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

George John PINWELL, ink and wash sketch of a man on horseback, monogram GJP lower left, image size 5" x 4", frame size 16" x 14"

Michael Morpurgo (ed.): 'Muck and Magic: Stories from the Countryside', London, Heinemann, 1995, 1st edition, limited edition, number 211 of 250 numbered and signed copies sold on behalf of Farms for City Children, signed on the half title by 17 of the contributors/illustrators, including Michael Morpurgo, Ted Hughes, Joanna Lumley, Dick King-Smith, John Lawrence, Anthony Horowitz, Michael Foreman, Anthony Browne, Tony Ross, Elizabeth Laird, Bel Mooney, small pen & ink sketch of a winged horse (possibly by Elisabeth Frink?, who illustrates the title story 'Muck and Magic' by Michael Morpurgo), etc, pictorial end papers by Quentin Blake, original cloth gilt with mounted colour illustration to front cover by Quentin Blake

A visitor book, Fern Cottage, Horning, Norfolk Broads, numerous entries 1920's-1960's, including Arthur Henry Patterson (1857-1935), Broadland naturalist and writer, manuscript entry by him, dated May 15 1924, signed "A.H. Patterson ("John Knowlittle") Yarmouth, author "The Cruise of the Walrus" on the Broads. &c &c", and with 2 small pen & ink sketches by Patterson; plus also with 1920's entries/signatures of H.M. Bateman (1887-1970), with humourous pen & ink sketch by him of a man fishing a pike, W.E. Hayter Preston (1891–1964), Sir Edward Paulet Stracey, 7th Baronet (1871–1949) of Rackheath Park, Norfolk, Henry Michael Collins (1844–1928), Reuter's agent, Elizabeth Cator (1899-1959), of Woodbastwick, Horace Sequeira (1887-1973), and many others, photographic postcard of Fern Cottage Horning, and b/w photograph of Arthur Henry Patterson in front of Fern Cottage, mounted to inside front cover, contemporary calf gilt album (worn)

Harry St John Bridger Philby: 'The Background of Islam; Being A Sketch of Arabian History In Pre-Islamic Times', Alexandria, Egypt, Whitehead Morris, 1947, limited edition, number 281 of 500 copies, signed by the author on limitation page, 152pp, original green cloth backed printed paper covered boards. Scarce signed title by St John Philby (1885-1960), legendary British explorer and Arabist, the first European to cross the Rub al-Khali, or Empty Quarter, of Arabia from east to west.

Antique 1830 pencil sketch of a lady signed Dutague - wooden frame 18.5cm square

Ralph Hedley(1848-1913)"Woman With Goffering Iron",signed with initials and dated [19]09,oil on canvas board,32 x 39cms, in frame;together with; A preparatory sketch for the same work,signed with initials, dated, and inscribed: "Xmas 1908, Sincere Good Wishes to the Misses Dahle, from Ralph Hedley",pencil on paper,10.5 x 12cms; in frame. (2)

John Varley(1778-1842)Caernarfon Castle,signed,pencil sketch drawing,134 x 51.5cms, in frame.

John Varley(1778-1842)West View of Dunstanburgh Castle,signed,pencil sketch drawing,12 x 53.5cms, in frame.

Pencil on paper - Framed 840mm x 440 ARTIST STATEMENT: This intimate pencil sketch captures the joy and camaraderie of friendship. Through delicate lines and expressive shading, I've aimed to convey the genuine happiness and connection shared by these individuals. The warm smiles and relaxed postures reflect the comfort and trust that exist within their bond. Otis created this piece aged 16 while a student at Le Mare de Carteret High School.

Circle of Girolamo Francesco Maria Mazzola (Parmigianino), (Italian, 1503-1540), ink sketch of a bearded man on paper, bears indistinct signature lower right and ink inscription on back board verso attributing the work to the Chatsworth Old Master Drawings catalogue (London, 1973), remainder of a Rowley Gallery label present on back board, unframed, unglazed, laid on black card.Note: small loss to paper surface and minor spotting.

Remy (Jules, & Julius Brenchley).A Journey to Great-Salt-Lake City. With a Sketch of the History, Religion, and Customs of the Mormons, and an introduction on the religious movement in the United States.London: W. Jeffs, 1861, two large octavo volumes, half-titles, frontispieces, plates and folding map as called for, foxing, some marginal pencil lines, abbey library blind-stamp to leaf of vol. 1 and title of vol. 2, abbey library bookplate, shelfmark label and pencil shelfmarks to front endpapers of both volumes, contemporary blind stamped cloth gilt, spines sunned, extremities bumped, boards a little marked;Domenech (Abbé Em.).Seven Years' Residence in the Great Deserts of North America.London: Longman, Green, Longman and Roberts, 1860, two octavo volumes, half-titles, frontispieces, plates and folding maps as called for, scattered spotting and light finger-soiling, few leaves loose, abbey library bookplates, shelfmark labels and pencil shelfmarks to endpapers (vol. 1 with two library bookplates and ink number to front free endpaper), contemporary cloth, rubbed and bumped, joints split [text not collated]. (4)

Percy Kelly (1918-1993), a bridge sketch in ink and watercolour wash. 24 cm x 33 cm. ARR. Provenance: originally from a collection sold by Mitchells in 12 June 2014.

Laurence Stephen Lowry RA (1887-1976), a pencil drawing "St Mary's Street Oldham". 26 cm x 36 cm, framed signed and dated 1960, label verso "St Mary's Street Oldham". Visited spot with him when he made this sketch later he painted the same scene. ARR (see illustration).Provenance: This work by Laurence Stephen Lowry is consigned for sale by the family of Graeme Bentham, a contemporary artist and close friend of Lowry. Bentham, who grew up and worked in Ashton-under-Lyne, began exploring drawing and painting in the late 1940s, during which he learned significantly from Lowry. Over the years of their friendship, Lowry gifted Bentham a selection of his works this being one of them.

Joanne Farley-Webb (British Contemporary Artist born 1973), pencil sketch "Ripple", framed and mounted. The size of the visible picture is 13 cm x 18.5 cm. The external frame dimensions are 39 cm x 43.5 cm. CONDITION REPORT:

Indistinctly signed early 20th century watercolour of  a continental city river scene; and instinctly signed diptych titled 'East Bank, Luxor-Edfu; and an unsigned 19th century annotated watercolour sketch of Gozo. (3)

Unsigned but accomplished pen and ink sketch of Oxford, dated May 1833, from a wooded hill. Framed and glazed. Mouth opening 24cm x 16.5cm, oak frame 33.5cm x 26cm.

Thomas Baxter (British 1782 - 1821), 'Sketch from Kilvey', a topographically interesting and unusual pencil sketch of the Swansea area, with detailed provenance verso, dated June 1818 with initials. Pencil. 15x22cm approx. Provenance: 'Bought of Mrs Baxter for £4 September 1853, with connections to the Sir Lesley Joseph Collection. consigned by Gower private collector. (B.P. 21% + VAT) Centre crease and repaired tear top left of painting, in fair condition otherwise.

Felix Kelly (British/New Zealand, 1914-1994), study of a seawall with deckchairs and distant lighthouse, probably a preparatory work for a larger painting. Oils on board. 10x13cm approx. Framed and glazed. Provenance: bequest from the estate of John Guest of Penguin Books, annotated verso 'Sketch for a larger painting by Felix Kelly, given to me by the Artist for Christmas 1969 - J Guest'. (B.P. 21% + VAT) Appears to have been varnished at some stage, otherwise no obvious damage.

Charles Frederick Tunnicliffe (British 1901-1976), Otter with fish prey,(Tarka), charcoal preparatory sketch. 32.5x43.5cm approx. Framed and glazed with wash line mount. Provenance: North Wales private vendor who knew the artist. (B.P. 21% + VAT) Appears in good condition overall.  Dimensions with frame 51x62cm approx.

Sir John Kyffin Williams, RA, KBE (Welsh 1918-2006), Snowdonia landscape. Pencil sketch, bearing the Kyffin Gallery label verso. Provenance: believed to have been a gift from the Artist to his friend William Bill Lloyd-Williams. Smudged with thumb prints and rather grubby.

JOHN EVERETT MILLAIS, early sketch "Portrait of Sister in Law, Mary Hodgkinson", 22cm x 18cm 532 - Unfortunately no provenance for this sketch, private vendor from a deceased estate

School of Natalia Goncharova, Russian 1881–1962 - Dutch milkmaids; ink and pencil on paper, with printed monogram lower right, 37 x 26.5 cm (unframed) Provenance: the Carmen Thyssen Collection Note: the work is most likely an original sketch in pencil by Goncharova, gone over by another hand in ink, and stamped with the artist's monogram. 

Keith Vaughan, British 1912-1977 - Farm Machinery, c.1942-43; sepia wash on paper, with studio stamp on the reverse, 12.3 x 16 cm (ARR) Provenance:with Wenlock Fine Art, Much Wenlock (by repute); private collection Note: the present work is most likely from one of Vaughan's war time sketch books. 

Lionel Edwards (1878-1966) - The Devon & Somerset Hounds, watercolour and gouache, signed, dated ’28 and inscribed Rough sketch D & Somerset lower right, further signed and inscribed on letter attached verso, gifting the painting, 25cm x 34cm, within a black frame.

Roland Green (British 1896-1972) – Pheasant in flight, oil sketch on paper, signed lower right, 35cm x 52.5cm, within a gilt frame.

Italian School (19th century)Diana at the Bath, study after the Old Masterunsigned, pencil sketch on paper, 21cm x 13cm

The last movie to feature all six Python members. The Meaning of Life is a musical sketch comedy film about the various stages of life. This set of lobby cards is missing #2 out of the 8. Issued: 1983Dimensions: 14"L x 11"WManufacturer: Universal FilmsCondition: Age related wear.

Jacopo Cestaro (Bagnoli Irpino, 1718 – Napoli, 1778)“The triumph of Aphrodite accompanied by Eros and other divinities on Olympus.”Oil on canvas. 80 x 51.5 cm.Cestaro is considered to be one of the foremost exponents of the school of Francesco Solimena.His work, characterised by Baroque and Neo-Baroque styles, is infused with a highly refined, worldly air and great creative freedom.One of his masterpieces is the fresco which he painted in the Church of San Filippo e San Giacomo in Naples, created between 1757 and 1759.Attached is a certificate from Prof. Nicola Spinosa (February, 2024), to whom we are grateful for the identification of this work.From the certificate, we summarize the following:This is a sketch for a large and complex composition to be executed as a fresco or on canvas, hitherto unidentified and, in fact, probably never completed, as is already known to have happened with other similar cases.Jacopo Cestaro was trained in the Neapolitan workshop of Francesco Solimena, in the last years of the master's life, establishing himself by the mid-eighteenth century as an acclaimed artist and even as a brilliant alternative to the already famous Francesco de Muro.The influence of his master Solimena, says Spinosa, is evident when comparing this painting with the “Triumph of the Dominican Order”, a fresco painted in 1707 by Solimena inside the dome of the sacristy of the Neapolitan basilica San Domenico Maggiore. This marvelous sketch is its heir, due to the way both artworks are resolved compositionally.The similarities between the sketch we have here and other known sketches by Cestaro for compositions of sacred or secular themes, biblical, evangelical, allegorical or of various episodes in the history of Rome, are remarkable. The reasons given by Spinosa to demonstrate the authorship of Cestaro, in relation to these sketches, are: the dense and vibrant pictorial “stains”, for the compositional scheme and for the skillful formal definition of each figure, among others.Here are some examples: “The Triumph of Hercules”, in the Staatliche Kunstsammlungen in Augsburg; the “Allegory of Winter”, in a private Parisian collection; and, especially, the “Allegory of conjugal love”, in the Musée d'Art et d'Histoire in Geneva.These paintings, this one and others in Spinosa's publication, 1987 (1993), constitute a corpus of remarkable quality that bears witness to the transition of Neapolitan painting from late Baroque to Rococo. Reference bibliography:- Spinosa, Nicola (1987, second ed.: 1993). “Pittura napoletana del Settecento”. Electa Napoli.

Mary Swanzy HRHA, Irish 1882-1978 - Artist with sketch pad; pencil crayon on paper, 16.2 x 9.8 cm: together with another work on paper by the same artist of the same size of a woman in blue (2) (ARR)Provenance: Mary Tullo, the artist's niece; Pyms Gallery, London, stock nos. K826(49/2010) and K830(53/2010) (labels attached to the reverse) Note: Swanzy travelled widely in the early 20th century, working through various styles of Modern painting and becoming one of the first Irish artist to create abstract paintings. She exhibited alongside the other major figures in early Modern Irish painting and had a solo exhibition at the celebrated Galerie Bernheim Jeune in 1925 which drew praise from Gertrude Stein. Promoting her life and work was central to the ethos of Pyms Gallery and most recently she was subject to a major retrospective at the Irish Museum of Modern Art 'Mary Swanzy Voyages' in 2019. 

James Ferrier Pryde, Scottish 1866–1941 - Sketch for 'The Shrine'; gouache and pencil on squared-up paper, signed lower left 'Pryde', 19.2 x 16.3 cm Provenance: J. Leger & Son, London (inscribed label attached to the reverse); Sotheby's, West Sussex, 6th May 1987; Pyms Gallery, London, stock. no.D783 and purchased from the above (label attached to the reverse) Exhibited: J. Leger & Son, London, 1949, no.33 (inscribed label attached to the reverse); Scottish National Gallery of Modern Art, Edinburgh, 'James Pryde', 14th August-11th October 1992, no.72 (label attached to the reverse of the frame) Literature: Derek Hudson, 'James Pryde 1866-1941', Constable, London, 1949, p.97 Note: Pryde was the brother of Mabel Pryde and brother-in-law to William Nicholson, with whom he collaborated on numerous poster designs. The present lot is a classic example of his work, influenced in style but the architectural forms of Piranesi and in its theatrical use of a central monument depicted in heavy chiaroscuro. His works are in public collections across the UK, including The Fleming Collection, the Tate and the National Galleries of Scotland. 

Fell 12th February 1947 A.D. A coarse octahedrite class IIB iron meteorite from a witnessed fall in the former USSR. 31 grams, 25 mm (1 in.). [No Reserve]From a Lincolnshire, UK, collection.Sikhote-Alin is an iron meteorite that fell on February, 13, 1947 on the Sikhote-Alin Mountains in eastern Siberia. Though large iron meteorite falls had been witnessed previously and fragments recovered, never before in recorded history had a fall of this magnitude been observed. An estimated 70 tonnes of material survived the fiery passage through the atmosphere and reached the Earth. The strewn field for this meteorite covered an elliptical area of about 1.3 km2 (0.50 sq mi). Some of the fragments made impact craters, the largest of which was about 26 m (85 ft) across and 6 m (20 ft) deep. Fragments of the meteorite were also driven into the surrounding trees. The Soviet Union issued a stamp for the 10th anniversary of the Sikhote-Alin meteorite shower and this reproduces a painting by P. J. Medvedev, a Soviet artist who witnessed the fall: he was sitting in his window starting a sketch when the fireball appeared, so he immediately began drawing what he saw.

20th century A.D. Heavy laid art-paper rectangle with pressed central panel, sketch of the castle gate with tree. 12.2 grams, 24.2 x 19 cm (9 1/2 x 7 1/2 in.). [No Reserve]Private collection, London, UK.

Highmore (Joseph, 1692-1780) Study for a family group portrait, oil on board or thick paper, inscribed on reverse 'Sketch of a family piece/ designed to be drawn by /Mr Highmore of my father : mother and their six children/ that is their attitudes not likenesses', sheet 213 x 298 mm (8 3/8 x 11 3/4 in), affixed onto plexiglass backing, minor scuffs and small nicks to extremities, framed, [circa 1730]Provenance:Collection of John and Eileen Harris*** A similar oil study by Highmore, albeit slightly larger, is held in the Yale Center for British Art, Paul Mellon Collection [see acc. no. B1981.25.353]. Very few oil sketches are recorded, but those that are relate to large scale compositions; for instance The Family of E. Lancelot Lee, 1736 (Wolverhampton Art Gallery). 

Haydon (Benjamin Robert, 1786-1846) Portrait of the architect Charles Heathcote Tatham (1772-1842), black, red and white coloured chalks on buff paper, signed with initials and dated '1823' in the lower right, further inscribed 'Mr C. H. Tatham by Haydon' in the lower left corner, sheet approx. 480 x 380 mm (18 3/4 x 14 7/8 in), under glass, small puncture in the upper left quadrant, just above the sitter's forehead, scattered spotting and surface dirt, framed, 1823 Provenance: Collection of John and Eileen Harris *** The British Museum hold another portrait of Tatham, the English architect and collector of classical antiquities, also drawn by Haydon. The BM sketch, again also from 1823, was undertaken a year after Mrs Tatham attended Mrs Haydon at the birth of Haydon's son, Frank; the artist and architect are said to have waited together in the painting room. One of the two drawings must have been the drawing for which Tatham paid Haydon £10. [cf. Brown and Woof, Haydon exh. cat., 1996, no. 105]. In 1802 Tatham designed the sculpture gallery at Castle Howard, Yorkshire, and did work at Naworth, Cumberland, for the Earl of Carlisle; and in 1807 the picture gallery at Brocklesby Hall, Lincolnshire, for Lord Yarborough. His etchings for the designs of these galleries, both in the severe classical style in vogue at the time, were published in 1811. He later designed the rebuilding of Roche Court at East Winterslow, Wiltshire for Francis Thomas Egerton in 1804–5, and the mausoleum at Trentham, Staffordshire for George Leveson-Gower, 1st Duke of Sutherland, 1807–08. Before 1816 he designed for the Duke of Bridgwater the portion of Cleveland House, St. James's, which lay to the west of the gallery.

A gold cigarette lighter by Louis Osman, 1972, of slightly rounded rectangular form and plain polished finish, with conforming slide button to one side, unmarked, in original fitted cork travel case, dimensions approximately 78 x 41 x 15mm. £2,000-£3,000 Please note ARR will apply to this lot (Artist’s Resale Rights). --- This lighter was commissioned from Louis by Mrs Jenkins as a surprise gift for her husband Maurice for Christmas 1972, following on from the cigarette case she has commissioned the previous year. [See lot 367) As with the earlier cigarette case, this lighter takes the deceptively simple form of a gold block, but this time with a single smooth slide button to one side. Exhibited: Osman: An exhibition of the Works of Louis Osman, at Canons Ashby, Northamptonshire, 18 & 19 May 1974, exhibition catalogue no. 13. A copy of this catalogue accompanies this lot, together with further related correspondence. Condition Report The lighter is in working order, having recently been fully repaired. The lighter is battery and gas operated. Requires a 12 V battery. According to a PMI test on the XRF Analyzer, the lighter is testing as 18ct gold. Although not hallmarked, the vendors confirm the lot was made in 1972 by Osman. This lot is accompanied by: A hand written quote, with sketch design. A hand written valuation of lighter, dated 18 December 1972. A copy of letter relating to repair to the lighter, dated 27 March 1973. A copy of an invitation to the Osman exhibition, at Canons Ashby, with hand written note verso, referring to cigarette case. An original hand written invoice from Louis Osman to Mr Jenkins, for the repair of the lighter, dated September 1976. A copy of a typed valuation, including the lighter, dated 15 December 1976. A copy of a hand written valuation, including the lighter, dated 26 April 1978.

A 22ct gold opal parure by Louis Osman, 1972 and 1973, comprising a hinged torque collar, hinged bangle, brooch, pair of ear pendants and ring, each of organic branching form, supporting graduated oval cabochon opals each claw set above a concave dish mount, the gold with hammered finish, the necklace, earrings, ring and bracelet all hallmarked for London 1972, with maker’s mark ‘LO’, the brooch unmarked, within customised carved yew wood and silver fitted case, collar inner diameter 12cm, bangle inner diameter 6.5cm. £40,000-£60,000 Please note ARR will apply to this lot (Artist’s Resale Rights). --- The opals (Australia’s national gemstone) in this suite were acquired as gifts for his wife Dorothy, by Maurice Jenkins from the Perth firm Mazzucchelli’s, over multiple trips to Australia during the late 1960 and 1970s. Mr and Mrs Jenkins first met Louis in 1970, (when she had 11 opals), and they commissioned Louis to mount these into a suite of jewellery. Having agreed the design with the couple, Louis told Mr Jenkins the sizes and numbers of additional opals that he wanted in order to complete the initial commission: a necklace, bracelet, earrings and ring suite, which was completed in 1972. The brooch was added in 1973. Correspondence from Louis discusses how excited he was to be working with opals and how the commission was bringing him out of a creative slump, following a car accident. Louis took inspiration from everywhere, from the sublime to the mundane - in this case he was inspired, for the concave mounts of the opals, by the humble kitchen teaspoon. The raised claw settings of the opals above the concave ‘bowls’ allow light to pass around the stones, displaying them to their best advantage. The earrings in this suite are of complimentary but differing designs - a feature Louis often employed in the designs for earrings. In her biography of Louis, Jenny Moore notes: “Louis felt that [the difference between the earrings] emphasised each side of the face as representing a different side of the personality”. The fitted case subsequently was carved to house the complete suite from a single piece of yew wood taken from the grounds of Canons Ashby. Yew wood is particularly resistant to decay and insect attack. The natural cracks within the wood are inlaid with silver, producing a similar result to the Japanese technique of Kintsugi, in which ceramics are repaired with lacquer and gold dust, highlighting - almost celebrating - the repair. “Louis never regarded the box for keeping his jewellery in as merely a practical object, but felt that it should enhance the character of the individual piece” - J. Moore (page 118). An original pen and watercolour design for this suite was sold as part of The Personal Archive of Louis Osman at Noonans on 27 March 2018 (lot 287). Exhibited: The Observer Jewellery Exhibition, organised by the Welsh Arts Council, 1973, exhibition catalogue no. 359. A copy of this exhibition catalogue accompanies this lot. Copies of two media articles (one part illustrated) about this exhibition including the gold opal parure, accompany this lot. Osman: An exhibition of the Works of Louis Osman, at Canons Ashby, 18 & 19 May 1974, exhibition catalogue no. 117. Explosion, Talent today: the 650th birthday of the Worshipful Company of Goldsmiths, December 1977, exhibition catalogue no. 209. (part illustrated). In Celebration of Gold and Silver: An exhibition of exquisite jewellery and magnificent silver made during the reign of Queen Elizabeth II, a Goldsmiths’ Company exhibition at Goldsmiths’ Hall, May - July 2002, exhibition catalogue no. 95. The necklace and brooch also were included in this exhibition’s limited edition of a bound set of 10 postcards of key pieces: one set of these postcards accompanies this lot. Copies of these catalogues (three dedicated to Dorothy & Maurice Jenkins and of J. Moore’s biography accompany this lot. This lot is also accompanied by further related correspondence. Condition Report The brooch was made approximately six months after the suite and was not taken for hallmarking. Earrings: lengths 59 and 60mmmain , gross weigh 24.4gm. Ring: size P, weight 9.7gm. Bracelet: weight 76.8gm. Necklace: weight approximately 246gm. Brooch is unmarked, measures 77.5mm, weight 60.6gm. The suite is set with 46 graduated milky opals, well matched, with a good even play of colour throughout; multiple examples have cracks/fractures, some with chips or significant wear. The largest opal measures approximately 18.4 x 13.95 x 5mm. This lot is accompanied by hand written correspondence between Louis Osman and Mrs Jenkins regarding the commission of this suite: A quotation, dated 5 December 1970. A list of further opals to be sourced. A letter confirming receipt of 11 opals and requesting interim payment for design, dated 11 May 1971. A sketch design of brooch, using 11 opals. A letter acknowledging receipt of further opals and requesting an interim payment, dated 6 January 1972. A compliments slip for interim payment, dated 27 October 1972. An insurance valuation, dated 18 December 1972. A letter acknowledging receipt of payment for brooch and further details, dated 25 July 1973. A copy of a letter referring to the opal suite, including possible loan to the Welsh Arts Council exhibition, dated 13 August 1973. A letter confirming that Osman is holding the opal suite, dated 14 August 1973. An invitation to the Osman exhibition, at Canons Ashby, with hand written note verso, referring to the opal suite, 1974. An updated insurance valuation, reflecting rising gold costs and the addition of a ring and brooch to the suite, dated 13 June 1974. An invitation to an Exhibition of the works of Louis Osman, at Canons Ashby, with accompanying note, 1974. A typed valuation including the opal suite, dated 15 December 1976. A hand written valuation, including the opal suite, dated 26 April 1978. Also included in this lot are: An exhibition catalogue for The Observer Jewellery Exhibition, organised by the Welsh Arts Council, with dedication by Louis Osman, together with a copy of Country Life September 1973, which includes a relevant article (p745) and a further press cutting from The Retail Jeweller, September 1973. An exhibition catalogue for Osman: An exhibition of the Works of Louis Osman at Canons Ashby, with personal dedication, together with an original related signed letter from Osman. An exhibition catalogue for Celebration in Gold and Silver, together with original related paperwork. An exhibition catalogue for Explosion, with personal dedication from Osman, and further original related paperwork. An exhibition catalogue for The Louis Osman gold exhibition, held at Goldsmiths’ Hall, February-March 1971, with personal dedication from Osman. A copy of the biography: Louis Osman, by Jenny Moore.

Brigg (Mid-20th century) Two caricature sketches of officers, one entitled 'Captain Robinson' the other 'Major W. A. Carruthers', together with a further similar pencil sketch of sailors, each approximately 28 cm x 23 cm.

VLADIMIR HOROWITZ - PIANO MUSIC OF MENDELSSOHN AND LISZT LP (WARHOL COVER - RCA VICTOR - LM 9021). A wonderful, original 1954 US mono LP pressing of Vladimir Horowitz performing the Piano Music Of Mendelssohn and Liszt. With early, circa 1951 ink sketch by legendary artist Andy Warhol (LM 9021, 1954 US mono pressing on RCA Victor. Deep-groove red/ silver text labels have some spindle wear but are still fully legible. Side 1 is VG+, displays a couple of light surface marks. Side 2 is VG, same as side 1 but has a hairline but feelable mark. Sleeve with Warhol cover sketch is VG+, displays only minor age-related storage wear).

The Simpsons Radioactive Man Meets Bartman signed framed poster, to include signatures and hand drawn sketches by Matt Groening, Steve Vance, Cindy Vance, Bill Morrison, and David Silverman. Good to Good Plus. NB - "The poster was acquired at the 1993 San Diego Comic Convention and heralds the debut of The Simpsons comic book. The entire creative team was there and have all signed this piece. Add to that the fact that each drew a little sketch of various characters including Bart, Homer, Itchy and Scratchy." "It is inscribed by Simpsons creator Matt Groening who did a sketch of Bart, Steve Vance who provided the script/layout/inks for the first issue and is Editor in Chief/Creative Director drew a sketch of Itchy, Cindy Vance who provided co-plot/colors for the first issue and is Editor in Chief/Creative Director drew a sketch of Barts hair, Bill Morrison who provided inks/embellishing for the first issue and is the Art Director drew a sketch of Scratchy, and David Silverman who drew a sketch of Homer".  Also includes The Simpsons related mounted prints. Please note, due to being glass, the frame may have to be removed for shipping. See photo. 

Attributed to G.F. Watts, sketch of a figure study titled ' Venus ', bearing monogram, 31 x 18cm

Pencil/crayon sketch, carol singers possibly German, indistinctly signed, 36 x 24cm

20th Century sanguine sketch of a woman by a window, 30cm x 21cm

Ink and watercolour sketch, caricature of a gentleman and young boy, together with a photograph of Divisional Signal Company

A collection of prints, etchings and engravings, some after old masters: Albrecht Durer and one original Victorian pencil sketch in process of being hand-coloured. H.60 W.44cm (largest).

SIR DAVID WILKIE (1785 - 1841) PORTRAIT OF A LADY - WATERCOLOUR SKETCH VIALLAGE FESTIVAL 19.5CMS X 15CM

FALKLAND ISLANDS: 1928 SOUTH GEORGIA PROVISIONAL 2½d ON 2d USED ON PIECE TIED '19 FE 28/SOUTH GEORGIA' CDS, HAS A DAMAGED TOP LEFT CORNER, SOLD WITH A FASCINATING LATTER DATED 17 FEB FROM R.S.S. WILLIAM SCORESBY WRITTEN BY JAMES WORDIE, ALBUM PAGE WRITE-UP AND DAILY SKETCH CUTTING.

A framed pencil sketch of Winnie the Pooh

A pencil sketch of a nude lady, framed and glazed

A framed pencil sketch study of a nude male. Unsigned. Height: 28cm, Width: 18cm.

Jane Humphrey, watercolour study of a church; Ann Matthews, pencil signed print entitled 'Onion Experts'; J Green, watercolour study of a river scene; mixed media entitled 'Snape Pots'; pencil sketch depicting cattle watering

A BOX OF SUNDRY ITEMS AND COLLECTABLES ETC, to include a silver engine turned photo frame, approximate height 8.5cm, smaller silver coloured photo frame, a Tiffany & Co trinket dish missing its lid, approximate dimensions H5cm x W7cm, vintage Lyons Cocoa tin, petit point candle holders, a brass ashtray in the form of a toilet, a battery operated bowling game, boxed Eddie Stobart lorry, boxed Sketch-a-Graph, a folding bamboo basket, a unused photo album, etc

Sixteen WWI Daily Sketch Papers, mainly 1914-1915,

Late 18thC Pencil sketch depicting a wood carrier in the manner of George Morland (1763-1804). 33 x 25cm

Alexander »Sandy« Calder. Bleistiftzeichnung, eigenhändiger Brief und drei eigenhändige Briefkarten, alle mit Unterschrift »Sandy« Roxbury, 13. Januar 1953 - 13. XI. 1967. Zusammen sechs Seiten. Alle an Alf (Alfred) Hentzen (1903-1985), der nach seiner Tätigkeit in Hannover (Wiederaufbau der Kestner-Gesellschaft) in Hamburg lebte und dort 1955 in Carl Georg Heises Nachfolge Direktor der Kunsthalle wurde. Mit Alexander Calder (1898-1976) verband Hentzen eine lebenslange Freundschaft. - Bleistiftzeichnung: Bemaßter Entwurf für ein Mobile. 28 : 21,5 cm. - Brief zu dieser Zeichnung, 13. Januar 1953: »I enclose a sketch of a model that I want to enlarge for The Rosenhof. [...] I wanted to make it 3 times as large. But I guess that this would not be big enough. [...] I like the model very much. It is simpler than a lot of mobile models [...| but I like it better.« Im Folgenden Überlegungen zur endgültigen Größe der Plastik. - Mit eigenhändig kalligraphiertem Kuvert, mit kleiner Tuschmalerei. - Drei Postkarten (Kunstpostkarten, 1963, 1964 und 1967) zur Beteiligung Calders an der Documenta 1964 u. a. m., die letzte an Hentzens Ehefrau Anne.

Frank Duffield (British, 1908 - 1982), fly fisherman casting, watercolour, signed lower left, label verso inscribed 'Bristol Savages, Evening Time - Sketch, Subject , titled 'Every Prospect Pleases' Wed. Nov. 27th - 1974', 25 x 36cm, framed and glazed

Original watercolours including a view of Robin Hoods Bay, print, pencil sketch (5)

English School (19th Century): Pensive Young Girl, charcoal sketch on paper unsigned 33cm x 29cm

A Collection of various unframed and framed artworks; Various paintings by Rachel Grainger- Hunt [Irish], Pen sketch by F. McFaddo and 19th century coloured engraving/ print depicting gentleman falling of a horse. Mid century original pastel depicting building. Signed and dated 65. [Frame- 63x50cm]

After Bakst, Costume Design Sketch for the Kings Guard, Sleeping Beauty, signed Bakst 1921, worked on paper the figure wearing a decorative brown two piece with blue waistband, matching feathered hat, white gloves and ribbon decorated shoes, worked in mixed medium, signed and dated in pencil, bearing two Cyrillic purple stamps to the front, 29cm by 35cm The design was created by Bakst in the later part of his career, while seriously ill, and was the last of his collaborations with Serge Diaghilev, his longtime partner in the Ballets Russes.Sleeping Beauty, directed by the famous choreographer Petipa and the director of the Imperial Ballet, Vsevolojsky, was the finest classical ballet in the Ballets Russes repertoire, and premiered with Bakst's grandiose stage and costume designs, using his signature mix of bold colors and orientalist inspirations.

After Bakst, Costume Design Sketch for Odalisque, Scheherazade signed Bakst 1910, worked on paper the female dancing figure wearing a decorative costume with jewelled bodice and striped cuffed trousers, head dress and yellow shawl, worked in mixed medium, signed and dated in pencil, bearing two Cyrillic purple stamps to the reverse, 30cm by 44cm