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A pencil sketch depicting a young early Victorian maiden with basket of fruit, drawn by D.J. Walsham, dated July 9th 1849, gilt frame, 69cm x 49cm

(See English version below)Konrad Lueg (1939 – Düsseldorf – 1996). „Bockwürste auf Pappteller“. 1962/63Tempera und Acryl auf Leinwand. 100,3 × 99,7 cm ( 39 ½ × 39 ¼ in.). Rückseitig mit Filzstift in Schwarz signiert und datiert: Lueg 62/63.Kellein 14. Rückseite: rosa übermaltes Gemälde mit eingeritzter Skizze. [3387] Provenienz: Privatsammlung, Rheinland (1964 als Geschenk vom Künstler erhalten)Wir berechnen auf den Hammerpreis 30% Aufgeld.Konrad Lueg (1939 – Düsseldorf – 1996). ”Bockwürste auf Pappteller”. 1962/63Tempera and acrylic on canvas. 100,3 × 99,7 cm ( 39 ½ × 39 ¼ in.). Signed and dated in black felt-tip pen on the reverse: Lueg 62/63.Kellein 14. On the reverse: Pink overpainted painting with incised sketch. [3387] Provenance: Private Collection, Rhineland (received 1964 as a gift by the artist)We charge 30% premium on the hammerprice.

(See English version below)Oskar Schlemmer (Stuttgart 1888 – 1943 Baden-Baden). „Sechs Frauen in räumlicher Anordnung“. Um 1924Aquarell und Bleistift auf Transparentpapier (aus einem Skizzenblock). 9,5 × 19,1 cm (22 × 27,5 cm) ( 3 ¾ × 7 ½ in. (8 ⅝ × 10 ⅞ in.)). Auf der Rückpappe eine Bestätigung von Tut Schlemmer. Dort auch zwei Etiketten zur Ausstellung Bremen 1976/77 (s.u.).von Maur A 163. [3311] Gerahmt. Provenienz: Galerie Krugier, Genf, Galerie Schlégl, Zürich, und Graphisches Kabinett Wolfgang Werner, Bremen / Privatsammlung, BremenWir berechnen auf den Hammerpreis 30% Aufgeld.Oskar Schlemmer (Stuttgart 1888 – 1943 Baden-Baden). ”Sechs Frauen in räumlicher Anordnung”. Circa 1924Watercolour and pencil on tracing paper (from a sketch book). 9,5 × 19,1 cm (22 × 27,5 cm) ( 3 ¾ × 7 ½ in. (8 ⅝ × 10 ⅞ in.)). On the cardboard backing a confirmation by Tut Schlemmer. There too two labels of the exhibition Bremen 1976/77 (see below).von Maur A 163. [3311] Framed. Provenance: Galerie Krugier, Geneva, Galerie Schlégl, Zurich, and Graphisches Kabinett Wolfgang Werner, Bremen / Private Collection, BremenWe charge 30% premium on the hammerprice.

(See English version below)Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). „Scene I“. 1922Aquarell über Bleistift auf Papier (aus einem Skizzenblock). 48,5 × 36,7 cm ( 19 ⅛ × 14 ½ in.). Oben links signiert, datiert und bezeichnet: DIX 22/153. Auf der Rückpappe Etiketten der Ausstellungen Frankfurt a.M., Berlin, Omaha und New York 1991/92 und Den Haag, Stockholm und Helsinki 1995/96 (s.u.) sowie der Marlborough Fine Art Ltd., London.Pfäffle A 1922/9. [3376] Gerahmt. Provenienz: Janet und Marvin Fishman, Milwaukee / Privatsammlung, EuropaWir berechnen auf den Hammerpreis 30% Aufgeld.Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). ”Scene I”. 1922Watercolour over pencil on paper (from a sketch book). 48,5 × 36,7 cm ( 19 ⅛ × 14 ½ in.). Signed, dated and inscribed upper left: DIX 22/153. On the cardboard backing labels of the exhibitions Frankfurt a.M., Berlin, Omaha and New York 1991/92 and The Hague, Stockholm and Helsinki 1995/96 (see below) as well as the Marlborough Fine Art Ltd., London.Pfäffle A 1922/9. [3376] Framed. Provenance: Janet and Marvin Fishman, Milwaukee / Private Collection, EuropeWe charge 30% premium on the hammerprice.

(See English version below)Heinrich Hoerle (1895 – Köln – 1936). „Dadahund". Anfang 1920er-JahreBleistift auf Velin (Wasserzeichen: JWhatma[n]). 32,7 × 24,7 cm ( 12 ⅞ × 9 ¾ in.). Unten rechts signiert: Hoerle.Backes V 65. Rückseitig Skizze einer männlichen Figur mit Eisernem Kreuz. Randmängel. [3459] Provenienz: Gunther Sander, Rottach-Egern (Geschenk von Uli Bohnen, seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 30% Aufgeld.Heinrich Hoerle (1895 – Cologne – 1936). ”Dadahund". Early 1920sPencil on wove paper (watermark: JWhatma[n]). 32,7 × 24,7 cm ( 12 ⅞ × 9 ¾ in.). Signed lower right: Hoerle.Backes V 65. Sketch of a male figure with the iron cross on the reverse. Imperfections in the margin. [3459] Provenance: Gunther Sander, Rottach-Egern (gift of Uli Bohnen, thence by descent to the present owner)We charge 30% premium on the hammerprice.

(See English version below)Franz Wilhelm Seiwert (1894 – Köln – 1933). „Der Betriebsrat“. 1922Bleistift auf Transparentpapier (aus einem Zeichenblock). 27,5 × 20 cm ( 10 ⅞ × 7 ⅞ in.). Unten rechts monogrammiert und datiert: FWS 22. Unten in der Mitte bezeichnet: Der Betriebsrat im bolschewistischen Zeitalter.Bohnen 195. Leicht gebräunt. [3459] Provenienz: August Sander, Köln (seitdem in Familienbesitz)Wir berechnen auf den Hammerpreis 30% Aufgeld.Franz Wilhelm Seiwert (1894 – Cologne – 1933). ”Der Betriebsrat”. 1922Pencil on tracing paper (from a sketch book). 27,5 × 20 cm ( 10 ⅞ × 7 ⅞ in.). Monogrammed and dated lower right: FWS 22. Inscribed in the lower centre: Der Betriebsrat im bolschewistischen Zeitalter.Bohnen 195. Pale time staining. [3459] Provenance: August Sander, Cologne (thence by descent to the present owner)We charge 30% premium on the hammerprice.

DAVID ROBERTS R.A. (BRITISH 1796-1864) ST ANDREWS CATHEDRAL - THE EAST END WALL Oil on panel(41cm x 30.5cm (16in x 12in))Provenance: Probably the artist's sale; Christie's London, 16 May 1865. lot124 as 'Ruins of part of St Andrews Cathedral' to James Nasmyth His sale; Christie's London, 25 July 1894, lot77 as 'Elgin Cathedral' to Leggatt's Presumably with Leggatt's where possibly purchased by Gilbert Leigh Marks, London and thence by family descent Note: Although Roberts left Scotland for London in 1823, he would often return to visit and record sites of architectural interest, a number of which he later intended to reproduce in etching as 'The monastic antiquities of Scotland'. During an early visit to St Andrews in 1829, he painted around six works of different views, the majority of which relate, though not exclusively to the cathedral and its grounds. Roberts shows here that he absorbed from the very beginning of his career, a scholarly interest in antiquities that he retained all his life. The composition is imbued with a wonderfully moody atmosphere as the decaying maginificence of the towering ruins of the east gable are contrasted against the menacing prescence of a leaden sky. Interestingly, a watercolour of this same composition dated 1828 is recorded in a private collection. The work also corresponds to a thumbnail sketch from Robert's 'Record Books' numbered 50 under the year 1831 that was purchased by the Duke of Bedford at the Sopciety of British Artists in 1831, no. 137 (RB50) as 'Ruins of the Cathedral of St Rule, St Andrews' but this version is more probably one of two other oils of St Andrews Cathedral that were among the pictures in Robert's studio when he died and included in his posthumous studio sale at Christie's London in 1865 We are grateful to Krystyna Matyjaszkiewicz for confirming the authenticity from photograps and for her assistance in preparing this catalogue entry Literature: Robert's Record Book, vol. 1, folio 53r, no.50, Yale Center for British Art, New Haven, Conneticut

An early 20th century sketch book, the album illustrated by Frederick P. Sinclair, Sub-Librarian, Free Public Library, Brentford, London, W., with 26 drawings, comprising full-length portraits from the life, others half-length from postcards, cowboys, comic tableaux, a dreadnought battleship, a cattle train, and a cat, contemporary wrappers (perished spine), oblong 8vo, (1); another, the property of Master Jack Coville, Dagenham Essex, various sketches and musings, including Popeye, (1), [2]

A collection of 19th century and later commonplace and sketch books, filled and partially filled with verse, watercolour studies, pencil drawings, including a topographical view of Stonehenge, portraits, travel, and other subjects, named Mary Bayton on flyleaf, another Charlotte Bayton similarly, and a third marked F J. Read/GWH on the flyleaf, various bindings (qty)Gunora Wevia Hamilton (1851-1938) was seemingly named after both the wife and sister-in-law of Richard I, Duke of Normandy (no doubt to express a resplendent lineage). She was a daughter of George Seymour Hamilton of Nova Scotia (d. 1882, a member of a long established Nova Scotia family which still flourishes in Canada) by Charlotte, (1814-1857), a daughter of Revd. Canon William Stevens Bayton of Rumboldswyke, Sussex and a canon of Chichester. By 1871 Gunora was living in the household of her aunt Mary Bayton (1816-1888) in the Cathedral Close, Chichester and on 22nd July 1890 she married Frederick John Read (b. 1836) of Chichester. She died, seemingly without leaving issue, 23rd April 1938

Maritime and Naval Interest - a sailor's sketch, HMS Indomitable, signed with monogram and dated Nov.1912, pastel and watercolour, 20cm x 31cm; photographs, including the crew of HMS Renown, 14.5cm x 20.5cm (4)

Bindings - Scotland, Theology, Bonar (The Rev. Andrew, editor), Letters of Samuel Rutherford, With Biographical Sketches of His Correspondents, With Sketch of His Life, first and only edition, two-volume set, Edinburgh: William P. Kennedy, 1863, uniformly bound in contemporary Gothic Revival black morocco, the bevelled boards panelled in blind with a double-fillet border, the angles enclosing quatrefoils gilt, the spines gilt-lettered and tooled within raised bands, all-edges gilt, marbled endpapers, 8vo, [2]

Military History - World War Two, North Africa Campaign - Saber (Clifford), Desert Rat Sketch Book, first and only edition, New York: Sketchbook Press, 1959, colour and b/w illustrations throughout, contemporary cloth, polychrome map endpapers, cased en suite, oblong 4to, [1]

Miscellaneous - [Walker (Albert)], "The Road:" Leaves from the Sketch-Book of a Commercial Traveller, by "The Whistling Commercial", third edition, London: Smart & Allen, [1877], contemporary cloth, 8vo, (1); Guy's Pocket Cyclopædia [...], eighth edition, London: Printed for Baldwin, Cradock, and Joy, 1817, contemporary quarter-calf, 8vo, (1); Cookery, Soyer (Alexis), The Modern Housewife [...], Comprising Nearly One Thousand Receipts [...], New-York: D. Appleton & Company, 1851, rebacked blind-stamped calf, 8vo, (1); Sutcliffe (G. Lister, editor), The Modern Carpenter Joiner and Cabinet-Maker: A Complete Guide to Current Practice, Volumes I-VI & VIII only, London: Gresham, 1902 onwards, full-page plates and in-text illustrations, contemporary cloth, crown folios, (7); another copy of volume II, (1); freemasonry, travel, theology, (3), [14]

Kathleen Hale OBE (1898-2000) - Pencil sketch - Portrait of an elderly lady, signed and dated 1920 lower right, 20cm x 17.5cm, framed and glazed - Artist Resale Rights May ApplyCondition report: Condition: Some discolouration to the paper and mount - ** General condition consistent with age.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.

Kathleen Hale OBE (1898-2000) - Pencil sketch - Portrait of a young boy wearing a cap, signed and dated lower left 1920, 25.5cm x 22cm, framed and glazed - Artist Resale Rights May Apply.Condition report: Condition: ** General condition consistent with age

Kathleen Hale OBE (1898-2000) - Pencil sketch - 'Nicholas', Portrait of Kathleen's son, signed lower left, 25cm x 19cm, framed and glazed - Artist Resale Rights May Apply. Condition report: Condition: Some foxing and discolouration to the paper - ** General condition consistent with age.The inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.

Gillow & Co., Lancaster and London - Fine Victorian burr walnut and inlaid kidney-shaped pedestal desk by Gillow and Co., Lancaster and London, the shaped top inset with a three-section red and gilt tooled green leather writing surface, above a frieze drawer flanked by two banks of five graduated drawers fitted patinated bronze cast rocaille handles, with hinged upright stiles fitted Bramah locks, the reverse unusually fitted with shaped panel door enclosing four tiers of five pigeon holes, on a moulded plinth base with concealed castors, stamped to the central drawer GILLOW & CO 169. The locks throughout are stamped J Bramah 124 Piccadilly and are with keys, 131cm wide x 74cm high x 66cm deep.Footnote: Although this form of desk has been ascribed to a design published by Thomas Sheraton in The Cabinet-Maker and Upholsterer's Drawing Book, London 1802, pl.58, it actually first appeared as a Gillow design a decade earlier in 1792 (Estimate Sketch Book 344/96, p. 896, September 1792. It was generally commercially produced by Gillow circa 1840-60 and references a second design in the Gillow Estimate Sketch book (1840) for An Oak Pedestal and Kidney Table supplied to Ferguson & Co.This elegant desk was commissioned by William Gibbs, at the time the wealthiest commoner in the country, for 16 Hyde Park Gardens in London. History remembers Gibbs and his wife Matilda Blanche as the aggrandisers of Tyntesfield, the lavish Gothic Revival country house near Clevedon, now in the care of the National Trust. However, the couples’ principal residence was always their house in London, with Tyntesfield used more as a country retreat. The family moved from Hyde Park Street to Gloucester Place in 1849, and to the more substantial Hyde Park Gardens in 1851. This large house, in one of the capital’s most fashionable areas, was arranged over five floors with a fine sequence of rooms on the first floor, enjoying views of Hyde Park and glimpses of Paxton’s recently completed Crystal Palace.In 1854 the Gibbs sought the advice of John Gregory Crace (1809-89) over the redecoration of Hyde Park Gardens. The firm of Crace & Sons were the pre-eminent decorators of the 19th century. At the time of his commission from Gibbs, J G Crace’s most recent clients had included the Duke of Devonshire at Chatsworth and, most famously, the interior of the rebuilt Palace of Westminster, which the firm had undertaken in partnership with A W N Pugin. The success of Crace’s work at Hyde Park Gardens led directly to Gibbs commissioning him to undertake the remodelling of the principal interiors of his country seat at Tyntesfield, where Crace’s work has been described as beginning a process by which the house was “reinvented as one of the foremost examples of Victorian Gothic design”. Crace’s success stemmed from his skill at re-interpreting historic styles, together with his mastery of surface decoration, talents which chimed perfectly with mid-19th century fashion. With this in mind, the inlaid decoration on this desk is noteworthy. Most known examples of this model do not incorporate such complex decorative inlay – relying instead on the richness of the wood alone. It is highly likely that this detail was introduced to harmonise with J G Crace’s interior. Gillow’s enjoyed significant patronage from William Gibbs, as the discovery by the National Trust of a magnificent ‘Jacobethan’ table in the cellars at Tyntesfield has shown. This desk deserves to be seen in the context of the Gibbs’ role as significant patrons of the Victorian era as well as a testament to the extraordinary quality of Gillow craftsmanship. As a footnote, when surveying the desk for this auction, two small Victorian copper nameplates for William and Matilda Blanche were found secreted behind the central frieze drawer, in pristine condition having almost certainly remained undisturbed for over a century. A charming discovery which underlines the intimate character of this outstanding piece of furniture.Condition report: It appears that no work or alterations have been applied to the desk since its purchase from the Tyntesfield auction in 1945. However please refer to the additional multiple images. The top leather has stains and damage suggesting that it is original. There are sections of moulding missing to the edge of the top and to rear pilasters. All locks are original and have keys. Sections of veneer missing to plinth. Condition consistent with age.

Framed Nude Sketch by David Codling. Before he became a professional musician with Quintessence, Dave studied the Fine Arts at the Leeds College of Art 1959-63. He won a post graduate Scholarship to the Royal Academy Schools 1963-66. He was also a teacher and made some exhibitions in the U.K. After Quintessence and Kala, Dave went to live in the States where he worked both as a musician and painter developing both artistic and musical talents. He lived in the Hills around Hollywood for nearly 15 years. Dave returned to his native Yorkshire in 1995 where he is very happy, living in his own house, painting and playing music. Sketch measures 34 x 52 cm, framed and mounted behind glass, overall size 73 x 54 cm.

Framed Nude Sketch by David Codling. Before he became a professional musician with Quintessence, Dave studied the Fine Arts at the Leeds College of Art 1959-63. He won a post graduate Scholarship to the Royal Academy Schools 1963-66. He was also a teacher and made some exhibitions in the U.K. After Quintessence and Kala, Dave went to live in the States where he worked both as a musician and painter developing both artistic and musical talents. He lived in the Hills around Hollywood for nearly 15 years. Dave returned to his native Yorkshire in 1995 where he is very happy, living in his own house, painting and playing music. Sketch measures 52 x 36 cm, mounted and framed behind glass, overall size 73 x 57 cm.

Rowland Emett (1906-1990) whimsical sketch of a cat character with annotations, pen and ink, signed. Rowland Emett was amongst other things a designer on the set of the film 'Chitty Chitty Bang Bang' 11cm by 11.5cm

A Soviet Porcelain Plate 'He Who Does Not Work Does Not Eat'after a design by Mikhail Adamovich (1884-1947), State Porcelain Factory, Petrograd, 1921circular, with undulating rim, painted with a portrait of V.I. Lenin after a sketch by Natan Altman, half an Imperial Eagle, a red star and ration cards, inscribed 'RSFSR' and 'Lenin' in Cyrillic, the border with varicoloured slogan, marked on the underside with blue hammer, sickle and cog, dated 1921, and bearing exhibition label for E. Ekstein Ltd. & I.J. Mazure Ltd., 1987 diameter: 24.2 cm (9 1/2 in.)Footnotes:ProvenanceWith E. Ekstein Ltd. & I.J. Mazure Ltd., circa 1987 (label on verso)Private collection, UKExhibitedLondon, E. Ekstein Ltd. & I.J. Mazure Ltd. (90 Jermyn St.), A Unique Exhibition of Russian Agitprop Porcelain Plates, 14 - 24 December 1987, no. 14The plate with the slogan 'He Who Does Not Work Does Not Eat' is arguably one of the most recognised designs by Mikhail Adamovich. Created in 1921-1922, it was produced for several years while the original design underwent various alterations. For a similarly painted variant dated 1923 in the collection of The State Museum of Ceramics and Kuskovo Memorial Estate see postcard from the set Soviet Porcelain. State Museum of Ceramics and Kuskovo Memorial Estate XVIII century, 1971, collection of the Smolensk State Museum and Reserve, published in goskatalog.ru, no. 19936950.For further information on this lot please visit Bonhams.com

Valery Koshlyakov (Russian, born 1962)Alexandria signed in Cyrillic, titled and dated '1995-1998' (verso) tempera and acrylic on canvas150 x 150cm (59 1/16 x 59 1/16in).Footnotes:'I work with the pure terrifying category which is inaccessible to man—the tragedy of dying, fading,' - Valery Koshlyakov.Valery Koshlyakov studied at the Grekov Art College in Rostov-on-Don and has become well known for his large-scale paintings of historical monuments, political scenes, and ruins. The present work creates a sense of the passing of time and melancholy, of history fading and the destruction of greatness. He fashions evocative architectural masterpieces, with monumental subjects that in ways cry paradoxically of a failed ideal world. By naming this piece as Alexandria, one cannot but think that the artist might be depicting his own version of the Library of Alexandria. This city named by the Macedonian Alexander the Great, became the capital of knowledge and learning as the library was known to encapsulate all the literature of the civilised world and became a meeting place for all the famous ancient scholars. However, for the viewer, he seems to base the building on a more familiar building, the Parthenon in Athens. To the right is a depiction of a winged Nike that was probably based on the Nike of Samothrace (the Greek goddess of Victory which is displayed at the Louvre). The sculpture was found in the sanctuary at Samothrace and the Nike was an important symbol to the Macedonian kings. The Nike stands out as it is the most detailed aspect of the painting. The sculpture, which is renown in art history for its flowing drapery, is almost three-dimensional in perspective, moving toward the viewer as if alive and floating amongst the rubble below. The broken marble, as if a sketch, in the left-hand corner gives a sense of destruction and desolation, and this is reinforced by the ghostly head in the bottom right corner of the painting. The romanticised artwork reminds one of P. B. Shelley's poem and the great Ozymandias laying shattered 'Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare, The lone and level sands stretch far away.' This romantic and philhellenic painting depicts the ancient world but in numerous dizzy unfinished details. The texture created by the vigorous brushstrokes make this landmark into a half idealised and partly precarious monument in the air. The cloud-like, as if watered down paint, gives an effect of the empty ruins of Alexandria becoming encapsulated in the eerie past, leaving it desolate. Koshlyakov said; 'Here yesterday, gone today. It's an eternal human theme, and the pictures—they are metaphors of this thought, like mourners.'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Africa.- Reade (Winwood) The African Sketch-Book, 2 vol., first edition, frontispieces, plates, maps, spotting, original decorative cloth, gilt, slight bumping to corners and extremities, 1873 § Pearce (Major F.B.) Zanzibar: the Island Metropolis of Eastern Africa, first American edition, frontispiece, plates, illustrations, folding map (short marginal tear), ex-library with bookplate, occasional ink marks and blind-stamps, cracked hinges, original cloth, paper shelf label to spine foot, a little rubbed, slight bumping to corners and extremities, 'Simpson College Library' stamped on edges, 1920; and others similar, 8vo (8)

Sir William Russell Flint (Scottish, 1880-1969)a sketch of a reclining woman, red chalk on paper, signed lower left, framed and glazed,overall 42.5 x 35cmCondition: Some slight rippling to the sheet, some dirt marks on the mount and some dust present beneath the glazing, some tearing to the corners of image window on the mountTrade label for William Rodman & Co. Ltd, Belfast to the reverse

Henry Moore: "Shelter Sketch Book", one vol illust, pub Editions Poetry, London 1940

J H David: a watercolour sketch, children looking in a shop window, 6 1/2" x 7 1/4", in gilt frame

Banking interest, a rare 19th century cheque book (nine cheque having been issued) of Sir William Forbes J Hunter & Company (of Ayr), the used stubs dated between 1812 and 1831, Grant of Arms certificate booklet for The Union Bank of Scotland Limited, Frank Haldane Allan booklet 1940, English Practical Banking by Thomas Bouchier Moxon 1888 fourth edition, Brief Historical Sketch of The Union Bank of Scotland Limited 1910, Banking in Glasgow During the Olden Time by Glasguensis 1884, The Bank Note Circulation of Scotland 1896, etc. 

A group of art related books, to include Constable, Turner's Early Sketch Books, Turner Prints, Turner Sketches, Turner and George VI, Turner at Manchester, Turner Watercolours and various others. (17)

Helen Simpson (21stC School). Ballerina pencil sketch, 36cm x 28cm, in modern frame.

A BLACK AND WHITE SKETCH STYLE PICTURE DEPICTING THE LORD OF THE RINGS

Robert Shantz, 20th c - Pushkar Lake from Balcony, with inscription verso, oil sketch on canvas board, 28 x 38.5cm Good condition, beneath glass in silvered frame

Four dolls' house miniature 19th century sepia watercolour landscapes, probably from a sketch book, glazed and framed in gold paper probably in the 1930s --2½in. (6cm.) wide

Pencil sketch, Queen Victoria in her Coronation robes, attributed verso to Sir George Hayter, 8ins x 5ins, gilt framed

Vintage Dunlop Maxply tennis racquet together with a mid 20th Century ' Etch - a - Sketch ' in original box

Sporting interest: various prints and coloured engravings to include 'Fencing Jerry's Admiration of Tom in an Assault with Mr O'Shaunessy at the Rooms in St James', bowling, horse racing, 'A Sketch on the Road' and cricketing illustration 'The London Daily Paper having prophesied the downfall of English sport owing to a reverse at Sidney, the British line who is keeping Southerners in', 'The cricketers at Mitcham, plays a single wicket match with the Australian kangaroo on Mitcham Green' (6)  

Jarman, Derek "Chroma, a Book of Colour - June 93", Century 1994, dj not price clipped"Smiling in Slow Motion", Century 2000, dj not price clipped (2 copies) "Dancing Ledge", Quartet Books 1984, limp covers"Derek Jarman's Sketch Books", Thames & Hudson, fully illustrated throughout, pictorial boards "Derek Jarman: A Portrait", Thames & Hudson [1996], dj Peake, Tony"Derek Jarman", Little Brown & Co 1999, dj not price clipped Magazine 'Art Scribe' with an article about Derek Jarman Small catalogue for Derek Jarman, The Serpentine Gallery, curated by Isaac Julien 23rd February to 13th April 2008 (9) BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID

Framed and glazed crayon sketch "Nude" titled verso Cyral Ross crayon sketch 1951. Framed and glazed black and white print study of a lady in Venetian costume, and framed and glazed watercolour Portrait seated lady, titled verso "His wife W L Hankey" signed top left

C19 English school, pencil drawing, "Gentleman and his dog, seated before a building", indistinctly signed with initial lower left, 35 x 26cm., f & g. Condition: good. Framed and glazed pencil sketch of C19th soldiers titled verso from a collection G R Rudolf att. By him to Gerigould

Official souvenir programme for the first International Rodeo, at the British Exhibition Stadium, Wembley, June 1924, sixteen-page brochure featuring programme of events for this first International Rodeo or 'Cowboy Championships', organised by Charles B. Cochran, 14th-28th June 1924, twice daily, price one shilling, featuring rules, biographical sketch of Manager and Director Tex Austin and details of a variety of events, fully illustrated with b & w photographs of horses, cowboys, cowgirls and competition action, with additional supplement detailing the ten events on 15th June including Bareback Bronk Riding, Steer Wrestling, Fancy Roping, Cowgirls' Fancy Riding and Wild Horse Race, slight wear to page edges and cream covers, staining and tears to inside supplement but condition good considering age

Manchester United interest, George Butterworth (British, 1905-1988) “Are United a team of Oxford men?” b & w original caricature artwork,the three panel sketch of images and text relating to the defeated Oxford boat race crew and defeat of Manchester United by Fulham, pen and ink, signed by the artist lower right GEE BEE, with attached typed note, 30 by 34cm., mounted on black artists paper, good condition with minor wear

Paul Trevillion (British, b.1934), PELE, pencil sketch of the legendary Brazilian footballer, signed by the artist in the right margin, mounted and framed, 33 by 22cm. overall, minor wear to frame edge

Henry Stephen Ludlow (British, 1861-1947) A LADY AND GENTLEMAN TENNIS PLAYER CONVERSING IN A GARDEN SETTING, circa 1890, each depicted holding a Lawn Tennis racquet, watercolour, signed lower right margin, mounted, framed & glazed, 43.5 by 35.5cm. overall, reverse bears typed details relating to the artist, good condition with little wear to frame and image Henry Stephen Ludlow was an accomplished portrait and domestic subject artist and magazine illustrator for Judy, The Sketch and The Illustrated London News.

A pen and ink sketch, Alfred Wainwright, Langdale Pikes, signed 15 x 9cm, plus frame and glazed, a Lakes and Lune Water Board accounts booklet, 1973 with afore mentioned printed version illus, a Water Board document signed A Wainwright, and a note from Betty Wainwright, thanking vendor for help in scattering AW's ashes. Please enquire for further details and provenance.

A pastel sketch, Jennifer Doughty, Lilies, signed and attributed verso, plus frame and glazed, and a selection of decorative pictures, still life, inc Jacky Guarnori, Fushias pink spangles, 15 x 13cm, plus frame and glazed

Cecil Aldin (1870 - 1935) RA; Pencil Sketch of a Terrier signed in Pencil 192417 x 14cm

***Hugh Casson (1910-1999) - Ink and watercolour sketch - "Trans-Siberian Railway on Route to Great Wall", initialled "HC", 4.25ins x 8ins, in narrow oak frame and glazed Provenance: Thomas Agnew & Sons Ltd, 43 Old Bond Street, London

Early 19th Century English School - Miniature painting - Half length portrait of George Romaine, Commander of the Cornwallis Packet, oval 2.75ins x 2.12ins, in ebonised frame within later gilt frame Note: Paper label to verso with ink inscription in an early hand states - "Geo: Romaine Commander of the Cornwallis Packet in the Service of the Hon: East India Comp. Presented by Himself to Mrs Sarah Darwin March 17th 1800". In May 1802 Romaine, then Commander in the Bengal Marine, dedicated to the Governor General a coloured sketch of the Bay of Bengal which was used as a suggestion for protecting East India Company's trade against French privateers and others.

A Retrieving Dog with Game, pencil sketch, framed and glazed. 43 x 64 cm.

A collection of sea charts relating to the Battle of Jutland, May 31st 1916, printed by Malby & Sons, Lith; German Plan I - V, together with ships dispositions; Plate 1a. Plan of Battle off Jutland, May 31st 1916 -- Plate 2a. Track of operations during night of May 31st to June 1st 1916 -- Plate 3a. Chart showing tracks of vessels of H.M. fleet during the night actions from 10 P.M. May 31st to 2:00 A.M. June 1st 1916 -- Plate 4a. Plan of Battle off Jutland, May 31st 1916 -- Plate 5a. Diagram shewing order of the battlefleet, Battle off Jutland, 31st May 1916 -- Plate 6a. Tracing from chart no. 2182b (the North Sea central sheet) showing track of H.M.S. "Iron Duke" May 30th-June 2nd 1916 -- Plate 7a. Plan shewing track of "Marlborough" and of enemy vessels engaged from VI.00 P.M. to VIII.00 P.M. May 31st 1916 -- Plate 8a. The Battle off Jutland, May 31st 1916 -- Plate 9a. Enclosure to report of Rear Admiral commanding 2nd Battle Cruiser Squadron No. 513, dated June 3rd 1916 : tracing of track followed by Second Battle Cruiser Squadron ... 1916 -- Plate 10a. Track of H.M.S. Barham between III.12 P.M. & VI.52 P.M., May 31st 1916 -- Plate 11a. Diagrammatic sketch as seen from control top of Duke of Edinburgh ... on 31st May 1916 -- Plate 12a. Fourth Light Cruiser Squadron, movements between 4 p.m. May 31st & 2 a.m. June 1st 1916.

A framed and glazed copy of a Kew Gardens print of fruit after Robert Furber 1732, a pencil sketch of an elderly gentleman in a round glazed frame, a framed coloured print of scenes depicting England plus a framed oil of a church in an impressionist landscape

Jill Dickin - Four sketch books of her watercolours in various subjects including Nursery scenes, animals, still life etc

Set 3 early 20th century original cartoons on card, signed 'Mick' together with cartoon sketch on paper max 28cm x 37cm (4)

John Greaves Nall: 'Great Yarmouth and Lowestoft, A Handbook for Visitors and Residents, Chapters on the Topography, Fisheries and Dialect of the East Coast', 1866, 1st edition, 2 volumes in 1, folding plan of Yarmouth + folding map of east coast (neat tear along fold but complete), original cloth gilt, joints weak; 'Walter White: 'Eastern England, from the Thames to the Humber', Chapman & Hall, 1865, 1st edition, 2 volumes, ex lib, old quarter cloth, printed paper labels to spines; Stacy-Watson: 'The Silvery Hosts of the North Sea. With a sketch of Quaint Old Yarmouth', circa 1884, frontis + 10 illustrations, some full page, as called for, original pictorial cloth; Wynne: 'St. Olaves Priory & Bridge, Herringfleet, Suffolk', 1914, original cloth gilt; 'The Suffolk Garland', Ipswich, 1818, 404pp, old half calf gilt; James Bird: 'Framlingham, A Narrative of the Castle, in Four Cantos', London, 1831, engraved frontis of Framlingham Castle, 181pp, old cloth (worn); plus Lowestoft National Union of Teachers Conference Souvenir, 1914, illustrations, original cloth gilt (8)

Eight scarce Great Yarmouth ephemeral pamphlets, booklets, albums etc, comprising Edward John Lupson: 'The Ancient Rows of Great Yarmouth : Their Names, Why so Constructed, and What Visitors have written about them, also a descriptive sketch of Yarmouth Beach.', Yarmouth, Edward J. Lupson, [1897], 33,[6]pp, 12 engraved illustrations of which one double page depicting beach from Britannia pier, original printed wraps; The Market & Broads Rows Traders Association (published): 'Visitors should not fail to see Yarmouth's Historic Shopping Centre: 'The Market Row and The Broad Row whcih contain nearly One Hundred Attractive Shops, and are a Direct Route to the Beach and Stations.', circa 1923, [12]pp, map + 7 black & white ills. from Yallop photographs, original stapled printed wraps (wraps detached from leaves but present); Harry B. Johnson: 'Yarmouth Yarns (No.1)', Great Yarmouth, Jarrold, circa 1920, [12]pp, illustrations in text, original printed wraps; [Frederick Danby Palmer]: 'The Tolhouse, Great Yarmouth', Gt. Yarmouth : John Buckle, printer [nd], 24pp, original stapled pictorial printed wraps; Kershaw & Son (pub.): 'Six Views in This Neighbourhood.', view album, circa 1860's, 6 engraved views of Yarmouth and Lowestoft, oblong, original stitched printed wraps (10.5 x 18.5cm); 'Bond's New Album of Yarmouth', circa late 19th Century view album, 10 views on 12 folding concertina leaves, original printed wraps (7 x 11cm); plus 2 others similar (8)

Two commonplace albums circa 1830, containing manuscript entries of poetry, prose, pencil and pen, ink and watercolour sketches etc, the red moroccoalbum with 130+pages of manuscript entries, mainly poetry/prose etc in copperplate style, but with a few well executed pen, ink and watercolours including butterfly and flower, another botanical sketch depicting flower, another depicting view of Bamburgh etc, album with part detached and worn backstrip, all edges gilt; the other black embossed morocco gilt album with 50+ pages of entries pencil and pen, ink & watercolour sketches, m/s poetry and prose etc, album slightly worn and backstrip part detached, some leaves loose, all edges gilt (2)

Original pencil sketch by Ernest Arthur Rowe (1863-1922) of Arthur Rackham (Rackham identified faintly in pencil on reverse of mount) image size 7.6 x 14cm

Ralph Steadman, 2 titles: 'Doodaaa', London, 2002, 1st edition, signed and inscribed and with original pen & ink sketch to half title, 'The Jokes Over. Memories of Hunter S. Thompson', London, 2006, 1st edition; plus 'Ronald Searle a Biography', by Russell Davies, 1990, 1st edition, all original cloth, all in dust wrappers. Provenance Ian Latter (3)

A collection of 20 assorted topographical interest volumes, including Samuel Read: 'Leaves from a Sketch-Book', 1875, plates, original cloth gilt; Fuller: 'The History of the Worthies of England', 1811, vol 2, contemporary calf very worn; Coles Finch: 'Watermills & Windmills', 1976, in dust wrapper; Shoberl: 'The Beauties of England & Wales', 1813, vol 14, engraved map of Suffolk, engraved plan of Ipswich, numerous engraved plates of Suffolk, engraved plan of Chichester, numerous engraved plates of Surrey and Sussex, ex library, rebound lib. cloth gilt; 'A Guide to the Architectural Antiquities in the Neighbourhood of Oxford', 1842, engraved plans & plates, old half calf gilt very worn; Boutell: 'The Monumental Brasses of England', 1849, etc

ROBERTA SCOTT (XX). Study of a spaniel, signed lower right, drawing / watercolour, framed and glazed, 22 x 19 cm, together with a small owl sketch (2)

Kadhim Hayder (Iraq, 1932-1985)How He Wandered with the Heart of a Martyr (From the Epic of the Martyr Series) oil on canvas, framedexecuted in 1963127 x 176cm (50 x 69 5/16in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Hiwar, Vol.3 No.3, Kadhim Hayder: Waddah Faris, 1965 (preparatory sketch)A MONUMENTAL 1963 MASTERPIECE FROM KADHIM HAYDER'S MARTYR'S EPIC: THE LARGEST COMPOSITION FROM THE SERIES EVER TO COME TO AUCTION'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiHow He Wandered with the Heart of a Martyr, by Saleem Al-Bahloly How He Wandered with the Heart of a Martyr belongs to a landmark series of paintings shown at the National Museum of Modern Art in Baghdad the last week of April 1965 under the title The Epic of the Martyr. The series drew immediate critical acclaim for the way that the artist, Kadhim Haidar, was able to derive from popular culture not simply visual motifs to tailor the styles of modernism to the local context of Iraq but a means of expression for articulating the human condition. The human condition preoccupied artists and thinkers across the world in the middle of the twentieth-century; but in Iraq the concept of the human took on a particular significance following the persecution of leftists in the aftermath of the Baʿath coup in 1963. The Epic of the Martyr was so important largely because it demonstrated how artists could represent modern experience by drawing upon their cultural history.Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family. In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.That moment when the martyr is transfigured into the symbol of the horse is in part dramatized in How He Wandered with the Heart of a Martyr. A white horse stands in the foreground carrying on its back a decapitated body. It groans violently into the helmeted warrior on the left who holds a sword triumphantly over his head; arrayed behind the white horse at centre are other horses in crimson and mustard-orange and warriors whose spears and shields resolve into simple shapes and strokes in the distance. The body of the headless corpse astride the white horse is unlike the other bodies in the paintings: it has volume and weight, it casts a shadow, and it gathers together the pinks, grays and browns in the picture. This painting was the sixth in the series; in another painting that comes near the end of the series, in the collection of the Barjeel Art Foundation, Fatigued, Ten Horses Converse with Nothing, the headless corpse morphs into the heads of two horses. The paintings in The Epic of the Martyr were different sizes, and this was one of the largest. Its size reflects Haidar's interest in the mourning processions as a kind of street theatre, his work in stage design, and the monumental scale of ancient Mesopotamian sculpture. But it also reflects, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions. This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics.For further information on this lot please visit Bonhams.com