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MANNER OF ERIC RAVILIOUS (British 1903-1942), 'Landscape with rolling hills', pencil sketch, signed 'E Ravilious', 14cm x 19cm, framed.

YVES SAINT LAURENT (1936–2008)Sketch Dedicated to Steve Rubell for the Opium Launch, New York, 1978Print11 1/4" x 9 1/2"

Attributed to Arthur Henry Patterson, (1857-1935), Owl with candle, fish, cat and mouse etc., humorous pen and ink sketch, 22.5 x 17.5cm, together with two others to include Figure in Sedan chair "Passenger: Well! an if this be sedan riding: I'd rather walk", signed and dated 1931, 15 x 18cm and "In the park" Figure in a cart drinking from a flagon being pushed by a tramp with dog biting his tails, signed and dated 19.12.34, 12 x 20cm. (3)

Attributed to John Cyril Harrison, (1898-1985), Cinnamon Teal, pencil sketch, titled lower middle, 24 x 33cm.

Attributed to Arthur Henry Patterson, (1857-1935), Oystercatcher and heron, pen and ink sketch, 22 x 17cm.

Arthur Henry Patterson, (1857-1935), I got stuck in a eel trap and can't get out, pen and ink drawing, 10 x 14.5cm, with photograph of a gentleman on the river wall Breydon hand written To Mr Sharman? Coronation Road verso, together with 2 Egyptians?, figure in a fez before a bird with further figure behind, pencil sketch with artists intials, on headed paper stamped "'Phone 23. 3, King Street, Great Yarmouth", 17.5 x 23cm. (2)

John Knowlittle, (Arthur Henry Patterson 1857-1935), Oystercatcher and Terns before a barge and windmill, pen and ink sketch, signed and dated 1923, 12 x 16cm.

Arthur Henry Patterson, (1857-1935), A.S.L. mounted with the envelope with pen and ink sketch depicting a seagull with fishing rod, signed with the artists intials, the Great Yarmouth post mark dated 13 June 1932, with two A.H. Patterson / John Knowlittle compliment cards below, max. 63 x 41cm.

Mixed media Art Deco style style costume sketch, signed.[58x47cm

Christian Bérard 'Bebè' (1902-1949) FrenchStudies of figures in reposeSigned in pencil, ink and crayon, together with two further figurative studies by the same hand and another pencil sketch indistinctly signed and dated (19)57, depicting a goat before an alpine landscape, 25cm by 20cm, 25.5cm by 16cm, 29cm by 20cm respectively (4)

A collection of boxed vintage toys to include a Hoover washing machine, Sketch O Matic, Airfix projector with film strips, vintage plastic toy soldiers, guards, knights and warriors, Made in England.

Anthony Curtis (1928-2018) Sketch of Jazz Dancers, 1955 signed and dated (upper right), titled (to reverse) oil on board 29 x 55cm; and 'Pink Pink, oil on board, circa 1950s (2). Anthony Curtis was an artist born in Wakefield, Yorkshire, and then went on to study at Loughborough College, and Bath Academy of Art in Corsham in 1952. At this time he was taught by many seminal artists of the 20th Century, including Terry Frost, Bryan Wynter, Peter Lanyon and Kenneth Armitage. He exhibited his work at the Daily Express Young Artist’s Exhibition in 1957 and was included in Jack Beddington’s Young Artists of Promise. He went on to have one man shows at Bear Lane Gallery, Oxford in 1959. The paintings offered in this timed auction come from the artist's estate and are mainly works from the 50s and 60s. They are heavily influenced by his St Ives School tutors and many were painted on his frequent visits to Terry Frost and Peter Lanyon in Cornwall.

Karl De Grammont (1929-2006), Working the harvest, pencil sketch, signed, 20x29cm, framed and glazed

John Devane ARCA (b.1954) 2013 BP portrait award finalist, Professor Fine Art Coventry University, 1999 portrait drawing of Adrian Eric Spaak, together with various unframed watercolours in sketch books by Adrian Spaak

JOHN BYRNE RSA (SCOTTISH 1940-2023) SELF PORTRAIT - SKETCH (2017) Ink, signed with initials lower centre, 19 x 15cm (7.5 x 6") Condition Report:Crumpling and creasing to sheet. Not examined out of frame

Africa.- Stanley (Henry Morton) In Darkest Africa, 2 vol., first edition, frontispieces, plates and illustrations, 3 folding maps, one colour profile sketch, some short tears to larger folding maps with paper or tape repairs to verso (no loss to image), foxing, original pictorial cloth, vol. 1 with slight shelf-lean, some rubbing to spine ends, corners and vol. 1 lower joint, a few faint marks but still bright, [Hosken p.189], 1890 § Boisragon (Captain Alan) The Benin Massacre, second edition, half-title, portrait frontispiece, map, 40pp. publisher's catalogue at end, ink ownership inscription "R.G. Edward Locke. Hartlip" to front free endpaper, lightly browned, occasional spotting or patch of light soiling, ink note to final leaf, upper hinge cracked but holding firm, original cloth, slight shelf-lean, spine very slightly faded, some light soiling, rubbed, 1898; and others Africa related, including a few loose maps, v.s. (c.20)

Marie W. Hiorns: a hardback sketch book containing watercolour and mixed media landscapes, named views, various floral and other studies, etc. - from the studio of the artist and mainly dating from 1983 - sold with two other sketch books with late 1970's works by the same hand

A late Victorian scrap album containing hand written entries, prints, clip art, etc. - sold with another containing newspaper clippings, a small sketch book with original watercolours, an autograph album with drawings and handwritten entries, also two albums with sparse stamp contents and a box of loose stamps

Rolf Harris original pen and ink sketch, entitled 'Our Teacher's Voice', framed and glazed, with original receipt

BRITISH SCHOOL, SKETCH OF A BOY pastel on paper, signed indistinctlyframed and under glassoverall size 61cm x 48cm

* ALEXANDER GRAHAM MUNRO RSW (SCOTTISH 1903 - 1985), SKETCH pencil on paper, signed mounted, framed and under glass overall size 33cm x 38cm

Louis Icart - Framed charcoal and pastel sketch depicting female figure. Approx. 43 x 34cms reasonable used condition

Small framed pencil sketch portrait of an elderly Gent. Approx. 25 x 18cms reasonable used condition

Original oil on canvas in a Hudson River style that represents a solitary fisherman surrounded by barren mountains in a serene landscape. Set at dusk, the falling sun lights up the clouds as the water glows with shimmering reflections. This painting is a final sketch for a landscape that the artist signed. Issued: c. 1880Dimensions: 32"L x 18"H x 0.75"WCountry of Origin: United StatesCondition: Age related wear. Paint loss throughout. Two minor punctures.

Eric Clapton: An Autographed Copy of Six-String Stories,Genesis Publications, 2012,numbered 221/2000, signed by Eric Clapton in black ink, hand-bound hardback book with gilded paper edges, with folding presentation box and drawstring bag, also including a sketch by Clapton reproduced as a limited edition giclée print, numbered 221/350, 11in x 14in (28cm x 35.5cm)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

William Hogarth (British 1697-1764): 'Frontispiece and its Explanation (for Samuel Butler's Hudibras)' and 'St Hudibras', pair 18th century engravings; After George Cruikshank (British 1792-1878): Frontispiece to 'Prince Egan's Finish to the adventures of Tom, Jerry and Logic...', engraving with hand-colouring; together with 17th century engraving after Peter Paul Rubens and a collection of other antique engravings including an original 18th century pen sketch on canvas (approx. 15)

Frederik Bouttats the Younger (Flemish 17th century): Scene from the Iliad, 17th century etching; 18th/19th century engraving study of Castor and Pollux from Pompeii; 17th/18th century etching of Roman farmers; 18th century engraving of the Muse 'Music Introduced to Apollo by Minerva'; four other Classical themed antique etchings and engravings including Telemachus and Mentor and an early 19th century pencil sketch of a maiden (8) (unframed)

Three folding cloth bound maps, including District Map Shewing the Stockton & Darlington Railway and Branches, 1858, M & M W. Lambert, Newcastle-on-Tyne; Ordnance Survey of England and Wales, Middlesbrough & Darlington Land Utilisation Survey of Britain, 1931-2; and Sketch Map of London Tilbury and Southend Railway, Showing Connections with Other Lines, May 1910 (3)

Warner Lewis (American 1805-1888): 'Sketch of the Public Surveys in Wisconsin and Territory of Minnesota', 19th century map originally pub. 1848 together with 'Bradshaw's Railway Map of Great Britain and Ireland' and a large selection of 19th century and later unframed maps max 49cm x 58cm (qty)

DE VRIES, Hendrik (18986 Groningen - 1989 Haren) 4 Skizzen4 Tuschzeichnungen. 1x Tuschmonogramm. Ca. 1933. Verschiedene Formate, max. 34,5 x 22 cm. 4 Blätter mit Skizzen: Landschaft mit Felsen, verso Körperstudie eines Mädchens | Kopfstudie eines Mädchens | 2 Bildnisse eines Mädchens im Profil. Je mit Lichtbräunung, Griff- und Knickspuren, Landschaftsskizze mit Bereibungen im unteren Randbereich. Niederländischer Dichter, Maler und Grafiker, Freund des Künstlers Wobbe Alkema (1900 - 1984). Provenienz : Aus einem mit dem Künstlerehepaar Wobbe befreundeten Privathaushalt. Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:08 Uhr (CET) DE VRIES, Hendrik (18986 Groningen - 1989 Haren) 4 sketches4 ink drawings. 1x monogram in ink. Ca. 1933. Various formats, max. 34.5 x 22 cm. 4 sheets with sketches: landscape with rocks, verso body study of a girl | head study of a girl | 2 portraits of a girl in profile. Each with light browning, handling and creasing marks, landscape sketch with rubbing in lower margin. Dutch poet, painter and graphic artist, friend of the artist Wobbe Alkema (1900 - 1984). Provenance : From a private household of a friend of the artist couple Wobbe. Call time 15 | June 2024 | presumably 11:08 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HOFER, Carl (1878 Karlsruhe - 1955 Berlin) Kohlezeichnung: Knaben-PorträtMonogrammiert. 60,5 x 44 cm. Am unteren Rand Besitzer-Stempel von Dr. Reginald Schinzinger, rückseitig Bleistift-Skizze, Besitzerstempel mit handschriftlichem Vermerk: Erworben bei K. Hofer. Zwei untere Ecken restauriert. Hofer, Maler und Graphiker, studierte an den Akademien in Karlsruhe und Stuttgart. Meisterschüler von Hans Thoma und Leopold von Kalckreuth. 1903-1907 in Rom, 1908-1913 in Paris tätig, ab 1914 in Berlin ansässig. 1920-1933 Professor an der Akademie in Berlin. 1943 durch einen Bombenangriff Vernichtung fast des gesamten Werkes, seit 1945 Präsident der Berliner Akademie * Partnerauktion Bergmann. Literatur : De Gruyter (2012), Thieme-Becker (1907-1950), Mülfarth (1987). Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:27 Uhr (CET) HOFER, Carl (1878 Karlsruhe - 1955 Berlin) Charcoal drawing: Portrait of a boyMonogrammed. 60.5 x 44 cm. Owner's stamp of Dr. Reginald Schinzinger in the lower margin, pencil sketch on the reverse, owner's stamp with handwritten note: Acquired from K. Hofer. Two lower corners restored. Hofer, painter and graphic artist, studied at the academies in Karlsruhe and Stuttgart. Master student of Hans Thoma and Leopold von Kalckreuth. 1903-1907 active in Rome, 1908-1913 in Paris, from 1914 based in Berlin. 1920-1933 professor at the academy in Berlin. Almost his entire oeuvre destroyed in a bombing raid in 1943, President of the Berlin Academy since 1945 * Partner auction Bergmann. Literature : De Gruyter (2012), Thieme-Becker (1907-1950), Mülfarth (1987). Call time 15 | June 2024 | probably 11:27 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) (I) A STUDY OF TWO FIGURES EMBRACING AND (II) A STUDY FOR 'THE GOLDEN STAIRS' - RECTO; A STUDY OF LEGS FOR 'THE GOLDEN STAIRS' - VERSO(I) dedicated and dated EB-J to EL / 18 / 81 lower centre both pencil on paper each 25.5 x 14cm; 10 x 5 1/2in 38.5 x 42cm; 15 1/4 x 16 1/2in (framed as one)Property sold on behalf of a Charitable Trust ProvenanceSir George and Lady Elizabeth Lewis (a gift from the artist in 1881)Thence by descent to the present owner, grandson of the above The six pages of studies featured in the following three lots are preparatory sketches for Burne-Jones' important painting The Golden Stairs of 1880 (Collection Tate Britain) and Terra Omniparens of 1879. They were originally bound in a sketchbook but subsequently split up (sale, Christie’s, London, 14th December 2016, lots 17-24). Burne-Jones gave the sketch book to his friends Sir George and Lady Lewis.(I) was the first page of the sketchbook dedicated to Elizabeth Lewis and dated 1881. The model for (II) was Burne-Jones' daughter Margaret (1866-1953), and is a study for the maiden holding a trumpet at the bottom of the stairs in The Golden Stairs. Margaret was also very likely the model for the study of legs on the verso of (II), a preparatory study for the same figure in The Golden Stairs. George Lewis was the most famous solicitor of his day who made his name representing the relatives of the poisoned Charles Bravo in the so-called Balham Mystery of 1876. Over a career of thirty years he was involved in a series of causes célèbres that came to court in London. He extricated the Prince of Wales from the embarrassing Tranby Croft Baccarat Affair and various other scandals involving gambling and mistresses, assistance that led to him being granted a knighthood. In 1866 he married his second wife, the beautiful Elizabeth Eberstadt, a passionate devotee of the arts. Their home from 1876, 88 Portland Place, was a magnet for artists and musicians and none were more welcome than Burne-Jones who became a great friend of them both and their children. Burne-Jones may have been in love with Elizabeth, like so many other younger women in his circle whose affection and attention he craved in later years. After his death Lady Lewis destroyed many of his letters, feeling they were too intimate to be allowed to survive for others to read.

Elisabeth Frink (1930-1993)Horse's Head, 1980signed and dated (lower left)watercolour and pencil on paper59.5 x 84cm. Provenance:Waddington Galleries, London;purchased by the vendor's father-in-law who was a friend of the artist. The lot comes with two postcards from Frink. Paper has minor creases to bottom center and two to the top edge, which can be seen when viewed up close. Previous markings from an initial sketch can be seen in places. Colour of the horse seems good with no fading visible. No damage to the paper. Framed under perspex which is scratched and has thunderbugs underneath.

E Gledstanes RBA: preparatory watercolours, "H M The Queen Reviewing at County Hall, May 1940", 7 1/2" x 9 3/4", and "No 39a London Auxiliary Ambulance Station", 11 1/2" x 18 1/4", and preparatory studies for original oils which are on display at the Imperial War Museum, and another sketch of a lady cleaning

E Gledstanes RBA: three watercolours, sandbag placement, 4 3/4" x 7", and a similar unfinished sketch by the same hand, 10 1/2" x 14 1/2"

JAMES ABBOTT MCNEILL WHISTLER (AMERICAN 1834-1903) VENETIAN CANAL (RECTO); AND BRIDGE OVER CANAL (VERSO), (M.0766) Chalk and pastel on brown paper 30 x 20cm (11¾ x 7¾ in.) Executed circa 1879-80. Provenance: Macbeth, New York; Sale, Sotheby's, New York, 30 May 1984, lot 43, bt. Merrington; Rodney Merrington, London; From a Private Collection. Exhibited: New York, M. Knoedler & Co, Inc., Notes, Harmonies and Nocturnes: Small Works by James McNeill Whistler, 29 November - 27 December 1984, no. 86; London, Bankside Gallery, Visions of Venice, 1 November - 2 December 1990; Amsterdam, Rijksmuseum, Whistler and Holland, 16 August - 9 November 1997, fig. 39; Glasgow, The Hunterian Museum and Art Gallery, Whistler and Holland, 19 October 2000 - 27 January 2001; Glasgow, The Burrell Collection, Palaces in the Night: Whistler in Venice, 17 October 2003 - 18 January 2004; Valencia, The Valencian Institute of Modern Art (IVAM), Whistler-Music, 21 July - 25th September 2005; Riehen/Basel, Fondation Beyeler, Venice from Canaletto and Turner to Monet, 28 September 2008 - 25 January 2009, no number. Literature: M. MacDonald, Notes, Harmonies and Nocturnes: Small Works by James McNeill Whistler, 29 November - 27 December 1984, no. 86, ill., p. 66 J. F. Heijnbroek and M. F. MacDonald, Whistler and Holland, 1997, ill., fig. 39, p. 34 MacDonald, James McNeill Whistler, Drawings, Pastels and Watercolours: A Catalogue Raisonné, New Haven, 1995, no. 1278, pp. 281-2, ill., No. 766 Dr. A Grieve, Whistler's Venice, New Haven, 2000, pp. 56, 59, ill., pl. 46 M. MacDonald, Palaces in the Night; Whistler in Venice, Aldershot & California, 2001, pp. 45, 46, 53, ill., pl. 50 M. Schwander, ed, Venice from Canaletto and Turner to Monet, 2008, pp. 94, 102, 220 M. MacDonald, G. Petri, James McNeill Whistler: The paintings, a catalogue raisonné, University of Glasgow, 2020, website at ., no. M.0766 The present subject captures the Rio dei Tre Ponte from the Fondamenta San Marco. The Ponte da Ca'Rizzi is in the left foreground and the Ponte dei Tre Ponte in the distance. The area has changed considerably since Whistler's depiction, with bridges altered and rebuilt. The bridge depicted in the sketch on the verso of the sheet is the Ponte del Guglie. As Dr Alastair Grieve notes, Whistler has drawn the view from a slightly elevated position so that he is looking down on the fondamenta, from a bridge that is no longer extant. He has used the edge of the structure to form a vertical axis in the centre of his paper. The bridge with two arches in the distance in his pastel is part of the Ponte dei Tre Ponti, a knotty interchange of bridges which was rebuilt in 1933 when the Rio Novo was made. It is obscured...today by a bridge with a pointed top, the Ponte del Pagan. (Grieve, op. cit.p.59). His delight in the architecture and the constantly changing views of the city is evident in the present work, which seems to embody the lively portrayal that Whistler wrote in a letter to his mother describing, the colours of the walls and their reflections on the canals are more gorgeous than ever - and with sun shining upon the polished marble, mingled with rich, toned bricks and plaster this amongst the city of palaces becomes really a fairyland - created one would think especially for the painter. (M. Schwander, op. cit, p. 95). For a condition report on this lot, please contact our Picture department directly, at pictures@dreweatts.com.

FOLLOWER OF SIR JOSHUA REYNOLDS OIL SKETCH OF A SLEEPING CHILD Oil on canvas 23 x 22.5cm (9 x 8¾ in.) Provenance: The Collection of Paul Hulton (1919-1990), Deputy Keeper of the Department of Prints and Drawings at the British Museum

ARTHUR HUGHES (BRITISH 1832-1915) STUDY FOR 'EVENING' Oil on board Signed (lower right); label inscribed 'Finished sketch [for the] picture exhibited at the Royal Academy, 1871, entitled Evening "So service shall with steeled sinews toil, And labour shall refresh itself with hope" (verso) 34 x 46cm (13¼ x 18 in.)Painted circa 1870, possibly retouched in 1904.Provenance: Sale, Sotheby's Belgravia, 11 November 1975, lot 58, sold for £140 Sale, Sotheby's Belgravia, 14 December 1976, lot 236, sold for £100 A Private CollectionLiterature: Roberts, Leonard, Arthur Hughes, His Life and Works, A Catalogue Raisonne, p. 179, ill. No. 109.2Exhibited: Dunthorne, 1904, No. 14 Evening was painted circa 1870, and exhibited at the Royal Academy, London in 1871. The work is now in the Russell Coates Museum, Bournemouth, No. BORGM 01112.

JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) THE STUDY OF CAPTAIN POWELL, FOR STEEPLECHASE CRACKS Oil on panel Signed, inscribed, and dated 'Captain Powell 1846' and 'Captn Powell Original sketch for picture 'Steeplechase Cracks' by J F Herring Sen' (upper right and lower left respectively) 42 x 30cm (16½ x 11¾ in.)This work is a study for Herring's celebrated painting The Steeplechase Cracks, 1846, which is in The Royal Collection and was formerly in the collection of the late Queen Elizabeth, The Queen Mother.The picture shows a field of twelve taking a jump in a point-to-point. The 12th Earl of Strathmore is depicted on his horse Switcher. The collection also includes preparatory portrait sketches for the picture including The Earl and also Jem Mason, the winner of the 1839 Grand National. (John Cornforth, Queen Elizabeth, The Queen Mother at Clarence House, 1996, P.81-2)The Steeplechase Cracks was engraved by J. Harris and published by Messrs. Fores in 1852 as no. 2 of the National Sports Series. A similar sketch by Herring for The Steeplechase Cracks, of the highly successful Irish amateur jockey Allan McDonough, was sold as part of the Bill Blass Collection (Sotheby's, New York, 21-23 October 2003, lot 313)Provenance: Captain Powell, and thence by descent.    Condition Report: There is an area of discolouration to the lower framing edge (see images), however it is unclear whether this is original to the conception of the work. There is a surface scratch (approx. 10cm) to the background left of the sitter's face. Inspection under UV reveals some light scattered retouching, predominantly to the pale blue pigment around the sitter. Unexamined out of glazed frame. Condition Report Disclaimer

AFTER SIR ANTHONY VAN DYCK SAINT FRANCIS OF ASSISI Oil on canvas 41 x 30.5cm (16 x 12 in.) Provenance: Sale, Christie's, South Kensington, 22 April 1998, lot 28 (as Circle of)The present lot appears to be a study of the head of St Francis of Assisi in Van Dyck's altarpiece for the Church of Our Lady, Dendermonde. Two additional versions of this sketch can be found at the Catharijneconvent Museum, Utrecht, and in the Royal Collection, London.By repute, it was previously in the collection of the Duc de Praslin. If this is the case it would have hung at The Château de Vaux-le-Vicomte.   

THOMAS DANIELL (BRITISH 1749-1840) AND WILLIAM DANIELL (BRITISH 1769-1837) DUSASUMADE GAUT, BERNARES, UTTAR PRADESH Watercolour and pencil, with watermark 'J WHITMAN' Inscribed with title (to the mount); further inscribed and numbered '52' (verso) 37 x 54cm (14½ x 21¼ in.)Provenance: The collection of the artist The Bromley-Davenport family, Capesthorne Hall, Cheshire Thence by descent until 1951 The Peninsular and Oriental Steam Navigation Company (P&O) 1952 - 1996 Sale, Christie's, London, India Observed, 24 September 1996, lot 22 Spink, London, No. K3 11110 A Private CollectionExhibited: London, Commonwealth Institute, 1960, No. 21 Washington D.C, Smithsonian Institute, 1962, No. 9 London, Spink and Son, 1974, No. 41Literature: Archer, M, Early Views of India: The Picturesque Journeys of Thomas and William Daniell 1786 - 1794, Thames and Hudson, 1980, p. 123, ill. No. 71 (aquatint engraving for Part I, Oriental Scenery, No.16) Engraved: T. Daniell, aquatint engraving, May 1796, for Oriental Scenery, vol.I, No. 16The Dasasamadhi Ghat is one of the five most celebrated places of pilgrimage in Bernares, and is where Brahma was said to have sacrificed ten horses. On 22 August 1812, Lady Nugent said of Bernares: 'The city is situated on a high semicircular bank and reaches down to the water's edge. Mosques, pagodas, temples, houses of different sorts - long flights of steps, leading to places of worship - the river, magnificently extended...nothing can be more striking and imposing than the first view of Bernares'. (Archer, p. 123)The series of aquatints of India were published by Thomas and William Daniell between 1795 and 1810. At the time, the aquatint technique was very new in Britain, being introduced by Paul Sandy in 1775. These prints were engraved by the Daniells themselves from their own drawings and watercolours. The present lot is one of the watercolour sketches for number sixteen in Part I of the Oriental Scenery series. In her book, Mildred Archer arranges the illustrations produced by the Daniells in order of their journey, rather than the order in which the aquatints were eventually published, often accompanied by unpublished quotes taken from the small octavo booklets of comments which Thomas Daniell issued with each part of Oriental Scenery. This places the creation of Dusasumade Gaut at circa 17-25 November 1789. Thomas Daniell (1749-1840) was William's (1769 - 1837) uncle. After his father's death Wiliam's mother was left with five children and the burden of running the family pub, which had previously belonged to Thomas's father before passing to his brother. It is thought that Thomas took over responsibility for his nephew to help ease the pressures placed on his sister-in-law.In 1784, when the pair left for India, they were relatively unknown. William was barely fifteen when the pair set sail, and despite having some success in London, in 1773 Thomas had entered the Royal Academy schools, exhibiting thirty pictures over the next decade or so, William had yet to decide what type of painter he should be. When in 1781 he secured a commission for six paintings of West Wycombe Park, and went on to paint the landscapes of Somerset, Yorkshire, and Oxfordshire over the course of the following three years, he seems to have settled on landscapes. However, opportunities for landscape painters were few. As a result, most British artists focused on portraiture with Reynolds and Gainsborough as the leading names. Fueled by the voyages of Captain Cook, it was also around this time that a general interest in the 'exotic', ''picturesque' and the 'sublime' was starting to creep in to British culture. A perfect backdrop then, for the Daniells to explore the opportunities on offer in this exciting new area of the world.During this time, the East India Company had grown substantially and held increasing power in large areas of the British controlled subcontinent. As such, it was possible for English artists to travel freely, and rely on hospitality from fellow countrymen. In addition, many wealthy residents of the Presidency cities of Calcutta and Madras needed pictures to furnish their large mansions, with several artistic fortunes being made in India. As was the case in Britain, of the well-established artists already working in India during the last quarter of the 18th century, those such as Tilly Kettle, George Chinnery, Ozias Humphry, John Zoffany, and George Wilson almost all enjoyed their success by focusing on portraits. However, more interesting to Daniells was the landscape painter William Hodges (1744-97), who visited India between 1780 and 1783 and received the patronage of Augustus Cleveland, the District Officer of Bhagalpur. Upon arriving in India, on 17 July 1786, Thomas placed an announcement in the Calcutta Chronical: 'Mr Daniell proposes to publish twelve views of Calcutta at twelve gold Mohurs the set, from complete plates and finished watercolours. The subscription list is open till Jan. 1, 1787'. Upon completing these twelve views, in 1788, the Daniells then travelled north to Sringar, taking in various stops, including at Bengal, Buxar, and Delhi, but without stopping at Benares. They journeyed up the country until April 1789, when in May of the same year they began their return journey. With less constraints due to hot weather, the Daniells were able to linger longer in areas which they had been forced to skip on their outward journey, and it was during this stage of their travels that the present lot was painted in Benares. They stayed here for around one week, and during this time witnessed an eclipse of the sun. After returning to Calcutta in November 1791, the Daniells then headed south between March 1792 and February 1793, before spending a further six months travelling west before starting their journey home in 1794. By the time the Daniells returned to England in September 1794, they had been away for almost ten years and had completed hundreds of drawings and watercolours, many of which had been carefully annotated with names, places, and dates. These were used to create two series of twenty-four aquatints entitled Oriental Scenery: Twenty Four Views in Hindoostan. The first series, of which this lot is a sketch for plate 16, was published in England and Calcutta between March 1795 and January 1797, was dedicated to the Honourable Court of Directors of the East India Company. The second series was published between August 1797 and December 1798, dedicated to the Right Honourable Henry Dundas, President of the Board of Commissioners for the Affairs of India. In addition, Thomas Daniell exhibited twelve, and William Daniell six, oils at the Royal Academy between 1795 and 1798. The pair went on to create further sets of aquatints well into the early 19th century. For all their engravings, Thomas and William prepared all the plates themselves using sepia, grey and bluish grey, instead of the reddish-brown ink typically used in printing. In doing so, they were able to reproduce the original watercolours exactly.For a condition report on this lot, please contact our Picture department directly, at pictures@dreweatts.com.

EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) FEMALE NUDE (RECTO); STUDY OF WINGS (VERSO) Drawing Inscribed on verso 'Sketch by E Burne Jones bought / from Louis Meier 9.60 30/- / He bought a ** from Burne Jones's daughter Mrs. Mackail (?) / Possibly for 'The Bath of Venus' (lower right to verso) 33 x 175cm (12 x 6¾ in.) Unframed Provenance: Margaret Mackail (née Burne-Jones) Sale, Christie's, 3 December 1954, lot 10 (as part lot) Louis Meier Hartnoll & Eyre, London Literature: Burne-Jones Catalogue Raisonne, titled as Study of a female nude (recto) possibly a variant pose for Diana in The Knight's (Knyghtes) Tale: Emily (Emelye) praying to the statue of Diana - Kelmscott Chaucer; Study of birds wings (verso) possibly for The Arming of Perseus (Perseus Series) The Study of a female nude (recto) is possibly a variant pose for Diana in The Knight's (Knyghtes) Tale: Emily (Emelye) praying to the statue of Diana - Kelmscott Chaucer. While the Study of birds wings (verso) possibly for The Arming of Perseus (Perseus Series) The possibility of the drawing being a study for the Bath of Venus is unlikely as the style of the drawing places it much later within Burne-Jones's oeuvre. It is c. 1893. At this time Burne-Jones was working on illustrations for the Kelmscott Chaucer. In The Knyghtes Tale, Emelye prays to a statue of Diana, in a Temple, the Goddess then appears to her in the form of a huntress "With bowe in honde, right as an hunteresse,". The present figure is posed with her left hand at her shoulder and her right hand in front, as though holding a bow and reaching for an arrow held in the quiver on her back, an idea taken from Diana of Versailles (a Roman marble statue held in the Louvre). She stands before a stone wall. A rejected illustration of Emelye praying to Diana, shows the Goddess standing against the wall of the Temple holding a bow (The Pierpont Morgan Library no. 1975.50:2) If this assumption, indicated by the pose, is correct, then this nude is for Diana in The Knyghtes Tale. Burne-Jones radically re-thought the treatment of the subject and in order not to repeat the nude figure of Venus on the previous page, Diana finally appeared clothed and seated on stag in the published illustration.The second and later version of The Arming of Perseus was worked on in the 1890s, therefore it is completely acceptable that the artist would be making studies of birds' wings for this subject, whilst contemporaneously working on illustrations for the Chaucer project.We are grateful to Burne-Jones Catalogue Raisonne for their assistance in preparing the catalogue entry Condition Report: The sheet has been stuck down to the mount at the upper and lower edges using masking tape. There are a number of handling creases to the extreme edges, and a number of small tears along the vertical edges, the largest being approx. 1cm. There is a small pin hole at the centre-right of the upper edge. The sheet is slightly discoloured and this is most obvious to the extreme left and lower edges where there us a noticeable change in colour. One small spot of foxing also to the left edge. Light creasing to the sheet throughout. Condition Report Disclaimer

ENGLISH SCHOOL, EARLY 19th CENTURY. An Archaeological Dig, watercolour, 5 x 9 1/4 in; a pen and ink sketch of a nymph by a follower of J.W. Waterhouse RA ; a seascape with shipping by a follower of John Sell Cotman; and a landscape scene with sailing barges, and buildings beyond by a follower of Henry Bright; four (4)

ASCRIBED TO DAVID COX (1783-1859) Boys disturbed by a Bull, brown sepia wash sketch, 1/2 x 8 1/2 inThis is possibly a preliminary sketch for the artist's 1853 watercolour of the same title (Whitworth Art Gallery, Manchester). Sold together with another sepia drawing attributed to the same artist which depicts St.Mary's Church, Handsworth. Staffordshire. two (2)

GEORGE FROST OF IPSWICH (1754-1821) Tolbooth Bridge, Stratford St.Mary, watercolour, 8 x 14 in. Provenance: Cavendish Morton, RI. Exhibited: Gainsborough's House, Sudbury. 1974Sold with a pencil sketch by George Frost depicting a view across the River Orwell towards Freston Tower (Exhibited at Gainsborough's House, 1974}; together with a pencil and watercolour sketch of a Tree attributed to James Stark. Provenance:Thomas Agnew and Sons Ltd, London ; and a watercolour ascribed to Thomas Churchyard, said to depict the Aldeburgh Lifeboat putting to Sea. four (4)

ATTRIBUTED TO LUIGI DEL GUIDICE (1777-1816). A pair of Italian traditional costume studies-'Donna de Paese di Collelungo, Provincia dell' Aquila Abruzzo Ultra; Donna della Citta di Triventi, Provincia Contado di Molise, each inscribed with titles beneath image , each watercolour 11 1/2 x 8 1/2 in; together with another watercolour attributed to Luigi de Giudice depicting an Arbereshe , (Albanian /Italian ) man and woman in traditional dress from Villa Badessa, all unframed, three; together with a watercolor study by Thomas Miles Richardson Jnr depicting a worker carrying a basket, signed and dated 1849, watercolour and bodycolour over black chalk on blue paper, 13 1/4 x 9 1/2 in, together with two other studies attributed to the same artist; and a nineteenth century sketch attributed to J.F.Lewis depicting two women in straw hats; all unframed, seven (7)

Pen & Ink Highland games sketch signed and a Fishing boat harbour hand signed print  largest 34x27cm

Julia Hulme pencil sketch of fowl titled Two Bridges Dartmoor oct 1986 27x22cm

Souvenir brochures inc Carry On and a sketch book of celebrities cartoons by Figaro

Karl Wesche, German 1925-2005 - Woman Lying on Her Back, 1988; pencil on paper, signed and dated lower left  'Wesche 88', 34.5 x 24.5 cm; together with a standing female nude sketch, 40.5 x 28 cm (2) (ARR) Provenance: The Contemporary Art Society, London (according to the label attached to the reverse of the frame); the Estate of the late David Cornwell, best known as the author John le Carré 

Kenneth Abedana Spencer, Jamaican 1929-2005 -Figures dancing, 1962; watercolour and ink on paper, signed and dated lower right 'Ken Abedana Spencer', 38 x 54.5 cm: together with another similar watercolour on paper of similar size and a charcoal sketch of a gentleman, 51.5 x 40 cm (3)Provenance:the Estate of Andrew Salkey (1928-1995) 

‡ HENRY MEASHAM (1844-1922) oil on canvas - three-quarter portrait of artist William Dean Barker (1830-1888) with sketch-book in hand, entitled verso "W. D. Barker Arlunydd, Glan Conwy", 103 x 77cmsProvenance: private collection ScotlandAuctioneer's Note: the subject matter, William Dean Barker was one of the first thirty one founder members of The Royal Cambrian Academy (RCA) in Conwy, where he exhibited on many occasions. He was born in 1830 in Salford, Lancashire, was a pupil at the Manchester School of Art and member of the Manchester Academy. Barker was known to have lived in Trefriw (across the Conwy River from Glan Conwy, the address stated in the title) in a villa named Plas Celyn. In 1881 he was invited to hold an exhibition at the Walker Art Gallery, Liverpool, where over 300 works were shown. He died at the age of 58 and was buried in the cemetery at Trefriw, his funeral being attended by many members of the RCAComments: framed

Fashion related literature, to include; The Mirror of Fashion by Ada Steiner [London and Boston The Medici Society], Style in Costume by James Laver [Oxford University Press, 1949], Dressing the Play by Norah Lambourne [1953], Phil May’s Sketch-Book – Fifty Cartoons [Chatto & Windus, London, 1897], plus various prints.

Sally Scott (British, b. 1939), red charcoal on paper sketch of the female form at four angles. Signed in pencil to lower left, framed and glazed. Sally exhibits paintings and lithographs regularly in solo and mixed shows including: 2019 Retrospective Exhibition – exhibiting a lifetime of work, Glass, Painting and Print at The Menier Gallery, London. She also taught at the Birmingham School of Art. 40cm x 53cm, frame measures 55cm x 68xm.

English School, early 20th century - Pond Scene in a Continental Park, oil sketch on panel, 14cm x 17.5cm unframed, and an etching of The Woodbreakers by Henry James Townsend, 1857 (2) Both in good condition

Thomas Bewick (1753 - 1828) - The Setting Sun Public House by John Spendthrift, s.l., s.n., n.d. [1820], proof?, margin with contemporary manuscript inscription, wood engraving, 10 x 14cm  A Hogarthian satire designed by Bewick for use in The Genteel Sabbath Breaker (1820), a tract by the Rev. Robert Tweddell, defending the sanctity of the Sabbath, and in which the effects of liquor are demonstrated in the most straightforward way. The latter temperance movement point illustrated here with obvious parallels to Hogarth's Gin Lane (1751). Provenance: 1) 'Designed and engraved by the celebrated Bewick, for a tract by the Revd. R: Tweddell '; contemporary ink MS inscription to margin. 2) The Reverend Benjamin Arthur Marshall, incumbent of St. Cuthbert's Church, Carlisle (1853-1874); 2pp ALS to verso, dated The Parsonage, Carlisle, 18 Sep 1873, presenting the 'sketch ', to a R.S. Ferguson. A well-margined sheet. Toned in places, the margin with a soiled fingerprint.

English School, 19th c - Study of Welsh Peasants, oil on copper, 12 x 19cm, a 19th c pen and ink sketch after an Old Master, indistinctly monogrammed, 26 x 19.5cm, a framed collection of four Indian miniatures, Disney, mixed subjects and media, further miscellaneous pictures and prints, etc., (30) Mixed condition.

Alexander Junner, 'Carl Brennir' (1837-1924) - Woman and Child on a Country Road, signed (C Brennir) and dated '86 (strengthened), signed again and inscribed on the stretcher Outside sketch C Brennir, oil on canvas, 34 x 45cm Small tear extreme centre right, clean, unlined

Edith Somerville, Irish 1858-1949 - The Irish Horse Dealer; pencil on paper, with studio stamp lower left, 14.1 x 11 cm Provenance: with The Neptune Gallery, Dublin (according to the label attached to the reverse of the frame) Note: the present work is a sketch for an illustration to the chapter 'Fanny Fritz's Gamble' from 'All on the Irish Shore, 1903' (according to the inscription in another hand on the reverse of the frame). The artist was a novelist and illustrator who published under the name 'E. Œ. Somerville', writing with her cousin 'Martin Ross' (Violet Martin) under the pseudonym 'Somerville and Ross'.

Grace English, British 1891-1956 - Nude Sketch, 1946; oil on canvas board, signed, titled and dated on the reverse 'Miss Grace English Nude Sketch 1946', 34.8 x 50 cm (ARR) Provenance:the Family of the Artists Grace English and Erna Hoppe-Kinross