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A collection of three Indian drawings, 'Krishna & Radha Making Love in a Forest', Kotah School, India, 2nd quarter of the 18th century, 17 x 14cm,'Girls Walking to a Shrine', c.1730-1740, Kotah, 23 x 11cm, anda sketch sheet, c.1840, Kotah, depicting the shape of a child's wrists, fingers and toes,18 x 11cm (3)Condition ReportAll drawings cut from a larger leaf. With some tears, marks and yellowing commensurate with use and age. Two taped to board at upper margin - see high resolution images available online. No further provenance available

John Ruskin (1819-1900), a group of four signed letters:the first addressed to Mr Cruikshank, 8th January 1867, stating 'I have been very unwell or I should long ago have come to see you.',the second addressed 'My dear Sir', expressing his gratitude and asking to look at the drawings the recipient is due to show Mr Severn,the third to Miss Stegant, 4th Feb 83, discussing his own publications,the fourth to Arthur Severn, discussing a present of African minerals to the St George's Museum which will be arranged by 'our acting Mineralogist, Mr Francis Butler', complete with a portrait of Ruskin,together with six associated letters by other hands with The Crystal Palace Company heading,a similar letter headed Society of Arts, Manufactures & Commerce, and a letter with a sketch over a horse head above an inscription George Cruikshank (1792-1878) verso,a letter to De Behnes from George Cruikshank, discussing 'the accounts for the caricatures',two letters to Lady Molesworth from Treschleichen, expressing the concerns of Dr Munthe with the location and condition of Captain Ford, an associated letter to Lady Molesworth from Dr Munthe, expressing clear concern for 'Where Dicky is?' and other questions about his location and how to contact him,a card from Dr Munthe, anda letter addressed 'My dear Froude', requesting the recipient's attendance, complete with a portrait of Tennyson (qty.)

John Ruskin (1819-1900), a group of letters, including:a series of two letters addressed 'Gentlemen', discussing a debt and the health of Tarrant, one signed,a letter requesting a sketch of cracked ice, above a drawing of cracked ice, inscribed in another hand: 'John Ruskin to W.G.C. May 1 1982',another addressed to Mr Redmayne, discussing the Langdales Pikes, signed, another addressed to Mr Tarrant, expressing that he is 'happy in having a child, and in looking back on a life of happiness' and 'Do you notice how people are beginning to defend themselves uneasily - see Quarterly Review on Mr Ernest George', andthree further letters:the first addressed to Mr Cooke from W G Collingwood, expressing that 'Mr Rusk is not well enough to write autographs nowadays',the second to Mrs Norton from E Cooke, explaining 'I wrote to Mr Collingwood for the Ruskin autograph of the Iceland Drawings. I send you what he has sent me. JR's signature is not there but Marjory is fortunate in getting such a good piece of work',the third a drawing of flowers above an inscription 'hold this way' (8)

John Ruskin (1819-1900), a group of three signed letters, comprising:a copy of 'The King of the Golden River or The Black Brothers', illustrated by Ferdinand Huszti Horvath, William Edwin Rudge, 1930, numbered 7 out of 50 copies, pencil signed 'F. H. Horvath',with a signed letter inserted to the front addressed to Miss Rudkin, 5th April 81, expressing his thanks to her,a letter addressed to Mr More, 22nd October 1866, discussing a sketch that he sent that 'belonged to my mother, but she likes you to have it, and so do I, if you like it.', anda letter to Sir William Wiseman, 18th February 1869, asking for 'pardon for having deferred till now my reply',together with an unsigned letter, addressed to Allen, unfinished, expressing 'What an ass that Bunney is - He has never paid me a farthing' and 'I hope you will find the etchings worth a good deal' (4)

A late Victorian sketch book, an album of postcards and assorted ephemera (box)

GAME BOY COLOR: THE FLINTSTONES BURGERTIME IN BEDROCK - Game Boy Color Original Video Game Box Artwork Signed by Walter Carzon - The original video game box artwork for the Game Boy Color game The Flintstones: Burgertime in Bedrock.The artwork is the final ink illustration for the game, created by Walter Carzon, which was later coloured digitally. It comes mounted in a custom display, which also includes the game box cover, and the game card. Carzon has signed the illustration in black ink, and the lines of his preliminary pencil sketch are visible beneath the ink. Adhered to the back of hte frame is the back of the game box. Dimensions: 40 cm x 30 cm x 3 cm (15.75" x 12" x 1.25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M

SUPER NINTENDO: MIGHT AND MAGIC II - Preliminary Map of the World Cron Sketch, Signed Guidebook, Poster and Game Cartridge - A preliminary map of the World Cron sketch, a signed guidebook, a poster and a game cartridge from the production of the role-playing video game Might and Magic II: Gates to Another World.The map was created by US illustrator Jim Krogle, who was also employed to draw the maps for the first instalment, Might and Magic: Book One - Secret of the Inner Sanctum. The sketch is rendered in pencil on velum and embellished with adhered printed cutouts. Krogle has signed the map in the bottom right corner in pencil.The guidebook is addressed to Krogle and signed by the game's designers, Jon Van Caneghem and Michaela Van Caneghem. Krogle has also signed the same page of the guidebook.The Might and Magic II cartridge is for the Super Nintendo Entertainment System. The poster is a printed colour version of the map. Dimensions: 103 cm x 79 cm x 0.5 cm (40.5" x 31" x 0.25")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M

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

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

MANY ADVENTURES OF WINNIE THE POOH, THE (1977) - Winnie the Pooh and Eeyore Original Production Animation Cel Pairing - A combination of two original production cels used in the making of The Many Adventures of Winnie the Pooh (1977). This full-length feature combined three much-loved featurettes: Winnie the Pooh and the Honey Tree (1966), Winnie the Pooh and the Blustery Day (1968), and Winnie the Pooh and Tigger Too (1974), into a single theatrical release. Together, they brought A.A. Milne's timeless stories and E.H. Shepard's gentle illustrations to life for generations of audiences.The Eeyore cel can be found in the first featurette just after having his tail pinned back on. The Winnie the Pooh cel appears later in the movie.Disney's interpretation of Pooh and friends became a global cultural phenomenon, celebrated for its warmth, humour, and the simple but profound charm of its characters. While Shepard's original artwork remains iconic in literary circles, Disney's animated designs introduced Pooh, Eeyore, Piglet, and Tigger to millions worldwide, embedding them deeply in pop culture.The cels feature a delicate sketch-style xerographic ink line, preserving both the animators' pencil work and the clean finish. They are presented on a printed background typical of Disneyland Art Corner releases. This nostalgic touch reflects the classic style of how Disney first made these works available to the public.The series' universal themes of friendship, curiosity, and kindness have resonated across decades, making it one of the most beloved properties in Disney's portfolio and one of the few adaptations to stand shoulder-to-shoulder with the original literary source. The lot comes presented in a blue-coloured mount. Dimensions (mounted): 34.25 cm x 39.75 cm (13.5" x 15.75")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facility.VAT Status: US

‡ ATTRIBUTED TO PIERRE ANDRIEU (FRENCH 1821 - 1892), AFTER EUGÈNE DELACROIX L'EDUCATION D'ACHILLES Oil on canvas 35 x 44cm (13¾ x 17¼ in.) Provenance: P. Andrieux, Paris Durand-Ruel, Paris, by 1900 Edward W. Hooper, Cambridge and Boston, by August 1900 Mabel Hooper Lafarge, Connecticut L. Bancel Lafarge, Nantucket, by descent Sale, Christie's, New York, 6 February 2007, lot 1 (as Eugène Delacroix, withdrawn) Literature: L.R. Bortolatto, L'Opera Completa di Delacroix, Milano, 1972, no. 409 R. Escholier, Delacroix: Peintre, Graveur, Ecrivain, Paris, 1929, Vol. III, p. 39 J. Meier-Graefe, Eugène Delacroix. Beiträge zu einer analyse, Munchen, 1922, p. 156 L. Johnson, The Paintings of Eugène Delacroix, Oxford, 1989, V, p. 56, no. L222 (as a sketch after Delacroix, possibly by Pierre Andrieu) A more complete version of this image is in the Getty Museum, Los Angeles Condition Report: The canvas has been lined and there is some undulation as a result. Spots of surface dirt and spotting throughout (see online images). Craquelure and superficial surface scratching. Some light discolouration, largely caused by dirt commensurate with age. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no obvious signs of restoration or repair.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.  

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.    

FOLLOWER OF EUGENE CARRIER THE HEAD OF A MAN Pencil 24 x 16cm (9¼ x 6¼ in.) UnframedTogether with: A study of figures before a barn, signed with initials `h.m.' (lower left), pencil, unframed (18.5 x 14.5 cm); Faust in his Study, inscribed (lower right), pastel and watercolour, unframed (20.4 x 27 cm); The Lamentation, pencil and black chalk on buff paper, unframed (16.5 x 23 cm); A study of a cavalry charge, pencil, unframed, (10 x 15 cm); and a portrait sketch of a man, indistinctly signed (lower right),(15 x 9.4 cm), a collection of drawings by various 19th century French artists, Under a red cover stamped "Blanche Album" and two reproduction prints (Qty) Condition Report: In varying condition, please contact the department for further images.Condition Report Disclaimer

‡ JOSEPH MICHAEL GANDY (BRITISH 1771-1843) STORMY LANDSCAPE; COASTAL VIEW NEAR RAMSGATE Pencil and watercolour The first inscribed and with pencil sketch of floor plan (verso) 11 x 19cm (4¼ x 7¼ in.) One unframed (mounted) (2)

‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8  Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.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.

JOHN WHITE ABBOTT (ENGLISH 1763-1851) FIVE SKETCHES AFTER RAPHAEL'S TAPESTRY CARTOONS, COMPRISING: THE MIRACULOUS DRAUGHT OF THE FISHES; THE HEALING OF THE LAME MAN; ELYMAS STRUCK WITH BLINDNESS; THE SACRIFICE OF LYSTRA; THE PREACHING OF PAUL Pencil, unframed The first five signed with a monogram and inscribed `RAPHAEL' (along the lower edge) 14 x 18.5cm (5½ x 7¼ in.) Together with an additional sketch by the artist: The Mary Magdalene, After Raphael(6)Provenance: Purchased from Cynthia Broadman, New York, 14 October 2003 (THE MIRACULOUS DRAUGHT OF THE FISHES; THE HEALING OF THE LAME MAN; THE SACRIFICE OF LYSTRA; THE PREACHING OF PAUL) Sale, Christie's, London, 17 November 1992, lots 58J and 58O respectively (ELYMAS STRUCK WITH BLINDNESS; THE MARY MAGDALENE)  

‡ 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

Attributed to Nicholas Berchem (1620-1683) red chalk sketch of animals, 17cm x 27cm, in glazed gilt frame

George Chinnery (1774-1852) three pencil sketches - Chinese subjects, from a sketch book dated April 1837, mounted and framed as one, 10cm square and 9.5cm x 5cm

Attributed to Cornelis Pietersz Bega (c.1620-1664) red chalk sketch of cattle and a donkey, 17cm x 27cm, in glazed gilt frame

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)

Small sketch book c.1940s attributed to a P.PONTIN, an illustrated autograph book c.1920s and "Crathie Churches & Royal Bazar at Balmoral" by William W Philip, 1896 Ltd Edition 61/100

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)

Edward J Frost (British 19th Century): Portrait of 'Lowestoft' Trawler LT942, pencil sketch signed titled and dated 35.5cm x 48cm

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

Adolphe Willette (French 1857-1926): Heaven’s Gate, ink and pencil cartoon sketch signed with monogram 16.5 cm x 23 cm

Philip de László MVO RBA (Hungarian, 1869-1937) Portrait of Lady Susan Townley (née Lady Susan Keppel, 1868-1953) signed and dated to the reverse 'P. A. László / 1911. Sept.' and inscribed with the sitter's identity oil on board, oval 61 x 47cm Provenance: With Colnaghi, London, 1985, where acquired by the family of the sitter Exhibited: London, Colnaghi and Clarendon, Society Portraits 1850–1939, 1985, no. 76 Literature: C Newall, Society Portraits 1850–1939, Colnaghi and Clarendon, 1985, no. 76, p. 168, ill. p. 169; Sandra de Laszlo, ed., A Brush With Grandeur, 2004, p. 111, ill. fig. 67; K Field ed., Transcribed by Susan de Laszlo, The Diaries of Lucy de László Volume I: (1890-1913), de Laszlo Archive Trust, 2019, ill. p. 188 The sitter, Lady Susan Townley, was the fifth of the seven daughters of William Keppel (1832-1894) 7th Earl of Albemarle, and Sophia Mary (1832-1917) second daughter of the Hon. Sir Allan Napier McNab, first Baronet and Prime Minister of Canada. In 1896, she married the diplomat Walter Townley (1863-1945) who throughout his long career held postings in numerous cities including Bucharest, Teheran, Peking, Paris and Buenos Aires amongst others. Lady Susan recorded her experiences of life in these places in her autobiography The Indiscretions of Lady Susan, published in 1922. The present portrait was executed during Lady Susan's stay with Lady Wantage in Lockinge, Berkshire, where she and her husband were staying for over a month on their way from Buenos Aires to Bucharest. De László was himself a guest at Lady Wantage's home from 10th to 15th September 1911. The sitter had met the artist earlier that year when she accompanied her husband to sittings for his formal full length portrait completed in July 1911. Lady Susan's sister-in-law, Lady Gertrude Egerton, wife of her brother, the 8th Earl of Albemarle, also sat to De László. The present portrait is recorded under number 7360 in the Catalogue Raisonné of Works by Philip de László being compiled by Sandra de László and The de László Archive Trust. The sketch is executed in oil on a composite thick board support. The board bows forward at the centre and is secured in the frame with horizontal battens which appear to be attached to the frame rather than the reverse of the painting. The support appears to be have been reduced in size into an oval format – the inscription on the reverse has been trimmed in this process. The artists’ signature has been kept and secured to the reverse. The paint layers are in a good, stable condition. There are lumps across the surface associated with the texture of the board and the support has probably discoloured with age, but overall the appearance of the work is good.

* * John Brett (British, 1831-1902) 'The winter of our discontent when we took the bar to the ebb', Newport, Wales, September 1882 indistinct incised inscription lower right oil on canvas 31.5 x 64.5cm Provenance: Acquired from the artist by C J Robin in December 1882 for £150; Private collection Exhibited:London, Whitechapel Gallery, 1883, no. 132;London, Whitechapel Gallery, 1884, no. 169; London, Whitechapel Gallery, 1893, no. 182 Literature: C Payne and C Brett, John Brett : Pre-Raphaelite Landscape Painter, New Haven and London, 2010, p. 226 no. 986. This work was painted at Newport, on the Pembrokeshire coast of Wales, where Brett and his family spent three months in the Castle, leased from the local landowner. In 1882, Newport Bay was dominated by a large sand bar, now partly washed away by the movement of the tides. From a window of the Castle, Brett spotted a boat which had been left stranded on the bar by the ebb tide, of which he painted a small sketch (untraced). From this the current larger version was developed. His Book of Pictures records its sale to Mr Robin, and gives the dimensions as 15" x 30". A later owner evidently had the work slightly cut down, though its essential proportions were preserved. The Whitechapel catalogue for 1893 contained the following note on the picture: "This picture wants long looking at. It is a marvel of patient workmanship. Note how the clouds are massed and yet not heavy; the sea rough and yet flat. Note also the extraordinary blending of the colours of the sea, sky and sand in the pool in the foreground". We are grateful to Charles Brett for his assistance in cataloguing this lot. * Please note this lot is also subject to 5% temporary import VAT duty on the hammer price in addition to the buyer’s premium

§ Charles Johnson Payne known as 'Snaffles' (British, 1884-1967) 'Seagulls', with a remarque sketch of a biplane below, circa 1916 signed lower left 'Snaffles' and the remarque with the initial 'S' watercolour and pencil heightened with bodycolour 38.5 x 56 (main image); 9 x 22cm (remarque) In 1916 Snaffles enlisted in the RNAS (Royal Naval Air Service) - a fledgling arm of the Royal Navy. He was possibly posted to the Isle of Sheppey or the Isle of Grain, both on the Kent coast. On the 8th September 1917, he was gazetted as a Temporary Lieutenant in the RNVR (Royal Naval Volunteer Reserve) and was posted to join the ‘Dazzle’ section, designing camouflage for naval shipping, where he worked with the noted maritime artist Norman Wilkinson. Throughout this time and even through to the Second World War, Snaffles produced a number of naval related prints that are amongst the rarest and most collected of his works. In this painting, the original of ‘Seagulls’, it is believed that the ships portrayed are possibly composites rather than accurate portrayals of real ships. Of impressive size and together with its original watercolour remarque, the overall competence of the picture would indicate it was produced in the early 1920s by which time Snaffles style had developed considerably from that of his pre-First World War work. Framed 68 x 77cm

A REGENCY MAHOGANY LIBRARY BERGERE ARMCHAIR ATTRIBUTED TO GILLOWS, CIRCA 1815 103cm high, 69cm wide, 74cm deep Provenance: The Estate of Lord & Lady Cormack The caned bergere of this form named the 'Ashburnham' chair, features in Gillows 1803 Estimate Sketch Book, no. 1721 (City of Westminster Archive). Sketches of similar chairs appear in the firm's early 19th century room plans preserved at the Victoria and Albert Museum.

A REGENCY MAHOGANY CELLARET OR WINE COOLER ATTRIBUTED TO GILLOWS, CIRCA 1815 The hinged top enclosing fittings for three wine bottles and four magnums, the sides with ormolu lion mask and ring handles 59cm high, 59.5cm wide, 50cm deepAn identical cellaret attributed to Gillows sold Christie's, Chieveley House, Berkshire and Five Private Collections, London, 19th March 2020, Lot 85 (£4,375 incl. BP).A related design for a cellerette or 'gardevin' is in the Gillows' Estimate Sketch Books (ESB 344/99, 27 August 1805, no. 1771).See Susan S Stuart, Gillows of Lancaster & London 1730-1840, volume I, p332, pl 382, for a Gillows dressing table with identical double moulded beading, triple beaded edges and related ring turned and reeded legs. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There are some old repairs to the legs with some metal braces where the legs meet the base of the cellaret. Intact and useable with just some small movement to some legs.The interior large bottle removeable section has some cracks.The lid holds itself firmly.There is no key for the original lock.Of strong Gillows design with a classical line, outset corners, quality reedings and mouldings; the grand scale size and good cuts of well figured timber also typical of Gillows work in this Regency period.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

A FINE PAIR OF REGENCY MAHOGANY LIBRARY BERGERES ATTRIBUTED TO GILLOWS, CIRCA 1815 All legs with brass spoked casters, with scarlet leather upholstered arms and squab cushions 93cm high, 64cm wide, 74cm deepThe caned bergere of this form, named the 'Ashburnham' chair, features in Gillows 1803 Estimate Sketch Book, no. 1721 (City of Westminster Library). Drawings of similar chairs also appear in the firm's early 19th century room plans preserved at the Victoria & Albert Museum. The baluster arm evolved from a chair pattern illustrated in Thomas Sheraton's Cabinet-Maker and Upholsterer's Drawing Book, 1793, p. VI, and its reeded back reflect Gillows' early 19th century Grecian style.A nearly identical pair were sold by the late Colonel Sutton Nelthorpe, Scawby Hall, Sotheby's, 11th April 2002, Lot 96 (£47,000 incl. BP) and another pair at Christie's, 22nd November 2007, Lot 729 (£36,500 incl. BP).

Francis Luis Mora (American, 1874 - 1940)"Tono Antonio"Original pencil sketch of shepherd holding lamb with guitar.Provenance: From the estate of the artist.Sheet Size: 9.5 x 7.5 in.Unframed.

Francis Luis Mora (American, 1874 - 1940)Original pencil sketch of a woman and gentleman seated.Provenance: From the estate of the artist.Sheet Size: 9.5 x 7.5 in.Unframed.

Francis Luis Mora (American, 1874 - 1940)Original pencil sketch of two boys standing.Provenance: From the estate of the artist.Sheet Size: 7.5 x 10 in.Unframed.

Francis Luis Mora (American, 1874 - 1940)Original pencil sketch of people workng in field.Provenance: From the estate of the artist.Sheet Size: 7.5 x 10 in.Unframed.

Francis Luis Mora (American, 1874 - 1940)Original pencil sketch of horseman in mountain landscape.Provenance: From the estate of the artist.Sheet Size: 10 x 7.75 in.Unframed.

Late 19th/early 20th century  Oil on canvas Riverside house Pencil sketch Tree, indistinctly signed  Print (3) 

This vibrant Royal Doulton figurine titled Sketch Girl features a stylish young woman in a striking orange skirt and bonnet, offering miniature figures and puppets on a tray"perhaps as an entertainer or vendor. Introduced in the mid-20th century, this piece is distinguished by its bright palette, theatrical subject matter, and lively posture. Finely modeled in bone china and fully hand-painted, the figurine is marked Royal Doulton on the base and stands approximately 7"H. A playful and rare addition to any collection of vintage English porcelain.Artist: Leslie HarradineDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

Two LNER Carriage Panels - i) HARROGATE LNER Pencil sketch advert of the Baths by Henry Gawthorn. 1924. Some stains. In original style frame & glazed. 20in x 10in. And LNER CHEAP NIGHT TRAVEL From Kings Cross & Marylebone. Artwork of loco & moon by Frank Newbould. Damage & repairs. In original style frame & glazed. 20in x 10in. (2)

Two LNER Carriage Panels - i) SHERINGHAM LNER Pencil sketch advert of the golf course & beach by Henry Gawthorn. 1924. Some marks. In original style frame & glazed. 25in x 10in. And CLACTON LNER Pencil sketch advert of the pier and beach by Adrian Hill. 1924. Re-mounted and unframed. (2 items)

Graham Wildridge (British, 20th century), A group of six original landscape studies, watercolours and ink on Saunders Waterford watercolour paper including, Burnham Overy, Burrow Mump, Somerset, Bromholm Priory, Bacton (preparatory pencil sketch of an eagle on verso), Egmere, Beacham Well St. John Church Ruins, near Swaffham, Hangman's Hill, signed, 76x56cm, unframed (6)

Pencil Sketch & PrintsSet of FourFamily Self Portraits13x10cm

Framed original sketch artwork for a book jacket titled Return of Virginian. The humorous illustration features a cowboy, an older character labeled as "Festus," and a pig on a leash. Signed by the artist and inscribed: "For Fran - With all the best " From the artist with Festus Block." The pencil note at bottom reads "Rough Foil Book Jacket - Return of Virginian." Ink and watercolor on paper, housed in a simple black wooden frame.Issued: 1974Dimensions: 10.5"L x 12.75"HCountry of Origin: United StatesCondition: Age related wear.

A PROFILE PORTRAIT OF A SIKH NOBLEMAN PROPERTY FROM A CANADIAN COLLECTION Possibly Lahore or Punjab, Northern India, ca. 1860 - 1880Ink and white wash on paper, the small-sized preparatory sketch depicting a distinguished bearded man of South Asian descent, wearing a multi-folded turban reminiscent of Sikh dastar turbans with the characteristic arrow-like opening on the forehead, with a well-groomed beard and thick moustache, the roughly sketched shoulders covered by a shawl with many pleats, on the upper right corner a later-added sepia ink inscription reading Barkat Ali Khan, on the left two inscriptions reading Rs.1, set on a cardboard mount.The sketch 7.6cm x 8.4cm, 18.6cm x 19cm including the mount The sketch 7.6cm x 8.4cm, 18.6cm x 19cm including the mount Qty: 1

A PROFILE PORTRAIT OF THE INDIAN REFORMER, RAJA RAM MOHAN ROY (1772 - 1833), THE FOUNDER OF THE BRAHMO SAMAJ Company School, Southern India, mid to late 19th centuryOpaque pigments and white wash on thick paper, the sitter portrayed in profile, the nobleman with thick curly hair and thin moustaches depicted with a characteristic multi-folded red turban embroidered in yellow and blue, clad in a white robe and wearing a purple-trimmed shawl over the shoulder, not painted from life, the image bearing close stylistic resemblance to an 1828 French lithograph by Marlet depicting Raja Ram Mohan Roy (an Indian reformer, writer, and founder of Brahmo Samaj), the painting backed by a sheet of paper with a black ink sketch of a countryside home, mounted, glazed and framed.The portrait 15.5cm x 15.5cm, 19.5cm x 19.8cm including the frame Raja Ram Mohan Roy (22 May 1772 – 27 September 1833), often called "the father of Modern India", is known for founding the Brahmo Samaj in 1828, a religious and social reform movement that aimed to modernise Indian society, and for his advocacy against antiquated social practices like Sati (widow burning). Roy was a prolific writer, a scholar of multiple languages, and a key figure in the Bengal Renaissance. The portrait 15.5cm x 15.5cm, 19.5cm x 19.8cm including the frame Qty: 1

Montblanc - Meisterstuck Leonardo Gold Plate Sketch Pen / Mechanical Pencil 5.5mm, Writing. The pencil has gold plate detailing and shows signs of previous use. It would benefit from new refills.

JOHN LINNELL (BRITISH, 1792-1882). Portrait study of a lady, purportedly his daughter Hannah Palmer inscribed lower middle "H Palmer" pencil sketch 18 x 11cm (7 x 4.5in) Footnote: Hannah Linnell Palmer (1818-1893) was John Linnell's eldest daughter and an accomplished artist in her own right. She married the artist Samuel Palmer (1805- 1881) in 1837. Linnell was known to sketch and paint portraits of his close friends and acquaintances, many of whom were artists including Samuel Palmer. Provenance: Thomas Agnew and Sons Ltd, No 29050 George Goyder (1908-1997) Collection Thence By Descent Private Collection UK. CR* mounted behind glass, unexamined out of frame. In good order.

A watercolour sketch of Clee Hill; a framed oil and three prints

Modern Sculpture - Howard Carter, (British, contemporary) Borrowed Image Series No. XIII, a three dimensional study, 'Pablo's Violin', Transposition of Part of a Picasso Sketch - 'Violin, Glass & Bottle', 58cm high.

Michael David Barnfather, (British, bn. 1934), From a Sketch of Sheldon, near Bakewell, Derbyshire, signed, oil on canvas, 25.5cm x 36cm.

Percy Young Portrait of a child (Child Samuel) signed, pencil sketch, 26.5cm x 19.5cm.

A group of three studio sketches - Diana M. Armfield (British, bn. 1920), In Bed, pastel on paper, gallery label verso, 14cm x 13cm; attributed to David Issakovitch Roubenstein (Russian, 1902-1993), study of a lady reading, graphite on paper; an early to mid 20th century sketch of three nudes, indistinctly signed, (3).

ROLAND GREEN (1890-1972). Pheasants in flight, trial colour composition sketch for pheasant illustration, unsigned, mixed media on paper, framed and glazed, 35 x 25 cm

* Shepheard (Henry 'Mac'). Sketches by Mac, a large album containing various original illustrations, circa 1895-1915, approximately 38 pages containing 128 original illustrations (some loosely inserted), mainly watercolour with ink, some pencil, on paper or thin card, including 8 illustrated envelopes and postcards (3 addressed to H.W.P. Danter), various subjects including: Greetings for New Year and Christmas, By the Sad Sea-Ware, On to 'arry or - Whoa there!, Smoking his "Sefar" same as a town-man, Portrait of Capt. H. Shepheard of The New York Highlanders, One to the Raw-Recruit, A Big Game with Big Game, Visitors, Mundesley, There Little Girl Don't Cry..., The Miser or A Game of Grab or Oh What a Suprise, Crabbed Age & Youth!, I'm Reading about Brer Rabbit, Fancy Sketch of the Isle of White, Cupid, Hunting in Norfolk, A Storm Fiend, Fore!, The Potter's-wheel, etc., all but ten signed 'Mac' or monogrammed 'HS', inscription to verso of front free endpaper 'Harold Danter from C. Hayden Coffin 1897', some small closed tears to a few leaf edges, all edges gilt, original pale green cloth boards, title and hand decoration in black ink to upper board, some marks, title in black ink to spine, folio (36.4 x 26.5 cm)QTY: (1)NOTE:Henry Shepheard was an artist and cartoonist, signing his work 'Mac'. He was most active between 1900-1920 and contributed humorous cartoons and illustrations to various magazines including The London Mail and Pick-Me-Up.The inscription is signed from Charles Hayden Coffin (1862 - 1935), an English actor and singer, to Howard Danter who, in 1918, was a Reverend in the Church Army.

Ransome (Arthur). Pigeon Post, 3rd impression, London: Jonathan Cape, November 1936, illustrations by the author, map endpapers, original cloth, dust jacket, spine and rear panel a little toned, tiny nicks at head of spine, 8vo, signed by the author to half-title with a small ink sketch of 'Swallow'' beneath, 8vo, together with The Big Six, 10th impression, London: Jonathan Cape, 1952, illustrations by the author, p. 109 with small closed tear to lower blank margin, a few light finger marks, map endpapers, original cloth (some fading to spine and small abrasions to rear cover), dust jacket, slight fading to spine, small tears at ends, 8vo, presentation copy, inscribed to half-title 'With best wishes from Arthur Ransome', with a small black ink and pink sketch of a sail boat, with 2 others: Winter Holiday, 1st edition, 1933 in a 4th impression dust jacket, with a pencil ownership signature of 'R. H. Kelsall' to front endpaper (The Kelsall family were friends and neighbours of the Ransomes in the Lake District), and Secret Water, 2nd impression, November 1939 QTY: (4)

Ransome (Arthur). Coot Club, 1st edition, London: Jonathan Cape, 1934, illustrations, errata slip, map endpapers, several small marginal repairs (list of pages repaired supplied), a few small marks, original cloth, corners a little bumped, small faded patches, 3rd impression dust jacket, spine toned, a little light spotting, contained in a cloth solander box, 8vo QTY: (1)NOTE:Presentation copy, inscribed to half-title: 'May she have fair winds whenever she wants them! Arthur Ransome', with a small ink sketch of 'Swallow'.Provenance: Beryl Morgan, her signature 'B. Morgan' at head of half-title. Formerly in the collection of John Cowen, who purchased this book, along with Swallow and Amazons and Winter Holiday from a bookshop in Whitley Bay in July 1991. His research revealed that Thomas Morgan joined the bookselling firm Mawson, Swan and Morgan in Newcastle in 1900, as chairman, and 'The son of Mr Morgan who now owned the book shop in the 1930s had three children. Beryl her sister Meriel and her brother Stewart. Beryl was a committed reader of the Swallows and Amazons saga and she eagerly looked forward to receiving the latest Ransome book at Christmas in the 1930s. Her father arranged with the manager of the shop, whose name has been forgotten, to obtain Arthur Ransome's inscription on the copies. These became cherished items with Beryl Morgan.'The book features in John Cowen's bibliography A Ransome Book-Case, 2000..