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An original group of John Mollo concept artwork, paperwork, and patches from the production of the film Outland (Warner Bros. Pictures, 1981). Included in this lot are production copies of the CON-AM 27 original design, production copies of medical and mining patch designs, two original pencil sketches for Deputy and Marshall chest badges completed by John Mollo, an original Federal Security Agency patch and matching concept design as seen worn by Sean Connery in the film, a production-made communications staff member patch, a Federal Marshall pen sketch, and two original black and white publicity stills.  From the private collection of the recently deceased John Fabb of A.R. Fabb, a maker and supplier of military and Sci-Fi costume patches and crests for the film industry. Over the course of his career, John worked closely with John Mollo, known for his award-winning costume work for the Star Wars film series, Berman and Nathans, and costume designers from films such as Alien (20th Century Fox, 1979) and Superman (Dovemead Ltd., 1978).8 x 10 inches

From the private collection of the recently deceased John Fabb of A.R. Fabb, a maker and supplier of military and sci-fi costume patches and crests for the film industry. Over the course of his career, John worked closely with John Mollo, known for his award-winning costume work for the Star Wars film series, Berman and Nathans, and costume designers from films such as Alien (20th Century Fox, 1979) and Superman (Dovemead Ltd., 1978). An original ink and pencil on paper concept design sketch related to Peter Sellars as "Inspector Jacques Clouseau" in The Return of the Pink Panther (ITC Films, 1975).The sketch features a crest/badge with a dragon-like creature holding onto a castle, with the proverb "Errare humanum est" translating to "To err is human." Handwritten in pencil on the top right corner is "Peter Sellars' Return of the Pink Panther' 10/3/76." The back displays a clipping of Michael Caine with an unknown costume sketch.12.5 x 14.5 inches

From the private collection of the recently deceased John Fabb of A.R. Fabb, a maker and supplier of military and sci-fi costume patches and crests for the film industry. Over the course of his career, John worked closely with John Mollo, known for his award-winning costume work for the Star Wars film series, Berman and Nathans, and costume designers from films such as Alien (20th Century Fox, 1979) and Superman (Dovemead Ltd., 1978). A group of ephemera related to various British comedy movies. This lot includes two concept sketches/prints related to the film Santa Claus: The Movie (TriStar Pictures, 1985); seven sheets of concept sketches/prints and two sheets of handwritten notes related to Rough Cut (Paramount Pictures, 1980); a single concept sketch related to Viva Max! (Commonwealth United Entertainment, 1969); ten concept sketches/prints related to Without a Clue (ITC, 1988); two concept sketches and a color photograph related to Pink Panther (Mirisch G-E Productions, 1963); four concept sketches/prints related to The Last Remake of Beau Geste (Universal Pictures, 1977); three photo prints related to The Lady Vanishes (Hammer Films, 1979); a single concept sketch and two black and white photographs related to Carry On Up the Khyber (Peter Rogers Productions, 1968); a concept sketch, newspaper clipping, and magazine double-page related to Carry on Follow That Camel (Peter Rodgers Productions, 1967); and a single concept sketch and two sheets of clippings related to Surprise Package (Columbia Pictures, 1960). 8.25 x 12 inches (largest)

An ensemble as seen worn by Nicki Minaj as "Draya" in Barbershop: The Next Cut (MGM, 2016).The look is styled with multiple garments and accessories: two lace bralettes, a pair of distressed-cotton-stretch-jeans, a pair of gold-tone-bamboo-hoops, a set of gold-tone-metal-stretch-bangles, and a Cuban-link-chain-necklace. Both guipure lace bralettes are padded with adjustable-black-elastic-racer-straps and a hook-and-eye clasp closure- at the back, one bralette is neon yellow, and the other is a bright citrus watermelon, both have underwire support and have pointed scallop trim making them daintier and more feminine. The high-rise-stretch-denim leggings are body-hugging with distressed frayed holes going up the front of the leg; the label on the interior waistband reads "Vibrant M.I.U," marked size 5, along with garment content and manufacture tags. There is a zip-fly and button closure inscribed with the "Vibrant M.I.U," two hip pockets, and two back pockets; the light-wash denim contrasts with the distinct gold threading. Then to finish the look, the gold bamboo hoops have two-word plates; one earring reads "BOSS," and the other reads "QUEEN." A set of two spiral-spring-gold-tone-stretch bangles and a Cuban heavy-link-chain necklace with a word plate reading "SEXY" and bezel set rhinestones.Danielle Hollowell was the costume designer for the film; she gained recognition for her work with Dave Chappelle and his sketch comedy show; in 2019, she was quoted in an interview with Vanity Fair, explaining her design process, "It can be from something I see at a flea market, or when I'm driving around, and I see people selling things, or from a magazine clipping, or from various parties that I might be at, or going into costume houses, or my friends." Hollowell has continued to work on studio and network projects and has used her platform to shine a spotlight on African American designers like Romeo Hunt, Virgil Abloh, and Agnes Baddoo.Minaj, as Draya, can be seen wearing the ensemble when Rashad (Common) offers to take her home after work, causing suspicion around the barbershop.Includes a DVD of the film. 

An original costume sketch for Star Trek II: The Wrath of Khan (Paramount, 1982) starring William Shatner and Leonard Nimoy.The watercolor, pencil, and marker sketch depicts a costume for background actress Pam Bennett as "Khan Person." It is signed to the bottom by the film's costume designer Robert Fletcher. Also featured are three fabric samples pinned onto the top left corner. On the back of the sketch, handwritten in pencil reads, "Paramount - m.o. Triples." 14.5 x 23 inches

A framed, original pencil sketch of Bugs Bunny with an engraved plaque reading "The Art of 'Robert McKimson.'"Robert McKimson was a celebrated animator and illustrator known for his work on Warner Bros. Looney Tunes and Merry Melodies. He wrote and directed many animated shorts, but was best-known for definining the design of Bugs Bunny in the animated short Tortoise Wins by a Hare (Leon Schlesinger Studios, 1943).Framed: 17 x 14.5 inches; Sight: 10.25 x 8 inches

An original sketch of the George Lucas-inspired character "Randall Curtis" from "Co-Dependents' Day," a parody episode of The Simpsons (Fox, 1989-Present) which aired on March 21, 2004.The sketch of Curtis (wearing a plaid shirt, jeans, and boots) is executed in pencil and red pencil on paper, with "--uh--" written in pencil above the figure and "FABFIO / 94 / A-1" below.10.5 x 11.75 inches

An original Phil Tippet Whiskey Outpost sketch and related ephemera from Starship Troopers (Touchstone Pictures, 1997). This original sketch is completed in black and blue ink and features an early concept of the outpost being attacked by a flying creature known as a Hopper. Other documents include a Tippet Studios recruitment flyer for their CGI and Visual Effects crew, as well as a "Know Your Foe" flyer.8.5 x 11 inches

An original, approved, final sketch study of Princess Diana created with charcoal and chalk at Kensington Palace in 1990 by Russian artist Israel Zohar. The official oil painting hangs in the headquarters of The Royal Hussars, amongst other portraits. Diana is depicted wearing her iconic midnight blue velvet gown by Victor Edelstein. The dress was first worn at the White House Gala in 1985 and became known as the "Travolta Dress," made famous by the couple's legendary dance.Signed and dated by the artist at the upper left. An image of Diana and Zohar next to the finished portrait was published in the Tottenham & Wood Green Independent in December of 2012 (link available upon request).Framed: 32 x 37 inches; Sight: 24 x 29 inches

An Edith Head costume design for Madeleine Carroll as Gail Allen in the film production Honeymoon in Bali (Paramount 1939). An original costume design by legendary costume designer Edith Head, sketch artist unknown. The sketch features a full-length female figure in a skirt-suit ensemble, a fitted short-sleeve diagonal check jacket worn with a white blouse and black fan pleat skirt paired with black heeled mules. The ensemble is a smart look for Carroll who plays Gail Allen a buisness manager on 5th Avenue in New York. The sketch is unsigned with no anotations of markings. Carroll is a busy buisness manager by chance walks onto a boat and meets happy-go-lucky Bill "Willie" Burnett (Fred MacMurray) who owns the boat and lives in Bali. They quickly fall in love and he proposes, Gail turns him down. After Willie leaves she regrets her decision and it is off to Bali to find true love. SKETCH: 14.5 X 22.5 INCHESMOUNT: 19.5 X 31 INCHES

An Edith Head costume design for the period epic California, starring Barbra Stanwyck (Paramount, 1947).A mixed-medium costume design by Edith Head, illustration likely by sketch artist Waldo Angelo. Barbara Stanwyck plays Lily Bishop in a mid-19th-century gown. The gown has a fitted bodice and full skirt, worn with a crinoline underneath; the bodice features a basque waist to emphasize a small waistline. The costume features draping, bows, and ruffled lace trim for very decorative feminine accents. At the bottom right corner of the sketch written in pencil is the word "proposal." This was likely a preliminary design sketch for the character's costumes. Edith Head designed many costumes for Stanwyck at Paramount; Stanwyck, after her first film working with Head the star had it written into every film contract that Edith Head would be designing her costumes and publicity wardrobe from that point on. DIMENSIONS SKETCH 14.5 X 23 INCHES MOUNT 19.5 X 28.5 INCHES

A costume design by Edith Head likely for Rosalind Russell as Kim Halliday in the film production The Girl Rush (Paramount 1955).  The mixed medium illustration shows a posed full-length female figure in an elaborate embellished show-girl costume, wearing a headdress and bodysuit designed with drapped sleeves and an elaborate train. Russell wore a similar costume design for the film's promotional photos, which were placed on lobby cards and film posters. There is no signature present on the sketch.Edith Head began working at Paramount in 1923; she was hired by Howard Greer who was the head of the studio’s costume department. Greer taught her how to sketch when she began working for the studio and instilled in her how important it was to communicate with the actors they were dressing.  She began designing and dressing supporting actors and background/extras. In 1933 Mae West's film She Done Him Wrong was Edith's first time designing a wardrobe and gowns for a lead. She said, "Mae West taught me everything I needed to know about sex, clothwise." DIMENSIONS: SKETCH 14.5 X 23 INCHES MOUNT 19.5 X 31 INCHES

An original gouache and ink on paper costume sketch from the production of the film Critic's Choice (Warner Bros., 1963) by Edith Head, who signed one sketch in pencil to the bottom right and wrote "#8 Ball - okay test" on the same piece to the top left.The sketch depicts Ball as Angela Ballentine in a grey tweed overcoat with a black collar, sleeve cuffs, and buttons designed for and worn by her in the film. Ball also wore the costume in publicity photos for the film.Link to Ball wearing the ensemble available upon request.14 x 16.5 inches

An original mixed medium costume illustration of Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946).   A mixed medium costume design by Edith Head, illustration likely by sketch artist Walter Angelo. The sketch features a full-length female figure in an early 20th-century style dress with a floral pattern, a gathered full skirt, a layered bodice with a scallop v-neck line, and flutter sleeves, complete with a fitted purple gathered band at the waist. Olivia de Havilland starred in this period drama Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot centers around Jody as she struggles to regain custody of her son in this heart-wrenching period drama. SKETCH 14.5 X 23 INCHES MOUNT 19.25 X 31 INCHES

Two original costume designs by Edith Head for Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946).   A set of two mixed medium costume designs by Edith Head, illustration likely by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in 20s period costumes, one sketch features the character Jody in a three-piece 20's ensemble, a black jacket with shawl lapel, a black pencil skirt, tan blouse with embroidery detail, tan gloves, a black cloche with a feather accent, necklace and earrings, complete with black mules. There are pencil notations at the bottom of the sketch reading, "Aug-1920, Corinnes Apt 13, #13-Sept. 1924 Seq F26-33-INT. Corinnes Apt." The second illustration features Jody in a sophisticated day ensemble, a cropped bolero jacket with a fold-over collar and surface design (likely embroidery), a draped tulip high-waisted skirt with a center front slit, and embroidered detail at the pockets, a white blouse, white gloves, topped with a hat with a large bow. There are no signatures present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama. DIMENSIONS:SKETCHES 14.5 X 23 INCHES MOUNT 34.5 X 28 INCHES

Two original costume designs by Edith Head for the film production To Each His Own starring Olivia de Havilland (Paramount 1946).   A set of two mixed medium costume designs by Edith Head, likely sketched by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in period costumes, one sketch features Olivia de Havilland as Jody in bias cut full-length evening gown with a basque waist and peplum detail, accessories with elbow-length gloves, earrings, and a fur muff, at the bottom right corner is a smaller illustration of Jody in the gown, but wearing a fur capelet. The second sketch is of Corinne played by Mary Anderson wearing a draped evening dress with a cinched waist and a train that falls at the back. There is a notation in pencil at the bottom right corner, "#5 Oct 1919." There is no signature present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama.DIMENSIONS:SKETCHES 14.5 X 23 INCHESMOUNT 48.5 X 28.25 INCHES

A costume design by Edith Head for Veronica Lake as Nan Rogers in Miss Susie Slagles’s (Paramount 1945).  A mixed-medium costume design by Edith Head, illustration likely by sketch artist Waldo Angelo. The sketch features a posed full-length female figure in an Edwardian period costume holding a fur muff. The figure is wearing a jacket with bishop sleeves, a full-length skirt with an s-shape, gloves, a floral corsage, and a beret with a pom-pom. The sketch is unsigned with no annotations. Edith Head who managed and ran the costume department at Paramount would work with several designers and sketch artists on the films she oversaw. Head who drew a lot of her sketches in her early years at Paramount now utilized sketch artists like Waldo Angelo, who were able to quickly sketch a variety of Head's design concepts for her to present to the director, producers, and talent of the film.  DIMENSIONS:SKETCH 14.25 X 22.5 INCHESMOUNT 19.5 X 31 INCHES

An original costume design by Edith Head for Doris Day in Alfred Hitchcock's film The Man Who Knew Too Much (Paramount 1956). A mixed-medium costume design by Edith Head for Doris Day, illustration likely by sketch artist Grace Sprague. The sketch features a full-length female figure in a pale ice-blue day dress. The sleeveless dress has a fitted bodice (button-up closure at the front) with gathering above the hips for the skirt to blossom like a flower and hit below the knee. Accessories for the look include white gloves, white pointed-toe pumps, a top-handle purse, as well as a necklace, and earrings. There is no signature present.Edith Head and Alfred Hitchcock worked on a total of 11 films together. Head once said "You can have anything in life if you dress for it," a motto she practiced with her designs as her stars wanted to look beautiful and glamourous, which Head did for them, creating iconic and timeless looks that continue to create new generations of fans. DIMENSIONS:SKETCH 13.75 X 16.75 INCHESMOUNT 18.5 X 25.5 INCHES

An Edith Head costume design for Joanne Dru as Jill Brent for the film production 3 Ring Circus (Paramount, 1954). A mixed medium costume design by Edith Head, sketch illustrator likely Pat Brato. The illustration shows a full-length figure of a female brunette with Joanne Dru’s likeness in an orange day dress with a deep-v-neckline and staps going off-the-shoulder, belted at the waist, and fitted skirt.  No signature is present on the illustration, just handwritten annotations documenting the scene's setting, outfit number, and character. The notations read, “SAADIA-INT. MAIN TENT, ALT#7, JILL’S BIRTHDAY, Orange Linen.” There is no signature present. 3 Thring Circus stars Dean Martin, Jerry Lewis, and Zsa Zsa Gabor in a comedy set under the big top.  DIMENSIONS:SKETCH 12.5 X 16.5 INCHES MOUNT 17.75 X 22 INCHES

A champagne-colored duchess satin wedding gown designed for Judy Garland as Manuela in the film production The Pirate, co-starring Gene Kelly (Metro-Goldwyn-Meyer 1948). A highly-elaborate early 19th-century style duchess satin champagne-colored wedding gown with princess sleeves, fitted bodice, and full skirt. The gown is trimmed with satin Van Dyke pearl embellished points at the neckline, sleeves, waistline, and hem. The sleeves have layered petals and Van Dyke points and pipped bows as well as small silk white flowers tacked at the neckline (most of the flower heads have fallen off of the wire stems). Various lace accents are used on the gown such as Belgian lace at the neckline (in the film the lace trim at the neckline was layered, one layer appears to have been removed), embroidered needle-point tulle panels on the skirt, Alencon lace, and nylon lace trimming for the underskirts. The original design of the gown did have a sheer overlay at the skirt with a gathered-ruffled lace trim accent, this overlay has been removed or was damaged. There are hook-and-eye closures at the back of the bodice, the interior of the bodice is boned and each panel is backed with a cotton twill. A material tag is scribed in pen reading, "1400-Judy Garland," and a paper tag is stapled at the right side of the interior of the bodice reading “MGM, 34963.” Tom Keogh was the costume designer for the film; he has four film credits for costume design. His first foray into costume design was working with ballet costume designer Barbra Karinska; he went on to design for theatre productions as well. Once he moved to Paris, he began illustrating at French couture houses: Lanvin, Balmain, Balenciaga, and Jean Dessès. He even went on to design costumes for the Ballet des Champs-Elysèes as well as having his sketch work and illustrations featured on the cover of French Vogue. PROVENANCE Originally from The Collection of Debbie Reynolds

An original costume design by Edith Head for Anne Baxter as Queen Nefretiri for the film The Ten Commandments (Paramount 1956). A mixed medium costume design by Edith Head for Anne Baxtor, illustration likely by sketch artist and costume designer Adele Balkan, who was uncredited for wardrobe. The sketch features a full-length Queen Nefretiri lounging on a couch surrounded by Ancient Egyptian decor in a pleated sheer gown, showing the character's body outline. The gown is a two-tone jade and cypress green, the gown fits close to the body, and the pleated cape is cut below the bust at the front but goes into a floor-length train at the back (the cape's hem is casually draped on the lower legs). The look is accessorized with jewelry, gold bracelets, a collared bib necklace, rings, earrings, hair ornaments, and a pair of wedge gold sandals. There are two chiffon swatches at the top right corner; then at the bottom right corner is a profile illustration of Nefretiri in the outfit. The illustration is signed at the bottom left corner with Edtih's first name, and notated with the character's name and scenes where the costume is featured, "To John With Love Edith, Nefretiri, #2-Nefretiri's Balconey-Scenes-B-32-33-34." Then at the back, there are two notations in pencil at the top right corner, "HEADRESS PLATE #27, COSTUME PLATE # 907" and the left bottom corner "To John Anderson."Anne Baxter wears this costume when Rameses comes to express his growing concern for Moses, both he and Nefretiri argue as Rameses dictates his authority over her and acknowledges her as his wife and property. Nefretiri says how she could never love him, and he responds that she must obey him even if she doesn't love him. Sketch: 14.5 x 19.75 inches; Mount: 18 x 29.25 inchesPROVENANCE Lot 218 Christie's, Sale 1854, May 30, 2007

A costume design sketch for Cathy O'Donnell as the character Tirzah for the film  Ben-Hur (MGM 1959) directed by William Wyler, starring Charlton Heston at Judah Ben-Hur. A mixed medium costume design by Elizabeth Haffenden, sketch artist unknown. The sketch features a full-length Tirzah posed wearing a salmon chiton (an ankle-length tunic/dress) with a printed yellow palla that is belted. Tirzah is the sister of Ben-Hur. She was a princess in Jerulselum before her brother was condemned to slavery by Rome, so the figure was accessorized with jewelry, a bib necklace, bracelets, earrings, and a jeweled belt. Handwritten at the top left-hand corner are notes that read, “Ben Hur/1958/Tirzah/#2” and additional notations, "Brings Esther into Ben-Hur, Ses 81-87." Then at the back bottom right corner another hand-written notation, "CALLELY TR8635.22." There is no signature present. Elizabeth Haffenden won an Academy Award in 1960 for "Best Costume Design, Color." The costume designs were based on the Roman Empire/Jerulslum fashions of 1st century BC. The film was based on Lew Wallace's novel Ben Hur-A Tale of Christ, about a Jewish Prince condemned to slavery and his ability to survive adversity through his chosen faith instilled by Christ. DIMENSIONS:SKETCH 11 X 17.75 INCHES MOUNT 15 X 24.75 INCHES

Three Edith Head costume designs of Ann Blyth as Gloria Brent in the film The Buster Keaton Story (Paramount 1957). Three mixed medium costume designs by Edith Head, illustrations likely by sketch artist Grace Sprague, no signatures present. The first sketch is a full-length female figure wearing a black skirt suit ensemble with leopard accents,  a fastener, gloves, and oxford pumps. At the upper right corner is an outline of a female figure in a black skirt suit but with light pink accents at the lapel and pockets. Then at the top left-hand corner are notes for specific scenes. This illustration shows a detailed setting, it appears to be the front house of a theater with a Buster Keaton lobby card. The second sketch is a full-length female figure modeling a corded-check-pink taffeta house dress, and apron holding a spatula. There is a swatch of what appears to be silk taffeta at the top right corner and the top left corner a handwritten annotation reading, “#9-Sc. 195 INT BUSTER’S KITCHEN (D) BREAKFAST." The third sketch is a full-length female modeling a fitted grey dupioni silk dress with a fitted bodice and full-length pencil skirt tapered to the ankle. The collar and cuffs have a white accent adding a subtle sophistication to the design. There is a grey fabric swatch at the left corner and the right corner is handwritten notes, "#3 INT WINTERS OFF. SO. 91-95 (PREVIEW CARDS)."This film was based on the life of Buster Keaton known for his extreme physical and slapstick comedy in silent films. His work went on to inspire comedians like Lucille Ball. DIMENSIONS:SKETCHES 14 X 16.75 INCHESMOUNT 32 X 39.25 INCHES

A costume design by Edith Head for Audrey Hepburn as the title character Sabrina (Paramount 1954). A mixed medium costume design for Audrey Hepburn, likely illustrated by sketch artist Grace Sprague. The sketch features a full-length female figure in a chic charcoal-colored skirt-suit ensemble, The design is comprised of a double-breasted off-the-shoulder jacket with a shawl lapel, a mock-turtleneck top, fitted pencil skirt that narrows below the hips to below the knee. Accessorized with matching elbow-length gloves, a hat with a white veil, pointed black pumps, a top-handle bag, completed with a cigarette holder and lit cigarette. There is no signature present. This sketch was likely a preliminary sketch for the production. Audrey was asked by the film's director Billy Wyler to get a French designer wardrobe for the character's return home from her time abroad in Paris, where Sabrina trains to become a chef. Hepburn before filming made an appointment with the French couturier Hubert de Givenchy. The designer thought he was meeting with Katherine Hepburn, so he advised Audrey when she came into the salon to look at some of his previous season's patrons unaware that she was the one who made the appointment. Both laughed about the mix-up and became the most popular pairing of a designer and muse in fashion history. Givenchy was not credited for Audrey's wardrobe in Sabrina, Edith Head was credited since she was the costume designer who oversaw the production. Givenchy did receive proper credit when he designed Audrey's wardrobe for Breakfast at Tiffany's, whose looks were so iconic and timeless they still set hearts a-flutter today. DIMENSIONS:SKETCH 13.75 X 16.75 INCHES MOUNT 18 X 24.5 INCHES

A costume design by Edith Head for Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's (Paramount 1961).A mixed medium costume design for Audrey Hepburn by Edith Head. The sketch features a full-length Audrey-like figure in a light pink full-length gown with a full skirt and fitted bodice, similar in likeness to the pink cocktail dress Audrey wears in the film. The figure wears a tiara, earrings, and elbow-length gloves, and holds a cover-up in her right hand. The dress is drawn with glittering surface embellishment on the bodice and skirt; however, this design differs from the scoop neckline and calf-length hemline worn in the film. Edith's design is a sophisticated evening gown, featuring a bateau neckline with an ankle-length hem. The sketch is signed by Edith Head at the bottom left corner.Audrey as Holly Golightly wears a pink dress upon returning from an evening with José, soon to find out her brother Fred is dead and going into a traumatic physical fit of grief. The bright color and embellished design was a contrast to her character’s previous outfits of understated elegance.This sketch was likely a conceptual sketch for Audrey as Holly Golightly, the dress in the film is cocktail length and designed by French couturier Hubert de Givenchy. Breakfast at Tiffany’s was a film that defined Audrey’s timeless style and the refined elegance that was Givenchy’s signature. The pink dress showcases architectural construction with a fitted princess-seamed bodice and a gathered skirt that is as buoyant as Audrey’s charming smile. The facet foil back crystals, the guipure fan tassels, and the vibrant pink add up to a defining moment in fashion where women were feminine, sleek, distinct, and articulate in how they dressed.The design worn in the film was a part of Givenchy’s 1960 fall show with well-known clientele Lee Radziwill and model Capucine wearing the embellished design in black. Audrey asked if the design could be made in pink specifically for the film, only two of these pink design confections were made. A rare design that showcases the artistry of French haute couture and the beautiful Audrey Hepburn as Holly Golightly. Audrey’s Givenchy wardrobes while they evolved in each film collaboration have become a timeless reference to elegance and glamour in both film and fashion.This lot comes with a DVD/Blu-Ray of the film.

An original costume for Audrey Hepburn as Jo Stockton in Stanly Donen’s film Funny Face, costumes credited to Edith Head (Paramount 1957). A straw wide-brim hat with tri-color hand-gathered chiffon, designed by Edith Head for Audrey Hepburn and her musical number “How Long Has This Been Going On.” Three colors of mango, cantaloupe, and melon green chiffon are hand-gathered and tacked, appearing like delectable meringues. The underside of the hat’s brim is lined with yellow chiffon, and a wire wrapped in avocado green velvet goes around the lip of the brim to keep its shape and structure. There is a faded stamp on the interior of the dome, reading, “PARAMOUNT.” There is no label or size marker, the brim measures 17 inches in diameter and the chiffon ties measure 70 inches in length (the edges are machine sewn to keep the fabric from fraying. Audrey sings and dances with the hat as she begins to acquaint herself with the world of fashion and questions her feelings that are developing for Fred Astaire’s character Dick Avery. A Cinderella story of a young woman coming into her identity, which Audrey portrays remarkably. The costumes, setting, and romance between Hepburn and Astaire make this Gershwin musical “S' Wonderful.” Hepburn’s Paris wardrobe, while credited to Edith Head was designed by haute couturier Hubert de Givenchy. Audrey’s beautiful gowns, dresses, and outfits are brought to life in this beloved classic. This lot comes with a print of an Edith Head design sketch of the hat being modeled in the film. 

An original costume illustration of Grace Kelly, as Frances Stevens, in Alfred Hitchcock’s film To Catch A Thief, costarring Cary Grant, designed by Edith Head (Paramount, 1955).A mixed-medium signed design sketch by acclaimed costume designer Edith Head (a signature is at the top right corner), likely drawn by sketch artist Grace Sprague. The illustration shows a full-length figure of Kelly modeling a bi-color black-and-white day ensemble featuring a black sleeveless dress with a mock turtle neck and white overskirt with patch pockets. The figure is holding a white wide-brim hat and wearing pointed black/white heeled shoes. Hand-written in pencil at the bottom right corner reads, "Grace Kelly." Grace Kelly plays Frances Stevens in a mystery/caper where Grant, who plays a retired cat bugler comes out of retirement to clear his name from jewelry thefts happening on the French Riviera. Kelly’s luxurious costumes in the film became a factor in making the film so iconic.This lovely design showcases Head’s design sensibilities, based on style rather than current fashions, her designs were met with criticism because they were more subdued; she designed with an understated luxury when costuming the stars, using techniques in draping, applique, color blocking, and conservative service design. All these skills have contributed to her long career and fans of various generations.Ironically, Head who won the most Academy awards as a costume designer was listed on Hedda Hopper’s worst dress list in 1944. Head was an innovator who led by example, making her designs in the film industry timeless.This lot is accompanied by a copy of Grace Kelly Hollywood Dream Girl by Jay Jorgensen and Manoah Bowman. The illustration is documented on page 185. 17 x 14 inches

Two Edith Head costume designs, a sketch of Rhoda Flemming as Laura Denbow, and a sketch of Jo Van Fleet as Kate,  in the film production Gunfight at the O.K. Corral, starring alongside Burt Lancaster and Kirk Douglas (Paramount, 1957).The first sketch is a mixed medium costume design by Edith Head, an illustration likely by sketch artist Pat Barto. The illustration is of Fleming as Denbow poised against a fence wearing a fringe leather jacket, gaucho pants, boots, cowboy hat, bandana, and gloves. On the illustration stapled at the right-hand corner is a swatch of suede. There are several hand-written notations documenting the costume for production continuity reading, “#3 COAT #1 SUIT, #6 + #7 INT RANCH HOUSE SC. 147, EXT. K RANCH SC. 148, EXT. ROAD TO TOWN SC. 149-177, INT. CHANCE SALOON SC. 175-212, EXT NO CHANCE SALOON SC. 213, EXT. K RANCH SC. 221.” There is no signiture present. The second sketch is a mixed medium costume design by Edith Head, an illustration likely by sketch artist Pat Barto. This illustration is of Jo Van Fleet as Kate dressed in all black posed with her left hand on her hip and the right at her gun holster. The outfit is comprised of a western bib shirt with a folded collar done up with a beige knotted bandana, belted high-waisted pants that taper to the ankle, knee-high cowboy boots, and a cowboy hat, complete with a holster slung on the hips. "Kate" is written in pencel at the left side of the sketch, there is no signiture present. This western drama features Lancaster and Douglas, opposites who team up, to take on a gang of cattle stealing thugs in Tombstone, Arizona. These straight shooters bring adventure and excitement, illustrating the lawless Wild West. DIMENSIONS:SKETCH 1 12.5 X 16.5 INCHESSKETCH 2 14 X 16.75 INCHES MOUNT 33 X 26 INCHES

A set of two Edith Head costume designs for the film production Here Comes The Girls starring Bob Hope, Tony Martin, and Arlene Dahl (Paramount 1953). Two mixed medium costume designs by Edith Head, likely by costume designer and sketch artist Yvonne Wood. Both sketches feature two full-length female figures in white and gold Grecian-style costumes. Both figures wear a bra-top and a draped high-low skirt, the short hem at the front allows for the skirt's draping to cascade as it goes into a train at the back. One sketch is labeled "Miss Bacchus" with the figure holding a drinking glass and a gold vine of grapes. The other sketch is labeled "DIANA" with two names written in pencil reading "Yvonne, Ruby." This figure holds a bow and has a quiver with a Greek key motif hung crossbody holding arrows. Both sketches have signed initials CB, likely by Claude Binyon the film's director. Here Comes The Girls is a musical comedy starring Bob Hope, who plays Stanly Snodgrass who gets cast in a Broadway play when the lead is attacked by a crazed fan who is obsessed with the play's lead actress Irene played by Arlene Dahl. The crazed fan is jealous of anyone acting opposite Irene, putting them in danger, but in Hope's case, hijinks and hilarity ensue even with a knife-wielding killer on the loose. DIMENSIONS:SKETCHES 14.5 X 19.25 INCHES MOUNT 33 X 26.5 INCHES

A costume illustration likely of Elizabeth Taylor as Angela Vickers in the film production A Place in the Sun (1951). A mixed medium Edith Head costume design, unsigned; illustration likely by sketch artist Donna Kline. The sketch is of Elizabeth Taylor in her iconic white sheer organza patterned-tea length dress, full skirt, and nipped waist, the sketch artist even captures Taylor’s violet-colored eyes.Edith Head became the head designer at Paramount in 1939, a role she kept until 1967. Head oversaw the wardrobe for an annual estimated 45 films the studio produced. On top of that, she became a public figure like the stars she dressed, appearing on the television program Art Linkletter’s House Party where she would advise women and men how to dress. She advised the audience like her stars how to dress themselves in a complimentary fashion. This ingratiated Head with America as well as starlets like Elizabeth Taylor.DIMENSIONS:SKETCH 14.5 X 23 INCHES MOUNT 19.5 X 29.75

CHARLES EDMUND BROCK, ILLUSTRATION FROM 'THE PICKWICK PAPERS', INK SKETCH, 1910, APPROX 28 x 21cm

Ephemera, a selection of items to include a pencil sketch of a hunting scene, a TH Marthinsen Norwegian silver spoon, a qty. of vintage magazine advertising pages, 1962 Canadian Pacific map and tickets, Santa Fe train tickets, letters dating from 1845 and later, Queen Victoria artist drawn cabinet card, April 1969 Concorde First Flight Supplement newspaper, RAOC sweetheart brooch, Blue Train route guide and other passenger info, an autograph with a selection of celebrity signatures to include Bernard Miles, Ronnie Hilton, Jimmy Tarbuck, Ken Baker, Max Robertson etc. Interesting selection (gd)

Books - Military interest -Clifford Saber Desert Rat Sketch book, The Readers digest ‘Secrets and stories of the war’I,II,; etc (2)

A large quantity of postcards, photographs, reproduction pamphlets and ephemera relating to the Mersey Ferries and the history of the Wirral, also a hardback copy of 'Mortimer's History of Wirral with a Sketch of the City and County of Chester', published by Whittaker & Co of Birkenhead, 1847, a hardback scrapbook with various postcards, information, newspaper cuttings, letters, etc, dating from the early 1800s onwards, on the Mersey Ferries, various negatives, etc.

A sketch of The Abbey, Robertsbridge, home of Richard and Eliza Smith, by their cousin George Smith in 1858, framed but unsigned, 21cm x 26.5cm, and a sketch of Old Vinehall, Home Farm, possibly by same artist, framed and unsigned, a framed photograph of Albert Smith, and a large gilded wood framed picture of an infant boy in sailor's outfit, etc (5)

A large sketch and watercolour on paper of an educated Chinese gentleman with horse, framed, 108cm x 80cm In good overall condition, there is 1 small hole in the horse's nose and there is some rubbing and fading to the paint

ATTRIBUTED TO RICHARD DOYLE (BRITISH, 1824-1883)Poggio Gherado in Settignano, near Florence, from the South Gates of The Four Seasons pencil 15.5 x 22cmFootnoteAccording to the vendor, their great great auntJanet Ross (née Duff-Gordon) lived in Poggio Gherado in Settignano just outsideFlorence until her death in 1927 having arrived there in 1867 from Egypt. Shewas a well known hostess in Florence and received Dicky Doyle and it is believed that as a thankyou he did this sketch of the South gates to the property adding some bucolicdetails. 

ERNEST HOWARD SHEPARD (BRITISH, 1879-1976)Auntie Maud "Do you want to be a sailor Michael?" Michael "No" Auntie Maud "A soldier then?" Michael "No. I want to be just a plain man, like Granddaddy" pencil sketch 22.5 x 31cm ARR Footnote This is a preliminary drawing by E. H Shepard for "Do you want to be...", published in Punch on 17th December 1924

Circa 9th century A.D.. Portion of a lateral arm or head from a monumental cross of the Mercian Group with scoops at the junction with the shaft; Side A: a panel of dense knotwork within a raised border; Side B: a panel of coiled tendrils enmeshing the stems with vine-leaf finials; tooling and other marks to the undecorated faces; outer face (end): shallow incised cross. Cf. Murray, J., The Arts in Early England, Volume 1, London, 1921, p. XIV, showing Ruthwell cross with this type of 'winged' arm, made clearer in sketch form on p.117; cf. Murray, J., The Arts in Early England, Volume 2, London, 1937, pl. CVI, for similar form at Cropthorne; Cramp, R., New Directions in the Study of Anglo-Saxon Sculpture, in Transactions of the Leicestershire Archaeological and Historical Society, vol 64, 2010, fig.5, for a similar cross at Ruthwell, Dumfriesshire. 5.67 kg total, 30 cm high including stand (11 7/8 in.). Acquired in the 1980s.Ex S. Sherlock collection, Stoke-on-Trent, UK.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11891-205888. The lateral scoops form a partial round hole, one of four which give these crosses their characteristic form. [A video of this lot is available to view on Timeline Auctions Website]

John Constable RA (1776-1837)The Keep, Colchester Castle, from the North EastPencil9.4 x 11.7cm; 3¾ x 4½inProvenance:Agnew's, London, 1943;Where purchased by Howard Bliss (1894-1977);By whom given to John Marshall (1911-1995);And by descent to the present private collector, WiltshireLiterature:'A Sketch of Colchester Castle by John Constable, R.A.', in The Essex Review (no.208, vol.LII, October 1943), pp.181-184, illustrated p.182Exhibited:London, Agnew's, 70th Annual Exhibition, 1943The present work is closely related to a sketch of Colchester Castle on page 66 of the 1813 intact sketchbook, now in the permanent collection of the Victoria and Albert Museum, London (no.317-1888; Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, no. 13.17, p.66). Constable executed the V&A’s work whilst staying in Colchester with William Mason (1768-1840), a solicitor and relation by marriage. Graham Reynolds saw the present work in 1973 and dated it to 1813. The sheet of the present work is, however, very slightly larger than the sheets of the V&A’s sketchbook, which perhaps indicates that either it was a one-off drawing on a loose sheet, or that our work was originally part of a different sketchbook, which would have been detached and gifted, possibly to William Mason himself. The figure in the lower right could in fact be a depiction of Mason.Although the present sketch is closely related to Constable’s work of 1813, it could alternatively have been executed the following year, when Constable was known to have stayed with Revd W. W. Driffield at Feering, near Colchester. Constable and Driffield toured the south of Essex together, although the exact spots they visited are unknown.We are grateful to Anne Lyles for her assistance cataloguing the present work.

Italian School 18th CenturyFigures outside a churchInscribed Marieschi (to verso)Pen and black ink and grey wash34.1 x 44.4cm; 13½ x 17½inUnframedTogether with Circle of the Bibiena Family; Interior of a Palace; Pen and black ink and blue wash; 20.3 x 26.1cm; 8 x 10¼in; Unframed; Italian School c.1800; View of a temple; Indistinctly inscribed (along lower edge); Pen and brown ink with brown wash; 19.8 x 28.4cm; 7¾ x 11¼in; Unframed; Italian School 19th Century; View of a castle's basement (recto); Studies of peasants (verso); Pen and brown ink, with grey wash (recto); Pen and brown ink (verso); 22.5 x 31cm; 8¾ x 12¼in; Unframed; Italian School 19th Century; Under the archways, with a courtyard beyond; Pen and black ink with grey wash; 15 x 23.2cm; 6 x 9¼in; Unframed; and English School 19th Century; Study of a castle's battlements; Indistinctly inscribed 1st sketch of the B***/Castle (upper right); Pen and ink with watercolour; 11 x 15.3cm; 4¼ x 6in; Unframed (7)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s

A GEORGE III MAHOGANY LIBRARY BERGERE ARMCHAIR ATTRIBUTED TO GILLOWS, CIRCA 1810 With buttoned leather loose cushions 93cm high, 64cm wide, 75cm deep overallThis form of library chair is referred to in the Gillows estimate sketch books as the Ashburnham chair, after the chairs the company supplied to Ashburnham Palace in 1803. Condition Report: Overall there are some scratches, marks, knocks, cracks, abrasions and minor repairs consistent with age and use.The later brown leather buttoned squab cushions and arms with some wear including a scratch to one arm and one squab missing one button.Some cracks to the crest rail joints.One gilt metal capping and caster is missing a screw and is loose on the leg with some chipping.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Y&nbspA REGENCY ROSEWOOD AND GILT BRASS MOUNTED THREE TIER ETAGERE OR BUFFET ATTRIBUTED TO GILLOWS, CIRCA 1815 Having a scrolling gilt brass gallery above three beaded tiers supported by Corinthian carved columns, with trellis sides, the doors with leaf carved clasps and supported on lion paw feet 119cm high, 133cm wide, 60cm deep overall This Etagere relates to an Egyptian sideboard pattern engraved in 1804 by George Smith, upholsterer to George, Prince of Wales, later George IV, and published in his Household Furniture and Interior Decoration, 1808, pl. 92. Smith considered the style as 'Proper for Dining Rooms'. The style was adopted by firms such as Gillows during the following decade. Designs for related examples appear in the firm's Estimate Sketch Books now in the Westminster City Archives, E.S. 2085 (September 1818) and E.S. 3019 (June 1821). A related example though lacking the detail of the lot offered here, was sold Christies London, The English Collector, 21st May 2015 Lot 133, (£10,000).    Condition Report: Some marks, knocks, scratches and abrasions comensurate with age and use. Good original surface, colour and patina. Some old chips and splits, some old repairs. Some old worm.Lock and inset escutcheons are original. The key is present to operate the lock. Some sections of the gallery slightly mishapen as expected. This could be further improved by a restorer. A small number of old 'clean' breaks to the gallery and a small number of old repairs. One carved corner terminal of one door is a replacement. The etagere (or buffet) is finished to the reverse (see images) so could equally 'free stand' as well as be placed against a wall. Little or no detectable evidence of old worm to exterior, some possible minor old worm to underside. High quality well figured timber throughout. One rear foot is a replacement. It has been carved to match well. Please refer to additional images available via email for further visual reference to condition.Condition Report Disclaimer

A GEORGE IV MAHOGANY WINE CISTERN BY GILLOWS, CIRCA 1825 61cm high, 70cm diameterProvenance: Purchased from John Bell of Aberdeen, 1961. Featured in The Field magazine, 19th October 1961. For a near identical wine cistern by Gillows, purchased by Stephen Tempest for his dining room at Broughton Hall, North Yorkshire, in 1813, see Susan E. Stuart, Gillows of Lancaster and London 1730-1840, Antique Collectors' Club, 2008, Volume II, page 94, plate 640. For a closely related wine cistern, but slightly smaller and in 'tired' condition, see Christie's, New York, The Connoisseur's Eye, 7th June 2013, Lot 205 ($8,750). Please note, this lot has been confirmed to be BY GILLOWS, this urn is bearing the script of known Gillows craftsman Joseph Wilcock. Condition Report: SALEROOM NOTICE: This wine cistern is BY GILLOWS, SIGNED TO THE BASE 'J. WILCOCK'There are scratches, marks, knocks, chips, cracks and abrasions consistent with age and use.Observations include: this cistern is of sectional construction with some cracks along these lines; there is a band of screws to the interior fixing the generous gadrooned sections; there are recessed casters to the plinth base; the carved fluting lines are carved in pleasing deep relief; the underside is signed in pencil 'J. Wilcock' and indistinctly 'Pon'(?)Joseph Wilcock (fl. 1825-39) was the son of James Wilcock, cabinet maker of Lancaster, apprenticed to L Redmayne from 27 August 1825. He was probably the man listed in the Gillow's Petty Ledger for 1834-39. On 14 May 1835 he was named with James and Richard Wilcock in Gillow & Co.'s payroll when he earned £5.11s.1d. In June 1839 he made a piece of furniture for Battersby Esq., a customer of Ferguson & Co. Many examples made by him are listed in the Gillow's Estimate Sketch Books. (Susan Stuart, Gillows of Lancaster and London (2008), II, p. 298.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Six assorted children's & illustrated titles, 19th Century Juvenile literature etc, including 'The Instructive picture book: lessons from the geographical distribution of animals, or, the natural history of the quadrupeds which characterise the principle divisions of the globe', Edinburgh, Edmonston & Douglas, 1860, 60 hand coloured engraved plates as called for, inner joints split, original cloth backed pictorial paper covered boards worn (34 x 22cm); together with Kate Greenaway (illustrated): 'Mother Goose or the Old Nursery Rhymes', L, Frederick Warne, c.1900, colour ills. throughout, orig. cloth backed pictorial boards; S. Louis Giraud: 'Animal Life in Fact, Fancy and Fun', L, Daily Sketch & Sunday Graphic, [1939], 1st edition, Bookano "Living" Models series, 6 colour pop-up dobule page ills. as called for (all VGC, intact), oblong 4to, orig. pictorial boards (VGC); Eleanor Vere Boyle (illustrated): 'Beauty and the Beast', L, Sampson Low, [1875], 10 chromolitho full page plates + b/w ills. in text as called for, 4to, orig. pictorial cloth; 'The Young Ladies Journal. An Illustrated Magazine of Fashion, Fancy Work, Family Reading, etc etc', bound volume January-December 1883, No's 973-1,024, 448pp, black & white engraved ills. throughout (some double page), folio, old quarter cloth; René Peyrol: 'Rosa Bonheur Her Life and Work', L, Art Journal, 1889, 3 full page etched plates + wood engraved ills. throughout, 32pp + 16pp ads at end, folio, orig. cloth gilt (6)

Patrick Leigh Fermor: 'The Violins of Saint-Jacques', London, John Murray and Derek Verschoyle Ltd, 1953, 1st edition, 1st printing, signed & inscribed by the author to Oonah Guinness (1910-1995), Anglo-Irish socialite, society hostess and art collector, second wife of Dominick Browne, 4th Baron Oranmore and Browne "To Oonagh, with love from Paddy, Luggala, Christmas 1953" on blank leaf following FFEP, small sketch of birds by author above inscription, "Oonagh Oranmore Luggala" pictorial bookplate facing inscription on verso of FFEP, original cloth gilt, dust wrapper (price clipped inside front flap, and stated "4th Printing" inside rear flap). Oonagh Guinness was a prominent hostess, particularly after her second divorce in 1950, when the Luggala Estate became a centre of Irish social life. "Oonagh somehow imbued Luggala with enchantment. Nobody could keep away: Dublin intelligentsia, literati, painters, actors, scholars, hangers-on, toffs, punters, poets, social hang-gliders were attracted to Luggala as to nowhere else in Ireland — perhaps even in Europe, from where many would come. And the still centre of this exultant, exuberant chaos was Oonagh. Patrick Leigh Fermor regularly came to stay during this period, as well as Brendan Behan, Lucien Freud, John Huston and others.

Jack B. Yeats: 'Sligo', London, Wishart & Co, 1930, 1st edition, original cloth gilt; Oscar Wilde: 'The Ballad of Reading Gaol', ill. Frans Masereel, L, Methuen, 1924, [but with errata slip tipped in stating the later than intended actual publication date of October 22nd 1925), 1st illustrated edition, limited edition (450/450), numbered, 37 woodcut illustrations by Frans Masereel (of which 7 full page) as called for, ex library, ink reference number verso title page and inkstamp on half title, light foxing, else leaves generally clean/VGC, rebound green cloth gilt; plus 'Brendan Behan's Island: An Irish Sketch-book', L, Hutchinson, 1962, 1st edition, orig. cloth gilt, d/w, and 'James Joyce', by Djuna Barnes, 1984 (600), large folding printed leaf in French language (4)

(India, Military, Hunting, Field Sports), Major A.C. Lovett (illustrated); Major G.F. MacMunn: 'The Armies of India', London, A & C Black, 1911, 1st edition, limited edition deluxe, number 14 of 500 copies only, numbered & signed by the publisher, 72 tipped in colour plates as called for, 4to, original decorative cloth gilt, new endpapers/pastedowns, original Sotheran's typed printed slip loosely inserted; four titles illustrated by Chalres Johnson Payne "Snaffles", comprising: 'The P.V.H. History of the Peshawar Vale Hunt', Gale & Polden, [1934], 1st edition, folding map + 15 plates & ills. in text as called for, 'More Bandobast', L, Collins, 1936, 1st edition, 12 mounted colour plates + full page and in text b/w ills as called for, 'My Sketch Book in the Shiny', Gale & Polden, [1930], 1st edition, numerous sepia and b/w plates throughout, 'Osses and Obstacles', L, Collins, 1935, 1st edition, numerous sepia and b/w plates throughout, all large 4to, all original cloth, all in dust wrappers (5)

(Agriculture, Norfolk, East Anglia), William Marshall: 'The Rural Economy of Norfolk: Comprising the Management of Landed Estates, and the Present Practice of Husbandry in that County', London, 1795, 2nd edition, 2 volumes, engraved folding map as called for ("East Norfolk" & "Sketch of the County" on one single folding sheet), contemporary mottled calf gilt; [Arthur Young]: 'The Farmer's Tour Through the East of England. Being the Register of a Journey Through Various Counties of This Kingdom, to Enquire into the State of Agriculture, &c.', London, 1771, 1st edition, 4 volumes, 28 engraved plates + appendix plate + folding table as called for, ex library, uniform half calf gilt (rubbed, worn); Nathaniel Kent: 'General View of the Agriculture of the County of Norfolk : with observations on the means of its improvement : Drawn up for the consideration of the Board of Agriculture and Internal Improvement', London, Richard Phillips, 1796, engraved folding map + 3 engraved plates (of which one double page) as called for, xvi,236,[1]pp, ex Birmingham Free Libraries with unobtrusive inkstamps to folidng map and [v], else no other lib. markings, old paper covered boards worn, later printed title label to spine; Edward Rigby: 'Holkham, Its Agriculture, &c.', Norwich, R. Hunter, 1848, 3rd edition, considerably enlarged, vi,140[2]pp, old half calf, later rebacked; togetehr with John Glyde 'The Norfolk Garland', [1872], original cloth gilt, plus David & Charles facsimile reprints of Arthur Young's 'General View of the Agriculture of the County of Norfolk; ...of Suffolk', 2 volumes, orig. cloth, dust wrappers (11)

David Livingstone: 'Missionary Travels and Researches in South Africa; including a sketch of sixteen years' residence in the interior of Africa', London, John Murray, 1857, 1st edition, folding engraved frontispiece (marginal part loss), engraved portrait, 22 wood-engraved plates, one folding diagram, 2 folding maps at end, illustrations to text, complete as called for, contemporary ruled calf gilt

A Collection of Various Artists Boxes, Painting Sets, Paints and Tools, Sketch Pads and Books

Charcoal sketch, study of a family of monkeys, signed with initials S.T., 32 x 38cm approximately, framed

Unframed pencil sketch of a young boy in shorts bearing monogram AB, unframed, 26cm x 20cm, an unframed print and a framed watercolour and pen, figures and buildings, indistinctly signed, 22cm x 20cm

Oil sketch on board, figure with a team of horses, inscribed on frame plaque 'Edmund Blampied', together with a pencil drawing, figure with a horse and cart gathering seaweed, attributed to the same artist, largest 30cm x 37cm

Early 19th Century pencil sketch, ruined monastery, inscribed, 18cm square, 19th Century hand coloured botanical print and a quantity of other prints

"Snaffles" [Charles Johnson Payne]. A collection of four first editions comprising: Four-Legged Friends and Acquaintances, first edition, Collins, 1951, 4to., unclipped d.j.; I've Heard the Revelly, first edition, Gale & Polden, 1953, 4to., unclipped d.j.; A Half Century of Memories, first edition, Collins, 1949, 4to., price-clipped d.j.; More Bandobast, first edition, Collins, 1936, 4to., no d.j. Together with second editions of My Sketch Book in the Shiny and Osses & Obstacles. Condition appears good but varied, small ownership labels on endpapers, second editions defective, sold as one collection with all faults (6)

Lyne, Michael. The Michael Lyne Sketch Book, signed limited edition numbered 107/550, featuring a loosely-inserted monochrome print of Rockhampton, Berkeley Country [one of 650], signed in pencil l.r. by the artist, Cherington: Standfast Press, 1979. Oblong quarto, unclipped dust-jacket. Together with A Parson's Son, signed limited edition numbered 60/750, J. A. Allen, 1974, oblong quarto, crushed morocco, and Horses, Hounds and Country, Eyre & Spottiswoode, 1938, 4to., no d.j. (3)

C.F.Tunnicliffe - Sketch Books of Birds published Book Club Associates, London

Alfred Walter Williams (1824-1905), 'Sketch at Kew Bridge, Thames', watercolour, signed, inscribed with title and dated '83'15cm x 42cm

The Beano - The Dandy - The Hotspur - Adventure - The Rover - Other - A collection of over 70 British comics dating mainly from the 1940's to late 1950's, some early 1960's. Lot includes The Hotspur #504 Dec 2nd 1944; The Wizard #1130 April 121947; The Beano #337 June 12 1948; The Champion #52 Dec13 1947; The Rover #1133 Apr 13 1947; Adventure #1235 July 10 1948; Adventure #1135 June 16 1945; and similar. Comics all suffer age wear and signs of use generally ranging Fair - Good. All items are unchecked for completeness. (This does not constitute a guarantee) (K)Condition Report - The lot is comprised of 98 weekly comics and two newspapers being the Daily Sketch from 17th Jan 1964 and the Empire News dated 22nd Aug 1954.