HENRY MOORE (Signed): Henry Moore Drawings 1969-79. NY, 1980. I nscribed: 'with best wishes from Henry Moore, Much Hadham, June 28th. 1982' ; card covers, fine; 2- Elephant Skull. Original etchings by Henry Moore. Geneva, Gerald Cramer, 1970. I nscribed: 'For David with best wishes from Henry Moore, Hoglands, Much Hadham 1971' ALSO: Inscribed, dated 'Geneva, 14 May 1971' & signed by G Cramer. Card covers; VG; 3- Russell, J: Henry Moore Sculptures. Methuen little library of art, 1965. I nscribed: 'For David with best wishes from Henry Moore, July, 1968'; card covers, creased; 4- Cramer, G (edit): Henry Moore, the graphic works: 1913-22; 1973-75; & 1980-84. 3 vols. FINE copies; 5- 12 photographs of Henry Moore’s works, all stamped with his name & address (Hoglands, Much Hadham, Herts), Plus details written in ink at the back of each; 5- Two variations of the poster 'Henry Moore, Sculptures & Drawing, Forte Belvedere, May-Sept 1972; Firenze' both rolled; PLUS: 6 OTHER HENRY MOORE RELATED BOOKS, ETC. (qty.)
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Australia.- Tetley (Captain Joseph Swabey, Colonial naval officer and artist, 1778-1828), attributed to. Album of 12 drawings of Australian Aborigines, possibly after an original set of drawings once owned by George Charles Jenner (active 1805-1822), watercolours with brush and ink on 'Buttanshaw' wove paper, two sheets watermarked with date '1804', each album leaf approx. 218 x 170 mm. (8 ½ x 6 ¾ in), minor surface dirt, with bookplate of William Rashleigh tipped in from previous album, and Rashleigh ink inscription to first watercolour that reads: 'Natives of Australia/ by Capt. Tetley taken on the spot/ Wm. R.', half calf with blue cloth boards, spine gilt, sm. 4to, [c. 1806]. Provenance:William Rashleigh (1777-1855);Possibly the Rashleigh Family auction, of Menabilly, nr. Fowey, Cornwall, [c.1940s]; Anonymous sale;James Stevens Cox; then by descentLiterature:Stevens Cox, J., editor, 'Australian Aborigines drawn from life/ by Captain Tetley, c. 1805', Toucan Press, 1977⁂ An important early document showing Australian Aborigines engaged in traditional pursuits.Captain Tetley was first lieutenant under Captain Joseph Short on board HMS Porpoise, the ship that brought Governor William Bligh to Sydney in August 1806; following a disagreement with Captain Scott, Tetley eventually left Sydney in 1807.Two other albums with duplicate examples of the watercolours found in the present Rashleigh album are known. Both are held in the Mitchell Library, New South Wales [see DGB 10 and PXB 513]. Of these two albums one bears the signature of George Charles Jenner, who was once thought to be the artist, but now more likely only a previous owner [PXB 513]. The Mitchell Library has suggested that the watercolours in this set are the "originals", which were drawn from life at Botany Bay as stated on the inside back cover. As such the present album likely consists of contemporary duplicates, possibly by Tetley himself; a practice common at the time in order to produce a "fair copy" record. There are some minor differences between the sets that uphold this suggestion, including a total lack of under-drawing, but most notable is the addition of drapery covering the exposed genitalia of several of the Aborigines, which is found only in the Rashleigh copy.
Bradley (Edward), "Cuthbert Bede". Studies of Figures Original and Selected, an album of original drawings and watercolours, together c.37 studies of varying sizes on 20 sheets (each 190 x 283mm.), some relating to Holme School, Hampshire, includes 'Bird Boys The Faithless Sentinel', watercolour over pencil, c.155 x 205mm., initialled and dated in pencil, 1850; 'At Holme School', watercolour over pencil, c.160 x 228mm., dated in ink 'Decr 29th: 1850'; 'From life. Holme School. ?Hunt', watercolour over pencil, c.145 x 105mm., titled and dated in ink, 1850; and 'Blowing a Cloud', pen and black ink, c.165 x 215mm., scene of three gentlemen smoking in a drawing room, captioned in ink 'From Life. "Blowing a Cloud". These figures are not drawn to a relative scale', n.d., [1850], some offsetting, occasional spotting, contemporary calf-backed decorative limp boards, stained, small oblong 4to, 1850. ⁂ Edward Bradley (1827-1889), English clergyman and novelist, best known for his tale of an Oxford undergraduate The Adventures of Mr. Verdant Green, written under the pseudonym of Cuthbert Bede. The illustrations for this and his subsequent works were done by himself. The present album comes with a presentation note 'With kind Xmas wishes for all at Edgar House. Xmas Eve 1891', with a ms. list of 'Cuthbert Bede's works' recto. Also included are two of Bradley's engraved armorial bookplates.
Dighton the Elder (Robert, 1752-1814) Youthful Sport, an original drawing for mezzotint, pen, brush and ink with watercolour, signed, inscribed and numbered '512', all in the inscription space below, on laid paper mounted on wove paper support, 340 x 250 mm. (13 1/2 x 9 3/4 in), under glass, some minor browning and surface dirt, framed, [circa 1783-84].Provenance:Mr Jeffrey Rose; his executor's sale, Sotheby's, 23rd February 1978, 23rd February 1978, lot 57Anonymous sale; Ex-collection of David PadburyEngraved:Mezzotint published by Carrington Bowles, 1783-84; also published by Bowles & Carver, 1783-84 Literature:Padbury, The Dighton family, their times, caricatures and portraits, 2007, p. 82
Dighton (Denis, son of Robert Dighton, military artist, 1791-1827) Napoleon at the Battle of Monteran, February 18th, 1814, watercolour over pencil under-drawing on wove paper, 470 x 640 mm. (18 1/2 x 25 1/4 in), under glass, laid onto conservation support, some careful repairs to small loss and perforations in the paper, some repaired tears, light exposure, minor surface dirt, framed with 19th century ink inscription label transcribing text from Sir Archibald Alison's 'History of Europe', [1814 or slightly later] Provenance:Dr & Mrs Philip Corso;Sale. Christies, New York, Napoleonica from the collection of Dr & Mrs Philip Corso, 2nd December, 2004, lot 2004; Where purchased by David PadburyLiterature:Padbury, The Dighton family, their times, caricatures and portraits, 2007, illus. p. 66-67⁂ "Napoleon had established himself with the artillery of the guard, on the now abandoned heights of Surville, and soon sixty forces of cannon opened a close and consistent discharge [...] Such was the eagerness of the Emperor to direct their fire, that he resumed, after twenty years cessation his old occupation as a gunmen, and as the Siege of Toulon in 1793, himself levelled and pointed a cannon." [Ink inscription on reverse of the frame, from: Sir Archibald Alison, History of Europe, vol X, ch. LXXVII 2nd edition, 1844] The artist travelled abroad with the British Army on a number of occasions from 1811 onwards after receiving a military commission, and Padbury notes that he visited "the field of Waterloo a few days after the battle" [op cit. p. 65]. By 1815 he signed his portraits with the added title of 'Military Painter to His Majesty', and produced what is considered his masterpiece in 1816, The Battle of Waterloo, now in the Royal Collection.
***Gordon Davies (1926-2007) - Ink drawing - "Concert Musicians playing at the Schwarzenberg Palace Vienna", signed and dated 64, 11.5ins x 12ins, framed and glazed, and Jehan Daly (1918-2001) - Charcoal drawing - Shoulder-length seated portrait of a young girl, signed in pencil, 10ins x 8ins, unframed
Americas.- Acosta (Jose de ) Historia naturale e morale delle Indie, first edition in Italian, italic type, title with woodcut printer's device, woodcut head-pieces and decorative initials, some early ink underlining, lacking ɫɫ4 and 2V6 (the latter blank), Y3 with small hole, affecting several letters recto and part of woodcut initial verso, 2O4 and 2P1 (bifolium) loose, occasional spotting, the odd small stain, 19th century morocco-backed marbled boards, spine gilt, spine worn at foot and with a few small wormholes, rubbed, [Adams A128; Alden & Landis 596/2; Sabin 124 ("The only Italian version, printed with the types of Aldus"); EDIT 16 CNCE 227], small 4to, Venice, Bernardo Basa, 1596. sold not subject to return. ⁂ 'His work opened the eyes of the rest of Europe to the great wealth that Spain was drawing from America. Eventually Spain grew more secretive in these matters' (Hill p.3). The first Italian edition of Historia natural y moral de las Indias, first published in 1590.
Utagawa Hiroshige (1797-1858) PREPARATORY DRAWING FOR A HARIMAZE STAMP The five sketches represent five stations on the Tokaido road, Shono - horse, Ichiyakushi - cherry blossom, Kuwana - oysters and cockles, Asakusa - tori of a temple approached by a pilgrim, and Yokkaichi - sailing boats grouped around the island Sumi ink on paper, signed l.r. image 35.5 x 26cm approximately, framed and glazed Provenance: Sotheby's, Paris, 25 November 2003, Lot 172. Exhibited: Huguette Berès Gallery, Paris, 1955.
Olivier (Jean, Fencing Master). Fencing Familiarized: or, a New Treatise in the Art of Sword. Illustrated by Elegant Engravings (L'Art des Armes Simplifie?), new edition, London: J. Bell, 1780, titles and text in English & French, 2 engraved armorials to dedication leaves, 13 engraved plates only of 14 (includes 12 folding, lacking plate 4 'of the Longe in Carte'), tissue guards, ink ownership stamp P.D. Pownoll to upper blank margin of one title, some offsetting, fore- & lower- edges untrimmed, modern sheep, maroon morocco title label to spine, 8vo (Qty: 1)NOTESThimm p.211; Vigeant p. 97; Pardoel 1945; Castle, Schools and masters of fence, p. XLIX and p. 218. The new edition of this bilingual fencing treatise by the famous French fence-master Jean Olivier, dedicated to the Earl of Harrington, with new illustrations. The first edition was published by the same publisher, in 1771. Vigeant, Thimm and Castle list a copy (probably following each other) of the new edition which also has the frontispiece of the first edition, but it is not listed in the list of plates. The plate of the first position of drawing the sword was clearly made to serve as a frontispiece in this new edition. As Vigeant states, the plates of this new edition are superior to those in the first edition. "Olivier, who kept a flourishing school in St. Dunstan's Court, Fleet Street, was perhaps, after Angelo, the most popular master of the small sword in London. His work is very sound, and thoroughly justifies its French title, as it contains a simplified system, shorn of all unnecessary and obsolete details." (Castle).
![[Duns Scotus, John] . Commentary manuscript volume, part 2, 17th century, 380 leaves with neatly written manuscript commentar](https://cdn.globalauctionplatform.com/0450faa8-8d79-4719-b091-abb300cb473d/30dac35a-6031-4703-b430-abb400fc20e0/468x382.jpg)
[Duns Scotus, John] . Commentary manuscript volume, part 2, 17th century, 380 leaves with neatly written manuscript commentary in brown ink (mostly written to both sides), 5 leaves with early pen & ink drawing (including vase of flowers and bird), 14 blank leaves, some browning to last few leaves, outer corners curled, early illuminated manuscript (13th century?) leaf fragments to endpaper strengthening, endpapers worn & torn, contemporary limp vellum, lower cover torn with loss, old paper strip overlaid to spine with faint title label, lacking ties, worn, 13 x 6.8 cm (Qty: 1)
EDWARD WOLFE RA (1897-1982); ink sketch, 'Drawing a Young Girl', signed lower right, with paper label for Vincent & Louise Cosman verso, size 14 x 9cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Illustrated.- Lane (Edward William) The Thousand and One Nights, commonly called ... The Arabian Nights' Entertainments, 3 vol., additional engraved titles, frontispiece and illustrations, occasional spotting, later cloth with morocco spine labels, slight bumping to spine extremities, 1883 § Wells (H. G.) Floor Games, first edition, frontispiece, plates and illustrations, occasional faint spotting, previous owner's ink signature, original cloth, pictorial label to upper cover, rubbed and worn, 1911 § Rogers (Samuel) Italy, engraved illustrations, occasional spotting, contemporary morocco, gilt, rubbing to corners and spine extremities, 1830 § Poynter (Edward J.) South Kensington Drawing-Book, illustrations, original decorative cloth, slight bumping to corners and spine extremities, n.d; and 27 others either illustrated or on illustration, v.s. (33)
Charles Keene (1823-1891) - 'A Degenerate Son' inscribed with the artist's name on an exhibition label verso, pen and ink drawing, 4.25" x 6.5" - **Provenance with Abbott & Holder, 30 Museum Street, London, WC1A 1LH. The work is an original drawing for The Punch magazine and is sold together with an original inscription possibly in Charles Keene's original hand, the governor (indignantly) 'George I'm surprised at you. I should have thought you knew better, it's disgraceful! Is it for this I've paid hundreds of pounds to give you a university education that you should - ' Son and heir (with cigar) 'Why what have I done Governor?' The Governor 'Done?' Dared to smoke Sir while you are drinking my 34 Port!!'
Charles Keene (1823-1891) - Study of a standing male figure, inscribed with the artist's name, his dates and exhibition details on a later label verso, pen and ink drawing, a preparatory study, 6.25" x 4" - **Provenance with Abbott & Holder, 30 Museum Street, London WC1A 1LH (exhibition of pen and ink drawings by Charles Keene held by the dealers Abbott & Holder, January 1989, from the collection of George Layard, no 12)
Collection of 19 signed children's books, mostly first editions, comprising: Zagazoo, Quentin Blake, London: Jonathan Cape, 1998, 'For Viv! Quentin Blake', hardback; Cops and Robbers, Janet and Allan Ahlberg, London: Heinemann, 1978, 'To Vivien, Best wishes, Janet Ahlberg, Allan Ahlberg' (signed by both), hardback; Son of a Gun, London: Heinemann, 1979, 'To Vivien, with best wishes, Janet Ahlberg, Allan Ahlberg (signed by both), hardback; Each Peach Pear Plum, Janet and Allan Ahlberg, Kestrel Books, 1978, 'Best wishes to Vivien from Allan Ahlberg', hardback; Piggybook, Anthony Browne, London: Julia MacRae Books, 1986, 'For Vivien, Best wishes from Anthony Browne', hardback; Gorilla, Anthony Browne, London: Julia MacRae Books, ('REPRINTED 1983, 1984'), 'To Vivien, with best wishes from Anthony Browne', hardback; Bill and Stanley, Helen Oxbury, London: Ernest Benn, 1981, 'For Vivien with best wishes from Helen Oxbury, 19.5.83.', hardback; The Most Amazing Hide-and-Seek Counting Book, Robert Crowther, Kestrel Books/Viking Press, 1981, 'To Vivien, with Best Wishes, Robert Crowther', hardback; The Most Amazing Hide-and-Seek Alphabet Book, Robert Crowther, Kestrel Books/Viking Press, 1977, signed by the author on letter 'v' (initial of recipient), 'To Vivien, with Best Wishes, Robert Crowther', hardback; A Lion in the Meadow, Margaret Mahy and Jenny Williams, Puffin Books, 1985, 'Best wishes Vivien, Margaret Mahy (with ink drawing of a lion), softcover; Football Crazy, Colin McNaughton, Piccolo, 1982, 'For Brian, Colin McNaughton, howay the lads! (with ink drawing of Bruno kicking football), softcover; Old Mother Hubbard, Colin and Jacqui Hawkins, Magnet, 1985, ink illustration of dog saying 'Hi Vivien', inscribed, Very best wishes from Colin Hawkins, 1987', softcover; Hiawatha's Childhood, illustrated by Errol Le Cain, London: Faber and Faber, 1984, 'To Vivien, With Best Wishes, Errol Le Cain', hardback; Sleeping Beauty, Angela Carter and Michael Foreman, London: Victor Gollancz, 1982, 'For Vivien with love Michael Foreman, 1983', hardback; The Wildman, Kevin Crossley-Holland, London: Andre Deutsch, 1976, 'Vivienne - 'so many of them, almost like me...' Very good wishes. Birmingham 1983. Kevin Crossley-Holland', hardback; Sir Gawain and the Loathly Lady, illustrated by Juan Wijngaard, London: Walker Books, 1985, 'To Vivien, with Best Wishes, Juan Wijngaard', hardback; Beowulf, Kevin Crossley-Holland, London: OUP, 1982, signed and inscribed to Vivien with Anglo-Saxon message, hardback; The Highwayman, illustrated by Charles Keeping, London: OUP, 1981, signed by Keeping, hardback; Le Geant de Zera, Tomi Ungerer, 1988, signed and inscribed to Vivien with an ink drawing of a roast chicken blowing out peas, hardback (19)Provenance: Vendor was a children's librarian and met the authors personally
Collection of 11 signed children's books, including some first editions, comprising: City of Gold, retold by Peter Dickinson, illustrated by Michael Foreman, London: Victor Gollancz, 1980, inscribed to 'Vivien' and signed in bold blue ink by author and illustrator, hardback; The Blue Hawk, Peter Dickinson, London: Victor Gollancz, 1976, signed by the author, 15 March 1978, hardback; Tulku, Peter Dickinson, London: Victor Gollancz, 1979, signed and inscribed by the author, 'Birmingham, 3 December 1980', hardback; Starring Sally J. Freedman As Herself, Judy Blume, London: Heinemann, 1984, 'To Vivien, love, Judy Blume, May 1984, hardback; Are You There, God? It's me, Margaret, Judy Blume, Piccolo, 1984, 'To Vivien, love, Judy Blume', paperback; Storm, Kevin Crossley-Holland, London: Heinemann, 1985, 'For Vivien - hwaet! just to remind you, Kevin Crossley-Holland, hardback; The Outside Child, Nina Bawden, London: Victor Gollancz, 1989, signed and inscribed by the author, October 1989, hardback; The Great Piratical Rumbustification, Margaret Mahy, London: J. M. Dent, reprinted 1983, signed and inscribed with ink drawing of lion, hardback; And I Heard a Bird Sing, Rosa Guy, London: Victor Gollancz, 1987, signed and inscribed, hardback; The Pleasure Garden, Leon Garfield, London: Kestrel Books, 1976, signed, hardback; Talking in Whispers, James Watson, London: Fontana Lions, 1985, 'Vivien, Thanks for the invitation to Book Week '85, With best wishes, James Watson, May 85', paperback. Together with Fairy Tales, by Terry Jones (not signed), first edition, London: Pavilion, 1981, hardback; The Great Menagerie, Kestrel Books, 1979, hardback; Revolving Pictures, facsimile of Ernest Nister, 1892, Collins, 1979, hardback (14)Provenance: Vendor was a children's librarian and met the authors personally
Ink drawing, gouache and white lead. Emanuele Di Giovanni (Catania, 1887 - Catania, 1979). Fisherman with nets. 24x30, mixed media. Signed on the lower left."A pupil of Antonio Gandolfo (1841-1910) and Nitto Condorelli (Catania, 1878 - Catania, 1950). He showed talent early, so as to exhibit in 1907 at the Agricultural Sicilian. He became known as a portrait painter who receveid requests from all over Catania bourgeoisie. There are also portraits of the mayors of the gallery on the town of Catania."STUDIO ASOR
Walter Richard Sickert A.R.A. (British, 1860-1942)Study for L'Affaire de Camden Townchalk and pen and ink 30 x 23cm (11 13/16 x 9 1/16in).Footnotes:The present lot is a related drawing to the painting L'Affaire de Camden Town (1909), please see W. Baron, Sickert: Paintings and Drawings, Yale University Press, London and New Haven, 2006, p. 372, no. 354.We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Walter Richard Sickert A.R.A. (British, 1860-1942)Figures on Stage at the Old Bedford signed and titled 'Sickert Old Bedford' (lower right)pencil and pen and ink22.5 x 32.5cm (8 7/8 x 12 13/16in).Executed circa 1890Footnotes:ProvenanceWith Spink, London, 1990Sale; Christie's, London, 2 March 1995, lot 142Private Collection, U.K.LiteratureO. Sitwell, 'A Short Character of Walter Richard Sickert', Orion, 2, Autumn 1945, illustrated on p. 140W. Baron, Sickert: Paintings and Drawings, Yale University Press, London and New Haven, 2006, no. 52.10, illustrated on p. 183The present lot depicts the coloured glass footlights frieze at the Old Bedford. Among the several sketches of artistes, the girl on the right may represent one of the Sisters Lloyd. The striped awning in the drawing is found in one of the paintings of The Sisters Lloyd (see ibid., p. 183, no. 52.1).We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Original vintage motorsport advertising poster for the World Championship 500KM Race for cars up to 1.3L, held in Nurburgring on 4 September, 1966. Nurburgring, a motorsports complex located in the town of Nürburg, Rhineland-Palatinate, Germany features a Grand Prix race track built in 1964. The poster features an ink drawing of motorcars on the track and the backside of a flagsman waving the checkered flag. There is a logo of Bosch at the bottom. The race was won by Ernst Furtmayr driving Fiat Abarth 1300 OT. Top car types by numbers: BMW 700 (8), Austin Mini Cooper (7), Abarth 1300 OT (6) Condition: Good condition, creasing, tears, folds, staining, tape marks.. Country of printing: Germany, designer: Unknown, size (cm): 84.5x60.5, year of printing: 1966.
Original vintage motorsport advertising poster for the Junior Cup 500KM Race for cars up to 1.3L, held in Nurburgring on 1 September, 1968. Nurburgring, a motorsports complex located in the town of Nürburg, Rhineland-Palatinate, Germany features a Grand Prix race track built in 1964. The poster features an ink drawing of motorcars on the track and the backside of a flagsman waving the checkered flag. There is a logo of Bosch at the bottom. Top car types by numbers: Ford Escort (5), Honda S800 (5), Abarth 1600 SP (3), Alfa Romeo Giulia Sprint GTA (3), Costin-Nathan GT (3), Alfa Romeo 1300 GTA Junior (3), Lotus 47 (3), Morris Mini Cooper (3), Fiat-Abarth 1000 TC (3), NSU 1000 TTS (3). Condition: Good condition, creasing, folds.. Country of printing: Germany, designer: Unknown, size (cm): 84.5x59.5, year of printing: 1968.
Severn (Joseph, English portrait painter and friend of John Keats, 1793-1872) Portrait of a lady, coloured chalks on buff paper, signed and dated 'Aug 1848' in the centre right, sheet 540 x 370 mm. (21 1/4 x 14 1/2 in), laid onto support, under glass, surface dirt, damp-stains, some rubbing, framed, 1848; together with a facsimile print worked over with pen and ink after a drawing by Seymour Kirkup of Joseph Severn, and two other portraits, one signed N. Hardy, the other a facsimile, all framed and glazed (4)
"It's fun to be in bed with a nurse like Rosie!". Justin Cartwright's sexploitation hospital nursing comedy starred a host of English comedy greats; Beryl Reid (Matron), John Le Mesurier (Sir Archibald MacGregor), Arthur Askey (Mr. Arkwright), Liz Fraser (Mrs. Dixon), Lance Percival (Jake Fletcher), John Junkin (Mr. Dixon), Bob Todd (Mr. Buchanan), and introduced Debbie Ash as the titular 'Rosie', beautifully imagined here by Vic Fair. Fair's artwork of the scantily clad night nurse 'Rosie' can be found on the British UK Quad, Australian and New Zealand film posters. Finished in watercolour, felt pen and ink, the full colour drawing has been cut out and mounted to art board.14.5" x 22" (37 x 56 cm)Condition: Very GoodFlat, unfolded.Artist: Vic Fair£300 - 500VAT Status: M
§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952Signed and dated '20.11.52' and inscribed 'I want, I want, let me out, let me out,' ink and watercolour (Dimensions: 76cm x 51.5cm (30in x 20.25in))Literature: Illustrated in A Life in Pictures, p.32 Provenance : A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
§ ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEYWith a personal inscription verso, ink and watercolour (Dimensions: 51cm x 63.5cm (20in x 25in))Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.
A pair of pencil and Ink Cartoons for stained glass window by Florence Camm, T.W. Camm Studio. Depicting Norman Knight Robert de Ouilly and his wife Ealdgitha, both at prayer. Dated November 1926 signed by F. Camm, order numbers 4041, drawing numbers 1145 & 1146. Each cartoon approx. 98 x 46 cm.
Botany.- Fuchs (Leonhart) De Historia Stirpium Commentarii Insignes ..., first edition, collation. α⁶ β⁸ A-Z⁶ a-z⁶ aa-zz⁶ Aaa-fff⁶, printer's device to title and final leaf verso, 509 full-page woodcut engraved illustrations, woodcut portraits to title verso and at end, previous owner's inscription dated 1672 to front pastedown, loss to final free endpaper (restored), occasional faint spotting and minor finger-soiling, pen and ink drawing of a heraldic lion tipped-in to front free endpaper, seventeenth century French calf, spine expertly rebacked with original spine laid down, corners expertly restored, a little rubbed, housed in a modern drop-back box, [Adams 1099; Dibner 19; Horblit 33b; Hunt 48], 360 x 233 mm, folio, Basel, Officina Isingriniana, 1542.⁂ Fuchs's celebrated herbal which effected a revolution in the natural sciences, earning him the title 'German fathers of botany' along with Brunfels and Bock. All three wished to correct botanical knowledge which had been in the hands of itinerant and illiterate herbalists to this point. To effect this reform accurate illustration and identification was the first requirement, and it was to this task that Fuchs addressed himself. Fuchs employed the best artists then available in Basel; Albrecht Meyer, Henrich Füllmaurer and Veit Rudolph Speckle. All three are depicted in the book, the first time that book illustrators are themselves portrayed and named. These illustrations set a new standard for botanical description and were some of the most influential in botanical history, being copied and reprinted well into the eighteenth century.
NO RESERVE Architecture.- Chambers (William) A Treatise on Civil Architecture, first edition, list of subscribers, 45 engraved plates only (of 50), first plate of primitive buildings with small pen and ink drawing of a teepee tipped over top of the the illustration of a doric column, a little browned and soiled, contemporary half calf, worn, upper cover detached, [Fowler p.70; Harris 122], folio, for the author, 1759.
Excellency of Pen and Pencil (The), exemplifying the Uses of them in the most exquisite and mysterious arts of Drawing, Etching, Engraving, Limning..., first edition, engraved frontispiece, folding plate and illustrations, some full-page, old ink signature of W.Vaughan at head of title, light spotting, a few small rust-spots causing holes, later tan morocco ruled in gilt, by Ramage, g.e., decorative gilt dentelles, [Wing E3779], 8vo, by Thomas Ratcliff and Thomas Daniel, for Dorman Newman and Richard Jones, 1668. ⁂ Rare; ESTC lists only 6 UK copies.
*** Please note, the description for this lot has changed.Flaxman (John, sculptor and draughtsman, 1755-1826), Wyon (William, chief engraver at the Royal Mint, between 1830 and 1850, 1795-1851) and others. Original Sketches for Medals, Seals, &c., 151 original drawings, 2 vol., vol. I with 81 drawings and watercolours by various hands [see list below], and vol. II with 65 drawings by various hands [see below], vol. I predominantly with designs for seals, medals, and coins, including over 30 drawings by and attributed to William Wyon, vol. II with medals and 43 original drawings by John Flaxman for cups, candelabra, ornamental friezes and of figural compositions, pen and inks, watercolours, pencil and chalks, all on various contemporary papers, neatly hinged onto thick album leaves, most bearing pencil attributions verso and on mounts, album leaves each approx.. 390 x 290 mm. (15 ¼ x 11 ½ in), one leaf lacking a drawing, otherwise complete, another drawing loose from album leaf, occasional spotting, browning, surface dirt and handling creases, half red morocco, marbled boards, spine gilt, one vol. with inside upper cover coming loose, rubbed and scuffed, folio, [probably compiled circa 1830-1850]Provenance:Possibly part ex-collection of William Wyon (1795-1851), or a descendant [for discussion of Wyon's relationship to John Flaxman, see Mark Jones, William Wyon as a Pupil and Follower of Flaxman, from 'Burning Bright: Essays in Honour of David Bindman', pp. 89-97, UCL Press, 2015]Literature:Westwood, Arthur [compiled by], Catalogue of the Books in the Library at the Assay Office Birmingham, 1914, p. 301; described as 'Two folio volumes in which are inserted original sketches and designs for coins, medals, etc., by William Wyon, Sir Thomas Lawrence, ... Thomas Stothard ..., and John Flaxman.'Drawing highlights contained within vol. I include:- Sir Thomas Lawrence (1769-1830) Head of Minerva, design for a seal, pencil, 110 x 48 mm. (4 ¼ x 1 ¾ in)- Sir Francis Legatt Chantrey (1781-1841) Profile portrait of William IV, design for a coin, pencil, 225 x 190 mm. (8 ¾ x 7 ½ in)- William Dyce (1806-1864) Six sheets of designs for crown pieces or florins, various sizes- E. Corbould (1815-1905) Over 30 sheets of coin and medal designs attributed to E. Corbould, possibly [?] Henry Corbould (1787-1844), various sizes- William Wyon (1795-1851) Over 30 sheets of portraits, some of personal interest to the artist, others designs for coins and medals, various sizesDrawing highlights contained within vol. II include:- Thomas Stothard (1755-1834) Three sheets of studies for medals, including one for the coronation of George IV, various sizes- Henry William Pickersgill (1782-1875) Five sheets of studies for medals, including the General Service Medal, 1793-1814, various sizes- Richard Redgrave (1804-1896) Design for a brooch, "The Birth of Venus"; Study of Cupid's head, two works, various sizes - Samuel Gurney Cresswell (first naval officer to cross the entire Northwest Passage, 1827-1867) The accepted design for reverse of the Arctic medal, 1818-1855, pen and ink, 85 x 65 mm. (3 ¼ x 2 ½ in)- Admiral Sir George Back (explorer of the Canadian Arctic, naturalist and artist, 1796-1878) Two sheets with designs for the Arctic medal, pen and black ink, each approx. 168 x 108 mm. (6 5/8 x 4 ¼ in)- John Rogers Herbert (1810-1890) Four sheets of studies for medals and candelabra, various sizes43 drawings contained within vol. II by John Flaxman (1755-1826):PLEASE CONTACT FORUM AUCTIONS FOR FULL LIST*** A highly important and comprehensive collection of English metalwork design, featuring numerous original studies by the leading figures of the early 19th century, including 43 late-period drawings by John Flaxman, showing numerous rare examples of his designs for silverware.Eight of the sheets by Flaxman bear the same numbering and pencil inscriptions as found on the British Museum's 'The Sisters and mother of Phaeton transformed into poplars, and Clymene into a swan' [see acc. no. 1900,0824.195]. Highly similar studies that lack these numbers and inscriptions can be closely compared with other examples in the British Museum's collection, such as 'Design for a monument - a mural tablet with figures of Science, to left, and Genius' [acc. no. 1888,0503.36], and 'Venus in her sea chariot, attended by Tritons and a Nereid, with a pedestal' [acc. no. 1900,0824.197]. The drawing 'Michael Seizing the Rebel Angels', also held in the British Museum [1888,0503.94], would appear to be on the same stock of Whatman paper as many in the present album. Other comparative drawings are located in the Stanford University Museum and the Huntington Library.
SIKORSKI WLADYSLAW: (1881-1943) Polish military and political leading figure who promoted the cause of the independence of Poland from the Russian Empire. He served as Prime Minister of Poland 1922-23, and of the Polish government in exile during WWII. Sikorski died in a plane crash, the circumstances of the accident still remaining unclear. A very attractive original pen and ink drawing, one page, 7 x 10, showing Sikorski in a profile portrait pose, with his military cap. Signed and dated beneath by Sikorski in bold black ink, Washington, 28th March 1942. Signed portraits of Sikorski are rare in any form. VG £200-300 Sikorski visited the United States in March and December 1942 looking for the allies support and pleading in favour of his invaded homeland. In his 24th March 1942 speech in Washington, he would say `The German armed forces have attacked the Polish State on the 1st of September 1939 by order of the supreme authorities of the Reich and they have thus created a state of war between Poland and Germany. This state of war continues to exist “de jure” as well as “de facto”. De jure because the war has not been terminated either by armistice or by peace, de facto because the Polish Armed Forces are still carrying on the war with Germany, for the time being outside the frontiers of Poland, and inside of Poland the entire Polish Nation is fighting the Germans. The Polish Armed Forces have been fighting, are fighting and shall continue to fight on land, on sea and in the air, wherever the military forces of Germany can be destroyed.´
HITLER'S SECRET AIR WEAPON: An interesting, extremely rare set of original designs for a German Third Reich aircraft featuring a bomb. The five different detailed pencil drawings, with ink annotations, by an unknown engineer, are on two sides of a 4to sheet of graph paper, n.p., n.d., and depict a last ditch glider bomber designed to be mass produced for one-off missions against Naval targets. Also included is a further drawing showing the proposed course of flight by the glider. The drawings show that the mother ship, based on a late variant of the Ju 88, released the piloted glider, equipped with a 1000 kilo bomb, which, using the tungsten cored flying principle of a pub dart dived on its target at speeds in excess of 700 mph. The aircraft is also equipped with a balloon which would have been released simultaneously with the bomb and, taking some time to inflate, would produce a slowly enlarging drag inducer to keep the glider under some form of control whilst the pilot attempted to escape. These drawings were removed from the Reichs Chancellery in Berlin in July 1945 by Richard Rex who had been sent to Germany to help establish a medical dispensary for use during The Potsdam Conference. Accompanied by a detailed letter of authenticity signed by Rex and witnessed by a Notary Public. Also included is a letter from Terry Gander, an expert in German aviation of World War II, explaining that he has never seen anything like the glider previously and continuing to offer his interpretation of how the aircraft would have flown and been manufactured. A unique set of drawings illustrating one of Hitler's secret air weapons that may have changed the course of history and helped him win World War II. File holes to left edges, causing small areas of paper loss although not affecting the drawings and annotations. Otherwise VG, 2 £3000-4000
MICHAEL ALEXANDROVICH ROMANOV: (1878-1918) Russian Grand Duke. Youngest son of Emperor Alexander III and brother of Tsar Nicholas II. Assassinated by the Bolsheviks. When Nicholas II abdicated on 15 March 1917, Michael was named as his successor, however, he deferred acceptance of the throne until ratification by an elected assembly. Rare and very attractive signed sketch by a very young twelve years old Michael, being a greetings sent to his Swiss tutor Ferdinand Thormeyer. To the verso of an attractive colour printed postcard Michael carefully pens in bold black fountain pen ink `Happy new year, Michel´ in French, and draws beneath a flourish with four little persons walking towards the new year 1891. Adding also alongside a fine ink drawing showing a sailboat. EX £800-1200
MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG £100-150
MORGAN MICHELE: (1920-2016) French film Actress. Attractive signed 9.5 x 12 drawing by Morgan on a Canson drawing paper. Morgan draws four roses in black ink to different parts of the sheet. Signed `M. Morgan´ in black ink to the bottom right corner. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. EX £120-150
DIETRICH MARLENE: (1901-1992) German-born American Actress & Singer. A.L.S., Marlene, in red ink and capital letters, one page, n.p., n.d., stating `Thank you so much for the beautiful pictures you sent me. Much love and kisses.´ Together with a signed drawing of her left hand, in blue ink, Marlene having outlined her hand and fingers on a white 4to sheet. Signed to the inside of her drawn hand. Very small creasing to the edges, otherwise VG, 2 £100-150
GREEF ARTHUR DE: (1862-1940) Belgian Composer and pianist. Attractive signed and inscribed ink drawing, `Arthur de Greef´, a good and artistic signature example, one page, 4to, n.p., October 1934, to V. Heilier, in French. The inscription is to V. Heilier, the artist who drawn and signed beneath the ink portrait of De Greef. The composer annotates in part `to the great artist V. Heilier with my warm congratulations and sincere thanks.´ Small overall age wear, mostly to edges. Two upper corners repaired. Otherwise G £80-120
An original Picasso drawing of a Christmas Dinner offered to his friends PICASSO PABLO: (1881-1973) Spanish Painter. An exceptional illustrated A.L.S., Olga et Picasso (also signing on behalf of his first wife), to one side of a picture postcard depicting a Christmas winter scene to the recto, Paris, 2nd January 1919, to Mr & Mrs [Henri] Defossé, at the Coliseum Theatre in London, in French. At the head of the letter Picasso has executed a wonderful, charming original pen and ink drawing of a Christmas dinner, apparently for four people with a turkey, two bottles of wine accompanied by four glasses and several bunches of grapes and other fruits laid out on a table. A decorative, dark flowing line adorns the upper part of the exquisite drawing with the year 1919 at the head. Beneath his drawing Picasso writes a brief message to his friends, presenting them with the Christmas dinner, ‘Dear friends, here you have, with this well-served table, our best wishes’, also adding the address of his Parisian home and workshop at Rue la Boetie in his hand beneath his signature. Such detailed original ink drawings by Picasso, particularly from this earlier stage of his career, rarely appear at auction and the present example is enhanced by an interesting association. Some very minor, light age wear, otherwise VG Henri Defossé (1883-1956) French Conductor, Pianist & Composer. Sergei Diaghilev’s favourite conductor, Defossé was chosen to lead the Ballets Russe at London’s Coliseum Theatre in 1918 & 1919. Olga Khokhlova (1891-1955) Russian Ballet Dancer, the first wife of Pablo Picasso and one of his early artistic muses. Khokhlova first met Picasso whilst dancing in Diaghilev’s Parade in 1917 for which the artist had designed the set and costumes. They married in July 1918 and in July the following year they travelled to London together for the performance of Diaghilev’s Le Tricorne for which Picasso had again designed the costumes and stage.
HARTUNG HANS: (1904-1989) German-French Painter of abstract style. An excellent and rare signed and inscribed abstract colour drawing by Hartung, one page, 9.5 x 11.5, to the title page of a catalogue, Antibes, 24th July 1984, in German. Hartung has drawn beneath the printed title "Hartung" a very attractive abstract image, using yellow and blue pencils. Signed and inscribed in bold black ink to the title page removed from the catalogue "Hartung", 10 x 12, by Pierre Descargues, published by Editions Cercle d´Art, 356 pages, Paris, 1977. Matted in white to an overall of 17 x 19. VG £2000-3000
LE CORBUSIER: (1887-1965) Swiss-French Architect, Painter, Urban Planner. A very good A.N., with very attractive drawing by Le Corbusier, two pages, 4to, n.p., n.d., in French. To the verso Le Corbusier has drawn an artistic figure, a cubist image, in blue pencil, representing a body in a Picasso´s style, with several arms and hands. To the front and in bold black ink, Le Corbusier states in full `I have only drawn or painted women, - either images, or symbols or geology of women. From the foot to the summit of the head, without levels, altitudes. The horizon line is important and for me the sea horizon is the winner´ A curious and interesting thought in his hand. Very small overall minor creasing with right edge very slightly damaged, otherwise about VG £1200-1800
MORANDI GIORGIO: (1890-1964) Italian Painter and Printmaker. A rare, early original pen and ink book illustration drawn and signed by Morandi, one page, 4to, n.p., n.d. (c.1928/29). The attractive image depicts a lady in a profile head and shoulders pose wearing a hat. Within the lines of the drawing Morandi has penned some text, in Italian, for publication in Antonio Baldini’s book La Dolce Calamita (1929), in part `La Dolce Calamita di Antonio Baldini e la donna di nessuno…Lire 15 con un disegno di Giorgio Morandi´. Original illustrations by Morandi are highly sought after and the present example is particularly charming.VG Antonio Baldini (1889-1962) Italian Writer.
KETCHAM HANK: (1920-2001) American Cartoonist, creator of the Dennis the Menace comic strip. An appealing original colour pen and ink drawing signed by Ketcham, on a 4 x 4 white card, n.p., n.d. In various colours the cartoonist has drawn a head and shoulders image of Dennis the Menace with his arms held high. Signed by Ketcham in black ink with his name alone immediately beneath the drawing. EX £80-120
An extremely rare original drawing by the Americam Poet PLATH SYLVIA: (1932-1963) American Poet, wife of Ted Hughes from 1956 until her death. A good, original pencil drawing, unsigned, one page, 8vo, n.p., n.d. Plath has drawn an appealing image of an old street scene with an empty wooden cart abandoned in the foreground and several buildings in the immediate background including a church tower, the spire of which features a cross at its highest point and which Plath has carefully heightened in dark fountain pen ink. Annotated and signed to the verso in pencil, 'By Sylvia Plath, Ted Hughes', by her husband, the English Poet Laureate. Any original item in the hand of Plath is extremely rare and desirable as a result of the poet's tragic suicide at the age of 30. Some very light, extremely minor foxing and a few very minor creases to the corners, VG £2000-3000 The present drawing is one of just a small handful by Plath in existence, and most likely dates from the late 1950s, shortly after her marriage to Hughes. The poet was an artist of some talent, and Hughes wrote of her artistic nature in Birthday Letters - 'Drawing calmed you. Your poker infernal penWas like a branding iron. ObjectsSuffered into their new presence, torturedInto final position. As you drewI felt released, calm. Time openedWhen you drew the market at Benidorm.I sat near you, scribbling something.Hours burned away. The stall-keepersKept coming to see you had them properly.We sat on those steps in our rope-soles,And were happy…' -'Drawing'
CHILDREN'S LITERATURE: Dick Bruna (1927-2017) Dutch Author, Artist, Illustrator & Graphic Designer, famous for his creation of Miffy. Signed 8 x 10 photograph of Bruna standing in a half length pose holding a copy of one of his Miffy books in his hand. Signed ('Dick Bruna') in bold black ink with his name alone to the lower white border; Jan Pienkowski (1936- ) Polish-British Author and Illustrator of Children's books. Signed 8 x 10 photograph of Pienkowski seated in a half length pose in his studio as he works on a drawing. Photograph by Mark Gerson of London and bearing his credit stamp to the verso. Signed by Pienkowski in red ink with his name alone to a largely clear area at the head of the image. VG, 2 £100-120
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