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Click here to subscribeIndia.- Rajasthan.- Kota School (probably late 18th century) Elephant in a landscape with chains around his feet, two men climbing on top, another wielding a sabre behind, brush and black ink with opaque pigments, on handmade wove paper, the sheet 590 x 750 mm. (23 1/4 x 29 1/2 in), minor handling creases, some surface dirt, unframed⁂ A particularly large and impressive drawing from Rajasthan, Northern India.
India.- Rajasthan.- Kota School (probably late 18th century) A running elephant wearing an orange blanket with bells around his neck, his mahout on top, brush and black ink with opaque pigments, on handmade wove paper, the sheet 620 x 840 mm. (24 1/2 x 33 in), minor handling creases, some surface dirt, unframed⁂ A particularly large and impressive drawing from Rajasthan, Northern India.
Torricelli (Evangelista) Lezioni Accademiche..., edited by Tommaso Bonaventuri, first edition, half-title, engraved frontispiece portrait after Pietro Anichini, title with engraved device of the Accademia della Crusca, 3 woodcut illustrations, decorations and initials, lacking imprimatur leaf (c10 but often bound at end), old ink manuscript note praising the author on rear free endpaper, some light spotting or soiling, a little staining to upper edge of a few leaves, later vellum, gilt-stamped morocco label, yapp edges, uncut, a little rubbed and soiled, [Norman II, 2088], 4to, Florence, Jacopo Guiducci, 1715.⁂ Twelve posthumously published lectures by Torricelli, Galileo's successor as Professor of mathematics at Florence, delivered to the Accademia della Crusca, the Studio Fiorentino, and the Academy of Drawing. The lectures relate mainly to physics, and include discussions on impact, wind and military architecture. Bonaventuri's preface contains a biography of Torricelli and a good overview of his work; it also reprints Torricelli's letters on the barometric experiment.
Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ‘Sutton Courtney’ and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: “Sutton’s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight… it is a setting for the rarer moments in life”. Gibbings did not linger in the village, “leaving the last golden hours of evening to the boys fishing on the weirs” (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints’ Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman’s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy’s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne’s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ‘square brush style’ is employed, for example, in parts of the boy’s clothing, the woman’s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ‘blurred’, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam’s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O’Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints’ Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (‘Exhibition of Irish Paintings and Sculptures’, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam’s, 30th
JOHN LENNON "BIG TOP" CIRCUS DRAWING. In pen and ink and measuring 17" x 14" the sketch features images of clowns, the "Big Top" circus tent, the ringmaster, elephants and a trapeze. Provenance: From the collection of Geoffrey Giuliano who purchased the drawing from Lennon's Uncle Norman Birch when he was researching for the book "John Lennon, My Brother" which he co-wrote with Julia Baird. Sold with a COA from the Giuliano Collection Ltd.
JOHN LENNON LADY GODIVA PAINTING. In watercolour and ink measuring 13.5" x 10". In addition to the painting is a sketch on the reverse of a pirate type character similar to that which features in his book "In His Own Write". Provenance: From the collection of Geoffrey Giuliano who purchased the drawing from Lennon's Uncle Norman Birch when he was researching for the book "John Lennon, My Brother" which he co-wrote with Julia Baird. Date unknown although John visited his Uncle in 1969 so it is thought to pre-date this visit. Sold with a COA from the Giuliano Collection Ltd.
Bert Thomas, MBE (1883-1966) Big Man - "I Say You've Had A Narrow Escape, I Just Caught Someone Tying Your Car To My Dog's Tail" Signed pen and ink drawing of a capped, gaitered and moustachioed rather burly fellow with a St. Bernard dog addressing a bespectacled man as he comes out of a pub. The latter's Austin Seven Chummy stands behind the dog, with two urchins looking on. There is a printed title label in the lower margin of the mount which also states that this was artwork for The Humorist magazine, although not dated. Unframed, but double-mounted. Image size 22.5 x 32.5cm. Good condition except for slight browning along the lower edge, below the artist's signature.
Bert Thomas, MBE (1883-1966) "Sorry Be Blowed! Why - You're Knowingly Made Up To Kill" Signed pen and ink drawing with touches of white bodycolour, depicting a man lying on the ground after being hit by a car and looking up at the well-dressed lady driver as she emerges from the car. There is a printed title label in the lower margin of the mount which also states that this was artwork for The Humorist magazine and is dated 14th December 1935 on the reverse. Unframed, but double-mounted. Image size 22.5 x 34.5cm. Good condition.
Bert Thomas, MBE (1883-1966) Queer-y: "Tell Me Officer - Does One Signal Before One Does A Thing Or Afterwards?" Signed pen, ink and wash drawing of a woman in a rather battered small car which has just collided with a lamppost. She is addressing the policeman who has witnessed the incident. Inscribed in pencil with the title along the lower margin. There is also a printed title label in the lower margin of the mount stating that this was artwork for The Humorist magazine and is dated 31st December 1930 on the reverse. Unframed, but double-mounted. Image size 33 x 23.5cm. Good condition except for slight browning along the lower edge of the drawing where the pencilled title has been added.
Manner of Frederick Gordon Crosby (1885-1943) A pair of pen, ink and wash drawings on tinted paper, being motor racing scenes from the 1930s, both signed F. Gordon Crosby and purchased by the vendor as being by him. The first depicts three racing cars heading towards the viewer along a tree-lined road, the two nearest vehicles with indistinct pencilled names added, possibly identifying the drivers as Richard Brazier - Winner, pursued by Gordon Be....? The second drawing shows two vehicles racing away from the viewer along a muddy track, while another numbered 17 has over-heated and been forced to pull over onto the grass verge while its driver and his companion attend to the problem. Both are mounted, glazed and framed. Each 14.5 x 34.5cm. Good condition. (2)
David Louis Ghilchik, ROI (1892-1972) The Friend in Need Pen and ink multiple image storyboard, signed, with the title in pencil and with printed slip beneath each image explaining the stage in the story, which depicts a helpful 'Good Samaritan' driver coming to the aid of a lady motorist whose Titan car has broken down. Finally, the car is completely in pieces and the would-be helper drives off, advising the lady to wait for an AA man to come along. The printed title banner indicates that the drawing was reproduced in the AA's book 'Golden Milestones' - 50 years of the AA, having originally appeared in Punch on 27th April 1926. Mounted, framed and glazed. Image size 38 x 31cm. Good condition.
David Louis Ghilchik, ROI (1892-1972) You Know Dear, If Things Don't Buck Up At The Office, We'll Have To Postpone Next Year's Model Till Next Year Pen and ink drawing, signed and captioned in ink, showing a young couple and their dog looking wistfully at their large American-type car. Unframed, but double-mounted with a printed title label in the lower margin indicating that the drawing is dated 17th September 1935 on the reverse. Image size 24 x 35cm. Good condition.
David Louis Ghilchik, ROI (1892-1972) Frightful Bumps On Your Forehead, Old Boy, Had An Accident? No, It's Hay Fever. Every Time I Sneeze I Bump My Head On The Steering Wheel Pen and ink drawing, signed and captioned in ink, depicting an acquaintance talking to the driver of a small Austin-type sports car. Unframed, but double-mounted with a printed title label in the lower margin. Image size 25.5 x 32cm. Good condition.
David Louis Ghilchik, ROI (1892-1972) A Government Expert Studying The Efficiency Of A Gyratory Traffic System Pen and ink drawing, signed with initials and captioned in blue pencil, showing a top-hatted and thoughtful official studying the motion of a children's roundabout. Unframed, but double-mounted with a printed title label in the lower margin. Image size 27 x 32.5cm. Good condition.
David Louis Ghilchik, ROI (1892-1972) Bather (In Difficulties): "Hooray, Saved! Here Comes A Lifebelt" Pen and ink drawing, signed and captioned in blue ink, showing a car crashing on a headland and losing a wheel in the process, mistaken for a lifebelt as it tumbles towards the sea and the struggling swimmer. Unframed, but double-mounted with a printed label in the lower margin. Image size 30.5 x 21.5cm. Good condition.
David Louis Ghilchik, ROI (1892-1972) Nonsense, My Dear, The Montmorency-Ffolliots Have Carried Their Brides Across The Threshold Since The Norman Conquest, And I'm Not Going To Be The First One To Let Them Down Pen and ink drawing, signed and captioned in ink, showing the bridegroom carrying his buxom young bride from the Rolls-Royce wedding car. As he stumbles with her up the steep steps of their grand country home, four members of staff gaze down at them impassively. Unframed, but double-mounted with a printed label in the lower margin indicating that the drawing is dated 28th June 1935 on the reverse. Image size 26 x 32.5cm. Good condition.
Bert Thomas, MBE (1883-1966) Owner of Midget - "Where's The Man I Told To Look After This Car?" Boy - "Gorn 'Ome To Get 'Is Glasses" Signed pen and ink drawing of a couple talking to two boys who are sitting on the pavement with their little terrier dog close to the couple's Austin Seven saloon. Inscribed in pencil with the title along the lower margin. There is also a printed title label in the lower margin of the mount stating that this was artwork for The Humorist magazine and is dated 14th September 1933 on the reverse. Unframed, but double-mounted. Image size 23 x 33.5cm. Good condition except for browning along the lower edge of the drawing where the pencilled title has been added.
Bert Thomas, MBE (1883-1966) He (Doing A Steady 60mph) "Shall We Push On Now Or Do You Still Wish To See The Country?" Signed pen and ink drawing of a couple in a 1930s sports car speeding along the road towards an oncoming lorry. The car displays a somewhat prophetic mascot of a vulture. Inscribed in pencil with the title along the lower margin. There is also a printed title label in the lower margin of the mount stating that this was artwork for The Humorist magazine, although not dated. Unframed, but double-mounted. Image size 24.5 x 33.5cm. Good condition except for browning along the lower edge of the drawing where the pencilled title has been added.
§ John Minton (British, 1917-1957) The Portuguese Town, Mazagan signed and dated 'John Minton 1953' (upper right) pen and ink with coloured crayon and wash 27 x 37cm (11 x 14in) Provenance: Whitworth Art Gallery, Manchester, 'Pictures For Schools', 1957 Exhibited: London, The Lefevre Gallery, 'New Paintings By John Minton', December 1953, cat.no.17 Other Notes: John Minton visited Morocco in 1952 with Norman Bowler, and the following year, Minton exhibited a group of watercolours of Moroccan subjects at the Lefevre Gallery. Another painting executed on this trip, 'Portuguese Cannon, Mazagan, Morocco' (1953), was presented to the Tate in 1957. A pen and pencil drawing of the same subject which was also exhibited at the Lefevre Gallery in 1953 (cat.no.12), was sold at Christie's, London, 28 November 2000, lot 97 for £3,055 (including BP). We are grateful to Frances Spalding for her kind assistance with this catalogue entry.
§ Peter Blake, CBE, RDI, RA (British, b.1932) Costume Life Drawing signed 'Peter Blake' in pencil (lower left); titled in ink and numbered in pencil 73/125 silk screenprint 75 x 55cm (29 x 21in) Provenance: The Waddington Gallery, London, 1970 Overall condition is good. No immediate areas of damage evident.
Ernest Howard Shepard (British, 1879-1976):'Saturday Night Return', original ink drawing heightened with white, signed lower left, depicting a montage of city & rural scenes including a steam train, accompanied by a typed poem of the subject signed J.G., H 28 x W 46 cm. Please note that Artist's Resale Rights may apply to this lot.
Alfred Wainwright, "The Boathouse, Laugharne (the home of Dylan Thomas), pen and ink, signed and titled in the margins, image 14.5 cm x 20 cm. CONDITION REPORT: This is an original pen and ink drawing. It is framed and glazed. The condition is generally very good with no issues. There is a label to the rear stating that this is an original pen & ink drawing used as one of the illustrations for the South Wales Sketchbook.
EARLY/MID 20TH CENTURY BRITISH SCHOOL, a collection of pencil sketches, ink caricatures, etc and pencil photographic prints, life studies, portraits, milk order book with doodles and notes to milkman, an interesting collection that includes life studies, titled Goldsmith School of Art, circa 1933/34, some signed Denton Welch, some signed G. Leet (parcel)There are only two initialled DW/signed or attributed to Denton Welch as far as we can tell, the life drawings in the lot generally mention the year date and Goldsmiths or Royal College of Art rather than the artist signing them, so there could be many others by him but we cannot say with any certainty, the two that are initialled DW are visible in the online photo No.2, one is the dark pencil life drawing towards the centre, the other is the one top left, that has quite a bit of damage in the form of orangey/brown staining, it says on the back ‘Overleaf – Drawing by Denton Hadlow Road Summer 1937’, the dark sketch says on the back ‘D. Welch Goldsmiths Sch of Art’
H.R.A[spinwall] Commonplace book, c.1816-1836. 4to, org. green cloth; 30 MSS leaves, some written on both sides, 13 leaves of illus, two ink drawings, one ink wash, one pencil, nine watercolours signed HRA. The compiler of this book has been identified as an Aspinwall by the coat-of-arms on the first page - Or, a chevron sable between three griffins' heads erased sable. The shield is set in an architectural frame between two statues in niches, one bearing a book, the other a palette - presumably representing the pictures and poems in the book. it has not been possible to trace the majority of the poems, suggesting these were written either by the author or friends (some are signed AW, THL, E McG and others), although some are more obvious (such as a transcription of Macaulay). The pictures, mostly costume studies, are principally signed HRA (as the initials on the title page) but there is also an ink drawing of an Eta tree from British Guiana (after a sketch by AW) and a pencil drawing of a ship passed at sea (after a sketch by AFWW). The whole records an element of gentle life of the period, with foreign travel, lines 'On Leaving Catlow House', tips on letter writing, and, more poignantly, lines for Mrs JH on the death of a child.. Binding worn, one leaf loose, some offsetting from pictures, a couple of pages with sections excised, some foxing etc but very good.
Green, Joseph Views taken on a Voyage from England to New South Wales and Van Dieman's Land from thence Homewards via Bombay, 1829. Oblong 8vo, leather-backed marbled boards; 13 leaves of pencil sketches, ink washes and watercolours. Green produced this collection of drawings and sketches for his cousin, Samuel ?Farmer, 'who used to be fond of drawing', according to the inscription on the upper pastedown. The drawings comprise three from Van Diemen's Land; three from New South Wales; one of the Back Bay of Trincomalee; two of India; three of St Helena; and one of France. They especially show coastal views of bays, forts and harbours, but include Napoleon's house and tomb and Walker's Hotel in Paramatta [sic] (presumably Charles Walker's Red Cow).. Binding worn, pages loosely attached in places, some foxing etc but very good.
A.F.McNEIL 'MAC' (1891-1965). A styling drawing for coachbuilders J Gurney Nutting & Co. of an Airflow Saloon 3 1/2 litre Bentley Motorcar, watercolour, pen and ink,signed and dated 'MAC 1936' lower middle right, together with a further selection of hand coloured Bentley 'styling' images, each bearing Gurney Nutting Coachwork logos to top left hand, average 21.5 x 43 cm (5)
COLLECTION OF PRINTS, POSTERS AND PAINTINGSREPUBLIC PERIOD comprising: two posters depicting Zao Jun, the Kitchen God, dated the 25th year of Republic Period (1936); four posters depicting Zhong Kui; a painting depicting Cao Guojiu, ink and colour on silk, signed Qiu Zhu; a painting of a landscape; two woodblock prints depicting birds and flowers and gold fish; an architectural drawing of the Imperial Vault of Heaven (Huang Qiong Yu) at The Temple of Heaven, dated 1936 (qty)highest 53.6cmProvenance:From the collection of the late James Kedzie Penfield (1908-2004), who joined the American Diplomatic Corps to China in the 1930s and 1940s. In 1954, Penfield became The United States' High Commissioner for Austria with the mission to re-establish an independent, neutral and democratic Austria. In 1961, he was appointed American Ambassador Extraordinary and Plenipotentiary to Iceland; thence by direct family descent.
JACK B. YEATSThe ShanachieHand coloured Cuala press print, 18 x 12cm Framed; Together with another hand coloured Cuala press print by Cotta Yeats with accompanying verse from John Todhunter's 'An Irish Love Song', a Cuala Press advertising booklet of its books and prints with accompanying pen and ink drawing of the printed monogram. (4)
William Timym MBE (1901-1990), Charcoal and watercolour on paper, Himalayan tiger and cub, Signed lower left, 72cm x 53cm, Framed and glazed, with an oil on board of a stone breaker, a watercolour landscape of a river and village titled verso 'The Cuckmere Valley', a watercolour of geese in flight and a ink drawing of a man and cello (5)
[Anon] Mabel Lee. A manuscript ballad recounting the story of a young girl, from rags to riches, on 7 sheets, including title page dated 1850 with a pen and ink drawing of a country cottage, and a further 5 sheets, each with a watercolour scene of the protagonist in various stages of progress, each sharing Mabel's movable head, 167mm x 207mm, 1850
King, E. Augusta. A personal album documenting her time in India, including more than 60 mounted photographs of Indian subjects, most by Samuel Bourne, c.1875-80, many captioned, various illustrated letters, envelopes and valentines, a large pen and ink drawing titled 'View from the window of Preston House, Hants', signed 'E.A.K. 1870', with further photographs of British homes, contemporary half morocco, oblong folio, c.1880
*Dudley Short (Norman, 1882-1951). A collection of 23 original one-line drawings, circa 1920-1950, 23 pen & ink or black crayon drawings on paper, including 14 mounted on card, 6 initialled N.D.S., and 3 initialled S., various sizes, the largest sheet size 22 x 20 cm (8.8 x 8 ins), the smallest 11.5 x 9.4 cm (4.6 x 3.7 ins), together with a small archive of documents and paperwork relating to the artist, including a letter from C.G. Holmes of The Studio addressed to the artist, dated 18th July 1923, a pencil portrait of Dudley Short by Severin, entitled Samurai Short, various newscuttings from magazines, including Drawing & Design, New English Weekly, 3 printed broadsides by the artist, entitled A Gay Dog, A Dull Dog, and Oh Alfred! (including 2 duplicates of A Dull Dog), 4 pages of a handwritten manuscript account by the artist of his drawing technique, circa 1950, and a sequence of correspondence from the artist's daughter concerning an exhibition of Dudley Short's work to be held at The Cross-Keys Gallery, Beaconsfield, taking place in January 1969, 4 wood engravings by Molly Dudley Short, etc The 'one-line' drawings of Norman Dudley Short were frequently printed or reproduced in journals and magazines between the 1920s and 1940s, including The Studio, Apollo, New English Weekly, Drawing & Design, and elsewhere. A one-man exhibition of his work took place at the Little Art Rooms, Duke Street, London, in 1923, Brook Street Art Gallery in 1944, The Chelsea Gallery in 1949, and a posthumous retrospective at the Cross-Keys Gallery in Beaconsfield in 1969. (a folder)
Imitator of Pietro Francavilla (Italian, 1548-1618) Venus attended by a Nymph and a Satyr pen and ink 40 x 20cm (16 x 8in) The present drawing is a study after Pietro Francavilla's famous marble sculpture, executed circa 1600, which is now in the Wadsworth Atheneum, Connecticut, USA. We are grateful to Nicholas Turner for his assistance with the catalogue entry.
Political Radicalism, English 'Jacobinism' and the French Revolution - an important late 18th century Radical gentleman's ink manuscript everyday commonplace 'journal', the property of and inscribed by William Taylor, Senior, Merchant of Norwich (d. 1819) or his son William Taylor of Norwich and later London (1765 - 1836), recto with activities and calls, a few light observations and some copies of letters, dated from July 2nd, 1795, to October 25th, 1799, verso with personal accounts and tabulations of expenditure, dated from July 13th, 1795, to October 26th, 1799, supplied by: Richd Cust (sic, Richard), Stationer, Parliament Street, Westminster, Variety of Accompt (sic) Books, Drawing Papers, Port-folios, &c., oval engraved paper label to recto pastedown, contemporary full vellum over boards, upper cover dated in ink MS, 12mo Though not directly signed or inscribed William Taylor, the ownership and provenance is thus deduced from: copies of letters addressed to his brother Rev. Taylor and signed-off with the monogram WT; and a copy of a letter addressed to a Mr Stiff, dated December 3: 1795, where the radical informs him that 'I trouble you with this to inform you that as I now live so far from town [Norwich] I must decline being any a longer a member of the Revolution Society' - a dangerous and seditious notion to express in a letter in England at the time - though the society was officially 'closed' in May of 1794 from government suppression. Though Taylor Junior was an only child it would not be unusual for him to refer to a relation, intimate friend or a political and fraternal companion as 'brother', particularly in the flowery prose of the time with its conjuring of egalitarian Classical syntax. Whichever Taylor, whose life he himself records faultlessly over these four years, spent time in central London paying calls and leaving cards when hosts were absent, remarking on Lord Spencer's Battersea Bridge, visiting tobacconists on the Strand, taking coffee at coffee houses and keeping up to date on his housekeeping, seems to have spent most of his time in the East End at Walthamstow, Cheapside, Homerton, etc.
John Cleveley the Younger (1747-1786)Shipping in the Tagus off Belém Tower, PortugalPen, ink and watercolour14 x 18.5cm; 5½ x 7¼inProvenance:From a drawing made on the spot for Mr. John Borlase WarreAnn Hopkins Smith (d.1851) of Olney, Buckinghamshire and by descent toStafford Allen and thence by descent
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![H.R.A[spinwall] Commonplace book, c.1816-1836. 4to, org. green cloth; 30 MSS leaves, some written on both sides, 13 leaves of](https://cdn.globalauctionplatform.com/765517a4-44f8-4e04-8d69-aa00009f365c/5a7c53dc-0e15-4629-9695-aa0a00f19742/468x382.jpg)
![[Anon] Mabel Lee. A manuscript ballad recounting the story of a young girl, from rags to riches, on 7 sheets, including title](https://cdn.globalauctionplatform.com/2cf5d959-84cf-40c7-8cac-a9e30148cda5/01064d2e-f969-4f7f-80dd-aa0200f1c9c1/468x382.jpg)
