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ROBERT CRUMB LOT (8 in Lot) - Includes R. CRUMB SKETCH BOOK 1974 to 1978 (Hardcover 1978 - Zweitausendeins) + THE BOOK OF GENESIS (Hardcover 2009 - Jonathan Cape) + THE COMPLETE RECORD COVER COLLECTION (Hardcover in Slipcase 2011 - Norton) + DRAWN TOGETHER (Hardcover 2012 - Knockabout) + ODDS & ENDS (Hardcover 2001 - Bloomsbury) + THE COMPLETE DIRTY LAUNDRY COMICS (2003 - Last Gasp) + CARLOAD O'COMICS (1976 - Belier Press) + THE APEX TREASURY OF UNDERGROUND COMICS (1974 - Links Books)

An RAF flying suit with helmet, mouth piece, goggles owned by Flt Lt R.L. Heather with three Royal Air Force pilots flying log books dating from Feb 9 1951 to Oct 28 1969 - also three framed photos of aeroplanes and a framed sketch of Robbie

‡ JOSEF HERMAN OBE RA pen and ink sketch - seated female with head scarf holding a young child, unsignedDimensions: 22.5 x 17.5cmsProvenance:private collection Ystradgynlais, consigned via our Cardiff officeCondition Report:framed and glazed

‡ JOSEF HERMAN OBE RA pen and ink sketch - standing cows, unsignedDimensions: 19.5 x 24cmsProvenance:private collection Ystradgynlais, consigned via our Cardiff officeCondition Report:framed and glazed, some creasing to the paper

‡ JOSEF HERMAN OBE RA pen and ink sketch - figure seated at table at mealtime, with inset figures above, unsignedDimensions: 22 x 17cmsProvenance:private collection Ystradgynlais, consigned via our Cardiff officeCondition Report:framed and glazed

‡ JOSEF HERMAN OBE RA pen and ink sketch - crowing cockrel with crouched figure holding figure to mouth signalling to keep quiet Dimensions: 21 x 17cmsProvenance:private collection Ystradgynlais, consigned via our Cardiff officeCondition Report:framed and glazed

‡ JOSEF HERMAN OBE RA pen and ink sketch - figure with head in arms and one foot on a stool, unsignedDimensions: 31 x 20cmsProvenance:private collection Ystradgynlais, consigned via our Cardiff officeCondition Report:framed and glazed

A quantity of trace Maps to including showing own and Jap dispositions during Sittang R Battle, sketch Map showing approx. enemy positions Kabwet & Koktet areas, Locations of 2, 20 and 36 Division on Jan 1945 and 7th Feb 1945, Situation at Capture of Tougoo, etc.

An Edwardian linen panel with drawn thread style triangular centre, with running stitch leaves, in oak glazed frame (12cm x 13cm) and an early 19thc watercolour sketch of a grey squirrel, unsigned, in glazed ebonised frame (5cm x 4cm) (2)

From The Estate Of Bob Baker - Geoff Dunbar (Animator) - 1996 British Animation Awards (BAA) - an original illustration by Dunbar, framed and glazed and awarded to both Baker and Nick Park 'Best Scenario - A Close Shave' from the Wallace & Gromit feature. Hand drawn sketch of a sheep, signed and dated 1995. Unique piece of animation memorabilia. Framed and glazed, total size; 43cm x 35cm.Geoff Dunbar is an English animator and director known for his animated music video Rupert Bear and the Frog Song for Sir Paul McCartney and The World of Peter Rabbit and Friends from the stories by Beatrix Potter. He championed a hand-sketch style of animation.Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.

Wallace & Gromit The Curse Of The Were-rabbit (2005) - Nick Park (creator) - autographed DVD disc, signed in black ink, Park adding a sketch of Gromit. Undedicated. Originally sold as part of a charity auction. Supplied with a certificate of authenticity.

Wallace & Gromit - Nick Park (creator) - sketch of Gromit in black ink, signed. Undedicated. Mounted atop an image of the duo. Framed and glazed. Total size; 54cm x 44cm. Supplied with a certificate of authenticity. 

Wallace & Gromit / Shaun The Sheep - Nick Park (creator) - sketch of Shaun in black ink, signed. Undedicated. Mounted beneath an image of Aardman Animations characters. Framed and glazed. Total size; 54cm x 44cm. 

Wallace & Gromit - 3 Cracking Adventures! - Nick Park (creator) - autographed DVD disc of the first three Wallace and Gromit features (A Grand Day Out, The Wrong Trousers and A Close Shave), signed in black ink, Park adding a sketch of Gromit. Undedicated. Originally sold as part of a charity auction. Supplied with a certificate of authenticity.

Wallace & Gromit The Curse Of The Were-rabbit (2005) - Nick Park (creator) - autographed DVD disc, signed in black ink, Park adding a sketch of Wallace. Undedicated. Originally sold as part of a charity auction. Supplied with a certificate of authenticity. 

From The Estate Of Bob Baker - Artwork - two of Baker's personal sketch books, each containing a range of finished / unfinished artwork. The first (purple) features two finished pieces and several slipped-in pieces, including Sedgemoor, Gloucestershire etc. The second book (black) features various diary-type entries surrounding a trip to the USA and meetings with various directors / agencies, alongside several finished / unfinished sketches, paintings and drawings. Unique items. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.

Lionel Edwards - Two signed prints, 38cm x 51cm, and smaller, both framed under glass, together with three related books - 'Sketches In Stable And Kennel', 'My Hunting Sketch Book' and 'Royal New Market' and 'The Hampshire Hunt, In a series of five plates'

Hugo (Victor) The Hunchback of Notre-Dame...Translated expressly for this edition with a sketch of the life and writings of the author by Frederic Shoberl, first edition in English, initial 'Standard Novels No XXXII' title, engraved frontispiece and additional vignette title (both with light foxing), final 'Opinions on this work' f., the odd spot but a clean copy generally, original cloth, labels to spine (lower a little chipped), spine sunned, corners bumped, 8vo, Richard Bentley, 1833.⁂ A superb example of this rare edition, first published in Paris in 1831.

Tahiti.- Hawaii.- History of the Otaheitean Islands, from their First Discovery to the Present Time...With an Historical Sketch of the Sandwich Islands, half-title, folding engraved frontispiece, ink ownership inscriptions to head of title crossed out, contemporary ink ownership inscription of H. Maxwell to head of F6v, browned throughout, occasional light spotting or staining, original sheep, neatly rebacked, red morocco label to spine, corners repaired, old covers worn, [Ferguson 306; Forbes 316], small 8vo, Edinburgh, Printed by T. Maccliesh and Co., 1800.⁂ Important early compendium of information on Tahiti and Hawaii at the close of the eighteenth century. This copy with the two leaves of introduction cancelled, as called for in the directions to the binder.

Cook (Capt. James).- Zimmermann (Henri) Dernier Voyage du Captaine Cook Autour du Monde, second French edition, woodcut title vignette and headpiece, front free endpaper with light damp-stain and near contemporary ink inscription to verso, title slightly browned, some light scattered spotting, contemporary ink inscription to rear free endpaper, uncut in contemporary decorative wrappers, rebacked in similar paper, later manuscript "Cook" to upper cover and spine, rubbed and chipped at extremities, housed in a navy morocco-backed drop-back box, [Sabin 106346], 8vo, Berne, Nouvelle Société Typographique, 1783.⁂ The second of two French editions after the German original of 1781. Zimmermann, who travelled as coxswain on Cook's third voyage, had his work suppressed in Germany at the request of the British Admiralty. He provides one of the earliest accounts of the European discovery of Hawaii and Cook's death. The two French editions include additional matter not present in the German, including a lengthy biographical sketch of Cook (pp.118-172).

Maurice Ménardeau (1897-1977), a pencil sketch, image size 6.75in x 4.75in

Maggie Christie - pencil sketch of a watermill signed and dated 1866, 47 x 33cm, with small oil on board of mountain snow scene, 17 x 12cm

Three various 19th century watercolour/sketch books

J Edwards - pencil sketch portrait of a woman, signed and dated, 33 x 26cm

A Henry Moore 'Shelter Sketch Book' 1940 plus Henry Moore print, 9.5 x 12.5cm

Robin Eaton - pen and ink sketch of a man seated in interior, glass a/f 26 x 21cm

Framed watercolour sketch of cypress trees in a gateway signed John Duncan - frame 38cm x 50cm

Mounted pencil sketch on paper bearing the signature of L S Lowry of a woman walking down a street (annotations on reverse) signed & dated - picture 24.5cm x 17cm (mount 40cm x 30cm) ~ was bought locally from the family of a solicitor where this drawing was sored the past 40/50 years (now later framed) - has an old fold across the picture ~ Laurence Stephen Lowry (1887–1976)

Mounted pencil sketch on paper bearing the signature of L S Lowry of a man walking past railings (annotations on reverse) signed & dated 1961 - picture 24.5cm x 17cm (mount 40cm x 29cm) ~ was bought locally from the family of a solicitor where this drawing was stored for the past 40/50 years (now later framed) ~ Laurence Stephen Lowry (1887–1976)

Robert Mordan, coloured map of Devonshire, published by Chapman Hall, 1833, map of Herefordshire, watercolour sketch, landscape after Hutchinson and a print of Hummingbirds (4)

Clare WHITE (1903-1997) Pliva waterfalls, Jajce, Bosnia Watercolour, 50 x 37.5cm. To verso there is a pencil sketch of The Minack Theatre, Cornwall. St Ives artist Clare White always painted from life ‘en plain air’ and must have been thrilled to set down her stool and get out her sketchbook, easel and watercolurs to capture this scene in Bosnia Herzegovina. The power of the Pliva waterfalls, with the fragile figures of people admiring them from the rocks below, and the solid and lovely town of Jajce above inspired Clare to create one of very few upright (portrait) paintings. Top to bottom, she captures the scudding clouds, silent towers and the calm of the blue water before it cascades over the falls.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.

Dame Laura KNIGHT (1877-1970) Ballerina, circa 1914 Ink on paperSigned13 x 9.8cmProvenance - Maryella Pigott, by descent from the estate of Charles & Ella NaperThis expressive ink drawing was a gift from Laura Knight to her dear, lifelong friend and collaborator Ella Naper.Note: Ella Naper was Laura's friend and near neighbour in the Lamorna Valley in Cornwall. As well as modelling for Laura (she was the model in Knight's seminal 1913 work 'Self Portrait with Model') she was a talented jeweller who had studied under Frank Partridge. Naper and Knight collaborated on a number of enamelled jewels, notably themed with dancers and the ballet, which Laura adored. Knight was an avid admirer of the prima ballerina Pavlova, who this drawing could well be a study of. Ella owned a particularly fine pendant, the central jewel of which was one of Naper and Knight's enamels depicting a ballerina in a similar pose. This sketch is likely to have been a preparatory work for that piece. The pendant has been bequeathed to Penlee House.Another notable enamel, a brooch depicting the dancers Michael Mordkin and Anna Pavlova, was sold at Bonhams in 2017, with an accompanying note to Marjorie Averill, to whom Laura had given it, in which Knight wrote: 'The enamel is Limoges, it is one of about eight I did in the year 1914 with the help of the jeweller, Mrs Ella Naper.'The note suggests that a provisional date of 1914 can be applied to this drawing.This foxed ink drawing is on a page torn from a sketch pad. It has not been examined out of the frame but it is float mounted and so the slightly browned edges can be seen.

Samuel John Lamorna BIRCH (1869-1955) St Loy Cove  Watercolour, signed, 17 x 25cm. This delightful sketch has not been examined out of the frame. There are no obvious faults but it is likely that the paper has browned and the work has faded.

John MILLER (1931-2002) The Terrace (Panaghia Vlacherna Monastery, Corfu) Oil on canvas, unfinished sketch, 41x61cm

George Cunningham (1924 - 1996), Gentleman guiding ladies across a tram line, signed, pen drawing, framed and glazed, 18 x 12cm; 'Back Street Castleton', unsigned, en plein air pen sketch, labelled verso, framed and glazed, 20 x 40.5 cm; and twenty other en plein air pen sketches, mounted on foam board or cardQty: 22

Art Derry (1930 - 1992) Trinidadian British, Abstract in turquoise yellow and orange, oil on board, 60 x 88.5 cm, unframed, together with a preliminary sketch dated 2nd March 82, 16 x 20 cmBy family descentArt Derry first exhibited with the Trinidad Art Society in 1948 and came to England in 1954. He became a key member of the Caribbean Artist Movement in London, and illustrated many of the books published by John La Rose at New Beacon Books. Derry had his first solo exhibition in 1956 at the Hammersmith Gallery and had further one-man exhibitions in London and Paris. He also exhibited regularly at the Commonwealth Institute from 1957 to 1971. In 1963 he moved with his family from London to Chesterfield, where his wife had been offered better work opportunities. Whilst running his own gallery in Chesterfield, Art Derry continued exhibiting in London, as well as the Graves Art Gallery in Sheffield and other local galleries.

Charles Fairfax Murray (1849-1919)'Study of a Martyrdom', pencil sketch, unsigned, 18cm x 22cmOverall scuffs and some wear to the frame. Minimal foxing and tiny marks in places. Otherwise seems ok.

In the manner of Orovida Camille Pissarro (1893-1968) 'Untitled study of a tiger', watercolour and pencil sketch, unsigned, 25cm x 39cmSome small tear and abrasions to the paper on the left hand side, partially concealed by the mount. Minor creases to edges also. Some water marks/splashes (Suspected they were made by the artist). Overall minimal display wear and some marks. Otherwise seems ok.

Chris Orr (b.1943) 'Untitled riverside scene', watercolour, signed lower right, 30cm x 30cm and one other by the same artist 'Webster and fuller', pencil sketch, signed in pencil and indistinctly dated lower right, 41cm x 37cm (2)Overall display wear and some minor scuffs to the frames. The pictures themselves with minimal discolouration or possibly dirt, otherwise seems ok.

Arts and Crafts study for a stained glass window, graphite sketch, unsigned, 55cm x 22cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear and scuffs to the frame. Otherwise seems ok.

A CLOSELY MATCHED PAIR OF GEORGE IV MAHOGANY CHAMBER TABLESATTRIBUTED TO GILLOWS, CIRCA 1820each 73.8cm high, 68.5cm wide, 46cm deepFor a related Gillows chamber table see Susan E Stuart, Gillows of LANCASTER and LONDON 1730-1840, Antique Collectors' Club, 2008, p300, pl328. 'Small writing or chamber tables were introduced during the early 19th century and several were drawn in the General Sketch Book 1810. A hinged compartment with a pop-up lid was sunk into the writing surface to accommodate an inkwell and other writing equipment. The frieze drawer had to be indented in order to fit round the sides of the ink compartment. Chamber tables with plain turned or reeded legs retained their popularity since a similar design was drawn in the Estimate Sketch Book in 1823'.Condition Report: Marks, scratches and abrasions, old splits and chips comensurate with age and useSome fading to colour, staining and ring marks to the tops. Attention to the surfaces by a skilled restorer would improve the appearance considerably.The two tables are very close to each-other in all aspects but some very slight variations in proportion of the turning of the legs (that could be explained by them being hand turned). The figuring of the timber varies slightly between the two. The hinges of the lidded compartments vary between the two (one set has three screw hole son each side, the other has just two. Overall it seems unlikely that they were conceived as a pair but careful polishing in particular could make them appear as a pair prior to very careful inspection. Both tables finished equally on all sides so can free stand and remain presentable. The handles and locks appear original. The keys are present to operate the locks. one lock lacking two screws. The handles of the two tables match eachother. The casters of the two tables all appear original and the designs of them match eachother overall, there may be very slight variation in the scale/ finishing of them. One front leg of one table previously broken (at a relatively clean break) towards the uppermost part of the leg. (see images)To the interior of the lidded element of one table, the original division elements for the pair of inkpots are now lacking. The interior of the lidded element of the other table is lacking its divisions entirely. Both with solid mahogany drawer linings throughout. Please refer to all additional images for visual reference to condition. Condition Report Disclaimer

A REGENCY MAHOGANY CHAMBER TABLEATTRIBUTED TO GILLOWS, CIRCA 182072cm high, 66cm wide, 46.5cm deepFor a related Gillows chamber table see Susan E Stuart, Gillows of Lancaster and London 1730-1840, plate 328. Tables of this form with a hinged lid to the top to enclose and inkwell and writing equipment, and with a frieze drawer indented to go around the recessed fittings, were first drawn in the Gillows General Sketch Book of 1810. These chamber tables retained their popularity as a similar design was drawn in the Estimate Sketch Book of 1823.Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including:The top cleaned, some warping visible largely when viewed from the side, some indented scratching.Split to the drawer lining along the grain of the timber.The brass casters stamped within the recess of the wheel 'YATES & HAMPER PATENT'.Flame veneered and panelled to all sides of the frieze so that it can be a centre table.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY AND GILT BRASS MOUNTED WINE COOLER OR CELLARETIN THE MANNER OF DESIGNS BY CHIPPENDALE THE YOUNGER, CIRCA 1800The top with radiating fluting and berried finial above a brass bound and lion mask mounted body, on well carved lion paw feet70cm high, 86cm wide, 61cm deepA related form of wine cooler was supplied by Thomas Chippendale the Younger to Stourhead, Wiltshire as part of a notable commission completed there. One of the earliest designs for an oval cistern features in the Gillows 1787 Estimate Sketch Book of 1787 (see: L. Boynton, Gillow Furniture Designs 1760-1800, Royston, 1995, fig. 178). A similar wine-cooler was designed by James Wyatt in the 1790s for Henham Hall, Suffolk, seat of the Earls of Stradbroke.  

Frederick Goodall (1822-1904), Nawab Mahomed Alli Khan Bahadur Boroda, pen and ink sketch, signed with monogram, dated October 1889, 23cm x 18cm; also by the same hand a Saharan landscape sketch, en grisaille, pen and ink, 13cm x 18cm, inscribed to a label verso 'From a sketch book'; and a sepia wash landscape by the same hand, signed with a monogram, 12.5cm x 17.cm (3)

Rare Royal Doulton figure 'The Sketch Girl' (model 444), designed by Leslie Harradine, introduced 1923, withdrawn 1938, height 18.5cm

Alan Stepney-Gulston (Welsh 1844-1919 of Derwydd Mansion, Llandeilo), 29 views of 'A Holiday in Tenby', to include: 'St Mary's Church via, from Tudor House Garden Tenby', 'Five Arches Tenby' and 'Sentinels of the Sea, South Cliff' and 'Sundown St Florence near Tenby', 'Scotsboro Lane' and 'Old Sea walls, Tenby', 'Old South Tower, Tenby' and 'Pryceps Bay, Manorbier', 'St Catherine's Steps, Tenby' and 'Wormshead from Giltar Point Tenby' etc. (29) Together with others; 'Rhayader Mill' signed and dated '89, 'On the Road from Loch Torridon West Coast of Scotland' and 'Rhayader Bridge' all sepia watercolours and a pencil sketch 'The Old House at Dan-yr-allt in 1835'. All unmounted but including original mounting cards, annotated in places by the artist.(B.P. 21% + VAT) All basically in good original condition.Provenance Derwydd Mansion Auction sale ,Sotheby's.

Frank Brangwyn RA, RSW, RWS (British 1867-1956), Venice, with sailing vessels and distant church, watercolours and pencil sketch, signed with initials FB. 22 x 26cm approx. (B.P. 21% + VAT) A watercolour sketch very loosely executed. Showing some foxing spots in places. Modern glazed frame.

Mixed games including Star Wars and Etch-A-Sketch. Not available for in-house P&P

RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à MARIEN, AVEC DESSIN signé 'Magritte' et daté 26 mars [1952], 4 pages, in-16 (155 x 101mm.) à l'encre.Lettre amicale de Magritte à son disciple et ami Marcel Mariën (1920-1993), figure incontournable du surréalisme en Belgique. Avec Louis Scutenaire ou Paul Nougé, c'est lui qui trouvait les titres de certaines toiles du peintre, comme l'atteste cette lettre: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'En décembre 1951 Mariën s'était engagé à Rotterdam comme garçon de mess sur le Silver Ocean, un cargo suédois transporteur de fruits qui faisait la navette entre les Antilles françaises et la Normandie. Sans nouvelles de son ami, Magritte exprime son inquiétude avec un humour pince sans rire: 'Heureusement, vos cartes mentionnées ci-dessus et 2 nouvelles encore que je reçois ce jour même de Varangéville depuis le 22 mars permettent d'attribuer à votre silence momentané une cause inconnue, mais ne menaçant pas notre tranquillité relative. Envisagez-vous un terme à vos déplacements sur l'eau, même si ce terme n'exclut pas votre persévérance à naviguer aussitôt ce terme expiré?'Dans cette lettre, Magritte aborde une variété de sujets, y compris la récente visite de Magritte à l'exposition d'Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' Le peintre belge Alfred Pietercelie (1879-1955), auteur principalement de paysages dans un style assez traditionnel, fait ensuite les frais de la férocité de Magritte.Le beau dessin qui illustre cette lettre est ainsi légendé par le peintre: 'livre et interrupteur électrique'. On y voit un livre, un interrupteur, puis, à côté, l'interrupteur monté sur le livre, ce qui donne un appareil photo. Ainsi que l'explique Magritte, il s'agit d'une 'variante' du tableau L'Explication, construit sur le même principe: une bouteille, une carotte et une bouteille-carotte, qui réunit les deux. Dans le cas présent, un interrupteur, un livre et un livre-interrupteur. L'artiste ne semble jamais avoir réalisé ce tableau qui, comme il l'explique, ne le 'satisfait pas énormément'.La lettre témoigne des liens très étroits qui unissaient Magritte à Marcel Mariën. Le peintre lui parle avec une entière confiance, faisant de lui un de ses interlocuteurs privilégiés, auquel il pouvait communiquer en toute franchise ses idées et ses jugements.AUTOGRAPH LETTER TO Marcel Mariën, SIGNED 'Magritte', WITH SKETCH, 26 March [1952]. 4pp., ink on paper, 16mo (155 x 101mm.). Friendly letter from Magritte to his disciple and good friend Marcel Mariën (1920-1993), one of the essential figures of the surrealist movement in Belgium. It was him, alongside Louis Scutenaire and Paul Nougé, who suggested titles to Magritte for his paintings, as is attested by this letter: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'In this letter Magritte touches upon a variety of other subjects, including his recent visit to an exhibition of works by the artist Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' The Belgian painter, Alfred Pietercelie (1879-1955), author mainly of landscapes in a fairly traditional style, is here criticized by Magritte.The letter is also adorned by a little sketch, that is captioned by Magritte as: 'livre et interrupteur électrique'. In the drawing we see a book, a light switch, and then again, the light switch added to the book, which become thus a photographic camera. As is explained by Magritte, this is a variant of his painting L'Explication, which was composed around the same principle: a bottle, a carrot and a bottle-carrot that brought the two together. In this case a book, a light switch and a book-light-switch. Magritte never realised this painting, and as he himself explains it ' ne me satisfait pas énormément'This letter bears witness to the very close bon between Magritte and Marcel Mariën. The painter speaks to Mariën in complete confidence, making him one of his privileged interlocutors – on he could communicate to his ideas and judgments in complete frankness and honesty.Footnotes:ProvenanceCollection particulière, France.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SkyBox Star Trek Limited Edition 23 karat gold sculptured trading cards x five, each with COA, Good Plus to Excellent, within Good Plus opened packaging. Star Trek Voyager signed photo of Jeri Ryan as Seven of Nine, LE 102/250, with certificate. Dynamic Forces lithograph "Classic Star Trek" by Brian Rood, signed by Brian Rood with Spock sketch, includes COA, 24"/61cm x 18"/46cm. Dynamic Forces Star Trek The Motion Picture 20th Anniversary lithograph, 24"/61cm x 18"/46cm. (8)

Large quantity of Topps and Merlin Star Wars trading cards including heritage artist sketch cards, vintage card 1979 signed by Kenny Baker, and card signed by Phil Brown, and many other cards, within Topps Attack of the Clones binder, Excellent to Excellent Plus. (qty)

Quantity of various comics x thirty seven single issues with 16 signed by Neil Edwards, signed comics include DC Suicide Squad #1 & #39, Justice League of America #10 x2, Green Lantern, DC DCeased x 9, Titan Comics Assassins Creed, Marvel Herc, other comics include Marvel Mythos Hulk #1, DC Bat-Mite, Assassins Creed, The Dead Kingdom of Flies, DC Batman Beyond and others. Also includes A4 pencil sketch by Neil Edwards, all generally Good. (38)

A basket containing a photograph album of monochrome photos of Newcastle and London, folded vintage Bartholomews maps of Northumberland, a stamp album containing 20th century stamps in autograph sketch book.

A 20th century pencil sketch depicting figures on a bus together with a monochrome print and a watercolour drawing. (3)

Joseph Greenup RA (1891-1946)/Portrait of Joan Laughton/aged twelve, standing on the shoreline with her West Highland Terrier named Angus I/signed and dated 1933/oil on canvas, 74.5cm x 54.5cm/Note: together with a photograph of the sitter and a sketch/autograph book belonging to Joan Laughton that includes a pencil sketch of Joan's dog Angus I by the artist/Provenance: exhibited at the Royal Academy during 1934 CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Nigel Boonham (born 1953)/Sketch of an Elephant/signed and dated 4-3-94 lower right/watercolour on paper,19cm x 23.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

GEORGE WEATHERILL (1810-1890) A sketch titled “Whitby from Sandsend”; Pencil on paper, 5” x 8” (some foxing/discoloration), framed & glazed (12½” x 15¼” overall).

Manner of THOMAS GAINSBOROUGH (1727-1788) A sketch of a river landscape with a bridge & buildings, pencil on paper, 7¾” x 12½”, inscribed “Thomas Gainsborough” verso (not examined out of frame).

A schoolbook, owned and used by Paul McCartney c 1959 whilst an upper sixth form pupil at Liverpool Institute school. Book is inscribed to cover by McCartney along with his form 'AM2'. With a further signature to inner front cover along with lines of a witty imagined dialogue (by McCartney). The book was used for Paul McCartney's geography work and there are approx 66 sides of writing in the book mostly concerning Scandinavia. Also with a further sketch to inner of the back cover. McCartney would take (and fail) an 'O-Level' course in geography.Book measures approx 16 x 20cm. Some evidence of staining / water damage to cover, light foxing to some pages, a tear on front cover approx 3cm. Provenance: from the collection of a former Liverpool Institute pupil who attended at the same time as Paul McCartney / George Harrison.

T Lindsay (1793-1861) - Fisherman and a seated gillie in a gorge, watercolour, signed, 60 x 45 cm, possibly a preparatory sketch