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20th CENTURY ENGLISH SCHOOL PORTRAIT OF A YOUNG LADY, PASTEL. 40 x 32cms TOGETHER WITH A VINTAGE GILT FRAMED PORTRAIT PRINT AND ANOTHER OF A CHILD (3)

† Loudon Sainthill (1919 - 1969), 'The Panthenon Set', unsigned, pastel and white, Redfearn Gallery label on the reverse dated November 1973, framed and glazed, 27 x 38 cm

Early 20th Century English School, Study of a seated lady in a restaurant, unsigned, pastel, 23 x 15 cm; G. West, figures on a street, signed and dated 1926, oil on panel, unframed, 18 x 12 cm; a Victorian miniature study of a gentleman, pencil and watercolour, 9 cm diameter and various other miniature studies; Two Victorian studies of a cat and dog, both initialled F.F. and dated, oil on panel, 14 x 19 cm; a Victorian study of an oil on a gold-leaf background, unsigned, oil on panel, 38 x 67 cm; an early 19th century aquatint of a lady; and two circular botanical studies.From the estate of renowned Warwickshire antiques dealer Felicity 'Flick' Haynes.

20th century Japanese, a pair of wading egrets among Lotus flowers, signed, gouache on board, 75 x 99 cm, and Mi Chou, Whooping Cranes among rushes, pastel and ink, 101 cm x 75 cmQty: (2)

Jewad Selim (Iraq, 1919-1961)'A Boy as Pierrot' after Jean-Honoré Fragonard oil on canvassigned 'Jewad' in Arabic (lower left), executed circa late 1930's40 x 30cm (15 3/4 x 11 13/16in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersThe painting shows the 'portrait de fantaisie' of a boy in a theatre costume that is too large for his age. It follows the template of Dutch head-studies in a costume (tronies) and adapts them to the world of the Commedia dell'Arte and the Fête galante. Fragonard also aims to evoke the sense of a pastel, a fashionable eighteenth-century technique. The combination of these traits is typical of Fragonard's intelligent play with painterly genres and styles.The miniatures produced by Fragonard's wife Anne-Marie Gérard are stylistically related and probably date from the same period. One of them follows the Wallace painting closely (London, Christie's, 27/28 November 2012, lot 441). Originally, the painting had a pendant of a girl in a pearl necklace (Los Angeles, County Museum of Art) that was also formerly in the Livois collection.The present work is an important early testament to Selim's general fascination with musical and thespian subject matters, for a large body of his work was dedicated to portraits of artists, dancers, musicians and literary figures, a prime example of which was sold through these rooms in April 2014 depicting the Indian dancer Mrinalini Sarabhai. In his portraits, Selim sheds light he relationship of the artist and their craft, and in the case of performers, between their artistic personas and themselves. Blurring the lines between the performer and the character, Selim's Salome accentuates the symbiosis that performers experience with their roles.Executed in a markedly academic style, the present work shows a refinement and restraint which was to slowly fade as Selim's compositions became more liberal, effuse, and gestural after his contact with European modernismThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Kay Boyce (20thC). Daniella II/2002, artist signed print after the pastel original, 22/500, with certificate, 53cm x 32cm.

Amy Everitt (20thC). Pot of Gold, pastel, signed, Lincolnshire Artist's Society label verso, 30cm x 27cm.

•Reg Gardner (b.1948). Hill Street, Ancoats, Manchester, pastel, initialled, attributed verso, 12cm x 16cm.

Peter Shutt (1926-2016). Autumn Around Rydal Water, pastel, signed, titled with printed document verso, 24cm x 35cm.

Evelyn Scott (20thC). Bluebell Wood, pastel, signed, titled verso with handwritten price tag £75, 44cm x 33cm.

Keith Roper (b.1946). Lincoln from the South West, pastel, signed and dated 1991, 24cm x 33cm.

Nicholas Hely Hutchinson (British, born 1955)Evening Flower Arrangement signed with initials 'NHH' (lower left)gouache and pastel on paper65.5 x 54cm (25 13/16 x 21 1/4in).Footnotes:ProvenanceWith Wattis Fine Art, Hong Kong, where acquired by the present owner, 1996Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nicholas Hely Hutchinson (British, born 1955)Towards the Perfumed Pagoda, Vietnam signed with initials 'NHH' (lower right)gouache and pastel on paper64.5 x 99.5cm (25 3/8 x 39 3/16in).Footnotes:ProvenanceWith Wattis Fine Art, Hong Kong, where acquired by the present owner, 1996Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Richard Adams (British, born 1960)The Raft signed and dated 'Richard Adams 2022' (at right edge)varnished pastel and gouache on paper39.5 x 49.5cm (15 9/16 x 19 1/2in).This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Richard Adams (British, born 1960)The Decoupage Screen signed and dated 'Richard Adams 2022' (at right edge)varnished pastel, gouache and collage on paper30 x 40cm (11 13/16 x 15 3/4in).This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Richard Adams (British, born 1960)Sun-Dripped Honey signed and dated 'Richard Adams 2013' (at right edge)varnished pastel and gouache on paper, laid on board29.5 x 42cm (11 5/8 x 16 9/16in).together with a further varnished pastel and gouache on paper, The Four Seasons, by the same hand(2)Footnotes:ProvenanceThe Artist, from whom acquired directly by the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Blackburn (British, 1939-2016)A Landscape Vision, No 6 signed and dated '-David Blackburn. 1989.' (lower right)pastel on paper, laid on board165 x 172.5cm (64 15/16 x 67 15/16in).Footnotes:ProvenanceThe Artist, from whom acquired directly by the present owner, circa 1989-90Private Collection, U.K.ExhibitedNew Haven, Yale Centre for British Art, David Blackburn: Light and Landscape, 28 March-28 May 1989Huddersfield, Huddersfield Art Gallery, 1994: this exhibition travelled to Germany, Kreis Unna; University of Nottingham, Djangoly Art Gallery (catalogue not traced)Ireland, Éigse Carlow Arts Festival, 1997 (catalogue not traced)LiteratureM. Yorke, David Blackburn: A Landscape Vision, The Hart Gallery, London, 1997, p. 18-19This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)St Leonard's Church, Kirkstead signed 'John Piper' (lower right)watercolour, pen and ink, ink and pastel on paper35.5 x 56cm (14 x 22 1/16in).Footnotes:ProvenanceWith Beaux Arts, Bath, where acquired by the present owner Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nicholas Hely Hutchinson (British, born 1955)November Afternoon signed with initials 'NHH' (lower left)gouache and pastel on paper66 x 100cm (26 x 39 3/8in).Footnotes:ProvenanceWith Portland Gallery, London, where acquired by the present owner, 2005 This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)Pigsty, Portland signed 'John Piper' (lower right)watercolour, gouache, ink, pen and ink, pastel and pencil on paper38.5 x 57cm (15 3/16 x 22 7/16in).(unframed)Footnotes:ProvenanceWith The Leicester Galleries, London, where acquired by the family of the previous owner, May 1955, and thence by descentGifted from the above to the present ownerPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, Exhibition of Works by John Piper, May 1955This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)Sandringham signed 'John Piper' (lower left)watercolour, pencil, pastel and gouache on paper17 x 53.5cm (6 11/16 x 21 1/16in).Executed in 1960Footnotes:ProvenanceWith The Everard Read Gallery, Johannesburg Sale; Christie's, London, 8 November 1991, lot 214Sale; Bonhams, London, 18 September 1999, lot 176Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)St. Mark's Square II signed 'John Piper' (lower right)watercolour, ink, pen and ink, gouache, pastel and pencil on paper28 x 38.5cm (11 x 15 3/16in).Painted circa 1959Footnotes:ProvenanceWith The Arthur Jeffress Gallery, London, where acquired bySir David EcclesWith Thomas Agnew & Sons Ltd, LondonSale; Christie's, London, 21 November 1995, lot 54 Sale; Bonhams, London, 17 March 2010, lot 56, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Arthur Jeffress Gallery, Paintings & Watercolours of Venice by John Piper, 31 May-24 June 1960, no. 24The present lot is thought to have been completed by Piper during a visit to Venice in 1959, which he undertook in order to work on a number of drawings for the 1960 exhibition Paintings and Watercolours of Venice by John Piper. The painting is a good example of the influence of Turner on Piper's works.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Simon Albert Bussy (British, 1869-1954)Gerf Hussein, Nubia signed and titled 'Simon Bussy/Gerf Hussein -Nubia-' (lower right)pastel on paper20 x 16cm (7 7/8 x 6 5/16in).Footnotes:ProvenanceLord and Lady Neill, and thence by descent to the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A FINE ANTIQUE HEREKE SIVAS CEZAEVI, TURKEY, 1940/50, Signed, 294 x 198cmThe central field woven with baluster vases filled with flowers, flower heads and scrolling foliage, in pink, blue and green tones, against a cream ground, contained within a red boarder, with flowerheads and turquoise lozenges, cream narrow borders, and guard stripes.Sivas Hereke During the 19th century a number of reforms were put in place to improve the conditions and organisations of prisons in the Ottoman Empire. This culminated in the 1880 report ‘The Regulation for Prisons and Houses of Detention’ which detailed the proper administration practices for prisons of the empire and its surrounding provinces.Chief amongst its concerns was the education and rehabilitation of the prisoners. The report recommended the establishment of teaching programs within the facilities and organising workshops in which inmates were trained in a variety of crafts. The idea was that prisoners would work for the duration of their sentence and would be paid for the employment. The money would go towards the prisoner’s upkeep, a part to the state treasury and the remaining amount held in keep for the inmate.Amongst the workshops set up were sewing and weaving factories which led to a number of rugs and carpets to be produced. The wardens were responsible for providing all the appropriate tools, inspecting the quality of the finished product and overseeing the sale of the goods.This auction includes many such examples, in particular originating from the largest prison in Sivas, a city in central Turkey. They date to the mid-20th century and the design includes an identifying signature and serial number in the outer borders.  Sivas itself was a large centre for rug production since the 19th century and surrounding villages also produced smaller prayer rugs.Sivas rugs followed the Hereke carpet traditions and patterns using good quality wools. They are classically derived from Persian designs, exploiting all-over patterns and medallions using palmettes and vine scrolls. The rugs favour softer colour tones with an emphasis on warm earth tones and pastel colouration.  As finely woven examples, Sivas rugs are highly regarded decorative rugs. 

A 'VIENNA' STYLE CABINET PLATE, GERMAN, CIRCA 1900, painted with a portrait bust of Sohie Countess Potocka after a pastel attribted to Vigée Le Brun, signed 'Werlich', the cream border gilt with leaf garlands, apocryphal blue shield mark, gilt flower hiding an underglaze mark and titled 'Potoka' 24.5cm diameter

Pictures and prints - Judy McConchie, ‘Bobbing red poppies’, signed, titled to verso, pastel, 22.5cm x 48.5cm; Sylvia Haley, flowers in a vase, oil on board; pair of French reproduction prints on silk; etc, (6).

Armstrong [John] - Original Artwork.Nine works by John Armstrong (died 28 Aug. 2018), comprising eight colour illustrations (believed to be book or magazine illustrations) and a pastel nude, Various subjects including Westerns and Ballet (see images).Eight illustrations 407mm x 320mm, 437mm x 330mm (x2), 383mm x 350mm, 485mm x 322mm, 298mm x 250mm, 260mm x 205mm, gouache on mounted paper and 542mm x 390mm, gouache on card. Pastel on paper 560mm x 382mm (unsigned). John Armstrong was an illustrator of British comics, including Misty, Tammy and Bunty. He attended Art School in Middlesbrough.

Christine Slade (British, b.1943) 'Ironsides' in full sail, pastel, signed,14x18ins.

Violeta Maslarova (Bulgarian, 1925-2006) 'Yellow Roses', pastel on laid paper, 14x10ins.

Margaret Glass RA RSMA (British, b.1950), Winter Pin Mill, pastel, signed, 21x29ins.

Leslie Davenport ARCA (British, 1905-1973), The Adam and Eve, Bishopgate, Norwich, pastel, signed and dated 72, 21x29ins

Ruthli Losh - Atkinson (British, 1934-2011), 'L' Inverno', seated female nude study, graphite and pastel on pastel paper, signed to the right, 15.5x17ins.

John Patchett (British, contemporary), "First Light, Southwold", pastel, signed and dated verso '99, mounted,18.5x24ins, framed and glazed.

A Rosenthaal multi pastel coloured part tea set and other itemsLocation: R2:4

A quantity of pictures to include a Brian Roxby R0I, oil painting on board "Willow Shade", signed, 28cm x 36cm, framed, various signed prints, an etching of a dog, a signed pastel portrait of a young women and othersLocation:

4 original works including oil on canvas, oil on board, a watercolour and a pastel.

English School (18th Century), Portrait of a Gent in Windsor Uniform, pastel, 55 x 40cm oval

Sir John Gilbert RA (British, 1817-1897),A three quarter length portrait of Charlotte Earle (1803-1876), wife of Rev. H.J. Earle, High Ongar,Pastel on paper,Signed and dated 1865 lower right, titled to label verso,49cm x 39cm,Framed and glazed,With a photograph of the studio of Charles Earle R.I. (1832-1893) showing the portrait hanging on the wall (2) (at fault) CONDITION REPORT:The picture is framed under glass and has not been removed for inspection.  The paper shows multiple spots of discolouration, particularly in the top left corner and down the right hand side.  The paper itself is likely to have darkened somewhat over time.  The colours appear reasonably strong, but are likely to have faded somewhat over time.  There are two small dark spots at the hairline of the face, and a further feint spot on the forehead.  The frame appears to be structurally sound, showing some rubbing to the gilt finish.

English School (mid 19th Century),Portrait of a young girl in a green dress,Pastel on paper,Indistinctly signed and date "1855" mid left,67.5cm x 53cm,Oval mounted glazed frame

Tom Leighton (British, contemporary),A pastoral scene with cottage and cattle,Oil pastel on paper,Signed lower left,31cm x 51cm,Framed and glazed

Tom Leighton (British, contemporary),A country lane with pheasants,Oil pastel on paper,Signed lower left,37cm x 58cm,Framed and glazed

Tom Leighton (British, contemporary),A gun and dog in fenland,Oil pastel on paper,Signed lower right,36cm x 27.5cm,Framed and glazed

Three Vasart glass vases, to include two examples with a spherical body and flared neck, 16.5cm high and a trumpet vase, 20cm high all in pastel tones (3)

A vintage wool blanket, of tartan design, in pastel pink, blue, yellow and oatmeal tones, with tassel fringe to two sides, 200cm x 175cm (at fault) CONDITION REPORT:The blanket shows several small holes, the odd small stain and an area of repair (see photos for examples). 

Full title: French school: Portrait of a lady, pastel on paper, 19th C.Description:Work: ca. 60,5 x 46,5 cm Frame: 81,3 x 67,3 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Henri Ottevaere (1870-1944): Female nude, pastel on paper, dated 1912Description:Work: Dia.: 60 cm Frame: 78 x 74 cm Henri Ottevaere was a Brussels painter and draughtsman, who received his education at the Academy of Brussels under the direction of Jean-Francois Portaels (1818-1895). Later, he became a teacher at the Academy in Molenbeek-Saint-Jean and from 1908 to 1936, he was director of the Academy of Saint-Josse-ten-Noode. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Graham Sutherland O.M. (British, 1903-1980)Feeding a Steel Furnace, Swansea gouache, pastel, charcoal, pen and ink20.8 x 17.4 cm. (8 1/8 x 6 7/8 in.)Executed in 1942Footnotes:ProvenancePrivate Collection, ItalyWith Crane Kalman Gallery, London, 2017, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Imperial War Museum, Sutherland, The War Drawings, 1982, cat.no.108 (ill.b&w)Penzance, Penlee House and Museum, From Darkness into Light: Graham Sutherland; Mining, Metal and Machines, 14 September-23 November 2013; this exhibition travelled to Swansea, National Waterfront Museum, 7 December 2013-23 March 2014LiteratureRoberto Tassi, Graham Sutherland, The War Time Drawings, Sotheby's Parke Bernet Publishing, London, 1979, cat.no.115 (ill.b&w)Paul Gough, Sally Moss and Tehmina Goskar, From Darkness into Light: Graham Sutherland; Mining, Metal and Machines, Sansom & Company, Bristol, 2013, p.61 (col.ill.)A similar work, also titled Feeding a Steel Furnace, is included in the Tate Collection and was presented by the War Artists Advisory Committee.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Keith Vaughan (British, 1912-1977)The Garden at Ashton Gifford signed and dated 'Keith Vaughan/44' (lower right) and titled and dated again 'The Garden at Ashton Gifford 1944' (on a label attached to the backboard)gouache, pastel, pen and ink25.2 x 21.9 cm. (9 7/8 x 8 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 23 March 1974, where acquired byMichael BestallWith Alan Wheatley Art, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedEdinburgh, Scottish National Gallery of Modern Art, British Drawings 1939-49, June 1969 (catalogue untraced)In 1940 Greenways Preparatory School was evacuated from Bognor Regis in Sussex to Ashton Gifford House, a three-story Neo-Classical building nestled in the heart of overgrown woodland. Over the summer of 1942, while stationed at Codford in Wiltshire, Vaughan's Pioneer Corps company were employed to clear the grounds. The romantic, overgrown setting inspired several paintings over the course of the next few years, including The Working Party, 1942, Tree Felling at Ashton Gifford, 1942–43 and The Garden at Ashton Gifford, 1944. Vaughan wrote in his journal: I live with as much purpose and enthusiasm as a cow. A belly-filling existence. Driven and chivvied all day by NCOs we have no idea of the beginning or the end of a job or what its purpose is. This, more than the labour itself, is what makes it exhausting. Day follows day with no more change than the date on the calendar. (Keith Vaughan, unpublished journal entry, July 1942)The clearing of the woodland not only offered the soldiers worthwhile community service but also provided much-needed fuel for the army in the form of wood. Dozens of trees had to be felled using little more than chopping axes and then cut up into regulation-sized logs with handsaws. Sometimes the school children and evacuees assisted the soldiers during school breaks.Vaughan made dozens of sketches of his company's activities, usually in pen and ink and sometimes in pencil. He seems to have been particularly thorough in his preparations for the paintings he made which were some of his most ambitious wartime images. He filled several sketchbooks with rapidly executed figures studies and related material. Some were drawn at great speed and capture the dynamism of figures breaking the tree boughs and splitting and hauling branches. Others depict his comrades chopping and sawing, dragging enormous boughs and logs, loading lorries and, occasionally, taking well-earned breaks. Vaughan was drawn to certain aesthetic qualities in his surroundings, enough to write about them to his friend, the painter Norman Towne: ...white and ochre branches plunging down into the oceanic surging of tangled nettles. People walking through the waist-high grass, through the aqueous leaf-green shadow, arms full of dead wood...and the wall running as an indefatigable horizontal, losing and finding itself in the jungle of weed and ivy...I wanted to capture this in lassoes of line and nets of colour, but it's more difficult than writing about it. (Keith Vaughan, letter to Norman Towne, 12 October 1942) Sometime in the late 1960s, Vaughan returned to some of these wartime drawings and set about reworking them with gouache and coloured wax pastels, to obliterate many of the overworked pen and ink details and balance out the compositions more effectively. The present work is a good example of the artist's early Neo-Romantic, pen and ink style combined with his later, more simplified approach to picture-making. The foreground figures and forms are worked in detail with pen and ink, while the background wall is depicted in pale, textured washes, supplying the necessary geometrical stability from which he could hang his revised composition. Green patches of oil pastel are used to suggest distant tree boughs and create a formalized sense of spatial recession, in keeping with his work of the 1960s. We are grateful to Gerard Hastings, who is currently working on his new book Keith Vaughan: The Graphic Art, to be published by Pagham Press, for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled signed 'S M Sultan' lower rightcolour pastel and charcoal on paper, framed26.5 x 35.3cm (10 7/16 x 13 7/8in).Footnotes:ProvenanceAcquired by the vendor from Ahmed Saeed Nagi's collection, which was inherited by his son; Nagi was a close friend of the artist.Ahmed Saeed Nagi was known as the 'official artist' of the Pakistan freedom movement, and was the first person to make a portrait of Quaid-e-Azam, Muhammad Ali Jinnah. He completed artwork at Governor House, Karachi, Governor House, Lahore and the Mohatta Palace, Karachi. In 1990 he was bestowed with the Pride of Performance Award by the Government of Pakistan, for his outstanding achievements as a painter.Sultan was born in Machimdia village, in what was then known as Jessore District, British India. He studied at the Government School of Art in Calcutta, where Mukul Dey, the pioneer of drypoint-etching in India was Principal. Under Dey's tutelage, students were encouraged to paint contemporary landscapes and portraits reflecting their own experiences, as opposed to painting Indian allegorical, mythological and historical subjects or copying the Old Masters.Sultan absorbed what he was taught and created a visual language that makes him of the pioneers of Bangladeshi modernism. He repeatedly depicted the same subject, village scenes and his trademark included illustrating peasants with exaggerated muscular physiques. The three works on offer in this auction are from the 1960s. In these works on paper, we see the beginnings of what is to come in his works in the 1970s and 1980s, with the slight exaggeration of the female bodies as seen in (Untitled Figures in a Landscape). To view other works on paper from this period, see Eye for Art, Sheikh Mohammad Sultan Exhibition: Works on Paper, 23rd March - 11th April 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Zsuzsi Roboz (Hungarian, 1929-2012), Anita Brookner, oil and pastel on canvas, signed lower left, H.76.5cm W.61cm

Zsuzsi Roboz (Hungarian, 1929-2012), Fay Weldon, pastel on paper, signed lower right, H.57.2cm W.76.2cm Provenance: Messums, Face to Face Exhibition, 2011, no.33

19th century Continental School, an Orientalist study of boats on the Nile, oil with pastel, H.46cm W.70cm

Arthur Joseph Gaskin (British, 1862-1928)'The searchlight'signed with initials and dated 'AJG 1917' (lower right); further signed, titled and dated 'The searchlight/Arthur Gaskin/1918' (on the reverse) pastel with scratching out 22.8 x 13.9cm (9 x 5 1/2in).Footnotes:ProvenanceMrs Margaret Dennery, daughter of the artist.ExhibitedBirmingham, Birmingham City Art Gallery, 1982, no. C48.London, Martyn Gregory Galleries, A foray into the 20th century: works by British artist, 2015, no. 19.For further information on this lot please visit Bonhams.com

Walter durac Barnett,Opposite The Cottage Maunden, Sunhaze,signed, pastels,19 x 16cm, 21 x 30cm,the larger pastel having original Barnett label "Artists of Chelsea" and home address, and another label James Bourlet & Sons M9786. Qty: 2

Carolyn White (1945-2013)/Pisoyallia from Above, Andros/initialled CMW, label verso dated '04/pastel, 23cm x 31cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

V. Riches : Stream through countryside, watercolour, in frame and mount, together with Joan MacDonald : Under the Sea, pastel drawing, in frame and mount.

A pastel depicting the Olympia New Orleans brass band - 45cm x 62cm, framed and glazed, signed bottom rightCONDITION REPORTunable to make out artist - picture of signature takenCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.

LESLIE BELTON - pastel of local boatyard scene and one other

An original pastel by Jane Rhodes (British Contemporary) of a hayfield, 30 x 60cm

Jan Bleys (1868-1932)Glass vase with chrysanthemums, pastel 48x30 cm