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Lot 596
Brian Irving (1931-2013) Dalesmen and working horses, c.1960s Charcoal, together with a further sketch in the same hand depicting a confrontation between a ram and a sheepdog, 21.5cm by 12.5cm and 9.5cm by 13.5cm respectively (2) Provenance: From the artist's sketchbook and estate, with label of authenticity by the artist's son/executor Born into a family of farmers in Bolton Abbey, Brian Irving farmed in Wharfdale, where he lived all his life. His days were split in the farming community, never far from the flocks of sheep, the working horses with the plough, the sheepdogs with their masters looking up at the fells, across the fields or walking along drystone walls. He sketched the myriad faces of the environment day in, day out, in pencil, charcoal and pastel. In watercolour he captured every nuance before him. Many of Irving's pictures depict an age when labour by hand and horse was still prevalent before mechanisation took over. An inspired, naturally gifted and self-taught artist, he captured as no other the essence of the Yorkshire Dales, its landscapes, the people and animals of the farming community.
Lot 599
Brian Irving (1931-2013) "Dalesman kalling" Charcoal, together with a further charcoal sketch by the same hand depicting studies of dalesmen including a pigeon fancier, 17cm by 12.5cm and 19.5cm by 15.5cm respectively (2) Provenance: From the artist's sketchbook and estate, with label of authenticity by the artist's son/executor Born into a family of farmers in Bolton Abbey, Brian Irving farmed in Wharfdale, where he lived all his life. His days were split in the farming community, never far from the flocks of sheep, the working horses with the plough, the sheepdogs with their masters looking up at the fells, across the fields or walking along drystone walls. He sketched the myriad faces of the environment day in, day out, in pencil, charcoal and pastel. In watercolour he captured every nuance before him. Many of Irving's pictures depict an age when labour by hand and horse was still prevalent before mechanisation took over. An inspired, naturally gifted and self-taught artist, he captured as no other the essence of the Yorkshire Dales, its landscapes, the people and animals of the farming community.
Lot 527
John Sell Cotman (1782-1942) Study of a ruined building with moored wherry Signed and numbered 2627, pencil, together with a further signed and dated 1805 pencil sketch and the equivalent black and white print "Norwich Thorpe", 15.5cm by 25.5cm and 10.5cm by 8cm respectively (3) For "Norwich Thorpe": C P Kitson (Life of J S Cotman, p.136, according to inscription to reverse of associated pencil sketch) a) Ruins, Pencil: Fairly flat and even picture plane. Slight darkening of paper. A couple of very small, minor foxig spots, one bottom right corner, and one bottom left corner.b) Trees, Pencil: Mounted on card, all edges visible. Mottled with foxing spots across the paper, with timestaining and darkening of paper. Slight undulations across the paper.c) Trees, Print: Darkened/yellowed paper, slight undulations. Indented printed area with timestaining to the edges.
Lot 587
Manner of Luca Cambiaso (1527-1585) ItalianDraped standing classical figure amongst clouds and cherubsInk and wash, with collection stamp PM, together with a further unframed sheet of studies in ink of a figurative subject matter, a group of approximately seven costume studies in the later 18th and early 19th century style, a vignette scale pencil sketch of elegant figures in conversation in the style of J Singer Sargent, two monochromatic landscape studies reminiscent of Pether, an indistinctly inscribed 18th century style study of a standing gentleman leaning on a sculpture plinth wearing a tricorn hat and holding a copy of "Paradise Lost", and an early 20th century illustration of a pixie amongst the roots of a tree, 24.5cm by 16.5cm and various other sizes, all unframed (a collection)
Lot 311
J. H. Lockwood (British, second half 19th century) 'Near Montpellier' charcoal and white chalk on tinted paper, signed and inscribed 8½ x 12½ in (21.5 x 31.8 cm); together with a similar sketch of a house beside a lake in the south of France or Italy, signed 'C E. Lockwood', 9¾ x 11½ in (24.75 x 29.25 cm), both in plain gold frames with gilt slips. (2)
Lot 224
Two Japanese sketchbooks, comprising:The Hokusai Manga (Hokusai's Sketches),a collection of sketches of various subjects by the Japanese woodblock print artist Hokusai, vol. 10, ink on paper, 1878, and Senryūdō gafu (Illustrated Book of Hall of the Concealed Dragon), by Takizawa Kiyoshi, Gyorui no bu (volume on fish), ink on paper, 1880 (2)Condition ReportHokusai - binding loose. Colours faded. Senryūdō - Creasing and foxing. Colours faded.
Lot 134B
Three limited edition pencil sketch prints, all Battle Of Britain to include 'Against All Odds' by Matt Holness, 31/120, signed in pencil by the artist and 3 airmen (59x41.5cm) and 2 prints by Stephen Teasdale, both with CoA's and signed in pencil by the artist and one airman, 'Scramble 1940', 35/100 and '609 (WR) Squadron Spitfire Mk1', 58/200 (both 42x29.5cm)
Lot 274
Attributed to William Wyld (British, 1806-1889) - Watercolour & pastels on paper sketch drawing of Algiers, Algeria, April 1833. The painting depicting a house with people in the foreground. Plate number 119, marked to right side of drawing. Inscriptions to top right corner. Mounted in a gilt edged mount. Framed & glazed. Unsigned. Measures approx. 15cm x 22cm from mount. Similar sketch is in the V&A Collection (https://collections.vam.ac.uk/item/O153536/an-old-merchant-in-the-watercolour-wyld-william-ri/). Believed to have come from same sketchbook used later on by the artist for inspiration for bigger watercolours. (https://www.christies.com/en/lot/lot-5698960). PROVENANCE: From private collection in Clifton, Bristol.
Lot 280
Attributed to William Wyld (British, 1806-1889) - Watercolour & pastels on paper sketch drawing of Algiers, Algeria, June 1833. The painting depicting a scene from a bazaar with men sitting by entrance. Plate number 115, marked to right side of drawing. Inscriptions to top right side. Mounted in a gilt edged mount. Framed & glazed. Unsigned. Measures approx. 15cm x 22cm from mount. Similar sketch is in the V&A Collection (https://collections.vam.ac.uk/item/O153536/an-old-merchant-in-the-watercolour-wyld-william-ri/). Believed to have come from same sketchbook used later on by the artist for inspiration for bigger watercolours. (https://www.christies.com/en/lot/lot-5698960). PROVENANCE: From private collection in Clifton, Bristol.
Lot 286
Attributed to William Wyld (British, 1806-1889) - Watercolour & pastels on paper sketch drawing of Algiers, Algeria, April 1833. the painting depicting a scene by the coast. Plate number 94, marked to left side of drawing. Inscriptions to right side. Mounted in a gilt edge mount. Framed & glazed. Unsigned. Measures approx. 15cm x 22cm from mount. Similar sketch is in the V&A Collection (https://collections.vam.ac.uk/item/O153536/an-old-merchant-in-the-watercolour-wyld-william-ri/). Believed to have come from same sketchbook used later on by the artist for inspiration for bigger watercolours. (https://www.christies.com/en/lot/lot-5698960). PROVENANCE: From private collection in Clifton, Bristol.
Lot 349
JOSEPH EDWARD SOUTHALL, RWS (1861-1944) - Merman and Mermaids, pencil sketch on grey paper, signed with monogram and dated 1890, unframed, 28cm x 20cm, also a profile portrait red pencil drawing of a gentleman by the same hand and a pencil sketch of a seated woman attributed to the same hand. (3)
Lot 41
Eric Harald Macbeth Robertson (British, 1887-1941)'Nude Girl' signed 'Eric Robertson' (lower right)oil on canvas101.6 x 152.4cm (40 x 60in).Painted in 1921Footnotes:ProvenanceThe artist's studio, thence by descent.With The Maas Gallery, London.Private collection, UK.Robertson was credited as one of the most brilliant art students of his time. Together with his first wife, Cecile Walton (1891-1956), they became the most controversial members of The Edinburgh Group who exhibited before and after the First World War. Robertson gained a degree of notoriety in Edinburgh with his frank portrayal of the female nude and it was said that 'half Edinburgh goes to Shandwick Place [The New Gallery] secretly desiring to be righteously shocked, and the other half goes feeling deliciously uncertain it may be disappointed by not finding anything sufficiently shocking.' (The National Outlook, November 1920, pp102-3).This reclining position was one that Robertson had previously asked his models to pose in. There is a pencil sketch, signed and dated October 15th 1915, inscribed 'Margery' (previously with The Maas Gallery), that depicted the artist's sister-in-law in the same position. This has previously led to the present artwork being incorrectly thought of as Margery being the sitter. However, the artist's diary from 1921, mentions using a professional model named as Miss Slade to sit for a figurative painting during the months of April/May. The work was then put to one side until October, when the painting was completed and given the title 'Nude Girl'. It also appears as a listing in the artist's catalogue as 'Nude Girl', completed in 1921, oil 40 x 60 in. It was never exhibited during Robertson's lifetime. 'Nude Girl' is a wonderful and rare example of Robertson's depiction of the beauty of the female body on such a large canvas. The composition is marvellously bold, yet the subtle rendering sitter's opalescent skin and youthful beauty is incredibly sensitive. Her voluptuous lips and flushed cheeks only enhance the feeling of sensuality.We are grateful to John Kemplay for his help in researching this work.For further information on this lot please visit Bonhams.com
Lot 153
Pat Douthwaite (British, 1934-2002)Two small sketch pads; One half used, containing charcoal and pastel sketches, mainly of elephants, a few signed and dated 89.The other inscribed 'PERU I' on the cover, containing charcoal and pastel sketches of Peruvian pots, birds, symbols and figures (2)each 23 x 15.2 cmFootnotes:ProvenanceThe artist's studio; thence by descent.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1270
DOD PROCTER (BRITISH, 1890-1972)Girl in a Black Dress (c. 1915) signed 'Dod Procter' (upper left) and inscribed with title (to back of stretcher) oil and tempera on canvas 77 x 62cm with an oil of a water fountain (verso) ARR Provenance The present owner's grandparents; thence by descent; Private collection, UK We are grateful to Toby Procter who has confirmed the authenticity of this work.Catalogue noteA solitary seated female figuregazes out past the viewer. Dressed in a medieval-esque black smock with abright lacquer-red cap which envelops her dark shoulder-length hair, the girlcrosses her arms and sits motionless, her piercing blue eyes staring into thedistance, her mind lost in thought and detached from the present. She sits infront of a decorative pattern of flower motifs which adorns a panel ofwallpaper, tapestry or silk cloth, alongside a plain blue/grey wall. In the top left-handcorner, the maker’s signature reads ‘Dod Procter’.This newly discovered work by DodProcter (1890-1972), from a private collection, is truly remarkable as itappears to be the earliest figurative work by the artist to have appeared onthe market in the last couple of decades. It provides a glimpse into Dod’searly years as an artist, exploring and developing a visual vocabulary whichwould then characterise her oeuvre from the 1920s. Only three other figurative works painted before 1920 by Dod, but which arguably post-date the present painting, are known to us in public collections: a portrait in oil from 1916 of her friend Sheelah Hynes (sister of the artist Gladys Hynes) at The Wolfsonian-Florida International University (Colour Magazine, June 1919), and two line drawings, one most certainly a preparatory sketch for the oil, at the Tate Archives (these are recto-verso on a sheet of paper and the second sketch, the figure wearing a hat, may be of Sheelah or Gladys). Another figurative work, The Charm, from this period was reproduced in Colour Magazine in December 1918.The composition and subject are typicalof Dod’s more mature figurative work from the 1920s, which led to her rise tofame in 1925 with The Model (exhibited at the RA in 1925) andsubsequently Morning (exhibited at the RA in 1927 and immediatelyacquired for the nation by the Tate, where it is still held today), propellingher to stardom and international acclaim. These works often depict the figurepositioned close-up at a three-quarter angle to the viewer and, viewed slightlyfrom above or sometimes from below, offer a sense of monumentality andweightiness akin to sculpture. The sitter, as in the present work, if notasleep, gazes into the void, the minimalist space and the various propsstrategically placed beside her creating a possible accompanying narrative.The presence of tempera in thiswork with its transparent quality, most notably in the bodice, is evidence ofits early dating. We know from her letters to Ernest Procter, whom she marriedin 1912, that during the 1910s Dod was experimenting and practising withtempera, a medium which was experiencing a revival at the turn of the 20thCentury, promoted by critics such as Roger Fry and artists such as MarianneStokes, herself a member of the Newlyn School in the last decade of the 19th century. On occasion Dod would use tempera as a means of mapping out a colourscheme before working on the final piece in oil. It would appear from thepresent work that she also worked in mixed media, namely tempera and oil.The bold lacquer-red pigment which Dod employed for the girl’s hatattests to the dating of this work and a similar colour was used for a stilllife entitled Poppies and Foxgloves (Modern Britishand Irish Art Day Sale, Christie’s, London, 21st March 2024, lot 145), which Dod described duringits production in a letter to Ernest in 1917. The hat itself may be the onelater worn by Dod’s model Lillian in Girl with a Red Cap (1923) (Paintings Sale, Woolley& Wallis, Salisbury, 21st March 2012, lot 249). Dod exhibited nationally in groupexhibitions with, but not solely, the Royal Academy, WIAC (Women’sInternational Art Club), Society of Women Artists, United Artists, AlliedArtists and in gallery shows such as the Leicester Galleries and Brook StreetGalleries. She also exhibited internationally with the British Artists’Exhibition in Buenos Aires in 1928, the Venice Biennale from 1922 to 1930, theCanadian National Exhibition, the Carnegie International in Pittsburgh from1924 to 1935, in a solo show at the Carl Fischer Gallery New York in 1936 and asolo show at the Carnegie in 1936-37, thereby gaining an internationalclientele.Greatly supported by the Britishpress, art journals and art critics, most notably Frank Rutter, the Francophileand proponent of Post-Impressionism, Dod was an important and highly recognisedmodernist painter and in 1942 became the second woman to be elected a RoyalAcademician (Laura Knight being the first). Her paintings are now held inimportant national and international institutions, such as the Tate and the CarnegieMuseum of Art in Pittsburgh.Trained in Newlyn under theauspices of Stephen and Elizabeth Forbes, who sought inspiration from the artcolonies in Brittany, Dod was part of the second generation of painters fromthe Newlyn School and a key member of the Newlyn and Lamorna art colonies, herartistic and social network counting among others Laura Knight, Gluck, GladysHynes, Ernest Procter, Gertrude and Harold Harvey, Cedric Morris and AJMunnings.We are grateful to Alexandra Kett-Baumann for her assistance with the cataloguing of this work and for preparing this catalogue note.Condition ReportOriginal canvas with the basis of another composition (verso); approximately 1inch surface abrasion to the sitter's chest, lower right; smaller abrasions to background, lower left and to curtain, lower right; further scattered frame abrasions to each border; canvas visible to the upper left border; Ultraviolet reveals retouching to the sitter's forehead, cheeks and chin but these barely fluoresce and are therefore likely to be the artist's hand. Held in a modern composite gilt frame in fair condition.
Lot 144
India. Ghose (R. S.), Sketch map of River Hooghly from Hooghly to Ulabaria, Showing Jute and Cotton Mills, Factories, Presses and Port Commissioners Ferry Service Route, published under the Authority of the Calcutta Port Commissioners by the Deputy Conservator of the Port, Calcutta, 1920, helizincographic map printed in red and black, the map names and lists 122 cotton, wool, paper, bone, flour and jute mills, a glass factory, chemical works, distilleries, gun and shell factories, rope factories, brickworks and presses, sectionalised and laid on linen, very slight staining, marbled endpapers, near contemporary pencil ownership signatures to the verso of the map, 795 x 540 mmQTY: (1)NOTE:Rare. No institutional copies found.
Lot 171
A Great War ‘Ministry of Munitions’ M.B.E. group of four awarded to Major C. Leese, Army Service Corps, who flourished as a winter sportsman in the Alpine climate of Switzerland but whose health suffered in the damp and exposed conditions of the Western Front A gifted amateur golfer, he repeatedly showed his prowess in the Amateur Championship but was often thwarted by Joyce Wethered and her equally successful brother Roger The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 1st type breast badge, silver, hallmarks for London 1917; 1914 Star (2. Lieut: C. Leese. A.S.C.); British War and Victory Medals (2. Lieut. C. Leese.) nearly extremely fine (4) £300-£400 --- M.B.E. (Military) London Gazette 1 January 1918. Clive Leese was born in Woking on 24 April 1885, the fourth son of Sir Joseph Francis Leese, K.C., M.P., 1st Baron Leese, of Send Holme, near Guildford. As Queen’s Council and Member of Parliament for Accrington from 1892 to 1910, his father was a hugely influential figure who was known in particular as a keen advocate for women’s suffrage. His mother was similarly exalted as a sportswoman; according to The Lancashire Daily Post of 28 January 1907, the only thing that could hold Lady Mary Constance Leese back from the ski slopes of Davos was ‘a severe case of influenza’. Clive Leese proved just as talented - at least his mother’s equal in winter sports - most notably in winning a third place finish in the English Figure Skate Bowl in 1905 and victory at Davos in 1907. The outbreak of the Great War saw Leese appointed Lieutenant in the Army Service Corps in the London Gazette of 19 September 1914. Posted to France from 5 October 1914, he witnessed early service at the Advanced Motorised Transport Depot. Evacuated home with an attack of pleurisy, the Proceedings of a Medical Board held at Caxton Hall on 4 February 1915 noted: ‘suffered from cold & exposure on active service with Expeditionary Force’. Raised Acting Major on 9 November 1916, Leese was seconded to the Ministry of Munitions. His name was later brought to the notice of the Secretary of State for War for ‘valuable services rendered in connection with the war’ and he was awarded the M.B.E. (Military). Demobilised on 22 February 1919, Leese took employment as a solicitor in the family firm of Fairfield, Leese and Munns of 31, Old Jewry, London. He further dedicated his free time to amateur golf and became firm friends with some of the leading exponents of the game, most notably Joyce and Roger Wethered, the former being recognised as perhaps the greatest ‘lady golfer’ of her generation. Having initially dipped his toes at the 1905 Amateur Championship at Prestwick, Leese made it to the last 16 at St. Andrews in 1907. In 1921 he made short shrift of a Cambridge Varsity singles opponent, and in 1923 he and Mr. G. D. Forrester inflicted a ‘crushing defeat’ upon an Oxford and Cambridge Society pairing. Representing Woking Golf Club, Leese later lost a mere 2 and 1 to the Wethereds; a lucky escape given that Joyce and Roger were later described as ‘cruel’ to a Kentish brother and sister pair. Even the great Bobby Jones of Augusta National fame was keen to note of Joyce: ‘I have not played golf with anyone, man or woman, amateur or professional, who made me feel so utterly outclassed’. The following year, Leese once again reached the last 16 of the Amateur Championship, but received an utter drubbing (7 and 6) at the hands of Roger Wethered over the Old Course. According to Sketch on 4 June 1924: ‘Out in a grand score of 33 strokes, magnificent play by Wethered left Leese looking to the heavens, likely wondering what on earth he could do to alleviate the pain.’ Leese spent the 1920s as a regular Surrey County golfer and won the prestigious Royal Mid-Surrey Scratch Medal in 1928. He later served as Chairman of the Chiswick Sports Association, but his life was cut short on the operating table in November 1932. The Leese Baronetcy subsequently passed to his eldest brother and thence to Sir Oliver William Hargreaves Leese, K.C.B., C.B.E., D.S.O.; for the next decade the Leese name remained in the press, but instead of filling the sporting back pages in the footsteps of Clive and his mother, Sir Oliver garnered headlines as Commander of XXX Corps in North Africa and Sicily, before taking over the reins of Eighth Army in succession to Field Marshal Sir Bernard Montgomery of Alamein.
Lot 429
Alfred Daniels RWS, RBA (British 1924 - 2015)Lagavulin Single Malt Scotch Distillery Islayoriginal colour pencil preparatory sketch for print, 50 x 61cmsigned and dated 1996 lower left together with colour reproduction of the finished print Alfred Daniels was commissioned to do a limited edition run of prints depicting six of the most beautiful distilleries in Scotland in association with the RONA gallery
![[OLDFIELD, Thomas Hinton Burley]. An Entire and Complete History, Political and Personal, of the Boroughs of Great Britain, t](https://cdn.globalauctionplatform.com/a86d3d92-f1cd-4e14-93ec-b108011ac1df/69f471a4-9feb-4786-9d8b-b15000fb5c3a/468x382.jpg)
Lot 170
[OLDFIELD, Thomas Hinton Burley]. An Entire and Complete History, Political and Personal, of the Boroughs of Great Britain, together with the Cinque Ports; to which is prefixed, An Original Sketch of Constitutional Rights, for Riley, sold by Debrett et al., London 1792, 3 vols, full tree calf, 8vo; and WATSON, Robert. The History of the Reign of Philip the Second, King of Spain, Dublin 1777, 2vols., full calf, 8vo (5)
Lot 501
Bradley Rectory-A pencil sketch dated 1857 of Bradley Rectory which is situated in Great Bradley on the Suffolk Cambridgeshire boarders. The old rectory was built on the site of an older building erected on Glebe land and first documented in 1709, as we go to print the house is for sale in a value range of £680,000 to £716,000. The much cheaper drawing measures approx. 7"x9".
Lot 442
Kleine Jugendstil-Deckeldose (Bonbonniere), Wiener Werkstätte, Josef Hoffman, um 1910 Versilbert. Runder, zylindrischer Korpus. Steckdeckel mit fein ausgeführter, reliefierter Blatt- und Blütenzier, nach einer Entwurfszeichnung von Berthold Löffler, die sich aktuell im MAK/Wiener Werkstätte Archiv in Wien befindet. Unterseite punziert mit "WW", "WIENER WERKSTÄTTE", Rosenmarke und Künstlermonogramm "JH". Durchmesser 5,8 cm, Höhe 2,5 cm.Josef Hoffmann (1870 Pirnitz - 1956 Wien) studierte an der Akademie der bildenden Künste in Wien unter Karl von Hasenauer und Otto Wagner. Er lernte dort Joseph M. Olbrich kennen und gründete die Künstlervereinigung Wiener Secession. Mit dem Maler Koloman Moser eröffnete er 1903 die Wiener Werkstätte, für die er viele Produkte entwarf. A small Art Nouveau bonbonniere, Josef Hoffmann, Wiener Werkstätte, circa 1910 A small Art Nouveau bonbonniere, Josef Hoffmann, Wiener Werkstätte, circa 1910Silver-plated. Of round, cylindrical form. The tightly-fitting cover finely decorated with a relief of leaves and blossoms, after a sketch by Berthold Löffler currently kept in the MAK/Wiener Werkstätte Archive in Vienna. The underside stamped "WW", "WIENER WERKSTÄTTE", rose mark and artist's monogram "JH". Diameter 5.6 cm, height 2.5 cm.Josef Hoffmann (1870 Pirnitz - 1956 Vienna) was a student of Karl von Hasenauer and Otto Wagner at the Academy of Fine Arts in Vienna. He met Joseph M. Olbrich there and founded the artists' association Vienna Secession. In 1903, he and the graphic artist Koloman Moser founded the Wiener Werkstätte, for which he designed several products.Condition: II
Lot 298
LOU JIONG; ZHANG DAQIAN (1899-1983)Seated ScholarInk and colour on paper, hanging scroll. 105cm (41 3/8in) high x 61cm (24in) wideFootnotes:婁坰, 張大千 松涼人健 設色紙本 立軸（張大千） 松涼夏健人。婁坰世兄用予此藳為，清逸出塵。予畫何足學，當上追古人，龍眠松雪，以爲楷模，明以後人勿屑為也。大千居士題。鈐印：張爰、張大千、婁坰Provenance: an English private collection.This painting bears the inscription and seals of Zhang Daqian which indicates the work was completed by his friend and student, Lou Jiong, either based on a preparatory sketch by Zhang, or by further embellishing a painting that Zhang had started. Zhang also comments favourably on the result. A translation of his comments follows thus:The cool shade of pine trees in Summer promotes good health. My esteemed elder brother Lou Jiong used my draft for his painting. [His work] achieved an elegant and refined style, transcending the ordinary and mundane. My own paintings are not worthy of study. One should instead follow the examples of the ancient masters, like Li Gonglin (1049-1106) and Zhao Mengfu (1254-1322). There is no need to study the painters after the Ming dynasty. Inscribed by layman, Daqian.For further information on this lot please visit Bonhams.com
Lot 146
Isobel Atterbury HEATH (c.1909-1989) Slate Watercolour on paper Signed and titled 38cm x 28cm Together with a Barbara KARN (1949) sketch of Niamh the cat and a portfolio of other works, unsigned, but likely by a different hand, numbering approximately thirty pieces in total. Shipping is available from £32.50 to a UK Mainland address.
Lot 351
B.J. Simmons & Co. (Theatrical Court Costumers) Collection of over 100 original theatrical costume designs, including costume designs for important historic and literary figures, such as Confucius, Charlemagne, Charles Darwin, Marc Anthony, John Charles Fremont, Victor Hugo, Jefferson Davies, John Greenleaf Whittier, St Augustine, Robert Fulton, Guissepe Garibaldi, Wilbur Wright, Rudyard Kipling, Charles A Lindberg, Marco Polo, Attila, Simon Bolivar, Alexandre Dumas, and others similar, pencil, some with watercolour, all with various annotations and inscriptions, some with codes, and some signed by the artist J R Macken, some inscribed 'copy sketch', on various papers, sheets between approx. 260 x 240 mm (10 1/4 x 9 1/2 in) and 380 x 270 mm (15 x 10 5/8 in), handling creases, minor nicks and signs of use, presented within five modern red folders in sleeves, folio, [probably circa 1930s-1960s] (c.100)Provenance:Sale. Tennants, North Yorkshire, Costume, Accessories & Textiles, 21st November 2020, lot 6276;Private collection, London
Lot 78
Eddison (E. R.) The Worm Ouroboros, illustrations by Keith Henderson, half-title working loose, modern black morocco, 1926 § Herbert (A. P.) The Water Gypsies, original boards, dust-jacket, chip to upper corner and spine head, a few nicks and frays to edges, original glacine jacket, 1930 § Swinnerton (Frank) Sketch of a Sinner, original boards, dust-jacket, spine lightly faded, slightly worse to spine, few chips and nicks to spine ends and edges, 1929, first editions, New York; and c.25 others, 1920s and 1930s American literature, v.s. (c.30)
Lot 103
Technik - Schifffahrt - Woodcroft, Bennet. A sketch of the origin and progress of steam navigation from authentic documents. Mit getöntem lithographischen Titel und 16 (6 getönten) lithographischen Tafeln. London, Taylor, Walton, and Maberly, 1848. 4 Bl., IV, 140 S. 24 x 17,5 cm. Blindgeprägte Original-Leinwand mit goldgeprägtem Rückentitel und goldgeprägter Deckelillustration (leicht bestoßen, hinterer Deckel etwas fleckig).Erste Ausgabe. - Abbey, Life 348 - Scheepvaart Museum 782. - Mit hübschen Ansichten verschiedener Dampfschiffe von J. C. Bourne. - Am Ende Aufstellung aller Patente für Schiffsantriebe seit 1618. - Teils etwas gebräunt.
Lot 1505
Shimokawa, Oten. 6 Original-Federzeichnungen. Japan, ca. 1930er. Blattmaße: 33 x 24 cm. Lose in Halbleinendecke.Original-Zeichnungen von Oten (auch Hekoten) Shimokawa (1892-1973), japanischer Künstler, der als einer der Gründer und Pioniere des "Anime" gilt. - Die Zeichnungen signiert und verso handschriftlich auf Japanisch und Englisch betitelt und nummeriert. - Die Zeichnungen teils im Stile von George Grosz. - Vorhanden: Nr. 3. Sketch from "Asakusa"; Nr. 6. Tying the shoe-ribbon; Nr. 10. Unleserlich; Nr. 19. A bed-stead of a steamer; Nr. 32. A Scene at Tamanoi; Nr. 41. A Life of a boat-man. - Blätter verso mit kleinem Sammlerstempel. - Provenienz: Aus der Sammlung von Hans-Jürgen Döpp, Frankfurt.
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