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(See English version below)Klaus Fußmann (Velbert 1938 – lebt in Berlin und Gelting). „Rosen“. 1979Aquarell auf Papier (aus einem Skizzenblock). 23,9 × 33,6 cm ( 9 ⅜ × 13 ¼ in.). Unten rechts signiert und datiert: Fu 2.II 79.[3917]Zustandsbericht: Schöner harmonischer Gesamteindruck. An der unteren linken Blattkante ein kleiner Riss (0,4 cm). Das Papier technikbedingt gewellt. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig Atelierspuren und in den oberen Ecken Reste alter KlebefilmmontierungWir berechnen auf den Hammerpreis 30% Aufgeld.Klaus Fußmann (Velbert 1938 – lives in Berlin and Gelting). ”Rosen”. 1979Watercolour on paper (from a sketch book). 23,9 × 33,6 cm ( 9 ⅜ × 13 ¼ in.). Signed and dated lower right: Fu 2.II 79.[3917]Condition report: Fine, harmonious overall appearance. At the lower left of the sheet edge, one small tear (0,4 cm). The paper is warped due to the artist's technique. Ultraviolet light reveals no retouchings or repairs. Traces from the artist's workshop on the reverse, and remains of former adhesive mounting in the upper cornersWe charge 30% premium on the hammerprice.

(See English version below)Klaus Fußmann (Velbert 1938 – lebt in Berlin und Gelting). „Tulpen“. 1986Aquarell auf Bütten (aus einem Skizzenblock). 22,5 × 30,5 cm ( 8 ⅞ × 12 in.). Unten mittig unleserlich bezeichnet, datiert und signiert: [...] '86 Fu.[3917]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier technikbedingt leicht gewellt. In der Oberkante mittig ein Einriss (2,5 cm), rückseitig mit einem Papierklebestreifen fixiert. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig Atelierspuren und in den Ecken Reste alter KlebefilmmontierungWir berechnen auf den Hammerpreis 30% Aufgeld.Klaus Fußmann (Velbert 1938 – lives in Berlin and Gelting). ”Tulpen”. 1986Watercolour on laid paper (from a sketch book). 22,5 × 30,5 cm ( 8 ⅞ × 12 in.). Illegibly inscribed, dated and signed in the lower centre: [...] '86 Fu.[3917]Condition report: Fine, harmonious overall appearance. The sheet edges have no tears or losses. The paper is slightly warped due to the artist's technique. A tear (2,5 cm) in the upper edge in the centre, on the reverse fixed with a strip of paper tape. Ultraviolet light reveals no retouchings or repairs. Traces from the artist's workshop on the reverse, and remains of former adhesive mounting in the cornersWe charge 30% premium on the hammerprice.

(See English version below)Thomas Huber (Zürich 1955 – lebt in Berlin). „„Zur Erklärung des Bildes“ Schiff am Steg mit Pumpe und Pelzmantel“. 1982Aquarell und Bleistift auf Papier (aus einem Skizzenblock). 20,9 × 29,6 cm ( 8 ¼ × 11 ⅝ in.). Betitelt, signiert und datiert: „Zur Erklärung des Bildes" Schiff am Steg mit Pumpe und Pelzmantel Thomas Huber 82.[3937]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Die unteren Blattecken minimal bestoßen. In der unteren rechten Ecke eine leichte diagonal verlaufende Knickspur (1,5 cm). An den Seitenrändern technikbedingt leicht gewellt und stellenweise minimal angeschmutzt. Das Blatt mit vereinzelten schwachen Dellen und schwach knittrig. An der unteren Kante winzige Farbfleckchen (Atelierspuren). Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig in den oberen Blattecken mit Papierklebeband auf den Unterkarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Thomas Huber (Zurich 1955 – lives in Berlin). “„Zur Erklärung des Bildes“ Schiff am Steg mit Pumpe und Pelzmantel“. 1982Watercolour and pencil on paper (from a sketch book). 20,9 × 29,6 cm ( 8 ¼ × 11 ⅝ in.). Titled, signed and dated: „Zur Erklärung des Bildes" Schiff am Steg mit Pumpe und Pelzmantel Thomas Huber 82.[3937]Condition report: Fine, harmonious overall appearance. The sheet edges have no tears or losses. The lower sheet corners are minimally bumped. In the lower right corner, a light diagonal crease (1,5 cm). Slightly warped along the side margins due to the artist's technique, and minimally soiled in places. The sheet has isolated faint dents and is faintly creased. Minuscule paint stains on the lower edge (traces from the artist's workshop). Ultraviolet light reveals no retouchings or repairs. On the reverse in the upper sheet corners mounted with paper tape on the support cardboardWe charge 30% premium on the hammerprice.

(See English version below)Leiko Ikemura (Tsu/Japan 1951 – lebt in Berlin). Ohne Titel. 1983Bleistift auf bräunlichem Papier (aus einem Skizzenblock). 32 × 24 cm ( 12 ⅝ × 9 ½ in.). Rückseitig signiert und datiert: Leiko Ikemura 1983.[3029]Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig in den oberen Ecken mit Papierklebestreifen auf den Unterlagekarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Leiko Ikemura (Tsu/Japan 1951 – lives in Berlin). Untitled. 1983Pencil on brownish paper (from a sketch book). 32 × 24 cm ( 12 ⅝ × 9 ½ in.). Signed and dated on the reverse: Leiko Ikemura 1983.[3029]Condition report: In good condition. The sheet edges have no tears or losses. Ultraviolet light reveals no retouchings or repairs. On the reverse in the upper corners mounted with paper tape on the mount cardboard. Fine harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)Leiko Ikemura (Tsu/Japan 1951 – lebt in Berlin). Ohne Titel. 1986Kohle auf bräunlichem Papier (aus einem Skizzenblock). 47,8 × 36 cm ( 18 ⅞ × 14 ⅛ in.). Unten rechts signiert und datiert: Ikemura '86.[3968]Zustandsbericht: Harmonischer Gesamteindruck. Am linken Blattrand oben zwei Risse (bis zu 7,8 cm). An der unteren rechten Blattecke ein schwacher diagonaler Knick (10,5 cm). Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig in den oberen Ecken mit Papierklebestreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Leiko Ikemura (Tsu/Japan 1951 – lives in Berlin). Untitled. 1986Charcoal on brownish paper (from a sketch book). 47,8 × 36 cm ( 18 ⅞ × 14 ⅛ in.). Signed and dated lower right: Ikemura '86.[3968]Condition report: Harmonious overall appearance. At the top of the left margin, two tears (up to 7,8 cm). At the lower right corner, a faint diagonal crease (10,5 cm). Ultraviolet light reveals no retouchings or repairs. On the reverse in the upper corners mounted with paper tape on the mount cardboardWe charge 30% premium on the hammerprice.

(See English version below)Leiko Ikemura (Tsu/Japan 1951 – lebt in Berlin). Ohne Titel. 1986Kohle auf bräunlichem Papier (aus einem Skizzenblock). 47,8 × 35,9 cm ( 18 ⅞ × 14 ⅛ in.). Unten rechts mit Bleistift signiert und datiert: Ikemura '86.[3968]Zustandsbericht: In gutem Zustand. Papier leicht gebräunt. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig stellenweise alte Montierungsreste und in den oberen Ecken mit weißem Papierklebestreifen auf den Unterlagekarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Leiko Ikemura (Tsu/Japan 1951 – lives in Berlin). Untitled. 1986Charcoal on brownish paper (from a sketch book). 47,8 × 35,9 cm ( 18 ⅞ × 14 ⅛ in.). Signed and dated in pencil lower right: Ikemura '86.[3968]Condition report: In good condition. Pale time staining on the paper. The sheet edges have no tears or losses. Ultraviolet light reveals no retouchings or repairs. On the reverse, old remains of former mounting in places, and in the upper corners mounted with white paper tape on the mount cardboard. Fine, harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)Leiko Ikemura (Tsu/Japan 1951 – lebt in Berlin). Ohne Titel. 1988Kohle auf chamoisfarbenem Papier (aus einem Skizzenblock). 79,8 × 59,8 cm ( 31 ⅜ × 23 ½ in.). [3029]Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. An der unteren linken Ecke eine leichte Stauchung mit drei kurzen diagonalen Knickspuren. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig in den Ecken mit Papierstreifen auf den Unterlagekarton montiert (nicht einsehbar). Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 30% Aufgeld.Leiko Ikemura (Tsu/Japan 1951 – lives in Berlin). Untitled. 1988Charcoal on buff-coloured paper (from a sketch book). 79,8 × 59,8 cm ( 31 ⅜ × 23 ½ in.). [3029]Condition report: In good condition. The sheet edges have no tears or losses. At the lower left corner a slight scuffing with three short, diagonal creases. Ultraviolet light reveals no retouchings or repairs. On the reverse at the corners mounted with strips of paper on the mount cardboard (not accessible). Fine, harmonious overall appearanceWe charge 30% premium on the hammerprice.

(See English version below)Christian Rohlfs (Niendorf 1849 – 1938 Hagen). „Frau mit Hut“. Um 1915Tusche und Tuschfeder auf Papier (aus einem Skizzenblock). 16,2 × 9,4 cm ( 6 ⅜ × 3 ¾ in.). Mit einer Bestätigung der Galerie Utermann, Dortmund.–[3903]Provenienz: Ehemals Sammlung Prof. Paul VogtZustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. In der oberen linken Ecke kleiner Fleck mit Glanzunterschied sowie ein dünner roter Buntstiftstrich (Atelierspuren). Vereinzelte winzige hellbraune Fleckchen. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Rückseitig entlang von Ober- und Unterkante schwache Reste transparenten getrockneten Klebers einer ehemaligen Montierung sowie in den oberen Ecke jeweils zwei kleine Reste ehemaliger PapiermontierungWir berechnen auf den Hammerpreis 30% Aufgeld.Christian Rohlfs (Niendorf 1849 – 1938 Hagen). "Frau mit Hut". Circa 1915India ink and pen and India ink on paper (from a sketch book). 16,2 × 9,4 cm ( 6 ⅜ × 3 ¾ in.). With a confirmation of Galerie Utermann, Dortmund.–[3903]Provenance: Formerly collection Prof. Paul VogtCondition report: Fine harmonious overall appearance. Sheet edges without tears or losses. In upper left corner a small stain with difference in gloss, as well as a thin red crayon stroke (traces from the artist's workshop). Isolated minuscule light brown stains. Ultraviolet light reveals no retouchings or repairs. Faint remnants of transparent dried glue of a former mounting along the upper and lower edge on the reverse, as well as two small remnants of former paper mounting in each of the upper cornersWe charge 30% premium on the hammerprice.

Frank Henry Mason (Staithes Group 1875-1965): 'Esperance Bay' - Steam Liner, crayon sketch signed with initials and titled 9cm x 14.5cm, attached inside a Tuck card depicting Big BenProvenance: from the estate of Christine Dexter and by descent from the artist's sister Eleanor Marie (Nellie)Click here to view further images, condition reports, sale times & delivery costs for this lot.

Neil Tyler (British 1945-): 'Tree Sketch', watercolour signed, titled verso 19cm x 24cmClick here to view further images, condition reports, sale times & delivery costs for this lot.

A.L.C., mixed media sketch, View from a Window, initialled and dated, 26.1.61 bottom left (25cm x 14cm) and a print, Young Woman, numbered 191 (2)

Sketch of fox together with print of ballet dancers

An unusual framed and glazed pastel/charcoal sketch of horses, in the manner of a war time scene, 25 1/2 x 19".

A frame and mounted Watercolour depicting a tree lined landscape, signed lower right, H. Russell, along with a pencil sketch of an Australian Bungalow, signed lower right, JMB Nixon.

Marie Marevna (1892 - 1984), ink sketch, after a painting by Soutine, 1930s with annotations by the artist, image 9" x 4.5", mounted, provenance: the artist's Estate sale 2018Slight paper discolouration

Edward Jones, signed and dated 1829 LR “Rome”, pencil sketch annotated verso “Fountain of the Barcaccia in the Piazza de Spagne, Rome”

Ada Peacock, signed in pencil, gouache sketch, "China", 34 x 27cm

Pencil sketch, Horse Studies

Sketch of Mediterranean street scene 26cms x 40cms

Pencil Sketch of Cherub, 34cms x 20cms

A pencil sketch depicting an early Victorian gent in his finery, indistinctly signed, 43cm x 33cm

A Richard Grasby limited edition lithograph of a red chalk sketch of a horse, a charcoal study of a man's foot and a watercolour of a street scene with horse and rider

The unpublished journals of Major General Sir Archibald Galloway K.C.B. (Archibald Galloway was born in Perth, Scotland in 1779, on 29th Oct 1800 he was appointed Ensign in the 14th Bengal Native Infantry Regiment, he afterwards served in the 29th, 10th and 2nd Bengal Native Infantry Regiments and was gazetted Colonel of the 58th Bengal Native Infantry Regiment in 1836. Galloway took part in the Defence of Delhi in 1803 and distinguished himself by his gallantry at the bloody siege of Bhurtpore where he sustained a wound to the throat in 1805. He was nominated a Companion of the Order of the Bath in Queen Victoria’s Coronation Honours in 1838 and in 1840 was elected a director of the Honourable East India Company. On 23rd November 1841 he received the rank of Major General. He was knighted by Queen Victoria at Buckingham Palace on 25th August 1848 and the following year became Chairman of the Honourable East India Company, he died at his home in Harley Street London on 6th April 1850), the five handwritten journals date from May the 15th 1800 when Galloway sailed out to India as a young Ensign to join the 14th Regiment Of Bengal Native Infantry in the army of the Honourable East India Company and covers the period of the 2nd Anglo-Maratha War, as well as details of his own service, the journals contain news, detailed accounts and copies of despatches of engagements by Sir Arthur Wellesley who was commanding another force in India at the same time, and by detachments of his own army under Lake, as well as from further afield (Trafalgar, Ulm), Galloway clearly had an interest in the history and culture of India and the journals contain descriptions of weather conditions, villages and their architecture, as well as of well known buildings such as the Taj Mahal, the journals convey the pitiless nature of the 2nd Anglo-Maratha War with little mercy being shown by either side on occasion but also the extraordinary bravery and fortitude shown by the combatants, they are a fantastic resource of information for anyone with an interest in the history of India, the British army in the early 19th Century, the 2nd Anglo-Maratha War and the Honourable East India Company.Also included in this lot are a quantity of personal papers and letters belonging to General Galloway, these include, a Warrant for the Military Division of the Order of the Bath signed by Queen Victoria and dated 30th August 1848 with accompanying letter from the College of Heralds, letter from General Mudge Royal Engineers recommending a pamphlet written by Galloway on attacking mud forts be used to instruct E.I.C. Cadets at their Military College, Letter from Major Carmichael Smythe stating Galloway’s gallantry and service at the siege of Bhurtpore, copy of letter from Queen Victoria requesting trophies taken from the Sikhs in the 1st Anglo Sikh War for her Armoury at Windsor, letter of condolence to Galloway’s wife on his death from the Court of Directors of the H.E.I.C. , notes from a speech thanking the army in India for their service in the 1st Anglo Sikh War and includes a defence of Her Majesty’s 62nd Regiment accused by some of panic at the Battle of Ferozeshah, letter to Galloway dated 1835 from and signed by Holt Mackenzie (1787-1876 British Administrator in India and Bengal Secretary), ‘ Prospectus of a Commentary on the Moohummudan Law’ written by Galloway while a Captain of Bengal Infantry, records of debates at East India House from the late 1840’s including one on a Mutiny in the 6th Bengal Native Cavalry, a wooden pen holder containing sealing wax and a note explaining the Persian writing on the case. Some idea of the contents of the Journals are given below; ‘Friday 30th May 1800 The Armourer complained to the Captain that one of the sailors had beat him on which all hands were ordered up and the sailor was ordered to be flogged’, ‘Sunday November 1st 1800 Last night one of the sailors (a Portugee) was furnished with three dozen lashes for committing the unnatural crime of sodomy with one of the soldiers and is to be turned ashore at Acheen. The soldier is in confinement and will be tried by a Court Martial when he arrives in Bengal’, Fitterghur December 14th 1802, ‘His Excy.General Lake Comd. In Chief and Staff and his three daughters arrived this morning, he held a levee at 12 O Clock’, Camp Sekundra 28th Dec. 02, ……about 1PM they opened their guns from the fort of Sasnee on our people who last night had begun their trenches…..’, 2nd of January 1803 a sortee from the fort ‘…cut down one of our sentries and carried his head away’, the sortee was beaten back with great loss to the enemy ‘ ..principally from our grapeshot’, , 15th January details of the assault on Sasnee ‘…the Sepoys have been repulsed, Good God! Was the exclamation of everyone….’ , detailed description of the fate of Capt. Morrison ..’shot in the belly..’ left on the field his body found later stripped naked and ‘..mangled in a shocking manner’, detailed description of the Battle of Delhi, ‘ Fitteh Gurh October 29th …the newspaper informs us of Genl. Wellesley having defeated Sindia and the Berar Raja in a genl. Engagement..’, ‘G.O. by G.G. in C 30 Oct 03 relative to the Battle of Assaye..’, sketch plan of the Battle of Assaye, ‘ 8th February 1804 official accounts received of capture of the Fort at Gawil Gurgh (Gawilghur) by Sir Arthur Wellesley and Colonel Stevenson ‘..the two outer walls were breached that of the inner escaladed which service was performed by Capt. Campbell of the Light Infy. of the 94th Regt. who after getting over opened the gate to the storming party..’, first of several references to Skinners Horse (Colonel James Skinner CB 1778 – 1841 , Sikandar Sahib ,Anglo-Indian mercenary) ‘Saharanpoor 27th Apr 1804 Our Battn. And Capt. Skinners Corps of Hindoostanni Cavy. Ordered to march tomorrow morning….’, accounts received of many European soldiers and Sepoys having been murdered (by Gurjars) ’.. in one house the girl of a European Trooper in confinement with one of her breasts cut off, half dead..’, village ordered to be sacked by General Fraser, ‘..instantly done and not a man young or old was spared, their women were captured by the 76th who were the principle actors in this horrid scene which nothing but extreme rage excited by just revenge for the murder of their companions could warrant’, punishment for mutiny, ‘..at ½ past 3 the line having been ordered under arms the above sentence was carried into execution, the two Jemadars were blown from a gun. After having been led down the line, the drums beating the Dead March as is usual in such cases, they were brought to the guns to which they went up with the greatest indifference seemingly as if they did not expect such to be their fate, upon which they had hardly time to reflect when they were blown to atoms..’, October 1804 detailed account of the siege of Delhi, siege of Deeg, detailed description of successful assault on Deeg, siege of Bhurtpoor, ‘..all was in vain we were obliged to recross the ditch leaving all our wounded to be butchered and scoffed at by a merciless foe..’, Don leads Sepoys into assault ‘..to bring on the 2nd Bn 12th N.I…that excellent corps followed by the 1st Bn 12th instantly leaped from the trenches under the same steady fire which checked the Europeans and marched steadily across the plain, hooting the Europeans as they passed the right flank of the battery many of whom had taken shelter under it..’, Lord Cornwallis illness and death, 22nd March 06 news received of the Battle of Trafalgar, the death of Nelson (interesting version) and Battle of Ulm. For full description please follow link https://www.bishopandmillerauctions.co.uk/lot/militaryapril2021/423

Paul Gallico, "Jennie", Michael Joseph, 1952, an author-inscribed copy, the free front end paper bearing Gallico's autograph signature, a sketch of a cat's paw print and the name Jennie. [The classic adventures of a small boy changed into a stray cat and befriended with the indomitable Jennie, who initiates him into the lore of London's streets.]

Pat Cooke (British, 1935-2000). 'Gin Palace', watercolour, signed and dated 1976 below the Saloon Bar sign, 18 x 23cmWith hand-written letter by the artist - ''As a student in London I often walked from Slade to my lodgings in Islington and at the bottom of Pentonville Road was an amazing Gin Palace visited by sailors and 'streetwalkers' - I sketched from a 'safe' distance - the mirrored hall was fantastic. I don't think it is still there. I drew this from my old London sketch books.''

Bernard Hailstone (British, 1910-1987), 'Queen Elizabeth II', preparatory sketch, pastel on paper, framed and glazed. 34.5cm x 44cm.Footnote: Provenance: Purchased from the artist's studio sale in 2017.This is a preparatory sketch for the 1977 portrait of Queen Elizabeth by Bernard Hailstone.

Sir Kyffin Williams R.A. (British, 1918-2006)Swansea Docks signed with initials 'KW' (lower right)ink, wash and gouache on paper21.5 x 28.5cm (8 7/16 x 11 1/4in).Executed circa the 1950swith a further pencil sketch of Boulogne to the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Shepherd Walking Down a Hill signed with initials 'KW' (lower right), dedicated 'for Robert' (lower left)pen and ink and wash on paper25 x 23cm (9 13/16 x 9 1/16in).with a further pencil sketch of a landscape with colour notes on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Cwm Idwal signed with initials 'KW.' (lower right); titled 'Cwm Idwal' (on sheet verso)pencil and watercolour on paper39 x 39cm (15 3/8 x 15 3/8in).with a further pencil sketch of a landscape on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Stallion signed 'KW' (lower right); titled 'Stallion' (on sheet verso)pencil and watercolour on paper36 x 49.5cm (14 3/16 x 19 1/2in).with a further unfinished portrait sketch on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)On the Lookout signed with initials 'KW.' (lower right)pencil, watercolour and gouache on paper27.5 x 40cm (10 13/16 x 15 3/4in).with a further pencil sketch of a man on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Hills above Nant Peris signed with initials 'KW' (lower right); titled 'Hills above Nant Peris/(verso)' (on sheet verso)ink and wash on paper28.5 x 40cm (11 1/4 x 15 3/4in).with a further unfinished landscape sketch to the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Portrait of a Man signed with initials 'KW.' (lower right)pencil and watercolour on paper22 x 16cm (8 11/16 x 6 5/16in).with a further partial sketch of a horse to the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Shepherd with a Crook signed with initials 'KW.' (lower right)pencil, watercolour and gouache on paper39.5 x 28cm (15 9/16 x 11in).with a further pencil sketch of a man on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Kyffin Williams R.A. (British, 1918-2006)Sheep Dog signed with initials 'KW' (lower right); titled 'sheep-dog.' (on sheet verso)pencil and watercolour on paper25.5 x 39.5cm (10 1/16 x 15 9/16in).with a further pencil sketch of a duck on the reverse, by the same handFootnotes:ProvenanceThe Artist, from whom acquired directly by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

STUDIO OF ROBERT SINCLAIR THOMSON Male nude study, ink sketch, 31 x 25cm and BRITISH SCHOOL Portrait head of a young girl, pencil, 40 x 30cm (2) Condition Report: Available upon request

Leslie Carr (1891-1969)H.M.S. ThundererPencil Sketch (unframed)Signed and dated 191414 x 9cmTogether with another pencil sketch of H.M.S. Shannon***Artists resale rights may apply to this lot***

Leslie Carr (1891-1969)H.M.S.IndefatigablePen and ink sketch on board (unframed)Signed and dated 191426.5 x 19cm***Artists resale rights may apply to this lot***

Leslie Carr (1891-1969)Racing carsPen and pencil sketch(unframed)28 x 38cm***Artists resale rights may apply to this lot***

Leslie Carr (1891-1969)A sketch bookContaining watercolours, pen and ink sketches and oil paintings, on the pages and stuck into the album, including landscape scenes, ships, ship yard, planes etc***Artists resale rights may apply to this lot***

An artist's easel, a folding washing/drying stand and a large twin handled basket. The easel is 171cm h x 56cm w at the widest point, together with A June 1900 Royal Naval and Military Bazaar souvenir of sketches and drawings by John Charlton, A/F together with a 1955 Post Office map of London, a Royal Military College Atlas with historical supplement, a 1936 First Edition of Progress at Pelvis Bay by Osbert Lancaster and a 1908 book in German, printed in Berlin entitled Geschichte der Erotischen Kunst by Eduard Fuchs with erotic illustrations and a mixed lot comprising a decoupage style fire guard and a wrought iron guard, mixed metalware, mixed 78's, two vintage tripods and two prints of cattle of H.R Halls original paintings together with a collection of prints to include three on 19th century women's costume and a charcoal sketch on paper of a Middle Eastern manLocation: LWM

LITHOGRAPHIC PRINT AFTER MICHAEL LYNE 1954 OF PACK HOUNDS, SKETCH OF A HARE AND SIGNATURE ADDED F/G SEE DEDICATION VERSO 33CM X 23CM

HORSE, HOUNDS AND COUNTRY, WRITTEN AND ILLUSTRATED BY MICHAEL LYNE, A LEICESTERSHIRE SKETCH BOOK, WRITTEN AND ILLUSTRATED BY LIONEL EDWARDS AND HOUNDS, HORSES AND HUNTING BY FRANCIS PITT, HUNTING BY SCENT BY HM BUDGETT, ILLUSTRATED BY LIONEL EDWARDS, THE FOXHUNTERS WEEKEND BOOK BY DAVID BROCK AND HOUNDS BY T. IVESTER LLOYD

'Desert Rat Sketch Book, wirtten and illustrated in full color' by Clifford Saber. First Edition.(B.P. 21% + VAT)

Edith Lodwick pencil sketch portrait of a young lady, together with 'Trinity College' Carmarthen in pen and ink by the same artist. (2)(B.P. 21% + VAT)

Michael Andrews, a charcoal sketch on paper, bridge over a railway line, signed with initials M.A., 5.75ins x 4.75ins, unframed. Provenance - Acquired in the early 1980's from the estate of the Swiss Art Professor Gottfried Matter (1891 - 1967)

John Varley OWS (British 1778-1842)/Composition Sketch for a Landscape/inscribed on label verso/pencil, 8cm x 13cm/Note: Varley was a watercolourist and also a close friend of William Blake/Provenance: Purchased from the Ruskin Gallery, Stratford-upon-Avon in the late 1960s, stated to be from the Varley sketchbook formerly in the possession of Lord Melchett (most likely to be Henry Ludwig Mond, 2nd Baron) Provenance: Property of Sir Roy Strong CH, FRSL

Mortimer Luddington Menpes (British 1855-1938)/Sketch of the Old Temple Etawali, India/signed/watercolour, 19cm x 28cm CONDITION REPORT: In good condition

Dame Laura Knight RA RWS (1877-1970)/Tamara Karsavina and Leonide Massine in 'Le Tricorne'/initialed LK and inscribed Karsavina and Massine/double-sided pencil and charcoal sketch, 16cm x 21.5cm/Note: Laura Knight was the only artist allowed to produce live sketches of the performance by the choreographer Leonide Massine who was commissioned by Sergel Diaghilev to premiere the performance at the Alhambra Theatre on 22nd July 1919. Leonide Massine (1896-1979) was a Russian choreographer and ballet dancer and created the World's first symphonic ballet, Les Presages. Massine choreographed and performed in many Diaghilev's Ballet Russes performances and took the leading role in the premiere of Le Tricorne. This sketch represents him performing as The Magistrate. Tamara Karsavina (1885-1978) was a Russian prima ballerina in the Imperial Russian Ballet and later principal artist of Sergel Diaghilev's Ballet Russes. After settling in Britain and acknowledged as one of the founders of British Ballet, she assisted in the establishment of The Royal Ballet and was a founder member of the Royal Academy of Dance, now the world's largest dance teaching organisation and was the inspiration behind the Academy's Russian Dance Syllabus duly named after her. This sketch depicts her as the Miller's wife/Provenance: Purchased at Dame Laura Knight's estate sale, Sotheby's 7th May 1975 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Sir Cecil Beaton (1904-1980)/Portrait study of Lady Diana Cooper in a wide-brimmed hat/inscribed verso/pencil, 25.5cm x 22cm/Note: Legendary beauty and friend of Beaton, this sketch came from his studio, the dress would suggest the late 1930s. It was through Beaton that Sir Roy Strong met the sitter and became a friend CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Astrid Zydower (1930-2005)/Sketch for 'Compass Man' in the Expo 1967 Exhibition, Montreal, Canada, 1967/signed with initials and dated 1966/pencil, 24cm x 15cm/Note: A drawing for the sculpted figure that was part of the huge contribution by Zydower to the 1967 Expo Exhibition and the first time she worked with James Gardner. This was part of a many-figured tableau entitled 'The British at Home'/Literature: The final sculpted figure is reproduced in Peter C Amsden, Astrid Zydower ARCA, MBE, ASAT Productions, 2008, p 77/Provenance: Given to Sir Roy Strong by the artist CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

OSWALD WALTER BRIERLY (BRITISH, 1817-1894) Fogo; The Yacht ‘Wanderer’; Porto-Santo Pencil drawings, two heightened with white Set of three, all signed ‘O.W. Brierly’ and dated '1842' 9½ x 13¼in. (24 x 33.5cm.) (3) Provenance: Exhibited Hunter Museum of Art: Exhibition Sailing Ships and Ports of The Seven Seas, 3rd April – May 1982Footnote: Sir Oswald Brierly (1817-1894) studied art at the academy of Henry Sass in Bloomsbury. In 1841, after studying navigation for some time, Brierly embarked on a voyage to Australia with Benjamin Boyd in his yacht Wanderer, arriving in 1842, they made many trips along the Australian coastline where Boyd established settlements and pastoral stations between Eden and Sydney; Brierly lived in one of these new settlements where he managed Boyd's whaling operations until 1848. By 1849, Boyd was in great financial difficulty and preparing to leave the colony. The next two years proved to be disastrous for the Wanderer and Boyd. Sailing out of Port Jackson in 1849, she lost a bow anchor on the reef. In 1851, Boyd was presumed murdered by natives on the Solomon Islands and the Wanderer was wrecked off Port Macquarie on its return to Australia. Meanwhile, Brierly, avoiding this disaster, went on to join various other ventures across the coast of Australia and adjacent islands. He returned to England in 1851. After the Crimean War, he was commanded by Queen Victoria to sketch the Royal Yacht for the Great Naval Review, Spithead. Brierly went on to receive the continuous patronage of the royal family and was appointed marine painter (and personal drawing master) to Queen Victoria in 1874.Condition report: Time stained, would respond well to a clean

BUSH HOLLYHEAD - LIZA MINELLI ORIGINAL ARTWORK. Collection of work from the studio of Bush Hollyhead, an acclaimed graphic designer who worked on artwork for Paul McCatney, Pink Floyd, Led Zeppelin and more both with NTA and the Hipgnosis collective. This lot includes work done for 'Club International' in 1973 and includes an original sketch with annotations (pinned to thin card, 37 x 44cm) of Liza Minelli, a proof print and an example of the printed piece.

BOB MARLEY RECORD MIRROR COVER ORIGINAL ARTWORK - BUSH HOLLYHEAD. Collection of work from the studio of Bush Hollyhead, an acclaimed graphic designer who worked on artwork for Paul McCartney, Pink Floyd, Led Zeppelin and more both with NTA and the Hipgnosis collective. In this lot are two original sketches depicting Bob Marley, created by Bush in 1978 and used for the cover of Record Mirror. One cover mock up (30 x 38.5cm) and one early sketch with annotations (42 x 30cm).

THE WHO ORIGINAL ARTWORK - BUSH HOLLYHEAD. Collection of work from the studio of Bush Hollyhead, an acclaimed graphic designer who worked on artwork for Paul McCartney, Pink Floyd, Led Zeppelin and more both with NTA and the Hipgnosis collective. This lot includes original work by Bush completed in the mid 70's which featured in a number of publications during that period. To include: an original proof sketch with annotations pinned to thin card, a proof print of the piece, a printed copy of the work, two original 'Who Put the Boot In' unused stickers.

BUSH HOLLYHEAD ORIGINAL WORK - RADIO TIMES JAZZ WEEK COVER. An original sketch / proof design for a Radio Times 'Jazz Week' cover in 1985, with original watercolour on paper with overlayed sketches on tracing paper (23.5 x 30cm) by Bush Hollyhead / NTA Studios. Includes a finished example of the work affixed to board. Bush Hollyhead was an acclaimed graphic designer who worked on artwork for Paul McCartney, Pink Floyd, Led Zeppelin and more both with NTA and the Hipgnosis collective.

BUSH HOLLYHEAD ORIGINAL ARTWORK - FEMALE STARS INC NINA SIMONE.. Collection of work from the studio of Bush Hollyhead, an acclaimed graphic designer who worked on artwork for Paul McCartney, Pink Floyd, Led Zeppelin and more both with NTA and the Hipgnosis collective. This lot includes three original works by Bush: one smaller mixed media work possibly depicting Joan Collins with 'fruit bowl' headpiece (22 x 28cm), a pencil sketch on tracing paper possibly depicting Nina Simone (30 x 42cm), a mixed media work on board depicting an unknown singer (possibly Carmen McCrae, a previous Hollyhead subject) - measures 43 x 44cm.

After Rembrandt - fine pen and ink sketch ‘Abraham caressing Isaac', after the engraving, 11 x 8cm, inscribed to rear 'from an album formed by Fanny Hicks 1851', in gilt frameProvenance: The Robert Barley Collection

*John Northcote Nash (1893-1977) pencil sketch - two figures, entitled "Mr & Mrs Hickman considering piano transport", 1921, in glazed frame, 22cm x 17cmProvenance: The Lorna and Gordon Turner Collection & D'Arcy Gallery, Ipswich

Thomas Churchyard (1798-1865) pen and ink sketch - On the banks of the Deben, 9.5cm x 13cm, in glazed frameProvenance: Provenance: The Lorna and Gordon Turner Collection & from the collection of D. Clifford Esq.