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Click here to subscribeSEUSS DR: (1904-1991) American Writer and Cartoonist, remembered for his children`s books including The Cat in the Hat. A good original black and red pen and ink sketch of Seuss`s famous anthropomorphic cat wearing his familiar red striped hat and red bowtie. Drawn by Seuss on a white 12mo card and signed (`Dr. Seuss`) in black ink. VG
JONES CHUCK: (1912-2002) American Cartoonist and Animator, famous for his association with Warner Bros. Looney Tunes. Academy Award winner. A.L.S., Chuck Jones, one page, 4to, Costa Mesa, California, 25th May 1986, to Jeff Schaire, on his personal printed stationery illustrated with images of Wile E. Coyote and The Road Runner. Written in bold pencil, Jones announces `Of Course! Of Course! I`m honored. I`m slow too-but I`m still honored.` and continues `I`m in the process of writing an autobiography for Norton, why shouldn`t Arts and Antiques have first shot?` Together with Dik Browne (1917-1989) American Cartoonist. An original colour pen and ink sketch of his most famous creation, Hagar the Horrible, and his wife Helga, drawn and signed by Browne on an oblong 12mo card. VG, 2
JEAN-GEORGES SIMON (1894 - 1968 HUNGARIAN) Head and shoulders study of a young woman, charcoal on paper, inscribed, signed and dated Paris 1954, Jansci, also with initials, 28 x 19cms; together with an ink and wash sketch of a nude woman, signed with initials and dated `43, 18.5 x 10.5cms, enclosed within a home-made card inscribed `To... A very very happy Christmas and Prosperous New Year 1967, with love from Pat and Jansci`; four green ink rough sketches, one titled `fire water; a nude sketch, crayon, signed and dated `58, 31 x 21cms and a woodcut by the same hand (8)
Edward Burne Jones, a handwritten and illustrated letter from Edward Burne Jones to Amy Gaskell, on headed paper addressed, The Grange, 49 North End Road, West Kensington, it reads as follows, My dear Amy, We`ll go another jaunt(?) - you and I and your mother yes, before the next month is over, yes we will if it pours and pours tomorrow will you still come? but don`t let your mother come if ?? by one you shall be free and the 2 more sittings after that ought to finish it. HAIR tomorrow - will you bring a comb and brush and hair ? - all you need. I mean to work very hard not to open my mouth once. Yours aff EBJ. The back page of the letter illustrated with a sketch of a fantasy creature walking along a lane, 17 x 11cm.
Brenton; "Life of John, Earl of St. Vincent", 1838, 2 volumes, Collingwood; "Vice Admiral Lord Collingwood", 1829, Russell; "Collingwood" 1821, Barrow; "Life of George Lord Anson", 1839, Raikes (Ed); "Life of Sir Jahleel Brenton", 1846, all half leather bound, Naval and Military sketch book. (7).
An Interesting European Provincial Topographical Sketch book, Circa 1830-1860`s- Containing poetry, drawings and notes, by Nina Wollheim, dated 1832-1860 in a bound green leather, gilt tooled album/book: together with a portrait of a man, head and shoulders on an ivory plaque, dated and inscribed 1967, verso, (2)
* French Provincial School circa 1830`s, Sketch/Poem Album- "Route du Sabat"; title page, pen and brown ink with watercolour wash, 16x23cm, green leather gilt tooled sketch album, buff paper watermarked 1815, containing various poems with watercolour and drawings presumably by the same hand, one exampled inscribed Auguste Lamy, book as issued, (a lot)
André Derain 1880-1954- Calais Pier; after JMW Turner RA 1775-1851, watercolour in monochrome, with André Derain Atelier stamp, recto/verso, annotated A1 in ink, 13.6x21.4cm, Note: Around 1910 Derain`s work began reflecting his study of the old masters his use of colour was reduced and forms became austere; the years 1911-1914 are sometimes referred to as his gothis period. presumably this sketch made by Derian, a rapid sketch in monochrome displaying Turners masterly control of atmospheric effects, dramatic composition and light. The packet boat arriving at Calais, full of passengers. The heavy swell and storm clouds dominating the scene. The sun breaks through to eliminate the sail. A shaft of light from the sun down to the sea forms the centre of the composition. Turner`s picture is based on a real-life event. In 1802 he took his first trip abroad via Calais. On a sketch for this picture he noted that the seas had been so rough he was `nearly swampt`. Turners own sketches of the scene on blue/grey paper and held at the Tate Britian. See: Calais Pier Sketchbook [Finberg LXXXI] (D04902-D05072; complete) The painting was exhibited at the Royal Academy in 1803, (unframed) (LP)
A pair of Royal Worcester pedestal vases, one painted with a Highland landscape, the other with a river landscape, the latter inscribed to the underside Kingston on Thames after A.L. Rowbotham, on pedestal bases with four gilt lion’s paw feet, 17cm high, ‘W’ script marks, circa 1870 (one repaired) Note: The inscription should probably refer to T.L. Rowbotham rather than ‘AL’ as inscribed. The former published a set of small volumes of English lake Scenery and Picturesque Scottish Scenery in 1875 and many chromolithithographs were made from these titled T.L. Rowbotham’s Sketch Book and it is not inconceivable that the Worcester factory had access to these
HERBERT, George (1593-1633). The Temple. Edited by Nicholas Ferrar. Cambridge: Thomas Buck and Roger Daniel, 1633. 12° (143 x 76mm). Title with typographical border and ornament, ornamental initials. (Title-page loose and frayed at border, marginal wear in two leaves, lightly soiled.) 18th-century calf-backed boards (front cover missing, worn). FIRST EDITION, FIRST ISSUE. Shortly before he died, Herbert entrusted the manuscript of his English poems to his friend, Nicholas Ferrar of Little Gidding with instructions to burn them or publish them, if it be to "the advantage of any dejected poor Soul". Ferrar had them published the same year with his biographical sketch of the author, and they went through 6 editions in under ten years. Although a variant title-page is known without a printed date, the bibliographers concur that the dated title is earlier. STC 13183; Pforzheimer 465; Grolier, Wither to Prior II, 438; F.E. Hutchinson, "The First Edition of Herbert's Temple, Oxford Bib. Soc. Proceedings and Papers, V, 1939, 189-97; Hayward 66. View on Christie's.com
3 WWII A1 postes: “ATS at the wheel”, driver in jeep; “ATS cook for the troops”, cook making biscuits; “The Hospital Car Service..10000 owner drivers are needed”, with cartoon sketch, by David Langdon; a 21” x 18” advertising poster for “War Pictures by British Artists. National Gallery Trafalgar Square” with picture of barrage balloon by Dame Laura Knight; in 2 sleeves. GC (some creases)
A collection of photographs of war ships to include "HMS Chatham" at dock signed Ellis, another of "HMS Canopus" at full steam, two photographs of sailors one from "HMS Royal Oak", the other "HMS Ganges", a photographic reproduction of a sketch of the naval engagement of Heligoland 1864, a presentation photograph of "HMS Southampton" with the ship on the cover and inside a photograph of King George VI, Her Majesty Queen Elizabeth and Princess Elizabeth and Princess Margaret
A signed etching of children playing on a round-a-bout, signed Soper, various prints of the Lake District, Salisbury etc, a pencil sketch painted by Aldersley, a Moorland Scene oil on canvas initialled C H, a watercolour signed M Reddoch Smith of Alfriston in Sussex, various photographic prints, a lithograph titled Maiden`s Prayer, a photograph of Manchester Dental School "Final Student`s Year - 1920-21", a school photograph, an oil painting signed by Sarah Greenhaulsh of the East Cornwall Society of artists etc
A Sketch Book of R. Caldecott`s, reproduced by Edmund Evans, c1883 and The Book of Shops by E.V.Lucas, illustrated by F D Bedford and Beyond the Wild Wood; The World of Kenneth Grahame; 60 years The Beano and the Dandy - A Library of Laughter; all by Peter Green, with The Book of Pirates by Brian Innes.
Ephemera – Canals – The Ellesmere Canal A sketch of the country through which it is intended to make a Navigable Canal from Shrewsbury to Chester & Liverpool to unite the Rivers Severn Dee & Mersey according to the plan determined on at the meeting at Ellesmere 15th September 1791. A fine map printed on a single leaf of paper approx 17x8 ins. Printed plan but with many ms insertions mainly coloured lines showing the proposed different routes for the canal with a further line indicating a coal branch into Wales. Ms notes to top and bottom. Old folds but otherwise unblemished. A fascinating map. The eventual line of the canal incorporated most of the western line though the canal which exists today runs from Wolverhampton passing to the east of Shrewsbury and thus avoiding the River Severn
VERNON DE BEAUVOIR WARD (British, 1905-1985) `Quai Vera - Bruges`, signed lower right and titled verso, watercolour, 8 3/4" x 11 1/2" and a companion piece `The Beguniage-Bruges`, signed and dated 1923 lower left, watercolour, 8 3/4" x 11 1/2" with a pen and ink sketch of the coast of Belgium to the reverse (2)
[Ehret (Georg Dionysius) or Simon Taylor] Rivina c bodycolour on vellum c.340 x 500mm. mounted on thin card within painted green frame unsigned caption with reference to Linnaeus Species Plantarum p.177 the drawing numbered 134 auction cutting (1960-70s; probably Sotheby`s; attributed firmly to Ehret) partly pasted to verso [c. 1800]. ***We cannot trace the sale; verso of the cutting is lot 204 a Gould pencil sketch for Birds of Australia of Honey-*** dated 10th Feb. 1849 which may provide a clue. Pencilled beneath the Ehret is what looks like a hammer price of £280. The lettering the numbering and the mount agree with other drawings in an album at Knowlsey; vol.VIII plants by Ehret & Taylor. Calman p.114 gives the provenance of Lord Derby`s vellums and it seems likely that our Rivina came from Sir Ashton Lever or Lord Bute. Simon Taylor 1742-90 his drawings “are a painstaking imitation of Ehret`s style often deceptively close to the manner of the original” - Calman. We should like to thank Dr. John Edmondson and Kirstin Waibel for help with the cataloguing of this lot.
Harvie-Brown (J.A.) Sketch of the ornithology of t offprint ms. sketch map tipped in leather rubbed bound with 7 similar offprints probably from Harvie-Brown`s library (a bookplate has been removed) [HB 75] 8vo Glasgow 1876. ***The others include: H. Seebohm and J.A. Harvie-Brown Notes on the Birds of the lower Petchora 2 coloured plates of eggs and hand-coloured map extra-illustrated by the insertion of 4 fine watercolours of eggs 1876. This is HB 77 where it is noted that the map did not appear in the original Ibis paper and the 8pp. appendix is also new. Following this is a ms. note of the recipients of 11 copies of what is probably this paper (though the source is not correctly given); perhaps 12-15 copies were printed.
Cruikshank/Egan.Life/Adventures..S.D.Hayward denominated the Modern Macheath. hand-coloured etched portrait by Robert Cruikshank after Mrs. Smart engraved facsimile leaf soiled and stained later half morocco by G.Walters t.e.g. spine gilt and slightly faded 1822 § Brighton!! A Comic Sketch half-title plates original printed wrappers soiled 1830 § [Birch (J.)] Fifty-One Original Fables title in red and black plates and illustration contemporary half calf spine gilt rubbed 1833 § [Barker (M.H.)] Jem Bunt first edition etched pictorial title and plates a little soiled cropped Mexborough bookplate later half red morocco by Bayntun spine gilt g.e. [1841] all illustrated by Robert Cruikshank; and another illustrated by the Cruikshanks 8vo et infra(5)
Tenniel/Lewis Carrol Wasp in Wig 3 pp. on a single sheet folded to make 4 pp. comprising 140 words with an original rough ink sketch at head of first page 8vo Portsdown Road [London] June 1 1870 the long-lost “Wasp in a Wig” letter in which Sir John Tenniel discusses revision of an illustration for Through the Looking Glass and What Alice Found There and proposes the omission of the Wasp episode from the book. The letter was reproduced in facsimile in The Life and Letters of Lewis Carroll [London 1898; New York 1899] by Dodgson`s nephew Stuart Dodgson Collingwood but the location of the original document has been a mystery for more than a century. The contents of the episode itself were unknown until Dodgson`s own galley proofs appeared at auction in 1974. In 1977 a scholarly edition of the narrative was published containing a copy of the facsimile originally provided by Collingwood. Despite the fact that Dodgson and Tenniel are immortally linked in literary history it is well known that the relationship between author & artist was a prickly and difficult one. Tenniel found the Rev. Dodgson to be pedantic and overbearing in his direction of the project of illustrating Alice`s Adventures in Wonderland and tried to evade the chore of illustrating its sequel. After the publication of Through the Looking Glass. Tenniel turned down later proposals from Dodgson claiming that he had entirely abandoned book illustration. Tenniel himself was not always easy-going: it was at his insistence that the first printing of Alice. was suppressed because the artist felt that the illustrations had been too faintly printed and he was apparently quite hostile to the wasp passage; Collingwood quotes Tenniel as declaring that “a Wasp in a Wig is altogether beyond the appliances of art a phrase that does not appear in this letter. Both parts of this brief letter are important. Tenniel heads the letter with a rough but clear sketch of the nightmarish railway-carriage episode from Chapter Three: Alice is depicted seated across from a billy goat and a man dressed in white paper, while a station guard peers at her with opera glasses through the carriage window. In his first paragraph Tenniel suggests that when the train leaps the brook at the end of this passage, it would be preferable for the jarred Alice to seize the goat`s whiskers than the hair of an old woman whom Dodgson had evidently originally written into the scene. Tenniel`s proposal was clearly successful, as there is no old lady in the published text or illustration. Then Tenniel goes on to confront his waspish adversary: Don`t think me brutal but I am bound to say that the `wasp` chapter does not interest me in the least & [that (crossed out)] I can`t see my way to a picture. If you want to shorten the book. I can`t help thinking--with all submission--that there is your opportunity.” Again Tenniel got his way and the peevish wasp disappeared for more than a century. It seems that little or none of the working correspondence between Dodgson & Tenniel has survived so this note furnishes a unique glimpse of the process of developing and perfecting the Alice books. A fair quantity of Tenniel`s sketches have been preserved but this may well be the only spontaneous drawing of its type. The text of the letter and the drawing have been available since 1898 thanks to Collingwood; but this small sheet of paper is the irreplaceable original creased and lightly soiled with a couple of neat docketing numbers but overall very good housed in modern cloth drop-back box. ***The legendary Long-Lost Wasp in a Wig letter [Collingwood Life and Letters pp.146-148.; Gardner editor The Wasp in a Wig passim.; Lewis Carroll Handbook” pp. 63-64 232; Schiller Census [of] Sir John Tenniel`s original drawings to [the Alice books] contained in Alice`s Adventure in Wonderland. An 1865 printing. pp. 54-106 (but not mentioning this sketch)].
ARTHUR HENRY PATTERSON: MAN AND NATURE ON THE BROADS, [1909], 1st edn, bkplt of Arthur Henry Patterson and inscr “To Master E Ellis from Mrs Patterson and the author ……”, ALs “I was chatting with Dr Willys just now who showed me his ………. tortoises …… ”, with pen and ink sketch of tortoise, orig pen and ink illustrated envelope loosely inserted, orig decor cl worn and v soiled
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![[Ehret (Georg Dionysius) or Simon Taylor] Rivina c bodycolour on vellum c.340 x 500mm. mounted on thin card within painted gr](http://lot-images.atgmedia.com/SR/1574/2793382/40-201057135147_468x382.jpg)
