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* FRANK MCFADDEN (SCOTTISH b. 1972),STUDY OF A MANpastel on paper, signed and dated '04 image size 61cm x 46cm, overall size 92cm x 77cm Mounted, framed and under glass.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paper, inscribed '11' image size 63cm x 47cm, overall size 88cm x 69cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.Condition is good overall.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paperimage size 63cm x 45cm, overall size 88cm x 69cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paperimage size 48cm x 62cm, overall size 69cm x 88cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* WILLIAM COLLIE MILNE CADENHEAD (SCOTTISH 1934 - 2005),VICTORIA GLACIER, LAKE LOUISE, ALBERTA pastel on paper, signed and dated '93, titled label versoimage size 44cm x 59cm, overall size 74cm x 86cmMounted, framed and under glass.Handwritten artist's label verso. Note: Cadenhead was a Painter, draughtsman and teacher, born in Aberdeen. He studied at Duncan of Jordanstone College of Art, Dundee, under Alberto Morrocco, 1951–5, later teaching there; in Italy and France, 1956; at Patrick Allan-Fraser School of Art, Hospitalfield, Arbroath; and under Peter Greenham at Royal Academy Schools, 1957–61, gaining the David Murray Scholarship in 1957. In 1969 was elected a professional member of SSA, also showing at RSA, RSW and Compass Gallery, Glasgow. Showed solo at Scottish Gallery, Edinburgh, from 1981, and Woodstock Gallery. Scottish Arts Council and members of the Royal family owned his work. Lived at Muir of Lownie, Forfar, Angus.

* ROSEMARY BEATON (SCOTTISH b. 1950),MACKINTOSH TEAROOMSpastel on paper, signed and dated '86, titled label versoimage size 29cm x 39cm, overall size 57cm x 66cm Mounted, framed and under glass.Label verso: The Open Eye Gallery, Edinburgh.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paperimage size 73cm x 46cm, overall size 91cm x 63cm Mounted, framed and under glass.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paperimage size 63cm x 47cm, overall size 81cm x 64cm Mounted, framed and under glass.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* JOE KEARNEY (SCOTTISH 1939 - 2017),THE POET SLEEPSpastel on paper, signed and dated '78, titled label versoimage size 41cm x 30cm, overall size 58cm x 47cm Mounted, framed and under glass.Label verso: The Kelvin Gallery, Glasgow.Note: Joseph "Joe" Kearney was born in 1939 in Glasgow and was a past Vice President of Glasgow Art Club. Kearney trained at Glasgow School of Art and was a contemporary of John Byrne. He exhibited at The Royal Society of Portrait Painters, The Royal Scottish Academy, The Royal Glasgow Institute, The Annan Gallery, Ewan Mundy and Glasgow Art Club. His works are held in several notable collections including The Scottish Ballet and Glasgow Art Gallery & Museums.

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),GULLS & HARBOUR, ANSTRUTHERpastel on paper, titled label versoimage size 34cm x 52cm, overall size 50cm x 72cm Mounted, framed and under glass.Artist's label verso.Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

* ALLY THOMPSON (SCOTTISH 1955 - 2016),SPRING MORNING pastel on paper, signed, titled and dated 2002 versoimage size 55cm x 70cm, overall size 85cm x 98cm Mounted, framed and under glass.Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.

GEORG LUDWIG MEYN (1859-1920) 'Eileen and Enid K.' a study of two sisters, signed lower right titled to exhibition label (verso), pastel on brown paper 54cm x 61cmExhibited: Grosse Berliner Kunst-austellung, Berlin, 1895

Hillary Barnett 1994 charcoal life study of a woman or long haired man also with a pastel of a man-woman. Unsigned. W:30cm x H:40cm

J.Des Clayes (British) Two pet portrait paintings (dogs) and a pastel old cats.

John Hoyland (1934-2011) British, 'Heavenly Denizen', pastel on card, signed and dated '87, 41 cm x 29 cm framed and glazed.

Mary Audsley (1919-2008) British, reclining nude, initialled and dated '96, pastel, labels on the reverse for Lena Boyle Fine Art and Bartley Drey Gallery, 20 cm x 32 cm framed and glazed.

Three pastel coloured sequinned stage costumes, c1960s as worn by The Boyd Triplets, later known as The Del Rubio Triplets, singers, tv stars and performers from 1949-1996. (3)some sequin loss, lightly grubby from age, loose shirring

António Sena (b. 1941)Untitled, 1980Oil pastel and tempera on paperSigned1000x69,7 cmExhibitions:"António Sena: pintura, desenho, 1964-2003", Museu Serralves, Porto, 2003, Cat. p. 257.

José de Guimarães (b. 1939)UntitledOil pastel on paperSigned and dated 88102,5x68,5 cmWith label from Quadrum Gallery on the reverse.

William Conor RHA RUA ROI (1881-1968)The FiddlerPastel on paper, 38.5 x 28cm  (15¼ x 11")Signed

George Campbell RHA (1917-1979)Rooftops in MalagaPastel on Paper, 27.5 x 36cm (10¾ x 14¼")Signed

Viola Frey (American, 1933-2004). Pastel on paper drawing titled "The Discussion II," 1994. Consisting of two pieces of paper joined together, the work depicts numerous figures engaging in conversation interspersed with various flea market collectibles. Signed and dated along the lower right.Provenance: Private Collection; Nancy Hoffman Gallery, New York; Private Minnesota Collection.With a career spanning five decades, Viola Frey created works from powerful figurative ceramic sculptures to paintings and works on paper. These works reflected the contemporary culture, power, and gender dynamics. She was closely aligned with the Bay Area Funk movement, and considered herself a bricoleur - a junk accumulator - by reinterpreting collectible figurines as well as philosophical ideas, her personal experiences, and color theory to freely create new meanings in ceramic and bronze works. This work on paper echoes her sculptures and creates a dynamic conversation between media.Sight; height: 44 in x width: 60 in. Framed; height: 52 1/4 in x width: 67 1/2 in.

Russell Hamilton (American, 1950-2014). Large pastel on paper drawing titled "Deep Pool," 2000. Depicting a curving mountain stream through pine woods. Signed in pencil and dated along the lower margin. Further signed, dated, and titled in pen along the verso. Possibly alternatively titled "Slow Curl" or "Night Trees."Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 30 in x width: 38 in. Framed; height: 32 1/2 in x width 40 1/2 in.

Barbara Rae C.B.E., R.A., R.S.A. (British, born 1943)Winter Quarry signed and dated 'Rae '79' (lower left); further signed and titled 'WINTER QUARRY BARBARA RAE' (on the stretcher)oil, collage and pastel on canvas176 x 176 cm. (69 7/8 x 69 7/8 in.)Footnotes:ProvenancePrivate Collection, SwitzerlandThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Eardley R.S.A. (British, 1921-1963)Glasgow Children signed indistinctly 'JOAN EARDLEY' (lower right); further signed and inscribed 'JOAN EARDLEY/GLASGOW' (on a partial label, attached to the backboard)pen and ink, gouache, pastel and charcoal 11.2 x 14.9 cm. (4 3/8 x 5 7/8 in.)Footnotes:ProvenanceSale; Sotheby's, Glasgow, 5 February 1991, lot 218 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

A late 19th/early 20th Century pastel portrait of a gentleman 32cm x 27 cm, framed

Pictures and Prints - Photography - 'High Peak, Sunset', 28cm x 36cm; Scandinavian school, Eino Saarnic?, Pine trees, Lake, and Mountains, signed, watercolour, 25cm x 36.5cm; Storm clouds approaching, pastel, unsigned; others, abstracts, and landscape; Richard Allen, Setting Sun, Northants, signed, mixed media, 44.5cm x 34.5cm. Scandinavian school, Eino Saarnic?, Pine trees, Lake, and Mountains, signed, watercolour, 25cm x 36.5cm; Storm clouds approaching, pastel, unsigned; others, abstracts, and landscape, (5).

D Brown, woman with geese, pastel 38cm x 28cm, together with a retro print after Endre Komaromi Kacz.

JOHN HOLT, 1998. STUDY OF A RECLINING NUDE IN PASTEL, SIGNED & DATED

CHARMING EDWARIDAN GILT FRAMED PASTEL PORTRAIT - CHILD WITH TOY HORSESIGNED AND DATED APPROX 68CM X 50CM

Paul Stephens, 'Kynance Cove, Sunset' oil/pastel on board, signed, 40cm x 49cm, framed. History of Paul Stephens Born 1957, Exhibited in multiple galleries including: Colleton Art Gallery, Bath, Patricia Fine Arts, Boca Raton, USA, Royal West of England Academy, Bristol and Mall Galleries London. Paintings shown alongside of Sir Peter Scott, Arthur Maderson, Harold Knight, Joan Gillchrest etc.

Zoologica Specifica - - Otto Juling. Sammlung von 27 Originalzeichnungen und kolor. OLitographien. 20. Jahrhundert. Verschiedene Techniken: u.a. Tusche, Aquarell, Pastell, Graphit. Blattmaße von 19 x 12,5 cm bis 29 x 38 cm. Teilweise auf Papier und unter Passepartout montiert. - meist vom Künstler signiert, oft bezeichnet, tls datiert. Enhält u.a. Tierstudien, Stadtansichten, Genreszenen sowie botanische Studien. - Papierbedingt tls. gebräunt, tls, befleckt und knickspurig, verso oft atelierspurig und mit Spuren von alten Montierungen, die Motive nicht betroffen, die Farben leuchtstark. Dabei: 22 OLitographien des Künstlers mit Ansichten von Berlin und Umgebung (davon tls. Dubletten). 48 x 31 cm. Tls. signiert und bezeichnet. Collection of 27 original-drawings and colored orig. litographs. Various techniques: ink, watercolor, pastel, graphite etc. Partially mounted on paper and under passe-partout. - Mostly signed by the artist, often inscribed, some dated. Added: see above.

Tedja Suminar, Bali (1936-2016) "Faces of Bali," pastel, collage of head studies of Bali People, approx. 48cms x 56cms (19" x 22"), inscribed on reverse, cloth and gilt tipped mount. (1)

Robert Healy, Irish (1743-1771)  “Portrait of Mrs. Florinda Gardiner (née Norman) standing by an urn,”  grisaille pastel on paper, signed and dated 1769, 61cms x 34cms (24” x 13 ¼”), bears label on reverse “Mrs Gardiner, mother of Luke Vic [?] Mountjoy, Killed in Battle 1798; Mrs Gardiner died 1812 . . drawing by R. Healy 1769” (1) In this full-length portrait, Florinda Gardiner is depicted standing in a lawn or parkland setting, beside an urn on a pedestal, her hand reaching out to touch the pedestal. Posed formally, she wears a long dress, with a high lace collar, bonnet, and flowing lace sleeves. In her left hand she carries a pair of gloves. Behind are trees and ivy-covered walls. The drawing reveals Healy’s consummate skill in using grey and white chalk to create subtle tones, not dissimilar to a mezzotint. Born in Derry in 1722, the daughter of Sarah (née Bolton) and Robert Norman, Mayor of Derry, Florinda Norman grew up at Lagore Co. Meath. In 1741 she married the twenty-one year old landowner and politician Charles Gardiner. The eldest son of Luke Gardiner, who had developed large areas of north inner-city Dublin, Charles went on himself to lay out Georgian terraces on Rutland Square and Cavendish Row. Inheriting the Mountjoy estates in 1769 he did not live long to enjoy them, as he died the same year. His interest in architecture is evident from his commissioning John Smith to design  St. Thomas Church on Marlborough Street (destroyed 1922), based on Palladio’s Il Redentore in Venice. He and Florinda had three sons and two daughters, among them Luke, Lord Mountjoy M.P, who was killed in the Battle of New Ross in 1798, and Anne, who went on to become Lady Clancarty. Florinda died in 1812, aged 90, at Naas, Co. Kildare. Born in Dublin in or around 1743, Robert Healy (or Hayley), while living at Wood Quay, attended the Dublin Society drawing schools. He studied under Robert West, who in turn had studied in Paris under Francois Boucher, an artist whose preparatory chalk sketches were much sought after by collectors. As a consequence there was an emphasis on pastel and chalk drawing in the Society’s schools and Healy, like his contemporaries Hamilton and Hickey, excelled in small-scale portraits using only black and white chalks. Another contemporary of theirs in Dublin, Charles Forrest, also specialised in pastels, again using limited colour. In 1768 Healy was commissioned by Thomas Conolly to draw scenes of life in and around Castletown House, with people walking, skating and hunting. Some of these drawings depict Thomas and Louisa Conolly with grooms and horses. Healy preferred to set his figures in gardens and open-air settings rather than in interiors. The following year he won a prize at the Dublin Society for his drawing of a group of figures. As he died young, after sketching out of doors at Dangan Castle in inclement weather, Healy’s output was inconsiderable; some twenty-five drawings are attributed to him. His brother William, also an artist, drew in a similar style and took over Robert’s studio practice, and either finished or copied works by Robert, including a version of the present work. There are two self-portraits by Robert Healy in the National Gallery of Ireland. In one of these, signed and dated 1765, he holds a sketchbook and leans on a Classical bust. His full length portrait of Miss Cunningham holding her King Charles spaniel, signed and dated 1770, is in the Art Institute of Chicago, while his portrait of Anne, Countess of Clancarty, was in a Hamilton Osborne King sale in 1999. Dr. Peter Murray 2022 Provenance:  Oldtown, Naas, Co. Kildare

Robert Healy, Irish (1743-1771) “Portrait of Mrs. Cradock, mother of Sir John Cradock” grisaille pastel drawing on paper   signed l.l. bears label on reverse “Mrs Cradock mother of Sir John Cradock, afterwards Lord Howden, who died 1859. Mrs Cradock died about 1810. . . drawn by Healy” A delicate grisaille drawing in chalks or pastels by Robert Healy, this work depicts Mary Cradock wearing a long dark dress, a shawl loosely draped around her shoulders and carrying an umbrella. As with most of Robert Healy’s portraits, the pose is formal and reserved, with Mary Cradock depicted standing in a woodland setting. Born in 1730, the daughter of William and Mary Balydwin, Mary married firstly Richard St. George, a Lieutenant Colonel in the 8th Dragoons, with whom she had two children. After Richard’s death from consumption in 1757, she married John Cradock, an English churchman who had accompanied the Duke of Bedford to Ireland, and was appointed Archbishop of Dublin in 1772. The couple lived at Henrietta Street, Dublin. Their son, John Francis Cradock, 1st Baron Howden (1759-1839), was a professional soldier who became a Major-General in the British Army, fought at the Battle of Vinegar Hill in 1798, served in the Mediterranean and was Governor of Gibraltar, and later the Cape Colony. In 1820 he changed his name to Caradoc. After the death of her husband, Mary resided at 8 Alfred Street, Walcot, near Bath, where she died in 1819. She is buried at Bath Abbey. Dr. Peter Murray 2022 Provenance:  Oldtown, Naas, Co. Kildare

*Margaret Glass (b.1950) pastel - Early Morning Pin Mill, initialled, 45cm x 65.5cm, in gilt glazed frameProvenance: removed from Salmons, Fingringhoe

*Margaret Glass circular pastel - River Deben near Cretingham, 1979, initialled, 34cm diameter, in glazed frameProvenance: removed from Salmons, Fingringhoe

*Ian Hay (b.1940) pastel - London street view, signed and dated ‘87, 38cm x 54cm, in glazed frameProvenance: removed from Salmons, Fingringhoe

Henry Bright (1810-1873) black chalk and pastel, Shrubland Park, initialled and dated 1833, 28cm x 38cm, in glazed gilt frame

Edward Robert Smythe (1810-1899) pastel, girl with a pony and a dog in landscape, signed, 32cm x 46cm, in glazed gilt frameProvenance: Guildhall Gallery, Bury St. Edmunds, March 1987

*Dione Page (1936-2021) pastel with gouache on paper laid on card - Fishermen going home, signed titled and dated indistinctly, 79cm x 60cm, unframed

*Dione Page (1936-2021) - pastel with gouache on paper laid on card, 'Holy Island Harbour', signed titled and dated '99, 78cm x 60cm, unframed

*Dione Page (1936-2021) pastel with gouache on paper laid on card - 'Aberaeron', signed titled and dated '98, 78cm x 60cm, unframed

*Dione Page (1936-2021) pastel with gouache on paper laid on card - 'Cottages on Inisheer', signed titled indistinctly and dated '91, 76cm x 60cm, unframed

Fid Harnack (1897-1983) oil on board - West Mersea Beach, signed, titled verso, 25cm x 29cm, framed, together with a pastel of the Mersea Oyster Beds, 24cm x 35cm, in glazed frame (2)

Attributed to Frank Brangwyn (1867-1956) large pastel work - Venice, 57cm x 91cm, unsigned, in glazed frame. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.

Robert Anning Bell (1863-1933) pastel - female figure before a church, 27cm x 22cm, signed, in glazed frame. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.

GORAY DOUGLAS (1920-1976). A pair of pastel portraits of a Gurkha soldier & Nepalese lady, each signed “G. Douglas”, 14¾” x 10¾”, in matching glazed frames.

Dorothy Bruce The Tollbooth, Kirkcudbright and Cardoness Castle, also a pastel by Thoran.  (3)

Bell Foster,Country scene and village lane scene, a pair,pen and pastel on paper, signed,25x34cm.Qty: 2

Attributed to Johannes Anspach (1752-1823)Portrait of a girl, half-length in profile, in a black dresspastel14 x 11.5cmBelieved to be the companion to the miniature by Anspach of Jasper Generheijden offered for sale by Christie's, Amsterdam, 10 November 1999, lot 451.

Adam Buck (Irish, 1759-1833)Portrait of Mrs Sydney, née Eliza Vaughn, seated three-quarter-length, in a white dress and glovespastel28 x 22cm, unframedCondition Reportoverall 42 x 35cmThe work is not glazed, a few minor scuffs but newly mounted.

▴ John Sanderson Wells (1872-1955)Huntsmen and hounds at the edge of a woodsigned 'J Sanderson Wells' l.l., pastel38.5 x 57cmCondition ReportFramed size: 64 x 82cm.

Léon Augustin Lhermitte (French, 1844-1925)Bourges, the cathedral in the distancesigned with initials l.l., pastel31.5 x 23.5cmExhibited: Paris, Galerie Allard, Paris, 1920.Literature: Monique Le Pelley Fonteney, ‘Leon Augustin Lhermitte Catalogue Raisonné’, no 205.Condition ReportIn generally good condition, unexamined out of frame.

Léon Augustin Lhermitte (French, 1844-1925)A street in Bourgessigned 'Hermitte' l.l., pastel31.50 x 24cmExhibited: Paris, Galerie Allard, Paris, 1920.Literature: Monique Le Pelley Fonteney, Leon Augustin Lhermitte Catlaogue Raisonné’, no 209. Condition ReportIn generally good condition, unexamined out of frame.

A Patchwork Quilt in Yellow and Green Pastel Colours, 250x190cms

MARJORIE COX pastel - a Bull Terrier 'Paula 1966', signed, 46 x 33cms

Jean Reddaway (b.1923), 'Beirut', pastel on paper, titled, signed and dated 1964 below, 50.5 x 36 cm, framed and glazed

Two artworks to include: A. Ruskin-Browne (20th century)- 'Morning Light, Bristol', pastel on paper, signed lower right, title inscribed in label verso, 36 x 50 cm; together with watercolour on paper signed, H. W. Browning/Brouning lower right, label inscribed 'Castle Hill Farm, Prescott' verso, 25 x 35 cm, both mounted, framed and glazed (2)

Roy Hewish (b.1929), 'Austcliff' pastel on paper, signed, titled and dated 1961 in pencil below, 19 x 31.5 cm, framed and glazed