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William Woodhouse (1857-1937)Study of a horse and cart (Egyptian)Pencil and wash; together with a further work by the same hand, Dog Studies, pencil sketch, 11cm by 17cm and 15cm by 8.5cm respectively (2)Provenance: Horse and Cart - RBE Woodhouse; Peter Haworth Fine Paintings Dog Studies - Iain Dodgson Studio Arts Gallery

Kora Moya Rojo Bloom, 2023 Watercolour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Kora Moya Rojo (b. 1993, Spain) lives and works in London. She graduated with a BA in Fine Art from the University of Murcia (Murcia, Spain, 2015). Kora creates paintings and sculptures that revolve around fluidity, nostalgia, and womanhood. Rendered in a pulsating palette of cold blues and warm reds, her vibrant works infuse autobiographical, historical, and religious iconographies with a rural sensibility. Examining the complex effects of female oppression and urban migration, she investigates personal displacement and national identity in symbolic scenarios that overflow with utopian potential. Digitally reconstructing dreams, imaginations and memories into enchanting drawings and canvases, Moya Rojo creates eerie worlds that inhabit the liminal space between the conscious and the unconscious. Her androgynous, embryonic figures stretch beyond the earthly domain to the otherworldly as they hybridize with provincial food, coalesce with existing objects, and mutate with unspecified surroundings. In a continuous metamorphosis, the internal and external forces at play make the familiar foreign, and the foreign disturbingly familiar. Education Fine Arts Degree, University of Fine Arts, Murcia, Spain. Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Solo Show (Upcoming) SELECTED GROUP SHOWS 2023 Between the Bridge and the Door, Pictorum Gallery, London, UK Nature Holds a Mirror, Casa Astrónoma, curated by Ambar Quijano, Mexico City, MEX Yourself in my Shoes, Tube Culture Hall, Milan, ITA CACOTOPIA 07, Annka Kultys, London, UK 2022 Wilderness of Being, curated by Cassandra Bowes, HdM Gallery, London, UK Narratives in Blossoming Vigor, SENS Gallery, Hong Kong, HK Dark Roots, trio show, curated by Elza Meryon, Liliya Art Gallery, London, UK Soho Revue x The Little Scarlett Door, curated by India Rose James, Soho Revue, London, UK Looking Back to Move Forward, curated by Katerina Patsalidou and Mikaella Melanidou, Visual Space, Palia Agora Palouriotissas, CYP Artists for Ukraine Charity Auction, organised by Joséphine Bailey, Procrastinarting_, Online 2021 Realities, curated by Adele Smejkal, The Artistellar, London, UK Christmas Pop-up, curated by Katerina Patsalidou and Mikaella Melanidou, Visual Space, Nicosia, CYP Art for Relief x The Auction Collective Charity Auction, organised by Marie Hilgers, Art for Relief, Online Into The Cosmere, curated by Jack Trodd, Brushes With Greatness, London, UK Euphoric, curated by Joséphine May Bailey, Procrastinarting_, Online Thirty Six Hours Exhibition, curated by Ladies Drawing Clüb, Online Every Woman Biennial, curated by Eddy Grattan Bellew and Ruby Streek, The Copeland Gallery, London, UK ART FAIRS 2023 Art Central Hong Kong, SENS Gallery, Hong Kong RESIDENCIES 2022 COBERTIZO, Jilotepec, MEX 2021 Joya Air, Almería, ESP Statement about AOAP Submitted Artwork The piece I'm donating represents a crucial part in my creative process. All my paintings start with a watercolour study, then followed by layers of acrylic paint and then oil paint to finish off. The red watercolour pencil sketch illustrates the seed of the pieces I create. Following the line of work I'm currently exploring (plants, fruits and nature), the elements in the postcard depict a hybrid between a spiky forbidden fruit from which flower buds are about to blossom. In my work, I'm interested in playing with organic shapes that can be found in nature, relating to the female body and the fluidity of life.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Alan Furneaux Lovin Marazion Beach, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Working in oil usually on Canvas or Board. I live in Penzance and am interested in my local area especially Newlyn and the surrounding area. I work in a Naive style and also like to paint Still Life. Education Self Taught Select Exhibitions/Awards Regular with Thompsons Summer Exhibitions. Gallery Representation Thompsons Gallery Alderburgh. Thomas Henry Gallery Newlyn Statement about AOAP Submitted Artwork A small plein air sketch unusually for me in Acrylic on a very windy day on Marazion beach just as people were beginning to pack up at the end of the day with a group of young people engrossed in conversation.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ruby Wright Boy on Train, 2023 Pencil and crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am an illustrator with a particular interested in picture books. I am represented by Jodie Hodges at United Agents. Previously I worked for BBC Radio 4, Arts Council England and The Architecture Foundation, and had radio pieces broadcast on Resonance FM in London and NPR in the United States. Education Wimbledon School of Art (sculpture, BA) Select Exhibitions/Awards 2022: Group exhibition at Soulshine Cafe, Bridport 2021: The Sketch Show, Sussex Contemporary Illustrators & Printmakers, Seaford 2021: Picture Hooks Exhibition 2021, Scottish Storytelling Centre , Edinburgh 2021: Dorset Art Weeks, The Old Bakery, Bridport 2018: Dorset Art Weeks, The Old Bakery, Bridport 2018: Spoilt Rotten, The Gallery at Number 42, Notting Hill, London 2017: Portrait Exhibition, Candid Arts Trust, London 2016: National Original Print Exhibition, Bankside Gallery, London 2016: Inspired By..., Morley Gallery, London 2016: Visions of the Future, Constellations, Liverpool 2015: Tiny Carnival, 100 Union St, London 2014: Stillville, 100 Union St, London 2012: Game On, Westwerk, Hamburg 2011-2012: Deep Time, Artsreach touring exhibition, Dorset Statement about AOAP Submitted Artwork The postcards are based on two observational sketches I made: one of my son on the train in January 2023 and one from beside the duck pond in st james' park on Boxing Day 2022.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Ruby Wright St James' Park, 2023 Pencil and paint stick on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am an illustrator with a particular interested in picture books. I am represented by Jodie Hodges at United Agents. Previously I worked for BBC Radio 4, Arts Council England and The Architecture Foundation, and had radio pieces broadcast on Resonance FM in London and NPR in the United States. Education Wimbledon School of Art (sculpture, BA) Select Exhibitions/Awards 2022: Group exhibition at Soulshine Cafe, Bridport 2021: The Sketch Show, Sussex Contemporary Illustrators & Printmakers, Seaford 2021: Picture Hooks Exhibition 2021, Scottish Storytelling Centre , Edinburgh 2021: Dorset Art Weeks, The Old Bakery, Bridport 2018: Dorset Art Weeks, The Old Bakery, Bridport 2018: Spoilt Rotten, The Gallery at Number 42, Notting Hill, London 2017: Portrait Exhibition, Candid Arts Trust, London 2016: National Original Print Exhibition, Bankside Gallery, London 2016: Inspired By..., Morley Gallery, London 2016: Visions of the Future, Constellations, Liverpool 2015: Tiny Carnival, 100 Union St, London 2014: Stillville, 100 Union St, London 2012: Game On, Westwerk, Hamburg 2011-2012: Deep Time, Artsreach touring exhibition, Dorset Statement about AOAP Submitted Artwork The postcards are based on two observational sketches I made: one of my son on the train in January 2023 and one from beside the duck pond in st james' park on Boxing Day 2022.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

A screen print of a country house, 24.5x31cm, inscription on back 'Summer 1975 Etching by Mary Dunne (1/6) from a sketch made out of the window at Compton Pauncefort Manor'

Guernsey Channel Island interest - Autograph / sketch book and diarythe autograph book dated 1917, have various pictures and rhymes etc, together with a hand written diary. (2)

[HISTORY]. PERSIA Sykes, Lieut.-Col. P.M. A History of Persia, first edition, two volumes, Macmillan, London, 1915, original navy blue cloth gilt, top edges gilt, maps (including two in pockets at ends), octavo; together with Wilson, Lt.-Col. Sir Arnold T. The Persian Gulf. An Historical Sketch from the Earliest Times to the Beginning of the Twentieth Century, first edition, Clarendon Press, Oxford, 1928, original dark blue cloth, plate illustrations, map in pocket at end, octavo, (3). Condition Report : Sykes: ex library, with stamps throughout, including to plates and maps; spine ends and joints nicked, torn and frayed; Wilson: upper joint torn. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

[MILITARY] Porter, Whitworth. History of the Corps of Royal Engineers, two volumes, Longmans, Green & Co., London, 1889, original scarlet cloth, plate illustrations, sketch plans, octavo (spines uniformly faded); together with Guggisberg, Capt. F.G. 'The Shop'. The Story of the Royal Military Academy, Cassell & Co., London, 1900, original cloth, plate and text illustrations, sixteen-page publisher's list, octavo (spine dulled, with rubbed and nicked ends; lacking front free endpaper), (3).

WORCESTERSHIRE EPHEMERA. Circa 20 portraits of Worcester bishops and circa 25 prints, mainly topographical, with extracts on Worcester from various 18th and 19th century books, and sketch of the Antiquities of the Ancient City of Worcester with 14 copperplates, half calf. With other items.Provenance:From the collection formed by Worcester antiquary Joseph Bowstead Wilson (1841-1911), rector of Knightwick, Worcs. Thence by descent.

† DAVID ALDERMAN; acrylic on board, 'Manchester Town Hall From Mount Street', signed, inscribed and dated 2022 verso, 21 x 15cm, framed, with an unframed sketch by the same artist of Stockport Market, 9 x 9 cm (2)

LESLEY HARRADINE FOR ROYAL DOULTON; a figure 'The Sketch Girl" (model 444), introduced 1923, withdrawn 1938, height 18cm, printed and impressed 444.Condition Report: Lights scratches to the black base and red dress especially but good condition with no chips, cracks or restoration.

20th century, Chinese character sketch, oil on paper, unframed. H.60 W.65cm

Wenceslaus Hollar (Prague 1607-1677 London)View of Strasbourg from the north east inscribed 'Strasburg' [sic] (upper centre)pen and ink with traces of graphite on paper4.3 x 27.8cm (1 11/16 x 10 15/16in).Footnotes:ProvenanceCollection of Henry R.M. Howard (L. 1318)Collection of Francis Springell, before 1963His sale, Sotheby's, London, 30 June 1986, lot 5Collection of Dr Alfred Scharf (1900-1965) and thence by descent to the present ownerExhibited Manchester, Manchester City Art Gallery, Wenceslaus Hollar, 1607-1677: drawings, paintings, and etchings under revision, 25 September - 17 November 1963, cat. no. D.8LiteratureF. Sprinzels, Hollar, Vienna, 1938, p. 74, cat. no. 117 (with measurements reversed), ill., pl. 55, fig. 280V. Denkstein, Hollar drawings, London, 1979, p.33, fig. 13A. Volrábová, Wenceslaus Hollar (1606-1677) Drawings, A Catalogue Raisonné, Prague, 2017, under A.III. Appendix - Missing Drawings, p. 431, no. A.III/13Early in his professional life Hollar left his home city of Prague for Germany, the first of several countries he was to visit before finally settling in London as a result of meeting the Earl of Arundel during his travels. After two years in Stuttgart he arrived in Strasbourg in 1629 where he worked for Jacob van der Heyden's publishing house. The year he spent in Strasbourg was particularly productive and he made a number of landscape studies in and around the city. The present work is thought to be the earliest of his panoramic views and is very unusual in not having been developed into a more finished drawing or a recorded print. There is a remarkable fluency in the way Hollar has sketched the walled city - an avenue of trees, for instance, is described by a continuous looping pen line that indicates a sketch made on the spot and at speed. It also shows he was already remarkably assured in his ability to create a sense of recession in such a small and economic drawing. Close inspection shows a series of very faint graphite lines radiating out from a pin hole in the sky to the left of the spire of the cathedral church of Notre Dame, which Hollar would have used as a guide to the perspective.Hollar was from a well-to-do Prague family and his father was knighted by Emperor Rudolf II. One might speculate that as the son of a court official he may have been familiar with paintings in Rudolph's remarkable collection, such as those by the Brueghels, Paul Brill, Adam Elsheimer, Joris and Jacob Hoefnagel and Roelant Savery. His early prints show the influence of the court engraver Aegidius Sadeler as well as Durer's landscape etchings. One of the 20th century owners of this drawing, Henry Howard, was a print collector whose particular area of interest was Hollar, and he assisted the Royal Librarian of the day, Sir Owen Morshead, in cataloguing the Hollar drawings at Windsor. Dr. Alfred Scharf was to acquire the drawing at a later point; he was an art historian, collector and art dealer who emigrated from Berlin to London in 1933, and he remained there for the rest of his life.For further information on this lot please visit Bonhams.com

Alessandro Vitali (Urbino 1580-1650), After Federico Barocci The Crucifixion with Saints Sebastian, John the Evangelist and the Virgin Mary oil on two sheets of paper, laid down on panel, en grisaille and en brunaille, the upper edge extended by 4.5cm 84 x 52.5cm (33 1/16 x 20 11/16in).including the addition Footnotes: Provenance William, 2nd Earl of Dartmouth, and thence by descent to the present owner This unpublished and lavishly refined grisaille oil on paper is a faithful replica of the Christ on the Cross with Saints Sebastian, John the Evangelist and the Virgin Mary in Genoa Cathedral, a large altarpiece executed between 1587 and 1596 by the Urbino painter Federico Barocci (circa 1533-1612). The altarpiece (fig. 1) was commissioned by the future Doge of Genoa, Matteo Senarega, for his family chapel and cost the enormous sum of 1,000 scudi, twice the sum paid around the same time to Annibale Carracci for the entire Farnese Gallery 1.  The monumental scale and importance of the enterprise was publicly praised by Senarega in an official letter addressed to Barocci on October 5, 1596, where he stated that 'The panel has only one defect, which because it has the Divine, human praises do not reach it: for this reason, it lives wrapped up between silence and marvel' 2.  The precocious fame of the Genoa altarpiece and the efforts poured into it induced Barocci to reuse the composition, a practice made easy by the fact that he used to keep the 1:1 preparatory cartoons of his paintings in his workshop, ready to be proportionally enlarged, reduced, and replicated 3. The presence of the now-lost Crucifixion cartoon in Barocci's workshop in Urbino is attested by a slightly later commission which the artist took over from the local Oratorio della Confraternita della Morte together with his best pupil and associate, Alessandro Vitali (1580-1630), in 1597. Due to the time constraints of the fraternity and its shortage of money, it was agreed that the main figures of the new altarpiece were to be copied from the Genoa prototype. Working after the cartoon, Vitali executed most of the painting, while Barocci retouched the main characters, giving life in only two years (January 1597-April 1600) to a successful spin-off of his previous achievement which was even publicly praised in the painter's funeral oration (1612) 4. The 1:1 autograph replica in oil on paper which was on the art market in the late 1980s and is today in the Kunstmuseen Skt Gallen, Switzerland must date from around the same time. Traditionally interpreted as a preliminary sketch for the final composition, this refined painting on paper shows no sign of pentimenti and is finished in all its parts, suggesting that it was conceived as an autonomous work of art intended for private collectors and amateurs. The case of the Skt Gallen 'sketch' is not isolated. During his life, Barocci executed many works in oil on paper, both studies for entire compositions and individual 'teste di carattere' 5.  If some of these works, such as the beautiful study for the Last Supper in the Fitzwilliam Museum, Cambridge 6, or the small bozzetto for the Entombment in the Getty Museum, Los Angeles 7,  are clearly part of the preparatory process, showing signs of pentimenti, corrections and areas intentionally left blank, others are fully-finished creations, made in order to fulfil the requests of the market and capitalise the artist's creative efforts 8. This category includes both finished head studies (New York, Metropolitan Museum of Art 9; Stockholm, Nationalmuseum 10; Salzburg, Residenz), autograph coloured reduced replicas of entire compositions 11,  and small-size, grisaille replicas, such as the Madonna of the Rosary in the Ashmolean Museum, Oxford, connected to a painting executed by Barocci in Senigallia between circa 1589 and 1595 (fig. 2).12 Whether this beautiful and perfectly refined object was executed by Barocci before or after the completion of the altarpiece is a matter of debate. What is more interesting, however, is that the master executed at least one other autograph version of it (private collection, unpublished), and that both these autograph prototypes were copied again and again by his workshop (France, private collection; Paris, art market, formerly with the Galerie Tarantino; Milan, Museo Poldi Pezzoli, from the Riccardo Lampugnani Collection). Other grisaille replicas of whole or partial compositions, traditionally assigned by Barocci but now recognisable as products of the workshop on the grounds of quality, are in Windsor (Flight of Aeneas from Troy, Royal Collection; 13.    another version was recently on the British art market) 14,  Washington (The Presentation of the Virgin, National Gallery of Art, from the Woodner collection (fig. 3) 15,  Stamford (The Annunciation, Burghley House) 16, and Urbino (A cat, Galleria Nazionale delle Marche). 17    The Crucifixion discussed here belongs to the same category of grisaille workshop replicas of Barocci's more successful compositions, probably as one of the best examples of the group. Its exceptional quality and the metallic coldness of the palette suggest its author is the same person who executed the Washington Presentation. The comparison with the acknowledged work of Barocci's best pupils both the grisailles to be assigned to Alessandro Vitali, mentioned above as the collaborator of the Compagnia della Morte altarpiece made in 1597-1600 after the Genoa composition 18.  Vitali's two altarpieces of Saint Catherine in jail and of the Annunciation, both in the Galleria Nazionale delle Marche, Urbino, derived from Barocci's prototypes between 1598 and 1603, show an identical metallic, glazed treatment of the surfaces, as well as an emphasized liveliness and roundness of the cheeks and of the facial types. The close connection between Barocci and Vitali, and the latter's success in quickly establishing an independent career both as a copyist of his master's models and as an independent painter, explain the introduction of minor variations in our Crucifixion: a flock of birds flying around the towers of the ducal palace, and some new buildings on the square. They show Vitali's passion for details and might be connected to the nordicizing Flemish taste of the Urbino court around 1600. The result of such a combination of local tradition and external influences is an exceptionally refined work of art, whose precious and jewel-like quality, similar to the contemporary illuminations by Cesare Franchi or Gherardo Cibo, is enhanced by the use of a paper support and by the adoption of Barocci's elegant grayish-orange palette.For further information on this lot please visit Bonhams.com

Pierre-Paul Prud'hon (Cluny 1758-1823 Paris)Le Serment or The Oath from Jean Jacque Rosseau's Julie ou la Nouvelle Héloïse (Part 4, Letter XVII) inscribed 'a Julie' (upper right)brush and grey wash heightened with white on wove paper14.5 x 9.6cm (5 11/16 x 3 3/4in).Footnotes:ProvenancePossibly, sale, 16 March 1857, lot 159Collection of Dr. Guérard (all according to literature)With M.A. McDonald, New York (according to a label on the reverse)Private Collection, USALiteratureJ. Guiffrey, L'oeuvre de P.P. Prud'hon, Paris, 1924, pp. 412-3, cat.no. 1073, ill., pl. XXXIThe present work is from the series of drawings Prud'hon prepared for an edition of Jean-Jacques Rosseau's Julie ou la Nouvelle Héloïse published in Rouen in 1794-5. Another work from this series, depicting Le Premier Basiser de l'amour (Love's First Kiss), is in the musee du Louvre, Paris (inv. no. RF1455).A preliminary sketch for the present work was offered at Beaussant-Lefevre, 10 June 2022, lot 156 (black chalk heightened with white, 15 x 10cm).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Edward Lear (British, 1812-1888)Sketch of Monte Cima and Lake Luganosigned, inscribed and dated '11:15am/ Lake Lugano/ 18 August.1898, Monte Cima' (lower left), annotated throughout pencil, pen and ink 16.5 x 26cm (6 1/2 x 10 1/4in).Footnotes: Provenance Anon. sale, Bonhams, London, 2 November 1995, lot 84.For further information on this lot please visit Bonhams.com

Carl Brenders (American, born 1937)'Between the Vines - Red Fox'signed and dated 'CBrends/09' (lower right) watercolour and gouache 67.3 x 86cm (26 1/2 x 33 7/8in).Together with a preparatory sketch in pencil, signed and dated (lower left), 13.7 x 18.8cm (5 3/8 x 7 3/8in). (2)Footnotes:ProvenanceWith John Southern Art Gallery, Cornwall.Private collection, UK (purchased from the above in 2009).For further information on this lot please visit Bonhams.com

Christoffer Wilhelm Eckersberg (Danish, 1783-1853)Peasant girl knitting oil on canvas 34 x 23.8cm (13 3/8 x 9 3/8in).Footnotes:This work is a preliminary sketch for the painting Landscape with a knitting milkmaid in the collection of the Brundlund Castle Art Museum, Aabenraa. ProvenanceInspector Hans Henrik Frost (1766-1825).His sale, Copenhagen, 29 March 1826, lot 41 as Landskab, i hvis Forgrund en Bondepige gaaer og strikker (Landscape, with a knitting peasant girl in the foreground). Doctor Thorgeir Bekker, Nakskov (1898). Consul general Johan Hansen (his catalogue 1927, no. 318; cat. 1931, no. 324). His seventh sale, Winkel & Magnussen, Copenhagen, auction 135, 5 May 1933, lot 34.Purchased from the above by C.A. Lauritzen. Anon sale Bruun Rasmussen, Copenhagen, auction 600, 17 May 1994, lot 151.LiteratureEmil Hannover, Maleren C.W. Eckersberg, Copenhagen 1898, no. 75 (dated c. 1809).The authenticity of this work has been confirmed by Jesper Svenningsen in 2020.For further information on this lot please visit Bonhams.com

America.- De Kay (James E.) Zoology of New-York, or the New-York Fauna...Part II. Birds, engraved general title, 141 hand-coloured lithographed plates of birds, a few plates with very short marginal tears, a couple longer and repaired with tape to verso, all without loss of image, plate 134 with sketch in ink to upper margin, occasional light foxing, mainly to text and heavier to general title, light browning and offsetting to some plates, the odd light stain, later cloth, name of Mildred Stewart in gilt to foot of spine, [Zimmer 164], 4to, Albany, 1844; and another on the Birds of New England, 4to (2)⁂ One of 5 volumes on zoology written by De Kay as part of the larger series The Natural History of the State of New York, which included works on botany, geology, agriculture and palaeontology. Of this volume "only 300 copies were issued with the plates coloured" (Zimmer).

Whaling.- Beale (Thomas) The Natural History of the Sperm Whale... to which is added, a sketch of a South-Sea Whaling Voyage, second edition, half-title, 3 wood-engraved plates, tissue guards, illustrations, without list of subscribers or 4pp. advertisements at end, an excellent clean copy, bookplate of Lord Farnham, contemporary half calf, spine gilt with roan label, rubbed, [Ferguson 2709; Hill 89; Sabin 4108; Spence 105], 8vo, 1839.⁂ Classic whaling account first published under the title A Few Observations on the Natural History of the Sperm Whale in 1835, this greatly enlarged version was the first to include the whaling voyage, and was the edition used and annotated by Herman Melville prior to writing Moby Dick.

Geology & Natural History.- Fitton (William Henry) A Geological Sketch of the Vicinity of Hastings, first edition, folding hand-coloured plate of cross-sections, A.Pc.s. from S.Peter Dance to Michael Kerney loosely inserted, 1833 bound with Historical and Descriptive Account of Brimham Rocks (An) , in the West Riding of Yorkshire, lithographed frontispiece, 2 wood-engraved plates, Ripon, 1838, together 2 works in 1 vol., bookplate of Lord Farnham, contemporary half calf § Evans (John) Beauties of Clifton...Geology round Bristol, first edition, folding engraved map, some browning, contemporary half roan, spine gilt (chipped at ends), upper cover detached, Bristol, [c.1822] § Bellamy (J.C.) The Natural History of South Devon, first edition, plates, some folding, old library label to front pastedown, Plymouth & London, 1839 § Lees (Edwin) Pictures of Nature in the Silurian Region around the Malvern Hills..., Malvern, 1856 § Rhind (W.) Excursions illustrative of the Geology and Natural History of the Environs of Edinburgh, second edition, hand-coloured map, plate, illustrations, 4pp. advertisements at end, Edinburgh, 1836, the last three original cloth, spines a little faded, all rubbed; and c.25 others on British regional geology and natural history, 8vo et infra (c.30)

Britain.- Butler (Arthur G.) Birds of Great Britain and Ireland, 2 vol., numerous plates in colour after H. Gronvold and F.W. Frohawk, bookplates, ink ownership inscription endpapers, repairs to hinges, contemporary half morocco, spines a little sunned, extremities scuffed, [c.1908] § Adams (H.G.) and H.B. Adams, The Smaller British Birds, plates in colour, tissue-guards, contemporary red calf, spine gilt, lightly sunned, extremities scuffed, 1894 § Sharpe (R. Bowdler) Sketch-Book of British Birds, first edition, [2 copies], colour frontispiece and illustrations by A.F. and C. Lydon, errata slip, original pictorial cloth, extremities lightly bumped, 1898; and c.35 others, relating to the birds of the British Isles, v.s. (c.40)

Game Birds.- Pollard (Hugh B. C.) and Phyllis Barclay-Smith. British & American Game-Birds, one of 125 copies on hand-made paper and with an initialled pencil sketch by the artist, colour plates by Philip Rickman, captioned tissue guards, bookplate of Sidney K. Reeves, with his ink ownership inscription to front endpaper, faint spotting to front endpaper and half-title, hinges cracked but holding, original pigskin-backed cloth, portion of light sunning to upper cover, a couple subtle marks, corners rubbed, small tear to spine foot, t.e.g., others uncut, 1945 § Dixon (Charles) The Game Birds and Wild Fowl of The British Islands, second edition, colour plates, frontispiece lightly offset, some light spotting to peripheral ff. and fore-edge, original pictorial cloth, lightly rubbed and soiled, upper joint split at head, Sheffield, 1900, slight toning to margins; and others similar, v.s. (8)

Ephemera, an interesting selection of items to include bookmarks (8), 1920s advertising pocket calendars for Swift's Lard and Corned Beef (4), Festival of Britain pocket shopping list, 1935 advertisement for London Sketch Club Smoker Supper, National Crest Album (about 50% complete), Pepys Card Golf game, a scrap book of cuttings from 1898 regarding Dan Godfrey's Band, 'Brush and Pencil The Book of Tom Browne', a selection of British Museum and other postcards (gen gd)

William Augustus Sillince (1906 - 1974 Former Punch Cartoonist) 'I'm absolutely fed up with peace and war', pencil sketch, 17.5 cm x 24 cm, within a glazed frame, published in Punch on 24th May 1939 on page 578 in his book 'We're all in it' (Collins 1941), page 21

Postcards, Norfolk 40+ cards to include an RP street scene of Hickling (staining to reverse), artist drawn, railway official, yachting on The Broads, comic sketch cards etc. (mixed cond fair/gd)

Mary Beresford Williams (1931 2003)The Fairgroundsigned with initials, pencil and watercolour sketch, 27cm x 37cm

A brass three-draw telescope stamped "Try MF Trademark", a small collection of Scottish church communion tokens (to include Kilmadock 1794, Doun [sic] 1806, Comrie 1799 etc.), three various sketch albums with dates ranging from 1916 to 1949 and a small selection of loose cigarette cards Condition Report:Available upon request

Two WW1 death plaques (James Laurie and Neil McInnes, the former housed in an ebonised circular frame), together with a pre-war sketch album belonging to a J.M. Laurie, likely the same man; Royal Corps of Signals cap badges, uniform buttons etc., Women's Land Army enamel badge, WW2 German Third Reich Red Cross Nursing badge marked "Ges.gesch" verso, mixed vintage postcards to include Glasgow views etc. Condition Report:Available upon request

A small group of acetates and animated sketch backdrops relating to the Pink Panther, including two certificates of authenticity.

AN OAK AND INLAID BIBLE BOXDATED '1672'the top and cover carved 'FLYES' and 'IZAAK WALTON / 1672' surrounded by inlaid fish in a variety of woods, the interior fitted with three drawers inlaid with similar fish, the front and sides carved with scrolling stylised flowers26.5cm high, 73cm wide, 47cm deep Catalogue NoteIzaak Walton (1593-1683) is best know as the author of 'The Compleat Angler', first published in 1653, amended and re-issued several times in his lifetime and subsequently. It is seen as the quintessential celebration of the art and spirit of angling and is based on a compilation of earlier publications.The book 'Thomas Ken and Izaak Walton, A sketch of their lives and family connection', by E. Marston and published by Longmans Green & Co. 1908, references a box and other furniture, matching the description of the box being offered here, as being listed in the will of Izaak Walton. Later purchased as part of a 'fine collection of old oak and antique furniture' offered at auction in 1881 and was then in the possession of one Mr Elkin Matthews. It then appears to have been offered as part of an auction held by Bonhams in the 1970's and most recently at Dreweatts and Bloomsbury on 12th January 2016 as lot 122.

A LARGE AND FINE GEORGE III EMBROIDERED NEEDLEWORK PICTURE OF 'INSIDE OF A STABLE'BY MARY LINWOOD (1755 - 1845), AFTER GEORGE MORLAND, DATED '1803'worked in worsted wool and silks in a variety of stitches, with stitched signature lower centre and George Morland stitched signature middle right, in a glazed giltwood frame144 x 198.5cm Catalogue NoteThis 'tour de force' of a tapestry is a life size version of George Morland's painting 'Inside of a Stable' held by The Tate Gallery, London. The painting was first exhibited at the Royal Academy in 1791 and given the size of the current lot and the length of time Miss Linwood took to create her works, it is quite probable that she saw the original painting at the RA when it was first exhibited.Mary Linwood was born in Birmingham to Matthew and Hannah Linwood, being baptised on 18th July 1755. Her father was a linen draper and her mother an embroiderer but later founded and ran the Priory Boarding School in Leicester where Mary went to study. In the early 1770's, Mary joined the staff at The Priory, by then a well respected finishing school, and eventually went on to run the school as well as her own gallery in Leicester Square, London, that she opened in 1809.Mary specialised in creating full scale versions of paintings by leading artists such as George Morland, Sir Joshua Reynolds and Thomas Gainsborough. She submitted several of her 'pictures' to the Royal Academy in the late 1780s which, although rejected for not being 'a painting, drawing or sculpture' were universally praised by the then President, Sir Joshua Reynolds, and many other artists who happened to see them. In 1789, she created the much celebrated Salvator Mundi, after Carlo Dolci, for which she was offered 3000 guineas, around £400,000 in today's money. It is now in the Royal Collection.After a number of well received exhibitions in London and other major British cities, attracting the attention of George III and Queen Charlotte along with many others from the higher echelons of society, Mary took the plunge and invested in her own gallery at Sir Joshua Reynold's former studio in Savile House, Leicester Square, London. This was specifically to show her 'needle paintings', to promote the art of embroidery and quite probably her finishing school in Leicester. The gallery quickly became a highlight of the London tourist trail being featured in a number of publications including 'Curiosities of London' and Mogg’s 'New Picture of London' and 'Visitors’ Guide to its Sights' which states: “This beautiful style of needlework is the invention of a Leicestershire lady, and consists of fifty-nine of the finest pictures in the English and foreign schools of art, possessing all the correct drawing, just colouring and light and shade of the original pictures from which they are taken; in a word, Miss Linwood’s exhibition is one of the most beautiful the metropolis can boast and should unquestionably be witnessed, as it deserves to be, by every admirer of art.” A watercolour of a view of Mary's gallery (V&A, London, accession number p.6-1985) shows several of her pictures including the lot being offered here and a 'biographical sketch' in La Belle Assemblee issued in November 1821, says that “The Farmer’s Stable, after Morland, is as fine a copy of the original picture as can be conceived, perhaps, in any branch of art; but, considered as a piece of needlework, its truth and effect in drawing and colouring, and the clear making out of the minute detail, is a rare curiosity".The present lot is listed in the 1812 catalogue ‘Mary Linwood’s Gallery of Pictures in Worsted, Leicester Square’, No.10 ‘Farmer’s Stable, Morland’.

19th century Wedgwood Majolica lamp base with three elephant circus masks, Martins patent brass burner, overall h.33cm.There is a design sketch for this lamp in the Wedgwood pattern book dating from 1870-1879; the pattern book is part of the Wedgwood Archive collection held by The Wedgwood Museum, Stoke-on-Trent. 2 chips to underside of base, chip to end of elephants trunk and chip to base edge, crazing to underside of base.

A box of assorted items including a set of four Victorian seasons sketch books, hallmarked silver vase ( in cabinet ), a tortoiseshell dressing table set, a carved wood box, glassware etc.

Old Holborn tin, 22cm across, submarine lighter, brass figure, bottle holders, and a sketch

Snaffles books, comprising A Half Century of Memories, The History of The Peshawar Vale Hunt, by Capt. and Bt. Major G S Hurst, MSH, Royal Signals, Osses and Obstacles, More Bandobast, and My Sketch Book In The Shiny, together with various modern Snaffles greetings cards. (a quantity)

A COLLECTION OF VINTAGE P&O MENUS and other ephemera, Concorde material, sketch book, postcards etc

Three horse related pictures. Consisting of a 'jockey riding a race horse' signed Frankel, 65cm x 45cm; a print of two horses 64cm x 49cm and a pencil and wash sketch, 44cm x 30cm, all framed and glazed

William Hemsley, Birdcatchers, an advanced sketch,oil on canvas, signed and inscribed verso,43x56cm.Condition report:Please see additional uploaded images of the painting in its frame.

A tray containing stylophone, boxed camera, Etch A sketch, darts etc.

A autograph book bearing various signatures and a Giles sketch signed

Attributed to George Frederick Watts (1817-1904), sepia chalk drawing, Sketch of the explorer Richard Burton, 29 x 16.5cm

Pre-Raphaelite School, sanguine chalk on buff paper, Gridlined sketch of a putto blowing a horn, 43 x 24cm

Early 20th century British School, pencil drawing, Sketch of a youth, 22 x 15cm

Local Interest* Alfred Wainwright (British 1907-1991) an original pen and ink drawing of the famous landmark 'Aira Force' signed and entitled in ink to stepped card mount, within a moulded frame under glass. 17.5cm x 10.5cm & 31.5cm x 24cm overall. Some yellowing but generally good condition. This lot was drawn after Wainwright retired from his role as Borough Treasurer in 1967. for A Lakeland Sketchbook, published in September 1969. Illustration number 16 The original drawings for this title, 80 in total, including Aira Force, were donated to the Kendal Branch of the 'Save The Children Fund' and exhibited at Abbot Hall, Kendal, between 3rd - 13th December 1969. All first editions of A Lakeland Sketchbook came with a leaflet, allowing the owner to purchase an original sketch from this title. The drawings sold out within a few days of publication. There were many disappointed people, as over 1,000 letters and enquiries for drawings were received. Kindly donated to and sold on behalf of Patterdale Mountain Rescue Association Ltd.

MG wall art - to include a enamel MG 'Safety Fast!' hanging sign (45cmx45cm), framed wood engraving picture of a MG (39cmx31cm) and a framed personal MG related cartoon story Happy Birthday sketch (3).

A small quantity of art materials including canvas, sketch books, etc

A late Victorian sketch book, that of M E Davies, Colley, containing pencil and watercolour sketches and a map of North East Germany, also views of the Isle of Man, 13 cm x 18 cm

David Shepherd CBE FRSA FGRA (1931-2017) Elephantpencil sketch, 9 x 8cm signed lower right, signed on the mount, framed and glazed Halcyon Gallery label verso ARR may apply 

NO RESERVE Canada.- [Todd (Ellen)] A Canadian Winter Sketch, manuscript, 8pp., slightly browned, extracted from an album, disbound, 4to, [Toronto], [c. 1840].⁂ "Strange, most strange to English eyes is the scene presented to our view by the Canadian winter... . The merry dancing of the blue waves of old Ontario... is exchanged to the calm and unbroken expanse of the ice-fields, spread like a pall over the late playful waters; the naked branches of the forest trees like shivering plantations of the summer woods in the cold air... ."

Noël Gibson (1928-2005) - East End of London street scene with buildings and lamp post, signed, oil on board, 36" x 48"** The work is double-sided and has to the reverse a black and white oil sketch of buildings on a street, possibly London ** The artist is renowned for his impasto style and he primarily worked in the Bethnal Green and Whitechapel area, recording his childhood memories of the East End of London in the 1960s and 1970s. The artist was born in Glasgow in 1928 and moved to East London in 1962, staying in the area until 1974, when he became Provost Verger of South Worc Cathedral in 1977. He trained as a singer but taught himself how to paint; a Bohemian, he loved the Italian way of doing things and was well known for decorating his house at 90, South Worc Bridge Road with flowers The Hackney Council mounted an exhibition of his work featuring sixty paintings, almost all of them were sold and he was commissioned to paint many more; his paintings were purchased by private collectors in America, Australia, New Zealand and the Netherlands. He exhibited at the Canaletto Gallery in 1972, the Whitechapel Gallery, and the Nunnery Gallery

James Roberts (1725-1799) - Portrait of an elderly lady in a Bonnet, pencil drawing a preparatory sketch, 4.5" x 3.5" ** Provenance with Thomas Agnew & Sons Ltd, Old Bond Street, Piccadilly, London W1X 4BA, their stock No. 41644 ** The work is sold together with the original receipt dated 22nd November 1978.

English School (20th century) - Figure beside a stone column with another figure in a sunlit doorway nearby, signed with the initials J.K., pencil and watercolour, a preparatory sketch, 14" x 10"

Collection of vintage books to include Burke's Landed Gentry Vols 1 and 2 1898, Burke's Peerage, Baronetage & Knightage, Armorial Families, 4 volume of Ogilvie's Imperial Dictionary Of The English Language, Folio Society books to include The Prisoner Of Zenda, 3 Men In A Boat The Tragedy Of Macbeth, The Wit Of Oscar Wilde and As You Like it. Also included Picturesque Australia, various artist guides, Common Prayer and Communion book, A Sketch Of The Life And Writings Of Fenelon by The Archbishop Of Cambray (printed 1810) etc. 2 boxes

FOUR OAK TEA TRAYS AND CRIB BOARD AND DOMINOES, THREE MAGNIFYING GLASSES, SILVER PLATED SPOONS, A 1940'S PENCIL SKETCH, TWO PRINTS A PAPERWEIGHT ETC.

L S Lowry mounted 1961 pencil sketch of some trees + gate in a field - 31.5cm x 39.7cm ~ Laurence Stephen Lowry (1887–1976)

L S Lowry 1951 mounted signed pencil sketch of a bandstand with 3 figures - mount is also signed & annotated front & back - page size 31.5cm x 24cm & has 2 creases and a tear (2.5cm) and slight losses / scuffs to surface ~ Laurence Stephen Lowry (1887–1976)

L S Lowry 1965 pen & ink sketch on tissue paper of 4 men smoking - 20.5cm x 25.5cm & has some creasing ~ Laurence Stephen Lowry (1887–1976)

L S Lowry 1960 mounted pencil sketch of a kid - approx 20cm x 16cm ~ Laurence Stephen Lowry (1887–1976)