Two WW2 scrapbooks and seven Victory Europe newspaper editions. Scrapbook 1 (85 pages) - mostly Allied and Axis aircraft; Scrapbook 2 (162 pages) - mostly Allied and Axis aircraft, and also naval ships and Home Guard training charts to include 'Dealing with an enemy at close quarters' and 'Get your Parachutist'. The seven newspapers, May 8-16, comprise: May 8 1945 - Daily Herald 'Good Morning! This is VE-Day (Official)' and Daily Sketch 'This is VE Day. Premier is to Broadcast. Two Days' Holiday'; May 9 1945 - Daily Express 'This Was Their Finest Day' and Daily Mirror 'Britain's Day of Rejoicing'; May 10 1945 - Evening Standard 'Good Old London, God Bless You'; May 12 1945 - Daily Express 'First Demob. Day - June 18'; May 16 1945 -Daily Express 'All Germans Must Work to Feed Our Armies'.
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JAMES DUFFIELD HARDING (1797/8-1863) 'Bridge And River'titled to a Fine Art Society label verso, watercolour on paper with Gum Arabic highlights, 14cm x 21cm; together with three further works by the same artist: two watercolour sketches of town scenes (possibly French), each signed 'J.D. Harding' lower right, each 18cm x 13cm, in matching glazed frames, and a pencil sketch of trees in a forest, 41.5cm x 28.5cm (4)
Chinese sale catalogues and reference books, a large quantity, including: Sotheby's catalogue of Chinese and Japanese art, 1928 (1); Christie's catalogues of Chinese art, 1968 (3); THE TRANSMUTATION OF LING BY ERNEST BRAMAH, 1911; Burlington Fine Arts Club, Catalogue of a Collection of Objects of Chinese Art, Illustrated Catalogue of Chinese Art, Privately printed for the Burlington Fine Arts Club 1915. (3 identical copies); The Oriental Ceramic Society Exhibition catalogue of Enamelled Polychrome Porcelain of Manchu Dynasties 1951; The OCS catalogue of the Loan Exhibition, The Arts of The Ming dynasty 1957; Art of the Tang Dynasty, Oakland University; International Exhibition of Chinese Art Catalogue, Royal Academy of Arts London 1935-1936; Chinese Porcelain Before the Present Dynasty. S. W. BUSHELL, M. D., 1886; Journal MAANDBLAD VOOR BEELDENDE KUNSTEN 1935-35; A SKETCH OF THE HISTORY OF CERAMIC ART IN CHINA, WITH A CATALOGUE OF THE HIPPISLEY COLLECTION OF CHINESE PORCELAINS. 1902; etc. (qty.)Provenance: Arthur Probsthain bookshop, London.
British Army WW1 and WW2 father and son medals and ephemera for Captain M A O'Meara (father) Army Service Corps and M P O'Meara, Royal Tank Regiment, comprising Captain Michael Aloysius O'Meara MBE Military in Garrard & Co box, WW1 War Medal and Victory Medal both named to Capt M A O'Meara, 1914 waistcoat pocket diary and Almanac, warrant dated 6th January 1916 to be Warrant Officer Class 1, commission dated 15th January 1917 to be Second Lieutenant, Grant of the Dignity of a Member of the Military Division of the Order of the British Empire, letter from the Central Chancery, two photographs, his OSD cap badge and rank insignia. Michael Patrick O'Meara WW2 War Medal and Defence Medal, officer's Record of Service Army Book 439, photographs including one as an Air Cadet, L/Cpl in 1943 and Sandhurst 1944 etc., his RAC cap and collar badges and tommy lighters. Included with these items are family related ephemera including ID card, 8th June 1946 victory message from the King to boys and girls, pre-WW1 sketch album, 1914 dated dance cards and whist cards, cricket badges for 1877, 1880 and 1882 and two permits from the Ordnance Survey office dated 1870 and 1867
RONALD 'CARL' GILES O.B.E (British 1916-1995) A pen, ink and gouache cartoon sketch depicting a boat moored above water with the speech reading "Stop worrying Geraldine. Of course we're tied up properly - Phil Barnard tied us up properly." A personal commissioned sketch which comes with a dedication to to mount 'To Moray & Geraldine with love from Giles '79' together with a printed card, acknowledging condolences following his death in 1995, hand written by Carl's sister, Eileen Wilson. Carl was a personal friend of the vendor, Geraldine. Framed and glazed, 30cm x 24cm image size
![Sir David WilkieA sketch of birds, Ms. letter dated Feby 8th 1820 and envelope[46x26cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/80481368-8bb2-451a-aefe-b2d401023562/468x382.jpg)
![Scottish school 19th century Half-length portrait sketch young piperOil on mahogany panel[20x11cm]](https://cdn.globalauctionplatform.com/0f1a65d1-fbdd-43db-81b6-b2d100dd5302/e2a4c5a0-7154-4c8b-ab30-b2d4010214f2/468x382.jpg)
A handmade scrapbook by ROGER MOORE for TONY CURTIS, jibing him for his run-ins with the British press and the law, with a signed letter and 'The Saint' sketch. The pair became good friends after filming The Persuaders! which is evident from Roger calling Tony Curtis "Bernie" (his real name), a personalised letter that mentions Tony Curtis' wife reading "Tell Leslie - That over yonder lies the castle of my aunt the Queen!" Love Roger Moore" (A reference to a movie quote Curtis never actually said) and annotated newspaper clippings. A brilliant and unique piece of Hollywood memorabilia. CF: This item was originally offered as Lot 404 in Julian's Auctions 'Property From The Estate of Tony Curtis' auction 17/09/2011.
STAR WARS: Shadows Of The Empire (LucasArts Entertainment Company, 1996) limited edition print for the Star Wars video game release by Tim and Greg Hildebrandt, hand-signed by both brothers and numbered in pencil. 24" x 18", rolled.The poster is a print of Hildebrandt's illustration of R2-D2 and C-3PO in the forest moon of Endor. The illustration was also part of a Star Wars: Shadows of the Empire collector card set. The bottom features a pencil sketch of a Storm Trooper done by Hildebrandt ***Condition*** Water damage and mould.
MONTY PYTHON'S FLYING CIRCUS - A signed, original camera script for season 3 episode 4 of the Monty Python comedy sketch series, autographed by four members of Monty Python to front cover by ERIC IDLE, MICHAEL PALIN, TERRY JONES and GRAHAM CHAPMAN, the script appears complete and is 50 pages including titles and running order pages. The Title page suggests was initially intended to be Episode 2 but ultimately it was released as episode 4 of season 3 (episode 30 overall) titled "Blood, Devastation, Death, War and Horror" which aired on 9 November 1972.
An unfinished sketch of a seated couple caressing : possibly Radha and Krishna or an illustration to a ragamala series Kishangarh, north India, circa 1800, pencil on paper, she holding her veil, he holding his hand to her chin, erased hand between them, faint unrelated figure behind the lady and part of a face behind the man16 x 9cmProvenance: From the Collection of Francis Golding (1944-2013) Condition Report: Lightly pitted. Large water stain to upper left corner.
A preparatory sketch : a standing portrait of a nobleman, India, 19th century, ink and pencil on paper, facing left, bearded, wearing a simple bulbous turban, holding a long sword or mace of office, mounted, framed and glazed31.5 x 24cm. framed, 15.3 x 9.3 visibleProvenance: From the Collection of Francis Golding (1944-2013)Condition Report: Central horizontal fold mark. Heavily stained. Some stains in red ink or pigments. Some pitting and smudges.
A preparatory sketch for an illustration to a ragamala series : Kakubha ragini Pahari school, north India, late 19th centuryink on paper heightened with gouache, reaching for a peacock, her head over her shoulder, mounted, framed and glazed33 x 32.5cm. framed, 15.2 x 16cm.Provenance: From the Collection of Francis Golding (1944-2013) Condition Report: Scuffed upper corners. Lower corners lacking. Scuffed edges with some losses. Creased, stained, pitted. Some smudges. As can be seen in the catalogue and website illustrations some loose inscriptions including numerals and doodles can be noticed throughout.Please note the work was not taken out of its frame and mount to prepare this condition report. Thus, the department would recommend an inspection of this work in person before bidding.
Tristram Ellis, British 1844-1922-A Tripoli Bazaar; and The Kadisha, Tripoli, 1880; watercolours, both measuring 46 x 54 cm (framed)(2)Note:Tristram Ellis was an English artist renowned for his depictions of the Middle East and the eastern Mediterranean. Born in Great Malvern, his early years were spent in Bath, Clifton, and Edinburgh before attending Queenwood College in Hampshire. In 1862, Ellis enrolled at King's College, London, where, in his second year, he achieved the highest distinction ever recorded in the Applied Sciences department. He won all the available scholarships and earned the title of Associate of King's College after just two years, recognizing his extraordinary accomplishments. Following his time at university, Ellis completed a pupillage under the railway engineer Sir John Fowler and became a partner in an engineering firm. However, after several years, he felt his true passion lay in art. With the financial means to support himself, he chose to leave engineering behind and dedicated himself entirely to oil painting. Several of Ellis's early oil paintings were displayed at the Royal Academy, and he soon moved to Paris to study under Léon Bonnat. After completing his studies in Paris, Ellis began traveling to sketch scenes from foreign lands. In 1878, he spent six months in Cyprus, then under British rule, where he contracted a fever. Despite this setback, he returned with 50 to 60 watercolour sketches, which were exhibited on Bond Street in April 1879 and sold to a dealer. This success inspired him to plan a more ambitious journey. On 1 October 1879, Ellis boarded a steamship for Alexandria, intending to visit Syria, Asia Minor, and Mesopotamia. His travels took him from the Syrian coast, overland to Diyarbakir in southeast Turkey, and then by raft down the Tigris River to Mosul and Baghdad in Iraq. From Baghdad, Ellis journeyed overland to Palmyra and Damascus in Syria, then continued to Beirut, Lebanon. Upon his return, he exhibited around 90 sketches from his travels, all of which sold immediately. He also wrote a two-volume illustrated account of his journey, On a Raft, and Through the Desert, which was published in 1881. Ellis's next adventure took him to Egypt in the spring of 1882. He spent three weeks at the Pyramids, staying with the Egyptologist Flinders Petrie, and left the country in May, just before the massacre in Alexandria on 11 June 1882, which led to the Anglo-Egyptian War. A few years later, Ellis returned to the eastern Mediterranean, spending time in Athens, where three of his sketches were selected by George I of Greece.
A concertina format album of twelve portraits of rulers, dervish and Europeans, Qajar Iran, 19th century, Transparent and opaque pigments on paper, pencil or ink, 8ff., some identified in black nasta'liq script, each laid on card within narrow polychrome borders and wide green, aubergine, yellow, black, blue or dull red margins, ten of Persian rulers enthroned, reclining on bolsters or seating on a rug, a sketch of a dervish and of a ruler, the latter unfinished and partially painted, two bust portraits of European men, tool dark brown bindings with central lobed medallion within quadruple rules, stylised spandrels31 x 20.3cm., the rulers and dervish's portraits 16.2 x 11cm., the Europeans 8 x 7.4cm. and 9.4 x 6.8cm. PLEASE NOTE VAT WILL BE CHARGED ON THE HAMMER PRICECondition Report: The album folios are in good condition overall. The portrait show vibrant colours. Some staining, pitting, water staining and creasing. Some light scuffing. Extensive rippling throughout. Scattered minute losses. the portraits of Europeans are in average condition and would require some attention. The binding boards are in good condition.
A preparatory sketch : a standing portrait of a Mughal nobleman, Mughal Indiapossibly that of Dara Shikoh (1615-1659) eldest son and heir apparent of the fifth Mughal emperor Shah Jahan, meant as a stencil, unfinished, pen on paper, facing right, his left hand slightly raised, mounted, framed and glazed31.6 x 24.4cm., 15 x 10.2cm.Provenance: From the Collection of Francis Golding (1944-2013)Condition Report: One corner lacking now repaired. Lightly burnished and stained. Pinholes to face contour.Please note this work has not been taken out of its frame and mount to prepare this condition report.
A sketch : a bust portrait of a courtesan smoking a waterpipe (huqqa), Jaipur, India, circa 1875, ink and pen on paper, facing left, mounted, framed and glazed32 x 22cm. visible, 47 x 36cm. framedProvenance: From the Collection of Francis Golding (1944-2013) Condition Report: Lightly stained, some pitting. A minute tear or repaired tear near to upper left corner. Some adjustment in white.Please note this work has not been taken out of its frame and glaze to prepare this condition report. Thus, the department would recommend an inspection of this lot in person before bidding.
A large sketch of a hunt scene, Kotah, Rajasthan, 18th centuryInk heighted with gouache on paper, hills and monuments identified in black Devanagari script, mounted, glazed and framed, 46 x 63cm.Provenance: From the Collection of Francis Golding (1944-2013).Francis Golding's collection of Chinese works of art was sold at Christie's in 2015 and was assembled over forty years from reputable London dealers such as Bluett & Sons, John Sparks, and Spink & Son, and international auction houses including Sotheby's, Bonham's, and Christie’s. His collection of Indian paintings and drawings were acquired with a similar approach and a number were purchased from his friend the painter and Indian art collector Sir Howard Hodgkin (1932-2017). They were placed artfully in his London Georgian townhouse, where he lived with his partner, art historian Dr Satish Padiyar. He was widely considered to be one of the country’s leading architectural, planning and conservation consultants. As such, he greatly influenced the contemporary architectural landscape of London. His clients included world renowned architect Richard Rogers, with whom he advised on The Leadenhall Building in the City of London known as “The Cheese Grater”; and Rafael Viñoly, whose distinctive building nicknamed “The Walkie-Talkie” towers above London’s surrounding historic financial district at 20 Fenchurch Street. The soaring public sky terrace there, “The Francis Golding Terrace”, was named after him as a mark of respect for a man whose passion for London’s architecture and urban landscape improved the quality of the many developments on which he advised. Francis Golding also advised the celebrated architect Norman Foster, with whom he worked on London’s iconic building the “Gherkin.” More than one hundred and fifty items of Francis Golding’s wardrobe were acquired by Museum of London in 2017.
An illustration to a ragamala series : Malavi Ragini, Possibly Malwa or Budelkhand, central India, circa 1680, Opaque pigments on paper, a lord holding a garland leads a lady to a couch beneath a pavilion, a servant holding pan behind them, two lines of yellow script in a rectangular panel above, ruled in black, a line of black script above within extensively dulled red borders, some remnants of sketch, losses, later laid on card, mountedPainting 20.5 x 17.7cm.Provenance: Property from the Private Collection of Toby Falk (1942-1997).Inscriptions: Above the horizon line are Hindi verses giving relating verses of Malava ragini from Malakosa raga. Further inscription in upper margin identifying the Malakosa ragaCondition Report: The edges and corners are lacking. Extensive damage possibly caused by long exposition to damp. The pigments are dull, especially the red pigments of the wider borders. This painting would require further attention.
![ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachl](https://cdn.globalauctionplatform.com/dd8989a5-624d-4c7b-84b8-b2b900da6cd4/c5a49e3d-8f0a-403c-8b08-b2b900db0daf/468x382.jpg)
ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper 30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather a search for authenticity, a direction of travel to express true modernity. In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him. And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)
ROBERT ADAMS (BRITISH 1917-1984) SENTINEL ONE, 1979 (OPUS 390) stamped, dated and numbered 2/6 (to base), bronze 40.5cm high, 38cm wide, 8.5cm deep (16in high, 15in wide, 3 3/8in deep) Estate of the Artist;Gimpel Fils, London;Private Collection, London. Exhibited:Gimpel Fils, London, Robert Adams, 1979, no. 23;Gimpel Fils, London, Robert Adams - Late Bronzes, 1988, no. 23;Gimpel Fils, London, Robert Adams - A Retrospective, February - April 2003, no. 30;Beaux Arts, London, Some Aspects of British Sculpture, May - July 2005. Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation and Lund Humphries, London, 1992, no. 659, and reproduced in sketch form p. 239.
SIR STANLEY SPENCER R.A. (BRITISH 1891-1959) SKETCH FOR 'MAKING FIRE BELT, BANGALORE' titled in pencil (upper left), Stanley Spencer Studio Sale stamp (lower right), pencil on paper 35.3cm x 25.2cm (13 7/8in x 9 7/8in), unframed Christie's, London, Stanley Spencer Studio Sale, 5th November 1998; The Collection of Gillian Raffles.
Original 1971 courtroom sketch in watercolor by renowned NBC News artist Leo Hershfield, depicting Judge Kennedy presiding over the court-martial of Lieutenant William Calley during the My Lai massacre trial at Fort Benning. The artwork is signed by Hershfield and labeled on the back as having been created for the Huntley-Brinkley NBC News show. A rare and historically significant piece of mid-20th century American journalism art. Framed and wired for hanging.Artist: Leo Hershfield (American, 1904–1979)Issued: 1971Dimensions: 16.75"L x 10.75"HCountry of Origin: United StatesCondition: Age related wear.
Laurence Stephen Lowry (British 1887-1976)Charles the cat and sunsigned and dated 'L S Lowry 1964' (lower right), inscribed 'Charles' (lower left) pencil 12.5 x 17.5 cm, unframed Provenance: Monty Bloom, thence by descent. Overall in fairly good condition. Light surface dirt is visible to sheet. The lower edge is slightly uneven from haveing been torn, probably from a sketch book. Soft crease to upper right corner.
![[Thackeray (Wm. M.)] 'Titmarch (M.A.)' The Irish Sketch-Book, 2 vols. 8vo Lond. (Chapman & Hall) 1843. Fir](https://cdn.globalauctionplatform.com/8dea638d-7a9f-4e0d-a691-b2b901085426/8565114a-eb48-40c5-a0bc-b2ba00d36fae/468x382.jpg)
Illustrated Volumes: Colum (P.) The Adventures of Odysseus and The Tale of Troy, 8vo L. (G.G. Harrap) 1920, illus. by Wm. Pogany, cold. frontis, & illus., decor. cloth; Browne (F.) Granny's Wonderful Chair, 8vo L. (G.T. Foulis) n.d., illustrated by 'Decies', cold. frontis & plts., decor. cloth; Fitzgerald (E.)trans. Rubaiyat of Omar Khayyam, 8vo L. (Hodder & Stoughton) n.d., illus by Edmund Dulac, cold. frontis & plts., decor. cloth; Dulac (E.)illus. Picture Book for the French Red Cross, 4to L. (Daily Telegraph) n.d., illustrated, decor. cloth; O'Connor (Capt. W.F.)trans. Folk Tales from Tibet, 4to L. (Hurst & Blackett Ltd.) 1906, First Edn., illus., decor. cloth; Butler (E.)illus. From Sketch Book and Diary, 8vo L. (A. & C. Black) 1909, cold. frontis & plts., decor. cloth, as a lot, w.a.f. (6)
![[Behan (Brendan)] Brendan Behan's Island - An Irish Sketch Book, N.Y. 1962, First Edn., cloth & d.j. (worn);&nb](https://cdn.globalauctionplatform.com/8dea638d-7a9f-4e0d-a691-b2b901085426/cf73cc06-bf44-4e98-9707-b2ba00d0deb3/468x382.jpg)
[Behan (Brendan)] Brendan Behan's Island - An Irish Sketch Book, N.Y. 1962, First Edn., cloth & d.j. (worn); Poems and A Play in Irish, 1981 (p.b.) & 1989 (reprint p.b.); Banville (John) Love in the Wars, 2005; The Broken Jug, 1994, Signed; Long Larkin, 1984, Signed; Nightspawn,1993, Signed, all 8vo, mostly cloth & d.j., as a lot, w.a.f. (7)
O'Leary (Rev. A.) Miscellaneous Tracts, 8vo Lond. 1782. Third Edn., full cont. calf; Parsons (Sir L.) Observations on the Bequest of Henry Flood Esq., to T.C.D., 8vo Dublin 1795. First Edn., hf. title, cont. mottled calf; Woodfall (Wm.) An Impartial Sketch of the Debate.. on a Motion made on Friday, Aug. 12, 1785, by Rt. Hon. Thomas Orde, 8vo Dublin [1785], First Edn., cont. full calf. (3)
Edward Morland Lewis (Welsh,1903- 1943) Sketch in Hyde Park Oil on panel Framed W43cm x H33cm Provenance : Private Collection Note: Edward Lewis was born in Carmarthen in 1903. He trained at St John's Wood School of Art and at the RA in London where he met Sickert. He left the academy to work under Sickert as a pupil and assistant. In 1930 he joined the London Artist's Association and exhibited with this group until 1934.
Attributed to Thomas Gainsborough RA (1727-1788)Study of a Dogblack and white chalks on blue paper15cm x 19cm Stephen Somerville, 'World of Drawings and Watercolours', Park Lane Hotel, London, 23rd January 1988; Private Collection, UK. Generally good overall condition, with the sketch well preserved (given its inherent slightness). Some clearly visible spotting to the upper-left corner, with some additional slight abrasion to the upper and lower right corners. Some slight surface dirt in places, but otherwise presents well.
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