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FRAMED PENCIL SKETCH, ELEPHANT AND HORSES IN CIRCUS RING BEARING SIGNATURE DAME LAURA KNIGHT, 18 X 25 CM

A group of three unframed pictures comprising a pencil sketch of a water mill by James Duffield Harding (1798-1863), a watercolour of a farm by a stream with figures, monogrammed by William Alistair MacDonald (1861-1948) and a Watercolour of Bruges in the manner of Samuel Prout (1783 - 1852) .

Henry Brittan Willis, Heidelberg, pencil sketch heightened with white, signed and inscribed, together with a watercolour.

A 19th century pencil sketch, "Granite Bridge". 9.5 ins x 13 ins, framed.

A late 19th century sketch book filled with good pencil drawings including Cranbourne Manor, Horton Church, Windsor Park and Datchet Church, sound binding with original pencil in place.

A mid 19th century sketch book of H Russell Shaw, 1848, containing twelve well executed pen and ink drawings, black embossed binding in good condition.

A 19th century sketch book of Charles E Oliver of Newcastle-on-Tyne. Born in 1856 Oliver trained as an architect and the sketch book dates from the early part of his career. There is a detailed survey of The Mission School in Prudoe Street, Newcastle, perhaps done as an exercise. There are a number of skillfully executed pen and ink drawings including a view of Bamburgh Castle from the north, dated 29th June 1884 and St Peter`s Church, Bywell on Tyne dated June 1882. Other pages have detailed drawings in pen and ink of architectural features of buildings visited, 9 x 5.5in, spine missing, front and back boards detached but contents sound.

Smail; humorous ink and pencil sketch of a gentleman on his bike "I Always Use My Own Vehicle", signed lower right, 67 x 47cm, framed and glazed.

Joseph Nash (1809-1878); pencil sketch, interior scene with figures seated around a table, unsigned but with certificate of authenticity verso, 18 x 18.5cm, framed and glazed.

An original cartoon sketch of "A British Submarine Attacking A German Dreadnought" and "The Foiled Torpedo Attack", 20 x 45cm, framed and glazed.

An early 19th century alphabet sampler worked by Ellen Kent, dated 1816, unframed, also a needlework and a sketch of an elderly lady.

* BOBYSHOV, MIKHAIL 1885-1964 Costume Designs for the Circus "Pantomima" three works, two signed with initials and dated 1931, also all three further signed, inscribed in Cyrillic and dated 1931 on the reverse Each pencil and gouache on paper, one with black ink, another with silver ink, the largest measuring 32 by 22 cm and the smallest 31.5 by 21.5 cm. One with a pencil sketch on the reverse.

* SEROV, VLADIMIR 1910-1968 Not One Step Back! Poster Design c. 1941-42 Pastel on paper, 89 by 64 cm. "When during the Second World War the Soviet Union was invaded by Nazi Germany, Vladimir Serov remained in Leningrad. He headed the Leningrad Union of Artists, which had become the headquarters for the city’s production of visual propaganda material for military and political use. In the extremely difficult conditions of the blockade, the famine, the cold, hostile fire and bombing the Leningrad Union of Artists undertook major defensive operations. The artists camouflaged important military targets, published newspapers for the army and navy, and produced leaflets to be dropped over the location of enemy troops as well as political posters. Among the most talented of this team was the painter and graphic designer Vladimir Serov. His first poster, We Have Fought, We Are Fighting, We’ll Go on Fighting! appeared on the streets of Leningrad on 26 June 1941. In the Fighting Pencil series Serov designed such propaganda masterpieces as Only Forward, Till Our Enemy Is Crushed! and Our Cause Is Right. The Serov sketch now on offer, Not One Step Back!, was also part of this series. Serov’s best poster designs are heroic in character: expressive psychological types of powerful, fierce, steadfast Soviet patriots, unhesitating in their actions, full of hate for the enemy. Political propaganda posters by such skilled artists as Vladimir Serov are extremely rare in private collections. Most original posters are preserved in major Russian museums. It is therefore with especial pleasure that we now offer this splendid example."

* CHEBOTAREV, KONSTANTIN 1892-1974 Portrait of the Artist`s Wife in an Interior mid-1920s Watercolour and gouache on laid paper, 47.5 by 31 cm. "With a pencil sketch on the reverse.Exhibited: Moscow Union of Artists, 1978, W82, inscribed on the reverse.Konstantin Chebotarev is one of the most interesting Russian masters of the first third of the 20th century. An outstanding representative of the Kazan school, who studied under the brilliant Nikolai Fechin, Chebotarev did not however become a conduit for the graphic ideas of his famous teacher. Having organised in 1917 an avant-garde association — the first in Kazan — of talented young people, called The Sunflower and fought with the White Army under Kolchak as it retreated eastwards (1918-1920), Chebotarev, returning to Kazan thanks to an amnesty, did not stop at that. In 1921 the artist became leader of a left front in art, becoming head of the creative group Vsadnik (The Rider), which not only in name but also in its very essence became the Russian heir to the tradition of the Munich-based Blaue Reiter group. Having fulfilled commissions in various applied areas, such as a series of books and sets of mounted engravings in limited editions (from six to 50 copies), Vsadnik entered the history of Russian art as the only case of a manifesto declaration of innovation in a single segment of figurative art — in graphic design. Chebotarev’s works in the 1920s, and those of his associates, feature many traits reminiscent of the dawn of the century, from the machinery and movement of Balla and Severini to Larionov’s Rayonism and Pechstein’s distorted angles. Apart from rare cases when editions of the Vsadnik group have been presented at auction, this watercolour is the first appearance on the international art market of an easel work by Chebotarev. The model is the artist’s wife and colleague, Alexandra Platunova (1896–1966), a book and magazine designer of such Moscow periodicals of the 1920s as Krasnaya Niva, Krasnaya Panorama, Prozhektor and others. The present work was owned by the artist’s family and was featured in a posthumous exhibition, which took place in 1978 at the Moscow Union of Artists on Begovaya Street."

* KOPELYAN, ISAAK 1909-2001 Poster Design "400 Million" signed and dated "7/V 29" Pencil and tempera on paper, 35 by 26 cm. Accompanied by the original lithographic poster, 34.5 by 25 cm.This eye-catching poster, 400 Million by Isaak Kopelyan, with its jaunty configuration and harmonious colour design, was conceived and executed in 1929, forming part of his diploma project at the Leningrad Academy of Arts. At that time Russian graphic design was dominated by an idiosyncratic, stylised Constructivism, the domestic, “Sovietised” version of Art Deco. Its most brilliant exponents were probably Rodchenko and the Stenberg brothers, whose cinema posters instantly became undisputed classics of the genre. The young Kopelyan, impressed by the work of these outstanding artists, produced extraordinarily beautiful work, very professional and with a certain individuality. This four-colour tempera sketch is enriched by tonal gradations endowing it with a deep, rich colour scheme. The artist corrected the title on the lithographic proof, leaving only the figure. For understandable reasons, after eighty years the informative element of the poster is clearly outdated, which lends a comic overtone to the work but also a historical importance to its basic idea. Isaak Zalmanovich Kopelyan was a Soviet artist from Leningrad, a book illustrator as well as a publisher. From 1930 he worked at the Western Printing Trades Trust, in charge of the design department of Lenizdat. Throughout his life he produced graphic art and illustrations for books and designed political posters. He played a leading part in the creation of the Leningrad Artist publishing house Leningradsky khudozhnik and the Graphic Arts Combine, and in reviving the Leningrad Fighting Pencil arts and poetry fellowship.

* PETROV-VODKIN, KUZMA 1878-1939 Self-Portrait c. 1913 Charcoal on paper, 38 by 30 cm. With a sketch on the reverse. This brilliant self-portrait by Kuzma Petrov-Vodkin is one more demonstration of the indisputable genius of this great master, whose influence on Russian art was truly boundless. Until a short while ago, this graphic masterpiece was held by a major European collection and appears now for the first time in this catalogue. The year of this drawing is important, for it was in 1913 that Petrov-Vodkin created several of his best works, among which was Bathing of a Red Horse.The superficially unfinished look of the drawing is deceptive and was intentional. The Self-Portrait is absolutely finished, and so convincingly complete that, with even the most fleeting glance at this extraordinary image, the viewer is riveted by the inquisitive look of the artist and is compelled to join in his philosophical self-submersion, his spiritual withdrawal from everyday reality.

* TYRSA, NIKOLAI 1887-1942 The Machinist. Sketch for a Monumental Decoration c. 1920s Pencil and watercolour on paper, 33 by 20.5 cm. Inscribed with an authentication by Anna Tyrsa, the artist`s daughter, on the reverse.

* BEKHTEEV, VLADIMIR 1878-1971 Lion Tamers signed with initals and numbered "10", further titled and dated 1921 on the reverse Gouache on paper, 57.5 by 47 cm. Accompanied by a preparatory sketch, graphite and charcoal on paper, laid on paper, 48 by 42 cm.

* FECHIN, NIKOLAI 1881-1955 The Little Cowboy signed Oil on canvas, 76 by 51 cm. Provenance: Stendahl Galleries, Los Angeles, label on the reverse. Property from the Estates of Walter and Sonja Caron Stein. Private collection, Europe.Authenticity has been confirmed by the expert V. Petrov.Related Literature: For similar works, see G. Tuluzakova, Feshin, Zolotoy Vek, St Petersburg, 2007, pp. 134 and 162.The Little Cowboy is one of Nikolai Fechin’s most brilliant portraits of childhood dating from his time in the USA. Painted in 1940 it is — like Fechin’s early masterpiece, the portrait of Varya Adoratskaya (1914) — not only an expression of the credo of this artist, arguably the best painter of children of the 20th century, but also in its way an act of escapism, a conscious retreat from the harsh reality of two world wars, day-to-day hardships and various social cataclysms. Fechin was especially fond of children’s portraits. Even with all the problems of working with child models, quickly tiring and constantly fidgeting, the artist was able to assemble a whole gallery of childhood images, executed with an unequalled lightness of touch and effortlessly communicating the essence of his models and, at the same time, notable for the depths revealed in the subject portrayed. Even the commissioned, formal portraits which were the artist’s bread and butter in America are without any trace of mawkishness or sentimentality and distinguished by the highest draughtsmanship and technical virtuosity. It is worth noting that the image of the little cowboy is not just a tribute to the local colour of Fechin’s American environment. He had lived for several years in the little township of Taos, in upstate New Mexico, at the foot of the Sangre de Cristo Mountains, and knew at first hand the life of the farmers and cowboys who inhabited this picturesque mountain terrain and would from time to time sit for the artist. Even later on, after he had moved in 1934 to a permanent home in Los Angeles, he often took the journey — beneficial for his tuberculosis-damaged lungs — south-westwards, to where the rancheros of Arizona and New Mexico as well as the local Indians would continue to model for him. The artist was especially happy to paint such portraits en plein air, under the hot sun, often placing his model against the light, filling the expanse of the canvas with a golden heat haze, and almost always preserving the "study-like" nature of his sweeping, virtuoso painting style. However, this image of the little cowboy is characteristic not only of this free technique: it also offers a striking contrast, with a clear distinction between the painting method adopted for the face, with light, almost invisible brushstrokes, and the impasto rendering of clothes and background. Despite the preparatory sketch-lines in the boy’s face being delicately worked to convey the young equestrian’s composure and concentration, it seems likely that Fechin painted the portrait in a single sitting, given the integrity and the immediacy with which he captures the pose and the child’s passion for horse-riding, and the vivacity and temperament of the painting technique. The spontaneous artistic freedom of the image structure and the precisely conveyed and idiosyncratic riding position of the wiry figure of the child give the portrait an inner dynamism. Yet we do not see the horse itself, nor a wagon — for despite all the child’s preoccupation and the tightly clenched reins the lad, seated by the artist on the corner of a chair or a chest, is only, it seems, playing at horse-riding. But the authenticity of the "cowboying" is of no concern to Fechin, for it merely provides the composition of the portrait and the fundamental reason for that childish seriousness, the boy’s concentration on some distant point. The artist is utterly and completely focused on the image of the boy. He delights in the gentle face, chubby lips, brown eyes and the flush of those apple cheeks. The precise balance between the areas of colour, with the boy’s denim dungarees and red cowboy scarf providing vivid flashes against a subdued grey background, tells us a lot about Fechin, a refined and sophisticated colourist, who can derive from three basic colours a wealth of shades vibrating with light. The Little Cowboy is not only an outstanding example of Fechin’s masterly painting skill but also an expressive image of childhood, the seriousness and gentleness of which embody the authentic lyricism inherent in the very best of this artist’s childhood portraits.

SHISHKIN, IVAN 1832-1898 View of Valaam Island. Kukko signed and dated 1860 Oil on canvas, 104.5 by 141 cm. Provenance: Acquired at the graduation exhibition at Academy of Arts in 1860. Private collection, USA. Private collection, Finland. Acquired from the above by the present owner.Authenticity has been confirmed by the expert V. Petrov.Authenticity has been confirmed by the expert E. Basner.Exhibited: Exhibition at the Imperial Academy of Fine Arts, St Petersburg, 1860, No. 25.Literature: Exhibition catalogue, Exhibition of the Imperial Academy of Fine Arts, St. Petersburg, Gottenfeld Publishers, 1860, No. 25, listed.Painted in 1860, View of Valaam Island. Kukko was Ivan Shishkin’s graduation piece for the Imperial Academy of Arts, where the work earned the large Gold Medal, first class, and became the first acknowledged masterpiece by the young artist. It is extremely rare for a work of such quality and importance to appear on the market.Immediately after the Academy exhibition of 1860, which showcased the work of the best graduates, View of Valaam Island was acquired by an American collector and since then has been thought lost. However every single monograph on this artist has mentioned this work and given a detailed account of the history of its creation. It is well known that, for three years in a row — from 1858 to 1860 — Shishkin spent the summer months on Valaam Island. In a letter to his parents in early 1858 the artist wrote that, at the Academy of Arts "They suggested to us two friends [Shishkin and Gine] that we should go to Valaam, on Lake Ladoga. There is a monastery, the location is magnificent and they often send our students there and there is rarely a year that no one goes. They often send students to harden them up. Because the nature there is so varied, so wild and therefore tough…"The variety and richness of Valaam’s nature had made it the northern Mecca for Russian landscape painters by the mid-19th century, and young artists coming to the island were bowled over. Its sunlit meadows, variety of grasses, gloomy pine thickets, impassable, wind-felled trees, precipitous rocks and the smooth surface of the lake stirred the imagination of the romantically-inclined Academy students. Shishkin’s letters to his parents show that his artistic interests became distinctly two-fold, focusing both on ordinary, everyday natural phenomena as well as nature’s more dramatic effects and stormy conditions. Very typical in this respect is his description, in a letter to his father, of the storm the artists experienced on the island in summer 1859: "The weather here is still horrible, the wind and rain are dreadful. Today some trees came down in front of us and also — such a shame — two enormous maples broke off, probably about 150 years old, and they brought down with them lots of young ones as well because they were on the great cliff above the garden… I’d never seen anything like it before — I couldn’t even conceive of such a thing."After the first summer spent on Valaam, Shishkin could already present three pen-and-ink drawings and eight oil paintings for the examination at the end of 1858. The drawings made a great impression on the academic board. Large, measuring up to 70 centimetres, they were immediately accepted for engraving. The members of the board said they had never received work of this kind from Academy students. Shishkin told his family in an exuberant letter that the "[Moscow] professors came and… wanted [the drawings] in Moscow… I agreed, of course." And, after the exhibition at the Academy of Arts, Shishkin’s drawings were sent to Moscow for exhibition there, after which they were all sold. In April 1859 Shishkin was awarded the Gold Medal second class for his picture Ravine on Valaam, and by early summer he had already been assigned a programme for his diploma picture, allowing him to make a bid for the large Gold Medal and the three-year travel bursary, followed by a further three years in Russia, all expenses paid, which went with it. Since the choice of location to work on his diploma programme was made by Shishkin himself, he went again — by his own admission, "without much thought" — to Valaam together with Gine.Shishkin’s letters and sketches are testament to the difficulty he had in finding a place on Valaam which might inspire him to create a masterpiece and also in making his choice of composition for the large painting which the artist intended for his Academy graduation piece. Even once he had found a suitably picturesque corner of the island, called in Finnish "Kukko" ("cockerel"), the artist simply could not decide whether to favour the gleaming surface of the water and the gaunt granite rock-face, or the mighty, virgin forest and the unfathomable extent of the skies.One version of his diploma composition is the pencil drawing Rocks on Valaam Island. Kukko (1859, the State Tretyakov Gallery). In this Shishkin portrays not the thicket but the shore. Before our eyes, fabulous rock formations rise majestically, the distribution of their mass geometrically regular, the contrasts of the Valaam landscape sharply delineated. Another sketch, Deciduous Forest on a Rocky Shore. Valaam (1859, the State Russian Museum), portrays thick forest undergrowth, growing profusely on primeval glacial boulders. It seems that the artist, having finished the first sketch, immediately started work on the next, trying to find the composition he needed. He wanted to reveal as convincingly as possible in his diploma work all the varied beauties of Valaam, to show on his canvas the uniqueness of the natural world on this extraordinary island. As well as the drawings, Shishkin did two painted versions of the landscape, presented in autumn 1860 at the exhibition of the Academy of Arts, View of a Place, Called “Kukko” in Finnish, on Valaam Island and another variant of the latter work. It was for these two landscapes that he was awarded the Gold Medal. One of these, the smaller (69 by 87 cm), is now in the collection of the State Russian Museum. The second — the larger (104 by 140 cm), and with the more interesting composition — we are now offering for auction. The theme Shishkin found for his diploma work is a total success. The dense, deciduous forest extends all the way to the lake, while a mighty ridge of reddish crags rears up nearby. This formula allowed the artist to show in the foreground forest thickets bathed in sunlight, age-old boulders nestling in their midst. Furthermore, he has used academic painting techniques to bring weight to the right-hand side of the picture, concentrating here the great, bulky mass of rock, and finally balancing the composition by opening up the space on the other side, where the mirror-like surface of the water becomes visible, and the broad expanse of sky above it. He has also introduced into both landscapes a modest genre motif to bring life to the composition. In our painting it is a boat at the shore with two figures, a monk-ferryman from the monastery and his passenger in a yellow waistcoat and black hat, in which we may choose to recognise one of the Academy artists on his way to a remote, wild corner for some plein air work. Indeed, Shishkin recounts how "for their more remote studies they took the boat, sometimes accompanied by Abbot Damaskin. When they left for home they would cover their unfinished studies with oil cloth and hide them under the rocks with their boxes and paints. So that

The Knights of the Most Noble and Most Ancient Order of the Thistle and their Chapel, ‘A Historical Sketch of the Order by the Lyon King of Arms and a Descriptive Sketch of their Chapel by John Warrack, Esq.’, colour frontispiece coat of arms of the Rt. Hon. the Earl of Rosebery, chronological list of the Knights, 46pp with 7 photographic plates and a plan, Otto Schulze & Company, Edinburgh 1911, number 62 of a limited edition of 100 copies, very good condition £200-250

Tyrrell, Henry, The History of the War with Russia, London Printing and Publishing Co. Ltd., in three volumes, Vol. I, iv, 383pp.; Vol. II, 380pp.; Vol. III, 337, xxxix pp., with plates and maps, half red morocco, marbled boards, some internal staining, some wear to covers; another, a six volume set, original red cloth with gilt ornamentation, some internal staining, some damage to covers and internally; Nolan, E. H., The Illustrated History of The War Against Russia, James Virtue, London, in two volumes, Vol. I, vii, 812pp; Vol. II, v, 772pp., with plates, half calf, internal spotting and staining, covers damaged and detached, poor; Brackenbury, George, The Campaign in the Crimea, an Historical Sketch, First Series 1855, Paul & Dominic Colnaghi & Co, London, viii, 112pp., with 40 plates - drawings by William Simpson, original red and gilt cloth; another, Second Series 1856, vi, 136pp., with 41 plates, original red and gilt cloth, these with some pages loose and wear to covers, poor and better condition (13) £100-150

A most unusual Great War ‘Gallipoli’ M.C. group of eight awarded to Captain H. L. Norman, East Lancashire Regiment, late Royal Engineers Military Cross, G.V.R., the reverse engraved ‘Capt. H. L. Norman, East Lancs., won in Gallipoli, 1915’; Egypt and Sudan 1882-89, undated reverse, no clasp (20270 2nd Corpl. H. L. Norman, R.E.); 1914-15 Star (Capt. H. L. Norman, E. Lan. R.); British War and Victory Medals, with M.I.D. oak leaf (Capt. H. L. Norman); Army L.S. & G.C., E.VII.R. (20270 F. of W. Q.M.S. H. L. Norman, R.E.); Meritorious Service Medal, G.VI.R., 3rd issue (20270 W.O. Cl. 2. H. L. Norman, R.E.) official correction to surname; Khedive’s Star, undated, the Egypt medal nearly very fine, otherwise nearly extremely fine and a very rare combination of medals (8) £2000-2500 M.C. London Gazette 3 June 1916: ‘Manchester Regiment (Service Battalions). Temp. Capt. H. L. Norman, East Lanc. R., Spec. Res.’ M.I.D. London Gazette 6 March 1916 (General Sir Charles Munro’s despatch). Herbert Luxton Norman was born at Hatherleigh, Devon, and enlisted for the Royal Engineers on 7 September 1885, aged 19 years 2 months, having served previously with the 4th Devon Volunteer Rifles. He served on the Egyptian Frontier in 1888 and in operations on the Nile in 1889 (Medal and Bronze Star). After a period at Home, he served in Hong Kong from August 1898 until December 1902, by which time he had been promoted to Quarter-Master Sergeant Foreman of Works. The remainder of his service was spent at Home until his discharge at Fermoy on 6 September 1906. His L.S. & G.C. medal with Gratuity was announced in Army Order 67 of 1907. On the outbreak of war Norman was appointed Lieutenant & Quarter-Master in the 10th Battalion East Lancashire Regiment and was promoted to Captain on 1 December 1914. Attached to the Manchester Regiment, he entered the Gallipoli theatre of war in May 1915. With them he probably fought in the battles before Achi Baba and in the Third Battle of Krithia. In the latter, Lieutenant Foreshaw, 1/9th Manchester Regiment, won the Victoria Cross. For his bravery in the campaign, Norman was mentioned in despatches and awarded the Military Cross. Due to his age Norman was selected for transfer for garrison battalion, a move that he resisted by requesting a transfer to another unit, as evidenced in a report from his Brigade Commander, Brigadier-General V. Ormsby, who wrote: “I believe that Captain Norman habitually displayed great gallantry and good leadership in Gallipoli. His commanding officer is not however satisfied as to his general knowledge and capacity for the command of a company in open warfare. After interviewing Col. Morrogh and Captain Norman, and in view of the latter’s wish for transfer to another battalion, I recommend that this course be adopted. I know Captain Norman to be most painstaking and conscientious. Though nearly 49, he is tougher than many a much younger officer, and is very averse to performing garrison duties.” In 1918 he is recorded as being a Captain in the East Lancashire Regiment and a Musketry Instructor. Sold with a sepia photograph of the recipient in civilian clothes before the war; a pencil sketch of the recipient, inscribed, ‘Captain Norman, Esk Line Trenches, Gallipoli, in front of Achi Baba, 23.7.15 (signed) Eric English’; original M.I.D. Certificate,mounted on card with partial loss of initials, ‘Manchester Regt. [T.F.] T/Capt., E. Lan. R., S.R.’; copied m.i.c. and other research.

Sir Edward Burne-Jones (British 1833-1898) SAINT CHRISTOPHER, a sketch in pencil, titled and monogrammed, within a gilt card slip, card mount and modern frame under glass, Stone Gallery label verso with artist information. 20cm(h) x 5cm(w).

DISNEY STUDIOS, Walt -- 'Sketch Book' [of Snow White and the Seven Dwarfs]. London: William Collins, 1938. 4° (292 x 236mm). Coloured frontispiece and 11 coloured plates, all tipped-in on brown cardboard with tissue guards, numerous black and white illustrations. Original beige buckram cloth, pictorial dust-jacket, pictorial endpapers (head of spine of dust-jacket torn away, short clean tear in front wrapper, jacket very lightly soiled). FIRST EDITION, a crisp and clean copy of this book, based on the sketches for the film 'Snow White and the Seven Dwarfs'. View on Christie's.com

Rover Scout E Farrer, Thatched cottage, pencil sketch, signed with initials, dated 35, inscribed verso - "Presented to Captain Arnold S. Wills, by the 9th Northampton Boy Scouts with an expression of appreciation for his kindness in taking a very practical interest in the welfare of the group", a print after Munnings, a photographic print and after Morland, "Juvenile Navigators", (4).

Mark Senior (1862-1927): The Wheelwright`s fire Bruges, pastel sketch on coloured paper signed, inscribed verso 24.5cm x 34cm,

A 19th Century Pen and Ink Sketch depicting waterfall through wooded landscape, unsigned, framed, 57cm x 42cm

A Similar Pen and Ink Sketch depicting arched bridge over river landscape with wooded bank, unsigned, framed, 38cm x 56cm

A Similar Pen and Ink Sketch depicting river landscape with hills in background, unsigned, framed, 36.5cm x 57cm

A Red Charcoal Sketch, head portrait of a young lady, unsigned in gilt frame, 37cm x 26.5cm

Katherine Welch, Red and Black Crayon Sketch "Mares and Foals", signed and dated 77, framed, 26cm x 54.5cm

An early 20th Century autograph and sketch album

OILS - "E** F** D** "Please can you direct me to the Memorial Theatre", a caricature sketch with two figures at Stratford (East London) underground terminus, Pen & Watercolour, monogrammed and dated 1955, 13cm x 21cm, in oak frame"

PHYLLIS GARDNER: THE IRISH WOLFHOUND A SHORT HISTORICAL SKETCH, 1931, 1st edn, orig cl gt, d/w, internally reinforced at top and bottom edges

C J AND JAMES PAGET: SKETCH OF THE NATURAL HISTORY OF YARMOUTH AND ITS NEIGHBOURHOOD ….., 1834, orig cl, gt

An Album containing 50+ assorted Pencil, Pen & Ink, and Watercolour Sketches, circa 1889-1891, depicting various European, Topographical and Architectural scenes, including Florence, Verona, Mount Eiger, Oberhofen etc, each individual sketch pasted in, various sizes, with written annots, unusual carved wooden bds depicting armorial-style crests, monograms “HLL” and “AB Le G”

A Packet: a collection of approximately nine Autograph and Sketch Book albums, circa 1896-1950, many containing ills, sketches and caricatures etc by Walter Corrie and Mary Corrie, assorted sizes and styles

Thorburn (Archibald) A Naturalist`s Sketch Book first edition number 18 of 105 copies 24 colour and 36 collotype mounted plates by Thorburn tissue guards modern half red crushed morocco gilt [Anker 509; Nissen IVB 940] folio 1919.

Wilberforce (William philanthropist a leader of the anti-slavery movement 1759-1833) Autograph Letter signed to Thomas Harrison 2pp. with conjugate blank 8vo Suffolk Head 18th July 1812 “It is owing to a Succession of Hindrances which I have not time to detail to you... that on Thursday night very late it was agreed we should see Ld Bathurst today - I gave Notices myself fearful I could not convey them through Mr Stokes in due time. I rather wish`d to confer with you before our interview & perhaps it would have been as well to have you to accompany us but I cannot wait. I should have sent to you early this Mg & waited for you but for... vexations... alluded to in the Beginning of my Note” § Macaulay (Zachary slavery abolitionist 1768-1838) Autograph Letter signed to Thomas Harrison 3pp. 8vo Clapham 22nd October 1814 “A Second Edition of Mr. Wilberforce`s letter will be ready to send off on Tuesday. I will write to the printer about the mistake in Park`s name. There is however a much more material mistake in two places on which I wrote to the Duke of Wellington and Treullel & Wurtz begging they might either be corrected by a pen or the sheets might be cancelled. Mr Wilberforce wished a copy of his letter to go to said Ministers as Lord Liverpool & who are not members of our Institution” folds; and 2 others including: an original sketch by Thomas Stothard with ink inscriptions: “An Original Sketch by Thos Stothard - belonging to Chas. Aug. Tulk given me by my dear Mother 1859. C.L. Harrison”; Poem manuscript 1p. pencil inscription on accompanying sheet: “Lines Addressed to my Mother by the Poet W. Cunninghame” n.d. folds browned (4). (4)

After Augustus John (1878-1961) - portrait of two women with young boy in peasant clothes, pen and ink sketch, 12.75" x 8.25"

Sketch of a English shepherd dog. Oil on Canvas board. Size: h40.5cm w50.5cm All Lots sold with No Reserve

Pink Roses (another sketch on back) signed Strevens 45 (b.l.). Oil on canvas board. Size with frame: h94.5cm w74.5cm. Size without frame: h76cm w56cm All Lots sold with No Reserve

Sketch of Julia with choker and sleeveless gown. Oil on board (scraped). Size without frame: h38cm w86cm All Lots sold with No Reserve

Sketch of Bridget wearing velvet choker. Oil on canvas board. Size without frame: h45.5cm w35.5cm All Lots sold with No Reserve

Costume birthday party sketch signed John Strevens (b.r.). Oil on board unframed. Size without frame: h25.5cm w30cm All Lots sold with No Reserve

Sketch of family with a lantern (certified). Oil on canvas board unframed. Size without frame: h25.5cm w30cm All Lots sold with No Reserve

Sketch of Flossy (certified). Oil on board unframed. Size without frame: h51cm w33cm All Lots sold with No Reserve

Sketch of conservatory (certified). Oil on canvas board unframed. Size without frame: h107cm w80cm All Lots sold with No Reserve

M. E. H. (20th Century) Summer garden scene with a lady seated in a wicker chair oil on board, signed with initials `M. E. H.`, 32cm x 38cm, with an oil sketch on reverse of figures outside a country mansion, also signed with initials.

Dawson, Captain Lionel. Sport In War, colour plates by Lionel Edwards, cloth, 4to, 1936. With ... Edwards, Lionel. A Leicestershire Sketch Book, colour plates, cloth, 4to, 1935. With ... OGILVIE, Will H. Over the Grass, colour plates by Lionel Edwards, cloth, 4to, 1925. (3)

Ewbank (J.) and W.H.Lizars. Picturesque Views of E to which is prefixed An Historical Sketch of Edinburgh...by James Browne large paper copy engraved additional vignette title and 51 plates by Lizars after Ewbank all on india paper and mounted tissue guards very occasional foxing bookplate of Dawson Brodie on front pastedown a fine copy in contemporary green morocco with elaborate gilt borders spine gilt g.e. rubbed edges a little worn upper cover loose folio Edinburgh 1825.

Ephemera – visitors book a fine guest book produced in the style of the arts and crafts movement and with numerous entries from the early 1920s to the 1970s. Entries include the signatures of Big Chief White Horse Eagle who visited the house in 1930 when he was 108 years old and his queen Wa-The-Na as well as a fine sketch of African birds by the explorer and naturalist Capt C W R Knight. The signature of White Horse Eagle and his Queen are rare and sought after mainly because he toured the world claiming to be an ancient chief of the Osage Tribe – meeting heads of state and leading celebrities as a result. He met Hindenburg for example on a sensational tour of Germany in 1929 – having claimed to have similarly met Bismark on a visit in 1887. The problem with the Big Chief however was that he was a total fraud – his supposedly native people pointed out that he couldn’t speak a word of their language and knew nothing of their culture. Moreover he was African-American in origin and the only tribal god he subscribed to was alcohol ! Nevertheless his signature is rare and sought after by collectors of the more colourful American characters. This book is also of great interest in its style – very much reminiscent of William Morris and the arts and crafts movement.

William Heath Wilson/Street Scene, Florence/signed bottom right, signed and inscribed on the reverse/and with a sketch of a peasant on reverse/oil on board, 11.25cm x 19cm (4.5" x 7.5")

Feliks Topolski (1907-1989): Framed Charcoal Sketch of Enoch Powell, signed and dated 1976, 57cm by 42cm

Lady Mary Leighton of Loton Park, née Parker (1810-1864) A Red Leather Bound Sketchbook. Inscribed on inside A recollection of Ireland/ in December 1860/To Charlotte Leighton/ from her affectionate sister F . Including watercolours of Thornhill, Bray, Waterfall at Doberscourt, Love Lane, Hollybrook, The Dargle, Kilruddery, Enniskerry, Denbridge House, Church and hound Comer Lusk, Malahide Castle, St Doulaghs Including photograph of family with Charlotte Leighton, Francis Leighton, Stanley Leighton and Baldwyn Leighton: A Scrapbook with some drawings by Mary Parker, and many by other artists, including pen and ink, pencil sketches, watercolours (including one of wallabies) and various types of prints of humorous sketches possibly after Cruikshank and Leech. Variety of subjects including landscapes, geological studies, pen and ink after Raphael and other masters, stipple engravings on blue paper after Bartolozzi, classical scenes and flower studies. Some dated 1828, one watercolour signed MP: A Scrapbook including a watercolour of skating and curling, pencil sketches signed B.L 1853/46/47/48/49, pencil sketches signed SL/S Leighton 1843/47/48/49/52/53, pencil sketches signed Charlotte Leighton 1849, pencil sketch signed F.C.L 1847 (3)

Lady Mary Leighton of Loton Park, née Parker (1810-1864)Sketchbook on inside cover inscribed Mary Parker/Sweeney, near Oswestry/ 1824, various pencil sketches and watercolours of landscapes with views of North Wales Watercolour of a Country House and garden with children playing on a swing: A Scrapbook Inscribed in front cover `Mary Leighton/Scraps from her children/Loton Park 1847-50` Pencil sketches signed S L 1847/48/49/50 Watercolours and Pencil sketches including portrait of Earl of Warwick, and General Monk signed B L 1847/50/51/52/53 Pencil sketches signed Chartte Leighton/C Leighton 1847/50/51 Pencil sketches signed F C Leighton 1844A Sketchbook Inscribed in front over `Baldwin Leighton, Loton Park, Shrewsbury/Augst 1846 Watercolour signed MP 1825 Pencil sketch signed ML (Lord Cobham) 1851 Two Watercolours signed ML 1826/46 Various pencil sketches and watercolours signed Baldwin Leighton/BL/B Leighton 1846/47/51/53 Various pencil sketches signed Stanley Leighton and S Leighton1846/47/48/49 Various pencil sketches and watercolours signed FCL/FSL 1846/47/49/51 Various pencil sketches signed CL and C Leighton 1846/48/50A: Sketchbook Inside cover inscribed Mary Parker/1829/ Various sketches in pencil and pen and ink, drawing of Putti after Bartolozzi on tinted paper (some signed MP) Book plates after Cruikshank Ink and sepia watercolours after Dutch Old Master Marine painters Copy after Richter, signed MP 1830, Watercolour view of Mold in Flintshire, Watercolours of landscapes (including one of Jamaica) some signed MP and dated between 1828 and 1829, sheet Arabic writing

Lady Mary Leighton of Loton Park, née Parker (1810-1864) A Sketchbook of Watercolours including interior scenes, skating scene and portraits Pen and ink and pencil sketch studies for portraits including Alice Warburton, Catherine, Merril (dated between 1854 and 1859), all unsigned A Scrapbook including: Pen and ink studies, prints after Samuel Howitt, J Jackson, Harwood and others, pencil drawings signed B.L.1817 Watercolour of a `target` (unsigned) and other landscape watercolours, watercolour of Chairing of Sir Rowland Still and Mr Ormsby Gore at Shrewsbury 4th July 184, signed BL And Pencil sketch of a landscape signed Fanny Julia Alexande, November 27th 1837 A sketchbook Inscribed on inside cover `Drawings by Mary Parker, Lady Leighton` Including: Watercolour signed Mary Leighton Italian 18th Century sheet with several studies including a reclining nude, flying angels and study of feet possibly after Cipriani, pen and ink signed Mary Parker/MP (including one titled `My Mother`, drawing signed MP/1826, a drawing of Erbistock Rectory from the other side of the River Dee, 1826 Various pencil sketches, pen and ink, and watercolour studies including study of a uniform, church decoration, landscapes (including Zurich), classical studies, portraits (unsigned)

Follower of Jacques Laurent Agasse (19th century) Figures watching a Balloonist in a Courtyard Oil on board, a preparatory oil sketch, 14cm by 17.5cm, unframed

A small black and white print of a sketch by David Shepherd of a head on bull elephant signed in pencil to the mount and a pair of etchings after William Wight depicting horses and sheep