We found 9772 price guide item(s) matching your search

An original Jack Kinney "Polo" Disney drawing, the ink and pencil drawing of a polo match, signed lower right and titled "Polo Disney Style", with COA, 31.6 x 24.8 cm This work was created as an illustration for his book 'Walt Disney and Assorted Other Characters, an unauthorized account of the early years at Disney by Harmony Book 1989. However it was omitted from the published version of the book. Jack Kinney worked on a number of Disney animations, including Dumbo and Pinocchio.

A polo drawing by George Denholm Armour (1864-1949) being an original artwork for a Punch magazine "Hints to Sportsman" illustration signed, inscribed IF YOU HAVE ANY RAW PONIES, ALWAYS PLAY THEM IN BIG MATCHES; IT GETS THEM ACCUSTOMED TO THE CROWD, AND THE BAND, AND THINGS, pen & ink, blue pencil margin, on artboard, 26 by 34.5cm., good condition, offered with the published Punch magazine page; sold together with a pen & ink & watercolour, indistinctly signed, titled THE PONIES OF ALL NATIONS, 19 by 25cm.; two Cuthbert Bradley (1861-1941) prints, titled "DYNAMITE", THE BROTHERS PEAT'S POLO PONIES AT TATTERSALLS, and SUSSEX COUNTY v FREEBOOTERS, mounted together ready for framing, 24 by 46cm., all unframed (4)

An original Phil Berube pen and ink drawing of Tommy Hitchcock Jr playing polo, with cartoon captions and a handwritten caption "Still Going Strong" in blue ink, 21.8 x 19.3cm; sold together with a hand painted colour postcard of Tommy Hitchcock, mounted on a canvas frame, 16 x 10.8 cm; seven b & w press photographs of Tommy Hitchcock, dating from the 1920/30/40's whilst representing the US polo team, another of Hitchcock playing tennis dated 1939 and another of him in military uniform; two postcards from the 1936 Berlin Olympics, featuring polo matches, one with pencil writing on reverse, postage stamp, dated 1936, 9.2 x 14.1 cm; a print of Britain's Walter Selby Buckmaster and a b & w photograph featuring Buckmaster with Mrs Geo Gould; eleven b & w photographs from the 1930/40's featuring some famous polo players and Hollywood stars, to include Devereaux Milburn & Malcolm Stevensen, the Gracida Brothers, Zsa Zsa Gabor, Joe E Brown, Jack Holt, Lillian Knight, Charles Cary Rumsey, Maureen Orcutt, Mr & Mrs Fred Bailes, (qty) Thomas (Tommy) Hitchcock Jr., American Polo Player (1900 - 1941), 10 goal handicap in 1922, one of the first group of inductees into the Polo Hall of Fame in 1990. He was a member of the winning teams in the Westchester Cup in 1924, 1927, 1930 and 1939 and participated in the 1924 Olympic Games in Paris winning a silver medal.

Charles-Émile Jacque (French, 1813-1894):Sheep in a landscape, ink drawing, signed lower right, stencil numbers verso, H 13 x W 19 cm. Provenance: The Collection of Charles Albert Benfield (1926-2004).

Franco Gentilini (Faenza, 1909 - Roma, 1981). Landscape from Van Gogh. 20x26,5, drawing, Indian ink on paper, Pars 1972. With inscription to the friend Silvano Gianelli.

Original ink drawing by Terence Cuneo of a Diesel Locomotive signed by himself TO DRIVER YATES on a First Day Cover of the Famous Trains set of covers issued in January 1985. The set of covers is framed and glazed. Together with two original large locomotive transfers as carried on Locomotive 47500 for the launch of the stamps and driven by Driver Yates.

PETER HOWSON OBE (b.1958), framed original pen and ink drawing "Hopeful man" titled and dated 2012 to reverse and signed and dated bottom right hand corner (Prov Adam Partridge sale Dec 2017). 30cm x 22cm

Alan Davie (British, 1920-2014), Untitled, 1989, ink drawing on paper signed in pencil lower left, H.15cm W.18cmProvenance: Gimpel Fils Gallery, London, acquired by the Gallery direct from the Artist

Alan Davie (British, 1920-2014), Untitled, 1977, ink drawing on paper, signed in pencil lower right and dated, H.15cm W.21cmProvenance: Gimpel Fils Gallery, London, acquired by the Gallery direct from the Artist

Alchemy.- Ashmole (Elias) The Way to Bliss. In three books. Made publick, first edition, woodcut head-pieces and initials, title with small rust-hole with loss to 1 letter, lacking the scarce portrait (as often) and the final errata f. but with 1p. contents supplied in a 19th-century hand with an ink drawing of a churchyard at foot, small hole to B4 with loss to 2 letters, outer margin closely shaved, occasionally touching printed side-notes, minor worming and small rust-hole to inner margin, not affecting text, occasional very light spotting, ink ownership inscriptions and bookplate to endpapers, contemporary speckled calf, sympathetically rebacked, [Wing A3988], small 4to, by John Grismond for Nath. Brook, at the Angel in Corn-hill, 1658.⁂ Ashmole's final alchemical publication in which he also recommends ways to prevent illness including a balanced died, moderate exercise and enough sleep. Provenance: Charles H. Bayley (ink inscription dated 8/9/1847); Sir Edward Denny Bacon (1860-1938, bookplate), stamp collector and curator of the Royal Philatelic Collection.

JOHN VARLEY (1778-1842) River landscape with gate, signed, watercolour, 18 x 27cm * With old backing board attached verso inscribed in ink by H Varley (grandson) certifying the work as an original drawing by 'Old John Varley'

Louis William Wain [1860-1939]:-An angry cat,signed Louis Wain bottom middle, also inscribed 'quarter page with love Louis Wain', bottom left,ink and wash drawing, a sketch,20 x 16.5cms.

* Rodney Joseph Burns [1899-1984]- Ballyconneely, Galway,:- signed with initials bottom right pencil, pen and ink drawing, 31 x 54cm. * Provenance. With The Mall Galleries.

* CARLO ROSSI RSW RGI (SCOTTISH 1921 - 2010), STILL LIFE monotype, signed and dated '89 43cm x 53cm Mounted, framed and under glass. Label verso: Compass Gallery, 178 West Regent Street, Glasgow. Note: Monotyping produces a unique print, or monotype, made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque colour. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones. Carlo Rossi created an exceptional body of work using the monotype process and was an enthusiastic exponent of the medium.

A Vivian Pitchforth ink drawing of a torso.

SIR KYFFIN WILLIAMS RA preliminary ink drawing - entitled 'Lake in Snowdon' with additional sketch and annotations verso, 21.5 x 28cms

Framed & glazed Pen & Ink drawing of an Edwardian Lady and Gentleman at the races, signed "John Stevens", measures approx 49 x 32cm

Four prints and a drawing. A portrait of Thomas Hardy by William Strang, etching, 15 x 10cm; Robin Guthrie, portrait of Edward Thomas, lithograph, 64 x 21cm; a small etching by Estella Solomons, another by Edward Synge; and an ink drawing by C. Graham (American) of Hogarth's House, Chiswick, for Harper's Magazine 1888, 32x 26cm (5)

Derek Holland (20th century), 'Church at Sommières in the Midi', a signed pen and ink drawing, 20 x 29cm, together with 'Figures and camels outside a Moroccan town', an oil on board, 26 x 21cm and an engraving, (3).

Kirby (Follower of John Joshua, 1716-1774) Perspective drawing of a tower, probably Clench's Tower, Ipswich, Suffolk, possibly intended for a book on perspective illustrating Suffolk buildings which was never published, pen and black ink, watercolour, heightened with white, on laid paper with large Strasbourg lily watermark and countermark of 'Edmeade & Pine' dated '1797', sheet 550 x 430 mm. (21 3/4 x 17 in), laid onto thin tissue support, carefully repaired tears, light surface dirt and stains, unframed, [circa 1790s]Provenance:Sale. Christie's December 1990, lot 215

Leonard Manasseh (British, 1916-2017), Radipole Lake Pumping Station (Weymouth & Portland B.C Main Drainage Scheme), signed, dated and inscribed 'Leonard Manasseh 1981 after a similar pencil drawing 1979' (lower right) and further inscribed in pencil with title (in margin), pen and ink, 29 x 80cm. May be subject to ARR Illustrated

Original Dinky Toys Meccano Ltd General Assembly Drawing, Job.621/2 Armoured Command Vehicle, executed in black Indian ink on special woven translucent drauphting paper, size 30cm x 24cm .

19TH CENTURY BRITISH SCHOOL "The Barley Mow, Solihull", sepia ink drawing inscribed to mount, "The Barley Mow, Solihull, 1824" framed, mounted and glazed, 26cm x 18cm, the reverse bearing hand written note on "Solihull Council, Libraries, and Arts D epartment" note dated (19)93, together with an INK DRAWING of a church, inscribed May 22nd 1829, 11cm x 18cm, most probably "St. Alphege" Solihull parish church, gilt framed, mounted and glazed (2)

WALTER G. WHITEHOUSE "Redditch", panoramic view ink & wash drawing, en grisaille signed and dated 1910, 17cm x 70cm, ebonised frame, mounted and glazed

δ Harland Miller (b.1964)I'm So Excited I Just Can't Hide ItOriginal pen and ink drawing on hand bill, 2010, inscribed verso in ink, sheet 218 x 142mm (8 1/2 x 5 5/8in) (framed)Footnote:This important work was featured in the exhibition 'I'll never forget what I can't remember', Galerie Alex Daniels, Amsterdam: September 18- November 5th, 2010.Literature: 'Harland Miller, I'll Never Forget What I Can't Remember', Reflex Editions, Amsterdam, Page 139.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

MOUNTED PASTEL AND INK DRAWING A LAKESIDE COTTAGE SCENE APPROXIMATELY 36CM X 42CM

Trades. Valuable Secrets concerning Arts and Trades: or Approved Directions, from the best Artists, for the Various Methods Of engraving on Brass, Copper, or Steel. Of the Composition of Metals. - of Varnishes. Of Mastichs, Cements, Sealing-Wax. &c. &c. Of the Glass Manufactory. Various Imitations of Precious Stones, and French Paste. Of Colours and Painting, useful for Carriage Painters. Of Painting on Paper. Of Compositions for Limners. Of transparent Colours. Colours to dye Skins or Gloves. To colour or varnish Copper-Plate Prints. Of Painting on Glass. Of Colours of all Sorts, for Oil, Water, and Crayons. Of preparing the Lapis Lazuli, to make Ultramarine. Of the Art of Gilding. The Art of dying Woods, Bones, &c. The Art of Casting in Moulds. Of making useful Sorts of Ink. The Art of making Wines. Of the Composition of Vinegars. Of Liquors, Essential Oils, &c. Of the Confectionary Business. The Art of preparing Snuffs. Of taking out Spots and Stains. Art of Fishing, Angling, Bird-Catching, &c. And Subjects curious, entertaining, and useful. Containing upwards of One Thousand approved Receipts relative to Arts and Trades, London: Printed and sold by Will. Hay, Printer and Bookseller to the Society of Artists of Great Britain, 1775, [8], xxxiv, [2], 312pp., occasional light dust-soiling and few marks, contemporary sheep, joints & spine cracked with evidence of some refurbishment, title label partly lacking, some wear, 12mo, together with: Smith (Godfrey) , The Laboratory; or, School of Arts: in which are faithfully exhibited, and fully explain’d, I. A variety of curious and valuable Experiments in Refining, Calcining, Melting, Assaying, Casting, Allaying, and Toughening of Gold; with several other Curiosities relating to Gold and Silver. II. Choice Secrets for Jewellers in the Management of Gold; in Enamelling, and the Preparation of Enamel Colours, with the Art of Copying precious Stones; of preparing Colours for Doublets; of Colouring Foyles for Jewels, together with other rare Secrets. III. Several uncommon Experiments for Casting in Silver, Copper, Brass, Tin, Steel, and other Metals: Likewise in Wax, Plaister of Paris, Wood, Horn, &c. With the Management of the respective Moulds. IV. The Art of making Glass: Exhibiting withal the Art of Painting and making Impressions upon Glass, and of laying thereon Gold or Silver; together with the Method of preparing the Colours for Potters Work, or Delf-Ware. V. A Collection of very valuable Secrets, for the Use of Cutlers, Pewterers, Brasiers, Joiners, Turners, Japanners, Book-Binders, Distillers, Lapidaries, Limners, &c. together with the Art of Marbling Books or Paper. VI. A Dissertation on the Nature and Growth of Salt-Petre: Also, Several other choice and uncommon Chymical Experiments. Vii. The Art of preparing Rockets, Crackers, Fire-Globes, Stars, Sparks, &c. for Recreative Fire-Works. Viii. The Art and Management of Dying Silks, Worsteds, Cottons, &c. in various Colours. Compiled from German, and other foreign Authors, 3rd edition, with Additions of a great Number of valuable Receipts; particularly, a short, plain, and easy Introduction to the Art of drawing in Perspective, London: James Hodges & T. Astley, 1750, engraved frontispiece (offset to title), 16 engraved plates (including 2 folding), some toning and occasional spotting, 20th century sheep, red morocco title label, upper joint splitting, 8vo (Qty: 2)ESTC T69155 & T72113.

Bookseller's catalogue. For 1775. Sayer and Bennett's Enlarged Catalogue of New and Valuable Prints, in Sets, or Single; also Useful and Correct Maps and Charts; likewise Books of Architecture, Views of Antiquity, Drawing and Copy Books, &c. &c. in Great Variety, At No. 53, in Fleet-Street, London; Where Gentlemen for Furniture, Merchants for Exportation, and Shopkeepers to sell again, May be supplied with the greatest Assortment, on the most reasonable Terms..., [London], 1775, Appendix at rear with separate pagination and collation, lightly toned throughout, verso of front free endpaper with contemporary ownership signature of Philip Griffin, Warnford, Hants, front pastedown with armorial bookplate of Henry St. Andrew St. John, front free endpaper with bookplate of Martin and Josephine Orskey, and with ink inscription 'M. Orskey 1964', modern calf-backed contemporary marbled boards (rubbed), 8vo in 4s (Qty: 1)Provenance: Philip Griffin was rector of the village of Warnford in Hampshire. Henry St. Andrew St. John (1796-1874) was also a clergyman, whose ancestors hailed from Bletsoe in Bedfordhire, and his portrait hangs in Lydiard House, Swindon, Wiltshire. ESTC T152186 (listing just two locations, British Library and Göttingen University, Germany). ESTC lists three other similar catalogues put out by Sayer in the years 1766, 1774 and 1786. All are scarce. Robert Sayer (1725-1794) was a major British publisher and printseller. In 1745 he purchased the business of map and globemaker John Senex and went into partnership with Philip Overton, in 1748 marrying Overton's widow Mary. In 1774 Sayer entered partnership with his journeyman John Bennett and traded as Sayer & Bennett but Bennett apparently went mad in 1783. On Sayer's death, the business was taken over by his assistants Robert Laurie and James Whittle.

Heckle (Augustin). Bowles's Drawing Book for Ladies; or Complete Florist: being An Extensive and Curious Collection of the most Beautiful Flowers, All drawn after Nature by A. Heckle. With a short Introduction to Drawing, and Directions for Mixing and Using of Colours. Also Several Proper and Easy Examples. The Whole adapted for the Improvement of Ladies in Needle-Work, Printed for the Proprietor Carington Bowles, [1785?], 24 engraved plates, 20 hand-coloured, three partially hand-coloured, and one uncoloured, toned throughout (especially to title) and some spotting, some corner curling, plate 4 with upper outer blank corner torn away, title and front free endpaper with contemporary ownership name of Mildred Clark, former with additional ink name of Juliana B. Clark, contemporary marbled wrappers, soiled and worn, oblong folio (20 x 32.5 cm), housed in a custom-made brown cloth solander box, with gilt lettered red morocco label on upper cover (Qty: 1)ESTC T117556; Henrey 795. First published as The Lady's Drawing Book in 1755, there appears to have been several issues of this work, all of which are uncommon.

Perspective Study. Drawing of a Man O' War, early 19th century, circular pen and ink drawing on paper, depicting a portion of a large sailing ship on a chequered floor, paper uniformly toned, a few pale spots, short worm trail lower right (paper-repaired on verso and inked in), diameter 18 cm (7 ins), framed and glazed (Qty: 1)

ISABELLA DIANA EMMA SILVER (1830-1913) LANDSCAPES AND OTHER SUBJECTS including interiors of the Drawing Room of Medstead Rectory Hampshire, Sydney Cottage Bitterne, Men Hauling in a Seine at Swanage 1879, A Young Girl at her Canvas Work, Fisherman's Lookout at Minehead, Study of a Girl and her Terrier in a Green Chair, a Picturesque Bridge at Builth Wells 1884, Niton from St Catherine's Hill 1876, a Game of Cricket at Medstead Rectory 1877, The Well House at the Manor Medstead, Five Children Playing in the Barn in the Rectory Grounds, at Niton, Chudleigh Rocks 1877 and others, 16, one signed, captioned on the mount, watercolour (14) , two en grisaille or pen and ink, 26 x 36cm and smaller, unframed (16)++One or two with slight dirt but as a lot in excellent overall condition

AN IMPORTANT VICTORIAN GOTHIC OAK AND IRON POSTING BOX DESIGNED BY A W N PUGIN FOR THE PALACE OF WESTMINSTER, the mounts attributed to John Hardman, c1852 the lid with sloping sides to the traceried and rope edged letter slot faced with finely chiselled lion passant guardant, a satchel slung about its neck, flanked by banners the square, slightly projecting iron lock between rose panels and chip carved edges, the back with splayed foliate hinges, the ends having recessed panels carved with an ink bottle and crossed quills or ribbon on waterleaves with painted in white, gothic script (with red initial) The Post shall…. and, to each gable end of the lid a hooded falcon and further banner, the underside with substantial recessed lead weight held in place by two brass strips, 26.5cm h; 24 x 34.5cm Provenance: Private family ownership since the early 20th century or before. In a letter of 27 December 1851 Sir Charles Barry informed Pugin that "The drawings for the letter boxes were sent to Hardman as soon as I received them. I have this moment given Crace the drawings for the decoration of the blank lights [ie presumably the carved panels to the sides], received this morning with orders to proceed…. I enclose a diagram which he has made of the pannels [sic] and a list of the data for their decoration; and shall be very glad, if it were not be bothering you too much, if you would give the subject your deliberate attention… That would be most satisfactory". There is good reason to regard the present box as one of those referred to in this letter. One letter box was presumably intended for the House of Lords, the other the for House of Commons. The most notable feature of the box, the lion passant guardant from the Royal Arms of England, in crown and carrying a satchel, proclaims both his purpose and Palace of Westminster origin. Now, much obscured by rust, the very finely chiselled mounts are consistent with Hardman's work for Pugin. For the same reason, in its present unrestored condition, together with a lack of specific documentary evidence, it cannot firmly be attributed to Crace or another maker. Pugin's habit of collecting medieval fragments of stained glass, wood and metalwork not only informed his own designs but were purposely to serve as models for his craftsmen, as he himself expressed in a letter of 1849 to J G Crace "… they will be very useful for no drawing can give these things".To take one of these objects, a 15th century French oak cabinet door still with its iron lock, as an example (now in the V & A; illustrated P Atterbury & C Wainwright, Pugin: A Gothic Passion 1994, fig 190) the similarity is obvious. The carving of birds in particular, deserves notice and on the iron lock the 'Y' shaped ornament and spiral detail both reappear in the ironwork on the present box. It would also appear to be the only extant example of a Pugin/Hardman posting box. It is moreover unusual for an 'unknown' object specifically designed for the Palace of Westminster to emerge from obscurity++++

A Wilfred Haughton pen and ink drawing of Mickey Mouse and Donald Duck, With body colour, autographed and date 1943, probably from an autograph book —6½in. (16.5cm.) width of image (slight creasing and staining) - Wilfred Haughton who illustrated the British Mickey Mouse comics and related items

•AR Charles Mayes Wigg, "At Wroxham Broad", pen and ink drawing, signed lower right 14 x 18cm

A late 17th century Mughal India gouache and ink gold and silver on paper drawing of an elephant with mahout and trainers, 4.25 x 6.5in., unframed

A gilt-framed and glazed early 19th century ink drawing of a seated woodcutter, 13 x 18cm

ROZ JENNINGS (BRITISH, b. 1952), A SET OF THIRTY FASHION ILLUSTRATIONS, each inscribed "Original Drawing by R. Jennings Illustrator for Laura Ashley London 1970's", pen and ink  on card. (30) 29.5cm by 21cm

ROZ JENNINGS (BRITISH, b. 1952), A SET OF THIRTY FASHION ILLUSTRATIONS, each inscribed "Original Drawing by R. Jennings Illustrator for Laura Ashley London 1970's", pen and ink  on card. (30) 29.5cm by 21cm

ROZ JENNINGS (BRITISH, b. 1952), A SET OF THIRTY FASHION ILLUSTRATIONS, each inscribed "Original Drawing by R. Jennings Illustrator for Laura Ashley London 1970's", pen and ink  on card. (30) 29.5cm by 21cm

Old Master sanguine ink drawing, Searching for Putto, 17.5cm x 21cm

E. Jenkins, 'Beauchief Abbey', pencil drawing, 12.5 x 17.5cm; ink drawings by Winifred Rawston, R.T. Wright, J. Buckley, Elizabeth Britten. (5)

F. Brown, 'The Bridge', Blackbrook Reservoir', watercolour, 24 x 37.5cm, signed lower left, S. Green 'Snig Hill, Sheffield', ink drawing, another King Edward VII School. (3)

Duhamel (Georges) La Pierre d'Horeb, number 2 of 10 copies on marais with a suite of engravings, from an edition limited to 1150, dry-point plates by Berthold Mahn, illustrations, bound in dark green morocco, by Le Douarin, with black morocco label across spine titled in silver, uncut, spine faded, Paris, 1928 § Huysmans (J.-K.) A Rebours, number 166 of 200 copies, drypoint plates and illustrations by Coussens, some coloured, contemporary dark brown morocco, 1927 § Adrien. Ballades de Sylvain, number 44 of 70 copies, this copy signed and inscribed by the author/artist to Marcel Bauginet with pen, ink & watercolour sketch, an original drawing in pen & ink and some plates hand-coloured, etched plates by the author, loose as issued in original pictorial wrappers, uncut, 1946 § Crébillon (P.J. de) La Nuit et le Moment, one of 525 copies, colour etched plates by Louis Icart, contemporary roan-backed boards, rubbed, 1946, all uncut, the first two with slip-cases, slightly rubbed; and 5 others with engraved plates, 8vo & 4to (9)

Richepin (Jean) Les Chansons de Miarka, number X of 20 hors commerce copies (this copy for M.Fribourg), with an original drawing and an additional suite of plates on Japon, printed in black and colours, woodcut frontispiece, illustrations & decorations by Gabriel-Belot, light spotting, half-title hand-coloured and with original signed pen & ink drawing by Gabriel-Belot, additional suite tipped to blank leaves, loose as issued in original decorative wrappers with ties (a couple lacking), uncut, a little rubbed, 1923 § Servine (Roux) La Pierre Écrite, Poèmes, number 5 of an unspecified number of special copies, this for M.Herman Simson, printed in red & black, illustrations by Léo Lelée, with 11-line signed manuscript poem 'Le Tombeau' by the author in red ink bound in at end, and signed watercolour drawing on half-title & 2 small pen & ink drawings mounted on leaf signed by Lelée, later green morocco, gilt, g.e., spine slightly faded, 1911 § France (A.) Abeille, one of 495 copies, wood-engravings by Louis Jou, contemporary morocco-backed boards, spine gilt, original wrappers bound in, 1923 § Barbier (G.) Le Carquois Épuisé, number 49 of 60 copies initialled by the author, wood-engraved illustrations by Siméon, original wrappers, uncut, glacine wrapper, n.d. § Louÿs (P.) Les Aventures du Roi Pausole, wood-engavings by Foujita, lightly browned, original yellow wrappers, uncut, a little spotted and faded, 1931, Paris; and 12 others, French, illustrated with wood-engravings/woodcuts, 4to & 8vo (17)

HERGE: (1907-1983) Georges Prosper Remi. Belgian Cartoonist, creator of The Adventures of Tintin. An excellent original black pen and ink drawing signed and inscribed by Herge, one page, oblong 8vo, n.p., n.d. To the blank verso of what is most likely a page neatly removed from a book (a series of printed images are just visible to the recto) Herge has drawn charming images of the heads of his most famous characters, Tintin and his faithful dog Snowy (who holds a bone in his mouth). Signed (‘Herge’) in bold black ink and with a brief inscription in French. A rare and desirable signed drawing. Matted in ivory and framed and glazed in a plain silver coloured wooden frame to an overall size of 13 x 11. EX

DOYLE ARTHUR CONAN: (1859-1930) Scottish Author, creator of Sherlock Holmes. An unusual original pen and ink drawing, unsigned, by Doyle to the verso of his personal printed correspondence card, Windlesham, Crowborough, Sussex, n.d. Doyle’s drawing is entitled The Quiet Home in the Forest and depicts a fight between two animals (presumably hounds) taking place in a tree lined country field with seven individuals running towards them, most armed with various implements in an effort to stop the fight. From one individual Doyle has drawn a speech bubble with the holograph text ‘Hi! Do something! Do anything! Hit ‘em! Kick ‘em! Pull their tails!’. Matted in ivory and framed and glazed to both sides (to show Doyle’s printed name and address on the recto of the correspondence card) in a black frame to an overall size of 9.5 x 8. VG Provenance: The present sketch was originally sold as part of lot 131 by Christie’s in their sale of The Conan Doyle Collection in London on 19th May 2004. The lot of over twenty drawings and paintings realised £7170.

Steadman (Ralph). Still life with Raspberry, or the Bumper Book of Steadman, 1st edition, 1969, numerous monochrome illustrations, original cloth in dust wrapper, creased and with closed tear to upper left corner, without loss, 4to, inscribed by the illustrator to half-title, underneath the title Still Life with Raspberry, 'or 63 Bob Ralph Steadman. June 69.', with a drawing of a man reading the book on a lectern numbered 11/50 in dark blue ink, together with other illustrated books by Ralph Steadman, including The Grapes of Ralph, 1st edition, 1992 (signed to half-title, with an additional cartoon to facing leaf), Scar Strangled Banger, 1st edition, 1987, boldly inscribed by the artist to half title and facing leaf, The Complete Alice, 1st edition, 1986, signed by the artist incorporating a cartoon to front endpaper, Animal Farm, 1st edition, 1995, signed with cartoon to half-title, etc., mostly 4to or 8vo, generally VG (Qty: 20)

Bliss (Joyce, 1914-1990). An archive of original artwork and associated material, approximately 150 drawings and sketches, comprising female nude studies, costume and theatre designs, book illustrations, designs for dust jackets, title-pages and endpapers, advertisements, decorative borders and initials, calendar designs, still life studies, genre scenes, animal studies, portraits, children at play, illuminated verse, etc., including two red chalk female nude studies, approximately forty watercolours, and the remainder pen & ink or pencil, a number unfinished, some signed or initialled 'EJB', some dated, together with a bound volume of Nursery Rhymes by the same artist, 12ff., each with musical notation within pen, ink, and watercolour border, plus some printed material (e.g. Christmas cards) and photographs related, various condition, approximately 41 x 31cm (16 x 12ins) and smaller, together with a small archive of original art by Phyllis Mary Antrobus (born 1905), comprising twelve watercolours (six portraits, and one of children A playing on a beach, one of moths and butterflies, and four of a fox terrier 'Foch'), some signed/dated, six pencil drawings of cats and dogs, and a pencil sketch of three young girls, sheet size 40 x 28.5cm (15.75 x 11.25ins) and smaller, plus two pen & ink drawings and one pencil drawing of female theatrical dancers, initialled 'DHYH', one dated 1926 and another dated 1929 (Qty: a folder)An interesting archive of material by artist Eleanor Joyce Bliss, who studied at the Birmingham School of Art between 1930 and 1939. She married silversmith Cyril James Shiner in 1943.

Greenaway ( Kate , 1846-1901). A drawing of a young lady, pen & ink with traces of pencil, showing a girl in a bonnet holding gathered flowers in her overskirt and smelling a flower, leaning against a low wall, 13.2 x 8.9cm (5.25 x 3.5 ins), tipped onto the front free endpaper of Language of Flowers, 1st edition, Routledge and Sons, [1884], 1st issue, with title printed in brown on upper cover, and bright yellow endpapers, numerous colour illustrations, some light toning or spotting, edges stained yellow, original cloth-backed pictorial boards, a little rubbed and marked, some wear to extremities, slight creasing to both covers, 8vo, contained in a custom made green morocco gilt drop-back box by George Bayntun, Bookbinder and Bookseller, with an advertising leaflet and a typewritten letter signed by H. H. Bayntun-Coward on George Bayntun headed notepaper loosely inserted (Qty: 1)Language of Flowers: Schuster & Engen 107.1a.

Style of Hugh Thomson, 1860-1920. Original illustration for Cranford, pen & ink on artist's board, depicting a pensive young lady in walking dress and bonnet, carrying an umbrella and standing beside a country church, calligraphic caption lower left '" - Her face seemed to have almost something of the flush of youth in it" Cranford: Chap. XII', lightly toned and a few spots (especially to blank margins), pin hole in upper edge, image size 37 x 22.5 cm (14.5 x 9 ins), sheet size 51 x 32 cm (20 x 12.5 ins) (Qty: 1)This original work is very much in the manner of Hugh Thomson, and yet not found in the 1891 edition of Cranford for which he did the illustrations; it is, however, possible it could be a drawing executed by him which wasn't included in the final publication.

The personal effects of a much-loved servant, Betty Martyn who died in 1837. Her long blue & grey striped apron, her late 18th century steel spectacles with hinged arms and loop ends, her horn penknife, two worn silver spoons (one missing half of its stem), a tiny round hinged box, a broken wooden oval box, a pencil and black ink silhouette drawing of her inscribed on the reverse: 'Betty Martyn dear faithful old servant lived in the family about 40 years' etc. Also another page of writing, lamenting her passing from which we learn that she died February 15th 1837, in her 89th year. Provenance: The Penrose Estate, Porthleven, Cornwall.

Martyn (Thomas). Letters on the Elements of Botany, Addressed to A Lady, By the celebrated J.J. Rousseau, translated into English, with notes, and twenty-four additional letters, fully explaining the system of Linnaeus, 1st edition thus, printed for B. White and Son, 1785, 38 uncoloured engraved botanical plates (plate I with publisher's imprint at foot shaved), occasional light spotting, contemporary ink presentation inscription to title 'M: Buc Given by Sr. H: Englefield' (Sir Henry Charles Englefield, 1752-1822), with an additional later presentation inscription to J.S. from H.C.E., dated 1819 [Jarrard Strickland from Henry Charles Englefield] in German to the dedication leaf, dated 1819, contemporary half calf over marbled boards, worn with backstrip deficient and covers detached, bookplate of Jarrard Edward Strickland to front pastedown, 8vo, together with G orham (George Cornelius) , Memoirs of John Martyn, F.R.S., and of Thomas Martyn, B.D., F.R.S., F.L.S., Professors of Botany in the University of Cambridge, Hatchard and Son, 1830, 3 engraved plates, including 2 hand-coloured, with additional copy of the uncoloured plate loosely inserted, with hand colouring and pencil correction, modern postcard pastedown to verso of front free endpaper, author's presentation inscription to recto of the same leaf 'From the Author to his dear Sister, Martha Gorham, Jany. 15, 1830'. original green cloth, with paper label to spine partially rubbed away, a little wear to joints and extremities, 8vo, plus 2 others: Sir John Hill, The Family Herbal, Bungay, C. Brightly and T. Kinnersley, circa 1820 & John Clavell Mansel-Pleydell, Flora of Dorsetshire, 1874 (author's presentation inscription to head of title), all 8vo (Qty: 4)Gorham's Memoirs of John and Thomas Martyn includes an autograph letter from Thomas Martyn to fellow botanist Sir James Edward Smith of Norwich, dated 6 April 1821: "I dispatched by the Oundle waggon yesterday the box of specimens of plants from van Dieman's Land ... What has been said of me in the European Magazine and the Biographical Dictionary of Living Authors being incomplete and incorrect, I have been lately drawing up Memoirs of myself, for the information of my family; not being vain enough to think that any thing I have done can interest the public", an abridged version of which is printed in Gorham's Memoir on pages 251-52.

Shrapnel (Henry, 1761-1842). Original pen and ink drawings of 6- and 3- pounder shells, annotated by Shrapnel and signed by him as Lieutenant Colonel in the Royal Artillery, c.1804, paper undated but watermarked 1802, verso blank (Qty: 1)Henry Shrapnel (1761-1842), army officer and inventor of the Shrapnel shell. Shrapnel, whose name was to become synonymous with his invention, had been commissioned into the Royal Artillery in 1779, and served in Newfoundland. After his return to England in 1785 he began privately to develop his idea of an explosive shell which could be fired from existing ordnance but which was filled with small round pieces of shot to be dispersed lethally when the shell exploded, the timing determined by a fuse of variable length inserted through the base of the casing. He maintained an interest in his invention during this subsequent military career, during which he had been wounded at the siege of Dunkirk in 1793, and in 1799 proposed to the Board of Ordnance that his should be adopted by the military, approval being granted in 1803. It is from this period that the present document is dated. Shrapnel became the first assistant inspector of artillery at Woolwich on 10 February 1804, during which year the shell was used with some success at the capture of Surinam. Each drawing is accompanied by annotations of the exact dimensions, which in the case of the 3 pounder show signs of having been later altered. The note to the first drawing, i.e. the 6 pounder, evidently applies to both: 'NB These shells are to be case of the best No.1 Iron, or extremely soft gun metal, so as not to be in the least degree brittle. The casting to be finished as quick as possible, that the metal may not be increased in heat beyond what is proper.'...' Shrapnel's note at the foot, written less formally, adds the instruction that 'The whole of these shells should be cast in green sand, as the moulds make the iron brittle - the raised edges 3,R & 4,R are only intended as marks, & should be raised very little indeed.' Any autograph material by Shrapnel is very rare on the market, and the present document is a particularly rare survival relating to a military invention which could be said to have had a significant influence on the future direction of artillery.

Lady Diana Spencer – rare signed and inscribed printed letter dated 28 th April 1981, on Buckingham Palace Prince of Wales crested notepaper – thanking Sally Jo (Hobbs) for her kind letter of congratulations on her Royal engagement and for a lovely drawing – signed in ink ‘Yours Sincerely Lady Diana’, with original envelope, another Royal letter dated 27 th March 1981 from a lady in waiting, thanking Sally Jo (Hobbs) on behalf of The Prince and Princess of Wales, for her lovely drawings on the occasion of their engagement – with envelope and another from Ruth Vermoy, thanking Sally and Harry for a drawing on behalf of HM Queen Elizabeth The Queen Mother, with envelope (3)

Attributed to Gainsborough Dupont (1754-1797) - 'Sketch portrait of Greenwood the Auctioneer when at the age of thirty', pencil and chalk study on grey paper, later hand titled in ink to the base of the paper and with further pencil attribution ' Drawn by Thomas Gainsborough ', and annotation to the mount stating ' From the coll of Gainsborough Dupont (the artists nephew) see back of drawing. From the coll of the late Arthur Kay Esq ', the reverse of the drawing with pencil annotation ' AIE Drawn by T Gainsborough, bought at Gainsborough Dupont's sale 1797' , 26 x 41.5cm. Provenance: This painting is purported to have been lot 30 in Christie's sale 'Drawings by T Gainsborough RA and other English Painters - The Property of Arthur Kay Esquire' of 23rd May 1930, where it was catalogued as being by T. Gainsborough and coming from the collection of Sir Herbert Jerningham. It is also stated that this drawing was included in the Gainsborough Memorial Exhibition at Ipswich in 1929. In 2008, Bateman's Auctioneers attributed this drawing to Gainsborough Dupont after consultation with British art specialist Anthony Mould and Agnews Fine Art dealers. Upon Gainsborough Dupont’s death in 1797, much of his collection was sold by Christie’s in London and at local sales in the Gainsborough’s home town of Sudbury. There is ongoing debate that some of the works attributed to Thomas Gainsborough may have actually been drawn or at least finished by his nephew. Further notes of interest : There was an auctioneer by the name of John Greenwood (1727-1792) who had auction rooms in Leicester Square and was apparently well acquainted with many of the London based artists. Thomas Gainsborough (1727-1788) painted his friend the auctioneer James Christie in 1778 (in the Getty collection). Arthur Kay (1860-1939) was a prolific art collector and critic, and the author of Treasure Trove in Art published 1939.

DEBORAH KERR: A VINTAGE PINK SLEEVELESS COCKTAIL DRESS WITH SILVER FLORAL BROCADE a vintage beige chiffon long sleeve scoop neckline evening dress, both dresses were donated by Deborah Kerr to Lights, Camera, Auction in June 1999 to help raise funds for television station in Topeka, Kansas with certificate of authenticity, a brown coat of wool with large cuffs, large button with interior label, M. Berman Esq, 18 Green St, Leicester Sq., WC2, inscribed Miss Kerr, the coat was worn in a production, 1950-60s, a book entitled Bonjour Tristesse, 1955, the inside cover signed and dedicated by Deborah Kerr and further signed by members of the principle cast including David Niven with ink drawing possibly by Kerr or Niven, the book presented to May Walding (Wardrobe Dept) and an original bathing costume design, for Kerr's character Lee Ashley in Proud and Profane, the reverse with approval signatures, framed and glazed Condition Report: Available upon request

ATTRIBUTED TO L S LOWRY pen and ink and (believed) pastel sketch on a small old note book page - a single side-on view of figure in hat, smoking and with hands in pockets standing next to railings within rough outer border, entitled top left 'Tramp Pendlebury', signed and dated at bottom 1959 and number 19 top left of page, verso there is a handwritten number 8932 with a repeat of date and signature, 13 x 7cms Provenance: drawing of figure in similar pose sold Christies Modern British & Irish Art (Sale 12303) March 2017. Picture purchased by art collector privately.

CHARLES RICHARD CAMMELL: MEMOIRS OF ANNIGONI, London, 1956, 1st edition, signed in initials on title page, 11 full pages ills on 6 leaves as called for, original cloth gilt, dust-wrapper (part loss), various associated items loosely inserted including Charles Cammell autograph on piece, Pietro Annigoni autograph on piece with his address written underneath in his hand "Borgo Albizi 8 Florence", an original pen and ink wash sketch depicting River Bure at Burgh near Aylsham by Dimitri Kratschkoff mounted on card and signed by the artist at bottom right corner, signed and inscribed verso "With all kind thoughts and best wishes for Christmas and New Year, Dimitri" to his friend Pietro Annigoni who visited him at Burgh Mill in 1955, approximately 150 x 200mm + mounted photograph of a drawing by Pietro Annigoni, signed and inscribed verso by Dimitri Kratschkoff "With my best wishes for Christmas and New Year to all with love Dimitri" + ANTONIO CICCONE autograph on piece and a relevant newspaper cutting relating to friendship of Annigoni and Dimitri Kratschkoff stating Annigoni visited Kratschkoff at Burgh next Aylsham and Hungate Street, Aylsham where Annigoni painted Dimitri's room

CIRCLE OF LAURENCE STEPHEN LOWRY (1887-1976). Two figure studies, one bears signature and date 1902 across the top and with initials lower left, also inscribed verso, pen and ink drawing, unframed, 23 x 8 cm, the other bears a signature and date 1912 upper right, pencil drawing, unframed, 33 x 23 cm (2)

Mid Century Venezuelan Ink Drawing. Presented to the President of Costa Rican President Rafael Angel Calderon Fournier by Venezuelan President Carlos Andres Perez on the occasion of their official visit, June 17th, 1991. Signed and dated '55, brass plate. Measures 12"x 7" (sight), frame measures 24-3/4" x 19-3/8". Condition: Good condition. Estimate: $100.00 - $400.00 Domestic Shipping: $165.00