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A box of miscellaneous items to include a Dutch Jema pottery model of angel fish numbered 181, one other similar example, a resin figural lamp, and a sketch of a reindeer etc

Four framed prints including a winter print by George Baker, pencil sketch print of a Cottage at Arding etc.

Ronald Searle (1920-2011) - Pen and ink sketch of a mean seated at a café table, 13 x 10 cm  ARR may be applicable

Silver plate cigarette case with SS Duchess of Athol emblem/cartouche to front together with modern sketch, small framed arras 1915 scene souvenir on silk and plate cigarette case of Royal Army Ordnance Corp and Soviet cap badge together with First World War French set of six postcards depicting First World War German soldiers put together resembles a portrait of a gentleman

First World War Medal trio comprising 1914-18 War Medal,1914-19 Victory Medal and George V Territorial War Medal for Voluntary Service Overseas 1914-19 Medal (lacking ribbon), all impressed to T4-245087 DVR.G.T Orme Army Service Corps together with silver War Service badge together with 1914 Queen Mary's Christmas tin and pencil sketch of G.Orme in 1918 wearing convalescent blues

"Indycar Champions", limited edition print by Alan Fearnley (211/1000) signed in pencil by the artist and 2 others and with small remarque pencil sketch. Print depicts Nigel Mansell making a pit stop, Texaco Lola Ford 1993. 81x63.5cm

Collection of over 100 post war/Cold War and modern era related aviation pencil sketch prints by Geoff Pleasance, the majority signed in pencil by the artist including 2 colour prints. Also 2 prints by Brian Fare (Lightning and Harrier GR7). All similar size, approx 32.4x45.2cm, largest pencil print (Ramstein Air Base) 61.5x49cm

JACOB VAN DER BEUGEL (born 1978); 'The Everyperson Project', a stoneware wall panel from 'The North Sketch Sequence', made 2014, 50 x 32cm.“This ceramic piece is a central panel within the North Sketch Sequence’s 'Everyperson Project' in Chatsworth House. It depicts a section of DNA that is common to us all. The artwork speaks of our intuitive relationship with clay to connect with new ways of seeing ourselves.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.

MARC CHAGALL (1887-1985)Étude pour 'Commedia dell'arte' stamped with the artist's signature 'Marc Chagall' (lower left)coloured pencil on paper37.9 x 56cm (14 15/16 x 22 1/16in).Executed in 1957-1958Footnotes:The authenticity of this work has been confirmed by the Comité Marc Chagall.ProvenanceThe artist's estate. Thence by descent to the previous owner, their sale; Christie's, Paris, 11 April 2023, lot 328.Acquired at the above sale by the present owner.The present sketch was executed as a study for Marc Chagall's Commedia dell'arte (1959). At 2.5 by 4 metres, Commedia dell'arte is the largest painting by Chagall in Germany and was the first artwork Chagall completed for a German client after World War II. The painting currently hangs within the locally dubbed 'Chagall Hall' at the opera wing of the Städtische Bühnen in Frankfurt. Chagall accepted the commission from the city of Frankfurt only upon the condition that he be able to complete the painting in his studio in Vence, as he had vowed after the war never to set foot in Germany again. Miraculously, the canvas – which had to be nailed to the walls of Chagall's studio and then rolled up for its journey to Frankfurt – survived a fire in the Städtische Bühnen in 1987. The present work's dreamlike circus imagery also appears to be indebted to Chagall's famous Le grand cirque (1956), with its bold, primary colours befitting its playful whimsicality. While the term 'Commedia dell'arte' normally refers to the Italian theatrical tradition of the 16th and 17th centuries, involving stock characters with elaborate masks, the term is utilised here more holistically by Chagall, who viewed all the world and its players as its own enchanting 'commedia dell'arte'.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

THÉO VAN RYSSELBERGHE (1862-1926)Silhouette de Madame Georges Flé (Laure Flé) stamped with the artist's atelier stamp (lower right)charcoal and pencil on paper62 x 37.6cm (24 7/16 x 14 13/16in).Executed circa 1901Footnotes:ProvenanceÉlisabeth van Rysselberghe Collection, Paris (the artist's daughter).Galerie Pogu, Paris.Galerie Minotaure, Paris.Anon. sale, Kunstgalerij De Vuyst, Lokeren, 10 December 1968.JPL Fine Arts, London, no. V/RYS/22/2847.Anon. sale, Sotheby's, London, 5 February 2003, lot 210.Private collection, London (probably acquired at the above sale).LiteratureR. Feltkamp, Théo van Rysselberghe, 1862-1926, Brussels, 2003, no. 1901-020 (illustrated p. 335).The present work was executed as a study for Théo van Rysselberghe's 1901 painting, La promenade, which was exhibited at the 1904 Salon de la Libre Esthétique in Brussels. The Belgian state acquired the painting through that salon, and it now resides in the Musées royaux des Beaux-Arts de Belgique. The foreground of La promenade depicts Jean Dominique – the male nomme de plume for the famous Belgian poet Marie Closset. The figure depicted in the present sketch is Laure Flé, an opera singer who was married to the composer Georges Flé. The Flés hosted van Rysselberghe and other artists at their villa in Ambleteuse in northern France, during which van Rysselberghe completed a series of paintings and sketches of the couple. This sketch was previously in the collection of the artist's daughter, Élisabeth van Rysselberghe, also a key character of this Modern literary and artistic milieu. Long after her relationship with the British war poet Rupert Brooke, she went on to have a daughter with the French existentialist author André Gide, whom she named Catherine.For further information on this lot please visit Bonhams.com

GEORGE GROSZ (1893-1959)Die Nacht von Mord und Glücksspiel (The night of murder and gamble) stamped with the artist's signature 'Grosz' (lower right); stamped with the artist's Nachlass stamp and inscribed 'UC 399 13' (on the reverse)pencil on paper17.6 x 12.9cm (6 15/16 x 5 1/16in).Executed in 1925Footnotes:The authenticity of this work has been confirmed by Ralph Jentsch. This work will be included in the forthcoming George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceThe artist's estate, no. UC 399 13.Henry Boxer Gallery, London (acquired from the above).Private collection, London (acquired from the above in 1988).ExhibitedLondon, Gillian Jason Gallery in association with Henry Boxer Gallery, London, Georg Grosz, Berlin-New York, 14 September - 28 October 1988, no. 18.As the basis for any artist, drawing was the invaluable tool for Grosz and his work on paper output was vast. Nevertheless, his drawings hold a conciseness with their lines, showing purpose and thought with every stroke. He would often work in only pencil or pen and ink and the immediacy of these drawings allowed Grosz's running social commentary to reach a wider, more diverse audience than major paintings. Included in periodicals and journals, they were mainly aimed at the working class and some radical, anti-Capitalist groups.Though seemingly the final study for a lithograph of the same name, the present work wholly encompasses Grosz's attention to the medium of drawing. Rather than unformed and sketchy, his figures are clearly defined and precise. Furthermore, this small sketch is filled with his most iconic and challenging motifs: the smoking gamblers, the prostitute and the murderer, whose legs we see in the upper right as he swiftly escapes the scene. A recurring motif in Grosz's oeuvre, one could argue it is his infamous serial killer, John.For further information on this lot please visit Bonhams.com

Alfred Edward Chalon RA, the return of Lambro, sepia watercolour sketch, signed, 33cm x 44cm, framedSome light foxing along the bottom edge, very slight paper discolouration, mount also slightly discoloured

Attributed to Alfred Munnings (1878 - 1959), gentleman and dog, pen and ink sketch, unsigned, 25cm x 15cm, handwritten letter attached to reverse of frame from Lady Violet Munnings dated 1938Sketch is in good condition with very slight even paper discolouration, mount also very slightly discoloured, label verso states this drawing was part of a collection previously owned by James Minhey

Goldsmith (Oliver) The Miscellaneous Works...Containing all his Essays and Poems, half-title, bookplate of E. Hubert Litchfield, bookplate of Dr. Samuel L. Siegler to front endpaper, title-page loose, foxed and lightly browned throughout, contemporary half calf over marbled boards, sympathetically rebacked, old covers rubbed, preserved in a custom cloth slip-case and chemise, for W. Griffin, 1775 § Beauties of the Brinsleiad (The): or, A Sketch of the Opposition: A Poem, No. 1 only [seemingly all published], with 3pp. advertisements at end, library ink-stamp to title, A4 and final leaf, first few leaves working loose at head, small stab-holes to inner margin, uneven browning, some foxing and light soiling, modern boards, printed paper label to spine, lightly sunned, for John Stockdale, 1785, first editions; and others, 18th century poetry, 8vo & 4to (c.13)⁂ The second mentioned a rare political satire on Sheridan, Fox and others.

Cowper (William) Poems, 2 vol., vol. 2 with half-title, tear and browning to extremities of title vol. 1, spotting, pencil sketch to verso of title vol. 2, contemporary calf, red morocco labels to spines, rebacked, spine repaired vol. 1, vol. 1 lower cover detached, vol. 2 upper cover detached, rubbed at extremities, 1782-85 § Gray (Thomas) Poems by Mr. Gray, half title, title detached, some spotting, small tear to extremity of C4 & 5, contemporary speckled calf, rebacked, hinges and lower joint cracked and repaired, corners bumped, in morocco-backed drop-back box, rubbed along upper joint, 1768 § Bourne (Vincent) Miscellaneous Poems, text in English and Latin, bookplate of Sir John Trollope, some spotting, contemporary speckled calf, rebacked, red morocco label to spine, extremities bumped, 1772, bookplates; and 14 others, eighteenth-century poetry, v.s. (18)⁂ Copy of Miscellaneous Poems containing bookplate belonging to Sir John Trollope, the great-grandfather of Anthony Trollope.

*SIR ALFRED JAMES MUNNINGS (1878-1959) A self-portrait sketch of the artist at an easel a study for the cover of volume I of Munnings' autobiography 'An Artist's Life', pencil on notepaper from The Athenaeum, Pall Mall, London SW1, 17.5cm x 11.5cm (unframed), together with the full three volume set of Munnings' autobiography (4)

GEORGE SPENCER WATSON (1869-1934) A sketch of the artist's wife, Hilda, on horseback depicted facing away from the artist, holding another horse by its reins, signed lower left, ink on paper, 8.25cm x 11.25cm; framed together with an ink sketch of a dog, presumably by the same hand, 11cm x 16cmProvenance: The Estate of the late Roger Peers (1932-2023), Curator of the Dorset County Museum between 1959 and 1992

Dudley Holland: a gilt framed ink and wash sketch, depicting a nursing mother - 31cm X 26cm

Five albums containing family travel and Grand Tour postcards, some annotated - sold with a sketch book with pencil and coloured illustrations including military subjects, etc.

Collections of mostly Antique books, to include; ‘The Compleat Angler’ by Izaak Walton, J.M.Dent and Co, 1905. ‘The Political Works of William Cowper’ by The Rev Thomas Dale, T. Nelson and Sons, London, 1870. ‘The Scenery of Switzerland’ by Sir John Lubbock (two vols), Bernard Tauchnitz, Leipzig, 1897. ‘Essays and Addresses 1900-1903’ by The Right Hon Lord Avebury, Bernhard Tauchnitz, Leipzig, 1904. ‘The Pleasures of Life’ by Sir John Lubbock, Bernhard Tauchnitz, Leipzig, 1889. ‘The Use of Life’ by Sir John Lubbock, Bernhard Tauchnitz, Leipzig, 1895. ‘The Beauties of Nature and the Wonders of the World we Live in’ by Sir John Lubbock, Bernhard Tauchnitz, Leipzig, 1893. ‘Artificial Flies How to Tie Them’ by L. Vernon Bates, Herbert Jenkins, London, 1959. ‘Records of the Hole Crafte and Fellowship of Masons’ with a Chronicle of the history of the Worshipful Company of Masons of the City of London by Edward Conder, with internal fold out plate, Swan Sonnenschein & Co, New York, 1894. ‘A Selection from The Works of Alfred Tennyson’ Moxon’s Miniature Poets, Edward Moxon & Co, London, 1865. ‘The Life and Adventures of Robinson Crusoe’ by Daniel Defoe, Ward, Lock & Co, London. ‘Doctor Syntax’s Three Tours’ In Search of the Picturesque, Consolation and a Wife, by William Combe, John Camden Hotten, London. ‘The Tour of Doctor Syntax in search of the Picturesque a Poem’, Methuen & Co, London, 1903. ‘Gulliver’s Travels into Several Remote Nations of the World’ by Jonathan Swift illustrated by Arthur Rackham, Daily Sketch Publications, London. ‘Tom Brown’s Schooldays’ by Thomas Hughes illustrated by T. H. Robinson, Daily Sketch Publications. ‘Flowers Shown to the Children’ by Janet Harvey Kelman, T. C. & E. C. Jack, London. ‘The Two Types’ by Jon, Ernest Benn Limited, London, 1960. ‘Tom Brown’s School-days’, Macmillan and Co, London, 1900. ‘Head-hunting and other Stories’ by Major J. T. Gorman, Thomas Nelson and Sons Ltd. ‘Rockets Galore’ by Compton Mackenzie, Chatto & Windus, London, 1957. ‘Uncle Tom’s Cabin’ by Harriet Beecher-Stowe with original illustrations by Jenny Nystrom-Stoopendaal, Cassell and Company, London, 1896. ‘H.M.S Ulysees’ by Alistair Maclean, Collins, London, 1955. ‘Night Without End’ by Alistair Maclean, Collins, London, 1960. ‘Fear is the Key’ by Alistair Maclean, Collins, London, 1961. ‘Favourite Fairy Tales from Andersen’ retold by Marie Holz, pictures by Sharon Stearns, Raphael Tuck & Sons, London. ‘James Bond, You Only Live Twice’ by Ian Fleming, Pan Books Ltd, London, 1964. ‘Star Wars: From the Adventures of Luke Skywalker’ by George Lucas, Book Club Associates, London, 1978. Plus, small qty of Coventry FC Programmes and World Cup 1966 programme, Gone with the Wind Lobby Cards (x6). Buyer to collect or organise own transportation. Book qty (27)

Vintage Newspapers and Magazines including. Daily Mail January 21 1936 (Death King George), December 11 1936, May12 1937, May 9 1945, October 1 1946, November 21 1947, April 25 1949, February 7 1952,January 3 1953, December 8 1954,December 10 1954 (Roger Bannister), December17 1954, May 6 1960. Daily Sketch November12 1955. Daily Express December 15 1953, May 13 1954, October 17 1954. News of the World May 1950, October17 1954. Birmingham Mail July 7 1942, August 8 1942, February 6 1952, October 1 1946, August 18 1947, May 10 1956. Birmingham Post November 1 1946, December 8 1954, December 17 1954, February 5 1982, July 1 1982. Birmingham Weekly Post December 10 1954. Birmingham Evening Mail December 11 1954, June 15 1982, June 28 1982, June 22 1982. Evening Despatch June 6 1944, November 20 1947. 37 in Total. Woman's Own September 1958 to May 1960 14 copies. Woman's Day November 1958 to May 1960 9 Copies. Woman June 1958 to January 1960 13 Copies. Harpers May 1955, December 1959, August 1960. 3 Copies. Vogue July 1958, February 1966. Two Copies. Football Weekly 1968 5 copies. Country Life 1946 to 1957 30 Copies. Ryder Cup Programme from 1985. F.A Cup Final Programme 1987 Coventry V Tottenham. Complete Guide to London Airport Plus other interesting Paper Ephemera.

Collection of cigarette cards, mainly complete sets in 5 albums, generally in very good to excellent condition, with Abdulla British Butterflies, Boguslavsky Sports Records, Carroll Birds, Cavanders Reproductions of Celebrated Oil Paintings, Cope Castles, Lloyd Cinema Stars, Morris Ho To Sketch, Measurement of Time, Ogden's Guinea Golds numbers 1-200, Teofani Modern Movie Stars, sets by Ardath, Gallaher, Players and others and a small range of reproduction and cigar card sets.

George Leslie Hunter (Scottish 1877-1931)Framed ink sketch on paper,'Portrait of Dr Tom J Honeyman'15cm x 13cmPatronage : Purchased from T.J Honeyman

Albert Wainwright (1898-1943) - Whitby, a sketch depicting a street view, pen, ink and wash, unframed, 18.5cm x 10.5cm.

Albert Wainwright (1898-1943) - A sketch depicting multiple studies of character costume designs, to the reverse a study of a seated figure, pen, ink and wash, unframed, 23cm x 17cm.

Unknown - Four sample pieces of 1950s fabric, depicting sketch style ballet dancers in various poses over four different colour grounds including grey, green, blue and lilac, 60cm x 62cm, together with a further three sample fabrics depicting theatrical figures and a lion over three different colour grounds including tan, pink and red, 60cm x 62cm. (7)

Albert Wainwright (1898-1943) - Brotherton, a sketch depicting landscape studies, to the reverse further sketches of Boston Spa, pen, ink and wash, unframed, 17.5cm x 10.5cm.

Albert Wainwright (1898-1943) - A sketch depicting studies of nude female figures in various poses, to the reverse studies of Japanese ivory figures from the V&A, pen. ink and wash, unframed, 9cm x 13cm.

Albert Wainwright (1898-1943) - A sketch depicting studies of decorative vases, to the reverse further pattern studies including an embroidered shirt, pen, ink and watercolour, unframed, 9cm x 13cm.

Albert Wainwright (1898-1943) - A sketch of a youth sitting under an apple tree, pen, ink and wash, signed with monogram, unframed, 18.5cm x 10cm.

Albert Speer - Entwurf für die Reichstagskanzlei am "Großen Platz in Berlin" sowie für die große Achse "Das Viertel der Museen und Theater", 1942 Ein Entwurf der nordöstlichen Partie der Bauten am "Großen Platz in Berlin", Reichshauptstadt Germania 1942: eine Fotografie eines Modelles von Albert Speer, hier sollten Grünflächen entstehen mit Baumgruppen, Wasserspielen und Skulpturen nach Art der Gartenanlagen des 18. Jahrhunderts, hinten beschriftet und gestempelt "Staatliche Bildstelle Berlin", geknickt, Maße ca. 38 x 59 cm. Dazu eine nahe Bildaufnahme der Bauten am "Großen Platz" 1942, eine maßstabsgetreue Nachbildung des Reichstagsgebäudes: die kupfergedeckte Kuppel hätte 230 Meter hoch über der Stadt geragt. Mit Abdeckfolie, farblich den Hintergrund dunkler darstellend. Hinten mit Anmerkungen Speers sowie einem "Zeit-Magazin"-Stempel, da dieses Bild wohl im Magazin abgebildet wurde, Maße ca. 29 x 32 cm. Speers Plan sah vor, die Stadt mit zwei großen Verkehrsachsen von Norden nach Süden und Westen nach Osten zu durchziehen. Den Knotenpunkt sollte die Reichskanzlei bilden. Hauptbestandteil des "Germania-Modells" war die "Ruhmeshalle". Der Kuppelbau aus Granit und Marmor sollte als Kult- und Versammlungsstätte Raum für bis zu 180.000 Menschen bieten. Im Frühjahr 1943 wurden die Arbeiten aufgrund der Kriegslage jedoch eingestellt.Provenienz: Aus Familienbesitz. Albert Speer - design sketches for the Reichstag Chancellery at the "Großer Platz in Berlin" and for the large axis (tr.) "The quarter of museums and theatres", 1942 Albert Speer - design sketches for the Reichstag Chancellery at the "Großer Platz in Berlin" and for the large axis (tr.) "The quarter of museums and theatres", 1942Design sketch of the north-eastern part of the buildings at the "Großer Platz in Berlin", Reich capital of Germania 1942: photograph of a model by Albert Speer, showing green spaces with groups of trees, fountains and sculptures in the style of 18th-century gardens, the reverse with inscription and stamp "Staatliche Bildstelle Berlin", bent, dimensions approx. 38 x 59 cm. Comes with a close-up photograph of the buildings at the "Großer Platz" 1942, a replica true to scale of the Reichstag building: the copper-clad cupola was meant to tower 230 metres above the city. With cover foil, giving the background a darker colour. On the reverse with notes by Speer and a "Zeit-Magazin" stamp, as this picture was probably printed in a magazine, dimensions approx. 29 x 32 cm.Speer’s plan for the city included two broad traffic arteries on the north-south and the east-west axes; the two were to intersect at the Reich Chancellery. The most important component of the "Germania model" was the "Hall of Fame". This domed building of granite and marble was supposed to function as a place of worship for the Nazi cult and an assembly hall, accommodating as many as 180,000 people. Work was halted in the spring of 1943 on account of the military situation.Provenance: From family possession.Condition: II

Albert Speer - Präsentationsskizze der geplanten "Großen Halle" in Berlin Eine Präsentationsskizze auf Pappe gezogen, 30er Jahre, gedruckt, Ansicht der Großen Halle mit Umgebung im Rahmen der Pläne zur "Welthauptstadt Germania". Auf der Rückseite mit zahlreichen Anmerkungen von Speer zu den Gebäuden usw. Maße Skizze ca. 29 x 29 cm. Die Große Halle (auch Ruhmeshalle oder Halle des Volkes) war ein Architekturprojekt Adolf Hitlers und des Generalbauinspektors Albert Speer, bei dem die beiden gigantomanische architektonische Konzepte für den Umbau Berlins nach römischem Vorbild zur "Welthauptstadt Germania" entwickelten. Der Innenraum der Halle war als Kongresshalle gedacht und sollte zwischen 150.000 und 180.000 Besuchern Platz bieten. Albert Speer - a presentation sketch of the planned "Great Hall" in Berlin Albert Speer - a presentation sketch of the planned "Great Hall" in BerlinEine Präsentationsskizze auf Pappe gezogen, 30er Jahre, gedruckt, Ansicht der Großen Halle mit Umgebung im Rahmen der Pläne zur "Welthauptstadt Germania". Auf der Rückseite mit zahlreichen Anmerkungen von Speer zu den Gebäuden usw. Maße Skizze ca. 29 x 29 cm. Die Große Halle (auch Ruhmeshalle oder Halle des Volkes) war ein Architekturprojekt Adolf Hitlers und des Generalbauinspektors Albert Speer, bei dem die beiden gigantomanische architektonische Konzepte für den Umbau Berlins nach römischem Vorbild zur "Welthauptstadt Germania" entwickelten. Der Innenraum der Halle war als Kongresshalle gedacht und sollte zwischen 150.000 und 180.000 Besuchern Platz bieten. Condition: II -

A pencil study of your pet or pets from Work of Smart.A wonderful prize to commemorate or celebrate your beloved pet or pets. Sketched by a talented and local artist, Shanie-Lea, she will provide a framed A5 pencil sketch of one pet ,or a framed A4 pencil sketch of two pets. Just provide your favourite photograph and she will create a lifelike drawing you can cherish forever.Donated by Shanie-Lea.Click HERE to view Work of Smart on Instagram.

Charles Napier Hemy, RA RWS (British, 1841-1917)Studies of boats and a shoreline signed with monogram and dated 'June 1858' (lower right)watercolour and pencil35 x 54cm (13 3/4 x 21 1/4in).Footnotes:ProvenanceAnon. sale, David Lay Auctions, Penzance, 31 July 2014, lot 480, titled 'Boat Sketch'. Private collection, UK (purchased from the above).For further information on this lot please visit Bonhams.com

John Wilson Carmichael (British, 1800-1868)The newly commissioned Newcastle barques Favourite and Majestic passing in the approaches to South Shields, with the ruins of Tynemouth Priory atop the cliff beyond signed and dated 'J W Carmichael/1842' (lower left)oil on canvas107 x 153cm (42 1/8 x 60 1/4in).Together with a preparatory sketch, signed and dated 'JW Carmichael/1842 and inscribed 'Sketch for a picture to be painted for John Mountain Esq' (lower left).(2)Footnotes:Both the Favourite and the Majestic were relative newcomers to the extensive Tynemouth trade when this work was executed in 1842. The Favourite, a wooden barque of 470 tons, was bult at Pictou, Nova Scotia, to the order of Bilton & Co. of Newcastle in 1840 and initially traded out of Tyne to Madras and later Bombay under her first master Captain Scaddan. The Majestic, another wooden barque of 365 tons, was built at Sunderland to the order of J & J Wait of Newcastle in 1841 and traded out of the Tyne to Calcutta under her first master Captain Brodie.Although the individual who commissioned this work and whose name is inscribed on the preparatory sketch has not so far been identified, it is probable that he had a connection to both vessels, perhaps as a wealthy merchant involved with the India Trade.For further information on this lot please visit Bonhams.com

David Cox (1783-1859)The Laundry Maids, pencil and watercolour, 28 x 21cm, inscribed to an old label verso 'sketch with another on the back purchased from the Artist's Granddaughter 1904' Prov: With Walker's Galleries

Maximilien Luce (1858-1941)Mother and child, signed with initial and dated 1892, pencil sketch, 14 x 12cm, unframed From the Estate of the late Martin Bayer, formerly a Director at the Fine Art Society

Beatrice Angle (Exh. 1885-1905)'Waterloo' and 'From Greenwich', a pair, inscribed with titles, watercolours, circa 1895, 11 x 12.5cm (2) Prov: From pages of one of the artist's sketch books. Accompanied by a copy of the inside cover of the sketch book

WILLIAM JAMES MÜLLER (BRITISH 1812-1845) A THATCHED COTTAGE IN A WOOD Oil on board Signed and dated '1838' (lower right) 30 x 38cm (11¾ x 14¾ in.) Literature: Francis Greenacre and Sheena Stoddard, W. J. Müller 1812-1845, 1991, p. 102, no. 78, ill. Exhibited: Bristol Art Gallery, W. J. Müller, 7th September - 17th November 1991, no. 78 Greenacre and Stoddard suggest that this oil sketch was painted on the spot which is unusual for Müller's work. A later inscription on the reverse reads: 'Bourton near Gillingham'. This is likely to be Flax Bourton or Bourton Combe which is about five miles outside Bristol.

EDWARD ADRIAN WILSON (BRITISH 1872-1912) TWO VIEWS OF DAVOS, SWITZERLAND (1899) Pencil One inscribed and dated 'Flüela Pass. Davos. 1899' (lower left), the other inscribed 'Davos. Platz. Tinzenhorn. '99' (lower right) 18.3 x 23.6cm (7 x 9¼ in.) (2) Unframed Provenance: By descent from the artist until sold Sale, Christie's, The Polar Sale, 25 September 2001, lot 143 (part lot), where bought by the present owner The Flüela Pass is the high mountain pass which connects Davos to the Engadin Valley. Wilson was sent to Davos to help his recovery from TB in October 1898 and remained in the Alps until the following May. Initially he was not allowed to do much, but the sanitorium relented and Wilson was able to wander and paint freely. It was whilst he was in Davos, concentrating on improving his artistic skills, that he began to sophisticate the colour memorisation technique that he had conceived whilst at Cambridge. He would sketch rapidly in pencil, make colour notes and then on his return to his room, he would precisely recall the colours of a subject, whether animal or landscape. This technique was to prove invaluable on his later Antarctic expeditions. 

SIR JOSHUA REYNOLDS (ENGLISH 1723-1792) PREPARATORY SKETCH FOR THE PORTRAIT OF THE HON JOHN TUFTON Graphite and wash. 19 x 15cm (7¼ x 5¾ in.)Bearing partial watermark, bottom of Britannia and Lion within a circle fence.Provenance: Probably the sale at Christie's, 26th May 1821, property of Sir Joshua's niece Mary Dowager, Marchioness of Thomond, his principal Heiress, where over 450 drawings and nine sketch books were sold in a total of fifteen lots, most of the drawings and sketches by Reynolds extant derive from the sale The Collection of Alison Barker, 1951 - 2021, London and Chichester, London Barrister and lifetime collector Literature: David Mannings, Sir Joshua Reynolds, A Complete Catalogue of his Work ,Yale 2000, P. 450, under no. 1776. Fig.1201 The present lot is a preparatory sketch for the circa 1776 portrait of John Tufton aged 3. It was commissioned by Sackville Tufton, 8th Earl of Thanet, and is now in a private collection.The Tufton family and Reynolds appear to have had a good relationship with the artist painting portraits of John Tufton's elder brothers, mother, and father's mistress. The Tufton family was prominent in cricket and other sporting activities. Between 1793 and 1798, Tufton was an active cricket player mainly associated with Marylebone Cricket Club. In 1796, at the age of 23 John Tufton became Member of Parliament for Appleby in Cumbria where the family lived. He held the seat until his premature death in 1799. Condition Report: Some very light spots of surface dirt. Light undulation to the sheet. Otherwise, the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer

SAMUEL DANIELL (BRITISH 1775-1811) THE PICO FORT, FUNCHAL, MADEIRA Watercolour and heightened with scratching out and gum arabic With pencil sketch verso 39.8 x 41.9cm (15½ x 16¼ in.) Provenance: Bill Thomson, Albany Gallery Martin Speed Ltd Samuel Daniell was the younger brother of William Daniell (1769-1837) and nephew of Thomas. On 5th September 1799 Samuel set off for South Africa, on board HMS Lancaster, in the suite of Sir George Yonge, Governor and Commander-in-Chief of the region. They stopped at Madeira, leaving Funchal on 11th October and arriving at the Cape of Good Hope on 10th December. He returned to England in 1803 and immediately began work on publishing his celebrated African Scenery and Animals. In 1806 he set off once more, this time, for Ceylon (now Sri Lanka), where he remained until his early death in 1811.  The Pico, or St John the Baptist Fort was built in the early 17th Century on the hills above Funchal and is one of the key landmarks of the Island. It was built to form part of Madeira's defence system against frequent attacks by the Corsairs. A print after Daniell of Funchal from the sea is dated 1806. Another view of Funchal by Daniell was sold at Sotheby's on 12th April 1995, lot 172 (£8,500 hammer).` 

John Michael Webster (b.1932) Railway Days, workman with lamps pushing his wheelbarrow beneath a viaduct, Steam Train above, signed, sketch and wash, dated 82, 26cm x 25cm, others same hand, Milkmaid etc (3)

The Madeley Estate - 1921 auction catalogue, W S Bagshaw & son, being the particulars,. Plans and conditions of sale of the Highly Important Freehold Residential , Agricultural & Sporting Estate, know as the Madeley Estate, held at the Royal George Hotel, Crewe, 12th and 13th December 1921; sketch and wash of Madeley Village, indistinctly signed and dated 14cm x 18cm, another same hand, Market Drayton, 16cm x 10.5cm, Heber Rimmer Memorial book etc

TRAFALGAR INTEREST: A 'VICTORY OFF TRAFALGAR' COMMEMORATIVE CARD decorated with a stylised representation of Nelson's famous signal, a manuscript presentation to the reverse: 'to the Naval Committee at the Trafalgar Hotel, Norwich, by Mr. P. Scott, October 21st 1842', 19cm x 23cm; together with an early 19th century pencil sketch of HMS Bellerphon, on card, depicted astern of HMS Vanguard, 17cm x 21.5cm (2)Provenance: The card was purchased from Richard M. Ford Ltd, Antiquarian bookseller, December 2014. The sketch from The Hayhurst Collection, 27th June 2016.Note: HMS Bellerphon was at the Battle of the Nile and Trafalgar. Napoleon surrendered on board her in 1815. HMS Vanguard was broken up in 1821.

ENGLISH SCHOOL, EARLY 19TH CENTURY A portrait of Lieutenant Richard Douglas pencil sketch on paper, unsigned, inscribed below, 18cm x 15cmProvenance: Purchased from John Martin Fine Art, London, 21st February 2020.Note: Douglas was born at Plymouth in 1788, he joined HMS Achille from the Ville de Paris in April 1805. He was midshipman at Trafalgar and involved in the action off Rohefort in 1806. He was awarded prize money of £10. 14s. 2d. He was promoted to Lieutenant in 1809, Commander in 1823, and Captain in 1851. Died at Lewisham in Kent on 21st December 1866. Note: Douglas was born at Plymouth in 1788, he joined HMS Achille from the Ville de Paris in April 1805. He was midshipman at Trafalgar and involved in the action off Rohefort in 1806. He was awarded prize money of £10. 14s. 2d. He was promoted to Lieutenant in 1809, Commander in 1823, and Captain in 1851. Died at Lewisham in Kent on 21st December 1866.

MANNER OF BARTOLOME ESTEBAN MURILLO (1618-1682) 'The Vision of St Paschal Baylon of Villa Reale' brown ink on paper, with a sketch of a bird verso, 23.5cm x 17.5cm

JOHN REID MURRAY (SCOTTISH 1861-1906) CALMPTHOUT, BORDERS OF HOLLAND Signed with initials lower right, inscribed with title, a sketch of a chair, and further indistinct text verso, oil on boardDimensions:9.5cm x 22cm (3.75in x 8.75in)Note: Note: This scene depicts Kalmthout Heath in present-day Belgium and on the borders of the Netherlands.

* Shannon (James Jebusa, 1862-1923). A Summer's Day by the Pool, oil on panel, depicting two figures sitting by a body of water, trees in the foreground, 54.5 x 37.5 cm (21 1/2 x 14 3/4 ins), Radnorshire Fine Arts Label to verso, framed and glazed (62 x 44.5 cm)QTY: (1)NOTE:Provenance: This picture was purchased from Brightwells Auction, Leominster on 3rd Nov 2016, lot 563.A freely painted sketch of a family on a day out. The wooded scene may have been painted in or inspired by the country near Great Batchelor Farm, a small property in Kent (England) that the artist and his wife purchased in the late 1910s to be near their daughter Kitty and her family. By this time, Shannon had become confined to a wheelchair because of the gradual onset of paralysis resulting from a riding accident that occurred perhaps as early as 1914. Increasingly unable to withstand the physical stress of painting large canvases, the artist shifted his attention to creating more intimately scaled works that did not entail the pressures of dealing with clients.

* Jones (Rev. Calvert Richard, of Swansea, 1804-1877). Fishing Boat being overhauled, pencil and white chalk on pale buff paper, signed with initials lower left, 180 x 245 mm (7 x 9 3/4 ins), framed and glazed, with photocopied information on the artist from an exhibition at The Minories, Colchester July - September 1974, attached to verso, framed and glazed, together with Cristall (Joshua, circa 1767-1847). Studies of figures, Dolgelly and Killin, 1831/1818, two sketches on laid paper, the first in pencil, signed and dated 1831 Dolgelly (with further pencil sketch of a boy sitting on a ledge to verso), the second brown ink on laid paper, with additional wash study of a seated girl to verso, signed and dated Killin 1818 in ink, some marks and soiling the first with later restrengthening to lower edge of sheet, 114 x 182 mm and 122 x 196 mm respectively, tipped on to card, plus other various english watercolours, including a small signed Copley Fielding (some toning), The Honble. Mrs Wynne (Aquaduct at Barton in Lancashire, dated 1797), P. Ghent, John Linnell (Study of a Tree, Fulham, signed with initials), an unsigned watercolour view near Twickenham, John Fulleylove, etc.QTY: (12)

* After Sir Edwin Landseer (1802-1873). Bolton Abbey in the Olden Time, circa 1834, watercolour on paper laid to card, 16 x 19.8 cm (6 1/2 x 7 3/4 ins), with Sir Edwin Landseer’s signature in pen and ink cut out from a separate sheet, 4 x 8.3 cm, bearing pencil inscription on the verso of mount 'Sketch made by Landseer for the Large Oil Exhibited at R.A. 1834.' , with remains of a letter on verso of frame backboard with fragmented inscription in pen and ink '1927/ Sir Edwin / Bolton Abbey in the Olden Time/ of Devonshire K.G. / G.G. the lake' glazed and framed, 41 x 35.5 cm QTY: (1)NOTE:Provenance: W. A. Foyle; Christopher Foyle, Beeleigh Abbey.This watercolour is after one of Sir Edwin Landseer’s most celebrated works, the eponymous painting of 1814 held at Chatsworth, Derbyshire. It was exhibited at the Royal Academy in 1834.

* Shannon (James Jebusa, 1862-1923). Water Nymph, oil sketch on panel, with faint pencil squaring, depicting a young girl standing in a lillie pond, embracing a stork, 30 x 23 cm (11 3/4 x 9 ins), Radnorshire Fine Arts Label to verso, framed in decorative gilt frame (39.5 x 33 cm)QTY: (1)NOTE:Provenance: This picture was purchased from Brightwells Auction, Leominster on 3rd Nov 2016, lot 563.The light traces of squaring in pencil indicate that this is a study for a larger painting. the presence of which is unknown.One of the most highly sought portrait painters of his day, Shannon’s work has generally resided in institutions or in the families of many of his sitters, who were prominent members of society both in America and abroad. His subjects included such notable figures as Mrs. John D. Rockefeller, Mrs. Nora Mellon, Queen Victoria, Mrs. Henry Bourke, and Violet Manners (Marchioness of Granby and later Duchess of Rutland).

* English School. Views in Britain and Europe, 1855-76, an album of 198 watercolours on thick paper, laid onto fifty leaves, initialled T.T or L.W.T, mostly dated and titled, depicting various scenes, mainly landscapes from Scotland, England, Germany, Netherlands, and Isle of Man, including: Loch Duich, Port Erin, Altenahr, Wimbledon, Saltburn, Ilfracombe, Aldermarston, Bamborough, Holkenhorn, Hamburg, Kurgarten, Landskrone, Ahrweiler, Portue, Scarthing Well, Lübeik, etc., various sizes, largest 35 x 51 cm (13 3/4 x 20 ins), original half morocco with marbled boards, worn and rubbed, fabric ties to lower edge (lacking to upper edge), large folio, 67 x 51 cm, together with a pair of lined sketch books with pencil notes and drawings of theatrical costume designs, some with watercolour, heightened with gold and silver, costume designs including: Tudor, Venetian, 15th century French, German and Flemish, W. Straker Ltd book label to both front pastedowns, original boards with cloth spine, rubbed with some loss, inner hinge cracked, 8voQTY: (3)

* Chevalier (Nicholas, 1828-1902). On the Tunis Coast, oil on thin board, one edge mounted onto thin wood panel, depicting a coastal scene looking across the sea towards Tunis, boats in the foreground, some toning to varnish, minor craquelure, 11.4 x 33.6 cm (4 1/2 x 13 1/4 ins), remnants of contemporary label to verso 'Sketch of the Coast of Tunis...Chevalier - £5.5', framed in gilt (25 x 47 cm) QTY: (1)NOTE:Russian-born artist Nicholas Chevalier studied painting and architecture in Switzerland and Munich, and in 1851 travelled to London to see the Great Exhibition. He subsequently trained as a lithographer and exhibited two works at the Royal Academy in 1852. Chevalier then spent some months studying water-colour painting and drawing in Rome. When the family fortunes declined, Nicholas was sent to join his brother in Victoria, Australia to look after his father's affairs. He arrived in February 1855, visited the goldfields, and in 1857 married Caroline Wilkie (1836–1917), a relative of the painter David Wilkie, in Melbourne. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News. He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872.

Signed with initials, coloured chalks on pale pink paper, a sketch 20 x 32.5cm. *CR Good condition.

Watercolour and pencil heightened with bodycolour, a sketch 37.5 x 25.5cm. Provenance: W. Hale-White, May 1948; by whom given to `Cecily`, a descendant of the artist; London, Spink. *CR Some pale scattered foxing.

Signed `Sims`, partial portrait study of child verso, oil on canvas 71 x 89.5cm.; with an unrelated pencil sketch of a nude by the same hand, 42 x 29cm. Exhibited: (Possibly) London, The Royal Academy, 1910, no.543 (Sims showed a work with this title). *CR Oil in good condition; scattered retouching. The drawing foxed and in need of a clean.

WWII Dambuster 617 Squadron multi signed 20x16 inch Primary Target pencil sketch print limited edition 50/50 Inscribed the Final Moments on 17th May 1943 as Fl Lt Maltby's Lancaster completes its run over the Mohne Dam signed in pencil by the artist Philip West, Les Munro, Grant McDonald, Ken Lucas, Ray Grayston, Fred Sutherland and Beck Parsons. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

Eugene Bernard pencil sketch of fishing barges. 12cm x 12cm (D)

A Collection of autographs including Harry Seacomb, Mary Pickford, Frankie Lane, G.H Elliott, Eva Bartok, The Harry Seacomb autograph noted on. Warners Brothers headed paper along with a small character sketch. NO RESERVE