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Lot 58
Madge Gill (British, 1882-1961)A Group of Twenty-Six Drawings some variously dated (verso)pen and ink on paper, one pastel on paper14 x 9cm (5 1/2 x 3 9/16in). the largest and smallerExecuted circa the 1940s(26)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
Lot 313
Lehmann (Liza, 1862-1918). A scrapbook, 1870s-90s, containing approximately 65 pen, pencil, ink, wash, pastel and watercolour studies, self-portraits, landscapes, fairies, interiors, a few captioned and loose, some mounted, various sizes, some light toning and a few stains, all contained in an original morocco scrapbook, lacking spine, covers detached and rubbed, sheet size 28 x 22 cm, together with her book, The Life of Liza Lehmann, by Herself, 1st edition, 1919 QTY: (2)NOTE:Liza Lehmann (1862-1918), an English soprano and composer who composed songs for children and stage, became the first President of the Society of Women Musicians in 1911-12 and a professor of singing at the Guildhall School of Music in 1913.
Lot 223
F STAFFORD DUPREE "A woodland path", pastel, signed and indistinctly dated lower left, 16 cm x 21 cm and W THOMPSON "Meadows and fence with trees", watercolour, heightened with white, signed lower left, 29 cm x 19.5 cm and SPENCER "Moored dinghies", watercolour, heightened with white, signed top right, 18 cm x 48 cm
Lot 263
20TH/21ST CENTURY ENGLISH SCHOOL "Rider wearing flat cap on horseback in a landscape", oil on board, unsigned, bears "Corner Cottage Gallery" label verso, 61 cm x 73.5 cm, together with M.M ADDIS "River landscape with trees", oil on canvas, signed lower right, 53 cm x 43 cm and SHORE "Forest landscape with path", watercolour with pastel, signed and dated '57 lower left, bears label and inscriptions verso, 34 cm x 24 cm
Lot 55
Elizabeth Wolf - 'Ohan of Benin' (Queen Ohan Akenzua, Royal Wife of Oba Akenzua II), pastel with coloured chalks, signed, titled and dated 1950, 60.5cm x 45cm, within a stained wood frame. Note: Elizabeth Wolf was commissioned along with sculptor Barney Seale to produce portraits of the Oba and Ohan of Benin in 1950. Due to the time constraints of the sitting, the artist used pastel rather than her traditional medium oils. This portrait of the Ohan was exhibited at the 'Exhibition of Paintings and Drawings by Elizabeth Wolf' held at The Studio Club, Piccadilly, in October 1950, catalogue no. 17. The portrait can be seen in the background of a photograph of the exhibition reproduced in 'West Africa', 18th November 1950, p.107. A pencil sketch by the same hand and three press photographs relating to the sitting are included with this lot. The sculpture by Barney Seale is Lot 2600 in our sale on 8th September.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![PASTEL DRAWING SIGNED COLIN BROWN OF A LEYLAND ATLANTEAN MOTOR BUS OF THE SELNEC CENTRAL FLEET. [MANCHESTER]](https://cdn.globalauctionplatform.com/90ddff3a-8153-440c-b69a-af01009ecb49/07db867d-bba1-4ea5-a640-af0400f89ad2/468x382.jpg)
Lot 633
HUGH DOUGLAS HAMILTON (1739 - 1808). A PAIR OF GEORGE III OVAL PORTRAIT PASTEL DRAWINGS inscribed on reverse Member Grattons Parliment Ireland artist Hugh Hamilton depicting a portrait of Henry Gratton and an Officer of the British Army - in glazed gilt moulded frames, signed.25cm high 20cm wide
Lot 1249
19th Century oval pastel portrait of a bride, wearing a floral garland in her hair, 28ins x 21ins, gilt framedHas a layer of paper and cardboard on the back - see photos - Multiple signs of repair and repainting and craquelineIs signed Bidean and does have old valuation letter from Sotherby's present.
Lot 362
A GROUP OF CERAMICS AND GLASSWARES, to include a Royal Winton three tier cake stand in pastel colours with moulded roses, a glass trumpet vase supported in a carved wooden base total height 28.5cm, a pair of Doulton Lambeth Silicon ware bud vases, a Shelley three section hors d'oeuvre dish (cracked), a collection of Wade Whimsies including a Lady and the Tramp Jock figure with plastic box, vintage Christmas cake decorations including two snow babies, a Royal Doulton yellow lustre floral frog, a Swarovski crystal hedgehog, a Highland China Loch Ness monster, a Beswick mallard duck ashtray, boxed Prinknash and Crown Staffordshire royal commemoratives, etc (Qty) (Condition report: sd, pieces appear in generally fair to good condition)
Lot 558
A GROUP OF TEN DECORATIVE PAINTINGS, comprising an unsigned watercolour titled 'The Ouse - York 1828, approximate size 14cm x 20cm, a river landscape oil on board signed M Brown, an oil on paper? depicting an exotic bird and foliage, indistinctly signed, a watercolour 'Tutbury Castle from the Artist's Studio' indistinctly signed and dated 1964, a view of the pier at Colyn Bay signed and dated R Wilcox '74, pastel river landscape signed and dated M Moody '79, a view of 'Old Granada' pen and watercolour on paper, indistinctly signed and dated '76, late 19th /early 20th century Scottish? landscape signed M Farquhar, unsigned watercolour continental river landscape and a watercolour full length portrait of Sgt Major Joe Kamanda who is wearing the uniform of a Sierra Leone soldier
Lot 614
PICTURES AND PRINTS ETC, TO INCLUDE A PASTEL PORTRAIT OF A YOUNG FEMALE FIGURE, signed Hank '78, approximate size 45cm x 35cm, a watercolour study of a Raven perched on a rock beside the sea, titled 'Fish Hawk', no visible signature, a print depicting the bombardment of Algiers 1816, a print of Radley Hall from a sketch by J.M.W Turner, print of Keble College, Burmese Kalaga etc (Qty)
Lot 12
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '79 image size 54cm x 75cm, overall size 75cm x 95cm 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.
Lot 13
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '90 image size 74cm x 54cm, overall size 93cm x 71cm 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.
Lot 149
* ROZELLE MORROCCO (SCOTTISH 1926 - 2002), KATE pastel on paper, signed and dated '65, titled label verso image size 56cm x 38cm, overall size 84cm x 58cm Mounted, framed and under glass. Handwritten artist's label verso. Note: Rozelle Morrocco was the mother of Jack Morrocco and her brother was the Aberdeen artist Eric Auld. She married Valentino Morrocco (architect), brother of Alberto Morrocco and she was aunt to Leon Morrocco. Rozelle was a fine artist in her own right and she was an inspiration and driving force behind her son who has established himself as one of Scotland's most sought after living artists.
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