MICHAEL ALEXANDROVICH ROMANOV: (1878-1918) Russian Grand Duke. Youngest son of Emperor Alexander III and brother of Tsar Nicholas II. Assassinated by the Bolsheviks. When Nicholas II abdicated on 15 March 1917, Michael was named as his successor, however, he deferred acceptance of the throne until ratification by an elected assembly. Rare and very attractive signed sketch by a very young twelve years old Michael, being a greetings sent to his Swiss tutor Ferdinand Thormeyer. To the verso of an attractive colour printed postcard Michael carefully pens in bold black fountain pen ink `Happy new year, Michel´ in French, and draws beneath a flourish with four little persons walking towards the new year 1891. Adding also alongside a fine ink drawing showing a sailboat. EX £1000-1500
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BUKOWSKI CHARLES: (1920-1994) German-American Poet, Novelist, and Short Story Writer. An original black pen and ink drawing signed by Bukowski, one page, oblong 8vo, n.p, n.d. Bukowski has drawn, to the upper right hand side of a white page, the stylised depiction of a man under a sun, with a dog standing by his side and a bird in the air. A speech bubble above the man's head reads 'Hello, Luise'. Signed ('Buk') at the base of the drawing. With a minor vertical and horizontal crease, not affecting the image or signature, VG £300-400
Geoffrey Key (1941-), "Seated Figure", signed and dated 20.3.78, titled on gallery label - 'Pitcairn Galleries, Knutsford' verso, ink drawing, 40.5 x 27.5cm, 16 x 10.75in. Artists’ Resale Right (“droit de suite”) may apply to this lot. For a condition report please visit our website www. peterwilson.co.uk
Original 18th Century Architectural DrawingCo. Carlow?: Nowlan (Michael) Architect. A Plan of an Obilisque Pedestils and Orrens to be done for Samuel Faulkner Esq. To be erected over the gateway at the entrance to the Forth. December 3rd 1794. Drew at large by a scale of 2 feet to one Inch by Michael Nowlan. A large pen, ink & wash architectural drawing, approx. 40cms x 31cms (15 1/2" x 12 1/4"), somewhat stained, wooden frame. As a m/ss., w.a.f. V. Rare. (1)
Henry George Rushbury (1889 - 1968), signed etching - Continental town, two other signed etchings, pen and ink drawing and a William Orpen etching, all unframed CONDITION REPORT The Orpen has staining to the paper and a mark top right, also some foxing to the margin. Rushbury in good condition, not laid down, very light mark around the edge where the mount meets it. Just attached in 2 places on the top edge
* JOHN NICHOLSON (SCOTTISH 1921 - 2004), TS DUCHESS OF HAMILTON watercolour on paper, signed and titled 35cm x 53cm Mounted, framed and under glass Note: John Nicholson was only five when his love affair with ships began. John was fascinated by the workings of a paddle steamer on a day trip to the Isle of Man in 1925 and he was still enjoying sailing on the paddle steamer PS Waverley 78 years later. Drawing was also an interest from a very young age and family holidays on the Clyde in the 1930s provided the subject matter for many of his early paintings. John served in WWII and spent four years as a POW. In the early 1950s he began receiving commissions. Pen and ink drawings appeared in several shipping magazines and from 1984 until 1987, John was commissioned to paint all new vessels to the Cal/Mac fleet. His attention to detail in all his pictures often led to extended correspondence with those wanting a painting of a ship in a particular livery or location. His regular trips to the Isle of Man resulted in a commission from Captain Jack Ronan to paint three Steam Packet ships for him. In 1993 he was commissioned to do a set of paintings of The Isle of Man Steam Packet ships for postage stamps issued by the Isle of Man Post Office. John was a renowned marine artist and his works will remain as a permanent memorial to his abiding interest in all things to do with the sea and, for more than 25 years, he provided the PS Waverley with artwork for their postcards, posters, timetables and advertisements - and all completely free of charge. Early in 1990, the publishers Hart, Maclagan & Will were printing their first book in The Memories of the Clyde series, The Duchess of Fife. They were searching for a suitable front-cover illustration and contact was made with John Nicholson. In 1992 the second title, Steamers of the Clyde, featured all 24 illustrations painted by John Nicholson. In 1994, Liners of the Clyde was published. This book contained illustrations of 24 liners all painted by John with his own authoritative descriptions. He followed this with another work on the steamers of the Clyde and Western Isles with the words provided by himself, Robin Boyd and Iain Quinn. TS Duchess of Hamilton was buit in 1932 by Harland and Wolff at Govan for the Caledonian Steam Packet Company. She was a popular boat providing day cruises from Ayr, Troon and Ardrossan. After the war she ran long distance excursions from Gourock to Campeltown and later to Ayr, Arran and Inveraray. Her last voyage was to Campbeltown on 28th September 1970.
Original vintage travel poster promoting French Railways and Paris featuring artwork by Salvador Dali next to a photo of the Eiffel Tower. Dali's design features an expressive ink drawing next to psychedelic depiction of butterflies. Salvador Dalí was a prominent Spanish surrealist born in Figueres, Catalonia, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. Good condition, creasing, small tears, in margin, light staining. Country: France Designer: Salvador Dalí Year: 1970 Size (cm) 99x62
Henry Cave (British 1779-1836): Half length Portrait of a Bearded Man - probably of an old master, pen and ink drawing signed Henry Cave York28cms x 21cmsProvenance: City of York Museum Art Gallery label verso, titled 'Exhibition of Pictures by York Artists 1913/14' Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
NO RESERVE Scott (Sir George Gilbert, architect, 1811-78) Specification of Works required to be done in restoring, repairing &c Worksop Abbey Church George Gilbert Scott Archt. 20 Spring Gardens London, manuscript, 12pp., small pen and ink drawing by ?Gilbert Scott, folds, slightly browned, folio, [1874].
*Attributed to Prince Hoare (1755-1834). Lady Macbeth, black and grey pen, ink & wash on laid paper, heightened with colour, some surface marks, short closed tear to left margin, some loss due to damp to the lower right corner, sheet size 26.8 x 12.5 cm (10.6 x 4.9 ins), mounted on grey-blue paper sheet with triple ruled border in gold, wash, and black ink, with circular ownership inkstamp of Sir John Clermont Witt to lower left corner, and numbered in pencil 1277, window mounted Provenance: Formerly in the Collection of Sir John and Lady Witt (inventory no. 1277). An important drawing by a member of Fuseli's intimate circle. The Witt Library has a photograph of the present work where this work is ascribed to Henry Fuseli. It is also referred to by Nicolas Powell, in The Drawings of Henry Fuseli (Faber & Faber 1951), page 29, in a discussion of works previously attributed to Fuseli, but more correctly assigned to those in his circle, 'In this connection, two drawings after Fuseli in the collection of Sir Robert Witt are of great interest, the first, of Count Ugolino, is by George Dance, and even has Fuseli's name under it, the second is by Prince Hoare, and is taken directly from the Lady Macbeth of the 1805 Shakespeare, but it is plainly intended as a pastiche or caricature'. (1)
Holroyd (Lady Susan Harriet (1829-1894)). An album of 125 drawings and watercolours, 125 watercolours (some in sepia) and drawings (brown or black pen & ink, charcoal, or pencil), mounted on 70 album leaves (three drawings loosely inserted), including illustrations of characters and scenes from the works of Sir Walter Scott, Charles Dickens, and Alfred Tennyson, seascapes and landscapes (Smyrna, Venice, Rhine, Constantinople, Algiers, Gibraltar, etc.), interior scenes, buildings (Cottages in the New Forest, Gateway at Hever Castle, Kent), portraits and genre studies, copies after Old Masters, some signed and dated variously 1845-47, neat manuscript text mounted beneath drawings or on facing versos, artist's signature dated December 1845 on second leaf, modern red half morocco, some soiling, folio (sheet size 34.5 x 26cm (13.5 x 10.25ins), together with a binder's receipt dated 1987 loosely inserted made out to Sir Christopher Chancellor of Ditcheat Accomplished artist Lady Susan Harriet Harcourt, n‚e Holroyd, was the daughter of Augustus Frederick Charles Holroyd, 2nd Earl of Sheffield and Harriet Lascelles. She married the naturalist and politician Edward William Vernon Harcourt, and the pair travelled extensively, during which excursions Lady Susan drew copiously. She provided the illustrations for her husband's book 'A Sketch of Madeira' published in 1851. An example of her work is held by the Royal Collection: a brown pen & ink drawing entitled 'Lady of the Lake', mounted in an album compiled by either Queen Victoria, or her mother, Victoria Duchess of Kent. (1)
*Attributed to James Paine the Younger (1745-1829). The Nile, pen, grey and pale brown ink and wash, and pencil, on laid paper, with shield and post-horn watermark, some marks to surface, a few old paper repairs to verso, and 20th century inscription to verso in pencil: 'The Nile'. Preliminary Study for the pedestal of proposed Nelson's statue in St. Paul's Cathedral, sheet size 26 x 33.5 cm (10.25 x 13.25 ins), tipped onto card mount Provenance: Private Collection, Gloucestershire. A closely matched composition attributed to James Paine the younger and entitled Thames is in the collection of the New York Public Library (formerly collection of T.P.P. Clifford). In an early sketch book by James Paine, held at the V & A Museum, London, dated 1774, there is a similarly posed ink and wash study of a river god. See John Frederick Physick, Designs for English Sculpture, 1680-1860, page 164, figure 127 for a pen, ink and wash design for a memorial to Lord Nelson proposed for St. Paul's Cathedral, signed by Paine, in which sculptures of river gods are placed around the foot of the pedestal. The present drawing, however, is late 18th century in origin, and may be another study by Paine like the Thames drawing, which would later be reused or adapted for the design of monuments. (1)
*Collage pictures. A pair of collages, late 18th century, together two pictures composed of fabric cut-outs in different colours and textures, superimposed on each other and built up to form a raised effect, on board, with details added in pen & ink, depicting flowers in an urn surrounded by birds and insects, within a decorative border, discolouration and surface loss (latter mainly to board background), each 21 x 28.5cm (8.25 x 11.25ins), matching frames, glazed, together with Sampler. A linen sampler, 1812, text worked in cross-stitch in black: 'Hear the words of Prudence, give heed unto her counsels, and store them in thine heart... envy not the appearance of happiness in any man, for thou knowest not his secret griefs of mind', with initials 'E E' and the date 1812, within a sinuous floral border, worked in satin and stem stitch, in a variety of coloured threads, some small holes, 35.5.x 25cm (14 x 10ins), framed and glazed, plus a large 19th century needlework picture of a pheasant sitting on a branch, toned and spotted, 57 x 43cm (22.5 x 17ins), framed and glazed An unusual pair of decorative collages, each with minutely cut out pieces of fabric carefully placed to pleasing effect; an additional accomplishment for a lady, and alternative creative past-time to needlework and drawing. (4)
*De Morgan (Evelyn, 1855-1919). Study of a male nude, black chalk on laid paper (to top half of a large sheet, with horizontal fold in centre), showing a full-length male nude seated on the ground, supported by the right arm, and with the right leg drawn up, large watermark 'J. Whatman 1869' and device of a hunting horn within armorial shield topped by a coronet, slightly toned and spotted, some marginal pin holes and edge creasing, overall sheet size 53.5 x 43cm (21 x 17ins), together with A double nude study, pencil on thick paper, showing two male nudes in profile, one a partial figure crouching, the other a full-length kneeling figure, bending over a prostrate body in sketchy outline, dusty, and some ink marks to upper margin, sheet size 25 x 35.5cm (10 x 14ins), plus a pencil drawing on card of three female nudes in different stances, a little dusty and toned at edges, 25 x 35.5cm (10 x 14ins), and a black chalk drawing on blue paper of a full-length female nude from the rear, 42 x 28cm (16.5 x 11ins) (4)
*Frost (Terry, 1915-2003). Terry Frost. A Personal Narrative by David Lewis, with contributions by David Archer, Ronnie Duncan, Adrian Heath, Linda Saunders, edited by Elizabeth Knowles, Foreword by Sir Alan Bowness, Scolar Press, 1994, original signed drawing by Terry Frost in black ink on the half title, colour and monochrome illustrations, original black cloth in colour printed dust-wrapper, 4to (28.7 x 28 cm, 11.3 x 11 ins) (1)
*Italian School. Design for a Ceiling Decoration, early 18th century, pen, brown ink and grey wash on laid paper, of a group of putti on a ledge, surrounding a large vase, appearing to examine drawings, with one holding an artist's palette and brushes, with contemporary ink annotation '3' to upper right corner, pinhole to centre of upper margin, sheet size 10.9 x 17.7 cm (4.25 x 7 ins), together with 3 other English 18th century ink studies, including 2 pen, brown ink and brown wash sketch portraits of a man and woman, the latter in the guise of a shepherdess, one with contemporary annotation to verso in ink 'Figures', and a decorative design in brown ink and pencil of pugilists surrounded by an florid ornamental border, on laid paper, the two portraits 14 x 10.5 cm (5.5 x 4.2 ins), the ugilists drawing 21.5 x 18 cm (8.5 x 7 ins), (corners cut) (4)
*Frost (Terry, 1915-2003). Terry Frost: Act and Image: Works on paper through six decades, by Mel Gooding, Belgrave Gallery, 2000, original signed drawing by Terry Frost in black ink on the fly leaf, colour and monochrome illustrations, original red cloth in colour printed dust-wrapper, 4to (30 x 25 cm, 11.75 x 9.8 ins) (1)
A selection of 20th century contemporary art prints to include a signed print of a Tim King drawing depicting visitors to an David Hockey exhibition at the Royal Academy entitles 'Thanks so much for Supporting the Project', the drawing comes from a series from 2016 where the artist drew scenes of London everyday for a year. Also including a sketch by Neile Thomas with charcoal and ink on paper of figures with a racing car, an abstract print of two overlapping circles in black and white, and a print of a collage by Peter Joseph limited edition number 842/1000. 42cm-high 30cm-wide biggest.
HAITSU; a pair of watercolours, one of orchids, the other of magnolia blossom, both 22 x 32cm, framed and glazed and two contemporary Japanese ink drawings, two Oriental boxes, one containing a number of artworks to include a pen and ink drawing of a galloping horse with character marks and seal, a bird, floral and foliate watercolour, an abstract pen and ink drawing of a horse and an abstract watercolour and ink, all with character marks and seal, largest measures 65 x 68cm, the other box containing a watercolour on silk wall hanging of carp in turbulent waters within an abstract silk border with character marks and seal, 184 x 60cm.
Manoscritto. Secreti per Mali de cavalli. Segreti per medicare animali et in (?) cavalli... della prima, 2a 3a 4a e 5a febre... [secolo XVI, seconda metà].Manoscritto su carta del XVI secolo (mm 168x115). [8], 38 (con una carta non numerata, con un disegno delle zampe del cavallo, inserita tra le carte 6 e 7), [11] carte, vergate da due diverse mani. Qualche gora e fioritura, carta leggermente brunita. Legatura coeva in pergamena floscia (da bel codice del XV secolo con iniziali calligrafiche rubricate in rosso) a portafoglio ('wallett binding'), con bindella e relativo fermaglio in corda, nervi in pelle passanti. Al dorso titolo manoscritto 'Liber secretorum Equarum' e (al piatto posteriore) 'Secreti per Mali de cavalli' e Libro de Rogatione ?.Interessante manoscritto, su carta del XVI secolo, contenente, dalla carta 9 in poi, una notevole quantità di notizie utili per curare vari 'mali de cavalli', ordinati ed elencati nella Tavola - sempre manoscritta - che occupa le 5 carte finali (l'ultima è in realtà bianca). Questa sezione è ben strutturata al fine di una funzionale consultazione: le carte sono numerate da 1 a 38, con inserimento di una carta non numerata su cui sono raffigurante le zampe anteriori del cavallo, e la Tavola finale serve da indice, con indicazione dei numeri di carta dove trovare il Rimedio elencato. Partendo dai metodi per curare la febbre, questo trattato di mascalcia passa in rassegna non malattie e infermità di una certa gravità che possono colpire gli animali, ma anche eventuali piccoli incidenti che causino un qualche minimo pericolo per gli animali, come il fieno che ne ferisca la bocca. La trattazione della febbre, comprese le soluzioni suggerite a base di cannella e miele, ricorda nel contenuto uno dei codici descritti da Marsand in I manoscritti Italiani della Regia Bibliotheca Parigina, descritti ed illustrati , I, n. 7735 (Parigi, Stamperia reale, 1835) contenente appunto Rimedi et Secreti di medicina per le 'malattie de' cavalli' e databile al XVI-XVII secolo. Elemento utile ad una cronologia del manoscritto, oltre agli aspetti più strettamente paleografici, sono le date presenti nella prima parte del codice - in cui sono registrate transazioni di compravendita - che vanno dal 1536 al 1572 e sembrerebbero suggerire una localizzazione nell'area del Centro Italia (Umbria?).Manuscript. Secreti per Mali de cavalli. Segreti per medicare animali et in (?) cavalli... della prima, 2a 3a 4a e 5a febre... [17th Century, second half].Manuscipt on 17th-century paper (168x115 mm). [8], 38 (with 1 not numbered leave between pages 6 and 7), [11] leaves, due to two different hands. Some waterstains and foxing, slightly browned. Wallett binding, contemporary limp vellum (from a 15th-century manuscript with ink red initials), 'wallett binding'). Ink title on the spine 'Liber secretorum Equarum' and (on the rear cover) 'Secreti per Mali de cavalli' e Libro de Rogatione ?.Interesting manuscript, written on 16th-century paper, containing - starting from leaf 9 - many useful informations to treat the 'mali de cavalli' (horses' diseases), listed inside the manuscripted Tavola (index) on the final 5 carte laves (the last one is blank). This part of the manuscript is well organized for a concrete consultation: leaves are numbered from 1 to 38, with addition of one unnumbered leaf showing the drawing of horse's legs, and the final Tavola serves as index, listing the number of leaf where each Rimedio (remedy) can be found. The treatise deals with different deseases and illnesses, not only serious disabilities but also secondary problems as the mouth wounds due to the hay. The remedy against fever, using honey and cinnamon, is similar to the one quoted by Marsand in I manoscritti Italiani della Regia Bibliotheca Parigina, descritti ed illustrati, I, n. 7735 (Paris, 1835), describing a 16-17th-century Italian manuscript containing Rimedi et Secreti di medicina for the 'malattie de' cavalli'. The first part of the manuscript is, , in addition to paleographical analysis, a very useful element to fix the date: it contains many buying and selling dated from 1536 to 1572 and suggests Central Italy (Umbria?) as place of origin.
![Architettura. Vignola. Lotto di 3 opere del Vignola [toponimo di Jacopo Barozzi].Il lotto comprende:Regola delli cinque ordin](https://cdn.globalauctionplatform.com/d4d9fce8-34e4-4c16-baf6-a98500d74a8f/56a63315-9819-4d1a-b4da-a98500e0f3a2/468x382.jpg)
Architettura. Vignola. Lotto di 3 opere del Vignola [toponimo di Jacopo Barozzi].Il lotto comprende:Regola delli cinque ordini d'architettura di m. Iacomo Barozzio da Vignola. Roma, Matteo Gregorio Rossi, [1719].In-8° (mm 208x130). 47 (di 48, manca c. 42) carte, stampate in calcografia solo al recto o al verso e numerate in cifre arabe o arabe e romane. Ritratto calcografico dell'autore in antiporta e una tavola incisa su rame più volte ripiegata in fine (strappata e divisa in due parti lungo una delle piegature). Fioriture e diffuse tracce di polvere, qualche macchia e gora. Legatura coeva in pergamena su cartone. Piatti con aloni, macchie e qualche menda, rotture alle cerniere e qualche mancanza al dorso. Timbro di possesso 'Geometra Bardesono' ripetuto più volte, anche al verso della tavola ripiegata; alcune note manoscritte della stessa mano tra cui 'Venationecte Antonius Pantaleo Biandralensis' a c. 4r e a c. 6r. Al recto dell'antiporta firma di appartenenza 'Bardesano Faustino', vari numeri manoscritti e disegno a inchiostro e lapis raffigurante l'Annunciazione.Il Vignola illustrato da Giambattista Berti architetto vicentino. Padova, Fratelli Gamba, 1822. (Legato con:) Moisy Alexandre. Il Vignola de' propietarj, ovvero I cinque ordini d'architettura... co' dettagli concernenti l'arte del legnajuolo, del falegname e del magnano per Thiollet. Paris, J. Langlumé e Peltier, 1845. Due opere in un volume in-4° (mm 245x190). I. 103, [1] pagine, con 1 tavola non numerata e XXXII tavole numerate. II. 32 pagine, con 48 tavole numerate. Diffuse fioriture, brunite alcune carte della prima opera legata, tracce di polvere. Legatura coeva in mezza pelle, carta marmorizzata ai piatti, titoli in oro al dorso, tagli spruzzati in azzurro. Lievi abrasioni soprattutto al dorso e alle cuffie. Architecture. Vignola. Lot of 3 works by Vignola [toponym of Jacopo Barozzi].The lot includes:Regola delli cinque ordini d'architettura di m. Iacomo Barozzio da Vignola. Roma, Matteo Gregorio Rossi, [1719].8° (208x130 mm). 47 (of 48, lacking fol. 42) leaves, copper engraved only on the recto or verso and numbered with arabic or roman numbers. Copper engraved portrait of the author on the frontispiece, 1 copper engraved plate, folded (with tears and divided into two parts). Foxing, traces of dust, some spots and stains. Contemporary vellum over pasteboards. Spots, stains and some losses to the covers, damages to the joints, losses to the spine. Ownership stamp 'Geometra Bardesono' repeated on many leaves and on the verso of the plate; some notes by the same hand as 'Venationecte Antonius Pantaleo Biandralensis' on fol. 4r and on fol. 6r. Ownership inscription on the frontispiece 'Bardesano Faustino'; on the frontispiece ink numbers and a drawing .Il Vignola illustrato da Giambattista Berti architetto vicentino. Padova, Fratelli Gamba, 1822. (Bound with:) Moisy Alexandre. Il Vignola de' propietarj, ovvero I cinque ordini d'architettura... co' dettagli concernenti l'arte del legnajuolo, del falegname e del magnano per Thiollet. Paris, J. Langlumé e Peltier, 1845. Two works in one volume, 4° (245x190 mm). I. 103, [1] pages, with 1 not numbered plate and XXXII numbered plates. II. 32 pages, with 48 numbered plates. Foxing, some leaves browned, traces of dust. Contemporary half leather, marbled covers, gilt title on the spine, speckled blue edges. Slightly abraded (spine and headcups).
A MIDSHIPMAN'S LOG OF H.M.SHIPS CUMBERLAND AND SIREN , CIRCA 1858-9 kept by T.A. Sneyd Kynnersley between 5th April 1857-30th April 1858, comprising 58 leaves, four watercolours including one of Rio de Janeiro , five pen and ink maps, one pen and ink drawing, from Madeira to Rio de Janeiro, Raya Island, back to Rio and cruising off Cape Frio, keeping the crew occupied with furling and unfurling sails, keeping parts of the ship clean, etc.; including a log of H.M.S Siren , 16 guns commanded from 1st May to 8th May by Captain J.A. Selwyn and from 9th May 1858 by Comr G.H. Belfour, two parts, 39 leaves, five watercolours, 10 pen and ink drawings including one of Rio de Janeiro, four pen and ink maps, plying between Montevideo, Rio de Janeiro, Cape Frio, Port Frio, Buenos Aires, Bahia and returning to Portsmouth, two works in one vol., bound in contemporary half roan, ( very slightly rubbed ) -- 12½ x 8½in. (32 x 21.5cm.) Thomas Alfred Sneyd Kynnersley (British/New Zealander 1839–1874) retired from the Royal Navy due to ill health not long after writing this log and settled in New Zealand in the early 1860s, where he became MP for Westland North.
A collection of twelve Chinese pith paper paintings,19th century, each with a lady pursuing different leisure activities, including sewing, knitting, drawing or dressing up, ink and colour on paper,31 x 19.5cm, now mounted as an early 20th century three-fold screeneach fold 137 x 46cm清十九世纪 佚名 人物图三扇屏风 设色通草之本
Attributed to Joseph Beuys, gouache, study of a stag bears signature. This an ink drawing, signed, not a studio stamp, on Ingres paper which Beuys often used. Its one of his stag pictures which was a favourite subject. There is no record about provenance. There were some slight wrinkles in the paper which have been restored and the work has been reframed. The vendor took the picture to Bonhams who valued it at £10,000-15000, provided of course, that the provenance was established. they therefore sent it to Beuys' widow, Eva, now aged 84. Bonham's warned the vendor that this could take a long time. Given that there was no reply after many months, Bonhams returned the picture.£800-1,200 24 x 34cm
A group of assorted watercolours and drawings, including a watercolour 'Rue de la Rouen, a 19th century portrait of a gentleman, a study of Roe horns, a pen and ink sketch of a seated man, a drawing of a bearded man attributed to Phil May, a watercolour portrait of a girl, and a watercolour of a soldier of the Swiss Guard, all unframed.(7)
Attributed to Joseph Beuys, gouache, study of a stag bears signature. This an ink drawing, signed, not a studio stamp, on Ingres paper which Beuys often used. Its one of his stag pictures which was a favourite subject. There is no record about provenance. There were some slight wrinkles in the paper which have been restored and the work has been reframed. The vendor took the picture to Bonhams who valued it at £10,000-15000, provided of course, that the provenance was established. they therefore sent it to Beuys' widow, Eva, now aged 84. Bonhan's warned the vendor that this could take a long time. Given that there was no reply after many months, Bonhams returned the picture.£800-1,200 24 x 34cm
DAVID HOCKNEY C.H., R.A. (b. 1937- ) (ARR Apply) A portrait drawing of caricaturist Glynn Edwards", an Ink Drawing on yellow card, monogrammed, 10cm x 7cm mounted in a glazed frame (n.b. Drawn by Hockney and given to Glynn Edwards at an R.I.B.A. D inner in London 1st July 2005. Authenticated in a letter from the R.I.B.A., also a newspaper clipping from the Daily Mail, July 6, 2005 "David Hockney turned the tables on celebrity caricaturist Glynn Edwards at a posh do in London. Says Edwards "I t was surreal. I was sketching Hockney who was also drawing me. He handed over his own signed sketch. It's the best tip i've ever had")
Jean Dufy, French (1888-1964) Ink Drawing "Venice". Stamped signature. Gallery label en verso from Galerie Jacques Bailly, Paris. Framed nicely, under glass. Measures 29-1/2" x 40", frame measures 35" x 45-1/2". Condition: Toning from age. There appears to be some restoration to the paper. Small creases. Domestic Shipping: Third party Min Est. $20000.00 Max Est. $25000.00
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