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Basil Nightingale, Heightened Pencil Sketch depicting hunting scene "Tom Firr on Whitelegs", signed and dated 1898, in gilt frame, 39cm x 59cm

A Black and White Engraving depicting wooded river landscape, having wooden bridge, in gilt frame, a pencil sketch shoulder length portrait of a lady, in gilt frame, and a coloured print, shoulder length portrait of a young lady, in pine frame (3)

Half Length Portrait Sketch of a young lady, on canvas mounted to board, unsigned and unframed, 28cm x 17cm

George Finch Mason, Watercolour and Pencil Sketch "St Ledger, 1882", signed in gilt frame, 23cm x 32cm

EDWARD SEAGO: A CANVAS TO COVER, 1947, 1st edn, sigd with pen and ink sketch, tipped in, orig cl d/w

THE SKETCH, 1903-05, vols 44, 50-51, f o, old hf cf v worn (3)

THE SKETCH, 1894, 1896, vols 6 and 15, 1st work, f o, orig pict cl worn, 2nd work, f o, old qtr cf worn (2)

ERNEST FELCE: NORWICH UNION FIRE INSURANCE SOCIETY AN HISTORICAL SKETCH ISSUED ON COMPLETION OF ITS CENTENARY, [1897], orig cl bkd pict bds + THE RISE AND PROGRESS OF THE NORWICH CO-OPERATIVE SOCIETY LIMITED, Norwich [1925], orig cl gt + R H MOTTRAM (INTRO): COPEMANS OF NORWICH, 1946, 1st edn, orig cl soiled (3)

ARTHUR HENRY PATTERSON: A NORFOLK NATURALIST, 1930, inscr and dedicated with further sigd in initials pen and ink sketch on FFEP, orig cl d/w

ARTHUR HENRY PATTERSON: IN NORFOLK BIRD HAUNTS, Holt, 1930, 1st edn, orig sigd pen and ink sketch on FFEP, orig cl d/w

WALTER WICKS: INNS AND TAVERNS OF OLD NORWICH, 1925, lacks FFEP, cl bkd bds worn + ERNEST PELCE: NORWICH UNION FIRE INSURANCE SOCIETY AN HISTORICAL SKETCH ISSUED ON COMPLETION OF ITS CENTENARY, 1897, orig cl bkd bds + C H JAMES AND OTHERS: CITY OF NORWICH PLAN, 1945, 4to, orig cl soiled + A P COOPER: A FINE CITY NORWICH, 1961, 1st edn, 4to, orig cl d/w + 5 others (9)

A MOUNTAINEERING SKETCH, signed by Sir John Hunt and another signed sketch

19TH CENTURY ENGLISH SCHOOL A sketch of the Lighthouse at Naples from a sketch by an Officer, signed and dated 1817, 4" x 5 1/2", a companion picture of a sketch of English castle in a matching frame and one other small oil study, on card, of sailing vessels, 5" x 7" (3)

SMALL VICTORIAN SKETCH BOOK, various pencil drawings Cologne, Heidelberg, Rouen, Blois etc circa 1886-87

:A WELL MADE PIGSKIN MAP CASE containing seven 'Bartholomews' six inch motoring maps covering Great Britain prior to the advent of motorways; together with a Daily Sketch wall map of Europe giving the relative strengths of the various European powers just prior to the commencement of the second world war.

Fortunio Matania (Italian, 1881-1963), The Deathbed of Edward VII, pen and ink, 16 x 17cm. It is believed that Fortunino Matania was the only artist invited to sketch this sad but historic moment, and the sketch was never published

Reg Gammon (1894 - 1997) - Watercolour - Portrait of a girl entitled 'Sketch for painting Conomara girl', signed, 56cm x 39cm

Reg Gammon (1894 - 1997) - Watercolour, verso inscribed 'In Brittany', signed and inscribed Sketch for a painting, 37cm x 56cm

Farquharson, David (1839 - 1907) - Oil on canvas - Highland landscape with figures beside a cart, signed and dated 1878, verso entitled Sketch for Scottish Gipsies with monogram and date, 20cm x 30cm - see colour illustration inside front cover

Possibly by Salvador Dali - abstract composition, signed, ink sketch, 3" x 4.75"

Robert Adam (1728-1792) Two designs for schemes at Osterley Park, one with a central flower spray with two poles supporting urns and swags and with two parrots all within an anthemion border, the other with a central floral spray witin an anthemion band, a band of entwined flowers and a geometric and floral border, Pencil and watercolour, One pricked for transfer, sheet size, 50.7cm x 45.5cm. The second possibly a pole screen banner design. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Ducie family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adams work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art' Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adams own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adams death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etrus

Robert Adam (1728-1792) 'Design of a Fire Screen for Mrs Child for the Etruscan Room at Osterly (sic)', Pen, ink and watercolour, Inscribed, dated '1777' lower left and dated 'April 14th 1777, altered the 25th' lower right. On one sheet of paper, the centre section cut out and replaced with a revised design and the whole pricked for transfer to the silk banner, 62cm x 47cm. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Moreton family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adam's work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art', Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adam's own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adam's death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etruscan style. The drawing for the screen also allows us to trace t

a late Regency period mahogany chiffonier attributed to a design by Thomas King the rectangular top above a plain frieze and a pair of panelled doors enclosing an adjustable shelf between broad pilaster uprights decorated with elongated lotus stems and dual carved rosettes on plinth base 127cm wide, 99cm high, 44cm deep cf a similar example with pleated doors and ledge back illustrated in Thomas King's Sketch Book (1835), the carving on the uprights is identical. reference: 'Pictorial Dictionary of British 19th Century Furniture Design', by Edward Joy. Plate 443. Thos. King. 1835.

a late Regency period rosewood card table probably by Gillows of Lancaster the rounded rectangular swivel top with beaded edge and baize inset above a faceted spreading column decorated with two bold graduated bands of beading on a quadrapartite platform base raised on scroll-cut feet with finely cast gilt metal shell caps and castors 93cm wide, 75cm high, 45cm deep note: The Gillows sketch book illustrates several foldover tables with this distinctive treatment of the column i.e. both spreading and faceted with two graduated rows of beaded or gadrooned moulding, cf. their designs for Dr Heysham and Mr R. Bradshaw.

Rose Grimston (19th century): Eight sketch books inc views of Grimston Hall, Welton East Riding Yorkshire, Cannes South of France etc, many inscribed titled and dated between c1860-1880, (8)

Henry Barlow Carter (1804-1868): ‘Sketch in Scarbor. Harbour’, watercolour, inscribed verso 34cm x 53cm

A Dame Laura Knight for Clarice Cliff design for a Circus Horses, Bizarre pattern circular plate, pencil sketch and watercolour with gilded highlights, signed and titled in pencil ‘Design for small plate, all alike’ circular, 16cm diameter, along with a side plate in the same design, puce printed mark, first edition 1934, 17cm diameter Dame Laura Knight (1877-1970) was a leading artist in the first half of the twentieth century, she became the first woman artist to be elected into the Royal Academy since the first female members Angelica Kauffman and Mary Moser. She served as an official war artist during World War II and also travelled to Nuremburg in 1946 to record the War Criminals trial. The Circus pattern which she designed was produced as a complete table service, with matching glassware. Each piece showed different themes including clowns, seals, acrobats, tightrope walkers and horses and was exhibited at the 1934 Harrods Exhibition.

The Sketch, vol 9, February to April 1895.

A pencil sketch of a young child with dog and mother.

E B Walker Oil,, head and shoulders Portrait of a bearded man, inscribed 'Sketch 1899', 23" x 19"

ATTRIBUTED TO MISS VIOLET LINTON (fl. 1899-1940), A farmhouse interior with robin perched on a bowl, signed and dated 1930, watercolour, 10 3/4" x 15"; two further watercolours and two sketch books presumably all by the same hand, the watercolours unframed. (4)

FOLLOWER OF GEORGE ROMNEY, Portrait of Lady Hamilton, pen and ink sketch, 8" x 7".

AN INTERESTING PEN AND INK CARTOON SKETCH dated Saturday October 29th 1938, depicting Bruno Mussolini's wedding and named attendants, 7 1/2" x 9" and one further by the same hand, titled Alla Rivista Aeronautica, 28 Marzo 1939, both unframed (2).

RONALD SEARLE (b. 1920), 'And what's more Sir- I still think it would be a waste of money if it weren't such a success!' (Herbert Morrison and The Festival of Britain 1951), signed, pen and ink cartoon sketch, 8" x 8 1/2".

CAREL WEIGHT (1908-1997), 'Antony Ellis Esq. - sketch', oil on canvas with an oil sketch verso, 15 1/2" x 13 1/2".

FRANK L CRAMPHORN - 'Kings Lynn Sketch', signed, oil on board, 15" x 19" and an oil painting by Len Hunting exhibited at the Gadsby Gallery, 1967 (2).

Gilbert Bayes (1872-1953), Sketch for a gesso panel for the liner 'Queen Mary', Watercolour over pencil, Signed and dated 1952 73cm x 54cm, Executed in 1936 and in 1952 mounted by Bayes into an earlier firescreen. Provenance: The Gilbert Bayes Charitable Trust. See Irvine, Louise and Atterbury, Paul. Gilbert Bayes: Sculptor 1872-1953. Shepton Beauchamp 1998, pp. 83 and 167

Lee (Joseph, 1901-75). Fling wide the casement ... let the sunshine in! Oh, Mr. Perks, isnt it wonderful to soak you and Aunt Eliza for one and seven pence ha-penny in the good clear light of day!, pen and ink and blue wash cartoon, of four people seated round a table playing cards, while the maid opens the curtains and a policeman looks in, with typed caption beneath, approx. 430 x 300 mm, mounted, framed and glazed known to millions for his Smiling Through and London Laughs daily cartoons drawn in the London Evening News between 1934 and 1965, Joseph Lee was one of the most popular cartoonists of his day. He had previously worked for The Bystander, Sunday Express and Daily Mail, and was much admired by fellow-cartoonist Giles. (The label on the frame states that a further pen and ink sketch for another cartoon by Lee is on the reverse, of which a photocopy is supplied.) (1)

Fincham (Henry W.). Artists and Engravers of British and American Book Plates. A Book of Reference for Book Plate and Print Collectors, 1st ed., 1897,. num. b & w illusts., orig. two-tone cloth gilt, a little rubbed and upper cover marked, 4to, (1050 copies printed), together with Warren (John Byrne Lester), A Guide to the Study of Book Plates (Ex-libris), 1st ed., Manchester, 1900, b & w illusts., orig. cloth with paper label to spine (a little chipped), 8vo, plus Sherborn (Charles Davies), A Sketch of the Life and Work of Charles William Sherborn, Painter-Etcher, with a Catalogue of his Bookplates, Compiled by Himself and George Heath Viner, 1st ed., 1912, port. frontis., b & w illusts., t.e.g., orig. linen-backed boards, a little rubbed and marked, small 4to, (525 copies printed), and others of book plate interest, including journals, etc. (2 cartons)

McAllister (Isabel). Alfred Gilbert, pub. A. & C. Black, 1929,. forty photogravure plates, t.e.g, remainder untrimmed, orig. gilt-dec. white cloth, very sl. rubbed, 4to Limited edition de luxe 84/100, signed by the artist, and containing an original rough working sketch in pencil. (1)

Aldin (Cecil). Ten Little Puppy Dogs, no pub. or date given, [c.1902], b&w illusts. throughout, upper hinge split, orig. pict. cloth, edges sl. rubbed, oblong 4to. This copy with a delightful ink sketch of a dogs head boldly signed by Cecil Aldin to the front free endpaper. An additional inscription in another hand reads: To my dearest Mary, with Uncle Jims fondest love, Christmas 1901. (1)

Studdy (G.E.). The Studdy Dogs Portfolio, 1st & 4th series, published by The Sketch, c.1922, plt. list and fifteen col. plts. to each, some creasing and fraying to blank margins, orig. printed wrappers with pictorial panels, frayed to edges, first vol. lacking spine and silk tie, folio (2)

Davenport (W.). Historical Portraiture of Leading Events in the Life of Ali Pacha, Vizier of Epirus, Surnamed the Lion, in a Series of Designs Drawn by W. Davenport & Engraved by G. Hunt, with a Biographical Sketch, pub. Thomas MLean, 1823,. half-title present, five of six fine hand-col. aqua. plts., lacks plt. 4, The Vizier Ali Pacha, giving the fatal signal for the slaughter of the Gardikiotes, single ad. leaf at rear, orig. boards, backstrip def., slim folio abbey, Travel, 206. (1)

Lyne (Michael). The Michael Lyne Sketch Book, Cherington, Standfast Press, 1979,. tipped-in col. frontis. and plts., b&w illusts., a.e.g., complete full red morocco gilt by Sangorski & Sutcliffe, slipcase, oblong 4to Limited edition 5/550 copies signed by the author (one of fifty copies specially bound in full leather by Sangorski & Sutcliffe). This copy with an original leaf of pencil drawings by Micheal Lyne bound-in and numbered 3/8. (1)

A Victorian circular papier mache box, the lid decorated with a young lady reclining on a couch, inscribed, "The Sketch"; and a smaller Victorian papier mache box, the lid decorated with gilded and embossed basket of flowers, (2) - see illustration

H. Tittengor, sketch of a child in pencil, signed and dated 1909, 30cm x 22cm; and a Victorian silhouette study profile of a gentleman in reeded frame, (2)

ALKEN (HENRY) "Scraps from the Sketch-Book of Henry Alken engraved by himself containing forty-two plates." 42 etched plts comp, cont 1/2 mor gt, 4to M;Lean 1821 good.

Sir Stanley Spencer, R.A., N.E.A.C. (1891-1959), Study of women and boats, Pencil and sepia wash, squared for transfer, 50cm x 62.5cm. Provenance: Thomas Esmond Lowinsky (1892-1947) and by descent until sold in our Bristol salerooms 22nd May 1996, lot 820 to the husband of the present vendor.For another Spencer sketch from the Lowinsky collection see Osmond Tricks sale at Springfield House, Pilton 17th August 1977, lot 113

Associated to Lord Peter Hardy MP framed pencil sketch of Lord Hardy signed by himself and Betty Boothroyd MP. A presentation plaque from the air training corp, together with his national service medals and a European council medal.

An autograph album containing various poems, speeches, drawings etc, pre-war and later. Another containing a pencil sketch after Louis Wain and a third album containing poetry and drawings

John Duncan Fergusson (1874-1961) Portrait head head wearing cloth hat, Charcoal sketch, 20x15cm

A scrap album of prints and watercolours, including works by Alfred East, Frank Brangwyn and photogravure prints after William Wylie, J. McNeil Whistler, Claude Rowbotham, Millais, Collins and Turner, also a pencil sketch by H.L. Howard of a Lady wearing a Turban Headdress, dated 1824, a signed watercolour by V. Boyle and an ink drawing of a cat after Louis Wain.

R.H. Jobson - 'Locomotives', a sketchbook containing numerous pencil drawings of locomotives, steam engines, etc, many inscribed, together with two similar sketch books.

A. Hodgkinson. A kneeling male figure with mallet and chisel, pencil sketch, signed and dated April 24th 1931, U.R., 13" x 9", modern silvered frame.

G.P.Carruthers, A Framed Pen and Ink Sketch Depicting Gent, Five Wizards and Cat. 1919.

Lionel Edwards, "A Leicestershire Sketch Book", published Eyre & Spottiswood.

Four studies of hounds - two pastels, one sketch and a watercolour, the watercolour entitled Captive, Spriteful Hull Oakley Kennels 1915, single hound written verso Henry M Childerstone ex 1899-1935

A pencil sketch of a horse entitled Mauired 1st prize Class 3 thoroughbred hackney stables March 4th - 90 dark chestnut HC 5in x 9in

A pencil sketch unsigned with printed label verso Myles Birket Foster RWS 1825-1899 Preliminary sketch for the girl in the foreground of his watercolour Cowslip Gatherers 6in x 4in

A sketch unsigned enscribed verso Attributed to Win Hogarth, The Harlots progress Appended by a Magistrate sketch attributed Hogarth Christies jan 1972 4in x 4in