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6 Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "German churches", each drawing inscribed with the place, all unframed,Average size is approx 26 x 23 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

2 Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "St Nicholas Cathedral, Newcastle", each drawing inscribed with the place, both unframedAverage size is approx 18 x 12 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

2 Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "The wailing wall, Jerusalem & minaret, Tunis", each drawing inscribed with the place, both unframed,Average size is approx 22 x 13 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

3 Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "Dutch architectural studies", each drawing inscribed with the place, all unframed,Average size is approx 23 x 13 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

3 rare Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "Balkan scenes", each drawing inscribed with the place, all unframed,Average size is approx 12 x 23 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

3 rare Alfred Bowyer Clayton (1795-1855) 1830s pen & ink "Georgia & Armenia scenes", each drawing inscribed with the place, all unframed,Average size is approx 11 x 17 cm,ALFRED BOWYER CLAYTON (1795-1855) - Born London, studied under William Etty, he exhibited at the RA between 1814-1837 and in 1931 produced a series of lithographic prints depicting the Liverpool-Manchester railway. He worked as a professional lithographer during the early 1830s before becoming an architect in Liverpool where he died on 10th May 1855

Willem Steelink II (Holland, Netherlands, 1856 - 1928) Pen and Ink Drawing depicting figures in an interior setting illuminated by a fireplace. Signed and dated 1886 lower right. Sight Size: 14.5 x 9 in. Overall Framed Size: 24 x 20 in. Framed behind glass.

A portrait of a Mughal courtier standing with dhal and talwars, ink and watercolour drawing on paper, 16.8 by 11cms (6.6 by 4.3ins).

brown ink drawing on paper depicting Civitavecchia, anonymous nineteenth century. 444X296mm

Drawing in a beautiful design setting by Gaspare Galliani (1761-1823) brown ink on paper depicting laboratory D'eau, Signed on the lower left gas. Galliani inv. 290 x 215 mm

Drawing allegedly by G.Saitta,brown ink on paper vergellata eighteenth century, depicting interior with loggias, columns, statues and sometimes lancet. 358x419mm

Drawing allegedly by G.Saitta,brown ink on paper vergellata eighteenth century, depicting the house facade with eardrum and beams, Signed on the lower left and dated September 5 G. Saitta 77. 307x428 mm

Drawing allegedly by G.Saitta,brown ink on paper with internal columns and statues, dated February 3, 1865. 306x208 mm

Drawing allegedly by G.Saitta, ink and watercolor piece on paper depicting input stage design with caryatids and ruptured eardrum. 380x307 mm

Drawing allegedly by G.Saitta, with sepia ink on paper depicting garden. 160x250 mm

Drawing allegedly by G.Saitta, cuttlefish ink on paper with statues depicting lions. 210x250 mm

An ink drawing of a timber framed country house (Jossilyns) drawn by Blomfield, circa 1913, framed and glazed, 35cm x 22cm

Thomas Rowlandson (London 1756-1827)Brighton Races pen, ink and watercolour on paper20.4 x 29.2cm (8 1/16 x 11 1/2in).Footnotes:ProvenanceCollection of Georges Dormeuil (1856-1939), Paris (Frits Lugt no. 1146a)EngravedReproduced as an aquatint titled RACE GROUND in 1790, as part of the series Excursion to Brighthelmstone (see fig. 1)This drawing is one of several racing scenes by Rowlandson dateable to around 1790, principally of Epsom or Brighton.For further information on this lot please visit Bonhams.com

Thomas Rowlandson (London 1756-1827)Tea on shore pen, ink and watercolour on laid paper28.8 x 39.1cm (11 5/16 x 15 3/8in).Footnotes:ProvenanceThe Collection of Joseph GregoPrivate Collection, UK, circa 1950 to 1998Sale, Christie's, London, 26 November 1998, lot 59With Spink-Leger, London, where purchased by the present owner in 1999ExhibitedLondon, Royal Institute of Painters in Water Colour, The English humorists in art, 1889, no.107 London, Lowell Libson Ltd, Beauty and the Beast: A loan exhibition of Rowlandson's works from British private collections, 2007, no.2LiteratureJ. Grego, Rowlandson the Caricaturist, London, 1880, pp. 168, 253-256, 323 Royal Institute of Painter's in Water colour, The English humorists in art, exh. cat., London, 1889, p.15, repr. P.30L. Libson, H. Belsey, J. Basket, et al, Beauty and the Beast: A loan exhibition of Rowlandson's works from British private collections, London, 2007, pp. 26-7PublishedJ. Harris, as Tea on Shore, January 1789 and subsequently reissued with some alterations by S.W.Fores in 1794Tea on Shore was intended as a pendant to Grog on Board, the two being published as prints by Fores in 1794. In the two drawings Rowlandson explores the contrasting courtship rituals of low and high life, although his eye for social satire treats all equally. Grog on Board shows a young beauty being entertained below deck by well-lubricated sailors, while Tea on Shore is the officers' more genteel counterpart, a tea urn replacing the brandy casks of the first scene. While in terms of output Rowlandson was more productive in his later years, turning out huge numbers of drawings with great facility, he is widely regarded as having produced his best work in the 1780s, the decade in which the present drawing was made.For further information on this lot please visit Bonhams.com

George Romney (Beckside 1734-1802 Kendal)Sketches for Viscountess Bulkeley as Hebe brush and brown ink on laid paper30.9 x 28cm (12 3/16 x 11in).Footnotes:ProvenanceCollection of R.C. Harford (according to a label on the reverse)Sale, Christie's, London, 6 June 1972, lot 90With Agnews, London (according to a label on the reverse)Collection of Dr Alfred Scharf, and by descent to the present ownerThe present sketch is a study for Romney's life-size oil portrait of Elizabeth Warren, later Lady Bulkeley (1757-1826) now in the National Museum, Cardiff (see fig. 1). It was commissioned by the sitter's father for whom Romney had painted a family portrait in 1769 when Elizabeth was just a child. Possibly the 1776 portrait of Elizabeth – for which there were six sittings - marked her engagement as it shows her at the age of 18 or 19. Romney has chosen to show her as Hebe, cupbearer to the gods, standing in a dramatic landscape with her shawl billowing out behind her. While the subject was one that was popular with other artists of his time, the treatment both in Romney's sketches and the finished painting was entirely new and marks a watershed in his stylistic development. The bold, sweeping brush strokes in the present ink study are a product of his recent trip to Italy (1772-5) in the company of his fellow artist Ozias Humphrey, and they became a hallmark of his ink sketches over the next decade. This greater spontaneity is also reflected in the finished painting of Elizabeth which has a new freedom that was to characterise his portraits thereafter. So while this commission was significant in relaunching Romney's career after his return to London, it also marks an important turning point in his working practice.A full length drawing for the same composition, formerly the property of Mrs E. Russell Jacks, was offered at Christie's, London, 17 June 1969, lot 140.For further information on this lot please visit Bonhams.com

George Romney (Beckside 1734-1802 Kendal)Cimon and Iphigenia (recto); and Three Lapland Witches (verso) pen with brown ink and brown wash over pencil on laid paper30.8 x 48.6cm (12 1/8 x 19 1/8in).Footnotes:ProvenanceWith The Drawing Shop, New YorkCollection of Dr Alfred Scharf, and by descent to the present ownerExhibitedSmith College Museum of Art, Northampton, Mass, The drawings of George Romney, May - September 1962, no. 43, pl. 16The source of this subject is Boccaccio's Decameron: Cimon (or Cymon) was the ill-mannered, graceless son of a Cyprian nobleman, confined to his father's country estates to keep him away from polite society. When out walking one summer morning he came upon Iphigenia with her friends sleeping by a stream and, captivated by her beauty, he instantly fell in love with her. The power of his love transformed him into a courtier with the charm and manners to win Iphigenia's love. There is another strand to Romney's interest in Iphigenia: after he returned from Italy in 1775 Romney formed a friendship with the Greek scholar and translator the Rev. Robert Potter, and in the 1780s he began using Emma Hart (later Lady Hamilton) as a vehicle for painting figures from Greek myths, including his 1790 painting of her as Iphigenia of Mycenae. In Greek mythology Iphigenia was the daughter of Agamemnon and Clytemnestra, most familiar to us today though the tragedies of Euripides. In the 1780s Iphigenia also became one of the Attitudes for which Emma was so celebrated in Naples; the inspiration for these Attitudes is generally thought to have come from her modelling sessions for Romney earlier in the decade.No finished painting exists by Romney of Boccaccio's Iphigenia, but a number of large-scale drawings are recorded of which the present example is one of the most extensively worked-up. Some include the figure of Cimon, here sketched in pencil on the left observing Iphigenia. Other versions are in the collection of the Fitzwilliam Museum, Cambridge (L.D. 163) and of Princeton University Art Museum (no. X1942-117); and Sale, Christie, Manson and Woods Ltd, 3 July 1964, lot 23.For further information on this lot please visit Bonhams.com

WEST (LEONARD)Original artwork by Leonard West for his angling classic The Natural Trout Fly and its Imitation (1912), comprising: final artwork for the plates 1-9, 14, 15 and 16 (as used in the 1912 edition), and plates 1A and 17 (drawn in ink for the 1921 revised edition), and the originals for plates 10 ('Hackle Feathers, Poultry, &c.') and 13 ('Feathers for Flies' Wings') comprising of actual mounted samples, all on thick paper, some with proof annotations and notes, the original ink numerals (from first edition) erased and replaced as they appear in the second edition, the plates with mounted samples accompanied by West's ink identification key, images approximately 300 x 200mm.; an ink preliminary drawing (with overslip noting in pencil 'Diptera. This plate was redrawn, elaborated & coloured') of Plate 1; 2 variant 4-page prospectuses for the first edition of The Natural Trout Fly (one illustrating plate 6, one plate 8), and samples of each printed plate from the first edition of the book; 2 typed letters from P.P. Press Art Printers, dated 24 March and 11 August 1920, relating to printing costs and artwork; 2 original pen and ink drawings by West of pond beetles (both signed with initials 'L.W.', each with accompanying published print) for an unrelated publication, a few items loose otherwise bound together in contemporary green half morocco, gilt lettered 'Drawings. Leonard West' on upper cover, small folio, [c. 1912-1920]--'The St. Helens Fly Fishers Club. Second Annual Dinner and Smoking Concert at the Red Lion Hotel on Thursday Nov. 26th, 1908'; another, for the 'Third Annual Dinner... November 25th, 1909', pen and ink artwork depicting angling (and eating) scene caricatures by West, each on stiff card, 240 x 165mm., and slightly smaller, [1908-1909], with 2 further angling related caricature ink drawings, one a trial menu card; further material including approximately 15 original artworks (of which 4 fine fully-realised watercolours) of aquatic entomological subjects; 2 gelatin silver photographs of dragon flies (seemingly used as guide material for one of the watercolours); 12 pages of typescript notes, with some manuscript corrections, for an article (or ?unrealised book) relating to trout fishing, and other ephemeral materials, loose in 2 contemporary cloth portfolios, one labelled 'Aquatic Plants', one 'Gnats' (collection)Footnotes:LEONARD WEST'S ORIGINAL ARTWORK FOR THE NATURAL TROUT FLY AND ITS IMITATIONS (1912), with materials related to the publishing of the second edition (1921), artwork for St. Helens' Fly-fisher's Club dinners, and watercolours and ink drawings for articles on aquatic entomology. West was a stalwart of the Lancashire and Cheshire Entomological Society (and President for 1916) and founding member of the St. Helen's Fly-fisher's Club. In 1912 he published his classic The Natural Trout Fly 'with considerable diffidence... The notes and observations contained in it were made for private use only, but owing to the persuasion of a friend, the Author has decided to give them a wider circulation' (Foreword). His approach to fly-fishing was based on the premise that 'the angler with a knowledge of entomology, possesses a great advantage, and is able readily to select a fly' (Introduction). Provenance: Leonard West, and by family descent to current owner.For further information on this lot please visit Bonhams.com

CHALON (ALFRED EDWARD AND JOHN JAMES)'Sketches by A.E.C. & J.J.C. The Etchings by F[rancis] S[tevens] from Mr. Standerts' [sic] Poem of the Winter's Night, or the Admiral, the Farmer & the Old Marine. June 1818', manuscript title in ink, 6 original sepia ink and wash illustrations by A.E. and J.J. Chalon, 6 etchings (initialled 'F.S.' and numbered 1-6 in the plate), each mounted one per page (recto only) on original blue-grey paper, loose in contemporary half calf over marbled boards, original red morocco gilt lettering label on upper cover, covers loose, no spine, images approx. 115 x 88mm., [c.1818]Footnotes:Alfred Edward and John James Chalon, both Royal Academicians, were founder members with Francis Stevens of the 'The Society for the Study of Epic and Pastoral Design', later known as the 'Chalon Sketching Club', which first met in Stevens' home on January 6, 1808. 'The member at whose house the meeting was held provided paper stained on drawing frames, pencils and sepia. The subjects selected as a theme, chiefly from the ancient classics, were chosen by the host, who prepared written extracts, on separate slips, for the members, with each artist treating the subject according to his own conception' (Luke A. Dowle, Unveiling the Sketching Society (1799-1851), MPhil(R) thesis, Glasgow, online). The Winter's Night by Hugh Standish (not 'Standert' as given on our title) was a poem for juveniles published, with five plates, in Taunton in 1815.Provenance: Francis Stevens (1781-1823), bookplate (with pencil note 'Lot 37').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 - COLLECTIONAlbum containing autograph letters, signed menus, photographs and other ephemera, assembled for Penelope Ann Drinkwater, daughter of poet and dramatist John Drinkwater, from her birth in 1929 to her fifth birthday, comprising: notes written by the Prince of Wales (future Edward VIII) for his speech at the Stage Golfing Society Dinner, Savoy Hotel, 2 November 1930 ('Handicapp/ B-DARWIN/ Filthy golfer/ Filthy speaker/ Keep pun clean') accompanied by an explanatory letter from Drinkwater ('...I was the guest of Sir Gerald du Maurier who sat between me and the Prince of Wales... The response was made by the Prince, and he put his notes on two sheets of paper. These were pocketed by Sir Gerald, and he gave me one of these for you... another scrap of history in a tiny way for you when you are growd up...'); some fifty autograph and typed letters by Edward Elgar (thanking him for the 'exquisite Penelope's Trees – a beautifully inspired poem'), Arnold Bennett, John Galsworthy (including a poem in her honour), Hugh Walpole, Joan Sutherland, Sybil Thorndike, Harold Nicholson, William Rothenstein, Herbert Hoover (two on White House headed paper), E.G. Robinson, Ramsay Macdonald, and others; a menu from the Savoy Hotel, 24 June 1930, signed by Drinkwater, J.B. Priestley, H.G. Wells, Arnold Bennett, Edgar Wallace, Desmond Macarthy and others, with another from a dinner on 19 September 1930 inscribed by Max Beerbohm ('...to dear little Penelope Anne. I know she is little because she is so young. And I know she is a dear because I know her parents...'); ephemera including a programme for Drinkwater's play A Man's House signed by the cast (with Errol Flynn as 'First Soldier'), telegrams of congratulations (including James Joyce and John Galsworthy), a printed copy of Drinkwater's 1930 poem Penelope's Trees, inscribed 'This copy is darling Penelope's own/ John Drinkwater', numerous photographs and press cuttings of the family, etc., 31 leaves, brown calf gilt stamped 'Penelope Ann Drinkwater/ July 26 1929' on upper cover, binding scuffed and stained, burn marks to spine, oblong folio (265 x 365mm.), 1929 to 1934; with a folder of c.100 loose autograph and typed letters by H.G. Wells (postcard, '...warmest thanks for the poem. It's a nice habit this poetry...' and autograph letter to Miss Jeffreys sending love to Penny, '...I think she is a dear...'), a pencil drawing annotated 'sketch by T.H. [Thomas Hardy] of a hay-knife', Edmund Blunden ('...I would like you to leave me out of your anthology...'), Vita Sackville West ('...She seems to be a fruitful source of inspiration to you...'), Eddie Marsh, Shane Leslie, Stefan Zweig, and others; printed Churchill address from 25 April 1925 with covering letter, typed transcripts of letters by Rupert Brooke and others in folder annotated 'sold to America', c.160 pages, 8vo and 4to; original cartoon by David Low signed ('Low'), titled 'Situation Vacant', depicting Drinkwater, Masefield, Kipling, Edith Sitwell and other possible candidates for the post of Poet Laureate lining up to see the Prime Minister ('W.B. Yeats and W.H. Davies arriving by the next bus'), labelled 'The Property of Penelope Ann Drinkwater' on reverse, pen, ink and coloured pencil, image 295 x 450mm., (457 x 610mm. with frame), published in the Evening Standard, 28 April 1930 and in The Best of Low, 1930 (3)Footnotes:'ANOTHER SCRAP OF HISTORY IN A TINY WAY FOR YOU WHEN YOU ARE GROWD UP': An album assembled by the poet and dramatist John Drinkwater for his daughter, celebrating the first years of her life with a collection of letters and ephemera from literary and political figures of the day, and including an encounter with royalty. Despite being in the running for Poet Laureate, as the Low cartoon included here suggests, the position was taken by John Masefield after the death of Robert Bridges in April 1930. The collection comes from the family of Penelope Drinkwater.For further information on this lot please visit Bonhams.com

MUNNINGS (ALFRED)Sketch, in black ink, signed ('A.J. Munnings') and inscribed with lines from Keats' Ode to a Nightingale ('Oh for a draught of vintage/ that hath been cooled a long age/ in the deepest/ delved/ earth/ A. J. Munnings'), depicting a gentleman in evening dress leaning back in his chair in front of a table laden with bottles and glasses, on a menu card for a banquet celebrating the Ligue Internationale des Adversaires de la Prohibition (XIIIth Congress), tied with coloured ribbon, 205 x 128mm. (sketch on double-page, 205 x 250mm.), Dorchester Hotel, 28 June 1933Footnotes:Alfred Munnings made spontaneous sketches such as this on anything that came to hand. He was a noted bon viveur and raconteur, and the lively drawing depicting the aftermath of a convivial evening and his exuberant annotation attests to his full enjoyment of the menu, which lists an impressive selection of eleven fine wines to accompany the eight courses. The Ligue Internationale des Adversaires de la Prohibition was formed in Paris in 1920, under the presidency of Baron Raymond de Luze, as a response to the prohibition of alcohol in America which came into force in the same year. It held annual congresses in various European cities until the repeal of prohibition in December 1933, making this London banquet its last event. Other notable members included Francis Berry of the eponymous London wine merchants and, it would seem, Munnings' friend, the poet and dramatist John Drinkwater, from whose collection this menu derives, and who may well be the gentleman depicted here, making the choice of annotation particularly apposite.For further information on this lot please visit Bonhams.com

RUSKIN (JOHN)Praeterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in My Past Life [-Dilecta_ Correspondence, Diary Notes, and Extracts from Books, illustrating Praeterita], 31 original parts in 6 vol., FIRST EDITION, EXTENSIVELY EXTRA-ILLUSTRATED FOR CHARLES E. GOODSPEED WITH THE INSERTION OF 25 AUTOGRAPH LETTERS SIGNED BY RUSKIN, 23 autograph letters and notes by contemporaries (including Turner), numerous sketches, photographs, cut signatures, annotated proof sheets, and upwards of 280 additional engravings and plates (some coloured), the collection comprising: i) Group of 25 autograph letters signed ('J. Ruskin', 'John Ruskin', 'J.R.') to various correspondents, including:'Darling Reille', an unknown child ('...although May is irresistible, And Alice is so bewitching – yet you were my first Love... ps Don't frizz the hair quite so high this time...'); Miss Rudkin, organising a spring dress for Arthur Severn's daughter whom he finds '...already tall enough – to become – a pretty costume, and refresh and refine my savage mind...'; an unknown recipient recalling an encounter with Charles Darwin ('...A couple of years ago, a man, Darwin was walking with me on my garden terrace and stopped to look at a strange form of (I forget what) flower. – 'Now – why is that shaped so' – he said. Why should you want to know? I answered – Oh – he said, laughing – but with the perfectly frank expression of a man partly ashamed of a weakness – 'I always want to know' – 'And I never do.' – ended this 'discussion' in that direction – and we went into lunch...'); Charles Newton on his engagement to Effie Gray ('...I believe indeed that it is every way better for me that I should marry... Miss Gray is a good girl... will be a very noble creature – and far above my deservings...'); another to Newton (speaking of his recent trip to Europe ('...that vast blunder St Peters...'), the effect of political feeling on architecture, hoping to 'get out of Jephson's clutches' soon to show him some architectural drawings completed in Italy); the Revd A. Tighe Gregory (mentioning his nervous condition '...the most trivial matter will sometime sicken and sting me...', his debt to Turner for art and Carlyle for literature and marvelling how they, like him 'should be irreligious' but that he is open to 'all influences'); Lady Naesmyth (sending copies of verses by Rose La Touche, despairing she has gone to Ireland and may not love him when she returns); four to his friend and neighbour at Brantwood, Susan Beever, including a highly personal undated letter regarding '...that wretched child...' [Rose La Touche], complaining of her evangelism and his frustration ('...a husband can always say a little word for himself – whereas a poor, servile – wretch of an old lover... she I verily believe is like to be in mortal illness as not – and vowing I shan't come near her unless I swear first that I don't care to! – and only love God. And of course I can't & won't do anything of the sort – I don't love anything but her in the whole universe – and she leads me the life to Tantalus & Prometheus Vinctus in one...'); another illustrated with a sprig of blossom written three days after her death ('...I've just heard that my poor little Rose is gone when the hawthorn blossoms go... just left the second number of Proserpine to be printed – there are many little things going to be said in it, which nobody but she would have understood... I have been long prepared so you need not be anxious about me...'); and another including a delicate drawing of moss ('...all in stars as close as that – it takes such a dreadful time to paint...'); and Thomas Carlyle discussing the use of colour in Greek sculpture ('...if colour will make Greek endurable – it will make Gothic glorious...'); others include a note to Dante Gabriel Rossetti arranging a meeting, another refusing an invitation to dine at Mr D'Israeli's, to his physician Henry Jephson, to Hale White regarding his paper on Byron and to Henry Jowett regarding the publication of Praeterita, c.52pp in all, 8vo, Denmark Hill, Brantwood, Leamington Spa, Perth etc., c.1841-1889 where dated. ii) Illustrations, including a copy of John Ruskin's self portrait of c.1861, head and shoulders, wearing a black neckerchief, pencil and watercolour, in an unknown hand, image 155 x 125mm.; a sketch map of Oxford depicting the town and colleges, in ink, with monogram ('JR') on reverse of a printed prospectus for Robert Taylor Pritchett's Brush-Notes in Holland, 183 x 240mm.; two fine pen and ink vignettes of hawthorn blossom and moss; and sketch of a dog by John Brown entitled 'orat plorat et adorat', 85 x 65mm.; together with numerous printed plates and engravings including landscapes, architecture and portraits.iii) Some 23 autograph letters by others including J.M.W. Turner (arranging for James Lennox of New York '...to view the work of art at Denmark Hill Slave Ship...'), Ruskin's father John James Ruskin, George Cruikshank, Giulia Grisi (signed musical quotation from Verdi's Il Trovatore), his physician Dr Henry Jephson, John Brown (3), George Allen, Charles Eliot Norton (from whom Goodspeed received Ruskin's autograph), J. A. Froude, Joan Ruskin Severn, Thomas Carlyle, Robert Harry Inglis, Sir Walter Scott, Mary Carlyle (to Robert Browning regarding her uncle's funeral), and Lord Egremont; with others regarding the publication of Praeterita, additional photographs and cut signatures.iv) Printer's proof sheets of Chapter XI Volume 2 with corrections and annotations by Ruskin in black ink., bound at the end of volume 2.Footnotes:AN IMPORTANT EXTRA-ILLUSTRATED SET WITH 25 AUTOGRAPH LETTERS BY RUSKIN, ASSEMBLED BY AND BOUND FOR THE EMINENT RUSKIN COLLECTOR CHARLES E. GOODSPEED OF BOSTON.Praeterita, the story of Ruskin's early life, was published in 28 parts at intervals from July 1885 to July 1889 when ill-health took its toll on the author and the series remained unfinished: '...Praeterita is a delightful work, a rewriting of Ruskin's life that makes it unreliable as a source of biographical fact, yet an accurate portrait of the author's mind...' (Robert Hewison, ODNB). This finely-bound set of Praeteritia is the result of a collaboration in the early years of the twentieth century between Ruskin's friend and literary executor, the American Charles Eliot Norton, who supplied the parts (as evidenced by the ownership inscriptions on the bound-in wrappers), and the eminent Ruskin collector, bibliophile and bookseller Charles E. Goodspeed, who organised the extra material and binding, supplying much of it from his own extensive collection.The extra material Goodspeed carefully chose to include in this edition is not organised in exact chronological order but fitted in where deemed appropriate to fit the text, and includes several important autograph letters by Ruskin amongst the wealth of material. Although some of the letters are marked in pencil presumably for the purposes of publication, most are apparently unpublished, with one particularly revealing letter bearing the pencilled note 'Rosie... perhaps too 'intime' to print?...'. Goodspeed has indeed selected some particularly personal letters for inclusion, several relating to his relationships with young girls, one to Charles Newton for example enthuses about his engagement to Effie Gray ('...far above my deservings...'), and another to his close friend and neighbour at Brantwood, Susan Beever, where, in a highly intimate letter, he complains of '...that wretched child...' (presumably the deeply religious Rose La To... 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

ROYAL ENGINEERS, CHATHAMJohn Chard's surveying and drawing instrument wooden case, with 6 instruments on purple velveteen-covered tray (others missing), box in mahogany, lid with inset metal panel stamped 'Major Chard V.C. Royal Engineers', brass corner-pieces and decorations, with key (working), 165 x 210 x 60mm.--MANUSCRIPT ADDRESS TO 'MAJOR CHARD R.E. V.C.', from 'The High Constable and Court Leet of the ancient Manor of Chatham', expressing on behalf of the inhabitants of Chatham their 'profound admiration and warmest appreciation of the cool judgment, consumate skill, and heroic valour....' shown by Chard at Rorke's Drift, and noting their pride that Chard 'received part of your military education at the School of Engineering in this neighbourhood...', ink on paper, 2 pages on a bifolium with conjugate blank, signed by G.H. Delabour (High Constable), Edward Winch (Foreman), and George Winch (Steward), folio (375 x 245mm.), 9 November 1879 (2)Footnotes:John Chard passed through the Royal Military Academy at Woolwich, before being commissioned lieutenant in the Royal Engineers on 15 July 1868, after which he spent two years training at their Chatham headquarters, prior to his first posting to Bermuda in October 1870. In his address of thanks to Chard for heroism at Rorke's Drift the High Constable of Chatham proclaimed 'It is gratifying to us to recollect that you received part of your military education at the School of Engineering in this neighbourhood, and that your training there contributed in some degree to the valuable services you rendered to your Queen and country [at Rorke's Drift]'.Provenance: John Chard V.C., R.E.; by descent to the present owner.For further information on this lot please visit Bonhams.com

Michael Brockway: an ink and sepia wash drawing, depicting figures in a piazza - label verso

* Prior (Melton, 1845-1910). An important archive of original work by Melton Prior, considered the most famous of the 'Special Artists' of the London & Illustrated News during the second half of the 19th century comprising, black and white photograph of Prior in his overseas war artist clothing, period hardwood frame, glazed; two pencil sketches from the Siege of Plevna with labels inscribed to verso 'The last days of Plevna serving out biscuits in camp, Milton Prior 1877, artists monogram lower left, 14 x 22.5cm, the other with the same title to verso but showing a different subject, 14.5 x 22cm, both framed and glazed; a pencil drawing of an officer of camel back c.1900, signed lower left, 25 x 20cm, framed and glazed; a pencil drawing showing a street scene in Haicheng Japanese Soldiers buying fouls (and so titled), signed lower left, 36 x 25.5cm, unframed; two pencil caricatures including one of Lord Roberts, 11 x 9cm, both together in one period oak frame, glazed; a pencil study a lady drawn by prior during the tour of the Duke and Duchess of York in 1901, with label to verso inscribed 'an original drawing by "Mr Melton Prior" artist who accompanied the "R.H.s The Duke & Duchess of York" on their Tour of the Colonies 1901. Drawn on ... portion of Royal train in Canada, Monday Oct 22nd 01, 17.5 x 11.5cm, framed and glazed; Three volumes of Illustrated London News 1900-01, containing many illustrations by Melton Prior during the Boer War; a portfolio containing 16 pen and ink cartoons by Melton Prior including characterization of Benet Burleigh, Harry Smith and John BoonQty: (a carton)NOTESMelton Prior (1845-1910), was an English artist and war correspondent for the Illustrated London News from the early 1870s until 1904. He was one of the leading illustrators of late of the late Victorian Britain, noted for his ability to quickly sketch scenes. His pencil sketches were sent back to London where they were re-drawn by studio artists and engraved on wood-blocks for printing in the Saturday issues of the Illustrated London News. He also travelled a number of Royal tours including accompanying the Prince of Wales to Canada in 1901. He recorded the fighting against the Carlists in Spain before heading to Eastern Europe sketching in Herzegovina and the Russo-Turkish War, also the Zulu Wars in South Africa (1879-1881), Egypt (1882-85), the Boer War in South Africa (1896-1902), Somaliland 1904 and the Russo-Japanese War 1904-05.

Calligraphy.- Young Clerks Assistant (The); or Penmanship made easy..., engraved throughout with frontispiece signed by G.Bickham, title and 57 plates numbered 3-61 (no plates 55 & 56 as often), with 'A New Drawing Book of Modes by Mons.B.Picart' bound at end comprising decorative title and 11 plates, some numbered and signed by Bickham, rather soiled and stained, contemporary ink signatures to some margins and endpapers (partly erased), one or two small sketches to margins, a few plates with some ink colouring, another torn, contemporary calf, rubbed, Richard Ware, [?1733] § Penman's Instructor (The): or, A Compleat Copy Book..., engraved title, 8pp. letterpress and 11 engraved plates numbered 8-18, title cropped with slight loss to imprint, stitched in original wrappers, printed and sold at Dicey's Printing Office..., [c.1750] § Belch (William) W.Belch's Flourishing Copies, engraved throughout with pictorial title and plates, water-stained, original printed brown wrappers, ink signature of Henry Ball to head of upper wrapper, [c.1820] § Charles Clark's Engraved Alphabets, title and 11 plates, lightly stained, original engraved wrappers, [c.1850], the last three all soiled and stained, slightly creased or frayed at edges, 8vo & oblong 8vo (4)⁂ The three small pamphlets are all rare, the second and fourth are both unrecorded by ESTC and/or WorldCat, and the third appears in WorldCat with one copy only (Columbia University, NY).

Nazi Germany.- [Fearon (Percy Hutton)] "Poy". "Playing the Game", pen and ink cartoon with some blue pencil shading, pencil caption beneath, Hitler is depicted holding a tennis racket on court as Franz von Papen? says 'We have "seeded" you Sir, so that you won't have to meet anyone', with a group of other tennis players marched off in the background by Nazi guards, signed, 1933; "Safety First!", pen and ink cartoon, pencil caption beneath, showing a dog race with Hindenburg winning while riding atop a dog inscribed 'Veteran', with Hitler close behind riding 'Pomeran' and Thalmann last atop 'Alsoran', the world depicted with a giant globe for a head, watches from the sideline, signed, 1932; "The Christmas Spirit is Abroad", pen and ink cartoon with some blue pencil shading, pencil caption below, with Hitler and Pierre Jean-Laval depicted as reindeer drawing Father Christmas through the sky who has a sack of presents 'For Dear Europa' including a 'SAAR settlement', on the rooftops below a sign has been left beside a chimney that reads 'Dere Santa/ I would just/ luv a luvly/ Doll./ Europa', signed, 1934; and 3 others similar, all signed, c. 335 x 264 mm to 294 x 368 mm., (6)

John Wells (British, 1907-2000)Filet dans la Rue Éternelle signed and dated 'John Wells. 1946' (lower right); further signed, titled and dated 'John Wells 1946/Filet dans la rue éternelle.' (on backboard)pen and ink, gouache and crayon on paper13.5 x 21cm (5 5/16 x 8 1/4in).together with a further pen and ink drawing of a cat and a bird, and a linocut print, of the Madonna and Child, both by the same hand(3)Footnotes:Please note that the present lot is offered with a letter from the Artist, from 1950.ProvenanceThe Artist, from whom acquired directly by Trudie Berger, and thence by descent to 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

Sir William Orpen N.E.A.C., R.A., H.R.H.A. (British, 1878-1931)Portrait of Georges Clémenceau signed 'ORPEN' (lower right), titled and dated ''Le Tigre/Clemenceau'/RA.Jan 1930' (upper left)pencil on paper21 x 18.5cm (8 1/4 x 7 5/16in).together with a further pen and ink drawing of a child, by the same hand(2)Footnotes:ProvenanceThe Artist, by whom gifted to the family of the present owner, and thence by descentPrivate Collection, U.K.For further information on this lot please visit Bonhams.com

* Military Album. An album of 71 photographs, possibly some by Aaron Edwin Penley (1806-1870) and others, c. 1857-1859, a total of 71 albumen prints, both mounted and loose including many of military interest including studies of officers both singly and as groups, images 15 x 20 cm and smaller, mounted as multiples on rectos (and some loose), mostly with neat ink captions to mounts, contemporary half roan, broken and disbound, lacking spine, folio (37 x 28 cm)Qty: (1)NOTESPenley, who features in the album, was a painting and drawing master at Addiscombe Military School in Surrey from 1851 to 1861. The photographer Roger Fenton (1816-1869) became a member of Hythe School of Musketry, Kent in 1860. Roger Fenton was a close friend of Charles Lucy, RA, from 1852 onwards and may well have known Penley. Some of the photographs in the album show similarities to Fenton, such as taking two images of landscapes and joining them for panoramic effect. Furthermore, some of the group portraits of young military recruits are arranged in similar fashion to Fenton and it seems quite probable that the photographer was taught photography by Roger Fenton in the late 1850s.

* 16th Regiment of Foot. A cabinet card and carte-de-visite album relating to the Johnson and Austen families with connections to the 16th Regiment of Foot, c. 1860s/1880s, a complete album containing 24 mounted cabinet cards, the middle of the album including 12 albumen prints of family portraits and groupings, an original pencil drawing, possibly of Sappho, 22 x 18 cm, plus 6 photographs of the 16th Regiment of Foot in various groupings and drills, images approximately 20 x 27 cm and similar, the final third of the album with 72 window-mounted cartes de visite including 4 sitters in regimental dress and 36 smaller window-mounted photographic portraits of various families, a few mounts with pen and ink and some watercolour border decorations, some modern pencil identifications of sitters to mounts, contemporary morocco with gilt clasp and key and monogram to upper cover, heavily rubbed, 4to (31 x 23 cm)Qty: (1)

HAROLD RILEY DL Dlitt FRCS DFA AT (born 1934); a pencil signed limited edition print 'Sarah Praying', no. 7/25, 19 x 14cm, framed, and a pencil signed card with ink drawing depicting two figures and a cat, 8 x 15.5cm, unframed. (D)Provenance: both items were gifts to the vendor from Harold Riley's gallery, approx four years ago.Additional InformationMinimal wear to frame, both in good condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Andy Warhol* Christmas Ornament, um 1957 Tuschezeichnung und Dr. Martin's Anilin Farbe auf Papier; gerahmt, 30,2 x 15,5 cm Rückseitig mit den Stempeln des Estate of Andy Warhol und The Andy Warhol Foundation for the Visual Arts sowie der Archiv-Nummer versehen (mit Bleistift): 324.044 Nachlass des Künstlers; The Andy Warhol Foundation for the Visual Arts; Privatbesitz, Deutschland Andy Warhol* Christmas ornament, c. 1957 ink drawing and Dr. Martin's aniline colour on paper; framed, 30.2 x 15.5 cmestate stamp of Andy Warhol and The Andy Warhol Foundation for the Visual Arts on the reverse with the archive number (with pencil): 324.044 from the artist's estate; The Andy Warhol Foundation for the Visual Arts; private property, Germany

Andy Warhol* À la recherche du shoe perdu, ca. 1954 Tuschezeichnung, Tempera auf Papier; gerahmt, 18 x 24 cm Rückseitig mit den Stempeln des Estate of Andy Warhol und The Andy Warhol Foundation for the Visual Arts sowie der Archiv-Nummer versehen (mit Bleistift): 343.180 Nachlass des Künstlers; The Andy Warhol Foundation for the Visual Arts; Privatbesitz, Deutschland Andy Warhol* À la recherche du shoe perdu, c. 1954 ink drawing, tempera on paper; framed, 18 x 24 cmestate stamps of Andy Warhol and The Andy Warhol Foundation for the Visual Arts on the reverse, as well as the archive number (written in pencil): 343.180 from the artist's estate; The Andy Warhol Foundation for the Visual Arts; private property, Germany

David Hockney (born 1937)My Window, Art Edition No. 535, 28th June 2009 iPad drawing in colours, 2009/2019, on archival paper, signed, dated and numbered 126/250 in pencil, the full sheet, in very good condition, within a cream cloth-bound slipcase; together with the accompanying book David Hockney: My Window, signed in black ink on the title page and stamp-numbered 126, from the total edition of 2000, published by Taschen, CologneImage 440 x 293mm. (17 3/8 x 11 1/2in.); Sheet 560 x 432mm. (22 1/8 x 17in.)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

George Lane: Original Artwork for The Motor. Four horizontal format drawings, the largest with image size approximately 7 x 10-inches, all depicting racing cars being driven at speed. Two are on board in mixed media, stamped on the back 'Motor Editorial Dept.', the largest apparently of the driver Peter Skinner in a Skinner Special, and both signed 'lane'. The other black ink drawing on board is in a near square format, and is initialled 'g. l.' In the top left-hand corner. The rather surreal image depicts a close-up of the driver in the foreground with a view of the speedometer, spanner, gear stick, steering wheel, wing mirror and his hands in the background. The last work by Lane is a pencil drawing (signed 'lane') annotated on the reverse 'Albi GP 1946 H.L. Brooke' and dated 17/7/46. All are in good condition, though a little dusty. (4)

Geoffrey Watson (1894-1979): The Fairey-3F Aircraft. A framed , mounted and glazed original watercolour painting of the aircraft in flight, signed by the artist and dated 1930 in the lower right-hand corner. Image size 14 x 17¼-inches (36 x 44cm). Image in good condition, mount grubby. Together with a large (unsigned) original black pen-and-ink drawing on board by the same artist of the Fairey-3F, image size 10½ x 10-inches (26½ x 25.5cm), an etching of three of the aircraft in flight, signed in pencil by the artist in the lower right-hand margin, image size 9½ x 12-inches (24 x 30.5cm), and two large colour prints from paintings by the artist, published by the Gloster Aircraft Co. Ltd., Cheltenham, and depicting The 'Gloster III', Schneider Cup Race, 1925, and The 'Gloster IV', Schneider Trophy Race, 1927. Four items unframed, and all in good condition. (5)  N.B. The glazed item in this lot has cracked

William Neave Parker (British, 1910 - 1961), Original 1940's Pen and Ink Drawing of a Bird and a Fox, being a book illustration for the book ' Domini, the Golden Animals all ' , 21cms x 13.5cms, framed and glazed

Hermann Max Pechstein 1881 Zwickau - 1955 Berlin Schnitter Reihe. 1927. Farbige Kreidezeichnung mit Tuschfeder über Bleistift. Rechts unten signiert und datiert. Unten mittig wohl von fremder Hand betitelt und bezeichnet. Auf Velin (mit Prägestempel). 62 x 49 cm (24,4 x 19,2 in). Unterlagekarton: 62,7 x 49,8 cm (24,7 x 19,6 in). Verso mit dem Fragment der Lithografie 'Fischer mit aufgerollter Leine' (1922, Krüger L381). Krüger schreibt: 'Lag nur noch in zwei Hälften vor, die als Unterlagekarton für Aquarelle oder Zeichnungen dienten' (S. 296). [CH]. • Aus dem Nachlass des Künstlers. • Verso mit dem Fragment der lithografischen Arbeit 'Fischer mit aufgerollter Leine'. • Ab 1927 verbringt Pechstein mehrere Sommer in dem kleinen Dorf Rowe, wo er fernab vom Tourismus ungestört an Darstellungen der pommerschen Landschaft, von Feldarbeitern und alten Fischerhäusern arbeitet. • Eine bedeutende Rowe-Landschaft befindet sich z. B. in den Staatlichen Kunstsammlungen in Dresden. Wir danken Herrn Alexander Pechstein, Max Pechstein Urheberrechtsgemeinschaft, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatsammlung Deutschland. Aufrufzeit: 12.12.2020 - ca. 17.37 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHermann Max Pechstein 1881 Zwickau - 1955 Berlin Schnitter Reihe. 1927. Colored chalk drawing with India ink. Lower right signed and dated. Titled and inscribed in bottom center, presumably by a hand other than that of the artist. On wove paper (with embossing stamp). 62 x 49 cm (24.4 x 19.2 in). Backing board: 62,7 x 49,8 cm (24,7 x 19,6 in). Verso with fragments of the lithograph 'Fischer mit aufgerollter Leine' (1922, Krüger L381). Krüger notes: 'Preserved in two halves that served as backing for watercolors or drawings ' (p. 296). [CH]. • From the artist's estate. • Verso with the fragment of the lithograph 'Fischer mit aufgerollter Leine'. • From 1927 on, Pechstein spent several summers in the small village of Rowe, where, far away from tourism, he worked undisturbed on depictions of the Pomeranian landscape, of field workers and old fishermen's houses. • A significant Rowe landscape is in the State Art Collections in Dresden. We are grateful to Mr Alexander Pechstein, Max Pechstein Urheberrechtsgemeinschaft, for his kind expert advice. PROVENANCE: From the artist's estate. Private collection Germany. Called up: December 12, 2020 - ca. 18.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Eduardo Chillida 1924 San Sebastián - 2002 San Sebastián Ohne Titel. 1990. Collage und Tusche auf Papier. Rechts unten signiert. 26,5 x 24 cm (10,4 x 9,4 in), Blattgröße. [SM]. • Chillida durchbricht die zweidimensionalen Grenzen der Zeichnung. • In überlagernden Papierschichten und Tinte werden in strenger vertikaler und horizontaler Ausrichtung Räume geschaffen. • Die Papierarbeiten sind ungleich zarter und feinsinniger als seine monumentalen Plastiken. Das Werk ist im Museo Chillida-Leku, Hernani, unter der Nummer CH-90/C-3 registriert. PROVENIENZ: Galería Antonio Machón, Madrid. Privatsammlung (beim Vorgenannten erworben). Privatsammlung Berlin (seit 2007). LITERATUR: Sotheby's London, Auktion 22.6.2007, Lot 178. Aufrufzeit: 11.12.2020 - ca. 14.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONEduardo Chillida 1924 San Sebastián - 2002 San Sebastián Ohne Titel. 1990. Collage and India ink on paper. Signed in lower right. 26.5 x 24 cm (10.4 x 9.4 in), size of sheet. [SM]. • Chillida breaks the two-dimensional limits of the drawing. • The artist creates spaces through superimposed paper layers and ink in strictly vertical and horizontal alignment. • His paper works are both more gentle and more subtle than his monumental sculptures. The work is registered at the Museo Chillida-Leku, Hernani, with the number CH-90/C-3. PROVENANCE: Galería Antonio Machón, Madrid. Private collection (acquired from aforementioned). Private collection Berlin (since 2007). LITERATURE: Sotheby's London, auction June 22, 2007, lot 178. Called up: December 11, 2020 - ca. 14.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Henri Michaux 1899 Namur (Belgien) - 1984 Paris Peinture mescalinienne. 1956. Mischtechnik. Gouache und Ölfarbe. Rechts unten signiert. Auf leichtem Karton (mit angeschnittenem Wasserzeichen). 49,8 x 32,2 cm (19,6 x 12,6 in), Blattgröße. [CH]. • Seit 30 Jahren Teil der Sammlung Haniel. • Michaux unternimmt erstmals im Jahr 1956 Experimente mit dem Rauschmittel Meskalin und hält die Erfahrungen literarisch, malerisch und zeichnerisch fest. • Die vorliegende Arbeit ist eine der seltenen Werke aus der 'Mescaline'-Serie, in der Michaux statt Tusche Gouache- und Ölfarben einsetzt (eine dieser sehr seltenen Arbeiten mit gleichem Titel befindet sich im Centre Pompidou, Paris). • Für den Dichter Michaux ist die Malerei ein Mittel, um das sichtbar zu machen, was er nicht mehr in Worte zu fassen vermag. • Farbige Zeichnungen dieser Größe werden auf dem internationalen Auktionsmarkt sehr selten angeboten. Die vorliegende Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis von Micheline Phankim, Rainer Michael Mason und Franck Leibovici aufgenommen. Wir danken für die freundliche Beratung. PROVENIENZ: Galerie Fred Jahn, München. Sammlung Haniel, Duisburg (1990 vom Vorgenannten erworben). AUSSTELLUNG: Henri Michaux, Galerie Di Meo, Paris, 9.10.-22.11.1987, S. 55, Kat.-Nr. 17 (mit Abb.). Henri Michaux, Galerie Fred Jahn, München, 26.11.1987-23.1.1988 (mit Abb. auf dem Umschlag des Ausst.Kat.). Henri Michaux. Momente, Kunstmuseum Winterthur, 7.9.-24.11.2013, S. 105, Kat.-Nr. 46 (mit Abb.). LITERATUR: Franz Haniel & Cie. GmbH (Hrsg.), Die Sammlung Haniel, Duisburg 2010, S. 56f. (mit ganzseitiger Farbabb.). Franck Leibovici, Henri Michaux, Voir (une enquête), Paris 2014, S. 253, Kat.-Nr. 258. Der Maler und Zeichner Henri Michaux gilt als einer der wenigen Peintre-Poètes, in seinem malerischen wie literarischen Werk wird er zum Erforscher menschlicher Innenwelten. Als Michaux im Jahr 1924 nach Paris kommt, lernt er zunächst die Malerei von Paul Klee, dann jene von Max Ernst und Giorgio de Chirico kennen. Er beginnt seine eigene Kunst zu entwickeln und bleibt ein Suchender, stets in Auseinandersetzung mit den Grenzen von Sprache, Schrift und malerischem Zeichen. Das Experimentieren mit Halluzinogenen, insbesondere mit Meskalin, ist in der bildenden Kunst wie in der Literatur durchaus üblich gewesen, immer wieder haben Künstler bewusstseinserweiternde Erfahrungen auch unter Zuhilfenahme von Rauschmitteln zu erlangen versucht. Michaux unternimmt erstmals im Jahr 1956 Experimente mit dem Rauschmittel und hält die Erfahrungen literarisch, malerisch und zeichnerisch fest. Die vorliegende monumentale Form auf Papier zeigt eine strenge, konstruktive Komposition. Es sind weniger skripturale Zeichen, als sie seine Tuschezeichnungen dieser Zeit prägen. Ein wie ein Kanal anmutender vertikaler Strang bleibt nach oben und unten geöffnet, und auch die horizontal anknüpfenden Seitenstränge scheinen lediglich einen Ausschnitt eines sich weiter ausdehnenden Prinzips wiederzugeben. Für den Dichter Michaux ist die Malerei ein Mittel, um das sichtbar zu machen, was er nicht mehr in Worte zu fassen vermag: 'Ich male, um die Worte hinter mir zu lassen', formuliert er selber. Ihn interessiert stets die Welt hinter den Dingen, das Unbewusste, eine Daseinsform fern von der Ratio. Hier scheint es die grundlegende Ordnung von Vertikaler und Horizontaler zu sein, der sein Hauptinteresse gilt. Auch eine Assoziation an die menschliche Wirbelsäule mit Rippenbögen liegt nahe. [MvL] Aufrufzeit: 11.12.2020 - ca. 14.54 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHenri Michaux 1899 Namur (Belgien) - 1984 Paris Peinture mescalinienne. 1956. Mixed media. Gouache and oil-based paint. Signed in lower right. On light board (with truncated watermark). 49.8 x 32.2 cm (19.6 x 12.6 in), size of sheet. [CH]. • Part of the Collection Haniel for 30 years. • Michaux experimented with mescaline for the first time in 1956 and captured the experiences in literature, painting and drawing. • The present work is one of the rare works from the 'Mescaline' series in which Michaux uses gouache and oil colors instead of Indian ink (one of these very rare works with the same title is at the Center Pompidou, Paris). • For the poet Michaux, painting is a means to visualize what can’t be put into words. • Color drawings of this size are very rarely offered on the international auction market. This work will be included in the ongoing catalogue raisonné by Micheline Phankim, Rainer Michael Mason and Franck Leibovici. PROVENANCE: Galerie Fred Jahn, Munich. Collection Haniel, Duisburg (acquired from aforemtnioned in 1990). EXHIBITION: Henri Michaux, Galerie Di Meo, Paris, October 9 - November 22, 1987, p. 55, cat. no. 17 (with illu.). Henri Michaux, Galerie Fred Jahn, Munich, November 26, 1987 - January 23, 1988 (with illu. on wrapper of ex. cat.). Henri Michaux. Momente, Kunstmuseum Winterthur, September 7 - November 24, 2013, p. 105, cat. no. 46 (with illu.). LITERATURE: Franck Leibovici, Henri Michaux, Voir (une enquête), Paris 2014, p. 253, cat. no. 258. Called up: December 11, 2020 - ca. 14.54 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Lyonel Feininger 1871 New York - 1956 New York Marienkirche in Wismar. 1952. Aquarell und Tuschfederzeichnung. Links unten signiert und datiert. Auf Bütten. 31,5 x 24,2 cm (12,4 x 9,5 in), blattgroß. [SM]. • Rückgriff auf bekannte Motive nach den 'Natur-Notizen' des Künstlers, die symbolhaft für das Spätwerk des Künstlers stehen • Das Wahrzeichen von Wismar in der typischen Formensprache Feiningers. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1669-09-07-20 registriert ist, bestätigt. PROVENIENZ: Marlborough Gallery, New York. Kunsthaus Bühler, Stuttgart (auf der Rahmenabdeckung mit dem Etikett). Süddeutsche Privatsammlung (Anfang der 1970er Jahre beim Vorgenannten erworben). Aufrufzeit: 12.12.2020 - ca. 18.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Marienkirche in Wismar. 1952. Watercolor and India ink drawing. Signed and dated in lower left. On laid paper. 31.5 x 24.2 cm (12.4 x 9.5 in), the full sheet. [SM]. • In this work Feiniger revisits a motif after his famous 'Natur-Notizen', which are of symbolic importance for the artist's late period of creation. • The Wismar landmark in Feininger's signature style. Achim Moeller, director of the Lyonel Feininger Project LLC, New York – Berlin, has confirmed this work's authenticity. It is registered at the archive of the Lyonel Feininger Project with the number 1669-09-07-20. PROVENANCE: Marlborough Galerie, New York, Kunsthaus Bühler, Stuttgart (with a label on the frame) Private collection Southern Germany (acquired from aforementioend in the early 1970s). Called up: December 12, 2020 - ca. 18.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Lyonel Feininger 1871 New York - 1956 New York Under Shortened Sail. 1937. Aquarell und Tuschfederzeichnung. Links unten signiert, rechts unten datiert sowie unten mittig betitelt. Auf Bütten. 31 x 48 cm (12,2 x 18,8 in), Blattgröße. • Entsteht im selben Jahr, als 387 Werke Feiningers in deutschen Museen beschlagnahmt werden und Feininger endgültig nach Amerika ausreist. • Das Aquarell und dessen Darstellung der Weite des Meeres, konträr zu dem kleinen Segelboot unter deutscher und amerikanischer Flagge, steht sinnbildhaft für seine neue Lebenssituation. • Feiningers kristalline Seestücke erfreuen sich auf dem internationalen Auktionsmarkt gleichbleibend großer Beliebtheit. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York-Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 237-09-22-08 registriert ist, bestätigt. PROVENIENZ: Arthur U. Hooper, Baltimore. Gimpel Weitzenhoffer, New York (auf der Rahmenabdeckung mit dem Etikett). Sammlung Helen W. Benjamin, New York. Sammlung Mary B. Arnstein, USA. Privatsammlung Deutschland. AUSSTELLUNG: Meister der klassischen Moderne, Haus Beda, Bitburg, 29.9.-27.10.2013, Nr. 9. Lyonel Feininger. Ein Meister am Bauhaus, Galerie Schwarzer, Düsseldorf 2010 (Ausst.-Kat. mit Abb.). 'Ich habe die mir adequate Bildform gefunden, um meine innerste Liebe und Sehnsucht auszudrücken und mein Bedürfnis für Klarheit und Raum zu befriedigen […].' Lyonel Feininger an O. Marcus, 15. September 1941, zit. nach: Haus der Kunst München, Lyonel Feininger 1871-1956, München 1973, S. 14. Im Juni 1937 verlässt Feininger mit seiner Frau Julia Deutschland. Lange hatten sie gezögert, doch wurden die Anfeindungen der Nazis so stark, dass sie sich wie viele andere zu diesem Schritt gezwungen sehen. Im Juli desselben Jahres startet die Austellung 'Entartete Kunst', in der auch Werke von Lyonel Feininger diffamiert werden, zuvor werden 378 seiner Werke aus deutschen Museen beschlagnahmt. Trotz der immer brenzliger werdenden politischen Situation in Deutschland, die nur eine Konsequenz zulässt, fällt Feininger der Neustart in Amerika schwer. Mit 16 Jahren hatte er sein Geburtsland verlassen und sein junges Erwachsenenleben in Europa verbracht. Hier wird er am Bauhaus zu einer der tragenden Künstlerpersönlichkeiten der modernen Kunst. Zum einen ist Feininger erleichtert, in einem Land leben zu können, in dem er künstlerisch frei arbeiten kann. Jedoch bedeutet dies auch einen Neuanfang bei fast null. In einem Brief an Galka Scheyer schreibt er einige Monate nach seiner Ankunft: 'In Deutschland ist alles vorbei für uns, und hier hat noch nichts richtig begonnnen.' (zit nach: Peter Selz, Lyonel Feiningers Rückkehr nach Amerika, in: Lyonel Feininger. Von Gelmeroda nach Manhatten, Ausst.-Kat. Staatliche Museen zu Berlin/Haus der Kunst München, 1998, S. 348). Es entstehen zunächst auffallend viele Bilder mit Schiffsmotiven, in Öl malt Feininger erst 1939 wieder verstärkt. Im November 1937 entsteht das Aquarell mit der für Feininger so typischen Tuschezeichnung mit dem Titel 'Under Shortened Sail'. Diese Schiffe in allen Variationen sind charakteristisch für sein künstlerisches Werk. Sie verbinden auf besondere Weise die Hauptstränge im bildnerischen Denken Feiningers: das Romantische und das Technisch-Konstruktive. Auch in seinem amerikanischen Spätwerk sind die nautischen Motive fest verankert. Doch vollzieht sich in dieser Phase noch einmal ein entscheidender Stilwandel: Das Kubisch-Räumliche ist dem Flächenhaften gewichen, das Malerische wird vom Grafischen abgelöst. So wird der Spätstil Feiningers entsprechend auch als 'grafische Periode' bezeichnet. Die vorliegende Arbeit verdeutlicht präzise die Merkmale der späten Schaffensphase. Die Klarheit der Formen und das Fehlen von Figurenstaffage sind ebenso kennzeichnend wie der sparsame Einsatz von Farben zur Unterstützung der linearen Komposition. Dabei beherrscht es Feininger meisterhaft, die geradlinig-strengen Formen mit Leichtigkeit und Bewegung zu füllen. Es trägt die melancholische Stimmung dieser Zeit, an einem trüben grauen Tag schippert das Schiff mit gedrosselter Kraft voran. Bereits seit Caspar David Friedrichs Werk 'Lebensstufen' steht das Segelschiff sinnbildlich für die Reise des Leben, diese romantische Interpretation kann sicherlich auch für 'Under Shortened Sail' gelten. In seinem letzten Lebensabschnitt ist Feininger noch einmal gezwungen, sich in einer neuen Welt zu behaupten. Dies geht er an, wenn auch nicht mehr mit der ungestümen Kraft eines jungen Künstlers. Er greift auf bereits gefundene Stilmittel und alte Motive zurück, er arbeitet mit unverminderter Kreativität weiter und erschafft ein beeindruckendes vielgestaltiges Spätwerk. [SM] Aufrufzeit: 11.12.2020 - ca. 18.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Under Shortened Sail. 1937. Watercolor and India ink drawing. Lower left signed, lower right dated and titled in bottom center. On laid paper. 31 x 48 cm (12.2 x 18.8 in), size of sheet. • Made the year that 387 works by Feininger were removed from German museums and the artist's return to the USA. • The watercolor and its depiction of the sea's vastness contrary to the small boat sailing under German and American flag is very symbolic of the new situation in his life. • Feininger's crystalline seascapes are particularly sought-after on the international auction market. Achim Moeller, director of the Lyonel Feininger Project LLC, New York-Berlin, has confirmed this work's authenticity, it is registered in the archive of the Lyonel Feininger Project under the number 237-09-22-08. PROVENANCE: Arthur U. Hooper, Baltimore. Gimpel Weitzenhoffer, New York (with label on frame). Collection Helen W. Benjamin, New York. Collection Mary B. Arnstein, USA. Private collection Germany. EXHIBITION: Meister der klassischen Moderne, Haus Beda, Bitburg, September 29 - October 27, 2013, no. 9. Lyonel Feininger. Ein Meister am Bauhaus, Düsseldorf 2010 (ex. cat. with illu.). Called up: December 11, 2020 - ca. 18.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Gelber Sonnenhut. Um 1965. Farbige Kreidezeichnung und Tuschpinsel. Rechts unten signiert. Auf chamoisfarbenem Bütten. 40 x 54 cm (15,7 x 21,2 in), blattgroß. [JS]. • Luftig-leuchtende Komposition, die durch den außergewöhnlich zoomartigen Bildausschnitt ein expressives Farb- und Formenspiel von nahezu abstrakter Wirkung entfaltet • Charakteristische Bildsprache des Expressionisten, die sich durch das Spannungsverhältnis aus schwarzer Kontur und luftig gesetzten Farbwerten auszeichnet • Aus dem Besitz der Familie des expressionistischen Künstlerkollegen Otto Mueller, seither in Familienbesitz. Die Arbeit ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin, dokumentiert. Wir danken Frau Christiane Remm für die freundliche Beratung. PROVENIENZ: Josef Mueller-Herbig, Karlsruhe/Lübeck (Sohn Otto Muellers, 1968 als Geschenk des Künstlers zur Geburt seiner Tochter, Otto Muellers Enkelin, erhalten. Seither in Familienbesitz). Aufrufzeit: 12.12.2020 - ca. 18.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Gelber Sonnenhut. Um 1965. Chalk drawing and India ink drawing. Signed in lower right. On creme laid paper. 40 x 54 cm (15.7 x 21.2 in), the full sheet. [JS]. • Airy bright composition, which, owing to the close-up depiction, unfolds an expressive play of forms and colors that almost has an abstract effect • Typical expressionistic depiction characterized by a fascinating interplay of black contours and airy colors • Family-owned since making. The work is registered at the archive of the Karl and Emy Schmidt-Rottluff Foundation Berlin. We are grateful to Mrs Christiane Remm for her kind support in cataloging this lot. PROVENANCE: Family of Otto Mueller, Berlin (in 1968 obtained as present from the artist in on occassion of the birth of Mueller's granddaughte, ever since family-owned). Called up: December 12, 2020 - ca. 18.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Henri Michaux 1899 Namur (Belgien) - 1984 Paris I 61. 1965. Tuschpinselzeichnung. Rechts unten sowie links oben monogrammiert. Verso datiert und betitelt sowie mit der Richtungsanweisung und einem Richtungspfeil bezeichnet. Auf Velin von BFK Rives (mit dem Trockenstempel). 75 x 105 cm (29,5 x 41,3 in), Blattgröße. [CH]. • Seit 45 Jahren in schweizerischem Privatbesitz. • Aus Michaux’ bedeutender Werkserie der 'Encre de Chine'-Bilder. • Großformatiges Zeugnis seiner Faszination für asiatische Kalligrafie, insbesondere für chinesische Ideogramme. • Weitere Arbeiten dieser Werkserie befinden sich u. a. im Städel Museum in Frankfurt am Main, in der Londoner Tate, im Guggenheim Museum in New York und im Centre Georges Pompidou in Paris. Die vorliegende Arbeit ist in den Archives Henri Michaux, Paris, verzeichnet. PROVENIENZ: Galerie Le Point Cardinal, Paris. Erker-Galerie, St. Gallen. Privatsammlung Schweiz (1975 vom Vorgenannten erworben). AUSSTELLUNG: Henri Michaux, Erker-Galerie, St. Gallen, 7.7.-7.9.1974. Aufrufzeit: 11.12.2020 - ca. 14.47 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHenri Michaux 1899 Namur (Belgien) - 1984 Paris I 61. 1965. Brush and India ink drawing. Monogrammed in lower right and upper left. Verso dated and titled as well as inscribed with direction instructions and a direction arrow. On wove paper by BFK Rives (with blindstamp). 75 x 105 cm (29.5 x 41.3 in), size of sheet. [CH]. • In private Swiss ownership for 45 years. • From Michaux's important series of 'Encre de Chine' pictures. • Large format testimony to his fascination for Asian calligraphy, especially for Chinese ideograms. • Further works from this series are at, among others, the Städel Museum in Frankfurt am Main, the London Tate, the Guggenheim Museum in New York and the Center Georges Pompidou in Paris. PROVENANCE: Galerie Le Point Cardinal, Paris. Erker-Galerie, St. Gallen. Private collection Switzerland (acquired from aforementioned in 1975). EXHIBITION: Henri Michaux, Erker-Galerie, St. Gallen, July 7 - September 7, 1974. Called up: December 11, 2020 - ca. 14.47 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Andy Warhol 1928 Pittsburgh - 1987 New York Sam sitting. Um 1955. Tuschzeichnung. Verso mit dem Nachlassstempel sowie dem Stempel der Andy Warhol Foundation for the Visual Arts, New York, und der handschriftlichen Bezeichnung 'AR 421.011'. Auf Velin. 49 x 32,5 cm (19,2 x 12,7 in), Blattgröße. [EH]. • Andy Warhol ist ein herausragender Zeichner. • Porträt einer der Katzen des Künstlers. • Mit einem leichten Tatzenabdruck der Dargestellten. Aufrufzeit: 11.12.2020 - ca. 16.07 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Sam sitting. Um 1955. India ink drawing. Verso with the estate stamp, the stamp of the Andy Warhol Foundation for the Visual Arts, New York, and the hand-written inscription 'AR 421.011'. On wove paper. 49 x 32.5 cm (19.2 x 12.7 in), size of sheet. [EH]. • Andy Warhol is an outstanding graphic artist. • Portrait of one of the artist's cats. • With a slight paw imprint from the sitter. Called up: December 11, 2020 - ca. 16.07 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Hermann Max Pechstein 1881 Zwickau - 1955 Berlin Junge Frau mit Haarschleife. 1924. Farbige Kreidezeichnung mit Tuschfeder. Rechts unten signiert und datiert. Auf dem Unterlagekarton verso von fremder Hand betitelt. Dort mit dem Nachlassstempel. Auf Velin. 49,5 x 39,5 cm (19,4 x 15,5 in), Blattgröße. Unterlagekarton: 55,8 x 44,7 cm (22 x 17,6 in). [CH]. • Aus dem Nachlass des Künstlers. • Farbkräftige Zeichnung mit fast karikatureskem Charakter. • Mit der Verzerrung der Figur, der außergewöhnlichen Farbigkeit und der in Schräglage versetzten Perspektive löst Pechstein die Darstellung vom eigentlichen Motiv. Wir danken Herrn Alexander Pechstein, Max Pechstein Urheberrechtsgemeinschaft, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatsammlung Deutschland. Aufrufzeit: 12.12.2020 - ca. 17.45 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHermann Max Pechstein 1881 Zwickau - 1955 Berlin Junge Frau mit Haarschleife. 1924. Colored chalk drawing with India ink. Lower right signed and dated. Titled by a hand other than that of the artist on verso of the backing board. There with the estate stamp. On wove paper. 49.5 x 39.5 cm (19.4 x 15.5 in), size of sheet. Backing board: 55,8 x 44,7 cm (22 x 17,6 in). [CH]. • From the artist's estate. • Brightly colored drawing with an almost caricature character. • With the distortion of the figure, the unusual colors and the inclined perspective, Pechstein detaches the representation from the actual motif. We are grateful to Mr Alexander Pechstein, Max Pechstein Copyright Society, for his kind expert advice. PROVENANCE: From the artist's estate. Private collection Germany. Called up: December 12, 2020 - ca. 17.45 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

John Piper C H (British 1903 - 1992) Drop Curtain Loxford signed 'John Piper (lower left), indistinctly signed to the reverse and inscribed 'John Piper: Drawing for Act Drop 'Albert Herring' opera by Benjamin Britten' ink, watercolour, gouache and charcoal on paper. Tate Gallery label verso for the John Piper exhibition 1984. 38cm x 49cmProvenance: From the private family collection at Harewood House. To be sold on behalf of the 7th Earl of Harewood's Will TrustARR may apply to this lot. - Condition Report

Fiona Scott, Country Scene, with field and village in distance, pastel, signed and dated 1983, lower right, 19 x 29cm; M.B.W. 'Old Guernsey Farmhouse', limited edition etching 41/75 and a humorous pen and ink drawing. (3)

MILEIN COSMAN (1921-2017). ARR. THE CONDUCTOR. PENCIL SIGNED AND INSCRIBED SOFT GROUND ETCHING. 15 x 11cms. TOGETHER WITH A 20th.C. PEN AND INK DRAWING OF TWO LADIES TAKING TEA BY ANOTHER HAND AND A DECORATIVE PRINT. SIZES VARY (3).

STEPHEN J. DARBISHIRE (b. 1940). ARR. A BIRD OF PREY. SIGNED PEN AND INK DRAWING. 32 x 43cms.

A CHINESE COLOUR TINTED INK PAINTING DEPICTING THE VIEW FROM THE TOP OF A GORGE DOWN TO A FIGURE BY A BOAT. 32 x18cms. TOGETHER AN INK DRAWING OF A ROCK. 24 x 30cms.

Susie Perring (British, b.1945). 'Jack of Diamonds', watercolour pen and ink on paper. Signed, titled and dated verso. Image size 21.3 x 15cm. Susie is drawn to quiet places in nature. Sunlit trees, reflections in ponds and deep water; wild creatures and plants; these are her subjects. Often, her work is imbued with a wry humour - in an animal's expression or a pun in the title. Apart from experimenting with watercolours recently, she works almost entirely in aquatint, creating tones on the printing plate rather than drawing lines. She uses multiple plates to create darker tones on the plate to contrast with the bright colours of the subjects. Susie studied at the London College of Printing in the 60's and worked as a graphic designer until the 80's, when became a full time artist. Her work is in many galleries and she has completed several commissions for cruise chips. Her work is often in exhibitions, including the RA Summer Show. www.susieperring.com. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

Alan Cotton (British). '6 of Diamonds / Welcome to the 6 Diamonds Inn'. Ink drawing on paper. Alan Cotton is one of Britain's most distinctive Landscape Painters. He has been represented internationally by Messum's Fine Art in Cork Street London for the past twenty years, where his annual exhibitions have frequently sold out.Alan writes, As a child and a young man I was deeply affected by those paintings I saw, where images were conveyed with a sensuous use of paint and the physical surface of the work had the power to excite. As a student and when I first painted on my own I began to experiment by using pigment in quantity, and to explore it’s potential for making a huge variety of textures and marks and allowing me to convey my feelings about landscape. It was then that I took to using painting knives.Alan has painted in many countries. His distinctive paintings are laid on to canvas with painting knives and working with rich impasto pigments, he takes us from the searing yellows and crimsons of the Mediterranean to the cool greens and blues of Ireland and from the sun bleached square in Marrakech at midday to the shimmering reflections of the old Fish Market in Venice. Each painting is distinctively a 'Cotton' yet the variation and contrast gives each one its own identity, what he calls A Sense of Place.Writing about his work the Artist says the painting process is always a voyage of discovery. With each new work you should be thrilled with the prospect of actually applying the paint and discovering where you are going, not only with the combination of colours and range of marks, but with the tapestry of the surface which allows you to convey the idea which inspired you and set you off on the path.In 2006 Alan was awarded an Honorary Doctorate (D.Litt) by the University of Exeter for his 'outstanding contribution to the Arts' and in 2011 the Senate of the University of Bath conferred on Alan the position of Honorary Professor of Arts. In 2019 the University made him an Honorary Doctor of Arts, conferred on him by the Chancellor, HRH The Earl of Wessex.www.alancotton.co.uk. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.

JOSEF LADA 1887 - 1957: WINTER 1941 Ink, watercolour, gouache on cardboard In frame 37,5 x 59 cm Signed: Upper right "Jos. Lada 41" Josef Lada established himself as undoubtedly one of the most important painters of the Czech countryside. Recognized as a typical figuralist in the 1940s, Lada also more often focused on village motifs with almost or no figural staff and sought the optimal position of expression between drawing and painting. Josef Lada sticks to his linear stylization and translates landscape motifs into simple characters, from which he composes a new pictorial reality. Lada's original painting, in which he fully applied his drawing experience, significantly enriched the expressive register of contemporary Czech landscape painting. The artistic conception of the presented work, characterized by particularly fine contours and a more pronounced application of the painter's handwriting, is characteristic of the period of the 1940s, when Lada's painting reached its peak phase. The arrangement of the composition, the drawing stylization, the method of coloring and the type of signature coincide with the documented originals from the given period. Thanks to his uniqueness of the manuscript, Josef Lada became one of the icons of Czech fine art, and the Czech winter in the countryside is often referred to as "Ladovská."The work comes from the restitution of the National Gallery and an expert assessment is written on itby PhDr. Pavla Pečinková, CSc.Published: Olič, J .: Lada, Slovart 2008, p. 499. Exhibited by: NG - Heritage of Folk Art in Czech and Slovak Painting, in the Karlovy Vary Art Gallery, inventory label of the National Gallery K33910.

LIBOR FÁRA 1925 - 1988: RHYTHM - LOVERS 1958 Ink, paper 58,5 x 38,5 cm Signed: Lower right "Fára 20/1/58" At the exhibition of the Máj 57 art association, Libor Fára exhibited simplistic still lifes and thus continued the pre-war modernity without quoting anyone in particular. In his paintings, still thematically related to poetism and formally drawing in part from cubism, purist austerity appears as a counterweight to his previous surrealist period. This sphere also includes the sketch Rytmus - Lovers, which underwent greater processing on canvas in the same year. Double sided drawing.