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Auction Description for Dreweatts: Watercolours, Drawings and Prints
Viewing Notes:
Tuesday 22nd July 9.30am to 5.30pm. Wednesday 23rd July 9.30am to 7.30pm. Day of Sale from 9.30am.
Sale Notes:
www.invaluable.com/dreweatts1759

Watercolours, Drawings and Prints

by Dreweatts & Bloomsbury


306 lots | 304 with images

July 24, 2014

Live Auction

24 Maddox Street

London, W1S 1PP United Kingdom

Phone: 0203 291 2832

Fax: 01635 553599

Email: info@bloomsburyauctions.com

306 Lots
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Circle of Gaspare Diziani - Studies for the flagellation of Christ (recto and verso),

Lot 1: Circle of Gaspare Diziani - Studies for the flagellation of Christ (recto and verso),

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Description: Circle of Gaspare Diziani - Studies for the flagellation of Christ (recto and verso), black chalk with touches of white, on grey coloured coarse laid paper, inscribed Cristo alla colonna in pen and black ink upper centre recto, 26 x 19 cm. (10 1/4 x 7 1/2 in).

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Circle of Simone Cantarini - Christ healing the sick, surrounded by angels,

Lot 2: Circle of Simone Cantarini - Christ healing the sick, surrounded by angels,

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Description: Circle of Simone Cantarini - Christ healing the sick, surrounded by angels, red chalk, on laid paper, 26.5 x 18.5 cm. (10 1/2 x 7 1/4 in) Provenance: with Gustave Soulier (L. 1215a), collector's stamp lower left.

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Attributed to Gugliemo Caccia, called Moncalvo - The Stoning of St Stephen,

Lot 3: Attributed to Gugliemo Caccia, called Moncalvo - The Stoning of St Stephen,

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Description: Attributed to Gugliemo Caccia, called Moncalvo - The Stoning of St Stephen, pen and brown ink with wash, on laid paper, with ruled black ink border, 26 x 21.5 cm. (10 1/4 x 8 1/2 in). Provenance: Christopher Powney (gallery label on reverse attributing the drawing to Caccia).

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Genoese School (18th century) - Tobias and the Angel,

Lot 4: Genoese School (18th century) - Tobias and the Angel,

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Description: Genoese School (18th century) - Tobias and the Angel, black chalk with brown wash, on laid paper, with single ruled border, 20 x 25 cm. (7 3/4 x 9 3/4 in), with old label attached to frame attributing the work to Paolo Gerolamo Piola, son of Domenico; with a 20th century pen and black ink drawing of violinist, on blue wove paper, 28 x 23 cm. (11 x 9 in), (2).

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Roman School (18th century) - Standing figure with staff, pointing to the left,

Lot 5: Roman School (18th century) - Standing figure with staff, pointing to the left,

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Description: Roman School (18th century) - Standing figure with staff, pointing to the left, black chalk, pen and ink with wash, on laid paper watermarked with two crescent moons, 25 x 15 cm. (9 3/4 x 6 in) The figure appears to derive from a Roman copy of an original hellenistic votive relief showing the Dramatic poet receiving drunken Dionysos. There are examples in both the Louvre and the British Museum.

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Circle of Jacopo Chimenti, called Jacopo da Empoli - A seated figure, with his arms held out before him to the left,

Lot 6: Circle of Jacopo Chimenti, called Jacopo da Empoli - A seated figure, with his arms held out before him to the left,

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Description: Circle of Jacopo Chimenti, called Jacopo da Empoli - A seated figure, with his arms held out before him to the left, red chalk, on laid paper, watermarked with a crowned profile portrait within a circle, sheet 40 x 27 cm. (15 3/4 x 10 1/2 in).

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Giorgio Vasari (1511-1574) - The Coronation of the Virgin,

Lot 7: Giorgio Vasari (1511-1574) - The Coronation of the Virgin,

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Description: Giorgio Vasari (1511-1574) - The Coronation of the Virgin, pen and brown ink, with touches of white heightening, with hand-ruled black ink border, 7 x 23 cm. (2 3/4 x 9 in) Provenance: Tajan, Paris, 24th March 2003, where sold for €3,610.

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Francesco Panini (1745-1812) - View of the interior of St. Peter's Basilica, Rome, with the tomb of Queen Christina of Sweden,

Lot 8: Francesco Panini (1745-1812) - View of the interior of St. Peter's Basilica, Rome, with the tomb of Queen Christina of Sweden,

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Description: Francesco Panini (1745-1812) - View of the interior of St. Peter's Basilica, Rome, with the tomb of Queen Christina of Sweden, pen and grey and black ink, grey wash with touches of yellow wash, within black ink framing lines, on buff paper, signed and inscribed in brown ink on the mount, 36.5 x 29cm (14 1/4 x 11 1/4 in) Provenance: Prince W. Argoutinsky-Dolgoroukoff [Lugt 2602d]; Sir Robert Witt [Lugt 2228b].

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Attributed to Wenceslaus Hollar - View showing The Battle of White Mountain, with the city of Prague beyond,

Lot 9: Attributed to Wenceslaus Hollar - View showing The Battle of White Mountain, with the city of Prague beyond,

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Description: Attributed to Wenceslaus Hollar - View showing The Battle of White Mountain, with the city of Prague beyond, pen and black ink on laid paper, inscribed Qunadoq, Malo, medetur medijs centre, 100 x 190 mm. (4 x 7 1/2 in), unframed. This finely detailed drawing was known to Hollar's biographer, the late Richard T. Godfrey, who identified the subject as The Battle of White Mountain. The battle took place outside Prague in 1620, and marked the end of the Bohemian period of the Thirty Years' War, and ultimately influenced the Czech lands for the following 300 years. Hollar would have been aged only 14 or 15 when the event took place, and the drawing may show an early stage in the development of Hollars' microcosmic approach to draughtsmanship.

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Circle of Anselm Friedrich Feuerbach - Saint preaching, with outsretched arms (recto); drapery study (verso),

Lot 10: Circle of Anselm Friedrich Feuerbach - Saint preaching, with outsretched arms (recto); drapery study (verso),

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Description: Circle of Anselm Friedrich Feuerbach - Saint preaching, with outsretched arms (recto); drapery study (verso), black chalk, with touches of white heightening, on buff wove paper, sheet 25.5 x 17.5 cm. (10 x 6 3/4 in).

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Louis Gauffier (1761-1801) - Six cherubs playing and collecting grapes,

Lot 11: Louis Gauffier (1761-1801) - Six cherubs playing and collecting grapes,

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Description: Louis Gauffier (1761-1801) - Six cherubs playing and collecting grapes, pencil with sepia wash, on laid paper, signed L. Gauffier lower right, 11.5 x 19 cm. (4 1/2 x 7 1/2 in).

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Benjamin West (1738-1820) - Moses Showing the Brazen Serpent,

Lot 12: Benjamin West (1738-1820) - Moses Showing the Brazen Serpent,

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Description: Benjamin West (1738-1820) - Moses Showing the Brazen Serpent, black chalk on buff paper, squared, mounted on contemporary laid paper support with inscribed pencil numbering, signed and dated B. West 1787 lower right on stone, with further pen and black ink signature and title inscription verso, 54 x 33.5 cm. (21 1/4 x 13 1/4 in) Provenance: Private collection, UK Literature: cf. The Paintings of Benjamin West, Helmut von Erffa and Allen Staley, 1986, no. 268 Engraved: by John Hall (1739-1797), etching and engraving for Thomas Macklin's Bible , 1793 The present drawing of Moses, and the following lot depicting St. John the Baptist , both appear to be studies for two large-scale oil paintings that West painted. The paintings later served as the basis for the engraved illustrations in Thomas Macklin's Bible , published circa 1793. The location of the finished paintings Moses Showing the Brazen Serpent, and St. John the Baptist is currently unknown. Apart from Macklin's engravings, the current two drawings provide the first real insight into how West's now lost paintings may have originally appeared. Von Erffa and Staley suggest in The Paintings of Benjamin West that these two lost paintings may have formed the outer wings of a triptych centred around West's The Resurrection (now held in St. George's Parish Church, Barbados). The fourth painting that West executed and that was illustrated in Macklin's Bible, was Saul and the Witch of Endor (now held in Wadsworth Atheneum, Hartford, Connecticut). The composition of the drawings Moses Showing the Brazen Serpent, and St. John the Baptist, differ somewhat to Macklin's illustrations, as one would expect, but the execution and style sit well when compared with the other grand and formidable compositions that West was producing following his contact with the philosopher Edmund Burke in the 1780s (cf. The Cleveland Museum of Art, Head of a Screaming Man, 1792, no. 1967.130.a).

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Benjamin West (1738-1820) - St. John the Baptist,

Lot 13: Benjamin West (1738-1820) - St. John the Baptist,

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Description: Benjamin West (1738-1820) - St. John the Baptist, black chalk on buff paper, squared, mounted on contemporary laid paper support with inscribed pencil numbering, signed and dated B. West 1787 lower right, with further pen and black ink signature and title inscription verso, 53.5 x 32.5 cm. (21 x 12 3/4 in) Provenance: Private collection, UK Literature: cf. The Paintings of Benjamin West, Helmut von Erffa and Allen Staley, 1986, no. 297 Engraved: by John Landseer (1769-1852), etching and engraving for Thomas Macklin's Bible , 1793.

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English School (18th century) - The Old Guildhall, Bath,

Lot 14: English School (18th century) - The Old Guildhall, Bath,

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Description: English School (18th century) - The Old Guildhall, Bath, two views, an elevation and a longitudinal perspective view, both with staffage, both in pen and ink with wash, the former with detailed touches of watercolour, 36 x 26.5cm (14 1/8 x 10 1/2 in) and 27 x 45.5cm (10 5/8 x 17 7/8 in), both unframed (2)

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English School (18th century) - View of the Corinthian Arch at Stowe,

Lot 15: English School (18th century) - View of the Corinthian Arch at Stowe,

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Description: English School (18th century) - View of the Corinthian Arch at Stowe, pencil with monochrome wash, mounted on contemporary ruled support inscribed Gate at Stow , 12.5 x 18 cm (5 x 7 in), unframed.

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Thomas Carwitham (fl. 1713-1733) - A sheet of studies, showing figures grappling, mythical gods, and pyramids,

Lot 16: Thomas Carwitham (fl. 1713-1733) - A sheet of studies, showing figures grappling, mythical gods, and pyramids,

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Description: Thomas Carwitham (fl. 1713-1733) - A sheet of studies, showing figures grappling, mythical gods, and pyramids, pen and brown ink, bears signature verso and dated 1713-14 , on laid paper watermarked with fleur-de-lis armorial device, 26 x 40.5 cm. (10 1/4 x 16 in), unframed Carwitham is primarily known for his drawings held by Tate bought from the Oppé Collection, and also for the numerous mythological sketches he executed depicting scenes from Ovid's 'Metamorphoses'. It is thought that Carwitham was at one point the pupil of the Sir James Thornhill.

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Paul Sandby RA (1731-1809) - Study of an old woman with basket,

Lot 17: Paul Sandby RA (1731-1809) - Study of an old woman with basket,

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Description: Paul Sandby RA (1731-1809) - Study of an old woman with basket, sepia wash over pencil, 13 x 7.5cm (5 1/8 x 3 in), unframed. Provenance: with P. & D. Colnaghi & Co., London.

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Richard Cooper Jr (c.1740-1814) - A group of three drawings,

Lot 18: Richard Cooper Jr (c.1740-1814) - A group of three drawings,

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Description: Richard Cooper Jr (c.1740-1814) - A group of three drawings, two landscapes, one in pen and ink with wash, the other in pencil, with a pencil study of the Flight into Egypt, all signed, v.s., 12.5 x 18.5cm (5 x 7 1/4 in) to 23.5 x 36cm (9 1/4 x 14 1/8 in), unframed (3)

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English School (19th century) - Studies of a dachshund,

Lot 19: English School (19th century) - Studies of a dachshund,

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Description: English School (19th century) - Studies of a dachshund, pencil with touches of body white on buff paper, 29.5 x 46 cm (11 5/8 x 18 1/8 in); with an early 19th century study of sportsmen and their dogs at rest, charcoal and red chalk on laid paper, initalled EB , lower right, 26 x 42 cm (10 1/4 x 16 1/2 in) (2)

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William Samuel Howitt (1765-1822) - A hound chasing a deer into a trap,

Lot 20: William Samuel Howitt (1765-1822) - A hound chasing a deer into a trap,

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Description: William Samuel Howitt (1765-1822) - A hound chasing a deer into a trap, pen and black ink with wash, mounted on a washlined late 18th century laid paper support inscribed Park Scenery , 10 x 15.5cm (4 x 6 1/8 in); with a study of sheep resting under a tree, atrributed to Anthony Devis, and another pencil study of deer at rest, both mounted on a matching support sheets, all unframed (3)

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William Samuel Howitt (1765-1822) - A pair of leopards,

Lot 21: William Samuel Howitt (1765-1822) - A pair of leopards,

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Description: William Samuel Howitt (1765-1822) - A pair of leopards, watercolour, over pencil, signed lower left, 17 x 22.5 cm (6 3/4 x 8 3/4 in).

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Thomas Stothard (1755-1834) - Ode to the Evening,

Lot 22: Thomas Stothard (1755-1834) - Ode to the Evening,

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Description: Thomas Stothard (1755-1834) - Ode to the Evening, original artwork for a vignette illustration to one of Thomas Townshend's 'Poems', published by Harding in 1796, pen and ink with monochrome wash, inscribed in pencil below, 9 x 9 cm (3 1/2 x 3 1/2 in); presented with another similar original illustration, indistinctly inscribed; and a third of a sleeping maiden watched over by angels, this possibly by Henry Tresham (3)

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Thomas Stothard (1755-1834) - Farm dog chasing a wolf; Resting Lion with ?pony,

Lot 23: Thomas Stothard (1755-1834) - Farm dog chasing a wolf; Resting Lion with ?pony,

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Description: Thomas Stothard (1755-1834) - Farm dog chasing a wolf; Resting Lion with ?pony, a pair, pencil with sepia wash, each c. 9.5 x 9 cm. (3 1/4 x 3 1/2 in), (2).

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Archibald Thorburn (1860-1935) - Study of a grouse; Study of a falcon,

Lot 24: Archibald Thorburn (1860-1935) - Study of a grouse; Study of a falcon,

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Description: Archibald Thorburn (1860-1935) - Study of a grouse; Study of a falcon, the former in pencil with touches of black ink, on pale green paper, signed and dated 1931, lower right, 10 x 14cm (3 7/8 x 5 1/2 in); the second in pencil on buff paper, 9.5 x 14cm (3 3/4 x 5 1/2 in), framed together; with 2 offset lithographs, wood pigeons and house martins, both signed in pencil by Thorburn, 1914 and 1929, and an unsigned one of a golden eagle; and another offset lithograph estuary scene with waders, after Sir Peter Scott (6)

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Circle of John Constable - Study for a beach scene,

Lot 25: Circle of John Constable - Study for a beach scene,

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Description: Circle of John Constable - Study for a beach scene, pencil on stiff wove paper, 9 x 12.5 cm (3 1/2 x 5 in); with Circle of William Payne Landscape study with shepherd's hut , pen and brown ink with watercolour, 6 x 9 cm (2 3/8 x 3 1/2 in); also with English School (19th century) Landscape with farmstead, charcoal and body white, 10 x 17 cm (4 x 6 5/8 in), all unframed (3)

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William Green of Ambleside (1760-1823) - A group of 5 drawings of the Lake District,

Lot 26: William Green of Ambleside (1760-1823) - A group of 5 drawings of the Lake District,

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Description: William Green of Ambleside (1760-1823) - A group of 5 drawings of the Lake District, pencil drawings on wove paper, each titled in the artist's hand, in ink, below, each c.11 x 17cm (4 3/8 x 6 3.4 in), unframed (5) The compositions appear to be the preparatory sketches for the equivalent, reversed, scenes in Green's 'A Description of a Series of 60 small prints etched by William Green of Ambleside from drawings made by himself', published in 1814, differing generally in the absence of occasional figures added to the plates.

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Hugh O'Neill (1784-1824) - Bristol from the New Docks,

Lot 27: Hugh O'Neill (1784-1824) - Bristol from the New Docks,

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Description: Hugh O'Neill (1784-1824) - Bristol from the New Docks, pencil drawing, c.1820, inscribed lower left, 19 x 31cm (7 1/2 x 12 1/4 in). O'Neill moved to Bristol in the early 1820s, and this detailed view looks towards Bristol from north bank of the floating harbour, showing the workings of the docks, the spread of suburban villas and, in front of the distant cathedral, one of the many glass kilns that then operated in the city.

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James Duffield Harding (1798-1863) - Grosvenor Square, London,

Lot 28: James Duffield Harding (1798-1863) - Grosvenor Square, London,

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Description: James Duffield Harding (1798-1863) - Grosvenor Square, London, pencil drawing, heightened with body white, on grey paper, inscribed on the verso 'Pedestal in centre of Grosevenor Square by Harding who was my master in 1834, HCSH' 16.5 x 25.5 cm (6 1/2 x 10 in). Provenance: ex-collection the Earl of Harrowby. The initials HCSH are most probably those of Harriet Charlotte Sophia Hervey (nee Ryder), daughter of the 1st Earl of Harrowby, who married the Rev. Lord Hervey in 1839, and inscribed this drawing, as implied, some time later.

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Agostino Aglio (1842-1885) - Eisenach and die Wartburg,

Lot 29: Agostino Aglio (1842-1885) - Eisenach and die Wartburg,

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Description: Agostino Aglio (1842-1885) - Eisenach and die Wartburg, monochrome wash over pencil, signed and titled in pencil, lower left, 19 x 31 cm (7 1/2 x 12 1/4 in).

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French School (c.1790-1830) - An album of drawings and prints,

Lot 30: French School (c.1790-1830) - An album of drawings and prints,

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Description: French School (c.1790-1830) - An album of drawings and prints, including over 80 tipped-in watercolours and pen and ink drawings, all by the same hand, many indistinctly signed [?] F. Manesses , various dates, circa 1790-1830, and with two etchings, album sheets c.15 x 9.5 cm. (5 7/8 x 3 3/4 in), half calf, rebacked, 4to.

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Henri Lehmann (1814-1882) - Study for decoration in the Eglise Sainte Clotilde, Paris,

Lot 31: Henri Lehmann (1814-1882) - Study for decoration in the Eglise Sainte Clotilde, Paris,

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Description: Henri Lehmann (1814-1882) - Study for decoration in the Eglise Sainte Clotilde, Paris, pencil study for a child resting on a woman's lap, c.1854, faint studio stamp lower right, 29 x 10 cm (11 3/8 x 4 in); with a study of a seated woman, by Milein Cosman, and another of a standing woman, indistinctly signed (3) Henri Lehmann was commissioned to decorate the church of Sainte Clotilde in 1854 (c.f. Madelaine Aubrun, 'Henri Lehmann (1814-1882)', 2 vol. Paris, 1984, vol 1 pp.212-220, and vol 2 p.201).

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William James Muller (1812-1845) - A group of four drawings of continental subjects,

Lot 32: William James Muller (1812-1845) - A group of four drawings of continental subjects,

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Description: William James Muller (1812-1845) - A group of four drawings of continental subjects, Entrance to Heidelberg, interior of Strasbourg cathedral, the tower at Andernach, and San Lorenzo at Chiavenna, pencil drawings, the last named on blue paper, each signed with initials, titled and dated 1834, average 40 x 28cm (15 3/4 x 11 in), unframed.

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John Phillip RA (1817-1867) - Cathedral of Toledo,

Lot 33: John Phillip RA (1817-1867) - Cathedral of Toledo,

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Description: John Phillip RA (1817-1867) - Cathedral of Toledo,

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Lieutenant-General Ezekiel Barton (1781-1855) - A group of seven drawings of India,

Lot 34: Lieutenant-General Ezekiel Barton (1781-1855) - A group of seven drawings of India,

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Description: Lieutenant-General Ezekiel Barton (1781-1855) - A group of seven drawings of India, one in watercolour, four in pen and ink, of which one initialled and dated 1828, and two in pencil, all on Ruse & Turners watermarked wove paper dated 1826, v.s., 18 x 16.5cm (7 x 6 1/2 in) to 17 x 22cm (6 3/4 x 8 5/8 in), unframed (7) Barton served in India from 1799, rising to colonel of the 46th Bengal regiment. He was an accomplished amateur artist, and the British Museum holds examples of his work.

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George Richmond RA (1809-1896) - Classical head study,

Lot 35: George Richmond RA (1809-1896) - Classical head study,

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Description: George Richmond RA (1809-1896) - Classical head study, pen and brown ink on thin wove paper, trimmed, 8.5 x 7.5 cm. (3 1/4 x 3 in) Provenance: inscribed in pencil 'From the Estate of Michal Cartwright Sharp' on reverse of frame.

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George Richmond RA (1809-1896) - Study of the artist's infant son, T.R. Richmond,

Lot 36: George Richmond RA (1809-1896) - Study of the artist's infant son, T.R. Richmond,

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Description: George Richmond RA (1809-1896) - Study of the artist's infant son, T.R. Richmond, pencil on stiff card, inscribed by the artist T.R. Richmond about 1834 by his father George Richmond on verso, 13.5 x 8.5cm (5 1/4 x 3 3/8 in), unframed. Provenance: the collection of Raymond Lister (1919-2001), George Richmond's biographer, and thence by descent.

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George Richmond RA (1809-1896) - A sketchbook,

Lot 37: George Richmond RA (1809-1896) - A sketchbook,

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Description: George Richmond RA (1809-1896) - A sketchbook, numerous single-page and a few double-page sketches in pencil, one heightened with white chalk, this captioned Saltwood 1884 , 3 others captioned as Worlingham 1883 , one inscribed The seat she so much loved, Wilton 1881 , most of garden, woodland and other landscapes, a few of architectural and anatomical details, endpapers inscribed with artist's name and address, notes of old master paintings and other subjects, contemporary cloth, oblong 8vo, preserved in modern drop-backed cloth box with gilt-lettered pigskin labels mounted on front and spine. Provenance: the collection of Raymond Lister (1919-2001), George Richmond's biographer, and thence by descent.

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Thomas Richmond (1771-1837) - Portrait drawing of the infant George Richmond,

Lot 38: Thomas Richmond (1771-1837) - Portrait drawing of the infant George Richmond,

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Description: Thomas Richmond (1771-1837) - Portrait drawing of the infant George Richmond, pencil with touches of watercolour on thin card, inscribed on verso Portrait of George Richmond by his father Tho.s Richmond, about 1814, in pencil, and I give this to my dear grandson Reginald Richmond, G.R. June 1881, in ink, 21 x 18cm (8 1/4 x 7 1/8 in), unframed. Provenance: the collection of Raymond Lister (1919-2001), George Richmond's biographer, and thence by descent.

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Melchior Gommar Tieleman (1784-1864) - TRH Prince George and Princess Augusta of Cambridge,

Lot 39: Melchior Gommar Tieleman (1784-1864) - TRH Prince George and Princess Augusta of Cambridge,

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Description: Melchior Gommar Tieleman (1784-1864) - TRH Prince George and Princess Augusta of Cambridge, monochrome watercolour over charcoal, circa 1828, signed with monogram lower left, 44.5 x 33cm (17 1/2 x 13 in). Provenance: bought at Sotheby's Belgravia, 6th December 1979, lot 14. Prince George (1819-1904) and Princess Augusta of Cambridge (1822-1916) were the children of George III's youngest son, Prince Adolphus Frederick, Duke of Cambridge, Viceroy of Hanover, and Augusta, Duchess of Cambridge. Melchior Gommar Tieleman studied in Antwerp, and then under David in Paris, before eventually becoming Painter to Prince Adolphus, for whom he painted many family portraits. This particular composition was published as a lithograph by J.G. Schrader, in Hanover, in 1828.

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Richard Westall (1766-1836) - Byron's Dream,

Lot 40: Richard Westall (1766-1836) - Byron's Dream,

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Description: Richard Westall (1766-1836) - Byron's Dream, pencil, heightened with body white, signed with initials lower right, 12.5 x 10cm (5 x 3 7/8 in) Provenance: F. Lewis Collection, label on backboard; ex-collection Sir Frank Brangwyn RA.

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Emily Eden (c.1797-1869) - A pair of caricatures,

Lot 41: Emily Eden (c.1797-1869) - A pair of caricatures,

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Description: Emily Eden (c.1797-1869) - A pair of caricatures, pen and black ink, with pen and brown ink inscriptions below, one signed lower right, each c. 11 x 11cm (4 1/4 x 4 1/4 in), (2).

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Sir Max Beerbohm (1872-1956) - Vote for Free Trade and Stylish Head-Gear,

Lot 42: Sir Max Beerbohm (1872-1956) - Vote for Free Trade and Stylish Head-Gear,

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Description: Sir Max Beerbohm (1872-1956) - Vote for Free Trade and Stylish Head-Gear, pen and brown and black ink, scratching out, on laid paper, inscribed William Archer at the American Hat-Shop lower left , [R. Hart-Davis, 31], 18 x 11.5 cm. (7 x 4 1/2 in); presented in one mount along with a pencil caricature inscribed Sir Edward Carson No. I lower right , 9.5 x 5 cm. (3 3/4 x 2 in), (2) William Archer (1856-1924) was a Scottish theatre critic. He was the dramatic critic for 'London Figaro' from 1879, and in 1884 the 'World', where he remained until 1905. Sir Edward Henry Carson, Baron Carson (1854-1935) was an Irish unionist politician, barrister and judge. He was leader of the Irish Unionist Alliance and Ulster Unionist Party between 1910 and 1921. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Sir Max Beerbohm (1872-1956) - War-Experts discussing Mr Kennington's prophecy

Lot 43: Sir Max Beerbohm (1872-1956) - War-Experts discussing Mr Kennington's prophecy

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Description: Sir Max Beerbohm (1872-1956) - War-Experts discussing Mr Kennington's prophecy brush and ink with wash, on laid paper, title inscribed lower centre, dated 1915 lower right, [R. Hart-Davis, 133], 23.5 x 28 cm. (9 1/4 x 11 in). Provenance: with Sir John Rothenstein (1901-1992) [according to gallery label on reverse]; The Piccadilly Gallery Ltd., April 2004; Private collection, UK The current drawing shows Arnold Bennett (1867-1931) and novelist H. G. Wells (1866-1946) in disucssion. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Edmund Blampied (1886-1966) - 'Country Centeniers discussing Parochial Haffairs'; The snail,

Lot 44: Edmund Blampied (1886-1966) - 'Country Centeniers discussing Parochial Haffairs'; The snail,

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Description: Edmund Blampied (1886-1966) - 'Country Centeniers discussing Parochial Haffairs'; The snail, a pair, black chalk on wove paper, both inscribed, the latter signed Par Biampi , 20 x 26 cm. (7 7/8 x 10 1/4 in), unframed, and 27 x 20 cm. (10 5/8 x 7 7/8 in), (2). IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Marcel Pic (fl. late 19th century) - Caricature of a polo player,

Lot 45: Marcel Pic (fl. late 19th century) - Caricature of a polo player,

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Description: Marcel Pic (fl. late 19th century) - Caricature of a polo player, charcoal and pastel on grey/green paper, signed and dated 1895 lower right, 48.5 x 31.5cm (19 x 12 1/2 in).

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Steve Bell (b.1951) - The Spirit of Open Government, after Edouard Manet,

Lot 46: Steve Bell (b.1951) - The Spirit of Open Government, after Edouard Manet,

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Description: Steve Bell (b.1951) - The Spirit of Open Government, after Edouard Manet, with another depicting a graveyard scene with John Major and Norman Lamont, original artwork for two cartoons, pen and black ink, 1999 and 1991, respectively, both signed, 16.5 x 21 cm (6 1/2 x 8 1/4 in) and 14 x 26.5 cm (5 1/2 x 10 1/2 in) (2) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Kenneth Mahood (b.1930) -

Lot 47: Kenneth Mahood (b.1930) - "Is it a stand seat you want, sir, or the stand itself?"

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Description: Kenneth Mahood (b.1930) - "Is it a stand seat you want, sir, or the stand itself?" original cartoon artwork of a Middle Eastern gentleman at the ticket office of Chelsea F.C., pen and black ink, captioned in pencil, 23 x 16 cm (9 x 6 1/4 in); with the original artwork for a Private Eye cartoon by Ken Pyne, of a couple watching television, captioned "It makes you wonder what kind of people watch this rubbish!", pen and black ink, signed lower right, 9 x 9 cm (3 1/2 x 3 1/2 in), the latter unframed (2) IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Sir Bernard J. Partridge (1861-1945) - Made in Germany (recto); The Shrine of Honour (verso),

Lot 48: Sir Bernard J. Partridge (1861-1945) - Made in Germany (recto); The Shrine of Honour (verso),

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Description: Sir Bernard J. Partridge (1861-1945) - Made in Germany (recto); The Shrine of Honour (verso), pen and black ink, with scratching out, signed lower right recto , monogrammed lower left verso, letterpress text pasted verso , on thin card, 35.5 x 26 cm. (14 x10 1/4 in), unframed. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Sir Bernard Partridge (1861-1945) - An Appeal to the Nation,

Lot 49: Sir Bernard Partridge (1861-1945) - An Appeal to the Nation,

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Description: Sir Bernard Partridge (1861-1945) - An Appeal to the Nation, London: "If money can save this, surely it will be saved." pen and black ink over pencil, with scratching out, for the January 21st 1925 edition of 'Punch' magazine, signed lower left, titled, inscribed and signed from Faith and Bernard Partridge, March 1926, on contemporary mount, 33 x 25.5cm (13 x 10 in). IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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Walter Crane (1845-1915) - Anne: Will't please your worship to come in, Sir?

Lot 50: Walter Crane (1845-1915) - Anne: Will't please your worship to come in, Sir?

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Description: Walter Crane (1845-1915) - Anne: Will't please your worship to come in, Sir? original illustration for act 1, scene 2 of The Merry Wives of Windsor, pen and ink on thick wove paper, circa 1894, signed with monogram lower right, 19.5 x 14 cm (7 5/8 x 5 1/2 in), unframed. Provenance: collection of Duncan C. Dallas, and thence by descent. Dallas was the inventor of the "dallastype" printing technique used to produce close facsimiles of Crane's drawings of 'The Merry Wives of Windsor' and 'The Tempest', both produced in limted editions, the former published by George Allen in 1894.

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