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A * B * (20TH CENTURY RUSSIAN SCHOOL) Landscape with figures, signed with initials and dated '84, inscribed in Cyrillic verso, watercolour, 24 x 44cm; and eight further works to include: a small Russian pencil drawing, indistinctly signed; a view of Durham Cathedral by Papas; a pastel flower study; a view of Culvall, Cornwall; a pencil sketch of a pistol; a Maison Kurt print; a pen and ink study of Madonna and child, inscribed verso 'Joseph Crawhall Fecit, January 1852'; and a view of an Arabian street, all unframed (10)

19TH CENTURY ENGLISH SCHOOL A coastal landscape with rock stack, signed 'Girtin', watercolour, 17.5 x 25cm; and an early 19th Century English School pen and ink drawing - a traveller crossing a foot bridge, 19 x 21cm (2)

Collection of pen & ink drawings to include 'Polonaise' by Erwin Puchinger, set of five drawings by J.P. Stafford and drawing by Bertram Prance (7)

Circle of Alexander Mikhailovich Rodchenko (Russian, 1891-1956)A FEMALE STUDYPencil, with Rodchenko Gallery stamp verso28 x 21cm;Alexei KzychomA CONSTRUCTIVIST DRAWINGSigned and dated 1918 verso, pen and ink15.5 x 11cm;and collection of drawings and prints by the artist's daughter Varvara, Kayta Lavrentieva and other members of the artist's family and circleall unframed (12)

Wine.- [J. (S.)] The Vineyard: being a Treatise shewing I. The Nature and Method of Planting, Manuring, Cultivating, and Dressing of Vines in Foreign-Parts. II. Proper Directions for Drawing, Pressing, Making, Keeping, Fining, and Curing all Defects in the Wine, first edition, engraved frontispiece by Fletcher after Cooper, woodcut illustration in text, initials and head-pieces, ink ownership inscription to title, bookplate of William Gilstrap, contemporary panelled calf, corners a little worn, [Henrey 870; Simon BG 1580], 8vo, printed for W. Mears at the Lamb without Temple-Bar, 1727. ⁂ Includes the first detailed description in English of wine making in Champagne.

Bees.- Thorley (John) Melisselogia [graece]. Or, the Female Monarchy, being an enquiry into the Nature, Order, and Government of Bees, first edition, engraved frontispiece, list of subscribers, 4 engraved plates by Thomas Loveday, one folding, with 'Explanation of the Plates' leaf at end, lightly browned, some offsetting, contemporary sprinkled calf, lacking label, for the Author, 1744 § Warder (Joseph) The True Amazons: or, the Monarchy of Bees, fifth edition, lacking first leaf of dedication, title with ink inscription and a little soiled, lightly browned, later half calf, for John Pemberton, 1722 § Mills (John) An Essay on the Management of Bees, first edition, engraved frontispiece and folding plate, lacking final advertisement leaf, later half calf, spine gilt, for J. Johnson and B. Davenport, 1766 § [Bazin (Gilles Augustin)] The Natural History of Bees..., first English edition, 12 folding engraved plates, the last browned at outer edge, contemporary sprinkled calf, gilt, red roan label, for J.& P.Knapton, and P.Vailant, 1744, most rubbed, the first two with spine ends worn, [British Bee Books 97, 74, 116 & 96], 8vo (4) ⁂ "Thorley's secret was the puffball narcotic, which he used when uniting colonies...Of English writers, Thorley was the first to mention having found wax scales in the pockets of worker bees. The...frontispiece was a copy of Cesi's three bees - the first drawing of bees made with the aid of a microscope, 1625". (British Bee Books). Plate V depicts the owner in his study searching for the queen in a group of stupefied bees on his table, with a swarm on the tree in the garden beyond.

ƟHumanist Compendium including Pseudo-Pliny, De viris illustribus, Leonardo Bruni, Commentariorum primi belli punici, Cicero, De senectute, a text on Aesop, and Jerome’s Vita Malchi monachi captivi, Vita Pauli heremitae, Vita Hilarionis, Vita Athanasii, with letters of Jerome, in Latin, manuscript on paper and parchment [Italy (perhaps Mantua or Siena), dated 1460 and February 1461]  190 leaves, complete, collation: i11(last a singleton), ii-iii8, iv10, v-viii12, ix14, x-xii12, xiii13 (last probably a singleton to complete text; no loss to text here), xiv-xvi12, xvii6 (last 2 leaves blank cancels), catchwords, seventeenth-century foliation (followed here), single column of 32 lines in a good humanist hand, rubrics and some small initials in vivid red, others in faded red, two large white vine initials in penwork, a few quires with outermost leaves of parchment, watermark a column surmounted by a crown, close to Briquet 4411 (Mantua, 1460, as well as Rome, Naples, Florence and others in same period) and 4412 (Siena, 1465), nineteenth-century “No 176” at head of frontispiece, some spots and stains, a few leaves faded, first leaf with old tape closing tears (with some losses from inner and lower parts of that leaf, this damaging a few lines of text at base, and with small areas of damage to bottom of next few leaves), else good and presentable condition, 212 by 145mm.; nineteenth-century parchment over pasteboards, marbled endleaves, with “94 / MS / Plinio et altri / 00 / 27” in ink on spine Provenance: 1. Written by the scribe Laurentius Capitaneus, who names himself in colophons on fol. 98v and 164r, the first identifying him as a notary of Perugia (“perusini notarius”) and dating the completion of this part of the work to 1460, the second identifying him as a monk (“monachus”), and dating its completion to “1461 KL Februarii”.2. In the library of an Italian community dedicated to St. Maurus of Rome: their eighteenth-century ex libris at head of frontispiece.3. Joseph Sarughi: his ex libris dated 1814, noting that he was a priest, on endleaf opposite frontispiece. Text: This volume is a compendium of rare humanist texts, apparently copied for a monastic readership. It opens with a De viris illustribus text (fols. 1r-26r), that chronicles the lives of important Romans. The text has been attributed in the Renaissance to both Pliny the younger (61-c. 113 AD.) and his elder namesake (as here at head of fol. 1r), as well as Suetonius (c. 69-122 AD.) and Cornelius Nepos (c. 110-25 BC.). From the sixteenth century onwards, following the advent of printing, it was most commonly connected to the author Sextus Aurelius Victor (c. 320-90). All of these attributions have been rejected by modern scholarship, but the work was certainly of the Ancient World and most probably a product of the fourth century (see M.M. Sage, ‘The De Viris Illustribus: authorship and date’, Hermes 108, 1980, pp. 83-100.). The De viris illustribus tradition was a popular Roman literary genre, which may have begun in the circle of Cicero, with the oldest surviving examples being Cornelius Nepos’, Liber De Excellentibus Ducibus Gentium (Lives of Eminent Commanders), and Suetonius’ fragmentary De Viris text. It rose to its height in the Ancient World with Jerome’s work of that name, and the continuation of that, but then was set side as a genre until the Renaissance. The work here is the longer version of this text, not commonly found in manuscript but well represented among early printed witnesses, opening with a chapter on King Procas of Alba Longa, the mythological great-grandfather of Romulus and Remus. Manuscripts of the text (in any version) are rare on the market. This is followed by the lengthy commentary of the First Punic War, the first of the three major wars between the Roman Empire and Carthage in 264-241 BC., by Leonardo Bruni (c. 1370-1444; here fols. 28r-98v), probably the most important Humanist historian of the Italian Renaissance. He was the pupil of the grand humanist, Coluccio Salutati, whom he succeeded as chancellor of Florence, and before that served as apostolic secretary to four popes. This work is based on that of the Greek historian Polybius, and fascinatingly (and perhaps even bizarrely) it attempts to fill a gap that the humanists saw in their sources. It is a rearranging of the available Greek accounts to produce a Latin work that tells the story of the First Punic War from the Roman perspective, andthus fills the void left by the missing second decade of Livy’s history. It is part compilation and part invention, manufacturing a source that many Renaissance readers wanted to read, but did not survive. It has been unkindly described as a translation of parts of book I of Polybius, but is much more, drawing on Strabo, Thucydides, Florus, and Plutarch. Again manuscripts on the open market are far from common in the last few decades, and only four have appeared on the open market since 1950. The volume continues with a text on Aesop, opening “Esopus ille e Phrigia fabulator haud immerito …”, which is also recorded in Venice, Marciana, lat. II 123 (10,383) (Kristeller, Iter Italicum, II, 1967, p. 251; here on fols. 99r-121v), and a copy of Cicero, De senectute (fols. 121v-135v). It ends with a series of Christian lives of Desert Fathers by Jerome (fols. 136r-188v): the Vita Malchi monachi captivi, the Vita Pauli heremitae, the Vita Hilarionis and the Vita Athanasii, which were popular monastic texts throughout the Middle Ages. These are interspersed with some letters of Jerome concerning the clerical and monastic life (fols. 164v-178v). A hand of the seventeenth century has added a contents list on the last leaf of the codex, noting that part of the Vita Hilarionis on fol. 155v concerns the race of Saracens, who were “devoted to the devil”. Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT). 

Follower of Gian Lorenzo Bernini, Italian (1639 - 1709)"Winged Angel and Cherubs in Flight with Cross," pen and ink, watercolour drawing, approx. 24cms x 17cms (9 1/2" x 6 3/4") inscribed, mounted and framed. (1)Provenance: Private Irish Collection.

Dirck Barendsz, Dutch (1534 - 1592)"The Nativity - Birth of the Messiah," pen and ink, sepia watercolour and drawing, approx. 23cms x 18cms (9" x 7"), mounted and framed. (1)Provenance: Private Irish Collection

Follower of A.V. Borssum (1630 - 1677)"Castle and Village Scene," pen and ink, sepia drawing, approx. 17cms x 10cms (6 3/4 x 4"), mounted. (1)Provenance: Private Irish Collection.

Follower of Domenico Campagnolo, Italian 1500 - 1563"Tobias and the Angel Raphael," pen and ink, sepia watercolour drawing, approx. 19cms x 26cms (7 1/2" x 10"), some inscription, mounted. (1)Provenance: Private Irish Collection.

Follower of Jan Asselijn, Dutch 1610 - 1652"Figures with Animals by a Ruins in Romantic Landscape," pen and ink, with charcoal drawing, approx. 18cms x 26cms (7" x 11"), mounted. (1)Provenance: Private Irish Collection.

Follower of J. De Bisschop (1628 1671)"Ruins of Brederode Castle, near Haarlem," pen and ink, and charcoal drawing, approx. 26cms x 18cms (10" x 7"), mounted.(1)Provenance: Private Irish Collection

Attributed to G.B. Tiepolo, (1726 - 1804)"Centur & Satyr in Battle," pen and ink, watercolour drawing, approx. 27cms x 32cms (10 1/2" x 12 1/2"), signed lower left "Dona Teopolo f," mounted. (1)Provenance: Sotheby's London 1966 (sale 69, 21/7/1966). Private Irish Collection.

Douglas Richmond (20th century),'Elderly Gentleman',signed and dated 1962,oil on canvas,68 x 48 cm, together with six similar studies presumed to be by the same hand, five life drawing sketches and two pen and ink drawings (qty) CONDITION REPORT: In need of some attention

HENRY ALKEN (1785-1851) TAKING A TUMBLE Bears attribution Mr Allen (sic), watercolour and pencil 11 x 18.5cm.; with an ink drawing of a horse, formerly ascribed to Sir Edwin Landseer, 21 x 17cm. (2) ++ Alken with a little surface soiling; `Landseer` slightly blotted by damp

ATTRIBUTED TO JOHN LINNELL (1792-1882) HAYMAKERS IN A LANDSCAPE Pen and brown ink over pencil 11 x 17.5cm.; with four assorted drawings, comprising a pencil drawing of cattle and sheep, formerly ascribed to Verboeckhoven, 19 x 26cm.; a black crayon study of two figures attributed to George Morland, 17 x 14cm.; a watercolour of as water mill in the style of David Cox Junr, 24 x 35cm. (4).++ `Linnell` with slight marks and foxing etc; `Verboeckhoven` and `John` with time toning or pale staining; `Cox` faded

 TURNER J. M. W.: (1775-1851) English Painter. An extremely rare, pair of early ink signatures, W Turner, together on a slim 8vo page removed from the Attendance Book of the Plaister Academy at the Royal Academy, London, 1st September (17)90. The fifteen year old Turner's bold signatures appear toward the centre of the page and once again further down, and above and below his signatures appear those of twelve other fellow students, with a further fourteen signatures to the verso. Included are the signatures of artists Thomas Hargreaves (2) and Thomas Kearsley. Some minor age wear, and very slight traces of former mounting to the right edge of the recto, otherwise VG Joseph Mallord William Turner, known within his family as William, entered the Royal Academy Schools as a promising student at the age of 14. The young Turner first worked in the Plaister Academy, drawing from casts of antique sculpture. In the biography Turner In His Time (1987) Andrew Wilton notes that Turner's 'name appears fairly frequently in the registers between 21st July 1790 (the earliest record extant) and 8th October 1793.  Provenance: Some of the Attendance Books now in the Library of the Royal Academy were once the property of the renowned British collector Charles Fairfax Murray (1849-1919) and bear his Ex-Libris to the inside boards. Upon the dispersal of his large collections, the Registers, with a number of pages removed, were apparently re-acquired by the Royal Academy. The present, previously missing page, was re-discovered in Australia, tipped into an old Victorian album. 

HARING KEITH: (1958-1990) American Pop and Graffiti Artist. An excellent book signed and inscribed, a hardback edition of Eight Ball, First Edition published by Kyoto Shoin International Co. Ltd., Japan, 1989, as part of the Art Random series. The book features a preface by Haring, in both English and Japanese, and is illustrated throughout with full page colour plates. Signed and inscribed by Haring to the half title page in bold black ink, 'For Sean - Thanks for the drawing. Our collaboration is really turning out great. Nice working with ya', Keith xxx' with an additional pen and ink self caricature drawn by Haring beneath his signature, depicting himself in a head and shoulders pose. With decorated boards and no dust jacket as issued. An excellent example, enhanced by Haring's original self caricature. Some very light, extremely minor age wear, VG

 SCHULZ CHARLES M.: (1922-2000) American Cartoonist, creator of the Peanuts comic strip. Original signed and inscribed 8 x 11 sketch by Schulz, the black ink drawing depicting Peppermint Patty's head. Signed ('Charles M. Schulz') by the cartoonist at the base. Sketches by Schulz of any other character apart from Snoopy are scarce. A small circular white stain to the upper right corner and signs of former mounting to the verso, otherwise VG 

 POTTER BEATRIX: (1866-1943) English Author & Illustrator of children's books featuring animal characters including Peter Rabbit. A fine illustrated A.L.S., Beatrix Heelis, one page, small 4to, Castle Cottage, Sawrey, Ambleside, 9th January 1943, to Margaret Douglas ('My dear Hetty'). Potter commences 'Spot looks a sensible dog and very well set up on his legs, and strong enough to take care of himself', continuing to observe 'He looks a very suitable dog, for guard and company. A good broad chest - and a pleasing face - well marked', further commenting 'Tell him I approve of him and I approve of his whiskers!' and remarking 'I hope you won't clip him into an object when he is middle aged and stout?' At this point in her letter Potter has added an original ink drawing in her hand of Spot, depicting the long bearded dog looking rather handsome and pleased with himself as he gently walks along. In concluding Potter writes 'We were glad to hear that you and Ina are getting on all right. It's unpleasant weather - an awfully wild night…..but pleasantly surprised to see no worse snow, and thawing a bit. The roads are like glass. With love & all good wishes for New Year…..'. A charming letter, enhanced by Potter's original drawing, and quite desirable for it's discussion of Spot. Some extremely light, very minor age wear to the edges, not affecting the text or signature, VG   Margaret 'Hetty' Douglas was the niece of Mrs. Bertram Potter (Mary Welsh Scott, who had married Beatrix Potter's brother in November 1902).   The present letter would appear to be unpublished and is not included in Beatrix Potter's Letters a selection edited by Judy Taylor (1989) 

FERRI ENRICO: (1856-1929) Italian Criminologist, Socialist and student of Cesare Lombroso, the founder of the Italian school of criminology. An original pen and ink drawing by the German-Swiss artist Robert Kastor, depicting Ferri in a head and shoulders pose above the autograph quotation 'Socialism - as a scientific doctrine - basically is the logical conclusion of all contemporary science; just as socialism - as a political party - is simply the natural result of the contemporary economic organisation. Science has stated that universal evolution - has been accomplished according to these three fundamental laws: increasing complexity, transformism, solidarity - from the planetary systems creation to human societies development. Socialism, the replacement of individual property with a collective one (with all its political, moral and intellectual consequences), represents and will obviously produce a social transformation in the sense of greater complexity and solidarity.' Signed ('Enrico Ferri') in black fountain pen ink to the conclusion. Some very light age wear to the edges, otherwise VG

 CRISPI FRANCESCO: (1818-1901) Italian Politician, Prime Minister of Italy 1887-1891, close friend and supporter of Giuseppe Mazzini and Giuseppe Garibaldi. An original pen and ink drawing by the German-Swiss artist Robert Kastor, depicting Crispi in a head and shoulders pose above the autograph quotation 'Think about it before you decide, and later you will not have to repent of your acts', dated Napoli, 31st December 1900 in his hand. Signed ('F. Crispi') in black fountain pen ink to the conclusion. Some very light age wear to the edges, otherwise VG 

 ZANARDELLI GIUSEPPE: (1826-1903) Italian Politician, Prime Minister of Italy 1901-03. An original pen and ink drawing by the German-Swiss artist Robert Kastor, depicting Zanardelli seated in half-length pose above the autograph quotation 'I think fruitfulness to principles is the greatest pride in political life'. Signed ('G. Zanardelli') in black fountain pen ink to the conclusion. Some very light age wear to the edges. Together with Giuseppe Saracco (1821-1907) Italian Politician, Prime Minister of Italy 1900-01. An original pen and ink drawing by the German-Swiss artist Robert Kastor, depicting Saracco in a head and shoulders pose above the autograph quotation 'In the government of states one must be able to resist the seductions of happiness'. Signed with his initials ('G.S.') in black fountain pen ink to the conclusion. Some minor stains, ink rubbing and two horizontal folds. G to about VG, 2 

 CIPRIANI AMILICARE: (1844-1918) Italian Socialist, Anarchist and Patriot. An original pen and ink drawing by the German-Swiss artist Robert Kastor, depicting Cipriani in a head and shoulders pose above an autograph quotation attributed to Saint-Just, stating, 'Les soiderant grands son parce que nous sommes a genoux: Levons-nous: Saint-Just'. Signed in bold black fountain pen ink to the conclusion and dated 20th June 1899 in his hand. Light age wear to the edges, otherwise about VG 

William Heath Robinson (British, 1872-1944), 'A sensible collaboration between a short story writer and an illustrator to make both ends meet', pen and ink drawing, signed "W Heath Robinson" lower right, 43 x 34 cm Condition: Some scattered dirt under glass. A small chip to the paper lower left. Some staining right of the police officer by the right edge. 

William Heath Robinson (British, 1872-1944), Arrived too late for the train - "The Truth about King Ethelred", an illustration for A Thomson's 'The Truth about King Ethelred', published in John Bull's Summer Holiday Annual, 1931, pp. 22-23, signed "W Heath Robinson" lower left, pen and ink drawing, 51 x 36 cm, with Bourne Gallery, Surrey, label verso Condition: Staining particularly in the top right corner.  Scattered foxing spots along top edge. Some scuffing and dirt bottom left and right corners. Image is clear, condition issues are mostly visible around the edges and corners. 

William Heath Robinson (British, 1872-1944), "He arrived too late for the train", an illustration for A Thomson's 'The Truth about King Ethelred', published in John Bull's Summer Holiday Annual, 1931, pp. 22-23, pen and ink drawing, with Bourne Gallery, Surrey, label verso, 26.5 x 30.5 cm Condition: Scattered dirt under glass. Minor dirt spots, finger marks or smudges throughout.   

A lady's scrap album dated 1820, with few small drawings, sketches and watercolours attributed to Charles D'Oyly, a watercolour view of Calcutta attributed to George Chinnery, a drawing of a seated man in a turban smoking a hookah pipe, another of bullocks and bathing figures, also typical verses and prints; together with an 8vo book of amateur pencil or ink caricatures, sketches and watercolours, both bindings worn (2)

A MOUNTED INK DRAWING OF A SHIP TITLED 'A WHOLE SAIL BREEZE' TOGETHER WITH A BARTOLOZZI ENGRAVING AND AN ORIENTAL STYLE RUBBING ON PAPER DEPICTING TWO DEITIES

Roland Pym, streetscene study, ink drawing with watercolour, signed lower right, H.34cm W.47cm

Roland Pym, woodland study, ink drawing with watercolour, H.34cm W.47cm

W Thornley, beach landscape, oil on canvas; framed pen and ink life drawing; engraved map and coloured steel engraving (4)

Pen and ink drawing of a male dancer in Sarawak dated 1966

A group of thirteen French 1970/80's gallery posters relating to France Lardy (aka Francel), together with an ink working drawing poster signed by the artist

A pair of Louis XV ormolu candlesticks, in the manner of examples by the Slodtz brothers, circa 1770, both foliate and rocaille cast overall, the twisted triform inverted baluster stems with acanthus leaves above guilloche work, on conforming spreading foliate cast bases, 25cm high Provenance: By family repute, these candlesticks were once owned by Isambard Kingdom Brunel Catalogue note: These candlesticks bear a strong similarity to a pair held at the Wallace Collection (number F76), which are described there as being in the style associated with the Brothers Slodtz, the design bearing 'a general resemblance to a pen-and-ink drawing for a candlestick by one of the brothers Slodtz, which is now in the Bibliotheque Nationale, Paris.' See F.J.B. Watson, Wallace Collection Catalogues, Furniture, William Clowes and Sons Ltd, London, 1956, p.46

LEHAR FRANZ: (1870-1948) Austrian Composer. A good signed original pencil close-up portrait depicting the Austrian composer, also signed by the author of the portrait, who has dated it 18th February 1835. Signed in bold black fountain pen ink `Lehar Franz´, to the left clear bottom corner of the drawing. The drawing paper has been affixed to a slightly larger card. VG £150-200

[SOUTH-AFRICA]: An excellent selection of Autograph Statements signed by a variety of famous South-African personalities, beneath an original pen and ink drawing by the German-Swiss artist Robert Kastor, the well-executed works depicting each personality in head and shoulders poses, one page each, large folio, various places and dates, comprising Koos de la Rey (1847-1914) Boer General during the second Boer war. Widely considered a leading figure of the Boer independence; Willem Johannes Leyds (1859-1940) State Attorney of the South African Republic 1884-89 and Richard Solomon (1850-1913) Attorney General of the Transvaal 1898-1902. VG, 3 £80-100

Ivy Hampton (20th Century) - 'Lady Golfer' (in 1930s Art Deco style) ink drawing, signed, approx 26x17cm, mounted and framed.

Richard Hamilton (1922-2011) & Dieter Roth (1930-1998)InterfaecesThe very rare essay, comprising 15 sheets of hand-annotated text with a pen and ink drawing on the front page by both artists in red and black, 1978, one of only 15 copies produced for the Hamilton/Roth joint exhibition at Waddington & Tooth Galleries, London, on wove paper, staple bound as issued, housed in a black leather and cloth slipcase, overall overall 340 x 233 x 8mm (13 3/8 x 9 1/8 x ¼) (folio)The present work was produced for the first 15 people to visit the Richard Hamilton and Dieter Roth joint exhibition at Waddington & Tooth Galleries in 1978. Hamilton and Roth hand-annotated each of the 15 copies, with both also adding a drawing to the cover. In the present example the artists drew on the imagery Hamilton had been creating during the 'Shit and Flowers' period in the 1970s and added a drawing of a lump of excrement to the cover. Hamilton's addition clearly is recognisable when compared to those in prints such as Esquisse and Sunset (f) (Lullin 87, and 102 AH CHECK) whereas Roth's is far more fluid.

* MARY NEWBERY STURROCK (SCOTTISH 1890-1985), AN EXOTIC WOMAN pen and ink on paper, signed with initials 25.5cm x 13cm Mounted, framed and under glass Exhibited: Edinburgh, Bourne Fine Art, 'British Paintings'. October - November, 1982; and Edinburgh, Bourne Fine Art, 'Edinburgh Group 1988'. Cat no. 8. Labels verso: Bourne Fine Art, 4 Dundas Street, Edinburgh (Now The Fine Art Society). Note: Mary's parents were Francis Newbery (Director of Glasgow School of Art from 1885 - 1917) and Jessie Newbery (prominent "Glasgow Girl"), so it was no surprise that she would become a gifted artist. On 20th December 1899, the young Mary presented the key to the "new" Mackintosh designed Glasgow School of Art to Sir James King, Lord Provost of Glasgow at the official public opening ceremony. She went on study at the Glasgow School of Art and Cecile Walton became her closest friend. Both family's rented holiday homes at Walberswick, Suffolk which became a regular base for many of the Glasgow artists. In 1918 Mary married the artist Alick Riddell Sturrock RSA (1885 - 1953). Charles Rennie Makintosh was a close friend and they often painted the same flowers: Mary telling him the Latin names so that he could inscribe them correctly. Mary was known for her exquisite pen and ink and pencil drawing skills, often with botanical subject matter. Her output was relatively small but in her own right, she was an important and influencial artist. Additional note: The ceremonial key Mary presented to Sir James King in 1899 was offered at auction in Edinburgh in April 2018 and sold for £40,000 (premium) which almost certainly makes it the most valuable key ever sold at auction in Scotland.

ALFRED WAINWRIGHT. (1907-1991) (ARR) BIRKS AND ST.SUNDAY CRAG, A SIGNED PEN AND INK DRAWING. 18 x 23cms.

THOMAS STODHART (1755-1834) STUDY FOR THOMAS BECKET, PENCIL AND INK DRAWING. 15 x 20cms.

A SMALL COLLECTION OF FRAMED PICTURES OF NAPOLEONIC SOLDIERS to include an oil painting by E. J. Poole, a lithograph by Rudolph Ackerman, a limited edition print by Gilbert Holiday, a Dessin engraving and a pen & ink drawing (5)

19th century Japanese School, pen and ink drawing, an itinerant traveller, unsigned, 5" x 6.5", framed.

Faith Jaques (French 1923-1997), pen and ink drawing, Tibbie, signed, 5" x 7", framed, provenance; Chris Beetles Gallery, London.

George Bissill (1896-1973), ink drawing, circus scene, signed, 12.5" x 9.5", framed.

18th/19th century pen and ink drawing, classical cherubs, unsigned, 7.5" x 10.5", framed.

19th century pen and ink drawing, a scene in Regent's Park, signed with monogram, dated 1869, 6" x 8", framed.

Edward Tennyson Reed (British, 1860-1933), 'Remounts for the Yeomanry. Horse-buying Expert. "Yes it certainly does look more like a towel-horse than any thing else; still it'll have to do! - Passed.', original pen and ink drawing for 'Punch' magazine, signed with monogram lower left, signed and inscribed with title and caption in text box beneath, gallery label verso, 5¾ x 6½in. (14.6 x 16.5cm.). * Provenance: Chris Beetles Limited, 8 & 10 Ryder Street, St. James's, London.

A group of pictures to include a still life watercolour of a pheasant with fruit and flowers, signed indistinctly; a 19th century pen and ink drawing of a recumbent bull, initial to margin; W. A. Cox - a coloured engraving of two children with a rabbit, signed with gallery blind stamp, published 1918; and another print

*Wheelhouse (Mary Vermuyden, 1868-1947). One kiss & then a long look, pen, ink & watercolour drawing for an unpublished edition of 'Mill on the Floss', depicting a young courting couple under a tree in a pastoral landscape, lightly spotted, signed lower left, 25 x 16cm (10 x 6.5ins), mounted, framed and glazed, backboard with pencilled title and reference 'Book 6 Chapter 11', together with Interior scene with three figures, pen, ink & watercolour, depicting a grey-haired woman semi-reclining on a chaise longue, with a young lady seated at her feet and a bearded gentleman standing beside, before a large window with a twilight vista of houses, signed lower left, 23.5 x 14.5cm (9.25 x 5.75ins), mounted, framed and glazed, plus a small archive relating to the artist, comprising thirteen photographs, including six old photographs (the others modern reproductions), three of wooden toys and one of the front of an early toy shop, and a quantity of photocopied correspondence (approximately 50 letters) between Mary Wheelhouse and publisher George Bell Mary Wheelhouse was both a successful artist and illustrator, and a maker and seller of toys, particularly of wooden dolls. She studied at the Scarborough School of Art in the mid 1890s, during which time she began to exhibit at The Royal Academy, and she went on to attend the Academie Delecture in Paris. By 1899 she was sharing a house with three other artists in London - 3 Pomona Studios, 111 New King's Road - and exhibiting regularly in London, the provinces and the Paris Salon. A competition win led to commissions as a book illustrator, and particularly to a long working relationship with the publisher George Bell. In 1910 she illustrated an edition of 'Silas Marner' for George Bell, and illustrations were commissioned for an edition of 'The Mill on the Floss' by publishers Herbert & Daniel in 1913, but the book was never published. In 1915 Wheelhouse teamed up first with fellow artist Louise Jacobs, and then later with sculptor A.B. Ellis, to make a range of wooden toys, and she had a shop, Pomona Toys, at 64 Cheyne Walk in Chelsea from around 1916 until 1927. After this time the shop moved to 14 Holland Street, with a workshop at 28 Gunter Grove, and it continued trading until the outbreak of World War II. The company supplied the likes of Fortnum & Mason, Harrods, and Liberty's, and its most prestigious commission was the supply of toys to the royal family, including miniature items for Queen Mary's Dolls' House, such as a tiny merry-go-round for the Day Nursery (one of the photographs included in this lot shows just such a miniature carousel). 'Everybody's Book of the Queen's Dolls' House', published in 1924, makes mention of some of the items supplied: "...and then please, if you were ever a child, squeak with joy over the precious Pomona toys! Amongst these a Sedan chair with lady all complete, a Dutch cradle with child, and a swinging bird...". (an archive)

Vincent Haddelsey (1934-2010). Sledge ride, ink drawing, signed, 21cm x 26.5cm and two other works

An abstract pen and ink drawing and three prints etc., (6)

GEORGE KEYT (SRI LANKAN 1901 - 1993) FEMALE NUDE Ink and brush drawing, signed and dated (19)83, 37.5 x 25.5cm (14 3/4 x 10") Provenance: Purchased directly from the artist by the present owner

Prints including Fred Archers Last Derby Mount, Elizabeth Ansell foxes, ink drawing of a horse, signed Horvath and reverse painted glass silhouette Mary Queen of Scotts (4)

17th Century Old Master Ink On Paper In Handmade Frame "Warrior". The frame of paper and silk thread. Unsigned. Drawing affixed to frame with glue, wear to frame. Overall measures 8" x 6". Shipping $42.00 (estimate $200-$300)

17th Century Old Master Ink On Paper Drawing "Early Design For A Ceiling Fresco". Interesting later 19th Century handmade frame. Toning, wear, losses to frame. Overall measures 11-1/8" x 15-1/2. Shipping $64.00 (estimate $200-$400)

18/19th Century Old Master Drawing In Ink On Brown Paper "Study Of Six Figures". Unsigned. Good condition, affixed to mat board. Measures 12" x 7-1/4". Shipping $75.00 (estimate $100-$200)

Attributed to Giuseppe Cesari, known as Cavaliere d'Arpino (Italian, 1568-1640) A study of a seated male figure numbered "64" in black ink top right corner charcoal 23 x 15cm (9 x 6in) This drawing is clearly related to, and possibly preliminary to, another study of the same figure by Cavaliere d'Arpino in the Prado, Madrid Inv. F.A. 737 (see Perez Sanchez, I grandi disegni italiani, Milano, 1977, cat. 15). That drawing, however, has the addition of a dog in the lower right corner. Both that figure and this figure study would seem to date from early in the artist's career, circa 1588, when d'Arpino was working on frescoes (now destroyed) in the San Lorenzo in Damaso, Rome. Perez Sanchez (ibid.) compares the Prado figure stylistically with a preparatory drawing for the San Lorenzo frescoes of a 'Guerriero a cavallo con una bandiera' (Inv. EB A14) now in the collection of Ecole dex Beaux-Arts, Paris. At this stage in his artistic career d'Arpino, as is evident from the present drawing and that in the Prado, is very aware of the work of Michelangelo, most notably the Ignudi on the Sistine Chapel vault. A group of drawings by d'Arpino, sold at Christie's on 15th April, 1980, had similar numbers in ink as the present drawing does in the top right hand corner. Those drawings were all extracted from an album which appears to have been assembled in the 17th century. The number on the present drawing is very similar to those sold in that group in April 1980 and, interestingly enough, no drawing in that sale was numbered "64". We are grateful to Nicholas Turner for his assistance with the catalogue entry.