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▴ John Piper CH (1903-1992)'Baths of Caracalla'signed 'John Piper' l.l. and dated '25.2.61' l.r., watercolour, pencil, pastel and wax crayon29 x 34cmCondition ReportFramed size: 46 x 54cm.Unexamined out of glazed frame, a little staining to inner edges of mount, otherwise generally appears to be in good condition.

▴ Elsie Marian Henderson (1880-1967)Study from nature of a lionesssigned 'Miss Elsie Henderson' l.l. on mount and inscribed 'A Study from Nature' u.r. on mount, charcoal and pastel heightened with white23.3 x 31cm, unframedCondition ReportOverall sheet: 31 x 39.5cmThe drawing is stuck down at the corners to a larger piece of paper, a few creases in corners, light time staining, handling creases and tears to larger piece of paper that drawing is attached to. Please see images.

▴ Paul Lucien Maze (French-British, 1887-1979)'The Hamlet'signed 'Paul Maze' l.r., pastel15.5 x 24.5cmCondition ReportFramed size 33 x 43cmNot viewed out of glazed frame. Green amrks to the sky upper right, potentiallly done at time of artwork rather than later damage.

▴ Walter Hoyle (1922-2000)'Trees at Fyfield', 1955signed 'Walter Hoyle' u.l., titled and dated on label verso, watercolour, ink, gouache and oil pastel39 x 56.5cmProvenance: Collection of Reuben Sloman who lived at The Cross Farm, Great Bardfield and was a close friend of John Aldridge;thence by descent.Condition ReportFramed size:Unexamined out of frame, staining to mount, deckled edge on right, a little mount staining at left edge, some browning to reverse of sheet with foxing showing there; however, this is not noticeable from the front, slight cockling to paper, generally colours are strong which makes any ageing to the sheet very minor.

▴ Glynn Boyd Harte (1948-2003)'Couleurs'signed 'Glynn Boyd Harte' c.l. and dated 1977 c.r., pastel and coloured pencil41 x 59cmProvenance: With Thumb Gallery, London;the Estate of Sir Jack and Lady Baer.Condition ReportFramed size: 43.8 x 62cm.Viewed out of frame, the work is acid stained especially to the edges, there is some water damage along the bottom edge, paper is a little creased along bottom edge from frame, please refer to images. Frame a little tired.

A Chinese wool bordered rug, decorated with flowers in muted pastel shades, on a black ground, 92 x 207cms long.

Chinese Qing Dynasty Qianlong-style pastel painted gold-covered） W：12cmH：30cm

Chinese Qing Dynasty Kangxi style pastel wash Diameter：13cmH：8cm

A set of Chinese Qing Dynasty Qianlong pastel porcelain） Diameter 11.2cm：H：6cm

A Yongzheng Style Pastel Butterfly Bowl, Qing Dynasty） Diameter：12cmH：5.5cm

A Qianlong-marked Sapphire Blue Glazed Pastel Box, Qing Dynasty） W：22cmH：18cm

An Enamel and Pastel Garlic Vase, Qing Dynasty） W：24cmH：44cm

Chinese Qing Dynasty Jiaqing Enamel and Pastel Sanyang Kaitai Porcelain） Diameter：8cmH：29cm

A GROUP OF CERAMIC ORNAMENTS, VASES AND LAMPS comprising a hand painted Japanese Noritake twin handled vase, decorated with Iris, a Portmeirion 'The Botanic Garden' pattern table lamp, height 28cm to top of brass fitting, a small table lamp, a Copeland - Spode oval vase decorated with cherry blossom on a pastel blue ground, a Coalport 'Ming Rose' pattern planter, Aynsley 'Pembroke' pattern planter, tea jar and lidded pot, five pieces of Aynsley 'Wild Tudor' pattern (one marked as a second), a Brosnic 'Victoriana' planter, etc (15)

Olive Antrobus, pastel, Portrait of a boy, signed, 42 x 30cm

Edwardian School, pastel, Head of a classical beauty, 31 x 36cm

19th century French School, pencil and pastel, Portrait of a seated lady, indistinctly signed, 39 x 27cm, unframed

Julia M Shillito, (20th century), an oil painting, parlour dogs, signed and dated 1900, 22 x 29cm, framed, 25 x 33cm, and a sel of prints, dog interest, inc Sidney Langoon, a pastel sketch, 42 x 34cm, framed and glazed, 45 x 38cm

North West Persian Tabriz carpet, pastel green ground field with shaped pole medallion, surrounded by interlacing branch and stylised flower head motifs, red ground border decorated with plant motifsDimensions: Length/Width: 370cm  Depth/Diameter: 285cm

Campbell G Walker (British 20th century): River Landscape with Cattle Watering, pastel signed 44cm x 64cm

Peter Shutt (British 1926-2016): River Derwent - near Grange-in-Borrowdale, pastel signed, labelled verso 12cm x 18cm

Edward Handley-Read (British 1870-1935): Wiggonholt Common, pastel signed and titled 27cm x 35cm

Pat Faust (British fl.1950-2000): 'Hutton-Le-Hole' and Garden Landscape, pastel and oil on canvas signed max 40cm x 70cm (2)

Pat Faust (British fl.1950-2000): 'Terracotta Pot' and Still Life of Fruit, pastel and ink and acrylic on canvas signed, one dated '59 max 60cm x 45cm (2)

Harold Hope Read (British 1881-1959): 'Artist with Nude' and 'Two Ladies', pastel and watercolour (respectively), signed, labelled verso max 20cm x 16cm (2) (unframed)

•Dorothy Black (Scottish, b. 1963), "Triad", signed lower right and dated (19)92, pastel on paper, framed. 74cm by 105cm. Provenance: The Scottish Gallery, Edinburgh, June 1992. Note: this lot may be subject to ARR.

Adolf Hohenstein (Russian/German 1854-1928), Portrait of a Seafarer, signed lower right, pastel, framed. 34cm square. Note: Adolf (aka Adolfo) Hohenstein was born in Saint Petersburg and died in Bonn, Germany. He was a painter, illustrator, set designer and costume designer. Hohenstein is today best known as a designer and illustrator of theatrical and other posters in Italy and is considered the father of Italian poster art and an exponent of the Stile Liberty, the Italian Art Nouveau.

•Perpetua Pope (Scottish, 1916-2013), Abstract Landscape, signed lower left, pastel, framed. 17.5cm by 26cm. Note: this lot may be subject to ARR.

Phyllis France (20thC). Lincoln Cathedral, 1967, pastel, signed and titled, 39cm x 28cm.

19th century English school - Half-length portrait of Lady Kerry, pastel on buff paper, 51 x 35cm; together with amateur watercolour and a set of six topographical colour engravings after Thomas Shepherd

An Anatolian Carpet of "Kazak" Design, woven in pastel shades with a central pole medallion, the field filled with floral and geometric motifs on a fawn ground, within conforming five stripe borders, 8ft 9ins x 5ft 9ins

A Modern Prayer Rug of Bakhtiari Design, woven in pastel shades, the field filled with stylised tree of life and mihrab on a navy blue ground, with conforming spandrels within three stripe borders filled with meandering vine pattern, 67ins x 49ins

A 20th Century Part Silk Kashan Rug, woven in pastel shades, the field filled with endless floral repeats, on a navy blue ground, within conforming four stripe borders, 60ins x 36ins

An Early 20th Century Kirman Carpet, woven in pastel shades of navy blue, pale blue and fawn, with trailing palmettes and leafage, on an ivory ground within conforming seven stripe borders, 11ft 6ins x 8ft 3ins

Sheila Goodman (c.1990) 'Tumbling Daisies, pastel, signed, 49.5cm x 40cm

S. J. Dutton, River scene with boat, pastel, 16.5 x 25 cm, signed, bearing paper label verso and two companion studies (3)

A Whittle (British early 20th century): Garden Party, pastel signed together with a print of an Edwardian girl max 61cm x 18cm (2)

B Dennison (British 20th century): Portrait of a Woman in Evening Gown, oval pencil sketch signed and dated 1987; English School (20th century): Portrait of Reclining Woman Reading, pastel unsigned max 34cm x 56cm (2)

Mucha (Continental 20th century): Birds in Flight, pair oils on board signed together with a pastel of a stalk, watercolour and print (5)

Beloya Colling, half length portrait of lady with bonnet and shawl, pastel, signed and dated 1839 bottom right, (35cm x 27cm)

ENGLISH SCHOOL, 20TH CENTURY Industrious Africans possibly a maquette sketch for a sculptural frieze, pencil and pastel, 29.5cm x 140cm

*WILLIAM GEAR (1915-1997) 'Untitled, Aug 1963' abstract composition, signed and dated lower right, oil pastel on paper, 34cm x 27cmProvenance: From the family of the Artist

CONTINENTAL SCHOOL, 20TH CENTURY Abstract composition indistinctly signed in pencil lower right, pastel on Strathmore paper, 48cm x 60cm

*JOHN BOWEN (1914-2006) 'Portrait of Ann A Barch' titled and dated 1988 lower left, signed on a label verso, pastel on buff paper, 48cm x 32cmProvenance: The Collection of Bournemouth & Poole College.

An early 20th century English School portrait of Sir John Brigg, MP for Keighley, Yorkshire 1895-1911, residing in Kildwick Hall, 61cm x 48cm, a pastel unsigned in period plain oval gilt frame, by W Statham of Matlock, together with a pastel of his wife, Mary (possibly over a photograph)

SUSIE MATSON: A pastel entitled "Kev's Dogs" framed and glazed, 29cm x 40cm

Folio of loose pastel portraits, engravings and photos, etc.

A pastel picture of a Pekingese dog by Eva MACKINNON (1909-1999), local artist

Minnie Keane, Study of a Pekingese Dog, pastel, oval, 29 x 21cm.

L.C Smith, Petunias, Plums and Grapes, pastel, initialled, details verso, 11.5 x 16.5cm. Oriental White Roses artwork and Venice print. (3).

Elizabeth Sheppard (Derbyshire Artist), Owl in Landing Motion, watercolour and pastel, signed and dated 1987, 23.5 x 20cm, another of Bird with Catch, signed and dated 1984, label verso. 24 x 22.5cm (2).

A signed pastel female form study. postage unvailable

JEAN COCTEAU (1889-1963)Quatre-profils signé à la main Jean Cocteauplat en terracotta avec feutre noir et pasteldiamètre 39 cm. (15 3/8 in.)Exécuté en 1958.hand signed Jean Cocteaupastel and black felt-tip pen on terracotta plateConceived in 1958.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 6Jean Cocteau rencontre la poterie dans les dernières années de sa vie. Alors qu'il s'est illustré dans de nombreux champs artistiques, il se tourne en 1957 vers ce nouvel art dans lequel il trouva un réconfort salvateur et une source d'inspiration infinie. En 1956, alors qu'il est promu Dr Honoris Causa par l'Université d'Oxford, il entreprend les fresques de la mairie de Menton et de la chapelle St-Pierre à Villefranche-sur-mer. C'est dans cette petite commune de côte d'Azur entre montagne et mer qu'il rencontra un an plus tard le couple de céramistes Philippe Madeline et Marie -Madeleine Jolly. Ce sera le début d'une émulation artistique fructueuse et d'une profonde amitié qui dureront jusqu' à la mort de Jean Cocteau en 1963. « La poterie m'a sauvé la vie ! Elle m'évite d'utiliser l'encre qui est devenue trop dangereuse car tout ce qu'on écrit est systématiquement déformé par ceux qui le lisent...... Picasso m'avait dit que si je mettais une céramique au four, j'étais perdu. Mais j'ai toujours eu le goût de me perdre avec délice. »En 1946, Philippe Madeline ingénieur de formation épouse Marie-Madeleine Jolly faisant carrière dans la publicité après avoir fait l' Ecole des Arts-Décoratifs de Paris. Ils ouvrent leur atelier surplombant la mer à Saint-Michel de Villefranche-sur-mer. Marie-Madeleine crée des bijoux, et Philippe est en charge de la technique et de la fabrication des moules. Philippe admirait le travail de Cocteau et espérait pouvoir le rencontrer par le biais de connaissances communes. Lassé d'attendre, il décida de provoquer le destin.« J'avais envie de faire un essai et grand scrupule à le faire sans autorisation. (...) Pourtant un jour la tentation a été trop forte (...) J'ai mis trois pièces au four... J'en ai cassé une de suite (...) J'ai fait porter les deux autres à Santo-Sospir comme on jette une bouteille à la mer... Trois heures après Jean était là, mes plats sous le bras, m'interpellant comme s'il m'avait quitté la veille. »C'est ainsi que Jean devint « apprenti » et commença sa formation à raison d'un après-midi sur deux à l'atelier. « Jean Cocteau travaille dans une tension extrême. Il a pris comme dit Jean Marais « sa tête d'assassin ». Il est devenu impossible de poursuivre sa propre besogne à côté de lui. Personne ne parle. On marche sur des « pieds de silence ». Lui est comme un chirurgien au milieu de son équipe. » Jean Cocteau, « grand Maître du trait », ne retient que l'essentiel, le style est net, dépouillé. Philippe Madeline déclara « Comment ne pas être subjugué par son graphisme équilibré, rigoureux sans être géométrique, tendre sans mièvrerie... » Jean Cocteau et le couple Madeline Jolly créèrent jusqu' à la mort de l'artiste en 1963. De cette collaboration naitra 300 céramiques. Cette vente raconte cette synergie exceptionnelle entre l'art et l'artisanat en mettant en lumière le processus de création : des dessins préparatoires aux modèles originaux en passant par les pièces d'essai. Ces œuvres, qui reprennent les inspirations chères à Cocteau lui ont valu le surnom de « Poétier de Villefranche ». Elles sont aussi les témoins d'une rencontre prodigieuse entre Cocteau et Madeline Jolly et de leur amitié sans faille. Jean Cocteau comes to pottery in the final years of his life. Having distinguished himself in many artistic fields, in 1957 he turned to this new art in which he found both solace and an infinite source of inspiration.In 1956, after being awarded Doctor Honoris Causa by the University of Oxford, he undertook the frescoes of Menton town hall and the chapel of St-Pierre in Villefranche-sur-Mer. It was in this small town on the Côte d'Azur between the mountains and the sea that he met a year later the ceramist couple, Philippe Madeline and Marie-Madeleine Jolly. It would be the beginning of a fruitful artistic exchange and a deep friendship that would last until the death of Jean Cocteau in 1963.'Pottery saved my life! It saves me from using ink which has become too dangerous because everything we write is systematically distorted by those who read it...... Picasso told me that if I put a ceramic in the oven, I was lost. But I've always taken great delight in losing myself.'In 1946, Philippe Madeline, an engineer by training, married Marie-Madeleine Jolly, who was pursuing a career in advertising following her studies at the School of Decorative Arts in Paris. They open a workshop overlooking the sea in Saint-Michel de Villefranche-sur-mer. Marie Madeleine creates jewelry, with Philippe in charge of the technique and mould-making.Philippe admired the work of Cocteau and hoped to meet him through mutual acquaintances. Tired of waiting, he decided to take things into his own hands.'I wanted to try something yet had great qualms about doing it without permission. (...) Yet one day the temptation was too strong (...) I put three pieces in the oven... One broke right away (...) I had the other two sent to Santo-Sospir, just as one might throw a bottle into the sea... Three hours later Jean was there, my pottery plates under his arm, calling out to me as if we had just seen each other the day before.'This is how Jean became an 'apprentice' and began his training every other afternoon in the workshop. 'Jean works under great tension. He starts to take on, as Jean Marais says, 'the look of an assassin'. It has become impossible Cocteau to pursue one's own work beside him. No one is speaking. We walk on 'silent feet'. He is like a surgeon surrounded by his team. »Jean Cocteau, 'grand Master of the pencil stroke' retains only the essential; the style is clean, minimal. Philippe Madeline declared: 'How not to be captivated by its harmonious graphism, rigorous without being geometric, tender without sentimentality...'Jean Cocteau and the couple Madeline-Jolly worked together until the artist's death in 1963. From this collaboration were born 300 ceramics. This sale recounts this exceptional synergy between art and craftsmanship by highlighting the creative process: from sketches to original models and working proofs. These works, which drew on inspirations dear to Cocteau, earned him the nickname 'Poetter of Villefranche'. They are also witness to the exceptional encounter between Cocteau and the Madeline-Jolly couple and to their unfailing friendship.'Combien de mois a duré ce travail pour réaliser toutes ces poteries ?Jean Cocteau : ʻJe ne sais plus, mais... voilà il faut en effet une collaboration étroite, je dirais qu'il faut le feu de l'amitié et l'amitié du feu... ʼ ''How many months of work were needed to make all this pottery?Jean Cocteau: ʻI don't know anymore, but... indeed it requires a close collaboration, I would say that it requires both the fire of friendship and the friendship of fire...ʼ '... 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

JEAN COCTEAU (1889-1963)Sourire signé et daté à la main Jean Cocteau 1958 plat en terracotta avec pastel diamètre 27 cm. (10 5/8 in.)Exécuté en 1958.hand signed and dated Jean Cocteau 1958 pastel on terracotta plateConceived in 1958. Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 207This 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

JEAN COCTEAU (1889-1963)Arabesques compotier en terracotta avec crayon gras et pastel diamètre 35.5 cm. (14 in.); hauteur 10 cm. (3 15/16 in.)Exécuté circa 1958. wax crayon and pastel on terracotta fruit bowl Conceived circa 1958.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 132This 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

JEAN COCTEAU (1889-1963)Arlequin signé et daté Jean Cocteau 1958Pastel sur papier bleu 35 x 33 cm. (13 3/4 x 13 in.)Exécuté en 1958.Cette œuvre est le dessin préparatoire pour la céramique. signed and dated Jean Cocteau 1958pastel on blue paper Conceived in 1958.This work is the preparatory drawing for the ceramic.Footnotes:L'arlequin est une figure emblématique et récurrente de l'univers de Cocteau. Lors de sa dédicace à Georges Auric, dans « Le Coq et l'Arlequin », Jean Cocteau déclara: « J'admire les Arlequins de Cézanne et de Picasso mais je n'aime pas Arlequin. Il porte un loup et un costume de toutes les couleurs. Après avoir renié le chant du coq, il se cache. C'est un coq de la nuit. »The harlequin is an emblematic and recurring figure in the universe of Cocteau.In his dedication to Georges Auric, in 'Le Coq et l'Arlequin', Jean Cocteau declared:' I admire the Harlequins of Cézanne and Picasso but I don't like Harlequin. He wears a mask and a costume of all colours. After denying the cockcrow, he hides away. He is a cock of the night. '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

JEAN COCTEAU (1889-1963)Fleur des yeux signé et daté à la main Jean Cocteau 58 plat en terracotta avec pasteldiamètre 30.5 cm. (12 in.) Exécuté en 1958. hand signed and dated Jean Cocteau 58 pastel on terracotta plateConceived in 1958.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 176« Il y avait l'ébauche de la coupe « Fleur des Yeux », si pure dans sa grande simplicité et qui ressemble à des narcisses printaniers, (...). Tout cet après-midi là sera sous le signe de l'œil dominateur qui surveille et qui interroge. »'There was the early version of the 'Fleur des Yeux' cup, so pure in its extreme simplicity and which resembles spring narcissus, (...). This whole afternoon will be under the gaze of the dominating eye which oversees and interrogates.'Philippe MadelineThis 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

JEAN COCTEAU (1889-1963)Faune au ruban, Sourire (I): Faune au ruban (recto) signé Jean Cocteaucrayon gras sur papier bleu 42.5 x 42 cm. (16 3/4 x 16 9/16 in.)Cette œuvre est le dessin préparatoire pour la céramique. signed Jean Cocteauwax crayon on blue paperThis work is the preparatory drawing for the ceramic.(II): Sourire (verso)signé et daté Jean Cocteau 1958pastel sur papier bleu 42.5 x 42cm (16 3/46 x 16 9/16 in.)Cette œuvre est le dessin préparatoire pour la céramique. signed and dated Jean Cocteau 1958pastel on blue paperThis work is the preparatory drawing for the ceramic.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

JEAN COCTEAU (1889-1963)Femme se coiffant signé et daté à la main Jean Cocteau 1958; inscrit Edition originale Jean Cocteau/Atelier Madeline-Jolly (au revers)plat en terre blanche et engobe partiellement émaillé avec crayon et pasteldiamètre 31.5 cm. (12 3/8 in.)Exécuté en 1958.Cette oeuvre est le modèle original réalisé par Cocteau pour l'édition de 20.hand signed and dated Jean Cocteau 1958; inscribed Edition originale Jean Cocteau/Atelier Madeline-Jolly (underneath)partially glazed white earthenware plate with engobe, crayon and pastelConceived in 1958.This work is the original model made by Cocteau for the subsequent edition of 20.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, n° 47This 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

* NORMAN KIRKHAM RGI (SCOTTISH 1936 - 2021),FIREWORKSoil on canvas, signed; titled and dated "Jan 1, 2002" versoimage size 87cm x 51cm, overall size 102cm x 66cm Framed and under glass.Note: The date, in the artist's hand verso, confirms that "Fireworks" was completed on New Years Day 2002 presumably immediately after Kirkham was inspired by a Hogmanay fireworks display the night before. "Fireworks" is an extravagant explosion of colour and a spontaneous and confident work full of positivity and optimism for the year ahead. Artist, designer and lecturer, working in oil, watercolour, gouache and pastel, born and lived in Glasgow, where he attended the Glasgow School of Art, 1953–8, taught by David Donaldson. Worked as a designer, 1960–75, began painting then and was in 1977 a part-time lecturer at Glasgow School of Art. He was President of Glasgow Art Club, 1988–91, and Honorary Secretary of Royal Glasgow Institute of the Fine Arts from 1991. Won many prizes at the Institute. Also showed at RA, RSA, RP, Fine Art Society, Seen Gallery and elsewhere in group exhibitions. Later solo shows included Barclay Lennie Fine Art, Glasgow, from 1986. HRH The Duke of Edinburgh, Arthur Andersen, The Fleming Collection, The Royal Academy, the Royal Scottish Academy and Glasgow Museums hold examples of his paintings. His extensive obituary in The Herald by Jan Patience on 8th April 2021 confirmed that Norman Kirkham had died after contracting Covid-19.