted behind aperture.

Rose Hilton - ink drawing"It Takes Two to Tango VI", signed, 11" x 8" with original gallery receipt dated 2008

Bryan Pearce - ink drawing"Jug Fruit and Peppers", signed, labelled to verso and dated 1971, 9½" x 13"

WILLIAM POWELL FRITH, RA (1819-1909) SKETCH, POSSIBLY FOR `THE PRIVATE VIEW` (1883) Pen and ink, similar study verso 14 x 22cm.; with an ink drawing of author Alfred Ainger (1837-1904) by George Du Maurier, signed and dated Xmas 1882 (or 1884), inscribed from sitter to Mrs Henry Jones, 27.5 x 19cm. (2) ++ Frith with old creases; Du Maurier with some backboard staining

•TOM PHILLIPS, CBE, RA (b.1937) UNTITLED: PORTRAIT HEAD Signed and dated VII/LX.,oil on canvas 50.5 x 76cm.; with a preparatory study for the picture, initialled and dated, pencil 34.5 x 25.5cm.; and a frame of eight ink `Ex Libris` designs, signed on the mount (3) * The signature on the oil has been confirmed by Tom Phillips's studio ++ The oil needs a light clean; the drawing slightly light-stained; the frame of eight in generally good condition

Selection of wooden desk items; including stationery rack, book stand, ink stand and desk stand; also a selection of cased technical drawing apparatus

DICK BRUNA (1927-2017). ARR. MIFFY, PENCIL SIGNED PEN AND INK DRAWING, 18 x 17cms.

P.DEFILIPPI (19th.C. ITALIAN SCHOOL). 'PORTRAIT OF GIORGIO UZIA', SIGNED AND DATED 1844, INK DRAWING, OVAL. H. 27 x 17cms.

C. RANDLE (EARLY 19th.C. SCHOOL). A TOPOGRAPHICAL VIEW OF DUBLIN, PEN AND INK DRAWING, SIGNED AND DATED JULY 6 1820. 16 x 29cms.

ATTRIBUTED TO JAMES BAYNES (1766-1837). 'A RUINED ABBEY', INK DRAWING. 15 x 20cms.

ATTRIBUTED TO ANTONIO CALZA (1653-1714). 'A CAVALRY SKIRMISH', PEN AND INK DRAWING. 12 x 26cms. PROVENANCE CHRISTIES.

EDMUND HORT NEW (1871-1931) - 'Ford's Almhouses, Coventry', pen and ink drawing, signed, framed, 16cm x 10cm, frame size 36.5cm x 27cm, also a companion depicting Shakespeare's Tomb, Stratford. (2)* exhibited at Birmingham City Museum and Art Gallery 1986-1987

PASCALE BIGOT (CONTEMPORARY) - 'Solo De Jazz', ink and wash drawing, signed, framed, 40cm x 29cm, frame size 71cm x 61cm, also the companion 'Duo De Jazz' - a pair. (2)

TONY CLAYDEN (CONTEMPORARY) - An extensive mountainous landscape, ink and pastel drawing, signed, framed, 51cm x 74cm, frame size 74cm x 95cm.

A quantity of watercolours, signed limited edition prints, an ink drawing signed D Whitelock, and others to include a Shanghai Film Studios signed river landscape watercolour Location: LWM

JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. COLLECTION OF ORIGINAL DESIGNS, CIRCA 1860 to include: ORIGINAL DRAWINGS FOR A TEAPOT AND SUGAR BOWL WITH TONGS, CIRCA 1860, pencil, pen and ink on paper, mounted onto card, 17cm x 21cm and 14cm x 11.5cm; also an ORIGINAL DRAWING BY THE SAME HAND, depicting studies of medieval caps and cap badges, pencil, pen & ink on paper, mounted verso, 25cm x 20cm, card inscribed 72/ 30856/15 (1) and 71/ 30856 (15); together with THREE SHEETS OF ORIGINAL DRAWINGS, ATTRIBUTED TO A.W.N. PUGIN FOR HARDMAN & CO., the FIRST SHEET comprising two drawings of INKWELLS, for the Palace of Westminster, 9cm x 16.5cm and 9cm x 17.3cm; two of THURIBLES ON STANDS, 17.5cm x 7cm and 15cm x 6cm; one of a GOTHIC REVIVAL WALL MOUNTED BRACKET, 14cm x 5cm; a MONUMENTAL CLOCK, 17.5cm x 11cm and five further drawings of MEDALLIONS; A CASKET; A DEPICTION OF THE VIRGIN; and a WALL BRACKET; the SECOND SHEET comprising a drawing of a PAIR OF SIDE DISHES, 21cm x 20cm; a SWORD HANDLE, 10cm x 21cm; and verso a FONT COVER, 20cm x 14.5cm; and a STATUE OF CHRIST ON A PEDESTAL, 23cm x 11.3cm; the THIRD SHEET with drawings of a GOTHIC FRAME, 17.3cm x 11.7cm; a POLE SCREEN, 23cm x 8.5cm; a CHAMBER CANDLESTICK, 12.5cm x 16cm, each pencil, pen & ink on paper, mounted onto card; and ORIGINAL DESIGN FOR A PULPIT FOR THE MARQUIS OF BUTE BY JOHN HARDMAN POWELL FOR HARDMAN & CO., pencil, pen & ink on paper, with inscription "Design for a Pulpit in oak "carved"/ Marquis of Bute", bears makers embossed stamp HARDMAN & CO., 61cm x 26cmFootnote: Provenance: Hardman Archive Note: See V&A collection, museum number 8119-1863 for the realised teapot in silver dated 1861-2

Attributed to Johann Wolfgang Baumgartner (Austro-German, 1712-1761), Saint Jerome, 1760, pen and black ink, brush and grey wash, white heightening over traces of black chalk, black chalk framing lines on brown paper laid onto oatmeal paper, bearing signature and opus date in brown ink within the drawing, bearing signature -J.W. Baumgartner- in pencil on verso as well as further annotation in pencil, further annotation in pencil to card mount -Neues Fenster Sebaldus Kirche Nürnberg, 1760-, partly mounted on card, H.21cm W.15.5cm

Oliver Messel (1904-1978), open air theatre ballet stage, ink drawing and watercolour, H.19cm W.29cm Provenance: Acquired by Sir Peter Wright from the composer Richard Addinsell

*Edward Bawden RA (1903-1989)'Mr Wilkins Enlarges his House', 1928signed, dated and inscribed, pen and ink and collaged paper over pencil17 x 17.5cmExhibited: Dulwich Picture Gallery, 'Edward Bawden', 2018, illustrated in the catalogue p.137.The original artwork for 'The Life and Adventures of Peter Wilkins', 1928, p.66.*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Parts of the picture have been collaged with new drawing by the artist. Paper a little cockled.

*Edward Bawden RA (1903-1989)'Economy Committee'pen and ink and collaged paper over pencil24.5 x 26.5cmProvenance: Shell Mex and BP Advertising Collection Sale, London 2003.Exhibited: Dulwich Picture Gallery, 'Edward Bawden', 2018, illustrated in the catalogue, p.134.*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Paper stuck down. Paper is collaged where artist has changed drawing and added over it. Paper of economy committee flag is discoloured compared to rest of sheet.