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Well Written and Emotive WW1 Diary Grouping of Reginald Sydney Barfoot 87th Siege Battery Royal Garrison Artillery, the group consists of two diaries dating from 1916 and 1917. The first diary begins on 5th May 1916 when he first ships out from Southampton and arrives in Le Havre. The diary begins with his general day to day routine behind the front lines in France but soon then moves into service nearer the front, with many places he visited clearly named. He records the first horror of war he saw on the 21st May 1916, “went to Neuf-Berquin for rations, saw RFA man & horse in ditch, cart on top of both, man nearly suffocated with mud in his mouth & nose.” He goes onto note that he was excited the first time that he went into action with a artillery gun on 23rd May 1916, he continues to talk about German shelling and also he witnessed a aerial battle between German and British planes. He continues to describe actions and also mentions casualties including a Gunner Dixon and Gunner McGill. On the 31st July 1916 he enters into the diary, “3am, one man killed & two (home), picked up one man who was wounded in his side & one arm broken. Carried him to billet, cut all his clothes off, dressed his wound. 4pm shells dropping all around. 10 or 12 more men injured. Two (civilians) killed. Men all leave billet”. On the 30th September 1916 on being split from his battery, he was engaged by the enemy, “3am Column officer arrived and directed us to Btty position. It was a very exciting time, shells were dropping all around us on the (corner) when we were unloading, 2 machine guns opened fire behind us. I thought my last hours had come”. You start to notice that the entries in the first diary start to get shorter, probably as the reality of war is starting to kick in and the initial jubilance of doing his bit for King & Country wears off. The first diary ends on Christmas day 1916. The second diary starts with a few entries behind the lines in camp and then on 16th January he makes reference to British tanks, “and then onto Thiepval, saw the tanks stuck hard in German trench, went down the Huns dug out, holes 50ft deep”. He was promoted to Sergeant in February 1917 and witnessed the fate of a Royal Flying Corps pilot in March 1917, “one of our fighting planes brought down by the Hun and burnt to a cinder near the Btty”. The diary continues but with very short entries, this is possibly an indication of his mood at the time. It does however give a good insight into the combat the battery was involved in during the 1917 period. The last entries in the second diary are very short, “SOS call 7pm Fritz attacked” and “A Fritz plane brought down in flames in front of battery”. Accompanying the diaries is a small selection of original paperwork relating to his military service, pre-war sketch book with pen and ink comical sketches and a sketch of a women, possibly his sister, who he makes reference to many times in the diaries. Also with the grouping is a typed transcript of both diaries and some photocopied research relating to his service. The diaries are hand written in pencil but are still readable, the first diary does have some pages missing. Overall a very interesting and well written pair of diaries which is unusual to find for a enlisted man. The diaries give a good insight in to the daily operations of his battery during the 1916 and 1917 period with many enlisted men and officers mentioned by name.

John Constable RA (1776-1837)Dedham Vale with Brantham mill and haystacks, c.1809-10oil on millboard26.8 x 43.3cm, in a gilt carved wood frameThe present view is looking south over Dedham Vale with the Church and sprawling village, and the far snaking line of the Stour against the southern higher ground.Provenance: Probably a member of the Constable family;Leggatt Brothers, London; Agnews (11510), sold 1946 to Major A.W. Allen (stock number 9159);and by descent to the vendorVerso: old label indistinctly inscribed ‘Landscape & ...’This previously unrecorded early oil sketch by John Constable is an exciting new discovery, and forms a useful new addition to the Constable literature. The fact that the picture once passed through the hands of Leggatt Brothers points towards a likely provenance direct from a member of the Constable family.During the first half of his career, when visiting the family home at East Bergholt during the summer and often sketching from nature there, Constable would tend to focus on two key landscape subjects: panoramic views overlooking the Stour valley, most especially vistas of Dedham Vale; or more enclosed views made in and around the mill at Flatford belonging to his father, Golding Constable.Constable’s paintings of Dedham Vale are usually taken from two favourite viewpoints: either (as is the case with this sketch) from the Suffolk side of the valley looking westwards across the Vale; or, as painted by him from as early as 1802, from the Essex side of the valley, from higher ground on Gun Hill, looking eastwards.The most famous representation by Constable of the former composition is the panorama of Dedham Vale, seen from the East Bergholt to Flatford Lane, which he sent to the Royal Academy in 1811 with the title 'Dedham Vale, Morning' (Proby Collection, Elton Hall; see Graham Reynolds, 'The Early Paintings and Drawings of John Constable', 1996, Yale University Press, no. 11.02). Constable made a number of preparatory oil sketches for this composition, which - like the final picture itself - show the towers of various Suffolk or Essex churches in the distance, of Stratford St Mary, Langham and Dedham (see Reynolds op.cit, R.11. 04-06). In these related sketches, Constable indicates the distant church towers with simple little white flecks of paint. This is his personal shorthand for showing their position in the landscape as well, no doubt, as to show the way they catch the light depending on the time of day and position of the sun.This previously unrecorded oil sketch shows the unmistakable tall tower of Dedham Church (and its adjacent village) in the far right hand distance. As Constable’s viewpoint here is clearly further east than the one he adopted for 'Dedham Vale: Morning', 1811, the two church towers of Stratford St Mary and Langham are no longer visible in the distance (they are out of sight on the right). Instead a windmill - apparently a weatherboarded post mill - has now come into view in the left hand middle distance. Like the towers of the local churches, Constable has rendered this mill in prominent strokes of white paint.By examining an ordnance survey map dating from the early nineteenth century, one can deduce that the windmill Constable shows here is likely to be identifiable as one situated at Brantham (see Ordnance Survey Map Sheet 64, Colchester; facsimile version of 1838 re-engraved map, on four quarter plates, based on 1805 single sheet impression of map). In fact Brantham boasted two mills in Constable’s day, both situated - a little to the south-west of Brantham village - on the river Stour where there was also a Lock - indeed Brantham Lock was the last of the 15 locks which, since the time of their construction in the eighteenth century, had rendered the River Stour navigable from Sudbury to Manningtree.Of the two windmills at Brantham, one was a wind driven postmill with sails - tentatively identified as the one Constable has painted here - and the other a tidal mill driven by water. As Ian Fleming-Williams pointed out, this was a convenient arrangement, as it meant that one could be used when the other was unable to work ('Constable and his Drawings', 1990, p.111). Both mills at Brantham are shown, sited very close to each other, in a tiny pencil sketch Constable made in 1814 ( Reynolds, op.cit, 14.23, albeit only the roof of the tidal mill is visible in this sketch). The mill shown in Constable’s oil sketch meanwhile is, as indicated above, likely to be identifiable from its sails as the wind driven post mill at Brantham (the tidal mill presumably being out of sight). Constable had made a more detailed drawing of this mill, in pencil and stump, as early as 1802 in which he showed its exact position on the river, and where the structure of the mill building can be made out in more detail ('The Windmill at Brantham', Victoria & Albert Museum, see Reynolds, op. cit, 02.8). He made a further sketch of the windmill at Brantham in the intact 1814 sketchbook in the Victoria & Albert Museum ( Reynolds, op.cit, 14.32, p.47).Windmills frequently caught Constable’s attention as potential subject matter for his art given his father’s profession as a corn (and coal) merchant. Not only did Golding Constable own mills at Flatford and Dedham, but he seems also to have owned the windmill at Brantham, and certainly had a coal-yard at the latter location (Fleming-Williams, op.cit, p. 112). The area around Brantham, then, would have been familiar territory for Constable during the first half of his career, and perhaps especially in the period 1805-8 when the young artist was involved in painting an altarpiece for the church at Brantham ('Christ Blessing the Children', 1805-8, on loan to Emmanuel College, Cambridge, Reynolds 05.2).Constable’s oil sketch of 'Dedham Vale with Brantham Mill' is painted on millboard, a support Constable is known to have taken up for oil sketching in the period around 1809, perhaps influenced by the adoption of the same support for sketching by his patron and mentor, Sir George Beaumont. Constable’s use of millboard here, together with the stylistic handling – strong tonal contrasts and a fairly even application of paint - point towards a date of c.1809-10. A view of 'Malvern Hall from the South-West' of 1809 in the Bristol Museums and Art Gallery (see right in catalogue), although executed on paper laid on canvas, is very similar in handling.I am especially grateful to John Somerville who kindly pointed out to me that the viewpoint is probably the furthest East that Constable ever painted Dedham Vale, and therefore that the mill is most likely to be that at Brantham owned by his father, Golding Constable.Anne LylesWe are grateful to Anne Lyles for her assistance in the cataloguing of this lot.Condition report: Oil on board. The board is fragile and brittle; the edges are very friable. Old tears in the support are visible at the top and bottom edges. There is a sketch on the reverse of the board with remnants of old paper tape around the edges. The oil painting on the front of the board is in a stable condition. There are losses associated with the tears and localised damages. There are scattered retouchings across the surface of the painting which are matte and are slightly mismatched to the original. The retouchings cover areas of damage and spots of wear and abrasion. In the sky the retouching gives the painting a slightly mottled appearance. The varnish is clear and glossy. The frame is in a good condition with a few scattered losses to the gilding on the sides. The painting is poorly secured in the frame with bent nails and cork spacers.

HRH The Duke of Windsor, formerly King Edward VIIIStudy of a battleshipsigned 'E of Wales / 1909' l.r., inscribed on a later label verso 'This marine sketch was penned in 1909 by Prince Edward in the autograph book of his friend and fellow Cadet at the Royal Naval College, Dartmouth, Edward Cawdron Cordeaux', pen and ink9 x 16cmCondition report: The paper has discoloured. There are a couple of large brown stains lower left and along lower edge. One of two light spots of foxing. Not seen outside of frame.

Richard Parkes Bonington (1802-1828)The Interior of Sant'Ambrogio, Milanbears a later signature l.l., oil on paper laid to panel17 x 21cmProvenance: The Bonington Studio Sale; Sotheby's, 29 June 1829, lot 61, bt. Colnaghi (£300);Captain W Webb; anon. sale, Paris, 23 May 1837, lot 15;Arthur Tooth and Sons Ltd., Bruton Street, Mayfair, London, W1 where acquired by Major A W Allan;Major A W Allan; 'Important English Pictures', Christie's London, 24 June 1977, lot 104 (sold for £1700).Literature: A Dubuisson, 'Richard Parkes Bonington', 1924, p.168.Bonington travelled to Italy for the first time in the Spring of 1826 and arrived in Milan with his companion Charles Rivet, who wrote 'We are in Milan, where at last we have unpacked and put to use our colour boxes ... I think that if Bonington can produce the paintings he has sketched his reputation will be made'. His first sketch in oil of the interior of the medieval basilica of Sant’Ambrogio, now in the Kimbell Art Museum in Fort Worth, Texas, was done on site on or around 11th April that year and was to be the basis for a highly finished watercolour, dated 1827 (Wallace Collection, no.714), with differences in the positioning of the figures. While in Milan Bonington also painted an interior, now lost, of the cathedral, before he and Rivet continued on to Verona in April 1827.The 1977 Christie’s catalogue description notes in its provenance: 'Dr Marion Spencer has kindly identified this as the picture sold in the Bonington Studio sale'.Condition report: Appears to be oil on laid card mounted onto a small panel with a cradle. There is an old tear in the upper right corner and an area of damage in the upper left with disrupted paint and darkened overpaint. There are small raised lumps cross the middle area of the painting which appear stable. The paint layer is in a good condition, there are a few scattered areas of overpaint across the surface. The painting has a thick layer of varnish which has yellowed and has some drips present in the texture. The frame has a few scattered losses.

Collection of medallions, to include Royal Mid Surrey 25-4-40 Daily Sketch War Relief Fund, Coronation medals, Victorian Love Token, a badge and a Post Office medallion

Sir Alfred Munnings (1878-1959)4 pencil sketchesThree men around a table, inscribed 'Still more studies, confirmation for the picture of the composing of the Marseillaise' and sketch book studies of horses6 x 4.5in. and 4.5 x 5.5in., 3 unframedCONDITION: Main sketch - paper a little discoloured with a slight central crease, tab marks at the top and some scattered fox marks, extensively inscribed verso by Grant Walters giving details of the work, according to Jenny Hard of the Munnings Museum this sketch looks to be a trial design for the cover of the third volume of Munnings' autobiography 'The Finish'.The 3 unframed sketches are all with discoloured paper with paint and other dirt stains upon them but otherwise fair.

After Charles Spencelayhoil on canvas laid on boardThe Violin Maker34 x 27in.CONDITION: Oil on board with looks to be a laminated perspex cover, resulting in glossy patches showing through the paint where the varnish is reflecting light, fairly sketchily painted but with some areas of quality and overall having the appearance perhaps of an unfinished sketch, no sign of any signature, housed in a gilt gesso frame which has been gold painted but otherwise is in good order, no labels verso.

Framed pen sketch, ' Grand Army En Grand Terue ', signed Kin Day, dated 1977, gilt framed, together with a head and shoulder pencil sketch of a woman, framed pencil sketch of fisherwomen and a small coloured pencil sketch, ' The Estuary Longhouse '

Attributed to Thomas Churchyard, oil on canvas laid down on panel, figure on a wooded lane, 6.75ins x 5.25ins, gilt framedUnder glass, unsigned, thinly painted with parts of canvas showing.More of a sketch, condition is okay but needs glass removing

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)

Attributed to Walter Greaves, oil sketch, barges by a Thames bridge, bearing signature verso, ebonized frame, 6.5ins x 8.5insA few dark spots on the surface but otherwise - good condition

Dr. Edward Adrian Wilson, watercolour sketch ' Captain Scott's Expedition to the South Pole ', signed with initials and with various old labels verso, 3.75ins x 2.5ins, ebonised frame

A framed and glazed pencil sketch of church grounds, indistinctly signed. Together with a framed and glazed watercolour of snowy scenery, signed Roger. 51x42cm (largest)

Edward Wesson (1910-1983) British, Sketch of a castle by a river, ink & wash, signed, 7.5" x 10.5".

John Leith Craxton (1922-2009) - Woodblock Christmas card for 1958, woman arms raised by the sea, signed to interior, containing an ink sketch inscribed 'Tigger on my bed, Jan 81', further 1962 card with mandolin player, signed to the interior; together with a pen and ink cityscape, a further Christmas card and an unusual Japanese style woodblock (6)

Graham Sutherland (1903-1980) - A sketch book page of Picton Beach towards Picton Point, coloured print, on woven paper, 39 x 44cm, framed

Victorian School, pencil and watercolour, Preparatory sketch; Renaissance figures on a terrace, indistinctly signed, 51 x 64cm.

A pencil sketch, Aysgarth Falls, dated sept 27, 1831, 23 x 33cm, framed and glazed, and a print, Japanese lady, 22 x 15cm, framed and glazed

A pastel sketch, Conni Ashworth, Lilac, monogrammed, and attributed verso, 51 x 33cm, framed and glazed

A pencil sketch, St John's Vale, Cumberland, attributed verso, dated 10/11/1831, 13 x 23cm, framed and glazed

A watercolour, Connie Ashworth, Sunshine and showers on Arnside Knot, monogrammed and attributed verso, 27 x 37cm, framed and glazed, a similar watercolour, The Cave Silverdale, 40 x 35cm, framed and glazed, and a pastel sketch, still life, 34 x 29cm, framed and glazed

A pen and ink sketch, Henry Eddowes Keene, Southwold, attributed verso, 11 x 18cm, framed and glazed

A selection of decorative pictures, inc print after Armour, hunting interest, 18 x 11cm, framed and glazed, and a pencil sketch, young woman, 19th century, 14 x 15cm

WALTER LANGLEY R.I., R.S.I. (1852 - 1922) charcoal sketch - head and shoulders study of an elderly lady, signed in ink with initials, mount inscribed, paper label verso inscribed, 'The inherited property of his great grand daughter, Penelope', 24 x 15.5cms Provenance: private collection, Cardiff Auctioneers Notes: Langley painted several similar studies which have been variously titled 'Grace' or 'Old Grace' in recent years. There were in fact two models of that name, Grace Kelynack and Grace Warren. The latter, who appears in his famous painting 'Motherless' (1895) may well be the sitter in the present lot Presentation & Condition: framed and glazed, ready to hang. Excellent condition

BT2016 ? A portrait of of a rough haired terrier with red tartan collar, pastel and chalk sketch on buff paper. 30cm x 24cm Together with a water colour by Peter Tomalin watercolour of Banbury Lane, Northants, signed and dated 1980.

Mid-19th century school - Sheep in a landscape, sepia watercolour sketch, signed with monogram HPC and dated 1840, 15 x 18.5cm; one other similar example; and sundry prints

SIR FRANK BRANGWYN RA watercolour sketch - entitled verso on Kaplan Galleries, Cork Street label 'Spanish Rooftops', 22.5 x 17cms Provenance: collection of the late Richard Hutchings, Newport Presentation & Condition: no problems, later framing and glazed

Follower of George Richmond, Portrait of a young lady, head and shoulders, chalk, together with a further pencil sketch signed T Stothard, depicting dancing figures, an unframed, monogrammed oil on canvas depicting a continental lady playing a lute, and a further unframed oil on canvas depicting a sportsman with his dogs and the days catch (4)

A Pencil sketch by Charles James Mcall (b.1097) "Study, The Diamond Dealer", signed lower left.

A Pencil sketch by Charles James McCall (b. 1907) of a woman through an open door, signed upper right, image size 13 1/4'' x 8 1/2'' wide, total with frame 23 1/4'' x 18 1/2'' wide

A black framed, signed pen and sepia ink Sketch/Drawing of a Morgan three-wheeler "V"- twin engined motor Car, 8'' x 12'' approx.

§ DAVID MACBETH SUTHERLAND R.S.A. (SCOTTISH 1883-1974) ON THE WEST COAST Signed, oil on board, with another signed sketch verso(37cm x 46cm (14.5in x 18in))

CHARLES MARTIN HARDIE R.S.A (SCOTTISH 1858-1916) BURNS IN EDINBURGH, 1787 Signed and inscribed 'To Alec Anderson', oil on board(10cm x 17cm (4in x 6.75in))Footnote: Provenance: Alexander Anderson, the Scottish poet. Note: This is a sketch for a larger finished work 'Burns in Edinburgh 1787.'

Group of vintage toys and games to include boxed Denys Fisher Spiro-Matic, boxed Enid Blyton Noddy Teaset, boxed Chad Valley Super Show Projector, original boxed Etch a Sketch etc

(See English version below)Magnus Zeller (Biesenrode b. Mansfeld 1888 – 1972 Berlin). Im Travestielokal. Um 1920Aquarell über Bleistift auf Papier. Rückseitig: Abenteurer. Um 1946. Aquarell und Tuschfeder. 55,7 × 37 cm ( 21 ⅞ × 14 ⅝ in.). Rückseitig signiert: Magnus Zeller.Nicht bei Helm. [3674] Gerahmt. Addendum/Erratum: Titel: „Lesbierinnen" (Café Lesbos). Werkverzeichnis: Helm A 1924-36. Es handelt sich um eine Vorzeichnung zu dem Gemälde „Lesbierinnen“ (Café Lesbos). 1929. Helm G 1929-11. Rückseitig: „Abenteuerer am Nebelsee“. 1946. Werkverzeichnis: Helm 1946-7.Wir berechnen auf den Hammerpreis 30% Aufgeld.Magnus Zeller (Biesenrode near Mansfeld 1888 – 1972 Berlin). Im Travestielokal. Circa 1920Watercolour over pencil on paper. On the reverse: Abenteurer. Circa 1946. Watercolour and pen and India ink. 55,7 × 37 cm ( 21 ⅞ × 14 ⅝ in.). Signed on the reverse: Magnus Zeller.Not in the catalogue raisonné by Helm. [3674] Framed. Addendum/Erratum: Title: „Lesbierinnen" (Café Lesbos). Catalogue raisonné: Helm A 1924-36. This is a sketch relating to the painting „Lesbierinnen“ (Café Lesbos). 1929. Cat. rais.: Helm G 1929-11. On the reverse: „Abenteuerer am Nebelsee“. 1946. Cat. rais.: Helm 1946-7.We charge 30% premium on the hammerprice.

(See English version below)Ernst Wilhelm Nay (Berlin 1902 – 1968 Köln). „Waldgeist“. 1948Gouache über Bleistift auf Papier. 24,8 × 16 cm ( 9 ¾ × 6 ¼ in.). Unten rechts mit Feder signiert und datiert: Nay 48. Rückseitig Bleistiftskizze.Claesges 48-018. [3085] Gerahmt. Wir berechnen auf den Hammerpreis 30% Aufgeld.Ernst Wilhelm Nay (Berlin 1902 – 1968 Cologne). ”Waldgeist”. 1948Gouache over pencil on paper. 24,8 × 16 cm ( 9 ¾ × 6 ¼ in.). Signed and dated in pen lower right: Nay 48. A sketch in pencil on the reverse.Claesges 48-018. [3085] Framed. We charge 30% premium on the hammerprice.

A 3D woodcut picture of a pub in Chigwell Essex, a framed pencil sketch of Chigwell signed Ray Figg '84, an unframed pencil of Chigwell Church by the same artist plus a framed watercolour of a building

Three boxes of vintage Tate & Lyle sugar samples in boxes and sugar recipe books, a boxed set of King George VI farthings, the coinage of GB and Northern Ireland 1981, Queen Elizabeth II sixpence's, Daily Sketch June 7th 1916 'Lord Kitchener Drowned' issue plus Daily Mirror July 21st 1969 'Man on the Moon' issue etc

N P Bolt: Still life of flowers in a vase, pastel sketch, signed, framed and glazed; 2 watercolours depicting floral subjects

MERVYN LEVY; Pencil drawing of seated nude 1934. Verso blue ink sketch of nude. Swansea School artist reputedly a friend of Dylan Thomas

"Monty": A framed and glazed pencil sketch of Field Marshall Montgomery

(See English version below)Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). „Zirkusscene“. 1923Aquarell, Farbkreide, gesprühte Silberbronze, Bleistift und Collage auf Papier. 49,4 × 35,3 cm ( 19 ½ × 13 ⅞ in.). Unten links signiert und datiert: DIX 23. Rückseitig die Bleistiftskizze einer Treppe. Dort bezeichnet und betitelt: Privatbesitz Zirkusscene.Pfäffle A 1923/23. [3547] Gerahmt. Provenienz: Nachlass des Künstlers / Familie des Künstlers, Hemmenhofen / Otto Dix Stiftung, Vaduz / Privatsammlung, BerlinWir berechnen auf den Hammerpreis 30% Aufgeld.Otto Dix (Gera-Untermhaus 1891 – 1969 Singen). ”Zirkusscene”. 1923Watercolour, coloured chalk, sprayed silver bronze, pencil and collage on paper. 49,4 × 35,3 cm ( 19 ½ × 13 ⅞ in.). Signed and dated lower left: DIX 23. On the reverse a pencil sketch of a staircase. There inscribed and titled: Privatbesitz Zirkuscene.Pfäffle A 1923/23. [3547] Framed. Provenance: Estate of the artist / Family of the artist, Hemmenhofen / Otto Dix Stiftung, Vaduz / Private Collection, BerlinWe charge 30% premium on the hammerprice.

(See English version below)Franz Wilhelm Seiwert (1894 – Köln – 1933). „Seemann“. 1924Öl auf Karton. 26 × 20 cm ( 10 ¼ × 7 ⅞ in.). Mitte rechts monogrammiert und datiert: FWS 24. Rückseitig oben zweimal die Adresse des Künstlers (in Bleistift und gestempelt): Franz W. Seiwert / Köln/Rh. / Eigelstein 147 III.Bohnen 52. Rückseitig mit einer Bleistiftskizze des Kopfes. [3547] Gerahmt. Provenienz: Ehemals im Besitz der Schauspielerinnen Grete Roese-Dierse, Köln, und Marlene-Rothe-Riphahn, BensheimWir berechnen auf den Hammerpreis 30% Aufgeld.Franz Wilhelm Seiwert (1894 – Cologne – 1933). ”Seemann”. 1924Oil on cardboard. 26 × 20 cm ( 10 ¼ × 7 ⅞ in.). Monogrammed and dated middle right: FWS 24. On the reverse at the top twice the artist's address (in pencil and stamped): Franz W. Seiwert / Cologne/Rh. / Eigelstein 147 III.Bohnen 52. On the reverse a pencil sketch of the head. [3547] Framed. Provenance: Formerly in the collection of the actresses Grete Roese-Dierse, Cologne, and Marlene-Rothe-Riphahn, BensheimWe charge 30% premium on the hammerprice.

Birds.- Thorburn (Archibald) British Birds, 4 vol., first edition, 80 colour plates, tissue-guards, occasional marginal spotting, original red cloth, a little rubbed, faded spines, slight bumping to extremities, 1915-19; A Naturalist's Sketch Book, first edition, plates, tissue-guards, original red cloth, faded spine, slight bumping to extremities, 1919; 4to (5)

East Indies.- Huddart (Joseph) Sketch of The Straits of Gaspar, showing part of the Island of Banca on the east coast of Sumatra just to the south of Singapore, from Laurie and Whittle's 'East India Pilot', engraving on cream laid paper with large watermark of a Strasbourg lily, platemark 665 x 490 mm. (26 1/4 x 19 1/4 in), sheet 780 x 565 mm. (30 3/4 x 22 1/4 in), central horizontal fold as issued, minor offsetting and surface dirt, possibly erroneous manuscript ink annotation to lower edge that reads 'Printed for Robert Sayer [...] 17th Dec. 1788', unframed, [1788]

Modern British Art.- Heller (Robert) Peter Howson, signed by the author and by Howson with signed sketch on title, 2003 § Jahn (Wolf) The Art of Gilbert & George..., 1989 § Hughes (Patrick) Left to Write: Collected Writings, signed by the author, 2008 § Arwas (Victor) & others. Graham Ovenden, 1987 § Hayes (John) The Art of Graham Sutherland, Oxford, 1980 § Hicks (A.) The School of London: the Resurgence of Contemporary Painting, Oxford, 1989 § Seipel (W.) & others. Francis Bacon and the Tradition of Art, Vienna, 2004 § Bell (Keith) Stanley Spencer, 1999, illustrations, many colour, the last two original wrappers, the rest original cloth or boards with dust-jackets, the fifth rubbed; and a quantity of others on modern and contemporary British art, many catalogues, v.s. (c.100)

J. LAMBLYN. A horse portrait 'Kim, sketch for portrait', singed and dated 1958 lower middle to right, mixed media on paper, framed and glazed, 27 x 35 cm

HAROLD RILEY (b.1934). Comical sketch of a dog title 'Happy Dog for Dave', together with a menu and an invitation from 'The Belfry Hotel, the sketch is signed and dated 1995 upper right, pencil drawing on Belfry invitation, unframed, 20 x 15 cm

Exzeptioneller Rokoko-Spiegel von Johann Michael Hoppenhaupt in Zusammenarbeit mit Johann Melchior Kambly 160 x 79 cm. Berlin/ Potsdam, um 1760. Bronze, gegossen, ziseliert. Der außergewöhnliche vergoldete Spiegel geht in seiner Form auf eine Zeichnung von Johann Michael Hoppenhaupt zurück für den Konzertsal im Schloss Sanssouci. Schwerer, teils à jour gearbeiteter, vergoldeter und ziselierter Bronzeguss mit stark plastisch wiedergegebenen Rocaillen, welche teils übereinandergreifen. Spiegelglas teils von Rocaillen überspielt und mit Trellismuster überzogen. Das evtl. teils erneuerte und teils blinde Spiegelglas flankiert von Palmstäben. Der bedeutendste deutsche Bildschnitzer des Rokoko, der seine Arbeiten in Holz schuf, arbeitete mit dem besten Lieferanten für feuervergoldete Bronzebeschläge für seine herausragenden Möbel zusammen. 1752 gründete Johann Melchior Kambly in Potsdam eine Manufaktur für die Herstellung von vergoldeter Bronze und arbeitete nicht nur mit Hoppenhaupt, sondern auch mit den Gebrüdern Spindler in Berlin zusammen. Da der hier vorliegende Spiegel aus feuervegoldeter Bronze gefertigt ist, ist anzunehmen, dass ein in Holz geschnitzter Spiegel von Hoppenhaupt von Kambly abgeformt, in Bronze gegossen und anschließend in Glanz- und Mattgold feuervergoldet wurde. Anmerkung: Diese Vorzeichnung ist abgebildet in Heinrich Kreisel, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, München 1970, Abb. 717. Johann Michael II Hoppenhaupt (1709-um 1755) ab 1740 in Berlin und Potsdam als Bildhauer und Dekorateur tätig, vor allem aber für Innendekorationen in Gebäuden Friedrichs des Großen. Gesichert sind aus seiner Hand Friedrichs Schreibzimmer im Berliner Schloss und die Arbeiten im Schloss Sanssouci sowie mehrere Zimmer im Schloss Zerbst. Vergleiche: Ein vergleichbarer Spiegel, ebenfalls in vergoldeter Bronze, befindet sich in der alten Sammlung vom Kunstsammler Ségoura. (1251815) (13) Exceptional Rococo mirror from Johann Michael Hoppenhaupt in collaboration with Johann Melchior Kambly 160 x 79 cm. Berlin/ Potsdam ca. 1760. Bronze; cast and chased. The shape of this exceptional gilt mirror is based on a drawing by Johann Michael Hoppenhaupt for the concert hall in Sanssouci Palace. Heavy, gilt and chased bronze casting, partially in à jour technique with almost three-dimensional, overlapping rocaille décor, in places reaching over the mirror glass and covered in trellis pattern. The mirror glass possibly renewed in places and several cloudy areas. Notes: This preliminary sketch is illustrated in Heinrich Kreisel, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, Munich 1970, ill. 717. Johann Michael II. Hoppenhaupt Exceptional Rococo mirror from Johann Michael Hoppenhaupt in collaboration with Johann Melchior Kambly 160 x 79 cm. Berlin/ Potsdam ca. 1760. Bronze; cast and chased. The shape of this exceptional gilt mirror is based on a drawing by Johann Michael Hoppenhaupt for the concert hall in Sanssouci Palace. Heavy, gilt and chased bronze casting, partially in à jour technique with almost three-dimensional, overlapping rocaille décor, in places reaching over the mirror glass and covered in trellis pattern. The mirror glass possibly renewed in places and several cloudy areas. Notes: This preliminary sketch is illustrated in Heinrich Kreisel, Die Kunst des deutschen Möbels, Spätbarock und Rokoko, Munich 1970, ill. 717. Johann Michael II. Hoppenhaupt (1709-ca. 1755) was active in Berlin and Potsdam as sculptor and decorator since 1740, especially for the interior décor of buildings for Frederick the Great. Verified works by him are in the secretarial room of Frederick at the Berlin Palace, at Sanssouci Palace as well as several rooms at Zerbst Palace. Examples of comparison: A similar mirror also in gilt-bronze is held at the old collection in Ségoura.

Bertel Thorvaldsen, 1770 "" 1844, zug. Engel mit Taufbecken 132 x 74 x 125 cm. Dänemark, um 1830. Auf flacher rechteckiger Basis die kniende Figur eines Engels mit gespreizten Flügeln und einer Muschelschale in seiner Hand. Über den langen über das anliegende Gewand fallenden Haaren ein Blütenkranz. Diese sehr wichtige Bleistatue entstand im Vorfeld für die "Agenuouille Angel", die Bertel Thorvaldsen als Taufbecken der Vor Frue Kirche (Frauenkirche) in Kopenhagen anfertigte. Nach dem englischen Bombenangriff von 1807, bei dem die alte gotische Kirche Vor Frue zerstört wurde, baute der Architekt C.F. Hansen die Kirche wieder auf. Thorvaldsen kehrte 1819 aus Rom zurück und erhielt den Auftrag für ein ganzes Skulpturenensemble, darunter eine Reihe von Aposteln, ein Johannes der Täufer und das Taufbecken, das in der neuen Kirche Platz fand. Bereits 1823 began Thorvaldsen das Projekt, und bereits hier entstand ein Engel, eine Muschel haltend. Unsere hier in Blei erhaltene Ausführung wurde jedoch vermutlich einige Jahre später von Thorvaldsen geschaffen. Unsere Figur ist gut mit der Vorzeichnung zu vergleichen, welche sich im Thorvaldsen Museum in Kopenhagen befindet. Minimal besch. Vergleiche: Ausstellungskatalog: Bertel Thorvaldsen, 1770-1844, Scultore danese a Roma, Rom 1989. Vorbereitende Zeichnung im Thorvaldsen Museum, Kopenhagen, Inv. Nr. 270. Große Engelsfigur, Marmor, 1827-1833, Kopenhagen, Frauenkirche. Anmerkung: Eine Seltenheit auf dem Kunstmarkt sind die begehrten Skulpturen von Bertel Thorvaldsen, der bereits zu Lebzeiten von seinen Zeitgenossen hoch gerühmt wurden. In die Zeit des Schaffens der hier angebotenen Figur fällt zum Beispiel auch der Auftrag eines Jason, den Thomas Hope in Marmor bestellte und der 1828 nach England geschickt wurde. Auch der Vatikan wurde in dieser Zeit auf den Protestanten aufmerksam und so wurde er 1823 mit dem Grabmonument für Pius VII betraut, das 1830 in der Cappella Clementina des Petersdoms aufgestellt wurde und zu den wichtigsten Arbeiten des Dänen zählt. (12518112) Bertel Thorvaldsen, 1770 '''' 1844, attributed 132 x 74 x 125 cm. Denmark, ca. 1830. Figure of an angel with spread out wings and holding a shell-shaped bowl and kneeling on a flat base. The angel is shown with long hair falling down the close-fitting garment and adorned with a floral wreath. This important lead sculpture was created for the Kneeling Angel, which Thorvaldsen designed for the Church of our Lady in Copenhagen as a baptismal font. Thorvaldsen returned from Rome in 1819 and was commissioned to create an ensemble of sculptures. He commenced the project in 1823 and created an angel holding a shell at the time. However, Thorvaldsen created the lead version on offer for sale in this lot maybe several years later. It compares very well with a preliminary sketch held at the Thorvaldsen Museum in Copenhagen. With minimal damage. Comparative examples: Bertel Thorvaldsen, 1770-1844, Scultore danese a Roma, exhibition catalogue, Rome 1989. Preliminary sketch, Thorvaldsen Museum, Copenhagen, inv. no. 270. Large sculpture of an angel, marble, 1827-1833, Copenhagen, The Church of our Lady.

(See English version below)Christian Friedrich Gille (Ballenstedt am Harz 1805 – 1899 Wahnsdorf b. Dresden). Alter Pflaumenbaum in Briesnitz an der Elbe. Bleistift auf Papier. 18,7 × 14,2 cm ( 7 ⅜ × 5 ⅝ in.). Unten rechts in Bleistift bezeichnet: Briesnitz. Von anderer Hand beschriftet: Prunus dom. Rückseitig: Baumskizze. Bleistift. Dort auch die Stempel Lugt 3549 (in Grün) und L. 4641.Beigabe: Ast eines Pflaumenbaumes. Bleistift auf Papier. Oben rechts bezeichnet: Prunus. Leicht gebräunt. [3727] Gerahmt. Provenienz: Erhard Kaps, Leipzig / Dr. Rainer Kaps, Leipzig / Privatsammlung, BerlinWir berechnen auf den Hammerpreis 30% Aufgeld.Christian Friedrich Gille (Ballenstedt, Harz 1805 – 1899 Wahnsdorf near Dresden). Old plum tree in Briesnitz on the Elbe. Pencil on paper. 18,7 × 14,2 cm ( 7 ⅜ × 5 ⅝ in.). Inscribed in pencil lower right: Briesnitz. Insncribed by another hand: Prunus dom. On the reverse: sketch of a tree. Pencil. There also the stamps: Lugt 3549 (in green) and L. 4641.Supplement: branch of a plum tree. Pencil on paper. Inscribed upper right: Prunus. Pale time staining. [3727] Framed. Provenance: Erhard Kaps, Leipzig / Dr. Rainer Kaps, Leipzig / Private Collection, BerlinWe charge 30% premium on the hammerprice.

(See English version below)Osmar Schindler (Burkhardtsdorf 1867 – 1927 Dresden-Wachwitz). Akademischer Rückenakt. Bleistift auf Papier. 38,3 × 28,4 cm ( 15 ⅛ × 11 ⅛ in.). Unten rechts signiert: O Schindler. Oben rechts bezeichnet: Sey [das Folgende radiert]. Rückseitig unten rechts der Stempel in Schwarz: NACHLASS Prof. Osmar Schindler 1867–1927.Oben rechts die Skizze eines Männerkopfes im Profil nach links. [3108] Wir berechnen auf den Hammerpreis 30% Aufgeld.Osmar Schindler (Burkhardtsdorf 1867 – 1927 Dresden-Wachwitz). Academic back nude. Pencil on paper. 38,3 × 28,4 cm ( 15 ⅛ × 11 ⅛ in.). Signed lower right: O Schindler. Inscribed upper right: Sey [the following erased]. Stamp in black on the reverse lower right: NACHLASS Prof. Osmar Schindler 1867–1927.A sketch of a man in profile facing left, on the upper right. [3108] We charge 30% premium on the hammerprice.

LIMA ADRIANA: (1981- ) Brazilian Actress & Model. A Victoria´s Secret Angel, and the second highest-paid model over the last five years. Signed colour 8 x 10 photograph by Lima, the image depicting the Brazilian top-model in a sensual topless three quarter length pose. Signed in bold black ink at the base of the image, also adding a heart sketch. VG

GUS: (1911-1997) Gustave Erlich. French comic Cartoonist. Well remembered for his publications in French newspapers Le Figaro, Le Canard Enchainé, and many others. An excellent signed original watercolour, `Gus´, one page, oblong folio, drawing paper, n.p., 1st December 1989, in French. Gus has drawn a funny sketch showing George H. W. Bush offering a peace-pipe to Mikhail Gorbachev, with the legend `Malta - Meeting Gorbachev-Bush´ in his hand. The drawing shows both leaders seated on a carpet, drinking vodka and coke, Bush stating “Pipe-peace. Old custom in our country”. VG

RECEVEUR CAROLINE: (1987- ) French Fashion Blogger and Actress. Attractive signed 8 x 11.5 photograph, the image showing Receveur nude, seated in a three quarter length pose. Signed in bold blue ink across the image with a drawn heart sketch beneath. VG

HERGÉ: (1907-1983) Georges Prosper Remi. Belgian Cartoonist. Best known for creating the series of comics “The Adventures of Tintin”. An excellent T.L.S., `Hergé´, one page, folio, Bruxelles, 27th October 1976, on the Studios Hergé attractive printed stationery, to Monsieur J.R. Paques, in French. The letter bears at the heading the black embossed letters of “Studios Hergé”.Hergé thanks his correspondent for his letter and congratulations related to the Tintin journal and the film `Moi, Tintin´, (“I, Tintin”), 1976. The sheet bears the attractive “La Hulpe” lion watermark. Accompanied by the original printed stationery envelope, bearing a printed sketch of Tintin and his dog Milou. EX

KOSINSKI JERZY: (1933-1991) Polish-American Novelist. A good original black pen and ink sketch drawn and signed by Kosinski, one page, 4to, New York, 28th December 1989, on his personal printed stationery. Kosinski has boldly drawn a polo player on horseback standing alongside the Eiffel Tower, with a speech bubble coming from the player, 'I love you, E.T.!'. Signed and dated immediately beneath the drawing. Unusual in this form. About EX

HESSE HERMANN: (1877-1962) German-born Swiss Poet, Novelist and Painter. Nobel prize in Literature, 1946. T.L.S., H Hesse, two pages, 8vo, Autumn 1958, in German. The attractive 8vo yellow page bearing at the heading a colourful watercolour pen & ink sketch featuring a countryside house. The typed text being a poem by Hesse, entitled "Ein Traum", `A Dream´ a twenty four verses poem stating `Rooms we cross with fear, Faces we do not recognize, Slowly one after the other, lights become pale..´ Signed in bold dark ink at the base of the poem. VG The author Christian Schneider wrote on his `Hermann Hesse´ book, `Hesse learnt how to incorporate his writing into his drawings with the ease of a graphic artist, as in the illustration of his poem Ein Traum (A Dream)´.

BELGIANS CARTOONISTS: Small and good selection of sketches by three well known Belgian Cartoonists, comprising MITACQ (1927-1994), his real name being Michel Tacq. Attractive white folding card, oblong 6 x 4, with a seven lines inscription alongside a Mitacq´s sketch depicting a scout castor from his comic series La Patrouille des Castors; DEVOS JACQUES (1924-1992) Devos worked for the magazine Spirou throughout his life. Colour sketch by Devos, to a thick 5 x 4 card, showing four of his main characters from his child prodigy comic series Genial Olivier (1963-88), and DE GIETER LUCIEN (1932- ) Best known as the creator of the comic series Papyrus. Signed and inscribed sketch to an 8vo page, the drawing showing his main character in the comic series Papyrus. VG, 3

[JAMES BOND]: Two signed 8 x 10 photographs by actors performing in James Bond films, comprising Jonathan Pryce (1947- ) British Actor. The Hamshere promotional 10 x 8 image depicting Pryce in a scene of Tomorrow Never Dies (1997) a James Bond series film. Signed in bold blue ink to the lower white border; Sam Mendes (1965- ) English film director. The attractive shot showing Mendes talking to Helen Mirren during the filming of Skyfall (2012) one of most recent James Bond films, and Barbara Carrera (1945- ) Nicaraguan-American Actress and Model. Best known for her role as assassin Spectre - Fatima Blush in the James Bond film Never Say Never Again (1983). Signed 8 x 10 photograph, the image showing Carrera in a head and shoulders pose. Signed in bold black ink across the image, adding a heart sketch beneath. VG, 3