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John Ruskin (1819-1900), a group of various letters including: an eight-page signed letter, undated, to The Reverend Stephen Bridge concerning the building of St Matthew, Denmark Hill, the letter includes eleven small pen sketches of architectural details within the text, through which Ruskin attempts to show that the architect has made several serious design errors: '...I find myself reduced to the ungracious task of finding fault with the present design without being able to suggest any mode of arriving at a happier result - still, I feel so strongly that the large sum required for the completion of this floor plan will be miserably wasted - and that many who might be pleased by the drawing, would yet be disappointed by the church - that I cannot forbear giving you the reasons...', a signed letter to 'Mr. Bridge' from 31 Park Street, 23rd Nov., stating he has returned from Normandy '...finding in my own neighbourhood a piece of architecture so graceful and picturesque as your new church - I wrote a very impertinent letter about the design of it... I trust you will acquit me of conceitedness in the matter - and of putting much value on my high opinion - but I do love architecture very much and I believe I enjoy more than most people when I enjoy a design at all: and suffer more than most when I do not.', and three other signed letters from Ruskin to Bridge, an envelope to Bridge, franked 29th and 30th December 1846, a section of the text of a lecture by Ruskin, 'The Aim of Poetry', delivered in the Sheldonian Theatre, Oxford, 24th October 1877, and a two-page signed letter by Arthur Severn, dated Dec 5th 1900, from Brantwood, to The Reverend Stephen Bridge, concerning the choice of the dignitary to unveil the Ruskin Memorial (qty.)

John Wells (1907-2000) Circle compositioninscribed on the reverse 'Very best wishes to you all for Christmas 1950 from John, Newlyn', pen and ink, watercolour and coloured paper collage,9 x 10cm, unframed;Blue compositioninscribed on the reverse 'Christmas 1962, Denis Jane and all, Best wishes for Christmas and New Year, Johnny', pencil and coloured crayon9 x 11.5cm, unframed;Blue and yellow compositiondedicated on the reverse 'To Denis, Jane & Family, with very best wishes and for the New Year, Johnny' and dated 'Christmas 1959', charcoal, pastel and watercolour11.5 x 15cm, unframed;and four printed cards, two wood rubbings, and a linocut by the same artist,together with a collection of Christmas cardsby John Forrester (x1), Misome Peile (x3), Patrick Hayman (x1), Don Ray (x2) and Stanley Dorfman (x2), unframed (qty.)

Two papier mâché pen boxes or 'qalamdans', 19th century, from Qajar, Iran, one example decorated with a battle scene, the other with a lady in a landscape,largest 23cm long,together with a papier mâché egg,20th century, decorated with floral motifs,6cm high (3)Condition ReportWith some scratches and marks throughout commensurate with use and age.

Parker Vacumatic - a rare and impressive vintage fountain pen, made in Canada, with original 14ct gold nib, pat no 318982 and the code 16 believed to be for 1946, triple band to lid, finished in a golden brown colour, unusual large size, 137mm logn with cap

Mix of vintage items to inc coins, Parker Duofold pen with 14ct gold nib, medallions etc

A vintage Parker Duofold fountain pen with blue marbled finish and 18ct gold nib, 13cm long, with box and three further fountain pens to inc another Parker etc

A finely crafted three-piece desk accessory set by renowned American designer Jay Strongwater, celebrated for his opulent and highly decorative objets d'art. This exquisite ensemble includes a tapered square pen & pencil bin, an open square letter holder, and a lavishly ornamented letter opener. Each piece is enameled in a rich palette of emerald green, deep aubergine, and burnished gold, accented with hand-set Swarovski crystals in coordinating jewel tones. The pencil bin is adorned with gilt foliate mounts and a sculptural butterfly finial perched atop the rim. The open letter holder features elaborate Rococo-style scrolled corners, while the letter opener is crowned with a cabochon-style faux stone framed in a colorful, cloisonne-like floral medallion. All pieces bear the Jay Strongwater maker's mark. Largest piece 5"H. Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Attributed to Mohammed ben Ali R'bati, widely regarded as one of the earliest figures in modern Moroccan art. The scene depicts a traditional street procession or gathering with a diverse group of figures in colorful robes set against an architectural backdrop characteristic of early 20th-century Morocco. The composition features intricate geometric and floral-style borders and architectural detailing such as arched windows and brick facades. The work is signed in Arabic at the lower right, though the signature has not been formally verified. Painted in watercolor with pen-and-ink outlines, the artwork exhibits cultural and historical visual elements consistent with R'bati's known themes. Mohammed ben Ali R'bati is often referred to as "the father of Moroccan painting," recognized for his early adoption of European watercolor techniques blended with indigenous Moroccan subject matter.Artist: Mohammed ben Ali R'batiIssued: c. 1920Dimensions: 19.5"L x 13.75"HCountry of Origin: MoroccoCondition: Age related wear.

Selection of various vintage ballpoint pens; Papermate, 12ct gold front Sheaffer pen and various others.

Lys Bleu French made ball point pen fitted with 22ct gold leaves.

A gold plated Sheaffer fountain pen.

Of Oasis interest - Definitely Maybe, a fully signed on the front sleeve, Noel Gallagher 'Noel', Liam Gallagher 'Liam', Paul Arthurs 'Bone', Paul McGuigan 'Guig', and Alan White 'AW' in black and blue felt pen.

A gilt propelling pen/pencil by Mabie, Todd & Co. - extensively engraved with foliage and stamped 14K, 13.3g all in.

A 9ct gold faced pen knife - London 1941, engine turned with suspension loops at either end, 17.2g all in, together with a button hook. (2)

An Eric Clapton photo montage - an arrangement of five images, one signed in black felt pen, 60 x 55cm, together with a Hohner Chromonica 270 harmonica, boxed. (2)

Original pen and ink picture of Curwen Hall signed by G Aikinson 1968

HARRY POTTER AND THE PHILOSOPHER'S STONE (2001) - Daniel Radcliffe, Emma Watson and Rupert Grint Autographed Book - A copy of J.K. Rowling's novel Harry Potter and the Philosopher's Stone autographed by the three principal actors from the film adaptation. The hardback book, from the 29th print run, features cover artwork of Harry in front of the Hogwarts Express at King's Cross Station, with an image of Professor Dumbledore on the reverse. The title page is autographed by Daniel Radcliffe, Emma Watson and Rupert Grint in black and blue ballpoint pen. The book remains in very good condition, with very minor wear to the edges of the dust jacket. Dimensions: 20.5 cm x 14 cm x 2 cm (8" x 5.5" x 0.75") The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: † Δ

DIRTY HARRY (1971) - David Frangioni Collection: US Insert, Half-Sheet and Window Transfer, 1971 - "Detective Harry Callahan. He doesn't break murder cases. He smashes them." A lot of three items from Clint Eastwood's 1971 debut as the tough-as-nails San Francisco detective. On offer here is a US Half-Sheet with striking artwork by Bill Gold, a stylish US Insert, and a window transfer designed to look like a bullet hole in glass with adjacent text reading "Dirty Harry is a smash!".US Insert is rolled with some minor handling wear, a tear in the top left corner and some bleed-through from pen on the verso in the bottom left corner. US Half-Sheet is rolled with minor handling wear, a 3 cm tear on the left border and some water staining main in the bottom right area. However, the main image remains largely unaffected. Window Transfer has only minor handling wear. Dimensions (US Insert): 91 x 36 cm (36" x 14"); (US Half-Sheet): 56 cm x 71 cm (22" x 28"); (Window Transfer): 27 x 37 cm (10.5" x 14.75")Condition: Very Good to Very Fine+Artists: Bill Gold, Unknown ArtistsAdditional Provenance: David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω

ELVIS PRESLEY - Four UK Quads, 1956 - 1967 - Four UK Quads for films starring the King of Rock 'n' Roll, Elvis Presley. While the films were huge in the US, the UK releases were far smaller, making these posters much rarer than paper from the US campaign.This lot consists of UK Quads for Love Me Tender (Elvis' first film from 1956 with poster art by Tom Chantrell), Blue Hawaii (1961), Kid Galahad (1962) and Clambake (1967 with poster art by Robert McGinnis).All have some degree of handling wear with nicks and tears around the borders. Kid Galahad has bleed through from pen on the reverse. Clambake seems to have been trimmed by half a centimetre on the right border (where there is also a 6 cm tear) and a 3 cm tear on the top border with multiple pinholes around the border. However, the main image is unaffected. Dimensions: Clambake: 76 cm x 101.5 cm (30" x 40"); Remainder: 76 cm x 102 cm (30" x 40").Condition: Very Good+ to Very Fine+Artists: Tom Chantrell, Robert McGinnis, Unknown ArtistsVAT Status: M

THE LAND BEFORE TIME (1988) - Five Sheets of Petrie and Tyrannosaurus Original Early Design Sketches - A set of five sheets of original early development sketches of Petrie and a Tyrannosaurus, aka a "Sharptooth", from Don Bluth's landmark animated feature, The Land Before Time. The film was produced by Universal Pictures and Amblin Entertainment under executive producers Steven Spielberg and George Lucas.Studio development artwork like this, hand-rendered by animators and preserved with stamps and notes, is rarely available and offers an unfiltered window into the raw artistry behind one of the most emotionally resonant and visually daring animated films of the 1980s. Petrie (voiced by Will Ryan) became a core member of the main cast, beloved for his nervous optimism. On the other hand, the Tyrannosaurus remains one of the most terrifying villains in a family animated film, his silent menace punctuated by that unforgettable design with a single glaring eye.These sheets, drawn in expressive pen and ink, represent the earliest character design explorations for both characters. The Petrie sketches include three rough model sheets, marked "E", "F," and "G", with numbered poses from #19-31. Each sketch captures Petrie's anxious, wiry personality in expressive, gestural lines as the animators worked to refine his character silhouette and movement.The Tyrannosaurus set includes two model sheets, marked "D" and "G", with poses numbered #14, 17, and 18. These early concepts explore the creature's menacing stance and dramatic power, with #14 annotated "Very Ruff Body Proportions". Each sheet bears the official Universal Studios Land Before Time development seal, verifying their use in the production pipeline. Two of the Petrie sheets display minor marks. Dimensions (larger sheets): 21.25 cm x 29.75 cm (8.25" x 11.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω

BREAKFAST CLUB, THE (1985) - Cast-Autographed Poster - A cast-autographed commercial poster from the promotion of John Hughes' coming-of-age comedy The Breakfast Club.The actors depicted in the poster's artwork, Emilio Estevez (Andrew Clark), Molly Ringwald (Claire Standish), Ally Sheedy (Allison Reynolds), Anthony Michael Hall (Brian Johnson), and Judd Nelson (John Bender), have signed it with their autographs in blue marker pen and with the exception of Molly Ringwald have each added their character name. Dimensions: 97.5 cm x 67.5 cm (38.5" x 26.5")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

STEVEN SPIELBERG - Steven Spielberg Autographed Photograph - An autographed photograph of acclaimed director Steven Spielberg. Printed on photographic paper, it shows Spielberg looking through the lens of a Panavision Panaflex camera. At the bottom of the photo, Spielberg has written in black marker pen: "To Charlotte, my very best", followed by his signature. The white borders exhibit light creasing and some marks in the bottom left corner. Dimensions: 25.5 cm x 20.5 cm (10" x 8")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

OASIS - Noel Gallagher Handwritten ''Live Forever'' Lyrics - The lyrics for the Oasis song "Live Forever" handwritten by Noel Gallagher. "Live Forever" was the first single from Oasis to enter the UK's top ten and was the third track on the band's debut album Definitely Maybe. Released in August 1994, the album was an immediate success and became the fastest-selling debut album up to that time. The lyrics are written in blue pen on a large sheet of white paper, with the song title underlined at the top. The sheet exhibits creasing and fold lines from previous storage. Dimensions: 42 cm x 29.5 cm (16 1/2" x 11 1/2")The handwriting in this lot has been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

HR GIGER - H.R. Giger-Autographed Tarot Cards Proof Print - A page of tarot card proofs autographed by Swiss surrealist artist H.R. Giger. Giger was invited by the Swiss occultist Akron to create a set of tarot cards, for which he repurposed some of his existing work.The print features the 22 Major Arcana card images with their titles in German, and Giger has signed his autograph in silver pen in an empty square at the bottom of the page. In the empty square alongside his autograph he has drawn a decagram. The print has also been autographed by the Swiss occultist Akron, who commission Giger for the set. The reverse of the page features the design for the card backs. Dimensions: 87.5 cm x 55 cm (34.5" x 21.75")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: †

SIR DAVID WILKIE (SCOTTISH 1785-1841) COMPOSITION STUDY Pen and brown ink 6 x 12.5cm (2¼ x 4¾ in.) UnframedProvenance: 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) 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) FIGURE STUDIES Pen and brown ink 4 x 7.5cm (1½ x 2¾ in.) Unframed Provenance: Sale, Christie's, London, British Drawings and Watercolours, 17 November 1992, lot 31 (part)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.    

ITALIAN SCHOOL (18TH CENTURY) ARCHITECTURAL CAPRICCIO Pen and ink Inscribed with a device (lower right) 11.5 x 15cm (4½ x 5¾ in.) Provenance: Charles Molinier (1845-1910) [Lugt 2917] Condition Report: Framed measurements: 34 x 34cmThe work has been laid down at the four corners. Some light discolouration and staining to the sheet, together with brown spots of foxing throughout. Some light wear to the extreme edges commensurate with age. Some light undulation to the sheet under the glaze. 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

RODOLPHE BRESDIN (FRENCH 1822-1885) THREE SKETCHES, COMPRISING: FOUR MOUNTED HORSEMEN; SOLDIERS ON HORSEBACK AND STANDING; JOSEPH AND POTIPHAR'S WIFE Pen and ink With the artist's studio stamp (on the mount) The largest 5 x 8cm (1¾ x 3 in.) Unframed (3)Provenance: Ian Woolmer Family Collection, New York (according to a label of the back of Joseph and Potiphar's Wife)  

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.    

‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.    

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.    

FRENCH SCHOOL (19TH CENTURY) THEATRE DES FOLIES DRAMATIQUES Pen, ink and bodycolour Signed with initials and dated 'R.Y 1839' (lower right) and inscribed as titled (along the upper edge) 21.5 x 12.5cm (8¼ x 4¾ in.)Together with two sketches by various hands, one pencil portrait of a gentleman, the other a watercolour portrait of a woman, the largest 24 x 25cm (3)

JEAN- JACQUES LEQUEU (FRENCH 1757-1826) BACCHIC FRIEZE Pen and black ink, with brown wash and white highlighting Signed and inscribed (lower right), later inscribed and dated '1785' (to backboard verso) 18 x 41cm (7 x 16 in.) Condition Report: There appears to be a few scattered dirt stains, and some white pigments have oxidized, such as on the leg and arm on the figure at the centre, and the faun to the right of the column. Otherwise the picture appears to be in good condition. Condition Report Disclaimer

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.  

JAMES ROSENQUIST (AMERICAN 1933-2017) FLASHLIFE POSTER Fourteen offset lithographs printed in colours, 1989 Each signed in black felt tip pen, published by Feigen & Company, on occasion of the artist's exhibition at Feigen Gallery, Chicago, on wove paper, the full sheets printed to the edges Each sheet: 64 x 97.5cm (25 1/8 x 38 3/8in) Unframed (14) Condition Report: Other than a few slight, yet hardly noticeable, tears and creases at the borders, the posters appear to be in good condtion. Condition Report Disclaimer

‡ 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.

*Francis Plummer (1930-2019) pen, ink and watercolour - Study for Woman with Black Hair, titled verso, 26cm x 20cm, glazed frame

Early 18th century Newlyn School, pair of rare pen and brown ink on paper studies of Newlyn with figures in period dress, one inscribed ‘Newlyn 1726’ and other marked as 'Old Bridge’, 12cm x 16.5cm, in glazed gilt frames (2)The works have not been removed from the frames, general discolouration and time staining but not necessarily to the detriment of the pieces. The one with the house has a fading line along the top edge, presumably from a previous mount.

Two 19th century mahogany shoe shaped snuff boxes, one with pen ornament, 11cm and 9cm respectively

*Francis Plummer (1930-2019) monochrome pen, ink and watercolour - Woman with Rope, titled verso, 50cm x 24cm, glazed frame

Albert Goodwin (1845-1932) pen and ink on tinted paper - The Evening Service, monogrammed, 7cm x 10cm, in glazed frameProvenance: Chris Beetles Gallery, London Good original condition and ready to hang. The original piece of blue/grey tinted paper is mounted on a backing board but very difficult to say if it is period or not, the same applies to the black edging but it appears an original addition.

An enamel miniature writing set, late 19th century, continental, the hinged, domed cover enclosing a fitted interior with an adjustable pen, a nib, three further fitments, a glass inkwell and pounce pot,6cm long4.7cm highProvenance: From the Collection of Nigell and Heather D’Oyly.Condition ReportWear and minor losses to the enamelOne implement to interior seems to be missing. Pen holder probably matched. Please see additional images.

A silver desk stand, By Atkin Brothers, Sheffield 1927, with a central detachable chamberstick flanked by two clear glass inkwells with hinged silver covers on a shaped base with two pen trays and scrolled feet, engraved presentation inscription dated Jan 1928, 28cm longtotal weighable 34.4ozt Provenance: From the Collection of Nigell and Heather D’Oyly.Condition ReportEngraved inscription rubbed otherwise good. Traces of ink to ink pot

Ana Hatherly (1929-2015)UntitledWatercolour, ballpoint pen and Letraset on cardboardSigned10,4x10,7 cm

Georg Baselitz (b. 1938)“Baum”Felt pen on paperSigned and dated 27-VII-9023,5x20 cm

Artists sketch book and loose sketches including pen & ink drawings of Salerno during the September 1943 bombardment and queuing for food afterwards by PETER SMITH (d.1979)

Scheaffer fountain pen with 14ct nib in original case and a Cross ballpoint pen, boxed (classic black No 2502)

Parker Duofold fountain pen, a Parker Victory and two others (14ct nibs) together with a Watermans CF fountain pen with 18ct gold nib and rolled gold nib and rolled gold propelling pencil

A collection of thirty pocket pen knives, mid 20th century and later, of various styles and sizes.

A collection of over twenty pocket pen knives, mid 20th century and later, of various styles and sizes.

CHASSEPOT MODEL 1866 RIFLE BAYONET | FRANCE (ST. ETIENNE), FRENCH | Model pattern: pattern 1866 | Country: France (St. Etienne) | Date: 1866 - 1874 | Marking: Mre d'armes de St. Étienne Avril 1874 (spine of blade), A 28960 M 28 (transverse), French acceptance marks (hook) | Weapon Number: And 28960 | Manufacturer: Manufacture d'armes St. Étienne | Condition: good | Lot information | Bayonet made for the Chassepot 1866 rifle, manufactured at the Manufacture d'armes St. Étienne in 1874. This bayonet was used as standard by the French army in the second half of the 19th century. The blade bears the signature "Mre d'armes de St. Étienne Avril 1874" and other identifying marks, including French acceptance marks. The bayonet is unsheathed, there are traces of fine removed corrosion on the blade and crossbar. The presser and presser pen are missing, which affects its full functionality. | Dimensions | Length: 69.5 cm | Blade length: 57.5 cm | Blade width: 29 mm | Weight: 640 g***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.

Jack Rigg (British 1927-2023): 'Barge being toured into Maldon after the Match - June 1977', pen and ink sketch signed and titled, various caricature sketches verso 20.5cm x 30cm (unframed)

Jack Rigg (British 1927-2023): Portrait of a Trawler, pen and ink sketch signed and indistinctly titled 21cm x 27.5cm (unframed)

Jack Rigg (British 1927-2023): 'Whitby' Lighthouse Studies, pen and ink sketch titled, signed verso 21cm x 29.5cm (unframed)