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Three canine portraits in pastel: 'Edith and Susan' signed C.A. SHARPLEY - 1981; 'Polly', (a series of six sketches) by the same artist and dated 1997; and 'Wig and Maggie' signed M. BROWNING - '71 (the largest frame size 73cm x 60cm) (3) 

A 19th century pastel study of embracing children, 36 x 28 cm to/w photographic print of young boys in regional costume and Mr Marnochs Dressers summer session photo montage etc (3)

Douglas Frederick Pittuck (1911-1993)Barnard Castle BridgeMonogrammed and indistinctly dated, pastel, 29cm by 36.5cm

Mason's patent ironstone "Brocade" ginger jar with pierced lid, art pottery pedestal vase, 1960's Wedgwood pedestal bowl with fluted decoration, C19th Staffordshire cottage pastel burner (A/F), other decorative ceramics including blue glazed lidded vase of hexagonal baluster form on shaped stepped foot

P.B., 'Becker', a terrier, initialled and dated 26.5.71, pastel, 38 x 53cm.  

Hercules Brabazon Brabazon, a mountainous landscape, pastel, 9.5 x 13cm.  

Claude Rowberry, a sunset river scene, monogramed and dated 1951, pastel, 11 x 13.5cm.

Vintage dark pastel brown mink fur coat, approx. size 16:

GLADSTONE GILT DECORATED PART TEA SERVICE,composite pastel blue and pink grounds

Oil on canvas, with important frame of the time. Framed measures 53 x 44 cm, canvas measures: 34 x 29 cm. It is accompanied by a comparative technical report. Exceptional discovery of the oil version "Portrait of a Young Lady" of which only the pastel version was known from a New York private collection and auctioned at Christie's in 2010. Jean-Baptiste Greuze (1725, Tournus – 1805, Paris) After studying painting at the Grandon workshop in Lyon, Greuze moved to Paris in 1750 and entered the Royal Academy of Painting and Sculpture as a student of Natoire. His popularity was confirmed by other paintings of a melodramatic nature, depicting young peasant scenes from the provinces. One of his biggest artistic supporters was Diderot; art critic gave a glowing praise of his painting for the moralism of his images. Among his greatest successes may be mentioned The Village Wedding or Acordée de village presented at the salon of 1761, where he once again shows a bourgeois rural interior. Among his outstanding works, "Father of the family explaining the Bible to his children", made in 1755, as well as also known as "The death of the paralytic" of 1763, a painting that represents an elderly father on his deathbed surrounded by of his family. This painting is related to Jean Jacques Rousseau's novel, “La nouvelle Héloïse”, published that same year. After achieving great success with the public and critics, he began to harvest history painting, a genre of higher rank within official painting. His first work in this order is the so-called Seventh-Severe. Contrary to what he was looking for, this piece was a source of conflict with the Academy, since not only was it not accepted into the competition, but it also earned him the enmity and devastating criticism of Denis Diderot. Greuze painted numerous portraits and received much criticism for his paintings of a libertine character. The French Revolution of 1789 made neoclassicism fashionable and Greuze's paintings fell out of fashion, forcing him to live off his classes as an art teacher. The portrait of Napoleon Bonaparte, which he commissioned in his last years, did not prevent him from spending his last years in poverty. Likewise, Greuze harvested the allegorical theme, being outstanding the Offering of love (1769), mythological: Danae; or also religious, such as Santa María Egipciaca. WORKS IN COMPARISON: "Portrait of a Young Lady" in pastel on paper, Christie's, January 27, 2010, lot 145. Provenance: former private collection, Spain.

ÉDOUARD VUILLARD (1868-1940)Les serres stamped with the artist's initials 'E V' (lower right)pastel on paper25.1 x 32.5cm (9 7/8 x 12 13/16in).Executed circa 1932-1938Footnotes:ProvenancePrivate collection.Galerie Bérès, Paris.Anon. sale, Sotheby's, London, 1 April 1981, lot 185.Waddington Galleries, London, no. WGB 8839.Private collection, Germany.Anon. sale, Koller, Zurich, 23 June 2006, lot 3157.Private collection, Netherlands (acquired at the above sale).LiteratureA. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Vol. III, Paris, 2003, no. XII-344 (illustrated p. 1610).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

EDVARD MUNCH (1863-1944)Figurer ved Seinen i Saint-Cloud signed with the artist's initials and dated 'EM. 90' (lower right)pastel on paper30.2 x 35cm (11 7/8 x 13 3/4in).Executed in 1890Footnotes:This work is recorded in the archives of the Munch Museet, Oslo.ProvenanceAntonine G. Melet Collection, Paris, no. 2 (possibly acquired from the artist in January 1890).Private collection, Nice.Private collection, Paris (acquired from the above in April 1988).'Munch writes poetry with colour. He has taught himself to see the full potential of colour in art... His use of colour is above all lyrical. He feels colours and he reveals his feelings through colours; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.' – Sigbjørn Obstfelder, 1893 Few names in the history of modern art conjure quite such immediately visceral imagery as that of Edvard Munch. Globally renowned for his pictorial expression of existential dread, depicted in arguably one of the most famous images of art history, as well as his intensely probing and self-scrutinising self-portraits, Munch experienced some of the most revolutionary social and artistic moments of the late 19th and early 20th Centuries. Though his personal life was plagued from the outset by tragedy, grief and mental anguish, Munch became a leading figure in the breakthrough artistic movements of the period and, contrary to the reclusive nature he embodied, was soon revered as one of the greatest artists of his time.The traditional and strictly conservative society of late nineteenth century Europe was the perfect kindling for the liberating Bohemian ideologies that began to murmur throughout many of the small cafés and quasi-underground drinking houses of the European artist quarters. Whilst Paris and Berlin are perhaps most widely known for this cultural phenomenon, the monumental societal shift in Kristiania – as Oslo was known as from 1877-1925 – was possibly even more extreme; the intellectual readjustment hit the Scandinavian regions particularly aggressively, as Ragna Stang writes: 'the movement was met with such single-minded and relentless hostility that what elsewhere had been a few gentle ripples on the surface of society, in Norway became a full-scale storm, a life and death struggle in some circles that had far-reaching effects; social, political, and, above all, artistic and intellectual' (R. Stang, Edvard Munch, The man and his art, Milan, 1979, p. 45).Artists and writers flooded to Paris during the early 1880s before returning home, brimming with not just new theoretical, philosophical and artistic ideas, but with a newfound appreciation for Continental life, with its café society, Parisian brothels and cosmopolitan people. This threatened the middle-class population of the Scandinavian capital which functioned under the stern ideals of the Lutheran Church and was deeply insular. Munch was exposed to this staunchly pious sentiment through his father, an unaccomplished doctor whose devoutness was only exacerbated by the painfully early loss of his wife Laura and daughter Sophie to tuberculosis, driving him to an almost manic-like state of piety. Illness did not escape the artist himself who was sickly throughout his childhood, forcing much of his formative education to take place at his impoverished home. He swiftly grew apart from his father's beliefs and found himself a shy, reclusive outsider. Ultimately, the opportune rise of Bohemianism in Kristiania drew in the impressionable young man and he began his involvement with the bohemian fraternities in the autumn of 1882, setting his sights on the 'modern' metropolis of Paris.'People will be able to see ... that my philosophy of life and my spiritual art had their beginnings during my Bohemian period in the middle and end of the 1880s, and developed even more during my stay in Paris in 1889' (Munch to Ragnar Hoppe in 1929, quoted in ibid., p. 20). Aside from its prominence as a bohemian metropolis, Paris in the 19th Century was the leading cultural centre of the world; it was the place to see the celebrated painters of the period and the 'alternative' exhibitions on view in the cafés and private galleries that flourished in the city.After receiving a bursary and study grants from the Norwegian state Munch made several visits to Paris during the years 1889-1891. As stated by the artist himself, these sojourns had a profound influence on his development, with some of his most iconic works dating to this period and the years following. His senses were bombarded with artistic theory - Impressionism, Post- & Neo-Impressionism and Symbolism were coming to the fore at this time and elements of all can be seen throughout his oeuvre in the radical brushwork, bold colours, and painting en plein air. A clear indication of this contemporary influence can be seen in Rue Lafayette (1891), in which Munch emulates a typically Caillebotte top-hatted gentleman who looks over the bustling city streets, with the loose handling of a radical Neo-Impressionist, such as Paul Signac. However, perhaps Munch's most frequent and poignant comparison, both as the depressed, melancholic and as the proponent of vivid and expressive colour, is with Vincent van Gogh.Though van Gogh died in July of 1890, and it is assumed that they almost certainly never met, the two artists co-existed unimaginably closely in these Paris years, living in the Montmartre area and moving within the same artistic circles, both finding inspiration and guidance from the revolutionary Symbolist, Paul Gauguin. Whilst they would find great stimulation through the prevailing trends of the time, it is Gauguin who encouraged the two artists to translate their intense personal experience into bold colour and expressive handling which, along with their masterful use of perspective and the solitary figure, conveyed the shared theme of isolation and mental seclusion. Prevalent also is the simplification of form that each of the young artists applied to the human figure, which only expressed further the outward expression of inner suffering the painters felt as they placed themselves in their canvas.In December 1889, prompted by an outbreak of cholera in the central area of the city, Munch moved to the picturesque suburb of Saint-Cloud. He formed a close friendship with the Danish poet Emanuel Goldstein and the two talked frequently and intensely: their conversations gave Munch cause to put his thoughts to paper, producing 'not a diary in the accepted sense of the word; [rather] they are partly extracts from the life of my soul, partly poems written as prose...' (Munch quoted in ibid., p. 73). These extensive writings from the cold Saint-Cloud winter came to be known by some as the 'Saint-Cloud Manifesto', where 'he rejected the emotionally neutral subjects of Impressionism, and stated his determination to paint pictures expressive of states of mind' (G.H. Hamilton, Paintings and Sculptures in Europe 1880-1940, New Haven, 1993, p. 122). Munch became increasingly alienated from the materialism of the bohemians and sought to carve his own path. As Stang comments: 'under the influence of the new ideas that he had encountered in Paris and with the strict religious atmosphere of his home gone, Munch began to develop a mystical and pantheistic philosophy and a completely different attitude towards life and art ... He systematically rejected his earlier philosophy and formulated a new artistic creed: 'There should be no more paintings of people reading and women knitting, in future they s... 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

JEAN COCTEAU (1889-1963)Faune aux fleurs signed and dated 'Jean Cocteau 1957' (lower right)wax crayon and pastel on paper42 x 32.5cm (16 9/16 x 12 13/16in).Executed in 1957Footnotes:The authenticity of this work has been confirmed by Annie Guédras.This 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

ACHILLE LAUGÉ (1861-1944)Route en été pastel on canvas37.7 x 55.2cm (14 13/16 x 21 3/4in).Footnotes:ProvenanceAnon. sale, Beaussant Lefèvre, Paris, 1 June 2005, lot 190.Anon. sale, Appay-Debussy, Cannes, 25 June 2006, lot 268.Anon. sale, Appay-Debussy, Cannes, 24 June 2007, lot 566.Private collection, Austria (acquired at the above sale).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

ACHILLE LAUGÉ (1861-1944)Les amandiers en fleurs stamped with the artist's signature 'A. Laugé' (lower right)pastel on paper43.6 x 58.1cm (17 3/16 x 22 7/8in).Footnotes:ProvenanceAtelier Achille Laugé, France; their sale, Drouot-Rive Gauche, Paris, 11 March 1977, lot 60.Private collection, Austria (acquired at the above sale).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

ACHILLE LAUGÉ (1861-1944)Genêts à Belvèze stamped with the artist's signature 'A. Laugé' (lower right)pastel on paper44.9 x 59.3cm (17 11/16 x 23 3/8in).Footnotes:ProvenanceAtelier Achille Laugé, France; their sale, Drouot-Rive Gauche, Paris, 11 March 1977, lot 69.Private collection, Austria (acquired at the above sale).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

LOUIS ANQUETIN (1861-1932)Elégantes, scène de rue signed and dated 'Anquetin 88' (lower right)pastel, charcoal and wash on paper51.3 x 59cm (20 3/16 x 23 1/4in).Executed in 1888Footnotes:The authenticity of this work has been confirmed by Brame & Lorenceau. This work is included in the Louis Anquetin archives.ProvenanceEdouard Borderie Collection, Paris (acquired in 1946).Bernard & Betty French Collection, Kidderminster (acquired from the above circa 1947).Cyril Lavenstein Collection, Kidderminster (acquired from the above in 1956).Private collection, UK (acquired from the above in 1977).Thence by descent to the present owner.Louis Anquetin rose to fame in the late 1880s among the post-Impressionist artists, and was instrumental in the birth of Cloisonnism. Élégantes, scène de rue, executed in 1888, is a prime example of the artist's work from this key period. Anquetin studied at the Beaux-Arts de Paris in the studio of Fernand Cormon. Cormon was a pompier artist who painted large, academic subjects of historical inspiration which were welcomed by the Third Republic and deemed official art. Yet his atelier attracted many avant-garde painters who would radically separate themselves from academism and noble subjects (historical or allegorical), such as Vincent van Gogh, Henri de Toulouse-Lautrec and Émile Bernard. Remaining in this atelier for four years, Anquetin and his peers would inspire each other – the former's influence on van Gogh for example is particularly visible in works such as Avenue de Clichy, cinq heures du soir which preceded van Gogh's famous The Cafe Terrace on the Place du Forum by a year.Paul Gauguin would eventually also join these artists, and van Gogh named the group 'les artistes du petit boulevard'. Translating to 'the artists of the small boulevard', the name referred to the areas they worked around Montmartre, near the Boulevard de Clichy and the Boulevard de Rochechouart. The title was also to distinguish themselves from other well-established artists such as Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, who were termed 'les artistes du grand boulevard'. These artists worked in more elegant neighbourhoods and exhibited in major galleries, whereas Anquetin, van Gogh, Toulouse-Lautrec and Bernard would still exhibit in small cafés and restaurants. At the 1888 Salon des Indépendants, the critic Édouard Dujardin announced in the Revue Indépendante that Louis Anquetin had created a new genre, which he termed 'Cloisonnism'. This referred to a new post-Impressionist style of painting with bold and dark contours around flat areas of colours and simplified forms. It is said that the idea came to Anquetin when he was at his parents' house as he looked up outside through a glass door with coloured tiles. Also inspired by the Japanese prints collected by his friend Vincent van Gogh, Anquetin became transfixed by the different shades and colours that this stained glass gave the outside world. Dujardin's article immediately propelled Anquetin to fame. Élégantes, scène de rue was executed during that pivotal year of 1888. In accordance with the technique of Cloisonnism, the main figure in the present work, dressed in green, is delineated by a thick black line that creates a compartmentalisation of the forms whilst following the folds of her garment. Seen from behind, she crosses a boulevard whilst gazing to her right, beyond the composition. A second woman, holding an parasol, looks directly at her, whilst a gentleman seated in a carriage beyond contemplates them both. Anquetin builds the composition through a triangle of looks, which follows the path of each protagonist's gaze as it bounces from one figure to the other. In this enigmatic trio where no interest is reciprocal, the painter relegates the male gaze to the background of the composition and foregrounds instead the female gaze.The contrast between the elegantly depicted central figure and the more caricature-like appearance of the man in the carriage and the woman in purple – whose loud make-up hints she is a prostitute looking for a client - is characteristic of Anquetin's work and seen in works such as Élégante à l'Élysée Montmartre, 1888, in the Art Institute of Chicago. The more carefully constructed figure draws our attention away from the darker elements at play, nonetheless placing Anquetin as an observer of urban life in the late 1880s. Anquetin worked on a thematically linked group of works exploring the morals and behaviours of lesbian relationships, such as the one at the Van Gogh Museum in Amsterdam, which is very similar to the present work. As Richard Thomson explains, 'at the turn of the decade, Anquetin treated this specific theme on a number of occasions, representing the woman in her carriage on the lookout, the eye contact from carriage to pavement, and the pedestrian woman using her tongue to signal a passing vehicle' (R. Thomson, The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900, London, 2004, p. 38). These images were discreet and relied on codes that were mostly insider knowledge, which made them an even more appealing subject for artists like Anquetin or Toulouse-Lautrec who were never reluctant to show controversial subjects at the turn of the century and explore the hidden side of Parisian society. A trip to Belgium and Holland with Henri de Toulouse-Lautrec and Jos Albert in 1894 however, prompted a shift in Anquetin's work towards a more classical style, heavily inspired by Old Masters such as Rubens and Rembrandt. He became a teacher and taught his pupils the 'retour au métier' ('return to the craft'), rather than encouraging them to strive for modernity and experimentation. The present work thus marks a poignant end to his most creative and innovative period.For further information on this lot please visit Bonhams.com

RAMON CASAS CARBÓ (Barcelona, 1866 - 1932)."Portrait of a lady.Pastel on paper.Signed in the lower right corner.With "Pèl i Ploma" stamp in the lower right-hand corner.Size: 33 x 25 cm; 56 x 47 cm (frame).Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its publication and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative side. It was one of the most representative magazines of Catalan Modernisme, a driving force behind this movement and a platform for the dissemination of modern art. In this work Casas depicts an elegant lady dressed in the bourgeois fashion of the turn of the century, with a fox fur collar. It is an image charged with instantaneity, typical of the female representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the period; the expressive linearity, the sobriety of the colours and the attention to current themes coincide with the features of posters and illustrations for magazines.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.

P.M.L. HEAD STUDIES OF TWO LABRADORS Pastel, signed with initials and dated 1994 lower right, 28cm x 37.5cm

A early 20th century pastel study of a wolf, 'Lassie the Peacemaker, A life long and devoted friend ever loving and beloved (wedded to Orloff the Terrible April 1928, Mother of twenty eight stalwart wolflets)', 39.5x29.5cm

Two framed & signed Pastel drawings by Lawrence Lee, Nude study & African mother and child

YWHH '50. German School. Snowy Tyrolean mountain landscape with skiers. Pastel on paper. Dimensions: H 65 x W 50 cm. In good condition.

Jan Bleys. 1868 - 1952. Pot of violins. Pastel on paper. Dimensions: H 20 x W 30 cm. In good condition.

After Alfred Sisley, A 19th century framed and glazed pastel on paper still life, steak and jug. Signed Sisley. Inscribed to the back A. Sisley, 1868. H.50 W.54cm

Mary Browning (20th Century) British, head studies of five horses, pastel, signed and inscribed and dated 1994, 26" x 28.5".

19th Century Continental School, a bust length portrait of a young girl, pastel, indistinctly signed and dated 1867, 18" x 14", oval.

Francis Edward James (1849-1920) British, 'Azaleas', watercolour, signed, with Fine Art Society label verso, 10" x 14", along with a pastel of a ballerina tying her shoe by Margaret Palmer, 20" x 12".

Stephen Doig (b 1964) A homage to Pope John Paul II, pastel, 24" x 18".

Adrian Hill (1895-1977) 'Encroaching Night', charcoal and pastel, signed, 9.5" x 13".

Charles Bone, A still life of mixed flowers, pastel, signed, 28.75" x 21".

Sally Scott (b. 1939) A Pair of pastel and mixed media drawings, 'A Continental View' and 'Arboras Garden', signed, each 15" x 15", (2).

A seated nude lady, initialled O.G and dated '07, pastel, 13.75" x 14.25".

20th Century Hungarian School, a still life study of flowers, pastel, indistinctly signed, 16" x 12". (unframed).

•PATRICIA A. FROST (Contemporary) A STABLE BOY WITH AN ARAB GREY, DUBAI Signed and dated 2002, oil on canvas 34 x 26cm.; with a pastel of two saddled polo ponies under trees, signed and dated 2002, 19 x 19.5cm. (2) ++ Good condition

ROSEMARY BEATEN (SCOTTISH CONTEMPORARY)  DUMBARTON ROCKS  Chalk and pastel on paper, signed lower centre, titled, dated (86), 41 x 58cm Condition Report:Available upon request

Sophia Beale (19th/20th century)A Continental hilltop view, signed and dated 1869, pastel, 34 x 60cm

Penelope Lott (20th/21st century)'Studying Form 1987', pastel, 68 x 98cm With Oliver Swann Galleries 1991 and sold together with copy of purchase invoice and exhibition brochure

A pastel portrait signed and dated 14x23"

A signed pastel of Kings Lynn Johns street

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (HEADLESS FIGURE), 1979 Signed and dated upper left, pastel on brown paper(75cm x 55cm (29.5in x 21.5in), unframed)

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (GREEN SHOUTING WOMAN) Pastel(60cm x 46cm (23.5in x 18in))

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED Pastel(53cm x 40cm (21in x 15.75in))

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) SCREAMING (WITH GREEN AND PINK HEADDRESS) Pastel(68cm x 48cm (26.75in x 19in), unframed)

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) SKULL HEAD FIGURE Pastel on brown paper(63.5cm x 48cm (25in x 19in), unframed)

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) CROSS-HATCHED FACE Indistinctly inscribed lower right, pastel on brown paper(64cm x 49cm (25in x 19.25in), unframed)

§ PETER HOWSON O.B.E. (SCOTTISH 1958-) BREXIT INTO THE ABYSS, 2017 Signed and dated lower right, pastel(46cm x 60cm (18in x 23.5in))

§ DAVID DONALDSON R.S.A., R.P., L.L.D. (SCOTTISH 1916-1996) MOUNTAIN TENT Signed centre of lower edge, pastel(23.5cm x 23.5cm (9.25in x 9.25in))Footnote: Exhibited: The Scottish Gallery, Edinburgh

J RUSSELL-ELENA HAMMETT (19th century); pastel of a young lady in 18th century dress, with ribbon in abundant curls and crystal drop earrings, name of artist engraved to the bottom of the frame and indistinct title of painting, 61 x 47cm, framed and glazed. CONDITION REPORT No damage or loss of image, clear fresh coloursOne side to bottom of pictures has an area of dust under the glassSignature of the artist faint but visible and decipherable to bottom right of artwork, name of subject to bottom of gilded frame as is name of the artist, faint but decipherable, overall good condition

Lovatts Langley two tone pink part tea or coffee set, comprising teapot and stand, coffee pot, lidded jug, sugar bowl and milk/cream jug; a pair of pink pastel vases etc (quantity)

ETHEL SANDS - A FRAMED AND GLAZED PASTEL STILL LIFE STUDY OF CHRYSANTHEMUMS SIGNED LOWER RIGHT 48CM X 32CM

A collection of vintage costume jewellery necklaces. The lot to include three pastel tone floral necklaces, two coloured glass droplet necklaces, four rhine stone necklaces, a blue glass droplet necklace and a plastic beaded necklace. Longest measures 36 inches, shortest measures 15 inches. 

Doris White, watercolour, portrait of a lady, 34cm x 24cm, a pastel portrait of a cat, and 3 other various watercolours, all framed (5)

Jason Shackleton, a contemporary pottery charger, dated 2008, painted with stylised fish in a lily pond, pastel-toned glazes, 35.5cm.

LARGE PASTEL DRAWING OF GIRL

*Paul Lucien Maze (French, 1887-1979)A still life of roses in a vase on a tablesigned 'Paul Maze' l.l., pastel55 x 75cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Appears to be in good condition.

*Paul Lucien Maze (French-British, 1887-1979)Jessie tying her hair signed 'Paul Maze' l.r., pastel30.5 x 23.2cm,with a letter attached verso from Jessie Maze, the artist's wifeProvenance: Phillips Auctioneers, 28 January 1986, lot 17b.*Artist's Resale Right may apply to this lot.Condition report: Some cockling to the paper, unexamined out of frame.

Benton End School A landscape study pastel34 x 41cm

*Cecil King (Irish, 1921-1986)'Two'signed 'Cecil King' l.r., inscribed with title and dated 1973 verso, pastel25.5 x 35.5cmBorn in 1921, it was not until 1964 that King started painting professionally. At first he adopted an expressionistic palette, but soon his work embraced an ordered, minimalistic style. King plays with the concept of balance in a clever way; he creates an image that is almost identical in each half, apart from the two rectangles, which are exactly the reverse of each other. Executed in just a few tones of colour, King creates a serious and thought-provoking piece of art. What do these ‘Two’ represent? And is this an image of hostility or harmony?Condition report: Framed size: 42 x50cmNot viewed out of glazed frame. paper stuck down. Top edge of paper deliberately uneven. Appears to be in good condition.

*Waveney Frederick (1911-1999)Benton End signed with initials l.r., oil on canvas35 x 48cmWaveney Frederick studied under Cedric Morris at Benton End in the 1940s. Alongside her career as a painter, she worked as a librarian in Birmingham and became a world authority on Shakespeare. In the 1950s, she founded the Harborne Group, whose aims were freedom from academic constraints and symbolic interpretation of nature. In 1964, she founded the Birmingham Pastel Society. She won many awards through her career and exhibited widely in the UK and America. She was a member of the Birmingham Society of Artists and the Pastel Society, London.*Artist's Resale Right may apply to this lot.Condition report: overall: 47 x 59.5cmin generally good condition, the work is boxed and glazed so it is hard to see the support. The canvas is a little uneven which suggests it is not laid down but it seems unlikely to be stretched. Unexamined under UV light - for a full report please contact the deparment.

*Peter Howson (b.1958)'The Money Lender', 1990 signed 'HOWSON' l.r., pastel 29.5 x 21cm Provenance: With Flowers East, London. Exhibited: Glasgow Art Gallery and Museums, McLellan Galleries, 2 July - 5 September 1993, no. 548.*Artist's Resale Right may apply to this lot.Condition report: Framed size 51 x 51cmNot viewed out of glazed frame. Glass is dirty, thunderbugs under glass. Paper stuck down, appears to be in good condition.