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Pen and ink sketch, Portrait of Hermann Struck, signed with initials L C, 16" x 15.5", framed.

CHARLES PAUL RENOUARD (1845-1924) Charcoal sketch, Man in a top hat, bears Atelier Renouard Studio Stamp, 8.75" x 6.25", framed.

ANDREW LANYON Charcoal sketch, The Forge, signed and dated `72, 28" x 19.5", framed.

Thorburn (Archibald). British Birds, 4 vols., mixed eds., 1917-18, eighty-two chromolithographed plates, a few light spots to text, t.e.g., original cloth, some fading and dampstains, 4to, together with A Naturalist’s Sketch Book, 1st ed., 1919, coloured and b & w plates, a few light spots, t.e.g., original cloth, a little rubbed and faded, 4to (5)

* Browne (Thomas Arthur, 1872-1910). ÒMan with SteakÓ, pen & ink drawing on paper, interior restaurant scene of a gentleman walking past a table of diners, holding a steak on a fork, signed in top right-hand corner, mounted, 206 x 166mm (8.25 x 6.5ins), together with a pencil drawing by Browne entitled ÒHarriersÓ showing schoolboy sports, 163 x 209mm (6.5 x 8.25ins), mounted, plus May (Phil, 1864-1903), Boules player, pencil sketch on paper of a young man, 168 x 112mm (6.5 x 4.5ins), tipped-in on card, plus GrŠtz (Theodor, 1859-1947), Buying a ticket, grisaille watercolour on card, of a gentleman in bowler hat with a small boy, standing by a ticket booth headed `Grosses MilitŠr-Concert’, signed in lower left-hand corner, 557 x 391mm (21.75 x 15.25ins), plus a pen & ink drawing on card by Gratz of a stout lady looking critically at herself in the mirror through pince-nez, with her maid looking on, signed and dated `07, 427 x 345mm (16.75 x 13.5ins), plus three pen and ink book illustrations by Charles Horrell (8)

* Dixon (Charles Edward, 1872-1934). Ships at sea, pencil sketch with watercolour on paper, of steam ships, signed, image size 120 x 160mm (4.75 x 6.25ins), together with Silas (Ellis Luciano, 1883-1972), Battleship, black wax crayon, signed, image size, 90 x 87mm (3.5 x 3.5ins), plus Elcock (Howard K., 20th c.), ÒI ResignÓ, 1914, watercolour, of a drummer boy guardsman handing a notice of resignation to a political figure, signed and dated in pencil, image size 190 x 150mm (7.5 x 6ins), plus Luker (William, 1867-1951), `ÒRally Boys RallyÓ`, pen, ink, and watercolour, of military bugler, possibly American, signed, image size 130 x 90mm (5 x 3.5ins), tipped-in, plus five others similar, incl. sketches by L.R. Brightwell and Thomas Downey, all nine drawings sheet size 220 x 180mm (8.5 x 7ins) (9)

* Nicholson (William, 1872-1949). Autograph letter signed `William Nicholson’, Sutton Veny, Wiltshire, 15th December 1925, to Phillis, thanking her for her letter, `I am sure your duties as night Nurse are hard enough without having to write letters of thanks but I am grateful just the same’ telling her that if she is in Southampton she might care to look in at a shop he has found that sells `clothes and things for sailor men and in the window you will see amongst other curious things some yellow gloves like this priced I think 3/6 a pair can you without worry try and send me two pairsÓ, hoping to see her at new year and saying that he is enclosing some money should she manage to get the gloves, written in red ink with a sketch map of the shop’s location at the foot of page one and a small picture of the gloves on page 2 inserted into the text with yellow and grey colouring, a little creased and soiled, 2 pp., 4to (1)

Josephus (Flavius). The Famous and Memorable Workes of Josephus, a Man of Much Honour and Learning Among the Jewes, 1632, title with woodcut printer’s device, repairs, final leaf laid down with loss, occasional light soiling, recent morocco-backed boards, folio, together with The Works of the Late Reverend and Learned William Bates, D.D., 2nd ed, 1723, engraved portrait frontispiece, title printed in red and black, occasional light spotting, contemporary panelled calf, covers stamped with gilt armorial of The Society of Writers to the Signet, a little rubbed and stained, folio, plus Memoirs of the Right Honourable Edmund Burke, by Charles M’Cormick, 2nd ed., 1798, mezzotint portrait frontispiece, a few light spots, previous owner signature, contemporary calf, joints splitting, rubbed, 4to, with four others including Relation of the Conference Between William Laud... and Mr. Fisher the Jesuit, 4th ed., 1686, The History of the Life and Reign of Her Late Majesty Queen Anne, 1740 and An Historical Sketch of the Art of Caricaturing. With Graphic Illustrations, 1813 (7)

Petvin (Rev. John, Vicar of Ilsington in Devon). Letters Concerning Mind. To which is added, a Sketch of Universal Arithmetic; Comprehending the Differential Calculus, and the Doctrine of Fluxions, 1st ed., 1750, pp.iv,200,[1], includes errata leaf at rear, occ. minor spotting, 20th c. dark brown half sheep gilt, 8vo (1)

Aldin (Cecil). Dogs of Character, 1927, litho illusts. throughout, occn. light spotting, mostly to first few leaves, a.e.g., orig. qtr. vellum gilt, dust-soiled, corners a little rubbed and bumped, 4to. Limited edition, 161/250, with original sketch of a dog curled up on a chair, signed by Cecil Aldin. (1)

Brunhoff (Laurent de). Babar and That Rascal Arthur, 1st U.K. ed., 1948, coloured illustrations, a few spots, original cloth-backed pictorial boards, corners and edges rubbed, folio, together with Edmund Dulac’s Picture-Book for the French Red Cross, [1916], 19 tipped-in coloured plates, b & w portrait, scattered light spots, previous owner inscription, original cloth, lightly rubbed and soiled, 4to, with others including six other Babar reprints, Lionel Edwards’s My Hunting Sketch Book (2 vols., 1928 reprint) and Edward Ardizzone’s Nicholas and the Fast Moving Diesel (1948, lacking spine) (11)

Malcolm (J.P.). An Historical Sketch of the Art of Caricaturing, 1813, frontis., thirty-one eng. plts., correct as list, contemp. diced calf, crudely rebacked, 4to, together with Baines (Edward), History of the Wars of the French Revolution, from the Breaking Out of the War in 1792, to the Restoration of a General Peace in 1815... , 2 vols., 1817, eng. plts., maps and plans, contemp. polished calf gilt with contrasting labels to spines, a few minor marks, 4to, with other miscellaneous books, including antiquarian and a large Victorian scrap album, etc. (3 cartons)

A PAIR OF MONOCHROME PRINTS after P. De Wint, `Oxford From The West` and `Carfax Conduit` in oak frames, a pen and ink sketch of Christchurch, Oxford by E.C. Cooper 1886 and an etching by Vernon Stokes of Water spaniels, signed on the mount in ebonised frame (4).

K* NOWAKOWSKI - "Landscape in Cornwall", signed and dated `75, oils on canvas, 26" x 32" and three further pictures to include a pencil Portrait of a lady indistinctly signed Diana.... and dated 1955, 18" x 13 1/2"; a caricature sketch and a sketch depicting Judith with the head of Holofernes (4).

MARIA JOHNSON - River landscape with castle ruin, inscribed "August 25 1797", watercolour, 9 1/2" x 13 1/4"; and three further 19th century watercolours to include F. E. Arden, River landscape with waterfall and figures; View of a parkland; and a coastal sketch (4).

Dorothea Sharp (1874-1955), Hollyhocks and Dahlia, oil on board, 43.5 x 36cm, with an oil sketch verso, Mother and Child The verso sketch relates closely to the standing figure with baby in The Outing to The Beach, sold at Sotheby’s on 26.11.1997; and also to the oil sketch ‘a mother and child’, sold at Sotheby’s on 26.10.1993.

Sam Haile (1909-1948), Boys playing in a tree, a sketch, signed and dated Haile X.43, pen and ink, 31 x 27cm. Exhibited with Birch & Conran, 1987, Catalogue No.38

Sarah Louise Kilpack (1840-1909), Unloading the catch, oil on card, 9.5 x 11.5cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), The Rainbow, oil on card laid down, 7.5 x 10cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), The Heron’s Home, signed bottom left, oil on paper laid down, 8.25 x 11cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), A busy harbour scene, signed bottom left, oil on card laid down, 10 x 7.25cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Autumn Bonfire, initialled bottom left, oil on card laid down, 7.5 x 11cm. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Windmill by a Coast, signed bottom left, oil on card, 8 x 11cm, together with, Harvester in a Cornfield, signed bottom left, oil on card, 7.25 x 10cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Stormy coastal scene, figures in the foreground, fishing boat off-shore, oil on card, 7.5 x 9.75cm, together with, Quayside cottages, coast beyond, initialled bottom left, oil on card, 6.75 x 8.5cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Mont Orgueil, figures salvaging in the foreground, initialled bottom left, oil on card, 6.75 x 9.5cm, together with, Figures and boats, oil on card, 6.75 x 10cm., Fishing smack at sea, oil on card, 7.5 x 9.5cm., Fishing smacks in choppy seas, oil on card, 6.75 x 9.25cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Fishing smacks off-shore, figures on a beach in the foreground, initialled bottom left, oil on card, 7.5 x 9.75cm, together with, Beached fishing vessels and figures, oil on card, 7 x 9.5cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Country Cottage, donkey and hens in the foreground, signed bottom left, oil on card, 7 x 9.25cm, together with, A rural scene, figures and children in the foreground, a cottage beyond, oil on card, 6.25 x 9.25cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Awaiting the return of the fishing fleet, figures on a shore, initialled bottom left, 8 x 9.75cm, together with, Rocky Coastal Scene, figures in the foreground climbing steps, initialled, oil on card, 7.5 x 9.5cm, Shore scene with figures and boats, initialled, oil on card, 7.25 x 10cm, and Figures on a windswept shore, initialled, oil on card, 7.25 x 10cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Estuary scene with figures by a rampart in the foreground, signed bottom left, oil on card, 9.75 x 7.25cm, together with, River scene, travellers crossing a bridge, signed bottom left, oil on card 7.25 x 9.25cm, Estuary Scene at Dusk, initialled under frame bottom left, oil on card, 7.5 x 9.5cm, A Quiet Estuary with ruin on a cliff, oil on card, 7 x 9.75cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Mount Orgueil, oil on card, 9.75 x 6.5cm, together with, Longboat approaching rocks, oil on card, 10 x 6.25cm, Figures on steps approaching a castle, oil on card, 9.75 x 7.75cm, Stormy shore with castle on a hill, initialled bottom left, oil on card, 9.25 x 7cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Gorey Harbour, signed bottom left, oil on card, 7.25 x 9.5cm, together with, View towards Gorey Harbour, oil on card, 7.25 x 10.25cm, Unloading a barque offshore, signed bottom left, oil on card, 8 x 6.75cm, Coastal trader and fishing boat off a harbour, oil on card, 7.75 x 9.5cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Coastal scene in a gale, figures by a harbour wall in the foreground, oil on card, 7.25 x 9.25cm, together with, Coastal Fortification, figures on a shore in the foreground, oil on card, 6.75 x 9cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Church and churchyard, oil on card, 8.75 x 7.25cm, together with, Windmill on a hill, figures in the foreground, oil on card, 10 x 7.25cm, Church on a hill, sheep grazing in foreground, oil o card, 7 x 7.75cm, Figures on a path before a house, oil on card, 5.25 x 12cm. (4) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), Beached two-masted ship before a harbour and lighthouse, initialled bottom left, oil on card, 9 x 7.75cm, together with, Fishing boats off-shore, initialled bottom left, oil on board, 9 x 7cm. (2) Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

Sarah Louise Kilpack (1840-1909), An album containing twenty nine oils on card, mostly coastal scenes, some fixed to leaves some loose, some signed or initialled, all small size. *There is a postcard stating that the miniatures were to bequeathed to the Rev. Charles Gardiner by the artist. Sarah Louise Kilpack (1840-1909) was born at 42 King Street, Covent Garden, London and from an early age showed a great natural aptitude for music and drawing. At the age of 11, she played a Beethoven sonata at the Old St James’s Hall, near Piccadilly Circus. As she grew up, she played more and more concerts, the fees from which enabled her to journey out of London to the country where she would sketch ‘plein air’. In Jersey she struck up friendships with two families; the Brooke family who lived at Tamworth Villas, Colomberie and a Mrs Renouf who lived with her daughter in St Saviours Road. By all accounts, Sarah Kilpack found it difficult to place trust in people and was a rather solitary person. Her paintings seem to express her moods; dark and threatening in the storm pictures with occasional glimpses of her renowned warmth and affection in her languid sunset paintings and calm coastal landscapes. She exhibited each year from 1867 at the Society of Female Artists Exhibition (now known as The Society of Women Artists) London. Despite her earnings of some £500 a year throughout the 1880’s, she died in relative poverty in 1909. An exhibition of Channel Island paintings by Sarah Kilpack was held at The Cook Gallery, Jersey in 1989. This coincided with, and marked, the 150th anniversary of her birth. In the same year a set of commemorative stamps were produced entitled ‘Jersey Calms and Storms’. The views depicted were Gorey Harbour, La Corbiere, Freve De Lecu, Bouze Bay and Mont Orgueil. This, probably unique collection, depicts a complete range and subject matter. They are all small size, originating from sketch books in the artists collection. Provenance: Viola Gardener, Dulverton, Devon. Mrs June Day, nee Spanton-Brain, Devon. Mr William Elmhurst.

CHARLES MOZLEY (1914-1991); Pastel Drawing of a theatrical costume design, signed and inscribed, 13 1/2" (34cms) x 5 1/2" (14cms) and KAY AMBROSE; a humorous pen and ink sketch from the Rakes Progress Ballet. 3 1/2" (9cms) x 6" (15cms).

NORMAN THELWELL (1923-2004); "I wish I`d never mentioned that he had a stone in his hoof", Pen and Ink, signed and with printed title, 12" (30cms) x 8" (20cms), together with a printed sketch beneath.

SNAFFLES (Charles Johnson Payne) - My Sketch Book in the Shiny, second edition, Gale & Polden

W Atkains Smith; early 20th century sepia sketch of Pirouette clown seated reading a script smoking a cigarette, signed and dated 1923, 43 x 32cm, framed and glazed, (mount af) (illustrated)

A quantity of books relating to various towns and villages of Cheshire comprising `Astbury Cheshire` by Ernest Hitchens c.1900, bound in half calf with blue boards and leather spine with gilt highlights, `An Account Of The Ancient Town Of Frodsham In Cheshire` by William Beamont, printed by Percival Pearce, Warrington 1881, with green boards and leather spine with gilt highlights, `Notes On The Ancient Parish Of Bidston` by William Fergusson Irvine, being a limited edition no.6 of only 25 copies, printed by Thomas Brakell Ltd of Liverpool 1894, bound in off-white cloth with gilt highlights, `Warrington In 1465 As Described In A Contemporary Rent Role Of The Legh Family In The Possession Of Thomas Legh Esq Of Lyme Park` edited by William Beamont, printed for the Chetham Society in 1849, bound in blue cloth with leather spine, `Warrington Hundred`, a handbook published by the Corporation of Warrington on the occasion of the centenary of the incorporation of the borough, part one by George A Carter, printed by Garside & Jolley Ltd 1947, with grey boards with simulated leather spines, `Stockton Heath And Immediate District` by Herbert James Westbrook, printed by John Walker & Co Ltd, Warrington 1929, bound in blue cloth with gilt highlights, `Annals Of The Lords Of Warrington` volume one by Beamont, published by the Chetham Society, printed for the Chetham Society 1872, bound in red cloth, `The Vale Royall Of England Or The County Palatine Of Chester With All Its Hundreds And Seat Of The Nobility, Gentry And Freeholders`, performed by William Smith and William Webb and published by Mr Daniel King, printed by John Streeter, London c.1900, bound in burgundy cloth with gilt highlights, `The Justice Of The Peace And Parish Officer` by Richard Burn LL.D., printed by A Strahan & W Woodfall, Law Printers to the Kings Most Excellent Majesty 1793, with replaced board and leather binding, `The Enchanting North` by J S Fletcher, printed by Eveleigh Nash, London 1908, bound in blue boards with white and red highlighting, `A Perambulation Of The Hundred Of Wirral In The County Of Chester` by Harold Edgar Young, printed by Henry Young & Sons, Liverpool 1909 in green cloth with gilt highlights, `The History Of The Hudnred Of Wirral` with a sketch of the city and county of Chester compiled from the earliest authentic records by William Williams Mortimer, printed by E J Morten, Didsbury, Manchester 1976, bound in green cloth with the original white and red dust jacket, `Tudor Constitutional Documents AD 1485 To 1603` with historical commentary by J R Tanner, printed by the Cambridge University Press 1948, bound in beige cloth with original brown dust jacket, `Reminiscences Of Old Manchester And Salford` telling how we kept Whitsuntide sixty years, printed by A Hayward & Son of Manchester 1887, covered in yellow paperback, `Manchester And District Old And New` by Frank Green, printed by Souvenir Magazines of London 1933, containing various adverts on how you could buy a semi-detached house in Ashton On Mersey for £400 upwards, bound in red leather with gilt highlights, `The Secret Valley` by Nicholas Size, printed by Frederick Warne & Co Ltd of London & New York (6th edition) 1930, bound in green cloth and `Local Historians Encyclopedia` by John Richardson, printed by Historical Publications 1993, bound in grey boards with original dust jacket (16) (illustrated)

A quantity of books relating to arctic exploration etc comprising `The Arctic World Its Plants, Animals, And Natural Phenomena` with historical sketch of arctic discovery down to the British polar expedition 1875 to 1876, printed by T Nelson & Sons, Paternoster Row, London c.1877, bound in brown cloth with decorative gilt highlights, Fridtjof Nansen`s "Farthest North" in two volumes being the record of a voyage of exploration of the ship Fram 1893 to 1896, printed by George Newnes Ltd, bound in blue cloth with decorative pictures of a ship in an ice pack, `Life And Explorations Of Fridtjof Nansen` by J Arthur Bain, printed by Walter Scott Ltd of Paternoster Square, London c.1900, `Everest 1933` by Hugh Ruttledge, printed Hodder & Stoughton Ltd, London 1934, bound in blue cloth with gilt highlights, `First Over Everest The Houston-Mount Everest Expedition 1933` by Air Commodore P F M Fellowes DSO, printed by John Lane, The Bodley Head Ltd London, bound in blue cloth with red highlights, `Scotts Last Expedition` in two volumes arranged by Leonard Huxley with a preface by Sir Clements R Markham, printed by John Murray, Albermale Street, London 1914, bound in blue cloth with gilt highlights, `Antarctica A Treatise On The Southern Continent` by J Gordon Hayes, printed by the Richards Press, London 1928, bound in blue cloth with gilt highlights (af), `Scots Last Expedition` with a biographical introduction by J M Barrie and a preface by Sir Clements R Markham, printed by John Murrary, Albermale Street, London 1949, bound in blue cloth with gilt highlights, `The Heart Of The Antarctic` being the story of the British Antarctic expedition 1907 to 1909 by Sir Ernest Shackleton, printed by William Heinemann, London 1910, bound in blue cloth with gilt highlights, `Shackletons Last Voyage`, the story of the quest by Commander Frank Wild C.B.E. from the official journal and private diary kept by Doctor A H Macklin, printed by Cassell & Co Ltd London 1923, bound in green cloth with gilt highlights, `The Life Of Sir Ernest Shackleton` by Hugh Robert Mill, printed by William Heinemann Ltd, London 1924, bound in blue cloth with gilt highlights, `Breaking The Record` the story of three arctic expeditions by M Douglas, printed by Thomas Nelson & Sons, London 1898, bound in pale blue cloth with a decorative binding depicting polar bears, `The Ice Master` the doomed 1913 voyage of the Karluk by Jennifer Niven, printed by Macmillan books, 2000, bound in brown cloth with original dust jacket, `Exploration Fawcett` by Lieutenant Colonel P H Fawcett, printed by Hutchinson, Stratford Place, London 1953, bound in green cloth with gilt highlights, `Ice Bound Journeys To The Northwest Sea` by J M Scott, printed by Gordon & Cremonesi 1977, bound in black cloth with original dust jacket, `The Mount Everest Reconnaissance Expedition 1951` by Eric Shipton, printed by Hodder & Stoughton, London with numerous photographic illustrations including one of a supposed Yeti footprint in the snow, bound in beige cloth with blue highlights, `The Lonely Sea And The Sky` by Francis Cichester being Sir Francis Cichester`s autobiography, printed by Hodder & Stoughton, London 1964 bound in green cloth with original dust jacket (19) (illustrated)

English School, study of a pheasant, pencil sketch "HMS Neptune" and various coloured prints.

Cipriani Circle of. Figure study pencil drawing on 18th century laid paper" 210 x 180mm. a related outline sketch on verso hinged onto support framed and glazed " late 18th century.

An interesting pencil sketch book by Elizabeth Thompson, circa 1868 depicting various figural and anatomical studies

A group of assorted prints and engravings, including an engraving after Francois Boucher: Naissance Et Triomphe de Venus, mezzotints of Mr Garrick and Mrs Siddons after Reynolds, a pair of hand coloured engravings of `The Diverting History of Johnny Gilpin, "The Opera Green Room after Cruickshank, a small oil river scene and a small pencil sketch attributed to William Bonnar. (qty)

Constantin Ernest Adolphe Hyacinthe Guys (1802-1892), Study of a lady riding side-saddle, pen and ink, with a pencil sketch of a lady holding a fan verso, 14.5cm x 25cm.; together with a further pencil study of two ladies attributed to the same hand. (2)

J F Herring: horse`s head, pencil sketch, unsigned, 8.5" x 5.5", framed and glazed

Lawrence Stephen Lowry: Figures walking past a park gate and fence, pen and ink sketch, signed, 3.25" x 4.25", framed and glazed (This picture was gifted to the vendor by Mr Garson, friend and picture framer to L.S. Lowry)

FRANK NEWBOULD: British (1887 - 1950) A comprehensive collection of instructional posters and original designs published for British Railways c. 1946 - 49, including Load Barrows... to avoid crushing... poster and poster rough and pencil sketch; Goods Without Labels..., poster and poster rough; Don`t accept packages..., poster and poster roughs; Help the Shunter, poster and poster rough, Avoid Hollow Sheeting, poster and two poster roughs; Empties are Vital, poster and two poster roughs; Correct Loading, poster and poster rough; Forwarding Documents, poster and two poster roughs; Take Special Care, poster and three poster roughs,; Remove Old Labels, poster and two poster roughs, and a NO! poster, posters approx. 48 x 30cms, artwork various sizes

JOHN L BAKER: British (20th century) Cornish seaside town, possibly St Ives, a rough working sketch for early British Railways commission, watercolour, notated in pencil and tissue guard with notes and alts. in ink, image size 28 x 19cms; BERNARD BOWERMAN: British (20th century) Cornish Clay Workings, gouache, signed lower left, inscribed verso Poster Rough by Bernard Bowerman..., Railway Works Series; The China Clay Industry British Railways (Western Region), 33 x 43cms; REGINALD MAYES: British (20th century)Locomotives on the White Cliffs of Dover, gouache, signed poster rough for LMS Railways, dated 1944 verso, 44 x 51cms (3)

PHILIP REID FOR GWR, SKETCH MAP OF THE COUNTIES `Which County are we going through?` gouache on paper laid on board, 51 x 61cms

Glover.History/Gazetteer..County of Derby 2 vol." folding engraved map (repaired) plates and genealogical tables later cloth Derby 1831-33; The History and Directory of the Borough of Derby wood-engraved illustrations Derby 1843 § Bagshaw (Samuel) History Gazetteer and Directory of Derbyshire without map modern half morocco Sheffield 1846 § Bulmer (T.) & Co. History Topography and Directory of Derbyshire folding map (torn) title foxed Preston [1895] § Ussher (R.) An Historical Sketch of the Parish of Croxall number 48 of 100 copies plates 1881 § Keys (J.) Sketches of Old Derby and Neighbourhood plates and illustrations 1895 § Cox (J.C.) and W.H.St.John Hope. The Chronicles of...All Saints Derby one of 312 copies plates1881 occasional spotting all but the first and third original cloth the second rebacked the fourth recased; and c.60 others Derbyshire some duplicates" v.s.(c.65)

Warship at anchor. Watercolour sketch. Inscribed, "Good Friday 1884 Algier", and indistinctly monogrammed. 13 1/2 x 6 1/2ins. Together with a miniature house portrait watercolour, and an oil on board, Dog with dead Mallard.

HENRY PITCHER Head of a Welsh woman. Oil sketch. Signed and dated 1911. Together with four other works.

FRANK JAMESON Study of a girl. Oil on canvas sketch, unstretched. Together with portrait of a lady by the same, unstretched.

Nobbs (David), The Itinerant Lodger, 1965, first edition, replaced endpapers, dust wrapper; Bennett (Alan), The Lady in the Van, 1990, first edition thus, inscribed and signed by the author with `self portrait` sketch, paperback; id., Getting On, 1972, uncorrected proof copy, paperback; with a small quantity of others (qty)

Australia, Fifteen large litho. maps relating to the Exploration and Settlement of Australia; including Davidson, Explorations in Central Australia 1898 to 1901; Explorations by Mr. Winnecke, 1884; Geological Sketch .. Country Westward from Mt. Sonder ... ; Explorations ... by the Elder Scientific Exploring Expedition .. 1891-2; the maps accompanied Parliamentary Papers, photocopies of these are present; also includes 2 hand drawn plans of mineral claims, ephemera relating to prospecting, a manuscript letter and maps, Records of the South Australian Museum and a morocco bound Harbors Handbook (qty)

Chimmo (Lieut. William), `Islands I Have Visited`, A quantity of manuscript material giving accounts of visits to various locations including Sulu, Labuau, Julyan Island, Vancouver Island, Fidjii and Aneiteum, Newfoundland (with a watercolour sketch of sounding near a large Iceberg 1868); Further manuscript material including `Reminiscences of the West Indies in a Royal Yacht, 1887; `Private Theatricals in the Arctic Regions` nd.; Five Hundred Islands; To Australia in the `Royal Charter` to Search for a Lost Expedition (qty)

A First World War Sketch Book by Corporal P.J. Hill 21017 of the 20th Battalion of The County of London Regiment, circa 1915, containing a collection of good quality full page watercolours and pen and ink drawings of life in the army during WW1, together with another sketch book by the same artist from around 1895. (2)

Stalag Luft III - P.O.W. Diary - Macdonald, William Wartime log belonging to Pte. William Macdonald from his time in the German prisoner of war camp Stalag Luft III, dated 1944 - 1945, containing several pages of verses, 15 pages of names and home addresses of other prisoners, 25 tipped in photographs, including one of the Stalag VIIIB school tutors, 5 of life in the camp including the cobblers, 28 drawings in pencil and watercolour by various other P.O.W.`s, including F. Perkins, Jas. T. R. Taylor, G.R. "Chips" Carpenter, Flight Lt. A. Cassie, R. Trunole, A.P. Culverwell, Lt. D.A. Woods U.S.A.A.F, Lindsay Grafton Greenaway R.A.A.F, Flight Lt. P.Hood, A. G. Turton, drawings a mixture of comical scenes of camp life, a view of the camp theatre, a double page watercolour showing the famous "Harry " tunnel from Hut 104, a pencil sketch of the D-Day landings, a single sketch of Milag Nord [Merchant Navy camp] and saucy postcard scenes, original cloth, tape repairs to backstrip, a few leaves loose Note: Stalag Luft III [Permanent Camp for Airman No. 3] was a German camp for airforce servicemen based in near Zagen in Poland. The camp opened in 1942, with the North compound for British servicemen opened in June 1943. The position of the camp was selected in an attempt to prevent escape by tunnelling. However, this camp was the location of two of the war`s most famous escape attempts, potrayed in film in The Wooden Horse and The Great Escape. It is thought that over 600 prisoners worked on the three tunnels - Tom, Dick & Harry - depicted in The Great Escape. Harry was the only tunnel to be completed, the entrance hidden under a stove in Hut 104. Lindsay Greenaway drew a sketch of the tunnel in MacDonald`s log along with the verse "Silently below the surface/ twenty five feet below the floor/ thus the Goons have cause to curse us/ and remember - One-o-Four/ 24-3-43". Another sketch of MacDonald cobbling in his tartan troos was drawn by Alex Cassie in October 1944. A well known member of the escape team, Cassie worked on the endless list of forged documents required by the escapees. He was portrayed in the film by Donald Pleasance.