We found 32316 price guide item(s) matching your search

A German armorial sketch, probably 17th century, dated 1609 lower right, 12 x 9.5cm, housed in a gilt frame, together with another crest, 19th century, 7 x 6cm, housed in a rosewood frame, and a portrait miniature, 19th century, 10 x 8cm, housed in an oval frame (3)

Rolf Harris (Australian, 1930-2023): a pen and ink sketch, 'Pippa Dee Party', signed 'Rolf '87' lower right, 19 by 24cm, mounted, glazed and framed, 30.5 by 38.5cm.

Attributed to Harry Rutherford Sketch for portrait of a lady oil on board 9½ x 7¼ in. (24 x 18.5cm) Condition: Good

Sir Edwin Henry Landseer RA (British 1802-1873): Preliminary Sketch for the Lions at Trafalgar Square, ink and pencil on laid paper signed with initials 'EL' 20cm x 25cm

Signed indistinctly, St Monans with Seagulls, pen sketch, signed and dated '02 bottom right, label verso, in a glazed frame. (19.5cmx20cm)

Four vintage board games, to include, a Peter Austin Etch-A-Sketch, in original French-Canadian packaging, Scrabble, a 1960s edition of Frustration and a 1970s edition of Monopoly. (4)

10 Vintage Board Games including. (8700g)Labyrinth, WillItTip, Bingo Roulette, Rainbow Towers, Making Faces, Double Cross, Sketch Master, Top-It, Compendium of Games, Spears Extra Large GamesAll Unchecked. Condition Report - Fair

Charles Burton Barber (1845-1894), Blue Titmouse, pen sketch, titled below and signed lower right, framed as an oval, 13.5 x 10cm.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE AT LA PETITE FARANDOLE, CAP D'ANTIBES (MARGARET MORRIS) Charcoal 20cm x 15cm (8in x 6in) Margaret Morris;Christie's Edinburgh, The Scottish Sale, 1st November 2001, lot 106;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 142;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED MAN Conté 20cm x 12cm (8in x 4.75in) 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1864-1961) PROMENADING FIGURE WITH HAT (WITHIN A SKETCHBOOK CONTAINING APPROXIMATELY 35 DRAWINGS) Conté, one of approximately 35 drawings within a blue-covered sketchbook  21cm x 13.5cm (8.25in x 5.25in) Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) THE GEISHA GIRL Signed and dated '94, oil on canvas 33cm x 28cm (13in x 11in) Visitors to late-19th-century Japan resided in designated European ‘Concession’ areas, segregated from natives. This frustrated the ambitions of the young Glasgow painters Edward Atkinson Hornel and George Henry, who had voyaged to Japan in February 1893 eager to ‘see and study the environment out of which [Japan’s] great art sprung, to become personally in touch with the people, to live their life, and discover the source of their inspiration.’ Buchanan, W., Mr Henry and Mr Hornel Visit Japan, exh. cat., Glasgow Art Gallery 1978, p.9) The intrepid artists had no option but to take to the streets of Tokyo, Nagasaki and Yokohama armed only with a keen eye for authentic detail and drawing materials with which to note them down (see Billcliffe, R., The Glasgow Boys, Frances Lincoln, London, 2008, p.259). Hornel’s Japanese canvases retain the immediacy of a sketch. He frequented the tearooms in Tokyo’s Shinbashi quarter, recording the particulars of a geisha’s posture, the design of a kimono or the pattern of a painted screen. However, contrary to the Glasgow Boys’ propensity for naturalistic en plein air composition, Hornel re-configured these observed components to highly decorative effect. Japan intensified his surface texture and colouration, and he renders the titular Geisha Girl with the same attention he affords the pattern and tonal values of the painted screen behind her, so that the foreground and background infuse into a single shimmering decorative plane. The Geisha Girl’s warm jewel tones are characteristic of Hornel’s early works; as he matured his palette cooled, giving way to fresh, airy blues and greens such as those in Blossom-Time, Sailing the Toy Boat or A Woodland Elf also presented here. The Geisha Girl dates to 1894 and was either painted while Hornel was still in Japan or shortly after he had returned to Scotland. Its date makes possible its inclusion in the artist’s lauded exhibition of around 40 Japanese pictures held in April 1895 at Alexander Reid’s gallery in Glasgow. Owing to Hornel’s habit of neglecting to title his work, and the absence of a surviving catalogue, few details about this show survive. However, it is known that it was a runaway success, and that almost every picture sold. (Buchanan, W., op.cit., p.13)It was the popularity of Japanese art in Glasgow that had inspired Henry and Hornel to make the extraordinary voyage to the other side of the world. Through Hornel’s acute observation and Henry’s contact with Japanese exemplars, both artists achieved their objective of better understanding the society that had produced the prints and designs they had so admired in Scotland. Japan had enriched each artists’ output indelibly. 

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN ON A BALCONY (ANNE ESTELLE RICE) Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 143;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) THE BROAD-BRIMMED HAT Charcoal 17.5cm x 12cm (7in x 4.75in) Exhibited: The Scottish Gallery, Edinburgh, The Scottish Colourists, November 2000, no.25.2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

SIR JAMES GUTHRIE P.R.S.A., H.R.A., R.S.W., L.L.D. (SCOTTISH 1859-1930) A HIGHLAND FUNERAL Signed and dated '82, pen and ink and bodycolour 22.5cm x 35.5cm (9in x 14in) This sketch may well be a preparatory drawing for one of Guthrie's most celebrated paintings ‘A Funeral Service in the Highlands’ (1882) in the collection of Kelvingrove Art Gallery and Museum, Glasgow (1060).

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE, TAZZA AND FRUIT Inscribed, charcoal on brown paper 30.5cm x 23cm (12in x 9in) Sotheby's Hopetoun House, Fine Paintings, 15th April 2002, lot 167;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

Hale (Kathleen) A Collection of correspondence and original sketches, comprising 2 sketches titled 'Savage drawing' and 'Bella Plus', in pen and pencil, 1 autograph letter signed and 2 typed letters signed to Tom Maschler her publisher, 7pp., Oxford, 20 August 1970 - 29 June 1972, discussing potential works for publication and the presence of the sketches, folds, some loss to page margins (5 pieces) *** An interesting group -  the "savage" sketches entitled 'The Gay Seventies Hostel' are figures of six elderly and infirm guests therein, with a list of the Matron's rules, beginning: "All Inmates to be in bed by 9:30pm. No " " [inmates] to steal the 2nd helpings at meal times from less alert inmates." Below the images Hale notes "A savage drawing - one aspect of me seldom seen. Destroy it." The other sketch appears to be a draft for the contents and title-pages for a book introducing a new, teddy-bear character called "Bella Plush". 

Cecil Rochfort D'Oyly John (British, 1906-1993) - Oil on canvas - 'West Indian beach near Port of Spain, Trinidad', signed 'Doyly-John' lower right, entitled verso with printed literature, canvas verso with preliminary sketch, 34cm x 69.5cm, framed

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* GAIL STIRLING ROBERTSON, REEKIE LUMS acrylic on board, signed, titled label versoframed and under glass image size 22cm x 22cm, overall size 34cm x 34cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), MADRID CITY CENTRE oil on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* GAIL STIRLING ROBERTSON, SOUTH QUEENSFERRY SMOKE acrylic on board, signed, titled versoframed and under glass image size 17cm x 17cm, overall size 32cm x 32cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.

Sir Terry FROST (1915-2003) Birthday card to Mollie. Untitled, black, white and red teardrop shape collage/mobile, personally inscribed with sun and boat sketch, 27X28cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

Sir Terry FROST (1915-2003) Birthday card. Untitled, collage with coloured strips, pastel sketch and inscription on the reverse, 20X21cm Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

Sir Terry FROST (1915-2003) A Get Well Soon card for Mollie, circa 1992. The shop bought card with a heart and circle collage by Sir Terry within, signed by Terry and Kath (Frost), Denis and Jane Mitchell, with a little sketch, Sheelagh and Mike O'Donnell, and others, the image size 29X21.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

Sir Terry FROST (1915-2003) Christmas card 1992. Lithograph and colour design collage, personally inscribed, and a further pastel sketch on the reverse, 9.5X21.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

Sir Terry FROST (1915-2003) Christmas card 1993. Black, red and white heart collage design, personally inscribed and with a mixed media sun, sea and boat sketch on the reverse, 15X12cm Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015 Mollie Dark 1928-2024

Sir Terry FROST (1915-2003) Birthday card to Graham and a Get Well Soon card. The birthday card drawn inside a Lichenstien printed card, with sun, sea, boat and fish pastel.Inscribed to wish Graham a 'Bloody Mary' birthday, referencing a trip the two took to New York, where the pair spent many hours drinking the cocktail in bars across the city.The get well soon card, shop bought, with a sketch and personal inscription (2). Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

SELECTION OF BOOKSvarious bindings, including Facsimile of Burns Poems, the Kilmarnock edition Burns Poems, printed by John Wilson 1925; Daily Sketch Publications set of 6 books including Black Beauty and Gullivers travels, The big Christmas Wonder book, 1937, etc.

Collection of Arts and crafting equipment incl, articulated artists mannequin, several blank sketch books, paint brushes, pottery and upholstery tools, oil paints, etc

Alfredo Serri (Italian 1897 - 1972), Still life with wine bottle, sketch and grapes, signed 'A. Serri' (lower right), oil on canvas, 40.5 x 50 cm, framed 54.5 x 65 cm; and another still life of books, signed and dated 'A. Serri 1961' (upper left), oil on canvas, 50 x 60 cm, framed 68.5 x 78.5 cmQty: 2

§ A finely bound sketch book, circa 1997-1998, containing seven signed ink drawings. One drawing by each of the following artists Mary Fedden (1), Eric Atkinson (1), David Lewis (1), Michael Kenny (1), Derek Hyatt (1), Ansel Krut (1) and one further indistinctly signed sketch, each page size 21 x 26cm. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of £1,000 GBP, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information. Condition Report: Very good

Raoul Dufy, 1877 Le Havre – 1953 ForcalquierSKIZZE ZU „DIE KIRCHE VON QUILLEBEUF“Mischtechnik (Bleistift, Kohle, Pastell und Aquarell) auf Papier.Ca. 32,5 x 50 cm.Rechts unten Stempel „Atelier Raoul Dufy“, verso am unteren Rand gestempelt „669“ sowie kleines Zeichen.Freigestellt unter Glas in dekorativem Rahmen.Vereinzelt leichte Falzsp.Provenienz: Nachlass Familie Raoul Dufy. (1420538) (18)Raoul Dufy,1877 Le Havre – 1953 ForcalquierSKETCH FOR “THE CHURCH OF QUILLEBEUF” Mixed media (pencil, charcoal, pastel, and watercolour) on paper. ca. 32.5 x 50 cm.Stamped “Atelier Raoul Dufy” lower right, stamped “669” on lower edge and small mark. Provenance: Estate of the Raoul Dufy family.

Jacopo Vignali, 1592 Prato Vecchio-Arezzo – 1664 FlorenzPORTRAIT EINES GELEHRTENÖl auf Leinwand.127 x 92,5 cm.Im Oval Ungerahmt.Beigegeben ein Gutachtachten von Sandro Bellesi, ohne Ort und Datum, in Kopie.Dieses Gemälde, mit bemerkenswerter Meisterschaft in überwiegend glänzenden und lebhaften Farben ausgeführt, zeigt im Vordergrund einen reifen, aber noch nicht alten Mann in einem schwer genau zu bestimmenden, neutralen Raum. Er sitzt an einem kleinen Tisch, der mit einem dunkelgrauen Tuch bedeckt ist, hält eine Gänsefeder in der rechten Hand und hat den Kopf leicht nach oben geneigt, fast als würde er auf Inspiration warten. Die ungewöhnliche Kleidung der Figur, vorwiegend aus einem kostbaren Stück karminrotem Samt mit glanzvollen, emaillierten Reflexen und einem Besatz aus Hermelin, deutet darauf hin, dass es sich um eine historische Persönlichkeit handelt, die vermutlich im 15. Jahrhundert lebte, wie die Ähnlichkeiten im Kostüm nahelegen. Das Werk ist von einer historischen Figur inspiriert, deren Identität schwer zu bestimmen ist, da spezifische ikonographische Attribute oder erklärende Inschriften fehlen. Basierend auf Vergleiche mit Gemälden ähnlicher Figuren könnte es sich jedoch um einen Politiker oder Schriftsteller handeln, der wahrscheinlich in Florenz lebte, was auch durch die Herkunft des Gemäldes nahegelegt wird. Die markanten Gesichtszüge, gekennzeichnet durch die lange Nase und große Augen, umrahmt von dickem, welligem Haar, das über die Schultern fällt, erinnern vage an Porträts aus dem 16. und 17. Jahrhundert von Lorenzo di Cosimo il Vecchio de’ Medici. Besser bekannt als Lorenzo der Prächtige, war er ein berühmter Politiker und auch Schriftsteller, der unter anderem die berühmte Ode Triumph des Bacchus und Ariadne verfasste, ein unvergessliches Lob auf die Jugend.Dieses Werk kann laut Bellesi, der es 2013 untersucht hat, Jacopo Vignali zugeschrieben werden, einem der repräsentativsten florentinischen Maler der ersten Hälfte des 17. Jahrhunderts. Ursprünglich aus Pratovecchio (Arezzo) stammend, wurde Vignali 1592 geboren und kam bereits in jungen Jahren nach Florenz. Dort absolvierte er seine Ausbildung in der Werkstatt von Matteo Rosselli, einem Meister, mit dem er lange verbunden blieb. Nach seiner Einschreibung in die Accademia del Disegno im Jahr 1616 begann der Künstler eine produktive Karriere mit öffentlichen und privaten Aufträgen für Leinwand- und Freskenmalerei. Nachdem er sich allmählich von den stilistischen und typologischen Modellen Rossellis gelöst hatte, näherte sich Vignali vorsichtig der spielerischen und energetischen Malerei von Giovanni da San Giovanni sowie dem naturalistischen Stil der niederländischen Caravaggisten an, von denen einige Werke - insbesondere von Gerrit van Honthorst - in den Medici-Sammlungen zu finden waren. Von den späten 1620er Jahren bis zu seinem Tod in Florenz 1664 konzentrierte sich Vignali hauptsächlich auf religiöse Themen und wurde, neben Francesco Curradi, zu einem bedeutenden Vertreter der toskanischen Andachtsmalerei dieser Zeit. Im Laufe der Jahre wurde Vignali von verschiedenen Stilrichtungen beeinflusst und schuf Werke voller verfeinertem Eklektizismus, was sich in seinem Interesse für den weichen und sinnlichen Stil von Francesco Furini und dessen Schule sowie den nach-Cigolesken Stil zeigte. In späteren Jahren wurde er auch durch das Werk seines wichtigsten Schülers, Carlo Dolci, dem bekanntesten Maler des Florenz des 17. Jahrhunderts, inspiriert, mit dessen Stil er einige originelle Gemeinsamkeiten entwickelte. Das vorliegende Werk, dem eine vorbereitende Zeichnung vorausging, die heute im Gabinetto Nazionale delle Stampe in Rom aufbewahrt wird, weist eine enge Ähnlichkeit mit verschiedenen florentinischen Darstellungen historischer toskanischer Figuren aus dem 17. Jahrhundert auf, wie sich aus einem detaillierten typologischen Vergleich ergibt. Besonders aufschlussreich sind die Ähnlichkeiten mit dem Portrait eines Gonfaloniere von Vincenzo Dandini, heute in einer Privatsammlung in Florenz, mit der Reihe der „Berühmten Männer“ der Familie Frescobaldi von Lorenzo Lippi und seiner Schule sowie mit den Porträts einiger historischer Mitglieder der Familie Guadagni. Für letztere Serie, ausgeführt von verschiedenen Künstlern und insbesondere von Giacinto Botti, schuf Jacopo Vignali das Gemälde von Migliore di Vieri Guadagni, heute bei Frascione Arte in Florenz, das in der Abstimmung von Licht und Schatten auf Haut und Haar sowie in den kostbaren, emaillierten Farbeffekten der Kleidung eng mit dem hier untersuchten Werk verwandt ist. Die engen stilistischen Ähnlichkeiten in der Definition der Gesichtszüge mit der Hauptfigur der Leinwand Jugend vom Tod überrascht in den Uffizien in Florenz, einem typischen Werk Vignalis aus den 1630er und 1640er Jahren, erlauben es, die Entstehung des hier analysierten Portraits auf etwa dieselbe Zeit zu datieren. (1421392) (13)Jacopo Vignali, 1592 Prato Vecchio-Arezzo – 1664 FlorencePORTRAIT OF A SCHOLAR Oil on canvas.127 x 92.5 cm.Accompanied by an expert’s report by Sandro Bellesi, n.d. or date, in copy. The figure’s unusual attire is mainly created from a precious piece of carmine velvet with shiny, enamelled reflections and an ermine trim. Costume similarities suggest this to be a historical figure from the 15th century. The striking facial features with the long nose and large eyes, framed by thick, wavy hair falling over the shoulders, are vaguely reminiscent of 16th and 17th century portraits of Lorenzo di Cosimo il Vecchio de’Medici. According to the Bellisi, who examined the painting in 2013, this work can be attributed to Jacopo Vignali, one of the most distinguished Florentine painters of the first half of the 17th century.The present work, preceded by a preliminary sketch now held at the Gabinetto Nazionale delle Stampe in Rome, closely resembles various 17th century Florentine depictions of historical Tuscan figures, as can be seen from a detailed typological comparison. Particularly noticeable are similarities with the Portrait of a Gonfaloniere by Vincenzo Dandini, now held in a private collection in Florence, with the series of Famous Men of the Frescobaldi family by Lorenzo Lippi and his school, and with the portraits of some historical members of the Guadagni family. The close stylistic similarities in the definition of the facial features with the main figure of the canvas painting Youth Surprised by Death held at the Uffizi Gallery in Florence, a typical work by Vignali from the 1630s and 1640s, allow the creation of the portrait discussed here to be dated to around the same time.

A quantity of framed prints, and original watercolours, to include illustrations of poppies, a sketch of Venice, photographs of horse and foal, and various framed wool work. (all on shelf)

CONRAD, Joseph (1857-1924). The Mirror of the Sea, London, 1906, 8vo, original cloth. FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed on the front free endpaper, "To Miss Hallowes from her friend Joseph Conrad. 1906."CONRAD, Joseph (1857-1924).  The Mirror of the Sea. Memories and Impressions. London: Methuen & Co., 1906. 8vo (190 x 130mm). Half title, publisher's advertisement on the verso of the half title, the title printed in red and black, 40-pages of publisher's advertisements at the end dated August 1906 (the half title with short clean tear at the foot without loss, some light staining, more pronounced to the leaves at the front and the end, occasional spotting). Original green cloth, the spine lettered and decorated in gilt, top edges gilt, others uncut (the gilding on the spine faded, lightly stained, inner hinges weak). Provenance: The Property of a Collector. FIRST EDITION of this collection of autobiographical essays. IMPORTANT PRESENTATION COPY, inscribed on the front free endpaper, "To Miss Lilian Hallowes from her friend Joseph Conrad. 1906." The recipient of this presentation copy, and the following three lots, was Lilian Mary Hallowes (1870-1950) who, despite being Joseph Conrad's literary assistant and amanuensis from 1904 to 1924, remains a somewhat elusive and shadowy figure. As Borys Conrad noted of her in his memoir of 1970, "little or no mention has been made in the biographies of my Father of the lady who, after several unsatisfactory candidates, eventually occupied that post." See David Miller's article, "Amanuensis: A Biographical Sketch of Lilian Mary Hallowes, 'Mr Conrad's Secretary'," in The Conradian, vol. 31, no. 1 (Spring 2006), pp.86-103, in which he states, "That lady, invariably referred to in Conrad's letters as Miss Hallowes, will always be an incomplete figure, somehow very Conradian in the manner in which she can, and indeed does, disappear from view for long periods." See also Knowle and Moore's Oxford Reader's Companion to Conrad (London, 2000, pp.147-148) for a brief account of Hallowes' relationship with Conrad. Cagle A11a; Keating 67: "The book is scarce in untrimmed [i.e. uncut] state, by far the greater part of the edition having been issued with trimmed edges"; Smith 12; Wise 16: "Regarding the book Mr Conrad has remarked :- 'I have a special feeling for these pages. Twenty best years of my life went to the making of them. As for the rest I approached the task in the spirit best expressed by the quotation on the title-page [i.e. '... for this miracle or this wonder/troubleth me right gretly', from Boethius]. The text of The Mirror of the Sea comprises forty-six Sections, numbered in Roman capitals, and grouped under fifteen titles. The majority of these sections had appeared previously in serial form ..."

[IRVING, Washington (1783-1859)]. The Alhambra, London, 1832, 2 volumes, large 8vo, contemporary calf-backed blue paper boards. FIRST ENGLISH EDITION. With 4 other works by the same author in 6 vols. (8)[IRVING, Washington (1783-1859)].  The Alhambra. By Geoffrey Crayon. London: Henry Colburn and Richard Bentley, 1832. 2 volumes, large 8vo (225 x 145mm). Half titles, one-page of publisher's advertisements inserted at the front of vol. II and 4-pages at the end (variable mainly light spotting and staining). Contemporary [?or probably the original publisher's] calf-backed blue paper boards, uncut (some ink stains to spines, head of spines of vol. one chipped, lacks lettering-pieces, extremities rubbed). Provenance: "Lady Brooke, Great Oakley" (old signature on the front free endpapers of each vol.); "Ladies' Society" (see "Notice" below). FIRST ENGLISH EDITION of this collection of nine supernatural tales, and the last work published under the author's pseudonym "Geoffrey Crayon". It preceded the first American edition by about three weeks. A contemporary printed "Notice" is pasted onto the front free endpaper of vol. one, stating, "Many complaints having been made respecting the irregular manner in which the Books belonging to the Ladies' Society are forwarded. [sic] It is particularly requested that the Members belonging to this Society will forward the Books in circulating, immediately after the time allotted for keeping them is expired; a compliance with which would tend greatly to keep up and restore the regularity of the Society. N.B. It is requested that each Lady will forward the Books to the next Member free of any expense." The front pastedown of the same volume contains an autograph list of ladies who have borrowed the book during 1832, and the day and month on which they did so, commencing with Lady Brooke on May 18th. Bleiler The Guide to Supernatural Fiction 886; Langfeld & Blackburn Washington Irving: A Bibliography p.32; Wright I, 1373. With 4 other works by the same author in 6 volumes, namely Bracebridge Hall; or, The Humorists (London, 1822, 2 vols., 8vo, attractively bound in contemporary half calf gilt, FIRST ENGLISH EDITION), Old Christmas: from the Sketch Book of Washington Irving (London, 1876, 8vo, illustrated by R. Caldecott, original blue pictorial cloth gilt, FIRST SEPARATE EDITION THUS, the text first appearing as part of the Sketchbook of Geoffrey Crayon, Gent. in 1809), Knickerbocker's History of New York (New York, 1894, 2 vols., large 8vo, illustrations by Edward W. Kemble, original pictorial cloth gilt; first published in 1809) and The Alhambra (London, 1896, 8vo, illustrations by Joseph Pennell, original decorated cloth gilt, wear to upper cover, reprint). Provenance: The Property of a Collector. (8)

Goos, Berend -- Farmyard near Hamburg. 1857. 2 albumen prints with cut/rounded corners. Each circa 12 x 9,5 cm. Each mounted to original board, each signed by the artist in ink in lower right on mount.The German painter Berend Goos sold 64 of his works to the Hamburg Art Association (HH Kunstverein) in 1855, 1859, and 1864. He frequently photographed landscapes and rural scenes, using them as references for his paintings. – One with a few light spots in upper left, minimal fading in edges, otherwise in good condition. – With: Berend Goos. Two pencil drawings and one oil sketch of clouds. 1853-1879. Some traces of use, some pinholes in corners, a few spots.Provenance: Robert Lebeck Collection

Laurence Stephen Lowry (1887-1976)The Contraption, 1975signed in pencil (in the margin), blindstamp for the Fine Art Trade Guildlithograph35 x 31cm; together with a print of the Lowry sketch for the Contraption (2). Generally good condition. Some mount burn and even toning throughout. Light foxing to the second print.

James Abbott McNeill Whistler RBA (American 1834-1903)Swan and Iris (Sketch after Cecil Lawson's "Swan and Iris")Etching and drypoint13.4 x 8.2cm (plate)Provenance:William Darby, London;The Collection of Michael and Henrietta GoughExhibited:London, William Darby, Christmas Exhibition, 1976, no.21

Φ Joseph Appleyard (1908–1960)A sketchbook containing seven studies, comprising Davies Huntsman on "Silver"; The Bramham Moor Hunt; York and Ainsty Point-to-Point at Easingwold; Sketch for a portrait to "Punt Gun" at Barker's Stable, Redcar; The Aga Khan's "Nasrullah" by Nearco-Mumtaz Begum; Study of "Fun Fair"; and Study of W. Riley Smith's "Towton Rose"Each signed, dated and variously inscribedEach pencil, 1939-1944, in a Geoge Rowney & Co 'Spirax' sketch book40.5 x 46cmProvenance:Private Collection, Yorkshire

ARR Leigh Davis (b.1976) Red Boat, abstract, signed lower left, oil on canvas, 93 x 119 cm, together with the preparatory sketch, signed lower right, mixed media on paper, 13 x 14 cm (SH), which was given to the vendor by the artist (2)

Frederick William Fairholt (c.1813-1866) The Roman Wall near Housesteads, Northumberland, ink sketch, 10.5 x 17.5 cm, frame, 27 x 27 cm, together with another drawing of The Court House in Carlisle, by the same hand (2), also Joseph Yelverton Dawbarn (1856-1943) Sheep in Winter, signed lower left, watercolour, 8 x 10 cm, frame 24 x 26 cm (total 3)

John White (1851-1933), A village street Getting Ready fo scene, showing a woman approaching a doorway with dog at heel, figures loading a wagon in the background, signed lower left, oil on canvas, 53 x 36 cm, frame 63 x 45 cm, together with a further oil titled 'Getting Ready for the Spring, A Branscombe Orchard, sketch from nature' with personal dedication from the artist dated Xmas 1916, by the same hand (2)

Carleton’s Country by Shaw. 1931; The Glamour of the South by Kelleher. 1929; Brendan Behan’s Island an Irish Sketch-Book drawings by Hogarth in dj; An Irish Journey by O’Faolain. Illustrated by Paul Henry; Sweet Cork of Thee; Over the Reefs; Lovely is the Lee in dj; Ireland by Barry O’Brien. 1905; Ireland by Inglis in dj and The Vanishing Irish by O’Brien. 10 hardbacks.

Ghosts (No.9) by P. H. Pearse;Patrichk H Pearse, A Sketch Of His Life by "Coilin"; The Life Of Padraig Pearse, by his sister, Mary Brigid Pearse (Our Boys); and Iosagan and Other Stories by P. H. Pearse, Maunsell, 1918 (4)

Pauline Bewick: Painting A Life by James White Inscribed and SIGNED with a rare one off sketch by Pauline Bewick; People - A Poem for Children with illustrations by Pauline Bewick SIGNED plus 1 other (3)

A brief sketch of various attempts which have been made to diffuse a knowledge of the Holy Scriptures, through the medium of the Irish language - William Sankey (Christopher Anderson), printed by Graisberry and Campbell, Dublin, 1818. 143, 16 p. Internally complete, originally bound in wrappers, rebound in hardcover. Sole edition, a rare publication.

Pauline Bewick: The South Seas & a Box Of Paints SIGNED and inscribed with a one off pencil sketch; Seven Ages SIGNED and inscribed, 2006 and The Yellow Man, 1995

SIR JOSEPH NOEL PATON (1821-1901); pencil sketch, 'Dante and Beatrice', signed lower left, 21 x 21cm, framed and glazed.

† WILLIAM RALPH TURNER; pencil sketch, street scene, signed verso, 13 x 9cm, and a pencil signed print, 'Canal in Ancoats', 20 x 27cm, both framed and glazed (2).

A quantity of vintage boardgames, to include 'Monopoly Super Gold Edition', Chad Valley 'Mah-Jongg', 'Cluedo', 'Risk', 'Scoop', 'Careers', 'Etch-a-Sketch', 'Mastermind', 'Word Mastermind', 'Tetris', etc.

Captain J. O. Mennie (British, 19th century) 'Panorama sketch of Lusbeyla Valley as seen from top Dhuni or Kanraj Kotal'signed lower left '...Mennie / Captain', annotated throughout, titled upper right and further inscribed 'Sketched from top of Dhuni Kotal, Dec 3rd 1886'pencil, watercolour and ink15 x 59.5cmProvenance: Crossbrook, Hilton, CambridgeshireJ. O. Mennie is recorded as having served in the Bombay Light Infantry in the late 19th century. This watercolour depicts a view in Lasbela, Balochistan, Pakistan.

William Arthur Breakspeare RBA RBSA (British, 1855-1914) Self portrait of the artist as a wandering minstrelsigned lower right 'W. Breakspeare' and dated 1877titled, signed and dated verso 'A Wandering Minstrel / WAB 1877' with further figural sketchoil on canvas91 x 70cmProvenance:Believed to have been acquired directly from the artist by the present vendor's great grandfather in Birmingham in 1877Although the inscription to the reverse identifies the subject simply as 'a wandering minstrel', the close likeness to the self portrait of 1876 by Breakspeare, now in the Ashmolean (no. WA1966.24), indicates that the young artist almost certainly used himself as a model for the present picture. Both works were painted shortly before the painter moved to Paris in 1879.Canvas unlined with artist's original inscriptions and sketch to the reverse.  Overall in good, original, stable condition.  No signs of restoration visible under UV.  Craquleure throughout commensurate with age.  Some isolated areas of minor paint separation, most notably in the background to the left of the artist's head. Stretcher mark visible accross the upper section.  Remnants of old discoloured varnish which give the flesh tones a patchy apprearance in the places.

Attributed to Sir Alfred James Munnings (1878-1959) - Seated Gent (trainer) - A pencil on paper sketch drawing of gentleman in hat. Depicted in profile seated with hands on lap. Signed with initial to lower right. Unframed. Measures approx. 46cm x 32cm.

A rare original Clifford Berryman place card for Miss Berryman, on 2114 BANCROFT PLACE, NORTHWEST WASHINGTON, D.C. card, pen and ink sketch of Bevo holding a tray of drinks, ‘A Scarlett O’ Hara will strike you Pink’, May 3, 1940, Commissioner Russ Young Dinner - Miss Berryman —5 ¾in. (14.5cm.) wide

A rare original Clifford Berryman place card for Mrs Berryman, pen and ink ‘I’ve been keepin’ him straight for a long time - Arts Club Mar. 16. 1933’ and sketch of Bevo with a small cub called Cliff —4 ½in. (11.5cm.) wide - see Some of our Favourite Bears by Ian Pout, page 34

(ar) A pen and ink sketch of Alfonzo by Anita Townsend, three views, on paper with initials, gilt framed and glazed —19in. (48cm.) x 14in. (35.5cm.)

A rare Clifford Berryman pencil sketch of Bevo bear, holding and amongst flowers, signed C.K. Berryman —6 ½in. (16.5cm.) high x 5 ¼in. (13.5cm.) wide - see Some of our Favourite Bears by Ian Pout, page 34