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Click here to subscribeA 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.
FANTASIA (1940) - Mickey Mouse "Sorcerer's Apprentice" Original Production Pencil Drawing - An original production drawing of Mickey Mouse in his most iconic role, as the Sorcerer's Apprentice from Walt Disney's 1940 animated film Fantasia. Fantasia was a landmark in animation, both artistically and technically, with the Mickey's Sorcerer's Apprentice segment perhaps its most iconic. Drawings from Fantasia, especially those featuring Mickey in full figure and a strong pose, are an important artefact from the Walt Disney Studio's Golden Age and a key piece for any collector.The drawing shows Mickey in his complete wizard's robe, arms extended, weight forward, and the classic silhouette etched into the history of animation. It captures the wide-eyed, dramatic moment as Mickey reaches forward mid-spell. The artwork is rendered in graphite on 12-field, 3-peg animation paper and numbered C64 in the lower right. Below his feet are green pencil marks for the shadowing, while the animation note "DXD 64" refers to the corresponding effects cel. There is a discoloured mark in each corner on the back of the paper, and the lot displays some minor edge wear. 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
AKIRA (1988) - Two Animation Cels and Pencil Illustrations - A set of two original hand-painted animation cels from the production of Katsuhiro Otomo's Akira. The film is widely regarded as one of the greatest animated and science fiction films ever made and a landmark in Japanese animation. These cels were initially obtained from a comic video store in the early 1990s.One cel shows the male nurse seen during the sequence of Tetsuo Shima experiencing hallucinations in the hospital and is labelled "H- 26". The second artwork shows Doctor Onishi, the head scientist of the secret psychic research project and is labelled "A.35". Both cels are painted in gouache on acetate sheets and come with their original corresponding pencil production drawing. There are several strips of sellotape along the top of one of the drawings where the paper has been torn. Dimensions (each cel): 23.5 cm x 35 cm (9.25" x 13.75")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
PINOCCHIO (1940) - The Blue Fairy Original Production Pencil Drawing - An original animation drawing of the Blue Fairy from Walt Disney's Pinocchio.The Blue Fairy appears only briefly in the film, but her role is vital: she brings Pinocchio to life and sets the story's emotional arc in motion. As a character, she needed to appear both ethereal and grounded, human enough to be believable, yet with an unmistakable sense of magic. Supervising animator Hamilton "Ham" Luske, one of Walt Disney's most trusted creative leads, was responsible for her animation. Luske's work on the Blue Fairy refined the realism he brought to Snow White just a few years earlier, and his delicate handling of performance gives this character such lasting impact.To help guide the realism needed, actress Evelyn Venable was used as the live-action reference model. Her graceful features and composure made her an ideal match for the Blue Fairy's elegant design. There has long been speculation that she also provided the voice, though no formal credit was given.Drawings like this, where the clarity of line reveals so much about performance, staging, and intent, were considered the backbone of the animation process. Walt Disney believed the drawing was the true artistry, with cels merely a byproduct of that foundational work and a 'tool of the job'. While most production cels were destroyed or reused, drawings of this calibre were often archived, studied, and retained.It is rendered in graphite with subtle coloured pencil accents on her wings. She is portrayed with classical poise and serenity, mid-motion, and her expression is full of grace. The paper is labelled "53" in the lower right corner, and a handwritten annotation reads "tongue". There are some minor rips around some of the paper edges. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
THE LION KING (1994) - Timon Original Production Pencil Drawing - An original production drawing featuring Timon from Walt Disney's animated film The Lion King.It's important to note that no original production cels were created for The Lion King, as the film was coloured entirely using Disney's CAPS (Computer Animation Production System). As such, production drawings like this remain the only original artwork used directly in the creation of the film but are rarely made available.The drawing is rendered in graphite and blue pencil on 16-field animation paper. It features clean character linework of Timon (voiced by Nathan Lane) with subtle tonal accents, and it is annotated with "T92" in the lower right corner. 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
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
ASTERIX CONQUERS AMERICA (1994) - Asterix, Obelix and Multi-Character Original Production Cel and Pan Original Layout Drawing Setup - A richly detailed pan layout setup from the animated feature Asterix Conquers America (aka Asterix In America), expertly composed using seven original hand-painted production cels over a large-format pan background drawing.Asterix Conquers America was the first Asterix film produced entirely outside France and marked an ambitious expansion of the franchise. With its distinctive style, international tone, and strong visual storytelling, it brought the iconic Gauls to a new generation.While this specific arrangement does not appear "as is" in the film, each cel and layout element was created for the production and has been thoughtfully assembled by the studio to showcase the visual dynamism and character design that define the feature. The studio officially released this piece as part of the Asterix Art Program, curated to preserve the series' legacy and offer collectors a rare look into the production process.Set in a Native American village deep in the New World, the artwork brings together an ensemble of key characters: the defiant Asterix stands mid-conversation alongside the wise druid Getafix (Panoramix), recently kidnapped and flung across the ocean by Roman forces. To their side, the young tribal girl, while a wary villager and medicine man, and the elaborately dressed village chief observe from either end, the ever-faithful Obelix acting as both mediator and muscle in the scene.The pencil layout background stretches across, laying out the ceremonial grounds and tipi village in a sweeping perspective. These layouts were integral to shot planning, camera movement, and cel positioning. The scale, clarity, and theatrical composition make this setup an ideal display piece, a scene that captures the drama and charm of the film's aesthetic. Multiple production reference numbers are handwritten along the bottom edge of the cels, and several annotations are written on the drawing. The official studio stamp is present on the bottom right corner of the layout, authenticating its origin. A special offering for fans of the franchise and for collectors who value the immediacy, scale, and storytelling power of original animation art. Dimensions: 31 cm x 109 cm (12.25" x 43")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: Ω
GUNDAM FRANCHISE (1979-PRESENT) - Altron Gundam (Shenlong Gundam Upgrade) Original Production Cel and Matching Drawing - A visually striking production cel and matching original production drawing of the Altron Gundam, the evolved form of Wufei Chang's original Shenlong Gundam.Altron Gundam first appears after Shenlong is captured and refitted by the rebel forces of the White Fang. Unlike its predecessor, Altron sports twin extendable dragon arms, upgraded beam weaponry, and a more aggressive stance, mirroring Wufei's shifting ideology and growing sense of justice. Its name, derived from "二é é¾" ("two-headed dragon"), reflects both this upgrade and its new mythic intensity.This cel was produced during the golden age of hand-painted cel animation in Japan, just before the industry transitioned to digital techniques. As such, it embodies a level of tactile, manual artistry that is now lost to time.Altron Gundam is seen in a powerful close-up framed by dynamic energy lines. Matched with its original production drawing (douga), this setup encapsulates the intensity and grandeur of mecha animation at its cinematic peak. They are both labelled "A35E". The matching douga drawing reveals the careful planning and precision behind this moment. Hand-drawn in graphite with colour pencil overlays and striking red slashes indicating flare lines and FX cues, it captures the vital tension between control and chaos - essential to the narrative arc of Wufei and his mobile suit's evolution. The cel and drawing together showcase both the final image seen onscreen and the hidden process behind it. Dimensions: 25 x 27cm (9.75" x 10.5")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
SWORD IN THE STONE, THE (1963) - Merlin Holding Wart Original Production Pencil Drawing - An original production drawing of Merlin and Wart from Walt Disney's 1963 animated film The Sword in the Stone. Directed by Wolfgang Reitherman, The Sword in the Stone was the final animated feature released during Walt Disney's lifetime. This is a rare opportunity to own a moment of genuine connection between mentor and protege in the Disney canon and from a film that often flies under the radar.This artwork is likely a working drawing used for precise positioning and character staging. This drawing features Merlin, the eccentric wizard, gently grasping the young Wart (Arthur) by the shoulders. The interaction between them is carefully composed, and both figures are expressive and well-posed within the camera framing lines.The characters are rendered in graphite and red pencil on 16-field 3-peg animation paper, with Wart drawn in red pencil. This was a common animation technique used to distinguish overlapping characters or to define placement in multi-character interactions. Wart's placement, partially unfinished in red, indicates he may have been finalised in a separate drawing for inking, while this composite would guide the animators and layout team. The registration peg holes remain intact, and a camera alignment line is visible across the top and bottom margins. There is a minor tear on the bottom edge of the paper. 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
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
ONE HUNDRED AND ONE DALMATIANS (1961) - Roger Radcliffe Original Production Cel and Pencil Drawing Signed by Frank Thomas and Ollie Johnston - An original animation cel and signed production drawing featuring Roger Radcliffe from Walt Disney's 1961 animated film One Hundred and One Dalmatians.Original cels featuring Roger are increasingly scarce, and paired with a signed drawing like this featuring clean linework, classic expression, and excellent preservation, it is a must-have for collectors.The xerographic line and hand-painted cel show Roger in a defining pose, tall, expressive, and pipe in hand, in his London flat with the famous family portrait of Pongo and Perdita behind him. The cel is placed over a colour-printed presentation background.The accompanying drawing, rendered in graphite on 16-field animation paper, captures the same elegant line and caricature that made Roger one of the most successful examples of Disney's stylised human animation. He is pictured holding his pipe in a fun pose that reflects the lean, angular animation style introduced in the film. A notation on the upper right reads "Dialogue Only". The drawing is numbered "11", with Disney's three-peg registration punched along the bottom edge.The drawing is signed by Frank Thomas and Ollie Johnston, two of Walt Disney's Nine Old Men and core directing animators known for their expressive, emotionally grounded character work. There is a minor tear along the top edge of the drawing. Dimensions (cel): 28 cm x 43 cm (11" x 17"); (drawing): 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see 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
PINK FLOYD: THE WALL (1982) - Prosecuting Counsel Original Production Cel and Matching Drawing - An original production cel and accompanying drawing of the Prosecuting Counsel from Pink Floyd: The Wall (1982), directed by Alan Parker, with animation designed and directed by British satirical illustrator and artist, Gerald Scarfe.This moment appears during the animated trial sequence, as the Counsel leaps onto the stage and takes a bow. Scarfe, who had worked with Pink Floyd since 1974, was given full creative control over the film's 11 minutes of animation, and this character reflects his distinctive visual language: sharp and elongated forms.The drawing, in graphite and blue pencil on 16-field animation paper, is numbered "35" and carries the official Pink Floyd: The Wall Animation Art Programme seal. The matching hand-painted cel corresponds precisely to the drawing (also denoted "35").Together, they offer a complete and authentic example of Scarfe's animation process, from line to paint, and a striking, energetic and iconic image from one of the film's most recognisable sequences. Dimensions: 32 x 42 cm (12.5" x 16.5")Sold without copyright; see 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
PETER PAN (1953) - Tinkerbell Stretching Original Production Pencil Drawing - A magnificent and rare original production drawing of Tinker Bell from Walt Disney's Peter Pan, beautifully rendered in graphite and coloured pencil on animation paper. This exceptional pose captures Tink in a graceful, full-body stretch, arms lifted, wings delicately framed, her characteristic sass radiating through expression and posture. Remarkably, given her tiny scale on screen, this large, detailed drawing reveals the craftsmanship behind her iconic personality.Tinker Bell was brought to life by Marc Davis, one of Walt Disney's revered Nine Old Men, whose masterful animation turned her into one of the most beloved and enduring Disney characters. Without a single line of spoken dialogue, Tink's entire character was conveyed through Davis's expert understanding of movement, expression, and body language. Davis worked closely from live-action reference footage and infused Tinker Bell with a captivating blend of mischief, charm, and heart.Importantly, Walt Disney regarded the studio's drawings as the backbone of the animation process, the foundation upon which the magic was built. As a result, original drawings like this were typically archived and vaulted for their artistic and historical value. In contrast, most cels were routinely discarded or destroyed after production as they were seen as a tool of the job, making the acquisition of drawings like this even more meaningful to collectors and animation historians. 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
THE HUNCHBACK OF NOTRE DAME (1996) - Quasimodo Carrying Esmeralda Original Production Pencil Drawing - A full-figure production drawing of Quasimodo carrying Esmeralda used in the making of Walt Disney's 1996 animated feature The Hunchback of Notre Dame.Drawn in graphite with red animation pencil on standard 16-field animation paper, this dynamic image captures a pivotal and emotionally charged moment from the film: Quasimodo rescuing Esmeralda from danger. His posture and expression are urgent and determined. The figure of Esmeralda is lightly sketched in red, slung over his shoulder, while Quasimodo's stance and gaze add powerful weight to the scene.Marked "A9" in the lower corner, this piece includes production notations and reflects the intense character animation work that defined Disney's 1990s output. It was acquired directly from a studio animator and remains unframed. It is a compelling, high-energy drawing that illustrates the complexity and emotion at the heart of this darker, more mature Disney classic. 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
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
PETER PAN (1953) - Two Original Production Pencil Drawings of Captain Hook and The Crocodile - A pair of original production drawings of Captain Hook and the Crocodile from Walt Disney's 1953 animated film Peter Pan.These two drawings bring together two of the film's most iconic characters from Peter Pan, Captain Hook and the Crocodile, in a rare and expressive combination. Though sourced from different sequences, the artwork presents a compelling dialogue between adversary and antagonist, showcasing the animators' nuanced character design and performance-led draftsmanship. Historically undervalued compared to painted cels, original production drawings were considered the foundation of Walt's animation process, and their survival remains critical to understanding the artistry behind the film.Captain Hook is captured mid-action, hunched and fraught with theatrical tension. The combination of graphite, coloured pencil, and the strong use of line hierarchy, including red and blue pencil for shadow and directional cues, typifies Disney's studio drawing technique during the Golden Age. The drawing is marked "149".The Crocodile, whose screen time in Peter Pan is relatively limited, is seen here in a classic pose, eyes wide and waiting in comic anticipation. This expressive rendering, large and well-positioned on the 12-field, 5-peg hole sheet, is accompanied by a separate animation of his tail - an element that underscores Disney's meticulous approach to overlapping movement. The character's scarcity in the film makes surviving artwork especially desirable among collectors. The Captain Hook sheet exhibits minor edge wear and a minor tear on the right edge. Dimensions (each): 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
SNOW WHITE AND THE SEVEN DWARFS (1937) - Grumpy Original Production Pencil Drawing - An original production animation drawing of Grumpy from Walt Disney's Snow White and the Seven Dwarfs, the studio's groundbreaking first full-length animated feature from 1937, a film that forever changed the landscape of animation and cinema.While Disney rarely credited individual animators on specific drawings, it's worth noting that some of Disney's greatest talents shaped Grumpy's personality: Fred Moore, Frank Thomas, and particularly Bill Tytla, whose expressive draftsmanship brought complex emotions to life. Tytla, one of Disney's legendary "Nine Old Men," was especially admired for his work on Grumpy, giving the character surprising depth.The drawing shows Grumpy in a moment of startled irritation, clutching the edge of a curtain or blanket as he turns his head sharply, a classic Grumpy pose filled with attitude and tension.Rendered in graphite with red pencil underdrawing, this piece provides a fascinating insight into the Disney animation process. The red pencil, often used by assistants or cleanup animators, was essential for blocking movement, refining shapes, or clarifying volumes before the final graphite line went down. The circular, rough construction lines around the face and body helped the animators maintain proportion and fluidity across frames. The curtain or drapery seen drawn behind Grumpy was likely part of the background staging, and the animator included it here to ensure correct interaction with the environment.The paper is original Disney five-hole punched animation paper, and the number "248" in the lower right corner refers to its frame number within the scene. As a piece of Disney history, this is not only a collectable but a beautiful piece of animation art that embodies the technical brilliance, charm, and pioneering artistry of Snow White. Dimensions: 25.5 cm x 30.5 cm (10" x 12")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
PUP ON A PICNIC (1955) - Spike and Tyke Original Camera Layout Pencil Drawing - An original camera layout drawing showing Spike and Tyke used in the production of the beloved Tom and Jerry short Pup on a Picnic, directed by William Hanna and Joseph Barbera.This layout represents the opening scene and sets the stage for one of the most iconic recurring duos in animation history: Spike the Bulldog and his son Tyke. We see Spike proudly instructing his son ("That's my boy!") beside their kennels, with multiple position marks for Tyke across the sequence. To the left, outlines of Tom can be found, just follow his curling tail to where he's shown diving into the picnic basket and disrupting the peace. Even Jerry makes several outlined appearances in red pencil, dashing across the setup from right to left in his escape.This drawing is not just a scene layout; it's a piece of visual choreography. The artwork reveals how spatial design, timing, and movement came together before a single frame was painted. These layouts were foundational to story pacing and gag delivery, especially in a studio like MGM, where visual comedy was king. A rare survivor from a now largely lost production archive, this layout is dynamic, charming, and packed with historical significance.It is drawn in graphite with additional red and blue animation notes. This panoramic field sheet shows multiple placements of characters and actions. The annotations and camera instructions offer further insight into the animation process. "SAFETY LINE," "ADD 2'00," and references to props like the "basket-onion bag" and "table cloth" capture the layered, collaborative nature of Golden Age Animation production. A note in red describes a key moment of comic timing: "Tom pitches food up + hits Spike w/ tomato". There is a tiny tear on the bottom edge. Dimensions: 26.75 cm x 63.5 cm (10.5" x 25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
SLEEPING BEAUTY (1959) - Two Princess Aurora Original Production Pencil Drawings, One Signed by Marc Davis - A pair of original production drawings of Princess Aurora from Walt Disney's 1959 animated film Sleeping Beauty, each showcasing a different moment in the studio's most stylised animated feature.The clean linework and clarity of expression offer collectors a rare insight into Disney's meticulous animation process and two evocative images of Aurora that reflect technical artistry and timeless charm.The first drawing captures Aurora in her forest cloak, revealing her striking beauty. The drawing is signed by legendary animator Marc Davis, the supervising animator responsible for Aurora's design and performance. One of Walt Disney's "Nine Old Men", he brought an illustrative finesse and sculptural control to his work that defined Disney heroines and villains for generations. The second drawing depicts Aurora in front of the mirror in an astonishing and sophisticated feat of animation with both her back view and mirrored reflection.Both drawings are rendered in graphite and coloured pencil on 16-field 3-peg animation paper, numbered "20" and "57". The paper displays some creasing. Dimensions (each): 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
SLEEPING BEAUTY (1959) - Maleficent Original Production Pencil Drawing Signed by Marc Davis - An original production drawing of Maleficent signed by legendary animator Marc Davis from Walt Disney's 1959 animated film Sleeping Beauty.Davis was one of Walt Disney's celebrated Nine Old Men and the designer and principal animator behind Maleficent, one of Disney's most iconic villains. His sophisticated draftsmanship and mastery of gesture defined her regal menace. This approach helped elevate Sleeping Beauty's animation style into something almost architectural in its stylisation, complementing the overall stylings of Eyvind Earle. Good original drawings of Maleficent are scarce, and examples signed by Davis are highly sought after. This is an exceptional piece of animation history and a direct connection to one of the most revered talents in Disney's golden age.This elegant yet intimidating profile pose captures the dark majesty of the character and displays hallmarks of Davis's confident, refined linework. The drawing is rendered in graphite on 12-field, 3-peg hole animation paper and signed prominently by her creator, the legendary Disney animator Marc Davis. The drawing is numbered "11" and presents beautifully on original production paper with vintage peg hole configuration and tape marks to the lower edge from archival studio use. Dimensions: 32 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
SNOW WHITE AND THE SEVEN DWARFS (1937) - Snow White Original Production Pencil Drawing - An original production drawing of Snow White from Walt Disney's 1937 animated film Snow White and the Seven Dwarfs.Snow White and the Seven Dwarfs was the first full-length cel-animated feature film in cinema history and Walt Disney's most ambitious undertaking to date. Released in 1937, it was also the first animated feature in Technicolor, and its success reshaped the possibilities of what animation and film could be. Pieces from Snow White are increasingly scarce, particularly those that capture the character in such a central and emotive moment.An important piece of animation history, this expressive drawing reflects the delicacy and warmth that defined Disney's first princess, Snow White, captured in a full-figure pose as she brings her hand to her lips. The clean, confident linework, subtle gesture, and emotional clarity reflect the disciplined artistry behind Snow White's on-screen presence. It is rendered in graphite and red pencil on 12-field 5-peg animation paper. The drawing is numbered "19" in the lower right and bears original production stamps at the lower left. There is some minor creasing in the bottom corners. 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
PINK FLOYD: THE WALL (1982) - Original Framed Teacher Marionette Production Cel and Pencil Drawing Display - An original production cel and matching production drawing of The Teacher, one of the most infamous and enduring figures from Pink Floyd’s The Wall. Suspended like a marionette, this moment captures the very essence of what The Wall set out to do: visualise control, repression, and the psychological unravelling of its protagonist, Pink.Though The Wall was released as a feature film in 1982, this specific sequence, the Teacher as puppet, had already burned itself into public consciousness years earlier through the official music video for “Another Brick in the Wall, Part 2â€. The sight of the Teacher strung up like a grotesque marionette became one of the defining visuals of the band’s critique of authoritarian schooling, institutional power, and the loss of innocence. This image is instantly recognisable even for those who never sat through the whole film.In the film, the Teacher is no longer a person, but a tool, a cog, a puppet used to beat down the next generation. The fact that this visual found its way from a concept album to a feature film and into pop culture consciousness is a testament to its power.The original drawing and production cel carry the official seal of the Pink Floyd – The Wall art programme, set up to offer artefacts from one of the boldest, most iconic animated films in music history. These icons are now increasingly rare and increasingly meaningful. A certificate of authenticity featuring the printed signatures of Scarfe and Pink Floyd frontman Roger Waters are stuck to the back of the display. The frame exhibits some light wear. Dimensions (framed): 44.25 cm x 89.75 cm x 1.5 cm (17.5" x 35.25" x 0.5")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
DISNEY'S HERCULES (1997) - Pain and Panic Original Concept Drawing - A detailed black pencil concept cleanup drawing featuring Pain and Panic, the mischievous minions of Hades from Walt Disney's Hercules.Due to Hercules being produced during the digital animation era, original pencil drawings like this remain the only tangible, hand-drawn elements used in the creation of the film, offering a rare look at the character development process.Drawn by studio artist Cody Reynolds, this full-figure composition captures the impish energy and contrast between the two characters: Pain's hunched, nervous posture and Panic's wide-eyed, frantic expression, mid-exchange over the Fates' eyeball.The lines are clean and expressive, typical of the refined "cleanup" phase where rough animation is translated into final line art for production reference or potential cel translation. The drawing also features the official Disney copyright red-coloured stamp in the lower right corner. 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
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
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
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) UNLOADING A BARGE Pencil With Col. J. Lewis Brown's collector's stamp (lower left) 11.5 x 17.5cm (4½ x 6¾ in.)Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 26 This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down but attached to the mount at the upper corners, there is some light surface dirt and some scattered light foxing and discolouration along the extreme upper edge. There are also some areas of silver fish damage. The pencil work is strong. The left hand edge is deckled where it has been removed from a sketchbook. The drawing is fitted into conservation housing and could be hung without further attention. The drawing was not removed from the frame in the preparation of this report. Condition Report Disclaimer
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) STUDY OF FIGURES AT MARKET AT THOUN, SWITZERLAND Pencil Inscribed 'Thoun' (upper right); with Col. J. Lewis Brown collector's stamp (L.307d)(lower right) 9.5 x 17cm (3½ x 6½ in.)Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 26This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down, but hinged to the backing at the upper corners. There is a small repaired tear, approximately 1 cm in the upper right corner. The sheet is foxed throughout but the pencil work is strong. The drawing is fitted into conservation mount and could be hung without further attention. 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.
ROBERT WILSON (AMERICAN B. 1941) DRAWING FROM 'I WAS SITTING ON MY PATIO THIS GUY APPEARED I THOUGHT I WAS HALLUCINATING' Pencil 54 x 75cm (21¼ x 29½ in.)Drawn in 1977. Provenance: Paula Cooper Gallery, New York Condition Report: The work is hinged to the mount at intervals along each edge. There is a light horizontal crease to the lower right corner. Otherwise, the work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
PIERRE BONNARD (FRENCH 1867-1947) PAYSAGE Pencil Stamped Bonnard (lower left) and with initials (lower right) 11 x 15cm (4¼ x 5¾ in.)With a study of a still life, stamped with initials, verso.Provenance: Sale, Christie's, South Kensington, 2 December 1996, lot 15This work is recorded in the Bernheim-Jeune Archives under no. 196-0716B 42/42. Condition Report: A double sided drawing, framed with both sides visible. The drawing on the verso has left a faint impression on the recto. Both sides are faintly discoloured. The landscape (recto) has a faint crease to the lower right corner and some slight staining to the same area. There is also large spot of brown staining to the upper right quadrant. This is also visible to the drawing verso. Also verso, there are some further spots of foxing and evidence of handling creases to the lower left quadrant. Unexamined out of glazed frame.Condition Report Disclaimer
SIR DAVID WILKIE (SCOTTISH 1785-1841) STUDY FOR "THE BRIDE AT HER TOILET ON THE DAY OF HER WEDDING" Pencil, black chalk and brown wash Signed and dated '1837' (lower left) 23 x 19.5cm (9 x 7½ in.)Provenance: Sale, Christie's, London, 17 November 1992, lot 33The present drawing is a Study for the Bride at her Toilet on the Day of her Wedding, 1837, National Gallery of Scotland.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.
‡ THÉODORE GÉRICAULT (FRENCH 1791-1824) STUDY FOR 'THE OATH OF BRUTUS AFTER THE DEATH OF LUCRETIA' Pencil on light greenish-blue coloured paper 9.5 x 13cm (3.3/4 x 5 in.) Drawn circa 1814-1816.Provenance: Sale, Drouot, Paris, March 17, 1989, lot 3 [part lot, from so-called 'Album Blanche'] Literature: Miller, Asher Ethan, "Théodore Géricault, The Oath of Brutus after the Death of Lucretia, ca. 1815-1816, French Paintings and Pastels, 1600-1945, The Collections of the Nelson-Atkins Museum of Art, ed. by Marcereau DeGalan, 2019, illus. Fig 4 The present study is a freely rendered drawing focusing on the composition of the figures directly relating to the finished painting, now held in The Nelson-Atkins Museum of Art. Please note that the online description has been updated and is not the same as what is printed in the catalogue. Condition Report: One or two very light spots of surface dirt, however these are barely noticeable. Some light undulation to the sheet under the glaze. Overall this work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) STUDY OF CLIFFS, NORMANDY Pencil With Col. J. Lewis Brown collector's stamp (lower right) 11 x 16cm (4¼ x 6¼ in.) Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent Sale, Sotheby's, London, 21 November 1991, lot 27 (part lot)This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down, but attached to the backing at the upper corners. There sheet has discoloured overall and there is a diagonal crease running across the sheet and a small repair to the centre of the lower edge and a small repair, visible on close examination to the centre of the upper edge. The drawing is fitted into conservation mount and could be hung without further attention. Condition Report Disclaimer
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802 - 1828) STUDY OF VILLAGE ROOFS Pencil with stumping With Col. J. Lewis Brown collector's stamp (lower right) 9.5 x 7cm (3½ x 2¾ in.) Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 33 (part lot)This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down but attached to the mount at the corners. The sheet has discoloured overall and there are some areas of abrasion to the corners. The drawing was not removed from the frame in the preparation of this report. Condition Report Disclaimer
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) STUDY OF ROCKS AND WATER Pencil With Col. J. Lewis Brown collector's stamp (lower left) 15 x 21.5cm (5¾ x 8¼ in.)Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 27 (part lot) This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down but attached to the mount at the corner, there is some uneven discolouration and light scattered foxing, but the pencil work reads well. The drawing is fitted into a conservation mount and could be hung without further attention. The drawing was not taken out of the frame in the preparation of this report. Condition Report Disclaimer
ROBERT WILSON (AMERICAN B. 1941) 16 DRAWINGS: DEATH DESTRUCTION AND DETROIT Pencil The largest 15.5 x 20cm (6 x 7¾ in.) (16) Each framed in perspex cases Drawn in 1978. Exhibited: New York, Neuberger Museum Denmark, Louisiana Museum of Modern Art, Drawing Distinctions, August-September 1981 Condition Report: All unexamined out of perspex cases. One work with a small brown spot to the upper left quadrant, otherwise, all works appear to be in good original condition. Condition Report Disclaimer
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.
JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775-1851) VIEW OF CANTERBURY FROM THE EAST Pencil 22.5 x 28cm (8¾ x 11 in.) Provenance: Mrs Sophia Booth (1798-1875), the artist's landlady Daniel John Pound, her son from whom purchased by Lawrence W. Hodson, Compton Hall by 1884 and by descent until Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by Richard Feigen (1930-2021) with Richard L. Feigen & Co., New York This drawing and lot 72 drawing were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844. We are grateful to Ian Warrell for his help in preparing this catalogue entry. Condition Report: There is a small handling mark / smudge to the upper right quadrant. A number of small brown spots of foxing scattered throughout. Some light staining to the framing edges. Some light undulation to the sheet under the glaze, with some heavier creasing to the upper right corner and along the upper edge. Unexamined out of glazed frame.Condition Report Disclaimer
JOSEPH MALLORD WILLIAM TURNER (BRITISH 1775 - 1851) VIEW OF MAIDSTONE, KENT Pencil 22 x 27cm (8½ x 10½ in.) Drawn circa 1845-50.Provenance: Mrs Sophia Booth (1798-1875), the artist's landlady Daniel John Pound, her son from whom purchased by Lawrence W. Hodson, Compton Hall by 1884 and by descent until Sale, Sotheby's, London, 30 November 1978, part of lot 97, where purchased by Richard Feigen (1930-2021) with Richard L. Feigen & Co., New York Literature: Ian Warrell, Turner's Sketchbooks, 2014, p. 233. The present drawing and lot 73 were from a loosely bound group of seventeen pencil drawings, from a sketchbook that Turner used in 1845-1846 to record subjects in Canterbury, Rochester and Maidstone. Ian Warrell proposed grouping the existing sheets (now broken up) as the 'Canterbury, Rochester and Maidstone sketchbook', see Warrell, loc.cit. Throughout the 1840s Turner spent time on the Kent coast, first at Margate and from 1846 at Deal, his visits there being facilitated by the South Eastern Railway being extended to Margate in 1844. We are grateful to Ian Warrell for his help in preparing this catalogue entry. Condition Report: There are a number of small spots of brown foxing throughout the sheet (see online and additional images). Some light staining to the sheet around the framing edges. Undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
CIRCLE OF RICHARD PARKES BONINGTON (BRITISH 1802-1828) BARGES Pencil With Col. J. Lewis Brown collector's stamp (lower left) 10.5 x 13.5cm (4 x 5¼ in.) Provenance: John Lewis Brown, a gift from the artist to John Lewis Brown's Uncle and by descent to Louise Lewis Brown, his daughter Jean Dieterle and by descent until Sale, Sotheby's, London, 21 November 1991, lot 33 (part lot)This drawing was part of a large group of sketches from the Dieterle collection which were sold Sotheby's 21 Nov 1985 lots 22-33. Their provenance can be traced back to the artist John Lewis Brown (1829-1890) through to his niece Louise Lewis Brown by whom the collector's stamp (L.307d) was added circa 1890-1892. Condition Report: The sheet is not laid down but attached to the mount at the corners. It is in good overall condition and there is a repaired nick to the extreme upper edge. There is some light discolouration but the pencil work is strong. The drawing is fitted into conservation housing an could be hung without further attention. The drawing was not removed from the frame in the preparation of this report. Condition Report Disclaimer
‡ 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).
Laurence Stephen Lowry RA (1887-1976), pencil drawing Jane Pit Workington, with figures, signed and dated 1969. 25 x 34 cm, framed and mounted. Provenance: Formerly the property of Sir Frederick Gibberd, C.B.E. RA, sold at Christies June 2001 and Castlegate House Gallery Cockermouth, also exhibited at The Lefevre Gallery, London. ARR (see illustration).
A GEORGE III EMBOSSED PAPER BIRD PICTURE ATTRIBUTED TO WILLIAM HAYES (1729-1799), LATE 18TH CENTURY Depicting a grey heron (Ardea cinerea) by reeds and river, basso relievo with hand tinting, glass eye, later mounted in a glazed giltwood frame with Cambridge blue and gilt mount, reverse with hand inscribed label "Sacher" and further faintly inscribed in pencil "Centre left hand side" the image approximately 49 x 29cm, the frame 63 x 42.5cm William Hayes was an ornithologist and artist who in 1771 published a volume containing forty hand-coloured engravings "A Natural History of British Birds etc.". In the late 1780s, he was employed at Osterley, recording the exotic birds in the Child's 'menagerie'. This resulted in the publication between 1794 and 1799 of his "Portraits of Rare and Curious Birds with their Descriptions". Drawing on first-hand experience he produced a series of basso relievo bird pictures such as this- much in the manner of his Irish contemporary Samuel Dixon. The present bird picture incorporates a glass eye - a feature favoured by Hayes. Condition Report: well presented in current frame, original picture with some typical small losses and marks and with some shrinkage visible to neck and tail. residual dirt visible under glass and careful cleaning may help improve overall presentation. some mild scuffing and marks to frameCondition Report Disclaimer
† CHARLES SPENCELAYH (1865-1958); a pencil drawing, 'Man Seated at a Desk', signed lower left, 25 x 17.5cm, framed and glazed, with original purchase receipt from Christie's South Kensington, dated 27th March 2003, for the sum of £337.Condition Report: There are no signs of any visible damages or imperfections to this drawing but the mount appears slightly dirty and worn.
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