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An Art Deco bronzed figural pastel burner as a seated semi-nude dancer wearing an Egyptian revival headdress, holding an egg shaped pierced bowl and cover and seated on a stepped square pedestal, marble base, c.1935

Emily Mitchell (Active 1870's - 1890's)Portrait of a Young Child signed, pastel, 69cm x 51cm

Emily Mitchell (Active 1870's - 1890's)Portrait of a Young Girl in a Feather Bonnetsigned, pastel, 74cm x 53cm

English School (early 20th century)Portrait of a Georgian Lady of Titleoval, pastel, 68cm x 42.5cm

A pair of gilt framed 19th century pastel portraits of girls, frame size 38 x 48cm.

In the Manner of Henry Bright, Coastal Scene, pastel, 13 x 20cm, together with two further watercolours by different artists (3)

W Edwards, 20th century school, pair of pastel seascapes, 62.5cm x 23.5cm, each signed 'W. Edwards. 1914', both framed and glazed.

A Marjorie Cox dog portrait, pastel, signed, framed and glazed with 2 other similar.Condition:- General wear to frames & some dust inside but no other sign of any damage or repair.

Bernard McMullen (1952-2015), 20th century school, pastel, street scene, St Anne's Square, Manchester, 45cm x 34.5cm, signed lower right, framed and glazed.

Alan Reid Cook RSMA (1920 - 1974) : A View of Tynemouth and South Shields Lighthouse across the mouth of the Tyne, oil on board, 100cm by 38cm, Terrence McArdle Gallery label verso. CONDITION REPORT: Marine and landscape painter in oil, pastel and watercolour.Born at Gateshead. After WW2 he decided to become an art teacher and trained at Canterbury Art School. On completing his studies he taught art at Ralph Gardiner School and North Tyneside College.Exhibited at the Royal Society of Marine Artists and the Artists of the Northern Counties exhibitions at the Laing Art Gallery.In 1973 he was elected as a member of the Royal Society of Marine Artists (the only artist in that year elected as a member). In the same year he was elected a member of the Pastel Society.His work is represented in the National Maritime Museum, Shipley Art Gallery and in other public and private collections.

20th century school, Temple gates, pastel, monogrammed MAA,32x49cm;and another 20th century print of a section of Chinese scroll.Qty: 2

▴ Joy Girvin (b.1961)'Walled Garden at Wallington II' monoprint and chalk pastel 52 x 82cm

A quantity of china to include a pastel burner, a Coalport style collector's plate with gilt and pheasant decoration, a Sutherland jug, a Lambeth ware jug, Le Creuset ramekins etc.

A SMALL QUANTITY OF PAINTINGS AND PRINTS, to include a limited edition William Russell Flint print 'The Looking Glass', 765/850 published 1991, approximate size 46cm x 54cm including margins, Douglas Haddow watercolour depicting ducks in flight at sunset, S.G. Jennings pastel depicting a figure beside a river, John R. Myers watercolour depicting wild plants, pen and ink drawings of botanical studies initialled MMR, together with two prints and two photographic prints

Edward Robert Hughes (1851-1914) Portrait of a ladypastelsigned37.5 x 26.5cm

George Oyston (1860-1937) - On the Blythe near Halesworth, watercolour, signed lower right, 23 x 51cm; and Haselgrave - Shepherd at rest, pastel (2)

Stephen Satchwell - Estuary, lithograph, signed, titled and numbered III/X in pencil to the margin, 21 x 30cm; late 19th century French school - Portrait of an elderly man, pastel; French street scene lithograph etc (7)

R. White, poppies and thistles, pastel and two others, framed

2 Orientteppiche aus Seide. GHOM/IRAN, ca.152x100 cm. Medaillonteppiche mit floral durchgemustertem Spiegel, in warmen Pastellfarben der Palette Lachs, Apricot, Altrosé und hellem Beige. Wenige Gebrauchsspuren.| 2 oriental silk carpets. GHOM/IRAN, ca.152x100 cm. Medallion carpets with floral patterned mirror, in warm pastel colors of salmon, apricot, old rose and light beige palette. Few traces of use.

Joel Kirk (British, b.1948)Original Pastel depicting Tiger, with Valuation Certificate. This picture is set in a gilt ornate frame. [Frame 81 cm x 99cm]. Please Note we will not pack this item.

Pastel of South American girl by Taylor , signed [37cmx28cm]

Pastel titled ''Joan'' by artist William Armour, signed.Appeared at the Royal Scottish Academy Exhibition 1971.[55x42cm]

Pastel landscape of Loch Lubnaig in the evening, signed.[43x52cm]

A signed pastel by Catherine Putman. Postage unavailable

PATRICIA AITHIE (b. 1957) oil / pastel - entitled verso 'Sunset Abu Dhabi, Arabian Gulf 1984', signed, 17 x 31cmsProvenance: private collection CardiffComments: framed and glazed

19TH CENTURY BRITISH SCHOOL, pastel - portrait of a young girl in white lace dress, oval 36cm h

CECILY SASH (South African, 1925-2019) pastel on paper - Still Life With Goblets, signed and dated 12, 60 x 84cmComments: unframed

19TH CENTURY FRENCH SCHOOL pastel laid on canvas - Pastoral landscape with thatched cottage, and a companion, signed with initials FG and dated 4 Sep 67, and Aout 67, 40.5 x 53cms (2)Provenance: Walton Lodge School (Somerset) auction 1971Comments: good overall, in later painted Victorian frames, glazed

MANNER OF ALFRED SISLEY, pastel - cottages with figure, entitled verso 'Cottages', bears signature, 23 x 29cmsComments: framed and glazed

A Royal Standard tea set, cups decorated in a range of pastel colours internally, black to exterior

A pastel of a boxer dog, framed and glazed, 25cm x 20cm image size

A Dolls House in pastel shades, some furniture within.

Wall sconce with its base, 20th century.Murano glass.Electrified.Measurements: 50 x 20 x 14 cm.Wall sconce in Murano glass, representing a complex vegetal framework with flowers and birds. The perimeter of its base has a border of flowers in pastel shades. The high value of Murano glass is explained by the artisanal and secret process of its manufacturers. Made on the Italian island of Murano, Murano glass has special properties and offers colours and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glass-making business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacture and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires in them posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is still unique today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glass making have been passed down from father to son and from master to apprentice.

Martin Englemann (1924 - 1992), 2 mixed media pastel/watercolour on paper, abstracts, signed and dated '61 and '67, largest 73cm x 57cm, unframed (2)Good condition

Virginia Powell (1939), gouache and pastel on paper, Vineyard and Tuscan View, signed lower right, 20.5cm x 28cm, mounted, framed and glazed. Label verso forMichael Parkin Gallery, London SW1. Provenance – from the collection of Lady Elizabeth Cavendish

James Kay RSA RSW (British, 1858-1942)Clearing with goats grazing signed in pencil 'James Kay RSW' (lower right)pastel17 x 22.3 cm. (6 11/16 x 8 3/4 in.)Footnotes:ProvenanceWith Ewan Mundy Fine Art, GlasgowCollection of Janet BeatFor further information on this lot please visit Bonhams.com

20TH CENTURY SCHOOL A woodland scene. Pastel on paper 30½' x 22½'

A set of six Russian silver gilt and enamel spoonscyrillic 'MCh' possibly Mir Leibovich Tchernikhov or Mikhail Yefimovich Tchouboukov, Moscow 1908-1918, kokoshnik 84 Of traditional form, drop shaped bowls, to the reverse pastel coloured cloisonné enamel featuring hand-shaded scrolling flora and foliage within decorative borders, twisted stems and enamelled finials, the whole gilded, all cased in the original hinged box, length 10.5cm, weight 3oz. (6)For further information on this lot please visit Bonhams.com

British School (19th/20th century) A moonlit scene with figures on a bridge Unsigned, pastel.61.5cm x 74cm (24.25in x 29in)The drawing is in good, original condition. There are some small tears to the paper in the lower right-hand corner of the sheet. The drawing is ornately framed and glazed. The frame has some knocks and losses.

Geoffrey Battison: a framed watercolour, depicting a rural mill - sold with a framed pastel of a bluebell wood and a small landscape - all signed

Sally Carlaw, ( Scottish b. 1964) Mediterranean scene, pastel in frame ( 65 * 75 cm including mount and frame)

Clarice Cliff - Pastel Autumn - A size 3 drum shaped preserve pot and cover circa 1932, hand painted with a stylised tree and cottage landscape with blue, pink and green banding, Bizarre mark, height 9cm.

Clarice Cliff - Pastel Melon - A size 3 drum shaped preserve hand painted with a band of abstract fruit with blue, pink and green banding, Bizarre mark, height 8.5cm, S/D.

Clarice Cliff - Pastel Melon - A small size cauldron circa 1930, hand painted with a band of abstract fruit with blue banding, Bizarre mark, height 7cm.

Bayard Osborn (1922-2012) - Figures balancing on a ball, ink and pastel drawing, signed and dated '83, unframed, 37cm x 27cm, also four other drawings by the same hand. (5)

Jean-Michel Atlan (1913-1960), Murailles de Jéricho (Walls of Jericho), signed and dated 'Atlan 59' (lower left) and titled (on the reverse), pastel chalks and gouache on paper, 25x32 cm, Provenance:-Anon. sale, Cornette de Saint-Cyr, Paris, 10 October 1998, lot 23.Acquired from Galerie Lasés, Amsterdam, by the present owner.

Jacob Hendrik Pierneef (South African, 1886-1957)Boomstudies, Waterberg inscribed and dated 'Waterberg Sept 15' (lower left); signed and dated 'J.H. Pierneef. 1915.' (lower centre); numbered '13890' on an Edrich Gallery label affixed to the reversepastel and charcoal on paper32.7 x 43.7cm (12 7/8 x 17 3/16in).(framed)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandson LiteratureP.G. Nel, ed., JH Pierneef: His life and his work (Cape Town & Johannesburg, 1990), p. 159 (illustrated)Trees recur as a key subject of interest for Pierneef throughout his prolific body of work. He built his painterly and printmaking practices upon accomplished drawing skills which he honed through countless studies of trees, or boomstudies, including the present work. His daughter, Marita Pierneef-Bailey, recalled a favourite saying of her father: 'Work every day, draw every day. The naked line says it all: the depth to which you examined your subject, how capable and skilful you are' (quoted in P.G. Nel, 1990: p. 115). Pierneef would often undertake his study of South Africa's trees en plein air. This practice was motivated by a desire to capture the minute detail of the trees and other varied plant life, as well as the effect of the changing light on the landscape, echoing the principles of the French Impressionists. These studies, which captured isolated elements of the natural world, would then typically be worked up into oil paintings – their component parts knitted together to form larger painted compositions.The inscription to the lower left corner of the present work elucidates the location of the three trees articulated on the sheet as Waterberg. Waterberg is a dry sub-tropical woodland, also known as the Bushveld, located in the Limpopo Province of South Africa. Situated in the north of the country, the Bushveld was a great source of inspiration for Pierneef. He worked amongst the dense clusters of trees and tall shrubs to capture the native plant life of the area.The present study illustrates the masterful handling of line cultivated by Pierneef as he traced the twisting branches of trees encountered on his trips to the Bushveld. His experimentation with non-naturalistic colours, evidenced in the brightly coloured foliage of the trees, illustrates his impetus towards heightening elements of the South African landscape to develop his distinctive approach to the subject.BibliographyP.G. Nell, ed., JH Pierneef: His life and his work (Cape Town & Johannesburg, 1990)For further information on this lot please visit Bonhams.com

Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled oil pastel, mixed media and collage on canvas99 x 118.2cm (39 x 46 9/16in).(unframed)Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London, 2013;A private collection.In recent years, the exuberant artworks created by Abdoulaye Diarrassouba (more commonly known as Aboudia) have taken the art world by storm. The Ivorian artist trained at the School of Applied Arts in Bingerville and at the Institut des Arts in Abidjan. However, it is from the street and youth culture of Abidjan that he primarily draws his inspiration. Synthesising these local influences with imagery drawn from traditional West African sculpture and voodoo iconography, Aboudia names his distinctive stylistic approach Nouchi - a term more typically used to describe the language spoken in the urban centres of the Côte d'Ivoire which fuses Ivorian vocabulary with French. He describes himself as a passionate painter, using his work to respond directly to happenings within his urban milieu. The visceral emotion present in Aboudia's canvases has contributed to his international success.A singular depiction of Aboudia's signature ghoulish face dominates the left third of the present canvas. The word 'ART', scrawled in capital letters above the burgundy and black figure, evidences the influence of graffiti on the artist's distinctive aesthetic. The work can be dissected into multiple windowpanes depicting stick figures participating in events of everyday life; driving cars, sitting underneath the shade of an umbrella, or riding a horse. Articulated through Aboudia's energetic application of oil stick stop layers of collaged material, the work provides a lens into life in the capital city of the Côte d'Ivoire. Stating 'my paintings are the Africa of today', the Ivorian artist reclaims control of the representation of the continent as he draws upon the visual language of his urban environment.Today working between Abidjan and Brooklyn, Aboudia has cultivated a dedicated following through his distinctive painterly practice. Since his market debut with Bonhams in 2013, sales of Aboudia's work have grown exponentially, totalling just over £6 million in the last year. His work is held in important international collections, including those of Charles Saatchi and Jean Pigozzi. His international reach is reflected in his timely inclusion in the presentation of work at the Côte d'Ivoire pavilion at the 50th Venice Biennale (on view until November 2022).For further information on this lot please visit Bonhams.com

Joan Eardley R.S.A. (British, 1921-1963)Catterline pastel21.2 x 26.7 cm. (8 3/8 x 10 1/2 in.)Indistinctly inscribed with studio inventory number (verso), possibly ED 1096Footnotes:ProvenanceSale; Lyon & Turnbull, Edinburgh, 28 November 2013, lot 205This 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

Joan Eardley RSA (British, 1921-1963)Head of a boy with red hair pastel25 x 17.7 cm. (9 13/16 x 6 15/16 in.)Studio inventory no. ED 193Footnotes:ProvenanceWith Roland, Browse & Delbanco, LondonWith The Scottish Gallery, EdinburghThis 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

Joan Eardley RSA (British, 1921-1963)Two Samson Children pastel on glass paper22.5 x 27.5 cm. (8 7/8 x 10 13/16 in.)Studio inventory no. ED 840 (lower left)Footnotes:ProvenanceThe artist's studioWith Aitken Dott & Son, EdinburghPrivate collection, UKSale; Bonhams, Edinburgh, 16 September 2015, lot 68The two children depicted in this pastel are from the Samson family, who lived near Eardley's studio in the Townhead area of Glasgow. They feature in many of her artworks. A sensitive child portraitist, Eardley often explored sibling relationships. She painted and drew the Samson children for seven years or more; 'there are a large number of them, twelve, so I've always had a certain number of children from this family of any age I choose... some children I don't like... most of them I get on with... some interest me much more as characters... these ones I encourage... they don't need much encouragement - they don't pose - they come up and say 'will you paint me?'... they are full of what's gone on today - whose broken into what shop and whose flung a pie in whose face - it goes on and on.' (Fiona Pearson, Joan Eardley, exhibition catalogue for the National Galleries of Scotland, 2007, p.31) This drawing seems to appear in the background of one of Oscar Marzaroli's photographs of Eardley's studio in 1962.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

Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Women Observed (1978) signed, dated and inscribed to artist's label (verso)pastel37 x 22 cm. (14 9/16 x 8 11/16 in.)Footnotes:ProvenanceWith The Loomshop Gallery, Lower Largo, FifeThis 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

James Watterston Herald (British, 1859-1914)The concert signed 'Jas. Herald' (lower right)pastel50.5 x 43.5 cm. (19 7/8 x 17 1/8 in.)For further information on this lot please visit Bonhams.com

James Watterston Herald (Scottish, 1859-1914)Girl in bonnet and blue dress signed 'J. W Herald' (mid right)pastel59.5 x 45.5 cm. (23 7/16 x 17 15/16 in.)For further information on this lot please visit Bonhams.com

James Watterston Herald (Scottish, 1859-1914)A Country Fair signed 'J W Herald' (lower right)pastel37 x 31 cm. (14 9/16 x 12 3/16 in.)Footnotes:ProvenanceSale; Lyon and Turnbull, Edinburgh, 7 June 2018, lot 76For further information on this lot please visit Bonhams.com

James Watterston Herald (Scottish, 1859-1914)Autumnal village scene signed 'J W Herald' (lower left)pastel53 x 66.5 cm. (20 7/8 x 26 3/16 in.)For further information on this lot please visit Bonhams.com

George Leslie Hunter (British, 1877-1931)A street corner, Paris signed 'G Leslie Hunter/Paris' (lower right) and faintly signed 'G Leslie Hunter' (lower left)pastel32.7 x 28.5 cm. (12 7/8 x 11 1/4 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe style of signature and inscription is datable to circa 1907. For comparison, see Austerlitz Paris, coloured chalk, signed and dated 1907, Glasgow Museums No.U.121.f.01, one of two dated drawings from the same period.Among the group of young artists who founded San Francisco's California Society of Artists in 1902 were Hunter and his friend, Blendon Campbell (1872-1969). Campbell told Hunter's biographer, Dr T.J. Honeyman of Hunter's enormous energy and industry: 'His passion for making sketches, many of which were intended to serve as notes for more complete pictures, made the others look like playboys. None of them felt that Hunter was wasting his energy, for they sensed something big in his work as well as in his personality.' (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, p.56)Street, Paris, a rare survivor from Hunter's first trip to Paris after his move to Scotland in 1906 appears to be the first purchase Arthur made. Unmistakably it shows that sense of something big in Hunter's work, with its intuitive pictorial harmony, mood and texture.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

George Leslie Hunter (British, 1877-1931)Girl in Striped Dress, study ink, coloured pencil and pastel26.7 x 33 cm. (10 1/2 x 13 in.)Footnotes:Drawn in circa 1927, this sketch is likely to be the study for Girl in Stripped Dress.Jane Isabella Livingstone Graham Cowan, née McCaig (1895-1976), was from the same family that built McCaig's Tower in Oban. Hunter met her in Lower Largo, Fife, where she was on holiday with her husband. Family legend tells of the couple spotting 'a slightly odd man' across the dining room, looking at Jane through a frame made with his forefinger and thumb. When they spoke to Hunter, he asked them if Jane would sit for him. It is believed that this was drawn in Hunter's studio in Dumbarton Road, Glasgow.ProvenanceThe sitter, thence by decent.For further information on this lot please visit Bonhams.com

Hellmut Weissenborn (1898-1982)Dalmation Port, signed, inscribed to an old label verso, charcoal and pastel, 20.5 x 32.5cm

Daphne Clark (Contemporary)The Abbey, Sage Field, Majorca, May 2001, signed, oil on board, 28 x 36cm; and one further by the same hand - 'Hot Summer Terrace, Majorca', pastel, 29 x 30cm (2)The following nine lots (Lots 351-359) to be sold on behalf of Charlbury Refugee Action Group (CRAG).