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Collection of Vintage Writing Equipment to include a box of proctractors, a collection of rulers, a vintage ceramic ink well, a boxed drawing instrument, a vintage ink blotter, and a vintage ink pen with a gold nib. Please see images.

After Pietro Annigoni - A 20th century print entitled ' Paesaggio Mugellano' a black ink landscape drawing of a woodland scene. Signed in pen. Framed and glazed. 

Roy Gerrard (1935-1997), famous figures on steps beside a building facade, classic car in the foreground, ink drawing, signed and dated 72, 47cm by 50cm, (ARR) *Roy Gerrard was best known for his work as an illustrator and author of children's books

JULIO GONZALEZ [1876-1942]. Paysanne au Panier, c.1935-6. ink on paper drawing. 29 x 19 cm - overall including frame 47 x 39 cm.. Provenance: Elvira Gonzalez Gallery, Madrid, Spain; Christies auction, 22.6.2012 [lot 98] est. £5000-7000; private collection, UK. Literature: 'Julio Gonzalez', J Gilbert, Catalogue Raisonne, Vol. 11, Paris, 1975, p.206 [illustrated]. Gonzalez is a big international artist who pioneered welded iron sculpture and taught Picasso. [good condition - slight smudges to left corner and right edge, but these may be by the artist's hand - unexamined out of frame]. Buyers premium of 20% + vat is payable. ARR 4%..

MICHAEL AYRTON [1921-1975]. Basil Hallward [Oscar Wilde - Dorian Gray], 1948. ink drawing. 6 x 11 cm [overall including frame 24 x 28 cm]. [very good condition - possibly some time toning to the paper - unexamined out of frame]. Buyers premium of 20% + vat is payable..

MICHAEL AYRTON [1921-1975]. Mother & Daughter [Oscar Wilde - Dorian Gray] , 1948. ink drawing. 6 x 11 cm [overall including frame 23 x 28 cm]. [very good condition - unexamined out of frame]. Buyers premium 20% + vat payable.

WYN CASBOLT [1914-63] Flowers, ink and collage painting on card + 2 photographic prints [Painters mate and Carpenters Mate] 15 x 13 cm drawing - prints 19 x 15 cm. Unframed. Provenance: Marie Ward collection - friend of the artist. Very underrated Slade artist. [good condition - collage/drawing has slight creasing at left edge]. Buyers premium of 20% + VAT is payable.

PETER HOWSON [1958 - ]. Head Study, 2012. ink drawing, signed. 13 x 20 cm - overall including frame 37 x 43 cm. Provenance: Cameron Contemporary Art {£850]; Private collection, London. [very good condition]. Buyers premium of 20% + VAT is payable.

ROGER HILTON [1911-75]. Female Nude, 1968. ink drawing on paper laid down on card, signed & dated on reverse of drawing. 25 x 20 cm [overall including frame 50 x 46 cm]. Provenance: Belgrave Gallery, London; Private collection, UK. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.

GRAHAM SUTHERLAND [1903-80]. Machine study, 1945. pencil & ink drawing. 15 x 7 cm - overall including frame 30 x 24 cm. Provenance: Ruggerini & Zonca Gallery, Milan, Italy; Private collection, Italy. Literature: 'Graham Sutherland', J Andrews, 1982, Haverfordwest, p.196, pl. 78 [illustrated]. [good condition - the drawing has a slight crease near centre top and small foxing spot centre top]. Buyers premium of 20% + VAT is payable..

GRAHAM SUTHERLAND [1903-80]. Standing Form, 1971. ink & pencil drawing. 13 x 7 cm [overall including frame 31 x 24 cm]. Provenance: Ruggerini & Zonca Gallery, Milan, Italy; Private collection, Italy. Literature: 'Graham Sutherland..', J Andrews, 1982, Haverfordwest, p.220, pl.106 [illustrated]. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

GRAHAM SUTHERLAND [1903-80]. Small Boulder, 1940. ink drawing. titled and dated by the artist on the reverse. 13 x 22 cm. Overall including frame 26 x 34 cm]. Provenance: Julian Andrews - author of the 1982 book on Sutherland; gift from the artist's wife in 1982 . [good condition - soft crease top right]. Buyers premium of 20% + VAT is payable.

KEITH VAUGHAN [1912-77]. Standing Figure, c. 1941. ink drawing, signed with studio stamp initials. 19 x 11 cm - overall including frame 40 x 31 cm. Provenance: Peter Adam collection; private collection, UK. We would like to thank Vaughan expert Gerard Hastings for his help in cataloguing this lot. [very good condition - tiny ink spots bottom right, probably put there by the artist]. Buyers premium of 20% + VAT is payable.

FRANK AUERBACH [1931 -]. Elephant on Motorbike [The Track]. ink and crayon on paper. dedicated in ink by the artist. 11 x 16 cm [overall including frame 30 x 35 cm]. Provenance: Juliet Yardley Mills collection [JYM], one of Auerbach's favourite models - a gift from the artist [he gave her several drawings between 1957 and 1997].An original drawing by Auerbach, whose paintings sell for £millions, for less than the price of a print.[good condition - the paper slightly wavy in places + a few minor creases, particularly top right - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%..

FRANK AUERBACH [1931 -]. Elephants on Motorbikes [Vroom - Vroom]. ink and crayon on paper, dedicated in ink by the artist. 12 x 16 cm [overall including frame30 x 35 cm]. Provenance: Juliet Yardley Mills collection [JYM] - a gift from the artist. She was one of Auerbach's favourite models and Auerbach gave her several drawings between 1957 and 1997.An original drawing by Auerbach, whose paintings sell for £millions, for less than the price of a print.[very good condition - very small crease at top left edge + 3 very small creases at top right edge - the background paper is white and not slightly discoloured as suggested in photo - unexamined out of frame]..

CERI RICHARDS, R.A. [1903-71]. The Sculptor, 1936. ink & pencil drawing. signed. Provenance: Fischer Fine Art, London [C2699] - label on reverse; private collection, UK. 28 x 38 cm - overall including frame 60 x 67 cm. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%..

Sir JACOB EPSTEIN [1880-1959]. Jacob Blessing his Children, 1932. pencil & watercolour, signed. 37 x 57 cm - overall including frame 54 x 73 cm. Provenance: Private collection, USA; acquired directly from the artist. [good condition - small crease top left - some time toning to paper - ink dedication and signature somewhat faded, but the drawing is fine]. Buyers premium of 20% + VAT is payable. ARR 4%..

Cocteau (Jean & Picasso, Pablo). Orphée. A Tragedy in One Act and an Interval, Translated by Carl Wildman, Oxford University Press, 1933, frontispiece after a drawing by Pablo Picasso, a few minor spots, original black cloth gilt, rubbed, some corner wear and some splitting at the spine, 8vo (Qty: 1)NOTESLimited edition, 1/100 copies, signed boldly in fountain pen ink by Jean Cocteau and Picasso. Supplied with a certificate of authenticity from Andrusier Autographs.

* Hodgkin (Howard, 1932-2017). Howard Hodgkin [by] Andrew Graham-Dixon, 1st edition, Thames & Hudson, 1994, colour illustrations throughout, signed presentation inscription with small original drawing in black felt tip by the artist to half-title, 'Patrick with love from Howard, you won't believe this but it's your garden... ', with a small rectangular sketch of the garden, original pictorial wrappers, together with a lunch invitation card from Howard and his partner Antony, home address in Bloomsbury, inscribed in black felt tip by Hodgkin for Patrick at upper margin, pencil phone number and hotel name in ink to verso (Qty: 2)NOTESFrom the collection of Patrick O'Connor, a writer and journalist who died in 2010.

An original drawing by Lionel Edwards (British, 1878-1966) depicting the 1921 Westchester Cup polo match between England and the USA at Hurlingham.pen & ink, titled GENERAL VIEW OF THE GROUND. LORD WODEHOUSE STOPPING A RUSH, the image 18.5 by 36cm., the reverse bearing the original artist's agent's certificate, signed & titled in the hand of Edwards and bearing his catalogue number of 1220, mounted in a later frame under glass, 40 by 56.5cm., the image very good, area of damage to frameProvenance:Previously owned by Johnny Kimberley, son of Lord Wodehouse.

"The Idle and Industrious Curates" by Pollie Howard, April 1873,an album of eleven pencil drawings with descriptions in pen and ink, drawing numbered 4 "The Rev'd Brown makes himself agreeable" on a croquet lawn; sold together with "Croquet at the All England Croquet Ground Wimbledon", later print of the photograph in Tom Todd's "The Tennis Players - From Pagan Rites to Strawberries and Cream", 16.4 by 20.8cm. (2)

Golf and other sporting books and memorabilia,golf content, comprising: six books comprising: Horace Hutchinson's Hints on Golf, George Greenwood's Gold Really Explained!, P A Vaile's Modrn Golf (2nd ed.), P Fowlie's The Technique of the Golf Swing and two copies of The Badminton Library's Golf by Horace Hutchinson; sold together with an original Phil May pen & ink golf drawing titled "Satisfaction"; vintage matted photograph of a golf club membership in Edwaridan times, photographer with an address in Hendon, north-west London; a C J H Tolley flicker book; French menu featuring golf; and a Bristol wine merchant's advertisement with Charles Crombie illustration titled "Good Luck" and featuring a golfer teeing off a horseshoe; non-golfing content comprising 4 books, Badminton Library Swimming, C D Locock's Modern Croquet Tactics, Charles Roberts' The Complete Billiard Player, and Melbourne Inman's Billiards How To Play & Win

HESING: Also known as Xi Cheng. Mandarin who travelled in the Keying, first Chinese junk to ever sail from Hong Kong to New York and further to London. Signed 8vo portrait drawing of Hesing. Signed `Hesing´ in bold black ink at the foot beneath his portrait, also adding the junk name `Keying´ and `L A Hilllbeck´ to the head, all with their equivalent Chinese characters beneath. The drawing bears to the upper corner a red ink stamp with Chinese characters, being the seal of Prince Hui Rui. Few stains not affecting the signatures. Small folding and creasing. The Keying was a three-masted Chinese trading junk that sailed from Hong Kong in December 1846 with a mixed crew of Chinese and British sailors. The vessel had been purchased surreptitiously by a conglomerate of enterprising English businessmen. It was placed under the command of Captain Kellett with the intention of carrying curiosities and merchandise to England and thereafter serving as a kind of floating museum. The Chinese crew members that they were embarking on such an extended journey were not aware of such plans. The Keying arrived in New York City on July 9, 1847, creating a sensation, with seven thousand visitors per day. In late March 1848, the Keying arrived in London to great fanfare, and several different medals were struck to commemorate its appearance, including one that had a bust of Mandarin Hesing. It was visited by the Queen Victoria, whose right to be the first European woman to visit it was reserved, The Duke of Wellington and Charles Dickens. It has been suggested that the Chinese Emperor was aware of the project from the start and secretly kept informed about it, and that the mandarin served as an informer to report back in detail. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Charles Samuel Keene (British, 1823-1891), Tempora Mutantur, ink drawing, monogrammed lower left, MS Maas & Co Ltd label to verso, H.13cm W.10cm

Architecture.- Spiers (R. Phené) Architectural Drawing, 25 lithographed plates, some folding or double-page, occasional faint spotting, previous owner's ink signature to half-title, blind-stamp to title, remnants of bookplate, occasional faint spotting, original cloth, rubbed and worn, Cassell, 1887 § Gardner (J. Starkie) Ironwork, 3 vol., vol. 1 fourth edition, vols. 2-3 first edition, plates and illustrations, vol. 1 in original paper wrappers, rubbed, chipping to spine extremities, vols. 2 &3 original cloth, a little rubbed, slight bumping to corners and extremities, 1896-1922 § Kheiri (Sattar) Islamic Architecture, plates, original boards, a little rubbed, 1923 § Longman (William) A History of the Three Cathedrals dedicated to St. Paul in London, frontispiece, plates and illustrations, occasional spotting, bookplate, original cloth, gilt, a little rubbed, lightly faded spine, slight bumping to spine extremities, 1873; and others similar, v.s. (c.110)

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) ULLSWATER Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x  16.25in))(30cm x 41.5cm (12in x  16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxingin period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) YORK Signed and dated 1794 on the mount, pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) KIRKSTALL ABBEY Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) WINDERMERE Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) SCARBOROUGH Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down time fading with some foxing in period gilt frame

HESSE HERMANN: (1877-1962) German-born Swiss Poet, Novelist and Painter. Nobel prize in Literature, 1946. An excellent A.L.S., H.Hesse, one page, small 8vo, n.p., n.d., to Mr. Weigel, in German. Hesse states `I was pleased that you thought of me in Vienna, and that you sent me your nice and noteworthy novel. Thank you. I send you enclosed something new too, I think of you and your homeland..´. Bearing to the bottom left corner an Austrian ink stamp. Together with T.L., to a small 8vo card, bearing a printed landscape colour drawing by Hesse entitled “Dorf im Tessin” above the typed text `Mr. Hesse has been ill for a long time, he is at Baden right now, and will be back shortly.´ Post-stamped and postmarked to the verso, Zurich, April 1942. VG, 2 £250-350

GIVENCHY HUBERT DE: (1927-2018) French fashion Designer, founder of Givenchy. Well remembered for having designed much of the wardrobes of Audrey Hepburn and Jacqueline Kennedy. A good signed 7 x 7 photograph, the attractive image depicting Givenchy in his studio, drawing and showing it to Audrey Hepburn, standing alongside. Signed in bold black ink to a clear area of the image. EX £200-300

BOTVINNIK MIKHAIL: (1911-1995) Russian Scientist and chess Grandmaster. World Chess Champion 1948-57, 1958-60 & 1961-63. A pioneer of computer chess. His pupils include World Champions Karpov, Kasparov and Kramnik. Signed F.D.C., `M.Botvinnik´, in Cyrillic, 8vo postcard, 20th July 1994. The document commemorates the 70th Fide anniversary and shows a drawing portrait of Botvinnik in a head and shoulders pose playing chess. Signed in bold black ink to a clear area of the front postcard, neatly affixed to the inside of a folding white stiff. VG £150-200

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 £120-200

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 £150-200

MUSSET ALFRED DE: (1810-1857) French Poet and Novelist. Best known for his autobiographical novel The Confession of a Child of the Century ("Confession d'un enfant du siècle" (1836), in part related to his love affair with George Sand. Rare and attractive ink drawing by Musset [c.1851], which relates to the coup d´etat of 2nd December 1851. The 9.5 x 6.5 light brown page showing three men running out from the "Conseil d´État" ("State Council"), struck down by the Law of Napoleon III. At the base of the drawing stating `The auditors chased from the Paradise on earth´. The drawing page has been affixed to a thicker card. Bearing a collection ink stamp to the verso, Artine Artinian (1907-2005) French literature professor at the Bard, NY University and collector. Creasing to the corners as a result of the affixing, and remnants of former affixing to the verso of the card. Small overall age wear and staining, otherwise G £1200-2000Alfred de Musset wrote about politicians and Ministers saying `Most Ministers are quacks, replacing each other, without changing anything to the sick´s health, and the worst craziness is to believe that revolutions can improve a nation prosperity.´

The Property of a Connoisseur, London WILLIAM BURGESS (ENGLISH 1749–1812) Country chapel with figures Pen and ink and watercolour 15 x 23.4cm (6 x 9 1/4in) Together with: A view of a chapel in the Briers.  Signed W. Burgess and inscribed Drawn on the spot, October 9th 1788; inscribed on the verso: A view of a Chapel in the Briers, one of the 12 chapels in the Halifax Vicarage Pen and ink on laid paper 12 x 22cm (4 3/4 x 8 3/4in) (2) William Burgess ran a Drawing Academy in London, and worked prolifically in the north of England and the Fens. He exhibited widely in the 18th century at the Society of Artists, the Free Society of Artists, and the Royal Academy. 

Ollenbach, signed pen and ink drawing, Michigan Avenue Bridge from the corner of Michigan Avenue and Wacker Drive, 26 x 31cm, together with two signed prints, Jean Cloix and Humbert (3)

J W Taylor, signed pen and ink drawing, "Its my typing finger (cricket match)", 21 x 31cm

A Collection of English School Pen and Ink Drawings, Sketches and Paintings to Include a Quantity of the British and Dominions School of Drawing Corrected Artwork c.1927-28, Prints, Oils, Watercolours, Portrait of Gent Dated 1972 and Signed R M Ashmead etc

Local Interest - Watercolour and ink drawing of Colyton bridge.

Meta Plackebaum 'Bzzzz' Ink Drawing, signed in pencil, in a glazed giltwood frame, 21 x 27cm

C19th Pen & Ink Oval Portrait Lord Byron with inscription to rear 'Dean of Guild Walkers informed one that this fine pen drawing of Lord Byron has been in his father's possession just as it is since 1827. I bought it at the Dean's sale after his death' monogramed WW, portrait by repute T Philips 1814, contemporary copy or engraver's drawing, image approx. 9" x 7 1/2" CONDITION REPORT

AR Maggi Hambling (born 1945), The Artist's Father, ink and wash drawing, signed, dated 16/1/94 and numbered 1 from a series of 5, 61 x 48cm

Arthur James Stark (1831-1902), Ducks, brown ink drawing with further pencil drawing of a cat on reverse, 7 x 14cm

Peter Luther, fishing boat, drawing-watercolor, ink, pen, signed 35cm x 48cm and another, boys fishing, signed, 35cm x 48cm (2).

Three late 19th/early 20th Century pen and ink vignettes - The Chess Game, each drawing approximately 12cm x 15cm, framed as one

Stanley Spencer (1896-1980), Self portrait, offset lithograph of an ink drawing, dedicated to John Rothenstein and dated, 1913, within the plate, titled and signed in pencil to margin lower left, numbered 45/75, 37 x 23 cm

FREDERICK LANDSEER GRIGGS, R.A., R.E. (1876-1938) RADCOT`BRIDGE, BERKSHIRE signed l.r. F.L. Griggs 1906 pen & ink drawing heightened with bodycolour 19.7 x 13.4cm / 7 3/4 x 5 1/4in The present work relates to the illustration for Vincent James Edmund's Highways & Byways in Berkshire (London, 1906, plate iv, p.45). Edmund wrote of it, "Radcot Bridge, with pointed arches on either side, and a blunter arch for the main stream, is a beautiful stone structure now...Mr Henry Taunt, of Oxford...notes a battle of Radcot which has escaped the observation of most historians. In it the barons under Henry of Derby, afterwards Henry IV, had the better of Robert de Vere...Radcot Bridge, too, an important thoroughfare in those days, had its share in the excitement of the Great Rebellion, for it was held by the Royalists as an outpost of Farringdon House..." (ibid. pp.44-46)

ITALIAN SCHOOL (19th CENTURY) DRAWINGS OF HISTORICAL ARMOURS pen & ink Each drawing: 20.0 x 28.0cm / 7 3/4 x 11in mounted & framed together

• ATTRIBUTED TO ANDRÉ DUNOYER DE SEGONZAC (1884-1974) A FOLIO OF LIFE DRAWING CLASS SKETCHES AND PORTRAITS OF ARTISTS inscribed on first page, Dessins de Mr.[?] Dunoyer de Segonzac / née le 6 Juillet 1884 a Boussy-Saint-Antoine ink & wash All: 20.5 x 28.2cm / 8 x 11in unframed, within a folio book These sketches are similar in style to those produced by Dunoyer de Segonzac for Jean Giraudoux's Le Sport (Boulougne-Sur-Seine, 1962). (49) `

Harrison & Ash (Architects) - A visualisation drawing for the Nurses Home, Wingrove Hospital, Westgate Road, Newcastle upon Tyne, inscribed, pen and ink, 31 x 49cms, framed.

A Qajar Portrait, with European influences, painting on paper [Qajar Persia, c. 1850] single leaf, ink and gouache on paper heightened in gilt, depicting a female figure standing in a drawing room apparently holding a glass of red wine, standing in front of an open window overlooking a lake, overall very good and clean condition, possible retouching to some small areas, framed within multiple ruled borders of red, white and red, total 300 by 205 mm.; framed and glazed Provenance: Christie’s, 20 April 2007, lot 414.

George Keyt (Sri Lankan, 1901-1993)Female figure with sitarink drawing signed 25 x 37cm (9 13/16 x 14 9/16in).

A drawing of Sikh troops in action against British forces North India or Punjab, late 19th Centurypencil, pen and ink on three conjoined sheets of blue watermarked paper cut from official British documentation (In the Court of Small Causes Umritsur) referring to a law of 1859 157 x 597 mm.This lot is subject to the following lot symbols: *

A drawing of Maharajah Ranjit Singh riding on an elephant in procession North India or Punjab, late 19th Centurypencil, pen and ink on three conjoined sheets of blue watermarked paper cut from official British documentation (In the Court of Small Causes Umritsur) referring to a law of 1859 157 x 693 mm.This lot is subject to the following lot symbols: *

Fred Dubery (1926-2011) GIRLS' HOCKEY A pencil drawing, a pen and ink drawing, a monotone painting, and five etchings various sizes (8)

* Flemish School. Adoration of the Shepherds, circa 1650, pen brown ink and brown wash on laid paper, contemporary inscription in Flemish towards top of the image, collectors stamp EC within a lozinge (Lugt 837), sheet size 16.3 x 21.4cm (6.4 x 8.4 ins), window-mounted (Qty: 1)NOTESProvenance: E. Calando (Lugt 837). Estate of Michael Jaffe (1937-1997). With pencil note by Michael Jaffe to backing card, referring to a comparative drawing of the same subject illustrated in R. - A. d'Hulst, De Tekeningen van Jacob Jordaens, Brussels, 1956, pages 32-33.

* Attributed to Giovanni Francesco Grimaldi, il Bolognese (Bologna 1606-1680 Rome). Courtyard with Fountain and Figures, Buildings and Palazzo, pen and brown ink on laid paper, with outer border in dark grey ink and green wash, with early inscription in brown ink to lower blank outer margin 'I Francisco Bolognese', sheet size 121 x 169 mm (6.65 x 4.76 inches) (Qty: 1)NOTESProvenance: Estate of Eduard Rosenbaum (1887-1979), diplomat at the Versailles Treaty negotiations, economist, Syndic of the Hamburg Chamber of Commerce and director of its library. Expelled from his post by the Nazi regime in 1933 he emigrated to London where he was appointed Librarian and Head of Acquisitions at the London School of Economics. Board Member of the Leo Baeck Institute, London. A similar small-scale drawing attributed to Grimaldi of a river landscape with pollard tree and boatman, with near identical inscription was sold at Christie's, Old Master & British Drawings & Watercolours, London, South Kensington, 5 December 2013, lot 26, formerly in the Crozat Collection.

* Attributed to Luca Cambiaso (1527-1585). Sketch of the Holy Family, and a Putto, pen and brown ink on laid paper, collector's mark AF within a square to lower right corner [Ferruccio Asta, Venice (1900-1952), Lugt 116a], sheet size 46 x 75 mm (1.8 x 3 ins), window-mounted (Qty: 1)NOTESProvenance: Ferruccio Asta (1900-1952), Venice; Estate of Michael Jaffe (1923-1997). A pen brown ink and wash drawing catalogued as Roman School with provenance of the Venetian dealer and collector of drawings Ferruccio Asta, was sold in these rooms in 2018 (Paintings, Watercolours & Prints, 18th July 2018, lot 35).