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Two Indian drawings of Ganesha, comprising:an early Marwar Illustration of Ganesha and Saraswati, 16th century, ink and opaque watercolour on paper,16 x 18cm, anda drawing of Ganesha, early 20th century, North India,26 x 15cm (2)Condition ReportWith marks and creases commensurate with age and use. Both images have been cut from larger leaves.

Three Indian drawings, 'A Sikh Prince Seated', c.1840-1846, Punjab, ink on paper,21 x 15cm,a drawing of Abhai Singh worshipping the goddess Durga,c.1720, Jodhpur, ink on paper,39 x 29cm, anda drawing of a prince being entertained by dancers,c.1860, Alwar or Jaipur, ink and opaque watercolour on paper,21 x 30cm (3)Condition ReportWith marks, smudges and creases throughout commensurate with use, taped to board at upper margin - see high resolution images available online. No further provenance available

A group of three Indian drawings, a 'Study of a Courtesan', Bikaner, early 18th century,15 x 9cm,'Portrait of a Courtesan in an Interior', c.1835-1840, ink, pencil and watercolour on paper,19 x 14cm, andMaharha Madho Singh of Jaipur, 18th century,13 x 8cm (3)Condition ReportTwo of the drawings are glued down - all have age damage. The coloured image has various stains and remains of paper / stickers to the base of the drawing.

SIMPSONS, THE (TV SERIES, 1989-PRESENT) - Homer and The Devil Original Animation Cel Signed Harry Shearer and Matching Production Drawing - An original production cel and matching production drawing from The Simpsons classic episode "Treehouse of Horror IV" (Season 5, Episode 5), widely ranked among the all-time greatest Halloween specials.This scene hails from "The Devil and Homer Simpson," where Homer, true to form, trades his soul for a donut. He then thinks he can outsmart the Devil (hilariously portrayed by Ned Flanders) by saving the last bite in the fridge, complete with a sign reading "Daddy's Soul Donut!" and "Do Not Eat". Naturally, Homer's midnight snack instincts win out, and once the final crumb is devoured, Devil Flanders bursts in to claim his prize. But Homer is too big to fit through the flaming hellhole, forcing Ned to break out a sink plunger to shove him down.This rare setup is signed in black ink by Harry Shearer (the legendary voice of Ned Flanders), along with his perfectly in-character inscription, "Nobody escapes the Dev-diddly-evil!". With vibrant colours, oversized character action, and a matching production drawing, this is a knockout piece from a fan-favourite episode. They come displayed side by side in a blue-coloured mount. Dimensions (mounted): 38.5 cm x 80.75 cm (15.25" x 31.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SLEEPING BEAUTY (1959) - Maleficent Full-Figure Original Pan Production Pencil Drawing - An original pan production drawing of Maleficent from Walt Disney's 1959 animated film Sleeping Beauty.Maleficent was designed and animated by Marc Davis, one of Walt Disney's legendary Nine Old Men, whose refined draftsmanship and theatrical sense of movement helped define her as one of the most enduring characters in Disney history. Davis considered Maleficent his most challenging and rewarding assignment. This lot offers collectors a rare opportunity to own not just animation art but one of the most commanding renderings of perhaps Disney's most iconic villain ever created.This full-figure production drawing shows Maleficent's horned silhouette elegantly posed in her sweeping cloak and captures the villainess in all her iconic grandeur. It is rendered in graphite and coloured pencil on pan animation paper. Measuring an expansive 16-field width, this is a rare, large-scale image used in the making of Sleeping Beauty. The red pencil highlights on the inner cloak indicate cel painting cues, typical of the multi-stage ink and paint process. It is labelled with the sequence number "27", and the bottom edge of the paper displays its original peg hole configuration. Dimensions: 32 cm x 50.5 cm (12.5" x 20")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production drawing of Grumpy from Walt Disney's 1937 animated film Snow White and the Seven Dwarfs. As part of the first full-length cel-animated feature film in history, Snow White and the Seven Dwarfs marked a watershed moment in animation and cinematic storytelling. Original artwork from this landmark production remains among the most sought-after.This drawing captures Grumpy mid-stride, fists clenched and jaw set in his signature scowl, a quintessential expression of one of Disney's most beloved Dwarfs. Rendered in graphite with red and green colour pencil accents on 12-field 5-peg animation paper, this is a superb example of Disney's early character animation. The ink and paint department used the red and green lines to denote the different colour inklines, part of the labour-intensive hand-inking process employed at the time. The sheet is production-stamped with "2001, 10A, 25" and is numbered "44" in the lower right, matching Disney's meticulous scene and frame tracking system. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

CINDERELLA (1950) - Cinderella In Bed Original Production-Era Animation Pencil Drawing - An original production-era animation drawing of Cinderella from Walt Disney Studios c.1949-1950. While this drawing does not match an exact final frame in the completed 1950 animated film, several production markers affirm its authenticity: the paper, peg configuration, and character styling place it squarely within the film's production window. The line quality and looseness of the facial features and hairstyle suggest it may have been part of a rough animation pass, an assistant animator's timing test, or a development drawing created while refining key scenes.Drawings like this often originate from early or alternate versions of sequences that were later revised or reanimated. The softer linework and absence of ink-and-paint registration marks reinforce that this was not traced for cel use but was a working part of the animation process. It is ideal for collectors who value the craftsmanship and behind-the-scenes artistry that shaped the golden age of Disney animation.The drawing shows Cinderella seated in bed and holding a blanket. It is rendered in graphite with a small amount of pink coloured pencil added to her lips on 12-field, 5-peg hole animation paper. It is numbered "47" on the lower right. The paper displays some minor creasing. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINOCCHIO (1940) - Framed Limited Edition "Anytime You Need Me" Animation Cel - This hand-painted limited edition cel, released by Walt Disney Art Classics in 1996, captures the heartfelt moment where Jiminy Cricket offers guidance to Pinocchio, encapsulating the enduring theme: “Always let your conscience be your guide.â€Created using traditional techniques, Disney artists hand-inked lines onto acetate cels over original animation drawings (for example, note the different-coloured ink lines for Pinocchio’s nose, hair, and the rendering on his feather) and then hand-painted the artwork using 30 Disney-approved acrylic colours. The background was lovingly reproduced by a Disney artist, drawing from original paintings, sketches, and frames to ensure authenticity.Hand-painted limited editions like this hold a significant place in the animation art market. They provide collectors and fans with beautifully rendered pieces from beloved films, exactly how they were originally enjoyed. Original production cels and backgrounds were lost, archived, or command exceptionally high values when they surface. Released through Disney’s Collector’s Art Programme and sold via theme parks, Disney Stores, and authorised galleries, these editions were crafted with meticulous attention to detail, often utilising archived notes and artwork to ensure authenticity.Limited to just 350 pieces, this artwork is numbered “140/350†and bears a Walt Disney Company seal in the lower right corner. Many editions, including this one, sold out upon release due to high anticipation and remain highly sought after by collectors today. It is mounted within an original Disney frame with plexiglass and features a hanging wire on the reverse. The lot is accompanied by a The Walt Disney Company certificate of authenticity. Dimensions (framed): 25.25" x 23.25" x 1.25" (64 x 59 x 3 cm)Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SWORD IN THE STONE, THE (1963) - Merlin Original Production Pencil Drawing Signed by Ollie Johnston - An original production drawing of Merlin signed by Ollie Johnston from Walt Disney's 1963 animated film The Sword in the Stone.Original production drawings signed by Johnston are scarce, and this piece offers a rare opportunity to own a drawing from the very character he helped define, enriched further by his signature and its direct provenance from The Sword in the Stone production.An expressive rough animation drawing of Merlin, the eccentric wizard, mid-gesture with a teapot in hand. It is rendered in graphite with coloured pencil on 12-field animation paper. Red and purple pencil lines are visible on the robe and arm, providing colour references for the ink and paint department, which was typical of studio workflow at the time. The sheet features three-peg registration holes, a standard for Disney's production during this era, and is marked "89" in the lower right corner. The upper left includes frame range notations "83-89", suggesting this drawing was created for a short burst of character animation.This drawing is signed by legendary Disney animator Ollie Johnston, one of Walt Disney's revered "Nine Old Men" and also the supervising animator for Merlin throughout the film. Johnston was a master of emotional expression and subtle character acting, and his work on Merlin gave the character warmth and unpredictability. His artistic approach and supervision shaped every moment of Merlin's performance on screen. While this drawing cannot be definitively attributed to Johnston's own hand, its construction and style are consistent with rough animation completed under his direction. The left side of the paper displays creasing and there are some small tears along the bottom edge. Dimensions: 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

MULAN (1998) - Mushu Original Production Pencil Drawing - An original production drawing of Mushu from Disney's Mulan, used in the making of the film. Mulan holds a particular place in Disney history as one of the final features to use the full traditional hand-drawn process of animators sketching on paper, while integrating the CAPS (Computer Animation Production System) pipeline, developed in collaboration with Pixar. Rather than transferring drawings onto acetate cels and painting them by hand, the final animation was scanned, digitally inked and painted, and composited with effects and backgrounds inside a digital system. This hybrid technique preserved the look of classic animation while allowing for more complex visual sequences. Original character drawings of Mushu are highly sought-after by collectors due to his popularity, personality, and the key role he plays in both narrative and comic relief. Voiced by Eddie Murphy, Mushu became an instant fan-favourite and remains one of the most recognisable Disney sidekicks of the 1990s.Drawings like this were an essential part of the traditional animation pipeline, forming the foundation for each cel or digitally inked frame. Mushu was supervised by Disney animator Tom Bancroft, whose energetic and comic approach brought the character to life in every scene. Executed in graphite and red pencil on Disney animation paper, this expressive sketch captures the fiery guardian dragon mid-gesture, eyes narrowed, brow furrowed, and clawed hand poised in classic Mushu attitude. The use of red pencil here denotes the animator's rough underdrawing, used to establish the form and energy of the pose, while the black graphite layer refines the lines that would be passed to clean-up and (digital) ink and paint departments. Dimensions: 32 cm x 43.25 cm (12.5" x 17")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

PINOCCHIO (1940) - Pinocchio Lifting Hat Original Production Pencil Drawing - An original production drawing of Pinocchio from Walt Disney's 1940 animated film Pinocchio.A beautifully animated drawing of the wooden puppet caught in a moment of wide-eyed curiosity as he lifts his hat. The pose is charming, with the character centrally placed and generously sized on the page, making it a standout display piece. Full of personality, with a strong silhouette and expressive lines, this is classic Disney animation at its best.Rendered in graphite with red and green colour pencil detail on original 5-peg hole animation paper, the drawing features clear indications for the ink and paint team, including shadow and cel layering references. The shaded area behind Pinocchio's arm is marked "DX65," a practical note that hints at the colour reference and instruction. It is numbered "C65" and stamped "Prod. 2003, Seq. 1.6, Scene 15". Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

SNOW WHITE AND THE SEVEN DWARFS (1937) - Framed Snow White and Forest Creatures Original Production Cels on Courvoisier Background - An original production multi-cel setup used in the making of Snow White and the Seven Dwarfs, Walt Disney's groundbreaking first full-length animated feature and the film that laid the foundation for the studio's legacy. Drawing on the Brothers Grimm fairy tale, Snow White redefined what animation could achieve emotionally, artistically, and technically.This beautifully staged setup captures Snow White surrounded by her forest friends in a moment of calm and song following her escape into the woods. The scene's warmth and charm have helped cement it as one of the film's most enduring images. Snow White's graceful posture and naturalistic gestures were achieved using the then-revolutionary technique of rotoscoping - tracing over live-action reference footage to ensure fluid, believable movement. Marge Belcher (later Marge Champion), a trained dancer, was filmed in the role, allowing animators to blend realism with stylised charm.The original production cels, hand-inked and painted, have been trimmed and placed over an airbrushed Courvoisier background created specifically for presentation purposes, with contextual detail that reflects the scene's tone and setting. Delicate ink lines and surface detailing on the hair add richness to the composition, while the interaction between Snow White and the animals offers the classic characterisation Disney does best.It is presented in a deep-set frame under laminated glass, with a vintage Walt Disney label affixed to the reverse. There is some slight wear to the lower corner of the frame, but the artwork remains a captivating and iconic piece from a film that changed cinema forever. Dimensions (framed): 38.25 cm x 36 cm x 4 cm (15" x 14.25" x 1.5")Sold without copyright; see notice in the Buyer's Guide.Additional Provenance:Lot 1348, Bonhams TCM Presents ... Out of This World! Auction, 21st November 2017VAT Status: M

WHO FRAMED ROGER RABBIT (1988) - Multi-Character Original Production Drawing - An original character production drawing from Robert Zemeckis' landmark hybrid movie, Who Framed Roger Rabbit, featuring Mickey Mouse, Minnie Mouse, Goofy, Daffy Duck, Bugs Bunny, Tweety, and Betty Boop.Created for the film's iconic final sequence, this historic moment famously marks the first and only time animated characters from rival studios including Disney, Warner Bros., Fleischer, and others appeared together on screen.Drawn on 16-field animation paper in graphite and orange pencil, this image was created for the film's final sequence, where the characters gather around the dipped remains of Judge Doom (indicated by the soft orange outline in the foreground). The use of orange pencil denotes rough positioning and scene planning, while the refined graphite outlines signal this was a traced and finalised element intended for production reference prior to cel painting. Registration marks, scene notation ("237/B1"), faint orange cross pan indicators, and a camera crop line through Bugs Bunny's ears point to its use as a working layout for the animators and camera team. Each character is delicately rendered, ready for ink and paint.This original drawing, featuring classic poses and expressions of some of the most iconic cartoon characters, is a wonderful example of the intricate and detailed processes of animation before colouring and placing it onto film. Dimensions: 32 x 41 cm (12.5" x 16.25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

PINOCCHIO (1940) - Two Original Production Pencil Drawings of Geppetto and Pinocchio Dancing - A pair of original production full-figure drawings of Geppetto and Pinocchio from Walt Disney's 1940 animated film Pinocchio.Pinocchio was Walt Disney's second animated feature and remains one of the most technically sophisticated films of its era, with shadow work, dimensional character animation, and emotional nuance pushed to new heights. These two drawings, though created for different moments, reflect the care and complexity of that process. This is an opportunity to acquire original artwork from one of the most enduring relationships in Disney history.The first drawing shows Pinocchio mid-step, arms folded, whilst attempting the Hopak dance during the song "I've Got No Strings". It features tonal cues and shadowing in red and green pencil. It is numbered "72" and from "Prod. 2003, Seq. 4.2, Scene 42". The Geppetto artwork shows him stooped and reflective yet full of movement, putting on his coat. It is labelled "Prod. 2003, Seq. 3.1, Scene 5", numbered "369," and showcases delicate shadow instruction and green tonal layout.Both sheets bear clear ink and paint reference markings, notably the use of red and green colour pencils to indicate colour separation, shading, and contour, all essential for guiding cel painters during production. The artwork sits on Disney's 5-hole peg configuration, standard for the studio's Golden Age of animation. The Geppetto drawing comes with a protective sheet of acetate. Dimensions (largest): 31.75 cm x 39.25 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

FANTASIA (1940) - Chernabog Original Production Pencil Drawing - An original production drawing of Chernabog from Walt Disney's 1940 animated film Fantasia.Chernabog is the demonic mountain spirit from Fantasia's Night on Bald Mountain sequence. It is widely regarded as one of the most powerful and visually striking character animation pieces in Disney history. This high-calibre drawing offers a glimpse into the making of Fantasia and is a key artefact from one of the most ambitious sequences ever attempted in traditional animation. Chernabog was animated under the supervision of Vladimir "Bill" Tytla, one of Disney's most acclaimed animators. Tytla, who also animated Stromboli (Pinocchio) and Dumbo, often considered Chernabog his finest achievement.Drawn in graphite and highlighted with red and blue coloured pencils, the linework is bold and enhanced with animator notes in red indicating painting instructions. This drawing is labelled with the frame number "184". Using different coloured pencil lines also served a practical purpose in the animation process, allowing the ink and paint department to trace linework in specific colours when transferring to the cel. Characters were hand-inked in coloured lines rather than pure black. The 5-peg registration hole configuration at the base of the sheet confirms this was part of Disney's animation pipeline during the Golden Age, and the framing lines drawn around the figure reflect how the rostrum camera would capture this composition. Dimensions: 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

BUGS BUNNY - Signed Limited Edition Animation "Sequential Series" Drawing by Virgil Ross - A limited edition animation drawing of Bugs Bunny created by legendary animation Virgil Ross. Titled "Whoaaa", this hand-inked and hand-painted artwork was part of the Sequential Series and shows three separate newly drawn character study images by Ross of Bugs Bunny dressed in Western attire on his horse. The hat resembles what Bugs Bunny wore in the 1948 animated short Bugs Bunny Rides Again. This lot is hand-numbered #187 out of 250, signed by Ross in black ink and bears a Warner Bros Virgil Ross Masters Collection seal in the lower right corner. It comes mounted within a black frame with acrylic, which displays minor signs of wear, and features a hanging wire on the reverse. Dimensions (framed): 24" x 21" x 1.25" (61 x 53 x 3 cm)Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

ONE HUNDRED AND ONE DALMATIANS (1961) - Set of Three Cruella de Vil Car Production Colour Model Cels and Colour Key Study Drawing - A collection of three original hand-painted colour model cels, accompanied by a rare hand-drawn colour key study, all created during the production of One Hundred and One Dalmatians.These pieces showcase the evolution of Cruella de Vil's menacingly glamorous car, a visual extension of her chaotic, careening personality, through multiple palettes, highlights, and layout angles.One Hundred and One Dalmatians was a stylistic turning point for Disney. It was the first feature to embrace the Xerox process fully, transferring animators' pencil drawings directly onto cels rather than redrawing in ink, a revolutionary time-saving method. The film was renowned for its contemporary art direction and exquisite London setting. There were believed to be exactly 6,469,952 spots in the film, a technical feat that necessitated innovations like the Xerox process in the first place.These are not standard animation cels but model colour keys, tools used by the studio's paint and ink departments to establish and reference colour consistency throughout the film. The cels here offer three distinct colour approaches, each boldly different in tone and represent a test or approved version of the vehicle's design, reflecting the creative decisions that would inform final animation. The hand-drawn colour key drawing includes annotated pigment codes and notations, revealing the precise, collaborative process of determining how a character (or car!) would appear on screen.Studio-stamped with scene, sequence, and cel level notations, this grouping is not only a practical document of production but an expressive archive of design decision-making. Together, these pieces celebrate both the artistry and innovation that One Hundred And One Dalmatians brought to Disney's animated canon. The set displays some staple holes from previous use and minor marks. Dimensions (each cel): 31.75 cm x 40.75 cm (12.5" x 16"); (drawing): 31.75 cm x 41 cm (12.5" x 16")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

λ ÖYVIND FAHLSTRÖM (SWEDISH 1928-1976) 6 ELEMENTS FOR 'NIGHT MUSIC 2' Ink and acrylic on paper, six sheets framed as one Each sheet variously inscribed Overall 39 x 71cm (15¼ x 27¾ in.)Executed in 1975.Provenance: Arnold Herstand & Company, New York Aurel Scheibler, Cologne Condition Report: Executed on six separate sheets, all mounted framed together. Three of the sheets are noticeably discoloured throughout, in particular the middle drawing on the top row which also has some staining to the upper left corner. The sheets all have varying degrees of handling creases and some with small losses or tears to the extreme edges. Please see the high resolution images for further clarification. Unexamined out of glazed frame.Condition Report Disclaimer

‡ THÉODORE GÉRICAULT (FRENCH 1791-1824) LE SONGE D'ENÉE (THE DREAM OF AENEAS) Black crayon, pen and ink, wash and watercolour heightened with white 13.5 x 21cm (5¼ x 8¼ in.) Drawn circa 1815.Provenance: Edouard Aynard Collection Sale, Sotheby's, Monaco, 20th June 1987, lot 436 Galerie Prouté, Paris Private collection, Switzerland Sale, Sotheby's, London, 9th April 2002, lot 110 Executed in 1815, according to Professor Lorenz Eitner the drawing 'exemplifies the eccentric graphic style - marked by extremely heavy, angular pen contours - in which Gericault at that time explored classical subjects. This classicist episode in Géricault's work constituted a rather vehement reaction against his own earlier modern and realistic work of 1812-1814.' Condition Report: The sheet appears to have been laid down at the four extreme corners. Some light discolouration to the sheet. The colours are a little down, particularly the blue pigment. Some very light wear to the extreme edges commensurate with age. Some very light spots of minor surface dirt scattered throughout but these are barely noticeable. Undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer

‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) SKETCH FOR THE STATE PORTRAIT OF QUEEN ADELAIDE Pen and brown ink and watercolour over pencil Signed and indistinctly dated '18??' (lower right) 27 x 15cm (10½ x 5¾ in.)Provenance: Ladybank Sale of Leslie House effects, Fife With William McClaren Sale, Sotheby's, London, Eighteenth and Nineteenth Century British Drawings and Watercolours, 11 April 1991, lot 52 With Bourne Fine Art, Edinburgh Wilkie as Painter in Ordinary to the King was commanded to paint the companion picture of Queen Adelaide in Coronation robes in December 1832, the finished work exhibited at the Royal Academy in 1834 (now lost, a later version hangs in the Examination Schools, Oxford). Wilkie had painted King William IV in 1831, exhibited at the Royal Academy in 1832. The date on the present drawing is hard to read, if read as 1836 (as when it was sold previously) it could be a retrospective drawing rather than a study and presumably done for a particular client, though Wilkie was strict about not selling or giving people portraits of the Royal Family. Wilkie has certainly flattered the Queen in his portrayal of her. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.  

ATTRIBUTED TO GIOVANNI BATTISTA PIRANESI (ITALIAN 1720-1778) YOUNG MAN GESTURING TO HIS RIGHT, HEAD UP; YOUNG MAN GESTURING TO HIS RIGHT, HEAD DOWN The first pen and brown ink, on laid paper with partial watermark of encircled Fleur-de-Lis; the second red chalk on thick laid paper without watermark Each 7 x 4cm (2¾ x 1½ in.) Unframed (2) A larger pen and ink drawing of a figure gesturing in a similar manner, Study of a man pointing, is held in the Ashmolean Museum, Oxford [see acc. no. WA1937.147]. Condition Report: Each sheet has been hinge mounted along the upper edge. The figure with his head up: The sheet with some considerable water staining (see online and catalogue image), as well as some staining and discolouration, as well as spots of surface dirt throughout.The figure with his head down: With some light staining and discolouration to the sheet as well as some potential water damage along the upper and right edges. Condition Report Disclaimer

SIR DAVID WILKIE (SCOTTISH 1785-1841) STUDY FOR READING THE WILL Pen and brown ink 5.5 x 12.5cm (2 x 4¾ in.)Provenance: The Property of a Gentleman His sale, Christie's, London, British Drawings and Watercolours, 17 November 1992, lot 31 (sold as part of a group lot)Exhibited: London, Richard L. Feigen & Co, Sir David Wilkie (1785 - 1841), 13 October - 25 November 1994 (hors cat.)The present drawing is possibly an early idea for Reading the Will (Munich, 1820-1), the first stages of which involved disinherited sons standing at a table on the right side of the picture. Alternatively it may be an early sketch for the lost painting Columbus at the Court of Spain, in which Columbus explains his ideas to Isabella, Queen of Spain.We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.    

BARTHOLOMEUS BREENBERGH (DUTCH 1598-1657) WALLS OF A CITY, POSSIBLY LATINUM Pen and brown ink, with brown and grey wash over black chalk Later inscribed (lower right) 8 x 14.5cm (3 x 5½ in.)Drawn circa 1626 - 1629.Provenance: The Collection of The Rt. Hon. F Leverton Harris His Sale, Sotheby's, London, 22 May 1928, lot 18 Sale, Kunstveilingen Mak Van Waay B.V, Amsterdam, 11 June 1975, lot 55, where purchased by Richard L. Feigen Literature: M. Roethlisberger, Bartholomeus Breenbergh, Handzeichnungen, Berlin, 1969, under no. 61 M. Roethlisberger, Bartholomeus Breenbergh: The Paintings, 1981, no. 101, p.51 (ill., fig. 101)Exhibited: New York, Richard L. Feigen & Co, Bartholomeus Breenbergh, cat. by M. Roethlisberger, 18 September - 31 October 1991, no.29 (ill) travelled to London, 18 November - 20 December 1991, no. 29The number at the upper right identifies this almost pure wash drawing as part of Breenbergh's small sketchbook, the dated sheets from which range from 1626 to 1629, during the artist's later years in Rome. Roethlisberger has pointed out that this scene was probably sketched from life just outside an unidentified town in Latinum. Interestingly, this motif does not recur in any known painting by Breenbergh and is his only known architectural study viewed parallel to the picture plane rather than from a sharp diagonal. Condition Report: The sheet is not laid down, but stuck to the mount at the corners, overall there is some discolouration, particularly along the upper edge. There is a repair along the left hand edge and in the upper left corner and a small possible repair upper right.   Condition Report Disclaimer

SIR DAVID WILKIE (SCOTTISH 1785-1841) COMPOSITION STUDY FOR THE CHELSEA PENSIONERS Pen and brown ink 7 x 6cm (2¾ x 2¼ in.) UnframedProvenance: Sale, Christie's, London, 17 November 1992, lot 32 (part)The present drawing is an early study for The Chelsea Pensioners, Apsley House. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.

SIR DAVID WILKIE (SCOTTISH 1785-1841) POSSIBLY A STUDY FOR THE BANQUET AT MILNWOOD Pen and brown ink and pencil Variously inscribed and dated 'May 29th 1806' (lower centre) 25 x 37cm (9¾ x 14½ in.) Provenance: Sale, Sotheby's, London, Eighteenth and Nineteenth Century British Drawings and Watercolours and Portrait Miniatures, 9 April 1992, lot 57 Inscribed 'sold 3 sketches to Sir John Pringle Bart/May 29th 1836 Each £2/Monro Binning Esq copying/a miniature in ail [?]/Mrs Johnstone of Alva [crossed out]'The present drawing, if it predates the inscription, may be an early idea for The Banquet at Milnwood, from Walter Scott's Old Mortality (1829-30).We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.    

SIR DAVID WILKIE (SCOTTISH 1785-1841) STUDY FOR MISS JULIA EMILY GORDON Pen and brown ink 7 x 5cm (2¾ x 1¾ in.) UnframedProvenance: Sale, Christie's, London, British Drawings and Watercolours, 17 November 1992, lot 31 (sold as part of a group lot)The present work is a study for the finished drawing (in reverse) of Miss Julia Emily Gordon (Tate Gallery).We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.    

SIR DAVID WILKIE (SCOTTISH 1785-1841) STUDY FOR NELSON SEALING THE COPENHAGEN LETTER Pen and brown ink 5 x 6.5cm (1¾ x 2½ in.)Provenance: Sale, Christie's, London, 13 July 1934, lot 143 as 'Sealing the Document', sold to Agnew's on behalf of Miss L. Horwood Sale, Christie's, London, 17 November 1992, lot 32 (part)This drawing relates to the painting of Nelson Sealing the Copenhagen Letter, which Wilkie conceived in 1835, but which did not progress further than some drawings and oil sketches. One is in the Ashmolean Museum, Oxford and another was previously in the collection of Richard Feigen. Related drawings for the subject are at The British Museum and the Yale Center for British Art. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.  

‡ BARON ANTOINE- JEAN GROS (FRENCH 1771-1835) ULYSSES KILLING THE SUITORS OF PENELOPE Pen and brown ink, black chalk, brown and grey wash, heightened with white 15.5 x 22cm (6 x 8½ in.) Drawn circa 1798.Provenance: Sale, Christie's, London, Old Master Drawings, 6th July 1999, lot 203 Related to the oil sketch datable to around 1798 formerly in the Germain Seligman collection, J. Richardson, The Collection of Germain Seligman, New York, 1979, no. 29. A comparable drawing is held in Besancon, Museé des Beaux-Arts, A. Sérullaz, Le néo-classicisme francais, exhib. cat., 1975, no. 75.

‡ ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824) STUDY FOR THE DEATH OF PYRRHUS Pencil, black crayon and ink 18 x 26.5cm (7 x 10¼ in.)Drawn circa 1790.Provenance: The Collection of L. J. A. Coutan, Paris (Lugt. L.464) The Collection of Pierre Olivier Dubaut, Paris (Lugt. L.2103b) Literature: T. Crow, Emulation: Making Artists for Revolutionary France, New Haven and London, 1995, pp.128-9; 320, no. 51, ill. fig. 95 Exhibited: New York, Shepherd Gallery, Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art 1800 - 1870, 20 May - 28 June 1975, cat. no. 11, p.25, ill. p.26 New Haven, Yale University Art Gallery, Gesture and Expression: The Language of Art in the Age of Revolution, 28 February - 30 April 1989 (as Baron Gros) Paris, Louvre, Girodet 1767-1824, 22 September 2005 - 2 January 2006, cat. no.13 Chicago, The Art Institute of Chicago, Girodet: Romantic Rebel, 11 Feb - 30 April 2006, cat. no. 13 New York, The Metropolitan Museum of Art, Girodet: Romantic Rebel, 22 May - 27 August 2006, cat. no. 13 Montreal, The Montreal Museum of Fine Arts, Girodet: Romantic Rebel, 11 October - 11 January 2007, cat. no. 13 Angers, Musée D'Angers, La Dernière de Troie, 25 May - 2 September 2012, cat. no. 23, pp.106 This drawing and a related oil sketch (also previously in the collection of Richard L. Feigen, New York) were previously ascribed to Baron Gros, with the attribution to Girodet, first suggested by Philippe Bordes. In the present lot the pencil drawing shows some indecisiveness about Zopyrus' figure, with the arm first extended toward the fallen Pyrrhus and then withdrawn in a shielding gesture. In the oil sketch, the gesture becomes even more protective, as Zopyrus throws his cloak over his head to block his view of the older general. Condition Report: Some discolouration to the sheet, and very light staining to the framing edges. Very light spots of foxing scattered throughout. Undulation to the sheet under the glazed frame. Unexamined out of frame.Condition Report Disclaimer

John Opie RA (British, 1761-1807) Portrait of 'Mr Wilson' in a black jacket, holding spectacles, before a red curtain oil on canvas 77 x 64cm Provenance: By descent within the family of Sir William Foster, 1st Baronet of Norwich (1798–1874), to Janet Foster, 8 Stanley Crescent, London, W11 An ink drawing dated 1801 by Henry Bone, after this painting, is in the National Portrait Gallery collection (NPG D17584), together with a further pencil study by Bone of the same sitter after Sir William Beechey (NPG D17772). The resultant miniature by Bone deriving from the present subject was sold at Christie's, London, 25th May 2004, Lot 32. A further drawing by Bone (NPG D17295), after William Owen, depicts Mrs Wilson and her sister, the memoirist Susan Sibbald (1783-1866), daughters of Dr. Thomas Mein, of Eildon Hall, Roxburghshire, a physician in the Royal Navy. Isabella 'Betsy' Wilson (née Mein), who was born in Cornwall and died in Devon, is recorded as marrying Thomas Wilson, the likely identification of the present sitter, in Marylebone in 1801. It is also possible that Thomas Wilson was related to John Peter Wilson, Captn. Hon. East India Company, whose portrait Opie got up from his deathbed to paint and left unfinished (Art Gallery of Greater Victoria, 1975.087.001).

Arthur O'Connor (Irish, 1826-1873) A stained glass window design depicting the Ascension of Christ flanked by St John the Baptist and St Stephensigned 'A OConnor / Berners St London' and inscribed 'Scale 3/4 of an inch to 1 foot / Drawing to be returned'; further signed to the mount, dated March 1861 and inscribed with a description of the design and its cost of £125 ink and watercolour31 x 17cm (sheet), 42.5 x 34cm (with original mount)

Elizabeth Walsh, pen and ink drawing "Woodland Path". 51 x 40 cm, framed and mounted (see illustration).

Arthur Milne a pen and ink drawing, "Spinning Gallery Tilberthwaite Farm Little Langdale", signed and dated 2001 with label to the rear Arthur Milne Stanwix Carlisle.  30 x 46 cm.

Gyula Hincz (1904-1986)-attributed, surrealistic drawing. Black ink with water colour on paper. Signed bottom right. 42 x 32 cm.

Attributed Giovanni Francesco Barbieri, (Guercino) (Italian, 1591 - 1666)Madonna and ChildPen and ink with brown washDrawing on laid paperProvenance:- Collection of Giuseppe Vallardi (Italian 1784-1863)Collector's stamp, lower left: Lugt 1223NOTE: Sotheby's recently sold a very similar drawing in their Old master and British works on paper Jan. 26, 2022; lot 129They had it listed as by Abraham Bloemaert (Dutch 1566-1651) and had the notation below.(Although the subject of the Madonna and Child with Two Angels is found in a number of drawings and prints by and after Bloemaert, no other known work corresponds in composition to this drawing, which was unknown to the late Dr. Jaap Bolten when he was compiling his 2007 catalogue of the artist's drawings.)Sheet Size: 11 x 8.25 in.Matting Size: 13 x 10 in.Unframed.

Circle of Giulio Romano (Italian Renaissance 1499-1546): Aphrodite and Eros - the Allegory of Creation, ink and wash with drypoint or stylus under-drawing on brown-toned vellum unsigned 33cm x 28cm

In the manner of Samuel Prout RWS (1783-1852), A lady stands before the entrance of a church, watercolour and ink, printed copy on backboard of original inscription on drawing verso reads: "S Prout framed Oct 1901 from Wilson? W.Shime?", 30x24cm, framed and glazed

AN ILLUSTRATED DOUBLE-SIDED FOLIO OF A NEPALESE MANUSCRIPT: THE DAKINI VILASINI AND THE VEDIC GOD INDRA PROPERTY FROM A CANADIAN COLLECTION Nepal, second half 17th centuryOpaque pigments and red and black ink on wove paper, the horizontal-format folio depicting on one side a blue-skinned female figure holding a flower garland and a black string with pom-poms in her hands, the subject accompanied by a double caption in red and black ink Devanagari script reading Vilasini, a reference to the Buddhist dakini or the Hindu shakti goddess bearing the same name, the Playful One, servant of Kama, the Lord of Love, with three further lines of script; and on the reverse a crowned and bejewelled deity with halo - likely Indra, God of Rain and King of the Heavens, riding a caparisoned white elephant, followed by three lines of text and a smaller, later-added red line drawing at the bottom corner depicting a nobleman or courtier holding a lotus blossom, likely a caricature or humorous portrait, the overall composition and design inspired by Medieval Pala illustrated palm-leaf manuscripts.11.5cm x 18.5cm Provenance: Private German collection, acquired in the 1970s. For a similar group of loose illustrated Nepali folios dated 1650 - 1675, please see Christie's London, 25 May 2017, lot 27. 11.5cm x 18.5cm Qty: 1

Ransome (Arthur). Swallows & Amazons, 1st edition, London: Jonathan Cape, 1930, illustrations and map endpapers by Stephen Spurrier, 8 pages with small neat marginal repairs, a few light creases and small stains, light toning to endpapers, original cloth, joints splitting, some fading and light edge wear, facsimile dust jacket, contained in solander box with label to spine, 8voQTY: (1)NOTE:Presentation copy, inscribed by Arthur Ransome to half-title, with his ink drawing of a 'Jolly Roger' pirate flag to Beryl Morgan, 'whose great great great great great grand uncle was almost certainly Sir Henry Morgan of Jamaica, that most celebrated Pirate and Chief of Privateers, so it is quite right that she should know something about Pirates herself', signed by the author next to the drawing of the flag with skull and crossbones.Provenance: Beryl Morgan, her signature 'B. Morgan' in pencil at head of half-title. Formerly in the collection of John Cowen, who purchased this book, along with Winter Holiday & Coot Club from a bookshop in Whitley Bay in July 1991. His research revealed that Thomas Morgan joined the bookselling firm Mawson, Swan and Morgan in Newcastle in 1900, as chairman, and 'The son of Mr Morgan who now owned the book shop in the 1930s had three children. Beryl her sister Meriel and her brother Stewart. Beryl was a committed reader of the Swallows and Amazons saga and she eagerly looked forward to receiving the latest Ransome book at Christmas in the 1930s. Her father arranged with the manager of the shop, whose name has been forgotten, to obtain Arthur Ransome's inscription on the copies. These became cherished items with Beryl Morgan.'The book features in John Cowen's bibliography A Ransome Book-Case, 2000.

* Park (Nick, 1958-). Wallace and Gromit, black felt tip pen, depicting Wallace with his arm round Gromit, Gromit doing 'bunny ears' behind Wallace's head, signed to lower right, sheet size 20.9 x 29.6 cm, together with Ryan (John, 1921-2009). Captain Pugwash, 28 October 2006, blue ink, showing Captain Pugwash standing with sword in hand, signed and dated below image, note to verso 'with all best wishes to your charity auction Oct 28th 2006 * John Ryan', sheet size 20.9 x 29.6 cm, plus Hickson (Joan, 1929 -). Postman Pat and the Broken Vase, two pen and ink vignettes on wove paper laid onto card, publisher's notes to lower edge, sheet size 25.6 x 39 cm, and 4 other original illustrations including: Daisy by Nick Sharratt, pencil sketches of boys faces, watercolour of a young girl sweeping leaves and a pencil drawing of The End by Mabel Lucie Atwell, and two prints of Rupert the Bear, limited editions 24/200 signed in pencil by John Harrold, mounted 37.5 x 35.5 cm QTY: (9)

Ransome (Arthur). Winter Holiday, 1st edition, London: Jonathan Cape, 1933, illustrations by the author, slight partial offsetting to map endpapers, original cloth, dust jacket, some restoration to spine and extremities, some dust-soiling to rear panel, contained in modern cloth slipcase, 8voQTY: (1)NOTE:Signed to half-title by the author, with an ink drawing of a fishing fly. A small printed note loosely inserted states 'Said to be from the estate of a Mr Crowthers, a dentist in Newcastle'.Provenance: From the collection of John Cowen, and illustrated on p. 73 in his bibiography A Ransome Book-Case.

* Banks (Eulalia Minfred, 1895-1999). A small collection of original illustrations and a letter, mainly watercolour, and ink, or pen, including: two Christmas scenes on paper showing two birds in a holly bush, one peeking out of a bird box, the other wearing a scarf and hat, the other showing a snowy street scene with a rabbit, weasel and mouse carrying wrapped presents and a tree, both 12 x 12 cm, individually mounted, plus 9 other illustrations, comprising: a young child brushing their teeth, Blinky Bill and Splodge the Kangaroo, a mouse in a wine glass with bubbles, Falling Leaves, signed Banski, Annes Alphabet cover, A is for Anne, B's Brother Bob, plus two scraperboards showing rabbits ice skating and walking with a stick, 32 x 23 cm and smaller, and a handwritten letter from Eulalia, with a watercolour illustration to upper margin, dated October 2nd 1945, sending birthday wishes with my love and appreciation for all the wonderful things you have done for me - the grand comradeship - the friendship that I cherish so deeply - tender memories to take 6,000 miles away - a real incentive to come back once more to your happy studio! Happy Birthday - Success always, 23.9 x 17.8 cmQTY: (a folder)NOTE:Banks was born in London and started her career drawing and designing Christmas cards aged 12. She emigrated to Canada, then moved to the United States, where she had a working relationship with publisher Platt and Munk. She illustrated many children's books and later worked painting murals in public and private spaces, including the nurseries of Harold Lloyd and Charlie Chaplin. She died aged 104 in California.

Saint-Exupéry (Antoine de, 1900-1944). Pilote de guerre (Flight to Arras), 1st edition, New York: Reynal & Hitchcock for Éditions de la Maison française, [February 1942], uncut and unopened, ink signed presentation inscription to Dido Freire from the author at head of half-title, ‘En souvenir d'une vielle amitié ... et pour qu'elle me pardonne d'être falument insupportable dans les discussions ... Antoine de Saint Exupéry ’, (‘In memory of an old friendship... and so that she would forgive me for being so unbearably annoying in discussions...’), with a fine pencil self-portrait caricature in pencil beneath, showing a ‘winged poet’ standing on a fluffy cloud with the sun and two stars, the torso of the figure inscribed ‘Ca c’est moi’, and in the lower right corner below is drawn the curve of Earth featuring two trees and a church with a plume of rising smoke, to which the author has captioned, ‘Ca c'est la fumée de l'incendie d'Arras’ (‘That's the smoke from the Arras fire’), the blank endpaper facing with a pen and ink and pencil sketch of the head of Saint-Exupéry in profile, a cigarette in his mouth, ink signed 5-line presentation inscription from the artist beneath, ‘Ca c'est St Ex vu par moi, Bernard Lamotte, à Dido Freire, très amicalement’, (‘This is St Ex as seen by me, Bernard Lamotte, to Dido Freire with kind regards’), original light grey wrappers printed in red and black, some marginal toning to covers and light toning at head and foot of spine, chipped and fragile glassine dust jacket with blind-stamped spider-web design, lacking the spine but otherwise largely present and including turn-ins, 4toQTY: (3)NOTE:Provenance: From the family of Jean Renoir, by descent.Limited edition, 11/50 copies on Text paper, after a unique copy on vellum for the author (lettered ‘A’) and 25 lettered copies (B-Z) on Strathmore. A further 450 copies (51-500) were printed on Corsican paper.First edition of this celebrated war novel in which Antoine de Saint-Exupéry tells the story of the aerial reconnaissance mission he flew over Arras in 1940 aboard his Bloch MB.174 aircraft, published at the same time as the English translation. The first edition in France was published by Gallimard in November 1942. Bernard Lamotte, who met Saint-Exupéry at the Ecole des Beaux-Arts in 1920, moved to New York in 1935. They remained close friends and it was Lamotte who illustrated the first appearance of Pilote de guerre when it was published in the Atlantic Monthly magazine in January 1942. These illustrations do not appear in this French language edition but were reproduced in the simultaneously published original English edition of Pilote de guerre (Flight to Arras).A highly significant association copy, the book is accompanied by two Autograph Letters Signed by Saint-Exupéry. Both are undated [early 1942] one-page quarto letters to Dido Freire. The first is in pencil (the same as used for the drawing in the book), the second in ink, and featuring a small full-length self-portrait caricature at the head. Like the self-portrait in the book the drawing foreshadows the figure of the Petit Prince, about whose exploits Saint-Exupéry was to write a year later.Letter one:Chere Didot Voulez vous accepter ce petit souvenir en souvenir des jours heureux que j'ai reçu Hollywood Boulevard. Embrasser Jean Renoir pour moi et envoyer à ma profonde reconnaissance. Pardonnez moi ce mot si court mais je suis encore tout raplapla... StEx.(‘Will you accept this little souvenir in memory of the happy days I received on Hollywood Boulevard? Give Jean Renoir a kiss for me and send it with my deep gratitude. Forgive me for this short note, but I am still all worn out...’)Letter two:Chere Dido Pardonnez moi de n'avoir fait faire d'exemplaire nominatif que pour Jean mais je ne rispesais que des 26 lettres de l'alphabet pour dire mon attachement aux miens et à tous mes vieux amis de France. (Mais je vous envoi le meilleur des papiers que je retienne en delors des 26.) Embrasser Jean pour moi et charger le de vous embrasser de ma part (vous n'y parviendrez jamais toute seule.) StEx.(‘Forgive me for not having a personal edition made just for Jean, but I only had the 26 letters of the alphabet to express my affection for my family and all my old friends in France. (But I'm sending you the best of all the materials I've retained beyond the 26). Kiss Jean for me and ask him to kiss you on my behalf (you'll never succeed at it alone.’)The relationship between Jean Renoir, his then second wife-to-be, Dido Freire, and Saint-Exupéry was a very close one. Both Renoir and Saint-Exupéry had a great sense of humour and big appetites for life.After Germany invaded France in May 1940, Jean Renoir fled to the United States with Dido Freire. ‘Dido and I travelled by sea from Marseilles to Algeria, Morocco and Lisbon... At Lisbon we got places on an American ship, and I was delighted to find myself sharing a cabin with none other than the writer Saint-Exupéry.’ (Jean Renoir, Life and Letters). On the voyage, Renoir read Saint-Exupéry’s Terre des Hommes (Wind, Sand and Stars) and was overwhelmed by it. Renoir, (son of the artist Pierre-Auguste Renoir), was an aviation fan himself and had flown reconnaissance missions in World War I. Renoir became determined to make a film of the book, with Saint-Exupéry as the script writer. They worked on it together for a year but Renoir could not get the backing and the project was eventually abandoned.During the course of 1941 Saint-Exupéry spent time living with Jean and Dido as their house guest. During this time he was writing Pilote de Guerre, and this special presentation copy is a token for the Renoirs’ hospitality and friendship.It was a year later that Saint-Exupéry was to write Le Petit Prince, (first published in April 1943), so the finalised figure of the Little Prince did not exist at this point. However, Saint-Exupéry was well-known for doodling in margins of everything he wrote and there are numerous prototype figures, many based on himself, a ‘winged poet’, that bear resemblance to the famous creation. These two drawings offered here are striking in their similarities to the prince, (though without the golden hair), and indicate that his famous creation was already in embryo form when he presented these letters and books to Dido and Jean Renoir in early 1942. Indeed, the iconic cover illustration for Le Petit Prince (The Little Prince) might be taken as plagiarism of the drawing in this book, were it not also Saint-Exupéry’s own work.The Little Prince became Saint-Exupéry's most successful work, translated into over 500 languages, and selling an estimated 140 million copies worldwide. For more information about the Little Prince manuscript and drawings, see https://www.themorgan.org/collection/little-prince.

This detailed black ink and watercolor drawing by Tolmos captures a vivid scene of the Panama Canal, specifically the Miraflores Locks, with a large vessel named Sakora passing through under mechanical guidance. Architectural elements like the Panama Canal archway and red-tiled rooftops contrast against bright turquoise waters and a dramatic blue sky. Meticulous ink linework outlines the structure, canal tracks, and figures, while watercolor adds vibrancy and depth. Signed and dated Tolmos 2003 in the lower left. Housed in a beveled, burgundy-finished wood frame with cream matting and burgundy inner trim, the artwork offers both documentary precision and artistic character.Artist: Tolmos (Panamanian 20th-21st Century) Issued: 2003Dimensions: 16.25"LCountry of Origin: PanamaCondition: Age related wear.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Top of the World', framed and glazed, overall size 51cm x 60cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Kingsand', framed and glazed, overall size 46cm x 54cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Safe Haven', framed and glazed, overall size 46cm x 54cm.

John Glynn (Plymouth artist, 1964-), pen and ink drawing 'Around the Bend', framed and glazed, overall size 46cm x 54cm.

AFTER JOHN OPIE RA (BRITISH 1761 - 1807), THE MURDER OF JAMES I, KING OF SCOTLAND pen and ink on papermounted, framed and under glass image size 47cm x 59cm, overall size 70cm x 85cm Provenance: Collection of Nick Drummond, UK. Private Collection, UK. Note: Opie's original painting was made known to contemporaries through a print by Thomas Ryder I (1746-1810) and published by John Boydell (1719-1804). This drawing, however, most closely resembles a more pared-back print of 'The Murder of King James I' by Louis Marie Normand, known as Normand fils (1789-1874), after Opie, an illustration of which can be found in the Witt Library at the Courtauld.

Thomas Rowlandson, British (1756-1827) “Success to the Orange Party,”  Ink and watercolour on paper, approx. 22cms x 30cms (8 ½” x 12”). (1) In 1786, the Prussian army invaded the Netherlands in order to defeat the Patriots and prop up the regime of William of Orange. In Britain, the Whig Party, who supported this intervention, used orange as an identifying colour. The title inscribed in this drawing, ‘Success to the Orange Party’, likely refers to William of Orange. Britain, represented by John Bull, is shown wearing a sword and pistol, and having his hand shaken by a Dutch man dressed in ragged clothes. Behind him stands a stout woman, personifying Holland. In the background, Hanoverian troops are seen pursuing Patriots, who, as they flee, drop bags of guilders. Noted for his book illustrations, bawdy cartoons, satires and social commentaries, Thomas Rowlandson was born in London in 1757. Two years later his father, a weaver, was declared bankrupt and the family moved to Yorkshire. However Thomas was sent back to London, where he attended school at Soho Square. Around 1765 he attended the Soho Academy and in 1772 moved on to divide his time between the Royal Academy in London and a drawing school in Paris. Although he inherited a fortune, it was soon dissipated through gambling and he turned to drawing caricatures to make a living. In 1784 he showed a drawing of the pleasure gardens at Vauxhall, at the Royal Academy, and thereafter enjoyed success as an artist, producing caricatures and satirical drawings, many of which were published as engravings. He died in 1827. Dr. Peter Murray 2025

ARR Sydney Robert Jones (British 1881-1966) Caer Caradoc from Sharpstones, signed lower left, pencil drawing, 12 x 23 cm, frame 32 x 40 cm, together with a further ink drawing of 'The Wrekin from Grinshill' by the same hand (2)

William McCance (1894-1970) and Agnes Miller Parker (1895-1980) Woodblock, lithograph and linocut Christmas cards, designed/sent by artist friends, 1930s-1950s PLEASE NOTE THERE ARE NO CARDS BY GERTRUDE HERMES IN THIS LOT 75+ cards received by the artists William McCance and Agnes Miller Parker, designed/sent by artist friends, many of whom associated with Gregynog Press and Golden Cockerel Press (and others). All between 9 x 13cm and 24 x 15cm (laid flat), largely with typographic messages or signed by the artist:Leonard Beaumont (1891-1986). ‘In the hope of a more peaceful and Dictatorless year from Francis and Vera Meynell 1937’ - Sir Francis Meynell (1891-1975) founded the Pelican Press and Nonesuch Press;Dorothea Braby (1909-1987). 2 Christmas/New Year cards;Lawrence Bradshaw (1899-1978). Monochrome lithograph of mother and child, signed to reverse with inscription, 1929;Cynthia Burnley (1900-1964). 4 x wood engraving cards, sent by the artist, 1930s;Edmund Dulac (1882-1953). 3 cards, monoprints;Eric Gill (1882-1940). Wood engraving of two figures.Judith Hughes-Stanton (b. 1927, daughter of Gertrude Hermes and Blair Hughes-Stanton). 3 cards from Dick and Naomi Mitchison (MP and author respectively);Margaret K. Macadam (1902-1991). Christmas card with dachshund, printed by Raven;George Mackley (1900-1983). 4 wood engraving cards with printed messages, 2 being signed and editioned in pencil by the artist;John Mansbridge (1901-1981). 3 x coloured screen print cards, 1 x monochrome print;Albert A. Mason (n.d). 7 cards, 3 featuring cats;Robert Maynard (1888-1966).  Quantity of colour wood engraving (and other) Christmas cards, many sent by the artist; Maynard was the original Controller of Gregynog Press, until McCance took over in 1930;John Nash (1893-1977). 'Above Cadsdean', colour reproduction for The Soho Gallery Ltd, signed ‘Philip’ [Nash was a friend of McCance and Parker];John O'Connor (1913-2004). 2 cards, 1 featuring a cockerel and signed from Christopher Sandford (1902-1983, owner of Golden Cockerel Press and a founding director of the Folio Society) and Lettice Sandford (1902-1993, artist); also:Eric Ravilious (1903-1942). Wood engraving of a train and aeroplane, printed for Golden Cockerel Press and signed ‘The Old Cockerel’ and Christopher Sandford, and asking for a suggestion for ‘the perfect book for Agnes Miller Parker’, presumably to commission illustrations; idem. green and black lithograph [The Grape House], with printed Christmas message from Sir Stephen and Lady Tallents of St John's Jerusalem;Mark Severin (1906-1987). 4 tri-colour lithograph prints;Leon Underwood (1890-1975). Print attached to cartridge paper with calligraphic message, and 1949/50 card with ink inscription from Leon and Mary with drawing of cat and mouse;together with a quantity of cards received from former pupils of McCance from his time teaching at Reading University (approximately 150 in total) From the Estate of William McCance. Agnes Miller Parker illustrated a number of private press books, including several for Golden Cockerel Press and Gregynog Press.  William McCance was Controller of Gregynog between 1930 and 1933. He taught typography and book production at the University of Reading between 1943 and 1957 and a number of the cards in this collection are by those students.

Ink drawing by Josef Speybrouck

EUROPEAN STAGE PERFORMERS: Marcel Marceau (1923-2007) French actor and mime artist. Signed 8 x 10 photograph of Marceau standing in a half-length pose in costume as Bip the Clown. Signed in black ink to a light area of the image, also adding his character name and a small drawing of a flower in his hand; Ennio Marchetto (1960- ) Italian comedic live entertainer, known as The Living Paper Cartoon. Signed 8 x 10 photograph of the perfromer standing in a full-length pose in a trademark two-dimensional paper costume. Signed by Marchetto in bold blue fountain pen ink with his name alone to the lower white border. VG to EX, 2

HULL JOSEPHINE: (1886-1957) American actress, Academy Award winner for Best Supporting Actress in 1950 for her role as Veta Louise Simmons in Harvey. A rare vintage signed and inscribed sepia 3.5 x 5.5 photograph, the image being a reproduction of a drawing of Hull in a head and shoulders pose by Dorothy McMillan. Signed by the actress in black fountain pen ink to a clear area of the image and also adding Harvey and the date, 1947, in her hand beneath her signature. VGAs well as the screen version of Harvey, Josephine Hull also appeared in the Broadway stage production which premiered on 1st November 1944. It ran for 1,775 performances before closing on 15th January 1949, making it the fifth longest-running Broadway show up to that point.

CHAGALL MARC: (1887-1985) Russian-born French artist. A good book signed, incorporating several original pen and ink illustrations by Chagall, being a softcover edition of Lumières allumées by Bella Chagall, First Edition of the French translation (by Ida Chagall), published by Editions des Trois Collines, Geneva-Paris, 1948, and featuring forty-five illustrations by Marc Chagall. Limited Edition of 2690 numbered copies (this copy being No. 1426) printed on wood-free vellum paper. Signed by Chagall in blue ink to the front free endpaper and dated Vence-Bern, 1958 in his hand. Above his signature Chagall has added three simple, attractive original black pen and ink illustrations of spruce trees and, continuing with the Christmas tree theme, has also added a pen and ink drawing of a bauble to the base of the page, incorporating an appealing self-caricature within the glass ornament. Bound in the publisher´s illustrated paper wrappers. VG

ACHIAM: (1916-2005) Franco-Israeli sculptor. A good, attractive original black ink drawing signed and inscribed by Achiam, in Hebrew, one page, large 4to (approximately 20.5 x 30 cm), n.p., 14th November 1992. Achiam has drawn a simple, yet appealing, figure of a head which fills the majority of the page. Some text in Hebrew in the scuptor´s hand, presumably an inscription, runs across the top of the page and through the figure´s hair. Signed and dated by Achiam at the base. The page also features a black ink signature of the sculptor´s wife, Adele, with a three-line inscription in her hand to their friends Madeleine and David, in French. Neatly laid down to a stiff black card to an overall size of 9.5 x 12.5, otherwise VG

GROENING MATT: (1954- ) American cartoonist, writer and animator, creator of the American television series The Simpsons (1989-present). A good original blue ink drawing signed and inscribed by Groening on a white 4to card (approximately 21 x 29.5 cm), n.p., n.d. Groening has drawn the head of Marge Simpson, matriarch and housewife of the Simpson family, and in a speech bubble added an inscription (´To Tim!´). Signed by Groening at the base; Trey Parker (1969- ) American actor, animator and writer, the co-creator of the American television series South Park (1997). A good original blue ink drawing signed by Parker on a white 4to card (approximately 20.5 x 29.5 cm), n.p., n.d. Parker has drawn a full-length image of elementary school student Stan Marsh, one of the four central characters in South Park. Signed by Parker with his name alone immediately beneath the drawing. VG, 2

BARDOT BRIGITTE: (1934- ) French actress and sex symbol. Blue ink signature and inscription ('Pour Axel, amicalement, Brigitte Bardot') on a small oblong 8vo white card. The actress has added a simple drawing of a flower alongside her signature and also dated the card 2008 in her hand. Together with Catherine Deneuve (1943- ) French actress. A.L.S., Catherine, to one side of a colour picture postcard featuring an image of an ethnic mask originating from Nigeria, n.p. (Geneva, Switzerland), 22nd February (2005), to Robert Capia, in French. Deneuve explains that she is in Geneva for the Children Action foundation, as well as for a visit to the Barbier-Mueller museum. VG to about EX, 2Bardot was married to French film director Roger Vadim from 1952-57 and Deneuve was also in a romantic relationship with Vadim from 1961-64.

STEADMAN RALPH: (1936- ) British illustrator, best known for his collaboration with the American writer Hunter S. Thompson. A fine original black pen and ink drawing signed by Steadman on an oblong 12mo white card (approximately 11.5 x 9 cm), n.p., 15th March 1977. To the centre of the card Steadman has produced a detailed illustration of a landscape with trees and other vegitation, amongst which appears the upper-half of the head of a rather mischievious and devilish looking creature, their eyes firmly gazed upon a rabbit resting quietly beneath one of the trees. Signed by Steadman with an excellent and bold example of his distinctive signature. The neat ink annotations of the autograph collector Thomas Scullion appear to the upper and lower edges. VG