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Four boxed toys and games c1950's, Bayko building outfit 13, Etch a Sketch (with original packaging), minibrix (with catalogue and building instructions) and '4CYTE' Family word game (Frank Muir and Denis Norden)

Group of various novels, comical books, Little Books of Nonsense etc. including 'Humours' of History by Arthur Moreland, 'The Little Book of Nonsense' by Kensington The Tayme Press, 'A Song of Savoyard' by W S Gilbert, 'The Book of Nonsense' by Edward Lear as told by the butterfly, 'A Book of Nursery Rhymes Lavenders Blue', 'Voces Populi' Longmans & Co F. Anstey, 'The Frank Lockwood Sketch Book', 'Quadrant and the Quill' and 'Sport and There's the Humour of It' by G D Armour (10)

19thC Victorian Sketch Book, Containing Watercolour & Pen and Ink Drawings Of Humming Birds, Flowers, Butterflies And Various Other Birds, One dated To Verso 1836

Mark Gertler NEAC (British 1891-1939): Head of a Young Girl, pencil signed and dated 1913, 23cm x 18cm (unframed) Provenance: by family decent from the collection of Francis Bate (1853-1950) a founder member treasurer and secretary of the New English Art Club Condition Report Some foxing - visible on the photo. The sketch is mounted between two boards and was part of a folio which have never been framed, it is difficult to say whether the paper is stuck to the back board Click here for further images, condition, auction times & delivery costs

Hercules Brabazon Brabazon (British 1821-1906): Cattle Sheltering by a Bothy, pencil and pastel sketch initialled 20cm x 28cm Condition Report Click here for further images, condition, auction times & delivery costs

Robin Armstrong, pencil sketch, hare, 9.5ins x 13.5ins (D)

Two Royal Worcester models of American birds, modelled by Doughty, the original white gloss standards for the Audubon Warblers and Palo Verdi, issued in 1959, shape nos. 3669-70, sold by Thomas Goode in their exhibition of sketch models and standardsCondition Report: One model has one petal missing

Trevor S. Goold (fl. 1922-31) Tree Study Watercolour 29 x 23cm Together with another sketch of smaller dimensions (2)

A self portrait pencil sketch by Leslie Harradine - Royal Doulton interest, depicting Harradine painting in his studio, dated 10.1.46, 14½ x 10¾in. (37 x 27.5cm.), framed & glazed. * Part of a collection of sculpture and other artworks by Leslie Harradine and primitive paintings by his wife, Molly McCann, from their studio in Sark, The Channel Islands. See lots 1 to 64 in this sale. ** Provenance: From the artists' studio in Sark, by family descent.

A collection of paintings and sketches by Molly McCann, comprising a watercolour on card of a young boy with toy horse, verso a pencil sketch of Leslie Harradine, unsigned; a watercolour on card of a cat, birds and butterflies in garden setting, signed in pencil 'Molly McCann' lower left; watercolour doodles on paper of butterflies,bird & flowers, unsigned; a watercolour on paper of birds with easter egg nest in a tree, signed & dated in pen 'Molly McCann, 1966' lower right; a pen and ink on paper of a jungle setting with animals, signed in pen 'Molly McCann' lower left; a pen and ink on paper, of Adam and Eve in a jungle setting, signed in pen 'Molly McCann' lower left; a watercolour on paper of Adam and Eve in jungle setting, signed in pencil 'Molly McCann' lower right; a watercolour on paper of the Queen's Coronation / Wedding carriage, signed in pencil and again in pen 'Molly McCann' lower right; a watercolour and pen on paper portrait of a lady with cats, signed in pen 'Molly McCann' lower centre; a watercolour on paper of Adam and Eve in jungle setting, signed in pen 'Molly McCann' lower right; and a watercolour abstract on board, signed with yellow paint 'Molly McCann' lower left. (11) * Part of a collection of sculpture by Leslie Harradine, primitive paintings by his wife, Molly McCann and other objects from their studio in Sark, The Channel Islands. See lots 1 to 64 in this sale. ** Provenance: From the artists' studio in Sark, by family descent.

Ramsay (David, of South-Carolina). The History of the Revolution of South-Carolina, from a British Province to an Independent State, 2 volumes, 1st edition, Trenton, Isaac Collins, 1785, five folding engraved maps by Thomas Abernethie (with a couple of short closed tears), Sketch of the Operations before Charleston map in the second state (with 'Approatches' corrected), lacking volume II title and both half titles, some light offsetting and spotting, light marginal water stain to a fw leaves in volume II, endpapers renewed, contemporary tree calf, modern calf rebacks, red stain to volume I lower cover, a little rubbed, 8vo Howes R36; Sabin 67690. Ramsay's account of the Revolutionary War in the South was mainly derived from the British Annual Register, the maps being amongst the earliest examples of indigenous American cartography. This work, and Ramsay's History of the American Revolution (1789) were the first two books to receive copyright in the United States (in 1790). (2)

*Henry VIII (1491-1547, King of England). A near-contemporary copy of 'The last wyll and testament of Kynge Harry the eyghte 30 December 1546', undated, circa 1570, written in brown ink in a neat secretary hand, large decorative initial, small grotesque to inner margin of top line of folio 4r, laid paper with watermark of 'PM' within a crowned shield, small heraldic sketch of a unicorn's head to final blank with colour markings, plus three more sketchy horses or dog heads, some spotting and dust-soiling, final blank verso more heavily soiled and damp-stained and with small tear, minor fraying to edges close to but not affecting text, disbound without covers, evidence of leather remains to spine, 8 leaves including final blank, slim folio (300 x 205mm) The will was proved in the Prerogative Court of Canterbury in April 1547. A comparison of this text with the registered copy (TNA PROB 11/31/247) shows many differences, omissions and incorrect transcriptions of words and the use of dialect forms (such as sarve for serve). This copy of the will is said to have formed part of Phillipps MS 13761 which notes that the volume included, inter alia, 'Testaments of H. 8 & H. 6' part of a collection of papers from the archive of Sir Henry St George (1581-1644), who served as Garter King of Arms in the last year of his life. Although such a provenance is borne out by the heraldic endorsements, and by the fact that hundreds of St George manuscripts were on the market in the 1730s and in 1846 (ODNB), the hand of this manuscript makes it hard to attribute its authorship to Sir Henry, and the same objection stands against his father Sir Richard St George (1554-1635), whose association with the College of Arms dates only from 1602 (ODNB). An old bookseller's typed description accompanying the lot states that the volume of manuscripts was acquired by Thomas Phillipps in 1852 from the manuscripts of Sir Henry St George, and listed among the St George manuscripts in 1697 in Bernard's Catalogi Lib. MSS. Angl. pars altera, no. 4217. The paper is watermarked PM within a crowned shield, several versions of which are included in C.M. Briquet, Les filigranes (Amsterdam, 1968) as 9637-9644, datable between 1545 and 1601. The closest match is 9641, datable 1567-1570, a period consistent with the hand. Such a date is supported by the presence of the grotesque beside the name of Princess Mary on the first line of folio 4, an adornment unlikely to have been made before November 1558. In a lengthy and pious introduction, the king accepts that 'every creature, the more high he is in estate, honour and authority in this world, the more he is bound to love, serve God and thank God and the more diligently to endeavour to [do] good and charitable works'.'Repenting also our old and detestable life', he invokes God and the Virgin Mary to 'pray for us and with us while we live here in this world and in time of passing out of it'. He desires burial 'in the choir of our college of Windsor, midway between the [stalls - blank in MS] and the high altar' in a tomb which is 'well one ward [recte toward] and almost made in which we will allow [recte will also] that the bones and body of our true [and] loving wife Queen Jane be put also'. 'The tombs and altars of king Harry the 6 and also of king Edward the fourth our great uncle and grandfather be made more princely'. Re-establishment of the Poor Knights of Windsor each to wear 'a long gown of white cloth with a garter upon the breast embroidered with a shield and a cross of St George with the garter and a mantle of red cloth'. Daughters 'shall not marry nor take any person to her husband without the assent and consent of the privy councillors and others appointed by us to our dearest son Prince Edward'.'seeing the fatherly love which we bear to our son Prince Edward and to this our realm we declare his [recte him] according to justice and equity and conscience to be our lawful heir and do and bequest unto him the succession of our realm of England and Ireland with our title of France and all other dominions both on this side [the seas] and beyond, charging him and commanding him on pain of our curse, seeing he hath so loving a father of us and that all our chief labour and study in this world [is] to establish him in the imperial crown of this realm after our days, in such sort as may be pleasing to God and to the wealth of this realm, and to his honour and quiet, that he be ordered and ruled, both in his marriage and also in ordering of the affairs of the realm, as well outward as inward, and also all his own privy affairs and in giving offices of charge by the advice and counsel of our right and entirely beloved counsellors'. 'Item we bequest to our daughter Mary and Elizabeth marriage[s], they being married to potentate by the advice of our foresaid counsellors, if we bestow not them in our own life time, ten thousand pounds in money, plate, jewels and household stuff for each of them or a larger sum at the discretions of our said executors'. This is the discussion of the will from the entry in Oxford Dictionary of National Biography (OUP, 2004) by Eric Ives: 'It was in the context of this final factional battle that Henry revised his last will and testament on 30 December 1546. It was authenticated by the dry stamp, a form of signature by proxy which Henry had introduced in 1545 to save himself trouble. This system was in theory open to abuse, but the will is undoubtedly genuine. Arguments that it was stamped only after the king became incapacitated, or even after he was dead, do not stand up to analysis. The king confirmed Edward as heir and after Edward, Mary and Elizabeth, though the girls were to lose their places in the succession if they married without the written permission of a majority of privy councillors. Next in line he put the Grey and Clifford families, descendants of Mary, his younger sister. The granddaughter of Henry's elder sister, Margaret-Mary, queen of Scots-was not mentioned, though presumably she qualified in the final remainder to the next rightful heirs. To govern the country during his son's minority, Henry nominated sixteen executors who were to function as Edward's privy council, and since sixteen might be too few for day-to-day business, he named a further twelve to be counsellors to the sixteen as and when required. Henry's will provoked discussion in the reigns of Mary and Elizabeth and also in modern times. Some historians have argued that because traditionalist and anti-traditionalist councillors were roughly equal in numbers, Henry's intention was to rule from the grave and preserve his individual religious policy.' (1)

*Wolseley (Garnet Wolseley, 1st Viscount, 1833-1913). Original manuscript briefing notes entitled 'Extract from Notes to accompany Itinerary from Cape Coast Castle to Coomassie', drawn up by Lieutenant John Frederick Maurice, Royal Artillery, Private Secretary to Wolseley during the Ashantee Campaign of 1873-74, and one of the founder members of Wolseley's 'Ashantee Ring', dated 27 September 1873, comprising 11 handwritten pages on six folio sheets of blue official army notepaper, incorporating a pen and ink map of the Ashantee capital, Coomassie, signed with initials 'J.M. Cape C.C.E.' (Cape Coast Castle Expedition), accompanied by a watercolour sketch of the cape coast castle from the seaward side by acting Lieutenant (later Admiral) James Stoddart, Royal Navy (1827-1892), watercolour on card, pencil inscription to verso 'Cape Coast Castle, Admiral Stoddart, as Lieutenant, 1836', 18.5 x 26cm A surprise attack on the British Gold Coast Protectorate by the Ashantee King took place on 22nd January 1873. Months of sporadic violence followed, which the resident British forces - a battalion of the West India Regiment and one hundred Royal Marines - barely managed to contain. A punitive expedition was dispatched from England under the command of Major-General Garnet Wolseley, who embarked for the Gold Coast aboard the SS Ambris with an advance part of thirty-five staff officers, from Liverpool on 12th September 1873. Wolseley and his officers landed at the Gold Coast Castle on 2nd October 1873. This draft plan of campaign was drawn up by Lieutenant Maurice while Wolseley was at sea, being dated just five days prior to their disembarkation at Cape Coast Castle. Arriving, by design, well in advance of the main body of his force, which did not arrive until January 1874, Wolseley had a detailed plan, based on Lieutenant Maurice's comprehensive notes, in place by the time his troops arrived. After citing the various published and written sources used when drawing up the plan of campaign, including Bowdich's Mission to Ashantee (1817), Hutton's A Voyage to Africa (1820), Dupuy's Journal of a Residence in Ashantee (1820), Commander William Winniatt's Journal of his visit to the King of Ashantee (1848) and the Guide for Strangers traveling to Coomassie (1862), the notes provided General Wolseley with a detailed account of the country between the coast and the Ashantee capital, its peoples, towns and villages (with estimates of population), the jungles, rivers and swamps, climate and potential for obtaining supplies during an advance; Maurice details five different potential routes from the coast to Coomassie (7 pages of the text), outlining potential difficulties, whether the land to be crossed might prove friendly or hostile, the total distance covered by each route, along with a copied map of the Ashantee capital, taken from Bowditch, at a scale of 400 paces to the inch, indicating the position of the principal buildings and locations in the city, including Aboosaywe, or place of execution, the palace, temple, etc, and the various types of terrain in the immediate vicinity of the capital; swamp, ground cleared but rocky, yam garden, etc, as a guide to selecting the best route for the final attack. Five routes are proposed: one from the River Prah through Kairokou, Eusaguesu, Abbatea and Biaqua to Coomassie, Maurice noting with regard to this route that as the tribes to the west of Elminia have revolted, this route leaves the left flank of the line of communication so exposed that it would seem madness; a second route from the Cape Coast Castle via Anamaboe, which Maurice describes as being too difficult and dangerous; a third route from Accra to Aguieso across the rivers Birrimo, Auinee and Boosim-Prah, described as having the advantage of starting from Accra, as a base the most healthy place on the coast and well within British territory; a fourth route from Accra, passing to the north of the proposed route 3; and a fifth route to Coomassie via the River Volta, which Maurice notes as only being practicable if the river was navigable when the campaign commenced. Wolseley was able to complete the campaign successfully in only two months, evacuating his troops before the malarial wet season arrived. The plan of campaign that Wolseley put into action was essentially an amalgam of the first two options proposed by Maurice, described respectively as madness and difficult and dangerous, Wolseley overcame the problems these two routes presented by negotiating agreements with the previously hostile tribes on the left flank of his line of attack, and recruiting them to actually assist in the invasion of the Ashantee kingdom that had been previously oppressing them. The problem of passing large numbers of troops through dense jungle along narrow tracks and roads was overcome by splitting his attack into four columns, constructing an advance jumping off point in the interior at Prahsu, approximately fifty miles from Coomassie, from which the main column attacked along the Prahsu - Coomassie road, supported by the three flanking columns, and converging on Coomassie for the final assault. Captain (later Major-General Sir) John Frederick Maurice (1841-1912) obtained material and information from a wide variety sources, including Admiral James Stoddart, from whom he obtained this watercolour showing the location and strategic importance of the Cape Coast Castle, which became the base for operations during the Ashantee campaign. (2)

Walter Frederick Roofe Tyndale, RI, RBI (British, 1855–1943) Inside the Brass Bazaar, Cairo inscribed with title in pencil to the reverse watercolour on paper 24 x 17cm (9 x 7in) Literature: A sketch for a painting featured in "Below the Cataracts" published by J B Lippincott, 1907 Colours quite good.

A pair of Gillows rosewood dining chairs, the shaped backs carved with shell and scroll, cane seats, on scroll carved legs, stamped GILLOWS LANCASTER to the back rail (2) 86 x 51cm (34 x 20in) Other Notes: Gillows of Lancaster and London were one of the great furniture and cabinet makers of the late 18th Century and 19th century. Founded in 1730 by Robert Gillow, the company remained in business until 1938 - albeit having merged with Waring of Liverpool in 1897. Gillows' designs were never worked up to a finished state or formally published. Instead they retained Estimate Sketch Books containing some 20,000 sketches used for the firm's private records or for customer's confidential perusal. The Gillows archive from 1731-1932 contains under 200 volumes of records. The company attracted commissions from a wide social spectrum: from tradesmen to the aristocracy and a wide range of products: from altarpieces and coffins to sideboards and chairs. Their furniture is collected and displayed in public collections and houses; dining chairs with a similar shell motif can be seen at Erdding, Wrexham: Kingston Lacy, Dorset; and Hardwick Hall, Derbyshire. One cane seat has a small hole

The Maestro del Ricciolo (20th Century)A pair of views of Venice in shaped cartouches, to include San Giorgio Maggiore, and another view, both inscribed in Italian, one with a contemporary collection number, pen, ink and wash, 17 x 24 cm (7 x 9.5in) and 19.5 x 29 cm (7.5 x 11.5in); together with a 20th Century pencil sketch of San Giorgio Maggiore and the Dogana, inscribed with title and dated lower left " (?) .5.19", 24.5 cm x 30 cm (9.5 x 12in) (3) The present pen and ink drawings are possibly designs for porcelain. Unframed and with some foxing and creasing. The last one on card has dirt spots.

Alken, Henry The Sketch Book of Henry Alken Engraved by Himself. Thomas McLean, 1826. Oblong 4to, contemporary half crushed morocco, upper board with morocco lettering piece; engraved hand-coloured frontis. and 41 engraved hand-coloured plates, most retaining tissue guards. The plates are dated in the engraving as 1820 but the paper is watermarked Whatman Turkey Mill 1825 or 26. The Sketch Book was first published in 1821 as Scraps from the Sketch Book of... and appears to have had editions in 1823 and 25. Despite this the book remains scarce across all editions and is valued for striking illustrations by the dominant sporting artist of the early 19th century.Boards showing signs of shelf wear, upper hinge cracked but board still attached, scattered light foxing and marking internally but generally marginal with plates still bright.

William Gordon Burn Murdoch (British, 1862-1939), 'Milldown, August, 1905', unsigned, watercolour sketch, 18cm x 31.5cm, handwritten label verso reading 'Milldown, House near Coldingham, Berwickshire, rented by us as summer quarters in 1903, and again in 1905. Sketch made by W. G. Burn Murdoch when staying with us there in August 1905. W. K. D.',.

Pencil sketch, woman's head with turban, 18cm x 13cm ,ink sketch, encampment, 19cm x 24cm watercolour, dancers, 20cm x 17cm, ink sketch figure on horseback, 11cm x 12cm (4) unframed.

2 framed & glazed pictures by Anthony Beaumont. A watercolour of farm building date 1939 and a pencil sketch of farm building and cows dated 1941. Largest picture size 24 x 32cm approx.

Hendrik Maarten Krabbe, Dutch artist (1868-1931) ink sketch of a girl ready for the ball. Dated '24 to lower left. Approx. 34cm x 26cm.

Robert O. Lenkiewicz [1941-2002]-Mouse with Wool - Interior:-circa 1965oil on canvas188 x 203cm, together witheight related preparatory watercolour, crayon, pen and ink drawings, sizes from 32 x 27cm to 12 x 15cm each, in four composite frames. [4]* Provenance. The Lenkiewicz Foundation Collection.* Exhibited. The Painter with Women (Retrospective Section), ICC Birmingham 1994; Plymouth City Museum Retrospective, 1997; Wolverhampton Art Gallery, A Retrospective, 1998; Plymouth City Museum and Art Gallery, 2009; Royal West of England Academy, Bristol 2011; Royal William Yard, Plymouth, 2012; Spinnerei, Leipzig, and Nuremberg, Germany, 2013 (see Introduction for post-2007 exhibition details).Literature.R.O. Lenkiewicz (1997). White Lane Press. p.23.Robert Lenkiewicz: Paintings & Projects. (2006). White Lane Press. Plate 3.Robert Lenkiewicz: Human All Too Human (2012). Lenkiewicz Archive. p.4.* Notes. 'A turning point'The early watercolour sketches of this painting include Lenkiewicz's design notes. These explain the colour harmonies, method of construction of the perspective and use of the Golden Section, a mathematical ratio known since the Classical Age to give aesthetically pleasing and harmonious qualities to pictures and architecture. The sketches show that Lenkiewicz had meant to place the three chairs in the picture in an unbroken line, a reference to Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (1923), but later altered the composition to heighten visual drama with broken perspective. Rembrandt appears, smiling in a detail from the 1662 Self-Portrait as Zeuxis (the 5th century BC Greek painter). A comparison with the preparatory sketch shows how the finished work made use of one of only two Rembrandt self-portraits in which the artist faces left. X-ray analysis would show how this change seems to have been dictated when the leftmost seated figure, originally a rear view facing away, was later rotated in the composition with a new model to face away from sitter, Celia 'Mouse' Mills, Robert's first wife.The theme of the painting relates to the passing of time and, like Duchamp's work, this painting was long in the making. Mouse has said that she made countless sittings for it over a six year period. Lenkiewicz viewed it as 'a significant turning point piece'.Celia Mills and Robert Lenkiewicz met at St Martin's School of Art in 1961 and married in 1964. Their daughter Alice was born the same year and the family moved to Trevawden Cottage, at Lanreath, Cornwall in 1965, close to Mouse's parents. Lenkiewicz supported the family by working as a teacher at St Anne's Primary School in Gunnislake. In 1966, the couple moved to Plymouth and their son, Wolfe, was born in October.

DAVID BOWIE DRAWINGS FROM HIS TIME WITH THE KON-RADS. Five pencil sketches created by David Bowie as ideas for promoting the band during his time with them in 1962 & 1963. To include 2 "News Flash" newspaper mock ups with one showing a silhouette of all 5 band members, another featuring a drum cymbal, one with a sketch of a band member dressed in a smart suit and the last being a sketch of the drummer with "KONRADS" drum skin and a palm tree in the background.

JIMI HENDRIX HANDWRITTEN LYRICS. A mounted and framed display to include a lined piece of legal paper (8 x 12") with a set of working lyrics in Jimi Hendrix's hand circa 1970. To read "Hello night bird, how was your day? Did you visit the gods in the valleys far away? What did you bring me... in your visit from the seas", also inscribed "I brought you me! Devon" in the hand of former girlfriend Devon Wilson and with a psychedelic sketch also in Hendrix's hand to show a phallus, figure, coital figures, the message "make love to me' and more. Originally from the collection of Italian DJ Red Ronnie, this piece was sold at Sotheby's in 2015. Frame measures 21.5 x 24.5". Page to show tear from top left corner, creasing and wear to lower edge. Aunthenticated by Roger Epperson prior to this sale.

An artist's folio containing watercolour studies, oil painting portraits, sketch book etc

Sketch - 'Tramp Asleep in Amsterdam', indistinctly signed, oil on board - portrait, signed James, a print and a dresser platter

Attributed to AUGUSTUS EDWIN JOHN (1878-1961) British (AR) Possible preparatory sketch for Almond and Olive Trees, Provence 1927 Pencil and wash, signed, unframed. 34 x 27 cm. CONDITION REPORTS: Generally good, expected wear, some scuffing, minor tears to edges.

CAPTAIN GEORGE DOUGLAS MACHIN DFC (Known as MAC) (1893-1985) British (AR) Original of Cartoon in The Sketch featuring well know characters from the world of Horse Racing Pencil, ink and wash, signed MAC and dated 35, framed and glazed. 63 x 23.5 cm. CONDITION REPORTS: Generally good, expected wear, some slight staining/fading.

A Framed Pencil Sketch of Gents Portrait Dated 23 Feb '84 and Signed in Pencil by Artist J R 26cm Wide

Saralene Tapley TABLE PATTERNS - SKETCH 3 Mixed media, 16 1/2" x 30"

Justin Hindley, a pencil sketch of various fish, signed, 77x57cm

A framed pencil sketch of a young girl holding a baby, signed and dated 1927. Size approx 24x30cm

A late 19th century French sketch book containing some well executed pencil drawings

Wartime 'Pop' Cartoon annuals 1-3 (1940s) by John Millar Watt reproduced from the Daily Sketch. With giveaway story paper booklets: The RAF at War complete with all photo cards (Champion giveaway), Thrill Book of Escapes (cover by Dudley Watkins, Adventure), Famous Fighting Planes of WWII (Rover), War In the Air (Adventure), War In the Air (Rover) Get Your Gas Mask On! (Dudley Watkins cover, Hotspur) and Aeroplanes (Skipper) [vg-/vg+] (10)

'Church Street, Whitby', pencil sketch by Charles Henry Money Mileham (British 1837-1917) titled and dated July 28 '81, unsigned, with Michael Pybus Fine Arts label verso, 17cm x 11cm Condition Report Click here for further images, condition, auction times & delivery costs

Portrait of a Lady Sewing, 20th century pencil sketch, bears signature Laura Knight 23cm x 18cm Condition Report Click here for further images, condition, auction times & delivery costs

James Faed (British 1821-1911), 'Sketch in Knocknarling Glen, New Galloway', watercolour, signed lower right, titled verso, 6¾in x 10in (17cm x 25.5cm), over-mounted and framed.

Collection of books relating to the history of Ireland To include Hurlbert (William Henry) "Ireland Under Coercion, The Diary of an American", published by David Douglas, Edinburgh 1889, "An Abridgement of the History of Ireland", published Dublin 1818, "Handbook of Ireland", Evans (John) "A Sketch of the Denominations of the Christian World", published by J G Barnard, London 1807, "Missionary Life in Samoa", published by William Oliphant & Sons London 1846 etc. (62)

A framed sketch, profile of a young girl wearing a bonnet, The New Rupert Book, a/f, an Animal Life 'Pop-Up' book, a Coronation souvenir book, LP records, two 1977 Silver Jubilee woven bookmarks, a slide viewer and a cigarette card album

Attributed to Gottlob Heinrich Bruckner (b.1823), Country people from the Saxon Mountains, pen, ink and watercolour, 22cm x 28.5cm.; together with a pencil sketch of a woodman, a pencil study of a gentleman and a pen and ink architectural study, all unframed.(4)

Complete portfolio of drawings, watercolours and sketches by Reverend Henry Balmforth, well known author, artist and former Canon of Exeter Cathedral, to include sketch books, loose leaf paintings and full board paintings, dating from around 1919 right up to 1976

An interesting autograph sketch book

A pencil sketch of the locomotive Sir Nigel Gresley and one of Boston Goods Yard - by A Briggs - frame size 40cm x 53cm

Alfred De Breanski, 'The Beetle and Wedge at Moulsford, on The Thames', bears signature, inscribed with title verso, oil sketch on board, 22.5 x 32.5cm.

Henri Fantin-Latour, mother and child, faintly inscribed with signature, monochrome print, pl.20.5 x 24.5cm; together with another print after Henri Fantin-Latour; an 18th century lithograph of 'King John's Palace at Eltham'; and a Continental topographical pencil sketch, indistinctly inscribed verso, all unframed. (4)

A folio of pictures and prints, to include a pencil sketch of Kingstone House, Berkshire; and engraving after Antonio Canale; pencil signed engraving and others.

THREE VARIOUS SKETCH ALBUMS AND AN AUTOGRAPH BOOK

JANOS VASZARY - pastel and pencil sketch of seaside scene - signed bottom left with stamp and writing to reverse - 42cm x 53cm CONDITION REPORTseems ok

JANOS VASZARY - pastel and pencil sketch of coastal tourist beach scene - signed in pencil top right with stamp and writing to reverse - 24cm x 32cm CONDITION REPORTseems ok

JANOS VASZARY - pastel and pencil sketch of figures in deckchairs with sun umbrellas - signed top right with stamp and writing to reverse - 17cm x 22cm CONDITION REPORTseems ok

WORLD CUP 1974 Official programme (Green) Argentina v Brazil in Hannover 30th June 1974. This was an official programme published for matches in Hannover with a sketch of the stadium on the front cover. A few light stains on reverse. No writing. Fair to generally good

ARMY 1944 Autograph album sheet from the Joe Mercer collection dated 28/10/44, English Army v Scottish Army at Hampden Park. 11 English Army signatures including Lawton, Sproston, Swift, Mercer, Elliott, Balmer etc plus two journalists Manning (Daily Sketch) and Peskett (Daily Mail). Good

WORLD CUP 1974 Official programme (Green) Uruguay v Holland in Hannover 15th June 1974. This was an official programme published for matches in Hannover with a sketch of the stadium on the front cover. No writing. Good

TREASURE CHEST Well , we had to include one of these ever popular treasure troves and this one is as good as any of the previous ones. This treasure trove, includes , amongst other items, FA Cup Final programmes, 1926( with replacement replica cover), 1945 War Cup South Final , Chelsea v Millwall, 1955, 1956, 68, 69, 71, 72, 73, 74, 77, 81, 82, 83 plus all 3 replays, 84, 85, 88, 21 x England home programmes, mostly 50s and 60s inc v Scotland, 19/2/44, 55, 57, 59, 61, 63, 67, v Rest of The World 53 and 63, v Luxembourg 61 at Arsenal and v Poland 66 at Everton, v Young England 57, 61 and 66, plus England aways at Irish Republic 90, Chile 84 (single sheet), Switzerland 75, Welsh Youth Cup Final 66, Welsh Amateur Cup Final 67, 10 x Wales home programmes inc v Scotland 52, 60, 62 (VIP issue) and 77 at Anfield, v Ireland 60 at Wrexham, v England 51 and 65, v N.Ireland 67 and v Yugoslavia 54, 5 x Scotland homes inc v Yugoslavia 56 and 4 x Scotland aways inc at Austria 60, Norway 63, DDR 77 and USA 92 at Denver, Charity Shields 69 at Leeds, 75 and 82, 8 x FA Cup Semi-Finals ( 4 x 60s), and the Hillsborough Disaster Semi-Final programme 89, , six Surrey Cricket handbooks 61-66 inclusive, Sydney Cricket Ground Members metal badge 1964-65, Chums Magazine 14/8/1915, League Cup Finals West Brom v West Ham 66, Birmingham v Villa 63, 67, 75, 77 + replay, 81 + replay, 82 and 87, League Cup Semi-Finals Aston Villa v Burnley 61 and replay play-off at Manchester United 2/5/61, Villa v Burnley, book My World of Soccer by Jimmy Greaves with a signed photograph of Jimmy in more recent years attached to frontispiece, Topical Times Stars of Today Photo Album circa 1938 (complete with cards), Leicester Evening Mail Football Annuals 50/51 and 51/2, Tiger Album of Football Club Badges (complete) 1960, Playfair Football Annual 1949/50, Sport Association Football Yearbook 1949, 3 x 1947 and 1948 booklets relating to the FA Cup etc, "The Cup" booklet 1949, approximately 28 match tickets including England v Scotland 55, 57, 59, 61 and 65, v Wales 52, v Germany 54 and v France 57 v Rest of World 63 and several other 60s internationals, World Cup Quarter Final 66 at Hillsborough, England aways at Poland 2004, Netherlands 2006 and v Colombia 2005 at Giants Stadium (ticket folds) other tickets include England v Germany Euro 2000 and matches 15 and 45 World Cup 2002, Hendon FC postcard teamgroups 1912/13 and 1951, Newcastle Teamgroup with FA Cup early 50s, circa 20 press football photographs mainly showing match action /scenes , mostly 1980s, variety of teams/players, over 30 Eastbourne FC programmes early sixties, 6 x Women's FA Cup Final programmes between 2002 and 2011, over 20 miniature photographs believed to be Manchester United on tour in USA/Canada 1950 plus 3 x United player trade cards 1930s, pennant Raba Eto Gyor v Man United 1984 UEFA Cup, issue of Le Miroir de Sports dated 4/5/1922 with pictures of the 1922 English Cup Final plus France v Spain, 3 x Wimbledon Tennis 2000 programmes including both singles Finals (Sampras and Venus won), European Cup Final programmes 1960, 68 and 75,AC Milan v Magdeburg Cup- Winners Cup Final 1974 in Rotterdam, World Cup 66 Tournament programme in very good condition, Real Madrid v Inter Milan European Cup Semi-Final 1981 programme, Hamburg v Liverpool 67, Gateshead v Scunthorpe 63, Darlington v Accrington 61/2, Brighton v West Ham 58/9 friendly, Aldershot v Bradford PA 69/70 (last Football League game for Bradford PA), Ireland Republic v Czechoslovakia 59, several foreign Internationals, last match programmes at Roker Park and Victoria Ground , Stoke, Wales v Scotland 1950 Schools, Club Bruges v Chelsea 71, DWS v Chelsea 68, Amsterdam v Man Utd 62, Northampton v Man Utd 70 (Cup, Best scored six)Manchester United away friendlies at Linfield 82, Shelbourne 74, Corinthian Casuals 2004 and Bournemouth 72, Arsenal aways at Ramsgate 65, Crystal Palace (Sports Centre ground) 1970, at Magdeburg 79, Lokomotive Leipzig 78, B.T.Staevenet 63, Arsenal pirate v Liverpool 47, Championship Winning brochure 48, two issues of Gunflash 51 and 52, 1932 Cup Final card featuring line-ups issued by Carreras cigarettes, England v Scotland 1938 songsheet, action photographs signed by Roger Hunt and Alex Stepney, colour photograph of Man United at Wembley 1977 with the Cup and signed by Pearson, McIlroy and Tommy Docherty, large Daily Sketch action photograph of Denis Law shooting at goal, programme Germany v Ireland 60, Peterborough v Uganda 56, Arsenal v Leeds 46 (punch-holes), Bradford PA v Newport 69/70, Chelsea v Brighton 45, , London 5-a-side Championship programme 56, 40 Rugby League programmes 1964-66 including Lancashire Cup Finals 64 and 65 and New Zealand Tour 65 games at Wigan, Warrington, St Helens and Widnes ( scores noted in programmes).World Cup 66 beer mat, 107 pre-war cigarette cards covering various sports including Horse Racing, Boxing, Cricket, Speedway etc (some pre-World War 1), book "In quest of the Ashes" (D.R.Jardine-1933-some foxing), Plymouth Argyle handbook 1949-50, menu signed by Stiles, Hunter and Tommy Smith, menu signed by Banks and Shilton, Topical Times Sportsman's Diary 1935 and Rugby World Cup 1995 in South Africa official souvenir programme (over 340 pages), complete copy of Football Weekly newspaper 29/8/1936, complete copy of The Sporting Life newspaper 18/12/1867 covers Horse Racing, Coursing, Cricket, Rugby, Billiards etc, Cup Final songsheets 1956 and 65, signed pictures of Quixall, Bobby Charlton, Law, Cantwell, Moir and Jimmy Nicholson (all Man Utd) Most items are at least Fair-generally good and often better. Well worth a look with numerous other items not mentioned. Fair-generally good

WORLD CUP 1974 Official programme (Green) Bulgaria v Uruguay in Hannover 19th June 1974. This was an official programme published for matches in Hannover with a sketch of the stadium on the front cover. No writing. Good

CRICKET BOOKS Five books: Anglo Australian Cricket 1862-1926 by Percy Cross Standing, Test Cricket and Cricketers 1877-1934 by E.L. Roberts, Denis Compton - A Cricket Sketch, Cricket Old and New by A.C. MacLaren and The Book of Cricket by Sir Pelham Warner. None has dust jackets. Generally good

AUTOGRAPH ALBUM: An autograph album containing over 100 signatures by various actors, actresses, popular singers & musicians, entertainers and some other famous individuals (a few of them motorcycle racers who participated in the TT Races on the Isle of Man) including Frankie Howerd, Peter Brough & Archie, Ken Dodd, Hugh McDermot, Alfredo Campoli, Bob Monkhouse, Arthur Askey, Violet Carson, Geraldo, Alma Cogan, Vic Oliver, Binnie Hale, Jimmy Gold, Joe Loss, Gilbert Harding, Georgie Wood, Jimmy Edwards, Hughie Green, Jim Dale, Richard Murdoch, Kenneth Horne, Gary Miller, Petula Clark, Nat Jackley, Eddie Calvert, Anne Shelton, Tom Jones, Jon Pertwee, Geoff Duke, Reg Harris, Pat Smythe, Joe Mercer, Bob Fabian (of the Yard), Walter H. Thompson (Bodyguard to Winston Churchill during World War II), James Howard Williams (British Soldier known as 'Elephant Bill' who served in the Burma Campaign during World War II; a good example incorporating an original pen and ink sketch of an elephant) etc. Most pages are multiple signed. Binding slightly loose, otherwise VG

EVANS EDWARD R. G. R.: (1881-1957) British Naval officer and Antarctic Explorer. Evans served as second-in-command on Robert Falcon Scott's ill-fated expedition to the South Pole 1910-13 and as Captain of the expedition ship Terra Nova. A good original dark blue pen and ink sketch drawn and signed by Evans on a 12mo card, the image depicting a penguin standing contentedly on a piece of floating ice. Signed ('E R G R Evans') at the base. Lightly mounted to a page removed from an autograph album. Together with individual vintage fountain pen ink signed pieces by the cricketers Clarrie Grimmett and Denis Compton and the film actress Maureen O'Hara. Inscribed (2). Each lightly laid down to pages removed from an autograph album. Some light scuffing and age wear, otherwise VG, 4

KOKOSCHKA OSKAR: (1886-1980) Austrian Artist, known for his intense expressionist portraits and landscapes. An excellent illustrated A.L.S., with his initials OK, two pages, oblong 4to, Port William, Wigtownshire, n.d. (‘Tuesday’, c.1941/2), to ‘My dearest Chatin’. Kokoschka writes an interesting letter concerning his work, announcing ‘Although I had no permit, I painted the landscape and it is nearly finished. About the same size as the ‘Crab’, this time the colours are subtle and like silk’, further describing the image, ‘The bay with waves, a long stretch of coastline, in the foreground cattle and a barn or two. And a big cloud pouring down in a shower’. At this point in the letter Kokoschka has added a pen and ink sketch of the work, as described. The artist continues his letter by referring to his financial situation (‘I wonder whether you need money as soon as I do….’) and the climate that he is experiencing in Scotland, ‘Weather is silly here, mostly covered sky, showers, sometimes a little light, but too cold to sit out-doors for longer than one hour or two. For walks it is quite lovely’, further remarking ‘I have done quite a lot of very good water-colour sketches of all the fishes, pheasants, rabbits and partridges I ate afterwards (what always makes me feel like a cannibal and leaves a rather uncertain feeling in my belly!) Anyhow the sketches will be very useful for paintings during Winter’. Kokoschka again writes of his surroundings, ‘There is at an hour’s walk from where I live a beautiful mediaeval castle of the Marquess of Bute (family of Crayton-Steward). Drumwalt is the castle called, next place is Elrig village. I think it lovely, in a beautiful park’ and once again returns to his art, ‘Your colours I did not use so far, much too precious for the low price we get so far. But I think people will soon realize what money value is now in money with all the men in store, considering the war-situation.’ A letter of fine content, considerably enhanced by Kokoschka’s original ink drawing. Some very light, extremely minor age wear and a small area of paper loss at the centre of the top edge, not affecting the text, drawing or signature. About VG Considered a degenerate by the Nazis, Kokoschka fled Austria in 1934 and settled in Prague. In 1938, with the expected invasion of the Wehrmacht looming, Kokoschka fled to the United Kingdom where he remained for the duration of World War II. At this period, from which the present letter dates, the artist painted anti-Fascist works including What We Are Fighting For (1943). During several summer months Kokoschka and his young wife lived in Scotland, from where he wrote this letter. There he developed a technique of drawing with coloured pencils and painted many local landscape views in watercolour. 

CALDERON, PHILIP HERMOGENES, RA (1833-1898)A letter to 'Waller' (Samuel Edmund Waller) referring to an item in the Daily News and 'what a capital notion it would be for a picture'…….and a variety of dogs and puppies of all nations surrounding the maid would make a telling and amusing picture - what think you?' together with a sketch, the ink drawing annotated with 'Dogs' Dogs'. Another letter in which he refers to having a bad cold - 'I can scarcely get on what with one hand holding my pallet and the other hand blowing my nose all day'.Philip Hermogenes Calderon was a Pre-Raphaelite and historical genre painter and became keeper of the Royal Academy in 1887. His brother in law was Henry Stacy Marks and he was a close friend of Frederic Leighton