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Lot 167
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE BLUE PINAFORE Signed, pastelDimensions:14.5cm x 10cm (5.75in x 4in)Provenance:Provenance:Acquired in 1955 from The Scottish Gallery, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 164
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW BOY Signed, pastelDimensions:19cm x 10cm (7.5in x 4in)Provenance:Provenance: Bourne Fine Art, EdinburghNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 166
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN PLAYING MARBLES With the Artist's Estate Inventory Number ED958, watercolourDimensions:28cm x 28cm (11in x 11in)Provenance:Provenance: The Artist's EstatePrivate Collection, ScotlandDuncan R. Miller Fine Arts, LondonExhibited: The Scottish Gallery, Edinburgh, Joan Eardley, Paintings, Watercolours, Pastels and Drawings, 1988, no.11 Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 172
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH BLUE TROUSERS PastelDimensions:45cm x 33cm (17.75in x 13in)Provenance:Provenance: William 'Bill' Macaulay and thence by descentPrivate Collection, U.S.A Note: Exhibited: The Scottish Gallery, Joan Eardley in Context, 6 August-5 September 2015, no.16Note: This is a portrait of Martin Macaulay and is one of several studies of the five children of William 'Bill' Macaulay, Senior Partner of The Scottish Gallery, Edinburgh, which Eardley executed in 1960. The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 173
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT STUDY Pastel on coloured paperDimensions:16cm x 18.5cm (6.25in x 7.25in)Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 170
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GINGER With the Artist's Estate Inventory Number EE30 verso, oil on boardDimensions:43cm x 37cm (17in x 14.5in)Provenance:Provenance: Roland, Browse and Delbanco, LondonNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 169
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TWO CHILDREN Pastel on brown paperDimensions:25.5cm x 20cm (10in x 8in)Provenance:Provenance: Acquired from the Artist’s Estate by the father of the present owner.Exhibited: Royal Scottish Academy, Edinburgh, Joan Eardley, 6 November 2007-13 January 2008Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
Lot 1130
Magic the Gathering - 4k of Commons & uncommons Mirrodin - Guilpact This lot contains a 4k storage box full of commons and uncommons from every set from the Mirrodin - Guilpact era of the game. You'll be getting cards from Ravnica City of Guilds, 9th Edition the Mirrodin block and many more. All cards are neatly arranged and in near mint condition.
Lot 1129
Magic the Gathering - 4k of Commons & uncommons Time Spiral - Conflux. This lot contains a 4k storage box full of commons and uncommons from every set from the Time Spiral to Conflux era of the game. You'll be getting cards from Coldsnap, Planar Chaos, Lorwyn block and many more. All cards are neatly arranged and in near mint condition.
Lot 1155
CHINESE MAHJONG SET MID 20TH CENTURY the stained wood rectangular case with brass handles and brass mounted corners, the front panel lifting to reveal five fitted drawers containing bone and bamboo tiles and other game pieces, also a rules pamphlet, and with four tile racksthe case 23.5cm wideGeneral wear throughout, looks like it has been used, some discolouration and surface scratches throughout commensurate with age; a few of the tiles with surface hairlines and edge nicks; cabinet quite worn, one of the mounts detached but present, others with misshapen or outturned points/edges, some veneer losses, scratches and scrapes
Lot 101
BURKE (JOHN)'Afghan War 1878-79. Peshawur Valley Field Force, 102 albumen prints by John Burke (typically c.240 x 295mm.; 2 panorama views, each on 2 sheets with total dimension 100 x 620mm.) by J. Burke, mounted one per page (recto and verso, except panorama 2 per page) on thick card, most signed and/or numbered in the negative, some captioned in pencil on mount, cabinet portrait by Bourne & Shepherd of a Sikh (identified as 'Sunda Singh, Patialla' in ink on verso) in military uniform loosely inserted, original half morocco, gilt-stamped title label on upper cover, metal clasp and catches, g.e., worn, folio (310 x 425mm.), [1878-79]Footnotes:IMPORTANT PHOTOGRAPHIC RECORD OF THE SECOND ANGLO-AFGHAN WAR (1878-9) WITH FINE VIEWS OF THE KHYBER PASS, NORTH-WEST FRONTIER AND NATIVE LEADERS, INCLUDING AMIR SHER ALI. The photographer John Burke (c.1843-1900) had embedded himself, at his own expense, with the Peshawar Valley Field Force, one of three British Anglo-Indian army columns, as they operated along the Khyber Pass and surrounding North-west frontier during the height of the 'Great Game' rivalry between Britain and Russia as they grappled for influence over the region and its local chiefs. Sitters in in the portraits include H.H. the Amir Sher Ali Khan (alone, and in a group with Prince Abdullah Jau and Sirdars; his son), the Amir Yakub Khan with Mr. Jenkins, Habeebula Maustif with Major Sir Louis Cavagnari and General Daod Shah. Major Cavagnari and Chief Sirdars with Kunar Syud, Officers of the 51st Regiment, Khyber Chiefs and Khans, and others. Views include Fort Attock, Peshawar, the Khyber Pass, the Buddhist Tope at Ispola, the villages of Jalabad and Bassaule, and others.For further information on this lot please visit Bonhams.com
Lot 132
EVA JORDAN - FEMALE BIG GAME HUNTER AND EXPLORERTwo photograph albums relating to Mrs Eva Jordan's hunting exploits (hippopotamus, zebra, boar, rhino, etc) in, and travels through East Africa and the Congo (approximately 240 images), and her chimpanzees, mostly dressed, doing activities, etc. (approximately 90 images), together upwards of 330 gelatin silver prints, some captioned on the verso, most loose mounted (or loose), images typically 105 x 75mm., or 60 x 75mm., 6 ink and wash plans of the Pyramids loosely inserted, contemporary card albums, ties, worn, one cover loose, oblong 4to, c. 1911-1912; together with a cup presented to Eva on her completion of an 'adventurous voyage made by her across central Africa' from May 1911 to July 1912 (group)Footnotes:'A FEAT HITHERTO UNACCOMPLISHED BY ANY WOMAN' - Private photograph albums , relating to the journey of some 4000 miles undertaken from Mombasa to the West African coast by Eva Jordan, undertaken as a honeymoon on her marriage to the big game hunter John Alfred Jordan, during 1911-1912. Images include her posing, gun in hand, with a dead hippopotamus, elephant tusks, her husband, her camps and local servants, and scenery. A caption on the cup included with the lot reads 'To Eva on her marriage and to commemorate the adventurous voyage made by her across Central Africa, a feat hitherto unaccomplished by any woman, leaving Mombasa, British East Africa in May 1911 passing thro' Uganda down the Aruwimi River, following the course of the Congo to its mouth, and arriving on the West African Coast in July 1912, from the Indian Ocean to the Atlantic'. A second album is devoted to Eva's chimpanzees, mostly dressed and posing (at at sewing machine and typewriter, smoking a pipe, holding a gun, seated on a goat, in a hammock, served tea by local servants, etc.).Provenance: Eva Jordan (nee Mercer), who married John Alfred Jordan in May 1911. He wrote several books, including Mongaso: Man Who is Always Moving: The Story of an African Hunter, and Elephant Stone about his exploits in Africa; by descent to current owner.For further information on this lot please visit Bonhams.com
Lot 1014
A quantity of children's boxed, bagged and loose play items, sets and similar to include a vintage circa 1960/70's boxed "Mr Egg-Bod" and his friend "Mr Potato-Head", a Spears Games boxed "Batman Swoops Down" game, a boxed "Flying Machine" battery operated Bump and Go Car with blinking light along with a quantity of unboxed and bagged children's play items such as plastic robots, tinplate drum, bagged farm animal sets by Linda which come with header cards and other interesting items. Really interesting lot of children's early play items, well worth a sort. Conditions all generally range from Poor to Good, nothing in this lot checked for completeness or tested. (large quantity in one box)
Lot 1095
Matchbox, Corgi Juniors, plus similar large qty of unboxed cars & commercial vehicles. To include Matchbox Superfast 56 BMC Pininfarina - Gold, Corgi Juniors Ford F350 recovery truck, Minix Vauxhall Viva, Dublo Dinky Massey Ferguson Tractor plus many others, also Merit Driving Test Game, 11x Thomas The Tank story books. Conditions: Poor to Excellent with Good boxes. (lg qty)
Lot 1031
Matchbox Models of Yesteryear Cars & Commercials, Matchbox Catalogues, plus other items. To include some Code 3 issues, various boxed & unboxed Matchbox Models Of Yesteryear Y3 Benz Limousine, Y6 Cadillac, Y12 Ford Model T van "Motor 100", unboxed Traction Engine - Straight treads plus another with angled treads, Y15 Packard Victoria, various European issue matchbox catalogues, 1000 Kilometre card game, Het Grote AUTOBOEK 1973 hardback book with sleeve plus other items. Conditions: Fair to Near Mint with Poor to Excellent boxes (50 Plus).
Lot 1050
Louis Marx, Xbox, Apple & Philips a mixed group of items. Consisting of Louis Marx Arnold Palmer's Pro Shot Golf game Xbox DJ Hero Turntable Kit plus DJ Hero music disc, Apple iPod metallic pink with accessories & Philips radio cassette player, (functionality of electrical items cannot be guaranteed). Conditions: Good to Excellent with Fair to Good boxes. (5)COLLECTION IN PERSON ONLY
Lot 2106
A French Napoleon III ebonised drop-leaf clover game table / gueridon, with marquetry inlaid floral decoration, ormolu mounts and fluted legs with cross stretcher. 50x73cm (opening to 85cm).Missing some inlay, some areas of veneer loss and rippling. Two notable chips to top. Various marks and scratches.
Lot 848
Star Wars - a collection of three vintage Star Wars board games / puzzles to include: Adventures Of R2D2 board game, Return Of The Jedi Waddingtons jigsaw puzzle and Escape From The Death Star board game. All within their original boxes. Vendor assures all are complete, but they remain unchecked by us.
Lot 420
A boxed Sega Mega Drive II console, game pads and connection cables - Lion King edition, to also include various games: - Ecco the Dolphin - Batman Returns - Micro Machines - Castle of Illusion - James Bond: 007 The Duel - FIFA Soccer 96 - Power Rangers - Street Racer - Super Monaco GP II - Pitfall - Kawasaki Superbike Challenge
Lot 376
Mid 19th Century Percussion Double Barrel Shotgun By Weatherhead Walters & Co12 bore, 28 inch, browned Damascus, side by side barrels. The top rib with maker "Weatherhead Walters & Co Derby". Blued, back action lock plates with dog and game and foliage border. Maker "Weatherhead Walters & Co". Stylised dolphin head percussion hammers with foliage scroll engraving. Well figured, half stock woodwork with checkered wrist. Steel butt plate, scroll trigger guard and end ramrod pipe with floral engraving. Two browned, under barrel ramrod pipes.
Lot 375
Mid 19th Century Percussion Double Barrel Shotgun By Golden14 bore, 29 3/4 inch, browned, side by side barrels. Lock plates with dog and game cartouches with foliage borders. Maker "W. Golden". Stylised dolphin head percussion hammers with foliage scroll engraving. Polished, half stock woodwork. Steel butt plate, trigger guard and end ramrod pipe. Two under barrel ramrod pipes.
Lot 117
Folder Of Sets And Part Sets Of Cigarette Cardsincluding The Nose Game by Carreras Ltd ... Trains Of The World by Gallaher Ltd ... Cycling by John Player & Son ... Association Footballers by Churchman ... Happy Family by Carreras ... Kings Of Speed by Churchman ... Fortune Telling by Carreras ... Cricketers 1934 by John Player.
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