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Richard Doyle (1824 - 1883)Pied Piper of HamelinWatercolour, 51 x 77cm (20 x 30¼)Signed Exhibited: The works of Thomas Gainsborough, R.A., and a collection of drawings by the late Richard Doyle, The Grosvenor Gallery, London, 1885, no. 287 in the catalogue, lent by A. H Christie, esq of East Runton, Norfolk. From an early age Richard Doyle or ‘Dickie Doyle’ as he was affectionately known, showed a natural ability for creating original and humorous designs. A consummate draughtsman, during his teenage years he kept a manuscript journal, now housed in the Print department of the British Museum, which consists of 156 pages of pen and ink sketches. He developed a successful career as an book illustrator with William Thackeray declaring on the advent of a new translation of Brother Grimm’s fairytales ‘The Fairy Ring’ in 1846, that he was the new ‘master of the fairyland’ supplanting the artist George Cruikshank. (The Adventures of Arthur Conan Doyle by Russell Miller, 2010). Doyle also worked for many years as an illustrator for the satirical magazine Punch (1841 - 2002), designing their first cover and masthead and producing more than one thousand drawings during his seven years of employment. A staunch Catholic all his life, his relationship with Punch came to a drastic end in 1850 when he resigned due to their hostility towards the current Pope. From this point onwards there is a significant shift in the trajectory of his artistic career. Although he continued to provide fantastical illustrations for books, such as his celebrated 'In Fairyland' (1869), by the mid-1870s, he had begun to experiment with larger scale works in watercolour, such as the present example. It is important to note he never had any formal training in the medium; these works were therefore technically experimental. This unconventional approach, lends itself to these mythological subjects in which he imbued them with a surreal or dreamlike quality. He exhibited in 1868 and 1871 with the RA and two years following his death in 1883, the Grosvenor Gallery in London exhibited a collection of his drawings in which The Pied Piper of Hamelin was included. The Pied Piper of Hamelin is a particularly interesting subject to depict, as there are numerous contradictory endings to the story. The legend dates back to the Middle Ages, and tells the tale of people of Hamelin, Lower Saxony, whose city is suffering from a plague of rats. The Pied Piper is hired by the mayor to lure the rats away with his magical instrument, in return for payment. However, when he has accomplished his task, the mayor reneges on their agreement. It is at this point that the sequence of events becomes confused. In certain versions, the piper takes revenge on the town by returning and in the same manner and luring all of the children, bar three, from the town to the Weser River, to their death. In others, again he transfixes them with his music but leads them instead to the beautiful lands surrounding the Koppenberg Mountain. In this more pleasant account, once his debt has been paid he returns all of the children unharmed. It is difficult to ascertain from Doyle’s work which version of events he has decided to depict. What fate lies just beyond the frame for the innocent children of Hamelin The two figures closest to the Piper seem to belie a more sinister turn of events, as they hold onto one another turning away from the music in fear. Their newfound understanding is visually contrasted with the hoards of smiling children behind them, blindly following the Piper. They have not yet crossed the town’s threshold, here a physical as well as metaphorical space, that seems to illustrate the moment in our lives in which our childhood innocence is lost to the cruel adult world. This is further heightened by the anguish and torment of the parents in the distance calling in desperation after their lost children.It could be argued that Doyle’s resignation from Punch, due to his dislike of their contemporary politics, made him outdated for the period in which he was working, a time of great turmoil and change in British and Irish society. His commitment to depicting the fantastical, through traditional forms of story telling, could be read as mere romantic folly. However, to a higher degree, mythology had been used for centuries by societies to make sense of the world in which they lived. Doyle’s work was concerned with awakening the viewer's imagination and challenging conventional ways of seeing by drawing their attention to the ambiguity of everyday experience. Contemporary European and Anglo-Irish literature was often a vital resource for artists of a Romantic tradition, which celebrated the natural over the rational. Worlds represented in the stories and poems in which Doyle illustrated were not ordered, they were filled with wonderful and at times, in the case of the town of Hamelin, terrifying phenomena. Niamh Corcoran

Vivien Pitchforth, Ink drawing of nude study, framed

TOM HUTCHINSON pen & ink drawing for a series of prints - the town of Porth, South Wales, entitled 'Fighting Blood & Rheola, Porth Rhondda', signed and dated 1977, 42 x 60cms

JOHN UZZELL EDWARDS pen and ink drawing - young girl with a large dog, 29 x 20cms

LAMBERT (CONTEMPORARY) - Market Day, ink and wash drawing, signed, framed, 23cm x 38cm also three other watercolours by different hands (4)

DAVID ROCK (XX) : 'Drainpipe, Handrail, Ditchling'. Framed and glazed pen and ink drawing. 32cm x 40cm

Attributed to Edward Gordon Craig (1872-1966) ink and watercolour drawing of an audience looking down at a group on stage, inscribed 'at the play in Venice 1602' theatre interest, mounted and framed

Collection of original cartoon designs, comprising: Bob Wilson (b.1942), 'No Man Is An Island', signed l.r., pencil and watercolour, first version of drawing published on the cover of The Oldie in March 1999, and on the cover of 'The Fourth Oldie Annual', 1999, 20cm x 20cm, framed; Edward McLachlan (b.1940), 'Dropping the Pilot', depicting John Major and Norman Lamont, signed l.r., pen & ink heightened with white, 28cm x 16.5cm, framed; Terence 'Larry' Parkes (1927-2003), 'The Flasher', pen & ink with watercolour, framed set of three, each measuring 12cm x 15.5cm. (3)

Emmanuel Levy (1900-1986), ink wash drawing, monkey, signed, also signed verso, 18.5" x 13.5", mounted.

Emmwood, original ink and wash cartoon drawing, The Naafi Queen, signed, 9.5" x 17", framed.

Marjorie Slade, watercolour, story illustration, 14.5" x 10" and a pen and ink drawing by the same hand, framed, (2).

[Shelley (Lady Jane, née Gibson, married Sir Percy Florence Shelley, son of Percy Bysshe Shelley and Mary Shelley, 1820-99)] Diary: [Cruise to Scotland]; 2nd Cruize of the Guinerva; Our First Cruize in the Flirt, autograph manuscript, 95pp., excluding blanks, also 2pp. of an unpublished poem by Jane Shelley signed "J.S.", 2pp. poem "Shadows on the Water - Written by Florence Trevor at the age of 18", 1848, and "Lines Written at Boscombe" by Richard Garnett, friend of the Shelley's, illustrated with 20 watercolour sketches, most in text, some laid down, 1 loose, and 1 pen and ink illustration in the text, 1 pressed flower "gathered from Sir John Moore's tomb given to me by little Floss [the Shelley's adopted daughter Bessie Florence Gibson (1852-1934), a few ff. excised at beginning, slightly browned, original morocco, rubbed, brass clasp with key, spine rubbed, tail of spine torn with small loss, sm. 4to, 1853 & 1860.⁂ Jane Shelley's spiritualism. "Tuesday Oct 16th [1853] After lessons Percy, Madlle Kitty, went on shore - Floss & self remained to walk about the deck they returned late for dinner - devoted some few hours to spiritual drawing - this astonishes me more & more - read Swedenborg & letters on the character of Mary Wollestonecraft - Percy brought me a little paper knife & book keeper with a view of Mount Edgecumbe." - Jane Shelley. Jane Shelley was intensely interested in spiritualism and spent a great deal of time practising automatic writing in which she would attempt to contact Mary Shelley who would give approbation to her own view of the Shelley's posthumous reputations.Percy Florence Shelley was a keen sailor like his father, and was a member of the Royal Yacht Squadron. These cruises, mainly about the Mediterranean include visits to: Gibraltar, Messina, Naples, Palermo, Corfu, Athens, Constantinople etc.

Ladies of Llangollen.- The Right Honrbl Lady Eleanor Butler & Miss Ponsonby. The Ladies of Llangollen... [by]... J.F.G., pencil drawing, 1866, in an album compiled by Mary Burton of Clifden House, Corofin, Co. Clare, numerous pen and ink and watercolours, manuscript poetry, together c. 130pp., including a watercolour of Lady Hester Stanhope and a watercolour by Sir Frederick William Burton, Director of the National Gallery of London, original emerald straight-grained morocco, gilt, slightly rubbed, gilt spine, g.e., sm. 4to, 1833-66.

δ Canada.- John (Augustus Edwin, 1878-1961) Study of a Canadian Soldier, black chalk on cream wove paper with watermark date of '1916', sheet 455 x 298 mm. (17 7/8 x 11 3/4 in), inscribed on reverse in pen and ink: 'I certify that this drawing is/ by Augustus John and from his studio./ Caspar John.', minor surface dirt and light browning, unframed, circa 1917.⁂ After being deemed physically unfit by the British Army to become an Official War Artist, Augustus John volunteered with the Canadian War Memorials Fund. By 1917 John was in France behind the lines held by the Canadian forces. The present drawing would have been an original study for John's unfinished large-scale work 'The Canadians Opposite Lens', the cartoon of which is now in the National Gallery of Canada, Ottawa. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

An Original Pen and Ink Drawing of Down House, Esher, Surrey, approx 29 x 29 cms (io) together with two prints of antique coloured etchings entitled 'River Orwell', 'Ipswich' approx 15 x 19 cms (io) and 'Bath', approx 19 x 13 cms (io) together with a print of a court dress from Ackermann's Repository of the Arts, 1822, approx 13 x 19 cms (io), all framed and glazed. (4)

Russell Brockbank (British, 1913-1979) - an original motor racing / rallying cartoon illustration, depicting a group of rally cars speeding past The Rest & Be Thankful' country pub, an angry resident leaning out of the window with fist raised, for The Daily Express, indian-ink and body-colour on wove paper, signed, with clipping of the published newspaper cartoon pasted verso, titled 'There is a hooligan fringe, but the sport is growing', with notes of publication date, 7th Nov. 1964 and Stock date stamp, the drawing 4 3/8 x 14in. (11.1 x 35.5cm.) plus margins, unframed, two tears and some creasing to right hand edges.* Condition: Vertical fold to centre. Two 2½in. tears to upper and lower edge to right hand side and some creasing, dirty smudges and a small tear to right hand end of paper. Some white overpainting and ink corrections to centre (around bonnet of the Rover P6), showing corrections to the original drawing by the artist, plus a few smaller corrections elsewhere. Old tape adhesive line to left hand margin verso.

A Collection Of Framed Original Artworks And Prints Six items in total to include pencil and ink drawing of Don Quixote, acrylic painting inspired by Magritte, abstract entitled 'Building Crisis 1962 - 1983'. Also, blue and grey abstract print, handtinted print in gold mount entitled 'Cockington Village' and signed print of Monmatre. Please see accompanying image.

A Second World War period pen and ink poster design depicting the main components of aircraft, from the drawing office at Melksham, dated 1943, framed, overall dimensions 74cm x 104cm.

Percy Kelly, pen, ink and wash drawing, Cumbria street scene. 14 cm x 18.5 cm. ARR

AN 18TH CENTURY PEN & INK DRAWING OF A KITCHEN SCENE, signed Hobert? inscribed to the reverse, on a paper label, "Berlin ... 1778", re-framed by "Charles Plante Fine Arts"

A small watercolour study depicting a sailing barge; together with "Summer at Flatford" acrylic on board by Helen Morgans, a beach scene watercolour; a pen and ink drawing of The Shepherd and Dog carvery; a watercolour study entitled "Church Through Orchard" etc.

Colin W Burns, signed pen and ink drawing, A Bungalow, 19 x 34cms

WW1 British Silk Post cards x 8, WW1 Tank Corps Christmas Greetings Card 1917 showing WW1 Male tank, and a sketch book dated 1914 with over 80 humourous pen and ink sketches and a 1907 dated postcard with pen & ink drawing.

Thomas Rowlandson (1756-1827) ''Mrs. Clark receiving a bribe to effect promotion'' Pen and ink and watercolour, reputedly a further study to the reverse depicting two boxers and an elegant lady, 20.5cm by 31cm See illustration Mrs. Clark was the mistress of the Duke of York. The drawing illustrates the scandal that was revealed when it was discovered that she had been receiving brides to aid promotion prospects.

Lord Kitchener interest - an Indian Ink Drawing by G.M. 22 June 1916, in Memoriam K of K 5th June 1916 (glazed and framed) images approx 18cm x 27cm. Plus a cast bronze ash tray (2)

Scrap albums.- An album with twenty original drawings and watercolours, the majority of British landscapes, by various hands, some initialled and dated, including a pen and ink drawing of a beggar outsides a church by M. Brewer, 1832, and with many leafs with neat manuscript poetry and verse, pen and ink, watercolours, graphite, album leaves watermarked 'B&T Sweetapple/ 1829', some on various papers tipped into album, each leaf approx. 230 x 180 mm. (9 x 7 1/8 in), occasional spotting and browning, some minor nicks and loss, light damp-stains, contemporary gilt tooled calf, upper and lower covers detached, loss to spine, worn, small 4to, [circa 1829-1835]; together with another album of four landscapes of Wales, showing 'Cader Idris from Arthog', 'Barmouth', Harlech', 'Criccith', with a dedication leaf inscribed 'To Mr & Mrs Charles Rowley/ From Mr & Mrs Richard Glazier & Daughters./ June 11 1912.', watercolours, each approx. 90 x 150 mm. (3 1/2 x 5 7/8 in), vellum boards, gilt, worn, oblong small 4to, 1912, (2).

Two pictures: A pen and wash painting of a Renaissance fresco, likely in the Vatican apartments, collectors mark 'P.M' to lower right hand corner, 27 x 21cm together with a pen and ink drawing of figures in a landscape with ruins, iron gall ink on paper, mounted, 19.5 x 29cm

NO RESERVE England.- Prout (Samuel) A New Drawing Book, in the Manner of Chalk, containing Twelve Views in the West of England, first edition, 11 soft-ground etched plates only (of 12, lacking Dartmoor), some spotting and soiling, original buff printed wrappers, uncut, a little soiled and frayed at edges, oblong folio, R.Ackermann, 1819 § Wilkinson (Robert, publisher) [Londina] Theatrum Illustrata, Graphic and Historic Memorials of Monasteries, Churches, Chapels, Schools , 2 vol., engraved vignette title and 79 engraved plates only (of 205), 3 double-page, some foxing or soiling, mostly marginal, old ink stamp of John Brymer at head of title and list of plates in second volume, later half morocco, spines gilt, 1825, oblong folio & 4to; sold not subject to return (3)

19th Century drawing heightened with white chalk, river scene with wooden dam, bearing ink signature/inscription: 'B A Grasberger Schol May 14th 1881'. Framed & glazed.

G. Paterson 'Greyfriars, Edinburgh ' Ink Drawing, dated '78, signed bottom left, in a glazed gilt wood frame, 18 x 16cm

1915 Dated a pen and ink drawing of cyclist viewing the waters of Ardenntiny signed Paterson

Six Rolls Royce pen & ink drawing certificates, unframed

Parcel of framed prints & watercolours including a framed pen & ink drawing by PATRICK LARKING of a reclining nude female

*Rome. A group of seven rare amateur photographs, c. 1858, a mixture of salted paper and albumenised salt prints, some vignetted, some titled, including 'Claude's house from one of our rooms, 1858', 'From our drawing room, Spring 1858', 185 x 135mm and smaller, individually mounted on card and paper album leaves, together with a salt print photograph of St Peter's, Rome by Robert Macpherson, 17 x 24.5cm, inscribed on mount in a contemporary hand in ink, 'View from the drawing room window of Mr and Mrs William Yates, 1857-8, Rome' Ex Cloney Collection, sold by Christie's South Kensington, 1996. (8)

*English School. Stanmore Church, Middlesex, late 18th century, pen, ink and watercolour on laid paper, unsigned, 15 x 24.5 cm (6 x 9.6 ins) mount aperture, framed and glazed, together with two other 19th century watercolours: a sepia wash drawing on Pen-y-Pass from Nant Peris, circa 1870, 77 x 172 mm (3 x 6.75 ins) mount aperture, framed and glazed and a view of Dover Castle from the Deal Road, June 1854, watercolour on paper, inscribed lower left, 135 x 310 mm (5.25 x 12.2 ins), framed and glazed (3)

*Nixon (John, 1760-1818). The Oboeist, pen, grey and pale brown ink with grey wash on paper, numbered in brown ink to top margin 114, and inscribed 'Revd. Mr. Cotes of Ealing' by the artist, 17.5 x 10.5 cm (6.8 x 4.2 ins) mount aperture, together with another similar pen, black ink and pale brown wash drawing of a clarinettist, 11.5 x 9 cm (4.5 x 3.5 ins) mount aperture, each approximately 16 x 10 cms (6.25 x 4 inches), both framed and glazed, with Ruskin Gallery label to verso of each (2)

*Attributed to Abraham Bloemaert (1564-1651). Landscape with thatched barn, shepherd reclining and man leaning on a staff, circa 1610-20, pen and brown ink on laid paper, inscribed in ink in a 17th century hand to verso: 'n.9' upper left, 'no. 30 - p.g.15 I 29 dec 88.' centre of top margin, and 'P. Autore Fiamingo' centre, several minor chips and one short closed tear to sheet edges at upper left and upper right (with discreet archival repairs to verso), image size 188 x 291mm (7.4 x 11.5 ins), sheet size 213 x 318mm (8.4 x 12.5 ins) Provenance: Private Collection, Dorset. A relatively large-scale Flemish landscape drawing. The subject matter is similar to the series of farmhouse landscapes by Bloemaert which were engraved by Boetius Adams Bolswert and published under the title Verscheyden aerdige Lanthuysen nae t'leven Gekonterfeyt by Claes Jansz. Visscher in 1620. (1)

*Tenniel (John, 1820-1914). Spoiling the Spoilers, 1883, pencil on wove paper, signed with monogram lower left, some mount staining, 20.5 x 15.5 cm (8 x 6.2 ins), sheet size 278 x 189 mm (11 x 7.5 ins), old ink handwritten label to verso with the published caption and date 'Punch March 31st 1883 (New Bankruptcy Bill)' Provenance: Abbott & Holder; purchased by Michael Jenner, March 1973 (owner's note to verso of mount). Tenniel's drawing, engraved by Joseph Swain and published in Punch on the 31st March 1883, satirises Joseph Chamberlain, then President of the Board of Trade, and his Bankruptcy Bill, the principal aim of which was to regulate insolvency applications, and hamper attempts to escape justice by a declaration of bankruptcy. Chamberlain is depicted holding his Bill in a despatch box, while "Jeremy Diddler" and his "Professional Assistant" discuss the implications: Jeremy Diddler (a fraudulent bankrupt) " WHAT! I HAND THE MONEY OVER TO THE CREDITORS - A PREPOSTEROUS IDEA!!!" His "Professional Assistant" "WHY - WE SHALL BOTH BE RUINED ! " (1)

*Lyon (Robert, 1894-1978). Head of a Woman, 1935, black and white chalk on grey wove paper, signed and dated May '35 lower right, sheet size 188 x 150 mm (7.4 x 5.9 ins), together with another study in red and white chalk of the profile of a man, on pale buff wove paper, some marks and soiling to sheet edges, sheet size 305 x 243 mm (12 x 9.5 ins), plus a photographic reproduction of a similar drawing by the same artist exhibited at the R.S.A. in 1935, signed in ink to mount (3)

AN EARLY COPTIC PAINTED WOODEN PLAQUE OF A SAINT, tempera on wood, wooden frame with frieze surmount, 19.5 x 12.7 cm, together with an early red ink drawing of the Lamentation of Christ, framed and glazed, 30.5 x 27.3 cm (2)Provenance: The wooden plaque is from the estate of the late Nicholas Packham, N.S.W., Australia. Packham was a collector and surgeon (see verso)

PERSONAL AUTOGRAPH BOOK OF AMBASSADOR HU SHI XI, INCLUDING LETTERS, SIGNATURES, DRAWINGS AND CALLIGRAPHY, CIRCA 1941-19584to (168 x 225 mm) brown full leather album, all edges gilt. 104 pages (52 sheets) total, including 1 loose ink drawing on rice paper. 92 pages (46 sheets) filled in.LOT NOTESLot numbers 3-17 in this auction are from the collections of the prominent historical figures Ambassador Hu Shi Xi and his brother Dr. Victor Chi-tsai Hoo, dignitaries from the Republic of China, and themselves descending from an influential family of diplomats. Their father, Hu Weide, was the Vice Minister of Foreign Affairs in the Qing Dynasty, and briefly served as the Premier of the Republic of China after Duan Qirui was ousted from Beijing in 1926. He was instrumental in bringing democracy to the Qing Dysnasty and was a member of the Chinese delegation at both the Treaty of Versailles as well as the Hague Peace Conference.Hu Shi Xi was a Chinese dignitary, the Chief Ambassador of the Republic of China in Canada, as well as an executive chief of embassies in many Spanish-speaking countries: Spain, Cuba, Argentina, Colombia, and others. In addition to his diplomatic skills, Hu Shi Xi was gifted artist, exhibiting his artworks at public exhibitions and diplomatic soirees to great acclaim. During his time posted in Europe and South America, he counted amongst his friends and visitors many other well known artists, such as Zhang Daqian. It should not be surprising, therefore, that Hu Shi Xi mainted autograph books with heartfelt calligraphic dedications, and even paintings, from both diplomats as well as the cultural community. This book comprises a collection of letters, signatures, drawings, and other dedications written and drawn by various dignitaries, literati, and artists during Ambassador Hu Shi Xi`s visits to Madrid, Lisbon, Bogota, Lima, and other cities.PROVENANCECollection of the Ambassador for the Republic of China, Mr. Hu Shi Xithence by descent in the familyFor additional images of this lot, please click here.LOT NOTESHu Shi Xi was a Chinese dignitary, the Chief Ambassador of the Republic of China in Canada, as well as an executive chief of embassies in many Spanish-speaking countries: Spain, Cuba, Argentina, Colombia, and others.

Nathaniel Dance (British, 1734-1811) Two Georgian ladies of fashion in high wigs, high hats and dresses with bustles, back view, pen and ink, 15 x 12cm (6 x 5in); Louis Philippe Boitard (French, fl. 1733-1767), A seated gentleman quaffing beer, pen, ink and watercolour, 17 x 11cm (6.5 x 10.5in); A sleeping man in a tricorn hat with cane, pen and ink, 19 x 12cm (7.5 x 5in); Henry Bunbury (British, 1750-1811), Figure of a Dandy, pen, ink and wash, 19 x 7cm (7.5 x 3in); Gentleman in a Tricorn Hat, carrying an umbrella, signed lower right with initials "HWB", pen, ink and watercolour, arched top, 17 x 7cm (7 x 3in) five (5) Provenance: Colnaghi by the 1940s; Leonard Duke; Appleby Bros Ltd., 10 Ryder Street, St James, London, SW1 (Henry Bunbury, Autumn Exhibition 1963); Gainsborough's House, Sudbury, Suffolk (Henry Bunbury Exhibition Catalogue No. 24, 26 February - 10 April 1983); From the Figure Drawing Collection of K A T Davey, CB Nathaniel Dance: Hal O'Nians Beer drinker - a little foxing to the background and slight loss of colour - Provenance: Squire Gallery, 12 Baker Street, Portland Square, London, W1. (No. 33). Georgian girls - slight discolouration and foxing to the background. Sleeping man - slight discolouration to background. Provenance: Squire Gallery, 12 Baker Street, Portland Square, London, W1 (No. 34) Henry William Bunbury - may be stuck down - slight discolouration and browning around the edges (No. 32). Bunbury - Man with umbrella - probably stuck down, a little water damage at the top, cut out along the top edge to shape it

Joseph Crawhall, RSW (British, 1861-1913) Studies of Budgerigars pen and ink 19 x 23cm (7 x 9in) Provenance: Squire Gallery, 32 Baker Street, Portman Square, London, W1 From the Figure Drawing Collection of K A T Davey, CB Conditoin appears fine - No. 37

Pictures and prints - St James, Garlickhythe Limited Edition 49/500 signed in pencil to margin; another; a pen & ink drawing Limited Edition Interlocking Boats II; a Victorian framed hand coloured lithograph print; a framed print Low Tide, Berwick signed and dated in pencil to margin; a Limited Edition print 40/150, The Oval, 1995 signed pencil margin; a Persian brass table top tray, chased and engraved overall; etc. (8)

A collection of early 19th century miniature portraits in watercolour and pencil, to include a group of four painted on card and mounted on paper 'A Likenefs In This Style 2/6' written below, a portrait print inscribed in ink to verso 'James Steel Tunstall, 'a primitive Methodist Preacher 1826', two floral still life greeting cards in watercolour, a pencil portrait signed Jessie Lunch 22.6.09, two signed silhouettes and an ink drawing in memory of William Knott who was killed at New York Swan River, Sept 21 1836 as he was fighting a fire on his own premises, by a native thrown a spear at him

Elizabeth I. Certain Sermons or Homilies Apointed to be Read in Churches in the time of Queen Elizabeth of Famous Memory: and now thought fit to be Reprinted by Authority from the Kings most Excellent Majesty, Oxford: at the Theatre, 1683, title lined to verso, ink stamp to title and following leaf, lacking free endpapers, front pastedown inscribed 'Baptist Library Bristol 1804' and with Bristol Baptist College bookplate, contemporary panelled calf, rebacked, board corners worn, folio, together with Caesar (Julius), [Opera], Padua: Joannem Manfre, 1720, some scattered spotting, contemporary vellum, 12mo, plus two others including a defective copy of Christ Dying and Drawing Sinners to Himselfe. Or A survey of our Saviour in his soule-suffering..., by Samuel Rutherford, 1647, and defective edition of Fruitfull Sermons by Hugh Latimer, [Printed at London: by Thomas Cotes, for the Companie of Stationers 1635] (4)

Smith (Alfred). Twenty Lithographic Views of Ecclesiastical Edifices in the Borough of Stroud by Alfred Smith, Artist, with short notices appended to each drawing, published J. P. Brisley, Stroud, 1838, twenty lithographic plates on India laid paper, dedication leaf signed by Alfred Smith, 2pp. title page and front endpaper with later pencil ownership signature, subscribers list present, occasional spotting, later pencil numbers to upper right corner of descriptive text, occasional pencil and ink marginalia, contemporary half morocco gilt, rebacked, rubbed and worn, oblong 4to Hyett & Bazeley, vol. 2, p.313. (1)

Manner of Girolamo Parmigiano The Holy Family with Saints Inscribed and with a collectors mark Pen and ink heightened with red 26 x 20cm; 10¼ x 8in With a further drawing depicting Tobias and the Angel (NB there are 2 in this lot not 3 as in the catalogue)

18th / 19th Century ink and wash drawing, shipping on the Thames near The Tower, 12ins x 17.5ins

20th Century watercolour, figure seated by an estuary with moored boats, indistinctly signed, gilt framed, 11.5ins x 9.5ins, together with a framed signed print and a framed ink drawing of a Mexican

19th century English Schoolink and pencil drawing'Salt Water Lake, Loonhar from half way down the Ghaat'13.5 x 20in.

JOHN KIMPTON OVER PAINTED PRINT IN PEN AND SEPIA 'Holding the Baby' Signed 7" x 3" (17.8cm x 7.6cm) A PRINT FROM AND PEN AND INK DRAWING 'Grandma and Child' 6 1/4" x 6 1/4" (15.9cm x 15.9cm) Supplied with a hand written letter from the artists concerning the two works and a soft back Edition of his book 'Art in The Community'

Aat Veldhoen, four pen and ink nude studies and a drawing of a woman at a sewing machine, largest 35 x 49cm

Albert Wainwright (1898-1943) - 'Seated female nude in profile', ink drawing on blue paper, unframed, unsigned, 22cm x 17cm also one other ink and wash study of a nude by the same hand (2)

Albert Wainwright (1898-1943) - 'Study of a seated monk - Rhens Konigstuhl' ink and wash drawing, unframed, unsigned, 22cm x 17cm also one painted verso with a musical bar and verse together with one other watercolour study of the monk (2)

Albert Wainwright (1898-1943) - 'Cochem am Mosel' ink and wash drawing, unframed, unsigned, 22cm x 17cm also one painted verso with another view of the town together with one other watercolour 'Winneburg von Cochem am Mosel' (2)

Albert Wainwright (1898-1943) - 'Heil Moskav! - Study of young man holding a Russian flag' ink and wash drawing, unframed, unsigned, 22cm x 17cm also painted verso with a study of a group of figures

HARTNELL WILLIAM: (1908-1975) English Actor, the first actor to portray the Doctor in the television series Doctor Who. Vintage signed postcard photograph of Hartnell standing in a half-length pose in costume as the Doctor. Signed in bold black ink to the lower white border by Hartnell, adding his character name, Dr. Who, in his hand beneath his signature. Accompanied by the original 8vo secretarial letter from BBC. Television Centre, n.d., which thanks their correspondent for the letter and 'smashing drawings, which we all think are very good indeed. I enclose a photo for you. Lots of love, and very happy New Year, from “Dr Who” '. A photograph scarce in this form. Together with William Russell (1924-  ) English actor, known for having played the role of companion Ian Chesterton in Doctor Who, 1963-1965. Signed postcard photograph depicting Russell in a head and shoulders pose, in a BBC publicity photograph for Dr Who. Signed by Russell in bold blue fountain pen ink with his name alone to the lower border, and with a short inscription to the verso, signed ('W.R.') with his initials. Also including Jacqueline Hill (1929-1993) British Actress, known for her role as companion Barbara Wright in Doctor Who, 1963-1965. Barbara was the first Doctor Who companion, with Hill speaking the series' first words. Signed and inscribed postcard photograph of Hill in a head and shoulders pose, in a BBC publicity photograph. Signed by Hill in black ink to the lower border.  Accompanied by the original A.L.S., Jacqueline Hill, one page, 8vo, BBC Television, Wood Lane, 26th July 1965, in which Hill thanks her correspondent for their letter, adding, '…the drawing of the Dalek was excellent.' With light age wear, otherwise VG, 5

 TURNER J. M. W.: (1775-1851) English Painter. An extremely rare, early ink signature, William Turner, on a slim 8vo page removed from the Attendance Book of the Plaister Academy at the Royal Academy, London, n.d. (early 1790's). Turner's bold signature appears at the top of the page, and above and below his signature appear those of thirteen other fellow students, with a further sixteen signatures to the verso. Included is the signature of artist Charles Brome (2). 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. 

 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.