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[Maxwell (W.H.)] Wild Sports of The West, 2 vols. 8vo L. 1833. New Edn. 5 litho plts. (2 frontis) text illus., cont. diced calf, mor. labels; Thackeray (W.H.) The Irish Sketch Book, L. 1860. Third Edn., frontis, text illus. cont. calf, with gilt armorials, lacks labels. (3)

Behan (Brendan) Brendan Behan's Island, An Irish Sketch Book, 8vo, L. 1962, illus., cloth & d.j.; Borstal boy, 8vo L. 1958, cloth; Hold Your Hour and Have Another, 8vo L. 1963, cloth; Ryan (John) Remembering How We Stand, Bohemian Dublin at the Mid Centenary, 8vo, c. 1975, cloth & d.j.; Greacen (Rbt.) Even Without Irene, 8vo D. 1969, cloth & d.j., as a lot, w.a.f. (5)

Box: Irish History, some Religious: Kenney (J.F.) The Sources for the Early History of Ireland, Vol. I, Ecclesiastical, [All Published], N.Y. 1929; Maxwell (C.) Irish History from Contemporary Sources, L. 1923, First, d.w.; also Country and Town ... under the Georges, Dundalk 1949; Andrews (J.H.) Plantation Acres,I 1985; O'Rahilly (T.F.) Early Irish History and Mythology, D. 1971; Behan (B.) Brendan Behan's Island - An Irish Sketch Book, L. 1962, illus., d.w.; & 14 others varied. As a box, w.a.f. (1)

A 19TH CENTURY OIL SKETCH OF A BRIDGE 'Bridge near Armathwaite Lake, Cumberland' indistinctly signed and dated

A collection of collectables, to include a Victorian musical photograph album, various postcards and a collection of sketch books

Mid 19th century scrapbook, 32 x 10 cms, with sketches, cuttings , notes etc. binding poor, 19th century notebook, full leather, another, full leather blind stamped and gilt decs, aeg and an uncut blank sketch/notebook (4)

A sketch of steam tractor, Fowler and Robey, initialled E.J.F

D N MorganwatercolourWoodland Pool and a sketch of a fishing boat in harbourlargest 27 x 37cm

George HortonwatercolourFishing boats in harbour, 29 x 37cmand a pencil sketch of Shields Harbour

An early 19th century scrap/sketch book containing musical notations, script, and watercolour picture

A pencil sketch, Zagay, Un Souvenir, stick men, indistinctly signed, 4.5'x8'

A very good sketch album 1910's-1920's

Two Portraits of young ladies, one being a pencil sketch, the other a painting of an Eastern Lady, indistinctly signed

A Pencil Sketch of William Pulteney, 1st Earl of Bath, inscribed

A Watercolour sketch copy probably from 'Sketches on Moselle, Rhine and Meuse' by William Clarkson Stanfield, framed 26 cms x 21 cms

Quantity of local artists' sketch books

H. L. Robinson, 'Sketch at Evemouth', a pair, each signed, oil on board, 29 x 34cm.

A 20th Century sketch and scrap book to include landscapes, seascapes, JOAN MARTIN MAY "Tommy and Japanese soldier", a Second World War pencil sketch, etc

Thomas Lound (British, 1802-1861), after James Duffield Harding'Hastings', Inscribed 'Hastings, sketch from JDH'Pencil, pen and ink and brown washes28cm by 38cm. framedProvenance: Thirkettle Collection, Granddaughter of the Artist

Three framed watercolours and a framed pencil sketch.

Attributed to George Romney (British) 1734-1812, framed figurative sketch, description to verso; Sabin Galleries London entitled 'Interior scene with many figures', nr 99 from "Early English Drawings as Christmas Presents 1965", a page from the artists sketchbook, probably John Howard visiting a prison, approx 31.5 x 39.7 cms, framed and glazed. Provenance: From the family collection of a London gentleman.

Rachel Hemming Bray - Pastel - Self portrait with a vase of flowers, signed with initials, 52cm x 42cm, together with a preparatory sketch of the same picture, signed and dated 1987, each framed and glazed Condition:

English School (19th century) Five silhouettes framed as one in a black papier mache frame, portrait of a young girl, mid 19th centutry in a rosewood frame, 19th century ink sketch of a male torso and a leather cased floral watercolour and A reverse glass picture of a boy and dog (5)

William Conor RHA PRUA OBE (1881-1968)The Street MeetingOil on canvas, 50 x 40cm (19¾ x 15¾'')SignedProvenance: 'The Brian McRoberts Collection' exhibition and sale, The Bell Gallery, June 1982, Catalogue No.3, where purchased by UTV. Mr McRoberts is thought to have bought this from The Bell Gallery in the 1960s when they were in Alfred Street.Exhibited: The UTV Art Collection Exhibitions including this work held at: Linen Hall Library, Belfast, January 1991; The Crawford Gallery, Cork, April / May 1994; Town Hall, Limavady, October 1994; Central Library, Londonderry, July 1995; Fermanagh County Musuem, September 1999;'A Selection from the UTV Collection', RHA, April 1993; William Conor: The Peoples' Painter, The Ulster Museum, November 1998 / April 1999Literature: The UTV Art Collection ‘RHA Catalogue 1993’, illustrated p.9; 'UTV Art Collection' 2009, illustrated p.22.William Conor ….is worthy of respect, not only as our senior painter, but as, in many ways, the most representative. Conor began exhibiting in 1911 and since then has followed a consistent course, drawing his material from his own place …. His chief virtue is a fundamental sincerity: he paints as he feels; if the emotion be powerful the work will correspond …. Stylistically he is no man’s disciple, having forged his own idiom from his personal vision and experience. (Hewitt, The Arts in Ulster, Painting and Sculpture, 88-89) Described as the people’s painter, William Conor fittingly began his art engagement at the age of ten on the streets of his native city of Belfast. He had been discovered by a friendly music teacher, Louis Mantell, who found him sketching on a wall as he waited for the end of a friend’s music lesson. (Theo Snoddy, Dictionary of Irish Artists - Twentieth Century,p.75). He went on to train at the Government School of Design in 1894 and continued to sketch prolifically throughout his life. He carried his sketchbook in his pocket at all times and in 1923 Conor wrote that he was accustomed to note down any little happening which strikes me as interesting and significant. Within this range of sketching output, street scenes of Belfast predominate. Conor was equally comfortable in depicting single figures, two-person and three-person groups in his sketches, drawings and paintings. He also depicted larger groups and all his figure studies captured their subjects in activities of various types - playing, dancing, selling or skipping, for example, with a lively and gregarious air of enjoyment. He was a highly perceptive and sympathetic chronicler of the people of Belfast and has endured as the city’s most popular fine art exponent. It is interesting to note his early employment as a poster designer with David Allen & Sons, lithographers. He worked in this position for five years and it is certain to have influenced his ability to portray a scene powerfully within the confines of the page or canvas. He exhibited with the Belfast Art Society, the Royal Academy and the Royal Hibernian Academy. His representation at the latter was sustained and formidable, over 200 works during the period 1918-1967. As a practitioner he has been credited with many positive attributes honesty, integrity, sincerity and clarity in his depictions of the people and places that surrounded him and in his portrayals of the scenes he encountered as he explored his habitual urban environs. His work is readily identifiable and relatively unique in its sustained engagement with a city and its people. Writing about this work in 1982 Nelson Bell wrote :- “Perhaps the highest point of Conor’s achievement in this collection is the oil painting entitled “The Street Meeting”. This an affectionate, delightfully animated work which displays the artists unique ability to capture the depts of a human soul in the facial expression of the three women gathered around their portable organ as they proclaim the word of god in song”.We thank Nelson Bell for his help in cataloguing this lot and Marianne O’Kane Boal whose previous writings on the artist formed the basis of this catalogue entry.

Louis Le Brocquy HRHA (1916-2012)DelacroixWatercolour, 60 x 44cm (23½ x 17¼'')Signed, inscribed 'For Anne in admiration and friendship' and dated 10th November 1981Provenance: A gift from the artist to Anne Crookshank, 10/11/1981 and thence by family descent.Louis le Brocquy’s (1916 - 2012) many series of portraits of celebrities both historic and contemporary were widely known and admired during his lifetime. However his small group of watercolour sketches of the 19th century French artist Eugene Delacroix are little known and rarely reproduced. Yet, they have a significance far beyond their recognisability because it was to the Delacroix Autoportrait dit au gilet vert in the Louvre in Paris, that le Brocquy owed his own ventures into self-portraiture.In Louis le Brocquy, Portrait Heads, A Celebration of the Artist's Ninetieth Birthday, (catalogue of the exhibition of the same name at the NGI in 2007), le Brocquy is quoted as saying that he resisted pressure to paint his own face from his wife, the painter Anne Madden and others, ‘because my interest was always in painting the other, ….my immediate stimulus happened to be a couple of studies in watercolour I made from Delacroix’s curiously moving self-portrait in the Louvre’. Despite this remark however, le Brocquy is also cited in the same publication, as saying that, ‘An artist tends to paint his self-portrait all the time, since even with a subject before him - what he tries to draw up from the depths of the paper or the canvas, lies really somewhere in his own head.’ That suggests that even though this watercolour sketch of Delacroix is a telling likeness of the great French Romantic as known from many portraits and photographs of him, there is an element of the self-portrait here too. It is of interest that le Brocquy did not attempt a series in oils of Delacroix but shifted his focus, instead, to his own face.This watercolour sketch of Delacroix comes from the collection of Anne Crookshank, the inaugural Head of the History of Art department in Trinity College who died late last year. Anne Crookshank had been a friend of the artist’s since the 1950s when she bought his work, and the work of other emerging contemporary artists, notably William Scott, for the collection at the Ulster Museum in Belfast. An inscription by the artist , dedicates the Delacroix portrait to her ‘in admiration and love’. Elsewhere le Brocquy recorded his great regard for her achievements in Ulster and her unfailing support for living artists through her work for the Rosc exhibitions and her teaching. The painting of Delacroix, connected as it is to an important development in le Brocquy’s own career, was a fitting gift to the country’s leading art historian and a friend whom le Brocquy thought of as ‘a great Irishwoman’. Catherine MarshallAugust 2017

John Arnold Wheeler, (1821-1903),oil sketch on board, watering a horse, inscribed verso, 9" x 11", framed.

Marjorie Cox (1915-2003),coloured pastels, portrait of a dog Bramble 1964, signed, 17" x 15" together with 3 sketch books by the same artist, including studies of London Zoo animals and life studies, (4).

A group of early 20th century artist's sketch books.

Dorset, Devon & Cornwall.- Wynne (Rev. Luttrell, antiquary, rector of St Erme, Cornwall, Fellow of All Souls College, Oxford, son of the jurist William Wynne, 1692-1765, 1739-1814) Notes on Dorset, Devon and Cornwall, autograph manuscript, 32pp., full-page pen and ink sketch of an amphitheatre, folds, browned, unbound, sm. 4to & 8vo, 1780. ⁂ Wynne's West Country notes consist of a series of unbound gatherings on towns and villages such as Falmouth, Truro, Mevagissey, St. Michael's Mount, Exeter, Dorchester, Weymouth and the surrounding countryside with remarks on local sights, estates, "druidical" remains, etc.

Elgar, Billy Reed & Bernard Shaw.- Shaw (George Bernard, playwright and polemicist, 1856-1950) Autograph Letter signed to Billy Reed, 1½pp., 8vo, Malvern Hotel, Malvern, 17th August 1934, relating to Reed's book on Edward Elgar, Elgar As I Knew Him, published in 1936, "Perhaps I should get the enclosed typed for you; but as you are inured to impossible manuscripts I send it, to save time, just as I scrawled it. It may just serve to start you. Once started you will have no difficulty in going ahead in your own way. The book will be attractive as biography and autobiography. There is a statutory right of reasonable quotation which will, I think, cover... the use you need make of the sketch. Therefore if you can get access to the sketches (or copies) no question of copyright is likely to arise", torn at head with very small loss; Shaw (George Bernard) Autograph Letter signed to Dr Hull, 1p., 114 x 177mm., 4 Whitehall Court, London, 14th April 1939, concerning a contribution towards the cost of Billy Reed's honorary music degree ceremony by the University of Cambridge, "What does it cost to be enrobed as a Mus. Doc? I haven't the faintest notion. Will Billy have to compose a Tantum Ergo in eight real parts and hire a string quartet and a choir to perform it? I am completely in the dark, and don't know whether you want a guinea from me or a small fortune", folds, removed from an album (2). ⁂ William Henry Reed [Billy] (1876-1942), violinist and composer; after Elgar's death, George Bernard Shaw encouraged Reed to record his memories of Elgar. The book, Elgar As I Knew Him included facsimile reproductions of many of the 172 pages of sketches and also the instructions Elgar had given Reed for playing them and his guidance on where each sketch fitted into the overall work.

Mairet (Ethel).- Pepler (H.D.C.) The Hand Press, number 198 of 250 copies signed by the author, original cloth with wrap-around pasted down paper label, uncut, spine a little faded, [Taylor A233], Ditchling, St. Dominic's Press, 1934 § Shelley (P.B.) Prometheus Unbound, out-of-series copy from an edition limited to 200 on paper, frontispiece by C.R.Ashbee, printed in red and black, original boards, uncut, lacking spine, Campden, Essex House, 1904 § Ashbee (C.R.) Echoes from the City of the Sun, out-of-series copy from an edition limited to 250, presentation copy from the author to Ananda Coomaraswamy inscribed "To Shree Coomaraswamy from C.R.A." on front free endpaper, original boards, uncut, Campden, Essex House Press, 1905 § Sirelius (U.T.) The Ryijy-Rugs of Finland, Ethel Mairet's copy with her signature on front free endpaper, colour plates with captioned tissue guards, illustrations, original buckram, a few stains to upper cover, Helskinki, 1926; and a small bundle of others, mostly postcards addressed to Ethel Mairet including one each from the potters Bernard Leach (with sketch) and Shoji Hamada, v.s. (sm.qty) ⁂ Ethel Mairet (1872-1952) was a hand-loom weaver who greatly influenced the development of the craft in Britain in the first half of the twentieth century. She was first married to the art historian Ananda Coomaraswamy, author of works on the art of India and Ceylon, and together they became part of the craft community established by C.R.Ashbee (founder of the Essex House Press) at Chipping Campden, and where she first learnt to weave. She later married Coomaraswamy's secretary, Philip Mairet, and they moved to 'Gospels' in Ditchling, becoming part of the artistic group led by Eric Gill & Douglas Pepler. Her work A Book on Vegetable Dyes had been the first work published by Pepler at the Hampshire House Workshops in 1918 (Taylor A1) and her studio at 'Gospels' became a centre for hand-loom weaving, drawing visitors from all over the world including Mahatma Gandhi and the potters Bernard Leach and Shoji Hamada. The latter described her as "the mother of English hand-weaving" and his postcard to her is from Ryuku in Japan which he says is "..famous for producing pots & good 'kaswri' a special sort of cotton cloth with woven white patterns in indigo colour...". The postcard from Leach is from Korea and includes a small sketch with the description below "...hills behind like this...".

Ricketts (Charles de Sousy, artist and art collector, 1866-1931) Autograph Letter signed to the actress Stella Patrick Campbell, daughter of Mrs Patrick Campbell, 1p., 4to, Lansdowne House, Holland Park, [1921], giving precise instructions on how to move on stage to show the costume he has designed to maximum effect, "When you bring on Tyltis coat, keep it hidden by your cloak, it makes a dull patch against you and it is better 'Theatre' that we should only see it when he puts it on", with a PS, "I have praised you to Barker, Sutro, Collins, Edward, Grossmith", and with a watercolour sketch of Campbell's dress, folds, slightly browned. ⁂ Pencil inscription by Campbell, "From Charles Ricketts. Notes on how to use the exquisite dress he designed for me as 'Light' in the Betrothal. 1929."

Michael Barnfather (Bn. 1934)From A Sketch Near Stokesley, Yorkshiresigned, dated 1974, oil on canvas, 37cm x 107cm

Louis Wain (1860-1939)A Cat Holding a Lobster, by the Coastsigned, pen and ink, 14cm x 11cm; another, Dog Coming, titled, pen and ink, 13cm x 10.5cm, framed as oneProvenance: Purchased by the vendor from the descendants of one of the elderly Wain's nurses, Mrs. Blinkhorn. The paper of each anthropomorphised cat sketch was taken from the then Nurse Blinkhorn's day book.

ROSA BONHEUR (FRENCH 1822-1899) SKETCH OF A SEATED GENTLEMAN signed, stamp of the Vente Rosa Bonheur 1900 on stretcher verso, oil on canvas 28.5cm x 22.5cm (11.25in x 8.75in)

ROSA BONHEUR (FRENCH 1822-1899) SKETCH OF A DEER signed, stamp of the Vente Rosa Bonheur 1900 on stretcher verso, oil on canvas 34.5cm x 39.5cm (13.5in x 15.5in)

A VINTAGE SKETCH BOOK, CONTAINING POEMS, ART WORK, LETTERS, ETC

1- The Contents, Virtues, and Uses of Nevil-Holt Spaw-Water, Further Proved, Illustrated, and Explained, from Experiments and Reason. Mr. Corbett, 1749, 2nd. edn. with additions. PP: viii, 68; BOUND WITH: A Treatise on the Nature, Properties, and Medicinal Uses of the Waters of Pyrmont, Spa, and Seltzers. Also of the Malvern Waters. for W. Owen,1762, 1st. edn. PP: 32, (iv)ads. Later full leather; 2- Walker, J: An Essay on the Waters of Harrogate and Thorp-Arch in Yorkshire.. for J. Johnson.., 1784, 1st. edn. PP: viii, 208. Later full leather; Little age toning; VG+; 3- Feltham, J: A Guide to All the Watering and Sea-bathing Places; With A Description of the Lakes; A Sketch of a Tour in Wales; and Itineraries. Richard Phillips, n.d. Frontis panorama of Bath dated 1808. With 55 of 57 plates & maps (lacking view of Hastings & map of Ramsgate); 4- Another copy; lacking all the plates & maps; 5- Moncrieff, W T: The Visitors' new Guide to The Spa of Leamington Priors, and its Vicinity. Leamington: W. G. Elliston, 1818; with folding map (lacking the folding plan); binding as above; 6- Hargrove, E: History of the Castle, Town and Forest of Knaresbrough, with Harrogate & its medicinal springs; Knarebrough, for W. Langdale, 1821, 6th. edn. With folding colour map; A/F; 7- Sunderland, S: Old London's Spas, Baths, and Wells. With 36 ill. John Bale.. 1915, 1st edition; SIGNED PRESENTATION COPY. Rebacked with leather spine; 8- Tuer, A W: Luxurious Bathing: A Sketch. With 8 engravings by T Ellis. Field & Tuer, 1880, 4th. edn. Full vellum; soiled & warped. (8)

*Peter Godfrey Coker R.A. (1926 - 2004), oil on panel - La Roche Guyou, initialled, signed verso, titled and dated 1989, in gilt frame, 30cm x 80cm.N.B. See Chris Beetles 2002 catalogue, 129 for the preparatory sketch

*Sir Alfred Munnings (1878 - 1959), pencil sketch - Coronation Cup, Epsom 1937, signed and inscribed 'To George & Joan, Alfred', a further sketch verso and other jottings, inscribed 'Coronation Cup, Epsom 1937. Owners enclosure, sketch for the Wallis picture before it was cancelled. Given by Alfred in memory of a splendid days racing and a reminder of our dealings', in glazed gilt frame, 15cm x 40cm.Provenance: The estate of Joan Belcher, wife of George Belcher the Punch Cartoonist and friend of Munnings

Arthur Lett-Haines (1894 - 1978), double-sided pencil sketch - study of Cedric Morris smoking a pipe and other figures, in glazed frame, 32cm x 40cm CONDITION REPORT Glazed frame - not examined out of frame. A little creasing, time staining, particularly stained to right hand periphery, otherwise basically ok

Jean Dryden Alexander (1911 - 1994), ten sketch books spanning 1920s - 1950s - including local views, animals and other loose sketches

Glyn Morgan (1926 - 2015) and John Nash (1893 - 1977), sketchbook, circa 1968 - 1975 - including pencil sketch of an Iris, signed - John Nash, various other landscapes, botanical and other sketches, apparently by Glyn Morgan

*Lucy Harwood (1893 - 1972), pencil and pastel sketch - a seated figure and a gentleman smoking a pipe, in glazed frame, 52.5cm x 41.5cm

Glyn Griffiths (1926 - 1999), watercolour - 'Autumn', 30cm x 40cm, framed, together with an oil on board, by M. James and an unsigned pen sketch of two boys (3)

§ Austin Osman Spare (1888-1956)pencil and coloured pencils on thin wove paper'Threshold: Quasi-automatic drawings. 1944-1945' title page in the original album with attached note '35 drawings by A.O.S. Bought for £15. Nov 15th 1945 through Hannen Swaffer'8 x 13in.LOTS 1087 - 1115 FROM A PRIVATE COLLECTION IN EASTBOURNEAn introduction by Dr William Wallace, an acknowledged authority on the life and work of the artist and author of The Catalpa Monographs: A Critical Survey of the Art and Writings of Austin Osman Spare - Jerusalem Press, 2015AUSTIN OSMAN SPARE (1886-1956)SKETCHBOOK OF 35 DRAWINGSThe suite of fine drawings by Spare offered here for sale represent sketchbook works but of accomplished presentation drawing standard, and represent one of his usages for this medium, permitting his inspiration to unspool sequentially onto the pages from his restlessly combinatory imagination.He is unusual amongst artists, in that he was prepared to sell his sketchbooks; these are usually retained by artists as containing germinal ideas for more resolved works. Whilst Spare also did this he was not possessive about them, and at times they were extensions of his own published occult-philosophical works. Good, early examples include the exquisite mystical bookworks in ink and watercolour The Focus of Life & The Papyrus of Amen-AOS (1905-6) and The Arcana of AOS & the Consciousness of Kia-Ra (1906), developing ideas from his first published book Earth:Inferno (1905), both sold to his friend and mentor, the avid collector, Pickford Waller (1873-1927), possibly in the hope of publication. This was only realized in 2011 as Two Grimoires which succinctly conveys their magical nature. The title The Focus of Life would be invoked again by Spare for his published oneiric odyssey and masterwork of 1921Spare was again selling sketchbooks by 1924, and again to Waller with Satyros at Stroud, a mythologised vision of the Gloucestershire landscape in pencil, coloured pencil and watercolour, produced on holiday far from the fleshpots of the Boro'; 'Satyros' being one of the artist's alter-egos. His accompanying letter to Waller is upbeat, Spare having been bucked by the sale of four drawings to Lord Leverhulme. Two other sketchbooks of that year have since been part-published, the sublime Ugly Ecstasy, with its grotesque, Baudelairean vision of beauty, bought by Gerald Reitlinger (1900-1976), and The Valley of Fear: Metamorphosis, with its Sherlockian title (Spare loved detective stories), another Waller acquisition. Another, (1925;published 1972), A Book of Automatic Drawings, is actually quasi-automatic, with more finely finished grotesquerieOverall, the sketchbooks vary, from the type of fluent ludic outpourings of the automatics, to finely finished sequences verging on discreet narrative as in an unfolding journey, to more didactic sketchbooks intended as instructive for students of his Austin Osman Spare School of Draughtsmanship. Others contain preparatory drawings for larger pastel paintings and other work, and even, as with one owned by his great friend and amanuensis Frank Letchford (1916-1998), a combined sketch/scrapbook with pieces collaged over full-paged drawings of c.1954Several notable sketchbooks, including types (drawings) here offered at auction were produced whilst the artist was "fire-spotting" for flying bombs over his beloved Southwark. One such, (recently published) consists of 24 highly finished drawings, entitled: Adventures in Limbo, obliquely recalling the Dantean influence of the 1905 Earth:Inferno. Spare, like Blake, viewed London as both (literally and metaphorically) as both concrete and spiritualised as well as charged with mystery. In Dante's Limbo, the poet in wonder sees the noble pagans later revered by Spare: Aristotle, Socrates, Plato, Democritus, Diogenes, Heraclitus, Anaxagoras, Thales, Zeno (of Cittium), and Dioscorides. The artist was to reveal tellingly in his 'Mansion House' pub show catalogue (1952) that his sketchbooks for sale (items 101-111) are titled Cacoethes Scribendi. These range from12 to 48 drawings priced from £2 10s to £8.00. He describes them thus:Cacoethes scribendi: Twelve sketchbooks of original ideas. A work of art often owes its virtue to omission as well as revision or consummation; yet equally (if not more so), the uninhibited nature of the contents of artist's scribbling books are instructive, potent and stimulating, because they show the creative faculty in unhindered operation, and the underlying ideas motivating the artist are in some measure revealed. Those purchasing these sketchbooks obtain therewith both the copyright and my permission to exploit any of the ideas as their ownThe 153 exhibition at 'The White bear' tavern offered "sketchbooks by request" (items 141-2) One of these, from Letchford's collection (No5) of twelve drawings features Witches Sabbath scenes, and one drawing is of three plinthed satiric heads labelled 'Carus Lucretius', 'Apuleius', and 'Zeno of Elea', there is a distinct whiff of Faustian brimstone. Several drawings in this book were developed; one, into an ink drawing on wood: 'Evocation by Acrobatics' appeared in Spare's last show- at the Archer Gallery in 1955 (no 139). Conversely, one drawing is a version of 'These are the Women' (minus the anthropomorphic tree) which had been shown at 'The Mansion House' pub in 1952, although the title occurred at Spare's "Home Show" of 1936 (no 8). Another book owned by Letchford is a mix, starting with a list of titles for his last exhibition and several preparatory sketches, such as 'Ghosts are Sidereal' (no 45) alluding to Spare's method of anamorphic distortion, and part of the 'Ghosts I Have Seen' series.Sketchbooks in the Bower-Dalton collection reflect their diversity. Spare has used an autograph book for his mainly satyrized heads and titled it A Book of Satyrs (after his second published book of 1907). The 29 drawings probably capture the mythologised heads of ARP, AFS and ambulance personnel, again whilst on fire-watching duty, capturing the denizens of the wartime blackout Inferno. Another in the same collection is titled Static Alignments (1944-5) comprising twenty demonstration drawings for students. Another of 1944: Ideas and Transcriptions From Life: Drawn for Students was presented after the war, to Frank Letchford, displaying a variety of experimental stylesThe title Cacoethes Scribendi of 1952 for his sketchbooks provides a clue to Spare's motives. The term originates (typically) with a satirist, Juvenal (late 1st-2nd c AD), who refers in Book III (7th Satire) to: "insanibile scribendi cacoethes" an incurable passion for writing (drawing in Spare's case), as almost a pathological compulsion. Again, the classical world collides with London, with Juvenal's influence on Sam Johnson (1709-1784), in his London of 1738. The phrase also occurs in a poem by Oliver Wendell Holmes (1809-1894), the first line reading: "If all the trees in all the woods were men". In fact, Spare does sometimes present trees in anthropomorphic form. The present sketchbook drawings reveal a glimpse into the mind and soul of an extraordinary artistDr William Wallace: August 2017Gorringe's are grateful to Dr Wallace for providing this learned overview

Naval Interest - 'Log and Journal of H. M. Ships Ruby, Duke of Wellington, Edinburgh, Victory and Volage kept by Midshipman Frederick Luscombe Attenborough [1875-1951]' - covering the period July 15th 1890 to 25th June 1894 and including numerous hand-coloured sketch maps, engineering sketches, etc., vellum-bound

John Graham (1794-1879) - an album of 28 pencil, ink and wash sketches of Eastbourne and environs, the front endpapers inscribed "John Graham, Eastbourne" and "Gaps on the Ebourne (sic) Coast", Martins Pit, The Chains, Holywell Gap, Whitebread Hole - No Path, Punchsticks, Cow Gap, Gungarden on Beachy Head, Birling Gap, A sketch entitled "Cricket Match, Rose Cottage" inscribed and dated July 30th 1834. The album also includes views in Lewes and Herstmonceux, half calf, small quarto, rear board almost detachedFor a similar sketch book by John Graham see National Archives ACC 12137 or www.thekeep.info/collections/getrecord/GB179 AM57107For history of the Grant Family see www.burningviolin.org/family/familychronicle.pdf

HENRY SCOTT TUKE (BRITISH, 1858-1929), HEAD AND SHOULDER PORTRAIT OF A YOUNG MAN, black ink drawing, unsigned, taken from a sketch book dated 1898, see label verso, framed. 18cm by 11.5cm

GEORGE WEATHERILL (1810-1890), HORSE AND WAGON ON THE SCAUR WHITBY, unsigned, sketch, framed. 25.5cm by 36.5cm

WILLIAM COLLINS (BRITISH 1788-1847), THE CHERRY SELLER, signed lower left, extensively inscribed label verso, oil on panel, framed. 20cm by 25.5cmProvenance: The Fine Art Society Ltd. Reputedly a sketch for the larger complete work of the same title which was exhibited at the Royal Academy in 1824.

A pine framed pencil sketch of a nude female, signed to bottom right

Winsor and Newton sketch book-14.1/2"x10" containing some water colours and pencil drawings, some blank pages still left to use, a nice old item for the art enthusiast.

Sir William MacTaggart (1903-81)watercolour drawing from the artist's sketch bookChurch in a landscapeAndrews Fine Art Exhibition label verso25 x 35cm

Crane (Walter), Pan-Pipes, 2nd edn and a collection of Mabel Lucie Attwell and Randolph Caldecott illustrated books, including Babes in the Wood (illus Attwell), Lucie Attwell's Annual and Super Book of Fun, various Attwell postcards and Caldecott's Graphic Pictures, A Sketch-Book, Come Lasses and Lads, Sing A Song for Sixpence, The Milkmaid, The Babes in the Wood, The Farmer's Boy and The Mad Dog (Q)

A Sheilagh Brown for Quorum viscose jersey dress, worn by Joanna Lumley, Spring 1975, labelled and size 10; and a photocopy of a newspaper clipping showing Lumley modelling the dress, another of the original design sketch; together with two Sheilagh Brown for Quorum pleated dresses, S/S 1976, labelled; a skirt from the same collection and photocopy of a newspaper clipping, busts approx 86cm, 34in (7) Provenance: The Sheilagh Brown archive. Joanna Lumley is photographed wearing this dress in the Daily Mail, March 17th 1975. CONDITION REPORT: Good condition. Red dye imprint to black underskirt at front, not visible when worn, minor. Others: Good condition. Rear interior neckline of purple dress is slightly soiled from wear.

A matching Bill Gibb sketch for the pastel silk ensemble, Spring-Summer 1977, pen and ink with attached fabric swatch, dedicated `to Bryan' and signed by Bill Gibb, 31 by 20cm; together with another, dated 'High Summer 1971', 20 by 25cm, each in mount and frame (2) The skirt and fabric swatch shown in the sketch are near identical to that of the previous ensemble, not an exact match. Provenance: Greta Morrison CONDITION REPORT: Good condition. Watermarks to edge of black mount of 'High Summer 71', minor. Actual sketch is good.

A woman's Antony Price for Sterling Cooper lurex brocatelle jacket, 1971, labelled, in shades of burgundy and gold, of slim-cut, with notched lapels and two pockets, chest 96cm, 38inProvenance: The Sheilagh Brown archive. Stirling Cooper was started by two London cab drivers Ronnie Stirling and Jeff Cooper in 1967, sometimes using a double-decker bus as a showroom. They were introduced to Royal College of Art graduate Jane Whiteside, who provide the initial fashion direction for the brand, with her first designs created in March 1968 and being featured in The Times. In October 1969 Stirling Cooper formally opened a boutique in Wigmore St, recruiting the then 24 year-old Antony Price to design their first menswear collection. The Times fashion journalist Anthony King-Deacon previewed the new men's range, describing Price as 'one of the brightest young men in menswear designing in London'. His designs attracted movers and shakers of the time, notably Mick Jagger. In 1970 Antony asked Sheilagh Brown to join himself and Jane Whiteside (both were her peers at the RCA) as a co-designer at Stirling Cooper. In 1972 the original partner's split, with Ronnie Sterling remaining at the helm. Jeff Cooper went on to create the 'Cooper's' brand, working with Sheilagh Brown and Sheridan Barnett, and then onto work with Radley/Quorum. The Sterling Cooper brand eventually ceased trading in the 1990s.British fashion designer Sheilagh Brown began her career as part of the 'Swinging London' scene during the 1960s. She attended the Royal College of Art, under the tutelage of Professor Janey Ironside, and Bill Gibb was in Sheilagh's peer group. Whilst still a student, she earned money drawing fashion illustrations for publications including The Times, The Observer, Petticoat and 19. She recalls that one of the perks of the job was that the clothes would arrive on a Friday night and herself and friends would wear them to a party, before she stayed up all night to sketch and then return them. Brown went on to design for Stirling Cooper, Cooper's and Quorum, before establishing the label Barnett & Brown in 1976 with Sheridan Barnett, which dissolved in 1980. She went onto be a principle lecturer at Central Saint Martins, her students at this time including John Galliano , Iain R Webb and John Flett. She also taught at the Royal College of Art (becoming a senior fellow in 2011) with former student Phillip Treacy noting her as one of his most influential teachers. During this period she continued to design as part of a collaboration with Jeffery Rogers. In 1990, Brown became the head of womenswear design at Marks & Spencer, where she would remain for more than a decade, retiring in 2001. The Victoria & Albert Museum holds a number of her designs in their collection. Brown continues to work both as a designer and fashion artist. CONDITION REPORT: Good condition. A few floating gold threads to front hem edge, minor.

A matching Bill Gibb sketch for the printed silk foulard kimono ensemble, Autumn-Winter 1976-77, pen and ink with attached fabric swatch dedicated to 'Bryan' and signed by Bill Gibb, 29 by 20cm; together with another dated A/W 1971, 25 by 20cm, both in mount and frame (2) The matching sketch is in a different colour-way to the ensemble being sold. Provenance: Greta Morrison CONDITION REPORT: Good condition. A couple of chips to frames. A/W 71 - watermarks to black mount, minor. Sketch is good.

* ALASDAIR GRAY (SCOTTISH),PORTRAIT OF JEAN CAMPBELL, HEAD OF PRINTING, GLASGOW UNIVERSITYpencil sketch, signed and dated 29 January 198844cm x 28.5cmMounted and framedNote: Drawn in the Glasgow University Printing Department Office