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A copy of a photograph with Flight Lieutenant Dominic Bruce (known for the 'Tea Chest' and 'Sewer' escape attempts) highlighted with an original charcoal sketch, suspected as being either of, or by Dominic Bruce whilst at Colditz Oflag IVc.

Assorted 19th century volumes, to include a scarce copy of The Book of Fate: A New and Complete System of Fortune Telling, New York, 1823; the works of Chaucer and Ben Johnson uniformly bound in gilt-tooled half-Morocco; Gladstone and His Contemporaries in two half-calf bound 8vo volumes; Chapman's Dramatic Works in three volumes; In a Club Corner: The Monologue of a Man Who Might Have Been Sociable by A.P. Russell with various tipped-in correspondence, including an example on Manhattan Club, Fifth Avenue headed paper; Gertrude of Wyoming, and other Poems by Thomas Campbell, London, 1821; five volumes of Leather Stocking Tales by J. Fennimore Cooper; The Musical Cyclopedia by James Wilson (with hand-drawn replacement titles); John Murray Forbes: A Sketch by Edward Waldo Emerson, reprinted from the Atlantic Monthly, bound in quarter red Morocco etc. (2 boxes) Condition Report:Available upon request

Edinburgh 1329-1929 Oliver and Boyd, Edinburgh, 1929, half-bound in black Morocco with white buckram boards, 4to M'Arthur, John The Antiquities of Arran With a Historical Sketch of the Island embracing an account of the Sudreyjar under the Norsemen Adam and Charles Black, Edinburgh, 1873, second edition And others (9) Condition Report:Available upon request

The Illustrated War News, as published by The Illustrated London News and Sketch Ltd, London, eight Volumes, Volume 1-6, August 12th 1914 - June 7th 1916, together with two volumes New Series October 1916 - to March 1917. Volumes 1-6 landscape format, New Series in portrait format. Hard linen boards with illustrations throughout. (8) (B.P. 21% + VAT)

Group of three original works of a military nature to included: Watercolours signed Josh Reynolds of a British Army Officer dated '46, pencil sketch of Flight Lieutenant Randal DFC dated '42 and a humorous cartoon of Airmen in a life-raft 'Next Time Don't Twiddle'. Framed and glazed. (3) (B.P. 21% + VAT)

Various artists materials, cutting board, sketch pad, etc.

ATTRIBUTED TO PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.)SALEROOM NOTICE: Please note the cataloguing has changed Provenance: Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Literature: Advertisement supplement, The Burlington Magazine, vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre).Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) Julien-Leopold Boilly, Terpsichore and Erato, drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 46372) Julien-Leopold Boilly, Apollo and the Muses, lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer

GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified.  In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge.  In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year.  With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture.  Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas.  Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling.  Notes: 1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Some light craquelure throughout however the paint surface appears stable. Inspection under UV light reveals light scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer

Mary Potter (1900-1981) Watercolour "The River Bank", sketch with trees, chair in foreground, unsigned, 12cm x 14cm, framed and glazed Messum's receipt invoice no.6424 dated 4th June 2003 (copy). From the collection of the late Maurice Costley

HULL, Mr [Thomas] (editor). Select Letters Between The Late Duchess of Somerset, Lady Luxborough, Mr. Whistler, Miss Dolman, Mr. R. Dodsley, William Shenstone, and others; Including a Sketch of the Manners, Laws, &c.; of the Republic of Venice, and Some Poetical Pieces.., London: J. Dodsley 1778, 2 vols., pubs. boards, worn, 8vo; [CROMWELL, Thomas Kitson] The Lines of Eminent and Remarkable Characters born or long resident in the Counties of Essex, Suffolk and Norfolk, London 1820, large paper copy with 68 engraved portraits, half red calf (scuffs, worn), 8vo (3)

MOUNTAINEERING. GOS, Francois and F.F. Roget (trans.). Zermatt and Its Valley, Cassell & Co. nd, bookplate, cloth, illus. with fold-out map and plates, 8vo; IDEM. Rambles in High Savoy, Longmans 1927, illus., cloth & papered boards, 8vo; [TUCKETT, Elizabeth], Pictures in Tyrol and Elsewhere, from a family Sketch-book, Longmans, Green & Co., 1897, 1st edn., numerous b&w plates, half blue calf, scuffed, 8vo; and others related (21)

THOMPSON, Hunter S. The Curse of Lono, Bantam Books November 1983, illustrated by Ralph Steadman, SIGNED by Steadman in back ballpoint 'From Ralph Steadman & the Good Doktor For Alexander' with a brief sketch beneath to inner front cover and title, paperback, large 8vo.

PEAKE, Mervyn. Shapes and Sounds, London: Chatto & Windus 1941, 1st edition, association copy, full page pencil sketch of a nude woman dancing on a fantastical beast ('Mervyn') on ffep, inscribed 'To Caitlin & Dylan from Mervyn' (within sketch), dj (torn, lacking spine), orig. cloth-backed boards, foxing, 8vo; ... together with IDEM. The Craft of the Lead Pencil, London: Allan Wingate 1947, 2nd impression, dj clipped (chipped), orig. pictorial boards, ffep clipped, ink inscription 'Christmas 1950' to fep, 8vo. (2) Mervyn Peake and Dylan Thomas had been friends since the 1930's, with a shared interest in surrealism. Provenance: By descent from artist friends of Peake and Thomas. Thomas visited the present owner's grandparents regularly when in London, at their house in Tedworth Square in Chelsea (the house was damaged by bombing during the war and is no more). They were also present at the 1945 shooting incident with Thomas in New Quay, dramatised in the film 'The Edge of Love' (2008). This copy is believed to be from the Tedworth Square house.

Timothy Easton, "Following The Maryon Card Cordova" pencil sketch

ROBERT LENKIEWICZ (1941-2002) PORTRAIT OF A YOUNG GIRL, a pencil sketch, signed lower right, approximate size 36cm x 28cm, Condition Report: paper has been folded and is creased horizontally and vertically

ASIAN INTEREST: a collection of five pictures and prints, comprising an early 20th century pencil sketch of a seated Buddhist monk, bears indistinct signature and date attached to rear of frame, 16.5cm x 12cm, a watercolour of a landscape with buildings, 9cm x 13.5cm, a black and white photographic print of a Japanese actor, 13cm x 8cm and two Japanese watercolours, one on silk, 21cm x 18cm, the other on paper 42.5cm x 26cm, all framed and glazed (5)

TWO ETCHINGS AND A DRAWING, comprising an etching of a male figure sat at a work bench, indistinctly signed and titled 'The Etcher' to lower margin, approximate size 23cm x 16cm, an indistinctly signed Spanish etching numbered 3/5 and an indistinctly signed and titled panorama sketch of a town

J. VECKENS (20TH CENTURY) A SKETCH OF A NUDE FEMALE FIGURE, she is kneeling on a rug with silver wares on a tray beside her, signed and dated 1956 bottom right, black charcoal heightened with colour, approximate size 60cm x 47cm, Condition Report: the drawing is in good condition (his drawing is one of 35 allegedly discovered in Northern France in 1999)

FOUR NUDE FEMALE FIGURE STUDIES ON PAPER, comprising Olive F. Openshaw standing nude pencil sketch signed to rebate in the mount, Henry Parr seated nude pencil and wash sketch signed bottom right, five nude pencil studies on one sheet of paper, indistinctly signed and dated 11/7/76, together with a modern unsigned nude viewed from behind, red and black chalk on paper (4)

SEVEN 19TH / 20TH CENTURY DRAWINGS AND WATERCOLOURS, comprising a watercolour of figures inside Chatsworth Hotel in Eastbourne dated 1932, approximate size 19cm x 11cm, a pen and ink drawing of an art studio by Michael Davies circa 1950s, a Petra Head watercolour of Dubrovnik, a Gabriel fox drawing of Dubrovnik?, a pencil sketch of a Musician signed Colin Hampton, a pencil drawing of a female figure titled Glasgow 1880 attributed to E.F. Giles, pencil sketch of a female figure in a carriage and two prints of female heads in the same mount

HARRY RILEY (1895-1966) STANDING NUDE, a pastel drawing depicting a nude female figure viewed from behind with cloth draped over her arm, signed bottom right, approximate size 36cm x 18cm, together with a charcoal sketch of a standing nude probably by the same hand, attribution verso and two Percy Horton seated female nude figure studies, one signed lower right, both black chalk on paper, approximate sizes 24cm x 20cm (4)

MARY FAIRCLOUGH (1913-2000) 'PSALM 148', a linocut with colour depicting a scene from the Bible, signed, titled and dated 1950 to lower edge, approximate size 37cm x 27cm, together with a Sally Hunkin mezzotint landscape 'Morning', signed, titled and numbered 20/50 to lower margin - foxing across the image and margins, an indistinctly signed pen and ink sketch depicting figures seated at a table in a garden dated (19)48 bottom right, together with a box of amateur watercolours and drawings

PICKFORD WALLER (1873-1927) Three Ravens, pen and ink with designs for furniture verso, bears Chris Beetles label verso which details exhibitions, that it is monogrammed and dated 1897 and taken from a sketchbook, 16.5cm x 22cm, together with Paul Furneaux (Scottish b.1962) 'Night Leaves', woodcut print, numbered 1/1 , titled and signed in pencil, 17cm x 12cm, a charcoal sketch of three swallows in a nest, initialled and dated '25, 20cm x 18cm, a pen and ink sketch of a thrush, 14cm x 10cm and a coloured woodcut of a coastal landscape, 21cm x37cm, all mounted, framed and glazed (5) (Condition Report: coastal scene has slipped in mount but generally good condition overall)

FROM THE STUDIO OF JOHN PIPER (BRITISH 1903-1992) SEATED FIGURE, an ink and charcoal sketch of a seated female figure,unsigned, dated 4.IX.67 bottom right, approximate size 29cm x 22cm, Condition Report: good condition (Provenance to Louise Kosman gallery label verso: sold in Bonhams 'Three Artists Sale 2006') (artist resale rights apply)

ATTRIBUTED TO LISA WRIGHT (1965) 'QUEEN' - A PENCIL SKETCH, a depiction of a female figure in costume, unsigned with attribution verso, approximate size 18cm x 11cm, Wright was the artist in residence at the RSC during the two year run of Histories plays, Condition Report: dirty marks to the paper

° ° Darwin, Charles - On the Origin of Species by Means of Natural Selection, or the preservation of favoured races in the struggle for life. 3rd Edition, with additions and corrections. (Seventh Thousand). folded diagram; early 20th cent. half calf and marbled boards, gilt ruled and panelled spine with red label. John Murray, 1861. Note: published in April, 2000 copies were printed; with extensive alterations - including an historical sketch (noting the work of his predecessors) and the addition of a table of differences between this and the second edition.

° ° Merrifield, Mrs [Mary Philadelphia] - A Sketch of the Natural History of Brighton and its Vicinity, 8vo, original publishers green cloth gilt, with folding map, a 3cm. horizontal strip cut from top of front fly leaf, title spotted, index leaves uncut, H and C. Treacher, Brighton, 1864.

° ° Simond, Louis - Switzerland; or, a Journal of a Tour and Residence in that Country, in the years 1817, 1818 and 1819; followed by an Historical Sketch on the Manners and Customs of Ancient and Modern Helvetia ... 2nd edition, 2 vols. later 19th cent. half calf and marbled boards, gilt decorated panelled spines, marbled edges and e/ps. 1823

Sanders, Alvin H. - Shorthorn Cattle: a series of historical sketches, memoirs and records of the breed and its development in the United States and Canada ... num. plates and a sketch map; original gilt cloth, with mounted cover illus. Chicago, 1918; [Bernandes, Manuel] The Argentine Estanciia: special number of the "Annals of the Argentine Rural Society" dedicated to the livestock show of September 1902. folded plates and other illus.; bound with Bernandes, Manuel - The Argentine Estancia. A review of the live-stock and agricultural industries, and of the rural prospects of the Argentine Republic. coloured folded maps, plates and other illus.; old gilt lettered cloth, both with original wrappers bound-in. Buenos Aires, 1903; Curtis, George W. - Horses, Cattle, Sheep and Swine. Origin, History, Improvement Description (etc.) of each of the different breeds ... 2nd edition, revised and enlarged. num. illus. (mostly full page); original cloth, 4to. New York, 1893; together with others (incl. pamphlets)

° ° Gardner, Phyllis - The Irish Wolfhound: a short historical sketch ... Limited Edition (of 50 copies on hand-made paper, signed by the author). num. wood engraved plates and text illus. ('by the author and her sister'); original cloth backed gilt lettered boards, gilt top and other edges rough trimmed, cr.8vo. Dundalk: The Dundalgan Press, 1931

Cecil Aldin (1870-1935), colour lithograph for The Sketch, 'The Model Who Wouldn't Sit', published with the sketch Christmas No. 1931, 29 x 38cm. Condition - fair to good

° ° Le Carré, John - The Naive and Sentimental Lover. First Edition (signed by author). publisher's cloth and d/wrapper. Hodder and Stoughton, 1971; Le Carré, John - The Tailor of Panama. First Edition (signed by author). 2 text sketch maps; publisher's cloth and d/wrapper, pictorial e/ps. Hodder & Stoughton, 1996 (2)

Charles DARWIN- Order of the Proceedings at the Darwin Celebration, Held at Cambridge June 22 - June 24, 1909. With a Sketch of Darwin's Life. Cambridge University Press, 1909, 1st. edn. Francis Darwin’s copy, with his name & date 1909 to front blank. [Francis Darwin was a botanist & the third son of Charles Darwin, There is a court in Cambridge named after him].

Portrait of a woman - Artistic sketch, oil on panel, 20th century, Italian school, depicting a portrait of a woman. Dimensions: 15x20 cm. By an anonymous artist. The artwork is in good condition.

'La Spagnola', a portrait of a woman - Antonio Asturi (Vico Equense 1904 - 1986) - Oil painting on paper, 20th-century Italian school, depicting 'La Spagnola', a portrait of a woman. Dimensions within the frame: 38x47 cm. Dimensions including the frame: 60x68 cm. Signed at the bottom left by Antonio Asturi (Vico Equense 1904 - 1986). On the back, there is an additional sketch painting by the master Antonio Asturi. Artwork in good condition.

Young fisherman - Artistic sketch, oil on panel, 20th century, Italian school, depicting a young fisherman. Dimensions: 17x24 cm. By an anonymous artist. The artwork is in good condition.

Portrait of a man - Artistic sketch, oil on panel, 20th century, Italian school, depicting a portrait of a man. Dimensions: 19x25 cm. By an anonymous artist. The artwork is in good condition.

Profile of a woman - Artistic sketch, oil on panel, 20th century, Italian school, depicting a profile of a woman. Dimensions: 17x24 cm. By an anonymous artist. The artwork is in good condition.

Face of an Eastern woman - Artistic sketch, oil on panel, 20th century, Italian school, depicting a face of an Eastern woman. Dimensions: 11x13 cm. By an anonymous artist. The artwork is in good condition.

The Artist Steiff bear (Dark Brown 27cm) for the very first time this bear proudly hold a tribute t his creator - his very own sketch book, comes with ear tag, [ no. 00827] along with Teddybar ( Black 32cm) wearing a stylish red leather collar decorated with nine stainless steel"elephant Buttons" [No. 01893]

Watercolour a Venitian scene at night and a pencil wash sketch attributed to William McConnell.

Electors of Hurworth-on-Tees, reprinted Broadside in frame; together with a novelty ink sketch for marriage and courtship, two miniature framed silhouette's, Joan Sutherland, "Dow Cragg, Conniston", signed, oil on canvas, 10.5cm by 16.5cm; and two framed banknotes, Jack Nicklaus edition £5 notes

Still Life of Dead Game on board in a gilt frame, inscribed to the reverse 'Marion Gosling, Ecclesfield, Ashford', another similar painted on board, inscribed with the same name on the reverse in pencil,pencil/charcoal sketch on paper, depicting four dogs resting with dead game behind, unframed,two face screens with painted scenes, two silkwork pictures, embroidery etc,(9)The Late Robert Bogdan, Barra Castle, Aberdeen

John Hardy, Guild of Railway Artists, pen and ink sketch of a railway worker on the line, 13cm x 17.5xm

Miscellaneous militaria, including a limited edition Windsor Mint set of bronze medallions and ingot for the Royal Air Force Association (1918-1978), nr 149/8000 in the original box; 80th birthday commemorative coin for Winston Churchill in the original box, two Festival of Britain coins, 1977 Commemorative coins, Tower of London commemorative replica of the official Post Office Commemorative Stamp Design issued on the Occasion of the 900th Anniversary of The Tower of London, penny red stamp, together with a quantity of black and white Royal Navy post cards; a German post card, three sets of postcards showing the cost of war at Ypres, Dixmude, Lovaine, plus 100+ vintage post cards; canvas war era tool belt, brown leather war era belt, WWI era photographs, Air Crew Free Gun Sighting Armament Notes for Air Crew, Civil Defence Manual of Basic Training Pamphlet no 5, German sketch pad. This lot concludes with a trench art figure, a vintage Guardian traffic lamp and a military issue gun sight. 

Frank Shipsides (1908-2005) - Watercolour - 'The Quay at Hotwells', signed and dated 1981, 30cm x 54cm, in gilt frame under glass, with pencil sketch of steamer to mountAlexander Gallery labels to verso

Artist unknown - pen and ink A pair of sepia Old Master-style portraits 9" x 7½" and one other 19th century pencil sketch - female bust portrait (3)

A limited edition print after Michael Rondot 'The Marham Wing over Sandringham', multiple signatures and Tornado sketch, 3/50, unframed but mounted

A collection of Royal Naval military ephemera relating to GEOFFREY D. NUTT DSC including photo album, miniature medal group, sketch etc (no DSC)

Parisian School, circa 1920, Eight Studies from a sketch book of the female figurepencil on paper21 x12.5 cmProvenance: Atelier Andre Lhote, Rue d’Odessa, Montparnasse, Paris. c.1925,Harry Morton Colvile (1905-92), a student of Lhote,By whom gifted to the father of the present vendor

§ Ursula Edgcumbe (1900-1985) Study for The Finding of Mosespencil and ink37.5 x 24.5cmProvenance:The collection of Quentin StevensonThe present work is a sketch used for the completion of a sculptural relief carved from Hopton Wood stone and currently held in a private collection. The Finding of Moses was Edgcumbe's first sculpture.

§ Constance Bradshaw RA, RBA, ROI, NEAC, SWA (1872-1961) Sketch in Chartressigned 'C Bradshaw' (lower left)oil on board20 x 32cmExhibited:London, The Royal Institute of Oil Painters, cat. no.4 (details untraced)Frame has some losses and chips throughout. The board has slipped from the frame, it could be secured in the frame or reframed. With an overall layer of ingrained dirt and with some minor knocks and losses to the outermost edges where the board has been in contact with the frame rebate. In nice and untouched overall condition.

§ Alexander Hollweg (1936-2020) Sketch for East River Viewsigned and dated 'Alexander Hollweg 1984' (lower right)watercolour over pencil35.5 x 55cm

§ Ada 'Betty' Swanwick RA (1915-1989) First sketch for The Reawakening pencil on paper 52 x 74cm Provenance: Sale; Bonhams, The Artists Studio Sale, London, 31 January, 1990, lot 103 Work is framed and glazed, has not been removed from the frame so the outermost margins, which are obscured by a large red mount, are not available for inspection. There is some slight acid mat burn around the mount and some minor undulation to the paper support which could be corrected by reframing, likewise, some very minor handling creases to the top and bottom edges. Otherwise the work is in very nice overall condition.

§ Stanley Spencer CBE, RA (1891-1959) Sketch of a man, believed to be a study for Easter Triptych pencil on paper, squared for transfer 16 x 9cmProvenance: With Anthony d'Offay GalleryWith Bernard Jacobson GalleryWith Archeus Fine Art

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), THE OLD MILL INN PITLOCHRY watercolour on paper, monogrammed, titled label versomounted, framed and under glassimage size 27cm x 37cm, overall size 40cm x 50cm Handwritten artist's label versoNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

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

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), THE RED TREE, PITLOCHRY watercolour on paper, monogrammed, titled label versomounted, framed and under glass image size 28cm x 38cm, overall size 40cm x 50cm Handwritten artist's label versoNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), THE COUNTRY GIRL mixed media on paper, signed and dated '83 mounted, framed and under glassimage size 28cm x 19.5cm,  overall size 54cm x 43.5cmNote 1: further sketch verso.Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

Ivan Taylor (1946- ) An Original Signed Oil on Canvas Painting Entitled 'A Bleak Landscape - The Roaches The artist was born in Stoke on Trent in 1946, and showed an early interest in art and exhibited 40 paintings on BBC TV's 'Sketch Club'. These paintings were later sold by the BBC to raise funds for UNICEF. After studying Fine Art and Graphics at Stoke and Stafford Colleges, he worked as a graphic artist in industry and went on to become Head of graphics for Staffordshire County Council Education Department. Ivan Taylor had his first solo exhibition in 1972 and has been a full time painter since 1989. His art work is in many private collections in various countries including USA, Canada, Australia and South Africa and he has exhibited and sold many paintings in galleries and one man exhibitions in England and Wales Excellent condition in frame and 'Roaches' measures 30 cm by 39 cm