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A sketch signed and dated L S Lowry dated 1959. Our client has not had this sketch formally attributed to the artist.

† Sir Kyffin Williams KBE, RA (British, 1918-2006), study of a Welsh cob, pencil and wash, initialled, framed and glazed. Further sketch study en verso, open mounted and originating from the Albany Gallery Cardiff. 28cm x 37cm.

John Brian Evanson (20th century British), Oil on canvas, Study of a bay hunter in a field, 39cm x 50cm, Framed, with a pencil sketch study of the same hunter (2)

Attributed to George Romney 1734-1802. Study of a male head in pen and ink, on the reverse in pencil states Found in an old sketch book at Whitestock, Lancs, image area 20 x 14 cm. Note Whitestock Hall was the home of Romney's descendants.

Pencil sketch of a lady, showing her in both profile and front, together with a selection of Early 20th Century French postcards, and a collection of costume watercolours, (qty)

Manner of Samuel Cooper, a pen and ink sketch of the Countess of Castlemaine, 12cm x 17cm

Victorian pen and ink sketch pad, the bound book with figures in lanes, shipping scene, buildings, etc

Artists sketch pads, to include a circa 1908 pad by Laura K Prior, a Victorian sketch album, a Victorian album with mainly military and maritime sketches, an album of Italian Architecture by Richard Broom and two albums of designs, (6)

Pencil sketch by Lady Granley's

William Burges interest,Sir William Emerson's sketch book, the late 19th Century sketch book containing twenty-five sketches of various topics. William Emerson was articled to William Burgess and worked on the designs for the Bombay Art School 1865-1866, many of the drawings in this book have a striking similarity to Burges' vellum sketchbook in the Victoria and Albert museum, some motifs appear to be repeated in both books

Attributed to Elizabeth Thompson (1846-1933) Lady Butler, a pencil sketch pad of various figures, scenes and imagery, one page signed Elizabeth Thompson dated 1868 with figures in pencil, the later pages appear to be by a different hand

Harold Edward Hughes Nelson, La Motte Fouque, illustrated by Harold Nelson, George Newnes Lts, London 1901. The book was previously owned by Nelsons wife Margaret, together with a pencil sketch pad and ephemera

George Cunningham (Sheffield Artist), Kray Cottage, Froggatt, pen and ink sketch 13 x 16cms, another Toad's Mouth, Hathersage 14 x 20.5cms, both unsigned, titled verso.

George Cunningham (Sheffield Artist) Chapel in The Valley, three sectional pen and ink sketch 14.5 x 54cms, unsigned.

19th Century charcoal & chalk sketch depicting a sleeping infant Christ 18.5' x 26.25'; together with a 19th Century engraving 'Jerusalem from the Mount of Olives' pbl. Blackie & Son, Glasgow, Edinburgh & London 1841 (2)

Percy Parb - gouache African woman together with a monochrome watercolour sketch 'Cocottes, Paris - 12', with zebra sketch to verso - both unframed

19th.C.ENGLISH SCHOOL. SKETCH OF AN ITALIAN COASTAL VIEW, INSCRIBED AMALFI, WATERCOLOUR. 31 x 45cms.

ATTRIBUTED TO EDOUARD VUILLARD (1868-1940) ETUDE DE CHIEN, INITIALLED PENCIL SKETCH. 17.5 x 10cms.

ERNEST PROCTER (1886-1935) THREE SKETCH BOOKS OF LIFE FIGURE STUDIES, PRIMARILY NUDES AND SOME LANDSCAPES, MOSTLY PENCIL AND CHARCOAL.

ATTIRBUTED TO JOSEPH FARQUARSON ( 1846-1935). A LANDSCAPE SKETCH, OIL ON BOARD. 29 x 34cms.

A framed and glazed front cover of a newspaper, The Daily Sketch, Monday 20th May 1935, detailing the death of Laurence of Arabia.

PETER CURLING (b.1955) "Loose racehorse", pencil, unsigned, inscribed verso "Early pencil sketch by Peter Curling - to Betty with love Norah", (ARR)

Four assorted rugs, a Nest of three oak tables, a Mahogany and inlaid coffee table, a pencil sketch of harbour with two fishermen in foreground signed bottom right, a box of china ornaments and a metal dog crate.

Watercolour Sketch Of Young Moorish Gentleman By J. S. Morland. Late Victorian watercolour by Liverpool born artist James Smith Morland 1846-1921 Signed 'J. S Morland, dated 1878. Watercolour on paper depicting a portrait of a young man in Moorish style dress. In good overall condition with no signs of fading, some foxing to top left. Housed in gilt frame. Approx dimensions 7 x 10 inches.

*Farington (Joseph, 1747-1821). Landscape sketch with ruined castle on a promontory, pen, brown ink and watercolour on laid paper, with Britannia watermark, 120 x 182 mm (4.75 x 7.2 ins), with additional pencil sketch to verso, and old inscription Saltwood Castle Kent, plus a late 19th century collector's stamp, mounted Provenance: Robert Witt (1872-1952), purchased by him 'At the Farington sale long ago' (according to a letter which accompanies this lot); Reverand Canon F.H.D. Smythe (1873-1966). With autograph letter from Robert Witt to Archdeacon Smythe, on 32 Portman Square headed notepaper, dated Christmas 1948, in which Witt presents the Farington watercolour 'a vigorous little Farington sketch from one of his sketch books' to Smythe as a gift. (1)

*Varley (Cornelius, 1781-1873). South Pinnacle, Newstead Abbey, Nottinghamshire, September 28, 1824, pencil on wove paper, signed, titled and dated lower left, some overall toning, closed tear repaired to left margin, 46.5 x 33.5 cm (18.25 x 13.25 ins) mount aperture, framed and glazed The home of Lord Byron, this sketch of Newstead Abbey is poignantly dated shortly after the poet's death on 19 April 1824. (1)

*De Morgan (Evelyn, 1855-1919). Compositional study for By the Waters of Babylon, black & white chalks on blue-grey paper, showing a frieze of seven figures, one with a harp, in a landscape with trees, image size 21.5 x 40cm (8.5 x 15.75ins), sheet size 28 x 42cm (11 x 16.5ins) A preliminary sketch for 'By the Waters of Babylon', Evelyn de Morgan's large scale oil painting, illustrating the Biblical story of the exile of the Jews in Psalm 137. She finished the work in 1882, and it is now held by the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 11). This early study is typical of the artist's first loose compositional sketches for a work. It is interesting to see that, although two of the main figures present in the oil painting do not yet take their place, the final composition in outline deviates little from her initial concept. (1)

*De Morgan (William, 1839-1917). Study of a dragon, pencil highlighted with bodycolour on grey paper, showing a tethered dragon, pencil grid to aid enlargement, signed in ink lower right, lightly damp-stained to lower right (touching image), biro annotations on verso, sheet size 15 x 31cm (6 x 12ins) Drawing made for the front panel in a Morris & Co. ebonised oak cabinet which belonged to Mrs. Stirling, and is now in the collection of the De Morgan Foundation. Although the oil painting on the cabinet is attributed to William De Morgan, there is a design for the panel in the hand of his wife, Evelyn. The presence of this dragon drawing suggests that there are certainly grounds for the attribution, and probably the design was the result of a collaboration by the two artists. The hand-written note on the verso of this drawing states: "Sketch made by William De Morgan for panel in the Morris & Co built china cabinet at Old Battersea House showing the Dragon in the painting done by De Morgan. This drawing (and painting) must NOT be confused with St. George and the Dragon. It is of course St. Martha's Dragon. In this picture St. Martha has tethered the Dragon with a silken rope and is taking it back to TARRASCON in Provence, France to show the townspeople who were terrorized by it." However, the De Morgan Foundation states that the image is indeed of St. George's dragon, a theory which seems to be borne out by the knight that kneels in front of the people (in this tale the citizens of Silene) and the sword lodged in the side of the beast (St. Martha tamed her dragon, without recourse to violence and injury). Known first and foremost as the principal potter of the Arts & Crafts Movement, William De Morgan's imagery has a number of recurring themes, and one which he returned to again and again was the dragon, depicting this and other fantastical beasts in tiles, vases, chargers and dishes. (1)

A collection of Winnie The Pooh framed and glazed picture sketch prints being signed to corners

SIR DAVID WILKIE R.A. (SCOTTISH 1785-1841) A MOUNTED RIDER IN BATTLE Pen and ink 6.5cm x 9.5cm (2.75in x 3.75in) and another drawing by the same hand (2) Provenance:Spink, London Lady Barbara Noble (Mounted rider sketch)

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Provenance:Compass Gallery, Glasgow June 1975 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments. The dynamic Self-Portrait is more worked up, with gouache layered over the initial conté lines. Fergusson was never particularly well-off and by depicting himself he saved the cost of a model, while allowing more time to work into the depiction, beyond the simple lines of a quickly observed sketch. The portrait has a sense of drama, in his strong lines, but also in the way he chooses to depict himself, with a bold hat which frames his face and offers a striking contrast with his angular facial structure. Fergusson was interested in contemporary fashions, often making the effort to include fashionable touches in his female studies, particularly hats, so it is interesting to see him turn this particular focus on himself.

Robert Carthew (contemporary British) framed pencil sketch of the front elevation of St Pauls cathedral London, 56 x 54cm.

Walter Richard Sickert, A.R.A. (British, 1860-1942) A Sketch of Edwardian women in hats, some crocheting, circa 1890s charcoal and white chalk on buff paper 30 x 23cm (12 x 9in) Provenance: Private Collection, Norfolk Other Notes: Dr Wendy Baron has authenticated the present sketches as by Walter Sickert on the basis of photographs. We are very grateful for her assistance. Condition appears fine. Crowing cock stamp to top right corner.

Anglo German School (circa 1824)A group of eleven designs for garden pavilions and ornaments including one of  the interior of the conservatory at Ashridge Hertfordshire, several inscribed Schaumberg; Attributed to James McNeill Whistler, a sketch of a Regency building, probably in London (possibly Regent Street), black and white chalk on brown paper, laid down, 17 x 21cm; a drawing of The Piazza of St Mark's, Venice, attributed to Whistler, indistinctly inscribed lower centre; and a lithograph by Whistler of a gallery interior (14), pencil on paper The present drawings were formerly in an album with a Berlin binding but containing Whatman paper with a watermark for 1824. A possible attribution with Prince Puklav Musckau, an Anglophile who visited Ashridge and made two English gardens in Germany, has been suggested. All laid down. Sold with research paperwork. The tapestry design drawing is torn in half.

French School, 19th Century The Shade of Napoleon visiting his Tomb - the trunks of the two trees to the right, together with their branches and other foliage, form the outline profile of Napoleon Bonaparte (1769-1821), beside his grave in the Valley of Willows (now the Sane Valley) on the Island of Saint Helena A puzzle sketch, pencil on blue paper, in a reeded ebonised frame 15 x 20cm (6 x 8in) The Tomb is one of the seven wonders of St Helena. A "Moment de memoire" is held at the site every year on 5 May, the anniversary of Napoleon's death. Napoleon's body was, on the orders of King Louis Philippe, moved to the Hotel des Invalides in 1840. On exhumation his body was found to be in such a good state of preservation that suspicions that he had been poisoned with arsenic were rekindled. Condition appears fine.

Sir William Orpen, RHA, RA (Irish, 1878-1931) The Tennis Player, Once More - Manuscript letter with sketch of a tennis player and addressed to: "My dearest wife - I had a letter from lane this morning saying Mrs / Few had told him Mary's cold was / real bad - I'm so sorry I hope it / is better now and that you have not / got it. / I have had two severe blows in the / last two days. The Brighton school / portrait has gone to G H Shannon and / a letter this morning from Manchester / saying they have settled on an artist / connected with Manchester (Dodd perhaps). / I am angry with Jack over this as / he must have made a mistake he / said the portrait was definitely offered / to me. That is £450 gone tosh ! / Why little things like this should / upset me I don't know - I only feel / them for a day or so / I hope the photographs were a / success - or will be - has Laib sent / any prints ? - Lane writes that Marie /Tempest is going to tea on Thursday / Love to you all your loving husband Billon / ONCE MORE and signed "Billon", his pet name for his wife Grace black ink on cream paper 33 x 20cm (13 x 8in) Provenance: The artist's family until, Christie's, King Street, London, The Irish and Sporting Sale, 8 May 2009, lot 53 Other Notes: Sir William Orpen used to call himself 'Billon' to his wife, Grace. The letter probably dates to autumn of 1907 and the sketch is possibly a self-portrait of Orpen playing tennis at the Fitzwilliam Lawn Tennis Club, Dublin, where he would frequently play with his brother Richard up to the start of the First World War. Under glass and with some crinkling and folds to the paper, and the corners appear to be stuck down with Sellotape.

Daphne Thomas: pen and ink sketch with watercolour, study of a dancer, 6.5" x 9.5", in gilt frame

TREVOR EDWARDS (Contemporary), "Young Man", oil sketch on board, signed and dated (19)99, 12 1/2" x 10", stained frame (Est. plus 18% premium inc. VAT)

PAINTINGS AND PRINTS, a box of watercolours, cartoon ink sketch signed Lahz, modern watercolours, tapestry pictures, modern oils, etc (box and three loose)

PAINTINGS AND TILES, etc, box of paintings, framed tiles (some restored) pencil sketch, etc, includes a reproduction oil on panel of horse and jockey (one box)

20TH CENTURY BRITISH SCHOOL, Crofter's cottage by a mountainous loch land landscape with paddle, steamer, lady and sheep on shoreline, gouache, 31.5cm x 45cm, together with attributed to George Jones, pencil sketch of cattle and other watercolours, gouaches, etc (6)

G Cabott. Portrait of a young boy and a young girl wearing clogs, oil on board, 30cm x 21cm, a cartoon sketch titled Please Come In signed J A Schrolex, another signed M Drummond and another indistinctly signed.

19thC School. Landscape with cottage, figures, etc., oil on canvas, an architectural sketch titled The Erechtheion Athens, watercolour of a church, a double sided oil painting painted with a portrait and still life, etc.

McCall (Hardy Bertram). The Early History of Bedale in the North Riding of Yorkshire, 1st edition, 1907, etched frontispiece, black & white plates and folding pedigrees, top edge gilt, remainder untrimmed, original cloth, faded, 4to, together with Ingledew (C.J. Davison), The History and Antiquities of North Allerton, in the County of York, 1858, tinted lithograph frontispiece and plates, scattered spotting, original cloth, spine worn at head & foot, rubbed, 8vo, with [Wheater, William], Handbook for Tourists in Yorkshire and Complete History of the County, 2 volumes, Leeds: Richard Jackson, 1891, black & white vignette illustrations, original cloth, rubbed and dust-soiled, 4to (limited edition 188/200), and Saywell (J.L.), The History and Annals of Northallerton, Yorkshire..., Published Northallerton & London, 1885, black & white plates from photographs, original cloth, slightly rubbed, 8vo, and Fletcher (J.S.), Memorials of a Yorkshire Parish, an Historical Sketch of the Parish of Darrington, 1st edition, 1917, black & white plates from drawings by G.P. Rhodes, half-title inscribed by the author and with loosely inserted presentation note, original cloth, dust-soiled, 8vo, plus other late 19th & 20th century Yorkshire history related (approx. 170)

Forster (Charles). The Historical Geography of Arabia; or, the Patriarchal Evidences of Revealed Religion, 2 volumes, 1st edition, 1844, two folding maps contained in rear pockets (laid down, one repaired with redrawing in manuscript), page 25 in volume I with repaired margin, library stamps to titles and maps, modern calf-backed boards, spines with red and green labels, 8vo, together with Nineveh and its Remains, by Austen Henry Layard, 2 volumes, 5th edition, 1850, tinted lithographed frontispiece to each, folding maps and plans, illustrations, a little light spotting, contemporary calf, covers stamped with gilt armorial, spines with raised bands and gilt decoration, edges slightly rubbed, 8vo, plus History of the British Expedition to Egypt; to which is subjoined, a Sketch of the Present State of that Country and its Means of Defence, by Robert Thomas Wilson, 1st edition, 1802, portrait frontispiece, three folding maps, some light offsetting and spotting, endpapers renewed, contemporary half calf, modern reback, 4to, with two others including Edward William Lane's The Thousand and One Nights, commonly called, in England, the Arabian Nights' Entertainments, 3 volumes, 1839-41 (9)

India. Pierson (Francis, Royal Engineers, Surveyor), Sketch of Road from Baghdad to Khanuakin, 29th February 1864, manuscript pen and ink map with notes to margins and on verso, old folds, small split along old fold, 410 x 320 mm A map which trys to illustrate the feasibility of a London to India Telegraph. One of Pierson's marginalia states "The red line marks the proposed direction for the Telegraph. Note. There may be some error in the representation of the road between Bakooba & Sheraban, owing to the loss of my note book. It is however, approximately accurate. FP". (1)

Box of assorted architectural and other books to include: 'Neufert Architects Data'; 'Tomorrow's House: A Handbook of Building Enclosure'; Rowney Sketch books etc.(B.P. 24% incl. VAT)

Gil Gregory, 'Black Rhino', original pencil sketch. Framed and glazed.(B.P. 24% incl. VAT)

Reeves sketch box easel, in light wood

RAILWAY DISASTER - a pictorial wood-engraving depicting the Clayton Tunnel (near Brighton) accident, 'on Sunday Morning, August. 25th, 1861'; gilt-framed & 17 x 17cms. within mount; 'engraved from a sketch by J. Anson'. * the worst British railway accident to that date - with 'upwards of 100 persons killed and wounded' (some 23 dead); three northbound trains had left Brighton within a very few minutes of each other; a combination of technical communication failure & human error causing the third to run into the rear of the second inside the tunnel itself, many of those killed being burnt or scalded to death; the (captioned) image giving a suitably macabre impression. not in Otley, see O.S.Nock's 'Historic Railway Disasters'

WORCESTER (G.R.G.) Junks and Sampans of the Upper Yangtze. First Edition. 53 plates (2 coloured, 4 folded), a sketch map & text illus.; leather-backed cloth, 4to. Shanghai, 1940.

MARTIN (R.M.) China; Political, Commercial, and Social . . . First Edition, 2 vols. large folded & coloured map, 2 folded sketch maps & 4 folded tables, errata (etc.) leaf, half titles; later 19th cent. gilt-ruled polished calf, gilt-decorated & panelled spines, marbled e/ps. & edges (by Bickers). 1847. * pleasant Eton leaving inscription (with mounted photograph)

PRIP-MOLLER (J.) Chinese Buddhist Monasteries: their plan and its function as a setting for Buddhist monastic life. First Edition. coloured frontis., 130pp. of full-page collotype photo. illus. (some of 2/3 images, 1 d-page), 32pp. of full-page plans & other drawings (6 coloured, 2 folded), a page of music, a sketch map, 4 large folded pocket plans & num. other text illus.; gilt-lettered parchment-backed paper boards, folio. Copenhagen & London, 1937. * a truly monumental work; unsurpassed & almost certainly unsurpassable. Illustrated

Edmund Blair Leighton (1853-1922), The connoisseur, oil on card, signed with initials and inscribed LANGHAM SKETCH, 12cm x 18cm.

A "Two Worlds-Lord Southwood Speaks at Seance" poster, a miniature copy of the Daily Sketch commemorating Captain Scott, other miniature ephemera and a quantity of other ephemera, some relating to Plymouth and area.

A quantity of A & C Black sketch books of British towns and cities and other volumes, similar, (65 approximately, some a/f).

A still life watercolour signed Victor Hernandez and a pencil sketch of a cityscape, signed Lola Stafford to lower right corner

A mixed group of collectable items to include a vintage Sketch-a-Graph, boxed jigsaw game, art glass paperweight, pewter cream jug & an AA car badge (qty)

'Joseph Newington Carter' (C19th) 'Plymouth Sound' pencil sketch, inscribed, signed & dated July 3/65, a companion study, a pair and a further pencil sketch, inscribed 'Lyme Dorset', monogrammed & dated 1875 & Attributed to Fraser' 'Fen landscape', watercolour, unsigned (probably F.G. Fraser)

A Hellings pencil sketch, "The Edge of Beyond"