Artist: Tsukioka Yoshitoshi (Japanese, 1839-1892). Title: "Study for Woodcut #09". Medium: Pen and ink drawing. Date: Composed c1880s. Dimensions: Overall size: 10 3/4 x 7 3/8 in. (273 x 187 mm). Image size: 9 7/8 x 6 in. (251 x 152 mm).Lot Note(s): Translucent Gampi (Washi/Rice/Mulberry) paper affixed at the corners to a semi-opaque, handmade, laid paper. Composed with black and cinnebar inks. Very good condition; the black spots visible on the jpg are on the support sheet, not the drawing, the Gambi paper being translucent. Provenance: Wittenborn Art Books, New York City. Comment(s): Drawings by Yoshitoshi are very scarce. This drawing came from a hand bound album of drawings and sketches, with Yoshitoshi’s name and date inscribed, not in his hand, on the first leaf (please see images). The date is written “the 27th year of Meiji period, Oct. 10th.” The 27th year of the Meiji is the year 1894, two years after the Artist’s death. The album is hand bound and had many blank pages. In addition, the final non-blank pages are colored around the drawings with cinnabar, clearly by the artist. Hence while the album could have been assembled after his death, the more likely probability is that it was bound by the Artist and became a working album, which he continually added to over the years. He is also known as Taiso Yoshitoshi, Yoshitoshi Taiso, and Tsukioka Kinzaburo Yoshitoshi. [25338-2-600]
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Artist: Philip Guston (Canadian-American, 1913 - 1980). Title: "Untitled". Medium: Charcoal and ink drawing on paper. Date: Composed 1968. Dimensions: Overall size: 8 1/4 x 11 1/8 in. (210 x 283 mm).Lot Note(s): Signed and dated, lower right. Light cream wove paper. Very good to fine condition; minor creasing upper right, away from image, else fine. Comment(s): Guston was a painter and printmaker in the New York School, which included many of the abstract expressionists, such as Jackson Pollock and Willem De Kooning. In the late 1960s Guston helped to lead a transition from abstract expressionism to neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. [29811-2-16000]
![Artist: Italian School [17th-18th century]. Title: "Triumph of Venus". Medium: Pen and ink with pencil drawing. Date: Compose](https://cdn.globalauctionplatform.com/8b247141-b41d-4179-bb4c-ac1d01539cbf/cf4a300a-b622-4118-a4cc-ac4e01564ccf/468x382.jpg)
Artist: Italian School [17th-18th century]. Title: "Triumph of Venus". Medium: Pen and ink with pencil drawing. Date: Composed c1680-1720?. Dimensions: Overall size: 4 1/4 x 5 3/4 in. (108 x 146 mm). Image size: 4 1/8 x 5 3/8 in. (105 x 137 mm).Lot Note(s): Cream laid paper. Fair condition with foxing and staining recto and verso. [24543-1-225]
Artist: Tsukioka Yoshitoshi (Japanese, 1839-1892). Title: "Study for Hanging Scroll #01". Medium: Pen and ink drawing. Date: Composed c1870s. Dimensions: Overall size: 10 3/4 x 7 1/2 in. (273 x 190 mm). Image size: 7 3/8 x 5 3/4 in. (187 x 146 mm).Lot Note(s): Translucent Gampi (Washi/Rice/Mulberry) paper affixed at the corners to a semi-opaque, handmade, laid paper. Very good condition; minor folding lower right corner, no broken paper fibers. Provenance: Wittenborn Art Books, New York City. Comment(s): Drawings by Yoshitoshi are very scarce. This drawing came from a hand bound album of drawings and sketches, with Yoshitoshi’s name and date inscribed, not in his hand, on the first leaf (please see images). The date is written “the 27th year of Meiji period, Oct. 10th.” The 27th year of the Meiji is the year 1894, two years after the Artist’s death. The album is hand bound and had many blank pages. In addition, the final non-blank pages are colored around the drawings with cinnabar, clearly by the artist. Hence while the album could have been assembled after his death, the more likely probability is that it was bound by the Artist and became a working album, which he continually added to over the years. He is also known as Taiso Yoshitoshi, Yoshitoshi Taiso, and Tsukioka Kinzaburo Yoshitoshi. [24502-2-400]
Robert Motherwell (American, 1915-1991)Untitled Black on White Drawing #2 1967 signed and dated 67ink on paper37 by 29.5 cm.14 9/16 by 11 5/8 in.Footnotes:This work will be included in the forthcoming catalogue raisonné of drawings currently being prepared by the Dedalus Foundation.ProvenanceDedalus Foundation, New York Bernard Jacobson Gallery, London (RM12968)Hillsboro Fine Art, DublinAcquired directly from the above by the present ownerExhibitedRijeka, Moderna Galerija, I Međunarodna izložba originalnog crteža=I Exposition internationale de dessins originaux, 1968London, Bernard Jacobson Gallery, Robert Motherwell: Works on Paper, 2011For further information on this lot please visit Bonhams.com
Edward Dodwell (Dublin 1767-1832 Rome)The Parthenon, Athens signed with initials, inscribed and dated 'ED. Cam: O. orig 1805' (lower right)pen, ink and watercolour on paper36.5 x 53.7cm (14 3/8 x 21 1/8in).Footnotes:Dodwell's inscription refers to the fact that he used a camera obscura in making this drawing which would have helped him with an accurate depiction of the architecture as well as with perspective.For further information on this lot please visit Bonhams.com
*John Piper CH (1903-1992) Still Life with a Gargoyle, circa 1981 signed upside down u.l., titled verso, pen and ink, watercolour and gouache 56 x 78.5cm Provenance: Sir David Tang, Hong Kong The dark colours and bold juxtaposition of foreground subjects can be found in several works executed in the early 1980s - a period when Piper experimented with new compositions, drawing from his existing painting and work in other media, such as photography and ceramics. The sculpted head relates to similar female forms found notably in 'Girl’s head with flowers' (1981) and 'A Window at North Moreton' (1982), which both introduce a woman’s face into the artist’s more familiar subject matter. Similar dog-like gargoyles appear in one of Piper’s photographs now held at the Tate Gallery, (ref: TGA 8728/1/21/115), while the background figures are drawn from a large screenprint, 'Eye and Camera: Blue to Ochre' (c.1977), also at the Tate. For further details and illustration of related work in this period, see D F Jenkins and H Fowler-Wright, 'The Art of John Piper' (Unicorn/Portland Gallery: 2016, pp.397-400). *Artist's Resale Right may apply to this lot.
LÉONARD TSUGUHARU FOUJITA (1886-1968)Tour Eiffel signed 'Foujita' (lower centre)pen and ink on paper21 x 15.5cm (8 1/4 x 6 1/8in).Executed in 1957Footnotes:The authenticity of this work has kindly been confirmed by Madame Sylvie Buisson.ProvenanceSuccession Kimiyo Foujita, Paris; her sale, Cornette de Saint Cyr, Paris, 23 October 2012, lot 318.Acquired at the above sale by the present owner.This work is a preparatory study for a drawing of the same name (Buisson, no. 57.85). 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
Robert Henderson Blyth, RSA RSW (British, 1919-1970)War Drawing signed and dated 'R Henderson Blyth 44' (lower left)ink and watercolour26 x 36 cm. (10 1/4 x 14 3/16 in.)a run of 5 similar, some signed (5)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
British School (17th Century)Presentation drawing of the west front of Holyroodhouse ink and coloured wash42.5 x 66 cm. (16 3/4 x 26 in.)unframed, with a central fold, a folding flap on each side and a fold along the lower edgeFootnotes:Possibly dates to c.1676. Charles II approved an improved design for Holyroodhouse, construction began in July 1671, and by 1674 much of the work was complete. A second phase of work started in 1676, when the Duke of Lauderdale ordered Sir William Bruce of Kinross, 1st Baronet (c. 1630 – 1 January 1710) to demolish and rebuild the main west façade, resulting by 1679 in the screen wall, topped by a carved imperial crown, which forms the main entrance.For further information on this lot please visit Bonhams.com
SPATE HUNTERMANN (ROBERT HUNT 1934-2014) A framed and glazed drawing titled "Head in Ink" signed lower left. 55cm x 48.5cm. Former President of The United Society of Artists from 2005 - 2008, member of The Dorking Group of Artists and Suffolk Open Studios. He was also a successful portrait artist in Cornwall for many years
MID 19th.C. SCHOOL. A PLAN OF THE POSITIONS OF THE ALLIED SQUADRONS OF GREAT BRITAIN, AUSTRIA AND TURKEY COMMANDED BY ADMIRAL THE HONORABLE ROBERT STOPFORD DURING THE BOMBARDMENT OF THE TOWN AND FORTIFICATIONS OF SAINT JESU D'ACRE ON THE THIRD DAY OF NOVEMBER 1840. SIGNED INDISTINCTLY AND DATED 1842. PEN AND INK DRAWING. 44 x 70cms.
The Beatles: A Rare Concept Drawing By Heinz Edelmann For The Film Yellow Submarine,1967,pencil with some red ink, depicting several 'Pepperland' inhabitants and monsters, 11 1/2in x 16in (29.2cm x 40.6cm), unframedFootnotes:Provenance:Chief designer and art director Heinz Edelmann (1934-2009) created many of the central characters and the overall style of the film, released in 1968. According to Dr. Robert R. Hieronimus, Edelmann was ...much more than just the designer. His contributions shaped the plot and direction as well. He was absolutely the key to the success of the project. (From 'Inside The Yellow Submarine: The Making of The Beatles' Animated Classic', Krause Publications, 2002).Dick Sawyers (Sawers) is listed in the credits of the feature-length animation as designer, together with Jon Cramer. He and Cramer met Heinz Edelmann at the 'SheeKeys' restaurant (established in London in the 1890s) for an extended lunch to discuss the design and look of the film. It was at this meeting that Heniz created this pencil and ink drawing and gave it to Dick to serve as a style guide for some of the many subsidiary characters that were to appear alongside The Beatles and Blue Meanies. It took the work of many animators and illustrators - about 200 in all - to complete this ground-breaking task within the eleven-month schedule and it was from Edelmann's concepts that they took inspiration.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
Alexander Lamont Henderson (British, 1838-1907), experimental photographer and member of the Royal Photographic Society. In 1884, Queen Victoria awarded Henderson with a Royal Warrant, which allowed him to depict moments from the everyday life of the royal family. Victoria commissioned a number of enamels to be made from earlier plates, which included Prince Albert and John Brown (some of Henderson's enamels can be found in the Royal Collection Trust). It is believed that a number of miniatures were donated for display in Queen Mary's Dolls' House at Windsor. Henderson's commercial work was donated to the library of the London Guildhall Museum in 1907 but destroyed in the Blitz during WW2. A selection of his royal work was donated to the V&A museum, and a considerable number of his slides were rescued by Mr. F. C. Guilmant of Southampton and provided the basis of an exhibition of his work at Brighton Polytechnic in 1987. His work is naturally scarce, highlighting the importance of this archivePhotographic archive, comprising: 69 oval enamel miniature photographic portraits, 1870s, including Queen Victoria; Prince Albert; John Brown (Scottish personal attendant of Queen Victoria); Prince of Wales (later King Edward VII); Alexandra of Denmark; Prince Leopold; Princess Louise Margaret of Prussia; Princess Alice, Grand Duchess of Hesse, and various non-royal portraits, in varying sizes from 14mm by 10mm (smallest) to 8cm by 6.5cm (largest), many inscribed with titles in ink on reverse, some of the more important royal portraits in gilt metal frames or mounts, to include an oval enamel photograph of the moon with title, 'The Moon, from an original negative taken by Messrs. Grubb's great Melbourne Telescope', 10cm by 13cm; a gilt framed set of 11 enamel photographic portraits depicting the Henderson family (including three of Alexander Lamont Henderson); several non-enamel photographic miniature portraits, including two in lockets and one in mirror; 23 square lantern slides depicting scenes in Grasse, French Riviera, including an interior view of Queen Victoria's drawing room in the Grand Hotel, housed in card case; 31 square lantern slides depicting topographical views and people in Nice, French Riviera, including one of Tilling's Private Omnibus (with passengers), housed in card case; 22 wide angle glass slides depicting scenes in Grasse, including architecture and people, housed in wooden case; 25 wide angle glass slides depicting landscapes and harbour scenes, housed in wooden case; 43 square lantern slides depicting miscellaneous family portraits, housed in card case; five loose glass slides (four square, one wide angle), including a view of Queen Victoria's sitting room in Grand Hotel, Grasse; a mahogany stereo viewer, and an early-19th century watercolour miniature of a lady (framed with lock of hair verso)Provenance: By descent. Vendor's great-great grandfather was Alexander Lamont Henderson
![Attributed to Charles Joseph Natoire [1700-1777]-Half-length female figure study, hands and back view,:-red chalk and pencil](https://cdn.globalauctionplatform.com/baae710a-b0d6-4f46-a517-ac1a00cef8e8/a06adcc3-8272-4d1d-883a-ac3d00f352d5/468x382.jpg)
Attributed to Charles Joseph Natoire [1700-1777]-Half-length female figure study, hands and back view,:-red chalk and pencil drawing heightened with white on buff papercollection stamp 'R' in ink bottom right27.5 x 42cm.*Notes The collection stamp is attributed to Jonathan Richards [1694-1771]*Notes There are additional images of this lot at www.bhandl.co.uk
![* Hugh Casson [1910-1999]-St Margaret's; a rural scene with steam tractor,:-signed bottom rightwatercolour, pen and ink drawi](https://cdn.globalauctionplatform.com/baae710a-b0d6-4f46-a517-ac1a00cef8e8/21bb69a5-af8d-4a47-87f5-ac3d00f36aac/468x382.jpg)
(See English version below)„Hockender Akt“. Um 1912/13Tuschfeder auf Papier. 23 × 18,4 cm ( 9 × 7 ¼ in.). Unterhalb der Zeichnung beschriftet und gewidmet von Peter Michael Grosz (dem Sohn von George Grosz).Von Peter Michael Grosz am 7.12.1971 aus einem Skizzenbuch des Künstlers entnommen. [3316]Mit einer Bestätigung von Ralph Jentsch, Rom, vom 3. Juni 2020.Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Am linken Rand Bindungslöcher. Das Papier leicht gebräunt. Die Ecken minimal bestoßen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.”Hockender Akt”. Circa 1912/13Ink on paper. 23 × 18,4 cm ( 9 × 7 ¼ in.). Inscribed and dedicated below the drawing by Peter Michael Grosz (the artist's son).Taken from a sketchbook by Peter Michael Grosz Dec. 7th 1971. [3316]Accompanied by a confirmation by Ralph Jentsch, Rome, dated 3 June 2020.Condition report: In good condition. The sheet edges without tears or losses. In the left margin binding holes. The paper shows pale time staining. The corners minimally bumped. Ultraviolet light reveals no retouchings or repairs. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.
Drawing allegedly by Diego RodrÃguez de Silva y Velázquez (Seville 1599- Madrid 1660) depicting Joseph's robes shown to Jacob by his brothers. Gouache on brown and coloured ink paper. 263x210 mm, with frame. "Diego Rodríguez de Silva y Velázquez was one of the most important Spanish painters of the court of King Philip IV, and one of the most representative of the Baroque era.Between 1629 and 1631, and again in 1649, is documented his presence in Italy, where he studied the pieces of art in the country. On that occasion he visited Genoa, Milan, Venice, Modena, Naples, becoming a member of the Accademia Nazionale di San Luca in Rome. His style, therefore, is influenced by the two Italian periods, during which the Spanish artist had the opportunity to admire the paintings by Tiziano, Tintoretto and Veronese.This drawing represents the biblical episode of Joseph’s garments shown to Jacob by his brothers. The theatricality of the scene, accentuated by the dramatic and agitated gestures of the characters evokes the work certainly painted by Velásquez in 1630, representing La Fucina di Vulcano, kept at the Prado Museum in Madrid." ASOR STUDIO
* Devis (Anthony, 1729-1816/17). 'From the Field above Mrs Dalton's', circa 1790, pen, black ink and watercolour on wove paper, inscribed with title by the artist in pencil to top blank margin, image size 136 x 200 mm (5.4 x 8 ins), sheet size 159 x 231 mm (6.3 x 9.1 ins), framed and glazed, with Thomas Agnew & Sons gallery label to verso, and printed catalogue note (erroneously describing another drawing by Devis), together with an English School watercolour study of a gothic church and street scene in France, circa 1830s-40s, unsigned, 295 x 190 mm (11.6 x 7.5 ins) mount aperture, gilt frame, glazedQty: (2)NOTESThe Georgian topographical artist Anthony Devis moved to Albury House near Guildford, Surrey in 1780, where he built a mushroom-shaped studio, later known as Mushroom Hall. For much of the time thereafter Devis produced watercolour views of the local landscape, such as the present work.
* Naive School. A pair of Regency drawings of domestic scenes, circa 1810, pen, ink and watercolour with traces of pencil, the first depicting 3 women and a man preparing food at a kitchen table next to 3 women stooping or kneeling at a large half barrel on the floor, a water urn on the table beside, 9.1 x 13.1cm (3.5 x 5.25ins), the second depicting 6 female figures around a dining table set for dinner, several of them leaning with wine glass aloft towards a gentleman covering his eyes and holding a bottle of erupting liquid or vapour, a cork and corkscrew dropping to the floor at his feet, some light dust-soiling and minor marks, lower right corner excised (just clipping the gentleman's foot), 11.8 x 15.1cm (4.75 x 6ins), matching frames, glazedQty: (2)NOTESProvenance: Given to the owner by the late Martin Woolf Orskey. A charming and unusual pair of drawings, most probably sketches from real life by an older child. The slightly larger sketch is an entertaining comic tableau, whilst the smaller drawing shows the household engaged in some large culinary undertaking, possibly marmalade-making, with apparently both the ladies of the house and the servants pitching in with the task at hand.
Album of drawings and watercolours, circa 1905-1921, 22 original drawings and watercolours, mostly signed or initialled, and dated variously 1905-1921, some portraits, topographical views, cartoons, etc., including Wang Zhen Hai, of Shanghai, Three Chinese ladies with porcelain vases, signed in Chinese script in black ink above artist's red ink stamp, sheet size 16 x 20cm (6.25 x 8ins), a watercolour by Alfred Egerton Cooper (1883-1974), titled 'Ready for Chelsea Arts Ball', circa 1920, watercolour full length portrait of a seated young woman wearing a long skirt split to the thigh, cropped top, bead anklet and dangling earrings holding an ostrich feather fan, titled and signed, a pen, ink, and wash female head study by Arthur Waller, a pen & ink drawing of a semi-nude female on a rock titled '"The Fallen Angel'" by J.G. Manley, a pencil drawing of Miss Gladys Cooper by F. Bahr, and a double-page watercolour cartoon of figures engaged in various activities on a beach by Walt Kuhn, some light spotting and marks, sheet size (for all leaves) 16 x 20cm (6.25 x 8ins), marbled endpapers, contemporary inscription on verso of front free endpaper: 'To wish you many happy returns of the day To Nellie from Peter. Shanghai: 22. October 1905', rear hinge split, all edges gilt, page-block becoming loose in original black padded morocco, rubbed, oblong 4toQty: (1)
Album. A Victorian album belonging to J. Coubrough, 1855, approximately 70 leaves, filled with original drawings, engravings, photographs, etc., including: 12 watercolours and 14 pen & ink drawings of shells, fruit, flowers, animals, costumes, flags, topographical scenes, etc., a number signed or initialled by the owner of the album and dated, e.g. a pencil drawing of soldiers and the wounded titled "War in Kaffirland"; an albumen print of the Louvre by Édouard Baldus, with signature stamp in black ink to lower right below image, and manuscript inscription to lower blank margin 'Paris '57. J.C.'; 14 other photographs, of Rome, Florence, Pompei, and Naples; 4 hand-coloured aquatints by Ernst Arnold, Dresden titled 'Ansicht der Elbe Brücke zu Dresden', 'Ansicht der Newmarkets zu Dresden mit der Frauenkirche', ' Vue de l'interieur du Zwinger à Dresde', 'Ansicht der katholischen Kirche zu Dresden'; and 110 embossed crests and monograms on 2 pages, album leaf size 25.7 x 33.4cm (10.25 x 13ins), front pastedown with armorial bookplate of Blanefield, front free endpaper inscribed 'J. Couborough A Christmas Present from Mrs. Gerson December 1855', original blind-stamped brown cloth, with 'Album' in gilt on front cover, spine ends frayed, corners showing, some marks, oblong folioQty: (1)NOTESThe Coubroughs were a Scottish family, one branch of which resided at Blanefield House, Strathblane, Stirlingshire. Blanefield Printworks in Strathblane was owned by an Anthony Park Coubrough for most of the second half of the 19th century, and the family played an active role in the life of the parish.
EV. (Late 19th/Early 20th Century) - Watercolour and charcoal heightened in white - Three quarter length portrait of a standing lady, her head turned to her left, initialled "EV.", 9ins x 6ins, 20th Century English school - Oil painting - "June", titled, initialled "L.C.C." and dated 1911, board 12.5ins x 7.5ins, and an ink drawing sketch of a man resting his head, 5.75ins x 7ins, all framed
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